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 earliest 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 extraordinary variety of crosses to be found on Printers’ Marks used chiefly by the Italian printers. [Illustration: ANTOINE VÉRARD. IHS PO[UR] PROVOCQVER TA GRĀT MISERI CORDE DE TOVS PECHEVRS FAIRE GRACE ET PARDON ANTHOINE VER[A]D HVMBLEMĒT TE RECORDE CE QVIL A IL TIENT DE TOI PAR·DON AR] M. Paul Delalain has touched upon this exceedingly abstract phase of Printers’ Marks in the third _fascicule_ of his “Inventaire des Marques d’Imprimeurs,” without, as he himself admits, arriving at any very definite conclusion. The cross, whether in its simplest form or with a complication of additional ornaments, has, as he points out, been at all times popular in connection with this subject. It appeared on the shield of Arnold Ther Hoernen, Cologne, 1477, at Stockholm in 1483, at Cracovia in 1510. That it did not fall entirely into desuetude until the end of the eighteenth century is a very striking proof of what M. Delalain calls “la persistance de la croix.” It has appeared in all forms and in almost every conceivable shape. Its presence may be taken as indicating a deference and a submission to, as well as a respect for, the Christian religion, and M. Delalain is of the opinion that the sign “eu pour origine l’affiliation à une confrérie religieuse.” Finally, in his introduction to Roth-Scholtz’s “Thesaurus Symbolarum ac Emblematum,” Spoerl asks, “Why are the initials of a printer or bookseller so often placed in a circle or in a heart-shaped border, and then surmounted by a cross? 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, André Bocard or