When the leaf has been written out as it is to be printed, it is turned over and pasted upon the block, face downward. The wood usually used by blockcutters is pear or plum; the boards are half or three-fourths of an inch thick, and planed for cutting on both sides. The paper, when dried upon the board, is carefully rubbed off with the wetted finger, leaving every character and stroke plainly delineated. The cutter then, with his chisels, cuts away all the blank spots in and around the characters, to the depth of a line or more, after which the block is ready for the printer, whose machinery is very simple. Seated before a bench, he lays the block on a bed of paper so that it will not move nor chafe. The pile of paper lies on one side, the pot of ink before him, and the pressing brush on the other. Taking the ink brush, he slightly rubs it across the block twice in such a way as to lay the ink equally over the surface; he then places a sheet of paper upon it, and over that another, which serves as a tympanum. The impression is taken with the fibrous bark of the gomuti palm; one or two sweeps across the block complete the impression, for only one side of the paper is printed. Another and cheaper method in common use for publishing slips of news, court circulars, etc., consists in cutting the characters in blocks of hard wax, from which as many as two hundred impressions can often be taken before they become entirely illegible. The ink is manufactured from lampblack mixed with vegetable oil; the printers grind it for themselves.
The sheets are taken by the binder, who folds them through the middle by the line around the pages, so that the columns shall register with each other, he then collates them into volumes, placing the leaves evenly by their folded edge, when the whole are arranged, and the covers pasted on each side. Two pieces of paper stitch it through the back, the book is trimmed, and sent to the bookseller. If required, it is stitched firmly with thread, but this part, as well as writing the title on the bottom edges of the volume, and making the pasteboard wrapper, are usually deferred till the taste of a purchaser is ascertained. Books made of such materials are not as durable as European volumes, and those who can afford the expense frequently have valuable works inclosed in wooden boxes. They are printed of all sizes between small sleeve editions (as the Chinese call 24 and 32 mos) up to quartos, twelve or fourteen inches square, larger than which it is difficult to get blocks.
The price varies from one cent—for a brochure of twenty-five or thirty pages—to a dollar and a half a volume. It is seldom higher save for illustrated works. A volume rarely contains more than a hundred leaves, and in fine books their thickness is increased by inserting an extra sheet inside of each leaf. At Canton or Fuhchau, the History of the Three States, bound in twenty-one volumes 12mo, printed on white paper, is usually sold for seventy-five cents or a dollar per set. Kanghí’s Dictionary, in twenty-one volumes 8vo, on yellow paper, sells for four dollars; and all the nine classics can be purchased for less than two. Books are hawked about the streets, circulating libraries are carried from house to house upon movable stands, and booksellers’ shops are frequent in large towns. No censorship, other than a prohibition to write about the present dynasty, is exercised upon the press; nor are authors protected by a copyright law. Men of wealth sometimes show their literary taste by defraying the expense of getting the blocks of extensive works cut, and publishing them. Pwan Sz’-ching, a wealthy merchant at Canton, published, in 1846, an edition of the Pei Wăn Yun Fu, in one hundred and thirty thick octavo volumes, the blocks for which must have cost him more than ten thousand dollars. The number of good impressions which can be obtained from a set of blocks is about sixteen thousand, and by retouching the characters, ten thousand more can be struck off.
The disadvantages of this mode of printing are that other languages cannot easily be introduced into the page with the Chinese characters; the blocks occupy much room, are easily spoiled or lost; and are incapable of correction without much expense. It possesses some compensatory advantages peculiar to the Chinese and its cognate languages, Manchu, Corean, Japanese, etc., all of which are written with a brush and have few or no circular strokes. Its convenience and cheapness, coupled with the low rate of wages, will no doubt make it the common mode of printing Chinese among the people for a long time.
The honor of being the first inventor of movable types undoubtedly belongs to a Chinese blacksmith named Pí Shing, who lived about A.D. 1000, and printed books with them nearly five hundred years before Gutenberg cut his matrices at Mainz. They were made of plastic clay, hardened by fire after the characters had been cut on the soft surface of a plate of clay in which they were moulded. The porcelain types were then set up in a frame of iron partitioned off by strips, and inserted in a cement of wax, resin, and lime to fasten them down. The printing was done by rubbing, and when completed the types were loosened by melting the cement, and made clean for another impression.
This invention seems never to have been developed to any practical application in superseding block-printing. The Emperor Kanghí ordered about two hundred and fifty thousand copper types to be engraved for printing publications of the government, and these works are now highly prized for their beauty. The cupidity of his successors led to melting these types into cash, but his grandson Kienlung directed the casting of a large font of lead types for government use.
MOVABLE CHINESE TYPES MADE BY FOREIGNERS.
The attention of foreigners was early called to the preparation of Chinese movable types, especially for the rapid manufacture of religious books, in connection with missionary work. The first fonts were made by P. P. Thoms, for the E. I. Company’s office at Macao in 1815, for the purpose of printing Morrison’s Dictionary. The characters were cut with chisels on blocks of type metal or tin, and though it was slow work to cut a full font, they gradually grew in numbers and variety till they served to print over twenty dictionaries and other works, designed to aid in learning Chinese, before they were destroyed by fire in 1856. A small font had been cast at Serampore in 1815, and in 1838, the Royal Printing Office at Paris had obtained a set of blocks engraved in China, from which thick castings were made and the separate types obtained by sawing the plates. M. Le Grand, a type-founder in Paris, about the year 1836, prepared an extensive font of type with comparatively few matrices, by casting the radical and primitive on separate bodies; and the plan has been found, within certain limits, to save so much expense and room that it has been adopted in other fonts.
These experiments in Europe showed the feasibility of making and using Chinese type to any extent, but their results as to elegance and accuracy of form were not satisfactory, and proved that native workmen alone could meet the native taste. Rev. Samuel Dyer of the London Mission at Singapore began in 1838, under serious disadvantages, for he was not a practical printer, to cut the matrices for two complete fonts. He continued at his self-appointed task until his death in 1844, having completed only one thousand eight hundred and forty-five punches. His work was continued by R. Cole, of the American Presbyterian Missions, a skilful mechanic in his line, and in 1851 he was able to furnish fonts of two sizes with four thousand seven hundred characters each. Their form and style met every requirement of the most fastidious taste, and they are now in constant use.
While Mr. Dyer’s fonts were suspended by his death, an attempt was made by a benevolent printer, Herr Beyerhaus of Berlin, to make one of an intermediate size on the Le Grand principle of divisible types; his proposal was taken up by the Presbyterian Board of Missions in New York, and after many delays a beautiful font was completed and in use about 1859. At this time, Mr. W. Gamble of that Mission in Shanghai, carried out his plan of making matrices by the electrotype process, and completed a large font of small pica type in about as many months as Dyer and Beyerhaus had taken years. By means of these various fonts books are now printed in many parts of China, in almost any style, and type foundries cast in whatever quantities are needed. The government has opened an extensive printing office in Peking, and its example will encourage native booksellers to unite typography with xylographic printing. More than this as conducing to the diffusion of knowledge among the people is the stimulus these cheap fonts of type have given to the circulation of newspapers in all the ports; but for their convenient and economical use Chinese newspapers could not have been printed at all. It will be quite within the reach of native workmen, who are skilled in electrotyping, stereotyping, and casting type, to make types of all sizes and styles for their own books, as the growing intelligence of the people creates a demand for illustrated and scientific publications, as well as cheap ones.[298]