Level 1: Access to the textual/illustrative material in the imaged item
   • Thumbnails, miniatures of each page view, link directly to the corresponding image.
   • Bookmarks form a text-based index of content that links to page views. Bookmarks may be developed as nested hierarchies and are concise for quick scanning; they are language-specific to the original and can be readily translated into other languages.
   Level 2: Bibliographical and supplementary material (text and images) that label and describe the image content
   • Text and images describing the owner of the imaged item(s) (i.e., institution, library, private collection).
   • Binding description, where applicable — includes size, materials, decoration, style, flaws, etc.
   • Collation statement detailing each leaf of the book relative to the gatherings as they were positioned at the bindery; photographs, manuscripts, maps, and prints each have a specific descriptive heritage and those conventions are observed.
   Level 3: Search functionality, i.e. text that makes the content of the image text fully searchable
   • Transcription of the text of the imaged book or manuscript. Images salient to the content, such as illustrations the text is describing, are included in transcriptions. Transcriptions are provided when the original text is in an antiquated language, when illegible penmanship needs deciphering, or when search capabilities are wanted.









   • Text layers enable word or phrase searches while viewing the imaged book or manuscript rather than searching a separate transcription. In the case of books from the fifteenth through sixteenth centuries, typeset abbreviations (a carryover from manuscripts) are often present and must be expanded by hand. After the text is proofread for accuracy, each word is aligned to the image.    
Level 4:
Editorial supplements that contextualize and enrich the content of the original
   • Auxiliary images clarify concepts and give readers an opportunity to compare texts, printing techniques, and different editions of the same work. Our interface allows for auxiliary images to be compared to the original on-screen.
   • Commentaries vary in length and content and may include a variety of supplementary images and charts. They illuminate the imaged work by placing it and its creator within coherent historical, cultural, and intellectual contexts.
   • Essays may examine the artistic processes used to create the object itself, such as specific printmaking techniques, or may focus on a subject relating to the scholarship or bibliographical history of the original work.
   • Bibliographies relevant to the digitized text allow further exploration of the subject matter and are prepared according to established practices.
   • Provenances describe the unique history of the imaged book, manuscript, or artwork and elaborate on former owners and their collections, auctions, and pricing.
   • Audio files — music or readings that enhance the understanding of the content — may be included; for example, Stravinsky autographs accompanied by recordings of the compositions.
   • Video, whether archival footage or newly created, may be added to a digital edition to elucidate specific points in the text.

An Historical and Genealogical Account of the Noble Family of Greville (London, 1766). This copy was owned by Robert Fulke Greville (1751–1824), whose signature appears on the bookplate and title page. He was the third son of Sir Francis Greville (1719–1773), first Earl of Warwick. This unique copy is gilded and hand-colored throughout.

Warwick crest. Heraldic terminology, a relic of the twelfth-century Anglo-Norman origins, describes the crest: Bear erect, muzzled and ragged (for the rough trimming of a tree trunk), argent (French for silver), and gules (Old French for red).

Gilt lettering on the spine of Thomas James Cobden-Sanderson's two-volume edition of Johann Goethe’s Faust. Eine Tragoedie. Hammmersmith: Doves Press, 1906.
42-line editions can include searchable text. Detail of title page, Leon Battista Alberti, D’architettura Venice: F. Franceschi, 1565.

Detail, Ophelia. William Shakespeare, The Tragedie of Hamlet, Prince of Denmarke (Weimar: Cranach Press, 1930). The book's 186 illustrations, by Edward Gordon Craig, were cut from oak type furniture. In Act IV, Scene 5, Ophelia walks in the great hall at Elsinore: Craig devised the background with 15 endgrain wood blocks.