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+The Project Gutenberg EBook of Printers' Marks, by William Roberts
+
+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
+
+
+Title: Printers' Marks
+       A Chapter in the History of Typography
+
+Author: William Roberts
+
+Release Date: June 1, 2008 [EBook #25663]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK PRINTERS' MARKS ***
+
+
+
+
+Produced by Louise Hope, Stephen Hope and the Online
+Distributed Proofreading Team at https://www.pgdp.net (This
+file was produced from images generously made available
+by The Internet Archive/American Libraries.)
+
+
+
+
+
+
+[Transcriber’s Note:
+
+This text uses utf-8 (unicode) file encoding. If the apostrophes and
+quotation marks in this paragraph appear as garbage, make sure your
+text reader’s “character set” or “file encoding” is set to Unicode
+(UTF-8). You may also need to change the default font. As a last
+resort, use the latin-1 version of the file instead.
+
+Where possible, text contained within illustrations of printers’
+marks has been transcribed. The text is shown on separate lines,
+corresponding to the original layout; captions--usually the printer’s
+name--will appear on the same line as the word “Illustration”. Note
+that the spelling given in the body text is often different from that
+of the Mark as pictured. Within illustrations, expanded abbreviations
+are shown in [brackets].
+
+Typographical errors are listed at the end of the e-text. Capitalization
+of the word “mark” or “Mark” is arbitrary in the original and has not
+been changed. Misspellings or misprints within Marks are also never
+changed, but the most obvious errors are noted.]
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+
+                PRINTERS’ MARKS.
+
+
+
+
+  [Illustration:
+
+  Cum Priuilegio
+  Venetiis Impressum Anno M D V
+
+  Petrus Liechtensteyn]
+
+
+
+
+  Printers’ Marks
+
+  A Chapter in the History of
+  Typography by W. Roberts
+
+  Editor of “The Bookworm”
+
+
+  [Illustration:
+
+  GEORGE BELL & SONS]
+
+
+  London: George Bell & Sons, York Street,
+  Covent Garden, & New York. Mdcccxciij.
+
+
+
+
+  Chiswick Press: C. Whittingham And Co.,
+  Tooks Court, Chancery Lane.
+
+
+
+
+  To
+
+  T. B. BOLITHO, ESQ., M.P.,
+
+  This Volume Is Respectfully
+  Dedicated.
+
+
+
+
+  [Decoration]
+
+PREFACE.
+
+
+There are few phases of typography open to the charge of being
+neglected. An unquestionable exception occurs, however, in relation to
+Printers’ Marks. This subject is in many respects one of the most
+interesting in connection with the early printers, who, using devices at
+first purely as trade marks for the protection of their books against
+the pirate, soon began to discern their ornamental value, and,
+consequently, employed the best available artists to design them. Many
+of these examples are of the greatest bibliographical and general
+interest, as well as of considerable value in supplementing an important
+class of illustrations to the printed books, and showing the origin of
+several typical classes of Book-plates (Ex-Libris). The present Handbook
+has been written with a view to supplying a readable but accurate
+account of this neglected chapter in the history of art and
+bibliography; and it appeals with equal force to the artist or
+collector. Only one book on the subject, Berjeau’s “Early Dutch, German,
+and English Printers’ Marks,” has appeared in this country, and this,
+besides being out of print and expensive, is destitute of descriptive
+letterpress. The principle which determined the selection of the
+illustrations is of a threefold character: first, the importance of the
+printer; secondly, the artistic value or interest of the Mark itself;
+and thirdly, the geographical importance of the city or town in which
+the Mark first appeared.
+
+Since the text of this book was printed, however, two additions have
+been made to the literature of its subject: Dr. Paul Kristeller’s “Die
+Italienischen Buchdrucker- und Verlegerzeichen, bis 1525,” a very
+handsome work, worthy to rank with the “Elsässische Büchermarken bis
+Anfang des 18. Jahrhunderts” of Herr Paul Heitz and Dr. Karl A. Barack
+(to whom I am indebted for much valuable information as well as for
+nearly thirty illustrations in the chapter on German Printers’ Marks);
+and Mr. Alfred Pollard’s “Early Illustrated Books,” an admirable volume
+which, however, only deals incidentally with the Printer’s Mark as a
+side issue in the history of the decoration and illustration of books in
+the fifteenth and sixteenth centuries. Mr. Pollard reproduces seven
+blocks from Dr. Kristeller’s monograph on the Devices of the Italian
+Printers. In reference to the statement on p. 116 of this volume that
+the Mark of Bade “is the earliest picture of a printing press,” Mr.
+Pollard refers to an unique copy of an edition of the “Danse Macabre”
+printed anonymously at Lyons in February, 1499, eight years earlier,
+which contains cuts of the shops of a printer and a bookseller.
+
+That this volume has considerably exceeded its intended limit must be my
+excuse for not including, with a very few exceptions, any modern
+examples from the Continent. Nearly every French printer and publisher
+of any note indulges in the luxury of a Mark of some sort, and an
+interesting volume might be written concerning modern continental
+examples. The practice of using a Printer’s Mark is an extremely
+commendable one, not merely as a relic of antiquity, but from an
+æsthetic point of view. Nearly every tradesman of importance in this
+country has some sort of trade mark; but most printers agree in
+regarding it as a wholly unnecessary superfluity. As the few exceptions
+indicated in the last chapter prove that the fashion has an artistic as
+well as a utilitarian side, I hope that it will again become more
+general as time goes on.
+
+As regards my authorities: I have freely availed myself of nearly all
+the works named in the “Bibliography” at the end, besides such
+invaluable works as Brunet’s “Manual,” Mr. Quaritch’s Catalogues, and
+the monographs on the various printers, Plantin, Elzevir, Aldus, and the
+rest. From Messrs. Dickson and Edmonds’ “Annals of Scottish Printing”
+I have obtained not only some useful information regarding the Printer’s
+Mark in Scotland, but, through the courtesy of Messrs. Macmillan and
+Bowes of Cambridge, the loan of several blocks from the foregoing work,
+as well as that of John Siberch, the first Cambridge printer. I have
+also to thank M. Martinus Nijhoff, of the Hague, Herr Karl
+W. Hiersemann, of Leipzig, Herr J. H. Ed. Heitz, Strassburg, Mr. Elliot
+Stock, Mr. Robert Hilton, Editor of the “British Printer,” and the
+Editor of the “American Bookmaker,” for the loan either of blocks or of
+original examples of Printers’ Marks; and Mr. C. T. Jacobi for several
+useful works on typography. Mr. G. P. Johnston, of Edinburgh, kindly
+lent me the reduced facsimile on p. 252, which arrived too late to be
+included in its proper place. The publishers whose Marks are included in
+the chapter on “Modern Examples” are also thanked for the courtesy and
+readiness with which they placed electros at my disposal.
+
+The original idea of this book is due to my friend, Mr. Gleeson White,
+the general editor of the series in which it appears; but my thanks are
+especially due to Mr. G. R. Dennis for the great care with which he has
+gone through the whole work.
+
+  W. R.
+
+  86, Grosvenor Road, S.W.,
+  _October_, 1893.
+
+
+  [Decoration]
+
+
+
+
+  [Decoration]
+
+  CONTENTS.
+
+
+                                                    Page
+
+  PREFACE                                            vii
+  LIST OF ILLUSTRATIONS                             xiii
+  INTRODUCTION                                         1
+  SOME GENERAL ASPECTS OF THE PRINTER’S MARK          40
+  THE PRINTER’S MARK IN ENGLAND                       52
+  SOME FRENCH PRINTERS’ MARKS                        100
+  PRINTERS’ MARKS OF GERMANY AND SWITZERLAND         139
+  SOME DUTCH AND FLEMISH PRINTERS’ MARKS             178
+  PRINTERS’ MARKS IN ITALY AND SPAIN                 209
+  SOME MODERN EXAMPLES                               233
+  BIBLIOGRAPHY                                       253
+  INDEX                                              255
+
+  [Decoration]
+
+
+
+
+  [Decoration]
+
+  LIST OF ILLUSTRATIONS.
+
+
+                                                    Page
+
+  Liechtenstein, Petrus.                   _Frontispiece_
+  Bell, George, and Sons.                    _Title-page_
+  Andlau, G. U. Von                                    1
+  Couteau, Gillet                                      4
+  Du Pré, Galliot                                      5
+  Lecoq, Jehan                                         7
+  Petit and Kerver                                     9
+  Du Puys, Jacques                                    11
+  Pavier, T.                                          12
+  Janot, Denys                                        15
+  Faques, William                                     16
+  Steels, J.                                          19
+  Vérard, Antoine                                     21
+  Plate of thirty Marks
+    used chiefly by the Italian Printers              25
+  Chaudière, Guillaume                                28
+  Roffet, Jacques                                     30
+  Tournes, Jean de                                    31
+  Breuille, Mathurin                                  33
+  Snellaert, C.                                       35
+  Rastell, John                                       37
+  Leeu, Gerard                                   39, 185
+  Fust and Schoeffer                                  40
+  Froben, J.                                          43
+  Cratander’s Mark (attributed to Holbein)            45
+  Cox, T.                                             46
+  Dulssecker, Johann Reinhold               47, 153, 154
+  Beck, Reinhard                            50, 143, 144
+  Goltz, Hubert                                       51
+  Lynne, Walter                                       52
+  Caxton, William                                     55
+  St. Albans Printer, The                             56
+  De Worde, Wynkyn                                    58
+  Pynson, R.                                      59, 60
+  Notary, Julian                                      61
+  Fawkes, R.                                          63
+  Treveris, Peter                                     64
+  Scott, John                                         65
+  Copland, Robert                                 66, 68
+  Wyer, Robert                                        69
+  Hester, Andrew                                      70
+  Berthelet, Thomas                                   71
+  Byddell, John                                       72
+  Vautrollier, Thomas                                 74
+  Grafton, Richard                                    75
+  Middleton, William                                  76
+  Wolfe, John                                         78
+  Day, John                                           79
+  Arbuthnot, A.                                       81
+  Singleton, Hugh                                     83
+  Wight, John                                         84
+  Hall, Rowland                                       85
+  Bynneman, Henry                                     86
+  Woodcock, Thomas                                    87
+  Jaggard, William                                    88
+  Kingston, Felix                                     89
+  Creede, Thomas                                      90
+  Walthoe, John                                       91
+  Ware, R.                                            92
+  Scolar, John                                        93
+  Siberch, John                                       95
+  Myllar, Andro                                       96
+  Chepman, Walter                                     97
+  Davidson, Thomas                                    98
+  Charteris, H.                                       99
+  Estienne, F.                                       100
+  Rembolt, B.                                        102
+  Vostre, Simon                                      103
+  Regnault, François                                 104
+  Regnault, Pierre                                   105
+  Marchant, Guy                                      106
+  De Marnef                                          107
+  Du Pré, J.                                         108
+  Le Rouge, Pierre                                   109
+  Le Noir, Philippe                                  110
+  Kerver, Thielman                                   111
+  Pigouchet, Philippe                                113
+  Petit, Jehan                                       114
+  Bade, J.                                           115
+  Hardouyn, Gillet                                   116
+  Tory, Geoffrey                                     117
+  De Colines, Simon                                  119
+  Estienne, Robert                              120, 121
+  Vidoue, P.                                         124
+  Cyaneus, Louis                                     125
+  Wéchel, André                                      126
+  Wéchel, Chrestien                                  127
+  Nivelle, Sébastien                                 128
+  Merlin, Desboys and Nivelle                        130
+  Topie, M.                                          131
+  Treschel, J.                                       132
+  Dolet, E.                                          133
+  Hughes de la Porte and A. Vincent                  134
+  Gryphe, Sébastien                                  135
+  Colomies, Jacques                                  136
+  Morin, M.                                          137
+  Le Chandelier, Pierre                              138
+  Thanner, Jacobi                                    139
+  Grüninger, Johann                                  140
+  Schott, Martin                                     141
+  Knoblouch, Johann                                  142
+  Köpfel, Wolfgang                              145, 146
+  Müller, Craft (Crato Mylius)                  147, 149
+  Biener, Matthias (Apiarius)                        148
+  Rihel, Theodosius;
+    Rihel, Josias (und Deren Erben)                  150
+  Zetzner, Lazarus                                   151
+  Berger, Thiebold                                   151
+  Scher, Conrad                                      152
+  Hauth, David                                       152
+  Anshelm, Thomas                                    155
+  Kobian, Valentin                                   156
+  Hoernen, A. Ther                                   157
+  Bumgart, Herman                                    158
+  Koelhoff, Johann                                   160
+  Cæsar, Nicholas                                    161
+  Soter, J.                                          162
+  Birckmann, Arnold                                  163
+  Oglin, Erhard                                      164
+  Pfortzheim, Jacobus de                             165
+  Henricpetri                                        166
+  Endter’s, Wilhelm Moritz, Daughter                 167
+  Weissenburger, J.                                  168
+  Lotter, Melchior                                   169
+  Schumann, V.                                       170
+  Baumgarten, Conrad                                 171
+  Feyrabend, J.                                      172
+  Guerbin, L.                                        172
+  Stadelberger, Jacob                                173
+  Girard, Jehan                                      174
+  Rivery, J.                                         174
+  Froschover, C.                                     175
+  Brylinger, N.                                      176
+  Le Preux, F.                                       177
+  Veldener, J.                                       178
+  Johann of Westphalia                               179
+  Martens, Theodoric                                 180
+  Mansion, Colard                                    181
+  The Brothers of Common Life                        182
+  Paffraej, Albertus                                 183
+  Van der Meer, Jacob Jacobzoon                      186
+  Van der Goes, Mathias                              187
+  Van den Dorp, R.                                   188
+  Back, Godefroy                                188, 190
+  Cæsaris, A.                                        191
+  Hillenius, Michael                                 192
+  Bellaert, J.                                       193
+  Henrici, H.                                        194
+  Destresius, Jodocus                                195
+  Van der Noot, Thomas                               196
+  Grapheus, J.                                       197
+  Van den Keere, Henri                               198
+  Waesberghe, J.                                     199
+  Hamont, Michel de                                  200
+  Velpius, Rutger                                    201
+  Hovii, J. M.                                       202
+  Plantin, C.                                   203, 204
+  Elzevir Sage, The                                  206
+  Elzevir Sphere, The                                207
+  Janssens, Guislain                                 208
+  Fritag, A.                                         209
+  Riessinger, Sixtus                                 210
+  Besicken, J.                                       211
+  Martens, Thierry                                   211
+  Ratdolt, Erhardus                                  212
+  Scotto, Ottaviano                                  214
+  Sessa, Melchior                                    216
+  Meietos, P. and A.                                 217
+  Aldine Anchor, The First                           218
+  Torresano, Andrea                                  219
+  Aldine Anchor, 1502-15                             220
+    „      „     1546-54                             221
+    „      „     1555-74                             222
+    „      „     1575-81                             223
+  Giunta, P.                                         224
+  Giunta, L.                                         225
+  Giunta, F. de                                      225
+  Sabio, The Brothers                                226
+  Legnano, Gian Giacomo di                           227
+  Rizzardi, Giammaria                                228
+  Rosembach, Juan                                    230
+  Fernandex, V.                                      231
+  Kalliergos, Zacharias                              232
+  Legnano, J. A. de                                  232
+  Vingle, J. de, of Picardy                          232
+  Hugunt, M.                                         232
+  Longman and Co.                               233, 237
+  Stationers’ Company, The                           233
+      „          „      „                            234
+  Rivingtons, The                                    235
+  Clarendon Press, The                               238
+  Pickering, William                                 239
+  Pickering, Basil Montagu                           239
+  Chiswick Press                                240, 241
+  Chatto and Windus                                  243
+  Nutt, David                                        243
+  Cassell and Co.                                    243
+  Macmillan and Co.                                  243
+  Unwin, T. Fisher                              243, 245
+  Lawrence and Bullen                                243
+  Kegan Paul and Co.                                 243
+  Clark, R. and R.                                   244
+  Constable, T. and A.                               246
+  Morris, William                               247, 248
+  Appleton, D., and Co.                              250
+  Cushing, J. S., and Co.                            250
+  Harper Brothers                                    250
+  Lockwood, H., and Co.                              250
+  Berwick and Smith                                  251
+  De Vinne, Theodore L., and Co.                     251
+  Lippincott, J. B., Co.                             251
+  Nijhoff, M.                                        251
+  Norton, William                                    252
+  Bell, George, and Sons                             261
+
+  [Decoration]
+
+
+
+
+  [Decoration]
+
+PRINTERS’ MARKS.
+
+INTRODUCTION.
+
+
+Shorn of all the romance and glamour which seem inevitably to surround
+every early phase of typographic art, a Printer’s Device may be
+described as nothing more or less than a trade mark. It is usually a
+sufficient proof that the book in which it occurs is the work of a
+particular craftsman. Its origin is essentially unromantic, and its
+employment, in the earlier stages of its history at all events, was
+merely an attempt to prevent the inevitable pirate from reaping where he
+had not sown. At one time a copy, or more correctly a forgery, of a
+Printer’s Mark could be detected with comparative ease, even if the body
+of the book had all the appearance of genuineness.
+
+  [Illustration: G. U. VON ANDLAU.]
+
+This self-protection was necessary on many grounds. First of all, the
+privileges of impression which were granted by kings, princes, and
+supreme pontiffs, were usually obtained only by circuitous routes and
+after the expenditure of much time and money. Moreover, the counterfeit
+book was rarely either typographically or textually correct, and was
+more often than not abridged and mutilated almost beyond recognition, to
+the serious detriment of the printer whose name appeared on the
+title-page. Places as well as individualities suffered, for very many
+books were sold as printed in Venice, without having the least claim to
+that distinction. The Lyons printers were most unblushing sinners in
+this respect, and Renouard cites a Memorial drawn up by Aldus himself on
+the subject, and published at Venice in 1503.
+
+But apart from the foregoing reasons, it must be remembered that many of
+the earliest monuments of typographic art appeared not only without the
+name of the printer but also without that of the locality in which they
+were printed. Although in such cases various extraneous circumstances
+have enabled bibliographers to “place” these books, the Mark of the
+printer has almost invariably been the chief aid in this direction. The
+Psalter of 1457 is the first book which has the name of the place where
+it was printed, besides that of the printers as well as the date of the
+year in which it was executed. But for a long time after that date books
+appeared without one or the other of these attributes, and sometimes
+without either, so that the importance of the Printer’s Mark holds good.
+
+A very natural question now suggests itself, “Who invented these Marks?”
+Laire, “Index Librorum” (Sæc. xv.), ii. 146, in speaking of a Greek
+Psalter says: “_Habet signaturas, registrum ac custodes, sed non
+numerantur folia. Litteræ principales ligno incisæ sunt, sicut et in
+principio cujuslibet psalmi viticulæ quæ gallicé _vignettes_
+appellantur, quarum usum primus excogitavit Aldus._” The volume here
+described was printed about 1495, and the invention therefore has been
+very generally attributed to Aldus. That this is not so will be shown in
+the next chapter. We shall confine ourselves for the present to some of
+the various points which appear to be material to a proper understanding
+of the subject.
+
+One of the most important and interesting phases in connection with
+Printers’ Marks is undoubtedly the _motif_ of the pictorial
+embellishment. Both the precise origin and the object of many Marks are
+now lost to us, and many others are only explained after a thorough
+study of the life of the particular printer or the nature of the books
+which he generally printed or published. The majority, however, carry
+their own _prima facie_ explanations. The number of “punning” devices is
+very large, and nearly every one has a character peculiarly its own.
+Their antiquity is proved by the fact that before the beginning of the
+fifteenth century, a picture of St. Anthony was boldly, not to say
+irreverently, used by Antoine Caillaut, Paris. A long series of punning
+devices occur in the books printed by or for the fifteenth century
+publishers, one of the most striking and successful is that of Michel le
+Noir, whose shield carries his initials, surmounted by the head of a
+negress and sometimes supported by canting figures in full. This Mark,
+with variations, was also employed by Philippe and Guillaume le Noir,
+the work of the three men covering a period of nearly 100 years. The
+device of Gilles or Gillet Couteau, Paris, 1492, is apparently a double
+pun, first on his Christian name, the transition from which to _œillet_
+being easy and explaining the presence of a pink in flower, and secondly
+on his surname by the three open knives, in one of which the end of the
+blade is broken. It was almost inevitable that both Denis Roce or Ross,
+a Paris bookseller, 1490, and Germain Rose, of Lyons, 1538, should
+employ a rose in their marks, and this they did, one of the latter’s
+examples having a dolphin twining around the stem. Jacques and Estienne
+Maillet, whose works at Lyons extended from the last eleven years of the
+fifteenth century to the middle of the sixteenth, give in the centre of
+their shield a picture of a mallet.
+
+  [Illustration: GILLET COUTEAU.
+
+  Du grant aux petis
+  Gillet couteau]
+
+  [Illustration: GALLIOT DU PRÉ.
+
+  VOGVE LA GVALLEE
+  GALLIOT DV PRE]
+
+One of the boldest of the early sixteenth century examples is that
+employed by Galliot Du Pré, Paris, and in this we have a picture of a
+galley propelled with the aid of sails and oars, and with the motto
+“Vogue la gualee.” This device (with several variations) was used by
+both father and son, and possesses an interest beyond the subject of
+Printers’ Marks, for it gives us a very clear idea of the different
+boats employed during the first three quarters of the sixteenth century.
+Another striking Mark of about the same time and covering as nearly as
+possible the same period, was that of the family De La Porte. The
+earlier example used in Paris about 1508 was a simple doorway; but the
+elder Hugues de la Porte, Lyons, and the successors of Aymon De La Porte
+of the same place, used several exceedingly bold designs in which Samson
+is represented carrying away the gates of Gaza, the motto on one door or
+gate being “libertatem meam,” and on the other “mecum porto.” The two
+printers of the same name, Jehan Lecoq, who were practising the art
+continuously during nearly the whole of the sixteenth century at Troyes,
+employed a Mark on the shield of which appears the figure of a cock;
+whilst an equally appropriate if much more ugly design, was employed by
+the eminent Lyons family of Sébastien Gryphe or Gryphius: he had at
+least eight “griffin” Marks, which differed slightly from one another.
+François Gryphe, who worked in Paris, had one Mark which was original to
+the extent of the griffin being supported by a tortoise. J. Du Moulin,
+Rouen, employed a little picture of a windmill on his Mark, as did
+Scotland’s first printer, Andro Myllar; but Jehan Petit, a prolific
+fifteenth century printer of Paris, confined his punning to the words
+“Petit à Petit,” as is seen in the reduced facsimile title, given on
+p. 9, of a book printed by him for T. Kerver. Mathias Apiarius,
+Strassburg, used at least two Marks expressing the same idea, namely,
+a bear discovering a bee’s nest in the hollow of a tree--an obvious pun
+on his surname. The latter part of the sixteenth century is not nearly
+so fruitful in really good or striking devices. Guillaume Bichon, Paris,
+employed a realistic picture of a lap-dog (in allusion to his surname)
+chasing a hare, with the motto “Nunc fugiens, olim pugnabo”; and equally
+realistic in another way is the Mark of P. Chandelier, Caen, in which
+effective use is made of a candle-stick with seven holders, the motto
+being “Lucernis fideliter ministro.” Antoine Tardif, Lyons, employed the
+Aldine anchor and dolphin, and also a motto, “Festina tarde,” which is
+identical in meaning, if not in the exact words, of that of Aldus.
+Guillaume De La Rivière, Arras, used a charmingly vivid little scene of
+a winding river, with the motto “Madenta flumine valles”; and it is not
+difficult to distinguish the appropriateness of the sprig of barley in
+the Mark of Hugues Barbon, Limoges. The Mark of Jacques Du Puys, Paris,
+was possibly suggested by the word _puits_ (or well), and of which Puys
+is perhaps only a form: the picture at all events is a representation of
+Christ at the well. In the case of Adam Du Mont, Orange, the christian
+name, is “taken off” in a picture of Adam and Eve at the tree of
+forbidden fruit; and exactly the same idea occurs with equal
+appropriateness in the Mark of N. Eve, Paris, the sign of whose shop was
+Adam and Eve. Michel Jove naturally went to profane history for the
+subject of his Mark, and with a considerable amount of success.
+
+  [Illustration: JEHAN LECOQ.
+
+  Jehan Lecoq]
+
+Among the numerous other examples with mottoes derived from sacred
+history, special mention, as showing the connection between the sign of
+the shop and its incorporation in the Mark, may be made to the following
+printers of Paris: D. De La Noue, who not only had “Jesus” as the sign
+of his shop, but also as his Mark; J. Gueffier had the “Amateur Divin”
+as his sign, and an allegorical interpretation of the device, “Fert
+tacitus, vivit, vincit divinus amator,” as a Mark; Guillaume Julian, or
+Julien, had “Amitie” as his sign, and a personification of this (Typus
+Amicitiæ) as his Mark, with the motto “Nil Deus hac nobis majus
+concessit in usus”; Abel L’Angelier (and his widow after his death)
+adopted the sacrifice of Abel as the subject of his Sign and Mark, with
+the motto “Sacrum pinque dabo nec macrum sacrificabo”; and the motto of
+both the first and the second Michel Sonnius was “Si Deus pro nobis,
+quis contra nos?”
+
+  [Illustration: PETIT AND KERVER.
+
+  PETIT A PETIT
+
+  Le second Volu
+
+  me Des Cronicques & Annalles de France, augmentées
+  en la fin dudit volume daucuns faictz dignes de memoire
+  des feux roys Charles huytiesme. Loys douziesme & fra[n]-
+  cois premier du nom Iusques en Lan Mil cinq cens vingt
+  Nouuellement imprime a Paris.
+
+  PETIT PETIT
+  T K
+  THIELMAN KERVER
+  I P
+  PETIT]
+
+A few punning devices occur among the early English printers, but they
+are not always clever or pictorially successful. The earliest example is
+that of Richard Grafton, whose pretty device represents a tun with a
+grafted tree growing through it, the motto, “Suscipite insertum verbum,”
+being taken from the Epistle to St. James (i., verse 21). John Day’s
+device, with the motto “Arise! for it is day,” is generally supposed to
+be an allusion to the Reformation as well as a pun on his name;
+tradition has it, however, that Day was accustomed to awake his
+apprentices, when they had prolonged their slumbers beyond the usual
+hour, by the wholesome application of a scourge and the summons “Arise!
+for it is day.” We may also mention the devices of Hugh Singleton,
+a single tun; and of W. Middleton, a tun with the letter W at bottom and
+M in the centre of the tun; of T. Pavier, in which, appropriately
+enough, we have a pavior paving the streets of a town, and surrounded by
+the motto “Thou shalt labour till thou return to dust.” Thomas Woodcock
+employed a device of a cock on a stake, piled as for a Roman funeral,
+with the motto “Cantabo Iehovæ quia benefecit”; Andrew Lawrence, a St.
+Andrew cross.
+
+  [Illustration: JACQUES DU PUYS.]
+
+Although not in any sense of a “punning” nature, the employment of a
+printing press as a Mark may conveniently be here referred to. It was
+first used in this manner, and in more than one form, by Josse Bade, or
+Badius, an eminent printer of the first thirty-five years of the
+sixteenth century, and to whom full reference will be found in the
+chapter on French Marks. A Flemish printer, Pierre César, Ghent, 1516,
+was apparently the next to employ this device; then came Jehan Baudouyn,
+Rennes, 1524; Eloy Gibier, Orleans, 1556; Jean Le Preux, Paris and
+Switzerland, 1561; Enguilbert (II.) De Marnef and the Bouchets brothers,
+Poitiers, 1567; and, later than all, L. Cloquemin, Lyons, 1579.
+
+  [Illustration: T. PAVIER.
+
+  THOU SHALT LABOUR TILL THOU RETURN TO DUST]
+
+Next to the section of “punning” devices, perhaps the most entertaining
+is that which deals with the question of mottoes. These are derived from
+an infinite variety of sources, not infrequently from the fertile brains
+of the printers themselves. Their application is not always clear, but
+they are nearly always indicative of the virility which characterized
+the old printers. It is neither desirable nor possible to exhaust this
+somewhat intricate phase of the subject, but it will be necessary to
+quote a few representative examples. Occasionally we get a snatch of
+verse, as in the case of Michel Le Noir, whose motto runs thus:
+
+  “C’est mon désir
+  De Dieu servir
+  Pour acquérir
+  Son doux plaisir.”
+
+Also in the instance of another early printer, Gilles De Gourmont, who
+chants--
+
+  “Tost ou tard
+  Pres ou loing
+  A le Fort
+  Du feble besoing.”
+
+Perhaps the greatest number of all are those in which the printer
+proclaims his faith to God and his loyalty to his king. One of the early
+Paris printers enjoins us--in verse--not only to honour the king and the
+court, but claims our salutations for the University; and almost
+precisely the same sentiment finds expression in the Mark of
+J. Alexandre, another early printer of Paris. Robinet or Robert Macé,
+Rouen, proclaims “Ung dieu, ung roy, ung foy, ung loy,” and the same
+idea expressed in identical words is not uncommonly met with in
+Printers’ Marks. Of a more definitely religious nature are those, for
+example, of P. de Sartières, Bourges, “Tout se passe fors dieu”; of
+J. Lambert, “A espoir en dieu”; of Prigent Calvarin, “Deum time,
+pauperes sustine, finem respice”; and several from the Psalms, such as
+that of C. Nourry, called Le Prince, “Cor contritum et humiliatum deus
+non despicies”; of P. De Saincte-Lucie, also called Le Prince, “Oculi
+mei semper ad dominum”; and of J. Temporal (all three Lyons printers),
+“Tangit montes et fumigant,” in which the design is quite in keeping
+with the motto; in one case at least, S. Nivelle, one of the
+commandments is made use of, “Honora patrem tuum, et matrem tuam, ut sis
+longævus super terram.” Here, too, we may include the mottoes of
+B. Rigaud, “A foy entiere cœur volant”; S. De Colines, “Eripiam et
+glorificabo eum”; and of Benoist Bounyn, Lyons, “Labores manum tuarum
+quia manducabis beatus es et bene tibi erit.” Whilst as a few
+illustrations of a general character we may quote Geoffrey Tory’s
+exceedingly brief “Non plus,” which was contemporaneously used also by
+Olivier Mallard; J. Longis, “Nihil in charitate violentia”; Denys Janot,
+“Tout par amour, amour par tout, par tout amour, en tout bien”; the
+French rendering of a very old proverb in the mottoes of B. Aubri and
+D. Roce, “A l’aventure tout vient a point qui peut attendre”; J. Bignon,
+“Repos sans fin, sans fin repos”; the motto used conjointly by
+M. Fézandat and R. Granjon, “Ne la mort, ne le venin”; and the motto of
+Etienne Dolet, “Scabra et impolita ad amussim dolo, atque perfolio.”
+Among the mottoes of early English printers, the most notable, partly
+for its dual source, and as one of our earliest examples, is that of
+William Faques; one sentence, “Melius est modicum justo super divitias
+peccatorum multas,” is taken from Psalm xxxvii. verse 16; and the
+second, “Melior est patiens viro forti, et qui dominat,” comes from
+Proverbs xvi., verse 32. The motto of Richard Grafton has already been
+quoted; that of John Reynes was “Redemptoris mundi arma”; and John
+Wolfe, “Vbique floret.”
+
+  [Illustration: DENYS JANOT.
+
+  PARTOVT AMOVR
+  AMOR DEI OMNIA VINCIT
+  AMOVR PARTOVT
+  TOVT PAR AMOVR.
+  DENIS IANOT.
+  EN TOVT BIEN.]
+
+  [Illustration: WILLIAM FAQUES.
+
+   Melius est modicum iusto super divitias p[ecca]torum multas.
+   MELIOR EST PATIENS VIRO FORTI ET QVI DOMINAT
+   Guillam.]
+
+The employment of mottoes in Greek and Hebrew characters is a not
+unimportant feature in the earlier examples of Printers’ Marks, but it
+must suffice us here to indicate a few of the leading printers who used
+either one or the other, and sometimes both. B. Rembolt was one of the
+earliest to incorporate a Greek phrase; De Salenson, Ghent, had a
+Greco-Latin motto on an open bible, which is the _pièce de resistance_
+of a pretty Mark, a similar idea occurring in the totally different
+Marks of the brothers Treschel, Lyons; another Lyons firm of printers,
+the brothers Huguetan, employed a Greek motto, and a phrase, also in
+Greek characters, occurs in one of the Marks of Peter Vidoue. The more
+notable Marks which contain Hebrew characters, which generally signify
+Jehovah, are those of Joannes Knoblouchus, or Knoblouch, Strassburg, in
+which we have not only Hebrew, but upper and lower case Greek, and a
+Latin quotation--“Verum, quum latebris delituit diu, emergit”; and of
+Wolfius Cæphalæus, also of Strassburg; and here again we have the Mark
+environed by quotations in Greek, Latin, and Hebrew. In a few instances
+we have the unlucky letter of the Greek alphabet--_theta_--forming a
+Mark with considerable originality, as in that of Guillaume Morel, where
+this symbol of death is surrounded by two dragon serpents representing
+immortality. The _theta_ was also employed by Etienne Prevosteau.
+
+The subject of the sphere in Printers’ Marks might profitably occupy a
+good deal of space in discussing. It is generally considered to be not
+only the peculiar property of the Elzevirs, but that books possessing it
+without having one or other of the real or assumed imprints of this
+celebrated family of printers are impudent frauds. But as a matter of
+fact, it was used by at least half-a-dozen printers many years before
+the Elzevirs started printing. For example, it was employed during the
+last decade of the fifteenth century by Gilles Hardouyn, and early in
+the sixteenth by Huguetan brothers at Lyons, by P. Sergent and
+L. Grandin at Paris, by J. Steels, or Steelsius of Antwerp, and
+P. Lichtenstein of Venice. In these instances, however, it is endowed,
+so to speak, with accessories. In the earliest Mark it plays only an
+incidental part, but in the Huguetan example it forms the device itself:
+it is held by a hand and is encircled by a ring on which the owner of
+the hand is evidently trying to balance a ball; there is a Greek motto.
+In a later and slightly different design of the same family, the motto
+is altered in position, and is in Latin: “Vniversitas rerum, vt Pvlis,
+in manv Iehovae.” Each of the two Paris examples is remarkable in its
+peculiar way. In Grandin’s two Marks the same allegorical idea prevails,
+viz., one person seizing a complete sphere from an angel out of the
+clouds, apparently to exchange it for the broken one held by a second
+person: in the cruder of the two examples of these there is a quotation
+from the 117th Psalm. In Sergent’s bold and vigorous Mark, the sphere,
+which incloses a figure of the crucified Christ, is fixed into the top
+of a dead trunk of a tree. It may also be mentioned that this device was
+frequently used by printers during the middle and latter part of the
+seventeenth century in this country--it appears, for example, on several
+books printed by R. Bentley, London, during that period. The sphere as
+an Elzevir Mark will be referred to in the chapter dealing with Dutch
+examples.
+
+  [Illustration: J. STEELS.
+
+  IO. STEELSIVS
+  Concordia res paruę crescunt.]
+
+An element which may be generically termed religious plays no
+unimportant part in this subject. It will not be necessary to enter
+deeply into the motives which induced so many of the old printers and
+booksellers to select either their devices or the illustrations of their
+Marks from biblical sources; and it must suffice to say that, if the
+object is frequently hidden to us to-day, the fact of the extent of
+their employment cannot be controverted. The incident of the Brazen
+Serpent (Numbers xxi.) was a very popular subject. One of the earliest
+to use it was Conrad Neobar, Paris, 1538; it was adopted by Reginald
+Wolfe, who commenced printing in this country about 1543, and its
+possession was considered of sufficient importance to merit special
+mention among the goods bequeathed by his widow to her son Robert. It
+was also the Mark of Wolfe’s contemporaries, Martin Le Jeune, Paris,
+Jean Bien-Né, of the same city, and of Jean Crespin, Geneva, the
+last-named using it in several sizes, in which the foot of the cross is
+“continued” into an anchor. Apart from crosses in an infinite variety of
+forms, and to which reference will presently be made, by far the most
+popular form of religious devices consisted of what may, for convenience
+sake, be termed angelic. Pictorially they are nearly always failures,
+and often ludicrously so. The same indeed might be said of the work of
+most artists who have essayed the impossible in this direction. An
+extraordinary solemnity of countenance, a painful sameness and extreme
+ugliness, are the three dominant features of the angels of the Printers’
+Mark. The subject offers but little scope for an artist’s ingenuity it
+is true, and it is only in a very few exceptions that a tolerable
+example presents itself. Their most frequent occurrence is in supporting
+a shield with the national emblem of France, and in at least one
+instance--that of André Bocard, Paris,--with the emblems of the city and
+the University of Paris. This idea, without the two latter emblems,
+occurs in the devices of Jehan Trepperel, Anthoine Denidel, and
+J. Bouyer and G. Bouchet (who adopted it conjointly), who were printing
+or selling books in Paris during the last decade of the fifteenth
+century; whilst in the provinces in that period it was employed by
+Jacques Le Forestier, at Rouen; and by Jehan De Gourmont, Paris,
+J. Besson, Lyons, and J. Bouchet at Poitiers, early in the following
+century. The angels nearly always occur in couples, as in the case of
+Antoine Vérard, one of the earliest printers to adopt this form; but a
+few exceptions may be mentioned where only one appears, namely, in the
+Mark of Estienne Baland, Lyons (1515), in which an angel is represented
+as confounding Balaam’s ass; and in that of Vincent Portunaris, of the
+same place and of about the same time, in which an angel figures holding
+an open book; in the four employed by G. Silvius, an Antwerp printer
+(1562), in three of which the figure is also holding a book; in the
+elaborate Mark of Philip Du Pré, Paris, 1595, and in the exceeding rough
+Mark of Jannot de Campis, of Lyons, 1505. Curiously enough, the subject
+of Christ on the cross was very rarely employed, an exception occurring
+in the case of Schäffeler, of Constance, or Bodensee, Bavaria, 1505. The
+same centre-piece, without the cross, was employed by Jehan Frellon,
+Paris, 1508, and evidently copied by Jehan Burges, the younger, at
+Rouen, 1521, whilst that of Guillaume Du Puy, Paris, 1504, has already
+been referred to. The Virgin Mary occurs occasionally, the more notable
+examples being the Marks of Guillaume Anabat, Paris, 1505-10, really a
+careful piece of work; and the elder G. Ryverd, Paris, 1516, and in each
+case with the infant Jesus. St. Christopher is a subject one sometimes
+meets with in Printers’ Marks: in that of Gervais Chevallon, Paris,
+1538, it however plays a comparatively subordinate part, and its merits
+were only fully recognized by the Grosii, of Leipzig, who nearly always
+used it for about two centuries, 1525-1732; the example bearing the last
+date is by far one of the most absurd of its kind--the cowled monk with
+a modern lantern lighting St. Christopher on his way through the river
+is a choice piece of incongruity. Another phase of the religious element
+capable of considerable expansion is that in relation to the part played
+in Marks by saints and priests generally. Sometimes these are found
+together with an effect not at all happy, notably the two Marks of Jehan
+Olivier, Paris, 1518, which, with Jesus Christ on one side, a Pope on
+the other, and an olive tree, are sufficiently crude to present an
+appearance which seems to-day almost blasphemous. The last of the
+several religious phases of Printers’ Marks to which we shall allude is
+at the same time the most elaborate and complicated. We refer to that of
+the Cross. The subject is sufficiently wide to occupy of itself a small
+volume, but even after the most careful investigation, there are many
+points which will for ever remain in the region of doubt and obscurity.
+Tradition is proverbially difficult to eradicate; and all the glamour
+which surrounds the history of the Cross, and which found expression in,
+among other popular books, the “Legenda Aurea,” maintained all its
+pristine force and attractiveness down to the end of the sixteenth
+century. The invention of printing and the gradual enlightenment of
+mankind did much in reducing these legends into their proper place; but
+the process was gradual, and whatever may have been their private
+opinions, the old printers found it discreet to fall into line with the
+established order of things. Indeed, the religious sentiment was perhaps
+never so alive as at the time of the invention of printing, in proof of
+which some of the earliest and most magnificent typographical monuments
+may be cited,--the Gutenberg Bible, the Psalter of Fust and Schoeffer,
+for example. The accompanying plate will give the reader a faint idea of
+the extraordinary variety of crosses to be found on Printers’ Marks used
+chiefly by the Italian printers.
+
+  [Illustration: ANTOINE VÉRARD.
+
+  IHS
+
+  PO[UR] PROVOCQVER TA GRĀT MISERI
+  CORDE DE TOVS PECHEVRS FAIRE GRACE ET PARDON
+  ANTHOINE VER[A]D HVMBLEMĒT
+  TE RECORDE CE QVIL A IL TIENT DE TOI PAR·DON
+
+  AR]
+
+M. Paul Delalain has touched upon this exceedingly abstract phase of
+Printers’ Marks in the third _fascicule_ of his “Inventaire des Marques
+d’Imprimeurs,” without, as he himself admits, arriving at any very
+definite conclusion. The cross, whether in its simplest form or with a
+complication of additional ornaments, has, as he points out, been at all
+times popular in connection with this subject. It appeared on the shield
+of Arnold Ther Hoernen, Cologne, 1477, at Stockholm in 1483, at Cracovia
+in 1510. That it did not fall entirely into desuetude until the end of
+the eighteenth century is a very striking proof of what M. Delalain
+calls “la persistance de la croix.” It has appeared in all forms and in
+almost every conceivable shape. Its presence may be taken as indicating
+a deference and a submission to, as well as a respect for, the Christian
+religion, and M. Delalain is of the opinion that the sign “eu pour
+origine l’affiliation à une confrérie religieuse.” Finally, in his
+introduction to Roth-Scholtz’s “Thesaurus Symbolarum ac Emblematum,”
+Spoerl asks, “Why are the initials of a printer or bookseller so often
+placed in a circle or in a heart-shaped border, and then surmounted by a
+cross? Why at the extreme top of the cross is the lateral line formed
+into a sort of triangular four? Why, without this inexplicable sign, has
+the cross a number of cyphers, two, or even three, cross-bars? Why
+should the tail of the cypher 4 itself be traversed by one or sometimes
+two perpendicular bars which themselves would appear to form another
+cross of another kind? Why, among the ornamental accessories, do certain
+species of stars form several crosses, entangled or isolated? Why, at
+the base of the cross is the V duplicated?” All these are problems which
+it would be exceedingly difficult to solve with satisfaction. We do not
+propose offering any kind of explanation for these singular marks; but
+it will not be without interest to point out that among the more
+interesting examples are those used by Berthold Rembolt, André Bocard or
+Boucard, Georges Mittelhus, Jehan Alexandre, Jehan Lambert, Nicole De La
+Barre, and the brothers De Marnef, all printers or booksellers of Paris;
+of Guillaume Le Talleur, Richard Auzolt, of Rouen; of Jaques Huguetan,
+Mathieu Husz, François Fradin, Jacques Sacon or Sachon, and Jehan Du
+Pré, all of Lyons; of Jehan Grüninger, of Strassburg; of Lawrence
+Andrewe, and Andrew Hester, of London; the unknown printer of St.
+Albans; of Leeu, of Antwerp; of Jacob Abiegnus, of Leipzig; of Pedro
+Miguel, Barcelona; of Juan de Rosembach of Barcelona and other places;
+of the four “alemanes” of Seville, and hundreds of others that might be
+mentioned.
+
+  [Illustration:
+
+   1. Benedetto d’Effore.
+   2. Bonino de Boninis.
+   3. Bernardino de Misintis.
+   4. Bernardino Ricci.
+   5. Bernardino Stagnino.
+   6. Baptista de Tortis.
+   7. Bernardinus de Vitalibus.
+   8. Bartholomeus de Zanis.
+   9. } Dionysius Bertochus.
+  10. }
+  11. Dominicus Roccociola or Richizolo.
+  12. William Schomberg.
+  13. Christopher de Canibus.
+  14. Hercules Nani.
+  15. Giovanni Antonio de Benedetti.
+  16. Samuel de Tournes (Geneva).
+  17. The Somaschi.
+  18. Justinian de Ruberia.
+  19. J. Treschel (Lyons).
+  20. L. de Gerla, Gerlis or Gerula.
+  21. Laurentius Rubeus de Valentia.
+  22. Lazaro Suardo or da Suardis.
+  23. Matthew de Codeca or Capsaca.
+  24. Nicholas de Francfordia.
+  25. Dionysio Berrichelli.
+  26. Octavianus Scottus.
+  27. Peregrino de Pasqualibus.
+  28. Philip Pinzi or Pincius.
+  29. Caligula de Bacileriis.
+  30. J. Sacer.]
+
+It is curious to note that, in spite of its great mediæval popularity,
+the subject of St. George and the Dragon rarely enters into the subject
+of Printers’ Marks, and of the few examples which call for reference,
+those of Thomas Périer and Guillaume Bourgeat, of Paris and Tours
+respectively, are among the best both in design and execution. The idea
+was also adopted by Guillaume Auvray, of Paris; and by M. de Hamont,
+Brussels.
+
+The personification of Time and Peace were both popular; and each has
+its successful examples. One of the earliest instances of the former is
+a pretty little mark, executed with a considerable amount of vigour, of
+Robert De Gourmont, Paris; a large and vigorous Mark--one of
+several--employed by Simon De Colines, Paris, in which it is interesting
+to note that the scythe is not invariably denticulated; two very crude
+but very distinct examples employed by Michel Hillenius or Hooghstrate,
+Antwerp, 1514; and two, one large and the other small, of Guillaume
+Chaudière, Paris, 1564; whilst Jean Temporal, of Lyons, 1550, used it as
+an evident play on his name. The emblem of Peace does not appear to have
+been much employed until well on into the sixteenth century; N. Boucher,
+1544, used as his motto, “pacem victis;” Guillaume Julien, to whom
+reference has already been made; as likewise Michel Clopejau, of a few
+years later, who used the words “Typus amicitiæ” on his mark, with the
+further legend of “Quam sperata victoria pax certa melior;” these three
+lived in Paris, whilst by far the best decorative Mark in this
+connection was that adopted by Julien Angelier, a bookseller and printer
+of Blois, 1555, the centre of whose device, besides the words “Signum
+pacis,” includes a dove bearing two olive branches. The fraternal device
+of two hands clasped may also be here alluded to: it is of special
+interest from the fact that it was employed by one of the earliest to
+practice printing in Paris--Guy or Guyot Marchant, 1483, one of whose
+Marks gives us a view of two shoemakers working with musical notes
+representing So La (Sola), and “fides ficit” in gothic type. Thomas
+Richard, sixty years afterwards, elaborated on a portion of this idea,
+and his Mark shows two hands holding a crowned sceptre with two serpents
+entwined around it. Designs much superior to these were employed by
+Bertramus of Strassburg, at the latter part of the sixteenth century.
+Following the example of Marchant, musical notes have occasionally been
+employed by later printers. The rebus of this printer evidently
+suggested that of Jehan and Anthoine Lagache, father and son, Arras, in
+1517, the first syllable of whose name, La, is indicated by a musical
+note, and is immediately followed by “gache.” Pierre Jacobi,
+Saint-Nicholas-de-la-Port, and Toulouse, 1503, adopted Marchant’s idea
+by giving “Sola fides ficit” with a musical start, so to speak; and a
+distinctly novel phase of the subject is employed by Jacobus Jucundus,
+Strassburg, 1531, in which a goose is represented as playing on a
+violin.
+
+  [Illustration: GUILLAUME CHAUDIÈRE.
+
+  HANC ACIEM SOLA RETVNDIT VIRTVS TEMPVS.]
+
+Printers’ marks in which the pictorial embellishments partake of a
+rustic nature, such as bits of landscape, seed-sowing, harvesting, and
+horns of plenty, are numerous, and in many cases exceedingly pretty.
+J. Roffet, Paris, 1549, employed the design of the seed-sower in several
+of his Marks; and of about a dozen different Marks used at one time or
+another by Jean De Tournes the first, Lyons, 1542, one of the most
+successful is a clever one having for its central figure a sower; the
+same idea, in a very crude form, was contemporaneously employed also by
+De Laet, Antwerp. The Cornucopia, or horn of plenty, was a very
+favourite emblem, and it appears in a manifold variety of designs,
+sometimes with a Caduceus (the symbol of Mercury) which is held by two
+clasped hands, as in the case of T. Orwin, London, 1596, in a cartouche
+with the motto: “By wisdom peace, by peace plenty;” four of the eight
+marks used by Chrestien Wéchel, Paris, 1522, differ from Orwin’s in
+being surmounted by a winged Pegasus; and André Wéchel, of the same
+city, 1535, employed one of the smaller devices of Chrestien, with
+variations and enlargements of the same; in the Mark of J. Chouet,
+Geneva, 1579, the caduceus is replaced by a serpent, the body of which
+is formed into a figure 8; in that of Gislain Manilius, Ghent, the horns
+appear above two seated figures. In each of the foregoing examples two
+horns appear. Georg Ulricher von Andlau, Strassburg, 1529, used the
+cornucopia, and in one of his Marks the figure is surrounded by an
+elaborate array of fruit and vegetables; single horns appear also in the
+clever and elaborate marks of R. Fouet, Paris, 1597, whose design was a
+very slight deviation from that of J. De Bordeaux, Paris, 1567. The
+oak-tree, sheltering a reaper and with the motto “Satis Quercus,” was
+employed by George Cleray, Vannes, 1545; and the fruit of this tree--the
+acorn--by E. Schultis, Lyons, 1491. The thistle appears on the marks of
+Estienne Groulleau, Paris, 1547; the Rose on the more or less elaborate
+designs of Gilles Corrozet, Paris, 1538; a rose-tree in full flower
+occupies the centre of the beautiful mark of the first Mathieu
+Guillemot, Paris, 1585; a solitary Rose-flower was the simple and
+effective mark of Jean Dallier, Paris, 1545; and a flowering branch of
+the same tree is one of the items on the charming little Mark on the
+opposite page of Mathurin Breuille, Paris.
+
+  [Illustration: JACQUES ROFFET.
+
+  IAQVES ROFFET]
+
+  [Illustration: JEAN DE TOURNES.
+
+  SON ART EN DIEV]
+
+In the category of what may be termed extinct animals, the Unicorn as a
+subject for illustrating Printers’ Marks enjoyed a long and extensive
+popularity. The most remarkable thing in connection with these designs
+of the Unicorn is perhaps their striking dissimilarity, and as nearly
+every one of the many artists who employed, for no obvious reasons, this
+animal in their Printer’s Marks had his own idea of what a Unicorn ought
+to have been like, the result, viewed as a whole, is not by any means a
+happy one. Still, several of the examples possess a considerable amount
+of vigour and have a distinct decorative effectiveness. But apart from
+this its appearance in the Marks of the old printers is a very striking
+proof of the fact that the mediæval legends died hard. Curiously enough,
+the proverbial “lion and unicorn” do not often occur together. The
+family of printers with whose name the unicorn is almost as closely
+associated as the compass is with Plantin, is that of Kerver, for it has
+been employed in over a dozen different forms by one or other members
+from the end of the fifteenth century to the latter part of the
+sixteenth. Sometimes there is only one Unicorn on the mark, at others
+there is a pair. Le Petit Laurens, Paris, was using it contemporaneously
+with the first Thielman Kerver, and possibly the one copied the other.
+Sénant, Vivian, Kées, and Pierre Gadoul, Chapelet, and Chavercher, were
+other Paris printers who used the same idea in their marks before the
+middle of the sixteenth century. It was long a favourite subject with
+the Rouen printers, one of the earliest in that city to use it being
+J. Richard, whose design is particularly original, inasmuch as the
+shield is supported on one side by a Unicorn, and on the other by a
+female, possibly intended to represent a saint, an idea which was
+apparently copied by Symon Vincent, Lyons; the Unicorn was also used in
+the marks of L. Martin and G. Boulle, both of Lyons; and also in the
+very rough but original design employed by H. Hesker, Antwerp, 1496;
+whilst for its quaint originality a special reference may be made to the
+Mark of François Huby, Paris, of the latter part of the sixteenth
+century, for in this a Unicorn is represented as chasing an old man. The
+origin of the Unicorn Mark is essentially Dutch. The editions of the
+Printer, “à la licorne,” Deft, 1488-94, are well known to students of
+early printing. The earliest book in which this mark is found is the
+“Dȳalogus der Creaturen” (“Dialogus Creaturarum”) issued at that city in
+November, 1488. Henri Eckert de Hombergh and Chr. Snellaert, both of
+Delf, used a Unicorn in their Marks during the latter years of the
+fifteenth century.
+
+  [Illustration: MATHURIN BREUILLE.
+
+  DOMINE ADAVGE NOBIS FIDEM QVIA CHRISTI BONVS ODOR SVMVS]
+
+  [Illustration: C. SNELLAERT.]
+
+Among other possible and impossible monsters and subjects of profane
+history, the Griffin, the Mermaid, the Phœnix, Arion and Hermes has each
+had its Mark or Marks. In the case of the first named, which, according
+to Sir Thomas Browne, in his “Vulgar Errors,” is emblematical of
+watchfulness, courage, perseverance, and rapidity of execution, it is
+not surprising that the Gryphius family, from the evident pun on their
+surname, should have considered it as in their particular preserves. As
+may be imagined, it does not make a pretty device, although under the
+circumstances its employment is perhaps permissible. Sebastien Gryphius,
+Lyons, and his brother François, Paris, who were of German parentage,
+employed the Griffin in about a dozen variations during the first half
+of the sixteenth century. The Griffin, however, was utilized by Poncet
+Le Preux, Paris, some years before the Gryphius family came into
+notoriety, and it was employed contemporaneously with this by B. Aubri,
+Paris. The Mermaid makes a prettier picture than the Griffin, but its
+appearance on Printers’ Marks is an equally fantastic vagary of the
+imagination. In one of the earliest Marks on which it occurs, that of
+C. Fradin, Lyons, 1505, the shield is supported on one side by a
+Mermaid, and on the other by a fully-armed knight; half a century after,
+B. Macé, Caen, had a very clever little Mark in which the Mermaid is not
+only in her proper element, but holding an anchor in one hand, and
+combing her hair with the other. During the second quarter of the
+sixteenth century, the idea was, with variations, used by G. Le Bret,
+Paris, and J. De Junte, Lyons, as well as by John Rastell, London, 1528,
+whose shop was at the sign of the Mermaid.
+
+To summarize a few of the less popular designs, it will suffice to give
+a short list of the vignettes or marks used by the old printers of Paris
+(except where otherwise stated), alphabetically arranged according to
+subjects: _Abraham_, Pacard; an _anchor_, Christopher Rapheleng, Leyden,
+Chouet and Pierre Aubert, Geneva; two _anchors_ crosswise, Thierry
+Martens, Antwerp, and Nicholas le Rich; one or more _angels_, Legnano,
+Milan; Henaud and Abel L’Angelier, and Dominic Farri, Venice; _Arion_,
+Oporinus or Herlist, Brylinger, Louis le Roi, and Pernet, Basle, and
+Chouet, Geneva; a _Basilisk_ and the four elements, Rogny;
+_Bellerophon_, the brothers Arnoul and Charles Angeliers; Guillaume
+Eustace, and Perier, and Bonel, Venice; a _Bull_ with the sign Taurus
+and the Zodiac, Nicholas Bevilacqua, Turin; a _Cat_ with a mouse in her
+mouth, Melchior Sessa and Pietro Nicolini, de Sabio, Venice; two
+_Doves_, Jacques Quesnel; an _Eagle_, Balthazar Bellers, Antwerp,
+Bladius, Rome, G. Rouille or Roville, Lyons, and the same design--with
+the motto “Renovabitur ut aquilæ juventus mea”--occurs in the books
+published in the early years of the seventeenth century by Nicolini,
+Rabani, Renneri and Co., Venice; the personification of _Fortune_,
+Bertier, J. Denis (an elaborate and clever design in which a youth is
+represented climbing the tree of Fortune), and Adrian le Roy and Robert
+Ballard, Berde and Rigaud, Lyons, and Giovanni and Andrea Zennaro,
+Venice; a _Fountain_, M. Vascosan, the second Frederic Morel (with a
+Greek motto importing that the fountain of wisdom flows in books), and
+Cratander, Basle; a _Heart_, Sebastian Huré and his son-in-law Corbon;
+_Hercules_, with the motto, “Virtus non territa monstris,” Vitré, Le
+Maire, Leyden; a _Lion_ rampant, Arry; a lion rampant crowned on a red
+ground, Gunther Zainer; a lion led by the hand, Jacques Creigher; a lion
+supporting a column, Mylius, Strassburg, and a lion with a hour glass,
+Henric Petri, Basle; a _Magpie_, Jean Benat or Bienne; this bird also
+occurs among Robert Estienne’s Marks, and the same subject, with a
+serpent twining round a branch was used (according to Horne), by
+Frederic Morel; _Mercury_, alone or with other classic deities, David
+Douceur, Biaggio, Lyons; Jean Rossy, Bologne; Verdust, Antwerp, and
+Hervagius, Basle; a _Pelican_, N. De Guinguant, S. Nivelle, Girault and
+De Marnef, C. and F. Franceschini, Venice; Mamarelli, Ferrara; F. Heger,
+Leyden; E. Barricat, Lyons; and Martin Nuyts and his successor who
+carried on business under the same name, Antwerp; a _Phœnix_, Michael
+Joli, Wyon, Douay; Leffen, Leyden; Martinelli, Rome; and Giolito,
+Venice; a _Salamander_, Zenaro, Venice; St. Crespin and Senneton, Lyons;
+Duversin and Rossi, Rome; a _Stork_, Nivelle and Cramoisy; _St. George
+and the Dragon_, Michel de Hamont, Brussels; a _Swan_, Blanchet; whilst
+a swan and a soldier formed the Mark of Peter de Cæsaris and John Stoll,
+two German printers who were among the earliest to practise the art in
+Paris.
+
+  [Illustration: JOHN RASTELL.
+
+  Fuit Iohannes Rastell]
+
+  [Illustration: GERARD LEEU.]
+
+
+
+
+  [Decoration]
+
+SOME GENERAL ASPECTS OF THE PRINTER’S MARK.
+
+
+  [Illustration: FUST AND SCHOEFFER.]
+
+From what has already been stated, it will be seen that the Printer’s
+Mark plays a by no means unimportant part in the early history of
+illustration,--whether the phase be serious or grotesque, sublime or
+ridiculous, we find here manifold examples, crude as well as clever.
+Although it cannot be said with truth that the Mark as an institution
+reached, like typography itself, its highest degree of perfection at its
+inception, some of the earlier examples, nevertheless, are also some of
+the most perfect. The evolution from the small monogram, generally in
+white on a black ground, to an elaborate picture occupying from a
+quarter to a whole page, was much less gradual than is generally
+supposed. The unambitious marks of the first printers were clearly
+adopted in consonance with the traders’ or merchants’ marks which began
+to be so generally employed during the latter part of the fifteenth
+century.
+
+The very natural question, Which was the first Printer’s Mark? admits of
+an easy answer. It was employed for the first time in the form of the
+coupled shield of Fust and Schoeffer, in the colophon of the famous
+Psalter printed by these two men at Mainz in 1457. This book is
+remarkable as being the costliest ever sold (a perfect copy is valued at
+5,000 guineas by Mr. Quaritch): it is the third book printed, and the
+first having a date, and probably only a dozen copies were struck off
+for the use of the Benedictine Monastery of St. James at Mainz. It is,
+however, quite as remarkable for the extraordinary beauty of its initial
+letters, printed in red and blue ink, the letters being of one colour
+and the ornamental portion of the other. The Mark of Fust and Schoeffer,
+it may be mentioned, consists of two printer’s rules in saltaire, on two
+shields, hanging from a stump, the two rules on the right shield forming
+an angle of 45°: the adoption of a compositor’s setting-rule was very
+appropriate. It was nearly twenty years before the introduction of
+woodcuts into books became general, Gunther Zainer beginning it at
+Augsburg in 1471-1475. The inception of this movement was naturally
+followed by a general improvement, or at all events elaboration, of the
+Printer’s Mark, which, moreover, now began to be printed in colours, as
+is seen in the Fust and Schoeffer mark in red which appears beneath the
+colophon of Turrecremata’s Commentary on the Psalms printed by Schoeffer
+in 1474. Reverting for a moment to the Psalter which has been very
+properly described as “the grandest book ever produced by Typography,”
+a very curious fact not at all generally known may be here pointed out.
+Although the few existing examples with two dates are of the same
+edition, there are several very curious variations which are well worthy
+of notice. It will be only necessary, however, in this place to refer to
+the fact that the beautiful example in the Imperial Library at
+Vienna--which, from its spotless purity, Heineken calls the “exemplaire
+vierge”--differs from the others in being without the shield of Fust and
+Schoeffer, a fact which points to the probability of this copy having
+been the first struck off.
+
+By the end of the fifteenth century the Printer’s Mark had assumed or
+was rapidly assuming an importance of which its original introducers had
+very little conception. Indeed, as early as 1539, a law, according to
+Dupont, in his “Histoire de l’Imprimerie,” was passed by which these
+marks or arms of printers and booksellers were protected. Unfortunately
+the designs were very rarely signed, and it is now impossible to name
+with any degree of certainty either the artist or engraver, both offices
+probably in the majority of cases being performed by one man. There is
+no doubt whatever that Hans Holbein designed some of the very graceful
+borders and title-pages of Froben, at Basle, during the first quarter of
+the sixteenth century, and in doing this he included the graceful
+Caduceus which this famous printer employed. It does not necessarily
+follow that he was the original designer, although he was in intimate
+association with Froben when the latter first used this device. The
+distinctive Mark of Cratander, or Cartander, which appears in the
+edition of Plutarch’s “Opuscula,” Basel, 1530, has also been confidently
+attributed to the same artist: if there is any foundation for this
+statement Holbein was guilty of plagiarism, for this Mark is a very
+slight modification on one used by the same printer in 1519, and not
+only so dated but having the artist’s initials, I. F. Those who have the
+opportunity of examining the “Noctes Atticæ” of Aulus Gellius, printed
+by Cratander in 1519, will come upon several highly interesting features
+in connection with this Mark, which is emblematical of Fortune: the
+elaborately engraved title-page contains an almost exact miniature of
+the same idea on either side, and it is repeated in a larger form in the
+border which surrounds the first chapter. The Mark occurs in its full
+size on the last page of all. The title-page, borders and Mark are all
+by the same artist, I. F. In the earlier example the woman’s hair
+completely hides her face, whilst in that of eleven years later it is as
+seen on the opposite page, and the whole design is more carefully
+finished. Dürer had dealt with the same subject. In reference to Froben,
+however, it should be pointed out that his Marks, of which there were
+several, show considerable variation in their attendant accessories, and
+that Holbein could not possibly have had anything to do with the
+majority of them.
+
+  [Illustration: J. FROBEN.
+
+  γίνεσθε φρόνιμοι ὥς ὁι ὄφεις,
+  Prudens simplicitas amor[que] recti.]
+
+To attempt to identify the designers of even a selection of the best
+Printers’ Marks would be but to embark on a wild sea of conjecture. The
+initials of the engravers, which occur much more frequently than those
+of the artists, are of very little assistance to the identification of
+the latter. Many of them possess a vigour and an originality which would
+at once stamp their designers as men of more than ordinary ability. For
+picturesqueness, and for the care and attention paid to the minutest
+details, it may be doubted if either B. Picart in France, or J. Pine in
+this country, has ever been excelled. The examples of the former come
+perhaps more in the category of vignettes than of Printers’ Marks,
+although the charming little pictures on the title-pages of Stosch’s
+“Pierres Antiques Gravées,” 1724, the “Impostures Innocentes,” 1734, and
+the edition of Cicero’s “Epistolæ,” printed at the Hague by Isaac
+Vaillant, 1725,--to mention only three of many--may be conveniently
+regarded as Printers’ Marks. So far as we know, Pine only executed one
+example,--representing a Lamb within a cleverly designed cartouche--and
+this appears on the title-page of Dale’s Translation of Freind’s
+“Emmenologia,” printed for T. Cox, “at the Lamb under the Royal
+Exchange,” 1729: in its way it is unquestionably the most perfect Mark
+that has ever been employed in this country. Any rule differentiating
+the Printer’s Mark proper from a vignette is not likely to give general
+satisfaction; for a writer on the subject of vignettes will unfailingly
+appropriate many that are Marks, and _vice versa_. The present writer
+has found it a fairly safe rule, to accept as a Mark a pictorial
+embellishment (on a title-page) to which is appended a motto or
+quotation. The temptation to persuade oneself that several of these
+vignettes are Printers’ Marks needs a good deal of resisting, especially
+when such an exquisite example as that of Daniel Bartholomæus and Son,
+of Ulm, is in question. The same holds good with several of the dozen
+used by J. Reinhold Dulssecker, Strassburg, about the latter part of the
+seventeenth and earlier part of the eighteenth century; and very many
+others that might be named.
+
+  [Illustration: CRATANDER’S MARK. (Attributed to Holbein.)]
+
+  [Illustration: T. COX.
+
+  I Pine Sculpt]
+
+  [Illustration: J. R. DULSSECKER.
+
+  DOMINUS PROVIDEBIT.]
+
+It is interesting to note that the Printer’s Mark preceded the
+introduction of the title-page by nearly twenty years, and that the
+first ornamental title known appeared in the “Calendar” of
+Regiomontanus, printed at Venice by Pictor, Loeslein and Ratdolt in
+1476, in folio. Neither the simple nor the ornate title-page secured an
+immediate or general popularity, and not for many years was it regarded
+as an essential feature of a printed volume. Its history is intimately
+associated with that of the Printer’s Mark, and the progress of the one
+synchronizes up to a certain point with that of the other. In beauty of
+design and engraving, the Printer’s Mark, like the Title-page, attained
+its highest point of artistic excellence in the early part of the
+sixteenth century. This perhaps is not altogether surprising when it is
+remembered that during the first twenty years of that period we have
+title-pages from the hands of Dürer, Holbein, Wechtlin, Urse Graff,
+Schauffelein and Cranach. In his excellent work entitled “Last Words on
+the History of the Title-Page,” Mr. A. W. Pollard observes “From 1550
+onwards we find beauty in nooks and corners. Here and there over some
+special book an artist will have laboured, and not in vain; but save for
+such stray miracles, as decade succeeds decade, good work becomes rarer
+and rarer, and at last we learn to look only for carelessness,
+ill-taste, and caricature, and of these are seldom disappointed.” These
+remarks apply with equal force to the Printer’s Mark, although some
+exceptionally beautiful examples appeared after that period.
+
+The position allotted to the Printer’s Mark may not be of very great
+importance, but it offers some points of interest. It appeared first in
+the colophon, in which the printer usually seized the opportunity not
+only of thanking God that he had finished his task, but of indulging in
+a little puff either of his own part of the transaction or of the work
+itself. The appearance of the Mark in the colophon therefore was a
+natural corollary of the printer’s vanity. It soon outgrew its place of
+confinement; and when a pictorial effect was attempted it became
+promoted, as it were, to the title-page. In this position it was nearly
+always of a primary character, so to speak, but sometimes, as in the
+case of Reinhard Beck, it was almost lost in the maze of decorative
+borders. But it is found in various parts of the printed book: in some
+cases, among which are the Arabic works issued by Erpenius of Leyden, we
+find the Mark at what we regard as the beginning of the book, but which
+in reality is its end. Sometimes the Mark occupies the first and last
+leaves of a book, as was often the case with the more important works
+issued by Froben, by the brothers Huguetan and others. These two Marks
+at the extreme portions of a book either differed from one another or
+not, according to the fancy or convenience of the printer. The Mark also
+appeared sometimes at the end of the index, or at the end of the
+preliminary matter, such as list of contents or address of the author,
+and its position was generally determined by several circumstances.
+
+  [Illustration: REINHARD BECK.]
+
+Now and then we have what may be described as a double Mark; that is, of
+printer and bookseller, the one keeping a sharp look out to see that the
+other did not have more than his fair share of credit. This is the case
+with several books printed by Jehan Petit for Thielman Kerver, Paris, of
+which an example is given in the previous chapter; Wynkyn de Worde used
+Caxton’s initials for a time on his Mark, but the only motive which
+could have prompted this was an affectionate regard for his master. Some
+of the books which Jannot De Campis printed at Lyons for Symon Vincent
+contained not only the printer’s, but two examples of the bookseller’s
+Mark.
+
+  [Illustration: HUBERT GOLTZ.
+
+  HVBERTAS AVREA SAECLI]
+
+
+
+
+  [Decoration]
+
+THE PRINTER’S MARK IN ENGLAND.
+
+
+  [Illustration: WALTER LYNNE.]
+
+The consideration of the Printer’s Mark as an institution in this
+country is characterized by extreme simplicity, both as to its origin
+and to its design. From an entry in one of the Bagford volumes (Harleian
+MSS. 5910) in the British Museum, we learn that “rebuses or name devices
+were brought into England after Edward III. had conquered France: they
+were used by those who had no arms, and if their names ended in Ton, as
+Hatton, Boulton, Luton, Grafton, Middleton, Seton, Norton, their signs
+or devices would be a Hat and a tun, a Boult and a tun, a Lute and a
+tun, etc., which had no reference to their names, for all names ending
+in Ton signifieth town, from whence they took their names.” Even in
+England, therefore, the merchant’s trade device was the direct source of
+the Printer’s Mark, which it antedated by over a century. It will be
+convenient, first of all, to explain that the first printing-press in
+England was that of William Caxton at Westminster, whose first book was
+issued from this place November 18, 1477; the second was that of
+Theodoricus de Rood, at Oxford, the first book dated December 17, 1478;
+the third was that of the unknown printer at St. Albans, 1480, and the
+fourth was that of John Lettou, in the city of London, 1480, the
+last-named being soon joined by William de Machlinia, who afterwards
+carried on the business alone. The earliest phases of wood-engraving
+employed at one or other of these four distinct houses were either
+initial letters or borders around the page. At Caxton’s press, as the
+late Henry Bradshaw has pointed out in a paper read before the Cambridge
+Antiquarian Society, February 25, 1867, simple initials are found in the
+Indulgences of 1480 and 1481; at the Oxford press an elaborate border of
+four pieces, representing birds and flowers, is found in some copies of
+the two books printed there in October, 1481, and July, 1482. Of
+illustrations in the text, we find a series of diagrams and a series of
+eleven cuts illustrating the text of the first edition of “The Mirror of
+the World,” 1481; a series of sixteen cuts to the second edition of “The
+Game of Chesse Moralised,” 1483; and two works of the following year,
+“The Fables of Esop” and the first edition of “The Golden Legend,” each
+contains not only a large cut for the frontispiece, but in the case of
+the former, a series of 185 cuts, and, in the latter, two series of
+eighteen large and fifty-two small cuts. At the Oxford press only two
+books are known with woodcut illustrations, in neither case cut for the
+work; at the St. Albans press the only known illustrations in the text
+are the coats-of-arms found in the “Book of Hawking, Hunting and
+Coat-Armours,” 1486; at the press of Lettou and W. de Machlinia there is
+no trace of illustrations.
+
+These few introductory facts, condensed from Mr. Bradshaw’s paper above
+mentioned, have a distinct interest to us as leading up to the
+employment of the Printer’s Mark. It is certainly curious that at
+Caxton’s press the very familiar device was only first used about
+Christmas, 1489, in the second folio edition of the Sarum “Ordinale.” At
+first this bold and effective mark was used, as in the “Ordinale,” the
+“Dictes of the Philosophers,” and in the “History of Reynaud the Fox,”
+at or close to the beginning of the volume. In Caxton’s subsequent books
+it is always found at the end. At the St. Albans press the device with
+“Sanctus Albanus” is found in two of the eight books printed there, “The
+English Chronicle,” 1483, where it is printed in red, and in “The Book
+of Hawking,” etc., 1486; it is formed of a globe and double cross, there
+being in the centre a shield with a St. Andrew’s cross.
+
+So far as regards Caxton’s device, it is easier to name the books in
+which it appeared than to explain its exact meaning. The late William
+Blades accepts the common interpretation of “W. C. 74.” Some
+bibliographers argue that the date refers to the introduction of
+printing in England, and quote the colophon of the first edition of the
+“Chess” book in support of this theory. But the date of this work refers
+to the translation and not to the printing, which was executed at
+Bruges, probably in 1476. Caxton did not settle at Westminster until
+late in that year, and possibly not until 1477. In all probability the
+date, supposing it to be such, and assuming that it is an abbreviation
+of 1474, refers to some landmark in our printer’s career. Professor
+J. P. A. Madden, in his “Lettres d’un Bibliophile,” expresses it as his
+opinion that the two small letters outside the “W. 74 C” are an
+abbreviation of the words “Sancta Colonia,” an indication that a notable
+event in the life of Caxton occurred in 1474 at Cologne. Ames, Herbert,
+and others have copied a device which Caxton never used: it is much
+smaller than the genuine one (which, in other respects, it closely
+resembles) which we reproduce from Berjeau. The opinion that the
+interlacement is a trade mark is, Mr. Blades points out in his
+exhaustive “Life,” much strengthened by the discovery of its original
+use. In 1487, Caxton, wishing to print a Sarum Missal, and not having
+the types proper for the purpose, sent to Paris, where the book was
+printed for him by G. Maynyal, who in the colophon states distinctly
+that he printed it at the expense of William Caxton of London. When the
+printed sheets reached Westminster, Caxton, wishing to make it quite
+plain that he was the publisher, engraved his design and printed it on
+the last page, which happened to be blank. Mr. Blades gives 1487 as the
+year in which this Missal (of which only one copy is known) was printed,
+but Mr. Bradshaw puts it at 1489. The former enumerates twelve books
+printed by Caxton in which his device occurs--all ranging from the
+aforesaid Missal to the year 1491, the date of his death.
+
+  [Illustration: WILLIAM CAXTON.]
+
+  [Illustration: THE ST. ALBANS PRINTER.]
+
+Wynkyn de Worde, a native of Lorraine, who was with Caxton at Bruges or
+Cologne, carried on the business of his master at Westminster until
+1499, when he removed to the sign of the Golden Sun, Fleet Street,
+London. He had nine Marks, the earliest of which is often described as
+one of Caxton’s, from the genuine example of which, as we have already
+stated, it differs in being smaller, with a different border, and in
+having a flourish inserted above and below the letters. The second is an
+elongated variation of No. 1, with the name Wynkyn de Worde on a narrow
+white space beneath the device. The next four devices are more or less
+elaborations upon that of which we give a reproduction; the seventh is
+the Sagittarius device in black with white characters: between the
+sagittarii is seen the sun and flaming stars, and below the initials
+“W C” in Roman letters, with the name Wynkyn de Worde at the foot; the
+eighth is a picturesque Mark copied from one belonging to Froben, with
+the omission of part of the background; it consists of a semicircular
+arch, supported by short-wreathed pillars, with foliated capitals,
+plinths and bases: on the top of each is a boy habited like a soldier,
+with a spear and shield bending forwards; a large cartouche German
+shield is supported by three boys. The ninth Mark of this printer was a
+large and handsome one, being a royal and heraldic device which Wynkyn
+de Worde used as a frontispiece to the Acts of Parliament, in the form
+of an upright parallelogram which encloses a species of arched panel or
+doorway, formed of three lines, imitating clustered columns and Gothic
+mouldings, and two large square shields, that on the left charged with
+three fleurs-de-lys for France, and the other bearing France and England
+quarterly, each of which is surmounted by a crown. For a very minute
+description of these Marks, and their variations, the reader is referred
+to Johnson’s “Typographia,” and Bigmore and Wyman’s “Bibliography of
+Printing,” the former of whom enumerates 410 books which issued from
+this press.
+
+  [Illustration: WYNKYN DE WORDE.
+
+  wynkyn de worde
+  W C]
+
+  [Illustration: R. PYNSON.
+
+  Rychard Pynson]
+
+  [Illustration: R. PYNSON.
+
+  R
+  Richard Pynson]
+
+Among the 200 odd books which Richard Pynson printed between 1493 and
+1527, we find six Marks (besides variants), of which five are very
+similar, and of these we give two examples, the smaller being one of the
+earliest, in which it will be noticed that the drawing is much inferior
+to the larger example; the sixth Mark is a singular one, consisting of a
+large upright parallelogram surrounded by a single stout line, within
+which are the scroll, supporters, shield and cypher, crest, helmet and
+mantling, and the Virgin and St. Catherine, and in many other
+particulars differing from the other five examples. Robert Redman, who,
+after quarrelling with Richard Pynson, and apparently succeeding him in
+business, employed a device almost identical with that which Pynson most
+frequently used, and to which therefore we need not further refer. In
+chronological sequence the next English printer who employed a device is
+Julian Notary, who was printing books for about twenty years subsequent
+to 1498, first at Westminster, then near Temple Bar, and finally in St.
+Paul’s Churchyard. He had two devices (of which there are a very few
+variations), of which we give the more important. The other has only one
+stout black line, and not two, and it has also the Latinized form of the
+name--Julianus Notarius. About two dozen different works of this printer
+are known to bibliographers. In connection with Notary, we may here
+conveniently refer to an interesting, but admittedly inconclusive
+article which appears in _The Library_, i., pp. 102-5, by Mr. E. Gordon
+Duff, in which that able bibliographer publishes the discovery of two
+books which would point to the existence of an unrecorded English
+printer of the fifteenth century. One of these has the title of
+“Questiones Alberti de modis significandi,” and the other, of which only
+a fragment is known to exist, is a Sarum “Horæ,” which is dated 1497. In
+the colophons of neither does the name of the printer transpire, but his
+Mark is given in both--in the former book in black, and in the latter in
+red. This mark is identical with Notary’s, with this important
+exception, that, whereas in Notary’s device his name occurs in the lower
+half of the device, in these the lower half is occupied by the initials
+I. H., and the upper half by the initials I N B, the I N being in the
+form of a monogram, and not distinct. In 1498 this same block was used
+on the title-page of the Sarum “Missal,” printed by Notary, who altered
+it to suit his own requirements. We cannot follow Mr. Gordon Duff in his
+conjectures as to the probability of who this unknown printer may have
+been, but the matter is one of great bibliographical interest. William
+Faques, who was the King’s Printer, and who is known to have issued
+seven books between 1499 and 1508, had only one Mark, which is totally
+different from those of any of his predecessors, as may be seen from the
+example given on page 16, where will also be found references to the
+sources of the scriptural quotations on the white and black triangles.
+
+  [Illustration: JULIAN NOTARY.
+
+  I N
+  Iulyan Notary]
+
+The extreme rarity of this printer’s books will be best understood when
+it is stated that there are only two examples in the British Museum; one
+of these is a “Psalter,” 1504. With W. Faques we exhaust the fifteenth
+century printers who employed marks to distinguish the productions of
+their presses.
+
+  [Illustration: R. FAWKES.
+
+  R F
+  Richard Fakes]
+
+Notwithstanding the similarity in their surnames it is not at all
+certain that Richard Fawkes (1509-1530), who also appears as Faukes,
+Fakes, and Faques, was related to the last-mentioned printer. His books
+are now of excessive rarity. The unicorn (regardant on either side of
+the device) appears for the first time in an English mark. Henry Pepwell
+(1505-1539), of the Holy Trinity in St. Paul’s Churchyard, was a
+bookseller rather than a printer, and all his earlier books were printed
+in Paris; his Mark, in which occurs the heraldic device representing the
+Trinity, was suggested by the sign of his shop. The most important
+example of the thirty books which issued from the little-known press of
+Peter Treveris, who was apparently putting forth books from 1514 to
+1535, is “The Grete herball whiche geveth parfyt knowlege and
+und[er]standing of all maner of herbes,” etc., 1526, a finely printed
+folio (“at the signe of the Wodows”), of which a second edition appeared
+in 1529. The earlier edition contains, on the recto of the sixth leaf,
+a full-page woodcut of the human skeleton, with anatomical explanations,
+whilst the last leaf contains a full-page woodcut of the printer’s Mark,
+with the imprint at the foot. Herbert supposes that the sign of the
+“Wodows,” mentioned by Treveris in the colophon, might possibly be put
+for wode hommes or wild men, and alludes to the supporters used in the
+device. Treveris printed for several booksellers, notably John Reyves,
+of St. Paul’s Churchyard, and for Lawrence Andrewe, of Fleet Street. In
+this printer’s Mark, and in fact nearly every other sixteenth century
+example, there is a very evident French influence, whilst many of the
+examples are the most transparent imitations of Marks used by foreign
+printers. Of the three used by John Scott or Skot, who was printing
+books from about 1521 to 1537, two were mere copies of the Marks used by
+Denis Roce of Paris. We give an illustration of one example; the second
+is of the same design, but with a very rich stellated background, and
+the motto, “A l’aventure, tout vient a point qui peut attendre.” His own
+device was an exceedingly simple long strip, with the letters Iohn Skot
+in antique Roman characters. An example of the last mark will be found
+in “The Golden Letanye in Englysshe,” printed by Skot in “Fauster Land,
+in Saynt Leonardes parysshe”; but examples of this press are excessively
+rare, only one, “Thystory of Jacob and his XII Sones,” fourteen leaves,
+in verse, and printed about 1525, being in the British Museum, and
+another tract, “The Rosary,” 1537, being in the Althorp Library now
+transferred to Manchester.
+
+  [Illustration: PETER TREVERIS.
+
+  P T
+  PETRVS TREVERIS]
+
+  [Illustration: JOHN SCOTT.
+
+  I S
+  IOHN SCOTT]
+
+  [Illustration: ROBERT COPLAND.
+
+  ¶ Melius est nomen bonum q[uam] diuitie mnlte. Prou. xxu.
+  R
+  ROBERT COPLAND]
+
+Robert Copland, who was a beneficiaire and pupil of Wynkyn de Worde, was
+a translator as well as a printer and stationer, and his shop was at the
+sign of the Rose Garland in Fleet Street. Although he carried on
+business from 1515 to about 1548, only a few of his books are now known,
+none of which appear to be in the British Museum. The majority were
+purely ephemeral. The most interesting phase of this printer’s career
+occurs in connection with one or two books printed by Wynkyn de Worde,
+notably “The Assembly of Foules,” 1530, at the end of which is “Lenvoy
+of Robert Copland boke prynter,” one of the three verses running thus:
+
+  “Layde upon shelfe, in leues all torne
+  With Letters, dymme, almost defaced cleane
+  Thy hyllynge rote, with wormes all to worne
+  Thou lay, that pyte it was to sene
+  Bounde with olde quayres, for ages all hoorse and grene
+  Thy mater endormed, for lacke of thy presence
+  But nowe arte losed, go shewe forth thy sentence.”
+
+The three Marks of Copland make allusion to the roses which appeared as
+a sign to his shop. The most elaborate design is an upright
+parallelogram within which appears a flourishing tree springing out of
+the earth, and supporting a shield suspended from its branches by a belt
+and surrounded by a wreath of roses; on the left-hand side is a hind
+regardant collared with a ducal coronet standing as a supporter, and on
+the right is a hart in a similar position and with the same decorations;
+there are four scrolls surrounding the centre-piece, on the top one is
+“Melius est,” on the right-hand one “nomen bonum,” on the bottom one
+“q diuitie,” and on the left-hand one “multe. Prou. xxii,” _i.e._
+“A good name is better than much riches.” The second device, of which we
+also give an example, is self-explanatory, and is perhaps the more
+original. It has also an additional interest from the fact that it was
+used by William Copland, 1549-1561, who was probably a son of Robert,
+and who simply altered the mark to the extent of substituting his own
+Christian name for that of Robert in the scroll at the bottom of the
+device. Over sixty books by this printer are described by
+bibliographers, and many of them are in the British Museum. Robert Wyer,
+whose shop was at the sign of St. John the Evangelist, in St. Martin’s
+parish, in the rents of the Bishop of Norwich, near Charing Cross, was
+another printer whose works were more remarkable for their number than
+for their typographic excellence. His earliest dated work is the
+“Expositiones Terminarum Legum Anglorum,” 1527, and his latest
+“A Dyalogue Defensyue for Women,” 1542, but as to nearly sixty others of
+his works no date is attached, he may have commenced earlier than the
+first date and continued after the second. The marks of Wyer consisted
+of two or three representations of St. John the Divine writing, attended
+by an eagle holding the inkhorn; he is seated on a rock in the middle of
+the sea intended to represent the Isle of Patmos. Laurens, or Lawrence,
+Andrewe, by Ames stated to be a native of Calais, printed a few books
+during the third decade of the sixteenth century, and resided near the
+eastern end of Fleet Street at the sign of the Golden Cross. His Mark
+consisted of a shield which is contained within a very rudely cut
+parallelogram; the escutcheon is supported by a wreath beneath an
+ornamental arch, and between two curved pillars designed in the early
+Italian style, with a background formed of coarse horizontal lines.
+Three of his books are in the British Museum. The Museum possesses only
+one book with the imprint of Andrew Hester, who was a bookseller of the
+“White Horse,” St. Paul’s Church Yard, and this is an edition of
+Coverdale’s Bible, “newly oversene and correcte,” which appears to have
+been printed for him by Froschover, of Zurich, 1550. Among English Marks
+of the period, Hester’s possesses the merit of being original.
+
+  [Illustration: ROBERT COPLAND.
+
+  R C
+  Robert Coplande.]
+
+  [Illustration: ROBERT WYER.
+
+  ROBERT WYER]
+
+  [Illustration: ANDREW HESTER.
+
+  S
+  E AH R]
+
+  [Illustration: THOMAS BERTHELET.
+
+  LVCRECIA ROMANA
+  THOMAS BERTHELETVS]
+
+One of the most prolific of the printers of the first half of the
+sixteenth century was Thomas Berthelet, who succeeded Pynson in the
+office of King’s Printer, at a salary of £4 yearly, and who (or his
+immediate successors, for he died at the end of 1555) issued books from
+1528 to 1568, of which nearly 150 are known to bibliographers, sixty
+being in the British Museum. His shop was at the sign of the “Lucretia
+Romana,” a charming engraving--the most carefully executed of its kind
+used in this country up to that time--of which, with his own name on a
+scroll, he used as a Mark. Several of his books were printed in Paris.
+He issued a large number of works in classical literature, and among the
+more notable of his publications were Chaloner’s translation of
+Erasmus’s “Praise of Folly,” 1549, Gower’s “De Confessione Amantis,” and
+the “Institution of a Christen Man,” with a woodcut border to the title
+by Holbein. John Byddell, otherwise Salisbury, 1533-44, was another
+printer whose Mark was derived from the sign of the shop in which he
+carried on business, namely, “Our Lady of Pity,” next Fleet Bridge, but
+he afterwards removed to the Sun near the Conduit, which was probably
+the old residence of Wynkyn de Worde, for whom he was an executor. The
+Lady of Pity is personified as an angel with outstretched wings, holding
+two elegant horns or torches, the left of which is pouring out a kind of
+stream terminating in drops, and is marked on the side with the word
+“Gratia”; that on the right contains fire and is lettered “Charitas”:
+the lower ends of these horns are rested by the angel upon two rude
+heater shields, on the left of which is inscribed “Johan Byddell,
+Printer,” and on the other is a mark which includes the printer’s
+initials; round the head of the figure are the words, “Virtus beatos
+efficit.” This is merely a copy of one of the Marks used by J. Sacon,
+a Lyonese printer, 1498-1522. Byddell’s books were distinctly in keeping
+with the seriousness of his sign, and among others we find such titles
+as “News out of Hell,” 1536, “Olde God and the Newe,” 1534, “Common
+Places of Scripture,” 1538, etc., besides two “Primers.” Thomas
+Vautrollier, who printed books at Edinburgh and London from about 1566
+to 1605, had four Marks, in all of which an anchor is suspended from the
+clouds, and two leafy boughs twined, with the motto “Anchora Spei,” and
+with a framework which is identical with that of Guarinus, of Basle.
+Vautrollier was a native of France; nearly all his books were in Latin.
+In 1584 he printed an edition of Giordano Bruno’s “Spaccio de la Bestia
+Trionfante,” with a dedication to Sir Philip Sidney, and for which he
+had to flee the country, for the imprint, “Stampato in Parigi,” was an
+obvious and unsuccessful attempt to hoodwink the authorities. In the
+following year he printed at Edinburgh “A Declaration of the Kings
+Majesties intention and meaning toward the lait Actis of Parliament.”
+J. Norton, 1593-1610, also used the same Mark.
+
+  [Illustration: JOHN BYDDELL.
+
+  I B
+  ¶ IOHAN BYDDELL.]
+
+  [Illustration: THOMAS VAUTROLLIER.
+
+  ANCHORA SPEI.]
+
+Richard Grafton, 1537-72, who was a scholar and an author, is one of the
+best known of the sixteenth century printers, and, although he issued a
+large number of books, confined himself to a single Mark, which was a
+rebus or pun upon his name. Grafton was for several years in partnership
+with Edward Whitchurche, and also with John Butler. The most important
+works accomplished by the two first named were the first issue of the
+Great or Cromwell’s Bible, 1539, and Coverdale’s version of the New
+Testament, 1538-9, in Latin and English; the latter being partly printed
+in Paris by Regnault, and completed in London: as nearly the entire
+impression was burnt by order of the Inquisition, it is of great rarity
+and value. Grafton, who was printer to Edward VI. both before and after
+his accession to the throne, issued a magnificent edition of Halle’s
+“Chronicle,” 1548, and an “Abridgement of the Chronicles” by himself in
+1562, which in ten years reached a fourth edition. Grafton found
+printing a much more hazardous calling than the grocery business to
+which he had been brought up, for he was constantly in difficulties,
+which on one occasion nearly cost him his life. The idea which found
+expression in Grafton’s Mark naturally suggested itself to William
+Middleton, or Myddleton, 1525-47, who succeeded to the business of
+Robert Redman, and issued books from the sign of the “George next to St.
+Dunstan’s Church in Fleet Street.” He had two devices, of which we give
+the larger and more important: in the smaller the shield is supported on
+either side by an angel. About forty of William Middleton’s books have
+been described, one of the most notable being John Heywood’s “Four P’s,
+a very merry Enterlude of a Palmer, a Pardoner, a Poticary, and a
+Pedler.” Reginald or Reynold Wolfe, 1542-73, was the King’s Printer and
+a learned antiquary. Wolfe was probably of foreign extraction, for there
+were several early sixteenth century printers of the same surname in
+France, Germany, and Switzerland. His printing-office was in St. Paul’s
+Churchyard, at the sign of the Brazen Serpent, which emblem he used as a
+device, a subject which, as we have already seen, was frequently
+employed for a similar purpose abroad. Wolfe’s other device, of which
+there are two sizes, consisted of an elegant cartouche German shield, on
+which is represented a fruit-tree and two boys, one of whom is drawing
+down the fruit with a stick, whilst the other is taking it up off the
+ground. Over sixty books have been catalogued as the work of Reginald
+Wolfe. John Wolfe, originally a fishmonger, started printing about 1560,
+and from that year until 1601 we have an almost continuous stream of his
+books, on a very great variety of subjects. Like several others of the
+early printers, he was in constant warfare with the authorities, whose
+rules and restrictions of the press were a source of ever-recurring
+annoyances. He appears to have had as much difficulty in managing his
+“authors” as with the Stationers’ Company, for he is referred to more
+than once in very uncomplimentary terms in the Martin Marprelate tracts
+of the period. The Mark here reproduced from Berjeau represents a
+fleur-de-lys seedling supported by two savages, with the motto “Ubique
+Floret.” John Day, 1546-84, is undoubtedly one of the best known and
+most prolific of the sixteenth century printers, nearly 300 books having
+him as their foster-father. He appears to have started in business at
+the sign of the Resurrection, a little above Holborn Conduit, but
+removed in or about 1549 to Aldersgate Street; he had several shops in
+various parts of the town, where his literary wares might be disposed
+of, and he is remarkable in being the first English printer who used
+Saxon characters, whilst he brought those of the Greek and Italic to
+perfection. It is not possible to give in this place even a brief
+summary of Day’s career, and it must suffice us to mention that
+Archbishop Parker was among his patrons, and that the more important
+books which appeared from his press included Fox’s “Acts and Monuments,”
+1563, and the “Psalmes in Metre with Music,” 1571 (for the printing of
+which he received a patent dated June 2, 1568). His best known device,
+of which we give an example, has a double meaning; first it is a pun on
+his name, and secondly an allusion to the dawn of the Protestant
+religion. He used another Mark, which is a large upright parallelogram,
+within the lines of which is a very elegant Greek sarcophagus bearing a
+skeleton lying on a mat. At the head of the corpse are two figures
+standing and looking down at it, of which the outer one is in the dress
+of a rich citizen, having his left hand on his sword, and the other, who
+is pointing to the body, is dressed like a doctor or a schoolmaster:
+from his mouth issues a scroll rising upwards in eight folds, on four of
+which are engraven in small Roman capitals, “Etsi Mors in dies
+accelerat,” and the remainder of the sentence, “Post Fvnera virtus vivet
+tamen,” appears in similar letters on another scroll, which is elegantly
+twined round the branches of a holly placed behind the sepulchre, to
+indicate by a tree that blooms at Christmas the evergreen nature of
+virtue; the sarcophagus, figures, and tree stand by the side of a river,
+with some distant vessels, on the left hand of which are rocky shores,
+with cities, etc., and in the upper corner of the left is the sun
+breaking out of the clouds; the initials I D appear on the lower left
+hand. This Mark is exceedingly rare; it occurs on the last leaf of
+J. Norton’s translation of the Latin “Catechism,” 1570, and also at the
+end of Churton’s “Cosmographical Glass.” There are several variations of
+the Mark which we reproduce on p. 79. William Seres, who was for some
+time anterior to 1550 in partnership with Day (and at other times with
+Anthony Scoloker, Richard Kele, and William Hill), printed over 100
+books, in many of which his monogram serves the purpose of a Mark.
+
+  [Illustration: RICHARD GRAFTON.
+
+  SVSCIPITE INSITVM VERBVM IACO I
+  RG]
+
+  [Illustration: WILLIAM MIDDLETON.
+
+  W
+  WYLLYAM MYDDYLTON]
+
+  [Illustration: JOHN WOLFE.
+
+  VBIQVE FLORET]
+
+  [Illustration: JOHN DAY.
+
+  ARISE FOR IT IS DAY]
+
+Like so many other of the early printers, Richard Jugge, 1548-77, whose
+shop was at the sign of the Bible at the north door of St. Paul’s, was a
+University man, having studied at King’s College, Cambridge. “He had a
+license from Government to print the New Testament in English, dated
+January, 1550; and no printer ever equalled him in the richness of the
+initial letters and general disposition of the text which are displayed
+therein.” On the accession of Elizabeth to the throne, he printed the
+proclamation, November 17, 1558. About seventy books are catalogued as
+coming from his press. His elegant Mark consists of a massive
+architectural panel, adorned with wreaths of fruit, and bearing in the
+centre an oval within which is a pelican feeding her young, surrounded
+by the mottoes, “Love kepyth the Lawe, obeyeth the Kynge, and is good to
+the commen welthe,” and “Pro Rege Lege et Grege.” On the left of the
+oval stands a female figure having a serpent twined round her right arm,
+with the word “Prudentia” underneath, whilst the second female figure,
+with a balance and a sword, is called “Justicia”; in the bottom centre
+in a small cartouche panel is the name R. Jugge in the form of a
+monogram. This Mark was also used by J. Windet and by Alexander
+Arbuthnot, of Edinburgh, of which we give the example of the last named.
+Hugh Singleton, 1548-82, appears to have earned as much notoriety among
+his contemporaries for his “rather loose” principles as for the books
+which he printed. He was often in conflict with the authorities, and
+very narrowly escaped severe punishment for printing one of Stubbs’
+outbursts, for which the author and Page the publisher had their right
+hands cut off with a butcher’s knife and a mallet in 1581; Singleton was
+pardoned. His Mark, of which there are variations, is sufficiently
+self-explanatory, although it may be mentioned that for a time he dwelt
+at the Golden Tun in Creed Lane. Walter Lynne, 1547-50, who was a
+scholar and an author, had a shop at “Sommer’s Key near Billingsgate”
+and printed about twenty sermons and other religious tracts in octavo,
+employed the device given as an initial to the present chapter. John
+Wyghte, or Wight, resembled Singleton somewhat in his facility for
+running his head against established customs, and was on one occasion
+fined for keeping his shop open on St. Luke’s Day, and on another for
+selling pirated books. His shop was at the sign of the Rose, St. Paul’s
+Churchyard, and his books--beginning with an edition of the Bible--range
+from the year 1551 to 1596. His device was a portrait of himself, which
+varies considerably both in size and in other respects. Perhaps the most
+curious and interesting work which he published was “A Booke of the arte
+and manner how to plant and graffe all sortes of trees,” 1586,
+translated from the French by Leonard Mascall, and dedicated to Sir John
+Paulet.
+
+  [Illustration: A. ARBUTHNOT.
+
+  ALEXANDER  ARBVTHNET
+  LOVE KEPYTH THE LAWE OBEYETH THE KYNGE
+    AND IS GOOD TO THE COMMEN WELTHE
+  PRO LEGE REGE, ET GREGE
+  PRVDENCIA  IVSTICIA]
+
+  [Illustration: HUGH SINGLETON.
+
+  H S]
+
+  [Illustration: JOHN WIGHT.
+
+  I W
+  WELCOM THE WIGHT: THAT BRINGETH SVCH LIGHT]
+
+The employment of the Geneva arms as a Printer’s Mark is confined, in
+this country, to Rowland Hall, who, at the death of Edward VI.,
+accompanied several refugees to Geneva, where he printed the Psalms,
+Bible, and other works of a more or less religious character; his books
+range from 1559 to 1563, and about two dozen are known to
+bibliographers, and half of this number are in the British Museum. His
+Mark has a double interest; first, from his residence in Geneva, and
+secondly from the fact that the sign of his shop, “The Half Eagle and
+Key,” was a still further acknowledgment of the protection which he
+enjoyed in Geneva. This was not his only Mark, but it is the only one to
+which we need refer. The name of Richard Tottell, 1553-97, is much
+better remembered in connection with the epoch-making little book,
+“Songes and Sonettes,” 1557, the first miscellany of English verse, than
+either of the other seventy or eighty publications which bear his
+imprint. His shop was in Fleet Street at the sign of the Hand and Star,
+the same idea serving him as a Mark: the hand and star in a circle, with
+a scroll on either side having the words “cum privilegio,” the whole
+being placed under an arch supported by columns ornamented in the
+Etruscan style. One of the most curious of the large number of books
+which came from the press of Henry Bynneman, 1567-87, is “The Mariners
+boke, containing godly and necessary orders and prayers, to be observed
+in every ship, both for mariners and all other whatsoever they be that
+shall travaile on the sea, for their voyage,” 1575; a still more curious
+production of his press has the following title, “Of ghostes and
+spirites walkyng by night, and strange noyes, crackes and sundry fore
+warnynges, which commonly happen before the death of men, great
+slaughters, and alterations of kyngdomes,” 1572. Bynneman had served
+with Reynold Wolfe, and when he started in business on his own account
+met with much encouragement from Archbishop Parker, who allowed him to
+have a shop or shed at the north-west door of St. Paul’s. He appears to
+have had two Marks, one of which was derived from the sign of his shop,
+“The Mermaid,” with the motto, “Omnia tempus habent,” and the other
+(here reproduced) of a doe passant, and the motto, “Cerva charissima et
+gratissimus hinnulus pro.” Thomas Woodcock, 1576-94, who dwelt at the
+sign of the Black Bear, in St. Paul’s Churchyard, was a bookseller
+rather than a printer; his Mark is an evident double pun on his surname.
+
+  [Illustration: ROWLAND HALL.
+
+  POST TENEBRAS LVX]
+
+  [Illustration: HENRY BYNNEMAN.
+
+  CERVA CHARISSIMA ET GRATISSIMVS HINNVLVS PRO]
+
+  [Illustration: THOMAS WOODCOCK.
+
+  CANTABO IEHOVÆ QVIA BENEFECIT]
+
+During the last years of the sixteenth century, and the first three
+decades of the seventeenth, there were two Jaggards among the London
+printers; by far the better known is Isaac, who, with Edward Blount,
+issued the first folio edition of Shakespeare’s plays; he seems to have
+had no Mark, but William, 1595-1624, used the rather striking device
+(page 88), which is thus described: Serpent biting his tail, coiled
+twice round the wrist of a hand issuing from the clouds and holding a
+wand from which springs two laurel branches, and which is surmounted by
+a portcullis (the Westminster Arms); in the last coil of the serpent the
+word “Prudentia.” Equally distinct is the mark of Felix Kingston, or
+Kyngston, who printed a very large number of books from 1597 to 1640; in
+this device we have the sun shining on the Parnassus, and a laurel tree
+between the two conical hills, with a sunflower and a pansy on either
+side.
+
+  [Illustration: WILLIAM JAGGARD.
+
+  PRVDENTIA]
+
+The Mark of William Norton, 1570-93, whose shop was at the King’s Arms,
+St. Paul’s Churchyard, was in a double sense a pun on his name,
+consisting as it did of a representation of a Sweet-William growing
+through a tun inscribed with the letters “NOR”; and something of the
+same kind may be said of that employed by Richard Harrison, 1552-62,
+whose Mark is described by Camden as “an Hare by a sheafe of Rye in the
+Sun, for Harrison.” In this connection we may also here refer to the
+Mark employed by Gerard (or Gerald) Dewes, 1562-87, whose shop was at
+the sign of the Swan in St. Paul’s Churchyard; this is described by
+Camden thus: “and if you require more [_i.e._ in reference to the
+prevailing taste for picture-writing such as the designs of Norton and
+Dewes] I refer you to the witty inventions of some Londoners; but that
+for Garret Dewes is most remarkable, two in a garret casting Dewes at
+dice.” In the same category also may be included the Mark of Christopher
+and Robert Barker, the Queen’s Printers, who used a design of a man
+barking timber, with the couplet
+
+  “A Barker if you will,
+  In name but not in skill.”
+
+From these and many other instances which might be cited, it will be
+seen that by the end of the sixteenth century the Printer’s Mark in
+England had declined into a very childish and feeble play upon the names
+of the printers, and the subject therefore need not be further pursued.
+
+  [Illustration: FELIX KINGSTON.
+
+  PARNASSO ET APOLLINE DIGNA]
+
+  [Illustration: THOMAS CREEDE.
+
+  T C
+  VIRESSIT VVLNERE VERITAS]
+
+The natural result, moreover, of this decline was, in the following
+century, followed by what practically amounts to extinction; and the few
+exceptions to which we shall refer, and which are to some extent
+selected at random, prove the truth of that theory. Thomas Creede,
+1588-1618, whose shop was at the sign of the Catherine Wheel, near the
+Old Swan in Thames Street, was one of the prolific printers of the
+period, and his most common Mark is a personification of Truth, with a
+hand issuing from the clouds striking on her back with a rod, and
+encircled with the motto, “Veritas virescit vulnere.” Among the numerous
+books which he printed was Henry Butte’s “Digets Dry Dinner,” 1599, for
+William Wood, a bookseller whose shop was at the sign of Time, St.
+Paul’s Churchyard, and whose Mark was an almost exact copy of one
+employed by Conrad Bade, a sixteenth century printer of Paris and Geneva
+(who had apparently adopted his from that of Knoblouch of Strassburg,
+which we give on another page): it represents a winged figure of Time
+helping a naked woman out of what appears to be a cave, with the motto,
+“Tempore patet occulata veritas”; this Mark follows the introductory
+matter in the above-named work. Making a leap of over half a century, we
+come across another ambitious Mark, which in the present instance served
+the additional purpose of a frontispiece; it was employed by John Allen
+of the Rising Sun, St. Paul’s Churchyard, and is dated 1656; it is
+rather a fine device of the sun rising behind the hills, with a
+cathedral on the left-hand side, and the inscription “Ipswiche” and a
+coat-of-arms, apparently of that city. Although not exactly a printer’s
+or publisher’s Mark, the charming little plate, engraved by Clark, which
+John Walthoe, Jr., inserted on the title-page of “The Hive: a collection
+of the most celebrated Songs,” 1724, is sufficiently near it to be worth
+reproducing here. T. Cox, a bookseller of “The Lamb,” under the Royal
+Exchange, Cornhill, was fortunate enough to have a Mark (see page 46),
+in which John Pine is seen at his best: Cox was not only an eminent
+bookseller, but was also an exchange-broker. Of much less delicate
+workmanship, but appropriate nevertheless, is the Mark which we find on
+the title-pages of the books printed for R. Ware, at the Bible and Sun
+in Warwick Lane, one of whose books, Dr. Warren’s “Impartial Churchman,”
+1728, contains at the end of the first chapter another Mark, an
+exceedingly rough sketch of a printing-office, with the motto, “vitam
+mortuis reddo.” On books intended more or less for particular schools,
+the Printer’s Mark usually takes the shape of the arms of the schools
+themselves, as in the case of Westminster and Eton; and the same may be
+said of books printed at Oxford and Cambridge, in the former case a very
+fine view of the Sheldonian Theatre usually appearing on the title-page
+of books printed there. John Scolar is an interesting figure among the
+very early printers of Oxford, and from 1518 he was the official printer
+of the University; in one of the books he issued there is cited an edict
+of the Chancellor, under his official seal, enjoining that for a period
+of seven years to come, no person should venture to print that work, or
+even to sell copies of it elsewhere printed within Oxford and its
+precincts, under pain of forfeiting the copies, and paying a fine of
+five pounds sterling, and other penalties. Scolar’s Mark is one of the
+very few in which a book appears. John Siberch, the first Cambridge
+printer, apparently had two Marks, one of which--the Royal Arms, which
+was the sign of the house he occupied--appears on four of the eight
+books printed by him at Cambridge in or about 1521; of the second we
+give a facsimile from his first book, Galen, “De Temperamentis.” The
+Mark of the majority of eighteenth century booksellers and printers
+consisted of a monogram formed either with their initials or names.
+During a portion of his career Jacob Tonson used a bust of what
+purported to be Shakespeare, partly from the fact that for many years
+the copyright of the great dramatist’s works belonged to him and partly
+because one of his shops had for its sign, “The Shakespeare’s Head.”
+
+  [Illustration: JOHN WALTHOE.
+
+  SPARSA COEGI.]
+
+  [Illustration: R. WARE.]
+
+  [Illustration: JOHN SCOLAR.
+
+  veritas Liberavit Bonitas Regnauit]
+
+  [Illustration: JOHN SIBERCH.
+
+  I S]
+
+The earliest Printers’ Marks of Scottish printers are not of the first
+importance, but they are sufficiently interesting to merit notice.
+Walter Chepman and Andro Myllar were granted a patent for the erection
+of a printing-press at Edinburgh on September 15, 1507, the former
+finding the money and the latter the knowledge. Each had his distinctive
+Mark, both of which are of French origin--a theory which is easily
+proved so far as Myllar’s is concerned from the fact that it displays
+two small shields at the top corners, each charged with the
+_fleur-de-lys_. Myllar’s device, in which we see a windmill with a
+miller ascending the outside ladder, carrying a sack of grain on his
+back, is an obvious pun on his name, and was, perhaps, suggested by the
+Mark of Jehan Moulin, Paris. Chepman’s is a very close copy of that of
+Pigouchet, Paris, the male and female figures being carefully copied
+even to the small crosses on their knees; the initials W C are elegantly
+interlaced. Thomas Davidson is a very interesting figure in the early
+history of Scottish typography; he appears to have been the first king’s
+printer of his country, and one of his earliest works is “Ad
+Serenissimum Scotorum Regem Jacobum Quintum de suscepto Regni Regimine a
+diis feliciter ominato Strena,” _circa_ 1525; about ten years later came
+a translation of the “Chronicles of Scotland,” compiled by Boece, and
+“translatit be maister Johne Bellenden;” Davidson’s Mark is of the same
+character as Chepman’s, but is, if possible, even more roughly drawn and
+engraved; whilst Bassandyne copied the device of Crespin of Geneva, with
+the initials T. B. instead I. C. Arbuthnot’s device of the Pelican,
+which he used in two sizes, and the Marks of Thomas Vautrollier, have
+been already referred to. Coming down to the last twenty years of the
+sixteenth century, we find the few books of Henry Charteris of
+considerable and varied interest, and his Mark, if by no means carefully
+drawn and engraved, has at all events the merit of being fairly
+original.
+
+  [Illustration: ANDRO MYLLAR.
+
+  Androv myllar]
+
+  [Illustration: WALTER CHEPMAN.
+
+  W C
+  Walterus chepman]
+
+  [Illustration: THOMAS DAVIDSON.
+
+  T D
+  THOMAS DA.]
+
+  [Illustration: H. CHARTERIS.
+
+  IVSTITIA. RELIGIO.
+  SVVM CVIQVE DEVM COLE
+  HIS SVFFVLTA DVRANT.
+  H C]
+
+
+
+
+  [Decoration]
+
+SOME FRENCH PRINTERS’ MARKS.
+
+
+  [Illustration: F. ESTIENNE.
+
+  Πλίον ἐλαίου ἤ βίνου
+  Plus olei quàm vini.]
+
+It is rather a curious fact, all things considered, that the
+introduction of the printing-press into Paris should have only antedated
+its appearance in this country by four years; such however is the case.
+It was at the commencement of the year 1470, the tenth of the reign of
+Louis XI., that Ulrich Gering, Martin Krantz, and Michel Friburger
+commenced printing in one of the rooms of the College Sorbonne. They had
+learnt their art at Mayence, and at the dispersal of the office of Fust
+and Schoeffer had settled down at Basel. They were induced to take up
+their residence at the Sorbonne by Jean Heinlin and Guillaume Fichet,
+two distinguished professors of that place. The first book printed at
+Paris was the “Letters” of Gasparin of Bergamo, 1470, which contains the
+following quatrain at the end of the work:
+
+  “Primos ecce libros quos hæc industria finxit
+  Francorum in terris ædibus atque tuis;
+  Michael, Udalrichus, Martinusque magister
+  Hos impresserunt, ac facient alios.”
+
+By the end of 1472 the three companions had issued thirty works,
+apparently without indulging in the luxury of a Mark, but their patrons
+separating they had to leave the Sorbonne. Their new quarters were at
+the sign of the “Soleil d’Or” in the Rue St. Jacques--the Paternoster
+Row of Paris. Here they remained until 1477, when Gering was the sole
+proprietor. He was joined in 1480 by George Mainyal, and in 1494 by
+Bertholt Rembolt, and died in August, 1510. Within thirty years of the
+introduction of printing into Paris, there were nearly ninety printers,
+who issued nearly 800 works between 1470 and 1500. Rembolt, who
+succeeded Gering and preserved the sign of his office, was one of the
+earliest, if not the first to adopt a Mark, of which indeed he used four
+more or less distinct examples. We reproduce one of the rarest; his best
+known is a highly decorative picture, and has a shield (carrying a cross
+with the initials B. R. in the lower half of the circle which envelopes
+the foot of the cross) suspended from a vine tree and supported by two
+lions. Of this Mark there are at least two sizes; another of his Marks
+consisted of an enlarged form of the cross to which we have referred.
+
+  [Illustration: B. REMBOLT.
+
+  BERCHTOLDVS R]
+
+After Rembolt, the interest of the Printer’s Mark in France diverges
+into a number of directions. The most prolific printer was, perhaps,
+Antoine Vérard, who, dying in 1530, issued books continuously for about
+forty-five years: he was also a calligrapher, an illuminator, and a
+bookseller; his Books of Hours led the way for the beautiful productions
+of Simon Vostre, whilst his chief “line” consisted of romances, of which
+there are over a hundred printed on vellum and ornamented with beautiful
+miniatures. He had two Marks, one of which, consisting simply of the two
+letters A. V., is accompanied by the lines:
+
+  “Pour proquer la grand’ miséricorde,
+  A tous pescheurs faire grâce et pardon,
+  Antoine Vérard humblement te recorde.”
+
+Of the second we give an example on p. 21. Among his publications may
+be mentioned “L’Art de bien Mourir,” 1492, which Gilles Couteau and
+J. Menard printed for him, whilst the punning Mark of the former is
+reproduced in our first chapter (p. 4). François Regnault, who printed
+a large number of books during the first half of the sixteenth century,
+had six Marks, chiefly variations on the one here given. He usually
+placed at the bottom of his books: “Parissis, ex officinâ honesti viri
+Francissi Regnault”; the accompanying reduced facsimile of one of his
+title-pages indicates the prominent position allotted at this early
+period to the printer’s Mark. A very remarkable and elaborate Mark
+of this family of printers was that of Pierre Regnault, who was putting
+forth books during nearly the whole of the first half of the sixteenth
+century. The Marchant family existed in Paris as printers for over 300
+years (1481-1789). The first of the line, Guy, or Guyot, who printed
+books for Jehan Petit, Geoffrey De Marnef, and others, had as Mark four
+variations of the _chant gaillard_ represented by two notes, sol, la,
+with one faith represented by two hands joined, in allusion to the
+words, “Sola fides sufficit,” taken from the hymn, “Pange lingua.”
+Beneath his Mark he placed the figures of Saints Crispin and Crispinian,
+patrons of the leather-dressers who prepared the leather for the binder,
+in which capacity Marchant acted on several occasions for Francis I. As
+was the case with his contemporaries, Marchant’s earliest books
+possessed no mark, and one of the first of the publications in which it
+appeared was the “Compost et Calendrier des Bergiers,” 1496. The De
+Marnef family also make a big show in the annals of French typography,
+particularly in the way of Marks, the various members using, between
+1481 and 1554, nearly thirty examples, including duplicates, several of
+which were designed by Geoffrey Tory. Nearly all these Marks had the
+subject of the Pelican feeding her young as a centre piece. Jerome,
+however, used a Griffin among his several other examples, of which the
+two finest of the whole series are those numbered 746 and 812 in
+Silvestre, and are the work of Jean Cousin at his best. The founder of
+the family, Geoffrey, used the accompanying device in two sizes. The
+Janot family, of which the founder, Denys, was the most celebrated, were
+issuing books in Paris from the end of the fifteenth to the middle of
+the eighteenth century, and the more noticeable of their Marks contained
+the device: “Amor Dei omnia vincit--amour partout, tout par amour,
+partout amour, en tout bien” (see p. 15). The Macé family, which makes a
+good show with eleven Marks, was also a long-lived one of over 200
+years, many of the members residing at Caen, Rennes, and Rouen, besides
+Paris. The same may be said to some extent of the Dupré or Du Pré
+family, 1486-1775; the two first, Jean or Jehan and Galliot, were the
+most celebrated. Of the dozen Marks employed by this family, the most
+original, it being the evident pun on his name, has a _Galiote_, at the
+head of the mast of which is the motto, “Vogue la Guallee,” or sometimes
+“Vogue la Gualee” (see p. 5). Jehan Du Pré the Lyons printer, used the
+accompanying Mark formed of his initials. The first as well as the most
+noted member of the Le Rouge family of printers was Pierre, who resided
+at Chablis, Troyes, and Paris, and who was the first to take the title
+of “Libraire-Imprimeur du Roi,” ceded to him by Charles VIII., and used
+in “La Mer des Histoires,” 1488. Appropriately enough, Michel Le Noir,
+whose motto we have already quoted, may be here referred to. He issued a
+large number of books, the most notable, perhaps, being “Le Roman de la
+Rose,” 1513. He was succeeded by his son Philippe in 1514, one of whose
+most noticeable publications was “Le Blazon des Hérétiques” (a satirical
+piece attributed to Pierre Gringoire), the figure or effigy at the head
+is signed with the monogram of G. Tory. The five Marks of father and son
+differed only in minor details, and the above example of Philippe will
+sufficiently indicate the character of the others. Philippe Pigouchet,
+who was an engraver as well as a bookseller and printer, contented
+himself apparently with one Mark. He is distinguished for the extreme
+care with which he turned out his books, particularly the Books of Hours
+which he undertook to produce in partnership with Simon Vostre; some of
+his works are freely copied by the publishers of to-day, and might with
+advantage be even more generally utilized than they are, for they
+possess all the attributes of beautiful books. Thielman Kerver,
+a German, was another printer who worked for Simon Vostre, one of his
+most important productions being a “Breviarium ad usum Ecclesiæ
+Parisiensis,” 1500, in red and black. His shop was on the Pont St.
+Michel, at the sign of the Unicorn, which, as will be seen, he adopted
+as his Mark, and of which there are two, which differ from one another
+only in minor details. Of Simon Vostre himself, a whole book might be
+compiled. From about 1488 to 1528 he devoted himself exclusively to the
+publishing of books, and employed all the best printers: it was by his
+energy combined with Pigouchet’s technical skill that the two produced,
+in April, 1488, the “Heures à l’Usaige de Rome,” an octavo finely
+decorated with ornaments and figures; the experiment was a complete
+success. It is generally assumed that the engraving was done in relief
+on metal, as the line in it is very fine, the background stippled, and
+the borders without scratches: wood could not have resisted the force of
+the impression, the reliefs would have been crushed, the borders rubbed
+and badly adjusted. The artistic connection of Pigouchet and Vostre
+lasted for eighteen years, and with them book production in France may
+be said to have attained its highest point. By the year 1520 Vostre had
+published more than 300 editions of the “Hours” for the use of different
+cities; he had two Marks, of which we give the larger example on p. 103.
+
+  [Illustration: SIMON VOSTRE.
+
+  S V
+  SIMON VOSTRE]
+
+  [Illustration: FRANÇOIS REGNAULT.
+
+  Le premier volume
+  de la toison dor.
+
+  Compose par reuerend pere en dieu guillaume par
+  la permission diuine iadis euesque de Tournay/ ab-
+  be de sainct Bertin et chancellier de lordre de la Thoi
+  son dor du bon duc Philippe de bourgongne Auquel
+  soubz les vertus de magnanimite et iustice apparte-
+  nans a lestat de noblesse sont contenus les haulx ver-
+  tueux et magnanimes faictz tant des tres chrestiennes
+  maisons de france/ bourgongne et flandres que dau-
+  tres roys et princes de lancien et nouueau testament
+  nouuellement imprime a Paris.
+
+  Cum p[ri]uilegio
+
+  F R
+  FRANCOYS REGNAVLT
+
+  ¶ Ilz se vendent a Paris en la rue sainct
+  Iaques a lenseigne sainct Claude.]
+
+  [Illustration: PIERRE REGNAULT.
+
+  P R
+  CONCORDIA PARVE RES CRESCVNT
+  DISCORDIA MAGNE DILABVNTVR
+  PETRVS REGNAVLT]
+
+  [Illustration: GUY MARCHANT.
+
+  Fides Ficit]
+
+  [Illustration: DE MARNEF.
+
+  Le pellicā
+  E I G
+  De marnef]
+
+  [Illustration: J. DU PRÉ.
+
+  I P]
+
+  [Illustration: PIERRE LE ROUGE.
+
+  .P. le Rouge]
+
+  [Illustration: PHILIPPE LE NOIR.
+
+  P N
+  PHILIPPE LE NOIR]
+
+  [Illustration: THIELMAN KERVER.
+
+  T K
+  THIELMAN KERVER]
+
+In many respects Jean or Jehan Petit is one of the most remarkable of
+the early French printers, whilst from the time he started to the final
+extinction of his descendants as printers covers a space of 336
+years--a record which is probably unrivalled in the history of
+typography. Jehan Petit kept fifteen presses fully employed, and found a
+great deal of work for fifteen others. The family as a whole makes a
+good show with their marks, in which the founder is more extravagant
+than any of the others, having used, at one time or another, at least
+half-a-dozen more or less different examples. In addition to reproducing
+one of the finest, we give, on p. 9, also a reduced facsimile of a
+title-page of a book, the joint venture of Petit and Kerver; the
+combination of the two names on one title-page is distinctly novel and
+curious. He was on several occasions associated with others in producing
+a book, his connection with Josse Bade extending from 1501 to 1536. Of
+Bade or Badius it will be necessary to give a few particulars. He was
+born at Asche, near Brussels, and was a scholar and a poet as well as a
+printer. About 1495-7 he was engaged as a corrector of the press for
+Treschel and De Vingle at Lyons. He left about 1500 for Paris, where he
+started a press in 1502, which he called “Prelum Ascensianum.” In
+reference to this term, “the Ascension Press,” the word “prelum” was
+applied to the ancient wine presses, after which, in fact, the earliest
+printing presses were modelled. His Mark, which he first used in 1507,
+is the earliest picture of a printing-press. Thirteen years after, he
+adopted another device with the same subject, but differing in many
+important particulars. In the second, the composing-stick used by the
+figure in the act of setting type is changed from the right to the left
+hand; the press shows improved mechanical construction, indicating
+greater solidity and strength. In the latter example also the figure
+sitting at the case on the right side of the engraving is intended to
+represent a woman, instead of a man as in the earlier illustration.
+Contemporary with both Petit and Bade, Gilles or Gillet Hardouyn,
+1491-1521, was both a printer and a bookseller, and used two Marks, of
+which we give the more striking. Germain Hardouyn, possibly a son of the
+preceding, confined himself more particularly to selling books during
+the first forty years of the sixteenth century.
+
+  [Illustration: PHILIPPE PIGOUCHET.
+
+  pp.
+  PHILIPPE PIGOVCHET]
+
+  [Illustration: JEHAN PETIT.
+
+  I P
+  IEHAN PETIT]
+
+  [Illustration: J. BADE.
+
+  Prelũ Ascẽsianũ
+  I B]
+
+  [Illustration: GILLET HARDOUYN.]
+
+  [Illustration: GEOFFREY TORY.
+
+  NON PLVS]
+
+Geoffrey Tory resembled many others of the early printers in being also
+a scholar; but he was also an artist and an engraver, taking up and
+carrying on the great work inaugurated by Vostre and Vérard. He was born
+at Bourges in 1480, and one of his earliest works, which was published
+by Petit and printed by Gilles De Gourmont, was an edition of the
+“Geography” of Pomponius Mela, 1507, and between this time and his death
+he produced a number of Books of Hours, the decoration of which can only
+be described as marvellous. One of the most beautiful is undoubtedly the
+“Heures de la Vierge,” executed for Simon De Colines. What interests us
+most, however, is the Mark which he adopted when he entered into
+business as a printer and bookseller; it is perhaps the most elegant
+that had been up to that time designed. This Mark of the broken pitcher,
+with the motto “Non plus,” first appeared at the end of a Latin poem
+issued in 1524, is regarded as a _memento_ of the death of his little
+daughter in 1522, and is thus explained: the broken pitcher symbolizes
+her career cut short; the book with clasps her literary studies; the
+little winged figure her soul; and the motto “Non plus,” “Je ne tiens
+plus à rien.” He gives his own interpretation of this Mark, however, in
+that curious medley of poetry and philosophy which he called
+“Champfleury,” 1529. It may be mentioned that on some of the bindings of
+his quarto volumes the broken pitcher is transversed by the wimble or
+_toret_--an obvious pun on his name.
+
+The Estienne or Etienne family is probably the most important and
+interesting of the sixteenth century printers of Paris. Silvestre
+reproduces twenty Marks which one or other of the Estiennes employed,
+and a description of these might very well form a distinct chapter. But
+a condensed review of the family as a whole must suffice. Henry, the
+first of the name and chief of the family, was born at Paris about 1470;
+he started in 1502 a printing and bookselling business in the Rue du
+Clos-Bruneau, near the _Ecoles de Droit_; he adopted the device, “Plus
+olei quam vini”; and twenty-eight works are catalogued as having been
+printed by him. He died in 1521, leaving a widow and three
+children--François, Robert, and Charles. François I. continued the
+profession in company with Simon De Colines, who had been associated
+with his father, and who married the widow of Henry: his Mark is given
+as an initial to this chapter. Robert I., the second son of Henry, was
+born in 1503, and is probably more generally known as a Greek, Latin,
+and Hebrew scholar than as a printer. For several years he, like his
+brother, was associated with De Colines; he married Pétronille, daughter
+of Badius “Ascensius,” and was a Protestant; in 1526 he established a
+printing-press in the Rue St. Jean-de-Beauvois at the sign of the Olive.
+His editions of the Greek and Latin classics were enriched with useful
+notes, and promises of reward were offered to those who pointed out
+mistakes. He used the types of his father and De Colines until about
+1532, when he obtained a more elegant fount with which he printed his
+beautiful Latin Bible. In 1552 he retired to Geneva, when he printed,
+with his brother-in-law, the New Testament in French. He established
+here another printing-press, and issued a number of good books, which
+usually carried the motto: “Oliva Roberti Stephani.” His Marks are at
+least ten in number, of which seven are variations of the Olive device,
+and three (in as many sizes) of the serpent on a rod intertwined with a
+branch of a climbing plant. With the exception of François the other
+members of the family used the Olive mark, sometimes however altering
+the motto, and adding in some instances an overhead decoration of a hand
+issuing from the clouds and holding a sickle or reaping hook. He died in
+1559. The third son of the founder, Charles, after receiving his
+diplomas as a doctor of medicine, travelled in Germany and Italy,
+returning to Paris in 1553, and started in business as a printer. Among
+the ninety-two works which he printed, special mention may be made of
+the “Dictionarium historicum ac poeticum, omnia gentium, hominum,
+locorum,” etc., Paris, 1553, reprinted at Geneva in 1556, at Oxford in
+1671, and London, 1686. He possessed the opposite attributes of being
+the best printer and of having the worst temper of the family, and he
+alienated himself from all his friends and relations; he was confined in
+the Chatelet in Paris, and died there after two years in 1564. Henry
+II., son of Robert I., was born in Paris in 1528; after leaving college
+he travelled on the continent and visited England. He returned to Paris
+in 1552, when his father was leaving for Geneva. In 1554 he started a
+printing-press; in 1566 he published a translation of Herodotus by
+Valla, revised and corrected, defending, in the preface, the Father of
+History against the reproach of credulity. Charles, brother of Robert
+I., established a printing-press in 1551, and died crippled with debts
+in 1564. Robert II., second son of Robert I., was born in 1530, and,
+refusing to adopt the new religion, was disinherited by his father; he
+started a printing-press on his own account when his father retired to
+Geneva, and issued forty-eight books, some of which possessed the mark
+of the Olive; he was the royal printer in 1561, and died in 1575.
+François II., third son of Robert I., printed in Geneva from about 1562
+to 1582. Robert III., elder son of Robert II., died in 1629. Paul, son
+of Henry II., was born in 1566, and, after a brilliant scholastic
+career, travelled on the continent, and started a printing-press at
+Geneva in 1599, where he issued twenty-six editions of the classics
+which were particularly notable for their correctness and notes. He died
+in 1627, and his son Antoine, born 1594, established himself at
+twenty-six years of age as a printer in Paris, reverted to Roman
+Catholicism, was appointed printer to the king and to the clergy, dying
+at the Hotel Dieu in 1674. The number of editions which this celebrated
+family, starting in 1502 and finishing in 1673, issued, reaches the very
+large number of 1590, thus classified: theology, 239; jurisprudence, 79;
+science and arts, 152; belles lettres, 823; and history, 297. Of the
+eleven members of this family, one died in exile, five in misery, one in
+a debtor’s prison, and two in the hospital--“Lecteur, que vous faut-il
+de plus?”
+
+  [Illustration: SIMON DE COLINES.
+
+  S D C
+  S DECOLINES]
+
+  [Illustration: R. ESTIENNE.
+
+  NOLI ALTVM SAPERE.]
+
+  [Illustration: ROBERT ESTIENNE.]
+
+Although in France, as elsewhere, we have to look to the printers of the
+fifteenth century for originality and decorative beauty, some
+exceedingly interesting Marks occur in the sixteenth, and are well worth
+studying. We have only space for the enumeration of a few of the more
+important. Of these, Pierre Vidoue comes well in the first rank. He was
+one of the most distinguished of the early Parisian Greek typographers,
+besides being a person of learning and eminence, and was issuing books
+up to the year 1544; his edition of Aristophanes, 1582, published by
+Gilles De Gourmont, is described as “a singularly curious impression,”
+whilst ten years later he printed Guillaume Postel’s “Linguarum XII.
+characteribus differentium Alphabetum,” which is described by La Caille
+as the “first book printed in oriental character,” a statement, however,
+which is incorrect so far as relates to the Hebrew. He had at least
+three Marks, all more or less similar, in one of which, however, the
+motto “ardentes juvo,” is supplemented by “par sit fortuna labori.” Of
+the six Roffets who were printing or publishing books in Paris during
+the sixteenth century, the most notable is perhaps Pierre, whose name
+frequently occurs in the bookbinding accounts of Francis I.; of their
+seven Marks, nearly all more or less of the same “rustic” character, the
+most decorative is that of Jacques (see p. 30). In their separate ways,
+the Marks of Mathurin Breuille, 1562-83 (p. 33), and Louis Cyaneus,
+1529-46, each possesses a pleasing originality, the latter of which is
+inscribed with the motto “Tecum Habita.” The two Wéchels, André and
+Chrestien, were among the most eminent of the sixteenth century Parisian
+printers, and between them employed over a dozen marks. All those of
+André were variations of one type, namely, two hands holding a caduceus
+between two horns of plenty surmounted by Pegasus. This had also been
+used by Chrestien, of whose other Mark a reproduction is here given, and
+of which there were several variations. Regnault Chaudière’s shop was in
+the Rue St. Jacques, at the sign of “L’homme Sauvage,” which he adopted
+for his Mark: this he appears to have changed for one emblematical of
+Time when he took his son into partnership, and which, Maittaire thinks,
+he may have borrowed of Simon De Colines, whose daughter (and only
+child) he married. We give the largest of the examples used by Guillaume
+Chaudière, 1564-98 on p. 28. Sébastien Nivelle, who was working during
+the latter half of the sixteenth century until the third year of the
+seventeenth century, is a very interesting figure in the typographical
+annals of Paris. He was, at the time of his death at the age of eighty
+years, the _doyen_ of the trade. His books were, for the most part,
+beautifully printed. His shop was in the Rue St. Jacques at the sign of
+the Two Storks, which he adopted for his exceedingly beautiful Mark, the
+four medallions representing scenes of filial piety. His daughter was
+the mother of Sébastien Cramoisy, “typographus regius,” who inherited
+the establishment of his grandfather. Of the somewhat crudely drawn
+Mark--an evident pun on his surname--used in or about 1504, by Guillaume
+Du Puys, the sign of the shop being the Samaritan, a much more
+decorative example was used, in various sizes, by Jacques Du Puys
+(p. 10), who was a bookseller, 1549-91, rather than a printer. Equally
+fine in another way is the tripartite example, given on page 130, used
+by Guillaume Merlin in partnership with Guillaume Desboys and Sébastien
+Nivelle, in 1559, and also with the latter in 1571. The Mark is the
+interpretation of the four lines:
+
+  “Veniet tempus meissionis.
+  Non oderis laboriosa opera.
+  Homo nascitur ad laborem,
+  Vade, piger, ad formicam.”
+
+  [Illustration: P. VIDOUE.
+
+  AVDENTES IVVO
+  P. VIDOVÆ]
+
+  [Illustration: LOUIS CYANEUS.]
+
+  [Illustration: ANDRÉ WÉCHEL.]
+
+  [Illustration: CHRESTIEN WÉCHEL.
+
+  VNICVM ARBVSTV NON ALIT DVOS ERITHAGOS]
+
+  [Illustration: SÉBASTIEN NIVELLE.
+
+  S N
+  HONORA PATREM TVVM, ET MATREM TVAM.
+  VT SIS LONGÆVVS SVPER TERRAM. EXOD. 20.]
+
+On the opposite page we reproduce the Mark Nivelle used for the books
+which he produced alone.
+
+After Paris, the next most important town in France, so far as printers
+and their Marks are concerned, is Lyons. The first book printed in this
+city is presumed to be “Cardinalis Lotharii Tractatus quinque,”
+“Lugduni, Bartholomæus Buyerius,” 1473 (in quarto). The same printer
+also published the first French translation of the Bible, by Julian
+Macho and Pierre Ferget, which was executed between 1473 and 1474, from
+which date the art of printing in Lyons increased by leaps and bounds.
+Panzer notices over 250 works executed (by nearly forty printers) here
+during the quarter of a century which followed. The most notable among
+these is perhaps Josse Bade, to whom we have already referred. The
+former of the two “honestes homes Michelet topie de pymont: & Iaques
+heremberck dalemaigne,” possessed a Mark which may be regarded as one of
+the earliest, if not actually the first, employed at Lyons. Topie and
+Heremberk printed the first edition of the “Chronique Scandaleuse,”
+about 1488, and Breydenbach’s “Voyage à Jerusalem,” of about the same
+period--the latter of which contains the first examples of copper-plate
+engraving in France, the panorama of Venice alone being sixty-four
+inches in length. Contemporary with these, Johannes or Jehan Treschel
+deserves notice not only as an eminent printer, but also as the
+father-in-law of one still more eminent--Bade. Treschel’s illustrated
+edition of Terence, 1493, is described as forming “the most striking and
+artistic work of illustration produced by the early French school.” The
+most generally known of all the Lyonese printers is Etienne Dolet, who,
+born at Orleans in 1509, distinguished himself not only as a printer,
+but as a Latin scholar, a poet, and an orator; he was burnt as an
+atheist in August, 1546. Dolet, as Mr. Chancellor Christie tells us in
+his exhaustive monograph, adopted a Mark and motto which are to be found
+in all or nearly all the productions of his press. The Mark and the
+motto are equally allusive: the former is an axe of the kind known as
+_doloire_, held in a hand which is issuing out of a cloud. Below is a
+portion of a trunk of a tree; it is usually surrounded by the motto,
+“Scabra et impolita ad amussim dolo atque perfolia”; it is often also
+surrounded by an ornamental woodcut border, as in the accompanying
+illustration; and in some cases the words “scabra dolo” are printed on
+the axe.
+
+  [Illustration: MERLIN, DESBOYS AND NIVELLE.
+
+  HOMO NASCITVR AD LABOREM
+  VADE PIGER AD FORMICAM
+  PROVENIET TEMPVS MESSIONIS
+  NON ODERIS LABORIOSA OPERA]
+
+  [Illustration: M. TOPIE.]
+
+  [Illustration: J. TRESCHEL.
+
+  I T]
+
+  [Illustration: E. DOLET.]
+
+Two contemporary Lyonese firms of printers, the De Tournes and De la
+Portes, appear to have rivalled one another in the number of their
+Marks. Jean De Tournes, 1542-50, himself had no less than eleven Marks,
+several of which are exceedingly graceful, one of the largest and best
+of which represents a sower, and serves as an excellent pendant to the
+reaper of Jacques Roffet, both of which appear in our first chapter. The
+seven or eight members of the De la Porte family used at least half a
+score Marks between them. The family, beginning with Aymé De la Porte in
+the last decade of the fifteenth century, and ending with Sibylle De la
+Porte, were in business first as printers, then as booksellers, for just
+a century; and the punning device apparently originated, not with the
+first member of the family, but with Jehan, who started a business in
+Paris about 1508, and in his Mark the shield bears a castellated
+doorway; the picture of the biblical Samson carrying off the gates was
+apparently first used by Hugues De la Porte, who was a bookseller at
+Lyons from 1530; this was superseded for the more pictorial and
+considerably smaller example, here given, when he entered into
+partnership with Antoine Vincent about 1559. Although the Du Prés were
+Parisian printers, Jehan of that family issued several books at Lyons
+during the last few years of the fifteenth century, and one of his three
+Marks is given on p. 108. Sébastien Gryphe, or Gryphius, who printed and
+published a large number of works during the second quarter of the
+sixteenth century, was also extravagant in the way of Marks, of which
+there are at least eight, all, however, of one common type--the Griffin,
+sometimes quite without any sort of decorative attributes or motto, and
+sometimes as in the example here given.
+
+  [Illustration: HUGUES DE LA PORTE AND A. VINCENT.
+
+  LIBERTATEM MEAM MECVM PORTO
+  VINCENTI]
+
+  [Illustration: SÉBASTIEN GRYPHE.]
+
+  [Illustration: JACQUES COLOMIES.
+
+  I C
+  IACQVES COLOMIES]
+
+So far as regards the French cities and towns, we have only space to
+refer briefly to a few of the more important. After Paris and Lyons,
+Toulouse was one of the earliest places in France in which
+a printing-press was set up. Although not the first, Jacques Colomies
+was one of the first, as he was one of the most prolific of the early
+printers of Toulouse, working from 1530 to 1572. Printing was
+established at Caen in 1480; but Pierre Chandelier, whose punning Mark
+we give, did not start work until eighty years after its first
+introduction. A punning device (p. 7), also is that of Jehan Lecoq, who
+was printing at Troyes from about 1509 to 1530. The only Rouen printer
+to whom we shall refer is Martin Morin, who appears to have been at work
+here as a printer from about 1484 to 1518, and of his Marks we give one
+example; another is formed of a large initial M, decorated with a
+variety of grotesque heads, with the surname Morin on the two central
+strokes of the letter.
+
+  [Illustration: M. MORIN.
+
+  M M
+  IMPRIME A ROVEN DEVANT SAINCT LO]
+
+  [Illustration: PIERRE LE CHANDELIER.
+
+  LVCERNIS ACCENSIS FIDELITER MINISTRO.]
+
+
+
+
+  [Decoration]
+
+PRINTERS’ MARKS OF GERMANY AND SWITZERLAND.
+
+
+  [Illustration: JACOBI THANNER.
+
+  i t]
+
+Although the early history of the Printer’s Mark in Germany is neither
+extensive in variety nor startling in surprises, there are still very
+many features of general interest. And if the Printer’s Mark, as we have
+already seen, had its origin in Mainz, its development is certainly due
+to the Strassburg craftsmen. As no other city in Germany can show such a
+varied collection of beautiful Marks, examples of the Strasburg printers
+will preponderate in this chapter. It is now generally accepted that the
+art of printing was carried on in Strassburg (Argentina, Argent-oratum),
+either in 1459 or 1460, by Johan Mentelin, who appears to have continued
+in the business until 1476; and about six years after he had started,
+Heinrich Eggestein commenced, and continued until about 1478. Accepting
+the arrangement of Herr Paul Heitz and Dr. Karl August Barack in their
+very elaborate “Elsässische Büchermarken bis Anfang des 18.
+Jahrhunderts,” the first Strasburg printer to use a Mark was Johann
+Grüninger, who, after working at Basel for a year or two, took up his
+residence in Strassburg at the end of 1482. One of his first Marks
+appeared in Brant’s “Narrenschiff,” 1494, and of this our example is an
+elaboration. By the year 1525 he employed no less than five distinct
+examples, the last of which, in Ptolemæus, “Geographicæ Enarrationes,”
+1525, differs completely from all the others, the single letter G
+occupying the centre of the masonic compass and rule. Grüninger, it may
+be noted, was the printer of “Cosmographie Introductio,” 1509; the
+second edition of the famous book in which the name America was proposed
+and used for the first time. He is further noted for the number of
+misprints which occur in the books issued by him. The last book which
+bears his imprint is apparently “Geberi philosophi ac alchimistæ maximi,
+de Alchimia, libri tres,” March, 1529. Martin Schott’s distinct device
+is found in at least three books of the date 1498, including Matheolus’
+“Ars memorativa,” and was used by him until 1517. It was also used by
+his son, Johann Schott, about 1541, the same printer using seven or
+eight other Marks, all more or less distinct, at different periods. The
+first book bearing Martin Schott’s name is dated 1491, and he continued
+printing until 1499; while his son was in business from 1500 to 1545.
+Equally distinct is the accompanying example--one of several--used by
+Johann Knoblouch, which is found in the majority of the books printed by
+him from about 1521 to 1526, notably several works by Erasmus (_e.g._
+“Moriæ Encomium,” 1522, and the “Novum Testamentum,” 1523). The father
+started in 1497, and was succeeded by his son, who continued the
+business until 1558. The Mark, it may be mentioned, is a somewhat
+atrocious pun on the owner’s name, which is the German for “garlic,”
+with the seed pods of which the figure emblematically representing
+Ignorance ascending from darkness into light is encircled; this Mark is
+generally surrounded by mottoes in Greek, Hebrew, and Latin.
+
+  [Illustration: JOHANN GRÜNINGER.
+
+  IOHANNES. SANTVS]
+
+  [Illustration: MARTIN SCHOTT.
+
+  M S]
+
+  [Illustration: JOHANN KNOBLOUCH.]
+
+  [Illustration: REINHARD BECK.]
+
+  [Illustration: REINHARD BECK.
+
+  RB]
+
+Although Reinhard, or Renatus, Beck was only in business for about
+eleven years, 1511-1522, he had several Marks, which differed chiefly in
+their extraneous ornament, as will be seen from the accompanying
+examples. Two books, _sine nota_, which Mr. Quaritch assigns to Beck’s
+press, of the date 1490, are remarkable for the large number of woodcuts
+which they contain, relating principally to plants, animals, gardening
+operations, rural architecture, so that the Mark of “ein wilder Mann” is
+so far in keeping with the nature of his publications. Fourteen or
+fifteen Marks, several of which are only variations of one type, have
+been identified as having been used by Wolfgang Köpfel (whose surname
+sometimes appears in its Greek translation of Cephalæus) between 1522
+and 1554: the most remarkable, of which we give a reproduction, appears
+to have been used very rarely, notably in “Zehn Sermones” of Luther,
+1523; a much commoner type is the smaller example, which appeared in
+various books issued between 1526-1554. Georg Ullricher von Andlau,
+1529-36, confined himself to one type (see p. 1), that of the Cornucopia
+or Horn of Plenty, of which there are seven variants. The more elaborate
+of the two Marks of Matthias Biener, or Apiarius, 1533-36, appears in
+Oecolampadius’ “Commentarius” on the Prophet Ezekiel, 1534, and is an
+evident pun on the printer’s surname. Several of the dozen Marks used by
+Craft Müller, or Crato Mylius, 1536-62, are exceedingly bold and
+picturesque, although, with the exception of the Ceres, they are all
+variants of the leonine type: the Ceres was apparently used only in his
+first book, “Auslegung oder Postilla des heil. Zmaragdi,” 1536.
+
+  [Illustration: WOLFGANG KÖPFEL.
+
+  ESTAS HYEMS
+  PROPE LONGE
+  MORS ET VITA]
+
+  [Illustration: WOLFGANG KÖPFEL.]
+
+  [Illustration: CRAFT MÜLLER (CRATO MYLIUS).
+
+  Hostibus haud tergo, sed forti pectore notus.]
+
+  [Illustration: MATTHIAS BIENER (APIARIUS).
+
+  Ερευνᾶτε τὰς γραφάς, οτι ἐμ ἀυταῖς
+  ζωὴμ ἀιώνιομ ἔχετε. Ioan. 5.
+
+  Vrsus insidians & esuriens, princeps impius super
+  populum pauperem. Thre. 3. Prouerb. 28.
+
+  Quam dulcia faucibus meis eloquia tua,
+  super mel ori meo. Psal. 118.
+
+  Omnia probate, quod bonum
+  fuerit tenete. 1. Thess. 5.]
+
+  [Illustration: CRAFT MÜLLER.
+
+  Alma Spicifera Flaua
+  CERES.
+  Ni purges & molas non comedes.]
+
+  [Illustration: THEODOSIUS RIHEL, JOSIAS RIHEL (UND DEREN ERBEN).]
+
+Wendelin Rihel was the founder of one of the longest-lived dynasties of
+Strassburg printers, who were issuing books from 1535 to 1639; their
+eighteen Marks have all the same subject, a winged figure of Sophrosyne,
+holding in one hand a rule, and in the other a bridle and halter. Of
+Thiebold Berger, who appears to have been in business from 1551-1584,
+very little is known, either of his books or his personality; his Mark
+is, however, pretty, and unique, so far as Strassburg is concerned.
+Lazarus Zetzner and his successors, whose works date from 1586 to 1648,
+and whose Marks number nearly thirty, all variants of the example here
+given: it is a bust of Minerva supported on a short square pedestal, on
+which is inscribed the words “Scientia immutabilis.” This family printed
+a large number of works, from a Lutheran Bible to Aretini’s “Historiæ
+Florentinæ.” As an example of a rare and distinct Mark we give one of
+two employed by Conrad Scher, 1603-31, which was subsequently used by
+Johannes Reppius, also of Strassburg. Curiosity is the only feature of
+the solitary example of David Hauth, 1635.
+
+  [Illustration: LAZARUS ZETZNER.
+
+  SCIENTIA IMMUTABILIS]
+
+  [Illustration: THIEBOLD BERGER.
+
+  TIMETE DOMINVM OMNES SANCTI EIVS QVONIAM NON EST INOPIA
+    TIMENTIBVS EVM. PS:34]
+
+  [Illustration: CONRAD SCHER.
+
+  Prudentia Firma Et Simplex Spes]
+
+  [Illustration: DAVID HAUTH.]
+
+  [Illustration: J. R. DULSSECKER.
+
+  DOMINUS PROVIDEBIT]
+
+But of all the Strassburg printers, there can be no doubt that, from a
+strictly pictorial point of view, the Marks of Johann Reinhold
+Dulssecker, 1696-1737, are by far the most beautiful. Indeed, in many
+respects they are the most charming examples to be found among the
+devices of any time or country. In some instances they partake much more
+of the character of a vignette than a tradesman’s mark. His earliest
+device is composed of his monogram; and his first decorative Mark is the
+very beautiful little picture of an English garden, in the central
+pathway of which occurs his initials. This Mark appears to have been
+used in only one book, “M. Fabii Quinctiliani Declamationes ... ex
+recensione Ulrici Obrechti,” 1698. A type of Mark very frequently used
+by him occurs in Schilter’s “Scriptores Rerum Germanicarum,” 1702, with
+his motto of “Dominus providebit,” and of this Mark we give an
+excessively rare variant on p. 47. He had eleven Marks, his list
+includes books of all kinds, in Latin, German, and French.
+
+  [Illustration: JOHANN REINHOLD DULSSECKER.
+
+  FOECUNDANTE DEO IN VARIOS PRODUCIMUR USUS]
+
+Of the other Alsatian printers we have only room to refer to two
+examples. Thomas Anshelm (or Anshelmi Badensis) is perhaps the most
+eminent of the early Hagenau printers, his books dating from 1488 to
+1522, the earliest of which, however, were not printed at this place.
+His Marks all carry the initials T A B, the Hebrew letters in the
+accompanying example representing the name Jehovah; in his most elegant
+Mark the same word is supported on a scroll by a cherub, whilst another
+cherub is supporting a second scroll on which is inscribed the word
+Jesus in Greek characters. The style and workmanship of this woodcut
+suggest the hand of Hans Schaufelein, and it is worth noting that in
+1516 Anshelm produced “Doctrina Vita et Passio Jesu Christi,” some of
+the illustrations of which were by Schaufelein. Anshelm issued a large
+number of books, including the works of Pliny, Melancthon, Erasmus,
+Cicero, etc. Valentin Kobian, 1532-42, inserted an exceedingly original
+and striking Mark in the edition of Erasmus’ “Heroicum Carmen,” 1536,
+the Peacock with one foot on a Cock and the other on a crouching Lion
+being highly effective.
+
+  [Illustration: THOMAS ANSHELM.
+
+  [[Hebrew]]  יהוה ש
+  T A B]
+
+    [Transcriber’s Note:
+    The superfluous word “Hebrew” was included to keep the text
+    display from misbehaving.]
+
+  [Illustration: VALENTIN KOBIAN.
+
+  Anno M.D.  XXXVI.
+  mens:      Septem:
+
+  Non Aquilæ grandi sociatum turgide Pauum
+  ’ Galle premes tecum mox Leo uictus erit]
+
+  [Illustration: A. THER HOERNEN.
+
+  ¶ Explicit presens vocabulorum
+  materia. a perdocto eloquentissimo
+  [que] viro. dño Gherardo de schueren
+  Cãcellario Illustrissimi ducis Cli
+  uensis ex diuersorum terministar[um]
+  voluminibus contexta. propriis[que]
+  eiusdem manibus labore ingenti cõ
+  scripta ac correcta Colonie per me
+  Arnoldũ ther hoenẽ diligentissime
+  impressa. finita sub annis domini.
+  M.cccc.lxxvij. die vltimo mensis
+  maij. De quo cristo marie filio sit
+  laus et gloria per seculorum secula
+  Amen.]
+
+Printing had not established itself at Cologne until four years later
+than at Strassburg. Ulric Zell, at the dispersal of the Mainz printers,
+settled himself in this city, where he was printing from about 1463 to
+nearly the end of the fifteenth century. He was clearly not an
+innovator, for he never printed a book in German, and did not adopt any
+of the improvements of his _confrères_ who had settled themselves in
+Italy; he “rigidly adhered to the severe style of Schoeffer, printing
+all his books from three sizes of a rude face of a round gothic type.”
+It is not to him therefore that we can look for anything in the way of
+Printers’ Marks, the earliest Cologne printer to adopt which was
+apparently Arnold Ther Hoernen, whose colophons, of which we give an
+example, were often printed in red. His Mark is a triangle of which the
+two upright sides are prolonged with a crosslet; in the centre a star,
+and on either side the gothic letters T H, the whole being on a very
+small shield hanging from a broken stump. Herman Bumgart, one of whose
+books bears the subscription “Gedruckt in Coelne up den Alden Mart tzo
+dem wilden manne,” and who was in Cologne at the latter end of the
+fifteenth century, has a special interest to us from the probability
+that he was in some way connected with the early Scottish printers.
+
+  [Illustration: HERMAN BUMGART.
+
+  Impressu[m] Colonie sup[er] antiquũ for[um] in Siluestri viro.]
+
+Once started, the idea of the Mark was quickly taken up. Johann
+Koelhoff, 1470-1500, the first printer to use printed signatures (in his
+edition of Nyder, “Preceptorium divinæ legis,” 1472), came out with a
+large but roughly drawn example, the arms of Cologne, consisting of a
+knight’s helmet, with peacock feathers, crest, and elaborate mantles,
+surmounting a shield with the three crowns in chief, the rest of the
+escutcheon blank, and rabbits in the foreground. Koelhoff (who describes
+himself “de Lubeck”) was the printer of the “Cologne Chronicle,” 1499,
+and of an edition of “Bartholomæus de Proprietatibus Rerum,” 1481.
+Several interesting Cologne Marks of the first years of the sixteenth
+century may be noted. For instance, Eucharius Cervicornus, 1517-36, used
+a caduceus on an ornamented shield, and printed among other books what
+is believed to be the earliest edition of Maximilianus Transylvanus’ “De
+Moluccis Insulis,” 1523, in which the discoveries of Ferdinand Magellan
+and the earliest circumnavigation of the globe were announced. Like
+Koelhoff, Nicolas Cæsar, or Kaiser, who was established as a printer at
+Cologne in 1518, used the Cologne arms as a Mark, which is sufficiently
+distinct from the earlier example to be quoted here. Johann Soter,
+1518-36, is another exceedingly interesting personality in the early
+history of Cologne printing. We give the more elaborate of the two marks
+used by him and reproduced by Berjeau: the shield contains the
+Rosicrucian triple triangle on the threshold of a Renaissance door.
+During the latter end of his career at Cologne, Soter had also an
+establishment at Solingen, where he printed “several works of a
+description which rendered too hazardous their publication in the former
+city.” Arnold Birckmann and his successors, 1562-92, used the
+accompanying Mark of a hen under a tree. After Günther Zainer, 1468-77,
+who introduced printing into Augsburg, the most notable typographer of
+this city is perhaps Erhart Ratdolt, to whom reference is made in the
+chapter on Italian Marks. We give the rather striking Mark--a white
+_fleur-de-lis_ on black ground springing from a globe--of Erhart Oglin,
+Augsburg, 1505-16, one of whose productions, by Conrad Reitter, 1508, is
+remarkable as having a series of Death-Dance pictures; Hans Holbein was
+eight years of age when it appeared, and was then living in his native
+town of Augsburg.
+
+  [Illustration: JOHANN KOELHOFF.
+
+  i k]
+
+  [Illustration: NICHOLAS CÆSAR.]
+
+  [Illustration: J. SOTER.
+
+  Του Σωτῆρος]
+
+  [Illustration: ARNOLD BIRCKMANN.
+
+  VTILIA SEMPER NOVA SAEPIVS PROFERO]
+
+For typographical purposes Switzerland may be regarded as an integral
+portion of Germany, and it was to Basle that Berthold Rodt of Hanau, one
+of Fust’s workmen, is assumed to have brought the art about the year
+1467. One of the first Basle printers to adopt a Mark was Jacobus De
+Pfortzheim, 1488-1518, who used two very distinct examples, of which we
+give the more spirited, the left shield carrying the arms of the city in
+which he was working. It appears for the first time in “Grammatica
+P. Francisci nigri A. Veneti sacerdoti oratoris,” etc., 1500. The second
+Mark is emblematical of the Swiss warrior. The most eminent of the Basle
+printers was however Johann Froben, 1490-1527, who numbered among his
+“readers” such men as Wolfgang Lachner, Heiland, Musculus,
+Oecolampadius, and Erasmus. Very few, if any, German works were printed
+by him; the first edition of the New Testament in Greek was printed by
+him in 1516, Erasmus being the editor. Froben’s device (to which lengthy
+reference has already been made, and into a discussion of the extremely
+numerous variants of which we need not enter here) led Erasmus to think
+that his learned friend did indeed unite the wisdom of the serpent to
+the simplicity of the dove (see p. 43). Two other early Basle printers,
+Michael Furter, 1490-1517, and Nicholas Lamparter, 1505-19, used Marks
+one shield of each of which carried the arms of Basle. Henricpetri was a
+celebrated printer of Basle, 1523-78, and had a Mark of quite a unique
+character, representing Thor’s hammer, held by a hand issuing from the
+clouds, striking fire on the rock, while a head, symbolizing wind, blows
+upon it. To yet another distinguished Basle printer, Cratander,
+reference is made, and his Mark given, in the second chapter.
+
+  [Illustration: ERHARD OGLIN.
+
+  E O]
+
+  [Illustration: JACOBUS DE PFORTZHEIM.]
+
+  [Illustration: HENRICPETRI.]
+
+  [Illustration: WILHELM MORITZ ENDTER’S DAUGHTER.
+
+  OMNIA LVSTRAT]
+
+The most famous, as he was one of the earliest, if not actually the
+first, printers of Nuremberg, or Nürnberg, Anthony Koberger, does not
+appear to have used a Mark. Indeed, the Printers’ Marks of Nürnberg
+generally do not make anything like so good a show as those of Cologne
+and other large German cities. The earliest Mark of all is probably that
+of Wilhelm Moritz Endter’s daughter, which represents a rocky landscape,
+with a town in the background lighted by the sun. Endter’s books, it may
+be mentioned, are excessively rare. A much better known printer of this
+place is Johann Weissenburger, who started here in 1503, and continued
+until 1513, when he removed to Landshut, and remained there until 1531.
+He used the accompanying Mark at both places,--the precise signification
+of the letters H H on one side of the globe is not known. Mr. Quaritch
+describes a book of Jacobus Locher, published by this printer in 1506,
+which is remarkable as containing a number of woodcuts “which, in their
+style and spirit, draw the book into close connexion with the ‘Ship of
+Fools.’”
+
+  [Illustration: J. WEISSENBURGER.]
+
+  [Illustration: MELCHIOR LOTTER.
+
+  M L]
+
+  [Illustration: V. SCHUMANN.
+
+  V S
+  L D]
+
+Several of the Marks of the early printers of Leipzig, into which
+printing was introduced in 1480, are of great interest and possess quite
+a character of their own. One of the earliest, for example, is that of
+Melchior Lotter, who issued a large number of books from 1491 to 1536.
+The word “Lotter” is equivalent to “vagabond” in English, and the Mark
+herewith consists of an emblem of a mendicant in a half-suppliant
+posture. Melchior Lotter junior was printing at Wittenberg from 1520 to
+1524, where he printed anonymously the first edition of Luther’s Bible,
+with illustrations by Lucas Cranach, 1522, which an enthusiastic
+bibliopole has described as “one of the great works of the world.”
+Valentin Schumann, 1502-34 (and probably much later), is another eminent
+Leipzig printer, being the first to attempt printing in Hebrew
+characters in a Hebrew grammar, 1520. The initials L D on his Mark are
+taken to signify “Lipsiensis Demander” or Damander, a rude Latinization
+of Schumann which he sometimes used. Sufficiently quaint also is the
+Mark of Jacobus Thanner, 1501-21, which forms the initial to the present
+chapter. By 1500 printing had reached to Olmütz, where Conrad Baumgarten
+was issuing until 1502 works chiefly levelled against the Church of
+Rome; from 1503 to 1505 the same printer had established himself in
+Breslau, which he again changed for Frankfort-am-Oder, 1507-14, removing
+again in the latter year to Leipzig. The W on one of the shields of his
+Mark is the initial of Wratislau, the Polish name of Breslau, and the
+female saint on the other shows the arms of the town. It appears to be
+uncertain whether printing was introduced into Frankfort-am-Main in 1511
+or 1530; but the only Mark which we need quote is that of Johann
+Feyrabendt, whose chief interest to posterity lies in the fact that he
+printed Jost Ammon’s “Künstliche wohlgerissene neu Figuren von allerley
+Jagtkunst,” 1592: his Mark is emblematical of Fame, winged, blowing a
+German horn, and enclosed in a cartouche. Andreas Wechel was printing at
+Frankfort from 1573 to 1581, his Mark being the well-known one of the
+Pegasus. Although Jacob Stadelberger, Heidelberg, was not by any means
+an eminent printer, his Mark is well worthy of note: it consists of
+three shields, the right of which bears the arms of Bavaria, the left a
+lion rampant, the arms of Heidelberg, and that of the middle is supposed
+to represent the arms of Zurich.
+
+  [Illustration: CONRAD BAUMGARTEN.
+
+  W]
+
+  [Illustration: J. FEYRABEND.]
+
+  [Illustration: L. GUERBIN.
+
+  L C]
+
+  [Illustration: JACOB STADELBERGER.]
+
+Adam Steinschawer is said to be the printer of the first book issued at
+Geneva, in 1479; soon after him came Guerbin, 1482, whose Mark we give
+after Bouchot. From about 1537 to 1554 Jehan Girard, or Gerard, was busy
+printing books here; the Mark herewith comes from one of Calvin’s books,
+1545, the Latin motto being anglicized thus: “I came not to send peace,
+but a sword,” a very proper motto indeed for such an author. Girard used
+three other Marks of this type. The position of Geneva in literature is
+French rather than German, and this also holds good with regard to its
+typographical annals. The accompanying Mark of Jean Rivery, Geneva,
+1556-64, is distinct of its kind, and is the smaller of the two examples
+used by this printer; in the larger one, the same motto appears, but in
+roman type, not italic; there are also only two trees, both nearly
+leafless; the hand holding an axe occurs in both examples. Many French
+printers, for various reasons, and at different times, “retired” to
+Geneva, as, for example, the Estiennes; the Marks of several
+Franco-Genevan printers therefore will be found dealt with in the
+previous chapter. Although printing appears to have been introduced into
+Zurich in 1508, books executed at this place prior to 1523 are
+excessively rare. Christopherus Froschover, 1523-48, was by far the most
+eminent and prolific of the early Zurich printers; to him has been
+attributed the production of the first English Bible. His Mark is a
+punning one, _Frosch_ being German for “frog;” it is emblematical of a
+gigantic frog ridden by a child under a tree, the “larger growth” being
+surrounded by several of the normal size. Of other Swiss printers whose
+Marks we reproduce, but to whom we can make no further reference, are
+Nicolas Brylinger, Basle, 1536-65 (the accompanying example is taken
+from the title-page of “Pantalonis Henrici, Prosopographiæ Heroum atque
+illustrium Virorum totius Germaniæ,” 1565, a folio of three volumes,
+full of fancifully drawn portraits, the same portrait being often used
+for several men), and F. Le Preux, of Lausanne, Morges, and Berne.
+
+  [Illustration: JEHAN GIRARD.
+
+  NON VENI PACEM MITTERE SED GLADIVM.]
+
+  [Illustration: J. RIVERY.
+
+  La coignée est ia mise à la racine des arbres:
+  parquoy tout arbre qui ne fait pas bon
+  fruit, sera couppé & ietté au feu, Mat. III.
+
+  LA COIGNEE EST MISE A LA RACINE DES ARBRES PARQVOV LARBRE
+    QUI NE PORTE CERA COPE]
+
+  [Illustration: C. FROSCHOVER.
+
+  CRISTOF FROSCHOWER ZV ZVRIC]
+
+  [Illustration: N. BRYLINGER.]
+
+  [Illustration: F. LE PREUX.]
+
+
+
+
+  [Decoration]
+
+SOME DUTCH AND FLEMISH PRINTERS’ MARKS.
+
+
+  [Illustration: J. VELDENER.
+
+  velde]
+
+The introduction of the art of printing into the Low Countries, and the
+rival claim of Coster and Gutenberg, have proved a highly fruitful
+source of literary quarrels and disputations. It is not worth our while
+to enter, even briefly, into the merits of the arguments either for or
+against; and it will suffice for our present purpose to regard Johann
+Veldener, 1473-7, as the first printer. He was probably a pupil of Ulric
+Zell, and, like many others of the early Netherland printers, he does
+not appear to have remained long at one place. For example, he was at
+Louvain from 1473-7, at Utrecht 1478-81, and at Culemberg, 1482-4. His
+only Mark appears to be that given herewith, in which his name in an
+abbreviated form occurs between the two shields, on the right one of
+which appears the arms of Louvain. His most notable publications were
+two quarto editions of the “Speculum” in the Dutch language, one of
+which contained 116 and the other 128 illustrations, “printed from the
+woodcuts that had been previously used in the four notable editions; to
+make these broad woodcuts, which had been designed for pages in folio,
+Veldener cut away the architectural framework surrounding each
+illustration and then sawed each block in two pieces.” He received from
+the University the honorary title of Master of Printing, an honour which
+was also conferred on his more distinguished contemporary, Johann of
+Westphalia, 1474-96, for whom in fact is claimed the priority of the
+introduction of printing into Louvain. The first of the large number of
+books produced by the latter is by Petrus de Crescentiis, “Incipit liber
+ruraliũ cõmodorũ,” 1474, its colophon being printed in red. The
+accompanying exceedingly curious “souscription,” with portrait of the
+printer, is given from Lambinet’s “Recherches.” Thierry Martens, or
+Mertens, or Martin d’Alost (Theodoricus Martinus), may be regarded
+either as an early printer of Louvain, Antwerp, or Alost, for it is
+stated that he had presses working simultaneously at the three places;
+but Alost has the first claims, and it is said that he was printing here
+in 1473, although as a matter of fact he was only twenty years of age at
+this period. He was a distinguished scholar, and the friend of Barland
+and Erasmus, the latter making the following reference to the
+accompanying Mark, “l’ancre sacrée,” in the epitaph he wrote as a
+memorial of his friend:
+
+  “Hic Theodoricus jaceo, prognatus Alosto:
+    Ars erat impressis scripta referre typis.
+  Fratribus, uxori, soboli, notisque superstes,
+    Octavam vegetus præterii decadem.
+  Anchora sacra manet, gratæ notissima pubi:
+    Christe! precor nunc sis anchora sacra mihi.”
+
+  [Illustration: JOHANN OF WESTPHALIA.
+
+  Et ego Johannes     prenotatus alma in
+  universitate Lova-  niesi residens dig-
+  num duxi opus hoc   insigne immensis
+  ferme tam labori-   bus quam impensis
+  ad finem usque      perductum meo so-
+  lito signo consig-  nando huius in ca-
+  pite libri palam    fieri.]
+
+  [Illustration: THEODORIC MARTENS.
+
+  THEODO. MARTIN. EXCVDEBAT.]
+
+  [Illustration: COLARD MANSION.
+
+  Fait et jmprime
+  a bruges par colard
+  mansion lan et jour
+  dessusdis]
+
+Colard Mansion, 1474-84, the first printer who worked at Bruges, for an
+exhaustive account of whose connection with William Caxton the reader is
+referred to Mr. Blades’s monograph, used several Marks, printed in red
+and black, and similar to the example here given.
+
+In many respects the “Clercs ou Frères de la vie Commune” (Fratres vitæ
+communis), who were printing at Brussels from 1476 to 1487, form one of
+the most interesting features in the early history of printing in the
+Low Countries. The types which they used resemble very much those of
+Arnold Ther Hoernen, Cologne; and the only book, “diligentia impresse in
+famosa civitate Bruxellen,” to which they put their name, is entitled
+“Legendæ Sanctorum Henrici Imperatoris et Kunegundis Imperatricis,”
+etc., 1484, and this is their only illustrated book. “Their productions
+illustrate the stage of transition between the ancient scribe and
+printer by showing how naturally one succeeded to the other.” A full
+bibliographical account of the Brothers will be found in M. Madden’s
+“Lettres d’un Bibliophile.” The Mark here given is reproduced from the
+above-named work: it consists of an Eagle crowned and displayed,
+supporting a shield with the arms of Brabant quarterly, with river in
+bend, and star. The first Deventer printer was Richard Paffroed (the
+surname has about thirty variations) in 1477, who was either a pupil of
+Ulric Zell or Ther Hoernen, and who continued there until the first year
+of the sixteenth century, and was apparently succeeded by his youngest
+son Albertus, who was printing there up to about 1530, and whose Mark we
+give.
+
+  [Illustration: THE BROTHERS OF COMMON LIFE.
+
+  D vlieghende Eler zeer hoeghelike
+  Metter wapene me ghi hier tuent
+  Van linte hewpe keyserlike
+  Daer ghi uv met sijt ghenvent]
+
+  [Illustration: ALBERTUS PAFFRAEJ.
+
+  A P
+  ALBERTVS PAFFRAEJ]
+
+So far as Gouda is concerned, Gheraert or Gerard Leeu and early printing
+are synonymous. He was a native of this place, and established himself
+here as a printer in 1477 and continued up to 1484, when he removed his
+presses to Antwerp, where he was printing until the year of his death,
+1493. His “Dialogus Creaturarum,” the first edition of which appeared in
+1480, had run into over a dozen editions, in Latin or Dutch, by the
+first year of the sixteenth century. Whilst at Gouda Leeu used several
+marks, of which the smaller, given on p. 39, was printed in red and
+black; at Antwerp he used a much more ambitious example, consisting of
+the arms of the Castle of Antwerp: a battlement and a turreted gate,
+with two smaller ones on either side; the two large flags bear the arms
+of the German Empire and of the Archduke Maximilian of Austria. Nicolas
+Leeu, who was printing at Antwerp in 1487-8, was possibly the brother of
+the more famous typographer, and his Mark consists of the lion (a pun on
+his surname, which is equivalent to lion) in a Gothic window holding two
+shields, with the arms of Antwerp on the left and the monogram of
+Gheraert Leeu on the right. Like Leeu and so many of the other early
+Dutch printers, the first Delft typographer, Jacob Jacobzoon Van der
+Meer, 1477-87, employed the arms of the town in which he printed on his
+Mark, the right shield in the present instance carrying three water-lily
+leaves. In 1477 he issued an edition of the Dutch Bible, and three years
+later the first edition of the Psalter, “Die Duytsche Souter,” which had
+been omitted from the Bible. The only other Delft printer to whom we
+need refer is Christian Snellaert, 1495-7, the only book to which he has
+placed both his name and his Mark being “Theobaldus Physiologus de
+naturis duodecim animalium,” 1495. His most remarkable production,
+however, is a “Missale secundum Ordinarium Trajactense,” issued about
+1497; this Mark, given on p. 35, was also used by Henri Eckert van
+Hombergh, who was printing at Antwerp from 1500 to 1519: the shield
+carries the arms of Antwerp; in the arms of Snellaert this shield is
+blank, and this constitutes the only difference between the two Marks.
+
+  [Illustration: GERARD LEEU.]
+
+  [Illustration: JACOB JACOBZOON VAN DER MEER.
+
+  delf in hollant]
+
+  [Illustration: MATHIAS VAN DER GOES.]
+
+  [Illustration: R. VAN DEN DORP.]
+
+  [Illustration: G. BACK.
+
+  G B]
+
+If it could be proved that “Het boeck van Tondalus visioen” was, as has
+been stated, printed at Antwerp in 1472, by Mathias Van der Goes, the
+claim of Antwerp to be regarded as the first place in the Low Countries
+in which printing was introduced would be irrefutable. Unfortunately
+there is very little doubt but that the date is an error, although Goes
+is still rightly regarded as having introduced printing into Antwerp,
+where he was issuing books from 1482 to about 1494 in Dutch and Latin.
+He had two large Marks, one of which was a ship, apparently emblematical
+of Progress or commercial enterprise, and the other, a savage
+brandishing a club and bearing arms of Brabant,--the latter, from
+“Sermones Quatuor Novissimorum,” 1487, is here given. Rolant Van den
+Dorp, 1494-1500, whose chief claim to fame is that he printed the
+“Cronyke van Brabant,” folio, Antwerp, 1497, had as his most ambitious
+Mark a charming picture of Roland blowing his horn; on one of the
+shields (suspended from the branch of a tree) is the arms of Antwerp,
+which he sometimes used separately as his device. Contemporaneously with
+Van den Dorp, 1493-1500, we have Godefroy Back, a binder who, on
+November 19, 1492, married the widow of Van der Goes, and continued the
+printing-office of his predecessor. His house was called the Vogehuis,
+and had for its sign the Birdcage, which he adopted as his Mark; this he
+modified several times, notably in 1496, when the monogram of Van der
+Goes was replaced by his own. In the accompanying example (apparently
+broken during the printing) the letter M is surmounted by the Burgundy
+device--a wand upholding a St. Andrew’s cross. We give also a small
+example of the two other Marks used by this printer. Arnoldus Cæsaris,
+l’Empereur, or De Keysere, according as his name happened to be spelt in
+Latin, French, or Flemish, is another of the early Antwerp printers
+whose mark is sufficiently distinct to merit insertion here. His first
+book is dated 1480, “Hermanni de Petra Sermones super orationem
+dominicam.” Michael Hellenius, 1514-36, is a printer of this city who
+has a special interest to Englishmen from the fact that “in 1531 he
+printed at Antwerp an anti-Protestant work for Henry Pepwell, who could
+find no printer in London with sufficient courage to undertake it.”
+Hellenius’ Mark is emblematical of Time, in which the figure is standing
+on clouds, with a sickle in one hand and a serpent coiled in a circle on
+the left. The Mark of Jan Steels, Antwerp (p. 19), 1533-75, is regarded
+by some bibliographers as the emblem of an altar, but “from the entire
+absence of any ritual accessories, and the introduction of incongruous
+figures (which no mediæval artist would have thought of representing),
+it would appear to be merely a stone table.” Jacobus Bellaert, 1483-86,
+was the first Haarlem printer, one of his earliest works being “Dat
+liden ende die passie ons Heeren Jesu Christi,” which is dated December
+10, 1483. Bellaert’s name does not appear in it, but his Mark at the end
+permits of an easy identification, it being the same as that which
+appears in his Dutch edition of “Glanvilla de Proprietatibus Rerum,”
+1485: the arms above the Griffin are those of the city of Haarlem. One
+of the most famous printing localities of the Low Countries was Leyden
+(Lugdunum Batavorum), where the art was practised so early as 1483,
+Heynricus Henrici, 1483-4, being one of the earliest, his Mark carrying
+two shields, one of which bears the cross keys of Leyden. The Pelican is
+an exceedingly rare element in Dutch and Flemish Printers’ Marks, one of
+the very few exceptions being that of J. Destresius, Ypres, 1553, the
+motto on the border reading “Sine sanguinis effusione non fit remissio.”
+
+  [Illustration: GODEFROY BACK.]
+
+  [Illustration: A. CÆSARIS.]
+
+  [Illustration: MICHAEL HILLENIUS.
+
+  TEMPVS.]
+
+  [Illustration: J. BELLAERT.]
+
+  [Illustration: H. HENRICI.
+
+  hollan leiden]
+
+It will be convenient to group together in this place a few of the more
+representative examples of the Marks of the Dutch and Flemish printers
+of the sixteenth century. Of Thomas Van der Noot, who was printing at
+Brussels from about 1508 to 1517, there is very little of general
+interest to state, but his large Mark is well worthy of a place here.
+Picturesque in another way also is the Mark of J. Grapheus, Antwerp,
+1520-61; the example we give is a distinct improvement on a very roughly
+drawn Mark which this printer sometimes used, which is identical in
+every respect to this, except that it has no borders. It is one of the
+few purely pictorial, as distinct from armorial, Marks which we find
+used at Antwerp in the earlier half of the sixteenth century. One of
+this printer’s most notable publications is “Le Nouueau Testament de
+nostre Sauflueur Iesu Christ trãslate selon le vray text en franchois,”
+1532, a duodecimo of xviii and 354 folios, a rare impression of Le Fèvre
+d’Etaples’ Testament as it had been issued by L’Empereur, in 1530, who
+had obtained the licence of the Emperor and the Inquisition for this
+impression. Henri Van den Keere, a book-seller and printer of Ghent,
+1549-58, had four Marks, all of which resemble more or less closely the
+rather striking and certainly distinct example here given. Of the Bruges
+printers of the sixteenth century, Huber or Hubert Goltz, 1563-79, is
+perhaps the most eminent, not so much on account of the typographical
+phase of his career, as because of his works as an author and artist.
+The “Fasti Magistratum et Triumphorum Romanorum,” is one of his books
+best known to scholars, whilst to students of numismatics his work on
+the medals from the time of Julius Cæsar to that of the Emperor
+Ferdinand, in Latin, of which a very rare French edition appeared at
+Antwerp in 1561, is well known, and the original edition of his works in
+this respect is still highly esteemed, although, as Brunet points out,
+Goltz has suffered a good deal in reputation since Eckel has
+demonstrated that he included a number of spurious examples, whilst some
+others are incorrectly copied. His interesting typographical Mark is
+given on p. 51. J. Waesberghe, of Antwerp and Rotterdam, had at least
+three Marks, of which we give the largest example, and all of which are
+of a nautical character, the centre being occupied by a mermaid carrying
+a horn of plenty; in the smaller example of the accompanying Mark, the
+background is taken up by a serpent forming a circle. The Mark of M. De
+Hamont, a printer and bookseller of Brussels, 1569-77, is worth quoting
+as one of the very few instances in which the subject of St. George and
+the Dragon is utilized in this particular by a printer of the Low
+Countries. Rutger Velpius appears to have had all the wandering
+proclivities of the early printers; for instance, we find him at Louvain
+from 1553 to 1580, at Mons from 1580 to 1585, and Brussels from 1585 to
+1614: he had three Marks, of which we give the largest. Of the Liege
+printers, we have only space to mention J. Mathiæ Hovii, whose shop was
+“Ad insigne Paradisi Terrestris” during the latter half of the
+seventeenth century, and whose Mark is of rather striking originality
+and boldness of design.
+
+  [Illustration: JODOCUS DESTRESIUS.]
+
+  [Illustration: THOMAS VAN DER NOOT.]
+
+  [Illustration: J. GRAPHEUS.
+
+  CHARITAS
+  Ἡ ἀγάπη πάντα δέγει.]
+
+  [Illustration: HENRI VAN DEN KEERE.
+
+  Anziet thende.
+  Van den keere.
+  HVDK]
+
+  [Illustration: J. WAESBERGHE.
+
+  LITERÆ IMMORTALITATE[M] PARIV[N]T]
+
+  [Illustration: MICHEL DE HAMONT.]
+
+  [Illustration: RUTGER VELPIUS.
+
+  SVB VMBRA ALARVM TVARVM PROTEGE NOS]
+
+  [Illustration: J. M. HOVII.
+
+  CAVETE
+  I. C. I]
+
+The two most distinguished names in the annals of Dutch and Flemish
+printing are unquestionably Plantin and the Elzevirs. A full description
+of the various Marks used by Christophe Plantin alone would fill a small
+volume, as the number is not only very great, but the varieties somewhat
+conflicting in their resemblance to one another; all of them, however,
+are distinctly traceable to three common types. Some are engraved by
+Godefroid Ballain, Pierre Huys, and other distinguished craftsmen. His
+first Mark appeared in the second book which he printed, the “Flores de
+L. Anneo Seneca,” 1555. His second Mark was first used in the following
+year, and bears the monogram of Arnaud Nicolaï. Of each of these
+examples we give reproductions, as also of the fine example designed for
+Plantin’s successors either by Rubens or by Erasme Quellin, and engraved
+by Jean Christophe Jegher, 1639, Plantin having died in 1589. The most
+famous of all Plantin’s Marks is of course that with the compass and the
+motto “Labor et Constantia,” which he first used in 1557. Plantin
+explains in the preface to his Polyglot Bible the signification of this
+Mark, and states that the compass is a symbolical representation of his
+device: the point of the compass turning round signifies work, and the
+stationary point constancy. One of the most curious combinations of
+Printers’ Marks may be here alluded to: in 1573, Plantin, Steels and
+Nutius projected an edition of the “Decretals,” and the Mark on this is
+made up of the three used by these printers, and was designed by Pierre
+Van der Borcht.
+
+  [Illustration: C. PLANTIN. (First Mark.)
+
+  EXERCE IMPERIA ET RAMOS COMPESCE FLVENTES]
+
+  [Illustration: C. PLANTIN. (Second Mark.)
+
+  CHRISTVS VERA VITIS]
+
+  [Illustration: C. PLANTIN.
+
+  LABORE ET CONSTANTIA
+  I. C. I.]
+
+Nearly every volume admittedly printed by the Elzevir family possessed a
+Mark, of which this family, from Louis, in 1583, to Daniel, 1680, used
+four distinct examples. The founder of the dynasty, Louis (1583-1617),
+adopted as his sign or mark an Eagle on a cippus with a bundle of
+arrows, accompanied with the motto, “Concordia res parvæ crescunt”--the
+emblem of the device of the Batavian Republic--and as the year 1595
+occurs on the primitive type of this Mark, it might be concluded to date
+from that period. But Willems points out that no book published by Louis
+in the years 1595 and 1596 carries this Mark, which (he says) figures
+for the first time on the Meursius, “Ad Theocriti idyllia Spicelegium,”
+1597. In 1612 Louis Elzevir reduced this Mark, and suppressed the date
+above mentioned. For some time Isaac continued the use of the sign of
+his grandfather, and even after 1620, when he adopted a new Mark--that
+of the Sage or Hermit--he did not completely repudiate it. Bonaventure
+and Abraham scarcely ever used it except for their catalogues.
+
+  [Illustration: THE SAGE.
+
+  NON SOLUS]
+
+The second Mark, which Isaac (1617-25) adopted in 1620, it occurring for
+the first time in the “Acta Synodi Nationalis,” is known as the
+Solitaire and sometimes as the Hermit or Sage. It represents an elm
+around the trunk of which a vine, carrying bunches of grapes, is twined;
+the Solitaire and the motto “Non solus.” The explanation of this Mark is
+obvious, and may be summed up in the one word “Concord;” the solitary
+individual is symbolical of the preference of the wise for solitude--“Je
+suis seul en ce lieu être solitaire.” This Mark was the principal one of
+the Leyden office, and was in constant use from 1620 to 1712, long after
+the Elzevirs had ceased to print.
+
+The third Elzevir Mark consists of a Palm with the motto “Assurgo
+pressa.” It was the Mark of Erpenius, professor of oriental languages at
+the University of Leyden, who had established a printing-press which he
+superintended himself in his own house. At his death the Elzevirs
+acquired his material, with the Mark, which occurs on the Elmacinus,
+“Historia Saracenica,” and on the Syriac Psalter of 1625, on the
+“Meursii arboretum sacrum,” 1642, and on about seven other volumes.
+
+  [Illustration: THE ELZEVIR SPHERE.
+
+THE SPURIOUS SPHERE.
+
+THE GENUINE SPHERE.]
+
+The fourth important Elzevir Mark is the Minerva with her attributes,
+the breastplate, the olive tree, and the owl, and the motto “Ne extra
+solus,” which is from a passage in the “Frogs” of Aristophanes. It was
+one of the principal Marks of the Amsterdam office, and was used for the
+first time by Louis Elzevir in 1642. After Daniel’s death this Mark
+became the property of Henry Wetstein, who used it on some of his books.
+It was also used by Thiboust at Paris and Theodoric van Ackersdyck at
+Utrecht.
+
+In addition to the foregoing, a number of other Marks were employed by
+this firm of printers, the most important of the minor examples being
+the Sphere, which occurs for the first time on “Sphæra Johannis de
+Sacro-Bosco,” 1626, printed by Bonaventure and Abraham; and from this
+time to the end of the period of the operations of the Elzevirs, the
+Sphere and the Minerva appear to have equally shared the honour of
+appearing on their title-pages. Among the other Marks which we must be
+content to enumerate are the following: a hand with the device of
+“Æqvabilitate,” an angel with a book, and a book of music opened, each
+of which was used occasionally by the first Elzevir; and one in which
+two hands are holding a cornucopia, of Isaac; the arms of the Leyden
+University formed also occasionally the Mark of the Elzevirs established
+in that city.
+
+The Mark of Guislain Janssens, a bookseller and printer of Antwerp, at
+the end of the sixteenth and beginning of the seventeenth century, is
+both distinct and pretty, and is worth notice if only from the fact that
+artistic examples are by no means common with the printers of this city.
+
+  [Illustration: GUISLAIN JANSSENS.
+
+  VIGILATE QVIA NESCITIS DIEM NEQVE HORAM EXPERGISCERE
+  G I]
+
+
+
+
+  [Decoration]
+
+PRINTERS’ MARKS IN ITALY AND SPAIN.[1]
+
+
+  [Illustration: A. FRITAG.
+
+  A F]
+
+The _incunabula_ of Italy offer very little interest so far as regards
+the Marks of their printers, and the adoption of these devices did not
+become at all general until the early years of the sixteenth century.
+Conrad Sweynheim and Arnold Pannartz, who were the first to introduce
+printing from Germany into Italy, first at the monastery of Subiaco,
+near Rome, in 1465, and to that city in 1467, appear to have had no
+Mark; and the same may be said of several of their successors. We give
+the earliest Roman example with which we are acquainted, namely, that of
+Sixtus Riessinger, and George Herolt, a German, who printed in
+partnership at Rome in 1481 and 1483. One of the books produced by this
+partnership was the “Tractatus sollemnis et utilis,” etc., which
+contains “full-page figures of the Sybils, fine initials, and an
+interlaced border to the first page of text, all executed in wood
+engraving.” The next Roman typographers who used a Mark were, like
+Herolt, “Almanos” or Germans, for as such Johann Besicken (1484-1506)
+and Martens of Amsterdam describe themselves in the colophon of
+“Mirabilia Romæ,” a 24mo. of 63 leaves, 1500. This work contains ten
+woodcuts, of which that on “the reverse of leaf 36 has at the bottom the
+words ‘Mar’ and ‘De Amstdam’ in black letters on white scrolls, and ‘ER’
+immediately beneath the latter, in white letters on a black ground,
+showing that Martin of Amsterdam, one of the printers, was also the
+engraver. On the woodcut on the reverse of leaf 25 also, there is a
+shield with the initials of both printers, ‘I’ and ‘M’ interlaced, in
+both large and small letters.” Andreas Fritag de Argentina (or
+Strassburg), 1492-96, is another early Roman printer who used a Mark.
+The four foregoing Marks are given on the authority of J. J. Audiffredi,
+“Catalogus ... Romanorum Editionum saeculi XVI.,” 1783. Among the early
+sixteenth century printers of Rome, one of the most distinguished was
+Zacharias Kalliergos of Crete, 1509-23, who had started printing at
+Venice in 1499, and of whom Beloe has given an interesting account in
+the fifth volume of his “Anecdotes of Literature.” A miniature of his
+device is given at the end of this chapter.
+
+    [Footnote 1: The reader will find on page 25 a series of thirty
+    reduced reproductions of Marks used for the most part by the
+    Italian printers. These are given after Orlandi (“Origine e
+    Progressi della Stampa,” 1722) and Horne (“Introduction to the
+    Study of Bibliography,” 1814), but several of the names are open
+    to question from the fact that the former author has given no
+    account either of the places at which they worked, or of the
+    books which they printed.]
+
+  [Illustration: SIXTUS RIESSINGER.
+
+  S R D A]
+
+  [Illustration: J. BESICKEN.
+
+  I B
+  I M]
+
+  [Illustration: THIERRY MARTENS.
+
+  DE AMST[ER]DAM
+  T A M]
+
+Printing was introduced into Venice by Johannes de Spira in 1469, and,
+as showing the extent to which it was quickly carried, Panzer reckons
+that up to the end of the fifteenth century, no fewer than 189 printers
+had established themselves here, and had issued close upon 3,000 works.
+From 1469 to 1480, over sixty master printers were found within the
+precincts of the city. The first of the superb series of early printed
+books produced here is the folio edition of Cicero, “Epistolæ ad
+Familiares,” 1469, although the honour of being the most magnificent
+production appears to be equally divided between the Livy and the
+Virgil, 1470, executed by John of Spira’s brother and successor
+Vindelinus. So far as we know, neither of the two brothers, nor Nicolas
+Jenson, 1470-88, many of whose beautiful books rivalled the De Spiras’,
+used a Mark.
+
+  [Illustration: ERHARDUS RATDOLT.
+
+  Erhardi Ratdolt foelicia conspice signa.
+  Testata artificem qua valet ipse manum.]
+
+Erhardus Ratdolt may be regarded as one of the earliest, if not actually
+the first Venetian printer to adopt a Mark. From 1476 to 1478 he was in
+partnership with Bernardus Pictor and Petrus Loslein de Langencen, but
+from the latter year to 1485 he was exercising the art alone. (It is not
+altogether foreign to our subject to mention that this firm printed the
+“Calendar” of John de Monteregio, 1476, which has the first ornamental
+title known.) In 1487, Ratdolt was at Augsburg, and perhaps his claims
+as a printer are German rather than Venetian, but as his best work was
+executed during his sojourn in Venice, it will be more convenient to
+include him in the present chapter. Like so many others of the early
+printers, he regarded his own performances with no little
+self-complacency, for in his colophons he describes himself, “Vir
+solertissimus, imprimendi arte nominatissimus, artis impressoriæ
+magister apprimè famosus, perpolitus opifex, vir sub orbe notus,” and so
+forth. To him is attributed the credit of having invented ink of a
+golden colour; and he was the first to employ the “flourishes,” (“literæ
+florentes”) or initial letters formed of floral scrolls and ornaments
+borrowed from the Italian manuscripts, and sometimes printed in red and
+sometimes in black. Joannes and Gregorius de Gregoriis, 1480-1516, and
+Gregorius alone, 1516-28, make a very good show in the way of printed
+books, one of the most notable being the first quarto edition of
+Boccaccio, 1516, and another the “Deutsch Römisch Brevier,” 1518, which
+is printed in black and red Gothic letter with numerous full-page
+woodcuts and borders. Contemporary with these two brothers and also
+famous as a prolific printer comes Ottaviano Scotto, “Civis
+Modoetiẽsis,” 1480-1500, and his heirs, 1500-31, of whose Mark we give
+an exact reproduction. Baptista de Tortis, 1481-1514, also issued a
+number of interesting books, more particularly folio editions of the
+classics, copies of which are still frequently met with, and of whose
+Mark we give a reduced example on p. 25; and the same may be said of
+Bernardinus Stagninus, 1483-1536. The Mark, also, of Bernardinus de
+Vitalibus, 1494-1500, is sufficiently distinct to justify a reduced
+example. Bartholomeus de Zanis, 1486-1500, was not only a prolific
+printer on his own account, but also for Scotto, to whom reference is
+made above. The Marks, on a greatly reduced scale of Dionysius
+Bertochus, 1480; of Laurentius Rubeus de Valentia, 1482; of Nicholas de
+Francfordia, 1473-1500; and of Peregrino de Pasqualibus, 1483-94, who
+was for a short time in partnership with Dionysius de Bertochus, are all
+interesting as more or less distinct variations of one common type (see
+p. 25). Of Petrus Liechtenstein, 1497-1522, who describes himself as
+“Coloniensis,” and whose very fine Mark in red and black forms the
+frontispiece to the present volume, it will be only necessary to refer
+to one of his books, the “Biblij Czeska,” 1506, which is the first
+edition for the use of the Hussites. Of this exceedingly rare edition,
+only about four copies are known. It is remarkable in not having been
+suppressed by the Church, for one example of its numerous woodcuts
+(which are coloured) at once betrays its character, viz., the engraving
+to the sixth chapter of the Apocalypse, in which the Pope appears lying
+in hell. As illustrative of some of the more elaborate and pictorial
+Marks which one finds in the books of the Venetian printers during the
+sixteenth century, we give a couple of very distinct examples, the first
+being one of the Marks of the Sessa family, whose works date from 1501
+to 1588; and the second example distinguishing the books of the brothers
+Paulum and Antonium Meietos, who were printing books in 1570.
+
+  [Illustration: OTTAVIANO SCOTTO.
+
+  O S
+  M]
+
+  [Illustration: MELCHIOR SESSA.
+
+  DISSIMILIVM IN FIDA SOTIETAS.]
+
+  [Illustration: P. AND A. MEIETOS.
+
+  NON COMEDETIS FRVGES MENDACII]
+
+  [Illustration: THE FIRST ALDINE ANCHOR.
+
+  ALDVS]
+
+The Aldine family come at the head of the Venetian printers, not only in
+the extreme beauty of their typographical work, but also in the matter
+of Marks. The first (and rarest) production of the founder of the
+dynasty, Aldus Manutius, 1494-1515, was “Musæi Opusculum de Herone &
+Leandro,” 1494, a small quarto, and his life’s work as a printer is seen
+in about 126 editions which are known to have been issued by him.
+“I have made a vow,” writes Aldus, in his preface to the “Greek Grammar”
+of Lascaris, “to devote my life to the public service, and God is my
+witness that such is my most ardent desire. To a life of ease and quiet
+I have preferred one of restless labour. Man is not born for pleasure,
+which is unworthy of the truly generous mind, but for honourable labour.
+Let us leave to the vile herd the existence of the brutes. Cato has
+compared the life of man to the tool of iron: use it well, it shines,
+cease to use it and it rusts.” It was not until 1502 that Aldus adopted
+a Mark, the well-known anchor, and this appears for the first time in
+“Le Terze Rime di Dante” (1502), which, being a duodecimo, is the first
+edition of Dante in portable form. This Mark, and one or two others with
+very slight alterations which naturally occurred in the process of being
+re-engraved, was used up to the year 1546. In 1515 the original Aldus
+died, and as his son Paolo or Paulus was only three years of age, Andrea
+Torresano, a distinguished printer of Asola, into whose possession the
+“plant” of Jenson had passed in 1481, and whose daughter married the
+first Aldus, carried on the business of his deceased son-in-law, the
+imprint running, “In ædibus Aldi et Andreæ Asulani soceri.” In 1540
+Paulus Manutius took over the entire charge of the business founded by
+his father. The Anchor, known as the “Ancora grassa,” which he used from
+1540 to 1546, is more carefully engraved but less characteristic than
+that of his father; whilst that which he used from 1546 to 1554 was
+usually but not invariably surrounded by the decorative square indicated
+in the accompanying reproduction; then he again modified his Mark, or
+more particularly its border. Paulus Manutius died in April 1574. Aldus
+“the younger,” 1574-98, the son of Paulus and the last representative of
+the house, also used the anchor, the effect of which is to a great
+extent destroyed by the elaborate coat-of-arms granted to the family by
+the Emperor Maximilian. Aldus “the younger,” was a precocious scholar,
+of the pedant type, and under him the traditions of the family rapidly
+fell. He married into the eminent Giunta family of printers, and died at
+the age of 49. The famous Mark of the anchor had been suggested by the
+reverse of the beautiful silver medal of Vespasian, a specimen of which
+had been presented to Aldus by his friend Cardinal Bembo, the eminent
+printer, adding the Augustan motto, “Festina lente.” The Mark of the
+dolphin anchor was used by many other printers in Italy, France, Holland
+(Martens, Erasmus’ printer, among the number), whilst the “Britannia” of
+Camden, 1586, printed by Newbery, bearing this distinctive Mark, which
+was likewise employed by Pickering in the early part of the century;
+and, as will be seen from the next chapter, is still employed by more
+than one printer.
+
+  [Illustrations: ANDREA TORRESANO.
+
+  FEDERICVS TORESANVS
+
+  A T]
+
+  [Illustration: THE ALDINE ANCHOR, 1502-15.
+
+  ALDVS]
+
+  [Illustration: THE ALDINE ANCHOR, 1546-54.
+
+  ALDI FILII]
+
+  [Illustration: THE ALDINE ANCHOR, 1555-74.
+
+  ALDVS]
+
+The Giunta or Junta family, members of which were printing at Florence
+and Venice from 1480 to 1598, may be conveniently referred to here. One
+of the earliest books in which the founder of the family, Filippo, used
+a Mark, is “Apuleii Metamorphoseos,” Florence, 1512; our example, which
+is identical with that in Apuleius, is taken from Ὀππιανου Ἁλιευτικων
+(Oppiani de natura seu venatione piscium), Florence, 1515, which was
+edited by Musurus. From a typographical and artistic point of view the
+books of Lucantonio Junta (or Zonta) are infinitely superior to those of
+Filippo. He was both printer and engraver, and many of the illustrations
+which appear in the books he printed were executed by him. His Mark
+appeared as early as 1495 in red at the end of an edition of Livy which
+he appears to have executed for Philippus Pincius, Venice, and again in
+red, this time on the title-page, in another edition of the same author,
+done for Bartholomeus de Zanis de Portesio, Venice, 1511. Each of these
+productions contained a large number of beautiful woodcuts. Early in the
+sixteenth century those “vero honesti viri” (as they modestly described
+themselves), Jacobi and Francisci, were printing at Florence (“et
+sociorum eius”), the accompanying mark being taken from a commentary
+on Thomas Aquinas, 1531. It will be noticed that in the three marks of
+different members of the family the _fleur-de-lys_ appears. Among the
+Venetian printers of the beginning of the sixteenth century Johannes de
+Sabio et Fratres may be mentioned, if only on account of their Mark
+which is given herewith. Its explanation is certainly not obvious; and
+Bigmore and Wyman’s suggestion that it is a punning device is not a
+correct one, whilst the statement that the cabbage is of the “Savoy”
+variety is also erroneous, for this variety has scarcely any stalks;
+for “Brasica” we should read “Brassica.” In 1534, “M. Iwan Antonio de
+Nicolini de Sabio” printed “Alas espesas de M. Zuan Batista Pedreçan,”
+a rare and beautiful edition with woodcuts, and, in small folio, of
+“Primaleon” in Spanish; and in 1535 Stephano da Sabio issued a
+translation of “La Conquesta del Peru,” etc., of Francesco de Xeres.
+
+  [Illustration: THE ALDINE ANCHOR, 1575-81.]
+
+  [Illustration: P. GIUNTA.]
+
+  [Illustration: L. GIUNTA.
+
+  L A]
+
+  [Illustration: F. DE GIUNTA.
+
+  I F]
+
+Although not the first printer either at Cremona, where he started in
+1492, or at Brescia, where he was printing from 1492 to 1502, Bernardino
+de Missintis deserves mention among the typographers of the fifteenth
+century. So far as regards the latter place, the Mark of Giammaria
+Rizzardi, who was established in this city during the latter half of the
+last century, is one of the most distinct, and was probably designed by
+Turbini. Bonino de Boninis of Ragusa, was printing at Venice, 1478-1480,
+at Verona, 1481-3, and afterwards removed to Brescia, where he was
+printing until about 1491. The earliest known book printed at Modena (or
+Mutine) is an edition of Virgil, executed by Johannes Vurster de
+Campidonâ, 1475; but one of the best known printers of this city is
+Dominico Rocociolo, or Richizola, 1481-1504, who was in partnership with
+Antonio Miscomini, 1487-89.
+
+  [Illustration: THE BROTHERS SABIO.
+
+  IO ANT ET FRES DE SABIO BRASICA]
+
+Printing was introduced into Milan (Mediolanum) in 1469 or in the year
+following, and from the numerous presses established in this city before
+the end of the fifteenth century very many beautiful books were issued.
+Gian Giacomo di Legnano and his brothers, whose highly decorative Mark
+we reproduce, were working in this city from 1503-33; one of their most
+interesting books is a Latin translation of the first edition (Vicenza,
+1507) of the “Paesi novamente retrovati, et Novo Mondo da Alberico
+Vesputio Florentino intitulato.” Bologna was also a busy printing centre
+from 1470 onwards; but it must suffice us to give the monograms of three
+of the more noteworthy, namely, Hercules Nanni, 1492-4; Giovanni Antonio
+de Benedetti (or Johannes Antonius Platonides de Benedictis), 1499, and
+Justinian de Ruberia, 1495-9 (see p. 25).
+
+  [Illustration: GIAN GIACOMO DI LEGNANO.
+
+  IHS
+  IO IACOMO E FRAT D LEGNANO
+  IHS
+  IOL IOL]
+
+  [Illustration: GIAMMARIA RIZZARDI.
+
+  Non solum nobis
+  Cagnoni sculp]
+
+The Printers’ Marks of Spain (including Portugal) need not detain us
+long. They cannot in any case be described as other than archaic, and
+they are for the most part striking on account of the coarseness of
+their design. A few examples are given in Fray Francisco Mendez’s
+“Tipografica Española,” of which the first and only volume appeared at
+Madrid in 1796; and of which a second edition, corrected and enlarged by
+Dionisio Hidalgo, was published at the same city in 1861. As the latter
+writer clearly points out “los del siglo XV., y aun hasta la mitad del
+XVI. los mas eran estranjeros, como lo demuestran sus nombres y
+apellidos, y algunos lo declaran espresamente en sus notas y escudos.”
+These “estranjeros” were almost without exception Germans.
+
+Valencia (or Valentia Edetanorum) was the first place in Spain into
+which the art of printing was introduced; the earliest printers being
+Alfonso Fernandez de Cordova and Lambert Palomar (or Palmart) a German,
+whose names however do not appear on any publication (according to
+Cotton) antecedent to the year 1478. Although not the earliest of the
+Seville printers the four “alemanes, y compañeros,” Paulo de Colonia,
+Juan Pegnicer de Nuremberga, Magno y Thomas, their composite Mark is one
+of the first which appears on books printed in Spain. It is of the cross
+type, with two circles, one within another, the smaller divided into
+four compartments, each of which encircles the initials of the four
+printers, “P” (the lower part of which is continued so as to form an
+“L”), “I M T.” Among other books which they printed is the “Vidas de los
+Varones ilustres de Plutarco.” In 1495, Paulo de Colonia appears to have
+left the partnership, for the Mark appeared with its inner circle
+divided into three compartments in which the initials “I M” and “T” only
+appear. This firm continued printing at Seville until the commencement
+of the sixteenth century. Federico de Basilea (or, as his name appears
+in the imprints of his books, Fadrique Aleman de Basilea) was busy
+printing books at Burgos from the end of the fourteenth to the second
+decade of the fifteenth century; his Mark, a cross resting on a V-shaped
+ground, is a poor one, the motto being “sine causa nihil.” “En mushos
+libros de los que imprimió puso su escudo,” observes Mendez; this
+printer possesses an historic interest from the fact that he issued the
+first edition the unabridged “Chronicle of the Cid,” 1512--“Cronica del
+Famoso Cauallero Cid Ruy Diez Campeador,” a book of the greatest rarity.
+One of the early printers of Barcelona, Pedro Miguel, had a Mark, also
+of the cross type, the circle surrounding the bottom of which is divided
+into three compartments, in two of which occur his initials “P M.”
+
+  [Illustration: JUAN ROSEMBACH.]
+
+  [Illustration: V. FERNANDEZ.]
+
+One of the most noteworthy names in the early annals of Spanish printing
+is that of Juan de Rosembach de Haydellerich, who printed books in
+Barcelona, 1493-8, and again at the beginning of the sixteenth century;
+in Perpignan, 1500; in Tarragona, 1490, and in Montserrat. In 1499 he
+printed at Tarragona the famous “Missal de aquel Arzobispado,” which
+Mendez declares to be “muy recomendable por varias circumstancias.” At
+Barcelona he printed in 1526 an edition of the “Oficias de Cicero.” The
+Marks of this printer vary considerably, but the example here reproduced
+may be regarded as a representative one. Of the early Lisbon printers,
+Valentin Fernandez “de la Provincia de Moravia” was probably the first
+to use a Mark (here reproduced), one of his publications being the
+“Glosa sobre las Coplas” of Jorge Manrique, 1501.
+
+  [Illustration:
+
+  1. ZACHARIAS KALLIERGOS.
+  2. J. A. DE LEGNANO.
+  3. J. DE VINGLE, OF PICARDY.
+  4. M. HUGUNT.]
+
+
+
+
+  [Illustration:
+
+  A good book is a true friend
+  a wise author a public benefactor.
+  1726]
+
+SOME MODERN EXAMPLES.
+
+
+  [Illustration: THE STATIONERS’ COMPANY.
+
+  VERBUM DOMINI MANET IN ÆTERNUM]
+
+During the past few years there has been a very evident revival in the
+Printer’s Mark as a modern device, but the interest has much more
+largely obtained among publishers than among printers. We propose,
+therefore, to include in this chapter a few of the more interesting
+examples of each class. On the score of antiquity the Stationers’
+Company may be first mentioned. Founded in 1403--nearly three-quarters
+of a century before the introduction of printing--its first charter was
+not received until May 4th, 1557, during the reign of Mary. The number
+of “seditious and heretical books, both in prose and verse,” that were
+daily issued for the propagation of “very great and detestable heresies
+against the faith and sound Catholic doctrine of Holy Mother the
+Church,” became so numerous, that the government were only too glad to
+“recognize” the Company, and to intrust it with the most absolute power.
+The charter was to “provide a proper remedy,” or, in other words, to
+check the fast-increasing number of publications so bitter in their
+opposition to the Court religion. But, stringent and emphatic as was
+this proclamation, its effect was almost _nil_. On June 6th, 1558,
+another rigorous act was published from “our manor of St. James,” and
+will be found in Strype’s “Ecclesiastical Memorials” (ed. 1822, iii.
+part 2, pp. 130, 131). It had specific reference to the illegality of
+seditious books imported, and others “covertly printed within this
+realm,” whereby “not only God is dishonoured, but also encouragement is
+given to disobey lawful princes and governors.” This proclamation
+declared that not only those who possessed such books, but also those
+who, on finding them, do not forthwith report the same, should be dealt
+with as rebels. It will be seen, therefore, how easy it was, in the
+absence of any fine definition, for books of whatever character to be
+proscribed. There was no appeal against the decision of the Stationers’
+Hall representatives, who had the power entirely in their own hands.
+A few months after Mary’s futile attempt at checking the freedom of the
+press, a diametrically objective change occurred, and with Elizabeth’s
+accession to the throne in November, 1558, the licensed stationers
+conveniently veered around and were as industrious in suppressing
+Catholic books as they had been a few weeks previously in endeavouring
+to stamp out those of the new religion. The history of the Stationers’
+Company however has been so frequently told that it need not be further
+entered upon here, and it must suffice us to say that, after many
+vicissitudes, all the privileges and monopolies had become neutralized
+by the end of the last century, till it had nothing left but the right
+to publish a common Latin primer and almanacks, and the right to the
+latter monopoly was annulled after a memorable speech of Erksine. The
+Company still continues to publish almanacks, and uses the two Marks or
+Arms here reproduced. The larger example is the older, and is used on
+the County almanacks; whilst the smaller one is used on circulars and
+notices.
+
+  [Illustration: THE STATIONERS’ COMPANY.
+
+  VERBUM DOMINI MANET IN ETERNUM.]
+
+  [Illustration: THE RIVINGTONS.
+
+  Fear God
+  Honour the King]
+
+Of the existing firms of publishers and printers, that of Messrs.
+Longmans is the most memorable; _vice_ the firm of Messrs. Rivingtons,
+which has now become joined to that of the Longmans. This gives us the
+opportunity to consider briefly the Marks of the two firms together. In
+the year 1711, Richard Chiswell, the printer of much of Dryden’s poetry,
+died, and his business passed into the hands of Charles Rivington,
+a native of Chesterfield, Derbyshire. Thoughtful and pious himself,
+Charles Rivington threw himself with ardour into the trade for religious
+manuals, and not only succeeding in persuading John Wesley to translate
+“à Kempis” for him, but also in publishing the saintly Bishop Thomas
+Wilson’s “Short and Plain Introduction to the Sacrament of the Lord’s
+Supper,” the first edition of which bears Charles Rivington’s name on
+the imprint, and which is still popular. To the novelist Richardson, he
+suggested “Pamela.” Dying in 1742, he left Samuel Richardson as one of
+the executors of his six children, but his sons, John and James,
+continued to conduct the business. A few years later, it was deemed
+advisable for the brothers to separate, and while John remained at the
+“Bible and Crown,” St. Paul’s Churchyard, James joined a Mr. Fletcher in
+the same locality, and started afresh. One especially fortunate venture
+was the publication of Smollett’s continuation of Hume, which brought
+its lucky publishers upwards of £10,000, a larger profit than had
+previously been made on any one book. However, Newmarket had attractions
+for James, and eventually disaster set in; he died in New York in 1802
+or 1803. His brother, meanwhile, had plodded on steadily at home, and
+admitting his two sons, Francis and Charles, into partnership. About
+this time there were numerous editions of the classics, the common
+property of a syndicate of publishers, and it says much for Mr. John
+Rivington that he was appointed managing partner. About 1760 he obtained
+the appointment of publisher to the Society for Promoting Christian
+Knowledge, a lucrative post, held by the firm for upwards of two
+generations. By the year 1889, the two representatives of this ancient
+firm were Messrs. Francis Hansard Rivington and Septimus Rivington; in
+this year the partnership was dissolved, and the goodwill and stock were
+acquired by Messrs. Longmans. They used at various periods no less than
+eight Marks, the design of which was in most cases based upon the
+ancient sign of their shop, “The Bible and Sun.”
+
+  [Illustration: LONGMAN AND CO.
+
+  ERRABANT MARIA OMNIA CIRCUM
+  1726]
+
+  [Illustration: THE CLARENDON PRESS.
+
+  DOMINVS ILLUMINATIO MEA]
+
+The history of Messrs. Longmans may be said to commence with the birth
+of Thomas Longman in 1699. The son of a Bristol gentleman, he lost his
+father in 1708, and, eight years later, was apprenticed, on June 9,
+1716, to Mr. John Osborn of Lombard Street, London. His apprenticeship
+expiring (he had come into the possession of his property two years
+earlier), we find him, in 1724, purchasing from his master, John Osborn
+(acting with William Innys as executors), the stock in trade of William
+Taylor, of the Ship and Black Swan in Paternoster Row. Readers of
+_Longman’s Magazine_ turn to Mr. Andrew Lang’s genial gossip, “At the
+Sign of the Ship,” without recalling the origin of the title.
+Henceforward the Ship carried the Longman fortunes as cargo, and the
+prosperity of the vessel is not yet ended. Messrs. Longmans have used
+nearly a dozen Marks, all of which have been suggested, like those of
+the Rivingtons, by the sign of their shop, which has now grown into a
+very imposing pile of buildings. Of these Marks we give two of the most
+artistic and interesting. As taking us back into a comparatively remote
+period in the history of printing and publishing in England, the Mark of
+the Clarendon Press, or, in other words, the arms of the University of
+Oxford, may be here cited.
+
+  [Illustrations: WILLIAM PICKERING.
+
+  ALDI DISCIP. ANGL.
+
+  ALDI DISCIP. ANGL.]
+
+  [Illustration: BASIL MONTAGU PICKERING.
+
+  B M Pickering
+  Aldi Discipulus Anglus]
+
+  [Illustration: THE CHISWICK PRESS.
+
+  HOPE WELL AND HAVE WELL
+  CW]
+
+The “Chiswick Press” of Messrs. Whittingham and Co., is in several
+respects a link with the long past, and, having been in existence for
+more than a century, is one of the oldest offices in London. It has
+attained a world-wide celebrity for the excellence of its work, the
+careful reading and correction of proofs, and the appropriate
+application of its varied collection of ornaments and initial letters.
+The Chiswick Press was the first to revive the use of antique type in
+1843, for the printing of “Lady Willoughby’s Diary,” published by
+Messrs. Longmans. Since that time its use has become universal. The
+founder, Charles Whittingham, was born on June 16th, 1767, at Calledon,
+in Warwick, and was apprenticed at Coventry in 1779, working
+subsequently at Birmingham, and then in London. He commenced business on
+his own account in Fetter Lane in 1790; and in 1810 he had removed to
+Chiswick, and since that period the firm has always been known as “The
+Chiswick Press.” In 1828 he began to execute work for William Pickering,
+the publisher, and his press quickly acquired an unrivalled reputation
+for its collection of ornamental borders, head and tail pieces. The
+publisher Pickering, and the printer Whittingham, had employed about two
+dozen marks in their various books: the former justly calling himself a
+disciple of Aldus, and using a large number of variations on the
+original Anchor and Dolphin Mark of the great Venetian printer. Of these
+we give two examples, one with, and one without a cartouche; and also
+the mark of Basil Montagu Pickering, the son and successor of William
+Pickering. We also reproduce three of the more striking Marks of the
+Chiswick Press, the shield on one of which, it will be observed, carries
+the Aldine Anchor and Dolphin.
+
+  [Illustration: THE CHISWICK PRESS.]
+
+  [Illustration: THE CHISWICK PRESS.
+
+  Charles Whittingham]
+
+  [Illustration: CHATTO AND WINDUS.]
+
+  [Illustration: DAVID NUTT.
+
+  LIBELLUS IN NUCE]
+
+  [Illustration: CASSELL AND CO.
+
+  LA BELLE SAUVAGE]
+
+  [Illustration: MACMILLAN AND CO.
+
+  MM&Co]
+
+  [Illustration: T. FISHER UNWIN.
+
+  TFU]
+
+  [Illustration: LAWRENCE AND BULLEN.
+
+  LB]
+
+  [Illustration: KEGAN PAUL AND CO.
+
+  ARBOR SCIENTIÆ ARBOR VITÆ]
+
+The name of Cassell takes us back to the era of Charles Knight and John
+Cassell, and the inauguration of the noble results which these two
+pioneers achieved on behalf of cheap and healthy literature. The name of
+the former is no longer associated with either printing or publishing;
+but that of the latter is still one of the most prolific firms of
+printers and publishers. Its Mark is founded on the name of “La Belle
+Sauvage” Yard, Ludgate Hill, in which the business has been located for
+a long series of years.
+
+  [Illustration: R. AND R. CLARK.
+
+  PRINTERS
+  R & R
+  PRINTERS
+  EDINBURG]
+
+Two Edinburgh printers may be here conveniently referred to. Messrs. R.
+and R. Clark, whose business was started in Hanover Street, Edinburgh,
+in 1846, and removed to Brandon Street, in that city, in 1883, are well
+known for the excellence of their printing. Mr. Austin Dobson thus
+sings, in Mr. Andrew Lang’s Book on “The Library:”
+
+  “‘Of making many books,’ ’twas said,
+  ‘There is no end;’ and who thereon
+  The ever-running ink doth shed
+  But proves the words of Solomon:
+  Wherefore we now, for Colophon,
+  From London’s City drear and dark,
+  In the year Eighteen-eighty-one,
+  Reprint them at the press of Clark.”
+
+The accompanying Mark was designed by Mr. Walter Crane, and first used
+by Messrs. Clark in 1881. It is used in several sizes. Of the very
+handsome Mark of Messrs. T. and A. Constable, the Queen’s Printers, at
+the University Press, we may mention that the legend is a hexameter; it
+was written by Professor Strong, and contains two puns; the ship is an
+old Constable device. The Marks of both Messrs. Chatto and Windus (who
+succeeded to the business, started and carried on with such energy by
+the late John Camden Hotten) and Messrs. Macmillan and Co. (whose firm
+dates from the year 1843) are characterized by the extremest possible
+simplicity.
+
+  [Illustration: T. FISHER UNWIN.
+
+  TFU
+  VITA SINE LITERIS MORS EST]
+
+  [Illustration: T. AND A. CONSTABLE.
+
+  FIRMA PERERRAT AQVAS ET CONSTABILITVR EVNDO
+  T A C]
+
+  [Illustration: WILLIAM MORRIS
+
+  kelmscott
+  William Morris]
+
+The finest of the several Marks used by Messrs. George Bell and Sons is
+given in two colours on the title-page of the present volume, and is a
+play on the surname, the Aldine device being added to the bell. Another
+example will be found on page 261.
+
+  [Illustration: WILLIAM MORRIS.
+
+  Kelmscott]
+
+Messrs. Kegan Paul, Trench, Trübner and Co., Limited, originally a
+branch of the extensive Anglo-Indian firm of H. S. King and Co., first
+used the accompanying device in the autumn of 1877; the drawing was
+executed by Mrs. Orrinsmith in accordance with Mr. Kegan Paul’s
+suggestions. Messrs. Lawrence and Bullen, like Messrs. Clark, called in
+the aid of Mr. Walter Crane in designing their charming little Mark.
+
+We give two of the several Marks used by one of the most prolific of the
+younger publishers, Mr. T. Fisher Unwin, the one is simply his initials,
+and the more elaborate example is a copy of a type not infrequently met
+with among the marks of the sixteenth century printers. Mr. David Nutt’s
+device is a quaint and effective play on his surname. Through the
+courtesy of Mr. William Morris, we are enabled to give examples of both
+of the Kelmscott Press Marks, each of which was designed by Mr. Morris.
+
+As indicating the position of the printer’s Mark in America, we group
+together seven of the most interesting examples of the leading printers
+and publishers in the United States. The eighth example is that of Mr.
+Martinus Nijhoff, of the Hague; the device, “Alles komt te regt,”
+signifies “All turns right,” or something to that effect.
+
+  [Illustration: D. APPLETON AND CO.
+
+  D·A & Co.
+  INTER FOLIA FRUCTUS]
+
+  [Illustration: J. S. CUSHING AND CO.
+
+  J. S. CUSHING & CO
+  BOOK PRINTERS
+  192 Summer St
+  BOSTON]
+
+  [Illustration: HARPER BROTHERS.
+
+  H B
+  ΛΑΜΠΑΔΙΑ ΕΧΟΝΤΕΣ ΔΙΑΔΩΣΟΥΣΙΝ ΑΛΛΗΛΟΙΣ]
+
+  [Illustration: H. LOCKWOOD AND CO.
+
+  H L
+  LOCKWOOD PRESS
+  NEW YORK]
+
+  [Illustration: BERWICK AND SMITH.
+
+  PRESS OF BERWICK & SMITH
+  192 SUMMER ST BOSTON MASS]
+
+  [Illustration: THEODORE L. DE VINNE AND CO.
+
+  καὶ μὴν ἀρθμὸν
+  ἔξοχον σοφισμάτων
+  ἐξεῦρον αὐτοῖς
+  γραμμάτων τε συνθέσεις
+  μνήμην τ’ ἁπάντων μουσομητορ’ ἐργάτιν.
+  IMPRIMATUR
+  THE DE VINNE PRESS]
+
+  [Illustration: J. B. LIPPINCOTT CO.
+
+  J B L Co.
+  DROIT ET AVANT]
+
+  [Illustration: M. NIJHOFF.
+
+  M N
+  ALLES KOMT TE REGT.]
+
+  [Illustration:
+
+  THE HAVEN
+
+  OF HEALTH:
+
+  Chiefely gathered for the comfort of Stu-
+  dents, and consequently of all those that haue a
+  care of their health, amplified vpon fiue words of
+  _Hippocrates_, written _Epid. 6._ _Labor, Cibus,
+  Potio, Somnus, Venus_: By _Thomas Coghan_
+  master of Artes, & Bacheler
+  of Phisicke.
+
+  _Hereunto is added a Preseruation from the Pestilence,
+  With a short Censure of the late sicknes at Oxford._
+
+  _Ecclesiasticus. Cap. 37. 30._
+
+  By surfet haue manie perished: but he that dieteth
+  himselfe prolongeth his life.
+
+  nor
+  W
+
+  AT LONDON
+
+  Printed by Henrie Midleton,
+
+  _for William Norton_.
+
+  1584.]
+
+
+
+
+BIBLIOGRAPHY.
+
+
+The following books will be found helpful to those who wish to prosecute
+their studies further into the subject of the Printer’s Mark. Special
+information respecting the devices of the more eminent typographers,
+such as Plantin, Elzevir, and others, will be found in the monographs
+and bibliographies which have been compiled concerning these men and
+their works.
+
+HAVRE, G. VAN. Marques typographiques des imprimeurs et libraires
+anversois, 2 vols. Avec plus de 1000 reproductions.
+
+    Anv., 1884.
+
+HEITZ (P.) and BARACK (K. A.). Die Büchermarken oder Buchdrucker und
+Verlegerzeichen. Elsässische Büchermarken bis Anfang des 18. Jahrhdts.
+Nebst Vorbemerkungen u. Nachrichten üb. d. Drucker. Mit 76 Holzschn.
+Tafeln.
+
+    4o. Strassburg, 1892.
+
+HOLTROP, J. W. Monuments Typographiques des Pays Bas au quinzième
+siècle.
+
+    Fol. La Haye, 1868.
+
+HORNE, REV. T. H. Introduction to the Study of Bibliography.
+
+    8vo. London, 1814.
+
+HUMPHREYS, H. N. Masterpieces of the Early Printers.
+
+    Fol. London, 1870.
+
+INVENTAIRE des marques d’imprimeurs et de libraires de la France.
+
+    4o. Paris, 1886-87.
+
+JOHNSON, J. Typographia, 2 vols.
+
+    London, 1824.
+
+LEDEBOER, ADRIAN MAR. Alfabetische lijst der Boekdrukkers,
+Boekverkoopers en Uitgevers in Nord-Nederland. With 4 plates of
+Printers’ Marks.
+
+    4to. Utrecht, 1876.
+
+LEMPERTZ, HEINRICH. Bilder Hefte zur Geschichte des Bücherhandels und
+der mit demselben verwandten Künste und Gewerbe. 11 Hefte mit 65 Taf.,
+enthalt. Facs. Reprod. von Portraits berühmter Buchhändler, auf den
+Buchhandel bezügl. Schriftstücke, Initialen, Ex-libris, Abbilden
+kunstvoller Einbände.
+
+    Fol. Köln, 1853-65.
+
+LINDE, A. V. D. Geschichte der Erfindung der Buchdruckerkunst. 3 Bde.
+
+    4o. 1886-87.
+
+MEERMANN, GERARD. Origines typographicæ, 2 vols. With 10 pl. Printers’
+Marks.
+
+    4o. Hag. Com., 1765.
+
+MENDEZ, FRAY FRANCISCO. Tipographia española ó historia de la
+introduccion, propagacion y progesos del arte de la imprenta en España.
+Second edition revised by D. Hidalgo.
+
+    Madrid, 1861.
+
+ORLANDI, P. A. Origin e Progressi della Stampa.
+
+    4o. Bolog. 1722.
+
+ROTH-SCHOLTZ, F. Thesaurus Symbolarum ac Emblematum, etc. Fol.
+Nüremberg, 1730 (with reproductions of several hundred Marks).
+
+SILVESTRE, L. C. Marques typographiques ou recueil des monogrammes,
+chiffres, enseignes, etc., des libraires et imprimeurs qui ont exercé en
+France depuis 1470, jusqu’à la fin du 16e siècle. Avec plus de 1300 fig.
+s. bois.
+
+    Paris, 1853-67.
+
+THIERRY-POUX, O. Premier Monuments, etc., de l’imprimeur en France au XV
+siècle.
+
+    Fol. Paris, 1890.
+
+WEIGEL (T. O.) and ZESTERMANN (A. C. A.). Die Anfänge der Druckerkunst
+in Bild und Schrift. An deren frühesten Erzeugnissen in der Weige’schen
+Sammlung erlaütert. Mit 145 Facs. u. viel. Holzschn. im Text.
+
+    Folio. Leipz., 1866. 2 vols.
+
+
+
+
+  [Decoration]
+
+  INDEX.
+
+
+  Abiegnus, J., 26.
+  Aldine family, The, 218-223.
+  Alexandre, J., 13, 26.
+  Allen, John, 92.
+  Andrewe, W., 26, 65, 70.
+  Angelier, J., 27.
+  Anshelm, Thomas, 155, 156.
+  Apiarius, Mathias, 7.
+  Appleton and Co., 250.
+  Arbuthnot, A., 81, 82.
+  Aubri, B., 14, 36.
+  Auvray, G., 27.
+  Auzolt, R., 26.
+
+  Back, G., 188-190.
+  Bade, C., 91.
+  ---- J., 12, 115, 129.
+  Baland, E., 22.
+  Baptista de Tortis, 25, 215.
+  Barack, Dr. K. A., 140.
+  Barbon, H., 8.
+  Barker, C. and R., 90.
+  Bartholomæus, D., 47.
+  Bartholomeus de Zanis, 25.
+  Bassandyne, T., 99.
+  Baumgarten, C., 171.
+  Beck, R., 49, 143, 144.
+  Bellaert, Jacobus, 191, 195.
+  Bell (Geo.), and Sons, 247.
+  Benedetti, G. A. de, 25, 228.
+  Benedetto d’Effore, 25.
+  Bentley, R., 19.
+  Berger, Thiebold, 150-151.
+  Bernardino de Misintis, 25, 225.
+  Bernardinus de Vitalibus, 25.
+  Berrichelli, D., 25.
+  Berthelet, T., 71.
+  Bertochus, D., 25, 215.
+  Bertramus, A., 29.
+  Berwick and Smith, 251.
+  Besicken, J., 210-211.
+  Besson, J., 21.
+  Bichon, G., 7.
+  Bien-Né, J., 20.
+  Bignon, J., 14.
+  Birckmann, A., 162-163.
+  Blades, W., 55.
+  Blount, E., 87.
+  Bocard, A., 20.
+  Bonino de Boninis, 25, 225-256.
+  Boucher, N., 27.
+  Bouchet, G., 21.
+  ---- J., 21.
+  Bouchets Brothers, 12.
+  Boulle, G., 34.
+  Bounyn, B., 14.
+  Bourgeat, G., 27.
+  Bouyer, J., 21.
+  Bradshaw, Henry, 53.
+  Breuille, M., 32, 33, 125.
+  Brothers of Common Life, 181.
+  Brylinger, N., 176.
+  Bumgart, Herman, 158-159.
+  Burges, J., 22.
+  Byddell, J., 72.
+  Bynneman, H., 85, 86.
+
+  Cæsar, N., 161.
+  Cæsaris, A., 189, 191.
+  Caillaut, A., 3.
+  Caligula de Bacileriis, 25.
+  Calvarin, P., 14.
+  Calvin, J., 174.
+  Cartander, _see_ Cratander.
+  Cassell and Co., 243-4.
+  Caxton, W., 53-57.
+  Cervicornis, Eucharius, 159.
+  César, P., 12.
+  Chandelier, P., 7, 137-138.
+  Charteris, H., 99.
+  Chatto and Windus, 243, 247.
+  Chaudière, G., 27, 28.
+  ---- R. and G., 126.
+  Chepman, W., 95, 97.
+  Chevallon, G., 22.
+  Chiswick Press, The, 240-2.
+  Chouet, J., 31.
+  Christopher de Canibus, 25.
+  Clarendon Press, The, 238, 240.
+  Clark, R. and R., 244.
+  Cleray, G., 32.
+  Clopejau, M., 27.
+  Cloquemin, L., 12.
+  Colines, _see_ De Colines, S.
+  Colomies, J., 137.
+  Colophon, The, 49.
+  Constable, T. and A., 246-7.
+  Copland, R., 67, 68.
+  ---- W., 68.
+  Corrozet, G., 32.
+  Couteau, Gillet, 4, 103.
+  Cox, T., 92.
+  Cramoisy, S., 127.
+  Cranach, L., 170.
+  Crane, Walter, 247, 249.
+  Cratander, 44-45.
+  Creede, T., 90, 91.
+  Crespin, J., 20.
+  Cushing and Co., 250.
+  Cyaneus, L, 125.
+
+  Dallier, J., 32.
+  Davidson, T., 98.
+  Day, John, 78-80.
+  De Bordeaux, J., 32.
+  De Campis, J., 51.
+  De Codeca, M., 25.
+  De Colines, S., 14, 27, 118-119, 120, 126.
+  De Francfordia, W., 25.
+  De Gourmont, G., 13, 118, 124.
+  ---- J., 21.
+  ---- R., 27.
+  De Hamont, M., 27, 200.
+  De la Barre, N., 26.
+  De Laet, 30.
+  Delalain, Paul, 24.
+  De la Noue, D., 8.
+  De la Porte, A. S. and H., 133-135.
+  ---- H. and A., 66.
+  De la Rivière, G., 8.
+  De Marnef Brothers, The, 26, 106-107.
+  Denidel, A., 21.
+  Denis, J., 38.
+  De Pfortzheim, Jacobus, 163, 165.
+  De Saincte-Lucie, P., 14.
+  De Salenson, G., 17.
+  De Sartières, P., 14.
+  Destresius, J., 194.
+  De Tournes, J., 29, 31, 133.
+  ---- S., 25
+  De Vingle, 115, 232.
+  De Vinne, Th., 251.
+  Dewes, R., 89.
+  Dolet, E., 16, 132, 133.
+  Dorp, R. van den, 188-189.
+  Duff, E. Gordon, 62.
+  Dulssecker, J. R., 47, 50, 153-154.
+  Du Mont, A., 8.
+  Du Moulin, J., 6.
+  Du Pré, Galliot, 5.
+  ---- J., 26, 108, 136.
+  ---- P., 22.
+  Du Puys, J., 8, 10, 129.
+
+  Eckert de Hombergh, H., 34.
+  Eggestern, H., 139.
+  Elzevirs, 17, 18, 205-208.
+  Endter’s (W. E.) Daughter, 167.
+  Erasmus, 166, 181.
+  Erpenius, T., 49.
+  Estienne, Family, The, 100, 118-123.
+  Eve, N., 8.
+
+  Faques, W., 16, 62.
+  Fawkes, R., 63.
+  Federico de Basilea, 230.
+  Fernandez, A., 229.
+  ---- V., 231, 232.
+  Feyrabendt, J., 172.
+  Fézandat, M, 14.
+  Fouet, R., 32.
+  Fradin, C., 36.
+  ---- F., 26.
+  Francfordia, N. de, 215.
+  Frellon, J., 22.
+  Friburger, M., 100, 101.
+  Fritag, A., 209-211.
+  Froben, J., 42-44, 48, 58, 164-166.
+  Froschover, C., 71, 175.
+  Furter, M., 166.
+  Fust and Schoeffer, 40-42.
+
+  Gering, U., 100, 101.
+  Gerla or Gerlis, L., 25.
+  Gibier, Eloy, 12.
+  Girard, J., 173-174.
+  Giunta Family, The, 222-225.
+  Goes, M. van der, 187-188.
+  Goltz, H., 57, 197.
+  Gourmont, _see_ De Gourmont.
+  Grafton, R., 10, 74-76.
+  Grandin, L., 18.
+  Granjon, R., 14.
+  Grapheus, J., 194, 197.
+  Gregorius, J. and G. de, 214.
+  Grosii, The, 22.
+  Groulleau, E., 32.
+  Grüninger, J., 140.
+  Gryphius, S., 6, 135, 136.
+  ---- The, 36.
+  Guarinus, 73.
+  Gueffier, J., 8.
+  Guerbin, L., 172-173.
+  Guillemot, M., 32.
+
+  Hall, Rowland, 84, 85.
+  Hardouyn, G., 18, 117.
+  Harper Bros., 250.
+  Harrison, R., 89.
+  Hauth, David, 152.
+  Heitz, P., 140.
+  Hellenius, M., 189, 191-192.
+  Henrici, H., 192, 194.
+  Henricpetri, 166.
+  Herembert, J., 131,
+  Herolt, G., 210.
+  Hesker, H., 34.
+  Hester, A., 26, 70.
+  Hillenius, M., 57.
+  Holbein, Hans, 42-45, 163.
+  Hombergh, H. Eckert van, 188.
+  Hovii, J. M., 201-202.
+  Huby, F., 34.
+  Huguetan, The Brothers, 17, 49.
+  ---- J., 26.
+  Hugunt, M., 232.
+  Husz, M., 26.
+
+  “Inventaire des Marques d’Imprimeurs,” 24.
+
+  Jacobi, P., 29.
+  Jaggard, Isaac and William, 87, 88.
+  Janot, W., 14, 15, 107, 129.
+  Janssens, G., 208.
+  Jenson, N., 213.
+  Johannes de Spira, 211.
+  Jove, M., 8.
+  Jucundus, J., 29.
+  Jugge, R., 80, 82.
+  Julian, G., 8.
+  Junta, _see_ Giunta.
+  Justinian de Ruberia, 25, 228.
+
+  Kalliergos, Z., 211, 232.
+  Kerver, T., 7, 34, 111, 115.
+  Keysere, _see_ Cæsaris.
+  Kingston or Kyngston, Felix, 88, 89.
+  Knoblouch, J., 17, 91, 142.
+  Koberger, Anthony, 167.
+  Kobian, Valentin, 156.
+  Koelhoeff, J., 159-160.
+  Köpfel (or Cæphalæus), W., 17, 145, 146.
+  Krantz, M., 100, 101.
+
+  Lagache, J. and A., 29.
+  Lambert, J., 14, 26.
+  Lamparter, N., 166.
+  L’Angelier, A., 10.
+  Laurens, Le Petit, 34.
+  Lawrence and Bullen, 243.
+  Le Bret, G., 36.
+  Lecoq, Jehan, 6, 7, 137.
+  Leeu, G., 184-186.
+  ---- N., 184.
+  Le Forestier, J., 21.
+  Legnano, G. G., 226-228.
+  ---- J. A., 232.
+  Le Jeune, M., 20.
+  Le Noir, Michel, 3, 13, 109.
+  ---- P. and G., 4, 110.
+  Le Preux, F., 177.
+  ---- J., 12.
+  ---- Poncet, 36.
+  Le Rouge, P., 109.
+  Le Talleur, G., 26.
+  Liechtenstein, P., 215.
+  Lippincott and Co., 251.
+  Lockwood and Co., 250.
+  Longis, J., 14.
+  Longman and Co., 233, 237, 240.
+  Loslein, P., 48, 213.
+  Lotter, Melchior, 169, 170.
+  Lynne, W., 52, 83.
+  Macé, B., 36.
+  ---- R., 13.
+  ---- Family, The, 108.
+  Macmillan and Co., 243.
+  Madden, J. P. A., “Lettres,” 57.
+  Magno, 229.
+  Maillet, J. and E., 5.
+  Mainyal, G., 101.
+  Mallard, O., 14.
+  Manilius, G., 32.
+  Mansion, Colard, 181.
+  Marchant, G., 29, 106.
+  Marnef, _see_ De Marnef.
+  Martin d’Alost, T., 180, 210, 211.
+  Martin, L., 34.
+  Meer, J. J. van der, 186.
+  Meietos, P. and A., 217.
+  Mentelin, J., 139.
+  Middleton, W., 76-77.
+  ---- H., 252.
+  Miguel, P., 26, 231.
+  Miscomini, A., 226.
+  Mittelhus, G., 26.
+  Morel, G., 17, 38.
+  Morin, M., 137.
+  Morris, William, 247-91.
+  Moulin, J., 97.
+  Müller, Craft, 147, 148, 149.
+  Myllar, A., 6, 95, 96.
+
+  Nani, H., 25.
+  Neobar, C., 20.
+  Nijhoff, M., 251.
+  Nivelle, S., 14, 126, 128, 129, 130.
+  Noir, _see_ Le Noir.
+  Norton, W., 88, 252.
+  Notary, J., 61-62.
+  Nourry, C., 14.
+  Nutt, David, 243.
+
+  Oglin, Erhart, 163-164.
+  Olivier, J., 23.
+  Orwin, T., 30.
+
+  Paffraej, Albertus, 183-184.
+  ---- Richard, 184.
+  Palomar, L., 229.
+  Pannartz, A., 209.
+  Paulo de Colonia, 229.
+  Paul (Kegan) and Co., 243, 249.
+  Pavier, T., 10, 12.
+  Pegnicer, J., 229.
+  Pepwell, H., 63, 189.
+  Peregrino de Pasqualibus, 25, 215.
+  Périer, T., 27.
+  Petit, J., 6, 9, 112, 115.
+  Pfortzheim, _see_ De Pfortzheim.
+  Picart, B., 46.
+  Pickering, W., 239, 242.
+  ---- B. M., 239, 242.
+  Pigouchet, 97, 112, 113.
+  Pincius, P., 223.
+  Pine, J., 46.
+  Pinzi, P., 25.
+  Plantin, C., 203-205.
+  Pollard, A. W., 48.
+  Portunaris, V., 22.
+  Prevosteau, E., 17.
+  Printers’ Marks:
+    punning devices, 3, 10;
+    mottoes from sacred history, 8;
+    printing press, 12;
+    mottoes, 13;
+    Hebrew and Greek mottoes, 17;
+    the Sphere, 17, 207;
+    the Brazen Serpent, 20;
+    Balaam’s Ass, 22;
+    Christ on the Cross, 22;
+    St. Christopher, 22;
+    Saints and riests, 23;
+    The Cross, 23-26;
+    St. George and the Dragon, 26;
+    Time and Peace, 27;
+    musical notes, 29;
+    rustic subjects, 29;
+    the Cornucopia, 30;
+    the Unicorn, 32-34;
+    the Griffin, 35;
+    the Mermaid, 36;
+    the Anchor, 37;
+    Angels, 37;
+    Arion, 37;
+    Bellerophon, 37;
+    astrological signs, 37;
+    Cat, 38;
+    Eagle, 38;
+    Fortune, 38, 44;
+    Fountain, 38;
+    Heart, 38;
+    Hercules, 38;
+    Lion, 38;
+    Magpie, 38;
+    Mercury, 38;
+    Pelican, 38;
+    Phœnix, 39;
+    Salamander, 39;
+    Swan, 39.
+  Psalter, The Mentz, 41.
+  Pynson, R., 59-61.
+
+  Rastell, J., 36.
+  Ratdolt, E., 162, 212-214.
+  Regnault, F., 75, 103-105.
+  ---- P., 105.
+  Rembolt, B., 17, 26, 101, 102.
+  Reynes, J., 16.
+  Ricci, B., 25.
+  Richard, J., 34.
+  ---- T., 29.
+  Rigaud, B., 14.
+  Rihel, Wendelin, 150.
+  Rivery, J., 174.
+  Rivingtons, The, 235-8.
+  Rizzardi, G., 225, 228.
+  Roccociola, D., 25, 226.
+  Roce, D., 4, 14, 66.
+  Rodt, Berthold, 163.
+  Roffet, J., 29, 30.
+  ---- Family, The, 125.
+  Rose, Germain, 4.
+  Rosembach, J., 26, 230, 231-2.
+  Roth-Scholtz’s “Thesaurus,” 24.
+  Rubeus de Valentia, L., 25, 215.
+  Ryverd, G., 22.
+
+  Sabio Brothers, The, 224-226.
+  Sacer, J., 25.
+  Sacon, J., 26, 73.
+  Schäffeler of Bodensee, 22.
+  Schaufelein, Hans, 155, 156.
+  Scher, Conrad, 152.
+  Schomberg, W., 25.
+  Schott, M. and J., 141.
+  Schultis, E., 32.
+  Schumann, V., 170-171.
+  Scolar, J., 93, 94.
+  Scott, or Skott, J., 66.
+  Scotto, O., 25, 214-215.
+  Sergent, P., 18.
+  Sessa, M., 217-218.
+  Siberch, J., 94, 95.
+  Silvius, G., 22.
+  Singleton, Hugh, 82, 83.
+  Sixtus Riessinger, 210.
+  Snellaert, C., 34, 35, 186.
+  Somaschi, The, 25.
+  Soter, Johann, 161-162.
+  St. Albans Press, The, 54-56.
+  Stadelberger, J., 172-173.
+  Stagninus, B., 25, 215.
+  Stationers’ Company, The, 233-6.
+  Steels, J., 19, 191.
+  Steinschawer, Adam, 173.
+  Suardo, L., 25.
+  Sweynheim, C., 209.
+
+  Tardif, A., 8.
+  Temporal, J., 14, 27.
+  Thanner, J., 139, 171.
+  Ther Hoernen, A., 24, 157, 159, 183.
+  Thomas, 229.
+  Title-page, The First, 48.
+  Tonson, J., 94.
+  Topie, M., 131.
+  Torresano, A., 219.
+  Tory, Geoffrey, 14, 117-118.
+  Tottell, R., 85.
+  Tournes, _see_ De Tournes.
+  Trepperel, J., 21.
+  Treschel, J., 25, 115, 132.
+  ---- The Brothers, 17.
+  Treveris, P., 64.
+
+  Unwin, T. F., 243, 245.
+
+  Van den Keere, H., 195, 198.
+  Van der Noot, T., 194, 196.
+  Van Hombergh, H. E., 188.
+  Vautrollier, T., 7, 73, 75.
+  Veldener, J., 178.
+  Velpius, Rutger, 200.
+  Vérard, A., 21, 102.
+  Vidoue, P., 17, 124.
+  Vincent, Simon, 34, 51.
+  Vindelinus de Spira, 213.
+  Vitalibus, B. de, 215.
+  Von Andlau, G., 1, 32, 146.
+  Vostre, S., 102, 103, 111, 112.
+  Vurster de Campidonâ, J., 226.
+
+  Waesberghe, J., 199.
+  Walthoe, J., 92.
+  Ware, R., 92, 93.
+  Wéchel, A. and C., 31, 125-127.
+  Weissenburger, J., 167-169.
+  Whitchurche, E., 75.
+  Whittingham, Messrs., 240-2.
+  Wight, or Wyghte, J., 83, 84.
+  Windet, J., 82.
+  Wolfe, R., 20, 77, 86.
+  ---- John, 77, 78.
+  Woodcock, T., 10, 86, 87.
+  Wyer, R., 68.
+  Wynkyn de Worde, 51, 57-59, 67.
+
+  Zainer, G., 41, 162.
+  Zanis, Bartholomeus, 215.
+  Zell, Ulric, 157, 178.
+  Zetzner, L., 151, 152.
+
+
+  [Illustration:
+
+  GEORGE BELL AND SONS.]
+
+
+
+
+  [Decoration]
+
+  CHISWICK PRESS:--CHARLES WHITTINGHAM AND CO.,
+  TOOKS COURT, CHANCERY LANE.
+
+
+
+
+  BY THE SAME AUTHOR.
+
+
+  THE EARLIER HISTORY OF ENGLISH BOOKSELLING.
+  Crown 8vo. Sampson Low and Co. 1889.
+
+  CHRISTIE’S: A Chapter in the History of Art.
+    [_In the Press_.
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+ERRATA (Noted by Transcriber)
+
+Main Text:
+
+  primus excogitavit Aldus._”  [_missing close quote_]
+  and with the motto “Vogue la gualee.”
+    [_illustration text has “guallee”_]
+  “... eu pour origine l’affiliation à une confrérie religieuse.”
+    [_error for “eut pour”?_]
+  The editions of the Printer, “à la licorne,” Deft
+    [_spelling “Deft” unchanged: may be quoting original_]
+  in this device we have the sun shining  [devise]
+  “Veritas virescit vulnere.”
+    [_illustration text has “viressit”_]
+  “Pour proquer la grand’ miséricorde,
+    [_text unchanged: illustration has “provocquer”_]
+  the two first, Jean or Jehan and Galliot, were the most celebrated.
+    [_final period missing or invisible_]
+  the motto “ardentes juvo,”
+    [_illustration text has “audentes”_]
+  examples of the Strasburg printers
+    [_here and below, anomalous spelling with one “s” unchanged_]
+  their very elaborate “Elsässische Büchermarken bis Anfang des
+  18. Jahrhunderts,”
+    [_missing period in “18.”, present in earlier citation_]
+  Berthold Rodt of Hanau, one of Fust’s workmen  [Füst’s]
+  probably that of Wilhelm Moritz Endter’s daughter  [thatof]
+  an enthusiastic bibliopole
+    [_not an error: bookseller, not bibliophile_]
+  Johann Feyrabendt
+    [_spelled -bendt in body text, -bend in figure caption_]
+  Le Nouueau Testament de nostre Sauflueur Iesu Christ
+    [_spelling unchanged_]
+  Joannes and Gregorius de Gregoriis, 1480-1516, [1480--1516]
+  the “Britannia” of Camden ... which was likewise employed
+    [_text unchanged: superfluous “which”_]
+  the first edition the unabridged “Chronicle of the Cid,”
+    [_text unchanged: missing “of”?_]
+
+Illustrations of Printers’ Marks:
+
+  Non-classical spellings in Greek are not individually noted.
+
+  14. Hercules Nani.  [_period . after 14. in caption invisible_]
+  γίνεσθε φρόνιμοι ὥς ὁι ὄφεις,  [_breathing mark as shown_]
+  ¶ Melius est nomen bonum q[uam] diuitie mnlte. Prou. xxu.
+    [_error “mnlte” for “multe” in original_
+    _text seems to say “xxu” (xxv, 25) but passage is at 22_]
+  Ερευνᾶτε τὰς γραφάς, οτι ἐμ ἀυταῖς
+  ζωὴμ ἀιώνιομ ἔχετε.
+    [_All errors, including the use of mu for nu, are in the original._]
+  Ἡ ἀγάπη πάντα δέγει.
+    [_There is no such word as δέγει or σέγει, but the intended form
+    could not be deduced; it might be a variant of θίγει._]
+  ’ Galle premes tecum mox Leo uictus erit
+    [_unambiguous apostrophe ’ neither flyspeck nor part of verse_]
+  καὶ μὴν ἀρθμὸν
+    [_text unchanged: error for ἀριθμὸν_]
+
+Bibliography:
+
+  Elsässische Büchermarken bis Anfang des 18. Jahrhdts.
+    [_missing period in “18.”, present in first citation_]
+  l’imprimeur en France au XV siècle.
+    [_text unchanged: error for “XV^e” (superscript e)?_]
+
+Index:
+
+  A few missing commas after initials were silently supplied.
+
+  De Vinne, Th., 251.  [151]
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Printers' Marks, by William Roberts
+
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