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422 the dissimilarities between manuscript and printed books, but these men were not book-buyers. To the intelligent book-buyer, the features of dissimilarity were conspicuous. It is not at all probable that Gutenberg entertained any thought of deception: he imitated his manuscript copy only because it was in an approved style of book-making.

Although the types of this Bible are obsolete, there is something pleasing in their boldness and solidity to a reader who is wearied with the small trim letters, light lines and apparently paler ink of modern books. The effect of rugged strength is relieved by the flowing lines, vivid colors and complex ornamentation of the odd borders and initials which have been added by designer and illuminator. How much of the pleasure derived from an inspection of the work is due to the skill of the printer, and how much to the art of the illuminator, has not always been judicially weighed by those who represent the book as a specimen of perfect printing. It cannot be denied that the most attractive features of the book are those made, not by printing, but by illumination, but it is plain that the designs and ornamentation are not of a character appropriate to the text. They would not be allowed in any modern edition of the book.

The workmanship of the printer in his own proper field is wonderful when we regard the circumstances under which it was done, but it would not satisfy the requirements of a modern publisher or book-buyer. It is of its own time, with the faults of that time, in manner and matter. The promise of legibility, which seems warranted by the bold and black types, is delusive. The ordinary Latin scholar cannot read the book, nor refer to any passage in it, with satisfaction. It is without title and paging figures. The blank spaces which indicate changes of subject, and give relief to the seized by the illuminator. Verse follows verse, follows chapter, and one line chases another