We could wish that the tendencies and processes of what may be called the second generation of printers were well understood. In a few years they surmounted the difficulties of their art, and made the Book a model of elegance and simplicity. The smallest details were cared for, and things apparently the most insignificant were studied and rendered practical. Speaking of titles, an enormous progress was here made in the publications of the end of the century. In Italy the subjects of decoration ordinarily formed a framework for the front page, wherein were included useful indications. The most ancient specimen of this kind has already been referred to. A model of this species is the "St. Jerome," published at Ferrara by Lorenzo Rossi, of Valenza, in 1497, folio; the title, much adorned, is in Gothic letters; the engraved initial is very adroitly left in outline, so as not to burden or break the text. In Germany there was already the appearance of bad taste and prodigality, the letters crossing each other, the Gothic type covered with bizarre appendices, the titles intricate; later they became illegible even for the Germans. [Illustration: Fig. 34.--Typographical mark of Thielman Kerver.] In France the first page gave the most circumstantial indications of the contents of the work, the name and abode of the printer and bookseller. Often these titles were ornamented with movable frameworks, printed in Gothic, sometimes in two colours, which necessitated two printings, one for the black and one for the red ink. The mark of the printer or publisher generally appeared, and it was nearly always a charming work. These French marks were all more or less treated heraldically; that is to say, the initials occupy a shield, sustained by supporters and cut with extreme care. The first was that of Fust and Schoeffer at Mayence, of admirable simplicity and grace. In France this early specimen of the trade mark took with Simon Vostre and Verard the shape of delicate illustrations, finely designed and carefully engraved; but the custom of allusive marks did not prevail, as we shall have occasion to see, until the sixteenth century. The mark of Pigouchet has already been given; that of Thielman Kerver is conceived in the same principles of taste and art. The sign of his house being the "Unicorn," Kerver took as supporters to his shield two unicorns _affrontées_. In these colophons are found philosophic aphorisms, satirical remarks, marvels of poetry. A certain bookseller paid court to the powerful university, which dispensed glory and riches to the poor tradesmen by buying many books. Andrew Bocard engraved on his mark this flattery as a border:-- "Honneur au Roy et à la court, Salut à l'université Dont nostre bien procède et sourt. Dieu gart de Paris la cité!"