Anatomical fugitive sheet (1573)

Anatomical studies of figures with movable flaps, like this one, were often printed as single sheets, and have come to be referred to as "fugitive" sheets since they stand alone outside of a fixed codex. This fugitive sheet shows a female figure with flaps that can be lifted to reveal her organs and skeleton. To see the flaps lifted, follow this shelmark link.

Anatomical fugitive sheet, flap 1 (1573)

In this view, with the top flap lifted up, you can see some of the interior organs, including lungs, heart, stomach, and intestines.

Anatomical fugitive sheet, flap 2 (1573)

With the second flap lifted, we can now see a layer of reproductive organs.

Anatomical fugitive sheet, flap 3 (1573)

With the final flap lifted, the figure's skeleton is revealed.

Bible, English, 1611 (A1r)

The King James Bible uses a complex typography to signal which words or phrases are not from the source material but have been added in translation (those in roman type), printed notes in roman type for cross referencing between different books, printed notes in italic for translation notes, and headnotes for each chapter providing summaries to help with quick navigation.

Dowland, Songes, 1597 (L1r)

This page of music was printed so that four musicians could stand around a table sharing the book. The music itself was printed from tiny pieces of metal type, each with the 5 bars of the staff and a note; lined up in a series, the pieces of type formed a series of musical notes.

Erasmus, Novum Instrumentum, 1516 (A1r)

Erasmus's translation of the Bible from Greek into Latin is appropriately presented in two parallel columns. Here, the initial page of his New Testament is set off with woodcut borders; the following pages are plain columns of text.

James I, By the King, 1611

This broadside uses gothic type (or black letter as the English often called it) for the main text of its announcement, as is typical for official English documents, with roman type setting off the names of the escapees.

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.