The second chapter deals with the black page commemorating the death of parson Yorick, often perceived as the pre-eminent symbol of Stern’s experimentation. This chapter suggests that with the black page, Sterne references a longstanding tradition of woodcut ornaments and mourning typography in funeral publications from the seventeenth to the eighteenth centuries, but which had reached their peak in the 1612 commemorations of the death of Henry, Prince of Wales. But he comments on how far this form of typographic commemoration has become clichéd by drawing from two recent typesetting trends: the representation of major funeral processions in newspapers and gravestone-like pages in the mid-century novel, as evidenced in Tom Jones (1749), Peregrine Pickle (1751) and William Toldervy’s Two Orphans (1756). Through considering the rarely studied mourning borders around Yorick’s epitaph alongside the black page’s double-sided covering of black ink, this chapter sees Sterne engaging with past and contemporary clichés of mourning iconography while playing upon – and pushing to its limits – the novelistic epitaph’s self-conscious manipulation of the printed page.