[Sidenote: OF END PAPERS.] But first, if one may, paradoxically, begin with "end paper" as it is curiously called, there is the lining of the book. Here the problem is to cover two leaves entirely in a suggestive and agreeable, but not obtrusive way. One way is to design a repeating pattern much on the principle of a small printed textile, or miniature wall-paper, in one or more colours. Something delicately suggestive of the character and contents of the book is in place here, but nothing that competes with the illustrations proper. It may be considered as a kind of quadrangle, forecourt, or even a garden or grass plot before the door. We are not intended to linger long here, but ought to get some hint or encouragement to go on into the book. The arms of the owner (if he is fond of heraldry, and wants to remind the potential book borrower to piously return) may appear hereon--the book-plate. If we are to be playful and lavish, if the book is for Christmastide or for children, we may catch a sort of fleeting butterfly idea on the fly-leaves before we are brought with becoming, though dignified curiosity, to a short pause at the half-title. Having read this, we are supposed to pass on with somewhat bated breath until we come to the double doors, and the front and full title are disclosed in all their splendour. [Sidenote: OF FRONTISPIECES AND TITLE PAGES.] Even here, though, the whole secret of the book should not be let out, but rather played with or suggested in a symbolic way, especially in any ornament on the title-page, in which the lettering should be the chief ornamental feature. A frontispiece may be more pictorial in treatment if desired, and it is reasonable to occupy the whole of the type page both for the lettering of title and the picture in the front; then, if richness of effect is desired, the margin may be covered also almost to the edge of the paper by inclosing borders, the width of these borders varying according to the varying width of the paper margin, and in the same proportions, _recto_ and _verso_ as the case may be, the broad side turning outwards to the edge of the book each way. This is a plan adopted in the opening of the Kelmscott books, of which that of "The Glittering Plain," given here, may be taken as a type. Though Mr. Morris places his title page on the left to face the opening of first chapter, and does not use a frontispiece, he obtains a remarkably rich and varied effect of black and white in his larger title pages by placing in his centre panel strong black Gothic letters; or, as in the case of the Kelmscott Chaucer, letters in white relief upon a floral arabesque adapted to the space, and filling the field with a lighter floral network in open line, and enclosing this again with the rich black and white marginal border. [Illustration: FROM "THE STORY OF THE GLITTERING PLAIN."] [Illustration: WILLIAM MORRIS AND WALTER CRANE. (KELMSCOTT PRESS, 1894.)]