sources of the scriptural quotations on the white and black triangles. [Illustration: JULIAN NOTARY. I N Iulyan Notary] The extreme rarity of this printer’s books will be best understood when it is stated that there are only two examples in the British Museum; one of these is a “Psalter,” 1504. With W. Faques we exhaust the fifteenth century printers who employed marks to distinguish the productions of their presses. [Illustration: R. FAWKES. R F Richard Fakes] Notwithstanding the similarity in their surnames it is not at all certain that Richard Fawkes (1509-1530), who also appears as Faukes, Fakes, and Faques, was related to the last-mentioned printer. His books are now of excessive rarity. The unicorn (regardant on either side of the device) appears for the first time in an English mark. Henry Pepwell (1505-1539), of the Holy Trinity in St. Paul’s Churchyard, was a bookseller rather than a printer, and all his earlier books were printed in Paris; his Mark, in which occurs the heraldic device representing the Trinity, was suggested by the sign of his shop. The most important example of the thirty books which issued from the little-known press of Peter Treveris, who was apparently putting forth books from 1514 to 1535, is “The Grete herball whiche geveth parfyt knowlege and und[er]standing of all maner of herbes,” etc., 1526, a finely printed folio (“at the signe of the Wodows”), of which a second edition appeared in 1529. The earlier edition contains, on the recto of the sixth leaf, a full-page woodcut of the human skeleton, with anatomical explanations, whilst the last leaf contains a full-page woodcut of the printer’s Mark, with the imprint at the foot. Herbert supposes that the sign of the “Wodows,” mentioned by Treveris in the colophon, might possibly be put for wode hommes or wild men, and alludes to the supporters used in the device. Treveris printed for several booksellers, notably John Reyves, of St. Paul’s Churchyard, and for Lawrence Andrewe, of Fleet Street. In this printer’s Mark, and in fact nearly every other sixteenth century example, there is a very evident French influence, whilst many of the examples are the most transparent imitations of Marks used by foreign printers. Of the three used by John Scott or Skot, who was printing books from about 1521 to 1537, two were mere copies of the Marks used by Denis Roce of Paris. We give an illustration of one example; the second is of the same design, but with a very rich stellated background, and the motto, “A l’aventure, tout vient a point qui peut attendre.” His own device was an exceedingly simple long strip, with the letters Iohn Skot in antique Roman characters. An example of the last mark will be found in “The Golden Letanye in Englysshe,” printed by Skot in “Fauster Land, in Saynt Leonardes parysshe”; but examples of this press are excessively rare, only one, “Thystory of Jacob and his XII Sones,” fourteen leaves,