Gianicolo, Type specimen, 1529 (recto)

This specimen sheet features only a font of italic type, but in a visually attractive demonstration of its possibilities.

Gianicolo, Type specimen, 1529 (verso)

There is very little bleed-through apparent on this blank verso, although it's hard to tell if it is due to how this broadsheet was printed or how it was photographed.

More, Utopia, 1518 March (u6v)

More, Utopia, March 1518 (b2v)

This famous illustration of Utopia appears in the earliest edition of the work, but like other preliminaries, its location in the book shifted in various editions.

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.

Rinuccio, Aesop, 1521 (sig. c7r)

A unique feature of this text is how the morals are isolated in the margins next to their respective fables. The use of the manicules and banners serves to emphasize the lofty values they impart.

Tabulae abcdariae pueriles, 1544 (recto)

Children were often taught to read by printed examples of the alphabet and the Lord's Prayer. This sheet is one of the earliest surviving lessons (probably because, as its appearance suggests, it was never used). Although there is no imprint statement on the sheet, the blocks used in the border were also used by Valentin Bapst in the late 1540s, suggesting that he is this work's printer as well.

Zumárraga, Doctrina breve, 1544 (a1r)

This title page uses woodcut blocks and pieces of type to create decorative borders surrounding the text presenting the work's title and imprint. Doctrina breve is the first complete work printed in North America, and was printed using type, blocks, and press were brought over to Mexico City from Spain.

Zumárraga, Doctrina breve, 1544 (i4r)

The colophon is printed as a descending triangle as a way of decoratively ending the text, a shape also seen in tailpieces.