In the same year the book “S. Augustini Liber de Arte Predicande” appeared. It is attributed to the press of Faust and Schœffer, but I have no means of further particularising it.
The year 1462 was memorable for the siege and sack of Mentz by the Elector Archbishop, Count Adolphus of Nassau. After the capture of the city, Faust proceeded to Paris with a supply of Bibles, amongst which were no doubt a goodly number of the edition only just then completed. Tradition has it, that he sold one of these Bibles to the King for 750 crowns, and another to the Archbishop for 300; and that gradually lowering his prices he at last disposed of copies for 50 and 40 crowns a-piece.[137] The King and the Archbishop, comparing their purchases, which they had bargained for as manuscripts, found so exact a conformity between them, as to be convinced that they were produced by some other method than that of transcribing; besides which, it was impossible that two such Bibles could be executed by the same hand in a lifetime. Upon inquiry, it was found that a considerable number of similar copies had been sold in the city. Hereupon orders were given to apprehend Faust, who was accordingly seized, tried for witchcraft, and condemned to be executed as a wizard in league with the Devil. So runs the tale; in which fact and fiction have been strangely blended, the latter greatly predominating,—John Faust the banker, and one of the three first printers of Mentz, being confounded with Jean Frederic Faust, a charlatan and almanac maker of the sixteenth century, who to ensure his almanacs a large sale, advertized them as actually dictated to him by Beelzebub. It was thus that the legend obtained currency, that Faust of Mentz invented printing in consequence of a compact entered into between himself and the Evil One. The diabolical stigma once attached to the profession, the monks and scribes, the ‘brief-men’ of the day, took care that it should remain. Hence the origin of the term “Printer’s Devil,” the by no means complimentary honorific bestowed upon youngsters on their first initiation into the mysteries of the Divine and Noble Art.
No doubt the sale of his Bibles in Paris, the great book-mart of the day, excited a considerable cabal against Faust, on the part of the scribes; who would readily enough assert that such works could only have been produced by the aid of witchcraft. An assertion of this nature was, at that time, dangerous in the extreme to the party against whom it was made. Authors, writing shortly after the time of Faust’s visit, say that such a charge was made, and that he had to leave the city in consequence. The most effectual way of rebutting it would be the avowal of the method adopted in bringing out the work, and this was done by the insertion, in freshly printed leaves, of the words mentioned in page 358 as having been omitted from the early copies. It has been urged, that it was impossible for Faust to have attempted the imposition of passing these Bibles off as manuscripts, inasmuch as he had already divulged the fact of his printing such works in the imprint to the Psalter of 1457. But that imprint applied to that work alone; and Faust, who was a sharp man of business, would not have purposely omitted from the imprint to the Bible, that part of the sentence which notified that the work was done “by a newly invented art of casting letters, printing,” &c., unless he had intended to derive a profit by so doing. There does not however, seem to be any foundation for the assertion that he was brought to trial. His absence from Paris was a very temporary one. It is certain he was well received by persons of eminence there, and ultimately succeeded in establishing an agency for the sale of his books in the city, in spite of the opposition of the scribes. In 1466, he made another business visit to Paris, where he was taken ill, and died, as some suppose, of a pestilence which was raging at the time, to which, as he was then seventy-one years of age, he would have fallen an easy victim. His remains were interred with honor, in the Church of St. Victor. “An anniversary mass was afterwards appointed to be said for the repose of his soul, on the presentation by Peter Schoiffher and Conrad Fust of a copy of the ‘Epistles of Jerome,’ printed on parchment, and considered so important a work, that the Abbé of St. Victor deemed it right to pay back the sum of twelve gold crowns, the work exceeding by that sum the value of the fees due for the annual masses. This fact is contained in an entry in the ‘Necrology of St. Victor,’ which is preserved at Paris, in the Bibliothèque Nationale, (MSS. fonds St. Victor). The copy of the ‘Epistles of St. Jerome’ here alluded to is now in the library of the Arsenal.”[138]
After Faust’s death, Schœffer continued the business in partnership with his father-in-law Conrad Faust, who did not however take an active share in its management, and who died about the year 1479. Conrad Helif and Dr. Humery seem also to have been for a time connected with him. From 1467 to 1503, the date of Schœffer’s death, he printed, according to Wetter, 49 works,[139] several of which were second, third, fourth, fifth and sixth editions of those previously issued. The agency which John Faust the elder had established in Paris for the sale of his books, became an emporium to which other printers besides Schœffer sent the productions of their presses. This was managed by one Hermann de Stathoen, who had been appointed by Schœffer; but he dying in Paris, in 1474, an unnaturalized foreigner, the whole stock of books in his charge was confiscated by the King, Louis XI. Schœffer at once made such representations to the monarch as led to a royal decree, awarding him the sum of 2425 crowns, by way of compensation for the confiscated property. Besides the agency at Paris, Schœffer established business relations at Frankfort-on-the-Maine, where in 1479, he was entered on the roll of burghers. In 1489 he became one of the secular judges of Mentz. A wealthy, an honoured, and an influential citizen, he died, it is supposed, in the year 1503. His last work was a fourth edition of his celebrated Psalter, published in 1502. The next year, his eldest son, John, issued the “Mercurius Trismegistus,” which is declared in the imprint to be his first work, and by him the business was continued until 1538.[140]
The death of Schœffer brings us to a point in the narrative, where we may pause a moment, to note the progress of the art, of which, next to Gutenberg, he was the most eminent founder. Perhaps no art ever rose to perfection with such rapidity, after its groundwork had been completed, as that of Typography. Little more than thirty years had elapsed from the time of printing the Biblia Pauperum from wooden blocks, when Gutenberg’s separable hand-cut letters were followed and superseded by Schœffer’s cast fusile metal types. The art, which with Faust’s assistance, Gutenberg founded and Schœffer perfected, remains to this day essentially the same that it was in 1455. Steam power and machinery may to a large extent have superseded the old hand-press invented by Gutenberg; and the art of stereotyping may also have multiplied the power of the types in disseminating and cheapening useful knowledge; but the foundation and principles of Letter-press Printing remain unaltered and unalterable. Types, ink, and pressure, still produce books as they were first produced, and the finest productions of the present day are not superior in Typographic beauty, or aught else that stamps a work a masterpiece, to the best efforts of the Fathers of the Art, four hundred years and more ago.
It has been reserved for the Nineteenth century to render due honor to the “grand Typographical Triumvirate,” as they have been termed, for the noble Art by which
“New shape and voice the immaterial thought
Takes from the invented speaking page sublime;
The Ark which mind has for it refuge wrought,