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.

Theobald, Double Falshood, 1728 (B7v)

At the bottom of this page is the small press figure "3."

Thomson, Discourse, 1750 (C4r)

The authorizing citations have moved from being printed in the outer margins on the side of the page to the bottom of the page, a practice we would describe as footnotes.

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.

Vincent, Discouerie, 1622 (4O3v)

At first glance, this page looks free from error and correction. But on a closer look, you can see that the last line of text has been added after the main text was printed---the last word of the line is printed over the original catchword and the ink is a slightly different color.

Whitney, Choice of emblemes, 1586 (D2v)

Whitney's book of emblems brought the popular European tradition to English readers. The mise-en-page follows the pattern of many of the early editions of Alciati's Emblemata, expanding the original design of emblem, title, and a brief epigraph to include commentary and references.