very early printers of Oxford, and from 1518 he was the official printer of the University; in one of the books he issued there is cited an edict of the Chancellor, under his official seal, enjoining that for a period of seven years to come, no person should venture to print that work, or even to sell copies of it elsewhere printed within Oxford and its precincts, under pain of forfeiting the copies, and paying a fine of five pounds sterling, and other penalties. Scolar’s Mark is one of the very few in which a book appears. John Siberch, the first Cambridge printer, apparently had two Marks, one of which--the Royal Arms, which was the sign of the house he occupied--appears on four of the eight books printed by him at Cambridge in or about 1521; of the second we give a facsimile from his first book, Galen, “De Temperamentis.” The Mark of the majority of eighteenth century booksellers and printers consisted of a monogram formed either with their initials or names. During a portion of his career Jacob Tonson used a bust of what purported to be Shakespeare, partly from the fact that for many years the copyright of the great dramatist’s works belonged to him and partly because one of his shops had for its sign, “The Shakespeare’s Head.” [Illustration: JOHN WALTHOE. SPARSA COEGI.] [Illustration: R. WARE.] [Illustration: JOHN SCOLAR. veritas Liberavit Bonitas Regnauit] [Illustration: JOHN SIBERCH. I S] The earliest Printers’ Marks of Scottish printers are not of the first importance, but they are sufficiently interesting to merit notice. Walter Chepman and Andro Myllar were granted a patent for the erection of a printing-press at Edinburgh on September 15, 1507, the former finding the money and the latter the knowledge. Each had his distinctive Mark, both of which are of French origin--a theory which is easily proved so far as Myllar’s is concerned from the fact that it displays two small shields at the top corners, each charged with the _fleur-de-lys_. Myllar’s device, in which we see a windmill with a miller ascending the outside ladder, carrying a sack of grain on his back, is an obvious pun on his name, and was, perhaps, suggested by the Mark of Jehan Moulin, Paris. Chepman’s is a very close copy of that of Pigouchet, Paris, the male and female figures being carefully copied even to the small crosses on their knees; the initials W C are elegantly interlaced. Thomas Davidson is a very interesting figure in the early history of Scottish typography; he appears to have been the first king’s printer of his country, and one of his earliest works is “Ad Serenissimum Scotorum Regem Jacobum Quintum de suscepto Regni Regimine a diis feliciter ominato Strena,” _circa_ 1525; about ten years later came a translation of the “Chronicles of Scotland,” compiled by Boece, and “translatit be maister Johne Bellenden;” Davidson’s Mark is of the same character as Chepman’s, but is, if possible, even more roughly drawn and