[1] The city of Haarlem designs to erect a statue of Costar [since this was written the statue has been placed in the great square]; thus publicly, in the eyes of Europe, to vindicate the priority of this inventor of typography. But a statue is not the final argument which, like the cannon of monarchs (that ultima ratio regum), will carry conviction on the spot it is placed. Mentz has already erected a statue of Gutenberg. I have no doubt that, in the present state of agitation, both these statues will have much to say to one another, as the mystical Pasquin and Marforio of typography.
[2] “Some Observations on the Use and Original of the noble Art and Mystery of Printing,” by F. Burges. Norwich, 1701. This is declared to be the first book printed at Norwich; where it appears that the establishment of a printing-office, so late as in 1701, encountered a stern opposition from its sage citizens. The writer did not know that as far back as 1570 a Dutch printer had exercised the novel art by printing religious books for a community of Dutch emigrants who had taken refuge at Norwich, according to the recent discovery of Dr. Cotton, in his “Typographical Gazetteer”—a volume abounding with the most vigorous researches.
[3] Hallam’s “Introduction to the Literature of Europe,” i. 211.
[4] Twenty copies of this famous Bible exist; one is preserved in our Royal Library.
[5] Ottley’s “Inquiry into the Early History of Engraving.” See also note in “Curiosities of Literature,” vol. i, p. 43.
[6] Dr. Wetter, of Mentz, has lately shown that, contrary to the common opinion, Gutenberg himself printed long with wooden blocks; and that, instead of the invention of moveable types having been the result of long study, it arose out of a “sudden fancy.”
How the Doctor has authenticated “the sudden fancy,” I know not, but the apotheosis has passed. In three successive days, in the month of August, 1837, all Mentz congregated to worship the statue, by Thorwaldsen, of their ancient citizen in the square that henceforward bears his name. A chorus of 700 voices resounded the laud of the German printer; the flags in the regatta waved to his honour; and the festival rejoiced the city: and when the figure of Gutenberg was unveiled, the artillery, the music, and the people’s voices, blending together, seemed to echo in the skies.
[7] Dr. Cotton’s curious “Typographical Gazetteer,” art. Oxonia. Of a class of the earliest printed books, having no printer’s name, he observes, “These may have been printed by Corsellis, or any one else.”
[8] Atkyns on the “Original and Growth of Printing.” This quarto pamphlet is highly valued among collectors for Loggan’s beautiful print of Charles the Second, Archbishop Shelden, and General Monk. Dr. Middleton refuted this ridiculous tale of an ideal printer, one Corsellis, in his “Dissertation on the Origin of Printing in England,” first published 1735, and which now may be seen in his works.
[9] The fourth day of the “Bibliographical Decameron” of Dr. Dibdin exhibits an ample view of the pending controversies on the “Origines Typographicæ.” Every bibliographer has his favourite hero. The reader will observe that I have none! And yet possibly my tale may be the truest.