of chapters, and the only fault that could be found with them was that they were a little too large for the quarto page. These also were from Mr. Morris's own designs, ideas in one or two cases having been borrowed from a set used by Sweynheym and Pannartz, the Germans who introduced printing into Italy; but the borrowing, as always with Mr. Morris, being absolutely free. As for the type, it was clear that it bore some resemblance to that used by Nicolas Jenson, the Frenchman who began printing in Venice in 1470, and whose finer books, especially those on vellum, are generally recognised as the supreme examples of that perfection to which the art of printing attained in its earliest infancy. Mr. Morris's type was as rich as Jenson's at its best, and showed its authorship by not being quite rigidly Roman, some of the letters betraying a leaning to the 'Gothic' or 'black-letter' forms, which had found favour with the majority of the mediæval scribes. At the end of the book came the colophon in due fifteenth-century style, with information as to when and where it was printed. The ornamental design bearing the word 'Kelmscott,' by way of the device or trade-mark without which no fifteenth-century printer thought his office properly equipped, was not used in this book, but speedily made its appearance. [Illustration: FIG. 38.--The first page of _The Story of the Glittering Plain_.] Pretty as was this edition of the _The Story of the Glittering Plain_, it yet raised a doubt--the doubt as to whether there was any real life in this effort to start afresh from old models, or whether it was a mere antiquarian revival and nothing more. The history of printing--or rather of the handwriting which the first printers took as their models--recorded, at least, one instance in which an antiquarian revival had been of permanent service; for the _Roman letter_, which the printers have used now for four centuries, was itself a happy reversion on the part of the fifteenth-century scribes to the Caroline minuscules of 600 years earlier, which had gradually been debased past recognition. There was no room for a second such sweeping reform as this, but those who compared the best modern printing with the masterpieces of the craft in its early days knew that the modern books by the side of the old ones looked flat and grey; and the new _Glittering Plain_, though not entirely satisfactory, was certainly free from these faults. A few months later the appearance of the three-volume reprint of Caxton's version of the _Golden Legend_ of Jacobus de Voragine, sufficed to show that the Kelmscott Press was capable of turning out a book large enough to tax the resources of a printing-office, and the new book was not only larger but better than its predecessor. It became known that this, but for an accident, should have been the first book issued from the new press; and it was evident that the initial letters were exactly right