engraved; whilst Bassandyne copied the device of Crespin of Geneva, with the initials T. B. instead I. C. Arbuthnot’s device of the Pelican, which he used in two sizes, and the Marks of Thomas Vautrollier, have been already referred to. Coming down to the last twenty years of the sixteenth century, we find the few books of Henry Charteris of considerable and varied interest, and his Mark, if by no means carefully drawn and engraved, has at all events the merit of being fairly original. [Illustration: ANDRO MYLLAR. Androv myllar] [Illustration: WALTER CHEPMAN. W C Walterus chepman] [Illustration: THOMAS DAVIDSON. T D THOMAS DA.] [Illustration: H. CHARTERIS. IVSTITIA. RELIGIO. SVVM CVIQVE DEVM COLE HIS SVFFVLTA DVRANT. H C] [Decoration] SOME FRENCH PRINTERS’ MARKS. [Illustration: F. ESTIENNE. Πλίον ἐλαίου ἤ βίνου Plus olei quàm vini.] It is rather a curious fact, all things considered, that the introduction of the printing-press into Paris should have only antedated its appearance in this country by four years; such however is the case. It was at the commencement of the year 1470, the tenth of the reign of Louis XI., that Ulrich Gering, Martin Krantz, and Michel Friburger commenced printing in one of the rooms of the College Sorbonne. They had learnt their art at Mayence, and at the dispersal of the office of Fust and Schoeffer had settled down at Basel. They were induced to take up their residence at the Sorbonne by Jean Heinlin and Guillaume Fichet, two distinguished professors of that place. The first book printed at Paris was the “Letters” of Gasparin of Bergamo, 1470, which contains the following quatrain at the end of the work: “Primos ecce libros quos hæc industria finxit Francorum in terris ædibus atque tuis; Michael, Udalrichus, Martinusque magister Hos impresserunt, ac facient alios.”