It is interesting to note that the Printer’s Mark preceded the introduction of the title-page by nearly twenty years, and that the first ornamental title known appeared in the “Calendar” of Regiomontanus, printed at Venice by Pictor, Loeslein and Ratdolt in 1476, in folio. Neither the simple nor the ornate title-page secured an immediate or general popularity, and not for many years was it regarded as an essential feature of a printed volume. Its history is intimately associated with that of the Printer’s Mark, and the progress of the one synchronizes up to a certain point with that of the other. In beauty of design and engraving, the Printer’s Mark, like the Title-page, attained its highest point of artistic excellence in the early part of the sixteenth century. This perhaps is not altogether surprising when it is remembered that during the first twenty years of that period we have title-pages from the hands of Dürer, Holbein, Wechtlin, Urse Graff, Schauffelein and Cranach. In his excellent work entitled “Last Words on the History of the Title-Page,” Mr. A. W. Pollard observes “From 1550 onwards we find beauty in nooks and corners. Here and there over some special book an artist will have laboured, and not in vain; but save for such stray miracles, as decade succeeds decade, good work becomes rarer and rarer, and at last we learn to look only for carelessness, ill-taste, and caricature, and of these are seldom disappointed.” These remarks apply with equal force to the Printer’s Mark, although some exceptionally beautiful examples appeared after that period.