Abstract This article explores the ways in which an Orthodox polymath printer Pamvo Berynda (d. 1632) employed his printer’s mark, focusing on its use in the Slavonic translation of Dorotheos of Gaza’s Instructions published in Kyiv in 1628. By analyzing the various versions of his device and the interplay between the visual and textual components in his published works, I demonstrate how Berynda was able to use it as a means of limiting his endorsement through the paratextual game of concealment. Maintaining a balance between compliance and nonconformity during the times when the Orthodox Church was outlawed in Poland-Lithuania, Berynda codified the use of equivocation through recourse to the Byzantine tradition, contributing to the development of the early modern European humanistic thought.
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