demonstrated that he included a number of spurious examples, whilst some others are incorrectly copied. His interesting typographical Mark is given on p. 51. J. Waesberghe, of Antwerp and Rotterdam, had at least three Marks, of which we give the largest example, and all of which are of a nautical character, the centre being occupied by a mermaid carrying a horn of plenty; in the smaller example of the accompanying Mark, the background is taken up by a serpent forming a circle. The Mark of M. De Hamont, a printer and bookseller of Brussels, 1569-77, is worth quoting as one of the very few instances in which the subject of St. George and the Dragon is utilized in this particular by a printer of the Low Countries. Rutger Velpius appears to have had all the wandering proclivities of the early printers; for instance, we find him at Louvain from 1553 to 1580, at Mons from 1580 to 1585, and Brussels from 1585 to 1614: he had three Marks, of which we give the largest. Of the Liege printers, we have only space to mention J. Mathiæ Hovii, whose shop was “Ad insigne Paradisi Terrestris” during the latter half of the seventeenth century, and whose Mark is of rather striking originality and boldness of design. [Illustration: JODOCUS DESTRESIUS.] [Illustration: THOMAS VAN DER NOOT.] [Illustration: J. GRAPHEUS. CHARITAS Ἡ ἀγάπη πάντα δέγει.] [Illustration: HENRI VAN DEN KEERE. Anziet thende. Van den keere. HVDK] [Illustration: J. WAESBERGHE. LITERÆ IMMORTALITATE[M] PARIV[N]T] [Illustration: MICHEL DE HAMONT.] [Illustration: RUTGER VELPIUS. SVB VMBRA ALARVM TVARVM PROTEGE NOS] [Illustration: J. M. HOVII. CAVETE I. C. I]