Ogilby, Aesop, 1668 (pg. 47)

Ogilby's version of Aesop's Fables uses the margins for extensive annotations.

Ogilby, Aesop, 1668 (pg. 48)

The blank space on this page decisively separates the fable and its moral.

Ogilby, Aesop, 1668 (pl. 18)

Some previous owner has colored in the illustration corresponding to the fable of the Hound and his Master. Perhaps this story was a favorite––no other print in the book was treated to full color.

Ogilby, Aesop, 1668 (plate 18 verso)

The blank verso of the leaf of a hand-colored intaglio print shows where some of the inks have bleed through.

Patousas, Aesop, 1644 (sig. L4v)

A woodcut illustrating Aesop's fable of the fox and the crow, which in this book is printed to face the illustration (you can see the text here).

Patousas, Aesop, 1644 (sig. L5r)

A modern Greek translation of Aesop's fable of the fox and the crow; there is an accompanying illustration on the facing page

Pepusch, Solos for violin, 1705 (p. 1)

In this collection, the music is printed with copper plates in an oblong format---making for clear lines of the two staffs of music.

Philipott, Aesop, 1666 (sig. 2Q2r)

This bilingual edition privileges the Latin text with the majority of page space, but presents the English version in rhyming verse. Along with the intricate engraving, the different modes may have made this book appealing to people of varying levels of schooling.

Prouisiones cedulas, 1563 (a1r)

The title of this collection of Spanish colonial laws is surrounded by four separate woodcuts used as borders, as well as a cut of the Spanish coat of arms.

Prouisiones cedulas, 1563 (m2r)

Two different styles of the initial letter D can be seen here, the first quite plain and the second floriated.