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diff --git a/25663-0.txt b/25663-0.txt new file mode 100644 index 0000000..642ff92 --- /dev/null +++ b/25663-0.txt @@ -0,0 +1,5513 @@ +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 + +*** END OF THIS PROJECT GUTENBERG EBOOK PRINTERS' MARKS *** + +***** This file should be named 25663-0.txt or 25663-0.zip ***** +This and all associated files of various formats will be found in: + https://www.gutenberg.org/2/5/6/6/25663/ + +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.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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