Among other Scottish firms who are doing excellent work mention may be made also of Messrs. R. and R. Clark of Edinburgh, who tread very closely on the heels of the Clarendon Press, and Messrs. Maclehose, the printers to the University of Glasgow. In America also there is much good work being done, that of Mr. De Vinne and of the Riverside Press, Cambridge, being of the very highest excellence. In the history of English printing, the close of the nineteenth century will always be memorable for the brilliant but short-lived career of the Kelmscott Press. In May 1891 Mr. William Morris, whose poems and romances had delighted many readers, issued a small quarto book entitled _The Story of the Glittering Plain_, which had been printed at a press that he had set up in the Upper Mall, Hammersmith. Lovers of old books could recognise at once that in its arrangement, and, to some extent, in its types, this first-fruit of the Kelmscott Press went straight back to the fifteenth century, resembling most nearly the quartos printed at Venice about 1490. Until within a few years of that date printed books, like the old manuscripts, had dispensed altogether with a title-page. Their first few pages might be occupied with a prologue or a table of contents, and though, when the text was reached, it was usual to herald it with an _Incipit_ or _Incomincia_, followed by the title of the work, the information as to date of issue, printer or publisher, and place of imprint or sale, which we look to find in the title-page, was only given in a crowning paragraph or colophon at the end of the book, save for one or two accidental instances. The full title-page, as we know it, is not found before about 1520, and did not come into general use, so as to supersede the colophon, until many years after that date. But about 1480 the advantage of getting the short title of the book clearly stated at its outset was becoming pretty generally recognised, and from this date onwards what may be called the label title-page--that is, a first page containing the title and nothing else--is very frequently found. Ten years later a practice occasionally adopted elsewhere became common at Venice, and the first page of the text of a book was decorated with an ornamental border, and occasionally with a little picture as well. It was this temporary fashion which commended itself to Mr. Morris, and _The Story of the Glittering Plain_ was issued with one of these label title-pages and with the first page of the story surrounded by a very beautiful border cut on wood from a design by Mr. Morris himself, here reproduced by the kind permission of his executors. It contained also a number of decorative initial letters, to use the clumsy phrase which the misappropriation of the word capitals to stand for ordinary majuscules, or 'upper case' letters, makes inevitable. Mr. Morris's initials were, of course, true capitals--_i.e._ they were used to mark the beginnings