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.

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.

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.

Shakespeare, First Folio, 1623 (I2v)

Since this play ends part-way down the page, the remainder of the space is taken up with ruling and a decorative tailpiece.

Shakespeare, First Folio, 1623 (nn4v)

The opening of Hamlet in Shakespeare’s First Folio; like the rest of the plays in this book, the start of the play is marked off with a headpiece and an initial letter.