for this larger page, while the splendid woodcuts from the designs of Sir Edward Burne-Jones revived the old glories of book-illustration. In the _Golden Legend_ also appeared the first of those woodcut frontispiece titles which formed, as far as we know, an entirely new departure, and confer on the Kelmscott books one of their chief distinctions. Printed sometimes in white letters on a background of dark scrollery, sometimes in black letters on a lighter ground, these titles are always surrounded by a border harmonising with that on the first page of text, which they face. They thus carry out Mr. Morris's cardinal principle, that the unit, both for arrangement of type and for decoration, is always the double page. How persistently even the best printers in the trade ignore this principle is known to any one who has asked for a specimen of how a book is to be printed, it being almost impossible to get more than a single page set up. If a double page is insisted on, the craftsman, ingenious in avoiding trouble, will print the same page twice over, thus confusing the eye by the exact parallelism of line with line and paragraph with paragraph. But Mr. Morris, who had all the capacity of genius for taking pains, understood that, when a book lies open before us, though we only read one page at a time, we see two, and in the selection of the type, the adjustment of letterpress and margins, and finally in the pursuit of a decorative beginning, either to the book itself, or to its sections, he never arranged a single page except in relation to the one which it was to face.