“Block-printing is by no means to be despised,” answered Gutenberg, “in books of a few pages; but in a large book of many pages, we waste time in cutting letters, as they are only of use for that book, and cannot be taken apart and used for another.” “I am opposed to any change,” Dritzhn reiterated; “we are sufficiently involved without any new experiments. We cannot do better than keep on with the block books.” Gutenberg had failed in convincing these men, but he was confident that the practical working of his separate types would yet be an argument they could not resist. He persevered in his experiments, and, in place of engraving on the block, busied himself in adjusting and readjusting his type for the “Lord’s Prayer,” as he found a difficulty in keeping them in place, when he took a second impression. Dritzhn and Riffe, having little fellowship for this new way of “spending time,” were ready to criticise when the types slipped out of place, as Gutenberg tied them with thread or twine. But before the day was over, he had managed to take several good impressions of the “Lord’s Prayer.” This was well enough, Dritzhn said, but still insisted that he did not see how it was better than if taken with an engraved block, and was in no mood to investigate the matter with candor. The partners had previously decided to publish the “Speculum Humanæ Salutis,” and they now commenced upon it. The “Speculum” suited both parties, as there were plenty of subjects requiring wood-engravings, and the movable type could also be used in the written portion of the book. As Gutenberg wrought at his types, he had still to combat the difficulty of making them hold together with sufficient firmness. At first he used strings, then wires. These were easily displaced, and cost him many a hard job of repairing damages, which confirmed Dritzhn and Riffe in the opinion that it was useless to attempt to make them work. It was not reasonable, the former said, that such bits of wood could be made serviceable in book-making. There was some sense in a solid block, and his advice was to keep on in the old way, with which, however, he was often finding fault, for he had enlisted in the enterprise not so much for the love of the art as the love of money. Months of toil and large expenditures had brought comparatively small returns. Some of the firm even began to talk of returning to the old occupation of polishing stones. Riffe continued to echo Dritzhn’s criticisms and complaints. “Why not keep on with block-printing?” asked the latter, as Gutenberg was busy cutting out his type, or _stucke_ as it was called. “I’ve just got my hand in, and do not wish to give up the trade for whittling sticks, of which I do not see the use.”