Round and Round
Fulda Barracks, late April 1633
Derek Utt, the military administrator for Stift Fulda, the abbey of Fulda and its subject territories, who had been installed by the government of the New United States, or NUS, when it assumed the administration of Catholic Franconia under the aegis of Gustavus Adolphus the previous fall, looked up from his consultation with Sergeant Helmuth Hartke. They were sitting on a picnic bench under a tree, just inside the gateway to the Fulda Barracks. He was thinking what on earth? The voice sounded like Nashville, Tennessee, but the rider certainly was not a veteran of the Grand Old Opry.
"I've got heartaches by the dozen
"Troubles by the score,
"Every day you love me less,
"Each day I love you more."
"It's the courier," Hartke said. "He comes back and forth through here every couple of weeks. He'll be on his way back toward Frankfurt now."
He waved, shouting, "Anything for us?"
Martin Wackernagel turned his horse off the road. "Not a thing." He grinned. "Your paymasters use the official post office, but I can tell you that the payroll arrived safely and has been deposited with your Herr Stull in Fulda. I have newspapers from Grantville and Erfurt for those willing to pay. If you will just give me a few minutes to tether the nag and get him some water, I would not say no to a beer."
Sergeant Hartke performed the introductions.
Wackernagel had learned the song "from an old fiddler I met in Erfurt." Who had to be Benny Pierce, Derek thought; there weren't any other old fiddlers from Grantville wandering around central Thuringia as far as he know. Wackernagel had been happily spreading it throughout the intervening towns and villages. Up-time, Derek thought, any politically correct anthropologist would have charged him with acutely negligent cultural contamination, at a minimum. Where would Grimm's Fairy Tales come from if, before someone like the Grimm Brothers got around to collecting them in the towns of the Kinzig Valley, they had been replaced by Hank Williams?
Frankfurt am Main
"How's business?" Martin asked.
Crispin came in from the work room, tossing a batch of pamphlets and placards onto the table next to the newspaper. "Wretched, wretched. One cat that gave birth to a two-headed kitten; two political satires in verse, both short; a new hymn; six advertising flyers, and a 'wanted' poster. How to make your own back-yard sundial. That's all the new orders that have come in since you left. The gossip is all about the new 'duplicating machines' that the Italian sold. Escher already has his running and Freytag is assembling the one he ordered.
"A lot of the guildsmen would like to see the 'duplicating machines' prohibited, of course." Crispin started to thumb through the packets that his brother-in-law had brought in. "But if you ask me, that's hopeless."
"Why?"
"They're simply too small. Even smaller than a normal press, and that can be loaded onto a wagon easily enough. What weighs us down as printers, if we need to move from one place to another, is transporting the lead type to set up a new shop—all the different fonts and different sizes; storage bins, everything. With these stencils, you can have the little machine anywhere and if a printer somewhere else makes the stencil and sends it to you, you don't need the type in your shop. Myself, if I could get hold of one, I'd develop a sideline in producing the stencils and selling them. It's a lot less weight when you ship one out than a bale of pamphlets or placards. Let the shop at the destination pay the freight for bringing in the paper and ink."
"They still need paper, don't they?" Martin asked.
Crispin gave him the same kind of look he would give a two-headed cat. "Of course, but paper is no problem. You can get paper anywhere. Just about every town in the Germanies has a paper mill. Think how much paper is just carried through the mail, for goodness sake. And used for newspapers."
Bonn, Archdiocese of Cologne
"Here are the stencils for your pamphlet and placard. I have drawn boxes where the woodcuts go, in the proper size. The woodcuts are separate; each one will have to be stamped into each copy separately. I couldn't get good enough resolution when I tried to include them in the stencils. That will take more time than all the remainder of the production put together. Each box that I have drawn is numbered. Each wood block is numbered. If your contact in Fulda messes up the production, that is his fault and not mine."
Alain van Beekx, formerly of Antwerp, forger of magnificently authentic documents and maker of extraordinarily filthy etchings, was now, at the request of Felix Gruyard, expanding into the production of stencils. It had taken him a couple of weeks to master the stencil technique in full, even with Vignelli's personal guidance, but he was now confident that his print shop could produce as many as anyone chose to order from him in a quite timely fashion.