Anthoni Koberger had, in common with the other printers of Germany, followed Gutenberg in adopting for his type the style that we describe as Gothic, but for which the German writers of the time use the term _fractur_. In 1492, however, he used for his edition of _Virgil_ a type based upon a Venetian model, similar to that in use at this time by the father-in-law of Aldus. It is probable that the most distinctive contribution which had been made by Gutenberg to the work of book-printing was the discovery of a method of making type by casting. The art of cutting or engraving letters and other symbols was, of course, no new thing. The technical training of Fust, himself a goldsmith and stamp-cutter, was doubtless of material service in connection with the development of the manufacture of type, as well as in the production of designs for initials and tail-pieces. Nuremberg had long been a centre for skilled artificers in metals, gold, silver, and copper, and their services were largely made use of by Koberger and other of the earlier printers. One result of utilising the letters of known scribes as models for the fonts of type was to secure for each font a very distinctive individuality of its own. Luther was, for instance, able to claim that through the special character of his Wittenberg type, modelled on the script of his own scribes, the authorised editions of his books could be identified, and could be guaranteed as correct and complete.[79] The fonts in Koberger’s printing-office did not include any Greek text, and in the edition of _Boëthius_, issued by him in 1576, which was in other respects a beautiful piece of typography, the lines of quotations from the Greek were left blank, to be filled in by hand. Very few of the German printers of the time possessed any Greek fonts. While Latin was their working language, the newly revised or newly discovered Greek had for them still an unfamiliar aspect. Thomas Anshelm, writing from Hagenau in 1518, says of one of Koberger’s younger authors: “His style is bad; he is bringing in too much Greek.” Hans Grüninger, of Strasburg, who took charge for Koberger of the printing of the great _Geography_ of Ptolemy, found no little difficulty with the Greek terms. He writes to the editor, Pirckheimer: “The Greek is very troublesome, and is costing me altogether too much.” Pirckheimer on his part complains: “Koberger promised me that there should be a full supply of Greek type, and I find out only now, in reading the proofs, that your type has neither accents nor points.” In the printing of Greek, the publishers of Venice and of Paris were at this time considerably in advance of their German contemporaries.