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[title page]

A Rationale of Collecting by G. THOMAS TANSELLE

Roberto Ridolfi, Italian Bibliographical Scholar by CONOR FAHY

Fists and Filiations in Early Chaucer Folios, 1532-1602 by Joseph A. Dane

THOMAS USK'S "PERDURABLE LETTERS": THE TESTAMENT OF LOVE FROM SCRIPT TO PRINT by Anne Middleton

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III

APPENDIX A CHAPTER-LENGTHS AND PAGE-DISPOSITIONS OF THE LOST MANUSCRIPT

Appendix BInferred Quiring of Testament Manuscript

Appendix CThynne's Initials at Chapter-Divisions

Notes

Petruccio And The Barber's Shop by LAURIE E. MAGUIRE

PATTERNS OF PAPER USE IN THE WORKES OF BENIAMIN JONSON (WILLIAM STANSBY, 1616) by David L. Gants

JOHNSON, BIATHANATOS AND THE INTERPRETATION OF MANUSCRIPT EVIDENCE by Mark Bland

'Of which being publick the Publick judge': Pope and the Publication of Verses Address'd to the Imitator of Horace. by JAMES MCLAVERTY

CREATING A GOOD IMPRESSION AT THE OXFORD BIBLE PRESS IN 1743 by B. J. McMullin

Profits From Play Publication: The Evidence Of Murphy v. Vaillant by JUDITH MILHOUS AND ROBERT D. HUME

THE FIRST TITLE PAGE OF LYRICAL BALLADS, 1798 by Mark L. Reed

ATTRIBUTIONS OF AUTHORSHIP IN THE BRITISH CRITIC DURING THE EDITORIAL REGIME OF ROBERT NARES, 1793-1813 by Emily Lorraine de Montluzin

Gilman's Manuscript Of "The Yellow Wall-Paper": Toward A Critical Edition by SHAWN ST. JEAN

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Colophon

This book was printed by letterpress from type cast on the Linotype by Heritage Printers, Inc. of Charlotte, North Carolina. The typeface is Baskerville, a design by John Baskerville (1706-1775), English printer and typefounder. Linotype Baskerville is a weight-for-weight and curve-for-curve copy of Baskerville's celebrated printing type. The pattern for the cutting was a complete font of (approximately) 14 point, cast from Baskerville's own matrices--exhumed at Paris, France, in 1929. The paper is 70-pound Glatfelter, an acid-free paper with a useful life of 300 years.