It was almost inevitable that both Denis Roce or Ross, a Paris bookseller, 1490, and Germain Rose, of Lyons, 1538, should employ a rose in their marks, and this they did, one of the latter’s examples having a dolphin twining around the stem. Jacques and Estienne Maillet, whose works at Lyons extended 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. [Illustration: GILLET COUTEAU. Du grant aux petis Gillet couteau] [Illustration: GALLIOT DU PRÉ. VOGVE LA GVALLEE GALLIOT DV PRE] One of the boldest of the early sixteenth century examples is that employed by Galliot Du Pré, 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 several variations) was used by both father and son, and possesses an interest beyond the subject of Printers’ Marks, for it gives us a very clear idea of the different boats employed during the first three quarters of the sixteenth century. Another striking Mark of about the same time and covering as nearly as possible the same period, was that of the family De La Porte. The earlier example used in Paris about 1508 was a simple doorway; but the elder Hugues de la Porte, Lyons, and the successors of Aymon De La Porte of the same place, used several exceedingly bold designs in which Samson is represented carrying away the gates of Gaza, the motto on one door or gate being “libertatem meam,” and on the other “mecum porto.” The two printers of the same name, Jehan Lecoq, who were practising the art continuously 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 Sébastien Gryphe or Gryphius: he had at least eight “griffin” Marks, which differed slightly from one another. François 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 à Petit,” as is seen in the reduced facsimile title, given on p. 9, of a book printed by him for T. Kerver. Mathias Apiarius, Strassburg, used at least two Marks expressing the same idea, namely, a bear discovering a bee’s nest in the hollow of a tree--an obvious pun on his surname. The latter part of the sixteenth century is not nearly so fruitful in really good or striking devices. Guillaume Bichon, Paris, employed a realistic picture of a lap-dog (in allusion to his surname) chasing a hare, with the motto “Nunc fugiens, olim pugnabo”; and equally realistic in another way is the Mark of P. Chandelier, Caen, in which