Gutenberg, and the Art of PrintingPearson, Emily C. (Emily Clemens)
History
Gutenberg, and the Art of Printing
Pearson, Emily C. (Emily Clemens)
Gutenberg, Johann, 1397?-1468
The dreadful shock occasioned by the death of his father-in-law, deeply
affected Schoeffer. May we not suppose that in his loneliness and
affliction, he sought a reconciliation with his old master, Gutenberg?
There is, indeed, evidence that this was the case; and we are permitted
to infer that the breach was healed, suitable acknowledgments being
made by Schoeffer, as he plainly saw that the mortgage act which made
Faust master of Gutenberg’s property, did not include his genius.
In later years he frankly confessed as much to Trithemius, Abbot of
Spanheim Monastery, a celebrated scholar and author. Says this writer,
after mentioning that he had his information from the mouth of Peter
Schoeffer, the inventor of cast metal types:--
“About this time that wonderful and almost incredible art of printing
and characterizing books, was thought of and invented by John
Gutenberg, a citizen of Mentz.”
Then follows some of the main particulars of the invention on which
we have already dwelt. He also mentions that “Gutenberg spent all
his substance in quest of the art, and met with such insuperable
difficulties, that, in despair, he had nearly given up all hopes of
success, till he was assisted by the liberality of Faust, and by his
brother’s skill in the city of Mentz.”
Schoeffer, having associated with him Conrad Henliff, nobly presided
over the interests of the great art after Gutenberg’s death, diligently
issuing elegant editions of various books. His last work was a new
impression of his master’s superb Bible in 1502, in which year he
died, after laboring thirty-five or thirty-six years as a printer. His
monogram is connected with Faust’s; and, as we have mentioned, some
suppose this also to have been the device of Gutenberg.
The name of Schoeffer means shepherd; and well did the thoughtful care,
caution, and ingenuity of this man aid in watching over the young art,
that needed such vigilant cherishing to bring it to maturity. He was
once Gutenberg’s right-hand man, next to him in genius in devising,
and, despite his doubtful course afterwards in leaving him, was an
honor and a blessing to his country. His son John succeeded him in his
office, and later still his grandson John chose the same employment.
Of Costar, little can be said. Some even suppose that no such person
ever existed; while others incline to confer on him honors which he
never earned. It is certain that he did not reach the idea of movable
types. He died in 1440, when Gutenberg had been familiar with their use
for years.
Public-domain text, read in full here on John Shaqi.
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