The Venetian verse tradition seems now to have settled down into a convention that a new printer should announce his arrival in Latin elegiacs, but need not continue the practice. Franciscus de Hailbrun complied with it to this extent in some dull lines in an edition of the “Quadragesimale” of Robertus de Licio in 1472; and it is in another edition of the same work that Panzer first records three couplets which, with the addition of a prose sentence, also constant in form, occur in numerous books printed by Bartolommeo de Cremona: [Illustration: Caracciolus. Quadragesimale (and several other books). Venice: Bartolommeo of Cremona, 1472.] Quem legis impressus dum stabit in aere caracter Dum non longa dies uel fera fata prement, Candida perpetue non deerit fama Cremonae. Phidiacum hinc superat Bartholomeus ebur. Cedite chalcographi: millesima uestra figura est, Archetypas fingit solus at iste notas. M.CCCC.LXXII. NICOLAO TRVNO DVCE VENETIARVM REGNANTE IMPRESSVM FVIT HOC OPVS FOELICITER. There is nothing very remarkable in these lines, but they are better than most of those with which I have been wrestling, and shall be dignified, therefore, by being rendered into prose instead of doggerel; for which also there is another reason in the fact that the meaning, just when it becomes interesting, is not as clear as could be wished. The best version I can make is as follows: While the character which you read shall remain stamped in brass, while neither length of days nor the cruel fates destroy it, Cremona shall not lack a continuance of glittering fame. By this craft Bartolommeo surpasses the ivory of Pheidias. Give place, ye writers in brass; your number is a thousand, but he alone fashions the well-known models. In 1472, when Nicolò Truno was ruling Doge of Venice, this book was successfully printed.