the new art as secret as possible, either in order to lessen competitors and keep up prices, or (to take another alternative) because some of these printers may have broken promises of secrecy imposed on them with this object, and were thus less anxious to advertise themselves. In strong contrast to the almost furtive behavior of this group of printers is the insistent glorification of themselves and the new art by Johann Fust the goldsmith and Peter Schoeffer the scribe, his son-in-law. The contrast is so great that it must certainly be reckoned with by those who hold that to Fust and Schoeffer must be assigned the production of the anonymous 42-line Bible, though in the tangled relations of the Mainz printers about 1454 there may have been reasons for silence at which we cannot guess. As printers in their own names the known career of Fust and Schoeffer begins with the publication, in 1457, of the famous Psalter in which we find our first colophon: Presens spalmorum [_sic_ for psalmorum] codex venustate capitalium decoratus Rubricationibusque sufficienter distinctus, Adinuentione artificiosa imprimendi ac caracterizandi absque calami vlla exaracione sic effigiatus, Et ad eusebiam dei industrie est consummatus, Per Johannem fust ciuem maguntinum, Et Petrum Schoffer de Gernszheim Anno domini Millesimo.cccc.lvij In vigilia Assumpcionis. The present copy of the Psalms, adorned with beauty of capital letters, and sufficiently marked out with rubrics, has been thus fashioned by an ingenious invention of printing and stamping without any driving of the pen, And to the worship of God has been diligently brought to completion by Johann Fust, a citizen of Mainz, and Peter Schöffer of Gernsheim, in the year of the Lord 1457, on the vigil of the Feast of the Assumption.