ur.
Of the letter T alone there are no less than thirty-four varieties.

The total number of different borders engraved for the Press, including
one that was not used, but excluding the three borders designed for The
Earthly Paradise by R. Catterson-Smith, is fifty-seven. The first book
to contain a marginal ornament, other than these full borders, was The
Defence of Guenevere, which has a half-border on p. 74. There are two
others in the preface to The Golden Legend. The Recuyell of the
Historyes of Troye is the first book in which there is a profusion of
such ornament. One hundred and eight different designs for marginal
ornaments were engraved. Besides the above-named designs, there are
seven frames for the pictures in The Glittering Plain, one frame for
those in a projected edition of The House of the Wolfings, nineteen
frames for the pictures in the Chaucer (one of which was not used in the
book), twenty-eight title-pages and inscriptions, twenty-six large
initial words for the Chaucer, seven initial words for The Well at the
World's End and The Water of the Wondrous Isles, four line-endings, and
three printer's marks, making a total of six hundred and forty-four
designs by William Morris, drawn and engraved within seven years. All
the initials and ornaments that recur were printed from electrotypes,
while most of the title-pages and initial words were printed direct from
the wood. The illustrations by Sir Edward Burne-Jones, Walter Crane, and
C. M. Gere were also, with one or two exceptions, printed from the wood.
The original designs by Sir E. Burne-Jones were nearly all in pencil,
and were redrawn in ink by R. Catterson-Smith, and in a few cases by C.
Fairfax Murray; they were then revised by the artist and transferred to
the wood by means of photography. The twelve designs by A. J. Gaskin for
Spenser's Shepheardes Calender, the map in The Sundering Flood, and the
thirty-five reproductions in Some German Woodcuts of the Fifteenth
Century, were printed from process blocks.

All the wood blocks for initials, ornaments, and illustrations, were
engraved by W. H. Hooper, C. E. Keates, and W. Spielmeyer, except the
twenty-three blocks for The Glittering Plain, which were engraved by A.
Leverett, and a few of the earliest initials, engraved by G. F.
Campfield. The whole of these wood blocks have been sent to the British
Museum, and have been accepted with a condition that they shall not be
reproduced or printed from f