Description
The Psalter combines printed text with two-colour woodcuts: since both woodcuts and movable print are relief processes, they could be printed together on the same press. The Psalter is printed using black and red inks, with the smaller initials in red. The larger coloured capitals are done by hand in blue and red inks. [3] Some initials combine printing and hand-drawing, and according to Mayumi Ikeda, some even include elements of intaglio engraving. These capitals were partly the work of the artisan known as the Fust master, who later also worked for Fust and Schöffer on the 1462 Bible. [1] The musical score accompanying the psalms was provided in manuscript, and may have been the model for the type style. [3] Printing in two colours, although feasible on the moveable press of Gutenberg's time (as illustrated by the Mainz Psalter), was apparently abandoned soon afterward as being too time-consuming, as few other examples of such a process are extant. [4]
Two versions were printed, the short issue and long issue. The short has 143 leaves, and the long has 175 and was intended for use in the diocese of Mainz. All surviving copies and fragments are on vellum, and it is not known if any paper copies were printed. [5] At least one copy was still being used in services in a monastery in the mid-eighteenth century. [6]
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Peter Schöffer the Younger was a German printer, the son of Peter Schöffer, a former apprentice of Johannes Gutenberg, and a grandson of Gutenberg's financier Johann Fust. He first worked in Mainz, where he set up his first workshop. He was an expert type caster, and his specialty was printing music. Schöffer moved to Worms in 1518, where he printed among other works the Tyndale Bible, which was the first mass-produced English edition of the New Testament, and the first complete German Protestant translation of the Bible. Later in life, he also worked in Straßburg, Venice and Basel.
