The signatures of Venetian painters have been the subject of considerable interest in recent years, but relatively little attention has been paid to the epigraphic – carved – signatures of Venetian Renaissance sculptors. Under examination here is a group of signatures from the Lombardo workshop, the most important sculptural workshop in Venice in the years before Sansovino, covering the period from approximately 1470 into the early 1520s. The focus is on the signatures of Pietro Lombardo and his son Tullio. Issues under consideration include the models provided by the calligraphers of Venice’s bourgeoning book culture and the importance of contact with antique Roman inscriptions, either at first hand or through inscription albums.