of his time, Schœffer was a copyist, but we have no evidence that he was a calligrapher or an illuminator. As a student of the University of Paris, he was qualified to read and correct the proofs of a Bible in Latin, and this may have been the duty for which he was engaged.
Reduced Fac-simile of a Colophon written by Schœffer.
[From Madden.]If so, he was not really needed in the printing office until the types were founded, or until 1453; but whether he came then or before, it is obvious that he entered the printing office as a boy from school, and that all he knew of printing was taught him by Gutenberg. He proved an apt scholar. Fust's confidence in his ability is enough to show that he had added skill to his knowledge, and that, when Gutenberg departed, he was competent to supervise and manage all the departments of the printing office.
Bernard thinks that Schœffer's first work in his new place was to change the appearance of the Bible of 42 lines[1] by the cancellation of eight pages of 42 lines, and the substitution of pages of 40 lines, with summaries printed in red ink. The extraordinary licence then enjoyed by copyists allowed the compositor to abbreviate the words of a manuscript copy
- ↑ Bernard's conjectures as to the reason for this change are plausible. He says: The sales of the Bible had not been so great as Fust had expected. Envious copyists had probably fostered a prejudice against the printed Bible as purely mechanical copying, and for that reason, or on account of its known errors, inferior to the ordinary manuscript. Fust hoped to remove these objections, and to attract purchasers by giving the unsold copies the appearance of a new edition. Madden does not accept this hypothesis. He thinks that the two kinds of copies were composed at the same time by different compositors, who, setting their types from dictation, not seeing the manuscript copy, made their abbreviations without uniformity, and, as a necessary consequence, produced pages of unequal length. This explanation is quite as reasonable.
