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mysteries of the art of printing. At what period the art was introduced, I am not prepared to say. The third Waterford book, Dr. Cotton says, is entered in the catalogue of Trinity college library, Dublin, as follows: ArchbUhop Cranmer's Confutation of unwritten verities, 8*. Waterford, 1555. This little tract, however. Dr. Cotton further observes, is not now to be found there ; having disappeared, probably, in company with several other choice books, which were purloined from the library by a confidential servant, a few years ago. For the part which the Waterford presses played during the disastrous days of 164 1, the reader may refer to that year, pott.

1556, [Hed, Sebastian Grvpuius, a cele- brated printer of Lyons, in France. He was a German, and born at Suabia, near Augsburg, in 1493. He performed the duties of his pro- fesaon with so much honour as to receive the approbation of the most learned men. Gryphius Ls allowed to have restored the art of printing at Lyons, which was before exceedingly corrupted; and the great number of books printed by him are valued by the connoisseurs. He printed many books in Hebrew, Greek, and Latin, and his editions are no less accurate than beautiful. It was observed, that Robert Stephens was a very good corrector, Colinxus a very good prin- ter, but that Gryphius was both an able printer and corrector. He was succeeded by his son Anthony Gryphius, who printed a Latin Bible in 1550, with the largest types that had then been seen, in 2 vols, folio, and continued to support the reputation of the family.

Fbancis Gryphius, a brother of the above, was a printer at Paris, and no less celebrated in the annals of typography. If what Peignot says be true, Francis Gryphius did not exercise the art beyond the year 1540; consequently tlie Laneon Graeo-Laiinum jam recent in lucem editimn, 4to., might be his only Greek impres- rioo. Francis used in his Latin impressions the roman character, and Sebastian the italic. Their well known device was a Griffin.

1556, Died, Charlotte Gvillard. "The first woman," says Delandine," who distinguished herself in the typographic art." She espoused successively two renowned printers; and on the decease of the latter, she personally superintended her presses; correcting the proofs of Latin works, and publishing very correct editions. Berthold Rembolt, whom we have before noticed, was her first husband. In 1530, she became the wife of Claude Cbevalon, who died about 1540. Her finest works were those which she executed between 1542 and 1556. She herself testifies, in the year 1552, that she had laboured in the pro- fession fifty years.

This heroine of the art gave an impression of the Biblia sacra, Latine, with the notes of Joan- ' nes Benedietus, and executed voluminous Latin originals or translations of the fathers. Lodo- vicus Lippomanus, afterwards bishop of Verona, and at length of Bergamo, having employed her to print his Catena SS. Patrum in Genetim, anno 1546, was so well satisfied with the execu-

tion of it, that, when attending the council of Trent, he came to Paris for the special purpose of inducing her to undertake his second volume. Catena in Exodum ; which she completed with great elegance and beauty, anno 1555. One of her most interesting impressions has escaped the notice of Chevillier and of Maittaire, viz. her fine Norum Teslamentum Gr. Lat. Erasmi, 8vo, which she executed for Bogard in 1543. The Greek Lexicon of the profes.sor Tusanus was at least finished by her: having been undertaken by Bogard, who, with his wife, died during the im- pression. Fre<leric Morel for some time presided as corrector of the press of Charlotte Guillard. The office "sub sole aureo" maintained its high reputation long after her decease: and in 1576, produced in five large volumes folio, the mag- nificent Corpus Juris civilis, of which Chevillier speaks in terms of the highest admiration, pro- nouncing it the most pleasing and finished speci- men of the art that eve'r came under his ob- servation.

1556. Henry II.» of France enacted, that one copy of every book, to which the royal privilege was extended, printed upon vellum, and hand- somely bound, should be deposited in the royal libraiy of Paris. It is believed that Diana of Poictiersf suggested the idea to the king for this act. Under Uie reign of Heniy II. it is that we must look for the celebrated bindings of France in this century. The books bound for this prince are distinguished by his insig^a, or by his initial H. interwoven with that of his mistress Diana of Poictiers HD. How far the taste of G roller may have influenced, or whether he had any direction in the binding of the books of Henry, is not satisfactorily determined. Eight hundred volumes now remain, which attest the merit of the workmen. The most splended portion of the bindings of Henry, are those from the fine library at Amet, erected by the accomplished Diana of Poictiers, who in her unbounded love for books availed herself of the devotion of two kings of France, to enrich her own library with the choicest treasures of theirs. When we consider the wealth she could bestow, and her influence over Henry, we need not w-jnder at the beauty of the bindings belonging to her library. The embellishments are in good taste, being princi- pally composed of lines, interwoven with the initials before referred to, bows, quivers, arrows, and the crescent, emblems of the goddess Diana, whose name she bore. Of the elegance of some of her books, the binding of a copy of the French version of the Cosmography of Sebastian Mun- ster, in the public library of Caen, in Normandy, remains as evidence. It is as splendid as it is curious. It contains two portraits of Heniy II. iand four of Holofemes on each side of the bind- ing. In the centre of the sides are the usual ornaments above referred to, but on the back are

1547, died Jnlf 10, Ittg, of a wound In the eye, which he received at a tooraament, with the spear of the count dc Montgomery.
 * born March 31, 1518; crowned at Rheims, July SS,

t Bora March SI, ISOO; died April 26, 13«6.

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