The Invention of Printing/Chapter 6
VI
The Chinese Method of Printing.
Antiquity of Printing among the Chinese…Statement of Du Halde…Its Perversion…First Chinese Method, the Gouging of Letters…Didot's Hypothesis…Second Method, of Xylography…Third Method, a Combination of Xylography and Typography…A Peculiarly Chinese Invention…Method now used…Its Advantages over Types…Chinese Paper…Performance of Pressmen…Curious Method of Binding…Expense of Engraving no hindrance to Chinese Printing…The Xylographic Method necessary…Chinese Practice in Typography…Cheapness of Chinese Books…Similarity between the Chinese and the European Methods of Block-Printing…The Hypothesis of its Transmission to Europe through Marco Polo, or other Venetian Travelers.
D. F. Bacon
Many eminent authors are of the opinion that we are indebted to China not only for playing cards, but for the means of making them. They tell us that playing cards could not have been popular, as they were at the beginning of the fifteenth century, if they had not been made by a cheaper process than drawing by hand. The inference attempted is that block-printing and playing cards were brought to Europe together. The reasons presented in support of this opinion are far from conclusive, but they are based on many curious facts which deserve consideration.
The Chinese claims for priority in the practice of block printing have been disallowed by some critics, chiefly because they have been presented in the form of perverted translations. That oriental people practised printing before this art was applied to any useful purpose in Europe is admitted by all who have studied their history. Du Halde, a learned Jesuit father, who traveled in China during the earlier part of the eighteenth century, was the first author who furnished Europeans with a description of Chinese printing. He quotes the following extract from a Chinese book, supposed to have been written in the reign of the emperor Wu-Wong, who was living 1120 B. C. "As the stone me (Chinese for blacking), which is used to blacken the engraved characters, can never become white, so a heart blackened by vices will always retain its blackness."[1] This is an allusion to some primitive method of blackening incised characters, for the purpose of making them more legible. It is a method which is still observed in the inscriptions on memorial stones in churches and graveyards. But it is an allusion to engraving and blackening only. There is no mention of printing ink, and no suggestion of printing. Du Halde quoted it only to show the antiquity of engraving, yet it has been used by many authors as a warrant for the assertion that printing was practised in China eleven hundred years before the Christian era. If we could accept this statement, we should have to believe that printing was invented in China but a few years after the siege of Troy, before Rome was founded, before Homer wrote and Solomon reigned. Du Halde's words do not warrant this statement. He says, with due caution, "In printing, it seemeth that China ought to have the precedence of other nations, for, according to their books, the Chinese have made use of this art for sixteen hundred years," or since the first century.
The practice of blackening characters was not printing, but it may have led to its development. Du Halde says that the Chinese printed not only on wood blocks, but on tables of "stone of a proper and particular kind." The writing or design to be printed, while it was still wet with ink, was transferred by pressure from the paper upon which it was written to the smooth surface of a slab of stone. When the black lines of the writing or design were firmly set on the stone, the paper was peeled off. The black transferred lines were then cut out, or cut below the surface, as they are now done in the copper- plate process. The surface was inked, paper was laid on the stone, and an impression was taken. The result was, the appearance on the paper of the writing or design in white on a field of solid black. This method of cutting out the lines, so that they should appear white in the printed impression, is the simplest form of engraving. It is like that of the boy who cuts his name in the bark of a tree. He finds it easier to gouge out the letters than it is to raise them in high relief. Reasoning from probability, we should say that it should have been the earliest of the methods. Didot believes that it was known to the old Romans.[2] Du Halde says that this method of printing on stone was used chiefly for "epitaphs, pictures, trees, mountains and such like things." He does not fix the date of its invention, but it was probably the earlier method. Didot says that he had in his library the portraits of four Chinese emperors of a dynasty which began a. d. 618, and ended during the ninth century, and also some fac-similes of the imperial writings, which were made by the same process.[3] Sir John Francis Davis, for many years British Minister to China, and author of two valuable books on that country, places the invention of block-printing in China in the tenth century of the Christian era. He attributes the discovery of the art to Foong-Taou, the Chinese minister of state, who had been greatly hindered in the discharge of his duties by his inability to procure exact copies of his writings. After many trials and failures, he dampened a written sheet of paper, and pressed it on a smooth surface of wood until he had produced a fair transfer. He then cut away every part of the surface that did not show the transferred lines, and thus produced a block in relief. The lines in relief were next brushed with ink; a sheet of paper was laid on the block, and impression was applied. The result was, a true fac-simile of his writing, and the birth of block-printing.
There was another Chinese method, which, paradoxical as it may seem, was a combination of xylography and typography. It was invented a. d. 1041, by an ingenious Chinese blacksmith, named Pi-Ching, whose process is thus described by Davis. The inventor first made a thick paste of porcelain clay, and moulded or cut it in little oblong cubes of proper size. On these cubes he carved the Chinese characters that were most frequently used, thereby making movable types. The next process was to bake them in an oven until they were hardened. But the types so made were irregular as to height and as to body. In printers' phrase, they would not stand together: some would be larger than the standard, others would be too high to paper, and all would be crooked. This difficulty could be remedied only by fixing the types firmly on a surface or bed-plate of unequal elevation. This surface was formed by pouring a melted mixture of wax, lime and resin on a plate of iron. Pi-Ching then took a stout frame of the size of the page he proposed to print, filled with iron wires in narrow parallels, and placed it on the prepared bed-plate. The types of clay were next forced between the iron wires on the mixture, and pressed close together. Then the plate was put on a furnace and heated until the composition became soft. A planer was put upon the face of the types, to force them down in the composition until they were firmly secured at a uniform height. So treated, the composed types were made as solid as a xylographic block or a stereotype plate. The form was then ready for printing. The method of printing was like that subsequently used for printing blocks engraved on wood, a method that will be described hereafter. When the form had been printed, heat was again applied; the types were withdrawn from the composition, cleaned of ink and adhering composition by the aid of a brush, and put back into a case for future use. Signs and unusual characters not in constant use were wrapped up in paper.
There is nothing incredible in this curious story: on the contrary, it bears internal evidences of its probability. The selection, for printing purposes, of so unpromising a material as clay, the patient labor given to each character before it reached the condition of a type, the sagacity that foresaw and evaded the difficulty of irregular bodies and heights by the use of iron parallels, and a yielding bed-plate—all these are characteristic of the eccentricities of Chinese invention. The process was ingenious, but it was not entirely practical. It depended for its success more on the zeal and ability of Pi-Ching than it did on its own merits. When Pi-Ching died, his process died with him. His friends preserved his types as mementos of his ability, but none of them were able to use his method with success.
The present Chinese method is, practically, the method originally used by Foong-Taou. For the purpose of block- printing, Chinese printers select the wood of the pear-tree, which has close fibres that yield readily and sharply to the touch of the graver. Contrary to western usage, the blocks are cut from wood sawed in boards, or sawed parallel with the fibres. The thickness of the boards or blocks is about a half-inch, but, in the Chinese method, it is not important that the blocks be made of uniform thickness.[4] Each block is cut large enough to contain two pages, and is carefully planed and truly squared. The surface is then sized with a thick solution of boiled rice, which saturates the pores of the wood. When the sizing is hard, the block is ready for the engraver.
The writing or design to be engraved is neatly drawn or written on thin, strong, transparent paper, and is transferred, face downward, to the surface of the block. The rubbing of the back of the paper permanently transfers the writing in its inverted position to the block. The engraver then cuts away the field, leaving the transferred lines in high relief. If the graver slips and spoils a letter, the defective part is cut out; the vacant space is plugged with new wood, on which plug the letter is redrawn and cut. Labor is cheap, and skill is abundant: the cutting of a block of Chinese characters which conveys as many ideas as a page of large Roman book types costs no more, often less, than the composition of the types. The block has advantages over metal types or stereotypes. It is, practically, a stereotype: correct to copy, it needs no proof-reading; light, portable, and not so liable to damage as the stereotype, it can be used for printing copies as they are needed from time to time.
For printing the block, a press is not needed. The block is adjusted upon a level table, before which the printer stands, with a bowl of fluid ink on one side, and a pile of paper, cut to proper size, on the other. In his right hand the printer holds two flat-faced brushes, fixed on the opposite ends of the same handle. One brush is occasionally dipped into the ink, and afterward swept over the face of the block. This done, the printer places a sheet on the block; he then reverses the position of the wet brush, and sweeps the paper lightly, but firmly, with the dry brush at the other end of the handle. This light impression of the brush is all that is needed to fasten the ink on the paper. The success of this operation depends largely on the quality of the paper, which is soft, thin, pliable, and a quick absorbent of fluid ink.[5] If American book papers were substituted for Chinese paper, the process of printing by the brush and with fluid ink would be found impracticable: the sheet would not adhere to the block; the ink would smear on the paper; the brush would not give enough pressure to transfer the ink.
Chinese presswork is done with rapidity. Du Halde said that a printer could perfect, without exertion, ten thousand sheets within one day. As this performance, about thirteen impressions in a minute, for a working day of twelve hours, is really greater than that of ordinary book-printing machines in modern printing offices, this part of the description of Du Halde may be rejected as entirely untrustworthy. We must believe that the good father did not count the work, and that his credulity was imposed upon by some Chinese braggart. Davis, with more reason, says that the usual performance of the Chinese printer is two thousand sheets per day, which is about one-fourth more than the daily task of an American hand-pressman. The simple nature of the work favors speed. The sheets are printed on one side only, and the printer is not delayed by the setting-off, or smearing of the ink, on the back of the white paper.
Although the Chinese book is printed on paper of the size of two leaves, in pairs of two pages, it is not stitched through the back or centre of the double leaf. The paper is folded between the pages, and the fold is made the outer edge of the book;, the cut edges are the back of the book, through which the stitching is done. Clumsy as this method of binding may seem to our standards of propriety, it is done in China with a neatness and thoroughness which are almost beyond criticism.[6]
The labor of engraving separate blocks for every work, which would be regarded as an insuperable difficulty in the Western World, is esteemed but lightly by the patient and plodding Chinese, and is no hindrance to a very broad development of printing. A daily newspaper, known to European residents as the Peking Gazette, has been printed in Peking for centuries. This paper, which is made up chiefly of the orders of the emperor and the proceedings and papers of his general council, is printed from a composition of hard wax, which can be more quickly engraved or indented than wood. The presswork, as might be expected, is inferior to that done from engraved wooden blocks. The cost, in China, of engraving a full page, about twice the size of the fac-simile opposite, would be about forty-five cents; a careful imitation of the same page by a competent engraver on wood in New- York would cost about thirty-five dollars.
Adherence to old usages, in neglect of improved methods, is a true oriental trait, but the preference of the Chinese for block-printing is not altogether unreasonable: Their written language is an almost insurmountable obstacle to the employment of types. Chinese characters do not stand for letters or sounds; they represent complete words or ideas. As their vocabulary contains a great many of these words, estimated by some at 80,000, and by others at 240,000, it is impracticable, by reason of its expense, to cut punches for all these characters. European type-founders, at various times, have made up an assortment of Chinese characters for printing the New Testament, and for other books requiring a limited 
Fac-Simile of part of a Page from a Chinese Book.
number of words, but a complete collection has never been attempted beyond the Chinese Empire.
The type-foundry attached to the National Printing Office at Paris, which founded types for 43,000 distinct characters, has, probably, reached the highest practicable number; but 
Chinese Types Made in London.
[Furnished by Mr. John F. Marthens of Pittsburgh.]this performance was accomplished only by repeated alterations of punches and matrices. The punches were cut on wood, and pressed in prepared plaster. The matrices so made were broken when a sufficient quantity of types had been cast from them. By shortening or cutting off a line or lines, the old punches were altered to form new characters. The matrices, also, after they had received the prints of these punches, were sometimes altered by the separate prints of dots, lines, or angles, which gave them a different meaning. The imperfection of the process is obvious, for it required the destruction of many matrices and punches.
The difficulties in the way of using types, if they could be made with advantage, are too great to be overlooked: they could not be classified nor handled with economy. The American compositor picks types from cases with boxes for 152 characters, and covering an area of 1088 square inches; but experts in type-setting say that the American case is too large, and that the speed of the compositor would be much increased by reducing the area of the case. The performance of the compositor decreases with an increase in the size of case and in the number of characters. To provide for 80,000 Chinese characters, cases covering an area of 550,000 square inches would be required. In other words, the Chinese compositor would need the room occupied by five hundred cases; he would unavoidably waste the largest portion of his time walking through alleys in search of types, and vainly trying to recollect the places where he had distributed them.
The Chinese are not entirely insensible to the advantages of European typography. There is a story current in books on printing, that Jesuit missionaries, during the latter part of the seventeenth century, cast 250,000 Chinese characters in the form of movable types.[7] Here is an obvious error: if we consider the work done afterward with these types, the quantity stated is altogether too small for the types and too large for the punches. It is further said that the Jesuit missionaries, with the permission of the reigning emperor, printed a collection of ancient and standard works in six thousand octavo volumes. Of this edition, there are now in Paris, the History of Music in sixty volumes, the History of the Chinese Language in eighty volumes, and the History of Foreign Peoples in seventy-five volumes.[8] A printing office, in which movable types of cast metal are used, has been in operation in Peking since the year 1776. The types of this office are of home manufacture, made from punches of hard wood and matrices of baked porcelain. There may be other instances of an occasional use of types for special purposes, but they are exceptions to the general practice.
Ever since their invention of the art, the largest part of Chinese printed work has been done, as it is now done, by xylography. So long as they continue to use these peculiar characters, this simple method of printing must be preferred for its great cheapness and simplicity. We may smile at the clumsiness of the method, but we should not overlook the fact that it is efficient. "Every one," Du Halde says, "hath the liberty to print what he pleaseth, without the supervising, censure or licence of any one, and with so small charge, that for every hundred letters perfectly engraved in the manner above said, they pay four pence half-penny, yet every letter consists of many strokes." In no country are books so cheap and so abundant as they are in China. The American book or pamphlet in paper cover, sometimes sold for seventy-five cents, more frequently for one dollar, seems of exorbitantly high price when contrasted with a Chinese book of similar size, which can be had in China for the equivalent of eight or ten cents. If the Chinese have not derived great benefits from printing, it is obvious that their failure has not been produced by the high price of printed work.
There are many points of similarity between the Chinese method of printing and the early European practice of the art. The preliminary writing or drawing in ink of a design on paper; the transfer of lines from the paper upon the wood, and the cutting away of the field; the use of a fluid writing ink; the fashion of printing upon one side only of the sheet: these were features in use by both peoples. If we had a more thorough knowledge of the processes of the early European engravers on wood, other points of similarity might be found. These resemblances seem still more significant when they are considered with the fact that playing cards, supposed to be of oriental origin, were among the earliest productions of European engravers on wood. They have been regarded as a sufficient warrant for the hypothesis that our knowledge of engraving on wood must have been taken from China. It is the belief of many that block-printing was introduced in Europe by Venetian travelers of the thirteenth century, who had acquired a full knowledge of all the details of printing through long residence in China. This is a specious proposition, but it will not bear close examination.
Venice took the lead of all European cities in the establishment of commercial intercourse with China. Venetian merchants, in 1189, occupied an allotted street in, Constantinople, from which port they sent vessels through the Black Sea, with bales of merchandise, which accompanying agents introduced into Thibet, Tartary and China. To promote this traffic, Venice sent to the courts of the Eastern potentates some of her most reputable citizens as diplomatic and commercial agents. Marco Polo, the most distinguished of these embassadors, resided more than twenty years in the great empire of Cathay, or China, in high favor with the emperor, and provided with every facility for acquiring a knowledge of the arts and industry of the country. Soon after his return to Venice, in 1295, he dictated a narrative of his travels, but his statements were received with general disbelief, and they have usually been considered as extravagant and improbable. Of late years, the travels of Marco Polo have been defended as substantially truthful, but his most zealous defenders have to confess that he was remarkably credulous. It is a noteworthy circumstance that he does not describe printing or printed books, although he does mention the paper money of China, formally stamped in red ink with the imperial seal. This paper money must have been printed, but he does not say anything about the printing.[9] The commercial relations between Venice and China were continued many years, and it is possible that other travelers may have acquired some knowledge of the peculiarities of Chinese printing, and may have communicated this knowledge; but it was a communication of details only, and not of the principle of printing. Printing could not have been a novelty, for we have many evidences that it was practised in Italy before Marco Polo was born. The mechanics of Europe had nothing to learn of the theory, and but little of the practice, of the art of xylography. All they needed was something to print, and something to print on. They were waiting for paper and for playing cards.
- ↑ This method is still in use in many parts of the East Indies. A dried leaf is written on with a pointed steel which scratches the smooth surface. A bit of charcoal is then rubbed over the leaf; the places scratched are filled with atoms of charcoal, which make the writing as legible as it would have been if written with fluid ink.
- ↑ In support of this opinion he quotes the following from Pliny:
smaller|It would be improper to omit the notice of a new invention. We have been accustomed to preserve in our libraries, in gold, silver, or bronze, the personages whose immortal spirits speak to us from distances of leagues and centuries. We create statues of those who are no longer living. Our regrets invest them with features which have not been given to us by tradition, as, for example, is shown in the bust of Homer. The idea of making a collection of these portraits is due to Asinius Pollio, who was the first to throw open his library, and to make these men of genius the property of the public. That the love for portraits has always existed is sufficiently proven by Atticus, the friend of Cicero, who published a book on the subject, and also by Marcus Varro, who had the enlarged idea of inserting in his numerous books not only the names, but, by the aid of a certain invention, the images of seven hundred illustrious persons. Varro wished to save their features from oblivion, so that the length of centuries would not prevail against them. As the inventor of a benefit which will fill even the gods with jealousy, he has clothed these persons with immortality. He has made them known over the wide world, so that everywhere one can see them as if they were present Pliny, book xxxv, chap. i.
This invention has never been clearly explained. A new invention, which exhibited in books the features of seven hundred men, which multiplied them so that they were known over the wide world, and preserved them for posterity, should have been the invention of printing. Pliny speaks of it as a well-known fact, but no other writer of his age makes any mention of it. Why did not Pliny describe the new art instead of praising it?
- ↑ Didot, Essai sur la typographie, p. 563.
- ↑ American engravers on wood use box which has been cut across the fibres in flat disks, ninety-two hundredths of an inch thick. Wood so cut, with its fibres like columns, perpendicular to the touch of the graver and to the line of impression, can be engraved with more delicacy, and, for printing, has more strength than wood cut in line with the fibres.
- ↑ The buff-tinted wrappers around fire-crackers and Chinese silks will fairly represent the quality of the paper used for Chinese books.
- ↑ I have before me a thick Chinese pamphlet which is bound in this style. In the essential points of strength, flexibility and convenience, this binding is much superior to that of American or European sewed pamphlets. The most famous bookbinder would be justly proud of the combination of firmness and elasticity in the sewing.
- ↑ To this description of Chinese typography is usually added the untrue statement that the types were made of copper. Why the Jesuit missionaries, who were amateurs in type-founding, should add to their labors by the use of such a troublesome and slowly melted metal as copper, when European type-founders preferred lead, tin and antimony, cannot be explained. I cannot find a copy of the original statement, which was, no doubt, in Latin. The phrase, types of copper, is, probably, an incorrect translation, a repetition of the error explained in a note on page 65 of this book. The missionaries intended to say, and no doubt did say, that they made types in copper, or in copper matrices.
- ↑ American Encyclopedia of Printing, p. 104.
- ↑ Polo was more deeply interested in the simplicity of the financial method by which the Emperor filled his impoverished treasury.
He transferred the bark of the mulberry-tree into something resembling sheets of paper, and these into money, which cost him nothing at all: so that you might say he had the secret of alchemy to perfection. And these pieces of paper he made to pass current universally over all his kingdoms and provinces and territories, and whithersoever his power and sovereignty extended. And nobody, however important he thought himself, durst refuse them on pain of death. The Book of Ser Marco Polo, the Venetian. Translated and edited by Henry Vale, London, 1871.
With all his power, the Great Khan met the fate which comes to every financier who tries to fill up a depleted treasury by the issue of paper money. In a very short time the notes were worth but one-half of their original value. But the Emperor was equal to the emergency: when the notes fell to one-fifth of the nominal value, he called them in, and exchanged five old for one new note of the same denomination.