the title ('Fear of Wolves'), two double-page spreads of reproductions of Gustave Doré's engravings to illustrate Little Red Riding Hood. These books benefit a lot from journalistic and cinematographic techniques, some titles include panoramic foldouts, kind of projection on big screen. Two foldouts in the title , one showing Léon Jaussely's reconstruction of the forum of Pompeii, the other representing the actual condition of the theatre quarter in 1859 by using Paul-Émile Bonnet's drawings, both in a panoramic view. In the title ('The Paper: A Daily Adventure'), through a partnership with paper companies, there are even three luxurious foldouts that all made on different papers from Arjo Wiggins, presenting one of the century watercolours on the traditional manufacture of Chinese paper; the other of the engravings and drawings by Albrecht Dürer and Leonardo da Vinci; the third depicts today's paper production line with its different machines. Unlike the in colour, the second part—the "Documents" section ()—is always printed in black and white. It works as an anthology, providing more specialised texts from relevant authors, excerpts, historical records, among others. It contains files made jointly by the author or the publisher, with lead paragraph to link texts and short captions for each file. According to the subject, an annex concludes "Documents" section with a chronology, a filmography, a discography or a bibliography, with a "List of Illustrations" () giving full details of the sources of illustrations, an alphabetical index, as well as photo credits, dedicated to those who want to go deeper into the subject. The collection also stands out for its attention to detail. On the choice of typeface, for example, Trump Mediaeval for body text, ITC Franklin Gothic for titling, Zapf Dingbats for guillemets, italic for captions with an initial and the last line is underlined, et cetera. The French editions are printed by Kapp Lahure Jombart in Évreux, while the Italian printer Gianni Stavro, who has largely contributed to the elaboration of new techniques used in the collection, retains his position as collaborator for international reissues and coeditions. The bindings are solid, sewn and not glued. As Gallimard's promise to their readers, "the most beautiful pocket collection in the world" (). The collection formerly consisted of eighteen series—, , , , , , , , , , , , , , , , and —which have been abandoned, it is now reorganised around seven major subjects with colour