The angels nearly always occur in couples, as in the case of Antoine Vérard, one of 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 Pré, 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 Schäffeler, of Constance, or Bodensee, Bavaria, 1505. The same centre-piece, without the cross, was employed by Jehan Frellon, Paris, 1508, and evidently copied by Jehan Burges, the younger, at Rouen, 1521, whilst that of Guillaume Du Puy, Paris, 1504, has already been referred to. The Virgin Mary occurs occasionally, the more notable examples being the Marks of Guillaume Anabat, Paris, 1505-10, really a careful piece of work; and the elder G. Ryverd, Paris, 1516, and in each case with the infant Jesus. St. Christopher is a subject one sometimes meets with in Printers’ Marks: in that of Gervais Chevallon, Paris, 1538, it however plays a comparatively subordinate part, and its merits were only fully recognized by the Grosii, of Leipzig, who nearly always used it for about two centuries, 1525-1732; the example bearing the last date is by far one of the most absurd of its kind--the cowled monk with a modern lantern lighting St. Christopher on his way through the river is a choice piece of incongruity. Another phase of the religious element capable of considerable expansion is that in relation to the part played in Marks by saints and priests generally. Sometimes these are found together with an effect not at all happy, notably the two Marks of Jehan Olivier, Paris, 1518, which, with Jesus Christ on one side, a Pope on the other, and an olive tree, are sufficiently crude to present an appearance which seems to-day almost blasphemous. The last of the several religious phases of Printers’ Marks to which we shall allude is at the same time the most elaborate and complicated. 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 investigation, there are many points which will for ever remain in the region of doubt and obscurity. Tradition is proverbially difficult to eradicate; and all the glamour which surrounds the history of the Cross, and which found expression in, among other popular books, the “Legenda Aurea,” maintained all its pristine force and attractiveness down to the end of the sixteenth century. The invention of printing and the gradual enlightenment of