Great diversity too of type did the Pilgrims find in their Psalm-book: Roman type, Italics, black-letter, all were used; the verse was printed in Italics, the prose in Roman type, and the annotation in black-letter and small Roman text with close-spaced lines. This variety though picturesque makes the text rather difficult to read; for while one can decipher black-letter readily enough when reading whole pages of it, when it is interspersed with other type it makes the print somewhat confusing to the unaccustomed eye. One curious characteristic of the typography is the frequent use of the hyphen, compound words or rather compound phrases being formed apparently without English rule or reason. Such combinations as these are given as instances: "highly-him-preferre," "renowned-name," "repose-me-quietlie," "in-mind-uplay," "turn-to-ashes," "my-alonely-soul," "beat-them-final," "pouring-out-them-hard," "inveyers-mak-streight," and "condemn-thou-them-as-guilty,"--which certainly would make fit verses to be sung to the accompaniment of Master Mace's "excellent-large-plump-lusty-fullspeaking-organ." Ainsworth's Version when read proves to be a scholarly book, exhibiting far better grammar and punctuation and more uniformity of spelling than "The New England Psalm-book," which at a later date displaced Ainsworth in the affections and religious services of the New England Puritans and Pilgrims. Both versions are somewhat confused in sense, and of uncouth and grotesque versification; though the metre of Ainsworth is better than the rhyme. It is all written in "common metre," nearly all in lines of eight and six syllables alternately.