Part 2

Being ambitious of making his extraordinary invention known, and of value to himself, but being at the same time deficient in the means, he opened his mind to a wealthy goldsmith and worker in precious metals, named John Fust, or Faust, and prevailed on him to advance large sums of money, in order to make further and more complete trials of the art. Guttenberg, being thus associated with Faust, the first regular printing office was begun, and the business carried on in a style corresponding to the infancy of the art. After many smaller essays in trying the capabilities of a press and moveable types, Guttenberg had the hardihood to attempt an edition of the Bible, which he succeeded in printing complete between the years 1450 and 1455. This celebrated Bible, which was the first important specimen of the art of printing, and which, judging from what it has led to, we should certainly esteem as the most extraordinary and praiseworthy of human productions, was executed with cut metal types, on six hundred and thirty-seven leaves; and, from a copy still in existence in the Royal Library of Berlin, some appear to have been printed on vellum. The work was printed in the Latin language.

The execution of this--the first printed Bible--which has justly conferred undying honours on the illustrious Guttenberg, was most unfortunately, the immediate cause of his ruin. The expenses incident to carrying on a fatiguing and elaborate process of workmanship, for a period of five years, being much more considerable than what were originally contemplated by Faust, he instituted a suit against poor Guttenberg, who, in consequence of the decision against him, was obliged to pay interest, and also a part of the capital that had been advanced. This suit was followed by a dissolution of partnership; and the whole of Guttenberg’s materials fell into the hands of John Faust.

Besides the above-mentioned Bible, some other specimens of the work of Guttenberg have been discovered to be in existence. One in particular, which is worthy of notice, was found some years ago, among a bundle of old papers, in the archives of Mayence. It is an almanack for the year 1457, which served as a cover for a register of accounts for that year. This would most likely be printed towards the close of the year 1456, and may, consequently, be deemed the most ancient specimen of typographic printing extant, with a certain date.

Antiquaries and Bibliomaniacs have found considerable difficulty in ascertaining by what process Guttenberg manufactured types; but it appears to be the prevalent opinion, that those which he first used were individually cut by the hand; and being all made as near a height and thickness as possible, they were thus put together in the forms. The cutting of these types must have been a tedious, as well as laborious, occupation. This ingenious man, however, soon discovered the mode of casting his types, by means of moulds; for without this great accessory to the art of printing, he conceived it was next to impossible to carry on his business. The art of type-founding is therefore given to John Guttenberg, in which it would appear he has had no competitor for the honour; but, it is but justice to state that the plan of striking the moulds with punches was a subsequent invention of Peter Schoeffer, his successor, who became partner with Faust, and afterwards his son-in-law.

That Guttenberg was a person of refined taste in the execution of his works, is sufficiently obvious to every person who has had the opportunity of seeing any of them. Adopting a very ancient custom common in the written copies of the Scriptures and the missals of the church, he used a large ornamental letter at the commencement of books and chapters, finely embellished, and surrounded with a variety of figures as in a frame. The initial letter of the first psalm thus forms a splendid specimen of the art of printing in its early progress. It is richly ornamented with foliage, flowers, a bird, and a greyhound, and is still more beautiful from being printed in a pale blue colour, while the embellishments are red, and of a transparent appearance.

What became of Guttenberg immediately after the unsuccessful termination of his law-suit with Faust, is not well known. Like the illustrious discoverer of the great Western Continent, he seems to have retired almost broken-hearted from the service of an ungrateful world, and to have spent most of the remainder of his days in obscurity. It is ascertained, however, that, in 1465, he received an annual pension from the Elector Adolphus, but that he only enjoyed this trifling compensation for his extraordinary invention for a period of three years, and died in February 1468.

John Faust, who as we have seen, obtained the materials of Guttenberg, laid claim to the invention, which has been granted to him by several. Having sufficient capital at his command, he pushed the trade with great advantage to himself. In the Bibles which he printed he frequently omitted the capital and initial letters, leaving them blank for illumination in gold or azure; this was designedly done for the purpose of imposing upon the public printed copies for M.S. transcripts. The report which is in circulation concerning Faust, appears to come in support of this assertion: it being said he was at Paris, and offering a quantity of his Bibles for sale as M.S. The French, considering the number of them, and also remarking the exact similarity and accuracy of them, even to a single point, concluded it was impossible for the most accurate copyist to have transcribed them so correctly. They suspected him of necromancy, and either actually indicted him, or threatened to do, as a magician; and by this means obtained his secret: whence came the origin of the popular story of Dr. Faustus, his dealing with the devil, and tragical death.

In 1462, when Mentz was plundered and disfranchised of its former liberties, printing rapidly spread through a great part of Europe, particularly its artizans in that branch of art, settled at Haerlem, Hamburgh, and other places; from Haerlem it travelled to Rome in 1466, when the Roman character was adopted in 1467, and soon perfected.

In the reign of Henry VI., the Archbishop of Canterbury sent R. Turnour, master of the robes, and W. Caxton, merchant, to Haerlem, to learn the art. These individuals privately prevailed upon one Corselis, an under workman to come to England: and a printing press was established at Oxford. This appears in a MS. chronicle still preserved; it informs us, that the execution of the concern entrusted to Turnour and Caxton cost 1500 marks; and that printing was established at Oxford before there was any printer or printing presses in France, Italy, or Spain.

The University of Oxford press was soon discovered to be too remote from the seat of government, and too great a distance from the sea, other presses were speedily established at St. Alban’s and the Abbey of Westminster.

In 1467, printing was established at Tours, at Reuthlingen, and Venice, in 1469; and it is likely at the same period at Paris, where several of the German printers were invited by the Doctors of the Sorbonne, who established a press in that city.

All important as the art of printing is acknowledged to be, yet three centuries elapsed from the date of the invention before it was perfected in many of its most necessary details. At first the art was kept entirely in the hands of learned men, the greatest scholars often glorying in affixing their names to the works as correctors of the press, and giving names to the various parts of the mechanism of the printing-office, as is testified by the classical technicalities still in use among the workmen. From the great improvement of punching moulds for casting types by Schoeffer, as formerly mentioned, till the invention of italic letters by Aldus Manutius, to whom learning is much indebted, no other improvement of any consequence took place. It does not appear that mechanical ingenuity was at any time directed to the improvement of the presses or any other part of the machinery used in printing, and the consequence was, that till far on in the eighteenth century, the clumsy presses, which were composed of wood and iron, and slow and heavy in working, were allowed to screech on as they had done since the days of Guttenberg, Faust, and Caxton, while the ink continued to be applied by means of two stuffed balls, at a great expense of time and labour.

At length, an almost entire revolution was effected in the printing office, both in the appearance of the workmanship and the mechanism of the presses. About the same period the art of stereotyping was discovered, and developed a completely new feature in the history of printing. One of the chief improvements in typography was, the discarding of the long s, and every description of contraction; while, at the same time, the formation of the letters was executed with more neatness, and greater regularity.

Among the first improvers of the printing press, the most honourable place is due to the Earl of Stanhope, a nobleman who will be long remembered for his mechanical genius; besides applying certain lever powers to the screw and handle of the old wooden press, by which the labour of the workman was diminished, and finer work effected; he constructed a press wholly of iron, which is known by his name.

Since the beginning of the present century, and more especially within the last thirty years, presses wholly of iron, on the nicest scientific principles, have been invented by men of mechanical genius, so as to simplify the process of printing in an extraordinary degree; and the invention of presses composed of cylinders, and wrought by steam, has triumphantly crowned the improvements in this art. The alteration effected by steam power has been as great in the printing business, as in any branch whatever; for example, with the old wooden press, it took a man two days to complete 1000 sheets, (that is, printed on both sides); whereas the London “Times,” by means of the steam press completes 24,000 in one hour! Almost every newspaper in the kingdom is printed by cylinder-presses, although some are worked by hand instead of steam; they are also used in other departments of the printing business.

The introduction of steam-presses would have been of comparatively little benefit, if it had not been furthered by another invention of a very simple nature, now of great value to the printer. We here allude to the invention of the roller for applying the ink, instead of the old clumsy and inefficient balls. The roller, which is simply a composition of glue and treacle, cast upon wooden centre-pieces, was invented by a journeyman printer from Edinburgh, about thirty years ago, and was so much appreciated by the trade, as at once to spread over the whole of Europe.

Were it possible to conjure up the spirits of the illustrious Guttenburg and his contemporaries within the office of the London “Times,” or some other large printing-office, where everything is conducted with rapidity, quietness, and order, John Faust might well think that the printers of the nineteenth century had actually consummated what he was only accused of in the fifteenth--completed a compact with the devil!

As it would be a waste of time for us to pretend to describe the various processes and materials required in this beautiful art, as we are aware that, without actual observation, no conception can be formed,--this we know from experience, and though we might, like many others, have pretended to give a description, we are perfectly aware that we would have been unintelligible to the majority of our readers, and very deservedly laughed at for our trouble by any practical printer who might happen to read our pages; as far as we have gone, however, in giving a brief historical account of the art of printing, we have no doubt it will be found correct, as have consulted the best authorities.

STEREOTYPE.

Stereotype, as we have mentioned in the former article, was introduced about the middle of last century; and as it is so intimately connected with the art of printing, we could not find a more appropriate place than immediately following that noble art.--Earl Stanhope has been named as the inventor; but for this we have not sufficient authority, and it appears extremely doubtful; as stereotyping appears to have been invented simultaneously, in various parts of England and Scotland, by different persons; still it was upwards of sixty years before it was brought to such perfection as to be applicable for any beneficial purpose.

When properly made known, it was hailed with approbation by those more immediately interested--the printers and publishers: but as experience more fully developed its powers, it was found available only for particular work. For the better understanding of this art, which is comparatively little known, we will give a description of the process, which we are enabled to do by the assistance of an experienced workman.

In _setting_ the types, they are lifted from the case, one by one, with the right hand, and built in a small iron form, called a _composing-stick_, held in the left hand of the compositor, who sets line after line till the stick is filled, when he empties it upon a _galley_, and commences again in the same manner, till he has got as much up as will make a page; this page he ties firmly up, and places upon a smooth stone, or cast iron table. In this manner he continues, till he gets as many pages as will make a _form_, which consists of 4, 8, 12, or more pages, as the case may be. If this form is to be worked off at press without stereotyping, the pages are all imposed in one _chass_, and carried to press for working, and when the whole of the impression is off, it is thoroughly washed, and carried back to the compositor for distribution--that is, putting the types in their proper places. When these pages are to be stereotyped, they are _imposed_ separately, and carried to the stereotype foundry, where they are examined, and all dirt taken from the face; they are then slightly oiled, and a _moulding-frame_ put round each. The frame is filled with liquid plaster of Paris, which is well rubbed into the face of the type to expel the air. As soon as this plaster hardens, it is removed from the page, and shows a complete resemblance of the page from which it is taken. The mould is put into an oven to dry, where it remains till it resembles a piece of pottery; it is then put into an iron pan, in which there is a thin plate of the same metal, called the _floating-plate_; it has also an iron lid, which is firmly screwed down, and the whole is immersed in a pot of molten type-metal, which fills the pan by means of small holes in the corners of the lid. The length of time it remains in the pot depends upon the heat of the metal, but it is generally from ten to fifteen minutes, when it is taken out, and put aside to cool. On opening the pan, nothing is seen but a solid lump of metal, which, when carefully broke round the mould, a thin plate is obtained from the mass, exhibiting a perfect appearance of the page from which the mould was taken.--This is called a stereotype plate, which in general is not above the eighth of an inch thick, and is printed from in the same manner as a page of types. Such is the process of stereotyping, which has become pretty general throughout the trade, but is not much known to the public.

ENGRAVING.

ON WOOD.

As we have shown in our article on Printing, Wood-engraving was in fashion prior to the invention of printing. We are informed by Albert Durer that Engraving on Wood was invented about the year 1520; he may be a good authority in some matters, but in this he has committed a mistake of nearly one hundred years; seeing that there is at least an impression of one engraving on wood, the representation of the Creation, which was in existence prior to 1430. It was undoubtedly a piece of rough workmanship; but what could be expected at that early period of the art? It has been, however, gradually improving ever since, and it has now attained a point of excellence equal to any of the fine arts, and calls forth the admiration of every lover of the beautiful. It would be invidious to select any of the numerous artists now flourishing--perhaps it would be difficult to make a selection where so many are upon an equality; and we are of opinion they themselves are more willing to accept the public approbation as their reward, than any praise our pen could bestow. All we can do is to recommend our readers to examine for themselves; they have abundant opportunities in the numerous illustrated publications that are daily issued from the press, and bestow that meed of praise upon the respective artists they may deem proper.

The process of engraving on _wood_ is diametrically distinct and opposite to that of engraving on _copper_ or _steel_; as in the former, the shades are produced by the parts of the work which are made most prominent, and obtrude upon the surface of the substance; whence its chief merit has been regarded in leaving broad and well-proportioned lights. The parts to produce this effect being of necessity excavated, great art and a masterly judgment are necessary to effect this, and at the same time not to weaken the substance, lest it should be injured in the pressure necessary to produce an impression.

The substance usually employed for these engravings is wood of a close grain; on this account box-wood is generally selected. The impressions are obtained from wood-engravings upon exactly the same principle as are the impressions from typography; and they can also be worked off at the same time with the descriptive text. This is a superiority which wood possesses over other engravings, and recommends itself to publishers on account of the immense saving in the expense of a double process in procuring copper-plate illustrations for typographical works, and enables them to keep pace with the ruling passion of this literary era--cheap publications.

ON COPPER.

The art of engraving on copper plates, for impressions, is alleged to have been invented by Peter Schoeffer, one of the early printers, and son in-law of John Faust, about the year 1450. The honour of this invention is also claimed by a Florentine goldsmith of the name of Finguires, who dates his invention in 1540. This artist having used liquid sulphur to take an impression of some chasing and engraving he had made, observed a blackness produced by the sulphur left in the deepest parts of his work, whence he obtained an impression on paper.

But we have no hesitation in giving the preference to Schoeffer, who, we have previously remarked, was of an ingenious turn, and assisted Guttenburg in producing moulds for casting his types; in addition to which, some of the books printed by him are ornamented with head and tail-pieces, with other rude attempts at engraving; and likewise because Schoeffer’s claim to the honour was acknowledged before Finguires was born.

Of engraving there are various kinds; that called by connoisseurs, the legitimate mode of engraving, is what is termed the _line_ or _stroke_ mode. Numerous have been the British artists who have excelled in this style, in affording the means of multiplying our graphical productions.

The next species of engraving we will notice is called the _stipple_, or chalk style,--imitations of chalk drawings. Portraits and historical pieces are executed in this style, which the celebrated Bartolozzi brought to perfection.

The third species we will mention, cannot properly be called engraving; the effect is produced by scraping and rubbing; this kind is called _chiaro obscuro_, or mezzotinto; producing prints which have the effect of Indian ink drawings.

A fourth species of engraving is what is commonly used for landscapes, which produces an effect like a pencil water-colour drawing; which is called _aquatinta_.

In all of these kinds of engravings upon copper the artists find the sulphuric acid, or aquafortis, a most powerful agent. Sometimes, indeed, it is suffered to execute the whole of the process of the graver, especially when it is called an etching.

For the same reasons as those mentioned with regard to wood engravers, we shall abstain from naming any of the very eminent artists now living.

We have already observed the mode of obtaining similar effects from wood and copper, are opposite to each other. The manner in which impressions from wood engravings are obtained, has likewise been noticed; and it remains that we observe the mode by which impressions are obtained from copper-plates. The plate is covered with appropriate ink; the surface is then carefully cleansed, leaving ink only in the excavations or lines in the copper. The plate and paper are passed through a roller press of great power, the roller being covered with a blanket, which presses the paper into all the crevices of the plate, and brings away the ink there deposited.

ON STEEL.

For several years steel has been used in great quantities, instead of copper-plates, by engravers. By this fortunate application of so durable, and it may be added, so economical a material, not only has a new field been discovered admirably suited to yield in perfection the richest and finest graphic productions, which the ingenuity of modern art can accomplish, but to do so through an amazingly numerous series of impressions without perceptible deterioration. The art of engraving on iron or steel for purposes of ornament, and even for printing, in certain cases, is by no means a discovery of modern times; but the substitution of the latter for copper, which has invited the superiority of the British burin to achievements hitherto unattempted by our artists, is entirely a modern practice.

In the year 1810, Mr. Dyer, an American merchant, residing in London, obtained a patent for certain improvements in the construction and method of using plates and presses, &c., the principles of which were communicated to him by a foreigner residing abroad. This foreigner was Mr. Jacob Perkin, an ingenious artist of New England, and whose name has become subsequently so extensively known in this country, in connection with roller-press printing from hardened steel plates. The plates used by Mr. Perkins were, on the average, about five-eights of an inch thick; they were either of steel so tempered as to admit of the operation of the engraver, or, as was more generally the case, of steel decarbonated so as to become very pure soft iron, in which case, after they had received the work on the surface, they were case hardened by cementation.