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+<pre>
+
+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.)
+
+
+
+
+
+
+</pre>
+
+
+<div class = "mynote">
+
+<p><a name = "start" id = "start">This text</a> uses utf-8 (unicode)
+file encoding. If the apostrophes and quotation marks in this paragraph
+appear as garbage, you may have an incompatible browser or unavailable
+fonts. First, make sure that the browser’s “character set” or “file
+encoding” is set to Unicode (UTF-8). You may also need to change your
+browser’s default font.</p>
+
+<p>Page numbers in <i>italics</i> show the original location of
+illustrations. Those in <i><b>bold italics</b></i> were full-page
+illustrations. In the body text and the List of Illustrations, links
+lead to the specific illustration, not to its original location.</p>
+
+<p>Inconsistent capitalization of “mark” is as in the original. Other
+typographical errors are shown with mouse-hover <ins class =
+"correction" title = "like this">popups</ins>.</p>
+
+<p>The texts of most pictured Marks will appear in plain type if you
+hover your mouse over the picture. Expanded abbreviations are shown in
+[brackets]. Words split across line breaks are shown with or without
+hyphens, as originally printed. Texts that were too long or complicated
+to display in this way are collected <a href = "#endnotes">at the end of
+the e-text</a>.</p>
+
+<p><i>Technical Note:</i> The illustrations were scanned at 400ppi and scaled to 25% by pixel count. In most browsers they will therefore appear a little <i>larger</i> than originally printed.</p>
+</div>
+
+
+<div class = "page">
+
+<h1>PRINTERS’ MARKS.</h1>
+
+</div>
+
+
+<p class = "illustration">
+<a name = "fig_frontis" id = "fig_frontis"> </a>
+<img src = "images/pic_frontis.png" width = "406" height = "562"
+alt = "Cum Priuilegio / Venetiis Impressum Anno M D V /
+Petrus Liechtensteyn"
+title = "Cum Priuilegio / Venetiis Impressum Anno M D V /
+Petrus Liechtensteyn"></p>
+
+
+<div class = "page">
+
+<h1>Printers’ Marks</h1>
+
+<h2>A Chapter in the History of<br>
+Typography by W. Roberts</h2>
+
+<h3>Editor of “The Bookworm”</h3>
+
+
+<p class = "illustration">
+<a name = "fig_titlepage" id = "fig_titlepage"> </a>
+<img src = "images/pic_titlepage.png" width = "223" height = "259"
+alt = "GEORGE BELL &amp; SONS"
+title = "GEORGE BELL &amp; SONS"></p>
+
+
+<h4>London: George Bell &amp; Sons, York Street,<br>
+Covent Garden, &amp; New York. Mdcccxciij.</h4>
+
+</div>
+
+<h6>CHISWICK PRESS: C.&nbsp;WHITTINGHAM AND CO., TOOKS COURT,<br>
+CHANCERY LANE.</h6>
+
+<div class = "page">
+
+<h5>TO</h5>
+
+<h4>T. B. BOLITHO, ESQ., M.P.,</h4>
+
+<h5>THIS VOLUME IS RESPECTFULLY<br>
+DEDICATED.</h5>
+
+</div>
+
+<div class = "maintext">
+
+<div class = "chapter">
+
+<span class = "pagenum">vii</span>
+<a name = "pagevii" id = "pagevii"> </a>
+
+<p class = "illustration">
+<a name = "fig_vii" id = "fig_vii"> </a>
+<img src = "images/pic_vii.png" width = "343" height = "91"
+alt = "decoration">
+</p>
+
+<h3><a name = "preface" id = "preface">PREFACE.</a></h3>
+
+<p><img src = "images/capT.png" width = "67" height = "67"
+alt = "T" align = "left">HERE 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
+<span class = "pagenum">viii</span>
+<a name = "pageviii" id = "pageviii"> </a>
+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.</p>
+
+<p>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&nbsp;very
+handsome work, worthy to rank with the “Elsässische Büchermarken bis
+Anfang des 18. Jahrhunderts” of Herr Paul Heitz and Dr. Karl
+A.&nbsp;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
+<a href = "#page116">p.&nbsp;116</a> 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.</p>
+
+<span class = "pagenum">ix</span>
+<a name = "pageix" id = "pageix"> </a>
+
+<p>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&nbsp;hope that it will again become more
+general as time goes&nbsp;on.</p>
+
+<p>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&nbsp;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&nbsp;have also to thank M.&nbsp;Martinus Nijhoff, of the
+Hague, Herr Karl W.&nbsp;Hiersemann, of Leipzig, Herr J.&nbsp;H.
+<span class = "pagenum">x</span>
+<a name = "pagex" id = "pagex"> </a>
+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.&nbsp;T.&nbsp;Jacobi for several useful works on typography.
+Mr. G.&nbsp;P.&nbsp;Johnston, of Edinburgh, kindly lent me the reduced
+facsimile on <a href = "#fig252">p.&nbsp;252</a>, 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.</p>
+
+<p>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.&nbsp;R.&nbsp;Dennis for the great
+care with which he has gone through the whole work.</p>
+
+<p class = "right">W. R.</p>
+
+<p class = "lefthalf center smaller">
+86, Grosvenor Road, S.W.,<br>
+<i>October</i>, 1893.</p>
+
+
+<p class = "illustration">
+<a name = "fig_x" id = "fig_x"> </a>
+<img src = "images/pic_x.png" width = "86" height = "88"
+alt = "decoration">
+</p>
+
+</div>
+
+<div class = "chapter">
+
+<span class = "pagenum">xi</span>
+<a name = "pagexi" id = "pagexi"> </a>
+
+<p class = "illustration">
+<a name = "fig_xi_a" id = "fig_xi_a"> </a>
+<img src = "images/pic_xi_a.png" width = "318" height = "71"
+alt = "decoration">
+</p>
+
+<h3><a name = "contents" id = "contents">CONTENTS.</a></h3>
+
+<table class = "toc" summary = "table of contents">
+<tr>
+<td></td>
+<td class = "number smallroman">PAGE</td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Preface</td>
+<td class = "number"><a href = "#pagevii">vii</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+List of Illustrations</td>
+<td class = "number"><a href = "#pagexiii">xiii</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Introduction</td>
+<td class = "number"><a href = "#page1">1</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+<p>Some General Aspects of the Printer’s Mark</p></td>
+<td class = "number"><a href = "#page40">40</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+The Printer’s Mark in England</td>
+<td class = "number"><a href = "#page52">52</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Some French Printers’ Marks</td>
+<td class = "number"><a href = "#page100">100</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+<p>Printers’ Marks of Germany and Switzerland</p></td>
+<td class = "number"><a href = "#page139">139</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+<p>Some Dutch and Flemish Printers’ Marks</p></td>
+<td class = "number"><a href = "#page178">178</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+<p>Printers’ Marks in Italy and Spain</p></td>
+<td class = "number"><a href = "#page209">209</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Some Modern Examples</td>
+<td class = "number"><a href = "#page233">233</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Bibliography</td>
+<td class = "number"><a href = "#page253">253</a></td>
+</tr>
+<tr>
+<td class = "smallcaps">
+Index</td>
+<td class = "number"><a href = "#page255">255</a></td>
+</tr>
+</table>
+
+<p class = "illustration">
+<a name = "fig_xi_b" id = "fig_xi_b"> </a>
+<img src = "images/pic_xi_b.png" width = "55" height = "44"
+alt = "decoration">
+</p>
+
+</div>
+
+<div class = "chapter">
+
+<span class = "pagenum">xiii</span>
+<a name = "pagexiii" id = "pagexiii"> </a>
+
+<p class = "illustration">
+<a name = "fig_xiii" id = "fig_xiii"> </a>
+<img src = "images/pic_xiii.png" width = "317" height = "71"
+alt = "decoration">
+</p>
+
+<h3><a name = "illus" id = "illus">LIST OF ILLUSTRATIONS.</a></h3>
+
+<table class = "toc" summary = "list of illustrations">
+<tr>
+<td></td>
+<td class = "number smallroman">PAGE</td>
+</tr>
+<tr>
+<td>Liechtenstein, Petrus.</td>
+<td class = "number">
+<a href = "#fig_frontis"><i>Frontispiece</i></a></td>
+</tr>
+<tr>
+<td>Bell, George, and Sons.</td>
+<td class = "number">
+<a href = "#fig_titlepage"><i>Title-page</i></a></td>
+</tr>
+<tr>
+<td>Andlau, G. U. Von</td>
+<td class = "number"><a href = "#fig1b">1</a></td>
+</tr>
+<tr>
+<td>Couteau, Gillet</td>
+<td class = "number"><a href = "#fig4">4</a></td>
+</tr>
+<tr>
+<td>Du Pré, Galliot</td>
+<td class = "number"><a href = "#fig5">5</a></td>
+</tr>
+<tr>
+<td>Lecoq, Jehan</td>
+<td class = "number"><a href = "#fig7">7</a></td>
+</tr>
+<tr>
+<td>Petit and Kerver</td>
+<td class = "number"><a href = "#fig9">9</a></td>
+</tr>
+<tr>
+<td>Du Puys, Jacques</td>
+<td class = "number"><a href = "#fig11">11</a></td>
+</tr>
+<tr>
+<td>Pavier, T.</td>
+<td class = "number"><a href = "#fig12">12</a></td>
+</tr>
+<tr>
+<td>Janot, Denys</td>
+<td class = "number"><a href = "#fig15">15</a></td>
+</tr>
+<tr>
+<td>Faques, William</td>
+<td class = "number"><a href = "#fig16">16</a></td>
+</tr>
+<tr>
+<td>Steels, J.</td>
+<td class = "number"><a href = "#fig19">19</a></td>
+</tr>
+<tr>
+<td>Vérard, Antoine</td>
+<td class = "number"><a href = "#fig21">21</a></td>
+</tr>
+<tr>
+<td>Plate of thirty Marks used chiefly by the Italian Printers</td>
+<td class = "number"><a href = "#fig25">25</a></td>
+</tr>
+<tr>
+<td>Chaudière, Guillaume</td>
+<td class = "number"><a href = "#fig28">28</a></td>
+</tr>
+<tr>
+<td>Roffet, Jacques</td>
+<td class = "number"><a href = "#fig30">30</a></td>
+</tr>
+<tr>
+<td>Tournes, Jean de</td>
+<td class = "number"><a href = "#fig31">31</a></td>
+</tr>
+<tr>
+<td>Breuille, Mathurin</td>
+<td class = "number"><a href = "#fig33">33</a></td>
+</tr>
+<tr>
+<td>Snellaert, C.</td>
+<td class = "number"><a href = "#fig35">35</a></td>
+</tr>
+<tr>
+<td>Rastell, John</td>
+<td class = "number"><a href = "#fig37">37</a></td>
+</tr>
+<tr>
+<td>Leeu, Gerard</td>
+<td class = "number"><a href = "#fig39">39</a>,
+<a href = "#fig185">185</a></td>
+</tr>
+<tr>
+<td>Fust and Schoeffer</td>
+<td class = "number"><a href = "#fig40b">40</a></td>
+</tr>
+<tr>
+<td>Froben, J.</td>
+<td class = "number"><a href = "#fig43">43</a></td>
+</tr>
+<tr>
+<td>Cratander’s Mark (attributed to Holbein)</td>
+<td class = "number"><a href = "#fig45">45</a></td>
+</tr>
+<tr>
+<td>Cox, T.</td>
+<td class = "number"><a href = "#fig46">46</a></td>
+</tr>
+<tr>
+<td>Dulssecker, Johann Reinhold</td>
+<td class = "number"><a href = "#fig47">47</a>,
+<a href = "#fig153">153</a>,
+<a href = "#fig154">154</a></td>
+</tr>
+<tr>
+<td>Beck, Reinhard</td>
+<td class = "number"><a href = "#fig50">50</a>,
+<a href = "#fig143">143</a>,
+<a href = "#fig144">144</a></td>
+</tr>
+<tr>
+<td>Goltz, Hubert</td>
+<td class = "number"><a href = "#fig51">51</a></td>
+</tr>
+<tr>
+<td>Lynne, Walter</td>
+<td class = "number"><a href = "#fig52b">52</a></td>
+</tr>
+<tr>
+<td>Caxton, William</td>
+<td class = "number"><a href = "#fig55">55</a></td>
+</tr>
+<tr>
+<td>St. Albans Printer, The</td>
+<td class = "number"><a href = "#fig56">56</a></td>
+</tr>
+<tr>
+<td>De Worde, Wynkyn</td>
+<td class = "number"><a href = "#fig58">58</a></td>
+</tr>
+<tr>
+<td>Pynson, R.</td>
+<td class = "number"><a href = "#fig59">59</a>,
+<a href = "#fig60">60</a></td>
+</tr>
+<tr>
+<td>Notary, Julian</td>
+<td class = "number"><a href = "#fig61">61</a></td>
+</tr>
+<tr>
+<td>Fawkes, R.</td>
+<td class = "number"><a href = "#fig63">63</a></td>
+</tr>
+<tr>
+<td>Treveris, Peter</td>
+<td class = "number"><a href = "#fig64">64</a></td>
+</tr>
+<tr>
+<td>Scott, John</td>
+<td class = "number"><a href = "#fig65">65</a></td>
+</tr>
+<tr>
+<td>Copland, Robert</td>
+<td class = "number"><a href = "#fig66">66</a>,
+<a href = "#fig68">68</a></td>
+</tr>
+<tr>
+<td>Wyer, Robert</td>
+<td class = "number"><a href = "#fig69">69</a></td>
+</tr>
+<tr>
+<td>Hester, Andrew</td>
+<td class = "number"><a href = "#fig70">70</a></td>
+</tr>
+<tr>
+<td>Berthelet, Thomas</td>
+<td class = "number"><a href = "#fig71">71</a></td>
+</tr>
+<tr>
+<td>Byddell, John</td>
+<td class = "number"><a href = "#fig72">72</a></td>
+</tr>
+<tr>
+<td>Vautrollier, Thomas</td>
+<td class = "number"><a href = "#fig74">74</a></td>
+</tr>
+<tr>
+<td>Grafton, Richard</td>
+<td class = "number"><a href = "#fig75">75</a></td>
+</tr>
+<tr>
+<td>Middleton, William</td>
+<td class = "number"><a href = "#fig76">76</a></td>
+</tr>
+<tr>
+<td>Wolfe, John</td>
+<td class = "number"><a href = "#fig78">78</a></td>
+</tr>
+<tr>
+<td>Day, John</td>
+<td class = "number"><a href = "#fig79">79</a></td>
+</tr>
+<tr>
+<td>Arbuthnot, A.</td>
+<td class = "number"><a href = "#fig81">81</a></td>
+</tr>
+<tr>
+<td>Singleton, Hugh</td>
+<td class = "number"><a href = "#fig83">83</a></td>
+</tr>
+<tr>
+<td>Wight, John</td>
+<td class = "number"><a href = "#fig84">84</a></td>
+</tr>
+<tr>
+<td>Hall, Rowland</td>
+<td class = "number"><a href = "#fig85">85</a></td>
+</tr>
+<tr>
+<td>Bynneman, Henry</td>
+<td class = "number"><a href = "#fig86">86</a></td>
+</tr>
+<tr>
+<td>Woodcock, Thomas</td>
+<td class = "number"><a href = "#fig87">87</a></td>
+</tr>
+<tr>
+<td>Jaggard, William</td>
+<td class = "number"><a href = "#fig88">88</a></td>
+</tr>
+<tr>
+<td>Kingston, Felix</td>
+<td class = "number"><a href = "#fig89">89</a></td>
+</tr>
+<tr>
+<td>Creede, Thomas</td>
+<td class = "number"><a href = "#fig90">90</a></td>
+</tr>
+<tr>
+<td>Walthoe, John</td>
+<td class = "number"><a href = "#fig91">91</a></td>
+</tr>
+<tr>
+<td>Ware, R.</td>
+<td class = "number"><a href = "#fig92">92</a></td>
+</tr>
+<tr>
+<td>Scolar, John</td>
+<td class = "number"><a href = "#fig93">93</a></td>
+</tr>
+<tr>
+<td>Siberch, John</td>
+<td class = "number"><a href = "#fig95">95</a></td>
+</tr>
+<tr>
+<td>Myllar, Andro</td>
+<td class = "number"><a href = "#fig96">96</a></td>
+</tr>
+<tr>
+<td>Chepman, Walter</td>
+<td class = "number"><a href = "#fig97">97</a></td>
+</tr>
+<tr>
+<td>
+<span class = "pagenum">xiv</span>
+<a name = "pagexiv" id = "pagexiv"> </a>
+Davidson, Thomas</td>
+<td class = "number"><a href = "#fig98">98</a></td>
+</tr>
+<tr>
+<td>Charteris, H.</td>
+<td class = "number"><a href = "#fig99">99</a></td>
+</tr>
+<tr>
+<td>Estienne, F.</td>
+<td class = "number"><a href = "#fig100b">100</a></td>
+</tr>
+<tr>
+<td>Rembolt, B.</td>
+<td class = "number"><a href = "#fig102">102</a></td>
+</tr>
+<tr>
+<td>Vostre, Simon</td>
+<td class = "number"><a href = "#fig103">103</a></td>
+</tr>
+<tr>
+<td>Regnault, François</td>
+<td class = "number"><a href = "#fig104">104</a></td>
+</tr>
+<tr>
+<td>Regnault, Pierre</td>
+<td class = "number"><a href = "#fig105">105</a></td>
+</tr>
+<tr>
+<td>Marchant, Guy</td>
+<td class = "number"><a href = "#fig106">106</a></td>
+</tr>
+<tr>
+<td>De Marnef</td>
+<td class = "number"><a href = "#fig107">107</a></td>
+</tr>
+<tr>
+<td>Du Pré, J.</td>
+<td class = "number"><a href = "#fig108">108</a></td>
+</tr>
+<tr>
+<td>Le Rouge, Pierre</td>
+<td class = "number"><a href = "#fig109">109</a></td>
+</tr>
+<tr>
+<td>Le Noir, Philippe</td>
+<td class = "number"><a href = "#fig110">110</a></td>
+</tr>
+<tr>
+<td>Kerver, Thielman</td>
+<td class = "number"><a href = "#fig111">111</a></td>
+</tr>
+<tr>
+<td>Pigouchet, Philippe</td>
+<td class = "number"><a href = "#fig113">113</a></td>
+</tr>
+<tr>
+<td>Petit, Jehan</td>
+<td class = "number"><a href = "#fig114">114</a></td>
+</tr>
+<tr>
+<td>Bade, J.</td>
+<td class = "number"><a href = "#fig115">115</a></td>
+</tr>
+<tr>
+<td>Hardouyn, Gillet</td>
+<td class = "number"><a href = "#fig116">116</a></td>
+</tr>
+<tr>
+<td>Tory, Geoffrey</td>
+<td class = "number"><a href = "#fig117">117</a></td>
+</tr>
+<tr>
+<td>De Colines, Simon</td>
+<td class = "number"><a href = "#fig119">119</a></td>
+</tr>
+<tr>
+<td>Estienne, Robert</td>
+<td class = "number"><a href = "#fig120">120</a>,
+<a href = "#fig121">121</a></td>
+</tr>
+<tr>
+<td>Vidoue, P.</td>
+<td class = "number"><a href = "#fig124">124</a></td>
+</tr>
+<tr>
+<td>Cyaneus, Louis</td>
+<td class = "number"><a href = "#fig125">125</a></td>
+</tr>
+<tr>
+<td>Wéchel, André</td>
+<td class = "number"><a href = "#fig126">126</a></td>
+</tr>
+<tr>
+<td>Wéchel, Chrestien</td>
+<td class = "number"><a href = "#fig127">127</a></td>
+</tr>
+<tr>
+<td>Nivelle, Sébastien</td>
+<td class = "number"><a href = "#fig128">128</a></td>
+</tr>
+<tr>
+<td>Merlin, Desboys and Nivelle</td>
+<td class = "number"><a href = "#fig130">130</a></td>
+</tr>
+<tr>
+<td>Topie, M.</td>
+<td class = "number"><a href = "#fig131">131</a></td>
+</tr>
+<tr>
+<td>Treschel, J.</td>
+<td class = "number"><a href = "#fig132">132</a></td>
+</tr>
+<tr>
+<td>Dolet, E.</td>
+<td class = "number"><a href = "#fig133">133</a></td>
+</tr>
+<tr>
+<td>Hughes de la Porte and A. Vincent</td>
+<td class = "number"><a href = "#fig134">134</a></td>
+</tr>
+<tr>
+<td>Gryphe, Sébastien</td>
+<td class = "number"><a href = "#fig135">135</a></td>
+</tr>
+<tr>
+<td>Colomies, Jacques</td>
+<td class = "number"><a href = "#fig136">136</a></td>
+</tr>
+<tr>
+<td>Morin, M.</td>
+<td class = "number"><a href = "#fig137">137</a></td>
+</tr>
+<tr>
+<td>Le Chandelier, Pierre</td>
+<td class = "number"><a href = "#fig138">138</a></td>
+</tr>
+<tr>
+<td>Thanner, Jacobi</td>
+<td class = "number"><a href = "#fig139b">139</a></td>
+</tr>
+<tr>
+<td>Grüninger, Johann</td>
+<td class = "number"><a href = "#fig140">140</a></td>
+</tr>
+<tr>
+<td>Schott, Martin</td>
+<td class = "number"><a href = "#fig141">141</a></td>
+</tr>
+<tr>
+<td>Knoblouch, Johann</td>
+<td class = "number"><a href = "#fig142">142</a></td>
+</tr>
+<tr>
+<td>Köpfel, Wolfgang</td>
+<td class = "number"><a href = "#fig145">145</a>,
+<a href = "#fig146">146</a></td>
+</tr>
+<tr>
+<td>Müller, Craft (Crato Mylius)</td>
+<td class = "number"><a href = "#fig147">147</a>,
+<a href = "#fig149">149</a></td>
+</tr>
+<tr>
+<td>Biener, Matthias (Apiarius)</td>
+<td class = "number"><a href = "#fig148">148</a></td>
+</tr>
+<tr>
+<td>Rihel, Theodosius; Rihel, Josias (und Deren Erben)</td>
+<td class = "number"><a href = "#fig150">150</a></td>
+</tr>
+<tr>
+<td>Zetzner, Lazarus</td>
+<td class = "number"><a href = "#fig151a">151</a></td>
+</tr>
+<tr>
+<td>Berger, Thiebold</td>
+<td class = "number"><a href = "#fig151b">151</a></td>
+</tr>
+<tr>
+<td>Scher, Conrad</td>
+<td class = "number"><a href = "#fig152a">152</a></td>
+</tr>
+<tr>
+<td>Hauth, David</td>
+<td class = "number"><a href = "#fig152b">152</a></td>
+</tr>
+<tr>
+<td>Anshelm, Thomas</td>
+<td class = "number"><a href = "#fig155">155</a></td>
+</tr>
+<tr>
+<td>Kobian, Valentin</td>
+<td class = "number"><a href = "#fig156">156</a></td>
+</tr>
+<tr>
+<td>Hoernen, A. Ther</td>
+<td class = "number"><a href = "#fig157">157</a></td>
+</tr>
+<tr>
+<td>Bumgart, Herman</td>
+<td class = "number"><a href = "#fig158">158</a></td>
+</tr>
+<tr>
+<td>Koelhoff, Johann</td>
+<td class = "number"><a href = "#fig160">160</a></td>
+</tr>
+<tr>
+<td>Cæsar, Nicholas</td>
+<td class = "number"><a href = "#fig161">161</a></td>
+</tr>
+<tr>
+<td>Soter, J.</td>
+<td class = "number"><a href = "#fig162">162</a></td>
+</tr>
+<tr>
+<td>Birckmann, Arnold</td>
+<td class = "number"><a href = "#fig163">163</a></td>
+</tr>
+<tr>
+<td>Oglin, Erhard</td>
+<td class = "number"><a href = "#fig164">164</a></td>
+</tr>
+<tr>
+<td>Pfortzheim, Jacobus de</td>
+<td class = "number"><a href = "#fig165">165</a></td>
+</tr>
+<tr>
+<td>Henricpetri</td>
+<td class = "number"><a href = "#fig166">166</a></td>
+</tr>
+<tr>
+<td>Endter’s, Wilhelm Moritz, Daughter</td>
+<td class = "number"><a href = "#fig167">167</a></td>
+</tr>
+<tr>
+<td>Weissenburger, J.</td>
+<td class = "number"><a href = "#fig168">168</a></td>
+</tr>
+<tr>
+<td>Lotter, Melchior</td>
+<td class = "number"><a href = "#fig169">169</a></td>
+</tr>
+<tr>
+<td>Schumann, V.</td>
+<td class = "number"><a href = "#fig170">170</a></td>
+</tr>
+<tr>
+<td>Baumgarten, Conrad</td>
+<td class = "number"><a href = "#fig171">171</a></td>
+</tr>
+<tr>
+<td>Feyrabend, J.</td>
+<td class = "number"><a href = "#fig172a">172</a></td>
+</tr>
+<tr>
+<td>Guerbin, L.</td>
+<td class = "number"><a href = "#fig172b">172</a></td>
+</tr>
+<tr>
+<td>Stadelberger, Jacob</td>
+<td class = "number"><a href = "#fig173">173</a></td>
+</tr>
+<tr>
+<td>Girard, Jehan</td>
+<td class = "number"><a href = "#fig174a">174</a></td>
+</tr>
+<tr>
+<td>Rivery, J.</td>
+<td class = "number"><a href = "#fig174b">174</a></td>
+</tr>
+<tr>
+<td>Froschover, C.</td>
+<td class = "number"><a href = "#fig175">175</a></td>
+</tr>
+<tr>
+<td>Brylinger, N.</td>
+<td class = "number"><a href = "#fig176">176</a></td>
+</tr>
+<tr>
+<td>Le Preux, F.</td>
+<td class = "number"><a href = "#fig177">177</a></td>
+</tr>
+<tr>
+<td>Veldener, J.</td>
+<td class = "number"><a href = "#fig178b">178</a></td>
+</tr>
+<tr>
+<td>Johann of Westphalia</td>
+<td class = "number"><a href = "#fig179">179</a></td>
+</tr>
+<tr>
+<td>Martens, Theodoric</td>
+<td class = "number"><a href = "#fig180">180</a></td>
+</tr>
+<tr>
+<td>Mansion, Colard</td>
+<td class = "number"><a href = "#fig181">181</a></td>
+</tr>
+<tr>
+<td>The Brothers of Common Life</td>
+<td class = "number"><a href = "#fig182">182</a></td>
+</tr>
+<tr>
+<td>Paffraej, Albertus</td>
+<td class = "number"><a href = "#fig183">183</a></td>
+</tr>
+<tr>
+<td>Van der Meer, Jacob Jacobzoon</td>
+<td class = "number"><a href = "#fig186">186</a></td>
+</tr>
+<tr>
+<td>Van der Goes, Mathias</td>
+<td class = "number"><a href = "#fig187">187</a></td>
+</tr>
+<tr>
+<td>Van den Dorp, R.</td>
+<td class = "number"><a href = "#fig188a">188</a></td>
+</tr>
+<tr>
+<td>Back, Godefroy</td>
+<td class = "number"><a href = "#fig188b">188</a>,
+<a href = "#fig190">190</a></td>
+</tr>
+<tr>
+<td>Cæsaris, A.</td>
+<td class = "number"><a href = "#fig191">191</a></td>
+</tr>
+<tr>
+<td>Hillenius, Michael</td>
+<td class = "number"><a href = "#fig192">192</a></td>
+</tr>
+<tr>
+<td>Bellaert, J.</td>
+<td class = "number"><a href = "#fig193">193</a></td>
+</tr>
+<tr>
+<td>Henrici, H.</td>
+<td class = "number"><a href = "#fig194">194</a></td>
+</tr>
+<tr>
+<td>Destresius, Jodocus</td>
+<td class = "number"><a href = "#fig195">195</a></td>
+</tr>
+<tr>
+<td>
+<span class = "pagenum">xv</span>
+<a name = "pagexv" id = "pagexv"> </a>
+Van der Noot, Thomas</td>
+<td class = "number"><a href = "#fig196">196</a></td>
+</tr>
+<tr>
+<td>Grapheus, J.</td>
+<td class = "number"><a href = "#fig197">197</a></td>
+</tr>
+<tr>
+<td>Van den Keere, Henri</td>
+<td class = "number"><a href = "#fig198">198</a></td>
+</tr>
+<tr>
+<td>Waesberghe, J.</td>
+<td class = "number"><a href = "#fig199">199</a></td>
+</tr>
+<tr>
+<td>Hamont, Michel de</td>
+<td class = "number"><a href = "#fig200">200</a></td>
+</tr>
+<tr>
+<td>Velpius, Rutger</td>
+<td class = "number"><a href = "#fig201">201</a></td>
+</tr>
+<tr>
+<td>Hovii, J. M.</td>
+<td class = "number"><a href = "#fig202">202</a></td>
+</tr>
+<tr>
+<td>Plantin, C.</td>
+<td class = "number"><a href = "#fig203a">203</a>,
+<a href = "#fig204">204</a></td>
+</tr>
+<tr>
+<td>Elzevir Sage, The</td>
+<td class = "number"><a href = "#fig206">206</a></td>
+</tr>
+<tr>
+<td>Elzevir Sphere, The</td>
+<td class = "number"><a href = "#fig207a">207</a></td>
+</tr>
+<tr>
+<td>Janssens, Guislain</td>
+<td class = "number"><a href = "#fig208">208</a></td>
+</tr>
+<tr>
+<td>Fritag, A.</td>
+<td class = "number"><a href = "#fig209b">209</a></td>
+</tr>
+<tr>
+<td>Riessinger, Sixtus</td>
+<td class = "number"><a href = "#fig210">210</a></td>
+</tr>
+<tr>
+<td>Besicken, J.</td>
+<td class = "number"><a href = "#fig211a">211</a></td>
+</tr>
+<tr>
+<td>Martens, Thierry</td>
+<td class = "number"><a href = "#fig211b">211</a></td>
+</tr>
+<tr>
+<td>Ratdolt, Erhardus</td>
+<td class = "number"><a href = "#fig212">212</a></td>
+</tr>
+<tr>
+<td>Scotto, Ottaviano</td>
+<td class = "number"><a href = "#fig214">214</a></td>
+</tr>
+<tr>
+<td>Sessa, Melchior</td>
+<td class = "number"><a href = "#fig216">216</a></td>
+</tr>
+<tr>
+<td>Meietos, P. and A.</td>
+<td class = "number"><a href = "#fig217">217</a></td>
+</tr>
+<tr>
+<td>Aldine Anchor, The First</td>
+<td class = "number"><a href = "#fig218">218</a></td>
+</tr>
+<tr>
+<td>Torresano, Andrea</td>
+<td class = "number"><a href = "#fig219a">219</a></td>
+</tr>
+<tr>
+<td>Aldine Anchor, 1502&ndash;15</td>
+<td class = "number"><a href = "#fig220">220</a></td>
+</tr>
+<tr>
+<td><span class = "gap">&nbsp;„ „ </span>1546&ndash;54</td>
+<td class = "number"><a href = "#fig221">221</a></td>
+</tr>
+<tr>
+<td><span class = "gap">&nbsp;„ „ </span>1555&ndash;74</td>
+<td class = "number"><a href = "#fig222">222</a></td>
+</tr>
+<tr>
+<td><span class = "gap">&nbsp;„ „ </span>1575&ndash;81</td>
+<td class = "number"><a href = "#fig223">223</a></td>
+</tr>
+<tr>
+<td>Giunta, P.</td>
+<td class = "number"><a href = "#fig224">224</a></td>
+</tr>
+<tr>
+<td>Giunta, L.</td>
+<td class = "number"><a href = "#fig225a">225</a></td>
+</tr>
+<tr>
+<td>Giunta, F. de</td>
+<td class = "number"><a href = "#fig225b">225</a></td>
+</tr>
+<tr>
+<td>Sabio, The Brothers</td>
+<td class = "number"><a href = "#fig226">226</a></td>
+</tr>
+<tr>
+<td>Legnano, Gian Giacomo di</td>
+<td class = "number"><a href = "#fig227">227</a></td>
+</tr>
+<tr>
+<td>Rizzardi, Giammaria</td>
+<td class = "number"><a href = "#fig228">228</a></td>
+</tr>
+<tr>
+<td>Rosembach, Juan</td>
+<td class = "number"><a href = "#fig230">230</a></td>
+</tr>
+<tr>
+<td>Fernandex, V.</td>
+<td class = "number"><a href = "#fig231">231</a></td>
+</tr>
+<tr>
+<td>Kalliergos, Zacharias</td>
+<td class = "number"><a href = "#fig232_1">232</a></td>
+</tr>
+<tr>
+<td>Legnano, J. A. de</td>
+<td class = "number"><a href = "#fig232_2">232</a></td>
+</tr>
+<tr>
+<td>Vingle, J. de, of Picardy</td>
+<td class = "number"><a href = "#fig232_3">232</a></td>
+</tr>
+<tr>
+<td>Hugunt, M.</td>
+<td class = "number"><a href = "#fig232_4">232</a></td>
+</tr>
+<tr>
+<td>Longman and Co.</td>
+<td class = "number"><a href = "#fig233b">233</a>,
+<a href = "#fig237">237</a></td>
+</tr>
+<tr>
+<td>Stationers’ Company, The</td>
+<td class = "number"><a href = "#fig233b">233</a></td>
+</tr>
+<tr>
+<td><span class = "gap">&nbsp; „&nbsp; „ „</span></td>
+<td class = "number"><a href = "#fig234">234</a></td>
+</tr>
+<tr>
+<td>Rivingtons, The</td>
+<td class = "number"><a href = "#fig235">235</a></td>
+</tr>
+<tr>
+<td>Clarendon Press, The</td>
+<td class = "number"><a href = "#fig238">238</a></td>
+</tr>
+<tr>
+<td>Pickering, William</td>
+<td class = "number"><a href = "#fig239a">239</a></td>
+</tr>
+<tr>
+<td>Pickering, Basil Montagu</td>
+<td class = "number"><a href = "#fig239b">239</a></td>
+</tr>
+<tr>
+<td>Chiswick Press</td>
+<td class = "number"><a href = "#fig240">240</a>,
+<a href = "#fig241a">241</a></td>
+</tr>
+<tr>
+<td>Chatto and Windus</td>
+<td class = "number"><a href = "#fig243a">243</a></td>
+</tr>
+<tr>
+<td>Nutt, David</td>
+<td class = "number"><a href = "#fig243b">243</a></td>
+</tr>
+<tr>
+<td>Cassell and Co.</td>
+<td class = "number"><a href = "#fig243c">243</a></td>
+</tr>
+<tr>
+<td>Macmillan and Co.</td>
+<td class = "number"><a href = "#fig243d">243</a></td>
+</tr>
+<tr>
+<td>Unwin, T. Fisher</td>
+<td class = "number"><a href = "#fig243e">243</a>,
+<a href = "#fig245">245</a></td>
+</tr>
+<tr>
+<td>Lawrence and Bullen</td>
+<td class = "number"><a href = "#fig243f">243</a></td>
+</tr>
+<tr>
+<td>Kegan Paul and Co.</td>
+<td class = "number"><a href = "#fig243g">243</a></td>
+</tr>
+<tr>
+<td>Clark, R. and R.</td>
+<td class = "number"><a href = "#fig244">244</a></td>
+</tr>
+<tr>
+<td>Constable, T. and A.</td>
+<td class = "number"><a href = "#fig246">246</a></td>
+</tr>
+<tr>
+<td>Morris, William</td>
+<td class = "number"><a href = "#fig247">247</a>,
+<a href = "#fig248">248</a></td>
+</tr>
+<tr>
+<td>Appleton, D., and Co.</td>
+<td class = "number"><a href = "#fig250a">250</a></td>
+</tr>
+<tr>
+<td>Cushing, J. S., and Co.</td>
+<td class = "number"><a href = "#fig250b">250</a></td>
+</tr>
+<tr>
+<td>Harper Brothers</td>
+<td class = "number"><a href = "#fig250c">250</a></td>
+</tr>
+<tr>
+<td>Lockwood, H., and Co.</td>
+<td class = "number"><a href = "#fig250d">250</a></td>
+</tr>
+<tr>
+<td>Berwick and Smith</td>
+<td class = "number"><a href = "#fig251a">251</a></td>
+</tr>
+<tr>
+<td>De Vinne, Theodore L., and Co.</td>
+<td class = "number"><a href = "#fig251b">251</a></td>
+</tr>
+<tr>
+<td>Lippincott, J. B., Co.</td>
+<td class = "number"><a href = "#fig251c">251</a></td>
+</tr>
+<tr>
+<td>Nijhoff, M.</td>
+<td class = "number"><a href = "#fig251d">251</a></td>
+</tr>
+<tr>
+<td>Norton, William</td>
+<td class = "number"><a href = "#fig252">252</a></td>
+</tr>
+<tr>
+<td>Bell, George, and Sons</td>
+<td class = "number"><a href = "#fig261">261</a></td>
+</tr>
+</table>
+
+<p class = "illustration">
+<a name = "fig_xv" id = "fig_xv"> </a>
+<img src = "images/pic_xv.png" width = "55" height = "44"
+alt = "decoration">
+</p>
+
+</div>
+
+<div class = "chapter">
+
+<span class = "pagenum">1</span>
+<a name = "page1" id = "page1"> </a>
+
+<p class = "illustration">
+<a name = "fig1a" id = "fig1a"> </a>
+<img src = "images/pic1a.png" width = "346" height = "89"
+alt = "decoration">
+</p>
+
+<p>&nbsp;</p>
+
+<h2>PRINTERS’ MARKS.</h2>
+
+
+<h3><a name = "intro" id = "intro">INTRODUCTION.</a></h3>
+
+
+<table class = "floatleft" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig1b" id = "fig1b"> </a>
+<img src = "images/pic1b.png" width = "114" height = "173"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">G. U. VON ANDLAU.</td>
+</tr>
+</table>
+
+<p><span class = "firstword">Shorn</span>
+of all the romance and glamour which seem inevitably to surround every
+early phase of typographic art, a&nbsp;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.</p>
+
+<p>This self-protection was necessary on many grounds. First of all, the
+privileges of impression
+<span class = "pagenum">2</span>
+<a name = "page2" id = "page2"> </a>
+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.</p>
+
+<p>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.</p>
+
+<p>A very natural question now suggests itself, “Who invented these
+Marks?” Laire, “Index
+<span class = "pagenum">3</span>
+<a name = "page3" id = "page3"> </a>
+Librorum” (Sæc. xv.), ii. 146, in speaking of a Greek Psalter says:
+“<i>Habet signaturas, registrum ac custodes, sed non numerantur folia.
+Litteræ principales ligno incisæ sunt, sicut et in principio cujuslibet
+psalmi viticulæ quæ gallicé </i>vignettes<i> appellantur, quarum usum
+primus excogitavit Aldus.</i><ins class = "correction" title = "close quote missing">” </ins>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.</p>
+
+<p>One of the most important and interesting phases in connection with
+Printers’ Marks is undoubtedly the <i>motif</i> 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 <i>prima facie</i> 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&nbsp;picture of St. Anthony was boldly, not
+to say irreverently, used by Antoine Caillaut, Paris. A&nbsp;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
+<span class = "pagenum">4</span>
+<a name = "page4" id = "page4"> </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
+<i>œillet</i> 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&nbsp;Paris bookseller, 1490, and Germain Rose, of
+Lyons, 1538, should employ a rose in their marks,
+<span class = "pagenum">5</span>
+<a name = "page5" id = "page5"> </a>
+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.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">4</span>
+<a name = "fig4" id = "fig4"> </a>
+<img src = "images/pic4.png" width = "193" height = "259"
+alt = "Du grant aux petis / Gillet couteau"
+title = "Du grant aux petis / Gillet couteau">
+</td>
+<td>
+<a name = "fig5" id = "fig5"> </a>
+<img src = "images/pic5.png" width = "216" height = "306"
+alt = "VOGVE LA GVALLEE / GALLIOT DV PRE"
+title = "VOGVE LA GVALLEE / GALLIOT DV PRE">
+</td>
+</tr>
+<tr>
+<td class = "caption">GILLET COUTEAU.</td>
+<td class = "caption">GALLIOT DU PRÉ.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">6</span>
+<a name = "page6" id = "page6"> </a>
+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.&nbsp;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&nbsp;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 <a href =
+"#fig9">p.&nbsp;9</a>, of a
+<span class = "pagenum">7</span>
+<a name = "page7" id = "page7"> </a>
+book printed by him for T.&nbsp;Kerver. Mathias Apiarius, Strassburg,
+used at least two Marks expressing the same idea, namely, a&nbsp;bear
+discovering a bee’s nest in the hollow of a tree&mdash;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.&nbsp;Chandelier, Caen, in
+which effective use is made of a candle-stick with seven holders, the
+motto being “Lucernis
+<span class = "pagenum">8</span>
+<a name = "page8" id = "page8"> </a>
+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 <i>puits</i> (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.&nbsp;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.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<span class = "pagenum illus">7</span>
+<a name = "fig7" id = "fig7"> </a>
+<img src = "images/pic7.png" width = "184" height = "266"
+alt = "Jehan Lecoq" title = "Jehan Lecoq">
+</td>
+</tr>
+<tr>
+<td class = "caption">JEHAN LECOQ.</td>
+</tr>
+</table>
+
+<p>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.&nbsp;De La Noue, who not only had “Jesus” as the
+sign of his shop, but also as his Mark; J.&nbsp;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”
+<span class = "pagenum">10</span>
+<a name = "page10" id = "page10"> </a>
+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?”</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">9</span>
+<a name = "fig9" id = "fig9"> </a>
+<img src = "images/pic9.png" width = "298" height = "471"
+alt = "see endnote" title = "see endnote">
+</p>
+
+<p class = "caption">PETIT AND KERVER.<br>
+<a href = "#endnote9">Full text</a><br>
+<a href = "images/pic9_inner.png" target = "_blank">
+<i>center section</i></a></p>
+
+
+<p>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.,&nbsp;verse&nbsp;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&nbsp;single tun; and of W.&nbsp;Middleton,
+a&nbsp;tun with the letter W at bottom and M in the centre of the tun;
+of T.&nbsp;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
+<span class = "pagenum">12</span>
+<a name = "page12" id = "page12"> </a>
+Iehovæ quia benefecit”; Andrew Lawrence, a&nbsp;St. Andrew cross.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">11</span>
+<a name = "fig11" id = "fig11"> </a>
+<img src = "images/pic11.png" width = "323" height = "485"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">JACQUES DU PUYS.</p>
+
+<p>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&nbsp;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.&nbsp;Cloquemin, Lyons,
+1579.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<span class = "pagenum illus">12</span>
+<a name = "fig12" id = "fig12"> </a>
+<img src = "images/pic12.png" width = "193" height = "215"
+alt = "THOU SHALT LABOUR TILL THOU RETURN TO DUST"
+title = "THOU SHALT LABOUR TILL THOU RETURN TO DUST">
+</td>
+</tr>
+<tr>
+<td class = "caption">T. PAVIER.</td>
+</tr>
+</table>
+
+<span class = "pagenum">13</span>
+<a name = "page13" id = "page13"> </a>
+<p>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:</p>
+
+<div class = "verse">
+<p>“C’est mon désir</p>
+<p>De Dieu servir</p>
+<p>Pour acquérir</p>
+<p>Son doux plaisir.”</p>
+</div>
+
+<p>Also in the instance of another early printer, Gilles De Gourmont,
+who chants&mdash;</p>
+
+<div class = "verse">
+<p>“Tost ou tard</p>
+<p>Pres ou loing</p>
+<p>A le Fort</p>
+<p>Du feble besoing.”</p>
+</div>
+
+<p>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&mdash;in verse&mdash;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.&nbsp;Alexandre, another early printer of Paris. Robinet or Robert
+Macé, Rouen, proclaims “Ung dieu,
+<span class = "pagenum">14</span>
+<a name = "page14" id = "page14"> </a>
+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.&nbsp;de
+Sartières, Bourges, “Tout se passe fors dieu”; of J.&nbsp;Lambert,
+“A&nbsp;espoir en dieu”; of Prigent Calvarin, “Deum time, pauperes
+sustine, finem respice”; and several from the Psalms, such as that of
+C.&nbsp;Nourry, called Le Prince, “Cor contritum et humiliatum deus non
+despicies”; of P.&nbsp;De Saincte-Lucie, also called Le Prince, “Oculi
+mei semper ad dominum”; and of J.&nbsp;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.&nbsp;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.&nbsp;Rigaud, “A&nbsp;foy entiere cœur volant”; S.&nbsp;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.&nbsp;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.&nbsp;Aubri and D.&nbsp;Roce, “A&nbsp;l’aventure tout vient a point
+qui peut attendre”; J.&nbsp;Bignon, “Repos sans fin, sans fin repos”;
+the motto used conjointly by M.&nbsp;Fézandat and R.&nbsp;Granjon, “Ne
+<span class = "pagenum">16</span>
+<a name = "page16" id = "page16"> </a>
+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.”</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">15</span>
+<a name = "fig15" id = "fig15"> </a>
+<img src = "images/pic15.png" width = "416" height = "580"
+alt = "PARTOVT AMOVR / AMOR DEI OMNIA VINCIT /
+AMOVR PARTOVT / TOVT PAR AMOVR. / DENIS IANOT. / EN TOVT BIEN."
+title = "PARTOVT AMOVR / AMOR DEI OMNIA VINCIT /
+AMOVR PARTOVT / TOVT PAR AMOVR. / DENIS IANOT. / EN TOVT BIEN."></p>
+
+<p class = "caption">DENYS JANOT.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<span class = "pagenum illus">16</span>
+<a name = "fig16" id = "fig16"> </a>
+<img src = "images/pic16.png" width = "129" height = "252"
+alt = "Melius est modicum iusto super divitias p[ecca]torum multas. /
+MELIOR EST PATIENS VIRO FORTI ET QVI DOMINAT / Guillam."
+title = "Melius est modicum iusto super divitias p[ecca]torum multas. /
+MELIOR EST PATIENS VIRO FORTI ET QVI DOMINAT / Guillam.">
+</td>
+</tr>
+<tr>
+<td class = "caption">WILLIAM FAQUES.</td>
+</tr>
+</table>
+
+<p>The employment of mottoes in Greek and
+<span class = "pagenum">17</span>
+<a name = "page17" id = "page17"> </a>
+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.&nbsp;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 <i>pièce de resistance</i> of a pretty Mark, a&nbsp;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&mdash;“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&mdash;<i>theta</i>&mdash;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 <i>theta</i> was also employed by Etienne
+Prevosteau.</p>
+
+<p>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
+<span class = "pagenum">18</span>
+<a name = "page18" id = "page18"> </a>
+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.&nbsp;Sergent
+and L.&nbsp;Grandin at Paris, by J.&nbsp;Steels, or Steelsius of
+Antwerp, and P.&nbsp;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
+<span class = "pagenum">19</span>
+<a name = "page19" id = "page19"> </a>
+century in this country&mdash;it appears, for example, on several books
+printed by R.&nbsp;Bentley, London, during that period. The sphere as an
+Elzevir Mark will be referred to in the chapter dealing with Dutch
+examples.</p>
+
+<p class = "illustration">
+<a name = "fig19" id = "fig19"> </a>
+<img src = "images/pic19.png" width = "234" height = "268"
+alt = "IO. STEELSIVS / Concordia res paruę crescunt."
+title = "IO. STEELSIVS / Concordia res paruę crescunt."></p>
+
+<p class = "caption">J. STEELS.</p>
+
+<p>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
+<span class = "pagenum">20</span>
+<a name = "page20" id = "page20"> </a>
+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&nbsp;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&mdash;that of André Bocard, Paris,&mdash;with the emblems
+of the city and the University of Paris. This idea, without the two
+latter emblems, occurs in
+<span class = "pagenum">21</span>
+<a name = "page21" id = "page21"> </a>
+the devices of Jehan Trepperel, Anthoine Denidel, and J.&nbsp;Bouyer and
+G.&nbsp;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.&nbsp;Besson,
+Lyons, and J.&nbsp;Bouchet at Poitiers, early in the following century.
+The angels nearly always occur in couples, as in the case of Antoine
+Vérard, one of
+<span class = "pagenum">22</span>
+<a name = "page22" id = "page22"> </a>
+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.&nbsp;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&ndash;10, really a careful
+piece of work; and the elder G.&nbsp;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&ndash;1732; the example bearing
+the last date is by far one of the most
+<span class = "pagenum">23</span>
+<a name = "page23" id = "page23"> </a>
+absurd of its kind&mdash;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&nbsp;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
+<span class = "pagenum">24</span>
+<a name = "page24" id = "page24"> </a>
+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,&mdash;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.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">21</span>
+<a name = "fig21" id = "fig21"> </a>
+<img src = "images/pic21.png" width = "218" height = "324"
+alt = "see endnote" title = "see endnote">
+</p>
+
+<p class = "caption">ANTOINE VÉRARD.<br>
+<a href = "#endnote21">Full text</a></p>
+
+<p>M. Paul Delalain has touched upon this exceedingly abstract phase of
+Printers’ Marks in the third <i>fascicule</i> 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.&nbsp;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.&nbsp;Delalain is of the
+opinion that the sign “<ins class = "correction" title = "error for ‘eut’?">eu</ins> 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?
+<span class = "pagenum">26</span>
+<a name = "page26" id = "page26"> </a>
+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.</p>
+
+<span class = "pagenum plate">25</span>
+<a name = "page25" id = "page25"> </a>
+
+<table class = "outline center bottom smaller"
+summary = "30 printer's marks">
+<tr>
+<td>
+<a name = "fig25" id = "fig25"> </a>
+<img src = "images/pic25_1.png" width = "42" height = "59"
+alt = "printer's mark"><br>1</td>
+<td>
+<img src = "images/pic25_2.png" width = "43" height = "60"
+alt = "printer's mark"><br>2</td>
+<td>
+<img src = "images/pic25_3.png" width = "39" height = "59"
+alt = "printer's mark"><br>3</td>
+<td>
+<img src = "images/pic25_4.png" width = "40" height = "61"
+alt = "printer's mark"><br>4</td>
+<td>
+<img src = "images/pic25_5.png" width = "26" height = "58"
+alt = "printer's mark"><br>5</td>
+<td>
+<img src = "images/pic25_6.png" width = "51" height = "58"
+alt = "printer's mark"><br>6</td>
+</tr>
+<tr>
+<td>
+<img src = "images/pic25_7.png" width = "39" height = "60"
+alt = "printer's mark"><br>7</td>
+<td>
+<img src = "images/pic25_8.png" width = "42" height = "56"
+alt = "printer's mark"><br>8</td>
+<td>
+<img src = "images/pic25_9.png" width = "60" height = "55"
+alt = "printer's mark"><br>9</td>
+<td>
+<img src = "images/pic25_10.png" width = "59" height = "59"
+alt = "printer's mark"><br>10</td>
+<td>
+<img src = "images/pic25_11.png" width = "61" height = "55"
+alt = "printer's mark"><br>11</td>
+<td>
+<img src = "images/pic25_12.png" width = "60" height = "60"
+alt = "printer's mark"><br>12</td>
+</tr>
+<tr>
+<td>
+<img src = "images/pic25_13.png" width = "62" height = "57"
+alt = "printer's mark"><br>13</td>
+<td>
+<img src = "images/pic25_14.png" width = "49" height = "57"
+alt = "printer's mark"><br>14</td>
+<td>
+<img src = "images/pic25_15.png" width = "47" height = "58"
+alt = "printer's mark"><br>15</td>
+<td>
+<img src = "images/pic25_16.png" width = "37" height = "60"
+alt = "printer's mark"><br>16</td>
+<td>
+<img src = "images/pic25_17.png" width = "41" height = "62"
+alt = "printer's mark"><br>17</td>
+<td>
+<img src = "images/pic25_18.png" width = "44" height = "60"
+alt = "printer's mark"><br>18</td>
+</tr>
+<tr>
+<td>
+<img src = "images/pic25_19.png" width = "39" height = "55"
+alt = "printer's mark"><br>19</td>
+<td>
+<img src = "images/pic25_20.png" width = "38" height = "59"
+alt = "printer's mark"><br>20</td>
+<td>
+<img src = "images/pic25_21.png" width = "66" height = "59"
+alt = "printer's mark"><br>21</td>
+<td>
+<img src = "images/pic25_22.png" width = "42" height = "58"
+alt = "printer's mark"><br>22</td>
+<td>
+<img src = "images/pic25_23.png" width = "39" height = "60"
+alt = "printer's mark"><br>23</td>
+<td>
+<img src = "images/pic25_24.png" width = "43" height = "61"
+alt = "printer's mark"><br>24</td>
+</tr>
+<tr>
+<td>
+<img src = "images/pic25_25.png" width = "56" height = "60"
+alt = "printer's mark"><br>25</td>
+<td>
+<img src = "images/pic25_26.png" width = "43" height = "60"
+alt = "printer's mark"><br>26</td>
+<td>
+<img src = "images/pic25_27.png" width = "32" height = "59"
+alt = "printer's mark"><br>27</td>
+<td>
+<img src = "images/pic25_28.png" width = "45" height = "63"
+alt = "printer's mark"><br>28</td>
+<td>
+<img src = "images/pic25_29.png" width = "42" height = "59"
+alt = "printer's mark"><br>29</td>
+<td>
+<img src = "images/pic25_30.png" width = "42" height = "59"
+alt = "printer's mark"><br>30</td>
+</tr>
+</table>
+
+<table class = "smaller text" summary = "30 captions">
+<tr>
+<td>
+<p>&nbsp; 1. Benedetto d’Effore.</p>
+<p>&nbsp; 2. Bonino de Boninis.</p>
+<p>&nbsp; 3. Bernardino de Misintis.</p>
+<p>&nbsp; 4. Bernardino Ricci.</p>
+<p>&nbsp; 5. Bernardino Stagnino.</p>
+<p>&nbsp; 6. Baptista de Tortis.</p>
+<p>&nbsp; 7. Bernardinus de Vitalibus.</p>
+<p>&nbsp; 8. Bartholomeus de Zanis.</p>
+<table class = "bracket" summary = "bracketed names">
+<tr class = "smaller">
+<td>&nbsp; 9.</td>
+<td class = "bracket" rowspan = "2">
+Dionysius Bertochus.</td>
+</tr>
+<tr>
+<td class = "smaller">10.</td>
+</tr>
+</table>
+<p>11. Dominicus Roccociola or Richizolo.</p>
+<p>12. William Schomberg.</p>
+<p>13. Christopher de Canibus.</p>
+<p>14<ins class = "correction" title = ". invisible">. </ins>Hercules
+Nani.</p>
+<p>15. Giovanni Antonio de Benedetti.</p>
+</td>
+<td class = "leftline">
+<p>16. Samuel de Tournes (Geneva).</p>
+<p>17. The Somaschi.</p>
+<p>18. Justinian de Ruberia.</p>
+<p>19. J. Treschel (Lyons).</p>
+<p>20. L. de Gerla, Gerlis or Gerula.</p>
+<p>21. Laurentius Rubeus de Valentia.</p>
+<p>22. Lazaro Suardo or da Suardis.</p>
+<p>23. Matthew de Codeca or Capsaca.</p>
+<p>24. Nicholas de Francfordia.</p>
+<p>25. Dionysio Berrichelli.</p>
+<p>26. Octavianus Scottus.</p>
+<p>27. Peregrino de Pasqualibus.</p>
+<p>28. Philip Pinzi or Pincius.</p>
+<p>29. Caligula de Bacileriis.</p>
+<p>30. J. Sacer.</p>
+</td>
+</tr>
+</table>
+
+<p>It is curious to note that, in spite of its great mediæval
+popularity, the subject of St. George and
+<span class = "pagenum">27</span>
+<a name = "page27" id = "page27"> </a>
+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.</p>
+
+<p>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&nbsp;large and vigorous Mark&mdash;one of
+several&mdash;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.&nbsp;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&nbsp;bookseller and printer of Blois, 1555, the centre of whose
+device,
+<span class = "pagenum">28</span>
+<a name = "page28" id = "page28"> </a>
+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
+<span class = "pagenum">29</span>
+<a name = "page29" id = "page29"> </a>
+practice printing in Paris&mdash;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.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">28</span>
+<a name = "fig28" id = "fig28"> </a>
+<img src = "images/pic28.png" width = "344" height = "424"
+alt = "HANC ACIEM SOLA RETVNDIT VIRTVS TEMPVS."
+title = "HANC ACIEM SOLA RETVNDIT VIRTVS TEMPVS."></p>
+
+<p class = "caption">GUILLAUME CHAUDIÈRE.</p>
+
+<p>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.&nbsp;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
+<span class = "pagenum">30</span>
+<a name = "page30" id = "page30"> </a>
+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.&nbsp;Orwin, London, 1596, in a cartouche with the
+motto: “By wisdom peace, by peace
+<span class = "pagenum">31</span>
+<a name = "page31" id = "page31"> </a>
+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.&nbsp;Chouet, Geneva, 1579, the caduceus
+<span class = "pagenum">32</span>
+<a name = "page32" id = "page32"> </a>
+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.&nbsp;Fouet, Paris, 1597, whose design was a very slight deviation
+from that of J.&nbsp;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&mdash;the
+acorn&mdash;by E.&nbsp;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&nbsp;rose-tree in
+full flower occupies the centre of the beautiful mark of the first
+Mathieu Guillemot, Paris, 1585; a&nbsp;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.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">30</span>
+<a name = "fig30" id = "fig30"> </a>
+<img src = "images/pic30.png" width = "225" height = "316"
+alt = "IAQVES ROFFET"
+title = "IAQVES ROFFET"></p>
+
+<p class = "caption">JACQUES ROFFET.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">31</span>
+<a name = "fig31" id = "fig31"> </a>
+<img src = "images/pic31.png" width = "376" height = "383"
+alt = "SON ART EN DIEV"
+title = "SON ART EN DIEV"></p>
+
+<p class = "caption">JEAN DE TOURNES.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig33" id = "fig33"> </a>
+<img src = "images/pic33.png" width = "194" height = "237"
+alt = "DOMINE ADAVGE NOBIS FIDEM QVIA CHRISTI BONVS ODOR SVMVS"
+title = "DOMINE ADAVGE NOBIS FIDEM QVIA CHRISTI BONVS ODOR SVMVS">
+</td>
+</tr>
+<tr>
+<td class = "caption">MATHURIN BREUILLE.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">33</span>
+<a name = "page33" id = "page33"> </a>
+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
+<span class = "pagenum">34</span>
+<a name = "page34" id = "page34"> </a>
+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.&nbsp;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.&nbsp;Martin and G.&nbsp;Boulle, both of
+Lyons; and also in the very rough but original design employed by
+H.&nbsp;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&nbsp;la licorne,”
+<ins class = "correction" title = "spelling unchanged (may be quoting original)">Deft</ins>, 1488&ndash;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.</p>
+
+<span class = "pagenum">35</span>
+<a name = "page35" id = "page35"> </a>
+
+<p class = "illustration">
+<a name = "fig35" id = "fig35"> </a>
+<img src = "images/pic35.png" width = "310" height = "417"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">C. SNELLAERT.</p>
+
+<p>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,
+<span class = "pagenum">36</span>
+<a name = "page36" id = "page36"> </a>
+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.&nbsp;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.&nbsp;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.&nbsp;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.&nbsp;Le
+Bret, Paris, and J.&nbsp;De Junte, Lyons, as well as by John Rastell,
+London, 1528, whose shop was at the sign of the Mermaid.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig37" id = "fig37"> </a>
+<img src = "images/pic37.png" width = "174" height = "253"
+alt = "Fuit Iohannes Rastell" title = "Fuit Iohannes Rastell">
+</td>
+</tr>
+<tr>
+<td class = "caption">JOHN RASTELL.</td>
+</tr>
+</table>
+
+<p>To summarize a few of the less popular designs, it will suffice to
+give a short list of the vignettes
+<span class = "pagenum">37</span>
+<a name = "page37" id = "page37"> </a>
+or marks used by the old printers of Paris (except where otherwise
+stated), alphabetically arranged according to subjects: <i>Abraham</i>,
+Pacard; an <i>anchor</i>, Christopher Rapheleng, Leyden, Chouet and
+Pierre Aubert, Geneva; two <i>anchors</i> crosswise, Thierry Martens,
+Antwerp, and Nicholas le Rich; one or more <i>angels</i>, Legnano,
+Milan; Henaud and Abel L’Angelier, and Dominic Farri, Venice;
+<i>Arion</i>, Oporinus or Herlist, Brylinger, Louis le Roi, and Pernet,
+Basle, and Chouet, Geneva; a&nbsp;<i>Basilisk</i> and the four elements,
+Rogny; <i>Bellerophon</i>, the brothers Arnoul and Charles Angeliers;
+Guillaume Eustace, and Perier, and Bonel, Venice; a&nbsp;<i>Bull</i>
+with the sign Taurus and the Zodiac,
+<span class = "pagenum">38</span>
+<a name = "page38" id = "page38"> </a>
+Nicholas Bevilacqua, Turin; a&nbsp;<i>Cat</i> with a mouse in her mouth,
+Melchior Sessa and Pietro Nicolini, de Sabio, Venice; two <i>Doves</i>,
+Jacques Quesnel; an <i>Eagle</i>, Balthazar Bellers, Antwerp, Bladius,
+Rome, G.&nbsp;Rouille or Roville, Lyons, and the same design&mdash;with
+the motto “Renovabitur ut aquilæ juventus mea”&mdash;occurs in the books
+published in the early years of the seventeenth century by Nicolini,
+Rabani, Renneri and Co., Venice; the personification of <i>Fortune</i>,
+Bertier, J.&nbsp;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&nbsp;<i>Fountain</i>, M.&nbsp;Vascosan, the second
+Frederic Morel (with a Greek motto importing that the fountain of wisdom
+flows in books), and Cratander, Basle; a&nbsp;<i>Heart</i>, Sebastian
+Huré and his son-in-law Corbon; <i>Hercules</i>, with the motto, “Virtus
+non territa monstris,” Vitré, Le Maire, Leyden; a&nbsp;<i>Lion</i>
+rampant, Arry; a&nbsp;lion rampant crowned on a red ground, Gunther
+Zainer; a&nbsp;lion led by the hand, Jacques Creigher; a&nbsp;lion
+supporting a column, Mylius, Strassburg, and a lion with a hour glass,
+Henric Petri, Basle; a&nbsp;<i>Magpie</i>, 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; <i>Mercury</i>, alone or with other classic deities,
+David Douceur, Biaggio, Lyons; Jean Rossy, Bologne; Verdust, Antwerp,
+and Hervagius, Basle; a&nbsp;<i>Pelican</i>, N.&nbsp;De Guinguant,
+S.&nbsp;Nivelle, Girault and De
+<span class = "pagenum">39</span>
+<a name = "page39" id = "page39"> </a>
+Marnef, C. and F.&nbsp;Franceschini, Venice; Mamarelli, Ferrara;
+F.&nbsp;Heger, Leyden; E.&nbsp;Barricat, Lyons; and Martin Nuyts and his
+successor who carried on business under the same name, Antwerp;
+a&nbsp;<i>Phœnix</i>, Michael Joli, Wyon, Douay; Leffen, Leyden;
+Martinelli, Rome; and Giolito, Venice; a&nbsp;<i>Salamander</i>, Zenaro,
+Venice; St. Crespin and Senneton, Lyons; Duversin and Rossi, Rome;
+a&nbsp;<i>Stork</i>, Nivelle and Cramoisy; <i>St. George and the
+Dragon</i>, Michel de Hamont, Brussels; a&nbsp;<i>Swan</i>, 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.</p>
+
+<p class = "illustration">
+<a name = "fig39" id = "fig39"> </a>
+<img src = "images/pic39.png" width = "179" height = "120"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">GERARD LEEU.</p>
+
+</div>
+
+<div class = "chapter">
+
+<span class = "pagenum">40</span>
+<a name = "page40" id = "page40"> </a>
+
+<p class = "illustration">
+<a name = "fig40a" id = "fig40a"> </a>
+<img src = "images/pic40a.png" width = "320" height = "73"
+alt = "decoration">
+</p>
+
+<h3><a name = "general" id = "general">SOME GENERAL ASPECTS OF THE<br>
+PRINTER’S MARK.</a></h3>
+
+
+<table class = "floatleft" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig40b" id = "fig40b"> </a>
+<img src = "images/pic40b.png" width = "136" height = "104"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">FUST AND SCHOEFFER.</td>
+</tr>
+</table>
+
+<p><span class = "firstword">From</span> 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,&mdash;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
+<span class = "pagenum">41</span>
+<a name = "page41" id = "page41"> </a>
+employed during the latter part of the fifteenth century.</p>
+
+<p>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&nbsp;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&ndash;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
+<span class = "pagenum">42</span>
+<a name = "page42" id = "page42"> </a>
+for a moment to the Psalter which has been very properly described as
+“the grandest book ever produced by Typography,” a&nbsp;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&mdash;which, from
+its spotless purity, Heineken calls the “exemplaire
+vierge”&mdash;differs from the others in being without the shield of
+Fust and Schoeffer, a&nbsp;fact which points to the probability of this
+copy having been the first struck off.</p>
+
+<p>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&nbsp;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
+<span class = "pagenum">44</span>
+<a name = "page44" id = "page44"> </a>
+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.&nbsp;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.&nbsp;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.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">43</span>
+<a name = "fig43" id = "fig43"> </a>
+<img src = "images/pic43.png" width = "348" height = "461"
+alt = "see endnote" title = "see endnote">
+</p>
+
+<p class = "caption">J. FROBEN.<br>
+<a href = "#endnote43">Full text</a></p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig45" id = "fig45"> </a>
+<img src = "images/pic45.png" width = "229" height = "325"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">CRATANDER’S MARK.<br>
+(Attributed to Holbein.)</td>
+</tr>
+
+<tr>
+<td>
+<a name = "fig46" id = "fig46"> </a>
+<img src = "images/pic46.png" width = "228" height = "179"
+alt = "I Pine Sculp^t"
+title = "I Pine Sculp^t">
+</td>
+</tr>
+<tr>
+<td class = "caption">T. COX.</td>
+</tr>
+</table>
+
+<p>To attempt to identify the designers of even a selection of the best
+Printers’ Marks would be but
+<span class = "pagenum">45</span>
+<a name = "page45" id = "page45"> </a>
+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
+<span class = "pagenum">46</span>
+<a name = "page46" id = "page46"> </a>
+B.&nbsp;Picart in France, or J.&nbsp;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,&mdash;to
+mention only three of many&mdash;may be conveniently regarded as
+Printers’ Marks. So far as we know, Pine only executed one
+example,&mdash;representing a Lamb within a cleverly designed
+cartouche&mdash;and this appears on the title-page of Dale’s Translation
+of Freind’s “Emmenologia,” printed for T.&nbsp;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
+<span class = "pagenum">47</span>
+<a name = "page47" id = "page47"> </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 <i>vice versa</i>. 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.&nbsp;Reinhold Dulssecker,
+Strassburg, about
+<span class = "pagenum">48</span>
+<a name = "page48" id = "page48"> </a>
+the latter part of the seventeenth and earlier part of the eighteenth
+century; and very many others that might be named.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">47</span>
+<a name = "fig47" id = "fig47"> </a>
+<img src = "images/pic47.png" width = "401" height = "284"
+alt = "DOMINUS PROVIDEBIT."
+title = "DOMINUS PROVIDEBIT."></p>
+
+<p class = "caption">J. R. DULSSECKER.</p>
+
+<p>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.&nbsp;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
+<span class = "pagenum">49</span>
+<a name = "page49" id = "page49"> </a>
+apply with equal force to the Printer’s Mark, although some
+exceptionally beautiful examples appeared after that period.</p>
+
+<p>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,
+<span class = "pagenum">51</span>
+<a name = "page51" id = "page51"> </a>
+and its position was generally determined by several circumstances.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">50</span>
+<a name = "fig50" id = "fig50"> </a>
+<img src = "images/pic50.png" width = "459" height = "654"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">REINHARD BECK.</p>
+
+<p>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.</p>
+
+<p class = "illustration">
+<a name = "fig51" id = "fig51"> </a>
+<img src = "images/pic51.png" width = "192" height = "264"
+alt = "HVBERTAS AVREA SAECLI"
+title = "HVBERTAS AVREA SAECLI"></p>
+
+<p class = "caption">HUBERT GOLTZ.</p>
+
+</div>
+
+<div class = "chapter">
+
+<span class = "pagenum">52</span>
+<a name = "page52" id = "page52"> </a>
+
+<p class = "illustration">
+<a name = "fig52a" id = "fig52a"> </a>
+<img src = "images/pic52a.png" width = "344" height = "70"
+alt = "decoration">
+</p>
+
+<h3><a name = "england" id = "england">THE PRINTER’S MARK IN<br>
+ENGLAND.</a></h3>
+
+
+<table class = "floatleft" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig52b" id = "fig52b"> </a>
+<img src = "images/pic52b.png" width = "169" height = "105"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">WALTER LYNNE.</td>
+</tr>
+</table>
+
+<p><span class = "firstword">The</span> 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&nbsp;Boult and a tun, a&nbsp;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,
+<span class = "pagenum">53</span>
+<a name = "page53" id = "page53"> </a>
+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&nbsp;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&nbsp;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
+<span class = "pagenum">54</span>
+<a name = "page54" id = "page54"> </a>
+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.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig56" id = "fig56"> </a>
+<img src = "images/pic56.png" width = "158" height = "331"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">THE ST. ALBANS PRINTER.</td>
+</tr>
+</table>
+
+<p>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.</p>
+
+<p>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.&nbsp;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
+<span class = "pagenum">56</span>
+<a name = "page56" id = "page56"> </a>
+“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.&nbsp;P. A.&nbsp;Madden, in his “Lettres d’un Bibliophile,” expresses
+it as his
+<span class = "pagenum">57</span>
+<a name = "page57" id = "page57"> </a>
+opinion that the two small letters outside the “W.&nbsp;74&nbsp;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.&nbsp;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&mdash;all ranging from the aforesaid Missal to the year 1491, the
+date of his death.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">55</span>
+<a name = "fig55" id = "fig55"> </a>
+<img src = "images/pic55.png" width = "421" height = "493"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">WILLIAM CAXTON.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig58" id = "fig58"> </a>
+<img src = "images/pic58.png" width = "241" height = "171"
+alt = "wynkyn de worde / W C" title = "wynkyn de worde / W C">
+</td>
+</tr>
+<tr>
+<td class = "caption">WYNKYN DE WORDE.</td>
+</tr>
+</table>
+
+<p>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,
+<span class = "pagenum">58</span>
+<a name = "page58" id = "page58"> </a>
+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.&nbsp;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&nbsp;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
+<span class = "pagenum">59</span>
+<a name = "page59" id = "page59"> </a>
+boy habited like a soldier, with a spear and shield bending forwards;
+a&nbsp;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
+<span class = "pagenum">60</span>
+<a name = "page60" id = "page60"> </a>
+Printing,” the former of whom enumerates 410 books which issued from
+this press.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">59</span>
+<a name = "fig59" id = "fig59"> </a>
+<img src = "images/pic59.png" width = "161" height = "198"
+alt = "Rychard Pynson" title = "Rychard Pynson">
+</td>
+<td>
+<a name = "fig60" id = "fig60"> </a>
+<img src = "images/pic60.png" width = "208" height = "247"
+alt = "R / Richard Pynson" title = "R / Richard Pynson">
+</td>
+</tr>
+<tr>
+<td class = "caption">R. PYNSON.</td>
+<td class = "caption">R. PYNSON.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">61</span>
+<a name = "page61" id = "page61"> </a>
+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&mdash;Julianus
+Notarius. About two dozen different works of this printer are known to
+bibliographers. In connection
+<span class = "pagenum">62</span>
+<a name = "page62" id = "page62"> </a>
+with Notary, we may here conveniently refer to an interesting, but
+admittedly inconclusive article which appears in <i>The Library</i>, i.,
+pp. 102&ndash;5, by Mr. E.&nbsp;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&mdash;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.&nbsp;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 <a href = "#fig16">page 16</a>, where will also be
+found references to the sources of the scriptural quotations on the
+white and black triangles.</p>
+
+<span class = "pagenum">63</span>
+<a name = "page63" id = "page63"> </a>
+
+<p>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.&nbsp;Faques we
+exhaust the fifteenth century printers who employed marks to distinguish
+the productions of their presses.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">61</span>
+<a name = "fig61" id = "fig61"> </a>
+<img src = "images/pic61.png" width = "176" height = "249"
+alt = "I N / Iulyan Notary" title = "I N / Iulyan Notary">
+</td>
+<td>
+<a name = "fig63" id = "fig63"> </a>
+<img src = "images/pic63.png" width = "182" height = "251"
+alt = "R F / Richard Fakes" title = "R F / Richard Fakes">
+</td>
+</tr>
+<tr>
+<td class = "caption">JULIAN NOTARY.</td>
+<td class = "caption">R. FAWKES.</td>
+</tr>
+</table>
+
+<p>Notwithstanding the similarity in their surnames it is not at all
+certain that Richard Fawkes (1509&ndash;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
+<span class = "pagenum">64</span>
+<a name = "page64" id = "page64"> </a>
+(1505&ndash;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&nbsp;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
+<span class = "pagenum">65</span>
+<a name = "page65" id = "page65"> </a>
+leaf, a&nbsp;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
+<span class = "pagenum">66</span>
+<a name = "page66" id = "page66"> </a>
+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&nbsp;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
+<span class = "pagenum">67</span>
+<a name = "page67" id = "page67"> </a>
+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.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">64</span>
+<a name = "fig64" id = "fig64"> </a>
+<img src = "images/pic64.png" width = "176" height = "252"
+alt = "P T / PETRVS TREVERIS" title = "P T / PETRVS TREVERIS">
+</td>
+<td>
+<span class = "pagenum illus">65</span>
+<a name = "fig65" id = "fig65"> </a>
+<img src = "images/pic65.png" width = "221" height = "249"
+alt = "I S / IOHN SCOTT" title = "I S / IOHN SCOTT">
+</td>
+</tr>
+<tr>
+<td class = "caption">PETER TREVERIS.</td>
+<td class = "caption">JOHN SCOTT.</td>
+</tr>
+</table>
+
+<p>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:</p>
+
+<div class = "verse">
+<p>“Layde upon shelfe, in leues all torne</p>
+<p>With Letters, dymme, almost defaced cleane</p>
+<p>Thy hyllynge rote, with wormes all to worne</p>
+<p>Thou lay, that pyte it was to sene</p>
+<p>Bounde with olde quayres, for ages all hoorse and grene</p>
+<p>Thy mater endormed, for lacke of thy presence</p>
+<p>But nowe arte losed, go shewe forth thy sentence.”</p>
+</div>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<span class = "pagenum illus">66</span>
+<a name = "fig66" id = "fig66"> </a>
+<img src = "images/pic66.png" width = "188" height = "253"
+alt = "see endnote" title = "see endnote">
+</td>
+</tr>
+<tr>
+<td class = "caption">ROBERT COPLAND.<br>
+<a href = "#endnote66">Full text</a></td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig68" id = "fig68"> </a>
+<img src = "images/pic68.png" width = "230" height = "188"
+alt = "R C / Robert Coplande." title = "R C / Robert Coplande.">
+</td>
+</tr>
+<tr>
+<td class = "caption">ROBERT COPLAND.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">68</span>
+<a name = "page68" id = "page68"> </a>
+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&nbsp;diuitie,” and on
+the left-hand one “multe. Prou. xxii,” <i>i.e.</i> “A&nbsp;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&ndash;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
+<span class = "pagenum">69</span>
+<a name = "page69" id = "page69"> </a>
+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&nbsp;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
+<span class = "pagenum">70</span>
+<a name = "page70" id = "page70"> </a>
+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
+<span class = "pagenum">71</span>
+<a name = "page71" id = "page71"> </a>
+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.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">69</span>
+<a name = "fig69" id = "fig69"> </a>
+<img src = "images/pic69.png" width = "183" height = "249"
+alt = "ROBERT WYER"
+title = "ROBERT WYER">
+</td>
+<td>
+<span class = "pagenum illus">70</span>
+<a name = "fig70" id = "fig70"> </a>
+<img src = "images/pic70.png" width = "207" height = "240"
+alt = "S / E AH R" title = "S / E AH R">
+</td>
+</tr>
+<tr>
+<td class = "caption">ROBERT WYER.</td>
+<td class = "caption">ANDREW HESTER.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig71" id = "fig71"> </a>
+<img src = "images/pic71.png" width = "179" height = "258"
+alt = "LVCRECIA ROMANA / THOMAS BERTHELETVS"
+title = "LVCRECIA ROMANA / THOMAS BERTHELETVS">
+</td>
+</tr>
+<tr>
+<td class = "caption">THOMAS BERTHELET.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig72" id = "fig72"> </a>
+<img src = "images/pic72.png" width = "191" height = "138"
+alt = "I B / ¶ IOHAN BYDDELL." title = "I B / ¶ IOHAN BYDDELL.">
+</td>
+</tr>
+<tr>
+<td class = "caption">JOHN BYDDELL.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">72</span>
+<a name = "page72" id = "page72"> </a>
+at the sign of the “Lucretia Romana,” a&nbsp;charming
+engraving&mdash;the most carefully executed of its kind used in this
+country up to that time&mdash;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&ndash;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,
+<span class = "pagenum">73</span>
+<a name = "page73" id = "page73"> </a>
+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.&nbsp;Sacon, a&nbsp;Lyonese printer, 1498&ndash;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&nbsp;Declaration of the Kings Majesties intention and meaning toward
+<span class = "pagenum">74</span>
+<a name = "page74" id = "page74"> </a>
+the lait Actis of Parliament.” J.&nbsp;Norton, 1593&ndash;1610, also
+used the same Mark.</p>
+
+<p class = "illustration">
+<a name = "fig74" id = "fig74"> </a>
+<img src = "images/pic74.png" width = "299" height = "417"
+alt = "ANCHORA SPEI." title = "ANCHORA SPEI.">
+</p>
+
+<p class = "caption">THOMAS VAUTROLLIER.</p>
+
+<p>Richard Grafton, 1537&ndash;72, who was a scholar and an author, is
+one of the best known of the sixteenth
+<span class = "pagenum">75</span>
+<a name = "page75" id = "page75"> </a>
+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&ndash;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
+<span class = "pagenum">76</span>
+<a name = "page76" id = "page76"> </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&ndash;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
+<span class = "pagenum">77</span>
+<a name = "page77" id = "page77"> </a>
+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&nbsp;very merry Enterlude of a Palmer, a&nbsp;Pardoner,
+a&nbsp;Poticary, and a Pedler.” Reginald or Reynold Wolfe,
+1542&ndash;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&nbsp;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
+<span class = "pagenum">78</span>
+<a name = "page78" id = "page78"> </a>
+reproduced from Berjeau represents a fleur-de-lys seedling supported by
+two savages, with the motto “Ubique Floret.” John Day, 1546&ndash;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&nbsp;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
+<span class = "pagenum">79</span>
+<a name = "page79" id = "page79"> </a>
+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
+<span class = "pagenum">80</span>
+<a name = "page80" id = "page80"> </a>
+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&nbsp;D appear on the
+lower left hand. This Mark is exceedingly rare; it occurs on the last
+leaf of J.&nbsp;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 <a href =
+"#fig79">p.&nbsp;79</a>. 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.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">75</span>
+<a name = "fig75" id = "fig75"> </a>
+<img src = "images/pic75.png" width = "176" height = "248"
+alt = "SVSCIPITE INSITVM VERBVM IACO I / RG"
+title = "SVSCIPITE INSITVM VERBVM IACO I / RG">
+</td>
+<td>
+<span class = "pagenum illus">76</span>
+<a name = "fig76" id = "fig76"> </a>
+<img src = "images/pic76.png" width = "170" height = "250"
+alt = "W / WYLLYAM MYDDYLTON" title = "W / WYLLYAM MYDDYLTON">
+</td>
+</tr>
+<tr>
+<td class = "caption">RICHARD GRAFTON.</td>
+<td class = "caption">WILLIAM MIDDLETON.</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<span class = "pagenum illus">78</span>
+<a name = "fig78" id = "fig78"> </a>
+<img src = "images/pic78.png" width = "246" height = "312"
+alt = "VBIQVE FLORET"
+title = "VBIQVE FLORET"></p>
+
+<p class = "caption">JOHN WOLFE.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<span class = "pagenum illus">79</span>
+<a name = "fig79" id = "fig79"> </a>
+<img src = "images/pic79.png" width = "256" height = "155"
+alt = "ARISE FOR IT IS DAY"
+title = "ARISE FOR IT IS DAY">
+</td>
+</tr>
+<tr>
+<td class = "caption">JOHN DAY.</td>
+</tr>
+</table>
+
+<p>Like so many other of the early printers, Richard Jugge,
+1548&ndash;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
+<span class = "pagenum">82</span>
+<a name = "page82" id = "page82"> </a>
+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.&nbsp;Jugge in the form of a monogram. This Mark was also
+used by J.&nbsp;Windet and by Alexander Arbuthnot, of Edinburgh, of
+which we give the example of the last named. Hugh Singleton,
+1548&ndash;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
+<span class = "pagenum">83</span>
+<a name = "page83" id = "page83"> </a>
+self-explanatory, although it may be mentioned that for a time he dwelt
+at the Golden Tun in Creed Lane. Walter Lynne, 1547&ndash;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&mdash;beginning with an edition of the
+Bible&mdash;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
+<span class = "pagenum">84</span>
+<a name = "page84" id = "page84"> </a>
+“A&nbsp;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.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">81</span>
+<a name = "fig81" id = "fig81"> </a>
+<img src = "images/pic81.png" width = "326" height = "429"
+alt = "see endnote" title = "see endnote">
+</p>
+
+<p class = "caption">A. ARBUTHNOT.<br>
+<a href = "#endnote81">Full text</a></p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">83</span>
+<a name = "fig83" id = "fig83"> </a>
+<img src = "images/pic83.png" width = "128" height = "179"
+alt = "H S"
+title = "H S">
+</td>
+<td>
+<a name = "fig84" id = "fig84"> </a>
+<img src = "images/pic84.png" width = "187" height = "229"
+alt = "WELCOM THE WIGHT: THAT BRINGETH SVCH LIGHT / I W"
+title = "WELCOM THE WIGHT: THAT BRINGETH SVCH LIGHT / I W">
+</td>
+</tr>
+<tr>
+<td class = "caption">HUGH SINGLETON.</td>
+<td class = "caption">JOHN WIGHT.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">85</span>
+<a name = "page85" id = "page85"> </a>
+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&ndash;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&ndash;87, is “The Mariners boke, containing godly and
+necessary
+<span class = "pagenum">86</span>
+<a name = "page86" id = "page86"> </a>
+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&nbsp;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&ndash;94, who dwelt at the sign of the Black Bear, in St. Paul’s
+Churchyard,
+<span class = "pagenum">87</span>
+<a name = "page87" id = "page87"> </a>
+was a bookseller rather than a printer; his Mark is an evident double
+pun on his surname.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">85</span>
+<a name = "fig85" id = "fig85"> </a>
+<img src = "images/pic85.png" width = "181" height = "177"
+alt = "POST TENEBRAS LVX"
+title = "POST TENEBRAS LVX">
+</td>
+<td>
+<span class = "pagenum illus">86</span>
+<a name = "fig86" id = "fig86"> </a>
+<img src = "images/pic86.png" width = "144" height = "135"
+alt = "CERVA CHARISSIMA ET GRATISSIMVS HINNVLVS PRO"
+title = "CERVA CHARISSIMA ET GRATISSIMVS HINNVLVS PRO">
+</td>
+</tr>
+<tr>
+<td class = "caption">ROWLAND HALL.</td>
+<td class = "caption">HENRY BYNNEMAN.</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<a name = "fig87" id = "fig87"> </a>
+<img src = "images/pic87.png" width = "270" height = "279"
+alt = "CANTABO IEHOVÆ QVIA BENEFECIT"
+title = "CANTABO IEHOVÆ QVIA BENEFECIT"></p>
+
+<p class = "caption">THOMAS WOODCOCK.</p>
+
+<p>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&ndash;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
+<span class = "pagenum">88</span>
+<a name = "page88" id = "page88"> </a>
+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 <ins class =
+"correction" title = "text has ‘devise’">device</ins> 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.</p>
+
+<p class = "illustration">
+<a name = "fig88" id = "fig88"> </a>
+<img src = "images/pic88.png" width = "227" height = "263"
+alt = "PRVDENTIA"
+title = "PRVDENTIA"></p>
+
+<p class = "caption">WILLIAM JAGGARD.</p>
+
+<p>The Mark of William Norton, 1570&ndash;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
+<span class = "pagenum">89</span>
+<a name = "page89" id = "page89"> </a>
+letters “<span class = "smallroman">NOR</span>”; and something of the
+same kind may be said of that employed by Richard Harrison,
+1552&ndash;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&ndash;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>i.e.</i> in
+reference to the prevailing taste for picture-writing such as the
+designs of Norton and Dewes] I&nbsp;refer you to the witty inventions of
+some Londoners; but that for Garret
+<span class = "pagenum">90</span>
+<a name = "page90" id = "page90"> </a>
+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</p>
+
+<div class = "verse">
+<p>“A Barker if you will,</p>
+<p>In name but not in skill.”</p>
+</div>
+
+<p>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.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">89</span>
+<a name = "fig89" id = "fig89"> </a>
+<img src = "images/pic89.png" width = "230" height = "285"
+alt = "PARNASSO ET APOLLINE DIGNA"
+title = "PARNASSO ET APOLLINE DIGNA"></p>
+
+<p class = "caption">FELIX KINGSTON.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig90" id = "fig90"> </a>
+<img src = "images/pic90.png" width = "166" height = "204"
+alt = "T C / VIRESSIT VVLNERE VERITAS"
+title = "T C / VIRESSIT VVLNERE VERITAS">
+</td>
+</tr>
+<tr>
+<td class = "caption">THOMAS CREEDE.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig91" id = "fig91"> </a>
+<img src = "images/pic91.png" width = "211" height = "133"
+alt = "SPARSA COEGI." title = "SPARSA COEGI.">
+</td>
+</tr>
+<tr>
+<td class = "caption">JOHN WALTHOE.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig92" id = "fig92"> </a>
+<img src = "images/pic92.png" width = "225" height = "168"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">R. WARE.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">91</span>
+<a name = "page91" id = "page91"> </a>
+selected at random, prove the truth of that theory. Thomas Creede,
+1588&ndash;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 <ins class = "correction" title =
+"spelled ‘viressit’ in pictured Mark">virescit</ins> vulnere.” Among the
+numerous books which he printed was Henry Butte’s “Digets Dry Dinner,”
+1599, for William Wood, a&nbsp;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&nbsp;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,
+<span class = "pagenum">92</span>
+<a name = "page92" id = "page92"> </a>
+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&nbsp;collection of the most celebrated Songs,” 1724, is sufficiently
+near it to be worth reproducing here. T.&nbsp;Cox, a&nbsp;bookseller of
+“The Lamb,” under the Royal Exchange, Cornhill, was fortunate enough to
+have a Mark (see <a href = "#fig46">page 46</a>), in which John Pine is
+seen at his best: Cox was not only an eminent bookseller, but was also
+an exchange-broker. Of
+<span class = "pagenum">93</span>
+<a name = "page93" id = "page93"> </a>
+much less delicate workmanship, but appropriate nevertheless, is the
+Mark which we find on the title-pages of the books printed for
+R.&nbsp;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
+<span class = "pagenum">94</span>
+<a name = "page94" id = "page94"> </a>
+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&mdash;the Royal Arms, which was the sign of the
+house he occupied&mdash;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
+<span class = "pagenum">95</span>
+<a name = "page95" id = "page95"> </a>
+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.”</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">93</span>
+<a name = "fig93" id = "fig93"> </a>
+<img src = "images/pic93.png" width = "393" height = "396"
+alt = "veritas Liberavit Bonitas Regnauit"
+title = "veritas Liberavit Bonitas Regnauit"></p>
+
+<p class = "caption">JOHN SCOLAR.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig95" id = "fig95"> </a>
+<img src = "images/pic95.png" width = "199" height = "244"
+alt = "I S"
+title = "I S">
+</td>
+</tr>
+<tr>
+<td class = "caption">JOHN SIBERCH.</td>
+</tr>
+</table>
+
+<p>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&mdash;a&nbsp;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
+<span class = "pagenum">96</span>
+<a name = "page96" id = "page96"> </a>
+with the <i>fleur-de-lys</i>. 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,
+<span class = "pagenum">97</span>
+<a name = "page97" id = "page97"> </a>
+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
+<span class = "pagenum">98</span>
+<a name = "page98" id = "page98"> </a>
+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
+<span class = "pagenum">99</span>
+<a name = "page99" id = "page99"> </a>
+Regimine a diis feliciter ominato Strena,” <i>circa</i> 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.&nbsp;B. instead I.&nbsp;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.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">96</span>
+<a name = "fig96" id = "fig96"> </a>
+<img src = "images/pic96.png" width = "329" height = "430"
+alt = "Androv myllar"
+title = "Androv myllar"></p>
+
+<p class = "caption">ANDRO MYLLAR.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">97</span>
+<a name = "fig97" id = "fig97"> </a>
+<img src = "images/pic97.png" width = "289" height = "403"
+alt = "W C / Walterus chepman" title = "W C / Walterus chepman">
+</p>
+
+<p class = "caption">WALTER CHEPMAN.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">98</span>
+<a name = "fig98" id = "fig98"> </a>
+<img src = "images/pic98.png" width = "275" height = "400"
+alt = "T D / THOMAS DA." title = "T D / THOMAS DA.">
+</p>
+
+<p class = "caption">THOMAS DAVIDSON.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">99</span>
+<a name = "fig99" id = "fig99"> </a>
+<img src = "images/pic99.png" width = "202" height = "243"
+alt = "IVSTITIA. RELIGIO. SVVM CVIQVE DEVM COLE /
+HIS SVFFVLTA DVRANT. / H C"
+title = "IVSTITIA. RELIGIO. SVVM CVIQVE DEVM COLE /
+HIS SVFFVLTA DVRANT. / H C">
+</p>
+
+<p class = "caption">H. CHARTERIS.</p>
+
+</div>
+
+<div class = "chapter">
+
+<span class = "pagenum">100</span>
+<a name = "page100" id = "page100"> </a>
+
+<p class = "illustration">
+<a name = "fig100a" id = "fig100a"> </a>
+<img src = "images/pic100a.png" width = "363" height = "70"
+alt = "decoration">
+</p>
+
+<h3><a name = "french" id = "french">SOME FRENCH PRINTERS’
+MARKS.</a></h3>
+
+
+<table class = "floatleft" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig100b" id = "fig100b"> </a>
+<img src = "images/pic100b.png" width = "172" height = "251"
+alt = "see endnote" title = "see endnote">
+</td>
+</tr>
+<tr>
+<td class = "caption">F. ESTIENNE.<br>
+<a href = "#endnote100b">Full text</a></td>
+</tr>
+</table>
+
+<p><span class = "firstword">It</span> 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
+<span class = "pagenum">101</span>
+<a name = "page101" id = "page101"> </a>
+first book printed at Paris was the “Letters” of Gasparin of Bergamo,
+1470, which contains the following quatrain at the end of the work:</p>
+
+<div class = "verse">
+<p>“Primos ecce libros quos hæc industria finxit</p>
+<p>Francorum in terris ædibus atque tuis;</p>
+<p>Michael, Udalrichus, Martinusque magister</p>
+<p>Hos impresserunt, ac facient alios.”</p>
+</div>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig102" id = "fig102"> </a>
+<img src = "images/pic102.png" width = "206" height = "270"
+alt = "BERCHTOLDVS R"
+title = "BERCHTOLDVS R">
+</td>
+</tr>
+<tr>
+<td class = "caption">B. REMBOLT.</td>
+</tr>
+</table>
+
+<p>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&mdash;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.&nbsp;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.</p>
+
+<span class = "pagenum">102</span>
+<a name = "page102" id = "page102"> </a>
+
+<p>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.&nbsp;V., is accompanied by the lines:</p>
+
+<span class = "pagenum">103</span>
+<a name = "page103" id = "page103"> </a>
+<div class = "verse">
+<p>“Pour <ins class = "correction" title = "illustration has ‘provocquer’">proquer</ins> la grand’ miséricorde,</p>
+<p>A tous pescheurs faire grâce et pardon,</p>
+<p>Antoine Vérard humblement te recorde.”</p>
+</div>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig103" id = "fig103"> </a>
+<img src = "images/pic103.png" width = "214" height = "325"
+alt = "S V / SIMON VOSTRE" title = "S V / SIMON VOSTRE">
+</td>
+</tr>
+<tr>
+<td class = "caption">SIMON VOSTRE.</td>
+</tr>
+
+<tr>
+<td>
+<a name = "fig105" id = "fig105"> </a>
+<img src = "images/pic105.png" width = "214" height = "331"
+alt = "P R / CONCORDIA PARVE RES CRESCVNT /
+DISCORDIA MAGNE DILABVNTVR / PETRVS REGNAVLT"
+title = "P R / CONCORDIA PARVE RES CRESCVNT /
+DISCORDIA MAGNE DILABVNTVR / PETRVS REGNAVLT">
+</td>
+</tr>
+<tr>
+<td class = "caption">PIERRE REGNAULT.</td>
+</tr>
+
+<tr>
+<td>
+<a name = "fig106" id = "fig106"> </a>
+<img src = "images/pic106.png" width = "206" height = "144"
+alt = "Fides Ficit" title = "Fides Ficit">
+</td>
+</tr>
+<tr>
+<td class = "caption">GUY MARCHANT.</td>
+</tr>
+</table>
+
+<p>Of the second we give an example on <a href =
+"#fig21">p.&nbsp;21</a>. Among his publications may be mentioned “L’Art
+de bien Mourir,” 1492, which Gilles Couteau and J.&nbsp;Menard printed
+for him, whilst the punning Mark of the former is reproduced in our
+first chapter (<a href = "#fig4">p.&nbsp;4</a>). François Regnault, who
+printed a large number of books during the first half of the
+<span class = "pagenum">105</span>
+<a name = "page105" id = "page105"> </a>
+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&nbsp;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
+<span class = "pagenum">106</span>
+<a name = "page106" id = "page106"> </a>
+first half of the sixteenth century. The Marchant family existed in
+Paris as printers for over 300 years (1481&ndash;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 <i>chant
+gaillard</i> 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.&nbsp;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,
+<span class = "pagenum">107</span>
+<a name = "page107" id = "page107"> </a>
+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
+<span class = "pagenum">108</span>
+<a name = "page108" id = "page108"> </a>
+century, and the more noticeable of their Marks contained the device:
+“Amor Dei omnia vincit&mdash;amour partout, tout par amour, partout
+amour, en tout bien” (see <a href = "#fig15">p.&nbsp;15</a>). 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&ndash;1775; the two first, Jean or Jehan and
+Galliot, were the most celebrated<ins class = "correction" title = ". missing">. </ins>Of the dozen Marks employed by this family, the most
+original, it being the evident pun on his name, has a <i>Galiote</i>, at
+the head of the
+<span class = "pagenum">109</span>
+<a name = "page109" id = "page109"> </a>
+mast of which is the motto, “Vogue la Guallee,” or sometimes “Vogue la
+Gualee” (see <a href = "#fig5">p.&nbsp;5</a>). 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
+<span class = "pagenum">110</span>
+<a name = "page110" id = "page110"> </a>
+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&nbsp;satirical piece attributed to Pierre Gringoire), the figure or
+effigy at the head is signed with the monogram of G.&nbsp;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
+<span class = "pagenum">111</span>
+<a name = "page111" id = "page111"> </a>
+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&nbsp;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,
+<span class = "pagenum">112</span>
+<a name = "page112" id = "page112"> </a>
+and of which there are two, which differ from one another only in minor
+details. Of Simon Vostre himself, a&nbsp;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 <a href
+= "#fig103">p.&nbsp;103</a>.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">104</span>
+<a name = "fig104" id = "fig104"> </a>
+<img src = "images/pic104.png" width = "291" height = "544"
+alt = "see endnote" title = "see endnote">
+</p>
+
+<p class = "caption">FRANÇOIS REGNAULT.<br>
+<a href = "#endnote104">Full text</a><br>
+<i><a href = "images/pic104_inner.png" target = "_blank">Text
+close-up</a></i></p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">107</span>
+<a name = "fig107" id = "fig107"> </a>
+<img src = "images/pic107.png" width = "185" height = "269"
+alt = "Le pellicā / E I G / De marnef"
+title = "Le pellicā / E I G / De marnef">
+</td>
+<td>
+<span class = "pagenum illus">108</span>
+<a name = "fig108" id = "fig108"> </a>
+<img src = "images/pic108.png" width = "204" height = "263"
+alt = "I P"
+title = "I P">
+</td>
+</tr>
+<tr>
+<td class = "caption">DE MARNEF.</td>
+<td class = "caption">J. DU PRÉ.</td>
+</tr>
+</table>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">109</span>
+<a name = "fig109" id = "fig109"> </a>
+<img src = "images/pic109.png" width = "185" height = "279"
+alt = ".P. le Rouge"
+title = ".P. le Rouge">
+</td>
+<td>
+<span class = "pagenum illus">110</span>
+<a name = "fig110" id = "fig110"> </a>
+<img src = "images/pic110.png" width = "219" height = "294"
+alt = "P N / PHILIPPE LE NOIR" title = "P N / PHILIPPE LE NOIR">
+</td>
+</tr>
+<tr>
+<td class = "caption">PIERRE LE ROUGE.</td>
+<td class = "caption">PHILIPPE LE NOIR.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<span class = "pagenum illus">111</span>
+<a name = "fig111" id = "fig111"> </a>
+<img src = "images/pic111.png" width = "199" height = "275"
+alt = "T K / THIELMAN KERVER" title = "T K / THIELMAN KERVER">
+</td>
+</tr>
+<tr>
+<td class = "caption">THIELMAN KERVER.</td>
+</tr>
+</table>
+
+<p>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&mdash;a&nbsp;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
+<span class = "pagenum">114</span>
+<a name = "page114" id = "page114"> </a>
+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
+<span class = "pagenum">115</span>
+<a name = "page115" id = "page115"> </a>
+one of the finest, we give, on <a href = "#fig9">p.&nbsp;9</a>, 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&ndash;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
+<span class = "pagenum">116</span>
+<a name = "page116" id = "page116"> </a>
+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
+<span class = "pagenum">117</span>
+<a name = "page117" id = "page117"> </a>
+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&ndash;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.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">113</span>
+<a name = "fig113" id = "fig113"> </a>
+<img src = "images/pic113.png" width = "313" height = "445"
+alt = "pp. / PHILIPPE PIGOVCHET" title = "pp. / PHILIPPE PIGOVCHET">
+</p>
+
+<p class = "caption">PHILIPPE PIGOUCHET.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">114</span>
+<a name = "fig114" id = "fig114"> </a>
+<img src = "images/pic114.png" width = "335" height = "436"
+alt = "I P / IEHAN PETIT" title = "I P / IEHAN PETIT">
+</p>
+
+<p class = "caption">JEHAN PETIT.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">115</span>
+<a name = "fig115" id = "fig115"> </a>
+<img src = "images/pic115.png" width = "194" height = "250"
+alt = "Prelū Ascēsianū / I B" title = "Prelū Ascēsianū / I B">
+</td>
+<td>
+<a name = "fig117" id = "fig117"> </a>
+<img src = "images/pic117.png" width = "135" height = "238"
+alt = "NON PLVS" title = "NON PLVS">
+</td>
+</tr>
+<tr>
+<td class = "caption">J. BADE.</td>
+<td class = "caption">GEOFFREY TORY.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<span class = "pagenum illus">116</span>
+<a name = "fig116" id = "fig116"> </a>
+<img src = "images/pic116.png" width = "214" height = "329"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">GILLET HARDOUYN.</td>
+</tr>
+</table>
+
+<p>Geoffrey Tory resembled many others of the early printers in being
+also a scholar; but he was
+<span class = "pagenum">118</span>
+<a name = "page118" id = "page118"> </a>
+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 <i>memento</i> 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 <i>toret</i>&mdash;an obvious
+pun on his name.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig119" id = "fig119"> </a>
+<img src = "images/pic119.png" width = "199" height = "293"
+alt = "S D C / S DECOLINES" title = "S D C / S DECOLINES">
+</td>
+</tr>
+<tr>
+<td class = "caption">SIMON DE COLINES.</td>
+</tr>
+</table>
+
+<p>The Estienne or Etienne family is probably the most important and
+interesting of the sixteenth century printers of Paris. Silvestre
+reproduces
+<span class = "pagenum">119</span>
+<a name = "page119" id = "page119"> </a>
+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 <i>Ecoles de Droit</i>; 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&mdash;François, Robert, and
+<span class = "pagenum">120</span>
+<a name = "page120" id = "page120"> </a>
+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,
+<span class = "pagenum">121</span>
+<a name = "page121" id = "page121"> </a>
+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
+<span class = "pagenum">122</span>
+<a name = "page122" id = "page122"> </a>
+(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,
+<span class = "pagenum">123</span>
+<a name = "page123" id = "page123"> </a>
+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&mdash;“Lecteur, que vous
+faut-il de plus?”</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">120</span>
+<a name = "fig120" id = "fig120"> </a>
+<img src = "images/pic120.png" width = "218" height = "265"
+alt = "NOLI ALTVM SAPERE."
+title = "NOLI ALTVM SAPERE.">
+</td>
+<td>
+<span class = "pagenum illus">121</span>
+<a name = "fig121" id = "fig121"> </a>
+<img src = "images/pic121.png" width = "94" height = "297"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">R. ESTIENNE.</td>
+<td class = "caption">ROBERT ESTIENNE.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig124" id = "fig124"> </a>
+<img src = "images/pic124.png" width = "220" height = "317"
+alt = "AVDENTES IVVO / P. VIDOVÆ" title = "AVDENTES IVVO / P. VIDOVÆ">
+</td>
+</tr>
+<tr>
+<td class = "caption">P. VIDOUE.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">124</span>
+<a name = "page124" id = "page124"> </a>
+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&nbsp;singularly curious impression,” whilst ten years
+later he printed Guillaume Postel’s “Linguarum XII. characteribus
+differentium Alphabetum,” which is described by La Caille as
+<span class = "pagenum">125</span>
+<a name = "page125" id = "page125"> </a>
+the “first book printed in oriental character,” a&nbsp;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 “<ins class = "correction" title = "written ‘audentes’ in pictured Mark">ardentes</ins> 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 <a href =
+"#fig30">p.&nbsp;30</a>). In their separate ways, the Marks of Mathurin
+Breuille, 1562&ndash;83 (<a href = "#fig33">p.&nbsp;33</a>), and Louis
+Cyaneus, 1529&ndash;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
+<span class = "pagenum">126</span>
+<a name = "page126" id = "page126"> </a>
+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&ndash;98 on <a href = "#fig28">p.&nbsp;28</a>. 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
+<span class = "pagenum">127</span>
+<a name = "page127" id = "page127"> </a>
+figure in the typographical annals of Paris. He was, at the time of his
+death at the age of eighty years, the <i>doyen</i> 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.
+<span class = "pagenum">129</span>
+<a name = "page129" id = "page129"> </a>
+Of the somewhat crudely drawn Mark&mdash;an evident pun on his
+surname&mdash;used in or about 1504, by Guillaume Du Puys, the sign of
+the shop being the Samaritan, a&nbsp;much more decorative example was
+used, in various sizes, by Jacques Du Puys (<a href =
+"#fig11">p.&nbsp;<ins class = "correction" title = "text reads ‘10’">11</ins></a>), who was a bookseller, 1549&ndash;91, rather than a
+printer. Equally fine in another way is the tripartite example, given on
+<a href = "#fig130">page 130</a>, 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:</p>
+
+<div class = "verse">
+<p>“Veniet tempus meissionis.</p>
+<p>Non oderis laboriosa opera.</p>
+<p>Homo nascitur ad laborem,</p>
+<p>Vade, piger, ad formicam.”</p>
+</div>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">125</span>
+<a name = "fig125" id = "fig125"> </a>
+<img src = "images/pic125.png" width = "257" height = "178"
+alt = "printer's mark">
+</td>
+<td>
+<span class = "pagenum illus">126</span>
+<a name = "fig126" id = "fig126"> </a>
+<img src = "images/pic126.png" width = "115" height = "175"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">LOUIS CYANEUS.</td>
+<td class = "caption">ANDRÉ WÉCHEL.</td>
+</tr>
+</table>
+
+<p>On the opposite page we reproduce the Mark Nivelle used for the books
+which he produced alone.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">128</span>
+<a name = "fig128" id = "fig128"> </a>
+<img src = "images/pic128.png" width = "373" height = "524"
+alt = "S N / HONORA PATREM TVVM, ET MATREM TVAM. /
+VT SIS LONGÆVVS SVPER TERRAM. EXOD. 20."
+title = "S N / HONORA PATREM TVVM, ET MATREM TVAM. /
+VT SIS LONGÆVVS SVPER TERRAM. EXOD. 20."></p>
+
+<p class = "caption">SÉBASTIEN NIVELLE.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<span class = "pagenum illus">127</span>
+<a name = "fig127" id = "fig127"> </a>
+<img src = "images/pic127.png" width = "195" height = "333"
+alt = "VNICVM ARBVSTV NON ALIT DVOS ERITHAGOS"
+title = "VNICVM ARBVSTV NON ALIT DVOS ERITHAGOS">
+</td>
+</tr>
+<tr>
+<td class = "caption">CHRESTIEN WÉCHEL.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig132" id = "fig132"> </a>
+<img src = "images/pic132.png" width = "146" height = "225"
+alt = "I T"
+title = "I T">
+</td>
+</tr>
+<tr>
+<td class = "caption">J. TRESCHEL.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">131</span>
+<a name = "page131" id = "page131"> </a>
+whom we have already referred. The former of the two “honestes homes
+Michelet topie de pymont: &amp; 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&mdash;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
+<span class = "pagenum">132</span>
+<a name = "page132" id = "page132"> </a>
+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&mdash;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&nbsp;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
+<span class = "pagenum">133</span>
+<a name = "page133" id = "page133"> </a>
+kind known as <i>doloire</i>, 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.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">130</span>
+<a name = "fig130" id = "fig130"> </a>
+<img src = "images/pic130.png" width = "349" height = "470"
+alt = "HOMO NASCITVR AD LABOREM / VADE PIGER AD FORMICAM /
+PROVENIET TEMPVS MESSIONIS / NON ODERIS LABORIOSA OPERA"
+title = "HOMO NASCITVR AD LABOREM / VADE PIGER AD FORMICAM /
+PROVENIET TEMPVS MESSIONIS / NON ODERIS LABORIOSA OPERA"></p>
+
+<p class = "caption">MERLIN, DESBOYS AND NIVELLE.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">131</span>
+<a name = "fig131" id = "fig131"> </a>
+<img src = "images/pic131.png" width = "189" height = "280"
+alt = "printer's mark">
+</td>
+<td>
+<a name = "fig133" id = "fig133"> </a>
+<img src = "images/pic133.png" width = "223" height = "270"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">M. TOPIE.</td>
+<td class = "caption">E. DOLET.</td>
+</tr>
+</table>
+
+<p>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&ndash;50, himself had no less than eleven
+Marks, several of which are exceedingly
+<span class = "pagenum">134</span>
+<a name = "page134" id = "page134"> </a>
+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
+<span class = "pagenum">135</span>
+<a name = "page135" id = "page135"> </a>
+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 <a href = "#fig108">p.&nbsp;108</a>.
+<span class = "pagenum">136</span>
+<a name = "page136" id = "page136"> </a>
+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&mdash;the Griffin, sometimes quite without
+any sort of decorative attributes or motto, and sometimes as in the
+example here given.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">134</span>
+<a name = "fig134" id = "fig134"> </a>
+<img src = "images/pic134.png" width = "248" height = "318"
+alt = "LIBERTATEM MEAM MECVM PORTO / VINCENTI"
+title = "LIBERTATEM MEAM MECVM PORTO / VINCENTI"></p>
+
+<p class = "caption">HUGUES DE LA PORTE AND A. VINCENT.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">135</span>
+<a name = "fig135" id = "fig135"> </a>
+<img src = "images/pic135.png" width = "218" height = "269"
+alt = "printer's mark">
+</td>
+<td>
+<a name = "fig136" id = "fig136"> </a>
+<img src = "images/pic136.png" width = "225" height = "301"
+alt = "I C / IACQVES COLOMIES" title = "I C / IACQVES COLOMIES">
+</td>
+</tr>
+<tr>
+<td class = "caption">SÉBASTIEN GRYPHE.</td>
+<td class = "caption">JACQUES COLOMIES.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig137" id = "fig137"> </a>
+<img src = "images/pic137.png" width = "197" height = "299"
+alt = "M M / IMPRIME A ROVEN DEVANT SAINCT LO"
+title = "M M / IMPRIME A ROVEN DEVANT SAINCT LO">
+</td>
+</tr>
+<tr>
+<td class = "caption">M. MORIN.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">137</span>
+<a name = "page137" id = "page137"> </a>
+a&nbsp;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&nbsp;punning device (<a href = "#fig7">p.&nbsp;7</a>),
+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
+<span class = "pagenum">138</span>
+<a name = "page138" id = "page138"> </a>
+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.</p>
+
+<p class = "illustration">
+<a name = "fig138" id = "fig138"> </a>
+<img src = "images/pic138.png" width = "179" height = "199"
+alt = "LVCERNIS ACCENSIS FIDELITER MINISTRO."
+title = "LVCERNIS ACCENSIS FIDELITER MINISTRO."></p>
+
+<p class = "caption">PIERRE LE CHANDELIER.</p>
+
+</div>
+
+<div class = "chapter">
+
+<span class = "pagenum">139</span>
+<a name = "page139" id = "page139"> </a>
+
+<p class = "illustration">
+<a name = "fig139a" id = "fig139a"> </a>
+<img src = "images/pic139a.png" width = "338" height = "66"
+alt = "decoration">
+</p>
+
+<h3><a name = "germany" id = "germany">
+PRINTERS’ MARKS OF GERMANY<br>
+AND SWITZERLAND.</a></h3>
+
+
+<table class = "floatleft" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig139b" id = "fig139b"> </a>
+<img src = "images/pic139b.png" width = "143" height = "137"
+alt = "i t" title = "i t">
+</td>
+</tr>
+<tr>
+<td class = "caption">JACOBI THANNER.</td>
+</tr>
+</table>
+
+<p><span class = "firstword">Although</span> 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 <ins class = "correction" title = "anomalous spelling">Strasburg</ins> 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
+<span class = "pagenum">140</span>
+<a name = "page140" id = "page140"> </a>
+Heitz and Dr. Karl August Barack in their very elaborate “Elsässische
+Büchermarken bis Anfang des <ins class = "correction" title = ". missing">18.</ins> Jahrhunderts,” the first <ins class = "correction"
+title = "anomalous spelling">Strasburg</ins> 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
+<span class = "pagenum">141</span>
+<a name = "page141" id = "page141"> </a>
+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&mdash;one of
+<span class = "pagenum">142</span>
+<a name = "page142" id = "page142"> </a>
+several&mdash;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 (<i>e.g.</i> “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
+<span class = "pagenum">144</span>
+<a name = "page144" id = "page144"> </a>
+emblematically representing Ignorance ascending from darkness into light
+is encircled; this Mark is generally surrounded by mottoes in Greek,
+Hebrew, and Latin.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">140</span>
+<a name = "fig140" id = "fig140"> </a>
+<img src = "images/pic140.png" width = "229" height = "229"
+alt = "IOHANNES. SANTVS" title = "IOHANNES. SANTVS">
+</td>
+<td>
+<span class = "pagenum illus">141</span>
+<a name = "fig141" id = "fig141"> </a>
+<img src = "images/pic141.png" width = "154" height = "209"
+alt = "M S"
+title = "M S">
+</td>
+</tr>
+<tr>
+<td class = "caption">JOHANN GRÜNINGER.</td>
+<td class = "caption">MARTIN SCHOTT.</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<span class = "pagenum illus">142</span>
+<a name = "fig142" id = "fig142"> </a>
+<img src = "images/pic142.png" width = "219" height = "330"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">JOHANN KNOBLOUCH.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">143</span>
+<a name = "fig143" id = "fig143"> </a>
+<img src = "images/pic143.png" width = "392" height = "539"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">REINHARD BECK.</p>
+
+<p class = "illustration">
+<a name = "fig144" id = "fig144"> </a>
+<img src = "images/pic144.png" width = "234" height = "323"
+alt = "RB"
+title = "RB"></p>
+
+<p class = "caption">REINHARD BECK.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig146" id = "fig146"> </a>
+<img src = "images/pic146.png" width = "146" height = "180"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">WOLFGANG KÖPFEL.</td>
+</tr>
+</table>
+
+<p>Although Reinhard, or Renatus, Beck was only in business for about
+eleven years, 1511&ndash;1522, he had several Marks, which differed
+chiefly in their extraneous ornament, as will be seen from the
+accompanying examples. Two books, <i>sine nota</i>, which Mr. Quaritch
+assigns to Beck’s press,
+<span class = "pagenum">146</span>
+<a name = "page146" id = "page146"> </a>
+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&nbsp;much commoner type is the smaller example, which appeared
+in various books issued between 1526&ndash;1554. Georg Ullricher von
+Andlau, 1529&ndash;36, confined himself to one type (see <a href =
+"#fig1b">p.&nbsp;1</a>), that of the Cornucopia or Horn of
+<span class = "pagenum">148</span>
+<a name = "page148" id = "page148"> </a>
+Plenty, of which there are seven variants. The more elaborate of the two
+Marks of Matthias Biener, or Apiarius, 1533&ndash;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
+<span class = "pagenum">150</span>
+<a name = "page150" id = "page150"> </a>
+Müller, or Crato Mylius, 1536&ndash;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.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">145</span>
+<a name = "fig145" id = "fig145"> </a>
+<img src = "images/pic145.png" width = "353" height = "515"
+alt = "ESTAS HYEMS / PROPE LONGE / MORS ET VITA"
+title = "ESTAS HYEMS / PROPE LONGE / MORS ET VITA"></p>
+
+<p class = "caption">WOLFGANG KÖPFEL.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">147</span>
+<a name = "fig147" id = "fig147"> </a>
+<img src = "images/pic147.png" width = "416" height = "622"
+alt = "Hostibus haud tergo, sed forti pectore notus."
+title = "Hostibus haud tergo, sed forti pectore notus."></p>
+
+<p class = "caption">CRAFT MÜLLER (CRATO MYLIUS).</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">148</span>
+<a name = "fig148" id = "fig148"> </a>
+<img src = "images/pic148.png" width = "285" height = "407"
+alt = "see endnote" title = "see endnote">
+</p>
+
+<p class = "caption">MATTHIAS BIENER (APIARIUS).<br>
+<a href = "#endnote148">Full text</a></p>
+
+<p class = "illustration">
+<span class = "pagenum plate">149</span>
+<a name = "fig149" id = "fig149"> </a>
+<img src = "images/pic149.png" width = "283" height = "653"
+alt = "Alma Spicifera Flaua / CERES.
+Ni purges &amp; molas non comedes."
+title = "Alma Spicifera Flaua / CERES.
+Ni purges &amp; molas non comedes.">
+</p>
+
+<p class = "caption">CRAFT MÜLLER.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig150" id = "fig150"> </a>
+<img src = "images/pic150.png" width = "187" height = "262"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">THEODOSIUS RIHEL, JOSIAS RIHEL<br>
+(UND DEREN ERBEN).</td>
+</tr>
+</table>
+
+<p>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&nbsp;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
+<span class = "pagenum">152</span>
+<a name = "page152" id = "page152"> </a>
+from 1551&ndash;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&ndash;31, which was subsequently used by Johannes Reppius, also of
+Strassburg. Curiosity is the only feature of the solitary example of
+David Hauth, 1635.</p>
+
+<span class = "pagenum plate">151</span>
+<a name = "page151" id = "page151"> </a>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- one above the other in original -->
+<tr>
+<td>
+<a name = "fig151a" id = "fig151a"> </a>
+<img src = "images/pic151a.png" width = "139" height = "143"
+alt = "SCIENTIA IMMUTABILIS" title = "SCIENTIA IMMUTABILIS">
+</td>
+<td rowspan = "2">
+<a name = "fig151b" id = "fig151b"> </a>
+<img src = "images/pic151b.png" width = "221" height = "313"
+alt = "TIMETE DOMINVM OMNES SANCTI EIVS
+QVONIAM NON EST INOPIA TIMENTIBVS EVM. PS:34"
+title = "TIMETE DOMINVM OMNES SANCTI EIVS
+QVONIAM NON EST INOPIA TIMENTIBVS EVM. PS:34">
+</td>
+</tr>
+<tr>
+<td class = "caption">LAZARUS ZETZNER.</td>
+</tr>
+<tr>
+<td></td>
+<td class = "caption">THIEBOLD BERGER.</td>
+</tr>
+</table>
+
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- side by side in original -->
+<tr>
+<td>
+<a name = "fig152a" id = "fig152a"> </a>
+<img src = "images/pic152a.png" width = "210" height = "217"
+alt = "Prudentia Firma Et Simplex Spes"
+title = "Prudentia Firma Et Simplex Spes">
+</td>
+<td>
+<a name = "fig152b" id = "fig152b"> </a>
+<img src = "images/pic152b.png" width = "97" height = "243"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">CONRAD SCHER.</td>
+<td class = "caption">DAVID HAUTH.</td>
+</tr>
+</table>
+
+<span class = "pagenum">153</span>
+<a name = "page153" id = "page153"> </a>
+
+<p class = "illustration">
+<a name = "fig153" id = "fig153"> </a>
+<img src = "images/pic153.png" width = "447" height = "312"
+alt = "DOMINUS PROVIDEBIT"
+title = "DOMINUS PROVIDEBIT"></p>
+
+<p class = "caption">J. R. DULSSECKER.<a class = "tag" href =
+"#endnoteA">A</a></p>
+
+<p>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&ndash;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
+<span class = "pagenum">154</span>
+<a name = "page154" id = "page154"> </a>
+garden, in the central pathway of which occurs his initials. This Mark
+appears to have been used in only one book, “M.&nbsp;Fabii Quinctiliani
+Declamationes ... ex recensione Ulrici Obrechti,” 1698. A&nbsp;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 <a href =
+"#fig47">p.&nbsp;47</a>. He had eleven Marks, his list includes books of
+all kinds, in Latin, German, and French.</p>
+
+<p class = "illustration">
+<a name = "fig154" id = "fig154"> </a>
+<img src = "images/pic154.png" width = "436" height = "276"
+alt = "FOECUNDANTE DEO IN VARIOS PRODUCIMUR USUS"
+title = "FOECUNDANTE DEO IN VARIOS PRODUCIMUR USUS"></p>
+
+<p class = "caption">JOHANN REINHOLD DULSSECKER.</p>
+
+<p>Of the other Alsatian printers we have only
+<span class = "pagenum">155</span>
+<a name = "page155" id = "page155"> </a>
+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,”
+<span class = "pagenum">156</span>
+<a name = "page156" id = "page156"> </a>
+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&ndash;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.</p>
+
+<p class = "illustration">
+<a name = "fig156" id = "fig156"> </a>
+<img src = "images/pic156.png" width = "415" height = "375"
+alt = "see endnote" title = "see endnote">
+</p>
+
+<p class = "caption">VALENTIN KOBIAN.<br>
+<a href = "#endnote156">Full text</a></p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">155</span>
+<a name = "fig155" id = "fig155"> </a>
+<img src = "images/pic155.png" width = "169" height = "239"
+alt = "see endnote" title = "see endnote">
+</td>
+<td>
+<a name = "fig157" id = "fig157"> </a>
+<img src = "images/pic157.png" width = "204" height = "316"
+alt = "see endnote" title = "see endnote">
+</td>
+</tr>
+<tr>
+<td class = "caption">THOMAS ANSHELM.<br>
+<a href = "#endnote155">Full text</a></td>
+<td class = "caption">A. THER HOERNEN.<br>
+<a href = "#endnote157">Full text</a><br>
+<a href = "images/pic157_text.png" target = "_blank">
+<i>Text close-up</i></a></td>
+</tr>
+</table>
+
+<span class = "pagenum">157</span>
+<a name = "page157" id = "page157"> </a>
+
+<p>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 <i>confrères</i> 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
+<span class = "pagenum">159</span>
+<a name = "page159" id = "page159"> </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.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">158</span>
+<a name = "fig158" id = "fig158"> </a>
+<img src = "images/pic158.png" width = "320" height = "447"
+alt = "Impressu[m] Colonie sup[er] antiquū for[um] in Siluestri viro."
+title = "Impressu[m] Colonie sup[er] antiquū for[um] in Siluestri viro."></p>
+
+<p class = "caption">HERMAN BUMGART.</p>
+
+<p>Once started, the idea of the Mark was quickly taken up. Johann
+Koelhoff, 1470&ndash;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&ndash;36, used a caduceus on an
+<span class = "pagenum">161</span>
+<a name = "page161" id = "page161"> </a>
+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&ndash;36,
+is another exceedingly interesting personality in the early history of
+Cologne printing. We give
+<span class = "pagenum">162</span>
+<a name = "page162" id = "page162"> </a>
+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&ndash;92, used the accompanying Mark of a hen under a tree. After
+Günther Zainer, 1468&ndash;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
+<span class = "pagenum">163</span>
+<a name = "page163" id = "page163"> </a>
+give the rather striking Mark&mdash;a&nbsp;white <i>fleur-de-lis</i> on
+black ground springing from a globe&mdash;of Erhart Oglin, Augsburg,
+1505&ndash;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.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">160</span>
+<a name = "fig160" id = "fig160"> </a>
+<img src = "images/pic160.png" width = "401" height = "547"
+alt = "i k"
+title = "i k"></p>
+
+<p class = "caption">JOHANN KOELHOFF.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">161</span>
+<a name = "fig161" id = "fig161"> </a>
+<img src = "images/pic161.png" width = "214" height = "288"
+alt = "printer's mark">
+</td>
+<td>
+<span class = "pagenum illus">162</span>
+<a name = "fig162" id = "fig162"> </a>
+<img src = "images/pic162.png" width = "181" height = "260"
+alt = "see endnote" title = "see endnote">
+</td>
+</tr>
+<tr>
+<td class = "caption">NICHOLAS CÆSAR.</td>
+<td class = "caption">J. SOTER.<br>
+<a href = "#endnote162">Full text</a></td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig163" id = "fig163"> </a>
+<img src = "images/pic163.png" width = "166" height = "202"
+alt = "VTILIA SEMPER NOVA SAEPIVS PROFERO"
+title = "VTILIA SEMPER NOVA SAEPIVS PROFERO">
+</td>
+</tr>
+<tr>
+<td class = "caption">ARNOLD BIRCKMANN.</td>
+</tr>
+</table>
+
+<p>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 <ins class = "correction" title = "text reads ‘Füst’s’">Fust’s</ins>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&ndash;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
+<span class = "pagenum">164</span>
+<a name = "page164" id = "page164"> </a>
+“Grammatica P.&nbsp;Francisci nigri A.&nbsp;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&ndash;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
+<span class = "pagenum">166</span>
+<a name = "page166" id = "page166"> </a>
+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 <a href = "#fig43">p.&nbsp;43</a>). Two
+other early Basle printers, Michael Furter, 1490&ndash;1517, and
+Nicholas Lamparter, 1505&ndash;19, used Marks one shield of each of
+which carried the arms of Basle. Henricpetri was a celebrated printer of
+Basle, 1523&ndash;78, and had a Mark of quite a unique character,
+representing Thor’s hammer, held by a
+<span class = "pagenum">167</span>
+<a name = "page167" id = "page167"> </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.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">164</span>
+<a name = "fig164" id = "fig164"> </a>
+<img src = "images/pic164.png" width = "275" height = "304"
+alt = "E O"
+title = "E O"></p>
+
+<p class = "caption">ERHARD OGLIN.<a class = "tag" href =
+"#endnoteB">B</a></p>
+
+<p class = "illustration">
+<span class = "pagenum plate">165</span>
+<a name = "fig165" id = "fig165"> </a>
+<img src = "images/pic165.png" width = "278" height = "440"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">JACOBUS DE PFORTZHEIM.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">166</span>
+<a name = "fig166" id = "fig166"> </a>
+<img src = "images/pic166.png" width = "220" height = "316"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">HENRICPETRI.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig167" id = "fig167"> </a>
+<img src = "images/pic167.png" width = "260" height = "208"
+alt = "OMNIA LVSTRAT"
+title = "OMNIA LVSTRAT">
+</td>
+</tr>
+<tr>
+<td class = "caption">WILHELM MORITZ ENDTER’S DAUGHTER.</td>
+</tr>
+</table>
+
+<p>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 <ins
+class = "correction" title = "text reads ‘thatof’">that of</ins> 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&nbsp;much better known printer of
+this place is Johann Weissenburger,
+<span class = "pagenum">169</span>
+<a name = "page169" id = "page169"> </a>
+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,&mdash;the precise signification of the letters H H on
+one side of the globe is not known. Mr. Quaritch describes a book of
+<span class = "pagenum">170</span>
+<a name = "page170" id = "page170"> </a>
+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.’”</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">168</span>
+<a name = "fig168" id = "fig168"> </a>
+<img src = "images/pic168.png" width = "372" height = "468"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">J. WEISSENBURGER.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">169</span>
+<a name = "fig169" id = "fig169"> </a>
+<img src = "images/pic169.png" width = "340" height = "390"
+alt = "M L"
+title = "M L"></p>
+
+<p class = "caption">MELCHIOR LOTTER.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig170" id = "fig170"> </a>
+<img src = "images/pic170.png" width = "173" height = "209"
+alt = "V S / L D" title = "V S / L D">
+</td>
+</tr>
+<tr>
+<td class = "caption">V. SCHUMANN.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig171" id = "fig171"> </a>
+<img src = "images/pic171.png" width = "238" height = "231"
+alt = "W"
+title = "W">
+</td>
+</tr>
+<tr>
+<td class = "caption">CONRAD BAUMGARTEN.</td>
+</tr>
+</table>
+
+<p>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,
+<span class = "pagenum">171</span>
+<a name = "page171" id = "page171"> </a>
+1522, which an enthusiastic <ins class = "correction" title =
+"bookseller, not bibliophile">bibliopole</ins> has described as “one of
+the great works of the world.” Valentin Schumann, 1502&ndash;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&nbsp;rude Latinization of Schumann which he
+sometimes used. Sufficiently quaint also is the Mark of Jacobus Thanner,
+1501&ndash;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
+<span class = "pagenum">172</span>
+<a name = "page172" id = "page172"> </a>
+himself in Breslau, which he again changed for Frankfort-am-Oder,
+1507&ndash;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 <ins class = "correction" title = "picture caption has ‘Feyrabend’">Feyrabendt</ins>, 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
+<span class = "pagenum">173</span>
+<a name = "page173" id = "page173"> </a>
+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.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- side by side in original -->
+<tr>
+<td>
+<span class = "pagenum illus">172</span>
+<a name = "fig172a" id = "fig172a"> </a>
+<img src = "images/pic172a.png" width = "175" height = "161"
+alt = "printer's mark">
+</td>
+<td>
+<a name = "fig172b" id = "fig172b"> </a>
+<img src = "images/pic172b.png" width = "180" height = "178"
+alt = "L C"
+title = "L C">
+</td>
+</tr>
+<tr>
+<td class = "caption">J. <ins class = "correction" title = "body text has ‘Feyrabendt’">FEYRABEND</ins>.</td>
+<td class = "caption">L. GUERBIN.</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<a name = "fig173" id = "fig173"> </a>
+<img src = "images/pic173.png" width = "257" height = "336"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">JACOB STADELBERGER.</p>
+
+<p>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
+<span class = "pagenum">174</span>
+<a name = "page174" id = "page174"> </a>
+herewith comes from one of Calvin’s books, 1545, the Latin motto being
+anglicized thus: “I&nbsp;came not to send peace, but a sword,”
+a&nbsp;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&ndash;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
+<span class = "pagenum">175</span>
+<a name = "page175" id = "page175"> </a>
+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&ndash;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, <i>Frosch</i> being German for “frog;” it is emblematical
+of a gigantic frog ridden by a child under
+<span class = "pagenum">176</span>
+<a name = "page176" id = "page176"> </a>
+a&nbsp;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&ndash;65 (the accompanying example is taken from the title-page of
+“Pantalonis Henrici, Prosopographiæ Heroum atque illustrium Virorum
+totius Germaniæ,” 1565, a&nbsp;folio of three volumes, full of
+fancifully drawn portraits, the same portrait being often used for
+several men), and F.&nbsp;Le Preux, of Lausanne, Morges, and Berne.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- side by side in original -->
+<tr>
+<td>
+<span class = "pagenum illus">174</span>
+<a name = "fig174a" id = "fig174a"> </a>
+<img src = "images/pic174a.png" width = "138" height = "154"
+alt = "NON VENI PACEM MITTERE SED GLADIVM."
+title = "NON VENI PACEM MITTERE SED GLADIVM.">
+</td>
+<td>
+<a name = "fig174b" id = "fig174b"> </a>
+<img src = "images/pic174b.png" width = "197" height = "193"
+alt = "see endnote" title = "see endnote">
+</td>
+</tr>
+<tr>
+<td class = "caption">JEHAN GIRARD.</td>
+<td class = "caption">J. RIVERY.<br>
+<a href = "#endnote174b">Full text</a></td>
+</tr>
+</table>
+
+<p class = "illustration">
+<span class = "pagenum illus">175</span>
+<a name = "fig175" id = "fig175"> </a>
+<img src = "images/pic175.png" width = "238" height = "331"
+alt = "CRISTOF FROSCHOWER ZV ZVRIC"
+title = "CRISTOF FROSCHOWER ZV ZVRIC"></p>
+
+<p class = "caption">C. FROSCHOVER.</p>
+
+<p class = "illustration">
+<a name = "fig176" id = "fig176"> </a>
+<img src = "images/pic176.png" width = "251" height = "281"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">N. BRYLINGER.</p>
+
+<span class = "pagenum">177</span>
+<a name = "page177" id = "page177"> </a>
+
+<p class = "illustration">
+<a name = "fig177" id = "fig177"> </a>
+<img src = "images/pic177.png" width = "209" height = "254"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">F. LE PREUX.</p>
+
+</div>
+
+<div class = "chapter">
+
+<span class = "pagenum">178</span>
+<a name = "page178" id = "page178"> </a>
+
+<p class = "illustration">
+<a name = "fig178a" id = "fig178a"> </a>
+<img src = "images/pic178a.png" width = "351" height = "70"
+alt = "decoration">
+</p>
+
+<h3><a name = "dutch" id = "dutch">
+SOME DUTCH AND FLEMISH<br>
+PRINTERS’ MARKS.</a></h3>
+
+
+<table class = "floatleft" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig178b" id = "fig178b"> </a>
+<img src = "images/pic178b.png" width = "211" height = "122"
+alt = "velde" title = "velde">
+</td>
+</tr>
+<tr>
+<td class = "caption">J. VELDENER.</td>
+</tr>
+</table>
+
+<p><span class = "firstword">The</span> 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&ndash;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&ndash;7, at Utrecht 1478&ndash;81, and at Culemberg, 1482&ndash;4.
+His only Mark appears to be that given herewith, in which his name in an
+abbreviated form occurs between the
+<span class = "pagenum">179</span>
+<a name = "page179" id = "page179"> </a>
+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&ndash;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 ruraliū cōmodorū,” 1474, its colophon
+being printed in red. The accompanying exceedingly curious
+“souscription,” with portrait of the printer, is given from Lambinet’s
+“Recherches.”
+<span class = "pagenum">180</span>
+<a name = "page180" id = "page180"> </a>
+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
+<span class = "pagenum">181</span>
+<a name = "page181" id = "page181"> </a>
+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:</p>
+
+<div class = "verse">
+<p>“Hic Theodoricus jaceo, prognatus Alosto:</p>
+<p class = "indent">Ars erat impressis scripta referre typis.</p>
+<p>Fratribus, uxori, soboli, notisque superstes,</p>
+<p class = "indent">Octavam vegetus præterii decadem.</p>
+<p>Anchora sacra manet, gratæ notissima pubi:</p>
+<p class = "indent">Christe! precor nunc sis anchora sacra mihi.”</p>
+</div>
+
+<p class = "illustration">
+<span class = "pagenum illus">179</span>
+<a name = "fig179" id = "fig179"> </a>
+<img src = "images/pic179.png" width = "333" height = "129"
+alt = "see endnote" title = "see endnote">
+</p>
+
+<p class = "caption">JOHANN OF WESTPHALIA.<br>
+<a href = "#endnote179">Full text</a></p>
+
+<p class = "illustration">
+<span class = "pagenum illus">180</span>
+<a name = "fig180" id = "fig180"> </a>
+<img src = "images/pic180.png" width = "288" height = "345"
+alt = "THEODO. MARTIN. EXCVDEBAT."
+title = "THEODO. MARTIN. EXCVDEBAT."></p>
+
+<p class = "caption">THEODORIC MARTENS.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig181" id = "fig181"> </a>
+<img src = "images/pic181.png" width = "111" height = "154"
+alt = "Fait et jmprime a bruges par colard mansion lan et jour dessusdis"
+title = "Fait et jmprime a bruges par colard mansion lan et jour dessusdis">
+</td>
+</tr>
+<tr>
+<td class = "caption">COLARD MANSION.</td>
+</tr>
+</table>
+
+<p>Colard Mansion, 1474&ndash;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.</p>
+
+<p>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
+<span class = "pagenum">183</span>
+<a name = "page183" id = "page183"> </a>
+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
+<span class = "pagenum">184</span>
+<a name = "page184" id = "page184"> </a>
+succeeded to the other.” A&nbsp;full bibliographical account of the
+Brothers will be found in M.&nbsp;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.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">182</span>
+<a name = "fig182" id = "fig182"> </a>
+<img src = "images/pic182.png" width = "365" height = "551"
+alt = "see endnote" title = "see endnote">
+</p>
+
+<p class = "caption">THE BROTHERS OF COMMON LIFE.<br>
+<a href = "#endnote182">Full text</a></p>
+
+<p class = "illustration">
+<span class = "pagenum illus">183</span>
+<a name = "fig183" id = "fig183"> </a>
+<img src = "images/pic183.png" width = "252" height = "334"
+alt = "A P / ALBERTVS PAFFRAEJ" title = "A P / ALBERTVS PAFFRAEJ">
+</p>
+
+<p class = "caption">ALBERTUS PAFFRAEJ.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig186" id = "fig186"> </a>
+<img src = "images/pic186.png" width = "192" height = "160"
+alt = "delf in hollant"
+title = "delf in hollant">
+</td>
+</tr>
+<tr>
+<td class = "caption">JACOB JACOBZOON VAN DER MEER.</td>
+</tr>
+</table>
+
+<p>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 <a href =
+"#fig39">p.&nbsp;39</a>, 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&nbsp;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&ndash;8, was possibly the
+<span class = "pagenum">186</span>
+<a name = "page186" id = "page186"> </a>
+brother of the more famous typographer, and his Mark consists of the
+lion (a&nbsp;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&ndash;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&ndash;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
+<span class = "pagenum">188</span>
+<a name = "page188" id = "page188"> </a>
+secundum Ordinarium Trajactense,” issued about 1497; this Mark, given on
+<a href = "#fig35">p.&nbsp;35</a>, 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.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">185</span>
+<a name = "fig185" id = "fig185"> </a>
+<img src = "images/pic185.png" width = "344" height = "506"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">GERARD LEEU.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">187</span>
+<a name = "fig187" id = "fig187"> </a>
+<img src = "images/pic187.png" width = "346" height = "577"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">MATHIAS VAN DER GOES.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- side by side in original -->
+<tr>
+<td>
+<a name = "fig188a" id = "fig188a"> </a>
+<img src = "images/pic188a.png" width = "138" height = "143"
+alt = "printer's mark">
+</td>
+<td>
+<a name = "fig188b" id = "fig188b"> </a>
+<img src = "images/pic188b.png" width = "95" height = "110"
+alt = "G B"
+title = "G B">
+</td>
+</tr>
+<tr>
+<td class = "caption">R. VAN DEN DORP.</td>
+<td class = "caption">G. BACK.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<span class = "pagenum illus">191</span>
+<a name = "fig191" id = "fig191"> </a>
+<img src = "images/pic191.png" width = "162" height = "239"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">A. CÆSARIS.</td>
+</tr>
+</table>
+
+<p>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&nbsp;savage brandishing a club and bearing arms of
+<span class = "pagenum">189</span>
+<a name = "page189" id = "page189"> </a>
+Brabant,&mdash;the latter, from “Sermones Quatuor Novissimorum,” 1487,
+is here given. Rolant Van den Dorp, 1494&ndash;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&ndash;1500, we have
+Godefroy Back, a&nbsp;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&mdash;a&nbsp;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&ndash;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
+<span class = "pagenum">191</span>
+<a name = "page191" id = "page191"> </a>
+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 (<a href =
+"#fig19">p.&nbsp;19</a>), 1533&ndash;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&ndash;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
+<span class = "pagenum">192</span>
+<a name = "page192" id = "page192"> </a>
+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&ndash;4,
+being one of the
+<span class = "pagenum">194</span>
+<a name = "page194" id = "page194"> </a>
+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.&nbsp;Destresius, Ypres, 1553, the motto on the border reading “Sine
+sanguinis effusione non fit remissio.”</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">190</span>
+<a name = "fig190" id = "fig190"> </a>
+<img src = "images/pic190.png" width = "331" height = "443"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">GODEFROY BACK.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">192</span>
+<a name = "fig192" id = "fig192"> </a>
+<img src = "images/pic192.png" width = "234" height = "351"
+alt = "TEMPVS."
+title = "TEMPVS."></p>
+
+<p class = "caption">MICHAEL HILLENIUS.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">193</span>
+<a name = "fig193" id = "fig193"> </a>
+<img src = "images/pic193.png" width = "329" height = "560"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">J. BELLAERT.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig194" id = "fig194"> </a>
+<img src = "images/pic194.png" width = "215" height = "216"
+alt = "hollan leiden"
+title = "hollan leiden">
+</td>
+</tr>
+<tr>
+<td class = "caption">H. HENRICI.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig195" id = "fig195"> </a>
+<img src = "images/pic195.png" width = "187" height = "246"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">JODOCUS DESTRESIUS.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig198" id = "fig198"> </a>
+<img src = "images/pic198.png" width = "169" height = "319"
+alt = "Anziet thende. / Van den keere. / HVDK"
+title = "Anziet thende. / Van den keere. / HVDK">
+</td>
+</tr>
+<tr>
+<td class = "caption">HENRI VAN DEN KEERE.</td>
+</tr>
+</table>
+
+<p>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.&nbsp;Grapheus,
+Antwerp, 1520&ndash;61; the
+<span class = "pagenum">195</span>
+<a name = "page195" id = "page195"> </a>
+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
+<ins class = "correction" title = "spelling unchanged">Sauflueur</ins>
+Iesu Christ trāslate selon le vray text en franchois,” 1532,
+a&nbsp;duodecimo of xviii and 354 folios, a&nbsp;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&nbsp;book-seller
+<span class = "pagenum">197</span>
+<a name = "page197" id = "page197"> </a>
+and printer of Ghent, 1549&ndash;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&ndash;79, is
+<span class = "pagenum">198</span>
+<a name = "page198" id = "page198"> </a>
+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
+<span class = "pagenum">200</span>
+<a name = "page200" id = "page200"> </a>
+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 <a href = "#fig51">p.&nbsp;51</a>. J.&nbsp;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.&nbsp;De Hamont,
+a&nbsp;printer and bookseller of Brussels, 1569&ndash;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
+<span class = "pagenum">201</span>
+<a name = "page201" id = "page201"> </a>
+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.&nbsp;Mathiæ Hovii, whose shop was “Ad insigne Paradisi Terrestris”
+<span class = "pagenum">202</span>
+<a name = "page202" id = "page202"> </a>
+during the latter half of the seventeenth century, and whose Mark is of
+rather striking originality and boldness of design.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">196</span>
+<a name = "fig196" id = "fig196"> </a>
+<img src = "images/pic196.png" width = "365" height = "498"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">THOMAS VAN DER NOOT.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">197</span>
+<a name = "fig197" id = "fig197"> </a>
+<img src = "images/pic197.png" width = "260" height = "414"
+alt = "see endnote" title = "see endnote">
+</p>
+
+<p class = "caption">J. GRAPHEUS.<br>
+<a href = "#endnote197">Full text</a></p>
+
+<p class = "illustration">
+<span class = "pagenum plate">199</span>
+<a name = "fig199" id = "fig199"> </a>
+<img src = "images/pic199.png" width = "336" height = "457"
+alt = "LITERÆ IMMORTALITATE[M] PARIV[N]T"
+title = "LITERÆ IMMORTALITATE[M] PARIV[N]T"></p>
+
+<p class = "caption">J. WAESBERGHE.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">201</span>
+<a name = "fig201" id = "fig201"> </a>
+<img src = "images/pic201.png" width = "315" height = "398"
+alt = "SVB VMBRA ALARVM TVARVM PROTEGE NOS"
+title = "SVB VMBRA ALARVM TVARVM PROTEGE NOS"></p>
+
+<p class = "caption">RUTGER VELPIUS.</p>
+
+<p class = "illustration">
+<a name = "fig202" id = "fig202"> </a>
+<img src = "images/pic202.png" width = "400" height = "414"
+alt = "CAVETE / I. C. I" title = "CAVETE / I. C. I">
+</p>
+
+<p class = "caption">J. M. HOVII.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<span class = "pagenum illus">200</span>
+<a name = "fig200" id = "fig200"> </a>
+<img src = "images/pic200.png" width = "147" height = "168"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">MICHEL DE HAMONT.</td>
+</tr>
+</table>
+
+<p>The two most distinguished names in the annals of Dutch and Flemish
+printing are unquestionably
+<span class = "pagenum">&nbsp;<br>203</span>
+<a name = "page203" id = "page203"> </a>
+Plantin and the Elzevirs. A&nbsp;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.&nbsp;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
+<span class = "pagenum">205</span>
+<a name = "page205" id = "page205"> </a>
+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.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- side by side in original -->
+<tr>
+<td>
+<span class = "pagenum illus">203</span>
+<a name = "fig203a" id = "fig203a"> </a>
+<img src = "images/pic203a.png" width = "150" height = "180"
+alt = "EXERCE IMPERIA ET RAMOS COMPESCE FLVENTES"
+title = "EXERCE IMPERIA ET RAMOS COMPESCE FLVENTES">
+</td>
+<td>
+<a name = "fig203b" id = "fig203b"> </a>
+<img src = "images/pic203b.png" width = "133" height = "151"
+alt = "CHRISTVS VERA VITIS"
+title = "CHRISTVS VERA VITIS">
+</td>
+</tr>
+<tr>
+<td class = "caption">C. PLANTIN.<br>
+(First Mark.)</td>
+<td class = "caption">C. PLANTIN.<br>
+(Second Mark.)</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<span class = "pagenum plate">204</span>
+<a name = "fig204" id = "fig204"> </a>
+<img src = "images/pic204.png" width = "373" height = "452"
+alt = "LABORE ET CONSTANTIA / I. C. I."
+title = "LABORE ET CONSTANTIA / I. C. I."></p>
+
+<p class = "caption">C. PLANTIN.</p>
+
+<p>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&ndash;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”&mdash;the emblem of the device of the Batavian
+Republic&mdash;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&mdash;that of the Sage or Hermit&mdash;he
+<span class = "pagenum">206</span>
+<a name = "page206" id = "page206"> </a>
+did not completely repudiate it. Bonaventure and Abraham scarcely ever
+used it except for their catalogues.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig206" id = "fig206"> </a>
+<img src = "images/pic206.png" width = "164" height = "139"
+alt = "NON SOLUS" title = "NON SOLUS">
+</td>
+</tr>
+<tr>
+<td class = "caption">THE SAGE.</td>
+</tr>
+</table>
+
+<p>The second Mark, which Isaac (1617&ndash;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&mdash;“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.</p>
+
+<p>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
+<span class = "pagenum">207</span>
+<a name = "page207" id = "page207"> </a>
+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.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td class = "caption" colspan = "2">
+THE ELZEVIR SPHERE.</td>
+</tr>
+<tr>
+<td>
+<a name = "fig207a" id = "fig207a"> </a>
+<img src = "images/pic207a.png" width = "95" height = "127"
+alt = "printer's mark">
+</td>
+<td>
+<a name = "fig207b" id = "fig207b"> </a>
+<img src = "images/pic207b.png" width = "101" height = "126"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">THE SPURIOUS SPHERE.</td>
+<td class = "caption">THE GENUINE SPHERE.</td>
+</tr>
+</table>
+
+<p>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.</p>
+
+<p>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
+<span class = "pagenum">208</span>
+<a name = "page208" id = "page208"> </a>
+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&nbsp;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.</p>
+
+<p>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.</p>
+
+<p class = "illustration">
+<a name = "fig208" id = "fig208"> </a>
+<img src = "images/pic208.png" width = "181" height = "209"
+alt = "VIGILATE QVIA NESCITIS DIEM NEQVE HORAM EXPERGISCERE / G I"
+title = "VIGILATE QVIA NESCITIS DIEM NEQVE HORAM EXPERGISCERE / G I"></p>
+
+<p class = "caption">GUISLAIN JANSSENS.</p>
+
+</div>
+
+<div class = "chapter">
+
+<span class = "pagenum">209</span>
+<a name = "page209" id = "page209"> </a>
+
+<p class = "illustration">
+<a name = "fig209a" id = "fig209a"> </a>
+<img src = "images/pic209a.png" width = "320" height = "72"
+alt = "decoration">
+</p>
+
+<h3><a name = "italy" id = "italy">
+PRINTERS’ MARKS IN ITALY<br>
+AND SPAIN.</a>
+<a class = "tag" name = "tag1" id = "tag1" href = "#note1">1</a></h3>
+
+
+<table class = "floatleft" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig209b" id = "fig209b"> </a>
+<img src = "images/pic209b.png" width = "97" height = "122"
+alt = "A F" title = "A F">
+</td>
+</tr>
+<tr>
+<td class = "caption">A. FRITAG.</td>
+</tr>
+</table>
+
+<p><span class = "firstword">The</span> <i>incunabula</i> 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
+<span class = "pagenum">210</span>
+<a name = "page210" id = "page210"> </a>
+Roman example with which we are acquainted, namely, that of Sixtus
+Riessinger, and George Herolt, a&nbsp;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&ndash;1506) and Martens of Amsterdam
+describe themselves in the colophon of “Mirabilia Romæ,” a&nbsp;24mo. of
+63 leaves, 1500. This work contains ten woodcuts, of which that on “the
+<span class = "pagenum">211</span>
+<a name = "page211" id = "page211"> </a>
+reverse of leaf 36 has at the bottom the words ‘Mar’ and ‘De Amstdam’ in
+black letters on white scrolls, and ‘<span class =
+"smallcaps">Er</span>’ 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&ndash;96, is another early Roman printer
+who used a Mark. The four foregoing Marks are given on the authority of
+J.&nbsp;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&ndash;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&nbsp;miniature of his device is given at the end of this
+chapter.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- side by side in original -->
+<tr>
+<td>
+<a name = "fig211a" id = "fig211a"> </a>
+<img src = "images/pic211a.png" width = "96" height = "64"
+alt = "I B / I M" title = "I B / I M">
+</td>
+<td>
+<a name = "fig211b" id = "fig211b"> </a>
+<img src = "images/pic211b.png" width = "125" height = "65"
+alt = "DE AMST[ER]DAM / T A M" title = "DE AMST[ER]DAM / T A M">
+</td>
+</tr>
+<tr>
+<td class = "caption">J. BESICKEN.</td>
+<td class = "caption">THIERRY MARTENS.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<span class = "pagenum illus">210</span>
+<a name = "fig210" id = "fig210"> </a>
+<img src = "images/pic210.png" width = "155" height = "252"
+alt = "S R D A"
+title = "S R D A">
+</td>
+</tr>
+<tr>
+<td class = "caption">SIXTUS RIESSINGER.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">212</span>
+<a name = "page212" id = "page212"> </a>
+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
+<span class = "pagenum">213</span>
+<a name = "page213" id = "page213"> </a>
+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&ndash;88, many of whose beautiful books rivalled the De
+Spiras’, used a Mark.</p>
+
+<p class = "illustration">
+<a name = "fig212" id = "fig212"> </a>
+<img src = "images/pic212.png" width = "303" height = "428"
+alt = "Erhardi Ratdolt foelicia conspice signa.
+Testata artificem qua valet ipse manum."
+title = "Erhardi Ratdolt foelicia conspice signa.
+Testata artificem qua valet ipse manum.">
+</p>
+
+<p class = "caption">ERHARDUS RATDOLT.</p>
+
+<p>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
+<span class = "pagenum">214</span>
+<a name = "page214" id = "page214"> </a>
+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<ins class = "correction"
+title = "printed with long dash">&ndash;</ins>1516, and Gregorius alone,
+1516&ndash;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
+<span class = "pagenum">215</span>
+<a name = "page215" id = "page215"> </a>
+“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 Modoetiēsis,” 1480&ndash;1500, and his heirs,
+1500&ndash;31, of whose Mark we give an exact reproduction. Baptista de
+Tortis, 1481&ndash;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
+<a href = "#fig25">p.&nbsp;25</a>; and the same may be said of Bernardinus
+Stagninus, 1483&ndash;1536. The Mark, also, of Bernardinus de Vitalibus,
+1494&ndash;1500, is sufficiently distinct to justify a reduced example.
+Bartholomeus de Zanis, 1486&ndash;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&ndash;1500; and of Peregrino de Pasqualibus,
+1483&ndash;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 <a href = "#fig25">p.&nbsp;25</a>). Of Petrus
+Liechtenstein, 1497&ndash;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
+<span class = "pagenum">217</span>
+<a name = "page217" id = "page217"> </a>
+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.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">214</span>
+<a name = "fig214" id = "fig214"> </a>
+<img src = "images/pic214.png" width = "228" height = "355"
+alt = "O S / M" title = "O S / M">
+</p>
+
+<p class = "caption">OTTAVIANO SCOTTO.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">216</span>
+<a name = "fig216" id = "fig216"> </a>
+<img src = "images/pic216.png" width = "558" height = "418"
+alt = "DISSIMILIVM IN FIDA SOTIETAS."
+title = "DISSIMILIVM IN FIDA SOTIETAS."></p>
+
+<p class = "caption">MELCHIOR SESSA.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig217" id = "fig217"> </a>
+<img src = "images/pic217.png" width = "203" height = "261"
+alt = "NON COMEDETIS FRVGES MENDACII"
+title = "NON COMEDETIS FRVGES MENDACII">
+</td>
+</tr>
+<tr>
+<td class = "caption">P. AND A. MEIETOS.</td>
+</tr>
+</table>
+
+<span class = "pagenum">218</span>
+<a name = "page218" id = "page218"> </a>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig218" id = "fig218"> </a>
+<img src = "images/pic218.png" width = "183" height = "199"
+alt = "ALDVS"
+title = "ALDVS">
+</td>
+</tr>
+<tr>
+<td class = "caption">THE FIRST ALDINE ANCHOR.</td>
+</tr>
+</table>
+
+<p>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&ndash;1515, was “Musæi Opusculum de Herone
+&amp; Leandro,” 1494, a&nbsp;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&nbsp;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
+<span class = "pagenum">219</span>
+<a name = "page219" id = "page219"> </a>
+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&nbsp;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,
+<span class = "pagenum">220</span>
+<a name = "page220" id = "page220"> </a>
+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&ndash;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
+<span class = "pagenum">221</span>
+<a name = "page221" id = "page221"> </a>
+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&nbsp;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, <ins class = "correction" title = "superfluous ‘which’ in original">which</ins> 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.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- paired in original -->
+<tr>
+<td>
+<span class = "pagenum illus">219</span>
+<a name = "fig219a" id = "fig219a"> </a>
+<img src = "images/pic219a.png" width = "138" height = "165"
+alt = "FEDERICVS TORESANVS" title = "FEDERICVS TORESANVS">
+</td>
+<td>
+<a name = "fig219b" id = "fig219b"> </a>
+<img src = "images/pic219b.png" width = "92" height = "91"
+alt = "A T" title = "A T">
+</td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">ANDREA TORRESANO.</td>
+</tr>
+</table>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">220</span>
+<a name = "fig220" id = "fig220"> </a>
+<img src = "images/pic220.png" width = "184" height = "202"
+alt = "ALDVS"
+title = "ALDVS">
+</td>
+<td>
+<a name = "fig221" id = "fig221"> </a>
+<img src = "images/pic221.png" width = "234" height = "249"
+alt = "ALDI FILII"
+title = "ALDI FILII">
+</td>
+</tr>
+<tr>
+<td class = "caption">THE ALDINE ANCHOR, 1502&ndash;15.</td>
+<td class = "caption">THE ALDINE ANCHOR, 1546&ndash;54.</td>
+</tr>
+</table>
+
+<span class = "pagenum">222</span>
+<a name = "page222" id = "page222"> </a>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<span class = "pagenum illus">&nbsp;<br>224</span>
+<a name = "fig224" id = "fig224"> </a>
+<img src = "images/pic224.png" width = "112" height = "274"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">P. GIUNTA.</td>
+</tr>
+</table>
+
+<p>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 <span
+class = "greek" title = "Oppianou Halieutikôn">Ὀππιανου
+Ἁλιευτικων</span> (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
+<span class = "pagenum">223</span>
+<a name = "page223" id = "page223"> </a>
+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
+<span class = "pagenum">224</span>
+<a name = "page224" id = "page224"> </a>
+the family the <i>fleur-de-lys</i> 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.&nbsp;Iwan Antonio de Nicolini de
+Sabio” printed “Alas espesas de M.&nbsp;Zuan Batista Pedreçan,”
+a&nbsp;<span class = "pagenum">225</span>
+<a name = "page225" id = "page225"> </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.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">222</span>
+<a name = "fig222" id = "fig222"> </a>
+<img src = "images/pic222.png" width = "176" height = "251"
+alt = "ALDVS" title = "ALDVS">
+</td>
+<td>
+<span class = "pagenum illus">223</span>
+<a name = "fig223" id = "fig223"> </a>
+<img src = "images/pic223.png" width = "197" height = "246"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">THE ALDINE ANCHOR, 1555&ndash;74.</td>
+<td class = "caption">THE ALDINE ANCHOR, 1575&ndash;81.</td>
+</tr>
+</table>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- side by side in original -->
+<tr>
+<td>
+<a name = "fig225a" id = "fig225a"> </a>
+<img src = "images/pic225a.png" width = "159" height = "230"
+alt = "L A"
+title = "L A">
+</td>
+<td>
+<a name = "fig225b" id = "fig225b"> </a>
+<img src = "images/pic225b.png" width = "178" height = "242"
+alt = "I F"
+title = "I F">
+</td>
+</tr>
+<tr>
+<td class = "caption">L. GIUNTA.</td>
+<td class = "caption">F. DE GIUNTA.</td>
+</tr>
+</table>
+
+<p>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&ndash;1480,
+<span class = "pagenum">226</span>
+<a name = "page226" id = "page226"> </a>
+at Verona, 1481&ndash;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&ndash;1504, who was in
+partnership with Antonio Miscomini, 1487&ndash;89.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig226" id = "fig226"> </a>
+<img src = "images/pic226.png" width = "195" height = "268"
+alt = "IO ANT ET FRES DE SABIO BRASICA"
+title = "IO ANT ET FRES DE SABIO BRASICA">
+</td>
+</tr>
+<tr>
+<td class = "caption">THE BROTHERS SABIO.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">228</span>
+<a name = "page228" id = "page228"> </a>
+and his brothers, whose highly decorative Mark we reproduce, were
+working in this city from 1503&ndash;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&ndash;4; Giovanni
+Antonio de Benedetti (or Johannes Antonius Platonides de Benedictis),
+1499, and Justinian de Ruberia, 1495&ndash;9 (see <a href =
+"#fig25">p.&nbsp;25</a>).</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">227</span>
+<a name = "fig227" id = "fig227"> </a>
+<img src = "images/pic227.png" width = "391" height = "552"
+alt = "IHS / IO IACOMO E FRAT D LEGNANO / IHS / IOL IOL"
+title = "IHS / IO IACOMO E FRAT D LEGNANO / IHS / IOL IOL"></p>
+
+<p class = "caption">GIAN GIACOMO DI LEGNANO.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig228" id = "fig228"> </a>
+<img src = "images/pic228.png" width = "268" height = "191"
+alt = "Non solum nobis / Cagnoni sculp"
+title = "Non solum nobis / Cagnoni sculp">
+</td>
+</tr>
+<tr>
+<td class = "caption">GIAMMARIA RIZZARDI.</td>
+</tr>
+</table>
+
+<p>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&nbsp;few examples are given in Fray Francisco Mendez’s
+“Tipografica
+<span class = "pagenum">229</span>
+<a name = "page229" id = "page229"> </a>
+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&nbsp;aun hasta la mitad del
+XVI. los mas eran estranjeros, como lo demuestran sus nombres y
+apellidos, y&nbsp;algunos lo declaran espresamente en sus notas y
+escudos.” These “estranjeros” were almost without exception Germans.</p>
+
+<p>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&nbsp;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&nbsp;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&nbsp;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&nbsp;M” and “T” only appear. This firm continued
+printing at Seville until the commencement
+<span class = "pagenum">230</span>
+<a name = "page230" id = "page230"> </a>
+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&nbsp;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 <ins class = "correction" title = "text unchanged: missing ‘of’?">edition the</ins> unabridged “Chronicle of the Cid,”
+1512&mdash;“Cronica del Famoso Cauallero Cid Ruy Diez Campeador,”
+<span class = "pagenum">231</span>
+<a name = "page231" id = "page231"> </a>
+a&nbsp;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&nbsp;M.”</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">230</span>
+<a name = "fig230" id = "fig230"> </a>
+<img src = "images/pic230.png" width = "251" height = "258"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">JUAN ROSEMBACH.</p>
+
+<p class = "illustration">
+<a name = "fig231" id = "fig231"> </a>
+<img src = "images/pic231.png" width = "231" height = "335"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">V. FERNANDEZ.</p>
+
+<p>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&ndash;8, and again at the beginning
+<span class = "pagenum">232</span>
+<a name = "page232" id = "page232"> </a>
+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.</p>
+
+<p class = "footnote">
+<a name = "note1" id = "note1" href = "#tag1">1</a>
+The reader will find on <a href = "#fig25">page 25</a> 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.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<a name = "fig232_1" id = "fig232_1"> </a>
+<img src = "images/pic232_1.png" width = "63" height = "64"
+alt = "printer's mark">
+</td>
+<td>
+<a name = "fig232_2" id = "fig232_2"> </a>
+<img src = "images/pic232_2.png" width = "57" height = "36"
+alt = "printer's mark">
+</td>
+<td>
+<a name = "fig232_3" id = "fig232_3"> </a>
+<img src = "images/pic232_3.png" width = "35" height = "49"
+alt = "printer's mark">
+</td>
+<td>
+<a name = "fig232_4" id = "fig232_4"> </a>
+<img src = "images/pic232_4.png" width = "49" height = "64"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">ZACHARIAS<br>
+KALLIERGOS.</td>
+<td class = "caption">J. A. DE<br>
+LEGNANO.</td>
+<td class = "caption">J. DE VINGLE,<br>
+OF PICARDY.</td>
+<td class = "caption">M. HUGUNT.<a class = "tag" href = "#endnoteC">C</a></td>
+</tr>
+</table>
+
+</div>
+
+<div class = "chapter">
+
+<span class = "pagenum">233</span>
+<a name = "page233" id = "page233"> </a>
+
+<p class = "illustration">
+<a name = "fig233a" id = "fig233a"> </a>
+<img src = "images/pic233a.png" width = "390" height = "139"
+alt = "A good book is a true friend /
+a wise author a public benefactor. 1726"
+title = "A good book is a true friend /
+a wise author a public benefactor. 1726"></p>
+
+
+<h3><a name = "modern" id = "modern">
+SOME MODERN EXAMPLES.</a></h3>
+
+
+<table class = "floatleft" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig233b" id = "fig233b"> </a>
+<img src = "images/pic233b.png" width = "128" height = "129"
+alt = "VERBUM DOMINI MANET IN ÆTERNUM"
+title = "VERBUM DOMINI MANET IN ÆTERNUM">
+</td>
+</tr>
+<tr>
+<td class = "caption">THE STATIONERS’<br>
+COMPANY.</td>
+</tr>
+</table>
+
+<p><span class = "dropcap">D</span><span class =
+"firstword">uring</span> 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&mdash;nearly
+three-quarters of a century before the introduction of
+printing&mdash;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
+<span class = "pagenum">234</span>
+<a name = "page234" id = "page234"> </a>
+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 <i>nil</i>. 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
+<span class = "pagenum">235</span>
+<a name = "page235" id = "page235"> </a>
+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&nbsp;few months after Mary’s futile
+attempt at checking the freedom of the press, a&nbsp;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
+<span class = "pagenum">236</span>
+<a name = "page236" id = "page236"> </a>
+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.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<tr>
+<td>
+<span class = "pagenum illus left">234</span>
+<a name = "fig234" id = "fig234"> </a>
+<img src = "images/pic234.png" width = "178" height = "203"
+alt = "VERBUM DOMINI MANET IN ETERNUM."
+title = "VERBUM DOMINI MANET IN ETERNUM.">
+</td>
+<td>
+<span class = "pagenum illus">235</span>
+<a name = "fig235" id = "fig235"> </a>
+<img src = "images/pic235.png" width = "121" height = "120"
+alt = "Fear God / Honour the King"
+title = "Fear God / Honour the King">
+</td>
+</tr>
+<tr>
+<td class = "caption">THE STATIONERS’ COMPANY.</td>
+<td class = "caption">THE RIVINGTONS.</td>
+</tr>
+</table>
+
+<p>Of the existing firms of publishers and printers, that of Messrs.
+Longmans is the most memorable; <i>vice</i> 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&nbsp;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&nbsp;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&nbsp;few
+years later, it was deemed advisable for the
+<span class = "pagenum">237</span>
+<a name = "page237" id = "page237"> </a>
+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&nbsp;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
+<span class = "pagenum">238</span>
+<a name = "page238" id = "page238"> </a>
+that he was appointed managing partner. About 1760 he obtained the
+appointment of publisher to the Society for Promoting Christian
+Knowledge, a&nbsp;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.”</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">237</span>
+<a name = "fig237" id = "fig237"> </a>
+<img src = "images/pic237.png" width = "324" height = "220"
+alt = "ERRABANT MARIA OMNIA CIRCUM / 1726"
+title = "ERRABANT MARIA OMNIA CIRCUM / 1726"></p>
+
+<p class = "caption">LONGMAN AND CO.</p>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig238" id = "fig238"> </a>
+<img src = "images/pic238.png" width = "59" height = "76"
+alt = "DOMINVS ILLUMINATIO MEA"
+title = "DOMINVS ILLUMINATIO MEA">
+</td>
+</tr>
+<tr>
+<td class = "caption">THE<br>CLARENDON<br>PRESS.</td>
+</tr>
+</table>
+
+<p>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
+<i>Longman’s
+<span class = "pagenum">239</span>
+<a name = "page239" id = "page239"> </a>
+Magazine</i> 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
+<span class = "pagenum">240</span>
+<a name = "page240" id = "page240"> </a>
+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.</p>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- paired in original -->
+<tr>
+<td>
+<span class = "pagenum illus">239</span>
+<a name = "fig239a" id = "fig239a"> </a>
+<img src = "images/pic239a.png" width = "140" height = "202"
+alt = "ALDI DISCIP. ANGL."
+title = "ALDI DISCIP. ANGL.">
+</td>
+<td>
+<a name = "fig239b" id = "fig239b"> </a>
+<img src = "images/pic239b.png" width = "123" height = "170"
+alt = "ALDI DISCIP. ANGL."
+title = "ALDI DISCIP. ANGL.">
+</td>
+<td>
+<a name = "fig239c" id = "fig239c"> </a>
+<img src = "images/pic239c.png" width = "159" height = "197"
+alt = "B M Pickering / Aldi Discipulus Anglus"
+title = "B M Pickering / Aldi Discipulus Anglus">
+</td>
+</tr>
+<tr>
+<td class = "caption" colspan = "2">WILLIAM PICKERING.</td>
+<td class = "caption">BASIL MONTAGU PICKERING.</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<a name = "fig240" id = "fig240"> </a>
+<img src = "images/pic240.png" width = "275" height = "224"
+alt = "HOPE WELL AND HAVE WELL / C W"
+title = "HOPE WELL AND HAVE WELL / C W"></p>
+
+<p class = "caption">THE CHISWICK PRESS.</p>
+
+<span class = "pagenum plate">241</span>
+<a name = "page241" id = "page241"> </a>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig241a" id = "fig241a"> </a>
+<img src = "images/pic241a.png" width = "123" height = "262"
+alt = "printer's mark">
+</td>
+</tr>
+<tr>
+<td class = "caption">THE CHISWICK PRESS.</td>
+</tr>
+</table>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig241b" id = "fig241b"> </a>
+<img src = "images/pic241b.png" width = "212" height = "227"
+alt = "Charles Whittingham"
+title = "Charles Whittingham">
+</td>
+</tr>
+<tr>
+<td class = "caption">THE CHISWICK PRESS.</td>
+</tr>
+</table>
+
+<p>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
+<span class = "pagenum">242</span>
+<a name = "page242" id = "page242"> </a>
+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.</p>
+
+<span class = "pagenum plate">243</span>
+<a name = "page243" id = "page243"> </a>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- layout as in original -->
+<tr>
+<td>
+<a name = "fig243a" id = "fig243a"> </a>
+<img src = "images/pic243a.png" width = "110" height = "126"
+alt = "printer's mark">
+</td>
+<td>
+<a name = "fig243b" id = "fig243b"> </a>
+<img src = "images/pic243b.png" width = "126" height = "121"
+alt = "LIBELLUS IN NUCE" title = "LIBELLUS IN NUCE">
+</td>
+</tr>
+<tr>
+<td class = "caption">CHATTO AND WINDUS.</td>
+<td class = "caption">DAVID NUTT.</td>
+</tr>
+
+<tr>
+<td>
+<a name = "fig243c" id = "fig243c"> </a>
+<img src = "images/pic243c.png" width = "128" height = "128"
+alt = "LA BELLE SAUVAGE" title = "LA BELLE SAUVAGE">
+</td>
+<td rowspan = "3">
+<a name = "fig243e" id = "fig243e"> </a>
+<img src = "images/pic243e.png" width = "132" height = "129"
+alt = "TFU" title = "TFU">
+</td>
+</tr>
+<tr>
+<td class = "caption">CASSELL AND CO.</td>
+</tr>
+<tr>
+<td>
+<a name = "fig243d" id = "fig243d"> </a>
+<img src = "images/pic243d.png" width = "131" height = "36"
+alt = "MM&amp;Co" title = "MM&amp;Co">
+</td>
+</tr>
+<tr>
+<td class = "caption">MACMILLAN AND CO.</td>
+<td class = "caption">T. FISHER UNWIN.</td>
+</tr>
+
+<tr>
+<td>
+<a name = "fig243f" id = "fig243f"> </a>
+<img src = "images/pic243f.png" width = "99" height = "99"
+alt = "LB" title = "LB">
+</td>
+<td>
+<a name = "fig243g" id = "fig243g"> </a>
+<img src = "images/pic243g.png" width = "93" height = "104"
+alt = "ARBOR SCIENTIÆ ARBOR VITÆ"
+title = "ARBOR SCIENTIÆ ARBOR VITÆ">
+</td>
+</tr>
+<tr>
+<td class = "caption">LAWRENCE AND BULLEN.</td>
+<td class = "caption">KEGAN PAUL AND CO.</td>
+</tr>
+</table>
+
+<span class = "pagenum">244</span>
+<a name = "page244" id = "page244"> </a>
+
+<table class = "floatright" summary = "illustration alongside text">
+<tr>
+<td>
+<a name = "fig244" id = "fig244"> </a>
+<img src = "images/pic244.png" width = "163" height = "196"
+alt = "PRINTERS / R &amp; R / PRINTERS / EDINBURG"
+title = "PRINTERS / R &amp; R / PRINTERS / EDINBURG">
+</td>
+</tr>
+<tr>
+<td class = "caption">R. AND R. CLARK.</td>
+</tr>
+</table>
+
+<p>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.</p>
+
+<p>Two Edinburgh printers may be here conveniently referred to. Messrs.
+R. and R.&nbsp;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:”</p>
+
+<span class = "pagenum">245</span>
+<a name = "page245" id = "page245"> </a>
+<div class = "verse">
+<p>“‘Of making many books,’ ’twas said,</p>
+<p>‘There is no end;’ and who thereon</p>
+<p>The ever-running ink doth shed</p>
+<p>But proves the words of Solomon:</p>
+<p>Wherefore we now, for Colophon,</p>
+<p>From London’s City drear and dark,</p>
+<p>In the year Eighteen-eighty-one,</p>
+<p>Reprint them at the press of Clark.”</p>
+</div>
+
+<p>The accompanying Mark was designed by&nbsp;Mr.
+<span class = "pagenum">247</span>
+<a name = "page247" id = "page247"> </a>
+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.&nbsp;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.</p>
+
+<p class = "illustration">
+<span class = "pagenum illus">245</span>
+<a name = "fig245" id = "fig245"> </a>
+<img src = "images/pic245.png" width = "226" height = "355"
+alt = "TFU / VITA SINE LITERIS MORS EST"
+title = "TFU / VITA SINE LITERIS MORS EST"></p>
+
+<p class = "caption">T. FISHER UNWIN.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">246</span>
+<a name = "fig246" id = "fig246"> </a>
+<img src = "images/pic246.png" width = "389" height = "391"
+alt = "FIRMA PERERRAT AQVAS ET CONSTABILITVR EVNDO / T A C"
+title = "FIRMA PERERRAT AQVAS ET CONSTABILITVR EVNDO / T A C"></p>
+
+<p class = "caption">T. AND A.&nbsp;CONSTABLE.</p>
+
+<p class = "illustration">
+<a name = "fig247" id = "fig247"> </a>
+<img src = "images/pic247.png" width = "357" height = "223"
+alt = "kelmscott / William Morris"
+title = "kelmscott / William Morris"></p>
+
+<p class = "caption">WILLIAM MORRIS</p>
+
+<p>The finest of the several Marks used by Messrs. George Bell and Sons
+is given in two colours on
+<span class = "pagenum">249</span>
+<a name = "page249" id = "page249"> </a>
+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
+<a href = "#fig261">page 261</a>.</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">248</span>
+<a name = "fig248" id = "fig248"> </a>
+<img src = "images/pic248.png" width = "537" height = "367"
+alt = "Kelmscott"
+title = "Kelmscott"></p>
+
+<p class = "caption">WILLIAM MORRIS.</p>
+
+<p>Messrs. Kegan Paul, Trench, Trübner and Co., Limited, originally a
+branch of the extensive Anglo-Indian firm of H.&nbsp;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.</p>
+
+<p>We give two of the several Marks used by one of the most prolific of
+the younger publishers, Mr. T.&nbsp;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.</p>
+
+<p>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.</p>
+
+<span class = "pagenum plate">250</span>
+<a name = "page250" id = "page250"> </a>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- layout as in original -->
+<tr>
+<td>
+<a name = "fig250a" id = "fig250a"> </a>
+<img src = "images/pic250a.png" width = "100" height = "121"
+alt = "D·A &amp; Co. / INTER FOLIA FRUCTUS"
+title = "D·A &amp; Co. / INTER FOLIA FRUCTUS">
+</td>
+<td>
+<a name = "fig250b" id = "fig250b"> </a>
+<img src = "images/pic250b.png" width = "198" height = "127"
+alt = "J. S. CUSHING &amp; CO / BOOK PRINTERS
+192 Summer St / BOSTON"
+title = "J. S. CUSHING &amp; CO / BOOK PRINTERS
+192 Summer St / BOSTON">
+</td>
+</tr>
+<tr>
+<td class = "caption">D. APPLETON AND&nbsp;CO.</td>
+<td class = "caption">J. S. CUSHING AND CO.</td>
+</tr>
+
+<tr>
+<td>
+<a name = "fig250c" id = "fig250c"> </a>
+<img src = "images/pic250c.png" width = "79" height = "121"
+alt = "see endnote" title = "see endnote">
+</td>
+<td>
+<a name = "fig250d" id = "fig250d"> </a>
+<img src = "images/pic250d.png" width = "146" height = "154"
+alt = "H L / LOCKWOOD PRESS / NEW YORK"
+title = "H L / LOCKWOOD PRESS / NEW YORK">
+</td>
+</tr>
+<tr>
+<td class = "caption">HARPER BROTHERS.<br>
+<a href = "#endnote250c">Full text</a></td>
+<td class = "caption">H. LOCKWOOD AND CO.</td>
+</tr>
+</table>
+
+<span class = "pagenum plate">251</span>
+<a name = "page251" id = "page251"> </a>
+
+<table class = "illustration" summary = "side-by-side Marks">
+<!-- layout as in original -->
+<tr>
+<td>
+<a name = "fig251a" id = "fig251a"> </a>
+<img src = "images/pic251a.png" width = "100" height = "122"
+alt = "PRESS OF BERWICK &amp; SMITH / 192 SUMMER ST BOSTON MASS"
+title = "PRESS OF BERWICK &amp; SMITH / 192 SUMMER ST BOSTON MASS">
+</td>
+<td>
+<a name = "fig251b" id = "fig251b"> </a>
+<img src = "images/pic251b.png" width = "149" height = "115"
+alt = "see endnote" title = "see endnote">
+</td>
+</tr>
+<tr>
+<td class = "caption">BERWICK AND SMITH.</td>
+<td class = "caption">THEODORE L.&nbsp;DE VINNE AND CO.<br>
+<a href = "#endnote251b">Full text</a></td>
+</tr>
+
+<tr>
+<td>
+<a name = "fig251c" id = "fig251c"> </a>
+<img src = "images/pic251c.png" width = "100" height = "197"
+alt = "J B L Co. / DROIT ET AVANT"
+title = "J B L Co. / DROIT ET AVANT">
+</td>
+<td>
+<a name = "fig251d" id = "fig251d"> </a>
+<img src = "images/pic251d.png" width = "168" height = "144"
+alt = "M N / ALLES KOMT TE REGT." title = "M N / ALLES KOMT TE REGT.">
+</td>
+</tr>
+<tr>
+<td class = "caption">J. B. LIPPINCOTT CO.</td>
+<td class = "caption">M. NIJHOFF.</td>
+</tr>
+</table>
+
+<p>&nbsp;</p>
+
+<p class = "illustration">
+<span class = "pagenum plate">252</span>
+<a name = "fig252" id = "fig252"> </a>
+<img src = "images/pic252.png" width = "185" height = "343"
+alt = "see endnote" title = "see endnote">
+</p>
+
+<p class = "caption">
+<a href = "#endnote252">Full text</a><br>
+<a href = "images/pic252_large.png" target = "_blank">
+<i>Larger View</i></a></p>
+
+</div>
+
+<div class = "biblio">
+
+<span class = "pagenum">253</span>
+<a name = "page253" id = "page253"> </a>
+
+<p class = "illustration">
+<a name = "fig253" id = "fig253"> </a>
+<img src = "images/pic253.png" width = "360" height = "69"
+alt = "decoration">
+</p>
+
+<h3><a name = "biblio" id = "biblio">BIBLIOGRAPHY.</a></h3>
+
+
+<p><span class = "smallcaps">The</span> 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.</p>
+
+
+<p><span class = "smallcaps">Havre, G. van.</span> Marques
+typographiques des imprimeurs et libraires anversois, 2 vols. Avec plus
+de 1000 reproductions.
+<span class = "details">Anv., 1884.</span></p>
+
+<p><span class = "smallcaps">Heitz</span> (<span class =
+"smallcaps">P.</span>) and <span class = "smallcaps">Barack</span>
+(<span class = "smallcaps">K.&nbsp;A.</span>). Die Büchermarken oder
+Buchdrucker und Verlegerzeichen. Elsässische Büchermarken bis Anfang des
+<ins class = "correction" title = ". missing in original">18.</ins>
+Jahrhdts. Nebst Vorbemerkungen u. Nachrichten üb. d. Drucker. Mit 76
+Holzschn. Tafeln.
+<span class = "details">4<sup>o</sup>. Strassburg, 1892.</span></p>
+
+<p><span class = "smallcaps">Holtrop, J. W.</span> Monuments
+Typographiques des Pays Bas au quinzième siècle.
+<span class = "details">Fol. La Haye, 1868.</span></p>
+
+<p><span class = "smallcaps">Horne, Rev. T. H.</span> Introduction to
+the Study of Bibliography.
+<span class = "details">8vo. London, 1814.</span></p>
+
+<p><span class = "smallcaps">Humphreys, H. N.</span> Masterpieces of the
+Early Printers.
+<span class = "details">Fol. London, 1870.</span></p>
+
+<p><span class = "smallcaps">Inventaire</span> des marques d’imprimeurs
+et de libraires de la France.
+<span class = "details">4<sup>o</sup>. Paris, 1886&ndash;87.</span></p>
+
+<p><span class = "smallcaps">Johnson, J.</span> Typographia, 2 vols.
+<span class = "details">London, 1824.</span></p>
+
+<span class = "pagenum">254</span>
+<a name = "page254" id = "page254"> </a>
+
+<p><span class = "smallcaps">Ledeboer, Adrian Mar.</span> Alfabetische
+lijst der Boekdrukkers, Boekverkoopers en Uitgevers in Nord-Nederland.
+With 4 plates of Printers’ Marks.
+<span class = "details">4to. Utrecht, 1876.</span></p>
+
+<p><span class = "smallcaps">Lempertz, Heinrich.</span> 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.
+<span class = "details">Fol. Köln, 1853&ndash;65.</span></p>
+
+<p><span class = "smallcaps">Linde, A. v. d.</span> Geschichte der
+Erfindung der Buchdruckerkunst. 3 Bde.
+<span class = "details">4<sup>o</sup>. 1886&ndash;87.</span></p>
+
+<p><span class = "smallcaps">Meermann, Gerard.</span> Origines
+typographicæ, 2 vols. With 10 pl. Printers’ Marks.
+<span class = "details">4<sup>o</sup>. Hag. Com., 1765.</span></p>
+
+<p><span class = "smallcaps">Mendez, Fray Francisco.</span> Tipographia
+española ó historia de la introduccion, propagacion y progesos del arte
+de la imprenta en España. Second edition revised by D.&nbsp;Hidalgo.
+<span class = "details">Madrid, 1861.</span></p>
+
+<p><span class = "smallcaps">Orlandi, P. A.</span> Origin e Progressi
+della Stampa.
+<span class = "details">4<sup>o</sup>. Bolog. 1722.</span></p>
+
+<p><span class = "smallcaps">Roth-Scholtz, F.</span> Thesaurus
+Symbolarum ac Emblematum, etc. Fol. Nüremberg, 1730 (with reproductions
+of several hundred Marks).</p>
+
+<p><span class = "smallcaps">Silvestre, L. C.</span> 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 16<sup>e</sup> siècle. Avec plus de 1300 fig. s. bois.
+<span class = "details">Paris, 1853&ndash;67.</span></p>
+
+<p><span class = "smallcaps">Thierry-Poux, O.</span> Premier Monuments,
+etc., de l’imprimeur en France au <ins class = "correction" title = "‘e’ missing in original">XV<sup>e</sup></ins> siècle.
+<span class = "details">Fol. Paris, 1890.</span></p>
+
+<p><span class = "smallcaps">Weigel</span> (<span class = "smallcaps">T.
+O.</span>) and <span class = "smallcaps">Zestermann</span> (<span class
+= "smallcaps">A.&nbsp;C. A.</span>). 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.
+<span class = "details">Folio. Leipz., 1866. 2 vols.</span></p>
+
+</div> <!-- end div chapter -->
+
+<div class = "index">
+
+<span class = "pagenum">255</span>
+<a name = "page255" id = "page255"> </a>
+
+<p class = "illustration">
+<a name = "fig255" id = "fig255"> </a>
+<img src = "images/pic255.png" width = "339" height = "67"
+alt = "decoration">
+</p>
+
+<h3><a name = "index" id = "index">INDEX.</a></h3>
+
+<table summary = "index in two columns">
+<tr>
+<td width = "50%">
+<p><span class = "dropcap">A</span><span class =
+"firstword">biegnus</span>, J., <a href = "#page26">26</a>.</p>
+
+<p>&nbsp; Aldine family, The, <a href =
+"#page218">218&ndash;223</a>.</p>
+<p>Alexandre, J., <a href = "#page13">13</a>,
+<a href = "#page26">26</a>.</p>
+<p>Allen, John, <a href = "#page92">92</a>.</p>
+<p>Andrewe, W., <a href = "#page26">26</a>,
+<a href = "#page65">65</a>,
+<a href = "#page70">70</a>.</p>
+<p>Angelier, J., <a href = "#page27">27</a>.</p>
+<p>Anshelm, Thomas, <a href = "#page155">155</a>,
+<a href = "#page156">156</a>.</p>
+<p>Apiarius, Mathias, <a href = "#page7">7</a>.</p>
+<p>Appleton and Co., <a href = "#fig250a">250</a>.</p>
+<p>Arbuthnot, A., <a href = "#fig81">81</a>,
+<a href = "#page82">82</a>.</p>
+<p>Aubri, B., <a href = "#page14">14</a>,
+<a href = "#page36">36</a>.</p>
+<p>Auvray, G., <a href = "#page27">27</a>.</p>
+<p>Auzolt, R., <a href = "#page26">26</a>.</p>
+
+<p class = "space">
+Back, G., <a href = "#page188">188&ndash;190</a>.</p>
+<p>Bade, C., <a href = "#page91">91</a>.</p>
+<p>&mdash;&mdash; J., <a href = "#page12">12</a>,
+<a href = "#page115">115</a>,
+<a href = "#page129">129</a>.</p>
+<p>Baland, E., <a href = "#page22">22</a>.</p>
+<p>Baptista de Tortis, <a href = "#fig25">25</a>,
+<a href = "#page215">215</a>.</p>
+<p>Barack, Dr. K. A., <a href = "#page140">140</a>.</p>
+<p>Barbon, H., <a href = "#page8">8</a>.</p>
+<p>Barker, C. and R., <a href = "#page90">90</a>.</p>
+<p>Bartholomæus, D., <a href = "#page47">47</a>.</p>
+<p>Bartholomeus de Zanis, <a href = "#fig25">25</a>.</p>
+<p>Bassandyne, T., <a href = "#page99">99</a>.</p>
+<p>Baumgarten, C., <a href = "#page171">171</a>.</p>
+<p>Beck, R., <a href = "#page49">49</a>,
+<a href = "#fig143">143</a>,
+<a href = "#page144">144</a>.</p>
+<p>Bellaert, Jacobus, <a href = "#page191">191</a>,
+<a href = "#page195">195</a>.</p>
+<p>Bell (Geo.), and Sons, <a href = "#page247">247</a>.</p>
+<p>Benedetti, G. A. de, <a href = "#fig25">25</a>,
+<a href = "#page228">228</a>.</p>
+<p>Benedetto d’Effore, <a href = "#fig25">25</a>.</p>
+<p>Bentley, R., <a href = "#page19">19</a>.</p>
+<p>Berger, Thiebold, <a href = "#page150">150&ndash;151</a>.</p>
+<p>Bernardino de Misintis, <a href = "#fig25">25</a>,
+<a href = "#page225">225</a>.</p>
+<p>Bernardinus de Vitalibus, <a href = "#fig25">25</a>.</p>
+<p>Berrichelli, D., <a href = "#fig25">25</a>.</p>
+<p>Berthelet, T., <a href = "#page71">71</a>.</p>
+<p>Bertochus, D., <a href = "#fig25">25</a>,
+<a href = "#page215">215</a>.</p>
+<p>Bertramus, A., <a href = "#page29">29</a>.</p>
+<p>Berwick and Smith, <a href = "#fig251a">251</a>.</p>
+<p>Besicken, J., <a href = "#page210">210&ndash;211</a>.</p>
+<p>Besson, J., <a href = "#page21">21</a>.</p>
+<p>Bichon, G., <a href = "#page7">7</a>.</p>
+<p>Bien-Né, J., <a href = "#page20">20</a>.</p>
+<p>Bignon, J., <a href = "#page14">14</a>.</p>
+<p>Birckmann, A., <a href = "#page162">162&ndash;163</a>.</p>
+<p>Blades, W., <a href = "#fig55">55</a>.</p>
+<p>Blount, E., <a href = "#page87">87</a>.</p>
+<p>Bocard, A., <a href = "#page20">20</a>.</p>
+<p>Bonino de Boninis, <a href = "#fig25">25</a>,
+<a href = "#page225">225&ndash;256</a>.</p>
+<p>Boucher, N., <a href = "#page27">27</a>.</p>
+<p>Bouchet, G., <a href = "#page21">21</a>.</p>
+<p>&mdash;&mdash; J., <a href = "#page21">21</a>.</p>
+<p>Bouchets Brothers, <a href = "#page12">12</a>.</p>
+<p>Boulle, G., <a href = "#page34">34</a>.</p>
+<p>Bounyn, B., <a href = "#page14">14</a>.</p>
+
+<span class = "pagenum left">256</span>
+<a name = "page256" id = "page256"> </a>
+
+<p>Bourgeat, G., <a href = "#page27">27</a>.</p>
+<p>Bouyer, J., <a href = "#page21">21</a>.</p>
+<p>Bradshaw, Henry, <a href = "#page53">53</a>.</p>
+<p>Breuille, M., <a href = "#page32">32</a>,
+<a href = "#page33">33</a>,
+<a href = "#page125">125</a>.</p>
+<p>Brothers of Common Life, <a href = "#page181">181</a>.</p>
+<p>Brylinger, N., <a href = "#page176">176</a>.</p>
+<p>Bumgart, Herman, <a href = "#fig158">158&ndash;159</a>.</p>
+<p>Burges, J., <a href = "#page22">22</a>.</p>
+<p>Byddell, J., <a href = "#page72">72</a>.</p>
+<p>Bynneman, H., <a href = "#page85">85</a>,
+<a href = "#page86">86</a>.</p>
+
+<p class = "space">
+Cæsar, N., <a href = "#page161">161</a>.</p>
+<p>Cæsaris, A., <a href = "#page189">189</a>,
+<a href = "#page191">191</a>.</p>
+<p>Caillaut, A., <a href = "#page3">3</a>.</p>
+<p>Caligula de Bacileriis, <a href = "#fig25">25</a>.</p>
+<p>Calvarin, P., <a href = "#page14">14</a>.</p>
+<p>Calvin, J., <a href = "#page174">174</a>.</p>
+<p>Cartander, <i>see</i> Cratander.</p>
+<p>Cassell and Co., <a href = "#fig243c">243&ndash;4</a>.</p>
+<p>Caxton, W., <a href = "#page53">53&ndash;57</a>.</p>
+<p>Cervicornis, Eucharius, <a href = "#page159">159</a>.</p>
+<p>César, P., <a href = "#page12">12</a>.</p>
+<p>Chandelier, P., <a href = "#page7">7</a>,
+<a href = "#page137">137&ndash;138</a>.</p>
+<p>Charteris, H., <a href = "#page99">99</a>.</p>
+<p>Chatto and Windus, <a href = "#fig243a">243</a>,
+<a href = "#page247">247</a>.</p>
+<p>Chaudière, G., <a href = "#page27">27</a>,
+<a href = "#page28">28</a>.</p>
+<p>&mdash;&mdash; R. and G., <a href = "#page126">126</a>.</p>
+<p>Chepman, W., <a href = "#page95">95</a>,
+<a href = "#page97">97</a>.</p>
+<p>Chevallon, G., <a href = "#page22">22</a>.</p>
+<p>Chiswick Press, The, <a href = "#page240">240&ndash;2</a>.</p>
+<p>Chouet, J., <a href = "#page31">31</a>.</p>
+<p>Christopher de Canibus, <a href = "#fig25">25</a>.</p>
+<p>Clarendon Press, The, <a href = "#page238">238</a>,
+<a href = "#page240">240</a>.</p>
+<p>Clark, R. and R., <a href = "#page244">244</a>.</p>
+<p>Cleray, G., <a href = "#page32">32</a>.</p>
+<p>Clopejau, M., <a href = "#page27">27</a>.</p>
+<p>Cloquemin, L., <a href = "#page12">12</a>.</p>
+<p>Colines, <i>see</i> De Colines, S.</p>
+<p>Colomies, J., <a href = "#page137">137</a>.</p>
+<p>Colophon, The, <a href = "#page49">49</a>.</p>
+<p>Constable, T. and A., <a href = "#fig246">246&ndash;7</a>.</p>
+<p>Copland, R., <a href = "#page67">67</a>,
+<a href = "#page68">68</a>.</p>
+<p>&mdash;&mdash; W., <a href = "#page68">68</a>.</p>
+<p>Corrozet, G., <a href = "#page32">32</a>.</p>
+<p>Couteau, Gillet, <a href = "#page4">4</a>,
+<a href = "#page103">103</a>.</p>
+<p>Cox, T., <a href = "#page92">92</a>.</p>
+<p>Cramoisy, S., <a href = "#page127">127</a>.</p>
+<p>Cranach, L., <a href = "#page170">170</a>.</p>
+<p>Crane, Walter, <a href = "#page247">247</a>,
+<a href = "#page249">249</a>.</p>
+<p>Cratander, <a href = "#page44">44&ndash;45</a>.</p>
+<p>Creede, T., <a href = "#page90">90</a>,
+<a href = "#page91">91</a>.</p>
+<p>Crespin, J., <a href = "#page20">20</a>.</p>
+<p>Cushing and Co., <a href = "#fig250b">250</a>.</p>
+<p>Cyaneus, L, <a href = "#page125">125</a>.</p>
+
+<p class = "space">
+Dallier, J., <a href = "#page32">32</a>.</p>
+<p>Davidson, T., <a href = "#page98">98</a>.</p>
+<p>Day, John, <a href = "#page78">78&ndash;80</a>.</p>
+<p>De Bordeaux, J., <a href = "#page32">32</a>.</p>
+<p>De Campis, J., <a href = "#page51">51</a>.</p>
+<p>De Codeca, M., <a href = "#fig25">25</a>.</p>
+<p>De Colines, S., <a href = "#page14">14</a>,
+<a href = "#page27">27</a>,
+<a href = "#page118">118&ndash;119</a>,
+<a href = "#page120">120</a>,
+<a href = "#page126">126</a>.</p>
+<p>De Francfordia, W., <a href = "#fig25">25</a>.</p>
+<p>De Gourmont, G., <a href = "#page13">13</a>,
+<a href = "#page118">118</a>,
+<a href = "#page124">124</a>.</p>
+<p>&mdash;&mdash; J., <a href = "#page21">21</a>.</p>
+<p>&mdash;&mdash; R., <a href = "#page27">27</a>.</p>
+<p>De Hamont, M., <a href = "#page27">27</a>,
+<a href = "#page200">200</a>.</p>
+<p>De la Barre, N., <a href = "#page26">26</a>.</p>
+<p>De Laet, <a href = "#page30">30</a>.</p>
+<p>Delalain, Paul, <a href = "#page24">24</a>.</p>
+<p>De la Noue, D., <a href = "#page8">8</a>.</p>
+<p>De la Porte, A. S. and H., <a href =
+"#page133">133&ndash;135</a>.</p>
+<p>&mdash;&mdash; H. and A., <a href = "#page66">66</a>.</p>
+<p>De la Rivière, G., <a href = "#page8">8</a>.</p>
+<p>De Marnef Brothers, The, <a href = "#page26">26</a>,
+<a href = "#page106">106&ndash;107</a>.</p>
+<p>Denidel, A., <a href = "#page21">21</a>.</p>
+
+<span class = "pagenum left">257</span>
+<a name = "page257" id = "page257"> </a>
+
+<p>Denis, J., <a href = "#page38">38</a>.</p>
+<p>De Pfortzheim, Jacobus, <a href = "#page163">163</a>,
+<a href = "#fig165">165</a>.</p>
+<p>De Saincte-Lucie, P., <a href = "#page14">14</a>.</p>
+<p>De Salenson, G., <a href = "#page17">17</a>.</p>
+<p>De Sartières, P., <a href = "#page14">14</a>.</p>
+<p>Destresius, J., <a href = "#page194">194</a>.</p>
+<p>De Tournes, J., <a href = "#page29">29</a>,
+<a href = "#page31">31</a>,
+<a href = "#page133">133</a>.</p>
+<p>&mdash;&mdash; S., <a href = "#fig25">25</a></p>
+<p>De Vingle, <a href = "#page115">115</a>,
+<a href = "#page232">232</a>.</p>
+<p>De Vinne, Th., <a href = "#fig251b"><ins class = "correction"
+title = "text reads ‘151’">251</ins></a>.</p>
+<p>Dewes, R., <a href = "#page89">89</a>.</p>
+<p>Dolet, E., <a href = "#page16">16</a>,
+<a href = "#page132">132</a>,
+<a href = "#page133">133</a>.</p>
+<p>Dorp, R. van den, <a href = "#page188">188&ndash;189</a>.</p>
+<p>Duff, E.&nbsp;Gordon, <a href = "#page62">62</a>.</p>
+<p>Dulssecker, J. R., <a href = "#page47">47</a>,
+<a href = "#fig50">50</a>,
+<a href = "#page153">153&ndash;154</a>.</p>
+<p>Du Mont, A., <a href = "#page8">8</a>.</p>
+<p>Du Moulin, J., <a href = "#page6">6</a>.</p>
+<p>Du Pré, Galliot, <a href = "#page5">5</a>.</p>
+<p>&mdash;&mdash; J., <a href = "#page26">26</a>,
+<a href = "#page108">108</a>,
+<a href = "#page136">136</a>.</p>
+<p>&mdash;&mdash; P., <a href = "#page22">22</a>.</p>
+<p>Du Puys, J., <a href = "#page8">8</a>,
+<a href = "#fig11"><ins class = "correction" title = "text reads ‘10’">11</ins></a>,
+<a href = "#page129">129</a>.</p>
+
+<p class = "space">
+Eckert de Hombergh, H., <a href = "#page34">34</a>.</p>
+<p>Eggestern, H., <a href = "#page139">139</a>.</p>
+<p>Elzevirs, <a href = "#page17">17</a>,
+<a href = "#page18">18</a>,
+<a href = "#page205">205&ndash;208</a>.</p>
+<p>Endter’s (W. E.) Daughter, <a href = "#page167">167</a>.</p>
+<p>Erasmus, <a href = "#page166">166</a>,
+<a href = "#page181">181</a>.</p>
+<p>Erpenius, T., <a href = "#page49">49</a>.</p>
+<p>Estienne, Family, The, <a href = "#page100">100</a>,
+<a href = "#page118">118&ndash;123</a>.</p>
+<p>Eve, N., <a href = "#page8">8</a>.</p>
+
+<p class = "space">
+Faques, W., <a href = "#page16">16</a>,
+<a href = "#page62">62</a>.</p>
+<p>Fawkes, R., <a href = "#page63">63</a>.</p>
+<p>Federico de Basilea, <a href = "#page230">230</a>.</p>
+<p>Fernandez, A., <a href = "#page229">229</a>.</p>
+<p>&mdash;&mdash; V., <a href = "#page231">231</a>,
+<a href = "#page232">232</a>.</p>
+<p>Feyrabendt, J., <a href = "#page172">172</a>.</p>
+<p>Fézandat, M, <a href = "#page14">14</a>.</p>
+<p>Fouet, R., <a href = "#page32">32</a>.</p>
+<p>Fradin, C., <a href = "#page36">36</a>.</p>
+<p>&mdash;&mdash; F., <a href = "#page26">26</a>.</p>
+<p>Francfordia, N. de, <a href = "#page215">215</a>.</p>
+<p>Frellon, J., <a href = "#page22">22</a>.</p>
+<p>Friburger, M., <a href = "#page100">100</a>,
+<a href = "#page101">101</a>.</p>
+<p>Fritag, A., <a href = "#page209">209&ndash;211</a>.</p>
+<p>Froben, J., <a href = "#page42">42&ndash;44</a>,
+<a href = "#page48">48</a>,
+<a href = "#page58">58</a>,
+<a href = "#page164">164&ndash;166</a>.</p>
+<p>Froschover, C., <a href = "#page71">71</a>,
+<a href = "#page175">175</a>.</p>
+<p>Furter, M., <a href = "#page166">166</a>.</p>
+<p>Fust and Schoeffer, <a href = "#page40">40&ndash;42</a>.</p>
+
+<p class = "space">
+Gering, U., <a href = "#page100">100</a>,
+<a href = "#page101">101</a>.</p>
+<p>Gerla or Gerlis, L., <a href = "#fig25">25</a>.</p>
+<p>Gibier, Eloy, <a href = "#page12">12</a>.</p>
+<p>Girard, J., <a href = "#page173">173&ndash;174</a>.</p>
+<p>Giunta Family, The, <a href = "#page222">222&ndash;225</a>.</p>
+<p>Goes, M. van der, <a href = "#fig187">187&ndash;188</a>.</p>
+<p>Goltz, H., <a href = "#page57">57</a>,
+<a href = "#page197">197</a>.</p>
+<p>Gourmont, <i>see</i> De Gourmont.</p>
+<p>Grafton, R., <a href = "#page10">10</a>,
+<a href = "#page74">74&ndash;76</a>.</p>
+<p>Grandin, L., <a href = "#page18">18</a>.</p>
+<p>Granjon, R., <a href = "#page14">14</a>.</p>
+<p>Grapheus, J., <a href = "#page194">194</a>,
+<a href = "#page197">197</a>.</p>
+<p>Gregorius, J. and G. de, <a href = "#page214">214</a>.</p>
+<p>Grosii, The, <a href = "#page22">22</a>.</p>
+<p>Groulleau, E., <a href = "#page32">32</a>.</p>
+<p>Grüninger, J., <a href = "#page140">140</a>.</p>
+<p>Gryphius, S., <a href = "#page6">6</a>,
+<a href = "#page135">135</a>,
+<a href = "#page136">136</a>.</p>
+<p>&mdash;&mdash; The, <a href = "#page36">36</a>.</p>
+<p>Guarinus, <a href = "#page73">73</a>.</p>
+<p>Gueffier, J., <a href = "#page8">8</a>.</p>
+<p>Guerbin, L., <a href = "#page172">172&ndash;173</a>.</p>
+<p>Guillemot, M., <a href = "#page32">32</a>.</p>
+
+<p class = "space">
+Hall, Rowland, <a href = "#page84">84</a>,
+<a href = "#page85">85</a>.</p>
+<p>Hardouyn, G., <a href = "#page18">18</a>,
+<a href = "#page117">117</a>.</p>
+<p>Harper Bros., <a href = "#fig250c">250</a>.</p>
+<p>Harrison, R., <a href = "#page89">89</a>.</p>
+
+<span class = "pagenum left">258</span>
+<a name = "page258" id = "page258"> </a>
+
+<p>Hauth, David, <a href = "#page152">152</a>.</p>
+<p>Heitz, P., <a href = "#page140">140</a>.</p>
+<p>Hellenius, M., <a href = "#page189">189</a>,
+<a href = "#page191">191&ndash;192</a>.</p>
+<p>Henrici, H., <a href = "#page192">192</a>,
+<a href = "#page194">194</a>.</p>
+<p>Henricpetri, <a href = "#page166">166</a>.</p>
+<p>Herembert, J., <a href = "#page131">131</a>,</p>
+<p>Herolt, G., <a href = "#page210">210</a>.</p>
+<p>Hesker, H., <a href = "#page34">34</a>.</p>
+<p>Hester, A., <a href = "#page26">26</a>,
+<a href = "#page70">70</a>.</p>
+<p>Hillenius, M., <a href = "#page57">57</a>.</p>
+<p>Holbein, Hans, <a href = "#page42">42&ndash;45</a>,
+<a href = "#page163">163</a>.</p>
+<p>Hombergh, H. Eckert van, <a href = "#page188">188</a>.</p>
+<p>Hovii, J. M., <a href = "#page201">201&ndash;202</a>.</p>
+<p>Huby, F., <a href = "#page34">34</a>.</p>
+<p>Huguetan, The Brothers, <a href = "#page17">17</a>,
+<a href = "#page49">49</a>.</p>
+<p>&mdash;&mdash; J., <a href = "#page26">26</a>.</p>
+<p>Hugunt, M., <a href = "#page232">232</a>.</p>
+<p>Husz, M., <a href = "#page26">26</a>.</p>
+
+<p class = "space">
+“Inventaire des Marques d’Imprimeurs,” <a href = "#page24">24</a>.</p>
+
+<p class = "space">
+Jacobi, P., <a href = "#page29">29</a>.</p>
+<p>Jaggard, Isaac and William, <a href = "#page87">87</a>,
+<a href = "#page88">88</a>.</p>
+<p>Janot, W., <a href = "#page14">14</a>,
+<a href = "#fig15">15</a>,
+<a href = "#page107">107</a>,
+<a href = "#page129">129</a>.</p>
+<p>Janssens, G., <a href = "#page208">208</a>.</p>
+<p>Jenson, N., <a href = "#page213">213</a>.</p>
+<p>Johannes de Spira, <a href = "#page211">211</a>.</p>
+<p>Jove, M., <a href = "#page8">8</a>.</p>
+<p>Jucundus, J., <a href = "#page29">29</a>.</p>
+<p>Jugge, R., <a href = "#page80">80</a>,
+<a href = "#page82">82</a>.</p>
+<p>Julian, G., <a href = "#page8">8</a>.</p>
+<p>Junta, <i>see</i> Giunta.</p>
+<p>Justinian de Ruberia, <a href = "#fig25">25</a>,
+<a href = "#page228">228</a>.</p>
+
+<p class = "space">
+Kalliergos, Z., <a href = "#page211">211</a>,
+<a href = "#page232">232</a>.</p>
+<p>Kerver, T., <a href = "#page7">7</a>,
+<a href = "#page34">34</a>,
+<a href = "#page111">111</a>,
+<a href = "#page115">115</a>.</p>
+<p>Keysere, <i>see</i> Cæsaris.</p>
+<p>Kingston or Kyngston, Felix, <a href = "#page88">88</a>,
+<a href = "#page89">89</a>.</p>
+<p>Knoblouch, J., <a href = "#page17">17</a>,
+<a href = "#page91">91</a>,
+<a href = "#page142">142</a>.</p>
+<p>Koberger, Anthony, <a href = "#page167">167</a>.</p>
+<p>Kobian, Valentin, <a href = "#page156">156</a>.</p>
+<p>Koelhoeff, J., <a href = "#page159">159&ndash;160</a>.</p>
+<p>Köpfel (or Cæphalæus), W., <a href = "#page17">17</a>,
+<a href = "#fig145">145</a>,
+<a href = "#page146">146</a>.</p>
+<p>Krantz, M., <a href = "#page100">100</a>,
+<a href = "#page101">101</a>.</p>
+
+</td>
+<td>
+
+<p>
+Lagache, J. and A., <a href = "#page29">29</a>.</p>
+<p>Lambert, J., <a href = "#page14">14</a>,
+<a href = "#page26">26</a>.</p>
+<p>Lamparter, N., <a href = "#page166">166</a>.</p>
+<p>L’Angelier, A., <a href = "#page10">10</a>.</p>
+<p>Laurens, Le Petit, <a href = "#page34">34</a>.</p>
+<p>Lawrence and Bullen, <a href = "#fig243f">243</a>.</p>
+<p>Le Bret, G., <a href = "#page36">36</a>.</p>
+<p>Lecoq, Jehan, <a href = "#page6">6</a>,
+<a href = "#page7">7</a>,
+<a href = "#page137">137</a>.</p>
+<p>Leeu, G., <a href = "#page184">184&ndash;186</a>.</p>
+<p>&mdash;&mdash; N., <a href = "#page184">184</a>.</p>
+<p>Le Forestier, J., <a href = "#page21">21</a>.</p>
+<p>Legnano, G. G., <a href = "#page226">226&ndash;228</a>.</p>
+<p>&mdash;&mdash; J. A., <a href = "#page232">232</a>.</p>
+<p>Le Jeune, M., <a href = "#page20">20</a>.</p>
+<p>Le Noir, Michel, <a href = "#page3">3</a>,
+<a href = "#page13">13</a>,
+<a href = "#page109">109</a>.</p>
+<p>&mdash;&mdash; P. and G., <a href = "#page4">4</a>,
+<a href = "#page110">110</a>.</p>
+<p>Le Preux, F., <a href = "#page177">177</a>.</p>
+<p>&mdash;&mdash; J., <a href = "#page12">12</a>.</p>
+<p>&mdash;&mdash; Poncet, <a href = "#page36">36</a>.</p>
+<p>Le Rouge, P., <a href = "#page109">109</a>.</p>
+<p>Le Talleur, G., <a href = "#page26">26</a>.</p>
+<p>Liechtenstein, P., <a href = "#page215">215</a>.</p>
+<p>Lippincott and Co., <a href = "#fig251c">251</a>.</p>
+<p>Lockwood and Co., <a href = "#fig250d">250</a>.</p>
+<p>Longis, J., <a href = "#page14">14</a>.</p>
+<p>Longman and Co., <a href = "#page233">233</a>,
+<a href = "#page237">237</a>,
+<a href = "#page240">240</a>.</p>
+<p>Loslein, P., <a href = "#page48">48</a>,
+<a href = "#page213">213</a>.</p>
+<p>Lotter, Melchior, <a href = "#page169">169</a>,
+<a href = "#page170">170</a>.</p>
+<p>Lynne, W., <a href = "#page52">52</a>,
+<a href = "#page83">83</a>.</p>
+
+<span class = "pagenum">259</span>
+<a name = "page259" id = "page259"> </a>
+
+<p>Macé, B., <a href = "#page36">36</a>.</p>
+<p>&mdash;&mdash; R., <a href = "#page13">13</a>.</p>
+<p>&mdash;&mdash; Family, The, <a href = "#page108">108</a>.</p>
+<p>Macmillan and Co., <a href = "#fig243d">243</a>.</p>
+<p>Madden, J.&nbsp;P. A., “Lettres,” <a href = "#page57">57</a>.</p>
+<p>Magno, <a href = "#page229">229</a>.</p>
+<p>Maillet, J. and E., <a href = "#page5">5</a>.</p>
+<p>Mainyal, G., <a href = "#page101">101</a>.</p>
+<p>Mallard, O., <a href = "#page14">14</a>.</p>
+<p>Manilius, G., <a href = "#page32">32</a>.</p>
+<p>Mansion, Colard, <a href = "#page181">181</a>.</p>
+<p>Marchant, G., <a href = "#page29">29</a>,
+<a href = "#page106">106</a>.</p>
+<p>Marnef, <i>see</i> De Marnef.</p>
+<p>Martin d’Alost, T., <a href = "#page180">180</a>,
+<a href = "#page210">210</a>,
+<a href = "#page211">211</a>.</p>
+<p>Martin, L., <a href = "#page34">34</a>.</p>
+<p>Meer, J. J. van der, <a href = "#page186">186</a>.</p>
+<p>Meietos, P. and A., <a href = "#page217">217</a>.</p>
+<p>Mentelin, J., <a href = "#page139">139</a>.</p>
+<p>Middleton, W., <a href = "#page76">76&ndash;77</a>.</p>
+<p>&mdash;&mdash; H., <a href = "#fig252">252</a>.</p>
+<p>Miguel, P., <a href = "#page26">26</a>,
+<a href = "#page231">231</a>.</p>
+<p>Miscomini, A., <a href = "#page226">226</a>.</p>
+<p>Mittelhus, G., <a href = "#page26">26</a>.</p>
+<p>Morel, G., <a href = "#page17">17</a>,
+<a href = "#page38">38</a>.</p>
+<p>Morin, M., <a href = "#page137">137</a>.</p>
+<p>Morris, William, <a href = "#page247">247&ndash;91</a>.</p>
+<p>Moulin, J., <a href = "#page97">97</a>.</p>
+<p>Müller, Craft, <a href = "#fig147">147</a>,
+<a href = "#page148">148</a>,
+<a href = "#fig149">149</a>.</p>
+<p>Myllar, A., <a href = "#page6">6</a>,
+<a href = "#page95">95</a>,
+<a href = "#page96">96</a>.</p>
+
+<p class = "space">
+Nani, H., <a href = "#fig25">25</a>.</p>
+<p>Neobar, C., <a href = "#page20">20</a>.</p>
+<p>Nijhoff, M., <a href = "#fig251d">251</a>.</p>
+<p>Nivelle, S., <a href = "#page14">14</a>,
+<a href = "#page126">126</a>,
+<a href = "#fig128">128</a>,
+<a href = "#page129">129</a>,
+<a href = "#fig130">130</a>.</p>
+<p>Noir, <i>see</i> Le Noir.</p>
+<p>Norton, W., <a href = "#page88">88</a>,
+<a href = "#fig252">252</a>.</p>
+<p>Notary, J., <a href = "#page61">61&ndash;62</a>.</p>
+<p>Nourry, C., <a href = "#page14">14</a>.</p>
+<p>Nutt, David, <a href = "#fig243b">243</a>.</p>
+
+<p class = "space">
+Oglin, Erhart, <a href = "#page163">163&ndash;164</a>.</p>
+<p>Olivier, J., <a href = "#page23">23</a>.</p>
+<p>Orwin, T., <a href = "#page30">30</a>.</p>
+
+<p class = "space">
+Paffraej, Albertus, <a href = "#page183">183&ndash;184</a>.</p>
+<p>&mdash;&mdash; Richard, <a href = "#page184">184</a>.</p>
+<p>Palomar, L., <a href = "#page229">229</a>.</p>
+<p>Pannartz, A., <a href = "#page209">209</a>.</p>
+<p>Paulo de Colonia, <a href = "#page229">229</a>.</p>
+<p>Paul (Kegan) and Co., <a href = "#fig243g">243</a>,
+<a href = "#page249">249</a>.</p>
+<p>Pavier, T., <a href = "#page10">10</a>,
+<a href = "#page12">12</a>.</p>
+<p>Pegnicer, J., <a href = "#page229">229</a>.</p>
+<p>Pepwell, H., <a href = "#page63">63</a>,
+<a href = "#page189">189</a>.</p>
+<p>Peregrino de Pasqualibus, <a href = "#fig25">25</a>,
+<a href = "#page215">215</a>.</p>
+<p>Périer, T., <a href = "#page27">27</a>.</p>
+<p>Petit, J., <a href = "#page6">6</a>,
+<a href = "#fig9">9</a>,
+<a href = "#page112">112</a>,
+<a href = "#page115">115</a>.</p>
+<p>Pfortzheim, <i>see</i> De Pfortzheim.</p>
+<p>Picart, B., <a href = "#page46">46</a>.</p>
+<p>Pickering, W., <a href = "#page239">239</a>,
+<a href = "#page242">242</a>.</p>
+<p>&mdash;&mdash; B. M., <a href = "#page239">239</a>,
+<a href = "#page242">242</a>.</p>
+<p>Pigouchet, <a href = "#page97">97</a>,
+<a href = "#page112">112</a>,
+<a href = "#fig113">113</a>.</p>
+<p>Pincius, P., <a href = "#page223">223</a>.</p>
+<p>Pine, J., <a href = "#page46">46</a>.</p>
+<p>Pinzi, P., <a href = "#fig25">25</a>.</p>
+<p>Plantin, C., <a href = "#page203">203&ndash;205</a>.</p>
+<p>Pollard, A.&nbsp;W., <a href = "#page48">48</a>.</p>
+<p>Portunaris, V., <a href = "#page22">22</a>.</p>
+<p>Prevosteau, E., <a href = "#page17">17</a>.</p>
+<p>Printers’ Marks:</p>
+<div class = "inset">
+<p>punning devices, <a href = "#page3">3</a>,
+<a href = "#page10">10</a>;</p>
+<p>mottoes from sacred history, <a href = "#page8">8</a>;</p>
+<p>printing press, <a href = "#page12">12</a>;</p>
+<p>mottoes, <a href = "#page13">13</a>;</p>
+<p>Hebrew and Greek mottoes, <a href = "#page17">17</a>;</p>
+<p>the Sphere, <a href = "#page17">17</a>,
+<a href = "#page207">207</a>;</p>
+<p>the Brazen Serpent, <a href = "#page20">20</a>;</p>
+<p>Balaam’s Ass, <a href = "#page22">22</a>;</p>
+<p>Christ on the Cross, <a href = "#page22">22</a>;</p>
+<p>St. Christopher, <a href = "#page22">22</a>;</p>
+<p>Saints and</p>
+<span class = "pagenum">260</span>
+<a name = "page260" id = "page260"> </a>
+
+<p>Priests, <a href = "#page23">23</a>;</p>
+<p>The Cross, <a href = "#page23">23&ndash;26</a>;</p>
+<p>St. George and the Dragon, <a href = "#page26">26</a>;</p>
+<p>Time and Peace, <a href = "#page27">27</a>;</p>
+<p>musical notes, <a href = "#page29">29</a>;</p>
+<p>rustic subjects, <a href = "#page29">29</a>;</p>
+<p>the Cornucopia, <a href = "#page30">30</a>;</p>
+<p>the Unicorn, <a href = "#page32">32&ndash;34</a>;</p>
+<p>the Griffin, <a href = "#page35">35</a>;</p>
+<p>the Mermaid, <a href = "#page36">36</a>;</p>
+<p>the Anchor, <a href = "#page37">37</a>;</p>
+<p>Angels, <a href = "#page37">37</a>;</p>
+<p>Arion, <a href = "#page37">37</a>;</p>
+<p>Bellerophon, <a href = "#page37">37</a>;</p>
+<p>astrological signs, <a href = "#page37">37</a>;</p>
+<p>Cat, <a href = "#page38">38</a>;</p>
+<p>Eagle, <a href = "#page38">38</a>;</p>
+<p>Fortune, <a href = "#page38">38</a>,
+<a href = "#page44">44</a>;</p>
+<p>Fountain, <a href = "#page38">38</a>;</p>
+<p>Heart, <a href = "#page38">38</a>;</p>
+<p>Hercules, <a href = "#page38">38</a>;</p>
+<p>Lion, <a href = "#page38">38</a>;</p>
+<p>Magpie, <a href = "#page38">38</a>;</p>
+<p>Mercury, <a href = "#page38">38</a>;</p>
+<p>Pelican, <a href = "#page38">38</a>;</p>
+<p>Phœnix, <a href = "#page39">39</a>;</p>
+<p>Salamander, <a href = "#page39">39</a>;</p>
+<p>Swan, <a href = "#page39">39</a>.</p>
+</div>
+
+<p>Psalter, The Mentz, <a href = "#page41">41</a>.</p>
+<p>Pynson, R., <a href = "#page59">59&ndash;61</a>.</p>
+
+<p class = "space">
+Rastell, J., <a href = "#page36">36</a>.</p>
+<p>Ratdolt, E., <a href = "#page162">162</a>,
+<a href = "#page212">212&ndash;214</a>.</p>
+<p>Regnault, F., <a href = "#page75">75</a>,
+<a href = "#page103">103&ndash;105</a>.</p>
+<p>&mdash;&mdash; P., <a href = "#page105">105</a>.</p>
+<p>Rembolt, B., <a href = "#page17">17</a>,
+<a href = "#page26">26</a>,
+<a href = "#page101">101</a>,
+<a href = "#page102">102</a>.</p>
+<p>Reynes, J., <a href = "#page16">16</a>.</p>
+<p>Ricci, B., <a href = "#fig25">25</a>.</p>
+<p>Richard, J., <a href = "#page34">34</a>.</p>
+<p>&mdash;&mdash; T., <a href = "#page29">29</a>.</p>
+<p>Rigaud, B., <a href = "#page14">14</a>.</p>
+<p>Rihel, Wendelin, <a href = "#page150">150</a>.</p>
+<p>Rivery, J., <a href = "#page174">174</a>.</p>
+<p>Rivingtons, The, <a href = "#page235">235&ndash;8</a>.</p>
+<p>Rizzardi, G., <a href = "#page225">225</a>,
+<a href = "#page228">228</a>.</p>
+<p>Roccociola, D., <a href = "#fig25">25</a>,
+<a href = "#page226">226</a>.</p>
+<p>Roce, D., <a href = "#page4">4</a>,
+<a href = "#page14">14</a>,
+<a href = "#page66">66</a>.</p>
+<p>Rodt, Berthold, <a href = "#page163">163</a>.</p>
+<p>Roffet, J., <a href = "#page29">29</a>,
+<a href = "#page30">30</a>.</p>
+<p>&mdash;&mdash; Family, The, <a href = "#page125">125</a>.</p>
+<p>Rose, Germain, <a href = "#page4">4</a>.</p>
+<p>Rosembach, J., <a href = "#page26">26</a>,
+<a href = "#page230">230</a>,
+<a href = "#page231">231&ndash;2</a>.</p>
+<p>Roth-Scholtz’s “Thesaurus,” <a href = "#page24">24</a>.</p>
+<p>Rubeus de Valentia, L., <a href = "#fig25">25</a>,
+<a href = "#page215">215</a>.</p>
+<p>Ryverd, G., <a href = "#page22">22</a>.</p>
+
+<p class = "space">
+Sabio Brothers, The, <a href = "#page224">224&ndash;226</a>.</p>
+<p>Sacer, J., <a href = "#fig25">25</a>.</p>
+<p>Sacon, J., <a href = "#page26">26</a>,
+<a href = "#page73">73</a>.</p>
+<p>Schäffeler of Bodensee, <a href = "#page22">22</a>.</p>
+<p>Schaufelein, Hans, <a href = "#page155">155</a>,
+<a href = "#page156">156</a>.</p>
+<p>Scher, Conrad, <a href = "#page152">152</a>.</p>
+<p>Schomberg, W., <a href = "#fig25">25</a>.</p>
+<p>Schott, M. and J., <a href = "#page141">141</a>.</p>
+<p>Schultis, E., <a href = "#page32">32</a>.</p>
+<p>Schumann, V., <a href = "#page170">170&ndash;171</a>.</p>
+<p>Scolar, J., <a href = "#page93">93</a>,
+<a href = "#page94">94</a>.</p>
+<p>Scott, or Skott, J., <a href = "#page66">66</a>.</p>
+<p>Scotto, O., <a href = "#fig25">25</a>,
+<a href = "#page214">214&ndash;215</a>.</p>
+<p>Sergent, P., <a href = "#page18">18</a>.</p>
+<p>Sessa, M., <a href = "#page217">217&ndash;218</a>.</p>
+<p>Siberch, J., <a href = "#page94">94</a>,
+<a href = "#page95">95</a>.</p>
+<p>Silvius, G., <a href = "#page22">22</a>.</p>
+<p>Singleton, Hugh, <a href = "#page82">82</a>,
+<a href = "#page83">83</a>.</p>
+<p>Sixtus Riessinger, <a href = "#page210">210</a>.</p>
+<p>Snellaert, C., <a href = "#page34">34</a>,
+<a href = "#page35">35</a>,
+<a href = "#page186">186</a>.</p>
+<p>Somaschi, The, <a href = "#fig25">25</a>.</p>
+<p>Soter, Johann, <a href = "#page161">161&ndash;162</a>.</p>
+<p>St. Albans Press, The, <a href = "#page54">54&ndash;56</a>.</p>
+<p>Stadelberger, J., <a href = "#page172">172&ndash;173</a>.</p>
+<p>Stagninus, B., <a href = "#fig25">25</a>,
+<a href = "#page215">215</a>.</p>
+<p>Stationers’ Company, The, <a href = "#page233">233&ndash;6</a>.</p>
+<p>Steels, J., <a href = "#page19">19</a>,
+<a href = "#page191">191</a>.</p>
+<p>Steinschawer, Adam, <a href = "#page173">173</a>.</p>
+<p>Suardo, L., <a href = "#fig25">25</a>.</p>
+<p>Sweynheim, C., <a href = "#page209">209</a>.</p>
+
+<p class = "space">
+Tardif, A., <a href = "#page8">8</a>.</p>
+<p>Temporal, J<ins class = "correction" title = ", missing">.,</ins>
+<a href = "#page14">14</a>, <a href = "#page27">27</a>.</p>
+
+<span class = "pagenum">261</span>
+<a name = "page261" id = "page261"> </a>
+
+<p>Thanner, J., <a href = "#page139">139</a>,
+<a href = "#page171">171</a>.</p>
+<p>Ther Hoernen, A., <a href = "#page24">24</a>,
+<a href = "#page157">157</a>,
+<a href = "#page159">159</a>,
+<a href = "#page183">183</a>.</p>
+<p>Thomas, <a href = "#page229">229</a>.</p>
+<p>Title-page, The First, <a href = "#page48">48</a>.</p>
+<p>Tonson, J., <a href = "#page94">94</a>.</p>
+<p>Topie, M., <a href = "#page131">131</a>.</p>
+<p>Torresano, A., <a href = "#page219">219</a>.</p>
+<p>Tory, Geoffrey, <a href = "#page14">14</a>,
+<a href = "#page117">117&ndash;118</a>.</p>
+<p>Tottell, R., <a href = "#page85">85</a>.</p>
+<p>Tournes, <i>see</i> De Tournes.</p>
+<p>Trepperel, J., <a href = "#page21">21</a>.</p>
+<p>Treschel, J., <a href = "#fig25">25</a>,
+<a href = "#page115">115</a>,
+<a href = "#page132">132</a>.</p>
+<p>&mdash;&mdash; The Brothers, <a href = "#page17">17</a>.</p>
+<p>Treveris, P., <a href = "#page64">64</a>.</p>
+
+<p class = "space">
+Unwin, T. F., <a href = "#fig243e">243</a>,
+<a href = "#page245">245</a>.</p>
+
+<p class = "space">
+Van den Keere, H<ins class = "correction" title = ", missing">.,</ins>
+<a href = "#page195">195</a>, <a href = "#page198">198</a>.</p>
+<p>Van der Noot, T., <a href = "#page194">194</a>,
+<a href = "#fig196">196</a>.</p>
+<p>Van Hombergh, H. E., <a href = "#page188">188</a>.</p>
+<p>Vautrollier, T<ins class = "correction" title = ". missing">.,</ins>
+<a href = "#page7">7</a>, <a href = "#page73">73</a>,
+<a href = "#page75">75</a>.</p>
+<p>Veldener, J., <a href = "#page178">178</a>.</p>
+<p>Velpius, Rutger, <a href = "#page200">200</a>.</p>
+<p>Vérard, A., <a href = "#page21">21</a>,
+<a href = "#page102">102</a>.</p>
+<p>Vidoue, P., <a href = "#page17">17</a>,
+<a href = "#page124">124</a>.</p>
+<p>Vincent, Simon, <a href = "#page34">34</a>,
+<a href = "#page51">51</a>.</p>
+<p>Vindelinus de Spira, <a href = "#page213">213</a>.</p>
+<p>Vitalibus, B. de, <a href = "#page215">215</a>.</p>
+<p>Von Andlau, G., <a href = "#page1">1</a>,
+<a href = "#page32">32</a>,
+<a href = "#page146">146</a>.</p>
+<p>Vostre, S., <a href = "#page102">102</a>,
+<a href = "#page103">103</a>,
+<a href = "#page111">111</a>,
+<a href = "#page112">112</a>.</p>
+<p>Vurster de Campidonâ, J., <a href = "#page226">226</a>.</p>
+
+<p class = "space">
+Waesberghe, J., <a href = "#fig199">199</a>.</p>
+<p>Walthoe, J., <a href = "#page92">92</a>.</p>
+<p>Ware, R., <a href = "#page92">92</a>,
+<a href = "#page93">93</a>.</p>
+<p>Wéchel, A. and C., <a href = "#page31">31</a>,
+<a href = "#page125">125&ndash;127</a>.</p>
+<p>Weissenburger, J., <a href = "#page167">167&ndash;169</a>.</p>
+<p>Whitchurche, E., <a href = "#page75">75</a>.</p>
+<p>Whittingham, Messrs., <a href = "#page240">240&ndash;2</a>.</p>
+<p>Wight, or Wyghte, J., <a href = "#page83">83</a>,
+<a href = "#page84">84</a>.</p>
+<p>Windet, J., <a href = "#page82">82</a>.</p>
+<p>Wolfe, R., <a href = "#page20">20</a>,
+<a href = "#page77">77</a>,
+<a href = "#page86">86</a>.</p>
+<p>&mdash;&mdash; John, <a href = "#page77">77</a>,
+<a href = "#page78">78</a>.</p>
+<p>Woodcock, T., <a href = "#page10">10</a>,
+<a href = "#page86">86</a>,
+<a href = "#page87">87</a>.</p>
+<p>Wyer, R., <a href = "#page68">68</a>.</p>
+<p>Wynkyn de Worde, <a href = "#page51">51</a>,
+<a href = "#page57">57&ndash;59</a>,
+<a href = "#page67">67</a>.</p>
+
+<p class = "space">
+Zainer, G., <a href = "#page41">41</a>,
+<a href = "#page162">162</a>.</p>
+<p>Zanis, Bartholomeus, <a href = "#page215">215</a>.</p>
+<p>Zell, Ulric, <a href = "#page157">157</a>,
+<a href = "#page178">178</a>.</p>
+<p>Zetzner, L., <a href = "#fig151a">151</a>,
+<a href = "#page152">152</a>.</p>
+
+</td>
+</tr>
+</table>
+
+<p class = "illustration">
+<span class = "pagenum illus">261</span>
+<a name = "fig261" id = "fig261"> </a>
+<img src = "images/pic261.png" width = "103" height = "178"
+alt = "GEORGE BELL AND SONS." title = "GEORGE BELL AND SONS.">
+</p>
+
+</div> <!-- end div index -->
+
+<p class = "illustration">
+<span class = "pagenum plate">262</span>
+<a name = "fig262" id = "fig262"> </a>
+<img src = "images/pic262.png" width = "197" height = "199"
+alt = "printer's mark">
+</p>
+
+<p class = "caption">
+CHISWICK PRESS:&mdash;CHARLES WHITTINGHAM AND CO.,<br>
+TOOKS COURT, CHANCERY LANE.</p>
+
+</div> <!-- end div maintext -->
+
+
+<span class = "pagenum">263</span>
+<a name = "page263" id = "page263"> </a>
+
+<table class = "author text" summary = "formatted text">
+<tr>
+<td>
+<h4>BY THE SAME AUTHOR.</h4>
+
+<hr class = "tiny">
+
+<p>THE EARLIER HISTORY OF ENGLISH<br>
+BOOKSELLING. Crown 8vo. Sampson Low and<br>
+Co. 1889.</p>
+
+<p>CHRISTIE’S: A Chapter in the History of Art.<br>
+<span class = "details">
+[<i>In the Press</i>.</span></p>
+</td>
+</tr>
+</table>
+
+
+<div class = "endnote">
+
+<a name = "endnotes" id = "endnotes"> </a>
+
+<h4>Supplementary Notes<br>
+<span class = "smaller">(added by transcriber)</span></h4>
+
+<p><a name = "endnoteA" id = "endnoteA" href = "#fig153">A.</a>
+The left edge of this Mark was in the gutter of the printed book and
+could not be scanned.</p>
+
+<p><a name = "endnoteB" id = "endnoteB" href = "#fig164">B.</a>
+This mark looks incomplete, but is shown as printed at mid-page.</p>
+
+<p><a name = "endnoteC" id = "endnoteC" href = "#fig232_1">C.</a>
+This group of small illustrations were printed with numbers referencing
+printers’ names, like the larger group on page&nbsp;25.</p>
+
+<h4>Texts of Marks</h4>
+
+<p><a name = "endnote9" id = "endnote9" href = "#fig9">Page 9:</a></p>
+
+<div class = "footnote">
+<p>PETIT A PETIT</p>
+
+<p>Le second Volu</p>
+
+<p>me Des Cronicques &amp; Annalles de France, augmentées<br>
+en la fin dudit volume daucuns faictz dignes de memoire<br>
+des feux roys Charles huytiesme. Loys douziesme &amp; fra[n]-<br>
+cois premier du nom Iusques en Lan Mil cinq cens vingt<br>
+Nouuellement imprime a Paris.</p>
+
+<p>PETIT PETIT<br>
+T K<br>
+THIELMAN KERVER<br>
+I P<br>
+PETIT</p>
+</div>
+
+<p><a name = "endnote21" id = "endnote21" href = "#fig21">Page
+21:</a></p>
+
+<div class = "footnote">
+<p>IHS</p>
+
+<p>PO[UR] PROVOCQVER TA GRĀT MISERI<br>
+CORDE DE TOVS PECHEVRS FAIRE GRACE ET PARDON<br>
+ANTHOINE VER[A]D HVMBLEMĒT<br>
+TE RECORDE CE QVIL A IL TIENT DE TOI PAR·DON</p>
+
+<p>AR</p>
+</div>
+
+<p><a name = "endnote43" id = "endnote43" href = "#fig43">Page
+43:</a></p>
+
+<div class = "footnote">
+<p>γίνεσθε φρόνιμοι ὥς ὁι ὄφεις</p>
+
+<p>Prudens simplicitas amor[que] recti.</p>
+</div>
+
+<p>Greek: <i>Ginesthe phronimoi hôs hoi opheis</i>.</p>
+
+<p><a name = "endnote66" id = "endnote66" href = "#fig66">Page
+66:</a></p>
+
+<div class = "footnote">
+<p>Melius est<br>
+nomen bonum<br>
+q[uam] diuitie<br>
+mnlte. Prou. xxu.</p>
+
+<p>R</p>
+
+<p>ROBERT COPLAND</p>
+</div>
+
+<p>The “mnlte” for “multe” error is in the original. Citation unclear:
+text looks like ‘xxu’ (25) but passage is at xxii (22).</p>
+
+<p><a name = "endnote81" id = "endnote81" href = "#fig81">Page
+81:</a></p>
+
+<p class = "footnote">
+ALEXANDER &nbsp; ARBVTHNET<br>
+LOVE KEPYTH THE LAWE OBEYETH THE KYNGE AND IS GOOD TO THE COMMEN
+WELTHE<br>
+PRO LEGE REGE, ET GREGE<br>
+PRVDENCIA &nbsp; IVSTICIA<br>
+</p>
+
+<p><a name = "endnote100b" id = "endnote100b" href = "#fig100b">Page
+100:</a></p>
+
+<div class = "footnote">
+<p>Πλίον ἐλαίου ἤ βίνου</p>
+
+<p>Plus olei quàm vini.</p>
+</div>
+
+<p>Greek: <i>Plion elaiou ê binou</i>.</p>
+
+
+<p><a name = "endnote104" id = "endnote104" href = "#fig104">Page
+104:</a></p>
+
+<div class = "footnote">
+<p>Le premier volume<br>
+de la toison dor.</p>
+
+<p>Compose par reuerend pere en dieu guillaume par<br>
+la permission diuine iadis euesque de Tournay/ ab-<br>
+be de sainct Bertin et chancellier de lordre de la Thoi<br>
+son dor du bon duc Philippe de bourgongne Auquel<br>
+soubz les vertus de magnanimite et iustice apparte-<br>
+nans a lestat de noblesse sont contenus les haulx ver-<br>
+tueux et magnanimes faictz tant des tres chrestiennes<br>
+maisons de france/ bourgongne et flandres que dau-<br>
+tres roys et princes de lancien et nouueau testament<br>
+nouuellement imprime a Paris.</p>
+
+<p>Cum p[ri]uilegio</p>
+
+<p>F R<br>
+FRANCOYS REGNAVLT</p>
+
+<p>¶ Ilz se vendent a Paris en la rue sainct<br>
+Iaques a lenseigne sainct Claude.</p>
+</div>
+
+<p><a name = "endnote148" id = "endnote148" href = "#fig148">Page
+148:</a></p>
+
+<div class = "footnote">
+<p>Ερευνᾶτε τὰς γραφάς, οτι ἐμ ἀυταῖς<br>
+ζωὴμ ἀιώνιομ ἔχετε. Ioan. 5.</p>
+
+<p>Vrsus insidians &amp; esuriens, princeps impius super<br>
+populum pauperem. Thre. 3. Prouerb. 28.</p>
+
+<p>Quam dulcia faucibus meis eloquia tua,<br>
+super mel ori meo. Psal. 118.</p>
+
+<p>Omnia probate, quod bonum<br>
+fuerit tenete. 1. Thess. 5.</p>
+</div>
+
+<p>Greek: <i>Ereunate tas graphas, oti em autais / zôêm aiôniom
+echete.</i> (All errors, including the use of mu for nu, are in the
+original.)</p>
+
+<p><a name = "endnote155" id = "endnote155" href = "#fig155">Page
+155:</a></p>
+
+<div class = "footnote">
+<p> יהוה ש </p>
+<p>TAB</p>
+</div>
+
+<p>Hebrew: <i>YHVH</i>.</p>
+
+<p><a name = "endnote156" id = "endnote156" href = "#fig156">Page
+156:</a></p>
+
+<div class = "footnote">
+<p>Anno M.D. &nbsp; XXXVI.<br>
+mens: &nbsp; Septem:</p>
+
+<p>Non Aquilæ grandi sociatum turgide Pauum<br>
+’ Galle premes tecum mox Leo uictus erit</p>
+</div>
+
+<p><a name = "endnote157" id = "endnote157" href = "#fig157">Page
+157:</a></p>
+
+<p class = "footnote">
+¶ Explicit presens vocabulorum<br>
+materia. a perdocto eloquentissimo<br>
+[que] viro. dño Gherardo de schueren<br>
+Cãcellario Illustrissimi ducis Cli<br>
+uensis ex diuersorum terministar[um]<br>
+voluminibus contexta. propriis[que]<br>
+eiusdem manibus labore ingenti cō<br>
+scripta ac correcta Colonie per me<br>
+Arnoldũ ther hoenē diligentissime<br>
+impressa. finita sub annis domini.<br>
+M.cccc.lxxvij. die vltimo mensis<br>
+maij. De quo cristo marie filio sit<br>
+laus et gloria per seculorum secula<br>
+Amen.</p>
+
+<p>The underlining is part of the printed text. It has been erased from
+the <a href = "images/pic157_text.png" target = "_blank">close-up</a>
+for readability.</p>
+
+<p><a name = "endnote162" id = "endnote162" href = "#fig162">Page
+162:</a></p>
+
+<p class = "footnote">
+Του Σωτῆρος</p>
+
+<p>Greek: <i>Tou Sôtêros</i>.</p>
+
+
+<p><a name = "endnote174b" id = "endnote174b" href = "#fig174b">Page
+174b:</a></p>
+
+<div class = "footnote">
+<p>La coignée est ia mise à la racine des arbres:<br>
+parquoy tout arbre qui ne fait pas bon<br>
+fruit, sera couppé &amp; ietté au feu, Mat. III.</p>
+
+<p>LA COIGNEE EST MISE A LA RACINE DES ARBRES
+PARQVOV LARBRE QUI NE PORTE CERA COPE</p>
+</div>
+
+<p><a name = "endnote179" id = "endnote179" href = "#fig179">Page
+179:</a></p>
+
+<div class = "footnote">
+<table summary = "two columns of text">
+<tr>
+<td class = "right">
+Et ego Johannes<br>
+universitate Lova-<br>
+num duxi opus hoc<br>
+ferme tam labori-<br>
+ad finem usque<br>
+lito signo consig-<br>
+pite libri palam
+</td>
+<td>&nbsp;</td>
+<td>
+prenotatus alma in<br>
+niesi residens dig-<br>
+insigne immensis<br>
+bus quam impensis<br>
+perductum meo so-<br>
+nando huius in ca-<br>
+fieri.
+</td>
+</tr>
+</table>
+</div>
+
+<p><a name = "endnote182" id = "endnote182" href = "#fig182">Page
+182:</a></p>
+
+<p class = "footnote">
+D vlieghende Eler zeer hoeghelike<br>
+Metter wapene me ghi hier tuent<br>
+Van linte hewpe keyserlike<br>
+Daer ghi uv met sijt ghenvent</p>
+
+<p><a name = "endnote197" id = "endnote197" href = "#fig197">Page
+197:</a></p>
+
+<div class = "footnote">
+<p>CHARITAS</p>
+
+<p>Ἡ ἀγάπη πάντα δέγει.</p>
+</div>
+
+<p>Greek: <i>Hê agapê panta degei</i>. There is no such word as δέγει
+(degei) or σέγει (segei), but the intended form could not be deduced;
+it might be a variant of θίγει (thigei).</p>
+
+<p><a name = "endnote250c" id = "endnote250c" href = "#fig250c">Page
+250:</a></p>
+
+<div class = "footnote">
+<p>H B</p>
+
+<p>ΛΑΜΠΑΔΙΑ ΕΧΟΝΤΕΣ ΔΙΑΔΩΣΟΥΣΙΝ ΑΛΛΗΛΟΙΣ</p>
+</div>
+
+<p>Greek: <i>LAMPADIA ECHONTES DIADÔSOUSIN ALLÊLOIS</i>.</p>
+
+
+<p><a name = "endnote251b" id = "endnote251b" href = "#fig251b">Page
+251:</a></p>
+
+<div class = "footnote">
+<p>καὶ μὴν ἀρθμὸν<br>
+ἔξοχον σοφισ-<br>
+-μάτων<br>
+ἐξεῦρον αὐτοῖς<br>
+γραμμάτων τε συν-<br>
+-θέσεις<br>
+μνήμην τ’ ἁπάντων<br>
+μουσομητορ’ ἐρ-<br>
+-γάτιν.</p>
+
+<p>IMPRIMATUR</p>
+
+<p>THE DE VINNE PRESS</p>
+</div>
+
+<p>Greek: <i>kai mên arthmon / exochon sophis-/-matôn / exeuron autois /
+grammatôn te sun-/-theseis / mnêmên th’ hapantôn / mousomêtor’
+er-/-gatin.</i> The error of ἀρθμὸν (arthmon) for ἀριθμὸν (arithmon) is
+in the original, as are the repeated hyphens at line breaks.</p>
+
+<p><a name = "endnote252" id = "endnote252" href = "#fig252">Page
+252:</a></p>
+
+<div class = "footnote center">
+<p>THE HAVEN</p>
+
+<p>OF HEALTH:</p>
+
+<p>Chiefely gathered for the comfort of Stu-<br>
+dents, and consequently of all those that haue a<br>
+care of their health, amplified vpon fiue words of<br>
+<i>Hippocrates</i>, written <i>Epid. 6.</i> <i>Labor, Cibus,<br>
+Potio, Somnus, Venus</i>: By <i>Thomas Coghan</i><br>
+master of Artes, &amp; Bacheler<br>
+of Phisicke.</p>
+
+<p><i>Hereunto is added a Preseruation from the Pestilence,<br>
+With a short Censure of the late sicknes at Oxford.</i></p>
+
+<p><i>Ecclesiasticus. Cap. 37. 30.</i></p>
+
+<p>By surfet haue manie perished: but he that dieteth<br>
+himselfe prolongeth his life.</p>
+
+<p>nor<br>
+W</p>
+
+<p><span class = "smallcaps">At London</span></p>
+
+<p>Printed by Henrie Midleton,</p>
+
+<p><i>for William Norton</i>.</p>
+
+<p>1584.</p>
+</div>
+
+</div> <!-- end div endnote -->
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Printers' Marks, by William Roberts
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