Of the dozen Marks employed by this family, the most original, it being the evident pun on his name, has a _Galiote_, at the head of the mast of which is the motto, “Vogue la Guallee,” or sometimes “Vogue la Gualee” (see p. 5). Jehan Du Pré the Lyons printer, used the accompanying Mark formed of his initials. The first as well as the most noted member of the Le Rouge family of printers was Pierre, who resided at Chablis, Troyes, and Paris, and who was the first to take the title of “Libraire-Imprimeur du Roi,” ceded to him by Charles VIII., and used in “La Mer des Histoires,” 1488. Appropriately enough, Michel Le Noir, whose motto we have already quoted, may be here referred to. He issued a large number of books, the most notable, perhaps, being “Le Roman de la Rose,” 1513. He was succeeded by his son Philippe in 1514, one of whose most noticeable publications was “Le Blazon des Hérétiques” (a satirical piece attributed to Pierre Gringoire), the figure or effigy at the head is signed with the monogram of G. Tory. The five Marks of father and son differed only in minor details, and the above example of Philippe will sufficiently indicate the character of the others. Philippe Pigouchet, who was an engraver as well as a bookseller and printer, contented himself apparently with one Mark. He is distinguished for the extreme care with which he turned out his books, particularly the Books of Hours which he undertook to produce in partnership with Simon Vostre; some of his works are freely copied by the publishers of to-day, and might with advantage be even more generally utilized than they are, for they possess all the attributes of beautiful books. Thielman Kerver, a German, was another printer who worked for Simon Vostre, one of his most important productions being a “Breviarium ad usum Ecclesiæ Parisiensis,” 1500, in red and black. His shop was on the Pont St. Michel, at the sign of the Unicorn, which, as will be seen, he adopted as his Mark, and of which there are two, which differ from one another only in minor details. Of Simon Vostre himself, a whole book might be compiled. From about 1488 to 1528 he devoted himself exclusively to the publishing of books, and employed all the best printers: it was by his energy combined with Pigouchet’s technical skill that the two produced, in April, 1488, the “Heures à l’Usaige de Rome,” an octavo finely decorated with ornaments and figures; the experiment was a complete success. It is generally assumed that the engraving was done in relief on metal, as the line in it is very fine, the background stippled, and the borders without scratches: wood could not have resisted the force of the impression, the reliefs would have been crushed, the borders rubbed and badly adjusted. The artistic connection of Pigouchet and Vostre lasted for eighteen years, and with them book production in France may be said to have attained its highest point. By the year 1520 Vostre had