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                <text>Bibliothèque portative des écrivains françois</text>
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                <text>This example of mottled paper, a very classic design, displays much more modern colours, with its tones of burgundy, black and cream. </text>
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                <text>Moysant, François</text>
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                <text>Archives and Special Collections, University of Ottawa [PQ1109.M8 1803]</text>
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                <text> Londres, Dulau et co. [etc.]</text>
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                <text>La Vie de Mademoiselle Le Gras : fondatrice et premie gravere supeacuterieure de la Compagnie des Filles de la Chariteacute;, Servantes des pauvres malades</text>
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                <text>This image shows a very fine mottling scheme, where the white/cream colours are omnipresent on a background of red and blue. In this example, the dark colours had been deposited on the surface of the liquid mixture before the white. It is this last colour, the white/cream, which then has a chance to expand over the surface of the water and dominate the colour scheme. </text>
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                <text>Gobillon, Nicolas</text>
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                <text>Paris, A. Pralard</text>
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                <text> Henrici Hoogeveen Doctrina particvlarvm graecarvm [...]</text>
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                <text>A further example of paste paper where the colour scheme has been generated by the “pulled” technique. In this case, one clearly sees the “pulling” or stretching effect that the glue has undergone in producing this design.&amp;nbsp; This&amp;nbsp;example carries an irregular pattern. The end design created is dependant on the amount of the glue mixture placed on the paper, but more importantly, on the skill and steadiness of the artist’s movements when pulling apart the sheets.</text>
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                <text>Hoogeveen, Hendrik (1712-1791)</text>
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                <text>Archives and Special Collections, University of Ottawa [PA351 .H63 1782]</text>
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                <text>Schütz, In Bibliopolio ervditorvm</text>
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                <text>1782</text>
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                <text>Archives and Special Collections, University of Ottawa</text>
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                  <text>The Rare Book Collection includes  over 14,000 printed books from the 15th to the 20th centuries which cover subjects such as medicine, law, literature, philosophy, natural sciences, geography, science, architecture, history, arts, etc. The collection includes books published in Europe and America, but there is also a significant collection  of Canadiana, including periodicals.</text>
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                <text> Le Tusculane di M. Tullio Cicerone recate in Italiano : con la tauola nel fine di tutte le cose degne d'annotatione</text>
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            <name>Creator</name>
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                <text>Cicero, Marcus Tullius (106 BC-43 BC)</text>
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                <text>Archives and Special Collections, University of Ottawa [PA6314 T8F38 1544]</text>
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                <text>In Vinegia, Apresso Vicenzo Vaugris a'l segno d'Erasmo</text>
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                <text>1544</text>
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                <text>Archives and Special Collections, University of Ottawa</text>
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                <text>Italian</text>
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                <text>This particular motif was the most popular in the 18th century. With this text dating to the mid 16th century, we have clear example of the time lags that can occur between a book’s date of printing and it's binding. This work may have also been rebound more than once in its lifetime. A book’s owner had the freedom to customize his possession at will, funds permitting, and have it decorated to the exacting requirements of his own taste.</text>
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                <text>The design here imitates that of a peacock’s fanned tail. After one has deposited the colours on the thickened solution of water and used the comb to create the first series of designs, one then uses a stylus to refine the design. The marbler is required to have a mastery of this technique for this artistic endeavour to be a success. </text>
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                <text>Archives and Special Collections, University of Ottawa  </text>
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                <text>Basileae, Apud Hieronymum Frobenium et Nicolaum Episcopium</text>
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                <text>[Leshon lemudim] = Lingva ervditorvm; sive Methodica institutio linguæ sanctæ [...]</text>
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                <text>Elizabeth Flesher was the widow of printer James Flesher (? - 1670), himself son of printer Miles Flesher. The Fleshers, father and son, were most renowned for their printing of Arabic texts, so it would be quite appropriate for this text containing yet another Semitic language, in this case, Hebrew, to originate from their inherited Press. Elizabeth inherited her husband’s printing business upon his death in 1670 and is known to have been active in London from about the time of her husband’s death to just before 1680. She was no stranger to the bibliographic world even before her marriage, as she was the daughter of Cornelius Bee, a London bookseller! &lt;br /&gt;</text>
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                <text>Valerii Maximi dictorum factorum q. memorabilium exempla : adiecto indice propriorum nominum, rerumque memoria dignarum locupletissimo</text>
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