Fig. 406.—Mark of Philippe le Noir, Printer, Bookseller, and Bookbinder, at Paris, 1536, living in the Rue St. Jacques, at the sign of the “Rose Couronnée.”
Fig. 407.—Mark of Temporal, Printer at Lyons, 1550-1559, with two devices; one in Latin, “And in the meanwhile time flieth, flieth irreparably;” the other in Greek, “Mark, or know, Time.” (Observe the play upon the words tempus, καιρὁς and Temporal.)
he used the Roman, which were only an elegant variety of the lettres de somme of France (Gothic characters). Aldo Manuzio, with the sole object of insuring that Venice should not owe its national type to a Frenchman, adopted the Italic character, renewed from the writing called cursive or de chancellerie (of the chancellor’s office), which was never generally used in printing, notwithstanding the fine editions of Aldo. Hereafter the Ciceronean character was to come into use, so called because it had been employed at Rome in the first edition of the “Epistolæ Familiares” (Familiar Letters) of Cicero, in 1467. The character called “St. Augustinian,” which appeared later, likewise owes its name to the large edition of the works of St. Augustine, published at Basle in 1506. Moreover, during this first period in which each printer engraved, or caused to be engraved under his own directions,
Fig. 408.—Mark of Robert Estienne, Printer at Paris, 1536.
“Do not aspire to know high things.”
Fig. 409.—Mark of Gryphe, Printer at Lyons, 1529.
“Virtue my Leader, Fortune my Companion.”
the characters he made use of, there was an infinite number of different types. The register, a table indicative of the quires which composed the book, was necessary to point out in what order these were to be arranged
