If I may refer again to my own work, in the designs to "The Faerie Queene" the full-page designs are all treated as panels of figure design, or pictures, and are enclosed in fanciful borders, in which subsidiary incidents of characters of the poem are introduced or suggested, somewhat on the plan of mediæval tapestries. A reduction of one of these is given above. [Sidenote: OF OUTLINE AND BORDERS.] A full-page design may, thus inclosed and separated from the type pages, bear carrying considerably further, and be more realized and stronger in effect than the ornaments of the type page, just as in the illuminated MSS. highly wrought miniatures were worked into inclosing borders on the centres of large initial letters, which formed a broad framework, branching into light floral scroll or leaves upon the margin and uniting with the lettering. Much depends upon the decorative scheme. With appropriate type, a charming, simple, and broad effect can be obtained by using outline alone, both for the figure designs or pictures, and the ornament proper. The famous designs of the "Hypnerotomachia Poliphili," 1499, may be taken as an instance of this treatment; also the "Fasciculus Medicinæ," 1495, "Æsop's Fables," 1493, and other books of the Venetian printers of about this date or earlier, which are generally remarkable for fine quality of their outline and the refinement and grace of their ornaments. One of the most effective black and white page borders of a purely ornamental kind is one dated 1478, inclosing a page of Roman type, (_see_ illustration, Venice, 1478, Pomponius Mela). A meandering arabesque of a rose-stem leaf and flower, white on a black ground, springing from a circle in the broad margin at the bottom, in which are two shields of arms. A tolerably well known but most valuable example. [Sidenote: OF DESIGNING TYPE.] The opening chapter of a book affords an opportunity to the designer of producing a decorative effect by uniting ornament with type. He can place figure design in a frieze-shaped panel (say of about a fourth of the page) for the heading, and weight it by a bold initial letter designed in a square, from which may spring the stem and leaves of an arabesque throwing the letter into relief, and perhaps climbing up and down the margin, and connecting the heading with the initial. The initialed page from "The Faerie Queene" is given as an example of such treatment. The title, or any chapter inscription, if embodied in the design of the heading, has a good effect. Harmony between type and illustration and ornament can never, of course, be quite so complete as when the lettering is designed and drawn as a part of the whole, unless the type is designed by the artist. It entails an amount of careful and patient labour (unless the inscriptions are very brief) few would be prepared to face, and would mean, practically, a return to the principle of the block book. [Illustration: ITALIAN SCHOOL. XVTH CENTURY.