[Transcriber’s Note: This text uses utf-8 (unicode) file encoding. If the apostrophes andquotation marks in this paragraph appear as garbage, make sure yourtext reader’s “character set” or “file encoding” is set to Unicode(UTF-8). You may also need to change the default font. As a lastresort, use the latin-1 version of the file instead. Where possible, text contained within illustrations of printers’marks has been transcribed. The text is shown on separate lines, corresponding to the original layout; captions--usually the printer’sname--will appear on the same line as the word “Illustration”. Notethat the spelling given in the body text is often different from thatof the Mark as pictured. Within illustrations, expanded abbreviationsare shown in [brackets]. Typographical errors are listed at the end of the e-text. Capitalizationof the word “mark” or “Mark” is arbitrary in the original and has notbeen changed. Misspellings or misprints within Marks are also neverchanged, but the most obvious errors are noted. ] * * * * * * * * * * * * * * PRINTERS’ MARKS. [Illustration: Cum Priuilegio Venetiis Impressum Anno M D V Petrus Liechtensteyn] Printers’ Marks A Chapter in the History of Typography by W. Roberts Editor of “The Bookworm” [Illustration: GEORGE BELL & SONS] London: George Bell & Sons, York Street, Covent Garden, & New York. Mdcccxciij. Chiswick Press: C.  Whittingham And Co. , Tooks Court, Chancery Lane. To T. B. BOLITHO, ESQ. , M. P. , This Volume Is Respectfully Dedicated. [Decoration] PREFACE. There are few phases of typography open to the charge of beingneglected. An unquestionable exception occurs, however, in relation toPrinters’ Marks. This subject is in many respects one of the mostinteresting in connection with the early printers, who, using devices atfirst purely as trade marks for the protection of their books againstthe pirate, soon began to discern their ornamental value, and, consequently, employed the best available artists to design them. Manyof these examples are of the greatest bibliographical and generalinterest, as well as of considerable value in supplementing an importantclass of illustrations to the printed books, and showing the origin ofseveral typical classes of Book-plates (Ex-Libris). The present Handbookhas been written with a view to supplying a readable but accurateaccount of this neglected chapter in the history of art andbibliography; and it appeals with equal force to the artist orcollector. Only one book on the subject, Berjeau’s “Early Dutch, German, and English Printers’ Marks, ” has appeared in this country, and this, besides being out of print and expensive, is destitute of descriptiveletterpress. The principle which determined the selection of theillustrations is of a threefold character: first, the importance of theprinter; secondly, the artistic value or interest of the Mark itself;and thirdly, the geographical importance of the city or town in whichthe Mark first appeared. Since the text of this book was printed, however, two additions havebeen made to the literature of its subject: Dr. Paul Kristeller’s “DieItalienischen Buchdrucker- und Verlegerzeichen, bis 1525, ” a veryhandsome work, worthy to rank with the “Elsässische Büchermarken bisAnfang des 18. Jahrhunderts” of Herr Paul Heitz and Dr. Karl A.  Barack(to whom I am indebted for much valuable information as well as fornearly thirty illustrations in the chapter on German Printers’ Marks);and Mr. Alfred Pollard’s “Early Illustrated Books, ” an admirable volumewhich, however, only deals incidentally with the Printer’s Mark as aside issue in the history of the decoration and illustration of books inthe fifteenth and sixteenth centuries. Mr. Pollard reproduces sevenblocks from Dr. Kristeller’s monograph on the Devices of the ItalianPrinters. In reference to the statement on p.  116 of this volume thatthe Mark of Bade “is the earliest picture of a printing press, ” Mr. Pollard refers to an unique copy of an edition of the “Danse Macabre”printed anonymously at Lyons in February, 1499, eight years earlier, which contains cuts of the shops of a printer and a bookseller. That this volume has considerably exceeded its intended limit must be myexcuse for not including, with a very few exceptions, any modernexamples from the Continent. Nearly every French printer and publisherof any note indulges in the luxury of a Mark of some sort, and aninteresting volume might be written concerning modern continentalexamples. The practice of using a Printer’s Mark is an extremelycommendable one, not merely as a relic of antiquity, but from anæsthetic point of view. Nearly every tradesman of importance in thiscountry has some sort of trade mark; but most printers agree inregarding it as a wholly unnecessary superfluity. As the few exceptionsindicated in the last chapter prove that the fashion has an artistic aswell as a utilitarian side, I hope that it will again become moregeneral as time goes on. As regards my authorities: I have freely availed myself of nearly allthe works named in the “Bibliography” at the end, besides suchinvaluable works as Brunet’s “Manual, ” Mr. Quaritch’s Catalogues, andthe monographs on the various printers, Plantin, Elzevir, Aldus, and therest. From Messrs. Dickson and Edmonds’ “Annals of Scottish Printing”I have obtained not only some useful information regarding the Printer’sMark in Scotland, but, through the courtesy of Messrs. Macmillan andBowes of Cambridge, the loan of several blocks from the foregoing work, as well as that of John Siberch, the first Cambridge printer. I havealso to thank M.  Martinus Nijhoff, of the Hague, Herr KarlW.  Hiersemann, of Leipzig, Herr J.  H. Ed. Heitz, Strassburg, Mr. ElliotStock, Mr. Robert Hilton, Editor of the “British Printer, ” and theEditor of the “American Bookmaker, ” for the loan either of blocks or oforiginal examples of Printers’ Marks; and Mr. C.  T.  Jacobi for severaluseful works on typography. Mr. G.  P.  Johnston, of Edinburgh, kindlylent me the reduced facsimile on p.  252, which arrived too late to beincluded in its proper place. The publishers whose Marks are included inthe chapter on “Modern Examples” are also thanked for the courtesy andreadiness with which they placed electros at my disposal. The original idea of this book is due to my friend, Mr. Gleeson White, the general editor of the series in which it appears; but my thanks areespecially due to Mr. G.  R.  Dennis for the great care with which he hasgone through the whole work. W. R. 86, Grosvenor Road, S. W. , _October_, 1893. [Decoration] [Decoration] CONTENTS. Page PREFACE vii LIST OF ILLUSTRATIONS xiii INTRODUCTION 1 SOME GENERAL ASPECTS OF THE PRINTER’S MARK 40 THE PRINTER’S MARK IN ENGLAND 52 SOME FRENCH PRINTERS’ MARKS 100 PRINTERS’ MARKS OF GERMANY AND SWITZERLAND 139 SOME DUTCH AND FLEMISH PRINTERS’ MARKS 178 PRINTERS’ MARKS IN ITALY AND SPAIN 209 SOME MODERN EXAMPLES 233 BIBLIOGRAPHY 253 INDEX 255 [Decoration] [Decoration] LIST OF ILLUSTRATIONS. Page Liechtenstein, Petrus. _Frontispiece_ Bell, George, and Sons. _Title-page_ Andlau, G. U. Von 1 Couteau, Gillet 4 Du Pré, Galliot 5 Lecoq, Jehan 7 Petit and Kerver 9 Du Puys, Jacques 11 Pavier, T. 12 Janot, Denys 15 Faques, William 16 Steels, J. 19 Vérard, Antoine 21 Plate of thirty Marks used chiefly by the Italian Printers 25 Chaudière, Guillaume 28 Roffet, Jacques 30 Tournes, Jean de 31 Breuille, Mathurin 33 Snellaert, C. 35 Rastell, John 37 Leeu, Gerard 39, 185 Fust and Schoeffer 40 Froben, J. 43 Cratander’s Mark (attributed to Holbein) 45 Cox, T. 46 Dulssecker, Johann Reinhold 47, 153, 154 Beck, Reinhard 50, 143, 144 Goltz, Hubert 51 Lynne, Walter 52 Caxton, William 55 St. Albans Printer, The 56 De Worde, Wynkyn 58 Pynson, R. 59, 60 Notary, Julian 61 Fawkes, R. 63 Treveris, Peter 64 Scott, John 65 Copland, Robert 66, 68 Wyer, Robert 69 Hester, Andrew 70 Berthelet, Thomas 71 Byddell, John 72 Vautrollier, Thomas 74 Grafton, Richard 75 Middleton, William 76 Wolfe, John 78 Day, John 79 Arbuthnot, A. 81 Singleton, Hugh 83 Wight, John 84 Hall, Rowland 85 Bynneman, Henry 86 Woodcock, Thomas 87 Jaggard, William 88 Kingston, Felix 89 Creede, Thomas 90 Walthoe, John 91 Ware, R. 92 Scolar, John 93 Siberch, John 95 Myllar, Andro 96 Chepman, Walter 97 Davidson, Thomas 98 Charteris, H. 99 Estienne, F. 100 Rembolt, B. 102 Vostre, Simon 103 Regnault, François 104 Regnault, Pierre 105 Marchant, Guy 106 De Marnef 107 Du Pré, J. 108 Le Rouge, Pierre 109 Le Noir, Philippe 110 Kerver, Thielman 111 Pigouchet, Philippe 113 Petit, Jehan 114 Bade, J. 115 Hardouyn, Gillet 116 Tory, Geoffrey 117 De Colines, Simon 119 Estienne, Robert 120, 121 Vidoue, P. 124 Cyaneus, Louis 125 Wéchel, André 126 Wéchel, Chrestien 127 Nivelle, Sébastien 128 Merlin, Desboys and Nivelle 130 Topie, M. 131 Treschel, J. 132 Dolet, E. 133 Hughes de la Porte and A. Vincent 134 Gryphe, Sébastien 135 Colomies, Jacques 136 Morin, M. 137 Le Chandelier, Pierre 138 Thanner, Jacobi 139 Grüninger, Johann 140 Schott, Martin 141 Knoblouch, Johann 142 Köpfel, Wolfgang 145, 146 Müller, Craft (Crato Mylius) 147, 149 Biener, Matthias (Apiarius) 148 Rihel, Theodosius; Rihel, Josias (und Deren Erben) 150 Zetzner, Lazarus 151 Berger, Thiebold 151 Scher, Conrad 152 Hauth, David 152 Anshelm, Thomas 155 Kobian, Valentin 156 Hoernen, A. Ther 157 Bumgart, Herman 158 Koelhoff, Johann 160 Cæsar, Nicholas 161 Soter, J. 162 Birckmann, Arnold 163 Oglin, Erhard 164 Pfortzheim, Jacobus de 165 Henricpetri 166 Endter’s, Wilhelm Moritz, Daughter 167 Weissenburger, J. 168 Lotter, Melchior 169 Schumann, V. 170 Baumgarten, Conrad 171 Feyrabend, J. 172 Guerbin, L. 172 Stadelberger, Jacob 173 Girard, Jehan 174 Rivery, J. 174 Froschover, C. 175 Brylinger, N. 176 Le Preux, F. 177 Veldener, J. 178 Johann of Westphalia 179 Martens, Theodoric 180 Mansion, Colard 181 The Brothers of Common Life 182 Paffraej, Albertus 183 Van der Meer, Jacob Jacobzoon 186 Van der Goes, Mathias 187 Van den Dorp, R. 188 Back, Godefroy 188, 190 Cæsaris, A. 191 Hillenius, Michael 192 Bellaert, J. 193 Henrici, H. 194 Destresius, Jodocus 195 Van der Noot, Thomas 196 Grapheus, J. 197 Van den Keere, Henri 198 Waesberghe, J. 199 Hamont, Michel de 200 Velpius, Rutger 201 Hovii, J. M. 202 Plantin, C. 203, 204 Elzevir Sage, The 206 Elzevir Sphere, The 207 Janssens, Guislain 208 Fritag, A. 209 Riessinger, Sixtus 210 Besicken, J. 211 Martens, Thierry 211 Ratdolt, Erhardus 212 Scotto, Ottaviano 214 Sessa, Melchior 216 Meietos, P. And A. 217 Aldine Anchor, The First 218 Torresano, Andrea 219 Aldine Anchor, 1502-15 220 „ „ 1546-54 221 „ „ 1555-74 222 „ „ 1575-81 223 Giunta, P. 224 Giunta, L. 225 Giunta, F. De 225 Sabio, The Brothers 226 Legnano, Gian Giacomo di 227 Rizzardi, Giammaria 228 Rosembach, Juan 230 Fernandex, V. 231 Kalliergos, Zacharias 232 Legnano, J. A. De 232 Vingle, J. De, of Picardy 232 Hugunt, M. 232 Longman and Co. 233, 237 Stationers’ Company, The 233 „ „ „ 234 Rivingtons, The 235 Clarendon Press, The 238 Pickering, William 239 Pickering, Basil Montagu 239 Chiswick Press 240, 241 Chatto and Windus 243 Nutt, David 243 Cassell and Co. 243 Macmillan and Co. 243 Unwin, T. Fisher 243, 245 Lawrence and Bullen 243 Kegan Paul and Co. 243 Clark, R. And R. 244 Constable, T. And A. 246 Morris, William 247, 248 Appleton, D. , and Co. 250 Cushing, J. S. , and Co. 250 Harper Brothers 250 Lockwood, H. , and Co. 250 Berwick and Smith 251 De Vinne, Theodore L. , and Co. 251 Lippincott, J. B. , Co. 251 Nijhoff, M. 251 Norton, William 252 Bell, George, and Sons 261 [Decoration] [Decoration] PRINTERS’ MARKS. INTRODUCTION. Shorn of all the romance and glamour which seem inevitably to surroundevery early phase of typographic art, a Printer’s Device may bedescribed as nothing more or less than a trade mark. It is usually asufficient proof that the book in which it occurs is the work of aparticular craftsman. Its origin is essentially unromantic, and itsemployment, in the earlier stages of its history at all events, wasmerely an attempt to prevent the inevitable pirate from reaping where hehad not sown. At one time a copy, or more correctly a forgery, of aPrinter’s Mark could be detected with comparative ease, even if the bodyof the book had all the appearance of genuineness. [Illustration: G. U. VON ANDLAU. ] This self-protection was necessary on many grounds. First of all, theprivileges of impression which were granted by kings, princes, andsupreme pontiffs, were usually obtained only by circuitous routes andafter the expenditure of much time and money. Moreover, the counterfeitbook was rarely either typographically or textually correct, and wasmore often than not abridged and mutilated almost beyond recognition, tothe serious detriment of the printer whose name appeared on thetitle-page. Places as well as individualities suffered, for very manybooks were sold as printed in Venice, without having the least claim tothat distinction. The Lyons printers were most unblushing sinners inthis respect, and Renouard cites a Memorial drawn up by Aldus himself onthe subject, and published at Venice in 1503. But apart from the foregoing reasons, it must be remembered that many ofthe earliest monuments of typographic art appeared not only without thename of the printer but also without that of the locality in which theywere printed. Although in such cases various extraneous circumstanceshave enabled bibliographers to “place” these books, the Mark of theprinter has almost invariably been the chief aid in this direction. ThePsalter of 1457 is the first book which has the name of the place whereit was printed, besides that of the printers as well as the date of theyear in which it was executed. But for a long time after that date booksappeared without one or the other of these attributes, and sometimeswithout either, so that the importance of the Printer’s Mark holds good. A very natural question now suggests itself, “Who invented these Marks?”Laire, “Index Librorum” (Sæc. Xv. ), ii. 146, in speaking of a GreekPsalter says: “_Habet signaturas, registrum ac custodes, sed nonnumerantur folia. Litteræ principales ligno incisæ sunt, sicut et inprincipio cujuslibet psalmi viticulæ quæ gallicé _vignettes_appellantur, quarum usum primus excogitavit Aldus. _” The volume heredescribed was printed about 1495, and the invention therefore has beenvery generally attributed to Aldus. That this is not so will be shown inthe next chapter. We shall confine ourselves for the present to some ofthe various points which appear to be material to a proper understandingof the subject. One of the most important and interesting phases in connection withPrinters’ Marks is undoubtedly the _motif_ of the pictorialembellishment. Both the precise origin and the object of many Marks arenow lost to us, and many others are only explained after a thoroughstudy of the life of the particular printer or the nature of the bookswhich he generally printed or published. The majority, however, carrytheir own _prima facie_ explanations. The number of “punning” devices isvery large, and nearly every one has a character peculiarly its own. Their antiquity is proved by the fact that before the beginning of thefifteenth century, a picture of St. Anthony was boldly, not to sayirreverently, used by Antoine Caillaut, Paris. A long series of punningdevices occur in the books printed by or for the fifteenth centurypublishers, one of the most striking and successful is that of Michel leNoir, whose shield carries his initials, surmounted by the head of anegress and sometimes supported by canting figures in full. This Mark, with variations, was also employed by Philippe and Guillaume le Noir, the work of the three men covering a period of nearly 100 years. Thedevice of Gilles or Gillet Couteau, Paris, 1492, is apparently a doublepun, first on his Christian name, the transition from which to _œillet_being easy and explaining the presence of a pink in flower, and secondlyon his surname by the three open knives, in one of which the end of theblade is broken. It was almost inevitable that both Denis Roce or Ross, a Paris bookseller, 1490, and Germain Rose, of Lyons, 1538, shouldemploy a rose in their marks, and this they did, one of the latter’sexamples having a dolphin twining around the stem. Jacques and EstienneMaillet, whose works at Lyons extended from the last eleven years of thefifteenth century to the middle of the sixteenth, give in the centre oftheir shield a picture of a mallet. [Illustration: GILLET COUTEAU. Du grant aux petis Gillet couteau] [Illustration: GALLIOT DU PRÉ. VOGVE LA GVALLEE GALLIOT DV PRE] One of the boldest of the early sixteenth century examples is thatemployed by Galliot Du Pré, Paris, and in this we have a picture of agalley propelled with the aid of sails and oars, and with the motto“Vogue la gualee. ” This device (with several variations) was used byboth father and son, and possesses an interest beyond the subject ofPrinters’ Marks, for it gives us a very clear idea of the differentboats employed during the first three quarters of the sixteenth century. Another striking Mark of about the same time and covering as nearly aspossible the same period, was that of the family De La Porte. Theearlier example used in Paris about 1508 was a simple doorway; but theelder Hugues de la Porte, Lyons, and the successors of Aymon De La Porteof the same place, used several exceedingly bold designs in which Samsonis represented carrying away the gates of Gaza, the motto on one door orgate being “libertatem meam, ” and on the other “mecum porto. ” The twoprinters of the same name, Jehan Lecoq, who were practising the artcontinuously during nearly the whole of the sixteenth century at Troyes, employed a Mark on the shield of which appears the figure of a cock;whilst an equally appropriate if much more ugly design, was employed bythe eminent Lyons family of Sébastien Gryphe or Gryphius: he had atleast eight “griffin” Marks, which differed slightly from one another. François Gryphe, who worked in Paris, had one Mark which was original tothe extent of the griffin being supported by a tortoise. J.  Du Moulin, Rouen, employed a little picture of a windmill on his Mark, as didScotland’s first printer, Andro Myllar; but Jehan Petit, a prolificfifteenth century printer of Paris, confined his punning to the words“Petit à Petit, ” as is seen in the reduced facsimile title, given onp.  9, of a book printed by him for T.  Kerver. Mathias Apiarius, Strassburg, used at least two Marks expressing the same idea, namely, a bear discovering a bee’s nest in the hollow of a tree--an obvious punon his surname. The latter part of the sixteenth century is not nearlyso fruitful in really good or striking devices. Guillaume Bichon, Paris, employed a realistic picture of a lap-dog (in allusion to his surname)chasing a hare, with the motto “Nunc fugiens, olim pugnabo”; and equallyrealistic in another way is the Mark of P.  Chandelier, Caen, in whicheffective use is made of a candle-stick with seven holders, the mottobeing “Lucernis fideliter ministro. ” Antoine Tardif, Lyons, employed theAldine anchor and dolphin, and also a motto, “Festina tarde, ” which isidentical in meaning, if not in the exact words, of that of Aldus. Guillaume De La Rivière, Arras, used a charmingly vivid little scene ofa winding river, with the motto “Madenta flumine valles”; and it is notdifficult to distinguish the appropriateness of the sprig of barley inthe Mark of Hugues Barbon, Limoges. The Mark of Jacques Du Puys, Paris, was possibly suggested by the word _puits_ (or well), and of which Puysis perhaps only a form: the picture at all events is a representation ofChrist at the well. In the case of Adam Du Mont, Orange, the christianname, is “taken off” in a picture of Adam and Eve at the tree offorbidden fruit; and exactly the same idea occurs with equalappropriateness in the Mark of N.  Eve, Paris, the sign of whose shop wasAdam and Eve. Michel Jove naturally went to profane history for thesubject of his Mark, and with a considerable amount of success. [Illustration: JEHAN LECOQ. Jehan Lecoq] Among the numerous other examples with mottoes derived from sacredhistory, special mention, as showing the connection between the sign ofthe shop and its incorporation in the Mark, may be made to the followingprinters of Paris: D.  De La Noue, who not only had “Jesus” as the signof his shop, but also as his Mark; J.  Gueffier had the “Amateur Divin”as his sign, and an allegorical interpretation of the device, “Ferttacitus, vivit, vincit divinus amator, ” as a Mark; Guillaume Julian, orJulien, had “Amitie” as his sign, and a personification of this (TypusAmicitiæ) as his Mark, with the motto “Nil Deus hac nobis majusconcessit in usus”; Abel L’Angelier (and his widow after his death)adopted the sacrifice of Abel as the subject of his Sign and Mark, withthe motto “Sacrum pinque dabo nec macrum sacrificabo”; and the motto ofboth the first and the second Michel Sonnius was “Si Deus pro nobis, quis contra nos?” [Illustration: PETIT AND KERVER. PETIT A PETIT Le second Volu me Des Cronicques & Annalles de France, augmentées en la fin dudit volume daucuns faictz dignes de memoire des feux roys Charles huytiesme. Loys douziesme & fra[n]- cois premier du nom Iusques en Lan Mil cinq cens vingt Nouuellement imprime a Paris. PETIT PETIT T K THIELMAN KERVER I P PETIT] A few punning devices occur among the early English printers, but theyare not always clever or pictorially successful. The earliest example isthat of Richard Grafton, whose pretty device represents a tun with agrafted tree growing through it, the motto, “Suscipite insertum verbum, ”being taken from the Epistle to St. James (i. ,  verse 21). John Day’sdevice, with the motto “Arise! for it is day, ” is generally supposed tobe an allusion to the Reformation as well as a pun on his name;tradition has it, however, that Day was accustomed to awake hisapprentices, when they had prolonged their slumbers beyond the usualhour, by the wholesome application of a scourge and the summons “Arise!for it is day. ” We may also mention the devices of Hugh Singleton, a single tun; and of W.  Middleton, a tun with the letter W at bottom andM in the centre of the tun; of T.  Pavier, in which, appropriatelyenough, we have a pavior paving the streets of a town, and surrounded bythe motto “Thou shalt labour till thou return to dust. ” Thomas Woodcockemployed a device of a cock on a stake, piled as for a Roman funeral, with the motto “Cantabo Iehovæ quia benefecit”; Andrew Lawrence, a St. Andrew cross. [Illustration: JACQUES DU PUYS. ] Although not in any sense of a “punning” nature, the employment of aprinting press as a Mark may conveniently be here referred to. It wasfirst used in this manner, and in more than one form, by Josse Bade, orBadius, an eminent printer of the first thirty-five years of thesixteenth century, and to whom full reference will be found in thechapter on French Marks. A Flemish printer, Pierre César, Ghent, 1516, was apparently the next to employ this device; then came Jehan Baudouyn, Rennes, 1524; Eloy Gibier, Orleans, 1556; Jean Le Preux, Paris andSwitzerland, 1561; Enguilbert (II. ) De Marnef and the Bouchets brothers, Poitiers, 1567; and, later than all, L.  Cloquemin, Lyons, 1579. [Illustration: T. PAVIER. THOU SHALT LABOUR TILL THOU RETURN TO DUST] Next to the section of “punning” devices, perhaps the most entertainingis that which deals with the question of mottoes. These are derived froman infinite variety of sources, not infrequently from the fertile brainsof the printers themselves. Their application is not always clear, butthey are nearly always indicative of the virility which characterizedthe old printers. It is neither desirable nor possible to exhaust thissomewhat intricate phase of the subject, but it will be necessary toquote a few representative examples. Occasionally we get a snatch ofverse, as in the case of Michel Le Noir, whose motto runs thus: “C’est mon désir De Dieu servir Pour acquérir Son doux plaisir. ” Also in the instance of another early printer, Gilles De Gourmont, whochants-- “Tost ou tard Pres ou loing A le Fort Du feble besoing. ” Perhaps the greatest number of all are those in which the printerproclaims his faith to God and his loyalty to his king. One of the earlyParis printers enjoins us--in verse--not only to honour the king and thecourt, but claims our salutations for the University; and almostprecisely the same sentiment finds expression in the Mark ofJ.  Alexandre, another early printer of Paris. Robinet or Robert Macé, Rouen, proclaims “Ung dieu, ung roy, ung foy, ung loy, ” and the sameidea expressed in identical words is not uncommonly met with inPrinters’ Marks. Of a more definitely religious nature are those, forexample, of P.  de Sartières, Bourges, “Tout se passe fors dieu”; ofJ.  Lambert, “A espoir en dieu”; of Prigent Calvarin, “Deum time, pauperes sustine, finem respice”; and several from the Psalms, such asthat of C.  Nourry, called Le Prince, “Cor contritum et humiliatum deusnon despicies”; of P.  De Saincte-Lucie, also called Le Prince, “Oculimei semper ad dominum”; and of J.  Temporal (all three Lyons printers), “Tangit montes et fumigant, ” in which the design is quite in keepingwith the motto; in one case at least, S.  Nivelle, one of thecommandments is made use of, “Honora patrem tuum, et matrem tuam, ut sislongævus super terram. ” Here, too, we may include the mottoes ofB.  Rigaud, “A foy entiere cœur volant”; S.  De Colines, “Eripiam etglorificabo eum”; and of Benoist Bounyn, Lyons, “Labores manum tuarumquia manducabis beatus es et bene tibi erit. ” Whilst as a fewillustrations of a general character we may quote Geoffrey Tory’sexceedingly brief “Non plus, ” which was contemporaneously used also byOlivier Mallard; J.  Longis, “Nihil in charitate violentia”; Denys Janot, “Tout par amour, amour par tout, par tout amour, en tout bien”; theFrench rendering of a very old proverb in the mottoes of B.  Aubri andD.  Roce, “A l’aventure tout vient a point qui peut attendre”; J.  Bignon, “Repos sans fin, sans fin repos”; the motto used conjointly byM.  Fézandat and R.  Granjon, “Ne la mort, ne le venin”; and the motto ofEtienne Dolet, “Scabra et impolita ad amussim dolo, atque perfolio. ”Among the mottoes of early English printers, the most notable, partlyfor its dual source, and as one of our earliest examples, is that ofWilliam Faques; one sentence, “Melius est modicum justo super divitiaspeccatorum multas, ” is taken from Psalm xxxvii. Verse 16; and thesecond, “Melior est patiens viro forti, et qui dominat, ” comes fromProverbs xvi. , verse 32. The motto of Richard Grafton has already beenquoted; that of John Reynes was “Redemptoris mundi arma”; and JohnWolfe, “Vbique floret. ” [Illustration: DENYS JANOT. PARTOVT AMOVR AMOR DEI OMNIA VINCIT AMOVR PARTOVT TOVT PAR AMOVR. DENIS IANOT. EN TOVT BIEN. ] [Illustration: WILLIAM FAQUES. Melius est modicum iusto super divitias p[ecca]torum multas. MELIOR EST PATIENS VIRO FORTI ET QVI DOMINAT Guillam. ] The employment of mottoes in Greek and Hebrew characters is a notunimportant feature in the earlier examples of Printers’ Marks, but itmust suffice us here to indicate a few of the leading printers who usedeither one or the other, and sometimes both. B.  Rembolt was one of theearliest to incorporate a Greek phrase; De Salenson, Ghent, had aGreco-Latin motto on an open bible, which is the _pièce de resistance_of a pretty Mark, a similar idea occurring in the totally differentMarks of the brothers Treschel, Lyons; another Lyons firm of printers, the brothers Huguetan, employed a Greek motto, and a phrase, also inGreek characters, occurs in one of the Marks of Peter Vidoue. The morenotable Marks which contain Hebrew characters, which generally signifyJehovah, are those of Joannes Knoblouchus, or Knoblouch, Strassburg, inwhich we have not only Hebrew, but upper and lower case Greek, and aLatin quotation--“Verum, quum latebris delituit diu, emergit”; and ofWolfius Cæphalæus, also of Strassburg; and here again we have the Markenvironed by quotations in Greek, Latin, and Hebrew. In a few instanceswe have the unlucky letter of the Greek alphabet--_theta_--forming aMark with considerable originality, as in that of Guillaume Morel, wherethis symbol of death is surrounded by two dragon serpents representingimmortality. The _theta_ was also employed by Etienne Prevosteau. The subject of the sphere in Printers’ Marks might profitably occupy agood deal of space in discussing. It is generally considered to be notonly the peculiar property of the Elzevirs, but that books possessing itwithout having one or other of the real or assumed imprints of thiscelebrated family of printers are impudent frauds. But as a matter offact, it was used by at least half-a-dozen printers many years beforethe Elzevirs started printing. For example, it was employed during thelast decade of the fifteenth century by Gilles Hardouyn, and early inthe sixteenth by Huguetan brothers at Lyons, by P.  Sergent andL.  Grandin at Paris, by J.  Steels, or Steelsius of Antwerp, andP.  Lichtenstein of Venice. In these instances, however, it is endowed, so to speak, with accessories. In the earliest Mark it plays only anincidental part, but in the Huguetan example it forms the device itself:it is held by a hand and is encircled by a ring on which the owner ofthe hand is evidently trying to balance a ball; there is a Greek motto. In a later and slightly different design of the same family, the mottois altered in position, and is in Latin: “Vniversitas rerum, vt Pvlis, in manv Iehovae. ” Each of the two Paris examples is remarkable in itspeculiar way. In Grandin’s two Marks the same allegorical idea prevails, viz. , one person seizing a complete sphere from an angel out of theclouds, apparently to exchange it for the broken one held by a secondperson: in the cruder of the two examples of these there is a quotationfrom the 117th Psalm. In Sergent’s bold and vigorous Mark, the sphere, which incloses a figure of the crucified Christ, is fixed into the topof a dead trunk of a tree. It may also be mentioned that this device wasfrequently used by printers during the middle and latter part of theseventeenth century in this country--it appears, for example, on severalbooks printed by R.  Bentley, London, during that period. The sphere asan Elzevir Mark will be referred to in the chapter dealing with Dutchexamples. [Illustration: J. STEELS. IO. STEELSIVS Concordia res paruę crescunt. ] An element which may be generically termed religious plays nounimportant part in this subject. It will not be necessary to enterdeeply into the motives which induced so many of the old printers andbooksellers to select either their devices or the illustrations of theirMarks from biblical sources; and it must suffice to say that, if theobject is frequently hidden to us to-day, the fact of the extent oftheir employment cannot be controverted. The incident of the BrazenSerpent (Numbers xxi. ) was a very popular subject. One of the earliestto use it was Conrad Neobar, Paris, 1538; it was adopted by ReginaldWolfe, who commenced printing in this country about 1543, and itspossession was considered of sufficient importance to merit specialmention among the goods bequeathed by his widow to her son Robert. Itwas also the Mark of Wolfe’s contemporaries, Martin Le Jeune, Paris, Jean Bien-Né, of the same city, and of Jean Crespin, Geneva, thelast-named using it in several sizes, in which the foot of the cross is“continued” into an anchor. Apart from crosses in an infinite variety offorms, and to which reference will presently be made, by far the mostpopular form of religious devices consisted of what may, for conveniencesake, be termed angelic. Pictorially they are nearly always failures, and often ludicrously so. The same indeed might be said of the work ofmost artists who have essayed the impossible in this direction. Anextraordinary solemnity of countenance, a painful sameness and extremeugliness, are the three dominant features of the angels of the Printers’Mark. The subject offers but little scope for an artist’s ingenuity itis true, and it is only in a very few exceptions that a tolerableexample presents itself. Their most frequent occurrence is in supportinga shield with the national emblem of France, and in at least oneinstance--that of André Bocard, Paris, --with the emblems of the city andthe University of Paris. This idea, without the two latter emblems, occurs in the devices of Jehan Trepperel, Anthoine Denidel, andJ.  Bouyer and G.  Bouchet (who adopted it conjointly), who were printingor selling books in Paris during the last decade of the fifteenthcentury; whilst in the provinces in that period it was employed byJacques Le Forestier, at Rouen; and by Jehan De Gourmont, Paris, J.  Besson, Lyons, and J.  Bouchet at Poitiers, early in the followingcentury. The angels nearly always occur in couples, as in the case ofAntoine Vérard, one of the earliest printers to adopt this form; but afew exceptions may be mentioned where only one appears, namely, in theMark of Estienne Baland, Lyons (1515), in which an angel is representedas confounding Balaam’s ass; and in that of Vincent Portunaris, of thesame place and of about the same time, in which an angel figures holdingan open book; in the four employed by G.  Silvius, an Antwerp printer(1562), in three of which the figure is also holding a book; in theelaborate Mark of Philip Du Pré, Paris, 1595, and in the exceeding roughMark of Jannot de Campis, of Lyons, 1505. Curiously enough, the subjectof Christ on the cross was very rarely employed, an exception occurringin the case of Schäffeler, of Constance, or Bodensee, Bavaria, 1505. Thesame centre-piece, without the cross, was employed by Jehan Frellon, Paris, 1508, and evidently copied by Jehan Burges, the younger, atRouen, 1521, whilst that of Guillaume Du Puy, Paris, 1504, has alreadybeen referred to. The Virgin Mary occurs occasionally, the more notableexamples being the Marks of Guillaume Anabat, Paris, 1505-10, really acareful piece of work; and the elder G.  Ryverd, Paris, 1516, and in eachcase with the infant Jesus. St. Christopher is a subject one sometimesmeets with in Printers’ Marks: in that of Gervais Chevallon, Paris, 1538, it however plays a comparatively subordinate part, and its meritswere only fully recognized by the Grosii, of Leipzig, who nearly alwaysused it for about two centuries, 1525-1732; the example bearing the lastdate is by far one of the most absurd of its kind--the cowled monk witha modern lantern lighting St. Christopher on his way through the riveris a choice piece of incongruity. Another phase of the religious elementcapable of considerable expansion is that in relation to the part playedin Marks by saints and priests generally. Sometimes these are foundtogether with an effect not at all happy, notably the two Marks of JehanOlivier, Paris, 1518, which, with Jesus Christ on one side, a Pope onthe other, and an olive tree, are sufficiently crude to present anappearance which seems to-day almost blasphemous. The last of theseveral religious phases of Printers’ Marks to which we shall allude isat the same time the most elaborate and complicated. We refer to that ofthe Cross. The subject is sufficiently wide to occupy of itself a smallvolume, but even after the most careful investigation, there are manypoints which will for ever remain in the region of doubt and obscurity. Tradition is proverbially difficult to eradicate; and all the glamourwhich surrounds the history of the Cross, and which found expression in, among other popular books, the “Legenda Aurea, ” maintained all itspristine force and attractiveness down to the end of the sixteenthcentury. The invention of printing and the gradual enlightenment ofmankind did much in reducing these legends into their proper place; butthe process was gradual, and whatever may have been their privateopinions, the old printers found it discreet to fall into line with theestablished order of things. Indeed, the religious sentiment was perhapsnever so alive as at the time of the invention of printing, in proof ofwhich some of the earliest and most magnificent typographical monumentsmay be cited, --the Gutenberg Bible, the Psalter of Fust and Schoeffer, for example. The accompanying plate will give the reader a faint idea ofthe extraordinary variety of crosses to be found on Printers’ Marks usedchiefly by the Italian printers. [Illustration: ANTOINE VÉRARD. IHS PO[UR] PROVOCQVER TA GRĀT MISERI CORDE DE TOVS PECHEVRS FAIRE GRACE ET PARDON ANTHOINE VER[A]D HVMBLEMĒT TE RECORDE CE QVIL A IL TIENT DE TOI PAR·DON AR] M. Paul Delalain has touched upon this exceedingly abstract phase ofPrinters’ Marks in the third _fascicule_ of his “Inventaire des Marquesd’Imprimeurs, ” without, as he himself admits, arriving at any verydefinite conclusion. The cross, whether in its simplest form or with acomplication of additional ornaments, has, as he points out, been at alltimes popular in connection with this subject. It appeared on the shieldof Arnold Ther Hoernen, Cologne, 1477, at Stockholm in 1483, at Cracoviain 1510. That it did not fall entirely into desuetude until the end ofthe eighteenth century is a very striking proof of what M.  Delalaincalls “la persistance de la croix. ” It has appeared in all forms and inalmost every conceivable shape. Its presence may be taken as indicatinga deference and a submission to, as well as a respect for, the Christianreligion, and M.  Delalain is of the opinion that the sign “eu pourorigine l’affiliation à une confrérie religieuse. ” Finally, in hisintroduction to Roth-Scholtz’s “Thesaurus Symbolarum ac Emblematum, ”Spoerl asks, “Why are the initials of a printer or bookseller so oftenplaced in a circle or in a heart-shaped border, and then surmounted by across? Why at the extreme top of the cross is the lateral line formedinto a sort of triangular four? Why, without this inexplicable sign, hasthe cross a number of cyphers, two, or even three, cross-bars? Whyshould the tail of the cypher 4 itself be traversed by one or sometimestwo perpendicular bars which themselves would appear to form anothercross of another kind? Why, among the ornamental accessories, do certainspecies of stars form several crosses, entangled or isolated? Why, atthe base of the cross is the V duplicated?” All these are problems whichit would be exceedingly difficult to solve with satisfaction. We do notpropose offering any kind of explanation for these singular marks; butit will not be without interest to point out that among the moreinteresting examples are those used by Berthold Rembolt, André Bocard orBoucard, Georges Mittelhus, Jehan Alexandre, Jehan Lambert, Nicole De LaBarre, and the brothers De Marnef, all printers or booksellers of Paris;of Guillaume Le Talleur, Richard Auzolt, of Rouen; of Jaques Huguetan, Mathieu Husz, François Fradin, Jacques Sacon or Sachon, and Jehan DuPré, all of Lyons; of Jehan Grüninger, of Strassburg; of LawrenceAndrewe, and Andrew Hester, of London; the unknown printer of St. Albans; of Leeu, of Antwerp; of Jacob Abiegnus, of Leipzig; of PedroMiguel, Barcelona; of Juan de Rosembach of Barcelona and other places;of the four “alemanes” of Seville, and hundreds of others that might bementioned. [Illustration: 1. Benedetto d’Effore. 2. Bonino de Boninis. 3. Bernardino de Misintis. 4. Bernardino Ricci. 5. Bernardino Stagnino. 6. Baptista de Tortis. 7. Bernardinus de Vitalibus. 8. Bartholomeus de Zanis. 9. } Dionysius Bertochus. 10. } 11. Dominicus Roccociola or Richizolo. 12. William Schomberg. 13. Christopher de Canibus. 14. Hercules Nani. 15. Giovanni Antonio de Benedetti. 16. Samuel de Tournes (Geneva). 17. The Somaschi. 18. Justinian de Ruberia. 19. J. Treschel (Lyons). 20. L. De Gerla, Gerlis or Gerula. 21. Laurentius Rubeus de Valentia. 22. Lazaro Suardo or da Suardis. 23. Matthew de Codeca or Capsaca. 24. Nicholas de Francfordia. 25. Dionysio Berrichelli. 26. Octavianus Scottus. 27. Peregrino de Pasqualibus. 28. Philip Pinzi or Pincius. 29. Caligula de Bacileriis. 30. J. Sacer. ] It is curious to note that, in spite of its great mediæval popularity, the subject of St. George and the Dragon rarely enters into the subjectof Printers’ Marks, and of the few examples which call for reference, those of Thomas Périer and Guillaume Bourgeat, of Paris and Toursrespectively, are among the best both in design and execution. The ideawas also adopted by Guillaume Auvray, of Paris; and by M. De Hamont, Brussels. The personification of Time and Peace were both popular; and each hasits successful examples. One of the earliest instances of the former isa pretty little mark, executed with a considerable amount of vigour, ofRobert De Gourmont, Paris; a large and vigorous Mark--one ofseveral--employed by Simon De Colines, Paris, in which it is interestingto note that the scythe is not invariably denticulated; two very crudebut very distinct examples employed by Michel Hillenius or Hooghstrate, Antwerp, 1514; and two, one large and the other small, of GuillaumeChaudière, Paris, 1564; whilst Jean Temporal, of Lyons, 1550, used it asan evident play on his name. The emblem of Peace does not appear to havebeen much employed until well on into the sixteenth century; N.  Boucher, 1544, used as his motto, “pacem victis;” Guillaume Julien, to whomreference has already been made; as likewise Michel Clopejau, of a fewyears later, who used the words “Typus amicitiæ” on his mark, with thefurther legend of “Quam sperata victoria pax certa melior;” these threelived in Paris, whilst by far the best decorative Mark in thisconnection was that adopted by Julien Angelier, a bookseller and printerof Blois, 1555, the centre of whose device, besides the words “Signumpacis, ” includes a dove bearing two olive branches. The fraternal deviceof two hands clasped may also be here alluded to: it is of specialinterest from the fact that it was employed by one of the earliest topractice printing in Paris--Guy or Guyot Marchant, 1483, one of whoseMarks gives us a view of two shoemakers working with musical notesrepresenting So La (Sola), and “fides ficit” in gothic type. ThomasRichard, sixty years afterwards, elaborated on a portion of this idea, and his Mark shows two hands holding a crowned sceptre with two serpentsentwined around it. Designs much superior to these were employed byBertramus of Strassburg, at the latter part of the sixteenth century. Following the example of Marchant, musical notes have occasionally beenemployed by later printers. The rebus of this printer evidentlysuggested that of Jehan and Anthoine Lagache, father and son, Arras, in1517, the first syllable of whose name, La, is indicated by a musicalnote, and is immediately followed by “gache. ” Pierre Jacobi, Saint-Nicholas-de-la-Port, and Toulouse, 1503, adopted Marchant’s ideaby giving “Sola fides ficit” with a musical start, so to speak; and adistinctly novel phase of the subject is employed by Jacobus Jucundus, Strassburg, 1531, in which a goose is represented as playing on aviolin. [Illustration: GUILLAUME CHAUDIÈRE. HANC ACIEM SOLA RETVNDIT VIRTVS TEMPVS. ] Printers’ marks in which the pictorial embellishments partake of arustic nature, such as bits of landscape, seed-sowing, harvesting, andhorns of plenty, are numerous, and in many cases exceedingly pretty. J.  Roffet, Paris, 1549, employed the design of the seed-sower in severalof his Marks; and of about a dozen different Marks used at one time oranother by Jean De Tournes the first, Lyons, 1542, one of the mostsuccessful is a clever one having for its central figure a sower; thesame idea, in a very crude form, was contemporaneously employed also byDe Laet, Antwerp. The Cornucopia, or horn of plenty, was a veryfavourite emblem, and it appears in a manifold variety of designs, sometimes with a Caduceus (the symbol of Mercury) which is held by twoclasped hands, as in the case of T.  Orwin, London, 1596, in a cartouchewith the motto: “By wisdom peace, by peace plenty;” four of the eightmarks used by Chrestien Wéchel, Paris, 1522, differ from Orwin’s inbeing surmounted by a winged Pegasus; and André Wéchel, of the samecity, 1535, employed one of the smaller devices of Chrestien, withvariations and enlargements of the same; in the Mark of J.  Chouet, Geneva, 1579, the caduceus is replaced by a serpent, the body of whichis formed into a figure 8; in that of Gislain Manilius, Ghent, the hornsappear above two seated figures. In each of the foregoing examples twohorns appear. Georg Ulricher von Andlau, Strassburg, 1529, used thecornucopia, and in one of his Marks the figure is surrounded by anelaborate array of fruit and vegetables; single horns appear also in theclever and elaborate marks of R.  Fouet, Paris, 1597, whose design was avery slight deviation from that of J.  De Bordeaux, Paris, 1567. Theoak-tree, sheltering a reaper and with the motto “Satis Quercus, ” wasemployed by George Cleray, Vannes, 1545; and the fruit of this tree--theacorn--by E.  Schultis, Lyons, 1491. The thistle appears on the marks ofEstienne Groulleau, Paris, 1547; the Rose on the more or less elaboratedesigns of Gilles Corrozet, Paris, 1538; a rose-tree in full floweroccupies the centre of the beautiful mark of the first MathieuGuillemot, Paris, 1585; a solitary Rose-flower was the simple andeffective mark of Jean Dallier, Paris, 1545; and a flowering branch ofthe same tree is one of the items on the charming little Mark on theopposite page of Mathurin Breuille, Paris. [Illustration: JACQUES ROFFET. IAQVES ROFFET] [Illustration: JEAN DE TOURNES. SON ART EN DIEV] In the category of what may be termed extinct animals, the Unicorn as asubject for illustrating Printers’ Marks enjoyed a long and extensivepopularity. The most remarkable thing in connection with these designsof the Unicorn is perhaps their striking dissimilarity, and as nearlyevery one of the many artists who employed, for no obvious reasons, thisanimal in their Printer’s Marks had his own idea of what a Unicorn oughtto have been like, the result, viewed as a whole, is not by any means ahappy one. Still, several of the examples possess a considerable amountof vigour and have a distinct decorative effectiveness. But apart fromthis its appearance in the Marks of the old printers is a very strikingproof of the fact that the mediæval legends died hard. Curiously enough, the proverbial “lion and unicorn” do not often occur together. Thefamily of printers with whose name the unicorn is almost as closelyassociated as the compass is with Plantin, is that of Kerver, for it hasbeen employed in over a dozen different forms by one or other membersfrom the end of the fifteenth century to the latter part of thesixteenth. Sometimes there is only one Unicorn on the mark, at othersthere is a pair. Le Petit Laurens, Paris, was using it contemporaneouslywith the first Thielman Kerver, and possibly the one copied the other. Sénant, Vivian, Kées, and Pierre Gadoul, Chapelet, and Chavercher, wereother Paris printers who used the same idea in their marks before themiddle of the sixteenth century. It was long a favourite subject withthe Rouen printers, one of the earliest in that city to use it beingJ.  Richard, whose design is particularly original, inasmuch as theshield is supported on one side by a Unicorn, and on the other by afemale, possibly intended to represent a saint, an idea which wasapparently copied by Symon Vincent, Lyons; the Unicorn was also used inthe marks of L.  Martin and G.  Boulle, both of Lyons; and also in thevery rough but original design employed by H.  Hesker, Antwerp, 1496;whilst for its quaint originality a special reference may be made to theMark of François Huby, Paris, of the latter part of the sixteenthcentury, for in this a Unicorn is represented as chasing an old man. Theorigin of the Unicorn Mark is essentially Dutch. The editions of thePrinter, “à la licorne, ” Deft, 1488-94, are well known to students ofearly printing. The earliest book in which this mark is found is the“Dȳalogus der Creaturen” (“Dialogus Creaturarum”) issued at that city inNovember, 1488. Henri Eckert de Hombergh and Chr. Snellaert, both ofDelf, used a Unicorn in their Marks during the latter years of thefifteenth century. [Illustration: MATHURIN BREUILLE. DOMINE ADAVGE NOBIS FIDEM QVIA CHRISTI BONVS ODOR SVMVS] [Illustration: C.  SNELLAERT. ] Among other possible and impossible monsters and subjects of profanehistory, the Griffin, the Mermaid, the Phœnix, Arion and Hermes has eachhad its Mark or Marks. In the case of the first named, which, accordingto Sir Thomas Browne, in his “Vulgar Errors, ” is emblematical ofwatchfulness, courage, perseverance, and rapidity of execution, it isnot surprising that the Gryphius family, from the evident pun on theirsurname, should have considered it as in their particular preserves. Asmay be imagined, it does not make a pretty device, although under thecircumstances its employment is perhaps permissible. Sebastien Gryphius, Lyons, and his brother François, Paris, who were of German parentage, employed the Griffin in about a dozen variations during the first halfof the sixteenth century. The Griffin, however, was utilized by PoncetLe Preux, Paris, some years before the Gryphius family came intonotoriety, and it was employed contemporaneously with this by B.  Aubri, Paris. The Mermaid makes a prettier picture than the Griffin, but itsappearance on Printers’ Marks is an equally fantastic vagary of theimagination. In one of the earliest Marks on which it occurs, that ofC.  Fradin, Lyons, 1505, the shield is supported on one side by aMermaid, and on the other by a fully-armed knight; half a century after, B.  Macé, Caen, had a very clever little Mark in which the Mermaid is notonly in her proper element, but holding an anchor in one hand, andcombing her hair with the other. During the second quarter of thesixteenth century, the idea was, with variations, used by G.  Le Bret, Paris, and J.  De Junte, Lyons, as well as by John Rastell, London, 1528, whose shop was at the sign of the Mermaid. To summarize a few of the less popular designs, it will suffice to givea short list of the vignettes or marks used by the old printers of Paris(except where otherwise stated), alphabetically arranged according tosubjects: _Abraham_, Pacard; an _anchor_, Christopher Rapheleng, Leyden, Chouet and Pierre Aubert, Geneva; two _anchors_ crosswise, ThierryMartens, Antwerp, and Nicholas le Rich; one or more _angels_, Legnano, Milan; Henaud and Abel L’Angelier, and Dominic Farri, Venice; _Arion_, Oporinus or Herlist, Brylinger, Louis le Roi, and Pernet, Basle, andChouet, Geneva; a _Basilisk_ and the four elements, Rogny;_Bellerophon_, the brothers Arnoul and Charles Angeliers; GuillaumeEustace, and Perier, and Bonel, Venice; a _Bull_ with the sign Taurusand the Zodiac, Nicholas Bevilacqua, Turin; a _Cat_ with a mouse in hermouth, Melchior Sessa and Pietro Nicolini, de Sabio, Venice; two_Doves_, Jacques Quesnel; an _Eagle_, Balthazar Bellers, Antwerp, Bladius, Rome, G.  Rouille or Roville, Lyons, and the same design--withthe motto “Renovabitur ut aquilæ juventus mea”--occurs in the bookspublished in the early years of the seventeenth century by Nicolini, Rabani, Renneri and Co. , Venice; the personification of _Fortune_, Bertier, J.  Denis (an elaborate and clever design in which a youth isrepresented climbing the tree of Fortune), and Adrian le Roy and RobertBallard, Berde and Rigaud, Lyons, and Giovanni and Andrea Zennaro, Venice; a _Fountain_, M.  Vascosan, the second Frederic Morel (with aGreek motto importing that the fountain of wisdom flows in books), andCratander, Basle; a _Heart_, Sebastian Huré and his son-in-law Corbon;_Hercules_, with the motto, “Virtus non territa monstris, ” Vitré, LeMaire, Leyden; a _Lion_ rampant, Arry; a lion rampant crowned on a redground, Gunther Zainer; a lion led by the hand, Jacques Creigher; a lionsupporting a column, Mylius, Strassburg, and a lion with a hour glass, Henric Petri, Basle; a _Magpie_, Jean Benat or Bienne; this bird alsooccurs among Robert Estienne’s Marks, and the same subject, with aserpent twining round a branch was used (according to Horne), byFrederic Morel; _Mercury_, alone or with other classic deities, DavidDouceur, Biaggio, Lyons; Jean Rossy, Bologne; Verdust, Antwerp, andHervagius, Basle; a _Pelican_, N.  De Guinguant, S.  Nivelle, Girault andDe Marnef, C. And F.  Franceschini, Venice; Mamarelli, Ferrara; F.  Heger, Leyden; E.  Barricat, Lyons; and Martin Nuyts and his successor whocarried on business under the same name, Antwerp; a _Phœnix_, MichaelJoli, Wyon, Douay; Leffen, Leyden; Martinelli, Rome; and Giolito, Venice; a _Salamander_, Zenaro, Venice; St. Crespin and Senneton, Lyons;Duversin and Rossi, Rome; a _Stork_, Nivelle and Cramoisy; _St. Georgeand the Dragon_, Michel de Hamont, Brussels; a _Swan_, Blanchet; whilsta swan and a soldier formed the Mark of Peter de Cæsaris and John Stoll, two German printers who were among the earliest to practise the art inParis. [Illustration: JOHN RASTELL. Fuit Iohannes Rastell] [Illustration: GERARD LEEU. ] [Decoration] SOME GENERAL ASPECTS OF THE PRINTER’S MARK. [Illustration: FUST AND SCHOEFFER. ] From what has already been stated, it will be seen that the Printer’sMark plays a by no means unimportant part in the early history ofillustration, --whether the phase be serious or grotesque, sublime orridiculous, we find here manifold examples, crude as well as clever. Although it cannot be said with truth that the Mark as an institutionreached, like typography itself, its highest degree of perfection at itsinception, some of the earlier examples, nevertheless, are also some ofthe most perfect. The evolution from the small monogram, generally inwhite on a black ground, to an elaborate picture occupying from aquarter to a whole page, was much less gradual than is generallysupposed. The unambitious marks of the first printers were clearlyadopted in consonance with the traders’ or merchants’ marks which beganto be so generally employed during the latter part of the fifteenthcentury. The very natural question, Which was the first Printer’s Mark? admits ofan easy answer. It was employed for the first time in the form of thecoupled shield of Fust and Schoeffer, in the colophon of the famousPsalter printed by these two men at Mainz in 1457. This book isremarkable as being the costliest ever sold (a perfect copy is valued at5, 000 guineas by Mr. Quaritch): it is the third book printed, and thefirst having a date, and probably only a dozen copies were struck offfor the use of the Benedictine Monastery of St. James at Mainz. It is, however, quite as remarkable for the extraordinary beauty of its initialletters, printed in red and blue ink, the letters being of one colourand the ornamental portion of the other. The Mark of Fust and Schoeffer, it may be mentioned, consists of two printer’s rules in saltaire, on twoshields, hanging from a stump, the two rules on the right shield formingan angle of 45°: the adoption of a compositor’s setting-rule was veryappropriate. It was nearly twenty years before the introduction ofwoodcuts into books became general, Gunther Zainer beginning it atAugsburg in 1471-1475. The inception of this movement was naturallyfollowed by a general improvement, or at all events elaboration, of thePrinter’s Mark, which, moreover, now began to be printed in colours, asis seen in the Fust and Schoeffer mark in red which appears beneath thecolophon of Turrecremata’s Commentary on the Psalms printed by Schoefferin 1474. Reverting for a moment to the Psalter which has been veryproperly described as “the grandest book ever produced by Typography, ”a very curious fact not at all generally known may be here pointed out. Although the few existing examples with two dates are of the sameedition, there are several very curious variations which are well worthyof notice. It will be only necessary, however, in this place to refer tothe fact that the beautiful example in the Imperial Library atVienna--which, from its spotless purity, Heineken calls the “exemplairevierge”--differs from the others in being without the shield of Fust andSchoeffer, a fact which points to the probability of this copy havingbeen the first struck off. By the end of the fifteenth century the Printer’s Mark had assumed orwas rapidly assuming an importance of which its original introducers hadvery little conception. Indeed, as early as 1539, a law, according toDupont, in his “Histoire de l’Imprimerie, ” was passed by which thesemarks or arms of printers and booksellers were protected. Unfortunatelythe designs were very rarely signed, and it is now impossible to namewith any degree of certainty either the artist or engraver, both officesprobably in the majority of cases being performed by one man. There isno doubt whatever that Hans Holbein designed some of the very gracefulborders and title-pages of Froben, at Basle, during the first quarter ofthe sixteenth century, and in doing this he included the gracefulCaduceus which this famous printer employed. It does not necessarilyfollow that he was the original designer, although he was in intimateassociation with Froben when the latter first used this device. Thedistinctive Mark of Cratander, or Cartander, which appears in theedition of Plutarch’s “Opuscula, ” Basel, 1530, has also been confidentlyattributed to the same artist: if there is any foundation for thisstatement Holbein was guilty of plagiarism, for this Mark is a veryslight modification on one used by the same printer in 1519, and notonly so dated but having the artist’s initials, I.  F. Those who have theopportunity of examining the “Noctes Atticæ” of Aulus Gellius, printedby Cratander in 1519, will come upon several highly interesting featuresin connection with this Mark, which is emblematical of Fortune: theelaborately engraved title-page contains an almost exact miniature ofthe same idea on either side, and it is repeated in a larger form in theborder which surrounds the first chapter. The Mark occurs in its fullsize on the last page of all. The title-page, borders and Mark are allby the same artist, I.  F. In the earlier example the woman’s haircompletely hides her face, whilst in that of eleven years later it is asseen on the opposite page, and the whole design is more carefullyfinished. Dürer had dealt with the same subject. In reference to Froben, however, it should be pointed out that his Marks, of which there wereseveral, show considerable variation in their attendant accessories, andthat Holbein could not possibly have had anything to do with themajority of them. [Illustration: J.  FROBEN. γίνεσθε φρόνιμοι ὥς ὁι ὄφεις, Prudens simplicitas amor[que] recti. ] To attempt to identify the designers of even a selection of the bestPrinters’ Marks would be but to embark on a wild sea of conjecture. Theinitials of the engravers, which occur much more frequently than thoseof the artists, are of very little assistance to the identification ofthe latter. Many of them possess a vigour and an originality which wouldat once stamp their designers as men of more than ordinary ability. Forpicturesqueness, and for the care and attention paid to the minutestdetails, it may be doubted if either B.  Picart in France, or J.  Pine inthis country, has ever been excelled. The examples of the former comeperhaps more in the category of vignettes than of Printers’ Marks, although the charming little pictures on the title-pages of Stosch’s“Pierres Antiques Gravées, ” 1724, the “Impostures Innocentes, ” 1734, andthe edition of Cicero’s “Epistolæ, ” printed at the Hague by IsaacVaillant, 1725, --to mention only three of many--may be convenientlyregarded as Printers’ Marks. So far as we know, Pine only executed oneexample, --representing a Lamb within a cleverly designed cartouche--andthis appears on the title-page of Dale’s Translation of Freind’s“Emmenologia, ” printed for T.  Cox, “at the Lamb under the RoyalExchange, ” 1729: in its way it is unquestionably the most perfect Markthat has ever been employed in this country. Any rule differentiatingthe Printer’s Mark proper from a vignette is not likely to give generalsatisfaction; for a writer on the subject of vignettes will unfailinglyappropriate many that are Marks, and _vice versa_. The present writerhas found it a fairly safe rule, to accept as a Mark a pictorialembellishment (on a title-page) to which is appended a motto orquotation. The temptation to persuade oneself that several of thesevignettes are Printers’ Marks needs a good deal of resisting, especiallywhen such an exquisite example as that of Daniel Bartholomæus and Son, of Ulm, is in question. The same holds good with several of the dozenused by J.  Reinhold Dulssecker, Strassburg, about the latter part of theseventeenth and earlier part of the eighteenth century; and very manyothers that might be named. [Illustration: CRATANDER’S MARK. (Attributed to Holbein. )] [Illustration: T. COX. I Pine Sculpt] [Illustration: J. R. DULSSECKER. DOMINUS PROVIDEBIT. ] It is interesting to note that the Printer’s Mark preceded theintroduction of the title-page by nearly twenty years, and that thefirst ornamental title known appeared in the “Calendar” ofRegiomontanus, printed at Venice by Pictor, Loeslein and Ratdolt in1476, in folio. Neither the simple nor the ornate title-page secured animmediate or general popularity, and not for many years was it regardedas an essential feature of a printed volume. Its history is intimatelyassociated with that of the Printer’s Mark, and the progress of the onesynchronizes up to a certain point with that of the other. In beauty ofdesign and engraving, the Printer’s Mark, like the Title-page, attainedits highest point of artistic excellence in the early part of thesixteenth century. This perhaps is not altogether surprising when it isremembered that during the first twenty years of that period we havetitle-pages from the hands of Dürer, Holbein, Wechtlin, Urse Graff, Schauffelein and Cranach. In his excellent work entitled “Last Words onthe History of the Title-Page, ” Mr. A.  W. Pollard observes “From 1550onwards we find beauty in nooks and corners. Here and there over somespecial book an artist will have laboured, and not in vain; but save forsuch stray miracles, as decade succeeds decade, good work becomes rarerand rarer, and at last we learn to look only for carelessness, ill-taste, and caricature, and of these are seldom disappointed. ” Theseremarks apply with equal force to the Printer’s Mark, although someexceptionally beautiful examples appeared after that period. The position allotted to the Printer’s Mark may not be of very greatimportance, but it offers some points of interest. It appeared first inthe colophon, in which the printer usually seized the opportunity notonly of thanking God that he had finished his task, but of indulging ina little puff either of his own part of the transaction or of the workitself. The appearance of the Mark in the colophon therefore was anatural corollary of the printer’s vanity. It soon outgrew its place ofconfinement; and when a pictorial effect was attempted it becamepromoted, as it were, to the title-page. In this position it was nearlyalways of a primary character, so to speak, but sometimes, as in thecase of Reinhard Beck, it was almost lost in the maze of decorativeborders. But it is found in various parts of the printed book: in somecases, among which are the Arabic works issued by Erpenius of Leyden, wefind the Mark at what we regard as the beginning of the book, but whichin reality is its end. Sometimes the Mark occupies the first and lastleaves of a book, as was often the case with the more important worksissued by Froben, by the brothers Huguetan and others. These two Marksat the extreme portions of a book either differed from one another ornot, according to the fancy or convenience of the printer. The Mark alsoappeared sometimes at the end of the index, or at the end of thepreliminary matter, such as list of contents or address of the author, and its position was generally determined by several circumstances. [Illustration: REINHARD BECK. ] Now and then we have what may be described as a double Mark; that is, ofprinter and bookseller, the one keeping a sharp look out to see that theother did not have more than his fair share of credit. This is the casewith several books printed by Jehan Petit for Thielman Kerver, Paris, ofwhich an example is given in the previous chapter; Wynkyn de Worde usedCaxton’s initials for a time on his Mark, but the only motive whichcould have prompted this was an affectionate regard for his master. Someof the books which Jannot De Campis printed at Lyons for Symon Vincentcontained not only the printer’s, but two examples of the bookseller’sMark. [Illustration: HUBERT GOLTZ. HVBERTAS AVREA SAECLI] [Decoration] THE PRINTER’S MARK IN ENGLAND. [Illustration: WALTER LYNNE. ] The consideration of the Printer’s Mark as an institution in thiscountry is characterized by extreme simplicity, both as to its originand to its design. From an entry in one of the Bagford volumes (HarleianMSS. 5910) in the British Museum, we learn that “rebuses or name deviceswere brought into England after Edward III. Had conquered France: theywere used by those who had no arms, and if their names ended in Ton, asHatton, Boulton, Luton, Grafton, Middleton, Seton, Norton, their signsor devices would be a Hat and a tun, a Boult and a tun, a Lute and atun, etc. , which had no reference to their names, for all names endingin Ton signifieth town, from whence they took their names. ” Even inEngland, therefore, the merchant’s trade device was the direct source ofthe Printer’s Mark, which it antedated by over a century. It will beconvenient, first of all, to explain that the first printing-press inEngland was that of William Caxton at Westminster, whose first book wasissued from this place November 18, 1477; the second was that ofTheodoricus de Rood, at Oxford, the first book dated December 17, 1478;the third was that of the unknown printer at St. Albans, 1480, and thefourth was that of John Lettou, in the city of London, 1480, thelast-named being soon joined by William de Machlinia, who afterwardscarried on the business alone. The earliest phases of wood-engravingemployed at one or other of these four distinct houses were eitherinitial letters or borders around the page. At Caxton’s press, as thelate Henry Bradshaw has pointed out in a paper read before the CambridgeAntiquarian Society, February 25, 1867, simple initials are found in theIndulgences of 1480 and 1481; at the Oxford press an elaborate border offour pieces, representing birds and flowers, is found in some copies ofthe two books printed there in October, 1481, and July, 1482. Ofillustrations in the text, we find a series of diagrams and a series ofeleven cuts illustrating the text of the first edition of “The Mirror ofthe World, ” 1481; a series of sixteen cuts to the second edition of “TheGame of Chesse Moralised, ” 1483; and two works of the following year, “The Fables of Esop” and the first edition of “The Golden Legend, ” eachcontains not only a large cut for the frontispiece, but in the case ofthe former, a series of 185 cuts, and, in the latter, two series ofeighteen large and fifty-two small cuts. At the Oxford press only twobooks are known with woodcut illustrations, in neither case cut for thework; at the St. Albans press the only known illustrations in the textare the coats-of-arms found in the “Book of Hawking, Hunting andCoat-Armours, ” 1486; at the press of Lettou and W. De Machlinia there isno trace of illustrations. These few introductory facts, condensed from Mr. Bradshaw’s paper abovementioned, have a distinct interest to us as leading up to theemployment of the Printer’s Mark. It is certainly curious that atCaxton’s press the very familiar device was only first used aboutChristmas, 1489, in the second folio edition of the Sarum “Ordinale. ” Atfirst this bold and effective mark was used, as in the “Ordinale, ” the“Dictes of the Philosophers, ” and in the “History of Reynaud the Fox, ”at or close to the beginning of the volume. In Caxton’s subsequent booksit is always found at the end. At the St. Albans press the device with“Sanctus Albanus” is found in two of the eight books printed there, “TheEnglish Chronicle, ” 1483, where it is printed in red, and in “The Bookof Hawking, ” etc. , 1486; it is formed of a globe and double cross, therebeing in the centre a shield with a St. Andrew’s cross. So far as regards Caxton’s device, it is easier to name the books inwhich it appeared than to explain its exact meaning. The late WilliamBlades accepts the common interpretation of “W.  C. 74. ” Somebibliographers argue that the date refers to the introduction ofprinting in England, and quote the colophon of the first edition of the“Chess” book in support of this theory. But the date of this work refersto the translation and not to the printing, which was executed atBruges, probably in 1476. Caxton did not settle at Westminster untillate in that year, and possibly not until 1477. In all probability thedate, supposing it to be such, and assuming that it is an abbreviationof 1474, refers to some landmark in our printer’s career. ProfessorJ.  P. A.  Madden, in his “Lettres d’un Bibliophile, ” expresses it as hisopinion that the two small letters outside the “W.  74 C” are anabbreviation of the words “Sancta Colonia, ” an indication that a notableevent in the life of Caxton occurred in 1474 at Cologne. Ames, Herbert, and others have copied a device which Caxton never used: it is muchsmaller than the genuine one (which, in other respects, it closelyresembles) which we reproduce from Berjeau. The opinion that theinterlacement is a trade mark is, Mr. Blades points out in hisexhaustive “Life, ” much strengthened by the discovery of its originaluse. In 1487, Caxton, wishing to print a Sarum Missal, and not havingthe types proper for the purpose, sent to Paris, where the book wasprinted for him by G.  Maynyal, who in the colophon states distinctlythat he printed it at the expense of William Caxton of London. When theprinted sheets reached Westminster, Caxton, wishing to make it quiteplain that he was the publisher, engraved his design and printed it onthe last page, which happened to be blank. Mr. Blades gives 1487 as theyear in which this Missal (of which only one copy is known) was printed, but Mr. Bradshaw puts it at 1489. The former enumerates twelve booksprinted by Caxton in which his device occurs--all ranging from theaforesaid Missal to the year 1491, the date of his death. [Illustration: WILLIAM CAXTON. ] [Illustration: THE ST. ALBANS PRINTER. ] Wynkyn de Worde, a native of Lorraine, who was with Caxton at Bruges orCologne, carried on the business of his master at Westminster until1499, when he removed to the sign of the Golden Sun, Fleet Street, London. He had nine Marks, the earliest of which is often described asone of Caxton’s, from the genuine example of which, as we have alreadystated, it differs in being smaller, with a different border, and inhaving a flourish inserted above and below the letters. The second is anelongated variation of No.  1, with the name Wynkyn de Worde on a narrowwhite space beneath the device. The next four devices are more or lesselaborations upon that of which we give a reproduction; the seventh isthe Sagittarius device in black with white characters: between thesagittarii is seen the sun and flaming stars, and below the initials“W C” in Roman letters, with the name Wynkyn de Worde at the foot; theeighth is a picturesque Mark copied from one belonging to Froben, withthe omission of part of the background; it consists of a semicirculararch, supported by short-wreathed pillars, with foliated capitals, plinths and bases: on the top of each is a boy habited like a soldier, with a spear and shield bending forwards; a large cartouche Germanshield is supported by three boys. The ninth Mark of this printer was alarge and handsome one, being a royal and heraldic device which Wynkynde Worde used as a frontispiece to the Acts of Parliament, in the formof an upright parallelogram which encloses a species of arched panel ordoorway, formed of three lines, imitating clustered columns and Gothicmouldings, and two large square shields, that on the left charged withthree fleurs-de-lys for France, and the other bearing France and Englandquarterly, each of which is surmounted by a crown. For a very minutedescription of these Marks, and their variations, the reader is referredto Johnson’s “Typographia, ” and Bigmore and Wyman’s “Bibliography ofPrinting, ” the former of whom enumerates 410 books which issued fromthis press. [Illustration: WYNKYN DE WORDE. wynkyn de worde W C] [Illustration: R. PYNSON. Rychard Pynson] [Illustration: R. PYNSON. R Richard Pynson] Among the 200 odd books which Richard Pynson printed between 1493 and1527, we find six Marks (besides variants), of which five are verysimilar, and of these we give two examples, the smaller being one of theearliest, in which it will be noticed that the drawing is much inferiorto the larger example; the sixth Mark is a singular one, consisting of alarge upright parallelogram surrounded by a single stout line, withinwhich are the scroll, supporters, shield and cypher, crest, helmet andmantling, and the Virgin and St. Catherine, and in many otherparticulars differing from the other five examples. Robert Redman, who, after quarrelling with Richard Pynson, and apparently succeeding him inbusiness, employed a device almost identical with that which Pynson mostfrequently used, and to which therefore we need not further refer. Inchronological sequence the next English printer who employed a device isJulian Notary, who was printing books for about twenty years subsequentto 1498, first at Westminster, then near Temple Bar, and finally in St. Paul’s Churchyard. He had two devices (of which there are a very fewvariations), of which we give the more important. The other has only onestout black line, and not two, and it has also the Latinized form of thename--Julianus Notarius. About two dozen different works of this printerare known to bibliographers. In connection with Notary, we may hereconveniently refer to an interesting, but admittedly inconclusivearticle which appears in _The Library_, i. , pp. 102-5, by Mr. E.  GordonDuff, in which that able bibliographer publishes the discovery of twobooks which would point to the existence of an unrecorded Englishprinter of the fifteenth century. One of these has the title of“Questiones Alberti de modis significandi, ” and the other, of which onlya fragment is known to exist, is a Sarum “Horæ, ” which is dated 1497. Inthe colophons of neither does the name of the printer transpire, but hisMark is given in both--in the former book in black, and in the latter inred. This mark is identical with Notary’s, with this importantexception, that, whereas in Notary’s device his name occurs in the lowerhalf of the device, in these the lower half is occupied by the initialsI.  H. , and the upper half by the initials I N B, the I N being in theform of a monogram, and not distinct. In 1498 this same block was usedon the title-page of the Sarum “Missal, ” printed by Notary, who alteredit to suit his own requirements. We cannot follow Mr. Gordon Duff in hisconjectures as to the probability of who this unknown printer may havebeen, but the matter is one of great bibliographical interest. WilliamFaques, who was the King’s Printer, and who is known to have issuedseven books between 1499 and 1508, had only one Mark, which is totallydifferent from those of any of his predecessors, as may be seen from theexample given on page 16, where will also be found references to thesources of the scriptural quotations on the white and black triangles. [Illustration: JULIAN NOTARY. I N Iulyan Notary] The extreme rarity of this printer’s books will be best understood whenit is stated that there are only two examples in the British Museum; oneof these is a “Psalter, ” 1504. With W.  Faques we exhaust the fifteenthcentury printers who employed marks to distinguish the productions oftheir presses. [Illustration: R. FAWKES. R F Richard Fakes] Notwithstanding the similarity in their surnames it is not at allcertain that Richard Fawkes (1509-1530), who also appears as Faukes, Fakes, and Faques, was related to the last-mentioned printer. His booksare now of excessive rarity. The unicorn (regardant on either side ofthe device) appears for the first time in an English mark. Henry Pepwell(1505-1539), of the Holy Trinity in St. Paul’s Churchyard, was abookseller rather than a printer, and all his earlier books were printedin Paris; his Mark, in which occurs the heraldic device representing theTrinity, was suggested by the sign of his shop. The most importantexample of the thirty books which issued from the little-known press ofPeter Treveris, who was apparently putting forth books from 1514 to1535, is “The Grete herball whiche geveth parfyt knowlege andund[er]standing of all maner of herbes, ” etc. , 1526, a finely printedfolio (“at the signe of the Wodows”), of which a second edition appearedin 1529. The earlier edition contains, on the recto of the sixth leaf, a full-page woodcut of the human skeleton, with anatomical explanations, whilst the last leaf contains a full-page woodcut of the printer’s Mark, with the imprint at the foot. Herbert supposes that the sign of the“Wodows, ” mentioned by Treveris in the colophon, might possibly be putfor wode hommes or wild men, and alludes to the supporters used in thedevice. Treveris printed for several booksellers, notably John Reyves, of St. Paul’s Churchyard, and for Lawrence Andrewe, of Fleet Street. Inthis printer’s Mark, and in fact nearly every other sixteenth centuryexample, there is a very evident French influence, whilst many of theexamples are the most transparent imitations of Marks used by foreignprinters. Of the three used by John Scott or Skot, who was printingbooks from about 1521 to 1537, two were mere copies of the Marks used byDenis Roce of Paris. We give an illustration of one example; the secondis of the same design, but with a very rich stellated background, andthe motto, “A l’aventure, tout vient a point qui peut attendre. ” His owndevice was an exceedingly simple long strip, with the letters Iohn Skotin antique Roman characters. An example of the last mark will be foundin “The Golden Letanye in Englysshe, ” printed by Skot in “Fauster Land, in Saynt Leonardes parysshe”; but examples of this press are excessivelyrare, only one, “Thystory of Jacob and his XII Sones, ” fourteen leaves, in verse, and printed about 1525, being in the British Museum, andanother tract, “The Rosary, ” 1537, being in the Althorp Library nowtransferred to Manchester. [Illustration: PETER TREVERIS. P T PETRVS TREVERIS] [Illustration: JOHN SCOTT. I S IOHN SCOTT] [Illustration: ROBERT COPLAND. ¶ Melius est nomen bonum q[uam] diuitie mnlte. Prou. Xxu. R ROBERT COPLAND] Robert Copland, who was a beneficiaire and pupil of Wynkyn de Worde, wasa translator as well as a printer and stationer, and his shop was at thesign of the Rose Garland in Fleet Street. Although he carried onbusiness from 1515 to about 1548, only a few of his books are now known, none of which appear to be in the British Museum. The majority werepurely ephemeral. The most interesting phase of this printer’s careeroccurs in connection with one or two books printed by Wynkyn de Worde, notably “The Assembly of Foules, ” 1530, at the end of which is “Lenvoyof Robert Copland boke prynter, ” one of the three verses running thus: “Layde upon shelfe, in leues all torne With Letters, dymme, almost defaced cleane Thy hyllynge rote, with wormes all to worne Thou lay, that pyte it was to sene Bounde with olde quayres, for ages all hoorse and grene Thy mater endormed, for lacke of thy presence But nowe arte losed, go shewe forth thy sentence. ” The three Marks of Copland make allusion to the roses which appeared asa sign to his shop. The most elaborate design is an uprightparallelogram within which appears a flourishing tree springing out ofthe earth, and supporting a shield suspended from its branches by a beltand surrounded by a wreath of roses; on the left-hand side is a hindregardant collared with a ducal coronet standing as a supporter, and onthe right is a hart in a similar position and with the same decorations;there are four scrolls surrounding the centre-piece, on the top one is“Melius est, ” on the right-hand one “nomen bonum, ” on the bottom one“q diuitie, ” and on the left-hand one “multe. Prou. Xxii, ” _i. E. _“A good name is better than much riches. ” The second device, of which wealso give an example, is self-explanatory, and is perhaps the moreoriginal. It has also an additional interest from the fact that it wasused by William Copland, 1549-1561, who was probably a son of Robert, and who simply altered the mark to the extent of substituting his ownChristian name for that of Robert in the scroll at the bottom of thedevice. Over sixty books by this printer are described bybibliographers, and many of them are in the British Museum. Robert Wyer, whose shop was at the sign of St. John the Evangelist, in St. Martin’sparish, in the rents of the Bishop of Norwich, near Charing Cross, wasanother printer whose works were more remarkable for their number thanfor their typographic excellence. His earliest dated work is the“Expositiones Terminarum Legum Anglorum, ” 1527, and his latest“A Dyalogue Defensyue for Women, ” 1542, but as to nearly sixty others ofhis works no date is attached, he may have commenced earlier than thefirst date and continued after the second. The marks of Wyer consistedof two or three representations of St. John the Divine writing, attendedby an eagle holding the inkhorn; he is seated on a rock in the middle ofthe sea intended to represent the Isle of Patmos. Laurens, or Lawrence, Andrewe, by Ames stated to be a native of Calais, printed a few booksduring the third decade of the sixteenth century, and resided near theeastern end of Fleet Street at the sign of the Golden Cross. His Markconsisted of a shield which is contained within a very rudely cutparallelogram; the escutcheon is supported by a wreath beneath anornamental arch, and between two curved pillars designed in the earlyItalian style, with a background formed of coarse horizontal lines. Three of his books are in the British Museum. The Museum possesses onlyone book with the imprint of Andrew Hester, who was a bookseller of the“White Horse, ” St. Paul’s Church Yard, and this is an edition ofCoverdale’s Bible, “newly oversene and correcte, ” which appears to havebeen printed for him by Froschover, of Zurich, 1550. Among English Marksof the period, Hester’s possesses the merit of being original. [Illustration: ROBERT COPLAND. R C Robert Coplande. ] [Illustration: ROBERT WYER. ROBERT WYER] [Illustration: ANDREW HESTER. S E AH R] [Illustration: THOMAS BERTHELET. LVCRECIA ROMANA THOMAS BERTHELETVS] One of the most prolific of the printers of the first half of thesixteenth century was Thomas Berthelet, who succeeded Pynson in theoffice of King’s Printer, at a salary of £4 yearly, and who (or hisimmediate successors, for he died at the end of 1555) issued books from1528 to 1568, of which nearly 150 are known to bibliographers, sixtybeing in the British Museum. His shop was at the sign of the “LucretiaRomana, ” a charming engraving--the most carefully executed of its kindused in this country up to that time--of which, with his own name on ascroll, he used as a Mark. Several of his books were printed in Paris. He issued a large number of works in classical literature, and among themore notable of his publications were Chaloner’s translation ofErasmus’s “Praise of Folly, ” 1549, Gower’s “De Confessione Amantis, ” andthe “Institution of a Christen Man, ” with a woodcut border to the titleby Holbein. John Byddell, otherwise Salisbury, 1533-44, was anotherprinter whose Mark was derived from the sign of the shop in which hecarried on business, namely, “Our Lady of Pity, ” next Fleet Bridge, buthe afterwards removed to the Sun near the Conduit, which was probablythe old residence of Wynkyn de Worde, for whom he was an executor. TheLady of Pity is personified as an angel with outstretched wings, holdingtwo elegant horns or torches, the left of which is pouring out a kind ofstream terminating in drops, and is marked on the side with the word“Gratia”; that on the right contains fire and is lettered “Charitas”:the lower ends of these horns are rested by the angel upon two rudeheater shields, on the left of which is inscribed “Johan Byddell, Printer, ” and on the other is a mark which includes the printer’sinitials; round the head of the figure are the words, “Virtus beatosefficit. ” This is merely a copy of one of the Marks used by J.  Sacon, a Lyonese printer, 1498-1522. Byddell’s books were distinctly in keepingwith the seriousness of his sign, and among others we find such titlesas “News out of Hell, ” 1536, “Olde God and the Newe, ” 1534, “CommonPlaces of Scripture, ” 1538, etc. , besides two “Primers. ” ThomasVautrollier, who printed books at Edinburgh and London from about 1566to 1605, had four Marks, in all of which an anchor is suspended from theclouds, and two leafy boughs twined, with the motto “Anchora Spei, ” andwith a framework which is identical with that of Guarinus, of Basle. Vautrollier was a native of France; nearly all his books were in Latin. In 1584 he printed an edition of Giordano Bruno’s “Spaccio de la BestiaTrionfante, ” with a dedication to Sir Philip Sidney, and for which hehad to flee the country, for the imprint, “Stampato in Parigi, ” was anobvious and unsuccessful attempt to hoodwink the authorities. In thefollowing year he printed at Edinburgh “A Declaration of the KingsMajesties intention and meaning toward the lait Actis of Parliament. ”J.  Norton, 1593-1610, also used the same Mark. [Illustration: JOHN BYDDELL. I B ¶ IOHAN BYDDELL. ] [Illustration: THOMAS VAUTROLLIER. ANCHORA SPEI. ] Richard Grafton, 1537-72, who was a scholar and an author, is one of thebest known of the sixteenth century printers, and, although he issued alarge number of books, confined himself to a single Mark, which was arebus or pun upon his name. Grafton was for several years in partnershipwith Edward Whitchurche, and also with John Butler. The most importantworks accomplished by the two first named were the first issue of theGreat or Cromwell’s Bible, 1539, and Coverdale’s version of the NewTestament, 1538-9, in Latin and English; the latter being partly printedin Paris by Regnault, and completed in London: as nearly the entireimpression was burnt by order of the Inquisition, it is of great rarityand value. Grafton, who was printer to Edward VI. Both before and afterhis accession to the throne, issued a magnificent edition of Halle’s“Chronicle, ” 1548, and an “Abridgement of the Chronicles” by himself in1562, which in ten years reached a fourth edition. Grafton foundprinting a much more hazardous calling than the grocery business towhich he had been brought up, for he was constantly in difficulties, which on one occasion nearly cost him his life. The idea which foundexpression in Grafton’s Mark naturally suggested itself to WilliamMiddleton, or Myddleton, 1525-47, who succeeded to the business ofRobert Redman, and issued books from the sign of the “George next to St. Dunstan’s Church in Fleet Street. ” He had two devices, of which we givethe larger and more important: in the smaller the shield is supported oneither side by an angel. About forty of William Middleton’s books havebeen described, one of the most notable being John Heywood’s “Four P’s, a very merry Enterlude of a Palmer, a Pardoner, a Poticary, and aPedler. ” Reginald or Reynold Wolfe, 1542-73, was the King’s Printer anda learned antiquary. Wolfe was probably of foreign extraction, for therewere several early sixteenth century printers of the same surname inFrance, Germany, and Switzerland. His printing-office was in St. Paul’sChurchyard, at the sign of the Brazen Serpent, which emblem he used as adevice, a subject which, as we have already seen, was frequentlyemployed for a similar purpose abroad. Wolfe’s other device, of whichthere are two sizes, consisted of an elegant cartouche German shield, onwhich is represented a fruit-tree and two boys, one of whom is drawingdown the fruit with a stick, whilst the other is taking it up off theground. Over sixty books have been catalogued as the work of ReginaldWolfe. John Wolfe, originally a fishmonger, started printing about 1560, and from that year until 1601 we have an almost continuous stream of hisbooks, on a very great variety of subjects. Like several others of theearly printers, he was in constant warfare with the authorities, whoserules and restrictions of the press were a source of ever-recurringannoyances. He appears to have had as much difficulty in managing his“authors” as with the Stationers’ Company, for he is referred to morethan once in very uncomplimentary terms in the Martin Marprelate tractsof the period. The Mark here reproduced from Berjeau represents afleur-de-lys seedling supported by two savages, with the motto “UbiqueFloret. ” John Day, 1546-84, is undoubtedly one of the best known andmost prolific of the sixteenth century printers, nearly 300 books havinghim as their foster-father. He appears to have started in business atthe sign of the Resurrection, a little above Holborn Conduit, butremoved in or about 1549 to Aldersgate Street; he had several shops invarious parts of the town, where his literary wares might be disposedof, and he is remarkable in being the first English printer who usedSaxon characters, whilst he brought those of the Greek and Italic toperfection. It is not possible to give in this place even a briefsummary of Day’s career, and it must suffice us to mention thatArchbishop Parker was among his patrons, and that the more importantbooks which appeared from his press included Fox’s “Acts and Monuments, ”1563, and the “Psalmes in Metre with Music, ” 1571 (for the printing ofwhich he received a patent dated June 2, 1568). His best known device, of which we give an example, has a double meaning; first it is a pun onhis name, and secondly an allusion to the dawn of the Protestantreligion. He used another Mark, which is a large upright parallelogram, within the lines of which is a very elegant Greek sarcophagus bearing askeleton lying on a mat. At the head of the corpse are two figuresstanding and looking down at it, of which the outer one is in the dressof a rich citizen, having his left hand on his sword, and the other, whois pointing to the body, is dressed like a doctor or a schoolmaster:from his mouth issues a scroll rising upwards in eight folds, on four ofwhich are engraven in small Roman capitals, “Etsi Mors in diesaccelerat, ” and the remainder of the sentence, “Post Fvnera virtus vivettamen, ” appears in similar letters on another scroll, which is elegantlytwined round the branches of a holly placed behind the sepulchre, toindicate by a tree that blooms at Christmas the evergreen nature ofvirtue; the sarcophagus, figures, and tree stand by the side of a river, with some distant vessels, on the left hand of which are rocky shores, with cities, etc. , and in the upper corner of the left is the sunbreaking out of the clouds; the initials I D appear on the lower lefthand. This Mark is exceedingly rare; it occurs on the last leaf ofJ.  Norton’s translation of the Latin “Catechism, ” 1570, and also at theend of Churton’s “Cosmographical Glass. ” There are several variations ofthe Mark which we reproduce on p.  79. William Seres, who was for sometime anterior to 1550 in partnership with Day (and at other times withAnthony Scoloker, Richard Kele, and William Hill), printed over 100books, in many of which his monogram serves the purpose of a Mark. [Illustration: RICHARD GRAFTON. SVSCIPITE INSITVM VERBVM IACO I RG] [Illustration: WILLIAM MIDDLETON. W WYLLYAM MYDDYLTON] [Illustration: JOHN WOLFE. VBIQVE FLORET] [Illustration: JOHN DAY. ARISE FOR IT IS DAY] Like so many other of the early printers, Richard Jugge, 1548-77, whoseshop was at the sign of the Bible at the north door of St. Paul’s, was aUniversity man, having studied at King’s College, Cambridge. “He had alicense from Government to print the New Testament in English, datedJanuary, 1550; and no printer ever equalled him in the richness of theinitial letters and general disposition of the text which are displayedtherein. ” On the accession of Elizabeth to the throne, he printed theproclamation, November 17, 1558. About seventy books are catalogued ascoming from his press. His elegant Mark consists of a massivearchitectural panel, adorned with wreaths of fruit, and bearing in thecentre an oval within which is a pelican feeding her young, surroundedby the mottoes, “Love kepyth the Lawe, obeyeth the Kynge, and is good tothe commen welthe, ” and “Pro Rege Lege et Grege. ” On the left of theoval stands a female figure having a serpent twined round her right arm, with the word “Prudentia” underneath, whilst the second female figure, with a balance and a sword, is called “Justicia”; in the bottom centrein a small cartouche panel is the name R.  Jugge in the form of amonogram. This Mark was also used by J.  Windet and by AlexanderArbuthnot, of Edinburgh, of which we give the example of the last named. Hugh Singleton, 1548-82, appears to have earned as much notoriety amonghis contemporaries for his “rather loose” principles as for the bookswhich he printed. He was often in conflict with the authorities, andvery narrowly escaped severe punishment for printing one of Stubbs’outbursts, for which the author and Page the publisher had their righthands cut off with a butcher’s knife and a mallet in 1581; Singleton waspardoned. His Mark, of which there are variations, is sufficientlyself-explanatory, although it may be mentioned that for a time he dweltat the Golden Tun in Creed Lane. Walter Lynne, 1547-50, who was ascholar and an author, had a shop at “Sommer’s Key near Billingsgate”and printed about twenty sermons and other religious tracts in octavo, employed the device given as an initial to the present chapter. JohnWyghte, or Wight, resembled Singleton somewhat in his facility forrunning his head against established customs, and was on one occasionfined for keeping his shop open on St. Luke’s Day, and on another forselling pirated books. His shop was at the sign of the Rose, St. Paul’sChurchyard, and his books--beginning with an edition of the Bible--rangefrom the year 1551 to 1596. His device was a portrait of himself, whichvaries considerably both in size and in other respects. Perhaps the mostcurious and interesting work which he published was “A Booke of the arteand manner how to plant and graffe all sortes of trees, ” 1586, translated from the French by Leonard Mascall, and dedicated to Sir JohnPaulet. [Illustration: A.  ARBUTHNOT. ALEXANDER ARBVTHNET LOVE KEPYTH THE LAWE OBEYETH THE KYNGE AND IS GOOD TO THE COMMEN WELTHE PRO LEGE REGE, ET GREGE PRVDENCIA IVSTICIA] [Illustration: HUGH SINGLETON. H S] [Illustration: JOHN WIGHT. I W WELCOM THE WIGHT: THAT BRINGETH SVCH LIGHT] The employment of the Geneva arms as a Printer’s Mark is confined, inthis country, to Rowland Hall, who, at the death of Edward VI. , accompanied several refugees to Geneva, where he printed the Psalms, Bible, and other works of a more or less religious character; his booksrange from 1559 to 1563, and about two dozen are known tobibliographers, and half of this number are in the British Museum. HisMark has a double interest; first, from his residence in Geneva, andsecondly from the fact that the sign of his shop, “The Half Eagle andKey, ” was a still further acknowledgment of the protection which heenjoyed in Geneva. This was not his only Mark, but it is the only one towhich we need refer. The name of Richard Tottell, 1553-97, is muchbetter remembered in connection with the epoch-making little book, “Songes and Sonettes, ” 1557, the first miscellany of English verse, thaneither of the other seventy or eighty publications which bear hisimprint. His shop was in Fleet Street at the sign of the Hand and Star, the same idea serving him as a Mark: the hand and star in a circle, witha scroll on either side having the words “cum privilegio, ” the wholebeing placed under an arch supported by columns ornamented in theEtruscan style. One of the most curious of the large number of bookswhich came from the press of Henry Bynneman, 1567-87, is “The Marinersboke, containing godly and necessary orders and prayers, to be observedin every ship, both for mariners and all other whatsoever they be thatshall travaile on the sea, for their voyage, ” 1575; a still more curiousproduction of his press has the following title, “Of ghostes andspirites walkyng by night, and strange noyes, crackes and sundry forewarnynges, which commonly happen before the death of men, greatslaughters, and alterations of kyngdomes, ” 1572. Bynneman had servedwith Reynold Wolfe, and when he started in business on his own accountmet with much encouragement from Archbishop Parker, who allowed him tohave a shop or shed at the north-west door of St. Paul’s. He appears tohave had two Marks, one of which was derived from the sign of his shop, “The Mermaid, ” with the motto, “Omnia tempus habent, ” and the other(here reproduced) of a doe passant, and the motto, “Cerva charissima etgratissimus hinnulus pro. ” Thomas Woodcock, 1576-94, who dwelt at thesign of the Black Bear, in St. Paul’s Churchyard, was a booksellerrather than a printer; his Mark is an evident double pun on his surname. [Illustration: ROWLAND HALL. POST TENEBRAS LVX] [Illustration: HENRY BYNNEMAN. CERVA CHARISSIMA ET GRATISSIMVS HINNVLVS PRO] [Illustration: THOMAS WOODCOCK. CANTABO IEHOVÆ QVIA BENEFECIT] During the last years of the sixteenth century, and the first threedecades of the seventeenth, there were two Jaggards among the Londonprinters; by far the better known is Isaac, who, with Edward Blount, issued the first folio edition of Shakespeare’s plays; he seems to havehad no Mark, but William, 1595-1624, used the rather striking device(page 88), which is thus described: Serpent biting his tail, coiledtwice round the wrist of a hand issuing from the clouds and holding awand from which springs two laurel branches, and which is surmounted bya portcullis (the Westminster Arms); in the last coil of the serpent theword “Prudentia. ” Equally distinct is the mark of Felix Kingston, orKyngston, who printed a very large number of books from 1597 to 1640; inthis device we have the sun shining on the Parnassus, and a laurel treebetween the two conical hills, with a sunflower and a pansy on eitherside. [Illustration: WILLIAM JAGGARD. PRVDENTIA] The Mark of William Norton, 1570-93, whose shop was at the King’s Arms, St. Paul’s Churchyard, was in a double sense a pun on his name, consisting as it did of a representation of a Sweet-William growingthrough a tun inscribed with the letters “NOR”; and something of thesame kind may be said of that employed by Richard Harrison, 1552-62, whose Mark is described by Camden as “an Hare by a sheafe of Rye in theSun, for Harrison. ” In this connection we may also here refer to theMark employed by Gerard (or Gerald) Dewes, 1562-87, whose shop was atthe sign of the Swan in St. Paul’s Churchyard; this is described byCamden thus: “and if you require more [_i. E. _ in reference to theprevailing taste for picture-writing such as the designs of Norton andDewes] I refer you to the witty inventions of some Londoners; but thatfor Garret Dewes is most remarkable, two in a garret casting Dewes atdice. ” In the same category also may be included the Mark of Christopherand Robert Barker, the Queen’s Printers, who used a design of a manbarking timber, with the couplet “A Barker if you will, In name but not in skill. ” From these and many other instances which might be cited, it will beseen that by the end of the sixteenth century the Printer’s Mark inEngland had declined into a very childish and feeble play upon the namesof the printers, and the subject therefore need not be further pursued. [Illustration: FELIX KINGSTON. PARNASSO ET APOLLINE DIGNA] [Illustration: THOMAS CREEDE. T C VIRESSIT VVLNERE VERITAS] The natural result, moreover, of this decline was, in the followingcentury, followed by what practically amounts to extinction; and the fewexceptions to which we shall refer, and which are to some extentselected at random, prove the truth of that theory. Thomas Creede, 1588-1618, whose shop was at the sign of the Catherine Wheel, near theOld Swan in Thames Street, was one of the prolific printers of theperiod, and his most common Mark is a personification of Truth, with ahand issuing from the clouds striking on her back with a rod, andencircled with the motto, “Veritas virescit vulnere. ” Among the numerousbooks which he printed was Henry Butte’s “Digets Dry Dinner, ” 1599, forWilliam Wood, a bookseller whose shop was at the sign of Time, St. Paul’s Churchyard, and whose Mark was an almost exact copy of oneemployed by Conrad Bade, a sixteenth century printer of Paris and Geneva(who had apparently adopted his from that of Knoblouch of Strassburg, which we give on another page): it represents a winged figure of Timehelping a naked woman out of what appears to be a cave, with the motto, “Tempore patet occulata veritas”; this Mark follows the introductorymatter in the above-named work. Making a leap of over half a century, wecome across another ambitious Mark, which in the present instance servedthe additional purpose of a frontispiece; it was employed by John Allenof the Rising Sun, St. Paul’s Churchyard, and is dated 1656; it israther a fine device of the sun rising behind the hills, with acathedral on the left-hand side, and the inscription “Ipswiche” and acoat-of-arms, apparently of that city. Although not exactly a printer’sor publisher’s Mark, the charming little plate, engraved by Clark, whichJohn Walthoe, Jr. , inserted on the title-page of “The Hive: a collectionof the most celebrated Songs, ” 1724, is sufficiently near it to be worthreproducing here. T.  Cox, a bookseller of “The Lamb, ” under the RoyalExchange, Cornhill, was fortunate enough to have a Mark (see page 46), in which John Pine is seen at his best: Cox was not only an eminentbookseller, but was also an exchange-broker. Of much less delicateworkmanship, but appropriate nevertheless, is the Mark which we find onthe title-pages of the books printed for R.  Ware, at the Bible and Sunin Warwick Lane, one of whose books, Dr. Warren’s “Impartial Churchman, ”1728, contains at the end of the first chapter another Mark, anexceedingly rough sketch of a printing-office, with the motto, “vitammortuis reddo. ” On books intended more or less for particular schools, the Printer’s Mark usually takes the shape of the arms of the schoolsthemselves, as in the case of Westminster and Eton; and the same may besaid of books printed at Oxford and Cambridge, in the former case a veryfine view of the Sheldonian Theatre usually appearing on the title-pageof books printed there. John Scolar is an interesting figure among thevery early printers of Oxford, and from 1518 he was the official printerof the University; in one of the books he issued there is cited an edictof the Chancellor, under his official seal, enjoining that for a periodof seven years to come, no person should venture to print that work, oreven to sell copies of it elsewhere printed within Oxford and itsprecincts, under pain of forfeiting the copies, and paying a fine offive pounds sterling, and other penalties. Scolar’s Mark is one of thevery few in which a book appears. John Siberch, the first Cambridgeprinter, apparently had two Marks, one of which--the Royal Arms, whichwas the sign of the house he occupied--appears on four of the eightbooks printed by him at Cambridge in or about 1521; of the second wegive a facsimile from his first book, Galen, “De Temperamentis. ” TheMark of the majority of eighteenth century booksellers and printersconsisted of a monogram formed either with their initials or names. During a portion of his career Jacob Tonson used a bust of whatpurported to be Shakespeare, partly from the fact that for many yearsthe copyright of the great dramatist’s works belonged to him and partlybecause one of his shops had for its sign, “The Shakespeare’s Head. ” [Illustration: JOHN WALTHOE. SPARSA COEGI. ] [Illustration: R. WARE. ] [Illustration: JOHN SCOLAR. veritas Liberavit Bonitas Regnauit] [Illustration: JOHN SIBERCH. I S] The earliest Printers’ Marks of Scottish printers are not of the firstimportance, but they are sufficiently interesting to merit notice. Walter Chepman and Andro Myllar were granted a patent for the erectionof a printing-press at Edinburgh on September 15, 1507, the formerfinding the money and the latter the knowledge. Each had his distinctiveMark, both of which are of French origin--a theory which is easilyproved so far as Myllar’s is concerned from the fact that it displaystwo small shields at the top corners, each charged with the_fleur-de-lys_. Myllar’s device, in which we see a windmill with amiller ascending the outside ladder, carrying a sack of grain on hisback, is an obvious pun on his name, and was, perhaps, suggested by theMark of Jehan Moulin, Paris. Chepman’s is a very close copy of that ofPigouchet, Paris, the male and female figures being carefully copiedeven to the small crosses on their knees; the initials W C are elegantlyinterlaced. Thomas Davidson is a very interesting figure in the earlyhistory of Scottish typography; he appears to have been the first king’sprinter of his country, and one of his earliest works is “AdSerenissimum Scotorum Regem Jacobum Quintum de suscepto Regni Regimine adiis feliciter ominato Strena, ” _circa_ 1525; about ten years later camea translation of the “Chronicles of Scotland, ” compiled by Boece, and“translatit be maister Johne Bellenden;” Davidson’s Mark is of the samecharacter as Chepman’s, but is, if possible, even more roughly drawn andengraved; whilst Bassandyne copied the device of Crespin of Geneva, withthe initials T.  B. Instead I.  C. Arbuthnot’s device of the Pelican, which he used in two sizes, and the Marks of Thomas Vautrollier, havebeen already referred to. Coming down to the last twenty years of thesixteenth century, we find the few books of Henry Charteris ofconsiderable and varied interest, and his Mark, if by no means carefullydrawn and engraved, has at all events the merit of being fairlyoriginal. [Illustration: ANDRO MYLLAR. Androv myllar] [Illustration: WALTER CHEPMAN. W C Walterus chepman] [Illustration: THOMAS DAVIDSON. T D THOMAS DA. ] [Illustration: H. CHARTERIS. IVSTITIA. RELIGIO. SVVM CVIQVE DEVM COLE HIS SVFFVLTA DVRANT. H C] [Decoration] SOME FRENCH PRINTERS’ MARKS. [Illustration: F. ESTIENNE. Πλίον ἐλαίου ἤ βίνου Plus olei quàm vini. ] It is rather a curious fact, all things considered, that theintroduction of the printing-press into Paris should have only antedatedits appearance in this country by four years; such however is the case. It was at the commencement of the year 1470, the tenth of the reign ofLouis XI. , that Ulrich Gering, Martin Krantz, and Michel Friburgercommenced printing in one of the rooms of the College Sorbonne. They hadlearnt their art at Mayence, and at the dispersal of the office of Fustand Schoeffer had settled down at Basel. They were induced to take uptheir residence at the Sorbonne by Jean Heinlin and Guillaume Fichet, two distinguished professors of that place. The first book printed atParis was the “Letters” of Gasparin of Bergamo, 1470, which contains thefollowing quatrain at the end of the work: “Primos ecce libros quos hæc industria finxit Francorum in terris ædibus atque tuis; Michael, Udalrichus, Martinusque magister Hos impresserunt, ac facient alios. ” By the end of 1472 the three companions had issued thirty works, apparently without indulging in the luxury of a Mark, but their patronsseparating they had to leave the Sorbonne. Their new quarters were atthe sign of the “Soleil d’Or” in the Rue St. Jacques--the PaternosterRow of Paris. Here they remained until 1477, when Gering was the soleproprietor. He was joined in 1480 by George Mainyal, and in 1494 byBertholt Rembolt, and died in August, 1510. Within thirty years of theintroduction of printing into Paris, there were nearly ninety printers, who issued nearly 800 works between 1470 and 1500. Rembolt, whosucceeded Gering and preserved the sign of his office, was one of theearliest, if not the first to adopt a Mark, of which indeed he used fourmore or less distinct examples. We reproduce one of the rarest; his bestknown is a highly decorative picture, and has a shield (carrying a crosswith the initials B.  R. In the lower half of the circle which envelopesthe foot of the cross) suspended from a vine tree and supported by twolions. Of this Mark there are at least two sizes; another of his Marksconsisted of an enlarged form of the cross to which we have referred. [Illustration: B.  REMBOLT. BERCHTOLDVS R] After Rembolt, the interest of the Printer’s Mark in France divergesinto a number of directions. The most prolific printer was, perhaps, Antoine Vérard, who, dying in 1530, issued books continuously for aboutforty-five years: he was also a calligrapher, an illuminator, and abookseller; his Books of Hours led the way for the beautiful productionsof Simon Vostre, whilst his chief “line” consisted of romances, of whichthere are over a hundred printed on vellum and ornamented with beautifulminiatures. He had two Marks, one of which, consisting simply of the twoletters A.  V. , is accompanied by the lines: “Pour proquer la grand’ miséricorde, A tous pescheurs faire grâce et pardon, Antoine Vérard humblement te recorde. ” Of the second we give an example on p.  21. Among his publications maybe mentioned “L’Art de bien Mourir, ” 1492, which Gilles Couteau andJ.  Menard printed for him, whilst the punning Mark of the former isreproduced in our first chapter (p.  4). François Regnault, who printeda large number of books during the first half of the sixteenth century, had six Marks, chiefly variations on the one here given. He usuallyplaced at the bottom of his books: “Parissis, ex officinâ honesti viriFrancissi Regnault”; the accompanying reduced facsimile of one of histitle-pages indicates the prominent position allotted at this earlyperiod to the printer’s Mark. A very remarkable and elaborate Markof this family of printers was that of Pierre Regnault, who was puttingforth books during nearly the whole of the first half of the sixteenthcentury. The Marchant family existed in Paris as printers for over 300years (1481-1789). The first of the line, Guy, or Guyot, who printedbooks for Jehan Petit, Geoffrey De Marnef, and others, had as Mark fourvariations of the _chant gaillard_ represented by two notes, sol, la, with one faith represented by two hands joined, in allusion to thewords, “Sola fides sufficit, ” taken from the hymn, “Pange lingua. ”Beneath his Mark he placed the figures of Saints Crispin and Crispinian, patrons of the leather-dressers who prepared the leather for the binder, in which capacity Marchant acted on several occasions for Francis I.  Aswas the case with his contemporaries, Marchant’s earliest bookspossessed no mark, and one of the first of the publications in which itappeared was the “Compost et Calendrier des Bergiers, ” 1496. The DeMarnef family also make a big show in the annals of French typography, particularly in the way of Marks, the various members using, between1481 and 1554, nearly thirty examples, including duplicates, several ofwhich were designed by Geoffrey Tory. Nearly all these Marks had thesubject of the Pelican feeding her young as a centre piece. Jerome, however, used a Griffin among his several other examples, of which thetwo finest of the whole series are those numbered 746 and 812 inSilvestre, and are the work of Jean Cousin at his best. The founder ofthe family, Geoffrey, used the accompanying device in two sizes. TheJanot family, of which the founder, Denys, was the most celebrated, wereissuing books in Paris from the end of the fifteenth to the middle ofthe eighteenth century, and the more noticeable of their Marks containedthe device: “Amor Dei omnia vincit--amour partout, tout par amour, partout amour, en tout bien” (see p.  15). The Macé family, which makes agood show with eleven Marks, was also a long-lived one of over 200years, many of the members residing at Caen, Rennes, and Rouen, besidesParis. The same may be said to some extent of the Dupré or Du Préfamily, 1486-1775; the two first, Jean or Jehan and Galliot, were themost celebrated. Of the dozen Marks employed by this family, the mostoriginal, it being the evident pun on his name, has a _Galiote_, at thehead of the mast of which is the motto, “Vogue la Guallee, ” or sometimes“Vogue la Gualee” (see p.  5). Jehan Du Pré the Lyons printer, used theaccompanying Mark formed of his initials. The first as well as the mostnoted member of the Le Rouge family of printers was Pierre, who residedat Chablis, Troyes, and Paris, and who was the first to take the titleof “Libraire-Imprimeur du Roi, ” ceded to him by Charles VIII. , and usedin “La Mer des Histoires, ” 1488. Appropriately enough, Michel Le Noir, whose motto we have already quoted, may be here referred to. He issued alarge number of books, the most notable, perhaps, being “Le Roman de laRose, ” 1513. He was succeeded by his son Philippe in 1514, one of whosemost noticeable publications was “Le Blazon des Hérétiques” (a satiricalpiece attributed to Pierre Gringoire), the figure or effigy at the headis signed with the monogram of G.  Tory. The five Marks of father and sondiffered only in minor details, and the above example of Philippe willsufficiently indicate the character of the others. Philippe Pigouchet, who was an engraver as well as a bookseller and printer, contentedhimself apparently with one Mark. He is distinguished for the extremecare with which he turned out his books, particularly the Books of Hourswhich he undertook to produce in partnership with Simon Vostre; some ofhis works are freely copied by the publishers of to-day, and might withadvantage be even more generally utilized than they are, for theypossess all the attributes of beautiful books. Thielman Kerver, a German, was another printer who worked for Simon Vostre, one of hismost important productions being a “Breviarium ad usum EcclesiæParisiensis, ” 1500, in red and black. His shop was on the Pont St. Michel, at the sign of the Unicorn, which, as will be seen, he adoptedas his Mark, and of which there are two, which differ from one anotheronly in minor details. Of Simon Vostre himself, a whole book might becompiled. From about 1488 to 1528 he devoted himself exclusively to thepublishing of books, and employed all the best printers: it was by hisenergy combined with Pigouchet’s technical skill that the two produced, in April, 1488, the “Heures à l’Usaige de Rome, ” an octavo finelydecorated with ornaments and figures; the experiment was a completesuccess. It is generally assumed that the engraving was done in reliefon metal, as the line in it is very fine, the background stippled, andthe borders without scratches: wood could not have resisted the force ofthe impression, the reliefs would have been crushed, the borders rubbedand badly adjusted. The artistic connection of Pigouchet and Vostrelasted for eighteen years, and with them book production in France maybe said to have attained its highest point. By the year 1520 Vostre hadpublished more than 300 editions of the “Hours” for the use of differentcities; he had two Marks, of which we give the larger example on p.  103. [Illustration: SIMON VOSTRE. S V SIMON VOSTRE] [Illustration: FRANÇOIS REGNAULT. Le premier volume de la toison dor. Compose par reuerend pere en dieu guillaume par la permission diuine iadis euesque de Tournay/ ab- be de sainct Bertin et chancellier de lordre de la Thoi son dor du bon duc Philippe de bourgongne Auquel soubz les vertus de magnanimite et iustice apparte- nans a lestat de noblesse sont contenus les haulx ver- tueux et magnanimes faictz tant des tres chrestiennes maisons de france/ bourgongne et flandres que dau- tres roys et princes de lancien et nouueau testament nouuellement imprime a Paris. Cum p[ri]uilegio F R FRANCOYS REGNAVLT ¶ Ilz se vendent a Paris en la rue sainct Iaques a lenseigne sainct Claude. ] [Illustration: PIERRE REGNAULT. P R CONCORDIA PARVE RES CRESCVNT DISCORDIA MAGNE DILABVNTVR PETRVS REGNAVLT] [Illustration: GUY MARCHANT. Fides Ficit] [Illustration: DE MARNEF. Le pellicā E I G De marnef] [Illustration: J. DU PRÉ. I P] [Illustration: PIERRE LE ROUGE. . P. Le Rouge] [Illustration: PHILIPPE LE NOIR. P N PHILIPPE LE NOIR] [Illustration: THIELMAN KERVER. T K THIELMAN KERVER] In many respects Jean or Jehan Petit is one of the most remarkable ofthe early French printers, whilst from the time he started to the finalextinction of his descendants as printers covers a space of 336years--a record which is probably unrivalled in the history oftypography. Jehan Petit kept fifteen presses fully employed, and found agreat deal of work for fifteen others. The family as a whole makes agood show with their marks, in which the founder is more extravagantthan any of the others, having used, at one time or another, at leasthalf-a-dozen more or less different examples. In addition to reproducingone of the finest, we give, on p.  9, also a reduced facsimile of atitle-page of a book, the joint venture of Petit and Kerver; thecombination of the two names on one title-page is distinctly novel andcurious. He was on several occasions associated with others in producinga book, his connection with Josse Bade extending from 1501 to 1536. OfBade or Badius it will be necessary to give a few particulars. He wasborn at Asche, near Brussels, and was a scholar and a poet as well as aprinter. About 1495-7 he was engaged as a corrector of the press forTreschel and De Vingle at Lyons. He left about 1500 for Paris, where hestarted a press in 1502, which he called “Prelum Ascensianum. ” Inreference to this term, “the Ascension Press, ” the word “prelum” wasapplied to the ancient wine presses, after which, in fact, the earliestprinting presses were modelled. His Mark, which he first used in 1507, is the earliest picture of a printing-press. Thirteen years after, headopted another device with the same subject, but differing in manyimportant particulars. In the second, the composing-stick used by thefigure in the act of setting type is changed from the right to the lefthand; the press shows improved mechanical construction, indicatinggreater solidity and strength. In the latter example also the figuresitting at the case on the right side of the engraving is intended torepresent a woman, instead of a man as in the earlier illustration. Contemporary with both Petit and Bade, Gilles or Gillet Hardouyn, 1491-1521, was both a printer and a bookseller, and used two Marks, ofwhich we give the more striking. Germain Hardouyn, possibly a son of thepreceding, confined himself more particularly to selling books duringthe first forty years of the sixteenth century. [Illustration: PHILIPPE PIGOUCHET. pp. PHILIPPE PIGOVCHET] [Illustration: JEHAN PETIT. I P IEHAN PETIT] [Illustration: J. BADE. Prelũ Ascẽsianũ I B] [Illustration: GILLET HARDOUYN. ] [Illustration: GEOFFREY TORY. NON PLVS] Geoffrey Tory resembled many others of the early printers in being alsoa scholar; but he was also an artist and an engraver, taking up andcarrying on the great work inaugurated by Vostre and Vérard. He was bornat Bourges in 1480, and one of his earliest works, which was publishedby Petit and printed by Gilles De Gourmont, was an edition of the“Geography” of Pomponius Mela, 1507, and between this time and his deathhe produced a number of Books of Hours, the decoration of which can onlybe described as marvellous. One of the most beautiful is undoubtedly the“Heures de la Vierge, ” executed for Simon De Colines. What interests usmost, however, is the Mark which he adopted when he entered intobusiness as a printer and bookseller; it is perhaps the most elegantthat had been up to that time designed. This Mark of the broken pitcher, with the motto “Non plus, ” first appeared at the end of a Latin poemissued in 1524, is regarded as a _memento_ of the death of his littledaughter in 1522, and is thus explained: the broken pitcher symbolizesher career cut short; the book with clasps her literary studies; thelittle winged figure her soul; and the motto “Non plus, ” “Je ne tiensplus à rien. ” He gives his own interpretation of this Mark, however, inthat curious medley of poetry and philosophy which he called“Champfleury, ” 1529. It may be mentioned that on some of the bindings ofhis quarto volumes the broken pitcher is transversed by the wimble or_toret_--an obvious pun on his name. The Estienne or Etienne family is probably the most important andinteresting of the sixteenth century printers of Paris. Silvestrereproduces twenty Marks which one or other of the Estiennes employed, and a description of these might very well form a distinct chapter. Buta condensed review of the family as a whole must suffice. Henry, thefirst of the name and chief of the family, was born at Paris about 1470;he started in 1502 a printing and bookselling business in the Rue duClos-Bruneau, near the _Ecoles de Droit_; he adopted the device, “Plusolei quam vini”; and twenty-eight works are catalogued as having beenprinted by him. He died in 1521, leaving a widow and threechildren--François, Robert, and Charles. François I. Continued theprofession in company with Simon De Colines, who had been associatedwith his father, and who married the widow of Henry: his Mark is givenas an initial to this chapter. Robert I. , the second son of Henry, wasborn in 1503, and is probably more generally known as a Greek, Latin, and Hebrew scholar than as a printer. For several years he, like hisbrother, was associated with De Colines; he married Pétronille, daughterof Badius “Ascensius, ” and was a Protestant; in 1526 he established aprinting-press in the Rue St. Jean-de-Beauvois at the sign of the Olive. His editions of the Greek and Latin classics were enriched with usefulnotes, and promises of reward were offered to those who pointed outmistakes. He used the types of his father and De Colines until about1532, when he obtained a more elegant fount with which he printed hisbeautiful Latin Bible. In 1552 he retired to Geneva, when he printed, with his brother-in-law, the New Testament in French. He establishedhere another printing-press, and issued a number of good books, whichusually carried the motto: “Oliva Roberti Stephani. ” His Marks are atleast ten in number, of which seven are variations of the Olive device, and three (in as many sizes) of the serpent on a rod intertwined with abranch of a climbing plant. With the exception of François the othermembers of the family used the Olive mark, sometimes however alteringthe motto, and adding in some instances an overhead decoration of a handissuing from the clouds and holding a sickle or reaping hook. He died in1559. The third son of the founder, Charles, after receiving hisdiplomas as a doctor of medicine, travelled in Germany and Italy, returning to Paris in 1553, and started in business as a printer. Amongthe ninety-two works which he printed, special mention may be made ofthe “Dictionarium historicum ac poeticum, omnia gentium, hominum, locorum, ” etc. , Paris, 1553, reprinted at Geneva in 1556, at Oxford in1671, and London, 1686. He possessed the opposite attributes of beingthe best printer and of having the worst temper of the family, and healienated himself from all his friends and relations; he was confined inthe Chatelet in Paris, and died there after two years in 1564. HenryII. , son of Robert I. , was born in Paris in 1528; after leaving collegehe travelled on the continent and visited England. He returned to Parisin 1552, when his father was leaving for Geneva. In 1554 he started aprinting-press; in 1566 he published a translation of Herodotus byValla, revised and corrected, defending, in the preface, the Father ofHistory against the reproach of credulity. Charles, brother of RobertI. , established a printing-press in 1551, and died crippled with debtsin 1564. Robert II. , second son of Robert I. , was born in 1530, and, refusing to adopt the new religion, was disinherited by his father; hestarted a printing-press on his own account when his father retired toGeneva, and issued forty-eight books, some of which possessed the markof the Olive; he was the royal printer in 1561, and died in 1575. François II. , third son of Robert I. , printed in Geneva from about 1562to 1582. Robert III. , elder son of Robert II. , died in 1629. Paul, sonof Henry II. , was born in 1566, and, after a brilliant scholasticcareer, travelled on the continent, and started a printing-press atGeneva in 1599, where he issued twenty-six editions of the classicswhich were particularly notable for their correctness and notes. He diedin 1627, and his son Antoine, born 1594, established himself attwenty-six years of age as a printer in Paris, reverted to RomanCatholicism, was appointed printer to the king and to the clergy, dyingat the Hotel Dieu in 1674. The number of editions which this celebratedfamily, starting in 1502 and finishing in 1673, issued, reaches the verylarge number of 1590, thus classified: theology, 239; jurisprudence, 79;science and arts, 152; belles lettres, 823; and history, 297. Of theeleven members of this family, one died in exile, five in misery, one ina debtor’s prison, and two in the hospital--“Lecteur, que vous faut-ilde plus?” [Illustration: SIMON DE COLINES. S D C S DECOLINES] [Illustration: R. ESTIENNE. NOLI ALTVM SAPERE. ] [Illustration: ROBERT ESTIENNE. ] Although in France, as elsewhere, we have to look to the printers of thefifteenth century for originality and decorative beauty, someexceedingly interesting Marks occur in the sixteenth, and are well worthstudying. We have only space for the enumeration of a few of the moreimportant. Of these, Pierre Vidoue comes well in the first rank. He wasone of the most distinguished of the early Parisian Greek typographers, besides being a person of learning and eminence, and was issuing booksup to the year 1544; his edition of Aristophanes, 1582, published byGilles De Gourmont, is described as “a singularly curious impression, ”whilst ten years later he printed Guillaume Postel’s “Linguarum XII. Characteribus differentium Alphabetum, ” which is described by La Cailleas the “first book printed in oriental character, ” a statement, however, which is incorrect so far as relates to the Hebrew. He had at leastthree Marks, all more or less similar, in one of which, however, themotto “ardentes juvo, ” is supplemented by “par sit fortuna labori. ” Ofthe six Roffets who were printing or publishing books in Paris duringthe sixteenth century, the most notable is perhaps Pierre, whose namefrequently occurs in the bookbinding accounts of Francis I. ; of theirseven Marks, nearly all more or less of the same “rustic” character, themost decorative is that of Jacques (see p.  30). In their separate ways, the Marks of Mathurin Breuille, 1562-83 (p.  33), and Louis Cyaneus, 1529-46, each possesses a pleasing originality, the latter of which isinscribed with the motto “Tecum Habita. ” The two Wéchels, André andChrestien, were among the most eminent of the sixteenth century Parisianprinters, and between them employed over a dozen marks. All those ofAndré were variations of one type, namely, two hands holding a caduceusbetween two horns of plenty surmounted by Pegasus. This had also beenused by Chrestien, of whose other Mark a reproduction is here given, andof which there were several variations. Regnault Chaudière’s shop was inthe Rue St. Jacques, at the sign of “L’homme Sauvage, ” which he adoptedfor his Mark: this he appears to have changed for one emblematical ofTime when he took his son into partnership, and which, Maittaire thinks, he may have borrowed of Simon De Colines, whose daughter (and onlychild) he married. We give the largest of the examples used by GuillaumeChaudière, 1564-98 on p.  28. Sébastien Nivelle, who was working duringthe latter half of the sixteenth century until the third year of theseventeenth century, is a very interesting figure in the typographicalannals of Paris. He was, at the time of his death at the age of eightyyears, the _doyen_ of the trade. His books were, for the most part, beautifully printed. His shop was in the Rue St. Jacques at the sign ofthe Two Storks, which he adopted for his exceedingly beautiful Mark, thefour medallions representing scenes of filial piety. His daughter wasthe mother of Sébastien Cramoisy, “typographus regius, ” who inheritedthe establishment of his grandfather. Of the somewhat crudely drawnMark--an evident pun on his surname--used in or about 1504, by GuillaumeDu Puys, the sign of the shop being the Samaritan, a much moredecorative example was used, in various sizes, by Jacques Du Puys(p.  10), who was a bookseller, 1549-91, rather than a printer. Equallyfine in another way is the tripartite example, given on page 130, usedby Guillaume Merlin in partnership with Guillaume Desboys and SébastienNivelle, in 1559, and also with the latter in 1571. The Mark is theinterpretation of the four lines: “Veniet tempus meissionis. Non oderis laboriosa opera. Homo nascitur ad laborem, Vade, piger, ad formicam. ” [Illustration: P. VIDOUE. AVDENTES IVVO P. VIDOVÆ] [Illustration: LOUIS CYANEUS. ] [Illustration: ANDRÉ WÉCHEL. ] [Illustration: CHRESTIEN WÉCHEL. VNICVM ARBVSTV NON ALIT DVOS ERITHAGOS] [Illustration: SÉBASTIEN NIVELLE. S N HONORA PATREM TVVM, ET MATREM TVAM. VT SIS LONGÆVVS SVPER TERRAM. EXOD. 20. ] On the opposite page we reproduce the Mark Nivelle used for the bookswhich he produced alone. After Paris, the next most important town in France, so far as printersand their Marks are concerned, is Lyons. The first book printed in thiscity is presumed to be “Cardinalis Lotharii Tractatus quinque, ”“Lugduni, Bartholomæus Buyerius, ” 1473 (in quarto). The same printeralso published the first French translation of the Bible, by JulianMacho and Pierre Ferget, which was executed between 1473 and 1474, fromwhich date the art of printing in Lyons increased by leaps and bounds. Panzer notices over 250 works executed (by nearly forty printers) hereduring the quarter of a century which followed. The most notable amongthese is perhaps Josse Bade, to whom we have already referred. Theformer of the two “honestes homes Michelet topie de pymont: & Iaquesheremberck dalemaigne, ” possessed a Mark which may be regarded as one ofthe earliest, if not actually the first, employed at Lyons. Topie andHeremberk printed the first edition of the “Chronique Scandaleuse, ”about 1488, and Breydenbach’s “Voyage à Jerusalem, ” of about the sameperiod--the latter of which contains the first examples of copper-plateengraving in France, the panorama of Venice alone being sixty-fourinches in length. Contemporary with these, Johannes or Jehan Trescheldeserves notice not only as an eminent printer, but also as thefather-in-law of one still more eminent--Bade. Treschel’s illustratededition of Terence, 1493, is described as forming “the most striking andartistic work of illustration produced by the early French school. ” Themost generally known of all the Lyonese printers is Etienne Dolet, who, born at Orleans in 1509, distinguished himself not only as a printer, but as a Latin scholar, a poet, and an orator; he was burnt as anatheist in August, 1546. Dolet, as Mr. Chancellor Christie tells us inhis exhaustive monograph, adopted a Mark and motto which are to be foundin all or nearly all the productions of his press. The Mark and themotto are equally allusive: the former is an axe of the kind known as_doloire_, held in a hand which is issuing out of a cloud. Below is aportion of a trunk of a tree; it is usually surrounded by the motto, “Scabra et impolita ad amussim dolo atque perfolia”; it is often alsosurrounded by an ornamental woodcut border, as in the accompanyingillustration; and in some cases the words “scabra dolo” are printed onthe axe. [Illustration: MERLIN, DESBOYS AND NIVELLE. HOMO NASCITVR AD LABOREM VADE PIGER AD FORMICAM PROVENIET TEMPVS MESSIONIS NON ODERIS LABORIOSA OPERA] [Illustration: M. TOPIE. ] [Illustration: J. TRESCHEL. I T] [Illustration: E. DOLET. ] Two contemporary Lyonese firms of printers, the De Tournes and De laPortes, appear to have rivalled one another in the number of theirMarks. Jean De Tournes, 1542-50, himself had no less than eleven Marks, several of which are exceedingly graceful, one of the largest and bestof which represents a sower, and serves as an excellent pendant to thereaper of Jacques Roffet, both of which appear in our first chapter. Theseven or eight members of the De la Porte family used at least half ascore Marks between them. The family, beginning with Aymé De la Porte inthe last decade of the fifteenth century, and ending with Sibylle De laPorte, were in business first as printers, then as booksellers, for justa century; and the punning device apparently originated, not with thefirst member of the family, but with Jehan, who started a business inParis about 1508, and in his Mark the shield bears a castellateddoorway; the picture of the biblical Samson carrying off the gates wasapparently first used by Hugues De la Porte, who was a bookseller atLyons from 1530; this was superseded for the more pictorial andconsiderably smaller example, here given, when he entered intopartnership with Antoine Vincent about 1559. Although the Du Prés wereParisian printers, Jehan of that family issued several books at Lyonsduring the last few years of the fifteenth century, and one of his threeMarks is given on p.  108. Sébastien Gryphe, or Gryphius, who printed andpublished a large number of works during the second quarter of thesixteenth century, was also extravagant in the way of Marks, of whichthere are at least eight, all, however, of one common type--the Griffin, sometimes quite without any sort of decorative attributes or motto, andsometimes as in the example here given. [Illustration: HUGUES DE LA PORTE AND A. VINCENT. LIBERTATEM MEAM MECVM PORTO VINCENTI] [Illustration: SÉBASTIEN GRYPHE. ] [Illustration: JACQUES COLOMIES. I C IACQVES COLOMIES] So far as regards the French cities and towns, we have only space torefer briefly to a few of the more important. After Paris and Lyons, Toulouse was one of the earliest places in France in whicha printing-press was set up. Although not the first, Jacques Colomieswas one of the first, as he was one of the most prolific of the earlyprinters of Toulouse, working from 1530 to 1572. Printing wasestablished at Caen in 1480; but Pierre Chandelier, whose punning Markwe give, did not start work until eighty years after its firstintroduction. A punning device (p.  7), also is that of Jehan Lecoq, whowas printing at Troyes from about 1509 to 1530. The only Rouen printerto whom we shall refer is Martin Morin, who appears to have been at workhere as a printer from about 1484 to 1518, and of his Marks we give oneexample; another is formed of a large initial M, decorated with avariety of grotesque heads, with the surname Morin on the two centralstrokes of the letter. [Illustration: M. MORIN. M M IMPRIME A ROVEN DEVANT SAINCT LO] [Illustration: PIERRE LE CHANDELIER. LVCERNIS ACCENSIS FIDELITER MINISTRO. ] [Decoration] PRINTERS’ MARKS OF GERMANY AND SWITZERLAND. [Illustration: JACOBI THANNER. i t] Although the early history of the Printer’s Mark in Germany is neitherextensive in variety nor startling in surprises, there are still verymany features of general interest. And if the Printer’s Mark, as we havealready seen, had its origin in Mainz, its development is certainly dueto the Strassburg craftsmen. As no other city in Germany can show such avaried collection of beautiful Marks, examples of the Strasburg printerswill preponderate in this chapter. It is now generally accepted that theart of printing was carried on in Strassburg (Argentina, Argent-oratum), either in 1459 or 1460, by Johan Mentelin, who appears to have continuedin the business until 1476; and about six years after he had started, Heinrich Eggestein commenced, and continued until about 1478. Acceptingthe arrangement of Herr Paul Heitz and Dr. Karl August Barack in theirvery elaborate “Elsässische Büchermarken bis Anfang des 18. Jahrhunderts, ” the first Strasburg printer to use a Mark was JohannGrüninger, who, after working at Basel for a year or two, took up hisresidence in Strassburg at the end of 1482. One of his first Marksappeared in Brant’s “Narrenschiff, ” 1494, and of this our example is anelaboration. By the year 1525 he employed no less than five distinctexamples, the last of which, in Ptolemæus, “Geographicæ Enarrationes, ”1525, differs completely from all the others, the single letter Goccupying the centre of the masonic compass and rule. Grüninger, it maybe noted, was the printer of “Cosmographie Introductio, ” 1509; thesecond edition of the famous book in which the name America was proposedand used for the first time. He is further noted for the number ofmisprints which occur in the books issued by him. The last book whichbears his imprint is apparently “Geberi philosophi ac alchimistæ maximi, de Alchimia, libri tres, ” March, 1529. Martin Schott’s distinct deviceis found in at least three books of the date 1498, including Matheolus’“Ars memorativa, ” and was used by him until 1517. It was also used byhis son, Johann Schott, about 1541, the same printer using seven oreight other Marks, all more or less distinct, at different periods. Thefirst book bearing Martin Schott’s name is dated 1491, and he continuedprinting until 1499; while his son was in business from 1500 to 1545. Equally distinct is the accompanying example--one of several--used byJohann Knoblouch, which is found in the majority of the books printed byhim from about 1521 to 1526, notably several works by Erasmus (_e. G. _“Moriæ Encomium, ” 1522, and the “Novum Testamentum, ” 1523). The fatherstarted in 1497, and was succeeded by his son, who continued thebusiness until 1558. The Mark, it may be mentioned, is a somewhatatrocious pun on the owner’s name, which is the German for “garlic, ”with the seed pods of which the figure emblematically representingIgnorance ascending from darkness into light is encircled; this Mark isgenerally surrounded by mottoes in Greek, Hebrew, and Latin. [Illustration: JOHANN GRÜNINGER. IOHANNES. SANTVS] [Illustration: MARTIN SCHOTT. M S] [Illustration: JOHANN KNOBLOUCH. ] [Illustration: REINHARD BECK. ] [Illustration: REINHARD BECK. RB] Although Reinhard, or Renatus, Beck was only in business for abouteleven years, 1511-1522, he had several Marks, which differed chiefly intheir extraneous ornament, as will be seen from the accompanyingexamples. Two books, _sine nota_, which Mr. Quaritch assigns to Beck’spress, of the date 1490, are remarkable for the large number of woodcutswhich they contain, relating principally to plants, animals, gardeningoperations, rural architecture, so that the Mark of “ein wilder Mann” isso far in keeping with the nature of his publications. Fourteen orfifteen Marks, several of which are only variations of one type, havebeen identified as having been used by Wolfgang Köpfel (whose surnamesometimes appears in its Greek translation of Cephalæus) between 1522and 1554: the most remarkable, of which we give a reproduction, appearsto have been used very rarely, notably in “Zehn Sermones” of Luther, 1523; a much commoner type is the smaller example, which appeared invarious books issued between 1526-1554. Georg Ullricher von Andlau, 1529-36, confined himself to one type (see p.  1), that of the Cornucopiaor Horn of Plenty, of which there are seven variants. The more elaborateof the two Marks of Matthias Biener, or Apiarius, 1533-36, appears inOecolampadius’ “Commentarius” on the Prophet Ezekiel, 1534, and is anevident pun on the printer’s surname. Several of the dozen Marks used byCraft Müller, or Crato Mylius, 1536-62, are exceedingly bold andpicturesque, although, with the exception of the Ceres, they are allvariants of the leonine type: the Ceres was apparently used only in hisfirst book, “Auslegung oder Postilla des heil. Zmaragdi, ” 1536. [Illustration: WOLFGANG KÖPFEL. ESTAS HYEMS PROPE LONGE MORS ET VITA] [Illustration: WOLFGANG KÖPFEL. ] [Illustration: CRAFT MÜLLER (CRATO MYLIUS). Hostibus haud tergo, sed forti pectore notus. ] [Illustration: MATTHIAS BIENER (APIARIUS). Ερευνᾶτε τὰς γραφάς, οτι ἐμ ἀυταῖς ζωὴμ ἀιώνιομ ἔχετε. Ioan. 5. Vrsus insidians & esuriens, princeps impius super populum pauperem. Thre. 3. Prouerb. 28. Quam dulcia faucibus meis eloquia tua, super mel ori meo. Psal. 118. Omnia probate, quod bonum fuerit tenete. 1. Thess. 5. ] [Illustration: CRAFT MÜLLER. Alma Spicifera Flaua CERES. Ni purges & molas non comedes. ] [Illustration: THEODOSIUS RIHEL, JOSIAS RIHEL (UND DEREN ERBEN). ] Wendelin Rihel was the founder of one of the longest-lived dynasties ofStrassburg printers, who were issuing books from 1535 to 1639; theireighteen Marks have all the same subject, a winged figure of Sophrosyne, holding in one hand a rule, and in the other a bridle and halter. OfThiebold Berger, who appears to have been in business from 1551-1584, very little is known, either of his books or his personality; his Markis, however, pretty, and unique, so far as Strassburg is concerned. Lazarus Zetzner and his successors, whose works date from 1586 to 1648, and whose Marks number nearly thirty, all variants of the example heregiven: it is a bust of Minerva supported on a short square pedestal, onwhich is inscribed the words “Scientia immutabilis. ” This family printeda large number of works, from a Lutheran Bible to Aretini’s “HistoriæFlorentinæ. ” As an example of a rare and distinct Mark we give one oftwo employed by Conrad Scher, 1603-31, which was subsequently used byJohannes Reppius, also of Strassburg. Curiosity is the only feature ofthe solitary example of David Hauth, 1635. [Illustration: LAZARUS ZETZNER. SCIENTIA IMMUTABILIS] [Illustration: THIEBOLD BERGER. TIMETE DOMINVM OMNES SANCTI EIVS QVONIAM NON EST INOPIA TIMENTIBVS EVM. PS:34] [Illustration: CONRAD SCHER. Prudentia Firma Et Simplex Spes] [Illustration: DAVID HAUTH. ] [Illustration: J.  R. DULSSECKER. DOMINUS PROVIDEBIT] But of all the Strassburg printers, there can be no doubt that, from astrictly pictorial point of view, the Marks of Johann ReinholdDulssecker, 1696-1737, are by far the most beautiful. Indeed, in manyrespects they are the most charming examples to be found among thedevices of any time or country. In some instances they partake much moreof the character of a vignette than a tradesman’s mark. His earliestdevice is composed of his monogram; and his first decorative Mark is thevery beautiful little picture of an English garden, in the centralpathway of which occurs his initials. This Mark appears to have beenused in only one book, “M.  Fabii Quinctiliani Declamationes ... Exrecensione Ulrici Obrechti, ” 1698. A type of Mark very frequently usedby him occurs in Schilter’s “Scriptores Rerum Germanicarum, ” 1702, withhis motto of “Dominus providebit, ” and of this Mark we give anexcessively rare variant on p.  47. He had eleven Marks, his listincludes books of all kinds, in Latin, German, and French. [Illustration: JOHANN REINHOLD DULSSECKER. FOECUNDANTE DEO IN VARIOS PRODUCIMUR USUS] Of the other Alsatian printers we have only room to refer to twoexamples. Thomas Anshelm (or Anshelmi Badensis) is perhaps the mosteminent of the early Hagenau printers, his books dating from 1488 to1522, the earliest of which, however, were not printed at this place. His Marks all carry the initials T A B, the Hebrew letters in theaccompanying example representing the name Jehovah; in his most elegantMark the same word is supported on a scroll by a cherub, whilst anothercherub is supporting a second scroll on which is inscribed the wordJesus in Greek characters. The style and workmanship of this woodcutsuggest the hand of Hans Schaufelein, and it is worth noting that in1516 Anshelm produced “Doctrina Vita et Passio Jesu Christi, ” some ofthe illustrations of which were by Schaufelein. Anshelm issued a largenumber of books, including the works of Pliny, Melancthon, Erasmus, Cicero, etc. Valentin Kobian, 1532-42, inserted an exceedingly originaland striking Mark in the edition of Erasmus’ “Heroicum Carmen, ” 1536, the Peacock with one foot on a Cock and the other on a crouching Lionbeing highly effective. [Illustration: THOMAS ANSHELM. [[Hebrew]] יהוה ש T A B] [Transcriber’s Note: The superfluous word “Hebrew” was included to keep the text display from misbehaving. ] [Illustration: VALENTIN KOBIAN. Anno M. D. XXXVI. Mens: Septem: Non Aquilæ grandi sociatum turgide Pauum ’ Galle premes tecum mox Leo uictus erit] [Illustration: A. THER HOERNEN. ¶ Explicit presens vocabulorum materia. A perdocto eloquentissimo [que] viro. Dño Gherardo de schueren Cãcellario Illustrissimi ducis Cli uensis ex diuersorum terministar[um] voluminibus contexta. Propriis[que] eiusdem manibus labore ingenti cõ scripta ac correcta Colonie per me Arnoldũ ther hoenẽ diligentissime impressa. Finita sub annis domini. M. Cccc. Lxxvij. Die vltimo mensis maij. De quo cristo marie filio sit laus et gloria per seculorum secula Amen. ] Printing had not established itself at Cologne until four years laterthan at Strassburg. Ulric Zell, at the dispersal of the Mainz printers, settled himself in this city, where he was printing from about 1463 tonearly the end of the fifteenth century. He was clearly not aninnovator, for he never printed a book in German, and did not adopt anyof the improvements of his _confrères_ who had settled themselves inItaly; he “rigidly adhered to the severe style of Schoeffer, printingall his books from three sizes of a rude face of a round gothic type. ”It is not to him therefore that we can look for anything in the way ofPrinters’ Marks, the earliest Cologne printer to adopt which wasapparently Arnold Ther Hoernen, whose colophons, of which we give anexample, were often printed in red. His Mark is a triangle of which thetwo upright sides are prolonged with a crosslet; in the centre a star, and on either side the gothic letters T H, the whole being on a verysmall shield hanging from a broken stump. Herman Bumgart, one of whosebooks bears the subscription “Gedruckt in Coelne up den Alden Mart tzodem wilden manne, ” and who was in Cologne at the latter end of thefifteenth century, has a special interest to us from the probabilitythat he was in some way connected with the early Scottish printers. [Illustration: HERMAN BUMGART. Impressu[m] Colonie sup[er] antiquũ for[um] in Siluestri viro. ] Once started, the idea of the Mark was quickly taken up. JohannKoelhoff, 1470-1500, the first printer to use printed signatures (in hisedition of Nyder, “Preceptorium divinæ legis, ” 1472), came out with alarge but roughly drawn example, the arms of Cologne, consisting of aknight’s helmet, with peacock feathers, crest, and elaborate mantles, surmounting a shield with the three crowns in chief, the rest of theescutcheon blank, and rabbits in the foreground. Koelhoff (who describeshimself “de Lubeck”) was the printer of the “Cologne Chronicle, ” 1499, and of an edition of “Bartholomæus de Proprietatibus Rerum, ” 1481. Several interesting Cologne Marks of the first years of the sixteenthcentury may be noted. For instance, Eucharius Cervicornus, 1517-36, useda caduceus on an ornamented shield, and printed among other books whatis believed to be the earliest edition of Maximilianus Transylvanus’ “DeMoluccis Insulis, ” 1523, in which the discoveries of Ferdinand Magellanand the earliest circumnavigation of the globe were announced. LikeKoelhoff, Nicolas Cæsar, or Kaiser, who was established as a printer atCologne in 1518, used the Cologne arms as a Mark, which is sufficientlydistinct from the earlier example to be quoted here. Johann Soter, 1518-36, is another exceedingly interesting personality in the earlyhistory of Cologne printing. We give the more elaborate of the two marksused by him and reproduced by Berjeau: the shield contains theRosicrucian triple triangle on the threshold of a Renaissance door. During the latter end of his career at Cologne, Soter had also anestablishment at Solingen, where he printed “several works of adescription which rendered too hazardous their publication in the formercity. ” Arnold Birckmann and his successors, 1562-92, used theaccompanying Mark of a hen under a tree. After Günther Zainer, 1468-77, who introduced printing into Augsburg, the most notable typographer ofthis city is perhaps Erhart Ratdolt, to whom reference is made in thechapter on Italian Marks. We give the rather striking Mark--a white_fleur-de-lis_ on black ground springing from a globe--of Erhart Oglin, Augsburg, 1505-16, one of whose productions, by Conrad Reitter, 1508, isremarkable as having a series of Death-Dance pictures; Hans Holbein waseight years of age when it appeared, and was then living in his nativetown of Augsburg. [Illustration: JOHANN KOELHOFF. i k] [Illustration: NICHOLAS CÆSAR. ] [Illustration: J. SOTER. Του Σωτῆρος] [Illustration: ARNOLD BIRCKMANN. VTILIA SEMPER NOVA SAEPIVS PROFERO] For typographical purposes Switzerland may be regarded as an integralportion of Germany, and it was to Basle that Berthold Rodt of Hanau, oneof Fust’s workmen, is assumed to have brought the art about the year1467. One of the first Basle printers to adopt a Mark was Jacobus DePfortzheim, 1488-1518, who used two very distinct examples, of which wegive the more spirited, the left shield carrying the arms of the city inwhich he was working. It appears for the first time in “GrammaticaP.  Francisci nigri A.  Veneti sacerdoti oratoris, ” etc. , 1500. The secondMark is emblematical of the Swiss warrior. The most eminent of the Basleprinters was however Johann Froben, 1490-1527, who numbered among his“readers” such men as Wolfgang Lachner, Heiland, Musculus, Oecolampadius, and Erasmus. Very few, if any, German works were printedby him; the first edition of the New Testament in Greek was printed byhim in 1516, Erasmus being the editor. Froben’s device (to which lengthyreference has already been made, and into a discussion of the extremelynumerous variants of which we need not enter here) led Erasmus to thinkthat his learned friend did indeed unite the wisdom of the serpent tothe simplicity of the dove (see p.  43). Two other early Basle printers, Michael Furter, 1490-1517, and Nicholas Lamparter, 1505-19, used Marksone shield of each of which carried the arms of Basle. Henricpetri was acelebrated printer of Basle, 1523-78, and had a Mark of quite a uniquecharacter, representing Thor’s hammer, held by a hand issuing from theclouds, striking fire on the rock, while a head, symbolizing wind, blowsupon it. To yet another distinguished Basle printer, Cratander, reference is made, and his Mark given, in the second chapter. [Illustration: ERHARD OGLIN. E O] [Illustration: JACOBUS DE PFORTZHEIM. ] [Illustration: HENRICPETRI. ] [Illustration: WILHELM MORITZ ENDTER’S DAUGHTER. OMNIA LVSTRAT] The most famous, as he was one of the earliest, if not actually thefirst, printers of Nuremberg, or Nürnberg, Anthony Koberger, does notappear to have used a Mark. Indeed, the Printers’ Marks of Nürnberggenerally do not make anything like so good a show as those of Cologneand other large German cities. The earliest Mark of all is probably thatof Wilhelm Moritz Endter’s daughter, which represents a rocky landscape, with a town in the background lighted by the sun. Endter’s books, it maybe mentioned, are excessively rare. A much better known printer of thisplace is Johann Weissenburger, who started here in 1503, and continueduntil 1513, when he removed to Landshut, and remained there until 1531. He used the accompanying Mark at both places, --the precise significationof the letters H H on one side of the globe is not known. Mr. Quaritchdescribes a book of Jacobus Locher, published by this printer in 1506, which is remarkable as containing a number of woodcuts “which, in theirstyle and spirit, draw the book into close connexion with the ‘Ship ofFools. ’” [Illustration: J.  WEISSENBURGER. ] [Illustration: MELCHIOR LOTTER. M L] [Illustration: V. SCHUMANN. V S L D] Several of the Marks of the early printers of Leipzig, into whichprinting was introduced in 1480, are of great interest and possess quitea character of their own. One of the earliest, for example, is that ofMelchior Lotter, who issued a large number of books from 1491 to 1536. The word “Lotter” is equivalent to “vagabond” in English, and the Markherewith consists of an emblem of a mendicant in a half-suppliantposture. Melchior Lotter junior was printing at Wittenberg from 1520 to1524, where he printed anonymously the first edition of Luther’s Bible, with illustrations by Lucas Cranach, 1522, which an enthusiasticbibliopole has described as “one of the great works of the world. ”Valentin Schumann, 1502-34 (and probably much later), is another eminentLeipzig printer, being the first to attempt printing in Hebrewcharacters in a Hebrew grammar, 1520. The initials L D on his Mark aretaken to signify “Lipsiensis Demander” or Damander, a rude Latinizationof Schumann which he sometimes used. Sufficiently quaint also is theMark of Jacobus Thanner, 1501-21, which forms the initial to the presentchapter. By 1500 printing had reached to Olmütz, where Conrad Baumgartenwas issuing until 1502 works chiefly levelled against the Church ofRome; from 1503 to 1505 the same printer had established himself inBreslau, which he again changed for Frankfort-am-Oder, 1507-14, removingagain in the latter year to Leipzig. The W on one of the shields of hisMark is the initial of Wratislau, the Polish name of Breslau, and thefemale saint on the other shows the arms of the town. It appears to beuncertain whether printing was introduced into Frankfort-am-Main in 1511or 1530; but the only Mark which we need quote is that of JohannFeyrabendt, whose chief interest to posterity lies in the fact that heprinted Jost Ammon’s “Künstliche wohlgerissene neu Figuren von allerleyJagtkunst, ” 1592: his Mark is emblematical of Fame, winged, blowing aGerman horn, and enclosed in a cartouche. Andreas Wechel was printing atFrankfort from 1573 to 1581, his Mark being the well-known one of thePegasus. Although Jacob Stadelberger, Heidelberg, was not by any meansan eminent printer, his Mark is well worthy of note: it consists ofthree shields, the right of which bears the arms of Bavaria, the left alion rampant, the arms of Heidelberg, and that of the middle is supposedto represent the arms of Zurich. [Illustration: CONRAD BAUMGARTEN. W] [Illustration: J. FEYRABEND. ] [Illustration: L. GUERBIN. L C] [Illustration: JACOB STADELBERGER. ] Adam Steinschawer is said to be the printer of the first book issued atGeneva, in 1479; soon after him came Guerbin, 1482, whose Mark we giveafter Bouchot. From about 1537 to 1554 Jehan Girard, or Gerard, was busyprinting books here; the Mark herewith comes from one of Calvin’s books, 1545, the Latin motto being anglicized thus: “I came not to send peace, but a sword, ” a very proper motto indeed for such an author. Girard usedthree other Marks of this type. The position of Geneva in literature isFrench rather than German, and this also holds good with regard to itstypographical annals. The accompanying Mark of Jean Rivery, Geneva, 1556-64, is distinct of its kind, and is the smaller of the two examplesused by this printer; in the larger one, the same motto appears, but inroman type, not italic; there are also only two trees, both nearlyleafless; the hand holding an axe occurs in both examples. Many Frenchprinters, for various reasons, and at different times, “retired” toGeneva, as, for example, the Estiennes; the Marks of severalFranco-Genevan printers therefore will be found dealt with in theprevious chapter. Although printing appears to have been introduced intoZurich in 1508, books executed at this place prior to 1523 areexcessively rare. Christopherus Froschover, 1523-48, was by far the mosteminent and prolific of the early Zurich printers; to him has beenattributed the production of the first English Bible. His Mark is apunning one, _Frosch_ being German for “frog;” it is emblematical of agigantic frog ridden by a child under a tree, the “larger growth” beingsurrounded by several of the normal size. Of other Swiss printers whoseMarks we reproduce, but to whom we can make no further reference, areNicolas Brylinger, Basle, 1536-65 (the accompanying example is takenfrom the title-page of “Pantalonis Henrici, Prosopographiæ Heroum atqueillustrium Virorum totius Germaniæ, ” 1565, a folio of three volumes, full of fancifully drawn portraits, the same portrait being often usedfor several men), and F.  Le Preux, of Lausanne, Morges, and Berne. [Illustration: JEHAN GIRARD. NON VENI PACEM MITTERE SED GLADIVM. ] [Illustration: J. RIVERY. La coignée est ia mise à la racine des arbres: parquoy tout arbre qui ne fait pas bon fruit, sera couppé & ietté au feu, Mat. III. LA COIGNEE EST MISE A LA RACINE DES ARBRES PARQVOV LARBRE QUI NE PORTE CERA COPE] [Illustration: C. FROSCHOVER. CRISTOF FROSCHOWER ZV ZVRIC] [Illustration: N. BRYLINGER. ] [Illustration: F.  LE PREUX. ] [Decoration] SOME DUTCH AND FLEMISH PRINTERS’ MARKS. [Illustration: J. VELDENER. velde] The introduction of the art of printing into the Low Countries, and therival claim of Coster and Gutenberg, have proved a highly fruitfulsource of literary quarrels and disputations. It is not worth our whileto enter, even briefly, into the merits of the arguments either for oragainst; and it will suffice for our present purpose to regard JohannVeldener, 1473-7, as the first printer. He was probably a pupil of UlricZell, and, like many others of the early Netherland printers, he doesnot appear to have remained long at one place. For example, he was atLouvain from 1473-7, at Utrecht 1478-81, and at Culemberg, 1482-4. Hisonly Mark appears to be that given herewith, in which his name in anabbreviated form occurs between the two shields, on the right one ofwhich appears the arms of Louvain. His most notable publications weretwo quarto editions of the “Speculum” in the Dutch language, one ofwhich contained 116 and the other 128 illustrations, “printed from thewoodcuts that had been previously used in the four notable editions; tomake these broad woodcuts, which had been designed for pages in folio, Veldener cut away the architectural framework surrounding eachillustration and then sawed each block in two pieces. ” He received fromthe University the honorary title of Master of Printing, an honour whichwas also conferred on his more distinguished contemporary, Johann ofWestphalia, 1474-96, for whom in fact is claimed the priority of theintroduction of printing into Louvain. The first of the large number ofbooks produced by the latter is by Petrus de Crescentiis, “Incipit liberruraliũ cõmodorũ, ” 1474, its colophon being printed in red. Theaccompanying exceedingly curious “souscription, ” with portrait of theprinter, is given from Lambinet’s “Recherches. ” Thierry Martens, orMertens, or Martin d’Alost (Theodoricus Martinus), may be regardedeither as an early printer of Louvain, Antwerp, or Alost, for it isstated that he had presses working simultaneously at the three places;but Alost has the first claims, and it is said that he was printing herein 1473, although as a matter of fact he was only twenty years of age atthis period. He was a distinguished scholar, and the friend of Barlandand Erasmus, the latter making the following reference to theaccompanying Mark, “l’ancre sacrée, ” in the epitaph he wrote as amemorial of his friend: “Hic Theodoricus jaceo, prognatus Alosto: Ars erat impressis scripta referre typis. Fratribus, uxori, soboli, notisque superstes, Octavam vegetus præterii decadem. Anchora sacra manet, gratæ notissima pubi: Christe! precor nunc sis anchora sacra mihi. ” [Illustration: JOHANN OF WESTPHALIA. Et ego Johannes prenotatus alma in universitate Lova- niesi residens dig- num duxi opus hoc insigne immensis ferme tam labori- bus quam impensis ad finem usque perductum meo so- lito signo consig- nando huius in ca- pite libri palam fieri. ] [Illustration: THEODORIC MARTENS. THEODO. MARTIN. EXCVDEBAT. ] [Illustration: COLARD MANSION. Fait et jmprime a bruges par colard mansion lan et jour dessusdis] Colard Mansion, 1474-84, the first printer who worked at Bruges, for anexhaustive account of whose connection with William Caxton the reader isreferred to Mr. Blades’s monograph, used several Marks, printed in redand black, and similar to the example here given. In many respects the “Clercs ou Frères de la vie Commune” (Fratres vitæcommunis), who were printing at Brussels from 1476 to 1487, form one ofthe most interesting features in the early history of printing in theLow Countries. The types which they used resemble very much those ofArnold Ther Hoernen, Cologne; and the only book, “diligentia impresse infamosa civitate Bruxellen, ” to which they put their name, is entitled“Legendæ Sanctorum Henrici Imperatoris et Kunegundis Imperatricis, ”etc. , 1484, and this is their only illustrated book. “Their productionsillustrate the stage of transition between the ancient scribe andprinter by showing how naturally one succeeded to the other. ” A fullbibliographical account of the Brothers will be found in M.  Madden’s“Lettres d’un Bibliophile. ” The Mark here given is reproduced from theabove-named work: it consists of an Eagle crowned and displayed, supporting a shield with the arms of Brabant quarterly, with river inbend, and star. The first Deventer printer was Richard Paffroed (thesurname has about thirty variations) in 1477, who was either a pupil ofUlric Zell or Ther Hoernen, and who continued there until the first yearof the sixteenth century, and was apparently succeeded by his youngestson Albertus, who was printing there up to about 1530, and whose Mark wegive. [Illustration: THE BROTHERS OF COMMON LIFE. D vlieghende Eler zeer hoeghelike Metter wapene me ghi hier tuent Van linte hewpe keyserlike Daer ghi uv met sijt ghenvent] [Illustration: ALBERTUS PAFFRAEJ. A P ALBERTVS PAFFRAEJ] So far as Gouda is concerned, Gheraert or Gerard Leeu and early printingare synonymous. He was a native of this place, and established himselfhere as a printer in 1477 and continued up to 1484, when he removed hispresses to Antwerp, where he was printing until the year of his death, 1493. His “Dialogus Creaturarum, ” the first edition of which appeared in1480, had run into over a dozen editions, in Latin or Dutch, by thefirst year of the sixteenth century. Whilst at Gouda Leeu used severalmarks, of which the smaller, given on p.  39, was printed in red andblack; at Antwerp he used a much more ambitious example, consisting ofthe arms of the Castle of Antwerp: a battlement and a turreted gate, with two smaller ones on either side; the two large flags bear the armsof the German Empire and of the Archduke Maximilian of Austria. NicolasLeeu, who was printing at Antwerp in 1487-8, was possibly the brother ofthe more famous typographer, and his Mark consists of the lion (a pun onhis surname, which is equivalent to lion) in a Gothic window holding twoshields, with the arms of Antwerp on the left and the monogram ofGheraert Leeu on the right. Like Leeu and so many of the other earlyDutch printers, the first Delft typographer, Jacob Jacobzoon Van derMeer, 1477-87, employed the arms of the town in which he printed on hisMark, the right shield in the present instance carrying three water-lilyleaves. In 1477 he issued an edition of the Dutch Bible, and three yearslater the first edition of the Psalter, “Die Duytsche Souter, ” which hadbeen omitted from the Bible. The only other Delft printer to whom weneed refer is Christian Snellaert, 1495-7, the only book to which he hasplaced both his name and his Mark being “Theobaldus Physiologus denaturis duodecim animalium, ” 1495. His most remarkable production, however, is a “Missale secundum Ordinarium Trajactense, ” issued about1497; this Mark, given on p.  35, was also used by Henri Eckert vanHombergh, who was printing at Antwerp from 1500 to 1519: the shieldcarries the arms of Antwerp; in the arms of Snellaert this shield isblank, and this constitutes the only difference between the two Marks. [Illustration: GERARD LEEU. ] [Illustration: JACOB JACOBZOON VAN DER MEER. delf in hollant] [Illustration: MATHIAS VAN DER GOES. ] [Illustration: R. VAN DEN DORP. ] [Illustration: G. BACK. G B] If it could be proved that “Het boeck van Tondalus visioen” was, as hasbeen stated, printed at Antwerp in 1472, by Mathias Van der Goes, theclaim of Antwerp to be regarded as the first place in the Low Countriesin which printing was introduced would be irrefutable. Unfortunatelythere is very little doubt but that the date is an error, although Goesis still rightly regarded as having introduced printing into Antwerp, where he was issuing books from 1482 to about 1494 in Dutch and Latin. He had two large Marks, one of which was a ship, apparently emblematicalof Progress or commercial enterprise, and the other, a savagebrandishing a club and bearing arms of Brabant, --the latter, from“Sermones Quatuor Novissimorum, ” 1487, is here given. Rolant Van denDorp, 1494-1500, whose chief claim to fame is that he printed the“Cronyke van Brabant, ” folio, Antwerp, 1497, had as his most ambitiousMark a charming picture of Roland blowing his horn; on one of theshields (suspended from the branch of a tree) is the arms of Antwerp, which he sometimes used separately as his device. Contemporaneously withVan den Dorp, 1493-1500, we have Godefroy Back, a binder who, onNovember 19, 1492, married the widow of Van der Goes, and continued theprinting-office of his predecessor. His house was called the Vogehuis, and had for its sign the Birdcage, which he adopted as his Mark; this hemodified several times, notably in 1496, when the monogram of Van derGoes was replaced by his own. In the accompanying example (apparentlybroken during the printing) the letter M is surmounted by the Burgundydevice--a wand upholding a St. Andrew’s cross. We give also a smallexample of the two other Marks used by this printer. Arnoldus Cæsaris, l’Empereur, or De Keysere, according as his name happened to be spelt inLatin, French, or Flemish, is another of the early Antwerp printerswhose mark is sufficiently distinct to merit insertion here. His firstbook is dated 1480, “Hermanni de Petra Sermones super orationemdominicam. ” Michael Hellenius, 1514-36, is a printer of this city whohas a special interest to Englishmen from the fact that “in 1531 heprinted at Antwerp an anti-Protestant work for Henry Pepwell, who couldfind no printer in London with sufficient courage to undertake it. ”Hellenius’ Mark is emblematical of Time, in which the figure is standingon clouds, with a sickle in one hand and a serpent coiled in a circle onthe left. The Mark of Jan Steels, Antwerp (p.  19), 1533-75, is regardedby some bibliographers as the emblem of an altar, but “from the entireabsence of any ritual accessories, and the introduction of incongruousfigures (which no mediæval artist would have thought of representing), it would appear to be merely a stone table. ” Jacobus Bellaert, 1483-86, was the first Haarlem printer, one of his earliest works being “Datliden ende die passie ons Heeren Jesu Christi, ” which is dated December10, 1483. Bellaert’s name does not appear in it, but his Mark at the endpermits of an easy identification, it being the same as that whichappears in his Dutch edition of “Glanvilla de Proprietatibus Rerum, ”1485: the arms above the Griffin are those of the city of Haarlem. Oneof the most famous printing localities of the Low Countries was Leyden(Lugdunum Batavorum), where the art was practised so early as 1483, Heynricus Henrici, 1483-4, being one of the earliest, his Mark carryingtwo shields, one of which bears the cross keys of Leyden. The Pelican isan exceedingly rare element in Dutch and Flemish Printers’ Marks, one ofthe very few exceptions being that of J.  Destresius, Ypres, 1553, themotto on the border reading “Sine sanguinis effusione non fit remissio. ” [Illustration: GODEFROY BACK. ] [Illustration: A. CÆSARIS. ] [Illustration: MICHAEL HILLENIUS. TEMPVS. ] [Illustration: J.  BELLAERT. ] [Illustration: H. HENRICI. hollan leiden] It will be convenient to group together in this place a few of the morerepresentative examples of the Marks of the Dutch and Flemish printersof the sixteenth century. Of Thomas Van der Noot, who was printing atBrussels from about 1508 to 1517, there is very little of generalinterest to state, but his large Mark is well worthy of a place here. Picturesque in another way also is the Mark of J.  Grapheus, Antwerp, 1520-61; the example we give is a distinct improvement on a very roughlydrawn Mark which this printer sometimes used, which is identical inevery respect to this, except that it has no borders. It is one of thefew purely pictorial, as distinct from armorial, Marks which we findused at Antwerp in the earlier half of the sixteenth century. One ofthis printer’s most notable publications is “Le Nouueau Testament denostre Sauflueur Iesu Christ trãslate selon le vray text en franchois, ”1532, a duodecimo of xviii and 354 folios, a rare impression of Le Fèvred’Etaples’ Testament as it had been issued by L’Empereur, in 1530, whohad obtained the licence of the Emperor and the Inquisition for thisimpression. Henri Van den Keere, a book-seller and printer of Ghent, 1549-58, had four Marks, all of which resemble more or less closely therather striking and certainly distinct example here given. Of the Brugesprinters of the sixteenth century, Huber or Hubert Goltz, 1563-79, isperhaps the most eminent, not so much on account of the typographicalphase of his career, as because of his works as an author and artist. The “Fasti Magistratum et Triumphorum Romanorum, ” is one of his booksbest known to scholars, whilst to students of numismatics his work onthe medals from the time of Julius Cæsar to that of the EmperorFerdinand, in Latin, of which a very rare French edition appeared atAntwerp in 1561, is well known, and the original edition of his works inthis respect is still highly esteemed, although, as Brunet points out, Goltz has suffered a good deal in reputation since Eckel hasdemonstrated that he included a number of spurious examples, whilst someothers are incorrectly copied. His interesting typographical Mark isgiven on p.  51. J.  Waesberghe, of Antwerp and Rotterdam, had at leastthree Marks, of which we give the largest example, and all of which areof a nautical character, the centre being occupied by a mermaid carryinga horn of plenty; in the smaller example of the accompanying Mark, thebackground is taken up by a serpent forming a circle. The Mark of M.  DeHamont, a printer and bookseller of Brussels, 1569-77, is worth quotingas one of the very few instances in which the subject of St. George andthe Dragon is utilized in this particular by a printer of the LowCountries. Rutger Velpius appears to have had all the wanderingproclivities of the early printers; for instance, we find him at Louvainfrom 1553 to 1580, at Mons from 1580 to 1585, and Brussels from 1585 to1614: he had three Marks, of which we give the largest. Of the Liegeprinters, we have only space to mention J.  Mathiæ Hovii, whose shop was“Ad insigne Paradisi Terrestris” during the latter half of theseventeenth century, and whose Mark is of rather striking originalityand boldness of design. [Illustration: JODOCUS DESTRESIUS. ] [Illustration: THOMAS VAN DER NOOT. ] [Illustration: J. GRAPHEUS. CHARITAS Ἡ ἀγάπη πάντα δέγει. ] [Illustration: HENRI VAN DEN KEERE. Anziet thende. Van den keere. HVDK] [Illustration: J.  WAESBERGHE. LITERÆ IMMORTALITATE[M] PARIV[N]T] [Illustration: MICHEL DE HAMONT. ] [Illustration: RUTGER VELPIUS. SVB VMBRA ALARVM TVARVM PROTEGE NOS] [Illustration: J. M. HOVII. CAVETE I. C. I] The two most distinguished names in the annals of Dutch and Flemishprinting are unquestionably Plantin and the Elzevirs. A full descriptionof the various Marks used by Christophe Plantin alone would fill a smallvolume, as the number is not only very great, but the varieties somewhatconflicting in their resemblance to one another; all of them, however, are distinctly traceable to three common types. Some are engraved byGodefroid Ballain, Pierre Huys, and other distinguished craftsmen. Hisfirst Mark appeared in the second book which he printed, the “Flores deL.  Anneo Seneca, ” 1555. His second Mark was first used in the followingyear, and bears the monogram of Arnaud Nicolaï. Of each of theseexamples we give reproductions, as also of the fine example designed forPlantin’s successors either by Rubens or by Erasme Quellin, and engravedby Jean Christophe Jegher, 1639, Plantin having died in 1589. The mostfamous of all Plantin’s Marks is of course that with the compass and themotto “Labor et Constantia, ” which he first used in 1557. Plantinexplains in the preface to his Polyglot Bible the signification of thisMark, and states that the compass is a symbolical representation of hisdevice: the point of the compass turning round signifies work, and thestationary point constancy. One of the most curious combinations ofPrinters’ Marks may be here alluded to: in 1573, Plantin, Steels andNutius projected an edition of the “Decretals, ” and the Mark on this ismade up of the three used by these printers, and was designed by PierreVan der Borcht. [Illustration: C. PLANTIN. (First Mark. ) EXERCE IMPERIA ET RAMOS COMPESCE FLVENTES] [Illustration: C. PLANTIN. (Second Mark. ) CHRISTVS VERA VITIS] [Illustration: C.  PLANTIN. LABORE ET CONSTANTIA I. C. I. ] Nearly every volume admittedly printed by the Elzevir family possessed aMark, of which this family, from Louis, in 1583, to Daniel, 1680, usedfour distinct examples. The founder of the dynasty, Louis (1583-1617), adopted as his sign or mark an Eagle on a cippus with a bundle ofarrows, accompanied with the motto, “Concordia res parvæ crescunt”--theemblem of the device of the Batavian Republic--and as the year 1595occurs on the primitive type of this Mark, it might be concluded to datefrom that period. But Willems points out that no book published by Louisin the years 1595 and 1596 carries this Mark, which (he says) figuresfor the first time on the Meursius, “Ad Theocriti idyllia Spicelegium, ”1597. In 1612 Louis Elzevir reduced this Mark, and suppressed the dateabove mentioned. For some time Isaac continued the use of the sign ofhis grandfather, and even after 1620, when he adopted a new Mark--thatof the Sage or Hermit--he did not completely repudiate it. Bonaventureand Abraham scarcely ever used it except for their catalogues. [Illustration: THE SAGE. NON SOLUS] The second Mark, which Isaac (1617-25) adopted in 1620, it occurring forthe first time in the “Acta Synodi Nationalis, ” is known as theSolitaire and sometimes as the Hermit or Sage. It represents an elmaround the trunk of which a vine, carrying bunches of grapes, is twined;the Solitaire and the motto “Non solus. ” The explanation of this Mark isobvious, and may be summed up in the one word “Concord;” the solitaryindividual is symbolical of the preference of the wise for solitude--“Jesuis seul en ce lieu être solitaire. ” This Mark was the principal one ofthe Leyden office, and was in constant use from 1620 to 1712, long afterthe Elzevirs had ceased to print. The third Elzevir Mark consists of a Palm with the motto “Assurgopressa. ” It was the Mark of Erpenius, professor of oriental languages atthe University of Leyden, who had established a printing-press which hesuperintended himself in his own house. At his death the Elzevirsacquired his material, with the Mark, which occurs on the Elmacinus, “Historia Saracenica, ” and on the Syriac Psalter of 1625, on the“Meursii arboretum sacrum, ” 1642, and on about seven other volumes. [Illustration: THE ELZEVIR SPHERE. THE SPURIOUS SPHERE. THE GENUINE SPHERE. ] The fourth important Elzevir Mark is the Minerva with her attributes, the breastplate, the olive tree, and the owl, and the motto “Ne extrasolus, ” which is from a passage in the “Frogs” of Aristophanes. It wasone of the principal Marks of the Amsterdam office, and was used for thefirst time by Louis Elzevir in 1642. After Daniel’s death this Markbecame the property of Henry Wetstein, who used it on some of his books. It was also used by Thiboust at Paris and Theodoric van Ackersdyck atUtrecht. In addition to the foregoing, a number of other Marks were employed bythis firm of printers, the most important of the minor examples beingthe Sphere, which occurs for the first time on “Sphæra Johannis deSacro-Bosco, ” 1626, printed by Bonaventure and Abraham; and from thistime to the end of the period of the operations of the Elzevirs, theSphere and the Minerva appear to have equally shared the honour ofappearing on their title-pages. Among the other Marks which we must becontent to enumerate are the following: a hand with the device of“Æqvabilitate, ” an angel with a book, and a book of music opened, eachof which was used occasionally by the first Elzevir; and one in whichtwo hands are holding a cornucopia, of Isaac; the arms of the LeydenUniversity formed also occasionally the Mark of the Elzevirs establishedin that city. The Mark of Guislain Janssens, a bookseller and printer of Antwerp, atthe end of the sixteenth and beginning of the seventeenth century, isboth distinct and pretty, and is worth notice if only from the fact thatartistic examples are by no means common with the printers of this city. [Illustration: GUISLAIN JANSSENS. VIGILATE QVIA NESCITIS DIEM NEQVE HORAM EXPERGISCERE G I] [Decoration] PRINTERS’ MARKS IN ITALY AND SPAIN. [1] [Illustration: A. FRITAG. A F] The _incunabula_ of Italy offer very little interest so far as regardsthe Marks of their printers, and the adoption of these devices did notbecome at all general until the early years of the sixteenth century. Conrad Sweynheim and Arnold Pannartz, who were the first to introduceprinting from Germany into Italy, first at the monastery of Subiaco, near Rome, in 1465, and to that city in 1467, appear to have had noMark; and the same may be said of several of their successors. We givethe earliest Roman example with which we are acquainted, namely, that ofSixtus Riessinger, and George Herolt, a German, who printed inpartnership at Rome in 1481 and 1483. One of the books produced by thispartnership was the “Tractatus sollemnis et utilis, ” etc. , whichcontains “full-page figures of the Sybils, fine initials, and aninterlaced border to the first page of text, all executed in woodengraving. ” The next Roman typographers who used a Mark were, likeHerolt, “Almanos” or Germans, for as such Johann Besicken (1484-1506)and Martens of Amsterdam describe themselves in the colophon of“Mirabilia Romæ, ” a 24mo. Of 63 leaves, 1500. This work contains tenwoodcuts, of which that on “the reverse of leaf 36 has at the bottom thewords ‘Mar’ and ‘De Amstdam’ in black letters on white scrolls, and ‘ER’immediately beneath the latter, in white letters on a black ground, showing that Martin of Amsterdam, one of the printers, was also theengraver. On the woodcut on the reverse of leaf 25 also, there is ashield with the initials of both printers, ‘I’ and ‘M’ interlaced, inboth large and small letters. ” Andreas Fritag de Argentina (orStrassburg), 1492-96, is another early Roman printer who used a Mark. The four foregoing Marks are given on the authority of J.  J. Audiffredi, “Catalogus ... Romanorum Editionum saeculi XVI. , ” 1783. Among the earlysixteenth century printers of Rome, one of the most distinguished wasZacharias Kalliergos of Crete, 1509-23, who had started printing atVenice in 1499, and of whom Beloe has given an interesting account inthe fifth volume of his “Anecdotes of Literature. ” A miniature of hisdevice is given at the end of this chapter. [Footnote 1: The reader will find on page 25 a series of thirty reduced reproductions of Marks used for the most part by the Italian printers. These are given after Orlandi (“Origine e Progressi della Stampa, ” 1722) and Horne (“Introduction to the Study of Bibliography, ” 1814), but several of the names are open to question from the fact that the former author has given no account either of the places at which they worked, or of the books which they printed. ] [Illustration: SIXTUS RIESSINGER. S R D A] [Illustration: J. BESICKEN. I B I M] [Illustration: THIERRY MARTENS. DE AMST[ER]DAM T A M] Printing was introduced into Venice by Johannes de Spira in 1469, and, as showing the extent to which it was quickly carried, Panzer reckonsthat up to the end of the fifteenth century, no fewer than 189 printershad established themselves here, and had issued close upon 3, 000 works. From 1469 to 1480, over sixty master printers were found within theprecincts of the city. The first of the superb series of early printedbooks produced here is the folio edition of Cicero, “Epistolæ adFamiliares, ” 1469, although the honour of being the most magnificentproduction appears to be equally divided between the Livy and theVirgil, 1470, executed by John of Spira’s brother and successorVindelinus. So far as we know, neither of the two brothers, nor NicolasJenson, 1470-88, many of whose beautiful books rivalled the De Spiras’, used a Mark. [Illustration: ERHARDUS RATDOLT. Erhardi Ratdolt foelicia conspice signa. Testata artificem qua valet ipse manum. ] Erhardus Ratdolt may be regarded as one of the earliest, if not actuallythe first Venetian printer to adopt a Mark. From 1476 to 1478 he was inpartnership with Bernardus Pictor and Petrus Loslein de Langencen, butfrom the latter year to 1485 he was exercising the art alone. (It is notaltogether foreign to our subject to mention that this firm printed the“Calendar” of John de Monteregio, 1476, which has the first ornamentaltitle known. ) In 1487, Ratdolt was at Augsburg, and perhaps his claimsas a printer are German rather than Venetian, but as his best work wasexecuted during his sojourn in Venice, it will be more convenient toinclude him in the present chapter. Like so many others of the earlyprinters, he regarded his own performances with no littleself-complacency, for in his colophons he describes himself, “Virsolertissimus, imprimendi arte nominatissimus, artis impressoriæmagister apprimè famosus, perpolitus opifex, vir sub orbe notus, ” and soforth. To him is attributed the credit of having invented ink of agolden colour; and he was the first to employ the “flourishes, ” (“literæflorentes”) or initial letters formed of floral scrolls and ornamentsborrowed from the Italian manuscripts, and sometimes printed in red andsometimes in black. Joannes and Gregorius de Gregoriis, 1480-1516, andGregorius alone, 1516-28, make a very good show in the way of printedbooks, one of the most notable being the first quarto edition ofBoccaccio, 1516, and another the “Deutsch Römisch Brevier, ” 1518, whichis printed in black and red Gothic letter with numerous full-pagewoodcuts and borders. Contemporary with these two brothers and alsofamous as a prolific printer comes Ottaviano Scotto, “CivisModoetiẽsis, ” 1480-1500, and his heirs, 1500-31, of whose Mark we givean exact reproduction. Baptista de Tortis, 1481-1514, also issued anumber of interesting books, more particularly folio editions of theclassics, copies of which are still frequently met with, and of whoseMark we give a reduced example on p.  25; and the same may be said ofBernardinus Stagninus, 1483-1536. The Mark, also, of Bernardinus deVitalibus, 1494-1500, is sufficiently distinct to justify a reducedexample. Bartholomeus de Zanis, 1486-1500, was not only a prolificprinter on his own account, but also for Scotto, to whom reference ismade above. The Marks, on a greatly reduced scale of DionysiusBertochus, 1480; of Laurentius Rubeus de Valentia, 1482; of Nicholas deFrancfordia, 1473-1500; and of Peregrino de Pasqualibus, 1483-94, whowas for a short time in partnership with Dionysius de Bertochus, are allinteresting as more or less distinct variations of one common type (seep.  25). Of Petrus Liechtenstein, 1497-1522, who describes himself as“Coloniensis, ” and whose very fine Mark in red and black forms thefrontispiece to the present volume, it will be only necessary to referto one of his books, the “Biblij Czeska, ” 1506, which is the firstedition for the use of the Hussites. Of this exceedingly rare edition, only about four copies are known. It is remarkable in not having beensuppressed by the Church, for one example of its numerous woodcuts(which are coloured) at once betrays its character, viz. , the engravingto the sixth chapter of the Apocalypse, in which the Pope appears lyingin hell. As illustrative of some of the more elaborate and pictorialMarks which one finds in the books of the Venetian printers during thesixteenth century, we give a couple of very distinct examples, the firstbeing one of the Marks of the Sessa family, whose works date from 1501to 1588; and the second example distinguishing the books of the brothersPaulum and Antonium Meietos, who were printing books in 1570. [Illustration: OTTAVIANO SCOTTO. O S M] [Illustration: MELCHIOR SESSA. DISSIMILIVM IN FIDA SOTIETAS. ] [Illustration: P.  AND A. MEIETOS. NON COMEDETIS FRVGES MENDACII] [Illustration: THE FIRST ALDINE ANCHOR. ALDVS] The Aldine family come at the head of the Venetian printers, not only inthe extreme beauty of their typographical work, but also in the matterof Marks. The first (and rarest) production of the founder of thedynasty, Aldus Manutius, 1494-1515, was “Musæi Opusculum de Herone &Leandro, ” 1494, a small quarto, and his life’s work as a printer is seenin about 126 editions which are known to have been issued by him. “I have made a vow, ” writes Aldus, in his preface to the “Greek Grammar”of Lascaris, “to devote my life to the public service, and God is mywitness that such is my most ardent desire. To a life of ease and quietI have preferred one of restless labour. Man is not born for pleasure, which is unworthy of the truly generous mind, but for honourable labour. Let us leave to the vile herd the existence of the brutes. Cato hascompared the life of man to the tool of iron: use it well, it shines, cease to use it and it rusts. ” It was not until 1502 that Aldus adopteda Mark, the well-known anchor, and this appears for the first time in“Le Terze Rime di Dante” (1502), which, being a duodecimo, is the firstedition of Dante in portable form. This Mark, and one or two others withvery slight alterations which naturally occurred in the process of beingre-engraved, was used up to the year 1546. In 1515 the original Aldusdied, and as his son Paolo or Paulus was only three years of age, AndreaTorresano, a distinguished printer of Asola, into whose possession the“plant” of Jenson had passed in 1481, and whose daughter married thefirst Aldus, carried on the business of his deceased son-in-law, theimprint running, “In ædibus Aldi et Andreæ Asulani soceri. ” In 1540Paulus Manutius took over the entire charge of the business founded byhis father. The Anchor, known as the “Ancora grassa, ” which he used from1540 to 1546, is more carefully engraved but less characteristic thanthat of his father; whilst that which he used from 1546 to 1554 wasusually but not invariably surrounded by the decorative square indicatedin the accompanying reproduction; then he again modified his Mark, ormore particularly its border. Paulus Manutius died in April 1574. Aldus“the younger, ” 1574-98, the son of Paulus and the last representative ofthe house, also used the anchor, the effect of which is to a greatextent destroyed by the elaborate coat-of-arms granted to the family bythe Emperor Maximilian. Aldus “the younger, ” was a precocious scholar, of the pedant type, and under him the traditions of the family rapidlyfell. He married into the eminent Giunta family of printers, and died atthe age of 49. The famous Mark of the anchor had been suggested by thereverse of the beautiful silver medal of Vespasian, a specimen of whichhad been presented to Aldus by his friend Cardinal Bembo, the eminentprinter, adding the Augustan motto, “Festina lente. ” The Mark of thedolphin anchor was used by many other printers in Italy, France, Holland(Martens, Erasmus’ printer, among the number), whilst the “Britannia” ofCamden, 1586, printed by Newbery, bearing this distinctive Mark, whichwas likewise employed by Pickering in the early part of the century;and, as will be seen from the next chapter, is still employed by morethan one printer. [Illustrations: ANDREA TORRESANO. FEDERICVS TORESANVS A T] [Illustration: THE ALDINE ANCHOR, 1502-15. ALDVS] [Illustration: THE ALDINE ANCHOR, 1546-54. ALDI FILII] [Illustration: THE ALDINE ANCHOR, 1555-74. ALDVS] The Giunta or Junta family, members of which were printing at Florenceand Venice from 1480 to 1598, may be conveniently referred to here. Oneof the earliest books in which the founder of the family, Filippo, useda Mark, is “Apuleii Metamorphoseos, ” Florence, 1512; our example, whichis identical with that in Apuleius, is taken from Ὀππιανου Ἁλιευτικων(Oppiani de natura seu venatione piscium), Florence, 1515, which wasedited by Musurus. From a typographical and artistic point of view thebooks of Lucantonio Junta (or Zonta) are infinitely superior to those ofFilippo. He was both printer and engraver, and many of the illustrationswhich appear in the books he printed were executed by him. His Markappeared as early as 1495 in red at the end of an edition of Livy whichhe appears to have executed for Philippus Pincius, Venice, and again inred, this time on the title-page, in another edition of the same author, done for Bartholomeus de Zanis de Portesio, Venice, 1511. Each of theseproductions contained a large number of beautiful woodcuts. Early in thesixteenth century those “vero honesti viri” (as they modestly describedthemselves), Jacobi and Francisci, were printing at Florence (“etsociorum eius”), the accompanying mark being taken from a commentaryon Thomas Aquinas, 1531. It will be noticed that in the three marks ofdifferent members of the family the _fleur-de-lys_ appears. Among theVenetian printers of the beginning of the sixteenth century Johannes deSabio et Fratres may be mentioned, if only on account of their Markwhich is given herewith. Its explanation is certainly not obvious; andBigmore and Wyman’s suggestion that it is a punning device is not acorrect one, whilst the statement that the cabbage is of the “Savoy”variety is also erroneous, for this variety has scarcely any stalks;for “Brasica” we should read “Brassica. ” In 1534, “M.  Iwan Antonio deNicolini de Sabio” printed “Alas espesas de M.  Zuan Batista Pedreçan, ”a rare and beautiful edition with woodcuts, and, in small folio, of“Primaleon” in Spanish; and in 1535 Stephano da Sabio issued atranslation of “La Conquesta del Peru, ” etc. , of Francesco de Xeres. [Illustration: THE ALDINE ANCHOR, 1575-81. ] [Illustration: P. GIUNTA. ] [Illustration: L. GIUNTA. L A] [Illustration: F. DE GIUNTA. I F] Although not the first printer either at Cremona, where he started in1492, or at Brescia, where he was printing from 1492 to 1502, Bernardinode Missintis deserves mention among the typographers of the fifteenthcentury. So far as regards the latter place, the Mark of GiammariaRizzardi, who was established in this city during the latter half of thelast century, is one of the most distinct, and was probably designed byTurbini. Bonino de Boninis of Ragusa, was printing at Venice, 1478-1480, at Verona, 1481-3, and afterwards removed to Brescia, where he wasprinting until about 1491. The earliest known book printed at Modena (orMutine) is an edition of Virgil, executed by Johannes Vurster deCampidonâ, 1475; but one of the best known printers of this city isDominico Rocociolo, or Richizola, 1481-1504, who was in partnership withAntonio Miscomini, 1487-89. [Illustration: THE BROTHERS SABIO. IO ANT ET FRES DE SABIO BRASICA] Printing was introduced into Milan (Mediolanum) in 1469 or in the yearfollowing, and from the numerous presses established in this city beforethe end of the fifteenth century very many beautiful books were issued. Gian Giacomo di Legnano and his brothers, whose highly decorative Markwe reproduce, were working in this city from 1503-33; one of their mostinteresting books is a Latin translation of the first edition (Vicenza, 1507) of the “Paesi novamente retrovati, et Novo Mondo da AlbericoVesputio Florentino intitulato. ” Bologna was also a busy printing centrefrom 1470 onwards; but it must suffice us to give the monograms of threeof the more noteworthy, namely, Hercules Nanni, 1492-4; Giovanni Antoniode Benedetti (or Johannes Antonius Platonides de Benedictis), 1499, andJustinian de Ruberia, 1495-9 (see p.  25). [Illustration: GIAN GIACOMO DI LEGNANO. IHS IO IACOMO E FRAT D LEGNANO IHS IOL IOL] [Illustration: GIAMMARIA RIZZARDI. Non solum nobis Cagnoni sculp] The Printers’ Marks of Spain (including Portugal) need not detain uslong. They cannot in any case be described as other than archaic, andthey are for the most part striking on account of the coarseness oftheir design. A few examples are given in Fray Francisco Mendez’s“Tipografica Española, ” of which the first and only volume appeared atMadrid in 1796; and of which a second edition, corrected and enlarged byDionisio Hidalgo, was published at the same city in 1861. As the latterwriter clearly points out “los del siglo XV. , y aun hasta la mitad delXVI. Los mas eran estranjeros, como lo demuestran sus nombres yapellidos, y algunos lo declaran espresamente en sus notas y escudos. ”These “estranjeros” were almost without exception Germans. Valencia (or Valentia Edetanorum) was the first place in Spain intowhich the art of printing was introduced; the earliest printers beingAlfonso Fernandez de Cordova and Lambert Palomar (or Palmart) a German, whose names however do not appear on any publication (according toCotton) antecedent to the year 1478. Although not the earliest of theSeville printers the four “alemanes, y compañeros, ” Paulo de Colonia, Juan Pegnicer de Nuremberga, Magno y Thomas, their composite Mark is oneof the first which appears on books printed in Spain. It is of the crosstype, with two circles, one within another, the smaller divided intofour compartments, each of which encircles the initials of the fourprinters, “P” (the lower part of which is continued so as to form an“L”), “I M T. ” Among other books which they printed is the “Vidas de losVarones ilustres de Plutarco. ” In 1495, Paulo de Colonia appears to haveleft the partnership, for the Mark appeared with its inner circledivided into three compartments in which the initials “I M” and “T” onlyappear. This firm continued printing at Seville until the commencementof the sixteenth century. Federico de Basilea (or, as his name appearsin the imprints of his books, Fadrique Aleman de Basilea) was busyprinting books at Burgos from the end of the fourteenth to the seconddecade of the fifteenth century; his Mark, a cross resting on a V-shapedground, is a poor one, the motto being “sine causa nihil. ” “En mushoslibros de los que imprimió puso su escudo, ” observes Mendez; thisprinter possesses an historic interest from the fact that he issued thefirst edition the unabridged “Chronicle of the Cid, ” 1512--“Cronica delFamoso Cauallero Cid Ruy Diez Campeador, ” a book of the greatest rarity. One of the early printers of Barcelona, Pedro Miguel, had a Mark, alsoof the cross type, the circle surrounding the bottom of which is dividedinto three compartments, in two of which occur his initials “P M. ” [Illustration: JUAN ROSEMBACH. ] [Illustration: V. FERNANDEZ. ] One of the most noteworthy names in the early annals of Spanish printingis that of Juan de Rosembach de Haydellerich, who printed books inBarcelona, 1493-8, and again at the beginning of the sixteenth century;in Perpignan, 1500; in Tarragona, 1490, and in Montserrat. In 1499 heprinted at Tarragona the famous “Missal de aquel Arzobispado, ” whichMendez declares to be “muy recomendable por varias circumstancias. ” AtBarcelona he printed in 1526 an edition of the “Oficias de Cicero. ” TheMarks of this printer vary considerably, but the example here reproducedmay be regarded as a representative one. Of the early Lisbon printers, Valentin Fernandez “de la Provincia de Moravia” was probably the firstto use a Mark (here reproduced), one of his publications being the“Glosa sobre las Coplas” of Jorge Manrique, 1501. [Illustration: 1. ZACHARIAS KALLIERGOS. 2. J. A. DE LEGNANO. 3. J. DE VINGLE, OF PICARDY. 4. M. HUGUNT. ] [Illustration: A good book is a true friend a wise author a public benefactor. 1726] SOME MODERN EXAMPLES. [Illustration: THE STATIONERS’ COMPANY. VERBUM DOMINI MANET IN ÆTERNUM] During the past few years there has been a very evident revival in thePrinter’s Mark as a modern device, but the interest has much morelargely obtained among publishers than among printers. We propose, therefore, to include in this chapter a few of the more interestingexamples of each class. On the score of antiquity the Stationers’Company may be first mentioned. Founded in 1403--nearly three-quartersof a century before the introduction of printing--its first charter wasnot received until May 4th, 1557, during the reign of Mary. The numberof “seditious and heretical books, both in prose and verse, ” that weredaily issued for the propagation of “very great and detestable heresiesagainst the faith and sound Catholic doctrine of Holy Mother theChurch, ” became so numerous, that the government were only too glad to“recognize” the Company, and to intrust it with the most absolute power. The charter was to “provide a proper remedy, ” or, in other words, tocheck the fast-increasing number of publications so bitter in theiropposition to the Court religion. But, stringent and emphatic as wasthis proclamation, its effect was almost _nil_. On June 6th, 1558, another rigorous act was published from “our manor of St. James, ” andwill be found in Strype’s “Ecclesiastical Memorials” (ed. 1822, iii. Part 2, pp. 130, 131). It had specific reference to the illegality ofseditious books imported, and others “covertly printed within thisrealm, ” whereby “not only God is dishonoured, but also encouragement isgiven to disobey lawful princes and governors. ” This proclamationdeclared that not only those who possessed such books, but also thosewho, on finding them, do not forthwith report the same, should be dealtwith as rebels. It will be seen, therefore, how easy it was, in theabsence of any fine definition, for books of whatever character to beproscribed. There was no appeal against the decision of the Stationers’Hall representatives, who had the power entirely in their own hands. A few months after Mary’s futile attempt at checking the freedom of thepress, a diametrically objective change occurred, and with Elizabeth’saccession to the throne in November, 1558, the licensed stationersconveniently veered around and were as industrious in suppressingCatholic books as they had been a few weeks previously in endeavouringto stamp out those of the new religion. The history of the Stationers’Company however has been so frequently told that it need not be furtherentered upon here, and it must suffice us to say that, after manyvicissitudes, all the privileges and monopolies had become neutralizedby the end of the last century, till it had nothing left but the rightto publish a common Latin primer and almanacks, and the right to thelatter monopoly was annulled after a memorable speech of Erksine. TheCompany still continues to publish almanacks, and uses the two Marks orArms here reproduced. The larger example is the older, and is used onthe County almanacks; whilst the smaller one is used on circulars andnotices. [Illustration: THE STATIONERS’ COMPANY. VERBUM DOMINI MANET IN ETERNUM. ] [Illustration: THE RIVINGTONS. Fear God Honour the King] Of the existing firms of publishers and printers, that of Messrs. Longmans is the most memorable; _vice_ the firm of Messrs. Rivingtons, which has now become joined to that of the Longmans. This gives us theopportunity to consider briefly the Marks of the two firms together. Inthe year 1711, Richard Chiswell, the printer of much of Dryden’s poetry, died, and his business passed into the hands of Charles Rivington, a native of Chesterfield, Derbyshire. Thoughtful and pious himself, Charles Rivington threw himself with ardour into the trade for religiousmanuals, and not only succeeding in persuading John Wesley to translate“à Kempis” for him, but also in publishing the saintly Bishop ThomasWilson’s “Short and Plain Introduction to the Sacrament of the Lord’sSupper, ” the first edition of which bears Charles Rivington’s name onthe imprint, and which is still popular. To the novelist Richardson, hesuggested “Pamela. ” Dying in 1742, he left Samuel Richardson as one ofthe executors of his six children, but his sons, John and James, continued to conduct the business. A few years later, it was deemedadvisable for the brothers to separate, and while John remained at the“Bible and Crown, ” St. Paul’s Churchyard, James joined a Mr. Fletcher inthe same locality, and started afresh. One especially fortunate venturewas the publication of Smollett’s continuation of Hume, which broughtits lucky publishers upwards of £10, 000, a larger profit than hadpreviously been made on any one book. However, Newmarket had attractionsfor James, and eventually disaster set in; he died in New York in 1802or 1803. His brother, meanwhile, had plodded on steadily at home, andadmitting his two sons, Francis and Charles, into partnership. Aboutthis time there were numerous editions of the classics, the commonproperty of a syndicate of publishers, and it says much for Mr. JohnRivington that he was appointed managing partner. About 1760 he obtainedthe appointment of publisher to the Society for Promoting ChristianKnowledge, a lucrative post, held by the firm for upwards of twogenerations. By the year 1889, the two representatives of this ancientfirm were Messrs. Francis Hansard Rivington and Septimus Rivington; inthis year the partnership was dissolved, and the goodwill and stock wereacquired by Messrs. Longmans. They used at various periods no less thaneight Marks, the design of which was in most cases based upon theancient sign of their shop, “The Bible and Sun. ” [Illustration: LONGMAN AND CO. ERRABANT MARIA OMNIA CIRCUM 1726] [Illustration: THE CLARENDON PRESS. DOMINVS ILLUMINATIO MEA] The history of Messrs. Longmans may be said to commence with the birthof Thomas Longman in 1699. The son of a Bristol gentleman, he lost hisfather in 1708, and, eight years later, was apprenticed, on June 9, 1716, to Mr. John Osborn of Lombard Street, London. His apprenticeshipexpiring (he had come into the possession of his property two yearsearlier), we find him, in 1724, purchasing from his master, John Osborn(acting with William Innys as executors), the stock in trade of WilliamTaylor, of the Ship and Black Swan in Paternoster Row. Readers of_Longman’s Magazine_ turn to Mr. Andrew Lang’s genial gossip, “At theSign of the Ship, ” without recalling the origin of the title. Henceforward the Ship carried the Longman fortunes as cargo, and theprosperity of the vessel is not yet ended. Messrs. Longmans have usednearly a dozen Marks, all of which have been suggested, like those ofthe Rivingtons, by the sign of their shop, which has now grown into avery imposing pile of buildings. Of these Marks we give two of the mostartistic and interesting. As taking us back into a comparatively remoteperiod in the history of printing and publishing in England, the Mark ofthe Clarendon Press, or, in other words, the arms of the University ofOxford, may be here cited. [Illustrations: WILLIAM PICKERING. ALDI DISCIP. ANGL. ALDI DISCIP. ANGL. ] [Illustration: BASIL MONTAGU PICKERING. B M Pickering Aldi Discipulus Anglus] [Illustration: THE CHISWICK PRESS. HOPE WELL AND HAVE WELL CW] The “Chiswick Press” of Messrs. Whittingham and Co. , is in severalrespects a link with the long past, and, having been in existence formore than a century, is one of the oldest offices in London. It hasattained a world-wide celebrity for the excellence of its work, thecareful reading and correction of proofs, and the appropriateapplication of its varied collection of ornaments and initial letters. The Chiswick Press was the first to revive the use of antique type in1843, for the printing of “Lady Willoughby’s Diary, ” published byMessrs. Longmans. Since that time its use has become universal. Thefounder, Charles Whittingham, was born on June 16th, 1767, at Calledon, in Warwick, and was apprenticed at Coventry in 1779, workingsubsequently at Birmingham, and then in London. He commenced business onhis own account in Fetter Lane in 1790; and in 1810 he had removed toChiswick, and since that period the firm has always been known as “TheChiswick Press. ” In 1828 he began to execute work for William Pickering, the publisher, and his press quickly acquired an unrivalled reputationfor its collection of ornamental borders, head and tail pieces. Thepublisher Pickering, and the printer Whittingham, had employed about twodozen marks in their various books: the former justly calling himself adisciple of Aldus, and using a large number of variations on theoriginal Anchor and Dolphin Mark of the great Venetian printer. Of thesewe give two examples, one with, and one without a cartouche; and alsothe mark of Basil Montagu Pickering, the son and successor of WilliamPickering. We also reproduce three of the more striking Marks of theChiswick Press, the shield on one of which, it will be observed, carriesthe Aldine Anchor and Dolphin. [Illustration: THE CHISWICK PRESS. ] [Illustration: THE CHISWICK PRESS. Charles Whittingham] [Illustration: CHATTO AND WINDUS. ] [Illustration: DAVID NUTT. LIBELLUS IN NUCE] [Illustration: CASSELL AND CO. LA BELLE SAUVAGE] [Illustration: MACMILLAN AND CO. MM&Co] [Illustration: T. FISHER UNWIN. TFU] [Illustration: LAWRENCE AND BULLEN. LB] [Illustration: KEGAN PAUL AND CO. ARBOR SCIENTIÆ ARBOR VITÆ] The name of Cassell takes us back to the era of Charles Knight and JohnCassell, and the inauguration of the noble results which these twopioneers achieved on behalf of cheap and healthy literature. The name ofthe former is no longer associated with either printing or publishing;but that of the latter is still one of the most prolific firms ofprinters and publishers. Its Mark is founded on the name of “La BelleSauvage” Yard, Ludgate Hill, in which the business has been located fora long series of years. [Illustration: R.  AND R. CLARK. PRINTERS R & R PRINTERS EDINBURG] Two Edinburgh printers may be here conveniently referred to. Messrs. R. And R.  Clark, whose business was started in Hanover Street, Edinburgh, in 1846, and removed to Brandon Street, in that city, in 1883, are wellknown for the excellence of their printing. Mr. Austin Dobson thussings, in Mr. Andrew Lang’s Book on “The Library:” “‘Of making many books, ’ ’twas said, ‘There is no end;’ and who thereon The ever-running ink doth shed But proves the words of Solomon: Wherefore we now, for Colophon, From London’s City drear and dark, In the year Eighteen-eighty-one, Reprint them at the press of Clark. ” The accompanying Mark was designed by Mr. Walter Crane, and first usedby Messrs. Clark in 1881. It is used in several sizes. Of the veryhandsome Mark of Messrs. T. And A.  Constable, the Queen’s Printers, atthe University Press, we may mention that the legend is a hexameter; itwas written by Professor Strong, and contains two puns; the ship is anold Constable device. The Marks of both Messrs. Chatto and Windus (whosucceeded to the business, started and carried on with such energy bythe late John Camden Hotten) and Messrs. Macmillan and Co. (whose firmdates from the year 1843) are characterized by the extremest possiblesimplicity. [Illustration: T. FISHER UNWIN. TFU VITA SINE LITERIS MORS EST] [Illustration: T.  AND A.  CONSTABLE. FIRMA PERERRAT AQVAS ET CONSTABILITVR EVNDO T A C] [Illustration: WILLIAM MORRIS kelmscott William Morris] The finest of the several Marks used by Messrs. George Bell and Sons isgiven in two colours on the title-page of the present volume, and is aplay on the surname, the Aldine device being added to the bell. Anotherexample will be found on page 261. [Illustration: WILLIAM MORRIS. Kelmscott] Messrs. Kegan Paul, Trench, Trübner and Co. , Limited, originally abranch of the extensive Anglo-Indian firm of H.  S. King and Co. , firstused the accompanying device in the autumn of 1877; the drawing wasexecuted by Mrs. Orrinsmith in accordance with Mr. Kegan Paul’ssuggestions. Messrs. Lawrence and Bullen, like Messrs. Clark, called inthe aid of Mr. Walter Crane in designing their charming little Mark. We give two of the several Marks used by one of the most prolific of theyounger publishers, Mr. T.  Fisher Unwin, the one is simply his initials, and the more elaborate example is a copy of a type not infrequently metwith among the marks of the sixteenth century printers. Mr. David Nutt’sdevice is a quaint and effective play on his surname. Through thecourtesy of Mr. William Morris, we are enabled to give examples of bothof the Kelmscott Press Marks, each of which was designed by Mr. Morris. As indicating the position of the printer’s Mark in America, we grouptogether seven of the most interesting examples of the leading printersand publishers in the United States. The eighth example is that of Mr. Martinus Nijhoff, of the Hague; the device, “Alles komt te regt, ”signifies “All turns right, ” or something to that effect. [Illustration: D.  APPLETON AND CO. D·A & Co. INTER FOLIA FRUCTUS] [Illustration: J.  S. CUSHING AND CO. J. S. CUSHING & CO BOOK PRINTERS 192 Summer St BOSTON] [Illustration: HARPER BROTHERS. H B ΛΑΜΠΑΔΙΑ ΕΧΟΝΤΕΣ ΔΙΑΔΩΣΟΥΣΙΝ ΑΛΛΗΛΟΙΣ] [Illustration: H.  LOCKWOOD AND CO. H L LOCKWOOD PRESS NEW YORK] [Illustration: BERWICK AND SMITH. PRESS OF BERWICK & SMITH 192 SUMMER ST BOSTON MASS] [Illustration: THEODORE L.  DE VINNE AND CO. καὶ μὴν ἀρθμὸν ἔξοχον σοφισμάτων ἐξεῦρον αὐτοῖς γραμμάτων τε συνθέσεις μνήμην τ’ ἁπάντων μουσομητορ’ ἐργάτιν. IMPRIMATUR THE DE VINNE PRESS] [Illustration: J.  B. LIPPINCOTT CO. J B L Co. DROIT ET AVANT] [Illustration: M. NIJHOFF. M N ALLES KOMT TE REGT. ] [Illustration: THE HAVEN OF HEALTH: Chiefely gathered for the comfort of Stu- dents, and consequently of all those that haue a care of their health, amplified vpon fiue words of _Hippocrates_, written _Epid. 6. _ _Labor, Cibus, Potio, Somnus, Venus_: By _Thomas Coghan_ master of Artes, & Bacheler of Phisicke. _Hereunto is added a Preseruation from the Pestilence, With a short Censure of the late sicknes at Oxford. _ _Ecclesiasticus. Cap. 37. 30. _ By surfet haue manie perished: but he that dieteth himselfe prolongeth his life. nor W AT LONDON Printed by Henrie Midleton, _for William Norton_. 1584. ] BIBLIOGRAPHY. The following books will be found helpful to those who wish to prosecutetheir studies further into the subject of the Printer’s Mark. Specialinformation respecting the devices of the more eminent typographers, such as Plantin, Elzevir, and others, will be found in the monographsand bibliographies which have been compiled concerning these men andtheir works. HAVRE, G. VAN. Marques typographiques des imprimeurs et librairesanversois, 2 vols. Avec plus de 1000 reproductions. Anv. , 1884. HEITZ (P. ) and BARACK (K.  A. ). Die Büchermarken oder Buchdrucker undVerlegerzeichen. Elsässische Büchermarken bis Anfang des 18. Jahrhdts. Nebst Vorbemerkungen u. Nachrichten üb. D. Drucker. Mit 76 Holzschn. Tafeln. 4o. Strassburg, 1892. HOLTROP, J. W. Monuments Typographiques des Pays Bas au quinzièmesiècle. Fol. La Haye, 1868. HORNE, REV. T. H. Introduction to the Study of Bibliography. 8vo. London, 1814. HUMPHREYS, H. N. Masterpieces of the Early Printers. Fol. London, 1870. INVENTAIRE des marques d’imprimeurs et de libraires de la France. 4o. Paris, 1886-87. JOHNSON, J. Typographia, 2 vols. London, 1824. LEDEBOER, ADRIAN MAR. Alfabetische lijst der Boekdrukkers, Boekverkoopers en Uitgevers in Nord-Nederland. With 4 plates ofPrinters’ Marks. 4to. Utrecht, 1876. LEMPERTZ, HEINRICH. Bilder Hefte zur Geschichte des Bücherhandels undder mit demselben verwandten Künste und Gewerbe. 11 Hefte mit 65 Taf. , enthalt. Facs. Reprod. Von Portraits berühmter Buchhändler, auf denBuchhandel bezügl. Schriftstücke, Initialen, Ex-libris, Abbildenkunstvoller Einbände. Fol. Köln, 1853-65. LINDE, A. V. D. Geschichte der Erfindung der Buchdruckerkunst. 3 Bde. 4o. 1886-87. MEERMANN, GERARD. Origines typographicæ, 2 vols. With 10 pl. Printers’Marks. 4o. Hag. Com. , 1765. MENDEZ, FRAY FRANCISCO. Tipographia española ó historia de laintroduccion, propagacion y progesos del arte de la imprenta en España. Second edition revised by D.  Hidalgo. Madrid, 1861. ORLANDI, P. A. Origin e Progressi della Stampa. 4o. Bolog. 1722. ROTH-SCHOLTZ, F. Thesaurus Symbolarum ac Emblematum, etc. Fol. Nüremberg, 1730 (with reproductions of several hundred Marks). SILVESTRE, L. C. Marques typographiques ou recueil des monogrammes, chiffres, enseignes, etc. , des libraires et imprimeurs qui ont exercé enFrance depuis 1470, jusqu’à la fin du 16e siècle. Avec plus de 1300 fig. S. Bois. Paris, 1853-67. THIERRY-POUX, O. Premier Monuments, etc. , de l’imprimeur en France au XVsiècle. Fol. Paris, 1890. WEIGEL (T. O. ) and ZESTERMANN (A.  C. A. ). Die Anfänge der Druckerkunstin Bild und Schrift. An deren frühesten Erzeugnissen in der Weige’schenSammlung erlaütert. Mit 145 Facs. U. Viel. Holzschn. Im Text. Folio. Leipz. , 1866. 2 vols. [Decoration] INDEX. Abiegnus, J. , 26. Aldine family, The, 218-223. Alexandre, J. , 13, 26. Allen, John, 92. Andrewe, W. , 26, 65, 70. Angelier, J. , 27. Anshelm, Thomas, 155, 156. Apiarius, Mathias, 7. Appleton and Co. , 250. Arbuthnot, A. , 81, 82. Aubri, B. , 14, 36. Auvray, G. , 27. Auzolt, R. , 26. Back, G. , 188-190. Bade, C. , 91. ---- J. , 12, 115, 129. Baland, E. , 22. Baptista de Tortis, 25, 215. Barack, Dr. K. A. , 140. Barbon, H. , 8. Barker, C. And R. , 90. Bartholomæus, D. , 47. Bartholomeus de Zanis, 25. Bassandyne, T. , 99. Baumgarten, C. , 171. Beck, R. , 49, 143, 144. Bellaert, Jacobus, 191, 195. Bell (Geo. ), and Sons, 247. Benedetti, G. A. De, 25, 228. Benedetto d’Effore, 25. Bentley, R. , 19. Berger, Thiebold, 150-151. Bernardino de Misintis, 25, 225. Bernardinus de Vitalibus, 25. Berrichelli, D. , 25. Berthelet, T. , 71. Bertochus, D. , 25, 215. Bertramus, A. , 29. Berwick and Smith, 251. Besicken, J. , 210-211. Besson, J. , 21. Bichon, G. , 7. Bien-Né, J. , 20. Bignon, J. , 14. Birckmann, A. , 162-163. Blades, W. , 55. Blount, E. , 87. Bocard, A. , 20. Bonino de Boninis, 25, 225-256. Boucher, N. , 27. Bouchet, G. , 21. ---- J. , 21. Bouchets Brothers, 12. Boulle, G. , 34. Bounyn, B. , 14. Bourgeat, G. ,  27. Bouyer, J. , 21. Bradshaw, Henry, 53. Breuille, M. , 32, 33, 125. Brothers of Common Life, 181. Brylinger, N. , 176. Bumgart, Herman, 158-159. Burges, J. , 22. Byddell, J. , 72. Bynneman, H. , 85, 86. Cæsar, N. , 161. Cæsaris, A. , 189, 191. Caillaut, A. , 3. Caligula de Bacileriis, 25. Calvarin, P. , 14. Calvin, J. , 174. Cartander, _see_ Cratander. Cassell and Co. , 243-4. Caxton, W. , 53-57. Cervicornis, Eucharius, 159. César, P. , 12. Chandelier, P. , 7, 137-138. Charteris, H. , 99. Chatto and Windus, 243, 247. Chaudière, G. , 27, 28. ---- R. And G. , 126. Chepman, W. , 95, 97. Chevallon, G. , 22. Chiswick Press, The, 240-2. Chouet, J. , 31. Christopher de Canibus, 25. Clarendon Press, The, 238, 240. Clark, R. And R. , 244. Cleray, G. , 32. Clopejau, M. , 27. Cloquemin, L. , 12. Colines, _see_ De Colines, S. Colomies, J. , 137. Colophon, The, 49. Constable, T. And A. , 246-7. Copland, R. , 67, 68. ---- W. , 68. Corrozet, G. , 32. Couteau, Gillet, 4, 103. Cox, T. , 92. Cramoisy, S. , 127. Cranach, L. , 170. Crane, Walter, 247, 249. Cratander, 44-45. Creede, T. , 90, 91. Crespin, J. , 20. Cushing and Co. , 250. Cyaneus, L, 125. Dallier, J. , 32. Davidson, T. , 98. Day, John, 78-80. De Bordeaux, J. , 32. De Campis, J. , 51. De Codeca, M. , 25. De Colines, S. , 14, 27, 118-119, 120, 126. De Francfordia, W. , 25. De Gourmont, G. , 13, 118, 124. ---- J. , 21. ---- R. , 27. De Hamont, M. , 27, 200. De la Barre, N. , 26. De Laet, 30. Delalain, Paul, 24. De la Noue, D. , 8. De la Porte, A. S. And H. , 133-135. ---- H. And A. , 66. De la Rivière, G. , 8. De Marnef Brothers, The, 26, 106-107. Denidel, A. , 21. Denis, J. ,  38. De Pfortzheim, Jacobus, 163, 165. De Saincte-Lucie, P. , 14. De Salenson, G. , 17. De Sartières, P. , 14. Destresius, J. , 194. De Tournes, J. , 29, 31, 133. ---- S. , 25 De Vingle, 115, 232. De Vinne, Th. , 251. Dewes, R. , 89. Dolet, E. , 16, 132, 133. Dorp, R. Van den, 188-189. Duff, E.  Gordon, 62. Dulssecker, J. R. , 47, 50, 153-154. Du Mont, A. , 8. Du Moulin, J. , 6. Du Pré, Galliot, 5. ---- J. , 26, 108, 136. ---- P. , 22. Du Puys, J. , 8, 10, 129. Eckert de Hombergh, H. , 34. Eggestern, H. , 139. Elzevirs, 17, 18, 205-208. Endter’s (W. E. ) Daughter, 167. Erasmus, 166, 181. Erpenius, T. , 49. Estienne, Family, The, 100, 118-123. Eve, N. , 8. Faques, W. , 16, 62. Fawkes, R. , 63. Federico de Basilea, 230. Fernandez, A. , 229. ---- V. , 231, 232. Feyrabendt, J. , 172. Fézandat, M, 14. Fouet, R. , 32. Fradin, C. , 36. ---- F. , 26. Francfordia, N. De, 215. Frellon, J. , 22. Friburger, M. , 100, 101. Fritag, A. , 209-211. Froben, J. , 42-44, 48, 58, 164-166. Froschover, C. , 71, 175. Furter, M. , 166. Fust and Schoeffer, 40-42. Gering, U. , 100, 101. Gerla or Gerlis, L. , 25. Gibier, Eloy, 12. Girard, J. , 173-174. Giunta Family, The, 222-225. Goes, M. Van der, 187-188. Goltz, H. , 57, 197. Gourmont, _see_ De Gourmont. Grafton, R. , 10, 74-76. Grandin, L. , 18. Granjon, R. , 14. Grapheus, J. , 194, 197. Gregorius, J. And G. De, 214. Grosii, The, 22. Groulleau, E. , 32. Grüninger, J. , 140. Gryphius, S. , 6, 135, 136. ---- The, 36. Guarinus, 73. Gueffier, J. , 8. Guerbin, L. , 172-173. Guillemot, M. , 32. Hall, Rowland, 84, 85. Hardouyn, G. , 18, 117. Harper Bros. , 250. Harrison, R. , 89. Hauth, David, 152. Heitz, P. , 140. Hellenius, M. , 189, 191-192. Henrici, H. , 192, 194. Henricpetri, 166. Herembert, J. , 131, Herolt, G. , 210. Hesker, H. , 34. Hester, A. , 26, 70. Hillenius, M. , 57. Holbein, Hans, 42-45, 163. Hombergh, H. Eckert van, 188. Hovii, J. M. , 201-202. Huby, F. , 34. Huguetan, The Brothers, 17, 49. ---- J. , 26. Hugunt, M. , 232. Husz, M. , 26. “Inventaire des Marques d’Imprimeurs, ” 24. Jacobi, P. , 29. Jaggard, Isaac and William, 87, 88. Janot, W. , 14, 15, 107, 129. Janssens, G. , 208. Jenson, N. , 213. Johannes de Spira, 211. Jove, M. , 8. Jucundus, J. , 29. Jugge, R. , 80, 82. Julian, G. , 8. Junta, _see_ Giunta. Justinian de Ruberia, 25, 228. Kalliergos, Z. , 211, 232. Kerver, T. , 7, 34, 111, 115. Keysere, _see_ Cæsaris. Kingston or Kyngston, Felix, 88, 89. Knoblouch, J. , 17, 91, 142. Koberger, Anthony, 167. Kobian, Valentin, 156. Koelhoeff, J. , 159-160. Köpfel (or Cæphalæus), W. , 17, 145, 146. Krantz, M. , 100, 101. Lagache, J. And A. , 29. Lambert, J. , 14, 26. Lamparter, N. , 166. L’Angelier, A. , 10. Laurens, Le Petit, 34. Lawrence and Bullen, 243. Le Bret, G. , 36. Lecoq, Jehan, 6, 7, 137. Leeu, G. , 184-186. ---- N. , 184. Le Forestier, J. , 21. Legnano, G. G. , 226-228. ---- J. A. , 232. Le Jeune, M. , 20. Le Noir, Michel, 3, 13, 109. ---- P. And G. , 4, 110. Le Preux, F. , 177. ---- J. , 12. ---- Poncet, 36. Le Rouge, P. , 109. Le Talleur, G. , 26. Liechtenstein, P. , 215. Lippincott and Co. , 251. Lockwood and Co. , 250. Longis, J. , 14. Longman and Co. , 233, 237, 240. Loslein, P. , 48, 213. Lotter, Melchior, 169, 170. Lynne, W. , 52, 83. Macé, B. ,  36. ---- R. , 13. ---- Family, The, 108. Macmillan and Co. , 243. Madden, J.  P. A. , “Lettres, ” 57. Magno, 229. Maillet, J. And E. , 5. Mainyal, G. , 101. Mallard, O. , 14. Manilius, G. , 32. Mansion, Colard, 181. Marchant, G. , 29, 106. Marnef, _see_ De Marnef. Martin d’Alost, T. , 180, 210, 211. Martin, L. , 34. Meer, J. J. Van der, 186. Meietos, P. And A. , 217. Mentelin, J. , 139. Middleton, W. , 76-77. ---- H. , 252. Miguel, P. , 26, 231. Miscomini, A. , 226. Mittelhus, G. , 26. Morel, G. , 17, 38. Morin, M. , 137. Morris, William, 247-91. Moulin, J. , 97. Müller, Craft, 147, 148, 149. Myllar, A. , 6, 95, 96. Nani, H. , 25. Neobar, C. , 20. Nijhoff, M. , 251. Nivelle, S. , 14, 126, 128, 129, 130. Noir, _see_ Le Noir. Norton, W. , 88, 252. Notary, J. , 61-62. Nourry, C. , 14. Nutt, David, 243. Oglin, Erhart, 163-164. Olivier, J. , 23. Orwin, T. , 30. Paffraej, Albertus, 183-184. ---- Richard, 184. Palomar, L. , 229. Pannartz, A. , 209. Paulo de Colonia, 229. Paul (Kegan) and Co. , 243, 249. Pavier, T. , 10, 12. Pegnicer, J. , 229. Pepwell, H. , 63, 189. Peregrino de Pasqualibus, 25, 215. Périer, T. , 27. Petit, J. , 6, 9, 112, 115. Pfortzheim, _see_ De Pfortzheim. Picart, B. , 46. Pickering, W. , 239, 242. ---- B. M. , 239, 242. Pigouchet, 97, 112, 113. Pincius, P. , 223. Pine, J. , 46. Pinzi, P. , 25. Plantin, C. , 203-205. Pollard, A.  W. , 48. Portunaris, V. , 22. Prevosteau, E. , 17. Printers’ Marks: punning devices, 3, 10; mottoes from sacred history, 8; printing press, 12; mottoes, 13; Hebrew and Greek mottoes, 17; the Sphere, 17, 207; the Brazen Serpent, 20; Balaam’s Ass, 22; Christ on the Cross, 22; St. Christopher, 22; Saints and riests, 23; The Cross, 23-26; St. George and the Dragon, 26; Time and Peace, 27; musical notes, 29; rustic subjects, 29; the Cornucopia, 30; the Unicorn, 32-34; the Griffin, 35; the Mermaid, 36; the Anchor, 37; Angels, 37; Arion, 37; Bellerophon, 37; astrological signs, 37; Cat, 38; Eagle, 38; Fortune, 38, 44; Fountain, 38; Heart, 38; Hercules, 38; Lion, 38; Magpie, 38; Mercury, 38; Pelican, 38; Phœnix, 39; Salamander, 39; Swan, 39. Psalter, The Mentz, 41. Pynson, R. , 59-61. Rastell, J. , 36. Ratdolt, E. , 162, 212-214. Regnault, F. , 75, 103-105. ---- P. , 105. Rembolt, B. , 17, 26, 101, 102. Reynes, J. , 16. Ricci, B. , 25. Richard, J. , 34. ---- T. , 29. Rigaud, B. , 14. Rihel, Wendelin, 150. Rivery, J. , 174. Rivingtons, The, 235-8. Rizzardi, G. , 225, 228. Roccociola, D. , 25, 226. Roce, D. , 4, 14, 66. Rodt, Berthold, 163. Roffet, J. , 29, 30. ---- Family, The, 125. Rose, Germain, 4. Rosembach, J. , 26, 230, 231-2. Roth-Scholtz’s “Thesaurus, ” 24. Rubeus de Valentia, L. , 25, 215. Ryverd, G. , 22. Sabio Brothers, The, 224-226. Sacer, J. , 25. Sacon, J. , 26, 73. Schäffeler of Bodensee, 22. Schaufelein, Hans, 155, 156. Scher, Conrad, 152. Schomberg, W. , 25. Schott, M. And J. , 141. Schultis, E. , 32. Schumann, V. , 170-171. Scolar, J. , 93, 94. Scott, or Skott, J. , 66. Scotto, O. , 25, 214-215. Sergent, P. , 18. Sessa, M. , 217-218. Siberch, J. , 94, 95. Silvius, G. , 22. Singleton, Hugh, 82, 83. Sixtus Riessinger, 210. Snellaert, C. , 34, 35, 186. Somaschi, The, 25. Soter, Johann, 161-162. St. Albans Press, The, 54-56. Stadelberger, J. , 172-173. Stagninus, B. , 25, 215. Stationers’ Company, The, 233-6. Steels, J. , 19, 191. Steinschawer, Adam, 173. Suardo, L. , 25. Sweynheim, C. , 209. Tardif, A. , 8. Temporal, J. , 14, 27. Thanner, J. , 139, 171. Ther Hoernen, A. , 24, 157, 159, 183. Thomas, 229. Title-page, The First, 48. Tonson, J. , 94. Topie, M. , 131. Torresano, A. , 219. Tory, Geoffrey, 14, 117-118. Tottell, R. , 85. Tournes, _see_ De Tournes. Trepperel, J. , 21. Treschel, J. , 25, 115, 132. ---- The Brothers, 17. Treveris, P. , 64. Unwin, T. F. , 243, 245. Van den Keere, H. , 195, 198. Van der Noot, T. , 194, 196. Van Hombergh, H. E. , 188. Vautrollier, T. , 7, 73, 75. Veldener, J. , 178. Velpius, Rutger, 200. Vérard, A. , 21, 102. Vidoue, P. , 17, 124. Vincent, Simon, 34, 51. Vindelinus de Spira, 213. Vitalibus, B. De, 215. Von Andlau, G. , 1, 32, 146. Vostre, S. , 102, 103, 111, 112. Vurster de Campidonâ, J. , 226. Waesberghe, J. , 199. Walthoe, J. , 92. Ware, R. , 92, 93. Wéchel, A. And C. , 31, 125-127. Weissenburger, J. , 167-169. Whitchurche, E. , 75. Whittingham, Messrs. , 240-2. Wight, or Wyghte, J. , 83, 84. Windet, J. , 82. Wolfe, R. , 20, 77, 86. ---- John, 77, 78. Woodcock, T. , 10, 86, 87. Wyer, R. , 68. Wynkyn de Worde, 51, 57-59, 67. Zainer, G. , 41, 162. Zanis, Bartholomeus, 215. Zell, Ulric, 157, 178. Zetzner, L. , 151, 152. [Illustration: GEORGE BELL AND SONS. ] [Decoration] CHISWICK PRESS:--CHARLES WHITTINGHAM AND CO. , TOOKS COURT, CHANCERY LANE. BY THE SAME AUTHOR. THE EARLIER HISTORY OF ENGLISH BOOKSELLING. Crown 8vo. Sampson Low and Co. 1889. CHRISTIE’S: A Chapter in the History of Art. [_In the Press_. * * * * * * * * * * * * * * ERRATA (Noted by Transcriber) Main Text: primus excogitavit Aldus. _” [_missing close quote_] and with the motto “Vogue la gualee. ” [_illustration text has “guallee”_] “... Eu pour origine l’affiliation à une confrérie religieuse. ” [_error for “eut pour”?_] The editions of the Printer, “à la licorne, ” Deft [_spelling “Deft” unchanged: may be quoting original_] in this device we have the sun shining [devise] “Veritas virescit vulnere. ” [_illustration text has “viressit”_] “Pour proquer la grand’ miséricorde, [_text unchanged: illustration has “provocquer”_] the two first, Jean or Jehan and Galliot, were the most celebrated. [_final period missing or invisible_] the motto “ardentes juvo, ” [_illustration text has “audentes”_] examples of the Strasburg printers [_here and below, anomalous spelling with one “s” unchanged_] their very elaborate “Elsässische Büchermarken bis Anfang des 18. Jahrhunderts, ” [_missing period in “18. ”, present in earlier citation_] Berthold Rodt of Hanau, one of Fust’s workmen [Füst’s] probably that of Wilhelm Moritz Endter’s daughter [thatof] an enthusiastic bibliopole [_not an error: bookseller, not bibliophile_] Johann Feyrabendt [_spelled -bendt in body text, -bend in figure caption_] Le Nouueau Testament de nostre Sauflueur Iesu Christ [_spelling unchanged_] Joannes and Gregorius de Gregoriis, 1480-1516, [1480--1516] the “Britannia” of Camden ... Which was likewise employed [_text unchanged: superfluous “which”_] the first edition the unabridged “Chronicle of the Cid, ” [_text unchanged: missing “of”?_] Illustrations of Printers’ Marks: Non-classical spellings in Greek are not individually noted. 14. Hercules Nani. [_period . After 14. In caption invisible_] γίνεσθε φρόνιμοι ὥς ὁι ὄφεις, [_breathing mark as shown_] ¶ Melius est nomen bonum q[uam] diuitie mnlte. Prou. Xxu. [_error “mnlte” for “multe” in original_ _text seems to say “xxu” (xxv, 25) but passage is at 22_] Ερευνᾶτε τὰς γραφάς, οτι ἐμ ἀυταῖς ζωὴμ ἀιώνιομ ἔχετε. [_All errors, including the use of mu for nu, are in the original. _] Ἡ ἀγάπη πάντα δέγει. [_There is no such word as δέγει or σέγει, but the intended form could not be deduced; it might be a variant of θίγει. _] ’ Galle premes tecum mox Leo uictus erit [_unambiguous apostrophe ’ neither flyspeck nor part of verse_] καὶ μὴν ἀρθμὸν [_text unchanged: error for ἀριθμὸν_] Bibliography: Elsässische Büchermarken bis Anfang des 18. Jahrhdts. [_missing period in “18. ”, present in first citation_] l’imprimeur en France au XV siècle. [_text unchanged: error for “XV^e” (superscript e)?_] Index: A few missing commas after initials were silently supplied. De Vinne, Th. , 251. [151]