Ames, Typographical antiquities, 1749 (frontis.)

Copies of early English printer's devices make up the frontispiece to Ames's history of English printing.

Bible, English, 1611 (πA1r)

The title page for the Authorized version of the Bible is completely engraved, including the title and imprint information, by Cornelius Boel, whose name appears in the bottom left of the image. (This version is more commonly known as the King James Bible, since James authorized it to be translated and placed in all churches.)

Collaert, Nova Reperta, 1600 (pl. 19)

In this depiction of copper engraving, you can see the full range of activities involved in printing an engraving. In the background a sheet of copper is being flattened and prepared for engraving; in the lower right, boys are being taught how to use a burin to draw on a plate; in the middle men are inking and preparing a plate for printing; on the left, a man is turning the wheel of a rolling press to print a plate; and in the background, finished prints are being hung to dry.

Collaert, Nova Reperta, 1600 (pl. 4)

In this illustration from the series The Inventions of Modern Times, you can see the full range of activities associated with common-press printing, from delivering blank paper to proofreading printed sheets.

Moxon, Mechanick exercises, 1683 (pl. 1)

This illustration shows the standard layout of a pair of 17th-century type cases. Individual sorts (or categories of type) would go in the appropriately labeled boxes; although it's hard to tell from this picture, there are actually two cases shown, an upper case and a lower case.

Moxon, Mechanick exercises, 1683 (pl. 24)

This entire page is made by engraving lines into a copper plate. When the engraver noticed that a letter had accidentally been dropped from "Emptying" in the caption, he used a caret to insert the "p" in its proper place.

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.

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.

Soldini, Anima brutorum, 1776 (pl. facing a8r; Getty)

Because plates are printed in a separate process from letterpress text, and because the images in Soldini's work are not closely related to the text, different copies of the book have the plates inserted and bound in different locations. In this copy from the Smithsonian, this is the illustration facing the first chapter, but compare this to the Getty's copy of the book.

Soldini, Anima brutorum, 1776 (pl. facing a8r; Smithsonian)

Because plates are printed in a separate process from letterpress text, and because the images in Soldini's work are not closely related to the text, different copies of the book have the plates inserted and bound in different locations. In this copy from the Smithsonian, this is the illustration facing the first chapter, but compare this to the Getty's copy of the book.