As compared with German book-plates, those of other countries are sadly deficient in artistic composition. The former, particularly examples of the seventeenth century, are ornate and well designed.
Take, for instance, the really magnificent book-plate of Peter Vok, Ursinus, Count of Rosenberg, dated '1609.' It is engraved on copper, and measures 10 inches by 6. In a central circular medallion, 3-2/3 inches in diameter, is depicted the owner, arrayed in armour, and seated on a richly caparisoned war-horse, plumed, and going at full speed across a landscape of hillocks. On his breastplate is an escutcheon bearing his arms; a knight's sword is in his hand. Round the margin of the medallion runs a wreath of roses. Platforms come out on either side of the medallion, and on each of these there stands a figure about 5 inches in height; the one on the left is a female symbolical form, clad in flowing drapery, and holding in one hand the cup of the Eucharist, and in the other a cross. A somewhat similar figure stands on the right, holding in her hand a tablet, inscribed _Verbum Domini manet in eternum_.
The medallion rests upon two bears--an allusion, of course, to the family name of the owner, _Ursinus_--crouching between the two female figures described. The face of the altar-like platform below is divided into one central and two lateral compartments, of which the side ones project forward. On the right lateral slab is an escutcheon, charged simply with the Rosenberg rose; whilst on the left we see the family arms, as on the breastplate, but surmounted with an ermine-faced crown. On the central slab is a skull resting on two shin-bones.
Reaching across the upper portion of the design is an oblong tablet, with indented shelly scroll-work edges, and a background border of large full-blown roses, with thorny stems. With the inscription, which is appropriately pompous, I need not trouble the reader; but I have thought it worth while to give here (following Lord De Tabley's example, and using sometimes his words) a very full verbal picture of this truly magnificent book-plate, in order that the pitch of elaboration to which a German book-plate can be carried may be understood. Suffice it to add that this work of art was engraved by Giles Sadeler, the Antwerp-born engraver, who, after studying in Italy, was invited by the Emperor Rudolph II. to enter his service at Prague; in short, to become what he styles himself in his signature to this book-plate--'Engraver to His Imperial Majesty.'