,transcriber's ,note3  ,this text uses  
utf-#h 7unicode7 file encoding4 ,if the 
apostrophes and quotation marks in this 
paragraph appear as garbage1 make sure  
your text reader's 8character set0 or   
8file encoding0 is set to ,unicode      
7,,utf-#h74 ,you may also need to change
 the default font4 ,as a last resort1   
use the latin-#a version of the file    
instead4  ,where possible1 text         
contained within illustrations of       
printers' marks has been transcribed4   
,the text is shown on separate lines1   
corresponding to the original layout2   
captions--usually the printer's         
name--will appear on the same line as   
the word 8,illustration04 ,note that the
 spelling given in the body text is     
often different from that of the ,mark  
as pictured4 ,within illustrations1     
expanded abbreviations are shown in     
brackets4  ,typographical errors are    
listed at the end of the e-text4        
,capitalization of the word 8mark0 or   
8,mark0 is arbitrary in the original and

 has not been changed4 ,misspellings or 
misprints within ,marks are also never  
changed1 but the most obvious errors are
 noted4          99       99       99   
99       99            99       99      
99       99        99       99       99 
99       99                             
,,printers' ,,marks4                    
,illustration3    ,cum ,priuilegio      
,venetiis ,impressum ,anno ,m ,d ,v     
,petrus ,liechtensteyn       ,printers' 
,marks    ,a ,chapter in the ,history of
   ,typography by ,w4 ,roberts          
,editor of 8,the ,bookworm0             
,illustration3    ,,george ,,bell       
,,sons     ,london3 ,george ,bell       
,sons1 ,york ,street1   ,covent ,garden1
  ,new ,york4 ,mdcccxciij4              
,chiswick ,press3 ,c4 ,whittingham ,and 
,co41   ,tooks ,court1 ,chancery ,lane4 
,to    ,t4 ,b4 ,,bolitho1 ,,esq41       
,m4,p41    ,this ,volume ,is            
,respectfully   ,dedicated4             
,decoration  ,,preface4   ,there are few
 phases of typography open to the charge

 of being neglected4 ,an unquestionable 
exception occurs1 however1 in relation  
to ,printers' ,marks4 ,this subject is  
in many respects one of the most        
interesting in connection with the early
 printers1 who1 using devices at first  
purely as trade marks for the protection
 of their books against the pirate1 soon
 began to discern their ornamental      
value1 and1 consequently1 employed the  
best available artists to design them4  
,many of these examples are of the      
greatest bibliographical and general    
interest1 as well as of considerable    
value in supplementing an important     
class of illustrations to the printed   
books1 and showing the origin of several
 typical classes of ,book-plates        
7,ex-,libris74 ,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 bibliography2 and it
 appeals with equal force to the artist 
or collector4 ,only one book on the     

subject1 ,berjeau's 8,early ,dutch1     
,german1 and ,english ,printers'        
,marks10 has appeared in this country1  
and this1 besides being out of print and
 expensive1 is destitute of descriptive 
letterpress4 ,the principle which       
determined the selection of the         
illustrations is of a threefold         
character3 first1 the importance of the 
printer2 secondly1 the artistic value or
 interest of the ,mark itself2 and      
thirdly1 the geographical importance of 
the city or town in which the ,mark     
first appeared4  ,since the text of this
 book was printed1 however1 two         
additions have been made to the         
literature of its subject3 ,dr4 ,paul   
,kristeller's 8,die ,italienischen      
,buchdrucker- und ,verlegerzeichen1 bis 
#aebe10 a very handsome work1 worthy to 
rank with the 8,elsssische ,bchermarken 
bis ,anfang des #ah4 ,jahrhunderts0 of  
,herr ,paul ,heitz and ,dr4 ,karl ,a4   
,barack 7to whom ,i am indebted for much
 valuable information as well as for    

nearly thirty illustrations in the      
chapter on ,german ,printers' ,marks72  
and ,mr4 ,alfred ,pollard's 8,early     
,illustrated ,books10 an admirable      
volume which1 however1 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 centuries4  
,mr4 ,pollard reproduces seven blocks   
from ,dr4 ,kristeller's monograph on the
 ,devices of the ,italian ,printers4 ,in
 reference to the statement on p4 #aaf  
of this volume that the ,mark of ,bade  
8is the earliest picture of a printing  
press10 ,mr4 ,pollard refers to an      
unique copy of an edition of the 8,danse
 ,macabre0 printed anonymously at ,lyons
 in ,february1 #adii1 eight years       
earlier1 which contains cuts of the     
shops of a printer and a bookseller4    
,that this volume has considerably      
exceeded its intended limit must be my  
excuse for not including1 with a very   
few exceptions1 any modern examples from

 the ,continent4 ,nearly every ,french  
printer and publisher of any note       
indulges in the luxury of a ,mark of    
some sort1 and an interesting volume    
might be written concerning modern      
continental examples4 ,the practice of  
using a ,printer's ,mark is an extremely
 commendable one1 not merely as a relic 
of antiquity1 but from an sthetic point 
of view4 ,nearly every tradesman of     
importance in this country has some sort
 of trade mark2 but most printers agree 
in regarding it as a wholly unnecessary 
superfluity4 ,as the few exceptions     
indicated in the last chapter prove that
 the fashion has an artistic as well as 
a utilitarian side1 ,i hope that it will
 again become more general as time goes 
on4  ,as regards my authorities3 ,i have
 freely availed myself of nearly all the
 works named in the 8,bibliography0 at  
the end1 besides such invaluable works  
as ,brunet's 8,manual10 ,mr4 ,quaritch's
 ,catalogues1 and the monographs on the 
various printers1 ,plantin1 ,elzevir1   

,aldus1 and the rest4 ,from ,messrs4    
,dickson and ,edmonds' 8,annals of      
,scottish ,printing0 ,i have obtained   
not only some useful information        
regarding the ,printer's ,mark in       
,scotland1 but1 through the courtesy of 
,messrs4 ,macmillan and ,bowes of       
,cambridge1 the loan of several blocks  
from the foregoing work1 as well as that
 of ,john ,siberch1 the first ,cambridge
 printer4 ,i have also to thank ,m4     
,martinus ,nijhoff1 of the ,hague1 ,herr
 ,karl ,w4 ,hiersemann1 of ,leipzig1    
,herr ,j4 ,h4 ,ed4 ,heitz1 ,strassburg1 
,mr4 ,elliot ,stock1 ,mr4 ,robert       
,hilton1 ,editor of the 8,british       
,printer10 and the ,editor of the       
8,american ,bookmaker10 for the loan    
either of blocks or of original examples
 of ,printers' ,marks2 and ,mr4 ,c4 ,t4 
,jacobi for several useful works on     
typography4 ,mr4 ,g4 ,p4 ,johnston1 of  
,edinburgh1 kindly lent me the reduced  
facsimile on p4 #beb1 which arrived too 
late to be included in its proper place4

 ,the publishers whose ,marks are       
included in the chapter on 8,modern     
,examples0 are also thanked for the     
courtesy and readiness with which they  
placed electros at my disposal4  ,the   
original idea of this book is due to my 
friend1 ,mr4 ,gleeson ,white1 the       
general editor of the series in which it
 appears2 but my thanks are especially  
due to ,mr4 ,g4 ,r4 ,dennis for the     
great care with which he has gone       
through the whole work4    ,w4 ,r4      
#hf1 ,grosvenor ,road1 ,s4,w41          
,october1 #ahic4     ,decoration        
,decoration    ,,contents4              
,page    ,,preface                      
vii   ,,list ,,of ,,illustrations       
xiii   ,,introduction                   
#a   ,,some ,,general ,,aspects ,,of    
,,the ,,printer',s ,,mark          #dj  
,,the ,,printer',s ,,mark ,,in ,,england
                       #eb   ,,some     
,,french ,,printers' ,,marks            
#ajj   ,,printers' ,,marks ,,of         
,,germany ,,and ,,switzerland           

#aci   ,,some ,,dutch ,,and ,,flemish   
,,printers' ,,marks             #agh    
,,printers' ,,marks ,,in ,,italy ,,and  
,,spain                 #bji   ,,some   
,,modern ,,examples                     
#bcc   ,,bibliography                   
#bec   ,,index                          
#bee    ,decoration       ,decoration   
,,list ,,of ,,illustrations4            
,page    ,liechtenstein1 ,petrus4       
,frontispiece   ,bell1 ,george1 and     
,sons4                    ,title-page   
,andlau1 ,g4 ,u4 ,von                   
#a   ,couteau1 ,gillet                  
#d   ,du ,pr1 ,galliot                  
#e   ,lecoq1 ,jehan                     
#g   ,petit and ,kerver                 
#i   ,du ,puys1 ,jacques                
#aa   ,pavier1 ,t4                      
#ab   ,janot1 ,denys                    
#ae   ,faques1 ,william                 
#af   ,steels1 ,j4                      
#ai   ,vrard1 ,antoine                  
#ba   ,plate of thirty ,marks     used  
chiefly by the ,italian ,printers       

#be   ,chaudire1 ,guillaume             
#bh   ,roffet1 ,jacques                 
#cj   ,tournes1 ,jean de                
#ca   ,breuille1 ,mathurin              
#cc   ,snellaert1 ,c4                   
#ce   ,rastell1 ,john                   
#cg   ,leeu1 ,gerard                    
#ci1 #ahe   ,fust and ,schoeffer        
#dj   ,froben1 ,j4                      
#dc   ,cratander's ,mark 7attributed to 
,holbein7            #de   ,cox1 ,t4    
#df   ,dulssecker1 ,johann ,reinhold    
#dg1 #aec1 #aed   ,beck1 ,reinhard      
#ej1 #adc1 #add   ,goltz1 ,hubert       
#ea   ,lynne1 ,walter                   
#eb   ,caxton1 ,william                 
#ee   ,st4 ,albans ,printer1 ,the       
#ef   ,de ,worde1 ,wynkyn               
#eh   ,pynson1 ,r4                      
#ei1 #fj   ,notary1 ,julian             
#fa   ,fawkes1 ,r4                      
#fc   ,treveris1 ,peter                 
#fd   ,scott1 ,john                     
#fe   ,copland1 ,robert                 
#ff1 #fh   ,wyer1 ,robert               

#fi   ,hester1 ,andrew                  
#gj   ,berthelet1 ,thomas               
#ga   ,byddell1 ,john                   
#gb   ,vautrollier1 ,thomas             
#gd   ,grafton1 ,richard                
#ge   ,middleton1 ,william              
#gf   ,wolfe1 ,john                     
#gh   ,day1 ,john                       
#gi   ,arbuthnot1 ,a4                   
#ha   ,singleton1 ,hugh                 
#hc   ,wight1 ,john                     
#hd   ,hall1 ,rowland                   
#he   ,bynneman1 ,henry                 
#hf   ,woodcock1 ,thomas                
#hg   ,jaggard1 ,william                
#hh   ,kingston1 ,felix                 
#hi   ,creede1 ,thomas                  
#ij   ,walthoe1 ,john                   
#ia   ,ware1 ,r4                        
#ib   ,scolar1 ,john                    
#ic   ,siberch1 ,john                   
#ie   ,myllar1 ,andro                   
#if   ,chepman1 ,walter                 
#ig   ,davidson1 ,thomas                
#ih   ,charteris1 ,h4                   

#ii   ,estienne1 ,f4                    
#ajj   ,rembolt1 ,b4                    
#ajb   ,vostre1 ,simon                  
#ajc   ,regnault1 ,franois              
#ajd   ,regnault1 ,pierre               
#aje   ,marchant1 ,guy                  
#ajf   ,de ,marnef                      
#ajg   ,du ,pr1 ,j4                     
#ajh   ,le ,rouge1 ,pierre              
#aji   ,le ,noir1 ,philippe             
#aaj   ,kerver1 ,thielman               
#aaa   ,pigouchet1 ,philippe            
#aac   ,petit1 ,jehan                   
#aad   ,bade1 ,j4                       
#aae   ,hardouyn1 ,gillet               
#aaf   ,tory1 ,geoffrey                 
#aag   ,de ,colines1 ,simon             
#aai   ,estienne1 ,robert               
#abj1 #aba   ,vidoue1 ,p4               
#abd   ,cyaneus1 ,louis                 
#abe   ,wchel1 ,andr                    
#abf   ,wchel1 ,chrestien               
#abg   ,nivelle1 ,sbastien              
#abh   ,merlin1 ,desboys and ,nivelle   
#acj   ,topie1 ,m4                      

#aca   ,treschel1 ,j4                   
#acb   ,dolet1 ,e4                      
#acc   ,hughes de la ,porte and ,a4     
,vincent                  #acd          
,gryphe1 ,sbastien                      
#ace   ,colomies1 ,jacques              
#acf   ,morin1 ,m4                      
#acg   ,le ,chandelier1 ,pierre         
#ach   ,thanner1 ,jacobi                
#aci   ,grninger1 ,johann               
#adj   ,schott1 ,martin                 
#ada   ,knoblouch1 ,johann              
#adb   ,kpfel1 ,wolfgang                
#ade1 #adf   ,mller1 ,craft 7,crato     
,mylius7                  #adg1 #adi    
,biener1 ,matthias 7,apiarius7          
#adh   ,rihel1 ,theodosius2     ,rihel1 
,josias 7und ,deren ,erben7             
#aej   ,zetzner1 ,lazarus               
#aea   ,berger1 ,thiebold               
#aea   ,scher1 ,conrad                  
#aeb   ,hauth1 ,david                   
#aeb   ,anshelm1 ,thomas                
#aee   ,kobian1 ,valentin               
#aef   ,hoernen1 ,a4 ,ther              

#aeg   ,bumgart1 ,herman                
#aeh   ,koelhoff1 ,johann               
#afj   ,csar1 ,nicholas                 
#afa   ,soter1 ,j4                      
#afb   ,birckmann1 ,arnold              
#afc   ,oglin1 ,erhard                  
#afd   ,pfortzheim1 ,jacobus de         
#afe   ,henricpetri                     
#aff   ,endter's1 ,wilhelm ,moritz1     
,daughter                 #afg          
,weissenburger1 ,j4                     
#afh   ,lotter1 ,melchior               
#afi   ,schumann1 ,v4                   
#agj   ,baumgarten1 ,conrad             
#aga   ,feyrabend1 ,j4                  
#agb   ,guerbin1 ,l4                    
#agb   ,stadelberger1 ,jacob            
#agc   ,girard1 ,jehan                  
#agd   ,rivery1 ,j4                     
#agd   ,froschover1 ,c4                 
#age   ,brylinger1 ,n4                  
#agf   ,le ,preux1 ,f4                  
#agg   ,veldener1 ,j4                   
#agh   ,johann of ,westphalia           
#agi   ,martens1 ,theodoric             

#ahj   ,mansion1 ,colard                
#aha   ,the ,brothers of ,common ,life  
#ahb   ,paffraej1 ,albertus             
#ahc   ,van der ,meer1 ,jacob ,jacobzoon
                      #ahf   ,van der   
,goes1 ,mathias                         
#ahg   ,van den ,dorp1 ,r4              
#ahh   ,back1 ,godefroy                 
#ahh1 #aij   ,csaris1 ,a4               
#aia   ,hillenius1 ,michael             
#aib   ,bellaert1 ,j4                   
#aic   ,henrici1 ,h4                    
#aid   ,destresius1 ,jodocus            
#aie   ,van der ,noot1 ,thomas          
#aif   ,grapheus1 ,j4                   
#aig   ,van den ,keere1 ,henri          
#aih   ,waesberghe1 ,j4                 
#aii   ,hamont1 ,michel de              
#bjj   ,velpius1 ,rutger                
#bja   ,hovii1 ,j4 ,m4                  
#bjb   ,plantin1 ,c4                    
#bjc1 #bjd   ,elzevir ,sage1 ,the       
#bjf   ,elzevir ,sphere1 ,the           
#bjg   ,janssens1 ,guislain             
#bjh   ,fritag1 ,a4                     

#bji   ,riessinger1 ,sixtus             
#baj   ,besicken1 ,j4                   
#baa   ,martens1 ,thierry               
#baa   ,ratdolt1 ,erhardus              
#bab   ,scotto1 ,ottaviano              
#bad   ,sessa1 ,melchior                
#baf   ,meietos1 ,p4 and ,a4            
#bag   ,aldine ,anchor1 ,the ,first     
#bah   ,torresano1 ,andrea              
#bai   ,aldine ,anchor1 #aejb-ae        
#bbj                #aedf-ed            
#bba                #aeee-gd            
#bbb                #aege-ha            
#bbc   ,giunta1 ,p4                     
#bbd   ,giunta1 ,l4                     
#bbe   ,giunta1 ,f4 de                  
#bbe   ,sabio1 ,the ,brothers           
#bbf   ,legnano1 ,gian ,giacomo di      
#bbg   ,rizzardi1 ,giammaria            
#bbh   ,rosembach1 ,juan                
#bcj   ,fernandex1 ,v4                  
#bca   ,kalliergos1 ,zacharias          
#bcb   ,legnano1 ,j4 ,a4 de             
#bcb   ,vingle1 ,j4 de1 of ,picardy     
#bcb   ,hugunt1 ,m4                     

#bcb   ,longman and ,co4                
#bcc1 #bcg   ,stationers' ,company1 ,the
                           #bcc         
#bcd   ,rivingtons1 ,the                
#bce   ,clarendon ,press1 ,the          
#bch   ,pickering1 ,william             
#bci   ,pickering1 ,basil ,montagu      
#bci   ,chiswick ,press                 
#bdj1 #bda   ,chatto and ,windus        
#bdc   ,nutt1 ,david                    
#bdc   ,cassell and ,co4                
#bdc   ,macmillan and ,co4              
#bdc   ,unwin1 ,t4 ,fisher              
#bdc1 #bde   ,lawrence and ,bullen      
#bdc   ,kegan ,paul and ,co4            
#bdc   ,clark1 ,r4 and ,r4              
#bdd   ,constable1 ,t4 and ,a4          
#bdf   ,morris1 ,william                
#bdg1 #bdh   ,appleton1 ,d41 and ,co4   
#bej   ,cushing1 ,j4 ,s41 and ,co4      
#bej   ,harper ,brothers                
#bej   ,lockwood1 ,h41 and ,co4         
#bej   ,berwick and ,smith              
#bea   ,de ,vinne1 ,theodore ,l41 and   
,co4                     #bea           

,lippincott1 ,j4 ,b41 ,co4              
#bea   ,nijhoff1 ,m4                    
#bea   ,norton1 ,william                
#beb   ,bell1 ,george1 and ,sons        
#bfa    ,decoration       ,decoration   
,,printers' ,,marks4  ,,introduction4   
,shorn of all the romance and glamour   
which seem inevitably to surround every 
early phase of typographic art1 a       
,printer's ,device may be described as  
nothing more or less than a trade mark4 
,it is usually a sufficient proof that  
the book in which it occurs is the work 
of a particular craftsman4 ,its origin  
is essentially unromantic1 and its      
employment1 in the earlier stages of its
 history at all events1 was merely an   
attempt to prevent the inevitable pirate
 from reaping where he had not sown4 ,at
 one time a copy1 or more correctly a   
forgery1 of a ,printer's ,mark could be 
detected with comparative ease1 even if 
the body of the book had all the        
appearance of genuineness4              
,illustration3 ,g4 ,u4 ,,von ,,andlau4  

,this self-protection was necessary on  
many grounds4 ,first of all1 the        
privileges of impression which were     
granted by kings1 princes1 and supreme  
pontiffs1 were usually obtained only by 
circuitous routes and after the         
expenditure of much time and money4     
,moreover1 the counterfeit book was     
rarely either typographically or        
textually correct1 and was more often   
than not abridged and mutilated almost  
beyond recognition1 to the serious      
detriment of the printer whose name     
appeared on the title-page4 ,places as  
well as individualities suffered1 for   
very many books were sold as printed in 
,venice1 without having the least claim 
to that distinction4 ,the ,lyons        
printers were most unblushing sinners in
 this respect1 and ,renouard cites a    
,memorial drawn up by ,aldus himself on 
the subject1 and published at ,venice in
 #aejc4  ,but apart from the foregoing  
reasons1 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 printed4 ,although in such    
cases various extraneous circumstances  
have enabled bibliographers to 8place0  
these books1 the ,mark of the printer   
has almost invariably been the chief aid
 in this direction4 ,the ,psalter of    
#adeg is the first book which has the   
name of the place where it was printed1 
besides that of the printers as well as 
the date of the year in which it was    
executed4 ,but for a long time after    
that date books appeared without one or 
the other of these attributes1 and      
sometimes without either1 so that the   
importance of the ,printer's ,mark holds
 good4  ,a very natural question now    
suggests itself1 8,who invented these   
,marks80 ,laire1 8,index ,librorum0     
7,sc4 xv471 ii4 #adf1 in speaking of a  
,greek ,psalter says3 8,habet           
signaturas1 registrum ac custodes1 sed  
non numerantur folia4 ,litter           

principales ligno incis sunt1 sicut et  
in principio cujuslibet psalmi viticul  
qu gallic vignettes appellantur1 quarum 
usum primus excogitavit ,aldus40 ,the   
volume here described was printed about 
#adie1 and the invention therefore has  
been very generally attributed to       
,aldus4 ,that this is not so will be    
shown in the next chapter4 ,we shall    
confine ourselves for the present to    
some of the various points which appear 
to be material to a proper understanding
 of the subject4  ,one of the most      
important and interesting phases in     
connection with ,printers' ,marks is    
undoubtedly the motif of the pictorial  
embellishment4 ,both the precise origin 
and the object of many ,marks are now   
lost to us1 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 published4 ,the majority1    
however1 carry their own prima facie    
explanations4 ,the number of 8punning0  

devices is very large1 and nearly every 
one has a character peculiarly its own4 
,their antiquity is proved by the fact  
that before the beginning of the        
fifteenth century1 a picture of ,st4    
,anthony was boldly1 not to say         
irreverently1 used by ,antoine          
,caillaut1 ,paris4 ,a long series of    
punning devices occur in the books      
printed by or for the fifteenth century 
publishers1 one of the most striking and
 successful is that of ,michel le ,noir1
 whose shield carries his initials1     
surmounted by the head of a negress and 
sometimes supported by canting figures  
in full4 ,this ,mark1 with variations1  
was also employed by ,philippe and      
,guillaume le ,noir1 the work of the    
three men covering a period of nearly   
#ajj years4 ,the device of ,gilles or   
,gillet ,couteau1 ,paris1 #adib1 is     
apparently a double pun1 first on his   
,christian name1 the transition from    
which to illet being easy and explaining
 the presence of a pink in flower1 and  

secondly on his surname by the three    
open knives1 in one of which the end of 
the blade is broken4 ,it was almost     
inevitable that both ,denis ,roce or    
,ross1 a ,paris bookseller1 #adij1 and  
,germain ,rose1 of ,lyons1 #aech1 should
 employ a rose in their marks1 and this 
they did1 one of the latter's examples  
having a dolphin twining around the     
stem4 ,jacques and ,estienne ,maillet1  
whose works at ,lyons extended from the 
last eleven years of the fifteenth      
century to the middle of the sixteenth1 
give in the centre of their shield a    
picture of a mallet4    ,illustration3  
,,gillet ,,couteau4    ,du grant aux    
petis   ,gillet couteau                 
,illustration3 ,,galliot ,,du ,,pr4     
,,vogve ,,la ,,gvallee   ,,galliot ,,dv 
,,pre  ,one of the boldest of the early 
sixteenth century examples is that      
employed by ,galliot ,du ,pr1 ,paris1   
and in this we have a picture of a      
galley propelled with the aid of sails  
and oars1 and with the motto 8,vogue la 

gualee40 ,this device 7with several     
variations7 was used by both father and 
son1 and possesses an interest beyond   
the subject of ,printers' ,marks1 for it
 gives us a very clear idea of the      
different boats employed during the     
first three quarters of the sixteenth   
century4 ,another striking ,mark of     
about the same time and covering as     
nearly as possible the same period1 was 
that of the family ,de ,la ,porte4 ,the 
earlier example used in ,paris about    
#aejh was a simple doorway2 but the     
elder ,hugues de la ,porte1 ,lyons1 and 
the successors of ,aymon ,de ,la ,porte 
of the same place1 used several         
exceedingly bold designs in which       
,samson is represented carrying away the
 gates of ,gaza1 the motto on one door  
or gate being 8libertatem meam10 and on 
the other 8mecum porto40 ,the two       
printers of the same name1 ,jehan       
,lecoq1 who were practising the art     
continuously during nearly the whole of 
the sixteenth century at ,troyes1       

employed a ,mark on the shield of which 
appears the figure of a cock2 whilst an 
equally appropriate if much more ugly   
design1 was employed by the eminent     
,lyons family of ,sbastien ,gryphe or   
,gryphius3 he had at least eight        
8griffin0 ,marks1 which differed        
slightly from one another4 ,franois     
,gryphe1 who worked in ,paris1 had one  
,mark which was original to the extent  
of the griffin being supported by a     
tortoise4 ,j4 ,du ,moulin1 ,rouen1      
employed a little picture of a windmill 
on his ,mark1 as did ,scotland's first  
printer1 ,andro ,myllar2 but ,jehan     
,petit1 a prolific fifteenth century    
printer of ,paris1 confined his punning 
to the words 8,petit  ,petit10 as is    
seen in the reduced facsimile title1    
given on p4 #i1 of a book printed by him
 for ,t4 ,kerver4 ,mathias ,apiarius1   
,strassburg1 used at least two ,marks   
expressing the same idea1 namely1 a bear
 discovering a bee's nest in the hollow 
of a tree--an obvious pun on his        

surname4 ,the latter part of the        
sixteenth century is not nearly so      
fruitful in really good or striking     
devices4 ,guillaume ,bichon1 ,paris1    
employed a realistic picture of a       
lap-dog 7in allusion to his surname7    
chasing a hare1 with the motto 8,nunc   
fugiens1 olim pugnabo02 and equally     
realistic in another way is the ,mark of
 ,p4 ,chandelier1 ,caen1 in which       
effective use is made of a candle-stick 
with seven holders1 the motto being     
8,lucernis fideliter ministro40 ,antoine
 ,tardif1 ,lyons1 employed the ,aldine  
anchor and dolphin1 and also a motto1   
8,festina tarde10 which is identical in 
meaning1 if not in the exact words1 of  
that of ,aldus4 ,guillaume ,de ,la      
,rivire1 ,arras1 used a charmingly vivid
 little scene of a winding river1 with  
the motto 8,madenta flumine valles02 and
 it is not difficult to distinguish the 
appropriateness of the sprig of barley  
in the ,mark of ,hugues ,barbon1        
,limoges4 ,the ,mark of ,jacques ,du    

,puys1 ,paris1 was possibly suggested by
 the word puits 7or well71 and of which 
,puys is perhaps only a form3 the       
picture at all events is a              
representation of ,christ at the well4  
,in the case of ,adam ,du ,mont1        
,orange1 the christian name1 is 8taken  
off0 in a picture of ,adam and ,eve at  
the tree of forbidden fruit2 and exactly
 the same idea occurs with equal        
appropriateness in the ,mark of ,n4     
,eve1 ,paris1 the sign of whose shop was
 ,adam and ,eve4 ,michel ,jove naturally
 went to profane history for the subject
 of his ,mark1 and with a considerable  
amount of success4    ,illustration3    
,,jehan ,,lecoq4    ,jehan ,lecoq       
,among the numerous other examples with 
mottoes derived from sacred history1    
special mention1 as showing the         
connection between the sign of the shop 
and its incorporation in the ,mark1 may 
be made to the following printers of    
,paris3 ,d4 ,de ,la ,noue1 who not only 
had 8,jesus0 as the sign of his shop1   

but also as his ,mark2 ,j4 ,gueffier had
 the 8,amateur ,divin0 as his sign1 and 
an allegorical interpretation of the    
device1 8,fert tacitus1 vivit1 vincit   
divinus amator10 as a ,mark2 ,guillaume 
,julian1 or ,julien1 had 8,amitie0 as   
his sign1 and a personification of this 
7,typus ,amiciti7 as his ,mark1 with the
 motto 8,nil ,deus hac nobis majus      
concessit in usus02 ,abel ,l',angelier  
7and his widow after his death7 adopted 
the sacrifice of ,abel as the subject of
 his ,sign and ,mark1 with the motto    
8,sacrum pinque dabo nec macrum         
sacrificabo02 and the motto of both the 
first and the second ,michel ,sonnius   
was 8,si ,deus pro nobis1 quis contra   
nos80    ,illustration3 ,,petit ,,and   
,,kerver4    ,,petit ,a ,,petit    ,le  
second ,volu    me ,des ,cronicques     
,annalles de ,france1 augmentes   en la 
fin dudit volume daucuns faictz dignes  
de memoire   des feux roys ,charles     
huytiesme4 ,loys douziesme  fran-   cois
 premier du nom ,iusques en ,lan ,mil   

cinq cens vingt   ,nouuellement imprime 
a ,paris4    ,,petit ,,petit   ,t ,k    
,,thielman ,,kerver   ,i ,p   ,,petit   
,a few punning devices occur among the  
early ,english printers1 but they are   
not always clever or pictorially        
successful4 ,the earliest example is    
that of ,richard ,grafton1 whose pretty 
device represents a tun with a grafted  
tree growing through it1 the motto1     
8,suscipite insertum verbum10 being     
taken from the ,epistle to ,st4 ,james  
7i41 verse #ba74 ,john ,day's device1   
with the motto 8,arise6 for it is day10 
is generally supposed to be an allusion 
to the ,reformation as well as a pun on 
his name2 tradition has it1 however1    
that ,day was accustomed to awake his   
apprentices1 when they had prolonged    
their slumbers beyond the usual hour1 by
 the wholesome application of a scourge 
and the summons 8,arise6 for it is day40
 ,we may also mention the devices of    
,hugh ,singleton1 a single tun2 and of  
,w4 ,middleton1 a tun with the letter ,w

 at bottom and ,m in the centre of the  
tun2 of ,t4 ,pavier1 in which1          
appropriately enough1 we have a pavior  
paving the streets of a town1 and       
surrounded by the motto 8,thou shalt    
labour till thou return to dust40       
,thomas ,woodcock employed a device of a
 cock on a stake1 piled as for a ,roman 
funeral1 with the motto 8,cantabo ,iehov
 quia benefecit02 ,andrew ,lawrence1 a  
,st4 ,andrew cross4    ,illustration3   
,,jacques ,,du ,,puys4  ,although not in
 any sense of a 8punning0 nature1 the   
employment of a printing press as a     
,mark may conveniently be here referred 
to4 ,it was first used in this manner1  
and in more than one form1 by ,josse    
,bade1 or ,badius1 an eminent printer of
 the first thirty-five years of the     
sixteenth century1 and to whom full     
reference will be found in the chapter  
on ,french ,marks4 ,a ,flemish printer1 
,pierre ,csar1 ,ghent1 #aeaf1 was       
apparently the next to employ this      
device2 then came ,jehan ,baudouyn1     

,rennes1 #aebd2 ,eloy ,gibier1 ,orleans1
 #aeef2 ,jean ,le ,preux1 ,paris and    
,switzerland1 #aefa2 ,enguilbert 7,,ii47
 ,de ,marnef and the ,bouchets brothers1
 ,poitiers1 #aefg2 and1 later than all1 
,l4 ,cloquemin1 ,lyons1 #aegi4          
,illustration3 ,t4 ,,pavier4    ,,thou  
,,shalt ,,labour ,,till ,,thou ,,return 
,,to ,,dust  ,next to the section of    
8punning0 devices1 perhaps the most     
entertaining is that which deals with   
the question of mottoes4 ,these are     
derived from an infinite variety of     
sources1 not infrequently from the      
fertile brains of the printers          
themselves4 ,their application is not   
always clear1 but they are nearly always
 indicative of the virility which       
characterized the old printers4 ,it is  
neither desirable nor possible to       
exhaust this somewhat intricate phase of
 the subject1 but it will be necessary  
to quote a few representative examples4 
,occasionally we get a snatch of verse1 
as in the case of ,michel ,le ,noir1    

whose motto runs thus3    8,c'est mon   
dsir   ,de ,dieu servir   ,pour acqurir 
,son doux plaisir40  ,also in the       
instance of another early printer1      
,gilles ,de ,gourmont1 who chants--     
8,tost ou tard   ,pres ou loing   ,a le 
,fort   ,du feble besoing40  ,perhaps   
the greatest number of all are those in 
which the printer proclaims his faith to
 ,god and his loyalty to his king4 ,one 
of the early ,paris printers enjoins    
us--in verse--not only to honour the    
king and the court1 but claims our      
salutations for the ,university2 and    
almost precisely the same sentiment     
finds expression in the ,mark of ,j4    
,alexandre1 another early printer of    
,paris4 ,robinet or ,robert ,mac1       
,rouen1 proclaims 8,ung dieu1 ung roy1  
ung foy1 ung loy10 and the same idea    
expressed in identical words is not     
uncommonly met with in ,printers'       
,marks4 ,of a more definitely religious 
nature are those1 for example1 of ,p4 de
 ,sartires1 ,bourges1 8,tout se passe   

fors dieu02 of ,j4 ,lambert1 8,a espoir 
en dieu02 of ,prigent ,calvarin1 8,deum 
time1 pauperes sustine1 finem respice02 
and several from the ,psalms1 such as   
that of ,c4 ,nourry1 called ,le ,prince1
 8,cor contritum et humiliatum deus non 
despicies02 of ,p4 ,de ,saincte-,lucie1 
also called ,le ,prince1 8,oculi mei    
semper ad dominum02 and of ,j4 ,temporal
 7all three ,lyons printers71 8,tangit  
montes et fumigant10 in which the design
 is quite in keeping with the motto2 in 
one case at least1 ,s4 ,nivelle1 one of 
the commandments is made use of1        
8,honora patrem tuum1 et matrem tuam1 ut
 sis longvus super terram40 ,here1 too1 
we may include the mottoes of ,b4       
,rigaud1 8,a foy entiere cur volant02   
,s4 ,de ,colines1 8,eripiam et          
glorificabo eum02 and of ,benoist       
,bounyn1 ,lyons1 8,labores manum tuarum 
quia manducabis beatus es et bene tibi  
erit40 ,whilst as a few illustrations of
 a general character we may quote       
,geoffrey ,tory's exceedingly brief     

8,non plus10 which was contemporaneously
 used also by ,olivier ,mallard2 ,j4    
,longis1 8,nihil in charitate           
violentia02 ,denys ,janot1 8,tout par   
amour1 amour par tout1 par tout amour1  
en tout bien02 the ,french rendering of 
a very old proverb in the mottoes of ,b4
 ,aubri and ,d4 ,roce1 8,a l'aventure   
tout vient a point qui peut attendre02  
,j4 ,bignon1 8,repos sans fin1 sans fin 
repos02 the motto used conjointly by ,m4
 ,fzandat and ,r4 ,granjon1 8,ne la     
mort1 ne le venin02 and the motto of    
,etienne ,dolet1 8,scabra et impolita ad
 amussim dolo1 atque perfolio40 ,among  
the mottoes of early ,english printers1 
the most notable1 partly for its dual   
source1 and as one of our earliest      
examples1 is that of ,william ,faques2  
one sentence1 8,melius est modicum justo
 super divitias peccatorum multas10 is  
taken from ,psalm xxxvii4 verse #af2 and
 the second1 8,melior est patiens viro  
forti1 et qui dominat10 comes from      
,proverbs xvi41 verse #cb4 ,the motto of

 ,richard ,grafton has already been     
quoted2 that of ,john ,reynes was       
8,redemptoris mundi arma02 and ,john    
,wolfe1 8,vbique floret40               
,illustration3 ,,denys ,,janot4         
,,partovt ,,amovr   ,,amor ,,dei ,,omnia
 ,,vincit   ,,amovr ,,partovt   ,,tovt  
,,par ,,amovr4   ,,denis ,,ianot4   ,,en
 ,,tovt ,,bien4    ,illustration3       
,,william ,,faques4     ,melius est     
modicum iusto super divitias peccatorum 
multas4    ,,melior ,,est ,,patiens     
,,viro ,,forti ,,et ,,qvi ,,dominat     
,guillam4  ,the employment of mottoes in
 ,greek and ,hebrew characters is a not 
unimportant feature in the earlier      
examples of ,printers' ,marks1 but it   
must suffice us here to indicate a few  
of the leading printers who used either 
one or the other1 and sometimes both4   
,b4 ,rembolt was one of the earliest to 
incorporate a ,greek phrase2 ,de        
,salenson1 ,ghent1 had a ,greco-,latin  
motto on an open bible1 which is the    
pice de resistance of a pretty ,mark1 a 

similar idea occurring in the totally   
different ,marks of the brothers        
,treschel1 ,lyons2 another ,lyons firm  
of printers1 the brothers ,huguetan1    
employed a ,greek motto1 and a phrase1  
also in ,greek characters1 occurs in one
 of the ,marks of ,peter ,vidoue4 ,the  
more notable ,marks which contain       
,hebrew characters1 which generally     
signify ,jehovah1 are those of ,joannes 
,knoblouchus1 or ,knoblouch1            
,strassburg1 in which we have not only  
,hebrew1 but upper and lower case       
,greek1 and a ,latin quotation--8,verum1
 quum latebris delituit diu1 emergit02  
and of ,wolfius ,cphalus1 also of       
,strassburg2 and here again we have the 
,mark environed by quotations in ,greek1
 ,latin1 and ,hebrew4 ,in a few         
instances we have the unlucky letter of 
the ,greek alphabet--theta--forming a   
,mark with considerable originality1 as 
in that of ,guillaume ,morel1 where this
 symbol of death is surrounded by two   
dragon serpents representing            

immortality4 ,the theta was also        
employed by ,etienne ,prevosteau4  ,the 
subject of the sphere in ,printers'     
,marks might profitably occupy a good   
deal of space in discussing4 ,it is     
generally considered to be not only the 
peculiar property of the ,elzevirs1 but 
that books possessing it without having 
one or other of the real or assumed     
imprints of this celebrated family of   
printers are impudent frauds4 ,but as a 
matter of fact1 it was used by at least 
half-a-dozen printers many years before 
the ,elzevirs started printing4 ,for    
example1 it was employed during the last
 decade of the fifteenth century by     
,gilles ,hardouyn1 and early in the     
sixteenth by ,huguetan brothers at      
,lyons1 by ,p4 ,sergent and ,l4 ,grandin
 at ,paris1 by ,j4 ,steels1 or          
,steelsius of ,antwerp1 and ,p4         
,lichtenstein of ,venice4 ,in these     
instances1 however1 it is endowed1 so to
 speak1 with accessories4 ,in the       
earliest ,mark it plays only an         

incidental part1 but in the ,huguetan   
example it forms the device itself3 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 ball2     
there is a ,greek motto4 ,in a later and
 slightly different design of the same  
family1 the motto is altered in         
position1 and is in ,latin3             
8,vniversitas rerum1 vt ,pvlis1 in manv 
,iehovae40 ,each of the two ,paris      
examples is remarkable in its peculiar  
way4 ,in ,grandin's two ,marks the same 
allegorical idea prevails1 viz41 one    
person seizing a complete sphere from an
 angel out of the clouds1 apparently to 
exchange it for the broken one held by a
 second person3 in the cruder of the two
 examples of these there is a quotation 
from the #aagth ,psalm4 ,in ,sergent's  
bold and vigorous ,mark1 the sphere1    
which incloses a figure of the crucified
 ,christ1 is fixed into the top of a    
dead trunk of a tree4 ,it may also be   
mentioned that this device was          

frequently used by printers during the  
middle and latter part of the           
seventeenth century in this country--it 
appears1 for example1 on several books  
printed by ,r4 ,bentley1 ,london1 during
 that period4 ,the sphere as an ,elzevir
 ,mark will be referred to in the       
chapter dealing with ,dutch examples4   
,illustration3 ,j4 ,,steels4    ,,io4   
,,steelsivs   ,concordia res paru       
crescunt4  ,an element which may be     
generically termed religious plays no   
unimportant part in this subject4 ,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 sources2 and it must suffice to
 say that1 if the object is frequently  
hidden to us to-day1 the fact of the    
extent of their employment cannot be    
controverted4 ,the incident of the      
,brazen ,serpent 7,numbers xxi47 was a  
very popular subject4 ,one of the       

earliest to use it was ,conrad ,neobar1 
,paris1 #aech2 it was adopted by        
,reginald ,wolfe1 who commenced printing
 in this country about #aedc1 and its   
possession was considered of sufficient 
importance to merit special mention     
among the goods bequeathed by his widow 
to her son ,robert4 ,it was also the    
,mark of ,wolfe's contemporaries1       
,martin ,le ,jeune1 ,paris1 ,jean       
,bien-,n1 of the same city1 and of ,jean
 ,crespin1 ,geneva1 the last-named using
 it in several sizes1 in which the foot 
of the cross is 8continued0 into an     
anchor4 ,apart from crosses in an       
infinite variety of forms1 and to which 
reference will presently be made1 by far
 the most popular form of religious     
devices consisted of what may1 for      
convenience sake1 be termed angelic4    
,pictorially they are nearly always     
failures1 and often ludicrously so4 ,the
 same indeed might be said of the work  
of most artists who have essayed the    
impossible in this direction4 ,an       

extraordinary solemnity of countenance1 
a painful sameness and extreme ugliness1
 are the three dominant features of the 
angels of the ,printers' ,mark4 ,the    
subject offers but little scope for an  
artist's ingenuity it is true1 and it is
 only in a very few exceptions that a   
tolerable example presents itself4      
,their most frequent occurrence is in   
supporting a shield with the national   
emblem of ,france1 and in at least one  
instance--that of ,andr ,bocard1        
,paris1--with the emblems of the city   
and the ,university of ,paris4 ,this    
idea1 without the two latter emblems1   
occurs in the devices of ,jehan         
,trepperel1 ,anthoine ,denidel1 and ,j4 
,bouyer and ,g4 ,bouchet 7who adopted it
 conjointly71 who were printing or      
selling books in ,paris during the last 
decade of the fifteenth century2 whilst 
in the provinces in that period it was  
employed by ,jacques ,le ,forestier1 at 
,rouen2 and by ,jehan ,de ,gourmont1    
,paris1 ,j4 ,besson1 ,lyons1 and ,j4    

,bouchet at ,poitiers1 early in the     
following century4 ,the angels nearly   
always occur in couples1 as in the case 
of ,antoine ,vrard1 one of the earliest 
printers to adopt this form2 but a few  
exceptions may be mentioned where only  
one appears1 namely1 in the ,mark of    
,estienne ,baland1 ,lyons 7#aeae71 in   
which an angel is represented as        
confounding ,balaam's ass2 and in that  
of ,vincent ,portunaris1 of the same    
place and of about the same time1 in    
which an angel figures holding an open  
book2 in the four employed by ,g4       
,silvius1 an ,antwerp printer 7#aefb71  
in three of which the figure is also    
holding a book2 in the elaborate ,mark  
of ,philip ,du ,pr1 ,paris1 #aeie1 and  
in the exceeding rough ,mark of ,jannot 
de ,campis1 of ,lyons1 #aeje4 ,curiously
 enough1 the subject of ,christ on the  
cross was very rarely employed1 an      
exception occurring in the case of      
,schffeler1 of ,constance1 or ,bodensee1
 ,bavaria1 #aeje4 ,the same             

centre-piece1 without the cross1 was    
employed by ,jehan ,frellon1 ,paris1    
#aejh1 and evidently copied by ,jehan   
,burges1 the younger1 at ,rouen1 #aeba1 
whilst that of ,guillaume ,du ,puy1     
,paris1 #aejd1 has already been referred
 to4 ,the ,virgin ,mary occurs          
occasionally1 the more notable examples 
being the ,marks of ,guillaume ,anabat1 
,paris1 #aeje-aj1 really a careful piece
 of work2 and the elder ,g4 ,ryverd1    
,paris1 #aeaf1 and in each case with the
 infant ,jesus4 ,st4 ,christopher is a  
subject one sometimes meets with in     
,printers' ,marks3 in that of ,gervais  
,chevallon1 ,paris1 #aech1 it however   
plays a comparatively subordinate part1 
and its merits were only fully          
recognized by the ,grosii1 of ,leipzig1 
who nearly always used it for about two 
centuries1 #aebe-agcb2 the example      
bearing the last date is by far one of  
the most absurd of its kind--the cowled 
monk with a modern lantern lighting ,st4
 ,christopher on his way through the    

river is a choice piece of incongruity4 
,another phase of the religious element 
capable of considerable expansion is    
that in relation to the part played in  
,marks by saints and priests generally4 
,sometimes these are found together with
 an effect not at all happy1 notably the
 two ,marks of ,jehan ,olivier1 ,paris1 
#aeah1 which1 with ,jesus ,christ on one
 side1 a ,pope on the other1 and an     
olive tree1 are sufficiently crude to   
present an appearance which seems to-day
 almost blasphemous4 ,the last of the   
several religious phases of ,printers'  
,marks to which we shall allude is at   
the same time the most elaborate and    
complicated4 ,we refer to that of the   
,cross4 ,the subject is sufficiently    
wide to occupy of itself a small volume1
 but even after the most careful        
investigation1 there are many points    
which will for ever remain in the region
 of doubt and obscurity4 ,tradition is  
proverbially difficult to eradicate2 and
 all the glamour which surrounds the    

history of the ,cross1 and which found  
expression in1 among other popular      
books1 the 8,legenda ,aurea10 maintained
 all its pristine force and             
attractiveness down to the end of the   
sixteenth century4 ,the invention of    
printing and the gradual enlightenment  
of mankind did much in reducing these   
legends into their proper place2 but the
 process was gradual1 and whatever may  
have been their private opinions1 the   
old printers found it discreet to fall  
into line with the established order of 
things4 ,indeed1 the religious sentiment
 was perhaps never so alive as at the   
time of the invention of printing1 in   
proof of which some of the earliest and 
most magnificent typographical monuments
 may be cited1--the ,gutenberg ,bible1  
the ,psalter of ,fust and ,schoeffer1   
for example4 ,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 printers4               

,illustration3 ,,antoine ,v,,rard4      
,,ihs    ,,po,,ur ,,provocqver ,,ta     
,,gr,t ,,miseri   ,,corde ,,de ,,tovs   
,,pechevrs ,,faire ,,grace ,,et ,,pardon
   ,,anthoine ,,ver,a,d ,,hvmblem,t     
,,te ,,recorde ,,ce ,,qvil ,a ,,il      
,,tient ,,de ,,toi ,,par,,don    ,,ar   
,m4 ,paul ,delalain has touched upon    
this exceedingly abstract phase of      
,printers' ,marks in the third fascicule
 of his 8,inventaire des ,marques       
d',imprimeurs10 without1 as he himself  
admits1 arriving at any very definite   
conclusion4 ,the cross1 whether in its  
simplest form or with a complication of 
additional ornaments1 has1 as he points 
out1 been at all times popular in       
connection with this subject4 ,it       
appeared on the shield of ,arnold ,ther 
,hoernen1 ,cologne1 #adgg1 at ,stockholm
 in #adhc1 at ,cracovia in #aeaj4 ,that 
it did not fall entirely into desuetude 
until the end of the eighteenth century 
is a very striking proof of what ,m4    
,delalain calls 8la persistance de la   

croix40 ,it has appeared in all forms   
and in almost every conceivable shape4  
,its presence may be taken as indicating
 a deference and a submission to1 as    
well as a respect for1 the ,christian   
religion1 and ,m4 ,delalain is of the   
opinion that the sign 8eu pour origine  
l'affiliation  une confrrie religieuse40
 ,finally1 in his introduction to       
,roth-,scholtz's 8,thesaurus ,symbolarum
 ac ,emblematum10 ,spoerl asks1 8,why   
are the initials of a printer or        
bookseller so often placed in a circle  
or in a heart-shaped border1 and then   
surmounted by a cross8 ,why at the      
extreme top of the cross is the lateral 
line formed into a sort of triangular   
four8 ,why1 without this inexplicable   
sign1 has the cross a number of cyphers1
 two1 or even three1 cross-bars8 ,why   
should the tail of the cypher #d itself 
be traversed by one or sometimes two    
perpendicular bars which themselves     
would appear to form another cross of   
another kind8 ,why1 among the ornamental

 accessories1 do certain species of     
stars form several crosses1 entangled or
 isolated8 ,why1 at the base of the     
cross is the ,v duplicated80 ,all these 
are problems which it would be          
exceedingly difficult to solve with     
satisfaction4 ,we do not propose        
offering any kind of explanation for    
these singular marks2 but it will not be
 without interest to point out that     
among the more interesting examples are 
those used by ,berthold ,rembolt1 ,andr 
,bocard or ,boucard1 ,georges           
,mittelhus1 ,jehan ,alexandre1 ,jehan   
,lambert1 ,nicole ,de ,la ,barre1 and   
the brothers ,de ,marnef1 all printers  
or booksellers of ,paris2 of ,guillaume 
,le ,talleur1 ,richard ,auzolt1 of      
,rouen2 of ,jaques ,huguetan1 ,mathieu  
,husz1 ,franois ,fradin1 ,jacques ,sacon
 or ,sachon1 and ,jehan ,du ,pr1 all of 
,lyons2 of ,jehan ,grninger1 of         
,strassburg2 of ,lawrence ,andrewe1 and 
,andrew ,hester1 of ,london2 the unknown
 printer of ,st4 ,albans2 of ,leeu1 of  

,antwerp2 of ,jacob ,abiegnus1 of       
,leipzig2 of ,pedro ,miguel1 ,barcelona2
 of ,juan de ,rosembach of ,barcelona   
and other places2 of the four 8alemanes0
 of ,seville1 and hundreds of others    
that might be mentioned4                
,illustration3     #a4 ,benedetto       
d',effore4    #b4 ,bonino de ,boninis4  
#c4 ,bernardino de ,misintis4    #d4    
,bernardino ,ricci4    #e4 ,bernardino  
,stagnino4    #f4 ,baptista de ,tortis4 
#g4 ,bernardinus de ,vitalibus4    #h4  
,bartholomeus de ,zanis4    #i4         
,dionysius ,bertochus4   #aj4    #aa4   
,dominicus ,roccociola or ,richizolo4   
#ab4 ,william ,schomberg4   #ac4        
,christopher de ,canibus4   #ad4        
,hercules ,nani4   #ae4 ,giovanni       
,antonio de ,benedetti4   #af4 ,samuel  
de ,tournes 7,geneva74   #ag4 ,the      
,somaschi4   #ah4 ,justinian de         
,ruberia4   #ai4 ,j4 ,treschel 7,lyons74
   #bj4 ,l4 de ,gerla1 ,gerlis or       
,gerula4   #ba4 ,laurentius ,rubeus de  
,valentia4   #bb4 ,lazaro ,suardo or da 

,suardis4   #bc4 ,matthew de ,codeca or 
,capsaca4   #bd4 ,nicholas de           
,francfordia4   #be4 ,dionysio          
,berrichelli4   #bf4 ,octavianus        
,scottus4   #bg4 ,peregrino de          
,pasqualibus4   #bh4 ,philip ,pinzi or  
,pincius4   #bi4 ,caligula de           
,bacileriis4   #cj4 ,j4 ,sacer4  ,it is 
curious to note that1 in spite of its   
great medival popularity1 the subject of
 ,st4 ,george and the ,dragon rarely    
enters into the subject of ,printers'   
,marks1 and of the few examples which   
call for reference1 those of ,thomas    
,prier and ,guillaume ,bourgeat1 of     
,paris and ,tours respectively1 are     
among the best both in design and       
execution4 ,the idea was also adopted by
 ,guillaume ,auvray1 of ,paris2 and by  
,m4 de ,hamont1 ,brussels4  ,the        
personification of ,time and ,peace were
 both popular2 and each has its         
successful examples4 ,one of the        
earliest instances of the former is a   
pretty little mark1 executed with a     

considerable amount of vigour1 of       
,robert ,de ,gourmont1 ,paris2 a large  
and vigorous ,mark--one of              
several--employed by ,simon ,de         
,colines1 ,paris1 in which it is        
interesting to note that the scythe is  
not invariably denticulated2 two very   
crude but very distinct examples        
employed by ,michel ,hillenius or       
,hooghstrate1 ,antwerp1 #aead2 and two1 
one large and the other small1 of       
,guillaume ,chaudire1 ,paris1 #aefd2    
whilst ,jean ,temporal1 of ,lyons1      
#aeej1 used it as an evident play on his
 name4 ,the emblem of ,peace does not   
appear to have been much employed until 
well on into the sixteenth century2 ,n4 
,boucher1 #aedd1 used as his motto1     
8pacem victis20 ,guillaume ,julien1 to  
whom reference has already been made2 as
 likewise ,michel ,clopejau1 of a few   
years later1 who used the words 8,typus 
amiciti0 on his mark1 with the further  
legend of 8,quam sperata victoria pax   
certa melior20 these three lived in     

,paris1 whilst by far the best          
decorative ,mark in this connection was 
that adopted by ,julien ,angelier1 a    
bookseller and printer of ,blois1 #aeee1
 the centre of whose device1 besides the
 words 8,signum pacis10 includes a dove 
bearing two olive branches4 ,the        
fraternal device of two hands clasped   
may also be here alluded to3 it is of   
special interest from the fact that it  
was employed by one of the earliest to  
practice printing in ,paris--,guy or    
,guyot ,marchant1 #adhc1 one of whose   
,marks gives us a view of two shoemakers
 working with musical notes representing
 ,so ,la 7,sola71 and 8fides ficit0 in  
gothic type4 ,thomas ,richard1 sixty    
years afterwards1 elaborated on a       
portion of this idea1 and his ,mark     
shows two hands holding a crowned       
sceptre with two serpents entwined      
around it4 ,designs much superior to    
these were employed by ,bertramus of    
,strassburg1 at the latter part of the  
sixteenth century4 ,following the       

example of ,marchant1 musical notes have
 occasionally been employed by later    
printers4 ,the rebus of this printer    
evidently suggested that of ,jehan and  
,anthoine ,lagache1 father and son1     
,arras1 in #aeag1 the first syllable of 
whose name1 ,la1 is indicated by a      
musical note1 and is immediately        
followed by 8gache40 ,pierre ,jacobi1   
,saint-,nicholas-de-la-,port1 and       
,toulouse1 #aejc1 adopted ,marchant's   
idea by giving 8,sola fides ficit0 with 
a musical start1 so to speak2 and a     
distinctly novel phase of the subject is
 employed by ,jacobus ,jucundus1        
,strassburg1 #aeca1 in which a goose is 
represented as playing on a violin4     
,illustration3 ,,guillaume ,,chaudi,,re4
    ,,hanc ,,aciem ,,sola ,,retvndit    
,,virtvs ,,tempvs4  ,printers' marks in 
which the pictorial embellishments      
partake of a rustic nature1 such as bits
 of landscape1 seed-sowing1 harvesting1 
and horns of plenty1 are numerous1 and  
in many cases exceedingly pretty4 ,j4   

,roffet1 ,paris1 #aedi1 employed the    
design of the seed-sower in several of  
his ,marks2 and of about a dozen        
different ,marks used at one time or    
another by ,jean ,de ,tournes the first1
 ,lyons1 #aedb1 one of the most         
successful is a clever one having for   
its central figure a sower2 the same    
idea1 in a very crude form1 was         
contemporaneously employed also by ,de  
,laet1 ,antwerp4 ,the ,cornucopia1 or   
horn of plenty1 was a very favourite    
emblem1 and it appears in a manifold    
variety of designs1 sometimes with a    
,caduceus 7the symbol of ,mercury7 which
 is held by two clasped hands1 as in the
 case of ,t4 ,orwin1 ,london1 #aeif1 in 
a cartouche with the motto3 8,by wisdom 
peace1 by peace plenty20 four of the    
eight marks used by ,chrestien ,wchel1  
,paris1 #aebb1 differ from ,orwin's in  
being surmounted by a winged ,pegasus2  
and ,andr ,wchel1 of the same city1     
#aece1 employed one of the smaller      
devices of ,chrestien1 with variations  

and enlargements of the same2 in the    
,mark of ,j4 ,chouet1 ,geneva1 #aegi1   
the caduceus is replaced by a serpent1  
the body of which is formed into a      
figure #h2 in that of ,gislain          
,manilius1 ,ghent1 the horns appear     
above two seated figures4 ,in each of   
the foregoing examples two horns appear4
 ,georg ,ulricher von ,andlau1          
,strassburg1 #aebi1 used the cornucopia1
 and in one of his ,marks the figure is 
surrounded by an elaborate array of     
fruit and vegetables2 single horns      
appear also in the clever and elaborate 
marks of ,r4 ,fouet1 ,paris1 #aeig1     
whose design was a very slight deviation
 from that of ,j4 ,de ,bordeaux1 ,paris1
 #aefg4 ,the oak-tree1 sheltering a     
reaper and with the motto 8,satis       
,quercus10 was employed by ,george      
,cleray1 ,vannes1 #aede2 and the fruit  
of this tree--the acorn--by ,e4         
,schultis1 ,lyons1 #adia4 ,the thistle  
appears on the marks of ,estienne       
,groulleau1 ,paris1 #aedg2 the ,rose on 

the more or less elaborate designs of   
,gilles ,corrozet1 ,paris1 #aech2 a     
rose-tree in full flower occupies the   
centre of the beautiful mark of the     
first ,mathieu ,guillemot1 ,paris1      
#aehe2 a solitary ,rose-flower was the  
simple and effective mark of ,jean      
,dallier1 ,paris1 #aede2 and a flowering
 branch of the same tree is one of the  
items on the charming little ,mark on   
the opposite page of ,mathurin          
,breuille1 ,paris4    ,illustration3    
,,jacques ,,roffet4    ,,iaqves ,,roffet
    ,illustration3 ,,jean ,,de          
,,tournes4    ,,son ,,art ,,en ,,diev   
,in the category of what may be termed  
extinct animals1 the ,unicorn as a      
subject for illustrating ,printers'     
,marks enjoyed a long and extensive     
popularity4 ,the most remarkable thing  
in connection with these designs of the 
,unicorn is perhaps their striking      
dissimilarity1 and as nearly every one  
of the many artists who employed1 for no
 obvious reasons1 this animal in their  

,printer's ,marks had his own idea of   
what a ,unicorn ought to have been like1
 the result1 viewed as a whole1 is not  
by any means a happy one4 ,still1       
several of the examples possess a       
considerable amount of vigour and have a
 distinct decorative effectiveness4 ,but
 apart from this its appearance in the  
,marks of the old printers is a very    
striking proof of the fact that the     
medival legends died hard4 ,curiously   
enough1 the proverbial 8lion and        
unicorn0 do not often occur together4   
,the family of printers with whose name 
the unicorn is almost as closely        
associated as the compass is with       
,plantin1 is that of ,kerver1 for it has
 been employed in over a dozen different
 forms by one or other members from the 
end of the fifteenth century to the     
latter part of the sixteenth4 ,sometimes
 there is only one ,unicorn on the mark1
 at others there is a pair4 ,le ,petit  
,laurens1 ,paris1 was using it          
contemporaneously with the first        

,thielman ,kerver1 and possibly the one 
copied the other4 ,snant1 ,vivian1 ,kes1
 and ,pierre ,gadoul1 ,chapelet1 and    
,chavercher1 were other ,paris printers 
who used the same idea in their marks   
before the middle of the sixteenth      
century4 ,it was long a favourite       
subject with the ,rouen printers1 one of
 the earliest in that city to use it    
being ,j4 ,richard1 whose design is     
particularly original1 inasmuch as the  
shield is supported on one side by a    
,unicorn1 and on the other by a female1 
possibly intended to represent a saint1 
an idea which was apparently copied by  
,symon ,vincent1 ,lyons2 the ,unicorn   
was also used in the marks of ,l4       
,martin and ,g4 ,boulle1 both of ,lyons2
 and also in the very rough but original
 design employed by ,h4 ,hesker1        
,antwerp1 #adif2 whilst for its quaint  
originality a special reference may be  
made to the ,mark of ,franois ,huby1    
,paris1 of the latter part of the       
sixteenth century1 for in this a        

,unicorn is represented as chasing an   
old man4 ,the origin of the ,unicorn    
,mark is essentially ,dutch4 ,the       
editions of the ,printer1 8 la licorne10
 ,deft1 #adhh-id1 are well known to     
students of early printing4 ,the        
earliest book in which this mark is     
found is the 8,dalogus der ,creaturen0  
78,dialogus ,creaturarum07 issued at    
that city in ,november1 #adhh4 ,henri   
,eckert de ,hombergh and ,chr4          
,snellaert1 both of ,delf1 used a       
,unicorn in their ,marks during the     
latter years of the fifteenth century4  
,illustration3 ,,mathurin ,,breuille4   
,,domine ,,adavge ,,nobis ,,fidem ,,qvia
 ,,christi ,,bonvs ,,odor ,,svmvs       
,illustration3 ,c4 ,,snellaert4  ,among 
other possible and impossible monsters  
and subjects of profane history1 the    
,griffin1 the ,mermaid1 the ,phnix1     
,arion and ,hermes has each had its     
,mark or ,marks4 ,in the case of the    
first named1 which1 according to ,sir   
,thomas ,browne1 in his 8,vulgar        

,errors10 is emblematical of            
watchfulness1 courage1 perseverance1 and
 rapidity of execution1 it is not       
surprising that the ,gryphius family1   
from the evident pun on their surname1  
should have considered it as in their   
particular preserves4 ,as may be        
imagined1 it does not make a pretty     
device1 although under the circumstances
 its employment is perhaps permissible4 
,sebastien ,gryphius1 ,lyons1 and his   
brother ,franois1 ,paris1 who were of   
,german parentage1 employed the ,griffin
 in about a dozen variations during the 
first half of the sixteenth century4    
,the ,griffin1 however1 was utilized by 
,poncet ,le ,preux1 ,paris1 some years  
before the ,gryphius family came into   
notoriety1 and it was employed          
contemporaneously with this by ,b4      
,aubri1 ,paris4 ,the ,mermaid makes a   
prettier picture than the ,griffin1 but 
its appearance on ,printers' ,marks is  
an equally fantastic vagary of the      
imagination4 ,in one of the earliest    

,marks on which it occurs1 that of ,c4  
,fradin1 ,lyons1 #aeje1 the shield is   
supported on one side by a ,mermaid1 and
 on the other by a fully-armed knight2  
half a century after1 ,b4 ,mac1 ,caen1  
had a very clever little ,mark in which 
the ,mermaid is not only in her proper  
element1 but holding an anchor in one   
hand1 and combing her hair with the     
other4 ,during the second quarter of the
 sixteenth century1 the idea was1 with  
variations1 used by ,g4 ,le ,bret1      
,paris1 and ,j4 ,de ,junte1 ,lyons1 as  
well as by ,john ,rastell1 ,london1     
#aebh1 whose shop was at the sign of the
 ,mermaid4  ,to summarize a few of the  
less popular designs1 it will suffice to
 give a short list of the vignettes or  
marks used by the old printers of ,paris
 7except where otherwise stated71       
alphabetically arranged according to    
subjects3 ,abraham1 ,pacard2 an anchor1 
,christopher ,rapheleng1 ,leyden1       
,chouet and ,pierre ,aubert1 ,geneva2   
two anchors crosswise1 ,thierry         

,martens1 ,antwerp1 and ,nicholas le    
,rich2 one or more angels1 ,legnano1    
,milan2 ,henaud and ,abel ,l',angelier1 
and ,dominic ,farri1 ,venice2 ,arion1   
,oporinus or ,herlist1 ,brylinger1      
,louis le ,roi1 and ,pernet1 ,basle1 and
 ,chouet1 ,geneva2 a ,basilisk and the  
four elements1 ,rogny2 ,bellerophon1 the
 brothers ,arnoul and ,charles          
,angeliers2 ,guillaume ,eustace1 and    
,perier1 and ,bonel1 ,venice2 a ,bull   
with the sign ,taurus and the ,zodiac1  
,nicholas ,bevilacqua1 ,turin2 a ,cat   
with a mouse in her mouth1 ,melchior    
,sessa and ,pietro ,nicolini1 de ,sabio1
 ,venice2 two ,doves1 ,jacques ,quesnel2
 an ,eagle1 ,balthazar ,bellers1        
,antwerp1 ,bladius1 ,rome1 ,g4 ,rouille 
or ,roville1 ,lyons1 and the same       
design--with the motto 8,renovabitur ut 
aquil juventus mea0--occurs in the books
 published in the early years of the    
seventeenth century by ,nicolini1       
,rabani1 ,renneri and ,co41 ,venice2 the
 personification of ,fortune1 ,bertier1 

,j4 ,denis 7an elaborate and clever     
design in which a youth is represented  
climbing the tree of ,fortune71 and     
,adrian le ,roy and ,robert ,ballard1   
,berde and ,rigaud1 ,lyons1 and         
,giovanni and ,andrea ,zennaro1 ,venice2
 a ,fountain1 ,m4 ,vascosan1 the second 
,frederic ,morel 7with a ,greek motto   
importing that the fountain of wisdom   
flows in books71 and ,cratander1 ,basle2
 a ,heart1 ,sebastian ,hur and his      
son-in-law ,corbon2 ,hercules1 with the 
motto1 8,virtus non territa monstris10  
,vitr1 ,le ,maire1 ,leyden2 a ,lion     
rampant1 ,arry2 a lion rampant crowned  
on a red ground1 ,gunther ,zainer2 a    
lion led by the hand1 ,jacques          
,creigher2 a lion supporting a column1  
,mylius1 ,strassburg1 and a lion with a 
hour glass1 ,henric ,petri1 ,basle2 a   
,magpie1 ,jean ,benat or ,bienne2 this  
bird also occurs among ,robert          
,estienne's ,marks1 and the same        
subject1 with a serpent twining round a 
branch was used 7according to ,horne71  

by ,frederic ,morel2 ,mercury1 alone or 
with other classic deities1 ,david      
,douceur1 ,biaggio1 ,lyons2 ,jean       
,rossy1 ,bologne2 ,verdust1 ,antwerp1   
and ,hervagius1 ,basle2 a ,pelican1 ,n4 
,de ,guinguant1 ,s4 ,nivelle1 ,girault  
and ,de ,marnef1 ,c4 and ,f4            
,franceschini1 ,venice2 ,mamarelli1     
,ferrara2 ,f4 ,heger1 ,leyden2 ,e4      
,barricat1 ,lyons2 and ,martin ,nuyts   
and his successor who carried on        
business under the same name1 ,antwerp2 
a ,phnix1 ,michael ,joli1 ,wyon1 ,douay2
 ,leffen1 ,leyden2 ,martinelli1 ,rome2  
and ,giolito1 ,venice2 a ,salamander1   
,zenaro1 ,venice2 ,st4 ,crespin and     
,senneton1 ,lyons2 ,duversin and ,rossi1
 ,rome2 a ,stork1 ,nivelle and          
,cramoisy2 ,st4 ,george and the ,dragon1
 ,michel de ,hamont1 ,brussels2 a ,swan1
 ,blanchet2 whilst a swan and a soldier 
formed the ,mark of ,peter de ,csaris   
and ,john ,stoll1 two ,german printers  
who were among the earliest to practise 
the art in ,paris4    ,illustration3    

,,john ,,rastell4    ,fuit ,iohannes    
,rastell    ,illustration3 ,,gerard     
,,leeu4       ,decoration  ,,some       
,,general ,,aspects ,,of ,,the          
,,printer',s ,,mark4     ,illustration3 
,,fust ,,and ,,schoeffer4  ,from what   
has already been stated1 it will be seen
 that the ,printer's ,mark plays a by no
 means unimportant part in the early    
history of illustration1--whether the   
phase be serious or grotesque1 sublime  
or ridiculous1 we find here manifold    
examples1 crude as well as clever4      
,although it cannot be said with truth  
that the ,mark as an institution        
reached1 like typography itself1 its    
highest degree of perfection at its     
inception1 some of the earlier examples1
 nevertheless1 are also some of the most
 perfect4 ,the evolution from the small 
monogram1 generally in white on a black 
ground1 to an elaborate picture         
occupying from a quarter to a whole     
page1 was much less gradual than is     
generally supposed4 ,the unambitious    

marks of the first printers were clearly
 adopted in consonance with the traders'
 or merchants' marks which began to be  
so generally employed during the latter 
part of the fifteenth century4  ,the    
very natural question1 ,which was the   
first ,printer's ,mark8 admits of an    
easy answer4 ,it was employed for the   
first time in the form of the coupled   
shield of ,fust and ,schoeffer1 in the  
colophon of the famous ,psalter printed 
by these two men at ,mainz in #adeg4    
,this book is remarkable as being the   
costliest ever sold 7a perfect copy is  
valued at #e1jjj guineas by ,mr4        
,quaritch73 it is the third book        
printed1 and the first having a date1   
and probably only a dozen copies were   
struck off for the use of the           
,benedictine ,monastery of ,st4 ,james  
at ,mainz4 ,it is1 however1 quite as    
remarkable for the extraordinary beauty 
of its initial letters1 printed in red  
and blue ink1 the letters being of one  
colour and the ornamental portion of the

 other4 ,the ,mark of ,fust and         
,schoeffer1 it may be mentioned1        
consists of two printer's rules in      
saltaire1 on two shields1 hanging from a
 stump1 the two rules on the right      
shield forming an angle of #de3 the     
adoption of a compositor's setting-rule 
was very appropriate4 ,it was nearly    
twenty years before the introduction of 
woodcuts into books became general1     
,gunther ,zainer beginning it at        
,augsburg in #adga-adge4 ,the inception 
of this movement was naturally followed 
by a general improvement1 or at all     
events elaboration1 of the ,printer's   
,mark1 which1 moreover1 now began to be 
printed in colours1 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 #adgd4 
,reverting for a moment to the ,psalter 
which has been very properly described  
as 8the grandest book ever produced by  
,typography10 a very curious fact not at

 all generally known may be here pointed
 out4 ,although the few existing        
examples with two dates are of the same 
edition1 there are several very curious 
variations which are well worthy of     
notice4 ,it will be only necessary1     
however1 in this place to refer to the  
fact that the beautiful example in the  
,imperial ,library at ,vienna--which1   
from its spotless purity1 ,heineken     
calls the 8exemplaire vierge0--differs  
from the others in being without the    
shield of ,fust and ,schoeffer1 a fact  
which points to the probability of this 
copy having been the first struck off4  
,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
 conception4 ,indeed1 as early as #aeci1
 a law1 according to ,dupont1 in his    
8,histoire de l',imprimerie10 was passed
 by which these marks or arms of        
printers and booksellers were protected4
 ,unfortunately the designs were very   

rarely signed1 and it is now impossible 
to name with any degree of certainty    
either the artist or engraver1 both     
offices probably in the majority of     
cases being performed by one man4 ,there
 is no doubt whatever that ,hans        
,holbein designed some of the very      
graceful borders and title-pages of     
,froben1 at ,basle1 during the first    
quarter of the sixteenth century1 and in
 doing this he included the graceful    
,caduceus which this famous printer     
employed4 ,it does not necessarily      
follow that he was the original         
designer1 although he was in intimate   
association with ,froben when the latter
 first used this device4 ,the           
distinctive ,mark of ,cratander1 or     
,cartander1 which appears in the edition
 of ,plutarch's 8,opuscula10 ,basel1    
#aecj1 has also been confidently        
attributed to the same artist3 if there 
is any foundation for this statement    
,holbein was guilty of plagiarism1 for  
this ,mark is a very slight modification

 on one used by the same printer in     
#aeai1 and not only so dated but having 
the artist's initials1 ,i4 ,f4 ,those   
who have the opportunity of examining   
the 8,noctes ,attic0 of ,aulus ,gellius1
 printed by ,cratander in #aeai1 will   
come upon several highly interesting    
features in connection with this ,mark1 
which is emblematical of ,fortune3 the  
elaborately engraved title-page contains
 an almost exact miniature of the same  
idea on either side1 and it is repeated 
in a larger form in the border which    
surrounds the first chapter4 ,the ,mark 
occurs in its full size on the last page
 of all4 ,the title-page1 borders and   
,mark are all by the same artist1 ,i4   
,f4 ,in the earlier example the woman's 
hair completely hides her face1 whilst  
in that of eleven years later it is as  
seen on the opposite page1 and the whole
 design is more carefully finished4     
,drer had dealt with the same subject4  
,in reference to ,froben1 however1 it   
should be pointed out that his ,marks1  

of which there were several1 show       
considerable variation in their         
attendant accessories1 and that ,holbein
 could not possibly have had anything to
 do with the majority of them4          
,illustration3 ,j4 ,,froben4        1   
,prudens simplicitas amorque recti4  ,to
 attempt to identify the designers of   
even a selection of the best ,printers' 
,marks would be but to embark on a wild 
sea of conjecture4 ,the initials of the 
engravers1 which occur much more        
frequently than those of the artists1   
are of very little assistance to the    
identification of the latter4 ,many of  
them possess a vigour and an originality
 which would at once stamp their        
designers as men of more than ordinary  
ability4 ,for picturesqueness1 and for  
the care and attention paid to the      
minutest details1 it may be doubted if  
either ,b4 ,picart in ,france1 or ,j4   
,pine in this country1 has ever been    
excelled4 ,the examples of the former   
come perhaps more in the category of    

vignettes than of ,printers' ,marks1    
although the charming little pictures on
 the title-pages of ,stosch's 8,pierres 
,antiques ,graves10 #agbd1 the          
8,impostures ,innocentes10 #agcd1 and   
the edition of ,cicero's 8,epistol10    
printed at the ,hague by ,isaac         
,vaillant1 #agbe1--to mention only three
 of many--may be conveniently regarded  
as ,printers' ,marks4 ,so far as we     
know1 ,pine only executed one           
example1--representing a ,lamb within a 
cleverly designed cartouche--and this   
appears on the title-page of ,dale's    
,translation of ,freind's               
8,emmenologia10 printed for ,t4 ,cox1   
8at the ,lamb under the ,royal          
,exchange10 #agbi3 in its way it is     
unquestionably the most perfect ,mark   
that has ever been employed in this     
country4 ,any rule differentiating the  
,printer's ,mark proper from a vignette 
is not likely to give general           
satisfaction2 for a writer on the       
subject of vignettes will unfailingly   

appropriate many that are ,marks1 and   
vice versa4 ,the present writer has     
found it a fairly safe rule1 to accept  
as a ,mark a pictorial embellishment 7on
 a title-page7 to which is appended a   
motto or quotation4 ,the temptation to  
persuade oneself that several of these  
vignettes are ,printers' ,marks needs a 
good deal of resisting1 especially when 
such an exquisite example as that of    
,daniel ,bartholomus and ,son1 of ,ulm1 
is in question4 ,the same holds good    
with several of the dozen used by ,j4   
,reinhold ,dulssecker1 ,strassburg1     
about the latter part of the seventeenth
 and earlier part of the eighteenth     
century2 and very many others that might
 be named4    ,illustration3            
,,cratander',s ,,mark4 7,attributed to  
,holbein47    ,illustration3 ,t4 ,,cox4 
,i ,pine ,sculpt    ,illustration3 ,j4  
,r4 ,,dulssecker4    ,,dominus          
,,providebit4  ,it is interesting to    
note that the ,printer's ,mark preceded 
the introduction of the title-page by   

nearly twenty years1 and that the first 
ornamental title known appeared in the  
8,calendar0 of ,regiomontanus1 printed  
at ,venice by ,pictor1 ,loeslein and    
,ratdolt in #adgf1 in folio4 ,neither   
the simple nor the ornate title-page    
secured an immediate or general         
popularity1 and not for many years was  
it regarded as an essential feature of a
 printed volume4 ,its history is        
intimately associated with that of the  
,printer's ,mark1 and the progress of   
the one synchronizes up to a certain    
point with that of the other4 ,in beauty
 of design and engraving1 the ,printer's
 ,mark1 like the ,title-page1 attained  
its highest point of artistic excellence
 in the early part of the sixteenth     
century4 ,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 ,drer1 ,holbein1 ,wechtlin1    
,urse ,graff1 ,schauffelein and         
,cranach4 ,in his excellent work        

entitled 8,last ,words on the ,history  
of the ,title-,page10 ,mr4 ,a4 ,w4      
,pollard observes 8,from #aeej onwards  
we find beauty in nooks and corners4    
,here and there over some special book  
an artist will have laboured1 and not in
 vain2 but save for such stray miracles1
 as decade succeeds decade1 good work   
becomes rarer and rarer1 and at last we 
learn to look only for carelessness1    
ill-taste1 and caricature1 and of these 
are seldom disappointed40 ,these remarks
 apply with equal force to the          
,printer's ,mark1 although some         
exceptionally beautiful examples        
appeared after that period4  ,the       
position allotted to the ,printer's     
,mark may not be of very great          
importance1 but it offers some points of
 interest4 ,it appeared first in the    
colophon1 in which the printer usually  
seized the opportunity not only of      
thanking ,god that he had finished his  
task1 but of indulging in a little puff 
either of his own part of the           

transaction or of the work itself4 ,the 
appearance of the ,mark in the colophon 
therefore was a natural corollary of the
 printer's vanity4 ,it soon outgrew its 
place of confinement2 and when a        
pictorial effect was attempted it became
 promoted1 as it were1 to the           
title-page4 ,in this position it was    
nearly always of a primary character1 so
 to speak1 but sometimes1 as in the case
 of ,reinhard ,beck1 it was almost lost 
in the maze of decorative borders4 ,but 
it is found in various parts of the     
printed book3 in some cases1 among which
 are the ,arabic works issued by        
,erpenius of ,leyden1 we find the ,mark 
at what we regard as the beginning of   
the book1 but which in reality is its   
end4 ,sometimes the ,mark occupies the  
first and last leaves of a book1 as was 
often the case with the more important  
works issued by ,froben1 by the brothers
 ,huguetan and others4 ,these two ,marks
 at the extreme portions of a book      
either differed from one another or not1

 according to the fancy or convenience  
of the printer4 ,the ,mark also appeared
 sometimes at the end of the index1 or  
at the end of the preliminary matter1   
such as list of contents or address of  
the author1 and its position was        
generally determined by several         
circumstances4    ,illustration3        
,,reinhard ,,beck4  ,now and then we    
have what may be described as a double  
,mark2 that is1 of printer and          
bookseller1 the one keeping a sharp look
 out to see that the other did not have 
more than his fair share of credit4     
,this is the case with several books    
printed by ,jehan ,petit for ,thielman  
,kerver1 ,paris1 of which an example is 
given in the previous chapter2 ,wynkyn  
de ,worde used ,caxton's initials for a 
time on his ,mark1 but the only motive  
which could have prompted this was an   
affectionate regard for his master4     
,some of the books which ,jannot ,de    
,campis printed at ,lyons for ,symon    
,vincent contained not only the         

printer's1 but two examples of the      
bookseller's ,mark4    ,illustration3   
,,hubert ,,goltz4    ,,hvbertas ,,avrea 
,,saecli       ,decoration  ,,the       
,,printer',s ,,mark ,,in ,,england4     
,illustration3 ,,walter ,,lynne4  ,the  
consideration of the ,printer's ,mark as
 an institution in this country is      
characterized by extreme simplicity1    
both as to its origin and to its design4
 ,from an entry in one of the ,bagford  
volumes 7,harleian ,,mss4 #eiaj7 in the 
,british ,museum1 we learn that 8rebuses
 or name devices were brought into      
,england after ,edward ,,iii4 had       
conquered ,france3 they were used by    
those who had no arms1 and if their     
names ended in ,ton1 as ,hatton1        
,boulton1 ,luton1 ,grafton1 ,middleton1 
,seton1 ,norton1 their signs or devices 
would be a ,hat and a tun1 a ,boult and 
a tun1 a ,lute and a tun1 etc41 which   
had no reference to their names1 for all
 names ending in ,ton signifieth town1  
from whence they took their names40     

,even in ,england1 therefore1 the       
merchant's trade device was the direct  
source of the ,printer's ,mark1 which it
 antedated by over a century4 ,it will  
be convenient1 first of all1 to explain 
that the first printing-press in        
,england was that of ,william ,caxton at
 ,westminster1 whose first book was     
issued from this place ,november #ah1   
#adgg2 the second was that of           
,theodoricus de ,rood1 at ,oxford1 the  
first book dated ,december #ag1 #adgh2  
the third was that of the unknown       
printer at ,st4 ,albans1 #adhj1 and the 
fourth was that of ,john ,lettou1 in the
 city of ,london1 #adhj1 the last-named 
being soon joined by ,william de        
,machlinia1 who afterwards carried on   
the business alone4 ,the earliest phases
 of wood-engraving employed at one or   
other of these four distinct houses were
 either initial letters or borders      
around the page4 ,at ,caxton's press1 as
 the late ,henry ,bradshaw has pointed  
out in a paper read before the          

,cambridge ,antiquarian ,society1       
,february #be1 #ahfg1 simple initials   
are found in the ,indulgences of #adhj  
and #adha2 at the ,oxford press an      
elaborate border of four pieces1        
representing birds and flowers1 is found
 in some copies of the two books printed
 there in ,october1 #adha1 and ,july1   
#adhb4 ,of illustrations in the text1 we
 find a series of diagrams and a series 
of eleven cuts illustrating the text of 
the first edition of 8,the ,mirror of   
the ,world10 #adha2 a series of sixteen 
cuts to the second edition of 8,the     
,game of ,chesse ,moralised10 #adhc2 and
 two works of the following year1 8,the 
,fables of ,esop0 and the first edition 
of 8,the ,golden ,legend10 each contains
 not only a large cut for the           
frontispiece1 but in the case of the    
former1 a series of #ahe cuts1 and1 in  
the latter1 two series of eighteen large
 and fifty-two small cuts4 ,at the      
,oxford press only two books are known  
with woodcut illustrations1 in neither  

case cut for the work2 at the ,st4      
,albans press the only known            
illustrations in the text are the       
coats-of-arms found in the 8,book of    
,hawking1 ,hunting and ,coat-,armours10 
#adhf2 at the press of ,lettou and ,w4  
de ,machlinia there is no trace of      
illustrations4  ,these few introductory 
facts1 condensed from ,mr4 ,bradshaw's  
paper above mentioned1 have a distinct  
interest to us as leading up to the     
employment of the ,printer's ,mark4 ,it 
is certainly curious that at ,caxton's  
press the very familiar device was only 
first used about ,christmas1 #adhi1 in  
the second folio edition of the ,sarum  
8,ordinale40 ,at first this bold and    
effective mark was used1 as in the      
8,ordinale10 the 8,dictes of the        
,philosophers10 and in the 8,history of 
,reynaud the ,fox10 at or close to the  
beginning of the volume4 ,in ,caxton's  
subsequent books it is always found at  
the end4 ,at the ,st4 ,albans press the 
device with 8,sanctus ,albanus0 is found

 in two of the eight books printed      
there1 8,the ,english ,chronicle10      
#adhc1 where it is printed in red1 and  
in 8,the ,book of ,hawking10 etc41      
#adhf2 it is formed of a globe and      
double cross1 there being in the centre 
a shield with a ,st4 ,andrew's cross4   
,so far as regards ,caxton's device1 it 
is easier to name the books in which it 
appeared than to explain its exact      
meaning4 ,the late ,william ,blades     
accepts the common interpretation of    
8,w4 ,c4 #gd40 ,some bibliographers     
argue that the date refers to the       
introduction of printing in ,england1   
and quote the colophon of the first     
edition of the 8,chess0 book in support 
of this theory4 ,but the date of this   
work refers to the translation and not  
to the printing1 which was executed at  
,bruges1 probably in #adgf4 ,caxton did 
not settle at ,westminster until late in
 that year1 and possibly not until      
#adgg4 ,in all probability the date1    
supposing it to be such1 and assuming   

that it is an abbreviation of #adgd1    
refers to some landmark in our printer's
 career4 ,professor ,j4 ,p4 ,a4 ,madden1
 in his 8,lettres d'un ,bibliophile10   
expresses it as his opinion that the two
 small letters outside the 8,w4 #gd ,c0 
are an abbreviation of the words        
8,sancta ,colonia10 an indication that a
 notable event in the life of ,caxton   
occurred in #adgd at ,cologne4 ,ames1   
,herbert1 and others have copied a      
device which ,caxton never used3 it is  
much smaller than the genuine one       
7which1 in other respects1 it closely   
resembles7 which we reproduce from      
,berjeau4 ,the opinion that the         
interlacement is a trade mark is1 ,mr4  
,blades points out in his exhaustive    
8,life10 much strengthened by the       
discovery of its original use4 ,in      
#adhg1 ,caxton1 wishing to print a      
,sarum ,missal1 and not having the types
 proper for the purpose1 sent to ,paris1
 where the book was printed for him by  
,g4 ,maynyal1 who in the colophon states

 distinctly that he printed it at the   
expense of ,william ,caxton of ,london4 
,when the printed sheets reached        
,westminster1 ,caxton1 wishing to make  
it quite plain that he was the          
publisher1 engraved his design and      
printed it on the last page1 which      
happened to be blank4 ,mr4 ,blades gives
 #adhg as the year in which this ,missal
 7of which only one copy is known7 was  
printed1 but ,mr4 ,bradshaw puts it at  
#adhi4 ,the former enumerates twelve    
books printed by ,caxton in which his   
device occurs--all ranging from the     
aforesaid ,missal to the year #adia1 the
 date of his death4    ,illustration3   
,,william ,,caxton4    ,illustration3   
,,the ,,st4 ,,albans ,,printer4  ,wynkyn
 de ,worde1 a native of ,lorraine1 who  
was with ,caxton at ,bruges or ,cologne1
 carried on the business of his master  
at ,westminster until #adii1 when he    
removed to the sign of the ,golden ,sun1
 ,fleet ,street1 ,london4 ,he had nine  
,marks1 the earliest of which is often  

described as one of ,caxton's1 from the 
genuine example of which1 as we have    
already stated1 it differs in being     
smaller1 with a different border1 and in
 having a flourish inserted above and   
below the letters4 ,the second is an    
elongated variation of ,no4 #a1 with the
 name ,wynkyn de ,worde on a narrow     
white space beneath the device4 ,the    
next four devices are more or less      
elaborations upon that of which we give 
a reproduction2 the seventh is the      
,sagittarius device in black with white 
characters3 between the sagittarii is   
seen the sun and flaming stars1 and     
below the initials 8,w ,c0 in ,roman    
letters1 with the name ,wynkyn de ,worde
 at the foot2 the eighth is a           
picturesque ,mark copied from one       
belonging to ,froben1 with the omission 
of part of the background2 it consists  
of a semicircular arch1 supported by    
short-wreathed pillars1 with foliated   
capitals1 plinths and bases3 on the top 
of each is a boy habited like a soldier1

 with a spear and shield bending        
forwards2 a large cartouche ,german     
shield is supported by three boys4 ,the 
ninth ,mark of this printer was a large 
and handsome one1 being a royal and     
heraldic device which ,wynkyn de ,worde 
used as a frontispiece to the ,acts of  
,parliament1 in the form of an upright  
parallelogram which encloses a species  
of arched panel or doorway1 formed of   
three lines1 imitating clustered columns
 and ,gothic mouldings1 and two large   
square shields1 that on the left charged
 with three fleurs-de-lys for ,france1  
and the other bearing ,france and       
,england quarterly1 each of which is    
surmounted by a crown4 ,for a very      
minute description of these ,marks1 and 
their variations1 the reader is referred
 to ,johnson's 8,typographia10 and      
,bigmore and ,wyman's 8,bibliography of 
,printing10 the former of whom          
enumerates #daj books which issued from 
this press4    ,illustration3 ,,wynkyn  
,,de ,,worde4    wynkyn de worde   ,w ,c

    ,illustration3 ,r4 ,,pynson4        
,rychard ,pynson    ,illustration3 ,r4  
,,pynson4    ,r   ,richard ,pynson      
,among the #bjj odd books which ,richard
 ,pynson printed between #adic and      
#aebg1 we find six ,marks 7besides      
variants71 of which five are very       
similar1 and of these we give two       
examples1 the smaller being one of the  
earliest1 in which it will be noticed   
that the drawing is much inferior to the
 larger example2 the sixth ,mark is a   
singular one1 consisting of a large     
upright parallelogram surrounded by a   
single stout line1 within which are the 
scroll1 supporters1 shield and cypher1  
crest1 helmet and mantling1 and the     
,virgin and ,st4 ,catherine1 and in many
 other particulars differing from the   
other five examples4 ,robert ,redman1   
who1 after quarrelling with ,richard    
,pynson1 and apparently succeeding him  
in business1 employed a device almost   
identical with that which ,pynson most  
frequently used1 and to which therefore 

we need not further refer4 ,in          
chronological sequence the next ,english
 printer who employed a device is       
,julian ,notary1 who was printing books 
for about twenty years subsequent to    
#adih1 first at ,westminster1 then near 
,temple ,bar1 and finally in ,st4       
,paul's ,churchyard4 ,he had two devices
 7of which there are a very few         
variations71 of which we give the more  
important4 ,the other has only one stout
 black line1 and not two1 and it has    
also the ,latinized form of the         
name--,julianus ,notarius4 ,about two   
dozen different works of this printer   
are known to bibliographers4 ,in        
connection with ,notary1 we may here    
conveniently refer to an interesting1   
but admittedly inconclusive article     
which appears in ,the ,library1 i41 pp4 
#ajb-e1 by ,mr4 ,e4 ,gordon ,duff1 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       

century4 ,one of these has the title of 
8,questiones ,alberti de modis          
significandi10 and the other1 of which  
only a fragment is known to exist1 is a 
,sarum 8,hor10 which is dated #adig4 ,in
 the colophons of neither does the name 
of the printer transpire1 but his ,mark 
is given in both--in the former book in 
black1 and in the latter in red4 ,this  
mark is identical with ,notary's1 with  
this important exception1 that1 whereas 
in ,notary's device his name occurs in  
the lower half of the device1 in these  
the lower half is occupied by the       
initials ,i4 ,h41 and the upper half by 
the initials ,i ,n ,b1 the ,i ,n being  
in the form of a monogram1 and not      
distinct4 ,in #adih this same block was 
used on the title-page of the ,sarum    
8,missal10 printed by ,notary1 who      
altered it to suit his own requirements4
 ,we cannot follow ,mr4 ,gordon ,duff in
 his conjectures as to the probability  
of who this unknown printer may have    
been1 but the matter is one of great    

bibliographical interest4 ,william      
,faques1 who was the ,king's ,printer1  
and who is known to have issued seven   
books between #adii and #aejh1 had only 
one ,mark1 which is totally different   
from those of any of his predecessors1  
as may be seen from the example given on
 page #af1 where will also be found     
references to the sources of the        
scriptural quotations on the white and  
black triangles4    ,illustration3      
,,julian ,,notary4    ,i ,n   ,iulyan   
,notary  ,the extreme rarity of this    
printer's books will be best understood 
when it is stated that there are only   
two examples in the ,british ,museum2   
one of these is a 8,psalter10 #aejd4    
,with ,w4 ,faques we exhaust the        
fifteenth century printers who employed 
marks to distinguish the productions of 
their presses4    ,illustration3 ,r4    
,,fawkes4    ,r ,f   ,richard ,fakes    
,notwithstanding the similarity in their
 surnames it is not at all certain that 
,richard ,fawkes 7#aeji-aecj71 who also 

appears as ,faukes1 ,fakes1 and ,faques1
 was related to the last-mentioned      
printer4 ,his books are now of excessive
 rarity4 ,the unicorn 7regardant on     
either side of the device7 appears for  
the first time in an ,english mark4     
,henry ,pepwell 7#aeje-aeci71 of the    
,holy ,trinity in ,st4 ,paul's          
,churchyard1 was a bookseller rather    
than a printer1 and all his earlier     
books were printed in ,paris2 his ,mark1
 in which occurs the heraldic device    
representing the ,trinity1 was suggested
 by the sign of his shop4 ,the most     
important example of the thirty books   
which issued from the little-known press
 of ,peter ,treveris1 who was apparently
 putting forth books from #aead to      
#aece1 is 8,the ,grete herball whiche   
geveth parfyt knowlege and understanding
 of all maner of herbes10 etc41 #aebf1 a
 finely printed folio 78at the signe of 
the ,wodows071 of which a second edition
 appeared in #aebi4 ,the earlier edition
 contains1 on the recto of the sixth    

leaf1 a full-page woodcut of the human  
skeleton1 with anatomical explanations1 
whilst the last leaf contains a         
full-page woodcut of the printer's      
,mark1 with the imprint at the foot4    
,herbert supposes that the sign of the  
8,wodows10 mentioned by ,treveris in the
 colophon1 might possibly be put for    
wode hommes or wild men1 and alludes to 
the supporters used in the device4      
,treveris printed for several           
booksellers1 notably ,john ,reyves1 of  
,st4 ,paul's ,churchyard1 and for       
,lawrence ,andrewe1 of ,fleet ,street4  
,in this printer's ,mark1 and in fact   
nearly every other sixteenth century    
example1 there is a very evident ,french
 influence1 whilst many of the examples 
are the most transparent imitations of  
,marks used by foreign printers4 ,of the
 three used by ,john ,scott or ,skot1   
who was printing books from about #aeba 
to #aecg1 two were mere copies of the   
,marks used by ,denis ,roce of ,paris4  
,we give an illustration of one example2

 the second is of the same design1 but  
with a very rich stellated background1  
and the motto1 8,a l'aventure1 tout     
vient a point qui peut attendre40 ,his  
own device was an exceedingly simple    
long strip1 with the letters ,iohn ,skot
 in antique ,roman characters4 ,an      
example of the last mark will be found  
in 8,the ,golden ,letanye in            
,englysshe10 printed by ,skot in        
8,fauster ,land1 in ,saynt ,leonardes   
parysshe02 but examples of this press   
are excessively rare1 only one1         
8,thystory of ,jacob and his ,,xii      
,sones10 fourteen leaves1 in verse1 and 
printed about #aebe1 being in the       
,british ,museum1 and another tract1    
8,the ,rosary10 #aecg1 being in the     
,althorp ,library now transferred to    
,manchester4    ,illustration3 ,,peter  
,,treveris4    ,p ,t   ,,petrvs         
,,treveris    ,illustration3 ,,john     
,,scott4    ,i ,s   ,,iohn ,,scott      
,illustration3 ,,robert ,,copland4      
,melius est nomen bonum quam diuitie    

mnlte4 ,prou4 xxu4   ,r   ,,robert      
,,copland  ,robert ,copland1 who was a  
beneficiaire and pupil of ,wynkyn de    
,worde1 was a translator as well as a   
printer and stationer1 and his shop was 
at the sign of the ,rose ,garland in    
,fleet ,street4 ,although he carried on 
business from #aeae to about #aedh1 only
 a few of his books are now known1 none 
of which appear to be in the ,british   
,museum4 ,the majority were purely      
ephemeral4 ,the most interesting phase  
of this printer's career occurs in      
connection with one or two books printed
 by ,wynkyn de ,worde1 notably 8,the    
,assembly of ,foules10 #aecj1 at the end
 of which is 8,lenvoy of ,robert        
,copland boke prynter10 one of the three
 verses running thus3    8,layde upon   
shelfe1 in leues all torne   ,with      
,letters1 dymme1 almost defaced cleane  
,thy hyllynge rote1 with wormes all to  
worne   ,thou lay1 that pyte it was to  
sene   ,bounde with olde quayres1 for   
ages all hoorse and grene   ,thy mater  

endormed1 for lacke of thy presence     
,but nowe arte losed1 go shewe forth thy
 sentence40  ,the three ,marks of       
,copland make allusion to the roses     
which appeared as a sign to his shop4   
,the most elaborate design is an upright
 parallelogram within which appears a   
flourishing tree springing out of the   
earth1 and supporting a shield suspended
 from its branches by a belt and        
surrounded by a wreath of roses2 on the 
left-hand side is a hind regardant      
collared with a ducal coronet standing  
as a supporter1 and on the right is a   
hart in a similar position and with the 
same decorations2 there are four scrolls
 surrounding the centre-piece1 on the   
top one is 8,melius est10 on the        
right-hand one 8nomen bonum10 on the    
bottom one 8q diuitie10 and on the      
left-hand one 8multe4 ,prou4 xxii10 i4e4
 8,a good name is better than much      
riches40 ,the second device1 of which we
 also give an example1 is               
self-explanatory1 and is perhaps the    

more original4 ,it has also an          
additional interest from the fact that  
it was used by ,william ,copland1       
#aedi-aefa1 who was probably a son of   
,robert1 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 device4 
,over sixty books by this printer are   
described by bibliographers1 and many of
 them are in the ,british ,museum4      
,robert ,wyer1 whose shop was at the    
sign of ,st4 ,john the ,evangelist1 in  
,st4 ,martin's parish1 in the rents of  
the ,bishop of ,norwich1 near ,charing  
,cross1 was another printer whose works 
were more remarkable for their number   
than for their typographic excellence4  
,his earliest dated work is the         
8,expositiones ,terminarum ,legum       
,anglorum10 #aebg1 and his latest 8,a   
,dyalogue ,defensyue for ,women10 #aedb1
 but as to nearly sixty others of his   
works no date is attached1 he may have  
commenced earlier than the first date   

and continued after the second4 ,the    
marks of ,wyer consisted of two or three
 representations of ,st4 ,john the      
,divine writing1 attended by an eagle   
holding the inkhorn2 he is seated on a  
rock in the middle of the sea intended  
to represent the ,isle of ,patmos4      
,laurens1 or ,lawrence1 ,andrewe1 by    
,ames stated to be a native of ,calais1 
printed a few books during the third    
decade of the sixteenth century1 and    
resided near the eastern end of ,fleet  
,street at the sign of the ,golden      
,cross4 ,his ,mark consisted of a shield
 which is contained within a very rudely
 cut parallelogram2 the escutcheon is   
supported by a wreath beneath an        
ornamental arch1 and between two curved 
pillars designed in the early ,italian  
style1 with a background formed of      
coarse horizontal lines4 ,three of his  
books are in the ,british ,museum4 ,the 
,museum possesses only one book with the
 imprint of ,andrew ,hester1 who was a  
bookseller of the 8,white ,horse10 ,st4 

,paul's ,church ,yard1 and this is an   
edition of ,coverdale's ,bible1 8newly  
oversene and correcte10 which appears to
 have been printed for him by           
,froschover1 of ,zurich1 #aeej4 ,among  
,english ,marks of the period1 ,hester's
 possesses the merit of being original4 
,illustration3 ,,robert ,,copland4    ,r
 ,c   ,robert ,coplande4                
,illustration3 ,,robert ,,wyer4         
,,robert ,,wyer    ,illustration3       
,,andrew ,,hester4    ,s   ,e ,,ah ,r   
,illustration3 ,,thomas ,,berthelet4    
,,lvcrecia ,,romana   ,,thomas          
,,bertheletvs  ,one of the most prolific
 of the printers of the first half of   
the sixteenth century was ,thomas       
,berthelet1 who succeeded ,pynson in the
 office of ,king's ,printer1 at a salary
 of #d yearly1 and who 7or his immediate
 successors1 for he died at the end of  
#aeee7 issued books from #aebh to #aefh1
 of which nearly #aej are known to      
bibliographers1 sixty being in the      
,british ,museum4 ,his shop was at the  

sign of the 8,lucretia ,romana10 a      
charming engraving--the most carefully  
executed of its kind used in this       
country up to that time--of which1 with 
his own name on a scroll1 he used as a  
,mark4 ,several of his books were       
printed in ,paris4 ,he issued a large   
number of works in classical literature1
 and among the more notable of his      
publications were ,chaloner's           
translation of ,erasmus's 8,praise of   
,folly10 #aedi1 ,gower's 8,de           
,confessione ,amantis10 and the         
8,institution of a ,christen ,man10 with
 a woodcut border to the title by       
,holbein4 ,john ,byddell1 otherwise     
,salisbury1 #aecc-dd1 was another       
printer whose ,mark was derived from the
 sign of the shop in which he carried on
 business1 namely1 8,our ,lady of       
,pity10 next ,fleet ,bridge1 but he     
afterwards removed to the ,sun near the 
,conduit1 which was probably the old    
residence of ,wynkyn de ,worde1 for whom
 he was an executor4 ,the ,lady of ,pity

 is personified as an angel with        
outstretched wings1 holding two elegant 
horns or torches1 the left of which is  
pouring out a kind of stream terminating
 in drops1 and is marked on the side    
with the word 8,gratia02 that on the    
right contains fire and is lettered     
8,charitas03 the lower ends of these    
horns are rested by the angel upon two  
rude heater shields1 on the left of     
which is inscribed 8,johan ,byddell1    
,printer10 and on the other is a mark   
which includes the printer's initials2  
round the head of the figure are the    
words1 8,virtus beatos efficit40 ,this  
is merely a copy of one of the ,marks   
used by ,j4 ,sacon1 a ,lyonese printer1 
#adih-aebb4 ,byddell's books were       
distinctly in keeping with the          
seriousness of his sign1 and among      
others we find such titles as 8,news out
 of ,hell10 #aecf1 8,olde ,god and the  
,newe10 #aecd1 8,common ,places of      
,scripture10 #aech1 etc41 besides two   
8,primers40 ,thomas ,vautrollier1 who   

printed books at ,edinburgh and ,london 
from about #aeff to #afje1 had four     
,marks1 in all of which an anchor is    
suspended from the clouds1 and two leafy
 boughs twined1 with the motto 8,anchora
 ,spei10 and with a framework which is  
identical with that of ,guarinus1 of    
,basle4 ,vautrollier was a native of    
,france2 nearly all his books were in   
,latin4 ,in #aehd he printed an edition 
of ,giordano ,bruno's 8,spaccio de la   
,bestia ,trionfante10 with a dedication 
to ,sir ,philip ,sidney1 and for which  
he had to flee the country1 for the     
imprint1 8,stampato in ,parigi10 was an 
obvious and unsuccessful attempt to     
hoodwink the authorities4 ,in the       
following year he printed at ,edinburgh 
8,a ,declaration of the ,kings          
,majesties intention and meaning toward 
the lait ,actis of ,parliament40 ,j4    
,norton1 #aeic-afaj1 also used the same 
,mark4    ,illustration3 ,,john         
,,byddell4    ,i ,b    ,,iohan          
,,byddell4    ,illustration3 ,,thomas   

,,vautrollier4    ,,anchora ,,spei4     
,richard ,grafton1 #aecg-gb1 who was a  
scholar and an author1 is one of the    
best known of the sixteenth century     
printers1 and1 although he issued a     
large number of books1 confined himself 
to a single ,mark1 which was a rebus or 
pun upon his name4 ,grafton was for     
several years in partnership with       
,edward ,whitchurche1 and also with     
,john ,butler4 ,the most important works
 accomplished by the two first named    
were the first issue of the ,great or   
,cromwell's ,bible1 #aeci1 and          
,coverdale's version of the ,new        
,testament1 #aech-i1 in ,latin and      
,english2 the latter being partly       
printed in ,paris by ,regnault1 and     
completed in ,london3 as nearly the     
entire impression was burnt by order of 
the ,inquisition1 it is of great rarity 
and value4 ,grafton1 who was printer to 
,edward ,,vi4 both before and after his 
accession to the throne1 issued a       
magnificent edition of ,halle's         

8,chronicle10 #aedh1 and an             
8,abridgement of the ,chronicles0 by    
himself in #aefb1 which in ten years    
reached a fourth edition4 ,grafton found
 printing a much more hazardous calling 
than the grocery business to which he   
had been brought up1 for he was         
constantly in difficulties1 which on one
 occasion nearly cost him his life4 ,the
 idea which found expression in         
,grafton's ,mark naturally suggested    
itself to ,william ,middleton1 or       
,myddleton1 #aebe-dg1 who succeeded to  
the business of ,robert ,redman1 and    
issued books from the sign of the       
8,george next to ,st4 ,dunstan's ,church
 in ,fleet ,street40 ,he had two        
devices1 of which we give the larger and
 more important3 in the smaller the     
shield is supported on either side by an
 angel4 ,about forty of ,william        
,middleton's books have been described1 
one of the most notable being ,john     
,heywood's 8,four ,p's1 a very merry    
,enterlude of a ,palmer1 a ,pardoner1 a 

,poticary1 and a ,pedler40 ,reginald or 
,reynold ,wolfe1 #aedb-gc1 was the      
,king's ,printer and a learned          
antiquary4 ,wolfe was probably of       
foreign extraction1 for there were      
several early sixteenth century printers
 of the same surname in ,france1        
,germany1 and ,switzerland4 ,his        
printing-office was in ,st4 ,paul's     
,churchyard1 at the sign of the ,brazen 
,serpent1 which emblem he used as a     
device1 a subject which1 as we have     
already seen1 was frequently employed   
for a similar purpose abroad4 ,wolfe's  
other device1 of which there are two    
sizes1 consisted of an elegant cartouche
 ,german shield1 on which is represented
 a fruit-tree and two boys1 one of whom 
is drawing down the fruit with a stick1 
whilst the other is taking it up off the
 ground4 ,over sixty books have been    
catalogued as the work of ,reginald     
,wolfe4 ,john ,wolfe1 originally a      
fishmonger1 started printing about      
#aefj1 and from that year until #afja we

 have an almost continuous stream of his
 books1 on a very great variety of      
subjects4 ,like several others of the   
early printers1 he was in constant      
warfare with the authorities1 whose     
rules and restrictions of the press were
 a source of ever-recurring annoyances4 
,he appears to have had as much         
difficulty in managing his 8authors0 as 
with the ,stationers' ,company1 for he  
is referred to more than once in very   
uncomplimentary terms in the ,martin    
,marprelate tracts of the period4 ,the  
,mark here reproduced from ,berjeau     
represents a fleur-de-lys seedling      
supported by two savages1 with the motto
 8,ubique ,floret40 ,john ,day1         
#aedf-hd1 is undoubtedly one of the best
 known and most prolific of the         
sixteenth century printers1 nearly #cjj 
books having him as their foster-father4
 ,he appears to have started in business
 at the sign of the ,resurrection1 a    
little above ,holborn ,conduit1 but     
removed in or about #aedi to ,aldersgate

 ,street2 he had several shops in       
various parts of the town1 where his    
literary wares might be disposed of1 and
 he is remarkable in being the first    
,english printer who used ,saxon        
characters1 whilst he brought those of  
the ,greek and ,italic to perfection4   
,it is not possible to give in this     
place even a brief summary of ,day's    
career1 and it must suffice us to       
mention that ,archbishop ,parker was    
among his patrons1 and that the more    
important books which appeared from his 
press included ,fox's 8,acts and        
,monuments10 #aefc1 and the 8,psalmes in
 ,metre with ,music10 #aega 7for the    
printing of which he received a patent  
dated ,june #b1 #aefh74 ,his best known 
device1 of which we give an example1 has
 a double meaning2 first it is a pun on 
his name1 and secondly an allusion to   
the dawn of the ,protestant religion4   
,he used another ,mark1 which is a large
 upright parallelogram1 within the lines
 of which is a very elegant ,greek      

sarcophagus bearing a skeleton lying on 
a mat4 ,at the head of the corpse are   
two figures standing and looking down at
 it1 of which the outer one is in the   
dress of a rich citizen1 having his left
 hand on his sword1 and the other1 who  
is pointing to the body1 is dressed like
 a doctor or a schoolmaster3 from his   
mouth issues a scroll rising upwards in 
eight folds1 on four of which are       
engraven in small ,roman capitals1      
8,etsi ,mors in dies accelerat10 and the
 remainder of the sentence1 8,post      
,fvnera virtus vivet tamen10 appears in 
similar letters on another scroll1 which
 is elegantly twined round the branches 
of a holly placed behind the sepulchre1 
to indicate by a tree that blooms at    
,christmas the evergreen nature of      
virtue2 the sarcophagus1 figures1 and   
tree stand by the side of a river1 with 
some distant vessels1 on the left hand  
of which are rocky shores1 with cities1 
etc41 and in the upper corner of the    
left is the sun breaking out of the     

clouds2 the initials ,i ,d appear on the
 lower left hand4 ,this ,mark is        
exceedingly rare2 it occurs on the last 
leaf of ,j4 ,norton's translation of the
 ,latin 8,catechism10 #aegj1 and also at
 the end of ,churton's 8,cosmographical 
,glass40 ,there are several variations  
of the ,mark which we reproduce on p4   
#gi4 ,william ,seres1 who was for some  
time anterior to #aeej in partnership   
with ,day 7and at other times with      
,anthony ,scoloker1 ,richard ,kele1 and 
,william ,hill71 printed over #ajj      
books1 in many of which his monogram    
serves the purpose of a ,mark4          
,illustration3 ,,richard ,,grafton4     
,,svscipite ,,insitvm ,,verbvm ,,iaco ,i
   ,,rg    ,illustration3 ,,william     
,,middleton4    ,w   ,,wyllyam          
,,myddylton    ,illustration3 ,,john    
,,wolfe4    ,,vbiqve ,,floret           
,illustration3 ,,john ,,day4    ,,arise 
,,for ,,it ,,is ,,day  ,like so many    
other of the early printers1 ,richard   
,jugge1 #aedh-gg1 whose shop was at the 

sign of the ,bible at the north door of 
,st4 ,paul's1 was a ,university man1    
having studied at ,king's ,college1     
,cambridge4 8,he had a license from     
,government to print the ,new ,testament
 in ,english1 dated ,january1 #aeej2 and
 no printer ever equalled him in the    
richness of the initial letters and     
general disposition of the text which   
are displayed therein40 ,on the         
accession of ,elizabeth to the throne1  
he printed the proclamation1 ,november  
#ag1 #aeeh4 ,about seventy books are    
catalogued as coming from his press4    
,his elegant ,mark consists of a massive
 architectural panel1 adorned with      
wreaths of fruit1 and bearing in the    
centre an oval within which is a pelican
 feeding her young1 surrounded by the   
mottoes1 8,love kepyth the ,lawe1       
obeyeth the ,kynge1 and is good to the  
commen welthe10 and 8,pro ,rege ,lege et
 ,grege40 ,on the left of the oval      
stands a female figure having a serpent 
twined round her right arm1 with the    

word 8,prudentia0 underneath1 whilst the
 second female figure1 with a balance   
and a sword1 is called 8,justicia02 in  
the bottom centre in a small cartouche  
panel is the name ,r4 ,jugge in the form
 of a monogram4 ,this ,mark was also    
used by ,j4 ,windet and by ,alexander   
,arbuthnot1 of ,edinburgh1 of which we  
give the example of the last named4     
,hugh ,singleton1 #aedh-hb1 appears to  
have earned as much notoriety among his 
contemporaries for his 8rather loose0   
principles as for the books which he    
printed4 ,he was often in conflict with 
the authorities1 and very narrowly      
escaped severe punishment for printing  
one of ,stubbs' outbursts1 for which the
 author and ,page the publisher had     
their right hands cut off with a        
butcher's knife and a mallet in #aeha2  
,singleton was pardoned4 ,his ,mark1 of 
which there are variations1 is          
sufficiently self-explanatory1 although 
it may be mentioned that for a time he  
dwelt at the ,golden ,tun in ,creed     

,lane4 ,walter ,lynne1 #aedg-ej1 who was
 a scholar and an author1 had a shop at 
8,sommer's ,key near ,billingsgate0 and 
printed about twenty sermons and other  
religious tracts in octavo1 employed the
 device given as an initial to the      
present chapter4 ,john ,wyghte1 or      
,wight1 resembled ,singleton somewhat in
 his facility for running his head      
against established customs1 and was on 
one occasion fined for keeping his shop 
open on ,st4 ,luke's ,day1 and on       
another for selling pirated books4 ,his 
shop was at the sign of the ,rose1 ,st4 
,paul's ,churchyard1 and his            
books--beginning with an edition of the 
,bible--range from the year #aeea to    
#aeif4 ,his device was a portrait of    
himself1 which varies considerably both 
in size and in other respects4 ,perhaps 
the most curious and interesting work   
which he published was 8,a ,booke of the
 arte and manner how to plant and graffe
 all sortes of trees10 #aehf1 translated
 from the ,french by ,leonard ,mascall1 

and dedicated to ,sir ,john ,paulet4    
,illustration3 ,a4 ,,arbuthnot4         
,,alexander  ,,arbvthnet   ,,love       
,,kepyth ,,the ,,lawe ,,obeyeth ,,the   
,,kynge     ,,and ,,is ,,good ,,to ,,the
 ,,commen ,,welthe   ,,pro ,,lege       
,,rege1 ,,et ,,grege   ,,prvdencia      
,,ivsticia    ,illustration3 ,,hugh     
,,singleton4    ,h ,s    ,illustration3 
,,john ,,wight4    ,i ,w   ,,welcom     
,,the ,,wight3 ,,that ,,bringeth ,,svch 
,,light  ,the employment of the ,geneva 
arms as a ,printer's ,mark is confined1 
in this country1 to ,rowland ,hall1 who1
 at the death of ,edward ,,vi41         
accompanied several refugees to ,geneva1
 where he printed the ,psalms1 ,bible1  
and other works of a more or less       
religious character2 his books range    
from #aeei to #aefc1 and about two dozen
 are known to bibliographers1 and half  
of this number are in the ,british      
,museum4 ,his ,mark has a double        
interest2 first1 from his residence in  
,geneva1 and secondly from the fact that

 the sign of his shop1 8,the ,half      
,eagle and ,key10 was a still further   
acknowledgment of the protection which  
he enjoyed in ,geneva4 ,this was not his
 only ,mark1 but it is the only one to  
which we need refer4 ,the name of       
,richard ,tottell1 #aeec-ig1 is much    
better remembered in connection with the
 epoch-making little book1 8,songes and 
,sonettes10 #aeeg1 the first miscellany 
of ,english verse1 than either of the   
other seventy or eighty publications    
which bear his imprint4 ,his shop was in
 ,fleet ,street at the sign of the ,hand
 and ,star1 the same idea serving him as
 a ,mark3 the hand and star in a circle1
 with a scroll on either side having the
 words 8cum privilegio10 the whole being
 placed under an arch supported by      
columns ornamented in the ,etruscan     
style4 ,one of the most curious of the  
large number of books which came from   
the press of ,henry ,bynneman1 #aefg-hg1
 is 8,the ,mariners boke1 containing    
godly and necessary orders and prayers1 

to be observed in every ship1 both for  
mariners and all other whatsoever they  
be that shall travaile on the sea1 for  
their voyage10 #aege2 a still more      
curious production of his press has the 
following title1 8,of ghostes and       
spirites walkyng by night1 and strange  
noyes1 crackes and sundry fore          
warnynges1 which commonly happen before 
the death of men1 great slaughters1 and 
alterations of kyngdomes10 #aegb4       
,bynneman had served with ,reynold      
,wolfe1 and when he started in business 
on his own account met with much        
encouragement from ,archbishop ,parker1 
who allowed him to have a shop or shed  
at the north-west door of ,st4 ,paul's4 
,he appears to have had two ,marks1 one 
of which was derived from the sign of   
his shop1 8,the ,mermaid10 with the     
motto1 8,omnia tempus habent10 and the  
other 7here reproduced7 of a doe        
passant1 and the motto1 8,cerva         
charissima et gratissimus hinnulus pro40
 ,thomas ,woodcock1 #aegf-id1 who dwelt 

at the sign of the ,black ,bear1 in ,st4
 ,paul's ,churchyard1 was a bookseller  
rather than a printer2 his ,mark is an  
evident double pun on his surname4      
,illustration3 ,,rowland ,,hall4        
,,post ,,tenebras ,,lvx                 
,illustration3 ,,henry ,,bynneman4      
,,cerva ,,charissima ,,et ,,gratissimvs 
,,hinnvlvs ,,pro    ,illustration3      
,,thomas ,,woodcock4    ,,cantabo       
,,iehov ,,qvia ,,benefecit  ,during the 
last years of the sixteenth century1 and
 the first three decades of the         
seventeenth1 there were two ,jaggards   
among the ,london printers2 by far the  
better known is ,isaac1 who1 with       
,edward ,blount1 issued the first folio 
edition of ,shakespeare's plays2 he     
seems to have had no ,mark1 but         
,william1 #aeie-afbd1 used the rather   
striking device 7page #hh71 which is    
thus described3 ,serpent biting his     
tail1 coiled twice round the wrist of a 
hand issuing from the clouds and holding
 a wand from which springs two laurel   

branches1 and which is surmounted by a  
portcullis 7the ,westminster ,arms72 in 
the last coil of the serpent the word   
8,prudentia40 ,equally distinct is the  
mark of ,felix ,kingston1 or ,kyngston1 
who printed a very large number of books
 from #aeig to #afdj2 in this device we 
have the sun shining on the ,parnassus1 
and a laurel tree between the two       
conical hills1 with a sunflower and a   
pansy on either side4    ,illustration3 
,,william ,,jaggard4    ,,prvdentia     
,the ,mark of ,william ,norton1         
#aegj-ic1 whose shop was at the ,king's 
,arms1 ,st4 ,paul's ,churchyard1 was in 
a double sense a pun on his name1       
consisting as it did of a representation
 of a ,sweet-,william growing through a 
tun inscribed with the letters 8,,nor02 
and something of the same kind may be   
said of that employed by ,richard       
,harrison1 #aeeb-fb1 whose ,mark is     
described by ,camden as 8an ,hare by a  
sheafe of ,rye in the ,sun1 for         
,harrison40 ,in this connection we may  

also here refer to the ,mark employed by
 ,gerard 7or ,gerald7 ,dewes1 #aefb-hg1 
whose shop was at the sign of the ,swan 
in ,st4 ,paul's ,churchyard2 this is    
described by ,camden thus3 8and if you  
require more i4e4 in reference to the   
prevailing taste for picture-writing    
such as the designs of ,norton and      
,dewes ,i refer you to the witty        
inventions of some ,londoners2 but that 
for ,garret ,dewes is most remarkable1  
two in a garret casting ,dewes at dice40
 ,in the same category also may be      
included the ,mark of ,christopher and  
,robert ,barker1 the ,queen's ,printers1
 who used a design of a man barking     
timber1 with the couplet    8,a ,barker 
if you will1   ,in name but not in      
skill40  ,from these and many other     
instances which might be cited1 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 printers1 and the subject        

therefore need not be further pursued4  
,illustration3 ,,felix ,,kingston4      
,,parnasso ,,et ,,apolline ,,digna      
,illustration3 ,,thomas ,,creede4    ,t 
,c   ,,viressit ,,vvlnere ,,veritas     
,the natural result1 moreover1 of this  
decline was1 in the following century1  
followed by what practically amounts to 
extinction2 and the few exceptions to   
which we shall refer1 and which are to  
some extent selected at random1 prove   
the truth of that theory4 ,thomas       
,creede1 #aehh-afah1 whose shop was at  
the sign of the ,catherine ,wheel1 near 
the ,old ,swan in ,thames ,street1 was  
one of the prolific printers of the     
period1 and his most common ,mark is a  
personification of ,truth1 with a hand  
issuing from the clouds striking on her 
back with a rod1 and encircled with the 
motto1 8,veritas virescit vulnere40     
,among the numerous books which he      
printed was ,henry ,butte's 8,digets    
,dry ,dinner10 #aeii1 for ,william      
,wood1 a bookseller whose shop was at   

the sign of ,time1 ,st4 ,paul's         
,churchyard1 and whose ,mark was an     
almost exact copy of one employed by    
,conrad ,bade1 a sixteenth century      
printer of ,paris and ,geneva 7who had  
apparently adopted his from that of     
,knoblouch of ,strassburg1 which we give
 on another page73 it represents a      
winged figure of ,time helping a naked  
woman out of what appears to be a cave1 
with the motto1 8,tempore patet occulata
 veritas02 this ,mark follows the       
introductory matter in the above-named  
work4 ,making a leap of over half a     
century1 we come across another         
ambitious ,mark1 which in the present   
instance served the additional purpose  
of a frontispiece2 it was employed by   
,john ,allen of the ,rising ,sun1 ,st4  
,paul's ,churchyard1 and is dated #afef2
 it is rather a fine device of the sun  
rising behind the hills1 with a         
cathedral on the left-hand side1 and the
 inscription 8,ipswiche0 and a          
coat-of-arms1 apparently of that city4  

,although not exactly a printer's or    
publisher's ,mark1 the charming little  
plate1 engraved by ,clark1 which ,john  
,walthoe1 ,jr41 inserted on the         
title-page of 8,the ,hive3 a collection 
of the most celebrated ,songs10 #agbd1  
is sufficiently near it to be worth     
reproducing here4 ,t4 ,cox1 a bookseller
 of 8,the ,lamb10 under the ,royal      
,exchange1 ,cornhill1 was fortunate     
enough to have a ,mark 7see page #df71  
in which ,john ,pine is seen at his     
best3 ,cox was not only an eminent      
bookseller1 but was also an             
exchange-broker4 ,of much less delicate 
workmanship1 but appropriate            
nevertheless1 is the ,mark which we find
 on the title-pages of the books printed
 for ,r4 ,ware1 at the ,bible and ,sun  
in ,warwick ,lane1 one of whose books1  
,dr4 ,warren's 8,impartial ,churchman10 
#agbh1 contains at the end of the first 
chapter another ,mark1 an exceedingly   
rough sketch of a printing-office1 with 
the motto1 8vitam mortuis reddo40 ,on   

books intended more or less for         
particular schools1 the ,printer's ,mark
 usually takes the shape of the arms of 
the schools themselves1 as in the case  
of ,westminster and ,eton2 and the same 
may be said of books printed at ,oxford 
and ,cambridge1 in the former case a    
very fine view of the ,sheldonian       
,theatre usually appearing on the       
title-page of books printed there4 ,john
 ,scolar is an interesting figure among 
the very early printers of ,oxford1 and 
from #aeah he was the official printer  
of the ,university2 in one of the books 
he issued there is cited an edict of the
 ,chancellor1 under his official seal1  
enjoining that for a period of seven    
years to come1 no person should venture 
to print that work1 or even to sell     
copies of it elsewhere printed within   
,oxford and its precincts1 under pain of
 forfeiting the copies1 and paying a    
fine of five pounds sterling1 and other 
penalties4 ,scolar's ,mark is one of the
 very few in which a book appears4 ,john

 ,siberch1 the first ,cambridge printer1
 apparently had two ,marks1 one of      
which--the ,royal ,arms1 which was the  
sign of the house he occupied--appears  
on four of the eight books printed by   
him at ,cambridge in or about #aeba2 of 
the second we give a facsimile from his 
first book1 ,galen1 8,de                
,temperamentis40 ,the ,mark of the      
majority of eighteenth century          
booksellers and printers consisted of a 
monogram formed either with their       
initials or names4 ,during a portion of 
his career ,jacob ,tonson used a bust of
 what purported to be ,shakespeare1     
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 sign1     
8,the ,shakespeare's ,head40            
,illustration3 ,,john ,,walthoe4        
,,sparsa ,,coegi4    ,illustration3 ,r4 
,,ware4    ,illustration3 ,,john        
,,scolar4    veritas ,liberavit ,bonitas
 ,regnauit    ,illustration3 ,,john     

,,siberch4    ,i ,s  ,the earliest      
,printers' ,marks of ,scottish printers 
are not of the first importance1 but    
they are sufficiently interesting to    
merit notice4 ,walter ,chepman and      
,andro ,myllar were granted a patent for
 the erection of a printing-press at    
,edinburgh on ,september #ae1 #aejg1 the
 former finding the money and the latter
 the knowledge4 ,each had his           
distinctive ,mark1 both of which are of 
,french origin--a theory which is easily
 proved so far as ,myllar's is concerned
 from the fact that it displays two     
small shields at the top corners1 each  
charged with the fleur-de-lys4 ,myllar's
 device1 in which we see a windmill with
 a miller ascending the outside ladder1 
carrying a sack of grain on his back1 is
 an obvious pun on his name1 and was1   
perhaps1 suggested by the ,mark of      
,jehan ,moulin1 ,paris4 ,chepman's is a 
very close copy of that of ,pigouchet1  
,paris1 the male and female figures     
being carefully copied even to the small

 crosses on their knees2 the initials ,w
 ,c are elegantly interlaced4 ,thomas   
,davidson is a very interesting figure  
in the early history of ,scottish       
typography2 he appears to have been the 
first king's printer of his country1 and
 one of his earliest works is 8,ad      
,serenissimum ,scotorum ,regem ,jacobum 
,quintum de suscepto ,regni ,regimine a 
diis feliciter ominato ,strena10 circa  
#aebe2 about ten years later came a     
translation of the 8,chronicles of      
,scotland10 compiled by ,boece1 and     
8translatit be maister ,johne           
,bellenden20 ,davidson's ,mark is of the
 same character as ,chepman's1 but is1  
if possible1 even more roughly drawn and
 engraved2 whilst ,bassandyne copied the
 device of ,crespin of ,geneva1 with the
 initials ,t4 ,b4 instead ,i4 ,c4       
,arbuthnot's device of the ,pelican1    
which he used in two sizes1 and the     
,marks of ,thomas ,vautrollier1 have    
been already referred to4 ,coming down  
to the last twenty years of the         

sixteenth century1 we find the few books
 of ,henry ,charteris of considerable   
and varied interest1 and his ,mark1 if  
by no means carefully drawn and         
engraved1 has at all events the merit of
 being fairly original4                 
,illustration3 ,,andro ,,myllar4        
,androv myllar    ,illustration3        
,,walter ,,chepman4    ,w ,c   ,walterus
 chepman    ,illustration3 ,,thomas     
,,davidson4    ,t ,d   ,,thomas ,,da4   
,illustration3 ,h4 ,,charteris4         
,,ivstitia4 ,,religio4   ,,svvm ,,cviqve
 ,,devm ,,cole   ,,his ,,svffvlta       
,,dvrant4   ,h ,c       ,decoration     
,,some ,,french ,,printers' ,,marks4    
,illustration3 ,f4 ,,estienne4          
,plus olei qum vini4  ,it is rather a   
curious fact1 all things considered1    
that the introduction of the            
printing-press into ,paris should have  
only antedated its appearance in this   
country by four years2 such however is  
the case4 ,it was at the commencement of
 the year #adgj1 the tenth of the reign 

of ,louis ,,xi41 that ,ulrich ,gering1  
,martin ,krantz1 and ,michel ,friburger 
commenced printing in one of the rooms  
of the ,college ,sorbonne4 ,they had    
learnt their art at ,mayence1 and at the
 dispersal of the office of ,fust and   
,schoeffer had settled down at ,basel4  
,they were induced to take up their     
residence at the ,sorbonne by ,jean     
,heinlin and ,guillaume ,fichet1 two    
distinguished professors of that place4 
,the first book printed at ,paris was   
the 8,letters0 of ,gasparin of ,bergamo1
 #adgj1 which contains the following    
quatrain at the end of the work3        
8,primos ecce libros quos hc industria  
finxit   ,francorum in terris dibus     
atque tuis2   ,michael1 ,udalrichus1    
,martinusque magister   ,hos            
impresserunt1 ac facient alios40  ,by   
the end of #adgb the three companions   
had issued thirty works1 apparently     
without indulging in the luxury of a    
,mark1 but their patrons separating they
 had to leave the ,sorbonne4 ,their new 

quarters were at the sign of the        
8,soleil d',or0 in the ,rue ,st4        
,jacques--the ,paternoster ,row of      
,paris4 ,here they remained until #adgg1
 when ,gering was the sole proprietor4  
,he was joined in #adhj by ,george      
,mainyal1 and in #adid by ,bertholt     
,rembolt1 and died in ,august1 #aeaj4   
,within thirty years of the introduction
 of printing into ,paris1 there were    
nearly ninety printers1 who issued      
nearly #hjj works between #adgj and     
#aejj4 ,rembolt1 who succeeded ,gering  
and preserved the sign of his office1   
was one of the earliest1 if not the     
first to adopt a ,mark1 of which indeed 
he used four more or less distinct      
examples4 ,we reproduce one of the      
rarest2 his best known is a highly      
decorative picture1 and has a shield    
7carrying a cross with the initials ,b4 
,r4 in the lower half of the circle     
which envelopes the foot of the cross7  
suspended from a vine tree and supported
 by two lions4 ,of this ,mark there are 

at least two sizes2 another of his      
,marks consisted of an enlarged form of 
the cross to which we have referred4    
,illustration3 ,b4 ,,rembolt4           
,,berchtoldvs ,r  ,after ,rembolt1 the  
interest of the ,printer's ,mark in     
,france diverges into a number of       
directions4 ,the most prolific printer  
was1 perhaps1 ,antoine ,vrard1 who1     
dying in #aecj1 issued books            
continuously for about forty-five years3
 he was also a calligrapher1 an         
illuminator1 and a bookseller2 his      
,books of ,hours led the way for the    
beautiful productions of ,simon ,vostre1
 whilst his chief 8line0 consisted of   
romances1 of which there are over a     
hundred printed on vellum and ornamented
 with beautiful miniatures4 ,he had two 
,marks1 one of which1 consisting simply 
of the two letters ,a4 ,v41 is          
accompanied by the lines3    8,pour     
proquer la grand' misricorde1   ,a tous 
pescheurs faire grce et pardon1         
,antoine ,vrard humblement te recorde40 

,of the second we give an example on p4 
#ba4 ,among his publications may be     
mentioned 8,l',art de bien ,mourir10    
#adib1 which ,gilles ,couteau and ,j4   
,menard printed for him1 whilst the     
punning ,mark of the former is          
reproduced in our first chapter 7p4 #d74
 ,franois ,regnault1 who printed a large
 number of books during the first half  
of the sixteenth century1 had six       
,marks1 chiefly variations on the one   
here given4 ,he usually placed at the   
bottom of his books3 8,parissis1 ex     
officin honesti viri ,francissi         
,regnault02 the accompanying reduced    
facsimile of one of his title-pages     
indicates the prominent position        
allotted at this early period to the    
printer's ,mark4 ,a very remarkable and 
elaborate ,mark of this family of       
printers was that of ,pierre ,regnault1 
who was putting forth books during      
nearly the whole of the first half of   
the sixteenth century4 ,the ,marchant   
family existed in ,paris as printers for

 over #cjj years 7#adha-aghi74 ,the     
first of the line1 ,guy1 or ,guyot1 who 
printed books for ,jehan ,petit1        
,geoffrey ,de ,marnef1 and others1 had  
as ,mark four variations of the chant   
gaillard represented by two notes1 sol1 
la1 with one faith represented by two   
hands joined1 in allusion to the words1 
8,sola fides sufficit10 taken from the  
hymn1 8,pange lingua40 ,beneath his     
,mark he placed the figures of ,saints  
,crispin and ,crispinian1 patrons of the
 leather-dressers who prepared the      
leather for the binder1 in which        
capacity ,marchant acted on several     
occasions for ,francis ,i4 ,as was the  
case with his contemporaries1           
,marchant's earliest books possessed no 
mark1 and one of the first of the       
publications in which it appeared was   
the 8,compost et ,calendrier des        
,bergiers10 #adif4 ,the ,de ,marnef     
family also make a big show in the      
annals of ,french typography1           
particularly in the way of ,marks1 the  

various members using1 between #adha and
 #aeed1 nearly thirty examples1         
including duplicates1 several of which  
were designed by ,geoffrey ,tory4       
,nearly all these ,marks had the subject
 of the ,pelican feeding her young as a 
centre piece4 ,jerome1 however1 used a  
,griffin among his several other        
examples1 of which the two finest of the
 whole series are those numbered #gdf   
and #hab in ,silvestre1 and are the work
 of ,jean ,cousin at his best4 ,the     
founder of the family1 ,geoffrey1 used  
the accompanying device in two sizes4   
,the ,janot family1 of which the        
founder1 ,denys1 was the most           
celebrated1 were issuing books in ,paris
 from the end of the fifteenth to the   
middle of the eighteenth century1 and   
the more noticeable of their ,marks     
contained the device3 8,amor ,dei omnia 
vincit--amour partout1 tout par amour1  
partout amour1 en tout bien0 7see p4    
#ae74 ,the ,mac family1 which makes a   
good show with eleven ,marks1 was also a

 long-lived one of over #bjj years1 many
 of the members residing at ,caen1      
,rennes1 and ,rouen1 besides ,paris4    
,the same may be said to some extent of 
the ,dupr or ,du ,pr family1 #adhf-agge2
 the two first1 ,jean or ,jehan and     
,galliot1 were the most celebrated4 ,of 
the dozen ,marks employed by this       
family1 the most original1 it being the 
evident pun on his name1 has a ,galiote1
 at the head of the mast of which is the
 motto1 8,vogue la ,guallee10 or        
sometimes 8,vogue la ,gualee0 7see p4   
#e74 ,jehan ,du ,pr the ,lyons printer1 
used the accompanying ,mark formed of   
his initials4 ,the first as well as the 
most noted member of the ,le ,rouge     
family of printers was ,pierre1 who     
resided at ,chablis1 ,troyes1 and       
,paris1 and who was the first to take   
the title of 8,libraire-,imprimeur du   
,roi10 ceded to him by ,charles ,,viii41
 and used in 8,la ,mer des ,histoires10 
#adhh4 ,appropriately enough1 ,michel   
,le ,noir1 whose motto we have already  

quoted1 may be here referred to4 ,he    
issued a large number of books1 the most
 notable1 perhaps1 being 8,le ,roman de 
la ,rose10 #aeac4 ,he was succeeded by  
his son ,philippe in #aead1 one of whose
 most noticeable publications was 8,le  
,blazon des ,hrtiques0 7a satirical     
piece attributed to ,pierre ,gringoire71
 the figure or effigy at the head is    
signed with the monogram of ,g4 ,tory4  
,the five ,marks of father and son      
differed only in minor details1 and the 
above example of ,philippe will         
sufficiently indicate the character of  
the others4 ,philippe ,pigouchet1 who   
was an engraver as well as a bookseller 
and printer1 contented himself          
apparently with one ,mark4 ,he is       
distinguished for the extreme care with 
which he turned out his books1          
particularly the ,books of ,hours which 
he undertook to produce in partnership  
with ,simon ,vostre2 some of his works  
are freely copied by the publishers of  
to-day1 and might with advantage be even

 more generally utilized than they are1 
for they possess all the attributes of  
beautiful books4 ,thielman ,kerver1 a   
,german1 was another printer who worked 
for ,simon ,vostre1 one of his most     
important productions being a           
8,breviarium ad usum ,ecclesi           
,parisiensis10 #aejj1 in red and black4 
,his shop was on the ,pont ,st4 ,michel1
 at the sign of the ,unicorn1 which1 as 
will be seen1 he adopted as his ,mark1  
and of which there are two1 which differ
 from one another only in minor details4
 ,of ,simon ,vostre himself1 a whole    
book might be compiled4 ,from about     
#adhh to #aebh he devoted himself       
exclusively to the publishing of books1 
and employed all the best printers3 it  
was by his energy combined with         
,pigouchet's technical skill that the   
two produced1 in ,april1 #adhh1 the     
8,heures  l',usaige de ,rome10 an octavo
 finely decorated with ornaments and    
figures2 the experiment was a complete  
success4 ,it is generally assumed that  

the engraving was done in relief on     
metal1 as the line in it is very fine1  
the background stippled1 and the borders
 without scratches3 wood could not have 
resisted the force of the impression1   
the reliefs would have been crushed1 the
 borders rubbed and badly adjusted4 ,the
 artistic connection of ,pigouchet and  
,vostre lasted for eighteen years1 and  
with them book production in ,france may
 be said to have attained its highest   
point4 ,by the year #aebj ,vostre had   
published more than #cjj editions of the
 8,hours0 for the use of different      
cities2 he had two ,marks1 of which we  
give the larger example on p4 #ajc4     
,illustration3 ,,simon ,,vostre4    ,s  
,v   ,,simon ,,vostre    ,illustration3 
,,fran,,ois ,,regnault4    ,le premier  
volume   de la toison dor4    ,compose  
par reuerend pere en dieu guillaume par 
la permission diuine iadis euesque de   
,tournay_/ ab-   be de sainct ,bertin et
 chancellier de lordre de la ,thoi   son
 dor du bon duc ,philippe de bourgongne 

,auquel   soubz les vertus de           
magnanimite et iustice apparte-   nans a
 lestat de noblesse sont contenus les   
haulx ver-   tueux et magnanimes faictz 
tant des tres chrestiennes   maisons de 
france_/ bourgongne et flandres que dau-
   tres roys et princes de lancien et   
nouueau testament   nouuellement imprime
 a ,paris4    ,cum priuilegio    ,f ,r  
,,francoys ,,regnavlt     ,ilz se       
vendent a ,paris en la rue sainct       
,iaques a lenseigne sainct ,claude4     
,illustration3 ,,pierre ,,regnault4     
,p ,r   ,,concordia ,,parve ,,res       
,,crescvnt   ,,discordia ,,magne        
,,dilabvntvr   ,,petrvs ,,regnavlt      
,illustration3 ,,guy ,,marchant4        
,fides ,ficit    ,illustration3 ,,de    
,,marnef4    ,le pellic   ,e ,i ,g   ,de
 marnef    ,illustration3 ,j4 ,,du ,,pr4
    ,i ,p    ,illustration3 ,,pierre    
,,le ,,rouge4    4,p4 le ,rouge         
,illustration3 ,,philippe ,,le ,,noir4  
,p ,n   ,,philippe ,,le ,,noir          
,illustration3 ,,thielman ,,kerver4     

,t ,k   ,,thielman ,,kerver  ,in many   
respects ,jean or ,jehan ,petit is one  
of the most remarkable of the early     
,french printers1 whilst from the time  
he started to the final extinction of   
his descendants as printers covers a    
space of #ccf years--a record which is  
probably unrivalled in the history of   
typography4 ,jehan ,petit kept fifteen  
presses fully employed1 and found a     
great deal of work for fifteen others4  
,the family as a whole makes a good show
 with their marks1 in which the founder 
is more extravagant than any of the     
others1 having used1 at one time or     
another1 at least half-a-dozen more or  
less different examples4 ,in addition to
 reproducing one of the finest1 we give1
 on p4 #i1 also a reduced facsimile of a
 title-page of a book1 the joint venture
 of ,petit and ,kerver2 the combination 
of the two names on one title-page is   
distinctly novel and curious4 ,he was on
 several occasions associated with      
others in producing a book1 his         

connection with ,josse ,bade extending  
from #aeja to #aecf4 ,of ,bade or       
,badius it will be necessary to give a  
few particulars4 ,he was born at ,asche1
 near ,brussels1 and was a scholar and a
 poet as well as a printer4 ,about      
#adie-g he was engaged as a corrector of
 the press for ,treschel and ,de ,vingle
 at ,lyons4 ,he left about #aejj for    
,paris1 where he started a press in     
#aejb1 which he called 8,prelum         
,ascensianum40 ,in reference to this    
term1 8the ,ascension ,press10 the word 
8prelum0 was applied to the ancient wine
 presses1 after which1 in fact1 the     
earliest printing presses were modelled4
 ,his ,mark1 which he first used in     
#aejg1 is the earliest picture of a     
printing-press4 ,thirteen years after1  
he adopted another device with the same 
subject1 but differing in many important
 particulars4 ,in the second1 the       
composing-stick used by the figure in   
the act of setting type is changed from 
the right to the left hand2 the press   

shows improved mechanical construction1 
indicating greater solidity and         
strength4 ,in the latter example also   
the figure sitting at the case on the   
right side of the engraving is intended 
to represent a woman1 instead of a man  
as in the earlier illustration4         
,contemporary with both ,petit and      
,bade1 ,gilles or ,gillet ,hardouyn1    
#adia-aeba1 was both a printer and a    
bookseller1 and used two ,marks1 of     
which we give the more striking4        
,germain ,hardouyn1 possibly a son of   
the preceding1 confined himself more    
particularly to selling books during the
 first forty years of the sixteenth     
century4    ,illustration3 ,,philippe   
,,pigouchet4    pp4   ,,philippe        
,,pigovchet    ,illustration3 ,,jehan   
,,petit4    ,i ,p   ,,iehan ,,petit     
,illustration3 ,j4 ,,bade4    ,prel     
,ascsian   ,i ,b    ,illustration3      
,,gillet ,,hardouyn4    ,illustration3  
,,geoffrey ,,tory4    ,,non ,,plvs      
,geoffrey ,tory resembled many others of

 the early printers in being also a     
scholar2 but he was also an artist and  
an engraver1 taking up and carrying on  
the great work inaugurated by ,vostre   
and ,vrard4 ,he was born at ,bourges in 
#adhj1 and one of his earliest works1   
which was published by ,petit and       
printed by ,gilles ,de ,gourmont1 was an
 edition of the 8,geography0 of         
,pomponius ,mela1 #aejg1 and between    
this time and his death he produced a   
number of ,books of ,hours1 the         
decoration of which can only be         
described as marvellous4 ,one of the    
most beautiful is undoubtedly the       
8,heures de la ,vierge10 executed for   
,simon ,de ,colines4 ,what interests us 
most1 however1 is the ,mark which he    
adopted when he entered into business as
 a printer and bookseller2 it is perhaps
 the most elegant that had been up to   
that time designed4 ,this ,mark of the  
broken pitcher1 with the motto 8,non    
plus10 first appeared at the end of a   
,latin poem issued in #aebd1 is regarded

 as a memento of the death of his little
 daughter in #aebb1 and is thus         
explained3 the broken pitcher symbolizes
 her career cut short2 the book with    
clasps her literary studies2 the little 
winged figure her soul2 and the motto   
8,non plus10 8,je ne tiens plus  rien40 
,he gives his own interpretation of this
 ,mark1 however1 in that curious medley 
of poetry and philosophy which he called
 8,champfleury10 #aebi4 ,it may be      
mentioned that on some of the bindings  
of his quarto volumes the broken pitcher
 is transversed by the wimble or        
toret--an obvious pun on his name4  ,the
 ,estienne or ,etienne family is        
probably the most important and         
interesting of the sixteenth century    
printers of ,paris4 ,silvestre          
reproduces twenty ,marks which one or   
other of the ,estiennes employed1 and a 
description of these might very well    
form a distinct chapter4 ,but a         
condensed review of the family as a     
whole must suffice4 ,henry1 the first of

 the name and chief of the family1 was  
born at ,paris about #adgj2 he started  
in #aejb a printing and bookselling     
business in the ,rue du ,clos-,bruneau1 
near the ,ecoles de ,droit2 he adopted  
the device1 8,plus olei quam vini02 and 
twenty-eight works are catalogued as    
having been printed by him4 ,he died in 
#aeba1 leaving a widow and three        
children--,franois1 ,robert1 and        
,charles4 ,franois ,i4 continued the    
profession in company with ,simon ,de   
,colines1 who had been associated with  
his father1 and who married the widow of
 ,henry3 his ,mark is given as an       
initial to this chapter4 ,robert ,i41   
the second son of ,henry1 was born in   
#aejc1 and is probably more generally   
known as a ,greek1 ,latin1 and ,hebrew  
scholar than as a printer4 ,for several 
years he1 like his brother1 was         
associated with ,de ,colines2 he married
 ,ptronille1 daughter of ,badius        
8,ascensius10 and was a ,protestant2 in 
#aebf he established a printing-press in

 the ,rue ,st4 ,jean-de-,beauvois at the
 sign of the ,olive4 ,his editions of   
the ,greek and ,latin classics were     
enriched with useful notes1 and promises
 of reward were offered to those who    
pointed out mistakes4 ,he used the types
 of his father and ,de ,colines until   
about #aecb1 when he obtained a more    
elegant fount with which he printed his 
beautiful ,latin ,bible4 ,in #aeeb he   
retired to ,geneva1 when he printed1    
with his brother-in-law1 the ,new       
,testament in ,french4 ,he established  
here another printing-press1 and issued 
a number of good books1 which usually   
carried the motto3 8,oliva ,roberti     
,stephani40 ,his ,marks are at least ten
 in number1 of which seven are          
variations of the ,olive device1 and    
three 7in as many sizes7 of the serpent 
on a rod intertwined with a branch of a 
climbing plant4 ,with the exception of  
,franois the other members of the family
 used the ,olive mark1 sometimes however
 altering the motto1 and adding in some 

instances an overhead decoration of a   
hand issuing from the clouds and holding
 a sickle or reaping hook4 ,he died in  
#aeei4 ,the third son of the founder1   
,charles1 after receiving his diplomas  
as a doctor of medicine1 travelled in   
,germany and ,italy1 returning to ,paris
 in #aeec1 and started in business as a 
printer4 ,among the ninety-two works    
which he printed1 special mention may be
 made of the 8,dictionarium historicum  
ac poeticum1 omnia gentium1 hominum1    
locorum10 etc41 ,paris1 #aeec1 reprinted
 at ,geneva in #aeef1 at ,oxford in     
#afga1 and ,london1 #afhf4 ,he possessed
 the opposite attributes of being the   
best printer and of having the worst    
temper of the family1 and he alienated  
himself from all his friends and        
relations2 he was confined in the       
,chatelet in ,paris1 and died there     
after two years in #aefd4 ,henry ,,ii41 
son of ,robert ,i41 was born in ,paris  
in #aebh2 after leaving college he      
travelled on the continent and visited  

,england4 ,he returned to ,paris in     
#aeeb1 when his father was leaving for  
,geneva4 ,in #aeed he started a         
printing-press2 in #aeff he published a 
translation of ,herodotus by ,valla1    
revised and corrected1 defending1 in the
 preface1 the ,father of ,history       
against the reproach of credulity4      
,charles1 brother of ,robert ,i41       
established a printing-press in #aeea1  
and died crippled with debts in #aefd4  
,robert ,,ii41 second son of ,robert    
,i41 was born in #aecj1 and1 refusing to
 adopt the new religion1 was            
disinherited by his father2 he started a
 printing-press on his own account when 
his father retired to ,geneva1 and      
issued forty-eight books1 some of which 
possessed the mark of the ,olive2 he was
 the royal printer in #aefa1 and died in
 #aege4 ,franois ,,ii41 third son of    
,robert ,i41 printed in ,geneva from    
about #aefb to #aehb4 ,robert ,,iii41   
elder son of ,robert ,,ii41 died in     
#afbi4 ,paul1 son of ,henry ,,ii41 was  

born in #aeff1 and1 after a brilliant   
scholastic career1 travelled on the     
continent1 and started a printing-press 
at ,geneva in #aeii1 where he issued    
twenty-six editions of the classics     
which were particularly notable for     
their correctness and notes4 ,he died in
 #afbg1 and his son ,antoine1 born      
#aeid1 established himself at twenty-six
 years of age as a printer in ,paris1   
reverted to ,roman ,catholicism1 was    
appointed printer to the king and to the
 clergy1 dying at the ,hotel ,dieu in   
#afgd4 ,the number of editions which    
this celebrated family1 starting in     
#aejb and finishing in #afgc1 issued1   
reaches the very large number of #aeij1 
thus classified3 theology1 #bci2        
jurisprudence1 #gi2 science and arts1   
#aeb2 belles lettres1 #hbc2 and history1
 #big4 ,of the eleven members of this   
family1 one died in exile1 five in      
misery1 one in a debtor's prison1 and   
two in the hospital--8,lecteur1 que vous
 faut-il de plus80    ,illustration3    

,,simon ,,de ,,colines4    ,s ,d ,c   ,s
 ,,decolines    ,illustration3 ,r4      
,,estienne4    ,,noli ,,altvm ,,sapere4 
,illustration3 ,,robert ,,estienne4     
,although in ,france1 as elsewhere1 we  
have to look to the printers of the     
fifteenth century for originality and   
decorative beauty1 some exceedingly     
interesting ,marks occur in the         
sixteenth1 and are well worth studying4 
,we have only space for the enumeration 
of a few of the more important4 ,of     
these1 ,pierre ,vidoue comes well in the
 first rank4 ,he was one of the most    
distinguished of the early ,parisian    
,greek typographers1 besides being a    
person of learning and eminence1 and was
 issuing books up to the year #aedd2 his
 edition of ,aristophanes1 #aehb1       
published by ,gilles ,de ,gourmont1 is  
described as 8a singularly curious      
impression10 whilst ten years later he  
printed ,guillaume ,postel's 8,linguarum
 ,,xii4 characteribus differentium      
,alphabetum10 which is described by ,la 

,caille as the 8first book printed in   
oriental character10 a statement1       
however1 which is incorrect so far as   
relates to the ,hebrew4 ,he had at least
 three ,marks1 all more or less similar1
 in one of which1 however1 the motto    
8ardentes juvo10 is supplemented by 8par
 sit fortuna labori40 ,of the six       
,roffets who were printing or publishing
 books in ,paris during the sixteenth   
century1 the most notable is perhaps    
,pierre1 whose name frequently occurs in
 the bookbinding accounts of ,francis   
,i42 of their seven ,marks1 nearly all  
more or less of the same 8rustic0       
character1 the most decorative is that  
of ,jacques 7see p4 #cj74 ,in their     
separate ways1 the ,marks of ,mathurin  
,breuille1 #aefb-hc 7p4 #cc71 and ,louis
 ,cyaneus1 #aebi-df1 each possesses a   
pleasing originality1 the latter of     
which is inscribed with the motto       
8,tecum ,habita40 ,the two ,wchels1     
,andr and ,chrestien1 were among the    
most eminent of the sixteenth century   

,parisian printers1 and between them    
employed over a dozen marks4 ,all those 
of ,andr were variations of one type1   
namely1 two hands holding a caduceus    
between two horns of plenty surmounted  
by ,pegasus4 ,this had also been used by
 ,chrestien1 of whose other ,mark a     
reproduction is here given1 and of which
 there were several variations4         
,regnault ,chaudire's shop was in the   
,rue ,st4 ,jacques1 at the sign of      
8,l'homme ,sauvage10 which he adopted   
for his ,mark3 this he appears to have  
changed for one emblematical of ,time   
when he took his son into partnership1  
and which1 ,maittaire thinks1 he may    
have borrowed of ,simon ,de ,colines1   
whose daughter 7and only child7 he      
married4 ,we give the largest of the    
examples used by ,guillaume ,chaudire1  
#aefd-ih on p4 #bh4 ,sbastien ,nivelle1 
who was working during the latter half  
of the sixteenth century until the third
 year of the seventeenth century1 is a  
very interesting figure in the          

typographical annals of ,paris4 ,he was1
 at the time of his death at the age of 
eighty years1 the doyen of the trade4   
,his books were1 for the most part1     
beautifully printed4 ,his shop was in   
the ,rue ,st4 ,jacques at the sign of   
the ,two ,storks1 which he adopted for  
his exceedingly beautiful ,mark1 the    
four medallions representing scenes of  
filial piety4 ,his daughter was the     
mother of ,sbastien ,cramoisy1          
8typographus regius10 who inherited the 
establishment of his grandfather4 ,of   
the somewhat crudely drawn ,mark--an    
evident pun on his surname--used in or  
about #aejd1 by ,guillaume ,du ,puys1   
the sign of the shop being the          
,samaritan1 a much more decorative      
example was used1 in various sizes1 by  
,jacques ,du ,puys 7p4 #aj71 who was a  
bookseller1 #aedi-ia1 rather than a     
printer4 ,equally fine in another way is
 the tripartite example1 given on page  
#acj1 used by ,guillaume ,merlin in     
partnership with ,guillaume ,desboys and

 ,sbastien ,nivelle1 in #aeei1 and also 
with the latter in #aega4 ,the ,mark is 
the interpretation of the four lines3   
8,veniet tempus meissionis4   ,non      
oderis laboriosa opera4   ,homo nascitur
 ad laborem1   ,vade1 piger1 ad         
formicam40    ,illustration3 ,p4        
,,vidoue4    ,,avdentes ,,ivvo   ,p4    
,,vidov    ,illustration3 ,,louis       
,,cyaneus4    ,illustration3 ,,andr     
,w,,chel4    ,illustration3 ,,chrestien 
,w,,chel4    ,,vnicvm ,,arbvstv ,,non   
,,alit ,,dvos ,,erithagos               
,illustration3 ,s,,bastien ,,nivelle4   
,s ,n   ,,honora ,,patrem ,,tvvm1 ,,et  
,,matrem ,,tvam4   ,,vt ,,sis           
,,long,,vvs ,,svper ,,terram4 ,,exod4   
#bj4  ,on the opposite page we reproduce
 the ,mark ,nivelle used for the books  
which he produced alone4  ,after ,paris1
 the next most important town in        
,france1 so far as printers and their   
,marks are concerned1 is ,lyons4 ,the   
first book printed in this city is      
presumed to be 8,cardinalis ,lotharii   

,tractatus quinque10 8,lugduni1         
,bartholomus ,buyerius10 #adgc 7in      
quarto74 ,the same printer also         
published the first ,french translation 
of the ,bible1 by ,julian ,macho and    
,pierre ,ferget1 which was executed     
between #adgc and #adgd1 from which date
 the art of printing in ,lyons increased
 by leaps and bounds4 ,panzer notices   
over #bej works executed 7by nearly     
forty printers7 here during the quarter 
of a century which followed4 ,the most  
notable among these is perhaps ,josse   
,bade1 to whom we have already referred4
 ,the former of the two 8honestes homes 
,michelet topie de pymont3  ,iaques     
heremberck dalemaigne10 possessed a     
,mark which may be regarded as one of   
the earliest1 if not actually the first1
 employed at ,lyons4 ,topie and         
,heremberk printed the first edition of 
the 8,chronique ,scandaleuse10 about    
#adhh1 and ,breydenbach's 8,voyage      
,jerusalem10 of about the same          
period--the latter of which contains the

 first examples of copper-plate         
engraving in ,france1 the panorama of   
,venice alone being sixty-four inches in
 length4 ,contemporary with these1      
,johannes or ,jehan ,treschel deserves  
notice not only as an eminent printer1  
but also as the father-in-law of one    
still more eminent--,bade4 ,treschel's  
illustrated edition of ,terence1 #adic1 
is described as forming 8the most       
striking and artistic work of           
illustration produced by the early      
,french school40 ,the most generally    
known of all the ,lyonese printers is   
,etienne ,dolet1 who1 born at ,orleans  
in #aeji1 distinguished himself not only
 as a printer1 but as a ,latin scholar1 
a poet1 and an orator2 he was burnt as  
an atheist in ,august1 #aedf4 ,dolet1 as
 ,mr4 ,chancellor ,christie tells us in 
his exhaustive monograph1 adopted a     
,mark and motto which are to be found in
 all or nearly all the productions of   
his press4 ,the ,mark and the motto are 
equally allusive3 the former is an axe  

of the kind known as doloire1 held in a 
hand which is issuing out of a cloud4   
,below is a portion of a trunk of a     
tree2 it is usually surrounded by the   
motto1 8,scabra et impolita ad amussim  
dolo atque perfolia02 it is often also  
surrounded by an ornamental woodcut     
border1 as in the accompanying          
illustration2 and in some cases the     
words 8scabra dolo0 are printed on the  
axe4    ,illustration3 ,,merlin1        
,,desboys ,,and ,,nivelle4    ,,homo    
,,nascitvr ,,ad ,,laborem   ,,vade      
,,piger ,,ad ,,formicam   ,,proveniet   
,,tempvs ,,messionis   ,,non ,,oderis   
,,laboriosa ,,opera    ,illustration3   
,m4 ,,topie4    ,illustration3 ,j4      
,,treschel4    ,i ,t    ,illustration3  
,e4 ,,dolet4  ,two contemporary ,lyonese
 firms of printers1 the ,de ,tournes and
 ,de la ,portes1 appear to have rivalled
 one another in the number of their     
,marks4 ,jean ,de ,tournes1 #aedb-ej1   
himself had no less than eleven ,marks1 
several of which are exceedingly        

graceful1 one of the largest and best of
 which represents a sower1 and serves as
 an excellent pendant to the reaper of  
,jacques ,roffet1 both of which appear  
in our first chapter4 ,the seven or     
eight members of the ,de la ,porte      
family used at least half a score ,marks
 between them4 ,the family1 beginning   
with ,aym ,de la ,porte in the last     
decade of the fifteenth century1 and    
ending with ,sibylle ,de la ,porte1 were
 in business first as printers1 then as 
booksellers1 for just a century2 and the
 punning device apparently originated1  
not with the first member of the family1
 but with ,jehan1 who started a business
 in ,paris about #aejh1 and in his ,mark
 the shield bears a castellated doorway2
 the picture of the biblical ,samson    
carrying off the gates was apparently   
first used by ,hugues ,de la ,porte1 who
 was a bookseller at ,lyons from #aecj2 
this was superseded for the more        
pictorial and considerably smaller      
example1 here given1 when he entered    

into partnership with ,antoine ,vincent 
about #aeei4 ,although the ,du ,prs were
 ,parisian printers1 ,jehan of that     
family issued several books at ,lyons   
during the last few years of the        
fifteenth century1 and one of his three 
,marks is given on p4 #ajh4 ,sbastien   
,gryphe1 or ,gryphius1 who printed and  
published a large number of works during
 the second quarter of the sixteenth    
century1 was also extravagant in the way
 of ,marks1 of which there are at least 
eight1 all1 however1 of one common      
type--the ,griffin1 sometimes quite     
without any sort of decorative          
attributes or motto1 and sometimes as in
 the example here given4                
,illustration3 ,,hugues ,,de ,,la       
,,porte ,,and ,a4 ,,vincent4            
,,libertatem ,,meam ,,mecvm ,,porto     
,,vincenti    ,illustration3 ,s,,bastien
 ,,gryphe4    ,illustration3 ,,jacques  
,,colomies4    ,i ,c   ,,iacqves        
,,colomies  ,so far as regards the      
,french cities and towns1 we have only  

space to refer briefly to a few of the  
more important4 ,after ,paris and       
,lyons1 ,toulouse was one of the        
earliest places in ,france in which a   
printing-press was set up4 ,although not
 the first1 ,jacques ,colomies was one  
of the first1 as he was one of the most 
prolific of the early printers of       
,toulouse1 working from #aecj to #aegb4 
,printing was established at ,caen in   
#adhj2 but ,pierre ,chandelier1 whose   
punning ,mark we give1 did not start    
work until eighty years after its first 
introduction4 ,a punning device 7p4 #g71
 also is that of ,jehan ,lecoq1 who was 
printing at ,troyes from about #aeji to 
#aecj4 ,the only ,rouen printer to whom 
we shall refer is ,martin ,morin1 who   
appears to have been at work here as a  
printer from about #adhd to #aeah1 and  
of his ,marks we give one example2      
another is formed of a large initial ,m1
 decorated with a variety of grotesque  
heads1 with the surname ,morin on the   
two central strokes of the letter4      

,illustration3 ,m4 ,,morin4    ,m ,m    
,,imprime ,a ,,roven ,,devant ,,sainct  
,,lo    ,illustration3 ,,pierre ,,le    
,,chandelier4    ,,lvcernis ,,accensis  
,,fideliter ,,ministro4                 
,decoration  ,,printers' ,,marks ,,of   
,,germany ,,and ,,switzerland4          
,illustration3 ,,jacobi ,,thanner4    i 
t  ,although the early history of the   
,printer's ,mark in ,germany is neither 
extensive in variety nor startling in   
surprises1 there are still very many    
features of general interest4 ,and if   
the ,printer's ,mark1 as we have already
 seen1 had its origin in ,mainz1 its    
development is certainly due to the     
,strassburg craftsmen4 ,as no other city
 in ,germany can show such a varied     
collection of beautiful ,marks1 examples
 of the ,strasburg printers will        
preponderate in this chapter4 ,it is now
 generally accepted that the art of     
printing was carried on in ,strassburg  
7,argentina1 ,argent-oratum71 either in 
#adei or #adfj1 by ,johan ,mentelin1 who

 appears to have continued in the       
business until #adgf2 and about six     
years after he had started1 ,heinrich   
,eggestein commenced1 and continued     
until about #adgh4 ,accepting the       
arrangement of ,herr ,paul ,heitz and   
,dr4 ,karl ,august ,barack in their very
 elaborate 8,elsssische ,bchermarken bis
 ,anfang des #ah4 ,jahrhunderts10 the   
first ,strasburg printer to use a ,mark 
was ,johann ,grninger1 who1 after       
working at ,basel for a year or two1    
took up his residence in ,strassburg at 
the end of #adhb4 ,one of his first     
,marks appeared in ,brant's             
8,narrenschiff10 #adid1 and of this our 
example is an elaboration4 ,by the year 
#aebe he employed no less than five     
distinct examples1 the last of which1 in
 ,ptolemus1 8,geographic ,enarrationes10
 #aebe1 differs completely from all the 
others1 the single letter ,g occupying  
the centre of the masonic compass and   
rule4 ,grninger1 it may be noted1 was   
the printer of 8,cosmographie           

,introductio10 #aeji2 the second edition
 of the famous book in which the name   
,america was proposed and used for the  
first time4 ,he is further noted for the
 number of misprints which occur in the 
books issued by him4 ,the last book     
which bears his imprint is apparently   
8,geberi philosophi ac alchimist maximi1
 de ,alchimia1 libri tres10 ,march1     
#aebi4 ,martin ,schott's distinct device
 is found in at least three books of the
 date #adih1 including ,matheolus' 8,ars
 memorativa10 and was used by him until 
#aeag4 ,it was also used by his son1    
,johann ,schott1 about #aeda1 the same  
printer using seven or eight other      
,marks1 all more or less distinct1 at   
different periods4 ,the first book      
bearing ,martin ,schott's name is dated 
#adia1 and he continued printing until  
#adii2 while his son was in business    
from #aejj to #aede4 ,equally distinct  
is the accompanying example--one of     
several--used by ,johann ,knoblouch1    
which is found in the majority of the   

books printed by him from about #aeba to
 #aebf1 notably several works by        
,erasmus 7e4g4 8,mori ,encomium10 #aebb1
 and the 8,novum ,testamentum10 #aebc74 
,the father started in #adig1 and was   
succeeded by his son1 who continued the 
business until #aeeh4 ,the ,mark1 it may
 be mentioned1 is a somewhat atrocious  
pun on the owner's name1 which is the   
,german for 8garlic10 with the seed pods
 of which the figure emblematically     
representing ,ignorance ascending from  
darkness into light is encircled2 this  
,mark is generally surrounded by mottoes
 in ,greek1 ,hebrew1 and ,latin4        
,illustration3 ,,johann ,,gr,,ninger4   
,,iohannes4 ,,santvs    ,illustration3  
,,martin ,,schott4    ,m ,s             
,illustration3 ,,johann ,,knoblouch4    
,illustration3 ,,reinhard ,,beck4       
,illustration3 ,,reinhard ,,beck4       
,,rb  ,although ,reinhard1 or ,renatus1 
,beck was only in business for about    
eleven years1 #aeaa-aebb1 he had several
 ,marks1 which differed chiefly in their

 extraneous ornament1 as will be seen   
from the accompanying examples4 ,two    
books1 sine nota1 which ,mr4 ,quaritch  
assigns to ,beck's press1 of the date   
#adij1 are remarkable for the large     
number of woodcuts which they contain1  
relating principally to plants1 animals1
 gardening operations1 rural            
architecture1 so that the ,mark of 8ein 
wilder ,mann0 is so far in keeping with 
the nature of his publications4         
,fourteen or fifteen ,marks1 several of 
which are only variations of one type1  
have been identified as having been used
 by ,wolfgang ,kpfel 7whose surname     
sometimes appears in its ,greek         
translation of ,cephalus7 between #aebb 
and #aeed3 the most remarkable1 of which
 we give a reproduction1 appears to have
 been used very rarely1 notably in      
8,zehn ,sermones0 of ,luther1 #aebc2 a  
much commoner type is the smaller       
example1 which appeared in various books
 issued between #aebf-aeed4 ,georg      
,ullricher von ,andlau1 #aebi-cf1       

confined himself to one type 7see p4    
#a71 that of the ,cornucopia or ,horn of
 ,plenty1 of which there are seven      
variants4 ,the more elaborate of the two
 ,marks of ,matthias ,biener1 or        
,apiarius1 #aecc-cf1 appears in         
,oecolampadius' 8,commentarius0 on the  
,prophet ,ezekiel1 #aecd1 and is an     
evident pun on the printer's surname4   
,several of the dozen ,marks used by    
,craft ,mller1 or ,crato ,mylius1       
#aecf-fb1 are exceedingly bold and      
picturesque1 although1 with the         
exception of the ,ceres1 they are all   
variants of the leonine type3 the ,ceres
 was apparently used only in his first  
book1 8,auslegung oder ,postilla des    
heil4 ,zmaragdi10 #aecf4                
,illustration3 ,,wolfgang ,k,,pfel4     
,,estas ,,hyems   ,,prope ,,longe       
,,mors ,,et ,,vita    ,illustration3    
,,wolfgang ,k,,pfel4    ,illustration3  
,,craft ,m,,ller 7,,crato ,,mylius74    
,hostibus haud tergo1 sed forti pectore 
notus4    ,illustration3 ,,matthias     

,,biener 7,,apiarius74      1        4  
,ioan4 #e4    ,vrsus insidians          
esuriens1 princeps impius super         
populum pauperem4 ,thre4 #c4 ,prouerb4  
#bh4    ,quam dulcia faucibus meis      
eloquia tua1   super mel ori meo4 ,psal4
 #aah4    ,omnia probate1 quod bonum    
fuerit tenete4 #a4 ,thess4 #e4          
,illustration3 ,,craft ,m,,ller4        
,alma ,spicifera ,flaua   ,,ceres4   ,ni
 purges  molas non comedes4             
,illustration3 ,,theodosius ,,rihel1    
,,josias ,,rihel 7,,und ,,deren         
,,erben74  ,wendelin ,rihel was the     
founder of one of the longest-lived     
dynasties of ,strassburg printers1 who  
were issuing books from #aece to #afci2 
their eighteen ,marks have all the same 
subject1 a winged figure of ,sophrosyne1
 holding in one hand a rule1 and in the 
other a bridle and halter4 ,of ,thiebold
 ,berger1 who appears to have been in   
business from #aeea-aehd1 very little is
 known1 either of his books or his      
personality2 his ,mark is1 however1     

pretty1 and unique1 so far as           
,strassburg is concerned4 ,lazarus      
,zetzner and his successors1 whose works
 date from #aehf to #afdh1 and whose    
,marks number nearly thirty1 all        
variants of the example here given3 it  
is a bust of ,minerva supported on a    
short square pedestal1 on which is      
inscribed the words 8,scientia          
immutabilis40 ,this family printed a    
large number of works1 from a ,lutheran 
,bible to ,aretini's 8,histori          
,florentin40 ,as an example of a rare   
and distinct ,mark we give one of two   
employed by ,conrad ,scher1 #afjc-ca1   
which was subsequently used by ,johannes
 ,reppius1 also of ,strassburg4         
,curiosity is the only feature of the   
solitary example of ,david ,hauth1      
#afce4    ,illustration3 ,,lazarus      
,,zetzner4    ,,scientia ,,immutabilis  
,illustration3 ,,thiebold ,,berger4     
,,timete ,,dominvm ,,omnes ,,sancti     
,,eivs ,,qvoniam ,,non ,,est ,,inopia   
,,timentibvs ,,evm4 ,,ps3#cd            

,illustration3 ,,conrad ,,scher4        
,prudentia ,firma ,et ,simplex ,spes    
,illustration3 ,,david ,,hauth4         
,illustration3 ,j4 ,r4 ,,dulssecker4    
,,dominus ,,providebit  ,but of all the 
,strassburg printers1 there can be no   
doubt that1 from a strictly pictorial   
point of view1 the ,marks of ,johann    
,reinhold ,dulssecker1 #afif-agcg1 are  
by far the most beautiful4 ,indeed1 in  
many respects they are the most charming
 examples to be found among the devices 
of any time or country4 ,in some        
instances they partake much more of the 
character of a vignette than a          
tradesman's mark4 ,his earliest device  
is composed of his monogram2 and his    
first decorative ,mark is the very      
beautiful little picture of an ,english 
garden1 in the central pathway of which 
occurs his initials4 ,this ,mark appears
 to have been used in only one book1    
8,m4 ,fabii ,quinctiliani ,declamationes
 444 ex recensione ,ulrici ,obrechti10  
#afih4 ,a type of ,mark very frequently 

used by him occurs in ,schilter's       
8,scriptores ,rerum ,germanicarum10     
#agjb1 with his motto of 8,dominus      
providebit10 and of this ,mark we give  
an excessively rare variant on p4 #dg4  
,he had eleven ,marks1 his list includes
 books of all kinds1 in ,latin1 ,german1
 and ,french4    ,illustration3 ,,johann
 ,,reinhold ,,dulssecker4               
,,foecundante ,,deo ,,in ,,varios       
,,producimur ,,usus  ,of the other      
,alsatian printers we have only room to 
refer to two examples4 ,thomas ,anshelm 
7or ,anshelmi ,badensis7 is perhaps the 
most eminent of the early ,hagenau      
printers1 his books dating from #adhh to
 #aebb1 the earliest of which1 however1 
were not printed at this place4 ,his    
,marks all carry the initials ,t ,a ,b1 
the ,hebrew letters in the accompanying 
example representing the name ,jehovah2 
in his most elegant ,mark the same word 
is supported on a scroll by a cherub1   
whilst another cherub is supporting a   
second scroll on which is inscribed the 

word ,jesus in ,greek characters4 ,the  
style and workmanship of this woodcut   
suggest the hand of ,hans ,schaufelein1 
and it is worth noting that in #aeaf    
,anshelm produced 8,doctrina ,vita et   
,passio ,jesu ,christi10 some of the    
illustrations of which were by          
,schaufelein4 ,anshelm issued a large   
number of books1 including the works of 
,pliny1 ,melancthon1 ,erasmus1 ,cicero1 
etc4 ,valentin ,kobian1 #aecb-db1       
inserted an exceedingly original and    
striking ,mark in the edition of        
,erasmus' 8,heroicum ,carmen10 #aecf1   
the ,peacock with one foot on a ,cock   
and the other on a crouching ,lion being
 highly effective4    ,illustration3    
,,thomas ,,anshelm4    ,hebrew      ,t  
,a ,b      ,transcriber's ,note3        
,the superfluous word 8,hebrew0 was     
included to keep the text     display   
from misbehaving4    ,illustration3     
,,valentin ,,kobian4    ,anno ,m4,d4    
,,xxxvi4   mens3      ,septem3    ,non  
,aquil grandi sociatum turgide ,pauum   

' ,galle premes tecum mox ,leo uictus   
erit    ,illustration3 ,a4 ,,ther       
,,hoernen4     ,explicit presens        
vocabulorum   materia4 a perdocto       
eloquentissimo   que viro4 do ,gherardo 
de schueren   ,ccellario ,illustrissimi 
ducis ,cli   uensis ex diuersorum       
terministarum   voluminibus contexta4   
propriisque   eiusdem manibus labore    
ingenti c   scripta ac correcta ,colonie
 per me   ,arnold ther hoen             
diligentissime   impressa4 finita sub   
annis domini4   ,m4cccc4lxxvij4 die     
vltimo mensis   maij4 ,de quo cristo    
marie filio sit   laus et gloria per    
seculorum secula   ,amen4  ,printing had
 not established itself at ,cologne     
until four years later than at          
,strassburg4 ,ulric ,zell1 at the       
dispersal of the ,mainz printers1       
settled himself in this city1 where he  
was printing from about #adfc to nearly 
the end of the fifteenth century4 ,he   
was clearly not an innovator1 for he    
never printed a book in ,german1 and did

 not adopt any of the improvements of   
his confrres who had settled themselves 
in ,italy2 he 8rigidly adhered to the   
severe style of ,schoeffer1 printing all
 his books from three sizes of a rude   
face of a round gothic type40 ,it is not
 to him therefore that we can look for  
anything in the way of ,printers'       
,marks1 the earliest ,cologne printer to
 adopt which was apparently ,arnold     
,ther ,hoernen1 whose colophons1 of     
which we give an example1 were often    
printed in red4 ,his ,mark is a triangle
 of which the two upright sides are     
prolonged with a crosslet2 in the centre
 a star1 and on either side the gothic  
letters ,t ,h1 the whole being on a very
 small shield hanging from a broken     
stump4 ,herman ,bumgart1 one of whose   
books bears the subscription 8,gedruckt 
in ,coelne up den ,alden ,mart tzo dem  
wilden manne10 and who was in ,cologne  
at the latter end of the fifteenth      
century1 has a special interest to us   
from the probability that he was in some

 way connected with the early ,scottish 
printers4    ,illustration3 ,,herman    
,,bumgart4    ,impressum ,colonie super 
antiqu forum in ,siluestri viro4  ,once 
started1 the idea of the ,mark was      
quickly taken up4 ,johann ,koelhoff1    
#adgj-aejj1 the first printer to use    
printed signatures 7in his edition of   
,nyder1 8,preceptorium divin legis10    
#adgb71 came out with a large but       
roughly drawn example1 the arms of      
,cologne1 consisting of a knight's      
helmet1 with peacock feathers1 crest1   
and elaborate mantles1 surmounting a    
shield with the three crowns in chief1  
the rest of the escutcheon blank1 and   
rabbits in the foreground4 ,koelhoff    
7who describes himself 8de ,lubeck07 was
 the printer of the 8,cologne           
,chronicle10 #adii1 and of an edition of
 8,bartholomus de ,proprietatibus       
,rerum10 #adha4 ,several interesting    
,cologne ,marks of the first years of   
the sixteenth century may be noted4 ,for
 instance1 ,eucharius ,cervicornus1     

#aeag-cf1 used a caduceus on an         
ornamented shield1 and printed among    
other books what is believed to be the  
earliest edition of ,maximilianus       
,transylvanus' 8,de ,moluccis ,insulis10
 #aebc1 in which the discoveries of     
,ferdinand ,magellan and the earliest   
circumnavigation of the globe were      
announced4 ,like ,koelhoff1 ,nicolas    
,csar1 or ,kaiser1 who was established  
as a printer at ,cologne in #aeah1 used 
the ,cologne arms as a ,mark1 which is  
sufficiently distinct from the earlier  
example to be quoted here4 ,johann      
,soter1 #aeah-cf1 is another exceedingly
 interesting personality in the early   
history of ,cologne printing4 ,we give  
the more elaborate of the two marks used
 by him and reproduced by ,berjeau3 the 
shield contains the ,rosicrucian triple 
triangle on the threshold of a          
,renaissance door4 ,during the latter   
end of his career at ,cologne1 ,soter   
had also an establishment at ,solingen1 
where he printed 8several works of a    

description which rendered too hazardous
 their publication in the former city40 
,arnold ,birckmann and his successors1  
#aefb-ib1 used the accompanying ,mark of
 a hen under a tree4 ,after ,gnther     
,zainer1 #adfh-gg1 who introduced       
printing into ,augsburg1 the most       
notable typographer of this city is     
perhaps ,erhart ,ratdolt1 to whom       
reference is made in the chapter on     
,italian ,marks4 ,we give the rather    
striking ,mark--a white fleur-de-lis on 
black ground springing from a globe--of 
,erhart ,oglin1 ,augsburg1 #aeje-af1 one
 of whose productions1 by ,conrad       
,reitter1 #aejh1 is remarkable as having
 a series of ,death-,dance pictures2    
,hans ,holbein was eight years of age   
when it appeared1 and was then living in
 his native town of ,augsburg4          
,illustration3 ,,johann ,,koelhoff4    i
 k    ,illustration3 ,,nicholas ,c,,sar4
    ,illustration3 ,j4 ,,soter4         
,illustration3 ,,arnold ,,birckmann4    
,,vtilia ,,semper ,,nova ,,saepivs      

,,profero  ,for typographical purposes  
,switzerland may be regarded as an      
integral portion of ,germany1 and it was
 to ,basle that ,berthold ,rodt of      
,hanau1 one of ,fust's workmen1 is      
assumed to have brought the art about   
the year #adfg4 ,one of the first ,basle
 printers to adopt a ,mark was ,jacobus 
,de ,pfortzheim1 #adhh-aeah1 who used   
two very distinct examples1 of which we 
give the more spirited1 the left shield 
carrying the arms of the city in which  
he was working4 ,it appears for the     
first time in 8,grammatica ,p4          
,francisci nigri ,a4 ,veneti sacerdoti  
oratoris10 etc41 #aejj4 ,the second     
,mark is emblematical of the ,swiss     
warrior4 ,the most eminent of the ,basle
 printers was however ,johann ,froben1  
#adij-aebg1 who numbered among his      
8readers0 such men as ,wolfgang         
,lachner1 ,heiland1 ,musculus1          
,oecolampadius1 and ,erasmus4 ,very few1
 if any1 ,german works were printed by  
him2 the first edition of the ,new      

,testament in ,greek was printed by him 
in #aeaf1 ,erasmus being the editor4    
,froben's device 7to which lengthy      
reference has already been made1 and    
into a discussion of the extremely      
numerous variants of which we need not  
enter here7 led ,erasmus to think that  
his learned friend did indeed unite the 
wisdom of the serpent to the simplicity 
of the dove 7see p4 #dc74 ,two other    
early ,basle printers1 ,michael ,furter1
 #adij-aeag1 and ,nicholas ,lamparter1  
#aeje-ai1 used ,marks one shield of each
 of which carried the arms of ,basle4   
,henricpetri was a celebrated printer of
 ,basle1 #aebc-gh1 and had a ,mark of   
quite a unique character1 representing  
,thor's hammer1 held by a hand issuing  
from the clouds1 striking fire on the   
rock1 while a head1 symbolizing wind1   
blows upon it4 ,to yet another          
distinguished ,basle printer1           
,cratander1 reference is made1 and his  
,mark given1 in the second chapter4     
,illustration3 ,,erhard ,,oglin4    ,e  

,o    ,illustration3 ,,jacobus ,,de     
,,pfortzheim4    ,illustration3         
,,henricpetri4    ,illustration3        
,,wilhelm ,,moritz ,,endter',s          
,,daughter4    ,,omnia ,,lvstrat  ,the  
most famous1 as he was one of the       
earliest1 if not actually the first1    
printers of ,nuremberg1 or ,nrnberg1    
,anthony ,koberger1 does not appear to  
have used a ,mark4 ,indeed1 the         
,printers' ,marks of ,nrnberg generally 
do not make anything like so good a show
 as those of ,cologne and other large   
,german cities4 ,the earliest ,mark of  
all is probably that of ,wilhelm ,moritz
 ,endter's daughter1 which represents a 
rocky landscape1 with a town in the     
background lighted by the sun4 ,endter's
 books1 it may be mentioned1 are        
excessively rare4 ,a much better known  
printer of this place is ,johann        
,weissenburger1 who started here in     
#aejc1 and continued until #aeac1 when  
he removed to ,landshut1 and remained   
there until #aeca4 ,he used the         

accompanying ,mark at both places1--the 
precise signification of the letters ,h 
,h on one side of the globe is not      
known4 ,mr4 ,quaritch describes a book  
of ,jacobus ,locher1 published by this  
printer in #aejf1 which is remarkable as
 containing a number of woodcuts 8which1
 in their style and spirit1 draw the    
book into close connexion with the      
#8,ship of ,fools4'0    ,illustration3  
,j4 ,,weissenburger4    ,illustration3  
,,melchior ,,lotter4    ,m ,l           
,illustration3 ,v4 ,,schumann4    ,v ,s 
,l ,d  ,several of the ,marks of the    
early printers of ,leipzig1 into which  
printing was introduced in #adhj1 are of
 great interest and possess quite a     
character of their own4 ,one of the     
earliest1 for example1 is that of       
,melchior ,lotter1 who issued a large   
number of books from #adia to #aecf4    
,the word 8,lotter0 is equivalent to    
8vagabond0 in ,english1 and the ,mark   
herewith consists of an emblem of a     
mendicant in a half-suppliant posture4  

,melchior ,lotter junior was printing at
 ,wittenberg from #aebj to #aebd1 where 
he printed anonymously the first edition
 of ,luther's ,bible1 with illustrations
 by ,lucas ,cranach1 #aebb1 which an    
enthusiastic bibliopole has described as
 8one of the great works of the world40 
,valentin ,schumann1 #aejb-cd 7and      
probably much later71 is another eminent
 ,leipzig printer1 being the first to   
attempt printing in ,hebrew characters  
in a ,hebrew grammar1 #aebj4 ,the       
initials ,l ,d on his ,mark are taken to
 signify 8,lipsiensis ,demander0 or     
,damander1 a rude ,latinization of      
,schumann which he sometimes used4      
,sufficiently quaint also is the ,mark  
of ,jacobus ,thanner1 #aeja-ba1 which   
forms the initial to the present        
chapter4 ,by #aejj printing had reached 
to ,olmtz1 where ,conrad ,baumgarten was
 issuing until #aejb works chiefly      
levelled against the ,church of ,rome2  
from #aejc to #aeje the same printer had
 established himself in ,breslau1 which 

he again changed for                    
,frankfort-am-,oder1 #aejg-ad1 removing 
again in the latter year to ,leipzig4   
,the ,w on one of the shields of his    
,mark is the initial of ,wratislau1 the 
,polish name of ,breslau1 and the female
 saint on the other shows the arms of   
the town4 ,it appears to be uncertain   
whether printing was introduced into    
,frankfort-am-,main in #aeaa or #aecj2  
but the only ,mark which we need quote  
is that of ,johann ,feyrabendt1 whose   
chief interest to posterity lies in the 
fact that he printed ,jost ,ammon's     
8,knstliche wohlgerissene neu ,figuren  
von allerley ,jagtkunst10 #aeib3 his    
,mark is emblematical of ,fame1 winged1 
blowing a ,german horn1 and enclosed in 
a cartouche4 ,andreas ,wechel was       
printing at ,frankfort from #aegc to    
#aeha1 his ,mark being the well-known   
one of the ,pegasus4 ,although ,jacob   
,stadelberger1 ,heidelberg1 was not by  
any means an eminent printer1 his ,mark 
is well worthy of note3 it consists of  

three shields1 the right of which bears 
the arms of ,bavaria1 the left a lion   
rampant1 the arms of ,heidelberg1 and   
that of the middle is supposed to       
represent the arms of ,zurich4          
,illustration3 ,,conrad ,,baumgarten4   
,w    ,illustration3 ,j4 ,,feyrabend4   
,illustration3 ,l4 ,,guerbin4    ,l ,c  
,illustration3 ,,jacob ,,stadelberger4  
,adam ,steinschawer is said to be the   
printer of the first book issued at     
,geneva1 in #adgi2 soon after him came  
,guerbin1 #adhb1 whose ,mark we give    
after ,bouchot4 ,from about #aecg to    
#aeed ,jehan ,girard1 or ,gerard1 was   
busy printing books here2 the ,mark     
herewith comes from one of ,calvin's    
books1 #aede1 the ,latin motto being    
anglicized thus3 8,i came not to send   
peace1 but a sword10 a very proper motto
 indeed for such an author4 ,girard used
 three other ,marks of this type4 ,the  
position of ,geneva in literature is    
,french rather than ,german1 and this   
also holds good with regard to its      

typographical annals4 ,the accompanying 
,mark of ,jean ,rivery1 ,geneva1        
#aeef-fd1 is distinct of its kind1 and  
is the smaller of the two examples used 
by this printer2 in the larger one1 the 
same motto appears1 but in roman type1  
not italic2 there are also only two     
trees1 both nearly leafless2 the hand   
holding an axe occurs in both examples4 
,many ,french printers1 for various     
reasons1 and at different times1        
8retired0 to ,geneva1 as1 for example1  
the ,estiennes2 the ,marks of several   
,franco-,genevan printers therefore will
 be found dealt with in the previous    
chapter4 ,although printing appears to  
have been introduced into ,zurich in    
#aejh1 books executed at this place     
prior to #aebc are excessively rare4    
,christopherus ,froschover1 #aebc-dh1   
was by far the most eminent and prolific
 of the early ,zurich printers2 to him  
has been attributed the production of   
the first ,english ,bible4 ,his ,mark is
 a punning one1 ,frosch being ,german   

for 8frog20 it is emblematical of a     
gigantic frog ridden by a child under a 
tree1 the 8larger growth0 being         
surrounded by several of the normal     
size4 ,of other ,swiss printers whose   
,marks we reproduce1 but to whom we can 
make no further reference1 are ,nicolas 
,brylinger1 ,basle1 #aecf-fe 7the       
accompanying example is taken from the  
title-page of 8,pantalonis ,henrici1    
,prosopographi ,heroum atque illustrium 
,virorum totius ,germani10 #aefe1 a     
folio of three volumes1 full of         
fancifully drawn portraits1 the same    
portrait being often used for several   
men71 and ,f4 ,le ,preux1 of ,lausanne1 
,morges1 and ,berne4    ,illustration3  
,,jehan ,,girard4    ,,non ,,veni       
,,pacem ,,mittere ,,sed ,,gladivm4      
,illustration3 ,j4 ,,rivery4    ,la     
coigne est ia mise  la racine des       
arbres3   parquoy tout arbre qui ne fait
 pas bon   fruit1 sera coupp  iett au   
feu1 ,mat4 ,,iii4    ,,la ,,coignee     
,,est ,,mise ,a ,,la ,,racine ,,des     

,,arbres ,,parqvov ,,larbre     ,,qui   
,,ne ,,porte ,,cera ,,cope              
,illustration3 ,c4 ,,froschover4        
,,cristof ,,froschower ,,zv ,,zvric     
,illustration3 ,n4 ,,brylinger4         
,illustration3 ,f4 ,,le ,,preux4        
,decoration  ,,some ,,dutch ,,and       
,,flemish ,,printers' ,,marks4          
,illustration3 ,j4 ,,veldener4    velde 
,the introduction of the art of printing
 into the ,low ,countries1 and the rival
 claim of ,coster and ,gutenberg1 have  
proved a highly fruitful source of      
literary quarrels and disputations4 ,it 
is not worth our while to enter1 even   
briefly1 into the merits of the         
arguments either for or against2 and it 
will suffice for our present purpose to 
regard ,johann ,veldener1 #adgc-g1 as   
the first printer4 ,he was probably a   
pupil of ,ulric ,zell1 and1 like many   
others of the early ,netherland         
printers1 he does not appear to have    
remained long at one place4 ,for        
example1 he was at ,louvain from        

#adgc-g1 at ,utrecht #adgh-ha1 and at   
,culemberg1 #adhb-d4 ,his only ,mark    
appears to be that given herewith1 in   
which his name in an abbreviated form   
occurs between the two shields1 on the  
right one of which appears the arms of  
,louvain4 ,his most notable publications
 were two quarto editions of the        
8,speculum0 in the ,dutch language1 one 
of which contained #aaf and the other   
#abh illustrations1 8printed from the   
woodcuts that had been previously used  
in the four notable editions2 to make   
these broad woodcuts1 which had been    
designed for pages in folio1 ,veldener  
cut away the architectural framework    
surrounding each illustration and then  
sawed each block in two pieces40 ,he    
received from the ,university the       
honorary title of ,master of ,printing1 
an honour which was also conferred on   
his more distinguished contemporary1    
,johann of ,westphalia1 #adgd-if1 for   
whom in fact is claimed the priority of 
the introduction of printing into       

,louvain4 ,the first of the large number
 of books produced by the latter is by  
,petrus de ,crescentiis1 8,incipit liber
 rurali cmodor10 #adgd1 its colophon    
being printed in red4 ,the accompanying 
exceedingly curious 8souscription10 with
 portrait of the printer1 is given from 
,lambinet's 8,recherches40 ,thierry     
,martens1 or ,mertens1 or ,martin       
d',alost 7,theodoricus ,martinus71 may  
be regarded either as an early printer  
of ,louvain1 ,antwerp1 or ,alost1 for it
 is stated that he had presses working  
simultaneously at the three places2 but 
,alost has the first claims1 and it is  
said that he was printing here in #adgc1
 although as a matter of fact he was    
only twenty years of age at this period4
 ,he was a distinguished scholar1 and   
the friend of ,barland and ,erasmus1 the
 latter making the following reference  
to the accompanying ,mark1 8l'ancre     
sacre10 in the epitaph he wrote as a    
memorial of his friend3    8,hic        
,theodoricus jaceo1 prognatus ,alosto3  

,ars erat impressis scripta referre     
typis4   ,fratribus1 uxori1 soboli1     
notisque superstes1     ,octavam vegetus
 prterii decadem4   ,anchora sacra      
manet1 grat notissima pubi3             
,christe6 precor nunc sis anchora sacra 
mihi40    ,illustration3 ,,johann ,,of  
,,westphalia4    ,et ego ,johannes      
prenotatus alma in   universitate ,lova-
  niesi residens dig-   num duxi opus   
hoc   insigne immensis   ferme tam      
labori-   bus quam impensis   ad finem  
usque      perductum meo so-   lito     
signo consig-  nando huius in ca-   pite
 libri palam    fieri4    ,illustration3
 ,,theodoric ,,martens4    ,,theodo4    
,,martin4 ,,excvdebat4    ,illustration3
 ,,colard ,,mansion4    ,fait et jmprime
   a bruges par colard   mansion lan et 
jour   dessusdis  ,colard ,mansion1     
#adgd-hd1 the first printer who worked  
at ,bruges1 for an exhaustive account of
 whose connection with ,william ,caxton 
the reader is referred to ,mr4 ,blades's
 monograph1 used several ,marks1 printed

 in red and black1 and similar to the   
example here given4  ,in many respects  
the 8,clercs ou ,frres de la vie        
,commune0 7,fratres vit communis71 who  
were printing at ,brussels from #adgf to
 #adhg1 form one of the most interesting
 features in the early history of       
printing in the ,low ,countries4 ,the   
types which they used resemble very much
 those of ,arnold ,ther ,hoernen1       
,cologne2 and the only book1 8diligentia
 impresse in famosa civitate            
,bruxellen10 to which they put their    
name1 is entitled 8,legend ,sanctorum   
,henrici ,imperatoris et ,kunegundis    
,imperatricis10 etc41 #adhd1 and this is
 their only illustrated book4 8,their   
productions illustrate the stage of     
transition between the ancient scribe   
and printer by showing how naturally one
 succeeded to the other40 ,a full       
bibliographical account of the ,brothers
 will be found in ,m4 ,madden's         
8,lettres d'un ,bibliophile40 ,the ,mark
 here given is reproduced from the      

above-named work3 it consists of an     
,eagle crowned and displayed1 supporting
 a shield with the arms of ,brabant     
quarterly1 with river in bend1 and star4
 ,the first ,deventer printer was       
,richard ,paffroed 7the surname has     
about thirty variations7 in #adgg1 who  
was either a pupil of ,ulric ,zell or   
,ther ,hoernen1 and who continued there 
until the first year of the sixteenth   
century1 and was apparently succeeded by
 his youngest son ,albertus1 who was    
printing there up to about #aecj1 and   
whose ,mark we give4    ,illustration3  
,,the ,,brothers ,,of ,,common ,,life4  
,d vlieghende ,eler zeer hoeghelike     
,metter wapene me ghi hier tuent   ,van 
linte hewpe keyserlike   ,daer ghi uv   
met sijt ghenvent    ,illustration3     
,,albertus ,,paffraej4    ,a ,p         
,,albertvs ,,paffraej  ,so far as ,gouda
 is concerned1 ,gheraert or ,gerard     
,leeu and early printing are synonymous4
 ,he was a native of this place1 and    
established himself here as a printer in

 #adgg and continued up to #adhd1 when  
he removed his presses to ,antwerp1     
where he was printing until the year of 
his death1 #adic4 ,his 8,dialogus       
,creaturarum10 the first edition of     
which appeared in #adhj1 had run into   
over a dozen editions1 in ,latin or     
,dutch1 by the first year of the        
sixteenth century4 ,whilst at ,gouda    
,leeu used several marks1 of which the  
smaller1 given on p4 #ci1 was printed in
 red and black2 at ,antwerp he used a   
much more ambitious example1 consisting 
of the arms of the ,castle of ,antwerp3 
a battlement and a turreted gate1 with  
two smaller ones on either side2 the two
 large flags bear the arms of the       
,german ,empire and of the ,archduke    
,maximilian of ,austria4 ,nicolas ,leeu1
 who was printing at ,antwerp in        
#adhg-h1 was possibly the brother of the
 more famous typographer1 and his ,mark 
consists of the lion 7a pun on his      
surname1 which is equivalent to lion7 in
 a ,gothic window holding two shields1  

with the arms of ,antwerp on the left   
and the monogram of ,gheraert ,leeu on  
the right4 ,like ,leeu and so many of   
the other early ,dutch printers1 the    
first ,delft typographer1 ,jacob        
,jacobzoon ,van der ,meer1 #adgg-hg1    
employed the arms of the town in which  
he printed on his ,mark1 the right      
shield in the present instance carrying 
three water-lily leaves4 ,in #adgg he   
issued an edition of the ,dutch ,bible1 
and three years later the first edition 
of the ,psalter1 8,die ,duytsche        
,souter10 which had been omitted from   
the ,bible4 ,the only other ,delft      
printer to whom we need refer is        
,christian ,snellaert1 #adie-g1 the only
 book to which he has placed both his   
name and his ,mark being 8,theobaldus   
,physiologus de naturis duodecim        
animalium10 #adie4 ,his most remarkable 
production1 however1 is a 8,missale     
secundum ,ordinarium ,trajactense10     
issued about #adig2 this ,mark1 given on
 p4 #ce1 was also used by ,henri ,eckert

 van ,hombergh1 who was printing at     
,antwerp from #aejj to #aeai3 the shield
 carries the arms of ,antwerp2 in the   
arms of ,snellaert this shield is blank1
 and this constitutes the only          
difference between the two ,marks4      
,illustration3 ,,gerard ,,leeu4         
,illustration3 ,,jacob ,,jacobzoon ,,van
 ,,der ,,meer4    delf in hollant       
,illustration3 ,,mathias ,,van ,,der    
,,goes4    ,illustration3 ,r4 ,,van     
,,den ,,dorp4    ,illustration3 ,g4     
,,back4    ,g ,b  ,if it could be proved
 that 8,het boeck van ,tondalus visioen0
 was1 as has been stated1 printed at    
,antwerp in #adgb1 by ,mathias ,van der 
,goes1 the claim of ,antwerp to be      
regarded as the first place in the ,low 
,countries in which printing was        
introduced would be irrefutable4        
,unfortunately there is very little     
doubt but that the date is an error1    
although ,goes is still rightly regarded
 as having introduced printing into     
,antwerp1 where he was issuing books    

from #adhb to about #adid in ,dutch and 
,latin4 ,he had two large ,marks1 one of
 which was a ship1 apparently           
emblematical of ,progress or commercial 
enterprise1 and the other1 a savage     
brandishing a club and bearing arms of  
,brabant1--the latter1 from 8,sermones  
,quatuor ,novissimorum10 #adhg1 is here 
given4 ,rolant ,van den ,dorp1          
#adid-aejj1 whose chief claim to fame is
 that he printed the 8,cronyke van      
,brabant10 folio1 ,antwerp1 #adig1 had  
as his most ambitious ,mark a charming  
picture of ,roland blowing his horn2 on 
one of the shields 7suspended from the  
branch of a tree7 is the arms of        
,antwerp1 which he sometimes used       
separately as his device4               
,contemporaneously with ,van den ,dorp1 
#adic-aejj1 we have ,godefroy ,back1 a  
binder who1 on ,november #ai1 #adib1    
married the widow of ,van der ,goes1 and
 continued the printing-office of his   
predecessor4 ,his house was called the  
,vogehuis1 and had for its sign the     

,birdcage1 which he adopted as his      
,mark2 this he modified several times1  
notably in #adif1 when the monogram of  
,van der ,goes was replaced by his own4 
,in the accompanying example 7apparently
 broken during the printing7 the letter 
,m is surmounted by the ,burgundy       
device--a wand upholding a ,st4         
,andrew's cross4 ,we give also a small  
example of the two other ,marks used by 
this printer4 ,arnoldus ,csaris1        
l',empereur1 or ,de ,keysere1 according 
as his name happened to be spelt in     
,latin1 ,french1 or ,flemish1 is another
 of the early ,antwerp printers whose   
mark is sufficiently distinct to merit  
insertion here4 ,his first book is dated
 #adhj1 8,hermanni de ,petra ,sermones  
super orationem dominicam40 ,michael    
,hellenius1 #aead-cf1 is a printer of   
this city who has a special interest to 
,englishmen from the fact that 8in #aeca
 he printed at ,antwerp an              
anti-,protestant work for ,henry        
,pepwell1 who could find no printer in  

,london with sufficient courage to      
undertake it40 ,hellenius' ,mark is     
emblematical of ,time1 in which the     
figure is standing on clouds1 with a    
sickle in one hand and a serpent coiled 
in a circle on the left4 ,the ,mark of  
,jan ,steels1 ,antwerp 7p4 #ai71        
#aecc-ge1 is regarded by some           
bibliographers as the emblem of an      
altar1 but 8from the entire absence of  
any ritual accessories1 and the         
introduction of incongruous figures     
7which no medival artist would have     
thought of representing71 it would      
appear to be merely a stone table40     
,jacobus ,bellaert1 #adhc-hf1 was the   
first ,haarlem printer1 one of his      
earliest works being 8,dat liden ende   
die passie ons ,heeren ,jesu ,christi10 
which is dated ,december #aj1 #adhc4    
,bellaert's name does not appear in it1 
but his ,mark at the end permits of an  
easy identification1 it being the same  
as that which appears in his ,dutch     
edition of 8,glanvilla de               

,proprietatibus ,rerum10 #adhe3 the arms
 above the ,griffin are those of the    
city of ,haarlem4 ,one of the most      
famous printing localities of the ,low  
,countries was ,leyden 7,lugdunum       
,batavorum71 where the art was practised
 so early as #adhc1 ,heynricus ,henrici1
 #adhc-d1 being one of the earliest1 his
 ,mark carrying two shields1 one of     
which bears the cross keys of ,leyden4  
,the ,pelican is an exceedingly rare    
element in ,dutch and ,flemish          
,printers' ,marks1 one of the very few  
exceptions being that of ,j4            
,destresius1 ,ypres1 #aeec1 the motto on
 the border reading 8,sine sanguinis    
effusione non fit remissio40            
,illustration3 ,,godefroy ,,back4       
,illustration3 ,a4 ,c,,saris4           
,illustration3 ,,michael ,,hillenius4   
,,tempvs4    ,illustration3 ,j4         
,,bellaert4    ,illustration3 ,h4       
,,henrici4    hollan leiden  ,it will be
 convenient to group together in this   
place a few of the more representative  

examples of the ,marks of the ,dutch and
 ,flemish printers of the sixteenth     
century4 ,of ,thomas ,van der ,noot1 who
 was printing at ,brussels from about   
#aejh to #aeag1 there is very little of 
general interest to state1 but his large
 ,mark is well worthy of a place here4  
,picturesque in another way also is the 
,mark of ,j4 ,grapheus1 ,antwerp1       
#aebj-fa2 the example we give is a      
distinct improvement on a very roughly  
drawn ,mark which this printer sometimes
 used1 which is identical in every      
respect to this1 except that it has no  
borders4 ,it is one of the few purely   
pictorial1 as distinct from armorial1   
,marks which we find used at ,antwerp in
 the earlier half of the sixteenth      
century4 ,one of this printer's most    
notable publications is 8,le ,nouueau   
,testament de nostre ,sauflueur ,iesu   
,christ trslate selon le vray text en   
franchois10 #aecb1 a duodecimo of xviii 
and #ced folios1 a rare impression of   
,le ,fvre d',etaples' ,testament as it  

had been issued by ,l',empereur1 in     
#aecj1 who had obtained the licence of  
the ,emperor and the ,inquisition for   
this impression4 ,henri ,van den ,keere1
 a book-seller and printer of ,ghent1   
#aedi-eh1 had four ,marks1 all of which 
resemble more or less closely the rather
 striking and certainly distinct example
 here given4 ,of the ,bruges printers of
 the sixteenth century1 ,huber or       
,hubert ,goltz1 #aefc-gi1 is perhaps the
 most eminent1 not so much on account of
 the typographical phase of his career1 
as because of his works as an author and
 artist4 ,the 8,fasti ,magistratum et   
,triumphorum ,romanorum10 is one of his 
books best known to scholars1 whilst to 
students of numismatics his work on the 
medals from the time of ,julius ,csar to
 that of the ,emperor ,ferdinand1 in    
,latin1 of which a very rare ,french    
edition appeared at ,antwerp in #aefa1  
is well known1 and the original edition 
of his works in this respect is still   
highly esteemed1 although1 as ,brunet   

points out1 ,goltz has suffered a good  
deal in reputation since ,eckel has     
demonstrated that he included a number  
of spurious examples1 whilst some others
 are incorrectly copied4 ,his           
interesting typographical ,mark is given
 on p4 #ea4 ,j4 ,waesberghe1 of ,antwerp
 and ,rotterdam1 had at least three     
,marks1 of which we give the largest    
example1 and all of which are of a      
nautical character1 the centre being    
occupied by a mermaid carrying a horn of
 plenty2 in the smaller example of the  
accompanying ,mark1 the background is   
taken up by a serpent forming a circle4 
,the ,mark of ,m4 ,de ,hamont1 a printer
 and bookseller of ,brussels1 #aefi-gg1 
is worth quoting as one of the very few 
instances in which the subject of ,st4  
,george and the ,dragon is utilized in  
this particular by a printer of the ,low
 ,countries4 ,rutger ,velpius appears to
 have had all the wandering proclivities
 of the early printers2 for instance1 we
 find him at ,louvain from #aeec to     

#aehj1 at ,mons from #aehj to #aehe1 and
 ,brussels from #aehe to #afad3 he had  
three ,marks1 of which we give the      
largest4 ,of the ,liege printers1 we    
have only space to mention ,j4 ,mathi   
,hovii1 whose shop was 8,ad insigne     
,paradisi ,terrestris0 during the latter
 half of the seventeenth century1 and   
whose ,mark is of rather striking       
originality and boldness of design4     
,illustration3 ,,jodocus ,,destresius4  
,illustration3 ,,thomas ,,van ,,der     
,,noot4    ,illustration3 ,j4           
,,grapheus4    ,,charitas      4        
,illustration3 ,,henri ,,van ,,den      
,,keere4    ,anziet thende4   ,van den  
keere4   ,,hvdk    ,illustration3 ,j4   
,,waesberghe4    ,,liter                
,,immortalitate,m ,,pariv,n,t           
,illustration3 ,,michel ,,de ,,hamont4  
,illustration3 ,,rutger ,,velpius4      
,,svb ,,vmbra ,,alarvm ,,tvarvm         
,,protege ,,nos    ,illustration3 ,j4   
,m4 ,,hovii4    ,,cavete   ,i4 ,c4 ,i   
,the two most distinguished names in the

 annals of ,dutch and ,flemish printing 
are unquestionably ,plantin and the     
,elzevirs4 ,a full description of the   
various ,marks used by ,christophe      
,plantin alone would fill a small       
volume1 as the number is not only very  
great1 but the varieties somewhat       
conflicting in their resemblance to one 
another2 all of them1 however1 are      
distinctly traceable to three common    
types4 ,some are engraved by ,godefroid 
,ballain1 ,pierre ,huys1 and other      
distinguished craftsmen4 ,his first     
,mark appeared in the second book which 
he printed1 the 8,flores de ,l4 ,anneo  
,seneca10 #aeee4 ,his second ,mark was  
first used in the following year1 and   
bears the monogram of ,arnaud ,nicola4  
,of each of these examples we give      
reproductions1 as also of the fine      
example designed for ,plantin's         
successors either by ,rubens or by      
,erasme ,quellin1 and engraved by ,jean 
,christophe ,jegher1 #afci1 ,plantin    
having died in #aehi4 ,the most famous  

of all ,plantin's ,marks is of course   
that with the compass and the motto     
8,labor et ,constantia10 which he first 
used in #aeeg4 ,plantin explains in the 
preface to his ,polyglot ,bible the     
signification of this ,mark1 and states 
that the compass is a symbolical        
representation of his device3 the point 
of the compass turning round signifies  
work1 and the stationary point          
constancy4 ,one of the most curious     
combinations of ,printers' ,marks may be
 here alluded to3 in #aegc1 ,plantin1   
,steels and ,nutius projected an edition
 of the 8,decretals10 and the ,mark on  
this is made up of the three used by    
these printers1 and was designed by     
,pierre ,van der ,borcht4               
,illustration3 ,c4 ,,plantin4 7,first   
,mark47    ,,exerce ,,imperia ,,et      
,,ramos ,,compesce ,,flventes           
,illustration3 ,c4 ,,plantin4 7,second  
,mark47    ,,christvs ,,vera ,,vitis    
,illustration3 ,c4 ,,plantin4           
,,labore ,,et ,,constantia   ,i4 ,c4 ,i4

  ,nearly every volume admittedly       
printed by the ,elzevir family possessed
 a ,mark1 of which this family1 from    
,louis1 in #aehc1 to ,daniel1 #afhj1    
used four distinct examples4 ,the       
founder of the dynasty1 ,louis          
7#aehc-afag71 adopted as his sign or    
mark an ,eagle on a cippus with a bundle
 of arrows1 accompanied with the motto1 
8,concordia res parv crescunt0--the     
emblem of the device of the ,batavian   
,republic--and as the year #aeie occurs 
on the primitive type of this ,mark1 it 
might be concluded to date from that    
period4 ,but ,willems points out that no
 book published by ,louis in the years  
#aeie and #aeif carries this ,mark1     
which 7he says7 figures for the first   
time on the ,meursius1 8,ad ,theocriti  
idyllia ,spicelegium10 #aeig4 ,in #afab 
,louis ,elzevir reduced this ,mark1 and 
suppressed the date above mentioned4    
,for some time ,isaac continued the use 
of the sign of his grandfather1 and even
 after #afbj1 when he adopted a new     

,mark--that of the ,sage or ,hermit--he 
did not completely repudiate it4        
,bonaventure and ,abraham scarcely ever 
used it except for their catalogues4    
,illustration3 ,,the ,,sage4    ,,non   
,,solus  ,the second ,mark1 which ,isaac
 7#afag-be7 adopted in #afbj1 it        
occurring for the first time in the     
8,acta ,synodi ,nationalis10 is known as
 the ,solitaire and sometimes as the    
,hermit or ,sage4 ,it represents an elm 
around the trunk of which a vine1       
carrying bunches of grapes1 is twined2  
the ,solitaire and the motto 8,non      
solus40 ,the explanation of this ,mark  
is obvious1 and may be summed up in the 
one word 8,concord20 the solitary       
individual is symbolical of the         
preference of the wise for              
solitude--8,je suis seul en ce lieu tre 
solitaire40 ,this ,mark was the         
principal one of the ,leyden office1 and
 was in constant use from #afbj to      
#agab1 long after the ,elzevirs had     
ceased to print4  ,the third ,elzevir   

,mark consists of a ,palm with the motto
 8,assurgo pressa40 ,it was the ,mark of
 ,erpenius1 professor of oriental       
languages at the ,university of ,leyden1
 who had established a printing-press   
which he superintended himself in his   
own house4 ,at his death the ,elzevirs  
acquired his material1 with the ,mark1  
which occurs on the ,elmacinus1         
8,historia ,saracenica10 and on the     
,syriac ,psalter of #afbe1 on the       
8,meursii arboretum sacrum10 #afdb1 and 
on about seven other volumes4           
,illustration3 ,,the ,,elzevir ,,sphere4
  ,,the ,,spurious ,,sphere4  ,,the     
,,genuine ,,sphere4  ,the fourth        
important ,elzevir ,mark is the ,minerva
 with her attributes1 the breastplate1  
the olive tree1 and the owl1 and the    
motto 8,ne extra solus10 which is from a
 passage in the 8,frogs0 of             
,aristophanes4 ,it was one of the       
principal ,marks of the ,amsterdam      
office1 and was used for the first time 
by ,louis ,elzevir in #afdb4 ,after     

,daniel's death this ,mark became the   
property of ,henry ,wetstein1 who used  
it on some of his books4 ,it was also   
used by ,thiboust at ,paris and         
,theodoric van ,ackersdyck at ,utrecht4 
,in addition to the foregoing1 a number 
of other ,marks were employed by this   
firm of printers1 the most important of 
the minor examples being the ,sphere1   
which occurs for the first time on      
8,sphra ,johannis de ,sacro-,bosco10    
#afbf1 printed by ,bonaventure and      
,abraham2 and from this time to the end 
of the period of the operations of the  
,elzevirs1 the ,sphere and the ,minerva 
appear to have equally shared the honour
 of appearing on their title-pages4     
,among the other ,marks which we must be
 content to enumerate are the following3
 a hand with the device of              
8qvabilitate10 an angel with a book1 and
 a book of music opened1 each of which  
was used occasionally by the first      
,elzevir2 and one in which two hands are
 holding a cornucopia1 of ,isaac2 the   

arms of the ,leyden ,university formed  
also occasionally the ,mark of the      
,elzevirs established in that city4     
,the ,mark of ,guislain ,janssens1 a    
bookseller and printer of ,antwerp1 at  
the end of the sixteenth and beginning  
of the seventeenth century1 is both     
distinct and pretty1 and is worth notice
 if only from the fact that artistic    
examples are by no means common with the
 printers of this city4                 
,illustration3 ,,guislain ,,janssens4   
,,vigilate ,,qvia ,,nescitis ,,diem     
,,neqve ,,horam ,,expergiscere   ,g ,i  
,decoration  ,,printers' ,,marks ,,in   
,,italy ,,and ,,spain4#a                
,illustration3 ,a4 ,,fritag4    ,a ,f   
,the incunabula of ,italy offer very    
little interest so far as regards the   
,marks of their printers1 and the       
adoption of these devices did not become
 at all general until the early years of
 the sixteenth century4 ,conrad         
,sweynheim and ,arnold ,pannartz1 who   
were the first to introduce printing    

from ,germany into ,italy1 first at the 
monastery of ,subiaco1 near ,rome1 in   
#adfe1 and to that city in #adfg1 appear
 to have had no ,mark2 and the same may 
be said of several of their successors4 
,we give the earliest ,roman example    
with which we are acquainted1 namely1   
that of ,sixtus ,riessinger1 and ,george
 ,herolt1 a ,german1 who printed in     
partnership at ,rome in #adha and #adhc4
 ,one of the books produced by this     
partnership was the 8,tractatus         
sollemnis et utilis10 etc41 which       
contains 8full-page figures of the      
,sybils1 fine initials1 and an          
interlaced border to the first page of  
text1 all executed in wood engraving40  
,the next ,roman typographers who used a
 ,mark were1 like ,herolt1 8,almanos0 or
 ,germans1 for as such ,johann ,besicken
 7#adhd-aejf7 and ,martens of ,amsterdam
 describe themselves in the colophon of 
8,mirabilia ,rom10 a #bdmo4 of #fc      
leaves1 #aejj4 ,this work contains ten  
woodcuts1 of which that on 8the reverse 

of leaf #cf has at the bottom the words 
#8,mar' and #8,de ,amstdam' in black    
letters on white scrolls1 and #8,,er'   
immediately beneath the latter1 in white
 letters on a black ground1 showing that
 ,martin of ,amsterdam1 one of the      
printers1 was also the engraver4 ,on the
 woodcut on the reverse of leaf #be     
also1 there is a shield with the        
initials of both printers1 #8,i' and    
#8,m' interlaced1 in both large and     
small letters40 ,andreas ,fritag de     
,argentina 7or ,strassburg71 #adib-if1  
is another early ,roman printer who used
 a ,mark4 ,the four foregoing ,marks are
 given on the authority of ,j4 ,j4      
,audiffredi1 8,catalogus 444 ,romanorum 
,editionum saeculi ,,xvi410 #aghc4      
,among the early sixteenth century      
printers of ,rome1 one of the most      
distinguished was ,zacharias ,kalliergos
 of ,crete1 #aeji-bc1 who had started   
printing at ,venice in #adii1 and of    
whom ,beloe has given an interesting    
account in the fifth volume of his      

8,anecdotes of ,literature40 ,a         
miniature of his device is given at the 
end of this chapter4      ,footnote #a3 
,the reader will find on page #be a     
series of thirty     reduced            
reproductions of ,marks used for the    
most part by the     ,italian printers4 
,these are given after ,orlandi         
78,origine e     ,progressi della       
,stampa10 #agbb7 and ,horne             
78,introduction to the     ,study of    
,bibliography10 #ahad71 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 worked1 or of the  
books which they printed4               
,illustration3 ,,sixtus ,,riessinger4   
,s ,r ,d ,a    ,illustration3 ,j4       
,,besicken4    ,i ,b   ,i ,m            
,illustration3 ,,thierry ,,martens4     
,,de ,,amst,,er,,dam   ,t ,a ,m         
,printing was introduced into ,venice by
 ,johannes de ,spira in #adfi1 and1 as  
showing the extent to which it was      

quickly carried1 ,panzer reckons that up
 to the end of the fifteenth century1 no
 fewer than #ahi printers had           
established themselves here1 and had    
issued close upon #c1jjj works4 ,from   
#adfi to #adhj1 over sixty master       
printers were found within the precincts
 of the city4 ,the first of the superb  
series of early printed books produced  
here is the folio edition of ,cicero1   
8,epistol ad ,familiares10 #adfi1       
although the honour of being the most   
magnificent production appears to be    
equally divided between the ,livy and   
the ,virgil1 #adgj1 executed by ,john of
 ,spira's brother and successor         
,vindelinus4 ,so far as we know1 neither
 of the two brothers1 nor ,nicolas      
,jenson1 #adgj-hh1 many of whose        
beautiful books rivalled the ,de        
,spiras'1 used a ,mark4                 
,illustration3 ,,erhardus ,,ratdolt4    
,erhardi ,ratdolt foelicia conspice     
signa4   ,testata artificem qua valet   
ipse manum4  ,erhardus ,ratdolt may be  

regarded as one of the earliest1 if not 
actually the first ,venetian printer to 
adopt a ,mark4 ,from #adgf to #adgh he  
was in partnership with ,bernardus      
,pictor and ,petrus ,loslein de         
,langencen1 but from the latter year to 
#adhe he was exercising the art alone4  
7,it is not altogether foreign to our   
subject to mention that this firm       
printed the 8,calendar0 of ,john de     
,monteregio1 #adgf1 which has the first 
ornamental title known47 ,in #adhg1     
,ratdolt was at ,augsburg1 and perhaps  
his claims as a printer are ,german     
rather than ,venetian1 but as his best  
work was executed during his sojourn in 
,venice1 it will be more convenient to  
include him in the present chapter4     
,like so many others of the early       
printers1 he regarded his own           
performances with no little             
self-complacency1 for in his colophons  
he describes himself1 8,vir             
solertissimus1 imprimendi arte          
nominatissimus1 artis impressori        

magister apprim famosus1 perpolitus     
opifex1 vir sub orbe notus10 and so     
forth4 ,to him is attributed the credit 
of having invented ink of a golden      
colour2 and he was the first to employ  
the 8flourishes10 78liter florentes07 or
 initial letters formed of floral       
scrolls and ornaments borrowed from the 
,italian manuscripts1 and sometimes     
printed in red and sometimes in black4  
,joannes and ,gregorius de ,gregoriis1  
#adhj-aeaf1 and ,gregorius alone1       
#aeaf-bh1 make a very good show in the  
way of printed books1 one of the most   
notable being the first quarto edition  
of ,boccaccio1 #aeaf1 and another the   
8,deutsch ,rmisch ,brevier10 #aeah1     
which is printed in black and red       
,gothic letter with numerous full-page  
woodcuts and borders4 ,contemporary with
 these two brothers and also famous as a
 prolific printer comes ,ottaviano      
,scotto1 8,civis ,modoetisis10          
#adhj-aejj1 and his heirs1 #aejj-ca1 of 
whose ,mark we give an exact            

reproduction4 ,baptista de ,tortis1     
#adha-aead1 also issued a number of     
interesting books1 more particularly    
folio editions of the classics1 copies  
of which are still frequently met with1 
and of whose ,mark we give a reduced    
example on p4 #be2 and the same may be  
said of ,bernardinus ,stagninus1        
#adhc-aecf4 ,the ,mark1 also1 of        
,bernardinus de ,vitalibus1 #adid-aejj1 
is sufficiently distinct to justify a   
reduced example4 ,bartholomeus de       
,zanis1 #adhf-aejj1 was not only a      
prolific printer on his own account1 but
 also for ,scotto1 to whom reference is 
made above4 ,the ,marks1 on a greatly   
reduced scale of ,dionysius ,bertochus1 
#adhj2 of ,laurentius ,rubeus de        
,valentia1 #adhb2 of ,nicholas de       
,francfordia1 #adgc-aejj2 and of        
,peregrino de ,pasqualibus1 #adhc-id1   
who was for a short time in partnership 
with ,dionysius de ,bertochus1 are all  
interesting as more or less distinct    
variations of one common type 7see p4   

#be74 ,of ,petrus ,liechtenstein1       
#adig-aebb1 who describes himself as    
8,coloniensis10 and whose very fine     
,mark in red and black forms the        
frontispiece to the present volume1 it  
will be only necessary to refer to one  
of his books1 the 8,biblij ,czeska10    
#aejf1 which is the first edition for   
the use of the ,hussites4 ,of this      
exceedingly rare edition1 only about    
four copies are known4 ,it is remarkable
 in not having been suppressed by the   
,church1 for one example of its numerous
 woodcuts 7which are coloured7 at once  
betrays its character1 viz41 the        
engraving to the sixth chapter of the   
,apocalypse1 in which the ,pope appears 
lying in hell4 ,as illustrative of some 
of the more elaborate and pictorial     
,marks which one finds in the books of  
the ,venetian printers during the       
sixteenth century1 we give a couple of  
very distinct examples1 the first being 
one of the ,marks of the ,sessa family1 
whose works date from #aeja to #aehh2   

and the second example distinguishing   
the books of the brothers ,paulum and   
,antonium ,meietos1 who were printing   
books in #aegj4    ,illustration3       
,,ottaviano ,,scotto4    ,o ,s   ,m     
,illustration3 ,,melchior ,,sessa4      
,,dissimilivm ,,in ,,fida ,,sotietas4   
,illustration3 ,p4 ,,and ,a4 ,,meietos4 
,,non ,,comedetis ,,frvges ,,mendacii   
,illustration3 ,,the ,,first ,,aldine   
,,anchor4    ,,aldvs  ,the ,aldine      
family come at the head of the ,venetian
 printers1 not only in the extreme      
beauty of their typographical work1 but 
also in the matter of ,marks4 ,the first
 7and rarest7 production of the founder 
of the dynasty1 ,aldus ,manutius1       
#adid-aeae1 was 8,musi ,opusculum de    
,herone  ,leandro10 #adid1 a small      
quarto1 and his life's work as a printer
 is seen in about #abf editions which   
are known to have been issued by him4   
8,i have made a vow10 writes ,aldus1 in 
his preface to the 8,greek ,grammar0 of 
,lascaris1 8to devote my life to the    

public service1 and ,god is my witness  
that such is my most ardent desire4 ,to 
a life of ease and quiet ,i have        
preferred one of restless labour4 ,man  
is not born for pleasure1 which is      
unworthy of the truly generous mind1 but
 for honourable labour4 ,let us leave to
 the vile herd the existence of the     
brutes4 ,cato has compared the life of  
man to the tool of iron3 use it well1 it
 shines1 cease to use it and it rusts40 
,it was not until #aejb that ,aldus     
adopted a ,mark1 the well-known anchor1 
and this appears for the first time in  
8,le ,terze ,rime di ,dante0 7#aejb71   
which1 being a duodecimo1 is the first  
edition of ,dante in portable form4     
,this ,mark1 and one or two others with 
very slight alterations which naturally 
occurred in the process of being        
re-engraved1 was used up to the year    
#aedf4 ,in #aeae the original ,aldus    
died1 and as his son ,paolo or ,paulus  
was only three years of age1 ,andrea    
,torresano1 a distinguished printer of  

,asola1 into whose possession the       
8plant0 of ,jenson had passed in #adha1 
and whose daughter married the first    
,aldus1 carried on the business of his  
deceased son-in-law1 the imprint        
running1 8,in dibus ,aldi et ,andre     
,asulani soceri40 ,in #aedj ,paulus     
,manutius took over the entire charge of
 the business founded by his father4    
,the ,anchor1 known as the 8,ancora     
grassa10 which he used from #aedj to    
#aedf1 is more carefully engraved but   
less characteristic than that of his    
father2 whilst that which he used from  
#aedf to #aeed was usually but not      
invariably surrounded by the decorative 
square indicated in the accompanying    
reproduction2 then he again modified his
 ,mark1 or more particularly its border4
 ,paulus ,manutius died in ,april #aegd4
 ,aldus 8the younger10 #aegd-ih1 the son
 of ,paulus and the last representative 
of the house1 also used the anchor1 the 
effect of which is to a great extent    
destroyed by the elaborate coat-of-arms 

granted to the family by the ,emperor   
,maximilian4 ,aldus 8the younger10 was a
 precocious scholar1 of the pedant type1
 and under him the traditions of the    
family rapidly fell4 ,he married into   
the eminent ,giunta family of printers1 
and died at the age of #di4 ,the famous 
,mark of the anchor had been suggested  
by the reverse of the beautiful silver  
medal of ,vespasian1 a specimen of which
 had been presented to ,aldus by his    
friend ,cardinal ,bembo1 the eminent    
printer1 adding the ,augustan motto1    
8,festina lente40 ,the ,mark of the     
dolphin anchor was used by many other   
printers in ,italy1 ,france1 ,holland   
7,martens1 ,erasmus' printer1 among the 
number71 whilst the 8,britannia0 of     
,camden1 #aehf1 printed by ,newbery1    
bearing this distinctive ,mark1 which   
was likewise employed by ,pickering in  
the early part of the century2 and1 as  
will be seen from the next chapter1 is  
still employed by more than one printer4
    ,illustrations3 ,,andrea            

,,torresano4    ,,federicvs ,,toresanvs 
,a ,t    ,illustration3 ,,the ,,aldine  
,,anchor1 #aejb-ae4    ,,aldvs          
,illustration3 ,,the ,,aldine ,,anchor1 
#aedf-ed4    ,,aldi ,,filii             
,illustration3 ,,the ,,aldine ,,anchor1 
#aeee-gd4    ,,aldvs  ,the ,giunta or   
,junta family1 members of which were    
printing at ,florence and ,venice from  
#adhj to #aeih1 may be conveniently     
referred to here4 ,one of the earliest  
books in which the founder of the       
family1 ,filippo1 used a ,mark1 is      
8,apuleii ,metamorphoseos10 ,florence1  
#aeab2 our example1 which is identical  
with that in ,apuleius1 is taken from   
7,oppiani de natura seu venatione       
piscium71 ,florence1 #aeae1 which was   
edited by ,musurus4 ,from a             
typographical and artistic point of view
 the books of ,lucantonio ,junta 7or    
,zonta7 are infinitely superior to those
 of ,filippo4 ,he was both printer and  
engraver1 and many of the illustrations 
which appear in the books he printed    

were executed by him4 ,his ,mark        
appeared as early as #adie in red at the
 end of an edition of ,livy which he    
appears to have executed for ,philippus 
,pincius1 ,venice1 and again in red1    
this time on the title-page1 in another 
edition of the same author1 done for    
,bartholomeus de ,zanis de ,portesio1   
,venice1 #aeaa4 ,each of these          
productions contained a large number of 
beautiful woodcuts4 ,early in the       
sixteenth century those 8vero honesti   
viri0 7as they modestly described       
themselves71 ,jacobi and ,francisci1    
were printing at ,florence 78et sociorum
 eius071 the accompanying mark being    
taken from a commentary on ,thomas      
,aquinas1 #aeca4 ,it will be noticed    
that in the three marks of different    
members of the family the fleur-de-lys  
appears4 ,among the ,venetian printers  
of the beginning of the sixteenth       
century ,johannes de ,sabio et ,fratres 
may be mentioned1 if only on account of 
their ,mark which is given herewith4    

,its explanation is certainly not       
obvious2 and ,bigmore and ,wyman's      
suggestion that it is a punning device  
is not a correct one1 whilst the        
statement that the cabbage is of the    
8,savoy0 variety is also erroneous1 for 
this variety has scarcely any stalks2   
for 8,brasica0 we should read           
8,brassica40 ,in #aecd1 8,m4 ,iwan      
,antonio de ,nicolini de ,sabio0 printed
 8,alas espesas de ,m4 ,zuan ,batista   
,pedrean10 a rare and beautiful edition 
with woodcuts1 and1 in small folio1 of  
8,primaleon0 in ,spanish2 and in #aece  
,stephano da ,sabio issued a translation
 of 8,la ,conquesta del ,peru10 etc41 of
 ,francesco de ,xeres4    ,illustration3
 ,,the ,,aldine ,,anchor1 #aege-ha4     
,illustration3 ,p4 ,,giunta4            
,illustration3 ,l4 ,,giunta4    ,l ,a   
,illustration3 ,f4 ,,de ,,giunta4    ,i 
,f  ,although not the first printer     
either at ,cremona1 where he started in 
#adib1 or at ,brescia1 where he was     
printing from #adib to #aejb1           

,bernardino de ,missintis deserves      
mention among the typographers of the   
fifteenth century4 ,so far as regards   
the latter place1 the ,mark of          
,giammaria ,rizzardi1 who was           
established in this city during the     
latter half of the last century1 is one 
of the most distinct1 and was probably  
designed by ,turbini4 ,bonino de        
,boninis of ,ragusa1 was printing at    
,venice1 #adgh-adhj1 at ,verona1        
#adha-c1 and afterwards removed to      
,brescia1 where he was printing until   
about #adia4 ,the earliest known book   
printed at ,modena 7or ,mutine7 is an   
edition of ,virgil1 executed by         
,johannes ,vurster de ,campidon1 #adge2 
but one of the best known printers of   
this city is ,dominico ,rocociolo1 or   
,richizola1 #adha-aejd1 who was in      
partnership with ,antonio ,miscomini1   
#adhg-hi4    ,illustration3 ,,the       
,,brothers ,,sabio4    ,,io ,,ant ,,et  
,,fres ,,de ,,sabio ,,brasica  ,printing
 was introduced into ,milan             

7,mediolanum7 in #adfi or in the year   
following1 and from the numerous presses
 established in this city before the end
 of the fifteenth century very many     
beautiful books were issued4 ,gian      
,giacomo di ,legnano and his brothers1  
whose highly decorative ,mark we        
reproduce1 were working in this city    
from #aejc-cc2 one of their most        
interesting books is a ,latin           
translation of the first edition        
7,vicenza1 #aejg7 of the 8,paesi        
novamente retrovati1 et ,novo ,mondo da 
,alberico ,vesputio ,florentino         
intitulato40 ,bologna was also a busy   
printing centre from #adgj onwards2 but 
it must suffice us to give the monograms
 of three of the more noteworthy1       
namely1 ,hercules ,nanni1 #adib-d2      
,giovanni ,antonio de ,benedetti 7or    
,johannes ,antonius ,platonides de      
,benedictis71 #adii1 and ,justinian de  
,ruberia1 #adie-i 7see p4 #be74         
,illustration3 ,,gian ,,giacomo ,,di    
,,legnano4    ,,ihs   ,,io ,,iacomo ,e  

,,frat ,d ,,legnano   ,,ihs   ,,iol     
,,iol    ,illustration3 ,,giammaria     
,,rizzardi4    ,non solum nobis         
,cagnoni sculp  ,the ,printers' ,marks  
of ,spain 7including ,portugal7 need not
 detain us long4 ,they cannot in any    
case be described as other than archaic1
 and they are for the most part striking
 on account of the coarseness of their  
design4 ,a few examples are given in    
,fray ,francisco ,mendez's 8,tipografica
 ,espaola10 of which the first and only 
volume appeared at ,madrid in #agif2 and
 of which a second edition1 corrected   
and enlarged by ,dionisio ,hidalgo1 was 
published at the same city in #ahfa4 ,as
 the latter writer clearly points out   
8los del siglo ,,xv41 y aun hasta la    
mitad del ,,xvi4 los mas eran           
estranjeros1 como lo demuestran sus     
nombres y apellidos1 y algunos lo       
declaran espresamente en sus notas y    
escudos40 ,these 8estranjeros0 were     
almost without exception ,germans4      
,valencia 7or ,valentia ,edetanorum7 was

 the first place in ,spain into which   
the art of printing was introduced2 the 
earliest printers being ,alfonso        
,fernandez de ,cordova and ,lambert     
,palomar 7or ,palmart7 a ,german1 whose 
names however do not appear on any      
publication 7according to ,cotton7      
antecedent to the year #adgh4 ,although 
not the earliest of the ,seville        
printers the four 8alemanes1 y          
compaeros10 ,paulo de ,colonia1 ,juan   
,pegnicer de ,nuremberga1 ,magno y      
,thomas1 their composite ,mark is one of
 the first which appears on books       
printed in ,spain4 ,it is of the cross  
type1 with two circles1 one within      
another1 the smaller divided into four  
compartments1 each of which encircles   
the initials of the four printers1 8,p0 
7the lower part of which is continued so
 as to form an 8,l071 8,i ,m ,t40 ,among
 other books which they printed is the  
8,vidas de los ,varones ilustres de     
,plutarco40 ,in #adie1 ,paulo de        
,colonia appears to have left the       

partnership1 for the ,mark appeared with
 its inner circle divided into three    
compartments in which the initials 8,i  
,m0 and 8,t0 only appear4 ,this firm    
continued printing at ,seville until the
 commencement of the sixteenth century4 
,federico de ,basilea 7or1 as his name  
appears in the imprints of his books1   
,fadrique ,aleman de ,basilea7 was busy 
printing books at ,burgos from the end  
of the fourteenth to the second decade  
of the fifteenth century2 his ,mark1 a  
cross resting on a ,v-shaped ground1 is 
a poor one1 the motto being 8sine causa 
nihil40 8,en mushos libros de los que   
imprimi puso su escudo10 observes       
,mendez2 this printer possesses an      
historic interest from the fact that he 
issued the first edition the unabridged 
8,chronicle of the ,cid10               
#aeab--8;,cronica del ,famoso ,cauallero
 ,cid ,ruy ,diez ,campeador10 a book of 
the greatest rarity4 ,one of the early  
printers of ,barcelona1 ,pedro ,miguel1 
had a ,mark1 also of the cross type1 the

 circle surrounding the bottom of which 
is divided into three compartments1 in  
two of which occur his initials 8,p ,m40
    ,illustration3 ,,juan ,,rosembach4  
,illustration3 ,v4 ,,fernandez4  ,one of
 the most noteworthy names in the early 
annals of ,spanish printing is that of  
,juan de ,rosembach de ,haydellerich1   
who printed books in ,barcelona1        
#adic-h1 and again at the beginning of  
the sixteenth century2 in ,perpignan1   
#aejj2 in ,tarragona1 #adij1 and in     
,montserrat4 ,in #adii he printed at    
,tarragona the famous 8,missal de aquel 
,arzobispado10 which ,mendez declares to
 be 8muy recomendable por varias        
circumstancias40 ,at ,barcelona he      
printed in #aebf an edition of the      
8,oficias de ,cicero40 ,the ,marks of   
this printer vary considerably1 but the 
example here reproduced may be regarded 
as a representative one4 ,of the early  
,lisbon printers1 ,valentin ,fernandez  
8de la ,provincia de ,moravia0 was      
probably the first to use a ,mark 7here 

reproduced71 one of his publications    
being the 8,glosa sobre las ,coplas0 of 
,jorge ,manrique1 #aeja4                
,illustration3    #a4 ,,zacharias       
,,kalliergos4   #b4 ,j4 ,a4 ,,de        
,,legnano4   #c4 ,j4 ,,de ,,vingle1 ,,of
 ,,picardy4   #d4 ,m4 ,,hugunt4         
,illustration3    ,a good book is a true
 friend   a wise author a public        
benefactor4   #agbf  ,,some ,,modern    
,,examples4     ,illustration3 ,,the    
,,stationers' ,,company4    ,,verbum    
,,domini ,,manet ,,in ,,ternum  ,during 
the past few years there has been a very
 evident revival in the ,printer's ,mark
 as a modern device1 but the interest   
has much more largely obtained among    
publishers than among printers4 ,we     
propose1 therefore1 to include in this  
chapter a few of the more interesting   
examples of each class4 ,on the score of
 antiquity the ,stationers' ,company may
 be first mentioned4 ,founded in        
#adjc--nearly three-quarters of a       
century before the introduction of      

printing--its first charter was not     
received until ,may #dth1 #aeeg1 during 
the reign of ,mary4 ,the number of      
8seditious and heretical books1 both in 
prose and verse10 that were daily issued
 for the propagation of 8very great and 
detestable heresies against the faith   
and sound ,catholic doctrine of ,holy   
,mother the ,church10 became so         
numerous1 that the government were only 
too glad to 8recognize0 the ,company1   
and to intrust it with the most absolute
 power4 ,the charter was to 8provide a  
proper remedy10 or1 in other words1 to  
check the fast-increasing number of     
publications so bitter in their         
opposition to the ,court religion4 ,but1
 stringent and emphatic as was this     
proclamation1 its effect was almost nil4
 ,on ,june #fth1 #aeeh1 another rigorous
 act was published from 8our manor of   
,st4 ,james10 and will be found in      
,strype's 8,ecclesiastical ,memorials0  
7ed4 #ahbb1 iii4 part #b1 pp4 #acj1     
#aca74 ,it had specific reference to the

 illegality of seditious books imported1
 and others 8covertly printed within    
this realm10 whereby 8not only ,god is  
dishonoured1 but also encouragement is  
given to disobey lawful princes and     
governors40 ,this proclamation declared 
that not only those who possessed such  
books1 but also those who1 on finding   
them1 do not forthwith report the same1 
should be dealt with as rebels4 ,it will
 be seen1 therefore1 how easy it was1 in
 the absence of any fine definition1 for
 books of whatever character to be      
proscribed4 ,there was no appeal against
 the decision of the ,stationers' ,hall 
representatives1 who had the power      
entirely in their own hands4 ,a few     
months after ,mary's futile attempt at  
checking the freedom of the press1 a    
diametrically objective change occurred1
 and with ,elizabeth's accession to the 
throne in ,november1 #aeeh1 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 religion4    
,the history of the ,stationers'        
,company however has been so frequently 
told that it need not be further entered
 upon here1 and it must suffice us to   
say that1 after many vicissitudes1 all  
the privileges and monopolies had become
 neutralized by the end of the last     
century1 till it had nothing left but   
the right to publish a common ,latin    
primer and almanacks1 and the right to  
the latter monopoly was annulled after a
 memorable speech of ,erksine4 ,the     
,company still continues to publish     
almanacks1 and uses the two ,marks or   
,arms here reproduced4 ,the larger      
example is the older1 and is used on the
 ,county almanacks2 whilst the smaller  
one is used on circulars and notices4   
,illustration3 ,,the ,,stationers'      
,,company4    ,,verbum ,,domini ,,manet 
,,in ,,eternum4    ,illustration3 ,,the 
,,rivingtons4    ,fear ,god   ,honour   
the ,king  ,of the existing firms of    

publishers and printers1 that of        
,messrs4 ,longmans is the most          
memorable2 vice the firm of ,messrs4    
,rivingtons1 which has now become joined
 to that of the ,longmans4 ,this gives  
us the opportunity to consider briefly  
the ,marks of the two firms together4   
,in the year #agaa1 ,richard ,chiswell1 
the printer of much of ,dryden's poetry1
 died1 and his business passed into the 
hands of ,charles ,rivington1 a native  
of ,chesterfield1 ,derbyshire4          
,thoughtful and pious himself1 ,charles 
,rivington threw himself with ardour    
into the trade for religious manuals1   
and not only succeeding in persuading   
,john ,wesley to translate 8 ,kempis0   
for him1 but also in publishing the     
saintly ,bishop ,thomas ,wilson's       
8,short and ,plain ,introduction to the 
,sacrament of the ,lord's ,supper10 the 
first edition of which bears ,charles   
,rivington's name on the imprint1 and   
which is still popular4 ,to the novelist
 ,richardson1 he suggested 8,pamela40   

,dying in #agdb1 he left ,samuel        
,richardson as one of the executors of  
his six children1 but his sons1 ,john   
and ,james1 continued to conduct the    
business4 ,a few years later1 it was    
deemed advisable for the brothers to    
separate1 and while ,john remained at   
the 8,bible and ,crown10 ,st4 ,paul's   
,churchyard1 ,james joined a ,mr4       
,fletcher in the same locality1 and     
started afresh4 ,one especially         
fortunate venture was the publication of
 ,smollett's continuation of ,hume1     
which brought its lucky publishers      
upwards of #aj1jjj1 a larger profit than
 had previously been made on any one    
book4 ,however1 ,newmarket had          
attractions for ,james1 and eventually  
disaster set in2 he died in ,new ,york  
in #ahjb or #ahjc4 ,his brother1        
meanwhile1 had plodded on steadily at   
home1 and admitting his two sons1       
,francis and ,charles1 into partnership4
 ,about this time there were numerous   
editions of the classics1 the common    

property of a syndicate of publishers1  
and it says much for ,mr4 ,john         
,rivington that he was appointed        
managing partner4 ,about #agfj he       
obtained the appointment of publisher to
 the ,society for ,promoting ,christian 
,knowledge1 a lucrative post1 held by   
the firm for upwards of two generations4
 ,by the year #ahhi1 the two            
representatives of this ancient firm    
were ,messrs4 ,francis ,hansard         
,rivington and ,septimus ,rivington2 in 
this year the partnership was dissolved1
 and the goodwill and stock were        
acquired by ,messrs4 ,longmans4 ,they   
used at various periods no less than    
eight ,marks1 the design of which was in
 most cases based upon the ancient sign 
of their shop1 8,the ,bible and ,sun40  
,illustration3 ,,longman ,,and ,,co4    
,,errabant ,,maria ,,omnia ,,circum     
#agbf    ,illustration3 ,,the           
,,clarendon ,,press4    ,,dominvs       
,,illuminatio ,,mea  ,the history of    
,messrs4 ,longmans may be said to       

commence with the birth of ,thomas      
,longman in #afii4 ,the son of a        
,bristol gentleman1 he lost his father  
in #agjh1 and1 eight years later1 was   
apprenticed1 on ,june #i1 #agaf1 to ,mr4
 ,john ,osborn of ,lombard ,street1     
,london4 ,his apprenticeship expiring   
7he had come into the possession of his 
property two years earlier71 we find    
him1 in #agbd1 purchasing from his      
master1 ,john ,osborn 7acting with      
,william ,innys as executors71 the stock
 in trade of ,william ,taylor1 of the   
,ship and ,black ,swan in ,paternoster  
,row4 ,readers of ,longman's ,magazine  
turn to ,mr4 ,andrew ,lang's genial     
gossip1 8,at the ,sign of the ,ship10   
without recalling the origin of the     
title4 ,henceforward the ,ship carried  
the ,longman fortunes as cargo1 and the 
prosperity of the vessel is not yet     
ended4 ,messrs4 ,longmans have used     
nearly a dozen ,marks1 all of which have
 been suggested1 like those of the      
,rivingtons1 by the sign of their shop1 

which has now grown into a very imposing
 pile of buildings4 ,of these ,marks we 
give two of the most artistic and       
interesting4 ,as taking us back into a  
comparatively remote period in the      
history of printing and publishing in   
,england1 the ,mark of the ,clarendon   
,press1 or1 in other words1 the arms of 
the ,university of ,oxford1 may be here 
cited4    ,illustrations3 ,,william     
,,pickering4    ,,aldi ,,discip4 ,,angl4
    ,,aldi ,,discip4 ,,angl4            
,illustration3 ,,basil ,,montagu        
,,pickering4    ,b ,m ,pickering   ,aldi
 ,discipulus ,anglus    ,illustration3  
,,the ,,chiswick ,,press4    ,,hope     
,,well ,,and ,,have ,,well   ,,cw  ,the 
8,chiswick ,press0 of ,messrs4          
,whittingham and ,co41 is in several    
respects a link with the long past1 and1
 having been in existence for more than 
a century1 is one of the oldest offices 
in ,london4 ,it has attained a          
world-wide celebrity for the excellence 
of its work1 the careful reading and    

correction of proofs1 and the           
appropriate application of its varied   
collection of ornaments and initial     
letters4 ,the ,chiswick ,press was the  
first to revive the use of antique type 
in #ahdc1 for the printing of 8,lady    
,willoughby's ,diary10 published by     
,messrs4 ,longmans4 ,since that time its
 use has become universal4 ,the founder1
 ,charles ,whittingham1 was born on     
,june #afth1 #agfg1 at ,calledon1 in    
,warwick1 and was apprenticed at        
,coventry in #aggi1 working subsequently
 at ,birmingham1 and then in ,london4   
,he commenced business on his own       
account in ,fetter ,lane in #agij2 and  
in #ahaj he had removed to ,chiswick1   
and since that period the firm has      
always been known as 8,the ,chiswick    
,press40 ,in #ahbh he began to execute  
work for ,william ,pickering1 the       
publisher1 and his press quickly        
acquired an unrivalled reputation for   
its collection of ornamental borders1   
head and tail pieces4 ,the publisher    

,pickering1 and the printer             
,whittingham1 had employed about two    
dozen marks in their various books3 the 
former justly calling himself a disciple
 of ,aldus1 and using a large number of 
variations on the original ,anchor and  
,dolphin ,mark of the great ,venetian   
printer4 ,of these we give two examples1
 one with1 and one without a cartouche2 
and also the mark of ,basil ,montagu    
,pickering1 the son and successor of    
,william ,pickering4 ,we also reproduce 
three of the more striking ,marks of the
 ,chiswick ,press1 the shield on one of 
which1 it will be observed1 carries the 
,aldine ,anchor and ,dolphin4           
,illustration3 ,,the ,,chiswick ,,press4
    ,illustration3 ,,the ,,chiswick     
,,press4    ,charles ,whittingham       
,illustration3 ,,chatto ,,and ,,windus4 
,illustration3 ,,david ,,nutt4          
,,libellus ,,in ,,nuce    ,illustration3
 ,,cassell ,,and ,,co4    ,,la ,,belle  
,,sauvage    ,illustration3 ,,macmillan 
,,and ,,co4    ,,mm,co    ,illustration3

 ,t4 ,,fisher ,,unwin4    ,,tfu         
,illustration3 ,,lawrence ,,and         
,,bullen4    ,,lb    ,illustration3     
,,kegan ,,paul ,,and ,,co4    ,,arbor   
,,scienti ,,arbor ,,vit  ,the name of   
,cassell takes us back to the era of    
,charles ,knight and ,john ,cassell1 and
 the inauguration of the noble results  
which these two pioneers achieved on    
behalf of cheap and healthy literature4 
,the name of the former is no longer    
associated with either printing or      
publishing2 but that of the latter is   
still one of the most prolific firms of 
printers and publishers4 ,its ,mark is  
founded on the name of 8,la ,belle      
,sauvage0 ,yard1 ,ludgate ,hill1 in     
which the business has been located for 
a long series of years4                 
,illustration3 ,r4 ,,and ,r4 ,,clark4   
,,printers   ,r  ,r   ,,printers        
,,edinburg  ,two ,edinburgh printers may
 be here conveniently referred to4      
,messrs4 ,r4 and ,r4 ,clark1 whose      
business was started in ,hanover        

,street1 ,edinburgh1 in #ahdf1 and      
removed to ,brandon ,street1 in that    
city1 in #ahhc1 are well known for the  
excellence of their printing4 ,mr4      
,austin ,dobson thus sings1 in ,mr4     
,andrew ,lang's ,book on 8,the          
,library30    8#8,of making many books1'
 'twas said1   #8,there is no end2' and 
who thereon   ,the ever-running ink doth
 shed   ,but proves the words of        
,solomon3   ,wherefore we now1 for      
,colophon1   ,from ,london's ,city drear
 and dark1   ,in the year               
,eighteen-eighty-one1   ,reprint them at
 the press of ,clark40  ,the            
accompanying ,mark was designed by ,mr4 
,walter ,crane1 and first used by       
,messrs4 ,clark in #ahha4 ,it is used in
 several sizes4 ,of the very handsome   
,mark of ,messrs4 ,t4 and ,a4           
,constable1 the ,queen's ,printers1 at  
the ,university ,press1 we may mention  
that the legend is a hexameter2 it was  
written by ,professor ,strong1 and      
contains two puns2 the ship is an old   

,constable device4 ,the ,marks of both  
,messrs4 ,chatto and ,windus 7who       
succeeded to the business1 started and  
carried on with such energy by the late 
,john ,camden ,hotten7 and ,messrs4     
,macmillan and ,co4 7whose firm dates   
from the year #ahdc7 are characterized  
by the extremest possible simplicity4   
,illustration3 ,t4 ,,fisher ,,unwin4    
,,tfu   ,,vita ,,sine ,,literis ,,mors  
,,est    ,illustration3 ,t4 ,,and ,a4   
,,constable4    ,,firma ,,pererrat      
,,aqvas ,,et ,,constabilitvr ,,evndo    
,t ,a ,c    ,illustration3 ,,william    
,,morris    kelmscott   ,william ,morris
  ,the finest of the several ,marks used
 by ,messrs4 ,george ,bell and ,sons is 
given in two colours on the title-page  
of the present volume1 and is a play on 
the surname1 the ,aldine device being   
added to the bell4 ,another example will
 be found on page #bfa4                 
,illustration3 ,,william ,,morris4      
,kelmscott  ,messrs4 ,kegan ,paul1      
,trench1 ,trbner and ,co41 ,limited1    

originally a branch of the extensive    
,anglo-,indian firm of ,h4 ,s4 ,king and
 ,co41 first used the accompanying      
device in the autumn of #ahgg2 the      
drawing was executed by ,mrs4           
,orrinsmith in accordance with ,mr4     
,kegan ,paul's suggestions4 ,messrs4    
,lawrence and ,bullen1 like ,messrs4    
,clark1 called in the aid of ,mr4       
,walter ,crane in designing their       
charming little ,mark4  ,we give two of 
the several ,marks used by one of the   
most prolific of the younger publishers1
 ,mr4 ,t4 ,fisher ,unwin1 the one is    
simply his initials1 and the more       
elaborate example is a copy of a type   
not infrequently met with among the     
marks of the sixteenth century printers4
 ,mr4 ,david ,nutt's device is a quaint 
and effective play on his surname4      
,through the courtesy of ,mr4 ,william  
,morris1 we are enabled to give examples
 of both of the ,kelmscott ,press       
,marks1 each of which was designed by   
,mr4 ,morris4  ,as indicating the       

position of the printer's ,mark in      
,america1 we group together seven of the
 most interesting examples of the       
leading printers and publishers in the  
,united ,states4 ,the eighth example is 
that of ,mr4 ,martinus ,nijhoff1 of the 
,hague2 the device1 8,alles komt te     
regt10 signifies 8,all turns right10 or 
something to that effect4               
,illustration3 ,d4 ,,appleton ,,and     
,,co4    ,d,a  ,co4   ,,inter ,,folia   
,,fructus    ,illustration3 ,j4 ,s4     
,,cushing ,,and ,,co4    ,j4 ,s4        
,,cushing  ,,co   ,,book ,,printers     
#aib ,summer ,st   ,,boston             
,illustration3 ,,harper ,,brothers4     
,h ,b          ,illustration3 ,h4       
,,lockwood ,,and ,,co4    ,h ,l         
,,lockwood ,,press   ,,new ,,york       
,illustration3 ,,berwick ,,and ,,smith4 
,,press ,,of ,,berwick  ,,smith   #aib  
,,summer ,,st ,,boston ,,mass           
,illustration3 ,,theodore ,l4 ,,de      
,,vinne ,,and ,,co4                     
'  ' 4   ,,imprimatur   ,,the ,,de      

,,vinne ,,press    ,illustration3 ,j4   
,b4 ,,lippincott ,,co4    ,j ,b ,l ,co4 
,,droit ,,et ,,avant    ,illustration3  
,m4 ,,nijhoff4    ,m ,n   ,,alles ,,komt
 ,,te ,,regt4    ,illustration3    ,,the
 ,,haven    ,,of ,,health3    ,chiefely 
gathered for the comfort of ,stu-       
dents1 and consequently of all those    
that haue a   care of their health1     
amplified vpon fiue words of            
,hippocrates1 written ,epid4 #f4 ,labor1
 ,cibus1   ,potio1 ,somnus1 ,venus3 ,by 
,thomas ,coghan   master of ,artes1     
,bacheler   of ,phisicke4    ,hereunto  
is added a ,preseruation from the       
,pestilence1   ,with a short ,censure of
 the late sicknes at ,oxford4           
,ecclesiasticus4 ,cap4 #cg4 #cj4    ,by 
surfet haue manie perished3 but he that 
dieteth   himselfe prolongeth his life4 
nor   ,w    ,,at ,,london    ,printed by
 ,henrie ,midleton1    for ,william     
,norton4    #aehd4     ,,bibliography4  
,the following books will be found      
helpful to those who wish to prosecute  

their studies further into the subject  
of the ,printer's ,mark4 ,special       
information respecting the devices of   
the more eminent typographers1 such as  
,plantin1 ,elzevir1 and others1 will be 
found in the monographs and             
bibliographies which have been compiled 
concerning these men and their works4   
,,havre1 ,g4 ,,van4 ,marques            
typographiques des imprimeurs et        
libraires anversois1 #b vols4 ,avec plus
 de #ajjj reproductions4      ,anv41    
#ahhd4  ,,heitz 7,p47 and ,,barack 7,k4 
,a474 ,die ,bchermarken oder            
,buchdrucker und ,verlegerzeichen4      
,elsssische ,bchermarken bis ,anfang des
 #ah4 ,jahrhdts4 ,nebst ,vorbemerkungen 
u4 ,nachrichten b4 d4 ,drucker4 ,mit #gf
 ,holzschn4 ,tafeln4      #do4          
,strassburg1 #ahib4  ,,holtrop1 ,j4 ,w4 
,monuments ,typographiques des ,pays    
,bas au quinzime sicle4      ,fol4 ,la  
,haye1 #ahfh4  ,,horne1 ,,rev4 ,t4 ,h4  
,introduction to the ,study of          
,bibliography4      #hvo4 ,london1      

#ahad4  ,,humphreys1 ,h4 ,n4            
,masterpieces of the ,early ,printers4  
,fol4 ,london1 #ahgj4  ,,inventaire des 
marques d'imprimeurs et de libraires de 
la ,france4      #do4 ,paris1 #ahhf-hg4 
,,johnson1 ,j4 ,typographia1 #b vols4   
,london1 #ahbd4  ,,ledeboer1 ,,adrian   
,,mar4 ,alfabetische lijst der          
,boekdrukkers1 ,boekverkoopers en       
,uitgevers in ,nord-,nederland4 ,with #d
 plates of ,printers' ,marks4      #dto4
 ,utrecht1 #ahgf4  ,,lempertz1          
,,heinrich4 ,bilder ,hefte zur          
,geschichte des ,bcherhandels und der   
mit demselben verwandten ,knste und     
,gewerbe4 #aa ,hefte mit #fe ,taf41     
enthalt4 ,facs4 ,reprod4 von ,portraits 
berhmter ,buchhndler1 auf den           
,buchhandel bezgl4 ,schriftstcke1       
,initialen1 ,ex-libris1 ,abbilden       
kunstvoller ,einbnde4      ,fol4 ,kln1  
#ahec-fe4  ,,linde1 ,a4 ,v4 ,d4         
,geschichte der ,erfindung der          
,buchdruckerkunst4 #c ,bde4      #do4   
#ahhf-hg4  ,,meermann1 ,,gerard4        

,origines typographic1 #b vols4 ,with   
#aj pl4 ,printers' ,marks4      #do4    
,hag4 ,com41 #agfe4  ,,mendez1 ,,fray   
,,francisco4 ,tipographia espaola       
historia de la introduccion1 propagacion
 y progesos del arte de la imprenta en  
,espaa4 ,second edition revised by ,d4  
,hidalgo4      ,madrid1 #ahfa4          
,,orlandi1 ,p4 ,a4 ,origin e ,progressi 
della ,stampa4      #do4 ,bolog4 #agbb4 
,,roth-,,scholtz1 ,f4 ,thesaurus        
,symbolarum ac ,emblematum1 etc4 ,fol4  
,nremberg1 #agcj 7with reproductions of 
several hundred ,marks74  ,,silvestre1  
,l4 ,c4 ,marques typographiques ou      
recueil des monogrammes1 chiffres1      
enseignes1 etc41 des libraires et       
imprimeurs qui ont exerc en ,france     
depuis #adgj1 jusqu' la fin du #af;e    
sicle4 ,avec plus de #acjj fig4 s4 bois4
      ,paris1 #ahec-fg4                 
,,thierry-,,poux1 ,o4 ,premier          
,monuments1 etc41 de l'imprimeur en     
,france au ,,xv sicle4      ,fol4       
,paris1 #ahij4  ,,weigel 7,t4 ,o47 and  

,,zestermann 7,a4 ,c4 ,a474 ,die ,anfnge
 der ,druckerkunst in ,bild und         
,schrift4 ,an deren frhesten            
,erzeugnissen in der ,weige'schen       
,sammlung erlatert4 ,mit #ade ,facs4 u4 
viel4 ,holzschn4 im ,text4      ,folio4 
,leipz41 #ahff4 #b vols4                
,decoration    ,,index4     ,abiegnus1  
,j41 #bf4   ,aldine family1 ,the1       
#bah-bbc4   ,alexandre1 ,j41 #ac1 #bf4  
,allen1 ,john1 #ib4   ,andrewe1 ,w41    
#bf1 #fe1 #gj4   ,angelier1 ,j41 #bg4   
,anshelm1 ,thomas1 #aee1 #aef4          
,apiarius1 ,mathias1 #g4   ,appleton and
 ,co41 #bej4   ,arbuthnot1 ,a41 #ha1    
#hb4   ,aubri1 ,b41 #ad1 #cf4   ,auvray1
 ,g41 #bg4   ,auzolt1 ,r41 #bf4         
,back1 ,g41 #ahh-aij4   ,bade1 ,c41 #ia4
   ---- ,j41 #ab1 #aae1 #abi4   ,baland1
 ,e41 #bb4   ,baptista de ,tortis1 #be1 
#bae4   ,barack1 ,dr4 ,k4 ,a41 #adj4    
,barbon1 ,h41 #h4   ,barker1 ,c4 and    
,r41 #ij4   ,bartholomus1 ,d41 #dg4     
,bartholomeus de ,zanis1 #be4           
,bassandyne1 ,t41 #ii4   ,baumgarten1   

,c41 #aga4   ,beck1 ,r41 #di1 #adc1     
#add4   ,bellaert1 ,jacobus1 #aia1 #aie4
   ,bell 7,geo471 and ,sons1 #bdg4      
,benedetti1 ,g4 ,a4 de1 #be1 #bbh4      
,benedetto d',effore1 #be4   ,bentley1  
,r41 #ai4   ,berger1 ,thiebold1         
#aej-aea4   ,bernardino de ,misintis1   
#be1 #bbe4   ,bernardinus de ,vitalibus1
 #be4   ,berrichelli1 ,d41 #be4         
,berthelet1 ,t41 #ga4   ,bertochus1 ,d41
 #be1 #bae4   ,bertramus1 ,a41 #bi4     
,berwick and ,smith1 #bea4   ,besicken1 
,j41 #baj-baa4   ,besson1 ,j41 #ba4     
,bichon1 ,g41 #g4   ,bien-,n1 ,j41 #bj4 
,bignon1 ,j41 #ad4   ,birckmann1 ,a41   
#afb-afc4   ,blades1 ,w41 #ee4          
,blount1 ,e41 #hg4   ,bocard1 ,a41 #bj4 
,bonino de ,boninis1 #be1 #bbe-bef4     
,boucher1 ,n41 #bg4   ,bouchet1 ,g41    
#ba4   ---- ,j41 #ba4   ,bouchets       
,brothers1 #ab4   ,boulle1 ,g41 #cd4    
,bounyn1 ,b41 #ad4   ,bourgeat1 ,g41    
#bg4   ,bouyer1 ,j41 #ba4   ,bradshaw1  
,henry1 #ec4   ,breuille1 ,m41 #cb1 #cc1
 #abe4   ,brothers of ,common ,life1    

#aha4   ,brylinger1 ,n41 #agf4          
,bumgart1 ,herman1 #aeh-aei4   ,burges1 
,j41 #bb4   ,byddell1 ,j41 #gb4         
,bynneman1 ,h41 #he1 #hf4    ,csar1 ,n41
 #afa4   ,csaris1 ,a41 #ahi1 #aia4      
,caillaut1 ,a41 #c4   ,caligula de      
,bacileriis1 #be4   ,calvarin1 ,p41 #ad4
   ,calvin1 ,j41 #agd4   ,cartander1 see
 ,cratander4   ,cassell and ,co41       
#bdc-d4   ,caxton1 ,w41 #ec-eg4         
,cervicornis1 ,eucharius1 #aei4   ,csar1
 ,p41 #ab4   ,chandelier1 ,p41 #g1      
#acg-ach4   ,charteris1 ,h41 #ii4       
,chatto and ,windus1 #bdc1 #bdg4        
,chaudire1 ,g41 #bg1 #bh4   ---- ,r4 and
 ,g41 #abf4   ,chepman1 ,w41 #ie1 #ig4  
,chevallon1 ,g41 #bb4   ,chiswick       
,press1 ,the1 #bdj-b4   ,chouet1 ,j41   
#ca4   ,christopher de ,canibus1 #be4   
,clarendon ,press1 ,the1 #bch1 #bdj4    
,clark1 ,r4 and ,r41 #bdd4   ,cleray1   
,g41 #cb4   ,clopejau1 ,m41 #bg4        
,cloquemin1 ,l41 #ab4   ,colines1 see   
,de ,colines1 ,s4   ,colomies1 ,j41     
#acg4   ,colophon1 ,the1 #di4           

,constable1 ,t4 and ,a41 #bdf-g4        
,copland1 ,r41 #fg1 #fh4   ---- ,w41    
#fh4   ,corrozet1 ,g41 #cb4   ,couteau1 
,gillet1 #d1 #ajc4   ,cox1 ,t41 #ib4    
,cramoisy1 ,s41 #abg4   ,cranach1 ,l41  
#agj4   ,crane1 ,walter1 #bdg1 #bdi4    
,cratander1 #dd-de4   ,creede1 ,t41 #ij1
 #ia4   ,crespin1 ,j41 #bj4   ,cushing  
and ,co41 #bej4   ,cyaneus1 ,l1 #abe4   
,dallier1 ,j41 #cb4   ,davidson1 ,t41   
#ih4   ,day1 ,john1 #gh-hj4   ,de       
,bordeaux1 ,j41 #cb4   ,de ,campis1 ,j41
 #ea4   ,de ,codeca1 ,m41 #be4   ,de    
,colines1 ,s41 #ad1 #bg1 #aah-aai1 #abj1
 #abf4   ,de ,francfordia1 ,w41 #be4    
,de ,gourmont1 ,g41 #ac1 #aah1 #abd4    
---- ,j41 #ba4   ---- ,r41 #bg4   ,de   
,hamont1 ,m41 #bg1 #bjj4   ,de la       
,barre1 ,n41 #bf4   ,de ,laet1 #cj4     
,delalain1 ,paul1 #bd4   ,de la ,noue1  
,d41 #h4   ,de la ,porte1 ,a4 ,s4 and   
,h41 #acc-ace4   ---- ,h4 and ,a41 #ff4 
,de la ,rivire1 ,g41 #h4   ,de ,marnef  
,brothers1 ,the1 #bf1 #ajf-ajg4         
,denidel1 ,a41 #ba4   ,denis1 ,j41 #ch4 

,de ,pfortzheim1 ,jacobus1 #afc1 #afe4  
,de ,saincte-,lucie1 ,p41 #ad4   ,de    
,salenson1 ,g41 #ag4   ,de ,sartires1   
,p41 #ad4   ,destresius1 ,j41 #aid4     
,de ,tournes1 ,j41 #bi1 #ca1 #acc4      
---- ,s41 #be   ,de ,vingle1 #aae1 #bcb4
   ,de ,vinne1 ,th41 #bea4   ,dewes1    
,r41 #hi4   ,dolet1 ,e41 #af1 #acb1     
#acc4   ,dorp1 ,r4 van den1 #ahh-ahi4   
,duff1 ,e4 ,gordon1 #fb4   ,dulssecker1 
,j4 ,r41 #dg1 #ej1 #aec-aed4   ,du      
,mont1 ,a41 #h4   ,du ,moulin1 ,j41 #f4 
,du ,pr1 ,galliot1 #e4   ---- ,j41 #bf1 
#ajh1 #acf4   ---- ,p41 #bb4   ,du      
,puys1 ,j41 #h1 #aj1 #abi4    ,eckert de
 ,hombergh1 ,h41 #cd4   ,eggestern1 ,h41
 #aci4   ,elzevirs1 #ag1 #ah1 #bje-bjh4 
,endter's 7,w4 ,e47 ,daughter1 #afg4    
,erasmus1 #aff1 #aha4   ,erpenius1 ,t41 
#di4   ,estienne1 ,family1 ,the1 #ajj1  
#aah-abc4   ,eve1 ,n41 #h4    ,faques1  
,w41 #af1 #fb4   ,fawkes1 ,r41 #fc4     
,federico de ,basilea1 #bcj4            
,fernandez1 ,a41 #bbi4   ---- ,v41 #bca1
 #bcb4   ,feyrabendt1 ,j41 #agb4        

,fzandat1 ,m1 #ad4   ,fouet1 ,r41 #cb4  
,fradin1 ,c41 #cf4   ---- ,f41 #bf4     
,francfordia1 ,n4 de1 #bae4   ,frellon1 
,j41 #bb4   ,friburger1 ,m41 #ajj1 #aja4
   ,fritag1 ,a41 #bji-baa4   ,froben1   
,j41 #db-dd1 #dh1 #eh1 #afd-aff4        
,froschover1 ,c41 #ga1 #age4   ,furter1 
,m41 #aff4   ,fust and ,schoeffer1      
#dj-db4    ,gering1 ,u41 #ajj1 #aja4    
,gerla or ,gerlis1 ,l41 #be4   ,gibier1 
,eloy1 #ab4   ,girard1 ,j41 #agc-agd4   
,giunta ,family1 ,the1 #bbb-bbe4        
,goes1 ,m4 van der1 #ahg-ahh4   ,goltz1 
,h41 #eg1 #aig4   ,gourmont1 see ,de    
,gourmont4   ,grafton1 ,r41 #aj1 #gd-gf4
   ,grandin1 ,l41 #ah4   ,granjon1 ,r41 
#ad4   ,grapheus1 ,j41 #aid1 #aig4      
,gregorius1 ,j4 and ,g4 de1 #bad4       
,grosii1 ,the1 #bb4   ,groulleau1 ,e41  
#cb4   ,grninger1 ,j41 #adj4            
,gryphius1 ,s41 #f1 #ace1 #acf4   ----  
,the1 #cf4   ,guarinus1 #gc4            
,gueffier1 ,j41 #h4   ,guerbin1 ,l41    
#agb-agc4   ,guillemot1 ,m41 #cb4       
,hall1 ,rowland1 #hd1 #he4   ,hardouyn1 

,g41 #ah1 #aag4   ,harper ,bros41 #bej4 
,harrison1 ,r41 #hi4   ,hauth1 ,david1  
#aeb4   ,heitz1 ,p41 #adj4   ,hellenius1
 ,m41 #ahi1 #aia-aib4   ,henrici1 ,h41  
#aib1 #aid4   ,henricpetri1 #aff4       
,herembert1 ,j41 #aca1   ,herolt1 ,g41  
#baj4   ,hesker1 ,h41 #cd4   ,hester1   
,a41 #bf1 #gj4   ,hillenius1 ,m41 #eg4  
,holbein1 ,hans1 #db-de1 #afc4          
,hombergh1 ,h4 ,eckert van1 #ahh4       
,hovii1 ,j4 ,m41 #bja-bjb4   ,huby1 ,f41
 #cd4   ,huguetan1 ,the ,brothers1 #ag1 
#di4   ---- ,j41 #bf4   ,hugunt1 ,m41   
#bcb4   ,husz1 ,m41 #bf4    8,inventaire
 des ,marques d',imprimeurs10 #bd4      
,jacobi1 ,p41 #bi4   ,jaggard1 ,isaac   
and ,william1 #hg1 #hh4   ,janot1 ,w41  
#ad1 #ae1 #ajg1 #abi4   ,janssens1 ,g41 
#bjh4   ,jenson1 ,n41 #bac4   ,johannes 
de ,spira1 #baa4   ,jove1 ,m41 #h4      
,jucundus1 ,j41 #bi4   ,jugge1 ,r41 #hj1
 #hb4   ,julian1 ,g41 #h4   ,junta1 see 
,giunta4   ,justinian de ,ruberia1 #be1 
#bbh4    ,kalliergos1 ,z41 #baa1 #bcb4  
,kerver1 ,t41 #g1 #cd1 #aaa1 #aae4      

,keysere1 see ,csaris4   ,kingston or   
,kyngston1 ,felix1 #hh1 #hi4            
,knoblouch1 ,j41 #ag1 #ia1 #adb4        
,koberger1 ,anthony1 #afg4   ,kobian1   
,valentin1 #aef4   ,koelhoeff1 ,j41     
#aei-afj4   ,kpfel 7or ,cphalus71 ,w41  
#ag1 #ade1 #adf4   ,krantz1 ,m41 #ajj1  
#aja4    ,lagache1 ,j4 and ,a41 #bi4    
,lambert1 ,j41 #ad1 #bf4   ,lamparter1  
,n41 #aff4   ,l',angelier1 ,a41 #aj4    
,laurens1 ,le ,petit1 #cd4   ,lawrence  
and ,bullen1 #bdc4   ,le ,bret1 ,g41    
#cf4   ,lecoq1 ,jehan1 #f1 #g1 #acg4    
,leeu1 ,g41 #ahd-ahf4   ---- ,n41 #ahd4 
,le ,forestier1 ,j41 #ba4   ,legnano1   
,g4 ,g41 #bbf-bbh4   ---- ,j4 ,a41 #bcb4
   ,le ,jeune1 ,m41 #bj4   ,le ,noir1   
,michel1 #c1 #ac1 #aji4   ---- ,p4 and  
,g41 #d1 #aaj4   ,le ,preux1 ,f41 #agg4 
---- ,j41 #ab4   ---- ,poncet1 #cf4     
,le ,rouge1 ,p41 #aji4   ,le ,talleur1  
,g41 #bf4   ,liechtenstein1 ,p41 #bae4  
,lippincott and ,co41 #bea4   ,lockwood 
and ,co41 #bej4   ,longis1 ,j41 #ad4    
,longman and ,co41 #bcc1 #bcg1 #bdj4    

,loslein1 ,p41 #dh1 #bac4   ,lotter1    
,melchior1 #afi1 #agj4   ,lynne1 ,w41   
#eb1 #hc4   ,mac1 ,b41 #cf4   ---- ,r41 
#ac4   ---- ,family1 ,the1 #ajh4        
,macmillan and ,co41 #bdc4   ,madden1   
,j4 ,p4 ,a41 8,lettres10 #eg4   ,magno1 
#bbi4   ,maillet1 ,j4 and ,e41 #e4      
,mainyal1 ,g41 #aja4   ,mallard1 ,o41   
#ad4   ,manilius1 ,g41 #cb4   ,mansion1 
,colard1 #aha4   ,marchant1 ,g41 #bi1   
#ajf4   ,marnef1 see ,de ,marnef4       
,martin d',alost1 ,t41 #ahj1 #baj1 #baa4
   ,martin1 ,l41 #cd4   ,meer1 ,j4 ,j4  
van der1 #ahf4   ,meietos1 ,p4 and ,a41 
#bag4   ,mentelin1 ,j41 #aci4           
,middleton1 ,w41 #gf-gg4   ---- ,h41    
#beb4   ,miguel1 ,p41 #bf1 #bca4        
,miscomini1 ,a41 #bbf4   ,mittelhus1    
,g41 #bf4   ,morel1 ,g41 #ag1 #ch4      
,morin1 ,m41 #acg4   ,morris1 ,william1 
#bdg-ia4   ,moulin1 ,j41 #ig4   ,mller1 
,craft1 #adg1 #adh1 #adi4   ,myllar1    
,a41 #f1 #ie1 #if4    ,nani1 ,h41 #be4  
,neobar1 ,c41 #bj4   ,nijhoff1 ,m41     
#bea4   ,nivelle1 ,s41 #ad1 #abf1 #abh1 

#abi1 #acj4   ,noir1 see ,le ,noir4     
,norton1 ,w41 #hh1 #beb4   ,notary1 ,j41
 #fa-fb4   ,nourry1 ,c41 #ad4   ,nutt1  
,david1 #bdc4    ,oglin1 ,erhart1       
#afc-afd4   ,olivier1 ,j41 #bc4         
,orwin1 ,t41 #cj4    ,paffraej1         
,albertus1 #ahc-ahd4   ---- ,richard1   
#ahd4   ,palomar1 ,l41 #bbi4            
,pannartz1 ,a41 #bji4   ,paulo de       
,colonia1 #bbi4   ,paul 7,kegan7 and    
,co41 #bdc1 #bdi4   ,pavier1 ,t41 #aj1  
#ab4   ,pegnicer1 ,j41 #bbi4   ,pepwell1
 ,h41 #fc1 #ahi4   ,peregrino de        
,pasqualibus1 #be1 #bae4   ,prier1 ,t41 
#bg4   ,petit1 ,j41 #f1 #i1 #aab1 #aae4 
,pfortzheim1 see ,de ,pfortzheim4       
,picart1 ,b41 #df4   ,pickering1 ,w41   
#bci1 #bdb4   ---- ,b4 ,m41 #bci1 #bdb4 
,pigouchet1 #ig1 #aab1 #aac4   ,pincius1
 ,p41 #bbc4   ,pine1 ,j41 #df4   ,pinzi1
 ,p41 #be4   ,plantin1 ,c41 #bjc-bje4   
,pollard1 ,a4 ,w41 #dh4   ,portunaris1  
,v41 #bb4   ,prevosteau1 ,e41 #ag4      
,printers' ,marks3     punning devices1 
#c1 #aj2     mottoes from sacred        

history1 #h2     printing press1 #ab2   
mottoes1 #ac2     ,hebrew and ,greek    
mottoes1 #ag2     the ,sphere1 #ag1     
#bjg2     the ,brazen ,serpent1 #bj2    
,balaam's ,ass1 #bb2     ,christ on the 
,cross1 #bb2     ,st4 ,christopher1 #bb2
     ,saints and riests1 #bc2     ,the  
,cross1 #bc-bf2     ,st4 ,george and the
 ,dragon1 #bf2     ,time and ,peace1    
#bg2     musical notes1 #bi2     rustic 
subjects1 #bi2     the ,cornucopia1 #cj2
     the ,unicorn1 #cb-cd2     the      
,griffin1 #ce2     the ,mermaid1 #cf2   
the ,anchor1 #cg2     ,angels1 #cg2     
,arion1 #cg2     ,bellerophon1 #cg2     
astrological signs1 #cg2     ,cat1 #ch2 
,eagle1 #ch2     ,fortune1 #ch1 #dd2    
,fountain1 #ch2     ,heart1 #ch2        
,hercules1 #ch2     ,lion1 #ch2         
,magpie1 #ch2     ,mercury1 #ch2        
,pelican1 #ch2     ,phnix1 #ci2         
,salamander1 #ci2     ,swan1 #ci4       
,psalter1 ,the ,mentz1 #da4   ,pynson1  
,r41 #ei-fa4    ,rastell1 ,j41 #cf4     
,ratdolt1 ,e41 #afb1 #bab-bad4          

,regnault1 ,f41 #ge1 #ajc-aje4   ----   
,p41 #aje4   ,rembolt1 ,b41 #ag1 #bf1   
#aja1 #ajb4   ,reynes1 ,j41 #af4        
,ricci1 ,b41 #be4   ,richard1 ,j41 #cd4 
---- ,t41 #bi4   ,rigaud1 ,b41 #ad4     
,rihel1 ,wendelin1 #aej4   ,rivery1 ,j41
 #agd4   ,rivingtons1 ,the1 #bce-h4     
,rizzardi1 ,g41 #bbe1 #bbh4             
,roccociola1 ,d41 #be1 #bbf4   ,roce1   
,d41 #d1 #ad1 #ff4   ,rodt1 ,berthold1  
#afc4   ,roffet1 ,j41 #bi1 #cj4   ----  
,family1 ,the1 #abe4   ,rose1 ,germain1 
#d4   ,rosembach1 ,j41 #bf1 #bcj1       
#bca-b4   ,roth-,scholtz's 8,thesaurus10
 #bd4   ,rubeus de ,valentia1 ,l41 #be1 
#bae4   ,ryverd1 ,g41 #bb4    ,sabio    
,brothers1 ,the1 #bbd-bbf4   ,sacer1    
,j41 #be4   ,sacon1 ,j41 #bf1 #gc4      
,schffeler of ,bodensee1 #bb4           
,schaufelein1 ,hans1 #aee1 #aef4        
,scher1 ,conrad1 #aeb4   ,schomberg1    
,w41 #be4   ,schott1 ,m4 and ,j41 #ada4 
,schultis1 ,e41 #cb4   ,schumann1 ,v41  
#agj-aga4   ,scolar1 ,j41 #ic1 #id4     
,scott1 or ,skott1 ,j41 #ff4   ,scotto1 

,o41 #be1 #bad-bae4   ,sergent1 ,p41    
#ah4   ,sessa1 ,m41 #bag-bah4           
,siberch1 ,j41 #id1 #ie4   ,silvius1    
,g41 #bb4   ,singleton1 ,hugh1 #hb1 #hc4
   ,sixtus ,riessinger1 #baj4           
,snellaert1 ,c41 #cd1 #ce1 #ahf4        
,somaschi1 ,the1 #be4   ,soter1 ,johann1
 #afa-afb4   ,st4 ,albans ,press1 ,the1 
#ed-ef4   ,stadelberger1 ,j41 #agb-agc4 
,stagninus1 ,b41 #be1 #bae4             
,stationers' ,company1 ,the1 #bcc-f4    
,steels1 ,j41 #ai1 #aia4                
,steinschawer1 ,adam1 #agc4   ,suardo1  
,l41 #be4   ,sweynheim1 ,c41 #bji4      
,tardif1 ,a41 #h4   ,temporal1 ,j41 #ad1
 #bg4   ,thanner1 ,j41 #aci1 #aga4      
,ther ,hoernen1 ,a41 #bd1 #aeg1 #aei1   
#ahc4   ,thomas1 #bbi4   ,title-page1   
,the ,first1 #dh4   ,tonson1 ,j41 #id4  
,topie1 ,m41 #aca4   ,torresano1 ,a41   
#bai4   ,tory1 ,geoffrey1 #ad1 #aag-aah4
   ,tottell1 ,r41 #he4   ,tournes1 see  
,de ,tournes4   ,trepperel1 ,j41 #ba4   
,treschel1 ,j41 #be1 #aae1 #acb4   ---- 
,the ,brothers1 #ag4   ,treveris1 ,p41  

#fd4    ,unwin1 ,t4 ,f41 #bdc1 #bde4    
,van den ,keere1 ,h41 #aie1 #aih4   ,van
 der ,noot1 ,t41 #aid1 #aif4   ,van     
,hombergh1 ,h4 ,e41 #ahh4               
,vautrollier1 ,t41 #g1 #gc1 #ge4        
,veldener1 ,j41 #agh4   ,velpius1       
,rutger1 #bjj4   ,vrard1 ,a41 #ba1 #ajb4
   ,vidoue1 ,p41 #ag1 #abd4   ,vincent1 
,simon1 #cd1 #ea4   ,vindelinus de      
,spira1 #bac4   ,vitalibus1 ,b4 de1     
#bae4   ,von ,andlau1 ,g41 #a1 #cb1     
#adf4   ,vostre1 ,s41 #ajb1 #ajc1 #aaa1 
#aab4   ,vurster de ,campidon1 ,j41     
#bbf4    ,waesberghe1 ,j41 #aii4        
,walthoe1 ,j41 #ib4   ,ware1 ,r41 #ib1  
#ic4   ,wchel1 ,a4 and ,c41 #ca1        
#abe-abg4   ,weissenburger1 ,j41        
#afg-afi4   ,whitchurche1 ,e41 #ge4     
,whittingham1 ,messrs41 #bdj-b4         
,wight1 or ,wyghte1 ,j41 #hc1 #hd4      
,windet1 ,j41 #hb4   ,wolfe1 ,r41 #bj1  
#gg1 #hf4   ---- ,john1 #gg1 #gh4       
,woodcock1 ,t41 #aj1 #hf1 #hg4   ,wyer1 
,r41 #fh4   ,wynkyn de ,worde1 #ea1     
#eg-ei1 #fg4    ,zainer1 ,g41 #da1 #afb4

   ,zanis1 ,bartholomeus1 #bae4   ,zell1
 ,ulric1 #aeg1 #agh4   ,zetzner1 ,l41   
#aea1 #aeb4     ,illustration3          
,,george ,,bell ,,and ,,sons4           
,decoration    ,,chiswick               
,,press3--,,charles ,,whittingham ,,and 
,,co41   ,,tooks ,,court1 ,,chancery    
,,lane4       ,,by ,,the ,,same         
,,author4     ,,the ,,earlier ,,history 
,,of ,,english ,,bookselling4   ,crown  
#hvo4 ,sampson ,low and ,co4 #ahhi4     
,,christie',s3 ,a ,chapter in the       
,history of ,art4     ,in the ,press4   
99       99       99       99       99  
99       99       99       99        99 
99       99       99       99  ,,errata 
7,noted by ,transcriber7  ,main ,text3  
primus excogitavit ,aldus40  missing    
close quote   and with the motto 8,vogue
 la gualee40     illustration text has  
8guallee0   8444 eu pour origine        
l'affiliation  une confrrie religieuse40
     error for 8eut pour08   ,the       
editions of the ,printer1 8 la licorne10
 ,deft     spelling 8,deft0 unchanged3  

may be quoting original   in this device
 we have the sun shining  devise        
8,veritas virescit vulnere40            
illustration text has 8viressit0        
8,pour proquer la grand' misricorde1    
text unchanged3 illustration has        
8provocquer0   the two first1 ,jean or  
,jehan and ,galliot1 were the most      
celebrated4     final period missing or 
invisible   the motto 8ardentes juvo10  
illustration text has 8audentes0        
examples of the ,strasburg printers     
here and below1 anomalous spelling with 
one 8s0 unchanged   their very elaborate
 8,elsssische ,bchermarken bis ,anfang  
des   #ah4 ,jahrhunderts10     missing  
period in 8#ah401 present in earlier    
citation   ,berthold ,rodt of ,hanau1   
one of ,fust's workmen  ,fst's          
probably that of ,wilhelm ,moritz       
,endter's daughter  thatof   an         
enthusiastic bibliopole     not an      
error3 bookseller1 not bibliophile      
,johann ,feyrabendt     spelled -bendt  
in body text1 -bend in figure caption   

,le ,nouueau ,testament de nostre       
,sauflueur ,iesu ,christ     spelling   
unchanged   ,joannes and ,gregorius de  
,gregoriis1 #adhj-aeaf1 #adhj--aeaf     
the 8,britannia0 of ,camden 444 which   
was likewise employed     text          
unchanged3 superfluous 8which0   the    
first edition the unabridged 8,chronicle
 of the ,cid10     text unchanged3      
missing 8of08  ,illustrations of        
,printers' ,marks3    ,non-classical    
spellings in ,greek are not individually
 noted4    #ad4 ,hercules ,nani4  period
 4 after #ad4 in caption invisible      
1  breathing mark as shown    ,melius   
est nomen bonum quam diuitie mnlte4     
,prou4 xxu4     error 8mnlte0 for       
8multe0 in original     text seems to   
say 8xxu0 7xxv1 #be7 but passage is at  
#bb     1        4     ,all errors1     
including the use of mu for nu1 are in  
the original4      4     ,there is no   
such word as  or 1 but the intended form
     could not be deduced2 it might be a
 variant of 4   ' ,galle premes tecum   

mox ,leo uictus erit     unambiguous    
apostrophe ' neither flyspeck nor part  
of verse          text unchanged3 error 
for   ,bibliography3    ,elsssische     
,bchermarken bis ,anfang des #ah4       
,jahrhdts4     missing period in 8#ah401
 present in first citation   l'imprimeur
 en ,france au ,,xv sicle4     text     
unchanged3 error for 8,,xve0            
7superscript e78  ,index3    ,a few     
missing commas after initials were      
silently supplied4    ,de ,vinne1 ,th41 
#bea4  #aea