Although the types of this _Bible_ are obsolete, there is something pleasing in their boldness and solidity to a reader who is wearied with the small trim letters, light lines and apparently paler ink of modern books. The effect of rugged strength is relieved by the flowing lines, vivid colors and complex ornamentation of the odd borders and initials which have been added by designer and illuminator. How much of the pleasure derived from an inspection of the work is due to the skill of the printer, and how much to the art of the illuminator, has not always been judicially weighed by those who represent the book as a specimen of perfect printing. It cannot be denied that the most attractive features of the book are those made, not by printing, but by illumination, but it is plain that the designs and ornamentation are not of a character appropriate to the text. They would not be allowed in any modern edition of the book. [Illustration: Fac-simile of the Types of the Bible of 42 Lines, with the Rubricator’s Marks on the Capitals. Verses 10 to 20 of the Fifteenth Chapter of the Acts of the Apostles. [Photographed from a Fragment of the Original in the Collection of Mr. David Wolfe Bruce.]] The workmanship of the printer in his own proper field is wonderful when we regard the circumstances under which it was done, but it would not satisfy the requirements of a modern publisher or book-buyer. It is of its own time, with the faults of that time, in manner and matter. The promise of legibility, which seems warranted by the bold and black types, is delusive. The ordinary Latin scholar cannot read the book, nor refer to any passage in it, with satisfaction. It is without title and paging figures. The blank spaces which indicate changes of subject, and give relief to the eye, were seized by the illuminator. Verse follows verse, and chapter follows chapter, and one line chases another with a [p424] grudging of white space and of true relief which is not atoned for by the dabs of red in the rubrics, nor by the profuse wealth of ornamentation in the centre column and margins. The composition is noticeably irregular: the lines are not always of uniform length. When a word was divided, the hyphen was allowed to project and give to the right side of the column a ragged appearance. When there were too many letters for the line, words were abbreviated. The measure was narrow, and it was only through the liberal use of abbreviations that the spacing of words could be regulated. The period, colon and hyphen were the only points of punctuation.