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.

Soldini, Anima brutorum, 1776 (a8r; Getty)

The opening of each chapter in this book features intaglio initial letters, the colors of which vary from copy to copy. In this copy from the Getty, a blue ink is used, but in the Smithsonian's copy, the initial letter is printed in sienna. (The plates facing this page also differ in the two copies; search "Soldini" to compare.)

Soldini, Anima brutorum, 1776 (a8r; Smithsonian)

The opening of each chapter in this book features intaglio initial letters, the colors of which vary from copy to copy. In this copy from the Smithsonian, an ochre ink is used, but in the Getty's copy, the initial letter is printed in blue.

Summons, 1622

This summons to appear before the King's exchequer is a typical printed form---the parts that are the standard formula are printed, while the specifics of dates and places are filled in by hand.

Theobald, Double Falshood, 1728 (A2r)

Like that of most English playbooks, this title page indicates where the play was first performed as well as its title and author.

Thomson, Discourse, 1750 (A1r)

The title page to this pamphlet emphasizes not only the title of the work but that it was delivered to the Academy of Physicians, signalling its authority to potential buyers.

Tryal of Richard Francklin, 1731 (A1r)

The 1731 imprint date suggests that the publication of this chapbook followed almost immediately after the conclusion of the December 3, 1731 trial. Chapbooks like these---small unbound pamphlets---were a prime source of news as well as entertainment.

Vincent, Discouerie, 1622 (4C1r)

A cancel slip has been pasted over the top coat of arms to correct it; in this copy, the slip is slightly askew, making it easy to spot.

Vincent, Discouerie, 1622 (4O2r)

The main text of this page focuses on genealogy, but the bleed-through of the ink on the verso reveals the presence of printed marginalia that has been pasted over (cf sig 4O2v).

Vincent, Discouerie, 1622 (4O2v)

The cancel slip pasted over one of the marginal notes here is nearly invisible in this digital image. But if you look at the recto of this leaf, you can clearly see the ink bleed-through from the covered up note.