rules and restrictions of the press were a source of ever-recurring annoyances. He appears to have had as much difficulty in managing his “authors” as with the Stationers’ Company, for he is referred to more than once in very uncomplimentary terms in the Martin Marprelate tracts of the period. The Mark here reproduced from Berjeau represents a fleur-de-lys seedling supported by two savages, with the motto “Ubique Floret.” John Day, 1546-84, is undoubtedly one of the best known and most prolific of the sixteenth century printers, nearly 300 books having him as their foster-father. He appears to have started in business at the sign of the Resurrection, a little above Holborn Conduit, but removed in or about 1549 to Aldersgate Street; he had several shops in various parts of the town, where his literary wares might be disposed of, and he is remarkable in being the first English printer who used Saxon characters, whilst he brought those of the Greek and Italic to perfection. It is not possible to give in this place even a brief summary of Day’s career, and it must suffice us to mention that Archbishop Parker was among his patrons, and that the more important books which appeared from his press included Fox’s “Acts and Monuments,” 1563, and the “Psalmes in Metre with Music,” 1571 (for the printing of which he received a patent dated June 2, 1568). His best known device, of which we give an example, has a double meaning; first it is a pun on his name, and secondly an allusion to the dawn of the Protestant religion. He used another Mark, which is a large upright parallelogram, within the lines of which is a very elegant Greek sarcophagus bearing a skeleton lying on a mat. At the head of the corpse are two figures standing and looking down at it, of which the outer one is in the dress of a rich citizen, having his left hand on his sword, and the other, who is pointing to the body, is dressed like a doctor or a schoolmaster: from his mouth issues a scroll rising upwards in eight folds, on four of which are engraven in small Roman capitals, “Etsi Mors in dies accelerat,” and the remainder of the sentence, “Post Fvnera virtus vivet tamen,” appears in similar letters on another scroll, which is elegantly twined round the branches of a holly placed behind the sepulchre, to indicate by a tree that blooms at Christmas the evergreen nature of virtue; the sarcophagus, figures, and tree stand by the side of a river, with some distant vessels, on the left hand of which are rocky shores, with cities, etc., and in the upper corner of the left is the sun breaking out of the clouds; the initials I D appear on the lower left hand. This Mark is exceedingly rare; it occurs on the last leaf of J. Norton’s translation of the Latin “Catechism,” 1570, and also at the end of Churton’s “Cosmographical Glass.” There are several variations of the Mark which we reproduce on p. 79. William Seres, who was for some