Part 8

“I try to have a great store,” she playfully said, “but he is so taken up with his projects that I can scarcely ever get a word from him. When he leaves his work-shop for the day, and draws his chair to the fire, one would think he might have the grace to be sociable; but there he sits and pokes the fire, reads the fire, studies the fire, half the night, and I would like to know what is the necessity of so much meditation?”

“Ah, madam,” returned Faust, “it is the common experience of inventors to meet many adversities in the outset. You have reason to be proud of your husband. As I understand it, he has made a great discovery,--the beginning of something of vast importance.”

Then, turning to Gutenberg, he added, “I am ready to advance thy invention. But how shall we move? Secrecy is indispensable. We must live in the same house in which we work,--we must consult much together. Where is there a suitable building?”

“I had thought of the Zum Jungen,” said Gutenberg.

“The very place. It is almost a palace in size, and will afford ample room; is in the city, and yet retired from its bustle. It is now vacant, and I will go and engage it at once. This evening let us draw up a written contract, or articles of agreement, and I will advance the needed funds. When can you remove?”

“To-morrow, can we not, Anna?”

“Why,” exclaimed she, “can we get ready so soon? We are scarcely settled yet.”

“The easier to remove,” replied Gutenberg; adding, “moreover, the Zum Jungen is a very beautiful place, and reminds me of the old castle Thür, where I first met my Anna!”

“Let us go at once,” immediately returned the wife; “it must be delightful. Why cannot De Becktoff de Hanau come and help us remove?” alluding to an old servant and valet of the Gutenberg family, who, like others of their servants, had been allowed to hire himself out, since he could not be maintained.

“A good thought, wife; he shall take charge of our goods, and we shall avoid some of the fatigue of a second removal. I will bring him hither;” and Faust having taken leave, Gutenberg hastened to find the old valet.

XIII.

The Zum Jungen.--The Old Valet.--A Happy Change.--Going over the Process anew.--Type of Lead.--Peter Schoeffer.

The Zum Jungen, that famous old house on the Rhine, was engaged; the articles of agreement duly drawn up and signed. Faust advanced 2,020 florins, taking a mortgage of Gutenberg’s printing materials as security; and the firm, having removed their families to the building, commenced operations in the printing rooms. Hanau, the valet of the elder Gutenberg, was especially serviceable in the removal, and was soon installed as a faithful helper in the office.

“What think you of this?” said Gutenberg to Anna one morning, soon after the settlement in their new quarters, as they stood on the balcony that overlooked the river.

“O, it is so beautiful!” she replied. “Never will I tire of this scenery. There; do you see those swallows sitting so still upon their nests under the roofs? Now one flies off zigzag to the ground, after a worm; now she bears it back, perches upon her nest, and chippers with her little ones as they eat their breakfast. Hear them chatter! Then how fragrant the flowers! How pretty the hills, clad in vineyards! I feel at home already, and I mean to be happy, and let no foreboding trouble me. I do not yet ride in a coach, and dine like a queen, but my home is in a palace. How good it was in Faust to advance money! What a difference it makes in our circumstances!”

“Besides, how it affects my art!” returned Gutenberg. “How could I prosper without it? And, Anna, we do well to remember that there has been providential interposition in our affairs. We must acknowledge it if we would be directed. Think of the long trial we have had, and of our deliverer.”

“It does seem like a miracle. But how canst thou ever make new types and presses like those which were destroyed at Strasbourg?”

“Trust me I shall not be long of doing that,” answered Gutenberg. “I am encouraged. The prospect was dark until my arrangement with Faust; but we shall do well enough, now that abundant means are provided.”

At first the firm was occupied with some of the block books which had been issued at Strasbourg. Among these were the “Absies,” or alphabetical tables, the “Doctrinale,” and a manual of grammar, or “Donatus.”

The work did indeed go prosperously forward. Gutenberg, Faust, Hanau, and Martin Duttlinger,--the last named a Cathedral scholar who had assisted in printing at Dritzhn’s shop,--were occupied from early in the morning till late at night in cutting type and setting it up. Faust had also occasionally some of his workmen--a Hamburgher among them--in the printing hall. They wrought in two well-lighted, convenient rooms in the second story,--so surrounded by other rooms as not to be accessible to strangers,--which apartments they kept constantly locked.

Step by step, the company went through in a few months what caused Gutenberg years of experimenting, as we in a few hours can read a book which cost the author the study of a life. Not that they really mastered everything as did their teacher. That which he himself elaborated, was indeed a part of his mind, his inventions being his thoughts embodied. Hence the propriety of giving him so prominent a place in this volume. The art cannot be fittingly portrayed without sketching its originator. Like soul and body, they belong together; it is impossible to picture one without the other.

To describe the process by which Gutenberg taught his art, would be to repeat the progress of the Strasbourg firm, save that the Mentz printers were more hopeful, earnest, and intelligent, and did not so easily yield to obstacles; and also the difference that they were immediately advanced to movable type.

“We are making fine headway,” said Faust to Gutenberg, when the works referred to had been printed.

“Yes, but we sadly need a designer for our engravings. How I miss my Andreas Dritzhn, of happy memory, who did excellent service in this line at Strasbourg.”

“Cannot some one be found to fill his place?”

“I know of only one man that would do,” replied Gutenberg, “and that is young Peter Schoeffer, a teacher of penmanship, now residing in Paris. I must send him word to join us.”

As the printing went on, Gutenberg encountered the old difficulty of the softening of the type, and, on being questioned by Faust respecting it, set his ingenious mind to work to remedy it.

Turning to a drawer of odds and ends, and taking out some bits of metal, he said, “Suppose we make our type of lead!” Faust took up a strip, and, commencing a rude letter on the end of it, said, “This will do, assuredly. It is hard, and yet we can cut it, and it will not become soft, as does wood, by absorbing ink.”

“We can at least test it,” said Gutenberg. “If it should not prove to be just what we need, it may suggest something useful. My progress has been made by a series of experiments; and because we fail once, is no reason for discouragement. We have only to try until we succeed.”

Faust’s letter gave him much satisfaction. “We have discovered the right thing for our type!” said he, after making an impression with it. He then strode up and down the room, now looking at this form, now that, then stopping to dab the leather ink-balls on the type, then taking up a manuscript, and generally making himself at home in the printing-office. Since he had become a partner and patron, his manner had grown pompous and somewhat lordly. Although a mere novice in the new art, he was fully sensible of the honor he conferred on the firm in associating himself with it, and very naturally assumed a general oversight. The inventor saw the infirmities of his friend, but forebore remark. He was both discerning and patient.

One afternoon, some weeks later, as a shower was rising, Anna sat by her window, alternately sewing and watching the clouds as they gathered in dark columns and overspread the sky. The brown sparrows that frequented the roof of the Zum Jungen, chattered as the large drops fell, perching upon the tiles and laughing at the rain. Just then who should be coming up the street but Gutenberg and Peter Schoeffer, in earnest discourse, seeming to heed the weather as little as did the birds. Gutenberg had opened his heart to Schoeffer as to an old friend; he felt confidence in doing so, for Schoeffer had proved himself estimable and trusty when in his employ at Strasbourg. As they came nearer and entered the house, Anna heard Gutenberg say, “Canst thou tell me, Master Schoeffer, now that we are on my art, what is the most notable and important book in the world?”

“I do not consider myself learned enough to answer that question,” answered Schoeffer, after a pause. “The scribes who spend their lives in making libraries should know.”

“That is true,” was the reply. “But, judging from the works which you have seen, which is the most celebrated and useful?”

“I recollect,” replied Peter Schoeffer, “when I was in the Cathedral school, that Father Melchoir showed us the Gothic Gospels, or Silver Book, and remarked that more art and expense had been spent on the Bible than on any other book. From this I must infer that in the opinion of the wise, it is the most useful and important book in existence.”

“Right,” replied the inventor; “more time has been spent in copying the Bible than any other book, and justly; for the Word of God is before all human productions.”

“But is not the Breviary made more prominent by our priests?”

“Although in more common use, you will notice that it is not generally so highly ornamented and so costly as the Bible. This last is the foundation of the Prayer-book, as also of the institutions of our religion. Whatever we enjoy of Christianity and civilization is due to that sacred Book. Hence it is of all others the most to be prized and preserved. There are, however, comparatively few copies of it in the world,--only two or three thousand, it is said, and these mostly hoarded in monasteries, universities, and royal libraries. Suppose now, that in the conflict of nations, evil should befall the depositories of the sacred Book, and, through some devastation or edict, the Bible be lost to us. Moreover, the Holy Book is sold to kings when they can afford to pay six hundred crowns for it; if _they_ may have the Bible, why may not their subjects? My purpose is to print a Bible in the best style of my art, and multiply copies of it. I shall need in this work a skillful engraver of letters.”

“But what an undertaking, to print the entire Bible!” said Schoeffer.

“Yea, a stupendous work!” was the answer, “and it will take years to accomplish it; hence I am the more anxious to begin. Can I not depend on thy aid?”

Peter Schoeffer had assisted Gutenberg in Strasbourg, and admired him, and now was only too happy to accede to his request, and take charge of designing letters for engraving.

Thus early in the history of his invention did Gutenberg conceive the project of printing the Bible; consecrating his art to the honor of God, and the welfare of his fellow-men. Well does Mr. Hallam say, “It is a very striking circumstance, that the high-minded inventors of this great art tried at the outset so bold a flight as the printing an entire Bible.”

XIV.

Working of the Press.--The Medallion.--An Acquisition.--Experiments. --A Failure.--Schoeffer’s Invention.--Discovery of Cast Metal Type.

Entering the printing rooms, Gutenberg introduced Peter Schoeffer to John Faust, and then called his attention to the new press, which was a noticeable improvement on those broken up at Strasbourg.

“Admirable!” exclaimed Schoeffer, as the inventor explained the working of the machine. “Good progress has been made since I was in your shop, years ago.”

As Martin Duttlinger, the workman, dabbed the type with ink, slid under the platen, and, having pressed it, removed the printed page, Peter was delighted with the facility with which the press operated.

“This is truly wonderful,” cried he. “Pray, friend Martin, how many impressions can be made by this press in a day?”

“About three hundred, if we work it constantly.”

“Is it possible!” exclaimed Peter. “Now indeed will books multiply. What will the plodding copyists say to this?”

Simple man of the ancient time! What would you say to the speed of our cylinder presses, which throw off twenty thousand printed sheets an hour, or more than three hundred a minute! Think of it, shade of Peter Schoeffer,--it would take one hundred and ninety-two thousand of the swiftest scribes to furnish by copying the same amount as one of these presses supplies in one hour!

Contrast the speed of the snail and the lightning!

But what was Peter Schoeffer’s personal appearance? some one asks. We shall let you judge for yourself,--in our opinion he was not handsome. However, as “handsome is that handsome does,” if we can find in history that he did to others as he would have others do to him, we will forgive his plain face, since it was no fault of his. Suppose also we look at the three together.

The portraits are taken from a medallion, and are faithful likenesses of the individuals acknowledged in Germany as the first printers. The subject from which the picture was copied, is said to have been engraved by the famous Gubitz of Berlin, from an old German painting.

We shall become more interested in Schoeffer when we learn what he achieved; but it is high time he was described.

His forehead is high, hair scanty and smooth, the perceptive ridge stands out over the eyes,--which are black and piercing,--nose long and decided, mouth large and smiling, and the chin entirely hidden by a flowing beard. He is called the _Improver_ of the art of printing.

Faust, on the same medallion, is a better-looking man than Schoeffer, and twenty years his senior. His brow is not so lofty, but it is care-worn, while his hair is jet-black. He has the hawk’s eye, keen nose, and pursy mouth of the shrewd and thrifty business man. A scanty beard discloses a well-turned chin, and altogether he makes a fine appearance. He is distinguished as the _Promoter_ of the art.

Gutenberg has been already described in a preceding chapter.

To return to Schoeffer.

Opening his travelling bundle, he produced specimens of his own hand-writing. These were in the most elegant style of the practiced monks. The letters were clear, legible, and uniform, charming the eye.

“Your nice taste and delicate execution, my son,” said the inventor, “will nobly aid the art of printing. Abide with us, devote your talents to the art, and you shall not be the loser.”

“You do me too much honor,” replied Peter. “I shall only be too happy to serve thee in my former capacity. I feel that I have everything to learn in this invention, which has made such advancement in my absence.”

Gutenberg was by no means a good penman, neither could he cut very legible letters in type.

But what Gutenberg lacked, Peter Schoeffer could supply, and the type which was made after he joined the firm, showed the benefit of his coöperation.

As the wooden type had in a measure failed, from the necessity of frequent renewal, the company gradually substituted letters of lead. John Faust and Schoeffer entered with much interest upon the experiment of using lead, sanguine of its success. They still confined themselves to printing the elementary books. They found no difficulty in cutting the letters with precision, and they could put them together as well as those of wood; they had trouble, however, in printing with them. The metal was so soft that it required the nicest skill in turning the screw, as it would scarcely bear sufficient pressure to print.

See Gutenberg, Faust, and Schoeffer, and the different members of the firm, around the press in almost breathless suspense at the trial of the leaden type!

“This will never do,” exclaimed Faust in dismay, as the proof-sheet was drawn out, after Gutenberg had turned the screw. Some of the type were so much bent as to spoil the letters; others did not print at all. The experiment was a failure.

“Patience!” cried the inventor, “we shall yet succeed. Turn you to your type-setting, and let me manage the press;” and thus he spent the remainder of the day. Working it by himself, he found that if the screw was turned to a given point, it would, under his hand, print without injuring the type; but when another took his place, it was sure to be marred.

The artisans were much depressed when they separated for the night. Gutenberg invited Schoeffer home to supper, that he might talk over the matter.

“The lead type is plainly too soft,” remarked Gutenberg as they sat by the cheerful fire in his own room in the Zum Jungen. “What we want is softness and strength, a mixture of qualities. Another metal should be added.”

“Have you tried iron?” asked Peter.

“Aye, some time since,” was the answer; “but it pierced the paper so that it could not be used.”

Each then suggested and discussed different combinations of metals, and decided to try experiments until the right alloy was found. And thus the evening wore away.

One suggestive intellect stirs another. As the flint elicits the spark from the steel, so two minds may jointly originate a new thought. Under Gutenberg’s influence the workings of Peter Schoeffer’s active brain took shape, and all the inventive faculty within him was brought into exercise.

Now it so happened, as Nieritz relates, that Peter was accustomed to experiment in metals, and the very next day, after sweating over the fire in the back office, brought in an amalgam which he thought might answer the purpose. It was a mixture of regulus of antimony and lead. This proved to be of the requisite softness and strength.

The day of this discovery was an eventful one. It was Schoeffer’s first invention. Faust called Gutenberg aside when he saw how well the new material worked, to congratulate him.

“Good teachers produce apt scholars,” said he, patronizingly patting Gutenberg’s shoulder. “I must wish thee joy of thy apprentice. He takes to the art like a kitten to milk. We must make him one of the firm.”

“He is an ingenious workman,” returned Gutenberg, “and we need all the ability of this kind that we can command, for difficulties often occur. I also am in favor of making him a partner.”

“Moreover, it is so pleasant to have another with us whom we can trust,” added Faust, “and an old acquaintance of yours. I am suspicious of strangers. Our success depends mainly on keeping our secret.”

Happily Schoeffer did not hear all the praise lavished upon him, but he heard enough to incite him to diligence and perseverance. Gutenberg was justly proud of him, and grateful to the kind Providence that had sent him to the Zum Jungen.

XV.

Schoeffer admitted to the Firm.--A Grand Project.--How a Bible was borrowed.--The Early Press.--Processes in Bookmaking.--Ingenuity of Peter Schoeffer.--Industry of the Firm.--Ink.--Cast Type.-- Three Ingenious Men.--Letter-founding.--Faust compliments Peter.--The First Printed Page of the Bible.--A Memorable Year.

We now view the first printing firm industriously cutting type from the metal introduced by Peter Schoeffer, who is one of the partners. Gutenberg, having fully tested it, found with joy that it was the long-sought composition. It was hard enough to bear the necessary pressure, and yet did not perforate the paper or vellum in printing.

“This is most opportune to our need,” said he to Peter; “we can now begin to set type for the Bible. The lead _stucke_ must be melted into the new mixture; you shall have charge of it, taking care to reserve some of the best letters for models. We must keep in mind that the care with which the letters are carved will determine the appearance of the book. By lavishing time, ingenuity, and money on the Bible, the monks have produced some elaborate specimens. I see no reason why we may not rival them if we try.”

“Of all books the Bible should be in the highest style of our art,” remarked Schoeffer.

“True, it should be,” replied Gutenberg; “and as you have cultivated yourself in penmanship, I wish you to instruct the firm in type-cutting. I have thought of a plan by which we can have uniform and elegant letters. It is that you write them on the ends of the metal strips, and let others carve the type from your pattern. This will insure us one style of handwriting throughout the Bible; ever keeping in mind that it is our aim to produce the most beautiful book the world has ever seen,--for it is fitting that this book, of all others, should be issued in the most excellent manner.”

“But,” observed Peter, “how can we excel the monks, when one man spends a life-time on writing out and embellishing a Bible, and we can only devote a few years to it? For instance, how can we ever bring our Bible to compare with the Silver Book in the care of Father Melchoir, the letters of which are mostly of silver, and the illustrations of gold? I had access to the Royal Library of France, in the Louvre. There I saw a copy of the Evangelists, written in liquid gold! I fear we shall fail in magnificence, and give as great a contrast compared with these monks, as our plain printing rooms form with that library, the floor of which is paved with marble, the walls decorated with glass and ivory, and the shelves and desks are of the costliest wood.”

“I shall not attempt to rival the monks in adorning my Bibles with gold and silver,” said Gutenberg; “if the letters are faultless, and the printing clear, we shall outvie them, and I am persuaded that we can effect this. It would be idle for us to print with gold, even if we had the abundance to warrant it. The monks are wealthy, and only lavish it on a single copy, once in many years; while if we issue one Bible, we shall imprint more than a hundred!”

“Aye, indeed!” exclaimed Peter Schoeffer, “What a magnificent thought! Truly we live in a wonderful age, when six men can make a hundred Bibles in six years!”

(But what would you say, Peter, could you witness the lightning-feats of the steam-presses of this day, dashing off a thousand copies of the sacred volume in one day?)

“And moreover,” replied Gutenberg, “when we have disposed of one hundred copies, we can issue as many more in a shorter time.”

“That is most cheering,” returned Schoeffer, “and I will at once engage in my department of the work.”

The printing of the Bible was now the great enterprise of the firm, smaller works being issued by way of preparation. While Peter Schoeffer superintended type-cutting, and the office work went on as usual, there were long and earnest consultations as to the best course to pursue in obtaining a Bible for a copy. If Gutenberg or Faust bargained for one with the Abbot of a monastery, inquiries would be made which they wished not to answer.

“If I had the money to deposit for a Bible,” said Martin Duttlinger, “I could easily obtain one.”

“And the money we expect to furnish, of course,” said Faust. “No one can borrow so valuable a piece of property as a Bible, without the same as buying it.”

It was accordingly arranged that Martin Duttlinger, who was the most trusty of their workmen, should be charged with the mission of buying a Bible of Trithemius, Abbot of Spanheim, who was known to have books for sale; and Martin was accordingly fitted off. After his departure, affairs went on with the firm much as usual, save that they felt the impulse which the resolve of engaging in the noblest enterprise on earth could not fail to give; and who can doubt that the smile of God’s countenance rested on them, lightening their toil?