In 1550, one Guillaume Alard (Fezandat's son-in-law, it may be), who lived 'e regione collegii de la Mercy,' also used the mark in that form.[463] The appearance of this mark on Alard's book may be due solely to the fact that the book in question was printed by Fezandat. I have been unable to ascertain the facts because the fragment of the title-page on which I saw the mark and Alard's name does not contain the title of the book. The only possible clue is the three Greek verses on the other side of the page, which lead one to think that it may have been a work of Jean Blaccus Danois, of whom we have a translation of Isocrates into Latin verses, printed by Regnault Chaudière, also in 1550 (quarto).[464] This G. Alard is not named by Lottin in his 'Catalogue des imprimeurs-libraires de Paris.' I find the same mark in a small volume entitled 'Le Bouquet des fleurs de Sénèque'; octavo; Caen, 'de l'imprimerie de Jacques le Bas, imprimeur du roy,' 1590.[465] I find Fezandat's mark also in a book published by the bookseller J. Dupuy in 1549: 'Novum Testamentum,' in Greek and Latin; 16mo. Why? I have no idea.
GIBIER (ELOI), printer at Orléans. One mark, representing a printing-press. This printer, whose oldest known imprint is dated 1559, had evidently practised his trade several years earlier. This is what we find concerning him in the 'Bibliothèque historique des auteurs orléanais,' by Dom Gerou, which is preserved in manuscript in the Public Library of Orléans: 'We may say that Eloy Gibier was in a certain sense the first printer of Orléans; Mathieu Vivian and Pierre Asselin had preceded him, but we know of only a single work printed by each of them, whereas there are a great number by Eloy Gibier. We do not know when he began, but the earliest book printed by him of which we have any knowledge is of 1559. At first he put no symbol on the title-pages of his works; the place where the symbol should be was entirely unoccupied; later, he sometimes inserted one, but not always. This symbol was a printing-press, about which were the words: "In sudore vultus tui vesceris pane tuo."' I have seen this mark on the 'Coutumes générales d'Orléans,' printed by Gibier in 1570, octavo.[466] But he afterward adopted the mark of Conrad Bade. See that name.
GOURMONT (GILLES DE), printer-bookseller at Paris, from 1506 to 1530.—Three marks. The first, in the form of a border, is found on the title-page of a volume containing nine comedies of Aristophanes, printed by Pierre Vidoue, at Gilles de Gourmont's expense, in 1528 (quarto)[467]: a description of it will be found above.[468] The second represents Fame: it is a nude woman, winged, all over whose body are eyes, tongues, and ears. At the foot, in a scroll, are the words: 'Ecqvis incvmbere famae' ('poterit' understood, no doubt). The Lorraine cross appears at the left on the lower edge of the engraving. I have seen this mark on a small book entitled: 'Alphabetum hebraicum,' consisting of 8 leaves, printed by Pierre Vidoue (Silvestre, no. 98). Although the name of Gourmont nowhere appears in this case, I have no doubt that the mark belongs to Gilles de Gourmont, for it is accompanied by his initials, E and G (Egidius Gourmontius), at the left and right respectively; and we shall see that this same mark was afterward used by Jérôme de Gourmont, Gilles's son or nephew. It maybe that it was because of the loan of Gourmont's Hebrew type that his mark appears on this precious pamphlet, a description of which follows. First leaf, beginning at the end (according to the Hebrew and Arabic custom), Gourmont's mark in a border of detached compartments. On the verso Pierre Vidoue's epistle to the reader, dated from his workshop August 1, 1531. Then comes the text, followed by this subscript: 'Petrus Vidovæus Vernoliensis excudebat Lutetiæ' And, lastly, Vidoue's mark—Fortune, with the words: 'Audentes juvo' (Silvestre, no. 65). The third of Gilles de Gourmont's marks signed with the Lorraine cross is given by M. Silvestre (no. 826). [This mark forms the lower part of the border first described, and has evidently been cut from the border for use separately.] It represents the Gourmont arms[469]: a shield coupé, three roses in chief and a crescent in base; for crest a St. Michael, holding a bare sword, supports two winged stags with ducal coronets about their necks. This subject, much more fully developed, appears on the first page of the 'Tableaux des Arts Libéraux de Savigny,' in-plano,[470] published in 1587, by Jean and François, sons of Gilles de Gourmont, who succeeded to his establishment on rue Saint-Jean-de-Latran.
GOURMONT (JÉRÔME DE), printer-bookseller at Paris from 1524 to 1533.—One mark representing Fame, copied from the second mark of Gilles de Gourmont just described, but reversed. Beneath the inscription 'Ecqvis incvmbere famae,' in a small cartouche, are the initials H. D. G. (Hierome de Gourmont), with the Lorraine cross just above. I have seen this mark in an octavo volume published at Paris in 1534 by Jérôme de Gourmont, under this title: 'Pauli Paradisi ... de modo legendi hebraice dialogus,'[471] and in another octavo, also published at Paris ('Dionysiæ') in 1535, under a Greek title of which the Latin translation is: 'Apollonius Alexandrinus, de Constructione.'[472] Jérôme de Gourmont published at least one other book at 'Dionysiæ' in 1535; but I do not know the title, as I have not seen the title-page. All that I can say is that Ausonius is quoted in the Latin preface printed on the verso of the first leaf, of which I have seen only a fragment, belonging to M. Silvestre.