Marks

“ Mark′er, one who marks the score at games, as at billiards: a counter used at card-playing, &c.: the soldier who forms the pivot round which a body of soldiers wheels; Mark′ing, act of making a mark: a mark made upon anything; Mark′ing-ink, indelible ink, used for marking clothes; Mark′ing-nut, the fruit of an East Indian tree of the cashew family, yielding a black juice used in marking cloths; Mark′man, one of the community owning a mark; Marks′man, one good at hitting a mark: one who shoots well.—Mark down, set down in writing, put a note of ”

“ Any rule differentiating the Printer’s Mark proper from a 47 vignette is not likely to give general satisfaction; for a writer on the subject of vignettes will unfailingly appropriate many that are Marks, and vice versa. The present writer has found it a fairly safe rule, to accept as a Mark a pictorial embellishment (on a title-page) to which is appended a motto or quotation. ”

“ Mathias Apiarius, Strassburg, used at least two Marks expressing the same idea, namely, a bear discovering a bee’s nest in the hollow of a tree—an obvious pun on his surname. The latter part of the sixteenth century is not nearly so fruitful in really good or striking devices. ”

“ I like a man who can keep his mouth shut till he has a reason for speaking. Though it would have been safe enough to tell Marks. He is to be trusted—absolutely. And he knows."
"Does he know?" I said doubtfully.
"Yes; I tell you that Marks knows. He would never admit it; but deep down in his heart he knows."
"Well, he acts as if he knew; and after all that is the test," I said.
"It is," said Woodfell.
There was another pause; then I said, "Suppose you had died the other night, what would the shadows, or the devils, have done?" ”

“ MARKS, HENRY STACY (1829–1898) , artist, the youngest of four children, was born on 13 Sept. 1829 in Great Portland Street, West, and baptised in All Souls', Langham Place. His father, Isaac Daniel Marks, after practising for a time as a solicitor in Bloomsbury, took to his father's business of a coach-builder in Langham Place. The artist's father was a devoted student of Shakespeare, which accounts for the subjects of some of his earliest paintings. The firm, Marks & Co., prospered at first, and it was understood that Henry should carry it on. ”

“ Jean De Tournes, 1542–50, himself had no less than eleven Marks, several of which are exceedingly 134 graceful, one of the largest and best of which represents a sower, and serves as an excellent pendant to the reaper of Jacques Roffet, both of which appear in our first chapter. The seven or eight members of the De la Porte family used at least half a score Marks between them. ”

“ Here and there over some special book an artist will have laboured, and not in vain; but save for such stray miracles, as decade succeeds decade, good work becomes rarer and rarer, and at last we learn to look only for carelessness, ill-taste, and caricature, and of these are seldom disappointed.” These remarks 49 apply with equal force to the Printer’s Mark, although some exceptionally beautiful examples appeared after that period. ”

“ Another phase of the religious element capable of considerable expansion is that in relation to the part played in Marks by saints and priests generally. Sometimes these are found together with an effect not at all happy, notably the two Marks of Jehan Olivier, Paris, 1518, which, with Jesus Christ on one side, a Pope on the other, and an olive tree, are sufficiently crude to present an appearance which seems to-day almost blasphemous. The last of the several religious phases of Printers’ Marks to which we shall allude is at the same time the most elaborate and complicated. ”

“ Marks It was at one time the author's practice to use a very elaborate system of marks, all indicating the speech-movement: the autograph (in A) of Harry Ploughman carries seven different marks, each one defined at the foot. When reading through his letters for the purpose of determining dates, I noted a few sentences on this subject which will justify the method that I have followed in the text. In 1883 he wrote: 'You were right to leave out the marks: they were not consistent for one thing, and are always offensive. Stilt there must be some. ”

“ We have only to ask ourselves how far the but, for, and and relations extend. Do the marks so group the words as to indicate the sense relations by the grouping? Of course they do not, as is shown by the difference in the groupings. In No. 24 neither semicolon shows how far the for or the but relation extends; and therefore neither mark is an efficient sign-board. If challenged for a meaning, neither could give the reader an intelligent answer. ”

“ Marks do not necessitate rivalry.“Marks” can be so arranged as to obviate the temptation to personal rivalry which is often supposed to be inseparable from them. When the weekly marks are added up, letters are in some schools assigned, according to the percentage of marks gained, arranged in decades. ”

“ And then he said, did the jury know Bevis Marks? And if they did know Bevis Marks (as he trusted for their own character, they did) did they know the historical and elevating associations connected with that most remarkable spot? ”

“ Among the 200 odd books which Richard Pynson printed between 1493 and 1527, we find six Marks (besides variants) , of which five are very similar, and of these we give two examples, the smaller being one of the earliest, in which it will be noticed that the drawing is much inferior to the larger example; the sixth Mark is a singular one, consisting of a large upright parallelogram surrounded by a single stout line, within which are the scroll, supporters, shield and cypher, crest, helmet and mantling, and the Virgin and St. ”

“ The function of marks can best be shown by a study of their uses in illustrative examples:2
1. Respect the rights of children and their mothers will respect you.
No mark is required in this sentence to reveal its real meaning, for that is unmistakable; but almost any reader will momentarily mistake the meaning at the point where it seems to read as if written “the rights of children and of their mothers.” When the reader discovers that “the rights of their mothers” are not referred to, he is like a traveler who has taken the wrong road, and, discovering his mistake, must retrace his steps. ”

“ If such relation does not exist, then why should not a comma be used to notify the reader of the fact, as one was used in Sentence 1-1? The reason is, that marks are used to prevent wrong groupings which are easily made because of apparent, but wrong, relations. When the eye does not need a mark, the mark should be omitted, even though consistency in punctuation seems to call for it. ”

“ The titles of books, plays, songs, poems, and the like, when referred to in one’s text, are put in quotation-marks by some writers and in italics by others. The former seems to be the more common usage. Mr. De Vinne says “italic is preferred by bookish men.” Most writers make an exception to the above rule in the case of the titles of well-known books. ”

“ If a marksman wished to practise in like manner against some wall, for example, on which he has chosen a point that is not marked, and hence not recognisable by others, this point thought of by the marksman, may be determined by studying the cluster of shots left upon the wall. ”

“ The mark is sometimes a fixed target, and sometimes an object \\liich is made to move quickly past a small opening. Should the marksman hit the mark, he has a due share of honour; and he who is so skilful as to drive his ball through the centre, receives the wooden image itself as the reward of his skill. ”

“ The apparent meaning of such group of words is the meaning it conveys when read at sight.
The apparent meaning should always be the real meaning. If it is not, the language needs either recasting or regrouping. Recasting is done by changing the positions of words or by the use of new words. Regrouping is done by the use of marks of punctuation, which thus perform their functions. Each of the three end-marks also determines the character of the group it follows, as we have already seen. ”

“ The meaning of voice-changes is understood by children long before the meaning of marks of punctuation is understood; while the full value of marks is rarely understood, even by educated and cultured people.
9
In spoken language the meaning of No. 3 is expressed by a continuous reading with neither pause nor voice-inflection within the sentence. The reading of No. 3-1, in order to convey its meaning to another person, requires quite a different voice process, which may be represented diagrammatically:
3-2. ”

“ The three Marks of Copland make allusion to the roses which appeared as a sign to his shop. The most elaborate design is an upright parallelogram within which appears a flourishing tree springing out of the earth, and supporting a shield suspended from its branches by a belt and surrounded by a wreath of roses ”

“ About seventy books are catalogued as coming from his press. His elegant Mark consists of a massive architectural panel, adorned with wreaths of fruit, and bearing in the centre an oval within which is a pelican feeding her young, surrounded by the mottoes, “Love kepyth the Lawe, obeyeth the Kynge, and is good to the commen welthe,” and “Pro Rege Lege et Grege.” On the left of the oval stands a female figure having a serpent twined round her right arm, with the word “Prudentia” underneath, whilst the second female figure, with a balance and a sword, is called “Justicia” ”

“ We reproduce one of the rarest; his best known is a highly decorative picture, and has a shield (carrying a cross with the initials B. R. in the lower half of the circle which envelopes the foot of the cross) suspended from a vine tree and supported by two lions. Of this Mark there are at least two sizes; another of his Marks consisted of an enlarged form of the cross to which we have referred.
102
After Rembolt, the interest of the Printer’s Mark in France diverges into a number of directions. ”

“ Coming down to the last twenty years of the sixteenth century, we find the few books of Henry Charteris of considerable and varied interest, and his Mark, if by no means carefully drawn and engraved, has at all events the merit of being fairly original. ”

“ It is 217 remarkable in not having been suppressed by the Church, for one example of its numerous woodcuts (which are coloured) at once betrays its character, viz., the engraving to the sixth chapter of the Apocalypse, in which the Pope appears lying in hell. As illustrative of some of the more elaborate and pictorial Marks which one finds in the books of the Venetian printers during the sixteenth century, we give a couple of very distinct examples, the first being one of the Marks of the Sessa family, whose works date from 1501 to 1588 ”

“ Amateurs in literary composition soon acquire the bad habit of writing carelessly; they spell strange names in two or more different ways; they form capital letters, and even the small lower-case letters, so obscurely that one word may be mistaken for another; they have no clearly defined system, or at least observe none, for the proper placing of capitals, italic, and the marks of punctuation.
The above sentence is from the preface of what is probably the most complete work on composition written in recent years. ”

“ By reserving dashes for the large groups of words which are purely parenthetical in nature, but are tied to what precedes by a connective, generally a conjunction or a preposition, we do not violate the fundamental meaning of either the dash or the marks of parenthesis ”

“ The sense, of course, shows that the second group is not a proper group.
A writer, as we shall see later, should always guard against using a conjunction between words or groups of words not bearing to each other the relation indicated by such conjunction. Much confusion in punctuation arises from an effort to indicate by the use of marks relations that are not sense relations, as in the sentences just considered. ”

“ If no gentleman claims the floor, the Clerk will proceed with the reading of the bill.
114. Mr. HEALD. The gentleman from Kentucky [Mr. Sherley] stated that he would support the measure.
186
115. Mr. HEALD. The gentleman from Kentucky, Col. Sherley, stated that he would support the measure.
In these examples the names of the persons speaking are so manifestly inserted by the reporter that they need no identification marks.
In No. 112 three words are inserted within the text by the reporter, and take brackets for identification as matter inserted in the language of another. ”

“ In No. 3 the language is taken in its literal meaning, and even may be that of the editor of the magazine, thus requiring no marks. Probably no painter would put upon his canvas “A Portrait of John Smith.”
5. “Justice,” said Webster, “is the great interest of man on earth”; and Mr. Root laid it down as a rule, when Secretary of State, that we should not only observe justice in our relations, but that we should be just. ”

“ It is much better practice in printing to put such matter in smaller type than the type of the main text; or, if in type-written manuscript, to identify it by less space between its lines than is used between the lines preceding and following it, or by indenting the lines of the quotation more than the regular paragraph indention. Quotations thus identified need no quotation-marks. ”

“ Jahrhunderts,” the first Strasburg printer to use a Mark was Johann Grüninger, who, after working at Basel for a year or two, took up his residence in Strassburg at the end of 1482. One of his first Marks appeared in Brant’s “Narrenschiff,” 1494, and of this our example is an elaboration. By the year 1525 he employed no less than five distinct examples, the last of which, in Ptolemæus, “Geographicæ Enarrationes,” 1525, differs completely from all the others, the single letter G occupying the centre of the masonic compass and rule. ”

“ Hellenius’ Mark is emblematical of Time, in which the figure is standing on clouds, with a sickle in one hand and a serpent coiled in a circle on the left. The Mark of Jan Steels, Antwerp (p. 19) , 1533–75, is regarded by some bibliographers as the emblem of an altar, but “from the entire absence of any ritual accessories, and the introduction of incongruous figures (which no mediæval artist would have thought of representing) , it would appear to be merely a stone table.” ”