before us in strange lights. By some of the earlier writers he was most untruly represented as the inventor of typography, as the instructor, as well as the partner, of Gutenberg. By another class of authors he has been regarded as the patron and benefactor of Gutenberg, a man of public spirit, who had the wit to see the great value of Gutenberg's new art, and the courage to unite his fortunes with those of the needy 
John Fust.
[From Maittaire.]inventor. This latter view has been popular: to this day, Fust is thoroughly identified with all the honors of the invention. The unreasonableness of this pretension has sent other writers to the opposite extreme. During the present century, Fust has been frequently painted as a greedy and crafty speculator, who took a mean advantage of the needs of Gutenberg, and basely robbed him of the fruits of his invention.[1]
It is possible that Gutenberg knew John Fust, the money-lender, through business relations with Fust's brother, James, the goldsmith; for we have seen that, during his experiments in Strasburg, Gutenberg had work done by two goldsmiths. What projects Gutenberg unfolded to John Fust, and what allurements he set forth, are not known; but the wary money-lender would not have hazarded a guilder on Gutenberg's invention, if he had not been convinced of its value and of Gutenberg's ability. John Fust knew that there was some risk in the enterprise, for it is probable that he had heard of
- ↑ Those who favor this view of Fust's character, find a peculiar significance in the radical meaning of his name, Fust—in German, fist, the symbol of all that is hard, close, grasping, and aggressive.
