It will be seen that there are, in all, 10[432] portraits added to those found in the manuscript. For the other princes mentioned in the work, whose features it was impossible to present, empty frames are printed. Naturally, none of the portraits added to du Tillet's book by the editor are marked with the Lorraine cross, and of the other 31, there are only 15[433] on which it is found.
These cuts were reproduced in a great many later editions of du Tillet's work, both folio and quarto. I will mention particularly those of 1586, 1587, 1602, 1607, and 1608.
The volume contains also many engravings of shields and seals.
III. LA CONFÉRENCE ACCORDÉE ENTRE LES PREDICATEURS CATHOLIQUES DE L'ORDRE DES CAPUCINS ET LES MINISTRES DE GENEVE.
Octavo; Paris, Denis Binet, near Porte S. Michel, 1598.
IV. LES THESES QUI ONT ESTÉ AFFIGÉES DANS LA VILLE DE GENEVE.
Octavo; Paris, Denis Binet, near Porte S. Michel, 1598.
On the title-pages of these two volumes, both of which are in the Bibliothèque Nationale, there is a woodcut signed with the Lorraine cross, representing a cross with the crown of thorns, set in a border of the size of a five-franc piece. It was undoubtedly engraved long before 1598.
V. ILLUSTRATION DE L'ANCIENNE IMPRIMERIE TROYENNE.
Quarto, Troyes, 1850 and 1859. The first fascicle of this book, which consists of a collection of old woodcuts gathered by M. Varlot in the printing-offices of Troyes, contains two signed with the Lorraine cross. They are nos. 50 and 188. The first represents the Coronation of the Virgin; we may join with it a piece in the same manner representing the Visitation, no. 51 in the same collection; and no. 5 (the Virgin holding the Child Jesus) of the fascicle published in 1859. These cuts, which are in format a small folio, doubtless formed part of a series of engravings relating to the Virgin and intended for a book of Hours.
MM. Alexis Socard and Alexandre Assier, in their work entitled 'Livres liturgiques du diocèse de Troyes' (8vo, 1863), also give, on page 79, an old Troyes woodcut, small folio, signed with the double cross, representing the Descent of the Holy Ghost on the Virgin and the Apostles. It is 135 millimetres high by 60 in width.
No. 188 of M. Varlot's fascicle, which is only one inch high by two wide, represents a harvest. It was undoubtedly one of a series of engravings illustrative of the twelve months. MM. Socard and Assier saw it in a book of Hours printed at Troyes in 1583, by Jean du Ruan, who seems to have inherited a portion of the woodcuts of Jean Le Coq, printer, of the same city. We find also in M. Varlot's collection two woodcuts marked with the letters G. T., which may have been Geofroy Tory's earlier mark, before he had adopted a special symbol. These two are no. 84, in the criblé style, and no. 131, in the Renaissance style.[434]
On account of the worn state of these cuts it is impossible to say whether they are originals or copies. It is not impossible, however, that they were executed by Tory for the printer Nicole Paris, or rather for Jean Le Coq, whose mark he engraved also.[435]
VI. Not only at Paris and Troyes do we find woodcuts with the Lorraine cross; we find them also at Orléans, at Chartres, at Poitiers, and even at Lyon, although the last-named city had a most flourishing school of engraving of its own; witness the illustrations of the Bible after Holbein,[436] published by Jean Frellon, in 1547, and those of Salomon Bernard, published by the de Tournes after 1553. But the works executed by Tory for Simon de Colines, Robert Estienne, and the rest, had so spread his name abroad, that there was not a printer of taste in France who did not seek the honour of obtaining some work of our artist. In this way Jean de Tournes, first of the name, who was unquestionably one of the most famous printers of Lyon, had engraved by Tory, or by his widow, borders and pictures in considerable numbers; unfortunately we find very few of them signed, whether because Tory's mark was afterward removed from the others, or because he omitted to place it upon them, in accordance with the wish of Jean de Tournes; for in those days printers were very desirous to appropriate the engravings that they ordered, especially at Lyon, where, nominally at least, no other engraver was known than Salomon Bernard; moreover, it is well to note that that artist, none of whose work is signed, is known only because his name was afterward published by the printers, in the very interest of their publications.
However, I propose to give a list of the pieces signed with the Lorraine cross which I have seen in books published by the de Tournes, that is, by Jean I and Jean II, his son; for it is impossible, in default of any sort of a catalogue, for me to decide what ones are attributable to each of them. As a matter of fact, I should be justified in confining myself to the second, if he had not himself said that he used woodcuts belonging to his father. And, in truth, although we know of no books published by the latter with engravings, except his edition of Petrarch of 1545 (reprinted in 1547), and his book of Chiromancy and Physiognomy, also of 1545, octavo, everything seems to indicate that those marked with the Lorraine cross were made for Jean I, who died about 1550.
The first book that I shall mention is an octavo volume, without title, described thus by M. Didot in his 'Essai sur la Gravure,' col. 235; 'Pamphlet without title, printed on one side only, with this imprint on page 1: "A Lion, Ian de Tournes, 1551." The border, composed of arabesques in white on a black ground, has at the foot the Lorraine cross. Twenty-two of these engravings represent scenes from the theatre of the ancients; the ninth bears the Lorraine cross.' This pamphlet was reprinted in 1556, as we shall see in a moment.
The second book that I shall mention is an octavo volume, without date, entitled: 'Thesaurus amicorum,' which is in the Bibliothèque Nationale. It contains three series of borders: (1) Borders with arabesques in black on a white ground (one of them is signed with a very small Lorraine cross); (2) Borders with arabesques in white on a black ground (one of these also is signed with a small white cross); (3) Borders with grotesque subjects, licentious and otherwise. These last, none of which are signed, represent figures analogous to those that are found in the 'Songes drolatiques' attributed to Rabelais, and seem to be modelled upon them.
In the first part of the book, the borders, 32 in number, are empty[437]; in the second part, they enclose medallions of famous characters of ancient times, with mottoes in all sorts of languages. There are 96 of these portraits. They were reproduced, with many others, in a book printed in 1559, under the title, 'Insignium aliquot virorum icones' (octavo).[438] In the dedication, to G. Tuffano, 'gymnasiarchæ Nemausensi,' Jean de Tournes, second of the name, the printer of the book, informs us that he undertook it in order to utilize the woodcuts left by his father. 'Cum pater jamdudum haberet hasce icones inutiles ne omnino perirent, hæc pauca, quæ huic opusculo insunt, ex variis auctoribus accumulavi....' In this book the medallions number one hundred and forty-three; none are signed, but they are altogether in Tory's manner.
These same medallions, as well as the borders of the 'Thesaurus amicorum,' have been used in a multitude of other publications, which are known to us only through detached fragments. I will mention particularly eight leaves preserved in the Cabinet des Estampes, printed on one side only, having a border with a portrait on each page.[439] Also, four leaves without borders, on each of which two portraits are printed, side by side.[440]
As for the borders, they appear again,—first, in the edition of Marot's Psalms, published by Jean de Tournes in 1557, in octavo; and second, with less impropriety, in the various editions, both in French and in Italian, of Ovid's 'Metamorphoses,' issued by the same printer.
Jean de Tournes published also, in 1556, a small octavo volume of specimens of his woodcuts, printed on one side only. This volume, which is well known to collectors, and which may be found in the Cabinet des Estampes, has on the first page these words alone: 'A Lion, Ian de Tournes, M.D.LVI.'[441] This page has a border of white arabesques on a black ground, in which the Lorraine cross is perfectly visible, at the foot. There are 22 engravings representing scenes from the theatre of the ancients.
The ninth bears the Lorraine cross. In the midst of this series, on leaf 21, is a piece which does not belong to the series; it represents a dog lying on a cushion.[442] After this series come various engravings which we find in Maurice de Seve's 'Saulsaye' (octavo, Lyon, 1547), in Ovid's 'Metamorphoses,' and the 'Hymnes du Temps' of Guillaume Gueroult, which were printed subsequently; then 11 plates bearing two figures facing each other, taken from a work on Chiromancy and Physiognomy, by Indagine (octavo, Lyon, 1549); 5 engravings from the edition of Petrarch issued by the first Jean in 1545; and 9 small miscellaneous subjects.[443] The Cabinet des Estampes also contains one leaf of a folio specimen of the woodcuts of the de Tournes, in which we find again the plates of the Petrarch. It lacks, however, the Lac d'Amour, which is on folio 5 of the collection we are describing, and is altogether in the manner of the seven epitaphs published by Tory in 1530.[444]
I will not enumerate here the other books with engravings, of later date, published by the second Jean de Tournes, because there is nothing to justify me in attributing them to Tory's workshop; but one may conclude from what I have said heretofore, that many engravings of the printers of Lyon, hitherto attributed to Salomon Bernard, called Le Petit Bernard, came from Tory's establishment. Indeed, we may well wish that Le Petit Bernard might be relieved of the enormous mass of engravings which have been attributed to him for lack of information concerning them, but which render uncertain the attribution of those which most certainly belong to him.[445]
Our list includes only engravings on wood; but I have no doubt that Tory engraved also on metal, and not alone letters, which we should naturally expect from Garamond's master, but plates as well. Now that the eyes of collectors are about to be opened, I should not be surprised if some one should discover one marked with his cross.[446] To forward such discovery I will insert the estimate of Tory's draughtsmanship formed by M. Renouvier, who is so competent a judge of such matters.
'The plates of "Champ fleury," the first of which is dated 1526, have an Italian after-taste, which manifests itself by the correctness of the figures, and by their costumes; but the delicacy of expression, the fineness of line, distinguish them clearly from the Venetian vignettes. The vignettes of the Hours published between 1524 and 1543, varying in execution, always delicate and with little shading, exhibit a degree of taste which the Parmesan School sometimes achieves; but by the delicacy of their execution they deserve the praise bestowed upon them by Dibdin. Even if the figures are slightly confused in their attitudes and in their draperies, or defective at some of the extremities, still, the spirited drawing of the heads, and the arrangement of the scenes, amid charming architectural designs, or in very restricted fields, show that our engravers of vignettes lost nothing of their talent in passing from gothic to italic letters, and, despite the name of the latter, it is certain that Italy never produced any like them. Simplicity took the place of Gothic goguenarderie; their expression is in the most refined French sentiment of the period.[447]
'I seem to recognize Geofroy Tory's style in the "Tableau de Cèbes," published by Denis Janot and Gilles Corrozet in 1543, the vignettes of which are often attributed to Jean Cousin. As for Tory's drawing, I should recognize it through several layers of wood, by the delicately drawn heads, the slender figures, the split extremities, to say nothing of the floriated letters and the borders, in which the Italian grotesques are mingled with natural vegetations, and in which he has often engraved his name, his Pot Cassé and his mottoes. In Tory's vignettes there are doubtless qualities that are more subtle than great, but they are our qualities.'
The inventor of the Pot Cassé was chosen by his confrères, in preference to all other engravers, to engrave their private marks. They had realized the force of his 'kindly exhortation to practice and employ themselves in goodly inventions,'[448] and had been impressed by the perfection with which he executed that species of engraving, which he had completely transformed. For, in lieu of the coarse vignettes with a black background, on which the design stood out in white, as if cut with a die, Tory had gradually introduced into these woodcuts all the delicacy of the Italian engravings. The earliest ones of his of which we have any knowledge are in the criblé style, which the Middle Ages had handed down to him; but he soon rejected that style and not only adopted a new manner of engraving, but altered the arrangement of the designs that were entrusted to him. This fact is especially manifest if we compare the original mark of the de Marnefs (Silvestre, 'Marques Typographiques' no. 151) with the one that bears the motto, 'Principivm ex fide, finis in charitate' (Silvestre, no. 1043). Instead of the roughly drawn Pelican nourishing from its vitals its still more roughly drawn young, in a nest perched on a tree of which the leaves are larger than the trunk, we have, in the second engraving [given above], an entirely new composition, of which both design and execution are irreproachable. In the face of such results, we should not be surprised by the predilection of the printer-booksellers for Tory; they deemed it a duty to employ a confrère who poetized their profession: to them it was a question of esprit de corps and of patriotism alike.
That is why we have so many typographical marks signed with the Lorraine cross. We propose to enumerate all of those which we have actually had before us. As it was impossible to arrange them chronologically, we have adopted the alphabetical order.
ALARD (GUILLAUME), bookseller at Paris in 1550. See FEZANDAT.
BADE (CONRAD), printer and bookseller at Paris from 1546 to 1560, when he withdrew to Geneva for religious reasons.—One mark, which appears on the first edition of Théodore de Bèze's 'Poemata' (1548); the volume contains also a portrait of the author signed with the double cross. Conrad's mark, like that of his father, Josse Bade, represents a printing-press. It contains also the words 'Prelum ascensianum'; but, instead of being inscribed in a cartouche on the press, they are in two cartouches, one at the top, the other at the bottom, of the border (Silvestre, no. 867). When Conrad betook himself to Geneva, Eloi Gibier,[449] a printer of Orléans, bought the mark. It afterwards passed to Fabian Hotot, a printer in the same city, who was using it in 1609; but before using it he had the word 'Ascensianum' removed.
BESSAULT (THIBAUT, and JEAN, his son), booksellers at Paris. See REGNAULT (BARBE).
BONFONS (JEAN), bookseller at Paris from 1548 to 1572.—One mark (Silvestre, no. 125), representing a dove on a tree, within a circle formed by a serpent, and on the outside of the circle this sentence from the Bible: 'Estote prudentes sicut serpentes, et simplices sicut columbæ.' I have seen it in a quarto edition of 'Le Petit Jehan de Saintré,' published by Bonfons in 1553, in gothic type.
BUON (GABRIEL). See PORTE (MAURICE DE LA).
CALVARIN (SIMON), printer-bookseller at Paris, from 1553 to 1593. Two marks, representing a woman, seated, surrounded by the paraphernalia of the arts and sciences, and holding in one hand a palm-tree decorated with three wreaths. I have seen one of these marks, the larger, in an edition of Rodolphe Agricola's book entitled: 'De Inventione dialectica libri tres' (quarto, 1558), on the title-page of which is this imprint: 'Parisiis, ex officina Simonis Calvarini, in vico Belovaco, ad Virtutis insigne.'[450] The smaller one appears at the end of a book entitled: 'Conservation de santé et prolongation de vie, etc., composé premierement par noble homme H. [Hieronime] Monteux, conseiller et medecin ordinaire du roi François II, et nouvellement traduit en nostre langue fraçoise par maistre Claude de Valgelas, docteur medecin, etc. Paris, chez Simon Calvarin, rue Saint-Jacques, à la Rose blanche couronnée, 1572.' This is a 16mo, of which there is a copy in the Bibliothèque Nationale. This Simon was, I have no doubt, a son of Prigent Calvarin, printer at Paris from 1524 to 1582, whose mark is very different (Silvestre, no. 137).[451] It represents two persons holding a shield which hangs from a vine, with these sentences surrounding them: 'Deum time,' 'Pauperes sustine,' 'Finem respice,' 'Prigent Calvarin.' Simon, having set up for himself during his father's lifetime, had to adopt a different mark.
CHAUDIÈRE (REGNAULT), bookseller at Paris from 1516 to 1546, in the latter year succeeded to the printing business of Simon de Colines, whose marks 'au Temps' he used thereafter. He had a new one engraved in Tory's establishment, with the same figure, but with a slightly different motto: it reads: 'Virtus sola aciem retundit istam.' This mark appears in the edition of the comedies of Terence printed in 1546. See COLINES (SIMON DE).
COLINES (SIMON DE), printer-bookseller at Paris from 1520 to 1546. Four marks at least. See the two already described in the preceding section, under 1520-1521, as forming a part of title-pages, and numbers 80 and 329 of M. Silvestre's 'Marques typographiques.' The last two passed in 1546 into the hands of Regnault Chaudière, a bookseller since 1516. Chaudière had married Colines's daughter by the widow of Henri Estienne, and by virtue of the connection inherited his father-in-law's printing-office and bookshop. He himself printed, in 1546-1547, under the Latin name Calderius, an edition of the comedies of Terence[452]; at the end is M. Silvestre's no. 329, which (like no. 80) represents Time armed with a scythe, and this devise in a scroll: 'Hanc aciem sola retundit virtus.' Chaudière, who had previously used another mark (Silvestre, no. 96), employed thenceforth this one with the figure of Time, and handed it down to his successors.[453] In 1548 he published an octavo catalogue of his own books and those of Simon de Colines—'tum ab Simone Colinæi, tum ab Calderio excusi.'[454] The following is, in my opinion, the order in which Simon de Colines's various marks were engraved by Tory: In the first place, in 1520, the one with the rabbits, or conils, which it has been said that Colines adopted as a play upon his own name; but this conjecture seems to me the more improbable because these same rabbits had been used on the sign of Henri Estienne's shop as early as 1502.[455] However that may be, Colines seems to have retained this mark during all the time that he occupied Henri Estienne's house. When he turned over that abode, in 1525, to Robert Estienne, who established himself in business on the paternal premises, Colines went a little farther down rue de Beauvais, and took for his sign the 'Soleil d'or,' which appears on the second mark; finally, in 1528, he adopted the one with the figure of Time, which was afterwards adopted by his son-in-law, Regnault Chaudière.
CORROZET (GILLES), bookseller at Paris from 1538 to 1568.—One mark, representing, by way of allusion to the name of its owner, a rose upon a heart ('cor'), and with 'Gilles Corrozet' at the foot (Silvestre, no. 145). This mark, which I have seen on a book of 1539,[456] was undoubtedly the first that Corrozet used. It descended to his heirs, and his grandson Jean was still using it a century later, on the 'Trésor des histoires de France,' the work of another Gilles Corrozet, which Jean reprinted several times between 1622 and 1644. Jean simply removed from the mark his grandfather's Christian name, regardless of the lack of symmetry in the engraving caused by this subtraction. So that here was an engraving that was in use more than a hundred years; it is an interesting example of the durability of these woodcuts.
COTEREAU or COTTEREAU (RICHARD), bookseller at Chartres;—(PHILIPPE), bookseller at Blois.
DAVID (MATHIEU), printer-bookseller at Paris from 1554 to 1566. Three marks (Silvestre, nos. 227, 394, and 759). They represent a warrior bearing on his shoulders a woman plunging a sword in his throat. One of the marks has the word 'odiosa' in the border on one side, and 'veritas' on the other. Another is printed in an octavo volume of 1539 (Bibliothèque Nationale), Ravisius Textor's 'Epistolæ a mendis repurgata.'
DUPUY (J.), printer at Paris in 1549. See FEZANDAT.
ESTIENNE (ROBERT), printer-bookseller at Paris, from 1526 to 1550. Six marks at least, representing the olive-tree in different forms. Three of them are reproduced in M. Silvestre's work: nos. 162, 318,[457] and 319[458]; add to these the large folio mark that appears on the Bible of 1528[459] and that of 1540, previously described; a small mark which appears in the 16mo Virgil of 1549; and, lastly, a mark similar to Silvestre's no. 163 (except that the figure is bald), which appears in 'Caroli Stephani de Nutrimentis,' etc.[460] Probably most of these marks were engraved for Robert Estienne at the outset of his typographical career, that is to say, about 1526; he carried them with him to Geneva in 1550; and his son, the second Henri, used them in his turn, after his father's death, which occurred in 1559. It was undoubtedly the widow of Tory who engraved the mark (in different sizes) which appears, after 1544, on the Greek books printed with the royal types, and which represents a basilisk entwined about a lance.
ESTIENNE (CHARLES), printer and bookseller at Paris from 1551 to 1561. Three marks at least. Upon entering the typographical profession Charles adopted his brother's olive-tree; that is to say, he simply had copies made of Robert's marks, as he succeeded to his business. I have seen the first of these marks, similar to Silvestre's no. 163, in an octavo edition of P. Bunel's 'Epîtres familières,' printed by Charles in 1551; the second appears in a folio edition of Cicero, in four volumes, published by the same printer from 1551 to 1555[461]; and the third, like Silvestre's no. 162, in the 'Petit Dictionnaire français-latin' (quarto), published by Charles in 1559. It is probable that the second Robert used these same marks after his uncle's retirement in 1561.
FEZANDAT (MICHEL), printer-bookseller at Paris from 1541 to 1553. One mark (Silvestre, no. 423). This mark which, by way of allusion to the name of its owner, represents a pheasant (faisan) on a dolphin, with the letters M and F at the left and right, respectively, of the pheasant, was used without the initials in 1549, as may be seen on the title of 'Le Temple du chasteté,' printed in that year by Fezandat, in octavo.[462]
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.
I believe that Jérôme de Gourmont did some printing, although he is named only as a bookseller in the bibliographies. The books that I have mentioned show that he was a scholar who followed in the tracks of Gilles de Gourmont. Indeed, the one first described, which is in Latin, contains some Hebrew words; the second is entirely in Greek.
I have seen a little book, printed at Paris in 1539, with Jérôme de Gourmont's mark: it is 'Pugna porcorum per J. Porcium,' octavo. The subscript below the mark reads: 'Parisiis, apud Anthonium Bonnemere.' Was Anthoine Bonnemere publisher for Jérôme de Gourmont, at the same sign? That is something that I do not know.
GOURMONT (BENOÎT DE), bookseller at Paris.—One mark, representing a man standing above two precipices; above him is a scroll with the words: 'Vndiqve praecipitivm'; and at his feet the initials B. D. G. (Silvestre, no. 838).
GRANDIN (LOUIS), printer-bookseller at Paris, from 1542 to 1553.—Two marks (Silvestre, nos. 277 and 416). They represent two men, one of whom is receiving a sphere from the hand of God; the other holds one which is crumbling in his fingers. On the second of the two marks are the words: 'Confidere in Domino bonum esse quam confidere in homine. Ps. 117.'
GUEULLARD (JEAN), printer-bookseller at Paris, from 1552 to 1553.—Two marks representing the Phœnix rising from the flames,[473] in an oval border. The smaller one has, within the border, the words, 'Amor vitæ acer nimis,' with Gueullard's initials, I. G., below (Silvestre, no. 790). This mark is .055 of a millimetre high by .044 wide. I have seen it in a book entitled: 'Petri Ruffi Druydæ dialectica, nuper ab eodem autore emendatur,' quarto, 1553 (3d edition).[474] The larger one has this motto within the border: 'Mori vivere mihi est'; it is .087 of a millimetre high by .063 wide (Silvestre, no. 882). I have seen it in a book entitled, 'Hexastichorum moralium libri duo, per Nic. Querculum Tortronensem Rhemum; quarto, Paris, 1552.'[475] See HARSY (OLIVIER DE).
GUILLARD (CHARLOTTE), printer-bookseller from 1518 to 1556.—One mark representing her sign, a golden sun in a starry sky. Below, two lions erect, holding a shield on which are the initials C. G. This lady carried on the printing trade for more than fifty years. She married first, in 1502, Berthold Rembold, a partner of the first printer in Paris, Ulric Gering. Berthold, who had established his domicile on rue Saint-Jacques, 'au Soleil d'Or,' having left Charlotte a widow in 1518, she carried on the business alone until 1520, when she married Claude Chevallon, who took up his abode on the same premises. Chevallon having departed this life, in his turn, in 1542, Charlotte continued in the business until 1556. It was during her second widowhood that the mark in question, which we reproduce herewith, was engraved. I have seen it on a quarto volume entitled, 'Institutionum civilium libri quatuor, 1550. Parisiis, apud Carolam Guillard, viduam Claudi Chevallonii, sub Soli aureo, et Guilelmum Desbois, sub Cruce Alba, in via divi Jacobi.' Claude Chevallon had upon his mark, by way of allusion to his name, two horses standing (cheval-long). But M. Silvestre publishes as his (no. 395) a mark which has the lions.