diff options
Diffstat (limited to 'old/41620-0.txt')
| -rw-r--r-- | old/41620-0.txt | 11920 |
1 files changed, 0 insertions, 11920 deletions
diff --git a/old/41620-0.txt b/old/41620-0.txt deleted file mode 100644 index 625e68d..0000000 --- a/old/41620-0.txt +++ /dev/null @@ -1,11920 +0,0 @@ -The Project Gutenberg EBook of French Book-plates, by Walter Hamilton - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: French Book-plates - -Author: Walter Hamilton - -Release Date: December 14, 2012 [EBook #41620] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK FRENCH BOOK-PLATES *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at the Digital & Multimedia -Center, Michigan State University Libraries.) - - - - -[A few typographical errors corrected by the etext transcriber: -In the rare cases were=> In the rare cases where {pg 21} -ecrit dans les marges=> écrit dans les marges {pg 238} -Rops, Felicien, 299.=> Rops, Félicien, 299. {index} -Dans un siècle ou l’or seul fut un objet d’envie=> Dans un siècle où -l’or seul fut un objet d’envie {pg 245} -The spelling of French words and names has not been corrected or -normalized. (note of etext transcriber.)] - - - - -THE EX-LIBRIS SERIES. EDITED BY GLEESON WHITE. - -FRENCH BOOK-PLATES. - -THE FIRST EDITION OF THIS BOOK WAS PUBLISHED IN 1892, AND WAS EXHAUSTED -ALMOST IMMEDIATELY. THE PRESENT ISSUE IS LIMITED TO 750 COPIES OF THE -ORDINARY EDITION, AND 38 COPIES ON TALL JAPANESE VELLUM (OF WHICH 35 -ONLY ARE FOR SALE). - -[Illustration] - -[Illustration] - - - - -French Book-plates -by Walter Hamilton, Chairman -of Council of the Ex-Libris Society -and Vice-President of the Société -Française des Collectionneurs -d’Ex-Libris - -[Illustration] - -London: George Bell & Sons, York Street, -Covent Garden, & New York. Mdcccxcvi - -CHISWICK PRESS:--CHARLES WHITTINGHAM AND CO. -TOOKS COURT, CHANCERY LANE, LONDON. - -[Illustration] - - - - -PREFACE. - - -Since the first edition of this Handbook was published in 1892 the taste -for collecting book-plates has spread with such rapidity that that which -was formerly the hobby of a few, has now become the serious pursuit of -the many. - -Societies devoted to the collection and study of ex-libris have been -founded by eminent genealogists and heraldists, not only in Great -Britain, but also in Germany, France, and the United States, all of -which are in a flourishing condition, numbering many active and -enthusiastic members. Each of these societies publishes an illustrated -Journal in which the book-plates of all ages and countries are being -reproduced and described from almost every point of view. Whilst the -ever-widening circle of literature on the topic shows that the taste has -now also spread to Sweden, to Italy, to Belgium, to Switzerland, and to -South America. - -Such intense literary activity has led to the recent publication of many -interesting records of French ex-libris, and in order to keep my -readers _au courant_ with the present state of knowledge, it has been -found necessary to increase the number of chapters, to add materially to -the others, and to include nearly a hundred facsimiles, in addition to -those in the former edition. - -The writings of Poulet-Malassis, Henri Bouchot, Octave Uzanne, le Père -Ingold, Auguste Castan, A. Benoit, Henri Jadart, and H. Jardère, are all -well-known to French collectors, but they have not been translated, and -what is even more serious for the British collector, the original -editions are now for the most part unobtainable. - -I have therefore attempted to embody all the principal facts to be -gleaned from these authorities with the information derived from my own -collection, so as to produce a succinct history of French book-plates -from 1574 (the year named on the first known dated French book-plate) to -the present day. In the alphabetical list of artists and engravers will -be found such a concentration of information useful to collectors as -does not exist in any other work on the subject. - -Heraldic details have been avoided as far as possible, yet some little -space has necessarily been devoted to the explanation of the principal -differences between the systems of the two nations, in order to enable a -collector of French book-plates to understand certain peculiarities -either not to be found on British armorial bearings, or conveying a -different meaning to that ascribed to them in British heraldry. - -Of the illustrations, many have been reproduced from rare old examples, -whilst those of modern date are of interest, either on account of the -fame of their artists, or their owners, or for the beauty or quaintness -of their design. - -As the majority are dated specimens, they have an educational value in -representing the styles of heraldry and of ornamentation in vogue at the -various periods during the last three centuries. - -To Dr. Bouland, President of the French Society, I am greatly indebted -for the loan of several interesting reproductions, and my thanks are -also due to Messieurs Aglaüs Bouvenne, Henry André, L. Joly, Léon -Quantin, le Père Ingold, and other artists and owners of book-plates for -their kind permission to reproduce them here. - -A final tribute of gratitude remains to be paid to one who shares all my -labours, or my cares, and adds that charm to life that makes success -worth striving for. - -Every line in this little book has passed under her eyes, for revision -or correction, and I would pray: - - “Untouch’d with any shade of years, - May those kind eyes forever dwell! - They have not shed a many tears, - Dear eyes, since first I knew them well.” - WALTER HAMILTON. - -“ELLARBEE,” - - Clapham Common, Surrey. - -_October_, 1896. - -[Illustration: BOOK-PLATE OF J. B. MICHAUD, 1791.] - - - - -CONTENTS. - - - PAGE - -CHRONOLOGICAL SUMMARY OF THE PRINCIPAL -HISTORICAL EVENTS HEREIN ALLUDED TO. 1 - -Chapter I. INTRODUCTION 5 - -II. IDENTIFICATION AND CLASSIFICATION 21 - -III. A FEW NOTES ON FRENCH HERALDRY 39 - -IV. EARLY EXAMPLES, 1574-1650 62 - -V. EX-LIBRIS, 1650-1700 77 - -VI. EX-LIBRIS, 1700-1789 84 - -VII. THE FIRST REPUBLIC 109 - - THE FIRST EMPIRE 123 - -VIII. THE RESTORATION AND LOUIS-PHILIPPE 134 - - THE SECOND EMPIRE 140 - -IX. THE FRONTIER PROVINCES 152 - -X. ECCLESIASTICAL AND SCHOLASTIC EX-LIBRIS 169 - -XI. BOOK-PLATES OF THE HUGUENOTS 197 - -XII. BOOK-PLATES OF MEDICAL MEN 208 - -XIII. CANTING ARMS AND PUNNING PLATES 218 - -XIV. PHRASES OF POSSESSION 232 - -XV. BOOK-PLATES OF SOME FAMOUS MEN 248 - -XVI. MODERN EX-LIBRIS 275 - -XVII. A LIST OF ARTISTS AND ENGRAVERS 301 - -BIBLIOGRAPHY 345 - -INDEX 353 - - - - -CHRONOLOGICAL SUMMARY OF THE PRINCIPAL HISTORICAL EVENTS HEREIN ALLUDED -TO. - - -In his “Petite Revue d’Ex-Libris Alsaciens,” Mons. Auguste Stoeber -claimed to have discovered an armorial ex-libris which had been engraved -for Conrad Wolfhart, of Rouffach, who died in 1561, but the evidence is -not conclusive, otherwise this would have been the earliest French -book-plate known. - - 1574. Earliest known dated French book-plate, “_Ex Bibliotheca - Caroli Albosii_.” - - The first English book-plate, that of Sir Nicholas Bacon, was also - dated 1574. - - Henry III., then King of France, was assassinated August, 1589. - - 1585. The earliest known French armorial book-plate, that of - _François de la Rochefoucauld_, engraved some time before 1585. - - 1589. Henry IV., King of France. - - 1598. April: The Edict of Nantes was issued by Henry IV., granting - religious freedom to the Reformed Church; he was assassinated by - Ravaillac May 14, 1610. - - 1610. Louis XIII., King, son of the above, died May 14, 1643. - - 1611. The first _dated armorial_ French book-plate, that of - _Alexandre Bouchart_, by Leonard Gaultier. - - 1613. The second dated armorial French book-plate, that of - _Melchior de la Vallée_. - - 1638. The system of showing the heraldic colours, metals, and furs - on engravings by conventional lines and dots was adopted about this - date, and has been in use ever since. - - 1643. Louis XIV., King, son of the above, died September 1, 1715. - - 1685. October. Revocation by Louis XIV. of the Edict of Nantes, - followed by the flight of thousands of French Protestants (or - Huguenots) to Great Britain, Holland, and America. - - 1715. Louis XV., King, great-grandson of the above, died of - small-pox, May 10, 1774. - - 1774. Louis XVI., King, grandson of the above. - - 1789. July. Surrender and destruction of the Château de la Bastille - in Paris. This marks the actual commencement of the French - Revolution. - - 1790. June. Abolition of all titles and armorial bearings. - - 1793. Louis XVI. beheaded January 21, and was, according to - Legitimist reckoning, succeeded by his young son, Louis XVII., who, - however, never reigned, and is supposed to have died in prison on - June 8, 1795. The government was Republican in name until - - 1804. May. Napoleon Buonaparte proclaimed Emperor. - - 1808. New nobility of France created, titles and heraldry revived. - - 1814. Abdication of Napoleon in favour of his son, Napoleon II., - who, however, never reigned. - - 1814. Restoration of the Monarchy under Louis XVIII., brother of - Louis XVI.; he died September, 1824. - - 1824. Charles X., King, brother of the above, deposed in July, - 1830; succeeded by his cousin-- - - 1830. Louis-Philippe, as _King of the French_. - - 1848. February. Abdication and flight of Louis-Philippe. - Proclamation of a Republic; Louis Napoleon elected President of the - Republic, December, 1848. - - 1852. December. Proclamation of Napoleon III. as Emperor of the - French (the Second Empire). - - 1870. Overthrow of the Empire; Republic proclaimed. - -[Illustration] - -[Illustration] - - - - -FRENCH EX-LIBRIS. - - - - -CHAPTER I. - -INTRODUCTION. - - -It is nearly a quarter of a century since Mons. Maurice Tourneux first -drew attention to the subject of French book-plates in an article which -appeared in “L’Amateur d’Autographes” for April, 1872. This was -descriptive of the famous collection of Mons. Aglaüs Bouvenne, who is -himself the designer of some of the most interesting and artistic of -modern French book-plates. Next followed the well-known work of Mons. A. -Poulet-Malassis, “Les Ex-Libris Français,” the preface to which is dated -January 20th, 1874; a second edition was issued in the following year by -P. Rouquette, Paris, 1875. Then, after a long interval, appeared “Les -Ex-Libris et les Marques de Possession du Livre,” by Henri Bouchot. -Paris: Edouard Rouveyre, 1891. - -Beyond these, and a few pamphlets descriptive of local collections, such -as the “Petite Revue d’Ex-Libris Alsaciens,” by Auguste Stoeber, 1881, -and some articles by Octave Uzanne in “Le Livre Moderne,” comparatively -little had been written on the topic until the appearance of the first -edition of this work. - -Indeed, in his last article in “Le Livre Moderne” (No. 24, December, -1891), M. Octave Uzanne deplored the want of interest shown by the -French authors in this important branch of bibliographical art. From -amongst the hundreds of thousands of book-plates known to exist in -public and private collections, there would, he said, be no difficulty -in selecting sufficient representative examples to form a magnificent -“Dictionnaire Illustré des Ex-Libris.” The task must, however, remain -unperformed until an author is found possessing not only sufficient -taste, skill, and leisure to undertake it, but also ample means to carry -it out, for such a work would undoubtedly be costly, and not many -publishers would be willing to undertake the risk of producing it. - -Hitherto no such collection has been published, either in Great Britain -or in France; the nearest approach, in French, being the “Armorial du -Bibliophile,” by Joannis Guigard, which deals only with the stamps on -armorial bookbindings, and the splendid work on German Ex-Libris by Herr -Frederic Warnecke, published in Berlin in 1890. - -M. A. Poulet-Malassis opens his work with the expression: “Pas un des -dictionnaires de la langue française n’a admis le terme _ex-libris_, -composé de deux mots latins qui signifient _des livres ... faisant -partie des livres_. II est pourtant consacré par l’usage et se dit de -toute marque de propriété appliquée à l’extérieur ou à l’intérieur d’un -volume.” - -He could, however, no longer complain of the absence of the term -_ex-libris_ from the dictionaries, as, since he wrote, M. Pierre -Larousse has inserted the following definition in vol. vii. of “Le Grand -Dictionnaire Universel du XIX siècle” (Paris, 4to, 1866-1877): - -“EX-LIBRIS, mots latins qui signifient littéralement des livres, d’entre -des livres, faisant partie des livres, avec le nom du propriétaire. Ces -mots s’inscrivent ordinairement en tête de chaque volume d’une -bibliothèque avec la signature du propriétaire. On connait ce trait -d’ignorance d’un financier, homme d’ordre avant tout, qui avait ordonné -à son chapelier de coller soigneusement au fond de son chapeau -‘Ex-Libris Vaudore.’” - -But what is still more singular than the omission of _ex-libris_ from -their dictionaries, is that no word, or phrase, in their own pure and -beautiful language has been set apart by our neighbours to define these -interesting marks of book possession. - -On early French ex-libris the phrases of possession are most frequently -found in Latin, as, indeed, is the case with the early book-plates of -most nations. The earliest known example, and that is simply -typographical, is of Ailleboust of Autun, dated 1574; it has the -expression _Ex bibliotheca_; but it was not until about 1700 that this -and similar phrases came into general use, and they were then gradually -adopted in nearly the following order: _Ex bibliotheca_; _Ex libris_; -_Ex catalogo bibliothecæ_; _Ex musæo_; _Insigne librorum_; _Bibliothèque -de--_; _Du cabinet de--_; _Je suis à M----_; _J’appartiens à----_. - -It will be noticed that Latin gradually gave way to the French language, -and on more modern plates French expressions are usually employed. “Je -suis à Jean Tommins” (1750) and “J’appartiens à Lucien Werner” have a -distinct character of their own. “Ce livre est du Monastère de la -visitation de Sainte Marie de Clermont” (1830), or “Ce livre fait partie -de la Bibliothèque de M. le Comte de Fortia d’Urban, demeurant à Paris, -Chaussée d’Antin, rue de la Rochefoucault,” are clear and positive -statements of fact. Other collectors are less explicit, simply -inserting: “Bibliothèque de Pastoret,” “Bibliothèque de Rosny,” “De la -Bibliothèque de M. le Chevalier Dampoigne,” “Du Cabinet de Messire -Barthelemy Gabriel Rolland.” - -The term _Ex-libris_ is now generally understood to refer to the labels, -either printed or engraved, fixed by owners inside their books, to show -by names, arms, or other devices, to whom the volumes belong. But French -collectors employ the term _Ex-libris_ in a much wider sense than we do; -as, for instance, in reference to the manuscript entries of ownership in -books, as we shall see later on, when dealing with the so-called -ex-libris of François Rabelais and of Charlotte Corday, which are in -reality but the autographs of these celebrities written in books which -once belonged to them. - -That this is the well-understood rule is borne out in the very opening -sentences of the charming little brochure, “Petite Revue d’Ex-Libris -Alsaciens,” by the late Mons. Auguste Stoeber (Mulhouse, 1881): -“Lorsque, encore assis sur les bancs de l’école, nous tracions, d’une -main peu exercée, sur la garde de nos livres de classe notre nom -accompagné de ce verset enfantin: - - Ce livre est à moi, - Comme Paris est au roi; - Qui veut savoir mon nom, - Regarde dans ce rond, - -nous ne doutions guère que nous y inscrivions des _ex-libris_, et cela -aussi peu que plus tard, lorsque, entrés au collège, latinistes en -herbe, nous y griffonions un gibet auquel était pendu Pierrot, -illustration suivie invariablement de ce quatrain macaronique: - - Aspice Pierrot pendu, - Quod librum n’a pas rendu. - Pierrot pendu non fuisset - Si librum reddidisset. - -A cette époque le nom d’_Ex-libris_ n’était connu et employé que par les -savants de profession et par les hommes du monde, amateurs de livres.” - -A recent and more authoritative ruling is that of the Council of the -_Société Française des Collectionneurs d’Ex-Libris_, which not only -permits autographs and other manuscript entries in books to be styled -_Ex-libris_, but opens the columns of its journal to the consideration -and reproduction of the armorial bearings, monograms, and devices to be -found stamped on the leather bindings of books, to which it also applies -the term _Ex-libris_. - -In the programme issued with the first part of the _Archives de la -Société Française_ occurs the following paragraph dealing with this -question: “Bien des personnes considèrent, à bon droit, les marques -imprimées en or, ou à froid sur les plats des livres, comme de -veritables Ex-Libris. Ce sont, disait un érudit, les Ex-Libris Français -par excellence, leur étude est liée à celle des Ex-Libris gravés. Les -archives donneront une large hospitalité à tous les documents, notes, ou -détermination d’armoiries que nos membres voudront bien nous -communiquer.” - -British collectors treat these _super libros_ as things apart from -ex-libris. A system which includes book-plates, autographs, and armorial -bearings on bookbindings under the one term _Ex-Libris_ leads to -confusion in correspondence, and is therefore to be deprecated. - -The earliest known examples of ex-libris are German, and the custom of -using them originated no doubt in that country, where costly bindings, -with arms emblazoned on the covers, as in France and Italy, were seldom -indulged in. - -Earliest in the field in the art of printing, and prolific in -book-making, the Germans never attached very particular importance to -elegant and sumptuous bindings. - -Valuing their books for their intrinsic, rather than extrinsic merits, -they covered them with good stout wooden boards and strong metal clasps, -and soon discovered that a printed label, or a rough woodcut of a -coat-of-arms, was as useful a mode of proclaiming the ownership of a -volume as the showy, but costly, system of heraldic emblazoning in gold, -silver, and colours, adopted by their more luxurious neighbours. - -Hence it is not so very uncommon to find German ex-libris dated in the -early years of the sixteenth century, whereas the earliest known French -plate is of a much later date. In fact, no French ex-libris of undoubted -authenticity has been discovered with an earlier date than 1574, a -memorable year for collectors, as being that which is also found on the -earliest known English plate, the fine armorial of Sir Nicholas Bacon, a -facsimile of which will be found in Mr. Griggs’s valuable collection of -“Examples of Armorial Book-Plates,” 1884. - -Unfortunately, the first French dated ex-libris is nothing more than a -plain label printed with movable type, and bearing the inscription: “Ex -Bibliothecâ Caroli Albosii E. Eduensis. Ex labore quies. 1574.” - -Now, with the exception of the dated autographs of owners of books, with -which we are not here dealing, this ex-libris of the book collector of -Autun is the earliest dated example of a French mark of possession which -has yet been found affixed to the interior of a book in any French -library. - -It may well be, however, that this was not actually the first ex-libris -employed in France, for there exist, in collections of old engravings, -many nameless coats-of-arms emblazoned by French artists in the -sixteenth century, the origin and use of which are doubtful, and may -remain unrecognized for ever. - -A long interval occurs between 1574 and the next dated plate, which is -that of _Alexandre Bouchart_, Sieur de Blosseville, an ex-libris, folio -size, engraved by Léonard Gaultier, and dated 1611. - -Alexandre Bouchart was councillor in the parliament of Rouen; he died -some time before 1622. His ex-libris was found fixed on the cover of a -copy of the works of Ptolemy in the Bibliothèque Nationale in Paris. The -“Ptolemy” was printed in Amsterdam, 1605, folio. - -This engraving is exceedingly valuable on account of its rarity, its -early date, the beauty of its design, and the simplicity and purity of -its heraldry. M. Henri Bouchot gives a reproduction of it in his work on -“Les Ex-Libris” (p. 32), but as it is only a quarter the size of the -original, and is not clearly printed, it gives but a faint idea of the -beauty of the work. This is, according to the most recent investigation, -the next French plate to that of Charles Ailleboust d’Autun, in order of -date as actually printed or engraved on the ex-libris itself, and of -unquestionable authenticity. - -Then comes a plate which is not only of the greatest interest on account -of its antiquity, but also because of its large size, its extreme -rarity, and the quaint design. The plate is that of _Melchior de la -Vallée_, Canon, etc., of St. George at Nancy, which bears the date 1613 -in the centre of the pedestal. The shield at the top bears the arms of -Melchior de la Vallée, not tinctured, supported by two angels, one of -whom holds over the shield the hat of a _protonotaire_ of the Court of -Rome. Below, in an oval escutcheon, are the names and titles of the -owner, supported on the left by the Virgin Mary carrying the infant -Jesus, and on the right by St. Nicholas with three small children. - -An account of this plate was furnished to the “Journal de la Société -d’Archéologie Lorraine” (Nancy, 1864), by M. Beaupré, and -Poulet-Malassis also mentions it, but at second-hand, as he had not seen -it, and he gives the date incorrectly as 1611. It is not signed, but has -been attributed to Jacques Callot and, with more probability, to Jacques -Bellange. - -There is a lapse of nearly forty years before we come to the next -_dated_ plate--_André Felibien_, Escuier, Sieur des Avaux, -Historiographe du Roy, a fine armorial ex-libris, dated 1650. - -Some excellent examples are known which prove that between 1574 and 1650 -book-plates were engraved and coming into general use, but as they are -not dated their age can only be approximately arrived at from internal -evidence. Those French gentlemen of the fifteenth, sixteenth, and -seventeenth centuries who loved books, and formed large libraries, -adopted the Italian fashion of having their treasures sumptuously bound. -The magnificently illuminated manuscripts, and _livres d’heures_, which -were produced for the great lords and ladies in the fifteenth century, -required no ex-libris, for on nearly every page occurred the arms or -badges, the ciphers, or the initials of the fortunate owner, whose -right to the book was thus for ever placed beyond all question or doubt. -The invention of printing, and the consequent rapid multiplication of -books, although it greatly interfered with the choice individuality of -each _impression_, did not at once totally destroy it. - -[Illustration: BOOK-PLATE OF ANDRÉ FELIBIEN.] - -The early printers left blanks for initials and illuminations, which -were afterwards filled in, freehand, by the artists who had hitherto -been employed to illuminate the manuscripts, their services were thus in -greater demand than ever. Most of the early printed books were heavy -folios, and were sumptuously bound, the arms of the owners being grandly -emblazoned in the centre of the side boards; generally with some -cipher, flower, or monogram in the corners, and the monogram, or one of -the principal charges of the shield, repeated between each band on the -back. The present custom of ranging books closely in cases, with only -their backs in view, was not suitable for these ponderous tomes. Some of -the more ordinary works were placed loosely in open cases round the -library, with their fore-edges towards the reader, but the valuable -books were fully displayed on long tables or counters, of the right -height for a reader to stand at and turn them over without fatigue. Thus -the beauty of the binding was seen at once, and must have been so -fearfully tantalizing to the visiting bibliomaniac, that the owners -often thought it advisable to chain their volumes in their places. With -these, as with the manuscripts, and for similar reasons, the use of -ex-libris long appeared unnecessary, which accounts for their somewhat -late adoption in France; the marks of ownership are on the bindings -themselves, the lovely productions of the early masters of bibliopegy, -whose elegance and style modern binders vainly attempt to imitate, and -cannot excel. - -To collect early bindings is a noble hobby, but one which is, and ever -must remain, the hobby of a few wealthy collectors, whereas the -collection of ex-libris was, until quite recently, a taste requiring -patience and skill rather than a well-filled purse. - -Styles and periods in French ex-libris are not nearly so well defined, -nor so easily recognized, as they are in British plates by the simple -terms we use, such as Early English, Jacobean, Chippendale, wreath and -ribbon, book-pile, library interior, etc. - -French military plates are often decorated with flags, cannon, and fine -trophies of arms, but book-piles and library interiors are somewhat -uncommon, as are also early plates containing the portraits of their -owners. - -One of the earliest portrait plates is that of Amy Lamy, with the motto -“Usque ad aras,” probably engraved by some pupil of Thomas de Leu, of -which the date is doubtful. - -Another, and of greater interest, is that of the famous critic, the Abbé -Desfontaines (1685-1745), a fine engraving by Schmit, after Tocqué, -representing Petr. Fr. Guyot Desfontaines presb. Rothomag., with the -following lines: - - Dum te Phœbus amat scribentem, Mœvius odit, - Et lepidis salibus mæret inepta cohors. - -Which a French admirer translates thus: - - Chéri du dieu des arts, craint et haï des sots, - L’Ignorance en courroux frémit de ses bons mots. - -On modern ex-libris portraits occasionally occur, as on that of M. -Manet, with the punning phrase, “Manet et Manebit,” and that of a -well-known English collector and scholar, Mr. H. S. Ashbee, designed by -Paul Avril, a French artist. Another represents M. Georges Vicaire, in -the costume of a _chef_, superintending the preparation of a _ragout_ of -books to please the literary gourmands. But probably the finest modern -portrait ex-libris is that drawn by M. Henry André, the book-plate -artist, for himself: this is dated 1894. - -The collector must be on his guard against modern reprints from old -plates, or ex-libris printed from re-engraved copper plates. - -French collectors will commission engravers to copy rare old plates -rather than be without examples of them in their albums; this they do -openly and acknowledge frankly; but it is sometimes otherwise with the -men whom they employ. They work off a number of copies for sale, mix -them up with a parcel of genuine ex-libris, and so deceive the unwary -collector. - -The British collector will not find it easy to add much to his store in -Paris, unless he is prepared to pay prices quite out of proportion to -those usually charged for plates in this country. - -In the first place, it is almost a waste of time to ask for ex-libris in -any of the ordinary second-hand book shops; the books are all fairly -well gleaned before reaching there, by individuals who collect the -ex-libris for certain dealers who make a speciality of them. These -dealers are not very numerous, they are all well known to the French -collectors, and they have standing orders to reserve all their finest -specimens for these regular customers. Consequently the stray passer-by, -or the unfortunate foreigner, has little chance of picking up any but -common or uninteresting plates. - -In provincial towns there is, of course, less demand for plates, but a -second-hand book shop in a French provincial town is usually a -depressing place, and the books they have for sale seldom contain plates -more interesting than a school or college-prize label. Yet these are -occasionally very pretty little engravings, and the collector who prizes -pictorial ex-libris would be glad to possess such a plate as that, for -instance, designed by Apoux for the _Institution Guillot_, of Colombes -(Seine). - -The French take considerable interest in the historical, antiquarian, -and literary associations of their country, and there are many -enthusiastic collectors of ex-libris in France; it was therefore -somewhat remarkable that a society of collectors was not formed at least -as early in Paris as ours was in London. At length, however, the topic -was broached by Dr. Louis Bouland in a letter published in “La Curiosité -Universelle” (1, Rue Rameau, Paris) on March 14, 1892, No. 269, from -which the following are extracts: - -“In No. 266 of ‘La Curiosité Universelle’ I pointed out the advantages -and pleasures to be derived from the formation of a Society of -Collectors of Ex-Libris. I then mentioned that I should be pleased to -correspond with collectors who might be willing to form the nucleus of -such a society, and I have already received many promises of support. - -“Those who have written to me are of the opinion, in which I concur, -that the best way to arrive at a practical result would be to constitute -a society to which each member should pay a subscription, the funds thus -obtained being employed in printing and publishing a small independent -journal. - -“To achieve this result some one must take the initiative, write to the -collectors, and call a preliminary meeting. - -“I am quite willing to do this, and ask the support of all my brother -collectors, to whom I offer the use of my rooms for their first meeting. - -“They have but to write to me, and if they only take as much interest in -the scheme as I do, it must be a success.” - -At first the efforts of Dr. Bouland did not meet with much -encouragement, and for a whole year he was striving to start the -society. At length the first meeting was held at his house on the 30th -April, 1893, when a committee was appointed, the rules were drawn up, -and the society definitely formed. That Dr. Bouland should have been -elected its president was a compliment which was due to him as its -founder, but those who have the honour of his acquaintance well know -that he also merited the distinction on account of his learning, his -researches in all branches of bibliographical lore, his tastes for -heraldry and art, and his ardour as a book-plate collector. - -In December, 1893, the first number of the Society’s Journal was -published, entitled _Archives de la Société Française des -Collectionneurs d’Ex-Libris_, a handsome folio which has since been -issued regularly every month, with numerous illustrations and -reproductions. In this publication it will be seen that the name of the -energetic president frequently appears as a contributor. - -_Les Archives de la Société_ are published by Messrs. Paul L. Huard, No. -28, rue des Bons Enfants, Paris, and the Secretary is Mons. Léon -Quantin, 20 bis, rue Louis Blanc, Paris. - -[Illustration: BOOK-PLATE OF M. LÉON QUANTIN, - -_Secrétaire de la Société Française des Collectionneurs d’Ex-Libris_.] - - - - -CHAPTER II. - -IDENTIFICATION AND CLASSIFICATION. - - -A collector will probably find it more difficult to identify and -classify the ex-libris of France than those of any other country. The -number of anonymous plates of comparatively early date is so large, the -coronets of nobility are so irregular and so frequently misappropriated, -and the great Revolution created such a general confusion in family -history and in heraldry, that the identification of anonymous French -ex-libris is embarrassing in most instances, impossible in some. In the -rare cases where the book-plate remains fixed in the book to which it -originally belonged, some little assistance may be derived as to its -date and possible ownership, and at least one point may be settled with -tolerable certainty, namely, that the engraving has really been intended -for, and has served as, an ex-libris; whereas, when once extracted from -its book, many an early armorial ex-libris may be easily mistaken for a -woodcut used on a dedication, or for an illustration extracted from -some old treatise on heraldry. - -[Illustration: STYLE HENRI IV. (1589).] - -[Illustration: STYLE LOUIS XIII. (1610).] - -The French name the styles in vogue at certain periods after their -kings, as the style Henri IV., Louis XIII., Louis XIV., Régence., Louis -XV., and Louis XVI.; but it must not be assumed that these styles -exactly synchronize with the reigns of the monarchs whose names they -bear; neither are they so easily classified or differentiated as are our -British styles. The following designs, however, are never found earlier -than the periods whose names and dates they bear. - -The Henri IV. and Louis XIII. styles are very similar, an oval shield -surrounded by an ornamental cartouche, either having angels or mermaids, -or garlands of flowers, worked into the frame, both sides of which are -alike, or only differ in small details of light and shade, etc. Of the -two, the later style is the simpler and less decorative. - -[Illustration: STYLE LOUIS XIV. (1643).] - -The style Louis XIV. is but a development of the above. It is grander, -more pompous, more ornate. The cartouche projects further from the edge -of the shield, it terminates at the top in a large shell, in which -sometimes a female face is shown, or it may be a canopy is suspended -above by festoons of flowers. The ornamentation is still symmetrical, -and the foliations of the frame are precise and formal, every line -having a definite purpose in the design. - -[Illustration: STYLE RÉGENCE (1715).] - -In what is called the style Régence (some time after 1715) all this is -changed, a light arabesque design is found, quite _à la_ Watteau, -graceful and frivolous. Little urns on little brackets, tiny heads -springing up from nowhere, dainty festoons trailing round and about -without any definite aim in life, and finials at top and bottom which -finish nothing because nothing has been commenced. - -[Illustration: STYLE LOUIS XV. (1730).] - -Pretty, but short-lived, the style Régence gave way to what is known as -the Louis XV. This has been stigmatized as _Rococo_, but little we heed -the sneer; it has given us the loveliest of book-plates, and fortunately -this was the period when libraries and book-plates were most in fashion -in France. Curiously enough our artistic neighbours claim this style, -with all its graceful convolutions and irregularities, its scorn for -anything approaching regularity of form, as essentially French, whilst -we, with equal certainty, assign its invention to Chippendale and name -it after him. Without stopping to discuss the question of precedence, -that name will suffice to indicate to any British collector the style -Louis XV.: a pear-shaped shield in a framework ornamented with rockwork, -flowers, branches, and ribbons, a coronet, probably very much on one -side, not a straight line anywhere, and no two parts of the design -similar, the supporters being shown with the same disregard for method -or heraldic convention. - -The reaction from this style to that of Louis XVI. is again clearly -marked. Straight lines and formal outlines reappear with solid square -bases to support the shields. Above the shields the coronets are clearly -and neatly shown, and from them hang, in graceful curves, wreaths of -flowers, festoons of roses, palm branches, or laurel leaves. On the -bases, in some cases, the names of the owners appear, in others -geometrical ornaments, Greek key patterns, or simple festoons. This -style, somewhat formal and severe, yet essentially French, lasted until -the Revolution. - -Under the first Empire there was no style, or what was worse, a bad -style, stiff, formal, semi-Greek, semi-Egyptian, and wholly false. - -The Restoration brought little improvement--a Gothic revival, here -borrowing, there stealing, from all the styles that had been in vogue, -and spoiling all in turn. - -And so it lasted until the fall of the second Empire, since when a -revival has set in of national life, of national art, and of art in -book-plates. - -In attempting to identify anonymous and undated French plates, the first -point to be noticed is, whether the tinctures and metals are clearly -defined in the conventional manner; if they are, the plate will not be -earlier than about 1638 or 1639, when this system was first generally -adopted. - -[Illustration: STYLE LOUIS XVI. (1774).] - -The heraldic shield, thus emblazoned, with more or less embellishment, -allegorical and pictorial, flourished, from 1639, for just 150 years. In -1789 almost all the old symbols of nobility and titles of honour in -France ceased abruptly; crowns and coronets were thought little of at -that date, but--and this was worse--a little later on they were thought -so much of as greatly to imperil the lives of those who bore them. -Indeed, the revolutionary period affected book-plates very severely from -1789 until the end of 1804, when Napoleon, having obtained the dignity -of emperor, wished to restore some appearance of a court. He therefore -revived heraldry in a modified form, and placed it under certain clearly -defined regulations. - -But the new nobility of the Empire cared little for heraldic insignia, -and still less for books or book-plates, consequently for the next ten -years the crop is small and comparatively uninteresting. As a rule the -plates of the Empire are easily identified; if heraldic, by the -simplicity and regularity of the design, and by the peculiarly -characteristic cap, or _toque_, designed by David, Napoleon’s favourite -artist, which was used on most of them in place of crest or coronet. - -The non-heraldic plates of this period are also very plain, often indeed -being merely printed labels, as in the case, for instance, of that of -Marshal Suchet. - -On the Restoration of the Bourbon, Louis XVIII., all the Napoleonic -badges and devices were swept away, and no satisfactory regulations were -devised to replace them. The old nobility, or what remained of them, -returned to France and resumed their ancient titles and armorial -bearings, but the general public refused to treat them seriously, and -_heraldic_ book-plates have been on the wane ever since. Of late years -nearly all men celebrated in arts or letters have adopted either -allegorical, pictorial, or humorous ex-libris, whilst modern plates -which contain the grandest coats-of-arms frequently belong to those who -are least entitled to bear them. - -[Illustration: BOOK-PLATE OF M. DE THILORIEU.] - -The task of identifying unknown ex-libris of the seventeenth and -eighteenth centuries, those which bear a simple coat-of-arms without -name of owner, or of artist or engraver, requires some patience, a -collection of books of reference, and a knowledge of at least the -rudiments of heraldry. The collector will soon learn to distinguish -early French woodcuts from German, one marked difference being that -nearly all German work was cut in relief, whilst French artists worked -in the hollow, thus producing an engraving which feels rough where the -ink lies. The crests on German plates are also very unlike those used in -France; indeed, crests are comparatively rare on French book-plates, -whilst the Germans frequently introduce several on one achievement; -another very distinctive feature being the two large proboscis, or -pipe-like horns, rising from the sides of the helmet, the _Chalumeaux_, -of such constant occurrence in German crest heraldry, but rarely, if -ever, found on a purely French ex-libris. - -A typical example of this peculiar ornament will be found on the -ex-libris of _Hieronimus Ebner_, of Nuremberg, dated 1516, which is -attributed to Albert Dürer; this is reproduced by M. Henri Bouchot, page -25. Another example of this ornament will be seen on the Alsatian plate -of Le R. Père Ingold de l’Hay. - -The mode of engraving the armorial tinctures and bearings will probably -show, as we have seen, whether the plate is earlier or later than 1639. -Should the plate carry the name of artist or engraver, the date may be -arrived at approximately by reference to the list of Artists and -Engravers. - -Or, assuming that the plate has neither the name of the owner nor that -of the artist, it may carry a motto, in which case several works may be -consulted for information. One of the most modern is “Le Dictionnaire -des Devises,” by Alphonse Chassant, which contains an enormous number -of war cries, mottoes, and devices, adopted by distinguished families, -not only in France, but in other nations. For readiness of reference -these are arranged in alphabetical order, according to the first word of -the sentence. - -Another useful reference book is “Historic Devices, Badges, and War -Cries,” by Mrs. Bury Palliser (London: Sampson Low, Son, and Marston, -1870). This contains not only war cries and mottoes, but illustrations -of some hundreds of family badges and devices, which are of great -assistance in deciding the ownership of foreign nameless plates. - -Finally, assuming a French plate to have no other distinctive mark than -a shield with heraldic bearings, the first work to consult should be the -heraldic dictionary of the engraver Paillot, “La vraye et parfaite -science des armoiries ou l’indice armorial de feu maistre Louvan Geliot, -advocat,” par Pierre Paillot; Paris, 1660. In this M. Paillot has -arranged in alphabetical order all the terms used in heraldry, with -cross references to those in whose arms the various charges occur. Thus, -supposing an ex-libris has a shield on which appears a lion rampant, by -consulting his work under the words “lion” and “rampant,” some reference -will probably be found to the family in which this ex-libris took its -origin. - -Although this work dates from the seventeenth century, it may often be -consulted with advantage for modern arms, as in many good old families -the principal charges have not been altered very materially. Another -advantage in Paillot’s “Armorial” is the fact that he has not confined -his attention only to princes and the nobility, but has, on the -contrary, given the preference to the gentry, the minor public -officials, and middle-class families. - -There is a similar heraldic table, but on a limited scale, in the -“Armorial du Bibliophile,” by Joannis Guigard. This work contains -illustrations of many hundreds of French coats-of-arms, copied from the -bindings of books, all of which are fully described. There is also an -index to the principal charges borne on the shields of most of the great -book collectors of France, information which is fully as useful to the -collector of ex-libris as to the collector of ancient bindings. - -There are other works also, such as “Les Grands Officiers de la -Couronne,” by Père Anselme, and the “Armorial” of Chevillard, but they -are not so well adapted for book-plate collectors who have only limited -time, and probably but a rudimentary knowledge of French heraldry. - -On a few early plates the names of French towns may be found latinized, -thus: - - Abbatis Villa for Abbeville. - Ambiani “ Amiens. - Andegavum “ Angers. - Angolismum, or } “ Angoulême. - Engolismum } - Argentina, or } “ Strasbourg. - Argentinensis } - Atrebatum “ Arras. - Aurelia “ Orleans. - Avenio for Avignon. - Bisuntia “ Besançon. - Buscum Ducis “ Bois-le-duc. - Cadomum “ Caen. - Carnutum “ Chartres. - Divióne “ Dijon. - Dola “ Dol. - Duacum “ Douay. - Ebroicum “ Evreux. - Ganabum and } “ Orleans. - Aurelia } - Gratianopolis “ Grenoble. - Landumum “ Laon. - Lugdunum, or } “ Lyons. - Lugd. } - Lutetia Parisiorum “ Paris. - Massilia “ Marseilles. - Matisco “ Macon. - Milhusini “ Mulhouse. - Nanceium “ Nancy. - Nannetes “ Nantes. - Parisii “ Paris. - Pictavium “ Poitiers. - Rothomagum “ Rouen. - Sylva Ducis “ Bois-le-duc. - Tholosa “ Toulouse. - Turones “ Tours. - Vesontio “ Besançon. - -These are the towns most likely to be met with; should others occur, not -here enumerated, the collector may consult _A Topographical Gazetteer_, -by the Rev. Henry Cotton, D.C.L. - -Which is the best system of classification? - -This question has often been asked, and no satisfactory reply to it has -yet been given. - -It must, indeed, remain to a large extent a matter of individual taste, -depending on the leisure and pecuniary means of the collector, the -extent and value of his collection, and the special circumstances (if -any) for which the collection has been formed. There are three principal -systems, each of which has its advantages and its drawbacks, 1. The -simple alphabetical. 2. The national, with subdivisions. 3. The -arrangement according to the styles of the designs. - -No doubt the purely alphabetical arrangement, according to the family -names of the plate owners, is at once the easiest to plan out, and the -simplest for the purposes of reference. It also lends itself well to the -tracing of family history, and the comparison of the modifications of -heraldry in successive generations. - -In libraries, public institutions, and very large private collections, -this alphabetical method must almost necessarily be adopted, each plate -being as readily accessible for reference as is a word in a dictionary. -But it involves a large number of albums to allow sufficient room in -each letter for additions, and the plates are all mixed in one -heterogeneous mass, with little regard to age, style, or beauty in -design. In the department of engravings in the Bibliothèque Nationale in -Paris, there are upwards of sixty large volumes full of ex-libris, -arranged alphabetically. This collection was commenced about twenty -years ago, and, under the energetic supervision of M. Georges -Duplessis, it has rapidly increased, and the alphabetical arrangement -has been adopted to facilitate easy reference and comparison. - -But M. Henri Bouchot, who, being an official in the print department -there, speaks with authority, remarks that enthusiastic collectors are -also students of history in their special branches, and will (that is, -if their leisure permit) be certain to prefer some more regular and -distinctive system of classification than the simple alphabetical -arrangement. - -He therefore recommends the second plan, namely, the division by -countries first, and next, the arrangement in strict chronological -order. There are, however, many difficulties in the way of this -seemingly ideal plan. One may, it is true, soon learn to distinguish, -with a fair amount of accuracy, between French, German, Italian, and -British book-plates; but with other nations the distinctions are less -marked, and Spanish, Dutch, Swiss, or Belgian plates can be easily -confounded with those of their immediate neighbours. - -Again, in dealing with plates which have neither name, artist’s -signature, nor date, the chronological subdivisions can only be decided -by a constant comparison of the styles in use at various periods, and by -well-known artists and engravers. - -This practice gives the collector a great insight into the progress of -art, and the development of taste, yet it demands both time and patience -to carry it out. Finally, it is true, the collector will have formed a -continuous series of heraldic devices illustrating family history more -completely than can be arrived at in any other manner. It is only by -this constant study and comparison that the student of French ex-libris -can hope to acquire a knowledge of their details, so as to be able to -arrange his collection with a due attention to time, place, and -families. - -The third system advocated, namely, the arrangement according to the -styles of the designs on the plates, may be interesting from an artistic -point of view, but is certainly not very methodical. - -A collector might divide his French plates under the following heads: - -1. _Heraldic._ Subdivided thus: Before 1639. From 1639 to 1789. From -1789 to 1804. From 1804 to the restoration of the Monarchy. Modern -plates. Plates having printed dates to be kept apart from those not -dated. - -2. _Pictorial._ Subdivided thus: Woodcuts. Copper plates. Etchings. -Lithographs. And, again, as library interiors, portraits, war trophies, -ladies’ plates, landscapes, punning plates, etc. - -3. _Artists._ A collection of signed plates carefully arranged under the -names of their artists would, no doubt, be of great interest for -comparison and study, but rather more for the lover of engraving _pur et -simple_ than for the lover of ex-libris, or for the student of heraldry -and family history. - -The great difficulty of any system of classification by the design is, -that some plates might very properly be placed under three or four -categories, so that, unless the collection be carefully indexed, the -trouble is great in seeking hurriedly for any particular plate. The -labour involved in writing an exhaustive index can only be appreciated -by those who have once made one, and many who start zealously to work at -the outset, let the new additions fall in arrear, and the whole scheme -is then abandoned as being too troublesome. - -In conclusion, I can only repeat that the choice of the system of -arrangement depends more upon the tastes of the collector himself than -upon any other consideration; but that, on the whole, the balance of -advantages appears to incline in favour of the alphabetical -classification under surnames, keeping each family as distinct as the -information, heraldic and other, on the plates will allow. - -Plates of royalty and nobility should be kept apart from the commoners, -and arranged, _first_, in order of rank, _second_, alphabetically by -name. The method most generally in use at present for preserving the -plates, when arranged, appears to be what is known as the ex-libris -case. If this arrangement be adopted, then each plate must be separately -mounted on a card of the correct size. These cases and cards can be -purchased ready for use from Mr. W. H. Batho, of 7, Gresham Street, -London, and the advantages of this arrangement are that any plate or -plates can be withdrawn without injury, and additions can at any time be -made, whilst the backs of the cards may be utilized for MS. information -about either the plate or its former owner, and newspaper cuttings can -be affixed. If the plates are to be inserted in albums, the following -regulations should be carefully observed: - -Arrange the plates on one side only of each leaf in the album, allowing -ample room for additions in each division of the alphabet. On no account -fasten the plate down firmly on the paper, fix it only at one or two -corners with a hinge made of gummed paper, or of the outside strip which -surrounds sheets of postage stamps. - -This method allows of the easy removal of any plate without damage, -either to the plate or the album, as often as may be desired. The -convenience of this will be readily appreciated by veteran collectors, -who know how often one wants to exchange one plate for another, and how -many good examples have been damaged in the attempt to remove them when -once they have been firmly fixed down with gum or “stickphast” paste. - -Albums are more convenient for large plates than the cases. They are -also better adapted for showing off several varieties of a plate on one -page, whilst, for collections in large numbers, they are certainly -rather cheaper. - -[Illustration: BOOK-PLATE OF THE BIBLIOPHILE JACOB (PAUL LACROIX).] - -[Illustration] - - - - -CHAPTER III. - -A FEW NOTES ON FRENCH HERALDRY. - - -Although the nomenclature and fundamental rules of heraldry in France -are somewhat similar to those in use in Great Britain, yet in many -important details the two systems differ materially. - -To show, first of all, the close family resemblance in nomenclature, an -amusing copy of verses may be given from an old work (carefully -preserving the quaint orthography of the original), of which the title -was: “La Sience de la Noblesse ou la Nouvelle Metode du Blason,” par le -P. C. F. Menestrier. A Paris, chez Etiene Michallet, premier Imprimeur -du Roi, rue S. Jaque, a l’Image S. Paul, MDCXCI. - - ABRÉGÉ - - DU BLASON EN VERS. - - “Le Blason composé de diferens emaux, - N’a que 4 couleurs, 2 panes, 2 metaux. - Et les marques d’honeur qui suivent la naissance, - Distinguent la Noblesse, & font sa recompense. - Or, argent, sable, azur, gueules, sinople, vair, - Hermine, au naturel & la couleur de chair, - Chef, pal, bande, sautoir, face, barre, bordure, - Chevron, pairle, orle, & croix de diverse figure. - Et plusieurs autres corps nous peignent la valeur, - Sans metal sur metal, ni couleur sur couleur. - Suports, cimier, bourlet, cri de guerre, devise, - Colliers, manteaux, honeurs, & marques de l’Eglise, - Sont de l’art du Blason les pompeux ornemens, - Dont les corps sont tirés de tous les Elemens, - Les astres, les rochers, fruits, fleurs, arbres & plantes, - Et tous les animaux de formes differentes, - Servent à distinguer, les fiefs & les maisons, - Et des Communautés composent les Blasons. - De leurs termes precis enoncez les figures, - Selon qu’elles auront de diverses postures. - Le Blason plein echoit en partage à l’ainé, - Tout autre doit briser comme il est ordonné.” - -The _deux panes_ in the second line refers to furs (_pannes_ in modern -heraldry). This book is illustrated, and in it the tinctures are -correctly represented by lines and dots, and the remark is made -“Autrefois on marquoit les Emaux par des lettres,” but the author does -not allude to the invention of the system of dots and lines attributed -to Father Silvestre Petra Sancta. - -The introduction states that the author, the Reverend Father Claude -François Menestrier, was born in Lyons in 1631, and had been for many -years a member of the Society of Jesus (Jesuits). He wrote many other -learned treatises on heraldry. - -For the tinctures the French use the same terms as ourselves, except -that for green they employ _sinople_, because _vert_, properly -pronounced, is not easily to be distinguished from the fur _vair_. This -is a sensible distinction, as is also their expression, _contre -hermine_, to describe what British heralds call ermines, in -contradistinction to ermine, a difference so little marked in our case -as easily to pass unnoticed and give rise to errors. - -The conventional system above mentioned of engraving the tinctures is -also the same in France as in Great Britain, and these devices may be -easily fixed on the mind of the merest novice by a short study of Mr. J. -Ashby-Sterry’s entertaining (proposed) work on “Heraldry made Easy:” - - “If _Argent_, my friend, you would wish to attain, - You’ll do it by leaving your paper quite plain. - If metal more tempting you wish to seek for, - Deck paper with dots, it will represent _Or_. - Perpendicular lines, by armorial rules, - Convey to the herald the notion of _Gules_. - But lines horizontal and perfectly true - Mean _Azure_, best known to the vulgar as blue. - For _Vert_ take your pencil,--I beg you’ll attend,-- - Draw parallel lines to the course of the bend. - The sinister bend you must follow, I’m sure, - To give to the eye the idea of _Purpure_. - Lines crossing each other and forming a plaid - Will simulate _Sable_, so sombre and sad. - For _Tenne_ your pencil should cunningly blend - The lines of the fess and the sinister bend. - Lines crossing each other and forming a net, - Will signify _Sanguine_, you must not forget!” - -As most of the principal heraldic devices used on British arms were -adopted when Norman French was our courtly language, and are described -in that tongue, it does not require much study to enable anyone who can -decipher a British coat-of-arms to do the same with an ordinary French -shield, or even to understand the written description of one. - -Yet coming to more advanced heraldry, dealing with such questions as -descents, marriages, arms of assumption, of succession, of concession, -and the proper marshalling of arms, the difficulties increase, and many -apparent contradictions arise. - -Until the downfall of Louis XVI., the aristocracy of France was not only -the most ancient and the proudest in Europe, but, speaking generally, -possessed higher hereditary privileges and greater power than the -nobility of any other civilized nation in the world. - -One of their most cherished rights was that of bearing coat armour, but -little by little a rich middle class sprung up (the despised -_bourgeoisie_), which misappropriated coronets and coats-of-arms, and -shortly before the outbreak of the Revolution, heraldry in France was in -a most confused and chaotic condition. - -As to the origin of French heraldry, little is known with any certainty. -That tournaments were first held in Germany about 938 is generally -admitted. At these the fundamental rules of all heraldry must, no doubt, -have been formulated, whence they gradually passed into France, through -the north-eastern provinces. Then followed the Crusades, which gave a -great impetus to the science of heraldry, as is shown by the vast number -of crosses in early arms; the crescents and stars, which were copied -from the captured standards of the Saracens; and the fabulous monsters -of the East, which became the heraldic devices of many noble families -descended from ancient warriors who fought in Palestine. Louis VII. -(Louis le Jeune), who superintended all the arrangements for the -coronation of his son, Philip Augustus, was the first to employ the -_Fleur-de-Lys_ as the royal badge of France, which he caused to be -emblazoned on all the ornaments and utensils employed in the coronation -ceremony. He was also the first king who employed that badge on his -seal.[1] This was before 1180. - -Henceforward heraldry became generally popular, and many works were -written to define the rules of chivalry, each one more elaborate than -the preceding. King John of France devoted much attention to heraldry, -as did several of his successors, and then the historians Froissart, -Monstrelet, and Olivier de la Marche introduced it into their -chronicles. Indeed, there is scarcely one early French romance which -does not contain the full blazon of the imaginary arms conferred upon -its fabulous personages. - -When at length heraldry became fully recognized, its signs and emblems -were chosen as the badges of hereditary nobility. In the course of time -this attracted the envy of vain and unscrupulous people, who usurped -the insignia of nobility which they were not by law entitled to wear. - -These malpractices gave rise to great confusion, and were not only -severely reprehended by all true lovers of heraldry, but were the -subject of many royal edicts, commanding that all offenders should be -heavily fined. - -Before the year 1555 it had been a recognized custom that a member of -any one of the great families of France might change his name and his -arms without royal authority, a practice which was particularly useful -in certain marriages. - -Thus, supposing the last inheritor of a famous family name to have been -a female, on marriage her husband could assume her name and armorial -bearings, and thus perpetuate a line which otherwise (as in Great -Britain) would have become extinct. - -But, as may be easily imagined, this voluntary substitution of name and -arms gave rise to many abuses and disputes. Accordingly, by an ordinance -of King Henry II., dated at Amboise, March 26, 1555, it was forbidden to -assume the name, or the arms, of any family other than one’s own, -without having first obtained letters patent, and a fine of 1,000 livres -was to be paid by any person usurping the arms and insignia of nobility. - -These regulations were renewed and made even more stringent in -subsequent reigns, notably by Charles IX. in 1560, by Henry III. in -1579, by Henry IV. in 1600, by Louis XIII. and Louis XIV. at various -dates; whilst in 1696 there was a general visitation, when a tax of 20 -livres was levied for the registration of every coat-of-arms. -Henceforward, and almost up to the outbreak of the Revolution, edicts -were issued with the object of preventing the French people from -usurping arms and titles of nobility which had not been duly sealed and -confirmed by the authorities. - -But all these regulations were to very little purpose, and towards the -close of the eighteenth century the confusion in heraldry became -extreme, especially in the matter of coronets and supporters, which, as -the book-plates of the period show, were assumed in a reckless manner by -many who had no right to carry them. - -Then came the great upheaval of society, and during the first period of -the Revolution, when even to be suspected of nobility was a crime, haste -was made to erase, or omit, all the signs of noble descent which had -hitherto been so readily assumed, and in their places to insert caps of -liberty and Republican mottoes, such as _Liberté_, _Egalité_, -_Fraternité_, or _La Liberté ou la Mort_. - -But in truth the revolutionary period was not productive of much in the -way of books or book-plates. Society was too excited to devote its time -to such frivolities, and _le rasoir national_ was more busy than the -printing press or the graver’s tool. Most of the literature of the -period consisted of polemical tracts or political pamphlets, and -comparatively few libraries were formed. - -As soon, however, as Napoleon reached the summit of power, he set -vigorously to work to restore something like order in all branches of -the public services, which had been reduced to chaos during the -troubles. One of the topics to which he early directed his attention, -and his brilliant talent for organization, was heraldry. Yet, although -he readily discarded republican simplicity _and equality_, he dared not -entirely revert to the ancien régime, nor indeed could he have done so -had he desired. - -Of the old nobility many had perished on the scaffold, or on the -battle-fields, others had fled to foreign countries, and their castles -and estates had been confiscated by the State. Under the comparatively -mild rule of Napoleon a few members of the _ancienne noblesse_ ventured -to return to France--indeed, several distinguished Royalists were -specially invited to do so,--yet the court of the First Empire was -composed, not of these, but for the most part of the soldiers, -statesmen, and men of letters who had assisted to place him on the -throne, and on whom he, in return, conferred titles as brilliant as any -that had been formerly held under the old Bourbon kings. - -Marshal of France, prince, duke, marquis, count, baron, all flourished -once again. Very new and very grand, but of origin most doubtful. -Coats-of-arms were granted, and Louis David, Napoleon’s favourite -artist, was called upon to design a new style of head-dress to denote -the ranks which had, in former days, been indicated by various forms of -coronets and helmets, as in British heraldry. - -The blazonry under the Empire, being military in its origin, was -conceived in the true spirit of military uniformity, each grade being as -distinctively marked as the colonel, officers, and rank and file would -be in a regiment of infantry drawn up for a general inspection. - -The result of blending these three distinct systems--the old style, the -Napoleonic, and that of the Restoration period--is somewhat confusing. A -few families adhere to the old style, some to the Napoleonic, and the -student of French heraldry must make himself acquainted with all. - -But reverting to the pre-Revolution period, it appears that about 1700, -helmets, wreaths, and mantling began to go out of use on ex-libris, and -were replaced by coronets, which at first indicated with some certainty -the rank of the owner. But after a time individuals assumed coronets to -which they were not entitled, whilst members of the lower ranks of -nobility promoted themselves, without ceremony, to the higher grades; -the baron became a marquis, and the count assumed the coronet of a duke. -An ordinance of 1663, which forbade the usurpation of the insignia of -nobility under the penalty of a fine of 1,500 livres, stopped these -abuses for a time. But the law soon became a dead letter, and one might -suppose, at the present time, that no such regulation had ever existed, -so systematically was it evaded. - -As, however, in early unnamed ex-libris the coronets have a certain -small value in assisting in their identification, a brief description of -the distinctive features of the principal coronets may be useful to -collectors. - -The royal crown of France was a circle, surrounded by eight -_fleurs-de-lis_, of which only three and two halves are visible in -engravings; these were surmounted by the arches of a diadem, on the -summit of which was a double _fleur-de-lis_. - -The Dauphin of France (eldest son of the king) carried the same number -of _fleurs-de-lis_, but the arches over them were formed of dolphins. -The eldest son of the King of France took his title from the old -province of Dauphiné, in the south-east of France, and was usually -spoken of as Monsieur Le Dauphin. The first Dauphin was created in 1349, -and the last, Louis Antoine, Duc d’Angoulême, son of King Charles X., -assumed the title on his father’s accession to the throne of France on -September 16th, 1824, but owing to the Revolution of 1830, which -dethroned Charles X., he did not succeed to the throne. The Duc -d’Angoulême died on June 3rd, 1844, when in all probability this ancient -title became extinct. The Dauphin bore quarterly the arms of France and -Dauphiné. - -The other princes of the blood royal carried a coronet surmounted by the -same number of _fleurs-de-lis_, three and two halves, without any -diadem. - -Dukes carried a golden crown having eight ornamented strawberry leaves -(fleurons), of which, in engravings, only three leaves and two halves -are visible. - -Marquis: Four strawberry leaves, between each of which is a trefoil -formed of pearls. One and two half leaves are visible, separated by two -trefoils. - -Counts: A coronet surmounted by sixteen large pearls, held upon -projecting points. Only nine pearls are shown in engravings. - -[Illustration: BOOK-PLATE OF BENOÎT MARSOLLIER, SQUIRE, SECRETARY TO THE -KING (WITH THE CORONET OF COUNT).] - -Viscounts: Four large pearls (three only showing), with smaller pearls -between. - -Baron: A golden crown surrounded by strings of pearls. - -Chevalier-bannerets: They carried a ring of gold ornamented with pearls. - -Wreath: A roll of ribbons of the tinctures of the shield, or of the -favourite colours of the knight’s betrothed. This was placed over the -helmet simply as an ornament, and not as any indication of the rank of -the bearer. - -The rank of Marshal of France was indicated by two batons in saltire -behind the shield. These batons were azure, semée of _fleurs-de-lis_, -or. Under the Bourbons, Marshals of France were numerous, and this badge -is frequently met with on book-plates. - -Officers of artillery usually decorated their plates with cannons and -cannon balls below the arms; cavalry officers placed trophies of flags -behind their shields. The Admiral of France (answering to our old title -Lord High Admiral) bore two anchors in saltire behind his shield, whilst -admirals carried an anchor in pale behind their shields. The Chancellor -of France bore two maces in saltire behind his shield. - -In a similar manner, all the great Officers of State, and the Court -dignitaries, bore the badges of their offices in addition to their -family arms, and numerous as were these functionaries, there could be no -confusion between their achievements, so appropriate were their devices -to their offices. - -Such were the Court regulations, and so long as Louis XIV. reigned they -were, no doubt, strictly enforced; but later on, under the Régence and -Louis XV., a general laxity prevailed, indicative of the coming storm. - -[Illustration: BOOK-PLATE OF L. J. M. DE BOURBON, ADMIRAL OF FRANCE.] - -Mention is frequently found on old book-plates of various offices held -under _Parlement_. In France, before the Revolution, there were twelve -_Parlements_, namely, those of Paris, Toulouse, Grenoble, Bordeaux, -Dijon, Rouen, Aix, Rennes, Pau, Metz, Douay, and Besançon, besides some -local councils for the colonies. - -These _Parlements_ were simply local Courts of Justice, entitled to -deal both with civil and criminal cases, and their functions in no way -resembled those of the British Houses of Parliament. - -[Illustration: BOOK-PLATE OF M. HURSON.] - -The officers connected with these Courts were very numerous, and those -of the higher grades were entitled to carry certain distinctive badges -with their arms, and head-dresses denoting their rank. - -In ex-libris printed before the Revolution it is not unusual to find the -collars and insignia of the several orders of French knighthood, the -principal of which were the order of Saint Denis, instituted in 1267; of -Saint Michel, instituted by Louis XI. at the Château d’Amboise, August -1, 1469; of the Saint Esprit (Holy Ghost), instituted in 1578; of Notre -Dame du Mont Carmel, instituted in 1607; and of Saint Louis, instituted -in 1693. The chevaliers de Saint Michel wore a collar from which was -pendent a medal, representing the archangel overthrowing the dragon; the -collar of the Saint Esprit was formed of alternate _fleurs-de-lis_ and -the letter H interlaced, from which depended either a dove or a cross, -according to the rank of the bearer. - -[Illustration: BOOK-PLATE OF THE COMTE DE MONDESIR.] - -The Knights of the Royal and Military order of Saint Louis carried a -star with eight points, on which was the motto of the order: _Bellicae -virtutis praemium_. - -There was also a very ancient order, that of St. Lazare de Jerusalem, -which was united by Henri IV. with that of Notre Dame du Mont Carmel. - -Although the order of the Toison d’Or (Golden Fleece) was founded by a -French prince, Philippe, Duke of Burgundy, in 1429, it passed into the -hands of the House of Austria, and thence again into the possession of -the kings of Spain, who became the sovereigns of the order. - -Owing, no doubt, to the close family relations existing between the -royal houses of France and Spain, the order of the Golden Fleece was -conferred upon many of the French nobles (by permission of their king), -and the collar, with the well-known badge of the pendent lamb, is to be -found on many French achievements. The motto of the order is _Pretium -non vile laborum_. - -Of all these orders the most important were the Saint Michel, the Saint -Esprit, and the Saint Louis, which were specially distinguished as “les -Ordres du Roi” (the Orders of the King), he being their Chief and Grand -Master. Chevaliers of the order of the Saint Esprit were always first -admitted into the order of Saint Michel, so that the collars of these -two orders are generally found together. The order of Saint Louis having -been founded by Louis XIV. exclusively for the reward of military and -naval services, is occasionally met with apart from the two other orders -of the king. There was also an order, that of the Bee, intended for -ladies only, which was founded in 1703. - -Most of the above orders ceased to exist during the Revolution. That of -the Saint Esprit was revived at the Restoration, but the last -installation took place under Charles X., at the Tuileries, on May 31, -1830, and the latest surviving owner of the Order was the late Duc de -Nemours; whilst that of Saint Louis, a distinctly Bourbon decoration, is -probably still kept alive by the few remaining adherents of that -luckless family. - -In 1802 Napoleon, then First Consul, instituted the famous order of the -Legion of Honour, for the reward of merit either in the army, navy, or -in civil life. The order was confirmed by Louis XVIII. in 1815, and its -rules and constitution were modified in 1816 and in 1851. M. Ambroise -Thomas, on whom the Grand Cross of the Legion of Honour was recently -bestowed, is one of six civilians who at present hold that order. -Meissioner is the only artist who has ever held this distinction. The -number of Grand Crosses is limited to eighty, but for a long time past -the number actually holding the decoration has varied between forty and -fifty. When the Legion of Honour was created in 1802 by General -Bonaparte, the holders of the Grand Cordon (now Grand Cross) were -entitled to draw £800 a year; at the Restoration this amount was reduced -by one-half. Nowadays the members of the Legion of Honour receive the -following annuities: Knights, £10; Officers, £20; Commanders, £40; Grand -Officers, £80; and Grand Crosses, £120. Decorations conferred on -civilians do not carry with them any pension. Practically this is now -the only order of knighthood existing in France, yet the number of men -who are _décoré_ is remarkable. They can scarcely be all chevaliers de -la Légion d’Honneur, but the French have a passion for titles and -orders, a craving for _le galon_, which, though somewhat incompatible -with the republican form of government they have adopted, must be -gratified. - -This desire to raise oneself a rung or two on the social ladder, to -which even sensible bibliophiles appear to have succumbed, is no new -thing. It exists to-day, and has existed for centuries. Penalties, -however severe, seem to have been unavailing, and even ridicule was -found powerless to check this silly vanity. - -A lawyer of Dijon, named Bernard, was ordered to erase from the tomb of -his wife the girdle of nobility he had had carved around her epitaph. -Others who carried the full-faced open helmets, proper only for -emperors, kings, and sovereign princes, on their fantastic achievements, -were compelled to adopt the closed helmet in profile proper for a simple -gentleman. - -Owners of assumed titles and of manufactured coats-of-arms were greatly -alarmed a few years ago by the terribly sarcastic writings of an -individual who styled himself the ghost of an ancient herald, _Le Toison -d’Or_.[2] - -In a series of letters published in “Le Voltaire” he exposed the faulty -and ignorant system of heraldry in vogue, and the deceptive assumptions -of titles, coronets, and armorial bearings in modern French Society. - -Indeed, he remarked, to judge by appearances, one might imagine that the -Revolution had destroyed nothing, but that, on the contrary, it had -endeavoured to foster and encourage titles and aristocracy, so rapidly -had they increased of late years. - -Toison d’Or wished to alter all this, and the salons were greatly -disturbed as he went to work chipping off titles and prefixes of -nobility right and left. But all to no purpose, except indeed to cast -doubts upon all French heraldry since the downfall of the Bourbons. - -A title in France costs nothing, and deceives no one who has the -slightest knowledge of family history and genealogy. - -The following letter appeared in “Notes and Queries,” London, August 25, -1894: - -“As there always appears to be a doubt in the public mind as to whether -there is any office in France at all corresponding to our heralds’ -offices in this country, I ventured to put out this query to a -well-known authority in Paris, together with the queries as to whether -there is any ground for the statement that the archives of the French -Heralds’ College were destroyed by fire by the Commune, and also if -there is any Heraldic or Genealogical Society at all corresponding to -the Government Office; and I received the following reply: - - “‘The old Government had the “Généalogistes du Roi,” for proofs of - nobility, and the “Juges d’Armes,” such as d’Hozier and Cherieu. - The Monarchical Governments of this century had the “Conseil du - Sceau des Titres,” now suppressed. The archives of these officers - are now dispersed, part to the Bibliothèque Nationale (Cabinet des - Titres), part to the Hôtel de Soubise (in the series M. and MM.), - part to the Ministère de la Justice (for the period after 1789). In - short, the equivalent of the Heralds’ College of England never - existed in France. However, the Conseil du Sceau had some - similarity to that body. There is no Heraldic Society, yet some - persons, without legal authority, occupy themselves with questions - of nobility, but they necessarily cannot be regarded as altogether - trustworthy. Not knowing of a Heralds’ College in France, I cannot - accuse the Commune of having burnt the archives. The fires of 1871 - destroyed the parochial registers (entries of birth, marriage, and - death) preserved at the Hôtel de Ville, and in the Library of the - Louvre, which included some precious MSS. containing some - correspondence of the last two centuries.’” - - “ARTHUR VICARS, _Ulster_.” - -It will be seen that reference is made in the above letter to a certain -un-official Heraldic Society, but shortly after the above correspondence -was published, even that body was dissolved. - -In May, 1895, there was sold by auction in the Hôtel des Ventes, in -Paris, the whole of the archives accumulated by the French Heraldic -College. Although it is true the institution was never anything but a -private enterprise, it had had an uninterrupted existence of more than -half a century, during which period a great store of genealogical -documents had been amassed relating to the titled families of France. It -was founded in 1841 by the Marquis de Magny, the compiler of the -well-known “Livre d’Or de la Noblesse de France,” but the present -generation of Frenchmen did not care sufficiently for rules of -precedence and genealogical trees to support the institution. Hence the -sale, consisting, it is computed, of 40,000 genealogical trees, and -about 400,000 original family documents. - -As to Frenchmen generally, they seem now to attach little importance to -heraldry, and few literary men place arms on their book-plates. In fact, -as M. Henri Bouchot observes: “Le blason à fait son temps, il ne se -rencontre plus guère que dans les travaux des héraldistes et détonne un -peu en ce moment.” - -As a simple guide to French heraldic terms may be mentioned: “Traité -Complet de la Science du Blason,” par Jouffroy D’Eschavannes. Edouard -Rouveyre, rue des Saints Pères, Paris, 1880. This contains an excellent -“Dictionnaire des Termes de Blason.” - -Heraldically interesting is the ex-libris of the library of the Château -du Verdier de Vauprivas, French King of Arms, with the old war-cry of -the Bourbons, _Mont-Joye St. Denis_! and the owner’s motto, “Fear no -Evil.” - -“Clisson assura sa Majesté du gain de la bataille, le roi lui repondit: -Connestable, Dieu le veeulle, nous irons donc avant au nom de Dieu et de -Sainct Denis.”--_Vulson de la Colombière_. - -[Illustration: BOOK-PLATE OF DU VERDIER, FRENCH KING OF ARMS.] - -[Illustration] - - - - -CHAPTER IV. - -EARLY EXAMPLES. FROM 1574 TO 1650. - - -From 1574 to 1650 French book-plates were not numerous, and very few -dated examples are known, but the age of the plates can generally be -approximately decided by their style. - -The French shields of this first period are almost invariably square in -form, slightly curved at the bottom. As a rule, on early plates the -supporters hold the shield upright on a base which rises on each side, -or occasionally on a mosaic platform, on the squares of which are -emblazoned the principal charges of the shield. This latter decoration, -although exceedingly rich in appearance, seems to have fallen rapidly -into disuse after 1650. At first the metals and colours are irregularly -emblazoned, next they are indicated by the initials of their names, and -finally (after 1638) are shown on the present system, although, it must -be admitted, that on early plates the tinctures cannot invariably be -relied on. French engravers, having the love of beauty more strongly -developed than the desire for strict heraldic accuracy, often introduced -shading in such a manner as to make it difficult to discriminate between -heraldic and non-heraldic lines in their work. Prior to 1638 it was not -unusual to “trick” the arms, by placing on them the initials of their -metals or colours, as “o.” for or, “ar.” for argent, “g.” for gueules, -etc.; whereas soon after the publication of the “Tesseræ gentilitiæ” of -Father Sylvestre Petra Sancta, it became the custom to employ dots and -lines in conventional forms to indicate colours, metals, and furs in -heraldic engravings, in the simple but effective manner which is still -employed. Of the early plates, many are of large size, suitable for the -folio volumes which then formed the bulk of all libraries. The ex-libris -of Lyons are especially notable for their magnitude, as, for example, -that of Claude Ruffier. - -As in many cases designers’ or engravers’ signatures are found on plates -which have no owners’ names, the use of the term _anonymous_, applied to -such ex-libris, would have been ambiguous or misleading. I have, -therefore, spoken of ownerless plates as nameless. - -I have already alluded in the Introductory Chapter to the three most -interesting dated French plates before 1650, namely: _Caroli Albosii_, -1574, of which a facsimile is here; _Alexandre Bouchart_, 1611, -reproduced by M. Bouchot; and _Melchior de la Vallée_, 1613, which has -been reproduced in both the “Archives de la Société Française” and the -“Ex-Libris Journal.” - -There is a fourth plate, dated 1644, yet to be described, and a few -additional notes about the above will be given, as we reach them in -their order. - -First, there can be no doubt as to the authenticity of the label of -_Caroli Albosii_, or Charles Ailleboust, Bishop of Autun, whose father -had been doctor to Francis I., and died at Fontainebleau, in 1531. - -[Illustration: BOOK-PLATE OF THE BISHOP OF AUTUN.] - -Charles Ailleboust is described in the histories of the time as having -been a handsome man, of courtly manners and great learning. He was -educated for the Church, but he also obtained several court -appointments, through the interest of his father’s many friends, and was -procureur-général in the province of Lyons. He died in the town of -Autun, on December 29, 1585, and was buried in the Church of Saint -Jean-de-la-Grotte. - -On his episcopal seal his arms are shown as a chevron between three -trefoils within a bordure. No mention is made as to the extent or nature -of the library left by this Bishop of Autun, but his ex-libris was found -in a work printed in Lyons in 1566, entitled “Les secrets miracles de -Nature.” - -One of the most curious points about this remarkable label is that it -exactly synchronizes with the earliest known dated British book-plate, -namely, that of Nicholas Bacon. But for the solace of our national -vanity it may be said that the latter is the more important of the two, -being a coloured armorial woodcut. - -Amongst the finest examples of plates before 1650 may be named the -series of three, in different sizes, engraved for _Jean Bigot_, Sieur de -Sommesnil (the head of a Norman family of famous book-lovers). - -All three plates are nameless; the arms are irregularly emblazoned, -whilst the helmet and supporters are drawn in such an antique style as -to give the plates the appearance of even greater age than they possess. -Possibly they may have been copied from some very old painting. Later on -this Bigot has another suite of armorial book-plates engraved with his -name, _Johannes Bigot_. In these the tinctures are indicated on the -shield by their initial letters. As a collector his son Emeric was even -more famous, and added greatly to the library he inherited from his -father. He had three armorial ex-libris, one large, and two small, on -which the tinctures are correctly shown, with the name, _L. E. Bigot_. -These are all signed with a monogram formed of B and D entwined. - -Emeric Bigot was born in 1626, so that it is possible that his plates -were engraved a little later than 1650. - -He was certainly the leading bibliophile of his day, at once the most -cultivated and the most liberal in the acquisition of rare books. -Contemporary writers mention his literary taste and his fine library, -which at the time of his death contained about 40,000 volumes. These he -left to a member of his family, Robert Bigot (who also had a -book-plate), but eventually they were sold in Paris in 1706. - -The following ex-libris have also been identified as belonging to this -period, either by the names, the arms, the mottoes, or by the signatures -of the artists affixed to them: - -Charles de Lorraine, Evêque de Verdun (1592-1631). Fine armorial plate, -without the owner’s name. - -Alexandre Bouchart, Sieur de Blosseville. Engraved by Léonard Gaultier, -dated 1611, and already described on page 12. - -Melchior de la Vallée, dated 1613, an armorial plate of extreme rarity. -The inscription reads thus: “Melchior a Valle protonotarius Insignis -Ecclæ Sancti Georgi Naceis Cantor et Canonicus Henr II. D. Lotharin. et -Barri eleemosinarius.” On account of its extreme rarity this ex-libris -had long been the subject of doubt and curiosity to collectors, even -Mons. Poulet-Malassis had not seen it, and blundered in his notes upon -it. - -At length Dr. Bouland gave a _facsimile_ of it in the _Archives de la -Société Française_ for February, 1895. - -The actual engraving measures exactly six inches by four, and in the -lower portion the date (1613) is boldly engraved. Dr. Bouland, in his -notes upon it, says that this _facsimile_ is taken from the only -original copy that is now known to exist, in the possession of Mons. -Lucien Wiener, Curator of the Lorraine Museum in Nancy. One other -example was discovered some time since, but was unfortunately destroyed -in a fire. The design (which it may be said is more curious than -beautiful) was at first attributed to Callot, but it is now believed to -have been the work of Jacques Bellange, a painter and engraver, who was -born in Nancy in 1594, and died about 1638, consequently he might well -have produced work of this description in 1613. Melchior de la Vallée -was an ecclesiastic, with a passion for collecting rare books and -curiosities; unfortunately he incurred the displeasure of Charles IV., -Duke of Lorraine, was accused of sorcery, and cruelly burnt alive in -1631. - -Chanlecy. The nameless armorial plate of an ecclesiastic belonging to -this Burgundian family, quartering the arms of Semur and Thiard. - -Claude Sarrau. Armorial plate in two sizes; the larger one only is -signed Briot, although it is probable the same artist, Isaac Briot, -engraved both. The owner’s name does not appear on either plate. Claude -Sarrau, councillor to the parliament of Paris, died in 1651. His -correspondence with the savants of the day was edited and published by -his son Isaac in 1654. - -De Chaponay. Prévôt des Marchands de la Ville de Lyon in 1627. Two -handsome armorial plates, quarto and octavo, without the owner’s name. -The quarto plate has the arms of Chaponay imposed upon those of family -connections; lions support the shield, which rests on a platform -composed of a mosaic pattern of all the principal charges found on the -various shields. This is a very fine decorative plate. Signed Joan -Picart incidit. - -“Ex Libris Alexandri Petavii in Francorum curia consiliarii. Pauli -filii.” This is the fine armorial plate of Alexandre Petau, who -inherited a splendid library from his father, Paul Petau, conseiller au -parlement de Paris, born in 1568, died in 1613. On the death of -Alexandre his manuscripts were purchased by Christina of Sweden, who -bequeathed them to the Vatican. The printed books were sold at the Hague -in 1722, along with those of Mansart, the famous architect. On the plate -the shield rests on a mosaic platform, composed of the principal charges -in alternate squares correctly tinctured. Motto: “Moribus antiquis.” -This plate is reproduced by Poulet-Malassis. - -Louis Brasdefer. In two sizes, each having the owner’s name. Arms -surrounded by two branches of laurel; the tinctures are indicated by -their initial letters. - -[Illustration: BOOK-PLATE OF ALEXANDRE PETAU.] - -Ex-libris of Guillaume Grangier. _Guillelmus Grangierius_. Faict à Nancy -par J. Valdor. An armorial plate, with six lines of Latin verse. The -artist, Jean Valdor, a Liègeois, was residing in Nancy in 1630, which -approximately fixes the date of this plate; he afterwards went to Paris, -where he was living in 1642. - -Auzoles, Sieur de la Peyre, of a family of Auvergne, author of “La -Sainte Chronologie” (1571-1642). A quarto armorial plate without owner’s -name, but signed Picart ft. The shield hangs from the neck of a lion. -Motto: “Sub zodiaco vales.” This plate is reproduced by Poulet-Malassis. - -Brinon. Norman family. A nameless armorial plate. - -Pierre Sarragoz, of Besançon. Armorial plate, without owner’s name, -signed P. Deloysi sc. The plate contains a number of coats-of-arms, -statues, and a bust of the Emperor Rodolf II., to whom the Sarragoz -family, originally from Spain, owed their nobility. Pierre Sarragoz died -October 14, 1649, according to his epitaph in the church of St. Maurice -at Besançon. - -Of engravings by Pierre Deloysi, of Besançon (called _le vieux_), few -examples are known. He was a goldsmith, and engraved the coins issued in -his native town. - -De Regnouart. Armorial plate. Motto: “Age. Abstine. Sustine.” - -Charreton. Armorial plate, name below shield. - -Ex-libris of Roquelaire. Armorial plate, without owner’s name, signed L. -Tiphaigne. The arms are surrounded by the collars of the orders of Saint -Michael, and of the Holy Ghost. - -Chassebras. Armorial plate, with the name on a ribbon. - -Boussac, of Limousin. Armorial plate without owner’s name. - -Antoine de Lamare, Seigneur de Chenevarin. An armorial plate with the -inscription “Ex-libris Antonii de Lamare, D. de Cheneuarin.” This plate -was found on the cover of a book having the signature Antoine de Lamare, -and the date of its acquisition, 1629. A very interesting feature about -it is that above the shield is printed (typographically) the blazon of -the arms of Lamare, and of those of the families of Croisset and of -Clercy, with whom he was connected. - -Ex-libris des frères Sainte-Marthe. Armorial plate. Motto: “Patriæ -fœlicia tempora nebunt.” Signed J. Picart sc. - -Jean-Pierre de Montchal, Seigneur de la Grange. Armorial, without -owner’s name. Motto: “Je lay gaignee.” The shield rests on mosaic work, -on which the charges are repeated. In his “Traité des plus belles -bibliothèques de l’Europe” (1680), Le Gallois mentions the library of De -Montchal amongst those recently sold or dispersed. - -Nicolas-Thomas de Saint André. A large plate without owner’s name. -Motto: “Pietate fulcior.” - -Scott, Marquis de la Mésangère, in Normandy. Armorial plate without the -owner’s name. - -Ex-libris de Garibal. Languedoc family. Name below shield. - -Ex-libris de Berulle. Name below shield. - -Bovet. Nameless. Armorial. Family of Dauphiné. - -Bernard de Nogaret, duc d’Epernon. Large nameless armorial plate of -handsome design. The shield surrounded by the collars of the orders of -Saint Michael, and of the Holy Ghost. A very fine plate, probably the -work of an Italian artist. - -“Messire François de Varoquier. Chevallier de l’ordre du Roy son -con^{er} et maistre d’hostel ord^{re} Tresorier de France G^{nal} des -Finances et grand voier en la generalité de Paris.” - -Motto: “Recta ubique sic et cor.” - -Le Féron. Armorial plate without owner’s name. The principal charges are -repeated on the mosaic pavement which supports the shield. - -Le Puy du Fou. Two sizes, both without owner’s name. Armorial. Signed J. -Picart. Poitou family. - -Joannes Bardin, presbyter. Motto: “Hic ure, hic seca, modo parcas in -æternum.” Two sizes, armorial. - -Lesquen. An armorial plate without owner’s name. Motto: “VIN CEN TI.” -Breton family. - -Large nameless armorial. Signed Raigniauld, Riomi, 1644. See reduced -reproduction. - -Raigniauld, Riomi, 1644. The late Lord de Tabley, in his “Guide,” says: -“This engraver signs and dates a fine, but coarsely executed, anonymous -armorial plate. The shield is untinctured and quarterly; first, a star, -on a chief, three trefoils slipped; second, a cross pattée; third, a -wing; fourth, two bars, in base a wheel; over all an escutcheon charged -with a fesse. Fine leaf-like, simple mantling to helmet. No crest. I -have no further knowledge of the artist. The more modern French form -of this surname is Regnault. Riomi is an old-fashioned town in Auvergne, -just north of Clermont.” It is now spelt _Riom_. - -[Illustration: ARMORIAL BOOK-PLATE BY RAIGNIAULD, DATED 1644.] - -This is the fourth dated plate (1574, 1611, 1613, 1644) before 1650, the -next we meet with is that of André Felibien, dated 1650. - -François de Malherbe (1555-1628). The poet had plates in two sizes, both -armorial, and both probably engraved early in the seventeenth century, -and with the tinctures incorrectly shown. Neither bears the owner’s -name. Poulet-Malassis reproduces the larger plate. - -Amy Lamy. A curious and exceptional plate, having the portrait of this -unknown bibliophile, with the motto: “Usque ad aras,” and six lines of -complimentary Latin verse. - -A large nameless armorial book-plate (unknown), with the motto “In manus -tuas Domine sortes mea,” signed J. de Courbes fecit, with several other -plates which cannot be identified, complete the list of plates of this -period mentioned by Poulet-Malassis. In most cases he gives details of -the arms and crests which students who desire to be conversant with -French heraldry may consult with advantage. - -It will thus be seen that the proportion of book-plates which can be -positively assigned to a date prior to 1650 is small. Omitting those -which were produced in the provinces on the German frontier, or under -the influence of foreign artists, it will be remarked that all the -plates produced within the geographical limits of the France of that -period were essentially heraldic in character, composed of emblazoned -shields, with helmets, crests, mantling, and supporters, often -surrounded by wreaths of laurel or palm branches, and frequently resting -on handsome mosaic platforms, decorated with the principal charges of -the shield. And so generally was the science of heraldry understood in -those days, that on only about one-half of the plates was it deemed -necessary to add the owner’s name to the shield displaying his arms. - -In the reigns of Henri IV. and Louis XIII. book-plates were probably -very uncommon, and the large size in which they were produced, for the -massive folios then in vogue, has militated much against their -preservation. They are, of all book-plates, the most eagerly sought for -by collectors; they are rare, they have great artistic merit, and the -heraldry is of the grandest and purest style ever known in France. -Pierre d’Hozier compiled a list (which has never yet been published) of -the names, titles, and arms of one hundred and twenty-five persons, who, -living in 1631, were known as collectors and lovers of works on -heraldry, history, and genealogy. This list was accompanied by drawings -of the armorial bearings of each of the one hundred and twenty-five -collectors (engraved by Magneney and J. Picart), the cream of the -book-lovers of the day, _la fine fleur des bibliophiles_, all possessors -of libraries, and it may also reasonably be supposed, all possessed of -ex-libris. - -Yet of all these Poulet-Malassis asserts that he has found but five -whose plates are known at present, namely, those of Le Puy du Fou, -Montchal, Auzoles de la Peyre, Jean Bigot, and the brothers -Sainte-Marthe. Of the remaining one hundred and twenty no book-plates -are known; that some amongst their number must have had them is -reasonably certain. But where shall we find them, or shall we ever find -them? - -_Mais où sont les neiges d’antan?_ - -[Illustration: NAMELESS ARMORIAL PLATE.] - -[Illustration] - - - - -CHAPTER V. - -EXAMPLES OF EX-LIBRIS. FROM 1650 TO 1700 - - -The plates of _André Felibien_, escuier, sieur des Avaux, seigneur de -Iavercy, Historiographe du Roy, are notable as being dated 1650 and as -marking the commencement of a transition period. The heraldic style -begins to show variations; the mantling becomes less sumptuous and -decorative, and the helmets are displaced by coronets, often usurped by -those who have no right to them, either by birth, title, or estates. The -shields change from the old square French shape to oval, surrounded by a -framework, or a decorative cartouche. The fashion of resting the shield -and supporters on a mosaic pavement, having a geometrical heraldic -design, disappears, to be replaced by a small piece of landscape with -grass and flowers, or the shield and supporters stand firmly on a square -solid base resembling a flight of steps, or an architectural plinth. - -Of this transition period the most interesting plates are those -recording, in the one case a gift, in the other a legacy, of valuable -books to the College of Jesuits, in Paris, in 1692. - -[Illustration: BOOK-PLATE OF PIERRE DANIEL HUET.] - -These books had been collected by two of the most famous bibliophiles of -the century, Pierre Daniel Huet, Evêque d’Avranches, and Gilles Ménage, -Doyen de St. Pierre d’Angers. Bishop Huet chose to present his books -during his lifetime (he survived the parting, and lived until 1721), -and the gift was of great value, consisting as it did, of 8,312 volumes, -besides many rare manuscripts. - -[Illustration: BOOK-PLATE OF ANDRÉ FELIBIEN, 1650.] - -The Jesuit fathers recorded their gratitude on ex-libris (in four sizes) -of an appropriately rich character, carrying the arms of Bishop Huet. -They went to less expense in showing their appreciation of the legacy of -Ménage, perhaps because he was dead (he died July 23rd, 1692), or -perhaps because he only left them about 2,000 volumes. Neither Bishop -Huet nor Dean Ménage appears to have used an ex-libris, but the bindings -of their books carried their arms stamped in gold on the covers. An -account of the libraries of these famous collectors is given in -“L’Armorial du Bibliophile.” - -Between 1650 and 1700 the number of book-plates is not large, nor are -they of any exceptional interest, beyond showing the gradual alteration -in style. It will suffice to name a few of the finest examples. - -Nicolas Martigny de Marsal, by Sebastien Le Clerc. Four sizes, two dated -respectively 1655 and 1660. - -Guillaume Tronson. Signed A. B. Flamen. - -Hadriani de Valois, dom. de la Mare. - -Jerôme Bignon, grand maitre de la Bibliothèque du Roi. A fine armorial -plate, probably engraved by François Chauveau. - -Leonor Le François Sr. de Rigawille. Motto: “Meliora sequentr,” dated -1673. - -Charles Maurice Le Tellier, archevêque de Reims. Signed J. Blocquet, -1672. - -Louis François du Bouchet, Marquis de Souches. Signed “Mavelot, graveur -de Mademoiselle.” - -Mgr. Pellot, Premier President du Parl^{mt} de Normandie. Signed J. T., -probably Jean Toustain, an engraver of Normandy. - -This President Pellot possessed a valuable collection of Spanish and -Italian books. - -Guyet de la Sordière, a plate bearing the arms of several family -alliances of la Sordière. - -Charles, Marquis et Comte de Rostaing. Signed P. Nolin. This fine -heraldic plate does not bear the name of its owner, but as it is -exactly reproduced in the Armorial of Segoing, with the inscription -“Armes d’Alliances de Messire Charles marquis et comte de Rostaing, -gravées par son très humble serviteur Pierre Nolin, 1650,” we are -enabled at once to identify the plate, and to fix its date. - -[Illustration: BOOK-PLATE OF MONSIEUR DE LORME.] - -Simon Chauuel, chevalier, Seigneur de la Pigeonnière, Conseiller du Roy, -etc. Signed P. Nolin. - -This book-plate is also reproduced in the Armorial of Segoing, which -indeed contains about sixty copies of ex-libris copied by Nolin, either -from his own works, or from other plates belonging to his customers, or -engravings by his brother artists. - -Denis Godefroy. Died in 1681. Ex-libris in two sizes, both armorial. - -Potier de Novion. A nameless ex-libris, identified by the arms, and -signed by Trudon. The only known book-plate signed by this artist, who -yet engraved all the plates to illustrate his work entitled “Nouveau -traité de la science pratique du blason,” published in 1689. - -Jules-Hardouin Mansart, superintendent of buildings under Louis XIV. -Signed Montulay Lenée. Heraldic plate, no name. - -Jean-Nicolas de Tralage, a nephew of La Reynie, commandant of police. De -Tralage presented his valuable collections to the Abbey of Saint Victor -in 1698. - -In many cases these plates have been identified only by the arms they -carry. Ex-libris had not yet become truly fashionable amongst -bibliophiles of the first rank, arms and devices being still generally -stamped on the covers of their books, and the names of the owners were -seldom considered necessary in a society where every person of any -position was compelled to understand heraldry, and to be acquainted with -the armorial bearings of the principal families. - -The men of letters of the seventeenth century were not apparently -inclined to adopt ex-libris, comparatively few have been found; those -of Malherbe (who was, however, a nobleman and a courtier as well as an -author), the historiographer, André Félibien; Jerôme Bignon, who was -chief librarian in the Royal Library; Denis Godefroy, the historian, -have been named, and the collectors, Ménage and Bishop Huet; yet these -latter scarcely count, for the plates bearing their names and arms were -only engraved to place in the books they had generously presented to the -Jesuit fathers. - -We seek in vain for the ex-libris of Corneille, Molière, or Racine, -Boileau, La Fontaine, La Bruyère, for hitherto none have been -discovered. In 1684 Madame de Sévigné wrote: “J’approuve fort de ne -mettre autour de mon chiffre que _Madame de Sévigné_. Il n’en faut pas -davantage: on ne me confondra point pendant ma vie et c’est assez.” - -[Illustration] - - - - -CHAPTER VI. - -EXAMPLES OF EX-LIBRIS. From 1700 TO 1789. - - -The rapid multiplication of books and libraries during this period -naturally led to a corresponding increase in the use of ex-libris. About -the same time a new style of ex-libris comes in, more fanciful and -artistic than of yore, but it must be confessed of a less practical -character. These remain, for the greater part, heraldic in design, in -fact, more pretentiously heraldic than ever. For, with the progress of -education and the advance of philosophical speculation in France, people -began to realize the absurdity of purchasing heraldic bearings, and, -seeing what a sham the whole thing had become, finished by assuming arms -and coronets to keep in the fashion. “Le blason,” wrote the Sieur de -Chevigni in 1723, “est devenu un jardin public où chacun s’accommode à -sa fantaisie pour les armoiries comme pour les couronnes.” - -Helmet, wreath, and mantling disappear, whilst the shield and coronet no -longer face one boldly and squarely, but appear in fantastic -perspective; the supporters assume attitudes never before contemplated -in heraldry--under or over the shield, or playing at hide and seek -behind the shield. Cupids, angels, cherubim, and mythological deities -lend their aid, and a background of clouds, with or without rainbows, -completes the curious fashion in vogue about 1750, which lasted, with -some modifications, down to the time of the Revolution. - -[Illustration: BOOK-PLATE OF N. R. FRIZON DE BLAMONT, 1704.] - -As time creeps slowly forward dated plates become more fashionable, and -the owners’ names are more generally inserted. Indeed, French vanity -begins to assert itself in lengthy inscriptions setting forth the -high-sounding titles, distinctions, and offices held by the owners of -these elaborate armorial book-plates. - -[Illustration: BOOK-PLATE OF CLARET DELATOURRETTE, 1719.] - -The plate of the Abbé de Gricourt shows us that he considered the -terrestrial globe unworthy to bear his coat-of-arms, which is therefore -being carried away to its home in paradise by a swarm of little angels -singing psalms in his praise, and weaving garlands of flowers to crown -his achievement. This ambitious plate is signed by A. T. Cys (Adrien -Théry, à Cisoing), who was a brother of the Abbé de Gricourt. - -[Illustration: BOOK-PLATE OF MICHEL, COMTE DE FAULTRIERES, 1730.] - -The plates of this later period are, for the most part, affected, -pompous, and even ridiculous in their assumptions. Shields in impossible -attitudes, either resting on nothing, or falling over the supporters. -These, in their turn, no longer perform their ancient duties seriously, -but lounge about, lie asleep at their posts, or yawn with _ennui_ at -having to take a part in such a farce as heraldry in France had now -become. As for the few plates of this period which preserve the ancient -regularity of form and correct heraldic drawing, these usually belong to -the families most entitled to bear arms, yet they look archaic and -formal beside their more ornate brethren. - -[Illustration: BOOK-PLATE OF FRAN. MOUCHARD, ECUYER, 1732.] - -The plates which have been reproduced to illustrate this period, 1700 to -1789, have been selected principally to show the varying styles in -fashion in each decade, until we reach a date when French society is -rudely convulsed by political events. - -[Illustration: BOOK-PLATE OF F. G. LECUYER.] - -Three scarce plates are those of Louis XV., of Madame Victoire de -France, and of the Bastille. That of Louis XV. is a fine plate for folio -size, designed by A. Dieu and engraved by L. Audran. It has a monogram -of double L on a shield, which is surrounded by trophies, and surmounted -by the royal crown. - -The plates for Madame Victoire de France (daughter of Louis XV.) and -for the Château de la Bastille bear the French royal arms--azure, three -fleurs-de-lys or. - -[Illustration: BOOK-PLATE OF R. JEHANNOT DE BEAUMONT, 1742.] - -Apart from heraldry, we have now reached the period when purely artistic -and decorative ex-libris commence to show themselves, and when artists -such as Ferrand, Beaumont, F. Montulay, L. Monnier, Nicole and Collin, -both of Nancy, J. Traiteur, de la Gardette, Berthault, L. Choffard, Le -Roy, Cochin, Gravelot, Marillier, Moreau le jeune, Pierre St.-Aubin, and -Gaucher, put some of their best work into these little copper plates. - -Even Boucher condescended to engrave a few plates, of which, however, -but three are known, and one only is signed. - -[Illustration: BOOK-PLATE OF DELALEU, 1754.] - -With the multiplication of books in the eighteenth century came a -proportionate decrease in their intrinsic value. With the exception of -an occasional _édition de luxe_, or of books scarce only because they -ought never to have existed at all, lovers of artistic bookbinding -found their hobby almost useless. - -[Illustration: BOOK-PLATE OF P. A. CONVERS, 1762.] - -Why spend pounds to bind a book which cost but a few shillings? Why put -costly clothing on a child having 999 brothers, all so exactly similar -that the father and mother, author and printer, could not discriminate -between them? As the book was bought so it generally remained, or, as an -especial honour, it might perhaps be put into half calf. - -_Exit_ whole morocco, with arms elaborately emblazoned on the sides, and -monograms in dainty tooling on the back. - -_Enter_ modern book-plate. - -[Illustration: BOOK-PLATE OF THE CHEVALIER DE BELLEHACHE, 1771.] - -Under the Bourbon Kings the government of France was an absolute -monarchy tempered by epigrams, and regulated chiefly by priests, -soldiers, and the ladies of the Court. The system was vicious and -corrupt, but very simple, and eminently satisfactory to the privileged -classes. It ruined France, but, whilst it lasted, the kings and their -mistresses, the nobility, and the clergy, enjoyed most of the pleasures, -and all the vices, this life could afford. - -Of the military men who acquired power few appear to have indulged in -literary tastes, or to have formed libraries. Many handsome ex-libris -exist, carrying warlike trophies,--cannons, drums, tents, and -flags,--such, for instance, as that of Claude Martin, but few indeed of -these plates bear the names of any of the more famous French commanders. -Even the plate of Murat (of later date) is doubtful, for what time had -_le beau sabreur_ for books? - -[Illustration: BOOK-PLATE OF J. G. R. BOSCHERON, 1777.] - -[Illustration: BOOK-PLATE OF A. F. A. BOULA DE NANTEUIL, 1777.] - -Of the famous Court beauties who held influence over the kings, some -possessed, and others affected, a taste for books, and volumes from -their collections are eagerly sought for, partly for their associations, -and partly on account of the elegance of their bindings. To name three -or four of the most beautiful and most famous of these fair bibliophiles -will suffice. First comes Diane de Poitiers, whose monogram, interlaced -with that of her royal lover, Henri II., is to be found (along with the -crescent of the chaste goddess Diana) on many books exquisitely bound by -Le Faucheux. - -[Illustration: BOOK-PLATE OF JEAN FRANÇOIS-GILLET, 1778.] - -The Marquise de Maintenon, widow of the deformed jester Scarron, who -became the wife, if not the queen, of Louis XIV., was a woman of great -tact and intelligence. She formed a valuable library; her books were -handsomely bound, and stamped with her arms,--a lion rampant between two -palm leaves. - -The Marquise de Pompadour, whose books (principally dedicated to the -_menus plaisirs du Roi_, like their owner) were bound by Biziaux, -Derome, or Padeloup, and decorated with her arms,--azure, three towers -argent. Jeanne-Antoinette Poisson was born the daughter of a butcher in -1722, but was created the Marquise de Pompadour, and, what is more -singular, a “dame du palais _de la Reine_” by Louis XV. But she was -beautiful exceedingly, and clever, and even Voltaire himself could not -resist flattering her: - - “Pompadour, ton crayon divin - Devait dessiner ton visage, - Jamais une plus belle main - N’eût fait un plus bel ouvrage.” - -Was it her death from small-pox that suggested to Zola that awful -closing chapter in “Nana”? - -A book-plate was engraved for her, anonymous, but having the above-named -arms; it does not appear, however, to have been fixed in her books. La -Pompadour died in 1764, and her books were sold in Paris in the -following year. - - “But where is the Pompadour now? - _This_ was the Pompadour’s fan!” - -Next comes the plate of Madame Jeanne-Gomart de Vaubernier, Comtesse Du -Barry (born at Vaucouleurs in 1743), the last favourite of Louis XV., -who, less fortunate than her rival, la Pompadour, survived her royal -protector, nay, even royalty itself, and died on the scaffold in -December, 1793. Ignorant as she was, she formed a small but valuable -collection, her books being bound in red morocco, all richly gilt, and -ornamented on the sides with her arms, and her motto, _Boutez en avant_. -Redan was one of her binders. Louis XV. remarked, “La Pompadour had -more books than the countess, but they were neither so well chosen nor -so well bound, we therefore create her _Bibliothécaire de Versailles_.” - -[Illustration: BOOK-PLATE OF DUCHÉ, 1779.] - -Poor Du Barry! She could scarcely read, and could not spell; her books -were selected to dispel the _ennui_ and divert the mind of the debauched -old king in the last few years of his shameful life. Yet is she worthy -of mention here, if for one thing only, she possessed a book-plate -engraved by Le Grand, of which, however, she made but little use. - -But Louis le Bien-aimé died of small-pox in 1774, and henceforward the -Du Barry fades from sight for nearly twenty years, until we see her once -again, on the way to the guillotine, where, unlike most of the -aristocrats who preceded her, she lost courage, and vainly shrieked for -mercy from those who knew not what it was. - -[Illustration: BOOK-PLATE OF THE COMTESSE DU BARRY.] - -“Unclean, yet unmalignant, not unpitiable thing! What a course was -thine: from that first truckle-bed where thy mother bore thee, with -tears, to an unnamed father: forward, through lowest subterranean -depths, and over highest sunlit heights, of Harlotdom and Rascaldom--to -the guillotine-axe, which shears away thy vainly whimpering head!” Thus -does Carlyle epitomize her career. - -Louis XV. was known as _le Bien-aimé_, but years before his death his -name had lost all the influence it had ever possessed, and - - “Le Bien-aimé de l’Almanac, - N’est pas le Bien-aimé de France, - Il fait tout _ab hoc_, et _ab hac_, - Le Bien-aimé de l’Almanac. - Il met tout dans le même sac, - Et la Justice et la Finance: - Le Bien-aimé de l’Almanac, - N’est pas le Bien-aimé de France.” - -It was computed that during his reign 150,000 men had been imprisoned in -the Bastille, whose crimes, real or imaginary, had never been -investigated in any court of justice. - -They were torn without warning from liberty and friends to languish for -years in dark loathsome dungeons, without even knowing of what offences -they were accused, nor for what period they would be imprisoned. - -A simple _Lettre de Cachet_ was all that was required, which it was by -no means difficult for a king’s mistress, minister, or favourite to -obtain. - - LETTRE DE CACHET. - - _Monsieur le Gouverneur_, envoyant en mon château de la Bastille le - sieur _N----_, je vous fais cette lettre pour vous dire que mon - intention est que vous ayez à l’y recevoir et retenir en toute - seûreté, jusques à nouvel ordre de moy. Et la présente n’estant - pour autre fin, je prie Dieu qu’il vous ait, Monsieur le - Gouverneur, en sa sainte garde. - - Ecrit à ---- le ---- de l’an ----. - - _Signature du Roi._ - - Once issued, this condemned a man to perpetual imprisonment, unless - by some happy chance some one could prevail on the king to sign the - following _Ordre de mise en Liberté:_ “Monsieur le Gouverneur, - ayant bien voulu accorder la liberté au sieur _N----_ détenu par - mes ordres en mon château de la Bastille, je vous fais cette lettre - pour vous dire que mon intention est qu’aussitôt qu’elle vous aura - été remise, vous aiez à faire mettre le dit sieur _N----_ en - pleine et entière liberté. Et la présente n’estant pour autre fin, - je prie Dieu qu’il vous ait, Monsieur le Gouverneur, en sa sainte - garde. - - Ecrit à ---- le ---- de l’an ----. - - _Signature du Roi._ - -Many prisoners became lunatics, others died there whose friends never -knew their fate, for a man’s name and individuality were lost when once -he passed the gates. - -Those who regained their liberty were sworn to secrecy concerning all -that they had seen or heard in the Bastille: “Etant en liberté, je -promets, conformément aux ordres du Roi, de ne parler à qui que ce soit, -d’aucune manière que ce puisse être, des prisonniers ni autre chose -concernant le château de la Bastille, qui auraient pu parvenir à ma -connaissance.” - -As a rule this oath was observed, the dread of another incarceration -being sufficient to inculcate the wisdom of silence, the well-known -memoirs of Linguet being an exception. - -Under Louis XVI., committals were less numerous, and when the Marquis -de Launay surrendered the Bastille to the Parisian revolutionaries in -July, 1789, only seven prisoners were found in it, although it must be -remembered that the governor, recognizing the possibility of an attack, -had sent away some of the most important prisoners to Vincennes. If he -had had the forethought at the same time to have caused the Bastille to -be well supplied with provisions he, with his small garrison of 114 men, -might have held out for an almost indefinite period against the attacks -of the half-armed, undisciplined Parisian mob. - -[Illustration: BOOK-PLATE OF CLAUDE MARTIN.] - -[Illustration: BOOK-PLATE OF THE COLONEL DE CUZIEU.] - -As it was, the Marquis behaved during a trying time as a brave soldier -and a humane gentleman. At length, but only when his scanty provisions -were exhausted, he yielded up the castle on condition that the lives of -the garrison should be spared. But the inrushing crowd cared nothing -for conditions, nor for the rules of civilized warfare, and in a few -minutes nearly every man was killed. De Launay himself was aimlessly -dragged about for some time, then killed, and his head paraded on a pike -round the streets of Paris. - -[Illustration: BOOK-PLATE OF THE CHÂTEAU ROYAL DE LA BASTILLE.] - -The Bastille itself was demolished by the people, the place where it -stood alone preserves its name, and the stones which once formed its -melancholy walls are now trodden under foot by the countless myriads who -pass over the Pont de la Concorde. - -Most of the books found in the prison were destroyed, but a few escaped, -and these contained the ex-libris of the Château Royal de la Bastille, -certainly one of the scarcest and most interesting in the world. - -The accession of Louis XVI. gave rise to great hopes for the -regeneration of France, retrenchment in her finances, and reformation in -the morals of her court. - -The king was young, married to a beautiful and virtuous princess, and -was himself credited with the domestic virtues of chastity and sobriety. -Indeed, as a master locksmith he might no doubt have earned a -comfortable livelihood, for in that occupation, if in no other, he -displayed considerable skill and dexterity. - -The French have always had a knack of affixing very humorous and -catching nicknames to their kings and public men; they might -appropriately have christened their new king Louis Trop-tard. He was -always Lewis the Too-Late; he was born too late, he resisted the wishes -of his people till it was too late; he made concessions when they were -too late to conciliate anyone; he practised economy when it only brought -him into ridicule; too late he fled from Paris; drank Burgundy, and ate -bread and cheese at Varennes until it was too late to escape across the -frontier, and finally he died when his death was too late to save his -good name, his family, or the monarchy. - -He lacked decision of character, and clearness of purpose or perception. -He was incapable of reading the signs of the times, or of reforming the -vicious system of government he had inherited from his forefathers. So -he, who was in many respects the best of the later Bourbons, had to pay -the penalty for the crimes, the cruelty, and the follies of his -ancestors. - -[Illustration: BOOK-PLATE OF PASQUIER DE MESSANGE, 1792.] - -In the best period of French heraldry, supporters were less frequently -found than in British heraldry, and it was a rule, or a tradition, that, -as marking the divine right of kings, only members of the royal family -of France should carry angels as supporters. They were, however, assumed -by the illegitimate descendants of the kings, who carried the royal arms -with the usual differences. - -[Illustration: THE ACHIEVEMENT OF LOUIS XVI.] - -[Illustration: BOOK-PLATE OF MONSIEUR LEJOURDAN, CONSEILLER EN -L’AMIRAUTÉ, 1786] - -[Illustration] - - - - -CHAPTER VII. - -THE FIRST REPUBLIC. - - -In Great Britain political changes have had comparatively little effect -upon the development of art, whereas in France the great events of her -history have left their impress deeply on her arts, and during the last -hundred years especially, nearly every political convulsion (and there -have been many) has been rapidly followed by some great change in the -fashion of her book-plates. It therefore becomes absolutely necessary to -refer to some of the leading features in French history in order -properly to appreciate the ex-libris of the various periods. - -For the antiquary, the prints produced in France before the Revolution -must ever possess the greatest interest, indicating as they do so -clearly the tastes, the vanity, the luxury of that _beau monde_ which -was the France of those days when the lower orders counted for nothing, -being but the hewers of wood, the drawers of water, and the -_chair-à-canon_ with which her kings and marshals won glory. - -No attempt was made to hide the corruption and immorality which -prevailed at Court--the amours of the kings were openly acknowledged, -the highest titles were bestowed upon their mistresses, and the royal -arms of France were borne by their almost innumerable offspring. - -Although some of these women were of the humblest origin they affected a -taste for literature and art, and the names of Diane de Poitiers, -duchesse de Valentinois; Gabrielle d’Estrées; Marie Touchet; la Duchesse -de la Vallière; la Marquise de Maintenon; Madame de Montespan; la -Marquise de Pompadour; la Comtesse du Barry, with many others of lesser -note, remind us that they formed extensive libraries. Books bearing -their arms and ciphers on the bindings, or their book-plates, are still -those most eagerly sought for by collectors of to-day. But what a -_bagatelle_ was all this as compared with the vast sums these courtesans -drained from the nation, and the degradation they inflicted upon the -aristocracy into whose ranks they and their children were elevated. -Whilst on the other hand, the arrogance of the old nobility, their -selfishness, their cruelty to their dependants, and their refusal to -forego any of their pay or privileges in the black days of famine and -national bankruptcy towards the close of the eighteenth century, -hastened their fall and that of the monarchy. - -Sir Walter Scott states that at the outbreak of the Revolution there -were about eighty thousand families enjoying all the rights and -privileges of nobility; and the order was divided into different -classes, which looked on each other with mutual jealousy and contempt. - -On this point let us quote the reports of two acknowledged authorities. -M. de Saint-Allais, in his book “L’Ancienne France,” observes: “Nos -historiens les plus accrédités ont remarqué qu’il existait en France, -_avant la Révolution_, environ soixante dix mille fiefs, ou -arrière-fiefs dont a peu près 3,000 étaient érigés en duchés, -marquisats, comtés, vicomtés et baronies, et qu’ils comptaient aussi en -ce royaume environ 4,000 families d’ancienne noblesse, c’est-à-dire de -noblesse chevaleresque et immémoriale, et environ 90,000 familles qui -avaient acquis la noblesse par l’exercice de charges de magistrature et -de finances ou par le service militaire ou par des anoblissements -quelconques.” Whilst in his “Nobles et Vilains,” M. Chassant states: “Il -y avait en France, en 1788, au moins 8,000 marquis, comtes, et barons, -dont 2,000 au plus l’étaient légitimement, 4,000 bien dignes de l’être, -mais qui ne l’étaient que par tolérance abusive.” - -From these statements it is evident that the number of nobles, or -soi-disant nobles, was enormous; that their privileges (many of them -grossly immoral) caused them to be extremely unpopular; that to keep up -some kind of state and show made them exacting as landlords, whilst the -etiquette of their rank prevented them from embarking in any kind of -trade or business, so that employments in the Court, the Church, the -Army, Law and the Civil Service, were almost entirely monopolized by -this class. These offices, though highly paid, were, of course, totally -unproductive, and created still further burdens to fall on the shoulders -of the overtaxed lower orders. - -Nor were the nobles themselves altogether to be envied--many of them -were miserably poor, and were yet compelled to support the dignity of -their rank, and to appear in state at a court, at once the most splendid -and most improvident in the world. - -They had not the resources possessed by the poorer scions of the British -nobility, who are free now to act as directors of public companies, -stock-brokers, wine merchants, or railway managers; who may own -collieries, or hansom cabs, or breed cattle without loss of caste or -privilege. - -As to the king, Louis XVI., he was a man of no decision of character, -incapable of reading the signs of the times, or of realizing that the -future of the monarchy, of France itself, depended on the reforms -required in the State. So little did he appreciate the serious position -that when, in 1788, his ministers were discussing where the Etats -Generaux (nobles, clergy, and tiers états) should assemble in the -following May, Louis suddenly cut short all their arguments by -exclaiming that they could only meet at Versailles because of the -hunting (_à cause des chasses_). - - “C’était bien de chasser qu’alors il s’agissait.” - -At length the storm, which had long been foreseen, burst over their -heads, and in less than two years a decree was proposed (on June 20th, -1790) by Lameth, that the titles of duke, count, marquis, viscount, -baron, and chevalier should be suppressed. This was carried by a large -majority in the French Assembly, and all armorial bearings were -abolished at the same time. - -When all around was in a state of turmoil and revolution, armorial -book-plates became dangerous to their owners. Many were torn out and -destroyed, others were altered and adapted to the feelings of the time -by changing high-sounding titles into the simple style of a French -citizen. - -The ex-libris of the Citizen Boyveau-Laffecteur may be cited as an -example. Before the Revolution he used an allegorical plate on which was -shown a young calf drinking at a fountain (Boyveau); on his shield he -carried a stork, as an emblem of prudence and wisdom, and the whole was -surmounted by the handsome coronet of a count. Now, Monsieur -Boyveau-Laffecteur was a doctor of medicine, and the inventor of useful -medical receipts, but whether he ever was a count, or entitled to carry -the coronet of one, is more than doubtful. These are minor details, -however, for when the Doctor found that coronets, and the heads that -wore them, were going strangely out of fashion, he effaced the obnoxious -emblem of nobility, placing in its stead an enormous and aggressively -prominent cap of liberty. This altered plate is found less frequently -than the former; it may be that on the restoration of the monarchy he -replaced the coronet, and re-elected himself a count. - -[Illustration: BOOK-PLATE OF THE VICOMTE DE BOURBON BUSSET, 1788.] - -Another altered plate is rather less striking in its political -inconsistency: “De la Bibliothèque de Nic. Franc. Jos. Richard, avocat -en Parlement, Président à St. Diez.” Simple and inoffensive as was this -label, the owner thought it safer during the Revolution to cover it with -another, thus: “De la Bibliothèque de Nicholas François-Joseph RICHARD, -_Citoyen de St. Dié_.” - -But a far more interesting souvenir of the Reign of Terror is the second -book-plate of the Vicomte de Bourbon Busset. - -[Illustration: BOOK-PLATE OF L. A. P. BOURBON BUSSET, 1793.] - -The first, which is signed “Fme. Jourdan sculp., 1788,” shows his -armorial bearings surmounted by his coronet, whilst beneath are -enumerated his titles and offices. - -Over this plate is generally found pasted a much simpler design, -showing how that the grand noble of 1788 under the monarchy had, in -1793, become plain Bourbon Busset, a French citizen. - -Now the Vicomte de Bourbon Busset was an aristocrat (even if an -illegitimate one), for on his first book-plate he bore the royal arms of -France, (debruised by a baton), with the cross of Jerusalem in chief, -and his two supporters the angels hitherto carried only by members of -the royal family. Yet he managed to escape the horrors of the -revolutionary period, and survived the Reign of Terror, probably by -studying the signs of the times, and by casting his lot in with the -_sans-culottes_. In any case, he lived in Paris until the 9th of -February, 1802. The bindings on his books were stamped with the arms, as -on his book-plate, but without the supporters. - -His library was sold in Paris; the catalogue was headed, “Catalogue des -livres de la bibliothèque de feu le citoyen Bourbon Busset, 20, nivose -an XI.” - -Another curious souvenir of the reverses sustained during the -revolutionary period exists in the plate of “André Gaspard Parfait, -Comte de Bizemont-Prunelé”. Dessiné et gravé par Ch. Gaucher, de l’Acad. -des Arts de Londres, 1781. - -In the same year the Comte de Bizemont-Prunelé etched an ex-libris for -his wife, Marie Catherine d’Hallot, with a design of a somewhat -remarkable nature considering the period. He represented himself amongst -some ruins carving their arms on a pedestal. Thirteen years later we -find this nobleman, a refugee in England, earning his living as a -drawing master. His business card, of ornamental design, bears the -words: “M. Bizemont, Drawing Master, No. 19 Norton Street, near Portland -Street. Bizemont Sc. London, 1794.” - -[Illustration: BOOK-PLATE OF THOMAS PAPILLON, ESQ.] - -Alexis Foissey, of Dunkirk, removed the coronet from his ex-libris to -make way for “Equality”; P. M. Gillet, deputy from Morbihan, adopted the -cap of liberty, with the motto, “Liberté, Egalité”; and J. B. Michaud, -on his plate, dated 1791, also has the Phrygian cap, with a ribbon -inscribed, “La Liberté ou la Mort.” - -Above is the book-plate of Thomas Papillon, Esq., evidently engraved in -England within the last century, bearing on the first and fourth -quarters the canting arms of the old French family of Papillon -(Butterfly). - -The last Papillon of whom we read in French history was one -Denis-Pierre-Jean Papillon de la Ferté, intendant des Menus-plaisirs du -Roi, who was born in 1727, and guillotined on the 7th of July, 1794, by -the Republicans. Probably Thomas Papillon was a relative who managed to -escape, or one of his descendants, as the arms are very similar, being -thus blazoned by Guigard: _D’azur, au chevron d’argent accompagné en -chef de 2 Papillons d’or, et en pointe d’un coq hardi du même_. The last -charge being the only dissimilarity. - -A short time since, a collector in Paris purchased a cover on which was -a small mean-looking, printed book-label, under which showed the edges -of another. On putting the cover to soak no less than three plates were -found, the lowest one being as follows; an armorial plate, below the -shield “Bibliothèque de Mr. de Villiers du Terrage, Pr. Commis des -Finances.” This plate, signed _Branche_, had been covered during the -revolutionary period by a simple typographical label, reading -“Bibliothèque du Citoyen Marc-Etienne Villiers,” omitting all titles, -and heraldic decorations, substituting the word “citoyen” in their -place, and the whole surrounded by plain border lines. - -Later on the book passed into other hands, and a still more humble plate -was placed upon it, a small label having only the words “Bibliothèque Le -Cauchoix Ferraud.” This democratic individual, who suppressed even the -word “citoyen” on his label, does not live in history, nor would he -have been mentioned here but that his poor little ticket probably saved -two interesting plates from destruction. - -“Ex libris Rihan de la Forest” with arms and coronet; then over that was -a plain label with the simple inscription, “Ex libris la Forest”; that -again covered by a lugubrious-looking plate, “Ex libris la Forest,” -surmounted by a cap of liberty, on a pike, and “La liberté ou la mort” -printed around it. - -To these many others may be added, such as the ex-libris of “Le Prince -de Beaufond,” which was altered to “Charles-Louis Le-prince,” and the -elaborate heraldic book-plate of the Marquis de Fortia, which was -covered by a simple printed label: “Ce livre fait partie de la -bibliothèque de M. de Fortia d’Urban, demeurant à Paris, rue de la -Rochefoucaud (_sic_), No. 21, division du Mont Blanc.” - -M. Pigou covered his arms and coronet of a Marquis with a plain label in -which the name _Pigou_ was surrounded by a garland of roses. - -But in those troubled times most men of any position had far more -serious topics to occupy their minds than the planning of ex-libris for -their books, and indeed the poor heraldic engravers found their business -coming to an end, and one of them, M. Crussaire, finding himself without -work, advertised that he would gladly execute “tout espèce de sujets -sérieux ou agréables relatifs aux diverses circonstances de la -Révolution, pour boites, bon-bonnières, boutons, medaillons.” - -One of the last ex-libris belonging to the period of the First -Republic, and carrying republican emblems, is that bearing the name of -Adjudant Général Villatte, who was promoted to that rank on February 5, -1799. His plate bears the Roman fasces surmounted by the cap of liberty, -and, oddly enough for a military man, a shepherd’s crook and hat, whilst -two doves, or pigeons, complete this incongruous design. - -From 1789 to the coronation of Napoleon I. as Emperor in 1804, the use -of book-plates was considerably restricted. - -Pauline Burghese, a sister of Napoleon, rose superior to heraldic or -titular pretensions. She was a sister of Napoleon, that was enough, and -her gift book-plate, dated 1825, is but a plain little label: - - EX LEGATO - Sororis Napoleonis - _Paullinæ Burghesiæ_ - A.D. MDCCCXXV. - -Charles Ambroise Caffarelli, whose plate is in what has been called _le -style panaché de l’Empire_, was Canon of Toul in 1789, but took the oath -to the Constitution on the outbreak of the Revolution. He suffered -imprisonment in 1793, gained favour under Napoleon, who created him a -préfet. He afterwards devoted himself to the study of political economy, -and died in 1826 (after seeing many changes of government), under the -rule of the Bourbons, his first patrons. - -[Illustration: BOOK-PLATE OF CH. AMB. CAFFARELLI.] - -Jean Baptiste Jourdan, who was one of the most famous marshals of -Napoleon’s army, began life as a private soldier; under the First -Republic he obtained promotion, and swore that his sword should always -be drawn in defence of the rights of the people, and against all kings. -Yet he afterwards accepted titles and honours from Napoleon, whom he -deserted to serve under Louis XVIII., and issued a manifesto to his -soldiers asking their fidelity to the restored Bourbons. For this he -was rewarded by being created a Chevalier of the Royal and Military -Order of St. Louis. When Napoleon returned to Paris from Elba the -Maréchal Jourdan was again ready to do him service, and his fidelity was -rewarded by an imperial decree dated 4 June, 1815, creating him a Count -and Peer of France. Jourdan was born at Limoges in 1762; he died in -1833. - -[Illustration: BOOK-PLATE OF THE MARSHAL JOURDAN.] - -The Baron de Marbot was one of the soldiers ennobled by Napoleon I. He -left some memoirs which have points of resemblance to those written by -the more celebrated Baron Münchausen. - - -THE FIRST EMPIRE. - -The short and troubled reign of the Emperor Napoleon left little lasting -impression upon the heraldry of France. It is true he introduced some -system, and a few innovations, but at the Restoration his innovations -were rescinded, and with the Bourbons in power it need hardly be said -that no kind of useful system could long exist. - -[Illustration: BOOK-PLATE OF THE BARON DE MARBOT.] - -For the heraldry of the First Empire a student cannot do better than -consult the fine folios entitled “Armorial Général de l’Empire Français. -Contenant les Armes de sa Majesté l’Empereur et Roi, des Princes de sa -famille, des Grands Dignitaires, Princes, Ducs, Comtes, Barons, -Chevaliers, et celles des Villes de 1^{ere} 2^{me} et 3^{me} Classe, -avec les planches des Ornemens exterieurs, des Signes intérieurs et -l’explication des Couleurs et des Figures du Blason, pour faciliter -l’Etude de cette Science. Présenté à sa Majesté l’Empereur et Roi par -Henry Simon, Graveur du Cabinet de sa Majesté l’Empereur et Roi, et du -Conseil du Sceau des Titres. Chez l’Auteur, Palais Royal, No. 29 à -Paris. MDCCCXII.” The title-page is quoted in full; it is a curiosity in -its way, the whole being beautifully engraved on a plate measuring 11½ -inches by 8½ inches; all the other plates are of the same size and many -hundreds of armorial bearings are accurately engraved and described. The -work is a monument of patience and skill, and serves as a record of many -princes, nobles, marshals, and generals, whose names and deeds were, -during the Napoleonic period, as familiar as household words, but the -majority of whom are now almost forgotten. - -Napoleon decreed that order should exist in heraldry, as in every other -branch of the State. His favourite artist, David, was called in to -assist in devising new decorations, head-dresses, etc. The curious -head-dress, invented by David to replace coronets, is called in French -heraldry “une toque;” this somewhat resembles a flat Tam O’Shanter cap, -slightly elevated in front, and, though no longer used, its varieties -must be described, as it often occurs on book-plates of the period. - -Princes carried a toque of black velvet, with a band around the brim of -vair. In front a golden aigrette supported seven ostrich feathers. - -Dukes wore the same, simply replacing the band vair by a band ermine. - -Counts carried a toque of black velvet, with a band ermine. An aigrette, -gold and silver, supported five feathers. - -Barons wore the toque with a band counter vair. A silver aigrette -supported three feathers. - -These were further subdivided and distinguished, so as to show whether -the rank was senatorial, military, ecclesiastical, or civil. - -Chevaliers carried a black velvet toque with a green band. A silver -aigrette with one upright feather. - -Further, there were grants of arms for Préfets, Sous-Préfets, and Maires -of towns, whilst the towns themselves were divided into classes, each -class having on a chief, or a canton, a distinctive badge. - -Thus, cities of the first order, such as Amsterdam, Antwerp, Bordeaux, -Brussels, Ghent, Geneva, Hamburg, Lyons, Lille, Liège, Montauban, and -Paris, bore three golden bees (the Napoleonic badge) on a chief gules, -in addition to the arms of the cities here cited, whose names recall the -extent of territory over which at one time Napoleon held sway. - -Second class towns bore a golden N on a dexter canton azure; and third -class towns had a sinister canton gules, on which was a silver N. - -Quite recently the French Government conferred the Cross of the Legion -of Honour on the town of Belfort, and on Rambervillers, a small place in -the Vosges Mountains, as a recognition of the gallant resistance they -offered to the Germans in 1870 and 1871. Belfort surrendered only under -orders from the French Government, the peace armistice having been -concluded. Its garrison left with the honours of war, and, although part -of Alsace, it was left to France on account of the indomitable courage -of Colonel Denfert-Rochereau (a Protestant of Rochelle), of the -garrison, and also of the townspeople, who allowed their houses to be -battered to pieces without once speaking of capitulation. The town of -Châteaudun was “decorated” with the Legion of Honour by Gambetta, having -signalized itself by its resistance to the invader, followed by -reprisals. Two or three other towns were decorated with the National -Order of Knighthood by Napoleon I. in 1815 for heroic resistance to the -Allies in 1814. Altogether nine towns in France have the Cross of the -Legion of Honour on their coats-of-arms. - -Another feature in Napoleonic heraldry was the revival of an ancient -ordinary, entitled _champagne_, occupying a third of the shield in base; -it frequently occurs in arms granted under the Empire, but is now -obsolete. In fact, on the restoration of Louis XVIII., an ordinance was -issued abolishing all the innovations introduced by Napoleon, some of -which deserved a better fate. - -One of the most delightful _traits_ in the character of the French -people is their readiness to laugh at their own little national -failings, their vanity, their volatility, and their political -instability. - -This power to see and appreciate the humorous side of events was never -better shown than in a work entitled “_Dictionnaire des Girouettes_ ou -nos contemporains peints d’après eux-mêmes,” published in Paris, -anonymously, but ascribed to the Comte de Proisy d’Eppe. - -This little book is at once one of the most comical and one of the -saddest ever written, being a kind of biographical dictionary of the -political turncoats of the period embraced between the years 1790 and -1815. It contains notices of all the leading Frenchmen of the day, with -extracts from their political writings and speeches, more especially -those containing allusions, complimentary or the reverse, to the heads -of the Government. Now, when we consider that during that quarter of a -century France experienced a number of sudden and violent changes in her -political constitution, going from the extreme of absolute Monarchy to -the utmost licence of Republican liberty, it will easily be recognized -that this book contains instances of the most astounding weakness of -character and political vacillation ever chronicled. - -Starting from 1790, when the Government was Royalist, indeed an absolute -Monarchy, in 1792 it became Republican, under the Convention, and later, -in 1795, under _le Directoire_. - - 1799. The Consulate. Napoleon First Consul. - - 1804. Imperial. Napoleon Emperor. - - 1814. Royalist again. Restoration of the Bourbon dynasty, Louis - XVIII. - - 1815. The Hundred Days. Flight of the Bourbons, restoration of - Napoleon. - - 1815,} Deposition of Napoleon; return of Louis - July.} XVIII. - -Each of these changes, as it occurred, was hailed with rapturous -applause, and with that form of gratitude which consists in a lively -sense of favours to come. - -Now, as this dictionary contains the names of nearly all the eminent -Frenchmen of the period, it follows that there are many in it whose -book-plates are of interest, concerning whom a few extracts may be -given, taken from the second and enlarged edition, published in Paris in -1815. No month is named, but evidently it appeared soon after the final -downfall of Napoleon, as it mentions the marriage of the Turncoat -Fouché, Minister of Police, in July, 1815, and that the king (Louis -XVIII.) signed the marriage contract. - -The two plates here introduced (they belonged to Turncoats) show the -stiff and formal heraldry of the Empire, and the characteristic toque. - -The De Portalis family were rich bankers at Neufchatel in the time of -the first Napoleon. This particular member of the family married a _Dame -d’honneur_ of the Empress Josephine, and was created a count of the -Empire, and an officer of the Légion d’Honneur, as is shown by the title -and star on his book-plate. - -He was associated with the Casimir-Periers in founding the Bank of -France, and died enormously wealthy. - -[Illustration: BOOK-PLATE OF COUNT J. M. PORTALIS.] - -His name occurs in the _Dictionnaire des Girouettes_, but without any -special circumstances; he simply accepted favours and titles from -whatever hand they came, royal or imperial, with equal condescension. - -Now the plate of Ch. Amb. Caffarelli, given on page 121, is a little -puzzling; it is evidently of the First Empire period, and bears the -toque of a Baron; whilst the second quarter on the shield shows the -arms assigned in Napoleonic heraldry to a Préfet, namely: “De gueules à -la muraille crénelée d’argent, surmontée d’une branche de chêne du -même.” _Armorial Général de l’Empire Français_, 1812. - -[Illustration: BOOK-PLATE OF M. DUBUISSON, 1805.] - -In the _Dictionnaire des Girouettes_ mention is made of a Caffarelli (no -Christian name) who was created a Count of the Empire, and Grand Eagle -of the Légion d’Honneur by Napoleon. The king afterwards created him -Chevalier of the Order of St Louis, and Commandant at Rennes; whilst in -1815 he again reverted to the service of the Emperor. There was also a -Baron Caffarelli who bore similar arms, but he was Bishop of Saint -Brieux, whilst on this plate no ecclesiastical emblems are shown. He, -too, was a member of the Légion d’Honneur. - -To which of these two this plate belonged I cannot decide, nor is the -matter of the first importance. - -[Illustration: BOOK-PLATE OF LUCIEN BONAPARTE, PRINCE OF CANINO. BROTHER -OF NAPOLEON BONAPARTE.] - -One plate may be named which forms an exception to the monotonous -regularity of the heraldic style under the First Empire; it is that of -Antoine-Pierre-Augustin de Piis, a dramatist. His monogram hangs on a -palm tree, each branch of which bears the name of some well-known -singer,--Panard, Favart, Collé, etc., whilst beneath are the titles of -the vaudevilles he had himself written. Another artistic little plate of -this period is that of M. Dubuisson, dated 1805, on page 130. - -[Illustration: EX-LIBRIS IMAGINAIRE DE NAPOLÉON I.] - -Lucien Bonaparte, Prince of Canino, younger brother of Napoleon, resided -some time in England, but died at Viterbo in 1840. His son, Charles, -Prince of Canino, distinguished as a naturalist, died in 1857, and it is -not easy to decide to which of the two this quiet, unpretentious little -Canino plate belonged. - -The books of the first Napoleon were sumptuously bound, but he used no -book-plate. Monsieur L. Joly, in his _Ex-Libris Imaginaires_, furnishes -one such as might well have been used by the great soldier and -law-maker. An imperial eagle casts a thunder-bolt, which illuminates the -peaks of the Alps; below are seen the emblems of war, the owl, symbolic -of wisdom, the Cross of the Légion d’Honneur, and the books of the Code -Napoléon. - -[Illustration: BOOK-PLATE OF JOACHIM MURAT.] - -[Illustration] - - - - -CHAPTER VIII. - -THE RESTORATION, AND LOUIS PHILIPPE. - - -On the abdication of Napoleon, Louis XVIII. was placed on the throne of -his ancestors, and reigned over France by the Grace of God and the Holy -Alliance. - -He had learnt nothing and forgotten nothing during his exile, and -notwithstanding the strong advice of the Powers who had set him up in -business as a monarch, he encouraged a steady reaction against the -improvements that had been so liberally encouraged in the State by -Napoleon and his ministers. - -The French nation had but little loyalty or affection for this gouty, -gluttonous, fat old man, but they ridiculed him, and bore with him, till -his death in 1824. - -His brother, the Comte d’Artois, who succeeded him as Charles X., a -narrow-minded, obstinate, and priest-ridden man, persevered in the same -course as Louis XVIII., and was even more unpopular. - -Under these two Bourbons, who strove hard to undo all the reforms that -the Revolution had effected, those of the old nobility who had survived -the Terror and the Wars were encouraged to return to France, and once -again the refrain was: - - “Chapeau bas, chapeau bas! - Gloire au Marquis de Carabas.” - -They resumed their ancient titles, estates, and family arms, but the -bulk of the French nation declined to consider them, or their claims, -seriously. Both Louis XVIII. and Charles X. created new nobles from -amongst their personal and political adherents, but few men of worth or -importance were willing thus to be ennobled. - -The rules of heraldry devised by Napoleon were annulled, and the old -system revived. But though the wealth of the nation had greatly -increased during the few years of peace, whilst the taste for literature -and the formation of large collections of books had once again come into -fashion, the book-plates of this period show no improvement in taste, -and no originality in design. They are either overladen with -meretricious ornamentation, or simple name labels possessing no artistic -interest whatever. - -One of the very few plates of the time worth naming is that of the -Duchesse de Berry for her library at Resny, on which we find the lilies -of the French royal family. The Duchess also used a simpler plate -similar to a book-binding stamp. - -Probably Berryer the famous advocate, had his plate engraved about this -time; it is in the Louis XVI. style. (See page 149.) - -The pretentious plate of Victor, Duc de Saint Simon Vermandois, Pair de -France, Grand d’Espagne, is an example of the want of taste of the -Restoration, as is also that of the _Bibliothèque de La Motte_ which is -destitute of grace or finish. - -[Illustration: BOOK-PLATE OF THE DUCHESSE DE BERRY.] - -At length, in July, 1830, the French, weary of the reactionary rule of -Charles X. and of his breaches of faith, drove him from the throne, and -he sought refuge in England. - -His cousin Louis Philippe was elected king of the French, and for -eighteen years the country enjoyed comparative peace, and great -commercial prosperity. - -Then at last was France released from the nightmare pressure of the -_ancien régime_, and free to choose a constitutional government suited -to her requirements and the progress of modern civilization. - -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. - -Milsan attempts a weak pun on his name, bank notes for 1,000 and 100 -francs represent the words _Mille cent_. This is the kind of joke that -even a virtuous man might make in the seclusion of his own family -circle, but that any sane man should engrave, revise it, print it, and -finally paste it in all his books is something which almost destroys our -faith in human nature. - -A member of the famous publishing house, Mons. Ambroise Firmin-Didot -(author of a “History of Wood-Engraving”) had an original and very -appropriate design printed in gold on red morocco. In allusion to the -date of the foundation of his firm, and their ancient sign, it bore the -device: _à la bible d’or_ 1698, and the inscription _Bibliotheca -Ambrosii Firmini Didoti_, whilst in the centre was an open bible. This -is just one of the few plates of this period, interesting for its -owner’s sake, and for its originality, which collectors would wish to -have, but it is rather difficult to obtain. - -R. C. G. de Pixérecourt is found on the book-plate of the prolific -dramatic author whose real appellations were René Charles Guilbert. As -he was born at Pixérecourt he ennobled himself by calling himself _de -Pixérecourt_, a piece of vanity which probably deceived no one. If the -State were to tax all these assumptions of nobility, a good addition -would be made to the French revenue. In other respects his ex-libris was -modest enough; he did not steal a coat-of-arms, but had the simple -Cross of the Legion of Honour with two branches of oak, and for motto -the last line of the following charming sonnet by Desbarreaux Bernard. - - SONNET. - - Mes livres sont ma joie! aussi sur eux je veille - Comme veille l’avare auprès de son trésor; - Et mon esprit charmé, qui rarement sommeille, - Les prend, les lit, les quitte et les reprend encor. - - Ne ménageant pour eux, ni prix, ni soins, ni veille, - Toujours prompt, toujours prêt à prendre mon essor; - Aux timides conseils fermant surtout l’oreille, - Nouveau Jason, je cours, ravir ma toison d’or! - - Tout nous trompe ici-bas, les hommes et les choses, - La vipère et le taon s’abritent sous les roses, - Le peuple à la vertu ne crois plus désormais, - - Le trompeur, le trompé, conspirent à portes closes, - Du sexe on sait la ruse et les métamorphoses, - _Un livre est un ami qui ne trompe jamais_. - - -THE SECOND EMPIRE. - -Owing to a variety of circumstances Louis Philippe became unpopular, and -at length in 1848 there were serious disturbances in Paris. It is -probable that a man of strong will might have put these down with some -little bloodshed, but Louis Philippe was a kindly, peace-loving man, and -rather than face the horrors of a civil war he abdicated, and the second -Republic was proclaimed, to be quickly changed into the Second Empire, -under Napoléon III. - - Par le temps renversé, quand cet empire immense, - Chef-d’œuvre de génie autant que de puissance. - Un jour n’offrira plus aux siécles à venir - Que de grandes leçons et qu’un grand souvenir. - -These lines were written about the First Empire, but are still more -appropriate to the Second, which is now, indeed, nothing more than a -name connected with the saddest of souvenirs. - -[Illustration: BOOK-PLATE OF MONSIEUR RISTON. - -Engraved by D. Collin.] - -Under the Second Empire book-plates began to have a distinctly personal -character, more originality in conception, together with much greater -freedom and _abandon_ in execution. Humorous designs also occasionally -appear, where all had hitherto been formal, cold, pompous, or severe. -The simple heraldic plate falls into disfavour amongst those who are -entitled to bear arms, though curiously enough the assumption of false -arms and titles goes on exactly as before. - -[Illustration: BOOK-PLATE OF THE VICOMTE BEUGNOT.] - -In 1857 the Minister of Justice addressed a report on this topic to the -emperor, asserting “que jamais peut-être la tendance à sortir de sa -position et à se parer de titres auxquels on n’a pas droit ne s’est -manifesté d’une manière plus regrettable que depuis ces dernières -années.” - -But the evil had existed, still exists, and will continue so long as the -vanity of human nature prompts men to lay claim to ancient descent, and -to assume arms and titles either stolen, ready made, or purchased at -the _Bureaux de Généalogistes_ which abound in Paris as in London. - -It is no new crime, this snobbism--Molière jested at it two centuries -ago: - - “Je sais un paysan qu’on appelait Gros-Pierre, - Qui n’ayant pour tout bien qu’un seul quartier de terre, - Y fit tout à l’entour faire un fossé bourbeux, - Et de Monsieur de l’Isle en prit le nom pompeux.” - -[Illustration: BOOK-PLATE OF M. LE COMTE LANJUINAIS.] - -As for the real heraldry of the Second Empire, such as there was of it, -the fashion of the First Empire was revived by Napoleon III., whose -constant endeavour it was to make the French people recognize in him the -nephew of his uncle, whilst they, on the other hand, would not seriously -believe that he was even the son of his reputed father. “Vous n’avez -rien du grand Empéreur Napoléon,” said his cousin Plon-plon to him one -day. “You are mistaken, I have all his poor relations,” replied the -easy, good-natured Louis Napoleon, who was in addition hampered by the -descendants of the courtiers of the first Napoleon. - -[Illustration: BOOK-PLATE OF THE MARQUIS DE PASTORET.] - -The emperor did not possess a book-plate, but books with the imperial -arms stamped on their bindings occasionally occur in French sales. More -rare, and consequently more sought after, are the volumes which are -stamped either with his monogram, or with the elegant little device of -the Empress Eugénie. - -Severely simple as is the monogram of Napoleon III., it is ingenious, -and not without a certain air of grandeur, whilst the badge of the -empress, though still preserving an imperial character, is more graceful -and ornamental, as was appropriate to its owner, who was considered one -of the most beautiful women of her time. - -[Illustration: CIPHER ON BINDINGS OF NAPOLEON III.] - -These two stamps were principally used on the bindings of books which -were either presented or dedicated to the emperor and empress, and the -volumes on which they are found certainly belonged to their private -library. - -A characteristic example of the formal heraldic book-plate in vogue -during the Second Empire is that of Amédée David, Marquis de Pastoret, -a politician and littérateur, who was born in 1791, and died on May 19, -1857. His war cry, “France! France!” recalls the fact, little to his -credit, that he was one of the first to applaud the _Coup d’Etat_ of -Napoleon III. and to profit by it. (See p. 144.) - -[Illustration: CIPHER ON BINDINGS OF THE EMPRESS EUGÉNIE.] - -He was the son of M. Pastoret, a senator and member of the Institute of -France, created a Count of the Empire by the first Napoleon, with a -grant of arms thus described in the _Armorial Général de l’Empire -Français_: “D’or à la bande de gueules chargée d’un berger paissant un -mouton d’argent.” - -This Count of the First Empire became a Peer of France under the -Restoration, and figures as a brilliant instance of a successful -turncoat in the _Dictionnaire des Girouettes_. - -[Illustration: BOOK-PLATE OF LE COMTE DE GRANCEY.] - -On page 143 is the modern armorial of the Comte Lanjuinais, probably -that of the son of the first Comte Lanjuinais, who started in politics -as a member of the National Convention, swore fidelity to the Republic -and death to the King. This did not prevent him from accepting the title -of Count of the Empire from Napoleon, who also named him a knight -commander in the Légion d’Honneur. On the return of Louis XVIII. he was -named a Peer of France, but he again espoused the cause of Napoleon on -his escape from Elba, whilst on the downfall of the Empire for the -second time he obtained another appointment by the grace of the king. -His name and fame are immortalized in the “Dictionary of Turncoats.” - -[Illustration: BOOK-PLATE OF THE DUC DE MOUCHY.] - -The Comte de Beugnot was a Councillor of State, and Officer of the -Légion d’Honneur under Napoleon I., and he also served under Louis -XVIII. The Vicomte, his son, on his modern book-plate (see p. 142) -carries quarterly first and fourth, the Beugnot arms, “argent, au -chevron d’or, accompagne de trois grappes de raisin de gueules.” - -[Illustration: BOOK-PLATE OF MONSIEUR BERRYER.] - -Monsieur Pierre Antoine Berryer was the most famous advocate at the -French bar during the Empire, his defence of the Count Montalembert in -1858 created some sensation at the time. He was elected a member of the -Académie Française in 1855, and of the Corps Legislatif in 1863. - -His book-plate is distinctly in the Louis XVI. style, but this is not so -incongruous as it appears at first sight, for M. Berryer was born in -1790, and was first elected a deputy in 1830 when France was still -under the Bourbons. - -On page 148 is a reproduction of the plate of the Duc de Mouchy, another -supporter of the Third Empire, bearing the Cross of the Legion of -Honour. He and the duchess for some time resided in Paris in a house -which belonged to the empress, but after the downfall of the Empire, -this house was bought by the late Baron Hirsch, who also bought -Beauregard, near St. Cloud, which had formerly belonged to Mrs. Howard, -a mistress of Napoleon. - -[Illustration: BOOK-PLATE OF GENERAL DE LANCEY.] - -What a curious comic opera court it was, this of the Second Empire, with -the emperor’s life-long friend Persigny at the head of it, and he the -son of a pastrycook. - -Persigny married the daughter of Marshal Ney, a rich, vulgar, violent -woman. When Persigny was appointed Ambassador to the Court of St. -James, he unfortunately brought his wife with him. At a _bal masqué_, -attended by the Queen and Prince Albert, the wife of Persigny suddenly -slapped a lady in the face because she had copied her costume; -consequently “urgent private affairs” required the immediate return to -Paris of Mons. de Persigny. The emperor, to console him, shortly -afterwards created him a duke. - -Then there were De Maupas, the Count Walewski (an illegitimate son of -the first Napoleon), the Baron Haussmann, Préfet de la Seine, who -rebuilt Paris, and enriched all his friends, De Lesseps, and crowds of -political adventurers, feather-bed soldiers, and financial schemers, who -thrived in this hot-bed of corruption, and amassed fabulous fortunes at -the expense of France. - -The festivities came to an end none too soon for the nation, but the -bill was a terrible one to pay. - -[Illustration] - - - - -CHAPTER IX. - -THE FRONTIER PROVINCES. - - -In June, 1881, M. Auguste Stoeber wrote some articles on Alsatian -book-plates which were published in the “Express de Mulhouse.” In -response to the persuasion of his friends he re-published these notes in -a pamphlet entitled “Petite Revue d’Ex-Libris Alsaciens, par Auguste -Stoeber, avec un facsimile de l’Ex-Libris de C. Wolfhardt, dit -Lycosthenes, de Rouffach.” Mulhouse, Veuve Bader et Cie, 1881. M. -Stoeber died a few years later, and his little pamphlet is now very -rare. - -We have already seen that 1574 is the year of the earliest known dated -French ex-libris; M. Stoeber claims for Alsace a more ancient ex-libris, -which is not dated, but from its history must have been engraved before -1561. It belonged to Conrad Wolfhardt, who pedantically translated his -family name into _Lycosthenes_. He was born at Rouffach in 1518, studied -at Heidelberg, and became a professor at Basle, where he died on the -25th March, 1561. His book-plate appears to have been engraved on some -soft metal, either lead or pewter; there is no attempt to show the -tinctures on the shield, which is surmounted by a death’s head and -hour-glass. The design is surrounded by Latin mottoes, and beneath is -the inscription “Symbolum Conradi Lycosthenis Rubeaquensis.” - -[Illustration: BOOK-PLATE OF MESSIEURS A. AND L. BENOIT, 1846.] - -[Illustration: BOOK-PLATE OF MONSIEUR BENOIT, 1894.] - -M. Auguste Stoeber describes a large number of ex-libris of Alsace, -formerly the frontier province of France, but now, owing to the terrible -fortune of war, incorporated with Germany. The greater portion of these -book-plates bear names of distinctly German origin, and their style is -totally dissimilar to that of French art. Take, for example, the modern -plate (it is dated 1846) designed by Mons. Arthur Benoit, of -Berthelming, to be used by himself and his brother Louis, for their -Saargovian collection, in which the artist has represented an Alsatian -peasant woman, in the ancient costume of the province, wearing the -quaint head-dress called the _Winterkappe_, which was made of black silk -for the Protestants, white silk for the Catholics. The spire of the -church of Berthelming rises in the background, and the _tout ensemble_ -has a far more German than French character. The brothers Benoit had two -other book-plates, different in design, but not more French in -appearance. - -[Illustration: BOOK-PLATE OF ALBERT METZGER, OF MULHOUSE.] - -The plates of Albert Metzger, of Mulhouse (by Ch. Delâtre), and of -Jacques Flach, of Strasbourg (by Groskost, of Strasbourg), are equally -German in style, although the pretty motto on the latter is essentially -French in thought and word. A reproduction of it will be found in -Chapter XIV. - -Coming to the adjoining frontier province, we find that the plates -engraved in Lorraine are rather less influenced by German art and the -ponderous German heraldry. Many beautiful ex-libris bear on their faces -the name of the city of _Nancy_ as their birthplace, and well-known -artists for their fathers. - -A few of the leading engravers of ex-libris who sign themselves as of -_Nancy_ are J. Valdor (G. Grangier’s plate); C. Charles, 1739; Nicole on -a large number of dated plates, from 1743 to 1767; Colin, and two named -Collin, whose signatures appear on a number of fine plates. The D. -Collin, who produced the interesting plate of “_R. Willemet_, -Apothicaire à Nancy,” describes himself as “Graveur du feu Roy de -Pologne.” Further particulars concerning these artists will be found in -the chapter on artists and engravers. - -[Illustration: BOOK-PLATE OF FRANÇOIS DE CHANTEAU.] - -The Duchy of Lorraine (formerly known as Lotharingia) was at one time an -appanage of the House of Austria, but after several dynastic changes it -was conferred, for life only, upon Stanislaus I., the dethroned king of -Poland. - -[Illustration: BOOK-PLATE OF LÉON GERMAIN OF NANCY.] - -Stanislaus held the titles “Duc de Lorraine et de Bar,” and on the large -book-plate for the public library of the city of Nancy, the inscription -reads “Fondée par le Roy de Pologne, duc de Lorraine, en MDCCL,” whilst -the supporters of the central shield are two eagles, each carrying an -escutcheon, the dexter eagle bears the arms of Lorraine (_or, on a bend -gules, three allerions argent_), the sinister eagle carries the arms of -Bar. On the death of Stanislaus, in February, 1766, the Duchy was united -to the crown of France. - -[Illustration: BOOK-PLATE BY NICOLE OF NANCY.] - -The city of Nancy was the capital of Lorraine. Here Stanislaus resided: -he did much to embellish the city, where his memory is still highly -respected, his portrait is preserved in the library, and a public square -is named after him, whilst, as we have seen, D. Collin mentioned on his -works that he had been “engraver to the late King of Poland,” a -statement which, at first sight, appears to have little relevance to -French book-plates. - -The handsome plate which has been re-engraved for this work, and forms -the frontispiece, belonged to the Prince de Marsan, of the house of -Lorraine. It is a grand specimen of the Louis Seize style, but -unfortunately it is neither signed nor dated. - -[Illustration: BOOK-PLATE OF PETER DOBREE.] - -The inscription reads “Ex Libris Serenissimi Principis DE MARSAN a -Lotharingia.” - -The eight quarterings on the shield are the arms of--1. Hungary; 2. -Anjou-Sicile; 3. Jerusalem; 4. Aragon; 5. Anjou (modern); 6. Gueldres; -7. Brabant; 8. Bar. On the dexter inescutcheon are the pure arms of -Lorraine as borne by the Dukes of Lorraine. The whole within a bordure. - -[Illustration: BOOK-PLATE OF FREDERICK LE MESURIER.] - -The collars around the arms are those of the French _Ordres du Roi_, -namely the orders of Saint Michel and the Saint Esprit. - -[Illustration: BOOK-PLATE OF PETER DE HAVILLAND.] - -As the Channel Islands have long belonged to Great Britain it is -obviously incorrect to class them under the Frontier provinces of -France. And yet some mention must be made of them, for many book-plates -used there have a distinctly French character, whilst a list of the -names of some of the leading families (of French origin), will show that -a collector might easily be led to mistake their plates for French: - -Allès, Le Patourel, Metivier, Mauger, Le Dieu, Bichard, Andros, Bonamy, -Brock, Blondel, Beauvoir or De Beauvoir, Carey, Cary, or Careye, De -Carteret, Effard, de Jersey, de Havilland or Haviland, Gosselin, Dobrée, -Perchard, Le Mesurier, Mesny, Millais, Milais, Milet, Priaulx, De -Sausmarez or Saumarez, Fautret, De Vie, Lihou, Guille, Le Marchant, Le -Febvre, Le Roy, Le Pelley, Tupper, Le Gros, Lemprière, De Lisle, Falla, -De Putron, Renouf, Le Gallienne, Naftel. - -I give reproductions of three such plates, one a fine specimen of -engraving, of Peter Dobree, a family long settled in Guernsey, the other -a more modern plate of the Le Mesurier family, to which the fleur-de-lys -and the motto give a French appearance. The motto is the same as that -used on his book-plate by David Garrick, who was himself of Huguenot -descent. The third is a plate of Peter de Havilland, a member of a very -old Guernsey family, now represented by General de Havilland. There is a -plate of this family by Skinner, of Bath, dated 1742. (See pp. 159, 160, -161.) - -There are several instances of ancient French titles being held by -residents in Great Britain, or our Colonies, which titles are also -recognized by our heraldic authorities. As their book-plates would -undoubtedly pass for French, a few explanatory notes about them may be -given. - -The Barony du Bois de Ferrieres may be instanced. The Du Bois was a -Walloon family, whilst the De Ferrieres branch was of Huguenot descent, -which removed from France to Holland at the revocation of the Edict of -Nantes. The family motto was _Tout par et pour Dieu_. - -The Marquis de Lapasture was created a French nobleman in 1768; his -descendants settled in England. - -The Baron de Teissier, created by French patent in 1819, was also -permitted by royal authority to use that title in Great Britain. - -[Illustration: BOOK-PLATE OF THE DE VISME FAMILY.] - -Another descendant of an ancient noble French family identified with -this country was the Marquis Ruault de Longueville de Bucy, who was -educated at Eton and Cambridge, and served in the Bechuanaland -Expedition with Methuen’s Horse. - -This marquis (the 11th in descent) belongs to a family whose history is -full of curious and romantic vicissitudes. The first Marquis de Bucy et -Merval was created in 1602, he being the direct descendant of the -ancient feudal Lords of Bucy, successive holders of the Marquisate were -Lords-in-Waiting to Louis XIII. and Louis XV. Charles Marc, the 8th -marquis, was a Captain in the French King’s Musqueteers, a court post of -considerable importance under the _ancien régime_. During the Reign of -Terror he escaped to England, but his wife, Marie Ruault, Marquise de -Gamaches, in her own right, was captured and guillotined with Marie -Antoinette. - -The 9th Marquis, son of the above, was invited by Napoleon I. to return -to France, which he did, served as Major in the celebrated Cuirassiers -de la Garde, and died a soldier’s death at Waterloo. He was the -grandfather of the present holder of the title. - -The motto of the family is singularly appropriate to its history: _Pour -le roi souvent--pour la patrie toujours_. - -The next family to mention in this connection is one which, though -thoroughly identified with this country, carries arms proclaiming their -French origin to even the most casual observer. Indeed the Counts de -Vismes (or de Visme) asserted their descent from royalty itself, as -evidenced by the first quarter, _d’azur semée de fleur-de-lys or_, for -France ancient, whilst the motto _Mont Joie St. Denis_, and the -supporters, two angels, also indicate French royalty. (See page 163.) - -[Illustration: BOOK-PLATE OF G. DE VISME.] - -The family of De Visme is descended from the sovereign Counts of -Ponthieu (dating since the eighth century) of the Blood Royal of France, -and the head of the family has, by usage on the continent, borne the -title of prince. The title of Count de Visme has also been recognized by -the successive governments of France, although the family has long been -resident in England, and has furnished many distinguished officers to -our army. - -Here is another plate of a Frenchman settled in England, and rather more -English than the majority of Englishmen themselves. - -[Illustration: BOOK-PLATE OF THE CHEVALIER DE CHATELAIN.] - -The Chevalier de Chatelain was a prolific author: poems, essays, and -letters without number, flowed from his pen; he translated some of -Shakespeare’s plays into French, and endeavoured to explain Victor -Hugo’s works to our countrymen. Finally he wrote poems in praise of his -deceased wife, Madame Clara de Chatelain, _née_ Clara de Pontigny. - -[Illustration: BOOK-PLATE OF THE BARON DE MORIENSART. - -(A Specimen of Flemish Heraldry of the seventeenth century.)] - -Probably few people have read the praises of this good lady, but she -appears to have been a remarkable person, an accomplished musician, a -clever linguist, and, what is more to the point, she was for -thirty-three years the loving wife of the chevalier, who was enabled, -through her amiability, to claim and obtain the Dunmow Flitch in 1855 -for their marital felicity. - -As for the chevalier himself, he appears to have been a kindly, fussy, -well-read old gentleman, seriously afflicted with the _cacoëthes -scribendi_. - -[Illustration] - - - - -CHAPTER X. - -ECCLESIASTICAL EX-LIBRIS. - - -So long as the government of France was monarchical, it was largely -influenced by the priests, and her most famous statesmen were such -princes of the Church as Richelieu, Mazarin, De Retz, Rohan-Soubize, La -Rochefoucauld, and Talleyrand-Périgord. Whether their power was always -exercised solely for the good of France is not a question to be -discussed here, but, speaking generally, it is certain that they did -much to encourage the progress of art, science, and literature. - -Some of the finest libraries in old France were formed by cardinals and -bishops; Richelieu and Mazarin founded free libraries open to the -general public, and many of the wealthy religious houses and monastic -institutions had collections of the rarest illuminated MSS., such as -Livres d’Heures and early Liturgies, of which, alas! most were wantonly -destroyed, or dispersed, during the mad period of the Revolution. - -It must be admitted that humility was a virtue not much studied by the -cardinals or their satellites, their books were sumptuously bound, with -their arms ostentatiously emblazoned on the covers, and their -book-plates were also of the most pompous description. - -When ex-libris became fashionable theirs were the largest and the most -elaborate, the insignia of the Church being added to their family arms, -and nothing was omitted which could show how vastly superior these men -were to their predecessors, the poor fishermen of Judea. - -First among the Church dignitaries, who were also statesmen, comes the -name of the powerful Cardinal Richelieu, who formed a valuable library, -partly by purchase, but principally by robbery or intimidation. To do -him justice, however, he dedicated in his will his books to the use of -the public, and his grand-nephew saw that his wishes were obeyed. The -first idea of creating a free public library in France was due to J. A. -de Thou, who, dying in 1617, left all his valuable collections _ad usum -publicum_: but his will was ignored, and his books were dispersed. - -Richelieu followed his example, and later on the Cardinal Mazarin, his -successor, realized the idea by leaving his magnificent library, with -funds to maintain it, for the free use of the public. - -Mazarin, that “Laquais parvenu au Cardinal,” the councillor and the -minister, if not the husband, of Anne of Austria, the man who, with all -the cares of an unruly state on his shoulders, still found time to -accumulate two enormous libraries. Of these the first was compulsorily -sold in 1652, but the second remains, and now forms the nucleus of the -Bibliothèque Mazarine in Paris. It was of this collection that Loret -wrote: - - “Mais, surtout, la bibliothèque - Contenant maint œuvre à la gréque, - Et des rangs de livres nombreux - Persans, latins, chinois, hébreux, - Turcs, anglois, allemans, cosaques, - Hurons, iroquois, siriaques, - Brefs tant de volumes divers - D’auteurs tant en proze qu’en vers, - Qu’on peut, sans passer pour profane, - Alleguer que la Vaticane - N’a point tant de livres de prix, - N’y tant de rares manuscrits.” - -Mazarin confided his books only to the most expert binders; Le Gascon, -Saulnier, and Petit were employed by him, whilst he kept a number of -clever binders constantly at work in his library under his own -supervision. His favourite style was red morocco, stamped on the sides -with his arms, surmounted by the cardinal’s hat, and in the angles a -monogram, either C. J. M. (Cardinal Jules Mazarin), or simply J. M. - - “Livres tant rares que vulgaires - Dont chascun jusqu’aux plus coquins - Revestu d’un beau marroquin, - D’une ravissante manière.” - -Thus bound, emblazoned, and identified, the books of Cardinal Mazarin -certainly needed no ex-libris, nor does it appear that he used one. - -Bishop Huet, who gave his books to the Jesuits, has already been -mentioned as the cause of several fine ex-libris. - -[Illustration: BOOK-PLATE FOR THE LEGACY OF GILLES MÉNAGE.] - -[Illustration: BOOK-PLATE FOR THE DONATION OF BISHOP HUET.] - -[Illustration: BOOK-PLATE OF BISHOP QUIQUERAN DE BEAUJEU.] - -The arms which Gilles Ménage had stamped on his bookbindings (_d’argent, -au sautoir d’azur chargé d’un soleil du premier_) were also placed on -the ex-libris prepared by the Jesuits, to be placed in the books left to -them by Ménage. The plate is less elaborate than that of Bishop Huet, -but is equally interesting. Ménage was born on August 15, 1613, and -displayed an intense love of books from his earliest youth, and what was -somewhat remarkable, he inserted the date on which he acquired each book -on the title page. Although a great scholar, he possessed little -originality; his own most important work was his _Dictionnaire -Etymologique_, whilst that which has best preserved his memory amongst -general readers is the curious collection entitled, “_Menagiana_: ou les -Bons Mots et Remarques Critiques, Historiques, Morales et d’Erudition, -de M. Ménage. Recueillies par ses Amis.” This is indeed a mine of -information; it contains much valuable ore in the shape of epigrams, -parodies, and anecdotes, but great labour is required to separate the -gold from the quartz. Here is the poem “Le Fameux La Galisse,” which -Goldsmith imitated, and here, too, is the famous saying of Ménage, “La -première chose qu’on doit faire,” so often quoted on book-plates. Ménage -died July 23, 1692, which year is given on the Jesuits’ book-plate. - -[Illustration: BOOK-PLATE OF BISHOP CAUMARTIN.] - -To assist in identifying ecclesiastical ex-libris, it must here be -mentioned that they carry the head-dresses peculiar to the hierarchy of -the Catholic Church, which are to be distinguished as follows: - -_Cardinal._--A red hat having a wide, flat brim, with a cord on each -side, from which hang five rows of red tassels. - -_Archbishop._--A hat similar in shape to that of a cardinal, but green -in colour, with a cord on each side, from which hang four rows of green -tassels. - -_Bishop._--The same hat as an archbishop, but with only three rows of -green tassels. - -_Abbé._--A black hat, with a cord on each side, from which hang two rows -of black tassels. - -[Illustration: BOOK-PLATE OF H. CHABEUF, OF DIJON.] - -As a matter of fact, the distinction between the hats of archbishops and -of bishops appears not to have been generally observed, as we find on -the book-plates of most of the bishops that they carried four rows of -tassels, that is, ten tassels on each side of their shields. Menestrier -admits that the number of tassels is immaterial, but he lays stress on -the colour: “Les chapeaux sont rouges pour les Cardinaux, verts pour -les Archevêques et Evêques, noirs pour les Protonotaires, et autres -dignitez au dessoux des Evêques.” These colours are shown in the usual -heraldic manner. - -[Illustration: BOOK-PLATE OF L. B. BARBIER.] - -Here are a few examples of clerical plates. _Caumartin_, a bishop, after -whom they have named a street in Paris; _Chabeuf_, a modern bishop of -Dijon; _Barbier_, an abbot; and _J. F. Seguret_, a canon of the -cathedral church of Alais. The last is an old plate, and is remarkable -because it contains no ecclesiastical emblems, the arms and supporters -being purely heraldic. The same remarks apply to the plate of the Abbé -Quarré de Monay, Canon of Autun, which is dated 1776, and is a -characteristic specimen of the plate of the period. Observe the large -coronet, the oval shield in a cartouche, the heavy pendent festoons, and -the solid square base, all distinctive features of the style Louis XVI. -(See reproduction, page 188.) - -[Illustration: BOOK-PLATE OF CANON SEGURET.] - -The plate of Dominique-Barnabé Turgot de Saint Clair, bishop of Seez, -dated 1716, is a good example of the ecclesiastical plate of the period, -in which the mundane coronet is as conspicuous as the bishop’s hat. -Bishop Turgot died on December 18th, 1727, leaving a valuable library, -which was sold in Paris in 1730. - -The ex-libris of the library of the college of Eu, founded by the Duc de -Maine in 1729, may be inserted here, as belonging to an educational -establishment. It must be confessed that the plate has a very warlike -appearance, for it carries the arms of the founder of the college, Louis -Auguste de Bourbon, Duc de Maine, who was Captain-General of the -Artillery, hence the warlike devices which surround the pedestal. Being -a Bourbon, his arms were France, debruised by a baton. - -[Illustration: BOOK-PLATE OF BISHOP BARNABAS TURGOT.] - -The plate is an interesting example of the artistic regularity which -marks the early period of Louis XV. (See next page.) - -[Illustration: BOOK-PLATE OF THE COLLEGE OF EU.] - -The armorial plate of the Abbé de Bourbon-Rothelin shows by its -inescutcheon, and its supporters, that the owner was a descendant of -the royal house of Bourbon. Charles d’Orléans, Abbé de Rothelin, a son -of Henri d’Orléans, Marquis de Rothelin, was born August 5, 1691, and -died July 17, 1744. He was an ardent collector of medals, books, and -manuscripts, and was esteemed one of the most learned men of his day. At -his death, his library, which was especially rich in early theological -works, was sold and dispersed, but his collection of medals was acquired -entire for the museum of the Escurial. (See reproduction, page 187.) - -[Illustration: BOOK-PLATE OF M. LE CURÉ DUBUT.] - -The arms, stamped on the sides of the books bound for him resembled -those on his ex-libris, but without the columns in the background. - -[Illustration: BOOK-PLATE OF THE ABBÉ DE GRICOURT, 1750.] - -A very large ecclesiastical plate is that of Franciscus Tristanus de -Cambon: Episcopus Mirapiscensis. This plate is in the best style of the -early period of Louis XVI., and is signed _J. Mercadier. Inv. et sculp._ -The shield is surmounted by the coronet of a count, over which is the -bishop’s hat. - -The plate of Archambault is a handsome specimen of the work of Sergent, -signed “Sergent scul. Carnuti.” The date is very faint, but appears to -be 1773. - -[Illustration: BOOK-PLATE OF D’ARCHAMBAULT.] - -“Affaires du Clergé” on the open book, the tables with the commandments, -the mitre and crozier, sufficiently indicate that the owner of the plate -was connected with the Church. - -[Illustration: BOOK-PLATES OF J. A. LE MERCIER.] - -_Des Livres de M. Dubut_ is the title of the pretentious book-plate of -the Curé de Viroflay, signed Le Roy, and dated 1782. - -Here we have the arms of this pious son of the Church going straight to -Paradise on a thunder-cloud, under the protection of two rather -mundane-looking ladies. The world, the flesh, and--but no--the cross of -St. Louis in the background prevents the completion of the trio. (See -page 181.) - -In a somewhat similar style of thunder-cloud decoration is the dated -plate of the Abbé de Gricourt, already referred to. - -[Illustration: BOOK-PLATE OF THE REV. FATHER INGOLD.] - -The plates of J. A. Le Mercier show that at first over his arms he bore -the coronet of a count, but that later on, probably during the -revolutionary period, he had that erased to make way for a meaningless -finial ornament, on the lower half of which the back part of the coronet -can still be seen. - -A modern addition to the French literature on book-plates is a -sixteen-page pamphlet, entitled, _Les Ex-Libris Oratoriens_, published -in 1892 by Charles Poussielgue, in the Rue Cassette, Paris. - -[Illustration: BOOK-PLATE OF THE LIBRARY OF THE METROPOLITAN CHURCH OF -LORRAINE.] - -This is a brief sketch of some ecclesiastical ex-libris, written by a -priest, the Rev. Father Ingold, of L’Hay, near Paris. The pamphlet -contains some facsimile illustrations, of which three are reproductions -of exquisite plates designed by M. Claude Thièry, of Nancy. These are -the plates of the library of the Oratory of Tours, of the library of the -Massillon School, and lastly that of the author, Father Ingold, said to -be copied from an original miniature, dated 1466. The Ingold family was -of Alsatian origin, and the plate is essentially German in its design, -the helmet being surmounted by the characteristic proboscis. - -[Illustration: BOOK-PLATE OF L’ABBÉ DE BOURBON-ROTHELIN, 1691-1744.] - -This artist, Claude Thièry, who died in 1895, excelled in small delicate -hand-work, full of minute detail, in the manner of Callot; his own -ex-libris is an admirable specimen of his style. A facsimile of it is -given as a frontispiece to Henri Bouchot’s _Les Ex-Libris_. It -represents a fifteenth-century student at work amongst his books, with -the inscription: “Cestuy livre est à moy Claude Thiery, ymaigier du -moult hault et puissant seigneur Monseigneur François Joseph Empéreur.” - -[Illustration: BOOK-PLATE OF L’ABBÉ QUARRÉ DE MONAY.] - -By permission of Father Ingold a few of his illustrations of clerical -ex-libris are inserted here, namely, those of Quiqueran de Beaujeu, of -Joan de Montmeau, of François Jannart, and the simple little stamp -illustrated below, which was used by the priests for marking the books -in their own collection in the College of Lyons. - -Father Ingold complains, however, that in most of the ancient abbeys and -monasteries in France the officials who had charge of the books were -content simply to inscribe the name of the establishment in MS. on the -title-pages, and did not use book-plates. He gives a long list of these -inscriptions (all in Latin), some of which contain allusions to -interesting historical and bibliographical facts; but as all these -entries are _written_ in, they cannot be considered ex-libris in the -sense that we attach to the expression. - -[Illustration: - -EX -BIBLIO -PRIVAT A. -COLLEGYI -ORATOR -LUGD - -] - -A work of the greatest utility to those interested in the study of -ecclesiastical book-plates is the “Catalogue des Incunables de la -Bibliothèque Publique de Besançon,” par Auguste Castan. This was a -posthumous book, published in 1893, by J. Dodivers, Grande Rue, -Besançon. - -The author was Conservateur de la Bibliothèque de Besançon, a position -which gave him ample opportunities for the pursuit of bibliographical -studies, to which he devoted his life. The library of Besançon is -particularly rich in unique early printed books, and in MSS. It contains -no less than 985 volumes or pamphlets, printed during the fifteenth -century, amongst which are examples of the rarest works from the early -printing offices of Germany, Italy, France, and Switzerland. - -[Illustration: BOOK-PLATE OF J. F. JANNART.] - -These are all fully described by Mons. Castan, who gives biographical -accounts of their printers, the watermarks on their paper, their -bindings, notes concerning their former owners, and, what is more to our -purpose, descriptions of the ex-libris found in them. - -Of these there appear to be about 500, all being carefully indexed, but -the confusing French practice is adopted of including manuscript entries -of ownership amongst what we term book-plates. - -[Illustration: BOOK-PLATE OF JOAN DE MONTMEAU.] - -Several fine old armorials are reproduced, such as those of the -“Bibliothèques des Grands-Carmes de Besançon, Claud Boisot Canon -Cantoris Maj. Bisuntini Prioris Commen De Calce 1749.” (Two varieties.) -Nameless armorial of Laurent Chiflet, and a few typographical “Ex -Bibliotheca” and book-stamps. The plate inscribed “Bibliothèque des -Grands-Carmes de Besançon” is one of the reproductions; it was found in -a folio, printed in Venice, dated 1481, in which was also a written -inscription “fr. B. Bouchier, Conventus Vallenceynarum 1522”--by which -was meant the Convent of the Carmelites at Valenciennes. (See next -page.) - -[Illustration: BOOK-PLATE OF THE CARMELITES OF BESANÇON.] - -[Illustration: BOOK-PLATE OF DR. FRANÇOIS ROBERT SECOUSSE.] - -Those who have been educated in France will remember the solemn annual -distribution of prizes. The preparations that were made for weeks -beforehand; the erection of the grand stand in the courtyard of the -college for the authorities and visitors; the excitement of the day -itself; the arrivals of the proud mothers and sisters; the stately -procession of the principal, the under principals, the professors, and -last of all, the poor, wretched, badgered _pions_ (resident class -masters) up to the entrance to receive the Préfet of the Department and -his staff, resplendent in court dresses stiff with gold embroidery; the -prosy speeches, full of platitudes and truisms, addressed to the four or -five hundred youngsters simmering in the August sun in closely -buttoned-up military uniforms; the report of the principal that the -conduct of all had been most exemplary, with other stereotyped phrases -equally stale and devoid of truth; and then the solemn march up of the -successful prize-winners, and their return laden with books (destined -never to be read), gorgeously bound in purple and gold, or blue and -silver. In each book was carefully inserted a book-plate, giving the -name of the _lycée_, or college, the date, name of prize-winner, and -nature of the examination. - -[Illustration] - -[Illustration: PRIZE LABEL OF DIEPPE COLLEGE.] - -The custom is so universal, and has been so long established, both in -lay and clerical seminaries, that no class of book-plates is so common -in France as these. - -[Illustration: BOOK-PLATE OF ALEXANDER LA MILLIERE.] - -[Illustration] - - - - -CHAPTER XI. - -THE HUGUENOTS. - - -Members of the Reformed Church in France had to submit to persecutions -similar to those endured by their co-religionists in other European -countries. - -It is as well to remember that living as we do in a Protestant country, -our historians have been strongly biassed in their favour, and that -whilst the horrors of St. Bartholomew’s Day are always depicted in the -most lurid manner, little or nothing is said about the bloodshed and -cruelties inflicted by the Calvinists on the Catholics in those parts of -the country where they happened to be numerous and powerful. The two -factions hated one another for the love of God; it was a cruel period, -and, as Baron Rothschild remarks in his “Characteristics from French -History,” “There was nothing to choose between Protestants and Catholics -in their savage hatred of each other. The Protestants butchered the -Catholics whenever they had an opportunity, and all that happened at St. -Bartholomew was that the Catholics made a good score.” And this view -naturally presents itself to any unprejudiced reader of the history of -the period. - -After frightful massacres and civil wars, the accession of Henry IV. -(himself a Calvinist) to the throne of France in 1589, gave promise of a -more tolerant spirit, and in April, 1598, he promulgated the famous -Edict of Nantes giving the Protestants a certain amount of religious -freedom. This wise measure was confirmed by his successors Louis XIII. -in 1610, and Louis XIV. in 1652. But later on, Louis XIV., under the -influence of Madame de Montespan and the Romish Church, saw fit to -revoke the Edict of Nantes in October, 1658, an act which was in its -consequences one of the most disastrous for the commerce and prosperity -of France. - -It was the aim of Louis, and his ministers, to compel the members of the -Reformed Church to abjure their heresies, and return to the Catholic -Church, and in some remote country districts, or places where the -Huguenots were few and isolated, the plan succeeded. But in the main it -failed, as all forced religious conversions ever have failed, a lesson -which kings and priests have always before them, and yet never seem to -learn. - -The forced exile of the Huguenot Ministers, after the revocation of the -Edict of Nantes, was the signal for flight to thousands of French -Protestants of both sexes, and of all classes and ages, and in spite of -the penalties proclaimed against emigration, and the punishments -inflicted upon those who were arrested in the attempt to leave their -country, an enormous number of persons did effect their escape to the -various Protestant States in Europe, and even to the then newly-settled -American colonies, but principally to our shores. - -[Illustration: BOOK-PLATE OF THE FRENCH PROTESTANT HOSPITAL.] - -They brought with them the art of manufacturing silk, and founded a -prosperous colony in Spitalfields, where their descendants yet remain. -Glass making, jewellery, and other trades in which taste and skill are -required, were also understood by them; they rapidly became naturalized, -and useful citizens, and the names and histories of many of our wealthy -families attest their Huguenot descent. - -The term _Huguenot_ seems first to have been applied to the Calvinists -about 1560, on the occasion of the Alboise conspiracy; some say the word -was derived from the German _Eidgenossen_, signifying a sworn -confederacy, whilst others say it was founded on the name of Hugues, a -Genevese Calvinist. - -That the sobriquet _Huguenot_ was well known and understood as early as -1622, is shown by the existence of a rare tract entitled “La Trompette -de salut aux Huguenots de ce temps, 1622,” written in verse in the -following vein: - - Huguenots, l’Eglise Romaine - Vous purgera tous du venin - De la doctrine de Calvin - Et vous ôtera de peine. - -In glancing over a collection of British book-plates we shall be struck -with the French appearance of many names, such as the following: Arabin, -Barré, Boileau, Dampier, Ferrier, Martineau, Maturin, Labouchere, -Delarue, Harcourt, Vignoles, Curtois, Poignand, Lempriere, Drinquebier, -Drucquer, Duhamel, Lemercier, La Mallière, Leschallas, Monteuuis, -Laprimaudaye. - -David Garrick, we know, was of Huguenot descent, and carried a French -motto on his book-plate. - -The name of Le Keux occurs as an interesting one in this connection, as -representatives of the family still exist, whilst its pedigree has been -traced back to one John Le Keux, who married Antoinette Le Quien in the -French church at Canterbury as far back as 25 December, 1645. - -In this pedigree it is curious to note how frequently members of the Le -Keux family allied themselves in marriage with the descendants of other -French refugees: thus we meet with the names Didier, Mariscaux, -Mariette, De Ribeaucour, Paillet, and Debonnaire. In 1783 was born John -Le Keux, and in 1787 Henry Le Keux; both became eminent engravers: John -died in 1846, and was buried in Bunhill Fields Cemetery. He was the -father of the late John Henry Le Keux, who was born in 1812, and died -quite recently (February 4th, 1896), in Durham. His fame as an engraver -exceeded that of either his father or his uncle, and although he did not -produce many book-plates, those he did were indeed works of art. - -As will be seen from the pedigree published in the _Miscellanea -Genealogica et Heraldica_ the Le Keux family had for generations resided -in, or near Spitalfields, but in 1863 Mr. J. H. Le Keux married a Durham -lady, and henceforward resided in that city till his death. - -In the north-east of London there exists an institution which, in a -quiet and unostentatious manner, does good work amongst a very deserving -class of the community. This institution, known as the French Protestant -Hospital, is in reality a home for a certain number of elderly people, -all of whom are descendants of French Protestants who have at various -times sought refuge in England. In 1708 Monsieur de Gastigny, a French -Protestant refugee in the service of the Prince of Orange, bequeathed -£1,000 for the purpose of founding a hospital. Many other refugees also -contributed, so that within a few years the scheme for a Huguenot Asylum -took definite shape, and in 1718 the founders commenced the building, -and obtained a charter of incorporation under the title of “The Hospital -for poor French Protestants and their Descendants residing in Great -Britain.” - -Amongst the inmates the asylum was more lovingly known as “La -Providence,” a title it still deserves, owing to the beauty of the -building and its grounds, and the kind and generous treatment of its -inmates by the Governor and the Court of Directors. - -Although the book-plate in use in the library of “La Providence” is an -English production, it belongs to an essentially French religious -community, and so is entitled to a place here (see page 199), especially -as it bears the well-known and oft-quoted motto from _Menagiana_. Of a -somewhat similar nature is the ex-libris, dated 1868, of the library of -the Society of the History of Protestantism in France, founded in 1852. - -There is also the well-known Huguenot Society of London, a powerful body -which aims at preserving the old religious and national spirit amongst -the descendants of the refugee families, and has done much service in -preserving the ancient history and traditions of the Huguenots. - -A glance at its roll-call suffices to recall the fact that many names -held by families long since thoroughly anglicised, are of French -origin. - -[Illustration: BOOK-PLATE OF THE SOCIÉTÉ DE L’HISTOIRE DU PROTESTANTISME -FRANÇAIS, 1852.] - -Indeed an amusing chapter might be written on the curious modifications -of certain old French names, by which they have gradually acquired an -anglicised appearance in print, whilst still preserving some little -similarity to their original pronunciation. Cottew (Côteaux), Cussans -(De Cusance), Dampier (Dampierre), Dobree (D’Aubraye), Ducane (Du -Quesne), Margary (De Marguerie), Perowne (Piron), Rainier (Regnier), -Shoppee (Chapuis), Woollett (Viollet), and many others might be cited. - -[Illustration: BOOK-PLATE OF THE LIBRARY OF THE HUGUENOT SOCIETY OF -LONDON, 1572-1685.] - -The Secretary of the Huguenot Society of London is Mr. G. H. Overend, -F.S.A. - -There is also a German Huguenot Society, a Huguenot Society of America, -and another for South Carolina, besides La Société de l’Histoire du -Protestantisme Français, all of which tend to preserve the traditions of -the Huguenots, and to encourage the study of their history and -genealogy. - -In the United States there are also numerous families claiming Huguenot -descent; take Gabriel Duvall as an instance, born in Maryland, 1752, -Member of Congress, Comptroller of Currency, 1802, Associate Justice, -U.S. Supreme Court, 1811. Died 1844. He had a book-plate dated 1778. - -A more modern example is the book-plate of the late Mr. Daniel Ravenel, -curious on account of its heraldic bearings, which its owner in simple -good faith, and in ignorance of all the laws of heraldry, thought -himself entitled to assume, as he would have done a trade-mark. In the -innocence of his heart the good gentleman accompanied each copy of his -book-plate with the following curious explanation: - - “THE DANIEL RAVENEL BOOK-PLATE. - - “My coat of arms (according to d’Hozier and other celebrated - authors on Heraldry) consists of a field gules,[3] with six - crescents of gold, each surmounted by a star of the same placed - two and two, with a gold star at the base of the shield. - - “This shield rests on a larger shield, showing, first, the - fleurs-de-lis of France: second, a cross, denoting persecution: - third, an open Bible, denoting the cause: fourth, a palmetto tree, - showing where freedom was found. - - “On one side of this large shield is a spray of marigold, the - Huguenot emblem, and on the other side, a spray of wall-flower, the - French name for which is _Ravenelle_.” - -Mr. Ravenel died in September, 1894; he was a direct descendant of René -Ravenel, a Huguenot _emigré_ from Bretagne, who settled in South -Carolina in 1685. - -Another of Mr. Ravenel’s ancestors was the first pastor of the little -French Protestant church in Charleston, S.C., of which Mr. Ravenel was -one of the elders at the time of his death. Indeed, everything connected -with Huguenot history had a charm for him, as was shown by his zeal in -collecting books, maps, manuscripts and coins dealing with it. He was -almost as keen in searching for records concerning his native state of -South Carolina, in addition to which he possessed one of the most -interesting and valuable collections of book-plates then known in the -United States. - -[Illustration: BOOK-PLATE OF DANIEL RAVENEL, 1890.] - -[Illustration] - - - - -CHAPTER XII. - -BOOK-PLATES OF MEDICAL MEN. - - -“Honour a physician with the honour due unto him for the uses which ye -may have of him” says the old book, and having considered the plates of -those whose duty it is to attend to the cure of souls, we may now -briefly consider the ex-libris belonging to the kindred profession whose -aim it is to cure the body of all the ills that flesh is heir to. - -In many early plates we find doctors are content to describe themselves -simply as Doct. Med., but later they displayed ghastly views of dead -bodies in dissecting-rooms surrounded by curious students; or sick -patients in bed with skeletons beckoning them away. - -Such plates may be interesting in a collection, but designs so -lugubrious are totally unfit to perform the duties of book-plates even -in a library devoted entirely to medical works. What, for instance, can -be more incongruous than the plate of Matthew Turner, with its handsome -coat-of-arms in a Chippendale frame and the quotation from Cicero: -“_Salutem hominibus dando_,” as compared with its accessories, a -grinning skeleton in a cupboard on the left of the shield, whilst below -it are several naked little urchins dragging a dead body on to a -dissecting-board, a dissecting-saw lies in the foreground, close to the -serpent-twined rod sacred to Æsculapius. - -[Illustration: BOOK-PLATE OF DUMONT DE VALDAJOU.] - -Even more curious is the design (wretchedly engraved) on the plate, -inscribed _J. B. Swett_. The owner was Dr. J. Barnard Swett of New -Buryport, Mass.; and no doubt the plate was engraved in America about -120 years ago, or even earlier. - -[Illustration: BOOK-PLATE OF JOS. PHILIP GRUMET, M.D.] - -Here indeed the ludicrous element comes in, for though the dead body is -present, the whole design is so quaintly bad that it is impossible to -criticise it with any severity. All the usual emblems of medical science -are present in this plate, which was reproduced on p. 289 of Mr. C. D. -Allen’s “American Book-plates.” - -[Illustration: BOOK-PLATE OF JOS. MAR. AMA. CORREARD, M.D.] - -J. C. Harrer, M.D., also had a skeleton, accompanied by books, pots of -ointment, etc., whilst Daniel Chodowiecki, the celebrated engraver, -signed a plate, dated 1792, for one C. S. Schinz, Med. Dr., in which the -design is of a sensational character, meant to proclaim the healing -powers of the owner. “In the foreground (I quote Lord de Tabley, not -having the plate myself) Æsculapius is pushing out a skeleton draped in -a long white sheet, with a scythe across its shoulder. The god is -sturdily applying his serpent-twined staff to the somewhat too solid -back of this terrible phantom. Behind, and beneath a kind of pavilion, -lies a sick person in bed, his hands upraised in silent thankfulness.” - -[Illustration: BOOK-PLATE OF ALPHEI CAZENAVE, M.D.] - -This Schinz was probably a German, although he might have belonged to -the north-east frontier of France, but we will now turn our attention to -plates which undoubtedly belonged to French medical men. - -_Dumont de Valdajou_ Chirurgien carries arms, perhaps specially granted, -for he boldly proclaims below his shield “Brevété du Roy,” but even that -would not excuse him in the eyes of a strict king of arms for assuming -as supporters two angels, a distinction officially reserved for the -French Royal family alone. - -[Illustration: BOOK-PLATE OF MONS. R. WILLEMET.] - -Another armorial plate is that of Jos. Philip: Grumet; above the shield -shows the badge of Æsculapius, an attribute common to many medical -book-plates. - -But why Dr. Correard should have appropriated not only the general -design, but also the actual arms on this shield, is a mystery; indeed, -it is not easy to decide which of these two plates is the actual -original. - -Colin, graveur de feu Roy de Pologne, as he proudly describes himself, -engraved a pretty and appropriate little vignette for a chemist of -Nancy, Mons. R. Willemet; a reduced copy of this was done for Mons. -Soyer-Willemet. - -[Illustration: BOOK-PLATE OF MONS. SOYER-WILLEMET.] - -Another plate by the same engraver was done for D. Laflize, also of -Nancy. This melancholy design is one of those to which exception has -already been taken. - -Amongst modern medical plates, that done by Mons. Henry André for the -Doctor F. Bargalló of Paris is probably the most striking in its -originality, and the most pleasing in its execution. - -First of all are the owner’s initials, F. B.: in the B. the whole name -will be found; the accent over the “o” is intentional, and indicates the -Spanish origin of the name. The professional attributes are the cup and -the serpent, whilst the poppy points also to the study of botany, an -all-important branch of medical education. - -[Illustration: BOOK-PLATE OF D. LAFLIZE, OF NANCY.] - -The lighter studies and amusements are indicated in the books, the -music, and the portfolio of engravings. The dainty little female figure -emerging from the album gives some indication of the date by the style -of her costume. There is a strong relation between the motto and the -attributes on the design. Thus the wicked books that corrupt youth may -be likened to the serpent; silly books that bore one resemble in their -effect the sleep-producing power of the poppy; whilst the good books -that console and amuse us have an affinity to the powers of a -health-giving draught of restorative medicine. Thus, then, we have the -_venenum_, the _somnus_, the _solamen_, of the motto. Such is the -explanation politely sent me by the owner, which I give, as nearly as a -translation can render, in his own words. - -[Illustration: BOOK-PLATE OF DR. F. BARGALLÓ.] - -[Illustration] - - - - -CHAPTER XIII. - -CANTING ARMS AND PUNNING PLATES. - - -Many of these quaint devices on British coats-of-arms are distinctly of -French origin. - -Thus the Montagues bear in their arms three fusils in fesse, the sharply -serrated points of which suggest mountain peaks--the original name of -the family having been Montacute. The French word for hedgehog is -_hérisson_, therefore the hedgehog is the charge of the family of -Harrison; the swallow is in French the _hirondelle_, hence the swallow -is placed on the shield of the Arundels: - - “More swift than bird hight Arundelle, - That gave him name, and in his shield of arms emblazoned well, - He rides amid the armëd troop.” - -Instances might be almost indefinitely multiplied; these are amongst the -best because the most obvious, others, which are so recondite as to -require lengthy descriptions, defeat their own purpose. - -The French expression _les armes parlantes_ is more musical than ours, -and examples of canting arms are perhaps as common in French as in -English heraldry, whilst punning book-plates are numerous amongst modern -specimens, especially those belonging to men of arts and letters. - -[Illustration: BOOK-PLATE OF C. J. L. COQUEREAU.] - -The Gallic cock is naturally a favourite charge, and may be found -frequently in conjunction with such names as Lecoq, or Coquebert, or -Coquereau, yet it by no means follows that these can be strictly termed -canting arms, for, as Salverte remarks in his “Essai sur les Noms,” “Le -même usage à été alternativement cause et effet,” so that whilst -numerous armorial ensigns were borrowed from the bearers’ names, so -also, in many cases, surnames were borrowed from the arms. He, -therefore, who bore a cock on his shield may well have become known in -the course of time as Jean Le Coq. - -One of the funniest bits of canting heraldry ever printed occurred in -the “Daily News” (London) of 5th April, 1892. The Paris correspondent, -writing of Ravachol, the murderer, said: “His family have a place in the -‘Armorial de Forez,’ the peerage and gentry book of Saint-Chamond, where -Ravachol was born. His ancestors are set down in that volume as dating -from 1600. _Their shield bears argent with a fess azure, three roses or, -and a head of cabbage or, with a radish argent._ On the maternal side -the motto is a canting one, being ‘Rave-à-chou,’ which is doubtless the -origin of the curiously striking name of Ravachol.” - -It would be amusing to see how the writer would “trick” the shield he -has vainly endeavoured to describe; besides, as was proved at the trial, -the murderer’s name was not Ravachol, nor was he even a Frenchman by -birth. - -In 1768 Monier designed a very handsome plate for _Louis Vacher_, in -which not only does a cow appear on the shield, but both the supporters -are also cows, in allusion to the owner’s name. - -A plate recently found in an old French book bore the inscription: “Des -livres de M. Fauveau, avocat au Parlement.” The arms were, Party per -fess azure and or, in chief three scythes (_faux_) argent, and in base a -calf’s head (_veau_) gules. - -[Illustration: BOOK-PLATE OF LOUIS VACHER, 1768.] - -[Illustration: BOOK-PLATE OF P. COCHON.] - -There is no term of opprobrium more offensive to a Frenchman than that -of _cochon_, although ignorant English tourists occasionally apply it by -mistake to a cabdriver. But here we have a gentleman of the old school -who rejoiced in the name, and put a little pig in his field in order -that there might be no mistake about it. The moon and stars are thrown -into the bargain, as being of secondary importance. - -This plate of Jacob Houblon, Esq., is unmistakably the work of R. -Mountaine, and we may therefore fix its date as 1750, or thereabouts. -Although the workmanship of the plate is English, the _armes parlantes_ -it bears are obviously of French origin, the hop vine signifying -Houblon. - -[Illustration: BOOK-PLATE OF JACOB HOUBLON, ESQ.] - -Samuel Pepys in his diary mentions that the five brothers Houblon came -to supper at his house on May 15, 1666. They were rich merchants, one of -them later on coming to be Lord Mayor of London, and the first Governor -of the Bank of England. - -According to an epitaph in the church of St. Mary Woolnoth, in London, -their ancestor was one Peter Houblon, who came over from Flanders. - -The late Lord Palmerston was descended from a Sir John Houblon, who was -Lord Mayor of London in 1695. - -[Illustration: BOOK-PLATE OF JOHN VIGNOLES.] - -As recently as 1894 the death of a descendant of the family was -announced, that of Mr. Richard Archer Houblon, J.P., of Cambridgeshire, -aged eighty-five years, whose estate was valued at over £50,000, whilst -but a short time since a Colonel Archer Houblon was in command of a -battalion of the Royal Berkshire Regiment. - -Of somewhat similar origin, but from the grapevine, come the arms of the -Vignoles family, a branch of which, long settled in England, produced -the well-known civil engineer. - -[Illustration: BOOK-PLATE OF J. L. ROBILLARD.] - -On a shield borne by _Robillard_ are two billiard cues in saltire -between four billiard balls. - -For M. Champfleury, the artist, Aglaüs Bouvenne has drawn a flowery -field (a _champ fleurie_), and for the Comtesse de Noé a Noah’s ark, -whilst Paul Cordier plays on his own name in a charming little vignette -representing a rope-maker (_cordier_) at work in his rope-walk. - -[Illustration: BOOK-PLATE OF PAUL CORDIER.] - -A plate composed and engraved by Evart Van Mayders for Mons. F. Raisin, -has a fox vainly climbing over a book to reach some grapes (_raisins_), -and exclaiming, in disgust, “They are too green.” - -Although the late M. Eugene Rimmel lived many years in England, and -wrote a charming “History of Perfumes” in our language, he was a -thoroughly patriotic Frenchman. His countrymen ever found a friend in -him, and his exertions on behalf of their sick and wounded during the -terrible war of 1870-71 should keep his memory for ever fresh. His -book-plate is a quaint little medley of the useful and the ornamental; -the distilling apparatus, and a fountain of perfume, surmounted by a -crest of rose-buds, suffice to indicate the scent, but not the descent, -of Eugene Rimmel. - -M. Milsand, of Dijon, used a book-plate containing an imitation of a -bank-note, having on it the figures 1000 and 100 (_mille cent_), whilst -Charles Monselet has a pretty little sketch, by Devambez, of a corner of -his library with some books heaped up (_Livres amoncelés_). The plate of -M. Wolf explains itself better in English than in French. “_Quærens quem -devoret_” (see page 229). - -[Illustration: BOOK-PLATE OF EUGENE RIMMEL.] - -M. Aglaüs Bouvenne represents a dog balancing the monogram of Alexis -Martin (page 158), whilst Mons. L. Delatre confides a book, in -sumptuous binding, to the mouth of another, with the motto, “Honneur a -qui rapporte.” A pretty idea, but surely not a very practical one (see -page 240). - -It is his whim! _C’est sa toquade_, as M. Cousin remarks on his plate -(see page 231). - -[Illustration: BOOK-PLATE OF CHARLES MONSELET.] - -In their treatment of his dread Satanic Majesty the French display -delightful grace and delicacy. - -Indeed, _Le Diable Boiteux_ of Le Sage is very much of a gentleman; -Mephistopheles in Gounod’s opera is a far more interesting personality -than his pupil Faust; whilst in “Orphée aux Enfers” Offenbach certainly -contrived to enlist our sympathies on behalf of Pluto. - -Many a French shop is dedicated to the Evil One, but in every case the -inscription is respectful, as, for instance, _Au Bon Diable_. It is -almost a term of endearment, the expression “un mauvais petit Diable,” -whilst no proper English word can convey the sense of rollicking fun -contained in _Diablerie_. - -[Illustration: BOOK-PLATE OF MONS. WOLF.] - -As in literature, so in art, the Devil of the French, may be grotesque, -bizarre, comic, terrible, yet in all he is a superior being, in short a -Gentleman in Black, never the hideous, repulsive individual we are -accustomed to see portrayed (with two horns and a tail) in English comic -art. - -Nothing could more eloquently convey the French conception of the -character than Sir Henry Irving’s inimitable representation of -Mephistopheles at the Lyceum a short time since. Does not this -book-plate recall his appearance in the part? - -[Illustration: BOOK-PLATE OF MONS. A. CLERICEAU.] - -[Illustration: BOOK-PLATE OF MONS. B. COUSIN.] - -[Illustration] - - - - -CHAPTER XIV. - -PHRASES OF POSSESSION. - - “Gentilz Ouvriers, qui d’un soing curieux - Allez cherchant es plus vieilles reliques - Venez icy, et aux proffitz publiques - Imitez en les plus laborieux ...” - J. BULLANT. - (From the ex-libris of H. Destailleur.) - - -Herein an attempt has been made to gather in such French phrases of book -possession, and inscriptions on book-plates, as may be deemed -interesting, quaint, or humorous, avoiding in this instance all mottoes -or war cries which are obviously of heraldic origin. - -Little Victor Dupuis is very like Master Tommy Smith in the habit he has -of scribbling nonsense verses in his school books; one very popular -quatrain in the good old days of the French monarchy was: - - “Ce livre est à moi - Comme Paris est au roi. - Qui veut savoir mon nom - Regarde dans ce rond.” - -Or, he would threaten borrowers with dire penalties: - - “Ne me prends pas - Ou on te pendras.” - -Becoming more ambitious, he would launch out into a Macaronic verse: - - “Aspice Pierrot pendu - Quia ce livre n’a pas rendu. - Si librum reddidisset - Pierrot pendu non fuisset.” - -Or, another way, as the cookery books say: - - “Aspice Pierrot pendu - Quod librum n’a pas rendu. - Pierrot pendu non fuisset, - Si librum reddidisset.” - -Or, in Alsatian German: - - “Dieses Büchlein ist mir lieb, - Wer mir’s nimmt, der ist ein Dieb, - Wer mir’s aber wieder bringt, - Der ist ein Gotteskind.” - -Or, he would descend into trivial details, thus: - - “Je mets ici mon nom - Ce n’est pas sans raison - C’est pour plaire aux curieux - Et non pas aux envieux - De ce Livre tant beau - Qui eclaire comme un flambeau - Tout homme savant - Aussi bien que l’ignorant - Michel Dupray - son livre - acheté le 26 de Juillet - 1775 - chez Wagstaff 9 Sols” - -Finally, arrived at a mature age, he would order a book-plate, -inscribing on it an expression of his love for literature in some such -manner as did M. Leonis Schück, upon his ex-libris designed by Hirsch: - - “C’est par l’amour des lettres qu’il faut être conduit à l’amour - des livres. - - “O mes chers livres! Je les ai tous choisis un à un, et je les aime - tant!” - -Others have expressed their sentiments in moral platitudes: - - “C’est la meilleure munition que j’aye trouvé à cet humain - voyage.”--MONTAIGNE. (Bibliothèque de M. le Baron de T----.) - - “Le plaisir de l’esprit passe celui des yeux.” (De la Bibliothèque - de M. de Cailly.) - - “Un livre est un ami qui ne change jamais.”--On the plate of - Guilbert de Pixérécourt, and others. - - “Les lettres nourissent l’âme.”--Lemoine. - - “S’occuper c’est savoir jouir.”--A. E. Tscharner, and others. - - “Amis vieux sont bons en tous lieux.” - -But one of the most useful axioms is that borrowed from “Menagiana” vol. -iv.: “La première chose qu’on doit faire quand on à emprunté un livre, -c’est de le lire afin de pouvoir le rendre plutot.” Hugo de Bassville -employed this, with the addition of “Rendez le livre s’il vous plait,” -whilst such ardent book-lovers as David Garrick and George Augustus Sala -have placed it on their book-plates; it figures also with perfect -propriety on the fine ex-libris of the “Bibliothèque de la Providence” -(the French Protestant Hospital at Victoria Park), and on those of -Frederick Le Mesurier, and John Meybohm. - -Following these come a long list of verses directed against book -borrowers in general, commencing with the verse attributed to Guilbert -de Pixérécourt, although he does not use it on his book-plate: - - “Tel est le triste sort - De tout livre preté - Souvent il est perdu, - Toujours il est gâté.” - - (On the book-plate of Louis Mohr, 1879. See page 237.) - -The two epigrams below were written by Guillaume Colletet, and have been -quoted on several ex-libris, though curiously enough their author did -not use one, but was content to sign his name in his books, which were -numerous: - - “A MES LIVRES. - - Chères delices de mon âme - Gardez vous bien de me quitter - Quoi qu’on vienne vous emprunter. - Chacun de vous m’est une femme - Qui peut se laisser voir sans blâme - Et ne se doit jamais préster.” - - (Book-plate of Ch. Mehl, designed by Gustave Jundt, of Strasbourg.) - -“AUX EMPRUNTEURS DE LIVRES QUI NE LES RENDENT POINT. - - Emprunteurs, pour vous parler net, - Ma bibliothèque connue - Est un meuble de cabinet - Qu’on ne crotte point dans la rue.” - -Both these verses were first published in the “Epigrammes du Sieur -Guillaume Colletet.” Paris, 1653. - - “Un livre preté, comme la vieille Garde, ne se rend pas.” - -Charles Frédéric Hommeau, whose ex-libris represents the interior of his -library, gives notice to borrowers that they must return his book in -fourteen days and in good condition. In order that there may be no -mistake as to his meaning, he has the rule engraved at the foot of his -plate: - - “LEX BIBLIOTHECAE. - - _Intra_ quatuor decim dies, commodatum ni redderis, neque belle - custodieris, alio tempore dominus: Non habeo dicet.” - -Indeed he loved not borrowers, for he adds, “Ite ad vendentes, et emite -vobis!” - -M. Auguste Stoeber, author of the “Petite Revue d’Ex-Libris Alsaciens,” -used the following lines for the German books in his library: - - “Leih ich dich hinaus, - Bleib nicht zu lang aus; - Komm zurück nach Haus: - Nicht mit Flecken oder Ohren, - Wie sie machen nur die Thoren, - Und geh ja mir nicht verloren!”[4] - -The late Rev. Mr. Carson possessed a handsome book-plate designed for M. -Abel Lemercier, which is one of the largest modern French plates, -measuring, as it does, 8½ inches by 5½ inches. - -It is especially remarkable on account of the number of mottoes it -contains, commencing at the top with “Le gaing de nostre science, c’est -en estre devenu meilleur et plus sage,” followed by four or five other -maxims, which have been already quoted. - -[Illustration: BOOK-PLATE OF LOUIS MOHR, 1879.] - -This plate is not dated, but it is signed M. Potemont inv., R. Martial -sc. It combines some of the characteristics of a “library interior” with -those of a “book-pile,” and is altogether a sumptuous and imposing, -though somewhat cumbersome design. - -[Illustration: BOOK-PLATE OF VALENTIN MOURIE.] - -On a singular old library interior plate, headed “Du Cabinet Littéraire -de P. Cellier, Libraire, quai St. Antoine, à Lyon,” were found the -following instructions to book borrowers: - - “Les livres qui auront souffert quelques dommages, comme déchirés, - tachés, et sur lesquels on aura écrit dans les marges et sur les - gardes avec la plume ou le crayon, seront payés a leur valeur, - c’est-à-dire, tout l’ouvrage entier; un seul volume perdu ou - mutilé, emporte tout l’ouvrage. - - “S’il s’égare quelques uns de ces livres ainsi marqués, on prie - ceux, entre les mains de qui ils seront, de les faire rendre à - l’adresse ci-dessus.” - -A Frenchman resident in this country, early in the century, had a -roughly printed label, in which the inscription was surrounded by a -small woodcut border. The inscription is curious for its errors; it runs -thus: “J. Admans, son livre, mil huit sens seize. Rue de Palais. -Cantorbery.” - -M. Gouache, whose plate informs us that he resided at number 13 in the -Boulevard de la Madeleine, quotes the following: - - “STANCE. - - Le paresseux s’endort dans les bras de la faim, - Le laboureur conduit sa fertile charrue, - Le savant pense et lit, le guerrier frappe et tue, - Le mendiant s’assied sur le bord du chemin: - Où vont-ils cependant? Ils vont où va la feuille - Que chasse devant lui le souffle des hivers! - Ainsi vont se flétrir, dans leurs travaux divers, - Ces générations que le temps sème et cueille. - LAMARTINE, _Méditations_. - - GOUACHE, Boulevard de la Madeleine, 13.” - -The French are not particularly rich in mottoes in praise of books. -Adolphe Borgnet, of Liège, quotes Montaigne, thus: - - “Les Historiens sont le vray gibbier de mon estude.” - -On a nameless pictorial plate (signed F. Groskost, Strasbourg) occur -some lines attributed to M. Jacques Flach (see page 243): - - “A MES LIVRES. - - Plaisants, je vous aime - Sérieux aussi, - Frivoles de même - Pédants--merci!” - - “Un livre est un ami qui ne trompe jamais” (on page 240) - -says a nameless moralist, who probably had not read Lord Macaulay’s -account of William III., whilst - - “Je rapporte fidèlement ce que je découvre,” - -says the historian Chevillard. - -[Illustration: BOOK-PLATE OF L. DELATRE.] - -On the plate of M. Jules, Baron de St. Genois, is the motto: - - “Bon livre d’ennui delivre.” - -The following cynical epigram, - - “L’homme a dit: ‘Faisons Dieu, qu’il soit à notre image.’ - Dieu fut! et l’ouvrier adora son image,” - -was placed on his book-plate by the philosophical atheist Sylvain -Maréchal, who wrote a work entitled “Fragmens d’un poeme moral sur -Dieu,” dated 1781. - -David Köning remarks: - - “L’Art c’est la vie. - La Nature c’est la mort.” - -Whilst Patrice Salin fairly gives himself away: - - “Tel que je suis, prends moi.” - -Others have used mottoes which come under no special category, such as -that on an engraved label bearing the name _J. G. Lafont_: - - “Des plaisirs sans apprêts, des amis peu nombreux - Les livres, les beaux arts, et la philosophie - Voila le vrai bonheur, il suffit a mes voeux.” - - “Tots besoingners tots escripre.” - _Valentin Mourie._ (See page 238.) - - “Point de Roses sans épignes.” - _Edward S. Potter._ - - “Honneur à qui rapporte.” - _L. Delatre._ (See page 240.) - - “La mort n’y mord.” - Ex-Libris _Fr. Serrier_. (See page 242.) - - “Vive la Joie.” - On the plate of _M. Joy_. - -In 1791 Monsieur J. B. Michaud cried aloud on his book-plate for “_La -Liberté ou la Mort_” and many others adopted the phrase, at a time when -Death was certainly more _en évidence_ than Liberty. - -Poor Léon Gambetta, probably the most daring and original of modern -French politicians, had his book-plate inscribed “_Vouloir c’est -Pouvoir_,” an axiom which he, the son of a poor provincial grocer, had -proved correct up to a certain point. - -[Illustration: BOOK-PLATE OF FR. SERRIER.] - -There is no article in the “Dictionnaire des Girouettes” more laughable -than that devoted to Monsieur Nicholas François de Neufchateau, who, not -content with being a political turncoat of the first order, celebrated -each of his changes of faith by songs in honour of his new ideal of -government. These poems, here side by side in the dictionary, proclaim -the man at once a venal weathercock and a conceited prig. - -[Illustration: BOOK-PLATE OF JACQUES FLACH.] - -He was born in 1752; before the outbreak of the Revolution he was a -lawyer in Paris; afterwards he became President of the National -Assembly, when he called King Louis XVI. a traitor, yet this did not -prevent his being sent to prison by Barrère in 1793. On his release he -wrote a poem in honour of Barrère; later on he joined with the senate in -advising Napoleon to create himself emperor. The emperor could do no -less in return than create Neufchateau a Count of the Empire. What -became of him on the Restoration does not appear, except that in 1815 he -obtained permission to dedicate a volume of his fables to the king. - -To the end of time the ex-libris of Monsieur N. François de Neufchateau -will not only pompously proclaim all the titles given to him by Napoleon -I., but describe in verse the blazon of his arms, in which, as he says, -the useful and the ornamental are curiously blended, the whole being -surmounted by one of David’s _toques_, with the five waving ostrich -feathers denoting senatorial rank. - -Yet this was the man who had previously written: - - “Ces rubans, ces cordons, et ces chaines dorées: - Des esclaves des rois ces pompeuses livrées, - Ne sont que des hochets dont la vaine splendeur - Deguise le néant d’une folle grandeur.” - -M. de Neufchateau was a busy man and a versatile, writing on politics, -social economy, history, and agriculture in turns, but it is as a _poet_ -that he will be known to posterity through his book-plate, which -collectors will ever prize as a monument of egregious vanity. - -M. François de Neufchateau died in 1828. - -There is a chapter in “Ex-Libris Ana” (Paris, L. Joly) devoted to -manuscript inscriptions of ownership in books; one is given, as having -been commonly written in his books, by an author named Collé: - - “A Collé ce livre apartint - Auparavant qu’il te parvint.” - -[Illustration: BOOK-PLATE OF N. FRANÇOIS DE NEUFCHATEAU. - - Dans un siècle où l’or seul fut un objet d’envie, - De l’or je ne fus point épris. - J’aimai le bien public, j’y dévouai ma vie, - J’en ai reçu le digne prix: - Du plus grand des Héros l’estime peu commune - M’a doté de cet écusson; - Honneur bien préférable aux dons de la fortune - Il m’offre une double leçon. - L’agréable est ici figuré par le Cygne, - Et l’utile par les Epis: - Trop heureux, en effet, qui serait jugé digne - De ces emblêmes réunis! - O mes livres chéris! conservez cette image, - Seul trésor que je laisserai; - Et, long temps après moi, rendez encore hommage - A la main qui m’a decoré! - -Ce livre fait partie de la bibliothèque du Senateur Comte de l’Empire, - -N. FRANÇOIS DE NEUFCHATEAU, - -Le premier des Présidens du Senat Conservateur, Grand Officier de la -Legion d’Honneur, Titulaire de la Sénatorerie de Bruxelles, L’un des -quarante de la Classe de l’Institut qui succéde à l’Académie Française, -Président de la Société d’Agriculture de Paris pour la sixième fois en -1811, etc.] - -Contrasting with this schoolboy rhyme is the sad farewell to her -children, written by Marie Antoinette in her prayer-book only a few -hours before she went to the scaffold: - - “Ce 16 Octobre, à 4 h. ½ du matin. Mon Dieu! ayez pitié de moi! mes - yeux n’ont plus de larmes pour prier pour vous, mes pauvres - enfants. Adieu, adieu! - - “Marie Antoinette.” - -Scarcely does the world contain a more pathetic document. - -[Illustration: BOOK-PLATE OF MARIE-ELISABETH-JOSEPH WEIGEL.] - -[Illustration] - - - - -CHAPTER XV. - -BOOK-PLATES OF SOME FAMOUS MEN. - - -The name of François Rabelais, priest, doctor, wit, satirist, and -philanthropist, eclipses all other early French writers. In “Les -Portraits de Rabelais” (1880), M. Georges d’Albenas asserted that a -certain Professor C. Cavalier possessed an Aldine Plato in which was a -piquant ex-libris of the illustrious Rabelais, of undoubted -authenticity. - -It is singular that such an assertion, made so long ago, should have -received so little attention. Could it have been verified, the plate -would certainly be one of the most precious relics in the world, not -only as a personal souvenir of the creator of Gargantua and Pantagruel, -but as the very earliest known French ex-libris. - -As Rabelais died in 1553 his book-plate would necessarily be at least -twenty years earlier than that of Alboise of Autun, which is dated 1574, -and probably even some years older than that. - -But in the earlier edition of this treatise, I remarked that it was -scarcely credible that such a treasure as this could exist without -having become generally known to collectors of literary curios, who -would, long ere now, have fully described the book-plate of François -Rabelais. - -This paragraph was noted by several French collectors, and more -particularly by Doctor L. Bouland, President of the French Society, who -at once put himself in communication with M. Georges d’Albenas. - -His reply showed that this was only another instance of the confusion -that arises from the French custom of styling the _written inscription_ -of an owner’s name in a book, an ex-libris. Technically the term may be -correct, but it would be advisable in the interest of collectors to -describe the one as the “owner’s autograph” to distinguish it from the -engraved or printed ex-libris fastened on the inside of a book. - -M. d’Albenas wrote thus: “L’Ex-libris de Rabelais dont il est question, -en note, dans _Les portraits de Rabelais_, est ecrit de la main de -l’illustre auteur de Gargantua, sur le titre d’un exemplaire de la -première édition des ‘Œuvres de Platon,’ publiée par les soins réunis -de Marc Manuce et d’Alde Manuce 1513. - -M. le professeur Cavalier ayant légué sa riche bibliothèque et ses -précieuses collections à Montpellier, sa ville natale, elles ont été -réunies selon ses dispositions testamentaires dans une salle spéciale, -portant son nom, par les soins de son ami et exécuteur testamentaire, -votre serviteur.” - -Here, then, is a facsimile of this famous inscription, partly in Latin, -partly in Greek, which is said to signify “Belonging to François -Rabelais, a zealous doctor, and to his Christian friends.” - -[Illustration: AUTOGRAPH INSCRIPTION BY FRANÇOIS RABELAIS.] - -Plainly an anticipation of the “Io: Grolierii et amicorum.” - -Another signature of Rabelais exists in a book which was presented to -the school of medicine of Montpellier in 1776 by a lawyer, one Mons. J. -Grosley. This resembles generally the one already described. - -The name of Jean Grolier is one of the earliest and most famous in the -history of French Bibliolatry and Bibliopegy. Jean Grolier, Vicomte -d’Aguisy, was born in 1479 in Lyons, and died in Paris on October 22nd, -1565. He was treasurer of France, and collected a library of about 3,000 -volumes (an enormous number in those early days of printing), all of -which he had sumptuously bound, and generally with the Grolier arms -richly emblazoned on the sides. His books had also various mottoes on -them, sometimes written in his own hand on blank pages or on the title, -sometimes printed in letters of gold around the edges of the binding. - -The most usual of these mottoes is one that is constantly referred to, -and has been often borrowed by other book-lovers and collectors: - - “Io Grollierii et amicorum.” - -Others that occur are: - - “Mei Grollierii Lugdunens, et amicorum.” - - “Portio mea, Domine, sit in terra viventium.” - - “Tanquam ventus est vita mea.” - - “Custodit Dominus omnes diligentes se, et omnes impios disperdet.” - - “Æque difficulter.” - -_Io: Grollierii et amicorum_ reads as a very pretty and unselfish -sentiment, but it requires some explanation. Mons. Grolier did not allow -his treasured volumes to leave his possession. Those who were privileged -to enjoy his friendship, were permitted to consult his books; they had -no choice, however, but to do so in the spacious salons of Mons. -Grolier, after partaking of his hospitality. - -On the death of Grolier, in 1565, his valuable collection became the -property of Emeric de Vic, Keeper of the Seals, from whom it passed to -his son. On his death, this library, which had been the pride of three -generations of book-lovers, was sold and dispersed in 1676. Some of the -principal books came into the possession of such well-known collectors -as Paul Petau, de Thou, and the Chancellor P. Séguier; they have been -well preserved till the present day, but they contain no book-plates -belonging to Grolier. - -Paul Petau was a councillor in the Parliament of Paris. He formed the -nucleus of a library, rich in early French and Latin MSS., and was also -an enthusiastic collector of coins and antiquities. On his death, in -1613, he left the whole of his collections to his son Alexander, who not -only succeeded to his public offices, but also inherited his cultivated -tastes for art and literature. - -Paul Petau had his books handsomely bound, with his arms stamped on the -sides. His arms are thus emblazoned by French heraldists: _Ecartelé_: au -1 et 4, d’azur, à 3 roses d’argent, au chef-d’or chargé d’une aigle -issante éployée de sable; au 2 et 3, d’argent, à la croix pattée de -gueules. _Devise_: Non est mortale quod opto. - -It will thus be seen that the arms are precisely the same as those -carried by his son Alexander on his book-plate, the motto alone being -changed in the latter to “_Moribus Antiquis_.” - -M. Poulet-Malassis makes a curious misstatement in describing this -ex-libris, for he asserts that the shield bears quarterly the arms of -_Alexander_ Petau and of his wife. It may be that M. Poulet-Malassis -intended to say the arms of _Paul_ Petau and of his wife, for Paul, the -father, certainly carried these arms, as did Alexander afterwards, with -the statement that he was the son of Paul. Now Paul Petau could not have -carried the arms of his son’s wife. - -The shield rests on a mosaic pavement, on which are reproduced in -alternate squares the three principal charges, namely, the eagle -issuant, the three roses, and the cross pattée (see plate, page 69). - -On the death of Alexander Petau his MSS. were purchased by Queen -Christina of Sweden, who bequeathed them to the Vatican Library. His -printed books were sold at the Hague in 1722, with those of François -Mansart. “Catalogue des bibliothèques de feu _M.M. Alexandre Pétau_, -conseiller au Parlement de Paris, et _François Mansart_, intendant des -bâtiments de France.” La Haye, A. de Hondt, 1722. - -Had the king of France himself desired a new book-plate he could -scarcely have been provided with one more gorgeous or imposing than that -engraved by Daudin, in 1702, for Michel Bégon. Although according to its -date it must be classed as an eighteenth century plate, its style -belongs to an earlier period, as indeed, properly speaking, did its -owner, for he was born at Blois on December 26, 1638, so that he did not -have this sumptuous ex-libris engraved till comparatively late in his -life, and did not long survive to enjoy it, for he died on the 14th of -March, 1710. - -The arms (blazoned thus by French heraldists: _d’azur au chevron d’or, -accompagné en chef de deux roses, et d’un lion en pointe_) on an oval -shield surmounted by the coronet of a count, supporters two lions. -Inscription: _Michaeli Begon et amicis 1702_. - -Here we have at once a plate remarkable for its beauty, and interesting -on account of its owner, who was a man of note in his day, and famous as -a collector. - -He was thus described in the official registration of his death: -“Messire Michel Bégon, chevalier, seigneur de la Picardière et autres -lieux, conseiller du Roy en ses conseils et d’honneur au Parlement de -Provence. Intendant de Justice et finances de la Généralité de la -Rochelle et de la Marine à Rochefort.” - -Mons. Bégon came of good family, was well educated, and appears to have -been very successful in his career as a government official. He held -appointments successively at Martinique, San Domingo, and Marseilles, -and finally, in 1688, was appointed Intendant de la Rochelle of the port -of Rochefort, which post he held for the rest of his life. On the death -of his father, he had succeeded to a valuable library which he continued -to enrich; he was also an indefatigable collector of medals, of natural -history specimens, and of engravings, especially portraits. - -From an inventory made after his death, it appears he left 7,000 -volumes, and more than sixty valuable manuscripts of the ancient -classics. His collection of prints, which comprised about 8,000 -portraits, 15,600 general engravings, and 925 maps, was valued at 16,481 -livres, and was acquired for the library of the King of France in 1770. - -Michel Bégon was therefore a man worthy to possess a really handsome -book-plate such as his was, but we may take it that the expression “for -his friends” (_et amicorum_ he wrote on some of his books) did not imply -they were to be removed from his custody, but only that they might be -consulted by his friends when they visited him, as we know was the -intention of Grolier who also used this apparently self-denying -expression. - -[Illustration: BOOK-PLATE OF MICHEL BEGON, 1702.] - -It may be added that in the “Biographie Universelle” (De Feller, Paris, -1834), a short account is given of Michel Bégon, in which it is said: -“Le goût avait presidé au choix de ses livres dont la plupart portaient -sur le frontispice _Michaelis Begon et Amicorum_.” - -It is therefore somewhat singular that no mention of him, or his arms, -occurs in the “Armorial Français” of Johannis Guigard. This is to be -regretted, as it renders it difficult to trace in what way the family of -Bégon and the old French family of Chapuy were related. That some kind -of relationship existed can scarcely be doubted; in view of the -following application received from Mr. Charles J. Shoppee, President of -the Surveyor’s Institution, and Vice President of the Ex-Libris Society: - -“I am anxious to know something of the origin of the armorial bearings -of Michael Bégon, 1702, the coat being the same as that of Chapuis of -Dauphiné, viz., ‘_D’azur au chevron d’or, accompagné de deux roses -d’argent en chef, et en pointe, d’un lion rampant, de même._’ These arms -I bear, as the representative of the branch of the _Chapuis_ family -settled in England.” - -Amongst a list of the French officers taken at the battle of Oudenarde, -July 11th, 1708, “Of the regiment of dragoons of Pouriere, Lieutenant -_Chapuy_” is recorded. This officer was the ancestor of Mr. C. J. -Shoppee. - -Nicolas Joseph Foucault was a councillor to the Parliament of Paris, and -a member of the Académie des Inscriptions et Belles-lettres. He died in -1720, aged seventy-seven, leaving a library which was considered -particularly rich in relation to the early history of France. -Unfortunately it was dispersed on his decease, and his ex-libris given -herewith is consequently scarce. It was probably engraved between about -1680 and 1700, and carries the same arms as were embossed on the -bindings of his books. - -[Illustration: BOOK-PLATE OF NICOLAS JOSEPH FOUCAULT.] - -It would perhaps be more interesting to know the name of the artist who -designed this beautiful plate for Mr. de Joubert, than who and what Mr. -de Joubert himself was. Unfortunately the plate is not signed, but it is -in the style of the Louis XV. period, and was probably the work of some -artistic engraver in the south of France. - -The date of the plate can only be approximately fixed on the following -train of reasoning. Mr. de Joubert styles himself “Tresorier des Etats -de Languedoc;” now on reference to an old French work, somewhat similar -to a Court Guide, we find a mention of this gentleman. - -[Illustration: BOOK-PLATE OF MONS. DE JOUBERT.] - -In “L’Etat de la France,” published in Paris in 1749, his name is given -as Président des Chambres des Comptes de Languedoc, with the date of his -appointment, thus: - - “25 Février, 1733. Laurent-Ignace Joubert, Chevalier, cy-devant - Syndic Général de la Province de Languedoc.” - -It thus appears that Joubert was alive in 1749, and still holding the -high office in the provincial treasury to which he was appointed in -1733; the date of his plate may therefore be assumed to have been not -earlier than 1733, and in all probability it was not much later. - -In this entry he is called Chevalier, which accounts for the _De_ on the -book-plate. This is an instance of the difficulties a collector has to -contend with in deciding the period of undated plates, especially where -the artist has not signed his work. - -[Illustration: BOOK-PLATE OF THOMAS GUEULETTE.] - -Mons. Gueulette was a French novelist and dramatist, who enjoyed -considerable fame in the first half of the last century. He died in -December, 1766, at the ripe old age of eighty-three years, and his -writings have since sunk into undeserved oblivion, although, it is true, -Messrs. Nichols published a translation of his “Contes Tartares” (an -imitation of the “Arabian Nights”) in 1893, but of this only a small -edition was printed. His book-plate, signed _H. Becat_, is inscribed “Ex -libris Thomae Gueulette et Amicorum.” It represents the Gueulette arms, -with two supporters on each side, namely, an Italian Arlequin, a Tartar, -a Chinese Mandarin, and a Cyclops holding an infant in his arms. Each of -these figures has some reference to the works of the owner of the -plate; thus, the Arlequin is in allusion to the numberless farces he -wrote for the Théâtre Italien and the Théâtre des Boulevards; the other -works alluded to are his “Contes Tartares” and “Les Aventures du -Mandarin Fum Hoam.” The design is surmounted by a graceful little Cupid -bearing aloft a scroll, on which is inscribed the epicurean motto “Dulce -est desipere in loco,” which has been thus happily translated by a -distinguished member of the Sette of Odd Volumes: - - “_Dulce_--Delightful, says the poet, - _Est_--is it, and right well we know it, - _Desipere_--to play the fool - _In loco_--when we’re out of school.” - -M. Gueulette was a worthy disciple of Horace, for more than eighty years -he enjoyed the work, the pleasures, and the success of life; he -accumulated a large and valuable library, and his books were probably -the first to be decorated with a book-plate bearing not only the arms of -their owner, but also allegorical allusions to his tastes and literary -labours. - -M. Gueulette had a second and smaller plate, signed Bellanger; this was -similar in its general features, but different in many of its details to -the above. - -The Abbé Joseph-Marie Terray, Controller-General of Finance under Louis -XV., was one of those men who, by their cruel exactions, dissolute -living, and reckless expenditure, were directly responsible for the ruin -of French credit and for the great Revolution which ensued. Terray was -born at Boen in 1715, and died in Paris in February, 1778, almost -universally hated and despised. It is true that he had collected a -handsome library, that his books were sumptuously bound, and that he -had a reputation as a patron of art and letters. But holding many highly -paid sinecure offices, and being the proprietor of rich ecclesiastical -livings (not to mention the gross jobbery he exercised in the state -finances), he could well afford to buy expensive books and to employ a -few bookbinders. History records no other good trait in the character of -this priestly financier, who was both physically and morally ugly, -depraved, and rapacious. - -[Illustration: BOOK-PLATE OF THE ABBÉ JOSEPH-MARIE TERRAY.] - -Was it for him that this epitaph was written?-- - - “Ci-git un grand personnage, - Qui fut d’un illustre lignage, - Qui posséda mille vertus; - Qui ne se trompa jamais, qui fut toujours fort sage; - Je n’en dirai pas d’avantage, - _C’est trop mentir pour cent écus_.” - -The game cock was a favourite emblem with the ancient Greeks and Romans, -on account of its courage and endurance. “The gait of the cock,” writes -Pliny, “is proud and commanding; he walks in a stately stride, with his -head erect and elevated crest; alone, of all birds, he habitually looks -up to the sky, raising at the same time his curved and graceful tail, -and inspiring terror even in the lion himself, that most intrepid of -animals.” He will fight to the death, and use his last breath to crow -out a defiance, whilst the conqueror, standing over his vanquished -rival, will flap his wings and loudly proclaim his victory. - -For many ages the game cock, as brave and noble a bird as any that -lives, was the badge of our Gallic neighbours: - - “Le coq français est le coq de la gloire, - Par les revers il n’est point abattu; - Il chante fort lorsqu’il à la victoire, - Encor plus fort quand il est bien battu. - Le coq français est le coq de la gloire - Toujours chanter est sa grande vertu. - Est il imprudent, est-il sage? - C’est ce qu’on ne peut définir: - Mais qui ne perd jamais courage, - Se rend maitre de l’avenir.” - -Besides being a national emblem, many ancient and noble French houses -bore a cock on their shields. There were cocks “cantant,” holding up -their heads with opened beaks, as though they were crowing, and cocks -“hardy,” which stood on one leg with the other aggressively uplifted. -Louis-Philippe, on being made King of the French, adopted the bird -standing in this warlike attitude, a circumstance which did not escape -the attention of the Legitimist opponents of the bourgeois king. Shortly -after his accession a biting satire was circulated in anti-Orleanist -society. It set forth how the noble Gallic cock, raking in the dunghill, -had scratched up King Louis-Philippe, who, in exulting gratitude, had -placed the bird in the arms of France. Be this as it may, the Gallic -cock held his place on the escutcheon of the Orleanist dynasty until the -events of 1848 compelled Louis-Philippe to escape to England under the -assumed name of Mr. Smith. - -M. Gambetta carried this bird, in the act of crowing, on his book-plate, -with an equally gallant motto, “Vouloir c’est Pouvoir,” but we seek in -vain to learn of what was composed the library of Gambetta. This is a -mystery! It may be readily surmised that he had not many of the tastes -of a bibliophile, nor time in which to indulge them. As to the plate -itself, the design was probably suggested by Poulet-Malassis, and it was -engraved by M. Alphonse Legros about 1874, when that artist was -commissioned by Sir Charles Dilke to go to Paris to procure a portrait -of M. Léon Gambetta. - -Proof impressions of the plate exist in four states, all very rare; but -the curious feature about it is that M. Gambetta certified in 1882 that -he had never made use of it as a book-plate, and when in May, 1895, Dr. -Bouland obtained the loan of the _original copper_ to publish in the -“Archives de la Société Française,” he found it had scarcely been used. -So that the numerous copies of the Gambetta book-plate scattered about -must be looked upon as forgeries. - -The book-plate of another distinguished Frenchman, Victor Hugo, is also -somewhat of a puzzle. - -[Illustration: BOOK-PLATE OF LÉON GAMBETTA. (REDUCED.)] - -It has been reproduced in nearly every illustrated article that has been -printed on French ex-libris, with its towers of the cathedral of Notre -Dame illuminated by the flash of lightning carrying his name: - - “Les tours de Notre-Dame étaient l’H. de son Nom!” - -On what occasion can M. Aglaüs Bouvenne have designed this celebrated -book-plate, seeing that at the time of his death the library of Victor -Hugo consisted of less than fifty volumes? - -The history is a somewhat curious one. - -As is well known, Victor Hugo was an implacable enemy of Napoleon III., -and during his reign resided in Guernsey. Wishing to pay his great -countryman a compliment, Mons. Aglaüs Bouvenne designed this plate, the -towers of Notre Dame being introduced not only to remind Hugo of his -beloved Paris, but also in allusion to his famous novel. - -[Illustration: BOOK-PLATE OF VICTOR HUGO. - -By Aglaüs Bouvenne.] - -On the 10th July, 1870, Victor Hugo wrote from Hauteville House to thank -the artist for the plate: “Votre _ex-libris_ fait par vous pour moi me -charme--j’accepte avec reconnaissance cette jolie petite planche.... -Votre ex-libris marquera tous les livres de la Bibliothèque de -Hauteville House.” - -But the great war came, the downfall of the Empire, the return of Victor -Hugo to Paris, and amidst so much change and excitement the poor little -ex-libris appears to have been neglected. After the poet’s death -forgeries of it flooded the market, and many unwary collectors purchased -worthless copies. - -[Illustration: BOOK-PLATE OF THÉOPHILE GAUTIER. - -By Aglaüs Bouvenne.] - -At length Mons. Aglaüs Bouvenne, who possessed the original copper, -allowed prints of it to be taken to be issued with the “Archives de la -Société Française des Collectionneurs d’Ex Libris” for June, 1895, -together with a facsimile of Victor Hugo’s letter of thanks above -quoted. - -It should be noticed that the original plate is signed _Aglaüs Bouvenne -del et sculp. 70_ (for 1870), and although it may please collectors to -possess a copy of this ex-libris, they must not assume, when purchasing -one, that it ever was in the possession of the great poet himself. - -[Illustration: BOOK-PLATE OF THE COMTE ALFRED D’ORSAY.] - -M. Bouvenne also designed a plate, dated 1872, for the late novelist and -dramatist Théophile Gautier, enshrining his monogram on the entablature -of an Egyptian temple, but in this case he had to deal with a veritable -lover of books, who possessed a library of some importance, which was -sold, after his death, at the Hôtel Drouot. A catalogue was issued -describing the books, but, although they were mostly in good condition, -and bore the book-plate of a man somewhat famous in his day, they -realized but a small sum under the hammer. - -Of the Comte d’Orsay, at one time the leader of fashion, the Prince of -Dandies, and the associate of the lovely but unfortunate Lady -Blessington, there is little to be said, nor would that little be -complimentary. - -On page 38 is the tiny little plate of Paul Lacroix, better known, -perhaps, as the bibliophile Jacob, whose writings have done so much to -popularize the study of the manners of the Middle Ages, and the progress -of civilization in France. - -The two naked little _gamins_ are gazing at the P.L. on the open volume, -illuminated by a lamp of ancient Greek design. The motto runs, “_Livres -nouveaux, livres vielz et antiques, Etienne Dolet_.” - -Mons. Paul Lacroix was appointed curator of the Library of the Arsenal -in 1855, where he died a few years ago. - -The Vicomte de Rougé, who died in 1873, was a famous Egyptologist, whose -translations from the papyri and inscriptions on the Egyptian monuments -were considered of the highest philological value. In 1860 M. de Rougé -was installed in the chair of Egyptology in the College of France, where -for some years he expounded the principles of careful analysis, upon -which his own successful studies had been based. He left a son, who -shared his father’s enthusiasm for research, and was also a frequent -contributor to the “Revue Archéologique.” - -The device of Ferdinand de Lesseps was a Hercules with the motto -“Aperire terram gentibus,” in allusion to his great work on the Isthmus -of Suez. He did not then foresee his defeat and ruin in the Panama -Canal. - -The Comtesse de Noë possesses a name which permits her to represent the -prehistoric ark as a kind of rebus; whilst Mons. Eugène Jacob, notary of -Angerville, possesses a small ex-libris, designed by his nephew, Mons. -Métivet, which represents a Jacob’s ladder crowded with book-loving -angels. - -[Illustration: BOOK-PLATE OF THE VICOMTE DE ROUGÉ.] - -Albert Tissandier, the learned aëronaut, proclaims his specialty on his -circular book-plate, which shows an inflated balloon soaring aloft to -the realms of thought and ideality. - -Whilst Prince Roland Bonaparte, who possessed one of the largest and -most valuable libraries of modern collectors, was content to use nothing -more elaborate than the Napoleonic eagle. - -One of the most interesting and also one of the scarcest book-plates of -modern French men of letters is the tiny ex-libris of Prosper-Mérimée, -whose library was burnt during the troubles of the Commune in 1871. - -[Illustration: BOOK-PLATE OF EUGÈNE JACOB. - -Designed by Métivet.] - -It is, as nearly as possible, the size of a penny postage-stamp, but it -was designed and engraved by no less a man than Viollet Le Duc. The -Gothic letters P. M. are surrounded by a scroll in the shape of a -horse-shoe, with the opening directed upwards. The motto, in Greek, may -be thus translated, “Do not forget to doubt.” Here, too, is the -unpretentious plate of the bibliophile Jacob, with angels bringing him -his favourite volumes; whilst that of Charles Monselet, the author, has -been inserted already in the chapter on punning plates. - -A well-known plate is that designed by Gavarni for the brothers Edmond -and Jules de Goncourt, and engraved by Jules de Goncourt himself. These -brothers have written much on French art, and, in allusion to their -literary partnership, the plate shows a sheet of paper on which are the -letters E. J. held down by the two outstretched fingers of a hand. The -design is at once simple and striking, but it has the great demerit of -not proclaiming its owner’s name, which is, after all, the _raison -d’être_ of a book-plate. - -I cannot conclude this short chapter on distinguished plate-owners -better than by giving the Japanesque ex-libris of Octave Uzanne, who has -not only produced many charming volumes, the delight of all book-lovers, -but is also himself an enthusiastic collector of ex-libris, and a writer -of authority on their history. - -In this plate the exigencies of space have compelled the artist, M. -Aglaüs Bouvenne, to so divide the name that it reads as though M. Uzanne -were in the act of courteously saluting himself! - -Well, why not? AVE UZANNE! - -[Illustration: BOOK-PLATE OF OCTAVE UZANNE, 1882. - -By Aglaüs Bouvenne.] - -[Illustration] - - - - -CHAPTER XVI. - -MODERN EX-LIBRIS. - - -From the downfall of the first Napoleon, and the restoration of the -Monarchy, until about 1850, art, as shown in ex-libris, appears to have -slumbered; scarcely anything can be found but a dreary repetition of -heraldic plates, without character and without style, or slavish -imitations of designs of the pre-Revolution character, such as those of -F. des Robert and Du Puy de Belveze (see pages 276, 277). - -As Poulet-Malassis observes, they appear to have been turned out to -pattern indiscriminately by the Parisian engravers. The pattern most in -request was a kind of strap, or sword-belt, which surrounded the shield -or monogram of the owner. - -Even in this dreary waste, without art, without originality, there is -just one plate which calls for remark. It is that of Alphonse Karr, the -author, and represents a wasp (the symbol he chose) busy writing on a -long parchment. Probably this was designed for him by Grandville, the -caricaturist. This plate almost marks a division line between the old -engraved copper-plates with their stiff and formal heraldry, and the -modern etched ex-libris, with designs free and graceful,--allegoric, -pictorial, allusive, humorous, anything, in fact, that is not heraldic, -or in which, at least, if there be anything of an armorial nature, it is -made subservient to the general design, and as little conspicuous as -possible. - -[Illustration: BOOK-PLATE OF F. DES ROBERT, 1878.] - -Some well-known artists of the day having set the fashion, it became -“the thing” with literary men--plebeian people, of course--to discard -heraldry, and to have ex-libris emblematical of their studies, their -tastes, or their principal works, as in the plates, for instance, of -Victor Hugo, Théophile Gautier, Manet, the Brothers Goncourt, Octave -Uzanne, Paul Lacroix, and others. - -[Illustration: BOOK-PLATE OF G. DU PUY DE BELVEZE.] - -Apart from what may be termed the original and characteristic -book-plates of some of the leading men in arts and letters, French -ex-libris of the first fifty years of this century may be divided into -three leading styles: 1. The plain armorial shield, or seal, with -heraldic bearings. 2. The plain printed label, either in modern type, -or in imitation of that of the fifteenth century. 3. Type-printed, -surrounded by a wreath of flowers, a belt, or a strap. - -[Illustration: BOOK-PLATE OF LOUIS MOHR.] - -All, or nearly all, come under these headings, and are about as artistic -as the label on a bottle of champagne, or a box of bonbons. They -accomplish their object, for they proclaim the ownership of the volume, -but tell us nothing of the owner’s personality. - -[Illustration: BOOK-PLATE OF LEON GRUEL.] - -A new fashion which arose in ex-libris, almost synchronous with the -rise of the Second Empire, dispelled much of this formality and -monotony. Individuality and originality were displayed, often weak and -puerile, but infinitely superior to the dull uniformity which had -prevailed in the previous generation. Statesmen, literary and scientific -men, even artists, began to mark their books in this way, and their -plates were almost as varied as their tastes and characters. Their -designs may not always please, may sometimes even shock, as does that -of _Niniche_, but at least they do not weary with their sameness. - -[Illustration: BOOK-PLATE OF THE COMTE DE BUREY.] - -But of all the modes in ex-libris there is one, at least, which always -pleases, whether French or English, namely, the photographic portrait of -the owner carefully reproduced by a cunning engraver, and furnished with -bookish surroundings. - -[Illustration: BOOK-PLATE OF THE COMTE DE BUREY.] - -This portrait ex-libris has great interest for the collector, but the -simple photograph, in all its detestably scientific truth and brutal -exactitude, cannot be considered as a respectable or desirable member of -the ex-libris family. - -[Illustration: BOOK-PLATE OF HENRI TAUSIN, OF ST. QUENTIN.] - -[Illustration: BOOK-PLATE OF J. E. SYLVESTRE. - -Peintre-Graveur.] - -Little need be said concerning modern French armorial plates, they are -neither numerous nor especially characteristic. Some of the neatest -amongst them are signed _Stern_, graveur, Paris, and in their formality -and clearness resemble our own modern heraldic work. - -[Illustration: BOOK-PLATE OF G. MALET.] - -But it is in the light, graceful plates of to-day that we find the -fullest development of French art and originality. They style them -_Ex-Libris de Fantaisie_. They illustrate the transient humour of the -owner, his caprices, his studies, or his recreations; they obey no rule, -they elude analysis or classification, they defy description: - - “_Their beauties_ are like poppies spread, - You seize the flower, its bloom is shed! - Or, like the snow-falls in the river, - A moment white--then melts for ever.” - -[Illustration: BOOK-PLATE OF GEORGES MANTIN.] - -It were, indeed, as ridiculous as “gilding refined gold, or painting the -lily,” to venture to describe the coquettish _Parisienne_ on the plate -of _G. Malet_; or the fanciful design for _Georges Mantin_; the charming -decorative plate of _Henri Tausin_, or the quaint monogram designed for -_Alexis Martin_ by Aglaüs Bouvenne. _Art pour l’Art_, _Fantaisie_, -_Diablerie_; democratic ideas prevalent in the mottoes, armorial -bearings discarded, even titles and prefixes of honour abandoned by -those who have the most right to use them. Henri Béraldi goes even -further, and asserts that the size of a man’s book-plate is in inverse -ratio to the value of his library, but let him speak for himself: - -[Illustration: BOOK-PLATE OF ALEXIS MARTIN. - -By Aglaüs Bouvenne.] - -“Il est à remarquer, qu’aujourd’hui les vrais Bibliophiles s’efforcent -de contaminer le moins possible leurs livres par l’apposition de leurs -Ex-Libris. Ils ont donc des Ex-Libris aussi petits que possible. En -général, ce sont de simples filets d’encadrements entourant le nom. On -les fait faire par son relieur. Les non-Bibliophiles ont des Ex-Libris -gigantesques, où ils étalent des blasons, des chiffres, des emblèmes, -des devises, des rébus, des sujets de guerre, placards qui encombrent -toute la garde des volumes. On devrait se garder de déposer ces -choses-là sur des livres precieux.” - -“Considérons l’Ex-Libris comme un aréomètre servant à titrer le degré de -force bibliophilique de son possesseur, et formulons un axiome à la -Balzac: - -[Illustration: BOOK-PLATE OF HENRI GRESLIE.] - -_La valeur d’un Bibliophile est en raison inverse de la dimension de son -Ex-Libris._” - -We protest, and pass on. - -[Illustration: BOOK-PLATE OF AUGUSTE GEOFFROY.] - -[Illustration: BOOK-PLATE OF ALEXANDRE GEOFFROY. - -Designed by Henry André.] - -During the last few years an artist has come to the front, Mons. Henry -André, who has devoted so much of his invention and his skill to -book-plates that it is difficult to decide which of his numerous works -to select as best illustrating his style. He has kindly permitted eight -designs to be reproduced; one, that of Doctor F. Bargallò, will be found -amongst the medical plates, the others are those belonging to Messieurs -Auguste Geoffroy, an art expert; Alexandre Geoffrey, an art critic, -with the telling motto, “A Tous Vents Je Seme,” appropriate to the -editor of such a journal as “La Curiosité Universelle”; Jules Lermina, -also a man of letters, with the motto “Fiat Lux” emerging from the -clouds, a very quaint and original conception; Ch. Guinot, a poet and a -bibliophile, with the emblems of death and immortality. - -[Illustration: BOOK-PLATE OF JULES LERMINA. - -Designed by Henry André.] - -The plate of Mons. Jan des Vignes is a singular design. The owner, a -poet and journalist, is a native of Cluny, in Burgundy, famous for its -abbey, and as having given birth to the painters, Greuze and Prud’hon, -and to the celebrated poets Lamartine and P. Dupont. The view of the -ancient abbey, surrounded by the vine, proclaims at once the owner’s -birthplace and his name, whilst the exquisite sonnet reveals his -poetical genius. - -[Illustration: BOOK-PLATE OF CH. GUINOT, 1894. - -Designed by Henry André.] - -The Docteur Jules Le Bayon is a Breton, a native of Carnac, where are to -be seen the wonderful Druidical stones, a few of which are depicted on -his ex-libris. Mons. Le Bayon is a doctor of medicine by profession, but -he is also an enthusiastic amateur of music, hence the introduction of -a peasant clad in the old Brittany costume, playing on the rural pipes. -The sprig of mistletoe, the sacred plant of the Druids, completes an -engraving which is full of picturesque allusiveness. - -[Illustration: BOOK-PLATE OF JAN DES VIGNES. - -Designed by Henry André.] - -[Illustration: BOOK-PLATE OF JULES LE BAYON, 1896. - -Designed by Henry André.] - -[Illustration: BOOK-PLATE OF ABEL PICARD. - -Designed by Henry André.] - -And lastly, we have that of Mons. Abel Picard, an eminent bibliophile -holding a high official position in Paris. The ribbon, that so -ingeniously curves itself into the owner’s initials, enfolds a view of -the quays along the Seine, with their stalls of second-hand books, and -the _flaneurs_ on the look-out for bargains. In the distance may -faintly be descried the towers of Notre Dame. Below we have indications -that the owner’s tastes in reading are varied: Michelet, the historian, -is near a volume on art; whilst the novels of Daudet and Zola are only -separated by a sliding partition from a bulky and well thumbed tome on -the “Droit Administratif,” surely a suggestive contrast. As for the -perky little Parisian sparrow (for such I am informed is the bird), -c’est un plat de supplément à cinquante centimes that I do not feel -called upon to describe. - -[Illustration: BOOK-PLATE OF L. P. COURAUD.] - -Mons. L. P. Couraud, of Cognac, designed his own armorial plate; the -motto (a translation from Virgil) is appropriate to one who has won -success by his own energy and skill. - -Mons. Couraud, who is an enthusiastic collector of prints, medals, and -ancient furniture, thus describes the origin of his book-plate: “Dans -une vieille édition du ‘Roman du Renart’ je recontrai cette devise, -‘Fortune secort les hardiz,’ dès lors mon ex-libris était trouvé. Je fis -représenter la classique Fortune dans un écusson d’or, au chef cousu -d’azur (shown _gules_ in the engraving) chargé de trois fleurs-de-lis, -avec deux _coqs_ pour supports; ce qui faisait allusion à mes opinions -politiques.” This was drawn by Mons. Couraud and engraved by Devambez. - -[Illustration: BOOK-PLATE OF BARON PICHOU. - -Designed by A. Godreuil.] - -[Illustration: BOOK-PLATE OF ALFRED BOVET. - -Engraved by Stern.] - -It will be seen that the owner frankly admits not only that the arms -were assumed, but that they were purely fanciful. For a trade label such -a device might be excused, but all who have any respect for the science -of heraldry will be pleased to learn that the owner has determined to -suppress this plate, and has had another engraved for him by Henry -André, after a pretty floral design of Van Spaendonck, and printed in -colours. - -The power to appreciate beauty is but one factor in many that go to the -forming of an artist, yet it is the indispensable. - -[Illustration: BOOK-PLATE OF LAFITTE. - -Designed by Agry.] - -Who, then, amongst modern French artists, has produced the most -beautiful and characteristic ex-libris? The question is too difficult to -solve offhand; it is, indeed, a matter of taste. Many would select -Aglaüs Bouvenne, Léopold Flameng; others might suggest C. E. Thiéry or -Henry André. - -Other modern artists who should be mentioned are Bracquemond, who -produced a plate for M. Aglaüs Bouvenne himself, and the very simple -severe mark for the late Poulet-Malassis, with its vigorous assertion, -_Je l’ai_, as well as the plates for Charles Asselineau and Paul -Arnauldet, the latter with its anti-Grolier motto, _Nunquam amicorum!_ - -[Illustration: BOOK-PLATE OF C. BAYARD. - -Designed by P. Pascalon.] - -François Courboin, Félicien Rops, and Paul Avril have also produced some -light and graceful designs for modern ex-libris. - -The style of a book-plate may be taken as some indication of the tastes -and nature of the owner, and this is particularly true of modern French -ex-libris, in which artistic fancy and originality have full swing. From -this point of view a collection may have more value than might at first -be supposed. It would be claiming too much to assert that no great man -ever had an ugly or an inappropriate ex-libris, yet it may be safely -assumed that few but men of taste and culture possess really artistic -book-plates. - -[Illustration: BOOK-PLATE OF MARTHE DE BORNIOL. - -Designed by M. Georgel.] - -[Illustration] - - - - -CHAPTER XVII. - -ARTISTS AND ENGRAVERS WHOSE SIGNATURES ARE FOUND UPON FRENCH -BOOK-PLATES. - - -In the following list no attempt has been made to enumerate every -separate ex-libris signed by each artist; such works as would best -illustrate their style, or the period they worked in, only have been -selected, or plates possessing other features of interest, literary, -artistic, or personal. - -It must be borne in mind that a large proportion of the early French -plates bore no owners’ names, although they were frequently signed by -the engraver. Many of these plates have been identified by the arms, the -mottoes, or other peculiarities in design, but some still remain -unidentified. - -Where engraved dates appear on the ex-libris these have been mentioned, -but no notice has been taken of dates inserted in manuscript, these, as -is well known, being quite unreliable. - -For certain engravers, on whose work no date has been found, a century -has been named approximately from an examination of the plates they -produced. - -Some of this information must necessarily be conjectural, and Mons. -Poulet-Malassis mentions certain artists and engravers of book-plates of -whose work it has not been possible either to obtain copies, or any -information whatever. - -For facility of reference a strictly alphabetical arrangement of the -names has been adopted. - -Wherever it was possible, the inscriptions and signatures have been -copied from the book-plates themselves, carefully preserving the -arbitrary contractions, the obsolete orthography, and even the errors -and the faulty accentuation found on many of them. - -It will be observed that Mr. as a contraction for _Monsieur_ was -formerly more generally used in France than it now is, whilst Escuyer, -Escuier, or Ecuyer (for Esquire) was occasionally added after a -gentleman’s name, a custom which has, since the Revolution, become quite -obsolete. - -One of the latest examples of the use of this title will be found on the -ex-libris of Jean François-Gillet, dated 1778, of which a reproduction -appears on p. 96. - - -A List of Artists and Engravers. - -ABOT. - -Engraved a plate for M. -Greppe. Designed by Giacomelli. -Modern. - -TANCRÈDE ABRAHAM. - -Château de Ruillé. (De la -Planche, Comte de Ruillé.) -1874. Armorial. - -ADELINE, JULES. - -Ex-libris de Champfleury dessiné -et gravé par J. Adeline. - -Portrait plate. Modern. -(See also Aglaüs Bouvenne.) -M. Henri Bouchot reproduced -several works by this -artist. - -AGRY. 14 Castiglione. Maison -Bouvet (Paris). Modern. - -Bibliothèque de Mouchy. -Armorial. - -Bibliothèque de Lafitte. - -ALÈS _Sc_. -Hilarii Grésy, 1868. Pictorial. - -Ex-libris Gustave Chancel, -1876. Pictorial. - -ALIAMET _Scul_. (See Eisen.) -On a nameless armorial, designed -by C. Eisen for - Claude Antoine de Choiseul-Beaupré. -18th cent. - -“J. Aliamet” on the nameless -armorial, designed by C. -Eisen, for the Marquis de -Paulmy. - -ALLIN _Sculp. fecit._ -Robert Jehannot de Beaumont, -Conseilleur du Roy, -etc., Verdun, 1742. -Armorial. - -Conrad Robert, Comte de -Wignacourt, Major au Regiment, -etc. Armorial. - -ALOYS _Comte la Rosée, fecit_ -1760, on a library interior, -name indistinct; and on the -plate of Theod. Cte. Morawitzky, -1770. - -_Aloys, comes de la Rosée, inv. -del. et sculpst._, on his own -ex-libris, dated 1769. He was -a German from the -Rhine provinces. - -ANCELET, E. 19th cent. - -ANDOUARD. 18th cent. - -ANDRÉ, HENRY. Modern. -Jules Lermina. Symbolic -plate. - -Alex. Geoffrey. 1893. - -Henry André, Secrétaire de -la Société Française, etc. -1893. - -Paul Vibert. Portrait plate. - -Th^{re}. Vibert. Portrait plate. - -Louis Bihn. 1893. - -Abel Picard. A view of the -book-stalls on the quays -of Paris. - -Ch. Guinot. 1894. - -Léon Quantin. 1894. - -Henry André 1894. Portrait. - -Auguste-Geoffroy. 1895. - -F. Bargallo. 1895. Allegorical. - -L. P. Couraud. Pictorial. - -Jan-des-Vignes. 1896. - -Ex Libris P. P. Capucinorum -Conventus Parisiensis. -1896. - -Docteur Jules Le Bayon. -1896. - -Ex Libris du Marquis de -Gourdon de l’Echo. -Armorial. - -APOUX. Modern. -Ex Libris Lucien Bodin. -Pictorial. Motto, “_Oh! -combien gai c’est!_” - -ARIBAUD, J. P. 18th cent. - -ARTHAUD. 18th cent. - -AUBLÉ. 18th cent. - -P. AUDINET _Sculp._ -Rev. H. S. Cotton. Angling -scene. - -AUDRAN, J. 18th cent. -Engraved the monogram trophy -plate for Louis XV., -designed by A. Dieu. - -AUGER, E. Modern. -Designed the plate for Mons. -Charles Givelet of Reims. -Motto, “_Remensia colui, -mihi et amicis._” Engraved -by A. Bellevoie. (See Les -Bibliophiles Rémois, pp. -101, 116.) - -AUGUSTUS _In. et Sculp._ -Madame De Bouchard. Label. -18th cent. - -AUROUX, N. 17th cent. - -A. AVELINE _Sculp._ - -On the armorial ex-libris of -Carolus de Brosses, Comes -Tornaci, Baro Montis, etc., -with the motto “_Homunculi -quanti sunt_.” 18th cent. - -M. Poulet-Malassis devotes -considerable space to this -very little man--Charles de -Brosses--and his quarrel -with Voltaire. De Brosses -had two other armorial -book-plates engraved by -Durand, from which the -unfortunate motto was -omitted. - -Charles de Brosses, Comte de -Tournay, was born in Dijon -in 1709, and died in Paris in -1777. He was a true bibliophile, -and his books were -sumptuously bound in morocco -stamped with his -arms--_azure three trefoils -or_. - -They were sold in Dijon in -1778. See an illustrated -article on his ex-libris in -“Les Archives de la Société -Française,” Jany., 1896. - -AVISSE _fecit_. (Signature indistinct.) - -Josephi Xaupi, 1750 and 1765. -Ecclesiastical. - -AVRIL, PAUL. Modern. -Philippe Gille. - -Ex-Libris H. S. Ashbee. 1890. -Portrait rebus plate. - -Ex-Libris Geo. B. de Forest -(of New York). Library -interior. - -A. B. _del._ - -M. Arthur Benoit, of Berthelming -in Alsace, designed -several book-plates for himself -and for his late brother -Mons. Louis Benoit, librarian -to the city of Nancy. -These ex-libris contain views -of Alsatian buildings and -costumes. - -Mons. A. Benoit designed a -modern plate for himself, -copied from a library device -of the last century; Motto, -“_Avec le temps_.” - -See “Petite Revue d’Ex libris -Alsaciens,” p. 37. - -BACHELEY, _del. et sculp._ 1768. -P. R. Le Cornier de Cideville. -Armorial. - -BALTAZARD. 1755. - -L. F. BAOUR, _fecit_. -P. L. de Carbon, sen. -Armorial. 18th cent. - -BAQUOY, C. 18th cent. - -BARBAT, _à Chalons_, 19th cent. -Ex libris C. Remy. Armorial. - -Mons. Charles Remy, Membre -de l’Académie de -Reims, carries the arms of -a Chevalier de l’Empire, a -title granted to his father, -the Baron Claude Charles -Remy, on April 25, 1811. -(See “Les Bibliophiles -Rémois,” p. 117.) - -C. BARON _Sculp._ -Bibliothèque de Madame -Victoire de France. 18th -cent. - -This has the arms of -France in a lozenge. (See -p. 53, “Ladies’ Book-plates.”) - -BAUMÉS _fecit_. -Ex-libris D. D. Postic. -Armorial. 18th cent. -Reproduced in “Ex-Libris -Ana.” - -BAUMÉS, _à Montpellier_. 18th -cent. - -BEAU, _fils_. 18th cent. - -BEAUMONT _fecit_. -On the armorial Ex Libris -Vaucresson de Cormainville, -etc., 1743. - -And “Gravé par Beaumont, -grav^{r} ord^{re} de la ville,” on -the “Ex-libris D. Jacobi -Olivarii Vallée, Equitis, regi -à Consilius, et in Camerâ -regiarum Rationum Magistri -Anno 1730.” Armorial. -Two supporters. - -H. BÉCAT _inv._ -Signed the large allegorical -“Ex-libris Thomæ Gueulette -et amicorum.” With the -motto, “_Dulce est desipere -in Loco_.” See reproduction. - -Simon-Thomas Gueulette was -a prolific writer of farces for -the Théâtre Italien, and the -Théâtre des Boulevards; he -died in 1766. - -BÉHA, _Lith. Metz._ -Ex-libris Arthur Benoit. -Modern; armorial. - -BEILLET _Impr. 35 Quai de la -Tournelle_. Modern. - -Bibliothèque de Mme. la -Comtesse de Montblanc, -Baronne d’Ingelmunster. -Armorial. - -J. D. BELEAU, _à Rouen_, 1724. - -BELILLE, _à Verdun_. 19th cent. - -BELLANGE, JACQUES. Painter -and etcher. Born at Nancy, -October 13th, 1594; died -about 1638. - -He is supposed to have engraved -the large armorial -plate for Melchior de la -Vallée, dated 1613. (See -“Archives de la Société -Française,” vol. ii., February, -1895.) - -BELLANGER _Inv. et Sc._ -Signed an allegorical book-plate -for Simon Thomas -Gueulette, the novelist and -farce writer, who died in -1766. (See also H. Bécat.) - -BELLEVOYE, ADOLPHE. -Modern. - -Mons. Bellevoye, an engraver, -formerly of Metz, afterwards -of Reims. Engraved -a landscape plate for himself, -inscribed: “Bibliothèque -d’Adolphe Bellevoye -de Metz”; also the plates -for Mons. Charles Givelet -and Mons. Anatole Paroissien. -(See “Les Bibliophiles -Rémois,” pp. 91, 101, and -113.) - -BERAIN C., 17th cent. - -BERGER D., 1786. - -BERLIER. 1740. - -BERT, J., _à Granmont_. 18th cent. - -BERTHAULT _sculp._ 1777. -Ex Museo J. G. R. Boscheron. -Armorial. - -BES. 18th cent. - -BEUGNET. 1769. -Le Comte de Luzignem. -Armorial. - -BIDA, ALEXANDRE. 19th cent. -Designed a book-plate for -Mons. Félix Solar. It was -engraved by M. Pollet. - -M. Solar had a second book-plate -engraved by Paul -Chenay. - -BIDAULT. 1707. -Nameless armorial, no motto. - -BILLÉ. 18th cent. - -BINARD, J. Modern. -Ex Bib: Michaelis Chasles. -Engraved label. - -BIS, _à Douay_. 18th cent. - -BIZÉMONT-PRUNELÉ (André-Gaspard -Parfait, Comte de -Bizémont-Prunelé.) - -Signed _Bizémont, sc., London_, -1794 on his ornamental -card: “M. Bizemont, Drawing -Master, 19, Norton -Street, near Portland -Street.” He was then residing -in London as a -political refugee, earning -his living by his talents. - -There is a plate, which was -designed and engraved for -him by Ch. Gaucher in 1781, -on which his full names and -title are given. - -M. Bizémont-Prunelé also -etched a pictorial plate for -his wife, Marie Catherine -d’Hallot. - -J. BLOCQUET, 1672. -The large nameless armorial -plate of Charles Maurice -le Tellier, archevêque de -Reims. (See M. Poulet-Malassis, -page 23.) - -BOILY, L. -Nameless armorial. Motto, -“_Sine macula_.” - -L. BOISSON _Sc._ (1881.) -Ex-libris C. Sagnier, Juin, 81. -Pictorial. - -BONNARD. J. B. H. 17th cent. - -E. BONNEJOY _del. et sc._, 1875. -Ex Libris Docteur Bonnejoy. -Pictorial. Motto. “_Salus -ex aquis._” (The Doctor is -a vegetarian, and an abstainer.) - -J. BONNETON _scul._ 1888. -J. Bonneton, président du tribunal. -Library interior. - -DE BONRECUEILLE. 18th cent. - -ED. BOUCHARDON _in. del._ -On the plate of Louise le -Daulceur, engraved by herself. -(See also Louise le -Daulceur.) 18th cent. - -BOUCHER, FRANCOIS. 18th cent. -Designed the plate, but did -not sign it, for Le Président -Hénault de l’Académie -Française. It was engraved -by the Comte de Caylus. -(See Poulet-Malassis, pp. 28, -33, and 58.) - -Ex Libris Joannis Laurentii -Aublé, signed “F. Bouchier -_in._ Pariset _Sc._” - -This handsome armorial -plate is reproduced by -Poulet-Malassis, p. 58. - -Ex-libris de Crozat, baron de -Thiers. Armorial. - -Reproduced by H. Bouchot. - -_F. B. inv._ is also found on -the nameless plate of the -Chevalier de Valori, with -J. H. V. (Valori), _scul._ - -BOUCHY _Sculp._ -Steph. Ign., et Joan. Jac. -Michelet fratres, Capellani -S^{ti}. Petri Bisontini 1714. - -Signed the following--“Bouchy -_Sculp._ Vesuntione:--” - -Ant. Ign. de Camus de Filain, -1732. - -Ex Libris Antonii Lengroignet, -1732. - -And another plate dated 1739. - -BOULLAY, J. 19th cent. - -BOULONOIS _fecit_. 18th cent. -Signed the large decorated -armorial “Ex-libris Franc. -Le Vignon Doct. Me. Paris.” - -BOURCIER, JEANNE. -Signed _Gra^{e}. de Jeanne Bourcier, -Bar le Duc_, 1760, on -the armorial plate of Antoine -de la Falloize, Seigneur du -Bau de Chaumont. - -BOURGEOIS. 18th cent. - -BOUTET, HENRI. Modern -Ernest Maindron (a collector). - -Ex-libris Catel. Fantaisie. -Motto, “_Nocturna versate -manu, versate diurna_.” - -BOUVENNE, AGLAÜS. -Designed and engraved the -following: - -Ex-libris Ch. Asselineau, with -the curious enigmatical -motto, “_La femme qui n’est -pas la colombe et le roseau -est un monstre_.” M. Asselinea -had another book-plate -by Braquemond. - -He was an employé in the -Bibliothèque Mazarine, and -produced some bibliographical -works. He died -in June, 1874. - -Jules Cousin. A punning -plate (a gnat). - -A mon cher Edouard Castillon-Aglaüs -Bouvenne, 1882. -Motto, “_Travail liberté_.” - -Ex Libris Mario Proth. -(Author and Art Critic.) -Motto, “_Sempre Vagare_.” - -Maurice Tourneux. Author -and critic, died in 1867. - -Ex Libris Alexis Martin, 1868. -Pictorial. - -Théophile Gautier. -Monogram. 1872. - -Ex Libris Champfleury, 1874. -Eau-forte. - -Ex Libris François Coppée. -Monogram on a lyre. - -L. West, 1876. -Library interior. - -Victor Hugo. View of the -Towers of Notre Dame, -Paris, 1870. - -Octave Uzanne, 1882. -Pictorial. Author and art -critic. - -Monogram (for M. Benoit). -Motto, “_Avec le temps_,” -Signed, Agaus (sic) Bouvenne, -_Inv. Sculp._ ’83. - -Ex Libris de Madame la -Comtesse de Noë, 1888. -Fantaisie. - -For M. Léon Sapin the Bookseller -of the Rue Bonaparte, -Paris, a plate showing an -avenue of fir trees (Sapins) -Signed, _Aglaüs Bouvenne -sc. à l’ami L. Sapin_. (See -“Archives de la Société -Française,” May, 1895.) - -BRACQUEMOND _del. et sculp._ on -the cypher book-plate of -Aglaüs Bouvenne, 1875. -Motto, “_Colligebat--quis -perficiet_.” - -Mons. Félix Braquemond also -designed the following -plates: - -A monogram plate for Paul -Arnauldet, signed B. Motto, -“_Nunquam amicorum_.” - -Charles Asselineau. - -Philippe Burty. -An allegorical design for -this author, art critic and -collector. Motto, “_Libre et -fidèle_.” - -Georges Pouchet. - -Edouard Manet, the painter. -With the motto “_Manet -et manebit_.” In the first -state there were accessories -peculiar to the worship of -Priapus, which were removed. - -Christophe, the sculptor. - -He also designed a plate for -himself. (See Poulet-Malassis, -p. 38.) - -BRANCHE. 18th cent. -“Bibliothèque de M. de Villiers -du Terrage, Pr. commis des -Finances.” - -This was an armorial -plate, style Louis XVI., -the owner of which was -a Viscount, yet bore the -coronet of a Marquis. He -survived the revolution, -aristocrat though he was, -and served in the Ministry -of Police, under the first -Empire and the Restoration. - -BRASPACHER. 1775. - -BRÉANT. 18th cent. - -BRENET _fecit_. -Louis Pfyffer de Wyher, Capitaine -aux Gardes Suisses. -Armorial. 18th cent. - -Ce livre Appartient à M^r. Le -Maire. Armorial. - -R. BRICHET _inv. sculp._ -I. Ph. Grauss. Armorial. - -Dumont de Valdajou. -Chirurgien. Armorial. 18th -cent. (See reproduction.) - -BRIOT, ISAAC. 17th cent. -Signed “Briot” on the plate -of Claude Sarrau, who died -in 1651. - -Isaac Briot signed an engraving -of Henri IV. lying in -state, dated 1610. - -BROCHERY _fecit_. -J. Hoop. Pictorial plate, no -arms or motto. 18th cent. - -BROCHERY, THÉRÈSE. -On the ex-libris of Alexis -Foissey of Dunkirk. Two -states, one with coronet, one -without. 18th cent. - -B. H. DE BROCKES. -Clemens Augustus. 1760. -Ecclesiastical. - -BRONDES. -“Joannis Baptistae Grenier -Caus. Patroni.” Armorial. - -BRUPACHER _fec._ -Ex: Lib: Monast: St. Petri. -Montis Majoris 1765. -Armorial. Ecclesiastical. - -BUHOT, FELIX. A famous -etcher and book illustrator, -born at Valognes in Normandy, -but now resident in -Paris. - -M. Octave Uzanne wrote a -critical account of his works -in “Le Livre” for March, -1888, but no mention is made -of any ex-libris engraved by -him. - -BURDET. 19th cent. - -BURTY, J. 3 Rue de la V^{le}. -Estrapade. - -Lejay, _fils ainé_. Rue St. -Etienne des Grès, 12, Paris. -Landscape. - - -C. (COMTE DE CAYLUS.) - -Engraved the plate designed -by Boucher for Le Président -Hénault de l’Académie -Française. 18th cent. -(See Poulet-Malassis.) - -CALLOT, JAQUES. Of Nancy, -died 1635. - -I have never heard of an ex-libris -by this famous engraver, -but some may yet be -found, as he had a preference -for fine small work -suitable for this purpose. - -CALMETTES, F. 19th cent. - -De la Bibliothèque de Madame -Anatole France. -Engraved label. - -CARPENTIER, J. B. 18th cent. - -CARS, J. F. 18th cent. - -CATELIN, J. B. 18th cent. - -CATHEY. 18th cent. - -CAVA, F. 18th cent. - -CHABANY. - -De Maridort. Armorial. - -CHAPPRON, P. H. MEÛNIER. - -Engraved an armorial plate -for himself, dated -(See “Les Bibliophiles -Rémois,” p. 57.) - -CHARLES, C. - -J. G. F. Chassel, 1792. (See -Warren’s “Guide,” p. 147.) - -“C. Charles in.” on a nameless -plate, dated 1739, signed J. -C. Fran^{s}. _sculp._ - -CHARPENTIER. 1709. - -CHAUVEAU, FRANÇOIS. (Died -in 1676.) - -Ex-libris de Clerget. -Armorial. - -A majestic armorial plate for -Jérôme Bignon, is also attributed -to Chauveau. - -CHAUVET, J. Modern. - -Ex Libris D. Jouast. (A journalist.) - -H. S. Ashbee (of London). - -CHEFFER, A. _Grav._ 22, Rue -Dauphine. Modern. - -PAUL CHENAY _Sculp._ - -Ex-libris F. Solar. Modern. - -This plate is after a design by -Andrea del Sarto, and was -printed on the catalogue -of the library of M. Solar, -sold in 1860. - -Mons. Félix Solar had another -ex-libris, designed by Bida, -and engraved by Pollet. - -L. CHENU. F. 1780. Desmaison -invenit. - -Ex-Libris Bouju. Armorial. - -CHEVALIER. 17th cent. - -CHEVALIER _sculp._ 18th cent. - -M. L’Abbé Desmarestz. Armorial. -Ecclesiastical. - -CHEVRIER, L. Modern. - -A nameless etched plate, dated -1875, representing a child -beneath a pile of old books. - -CHINON, B. 18th cent. - -P. P. CHOFFARD _fecit._ - -On the plates of De Cursay, -de Landry, etc., 1756. -De Cursay-Thomasseau, 1756. - -Ex-libris de Buissy, 1759. - -Franc. Jos. Ant. Hell (of Alsace), -1773. - -Ex-libris Souchay, Eq^{is}. Lugduni -“C. Monet _del._ P. P. -Choffard, _sculp._ 1776.” This -handsome plate is reproduced -in “Ex-Libris Ana.” - -Jean Armand Tronchin, 1779. - -Thellusson, 1782. Poulet-Malassis -speaks of Thellusson -as a Prussian Baron, -whereas he was a descendant -of a French Protestant -family, and in 1806 was -created Baron Rendlesham -in the peerage of Ireland. - -Andreas de Salis, Curia Rhaetorum. - -Pinsot d’Armand. - -M. Henri Bouchot reproduces -a lady’s armorial plate, -nameless, engraved by -Choffard, after a design by -Moreau le Jeune. - -CHOLLET. 18th cent. - -CHOUBARD _sculp._ - -H. CHRISTOPHE _Lith. Nancy._ - -Ex Libris A. Benoit, Berthelmingen, -1894. - -Ex Libris Francisci de Chanteau. - -L. CHRISTOPHE _Nancy_, 1852. - -M. Ch. de Beauminy. -Armorial; literary. - -CLOUZIER, A. 18th cent. - -COCHIN, CHARLES NICOLAS. - -Known as _Cochin fils._ 18th -cent. - -He signed a nameless plate -_Cochin inv._ 1750. (De Lafosse, -sc.) - -Also a nameless armorial -plate for the Abbé Leblanc. -_C. Cochin filius inv._ (C. O. -Galimard, _sculp._), and another -for Poisson de Marigny, -dated 1752. - -He also designed an armorial -plate for the Marquise de -Pompadour. (See Poulet-Malassis, -p. 60.) - -C. N. C. _d._ (_Cochin fils._) - -Ex Libris Le Vassor de la -Touche. (See J. Ingram.) - -L. P. C. _inv._ - -On the plate of L. P. Couraud, -also signed _Henry-André -del. et sc._ - -Mons. Couraud also designed -an armorial plate for himself. - -COCHON, J. Modern. - -Ex Libris M. Descoutures. - -COLE. 18th cent. - -J. COLIN. 1685. - -COLINET _fecit._ 18th cent. - -M. Thierry de Villedavray. -Armorial. - -COLLARD. 18th cent. - -COLLIN, DOMINIQUE (known as -Collin père). 18th cent. - -This famous engraver was -born at Mirécourt, in Lorraine, -in 1725. He first -studied engraving under a -goldsmith in Metz, and -afterwards under Jean -Striedbeck of Strasburg. - -In 1752 Collin married and -settled in Nancy, where he -soon acquired a reputation, -and was named engraver to -the town, and also to the -King of Poland, Stanislas, -Duc de Lorraine et de Bar. - -He died in Nancy, December -21st, 1781. He produced -more than 300 engravings, -on many of which he signed -himself “graveur du feu roi -de Pologne.” - -A catalogue of his works was -given by Mons. le Conseiller -Beaupré in “Les Mémoires -de la Société d’Archéologie -Lorraine,” and a supplemental -list, drawn up by -Mons. A. Benoit, with illustrations, -appeared in the -“Archives de la Société -Française,” April, 1895. - -His son, Yves Dominique -Collin, also worked on -book-plates, and, judging -by the few known examples -of his work, would probably -have surpassed his -father, but, unfortunately, -his career was brief. He -was born in Nancy, in February, -1753, and died in the -same city on April 26th, -1792. He signed his plates -_Y. D. Collin, fils._ - -The following is a list of the -known book-plates of Dominique -Collin; his mode of -signature varied, and he -spelt his name Collin or -Colin indifferently. - -Bourgeois. - -Des Salles. - -Du Perron. - -Aubrussel. - -Charles, Comte de Lavaux, etc. - -Lespée. - -Maillart. - -Mengin. - -Regnard de Gironcourt. - -Riston. (See reproduction.) - -Bibliothèque de Mr. J. -Anthoine. (Very rare plate.) -Armorial. Library interior. - -Hr. M. B. Bach. Armorial; -signed _D. Colin fecit_, 1747. -Reproduced in the “Archives -de la Société Française,” -April, 1895, as the -earliest known dated ex-libris -engraved by Collin -in Alsace. - -Nameless armorial, dated 1748. - -Friedrich Alexander Freyherr -von Schell. Signed _D. Colin -fecit_, 1751. - -Nameless armorial, with supporters, -1750. - -Bibliotècque de Mr. Héré. -1752. Armorial; pictorial. -(See reproduction.) - -Nameless armorial, dated -1754. - -Sirejean Fils. 1754. -Armorial; pictorial. - -[Illustration: BOOK-PLATE OF M. HERÉ.] - -M. Thibault, Conseiller -d’Etat, Procureur Général -de la Chambre des Comptes. -1756. Signed _Collin sculp. -Nanceii_. - -Bibliothèque de R. Willemet. -Mtre. Apothicaire a Nancy. - -Pictorial. Signed _Collin, -graveur du feu Roi de Pologne, -duc de Lorraine_. - -Le Comte de Carvoisin. -Armorial. - -Y. C. Monogram on a cartouche, -signed _à Nancy par -Collin graveur du feu Roi -de Pologne_. A very scarce -example. Reproduced in -“Archives de la Société -Française,” May, 1895. - -A nameless armorial, dated -1756. (Millet de Chevers.) - -Bibliothèque de D. Laflize, -Maitre en Chirurgie à -Nancy. 1768. - -Another plate of D. la Flize, -Doct. en Médecine, with a -different inscription, and not -dated. - -Two plates for M. Thouvenin, -Consr. du Roy. 1769. - -Ex-libris Ant. Jeanjean, Can. -ad St. Pet., etc. - -Le Chanoine Jeanjean -died about 1791. (See -“Archives de la Société -Française,” July, 1895.) - - -COLLIN, Y. D. 18th cent. - -Yves Dominique Collin fils -(son of the preceding). - -Aubert, 1787. - -Malvoisin, abbé commendataire -de Sainte Sauve -(Amiens), 1785. - -Also a nameless armorial, not -dated, which is reproduced -in the “Archives de la -Société Française” for -April, 1895. - -COLLIN, _à Reims._ 17th cent. - -COLLIN, J. 18th cent. - -COLOT. 18th cent. - -COMPANON _deli._ - -Mondolet. Armorial. - -COQUARDON. 18th cent. - -CORDIER. 18th cent. - -CORLET _fecit._ - -Nicolas Jean Baudelot, -Capitaine des Bombardiers -du Roy. Armorial. 18th -cent. - -COUPEAU, CH. G. - -A. J. S. Armorial; pictorial. - -J. DE COURBES _fecit._ - -Nameless armorial. Motto, -“_In manus tuas Domine -sortes meae._” 17th cent. - -COURBOIN, FRANÇOIS. Modern. - -P. G. Audigier. - -Ex Libris G. Bourcard. -Fantaisie. - -Monsieur F. Buhot. Fantaisie. - -Ex Libris G. de Gayffier. -(Poet.) Armorial. - -CH. COURTRY. _Aqua forti_, 1894. - -On the portrait plate of Henry -André. - -COUTELLIER _sculp._ - -Nameless armorial plate, no -motto. 18th cent. - -CROISEY _sculp._ 18th cent. - -Mérard de Saint-Just. - -Armorial, with supporters. -Motto, “_L’Honneur et -l’Amour._” Reproduced in -“Ex-Libris Ana.” - - -CYS, A. T. (See Adrien Théry, -à Cisoing.) - - -DANCHIN _à Cambray_. 18th -cent. - -Ex Libris De Warenghien de -Flory. Armorial. - -Domini de Wavrechin. -Armorial; pictorial. - -DAPSOL, _fecit._ - -De la Bibliothèque de Mr. -Milange de St. Genez. 1787. -Armorial. - -Denis Gilbert Rouher, Abbé -du Chapitre d’Artonne, Curé -de Chaptuzat, 1787. - -Armorial; ecclesiastical. - -L. DARDEL, _sculp._ Modern. - -The armorial plate of Mons. -Anatole de Barthélemy, -membre honoraire de -l’Académie de Reims. -Motto, “_Quod natura dedit -tollere nemo potest._” - -Reproduced in “Les Bibliophiles -Rémois,” p. 90. - -DAUDIN. - -Michaeli Begon et amicis. -1702. (See reproduction.) - -DAULCEUR, LOUISE. (See Le -Daulceur.) - -DAVID. 18th cent. - -DEBEY, F. - -Biblioth. D. D. de Fréval. -Armorial. 18th cent. - -DECACHÉ. 18th cent. - -DEJEAN. 18th cent. - -DELAFOSSE _sculpsit._ 1751. - -Nameless library interior for -the Académie de Nancy. -Motto, “_Animum censoris -sumet honesti._” Designed -by H. Gravelot. - -He also engraved a nameless -armorial, designed by Cochin -fils in 1750. - -DE LA GARDETTE _fecit._ - -Designed and engraved the -armorial--“_De la Bibliothèque -de M. Lavoisier de -l’Académie Royale des Sciences, -regisseur des Poudres -et Salpetres de France. F^{er} -General du Roy._” - -Armorial, coronet of count, -and supporters. The title of -“Fermier Général du Roy” -cost this man of science his -life; he was guillotined, -May 7, 1794. - -This plate, in pure Louis -XVI. style, was reproduced -by Poulet-Malassis. - -DELAITRE. 18th cent. - -A library interior plate, having -the inscription “D. D. LE -LEU D’AUBILLY, _dicat qui -gratitud coelo sculp Delaitre_.” - -Beneath the design is a -small shield, bearing azur, -a chevron or, between -three wolves’ heads. The -D’Aubilly is an old-established -Rémois family, to -whom the artist was under -obligations. - -This interesting plate is -reproduced in “Les Bibliophiles -Rémois,” p. 103. - -DELARBRE. 18th cent. - -DELATRE, CH. Modern. - -Ex-libris Alberti Metzger, -Milhusini. Armorial. (See -reproduction.) - -DE LAUNAY _le jeune sculp._ - -1779, on the armorial _Ex -Libris Duché_, designed by -P. Marillier. (See reproduction.) - -DELAUNEY. 19th cent. - -Donné à la Bibliothèque de -la Ville de Paris, par---- -MDCCC. - -Armorial; pictorial. - -DELCOURT _fils, à Tournay._ -18th cent. - -P. DELOYSI _sc._ 17th cent. - -On the handsome nameless -armorial plate of Pierre -Sarragoz, of Besançon, who -died in 1649. Reproduced -in “Ex-Libris Ana.” - -Pierre Deloysi, styled _Le -Vieux_, was a goldsmith and -coin engraver in Besançon. - -Engravings by him are -now very rare. - -DELTEIL, LOYS. Modern. - -D’ELVAUX _Sc._ - -On a nameless plate designed -by Monnet. 18th cent. - -D’EMBRUN. 18th cent. - -DEMENGEOT, C. 19th cent. - -Signed, “_Inv. & Sculpt._” on -the library interior, inscribed -“_Bibliothèque de Francisque -Sarcey_.” - -DE MEUSE. 18th cent. - -DEMILLE, M. 19th cent. - -DE MONCHI. - -“Papillon minoris.” Canting -arms. - -DENISZARD, _inv. et sculps._ - -On the ecclesiastical plate of -P. N. Vingtdeux, a priest -bibliophile of the eighteenth -century. (See “Les Bibliophiles -Rémois,” p. 85.) - -DEROND _f._ - -A. Leguien. Decorated -shield. - -DEROND, J. 18th cent. - -DESCAVES, A. 19th cent. - -DESMAISON _invenit_, 1780. _L. -Chenu, f._ - -Ex-Libris Bouju. Armorial. - -DESNOYERS. 19th cent. - -DEUNEL _Sculp._ 1767. - -On a nameless plate having -the Grimaldi arms. This -might have belonged to -Charles Maurice Grimaldi, -chevalier de Monaco, comte -de Valentinois, who died in -1790. Motto: “_Deo Juvante._” - -DEVAMBEZ, _Graveur à Paris._ - -Auguste Vincent. (Musical -Composer.) Design, musical -instruments. Modern. - -L. P. Couraud. - -Bibliothèque de Charles Monselet. -Library interior. -(See reproduction.) - -DIEU, A. 18th cent. - -Designed the handsome monogram -and trophy ex-libris -of Louis XV., which was -engraved by J. Audran. - -DIGOUT, NICOLAS. Modern. - -Bibliothèque de Madame -Chavernac. Motto: “_To -kill time or amend, I am -a ready friend._” Armorial; -pictorial. - -A. DOCAIGNE _fecit_, 1762. - -Le Commissaire Laumonier. -Armorial. - -D’ORVASY, _à Nancy_. 18th -cent. - -DOYEN. 18th cent. - -DREER. 18th cent. - -DREVET, C. 18th cent. - -F. GUMBERT DROZ _fecit._ - -On the armorial plate of -Philipe de Reynold. 1730. -(Possibly Swiss.) - -DUDOUT. Or Dudouit. - -De Flaghac, Capne. de Dragons. -1779. Armorial. -Motto, “_Laudate anima -mea Dominum._” - -DUFLOCQ. 18th cent. - -CL. DUFLOS _sculpsit._ - -On a handsome armorial plate -(after a design by Sebastien -Le Clerc) in 1701 for Geoffroy, -ancien grand garde du -corps des Apothicaires de -Paris. - -“_Matthaeus Franciscus Geoffroy, -Pharmacopoeorum -Parisiensium antiquior -Praefectus, aedilis et consul._” -Motto, “_Turris fortissima -Deus._” - -DUFOUR-BOUQUOT. 19th cent. - -DUMONT. Modern. - -A landscape with initials A. -D. (Mons. A. Duriez.) 1893. - -DU PALLUET. 18th cent. - -DUPLAIS-DESTOUCHES. 1890. - -Bibliothèque du Docteur Félix -Durosier. - -Punning armorial. - -DUPLESSIS. 18th cent. - -DUPONT _del. et sculp._ - -Ex Libris A. Kuhnholtz -Lordat. Armorial; pictorial. -Modern. - -DUPRÉ, J. R. 18th cent. - -DURAND. 18th cent. - -M^r. de Fenille. Armorial. -“George M^{quis} de Massol de -Serville. L^{ant} Colonel de -Ca^{vrie}. Fils a Guillaume -L^{ant} General des armés -du Roy.” Armorial. - -Carolus de Brasses, Comes -Tornaci, etc. (who died in -1777). - -Two armorial plates, similar -in design, but having different -inscriptions. (See “Les -Archives de la Société Française,” -January, 1896.) - -See A. Aveline for more details. - -Ex-libris Thomassin. -Armorial. - -Mr. De D’Alleray. Pictorial. - -J. L. Ainard de Clermont-Tonnere. -Abbatis, etc. -Armorial; ecclesiastical. - -A. DURAND, Paris. - -Dacquet. Pictorial. - -This appears to be an old -design re-engraved. - -Reproduced by Poulet-Malassis, -p. 3, 2nd edition. -He considers the design to -be of Flemish origin. - -DURAND, D. V. 18th cent. - -Named by Poulet-Malassis. - -DURAND, _à Lyon_. 19th cent. - -Named by Poulet-Malassis. - -DURAND. _Lith. Melun._ - -Ex Libris P. Guiraudi, 1680-1880. -With the arms of -Renaud, Genas, and Comte -de Balincourt. Motto, -“_Da laborem dabo fructus_.” - -DURIG _Sc._ - -Magon de Terlaye. Armorial. - -DURIG, _à Lille_. 18th cent. - -Seraphin Malfait. Negociant -à Lille. Pictorial. - -DUSEIGNEUR, A. 19th cent. - -DUSSIGMERT, M. 1874. - - -EISEN, CHARLES. -Mde. d’Arconville. C. Eisen -_del._ Louise Le Daulceur -_sculp, et in._ - -à M. d’Arconville. 1749. A -pictorial plate designed by -Louise Le Daulceur. - -A nameless plate of M. de -Monteynard (see Poulet-Malassis -pp. 28, 61), engraved -by Le Mire. - -_Ch. Eisen invenit,_ on the -nameless armorial of the -Bishop Choiseul-Beaupré; -_C. Eisen del._ on a nameless -plate, dated 1749, and engraved -by R. Strange; and -_Eisen inv._ on a nameless -plate bearing the arms of -the Marquis de Paulmy. - -It was to this marquis that -Eisen dedicated his work -entitled “_Œuvre suivie -contenant différents sujets de -décorations et d’ornements, -etc._” This contained many -heraldic designs, cartouches -and decorative garlands, -from which the engravers -of his time frequently borrowed -hints for the ornamentation -of their heraldic -ex-libris. - -ETIOLES. - -M^{r}. P. L. N. Meulan. -Armorial. - - -FASSOLE, C. H. Strasbourg. -Modern. - -Albert Richard. Pictorial. - -FAUGRAND. 18th cent. - -FAURE. 18th cent. - -FAYS. 1784. - -De la Bibliothèque de Mr. -Fays. Par son fils en 1784. -Armorial. - -FÉRIET, A. DE (Nancy). - -A. Bretagne. Directeur des -contributions directes. Nancy. -Pictorial. Modern. - -Signed, _H. Christophe, exc._ - -Ex-libris Francisci de Chanteau. -Armorial; pictorial. -Signed, _H. Christophe, exc. -Nancy_. - -Leon Germain. Nancy. -Pictorial. - -FERRAND _Sculp._ 1730. - -Michel, Comte de Faultrières, -Exempt des Gardes -du Corps, etc. Armorial. -Motto, “_Tendre et Feal_.” -(See reproduction.) - -ET. FESSARD _sculp._ 1737. - -On the plate of Jacobus Henricus -Tribourdet, designed -by H. Gravelot. - -C. FICHOR _del._ 1874. Ad Varin _sc._ - -Bibliothèque du comte de -Lavaur de Ste. Fortunade. -Armorial. - -FLAMEL, NICOLAS. - -M. Henri Bouchot reprints -a plate designed by this -artist for the Duc de Berry -in fifteenth century style. - -FLAMEN, A. B. 17th cent. - -Guillaume Tronson. Motto, -“_Virtuti non divitiis_.” (See -Poulet-Malassis, p. 22.) - -FLAMENG, LÉOPOLD. 19th cent. - -Produced ex-libris for the bibliophile -Pierre Deschamps, -and for the Docteur Gérard -Piogey. - -FLIPART. 18th cent. - -FONBONNE, M^{lle}. 18th cent. - -De Hansy, à Paris, 1768. -Library interior. - -FONTANALS _Dijon_, 1809. - -FORNET _Lith._ 1893. (Alsatian.) - -On the armorial plate of -Edmund Engelmann, of -Mulhouse. - -Printed in colours, see “Les -Archives de la Société -Française,” Juillet, 1894. - -FOUGERON _sculp._ - -Pembroke Society. Allegorical. - -FOUQUET. 18th cent. - -FROBEN. - -_Symbolum Conradi Lycosthenis._ - -(Before 1561; the earliest -known Alsatian ex-libris.) -See “Les Ex-Libris Alsaciens.” - -J. C. FRAN^{s}, _scul._ _Nanceii C. -Charles in. 1739._ - -On a nameless French plate, -no motto. (_J. C. François_, -of Nancy.) - -A. FRANÇOIS _sculp._ 1827. - -On a nameless armorial; no -motto. - - -GAGNEUX, P. 17th cent. - -C. O. GALIMARD _sculp._ - -On a nameless armorial, designed -by C. Cochin fils, -for the Abbé Leblanc, and -on another, with the arms -of Poisson de Marigny, also -designed by Cochin, and -dated 1752. - -GALLAUDET, E. - -John Chambers, Esq. -Chippendale; armorial. - -GAMOT, JOS. 18th cent. - -GANHY, J. B. DE. 18th cent. - -GARDETTE. (See De la Gardette.) - -GAUCHER, CH. _De l’Académie -des Arts de Londres._ -Charles-Etienne Gaucher -was a pupil of Basan, and -Le Bas, and famous as an -engraver of portraits. - -Signed, _C. Gaucher inc._ 1775, -on plate of Cabre,--and -_Dessiné et gravé par Ch. -Gaucher de l’Acad. des Arts -de Londres_ on the plates of -François Grangier de Lamotte, -etc., 1779, and Messire -André-Gaspard Parfait, -comte de Bizémont-Prunelé, -1781. (See Bizémont.) - -Gaucher also designed a plate -for “Jac. Desmares in -senatu Paris,” and one -bearing the arms of Séguier. -(See Poulet-Malassis, p. 66.) - -GAUCHEREL. 1831. - -Bibliotheca Pichoniana inchoata -ab anno 1831. - -(Rétouché par Ad. Varin en -1873.) Armorial. - -GAULTIER, LÉONARD. 17th cent. - -Nameless armorial. Alexandre -Bouchart, Sieur de -Blosseville, etc., 1611. -Reproduced by Henri Bouchot. - -The earliest known _dated_ -French armorial book-plate. - -GAVARNI. 19th cent. - -(See M. Poulet-Malassis, p. -39.) He credits this celebrated -caricaturist with -having designed the ex-libris -used by the brothers -Edmond and Jules de Goncourt, -authors of “L’Art du -dix-huitième siècle,” and -other works written conjointly. - -The book-plate is exceedingly -simple; it represents a left -hand, two fingers of which -are pointing to the letters -E. J. traced on a sheet of -paper. This was engraved -by Jules de Goncourt himself. - -C. G. GEISLER, _à Geneve_. 18th cent. - -Plate of J. L. Robillard, with -canting arms; it is dated, -but very indistinctly. - -GEORGE. 18th cent. - -Duc de Brissac. Armorial. - -GEORGEL, M. Modern. (Madame -Marie Georgel.) - -Ex Libris Henri Tausin. -Pictorial. (See reproduction.) - -A design for a headpiece for -the “Archives de la Société -Française,” vol. iii. - -Ex Libris Marthe de Borniol. -Initials on a lozenge, surrounded -by flowers, books, -and musical instruments. -Reproduced on p. 152, vol. -ii., “Archives de la Société -Française,” 1895, and a large -size, issued as a separate -plate. - -GERMAIN. 18th cent. - -GIACOMELLI, H. Modern. - -A son ami Conquet (Léon -Conquet). Reproduced by -M. Henri Bouchot. - -M. Greppe, a _fantaisie_ designed -by Giacomelli, and -engraved by Abot. - -Giacomelli also designed -plates of an equally artistic -character for Ballon, Bavoillot, -Chevrier, François -Courboin, Georges Duplessis -(Conservateur du Cabinet -des Estampes), Paillet, -Piédagnel, Sciama, and -many others. - -GIFFART, P. 17th cent. - -Petrus Bulteau de Préville -Miles. Armorial. - -De Villers de Rousseville. -Large armorial in two states, -both rare. - -GIFFART, P. 18th cent. - -Nameless armorial plate. -Motto, “_Antiqua Ætate -decorae_.” - -GILBERT. 17th cent. - -GILLOR _sc._ Modern. - -Ex Libris Paul Bellon. Literary. -(See Henri Bouchot, -page 75.) - -GIRALDON, ADOLPHE. 19th -cent. - -Bibliothèque de Mr. de Pellerin -de Latouche. Motto, -“_Est-il meillcure munition -à cet humain pélerinage?_” -Armorial. - -GIRARD, H. 19th cent. - -GLOMY. 18th cent. - -GOBY _Sc. r. du Bac._ 19th cent. - -Guerrier du Maste. A literary -plate, about 1830. - -GODARD, _à Alençon_. 18th cent. - -A. GODREUIL _del._ 1867. - -Bibliothèque du Montessart -(Baron Pichon). Landscape. -(See also A. Guillaumet and -Varin.) - -GOSSART. 18th cent. - -Mr. Le Vte. de Gauville. Armorial. -No motto. - -GOSSELIN. 1770. - -GOSSET, J. 18th cent. - -Nameless armorial plate. No -motto or date. - -GOUEL, P. - -Ex-libris Hérambourg, 1777. - -A nameless armorial, dated -1778. - -GOUJEAN. Modern. - -Alfred Piet. Pictorial. - -GOZO (Gozora). 19th cent. - -J. GRANDJEAN _Sc._ Modern. -Ex-libris Francisci de Chanteau. -(See reproduction.) - -H. GRAVELOT, _invenit._ Delafosse -_sculpsit_. - -Nameless library interior (Académie -de Nancy), 1751. - -H. Gravelot _inv._ Major _sc._, -1747, on the nameless plate -(probably that of an actor), -with the motto “_Facies mutat -semperque decenter_.” - -On the plate of Mr. Thiroux -d’Arconville, Président au -Parlement. Mde. Le D. -(Daulceur) _sculp._ - -Also the plates of Thiroux de -Gervillier, and Jacobus Henricus -Tribourdet, 1737. - -The signatures _Gravelot inv. -J. Pine sculp._, are found on -the armorial library interior -plate of J. Burton, D.D., of -which the design was appropriated -for the plates of -Wadham Wyndham, Esq., -and Thomas Gaisford. - -(See Poulet-Malassis, page -59.) - -GREGOIRE _à Rennes_. - -“Ecuyer Patrice Sus. Hamart -de la Chapelle. Cons. du -Roi, etc. Docteur Aqr. au -College des Medecins de -Rennes.” Large armorial. - -GRIBELIN, SIMON. A French -engraver who came to England -about 1680, and died in -1733. - -He signed _S. Gribelin sculp._ -on the plate of Sr. Philip -Sydenham, Bart., 1699, and -engraved plates for several -other English people, and -for parochial libraries. - -GROSTOST, F. Lithographer of -Strasbourg. Modern. - -Signed the charming little -nameless pictorial plate of -M. Jacques Flach, formerly -of Strasbourg, afterwards a -solicitor in Paris. It is on -this plate that the lines addressed -to the owner’s books -occur: - -“_Plaisants, je vous aime; -Sérieux aussi, -Frivoles de même; -Pédants, merci!_” - -(See “Ex-Libris Alsaciens,” -page 21.) - -GROUX, HENRI DE. Modern. - -M. Rémy de Gourmont. - -GUÉRARD, _à Beaucaire_. 18th -cent. - -GUERARD, N. - -R. P. Placidia Sta. Helena. -Aug. disc. Gal. Regio Geographi. -Pictorial. Motto, -“_In hoc signo vinces_.” - -NICOLAS GUIBAL. Peintre ordinaire -du Duc de Wirtemberg. -Born at Luneville. -(See “Archives de la -Société Française,” vol. ii., -March, 1895.) - -Designed a book-plate for -himself, dated 1775, “N. -Guibal, Pr. Peintre du Duc -de Wurtemberg.” Literary. - -GUIBERT, J. B. 18th cent. - -EMILE GUILLAUDIN _Sc._ 1881. - -Boscary de Villeplaine. -Armorial. - -T. G. GUILLAUME _sc._ - -Cottin de Fontaine. Early -Armorial. 17th cent. - -GUILLAUME. 18th cent. - -A. GUILLAUMET _sc._ 1867. A. -Godreuil _del._ - -Bibliothèque du Montessart -(Baron Pichon). Landscape. - -GUSTAVE. 19th cent. - - -HALM _Sculp._ 1766. - -On two nameless plates designed -by _Wille filius_. - -Halm was probably a pupil -of Wille senior. - -HAMEL. 19th cent. - -HELMAN. 1767, 1768. -“J’appartiens a Cleenewerek de Crayencour.” - -Armorial. Three states. - -HELMAN _le jeune._ 18th cent. - -HÉRISSET _sculp._ 18th cent. -De la Bibliothèque de Mr. Le -Cat, Docteur en Médec: -etc., 1741. - -Doctor Le Cat was a famous -French surgeon, born in -1700. An allegorical design. - -HILLEMACHER, FRÉDÉRIC. -A talented engraver, who illustrated -the edition of Molière -published by Perrin of -Lyons, died 1886. He engraved -book-plates for - -Georges Champion, - -Eugène Piot, the bibliophile, -and one for himself: “Bibliothèque -de Frédéric Hillemacher.” - -HIRSCH. 19th cent. - -HOUAT. Ex bibliot Costeana. -Armorial. - -A. HOUAT, _l’ainé_. 18th cent. - -HUMBELOT. 18th cent. - -HUOT, G. Paris. Modern. -A. P. (Pontilly--Monogram.) -(See reproduction, p. 321.) - -Ex Libris Farnou. See in -“Ex-Libris Ana.” - -Ex Libris Bosch, a curious -allegorical design. - -Ex Libris de A. Hustin. -Monogram. - -HUQUIER, J. G. 18th cent. -Jacques Gabriel Huquier _fils_, -signed his own pictorial _Ex -Libris J. G. Huquier_ (see in -“Ex-Libris Ana,” p. 9). He -also designed and engraved -a handsome plate for Le -Berche, and the pictorial. - -Ex Libris G. Bernard de Rieux, -signed _Huquier sculp. docq. -inv._ - -Both Huquier senior and Huquier -junior had the same -Christian names, and as -both were engravers in -Paris their identity is somewhat -confusing. The father -died in 1772, the son twenty -years later. - - -INGRAM, J. 18th cent. -Colleg. Scotor. in Acad. Paris. -Armorial; pictorial; ecclesiastical. -(See “Ex-Libris -Ana,” p. 55.) - -He also engraved the Ex -Libris Le Vassor de la -Touche, designed by C. N. -Cochin _fils._ - -P. C. I. _inv. et sc._ 1785. -Signed the nameless plate of -_Joseph Froment_, with the -motto “_D’nus incrementum -dat_.” - - -JACQUEMART, JULES. Modern. -Libraire Techener. - -Philippe Burty. - -Bibliothèque du Château -d’Aramon. - -(M. Jules Jacquemart, a clever -_eau-fortiste_, died in Paris in -1880.) - -JACQUES (_à Rouen_). 18th cent. -C. Baillière. Academ. Rothom. -(Rouen). Pictorial, with -scientific instruments. - -JACQUOT. 18th cent. - -JANINET, F. 18th cent. - -JEANJEAN. 18th cent. -A nameless armorial, signed -_Jeanjean sculp._ is described -in “Les Archives de la -Société Française,” April, -1895. - -JEUNE, DAVID. Nimes, 1885. -Vauvert, “_Prosper Falgairolle_.” - -JONVEAUX _f._ 19th cent. -Claudius Nassé, pastor. -Armorial. - -JONVEAUX. (Of Verdun.) 18th -cent. - -Signed an armorial plate for -Raimondus Lamarre, and -another almost identical for -a Doctor Clouet. Both -plates are reproduced in the -“Archives de la Société -Française,” vol. ii., p. 37. - -L. JOUBERT _inv. et sc._ -Ex Libris Annemundi Charret. -Armorial. 18th cent. - -FME. JOURDAN _sculp._ 1788. -Bibliothèque de M. le V^{te}. de -Bourbon-Busset, Premier -Gentilhomme de la Chambre, -etc. - -On this plate the Vicomte -claimed relationship with -the Royal family of France, -by his arms and supporters, -but in 1793 he deemed -it advisable to cover his -arms and high sounding -titles with a simple label -bearing the inscription -“_Bibliothèque de Louis -Antoine Paul Bourbon-Busset, -Citoyen Français, -1793_.” (See reproductions.) - -Bourbon-Busset was born at -Busset, the 19th November, -1753; he survived the Terror -and died in Paris, February -9, 1802. Guigard mentions -the “_Catalogue des livres_ -_de la Bibliothèque de feu le -citoyen Bourbon-Busset, 20 -nivose an xi. Paris: Silvestre._” - -JUDÉE. 19th cent. - -JUNDT, GUSTAVE. _De Strasbourg_, -19th cent. - -Composed the book-plate for -M. Charles Mehl. See “Ex-Libris -Alsaciens.” - -[Illustration: BOOK-PLATE OF PONTILLY. - -By G. Huot.] - - -KRAUS, J. U. -Ex-libris Bibliothecae D. -Zach. Conr. ab Uffenbach. -M. F. Two sizes. See -“Ex-Libris Alsaciens.” - -P. L. -Jean Louis Gourgas. -Armorial. - -LACHAPPELLE, P. 18th cent. - -LACHAUMÉE. 18th cent. - -LA COMPARDE. 18th cent. - -LACOSTE. 19th cent. - -LADAME. 17th cent. -Engraved several book-plates -which were afterwards reproduced -in the “Armorial -de Segoing.” - -LALAUZE. 19th cent. - -LALAUZE, ADOLPHE. 19th cent. -Ex Libris Aubert Raymond. -This pretty little fantaisie -plate is reproduced in “Les -Bibliophiles Rémois,” page -110. - -A. D. (Adolphe Dauphinot, -membre titulaire de l’Académie -de Reims.) This -design is also reproduced in -“Les Bibliophiles Rémois,” -page 96. It represents the -Muse of Painting supporting -a shield on which are the -arms of Reims; below are -books, engravings, and guns, -whilst above are two dolphins, -in allusion to the -name of the owner. - -M. Dauphinot is an enthusiastic -collector of engravings. - -C. Glinel. Fantaisie. - -Mons. Charles Glinel was the -author of a “Bibliography of -Alexandre Dumas,” published -in Reims, in 1884. - -E. L. (Mons. Ernest Lemaitre, -a solicitor of Laon). Fantaisie. -Motto, “_Mieux qui -pourra_.” - -V. M. (Mons. Victor Marteau, -who designed this plate for -himself, and had it engraved -by Mons. Lalauze). The -design shows a cupid sitting -on a book, holding a hammer -(marteau). In the -background are emblems of -manufacturing industry. - -This plate is reproduced in -“Les Bibliophiles Rémois,” -page 110. - -LAMÇON _fecit_. 18th cent. -Charles François Dumars de -Vaudoncour. Armorial. -About 1750. - -LANCELEVÉE, L. Modern. -Le Theil près Bernay (Eure). - -An armorial plate for la Comtesse -Le Pellerin de Gauville, -reproduced in “Les -Archives dela Société Française,” -Mai, 1896, with a history -of the family, Le Theil. - -LANÇON, _à Nancy_. 18th cent. - -LANDRY _sculpsit_. 17th cent. -Messire Paul Armand Langlois, -chevalier, conseiller du -Roy en ses conseils et -Maistre Ordinaire de son -hostel. - -A handsome armorial. - -LAPAIX, C. 1878. -Ex Libris F. des Robert. -Armorial. -Léon Le Brun. 1884. -Armorial. - -LAPORTERIE _sc._ 18th cent. -De Bourscheit Burgbroel, etc. -Armorial. - -DE LA LAUNE _del. et sc._ 18th -cent. -Mr. Chanorier. Armorial. - -A. LAVAU _Sculp. à Bordeaux_. -De la Bibliothèque de Mr. de -hilorieur Conseilleur au -Parlement de Bordeaux, -1765. M^{e}. des Requêtes, -1776. Armorial. - -LEBAS, 1741. - -LEBEAU. 18th cent. -Antoine Louis Du Pré de St. -Maur Officier aux Gardes -françoises, _par son très h. -Serviteur Lebeau_. -This officer was born in 1743, -and married in 1774, about -which period, probably, this -elegant trophy plate was -engraved. It was reproduced -in the “Archives de -la Société Française,” Oct. -1894. - -LE BLOND. _Dessiné et gravé -par Le Blond_, on a nameless -armorial, dated 1785. -A modern armorial plate for -Thomas Harrison is signed -“_Le Blond sc. 4 Walbrook_.” - -LE CLERC, G. 17th cent. - -LE CLERC, SÉBASTIEN. 17th -cent. -A famous engraver of Metz, -and afterwards of Paris, -whose works were described -by Jombert in his “Catalogue -raisonné de l’œuvre -de Seb. Le Clerc” (Paris, -1774), in which mention is -made of seven armorial -“marques de bibliothèques” -all signed by him. - -Poulet-Malassis mentions four -others, in different sizes, all -for Nicolas Martigny de -Marsal, all signed, and -two dated 1655 and 1660. - -In 1701, he signed _S. Le Clerc -invenit_ on the armorial plate -inscribed “_Matthæus Franciscus -Geoffroy_,” which was -engraved by Cl. Duflos. -This design was afterwards -appropriated by P. Picaut, -(or Picault) for a M. Veronneau -of Blois. Jombert, -in his catalogue, described -this plate for M. Geoffroy, -on which the motto -was, “_Turris fortissima -Deus_.” - -S. Le Clerc is credited with -having been the first to depart -from the formal, but -correct heraldic style, as -shown on the plates of André -Felibien, and Alexandre -Petau, in order to adopt the -oval shield (of Italian origin) -set in a foliated cartouche, -the Renaissance -style, in fact, which gradually -developed into the -Louis XIV. style. - -See “Ex-Libris Ana” (p. 31), -for further details about the -works of Le Clerc. The -following plates are named -as engraved by him: - -Jean Baptiste de Jouanne, -Marquis de Saumery. - -Pierre Le Febvre (of Metz). - -Maurice Le Tellier, archevêque -de Reims. - -Denis Godefroy de Tralage. - -M. de la Reynie. - -Bibliotheca Thuana. - - -Le Duc de Bouillon. -Etienne Baluze. - -M. de Beringhen. Reproduced -by M. Henri Bouchot. - -LECLERE. 18th cent. - -LOUISE LE DAULCEUR. 18th -cent. - -This clever engraver signed -her name in several ways. - -Le D. - -Louise Le D. _sculp._ - -Madame Le D. - -Louise Le Daulceur. - -Daul _sculp._ - -L. Daul _sculp._ - -Louise Daul: - -She herself had two book-plates, -one inscribed M^{de} -Le Daulceur, is signed “_Ed. -Bouchardon in. del. Louise -Le D. sculp._” the other, a -smaller one, is not signed. - -Madlle. Le Daulceur studied -under Bouchardon, and in -examining the plates signed -by her, it will be seen that -she engraved after designs -furnished by Bouchardon, -Pierre, H. Gravelot, C. -Eisen, and Durand, whilst -Poulet-Malassis speaks of -her as “une femme du -monde, amateur de talent, -gracieux intermédiaire entre -les artistes ses maîtres et -ses amis.” - -Her talents appear to have -been principally devoted to -illustrating books of poems -for her friends, and it is -supposed that the ex-libris -she engraved were probably -works of love. The -following is a list of them. - -La Comtesse de Mellet, two, -one after Bouchardon, the -other signed: _Le D._ - -Montigny--two, a large and a -small one. - -Mignot de Montigny--after -Pierre. - -Le Comte Thiroux de Gervillier--after -Gravelot. - -Thiroux d’Arconville--after -Gravelot. - -Madame d’Arconville--after -C. Eisen. - -(This, signed in full, _Louise -Le Daulceur sculp. et inv._ -is reproduced on p. 218, -“Ladies’ Book-plates.”) - -Madame Du Tailly. - -Madame d’Alleray--after Durand. - -There is also a delicate little -plate of Mademoiselle -d’Alleray, with the arms on a -lozenge supported by a wild -rosebush, which has been -attributed to Louise Le -Daulceur, but it is not -signed. The original plate -is in the possession of Dr. -Bouland, President of the -French Society, and impressions -from it were issued -with the “Archives de la -Société Française,” in June, -1894. - -LE DUC, VIOLLET. 19th cent. - -LE FÉRON, _à Rennes_, 1767. - -LEFÈVRE. 19th cent. - -L. LE GRAND _sculp._ 18th cent. - -Nameless armorial plate, for -Madame Du Barry. Motto, -“_Boutez en avant_.” - -This plate was engraved by -Le Grand after a design by -Cochin fils some time before -1774. It has two shields -and supporters, and what is -somewhat unusual in French -book-plates, there is a crest -above the coronet. - -Poulet-Malassis is of opinion -that this plate was little -used by Madame Du Barry, -whose books, handsomely -bound in red morocco, bore -her arms stamped in gold -on the sides. Louis XV. -remarked, “La Marquise -de Pompadour avait plus de -livres que la comtesse, mais -ils n’étaient pas si bien -reliés, ni si bien choisis.” - -LEGROS, ALPHONSE. 19th cent. - -About 1874, this artist (who -then resided in London) -engraved the copper for the -well-known _Ex libris Léon -Gambetta_, of which only a -few impressions were taken, -and these were never employed -as book-plates. - -Forgeries exist, and have been -sold by the dealers in large -numbers. - -The original plates may be -known by a small circle on -the bottom left-hand corner -of the design in which are -the letters A.B. See “Archives -de la Société Française,” -April, 1895, with -which was issued an impression -from the original -copper. - -LEGUAY, EUGÈNE. Modern. - -Ex Libris Eugène Leguay. -Reproduced in “Ex-Libris -Ana.” - -LEJEUNE. 18th cent. - -LE KEUX, J. H. Mr. Le Keux, -although of French Huguenot -descent worked in -England all his life, and -died in Durham on February -4, 1896. He is best known -from his engravings for the -architectural works by -Pugin, Ruskin, Wright and -others. - -He did a handsome seal book-plate -for himself, and others -for English owners; indeed, -his name is only included -here because its French -appearance might mislead -an inexperienced collector. - -[Illustration: BOOK-PLATE OF J. H. LE KEUX.] - -E. libris Juliane Boyd. 1877. - -Edward Arthur White, F.S.A. -1878. Seal. - -LELOIR. Modern. - -M. Maurice Faulque de Jonquières. -Fantaisie. - -LEMAIRE _sculp._ 18th cent. - -Ex libris Caroli Ludovici -Alexandri de Beauffort, -Marchionis de Beauffort et -de Mondicourt. Armorial. -See “Archives de la Société -Française,” vol. i., p. 140. - -LEMAITRE, 1772. - -LE MASSON, ANTOINE. 17th -cent. - -N. LE MIRE _inv. et sculp._ - -On the allegorical ex-libris of -the author, J. B. Descamps. - -Ex libris J. J. Isambert, 1746. -Armorial; pictorial. - -He also engraved the elaborate -nameless plate of M. de -Montaynard, designed by -Ch. Eisen. This design -was afterwards appropriated -for the book-plate of M. de -Noyel. (See Poulet-Malassis, -pp. 28, 31.) - -“N. Le Mire _sculp._ 1777” on a -plate designed by J. Moreau -for the Marquis de Rognes. -(See Moreau.) - -LE ROUX, J. 1704. - -Nicolas Remy Frizon de Blamont, -Président au Parlement. -Signed “J. Le Roux -f. à Paris le 14 aoûst 1704.” -M. Frizon de Blamont had -another plate dated 1694. -(See “Les Bibliophiles Rémois,” -p. 66.) - -J. LE ROY _fecit_ 1782. - -Des Livres de Mr. Dubut -Curé de Viroflay, etc. - -Armorial; ecclesiastical. -(See reproduction.) - -(This artist must not be -confounded with Cl. Roy.) - -LE SAGE. 18th cent. - -LETORT, _Graveur._ _Rue Castiglione_. -Modern. - -T. J. Foord Bowes. Armorial. - -LE VEAU. - -Ex libris de Brinon. - -Ex libris Jouvencel. - -LIZARS. 19th cent. - -E. LOIZELET _sculp._ Juin, 1876. - -Ex Libris A. Beurdeley. - -A floral design. - -LORDONNÉ _f._ Adole. - -De Saporta. Armorial. - -Motto, “_Fortis Custodia_.” - -LOREAU _à St. Omer_. 18th cent. - -Louis de Givenchy. Armorial. - -LORPHELIN _à Clermont_. - -Nameless decorated armorial. - -LORTHIER _f._ 18th cent. - -De la Biblioteque de Lélarge -Officier au grenier à sel de -Reims. - -This rococo plate is reproduced -in “Les Bibliophiles -Rémois,” page 76. The -Lélarge family still exists in -Reims. - -JOANNES DE LOYSI _fecit_, 1659. - -Nameless armorial, two varieties. -Qy. Philippe. - -LOYSI, P. DE. See P. Deloysi. - -LUC. 19th cent. - -LUCAS _delineav. et fec._ à M. le -Mquis de Courtarvel. - -Armorial. Military trophy. -18th cent. - -LUSSAUT. 18th cent. - - -C. M. M. - -Ant. Duchene. Prevot des -Batims. du Roi. Armorial. - -MAINGOURD, E. 19th cent. - -MAJOR, _sc._ 1747. - -On a nameless plate, designed -by H. Gravelot, with the -motto “_Facies mutat semperque -decenter_.” - -MALBESTE, _à Paris_, 1827. - -Ex Bibliotheca Seren^{mi}. Principis -Friderici de Salm-Kyrburg, -anno 1827. -Mantled armorial. - -MANDORMET _ft._ 17--. - -Ex Musæo Cli. Imbert. - -Armorial. - -MANESSE, H. 19th cent. - -MANESSIER. 18th cent. - -MANFUI _f._ - -L’abbé Johann Bapti Berna. -Literary. - -R. G. MANUEL _inv._ 18th cent. - -Rud. Gab. Manuel. Armorial. - -LÉOPOLD MAR, _Paris_. - -Ex Libris L. Mar 1895. - -MARCHAND. 18th cent. - -C. C. MARECHAL, 1785. - -On a nameless plate with the -inscription: “_Papier parley, -quand less Bouche se -taisent_” (_sic_). - -MARETZ. 17th cent. - -P. MARILLIER _inv. et del._ 1779 -on the armorial _Ex Libris -Duché_, engraved by De -Launay le jeune. (See -reproduction.) - -MAROTTE, LÉON. Modern. - -Designed and engraved an -interesting plate for J. -Cartault. Motto, “_Chacun -à son tour._” - -A. MARTIAL _f._ Imp. Beillet, -Quai de la Tournelle, 35, -Paris. - -On the library interior of -Henry d’Ideville, dated -1867, with the motto, “_Fais -ce que dois advienne que -pourra._” - -MARTINET _del. fec._ - -Ex Libris J. T. Aubry. - -Monogram. 18th cent. - -Ex libris Joannis Thomae -Aubry. Doct. Theol. Soc. -Sorb. Rectoris S. Ludovici -in insulâ. Motto, “_Ite ad -vendentes et emite vobis._” - -J. T. Aubry was curé de Saint -Louis en I’lle, Paris. - -See “Les Bibliophiles Rémois,” -page 180. - -MATH (Mathan). 17th cent. - -MATHEY _Sculp._ - -Mr. Brochant du Breiul, -Conseiller au Parlement. -Armorial. 18th cent. - -MATTHIS, C. E. Alsatian artist. - -“_A mon cher ami Louis Mohr_, -1879.” This plate has the -lines: - -“_Tel est le triste sort de tout livre prêté, - -Souvent il est perdu, toujours il est gâté_.” - -See “Ex-Libris Alsaciens.” - -MAUGEIN, M. 18th cent. - -MAURISET. 18th cent. - -MAURISSET, J. C. 18th cent. - -MAVELOT, _Graveur de Mademoiselle_. - -Louis François du Bouchet, -Marquis de Souches conseiller -d’Estat prevost de -L’Hostel et Grand Prevost -de France. 17th cent. - -MEISSONIER. Modern. - -This famous artist signed with -his well-known monogram -the plate for Vigeant, the -fencing master. It represents -two monkeys with -drawn swords. - -Motto, “_Ense Vigeant_.” - -MERCADIER, J. 18th cent. - -“_J. Mercadier inv. et sculp._” -on the very fine armorial -ecclesiastical plate:-- - -Franciscus Tristanus de Cambon -Episcopus Mirapiscencis. -Plate mark 9½×7. - -MERCHÉ _fecit._ - -A L’Hospital Comtesse, 1753. -A lady’s armorial plate. - -Mr. Taverne de Burgault, 1771. -Armorial. - -MERCHÉ _à Lille_. - -Henricus Le Couvreur canonicus -Ipprensis. - -(The coronet was cut out at -the time of the Revolution.) - -Felix de Wavrans, Episc. -Iprensis, 1762. Armorial. - -Mr. le Ch^{er}. de Palys Montrepos, -1769. Armorial. - -MERCHÉ, _Graveur des Etats, à -Lille_, 1772. - -J. Bowens. 1772. Armorial. - -J. C. D. MERCHÉ, 1786. - -MERLOT _Fecit._ - -Le Chevalier de la Cressonniere. -Armorial. 18th -cent. - -C. MERVES _del. Imp. Lemercier -& Cie._, 1887. - -Ex Libris F. N. J. Edouard -Schutzenberger ancien bâtonnier -de l’ordre des avocats -de St. Dié. Pictorial. - -MESSAGER _Sculp._ - -Ex Libris Joannis Baptistae -Rivière. Regis Poloniae -Elect. Saxon. Legationia -Secretarii. Pictorial. 18th -cent. - -METIVET, L. Modern. - -Bibliothèque Eug. Jacob. -Angels on Jacob’s ladder, -signed _L. M._ - -METZGER, J. R. (of Strasbourg). - -Designed and engraved the -armorial plate, “Ex bibliotheca -Schoepfliniana” in -1762. See “Ex-Libris Alsaciens,” -p. 33. - -P. H. CHAPPRON MEUSNIER -_inv. et sculp._ on the Ex Libris -Chappron, 1762. - -MICAUD _fec._ 18th cent. - -F. N. E. Droz. Causidici -Acad. Bisunt (Besançon) -socii. Armorial; pictorial. -Female figure holding a -MS. inscribed “_Histoire -de Pontarlier_.” - -J. MICHEL _de Genève_. - -Signed “_Michel fecit, Arelatensis_” -on a nameless armorial, -dated 1727, and -“_Michel fecit Arelate_ (Arles) -on the armorial Ex Libris -D. G. De Loinville, 1727. - -“_J. Michel inven, et incidit -Avenione_” (Avignon), on a -nameless armorial, dated -1730. - -“_J. Michel Genevensis inv. -deli et incidit Avenione_” on -the armorial plate of Villeneuve -de Martignan, 1732. - -“_Michel sculp._” on the armorial -ex libris of D. De Pellissier, -1732, and of Andrae -Barthel dated 1733. - -MICHEL, MARIUS. - -Monogram plate. - -MILLIÈRE _sculp._, 1782. _Jombert -inv._ - -D. P. (De Prony). Floral -design. - -MOITTE. 18th cent. - -MONCHI, DE. 18th cent. - -C. MONET _del._ - -Ex libris Souchay, Eq^{is}., Lugduni, -1776. Engraved by -P. P. Choffard. Reproduced -in “Ex-Libris Ana.” -Poulet-Malassis ascribes another -plate to him, signed -“_Monnet inv. D’Elvaux sc._” - -MONIER _sculp._ - -Ludovico Vacher Pastori -Vitellensi, 1768. (Curé de -Vitteaux, Côte D’Or.) - -A punning armorial. (See -reproduction.) - -L. MONNIER _fecit._ _Divione_ -1762. - -Ex Libris P. A. Convers Laudonensis. -Armorial. - -MONNIER. 18th cent. - -Ex Libris Claudii Thibault, -1768. Armorial festoon. - -L. MONNIER, Modern. - -Le Belin. Canting arms. - -J. D. DE MONTALEGRE _fecit._ -18th cent. - -On a nameless plate, query of -Polycarp Muellen, about -1740. Pictorial. P.M. in -monogram. Two sizes. - -FRANÇOIS MONTULAY _fecit._ - -Ex Libris Delaleu. 1754. -Armorial; pictorial. (See -reproduction.) - -MONTULAY _lenée_. - -(For Montulay l’aïné.) - -Signed a nameless armorial -book-plate for Jules-Hardouin -Mansart, the celebrated -architect, who was -Director of Public Buildings -under Louis XIV. 17th cent. - -J. N. MOREAU, _le Jeune_ signed -_inv. et sculp._, 1770, on -the armorial plate “Du -Cabinet de livres de A. P. -de Fontenay, Sgr. de Sommant,” -etc.; and _J. Moreau -del._ on the Ex libris Marquis -de Rognes, 1777. - -“_Moreau sculp._” on the Ex -Libris Ludovici des Champs -des Tournelles. - -“_Moreau in. fecit_ 1768” on a -nameless armorial. - -[Illustration: BOOK-PLATE OF J. REUSS.] - -“_Moreau i. et s._.” on the nameless -armorial of Moreau -d’Hemery, and _J.M. Moreau -jeune_ on a nameless plate, -dated 1766. (See Poulet-Malassis, -page 63.) - -C. MOTTEROZ _Imp._ Modern. - -De la Bibliothèque de Jules -Richard. - -MOULINNEUF. 18th cent. - -MOYNIER, L. Modern. - -Ex Libris L. Moynier, 1873. -Monogram. - -MOYREAU, MME. 18th -cent. - -MÜLLER. 1779. - -J. Reuss. Armorial; pictorial. -(_Par son ami Müller_ -1779.) See p. 329. - - -NICOLE _à Nancy_. - -Nameless armorial plate, 1744, -and another dated 1745, said -to be for Le Preudhomme -de Fontenay. - -Mr. L’Abbé de Seichamps, -1747. Armorial. - -Mr. le Président Gallois, -Con^{sr}. d’Etat. 1763. -Armorial. - -De la Bibliothèque de Linsigne -Eglise Primatialle de Lorraine, -1767. - -(See reproduction.) - -Le Chevalier Dumars de Vaudoncour, -etc., 1753. - -Armorial; pictorial. - -Mr. de Provenchères. 1762. -Armorial. No motto. - -And a large number of other -dated plates. - -NICOLE _fils, à Nancy_, 1754, -1755. - -NION. 18th cent. - -NOBLIN. 18th cent. - -AD. NOEL _gr._ Modern. - -Ex Libris de Marie Georgel. - -Reproduced on page 219, -“Ladies’ Book-plates.” - -PIERRE NOLIN, 1650. - -Signed an armorial plate for -“Charles, Marquis et Comte -de Rostaing,” and “Mre. -Simon Chauuel, Chevalier -Seigneur de la Pigeonnière, -Conseiller du Roy,” etc., both -of which were reproduced -in the “Trésor Héraldique -Armorial,” published by -Charles Segoing in 1657, -containing copies of more -than sixty other book-plates -either by Pierre Nolin, or -borrowed by him from the -owners, or from other engravers. -(See Poulet-Malassis, -page 25.) - -NONOT _fecit._ 18th cent. - -Manchon. Armorial. - -NONOT, CHARLOTTE. 18th -cent. - -T. NOUVIAN _sculp._ Modern. - -Léon Germain, Nancy. (See -reproduction.) - - -OBERKAMPFF. Modern. - -Ex Libris Bilco. Literary. - -OBLIN _sc._ - -Bibliothèque de Mr. Berryer. -Armorial festoon. Berryer -had another armorial plate, -not signed. - -(See reproduction.) - -OGIER, _à Lyon_, 1696. - -And signed _Ogier fe Lugduni_ -(Lyons), 1704, on the nameless -plate of Froissard-Broissia. - -OLLIVAULT _à Rennes_. 18th -cent. - -J. C. Villers. Books, violin, -etc. - -De la Bibliothèque de Laussat. - -Ex Libris de Mr. de Sarrobert. -Armorial. - -OLLIVAULT, _à Paris_, 1788. - -Madame du Bu de Longchamp, -179-. - -Livres de M. N. de Château-Giron. -A charming design. -Motto, “_Pensez y ce que -vous voudrez_.” - -Reproduced in “Ex-Libris -Ana,” page 20. - - -P. PAGNIER, 1879. - -Ex Bibli. Lardet. Armorial. - -[Illustration: NAMELESS BOOK-PLATE BY B. PICART.] - -M. PALAISEAU _sc._ - -Ex Libris Alphei Cazenave -Doct^{is}. Medici: 1835. - -Ex Libris Le Roy, Doct^{is}. -Medici. 1835. - -PALLIÈRE, F. 18th cent. - -De la Bibliothèque de Mr. de -Polverel, Ecuyer. Avocat -au Parlement. - -Decorated armorial. - -Lamouroux. Armorial. - -PALLUET, DU. - -J. A. T. Chambon de Contagnet. -Armorial. No motto. - -PAPILLON. - -On a nameless plate, dated -1764. - -On a pictorial plate, dated -1771, with the motto, -“_Tuetur et nutrit_,” and -below it the inscription, -“_Cong. Miss. Sem. S. Car. -Pict_.” This was reproduced -on p. 172, vol. i., “Archives -de la Société Française,” -with the question if it could -have been the Ex-libris belonging -to a Seminary of -Saint Charles at Poitiers. - -PARISET _sc._ 18th cent. - -On the armorial Ex Libris -Joannis Laurentii Aublé -designed by F. Boucher. - -A handsome plate reproduced -by Poulet-Malassis, p. 58. - -P. PASCALON _inv. del._ - -On the Ex Libris C. B^{ard}. -(Ch. Bayard of Lyons,) engraved -by P. A. Varin in -1879. - -PEGARD, J. 19th cent. - -H. PELLISSIER _sc. à Marseille_, -1895. - -Ex Libris P. Dor. - -Armorial; literary. - -PERRET, MARIUS. - -Ex Libris for a “Catalogue -des ouvrages condamnés.” -Reproduced by Henri -Bouchot. - -LOUIS PERRIN, _Lyon._ Modern. - -De la Bibliothèque du Château -de Toury-sur-Abron. - -Armorial. - -PERRY, F. 19th cent. - -PHELIPPEAU, C. 18th cent. - -PICART _fe._ 17th cent. - -Nameless armorial plate. (Ex -libris d’Auzoles.) Motto, -“_Sub zodiaco vales_.” - -Reproduced in Poulet-Malassis, -p. 11. - -B. PICART. 18th cent. - -A nameless pictorial plate. -Interior of a printing office. -Motto, “_Vitam mortuis -reddo_.” - -“_B. Picart del._ 1718.” On a -nameless library interior. -Motto, “_Uni vero_.” (See -reproduction, p. 331.) - -Ex libris Jean Gabriel Peltier -de Cholet, 1728. - -“_B. Picart dir._ 1725.” Nameless -armorial plate. Motto, -“_Sapere aude_.” (Qy. arms of -George, Viscount Parker.) - -“_B. Picart del. et sculp._ 1729.” -On a nameless armorial with -supporters. No motto. - -BERNARD PICART designed an -allegorical plate for Prosper -Marchand. (See Poulet-Malassis, -p. 31; he does not -mention the period.) - -E. PICARD _del._ Modern. - -Ex Libris Ernest Petit. Imitation -of an ancient seal. - -PICART, JACQUES. 17th cent. - -Some of his heraldic designs -were included in the “Trésor -Héraldique Armorial,” published -by Charles Ségoing -in 1657. - -JOAN PICART _fecit._ - -On the plate of De Justel. -Armorial. No motto. 17th -cent. - -Ex libris De Chaponay. -(Prévot des Marchands de -la ville de Lyon en 1627.) - -Signed _Joan Picart incidit._ -(See Poulet-Malassis, p. 9.) - -J. PICART sc. 17th cent. - -Nameless armorial. Les frères -Sainte Marthe. (See Poulet-Malassis, -p. 13.) - -Nameless armorial of Le Puy -du Fou. (See Poulet-Malassis, -p. 15.) - -[Illustration: BOOK-PLATE OF LOUIS CLAUDE DAQUIN, ORGANIST.] - -P. PICAULT, _à Blois_. 18th cent. - -Poulet-Malassis says he stole -a design by Sébastien Le -Clerc, and used it on a plate -for a Mons. Véronneau of -Blois. - -PIERRE _del._ 18th cent. - -On the plate of Mr. Mignot -de Montigny, engraved by -Louise Le Daulceur. - -PILLE, HENRI. - -Designed the modern punning -plate of E. Tabouriech. - -F. PILSEN, _f^{t}._ 18th cent. - -On the Ex libris of Louis -Claude Daquin, a celebrated -organist of the church of -Saint Paul, Paris, who died -in Paris, 1772. His initials -L. C. D. are in a Louis XV. -cartouche, on which are -resting musical instruments -and books. - -This plate is in the collection -of the Bibliothèque Nationale, -Paris, but it is probably -scarce, as neither Poulet-Malassis -nor Lord de -Tabley mention it, or the -engraver. (See reproduction.) - -PINOT, _fils._ 18th cent. - -POILLY, J. B. DE. 18th cent. - -POISSON _Sc._ 1787. - -On a nameless armorial -ecclesiastical plate. (Qy. -Orival arms.) - -POLLET. 19th cent. - -Engraved an Oriental Ex -libris for Mons. Félix Solar, -after a design by Alexandre -Bida. - -M. POTÉMONT, _inv._ R. MARTIAL, -_sc._ - -These signatures are on the -very large and curious book-plate -for Mons. Abel Lemercier, -on which are to be -found a collection of the -various maledictions employed -against book -borrowers. - -POTIER, J. 19th cent. - -Aimé Leroy. Valenciennes. -Library interior. Motto, -“Mes livres _font_ (_sic_) (not -_sont_ as sometimes quoted) -ma joie.” - -Reproduced in “Ex-Libris -Ana.” - -A. PRÉVOT _Scul._ Modern. - -Bibliothèque de Ch. Prèvot. - -This large plate is but a reproduction -of a frontispiece -designed by Bernard Picart, -in 1712, for an edition of -the works of J. B. Rousseau. -This ex-libris is generally -found printed on tinted -paper. - -L. PROVOST _Graveur. Rue de -Richelieu, 38, Paris_. Modern. - -PROVOST-BLONDEL. 19th cent. - - -R. DE QUIRIELLE _invenit._ - -Ex libris Roger de Quirielle. -Woodcut library interior. -Modern. - - -RAIGNIAULD, _Riomi_. - -(Regnault of Riomi in Auvergne.) - -A large nameless armorial -plate, dated 1644, described -by Warren, p. 140. (See -reduced reproduction.) - -RAMEL _f._ 18th cent. - -Ex libris J. Vallat. Motto, -“_Deus vallat justos_.” - -An armorial plate, shield -in a distinctly Chippendale -frame. - -RANDU. - -Connetablie te Maré Chaussée -de France, 1779. (_sic._) -Armorial. - -RAPARLIER _inv._ 1880. - -Monogram plate of Cordier, -with the motto, “_Le flâne -donc je suis_.” - -(Engraved by P. A. Varin.) - -REGNAULT, J. 18th cent. - -P. R. (PAUL REIBER). 1879. - -_Ex Libris Reiber._ - -M. Paul Reiber, of Strasbourg, -engraved this pretty -little plate for himself, and -his brother, M. Ferdinand -Reiber, who was a zealous -collector of book-plates. -See “Ex-Libris Alsaciens,” -p. 42. - -REILLET _Imp: Quai de la -Tournelle_, 35, Paris. - -Bibliothèque Pichon, 1874. - -This plate was engraved by P. -A. Varin. - -RIBOULET-GOBY. 19th cent. - -T. RICHOMME _sculp. an xii_. - -De la bibliothèque de Mr. F. -L. M. Richomme. - -Library interior. - -ROBERT ET LEPAGE. _Grs. Lith. -Douai._ - -Sr. William de Sars, Chevalier. -Anno 1858. Armorial. - -ROBIN. 18th cent. - -Gallatin. Armorial. - -ROCHEBRUNE, O. DE. Also -signed _O. de Roch_: and _O. -de R._ - -M. Octave de Rochebrune designed -several book-plates -for himself, and for members -of his family, as well as for -Benjamin Fillon, the author, -and T. S. Montague. These -are dated 1867, 1868, 1869, -1871, 1873. - -ROGER. 18th cent. - -M. C. ROLIDE, 1750. - -J. C. Q. E. H. Deviné. - -Pictorial. - -ROPS, FÉLICIEN. Modern. - -Emanuel Gideon. Pictorial. - -A correspondence about a -book-plate wrongly attributed -to this well-known -artist will be found in the -“Archives de la Société -Française,” vol. i., pp. 149, -190, 195. - -ROSE. 18th cent. - -“Fait par Rose,” on a nameless -armorial plate, background -a field, with military -tents. Motto, “_Quam -foedari potius mori_.” - -ROSÉE, ALOYS, COM. DE LA. -See Aloys. - -ROTTIERS, CAPT. - -“Fait a l’eau forte par le Capt. -Rottiers ce 30 Aoust 1808.” - -On a nameless armorial -plate ascribed to Comte de -Hoeuff, of Holland. - -ROUARGUE. 19th cent. - -ROUSSEAU. 17th cent. - -P. LE. ROUX f. _à Paris le 14 -Aoust_ 1704. - -On the armorial plate of Nicolas -Remy Frizon de Blamont, -Président au Parlement. -(See reproduction.) - -ROY. 18th cent. - -Ex Libris de Bourgongne. -Armorial. - -(Probably Marie-Nicolas de -Bourgongne, Chanoine de -l’Eglise de Rheims, who -died in 1804, aged 81.) - -Dionys. Franc. Secousse, -Eques in Paris. Armorial. - -Joan. Mariae. Morin. de Teintot -Eccl. Meld. Canonici. -Armorial. - -This Roy was probably the -father of the following engraver. - -ROY, CLAUDE. Born in Paris -about 1712. For many years -he worked as an engraver, -principally of portraits, -which it appears he also -sold at his own shop. “_Dessiné -et gravé par Roy. Se -vend à Paris chez Roy, -graveur, sur le quai des -Orfèvres._” - -For some years he was compelled -to desist from work -owing to the failure of his -sight, which, however, was -restored to him, and on his -subsequent works he alludes -to this happy recovery. -Thus on a portrait of Vinatier, -he signs: “_Dessiné -Gravé et Offert en 1743, par -son très obligé Serviteur Cl. -Roy, après le Recouvrement -de sa veüe._” He only produced -a few ex-libris, but -these are of exceptional -merit, and are much sought -after. - -He signed at times “_graveur -sur tous metaux_.” He died -at his residence on the -Quai des Orfèvres in 1792, -aged 80. - -A nameless plate bearing the -arms of Henri-Anne de -Fuligny Damas, Comte de -Rocheouart, etc., and those -of his wife, Marie Gabrielle -de Pons. As this Comte -de Fuligny-Damas died on -February 24, 1745, this -plate must have been engraved -before that date. It -is a very handsome design, -having, in addition to the -two shields, a number of -musical instruments within -an elegant floral border. It -is signed _Cl. Roy D. et Sc._ -Reproduced in the “Archives -de la Société Française,” -March, 1894. With an -article on Claude Roy. - -Bibli. Ioan. Petri. Ludovici -de Podio. Equitis. Domini -de Laloubière, 1750. Signed -_Roy inv. et sculp._ Armorial. - -Nic. Gat. Hamarc de Laborde -equitis. Signed _Cl. Roy -inv. et fec._ 1765. - -ROYER, EMILE. 19th cent. - -SAINT-AUBIN, AUGUSTIN DE. -18th cent. - -Signed his own ex-libris -“_Augu^{us} de Saint-Aubin_;” -that of Ludovicus de Meslin, -“_Aug. de Saint-Aubin -fecit_;” and. “_Aug. de Saint-Aubin -inv. del. 1763_” on the -charming plate of F. de la -Rochefoucault, Marchionis -de Bayers, which exists in -three dates. (See Poulet-Malassis, -page 62.) - -DE ST. HILAIRE _del. et sc._ - -Joannis Bernardi Nack. - -A curious pictorial plate, -dated 1759. This was reproduced -by Warren. Nack -was a citizen and merchant -of Frankfort, but De St. -Hilaire was probably a -Frenchman. (See also -Wicker.) - -SARRET. 17th cent. - -SAS, CHRÉTIEN. 17th cent. - -G. SAVE _sc. H. Christophe, lith. -Nancy._ - -Ex Libris A. Benoit, Berthelmingen, -1894. Pictorial. - -SCOTIN, J. B. 18th cent. - -Bibliotheca Domini Mascrany. -Armorial. - -D^{ui} Richard de Ruffey, Regi a -Consiliis, etc. Armorial. - -Bibliothèque de Mr. le C^{te} -Richard de Vesvrotte. - -Armorial. Another design -copied from the above, the -coronet and inscription -being altered. The Comte -de Vesvrotte was a refugee -from the Revolution; he -died in 1840. - -GÉRARD SCOTIN _l’ainé, à Paris_ -(1643-1715). - -Joh: Heinr: Burckhard M.D. -Armorial. Two sizes. - -Charles de Bachi, marquis -d’Aubais. - -Armorial, with supporters. -A very scarce plate. - -SCOTTO. - -Le Comte D. Boutourlin. -Armorial. - -S---- V. DE (Semeuze). 18th -cent. - -V. DE SEMEUZE _del. et sc._ 1761 -on the armorial plate of A. -J. Havé and _inv. et sculp._ -on the Ex Libris Hédouin -1763; and the same on -another plate for Hédouin, -dated 1764, with flags and -cannons. (See “Les Bibliophiles -Rémois,” pp. 69, 71.) - -L. SEON _del. sc._ 1872. - -Bibliothèques Municipales -Ville de Lyon. Literary. - -SERAUCOURT _fecit_ 1747. - -Nobilis Patrici Veneti Claudii -Rocher. A pictorial. - -A. SERIN, _à Paris_. 19th -cent. - -A. SERJENT _scul. Carnuti_, 1773 -(Chartres) on the beautiful -plate inscribed “Ex Libris -D. D. d’Archambault” (See -reproduction), and _Serjent -fecit_ on an inferior plate for -Mr. Tascher. M. Poulet-Malassis -styles this engraver -_Sergent-Marceau_. - -SICARD. 18th cent. - -SIMON, HENRY. - -“Graveur du Cabinet de sa -Majesté l’Empereur & Roi, & -du Conseil du Sceau des -Titres.” - -The name of this engraver -thus occurs on the title-page of -the “Armorial Général de -l’Empire Français,” dated -1812, which gives the arms of -the French Imperial family, -nobility and cities, etc., as -settled by Napoleon I. - -An elaborate work, with -large heraldic engravings. - -SIMONIN, _à Toloze_. 17th cent. - -SOMM. Modern. - -The ex-libris of M. Gandouin. - -SORNIQUE. 18th cent. - -STAGNON _sc._ 18th cent. - -Il Cittadino Carlo Giac^{o} -Caissotti. Motto, “_Les -Hommes naissent libres et -egaux en droits_.” Pictorial. - -A nameless armorial plate, -with military trophy, signed -“_Dessiné et gravé par A. -M. Stagnon Graveur des -Sceaux du Roi a Turin, -1780_.” - -STALLIN, E. 18th cent. - -Du Cabinet de Mre. Barthelemy -Gabriel Rolland D’Erceville, -Consr. au Parlement -de Paris, 1750. - -Armorial. (M. Rolland -had another plate, dated -1761, not signed.) - -a Mr. de Lorme, Gentilhomme -Ordinaire du Roy. - -Armorial. - -STERN, _Graveur à Paris_. - -M. Stern has signed some of -the most beautiful modern -French book-plates; light, -graceful, and clearly engraved. -A fair proportion -of his plates are what we -term plain armorial; indeed, -these somewhat resemble -the neat, formal workmanship -of the modern London -heraldic engravers. - -Those herein named have -been selected only as typical -examples of the various -styles he has produced. - -Biblioteca Conte Di Aquila. -Seal, armorial. - -Monogram B. C. Motto, -“_C’est ma Toquade_.” (See -reproduction.) - -Alfred Bovet. - -Wilfrid Chauvin. - -A. Clericeau. Pictorial. (See -reproduction.) - -L. Delatre. Pictorial. (See -reproduction.) - -Antonio E. D’Ornellas. -Armorial. - -Emile Levavasseur. -Monogram. - -Paulde Saint Victor (Historian -and Journalist). Seal. - -Alphonse Royer. Monogram. - -Patrice Salin. - -Motto, “_Tel je suis prends -moi_.” Monogram. - -Ex Musæo Castellanæ Genevensium. -_H. L. B._ 1874 -(Bordier). - -Ex Libris Dupuytrein, 1884. -Pictorial. - -Ex Libris Armand Baschet. -Crest in a garter. Motto, -“_Custos vel ultor_.” (Signed -_Stern, Panoramas 47, -Paris_.) - -Bibliothèque du Marquis de -Granges de Surgères. -Motto, “_Post tenebras spero -lucem_.” Armorial. - -Ex Libris V. Diancourt. -Motto, “_Eligere, Colligere, -Legere_.” Mons. Victor -Diancourt, who is Mayor of -Reims, has written some -works on the history of that -city. - -A charming _fantaisie_ plate, -reproduced on page 96. “Les -Bibliophiles Rémois. - -A. STEYERT _del. et sculp._ - -Ex Libris Auguste Fabre (of -Lyons). Motto, “_Le petafine -pas_.” 19th cent. - -STORCK. - -J. Morel, Lyon, 1843. -Pictorial. - -R. STRANGE _scul._ on a nameless -plate designed by C. Eisen, -dated 1749. - -Sir Robert Strange was a -devoted adherent of the Stuart -dynasty, and, having been implicated -in the 1745 attempt -to expel the Hanoverian -usurper, he was obliged to -seek refuge in France. He -executed many fine engravings, -as well as several -other book-plates. - -J. STRIEDBECK _fec. Argent_. -(Strasbourg.) - -On the armorial plate of the -Alsatian scholar and bibliophile, -Richard Brunck. (See -“Ex Libris Alsaciens,” page -41.) - -Striedbeck of Strasbourg also -engraved the following: - -Jacob Reinbold Spielmann. -Armorial; pictorial. - -Ex Bib. Philippi Henrici Boecleri -(of Strasbourg). - -EMILE SULPIS _sculp. F. Vernon -del._ - -_L. B._ (Portrait plate of Madame -Baillieu. Library -interior.) Dated 1894. - -SYLVESTRE, J. E. Modern. - -Ex-libris J. E. Sylvestre. -Motto, “_Nihil_.” Eve plucking -the apple: a very plain -young lady, with large flat -feet. Reproduced in “Ex-Libris -Ana.” - -Ex Libris Jules de Marthold. -Fantaisie. Motto, “_Passons_.” -Reproduced in “Ex-Libris -Ana.” - -Ex libris Lebègue. Fantaisie. -Motto, “_Lire delivre._” - -A. Salze. A pictorial plate -designed for a bibliophile of -Montpellier. Motto, “_Utile -dulci._” - -And several others. - - -TARDIEU _filius_. 18th cent. - -On a nameless ecclesiastical -armorial plate. - -TARDIEU, P. F. 18th cent. - -TARDIEU, LSE DUV. (_Gravé -par._) - -Sangnier D’Abrancourt. -Armorial. No motto. - -TARDIVEAU, _à Rennes_. - -On a plate inscribed “à Mr. -Lefèron de l’Hermite.” - -Armorial with supporters. -Signed _Fecerunt Tardiveau -et le fèron Redon_. Date indistinct, -either 1767 or 1787. - -P. TARGÉ _sculp._ - -Nameless plate, armorial, -pictorial, dated 1730. Motto, -“_Invenit et perficit._” - -G. TASNIÈRE _fecit_, _Taurini_, -1697. - -On a nameless armorial. (See -“Archives de la Société -Française,” vol. ii., p. 44.) - -TATTEGRAIN, FRANCIS. - -Signed “F. R. Tatt.” on the -fantastic etched plate of M. -Georges Vicaire, dated 1888. -Reproduced in the “Archives -de la Société Française,” -vol. iii., Feb., 1896. - -Mons. F. Tattegrain, born in -Péronne, is an artist of -standing, some of whose -paintings adorn the Hôtel -de Ville in Paris. - -TAVERNIER, E. - -Bibliothèque Société de l’Histoire -du Protestantisme -Français. Pictorial. Dated -1868. (See reproduction.) - -THANSIS 18th cent. - -A. THÈRY D’INGHEM, _à Cisoing_. - -Adrien Thèry d’Inghem, chanonie -régulier de l’abbaye -de Cisoing, engraved an -armorial plate for his brother -the Abbé de Gricourt, -dated 1750, signed _A. T. -Cis._ (See reproduction.) - -THEVENARD, M. 18th cent. - -M. F. Huguenin Dumitand. -Armorial landscape. - -THIBAUT. 18th cent. - -THIÈRY, C. E. Modern. - -C. E. Thièry. Library interior. -“Bébé fait irruption dans la -bibliothèque--gare!!” - -Bibliotheca Oratorii Turonensis. -Ecclesiastical. - -Ingold (D’après la miniature -originale de 1466). This -belongs to the Rev. Father -Ingold, author of “Les Ex-libris -Oratoriens.” Paris, -1892. (See reproduction.) - -Mons. Claude Emile Thièry -was one of the founders of -the Société Française,--he -died at Maxéville on February -3, 1895. - -He was born in 1828, studied -in the Ecole des Beaux -Arts, and was a graceful and -humorous artist. He was -appointed engraver to the -Austrian Court, and was for -some time curator of the -Museum of Nancy. - -An article on his works -appeared in the “Archives -de la Société Française” for -January, 1894, with a series -of book-plates he designed -for his friend Gustave Droz, -and he also engraved several -plates for his own books--of -these the most interesting -was in imitation of a MS. of -the Middle Ages, impressions -of which were issued -with the “Archives de la -Société Française” for January, -1895, accompanied -by a humorous letter from -Mons. Thièry himself. - -E. THIÈRY _f._ - -Nameless literary plate, belonging -to Beaupré, Conseiller -à la Cour de Nancy. -Two states. - -THOMASSIN. 17th cent. - -A nameless plate bearing the -arms of the Nivernais family -_D’Armes_. - -LE TILLIER _inv._ - -Ex Libris Francisci Perrault -Ecclesiae de Praville in -Belsia. Rectoris 1764. -Portrait. - -Reproduced in the “Ex-libris -Journal,” vol. iii., p. -69. - -TIPHAIGNE, L. 17th cent. - -On the nameless armorial -book-plate of De Roquelaure, -surrounded by the -collars of the orders of -Saint Michael and the -Holy Ghost. (See Poulet-Malassis, -p. 12.) - -TISSOT, J. 19th cent. - -T., J. (JEAN TOUSTAIN.) 17th -cent. - -An armorial plate inscribed -“B^{teq} de M^{gr} Pellot P^{er} Pres^{nt} -du Parl^{ut} de Normandie.” - -Poulet-Malassis gives the -date of this plate as between -1670-1686, and ascribes it -to Jean Toustain, an engraver -of Normandy. - -J. TOUSTAIN _Inv. F._ - -Ex Bibliotecha (_sic_) Illustrissimi -Nobilissimique Viri D. -Domini Claudii de Vassy -Marchionis de Pirou necnon -de Bressey Domini -Castellani de Touchet necnon -de Beaufou Domini et -Patroni de Celland de -L’Espinay Tesson de St. -Marcouf, &c. 17th cent. -(See reproduction.) - -TRAITEUR, J. - -Mr. le Marquis de Saisseval, -1772. Armorial, with supporters. - -M. L. Comte d’Essales 1771. -Armorial. - -“_Traiteur fecit 1761._” On the -plate of F. J. Schwendt, an -Alsatian of some note, who -died in 1824. - -See “Archives de la Société -Française,” August, 1894. - -TROUCHOU. 19th cent. - -TRUDON. 17th cent. - -Signed a nameless plate bearing -the arms of Potier de -Novion. - -He engraved the whole of the -plates for the heraldic work -entitled “Nouveau traité de -la science pratique du -blason,” published in 1689. - -TUBERT. 18th cent. - - -V., J. H. (Valori.) 18th cent. - -_J. H. V. scul._ on the nameless -plate designed by J. B. -(Boucher) for the Chevalier -de Valori. - -VACHERON _fecit à Douai_, 1769. - -Benoit Bieswal, avocat en -Parlement. Armorial. - -J. VALDOR, _à Nancy_. 17th cent. - -Signed the armorial Ex libris -“Guillelmus Grangierus.” -thus, _Faict à Nancy p. J. -Valdor_. - -[Illustration: BOOK-PLATE OF CLAUDE DE VASSY.] - -J. Valdor was born at Liège, -and educated in Italy; was -settled in Nancy in 1630, -and in Paris in 1642. -(See Poulet-Malassis, p. 10.) - -VALLET _fecit_ 1721. - -Joan. Lud. Foyelle, doctor -theologicas, et ecclesiae -Atrebatensis Canonicus. - -Armorial with supporters. - -VALLON, EDMOND. Modern. - -A. M. (Alfred Morin.) Motto, -“_Aux livres je dois tout._” -Fantaisie. - -A. H. 1880. Pictorial; literary. -Signature very indistinct. -Motto, “_J’ai lu le manuel -des ouvriers._” - -VALLOTTIN, FÉLIX. Modern. - -Ex Libris L. Joly. Library -interior with cats, reproduced -in “Ex-Libris Ana.” -A woodcut signed _F. V._ - -VALTON, EDMOND. 19th cent. - -VAN DRIESTEN, D. E. J. -Modern. - -A coloured armorial by -himself for himself, reproduced -in the “Archives de -la Société Française,” June, -1895. Mons. Van Driesten -is a French artist who has -devoted considerable study -to ancient miniatures and -heraldic work. - -G. VANEL. ’95. Modern. - -Ex Libris Tony Genty. Liber -Libris 1895. - -Fantaisie design. - -Reproduced in the “Archives -de la Société Française,” -April, 1895. - -VAN MERLEN, T. J. 18th cent. - -VAN MUYDEN, E. Modern. - -Library interior of L. Bauzon, -1891. Motto, “_Lire et -choisir._” - -Ex Libris F. Raisin 1891. -Motto, “_Ils sont trop verts._” -Allegorical. - -Ex Libris Manoury. Portrait -plate, 1890. - -Ex Libris Wolf. (See reproduction.) - -VARIN, 1774. - -VARIN, PIERRE ADOLPHE. - -Born at Chalons-sur-Marne -on May 24, 1821, he -settled early in Paris, where -he achieved distinction as -an engraver. For a long -illustrated article on the -works of this artist see -“Les Archives de la Société -Française,” September, -1895. - -The following are some of -the principal plates he has -engraved: - -Bibliothe Pichon (Baron J. -Pichon). Library interior, -dated 1873, and an armorial -plate. - -Ex Lib Deu. Literary. - -H. G. 1880. A handsome pictorial -plate for Mons. Henri -Greslé, who died in 1893. - -Ex libris de ma tante Pauline -Etevenon, Paris. - -Armand Bourgeois 1883. -Pictorial. - -Jules Bourgeois, 1883. -Pictorial. - -C. B^{ard}. (Ch. Bayard, an -architect of Lyons.) - -H. C. C. (H. Cordier.) 1880. - -A. D. M. 1881. (A. de Manet -of Brussels.) - -Comte de Lavaur de Sainte-Fortunade, -1874. Armorial. - -Thoreux (de la Rochelle), -1872. - -Lhoste de Chaalons (intended -for Monsr. Lhote de -Chalons). Armorial. - -Ex Libris Henrici Jadart, -Reims, 1884. Motto, “_Utinam -prosim._” - -Mons. Henri Jadart, secrétaire -géneral de l’Académie de -Reims, is the author of -several works relating to the -history and antiquities of -Reims. - -“Les Bibliophiles Rémois,” -published by him in 1894, -is a work of considerable -research and of much utility -to the collectors of French -book-plates. (See Bibliography.) - -VERAN, J. M. 19th cent. - -F. VERNON _del. Emile Sulpis -sculp._ - -L. B. (Portrait of Madame -Baillieu in her library.) -Dated 1894. - -VEYRIER _fecit._ - -Forbyn Ste. Croix 1751. -Armorial. - -J. B. Gastaldy D. Med. 1752. -Armorial. - -Ex Libris Antonii Ludovici -Tellus 1760. Armorial. - -He also engraved the Ex -Libris Joseph-François de -Faucher. (See “Archives -de la Société Française,” -vol. ii., November, 1895.) - -J. VIDAL, _à Bordeaux_. 19th -cent. - -VIDAL, HONORÉ. - -_Gravé par Honoré Vidal_ on -the plate of John Brook -Wood, 1835. - -VIGNERON. - -Coloured ex-libris for M. Piat. - -Nameless plate of Mons. -Cousin. Motto, “_C’est ma -toquade._” This is signed -_Stern graveur_. - -VIGNEROT, ROUGERON. -Modern. - -Ex Libris de A. Hustin. -Motto, “_Scientia et labore._” -Monogram. - -VILLIEZ _fecit_ 1770. - -On a nameless plate having -the initial _V_ on it. - -VIONNET. Modern. - -Henri-Marie Hippolyte de -Faucher. Armorial. - -VIOTTE, _Graveur de la monnaie -royale_. 18th cent. - -VIOTTE. _Regis monet._ - -Mr. D’Hyenville. Armorial. - -LOUISE DU VIVIER _f._ 1737. - -On a nameless armorial plate -with supporters, and coronet -of marquis. - -VOYSARD. 18th cent. - - -WACHSMUT _Sculp._ - -On the ex-libris of J. L. -Blessig, prof. A library interior, -similar to that of F. -R. Saltzmann of Strasbourg. -(See “Ex Libris Alsaciens,” -page 35.) - -WAFFET. 18th cent. - -D. WALLAERT _fecit._ 18th cent. - -Ex Libris J. Gosselin. -Pictorial. - -WEIS (Alsatian, of Finckwiller). - -Probably engraved the -ex-libris of _Antonii Jeanjean_ -of Strasbourg, who -died 1791. (See “Archives -de la Société Française,” -vol. ii., page 70.) - -WEISS, J. M. (of Strasbourg). - -Johannes Boeclerus. -Armorial. (A Doctor of -Medicine, Strasbourg.) - -Ex Museo Schoepfliniano. -(See “Ex Libris Alsaciens,” -pages 15, 40. See also J. -Striedbeck.) - -CH. WÉRY _fecit_ 1887. - -Ex Libris V. Duchâtaux, -advocati Remensis. - -Mons. Victor Duchâtaux, -avocat, membre du Conseil -Municipal de Reims, président -de l’Académie. The -arms on the plate are those -of Reims. (See “Les Bibliophiles -Rémois,” page 98). - -WICKER _sc._ (See Saint Hilaire.) - -J. B. Nack, 1759. (Of Frankfort.) - -WILLE _filius del._ 1766. - -On a nameless plate (engraved -by Halm) supposed -to be for J. V. Meyer, of -Bordeaux. Reproduced in -the “Ex Libris Journal,” -vol. iv., page 178. - -The same signatures and date -on a nameless plate supposed -to be for E. Cordes. - -Pierre-Alexandre Wille, -son of the famous engraver, -Georges Wille, spent most -of his life in Paris; and, -although of German origin, -was enrolled in the Garde -Nationale in 1789. He was -still alive and in Paris in -1821. Halm was probably -a pupil of Wille senior. - -WINKLER. 18th cent. - - -P. YVER 1743. - -Le Marquis de Gournay. - - -ZAPOURAPH _sculp._ - -Duval. Floral label, dated -1772. - -ZIX, BENJAMIN. - -An Alsatian artist who -etched two ex-libris for himself: -one for his library, the -other for his collection of -engravings. These are -described in “Ex Libris -Alsaciens,” page 33. - - - - -BIBLIOGRAPHY. - -BEING A LIST OF THE PRINCIPAL WORKS REFERRING TO FRENCH EX-LIBRIS, -CHRONOLOGICALLY ARRANGED. - - -_Notice sur quelques Graveurs Nancéiens_ du XVIII. siècle. Par M. -Beaupré. Nancy, Lucien Wiener, 8vo, 1862. - - This work contains descriptions of a number of book-plates engraved - by Dominique Collin. - - - _L’Amateur d’ Autographes_, Avril, 1872. - - This contained an article by M. Maurice Tourneux on the collection - of book-plates in the possession of M. Aglaüs Bouvenne, a - well-known artist and designer, and collector of book-plates. - -_Armorial du Bibliophile_, avec Illustrations dans le texte. Par Joannis -Guigard. 2 vols., royal 8vo. Paris, Bachelin-Deflorenne, 1870-1873. - - Contains many illustrations of super-libros, which are frequently - useful in assisting to discover the owners of nameless French - armorial book-plates. (See also “Nouvel Armorial du Bibliophile,” - 1890.) - - -_Bibliophile Français._ Gazette illustrée des amateurs de livres -d’éstampes, et de hautes curiosités. Paris, 7 vols., royal 8vo, 1868-73. - - This work incorporates the “Armorial du Bibliophile” of Joannis - Guigard. - - -_Les Ex-Libris Français_, depuis leur origine jusqu’à nos jours. Par A. -Poulet-Malassis. Paris, P. Roquette, royal 8vo, 1874 (illustrated). - -_Des Marques et devises_ mises à leurs livres par un grand nombre -d’amateurs. De Rieffenberg. Paris, 1874. - -_Bulletin du Bouquiniste._ Paris. No. 416. April 15th, 1875: Letter from -the Comte de Longpérier-Grimoard on a Super-Libris of Crozat. Dec. 1 and -15, 1876: A letter from the Comte de Longpérier-Grimoard, “Une Marque -inconnue.” - -_Etude sur les Ex-Libris._ Par le Comte de Longpérier-Grimoard. Senlis, -E. Payen, 8vo, 8 pp., 1875. - - A paper read before the Comité Archéologique de Senlis, December - 11th, 1874. - -_Les Ex-Libris Français_, depuis leur origine jusqu’à nos jours. Par A. -Poulet-Malassis. Nouvelle édition, revue, très augmentée, et ornée de -vingt-quatres planches. Paris, P. Rouquette, royal 8vo, 1875. - -_Dictionnaire des devises_ des hommes de lettres, imprimeurs, libraires, -bibliophiles, etc. Par Van de Haeghen. 1876-1879. - -_A Guide to the Study of Book-plates_ (Ex-Libris). By the Hon. J. -Leicester Warren, M.A., London. John Pearson, 1880. - - Although not dealing especially with _French_ ex-libris, this guide - by the late Lord de Tabley is an almost indispensable book of - reference to every collector of book-plates. - -_Nouvelles Etudes sur l’Université de Pont-à-Mousson._ Par M. Favier -(illustrated). Nancy, 1880. - -_Petite Revue d’Ex-Libris Alsaciens._ Par Auguste Stoeber. Avec un fac -simile d’un ancien Ex-Libris (C. Wolfhardt). Mulhouse, Veuve Bader, -12mo, 1881. - - The author of this charming little pamphlet died a few years ago. - -_Les Ex-Libris dans les trois Evêchés_, Toul, Metz, Verdun, 1552-1790. -Par Arthur Benoit. Paris, 8vo, 1883. - -_Les Ex-Libris de Schoepflin._ Notice par Arthur Benoit. Paris, Rouveyre -et Blond, 8vo, 1883. - - Reprinted, with illustrations, from “Le Bulletin de la Société pour - la conservation des Monuments historiques d’Alsace.” Second series. - -_Les Bibliophiles_, les Collectionneurs, et les Bibliothèques des -monastères des trois évêchés, 1552-1790. Par Arthur Benoit -(illustrated). Paris, royal 8vo, 1884. - - The three bishoprics referred to are Metz, Toul, and Verdun. - -_Les Femmes Bibliophiles de la France._ Avec 43 Planches d’Armoiries. -Par Ernest Quentin-Bauchart. Paris, 8vo, 1886. - -_Nouvel Armorial du Bibliophile_, Guide de l’Amateur des Livres -Armoriés. Conténant la Reproduction de 2500 Armoiries et riches Reliures -armoiriées. Par Joannis Guigard. 2 vols. 8vo. Paris, Emile Rondeau, -1890. - -_Le Livre Moderne_, Revue du Monde Littéraire. Paris, Maison Quantin, -1891. - - No. 19 (July, 1891) contained an article by M. Octave Uzanne, - entitled “Remarques sur quelques Ex-Libris contemporains,” with - facsimiles of 36 interesting examples. - - No. 24 (December, 1891) contained an article in continuation of the - above, entitled “Quelques Nouveaux Ex-Libris,” also by M. Octave - Uzanne, with many illustrations. - -_The Book-plate Collector’s Miscellany._ Edited by Mr. W. H. K. Wright, -Borough Librarian, Plymouth. Quarto, illustrated, 1890-91. Plymouth, W. -H. Luke. - -_Les Ex-Libris_, et les Marques de Possession du Livre. Par Henri -Bouchot, du Cabinet des Estampes. Paris, Edouard Rouveyre. With numerous -illustrations, pp. 104, 8vo, 1891. - - 750 only printed. - -_The Bookworm._ May, 1892. A Hunt for Book-Plates in Paris. By Walter -Hamilton. London, Elliot Stock. - - This publication contained several other articles on book-plates. - -_La Curiosité Universelle._ - - A small weekly newspaper published at 1, Rue Rameau-Paris. This - contained several articles and letters on the topic of French - ex-libris, and advocated the formation of an Ex-Libris Society in - Paris. - - No. 228. June 1st, 1891. A propos d’Ex-Libris. - - No. 262. January 25th, 1892. Illustrated article. - - No. 268. March 7th, 1892. Article on ex-libris. - - No. 269. March 14th, 1892. Illustrated article. - -_Les Ex-Libris Oratoriens._ Par le Père Ingold. Paris, Librairie Charles -Poussielgue, Rue Cassette, 15, 1892. Crown 8vo, pp. 16. With 13 -illustrations of ecclesiastical book-plates. - -_Le Serpent Emblème des Chirurgiens, et des Médecins._ Par Arthur -Benoit. 6 pp. No date. - - An extract from “La Revue Nouvelle d’Alsace-Lorraine,” which treats - of serpents shown on book-plates. - -_The Journal of the Ex-Libris Society._ A. and C. Black, Soho Square, -London. Quarto, illustrated, 1891-96. (In progress.) - - A monthly journal containing numerous articles on French - book-plates. - -_French Book-Plates._ A Handbook for Ex-Libris Collectors. By Walter -Hamilton, Hon. Treas. of the Ex-Libris Society. With numerous -fac-similes. London: George Bell and Sons, York Street, Covent Garden, -1892. - -_Catalogue des Incunables de la Bibliothèque Publique de Besançon._ Par -Auguste Castan, Conservateur de la Bibliothèque de Besançon. -Publication Posthume faite sous les auspices de la Société d’Emulation -du Doubs. Besançon, J. Dodivers, Grande Rue, 1893. - - Mons. Castan was born in 1833; he died in June, 1892. - -_La Bibliothèque de Fontainebleau_ et les Livres des Derniers Valois à -la Bibliothèque Nationale. (1515-1589.) Par Ernest Quentin-Bauchart. -Paris, Em. Paul et Guillemin. - -_Les Relieurs Français_ (_1500-1800_). Biographie critique et -anecdotique. Précedée de l’Histoire de la Communauté des Relieurs et -Doreurs de Livres de la Ville de Paris et d’une étude sur les styles de -reliure. Par Ernest Thoinan. Paris, Em. Paul et Guillemin. - - This useful work on the subject of bookbinding gives biographical - details of more than 1,700 French binders, with their signatures - and notices of their principal works. The armorial stamps on French - bindings are frequently of great assistance in identifying nameless - plates. - -_Archives de la Société Française des Collectionneurs d’Ex-Libris._ -Paris, Emile Paul et Guillemin, Rue des Bons-Enfants. (In progress.) - - The organ of the French Society of Collectors of Book-plates. The - first part was published in December, 1893, and it has appeared - monthly ever since. Many illustrations of great beauty and interest - have been issued with the _Archives_, but specially printed on - plate paper. - -_Ex-Libris Ana, et Ex-Libris Imaginaires_ et supposés de Personnages -célébres, anciens et modernes. Paris, L. Joly, Editeur, 19, Quai -Saint-Michel, 1893-1894. - - This little publication contained some valuable historical articles - and reproductions of old plates. The Ex-Libris Imaginaires were - grimly humorous and satirical, especially those of Rabelais, La - Fontaine, Rollin, Marat, Danton, E. A. Poe, Dumas fils, Charcot, - and Ernest Renan. - -_Les Bibliophiles Rémois_ leurs ex-libris et fers de reliure suivis de -ceux de la Bibliothèque de Reims. Ouvrage illustré de 70 gravures. Par -Henri Jadart Conservateur adjoint de la Bibliothèque de Reims Secretaire -général de l’Académie. Reims F. Michaud, Rue du Cadran-Saint-Pierre. -1894. - - This work is extracted from the proceedings of the Académie de - Reims, and only 150 copies were printed. - - It contains biographical notices of the principal book collectors - of Reims, and its vicinity, with their armorial bearings, - descriptions of their book-plates, and the stamps on their - bindings. It also gives an alphabetical collection of mottoes with - the families to whom they belong, and a bibliography of the - Catalogues Rémois. - - The information contained in this delightful volume is of the - greatest value to collectors of French Book-plates, and the - facsimiles are executed in the most artistic manner. - -_Dated Book-Plates_ (Ex-Libris), with a Treatise on their Origin and -Development. By Walter Hamilton. London, A. and C. Black, Soho Square, -1895. Illustrated. - - This volume contains a list of all the known French dated plates - from 1574 to 1895, with descriptions of their styles, their - mottoes, artists, and engravers, and biographical notes about their - owners. - -_Ladies’ Book-plates._ By Norna Labouchere. With numerous illustrations. -London, George Bell and Sons, 1895. - - In the “Ex-Libris” series. This work contains a chapter on Foreign - Ladies’ Book-plates, in which many interesting French ex-libris are - described. - -_Les Ex-Libris Limousins._ Par A. Fray-Fournier. Published by M. -Ducortieux, Limoges, 1895. - -_L’Ex-Libris de F. de Larochefoucauld, Abbé de Tournus._ La première -Marque Française armoriée. Par F. S. Paris, L. Joly, Editeur, 19, Quai -Saint-Michel, 1896. - - 350 only printed. - -_Les Ex-Libris Anciens aux Armes de Jeanne d’Arc._ Par A. Benoit. - - Miss Labouchere cites this little pamphlet on p. 214 of “Ladies’ - Book-plates,” but omits to mention when and where it was published. - She gives a few details of plates belonging to descendants of the - family of Jeanne d’Arc, but these do not appear to be of any - special interest. - - - - -INDEX. - - -Admiral of France, arms of, 51. - -Ailleboust d’Autun, Charles, ex-libris, 1574, 7, 11, 12, 64, 65. - -Albenas, M. Georges d’, 248, 249. - -Alphabetical classification, advantages of, 34, 35. - -Alsace. “Petite Revue d’Ex-Libris Alsaciens,” by A. Stoeber, 1, 6, 9, 152. - -“Amateur d’Autographes” on French ex-libris, 5. - -André, M. Henry, 17, 214, 287, _et seq._, 298. - -Anselme, Père. “Les Grands Officiers de la Couronne,” 32. - -Antoinette, Marie, farewell of, 246. - -Archambault, 182, 183. - -“Archives de la Société Française,” 10, 19, 20. - -Armorial bearings, abolition of, 2, 27; - revival of, 3, 28. - ----- book-plate, earliest French, 1; - first French dated, 2, 11; - second French dated, 2. - -“Armorial Général de l’Empire Français,” par Henri Simon, 124. - -“Armorial du Bibliophile,” par Joannis Guigard, 32, 80. - -Artists in ex-libris. Modern French, 275, _et seq._ - -Ashbee, Mr. H. S. Portrait, 16. - -Auzoles, de la Peyre, 70. - -Avril, Paul, 299. - - -Bacon, Sir Nicholas. First dated English book-plate, 1574, 1, 11. - -Barbier, Abbot, 177. - -Bardin, Joannes, 72. - -Bargalló, Dr. F., 214-217. - -Barony du Bois de Ferrieres, the, 162. - -Bastille, Chateau de la, 104. - -Bayard, C., 299. - -Bayon, Jules le, 293. - -Beaujeu, Q. de, 188. - -Beaumont, R. J. de, 1742, 90. - -Bee, order of the, 55. - -Bégon, Michel, 255. - -Bellehache, Chevalier de, 1771, 93. - -Benoit, A. and L., 1846, 153. - -----, A., 1894, 154. - -Béraldi, Henri, on ex-libris, 285, _et seq._ - -Berry, Duchesse de, 135, 136. - -Berryer, Mons., 149. - -Berulle, 71. - -Besançon, library of, 189, _et seq._; - book-plate of Carmelites of, 192. - -Beugnot, Vicomte, book-plate of, 142; - position of, 148, 149. - -“Bibliothèque de la Providence,” 235. - -Bibliothèque Nationale. Collection of ex-libris, 34. - -Bigot, Emeric, 66. - ----- Johannes, 65. - -Bizemont-Prunelé, Comte de, 116. - -Blamont, Frizon de, 85. - -Bonaparte, Prince Lucien, 131-133. - ----- Prince Roland, 271. - -Book-plates of the Channel Islands, 160, _et seq._ - ----- first English, 1, 11; - general use of, 13; - styles of Henri IV. and Louis XIII., 22, 24; - style of Louis XIV., 23, 24; - style Régence, 24, 25; - style Louis XV., 25, 26; - style of Louis XVI., 26, 27; - heraldic, 28; - in the time of Henri IV. and Louis XIII., 75; - effect of First Republic on, 109, _et seq._; - restriction of, 120; - under the Second Empire, 141, _et seq._; - styles and tendencies of, 299, 300. - -Borniol, Marthe de, 300. - -Boscheron, J. G. R., 1777, 94. - -Bouchart, Alexandre, 1611, 2, 63. - -Bouchet, Marquis de Souches, 80. - -Bouchot, M. Henri. “Les Ex-Libris,” 5, 188. - -Boula de Nanteuil, 1777, 95. - -Bouland, Dr. L., founds the Society of French Collectors, 18, _et seq._ - -Bourbon, L. J. M. de, Admiral of France, 52. - -Bourbon-Busset, Vicomte de, 1788, 114, 116. - -Bourbon-Rothelin, L’Abbé de, book-plate of, 187. - -Boussac, of Limousin, 71. - -Bouvenne, M. Aglaüs, 5, 225, 227, 267, _et seq._ - -Bovet, Alfred, 297. - -Boyveau-Laffecteur, 113. - -Bracquemond, M., 298. - -Brasdefer, Louis, 68. - -Brinon, 70. - -Bucy, Marquis de, 163, 164. - -Burey, Comte de, 280, 281. - -Burghese, Pauline, 120. - - -Caffarelli, Amb., 120, 121. - -Canting Arms, 218, _et seq._ - -Carson, Rev. W., 236. - -Caumartin, Bishop, 175. - -Cazenave, Alpheus, M.D., 212. - -Cellier, P., 238. - -Chabeuf, Bishop, 176. - -Champfleury, M., 225. - -Chanlecy, 67. - -Chanteau, F. de, 156. - -Charreton, 70. - -Chassebras, 71. - -Chatelain, the Chevalier de, 166. - -Chevillard’s “Armorial,” 32. - -Chodowiecki, Daniel, engraver, 212. - -Cities of France, Latin names of, 32, 33. - -Classification of ex-libris, 21, _et seq._ - -Clerical plates, examples of, 177, 178. - -Clericeau, A., 230. - -Cochon, P., 222. - -Colin, engraver, 214. - -Colletet, Guillaume, 235, 236. - -Coloma, Baron de Moriensart, 1657, 167. - -Convers, P. A., 92. - -Coquereau, C. J. L., 219. - -Corday, Charlotte, 8. - -Cordier, Paul, 226. - -Coronets in French heraldry, 47. - -Correard, Dr., 211. - -Couraud, L. P., book-plate of, 295, 296. - -Courboin, François, 299. - -Cousin, Mons. B., 231. - -“Curiosité Universelle, La,” 18. - - -Daudin, engraver, 253. - -Dauphin of France, arms of, 48. - -David, Louis, 28, 46, 124. - -De Chaponay, of Lyons, 68. - -De Cuzien, 103. - -Delaleu, 1754, 91. - -Delatourrette, C., 1719, 86. - -Delatre, M. L., 240. - -Deloysi, Pierre, engraver, 70. - -Denis, Saint, order of, 53. - -De Regnouart, 70. - -Desfontaines, Abbé. Portrait, 16. - -Des Vignes, Jan, 292. - -Devambez, engraver, 296. - -De Visme family, 163, 164, 165. - -Diane de Poitiers, 95. - -“Dictionnaire des Devises,” 30. - -“Dictionnaire des Girouettes,” 127, 129, 130, 147, 242. - -Dieppe College, prize label of, 195. - -Dignitaries of the Church, 170. - -Dobree, Peter, 159, 162. - -D’Orsay, Comte Alfred, 269. - -Dubarry, Comtesse, 97, 99. - -Dubuisson, M., 1805, 130, 131. - -Dubut, Curé de Viroflay, 1782, 181, 184. - -Duché, 1779, 98. - -Duplessis, M. Georges, 35. - -Duvall, Gabriel, descent of, 205. - - -Ebner, Hieronimus, ex-libris of, 30. - -Ecclesiastical dignitaries, 170. - -Edict of Nantes, 198. - -Edicts against improper assumptions of arms, 47. - -Eglise de Lorraine, 1767, 186. - -Eu, College of, 1729, 180. - -Eugénie, Empress, cipher on bindings of, 144, 145, 146. - -Ex-libris de Fantaisie, 284, _et seq._ - -“Ex-Libris, Les,” by Henri Bouchot, 12. - -“Ex-Libris Français, Les,” by M. Poulet-Malassis, 5. - -Ex-libris. Defined in “Le Grand Dictionnaire Universel,” 7. - -“Ex-Libris Oratoriens, Les,” 185. - -“Express de Mulhouse,” 152. - - -Faultrieres, Michel de, 87. - -Felibien, André. Historiographe du Roy, 1650, 13, 14, 74, 79. - -Flach, Jacques, 243. - -Fleur-de-lys. First use of on the arms of France, 43, 47, _et seq._ - -Foissey, Alexis, 117. - -Foucault, N. J., 258. - -French collectors of ex-libris, 8, 17. - ----- Protestant Hospital, 199, 201, 202. - ----- colleges, sample of book-plate of, 194. - ----- Heralds’ College, 58, _et seq._ - ----- military plates, 16. - ----- names, Anglicised, 203. - ----- plates, division of, 36, _et seq._ - -Frizon de Blamont, N. R., 1704, 85. - - -Gallic cock, the, 220, 264, 265. - -Gambetta, Léon, 242, 265, 266. - -Garibal, 71. - -Garrick, David, 234. - -Gaultier, Léonard, 2, 66. - -Gautier, Théophile, 267, 268. - -Gavarni, 273. - -Geoffroy, Auguste, 288. - ----- Alexandre, 289. - -Germain, Léon, 157. - -Gillet, Jean François, 1778, 96. - -Golden Fleece, order of the, 55. - -Goncourt, E. and J., 273, 277. - -Gouache, M., 239. - -Grancey, Comte de, 147. - -Grandville, 275. - -Grangier, Guillaume, 68. - -Greslie, Henri, 287. - -Gricourt, L’Abbé, 86, 87, 182, 185. - -Grolier, Jean, his library, 250, 251. - -Gruel, Leon, 279. - -Grumet, J. Philip, M.D., 210, 213. - -Gueulette, Thomas, 261, 262. - -Guigard, Joannis. “Armorial du Bibliophile,” 6, 32. - -Guinot, Ch., 291. - - -Havilland, Peter de, 161, 162. - -Henri IV., 198. - -Heraldry, fashion to discard, 277. - ----- Flemish, specimen of, 167. - ----- French, notes on, 39, _et seq._; - effects of Revolution on, 45; - under the Empire, 46, 47; - under Napoleon, 123, _et seq._ - -“Heraldry made Easy,” by J. Ashby-Sterry, 41. - -Heraldic terms, French, 40, 41. - ----- tinctures, French, 40, 41. - -“Historic Devices,” by Mrs. B. Palliser, 31. - -Hommeau, C. F., 236. - -Houblon, Jacob, 223, _et seq._ - -Hozier, Pierre d’. Heraldic list, 75. - -Huet, Bishop, 1692, 78, 171, _et seq._ - -Hugo, Victor, 267, 277. - -Huguenot Society, 202; - book-plate of, 204. - -Huguenots, the, 197, _et seq._ - -Hurson, M. 53. - - -Ingold, Rev., on Ex-Libris, 185, _et seq._ - -Institution Guillot, by Apoux, 18. - - -Jacob, Le Bibliophile, 38, 270, 272. - -Jamart, J. F., 190. - -Joubert, M. de, 259, 260. - -Jourdan, Marshal, 120, 121, 122. - - -Karr, Alphonse, 275. - -Knighthood, orders of, in France, 54, _et seq._ - - -Laffecteur, M. Boyveau, 113. - -Lafitte, book-plate of, 298. - -Laflize, D., 1768, 215. - -Lamare, Antoine de, 71. - -Lameth proposes abolition of titles of nobility, 1790, 113. - -La Milliere, A., 196. - -Lamy, Amy. Portrait, 74. - -Lancey, General de, 150. - -Lanjuinais, Comte, 143, 147. - -Larousse, M. Pierre, his definition of Ex-Libris, 7. - -Latin phrases of book possession, 7, 8. - ----- names for French cities, 32, 33. - -Lecuyer, F. G., 89. - -Le Duc, Viollet, 272. - -Le Féron, 72. - -Legion of Honour, founded 1802, 56. - -Lejourdan, Mons., 108. - -Le Keux, family of, 200, 201. - -Lemercier, Abel, 184, 236. - -Leonor le François, 1673, 80. - -Lermina, Jules, 290. - -Lesquen, 72. - -Lesseps, Ferdinand de, motto of, 270. - -Le Tellier, C. M., 1672, 80. - -“Livre Moderne, le,” articles by Octave Uzanne in, 6. - -Lorme, M. de, 81. - -Lorraine, Charles de, 66. - -Lorraine, Metropolitan Church of, 186. - -Louis XIV., 198. - ----- XV., 89, 99, 100. - ----- XVI., 105, 107. - ----- XVIII., 134, 135. - -Louis Philippe, 137, 264, 265. - -Lyons, College of, 189. - - -Maine, Duc de, 1729, 178, 179. - -Maintenon, Madame de, 96, 110. - -Malassis, M. Poulet, on French Ex-Libris, 5, 265, 275, 279. - -Malet, G., 284. - -Malherbe, François de, 74, 83. - -Manet, M., Portrait, 16. - -Mantin, Georges, 285. - -Mansart, J. H., 82. - -Marbot, Baron de, 122, 123. - -Maréchal, Sylvain, 241. - -Marshal of France, badge of, 51. - -Marsollier, Benoît, book-plate of, 49. - -Martigny de Marsal, 1655, 80. - -Martin, Alexis, book-plate of, 286. - -Martin, Claude, 94, 102. - -Mazarin, Cardinal. His library, 170, 171. - -Medical men, book-plates of, 208, _et seq._ - -Mehl, Charles, 235. - -Ménage, Gilles, 1692, 79, 80. - -Menestrier, le Père. “Sience de la Noblesse,” 39. - -Mercier, J. A. Le, book-plates of, 184, 185. - -Merimée, Prosper, 272. - -Mesurier, Frederick le, 160, 162. - -Métivet, Mons., 271. - -Metzger, Albert, 155. - -Michaud, J. B., 1791, 117. - -Milsand, M., 227. - -“Miscellanea Genealogica et Heraldica,” 201. - -Mohr, Louis, 1879, 278. - -Mondesir, Comte de, 54. - -Monier, 220. - -Monselet, Charles, 227, 228. - -“Mont Joye Saint Denis,” 60. - -Montchal, J. P. de, 71. - -Montmeau, J. de, 191. - -Mouchard, Fran, Ex-Libris of, 88. - -Mouchy, Duc de, 148, 150. - -Mountaine, R., 223. - -Mourie, Valentin, 238. - -Murat, 133. - - -Napoleonic heraldry, 28, 47. - -Napoléon I., ex-libris imaginaire, 132, 133. - -Napoleon III., cipher on bindings of, 145. - -Neufchateau, François de, 242, 245. - -Nicole of Nancy, book-plates by, 158, 186. - -Niniche, 280. - -Nobility, coronets of, 48, 51. - -Noë, Comtesse de, 271. - -Nogaret, Bernard de, 72. - -Nolin, Pierre, engraver, 80. - - -Ordres du Roi, Les, 55. - - -Paillot, M. Pierre, on Heraldry, 31, 32. - -Palmerston, Lord, 224. - -Papillon, Thomas, 117, 118. - -Pasquier de Messange, 1792, 106. - -Pastoret, Marquis de, 144, 146, _et seq._ - -Pellot, Mgr., 80. - -Petau, Alexandre, 68, 69. - ----- Paul, 251, _et seq._ - -“Petite Revue d’Ex-Libris Alsaciens,” 1, 6, 9. - -Petra Sancta, Father S. His mode of showing heraldic tinctures, 40, 63. - -Phrases of book possession, French, 232, _et seq._ - -Phrases of book possession, Latin, 7, 8. - -Picard, M. Abel, 294. - -Piis, Antoine Pierre Augustin de, description of plate of, 131. - -Pixérécourt, Guilbert de, 235. - -Pompadour, Marquise de, 96, 97. - -Portalis, J. M., 129. - -Portrait plates, earliest, 16. - -Potier de Novion, 82. - -Prosper-Mérimée, 272. - -Protestantism in France, 197, _et seq._ - -Providence, La, 202. - -Punning plates, 218, _et seq._ - -Puy du Fou, 72. - - -Quantin, M. Léon, book-plate of, 20. - - -Rabelais, François, 8, 248, _et seq._ - -Raigniauld, armorial book-plate by, 73. - -Ravachol, 220. - -Ravenel, D., 205, 206. - -Richard, N. F. J., 114. - -Richelieu, Cardinal. His library, 170. - -Rimmel, Eugene, 227. - -Riston, Mons., 141. - -Robert, F. des, 1878, 276. - -Robillard, J. L., 225. - -Rochefoucauld, François de la, 1. - -Rops, Félicien, 299. - -Roquelaire, 70. - -Rothschild’s “Characteristics from French History,” 197. - -Rougé, Vicomte de, 270, 271. - -Royal coronets in France, 47, 48. - -Ruffier, Claude, magnitude of his ex-libris, 63. - - -Saint André, N. T. de, 71. - ----- Denis, order of, 53. - ----- Esprit, order of, 54. - ----- Lazare, order of, 55. - ----- Louis, order of, 54. - ----- Michel, order of, 53. - -Sainte Marthe, frères, 71. - -Sala, G. A., 234. - -Salamon, Alphonse, 4. - -Sarragoz, Pierre, of Besançon, 70. - -Sarrau, Claude, 67. - -Satan, French idea of, 228, _et seq._ - -Scott, Marquis de la Mésangère, 71. - -Secousse, Dr. F. R., 193. - -Seguier, Pierre, 251. - -Seguret, L. F., 178. - -Serrier, Fr., 242. - -Sevigné, Mdme. de, her opinion of ex-libris, 83. - -Shields, square, on early ex-libris, 63. - -Shoppee, Mr. C. J., 257. - -“Sience de la Noblesse, La,” 39. - -Simon, Henri. “Armorial Général,” 124. - -Société Française des Collectionneurs d’Ex-Libris, 19. - -Société de l’Histoire des Protestanisme Française, 1852, 203. - -Sordière, G. de la, 80. - -Stern, 284, 297. - -Stoeber, M. Auguste. “Petite Revue d’Ex-Libris Alsaciens,” 1, 6, 7, 152, 153; - motto on his ex-libris, 236. - -Suchet, Marshal, 28. - -Suppression of the French nobility, 113. - -Sylvestre, J. E., 283. - - -Tausin, Henri, book-plate of, 282. - -Terray, J. M., 1772, 262, 263. - -“Tesseræ gentilitiæ,” 63. - -Thièry, Claude, 137, 186, _et seq._, 298. - -Thilorieu, M. de, book-plate of, 29. - -Tinctures in French heraldry, 30, 63. - -Tissandier, Albert, 271. - -Toison d’Or, order of Le, 55, 57. - -Toque, La. Invented by David to denote rank, 46. - -Tourneux, M. Maurice, on French ex-libris, 5. - -Tralage, J. N. de, 82. - -Trudon, engraver, 82. - -Turgot, Bishop, 1716, 178, 179. - -Turner, Matthew, book-plate of, 209. - - -Uzanne, M. Octave. Articles in “Le Livre Moderne,” 6; - ex-libris, 273, 274, 277. - - -Vacher, Louis, 1768, 221. - -Valdajou, Dumont de, 209, 213. - -Vallée, Melchior de la, 1611, 2, 12, 67. - -Varoquier, François de, 72. - -Verdier de Vauprivas, 61. - -Vicaire, M. Georges. Portrait, 16. - -Vicars, Sir Arthur, letter from, 59. - -Vignoles, John, 224. - -Villatte, General, 120. - -Villiers du Terrage, 118. - - -Weigel, Marie, 247. - -Willemet, R., 213, 214. - -Wolf, Mons., 229. - -Wolfhardt, Conrad, 1, 152. - -[Illustration] - -CHISWICK PRESS:--CHARLES WHITTINGHAM AND CO TOOKS COURT, CHANCERY LANE, -LONDON. - - * * * * * - -Typographical errors corrected by the etext transcriber: - -In the rare cases were=> In the rare cases where {pg 21} - -ecrit dans les marges=> écrit dans les marges {pg 238} - -Rops, Felicien, 299.=> Rops, Félicien, 299. {index} - -Dans un siècle ou l’or seul fut un objet d’envie=> Dans un siècle où -l’or seul fut un objet d’envie {pg 245} - - * * * * * - - -FOOTNOTES: - -[1] “L’Art Heraldique a comencé en France au tems de Louis le Jeune, qui -regla les fonxions, et les offices des Herauts pour le sacre de Filipe -Auguste, et fit semer de fleur-de-lis tous les ornemens qui servirent à -cette ceremonie. On trouve avant lui des fleur-de-lis sur les Septres, -sur les Couronnes, et sur d’autres ornemens Roiaux: mais on n’en void -pas en des Ecussons. Il est le premier qui en ait fait son -contreseel.”--_La Sience de la Noblesse._ C. F. Menestrier. Paris, 1691. - -[2] _Toison d’Or_ was anciently the title of one of the great heraldic -officials, of whom we find mention in “La Science de la Noblesse,” par -le Pere C. F. Menestrier (1691), in these terms: “Car j’ai su par -Messire Jehan de S. Remi, Chevalier, du tems qu’il fut _Roi d’Armes_ de -la _Toison d’Or_, et l’un des renommez en l’office d’armes de son tems, -que tous les Fils de France doivent porter semé de Fleurdelis,” etc. - -[3] Gules--a red shield denoting courage, hardihood, etc. - -“De Gueules, à six croissans d’or posés deux, deux, et deux surmountés -chacun d’une Etoile de même; et une Etoile aussi d’or à la pointe de -l’ecu.”--_d’Hozier._ - -[4] “If I lend you out, stop not too long away, but come back home, free -from the spots or dogsears that only fools make. Do not get lost.” - - - - - - - - -End of the Project Gutenberg EBook of French Book-plates, by Walter Hamilton - -*** END OF THIS PROJECT GUTENBERG EBOOK FRENCH BOOK-PLATES *** - -***** This file should be named 41620-0.txt or 41620-0.zip ***** -This and all associated files of various formats will be found in: - http://www.gutenberg.org/4/1/6/2/41620/ - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at the Digital & Multimedia -Center, Michigan State University Libraries.) - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. Special rules, -set forth in the General Terms of Use part of this license, apply to -copying and distributing Project Gutenberg-tm electronic works to -protect the PROJECT GUTENBERG-tm concept and trademark. Project -Gutenberg is a registered trademark, and may not be used if you -charge for the eBooks, unless you receive specific permission. If you -do not charge anything for copies of this eBook, complying with the -rules is very easy. You may use this eBook for nearly any purpose -such as creation of derivative works, reports, performances and -research. They may be modified and printed and given away--you may do -practically ANYTHING with public domain eBooks. Redistribution is -subject to the trademark license, especially commercial -redistribution. - - - -*** START: FULL LICENSE *** - -THE FULL PROJECT GUTENBERG LICENSE -PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK - -To protect the Project Gutenberg-tm mission of promoting the free -distribution of electronic works, by using or distributing this work -(or any other work associated in any way with the phrase "Project -Gutenberg"), you agree to comply with all the terms of the Full Project -Gutenberg-tm License (available with this file or online at -http://gutenberg.org/license). - - -Section 1. General Terms of Use and Redistributing Project Gutenberg-tm -electronic works - -1.A. By reading or using any part of this Project Gutenberg-tm -electronic work, you indicate that you have read, understand, agree to -and accept all the terms of this license and intellectual property -(trademark/copyright) agreement. If you do not agree to abide by all -the terms of this agreement, you must cease using and return or destroy -all copies of Project Gutenberg-tm electronic works in your possession. -If you paid a fee for obtaining a copy of or access to a Project -Gutenberg-tm electronic work and you do not agree to be bound by the -terms of this agreement, you may obtain a refund from the person or -entity to whom you paid the fee as set forth in paragraph 1.E.8. - -1.B. "Project Gutenberg" is a registered trademark. It may only be -used on or associated in any way with an electronic work by people who -agree to be bound by the terms of this agreement. There are a few -things that you can do with most Project Gutenberg-tm electronic works -even without complying with the full terms of this agreement. See -paragraph 1.C below. There are a lot of things you can do with Project -Gutenberg-tm electronic works if you follow the terms of this agreement -and help preserve free future access to Project Gutenberg-tm electronic -works. See paragraph 1.E below. - -1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" -or PGLAF), owns a compilation copyright in the collection of Project -Gutenberg-tm electronic works. Nearly all the individual works in the -collection are in the public domain in the United States. If an -individual work is in the public domain in the United States and you are -located in the United States, we do not claim a right to prevent you from -copying, distributing, performing, displaying or creating derivative -works based on the work as long as all references to Project Gutenberg -are removed. Of course, we hope that you will support the Project -Gutenberg-tm mission of promoting free access to electronic works by -freely sharing Project Gutenberg-tm works in compliance with the terms of -this agreement for keeping the Project Gutenberg-tm name associated with -the work. You can easily comply with the terms of this agreement by -keeping this work in the same format with its attached full Project -Gutenberg-tm License when you share it without charge with others. - -1.D. The copyright laws of the place where you are located also govern -what you can do with this work. Copyright laws in most countries are in -a constant state of change. If you are outside the United States, check -the laws of your country in addition to the terms of this agreement -before downloading, copying, displaying, performing, distributing or -creating derivative works based on this work or any other Project -Gutenberg-tm work. The Foundation makes no representations concerning -the copyright status of any work in any country outside the United -States. - -1.E. Unless you have removed all references to Project Gutenberg: - -1.E.1. The following sentence, with active links to, or other immediate -access to, the full Project Gutenberg-tm License must appear prominently -whenever any copy of a Project Gutenberg-tm work (any work on which the -phrase "Project Gutenberg" appears, or with which the phrase "Project -Gutenberg" is associated) is accessed, displayed, performed, viewed, -copied or distributed: - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - -1.E.2. If an individual Project Gutenberg-tm electronic work is derived -from the public domain (does not contain a notice indicating that it is -posted with permission of the copyright holder), the work can be copied -and distributed to anyone in the United States without paying any fees -or charges. If you are redistributing or providing access to a work -with the phrase "Project Gutenberg" associated with or appearing on the -work, you must comply either with the requirements of paragraphs 1.E.1 -through 1.E.7 or obtain permission for the use of the work and the -Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or -1.E.9. - -1.E.3. If an individual Project Gutenberg-tm electronic work is posted -with the permission of the copyright holder, your use and distribution -must comply with both paragraphs 1.E.1 through 1.E.7 and any additional -terms imposed by the copyright holder. Additional terms will be linked -to the Project Gutenberg-tm License for all works posted with the -permission of the copyright holder found at the beginning of this work. - -1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm -License terms from this work, or any files containing a part of this -work or any other work associated with Project Gutenberg-tm. - -1.E.5. Do not copy, display, perform, distribute or redistribute this -electronic work, or any part of this electronic work, without -prominently displaying the sentence set forth in paragraph 1.E.1 with -active links or immediate access to the full terms of the Project -Gutenberg-tm License. - -1.E.6. You may convert to and distribute this work in any binary, -compressed, marked up, nonproprietary or proprietary form, including any -word processing or hypertext form. However, if you provide access to or -distribute copies of a Project Gutenberg-tm work in a format other than -"Plain Vanilla ASCII" or other format used in the official version -posted on the official Project Gutenberg-tm web site (www.gutenberg.org), -you must, at no additional cost, fee or expense to the user, provide a -copy, a means of exporting a copy, or a means of obtaining a copy upon -request, of the work in its original "Plain Vanilla ASCII" or other -form. Any alternate format must include the full Project Gutenberg-tm -License as specified in paragraph 1.E.1. - -1.E.7. Do not charge a fee for access to, viewing, displaying, -performing, copying or distributing any Project Gutenberg-tm works -unless you comply with paragraph 1.E.8 or 1.E.9. - -1.E.8. You may charge a reasonable fee for copies of or providing -access to or distributing Project Gutenberg-tm electronic works provided -that - -- You pay a royalty fee of 20% of the gross profits you derive from - the use of Project Gutenberg-tm works calculated using the method - you already use to calculate your applicable taxes. The fee is - owed to the owner of the Project Gutenberg-tm trademark, but he - has agreed to donate royalties under this paragraph to the - Project Gutenberg Literary Archive Foundation. Royalty payments - must be paid within 60 days following each date on which you - prepare (or are legally required to prepare) your periodic tax - returns. Royalty payments should be clearly marked as such and - sent to the Project Gutenberg Literary Archive Foundation at the - address specified in Section 4, "Information about donations to - the Project Gutenberg Literary Archive Foundation." - -- You provide a full refund of any money paid by a user who notifies - you in writing (or by e-mail) within 30 days of receipt that s/he - does not agree to the terms of the full Project Gutenberg-tm - License. You must require such a user to return or - destroy all copies of the works possessed in a physical medium - and discontinue all use of and all access to other copies of - Project Gutenberg-tm works. - -- You provide, in accordance with paragraph 1.F.3, a full refund of any - money paid for a work or a replacement copy, if a defect in the - electronic work is discovered and reported to you within 90 days - of receipt of the work. - -- You comply with all other terms of this agreement for free - distribution of Project Gutenberg-tm works. - -1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm -electronic work or group of works on different terms than are set -forth in this agreement, you must obtain permission in writing from -both the Project Gutenberg Literary Archive Foundation and Michael -Hart, the owner of the Project Gutenberg-tm trademark. Contact the -Foundation as set forth in Section 3 below. - -1.F. - -1.F.1. Project Gutenberg volunteers and employees expend considerable -effort to identify, do copyright research on, transcribe and proofread -public domain works in creating the Project Gutenberg-tm -collection. Despite these efforts, Project Gutenberg-tm electronic -works, and the medium on which they may be stored, may contain -"Defects," such as, but not limited to, incomplete, inaccurate or -corrupt data, transcription errors, a copyright or other intellectual -property infringement, a defective or damaged disk or other medium, a -computer virus, or computer codes that damage or cannot be read by -your equipment. - -1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right -of Replacement or Refund" described in paragraph 1.F.3, the Project -Gutenberg Literary Archive Foundation, the owner of the Project -Gutenberg-tm trademark, and any other party distributing a Project -Gutenberg-tm electronic work under this agreement, disclaim all -liability to you for damages, costs and expenses, including legal -fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT -LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE -PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE -TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE -LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR -INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH -DAMAGE. - -1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a -defect in this electronic work within 90 days of receiving it, you can -receive a refund of the money (if any) you paid for it by sending a -written explanation to the person you received the work from. If you -received the work on a physical medium, you must return the medium with -your written explanation. The person or entity that provided you with -the defective work may elect to provide a replacement copy in lieu of a -refund. If you received the work electronically, the person or entity -providing it to you may choose to give you a second opportunity to -receive the work electronically in lieu of a refund. If the second copy -is also defective, you may demand a refund in writing without further -opportunities to fix the problem. - -1.F.4. Except for the limited right of replacement or refund set forth -in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER -WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO -WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE. - -1.F.5. Some states do not allow disclaimers of certain implied -warranties or the exclusion or limitation of certain types of damages. -If any disclaimer or limitation set forth in this agreement violates the -law of the state applicable to this agreement, the agreement shall be -interpreted to make the maximum disclaimer or limitation permitted by -the applicable state law. The invalidity or unenforceability of any -provision of this agreement shall not void the remaining provisions. - -1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the -trademark owner, any agent or employee of the Foundation, anyone -providing copies of Project Gutenberg-tm electronic works in accordance -with this agreement, and any volunteers associated with the production, -promotion and distribution of Project Gutenberg-tm electronic works, -harmless from all liability, costs and expenses, including legal fees, -that arise directly or indirectly from any of the following which you do -or cause to occur: (a) distribution of this or any Project Gutenberg-tm -work, (b) alteration, modification, or additions or deletions to any -Project Gutenberg-tm work, and (c) any Defect you cause. - - -Section 2. Information about the Mission of Project Gutenberg-tm - -Project Gutenberg-tm is synonymous with the free distribution of -electronic works in formats readable by the widest variety of computers -including obsolete, old, middle-aged and new computers. It exists -because of the efforts of hundreds of volunteers and donations from -people in all walks of life. - -Volunteers and financial support to provide volunteers with the -assistance they need, are critical to reaching Project Gutenberg-tm's -goals and ensuring that the Project Gutenberg-tm collection will -remain freely available for generations to come. In 2001, the Project -Gutenberg Literary Archive Foundation was created to provide a secure -and permanent future for Project Gutenberg-tm and future generations. -To learn more about the Project Gutenberg Literary Archive Foundation -and how your efforts and donations can help, see Sections 3 and 4 -and the Foundation web page at http://www.pglaf.org. - - -Section 3. Information about the Project Gutenberg Literary Archive -Foundation - -The Project Gutenberg Literary Archive Foundation is a non profit -501(c)(3) educational corporation organized under the laws of the -state of Mississippi and granted tax exempt status by the Internal -Revenue Service. The Foundation's EIN or federal tax identification -number is 64-6221541. Its 501(c)(3) letter is posted at -http://pglaf.org/fundraising. Contributions to the Project Gutenberg -Literary Archive Foundation are tax deductible to the full extent -permitted by U.S. federal laws and your state's laws. - -The Foundation's principal office is located at 4557 Melan Dr. S. -Fairbanks, AK, 99712., but its volunteers and employees are scattered -throughout numerous locations. Its business office is located at -809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email -business@pglaf.org. Email contact links and up to date contact -information can be found at the Foundation's web site and official -page at http://pglaf.org - -For additional contact information: - Dr. Gregory B. Newby - Chief Executive and Director - gbnewby@pglaf.org - - -Section 4. Information about Donations to the Project Gutenberg -Literary Archive Foundation - -Project Gutenberg-tm depends upon and cannot survive without wide -spread public support and donations to carry out its mission of -increasing the number of public domain and licensed works that can be -freely distributed in machine readable form accessible by the widest -array of equipment including outdated equipment. Many small donations -($1 to $5,000) are particularly important to maintaining tax exempt -status with the IRS. - -The Foundation is committed to complying with the laws regulating -charities and charitable donations in all 50 states of the United -States. Compliance requirements are not uniform and it takes a -considerable effort, much paperwork and many fees to meet and keep up -with these requirements. We do not solicit donations in locations -where we have not received written confirmation of compliance. To -SEND DONATIONS or determine the status of compliance for any -particular state visit http://pglaf.org - -While we cannot and do not solicit contributions from states where we -have not met the solicitation requirements, we know of no prohibition -against accepting unsolicited donations from donors in such states who -approach us with offers to donate. - -International donations are gratefully accepted, but we cannot make -any statements concerning tax treatment of donations received from -outside the United States. U.S. laws alone swamp our small staff. - -Please check the Project Gutenberg Web pages for current donation -methods and addresses. Donations are accepted in a number of other -ways including checks, online payments and credit card donations. -To donate, please visit: http://pglaf.org/donate - - -Section 5. General Information About Project Gutenberg-tm electronic -works. - -Professor Michael S. Hart is the originator of the Project Gutenberg-tm -concept of a library of electronic works that could be freely shared -with anyone. For thirty years, he produced and distributed Project -Gutenberg-tm eBooks with only a loose network of volunteer support. - - -Project Gutenberg-tm eBooks are often created from several printed -editions, all of which are confirmed as Public Domain in the U.S. -unless a copyright notice is included. Thus, we do not necessarily -keep eBooks in compliance with any particular paper edition. - - -Most people start at our Web site which has the main PG search facility: - - http://www.gutenberg.org - -This Web site includes information about Project Gutenberg-tm, -including how to make donations to the Project Gutenberg Literary -Archive Foundation, how to help produce our new eBooks, and how to -subscribe to our email newsletter to hear about new eBooks. |