Early Typography. William Skeen

to belong to the Fourth century. The characters are reversed, engraved in relief, the back metal being cut away to a considerable depth and left in a rough state. The inscription is surrounded with a border, as shewn below.

      The size of the signet is two inches long by one inch wide. At the back is a ring. If used for printing, its application was no doubt the same as that of the blocks used by the Paper Stainers of the present day. Coloured pigments would be applied to the face of the letters, and the signet would then be stamped on whatever substance was to be marked. It might, in this way, have been used for stamping on the covers of letters or parcels, to mark the name of the party from whom they were sent, in the same way as engraved fac-simile signatures are officially used for franking such documents through the post at the present day. It may, however, have been the receipt stamp of a man in trade; or a trade-mark, used, for instance, to stamp the wares while in a semi-plastic state, of a baker or brick-maker.

      After the above was in type, the writer was informed by Dr. J. D. M. Coghill, Superintendent of the Convict Establishment at Wẹlikaḍa, near Colombo, that the probability of the first of the purposes to which the signet is supposed to have been applied, was much strengthened by the somewhat similar practice, though not for an exactly similar object, which prevails in parts of China, in the use of chops—“house-signs,”—by professional men, traders, &c. These chops are small blocks of box or other hard wood, on the upper surfaces of which the name and profession of an individual or firm are cut by itinerant engravers, at the rate of thirty for a Mexican dollar. To meet the requirements of business and to facilitate intercourse between Europeans and native Chinese, each foreign house, or firm, or professional man, furnishes all those with whom he or they have transactions, with his ‘chop,’ on the sides of which his name and address are also written in Roman characters. Whatever letter, document, packet or parcel is thenceforth sent to him or them, besides the address written with ordinary ink and in Roman characters, a red ink impression of the chop is stamped on the envelope or cover. This any native can read, and the addressee is without difficulty found. To this information Dr. Coghill kindly added the gift of the accompanying original chop, which belonged to his brother, Dr. Sinclair Coghill, when practising as a physician with his partner, Dr. Bell, in Shanghai. The characters represent the words ‘Peh-i-sang,’ the nearest equivalent the Shanghai dialect of the Chinese language gives to ‘Bell, Physician.’ It is a small block, an inch and a quarter long, three-eighths of an inch broad, and was one inch and three-eighths high. It has, however, been reduced to an inch in height to suit the size of the type and allow of its being herewith printed.

[30] For, says the Bishop in his ‘Philobiblon,’ “Books are masters who instruct us without rods, without hard words and anger, without clothes and money. If you approach them they are not asleep; if investigating you interrogate them, they conceal nothing; if you mistake them they never grumble; if you are ignorant they cannot laugh at you.”

[31] Vide vol. i. of The Life and Typography of William Caxton, from the second chapter of which the two preceding paragraphs have been abridged.

Early Typography.

       CHAPTER III.

       Table of Contents

      John Gutenberg.—First attempts at Typography in Strasburg.—Difficulties.—Invention of the Press.—Lawsuit.—Return to Mentz.—Connection with Faust.—Success.—Mazarin Bible the first book printed from moveable metal types.—Second Lawsuit.—Forfeiture of Plant to Faust.—Peter Schœffer.—Invention of Type-founding.—Faust and Schœffer.—The Gutenberg ‘printing house.’—Gutenberg attached to the Court of the Elector of Mentz.—Death.

      Until the publication in the Hague of Meerman’s Origines Typographicæ (1765)—a work based upon the traditions inserted in Hadrian Junius’s Batavia, first published in 1588—the man to whom the whole of Europe, with hardly a dissentient voice, ascribed the honor of the invention of the Art of Typography, was John Gutenberg.[32] a native of Mentz. He was of honorable descent; his family being included among the junckers and nobility, the equestrian order of the country, and possessing a small estate situated in the neighbourhood of Mentz, called Sulgeloch, on which estate he was born, about the year 1399. His father, Frielo, had besides him, an elder son, Conrad, who died some time previous to the year 1424, and Frielo, a younger, who was living in 1459; and two daughters, Bertha and Hebele, both of whom became nuns in the Convent of St. Clair at Mentz. In addition to the above-mentioned estate, the family owned two houses in the city of Mentz, one of which was called ‘Zum Gansfleisch,’ and the other ‘Zum Gutenberg.’ The latter of these formed part of the property of his mother, Elsy of Gutenberg. John Gutenberg, junior,[33] left Mentz in early life for Strasburg, where he settled and obtained rights of citizenship, and established himself in business as a polisher of precious stones, and a mirror and looking-glass manufacturer, in both which arts he is said to have shewn considerable skill. The precise date of his arrival and settlement in Strasburg has not been ascertained, but that it was prior to 1424 is known from a letter written to his sister Bertha, on the 24th March of that year;[34] probably it was about the year 1420, and may have been occasioned by the political disturbances of the time. His name frequently appears in the city documents and registers, and he occasionally visited Mentz. He left Strasburg finally about the year 1444. Of great natural sagacity, gifted with an inventive genius, and of indomitable perseverance, the increasing thirst for knowledge which at this period was every where manifesting itself, arrested his attention, and convinced him of the desirability, as well as the profitableness, of devising some method for its more ready and abundant supply.

      The problem of the mechanical multiplication of manuscripts had already been partially solved in the block-books which were manufactured in Holland. In the study of these, Gutenberg perceived the immense advantages which would follow from having every letter made separate, with sufficient quantities of each to allow of their being combined into words, sentences, and pages, instead of continuously engraving whole series of lines in solid blocks as in the specimens before him. That idea once clearly seen, time and patience, with the ability to engrave, were all that were required for its realization, so far at least as concerned the mere making of the types or letters. The first experiments would naturally be, as indeed we are informed they were, on wood. And one can well imagine the flush of triumph that mantled on his brow, when, after having engraved a few continuous sentences, or sets of alphabets, with spaces between each line and letter; and after having sawn each line asunder, and separated each letter from the one adjoining, and trimmed and squared the whole to his mind, Gutenberg recomposed the letters into words, and other words, which differed from the original, and saw his cherished thought worked out complete before him.

      But, while thus on the very threshold of success, obstacles and difficulties began to present themselves, which taxed his ingenuity and tried his perseverance to an extent which it was scarcely possible for him to have foreseen. In the first place, whatever plan he may have adopted to produce impressions in his earliest experiments, he could not fail to find out in a very short time that the Chinese method, adopted by the block-book printers, would not answer for his separable types; and moreover, that the fine strokes and edges of his wooden letters were liable to damage and destruction from other causes besides those arising from the amount of pressure it was necessary to subject them to in order to ensure a clear readable impression. It was necessary therefore to resort to metal. This was, in itself, a serious matter to begin with, for engraving on metal is a much more difficult, tedious, and expensive process, than engraving on wood. With separable types, and direct perpendicular pressure to produce impressions, a different kind of ink or pigment to that