these twenty blocks to complete his imperfect edition. This hypothesis does not accord with other facts: the appearance of three successive editions of the book, each with a text of types, proves that the practice of typography was continued.
The provision of black ink for the types and brown ink for the cuts seems unnecessary, but Van der Linde's explanation of this peculiarity is plausible. He says that the oily black ink used on the types may have been rejected for the cuts because its greasy surface interfered with the brush of the colorist. It does not appear that the inquiry has ever been made, whether the brown ink of block-books was always brown. It is probable that this brown ink was once black. The variability of the color, so frequently remarked in all block-books, is the certain indication of a faded black writing ink. It was the fluidity of this writing ink that prevented its use on the types of the Speculum; the fluid collected in globules on the metal, spreading under impression, and blotting the paper. Oily ink was required for a surface of metal.
The unequal indentation of the letters indicates that the types were not of a uniform height. Nor is it probable that the engravings at the head of every page were always truly flat and of precisely the same height as the types. They were pieces of flat boards, which must have warped with every change from heat to cold, or from dampness to dryness.[1] In these irregularities we find the probable reason for the employment of two distinct methods of impression. Two impressions were needed as much as two kinds of ink.
- ↑ The neglect of engraving on wood by the early typographers has frequently been noticed as a strange fact. It was, no doubt, induced by the difficulties encountered in trying to print wood-cuts with types. The blocks would warp and crack in spite of all precautions. The evil was but partially checked by diminishing the size of the blocks. To evade the annoyance produced by warped blocks, some printers engraved large illustrations on separate pieces of wood, which were roughly fitted to each other, but not conjoined. Other printers printed the wood-cuts of their books by a separate impression. As these illustrations were printed in the same black ink which was used for the text, the double impression is rarely ever noticed, not even by the practical printer.
