PRINTERS' MARKS.
 
 Cum 
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 Printers' Marks 
 
 A Chapter in the History of 
 Typography by W. Roberts 
 
 Editor of " The Bookworm ' 
 
 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. 
 
 2040060
 
 PREFACE. 
 
 JHERE are few phases of typography 
 open to the charge of being neglected. 
 An unquestionable exception occurs, 
 L^j however, in relation to Printers' Marks. 
 This subject is in many respects one of the most 
 interesting in connection with the early printers, 
 who, using devices at first purely as trade marks 
 for the protection of their books against the pirate, 
 soon began to discern their ornamental value, and, 
 consequently, employed the best available artists 
 to design them. Many of these examples are of 
 the greatest bibliographical and general interest, 
 as well as of considerable value in supplementing 
 an important class of illustrations to the printed 
 books, and showing the origin of several typical 
 classes of Book-plates (Ex-Libris). The present 
 Handbook has been written with a view to sup- 
 plying a readable but accurate account of this 
 neglected chapter in the history of art and bib- 
 liography ; and it appeals with equal force to 
 the artist or collector. Only one book on the 
 subject, Berjeau's " Early Dutch, German, and 
 English Printers' Marks," has appeared in this
 
 viii Preface. 
 
 country, and this, besides being out of print and 
 expensive, is destitute of descriptive letterpress. 
 The principle which determined the selection of 
 the illustrations is of a threefold character : first, 
 the importance of the printer ; secondly, the artistic 
 value or interest of the Mark itself; and thirdly, 
 the geographical importance of the city or town in 
 which the Mark first appeared. 
 
 Since the text of this book was printed, however, 
 two additions have been made to the literature 
 of its subject : Dr. Paul Kristeller's " Die Italie- 
 nischen Buchdrucker- und Verlegerzeichen, bis 
 1525," a very handsome work, worthy to rank with 
 the " Elsassische Biichermarken bis Anfang des 
 1 8. Jahrhunderts" of Herr Paul Heitz and Dr. 
 Karl A. Barack (to whom I am indebted for 
 much valuable information as well as for nearly 
 thirty illustrations in the chapter on German 
 Printers' Marks); and Mr. Alfred Pollard's " Early 
 Illustrated Books," an admirable volume which, 
 however, only deals incidentally with the Printer's 
 Mark as a side issue in the history of the decora- 
 tion and illustration of books in the fifteenth and 
 sixteenth centuries. Mr. Pollard reproduces seven 
 blocks from Dr. Kristeller's monograph on the 
 Devices of the Italian Printers. In reference to 
 the statement on p. 116 of this volume that the 
 Mark of Bade " is the earliest picture of a printing 
 press," Mr. Pollard refers to an unique copy 
 of an edition of the " Danse Macabre " printed 
 anonymously at Lyons in February, 1499, eight 
 years earlier, which contains cuts of the shops of a 
 printer and a bookseller.
 
 Preface. ix 
 
 That this volume has considerably exceeded its 
 intended limit must be my excuse for not including, 
 with a very few exceptions, any modern examples 
 from the Continent. Nearly every French printer 
 and publisher of any note indulges in the luxury 
 of a Mark of some sort, and an interesting volume 
 might be written concerning modern continental 
 examples. The practice of using a Printer's Mark 
 is an extremely commendable one, not merely as a 
 relic of antiquity, but from an aesthetic point of 
 view. Nearly every tradesman of importance in 
 this country has some sort of trade mark ; but 
 most printers agree in regarding it as a wholly 
 unnecessary superfluity. As the few exceptions 
 indicated in the last chapter prove that the fashion 
 has an artistic as well as a utilitarian side, I hope 
 that it will again become more general as time 
 goes on. 
 
 As regards my authorities : I have freely availed 
 myself of nearly all the works named in the " Biblio- 
 graphy " at the end, besides such invaluable works 
 as Brunet's " Manual," Mr. Quaritch's Catalogues, 
 and the monographs on the various printers, 
 Plantin, Elzevir, Aldus, and the rest. From 
 Messrs. Dickson and Edmonds' "Annals of 
 Scottish Printing " I have obtained not only some 
 useful information regarding the Printer's Mark in 
 Scotland, but, through the courtesy of Messrs. Mac- 
 millan and Bowes of Cambridge, the loan of several 
 blocks from the foregoing work, as well as that of 
 John Siberch, the first Cambridge printer. I have 
 also to thank M. Martinus Nijhoff, of the Hague, 
 Herr Karl W. Hiersemann, of Leipzig, Herr J. H.
 
 x Preface. 
 
 Ed. Heitz, Strassburg, Mr. Elliot Stock, Mr. 
 Robert Hilton, Editor of the " British Printer," 
 and the Editor of the "American Bookmaker," for 
 the loan either of blocks or of original examples 
 of Printers' Marks ; and Mr. C. T. Jacobi for 
 several useful works on typography. Mr. G. P. 
 Johnston, of Edinburgh, kindly lent me the reduced 
 facsimile on p. 252, which arrived too late to be 
 included in its proper place. The publishers 
 whose Marks are included in the chapter on 
 " Modern Examples " are also thanked for the 
 courtesy and readiness with which they placed 
 electros at my disposal. 
 
 The original idea of this book is due to my 
 friend, Mr. Gleeson White, the general editor of 
 the series in which it appears ; but my thanks are 
 especially due to Mr. G. R. Dennis for the great 
 care with which he has gone through the whole 
 work. 
 
 W. R. 
 
 86, Grosvenor Road, S.W., 
 October, 1893.
 
 CONTENTS. 
 
 PAGE 
 
 PREFACE vii 
 
 LIST OF ILLUSTRATIONS xiii 
 
 INTRODUCTION i 
 
 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
 
 LIST OF ILLUSTRATIONS. 
 
 Liechtenstein, Petrus. 
 
 Frontispiece 
 Bell, George, and Sons. 
 
 Title-page 
 
 Andlau, G. U. Von ... I 
 
 Couteau, Gillet .... 4 
 
 Du Pre, Galliot .... 5 
 
 Lecoq, Jehan 7 
 
 Petit and Kerver .... 9 
 
 Du Puys, Jacques ... II 
 
 Pavier, T 12 j 
 
 Janot, Denys 15 
 
 Faques, William .... 16 
 
 Steels, J 19 
 
 Ve'rard, Antoine .... 21 
 Plate of thirty Marks used 
 chiefly by the Italian 
 
 Printers 25 
 
 Chaudiere, Guillaume . . 28 
 
 Roflfet, 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 (attri- 
 buted to Holbein) . . 45 
 
 Cox, T 46 
 
 Dulssecker, Johann Rein- 
 hold .... 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 
 
 My liar, Andro 96 
 
 Chepman, Walter ... 97
 
 XIV 
 
 List of Illustrations. 
 
 Davidson, Thomas ... 98 
 
 Charteris, H 99 
 
 Estienne, F loo 
 
 Rembolt, B 102 
 
 Vostre, Simon .... 103 
 
 Regnault, Francois . . . 104 
 
 Regnault, Pierre .... 105 
 
 Marchant, Guy .... 106 
 
 De Marnef 107 
 
 Uu Pre", J 108 
 
 Le Rouge, Pierre . . . 109 
 
 Le Noir, Philippe ... no 
 
 Kerver, Thielman . . . 1 1 1 
 
 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 
 
 We*chel, Andre" .... 126 
 
 Wechel, Chrestien . . . 127 
 
 Nivelle, Se"bastien . . . 128 
 Merlin, Desboys and 
 
 Nivelle 130 
 
 Topic, M 131 
 
 Treschel, J 132 
 
 Dolet, E 133 
 
 Hughes de la Porte and 
 
 A. Vincent 134 
 
 Gryphe, Sebastien ... 135 
 
 Colomies, Jacques . . . 136 
 
 Morin, M 137 
 
 Le Chandelier, Pierre . . 138 
 
 Thanner, Jacobi .... 139 
 
 Griininger, Johann . . . 140 
 
 Schott, Martin .... 141 
 
 Knoblouch, Johann . . . 142 
 
 Kopfel, Wolfgang . . 145, 146 
 Miiller, Craft (Crato My- 
 
 Hus) 147, 149 
 
 Biener, Matthias (Apiarius) 148 
 Rihel, Theodosius ; Rihel, 
 
 Josias(undDerenErben) 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 
 
 Cassar, 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 
 
 Gueibin, 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 
 
 Caesaris, A 191 
 
 Hillenius, Michael . . . 192 
 
 Bellaert, J 193 
 
 Henrici, H 194 
 
 Destresius, Jodocus . . . 195
 
 List of Illustrations* 
 
 xv 
 
 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 Giacomodi 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 
 
 2 34 
 
 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 
 Umvin, 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 
 
 Gushing, 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
 
 PRINTERS' MARKS. 
 
 INTRODUCTION. 
 
 SHORN of all the romance and 
 glamour which seem inevitably 
 to surround every early phase 
 of typographic art, a Printer's 
 Device may be described as 
 nothing more or less than a trade 
 mark. It is usually a sufficient 
 proof that the book in which it 
 occurs is the work of a particular 
 craftsman. Its origin is essen- 
 tially unromantic, and its em- 
 ployment, in the earlier stages 
 of its history at all events, was merely an attempt 
 to prevent the inevitable pirate from reaping 
 where he had not sown. At one time a copy, or 
 more correctly a forgery, of a Printer's Mark 
 could be detected with comparative ease, even if 
 the body of the book had all the appearance of 
 genuineness. 
 
 This self-protection was necessary on many 
 grounds. First of all, the privileges of impression 
 
 G. U. VON AND LA U.
 
 2 Printers Marks, 
 
 which were granted by kings, princes, and supreme 
 pontiffs, were usually obtained only by circuitous 
 routes and after the expenditure of much time and 
 money. Moreover, the counterfeit book was rarely 
 either typographically or textually correct, and 
 was more often than not abridged and mutilated 
 almost beyond recognition, to the serious detriment 
 of the printer whose name appeared on the title- 
 page. Places as well as individualities suffered, 
 for very many books were sold as printed in 
 Venice, without having the least claim to that 
 distinction. The Lyons printers were most un- 
 blushing sinners in this respect, and Renouard 
 cites a Memorial drawn up by Aldus himself on 
 the subject, and published at Venice in 1503. 
 
 But apart from the foregoing reasons, it must be 
 remembered that many of the earliest monuments 
 of typographic art appeared not only without the 
 name of the printer but also without that of the 
 locality in which they were printed. Although in 
 such cases various extraneous circumstances have 
 enabled bibliographers to " place " these books, the 
 Mark of the printer has almost invariably been the 
 chief aid in this direction. The Psalter of 1457 
 is the first book which has the name of the place 
 where it was printed, besides that of the printers 
 as well as the date of the year in which it 
 was executed. But for a long time after that date 
 books appeared without one or the other of these 
 attributes, and sometimes without either, so that 
 the importance of the Printer's Mark holds good. 
 
 A very natural question now suggests itself, 
 "Who invented these Marks?" Laire, "Index
 
 Introduction. 3 
 
 Librorum" (Saec. xv.), ii. 146, in speaking of a 
 Greek Psalter says : " Habet signaturas, registrmn 
 ac custodes, sed non mmicrantur folia. Litter & 
 principals ligno incises sunt, sicut et in principle 
 cujuslibct psalmi viticulce qu<z gallic^ vignettes 
 appellantur, quarum tisumprimusexcogitavit Aldus. 
 The volume here described was printed about 
 1495, and the invention therefore has been very 
 generally attributed to Aldus. That this is not 
 so will be shown in the next chapter. We shall 
 confine ourselves for the present to some of the 
 various points which appear to be material to a 
 proper understanding of the subject. 
 
 One of the most important and interesting 
 phases in connection with Printers' Marks is un- 
 doubtedly the motif of the pictorial embellishment. 
 Both the precise origin and the object of many 
 Marks are now lost to us, and many others are 
 only explained after a thorough study of the life 
 of the particular printer or the nature of the books 
 which he generally printed or published. The 
 majority, however, carry their own prima facie 
 explanations. The number of " punning " devices 
 is very large, and nearly every one has a character 
 peculiarly its own. Their antiquity is proved by 
 the fact that before the beginning of the fif- 
 teenth century, a picture of St. Anthony was 
 boldly, not to say irreverently, used by Antoine 
 Caillaut, Paris. A long series of punning devices 
 occur in the books printed by or for the fifteenth 
 century publishers, one of the most striking and 
 successful is that of Michel le Noir, whose shield 
 carries his initials, surmounted by the head of a
 
 4 Printers Marks, 
 
 negress and sometimes supported by canting 
 figures in full. This Mark, with variations, was 
 also employed by Philippe and Guillaume le 
 Noir, the work of the three men covering a 
 period of nearly 100 years. The device of 
 Gilles or Gillet Couteau, Paris, 1492, is apparently 
 a double pun, first on his Christian name, the 
 
 GILLET COUTEAU. 
 
 transition from which to a>illet being easy and 
 explaining the presence of a pink in flower, and 
 secondly on his surname by the three open knives, 
 in one of which the end of the blade is broken. 
 It was almost inevitable that both Denis Roce or 
 Ross, a Paris bookseller, 1490, and Germain Rose, 
 of Lyons, 1 538, should employ a rose in their marks,
 
 Introduction. 5 
 
 and this they did, one of the latter's examples 
 having a dolphin twining around the stem. Jacques 
 and Estienne Maillet, whose works at Lyons ex- 
 tended from the last eleven years of the fifteenth 
 
 GKLLIOT'WPRE 
 
 GALLIOT I)U PRK. 
 
 in 
 
 century to the middle of the sixteenth, give 
 the centre of their shield a picture of a mallet. 
 
 One of the boldest of the early sixteenth century 
 examples is that employed by Galliot Du Pre, 
 Paris, and in this we have a picture of a galley 
 propelled with the aid of sails and oars, and with 
 the motto " Vogue la gualee." This device (with
 
 6 Printers Marks. 
 
 several variations) was used by both father and 
 son, and possesses an interest beyond the subject of 
 Printers' Marks, for it gives us a very clear idea 
 of the different boats employed during the first 
 three quarters of the sixteenth century. Another 
 striking Mark of about the same time and covering 
 as nearly as possible the same period, was that of 
 the family De La Porte. The earlier example 
 used in Paris about 1508 was a simple doorway; 
 but the elder Hugues de la Porte, Lyons, and the 
 successors of Aymon De La Porte of the same 
 place, used several exceedingly bold designs in 
 which Samson is represented carrying away the 
 gates of Gaza, the motto on one door or gate 
 being "libertatem meam," and on the other "me- 
 cum porto." The two printers of the same name, 
 Jehan Lecoq, who were practising the art con- 
 tinuously during nearly the whole of the sixteenth 
 century at Troyes, employed a Mark on the shield 
 of which appears the figure of a cock ; whilst an 
 equally appropriate if much more ugly design, was 
 employed by the eminent Lyons family of Sebastien 
 Gryphe or Gryphius : he had at least eight 
 "griffin" Marks, which differed slightly from one 
 another. Francois Gryphe, who worked in Paris, 
 had one Mark which was original to the extent of 
 the griffin being supported by a tortoise. J. Du 
 Moulin, Rouen, employed a little picture of a 
 windmill on his Mark, as did Scotland's first 
 printer, Andro Myllar; but Jehan Petit, a prolific 
 fifteenth century printer of Paris, confined his 
 punning to the words " Petit a Petit,'' as is seen 
 in the reduced facsimile title, given on p. 9, of a
 
 Introduction. 7 
 
 book printed by him for T. Kerver. Mathias 
 Apiarius, Strassburg, used at least two Marks ex- 
 pressing the same idea, namely, a bear discovering 
 a bee's nest in the hollow of a tree an obvious pun 
 on his surname. The latter part of the sixteenth 
 century is not nearly so fruitful in really good 
 
 JEHAN LECOQ. 
 
 or striking devices. Guillaume Bichon, Paris, 
 employed a realistic picture of a lap-dog (in allu- 
 sion to his surname) chasing a hare, with the motto 
 " Nunc fugiens, olim pugnabo"; and equally rea- 
 listic in another way is the Mark of P. Chandelier, 
 Caen, in which effective use is made of a candle- 
 stick with seven holders, the motto being " Lucernis
 
 8 Printers Marks. 
 
 fideliter ministro." Antoine Tardif, Lyons, em- 
 ployed the Aldine anchor and dolphin, and also 
 a motto, " Festina tarde," which is identical in 
 meaning, if not in the exact words, of that of 
 Aldus. Guillaume De La Riviere, Arras, used a 
 charmingly vivid little scene of a winding river, 
 with the motto " Madenta flumine valles " ; and 
 it is not difficult to distinguish the appropriateness 
 of the sprig of barley in the Mark of Hugues 
 Barbon, Limoges. The Mark of Jacques Du Puys, 
 Paris, was possibly suggested by the word puits 
 (or well), and of which Puys is perhaps only a 
 form : the picture at all events is a representation 
 of Christ at the well. In the case of Adam Du 
 Mont, Orange, the Christian name, is " taken off" 
 in a picture of Adam and Eve at the tree of for- 
 bidden fruit ; and exactly the same idea occurs 
 with equal appropriateness in the Mark of N. Eve, 
 Paris, the sign of whose shop was Adam and Eve. 
 Michel Jove naturally went to profane history for 
 the subject of his Mark, and with a considerable 
 amount of success. 
 
 Among the numerous other examples with 
 mottoes derived from sacred history, special men- 
 tion, as showing the connection between the sign 
 of the shop and its incorporation in the Mark, 
 may be made to the following printers of Paris : 
 D. De La Noue, who not only had "Jesus" as 
 the sign of his shop, but also as his Mark ; J. 
 Gueffier had the " Amateur Divin " as his sign, 
 and an allegorical interpretation of the device, 
 " Pert tacitus, vivit, vincit divinus amator," as a 
 Mark ; Guillaume Julian, or Julien, had " Amitie"
 
 <fr.in 
 c ) fa fjr> SuSit fofumt Jiaunm* faittj oitx br maiwrr 
 
 f. 
 
 ait pirmirt ttanom^(vf<iutttt)gtt) Cpif cinq cat* 
 tmpnntc a 
 
 PETIT AND KKRVER.
 
 io Printers Marks, 
 
 as his sign, and a personification of this (Typus 
 Amicitiae) as his Mark, with the motto " Nil Deus 
 hac nobis majus concessit in usus" ; Abel L'Angelier 
 (and his widow after his death) adopted the sacri- 
 fice of Abel as the subject of his Sign and Mark, 
 with the motto " Sacrum pinque dabo nee macrum 
 sacrificabo " ; and the motto of both the first and 
 the second Michel Sonnius was " Si Deus pro nobis, 
 quis contra nos ? " 
 
 A few punning devices occur among the early 
 English printers, but they are not always clever 
 or pictorially successful. The earliest example 
 is that of Richard Grafton, whose pretty device 
 represents a tun with a grafted tree growing through 
 it, the motto, " Suscipite insertum verbum," being 
 taken from the Epistle to St. James (i., verse 21). 
 John Day's device, with the motto " Arise ! for it is 
 day," is generally supposed to be an allusion to 
 the Reformation as well as a pun on his name ; 
 tradition has it, however, that Day was accustomed 
 to awake his apprentices, when they had prolonged 
 their slumbers beyond the usual hour, by the 
 wholesome application of a scourge and the 
 summons " Arise ! for it is day." We may also 
 mention the devices of Hugh Singleton, a single 
 tun ; and of W. Middleton, a tun with the letter 
 W at bottom and M in the centre of the tun ; of 
 T. Pavier, in which, appropriately enough, we 
 have a pavior paving the streets of a town, and 
 surrounded by the motto " Thou shalt labour till 
 thou return to dust." Thomas Woodcock em- 
 ployed a device of a cock on a stake, piled as 
 for a Roman funeral, with the motto " Cantabo
 
 JACQUKS DU PUYS.
 
 12 
 
 Printers Marks. 
 
 lehovse quia benefecit" ; Andrew Lawrence, a St. 
 Andrew cross. 
 
 Although not in any sense of a " punning " 
 nature, the employment of a printing press as a 
 Mark may conveniently be here referred to. It was 
 first used in this manner, and in more than one 
 form, by Josse Bade, or Badius, an eminent printer 
 of the first thirty-five years of the sixteenth century, 
 
 T. PAVIER. 
 
 and to whom full reference will be found in the 
 chapter on French Marks. A Flemish printer, 
 Pierre Cesar, Ghent, 1516, was apparently the 
 next to employ this device ; then came Jehan 
 Baudouyn, Rennes, 1524; Eloy Gibier, Orleans, 
 1556 ; Jean Le Preux, Paris and Switzerland, 1561 ; 
 Enguilbert (II.) De Marnef and the Bouchets 
 brothers, Poitiers, 1567; and, later than all, L. 
 Cloquemin, Lyons, 1579.
 
 Introduction. \ 3 
 
 Next to the section of "punning" devices, 
 perhaps the most entertaining is that which deals 
 with the question of mottoes. These are derived 
 from an infinite variety of sources, not infrequently 
 irom the fertile brains of the printers themselves. 
 Their application is not always clear, but they are 
 nearly always indicative of the virility which 
 characterized the old printers. It is neither de- 
 sirable nor possible to exhaust this somewhat 
 intricate phase of the subject, but it will be neces- 
 sary to quote a few representative examples. 
 Occasionally we get a snatch of verse, as in the 
 case of Michel Le Noir, whose motto runs thus : 
 
 "C'est mon desir 
 De Dieu servir 
 Pour acquerir 
 Son doux plaisir." 
 
 Also in the instance of another early printer, 
 Gilles De Gourmont, who chants 
 
 " Tost ou tard 
 Pres ou loing 
 A le Fort 
 Du feble besoing." 
 
 Perhaps the greatest number of all are those in 
 which the printer proclaims his faith to God and 
 his loyalty to his king. One of the early Paris 
 printers enjoins us in verse not only to honour 
 the king and the court, but claims our salutations 
 for the University ; and almost precisely the same 
 sentiment finds expression in the Mark of J. 
 Alexandre, another early printer of Paris. Robi- 
 net or Robert Mace, Rouen, proclaims " Ung dieu,
 
 14 Printers Marks. 
 
 ung roy, ung foy, ung loy," and the same idea ex- 
 pressed in identical words is not uncommonly met 
 with in Printers' Marks. Of a more definitely re- 
 ligious nature are those, for example, of P. de 
 Sartieres, Bourges, " Tout se passe fors dieu " ; of 
 J. Lambert, "A espoir en dieu" ; of Prigent Cal- 
 varin, " Deum time, pauperes sustine, finem re- 
 spice " ; and several from the Psalms, such as that 
 of C. Nourry, called Le Prince, " Cor contritum et 
 humiliatum deus non despicies " ; of P. De Saincte- 
 Lucie, also called Le Prince, " Oculi mei semper 
 ad dominum"; and of J. Temporal (all three 
 Lyons printers), " Tangit montes et fumigant," in 
 which the design is quite in keeping with the 
 motto ; in one case at least, S. Nivelle, one of the 
 commandments is made use of, " Honora patrem 
 tuum, et matrem tuam, ut sis longsevus super 
 terram." Here, too, we may include the mottoes 
 of B. Rigaud, "A foy entiere cceur volant"; S. 
 De Colines, " Eripiam et glorificabo eum " ; and of 
 Benoist Bounyn, Lyons, " Labores manum tuarum 
 quia manducabis beatus es et bene tibi erit." Whilst 
 as a few illustrations of a general character we may 
 quote Geoffrey Tory's exceedingly brief "Non 
 plus," which was contemporaneously used also by 
 Olivier Mallard; J. Longis, " Nihil in charitate 
 violentia"; Denys Janot, " Tout par amour, amour 
 par tout, par tout amour, en tout bien"; the 
 French rendering of a very old proverb in the 
 mottoes of B. Aubri and D. Roce, " A 1'a venture 
 tout vient a point qui peut attendre"; J. Bignon, 
 " Repos sans fin, sans fin repos" ; the motto used 
 conjointly by M. Fezandat and R. Granjon, " Ne
 
 
 r-^ifegg^assiMiSigsB^^^^w 
 
 DENYS JANOT.
 
 1 6 Printers Marks. 
 
 la mort, ne le venin " ; and the motto of Etienne 
 Dolet, " Scabra et impolita ad amussim dolo, atque 
 perfolio." Among the mottoes of early English 
 printers, the most notable, partly for its dual source, 
 and as one of our earliest examples, is that of 
 William Faques ; one sentence, " Melius est modi- 
 
 WILLIAM FAQUKS. 
 
 cum justo super divitias peccatorum multas," is 
 taken from Psalm xxxvii. verse 16; and the 
 second, " Melior est patiens viro forti, et qui 
 dominat," comes from Proverbs xvi., verse 32. 
 The motto of Richard Grafton has already been 
 quoted ; that of John Reynes was " Redemptoris 
 mundi arma"; and John Wolfe, " Ybique floret." 
 The employment of mottoes in Greek and
 
 Introduction. 1 7 
 
 Hebrew characters is a not unimportant feature 
 in the earlier examples of Printers' Marks, but it 
 must suffice us here to indicate a few of the leading 
 printers who used either one or the other, and 
 sometimes both. B. Rembolt was one of the 
 earliest to incorporate a Greek phrase ; De Salen- 
 son, Ghent, had a Greco-Latin motto on an open 
 bible, which is the piece de resistance of a pretty 
 Mark, a similar idea occurring in the totally 
 different Marks of the brothers Treschel, Lyons ; 
 another Lyons firm of printers, the brothers Hu- 
 guetan, employed a Greek motto, and a phrase, also 
 in Greek characters, occurs in one of the Marks 
 of Peter Vidoue. The more notable Marks which 
 contain Hebrew characters, which generally signify 
 Jehovah, are those of Joannes Knoblouchus, or 
 Knoblouch, Strassburg, in which we have not 
 only Hebrew, but upper and lowercase Greek, and 
 a Latin quotation " Verum, quum latebris delituit 
 diu, emergit " ; and of Wolfius Csephalaeus, also of 
 Strassburg; and here again we have the Mark 
 environed by quotations in Greek, Latin, and 
 Hebrew. In a few instances we have the unlucky 
 letter of the Greek alphabet theta forming a 
 Mark with considerable originality, as in that of 
 Guillaume Morel, where this symbol of death is 
 surrounded by two dragon serpents representing 
 immortality. The tketa was also employed by 
 Etienne Prevosteau. 
 
 The subject of the sphere in Printers' Marks 
 might profitably occupy a good deal of space in dis- 
 cussing. It is generally considered to be not only 
 the peculiar property of the Elzevirs, but that books 
 
 D
 
 1 8 Printers Marks. 
 
 possessing it without having one or other of the 
 real or assumed imprints of this celebrated family 
 of printers are impudent frauds. But as a matter 
 of fact, it was used by at least half-a-dozen printers 
 many years before the Elzevirs started printing. 
 For example, it was employed during the last de- 
 cade of the fifteenth century by Gilles Hardouyn, 
 and early in the sixteenth by Huguetan brothers at 
 Lyons, by P. Sergentand L. Grandinat Paris, byj. 
 Steels, or Steelsius of Antwerp, and P. Lichtenstein 
 of Venice. In these instances, however, it is en- 
 dowed, so to speak, with accessories. In the earli- 
 est Mark it plays only an incidental part, but in the 
 Huguetan example it forms the device itself: it is 
 held by a hand and is encircled by a ring on which 
 the owner of the hand is evidently trying to balance 
 a ball ; there is a Greek motto. In a later and 
 slightly different design of the same family, the 
 motto is altered in position, and is in Latin : 
 " Vniversitas rerum, vt Pvlis, in manv lehovae." 
 Each of the two Paris examples is remarkable in 
 its peculiar way. In Grandin's two Marks the 
 same allegorical idea prevails, viz., one person 
 seizing a complete sphere from an angel out of the 
 clouds, apparently to exchange it for the broken 
 one held by a second person : in the cruder of the 
 two examples of these there is a quotation from 
 the 1 1 7th Psalm. In Sergent's bold and vigorous 
 Mark, the sphere, which incloses a figure of the 
 crucified Christ, is fixed into the top of a dead 
 trunk of a tree. It may also be mentioned that 
 this device was frequently used by printers during 
 the middle and latter part of the seventeenth
 
 /;/ troduction . 1 9 
 
 century in this country it appears, for example, 
 on several books printed by lx. Bentley, London, 
 during that period. The sphere as an Elzevir 
 Mark will be referred to in the chapter dealing 
 with Dutch examples. 
 
 An element which may be generically termed 
 
 J. STEELS. 
 
 religious plays no unimportant part in this subject. 
 It will not be necessary to enter deeply into the 
 motives which induced so many of the old printers 
 and booksellers to select either their devices or the 
 illustrations of their Marks from biblical sources ; 
 and it must suffice to say that, if the object is fre- 
 quently hidden to us to-day, the fact of the extent of
 
 2O Printers Marks. 
 
 their employment cannot be controverted. The 
 incident of the Brazen Serpent (Numbers xxi.) was 
 a very popular subject. One of the earliest to use 
 it was Conrad Neobar, Paris, 1538 ; it was adopted 
 by Reginald Wolfe, who commenced printing in 
 this country about 1543, and its possession was 
 considered of sufficient importance to merit special 
 mention among the goods bequeathed by his 
 widow to her son Robert. It was also the Mark 
 of Wolfe's contemporaries, Martin Le Jeune, Paris, 
 Jean Bien-Ne, of the same city, and of Jean Crespin, 
 Geneva, the last-named using it in several sizes, 
 in which the foot of the cross is " continued " into an 
 anchor. Apart from crosses in an infinite variety 
 of forms, and to which reference will presently 
 be made, by far the most popular form of religious 
 devices consisted of what may, for convenience 
 sake, be termed angelic. Pictorially they are 
 nearly always failures, and often ludicrously so. 
 The same indeed might be said of the work of 
 most artists who have essayed the impossible in 
 this direction. An extraordinary solemnity of 
 countenance, a painful sameness and extreme ugli- 
 ness, are the three dominant features of the angels 
 of the Printers' Mark. The subject offers but 
 little scope for an artist's ingenuity it is true, and 
 it is only in a very few exceptions that a tolerable 
 example presents itself. Their most frequent 
 occurrence is in supporting a shield with the 
 national emblem of France, and in at least one 
 instance that of Andre Bocard, Paris, with the 
 emblems of the city and the University of Paris. 
 This idea, without the two latter emblems, occurs in
 
 Introduction. 
 
 21 
 
 the devices of Jehan Trepperel, Anthoine Denidel, 
 and J. Bouyer and G. Bouchet (who adopted it 
 conjointly), who were printing or selling books in 
 Paris during the last decade of the fifteenth century ; 
 
 ANTOINE VRARD. 
 
 whilst in the provinces in that period it was em- 
 ployed by Jacques Le Forestier, at Rouen ; and 
 by Jehan De Gourmont, Paris, J. Besson, Lyons, 
 and J. Bouchet at Poitiers, early in the following 
 century. The angels nearly always occur in 
 couples, as in the case of Antoine VeVard, one of
 
 22 Printers Marks. 
 
 the earliest printers to adopt this form ; but a few 
 exceptions may be mentioned where only one 
 appears, namely, in the Mark of Estienne Baland, 
 Lyons (1515), in which an angel is represented 
 as confounding Balaam's ass ; and in that of 
 Vincent Portunaris, of the same place and of 
 about the same time, in which an angel figures 
 holding an open book ; in the four employed by 
 G. Silvius, an Antwerp printer (1562), in three of 
 which the figure is also holding a book ; in the 
 elaborate Mark of Philip Du Pre, Paris, 1595, and 
 in the exceeding rough Mark of Jannot de Campis, 
 of Lyons, 1505. Curiously enough, the subject 
 of Christ on the cross was very rarely employed, 
 an exception occurring in the case of Schaffeler, 
 of Constance, or Bodensee, Bavaria, 1505. The 
 same centre-piece, without the cross, was employed 
 by Jehan Frellon, Paris, 1508, and evidently 
 copied by Jehan Burges, the younger, at Rouen, 
 1521, whilst that of Guillaume Du Puy, Paris, 
 1504, has already been referred to. The Virgin 
 Mary occurs occasionally, the more notable ex- 
 amples being the Marks of Guillaume Anabat, 
 Paris, 1505-10, really a careful piece of work; and 
 the elder G. Ryverd, Paris, 1516, and in each 
 case with the infant Jesus. St. Christopher is a 
 subject one sometimes meets with in Printers' 
 Marks : in that of Gervais Chevallon, Paris, 1538, 
 it however plays a comparatively subordinate 
 part, and its merits were only fully recognized by 
 the Grosii, of Leipzig, who nearly always used it 
 for about two centuries, 1525-1732 ; the example 
 bearing the last date is by far one of the most
 
 Introduction. 23 
 
 absurd of its kind the cowled monk with a 
 modern lantern lighting St. Christopher on his way 
 through the river is a choice piece of incongruity. 
 Another phase of the religious element capable 
 of considerable expansion is that in relation to 
 the part played in Marks by saints and priests 
 generally. Sometimes these are found together 
 with an effect not at all happy, notably the two 
 Marks of Jehan Olivier, Paris, 1518, which, 
 with Jesus Christ on one side, a Pope on the 
 other, and an olive tree, are sufficiently crude to 
 present an appearance which seems to-day almost 
 blasphemous. The last of the several religious 
 phases of Printers' Marks to which we shall allude 
 is at the same time the most elaborate and com- 
 plicated. We refer to that of the Cross. The 
 subject is sufficiently wide to occupy of itself a 
 small volume, but even after the most careful in- 
 vestigation, there are many points which will for 
 ever remain in the region of doubt and obscurity. 
 Tradition is proverbially difficult to eradicate ; 
 and all the glamour which surrounds the history 
 of the Cross, and which found expression in, 
 among other popular books, the " Legenda Aurea," 
 maintained all its pristine force and attractiveness 
 down to the end of the sixteenth century. The 
 invention of printing and the gradual enlighten- 
 ment of mankind did much in reducing these 
 legends into their proper place ; but the process 
 was gradual, and whatever may have been their 
 private opinions, the old printers found it discreet 
 to fall into line with the established order of things. 
 Indeed, the religious sentiment was perhaps never
 
 24 Printers Marks. 
 
 so alive as at the time of the invention of printing, 
 in proof of which some of the earliest and most 
 magnificent typographical monuments maybe cited, 
 the Gutenberg Bible, the Psalter of Fust and 
 Schoeffer, for example. The accompanying plate 
 will give the reader a faint idea of the extraordi- 
 nary variety of crosses to be found on Printers' 
 Marks used chiefly by the Italian printers. 
 
 M. Paul Delalain has touched upon this ex- 
 ceedingly abstract phase of Printers' Marks in the 
 third fascicule of his " Inventaire des Marques d'lm- 
 primeurs," without, as he himself admits, arriving 
 at any very definite conclusion. The cross, 
 whether in its simplest form or with a complica- 
 tion of additional ornaments, has, as he points out, 
 been at all times popular in connection with this 
 subject. It appeared on the shield of Arnold Ther 
 Hoernen, Cologne, 1477, at Stockholm in 1483, at 
 Cracovia in 1510. That it did not fall entirely 
 into desuetude until the end of the eighteenth 
 century is a very striking proof of what M. 
 Delalain calls "la persistance de la croix." It 
 has appeared in all forms and in almost every 
 conceivable shape. Its presence may be taken as 
 indicating a deference and a submission to, as well 
 as a respect for, the Christian religion, and M. 
 Delalain is of the opinion that the sign " eu pour 
 origine I'affiliation a une confrerie religieuse." 
 Finally, in his introduction to Roth-Scholtz's 
 " Thesaurus Symbolarum ac Emblematum," Spoerl 
 asks, "Why are the initials of a printer or book- 
 seller so often placed in a circle or in a heart- 
 shaped border, and then surmounted by a cross ?
 
 i. 
 
 2. 
 
 3- 
 
 4- 
 
 6. 
 
 7- 
 8. 
 
 9- 
 10. 
 n. 
 
 12. 
 13- 
 
 14 
 15- 
 
 Benedetto d'Effore. 
 Bonino de Boninis. 
 Bernardino de Misintis. 
 Bernardino Ricci. 
 Bernardino Stagnino. 
 Baptista de Tortis. 
 Bernardinus de Vitalihus. 
 Bartholomeus de Zanis. 
 
 j-Dionysius Bertochus. 
 
 Dominicus Roccociola or Richizolo. 
 William Schomberg. 
 Christopher de Canibus. 
 Hercules Nani. 
 Giovanni Antonio de Benedetti. 
 
 1 6. Samuel de Tournes (Geneva). 
 
 17. The Somaschi. 
 
 18. Justinian de Ruberia. 
 
 19. J. Treschel (Lyons). 
 
 20. L. de Gerla, Gerlis or Gerula. 
 
 21. l^aurentius 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.
 
 26 Printers Marks. 
 
 Why at the extreme top of the cross is the lateral 
 line formed into a sort of triangular four ? Why, 
 without this inexplicable sign, has the cross a 
 number of cyphers, two, or even three, cross-bars ? 
 Why should the tail of the cypher 4 itself be 
 traversed by one or sometimes two perpendicular 
 bars which themselves would appear to form 
 another cross of another kind ? Why, among the 
 ornamental accessories, do certain species of stars 
 form several crosses, entangled or isolated ? Why, 
 at the base of the cross is the V duplicated ? " All 
 these are problems which it would be exceedingly 
 difficult to solve with satisfaction. We do not 
 propose offering any kind of explanation for these 
 singular marks ; but it will not be without interest 
 to point out that among the more interesting 
 examples are those used by Berthold Rembolt, 
 Andre Bocard or Boucard, Georges Mittelhus, 
 Jehan Alexandre, Jehan Lambert, Nicole De La 
 Barre, and the brothers De Marnef, all printers or 
 booksellers of Paris ; of Guillaume Le Talleur, 
 Richard Auzolt, of Rouen ; of Jaques Huguetan, 
 Mathieu Husz, Fran9ois Fradin, Jacques Sacon or 
 Sachon, and Jehan Du Pre, all of Lyons ; of Jehan 
 Griininger, of Strassburg ; of Lawrence Andrewe, 
 and Andrew Hester, of London ; the unknown 
 printer of St. Albans ; of Leeu, of Antwerp ; of 
 Jacob Abiegnus, of Leipzig; of Pedro Miguel, Bar- 
 celona; of Juan de Rosembach of Barcelona and 
 other places; of the four "alemanes" of Seville, 
 and hundreds of others that might be mentioned. 
 It is curious to note that, in spite of its great 
 mediaeval popularity, the subject of St. George and
 
 Introduction. 27 
 
 the Dragon rarely enters into the subject of 
 Printers' Marks, and of the few examples which 
 call for reference, those of Thomas Perier and 
 Guillaume Bourgeat, of Paris and Tours respec- 
 tively, are among the best both in design and execu- 
 tion. The idea was also adopted by Guillaume 
 Auvray, of Paris ; and by M. de Hamont, Brussels. 
 The personification of Time and Peace were 
 both popular ; and each has its successful ex- 
 amples. One of the earliest instances of the 
 former is a pretty little mark, executed with a 
 considerable amount of vigour, of Robert De 
 Gourmont, Paris ; a large and vigorous Mark one 
 of several employed by Simon De Colines, Paris, 
 in which it is interesting to note that the scythe is 
 not invariablydenticulated ; two very crude but very 
 distinct examples employed by Michel Hillenius 
 or Hooghstrate, Antwerp, 1514; and two, one large 
 and the other small, of Guillaume Chaudiere, Paris, 
 1564 ; whilst Jean Temporal, of Lyons, 1550, used 
 it as an evident play on his name. The emblem 
 of Peace does not appear to have been much em- 
 ployed until well on into the sixteenth century ; 
 N. Boucher, 1544, used as his motto, "pacem 
 victis ; " Guillaume Julien, to whom reference has 
 already been made ; as likewise Michel Clopejau, 
 of a few years later, who used the words " Typus 
 amicitiae " on his mark, with the further legend 
 of " Guam sperata victoria pax certa melior ; " 
 these three lived in Paris, whilst by far the best 
 decorative Mark in this connection was that 
 adopted by Julien Angelier, a bookseller and 
 printer of Blois, 1555, the centre of whose de-
 
 28 Printers Marks. 
 
 vice, besides the words " Signum pads," includes 
 a dove bearing two olive branches. The fraternal 
 
 GUILLAUME CHAUDIERE. 
 
 device of two hands clasped may also be here 
 alluded to : it is of special interest from the fact 
 that it was employed by one of the earliest to
 
 Introduction. 29 
 
 practice printing in Paris Guy or Guyot Mar- 
 chant, 1483, one of whose Marks gives us a view 
 of two shoemakers working with musical notes 
 representing So La (Sola), and "fides ficit" in 
 gothic type. Thomas Richard, sixty years after- 
 wards, elaborated on a portion of this idea, and his 
 Mark shows two hands holding a crowned sceptre 
 with two serpents entwined around it. Designs 
 much superior to these were employed by Ber- 
 tramus of Strassburg, at the latter part of the 
 sixteenth century. Following the example of Mar- 
 chant, musical notes have occasionally been em- 
 ployed by later printers. The rebus of this printer 
 evidently suggested that of Jehan and Anthoine 
 Lagache, father and son, Arras, in 1517, the first 
 syllable of whose name, La, is indicated by a 
 musical note, and is immediately followed by 
 " gache." Pierre Jacobi, Saint-Nicholas-de-la- 
 Port, and Toulouse, 1503, adopted Marchant's 
 idea by giving "Sola fides ficit" with a musical 
 start, so to speak ; and a distinctly novel phase of 
 the subject is employed by Jacobus Jucundus, 
 Strassburg, 1531, in which a goose is represented 
 as playing on a violin. 
 
 Printers' marks in which the pictorial embellish- 
 ments partake of a rustic nature, such as bits of 
 landscape, seed-sowing, harvesting, and horns of 
 plenty, are numerous, and in many cases ex- 
 ceedingly pretty. J. Roffet, Paris, 1549, employed 
 the design of the seed-sower in several of his 
 Marks ; and of about a dozen different Marks 
 used at one time or another by Jean De Tournes 
 the first, Lyons, 1542, one of the most sue-
 
 30 Printers' 1 Marks. 
 
 cessful is a clever one having for its central 
 figure a sower ; the same idea, in a very crude 
 form, was contemporaneously employed also by 
 De Laet, Antwerp. The Cornucopia, or horn 
 
 JACQUES ROFFET. 
 
 of plenty, was a very favourite emblem, and it 
 appears in a manifold variety of designs, some- 
 times with a Caduceus (the symbol of Mercury) 
 which is held by two clasped hands, as in the 
 case of T. Orwin, London, 1596, in a cartouche 
 with the motto : " By wisdom peace, by peace
 
 Introduction, 31 
 
 plenty ; " four of the eight marks used by 
 Chrestien Wechel, Paris, 1522, differ from Orwin's 
 in being surmounted by a winged Pegasus ; 
 
 JEAN DE TOURNES. 
 
 and Andre Wechel, of the same city, 1535, em- 
 ployed one of the smaller devices of Chrestien, 
 with variations and enlargements of the same ; in 
 the Mark of J. Chouet, Geneva, 1579, the caduceus
 
 32 Printers Marks. 
 
 is replaced by a serpent, the body of which is 
 formed into a figure 8 ; in that of Gislain Manilius, 
 Ghent, the horns appear above two seated figures. 
 In each of the foregoing examples two horns 
 appear. Georg Ulricher von Andlau, Strassburg, 
 1529, used the cornucopia, and in one of his 
 Marks the figure is surrounded by an elaborate 
 array of fruit and vegetables ; single horns appear 
 also in the clever and elaborate marks of R. Fouet, 
 Paris, 1597, whose design was a very slight devia- 
 tion from that of J. De Bordeaux, Paris, 1567. 
 The oak-tree, sheltering a reaper and with the 
 motto " Satis Quercus," was employed by George 
 Cleray, Vannes, 1545 ; and the fruit of this tree 
 the acorn by E. Schultis, Lyons, 1491. The 
 thistle appears on the marks of Estienne Groulleau, 
 Paris, 1547 ; the Rose on the more or less elabo- 
 rate designs of Gilles Corrozet, Paris, 1538 ; a 
 rose-tree in full flower occupies the centre of the 
 beautiful mark of the first Mathieu Guillemot, 
 Paris, 1585 ; a solitary Rose-flower was the simple 
 and effective mark of Jean Dallier, Paris, 1545 ; 
 and a flowering branch of the same tree is one of 
 the items on the charming little Mark on the 
 opposite page of Mathurin Breuille, Paris. 
 
 In the category of what may be termed extinct 
 animals, the Unicorn as a subject for illustrating 
 Printers' Marks enjoyed a long and extensive 
 popularity. The most remarkable thing in con- 
 nection with these designs of the Unicorn is perhaps 
 their striking dissimilarity, and as nearly every one 
 of the many artists who employed, for no obvious 
 reasons, this animal in their Printer's Marks had
 
 Introduction. 
 
 33 
 
 his own idea of what a Unicorn ought to have 
 been like, the result, viewed as a whole, is not by 
 any means a happy one. Still, several of the 
 examples possess a considerable amount of vigour 
 and have a distinct decorative effectiveness. But 
 apart from this its appearance in the Marks of the 
 old printers is a very striking proof of the fact 
 
 MATHURIN BREUILLE. 
 
 that the mediaeval legends died hard. Curiously 
 enough, the proverbial " lion and unicorn " do not 
 often occur together. The family of printers with 
 whose name the unicorn is almost as closely asso- 
 ciated as the compass is with Plantin, is that of 
 Kerver, for it has been employed in over a dozen 
 different forms by one or other members from 
 the end of the fifteenth century to the latter 
 
 F
 
 34 Printers Marks. 
 
 part of the sixteenth. Sometimes there is only 
 one Unicorn on the mark, at others there is a pair. 
 Le Petit Laurens, Paris, was using it contem- 
 poraneously with the first Thielman Kerver, and 
 possibly the one copied the other. Senant, Vivian, 
 Kees, and Pierre Gadoul, Chapelet, and Chaver- 
 cher, were other Paris printers who used the same 
 idea in their marks before the middle of the 
 sixteenth century. It was long a favourite subject 
 with the Rouen printers, one of the earliest in that 
 city to use it being J. Richard, whose design is 
 particularly original, inasmuch as the shield is 
 supported on one side by a Unicorn, and on the 
 other by a female, possibly intended to represent 
 a saint, an idea which was apparently copied by 
 Symon Vincent, Lyons ; the Unicorn was also used 
 in the marks of L. Martin and G. Boulle, both of 
 Lyons ; and also in the very rough but original 
 design employed by H. Hesker, Antwerp, 1496 ; 
 whilst for its quaint originality a special reference 
 may be made to the Mark of Frangois Huby, Paris, 
 of the latter part of the sixteenth century, for in 
 this^a Unicorn is represented as chasing an old 
 man. The origin of the Unicorn Mark is essen- 
 tially Dutch. The editions of the Printer, " a la 
 licorne," Deft, 1488-94, are well known to students 
 of early printing. The earliest book in which this 
 mark is found is the " Dyalogus der Creaturen " 
 (" Dialogus Creaturarum ") issued at that city in 
 November, 1488. Henri Eckert de Hombergh 
 and Chr. Snellaert, both of Delf, used a Unicorn 
 in their Marks during the latter years of the 
 fifteenth century.
 
 Introduction. 
 
 35 
 
 Among other possible and impossible monsters 
 and subjects of profane history, the Griffin, the 
 
 C. SXELLAERT. 
 
 Mermaid, the Phoenix, Arion and Hermes has each 
 had its Mark or Marks. In the case of the first 
 named, which, according to Sir Thomas Browne,
 
 36 Printers Marks. 
 
 in his " Vulgar Errors," is emblematical of watch- 
 fulness, courage, perseverance, and rapidity of 
 execution, it is not surprising that the Gryphius 
 family, from the evident pun on their surname, 
 should have considered it as in their particular pre- 
 serves. As may be imagined, it does not make a 
 pretty device, although under the circumstances its 
 employment is perhaps permissible. Sebastien 
 Gryphius, Lyons, and his brother Francois, Paris, 
 who were of German parentage, employed the 
 Griffin in about a dozen variations during the first 
 
 o 
 
 half of the sixteenth century. '1 he Griffin, however, 
 was utilized by Poncet Le Preux, Paris, some years 
 before the Gryphius family came into notoriety, and 
 it was employed contemporaneously with this by 
 B. Aubri, Paris. The Mermaid makes a prettier 
 picture than the Griffin, but its appearance on 
 Printers' Marks is an equally fantastic vagary of 
 the imagination. In one of the earliest Marks on 
 which it occurs, that of C. Fradin, Lyons, 1505, 
 the shield is supported on one side by a Mermaid, 
 and on the other by a fully-armed knight ; half a 
 century after, B. Mace, Caen, had a very clever 
 little Mark in which the Mermaid is not only in her 
 proper element, but holding an anchor in one hand, 
 and combing her hair with the other. During the 
 second quarter of the sixteenth century, the idea 
 was, with variations, used by G. Le Bret, Paris, 
 and J. De Junte, Lyons, as well as by John Rastell, 
 London, 1528, whose shop was at the sign of the 
 Mermaid. 
 
 To summarize a few of the less popular designs, 
 it will suffice to give a short list of the vignettes
 
 Introduction. 37 
 
 or marks used by the old printers of Paris (except 
 where otherwise stated), alphabetically arranged 
 according to subjects : Abraham, Pacard ; an 
 anchor, Christopher Rapheleng, Leyden, Chouet 
 and Pierre Aubert, Geneva ; two anchors crosswise, 
 Thierry Martens, Antwerp, and Nicholas le Rich ; 
 
 JOHN RASTELL. 
 
 one or more angels, Legnano, Milan ; Henaud and 
 Abel L'Angelier, and Dominic Farri, Venice ; 
 Arion, Oporinus or Herlist, Brylinger, Louis le 
 Roi, and Pernet, Basle, and Chouet, Geneva ; 
 a Basilisk and the four elements, Rogny ; Belle- 
 rophon, the brothers Arnoul and Charles Angeliers; 
 Guillaume Eustace, and Perier, and Bonel, Venice ; 
 a Bull with the sign Taurus and the Zodiac,
 
 38 Printers Marks. 
 
 Nicholas Bevilacqua, Turin ; a Cat with a mouse 
 in her mouth, Melchior Sessa and Pietro Nicolini, 
 de Sabio, Venice ; two Doves, Jacques Quesnel ; 
 an Eagle, Balthazar Bellers, Antwerp, Bladius, 
 Rome, G. Rouille or Roville, Lyons, and the same 
 design with the motto " Renovabitur ut aquilse 
 juventus mea " occurs in the books published in 
 the early years of the seventeenth century by 
 Nicolini, Rabani, Renneri and Co., Venice ; the 
 personification of Fortune, Bertier, J. Denis (an 
 elaborate and clever design in which a youth is 
 represented climbing the tree of Fortune), and 
 Adrian le Roy and Robert Ballard, Berde and 
 Rigaud, Lyons, and Giovanni and Andrea Zen- 
 naro, Venice ; a Fountain, M. Vascosan, the second 
 Frederic Morel (with a Greek motto importing that 
 the fountain of wisdom flows in books), and 
 Cratander, Basle ; a Heart, Sebastian Hure and 
 his son-in-law Corbon ; Hercules, with the motto, 
 " Virtus non territa monstris," Vitre, Le Maire, 
 Leyden ; a Lion rampant, Arry; a lion rampant 
 crowned on a red ground, Gunther Zainer ; a lion 
 led by the hand, Jacques Creigher ; a lion sup- 
 porting a column, Mylius, Strassburg, and a lion 
 with a hour glass, Henric Petri, Basle ; a Magpie, 
 Jean Benat or Bienne ; this bird also occurs 
 among Robert Estienne's Marks, and the same 
 subject, with a serpent twining round a branch was 
 used (according to Home), by Frederic Morel ; 
 Mercury, alone or with other classic deities, David 
 Douceur, Biaggio, Lyons ; Jean Rossy, Bologne ; 
 Verdust, Antwerp, and Hervagius, Basle ; a Peli- 
 can, N. De Guinguant, S. Nivelle, Girault and De
 
 Introduction. 
 
 39 
 
 Marnef, C. andF. Franceschini, Venice; Mamarelli, 
 Ferrara ; F. Heger, Leyden ; E. Barricat, Lyons ; 
 and Martin Nuyts and his successor who carried on 
 business under the same name, Antwerp ; a.Phcenix, 
 Michael Joli, Wyon, Douay ; Leffen, Leyden ; 
 Martinelli, Rome ; and Giolito, Venice ; a Sala- 
 mander, Zenaro, Venice; St. Crespin and Sen- 
 neton, Lyons ; Duversin and Rossi, Rome ; a 
 Stork, Nivelle and Cramoisy ; St. George and the 
 Dragon, Michel de Hamont, Brussels ; a Swan, 
 Blanchet ; whilst a swan and a soldier formed the 
 Mark of Peter de Caesaris and John Stoll, two 
 German printers who were among the earliest to 
 practise the art in Paris. 
 
 GERARD LEEU.
 
 FUST AND SCHOEFFER. 
 
 SOME GENERAL ASPECTS OF THE 
 PRINTER'S MARK. 
 
 FROM what has already 
 been stated, it will be seen 
 that the Printer's Mark plays 
 a by no means unimportant 
 part in the early history of 
 illustration, whether the 
 phase be serious or gro- 
 tesque, sublime or ridiculous, 
 we find here manifold examples, crude as well as 
 clever. Although it cannot be said with truth 
 that the Mark as an institution reached, like 
 typography itself, its highest degree of perfection 
 at its inception, some of the earlier examples, 
 nevertheless, are also some of the most perfect. 
 The evolution from the small monogram, generally 
 in white on a black ground, to an elaborate picture 
 occupying from a quarter to a whole page, was 
 much less gradual than is generally supposed. 
 The unambitious marks of the first printers were 
 clearly adopted in consonance with the traders' or 
 merchants' marks which began to be so generally
 
 Some General Aspects. 41 
 
 employed during the latter part of the fifteenth 
 century. 
 
 The very natural question, Which was the first 
 Printer's Mark ? admits of an easy answer. It was 
 employed for the first time in the form of the 
 coupled shield of Fust and SchoefFer, in the colo- 
 phon of the famous Psalter printed by these two 
 men at Mainz in 1457. This book is remarkable 
 as being the costliest ever sold (a perfect copy is 
 valued at 5,000 guineas by Mr. Quaritch) : it is the 
 third book printed, and the first having a date, 
 and probably only a dozen copies were struck off 
 for the use of the Benedictine Monastery of St. 
 James at Mainz. It is, however, quite as remark- 
 able for the extraordinary beauty of its initial 
 letters, printed in red and blue ink, the letters being 
 of one colour and the ornamental portion of the 
 other. The Mark of Fust and Schoeffer, it may 
 be mentioned, consists of two printer's rules in 
 saltaire, on two shields, hanging from a stump, the 
 two rules on the right shield forming an angle of 
 45 : the adoption of a compositor's setting-rule 
 was very appropriate. It was nearly twenty years 
 before the introduction of woodcuts into books 
 became general, Gunther Zainer beginning it at 
 Augsburg in 1471-1475. The inception of this 
 movement was naturally followed by a general 
 improvement, or at all events elaboration, of the 
 Printer's Mark, which, moreover, now began to be 
 printed in colours, as is seen in the Fust and 
 Schoeffer mark in red which appears beneath the 
 colophon of Turrecremata's Commentary on the 
 Psalms printed by Schoeffer in 1474. Reverting
 
 42 Printers Marks. 
 
 for a moment to the Psalter which has been very 
 properly described as " the grandest book ever 
 produced by Typography," a very curious fact 
 not at all generally known may be here pointed 
 out. Although the few existing examples with 
 two dates are of the same edition, there are 
 several very curious variations which are well 
 worthy of notice. It will be only necessary, how- 
 ever, in this place to refer to the fact that the 
 beautiful example in the Imperial Library at 
 Vienna which, from its spotless purity, Heineken 
 calls the "exemplaire vierge "-differs from the 
 others in being without the shield of Fust and 
 Schoeffer, a fact which points to the probability of 
 this copy having been the first struck off. 
 
 By the end of the fifteenth century the Printer's 
 Mark had assumed or was rapidly assuming an 
 importance of which its original introducers had 
 very little conception. Indeed, as early as 1539, 
 a law, according to Dupont, in his " H istoire de 1' I m- 
 primerie," was passed by which these marks or arms 
 of printers and booksellers were protected. Un- 
 fortunately the designs were very rarely signed, 
 and it is now impossible to name with any degree 
 of certainty either the artist or engraver, both 
 offices probably in the majority of cases being per- 
 formed by one man. There is no doubt whatever 
 that Hans Holbein designed some of the very 
 graceful borders and title-pages of Froben, at 
 Basle, during the first quarter of the sixteenth 
 century, and in doing this he included the graceful 
 Caduceus which this famous printer employed. It 
 does not necessarily follow that he was the original
 
 I 
 
 S 
 
 V) 
 
 5: 
 
 1 
 
 A 
 
 i 
 
 I- 
 I 
 
 J. FROUKX.
 
 44 Printers Marks. 
 
 designer, although he was in intimate association 
 with Froben when the latter first used this device. 
 The distinctive Mark of Cratander, or Cartander, 
 which appears in the edition of Plutarch's " Opus- 
 cula," Basel, 1530, has also been confidently attri- 
 buted to the same artist : if there is any foundation 
 for this statement Holbein was guilty of plagiarism, 
 for this Mark is a very slight modification on one 
 used by the same printer in 1519, and not only so 
 dated but having the artist's initials, I. F. Those 
 who have the opportunity of examining the 
 " Noctes Atticse" of Aulus Gellius, printed by 
 Cratander in 1519, will come upon several highly 
 interesting features in connection with this Mark, 
 which is emblematical of Fortune : the elaborately 
 engraved title-page contains an almost exact 
 miniature of the same idea on either side, and it 
 is repeated in a larger form in the border which 
 surrounds the first chapter. The Mark occurs in 
 its full size on the last page of all. The title-page, 
 borders and Mark are all by the same artist, I. F. 
 In the earlier example the woman's hair completely 
 hides her face, whilst in that of eleven years later it 
 is as seen on the opposite page, and the whole 
 design is more carefully finished. Diirer had 
 dealt with the same subject. In reference to 
 Froben, however, it should be pointed out that 
 his Marks, of which there were several, show 
 considerable variation in their attendant acces- 
 sories, and that Holbein could not possibly have 
 had anything to do with the majority of them. 
 
 To attempt to identify the designers of even a 
 selection of the best Printers' Marks would be but
 
 Some General Aspects. 
 
 45 
 
 to embark on a wild sea of conjecture. The 
 initials of the engravers, which occur much more 
 frequently than those of the artists, are of very 
 little assistance to the identification of the latter. 
 
 CRATANDER'S MARK. 
 (Attributed to Holbein.) 
 
 Many of them possess a vigour and an originality 
 which would at once stamp their designers as men 
 of more than ordinary ability. For picturesque- 
 ness, and for the care and attention paid to the 
 minutest details, it may be doubted if either
 
 46 Printers Marks. 
 
 B. Picart in France, or J. Pine in this country, 
 has ever been excelled. The examples of the 
 former come perhaps more in the category of 
 vignettes than of Printers' Marks, although the 
 charming little pictures on the title-pages of Stosch's 
 "Pierres Antiques Gravees," 1724, the" Impostures 
 Innocentes," 1734, and the edition of Cicero's 
 " Epistolse," printed at the Hague by Isaac 
 Vaillant, 1725, to mention only three of many 
 
 may be conveniently regarded as Printers' Marks. 
 So far as we know, Pine only executed one 
 example, representing a Lamb within a cleverly 
 designed cartouche and this appears on the title- 
 page of Dale's Translation of Freind's " Emmeno- 
 logia," printed for T. Cox, "at the Lamb under 
 the Royal Exchange," 1 729 : in its way it is 
 unquestionably the most perfect Mark that has 
 ever been employed in this country. Any rule 
 differentiating the Printer's Mark proper from a
 
 Some General Aspects. 
 
 47 
 
 vignette is not likely to give general satisfaction ; 
 for a writer on the subject of vignettes will un- 
 failingly appropriate many that are Marks, and vice 
 versa. The present writer has found it a fairly 
 safe rule, to accept as a Mark a pictorial embellish- 
 ment (on a title-page) to which is appended a 
 
 J. R. DUI.SSI'.CKKK. 
 
 motto or quotation. The temptation to persuade 
 oneself that several of these vignettes are Printers' 
 Marks needs a good deal of resisting, especially 
 when such an exquisite example as that of Daniel 
 Bartholomaeus and Son, of Ulm, is in question. 
 The same holds good with several of the dozen 
 used by J. Reinhold Dulssecker, Strassburg, about
 
 48 Printers Marks. 
 
 the latter part of the seventeenth and earlier part of 
 the eighteenth century ; and very many others that 
 might be named. 
 
 It is interesting to note that the Printer's Mark 
 preceded the introduction of the title-page by 
 nearly twenty years, and that the first ornamental 
 title known appeared in the " Calendar " of 
 Regiomontanus, printed at Venice by Pictor, 
 Loeslein and Ratdolt in 1476, in folio. Neither 
 the simple nor the ornate title-page secured an 
 immediate or general popularity, and not for many 
 years was it regarded as an essential feature of a 
 printed volume. Its history is intimately associated 
 with that of the Printer's Mark, and the progress 
 of the one synchronizes up to a certain point with 
 that of the other. In beauty of design and engrav- 
 ing, the Printer's Mark, like the Title-page, 
 attained its highest point of artistic excellence in 
 the early part of the sixteenth century. This 
 perhaps is not altogether surprising when it is 
 remembered that during the first twenty years of 
 that period we have title-pages from the hands of 
 Diirer, Holbein, Wechtlin, Urse Graff, Schauffelein 
 and Cranach. In his excellent work entitled " Last 
 Words on the History of the Title- Page," Mr. A. 
 W. Pollard observes " From 1550 onwards we find 
 beauty in nooks and corners. Here and there 
 over some special book an artist will have laboured, 
 and not in vain ; but save for such stray miracles, 
 as decade succeeds decade, good work becomes 
 rarer and rarer, and at last we learn to look only 
 for carelessness, ill-taste, and caricature, and of 
 these are seldom disappointed." These remarks
 
 Some General Aspects. 49 
 
 apply with equal force to the Printer's Mark, 
 although some exceptionally beautiful examples 
 appeared after that period. 
 
 The position allotted to the Printer's Mark may 
 not be of very great importance, but it offers some 
 points of interest. It appeared first in the colophon, 
 in which the printer usually seized the opportunity 
 not only of thanking God that he had finished his 
 task, but of indulging in a little puff either of his 
 own part of the transaction or of the work itself. 
 The appearance of the Mark in the colophon 
 therefore was a natural corollary of the printer's 
 vanity. It soon outgrew its place of confinement ; 
 and when a pictorial effect was attempted it became 
 promoted, as it were, to the title-page. In this 
 position it was nearly always of a primary character, 
 so to speak, but sometimes, as in the case of 
 Reinhard Beck, it was almost lost in the maze of 
 decorative borders. But it is found in various 
 parts of the printed book : in some cases, among 
 which are the Arabic works issued by Erpenius 
 of Leyden, we find the Mark at what we regard 
 as the beginning of the book, but which in reality 
 is its end. Sometimes the Mark occupies the 
 first and last leaves of a book, as was often the 
 case with the more important works issued by 
 Froben, by the brothers Huguetan and others. 
 These two Marks at the extreme portions of a book 
 either differed from one another or not, according 
 to the fancy or convenience of the printer. The 
 Mark also appeared sometimes at the end of the 
 index, or at the end of the preliminary matter, 
 such as list of contents or address of the author, 
 
 H
 
 REINHARD HECK.
 
 Some General Aspects. 51 
 
 and its position was generally determined by 
 several circumstances. 
 
 Now and then we have what may be described 
 as a double Mark ; that is, of printer and book- 
 seller, the one keeping a sharp look out to see that 
 the other did not have more than his fair share of 
 credit. This is the case with several books printed 
 by Jehan Petit for Thielman Kerver, Paris, of 
 which an example is given in the previous chapter ; 
 Wynkyn de Worde used Caxton's initials for a 
 time on his Mark, but the only motive which could 
 have prompted this was an affectionate regard for 
 his master. Some of the books which Jannot De 
 Campis printed at Lyons for Symon Vincent con- 
 tained not only the printer's, but two examples of 
 the bookseller's Mark. 
 
 A V R E A 
 
 PS 
 
 w 
 n 
 
 HUliKRT GOLT7.
 
 THE PRINTER'S MARK IN 
 ENGLAND. 
 
 WALTER LYNNE. 
 
 THE consideration of 
 the Printer's Mark as 
 an institution in this 
 country is characterized 
 by extreme simplicity, 
 both as to its origin and 
 to its design. From an 
 entry in one of the Bag- 
 ford volumes (Harleian MSS. 5910) in the British 
 Museum, we learn that " rebuses or name devices 
 were brought into England after Edward III. had 
 conquered France : they were used by those who 
 had no arms, and if their names ended in Ton, as 
 Hatton, Boulton, Luton, Grafton, Middleton, 
 Seton, Norton, their signs or devices would be a 
 Hat and a tun, a Boult and a tun, a Lute and a 
 tun, etc., which had no reference to their names, 
 for all names ending in Ton signifieth town, from 
 whence they took their names." Even in England, 
 therefore, the merchant's trade device was the 
 direct source of the Printer's Mark, which it ante- 
 dated by over a century. It will be convenient,
 
 The Printer s Mark in England. 53 
 
 first of all, to explain that the first printing-press in 
 England was that of William Caxton at West- 
 minster, whose first book was issued from this 
 place November 18, 1477 ; the second was that of 
 Theodoricus de Rood, at Oxford, the first book 
 dated December 17, 14/8; the third was that of 
 the unknown printer at St. Albans, 1480, and the 
 fourth was that of John Lettou, in the city of 
 London, 1480, the last-named being soon joined 
 by William de Machlinia, who afterwards carried 
 on the business alone. The earliest phases of 
 wood-engraving employed at one or other of these 
 four distinct houses were either initial letters or 
 borders around the page. At Caxton's press, as 
 the late Henry Bradshaw has pointed out in a 
 paper read before the Cambridge Antiquarian 
 Society, February 25, 1867, simple initials are 
 found in the Indulgences of 1480 and 1481 ; at the 
 Oxford press an elaborate border of four pieces, 
 representing birds and flowers, is found in some 
 copies of the two books printed there in October, 
 1481, and July, 1482. Of illustrations in the text, 
 we find a series of diagrams and a series of eleven 
 cuts illustrating the text of the first edition of 
 "The Mirror of the World," 1481; a series of 
 sixteen cuts to the second edition of " The Game 
 of Chesse Moralised," 1483 ; and two works of the 
 following year, " The Fables of Esop " and the 
 first edition of" The Golden Legend," each contains 
 not only a large cut for the frontispiece, but in the 
 case of the former, a series of 185 cuts, and, in the 
 latter, two series of eighteen large and fifty-two 
 small cuts. At the Oxford press only two books
 
 54 Printers Marks. 
 
 are known with woodcut illustrations, in neither 
 case cut for the work ; at the St. Albans press the 
 only known illustrations in the text are the coats- 
 of-arms found in the " Book of Hawking, Hunting 
 and Coat- Armours," 1486 ; at the press of Let- 
 tou and W. de Machlinia there is no trace of illus- 
 trations. 
 
 These few introductory facts, condensed from 
 Mr. Bradshaw's paper above mentioned, have a dis- 
 tinct interest to us as leading up to the employment 
 of the Printer's Mark. It is certainly curious that 
 at Caxton's press the very familiar device was only 
 first used about Christmas, 1489, in the second 
 folio edition of the Sarum " Ordinale." At first 
 this bold and effective mark was used, as in the 
 " Ordinale," the " Dictes of the Philosophers," and 
 in the " History of Reynaud the Fox," at or close to 
 the beginning of the volume. In Caxton's subse- 
 quent books it is always found at the end. At the 
 St. Albans press the device with " Sanctus 
 Albanus " is found in two of the eight books printed 
 there, "The English Chronicle," 1483, where it is 
 printed in red, and in " The Book of Hawking," 
 etc., 1486 ; it is formed of a globe and double cross, 
 there being in the centre a shield with a St. Andrew's 
 cross. 
 
 So far as regards Caxton's device, it is easier to 
 name the books in which it appeared than to 
 explain its exact meaning. The late William 
 Blades accepts the common interpretation of " W. 
 C. 74." Some bibliographers argue that the date 
 refers to the introduction of printing in England, 
 and quote the colophon of the first edition of the
 
 ,1,1 ill i ii n 1 1 I i ii 1 1. 1 1 1, 1 Hi U.I.I. Ill I, 
 
 
 WILLIAM CAXTON.
 
 56 Printers Marks. 
 
 " Chess " book in support of this theory. But the 
 date of this work refers to the translation and not 
 to the printing, which was executed at Bruges, 
 probably in 1476. Caxton did not settle at West- 
 
 THE ST. ALBANS PRINTER. 
 
 minster until late in that year, and possibly not 
 until 1477. In all probability the date, supposing 
 it to be such, and assuming that it is an abbrevia- 
 tion of 1474, refers to some landmark in our 
 printer's career. Professor J. P. A. Madden, in 
 his " Lettres d'un Bibliophile," expresses it as his
 
 The Printer s Mark in England. 57 
 
 opinion that the two small letters outside the " W. 
 74 C " are an abbreviation of the words " Sancta 
 Colonia," an indication that a notable event in the 
 life of Caxton occurred in 14/4 at Cologne. Ames, 
 Herbert, and others have copied a device which 
 Caxton never used : it is much smaller than the 
 genuine one (which, in other respects, it closely 
 resembles) which we reproduce from Berjeau. 
 The opinion that the interlacement is a trade 
 mark is, Mr. Blades points out in his exhaustive 
 " Life," much strengthened by the discovery of 
 its original use. In 1487, Caxton, wishing to 
 print a Sarum Missal, and not having the types 
 proper for the purpose, sent to Paris, where the 
 book was printed for him by G. Maynyal, who in 
 the colophon states distinctly that he printed it at 
 the expense of William Caxton of London. 
 When the printed sheets reached Westminster, 
 Caxton, wishing to make it quite plain that he 
 was the publisher, engraved his design and printed 
 it on the last page, which happened to be blank. 
 Mr. Blades gives 1487 as the year in which this 
 Missal (of which only one copy is known) was 
 printed, but Mr. Bradshaw puts it at 1489. The 
 former enumerates twelve books printed by Caxton 
 in which his device occurs all ranging from the 
 aforesaid Missal to the year 1491, the date of his 
 death. 
 
 Wynkyn de Worde, a native of Lorraine, who 
 was with Caxton at Bruges or Cologne, carried on 
 the business of his master at Westminster until 
 1499, when he removed to the sign of the Golden 
 Sun, Fleet Street, London. He had nine Marks, 
 
 i
 
 58 Printers Marks. 
 
 the earliest of which is often described as one of 
 Caxton's, from the genuine example of which, as 
 we have already stated, it differs in being smaller, 
 with a different border, and in having a flourish in- 
 serted above and below the letters. The second is 
 an elongated variation of No. i, with the name 
 Wynkyn de Worde on a narrow white space 
 beneath the device. The next four devices are 
 more or less elaborations upon that of which we 
 
 WYNKYN DE WORDE. 
 
 give a reproduction ; the seventh is the Sagittarius 
 device in black with white characters : between 
 the sagittarii is seen the sun and flaming stars, 
 and below the initials " W C " in Roman letters, 
 with the name Wynkyn de Worde at the foot ; the 
 eighth is a picturesque Mark copied from one 
 belonging to Froben, with the omission of part of 
 the background ; it consists of a semicircular arch, 
 supported by short-wreathed pillars, with foliated 
 capitals, plinths and bases : on the top of each is a
 
 The Printer s Mark in England. 59 
 
 boy habited like a soldier, with a spear and shield 
 bending forwards ; a large cartouche German 
 shield is supported by three boys. The ninth 
 Mark of this printer was a large and handsome 
 one, being a royal and heraldic device which 
 Wynkyn de Worde used as a frontispiece to the 
 Acts of Parliament, in the form of an upright 
 parallelogram which encloses a species of arched 
 
 R. PYNSON. 
 
 panel or doorway, formed of three lines, imitating 
 clustered columns and Gothic mouldings, and two 
 large square shields, that on the left charged with 
 three fleurs-de-lys for France, and the other bearing 
 France and England quarterly, each of which is 
 surmounted by a crown. For a very minute 
 description of these Marks, and their variations, 
 the reader is referred to Johnson's " Typographia," 
 and Bigmore and Wyman's " Bibliography of
 
 6o 
 
 Printers Marks. 
 
 Printing," the former of whom enumerates 410 
 books which issued from this press. 
 
 Among the 200 odd books which Richard Pynson 
 printed between 1493 and 1527, we find six Marks 
 (besides variants), of which five are very similar, 
 and of these we give two examples, the smaller being 
 one of the earliest, in which it will be noticed that 
 
 R. PYNSON. 
 
 the drawing is much inferior to the larger example ; 
 the sixth Mark is a singular one, consisting of a 
 large upright parallelogram surrounded by a single 
 stout line, within which are the scroll, supporters, 
 shield and cypher, crest, helmet and mantling, and 
 the Virgin and St. Catherine, and in many other 
 particulars differing from the other five examples. 
 Robert Redman, who, after quarrelling with
 
 The Printer s Mark in England. 61 
 
 Richard Pynson, and apparently succeeding him 
 in business, employed a device almost identical 
 with that which Pynson most frequently used, 
 and to which therefore we need not further refer. 
 In chronological sequence the next English printer 
 who employed a device is Julian Notary, who was 
 printing books for about twenty years subsequent 
 
 JULIAN NOTARY. 
 
 to 1498, first at Westminster, then near Temple Bar, 
 and finally in St. Paul's Churchyard. He had two 
 devices (of which there are a very few variations), 
 of which we give the more important. The other 
 has only one stout black line, and not two, and it 
 has also the Latinized form of the name Julianus 
 Notarius. About two dozen different works of this 
 printer are known to bibliographers. In connection
 
 62 Printers' Marks. 
 
 with Notary, we may here conveniently refer to an 
 interesting, but admittedly inconclusive article 
 which appears in The Library, i., pp. 102-5, by Mr. 
 E. Gordon Duff, in which that able bibliographer 
 publishes the discovery of two books which would 
 point to the existence of an unrecorded English 
 printer of the fifteenth century. One of these has 
 the title of " Questiones Alberti de modis signifi- 
 candi," and the other, of which only a fragment is 
 known to exist, is a Sarum " Horse," which is dated 
 1497. In the colophons of neither does the name 
 of the printer transpire, but his Mark is given in 
 both in the former book in black, and in the latter 
 in red. This mark is identical with Notary's, with 
 this important exception, that, whereas in Notary's 
 device his name occurs in the lower half of the device, 
 in these the lower half is occupied by the initials I. 
 H., and the upper half by the initials I N B, the I 
 N being in the form of a monogram, and not dis- 
 tinct. In 1498 this same block was used on the 
 title-page of the Sarum " Missal," printed by 
 Notary, who altered it to suit his own requirements. 
 We cannot follow Mr. Gordon Duff in his conjec- 
 tures as to the probability of who this unknown 
 printer may have been, but the matter is one of great 
 bibliographical interest. William Faques, who was 
 the King's Printer, and who is known to have 
 issued seven books between 1 499 and 1 508, had only 
 one Mark, which is totally different from those of 
 any of his predecessors, as may be seen from the 
 example given on page 16, where will also be 
 found references to the sources of the scriptural 
 quotations on the white and black triangles.
 
 The Printer s Mark in England. 63 
 
 The extreme rarity of this printer's books will 
 be best understood when it is stated that there are 
 only two examples in the British Museum ; one of 
 these is a " Psalter," 1504. With W. Faques we 
 exhaust the fifteenth century printers who em- 
 ployed marks to distinguish the productions of 
 their presses. 
 
 R. FAWKES. 
 
 Notwithstanding the similarity in their surnames 
 it is not at all certain that Richard Fawkes ( 1 509- 
 1530), who also appears as Faukes, Fakes, and 
 Faques, was related to the last-mentioned printer. 
 H is books are now of excessive rarity. The unicorn 
 (regardant on either side of the device) appears for 
 the first time in an English mark. Henry Pepwell
 
 64 Printers Marks. 
 
 (1505-1539), of the Holy Trinity in St. Paul's 
 Churchyard, was a bookseller rather than a printer, 
 and all his earlier books were printed in Paris ; his 
 Mark, in which occurs the heraldic device repre- 
 senting the Trinity, was suggested by the sign of his 
 shop. The most important example of the thirty 
 
 PETER TREVERIS. 
 
 books which issued from the little-known press of 
 Peter Treveris, who was apparently putting forth 
 books from 1514 to 1535, is "The Crete herball 
 whiche geveth parfyt knowlege and und[er]stand- 
 ing of all maner of herbes," etc., 1526, a finely 
 printed folio ("at the signe of the Wodows"), of 
 which a second edition appeared in 1529. The 
 earlier edition contains, on the recto of the sixth
 
 The Printer s Mark in England. 65 
 
 leaf, a full-page woodcut of the human skeleton, 
 with anatomical explanations, whilst the last leaf 
 contains a full-page woodcut of the printer's Mark, 
 with the imprint at the foot. Herbert supposes 
 that the sign of the " Wodows," mentioned by 
 Treveris in the colophon, might possibly be put 
 for wode hommes or wild men, and alludes to the 
 
 JOHN SCOTT. 
 
 supporters used in the device. Treveris printed 
 for several booksellers, notably John Reyves, of 
 St. Paul's Churchyard, and for Lawrence Andrewe, 
 of Fleet Street. In this printer's Mark, and in fact 
 nearly every other sixteenth century example, there 
 is a very evident French influence, whilst many of 
 the examples are the most transparent imitations of 
 Marks used by foreign printers. Of the three used 
 
 K
 
 66 
 
 Printers Marks. 
 
 by John Scott or Skot, who was printing books from 
 about 1521 to 1537, two were mere copies of the 
 Marks used by Denis Roce of Paris. We give an 
 illustration of one example ; the second is of the 
 same design, but with a very rich stellated back- 
 ground, and the motto, " A 1'aventure, tout vient a 
 
 ROBERT COPLAND. 
 
 point qui peut attendre." His own device was an ex- 
 ceedingly simple long strip, with the letters lohn 
 Skot in antique Roman characters. An example of 
 the last mark will be found in "The Golden Letanye 
 in Englysshe," printed by Skot in " Fauster Land, 
 in Saynt Leonardes parysshe " ; but examples of 
 this press are excessively rare, only one, " Thystory 
 of Jacob and his XII Sones," fourteen leaves, in
 
 The Printers Mark in England. 67 
 
 verse, and printed about 1525, being in the British 
 Museum, and another tract, "The Rosary," 1537, 
 being in the Althorp Library now transferred to 
 Manchester. 
 
 Robert Copland, who was a beneficiaire and pupil 
 of Wynkyn de Worde, was a translator as well as 
 a printer and stationer, and his shop was at the sign 
 of the Rose Garland in Fleet Street. Although he 
 carried on business from 1515 to about 1548, only 
 a few of his books are now known, none of which 
 appear to be in the British Museum. The majority 
 were purely ephemeral. The most interesting 
 phase of this printer's career occurs in connection 
 with one or two books printed by Wynkyn de 
 Worde, notably " The Assembly of Foules," 1530, 
 at the end of which is " Lenvoy of Robert 
 Copland boke prynter," one of the three verses 
 running thus : 
 
 "Laydeupon shelfe, in leues all torne 
 
 With Letters, dymme, almost defaced cleane 
 
 Thy hyllynge rote, with wormes all to worne 
 
 Thou lay, that pyte it was to sene 
 
 Bounde with olde quayres, for ages all hoorse and grene 
 
 Thy mater endormed, for lacke of thy presence 
 
 But nowe arte losed, go shewe forth thy sentence." 
 
 The three Marks of Copland make allusion to 
 the roses which appeared as a sign to his shop. 
 The most elaborate design is an upright parallelo- 
 gram within which appears a flourishing tree 
 springing out of the earth, and supporting a shield 
 suspended from its branches by a belt and sur- 
 rounded by a wreath of roses ; on the left-hand 
 side is a hind regardant collared with a ducal
 
 68 
 
 Printers Marks. 
 
 coronet standing as a supporter, and on the right 
 is a hart in a similar position and with the same 
 decorations ; there are four scrolls surrounding the 
 centre-piece, on the top one is " Melius est," on the 
 right-hand one" nomen bonum," on the bottom one 
 " q diuitie," and on the left-hand one " multe. Prou. 
 xxii," i.e. "A good name is better than much 
 riches." The second device, of which we also 
 
 ROBERT COPLAND. 
 
 give an example, is self-explanatory, and is perhaps 
 the more original. It has also an additional interest 
 from the fact that it was used by William Copland, 
 1549-1561, who was probably a son of Robert, and 
 who simply altered the mark to the extent of sub- 
 stituting his own Christian name for that of Robert 
 in the scroll at the bottom of the device. Over 
 sixty books by this printer are described by biblio- 
 graphers, and many of them are in the British 
 Museum. Robert Wyer, whose shop was at the
 
 The Printer s Mark in England. 69 
 
 sign of St. John the Evangelist, in St. Martin's 
 parish, in the rents of the Bishop of Norwich, 
 near Charing Cross, was another printer whose 
 works were more remarkable for their number than 
 for their typographic excellence. H is earliest dated 
 work is the " Expositiones Terminarum Legum 
 
 ROBERTIWYEfc 
 
 ROBERT WYER. 
 
 Anglorum," 1527, and his latest "A Dyalogue 
 Defensyue for Women," 1542, but as to nearly 
 sixty others of his works no date is attached, he may 
 have commenced earlier than the first date and 
 continued after the second. The marks of Wyer 
 consisted of two or three representations of St. John 
 the Divine writing, attended by an eagle holding 
 the inkhorn ; he is seated on a rock in the middle
 
 jo Printers Marks. 
 
 of the sea intended to represent the Isle of Patmos. 
 Laurens, or Lawrence, Andrewe, by Ames stated 
 to be a native of Calais, printed a few books during 
 the third decade of the sixteenth century, and 
 resided near the eastern end of Fleet Street at 
 the sign of the Golden Cross. His Mark consisted 
 of a shield which is contained within a very rudely 
 
 ANDREW HESTER. 
 
 cut parallelogram ; the escutcheon is supported by 
 a wreath beneath an ornamental arch, and between 
 two curved pillars designed in the early Italian 
 style, with a background formed of coarse horizontal 
 lines. Three of his books are in the British 
 Museum. The Museum possesses only one book 
 with the imprint of Andrew Hester, who was a 
 bookseller of the "White Horse," St. Paul's
 
 The Printer s Mark in England. 7 1 
 
 Church Yard, and this is an edition of Coverdale's 
 Bible, " newly oversene and correcte," which ap- 
 pears to have been printed for him by Froschover, 
 of Zurich, 1550. Among English Marks of the 
 period, Hester's possesses the merit of being 
 original. 
 
 THOMAS BERTHELET. 
 
 One of the most prolific of the printers of the 
 first half of the sixteenth century was Thomas 
 Berthelet, who succeeded Pynson in the office of 
 King's Printer, at a salary of 4. yearly, and who 
 (or his immediate successors, for he died at the 
 end of 1555) issued books from 1528 to 1568, of 
 which nearly 150 are known to bibliographers, 
 sixty being in the British Museum. His shop was
 
 72 Printers Marks. 
 
 at the sign of the " Lucretia Romana," a charming 
 engraving the most carefully executed of its kind 
 used in this country up to that time of which, 
 with his own name on a scroll, he used as a Mark. 
 Several of his books were printed in Paris. He 
 issued a large number of works in classical litera- 
 ture, and among the more notable of his publica- 
 tions were Chaloner's translation of Erasmus's 
 " Praise of Folly," 1549, Gower's " De Confessione 
 Amantis," and the " Institution of a Christen 
 
 JOHN BYDDEJX. 
 
 Man," with a woodcut border to the title by 
 Holbein. John Byddell, otherwise Salisbury, 
 1533-44, was another printer whose Mark was 
 derived from the sign of the shop in which he 
 carried on business, namely, " Our Lady of Pity," 
 next Fleet Bridge, but he afterwards removed 
 to the Sun near the Conduit, which was probably 
 the old residence of Wynkyn de Worde, for 
 whom he was an executor. The Lady of Pity is 
 personified as an angel with outstretched wings,
 
 The Printer s Mark in England, 73 
 
 holding two elegant horns or torches, the left of 
 which is pouring out a kind of stream terminating 
 in drops, and is marked on the side with the word 
 "Gratia"; that on the right contains fire and is 
 lettered " Charitas " : the lower ends of these horns 
 are rested by the angel upon two rude heater 
 shields, on the left of which is inscribed " Johan 
 Byddell, Printer," and on the other is a mark 
 which includes the printer's initials ; round the 
 head of the figure are the words, " Virtus beatos 
 efficit." This is merely a copy of one of the Marks 
 used by J. Sacon, a Lyonese printer, 1498-1522. 
 Byddell's books were distinctly in keeping with 
 the seriousness of his sign, and among others we 
 find such titles as "News out of Hell," 1536, 
 " Olde God and the Newe," 1534, "Common 
 Places of Scripture," 1538, etc., besides two 
 " Primers." Thomas Vautrollier, who printed 
 books at Edinburgh and London from about 1566 
 to 1605, had four Marks, in all of which an anchor 
 is suspended from the clouds, and two leafy boughs 
 twined, with the motto " Anchora Spei," and with 
 a framework which is identical with that of 
 Guarinus, of Basle. Vautrollier was a native of 
 France ; nearly all his books were in Latin. In 
 1584 he printed an edition of Giordano Bruno's 
 " Spaccio de la Bestia Trionfante," with a dedica- 
 tion to Sir Philip Sidney, and for which he had to 
 flee the country, for the imprint, " Stampato in 
 Parigi," was an obvious and unsuccessful attempt 
 to hoodwink the authorities. In the following 
 
 o 
 
 year he printed at Edinburgh "A Declaration of 
 the Kings Majesties intention and meaning to- 
 
 L
 
 74 
 
 Printers Marks. 
 
 ward the lait Actis of Parliament." J. Norton, 
 1593-1610, also used the same Mark. 
 
 THOMAS VAUTROLLIER. 
 
 Richard Grafton, 1537-72, who was a scholar 
 and an author, is one of the best known of the six-
 
 Printer s Mark in England. 75 
 
 teenth century printers, and, although he issued a 
 large number of books, confined himself to a single 
 Mark, which was a rebus or pun upon his name. 
 Grafton was for several years in partnership with 
 Edward Whitchurche, and also with John Butler. 
 The most important works accomplished by the 
 two first named were the first issue of the Great 
 
 RICHARD GRAFTON. 
 
 or Cromwell's Bible, 1539, and Coverdale's ver- 
 sion of the New Testament, 1538-9, in Latin 
 and English ; the latter being partly printed in 
 Paris by Regnault, and completed in London : as 
 nearly the entire impression was burnt by order 
 of the Inquisition, it is of great rarity and value. 
 Grafton, who was printer to Edward VI. both be- 
 fore and after his accession to the throne, issued a
 
 7 6 
 
 Printers Marks. 
 
 magnificent edition of Halle's ''Chronicle," 1548, 
 and an "Abridgement of the Chronicles" by him- 
 self in 1562, which in ten years reached a fourth 
 edition. Grafton found printing a much more 
 hazardous calling than the grocery business to 
 which he had been brought up, for he was con- 
 stantly in difficulties, which on one occasion nearly 
 
 HUllL 
 
 WILLIAM MIDDLETON. 
 
 cost him his life. The idea which found expres- 
 sion in Grafton's Mark naturally suggested itself 
 to William Middleton, or Myddleton, 1525-47, who 
 succeeded to the business of Robert Redman, and 
 issued books from the sign of the " George next to 
 St. Dunstan's Church in Fleet Street." He had 
 two devices, of which we give the larger and more 
 important: in the smaller the shield is supported
 
 The Printer s Mark in England. 77 
 
 on either side by an angel. About forty of William 
 Middleton's books have been described, one of the 
 most notable being John Heywood's " Four P's, a 
 very merry Enterlude of a Palmer, a Pardoner, a 
 Poticary, and a Pedler." Reginald or Reynold 
 Wolfe, 1542-73, was the King's Printer and a 
 learned antiquary. Wolfe was probably of foreign 
 extraction, for there were several early sixteenth 
 century printers of the same surname in France, 
 Germany, and Switzerland. His printing-office 
 was in St. Paul's Churchyard, at the sign of the 
 Brazen Serpent, which emblem he used as a device, 
 a subject which, as we have already seen, was 
 frequently employed for a similar purpose abroad. 
 Wolfe's other device, of which there are two sizes, 
 consisted of an elegant cartouche German shield, 
 on which is represented a fruit-tree and two boys, 
 one of whom is drawing down the fruit with a stick, 
 whilst the other is taking it up off the ground. Over 
 sixty books have been catalogued as the work of 
 Reginald Wolfe. John Wolfe, originally a fish- 
 monger, started printing about 1560, and from 
 that year until 1601 we have an almost continuous 
 stream of his books, on a very great variety 
 of subjects. Like several others of the early 
 printers, he was in constant warfare with the 
 authorities, whose rules and restrictions of the 
 press were a source of ever-recurring annoyances. 
 He appears to have had as much difficulty in 
 managing his " authors " as with the Stationers' 
 Company, for he is referred to more than once 
 in very uncomplimentary terms in the Martin 
 Marprelate tracts of the period. The Mark here
 
 78 Printers Marks. 
 
 reproduced from Berjeau represents a fleur-de-lys 
 seedling supported by two savages, with the 
 motto " Ubique Floret." John Day, 1546-84, is 
 undoubtedly one of the best known and most 
 prolific of the sixteenth century printers, nearly 
 
 JOHN WOLFE. 
 
 ^oo books having him as their foster-father. He 
 
 \J O 
 
 appears to have started in business at the sign of 
 the Resurrection, a little above Holborn Conduit, 
 but removed in or about 1549 to Aldersgate 
 Street ; he had several shops in various parts of 
 the town, where his literary wares might be dis-
 
 The Printers Mark in England. 79 
 
 posed of, and he is remarkable in being the first 
 English printer who used Saxon characters, whilst 
 he brought those of the Greek and Italic to per- 
 fection. It is not possible to give in this place 
 even a brief summary of Day's career, and it must 
 suffice us to mention that Archbishop Parker was 
 among his patrons, and that the more important 
 books which appeared from his press included 
 Fox's "Acts and Monuments," 1563, and the 
 
 JOHN DAY. 
 
 " Psalmes in Metre with Music," 1571 (for the 
 printing of which he received a patent dated June 
 2, 1568). His best known device, of which we 
 give an example, has a double meaning ; first it is 
 a pun on his name, and secondly an allusion to the 
 dawn of the Protestant religion. He used another 
 Mark, which is a large upright parallelogram, within 
 the lines of which is a very elegant Greek sarco- 
 phagus bearing a skeleton lying on a mat. At the 
 head of the corpse are two figures standing and 
 looking down at it, of which the outer one is in
 
 8o Printers Marks. 
 
 the dress of a rich citizen, having his left hand 
 on his sword, and the other, who is pointing to the 
 body, is dressed like a doctor or a schoolmaster : 
 from his mouth issues a scroll rising upwards in 
 eight folds, on four of which are engraven in small 
 Roman capitals, " Etsi Mors in dies accelerat," and 
 the remainder of the sentence, " Post Fvnera 
 virtus vivet tamen," appears in similar letters on 
 another scroll, which is elegantly twined round the 
 branches of a holly placed behind the sepulchre, to 
 indicate by a tree that blooms at Christmas the 
 evergreen nature of virtue; the sarcophagus, figures, 
 and tree stand by the side of a river, with some 
 distant vessels, on the left hand of which are 
 rocky shores, with cities, etc., and in the uppei 
 corner of the left is the sun breaking out of the 
 clouds ; the initials I D appear on the lower left 
 hand. This Mark is exceedingly rare ; it occurs 
 on the last leaf of J. Norton's translation of the 
 Latin " Catechism," 1570, and also at the end of 
 Churton's " Cosmographical Glass." There are 
 several variations of the Mark which we reproduce 
 on p. 79. William Seres, who was for some time 
 anterior to 1550 in partnership with Day (and at 
 other times with Anthony Scoloker, Richard Kele, 
 and William Hill), printed over 100 books, in 
 many of which his monogram serves the purpose 
 of a Mark. 
 
 Like so many other of the early printers, Richard 
 Jugge, 1548-77, whose shop was at the sign of the 
 Bible at the north door of St. Paul's, was a University 
 man, having studied at King's College, Cambridge. 
 "He had a license from Government to print
 
 A. ARBUTHNOT. 
 
 M
 
 82 Printers Marks. 
 
 the New Testament in English, dated January, 
 1550; and no printer ever equalled him in the 
 richness of the initial letters and general disposi- 
 tion of the text which are displayed therein." On 
 the accession of Elizabeth to the throne, he printed 
 the proclamation, November 17, 1558. About 
 seventy books are catalogued as coming from his 
 press. His elegant Mark consists of a massive 
 architectural panel, adorned with wreaths of fruit, 
 and bearing in the centre an oval within which is 
 a pelican feeding her young, surrounded by the 
 mottoes, " Love kepyth the Lawe, obeyeth the 
 Kynge, and is good to the commen welthe," and 
 " Pro Rege Lege et Grege." On the left of the 
 oval stands a female figure having a serpent twined 
 round her right arm, with the word " Prudentia " 
 underneath, whilst the second female figure, with 
 a balance and a sword, is called "Justicia" ; in the 
 bottom centre in a small cartouche panel is the 
 name R. Jugge in the form of a monogram. This 
 Mark was also used by J. Windet and by Alex- 
 ander Arbuthnot, of Edinburgh, of which we 
 give the example of the last named. Hugh 
 Singleton, 1548-82, appears to have earned as 
 much notoriety among his contemporaries for his 
 "rather loose" principles as for the books which 
 he printed. He was often in conflict with the 
 authorities, and very narrowly escaped severe 
 punishment for printing one of Stubbs' outbursts, 
 for which the author and Page the publisher had 
 their right hands cut off with a butcher's knife and 
 a mallet in 1581 ; Singleton was pardoned. His 
 Mark, of which there are variations, is sufficiently
 
 The Printer s Mark in England. 83 
 
 self-explanatory, although it may be mentioned 
 that for a time he dwelt at the Golden Tun in 
 Creed Lane. Walter Lynne, 1547-50, who was a 
 scholar and an author, had a shop at " Sommer's 
 Key near Billingsgate " and printed about twenty 
 sermons and other religious tracts in octavo, em- 
 ployed the device given as an initial to the pre- 
 sent chapter. John Wyghte, or Wight, resembled 
 Singleton somewhat in his facility for running 
 
 HUGH SINGLETON. 
 
 his head against established customs, and was on 
 one occasion fined for keeping his shop open on 
 St. Luke's Day, and on another for selling pirated 
 books. His shop was at the sign of the Rose, 
 St. Paul's Churchyard, and his books beginning 
 with an edition of the Bible range from the 
 year 1551 to 1596. His device was a portrait of 
 himself, which varies considerably both in size and 
 in other respects. Perhaps the most curious and 
 interesting work which he published was " A
 
 84 Printers Marks. 
 
 Booke of the arte and manner how to plant and 
 graffe all sortes of trees," 1586, translated from the 
 French by Leonard Mascall, and dedicated to Sir 
 John Paulet. 
 
 The employment of the Geneva arms as a 
 Printer's Mark is confined, in this country, to 
 Rowland Hall, who, at the death of Edward VI., 
 
 JOHN WIGHT. 
 
 accompanied several refugees to Geneva, where he 
 printed the Psalms, Bible, and other works of a 
 more or less religious character ; his books range 
 from 1559 to 1563, and about two dozen are known 
 to bibliographers, and half of this number are in 
 the British Museum. His Mark has a double 
 interest ; first, from his residence in Geneva, and 
 secondly from the fact that the sign of his shop, 
 " The Half Eagle and Key," was a still further
 
 The Printer s Mark in England. 85 
 
 acknowledgment of the protection which he en- 
 joyed in Geneva. This was not his only Mark, 
 but it is the only one to which we need refer. 
 The name of Richard Tottell, 1553-97, is much 
 better remembered in connection with the epoch- 
 making little book, " Songes and Sonettes," 1557, 
 the first miscellany of English verse, than either 
 of the other seventy or eighty publications 
 
 ROWLAND HALL. 
 
 which bear his imprint. His shop was in Fleet 
 Street at the sign of the Hand and Star, the same 
 idea serving him as a Mark : the hand and star in 
 a circle, with a scroll on either side having the 
 words " cum privilegio," the whole being placed 
 under an arch supported by columns ornamented 
 in the Etruscan style. One of the most curious 
 of the large number of books which came from 
 the press of Henry Bynneman, 1567-87, is "The 
 Mariners boke, containing godly and necessary
 
 86 Printers Marks. 
 
 orders and prayers, to be observed in every ship, 
 both for mariners and all other whatsoever they 
 be that shall travaile on the sea, for their voyage," 
 1575 ; a still more curious production of his press 
 has the following' title, " Of ghostes and spirites 
 walkyng by night, and strange noyes, crackes and 
 sundry fore warnynges, which commonly happen 
 before the death of men, great slaughters, and 
 alterations of kyngdomes," 1572. Bynneman had 
 served with Reynold Wolfe, and when he started 
 
 HENRY BYNNEMAN. 
 
 in business on his own account met with much 
 encouragement from Archbishop Parker, who 
 allowed him to have a shop or shed at the north- 
 west door of St. Paul's. He appears to have had 
 two Marks, one of which was derived from the 
 sign of his shop, " The Mermaid," with the motto, 
 " Omnia tempus habent," and the other (here 
 reproduced) of a doe passant, and the motto, 
 " Cerva charissima et gratissimus hinnulus pro." 
 Thomas Woodcock, 1576-94, who dwelt at the 
 sign of the Black Bear, in St. Paul's Churchyard,
 
 The Printers Mark in England. 87 
 
 was a bookseller rather than a printer ; his Mark 
 is an evident double pun on his surname. 
 
 During the last years of the sixteenth century, 
 and the first three decades of the seventeenth, 
 there were two Jaggards among the London prin- 
 ters ; by far the better known is Isaac, who, with 
 
 
 THOMAS WOODCOCK. 
 
 Edward Blount, issued the first folio edition of 
 Shakespeare's plays ; he seems to have had no 
 Mark, but William, 1595-1624, used the rather 
 striking device (page 88), which is thus described : 
 Serpent biting his tail, coiled twice round the 
 wrist of a hand issuing from the clouds and 
 holding a wand from which springs two laurel
 
 88 Printers Marks. 
 
 branches, and which is surmounted by a port- 
 cullis (the Westminster Arms) ; in the last coil of 
 the serpent the word " Prudentia." Equally dis- 
 tinct is the mark of Felix Kingston, or Kyngston, 
 who printed a very large number of books from 
 1597 to 1640; in this devise we have the sun 
 
 WILLIAM JAGGARD. 
 
 shining on the Parnassus, and a laurel tree be- 
 tween the two conical hills, with a sunflower and a 
 pansy on either side. 
 
 The Mark of William Norton, 1570-93, whose 
 shop was at the King's Arms, St. Paul's Church- 
 yard, was in a double sense a pun on his name, 
 consisting as it did of a representation of a Sweet- 
 William growing through a tun inscribed with the
 
 The Printer s Mark in England. 89 
 
 letters "NOR" ; and something of the same kind 
 may be said of that employed by Richard 
 Harrison, 1552-62, whose Mark is described by 
 Camden as " an Hare by a sheafe of Rye in the 
 Sun, for Harrison." . In this connection we may 
 also here refer to the Mark employed by Gerard 
 
 FELIX KINGSTON. 
 
 (or Gerald) Dewes, 1562-87, whose shop was at 
 the sign of the Swan in St. Paul's Churchyard ; 
 this is described by Camden thus: "and if you 
 require more [i.e. in reference to the prevailing 
 taste for picture-writing such as the designs of 
 Norton and Dewes] I refer you to the witty in- 
 ventions of some Londoners ; but that for Garret 
 
 N
 
 90 Printers' Marks. 
 
 Dewes is most remarkable, two in a garret cast- 
 ing Dewes at dice." In the same category also 
 may be included the Mark of Christopher and 
 Robert Barker, the Queen's Printers, who used a 
 design of a man barking timber, with the couplet 
 
 " A Barker if you will, 
 In name but not in skill." 
 
 THOMAS CREEDE. 
 
 From these and many other instances which might 
 be cited, it will be seen that by the end of the six- 
 teenth century the Printer's Mark in England had 
 declined into a very childish and feeble play upon 
 the names of the printers, and the subject therefore 
 need not be further pursued. 
 
 The natural result, moreover, of this decline was, 
 in the following century, followed by what practi- 
 cally amounts to extinction ; and the few exceptions 
 to which we shall refer, and which are to some ex-
 
 The Printer s Mark in England. 91 
 
 tent selected at random, prove the truth of that 
 theory. Thomas Creede, 1588-1618, whose shop 
 was at the sign of the Catherine Wheel, near the 
 Old Swan in Thames Street, was one of the prolific 
 printers of the period, and his most common Mark 
 is a personification of Truth, with a hand issuing 
 from the clouds striking on her back with a rod, 
 and encircled with the motto, " Veritas virescit 
 vulnere." Among the numerous books which he 
 printed was Henry Butte's " Digets Dry Dinner," 
 
 JOHN WALTHOE. 
 
 J 599> f r William W T ood, a bookseller whose shop 
 was at the sign of Time, St. Paul's Churchyard, 
 and whose Mark was an almost exact copy of one 
 employed by Conrad Bade, a sixteenth century 
 printer of Paris and Geneva (who had apparently 
 adopted his from that of Knoblouch of Strass- 
 burg, which we give on another page) : it repre- 
 sents a winged figure of Time helping a naked 
 woman out of what appears to be a cave, with 
 the motto, " Tempore patet occulata veritas " ; this 
 Mark follows the introductory matter in the above- 
 named work. Making a leap of over half a century,
 
 92 Printers Marks. 
 
 we come across another ambitious Mark, which in 
 the present instance served the additional purpose 
 of a frontispiece ; it was employed by John Allen 
 of the Rising Sun, St. Paul's Churchyard, and 
 is dated 1656; it is rather a fine device of the 
 sun rising behind the hills, with a cathedral on 
 the left-hand side, and the inscription " Ipswiche " 
 and a coat-of-arms, apparently of that city. 
 Although not exactly a printer's or publisher's 
 
 R. WARE. 
 
 Mark, the charming little plate, engraved by 
 Clark, which John Walthoe, Jr., inserted on the 
 title-page of " The Hive : a collection of the most 
 celebrated Songs," 1724, is sufficiently near it to 
 be worth reproducing here. T. Cox, a bookseller 
 of " The Lamb," under the Royal Exchange, 
 Cornhill, was fortunate enough to have a Mark 
 (see page 46), in which John Pine is seen at his 
 best : Cox was not only an eminent book- 
 seller, but was also an exchange-broker. Of
 
 T/ie Printers Mark in England. 93 
 
 much less delicate workmanship, but appropriate 
 nevertheless, is the Mark which we find on the 
 title-pages of the books printed for R. Ware, at 
 
 JOHN SCOLAR. 
 
 the Bible and Sun in Warwick Lane, one of whose 
 books, Dr. Warren's '* Impartial Churchman," 
 1728, contains at the end of the first chapter
 
 94 Printers Marks. 
 
 another Mark, an exceedingly rough sketch of a 
 printing-office, with the motto, "vitam mortuis 
 reddo." On books intended more or less for par- 
 ticular schools, the Printer's Mark usually takes 
 the shape of the arms of the schools themselves, 
 as in the case of Westminster and Eton ; and the 
 same may be said of books printed at Oxford and 
 Cambridge, in the former case a very fine view of 
 the Sheldonian Theatre usually appearing on the 
 title-page of books printed there. John Scolar 
 is an interesting figure among the very early 
 printers of Oxford, and from 1518 he was the 
 official printer of the University ; in one of the 
 books he issued there is cited an edict of the 
 Chancellor, under his official seal, enjoining that for 
 a period of seven years to come, no person should 
 venture to print that work, or even to sell copies 
 of it elsewhere printed within Oxford and its 
 precincts, under pain of forfeiting the copies, 
 and paying a fine of five pounds sterling, and 
 other penalties. Scolar's Mark is one of the very 
 few in which a book appears. John Siberch, 
 the first Cambridge printer, apparently had two 
 Marks, one of which the Royal Arms, which was 
 the sign of the house he occupied appears on 
 four of the eight books printed by him at Cam- 
 bridge in or about 1521 ; of the second we give a 
 facsimile from his first book, Galen, " De Tem- 
 peramentis." The Mark of the majority of 
 eighteenth century booksellers and printers con- 
 sisted of a monogram formed either with their 
 initials or names. During a portion of his career 
 Jacob Tonson used a bust of what purported to
 
 The Printer s Mark in England. 95 
 
 be Shakespeare, partly from the fact that for many 
 years the copyright of the great dramatist's works 
 belonged to him and partly because one of his 
 shops had for its sign, " The Shakespeare's Head." 
 The earliest Printers' Marks of Scottish printers 
 are not of the first importance, but they are 
 sufficiently interesting to merit notice. Walter 
 
 JOHN SIBRRCH. 
 
 Chepman and Andro Myllar were granted a patent 
 for the erection of a printing-press at Edinburgh 
 on September 15, 1507, the former finding the 
 money and the latter the knowledge. Each had 
 his distinctive Mark, both of which are of French 
 origin a theory which is easily proved so far as 
 Myllar's is concerned from the fact that it displays 
 two small shields at the top corners, each charged
 
 g6 Printers Marks. 
 
 with ti\e.fleur-de-lys. Myllar's device, in which we 
 see a windmill with a miller ascending the outside 
 
 ANDRO MYLLAR. 
 
 ladder, carrying a sack of grain on his back, is an 
 obvious pun on his name, and was, perhaps,
 
 The Printer s Mark in England. 97 
 
 suggested by the Mark of Jehan Moulin, Paris. 
 Chepman's is a very close copy of that of Pigouchet, 
 
 WALTER CHEPMAN. 
 
 Paris, the male and female figures being carefully 
 copied even to the small crosses on their knees ; 
 the initials W C are elegantly interlaced. Thomas 
 
 o
 
 98 Printers Marks. 
 
 Davidson is a very interesting figure in the early 
 history of Scottish typography ; he appears to have 
 
 THOMAS DAVIDSON. 
 
 been the first king's printer of his country, and one 
 of his earliest works is "Ad Serenissimum Scotorum 
 Regem Jacobum Quintum de suscepto Regni
 
 The Printer s Mark in England. 99 
 
 Regimine a diis feliciter ominato Strena," circa 
 1525 ; about ten years later came a translation of 
 the " Chronicles of Scotland," compiled by Boece, 
 and " translatit be maister Johne Bellenden ; " 
 Davidson's Mark is of the same character as 
 Chepman's, but is, if possible, even more roughly 
 drawn and engraved ; whilst Bassandyne copied 
 the device of Crespin of Geneva, with the initials 
 T. B. instead I. C. Arbuthnot's device of the 
 Pelican, which he used in two sizes, and the Marks 
 of Thomas Vautrollier, have been already referred 
 to. Coming down to the last twenty years of the 
 sixteenth century, we find the few books of Henry 
 Charteris of considerable and varied interest, and his 
 Mark, if by no means carefully drawn and engraved, 
 has at all events the merit of being fairly original. 
 
 RELTCIO. 
 
 H. CHARTERIS.
 
 SOME FRENCH PRINTERS' MARKS. 
 
 IT is rather a curious fact, 
 all things considered, that 
 the introduction of the 
 printing-press into Paris 
 should have only ante- 
 dated its appearance in 
 this country by four 
 years ; such however is 
 the case. It was at the 
 commencement of the 
 year 1470, the tenth of 
 the reign of Louis XL, 
 that Ulrich Gering, Mar- 
 tin Krantz, and Michel 
 Friburger commenced 
 printing in one of the 
 rooms of the College 
 Sorbonne. They had learnt their art at May- 
 ence, and at the dispersal of the office of Fust 
 and Schoeffer had settled down at Basel. They 
 were induced to take up their residence at the 
 Sorbonne by Jean Heinlin and Guillaume Fichet, 
 two distinguished professors of that place. The 
 
 F. ESTIENNE.
 
 Some French Printers Marks. 101 
 
 first book printed at Paris was the "Letters" of 
 Gasparin of Bergamo, 1470, which contains the 
 following 1 quatrain at the end of the work : 
 
 " Primos ecce libros quos haec industria finxit 
 Francorum in terris aedibus atque tuis ; 
 Michael, Udalrichus, Martinusque magister 
 Hos impresserunt, ac facient alios." 
 
 By the end of 1472 the three companions had 
 issued thirty works, apparently without indulging 
 in the luxury of a Mark, but their patrons separa- 
 ting they had to leave the Sorbonne. Their new 
 quarters were at the sign of the " Soleil d'Or" in 
 the Rue St. Jacques the Paternoster Row of 
 Paris. Here they remained until 1477, when 
 Gering was the sole proprietor. He was joined 
 in 1480 by George Mainyal, and in 1494 by 
 Bertholt Rembolt, and died in August, 1510. 
 Within thirty years of the introduction of printing 
 into Paris, there were nearly ninety printers, who 
 issued nearly 800 works between 1470 and 1500. 
 Rembolt, who succeeded Gering and preserved 
 the sign of his office, was one of the earliest, if not 
 the first to adopt a Mark, of which indeed he used 
 four more or less distinct examples. We repro- 
 duce one of the rarest ; his best known is a highly 
 decorative picture, and has a shield (carrying a cross 
 with the initials B. R. in the lower half of the circle 
 which envelopes the foot of the cross) suspended 
 from a vine tree and supported by two lions. Of 
 this Mark there are at least two sizes; another 
 of his Marks consisted of an enlarged form of 
 the cross to which we have referred.
 
 IO2 Printers Marks. 
 
 After Rembolt, the interest of the Printer's 
 Mark in France diverges into a number of direc- 
 tions. The most prolific printer was, perhaps, 
 Antoine Verard, who, dying in 1530, issued books 
 continuously for about forty-five years : he was 
 also a calligrapher, an illuminator, and a book- 
 
 !BERCHTO1DVS*R 
 
 B. REMBOLT. 
 
 seller; his Books of Hours led the way for the 
 beautiful productions of Simon Vostre, whilst his 
 chief " line " consisted of romances, of which there 
 are over a hundred printed on vellum and orna- 
 mented with beautiful miniatures. He had two 
 Marks, one of which, consisting simply of the two 
 letters A. V., is accompanied by the lines :
 
 Some FrencJi Printers Marks. 103 
 
 " Pour proquer la grand' misericorde, 
 A tous pescheurs faire grace et pardon, 
 Antoine Vrard humblement te recorde." 
 
 Of the second we give an example on p. 21. 
 Among his publications may be mentioned " L'Art 
 
 IKON 'YOST 
 
 SIMON VOSTRE. 
 
 de bien Mourir," 1492, which Gilles Couteau and 
 J. Menard printed for him, whilst the punning Mark 
 of the former is reproduced in our first chapter 
 (p. 4). Francois Regnault, who printed a large 
 number of books during the first half of the
 
 4ompo(ir pat wuwtnD pere t n 9if u ^Dutf 
 
 fa pwwi^to o Swine iaDt f we (qu< ftc ^o 
 
 6e Of foinrt Jgxrtwj rt cflanf effort De fosDicOefa ^$oi 
 
 ^iij J)oiDu 6fl(j 5HC D6tdpp D Sourgongn 
 
 none a Itftat bt noBfcffcf ont contrnu0 he fauf vS> 
 (urujC ft maanammr o fate t =- r (inf dee tr<f c6:rfhf nnf ff 
 
 " 
 
 tre rof rt p:mce6 9efam({i, ft nouucau ffftamcnt 
 cul iinp:tmr a poae 
 
 Cl f 5 f"f "Senbcnf Bwris rij fa tut (aintt 
 ya\W9 aUnfciQnefainct <&ouftc . 
 
 FRANCOIS REGNAULT.
 
 Some French Printers Marks. 105 
 
 sixteenth century, had six Marks, chiefly varia- 
 tions on the one here given. He usually placed 
 at the bottom of his books : " Parissis, ex officina 
 honesti viri Francissi Regnault"; the accompany- 
 
 PIERRE REGNAULT. 
 
 ing reduced facsimile of one of his title-pages 
 indicates the prominent position allotted at this 
 early period to the printer's Mark. A very re- 
 markable and elaborate Mark of this family of 
 printers was that of Pierre Regnault, who was 
 putting forth books during nearly the whole of the
 
 io6 
 
 Printers Marks. 
 
 first half of the sixteenth century. The Marchant 
 family existed in Paris as printers for over 300 years 
 (1481-1789). The first of the line, Guy, or Guyot, 
 who printed books for Jehan Petit, Geoffrey De 
 Marnef, and others, had as Mark four variations 
 of the chant gaillard represented by two notes, 
 sol, la, with one faith represented by two hands 
 joined, in allusion to the words, " Sola fides sufficit," 
 taken from the hymn, " Pange lingua." Beneath 
 his Mark he placed the figures of Saints Crispin 
 
 GUY MARCHANT. 
 
 and Crispinian, patrons of the leather-dressers who 
 prepared the leather for the binder, in which 
 capacity Marchant acted on several occasions for 
 Francis I. As was the case with his contem- 
 poraries, Marchant's earliest books possessed no 
 mark, and one of the first of the publications in 
 which it appeared was the " Compost et Calendrier 
 des Bergiers," 1496. The De Marnef family also 
 make a big show in the annals of French typo- 
 graphy, particularly in the way of Marks, the 
 various members using, between 1481 and 1554,
 
 Some French Printers Marks. 107 
 
 nearly thirty examples, including duplicates, several 
 of which were designed by Geoffrey Tory. Nearly 
 all these Marks had the subject of the Pelican 
 feeding her young as a centre piece. Jerome, 
 however, used a Griffin among his several other 
 examples, of which the two finest of the whole 
 
 DK MARNEF. 
 
 series are those numbered 746 and 812 in Sil- 
 vestre, and are the work of Jean Cousin at his 
 best. The founder of the family, Geoffrey, used 
 the accompanying device in two sizes. The Janot 
 family, of which the founder, Denys, was the most 
 celebrated, were issuing books in Paris from the 
 end of the fifteenth to the middle of the eighteenth
 
 io8 
 
 Printers Marks. 
 
 century, and the more noticeable of their Marks 
 contained the device : " Amor Dei omnia vincit 
 amour partout, tout par amour, partout amour, 
 en tout bien " (see p. 15). The Mace family, which 
 makes a good show with eleven Marks, was also 
 a long-lived one of over 200 years, many of the 
 
 J. DU PRE. 
 
 members residing at Caen, Rennes, and Rouen, 
 besides Paris. The same may be said to some 
 extent of the Dupre or Du Pre family, 1486-1775 ; 
 the two first, Jean or Jehan and Galliot, were the 
 most celebrated Of the dozen Marks employed 
 by this family, the most original, it being the evident 
 pun on his name, has a Galiote, at the head of the
 
 Some FrencJi Printers Marks. 109 
 
 mast of which is the motto, " Vogue la Guallee," or 
 sometimes " Vogue la Gualee " (see p. 5). Jehan 
 Du Pre the Lyons printer, used the accompanying 
 Mark formed of his initials. The first as well as the 
 most noted member of the Le Rouge family of 
 printers was Pierre, who resided at Chablis, Troyes, 
 
 PIERRE LE ROUGE. 
 
 and Paris, and who was the first to take the title 
 of " Libraire-Imprimeur du Roi," ceded to him by 
 Charles VIII., and used in " La Mer des Histoires, ' 
 1488. Appropriately enough, Michel Le Noir, 
 whose motto we have already quoted, may be 
 here referred to. He issued a large number of 
 books, the most notable, perhaps, being " Le
 
 IIO 
 
 Printers Marks. 
 
 Roman de la Rose," 1513. He was succeeded by 
 his son Philippe in 1514, one of whose most notice- 
 able publications was " Le Blazon des Heretiques " 
 (a satirical piece attributed to Pierre Gringoire), 
 the figure or effigy at the head is signed with the 
 
 PHILIPPE LE NOIR. 
 
 monogram of G. Tory. The five Marks of father 
 and son differed only in minor details, and the 
 above example of Philippe will sufficiently indicate 
 the character of the others. Philippe Pigouchet, 
 who was an engraver as well as a bookseller and 
 printer, contented himself apparently with one 
 Mark. He is distinguished for the extreme care
 
 Some French Printers' Marks. 1 1 1 
 
 with which he turned out his books, particularly 
 the Books of Hours which he undertook to pro- 
 duce in partnership with Simon Vostre ; some of 
 his works are freely copied by the publishers of to- 
 day, and might with advantage be even more 
 generally utilized than they are, for they possess 
 
 THIELMAN K.ERVER. 
 
 all the attributes of beautiful books. Thielman 
 Kerver, a German, was another printer who worked 
 for Simon Vostre, one of his most important pro- 
 ductions being a " Breviarium ad usum Ecclesiae 
 Parisiensis," 1 500, in red and black. His shop was 
 on the Pont St. Michel, at the sign of the Unicorn, 
 which, as will be seen, he adopted as his Mark,
 
 1 1 2 Printers Marks. 
 
 and of which there are two, which differ from one 
 another only in minor details. Of Simon Vostre 
 himself, a whole book might be compiled. From 
 about 1488 to 1528 he devoted himself exclusively 
 to the publishing of books, and employed all the 
 best printers : it was by his energy combined with 
 Pigouchet's technical skill that the two produced, 
 in April, 1488, the " Heures a 1'Usaige de Rome," 
 an octavo finely decorated with ornaments and 
 figures ; the experiment was a complete success. 
 It is generally assumed that the engraving was 
 done in relief on metal, as the line in it is very 
 fine, the background stippled, and the borders 
 without scratches : wood could not have resisted 
 the force of the impression, the reliefs would 
 have been crushed, the borders rubbed and badly 
 adjusted. The artistic connection of Pigouchet 
 and Vostre lasted for eighteen years, and with 
 them book production in France may be said to 
 have attained its highest point. By the year 1520 
 Vostre had published more than 300 editions of 
 the " Hours " for the use of different cities ; he 
 had two Marks, of which we give the larger 
 example on p. 103. 
 
 In many respects Jean or Jehan Petit is one of 
 the most remarkable of the early French printers, 
 whilst from the time he started to the final extinc- 
 tion of his descendants as printers covers a space 
 of 336 years a record which is probably un- 
 rivalled in the history of typography. Jehan 
 Petit kept fifteen presses fully employed, and 
 found a great deal of work for fifteen others. 
 The family as a whole makes a good show with
 
 PHILIPPE PIGOUCHET.
 
 ii4 Printers Marks. 
 
 their marks, in which the founder is more extra- 
 vagant than any of the others, having used, at one 
 
 JEHAN PETIT. 
 
 time or another, at least half-a-dozen more or less 
 different examples. In addition to reproducing
 
 Some French Printers Marks. \ 1 5 
 
 one of the finest, we give, on p. 9, also a reduced 
 facsimile of a title-page of a book, the joint venture 
 of Petit and Kerver ; the combination of the two 
 names on one title-page is distinctly novel and 
 curious. He was on several occasions associated 
 with others in producing a book, his connection 
 
 BADE. 
 
 with Josse Bade extending from 1501 to 1536. 
 Of Bade or Badius it will be necessary to give a 
 few particulars. He was born at Asche, near 
 Brussels, and was a scholar and a poet as well as a 
 printer. About 1495-7 he was engaged as a 
 corrector of the press for Treschel and De Vingle 
 at Lyons. He left about 1500 for Paris, where he 
 started a press in 1502, which he called " Prelum
 
 ii6 Printers Marks. 
 
 Ascensianum." In reference to this term, "the 
 Ascension Press," the word "prelum" was applied 
 to the ancient wine presses, after which, in fact, 
 the earliest printing presses were modelled. His 
 
 GILLET HARDOUYN. 
 
 Mark, which he first used in 1507, is the earliest 
 picture of a printing-press. Thirteen years after, 
 he adopted another device with the same subject, 
 but differing in many important particulars. In 
 the second, the composing-stick used by the figure 
 in the act of setting type is changed from the right
 
 Some French Printers Marks. 1 1 7 
 
 to the left hand ; the press shows improved me- 
 chanical construction, indicating greater solidity 
 and strength. In the latter example also the figure 
 sitting at the case on the right side of the engraving 
 is intended to represent a woman, instead of a man 
 as in the earlier illustration. Contemporary with 
 both Petit and Bade, Gilles or Gillet Hardouyn, 
 
 GEOFFREY TORY. 
 
 1 49 1 - 1 5 2 1 , was both a printer and a bookseller, and 
 used two Marks, of which we give the more striking. 
 Germain Hardouyn, possibly a son of the preced- 
 ing, confined himself more particularly to selling 
 books during the first forty years of the sixteenth 
 century. 
 
 Geoffrey Tory resembled many others of the 
 early printers in being also a scholar ; but he was
 
 ii8 Printers Marks. 
 
 also an artist and an engraver, taking up and 
 carrying on the great work inaugurated by Vostre 
 and Verard. He was born at Bourges in 1480, 
 and one of his earliest works, which was published 
 by Petit and printed by Gilles De Gourmont, was 
 an edition of the "Geography" of Pomponius 
 Mela, 1507, and between this time and his death 
 he produced a number of Books of Hours, the 
 decoration of which can only be described as 
 marvellous. One of the most beautiful is un- 
 doubtedly the " H cures de la Vierge," executed 
 for Simon De Colines. What interests us most, 
 however, is the Mark which he adopted when he 
 entered into business as a printer and bookseller ; 
 it is perhaps the most elegant that had been up to 
 that time designed. This Mark of the broken 
 pitcher, with the motto " Non plus," first appeared 
 at the end of a Latin poem issued in 1524, is 
 regarded as a memento of the death of his little 
 daughter in 1522, and is thus explained: the 
 broken pitcher symbolizes her career cut short ; 
 the book with clasps her literary studies ; the 
 little winged figure her soul ; and the motto " Non 
 plus," "Je ne tiens plus a rien." He gives his 
 own interpretation of this Mark, however, in that 
 curious medley of poetry and philosophy which he 
 called " Champfleury," 1529. It may be mentioned 
 that on some of the bindings of his quarto volumes 
 the broken pitcher is transversed by the wimble 
 or toret an obvious pun on his name. 
 
 The Estienne or Etienne family is probably the 
 most important and interesting of the sixteenth 
 century printers of Paris. Silvestre reproduces
 
 Some French Printers Marks. 1 19 
 
 twenty Marks which one or other of the Estiennes 
 employed, and a description of these might very 
 well form a distinct chapter. But a condensed 
 review of the family as a whole must suffice. 
 Henry, the first of the name and chief of the 
 
 S DECOLINES 
 
 SIMON DE COLINES. 
 
 family, was born at Paris about 1470 ; he started 
 in 1502 a printing and bookselling business in the 
 Rue du Clos-Bruneau, near the Ecoles de Droit ; 
 he adopted the device, " Plus olei quam vini " ; and 
 twenty-eight works are catalogued as having been 
 printed by him. He died in 1521, leaving a 
 widow and three children Fran9ois, Robert, and
 
 I2O 
 
 Printers Marks. 
 
 Charles. Frar^ois I. continued the profession in 
 company with Simon De Colines, who had been 
 associated with his father, and who married the 
 widow of Henry : his Mark is given as an initial 
 to this chapter. Robert I., the second son of 
 Henry, was born in 1503, and is probably more 
 
 R. ESTIENNE. 
 
 generally known as a Greek, Latin, and Hebrew 
 scholar than as a printer. For several years he, like 
 his brother, was associated with De Colines ; he 
 married Pe"tronille, daughter of Badius "Ascensius," 
 and was a Protestant; in 1526 he established a 
 printing-press in the Rue St. Jean-de-Beauvois at 
 the sign of the Olive. His editions of the. Greek 
 and Latin classics were enriched with useful notes,
 
 Some French Printers Marks. 121 
 
 and promises of reward were offered to those who 
 pointed out mistakes. He used the types of his 
 father and De Colines until about 1532, when he 
 obtained a more elegant fount with which he 
 printed his beautiful Latin Bible. In 1552 he 
 
 ROBERT ESTIENNE. 
 
 retired to Geneva, when he printed, with his 
 brother-in-law, the New Testament in French. 
 He established here another printing-press, and 
 issued a number of good books, which usually 
 carried the motto : " Oliva Roberti Stephani." 
 His Marks are at least ten in number, of which 
 seven are variations of the Olive device, and three 
 
 R
 
 122 Fruiters Marks. 
 
 (in as many sizes) of the serpent on a rod inter- 
 twined with a branch of a climbing plant. With 
 the exception of Fra^ois the other members of 
 the family used the Olive mark, sometimes how- 
 ever altering the motto, and adding in some 
 instances an overhead decoration of a hand issuing 
 from the clouds and holding a sickle or reaping 
 hook. He died in 1559. The third son of the 
 founder, Charles, after receiving his diplomas as a 
 doctor of medicine, travelled in Germany and Italy, 
 returning to Paris in 1553, and started in business 
 as a printer. Among the ninety-two works which 
 he printed, special mention may be made of the 
 " Dictionarium historicum ac poeticum, omnia 
 gentium, hominum, locorum," etc., Paris, 1553, 
 reprinted at Geneva in 1556, at Oxford in 1671, 
 and London, 1686. He possessed the opposite at- 
 tributes of being the best printer and of having the 
 worst temper of the family, and he alienated him- 
 self from all his friends and relations ; he was con- 
 fined in the Chatelet in Paris, and died there after 
 two years in 1564. Henry II., son of Robert I., 
 was born in Paris in 1528 ; after leaving college 
 he travelled on the continent and visited England. 
 He returned to Paris in 1552, when his father was 
 leaving for Geneva. In 1554 he started a printing- 
 press ; in 1566 he published a translation of 
 Herodotus by Valla, revised and corrected, de- 
 fending, in the preface, the Father of History 
 against the reproach of credulity. Charles, brother 
 of Robert I., established a printing-press in 1551, 
 and died crippled with debts in 1564. Robert II., 
 second son of Robert I., was born in 1530, and,
 
 Some French Printers Marks. 1 23 
 
 refusing to adopt the new religion, was disinherited 
 by his father ; he started a printing-press on his 
 own account when his father retired to Geneva, 
 and issued forty-eight books, some of which pos- 
 sessed the mark of the Olive ; he was the royal 
 printer in 1561, and died in 1575. Fran9ois II., 
 third son of Robert I., printed in Geneva from 
 about 1562 to 1582. Robert III., elder son of 
 Robert II., died in 1629. Paul, son of Henry II., 
 was born in 1566, and, after a brilliant scholastic 
 career, travelled on the continent, and started a 
 printing-press at Geneva in 1599, where he issued 
 twenty-six editions of the classics which were par- 
 ticularly notable for their correctness and notes. 
 He died in 1627, and his son Antoine, born 1594, 
 established himself at twenty-six years of age as 
 a printer in Paris, reverted to Roman Catholicism, 
 was appointed printer to the king and to the clergy, 
 dying at the Hotel Dieu in 1674. The number 
 of editions which this celebrated family, starting 
 in 1502 and finishing in 1673, issued, reaches 
 the very large number of 1590, thus classified : 
 theology, 239 ; jurisprudence, 79 ; science and 
 arts, 152; belles lettres, 823; and history, 297. 
 Of the eleven members of this family, one died in 
 exile, five in misery, one in a debtor's prison, and 
 two in the hospital " Lecteur, que vous faut-il 
 de plus ? " 
 
 Although in France, as elsewhere, we have to look 
 to the printers of the fifteenth century for origi- 
 nality and decorative beauty, some exceedingly 
 interesting Marks occur in the sixteenth, and 
 are well worth studying. We have only space for
 
 124 
 
 Printers Marks. 
 
 the enumeration of a few of the more important. 
 Of these, Pierre Vidoue comes well in the first rank. 
 He was one of the most distinguished of the early 
 Parisian Greek typographers, besides being a 
 person of learning and eminence, and was issuing 
 
 P. VIDOUE. 
 
 books up to the year 1544; his edition of Aris- 
 tophanes, 1582, published by Gilles De Gourmont, 
 is described as " a singularly curious impression," 
 whilst ten years later he printed Guillaume Postel's 
 " Linguarum XII. characteribus differentium Al- 
 phabetum," which is described by La Caille as
 
 Some French Printers Marks. 1 25 
 
 the " first book printed in oriental character," a 
 statement, however, which is incorrect so far as 
 relates to the Hebrew. He had at least three 
 Marks, all more or less similar, in one of which, 
 however, the motto " ardentes juvo," is supple- 
 mented by " par sit fortuna labori." Of the six 
 Roffets who were printing or publishing books in 
 Paris during the sixteenth century, the most notable 
 is perhaps Pierre, whose name frequently occurs 
 
 LOUIS CYANEUS. 
 
 in the bookbinding accounts of Francis I. ; of their 
 seven Marks, nearly all more or less of the same 
 " rustic " character, the most decorative is that of 
 Jacques (see p. 30). In their separate ways, the 
 Marks of Mathurin Breuille, 1562-83 (p. 33), and 
 Louis Cyaneus, 1529-46, each possesses a pleas- 
 ing originality, the latter of which is inscribed 
 with the motto " Tecum Habita." The two 
 Wechels, Andre and Chrestien, were among the 
 most eminent of the sixteenth century Parisian
 
 126 Printers Marks. 
 
 printers, and between them employed over a 
 dozen marks. All those of Andre were varia- 
 tions of one type, namely, two hands holding 
 a caduceus between two horns of plenty sur- 
 mounted by Pegasus. Phis had also been used by 
 Chrestien, of whose other Mark a reproduction is 
 here given, and of which there were several varia- 
 tions. Regnault Chaudiere's shop was in the Rue 
 St. Jacques, at the sign of " L'homme Sauvage," 
 
 ANDKK WKCHKL. 
 
 which he adopted for his Mark : this he appears 
 to have changed for one emblematical of Time 
 when he took his son into partnership, and which, 
 Maittaire thinks, he may have borrowed of Simon 
 De Colines, whose daughter (and only child) he 
 married. We give the largest of the examples 
 used by Guillaume Chaudiere, 1564-98 on p. 28. 
 Sebastien Nivelle, who was working during the 
 latter half of the sixteenth century until the third 
 year of the seventeenth century, is a very interesting
 
 Some French Printers Marks. 127 
 
 figure in the typographical annals of Paris. He 
 was, at the time of his death at the age of eighty 
 years, the doyen of the trade. His books were, for 
 the most part, beautifully printed. His shop was in 
 
 CHRESTIEN WECHEL. 
 
 the Rue St. Jacques at the sign of the Two Storks, 
 which he adopted for his exceedingly beautiful 
 Mark, the four medallions representing scenes of 
 filial piety. His daughter was the mother of 
 Sebastien Cramoisy, " typographus regius," who 
 inherited the establishment of his grandfather.
 
 SEBASTIEN NIVELLE.
 
 Some French Printers' Marks. 1 29 
 
 Of the somewhat crudely drawn Mark an evident 
 pun on his surname used in or about 1504, by 
 Guillaume Du Puys, the sign of the shop being 
 the Samaritan, a much more decorative example 
 was used, in various sizes, by Jacques Du Puys 
 (p. 10), who was a bookseller, 1549-91, rather 
 than a printer. Equally fine in another way is 
 the tripartite example, given on page 1 30, used by 
 Guillaume Merlin in partnership with Guillaume 
 Desboys and Sebastien Nivelle, in 1559, and 
 also with the latter in 1571. The Mark is the 
 interpretation of the four lines : 
 
 " Veniet tempus meissionis. 
 Non oderis laboriosa opera. 
 Homo nascitur ad laborem, 
 Vade, piger, ad formicam." 
 
 On the opposite page we reproduce the Mark 
 Nivelle used for the books which he produced alone. 
 
 After Paris, the next most important town in 
 France, so far as printers and their Marks are con- 
 cerned, is Lyons. The first book printed in this 
 city is presumed to be "Cardinalis Lotharii Trac- 
 tatus quinque," " Lugduni, Bartholomaeus Buye- 
 rius," 1473 (in quarto). The same printer also 
 published the first French translation of the Bible, 
 by Julian Macho and Pierre Ferget, which was 
 executed between 1473 and 1474, from which date 
 the art of printing in Lyons increased by leaps 
 and bounds. Panzer notices over 250 works 
 executed (by nearly forty printers) here during the 
 quarter of a century which followed. The most 
 notable among these is perhaps Josse Bade, to 
 
 s
 
 MERLIN, DESBOYS AND NIVELLE.
 
 Some French Printers Marks. 131 
 
 whom we have already referred. The former 
 of the two " honestes homes Michelet topic 
 de pymont : & laques heremberck dalemaigne," 
 possessed a Mark which may be regarded as one 
 of the earliest, if not actually the first, employed at 
 
 M. TOPIE. 
 
 Lyons. Topic and Heremberk printed the first 
 edition of the " Chronique Scandaleuse," about 
 1488, and Breydenbach's "Voyage a Jerusalem," 
 of about the same period the latter of which con- 
 tains the first examples of copper-plate engraving 
 in France, the panorama of Venice alone being 
 sixty-four inches in length. Contemporary with
 
 132 Printers Marks. 
 
 these, Johannes or Jehan Treschel deserves notice 
 not only as an eminent printer, but also as the 
 father-in-law of one still more eminent Bade. 
 Treschel's illustrated edition of Terence, 1493, 
 is described as forming "the most striking and 
 artistic work of illustration produced by the early 
 French school." The most generally known of all 
 
 J. TRESCHEL. 
 
 the Lyonese printers is Etienne Dolet, who, born 
 at Orleans in 1509, distinguished himself not only 
 as a printer, but as a Latin scholar, a poet, and an 
 orator ; he was burnt as an atheist in August, 
 1546. Dolet, as Mr. Chancellor Christie tells us 
 in his exhaustive monograph, adopted a Mark and 
 motto which are to be found in all or nearly all the 
 productions of his press. The Mark and the motto 
 are equally allusive : the former is an axe of the
 
 Some French Printers Marks. 133 
 
 kind known as doloire, held in a hand which is 
 issuing out of a cloud. Below is a portion of a 
 trunk of a tree ; it is usually surrounded by the 
 motto, " Scabra et impolita ad amussim dolo atque 
 perfolia " ; it is often also surrounded by an orna- 
 mental woodcut border, as in the accompanying 
 
 E. DOLKT. 
 
 illustration ; and in some cases the words " scabra 
 dolo" are printed on the axe. 
 
 Two contemporary Lyonese firms of printers, 
 the De Tournes and De la Fortes, appear to have 
 rivalled one another in the number of their Marks. 
 Jean De Tournes, 1542-50, himself had no less 
 than eleven Marks, several of which are ex-
 
 134 
 
 Printers Marks. 
 
 ceedingly graceful, one of the largest and best of 
 which represents a sower, and serves as an excel- 
 lent pendant to the reaper of Jacques Roffet, 
 both of which appear in our first chapter. The 
 seven or eight members of the De la Porte family 
 
 HUGUES DE LA PORTE AND A. VINCENT. 
 
 used at least half a score Marks between them. 
 The family, beginning with Ayme De la Porte in 
 the last decade of the fifteenth century, and ending 
 with Sibylle De la Porte, were in business first as 
 printers, then as booksellers, for just a century ; 
 and the punning device apparently originated, not
 
 Some French Printers Marks. 135 
 
 with the first member of the family, but with Jehan, 
 who started a business in Paris about 1508, and in 
 his Mark the shield bears a castellated doorway ; 
 the picture of the biblical Samson carrying off the 
 gates was apparently first used by Hugues De la 
 Porte, who was a bookseller at Lyons from 1530 ; 
 
 SEBASTIEN GRVPHE. 
 
 this was superseded for the more pictorial and 
 considerably smaller example, here given, when he 
 entered into partnership with Antoine Vincent 
 about 1559. Although the Du Pres were Parisian 
 printers, Jehan of that family issued several books 
 at Lyons during the last few years of the fifteenth 
 century, and one of his three Marks is given on p. 108.
 
 136 
 
 Printers' Marks. 
 
 Sebastien Gryphe, or Gryphius, who printed and 
 published a large number of works during the 
 second quarter of the sixteenth century, was also 
 extravagant in the way of Marks, of which there 
 are at least eight, all, however, of one common 
 
 JACQUES COLOMIES. 
 
 type the Griffin, sometimes quite without fany 
 sort of decorative attributes or motto, and some- 
 times as in the example here given. 
 
 So far as regards the French cities and towns, 
 we have only space to refer briefly to a few of the 
 more important. After Paris and Lyons, Toulouse 
 was one of the earliest places in France in which
 
 Some French Printers Marks. 137 
 
 a printing-press was set up. Although not the 
 first, Jacques Colomies was one of the first, as he 
 was one of the most prolific of the early printers 
 of Toulouse, working from 1530 to 1572. Print- 
 ing was established at Caen in 1480; but Pierre 
 
 M. MORIN. 
 
 Chandelier, whose punning Mark we give, did 
 not start work until eighty years after its first 
 introduction. A punning device (p. 7), also is that 
 of Jehan Lecoq, who was printing at Troyes from 
 about 1509 to 1530. The only Rouen printer to 
 whom we shall refer is Martin Morin, who appears 
 to have been at work here as a printer from about 
 
 T
 
 138 
 
 Printers Marks. 
 
 1484 to 1518, and of his Marks we give one 
 example ; another is formed of a large initial M, 
 decorated with a variety of grotesque heads, with 
 the surname Morin on the two central strokes of 
 the letter. 
 
 PIERRE LE CHANDELIER.
 
 PRINTERS' MARKS OF GERMANY AND 
 SWITZERLAND. 
 
 JACOBI THANNER. 
 
 ALTHOUGH the early 
 history of the Printer's Mark 
 in Germany is neither ex- 
 tensive in variety nor start- 
 ling in surprises, there are 
 still very many features of 
 general interest. And if 
 the Printer's Mark, as we 
 have already seen, had its 
 origin in Mainz, its de- 
 velopment is certainly due to the Strassburg crafts- 
 men. As no other city in Germany can show 
 such a varied collection of beautiful Marks, 
 examples of the Strasburg printers will pre- 
 ponderate in this chapter. It is now generally 
 accepted that the art of printing was carried on in 
 Strassburg (Argentina, Argent-oratum), either in 
 1459 or 1460, by Johan Mentelin, who appears to 
 have continued in the business until 1476 ; and 
 about six years after he had started, Heinrich 
 Eggestein commenced, and continued until about 
 1478. Accepting the arrangement of Herr Paul
 
 140 
 
 Printers' Marks. 
 
 Heitz and Dr. Karl August Barack in their very 
 elaborate " Elsassische Btichermarken bis Anfan^r 
 
 o 
 
 des 1 8 Jahrhunderts," the first Strasburg printer to 
 use a Mark was Johann Griininger, who, after work- 
 ing at Basel for a year or two, took up his residence 
 in Strassburg at the end of 1482. One of his first 
 Marks appeared in Brant's " Narrenschiff," 1494, 
 
 JOHANN GRUNINGER. 
 
 and of this our example is an elaboration. By the 
 year 1525 he employed no less than five distinct 
 examples, the last of which, in Ptolemaeus, " Geo- 
 graphicae Enarrationes," 1525, differs completely 
 from all the others, the single letter G occupying 
 the centre of the masonic compass and rule. 
 Gruninger, it may be noted, was the printer of 
 " Cosmographie Introductio," 1509; the second
 
 Germany and Switzerland. 141 
 
 edition of the famous book in which the name 
 America was proposed and used for the first time. 
 He is further noted for the number of misprints 
 which occur in the books issued by him. The 
 last book which bears his imprint is apparently 
 " Geberi philosophi ac alchimistse maximi, de 
 Alchimia, libri tres," March, 1 5 29. Martin Schott's 
 distinct device is found in at least three books of 
 
 MARTIN SCHOTT. 
 
 the date 1498, including Matheolus' " Ars memora- 
 tiva," and was used by him until 1517. It was also 
 used by his son, Johann Schott, about 1541, the 
 same printer using seven or eight other Marks, all 
 more or less distinct, at different periods. The 
 first book bearing Martin Schott's name is dated 
 1491, and he continued printing until 1499; while 
 his son was in business from 1 500 to 1 545 . Equally 
 distinct is the accompanying example one of
 
 142 
 
 Printers' Marks. 
 
 several used by Johann Knoblouch, which is 
 found in the majority of the books printed by him 
 from about 1521 to 1526, notably several works 
 by Erasmus (e.g. " Moriae Encomium," 1522, and 
 
 JOHANN KNOBLOUCH. 
 
 the " Novum Testamentum," 1523). The father 
 started in 1497, and was succeeded by his son, who 
 continued the business until 1558. The Mark, it 
 may be mentioned, is a somewhat atrocious pun 
 on the owner's name, which is the German for 
 " garlic," with the seed pods of which the figure
 
 REIXHAKI) r.!A K.
 
 144 
 
 Printers Marks. 
 
 emblematically representing Ignorance ascending 
 from darkness into light is encircled ; this Mark 
 is generally surrounded by mottoes in Greek, 
 Hebrew, and Latin. 
 
 REINHARD BECK. 
 
 Although Reinhard, or Renatus, Beck was only 
 in business for about eleven years, 1511-1522, he 
 had several Marks, which differed chiefly in their 
 extraneous ornament, as will be seen from the 
 accompanying examples. Two books, sine nota, 
 which Mr. Quaritch assigns to Beck's press,
 
 
 WOLFGANG KOPFEL. 
 U
 
 146 
 
 Printers Marks. 
 
 of the date 1490, are remarkable for the large 
 number of woodcuts which they contain, relating 
 principally to plants, animals, gardening opera- 
 tions, rural architecture, so that the Mark of 
 " ein wilder Mann " is so far in keeping with the 
 nature of his publications. Fourteen or fifteen 
 Marks, several of which are only variations of one 
 type, have been identified as having been used 
 
 WOLFGANG KOPFEL. 
 
 by Wolfgang Kopfel (whose surname sometimes 
 appears in its Greek translation of Cephalseus) 
 between 1522 and 1554 : the most remarkable, of 
 which we give a reproduction, appears to have 
 been used very rarely, notably in "Zehn Sermones " 
 of Luther, 1523; a much commoner type is the 
 smaller example, which appeared in various books 
 issued between 1526-1554. Georg Ullricher von 
 Andlau, 1529-36, confined himself to one type 
 (see p. i), that of the Cornucopia or Horn of
 
 Hoftibus haudtergo,(edfortipedorenotus, 
 
 CRAFT MULLER (CRATO MYLIUS).
 
 148 
 
 Printers Marks. 
 
 Plenty, of which there are seven variants. The 
 more elaborate of the two Marks of Matthias 
 Biener, or Apiarius, 1533-36, appears in Oecolam- 
 
 Omniaprobate^quod bpnura 
 iiierit tenete*.Thefs, ?* 
 
 MATTHIAS BIENER (APIARIUS). 
 
 padius' " Commentarius " on the Prophet Ezekiel, 
 1534, and is an evident pun on the printer's sur- 
 name. Several of the dozen Marks used by Craft
 
 Alma Spfcif era Raua 
 CERES. 
 
 Nf purges 8t molas non comedes< 
 
 CRAFT MULLER.
 
 150 Printers Marks. 
 
 Miiller, or Crato Mylius, 1536-62, are exceedingly 
 bold and picturesque, although, with the exception 
 of the Ceres, they are all variants of the leonine 
 type : the Ceres was apparently used only in his 
 first book, "Auslegung oder Postilla des heil. 
 Zmaragdi," 1536. 
 
 THEODOSIUS RIHEL, JOSIAS RIHEL 
 (UND DEREN ERBEN). 
 
 Wendelin Rihel was the founder of one of the 
 longest-lived dynasties of Strassburg printers, who 
 were issuing books from 1535 to 1639; their 
 eighteen Marks have all the same subject, a winged 
 figure of Sophrosyne, holding in one hand a rule, 
 and in the other a bridle and halter. Of Thiebold 
 Berger, who appears to have been in business
 
 I.AZARUS ZETZNER. 
 
 THIEBOLD BERGER.
 
 152 
 
 Printers Marks. 
 
 from 1551-1584, very little is known, either of his 
 books or his personality ; his Mark is, however, 
 pretty, and unique, so far as Strassburg is concerned. 
 Lazarus Zetzner and his successors, whose works 
 date from 1586 to 1648, and whose Marks number 
 nearly thirty, all variants of the example here 
 given : it is a. bust of Minerva supported on a 
 
 CONRAD SCHER. 
 
 DAVID HAUTH. 
 
 short square pedestal, on which is inscribed the 
 words " Scientia immutabilis." This family printed 
 a large number of works, from a Lutheran Bible 
 to Aretini's " Historise Florentine." As an example 
 of a rare and distinct Mark we give one of two 
 employed by Conrad Scher, 1603-31, which was 
 subsequently used by Johannes Reppius, also of 
 Strassburg. Curiosity is the only feature of the 
 solitary example of David Hauth, 1635.
 
 Germany and Switzerland. 1 53 
 
 But of all the Strassburg printers, there can be no 
 doubt that, from a strictly pictorial point of view, 
 the Marks of Johann Reinhold Dulssecker, 1696- 
 1737, are by far the most beautiful. Indeed, in 
 many respects they are the most charming examples 
 
 J. R. DULSSECKER. 
 
 to be found among the devices of any time or 
 country. In some instances they partake much 
 more of the character of a vignette than a trades- 
 man's mark. His earliest device is composed of 
 his monogram ; and his first decorative Mark is 
 the very beautiful little picture of an English 
 
 x
 
 154 
 
 Printers Marks. 
 
 garden, in the central pathway of which occurs his 
 initials. This Mark appears to have been used in 
 only one book, " M. Fabii Quinctiliani Declama- 
 tiones ... ex recensione Ulrici Obrechti," 1698. 
 A type of Mark very frequently used by him 
 
 JOHANN REINHOLD DULSSECKER. 
 
 occurs in Schilter's " Scriptores Rerum Germa- 
 nicarum," 1702, with his motto of "Dominus 
 providebit," and of this Mark we give an exces- 
 sively rare variant on p. 47. He had eleven Marks, 
 his list includes books of all kinds, in Latin, 
 German, and French. 
 
 Of the other Alsatian printers we have only
 
 Germany and Switzerland. 155 
 
 room to refer to two examples. Thomas Anshelm 
 (or Anshelmi Badensis) is perhaps the most 
 eminent of the early Hagenau printers, his books 
 dating from 1488 to 1522, the earliest of which, 
 however, were not printed at this place. His 
 Marks all carry the initials TAB, the Hebrew 
 letters in the accompanying example representing 
 
 THOMAS ANSHELM. 
 
 the, name Jehovah ; in his most elegant Mark 
 the same word is supported on a scroll by a cherub, 
 whilst another cherub is supporting a second scroll 
 on which is inscribed the word Jesus in Greek 
 characters. The style and workmanship of this 
 woodcut suggest the hand of Hans Schaufelein, 
 and it is worth noting that in 1516 Anshelm 
 produced " Doctrina Vita et Passio Jesu Christi,"
 
 156 
 
 Printers' Marks. 
 
 some of the illustrations of which were by Schau- 
 felein. Anshelm issued a large number of books, 
 including the works of Pliny, Melancthon, Erasmus, 
 
 AnnoMJX 
 menf; 
 
 XXXVI, 
 
 Septem: 
 
 Noft Aqirilap grandifociatutn ttrrg/de Pauwn 
 
 ' Guile premes cecum mox Leo uiclus mt. 
 
 VALENTIN KOBIAN. 
 
 Cicero, etc. Valentin Kobian, 1532-42, inserted 
 an exceedingly original and striking Mark in the 
 edition of Erasmus' " Heroicum Carmen," 1536, 
 the Peacock with one foot on a Cock and the 
 other on a crouching Lion being highly effective.
 
 Germany and Switzerland. 1 57 
 
 Printing had not established itself at Cologne 
 until four years later than at Strassburg. Ulric 
 Zell, at the dispersal of the Mainz printers, 
 settled himself in this city, where he was print- 
 ing from about 1463 to nearly the end of the 
 
 TJohmnmbus 
 
 ugrijnmi buds 
 fomm 
 
 ffcffl manibus (ftto:e mqetitlsl 
 fctipttt dc 
 3lrnoibu tfrer 
 
 c quo cal^o moae hjojc. 
 faugarglazia pn: fcc!o2un! fecula 
 
 A. THER HOERNEN. 
 
 fifteenth century. He was clearly not an innovator, 
 for he never printed a book in German, and did 
 not adopt any of the improvements of his confreres 
 who had settled themselves in Italy; he "rigidly 
 adhered to the severe style of Schoeffer, printing 
 all his books from three sizes of a rude face of a
 
 HERMAN BUMGART.
 
 Germany and Switzerland. 1 59 
 
 round gothic type." It is not to him therefore 
 that we can look for anything in the way of Printers' 
 Marks, the earliest Cologne printer to adopt 
 which was apparently Arnold Ther Hoernen, 
 whose colophons, of which we give an example, 
 were often printed in red. His Mark is a triangle 
 of which the two upright sides are prolonged with 
 a crosslet ; in the centre a star, and on either side 
 the gothic letters T H, the whole being on a very 
 small shield hanging from a broken stump. Her- 
 man Bumgart, one of whose books bears the 
 subscription " Gedruckt in Coelne up den Alden 
 Mart tzo dem wilden manne," and who was in 
 Cologne at the latter end of the fifteenth century, 
 has a special interest to us from the probability 
 that he was in some way connected with the early 
 Scottish printers. 
 
 Once started, the idea of the Mark was quickly 
 taken up. Johann Koelhoff, 1470-1500, the first 
 printer to use printed signatures (in his edition of 
 Nyder, " Preceptorium divinae legis," 1472), came 
 out with a large but roughly drawn example, the 
 arms of Cologne, consisting of a knight's helmet, 
 with peacock feathers, crest, and elaborate mantles, 
 surmounting a shield with the three crowns in chief, 
 the rest of the escutcheon blank, and rabbits in the 
 foreground. Koelhoff (who describes himself " de 
 Lubeck ") was the printer of the " Cologne Chro- 
 nicle," 1499, and of an edition of " Bartholomaeus de 
 Proprietatibus Rerum," 1481. Several interesting 
 Cologne Marks of the first years of the sixteenth 
 century may be noted. For instance, Eucharius 
 Cervicornus, 1517-36, used a caduceus on an
 
 JOHANN KOELHOFF.
 
 Germany and Switzerland. 1 6 1 
 
 ornamented shield, and printed among other books 
 what is believed to be the earliest edition of Maxi- 
 milianus Transylvanus' " De Moluccis Insulis," 
 1523, in which the discoveries of Ferdinand Ma- 
 gellan and the earliest circumnavigation of the 
 
 NICHOLAS C/ESAR. 
 
 globe were announced. Like Koelhoff, Nicolas 
 Caesar, or Kaiser, who was established as a printer 
 at Cologne in 1518, used the Cologne arms as a 
 Mark, which is sufficiently distinct from the earlier 
 example to be quoted here. Johann Soter, 1518- 
 36, is another exceedingly interesting personality 
 in the early history of Cologne printing. We give
 
 1 62 
 
 Printers Marks. 
 
 the more elaborate of the two marks used by him 
 and reproduced by Berjeau : the shield contains 
 the Rosicrucian triple triangle on the threshold of 
 a Renaissance door. During the latter end of his 
 career at Cologne, Soter had also an establishment 
 at Solingen, where he printed " several works of a 
 
 j. SOTER. 
 
 description which rendered too hazardous their 
 publication in the former city." Arnold Birckmann 
 and his successors, 1562-92, used the accompany- 
 ing Mark of a hen under a tree. After Giinther 
 Zainer, 1468-77, who introduced printing into 
 Augsburg, the most notable typographer of this 
 city is perhaps Erhart Ratdolt, to whom reference 
 is made in the chapter on Italian Marks. We
 
 Germany and Switzerland. 163 
 
 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 pro- 
 ductions, by Conrad Reitter, 1508, is remarkable 
 as having a series of Death-Dance pictures ; Hans 
 Holbein was eight years of age when it appeared, 
 and was then living in his native town of Augsburg. 
 For typographical purposes Switzerland may be 
 
 ARNOLD BIRCKMANN. 
 
 regarded as an integral portion of Germany, and it 
 was to Basle that Berthold Rodt of Hanau, one of 
 Fust's workmen, is assumed to have brought the 
 art about the year 1467. One of the first Basle 
 printers to adopt a Mark was Jacobus De Pfortz- 
 heim, 1488-1518, who used two very distinct 
 examples, of which we give the more spirited, the 
 left shield carrying the arms of the city in which 
 he was working. It appears for the first time in
 
 164 Printers Marks. 
 
 " Grammatica P. Francisci nigri A. Veneti sacer- 
 doti oratoris," etc., 1500. The second Mark is 
 emblematical of the Swiss warrior. The most 
 eminent of the Basle printers was however Johann 
 Froben, 1490-1527, who numbered among his 
 
 ERHARD OGLIN. 
 
 "readers" such men as Wolfgang Lachner, Heiland, 
 Musculus, Oecolampadius, and Erasmus. Very 
 few, if any, German works were printed by him ; 
 the first edition of the New Testament in Greek 
 was printed by him in 1516, Erasmus being the 
 editor. Froben's device (to which lengthy re-
 
 TACOUUS DE PFOKTZHEIM.
 
 1 66 Printers Marks. 
 
 ference has already been made, and into a discus- 
 sion of the extremely numerous variants of which 
 we need not enter here) led Erasmus to think that 
 his learned friend did indeed unite the wisdom of 
 the serpent to the simplicity of the dove (see p. 43). 
 
 HENRICPE1RI. 
 
 Two other early Basle printers, Michael Furter, 
 1490-1517, and Nicholas Lamparter, 1505-19, used 
 Marks one shield of each of which carried the arms 
 of Basle. Henricpetri was a celebrated printer of 
 Basle, 1523-78, and had a Mark of quite a unique 
 character, representing Thor's hammer, held by a
 
 Germany and Switzerland. 1 67 
 
 hand issuing from the clouds, striking fire on the 
 rock, while a head, symbolizing wind, blows upon 
 it. To yet another distinguished Basle printer, 
 Cratander, reference is made, and his Mark given, 
 in the second chapter. 
 
 The most famous, as he was one of the earliest, if 
 not actually the first, printers of Nuremberg, or 
 Nlirnberg, Anthony Koberger, does not appear to 
 
 WILHELM MORITZ ENDTER'S DAUGHTER. 
 
 have used a Mark. Indeed, the Printers' Marks of 
 Niirnberg generally do not make anything like so 
 good a show as those of Cologne and other large 
 German cities. The earliest Mark of all is probably 
 thatof Wilhelm Moritz Endter's daughter, which re- 
 presents a rocky landscape, with a town in the back- 
 ground lighted by the sun. Endter's books, it may 
 be mentioned, are excessively rare. A much better 
 known printer of this place is Johann Weissen-
 
 J. WEISSENBURGER.
 
 Gennany and Switzerland. 1 69 
 
 burger, who started here in 1503, and continued 
 until 1513, when he removed to Landshut, and 
 remained there until 1531. He used the accom- 
 
 MELCHIOR LOTTER. 
 
 panying Mark at both places, the precise signifi- 
 cation of the letters H H on one side of the globe 
 is not known. Mr. Quaritch describes a book of
 
 Printers Marks, 
 
 Jacobus Locher, published by this printer in 1506, 
 which is remarkable as containing a number of 
 woodcuts "which, in their style and spirit, draw 
 the book into close connexion with the ' Ship of 
 Fools." 
 
 Several of the Marks of the early printers of 
 Leipzig, into which printing was introduced in 1480, 
 are of great interest and possess quite a character 
 
 V. SCHUMANN. 
 
 of their own. One of the earliest, for example, is 
 that of Melchior Letter, who issued a large number 
 of books from 1491 to 1536. The word " Lotter " 
 is equivalent to "vagabond" in English, and the 
 Mark herewith consists of an emblem of a mendi- 
 cant in a half-suppliant posture. Melchior Lotter 
 junior was printing at Wittenberg from 152010 1524, 
 where he printed anonymously the first edition of 
 Luther's Bible, with illustrations by Lucas Cranach,
 
 Germany and Switzerland. 171 
 
 1522, which an enthusiastic bibliopole has de- 
 scribed as " one of the great works of the world." 
 Valentin Schumann, 1502-34 (and probably much 
 later), is another eminent Leipzig printer, being 
 the first to attempt printing in Hebrew charac- 
 ters in a Hebrew grammar, 1520. The initials 
 L D on his Mark are taken to signify " Lipsiensis 
 
 CONRAD BAUMGARTEN. 
 
 Demander " or Damander, a rude Latinization of 
 Schumann which he sometimes used. Sufficiently 
 quaint also is the Mark of Jacobus Thanner, 1501- 
 21, which forms the initial to the present chapter. 
 By 1500 printing had reached to Olmiitz, where 
 Conrad Baumgarten was issuing until 1502 works 
 chiefly levelled against the Church of Rome ; from 
 1503 to 1505 the same printer had established
 
 172 
 
 Printers Marks. 
 
 himself in Breslau, which he again changed for 
 Frankfort-am-Oder, 1507-14, removing again in 
 the latter year to Leipzig. The W on one of 
 the shields of his Mark is the initial of Wratislau, 
 the Polish name of Breslau, and the female saint 
 on the other shows the arms of the town. It 
 appears to be uncertain whether printing was in- 
 troduced into Frankfort-am-Main in 1511 or 1 530 ; 
 but the only Mark which we need quote is that 
 
 J. FEYRABEND. 
 
 L. GUERBIN. 
 
 of Johann Feyrabendt, whose chief interest to 
 posterity lies in the fact that he printed Jost 
 Ammon's " Ktinstliche wohlgerissene neu Figuren 
 von allerley Jagtkunst," 1592: his Mark is em- 
 blematical of Fame, winged, blowing a German 
 horn, and enclosed in a cartouche. Andreas Wechel 
 was printing at Frankfort from 1573 to 1581, his 
 Mark being the well-known one of the Pegasus. 
 Although Jacob Stadelberger, Heidelberg, was not 
 by any means an eminent printer, his Mark is well
 
 Germany and Switzerland. 1 73 
 
 worthy of note : it consists of three shields, the 
 right of which bears the arms of Bavaria, the left a 
 lion rampant, the arms of Heidelberg", and that of 
 the middle is supposed to represent the arms of 
 Zurich. 
 
 JACOB STADELBERGER. 
 
 Adam Steinschawer is said to be the printer of 
 the first book issued at Geneva, in 1479 ; soon after 
 him came Guerbin, 1482, whose Mark we give after 
 Bouchot. From about 1537 to 1554 Jehan Girard, 
 or Gerard, was busy printing books here ; the Mark
 
 Printers Marks. 
 
 herewith comes from one of Calvin's books, 1545, 
 the Latin motto being anglicized thus : " I came 
 not to send peace, but a sword," a very proper 
 motto indeed for such an author. Girard used 
 three other Marks of this type. The position of 
 Geneva in literature is French rather than German, 
 and this also holds good with regard to its typo- 
 graphical annals. The accompanying Mark of 
 
 ,pa*qntytout arlnt <f nine fait pat bo 
 
 MITTERB 
 
 Pi 
 
 P 
 
 ft 
 
 JEHAN GIRARD. 
 
 J. RIVERY. 
 
 Jean Rivery, Geneva, 1556-64, is distinct of its 
 kind, and is the smaller of the two examples used 
 by this printer ; in the larger one, the same motto 
 appears, but in roman type, not italic; there are 
 also only two trees, both nearly leafless; the hand 
 holding an axe occurs in both examples. Many 
 French printers, for various reasons, and at different 
 times, " retired " to Geneva, as, for example, the 
 Estiennes ; the Marks of several Franco-Genevan 
 printers therefore will be found dealt with in the pre-
 
 Germany and Switzerland. 1 75 
 
 vious chapter. Although printing appears to have 
 been introduced into Zurich in 1 508, books executed 
 at this place prior to 1523 are excessively rare. 
 Christopherus Froschover, 1523-48, was by far the 
 
 C. FROSCHOVER. 
 
 mosteminentandprolificofthe early Zurich printers; 
 to him has been attributed the production of the 
 first English Bible. His Mark is a punning one, 
 Frosch being German for " frog ; " it is emblema- 
 tical of a gigantic frog ridden by a child under
 
 176 
 
 Printers Marks. 
 
 a tree, the " larger growth " being surrounded by 
 several of the normal size. Of other Swiss 
 printers whose Marks we reproduce, but to whom 
 we can make no further reference, are Nicolas 
 Brylinger, Basle, 1536-65 (the accompanying ex- 
 
 N. BRYLINGER. 
 
 ample is taken from the title-page of " Pantalonis 
 Henrici, Prosopographiae Heroum atque illustrium 
 Virorum totius Germaniae," 1565, a folio of three 
 volumes, full of fancifully drawn portraits, the same 
 portrait being often used for several men), and 
 F. Le Preux, of Lausanne, Merges, and Berne.
 
 F. LE PREUX. 
 
 A A
 
 SOME DUTCH AND FLEMISH 
 PRINTERS' MARKS. 
 
 THE introduction 
 of the art of print- 
 ing into the Low 
 Countries, and the 
 rival claim of Cos- 
 ter and Guten- 
 berg, have proved 
 j. VELDENER. a highly fruitful 
 
 source of literary 
 
 quarrels and disputations. It is not worth our 
 while to enter, even briefly, into the merits of 
 the arguments either for or against ; and it will 
 suffice for our present purpose to regard Johann 
 Veldener, 1473-7, as the first printer. He was pro- 
 bably a pupil of Ulric Zell, and, like many others of 
 the early Netherland printers, he does not appear 
 to have remained long at one place. For example, 
 he was at Louvain from 1473-7, at Utrecht 1478- 
 81, and at Culemberg, 1482-4. His only Mark 
 appears to be that given herewith, in which his 
 name in an abbreviated form occurs between the
 
 Some Dutch and Flemish Marks. 1 79 
 
 two shields, on the right one of which appears the 
 arms of Lou vain. His most notable publications 
 were two quarto editions of the "Speculum" in 
 the Dutch language, one of which contained 
 i 1 6 and the other 128 illustrations, "printed 
 from the woodcuts that had been previously used 
 in the four notable editions ; to make these broad 
 woodcuts, which had been designed for pages in 
 folio, Veldener cut away the architectural frame- 
 work surrounding 1 each illustration and then sawed 
 
 ft ego Johannes ^Hfl H^k prenotatus alma in 
 universitate Lova- ^f-'-^&jK^^ niesi nesidens dig- 
 num. duxi opus hoc fl vJ^llZHsflB ins fe ne immensis 
 ferme tarn labori- l||fc ^' IflHflj bus 1 uam im P ensi * 
 ad finem usque VKA \jgra|B perductum meo so- 
 hto signo consig- ^R?H| jCSSlF nando huius in CO" 
 pitc libri palam ^^^fe^^^jr fieri. 
 
 JOHANN OF WKSTI'HAI.IA. 
 
 each block in two pieces." He received from the 
 University the honorary title of Master of Print- 
 ing, an honour which was also conferred on his 
 more distinguished contemporary, Johann of West- 
 phalia, 1474-96, for whom in fact is claimed the 
 priority of the introduction of printing into 
 Louvain. The first of the large number of books 
 produced by the latter is by Petrus de Crescentiis, 
 " Incipit liber ruraliu comodoru," 1474, its colophon 
 being printed in red. The accompanying exceed- 
 ingly curious " souscription," with portrait of the 
 printer, is given from Lambinet's " Recherches."
 
 i8o 
 
 Printers Marks. 
 
 Thierry Martens, or Mertens, or Martin d'Alost 
 (Theodoricus Martinus), may be regarded either 
 as an early printer of Louvain, Antwerp, or Alost, 
 for it is stated that he had presses working simul- 
 
 THEODO. 
 EXCV 
 
 MARTIN 
 DEBAT. 
 
 THEODORIC MARTENS. 
 
 taneously at the three places ; but Alost has the 
 first claims, and it is said that he was printing 
 here in 1473, although as a matter of fact he was 
 only twenty years of age at this period. He was 
 a distinguished scholar, and the friend of Barland
 
 Some Dutch and Flemish Marks. 181 
 
 and Erasmus, the latter making the following 
 reference to the accompanying Mark, " 1'ancre 
 sacree," in the epitaph he wrote as a memorial of 
 his friend : 
 
 " Hie Theodoricus jaceo, prognatus Alosto : 
 Ars erat impressis scripta referre typis. 
 
 Fratribus, uxori, soboli, notisque superstes, 
 Octavam vegetus prteterii decadem. 
 
 Anchora sacra manet, gratae notissima pubi : 
 Christe ! precor nunc sis anchora sacra mihi." 
 
 jfmtetjmpume 
 aCiuqespavcofatb 
 
 inanf\ot)faj)ctjout 
 tlcffufiUS 
 
 C'OI.AR!) MANSION. 
 
 Colard Mansion, 1474-84, the first printer who 
 worked at Bruges, for an exhaustive account of 
 whose connection with William Caxton the reader 
 is referred to Mr. Blades's monograph, used several 
 Marks, printed in red and black, and similar to 
 the example here given. 
 
 In many respects the " Clercs ou Freres de la 
 vie Commune" (Fratres vitae communis), who 
 were printing at Brussels from 1476 to 1487, 
 form one of the most interesting features in the
 
 THK BROTHERS OF COMMON I. IKK.
 
 Some DntcJi and Flemish Marks. 1 83 
 
 early history of printing in the Low Countries. 
 The types which they used resemble very much 
 those of Arnold Ther Hoernen, Cologne; and the 
 only book, "diligentia impresse in famosa civitate 
 
 AI.BERTUS PAFFRAKJ. 
 
 Bruxellen, " to which they put their name, is en- 
 titled " Legendae Sanctorum Henrici Imperatoris 
 et Kunegundis Imperatricis," etc., 1484, and this 
 is their only illustrated book. " Their productions 
 illustrate the stage of transition between the ancient 
 scribe and printer by showing how naturally one
 
 184 Printers Marks. 
 
 succeeded to the other." A full bibliographical 
 account of the Brothers will be found in M. 
 Maddens " Lettres d'un Bibliophile." The Mark 
 here given is reproduced from the above-named 
 work : it consists of an Eagle crowned and dis- 
 played, supporting a shield with the arms of Brabant 
 quarterly, with river in bend, and star. The first 
 Deventer printer was Richard Paffroed (the sur- 
 name has about thirty variations) in 1477, who 
 was either a pupil of Ulric Zell or Ther Hoernen, 
 and who continued there until the first year of the 
 sixteenth century, and was apparently succeeded 
 by his youngest son Albertus, who was printing 
 there up to about 1530, and whose Mark we give. 
 So far as Gouda is concerned, Gheraert or Gerard 
 Leeu and early printing are synonymous. He was 
 a native of this place, and established himself here 
 as a printer in 1477 and continued up to 1484, 
 when he removed his presses to Antwerp, where 
 he was printing until the year of his death, 1493. 
 His " Dialogus Creaturarum," the first edition of 
 which appeared in 1480, had run into over a 
 dozen editions, in Latin or Dutch, by the first 
 year of the sixteenth century. Whilst at Gouda 
 Leeu used several marks, of which the smaller, 
 given on p. 39, was printed in red and black ; at 
 Antwerp he used a much more ambitious example, 
 consisting of the arms of the Castle of Antwerp : 
 a battlement and a turreted gate, with two smaller 
 ones on either side ; the two large flags bear the 
 arms of the German Empire and of the Archduke 
 Maximilian of Austria. Nicolas Leeu, who was 
 printing at Antwerp in 1487-8, was possibly the
 
 <;KRAKI> I.KKT. 
 B B
 
 1 86 Printers Marks. 
 
 brother of the more famous typographer, and his 
 Mark consists of the lion (a pun on his surname, 
 which is equivalent to lion) in a Gothic window 
 holding two shields, with the arms of Antwerp 
 on the left and the monogram of Gheraert Leeu on 
 the right. Like Leeu and so many of the other 
 early Dutch printers, the first Delft typographer, 
 Jacob Jacobzoon Van der Meer, 1477-87, employed 
 the arms of the town in which he printed on his 
 
 JACOB JACOBZOON VAN DER MEER. 
 
 Mark, the right shield in the present instance 
 carrying three water-lily leaves. In 1477 he issued 
 an edition of the Dutch Bible, and three years 
 later the first edition of the Psalter, " Die Duytsche 
 Souter," which had been omitted from the Bible. 
 The only other Delft printer to whom we need 
 refer is Christian Snellaert, 1495-7, the only 
 book to which he has placed both his name and 
 his Mark being " Theobaldus Physiologus de 
 naturis duodecim animalium," 1495. His most re- 
 markable production, however, is a " Missale
 
 MATH IAS VAN UKR GOES.
 
 1 88 
 
 Printers Marks. 
 
 secundum Ordinarium Trajactense," issued about 
 1497 ; this Mark, given on p. 35, was also used by 
 Henri Eckert van Hombergh, who was printing 
 at Antwerp from 1500 to 1519 : the shield carries 
 the arms of Antwerp ; in the arms of Snellaert 
 this shield is blank, and this constitutes the only 
 difference between the two Marks. 
 
 If it could be proved that " Het boeck van 
 Tondalus visioen " was, as has been stated, printed 
 at Antwerp in 1472, by Mathias Van der Goes, 
 
 R. VAN DEN DORP. 
 
 G. BACK. 
 
 the claim of Antwerp to be regarded as the first 
 place in the Low Countries in which printing was 
 introduced would be irrefutable. Unfortunately 
 there is very little doubt but that the date is an 
 error, although Goes is still rightly regarded as 
 having introduced printing into Antwerp, where 
 he was issuing books from 1482 to about 1494 in 
 Dutch and Latin. He had two large Marks, one 
 of which was a ship, apparently emblematical of Pro- 
 gress or commercial enterprise, and the other, a 
 savage brandishing a club and bearing arms of
 
 Sonic Dutch and Flemish Marks. 189 
 
 Brabant, the latter, from " Sermones Ouatuor 
 Novissimorum," 1487, is here given. Rolant Van 
 den Dorp, 1494-1500, whose chief claim to fame is 
 that he printed the " Cronyke van Brabant," folio, 
 Antwerp, 1497, had as his most ambitious Mark 
 a charming picture of Roland blowing his horn ; on 
 one of the shields (suspended from the branch of 
 a tree) is the arms of Antwerp, which he sometimes 
 used separately as his device. Contemporaneously 
 with Van den Dorp, 1493-1500, we have Godefroy 
 Back, a binder who, on November 19, 1492, 
 married the widow of Van der Goes, and con- 
 tinued the printing-office of his predecessor. His 
 house was called the Vogehuis, and had for its 
 sign the Birdcage, which he adopted as his Mark ; 
 this he modified several times, notably in 1496, 
 when the monogram of Van der Goes was replaced 
 by his own. In the accompanying example (ap- 
 parently broken during the printing) the letter M 
 is surmounted by the Burgundy device a wand 
 upholding a St. Andrew's cross. We give also a 
 small example of the two other Marks used by this 
 printer. Arnoldus Ca^saris, 1'Empereur, or De 
 Keysere, according as his name happened to be 
 spelt in Latin, French, or Flemish, is another of 
 the early Antwerp printers whose mark is suffi- 
 ciently distinct to merit insertion here. His first 
 book is dated 1480, " Hermanni de Petra Ser- 
 mones super orationem dominicam." Michael 
 Hellenius, 1514-36, is a printer of this city who 
 has a special interest to Englishmen from the fact 
 that "in 1531 he printed at Antwerp an anti- 
 Protestant work for Henry Pepwell, who could
 
 (JODKFROY HACK.
 
 Some Dutch and Flemish Marks. 191 
 
 find no printer in London with sufficient courage 
 to undertake it." Hellenius' Mark is emblematical 
 of Time, in which the figure is standing on clouds, 
 with a sickle in one hand and a serpent coiled in 
 a circle on the left. The Mark of Jan Steels, Ant- 
 werp (p. 19), 1533-75, is regarded by some biblio- 
 graphers as the emblem of an altar, but " from the 
 
 A. C^SARIS. 
 
 entire absence of any ritual accessories, and the in- 
 troduction of incongruous figures (which no medi- 
 ae val artist would have thought of representing), it 
 would appear to be merely a stone table." Jacobus 
 Bellaert, 1483-86, was the first Haarlem printer, 
 one of his earliest works being " Dat liden ende 
 die passie ons Heeren Jesu Christi," which is dated 
 December 10, 1483. Bellaert's name does not
 
 192 
 
 Printers Marks. 
 
 appear in it, but his Mark at the end permits of an 
 easy identification, it being the same as that which 
 appears in his Dutch edition of " Glanvilla de 
 Proprietatibus Rerum," 1485: the arms above the 
 
 MICHAEL HILLEMUS. 
 
 Griffin are those of the city of Haarlem. One of 
 the most famous printing localities of the Low 
 Countries was Leyden (Lugdunum Batavorum), 
 where the art was practised so early as 1483, 
 Heynricus Henrici, 1483-4, being one of the
 
 194 
 
 Printers Marks. 
 
 earliest, his Mark carrying two shields, one of 
 which bears the cross keys of Leyden. The Pelican 
 is an exceedingly rare element in Dutch and Flemish 
 Printers' Marks, one of the very few exceptions 
 being that of J. Destresius, Ypres, 1553, the motto 
 on the border reading " Sine sanguinis effusione 
 non fit remissio." 
 
 H. HENRICI. 
 
 It will be convenient to group together in this 
 place a few of the more representative examples 
 of the Marks of the Dutch and Flemish printers 
 of the sixteenth century. Of Thomas Van der 
 Noot, who was printing at Brussels from about 
 1508 to 1517, there is very little of general interest 
 to state, but his large Mark is well worthy of a 
 place here. Picturesque in another way also is 
 the Mark of J. Grapheus, Antwerp, 1520-61 ; the
 
 Some Dutch and Flemish Marks. 195 
 
 example we give is a distinct improvement on a 
 very roughly drawn Mark which this printer some- 
 times used, which is identical in every respect to 
 this, except that it has no borders. It is one of the 
 few purely pictorial, as distinct from armorial, Marks 
 which we find used at Antwerp in the earlier half of 
 the sixteenth century. One of this printer's most 
 
 JODOCUS DESTRESIUS. 
 
 notable publications is " Le Nouueau Testament 
 de nostre Sauflueur lesu Christ traslate selon le 
 vray text en franchois," 1532, a duodecimo of 
 xviii and 354 folios, a rare impression of Le 
 . Fevre d'Etaples' Testament as it had been 
 issued by L'Empereur, in 1530, who had obtained 
 the licence of the Emperor and the Inquisition for 
 this impression. Henri Van den Keere, a book-
 
 THOMAS VAN DER NOOT.
 
 Some DiitcJi and Flemish Marks. 197 
 
 seller and printer of Ghent, 1549-58, had four 
 Marks, all of which resemble more or less closely 
 
 B d-yaTT* warn! Biytt 
 
 J. GRAPHEUS. 
 
 the rather striking and certainly distinct example 
 here given. Of the Bruges printers of the sixteenth 
 century, Huber or Hubert Goltz, 1563-79, is
 
 198 
 
 Printers Marks. 
 
 perhaps the most eminent, not so much on account 
 of the typographical phase of his career, as because 
 of his works as an author and artist. The " Fasti 
 Magistratum et Triumphorum Romanorum," is 
 one of his books best known to scholars, whilst to 
 
 Van den keere. 
 
 HENRI VAN DEN KEERE. 
 
 students of numismatics his work on the medals 
 from the time of Julius Caesar to that of the 
 Emperor Ferdinand, in Latin, of which a very rare 
 French edition appeared at Antwerp in 1561, is 
 well known, and the original edition of his works 
 in this respect is still highly esteemed, although, as
 
 J. WAESBERGHE.
 
 2OO 
 
 Printers Marks, 
 
 Brunet points out, Goltz has suffered a good deal 
 in reputation since Eckel has demonstrated that 
 he included a number of spurious examples, 
 whilst some others are incorrectly copied. His 
 interesting typographical Mark is given on p. 51. 
 J. Waesberghe, of Antwerp and Rotterdam, had 
 at least three Marks, of which we give the largest 
 example, and all of which are of a nautical 
 character, the centre being occupied by a mermaid 
 
 MICHEL DE HAMONT. 
 
 carrying a horn of plenty ; in the smaller example 
 of the accompanying Mark, the background is 
 taken up by a serpent forming a circle. The 
 Mark of M. De Hamont, a printer and book- 
 seller of Brussels, 1569-77, is worth quoting as one 
 of the very few instances in which the subject of 
 St. George and the Dragon is utilized in this 
 particular by a printer of the Low Countries. 
 Rutger Velpius appears to have had all the 
 wandering proclivities of the early printers ; for
 
 Some Dutch and Flemish Marks, 20 1 
 
 instance, we find him at Lou vain from 1553 to 
 1580, at Mons from 1580 to 1585, and Brussels 
 from 1585 to 1614 : he had three Marks, of which 
 
 RUTGER VELPIUS. 
 
 we give the largest. Of the Liege printers, we 
 have only space to mention J. Mathia^ Hovii, 
 whose shop was "Ad insigne Paradisi Terrestris" 
 
 D D
 
 2O2 
 
 Printers Marks. 
 
 during the latter half of the seventeenth century, 
 and whose Mark is of rather striking originality 
 and boldness of design. 
 
 j. M. HOVII. 
 
 The two most distinguished names in the annals 
 of Dutch and Flemish printing are unquestionably
 
 Some Dutch and Flemish Afarks. 203 
 
 Plantin and the Elzevirs. A full description of the 
 various Marks used by Christophe Plantin alone 
 would fill a small volume, as the number is not 
 only very great, but the varieties somewhat con- 
 flicting in their resemblance to one another ; all of 
 them, however, are distinctly traceable to three 
 common types. Some are engraved by Godefroid 
 Ballain, Pierre Huys, and other distinguished 
 
 C. PLANTIN. 
 (First .Mark.) 
 
 C. PLANTIN. 
 (Second Mark.) 
 
 craftsmen. His first Mark appeared in the second 
 book which he printed, the " Flores de L. Anneo 
 Seneca," 1555. His second Mark was first used 
 in the following year, and bears the monogram of 
 Arnaud Nicolai. Of each of these examples we 
 give reproductions, as also of the fine example 
 designed for Plantin's successors either by Rubens 
 or by Erasme Quellin, and engraved by Jean 
 Christophe Jegher, 1639, Plantin having died in 
 1589. The most famous of all Plantin's Marks is
 
 C. PLANTIN.
 
 Some DutcJi and Flemish Marks. 205 
 
 of course that with the compass and the motto 
 " Labor et Constantia," which he first used in 
 1557. Plantin explains in the preface to his 
 Polyglot Bible the signification of this Mark, and 
 states that the compass is a symbolical representa- 
 tion of his device : the point of the compass turning 
 round signifies work, and the stationary point 
 constancy. One of the most curious combinations 
 of Printers' Marks may be here alluded to : in 1 573, 
 Plantin, Steels and Nutius projected an edition 
 of the " Decretals," and the Mark on this is made 
 up of the three used by these printers, and was 
 designed by Pierre Van der Borcht. 
 
 Nearly every volume admittedly printed by the 
 Elzevir family possessed a Mark, of which this 
 family, from Louis, in 1583, to Daniel, 1680, used 
 four distinct examples. The founder of the 
 dynasty, Louis (1583-1617), adopted as his sign 
 or mark an Eagle on a cippus with a bundle of 
 arrows, accompanied with the motto, " Concordia 
 res parvae crescunt "-the emblem of the device of 
 the Batavian Republic and as the year 1595 
 occurs on the primitive type of this Mark, it might 
 be concluded to date from that period. But 
 Willems points out that no book published by 
 Louis in the years 1595 and 1596 carries this 
 Mark, which (he says) figures for the first time on 
 the Meursius, " Ad Theocriti idyllia Spicelegium," 
 1597. In 1612 Louis Elzevir reduced this Mark, 
 and suppressed the date above mentioned. For 
 some time Isaac continued the use of the sign of 
 his grandfather, and even after 1620, when he 
 adopted a new Mark that of the Sage or Hermit
 
 2o6 Printers Marks. 
 
 he did not completely repudiate it. Bonaventure 
 and Abraham scarcely ever used it except for 
 their catalogues. 
 
 The second Mark, which Isaac (1617-25) adopted 
 in 1620, it occurring for the first time in the " Acta 
 Synodi Nationalis," is known as the Solitaire and 
 sometimes as the Hermit or Sage. It represents 
 an elm around the trunk of which a vine, carrying 
 bunches of grapes, is twined ; the Solitaire and the 
 motto " Non solus." The explanation of this Mark 
 
 THE SAGE. 
 
 is obvious, and may be summed up in the one word 
 " Concord ; " the solitary individual is symbolical 
 of the preference of the wise for solitude "Je 
 suis seul en ce lieu etre solitaire." This Mark was 
 the principal one of the Leyden office, and was in 
 constant use from 1620 to 1712, long after the 
 Elzevirs had ceased to print. 
 
 The third Elzevir Mark consists of a Palm with 
 the motto " Assurgo pressa." It was the Mark of 
 Erpenius, professor of oriental languages at the 
 University of Leyden, who had established a 
 printing-press which he superintended himself in
 
 Some Dutch and Flemish Marks. 207 
 
 his own house. At his death the Elzevirs acquired 
 his material, with the Mark, which occurs on the 
 Elmacinus, " Historia Saracenica," and on the 
 Syriac Psalter of 1625, on the " Meursii arboretum 
 sacrum," 1642, and on about seven other volumes. 
 The fourth important Elzevir Mark is the 
 Minerva with her attributes, the breastplate, the 
 olive tree, and the owl, and the motto "Ne extra 
 solus," which is from a passage in the " Frogs " of 
 Aristophanes. It was one of the principal Marks 
 
 THE ELZEVIR SPHERE. 
 
 THE SPURIOUS SPHERE. THE GENUINE SPHERE. 
 
 of the Amsterdam office, and was used for the first 
 time by Louis Elzevir in 1642. After Daniel's 
 death this Mark became the property of Henry 
 Wetstein, who used it on some of his books. It was 
 also used by Thiboust at Paris and Theodoric van 
 Ackersdyck at Utrecht. 
 
 In addition to the foregoing, a number of other 
 Marks were employed by this firm of printers, the 
 most important of the minor examples being the 
 Sphere, which occurs for the first time on " Sphaera 
 Johannis de Sacro-Bosco," 1626, printed by
 
 208 
 
 Printers Marks. 
 
 Bonaventure and Abraham ; and from this time 
 to the end of the period of the operations of the 
 Elzevirs, the Sphere and the Minerva appear to 
 have equally shared the honour of appearing on 
 their title-pages. Among the other Marks which we 
 must be content to enumerate are the following : 
 a hand with the device of " yEqvabilitate," an 
 angel with a book, and a book of music opened, 
 each of which was used occasionally by the first 
 Elzevir ; and one in which two hands are holding 
 a cornucopia, of Isaac ; the arms of the Ley den 
 University formed also occasionally the Mark of 
 the Elzevirs established in that city. 
 
 The Mark of Guislain Janssens, a bookseller 
 and printer of Antwerp, at the end of the sixteenth 
 and beginning of the seventeenth century, is both 
 distinct and pretty, and is worth notice if only from 
 the fact that artistic examples are by no means 
 common with the printers of this city. 
 
 GUISLAIN JANSSENS.
 
 A. FRITAG 
 
 PRINTERS' MARKS IN ITALY AND 
 SPAIN. 1 
 
 THE incunabula of Italy offer 
 very little interest so far as re- 
 gards the Marks of their printers, 
 and the adoption of these devices 
 did not become at all general 
 until the early years of the six- 
 teenth century. Conrad Sweyn- 
 heim and Arnold Pannartz, who 
 were the first to introduce print- 
 ing from Germany into Italy, 
 first at the monastery of Subiaco, near Rome, in 
 1465, and to that city in 1467, appear to have 
 had no Mark ; and the same may be said of 
 several of their successors. We give the earliest 
 
 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 Progress! 
 della Stampa," 1722) and Home (" 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. 
 
 E E
 
 2io Printers Marks. 
 
 Roman example with which we are acquainted, 
 namely, that of Sixtus Riessinger, and George 
 Herolt, a German, who printed in partnership 
 at Rome in 1481 and 1483. One of the books 
 produced by this partnership was the " Tracta- 
 tus sollemnis et utilis," etc., which contains " full- 
 page figures of the Sybils, fine initials, and an 
 
 SIXTUS RIESSINGER. 
 
 interlaced border to the first page of text, all 
 executed in wood engraving." The next Roman 
 typographers who used a Mark were, like Herolt, 
 "Almanos" or Germans, for as such Johann 
 Besicken (1484-1506) and Martens of Amsterdam 
 describe themselves in the colophon of " Mirabilia 
 Romse," a 241110. of 63 leaves, 1500. This work 
 contains ten woodcuts, of which that on " the
 
 Marks in Italy and Spain. 2 1 1 
 
 reverse of leaf 36 has at the bottom the words 
 'Mar' and ' De Amstdam' in black letters on 
 white scrolls, and ' ER ' immediately beneath the 
 latter, in white letters on a black ground, showing 
 that Martin of Amsterdam, one of the printers, 
 was also the engraver. On the woodcut on the 
 reverse of leaf 25 also, there is a shield with the 
 initials of both printers, ' I ' and ' M ' interlaced, in 
 both large and small letters." Andreas Fritag de 
 Argentina (or Strassburg), 1492-96, is another 
 early Roman printer who used a Mark. The four 
 
 J. BESICKEN. THIERRY MARTENS. 
 
 foregoing Marks are given on the authority of 
 
 J. J. Audiffredi, " Catalogus Romanorum 
 
 Editionum saeculi XVI.," 1783. Among the 
 early sixteenth century printers of Rome, one of 
 the most distinguished was Zacharias Kalliergos 
 of Crete, 1509-23, who had started printing at 
 Venice in 1499, and of whom Beloe has given an 
 interesting account in the fifth volume of his 
 "Anecdotes of Literature." A miniature of his 
 device is given at the end of this chapter. 
 
 Printing was introduced into Venice by Johannes 
 de Spira in 1469, and, as showing the extent to 
 which it was quickly carried, Panzer reckons that
 
 212 Printers Marks. 
 
 up to the end of the fifteenth century, no fewer 
 than 189 printers had established themselves here, 
 
 i ifcatbolt foett da conljptce figiw. 
 
 # citom artificem qua valet ipfe mamtm. 
 
 ERHARDUS RATDOLT. 
 
 and had issued close upon 3,000 works. From 
 1469 to 1480, over sixty master printers were
 
 Marks in Italy and Spain. 213 
 
 found within the precincts of the city. The first 
 of the superb series of early printed books pro- 
 duced here is the folio edition of Cicero, " Epistolse 
 ad Familiares," 1469, although the honour of being 
 the most magnificent production appears to be 
 equally divided between the Livy and the Virgil, 
 1470, executed by John of Spira's brother and 
 successor Vindelinus. So far as we know, neither 
 of the two brothers, nor Nicolas Jenson, 1470-88, 
 many of whose beautiful books rivalled the De 
 Spiras', used a Mark. 
 
 Erhardus Ratdolt may be regarded as one of 
 the earliest, if not actually the first Venetian 
 printer to adopt a Mark. From 1476 to 1478 he 
 was in partnership with Bernardus Pictor and 
 Petrus Loslein de Langencen, but from the latter 
 year to 1485 he was exercising the art alone. (It 
 is not altogether foreign to our subject to mention 
 that this firm printed the "Calendar" of John de 
 Monteregio, 1476, which has the first ornamental 
 title known.) In 1487, Ratdolt was at Augsburg, 
 and perhaps his claims as a printer are German 
 rather than Venetian, but as his best work was 
 executed during his sojourn in Venice, it will be 
 more convenient to include him in the present 
 chapter. Like so many others of the early printers, 
 he regarded his own performances with no little 
 self-complacency, for in his colophons he describes 
 himself, "Vir solertissimus, imprimendi arte no- 
 minatissimus, artis impressorise magister apprime 
 famosus, perpolitus opifex, vir sub orbe notus," 
 and so forth. To him is attributed the credit of 
 having invented ink of a golden colour; and he
 
 214 
 
 Printers Marks. 
 
 was the first to employ the " flourishes," ("literae 
 florentes ") or initial letters formed of floral scrolls 
 and ornaments borrowed from the Italian manu- 
 scripts, and sometimes printed in red and some- 
 
 OTTAVIANO SCOTTO. 
 
 times in black. Joannes and Gregorius de Gre- 
 goriis, 1480 1516, and Gregorius alone, 1516-28, 
 make a very good show in the way of printed 
 books, one of the most notable being the first 
 quarto edition of Boccaccio, 1516, and another the
 
 Marks in Italy and Spain. 2 1 5 
 
 " Deutsch Romisch Brevier," 1518, which is 
 printed in black and red Gothic letter with 
 numerous full-page woodcuts and borders. Con- 
 temporary with these two brothers and also famous 
 as a prolific printer comes Ottaviano Scotto, " Civis 
 Modoetiesis," 1480-1500, and his heirs, 1500-31, 
 of whose Mark we give an exact reproduction. 
 Baptista de Tortis, 1481-1514, also issued a 
 number of interesting books, more particularly 
 folio editions of the classics, copies of which are 
 still frequently met with, and of whose Mark we 
 give a reduced example on p. 25 ; and the same may 
 be said of Bernardinus Stagninus, 1483-1536. The 
 Mark, also, of Bernardinus de Vitalibus, 1494- 
 1500, is sufficiently distinct to justify a reduced 
 example. Bartholomeus de Zanis, 1486-1500, 
 was not only a prolific printer on his own account, but 
 also for Scotto, to whom reference is made above. 
 The Marks, on a greatly reduced scale of Diony- 
 sius Bertochus, 1480; of Laurentius Rubeus de 
 Valentia, 1482 ; of Nicholas de Francfordia, 1473- 
 1500; and of Peregrino de Pasqualibus, 1483-94, 
 who was for a short time in partnership with 
 Dionysius de Bertochus, are all interesting as 
 more or less distinct variations of one common 
 type (see p. 25). Of Petrus Liechtenstein, 1497- 
 1522, who describes himself as " Coloniensis," and 
 whose very fine Mark in red and black forms the 
 frontispiece to the present volume, it will be only 
 necessary to refer to one of his books, the " Biblij 
 Czeska," 1506, which is the first edition for the 
 use of the Hussites. Of this exceedingly rare 
 edition, only about four copies are known. It is
 
 Marks in Italy and Spain. 217 
 
 remarkable in not having been suppressed by the 
 Church, for one example of its numerous woodcuts 
 (which are coloured) at once betrays its character, 
 viz., the engraving to the sixth chapter of the 
 Apocalypse, in which the Pope appears lying in 
 hell. As illustrative of some of the more elabo- 
 
 P. AND A. MEIETOS. 
 
 rate and pictorial Marks which one finds in the 
 books of the Venetian printers during the sixteenth 
 century, we give a couple of very distinct examples, 
 the first being one of the Marks of the Sessa 
 family, whose works date from 1501 to 1588; and 
 the second example distinguishing the books of 
 the brothers Paulum and Antonium Meietos, who 
 were printing books in 1570. 
 
 F F
 
 2l8 
 
 Printers Marks. 
 
 The Aldine family come at the head of the 
 Venetian printers, not only in the extreme beauty 
 of their typographical work, but also in the matter 
 of Marks. The first (and rarest) production of 
 the founder of the dynasty, Aldus Manutius, 
 1494-1515, was " Mussei Opusculum de Herone & 
 Leandro," 1494, a small quarto, and his life's work 
 as a printer is seen in about 1 26 editions which 
 
 THE FIRST ALDINE ANCHOR. 
 
 are known to have been issued by him. " I have 
 made a vow," writes Aldus, in his preface to the 
 " Greek Grammar" of Lascaris, " to devote my life 
 to the public service, and God is my witness that 
 such is my most ardent desire. To a life of ease 
 and quiet I have preferred one of restless labour. 
 Man is not born for pleasure, which is unworthy 
 of the truly generous mind, but for honourable 
 labour. Let us leave to the vile herd the exis- 
 tence of the brutes. Cato has compared the life
 
 Marks in Italy and Spain. 219 
 
 of man to the tool of iron : use it well, it shines, 
 cease to use it and it rusts." It was not until 
 1 502 that Aldus adopted a Mark, the well-known 
 anchor, and this appears for the first time in " Le 
 Terze Rime di Dante" (1502), which, being a 
 duodecimo, is the first edition of Dante in portable 
 form. This Mark, and one or two others with 
 very slight alterations which naturally occurred in 
 the process of being re-engraved, was used up to 
 
 ANDREA TORRESANO. 
 
 the year 1546. In 1515 the original Aldus died, 
 and as his son Paolo or Paulus was only three 
 years of age, Andrea Torresano, a distinguished 
 printer of Asola, into whose possession the " plant " 
 of Jenson had passed in 1481, and whose daughter 
 married the first Aldus, carried on the business of 
 his deceased son-in-law, the imprint running, " In 
 sedibus Aldi et Andreae Asulani soceri." In 1540 
 Paulus Manutius took over the entire charge of 
 the business founded by his father. The Anchor,
 
 220 
 
 Printers Marks. 
 
 known as the " Ancora grassa," which he used 
 from 1 540 to 1 546, is more carefully engraved but 
 less characteristic than that of his father ; whilst 
 that which he used from 1546 to 1554 was usually 
 but not invariably surrounded by the decorative 
 square indicated in the accompanying reproduc- 
 tion ; then he again modified his Mark, or more 
 particularly its border. Paulus Manutius died in 
 
 AL 
 
 THE ALDINE ANCHOR, I 50:-! 5. 
 
 April 1574. Aldus "the younger," 1574-98, the 
 son of Paulus and the last representative of the 
 house, also used the anchor, the effect of which is 
 to a great extent destroyed by the elaborate coat- 
 of-arms granted to the family by the Emperor 
 Maximilian. Aldus " the younger,"was a precocious 
 scholar, of the pedant type, and under him the 
 traditions of the family rapidly fell. He married 
 into the eminent Giunta family of printers, and
 
 Marks in Italy and Spain. 221 
 
 died at the age of 49. The famous Mark of the 
 anchor had been suggested by the reverse of the 
 beautiful silver medal of Vespasian, a specimen of 
 which had been presented to Aldus by his friend 
 Cardinal Bembo, the eminent printer, adding the 
 Augustan motto, " Festina lente." The Mark of 
 
 THE ALDINE ANCHOR, 1546-54. 
 
 the dolphin anchor was used by many other 
 printers in Italy, France, Holland (Martens, 
 Erasmus' printer, among the number), whilst the 
 " Britannia " of Camden, 1586, printed by New- 
 bery, bearing this distinctive Mark, which was 
 likewise employed by Pickering in the early part 
 of the century ; and, as will be seen from the next 
 chapter, is still employed by more than one printer.
 
 222 
 
 Printers Marks. 
 
 The Giunta or Junta family, members of which 
 were printing at Florence and Venice from 1480 
 to 1598, may be conveniently referred to here. 
 One of the earliest books in which the founder of 
 the family, Filippo, used a Mark, is " Apuleii 
 Metamorphoseos," Florence, 1512; our example, 
 
 THE ALDINE ANCHOR, 1555-74. 
 
 which is identical with that in Apuleius, is taken 
 from 'OTTTTKKVOV 'AAjstiTJxwv (Oppiani de natura seu 
 venatione piscium), Florence, 1515, which was 
 edited by Musurus. From a typographical and 
 artistic point of view the books of Lucantonio 
 Junta (or Zonta) are infinitely superior to those of 
 Filippo. He was both printer and engraver, and 
 many of the illustrations which appear in the
 
 Marks in Italy and Spain. 223 
 
 books he printed were executed by him. His 
 Mark appeared as early as 1495 in red at the end 
 of an edition of Livy which he appears to have 
 executed for Philippus Pincius, Venice, and again 
 in red, this time on the title-page, in another 
 edition of the same author, done for Bartholomeus 
 de Zanis de Portesio, Venice, 1511. Each of 
 
 THE ALDINE ANCHOR, 1575-81. 
 
 these productions contained a large number of 
 beautiful woodcuts. Early in the sixteenth century 
 those " vero honesti viri" (as they modestly de- 
 scribed themselves), Jacobi and Francisci, were 
 printing at Florence (" et sociorum eius"), the ac- 
 companying mark being taken from a commentary 
 on Thomas Aquinas, 1531. It will be noticed 
 that in the three marks of different members of
 
 224 
 
 Printers Marks. 
 
 the family the fleur-de-lys appears. Among the 
 Venetian printers of the beginning of the sixteenth 
 century Johannes de Sabio et Fratres may be 
 mentioned, if only on account of their Mark 
 which is given herewith. Its explanation is cer- 
 tainly not obvious ; and Bigmore and Wyman's 
 
 P. GIUNTA. 
 
 suggestion that it is a punning device is not a 
 correct one, whilst the statement that the cab- 
 bage is of the "Savoy" variety is also erroneous, 
 for this variety has scarcely any stalks ; for 
 " Brasica " we should read " Brassica." In 1534, 
 " M. Iwan Antonio de Nicolini de Sabio " printed 
 41 Alas espesas de M. Zuan Batista Pedre9an," a
 
 Marks in Italy and Spain. 
 
 225 
 
 rare and beautiful edition with woodcuts, and, in 
 small folio, of "Primaleon" in Spanish; and in 
 X 535 Stephano da Sabio issued a translation of 
 " La Conquesta del Peru," etc., of Francesco de 
 Xeres. 
 
 Although not the first printer either at Cremona, 
 where he started in 1492, or at Brescia, where he 
 
 L. GIUNTA. 
 
 F. DE GIUNTA. 
 
 was printing from 1492 to 1502, Bernardino de 
 Missintis deserves mention among the typographers 
 of the fifteenth century. So far as regards the 
 latter place, the Mark of Giammaria Rizzardi, who 
 was established in this city during the latter half 
 of the last century, is one of the most distinct, and 
 was probably designed by Turbini. Bonino de 
 Boninis of Ragusa, was printing at Venice, 1478- 
 
 G G
 
 226 
 
 Printers Marks. 
 
 1480, at Verona, 1481-3, and afterwards removed 
 to Brescia, where he was printing until about 1491. 
 The earliest known book printed at Modena (or 
 Mutine) is an edition of Virgil, executed by 
 Johannes Vurster de Campidona, 1475 ; but one 
 of the best known printers of this city is Dominico 
 
 THE BROTHERS SABIO. 
 
 Rocociolo, or Richizola, 1481-1504, who was in 
 partnership with Antonio Miscomini, 1487-89. 
 
 Printing was introduced into Milan (Mediola- 
 num) in 1469 or in the year following, and from 
 the numerous presses established in this city before 
 the end of the fifteenth century very many beauti- 
 ful books were issued. Gian Giacomo di Legnano
 
 GIAX GIACOMO DI LEGNANO.
 
 228 
 
 Printers Marks. 
 
 and his brothers, whose highly decorative Mark 
 we reproduce, were working in this city from 1 503- 
 33 ; one of their most interesting books is a Latin 
 translation of the first edition (Vicenza, 1507) of 
 the " Paesi novamente retrovati, et Novo Mondo da 
 Alberico Vesputio Florentine intitulato." Bologna 
 was also a busy printing centre from 14/0 onwards ; 
 but it must suffice us to give the monograms of 
 
 O <-> 
 
 GI AM MARIA RIZZARDI. 
 
 three of the more noteworthy, namely, Hercules 
 Nanni, 1492-4; Giovanni Antonio de Benedetti 
 (or Johannes Antonius Platonides de Benedictis), 
 1499, and Justinian de Ruberia, 1495-9 (see p. 25). 
 The Printers' Marks of Spain (including Portu- 
 gal) need not detain us long. They cannot in 
 any case be described as other than archaic, and 
 they are for the most part striking on account of 
 the coarseness of their design. A few examples are 
 given in Fray Francisco Mendez's " Tipografica
 
 Marks in Italy and Spain. 229 
 
 Espanola," of which the first and only volume 
 appeared at Madrid in 1796; and of which a 
 second edition, corrected and enlarged by Dionisio 
 Hidalgo, was published at the same city in 1861. 
 As the latter writer clearly points out " los del 
 siglo XV., y aun hasta la mitad del XVI. los mas 
 eran estranjeros, como lo demuestran sus nombres 
 y apellidos, y algunos lo declaran espresamente 
 en sus notas y escudos." These "estranjeros " were 
 almost without exception Germans. 
 
 Valencia (or Valentia Edetanorum) was the 
 first place in Spain into which the art of printing 
 was introduced ; the earliest printers being Alfonso 
 Fernandez de Cordova and Lambert Palomar (or 
 Palmart) a German, whose names however do not 
 appear on any publication (according to Cotton) 
 antecedent to the year 1478. Although not the 
 earliest of the Seville printers the four " alemanes, 
 y companeros," Paulo de Colonia, Juan Pegnicer 
 de Nuremberga, Magno y Thomas, their composite 
 Mark is one of the first which appears on books 
 printed in Spain. It is of the cross type, with two 
 circles, one within another, the smaller divided into 
 four compartments, each of which encircles the 
 initials of the four printers, " P " (the lower part of 
 which is continued so as to form an " L"), " I M T." 
 Among other books which they printed is the 
 " Vidas de los Varones ilustres de Plutarco." In 
 1495, Paulo de Colonia appears to have left the 
 partnership, for the Mark appeared with its inner 
 circle divided into three compartments in which 
 the initials " I M " and " T " only appear. This 
 firm continued printing at Seville until the com-
 
 230 
 
 Printers Marks. 
 
 mencement of the sixteenth century. Federico 
 de Basilea (or, as his name appears in the imprints 
 of his books, Fadrique Aleman de Basilea) was 
 busy printing books at Burgos from the end of the 
 fourteenth to the second decade of the fifteenth 
 century ; his Mark, a cross resting on a V-shaped 
 
 JUAN ROSEMBACH. 
 
 ground, is a poor one, the motto being "sine 
 causa nihil." " En mushos libros de los que 
 imprimio puso su escudo," observes Mendez ; this 
 printer possesses an historic interest from the fact 
 that he issued the first edition the unabridged 
 "Chronicle of the Cid," 1512 " Cronica del 
 Famoso Cauallero Cid Ruy Diez Campeador," a
 
 Marks in Italy and Spain. 231 
 
 book of the greatest rarity. One of the early 
 printers of Barcelona, Pedro Miguel, had a Mark, 
 also of the cross type, the circle surrounding the 
 
 V. FERNANDEZ. 
 
 bottom of which is divided into three compart- 
 ments, in two of which occur his initials "P M." 
 
 One of the most noteworthy names in the early 
 annals of Spanish printing is that of Juan de 
 Rosembach de Haydellerich, who printed books 
 in Barcelona, 1493-8, and again at the beginning
 
 232 
 
 Printers Marks. 
 
 of the sixteenth century; in Perpignan, 1500 ; in 
 Tarragona, 1490, and in Montserrat. In 1499 
 he printed at Tarragona the famous " Missal de 
 aquel Arzobispado," which Mendez declares to be 
 " muy recomendable por varias circumstancias." 
 At Barcelona he printed in 1526 an edition of 
 the " Oficias de Cicero." The Marks of this printer 
 vary considerably, but the example here repro- 
 duced may be regarded as a representative one. 
 Of the early Lisbon printers, Valentin Fernandez 
 "de la Provincia de Moravia" was probably the 
 first to use a Mark (here reproduced), one of his 
 publications being the " Glosa sobre las Coplas " 
 of Jorge Manrique, 1501. 
 
 i. 
 
 2. 
 
 I. ZACHARIAS KALLIERGOS. 
 3. J. DE VINGLE, OF PICARDY. 
 
 2. J. A. DE LEGNANO. 
 4. M. HUGUNT.
 
 SOME MODERN EXAMPLES. 
 
 D 
 
 THE STATIONERS' 
 COMPANY. 
 
 URING the past few 
 years there has been a 
 very evident revival in the 
 Printer's Mark as a modern 
 device, but the interest has 
 much more largely obtained 
 amongpublishers than among 
 printers. We propose, there- 
 fore, to include in this chapter 
 a few of the more interesting 
 examples of each class. On 
 
 the score of antiquity the Stationers' Company 
 may be first mentioned. Founded in 1403 
 nearly three-quarters of a century before the in- 
 troduction of printing its first charter was not 
 received until May 4th, 1557, during the reign of 
 Mary. The number of "seditious and heretical 
 books, both in prose and verse," that were daily 
 issued for the propagation of " very great and 
 detestable heresies against the faith and sound 
 Catholic doctrine of Holy Mother the Church," 
 became so numerous, that the government were 
 
 H H
 
 234 
 
 Printers' Marks. 
 
 only too glad to " recognize " the Company, and 
 to intrust it with the most absolute power. The 
 charter was to " provide a proper remedy," or, in 
 other words, to check the fast-increasing number 
 of publications so bitter in their opposition to the 
 Court religion. But, stringent and emphatic as 
 was this proclamation, its effect was almost nil. 
 On June 6th, 1558, another rigorous act was pub- 
 
 THE STATIONERS' COMPANY. 
 
 lished from "our manor of St. James," and will be 
 found in Strype's " Ecclesiastical Memorials" (ed. 
 1822, iii. part 2, pp. 130, 131). It had specific 
 reference to the illegality of seditious books im- 
 ported, and others "covertly printed within this 
 realm," whereby "not only God is dishonoured, 
 but also encouragement is given to disobey lawful 
 princes and governors." This proclamation de- 
 clared that not only those who possessed such
 
 Some Modem Examples. 235 
 
 books, but also those who, on finding them, do not 
 forthwith report the same, should be dealt with as 
 rebels. It will be seen, therefore, how easy it was, 
 in the absence of any fine definition, for books of 
 whatever character to be proscribed. There was 
 no appeal against the decision of the Stationers' 
 Hall representatives, who had the power entirely 
 in their own hands. A few months after Mary's 
 futile attempt at checking the freedom of the press, 
 a diametrically objective change occurred, and with 
 
 THE R1VINGTONS. 
 
 Elizabeth's accession to the throne in November, 
 1558, the licensed stationers conveniently veered 
 around and were as industrious in suppressing 
 Catholic books as they had been a few weeks pre- 
 viously in endeavouring to stamp out those of the 
 new religion. The history of the Stationers' 
 Company however has been so frequently told that 
 it need not be further entered upon here, and it 
 must suffice us to say that, after many vicissitudes, 
 all the privileges and monopolies had become 
 neutralized by the end of the last century, till it
 
 236 Printers Marks. 
 
 had nothing left but the right to publish a common 
 Latin primer and almanacks, and the right to the 
 latter monopoly was annulled after a memorable 
 speech of Erksine. The Company still continues 
 to publish almanacks, and uses the two Marks or 
 Arms here reproduced. The larger example is 
 the older, and is used on the County almanacks ; 
 whilst the smaller one is used on circulars and 
 notices. 
 
 Of the existing firms of publishers and printers, 
 that of Messrs. Longmans is the most memorable ; 
 vice the firm of Messrs. Rivingtons, which has 
 now become joined to that of the Longmans. This 
 gives us the opportunity to consider briefly the 
 Marks of the two firms together. In the year 
 1711, Richard Chiswell, the printer of much of 
 Dryden's poetry, died, and his business passed 
 into the hands of Charles Rivington, a native of 
 Chesterfield, Derbyshire. Thoughtful and pious 
 himself, Charles Rivington threw himself with 
 ardour into the trade for religious manuals, and 
 not only succeeding in persuading John Wesley 
 to translate "a Kempis " for him, but also in 
 publishing the saintly Bishop Thomas Wilson's 
 "Short and Plain Introduction to the Sacrament 
 of the Lord's Supper," the first edition of which 
 bears Charles Rivington's name on the imprint, 
 and which is still popular. To the novelist 
 Richardson, he suggested " Pamela." Dying in 
 1742, he left Samuel Richardson as one of the 
 executors of his six children, but his sons, John 
 and James, continued to conduct the business. A 
 few years later, it was deemed advisable for the
 
 Some Modern Examples. 237 
 
 brothers to separate, and while John remained at 
 the " Bible and Crown," St. Paul's Churchyard, 
 James joined a Mr. Fletcher in the same locality, 
 and started afresh. One especially fortunate ven- 
 ture was the publication of Smollett's continuation 
 of Hume, which brought its lucky publishers 
 upwards of ,10,000, a larger profit than had 
 
 LONGMAN AND CO. 
 
 previously been made on any one book. How- 
 ever, Newmarket had attractions for James, and 
 eventually disaster set in ; he died in New York 
 in 1802 or 1803. His brother, meanwhile, had 
 plodded on steadily at home, and admitting his 
 two sons, Francis and Charles, into partnership. 
 About this time there \vere numerous editions of 
 the classics, the common property of a syndicate of 
 publishers, and it says much for Mr. John Riving-
 
 238 Printers Marks. 
 
 ton that he was appointed managing partner. 
 About 1760 he obtained the appointment of pub- 
 lisher to the Society for Promoting Christian 
 Knowledge, a lucrative post, held by the firm for 
 upwards of two generations. By the year 1889, 
 the two representatives of this ancient firm were 
 Messrs. Francis Hansard Rivington and Septimus 
 Rivington ; in this year the partnership was dis- 
 solved, and the goodwill and stock were acquired 
 by Messrs. Longmans. They used at various 
 periods no less than eight Marks, the design of 
 
 THE CLARENDON PRESS. 
 
 which was in most cases based upon the ancient 
 sign of their shop, " The Bible and Sun." 
 
 The history of Messrs. Longmans may be said 
 to commence with the birth of Thomas Longman 
 in 1699. The son of a Bristol gentleman, he lost 
 his father in 1 708, and, eight years later, was 
 apprenticed, on June 9, 1716, to Mr. John Osborn 
 of Lombard Street, London. His apprenticeship 
 expiring (he had come into the possession of his 
 property two years earlier), we find him, in 1724, 
 purchasing from his master, John Osborn (acting 
 with William Innys as executors), the stock in 
 trade of William Taylor, of the Ship and Black 
 Swan in Paternoster Row. Readers of Longmans
 
 Some Modern Examples. 239 
 
 Magazine turn to Mr. Andrew Lang's genial 
 gossip, " At the Sign of the Ship," without re- 
 
 ALDI 
 
 WILLIAM PICKERING. 
 
 BASIL MONTAGU PICKERING. 
 
 calling the origin of the title. Henceforward the 
 Ship carried the Longman fortunes as cargo, and
 
 240 
 
 Printers Marks. 
 
 the prosperity of the vessel is not yet ended. 
 Messrs. Longmans have used nearly a dozen 
 Marks, all of which have been suggested, like those 
 of the Rivingtons, by the sign of their shop, which 
 has now grown into a very imposing pile of buildings. 
 Of these Marks we give two of the most artistic and 
 As taking us back into a compara- 
 
 mteresting. 
 
 THE CHISWICK PRESS. 
 
 tively remote period in the history of printing and 
 publishing in England, the Mark of the Clarendon 
 Press, or, in other words, the arms of the Univer- 
 sity of Oxford, may be here cited. 
 
 The " Chiswick Press " of Messrs. Whittingham 
 and Co., is in several respects a link with the long 
 past, and, having been in existence for more than a 
 century, is one of the oldest offices in London. It
 
 THE CHISWICK. PRESS. 
 
 THE CHISWICK PRESS. 
 1 I
 
 242 Printers Marks. 
 
 has attained a world-wide celebrity for the excel- 
 lence of its work, the careful reading and correction 
 of proofs, and the appropriate application of its 
 varied collection of ornaments and initial letters. 
 The Chiswick Press was the first to revive the 
 use of antique type in 1843, f r tne printing of 
 " Lady Willoughby's Diary," published by Messrs. 
 Longmans. Since that time its use has become 
 universal. The founder, Charles Whittingham, 
 was born on June i6th, 1767, at Calledon, in 
 Warwick, and was apprenticed at Coventry in 
 1779, working subsequently at Birmingham, and 
 then in London. He commenced business on his 
 own account in Fetter Lane in 1790 ; and in 1810 
 he had removed to Chiswick, and since that period 
 the firm has always been known as " The Chiswick 
 Press." In 1828 he began to execute work for 
 William Pickering, the publisher, and his press 
 quickly acquired an unrivalled reputation for its 
 collection of ornamental borders, head and tail 
 pieces. The publisher Pickering, and the printer 
 Whittingham, had employed about two dozen 
 marks in their various books : the former justly 
 calling himself a disciple of Aldus, and using a 
 large number of variations on the original Anchor 
 and Dolphin Mark of the great Venetian printer. 
 Of these we give two examples, one with, and one 
 without a cartouche ; and also the mark of Basil 
 Montagu Pickering, the son and successor of 
 William Pickering. We also reproduce three of 
 the more striking Marks of the Chiswick Press, 
 the shield on one of which, it will be observed, 
 carries the Aldine Anchor and Dolphin.
 
 CHATTO AND WINDUS. 
 
 DAVID NUTT. 
 
 CASSELL AND CO. 
 
 MACMILLAN AND CO. 
 
 T. FISHER UNWIN. 
 
 LAWRENCE AND BULLEN. 
 
 KEGAN PAUL AND CO.
 
 244 
 
 Printers Marks. 
 
 The name of Cassell takes us back to the era of 
 Charles Knight and John Cassell, and the inau- 
 guration of the noble results which these two 
 pioneers achieved on behalf of cheap and healthy 
 literature. The name of the former is no longer 
 associated with either printing or publishing ; but 
 that of the latter is still one of the most prolific 
 firms of printers and publishers. Its Mark is 
 founded on the name of "La Belle Sauvage" 
 
 R. AND R. CLARK. 
 
 Yard, Ludgate Hill, in which the business has 
 been located for a long series of years. 
 
 Two Edinburgh printers may be here con- 
 veniently referred to. Messrs. R. and R. Clark, 
 whose business was started in Hanover Street, 
 Edinburgh, in 1846, and removed to Brandon 
 Street, in that city, in 1883, are well known for the 
 excellence of their printing. Mr. Austin Dobson 
 thus sings, in Mr. Andrew Lang's Book on " The 
 Library:"
 
 Some Modern Examples. 245 
 
 " ' 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 : 
 
 T. FISHER UXWIX. 
 
 "U'herefore 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.
 
 T. AND A. CONSTABLE.
 
 Some Modern Examples. 247 
 
 Walter Crane, and first used by Messrs. Clark in 
 1 88 1. It is used in several sizes. Of the very 
 handsome Mark of Messrs. T. and A. Constable, 
 the Queen's Printers, at the University Press, we 
 may mention that the legend is a hexameter ; it 
 was written by Professor Strong, and contains two 
 puns ; the ship is an old Constable device. The 
 
 WILLIAM MORRIS. 
 
 Marks of both Messrs. Chatto and Windus (who 
 succeeded to the business, started and carried on 
 with such energy by the late John Camden Hotten) 
 and Messrs. Macmillan and Co. (whose firm dates 
 from the year 1843) are characterized by the 
 extremest possible simplicity. 
 
 The finest of the several Marks used by Messrs. 
 George Bell and Sons is given in two colours on
 
 Some Modern Examples. 249 
 
 the title-page of the present volume, and is a play on 
 the surname, the Aldine device being added to the 
 bell. Another example will be found on page 261. 
 
 Messrs. Kegan Paul, Trench, Triibner and Co., 
 Limited, originally a branch of the extensive 
 Anglo- Indian firm of H. S. King and Co., first 
 used the accompanying device in the autumn of 
 1877 ; the drawing was executed by Mrs. Orrin- 
 smith in accordance with Mr. Kegan Paul's 
 suggestions. Messrs. Lawrence and Bullen, like 
 Messrs. Clark, called in the aid of Mr. Walter 
 Crane in designing their charming little Mark. 
 
 We give two of the several Marks used by one 
 of the most prolific of the younger publishers, 
 Mr. T. Fisher Unwin, the one is simply his initials, 
 and the more elaborate example is a copy of a 
 type not infrequently met with among the marks 
 of the sixteenth century printers. Mr. David 
 Nutt's device is a quaint and effective play on his 
 surname. Through the courtesy of Mr. William 
 Morris, we are enabled to give examples of both 
 of the Kelmscott Press Marks, each of which was 
 designed by Mr. Morris. 
 
 As indicating the position of the printer's Mark 
 in America, we group together seven of the most 
 interesting examples of the leading printers and 
 publishers in the United States. The eighth 
 example is that of Mr. Martinus Nijhoff, of the 
 Hague ; the device, " Alles komt te regt," signifies 
 " All turns right," or something to that effect. 
 
 K K
 
 J.S. GUSHING 6fCO 
 BOOK-PRINTERS 
 
 D. APPLETON AND CO. 
 
 J. S. GUSHING AND CO. 
 
 HARPER BROTHERS. 
 
 H. LOCKWOOD AND CO.
 
 BERWICK AND SMITH. THEODORE L. DE VINNE AND CO. 
 
 J. B. LIPPINCOTT CO. 
 
 M. NIJHOFF.
 
 THE HAVEN 
 
 OF HEALTH: 
 
 Chicfely gathered for the comfort of Stu- 
 dents , and confcquently of all chofe that hauc a 
 
 care of their health, amplified vpon fine words of 
 
 Hiff'truti , written Sfid. 6. Ltkn , Cikia, 
 
 Ti>tw,S/H>mw,rnHi . By ^maCtibiu 
 
 mafter of Artcs,& Bicfacler 
 
 of Phificke. 
 
 Utreiintau*UtJiTreftriuiintfi<>mtbt r Pr/lt,'tc,. 
 tVttb 4/W Cnfmt of, la Intfickyn M Ox/or*. 
 
 txdtf^lm,, Cif.tf. } o. 
 
 B/ flirfclbiuc mime pcnn-il : but he tint dieteth 
 
 JumfcMe|itolongh hiilife. 
 
 AT LONDOM 
 Printed by Henrie Midkton, 
 
 ,,84.
 
 BIBLIOGRAPHY. 
 
 THE following books will be found helpful to those 
 who wish to prosecute their studies further into the 
 subject of the Printer's Mark. Special information 
 respecting the devices of the more eminent typographers, 
 such as Plantin, Elzevir, and others, will be found in the 
 monographs and bibliographies which have been com- 
 piled concerning these men and their works. 
 
 HAVRE, G. VAN. Marques typographiques des im- 
 primeurs et libraires anversois, 2 vols. Avec plus de 
 1000 reproductions. Anv., 1884. 
 
 HEITZ (P.) and BARACK (K. A.). Die Biichermarken 
 oder Buchdrucker und Verlegerzeichen. Elsassische 
 Biichermarken bis Anfang des 18 Jahrhdts. Nebst 
 Vorbemerkungen u. Nachrichten iib. d. Drucker. Mit 76 
 Holzschn. Tafeln. 4. Strassburg, 1892. 
 
 HOLTROP, J. W. Monuments Typographiques des 
 Pays Bas au quinzieme siecle. 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. 4. Paris, 1886-87. 
 
 JOHNSON,}. Typographia, 2 vols. London, 1824.
 
 254 Printers Marks. 
 
 LEDEBOER, ADRIAN MAR. Alfabetische lijst der Boek- 
 drukkers, Boekverkoopers en Uitgevers in Nord- 
 Nederland. With 4 plates of Printers' Marks. 
 
 4to. Utrecht, 1876. 
 
 LEMPERTZ, HEINRICH. Bilder Hefte zur Geschichte 
 des Biicherhandels und der mit demselben verwandten 
 Kiinste und Gewerbe. 1 1 Hefte mit 65 Taf., enthalt. 
 Facs. Reprod. von Portraits beriihmter Buchhandler, auf 
 den Buchhandel beziigl. Schriftstucke, Initialen, Ex- 
 libris, Abbilden kunstvoller Einbande. 
 
 Fol. Koln, 1853-65. 
 
 LlNDE, A. v. D. Geschichte der Erfindung der Buch- 
 druckerkunst 3 Bde. 4. 1886-87. 
 
 MEERMANN, GERARD. Origines typographicae, 2 vols. 
 With icpL Printers' Marks. 4. Hag. Com., 1765. 
 
 MENDEZ, FRAY FRANCISCO. Tipographia espafiola 6 
 historia de la introduccion, propagacion y progesos del 
 arte de la imprenta en Espana. Second edition revised 
 by D. Hidalgo. Madrid, 1861. 
 
 ORLANDI, P. A. Origin e Progressi della Stampa. 
 
 4. Bolog. 1722. 
 
 ROTH-SCHOLTZ, F. Thesaurus Symbolarum ac 
 Emblematum. etc. Fol. Nuremberg, 1730 (with repro- 
 ductions of several hundred Marks). 
 
 SlLVESTRE, L. C. Marques typographiques ou recueil 
 des monogrammes, chiffres, enseignes, etc., des libraires 
 et imprimeurs qui ont exerce en France depuis 1470, 
 jusqu'a la fin du i6 e siecle. Avec plus de 1300 fig. s. 
 bois. Paris, 1853-67. 
 
 THIERRY-POUX, O. Premier Monuments, etc., de 
 1'imprimeur en France au XV siecle. Fol. Paris, 1890. 
 
 WEIGEL (T. O.) and ZESTERMANN (A. C. A.). Die 
 Anfange der Druckerkunst in Bild und Schrift. An 
 deren friihesten Erzeugnissen in der Weige'schen Samm- 
 lung erlautert. Mit 145 Facs. u. viel. Holzschn. im Text. 
 
 Folio. Leipz., 1866. 2 vols.
 
 INDEX. 
 
 A BIEGNUS, J., 26. 
 ** Aldine family, The, 218- 
 
 223. 
 
 Alexandra, 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. 
 Bartholomaeus, 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-Ne", J., 20. 
 Bignon, J., 14. 
 Birckmann, A., 162-163. 
 Blades, W., 55. 
 Blount, E., 87. 
 Bocard, A., 20. 
 BoninodeBoninis,25, 225-256. 
 Boucher, N., 27. 
 Bouchet, G., 21. 
 
 -J, 21. 
 
 Bouchets Brothers, 12. 
 Boulle, G., 34. 
 Bounyn, B., 14.
 
 256 
 
 Printers Marks. 
 
 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. 
 Surges, J., 22. 
 Byddell, J., 72. 
 Bynneman, H., 85, 86. 
 
 Caesar, N., 161. 
 
 Csesaris, A., 189, 191. 
 
 Caillaut, A., 3. 
 
 Caligula de Bacileriis, 25. 
 
 Calvarin, P., 14. 
 
 Calvin, J., 174. 
 
 Cartandcr, see Cratander. 
 
 Cassell and Co., 243-4. 
 
 Caxton, W., 53-57. 
 
 Cervicornis, Eucharius, 159. 
 
 Cesar, P., 12. 
 
 Chandelier, P., 7, 137-138. 
 
 Charteris, H., 99. 
 
 Chatto and Windus, 243, 247. 
 
 Chaudiere, 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. 
 Gushing 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, \V., 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., 
 
 H. and A., 66. 
 
 De la Riviere, G., 8. 
 
 De Marnef Brothers, The, 26, 
 
 106-107. 
 Denidel, A., 21.
 
 Index. 
 
 257 
 
 Denis, J., 38. 
 
 De Pfortzheim, Jacobus, 163, 
 
 165- 
 
 I)e Saincte-Lucie, P., 14. 
 De Salenson, G., 17. 
 De Sartieres, P., 14. 
 Destresius, J., 194. 
 De Tournes, J., 29, 31, 133. 
 
 S., 25 
 
 De Vingle, 115, 232. 
 
 De Vinne, Th., 151. 
 
 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 Pr6, Galliot, 5. 
 
 J., 26, 108, 136. 
 
 P., 22. 
 
 Du Puys, 7-, 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. 
 
 Fe"zandat, 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, 1 73-1 74. 
 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. 
 Griininger, 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. 
 
 L L
 
 258 
 
 Printers Marks. 
 
 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, 
 
 1 88. 
 
 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, in, 115. 
 Keysere, see Csesaris. 
 
 Kingston or Kyngston, Felix, 
 
 88, 89. 
 
 Knoblouch, J., 17, 91, 142. 
 Koberger, Anthony, 167. 
 Kobian, Valentin, 156. 
 KoelhoerT, J., 159-160. 
 Kopfel (or Caephalaeus), 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, no. 
 
 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. 
 Letter, Melchior, 169, 170. 
 Lynne, W., 52, 83.
 
 Index. 
 
 259 
 
 Mace, B., 36. 
 
 R., 13- 
 
 Family, The, 108. 
 
 Macmillan and Co., 243. 
 Madden, J. P. A., " Lettres," 5 7 . 
 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. 
 
 Mu'ller, 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. 
 Peregrine de Pasqualibus, 25, 
 
 215- 
 
 Perier, 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. 
 
 Printer^' Marks : punning de- 
 vices, 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. Chris- 
 topher, 22; Saints and
 
 260 
 
 Printers Marks. 
 
 Priests, 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 Grif- 
 fin, 35 ; the Mermaid, 36 ; 
 the Anchor, 37 ; Angels, 
 37 ; Arion, 37; Bellero- 
 phon, 37 ; astrological signs, 
 37; Cat, 38; Eagle, 38; 
 Fortune, 38, 44 ; Fountain, 
 38 ; Heart, 38 ; Hapcules, 
 
 38 ; Lion, 38 ; Magpie, 38 ; 
 Mercury, 38 ; Pelican, 38 ; 
 Phoenix, 39 ; Salamander, 
 
 39 j 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., 1 74. 
 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, 
 
 2I 5- 
 Ryverd, G., 22. 
 
 Sabio Brothers, The, 224-226. 
 Sacer, J., 25. 
 Sacon, J., 26, 73. 
 Schaffeler 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 > l86 - 
 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.
 
 Index. 
 
 261 
 
 Thanner, J., 139, 171. 
 
 Ther Hoernen, A., 24, 157, 
 
 159, 183. 
 Thomas, 229. 
 Title-page, The First, 48. 
 Tonson, J., 94. 
 Topic, 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. 
 Verard, A., 21, 102. 
 Vidoue, P., 17, 124. 
 Vincent, Simon, 34, 51. 
 
 Vindelinus de Spira, 213. 
 Vitalibus, B. de, 215. 
 Von Andlau, G., i, 32, 146. 
 Vostre, S., 102, 103, in, 112. 
 Vurster de Campidona, J., 2 26. 
 
 Waesberghe, J., 199. 
 Walthoe, J., 92. 
 Ware, R., 92, 93. 
 Wechel, A.andC., 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.
 
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