Figs. 28 and 29 will show how the same two emblems are employed in the letterpress of certain publications. To combine these two different designs in one line was "wrong and improper," and the compositors that were guilty of the crime disregarded that rule of their craft, that flowers, when used as headlines, shall serve "each sort by itself." The top and bottom row of Fig. 29 is, apparently, another form of the acorn.

It has already been noted how frequently the watermark of a vase or pot is to be found. This design occurs sometimes with one and sometimes with two handles, in the form of the double S.S., as in fig. 11. From some of these papermark vases we find rising a Fleur-de-Lys, in combination with a four petalled flower, a device perhaps intended to combine the two emblems of rose and cross (see fig. 12). This double S.S. handled vase is very conspicuous as a printer's ornament (see figs. 30 to 34). While the designs of the vases vary, yet it will be noticed that they all possess the distinctive and characteristic S.S. handles. If figs. 30, 31, and 32 be examined, it will be seen that a Fleur-de-Lys is rising from the mouths of the taller vases, and two roses and a Fleur-de-Lys from the mouths of the shorter. Fig. 34, which appears at first sight to be merely a row of vases or urns, will, on examination, be seen to consist of three, if

not four, Rosicrucian symbols, most cunningly packed together. The apparent body of the vase is, in reality, a heart supported on a cross, with the double S.S. on either side in the form of handles, these three emblems combined forming a fourth symbol, the vase. Other combinations of the heart and cross may be seen in fig. 35. Concealed within these flower headings certain peculiarities will be detected which are neither conventional nor explicable, on the hypothesis that they are due to chance. I refer to the erratic colons and notes of interrogation. Were these inserted with any attempt at symmetry we might dismiss them as due to an aesthetic compositor's sense of the beautiful. Such a supposition is, however, untenable, as they appear in the most eccentric positions, and these positions vary in different chapters of the same book. We find these colons and notes of interrogation, which were interjected by succeeding generations of compositors, almost invariably associated with the acorn design, this device seemingly forming a connecting link between works published far apart in time and locality, and sometimes introduced in a most arbitrary manner (see fig. 31).

If these printers' flowers, attached to which are the additional peculiarities of colons and notes of interrogation, have any connection with Rosicrucianism, we should expect to find them not confined to English pub