Baron Heinecken,[124] from whom Wetter in all probability borrowed some of his ideas, is of opinion that all the separable letters used in the four folio editions of the _Speculum_ were of cast metal, and that they were printed by Germans who imitated the Gothic style of type first used by Gutenberg at Mentz. In one place he writes:--“It is almost certain that the Speculum Salvationis in Latin was first printed in Germany; and that it was afterwards translated and printed in the Low Countries.” Elsewhere he says, “I come at last to the new edition of the _Speculum_, which the printer Johan Veldener published in 1483, with his name, in the Flemish language. The vignettes which are placed at the head of each discourse, are the same as those we see in the ancient editions. He cut the engraved blocks, which represented always two sacred or historical subjects, sawing through the middle of the central pillar which divided them, so as to make them into two pieces, in order to insert them in this new edition, which is in small 4to.” “It was probably Theodore Martens,” he remarks further on, “that brought these vignettes with him from Germany, or from France.... We may also conjecture that Johan of Westphalia was the printer of the first Flemish editions, and that Veldener received the blocks from him.... Veldener, after having learned Typography at Cologne, went to live at Louvain, where he printed in 1476, among other books, the _Fasciculus Temporum_ in Latin, with figures engraved in wood. This same printer afterward went to Utrecht, where in 1480, he published the same work in Flemish, introducing also the same cuts which he had brought with him from Louvain.... Nothing seems more natural than that he should have brought with him from Cologne the ancient moulds or matrices, from which the rude type of the two first Flemish editions of the _Speculum_ already spoken of was cast; nothing more reasonable, than that he should afterward abandon that type at Louvain or at Utrecht, or rather at Culemborch, after having made better; for he was certainly a man of enterprise and genius.” Heinecken concludes this part of his argument by saying, “I trust that this extravagant notion of finding books, and sometimes even large volumes, printed with these moveable characters of wood, will by degrees cease, and that able printers may be found, _who will shew the impossibility of it_.”