Although not the first printer either at Cremona, where he started in 1492, or at Brescia, where he was printing from 1492 to 1502, Bernardino de Missintis deserves mention among the typographers of the fifteenth century. So far as regards the latter place, the Mark of Giammaria Rizzardi, who was established in this city during the latter half of the last century, is one of the most distinct, and was probably designed by Turbini. Bonino de Boninis of Ragusa, was printing at Venice, 1478-1480, at Verona, 1481-3, and afterwards removed to Brescia, where he was printing until about 1491. The earliest known book printed at Modena (or Mutine) is an edition of Virgil, executed by Johannes Vurster de Campidonâ, 1475; but one of the best known printers of this city is Dominico Rocociolo, or Richizola, 1481-1504, who was in partnership with Antonio Miscomini, 1487-89. [Illustration: THE BROTHERS SABIO. IO ANT ET FRES DE SABIO BRASICA] Printing was introduced into Milan (Mediolanum) in 1469 or in the year following, and from the numerous presses established in this city before the end of the fifteenth century very many beautiful books were issued. Gian Giacomo di Legnano and his brothers, whose highly decorative Mark we reproduce, were working in this city from 1503-33; one of their most interesting books is a Latin translation of the first edition (Vicenza, 1507) of the “Paesi novamente retrovati, et Novo Mondo da Alberico Vesputio Florentino intitulato.” Bologna was also a busy printing centre from 1470 onwards; but it must suffice us to give the monograms of three of the more noteworthy, namely, Hercules Nanni, 1492-4; Giovanni Antonio de Benedetti (or Johannes Antonius Platonides de Benedictis), 1499, and Justinian de Ruberia, 1495-9 (see p. 25). [Illustration: GIAN GIACOMO DI LEGNANO. IHS IO IACOMO E FRAT D LEGNANO IHS IOL IOL] [Illustration: GIAMMARIA RIZZARDI. Non solum nobis Cagnoni sculp] The Printers’ Marks of Spain (including Portugal) need not detain us long. They cannot in any case be described as other than archaic, and they are for the most part striking on account of the coarseness of their design. A few examples are given in Fray Francisco Mendez’s “Tipografica Española,” of which the first and only volume appeared at Madrid in 1796; and of which a second edition, corrected and enlarged by Dionisio Hidalgo, was published at the same city in 1861. As the latter writer clearly points out “los del siglo XV., y aun hasta la mitad del XVI. los mas eran estranjeros, como lo demuestran sus nombres y apellidos, y algunos lo declaran espresamente en sus notas y escudos.” These “estranjeros” were almost without exception Germans.