I. The figures of the Bible, to the number of 251, reprinted very frequently after 1553. In an edition of 1680, printed by Samuel de Tournes, at Geneva, whither the second Jean withdrew about 1580, because of his religion, is the following note: 'The figures that we offer you here are from the hand of an excellent craftsman, known in his day under the name of Salomon Bernard, called Le Petit Bernard, and have always been held in esteem by those who are learned in works of this sort.'
II. Claude Paradin's _Devises héroiques_, containing 184 engravings, besides a border on the title-page. Large octavo, Jean de Tournes, 1557 ( Bibliothèque Nationale). The license at the end of the volume discloses the titles of several other volumes which Jean de Tournes was then intending to publish, particularly the two following, which appeared the same year.
III. The Metamorphoses of Ovid; octavo, 1557; 178 engravings.
IV. _L'Astronomique Discours_, by Jacques Bassentin; folio, 1557; with a large number of astronomical plates.
V. _Hymnes du temps_, by Guillaume Gueroult; quarto, 1560; 88 pages, with borders and drawings. In the _avis au lecteur_ we read: 'I hope that you will find some pleasure herein, for that the whole is the work of a goodly hand; for the invention [of the engravings] is of M. Bernard Salomon, an excellent painter as there has ever been in our hemisphere.'
VI. Virgil's Æneid, French translation; quarto, 1560; with 12 vignettes.
VII. A book of _Thermes_, in eighteen orders; printed at Lyon in 1572, by Jean Marcorelle.--At the tenth _therme_ is a genie carving on a shield the letter S, the initial of Bernard's baptismal name.
A large number of vignettes, and of letters in grisaille, used by the printers of Lyon, are also attributed to this artist.]
[Footnote 446: See what I have had to say on this subject apropos of Baïf's _Annotations_, supra, p. 208.]
[Footnote 447: _Des Types et des Manières des maîtres graveurs_, etc., 16th century, pp. 167, 168.]
SECTION III. MARKS OF BOOKSELLERS AND PRINTERS SIGNED WITH THE LORRAINE CROSS.
[Illustration: PRINCIPIVM EX FIDE, FINIS IN CHARITATE.]
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.