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- VENUS AND ADONIS 45
editions of *Venus and Adonis*, and in front of the shaft in the first edition of *Lucrece*; the inner beading of the oval frames also differs.¹ The device assumes quite a new form in the third edition of the *Venus* of 1596: the pattern is simplified and far more roughly engraved.²
The ownership of the copyright of Shakespeare’s *Venus and Adonis* underwent a third change in the author’s lifetime in the summer of 1596, just two years to a day after Harrison acquired it. Harrison, who was advanced in age, appears to have reorganized his business in that year. He moved from his old premises, the White Greyhound in St. Paul’s Churchyard, to a house, on which he bestowed the same sign, in Paternoster Row, and he made over his former house, with some important items of his stock there, to another prominent stationer, William Leake. On June 25, 1596, the transaction, so far as it bore on Shakespeare’s *Venus and Adonis*, was duly entered in the Stationers’ Company’s Register thus:—
[1596] 25 Iunij.
Assigned ouer vnto him [i.e. William Leake] for his copie from master harrison thelder, in full Court holden this day.
¹ The *Lucrece* pattern of 1594 is more frequently met with than the *Venus* of 1593-4. The *Venus* pattern of 1593-4 appears in Field’s issue in 1596 of Sir John Harington’s *A new discourse of a stale subject called ‘The Metamorphosis of Ajax’*. Of the *Lucrece* pattern, a rough cast figures in Vautrollier’s edition of *Essais of a Prentise*, 1584; a fine impression was set by Field before Puttenham’s *Arte of English Poesie*, 1589, and the first edition of the second volume of Spenser’s *Farrie Queene*, which Field printed in 1596 for William Ponsonby. The general scheme of the device was a crude adaptation of the famous Aldine anchor, entwined with a dolphin. Antoine Tardif, a well-known sixteenth-century printer of Lyons, fashioned a new device of an anchor with a dolphin within a heavily ornamented scroll and bearing the punning motto, *Festina tarde*. The arrangement of Tardif’s device and motto resembles that adopted by Vautrollier (cf. L. C. Silvestre’s *Marques Typographiques*, Paris, 1853-67, No. 509). Vautrollier’s and Field’s motto is common. Spenser, in his *Shepheards Calendar* (1579), adopted as ‘Colin’s embleme’ the Italian words *Anchora Speme* (i.e. Hope the anchor).
² See facsimile on p. 60.
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