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HARVARD COLLEGE 
LIBRARY 




FROM THE FUND OF 

CHARLES MINOT 

ClASS OF 1818 



PRINTERS' MARKS. 



1 




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printers' Marks 

A Chapter in the History of 

Typography by W. Roberts 

Editor of " The Bookworm " 




ssr~. . If Si 6 Vf - 







pter in tht 
^Typography by W. Roberta 

Editor of " The Bookworm " 




III : Gtorgc Bell 4c Soni. York Strt. 
t Garden^ & New York. Mdcccx<i 





PREFACE. 

IHERE are few phases of typography 
1 open to the charge of being neglected. 
An unquestionable exception occurs, 
however, in relation to Printers' Marks. 
This subject is in many respects one of the most 
interesting in connection with the early printers, 
who, using devices at first purely as trade marks 
for the protection of their books against the pirate, 
soon began to discern their ornamental value, and, 
consequently, employed the best available artists 
to design them. Many of these examples are of 
the greatest bibliographical and general interest, 
as well as of considerable value in supplementing 
an important class of illustrations to the printed 
books, and showing the origin of several typical 
classes of Book-plates (Ex-Libris). The present 
Handbook has been written with a view to sup- 
plying a readable but accurate account of this 
neglected chapter in the historj' 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 principie which determined the selection of 
the illustrations is of a threefold character : firet, 
the importance of the printer : secondly, the artistic 
value or interest of th itself; and thirdly, 

the geographical impoi the city or town in 

which the Mark first a| 

Since the text of this i * printed, however, 

two additions have be« : to the literature 

of its subject : Dr. Paui ller's "Die Italie- 

nischen Buchdrucker- u ;rlegerzeichen, bis 

1525," a very handsome w^ orthy to rank with 

the " Elsassische BuchermarKen bis Anfang des 
18. Jahrhunderts" of Herr Paul Heitz and Dr. 
Karl A, Barack {to whom I am indebted for 
much valuable information as well as for nearly 
thirty illustrations in the chapter on German 
Printers' Marks) ; and Mr. Alfred Pollard's " Early 
Illustrated Books," an admirable volume which, 
however, only deals incidentally with the Printer's 
Mark as a side issue in the history of the 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 

les 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 Sibcrch, the first Cambridge printer. I have 
nk M. Martinus Nijhoff, of the Hague, 
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. 





I 



CONTENTS. 

Fbepace vii 

List of Illustrations xiit 

Introduction i 

Some general Aspects of the Printer's Mark . . 40 

The Printer's Mark in England 51 

Some French .Printers' Marks 100 

Printers' Marks of Germany and Switzeri^nh . . 139 

Some Dutch and Flemish Printers' Marks .... 178 

Punters' Marks in Italy and Spain 109 

Some Modern Examples 233 

BiBLIORRAPHV 353 

Index aSS 



LIST OF ILLUSTRATIONS. 



FLiechtensiein, Petrus. 

1 Frontispiece 

I Bell, George, and Sons. 

I TitU-pa^e 

\ Andlau, G. U. Von . . . ' I 

1 Couteau, Gillel .... 4 

\ Du Prd, Galliot .... 5 

Lecoq, Jehan 7 

Petit and Ker\'er .... 
I Du Puys, Jacques . . . 

Pavier, T 

Janot, Denj's 

raques, William .... 

Steels,) 

Vdrard, Anioine .... 

Plate of thiny Marks used 
chiefly by the Italian 
Printers 25 

Cbaudiire, Guillaume . . 

Roffct, Jacques .... 

Toumes, Jean de . . , 

Breuille, Mathurin , , . 

Snellaert, C 

Rastell, John 

Leeu, Gerard .... 39, 185 

Fusl and Schoefler . . . 

Froben, J 

Cratander's Mark (attri- 
buted to Holbein) . , 

Cox,T 46 

DuJssecker, Johann Rein- 
hold .... 47,153,154 
t Beck, Reinhard . 50, 143, 
tColiz, Hubert 



Lynnc, Waller 
Caxton, William . 
St. Albans Printer, The 
Ue Worde, Wynkyn 
Pytison, R.. . . 
Notary, Julian 
Fawkes, R. . . 
Treveris, Peter . 
Scoii, John . . . 
Copland, Robert . 
Wyer, Robert . . 
Hester, Andrew . 
Berthelet, Thomas 
ByddcU, John . . 
VautroUier, Thomas 
Graflon, Richard 
Middleton, WiUiam 
Wolfe, John . . 
Day, John . . . 
Arbuthnot, A. . . 
Singleton, Hugh . 
Wight, John . . 
Hall, Rowland . 
Bynneman, Henry 
Woodcock, Thomas 
Jaggard, William 
Kin),'Ston, Felix . 
Creede, Thomas . 
Walthoe, John . 
Ware, R. . . . 
Scoiar, John . . 
Siberch, John . . 
Myllar, Andro, . 
Chepman, Walter 



56 

I! 

59, 60 
61 
63 
64 
6S 

66,68 




Lis/ of lUustratioHS. 



K 



RtfMMk, Hcnv . 
M«rtw«,«j"flr ■ 
ItaMwucf. ■ ■ 
OttHTtJ. . - - 
Le Rou(T. rictre 
Le Noir. PhiliRW 
K«o«r, Thiebnan 
ISltouchet. Philippe 
tWitJehan ■ ■ 
B«*.J- ;-■ • 

Tor\-. Ccoffirey . 
De ColinM. Simon 
EMtcone. Robert 
\"idoue, P. . . . 
O'^neus, Louis . 
\VAJiel,Andrf . 
Wechcl, Chrcstien 
Ni\-dle, S^basiieo 
Merlin. Desbo)s 

Nivelle . . . 
Topic M. . - ■ 
Treschel, J. . - 
Uolci. E. . . . 
Hughes de la Porte and 

A. Vincent . . 
C;r>phe, StJbastien 
Colomies, Jacques 
Morin, M. - . . 
Le Chandelier, Pierre 
Thanner, Jacob! . 
Criininger, Johann 
Schott, Martin . 
Kn obi ouch, Johann 
Kopfel, Wolfgang 
Miiller, Craft (Cralo 
lius) .... 
Biener, Matthias (Apiarius) 
Rihel, Theodosius ; Rihel, 

Josias(undDerenErben) 150 



and 



45, >46 

y- 

147. 149 



Zetuier, Lazarus . . . 
Berger, Thiebold . . 
Scher, Conrad . . . 
Hauth, David .... 
Anshelm, Thomas . . 
K obi an, Valentin . . 
Hocmen, A. Ther . . 
Bumgart, Herman . . 

Koelhotr. Johann . . . 100 

Csesar, Nicholas . . . . 161 

Soter, J 162 

Birckmann, Arnold . . . 163 

Oglin, Erhard 164 

Pfortcheim, Jacobus de . 165 

Hcnricpetri 166 

Endters, Wilhelm Moriti, 

Daughter 167 

VVeissenburger, J. . , , 168 

LoUer, Melchior .... i5g 

Schumann, V 170 

Baumganen, Conrad . . 171 

Feyrabeod, J 172 

Gueibtn, L. 172 

Stadelberger, Jacob. , , 173 

Girard, Jeban 174 

Rivery.J 174 

Froschover, C 175 

Brjlinger, N 176 

Lc Preux, F 177 

Veldener, J 178 

Johann of Westphalia . . 179 

Martens, Theodorie . . 180 

Mansion, Colard .... 181 
The Brothers of Common 

Life 182 

PaffraeJ, -Mbertus ... 183 
Van dcr Meer, Jacob 

Jacobzoon 186 

Van der Goes, Mathias . 187 

Van den Dorp, R. . . , 1 88 

Back, Godefroy . . . 188, 190 

Casaris, A 191 

Hillenius, Michael . . . [9: 

Bellaert, J 193 

Henrici, H 194 

Destresius, Jodocus . . . 195 



List of Illustrations. 



Van der Noot, Thoma; 
Craphcus, J. . , . 
Van den Keere, Henri 



Hanioni, Michel d 
Velpius, Rutger . 
Hovii, J. M. . . 
Planiin, C. . . . 
EUevir Sage. The 
Elievir Sphere, The 
Janssens, Gui slain 
Frilag, A. . . . 
Riessinger, Sixtus 
Besicken, J. . . 
Martens, Thierry 
Raldolt, Erhardus 
Scot to, O I [avians 
SessA, Melchior . 
Meietos, 1". and A. 
Aldine Anchor, The 
Torre sano, Andrea 
Aldine Anchor, 15a 
1546- 
1S5S 
'S7S 



Giunia, P. . 
Giunta, L. . 
Giunta, F. de 
Sabio, The Brothers 
Legn.tno, (>ian Giaco 
Rluardi " 
Rosembach, J 
Femandex, V, 



Kalhei^os, Zacharias . . 
Legnano, J. A. de . . . 
Vingle, J. de, of Picardy . 

HugunI, M 

Longman and Co. . . 233, 
Stationers' Company, The 

Rivingtons, The . 
Clarendon Press, The . . 
Pickering, William . . . 
Pickering, Basil Montagu. 
Chiswick Press . . 
Chatto and Windus. 



Nut 



David 



Casscll and Co. . . 
Macmillan and Co. . 
Unwin,T. Fisher . 
Lawrence and BuUen 
Kegan Paul ,ind Co. 
Clark, R. and R. . . 
Constable, T, and A. 
Morris, William . . 
Applcion, D., and Co. 
Gushing, J. S., and Ca 
Harper Itrothers . . . 
LocliHood, H., and Co. 
UerH'ick and Smith . 
De \'inne, Theodore 

Lippincott, J, B., Co. 

Niihoff, M 

Norton, William . . 
bell, George, and Sons 





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 
f 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 




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 ol the printer but also without that of tiie 
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 




I 



Introductioit. 

Librorum" (Saec. xv,), it. 146. in speaking of a 
Greek Psalter says : " Habet stgnaturas, registrnm 
ac cusiodes, sed non mimerantur folia. Litlera 
priruipalcs ligno iruh^ sunt, sieut ct in primipio 
(ujustibet psalmi viiicula yua gallicd vignettes 
appcllanlur.quarumusum primusexcogilavit Aldus. 
The volume here described was printed about 
'495. iifid the invention therefore lias 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 woii/ of the pictorial embellishmenL 
Floth 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 verj' 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. .-X 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 
fijjures in full. This Mark, with variations, was 
also employed by Philippe and Guillaume le 
Nnir, the work of the three men covering a 
period of nearly i oo years. The device of 
Gilles or GiHet Couteau, Paris. 1492. is apparently 
a double pun, first on his Christian name, the 




Gil, LET COU 



transition from which to anllet 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. 



and this they did. one of the latter's examples 
having a dolphin twining around the stem. Jacques 
and Esticnne Maillet, whose works at Lyons ex- 
tended from the last eleven years of the fifteenth 




century to the middle of the sixteenth, give in 
the centre of their shield a picture of a mallet. 

One of the boldest of the early sixteenth century 
examples is that employed by Galliot Du Vxk, 
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 150S 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 S^bastien 
Gryphe or Gryphius : he had at least eight 
"grifiin" 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 




r 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, dim pugnabo"; and equally rea- 
I 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. 

fideiiter ministro." Antoine Tardif, Lyons, em- 
ployed the Aldine anchor and dolphin, and also 
a motto, " Festina tardt;." 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 fiumine valles"; and 
it is not difificult 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 piiits 
(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 histor)-, 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, 
'■ Fert lacitus, vivit, vincit divinus amator," as a 
Mark ; Guillaume Julian, or Julien, had " Amitie " 



lo Printers' Marks. 

as his sign, and a personification of this (Typus 
Amicitia?) 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 \V. 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 



12 Printers' Marks. 

leliovEC quia benefecJt"; 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, 




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; Eioy 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. 

Next to the section of " punning" devices, 
perliaps tlie most entertaining is that which deals 
with the question of mottoes. These are derived 
from an infinite variety of sources, not infrequently 
from the fertile brains of the printers themselves. 
Their application is not always clear, but they are 
nearly always indicative of the virility which 
characterized the old printers. It is neither 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 nion d^sir 
De Dieu servir 
Pour acqu^rir 
Son doux plaisir." 

Also in the instance of another early printer, 
Gilles De Gourmont, who chants — 

" Tost ou lard 

A le Fori 

Uu feble bt;soiiig." 

Perhaps the greatest number of all are those in 
which the printer proclaims his faitii 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 Mac^, Rouen, proclaims " Ung dieu, 



H 



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, tinem 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- 
Liicie, also called Le Prince, "Oculi mei semper 
ad dominum " ; and of J. Temporal (all three 
Lyons printers), "Tangit monies et fumigant," in 
which the design is quite in keeping with the 
motto ; in one case at least, S. Niveile, one of the 
commandments is made use of, " Honora patrem 
tuum, et matrem tuam, ut sis loiigtevus super 
terram." Here, too, we may include the mottoes 
of B. Rigaud, " A foy entiere cceur volant " ; S. 
De Colines, " Eriplam et glorificabo eum " ; and of 
Benoist Bounyn, Lyons. " Labores manum tuanim 
quia manducabis beatus es et bene tibi erit." Wjiilst 
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. Koce, " A I'aventure 
tout vient a point qui peut attendre" ; J. Bignon, 
" Repos sans fin, sans fin repos" ; the motto used 
conjointly by M. F^zandat and R, Granjon, "' Ne 



I 
I 




cum justo super divitias peccatorunr 
taken from Psalm xxxvii. verse i 
second, " Melior est patiens viro 
dominat," comes from Proverbs xv 



Intyoduciion. 



17 



Ew characters is a not unimportant feature 
earlier examples oi 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 

teariiest 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 lower case Greek, and 
a Latin quotation—" Veruni. quum latebris delituit 
diu, emergit " ; and of Wolfius Cs;phalieus. 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^///c/« — 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 tlteta 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 




i8 



Prmteys 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 F. Sergentand L. Grandinat Paris, by J. 
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 trjing 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 Grandln'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 ir7th 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 




Introduction. 

century in this country— it appears, for example, 
on several books printed by K, 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 




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 Mnrks 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 



20 Printers Marks. 

their employment cannot be controverted. The 
incident of the Brazen Serpent (Numbers xxi.) was 
aver}- popular subject. One of the earliest to use 
it was Conrad N eobar, Paris, 1 5 38 ; 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 JeanCrespin, 
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 presendy 
be made, by far the most popular form of religious 
devices consisted of what may, for convenience 
sake, be termed angelic. Piclorlally 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 




I lit rod net ion. 



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 ; 



fifl yK()W(!pufijffR(aBMBm 




whilst ill 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 i n 
couples, as in the case of Antolne V^rard, 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, 150S, 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, 153S, 
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. 



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, 151S, 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 today 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 eNpression 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 




so alive as at the time of the invention of printing, 
in proof of which some of the eariiest and most 
magnificent typographical monuments may be cited, 
—the Gutenberg Bible, the Psalter of Fust and 
Schoeffer, for example. The accompanying plate 
will give the reader a faint idea of the extraordi- 
nary variety of crosses to be foimd 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/asctcit/cofhis" Inventairedes Marques d'lm- 
primeurs," without, as he himself admits, arriving 
at any \ccy 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 tall 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 'a (filiation 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 ? 




. ttnwdctio d'Effofv. 

. Hooino (Ic BodJniK. 

. Bernardino He Miiinlk 

. BenunliDa Kicd. 

. Uerruntino Sufpiinu. 

. (ta|>ti*u da Toili*. 

. Hcrnaixlifiin de Vilalilnu. 

. Uatlliuluineui il« Zuia. 

' > I)ioli;Hiu Bcrtdcbiu. 

. nominiciu RacFoclolao* Rlchit»1iL 

- Willum Sehombeiz. 

. ChrUliiphcr de Cuilbut. 

Mercuin Nani. 

. (iitxtAnni Anionto de BeneilellL 



i(l N«inuel de Tournet (Gcoeva). 

t?. The Sonuchi. 

18. luninun dc kulwrio. 

19. 1. Tiuchel (t.jrotul. 

ao. I- lie Cicrlt, (ieilit iir OruU. 

)l. Idurrnliu* HuUnxIc Vklenlta. 

It. I^ai*i<> Suanlii ut da Koanli*. 

aj. Maiihew dc Codeca or Ca|iiiaca< 

H. NichnlMde Fnncrorduu 

15. Dioiifiia bertkhellL 

36. Oaavlaniu Scotlul. 

17. rercf^lnode rMQuallbuk 

18. PhdLp PiTui or Pinciut. 

19. ('jillijBla dc Dvilciilt. 
JO, 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, 
Andr6 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 Guillaiime Le Talleur, 
Richard Auzolt. of Rouen ; of Jaques Huguetan. 
Mathieu Husz. Francois 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 
media;val 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 P^rier 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 verj' crude but very 
distinct examples employed by Michel Hillenius 
or Hooghslrate, 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 
amicitis " on his mark, with the further legend 
of " Quam sperata victoria pax certa melior;" 
these three lived in Paris, wiiilst 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 pacis," includes 
a dove bearing two olive branches. The fraternal 




device of two hands clasped may also be here 
alluded to : it is of special interest from the fact 
that it was employed by one of the earliest to 




Introditction. 



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 15 17, 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. RofTet, 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 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 KOFKtT. 



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 




[and Andr^ W<5chei, of the same city. 1535, em- 

J ployed one of the smaller devices of Chrestien, 

with variations and enlargements of the same ; in 

[the Markcf J. Chouet. Geneva, 1579, the caduceiis 




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 sealed 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. Ue 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 eflfective 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 



Kn idea of what a Unicorn ought to have 
..ke, the result, viewed as a whole, is not by 

any means a happy one, Stili, several of the 
examples possess a considerable amount of vigour 
and have a distinct decorative effectiveness. But 
apart from this its appearance in the Marks of the 
old printers is a very striking proof of the fact 




that the mediaeval legends died hard. Curiously 
enough, the proverbial " Hon 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 Flantin. is that of 
Kerver, for it has been employed in over a dozen 
M" different forms by one or other members from 
Htbe end of the fifteenth century to the latter 




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. Sonant. 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 Franijois 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. Sneilaert. both of Uelf. used a Unicorn 
in their Marks during the latter years of the 
fifteenth century. 



Introduction. 35 

Among other possible and impossible monsters 

and subjects (■<{ [irnf^mc history, tlie Griffin, the 



Mermaid, the I'hccnix, Arion and Hermes has each 
had its Mark or Marks. In the case of the first 
named, which, according to Sir Thomas Orownc. 




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 Frani;ois, Paris, 
who were of German parentage, employed the 
Griffin in about a dozen variations during the first 
half of the sixteenth century, I 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 ^lermaid 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 centurj', 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 



J 



hitrodvction. 



37 



or marks used by the old printers of Paris (except 
where otherwise stated), alphabetically arranged 
according to subjects : Abrahatu. Pacard : an 
anchor, Christopher Rapheleng, Leyden, Chouet 
and Pierre Aubert, Geneva; two (j«r//flri' 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 ]e 
Roi, and Pcrnet, Basle, and Chouet, Geneva ; 
a Basilisk and the four elements, Rogny ; Belle- 
»-fy>/;i7n, the brothers Arnouland Charles Angeliers; 

■ Guillaume Eustace, and Perier, and Bonel, Venice ; 

H a Bull with the sign Taurus and the Zodiac, 




Nicholas Bevilacqua, Turin ; a Cat with a mouse 
in her mouth, Melchior Sessa and Pietro Nicolini, 
de Sabio, Venice ; two Doves, Jacques Quesnel ; 
an Eagle, Balthazar Hellers, 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 
Nicoiini, 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," Vltr^, 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 ; 
Verdusl, Antwerp, and Hervagius. Basle; a Peli- 
can, N. De Guinguaiit. S. Nivelle, Girault and DeJ 




Introdiictwii. 



39 



Marnef, C. andF.Franceschini, Venice: Mamarelli, 
Ferrara; F. Heger, Leydeii : E. Barricat, Lyons ; 
and Martin Nuyts and his successor who carried on 
business under the same name. Antwerp; 3,P/ia-nix, 
Michael Joli, Wyon, Douay ; Lefifen, Leyden ; 
Martinelli, Rome ; and Giolito, Venice ; a Sala- 
tftamUr, Zenaro, Venice; St. Crespin and Sen- - 
neton, Lyons ; Diiversin and Rossi, Rome ; a 
Stork, Nivelle and Cramoisy ; St. George mid the 
Dragon, Michel de Hamont, Brussels; a Swan, 
Blanche! ; wliilst a swan and a soldier formed the 
Mark of Peter de Ca;saris and John Stoll, two 
German printers who were among the earliest to 



pract 



ise the art 



m raris. 




SOME GENERAL ASPECTS OF THE 
PRINTERS MARK. 




F RO M 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 
KL-si AMI :-tHoi.hKF.K. 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. 4 1 

employed during the latter part of the fifteenth 
centur)'. 

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 " Histoiredel'Im- 
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 



-' L 


^*^ r'licBt ^(o'n^iosli ofB!, ^M 




Mi^^^ 


^^^^HDRla H 




m^^mi I 


>o 




m 1 






i^ ■ 


1* 




m 1 


|> 


^W ^i''^ 


p 1 


•u 




^ ■ 


0' 




^ ■ 


s' 


i^^s (f^'iTnV^^ 


^ ■ 








S 




M m 


1- 


^gl^^Pc^^ ■ 


1 


^^gSte\ ^ "S?^ I 




^mS 


LrfEdOfjp'SisH ^1 




jl^aB^g;'^-^^ 


(a 5ff^*w^ i^ ^1 


1 


Kill 


^ ^^3 1 





44 Printers Marks. 

designer, although he was in intimate association 
with Froben when the latter first used this device. 
The distinctive Mark of Cralander, or Cartander, 
which appears in the edition of Plutarch's " Opus- 
cula." Basel. 1530, has also been confidently altri- 
buled to the same artist : if there is any foundation 
for this statement Holbein was guilty of plagiarism, 
for this Mark is a very slight modilication 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 Attic EC " of Aulus Gellius, printed by 
Cratander in 15 19, will come upon several highly 
interesting features in connection with this Mark, 
which is emblematical of P'ortune : 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. DUrer 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 " 



^en a h 
ebut fl 




Some General Aspects. 

to embark on a wild sea of conjecture. The 
initials of the engravers, which occur much more 
frequently than those of the artists, are of very 
little assistance to the identification of the latter. 




Many of them possess a vigour and an originality 
which would at once stamp their designers as men 
of more than ordinary ability. For picturesque- 
ness, and for the care and attention paid to the 
minutest details, it may be doubted if either 



46 



Pnufers Marks. 



B. Picatt 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 Gravies." 1724. the" Impostures 
Innocentes," 1734, and the edition of Cicero's 
" Epistols," printed at the Hague by I saac 
Vaillant, 1725, — to mention only three of many — >fl 




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." 1729: in its way it is 
unquestionably the most perfect Mark that has 
ever been employed in this country. Any rule 
differentiating the Printer's Mark proper from a 



Some General Aspects. 



47 



I vignette is not likeiy to give general satisfaction ; 
for a writer on the subject of vignettes will un- 

i failingly appropriate many that are Marks, and &/« 
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 wliich is appended a 




motto or quotation. The temptation to persuade 
oneself that several of these vignettes are Printers' 
Marks needs a good deal of resisting, especially 
when such an exquisite example as that of Daniel 
Bartholoma:us 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' Afarks. 



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 Picior, 
Loesletn and Raldolt in 1476. in folio. Neither 
the simple nor the ornate title-page secured an 
immediate or general fiopiilarity. 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 tide-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 1 550 onwards we 6nd 
beauty in nooks and comers. 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 Erpenlus 
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 
lindex, or at the end of the preliminary matter, 
4uch as list of contents or address of the author, 




Some General Aspects. 51 

rand its position was generally determined by 

F 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 

I the other did not have more than his fair share of 

t 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 VVorde 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 B A 





THE PRINTER'S MARK IN 
ENGLAND. 




THE consideration of 
the Printer's Mark as 
an institution in this 
country is characterized 
by extreme simplicity, 
both as to its origin and 
wALTtR LVNSE. to its design. From an 

entry in oneof 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, Middieton, 
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. 



J 




I 



Tlte 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, 1478; the third was that of 
the unknown printer at St. Albans, 1480, and the 
fourth was that of John Lettou, in the city of 
London, 1480, the last-named being soon joined 
by William de Machlinia, who afterwards carried 
on the business alone. The earliest phases of 
wood-engraving employed at one or other of these 
four distinct houses were either initial letters or 
borders around the page. At Caxton's press, as 
the late Henry Bradshaw has pointed out in a 
paper read before the Cambridge Antiquarian 
Society, February 25, 1867, simple initials are 
found in the Indulgences of 1480 and 1481 ; at the 
Oxford press an elaborate border of four pieces, 

^ representing birds and flowers, is found in some 
copies of the two books printed there in October, 
1481, and July, 1482. Of illustrations in the text, 
we find a series of diagrams and a series of eleven 
Cuts illustrating the text of the first edition of 
"The Mirror of the World," 1481: a series of 
sixteen cuts to the second edition of "The Game 
of Chesse Moralised," 14S3 ; 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 lai^e and fifty-two 
Ismail cuts. At the Oxford press only two books 



54 



Pnvters Marks. 



neither ^| 



are known with woodcut illustrations, 
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," i486; 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 
6rst used about Christmas, 1489, in the second 
folio edition of the Sarum "Ordinaie." At first 
this bold and effective mark was used, as in the 
"Ordinaie," the " Dictes of the Philosophers," and 
in the " H istory 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., 1 4S6 ; 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 Englani* 
and quote the colophon of the first edition of the 



4 



im ^B 
ite ■ 

J 







'^X<Sl<SS^<S^^<^^Y<^^ 




56 



Printers' Marks. 



" Chess " book in support of this theory, 
date of this work refers to the translation and not 
to the printing, which was executed at Bruges, 
probably in 1476. Caxton did not setde at West- 




LBANS PRINTER. 



t- 

I 
I 



minster until late in that year, and possibly not 
until 1477- J" ^" 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, 
his " Lettres d'un Bibliophile," expresses it as his 



J 




Tfie Printer s Mark in England. 57 

opinion that the two small letters outside the " W. 
74 C" are an abbreviation of the words "Sancta 
Coloiiia." an indication that a notable event in the 
life of Caxton occurred in 1474 at Cologne. Ames, 
Herbert, and others have copied a device which 
Caxton never used : it is much smaller than the 
genuine one (which, in other respects, it closely 
resembles) which we reproduce from Berjeau. 
The opinion that the interlacement is a trade 
mark is. Mr. Blades points out in his exhaustive 

Life." much strengthened by the discovery of 
its original use. In 1487, Caxton, wishing to 
print a Saruni Missal, and not having the types 
proper for the purpose, sent to Paris, where the 
book was printed for him by G. Mayn)al. 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 
afort:said 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, 



^^^^m^^H 


58 Printers^ Marks. ^^^H 

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, H 
with a different border, and in having a flourish in- ^| 
serted above and below the letters. The second is ^| 
an elongated variation of No. 1, with the name ^| 
Wynkj-n de Worde on a narrow white space ^| 
beneath the device. The next four devices are ™ 
more or less elaborations upon that of which we 


' 


I^[^^^tu5*y^ 






give a re 
device i 
the sagi 
and belc 
with the 
eighth i 
belongin 
the back 
supporte 
capitals, 


production ; the seventh is the Sa 
1 black with white characters : 
tarii is seen the sun and flamir 
w the initials "W C" in Romar 
name Wynkyn de Worde at the 1 
i a picturesque Mark copied f 
I to Froben, with the omission 
ground ; it consists of a semicircu 
d by short-wreathed pillars, with 
plinths and bases : on the top of 


^ittarius 
Lietween 
g stars, 
letters, 
oot; the 
cm one 
" part of 
ar arch, 
foliated ■ 
:ach is a ■ 




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 




K. I-VNSON. 



panel or doorway, formed of three lines, imitating 
clustered columns and Gothic mouldings, and two 
large square shields, tliat on the left charged with 
three Heurs-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, 
K the reader is referred to Johnson's " Typographia," 
H 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 j 
printed between 1493 and 1527, we find six Marks ' 
{besides variants), of which five are very similar, 
and of these we give two examples, the smaller being 
one of the earliest, in which it will be noticed that 




the drawing is much inferior to the larger example ; 
the sixth Mark is a singular one, consisting of a 
large upright parallelogram surrounded by a single 
stout line, within which are the scroll, supporters, 
shield and cypher, crest, helmet and mantling, and 
the Virgin and Sl Catherine, and in many other 
particulars differing from the other five examples. 
Robert Redman, who, after quarrelling 



mples. ^H 
with ^1 




The Printer's Mark in England. 

Richard Pynson, and apparently succeeding him 
in business, employed a device almost identical 
with that which Pynson most frequendy used, 
and to which therefore we need not further refer. 
In chronological sequence the next English printer 
who employed a device is Julian Notary, who was 
printing books for about twenty years subsequent 




to 1498, first at Westminster, then near Temple Bar, 
and finally in St. Paul's Churchyard. He had two 
devices (of which there are a very few variations), 
of which we give the more important The other 
has only one stout black line, and not two, and it 
has also the Latinized form of the name — Julianus 
Notarius. About two dozen different works of this 
printerare known to bibliographers. In connection 



L Notariu 
H printer; 




with Notary, we may here conveniently refer 
interesting, but admittedly inconclusive article 
which appears in The Library, i., pp. 102-5, by ^r. 
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 " Hors." 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 nameoccurs inthe lower halfofthedevice, 
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 1499 and 1508. had only 
one Mark, which is totally different from those of 
any of his predecessors, as may be seen from the 
example given on page 16, where will also be 
found references to the sources of the scriptural 
quotations on the white and black triangles. 



J 




The Printer's Mark in England. 63 

The extreme rarity of this printer's books will 
be best understood when it is stated tliat 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. 




Notwithstanding the similarity in their surnames 
it is not at all certain that Richard Fawkes (1509- 
1530). who also appears as Faukes, Fakes, and 
Faques. was related to the last-mentioned printer. 
His books are now of excessive rarity. The unicorn 
(r^^rdant 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 Grete 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 



f 



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 




supporters used in the device. Treveris primed 
for several booksellers, notably John Rcyves, of 
St Paul's Churchyard, and for I^wrence Andrews, 
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 arc the most transparent imitations of 
Marks used by foreign printers. Of the three 






by John Scott or Skot, who was printing books fi 
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 I'aventure, tout vienta | 




point qui peut attendre." His own device was an ex- 
ceedingl)' simple long strip, with the letters lohn 
Skot in antique Roman characters. An example of 
thelastmark 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 



I 

I 



The Printer's Mark in England. 67 

verse, and printed about 1525, being in the British 
Museum, and another tract, "The Rosary," 1537, 
being in the Ahhorp Library now transferred to 
Manchester. 

Robert Copland, who was a beneficiaire and pupil 
of VVynkyn 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," 1 530. 
at the end of which is " Lenvoy of Robert 
Copland boke prynter." one of the three verses 
running thus : 

" Layde upon shclfe, in Icucs all lome 

Wiih Letters, dymine, almost defaced cleane 

Thy hyllynge rote, with wormed all lo worne 

Thou by, that pyte it was lo scne 

Boande with oldc quayrcs, for ages all hoorsc and grene 

Thy mater endomied, for iacke 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- 
trounded by a wreath of roses ; on the left-hand 
%ide 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 




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, 
1 549- 1 56 1 , 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 
Nf useum. Robert Wyer, whose shop was at the 



ish H 
the ^ 



The Printer's Mark in England. 69 

sign of Sl John the Evangelist, in St. Martin's 
parish, in the rents of the Bishop of Norwich, 
near Charing Cross, was another printer whose 
works were more remarkable for their number than 
for their typographic excellence. His earliest dated 
work is the " Expositiones Terminarum Legum 




[RQMRTAWm] 



OitKkT WVKK. 



Anglorum." 1527. and his latest "\ Dyalogue 
Deiensyue for Women," 1543, 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 oftwo 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 



70 



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 tlie eastern end of Fleet Street at 
the sign of the Golden Cross. His Mark consisted 
of a shield which is contained within a very rudely 




cut parallelogram ; the escutcheon is supported by 
a wreath beneath an ornamental arch, and between 
two curved pillars designed in the early Italian 
style, with a background formed of coarse horizontal 
lines. Three of his books are in the British 
Museum. The Museum possesses only one book 
with the imprint of Andrew Hester, who was a 
bookseller of the " White Horse." St. Paul" 



J 



r 



The Printer's Mark in England. 71 

Church Yard, and this is an edition of Coverdale's 
Bible, " newly ovcrsene and correcte.'' which ap- 
pears to have been printed for him by Froschover, 
of Zurich, 1 550. Among English Marks of the 
period, Hester's possesses the merit of being 
original. 




^^ whic 

^B sixty 



THOMAN IIEKTIIKI.KT. 

ine of the most prolific of the printers of the 
first half of the sixteenth century was Thomas 
Berlhclet. who succeeded Pynson in the office of 
King's Printer, at a salar)' of _^4 yearly, and who 
(or his immediate successors, for he died at the 
end of 1555) issued books from 1528 to 156S, of 
which nearly 150 are known to bibliographers, 
sixty being tn the British Museum. His shop was 



72 



Printets 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 




IClOHAK^yPDELL 



I 



Man," with a woodcut border to the title by 
Holbein. John Byddell. otherwise Salisbury, 
1533-44. *^s 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 wtngs, 





Tft€ 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 
Byddcll, 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 
efilicit." This is merely a copy of one of the Marks 
used by J. Sacon. a I.yonese 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." r 554, ■" Common 
Places of Scripture, " 153S, etc., besides two 
"Primers." Thomas \'autrolIier, who printed 
books at Edinburgh and London from about i 566 
to 1 605. had four ^larks, in all of which an anchor 
is susp>ended 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 liasle. 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 

I year he printed at Kdinburgh "A Declaration of 
the Kings Majesties intention and meaning to- 




ward the lait Actis of Parliament." J. Norton, 
1593-1610, also used the same Mark. 




VAUTROLUilK. 



Richard Grafton, 1537-72, who was a scholar 
and an author, is one of the best known of the six- 





Tlte 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 




or Cromwell's Bible. i5;,9, and Coverdale's ver- 
sion of the New Testament. 1 538-9. in Latin 
and English ; the latter being partly printed in 
Paris by Kcgnault. 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 Vl. both be- 
fore and after his accession to the throne, issued a 



76 Printers Marks. 

magnificent edition of Halle's "Chronicle," 1548,- J 
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 caHing than the grocery business to . 
which he had been brought up, for he was con- 
stantly in difficulties, which on one occasion nearly 




cost him his life. The idea which found expres- 
sion in Grafton's Mark naturally suggested itself : 
to William Middleton, or Myddleton, i525-47,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 Pfinter'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 beinjj John Heywood's " Four P's, a 
very merry Enterlude of a I'almer, a Pardoner, a 
Poticary, and a Pedler." Reginald or Reynold 
Wolfe, 1542-75. 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. Pauls 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 
si.\ty books have l>een 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 niles and restrictions of the 
press were a source of ever- recurring annoyances. 
He appears to have had as much difhculty in 
managing hts "authors" as with the Stationers' 
Company, for he is referred to more than once 
in vcr>' uncomplimentary terms in the Martin 
Marprelatc tracts of the period. The Mark here 



78 Pointers' Marks. 

reproduced from Berjeau represents a tleur-de-Iys | 
seedling supported by two savages, with thej 
motto " Ubique Floret." John Day. 1546-84,151 
undoubtedly one of the best known and most I 
prolific of the sixteenth century printers, nearly j 




300 books having him as their foster-father. He 
appears to have started in business at the sign of 
the Resurrection, a little above Holborn Conduit, 
but removed in or about i 549 to Aldersgate 
Street ; he had several shops in various parts of 
the town, where his literary wares might be dis- 



The Prinier's Marh in EiigUmd. 79 

posed of, and lie is remarkable in being the first 
English printer who used Saxon characters, whilst 
he brought thost; 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 




'* Psalmes in Metre with Music." isjt (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. .'\t 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 Hke a doctor or a schoolmaster; 
from his mouth issues a scroll rising upwards in.', 
eight folds, on four of which are engraven in sm; "^ 
Roman capitals, " Etsi Mors in dies accelerat," ai 
the remainder of the sentence, " Post Fvnei 
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 
evergreennature 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 
Churton's " Cosmographical Glass." There < 
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 WiUiam 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 



he 
rft- 

hcfl 

J 




the New Testament in English, dated 
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 kepylh the Lawe, obeyeth the 
Kynge, and is good to the conimen welthe," and 
" Fro 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. Windel and by Alex- 
ander Arbuthnot, of Edinburgh, of which we 
give the example of the last named. Hugh 
Singleton, 1 548-82, 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, 

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 



L 




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, 
Sl Paul's Churchyard, and his books — beginning 
with an edition of the Bible — range from the 
year 1551 to 1596. Mis 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 



Prinlerf Marks. 



Booke of the arte and manner how to plant and , 
graffe all sortes of trees," 1 5S6, translated from the 1 
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 countrj-. to 
Rowland Hall, who, at the death of Edward VI., 





I 



accompanied several refugees to Geneva, where he 
printed the Psalms. Bible, and other works of a 
more or less religious character ; his books range J 
from 1 559 to 1 563. and about two dozen are known I 
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 I 
secondly from the fact that the sign of his shop^fl 
" The Half Eagle and Key," was a still furthei 



The Printer's Mark in England. 85 

acknowledgment of tbe protection vhich be en- 
joyed in Geneva. This was not his only Mark. 
but it b the only one to which «-e 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 ^rst miscellany of English verse, than either 
of the other sevent\- or eighty publications 




ROML-iND HALL. 



which bear his imprint. His shop was in Fleet 
Street at the sign of tlie Hand and Star, the same 
idea ser\-ing him as a Mark : the hantl and star in 
a circle, with a scroll on either side having the 
words " cum privilt^gio." 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. Hynneman had 
served with Reynold Wolfe, and when he started 




HENRV BYXNl 



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 Printer's Mark in England. 

was a bookseller rather tluji a pcinter ; his Marie 
is an evident double pun on his surname. 

During the last years of the sixteenth century. 
and the 6rst three decades of the scvenieeoth, 

twere two Jaggards among the London prin- 




Edward Blount, issued the first folio edition of 
Shakespeare's plays ; he seems to have had no 
Mark, but William. 1 595-1624. used the rather 
striking device (page SS). 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 , 
'597 to 1640; in this devise we have the sun 




WILLIAM JAGGAHD, 

shining on the Parnassus, and a laurel treel 
tween the two conical hills, with a sunflower anda^ 
pansy on either side. 

The Mark of William Norton, 1570-95, 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- 1 
William growing through a tun inscribed with the 1 




The Printer's Mark in England. 89 

letters "nor"; and soraethJng of the same kind 
may be said of tliat 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 




p(or Gerald) Uewes. 1562-87, whose shop was at 
I the sign of the Swan in St. Paul's Churchyard ; 
this is described by Camden thus: "and if you 
require more \J.e. in reference to the prevailing 
taste for picture-writing such as the designs 01' 
Norton and Dewes] I refer you to the witty in- 
I ventions of some Londoners ; but that for Garret 



go 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 




From these and many other instances which might 
be cited, it will be seen that by the end of the six- 
teenth centurj' 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 waSiJ 
in the following century, followed by what pract^J 
cally amounts to extinction ; and the few exception! 
to which we shall refer, and which are to some e 




The Pointer's Mark in England. 

I lent selected at random, prove the truth of that 

tbeor)'. 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 

I IS a personification of Truth, with a hand issuing 

I from the clouds striking on her back with a rod. 

I and encircled with the motto. " Veritas virescit 

|ivulnerc." Among the numerous books which he 

I printed was Henry Butte's " Digets Dry Dinner," 




il599, for William Wood, a bookseller whose shop 
'was at the sign of Time. Sl Paul's Churchyard, 
and whose Mark was an almost exact copy of one 
employed by Conrad Bade, a sixteentn century 
printer of Paris and Geneva (who had apparently 
adopted his from that uf K ni'jt:4ffuch (;( StraM- 
burg, which we give on an/^her uwfc) : it reiwc- 
sents a winged figure of TioK: hayintt » nukvi 
woman out of wlut appear* lo b« a tava, wkh 
the motto, " Trm[^/r« p^ct o rc i4 rt i wvftw ; tkk 
f Marie follows the utUitAnetarf mmnf ^ dw aW A' 
Iwork. MaltMf «k»p<vfM'ariMtf«MiMMrf, 



92 



Pnnters Marks. 



., which in H 



we come across another ambitious Mark, ' 
the present instance served the additional purpose 
of a frontispiece ; it was employed by John Allen 
of the Rising Sun, St. Paul's Churchyard, and 
is dated 1656; it is rather a fine device of the 
sun rising behind the hills, with a cathedral on 
the left-hand side, and the inscription " Ipswiche" 
and a coat-of-arms, apparently of that city. 
Although not exactly a printer's or publisher's 




Mark, the charming little plate, engraved byi 
Clark, which John Walthoe, jr.. inserted on thej 
title-page of "The Hive : a collection of the most J 
celebrated Songs," J 724, is sufficiently near it to J 
be worth reproducing here. T. Cox, a bookselle: 
of " The Lamb," under the Royal Exchange^! 
Cornhiil, was fortunate enough to have a Marfci 
(see page 46), in which John Pine is seen at hisLfl 
best: Cox was not only an eminent book- 1 
seller, but was also an exchange-broker. Off 



I 



The Printer's Mark in England. 

much less delicate workmanship, but appropriate 
nevertheless, is the Mark which we find on the 
title-pages of the books printed for R. Ware, at 





the Bible and Sun in Warwick Lane, one of whose 



books, Dr. Warren 



■ Impartial Churchman," 



1738, contains at the end nf the first chapter 




another Mark, an exceedingly rough sketch of a 
printing-office, with the motto, " vitam mortuis 
reddo." On books intended more or less for 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 



J 




The Printer's Mark in Enghind. 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. Waller 




Chepman and Andro Myllar were granted a patent 
for the erection of a printing-press at lidinburj^h 
on September 15, [507, the former finding the 
money and the latter the knowledge. Mach 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 comers, each charged 



96 



Printers Marks. 



with x^cfleur-de-lys. Myllar's device, in which 
see a windmill with a miller ascendins; the outside 



lich we ^^k 
outside ^B 




llnmob/TVwMag 



ANDRO MVLLAR, 



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 Pijfouchet, 




WALitK CHliPM. 



'aris, the male and female figures being carefully 

opied even to the small crosses on their knees ; 

the initials W C are elegantly interlaced. Thomas 



98 



Printers' Marks. 



Davidson is a very interesting figure in the early 
historj' of Scottish typography : he appears to have 




THOMV^ DAVIDSON. 



been the first king's printer of his country, and one I 
of his earliest works is "Ad Serenisslmuni Scotorum I 
Regem Jacobum Quintum de suscepto Regm I 



The Printer s Mark in England. 99 

Regimine a diis felJciler ominato Strena," eirca 
1525 ; about ten years later came a translation of 
the " Chronicles of Sculland," compiled by Hoece. 
and " translalit 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 !. C. Arbuthnot's device of the 
Pelican, which he used in two sizes, and the Marks 
of Thomas V'aulrollier, have been already referred 
Coming down to the last twent)' years of the 
sixteenth century, we find the few books of Henry 
Charterisofconsiderableand varied interest, and his 
Mark, if by no means carefully drawn and engraved, 
' .as at all events the merit of being fairly original. 




H. CHARTEBIS, 




SOME FRENCH PRINTERS' MARKS. 

IT is rather a curious fact, 
all things considered, that 
the introduction of the 
printintj- 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 




I 



. ESTIEXNE, 



' M 

i 



I 



Some French Printers Marks. loi 

first book printed at Paris was the "Letters" of 
Gasparin of Bergamo, 1470, which contains the 
following quatrain at the end of the work : 

"Primos ecce libros quos hrec industria finxit 
Franconim in terris xdibus aique luJs ; 
Michael, Udalrichus, Martin usque magisler 
Hos impresserunt, ac facieni 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 si/es ; another 
of his Marks consisted of an enlarged form of 
the cross to which we have referred. 



I02 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- 




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 French Printers Marks. 103 

" Pour proquer la grand' mis^rieorde, 
A tous pescheurs faire gr^ce et pardon, 
Antoine Vtrard humblemenl le recorde." 

Of the second we give an example on p. 21. 
Among his publications may be mentioned " L'Art 




SIMON VOSTR 



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 



<[«iTipofr pot cnimnt prrr m @ini 6ur(Tdiin>f pac 
la pminlfio a&iaiitiiaoittutfqutot-^iHinuifitii 

feat}li(*VRni«SfnM9Mir'iiiuiriiu^i:(aptur[M 
MM • ftfM be M6(r(f(f ont contmuaI[«6du(['Scn 
lotaftttnai ptami t f fmiix mnittta ncf i6;r^unnr« 

•iMifMtflwfrancc/flountonnnrnffanliKsiliKWu) 



noiUKaniHndinpintMd pana > 




FBAN9OIS REGNAULT. 



Some French Prinfers 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 ofticina 
honesti viri Francissi Regnault"; the accompany- 




ing reduced facsimile of one of his title-pages 
indicates the prominent position allotted at this 
early period to the printer's Mark. A ver)- 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. 



archant ^| 
•o years " 



first half of the sixteenth century- The Marchant 
family existed in Paris as printers for over 300 years 
{ 1 48 1 - 1 789). The first of the line, Guy, or Guyot, 
who printed books for Jehan Petit, Geoffrey De 
Marnef, and others, had as Mark four variations 
of the chant gaillard represented by two notes, 
sol. la, with one faith represented by two hands 
joined, in allusion to the words, " Sola fides sufficit," 
taken from the hymn. " Pange lingua." Beneath 
his Mark he placed the figures of Saints Crispin 




and Crispinian, patrons of the leather-dressers who 
prepared the leather for the binder, in which 
capacity Marchant acted on several occasions for 
Francis I. As was the case with his 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 i 



tne ^m 

1 



Some French Printers' Marks. 107 

nearly thirty examples, includingduplicates, several 
of which were designed by Geoffrey Tory. Nearly 
all these Marks had the subject of the Pelican 
feeding her young as a centre piece. Jerome, 
however, used a Griffin among his several other 
examples, of which the two finest of the whole 




series arc those numbered 746 and 812 in Sil- 
vcstre, 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 vJncit — • ' 
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 1 




members residing at Caen, Rennes. and Rouen, 
besides Paris. The same may be said to some 
extent of the Dupre or Du Pre family, 1 486- 1 775 ; 
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 Galiotet at the head of the 



Some French Printers Marks. 109 

mast of which is the motto, " Vogue la Guallee," or 
sometimes " Vogue la Gualee " (see p. 5). Jehan 
Du Pr^ 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, 



s 


^ra 


M 


i 


^^^ 


1 


M 




™ 



and Paris, and who was the 6rst to take the title 
of " Libraire-lmprimeur du Roi," ceded to him by 
Charles VI II.. and used in " La Merdes 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 " Lc 



I lo 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 H^retiques " 
(a satirical piece attributed to Pierre Gringoire), 
the figure or effigy at the head is signed with the 




monogram of G, Tory. The five Marks of father 
and son differed only in minor details, and the 
above example of Philippe will sufficiently indicate 
the character of the others. Philippe Pigouchet, 
who was an engraver as well as a bookseller and 
printer, contented himself apparently with one 
Mark. He is distinguished for the extreme care 



J 



Some French Pf inters Marks. 



rwith 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 
L generally utilized than they are. for they possess 




all the attributes of beautiful books. Thidman 
Kerver, a German, was another printer who worked 
for Simon Vostre, one of his most imporunt pro- 
ductions bein^' a " Breviarium ad usum Ecclesia: 
Parisicnsis," 1 500, in red and bbck. His shop was 
on the Pont St. Michel, at the sign of the Unicom, 
which, as will be seen, he adopted as his Mark, 



112 



Printers' Marks. 



3m one ^H 
Vostre ^1 



and of which there are two, which differ from 
another only in minor details. Of Simon 
himself, a whole book might be compiled. From 
about 148S to 1528 he devoted himself exclusively 
to the publishing of books, and employed all the 
best printers : It was by his energ)' combined with 
Pigouchei's technical skill that the two produced, 
in April, 1488, the " Heures a I'Usalge 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 prInterSj 
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 



I 
I 

an ^1 

nd ■ 

rs. ■ 
Ith ■ 



J 


■ 


i ■ 


■■ 


I 


1 14 Printers Marks. ^^^^H 

their marks, in which the founder is more extra- ^^k 
vagant than any of the others, having used, at one ^| 






B^^^^S^^EH^S^BI 




i 








\ 


^M^K^Si^B^^^^tKBg^ 






s;§>;:;s'^|i; 




1 




J 


^m^M^ ^'jwitvfril 


L 


JKIHN PLin. 

ne or another, at least half-a-dozen more or le 
ferent examples. In addition to reproducir 


J 



Sofpie French Printers Marks. 1 1 5 

one of the finest, we give, on p. 9, also a reduced 
facsimile of a title-page of a book, tlie joint venture 
of Petit and Kerver; the combination of the two 
names on one title-page is distinctly novel and 
curious. He was on several occasions associated 
with others in producing a book, his connection 




with Jossc bade extending from 1501 to 1536. 
Of Bade or Badius it will be necessar)- 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 Trcschel and Ue V'ingle 
at Lyons. He left about 1 500 for Paris, where he 
started a press in 1502, which he called " Prelum 



1 16 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 eariiest priming presses were modelled. His 




Mark, which he first used in 1507. is the earliest 
picture of a printing-press. Thirteen years after, 
he adopted another device with the same subject, 
but differing in many important particulars. In 
the second, the composing-stick used by the figure 
in the act of setting type is changed from the right 



Some French Printers Marks. 117 

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, Gillcs or Gillet Hardouyn, 




1491-1521, was both a printer and a booksetler. 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 V^rard. He was born at Bourges in 14S0. 
and one of his earliest works, which was published 
by Petit and printed by GiUes 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 " Heures de la Vierge," executed 
for Simon De Colines. What interests us most, 
however, is the Mark which he adopted when he 
entered into business as a printer and bookseller ; 
it is perhaps the most elegant that had been up to 
that time designed. This Mark of the broken 
pitcher, with the motto " Non plus," first appeared 
at the end of a Latin poem issued in 1524, is 
regarded as a memcnlo 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 " Champlleury." 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 




I 



;enth ^H 
luces ^1 



Some French Printers Marks. 1 19 

twenty Marks which one or other of the Esliennes 
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 tir«;t of thf name and chief of the 




i-SPECOLl^^ 



family, was born at Paris about 14 70: he started 
in 1502 a printing and bookselling business in the 
Rue du Clos-Bruncau, near the EcoUs de Droit; 
he adopted llie 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 — Francois, Robert, and 



Printers Marks. 



sion in ^H 
d been ^H 



Charles. Francois I. continued the profession 
company with Simon De CoHnes, who had 
associated with his father, and who married the 
widow of Henry : his Mark is given as an initial 
to this chapter. Robert I-, the second son of 
Henry, was born in 1503, and is probably more 




generally known as a Greek, Latin, and Hebrew 
scholar than as a printer. For several years he, like 
his brother, was associated with De Colines ; he 
married P^tronille, daughter of Badtus " 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 lo 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 Hible. In 1552 he 




retired to Geneva, when he printed, with his 
brother-in-law, the New Testament in French. 
He cstablishf;d here another printing-press, and 
issued a number of good books, which usually 
carried the motto: " Oliva Robcrti Stephani." 
His Marks are at least ten in number, of which 
seven arc variations of the Olive device, and three 




122 Printers Marks. 

(in as many sizes) of the serpent on a rod inter- 
twined with a branch of a climbing plant. With 
the exception of Franijois the other members ofl 
the family used the Olive mark, sometimes how^ 
ever altering the motto, and addinc 
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 I taly, 
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 
" Diclionarium 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 ail 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 starteda printing- 
press ; in 1566 he published a translation <rf 
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 1 564. Robert 1 1., 
second son of Robert I., was born in 1530, and, 



I 

1 
I 



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. Franijois 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 Henr)' 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, bom 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 
ihc very large number of 1590, thus classified: 
theology. 239 ; jurisprudence. 79 ; science and 
arts. 152; belles lettres, 823; and histor)', 297, 
Of the eleven members of this family, one died in 
exile, five in miserj-, 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 . 




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 AI- 
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 centur>-, the most notable 
is perhaps Pierre, whose name frequently occurs 




^' """'4# 



LOUIS CVASEUIi. 

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 Cyancus, 1539-46, each possesses a pleas- 
ing originality, the latter of which is inscribed 
with the motto "Tecum Habita." The two 
Wichels. Andre and Chresticn, 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," 




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, 1564-9S on p. 28. 
Sebastien Nivelle, who was working during the 
latter half of the sixteenth century until the third 
year of the seventeenth centurj, is a very interesting 



Some French Printers Marks. 1 27 

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. H is books were, for 
the most part, beautifully printed. His shop was in 




:RCSTI£N wtcHKL. 



I the Rue St. Jacques at the sign of the Two Storks, 
} which he adopted for his exceedingly beautiful 
Mark, the four mcdallion.s representing scenes of 
I filial piety. His daughter was the mother of 
I Sibastien Cramoisy. " typographus regius," who 
I mherit«l the csublishment of his grandfather. 



r 
I 



Some French Pnuters" 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 sijjn of the shop being 
the Samaritan, a much more decorative example 
was used, in various sizes, by Jacques Du Puys 
(p. 10), who was a bookseller, 1549-91, rather 
than a printer. Equally fine in another way is 
the tripartite example, given on page 130, used by 
Guillaume Merlin in partnership with Guillaume 
Desboys and Sebastien IS'ivelie, in 1559. and 
also with the latter in 1571. The Mark is the 
interpretation of the four lines: 

" Veniet iem|)us meissionis. 
Non oderis labonosa o|M;ra. 
Homo nascitur ad lalKirem, 
Vadr, piger, ad for mi cam," 

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 Loiharii Trac- 
tatus quinquc," " Lugduni. Bartholomarus Buye- 
rius," 1473 (in quarto). The same printer also 

Cublished the first French translation of the Bible, 
y Julian Macho and Pierre Ferget, which was 
executed between 1473 and i474,from which tlatc 
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 




in France, the panorama of Venice alone being 
sixty-four inches in length. Contemporary vritn 




132 



Printers' Marks. 



notice ^H 
as the ^H 



these, Johannes or Jehan Treschel deserves 
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 ilhislration produced by the early 
French school." The most generally known of all 




J. TKtSCHLL. 

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 



itto H 

k 



Some I'rench 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 




illustration ; and in some cases tlie words " scabra 
dolo" are printed on the axe. 
• Two contemporary Lyonese firms of printers, 
the De Tournes and De la I'ories, appear to have 
rivalled one another in the number of their Marks. 
Jean De Tournes, I542-50, himself had no less 
than eleven Marks, several of which are ex- 



134 



Pointers Marks. 



ceedingly graceful, one of the largest and best 
which represents a sower, and serves as an exc 
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 



)est of ^H 
excel- ^^ 




used at least half a score Marks between them. 
The family, beginning with Ayme De la Porte in 
the last decade of the fifteenth centurj', 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 



Sottte French Printers' Marks. 135 




with ihe first member of the family, but with Jehan. 
who started a business in Paris about 150S, and in 
his Mark the shield bears a castellated doorway; 
the picture of the biblical Samson carr^'ing off the 
gates was apparently first used by Hugiies De la 
Porte, who was a bookseller at Lyons from 1 530 ; 




sfSuASTIKN GKVI'MI 



this was superseded for the more pictorial and 
considerably smaller example, here given, when he 
entered into partnership with Antoine Vincent 
about 1559- Althoutjh the Uu Preswere 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 Gr)-phe, or Gr>'phius, who printed and 
published a large number of works during the 
second quarter of the sixteenth centur)-, was also 
extravagant in the way of Marks, of which there 
are at least eight, all, however, of one common 




type — the Griffin, sometimes quite without any 
sort of decorative attributes or motto, and 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. 

a printing-press was set up. Although not the 
first, Jacques Colomles 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 14S0; but Pierre 



ilriPRIJQlfiT^ 




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 Kouen printer to 
whom we shall refer is Martin Morin. who appears 
to have been at work here as a printer from about 



138 Printers Marks. 

1484 to 1518, and of his Marks we give one 
example ; another is formed of a lai^e initial M, 
decorated with a variety of grotesque heads, with 
the surname Morin on the two central strokes of 
the letter. 





V.4 



I 




PRINTERS- MARKS OF GERMANY AND 
SWITZERLAND. 

ALTHOUGH the early 
history of the Printer's Mark 
in Germany is neither ex- 
tensive in variety nor start- 
lin},' in surprises, there are 
still ver>' 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 
'459 or 1460. by Johan MenteHn. who appears to 
have continued in the business until 1476: and 
about six years after he had started, Helnrich 
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 "' Eisassische Biichermarken bis Anfanjj 
des iS Jahrhunderts," thefirst Strasburg printer to 
use a Mark was Johann Grlininger. 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, 



r.RUNINGER. 



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 Ptolem^us, " Geo- 
graphicse Enarrationes," 1525, differs completely 
from ail 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 




Gentmny aud 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 alchiniista; maximi, de 
Alchimia, hbri tres," March, 1 529. Martin Schott's 
distinct device is found in at least three books of 




MARTIN SCHOTT. 



the date 1498, including Malheolus'" 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. 'I'he 
first book bearing Martin Schott's name is dated 
1491, and he continued printing until 1499: while 
hisson was in business from 150010 1545. Equally 
distinct is the accompanying example — one of 



142 Pri lifers' 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 




the "Novum Testamentum." 1523). The father j 
started in 1497. and was succeeded by his son, who ' 
continued the business until 155S. 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 



146 



Printers Marks. 



the largef^^l 
1. relatinpf " 



of the date 1490, are remarkable for the 
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 



1 




by Wolfgang Kopfel (whose surname sometimes 
appears in its Greek translation of Cephalceus) 
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 



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- 




Omnia probacf^quod bonum 
iiichc tcncte.i.Theis. f , 



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 



150 Printers' Marks. 

Muller, or Crato Mylius, 1536-62, are exceedingly 
bold and picturesque, although, with the exception 
of the Ceres, they are all variants of the leonine 
t>'pe : the Ceres was apparently used only in his 
first book. " Auslegung oder Postilla des heil. 
Zmaragdi," I5j;6. 




KEODOSU'S RIHKt., JOSIAS HIH 
(UND DEREN ERBEN). 

Wendelin Rihel was the founder of one of the 
longest-lived dynasties of Strassburg printers, who 
were issuing books from 1555 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 



152 



Printers Marks. 



from 1551-1584, very littie 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 164S, and whose Marks number 
nearly thirtj-, all variants of the example here 
given : it is a bust of Minerva supported on a 





short square pedestal, on which is inscribed the 
words " Scientia immutabilis." This family printed ' 
a large number of works, from a Lutheran Bible 
toAretini's" HistoriEe Florentinse." 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. 



Gey many and Switzerland. 



153 



But of all the Strassburg printers, there can be no 
doubt that, from a strictly pictorial point of view, 
the Marks of Johann Reinhold Dulssecker, 1696- 
1737, are by far the most beautiful. Indeed, in 
many respects they are the most charming examples 




to be found among the devices of any time or 
country. In some instances they partake much 
more of the character of a vignette than a trades- 
man's mark. His earliest device is composed of 
his monogram ; and his first decorative Mark is 
the very beautiful litde picture of an English 




occurs in Schilter's " Scriptores Rerum Germa- 
nicarum," 1 702, 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 on!y 




Gerinaiiy ami Switzcriand. 
room to refer to two examples. 



155 



Tliomas Anshelm 
(or Anshelmi Badensis) is perhaps the most 
eminent of the early Hagenau printers, his books 
dating from 14SS to 1522, the earliest of which, 
however, were not printed at this place. His 
Marks all carry the initials T A H, the Hebrew 
letters in the accompany iii}; uxaniple representing 




thej name Jehovah ; in his most elegant Mark . 
the same word is supported on a scroll by a cherub, 
whilst another cherub is supportinj,' a second scroll 
on which is inscribed the word jesus in Greek 
characters. The style and workmanship of this 
woodcyt suggest the hand of Hans -Schaufelein, 
and it is worth noting; that in 1516 Anshelm 
produced '* Doctrina Vita et Passio Jesu ChristJ," 



Printers Marks. 

some of the illustrations of which were by Schau- 
felein. Anshelm issued a large number of books, 
including the works of F'liny. Melancthon. Erasmus, 




XXXVf. 

Septan: 



Non Aqirilar grand/ rociatum tirrgi'dc Pammi 
' CjilIeprcmncenimmoxLcouiifhiscrft- 

VALENTIN KOlllAX. 

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 

•< ffg| C j)!idcinclc»g i3nm^"T'*'"m 
itiatma-agr^irtoclgciiicii ri/nnH ) 
moico~feno^^^rrariO &fcilU£EM. 
CottUgrijlUiiRrifllnT i bude ( (K 
uenlie cj^tucrroium_trmiitn|Te?t 
•Oolurm nj5u8 co acry^'R-pP-^Jfe 
tmligm wambug jafaeinqenri m 
fcapto ac mittdagolo ir'pp'"''-' 
Jtriiolbu tbc T bwnc biliqgntifltmc 
tmgccna^fimmJubanmelOTinm' 
jTi-cffc-l rnji]- S(c oTfim o'mcttfig 
tnai}- Oe QUO cnlTo m TriTfiliq 6c 
Iguggglcoiay r fcalto^um fcmto 




. nir-R rtokkNe.v. 



I 



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 confrires 
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 uf a 





1 


^■^^^^H 




^I^^^^^^^^^^^^I^^^^^^Hl 






n 




(1 


HERMAN BUMGART. 


i 



Germany and Switzerland. 159 

round gothJc type." It is not to him therefore 
that we can look for anything In the way of Printers' 
Marks, the earhest Cologne printer to adopt 
which was apparently Arnold Ther Hoernen, 
whose colophons, of which we give an example, 
were olten printed in red. His Mark is a triangle 
of which the two npright 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 liumgart, one of whose books bears the 
subscription " Gedruckt in Coelne up den Alden 
Mart xzo dem wildcn 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 
Nydcr, ■■ Preceptorium divina; Icgis," 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 " Hartholomxusde 
Proprietalibus Rerum," 1481, Several interesting 
Cologne Marks of the first years of the sixteenth 
century may be noted. For instance. Eucharius 
Cervicomus. 1517-36, used a caduceus on an 




Gennaiiy txini Sivitzerlaud. 

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- 
jjellan and tlic (.■.irlicst circumnavi^'aiion of the 







globe were announced. Like Koelhoff, Nicolas 
Ca;sar, 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 priming. We give 



l62 



Priniers Marks. 



the more elaborate of the tivo marks used by him 
and reproduced by Berjeau : the shield contains 
the Rosicrucian triple triangle on the threshold of 
a Renaissance door. During the latter end of his 
career at Cologne, Soter had also an establishment 
at Solingen, where he printed " several works of a 




description which rendered too hazardous their j 
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 \s\C\te: fieur-de-lis 
on black ground springing from a globe — of Erhart 
Oglin. Augsburg, 1 505- t 6, 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 




regarded as an integral portion of Germany, and it 
was to Basle that Berthold Rodt of Hanau. one of 
Fllst'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 Ffortz- 
heim, 1 488- 1 5 1 8, 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 




Printers' Marks. 



"Grammatica P. Francisci nigri A. Veneti sacer- 
doti oratoris," etc., 1 500. The second Mark is 
emblematical of the Swiss warrior. The most 
eminent of the Basle printers was however Johann 
Froben, 1 490 1527, who numbered among his 




I 



"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 15 16, Erasmus being the 
editor. Froben's device (to which lengthy re- 



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). 




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 J 
Basle. 1523-78, and had a Mark of quite a unique 1 
character, representing Thor's hammer, held by a 



Germany and Su>itze>'land. 167 

hand issuing from the clouds, striking fire on the 
rock, while a head, symboHzing wind, blows upon 
it. To yet aaother 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 
Niimberg, Anthony Kobergt-r. does not appear to 




have used a Mark. Indeed, the Printers' Marks of 
NUmberg generally do not make anytliing like so 
good a show as those of Cologne and other large 
German cities. The earliest Mark of all is probably 
thatofWilhelm Moritz lindler's daughter, which re- 
presents a rocky landscape, with a town in the back- 
ground lighted by the sun. Endler's books, it may 
be mentioned, are t-xcessively rare. A much better 
known printer of this place is johann Weissen- 



Germa/iy and Switzerland. 1 69 

burger, who started here in 1503. and continued 
until 15 1 5, when he removed to Landshut. and 
remained there until 1^31. He used the accom- 



\ 




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 



I70 



Pf inters Marks. 




Jacobus Locher. published by this printer in 1506, J 
which is remarkable as containing a number ( ' 
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 




of their own. One of the earliest, for example, is 
that of Melchior Lotter, who issued a large number 
of books from 1491 to 1536. The word " Lotter" 
is equivalent to " vagabond " in English, and the 
Mark herewith consists of an emblem of a mendi- 
cant in a half-suppliant posture. Melchior Loiter 
junior was printing at Wittenberg from 1 520 to 1 524, 
where he printed anonymously the first edition of 
Luther's Bible, with illustrations by Lucas Cranach, j 




r 



Germany and Switzerland. 1 7 1 

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 




Demander " or Damander, a rude Latinization of 
Schumann which he sometimes used. Sufficiently 
quaint also is the Mark of Jacobus Thanner. 1501- 
2t, 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 



pointers Marks. 



himself in Breslau, which he ayain 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 151 1 or 1530; 
but the only Mark which we need quote is that 



I 




of Johann Feyrabendt. whose chief interest to 
posterity lies in the fact that he printed Jost 
Ammon's " KUnstliche 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 



I 





Germany and SwUzer/and. 

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. 



H Adam Steinschawer is said to be the printer of 

H the first book issued at Geneva, in 1479; soon after 

■ him came Guerbin, 1 482. whose Mark we give after 

Bouchot From about 153710 1554 Jehan Girard, 

or Gerard, was busy printing books here ; the Mark 




174 



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 jrood with regard to its typo- 
graphical annals. The accompanying Mark of 



Jean Rivery, Geneva, 1556-64. is distinct of its 
kind, and is the smaller of the two examples used 
by this printer ; in the larger one, the same motto 
appears, but in roman type, not italic ; there are 
also only two trees, both nearly leafless; the hand 
holding an axe occurs in both examples. Many 
French printers, for various reasons, and at different 
times, " retired " to Geneva, as, for e.\ample, the 
Estiennes ; the Marks of several Franco- Genevan 
printers therefore will be found dealt with in the pre- 



I 




I 




Germany and Switzerland. 175 

vious chapter. Although printing appears to have 
been introduced into Zurich in 1508. books executed 
at this place prior to 1523 are excessively rare. 
Christopherus Froschover, 1523-48, was by far the 




. FROSCHOVER. 



mosierninentandprolificofthe early Zurich printers; 
to him has been attributed the production of the 
first Entjiish Bible. His Mark is a punning one, 
Froich 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 " bein^ 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 
Bryiinger, Basle, 1536-61 (the accompanying ex- 




ample is taken from the title-page of " Pantalonis 
Henrici, Prosopographia? Heroum atque illustrium ] 
Virorum totius Germanise," 1565, a foUo of three J 
volumes, full of fancifully drawn portraits, the same J 
portrait being often used for several men), and \ 
F. Le Preux, of Lausanne. Morges, and Berne. 



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 | 
a highly fruitful i 
source of literary i 
quarrels and disputations. It is not worth our i 
while to enter, even briefly, into the merits ofl 
the arguments either for or against ; and It will f 
suffice for our present purpose to regard Johann J 
Veldener, 1473-7, as the first printer. He was pro- I 
bably a pupil of Ulric Zell, and, like many others of I 
the early Nelherland printers, he does not appear f 
to have remained long at one place. For example, 
he was at Louvain from 1473-7, at Utrecht 147S- ' 
Si. and at Culemberg, 1482-4. His only Alark I 
appears to be that given herewith, in which his J 
name in an abbreviated form occurs between the f 




Some Du/iii ami Flemish Marks. \ 79 

two shields, on the right one of which appears the 
arms of Louvain. His most notable publications 
were two quarto editions of the "Speculum" in 
the Dutch language, one of which contained 
116 and the other 128 illustrations, "printed 
from the woodcuts that had been previously used 
in the four notable editions ; to make these broad 
woodcuts, which had been desi<;^ned for pages In 
folio. Veidener cut away the architectural frame- 
work surrounding each illustration and then sawed 



^ ego Joiatinet 
mnivenittUe Lova' 
nam duxi opus hoc 
ferme turn lahori- 
md finem uitjue 
Jiio tifpto caittig- 
pita iihri patam 



® 



pratotalus alma i 
nieti ntsidena dig 



hus giiam inpeas'* 
pcrduUitm mto lO- 
itando huiiu in ca' 



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 
[)riority 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 ruraliii comodoru," 1474. its colophon 
being printed in red. The accompanying exceed- 
ingly curious "souscription." with portrait of the 
pnnter, i.s given from Lambinet's " Recherchcs." 



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 AIosl, 
for it is stated that he had presses working simul- 



1 




THEODO. 
EJXV 




MARTIN. 

DEBAT. 



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 I-lcmish Marks. i8i 

and Erasmus, the latter making the following 
reference to the accompanying Mark. *' I'ancre 
sacr^e." in the epitaph he wrote as a memorial of 
his friend : 



h 



" Hk Theodoricus jaeeo, jirognatus Alosto : 
Ars (;rat impreiisis scripts refcrre lypis. 

Fratribus, uxori, soboli, notisque siipcrsics. 
Octnvam vegecus pncterii dccadcm. 

Anchora sacra tnanet, grairc nolJssima pubi : 
ChrJ«iL- ■ precor nunr sis .mchora sacra mihi." 



^ait tt ptipiiinc 
afirnqfepaccofoTi) 

itfN[Jw ^ 




L 



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 "' Clcrcs ou Freres de la 
vie Commune " ( Fratres vit:e communis), who 
were printing at Brussels from 1476 to 1487. 
form one of thr most interesting features in the 




Saetgtjui'u met rijtaQCTOfflt: •i^ 



EKS Cll tOMMON LIKK, 



J 



Some Dutch ami Flemish Marks. 183 

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 civitale 




Bruxellcn," to which they put their name, is en- 
titled '■ Legends Sanctorum Henrici Imperatoris 
ct 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 



i84 



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 Alberlus, 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 Crealurarum," 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 14S7-S, was possibly the 



I 



i86 



Prhiters' Marks. 



brother of the more famous typographer, and hisl 
Mark consists of the lion {a pun on his surname, 1 
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 othef J 
early Dutch printers, the first Delft typographer,.4 
Jacobi^acobzoon Van der Meer. 1477-87, employed I 
the arms of the town in which he printed on his I 




MCOB JACOBZOON 



Mark, the right shield in the present instance \ 
carrying three water-lily leaves. In 1477 he issued j 
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- j 
markable production, however, is a " Missale ' 



i88 



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 Ant^verp from 1 500 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 " Met boeck van 
Tondalus visioen " was. as has been stated, printed 
at Antwerp in 1472. by Mathias Van der Goes, 



^idjnii^r- 



I 





J DEN DOKK 



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 14S2 to about 1494 in 
Dutch and Latin. He had two large Marks, one 
of which was a ship, apparentlyemblematical of Pro- 
gress or commercial enterprise, and the other, a 
savage brandishing a club and bearing arms of 




Some Dutch and Flemish Marks. 189 

Brabant. — the latter, from " Sermones Quatuor 
N'ovissimorum," 14S7. is here given. Rolant Van 
den Dorp. 1494-1500, whose chief claim to fame is 
that he printed the " Cronykc van Brabant," foHo. 
Antwerp, 1497. had as his most ambitious Mark 
a charming picture of Roland blowing his horn : on 
one of the shields (susi>ended 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-J5CX), 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 V'ogehuis, 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 ^I 
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. Amoldus Ca:saris. I'Empereur, or Dc 
Keysere, according as hts name happened to be 
spelt in Latin, French, or Flemish, is another of 
the eaHy Antwerp printers whose mark is suffi- 
ciently distinct to merit insertion here. His first 
book is dated 1480. " Herman ni de J'ctra Ser- 
mones super orationem dominicam." Michael 
Hellenius, 1514-36, is a printer of this cit)- who 
has a special interest to Englishmen from the fact 
that "in 1531 he printed at Antwerp an anti- 
Protestant work for Henrj' Pepwcll, who could 




Some Dutch and Flemish Marks. 191 

find no printer in London wiili sufficient courage 
to undertake iL" 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. ig), 1533-75, '^ regarded by some biblio- 
graphers as the emblem of an altar, but " from the 




entire absence of any ritual accessories, and the in- 
troduction of incongruous figures (which no medi- 
icval artist would have thought of representing), it 
would appear to be merely a stone table." Jacobus 
Bellaert, 1483-K6, was the first Haarlem printer, 
one of his earliest works being " Dat liden ende 
die passie ons Heercn Jesu Christi," which is dated 
December to, 1483. Bellaert's name does not 



192 



Printers' Marks. 



appear in It, but his Mark at the end permits of aa« 
easy identl^cation, it being the same as that whichfl 
appears in his Dutch edition of '" Glanvilla dcg 
Proprietatibus Rerum." 1485: the arms above the- 




Griffin are those o^ the city of Haarlem. One of I 
the most famous printing localities of the Low [ 
Countries was Leyden (Lugdunum Batavorum), I 
where the art was practised so early as 1483, J 
Heynricus Henrici, 1483-4, being one of the j 



194 



Printers' Marks. 



earliest, his Mark carrying two shields, one of 
which bears tlie cross keys of Leyden. The Pelrcan 
is an exceedingly rare element in Dutch and Flemish 
Printers' Marks, one of the very few exceptions I 
being that of J. Destresiiis. Ypres. 1553, the motto 
on the border reading " Sine sanguinis effusione ] 
non fit remissio," 




It will be convenient to group together in this 1 
place a few of the more representative examples J 
of the Marks of the Dutch and Flemish primers j 
of the sixteenth centurj-. Of Thomas Van der 1 
Noot, who was printing at Brussels from about I 
1 50S to 1517, there is very little of general interest! 
to state, but his large Mark is well worthy of a I 
place here. Picturesque in another way also isl 
the Mark of J. Grapheus, Antwerp. 1520-61 ; the] 



Some Dn/ch avd Flemish Marks. 195 

example wc 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 




JOIKKTL'S btsrRESiUS. 



notable publications is " Le Nouueaii Testament 
de nosire Sautlucur lesu Christ traslate selon le 
vray text en franchois," 1532, a duodecimo of 
xviii and 354 folios, a rare impression of Le 
Fevre d'Elaples' Testament as it had been 
issued by L'tmpcrcur. in 1530, who had obtained 
the licence of the Kmperor and the Inquisition for 
this impression. Henri Van den Keerc. a book- 



^ 



Some Dutch and Fiemish Marks. 197 

seller and printer of Ghent, 1549-58, had four 
Marks, all of which resemble more or less closely 




8d>antoa7ra fii-ytr* 



the rather striking and ceriainly distinct example 
here given. Of the Bruges printers of the sixteenth 
centur)-, Hubcr or Hubert Golu, 1563-79. is 




perhaps the most eminent, not so much on account 
of the typographical phase of his career, as because 
of his works as an author and artist. The " Fasti 
Magistratum et Triumphorum Romanorum," is 
one of his books best known to scholars, whilst to 



::aiRietfF)ent)e. 




i 



students of numismatics his work on the medals 
from the time of Julius Cassar to tliat of the 
Emperor Ferdinand, in Latin, of which a very rare 
French edition appeared at Antwerp in 1561. is 
weil known, and the original edition of his works 
in this respect is still highly esteemed, although, as 




200 Printers Marks. 

Brunet points out. Goltz has suffered a good des 
in reputation since Eckel has demonstrated thj 
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 ail of which are of a nautical 
character, the centre being occupied by a mermaidS 



carrj'ing a horn of plenty : in the smaller examplCT 
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 ; foi 





Some Dutch and Flemish Afarks. 201 



instance, we find him at Louvain from 1553 to 
1580, at Mons from 1580 to 1585, and Brussels 
from 1585 to 1614 : he had three Marks, of which 



I 




Kim^EK VKLPIUS. 



we give the largest. Of the Liege printers, we 
have only space to mention J. Mathi^ Hovii, 
whose shop was "Ad insigne Paradisi Terrestris" 



202 Printers' Marks. 

during the latter half of the seventeenth centuryi^ 
and whose Mark is of rather striking originalit] 
and boldness of desien. 




The two most distinguished names in the 
of Dutch and Flemish printing are unquesti< 



the annals ^H 
estionably ^H 




Some Dutch and Flemish Marks. 203 



Flantin and the Elzevirs, A full description of the 
various Marks used by Chrlstoplie 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 



I 




L 



iy\n\ M.irk.) i .SctoncJ M.irt.; 

craftsmen. His first Mark appeared In the second 
book which he printed, the " Florcs 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 
Christophc Jegher, 1639, Plantin having died in 
15S9. The most famous of all Plantin's Marks is 







Some Dutch and Flemish Marks. 205 



of course that with the compass and the motto 
'• Labor et Constantia," which he first used in 
'557- Plantiii 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 
Klztvir family possessed a Mark, of which this 
family, from Louis, in 1583, to Daniel, 1680, used 
four distinct examples. Ihe 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 parva: crescunt " — the emblem of the device of 
the Batavian Republic^ — -and as the year 1 595 
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 — 



206 




Pnuters 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 I 
an elm around the trunk of which a vine, carrying 1 
bunches of grapes, is twined ; the Solitaire and the! 
motto " Non solus." The explanation of this Mark \ 




is obvious, and may be summed up in the one word I 
" Concord ; " the solitary individual is symbolical 1 
of the preference of the wise for solitude — "Je 
suis seul en ce lieu etre solitaire.'" This Mark was J 
the principal one of the Leyden office, and was in f 
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 9. ■ 
printing-press which he superintended himself id 





Some Dutch and IHcniish 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 




of the Amsterdam office, and was used for the 6rst 
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 Thlboust at Paris and Theodoric van 
Ackcrsdyck at Utrecht. 

In addition to the foregoing, a number of other 
Marks were employed by this firm of printers, the 
most im]>ortant of the minor examples being the 
Sphere, which occurs for the first time on " Spha:ra 
Johannis de Sacro-liosco," 1626, printed by 



208 



Printers Marks. 



Bonaventure and Abraham; and from this timd 
to the end of the period of the operations of theg 
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 " ^■Eqvabiliiate," a 
angel with a book, and a book of music openei 
each of which was used occasionally by the first'l 
Elzevir; and one in which two hands are holding T 
a cornucopia, of Isaac; the arms of the Leyda 
University formed also occasionally the Mark < 
the Elzevirs established in that city. 

The Mark of Guislain Janssens, a booksella 
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 i 
common Avith the printers of this city. 





I 
I 



PRINTERS- 



MARKS IN 
SPAIN.' 



ITALY AND 




THE incnnabulti of Italy offer 
very little interest so far as re- 
j^ards the Marks of their printers, 
and the adoption of these devices 
dii.1 nut become at all general 
until the early years of the six- 
teenth centurj'. 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 

' The reader vili find on page 25 a series or thirty reduced 
reproductions of Marks used for tlie most pari hy ihc Italian 
pnnters. These are given after Orlandi (" Origiiie e Piogressi 
delta Siamiia," xin) and Home (" Introduction to the Study 
of Bibliography," tSi^), but several of the names are open to 
question from the fact that ihc former author has given no 
account cither of the places at which they worked, or of the 
books which they printed. 




Roman example with which we are acquainted, 
namely, that of Sixtiis Riessinger, and Geoi^ 
Herolt. a German, who printed in partnership 
at Rome in 1481 and 1483. One of the books 
produced by this partnership was the '■ Iracta- 
tus soUemnis et utilis," etc., which contains " f 
page figures of the Sybils, fine initials, and 




XTIS RltSSlNliKR. 



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 (14S4-1506) and Martens of Amsterdam 
describe themselves in the colophon of " Mirabilia 
Rom^." a 24mo. of 63 leaves, 1500. This work 
contains ten woodcuts, of which that on " the 



Alafks in Italy and Spain. 2 1 1 

reverse of leaf 36 has at the bottom the words 
■Mar' and ' De Amsidam' in black letters on 
white scrolls, and ' Er' immediately beneath the 
latter, in white letters on a black ground, showing 
that Martin of Amsterdam, one of the printers, 
was also the engraver. On the woodcut on the 
reverse of leaf 25 also, there is a shield with the 
initials of both printers, ' I ' and ' M ' interlaced, in 
both large and small letters." Andreas Fritag de 
Argentina {or Strassburg), 1492-96. is another 
early Roman printer who used a Mark. The four 



foregoing Marks are given on the authority of 

J. J. Audiffredi, " Catalogus Romanorum 

Editionum saeculi XVI.," 1 783. Among the 
early sixteenth cenlur)' printers of Rome, one of 
the most distinguished was Zachanas Kallici^os 
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 




Marks in Italy ami Spain, 

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, " Epislols 
ad Familiares," 1469. althoug^h the honour of being 
the most magnificent production appears to be 
equally divided between the Livy and the Virgil, 
[470, 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 
Monieregio, 1476, which has the first ornamental 
title known.) In 14S7. Ratdolt was at Augsburg, 
and perhaps his claims as a printer .Tre 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 impressoriae magister apprjme 
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 




times in black. Joannes and Gregorius do 
goriis, 1480 — I 516, 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, 15 [6, and another the 



Marks in Italy ami Spain. 215 

" 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 prolihc printer comes Ottaviano Scotto, " Civis 
Modoetiesis," 1480-1500, and his heirs, 1500-31, 
of whose Mark we give an exact reproduction. 
Baptisia de Tortis, 14S1-1514, 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 
besaidof BernardinusStagninus, 14S3-1536. The 
Mark, also, of Bernardinus de Vitalibus, 1494- 
1500. is sufficiently distinct to justify a reduced 
example. Bartholomeus de Zanis, 14S6-1500, 
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 Bertocluis, 1480; of Laurentius Rubeus de 
V'alentia, 1483; 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 " Coioniensis," and 
whose ver>' 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, wliich Is the first edition for the 
use of the Hussites. Of this exceedingly rare 
edition, only about four copies are known. It is 



r 



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- 




rate and pictorial Marks which one 6nds 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 xMarks 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, w" 
re priming books in 1570. 



2l8 



Printers' Marks. 



The Aldine family come at the head of theJ 
Venetian printers, not only in the extreme beauty I 
of their typographical work, but also in the matter. 1 
of Marks. The first (and rarest) production of I 
the founder of the dynasty, Aldus Manutius, T 
1494-1515, was " MusEci Opusculum de Herone & J 
Leandro." 1494, a small quarto, and his life's work J 
as a printer is seen in about 126 editions which J 




are known to have been isMf^by him. -" I have 
made a vow," writes .Mdyi^ his preface to the 
" Greek Grammar " of L^clu'is, " 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 1 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 vite herd the exis- 
tence of the brutes. Cato has compared the Ufc;j 



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 
1502 that Aldus adopted a Mark, the well-known 
anchor, and this appears for the first time in " Le 
Terze Rime di Dante" (1502), which, being a 
duodecimo, is the first edition of Dante in portable 
form. This Mark, and one or two others with 
very slight alterations which naturally occurred in 
the process of being re-engraved, was used up to 




I niRRtSAXO. 



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 14S1, and whose daughter 
married the first Aldus, carried on the business of 
his deceased son-in-law, the imprint running, " In 
^dibus Aldi et Andrea; 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 usedl 
from 1540 to 1546, is more carefully engraved but J 
less characteristic than that of his father ; whilst! 
that which he used from 1546 to 1554 was usually I 
but not invariably surrounded by the decorativel 
square indicated in the accompanying reproduc-J 
tion ; then he ai^ain modified his Mark, or more 1 
particularly its border. Paulus Manutius died in | 




April 15/4. Aldus "the younger," 1574-98, the 
ion of Pauliis 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 j 
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 




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. 




Printers' Marks. 

The Giunta or Junta family, members of whidiJ 
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, isT 
from 'OiTTTiavou 'AAiiuTixuk (Oppiani de natura seul 
venatione piscium). Florence, 1 5 1 5. which was^ 
edited by ^lusurus. 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 J 
many of the illustrations which appear in the* 




books he printed were executed by him. His 
Mark appeared as early as 1495 in red at the end 
of an edition of Livy which he appears to have 
executed for Philippus Pincius, Venice, and again 
in red. this time on the title-page, in another 
edition of the same author, done for Bartholomeus 
de Zanis de Porteslo, Venice, 151 1. Each of 




THE ALDINE ANCHOR, IS7;-8 



these productions contained a large number of 
beautiful woodcuts. Early in the sixteenth century 
those " vero honesti viri" (as they modestly de- 
scribed themselves), Jacob! and Franclsci, were 
printing at Florence ("et soclorum 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 



Pyinfcrs Marks. 



the family t}cm jkur-dL-iys appears. .\moi\^ the 
Venetian printers of the beginning of the sixteenth 
century Johannes de Sabio et Fratres may be 
mentioned, if only on account of their MaHc 
which is given herewith. Its explanation is cer- 
tainly not obvious ; and Bigmore and Wyman's 




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 NicoHni de Sabio " printed 
"Alas espesas de M. Zuan Batista Pedre^an," a 



Marks in Italy and Spain. 225 

rare and beautiful edition with woodcuts, and, in 
small folio, of "Primaleon" in Spanish; and in 
1535 Stephano da Sabio issued a translation of 
*' La Conquesta del Peru," etc., of Francesco de 
Xeres. 

Although not the first printer either at Cremona, 
where he started in 1492, or at Brescia, where he 




F. DE ClUNTA. 



was printing from 1492 to 1502. Bernardino de 
Missintisdeaervesmention 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 removej 
to Brescia, where he was printing until about 149a 
The earliest known book printed at Modena (ol' 
Mutine) is an edition of Virgil, executed 
Johannes Vurster de Campldona, 1475: but on 
of the best known printers of this city is Domintd 




JRASKA 



Rocociolo, or Richizola, 14S1-1504, who was 
partnership with Antonio Miscomini, 1487-89. 

Printing was Introduced into Milan (MedJola 
num) in 1469 or in the year following, and froi 
the numerous presses established in this city befm 
the end of the fifteenth centurj- very many beauti-^ 
fill books were issued. Gian Giacomo di Legnano 



228 




Printers' Marks. 



and his brothers, whose highly decorative Marl 
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 novamenteretrovati. et Novo Mondoda 
Alberico Vesputio Florentino intitulato." Bologns 
was also a busy printing centre from 1 470 onwards^ 
but it must suffice us to give the monograms 



of 

1 




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 a ~ 
given in Fray Francisco Mendez's " Tipt^r: " 



iplesar^^H 



Marks in Italy and Spain. 

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 demiiestran siis nombres 
y apellidos, y algunos lo declaran espresamente 
en sus notas y escudos." These "estranjeros " were 
almost without exception Germans. 

V.alencia (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 147S. Although not the 
earliest of the Seville printers the four " alemanes, 
y compafieros," Paulo de Colonia, Juan Pegnicer 
de N uremberga, 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 1 
de Basilea (or, as his name appears in the imprints ' 
of his books. Fadrique Aleman de Basilea) was 
busy printing books at Burgos from the end of the 
fourteenth to the second decade of the fifteenth 
century ; his Mark, a cross resting on a V-shaped 




ground, is a poor one, the motto being "sine \ 
causa nihil." " En mushos libros de los que ' 
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," 15 12 — " Cronica del 
Famoso Cauallero Cid Ruy Diez Campeador,' 



a del^H 

a ^H 



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 



I 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 

^^Lin Barcelona, 1493-8, and again at the beginnii^ 





of the sixteenth century ; in Perpignan, 1500; i 
Tarragona, 1490, and in Montserrat. In 14^ 
he printed at Tarragona the famous " Missal del 
aquel Arzobispado." which Mendez declares to be ] 
'■ muy reconiendable per varias circumstancias." J 
At Barcelona he printed in 1526 an edition ofl 
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. - 



ISL 



1. ZACHARIAS KALLIERCOS. 2. J. A. DE LECNANO. 

3. J. DE VINGLE, OF PICARDY. 4. M. HUCUNT. 




■ 1 


^.ji&&..^ 


^jjjy-siie^liagliiidliiiii.lii^LHB Un^nii|pin ^1 


l^^-M 


P*fe>.... ..Jf^L 


f^,^^^=^ ■ 


1 wi'^'fw m 

H SOME MODERN EXAMPLES. ^M 

1 J^isi^\ r^URING the past few ^M 

^1 J^^B^S^^ ^^^ years there has been a ^^M 

^f J^^Hm^^^YI ^^^' ^'^■'^^"1^ revival in the ^^M 

r^£M^W^l^3uiA Printer's Mark as a modem ^^M 

\'y^9Jlffjj0WMl device, but the interest has ^H 

^^'^UHflBBJ^p' much more largely obtained ^^M 

^^^BH^?^ among pubHsherstiian among ^^M 

^** -T*^^ printers. We propose, there- ^^M 

THE sTATinNERs' forc. to incIudc iu this chapter ^^M 

coMi'ANv. 3 fg^y q|- j],^ more interesting ^^M 

example.s of each class. On ^^M 

the score of antiquity tlie Stationers' Company ^^M 

may be first mentioned. Founded in [403 — ^^M 

nearly three-quarters of a centurj- before the in- ^^M 

trodiiction of printing — its first charter was not ^^M 

received until May 4th, 1557. during the reign of ^H 

Mary. The number of "seditious and heretical ^H 

books, both in prose and verse," that were daily ^^^ 

issued for the propagation of "' very great and ^^M 

detestable heresies against the faith and sound ^^M 

Catholic doctrine of Holy Mother the Church," ^^M 

became so numerous, that the government were ^^M 

II 11 ^^M 



234 




Printers^ Marks. 



only too glad to " recognize " the Company, anj 
to intrust it with the most absolute power. Thft 
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 nii. 
On June 6th, 155S, another rigorous act was pub- ■ 




lished from "our manor of St. James," and will l 
found in Strjpe's " Ecclesiastical Memorials" (ed.l 
1S22. iii. part 2, pp. 130, 131). It had specific! 
reference to the illegality of seditious books im-^ 
ported, and others "covertly printed witliin this 
realm," whereby "not only God is dishonoured, 
but also encouragement is given to disobey lawful 
princes and governors." This proclamation de-J 
clared that not only those who possessed sudh 




Some Modern Exnntplei 



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 




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, f 
all the privileges and monopolies had become 1 
neutralized by the end of the last centurj', till it 



236 



Printeys Marks. 



commoa^H 
ht to the ^* 



had nothing left but the right to publish a commoal 
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 j 
notices. 

Of the existing firms of publishers and printerSkl 
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 J 
gives us the opportunity to consider briefly the'l 
Marks of the two firms together. In the yearj 
171 1, Richard Chiswell, the printer of much (^a 
Dryden's poetrj-, died, and his business passed! 
into the hands of Charles Rivington, a native (rf"! 
Chesterfield, Derbyshire. Thoughtful and piousf 
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 inj 
1742, he left Samuel Richardson as one of thea 
executors of his six children, but his sons, Johnl 
and James, continued to conduct the business, 
few years later, it was deemed advisable for t 




Sonic Modem 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 




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 i8o2 or 1803. His brother, meanwhile, had 
plodded on steadily at home, and admitting his 
two sons. Francis and Charles, into partnership. 
About this time there were numerous editions of 
the classics, the common property of a syndicate of 
publishers, and it says much for Mr. John Riving- 




238 Printers Mark. 

ton that he was appointed managing partner. 1 
About 1760 he obtained tlie appointment of pub- 1 
lisher to the Society for Promoting Christian 
Knowledge, a lucrative post, heid by the firm for 
upwards of two generations. By the year : 
the two representatives of this ancient firm were 1 
Messrs. Francis Hansard Rivington and Septimus I 
Rivington ; in this year the partnership was dis- ] 
solved, and the goodwill and stock were acquired 1 
by Messrs. Longmans. They used at various I 
periods no less than eight Marks, the design erf" 1 



i 



THE CLARENDON PRESS. 

which was in most cases based upon the ancient j 
sign of their shop. " The Bible and Sun." 

The historj' of Messrs. Longmans may be said I 
to commence with the birth of Thomas Longman j 
in 1699. The son of a Bristol gentleman, he lost 1 
his father in 1 708, and, eight years later, was I 
apprenticed, on June 9. 1716, to Mr. John Osbom 
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 slock in 
trade of William Taylor, of the Ship and Black 1 
Swan in Paternoster Row. Readers of Longmat£&'M 





calling the origin of the title. Henceforward the 
Ship carried the Longnian fortunes as cargo, and 



t ended. ^1 



240 Printers' Marks. 

the prosperity of the vessel is not yet > 
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 
hasnowgrownintoa very imposing pile of buildings. 
Of these Marks we give two of the most artistic and 
interesting. As taking us back into a compara- 




WICK 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. Whittinghaj 
and Co., is in several respects a link with the lon^ 
past, and, having been in existence for more than a 
centur)', is one of the oldest offices in London. It 



J 

}n 
:r- 

hai^H 
long| 



242 



Printers' Marks. 



ie excel-^H 
orrection ^| 



has attained a world-wide celebrity for the 
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, for the printing of 
" Lady VVilloughby's Diarj'," published by Messrs. 
Longmans. Since that time its use has become 
universal. The founder. Charles Whittingham, 
was born on June 16th, 1767, at Calledon, in 
Warwick, and was apprenticed at Coventry in 
1779, working subsequently at Birmingham, and 
then in London. He commenced business on his, 
own account in Fetter Lane in 1790; and in iSio 
he had removed to Chiswick, and since that period 
the firm has always been known as " The Chiswick 
Press." In 182S 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! 
W^hittingham. had employed about two dozen 
marks in their various books : the former justly' 
calling himself a disciple of Aldus, and usin!^ 
large number of variations on the original Anchor 
and Dolphin Mark of the great Venetian printer. 
Of these we give two e.xamples, 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 Pn 
the shield on one of which, it will be observi 
carries the Aldine Anchor and Dolphin. 



I 





244 Printers' Marks. 



The name of Cassell takes us back to the era of 
Charles Knight and John Casseil. 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" 




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 1SS3, are well known for the 
excellence of their printing. Mr. Austin Dobson 
thus sings, in Mr. Andrew Lang's Book on " The 
Library:" 



on " 1 tie ■ 




Some Modern Examples. 

" 'Of making many books,' 'twas said. 
' There is no end ; ' and who thereon 
The ever-running ink riolh shc-d 
But proves the words of Solomon : 



245 



/ 




Wherefore wc now, for Colophon, 
From I-ondon'a Ciiy drear and dark. 
In the year Eighieen-eighly-one, 
Reprint them at the pess of Clark." 

The accompanying Mark was designed by Mr. 



Some Modern £xafnpies. 247 

Walter Crane, and first used by Messrs. Clark in 
1881. It is used in several sizes. Of the very 
handsome Mark of Messrs. T. and A. Constable, 
the Queen's Printers, at the University Press, we 
may mention that the legend is a hexameter; it 
was written by Professor Strong', and contains two 
puns ; the ship is an old Constable device. The 




Marks of both Messrs. Chatto and Windus (who 
succeeded to the business, started and carried on 
with such energy by the late John Camden Hotten) 
and Messrs. Macmillan and Co. {whose firm dates 
from the year 1843) are characterized by the 
extremest possible simplicity. 

The finest of the several Marks used by Messrs. 
George Bell and Sons is given In two colours on 




the tide-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 httle 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 tlie 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. 




HARPER BROTHERS. 




BEKWICK AND SMITH. THEODORE L. DE VINNE AND CO. 





THE HAVEN 

OF HEALTH: 

Chicfcly eathcrcd for the comfort of Stu- 
dents , a»dcoo(equcndy of aU chole due hue « 
cvK of their kcaldi, aoB^blird vpoo fiw fNvd* of 




< 



At LoKBO* 

Pktond by Hone Midiaoo* 



I 



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 
lOOO reproductions. Anv., 1884. 

Heitz (p.) and Barack (K. A.). Die Biichermarken 
Oder Buchdrucker und Verlegerzeichen. Elsassische 
Bucherniarken bis Anfang des iS Jahrhdts. Nebst 
Vorbemerkungen u. Nachrichten iib. d. Drucker. Mit 76 
Holzschn. Tafeln. 4". Strassburg, 1S92. 

Hor.TROP, J. W. Monuments Typographiques des 
Pays Has au quinzitrme si^cle. Fol. La Haye, 1S68. 

HoRNE, Rev. T. H. Introduction to the Study of 
Bibliography. Svo. 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, : " 



Johnson, J. Typographia, 2 vols. London, 1S24. 



254 Printers Marks. 

Ledeboer, Adrian Mar. AlfabetischelijstderBoek- 
dnikkers, Boekverkoopers en UUgevers 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. 11 Hefte mit 65 Taf, enthalt. 
Facs. Reprod. von Portraits beruhmter Buchhandler, auf 
den Buchhandel beziigl. Schriftstucke, Initialen, Ex- 
libris, Abbilden kunstvoUer Einbande. 

Fol. Koln, 1853-65. 

LiNDE, A. V. D. Geschichte der Erfindung der Buch- 
druckerkunst. 3 Bde. 4". 1886.87. 

Meermann, Gerard, Origines typographic^e, 2 vols. 
With 10 pL Printers' Marks. 4". Hag. Com., 1765. 

Mendez, Fray Francisco. Tipographia espanola 6 
historia de la introduccion, propagacion y progesos del 
arte de la imprenta en Espana. Second edition revised 
by D. Hidalgo. Madrid, 1861. 

OrLAXDI, p. a. Origin e Progressi della Stampa. 

4°. Bolog. 1722. 

ROTH-SciiOLTZ, F. Thesaurus Symbolarum ac 
Emblematum, etc. Fol, Nuremberg, 1730 (with repro- 
ductions of several hundred Marks). 

SiLVESTRE, L. C. Marques typographiquesourecueil 
des monogrammes, chiffres, enseignes, etc., des libraires 
et imprimeurs qui ont exerce en France depuis 1470, 
jusqu'a la fin du 16' siecle. Avec plus dc 1300 fig, s. 
bois. Paris, 1853-67, 

Thierrv-P0U.'<, O. Premier Monuments, etc., de 
I'imprimeur en France au XV siecle. Fol. Paris, 1890, 

Weigel (T, O.) and Zestermaxn (A. C, A.). Die 

Anfange der Druckerkunst in Bild und Schrift. An 

deren friihesten Erzeugnissen in der Weige'schen Samm- 

lung criaiitert. Mit 145 Facs. u. viel. Holzschn. im Text. 

Folio. Leipz., 1866. 2 vols- 



fli 


1 




^g^ 








1 


^l^^^"^ 


1 


pgQBmB 


?S:^ 


1 


INE 


EX. 


A BIEGNUS, J., 26. 
■^»- Aldine family. The, ai8- 


Bell (Geo.), and Sons, 247. 


Betiedeiti, G. A. de, 25, 228. 


223. 


Benedetto d'Effore, 25. 


Alexandre, J., 13, 26. 


Bentley, R., 19. 


AUen, John, 92. 


Berger, Thiebotd. 150-151. 


Andrewe, W,, 26, 65, 70. 


Bernardino de Mismtis, 25, 


Angelier, J., 27. 


225. 


Anshelm, Thomas, 155, 156. 


Bernardinus de Vhalibus, 25. 


Apiarius, Mathias, 7. 


Bertichelli, D., 25. 


Appleton and Co., 250. 


Berthelct, T., 71. 


Arbuihnot. A,, 81, S2. 


Benochus, D., 25, 215. 


Aubri. B., 14, 36. 


Beriramus, A., 29. 


f Auvray, G., 27. 


Berwick and Smith, 2^1. 


Auzolt, R., 26. 


Besicken. J., 210-211. ^^^^^| 




Besson, J., ^^^^H 


Back, G., 1S8.190. 


Bichon, G., 7- ^^^^| 


Bade, C, 91- 


Bien-N^, J., 20. ^^^H 


J, 12, 115,129. 


Bignon, J., 14. ^H 


Baland, E., 22. 


Birckmann, A., 162-163. ^1 


Baptista de Tonis, 25, 215. 


Blades, W., 55. ^M 


Barack, Dr. K. A., 140. 


Blount, E., 87. ^M 


Barbon, H., 8. 


Bocard, A., 20. ^M 


Barker, C. and R., 90. 


BoninodeBoninis,25, 225-256. ^M 


Bartholom^us, D., 47. 


Boucher, N., 27. ^M 


Barthoiomeus de Zanis, 25. 


Bouchet, G., 21. ^^^H 


Bassandyne, T., 99. 


— ^^H 


Baunnganen, C, 171. 


Boucheis Brothers, 12. ^^^^^^H 


Beck, R., 49, 143, 144. 


34. ^^^^H 


L Bellaert, Jacobus, i9t, 195. 


14. ^^^^^H 





I^B 


256 Printers 


Marks. 


Bourgeat, G., 27. 


Colophon, The, 49. 


Bouyer.J, 21. 


Constable, T. and A., I46-7- 


Bradshaw, Henry, 53. 


Copland, R., 67, 68. 


Breuille, M.. 37, 33, 125, 


W, 68. 


Brothers of Common Life, 


Corrozet, G., 32. 


181. 


Couteau, Gillet, 4, 103. 


Bryiinger, N., 176. 


Cox, T., 9a. 


Bumgart, Herman, 158-159. 


Ctamoisy, S., 127, 


Burges, ]., 22. 


Cranach. L., 170. 


Byddell, J . 72- 


Crane, Waller, 247, 249. 


Bynneman, H., 85, 86. 


Cratander, 44-45- 




Creede, T., go, 91. 


Cjesar, N., 161. 


Crespin, J., 20. 


Csesaris, A., 189, 191. 


Gushing and Co., 250. 


Caillaut, A., 3. 


Cyaneus, L, 125. 


Caligula de Bacilenis, 25. 




Calvarin. P., 14. 


Dallier. J., 3a. 


Calvin, J., 174. 


Davidson, T.. 98. 


Cartandcr. set Craiander, 


Day, John, 78 80. 


Cassell and Co., 243-4. 


De Bordeaux, J , 32. 


Caxlon, W., 53-57. 


De Campis, J., 51. 


Cervicomis, Eucharius, 159. 


De Codeca, M , 25. 


C&ar, P., 12. 


De Colines, S., 14, 27, xt 


Chandelier, P., 7, 137-138- 


119, 120, 126. 


Chaneris, H., 99. 


De Francfordia, \V., 25. 


Chatto and Windus, 243, 247. 


De Gourmom, G., 13, \x 


Chaudifere, G, 27, aS. 


124. 


R. andG., 126. 


J.. 21. 


Chepman, W., 95, 97. 


R- 27. 


Cbevallon, G., 23. 


De Hamotii, M., 27, 200. 


Chiswick Press, The, 240-1. 


De la Barre, N., 26. 


Chouet, J., 31. 


De Lael, 30. 


Christopher de Canibus, 25. 


Delalain, Paul. 24. 


Clarendon Press, The, 238, 


De la Noue, D.. 8. 


240. 


De la Porte, A. S. and I 


Clark. R. and R., 244. 


.33-35. 


Cleray, G., 32. 


H. and A-. 66. 


Clopejau, M., 27. 


De la Rivifere, G., S. 


Cloquemin, L., la. 


De Marnef Brothers, The, 1 


ColioeH, ste De Collnes, S. 


106-107. 


Colomies, J, 137. 


Denide!, A., 21. 



Index. 



257 



Denis, J., 38. 

Dc Pfortzheim, Jacobus, 163, 

165. 
De Saincte- Lucie, P., 14. 
De Salenson, G., 17. 
De Sarti^res, P., 14. 
Destresius, J., 194. 
De Tournes, J., 29, 31, 133. 

S., 25 

De Vingle, 115, 232. 

De Vinne, Th., 151. 

Dewes, R., 89. 

Etolet, E., 16. 132, 133. 

Dorp, R. van den, 188-189. 

DufF, E. Gordon, 62. 

Dulssecker, J. R., 47, 50, 

Du Mont, A., 8. 
Du Moulin, J., 6. 
Du Prd, (ialliot, 5. 

J., 26, 108, 136. 

P., 22. 

Du Puys, J., 8, 10, 129. 

Eckert de Hombergh, H., 34. 
Eggestern, H., 139. 
Elzevirs, 17, 18, 205-208. 
Endter's (W. E.) Daughter, 

167. 
Erasmus, 166, 181. 
Erpenius, T., 49. 
Estienne, Family, The, 100, 

118-123. 
Eve, N., 8. 

Faques, W., 16, 62. 
Fawkes, R., 63. 
Federico de Hasiica, 230. 
Fernandez, A., 229. 

v., 231, 232. 

Feyrabendt, J., 172. 



Fdzandat, 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, loi. 
Gerla or Gerlis, L., 25. 
Gibier, Kloy, 12. 
Girard, J , 173-1 74- 
Giunta Family, The, 222-225. 
(fOes, M. van der, 187-188. 
Goltz, H., 57, 197. 
Gourmont, see De Gourmont. 
Grafton, R., 10, 74-76. 
(irandin, L., 18. 
Granjon, R., 14. 
Grapheus, J., 194, 197. 
Gregorius, J . and G. de, 2 1 4. 
(irosii, The, 22. 
(iroulleau, K., 32. 
Griininger, J., 140. 
Gryphius, S., 6, 135, 136. 

The, 36. 

Guarinus, 73. 
Gueffier, J., 8. 
(luerbin, 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, 

188. 
Hovii, J. M., 201-202. 
Huby, F., 34. 
Huguetan, The Brothers, 17, 



49. 



J., 26. 



Hugunt, M., 232. 
Husz, M., 26. 

"Inventaire des Marques d' 
Imprimeurs," 24. 

Jacobi, P., 29. 

Jaggard, Isaac and William, 

87, 88: 
Janot, W., 14, 15, 107, 129. 
Janssens, G., 208, 
Jenson, N., 213. 
Johannes de Spira, 211. 
Jove, M., 8. 
Jucundus, J., 29. 
Jugge, R., 80, 82. 
Julian, G., 8. 
Junta, see Giunta. 
Justinian de Ruberia, 25, 228. 

Kalliergos, Z., 211, 232. 
Kerver, T., 7, 34, 11 1, 115. 
Keysere, see Caesaris. 



Kingston or Kyngston, Felix, 

88, 89. 
Knoblouch, J., 17, 91, 142. 
Koberger, Anthony, 167. 
Kobian, Valentin, 156. 
Koelhoeff, J., 159-160. 
Kopfel (or Caephalaeus), W., 

17, 145, 146. 
Krantz, M., 100, loi. 



Lagache, J. and A., 29. 
Lambert, J., 14, 26. 
Lamparter, N., 166. 
L'Angelier, A., 10. 
Laurens, Le Petit, 34. 
Lawrence and Bullen, 243. 
Le Bret, G., 36. 
Lecoq, Jehan, 6, 7, 137. 
Leeu, G., 184-186. 

N., 184. 

Le Forestier, J., 21. 
Legnano, G. G., 226-228. 

J. A., 232. 

Le Jeune, M., 20. 

Le Noir, Michel, 3, 13, 109. 

P. and G., 4, 110. 

Le Preux, F., 177. 

J., 12. 

Poncet, 36. 

Le Rouge, P., 109. 

Le Talleur, G., 26. 

Liechtenstein, P., 215. 

Lippincott and Co., 251. 

Lockwood and Co., 250. 

Longis, J., 14. 

Longman and Co., 233, 237, 

240. 
Loslein, P., 48, 213. 
Lotter, Melchior, 169, 170. 
Lynne, W., 52, 83. 



Index. 



259 



Mac^, 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. 

Miiller, 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 \jt 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, 1 84. 

Palomar, L., 229. 
! Pannartz, A., 209. 

Paulo de Colonia, 229. 

Paul (Kegan) and Co., 243, 
249. 

Pavier, T., 10, 12. 

Pegnicer, J., 229. 

Pepwell, H., 63, 189. 

Peregrino de Pasqualibus, 25, 
215. 

P^rier, T., 27. 

Petit, J., 6, 9, 112, 115. 

Pfortzheim, see De Pfortzheim. 

Picart, B., 46. 

Pickering, W., 239, 242. 

B. M., 239, 242. 

Pigouchet, 97, 112, 113. 

Pincius, P., 223. 

Pine, J., 46. 

Pinzi, P., 25. 

Plantin, C, 203-205. 

Pollard, A. W., 48. 

Portunaris, V., 22. 

Prevosteau, E., 17. 

Printers*' Marks : punning 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- 
Saints and 



topher. 



22; 



26o 



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 
Unicom, 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; 
!• ortune, 38, 44 ; Fountain, 
38 ; Heart, 38 ; Hercules, 
38 ; Lion, 38 ; Magpie, 38 ; 
Mercury, 38 ; Pelican, 38 ; 
Phoenix, 39 ; Salamander, 
39; Swan, 39. 

Psalter, The Mentz, 41. 

Pynson, R., 59-61. 

Rastell, J., 36. 

Ratdolt, E., 162, 212-214, 

Regnault, F., 75, 103-105. 

P., 105. 

Rembolt, B., 17, 26, loi, 102. 
Reynes, J., 16. 
Ricci, B., 25. 
Richard, J., 34. 
— T., 29. 
Rigaud, B., 14. 
Rihel, Wendelin, 150. 
River)', J., 174. 
Rivingtons, The, 235-8. 
Rizzardi, G., 225, 228. 
Roccociola, D., 25, 226. 
Roce, D., 4, 14, 66. 
Rodt, Berthold, 163. 
Roffet, J., 29, 30. 

Family, The, 125. 

Rose, Germain, 4. 



Rosembach, J., 26, 230, 231-2. 
Roth-Schclu's *' Thesaurus," 

Rubeus de Valentia, L., 25, 

215- 
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., 7^2. 

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. 
I Siberch, J., 94, 95. 

Silvius, G., 22. 

Singleton, Hugh, 82, Zt^, 

Sixtus Riessinger, 210. 

Snellaert, C, 34, 35, 186. 

Somaschi, The, 25. 

Soter, Johann, 161- 162. 

St. Albans Press, The, 54-56. 

Stadelberger, J., 172-173. 

Stagninus, B., 25, 215. 

Stationers' Company, The. 

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, i 

159. 183. 
Thomas, 319. 
Title-page, The First, 48. 
Tonson, J,, 94. 
Topic, M., 131. 



To 



mo, A., 219. 



Tory, Geoffrey, 14, 117-118. 
■I'oliell, R., 85. 
Tounies, see De Toumes. 
Treppcrcl, J., ai. 
Treschel, J., 25, 115, 131. 

The Brothers, 17. 

Treveris, P., 64. 

Unwin, T. F., 243, ?4S. 

Van dcD Keere, H. 195, 198. 
Van der Noot, T., 194. '96- 
Van Hombergh, H. E., 188. 

Vautrollier, T, 7, 73, 75. 
Veldener, J., 178. 
Velpius, Rutger, 100. 
V^rard, A., 21, 102. 
Vidoue, P., 17. IJ4. 



Vindetinus de Spira, J13. 
Vitalibus, B. de, 215. 
Von Andlau, G., i, 32, 146. 
Vosire, S., 102, 103, iii, iia. 
Vurster de Campidona, J., 216. 

Waesberghe, J., 199. 
Walthoe, J-, 92. 
Ware, R., 92, 93, 
W^chel, A. and C.,31, 125-127. 
Weissenbiirger, J., 167-169. 
Whttchurche, E., 75. 
Whitlingham, Messrs., 240-2. 
Wight, or Wyghle, J., 83, 84. 
Windet, J., 8i. 
Wolfe, R., 30, 77. 86. 

John, 77, 78. 

Woodcock, T., 10, 86, 87. 
Wjer, R., 68. 

Wynkyn de Worde, 51, 57 59, 
67. 

Zainer, G., 41, 162. 
Zanis, Bartholomeus. 215. 
Zell, Ulric, 157, 178. 
Zelzner, L,, 15 




BY THE SAME AUTHOR. 



THE EARLIER HISTORY OP ENGLISH 
BOOKSELLING. Crown 8vo. Sampson Low and 
Co. 1889. 

CHRISTIE'S : A Chapter in the History of Art. 

[In the Press. 



^^^^B^^^H 



THI ■OfWOWM WILL M CHAHQCO 
AN OVEDDUC FEC V THW lOOK It 
NOT RCTURNK} TO THC UWURY ON 
M BEFORE THE LAST DATE tTAAIPED 
MLOW. NOM-RECCIPT OF OVERDUE 
NOTKCt DOES NOT EXEMPT THE 
•OIIROWEII FROM OVERDUE FEEE.