Richard Jones is the most significant publisher of poetry anthologies in sixteenth-century England, one who actively engaged, throughout his career, with the possibilities afforded by the form. Jones specialised in the type of vernacular literature that appealed to the recreational cultures emerging in Elizabethan England, publishing poetry anthologies alongside ballads, plays, and prose romances. This chapter will concentrate on the anthologies Jones produced in the 1560s and 1570s. Despite notable work, these decades continue to be neglected, perceived to be the lean, drab years before the arrival of Spenser, Marlowe, Sidney, and Shakespeare in print. If we turn to non-elite literatures, however, these years were far from lean; instead the production of books of verse designed ‘to recreate ones minde’, in the words of the title-page to Gorgious Gallery, flourished. Jones was very active in this period, publishing a variety of poetry compilations – A Handefull of Pleasant Delites (c. 1566), Isabella Whitney’s The Copy of a Letter (c. 1567) and A Sweet Nosgay, or Pleasant Posye (c. 1573), Nicholas Breton’s A Smale Handfull of Fragrant Flowers (1575) and A Floorish upon Fancie (1577), and A Gorgious Gallery, of Gallant Inventions (1578). A Handefull was a collection of those ‘Trim songes of love’ that John Hall had complained of in The Courte of Vertue (1565) because they were used by young men and women purely for pleasure and amorous entertainments. The poetry anthologies Jones produced in the 1560s and 1570s open much-needed windows on to the diversification of literary cultures across these decades, which allow us to see how those in the business of making books responded to and shaped the interests of the various constituencies making up the middling sort, from prosperous artisans and merchants to those aspiring to gentry status.