the mother of Sébastien Cramoisy, “typographus regius,” who inherited the establishment of his grandfather. Of the somewhat crudely drawn Mark--an evident pun on his surname--used in or about 1504, by Guillaume Du Puys, the sign of the shop being the Samaritan, a much more decorative example was used, in various sizes, by Jacques Du Puys (p. 10), who was a bookseller, 1549-91, rather than a printer. Equally fine in another way is the tripartite example, given on page 130, used by Guillaume Merlin in partnership with Guillaume Desboys and Sébastien Nivelle, in 1559, and also with the latter in 1571. The Mark is the interpretation of the four lines: “Veniet tempus meissionis. Non oderis laboriosa opera. Homo nascitur ad laborem, Vade, piger, ad formicam.” [Illustration: P. VIDOUE. AVDENTES IVVO P. VIDOVÆ] [Illustration: LOUIS CYANEUS.] [Illustration: ANDRÉ WÉCHEL.] [Illustration: CHRESTIEN WÉCHEL. VNICVM ARBVSTV NON ALIT DVOS ERITHAGOS] [Illustration: SÉBASTIEN NIVELLE. S N HONORA PATREM TVVM, ET MATREM TVAM. VT SIS LONGÆVVS SVPER TERRAM. EXOD. 20.] On the opposite page we reproduce the Mark Nivelle used for the books which he produced alone. After Paris, the next most important town in France, so far as printers and their Marks are concerned, is Lyons. The first book printed in this city is presumed to be “Cardinalis Lotharii Tractatus quinque,” “Lugduni, Bartholomæus Buyerius,” 1473 (in quarto). The same printer also published the first French translation of the Bible, by Julian Macho and Pierre Ferget, which was executed between 1473 and 1474, from which date the art of printing in Lyons increased by leaps and bounds. Panzer notices over 250 works executed (by nearly forty printers) here during the quarter of a century which followed. The most notable among these is perhaps Josse Bade, to whom we have already referred. The former of the two “honestes homes Michelet topie de pymont: & Iaques heremberck dalemaigne,” possessed a Mark which may be regarded as one of the earliest, if not actually the first, employed at Lyons. Topie and Heremberk printed the first edition of the “Chronique Scandaleuse,” about 1488, and Breydenbach’s “Voyage à Jerusalem,” of about the same period--the latter of which contains the first examples of copper-plate engraving in France, the panorama of Venice alone being sixty-four inches in length. Contemporary with these, Johannes or Jehan Treschel deserves notice not only as an eminent printer, but also as the father-in-law of one still more eminent--Bade. Treschel’s illustrated edition of Terence, 1493, is described as forming “the most striking and artistic work of illustration produced by the early French school.” The most generally known of all the Lyonese printers is Etienne Dolet, who, born at Orleans in 1509, distinguished himself not only as a printer, but as a Latin scholar, a poet, and an orator; he was burnt as an atheist in August, 1546. Dolet, as Mr.