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THE WORKS OF AN UNKNOWN PRINTER.

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distance from it. On some pages, the types overlap or bite on the wood-cuts; on other pages they are too near or too far from them. One of the reasons why the Speculum was printed on one side only was the deficiency in this press of any contrivance for determining the proper position of the sheet before the impression was taken. The pressman could not print one page truly and squarely on the back of another page. Koning says that the printer did not have the least idea of the means to be used for accomplishing this result.^[1] This defect of the press can be seen in the pages of the small books without illustrations: they were printed on both sides, but the modern printer would condemn the work as seriously out of register.

The most remarkable peculiarity in the presswork of the Speculum is the embossed letters at the ends of the short lines.^[2] They are most noticeable in the two Latin editions, which contain lines of unequal length. To the modern printer the purpose to be accomplished by the use of the old and worn types that produced these embossed letters is apparent at a glance. They served as bearers or guards to shield newer and better types in exposed positions from an impression which

↑ Dissertation sur l'origine, l'invention, etc., de l'imprimerie, p. 18.
↑ It has been shown that book types must be on square bodies. As a necessary consequence every form of types must be squared. If the lines of types in any page are not of uniform length in the metal, and the page is not truly squared, the form cannot be handled nor printed. But although the lines are of uniform length in the metal, they do not always appear so in print. The last line of a paragraph is frequently short; lines of poetry are always of an irregular length. To make the form square, and yet produce this desired irregularity at the end of every short line, the compositor inserts metal blanks, technically known as quadrats. As these blanks are about one-third shorter than the letters, they are not touched by the inking roller; they receive no ink and take no impression, and are consequently invisible to the reader. Quadrats are now regarded as an indispensable part of every font of types, but the appearance of the Speculum shows that the printer of the book had to do his work without them. That he knew the utility of quadrats is apparent, for he used low types as spaces between words. His imperfect press compelled him to reject quadrats at the end of short lines, and to fill the blanks with bearers.

[1] Dissertation sur l'origine, l'invention, etc., de l'imprimerie, p. 18.

[2] It has been shown that book types must be on square bodies. As a necessary consequence every form of types must be squared. If the lines of types in any page are not of uniform length in the metal, and the page is not truly squared, the form cannot be handled nor printed. But although the lines are of uniform length in the metal, they do not always appear so in print. The last line of a paragraph is frequently short; lines of poetry are always of an irregular length. To make the form square, and yet produce this desired irregularity at the end of every short line, the compositor inserts metal blanks, technically known as quadrats. As these blanks are about one-third shorter than the letters, they are not touched by the inking roller; they receive no ink and take no impression, and are consequently invisible to the reader. Quadrats are now regarded as an indispensable part of every font of types, but the appearance of the Speculum shows that the printer of the book had to do his work without them. That he knew the utility of quadrats is apparent, for he used low types as spaces between words. His imperfect press compelled him to reject quadrats at the end of short lines, and to fill the blanks with bearers.

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