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In Skeleton I the foot of the T in RT I is nicked on C1, D4 and subsequently but is whole on C3 and C4; Rule 18 is bent at 5.90 cm. on C4v and subsequently but not so bent on C1v and C2v; Rule 12, which appears on C3 and C4, is replaced by Rule 13 on C1 and D4. These details show C2v:3 and C1v:4 to have been machined before C1:4v and D1v:4. Rule 24 is bent on C1 and C4 but not so bent on C3; Rule 16, which appears on C3, is replaced by Rule 17 on C1 and C4. Thus C2v:3 was machined before C1v:4 and C1:4v. In D1v:4 the The of RT III is reset at D1v and Rule 24 is bent out at 1.30 on D4. D1v:4, then, must have been machined after all the formes of C imposed in Skeleton I; and the evidence, taken together, proves that these formes were worked in the order

Skeleton:	I	I	I	I
Forme:	C2v:3	C1v:4	C1:4v	D1v:4
Center-rule:	28 36	33 28	28 36	32 --

In Skeleton II Rule 3 is nicked at 7.80 throughout D but not so nicked on C2, and Rule 4 is bent left on D1 but not so bent on C2. C2:3v was thus first printed. Rules 7 (nicked at 14.85), 8 (nicked at 15.40), and 9 (bent right at the top) all appear damaged on D3v but not on D2v, showing that D2v:3 preceded D2:3v. The appearance on D2 and D3 of Rule 5 (which may be the imprint of the foot of another rule) suggests, though it does not prove, that D2:3v was run directly after D2v:3. The order of printing of these formes was either

Skeleton:	II	II	II	II
Forme:	C2:3v	D2v:3	D2:3v	D1:4v
Center-rule:	32 29	29 32	33 29	28 --

Skeleton:	II	II	II	II
Forme:	C2:3v	D1:4v	D2v:3	D2:3v
Center-rule:	32 29	28 --	29 32	33 29

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Composition and Distribution

As shown by the graphs, types reappearing in Quires C and D fall into two quite distinct clusters. One embraces all Quire C but C2 and is linked by B3 type (C graph, lines 1 and 2) with the typecase from which Compositor B set his pages of Quire B. The other embraces C2 and Quire D (where D4 is a part-page and D4v a blank) and is linked by B2v types (D graph, line 1) with Compositor A's previous work. That all the aberrant types discovered in Quire C (that is, types that should be found in material set from Case A rather than Case B) are C's suggests the borrowing of some

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of these italic letters from Case A, and that all the aberrant types in the Case A pages come from C3a may indicate that the column was distributed primarily into Case A rather than into Case B as indicated on the Quire C graph (line 14), although if this were true the C3a types, unless covered by C2:3v types simultaneously distributed, would be expected to reappear in D2v rather than D3.

The two clusters of reappearing types accord well with the two spelling patterns which in Quire B served to distinguish Compositor B's work from Compositor A's, making it generally clear that Compositor B set all Quire C but C2 and that Compositor A set C2 and Quire D. The two near(e) spellings in C4a, where five unusual dye spellings also occur, are found in the song, set in italics, on that page; they could possibly indicate another hand but are, I think, more likely to be an uncharacteristic response on Compositor B's part to copy of a different nature from that of the text. The one B1b type appearing on C4a (C graph, line 9) is in the song; if it is correctly identified, the song would at least have been set from Case B.

Although there are a few inevitable obscurities, the Quire C graph allows us to follow Compositor B's work with some precision. If we suppose that B began work on C2v immediately after he completed B4, we can roughly represent the temporal relationship between the activities of the two workmen as follows:

While Compositor A set:	B1	B4v	C2
Compositor B set:	C2v	C3	C3v.

The graph, however, clearly implies that B4va was distributed into Case B between the composition of C3va and C3vb (line 7). Because the sequence given above would have B4v on the press while C3v was composed, it is probable that the relationship was more like the following, where X represents an interval in Folio composition:

While Compositor A set:		B1	B4v	C2
Compositor B set:	X	C2v	C3	C3v.

Since B3 types reappear in C2v (lines 1 and 2), work must have begun with this page, perhaps after the partial distribution of B3v (lines 3 and 4). The B3v types reappear in a peculiar way. When types were distributed and reused immediately to set the material under scrutiny, we most often find a spate of recognizable letters followed by the occasional and rather isolated reappearance of other letters from the same source (as in lines 5, 6, and 7). Types from B3v, however, reappear sporadically from the first, even though of the sixteen types recognized on B3v fourteen reappear somewhere in Quire C. Had the B3v types gone into non-Folio matter whence they were later distributed for reemployment in Section 1, we would expect a group of them to show up in a subsequent quire. Here it seems instead that the distribution of B3v began and was suspended, an insufficient number having been returned to the case to cover up the layer of B3 types already

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in the boxes. Why much of B3v was left standing for a while is not apparent, but it looks as though the remainder was not returned to the case until after C2v was completed and before C3 started, whereupon the types were blanketed by the further distribution of B4 (lines 5 and 10).[18] The composition of C3 ensued, following which the forme was imposed in Skeleton II with CRs 28 (from B4) and 36 (from B3v) and sent to press. While Compositor B was engaged with C3 or C3v, Compositor A set C2, so

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that C2:3v was the second forme ready for the press. From this point on, Compositor B seems to have set C1v:4 and C1:4v without significant irregularity, the priority of C1v:4 being indicated by the fact that C2va types only reappear on C4b (line 12) whereas C1 and C4v contain types from C2va as well as types from C2vb and C3 (lines 13-15). So far the evidence points to the following order of printing:

Skeleton:	I	II	I
Forme:	C2v:3	C2:3v	C1v:4
Center-rule:	28 36	32 29	33 28

When other evidence relating to the order of printing was examined earlier, it was concluded that of the formes imposed in Skeleton II either D2v:3 or D1:4v must have followed C2:3v through the press. Because D2v type reappears in Quire D (D graph, lines 13 and 14) but D1:4v type does not[19], we may be sure that the first of the two possible orders is correct and that D2v:3 was the next forme after C2:3v to be machined in Skeleton II. Moreover, the reappearance of D2v type later in Quire D indicates that it was the first forme of the quire to be printed, and the earlier reappearance of its type than type from C1 (lines 15 and 16) shows that D2v:3 preceded C1:4v through the press. Thus the scheme for the order of the printing may be continued as follows:

Skeleton:	I	II	I	II	I	II
Forme:	C1v:4	D2v:3	C1:4v	D2:3v	D1v:4	D1:4v
Center-rule:	33 28	29 32	28 36	33 29	32 --	28 --

Insofar as composition is concerned, however, it is obvious from the reappearance of the C2:3v CRs (32 and 29) and C2 types (lines 7 and 8) in D2v:3 that Compositor A did not begin setting Quire D material immediately after he completed C2. Although the text contained in the two quires was divided between the workmen more-or-less evenly, Compositor B being responsible for seven pages and Compositor A seven and roughly a half (D4, on which the play ends, contains thirty-one lines of text followed by a prologue and an epilogue, both brief), it seems that composition was rarely simultaneous. Compositor A probably set C2 at about the same time that B set C3v, but the compositors' singlehanded work on so many formes must have been necessary because both were from time to time engaged in other pursuits, returning to Quires C and D as occasion permitted.