An Unfinished Title Page Border?

October 6, 2020 | By Caroline Duroselle-Melish

Many thanks for your answers to last week’s post. They convey the puzzling nature of this title page border: Is it an unfinished work? Was it intended to be completed by readers of the book? Does it look different in other copies? Folger Shakespeare Library, 173- 630q To our eyes, indeed, the border design may look incomplete: the figures in the foreground, which we would expect to be highly finished, are either barely ‘legible’, suggested or simply not worked out.… Continue Reading

“What manner o’ thing is your crocodile?”: October 2020

September 29, 2020 | By The Collation

Welcome to another Crocodile Mystery! This month we ask you to look at the image below and tell us what you think might be going on? What sort of questions does this image generate? As always, leave your thoughts in the comments below, and we’ll be back next week with more information.… Continue Reading

Who was a refugee in early modern England? The “Poor Palatines” of 1709

September 24, 2020 | By Guest Author

A guest post by Jeremy Fradkin Today’s Collation post is a little bit different. It showcases materials held in archival collections at the British Library and the National Archives, both in the United Kingdom. It is the product of an exciting new kind of opportunity—a non-residential fellowship—offered by the Folger Institute at the Folger Shakespeare Library to its 2020-2021 Fellows. In May 1709, Queen Anne received an unusual petition from 512 men and women who were not her own subjects – at least, not yet.… Continue Reading

Re-discovering three-cornered notes

September 22, 2020 | By Erin Blake

A couple of years ago, when I had Saturday Duty in the Reading Room, a group of early-19th-century letters came across the desk. I noticed right away that one of them had unusual diagonal fold lines: Folger Y.d.23 (82x), a note from A. Bunn to R.W. Elliston, opened out to show the entire quarter-sheet of writing paper. It was a slow Saturday, so I spent some time figuring out how the creases lined up with each other, then folding sheets of scrap paper to match.… Continue Reading

Postcards of the Folger: Midsommer, Romeo and Ivliet, Merchant of Venice

September 17, 2020 | By Guest Author

A guest post by Stephen Grant It is my pleasure to show you two early sets of picture postcards of the Folger’s bas-reliefs by John Gregory. On the left you have photographic cards printed on Kodak (AZO) Paper. I’m hoping someone will identify the photographer. On the right you have gravure cards printed by the Meriden Gravure Company of Meriden CT.… Continue Reading

A guided tour of an incunabulum from 1478

September 15, 2020 | By Guest Author

A guest post by Sujata Iyengar Typography—the design of individual printed letter-shapes—makes printed books easier to read, and it can also shape our understanding and experience of the text and the content that an individual book contains. At first, early printed books imitated the layout and typography of scribal manuscripts. As this new medium—print—matured, however, printers, and even authors, learned how to use the affordances, or media-specific qualities, of printed sheets in order to indicate what kind of book they were creating, what kind of audience they were seeking, and even what kind of emotion they wished to evoke.… Continue Reading