The capital for the new business was furnished by a wealthy goldsmith named Johann Fust. Between 1450 and 1455 Gutenberg printed an edition of the Latin Bible, sometimes known as the Mazarin Bible, which is ordinarily regarded as the first printed book. It was a magnificently printed volume, exhibiting at the very foundation of the art a skill in presswork scarcely surpassed by any of Gutenberg's immediate successors. He was a great printer, but not a financially successful one. Fust sued his partner in 1455 for repayment of the loans advanced, and upon Gutenberg's failure to meet these obligations Fust foreclosed the mortgage and took over the printing plant. Although Gutenberg started another publishing house at Mainz, and continued it until his death in 1468, the main development of printing after 1455 was in the original plant as carried on by Fust and his son-in-law, Peter Schoeffer. They printed in 1457 an edition of the Psalms in which for the first time two-color printing was employed, the large initial letters being printed in red and black. This innovation, designed to imitate the rubricated initials of the manuscripts, involved great technical difficulties in the presswork, and was not generally adopted. Most of the early printed books, even down to the end of the fifteenth century, left blanks for the large capitals at the beginnings of the chapters, to be filled in by hand by professional illuminators.
From the establishments of Gutenberg and of Fust and Schoeffer in Mainz knowledge of the new art spread rapidly into many German cities. In 1462 Mainz was captured and sacked by Adolph of Nassau in one of the local wars of the period, and printers from the Mainz shops made their way to other cities throughout the empire. Before 1470 there were printing establishments in almost every German city, and hundreds of works, mostly theological, had been issued from their presses.
In all these early German books, printed of course in Latin, the type used was the black-letter. Gutenberg, in designing his first font, evidently tried to imitate as closely as possible the angular gothic alphabet employed by the scribes in the best manuscripts. Not only were the letters identical in form with the engrossing hand of the monks, but the innumerable abbreviated forms used in the Latin manuscripts were retained. Thus a stroke over a vowel indicated an omitted =m= or =n=, a =p= with a stroke across it indicated the Latin prefix =per=, a circle above the line stood for the termination =us=, an =r= with a cross meant--=rum=, and so forth. These abbreviations, which make printed books of the earliest period rather hard reading today, were retained not only to save space but to give the printed page as nearly as possible the appearance of a fine manuscript. It was not at first the ambition of the printers and type-founders to make their books more legible or less taxing on the eyes than manuscript; their readers were accustomed to manuscript and felt no need of such improvements. The mechanical advance in the art of writing brought about by printing was at first regarded as consisting in the greater rapidity and lower cost at which printed books could be produced.