The personification of Time and Peace were both popular; and each has its successful examples. 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 invariably denticulated; two very crude but very distinct examples employed by Michel Hillenius or Hooghstrate, Antwerp, 1514; and two, one large and the other small, of Guillaume Chaudière, 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 employed 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 amicitiæ” on his mark, with the further legend of “Quam sperata victoria pax certa melior;” these three lived in Paris, whilst 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 device, 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 practice printing in Paris--Guy or Guyot Marchant, 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 afterwards, 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 Bertramus of Strassburg, at the latter part of the sixteenth century. Following the example of Marchant, musical notes have occasionally been employed by later printers. The rebus of this printer evidently suggested that of Jehan and Anthoine Lagache, father and son, Arras, in 1517, 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. [Illustration: GUILLAUME CHAUDIÈRE. HANC ACIEM SOLA RETVNDIT VIRTVS TEMPVS.]