Italian Music Incunabula [Reprint 2020 ed.] 9780520334182

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Italian Music Incunabula

Italian Music Incunabula Printers and Type Mary Kay Duggan University of California Press Berkeley Los Angeles Oxford

University of California Press Berkeley and Los Angeles, California University of California Press, Ltd. Oxford, England © 1992 by T h e Regents of the University of California

Library of Congress Cataloging-in-Publication Data Duggan, Mary Kay Conyers. Italian music incunabula: printers and type / Mary Kay Duggan. p. cm. Revision of the author's thesis (Ph. D.—University of California, Berkeley, 1981) Includes bibliographical references. I S B N 0-520-05785-6 (alk. paper) 1. Music printing—Italy. 2. Incunabula—Italy—Bibliography. 3. P r i n t i n g — I t a l y — H i s t o r y — O r i g i n and antecedents. I. Title. ML112.D8 1992 686.2'84'0945—dc20 89-20270 CIP MN Printed in the United States of America 1 2 3 4 5 6 7 8 9 T h e paper used in this publication meets the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, A N S I Z 3 9.48-1984. ©

Contents List of Illustrations vii List of Tables ix Note on Abbreviations and Conventions x Preface xi I. Introduction

i

II. Italy and the Beginnings of Music Printing PART I

III. Early Music T y p e and Typefounders

A History of

Music Type

Italian Music

Music Typefounders

Incunabula

i1

22

22

I V . Italian Music Incunabula Space for Music

42

42

Printed Staves Music Printed from Woodcuts 64 Music Printed from Type 68 PART I I

Italian Music

Italian Music T y p e Specimens V.

Type and Printers

Rome

77

80

Ulrich Han (Stephan Planck), R i V I . Parma

80

89

Damiano Moilli and Bernardo Moilli, R2 (M) VII.

Venice

89

99

Theodor Franck of Würzburg, M i Ottaviano Scoto, R3, R4

102

99

Bernardino Benali, R5, R6

Simone Gabi, called Bevilaqua, R7, R8 Johann Hamman, R9, R i o , R i 1, G ì Cristoforo de Pensi, R 1 3

122

Rinaldo de Novimagio, R 1 5

no

113

Battista Torti, R 1 2

Teodoro Ragazzoni, R i 4 126

Filippo Pinzi, R 1 6 , R i 7

Johann Emerich of Speier, R 1 8 , R 1 9 , R20, R21 (M) Andrea Torresani, R22, R23 Giorgio Arrivabene, R25

143

106 120

124 127

129

Giovanni Battista Sessa, R24

145

14p

v

V i l i . Milan

152

Christoph Valdarfer, A i , R26

152

Léonard Pachel, R27, R28, A2

156

I X . Pavia

166

Francesco Girardengo, R29 X . Bologna

169

iyi

Bonino Bonini, R31 X I I . Naples

166

169

Dionysio de Odo, R30 X I . Brescia

Antonio Zarotto, A3 (R)

lyi

Giacomo Britannico, R3 2

iy6

Christian Preller, R33

176

X I I I . Incipient Music Type

179

Francesco Benedetti and Guillaume Le Signerre X I V . Directory of Type Specimens

PART I H

173

182

X V . Bibliography of Italian Music Incunabula Introduction

179

i8y

i8y

Music Books and

Abbreviations of Libraries Holding Music Incunabula

Their Locations

Abbreviations of Sources

196

Descriptive Bibliography

200

X V I . Indexes and Concordance

189

273

Chronological Index 273 Index of Printers by Location 279 Concordance 289 Appendices

1. Documents Relating to Jacomo Ungaro

299

2. Nonliturgical Italian Music Incunabula 302 3. Directory of Latin Place-Names and Monastic Orders U s e d in Italian Music Incunabula 303 Glossary 305 Bibliography 309 Index 3 1 9

vi

Contents

160

Illustrations Fig. 18. Bartolome Ramis de Pareja, Musica

Fig. i . Graphic forms of the basic time value in roman plainchant.

5

Fig. 2a-b. T h e virga cum orisco in manuscript form. Perugia, Archivio di San Pietro, Ms. L.

7

Fig. 3. T h e production of incunabula with printed music, by decade.

16

Fig. 4. T h e terminology of a piece of modern type 23

printing a specimen, b. A kerned virga with a 23

Fig. 6. Graduate Romanum. Venice: Johann 30

Fig. 7. Graduate Romanum. Venice: Johann 1499/1500, f. LII.

31

Fig. 8. Sketches of the displaced type in Emerich's Graduate, 1499/1500, f. LII.

31

R 2 1 . b. A flat printed below a note.

31

32

Fig. 1 1 . Hypothetical body size of virga in 32

Fig. 12. Hypothetical body size of staff type for 33

Fig. 1 3 . Examples of kerned text types in 33

Fig. 14. Missate Ambrosianum. Milan: Antonio

Ratdolt, 18 III i486, f. LXXVIIIv.

55

Hamman and Johann Emerich of Speier, 10 XI 1487, f. m3 v .

56

Hamman, 1 II 1493/1494, f. r i .

57

Fig. 25. Missate Romanum. [Venice: Bernardino Benali? for Luca Antonio Giunta, ca. 1490], 5«

Fig. 26. Missate Strigoniense. Venice: [johann 59

Fig. 27. Missate Valentinum. Venice: Johann Hamman, 1 VI 1492, f. 06.

62

Fig. 28. Missate Romanum. Venice: Johann Emerich of Speier, 13 VIII 1494, f. k4 (mis-signed I4).

63

Fig. 29. Missate Ambrosianum. [Milan: Giovanni Antonio d'Onate, 1494], f-V

IO

-

Fig. 30. Missate Romanum. Venice: Johann (17,4 V )-

Fig. 1 5 . Missate Ambrosianum. Milan: Antonio

67

Fig. 3 1 . Missate Romanum. Rome: Ulrich Han, 46

Fig. 16. Missate Romanum. Naples: Matthias Fig. 17. MissateMoravus, Ordinis Praedicatorum. Naples: Matthias 29 III 1483, f. [37].

Fig. 22. Missate Strigoniense. Venice: Erhard

Emerich of Speier, 28 IV 1493, f. 13 i v

Zarotto, 23 III 1 4 7 5 , f. [CVIII],

Moravus, 1 4 7 7 , f. [ 1 0 6 ] .

6 VI 1 4 9 1 , f. n5 v .

or 1 5 0 2 , f. ni 1.

Emerich of Speier for Luca Antonio Giunta,

Zarotto, 23 III 1 4 7 5 , f. [xlvi],

54

Emerich of Speier for] Johann Paep, 1500

Fig. 10. Graduate Romanum. Venice: Johann

Emerich's Graduate.

Nikolaus von Frankfurt, 1484, f. o6 v .

f. 03".

Fig. 9. a. Hypothetical body sizes of music type

Emerich's R21.

53

Fig. 20. Missate Ordinis Praedicatorum. Venice:

Fig. 24. Missate Strigoniense. Venice: Johann

Emerich of Speier for Luca Antonio Giunta,

Emerich's R21.

1482, f. b6 v .

Fig. 23. Missate Parisiense. Venice: Johann

Emerich of Speier for Luca Antonio Giunta,

1499/1500, f. V.

di Hyrberia and Heinrich von Köln], 12 V

Girardengo and Giovanni Antonio Beretta,

with many kerned sorts, composed for

1499/1500, f. LII.

Utriusque Cantus Practica. Bologna: [Baltasar

Fig. 2 1 . Missate Romanum. Pavia: Francesco

Fig. 5. a. A sixteenth-century font of music type

bent stem.

52

Fig. 19. Bartolome Ramis de Pareja, Musica

Antiphonal, second half of fifteenth century.

and its printed image.

Utriusque Cantus Practica. Bologna: Baltasar di Hyrberia, 5 VI 1482, f. b6v.

47

12 X 1476, f. [ 1 0 4 ] . Fig. 32. Pontificate Romanum. Rome: Stephan Planck, 20 XII 1485, f. [cxvi],

84 86

48

vii

Fig. 33. Missale Romanum. Rome: Stephan Planck, 27 X 1494. f. [lxxvi]. Slightly larger than scale. 87 Fig. 34. Graduate. Parma: Damiano Moilli and Bernardo Moilli, 10 IV 1477, f. xiiii. Reduced scale. 91 Fig. 35. Graduale. Parma: Damiano Moilli and Bernardo Moilli, 10 IV 1477. Mensural Credo.

92

Fig. 38. Francesco Niger, Grammatica. Venice: Theodor Franck of Würzburg for Johann Santritter, 2 1 III 1480, f. 97". 101 Fig. 39. Missale Romanum. Venice: Ottaviano Scoto, 29 XII 1 4 8 1 , f. q4>

103

Fig. 40. Missale Ordinis Praedicatorum. Venice: Ottaviano Scoto, 24 XII 1482, f. 1113.

104

Fig. 4 1 . Missale Romanum. [Venice: Bernardino 107

Fig. 42. a. Missale Romanum. Venice: [Simone

inR2i.

134

Fig. 5 1 . Missale Ordinis Praedicatorum. Venice: Andrea Torresani, 30 XII 1496, f. i8v. I

43

Fig. 52. Missale Romanum. Venice: Giovanni

v

Paganini, 27 IV 1487, f. n4 . b. Missale

Fig. 53. Missale Romanum. Venice: Giovanni Battista Sessa, 1490, f. 06 (ex).

1499, f. n4v.

Battista Sessa, 3 1 VII 1498, f. D6V. Fig. 55. Missale Romanum. Venice: Giorgio

called Bevilaqua, 3 1 I 1497/1498, f. 109.

I

5°

Arrivabene, 29 V 1499, f. P3". Fig. 56. Missale Romanum. Milan: Christoph Valdarfer, 1 IX 1482, f. [14]. Fig. 57. Missale Ambrosianum. Milan: Christoph Valdarfer, 15 III 1482, f. [109]. N o t to scale.

154

Fig. 58. Psalterium Ambrosianum. Milan: Leonard f. 1114.

158

Fig. 59. Rituale Ambrosianum. [Milan: Antonio Larger than scale.

v

29 X 1489, f. mi .

Girardengo, 1495, f. k2.

167

Fig. 6 1 . Ordo ad Catechumeni Faciendum. Bologna:

112

Fig. 62. Missale Ordinis Carmelitarum. Brescia:

Fig. 44. Missale Romanum. Venice: Battista Torti, 121

Fig. 45. Missale Romanum. Venice: Battista Torti, 121

Fig. 46. Missale Romanum. Venice: Cristoforo de Pensi, 3 1 X 1489, f. m2 v . 123 Fig. 47. Missale Romanum. Venice: Teodoro Ragazzoni, 15 XII 1489, f. n^. Reduced in size. 125 Fig. 48. Missale Romanum. Venice: Filippo Pinzi, 29 III 1494, f. 13" (lxxxiiiv). 128

Dionysio de Odo, 20 III 1487, f. [37].

170

Bonino Bonini, 14 VIII 1490, f. m4v (88 v ).

172

Fig. 63. Missale Romanum. Brescia: Giacomo Britannico and Angelo Britannico, 1 IX 1492, f.

08.

174

Fig. 64. Combined types as used in Preller's Missale Romanum.

176

Fig. 65. Missale Romanum. [Naples: Christian Preller for Antoine Gontier?, ca. 1490], f. n i .

177

Fig. 66. Giovanni Spataro, Honesto Defensio. Bologna: Francesco Benedetti, 16 V 1 4 9 1 , f. E i . 180

Map i. Approximate distribution of plainchant notation in Europe at the advent of printing. 4

Map 3. T h e ecclesiastical provinces of Germany, with the diocese of Constance. Illustrations

148

in

Fig. 43. Missale Romanum. Venice: Simone Gabi,

viii

*47

Fig. 54. Liber Catechumeni. Venice: Giovanni

Fig. 60. Missale Auscitanum. Pavia: Francesco

Romanum. Venice: Bevilaqua for Paganini, 10

Map 2. Europe at the advent of printing.

146

Battista Sessa, 8 X 1497, f. cxii.

Zarotto, ca. 1487], f.

Gabi, called Bevilaqua, for] Paganino

29 X 1489, f. m6.

133

Pachel and Ulrich Scinzenzeller, 28 IV i486,

Benali? for Luca Antonio Giunta, ca. 1490],

III

Emerich's Graduale.

Fig. 50. Kerned and abutting music and text types

Reduced in scale.

Fig. 36. Francesco Niger, Grammatica. Venice: Theodor Franck of Würzburg for Johann 100 Santritter, 21 III 1480, f. 98. Fig. 37. Proposed body size of the longs in Mi. 100

f. O5.

Fig. 49. Liquescent note forms in R 2 1 , used in

12

2

Tables 1. Plainchant notation of the fifteenth century 2. Mensural notation

6

9

3. Distribution, by country, of incunabula with printed notes and staves 4. Italian music incunabula

15

17

5. Distribution of Italian music incunabula by place

17

6. Production by city of all Italian incunabula compared to Italian music incunabula 7. T h e most important Italian shops printing music incunabula 8. Production of Italian music incunabula by decade 9. Music types of Christopher Plantin's shop

18

19

19

25

10. Music types of the Le Be typefoundry (ca. 1620 inventory)

26

1 1 . Italian incunabula with space for music 12. Italian incunabula with printed staves but no notes 1 3 . Staff techniques of Johann Hamman

14. Staff techniques of Johann Emerich of Speier

61

15. Italian music incunabula printed from woodcuts 16. Classification of music types in Italian incunabula 17. Small type fonts in Venice

50

61 65 69

69

18. T h e relationship of book production to stem length of Roman Large Missal types 19. German music printers in Italy

73

20. Venetian incunabula music type fonts by size and year 2 1 . Samples of descriptions of music type

114

23. Early book production of Hamman and Emerich 24. Music books of Johann Emerich of Speier 26. Music incunabula of Pachel 27. Music books of Zarotto

74

79

22. Music books printed by Johann Hamman

25. Formats of Emerich's editions

70

116

131

132 157

161

IX

Note on Abbreviations and Conventions For abbreviations of sources frequently cited, see Part III, pp. 196—99. References to Italian music incunabula are by short title (e.g., Missale Romanian) and by Duggan number (e.g., D 103) as found in the Descriptive Bibliography. References to fifteenth-century Italian music types are by classification number. T h e method of describing types by measurement is explained at the opening of Part II, and a key to classification numbers is provided in the directory to Part II. For complete illustrations of the musical examples given here in detail, see the author's dissertation. T h e Venetian calendar began the new year on 1 March. Dates in the text have been converted to modern style; for example, a Venetian incunabulum dated February 1483 is cited as February 1483/ 1484. For Italian names, modern spelling is used following the practice of Gedeon Borsa's Clavis Typograpborum Librariorumque Italiae 1465—1600 (Baden-Baden: Valentine Koerner, 1980). German names follow the practice of Ferdinand Geldner in Die deutschen Inkunabeldrucker: Ein Handbuch der deutschen Buchdrucker des XV. Jabrhunderts nacb Druckorten (Stuttgart: Hiersemann, 1968-1970). T h e following monetary values are used: 20 soldi = 1 lira; 124 soldi or 6 lire 4 soldi = 1 ducat. A ducat, a florin, and a scudo were roughly equivalent.

Preface

From the moment I first saw Berkeley's copy of the giant Graduale Romanum printed by Johann Emerich of Speier, I was captivated by the complexities and beauty of this early masterpiece of music printing. An attempt to clarify the historical position of the book and the technological processes used to print it made me aware of a lack both of organized information on fifteenth-century music printers and their music types and of adequate descriptions of the liturgical editions that formed the major part of their publishing programs. This book serves as a beginning in the provision of that information, focusing on the Italian contributions. The significant early and prolific work of music printers in Germany and Switzerland is the subject of my current research, and I look forward to one day adding studies of the rest of Europe for a balanced picture of the early printing of music. I am grateful to the directors and staff of many European libraries, including the Biblioteca Marciana and Fondazione Cini in Venice, the Biblioteca Ambrosiana and Biblioteca Nazionale Braidense in Milan, the Biblioteca Vaticana in Vatican City, the Bayerische Staatsbibliothek in Munich, the Orszâgos Széchényi Konyvtâr in Budapest, the Bibliothèque Nationale in Paris, and the British Library in London, for allowing me liberal access to their collections of incunabula and photographic services. Among the collections in this country, those at the Henry E. Huntington Library, the Library of Congress, and the Music Library of the University of California at Berkeley were most valuable.

files of the Gesamtkatalog der Wiegendrucke at the Deutsche Staatsbibliothek in East Berlin. Luigi Samarati, director of the Biblioteca Comunale at Lodi, was most helpful in making the 1477 Graduate available for examination at his library. I gratefully acknowledge the generosity of the Martha Baird Rockefeller Fund for Music in providing me with a grant that made possible a year's stay in Venice with extended trips to nearby libraries. It is a pleasure to thank the numerous persons who have helped me in my task. The late Vincent Duckies provided the initial encouragement to explore the subject of early music printing. Fredric J . Mosher directed the project from beginning to end and made invaluable contributions to method and style. I received valuable help from Robert D. H a r lan, Daniel Heartz, Richard L. Crocker, Roger Levenson, Bernard Rosenthal, Donald Krumme.', Joseph Kerman, James Mosely of St. Bride Institute (London), John Emerson, Paul Needham of the Pierpont Morgan Library, Michael L. Turner of the Bodleian Library, and Alan Nelson. Special thanks are owed to Mary H . Silloway, Marcella Genz, and Janice Braun for their assistance in programming and editing the phototypesetting of the Descriptive Bibliography and the indexes of Part III. Finally, I thank my daughters, Kathleen and Marie Christine Duggan, who so willingly agreed to accompany me to Venice for a year of school while I pursued my research goals.

Special thanks must go to Ursula Altmann, who graciously allowed me access to the manuscript

xi

I. Introduction

Music notation placed such difficult demands on the new craft of printing that its initial appearance in an impression from metal type came a full twenty years after the first printed alphabetic texts. A s early as 1457, printers in Mainz had designed a psalter to include music, but they dealt with the problem of printing notes and staves by inserting blank spaces where the notes and staves of prescribed plainchant would be added by hand. By the 1470s a handful of printers were able to produce a font of metal music type and use it to print music exactly on any line or space of a four- or five-line staff. By the end of the century dozens of such types for both plainchant and mensural music had appeared in the notational styles of different geographic areas. Music incunabula are here defined as those incunabula or fifteenth-century printed books that contain printed notes and staves, printed notes, printed staves, or blank spaces for the insertion of manuscript music. W h i l e books containing blank space for music might not seem appropriately classified as music incunabula, that category has often been included in such studies as Meyer-Baer's Liturgical Music Incunabula, because the books may exist in copies with music added by hand or printed in a second shop. In any case, the present study is concerned primarily with those books that contain printed music. Books with space for music receive little discussion, but they are included in the D e scriptive Bibliography in Part III. Music incunabula may seem at first to be only a small part of the total estimated 25,000—30,000 incunabula. T h a t total, however, includes many small pamphlets and single leaves. T h e 156 Italian music incunabula and the 200 to 300 printed elsewhere in Europe are most often impressive volumes of folio or large folio size, printed in two colors, with wood-

cut illustrations. T h e largest of them, the 1499 Graduate ( D 17), is thought to be the largest book printed in the fifteenth century. Music was printed in three kinds of incunabula: liturgical books for the Catholic church, books of music theory, and books containing secular music for performance. Most music incunabula are found in the first category. T h e major services of the Catholic church were the Mass and the canonical hours of the Divine Office. By far the most common music incunabulum is the missal, the book of the textual and musical portions of the Mass to be read and sung by the priest. In contrast, fifteenthcentury printers rarely took up the challenge presented by books of elaborate plainchant performed by the choir at Mass (the gradual) or at the Divine Office (the antiphonal). T h e breviary, the book of prayers of the priest for the Divine Office, rarely contained music. Other liturgical books printed with music in Italy in the fifteenth century include collections of several special services such as baptisms and funerals under such titles as Agenda, Liber Catechumeni, Ordo ad Catechumenum Faciendum, Rituali Romanum; books for single services, such as Liber Baptismalis, Manuale Baptisterium; books for particular officiants, such as the Pontificale for use in cathedrals by a bishop; processionals; and psalters. M o s t Italian printed liturgical books followed the Roman rite, established for the diocese of Rome. Other music incunabula for monastic or local uses, modifications of the standard rite codified by cathedral chapters or monastic orders, include

1. Frederick R. G o f f , " A Few Footnotes to Konrad

Haebler's Handbuch der Inkunabelkunde," in Essays in Honour of V. Scholderer, ed. Dennis E. Rhodes (Mainz: Pressler, 1970), p. 178. 2. For definitions of kinds of service books, see the glossary.

Leipzig

Budapest Milan

Gothic |

Byzantine

1 Roman Ambrosian

indefinite boundary

MAP i. Approximate distribution of plainchant notation in Europe at the advent of printing.

2

History of Italian Music Incunabula

fifteen (litanies, missals, psalters, rituals) for the Ambrosian rite celebrated in Milan and some neighboring dioceses, and books for local uses in Italy (Aquila, Messina), France (Auch, Besançon, Clermont-Ferrand, Nantes), Spain (Burgos, Segovia, Toledo, Valencia), Hungary (Pecs, Esztergom), and England (Salisbury). Italian music incunabula were published for use by several monastic orders: Augustinian, Carmelite, Franciscan, Benedictine, and Dominican. T h e major determinant of the design of early printed books was the design of the manuscript copytext. S o too for music: the look of early printed products conformed to the appearance of manuscript books. T h e sizes of liturgical books were usually large or folio format for the priest at the altar and extra large folio for the choir to share at the music stand, although the introduction of printing was to revolutionize standard sizes and make the small missal and regular folio choirbook common by the sixteenth century. Music bookhands in use at the point of transition from the manuscript to the printed book were selected according to the function of the text and the geographical location in which it was to be read. Scripts for plainchant (the monophonie music of the Catholic liturgy) and for mensural or measured music (liturgical or secular, monophonie or polyphonic) and tablature systems for notating finger positions of stringed or keyboard instruments were all in existence. Red ink for plainchant staves and for the rubrics of service books was standard at the introduction of printing, as were liturgical points of decoration such as the initials that began services on major feasts and the illustration of the Crucifixion scene that preceded the Canon of the Mass. A review of the major characteristics of manuscript music books will provide a foundation for discussing their imitators in print. Plainchant notation could be roman, gothic, ambrosian, or byzantine. The choice of script was a function of geographic and political boundaries, as we have said, although the inroads of the republic of Venice into the Byzantine Empire and the accompanying establishment of Benedictine monasteries there blurred the eastern boundaries of roman plainchant more than is generally realized. Map i, 3. For a directory of Latin forms of place-names and monastic orders used in Italian music incunabula for liturgical uses, see Appendix 3.

with its division of Europe into areas using different chant notation, shows clearly enough why most music printers in Italy chose to use roman plainchant type exclusively. It was a strictly commercial decision. T h e map also pinpoints the Ambrosian enclave around Milan that encouraged music printers of that area to design plainchant type for the local rite.4 Only one gothic plainchant font was used in Italy in the fifteenth century, that of German printer Johann Hamman, used in an Agenda Pataviensis for export to Passau across the Alps in Bavaria. Since the area of "Italy" during the time period under consideration does not conform to that of the twentieth century, it will be useful to clarify its fifteenth-century political and geographical boundaries. In the later fifteenth century, "Italy" was a term used to denote an assemblage of independent states, joined in an uneasy equilibrium by the Peace of Lodi (1454), with boundaries still subject to fluctuation (see Map 2). There were three main states in the north: the Republic of Venice, the duchy of Milan, and the city-state of Florence, by then a territorial state. The Papal States in the center of the peninsula were a significant power. Below them were the two kingdoms of Naples and Sicily, separate during the second half of the century. In addition there were a number of smaller states, including Mantua under the House of Gonzaga, the two Tuscan republics of Siena and Lucca, and the territories of the House of Este: Modena, Reggio, and Ferrara, the last a feudatory of the papacy. The Republic of Venice was at the height of its expansion on the mainland, extending as far west as Brescia and Bergamo in Lombardy, and in the east into the coastal regions of the upper Balkan peninsula. Since the fall of Constantinople in 1453, the Turks had been a constant menace to the island holdings of Venice in the Mediterranean, including Crete and Cyprus, and the Genoese fleet had successfully challenged Venetian naval supremacy in the Adriatic and the Mediterranean. For the purposes of this book, Italy will be defined as including the territory of the modern nation plus that part of Yugoslavia which belonged to the fifteenth-century

4. For a definition of the boundaries of that enclave, see

the map by Michel Huglo in Fonti e paleografia del canto ambrosiano, Archivio Ambrosiano 7 (Milan: Scuola Tipografica di San Benedetto, 1956), p. 1 1 1 .

Introduction

3

Republic of Venice and in which the Missale Romanum in the Glagolitic language (22 II 1483; see Part III) is thought to have been published. T h e basic neumes (from the Greek neuma, "note" or "sign") of the plainchant notations that were cut into metal type in Italy in the fifteenth century are illustrated in Table 1. T h e last column provides a transcription of the neumes into modern notation. T h e Latin names and the shapes of the simple and compound neumes provide a point of reference for the discussion of written or printed neumes in later chapters. The information encoded in neumes serves two functions: coordination of melodic inflections with syllables of text, and identification of the directions of melodic movement within the inflections represented by the neumes.5 T h e earliest notation meticulously observed the function of syllable marker, but since neumes were not drawn on a staff it lacked precision for specifying melodic movement from note to note.6 By the end of the fifteenth century, at the other extreme, less careful scribes began to ignore the primary role of plainchant notation as syllable marker and to separate neumes into isolated virgas that functioned solely as pitch indicators. This process would accelerate with the advent of printing. While a few exacting printers, especially Johann Emerich in his 1499 Graduate (see Fig. 7), managed to maintain the visual appearance of compound neumes and to print them carefully over the appropriate syllables of text, others such as Dionysio de Odo in his Ordo ad Catechumeni Faciendum used two or three type designs and carelessly distributed the notes over the text (see Fig. 6 1 ) . Within a single plainchant notation, variation could occur to challenge the designer of music type. Each style of plainchant notation has a common note that represents the basic time value of a chanted syllable of text (see Fig. 1). In roman notation of the fifteenth century the common note could be one of two basic forms, the stemmed virga used in much of Italy or the punctum used in Spain, 5. A survey of the notation of plainchant is contained in Willi Apel's Gregorian Chant (Bloomington, Indiana: Indiana University Press, 1958), pp. 9 9 - 1 3 2 . 6. Recently discussed in Leo Treitler, " T h e Early History of Music Writing in the West," Journal of the American Musicological Society 35 (1982), 245.

HH • «

^

FIG. 1. Graphic forms of the basic time value in roman plainchant. southern Italy, and part of France. 7 A notehead could be sharply pointed at the top and bottom or smoothly right-angled, straight on each side or gently curved, provided with a long or a short stem or no stem at all, filled in with ink or left hollow. T h e Italian printer working for Spain or France could vary the fonting of his type to increase the number of stemless characters and nearly eliminate stemmed ones. Gothic plainchant notation was used in Italy during the fifteenth century only at the far north and east, along the borders of the Republic of Venice, and in such occasional strongholds of disparate liturgical tradition as the patriarchate of Aquileia, centered in the old Roman city at the head of the Adriatic that for centuries rivaled the power of Venice. 8 T h e lozenge was the common note of gothic notation, and its style varied just as did the square of roman notation. T h e missals printed for Hungary in the fifteenth century with staves and without notes contain a variety of styles of manuscript gothic notation, illustrating the range of styles in use (see Figs. 22 and 26). The significance of the majority of neumes is restricted to melodic motion, but certain signs for liquescence within neumes indicate the use of ornaments in performance. The decoration signified by liquescent neumes is rarely needed in the syllabic plainchant of liturgical books for the celebrant (missals) but is essential in books for the choir (graduals, antiphonals, processionals). By the late fifteenth century, the degree to which liquescence was actually written out varied from scribe to scribe. While many liquescent neumes had disappeared from plainchant manuscripts, the appearance of the cephalicus and epiphonus in fonts of 7. gischen 1912), 2 vols.

Peter Wagner, Neumenkunde: Paläographie des liturGesanges, 2nd ed. (Leipzig: Breitkopf und Härtel, p. 352; Johannes Wolf, Handbuch der Notationskunde, (Leipzig, Breitkopf and Härtel, 1 9 1 3 ) , 1 . 1 4 6 .

8. Francesco Spessot, "Libri liturgici aquileiesi e rito patriarchino," Studi Goriiiani 35 (1964), 77—92.

Introduction

5

T A B L E 1 : Plainchant notation of the fifteenth century Roman Punctum

•

Virga

1

Podatus

Scandicus Torculus Porrectus Cephalicus Epiphonus Bivirga Virga cum orisco* * G clef F clcf B rotundus B naturalis B quadratus Custos, Direct

•

J1 %

V* \

A

N f n c

\ /

\

c •e i * : b b^ bb V vf

r

*x N

1

ft

c 11

b

J>

•

* *

IV

f

Hungarian*

•

•n

11

•n

Gothic

•

a .1

Clivis Climacus

Ambrosian

A 1

*

n n ST}

&

* f

sn sn

none none

• •

J ^ J i or •

•••

with ornament

c 3 b

substitute G clcf

b I) it

Hungarian notation, gothicized by Austrian influence into a form called Messine-German, spread over an area that coincides with the borders of medieval Hungary. See the introduction to Missale Notatum Strigoniense ante 1431 in Posonio, ed. Janka Szendrei and Richard Rybaric (Budapest, 1982), pp. 4 6 - 6 7 . **A name coined here to describe the combination of virga and oriscus that commonly appeared in late fifteenth-century manuscripts and printed books.

6

History of Italian Music Incunabula

m

FIG. 2a-b. T h e virga cum orisco in manuscript form. Antiphonal, second half of fifteenth century. (Archivio di San Pietro, Perugia, Ms. L.)

metal type is proof of their viability in certain locales. Lack of standardization in Italian manuscript plainchant music notation is also to be observed for the ornamented beginning and final notes of chant melodies. Frequently a decorated longa of a kind I have called a virga cum orisco was present in forms that varied according to the mode of the chant.

Most Italian incunabula types include only one way of printing the design. Only one printer, Christoph Valdarfer, cut both an ascending and a descending virga cum orisco; it appeared in 1482 in the first font of ambrosian type for a Mi ssale Ambrosianum. T h e carefully written decorated final notes in a Perugian antiphonal (see Fig. 2a—b) show how the shape of the note could indicate decoration approlntroduction

7

priate to the mode and melodic shape of the chant. Fifteenth-century music types contain only one design for the virga cum orisco. The elimination of variants may be the result of printers' efforts to simplify type fonts or may indicate that the performance practice denoted by the unusual designs was disappearing. It was common for chant pieces to be begun by a soloist who would set the pitch level to be followed by the choir; the virga cum orisco often found at the beginning of fifteenth-century Italian chant pieces would have facilitated raising or lowering a pitch that was found to be too low or too high.9 Modern chant books eliminate the sign altogether. Developed to notate the metrical extensions of plainchant, mensural notation uses many of the same note forms. White mensural notation was used internationally wherever polyphony was written, but black mensural notation was still required for the popular mensural Credos that were a regular part of the gradual. Despite the fact that Petrucci is usually credited with using the first mensural type in 1 5 0 1 , both white and black mensural notations were cut into type in Italy in the fifteenth century (for type specimens, see Part II, M i and R 2 i [ M ] ) . In mensural notation the lozenge became the basic note form, with the punctum serving as the breve (see Table 2). Many additional shapes were required of the typecutter for mensural notation: stemmed and flagged lozenges, ligatures with upward stems at the left (ligatura cum opposita proprietate), mensuration signs, various durations of rests, and the signum congruentiae. Further symbols for longer and shorter note values existed but were less frequently used and were not cut into type in the fifteenth century. T h e interpretation of accidentals in fifteenthcentury music is an area of considerable controversy. Accidentals were occasionally used in manuscripts and incunabula, but a strong tradition existed for omitting them altogether, thus leaving decisions on raising and lowering tones to the performers, who would presumably have mastered a seldom-agreed-upon set of rules. That the practice of musica ficta was common in plainchant can be 9. For references to soloistic intonation of chant in Italy in the sixteenth century, see Richard Sherr, "Some Remarks on Papal Patronage, Singers, and Music in the Papal Chapel in the Early Sixteenth Century" (paper read at the American Musicological Society Meeting, Vancouver, 1 1 Nov. 1985).

8

History of Italian Music Incunabula

seen in such theoretical works as the Quaestiones et Solutiones (21 June 1509) by the Venetian Johannes Materanensis 10 and in the preface to the printed Gradúale of 1499/1500. In the latter the Franciscan Franciscus de Brugis explained that he was aware that the use of accidentals varied from country to country: Gallici enim nostri: et qui Germanias incolunt omnesque alii eas circa regiones duro máxime delectantur. Italici vero et cetere nationes citra tilos montes molli magis alliciuntur. We French, the Germans, and those who live in the neighboring regions delight in B natural. The Italians and other nations on this side of the mountains prefer B flat.11 Accidentals were part of the task of the international committee of musicians selected to decide upon the text to be printed in the Gradúale "in the hope of unifying and reforming the chant." That the task was not easy is clear from a comparison of extant copies of the Gradúale. Many printed accidentals were removed in later states of the printing, while others were added by stamping after the initial printing; in some copies of the books, accidentals were later inserted in manuscript. T h e fluid tradition of musica ficta posed a difficult problem for the printer, and it was certainly to his benefit that in the next century accidentals were generally specified. This book is divided into three main parts. The first (Chapters I—IV) follows the history of early Italian music printing from the point of transition from the manuscript era through several stages of printing. After an introduction and a look at the international picture of music incunabula, Chapter I I I analyzes the techniques of casting and setting types and staves in printed music books. A displaced music type in the 1499 Gradúale is adduced as evidence that the method of casting into type music designs of varying heights in pieces of more than one body 10. Edited by Albert Seay, Colorado College Music Press Critical Texts 2 (Colorado Springs: Colorado College Music Press, 1977), p. 14. 1 1 . The preface is printed in Giuseppe Massera, La "Mano musicale perfetta" de Francesco de Brugis dalle prefazioni ai corali di L. A. Giunta (Venecia: 1499-1504), Historiae Musicae Cultores Biblioteca 18 (Florence: Leo S. Olschki, 1963), pp. 7 1 - 7 3 . 12. Ibid.

Table 2 Mensural notation White notation

Modern transcription

Black notation

1

Long Breve

•

m

Semibreve

0

•

J J

J> Minim

1

i

Semiminim

£

i

J)

k

JJ JJ

Descending ligature Ascending ligature

b-

\p

Modern transcription

White and black notation Tempus perfectum, prolatio minor

3 4

Tempus imperfectum

4 4

2

Tempus imperfectum diminutum

4

O

Signum congruentiae Accidentals

Custos or direct Rests

C clef F clef

J

-H-t-

c_

c f«

c IB

or

"From the evolutionary point of view, the semibreve corresponds to the modern whole note. However, it is common practice to reduce the time value by half or, as here, by four to avoid an appearance of sluggishness.

size was in use in the fifteenth century. T h e chapter ends with a sketch of the role of the professional type designer and founder in the early history of music printing. T h e various methods of printing books with music are treated in Chapter IV. A first section describes those books printed with space in which music notation and staves could be added by hand. N e x t , the books printed with staves and without notes are examined and techniques for printing staves are discussed. T h e third section surveys Italian music incunabula printed from woodcuts. T h e final section reviews the music incunabula printed using metal types, the printers and places important for the development of music types, and characteristics of those types. P a r t II is organized around the thirty-eight numbered type specimens that I have prepared for each music type used in Italy in the fifteenth century. T h e headnote explains the scheme of type classification and the method used to assemble type specimens f r o m photographs developed to actual size. T h e s e specimens provide easy access to the full range of music type designs and sizes of each printer; distinctive characters such as clefs, liquescent neumes, and accidentals can be identified and compared easily. W i t h each type specimen are given an account of the career of the printer who used the type and a list of the books in which it appears. Considerable biographical detail is given for the first printers, with the intention of verifying those facts that are significant in the history of music printing and of assessing the roles of printers (owners and directors of printing establishments), publishers (those who normally owned no typographic material but commissioned publications by those who did), type designers, and type founders. P a r t III contains a Descriptive Bibliography of Italian music incunabula with information essential in understanding and supporting the conclusions of

10

History of Italian Music Incunabula

the book. It provides a list of both those editions formally defined as Italian music incunabula (numbered items)and many editions which are not so defined (unnumbered items) either because of new dating, ascription to a place of printing outside of Italy, lack of space for printed music, or other reasons. T h e Descriptive Bibliography resolves many questions of identity raised by the short title entries of Meyer-Baer's list of Liturgical Music Incunabula and expands that list to cover nonliturgical incunabula as well as the holdings of many more count r i e s — i n particular, Italy. T h e description of each music incunabulum attempts to establish the ideal copy of the book as it came f r o m the printer, based on personal examination and correlated with descriptions found in printed lists of incunabula. Even where no known copy exists, editions have been included when they have been cited in authoritative sources; as much information as is available is included in the descriptions of such works. Following the descriptions are a chronological index, an index of printers, and a concordance of the Descriptive Bibliography to major incunabula catalogues. Appendices include archival documents on Jacomo U n g a r o , a Venetian music typefounder; a list of nonliturgical Italian music incunabula; and a directory of Latin place-names and monastic orders, to aid in understanding the titles of liturgical incunabula. A glossary provides short definitions of selected important bibliographical, liturgical, and musical terms. T h e paleotypography of music is a fledgling enterprise compared to other areas of the study of incunabula. W i t h easily accessible bibliographic descriptions and music type specimens, a beginning can be made in understanding the impact of the printing press on music and the place of music books in the work of early printers and centers of printing.

Ii. Italy and the Beginnings of Music Printing

Italy played an important role in early music printing in both quantity and quality of production. While current information on the amount and distribution of fifteenth-century music printing in Europe is far from exact, what is known suggests that Italy was an innovator throughout the century and dominated production of music books in the last decade just as she dominated the publishing industry as a whole. The first music printed from movable type appeared about twenty years after the first European book printed from movable type, the forty-two line Bible produced in Mainz about 1454. Much as alphabetic printing had been perfected for that Bible, so the technology for printing music was in a nearly perfected state at its first appearance in the gothic plainchant of a gradual of about 1473. 1 The circumstances surrounding the first music printing are even more obscure than those surrounding Gutenberg's activities in Mainz. N o documents are known concerning the printer of the first gradual or the location of his press. The only evidence is the book itself, a gradual that exists in a single copy in the British Library (IB 1 5 1 5 4 ) and in a fragment of seven leaves in the University Library at Tübingen. The book contains no colophon naming a date or printer. Because it uses an alphabetic type identical to that of a breviary (GW 5 3 1 5 ) rubricated in 1473 and therefore printed about a year before that date, the Graduale has been dated about 1473. The alphabetic type is known to have been used for only one other book, a psalter that survives in a fragment of two leaves

(British Library, IA 1 5 1 5 2 ) ; the music type was never used again. The first music press appears, then, to have been quite short-lived. The printing of the Graduale was originally assigned by Proctor to Augsburg because the only known copy of the Graduale was bound there and included services for the feasts of the Bavarian SS. Laurence, George, and Ulrich. 2 It has been transferred to "Germany, unassigned" in the B M C (II, 401) by Painter, who pointed out that SS. Ulrich and Elizabeth are given special prominence, that the latter is not an Augsburg saint, and that the local Augsburg SS. Afra and Hilarion do not appear. Frequently called the Constance Graduate, it is appropriate to the diocese rather than the city of Constance, whose particular saints Pelagius, Gebhard, and Conrad do not appear. Indeed, the attribution to "Germany, unassigned" may be too narrow since the saints included are important throughout the diocese of Constance, a physical entity that includes much of Switzerland as well as southern Germany (see Map 3). In his description of a promised catalog of incunabula printed in Constance, Amelung concluded that the types can only be described as belonging to an unknown printer of the inner Swabish area of the diocese of Constance. This diocese, under the archdiocese of Mainz, belonged to the province of Mainz, the largest in area and population in Germany. In 1435 it contained 1,760 parishes with 17,060 priests and 350 monasteries and convents and would thus have provided a good market for liturgical books.

2. Proctor, vol. 1, part 1 , 132, 1940. i. For the most recent discussion, see Alexander Hyatt King, " T h e 500 th Anniversary of Music Printing: The Gradual of C 1 4 7 3 , " The Musical Times, Dec. 1 9 7 3 , 1 2 2 0 - 2 3 .

3. Peter Amelung, Der Frühdruck im deutschen Südwesten 1 4 7 3 - 1 5 0 0 (Stuttgart: Württembergischen Landesbibliothek, 1979), p. xviii.

Key: a Archiépiscopal sees • Episcopal sees

MAP 3. The ecclesiastical provinces of Germany, with the diocese of Constance.

The watermarks of the paper of the Graduate promise more tangible evidence of the geographic origins of the book. M y preliminary investigation of the watermarks, with the help of Piccard's carefully documented work on watermarks in books in the Stuttgart Archive, offered somewhat contradictory evidence for a date and place. T h e watermarks include several variants of the ox head with crown and rosette as well as a few sheets with cross-keys (in gatherings i, k, m, n, p, and q). One of the ox heads—f. S3, for example—matches that described by Piccard as ox head X V , 203 from the year 1477 to 1482. Because the mark appears in paper from Donauwörth, Kirchheim unter Teck, Leonberg, Nürnberg, Stuttgart, and Ulm, he classified it as from "southern Germany." The crossed keys (f. m^, for example) appear in Piccard, Schlüssel, III, 1 3 5 , and are found in printed books from U l m and Württemberg during the earlier period of 1467 to 1 4 7 1 , although the mark closely resembles Briquet 3888, where it is cited as appearing in the years 1469 to 1474 in incunabula from Augsburg and Ulm. Piccard assigns the keys to Württemberg and Reutlingen. 6 If the Graduate's ox-head watermark does indeed come from late in the decade, it provides evidence of a later date for the Graduate. A s geographical evidence, the watermarks are less helpful. T h e origin of the paper in southern Germany is clear, but that paper was used in a wide area. Amelung pointed out that the Reutlingen paper of the Constance breviary was used in Basel, Switzerland, as well as in southern Germany. Geldner in his 1978 review of incunabula research still questioned whether the music of the Graduate was printed from metal or wooden type,7 but an examination of the B L copy leaves no doubt that the music present on nearly every one of the 160 leaves is printed from movable metal type. The 4. Gerhard Piccard, Die Wasserzeichenkartei Piccard im Hauptstaatarchiv Stuttgart, Veröffentlichungen der Staatlichen Archivverwaltung Baden-Württemberg, 15 vols, to date, Stuttgart: Kohlhammer, 1 9 6 1 - 1 9 8 7 . 5. Piccard, Die Ochsenkopf-Wasserzeichen, vol. 2 part 1 (1962) of Die Wasserzeichenkartei Piccard, p. 34. 6. Piccard, Wasserzeichen Schlüssel, vol. 8 (1979) of Die Wasserzeichenkartei Piccard, p. 229. 7. Ferdinand Geldner, Inkunabelkunde, eine Einführung in die Welt des frühesten Buchdrucks Elemente des Buch- und Bibliothekswesens 5 (Wiesbaden: Dr. Ludwig Reichert, 1978), p. 124.

elaborate neumes of the music type are more refined than the rather crude alphabetic type and are printed exactly on the lines and spaces of the separately printed staves, in contrast to the letters of the text, which are irregularly aligned. King suggested "that two printers, of varying skill, may have been working together," a practice suggested by the existence of other music incunabula in states with and without printed music (D 63 and D 68). T h e Graduate may be the first book with printed music and antedate its Italian dated competitors by a year or so, but its priority cannot yet be finally determined. T h e earliest book with music notes and staves printed from movable type that is actually dated is the Missate Romanum of Ulrich Han, issued at Rome in 1476 with sixteen leaves of roman plainchant. That priority cannot seriously be challenged by an earlier dated book that appeared in 1473 with only one printed line of music notes without a staff. Gerson's Collectorium super Magnificat (Esslingen: Conrad Fyner) contains five identical squares or "notes" in descending sequence that, by accurate measurement of different copies, have been shown to have been printed from type in the same form as the letter text.9 While Fyner did not tackle the problem of cutting music designs into type, he did handle the challenge of printing a specific design at different heights on a theoretical staff that could be added by hand. In order to print music from movable type, music printers had to resolve two fundamental problems. First, an unvarying set of lines had to be printed for the staff, and, second, music notes and signs had to be cast in metal type so that they could be printed on any line or space of that staff. These problems were resolved in both the ca. 1473 Graduate and the Han Missate of 1476 by a two-impression process. A staff of horizontal lines was printed in a first impression from what were most likely printer's rules cast in metal; next, the musical designs of plainchant, cast in type so that they could be accurately printed at any position on the staff, were printed in a separate impression. N o other technical problems involved in printing music, such 8. "500th Anniversary," p. 1223. 9. For a discussion of the book and a reproduction of the five squares, see Kathi Meyer-Baer, "The Printing of Music I 4 7 3 _ I 9 J 4 > " The Dolphin 2 (1935), pp. 1 7 2 - 7 3 .

Italy and the Beginnings

13

as the use of red and black ink for liturgical music, or the use of mensural notation rather than plainchant notation, or the use of giant-size type for choirbook format, are comparable to the fundamental difficulties mentioned above. The technique of printing staves and notes was perfected by the very first music printers. Later printers of music cannot claim to have discovered or invented the basic technique of music printing, but merely to have bettered it. The superimposition of black notes on red staves 10 was considered necessary to the early printing of liturgical music, because the manuscript tradition for roman plainchant and for much of gothic and ambrosian plainchant prescribed such color coding. As early as 1457 in Mainz, a printed book had used not two but three colors on the same page; for the Mainz psalters of 1457 and 1459, a method of printing in more than one color had been developed that entailed setting all material for one page in one form to be printed in three colors in one impression." The process used was too slow to be economical and could not work where red and black had to be printed at the same place on a leaf. Some of the earliest printed missals left all rubrics, initials, and red or yellow staff lines to be added later (if ever) by hand (for example, one copy of the first printed missal of ca. 1472, D 38, and Zarotto's 1474 Missale Romanum, D 39); the ca. 1473 Graduate had a printed black staff with one red line added in manuscript. In his first attempt at a printed missal in 1475, Han printed red initials and rubrics in a first impression and the text in a second, black impression, but left the space for music blank. In his reprint of the work in 1476, staves were printed

10. Though the normal practice was a first impression in red followed by a black impression, the black impression sometimes preceded the red, for some sheets at least. An example is Planck's editions of the Pontificate Romanum (1487, 1495), discussed on pp. 85—86. Stanley Boorman cites as further examples Hamman's editions of the Missale Romanum of 15 X 1488 and 1 XII 1493 and his Missale Sarisburiense of 1 XII 1494, as well as the Emerich Graduate Romanum of 1 4 9 9 - 1 5 0 0 : "A Case of Work and Turn Half-Sheet Imposition in the Early Sixteenth Century," The Library, 6th ser., 8 (1986): 304 n. 8. 11. See Chapter 5, "Red Print," in Irvine Masson, The Mainz Psalters and Canon Missae 7457-1459 (London: Bibliographical Society, 1954), pp. 28-30.

History

of Italian

Music

Incunabula

with the rubrics and initials in a red first impression and overprinted with notes in a black second impression. By the end of the fifteenth century, five different kinds of music notation had been cut into type.12 So far as we know, they first appeared in the books listed below: I. Gothic plainchant 2. Roman plainchant 3- Ambrosian plainchant 4- White mensural notation 5- Black mensural notation

[ca. 1473] Graduate, [Germany?]. 1476 Missale Romanum, Rome, Ulrich Han. 1482 Missale Ambrosianum, Milan, Christoph Valdarfer. 1480 Niger, Grammatica, Venice, Theodor Franck of Wiirzburg for Johann Santritter. [ i 4 8 6 ] Graduate, [Basel, Michael Wenssler and Jacob de Kilchen].

A sixth notation, tablature, would be added by Ottaviano Petrucci in the first decade of the sixteenth century. An analysis of current information on the amount and distribution of fifteenth-century music printing throughout Europe reveals the importance of Italy's contribution. Table 3 presents figures compiled from Przywecka-Samecka's recent work on music incunabula, 13 verified and revised for Italy, Germany, and Switzerland from my own research. Books with music printed from both metal types and woodcuts are included; Przywecka-Samecka omitted books with printed staves and without notes. Przywecka-Samecka's work indicated that the greatest number of music incunabula came from Germany, whose total includes twelve imprints from anomalous Strasbourg, which lies within France's borders today. Revision of that list to in-

12. For an illustration of the notation, see Mary Kay Duggan, "The Music Type of the Second Dated Printed Music Book, the 1477 Graduate Romanum," La Bibliofilia 89 (1987): 279, Fig. 1. 13. Przywecka-Samecka, list of music incunabula on pp. 103-26.

Table 3

D i s t r i b u t i o n , b y c o u n t r y , o f i n c u n a b u l a with printed notes a n d staves Przywecka-Samecka

Country

M-B

Original

Revised

Total

Printed staves

105

[revised 94]"

5°

11

France

95 46

[revised 89}^

5°

Switzerland

22

[revised 24] r

32 6

Spain England

!4 2

5 I

3 i

Austria

I

0

0

Unassigned

0

I

Netherlands

0

0

4 I

45

57

Germany Italy

Total

285

[270]

r

9 2

4 4

" Two additional titles may be added: a broadsheet, Ain schone Tagweis [Ulm, ca. 1500] (RISM, Das deutsche Lied, 1500°'), and Is ist dye ynnige geistlich briiderschafft genant S. Ursulen scbiffelin (Strasbourg: Knoblochtzer, ca. 1 4 8 1 ) (RISM, Das deutsche Lied, 1 4 8 1 0 ' ) . The Obsequiale Augustense (Augsburg: Ratdolt, 1499) is also listed as printed in 1489 (p. 1 1 6 ) . The Ordo Infirmum Ord. Carthusiensis (Cologne: Landen) was printed after 1500. The Missate Misnense (Leipzig: 1 IX 1500 Konrad Kachelofen) is listed three times on pp. 1 1 9 ( H 1 1 3 2 9 and H 1 1 3 3 0 ) and 1 2 1 (Nuremberg: Stuchs). The Missale Romanum (Nuremberg: Fratres Ord. Eremitarum S. Augustini, 1 4 9 1 ) (p. 120) appears also as Missale Augustinorum de Observantia (p. 1 2 1 ) . Two listed variants of Stuchs's Missale Hildesemense (Nuremberg, 17 IX 1499) are of a single edition. The Missale Spirense, 14 III 1487, appears on both pp. 1 1 7 and 122. The Missale Benedictinum Bursfeldense (p. 122) does not include printed music. The 1497 edition (p. 123) of Joannes Reuchlin's Scenica Progymnasmata is now considered to be a bibliographic ghost. The Missale Speciale attributed to Priiss in Strasbourg (p. 1 2 3 ) does not include printed music. The Vigiliae Mortuorum Secundum Chorum Moguntinum, p. 123, is usually dated after 1500. The Psalterium Constantiense, p. 120, is dated as ca. 1504. The Ordo Infirmum Carthusiensis, p. 1 1 9 , is dated as after 1500. b The Processionarium Ord. Praedicatorum (Venice: Emerich, 1493) is a bibliographic ghost. The Antiphonarium Romanum, G W 2061, is dated 1503—1504. The 1484 Missale Romanum of Girardengo was issued in Venice and reissued in Pavia but is one edition. The Missale Ord. Praedicatorum dated 29 I 1493 is apparently a misreading of the date (see the Descriptive Bibliography). The new year begins on 1 March in Venice, so two of Emerich's books, the Missale Romanum of 27 II 1500 and the Missale Ord. Carmelitarum of 5 I 1500, were printed in 1501 and are not incunabula. Two items may be added to Przywecka-Samecka's list for Italy: D 16 and D 1 5 1 .

' The Antiphonarium Basiliense (Basel: Wenssler, ca. 1488) is entered again as Antiphonarium Constantiense. Three items may be added to Switzerland's total: a i486 edition of Wenssler's Graduale Romanum and two broadsheets by Sebastian Brant, Ave preclara [Basel, ca. 1496] (RISM, Das deutsche Lied, 1496 02 ) and Verbum bonum (RISM, Das deutsche Lied, 1496 0 1 ). elude recent research, in areas such as dating, bibli-

discovery of copies o f unverified titles, or of now

ographic

unknown editions that contain music, will continue

ghosts,

and

multiple

titles for

single

works, presents a picture of nearly equally impor-

to alter the picture. U n t i l collections of

tant roles for G e r m a n y and Italy as leaders in mu-

century books are well described in printed cata-

sic printing. M e y e r - B a e r ' s figures on incunabula

logues that include identification of printed music,

printed with music staves are included in T a b l e 3 to

any description of the corpus will be inexact.

fifteenth-

provide a more complete picture of the work of the

A n analysis o f the production of music in-

printers who brought music into printed books.

cunabula by decade (Fig. 3 ) shows how the tech-

P r z y w e c k a - S a m e c k a ' s list and the addition of nonli-

nique o f music printing spread throughout Europe.

turgical editions to M e y e r - B a e r ' s earlier work on

B y the last decade the two early leaders in the pro-

solely liturgical music incunabula dramatically in-

duction o f music incunabula were to share one-

crease the total of known items.

third o f the editions with other

O f course, the

14. Meyer-Baer, Liturgical Music Incunabula (London: Bibliographical Society, 1962). Helmut Rosing's even more dramatic estimate of 1,500 incunabula with printed music seems unlikely. Helmut Rosing and Joachim Schlichte, "Die

countries.

Of

Serie A/I des R I S M : Eine Dokumentation der Musikdrucke von den Anfängen bis 1800," Gutenberg-Jahrbuch (1983): 132.

Italy and the Beginnings

V

80

70

60

50

40

30

20

0

.Ib.. 1473-79

1480-89

1490-1500 Germany

Total

S3 Switzerland

E3 Austria

x Spain

H i Italy [ J France

n o date

H

England

FIG. 3. T h e production o f incunabula with printed music, by decade.

16

History of Italian Music Incunabula

Netherlands Portugal

course, the reduction of any data to numbers can be

Table 4

Italian music incunabula

misleading. For example, the first decade of G e r man music printing includes a landmark gradual,

Printed notes and staves (metal)

but the three other items are much less impressive:

Printed notes (metal)

a book with music printed from woodcuts and two

Printed staves

J

editions of Gerson's Collectorium

Printed notes and staves (wood)

J

super

Magnificat

Total printed music

with a short musical example printed as simple

Blank space for music

squares without staff lines. Italian music incunabula include eighty-nine

74 2 7

3 106

Unverified titles

34 16

Total

156

verified editions with printed notes, seventy-six of which were printed from metal type cast in thirtyeight different fonts (see Table 4). Most were large liturgical books—two very large graduals, two pontificals,

and

35

folio

missals—with

chant

T h e books printed with staves and without notes

printed on a number of pages that ranged from

rely on techniques ranging from the use of irregular

some 40 to 700 (the latter a gradual, D 17). T h e

metal rules that provide a poor foundation for

music type fonts vary in size from a few sorts

manuscript notation and an impossible one for

(Dionysio de Odo's crude font R 3 0 , used in an

printed metal type to sophisticated nested cast-

Ordo,

metal segments used by printers who included

D

1 4 3 ) to elaborate fonts for melismatic

chant (Emerich's R 2 1 , used in D 17). While some

printed notation in many of their other books.

types were monumental firsts (roman chant type,

Printing in Italy in the last quarter of the

R i in D 4 2 ; mensural type, M i in D 1 4 2 ) , others

fifteenth century was concentrated in a few cities,

are so derivative in style and design as to suggest

with less important smaller presses in smaller cities

the work of a common type designer (Venetian ro-

and towns, and music printing followed the same

man chant types R4, R5, R8, etc.) T h e books with

pattern. Table 5 lists the production of Italian mu-

music printed from woodcuts range from the ambi-

sic incunabula by city and technique and affirms the

tious forty-six pages of chant in Emerich's octavo

importance of Venice. A large proportion of books

missal of 1 4 9 3 ( D 9 3 ) to one staff of chant in

printed in Milan with space for music comes from

Onate's folio Ambrosian missal of 1494 ( D 28).

Table 5

the earliest years of music printing, before develop-

Distribution o f Italian music incunabula by place Not Verified

Total Verified

Printed Notes, Metal

Venice

9

76

Milan

4 2

3° 11

5° 12

City

Rome Brescia Naples

i

Bologna

Printed Staves

6

7 2

5

i 2

2

i

i

Space

Printed Notes, Wood

10

2

!4 2

.4 2 4

4 i

Pavia

5 2

Verona

i

Parma

i

Messina

i

[Turin]

i

i

[Italy]

i

i

Total

16

140

i i i

76

l7

34

'3

Italy and the Beginnings

ment began in Venice. Milan, the capital of the powerful Lombardic state and the site of a ducal court that encouraged humanism and music, was second in population in northern Italy only to Venice. It was also the second world center of printing, 16 and its use of a liturgical rite peculiar to a small geographical area provided a strong incentive for music printing. Ambrosian service books account for five of the twelve Milanese editions with printed music. The large number of books printed in Venice with staves and without notes may be attributable to an early availability of metal rules and the skill of that city's printers in using them as music staves. Another likely reason for the appearance in Venice of books without notes was the exploitation of foreign markets for which roman plainchant fonts were inappropriate, a problem solved not by casting gothic type but by leaving the staves blank, to be filled in by hand. Only twenty-four music incunabula were printed in other Italian towns than Venice, Milan, and Rome. Four books from both Brescia and Bologna were music theory books with music printed from woodcuts, several to be sold as university textbooks. Parma can claim the second dated printed music in the world, the Graduate in roman plainchant notation. Girardengo had strong ties to the printing trade in Venice but probably printed in Pavia all of his books with music. Naples has been indicated as

the probable place of printing of at least one missal with music (D 83); the three missals printed there by Moravus contain space for music, and no copy of the one by Cantono can be found today (D 97*). A comparison by city of the production of Italian music incunabula to the production of all Italian incunabula can be made by using figures produced by Gerulaitis's analysis of the published portions of the G W (see Table 6). Italy was responsible for about 37 percent of all incunabula, approximately the same as its 39.2 percent of music incunabula (the percentage obtained from comparing the 106 verified Italian editions with printed notes and staves to the total of 270 known European editions). Venice led other cities in production. Most Venetian music incunabula were printed in the last decade of the century, at a time when European production of printed books was largest in that city. Rome, prominent in the early production of music and classical literature, had declined in importance as a printing center by the time music printing began to flourish. The size of Milan's share is largely due to the local demand for Ambrosian plainchant. The first three cities in Tables 5 and 6, Venice, Milan, and Rome, were dominated by five printing shops which were responsible for over half the total Italian music incunabula issued and one-third of the music type fonts used in those incunabula (see Table 7). Only two books printed in Rome with mu-

15. Francesco Malaguzzi, La Corte di Lodovico llMoro, 5 vols. (Milan: Hoepli, 1 9 1 3 - 1 9 2 3 ) , vol. 4.

17. Leonardas Vytautas Gerulaitis, Printing and Publishing in Fifteenth-Century Venice (Chicago: American Library Association, 1976), p. 64.

16. Lucien Febvre and Henri-Jean Martin, L'Apparition du lirre (Paris: Editions Albin Michel, 1958), p. 278.

Table 6

Production by city of all Italian incunabula compared to Italian music incunabula

City Venice Rome Milan Florence Bologna Brescia Naples Others

18

History

of Italian Music

% Italian

% Music

?»

54-4

16

8.3

10

21.8

9 5 3 3

0.0

16

Incunabula

3-2 3.8

3-2 4-5

Table 7 City

T h e most important Italian shops printing music incunabula Editions

Metal Notes

Rome

it

Milan

30

12

Venice

75

49

Total

116

7(+1?)

Printing Shops

Metal Notes

8(+1?)

7(+i?)

i

5

3

Han/Planck

Fonts

Pachel

11

Zarotto

14

Hamman

14

11

4

Emerich

18

12

4

65(+I?)

42(+I?)

13

68

sic were issued outside the Ulrich Han/Stephan Planck establishment, and that music was printed from woodcuts. Antonio Zarotto and Leonard Pachel printed twenty-five of the thirty incunabula that were issued in Milan, working throughout the period from 1474 to 1500. Johann Hamman and Johann Emerich of Speier, who did not enter the field until 1487, still managed to print nearly half of the Italian incunabula with printed notes. Their shops were equipped with music type of various sizes and included the single gothic type cut in Italy so that, with their luxury folios and practical octavos, they were able to cater to a broad spectrum of patrons, publishers, and buyers. An analysis by decade of the statistics on production of music incunabula with notes or staves printed from metal in Italy illustrates the increasing importance of Venice and the decreasing relative importance of Rome (see Table 8). Both Rome and Milan managed a constant small growth in the face of Venice's production. Cities other than Venice introduced music printing in the 1470s, a decade that saw the creation of Han's plainchant font in Table 8

Editions

6

1

Rome and the Moilli brothers' giant type for the Parma Graduate of 1477. In this decade of manuscript imitation, almost all the books printed by the twelve contributing printers left blank space for music. By the 1480s Venice was printing most of the Italian music incunabula, with contributions by seventeen printers and publishers, though the only contribution of three of those was collaboration on one missal with space for music (D 59). In the 1490s, twenty-one printers and publishers contributed to the production of seventy-five Italian music incunabula. Two Venetian printers, Emerich and Hamman, printed thirty-five music incunabula, one-third of the total Italian and half of the total Venetian production. Music printing was well on its way to becoming a business of specialists as it remains to this day. Financial support of music printing in Italy came from the same general sources as did support for all printed books. Antonio Zarotto in Milan issued the first dated missal for a company that included a humanist, a noble, and a priest from Cremona. The Ambrosian missal was printed at the re-

Production of Italian music incunabula by decade 1472—1479

Music incunabula verified Incunabula with space for music

1480—1489

1490—1500

Total

!5

51

74

140

!3

l7

4

34

Printed notes and/or staves by city Venice

0

22

45

67

Milan

0

6

10

16

Rome

I

9

0

3 0

5

Brescia

6

6

Others

I

3

4

8

2

34

7°

106

Total

Italy and the Beginnings

quest of the bishop of Milan, financed by a local merchant. Nicolö Gorgonzola, a priest and ducal chaplain, was the publisher of Zarottos's Ambrosian psalter of 1496. The treasurer of the Cathedral of Pavia provided the capital and a retail outlet in his house for Francesco Girardengo, another printer of liturgical books. When production of music incunabula shifted to Venice after 1480, capital was commonly provided by such wealthy merchants as Luca Antonio Giunta and Paganino Paganini, and the clerical role was reduced to that of editor.

was readily available from Treviso, Padua, and other nearby towns with river systems. Venice as the world center of book publishing also enjoyed a position of eminence in music printing, for 85 of the total of 156 Italian music incunabula were printed there. Through international arrangements by local capitalists, the most important of whom was Luca Antonio Giunta, and foreign publishers who brought capital and texts for printing, plainchant books were published in Venice for France, Spain, England, Hungary, the Balkan peninsula, Sicily, and Austria.

T h e first book from a Venetian press was issued in 1469; by the 1480s, as we have seen, Venice was the world center of the industry. Before the end of the century one hundred and fifty printing shops had been established there and had printed a total of about two million copies of books, a remarkable figure in view of the fact that the population of Europe in 1450 numbered only about sixty-six million (fifty-five million, according to Braudel), who were for the most part illiterate. 18 Venice was the richest city in Italy, possibly in all Europe, and the most important European commercial center of the 1490s, 1 9 capable of providing printers and publishers with capital and a well-established network for the distribution and sale of their books. With a population of about one hundred and twenty thousand, including substantial colonies of Germans, Greeks, Jews, Flemings, French, Slavs, and mainland Italians, it was also one of the largest cities in Europe, rivaled west of Italy only by Paris. Its government and the value of its currency maintained stability throughout the years covered by this study. Paper

T h e word "capitalism" has only recently been accepted as appropriate to the fifteenth century but, as Braudel points out, when capital is present—a congeries of easily identifiable financial resources—and is controlled by a group of men who preside over its insertion into the process of production, then "capitalism" is the right term for the manner in which this constant activity of insertion is carried on, generally for not very altruistic reasons. 21 T h e history of music printing has its gifted craftsmen in the printers and typecutters, but music publishers in Italy were apt to be astute businessmen, trained in commercial or political life, who knew little or nothing about music. With their backing, liturgical printing in the fifteenth century became big business. Petrucci was not able to begin his efforts to exploit the market for secular music until he had the financial support of two Venetian publishers.

18. For information on the number of books printed, see Febvre and Martin, L'Apparition, p. 278; for information on population, see Julius Beloch, " D i e Bevölkerung Europas zur Zeit der Renaissance," Zeitschrift für Socialwissenschaft, 3 (1900); Fernand Braudel, The Mediterranean and the Mediterranean World in the Age of Philip II, 2 vols., trans. Sian Reynolds (New Y o r k : Harper & Row, 1972), 1: 394-96; Fernand Braudel, Capitalism and Material Life 1400-1800, trans. Miriam Kochan (New Y o r k : Harper SC Row, 1973), pp. 1 5 - 1 6 . T h e establishment of a population figure demands the reconciliation of complex data both on the boundaries of Europe and on documentation of numbers of people there. 19. Fernand Braudel, Afterthoughts on Material Civilization and Capitalism, trans. Patricia Ranum (Baltimore: T h e Johns Hopkins University Press, 1977), p. 85. 20. Gino Luzzatto, Stona economica di Venezia dall'XI al XVI secolo (Venice: Centro Internazionale delle Arti e del Costume, 1 9 7 1 ) , p. 2 1 4 .

History of Italian Music

Incunabula

T h e facts that two printers from one city, Venice, were responsible for nearly half of the total of Italian music incunabula and that those books were printed late in the century illustrate the trend toward the selection of a very few urban centers as sites for the specialized trade of producing music books. T h e existence of early specialists in music type design and production in Venice is suggested by music type specialist Jacomo Ungaro's claim in 1 5 1 3 that he had been living in Venice for forty years (see Chapter III). Available capital, raw materials, trade routes, and concentration of population with clerical music editors and customers seem to have acted as magnets for talented music printers, publishers, and type designers in Venice from

2 1 . Braudel, Afterthoughts, pp. 46—47.

1480 until the political turmoil of the early sixteenth century forced the book trade to seek a more stable base, During that fertile period scores of editions and revisions of local and monastic liturgical books were issued, providing texts that both stimulated and aided the reform movement of the next century. T h e clerical editors who worked to provide liturgical texts for the approval of the Council of Trent began with annotated Venetian printed texts.22 Venice's dominance in liturgical book produc-

tion ended when Rome chose Paolo Manuzio, the inheritor of the famous Venetian printing house established in 1495 by his father, Aldo Manuzio, to set up a branch in Rome to print the liturgical books of the Tridentine reform. T h e decision of the Catholic church to select an authorized printer for the centralized production of its liturgical books completed the movement toward specialization begun by open-market pressures in the fifteenth century.

22. For a discussion of the reform movement see Robert F. Hayburn, Papal Legislation on Sacred Music 95 A.D. to igyy A.D. (Collegeville, Minnesota: The Liturgical Press, 1979), chap. 3.

23. Robert M. Kingdon, " T h e Plantin Breviaries: A Case Study in the Sixteenth-Century Business Operations of a Publishing House" in Bibliothèque d'Humanisme et Renaissance, Travaux et Documents, 2d sr., 22 (i960), 135.

Italy and the Beginnings

in. Early Music Type and Typefounders

Music Type Apart from the books themselves, physical evidence concerning printing and type of the fifteenth century is almost nonexistent. The first crude printed picture of a printing press does not appear until about 1499 (Danse macabre [Lyons: Matthew Husz]), and the first representation of a typefounder was not printed until 1568 (a woodcut by Jost Amman in Hans Sachs's Eygentliche Beschreibung aller Stände [Frankfurt: Feyerabend]). The unlikely recovery of about two hundred and fifty pieces of early type from the Saone River at Lyons has inspired many times that number of words about their manufacture. Some copper punches and lead matrices survive from a Dutch foundry of about 1500. 1 Finally, over the years, two to three dozen examples have been discovered in incunabula of accidental impressions made by displaced types that had fallen onto the locked-up form during the inking process. 2 So far as I know, the only piece of physical evidence concerning incunabula music printing is the impression of a displaced type (probably a piece of spacing material) in the copy of the 1499/1500 Graduale Romanum (Venice: Emerich 1. Michael Clapham, "Printing," in A History of Technology, 8 vols., ed. Charles Singer, E. J . Holmyard, A . R. Hall, and Trevor I. Williams (Oxford: Clarendon Press, 1 9 5 4 - 1 9 8 4 ) , 3: 392. 2. For a review of the literature on displaced type, see Michael Pollak, "Inclinable Printing with the Form Inverted: A n Untenable T h e o r y , " Gutenberg-Jahrbuch (1973): 168—84; Victor Scholderer, " T h e Shape of Early T y p e , " in his Fifty Essays in Fifteenth- and Sixteenth-Century Bibliography, ed. Dennis E. Rhodes (Amsterdam: Menno Hertzberger, 1966), p. 107.

22

for Giunta) in the Music Library of the University of California, Berkeley. This happenstance provides important evidence to support a new hypothesis concerning the body sizes of early music type and how it was set in forms. Printing type has its own descriptive terminology and standard size referents (the arrows in Fig. 4 point to measurements of height to paper, x-height, and body size). Kerned and abutting faces, two variants of the standard face on a piece of type, are important for early music types. A kerned type is one whose face is wider than its body, so that it overlaps the shoulder of the adjacent type (Fig. 5). The letter / i s one of the few kerned types still commonly in use, but in the 1490s in Venice fonts of cursive Greek and Latin type were being cut that relied heavily on kerned sorts whose faces could be more than twice as wide as their bodies.3 Abutting types are those that have been cast or altered by filing in such a way as to have closely adjoining typefaces on bodies without shoulders. Staff segments are examples of music types cast to abut each other.4 Type is the product of a process that begins with the cutting of a punch, involves the striking of

3. For a photograph of a kerned type that overlaps an adjacent type, see Philip Gaskell, A New Introduction to Bibliography (New Y o r k : Oxford University Press, 1972), p. 32, fig. 18. 4. For an illustration of one of the staff segments of van den Keere's "Grande Musicque" (punch, matrix, and type cast from the matrix), see illus. 3a, b, c of H . Edmund Poole's "Printing" in The New Grove Dictonary of Music and Musicians (London: Macmillan, 1980), 15: 237.

Fate

Serils

-A Ligature x-lieightBaseline

Descender—• Body (or point size)

FIG. 4. T h e terminology of a piece of modern type and its printed image. (Philip Gaskell, A New Introduction to Bibliography [ N e w Y o r k : Oxford University Press, 1 9 7 2 ] , p. 9.)

the punch into a matrix, and ends with the casting o f an individual piece o f type by p o u r i n g hot metal into a mold to which the matrix is affixed. T h e process was first d e s c r i b e d in a technical manual by V a n u c cio B i r i n g u c c i , an Italian metallurgist o f the early sixteenth century: T h e letters for printing books are made of a composition of three parts of fine tin [stagno fino], an eighth part of black lead [piombo negro], and another eighth part of fused marcasite of antimony. T h e desired quantities of these metals are melted and cast into bars so arranged that they can easily be cut. Then a mold [forma] is made of brass [ottone] or bronze [bronzo], as true as possible and flat so that it may fit into its companion. T h e parts of this mold are adjusted to make the thickness and length of the stems of the letters, and likewise are adapted underneath so that the matrix [madre] can be put in exactly. T h e matrix is the impression of the letter that you wish to make, or rather to cast, made by the steel punch [polzone de I'acciaro] on a little piece of copper. When the matrix has been put in its place and the thicknesses likewise fixed by means of certain little screws which secure and close all the pieces of the mold in their places, some of that composition is melted in an iron pot and the letters cast one at a time with a ladle. When they have the desired quantity of one kind of letter, they take out the matrix and insert another, continuing in this way until they have as many as they wish of all kinds. Then they cut off

FIG. 5. a. A sixteenth-century font of music type with many kerned sorts, composed for printing a specimen. b. A kerned virga with a bent stem. (Copyright Plantin-Moretus Museum)

Type and Typefounders

23

the gates [gitti] and adjust them all to the same size

Christopher Plantin ( 1520— 1 5 89)gives us the names

with a mold as a little gauge.* With these letters,

and sizes o f sixteen sets of music punches, twelve

one by one, the compositors set the press forms

sets o f matrices, and one music mold. 7

for the books in a frame [telaro] made of iron,

Those

identified as the products of particular type design-

bronze, or wood, and compress and lock them in

ers are listed in T a b l e 9. T h e inventory of G u i l -

with screws in the outer edges.

laume L e B é ' s sixteenth-century typefoundry listed

* In the second edition of 1550 the sentence is altered to read: "Then they remove the said letters and cut off the foot, that is, the part that is to lie on the bed where the composition is placed for printing when the work is being carried out; first, however, those fins that remain attached to the letters in casting are removed one by one with a knife so that they may remain wholly clean and without any unevenness."

matrices and punches for twenty-three music types, six o f them plainchant (see T a b l e i o ) . 8 S T 6 8 is identified as " G r a n d e M u s i c q u e " in the Appendix o f Parker et al., " T y p o g r a p h i c a Plantiniana I I , " but on p. 7 4 in the 1 5 8 1 inventory as " G r o s s e s N o t e s de M u s i c q u e plain Chant de la taille de H e n r y du T o u r . " It is clearly not a plainchant type and was

T h e antimony present in Biringucci's type would have increased its hardness considerably. Antimony was apparently not added to type metal until the end o f the incunabula period, when it theoretically had the effect o f allowing finer detail in the design o f type. 6 Early fonts of softer metal had short lives;

used first in 1 5 7 8 for the polyphonic masses of G e o r g e s de la H è l e . T h e 1 5 8 1 inventory specifies thirty-nine punches, but the illustration of the extant punches uses only thirty-eight. T h e matrices for S T 6 8 , M A 9 i a , have the same problem with name in the 1 5 8 1 inventory. T h e answer may lie in

many fifteenth-century music fonts appear to have been used only once. Fragmentary evidence about fifteenth-century music printing and typefounding exists in such documents as contracts (see the discussion in Chapter V I I I of A n t o n i o Z a r o t t o ) , testaments (see the discussion in Chapter I X o f Francesco Girardengo and

his

partner

Giovanni

Beretta),

privileges,

colophons, and lawsuits involving those in the book trade. Sixteenth-century physical and documentary evidence is more accessible, including the major resources of the collection records o f Christopher

of type and

business

Plantin at the

Plantin-

M o r e t u s M u s e u m in A n t w e r p . Types,

type

specimens,

and

inventories

of

5. Biringucci, Pirotechnia, trans. Cyril Stanley Smith and Martha Teach Gnudi (New York: American Institute of Mining and Metallurgical Engineers, 1942), pp. 374-76. The Italian words have been added from the original edition printed by Venturino Roffinello in Venice in 1540. 6. Michael Pollak, " T h e Durability of Fifteenth-Century T y p e , " Visible Language 5 ( 1 9 7 1 ) : 1 6 0 - 6 1 . In his dissertation on Petrucci's printing ("Petrucci at Fossombrone: A Study of Early Music Printing, with Special Reference to the Motetti de la Corona [ 1 5 1 4 - 1 5 1 9 ] , " University of London, 1976, p. 29), Stanley Boorman proposed that Petrucci's strongest claim for innovation in printing history might lie in the addition of antimony to his type metal. He cited as major differences between incunabula music type and that of Petrucci the latter's small size, lighter design, and consistent use of hollow diamond-headed notes, but those characteristics can already be seen in the first mensural type of 1480.

History of Italian Music

Incunabula

7. The type specimens of 1567 and ca. 1585 are reproduced in Type Specimen Facsimiles II: Reproductions of Christopher Plantin s Index sive Specimen Characterum 1567 & Folio Specimen of c. 15 85 Together with the Le Bé-Moretus Specimen c-i599, with annotations by Hendrik D. L. Vervliet and Harry Carter (Toronto: University of Toronto Press, 1972). Only three types appear in Plantin's specimens and they are all mensural types, apparently single-impression (ca. 1585 specimen, nos. 80-82). Several early inventories are presented in Mike Parker, K. Melis, and H . D. L. Vervliet, "Typographica Plantiniana II: Early Inventories of Punches, Matrices, and Molds in the Plantin-Moretus Archives," De Gulden Passer 38 (i960): 1 - 1 3 9 . The mold is described in Mike Parker, "Early Typefounders' Moulds at the PlantinMoretus Museum," The Library, ser. 5, 29 (1974): 98-99. 8. The inventory of Guillaume Le Bé's sixteenthcentury typefoundry was made sometime after 1 6 1 7 by Le Bé's son and is known today through a copy made by JeanPierre Fournier in 1730 when he purchased the typefoundry. The inventory was published by Stanley Morison, L'Inventaire de la Fonderie Le Bé (Paris: André Jammes, 1957), pp. 22-26. See Daniel Heartz, Pierre Attaingnant, Royal Printer of Music (Berkeley and Los Angeles: University of California Press, 1969), plates 6 - 7 , for photographs of the sections referring to music type. A specimen apparently prepared by the typecutter himself with manuscript annotations includes three of the music fonts made in the 1550s for Le Roy and Ballard in Paris: a mensural "Musique grosse" ( 1 5 5 4 - 1 5 5 5 ) , a doubleimpression "Grosse tablature d'épinette," and a single-impression "Petite tablature d'épinette," in H . Omont, "Spécimens de caractères hébreux, grecs, latins et de musique gravés à Venise et à Paris par Guillaume Le Bé ( 1 5 4 5 - 1 5 9 2 )," Mémoires de la Société de l'Histoire de Paris et de l'Ile-de-France 15 (1888): plate 3.

Table 9

M u s i c types of Christopher Plantin's shop Extant material at the Plantin-Moretus Museum in Antwerp: S T — punches; M A — matrices; L M A = lost matrices; P M = : type; G I = molds

Type Designer Robert Granjon (1513-ca. 1589)

Hendrik van den Keere (active 1540—1580)

Type Name

Punches

Petit Musique sur le Gros Texte, 1566 Musique sur 2 R. Augustine, (single impression) Premières Notes (double impression plainchant) Grosses Notes d'Espaigne, 1574 Moyennes Notes d'Espaigne, I 573 Grosses Notes de l'Antiphonaire, 1571 Moyennes Notes du Missel, 1572 Petites Notes pour les Processionels Petites Notes du Missel, 1571 Grande Musicque, 1577 (single impression) Grosses Notes Moyenne Musique, Notes in 40

Petite Musique sur la Parangonne 2 sets for chant in small missals, !57!

Matrices

22, ST75

25, M A i o ï c

73,ST7Ia"

LMA36

16, ST64

MA86

16, ST61 20, ST62

20, MA93 49, MA89a

30, ST63

MA90

35,ST65 ST66

41, MA87 39, MA88

32, ST67

38, MA85 63, MA9ia

38 [39], ST68 ST69 ST70 ST73

Type

Mold

PM222

GI55

MA9ib 67, MA 100 MA 102 LMA19 4, MA92d 4, MA92e

° Daniel Heartz, Pierre Attaingiumt, Royal Printer ofMusic (Berkeley, University of California Press, 1969), p. 47. The top two lines of the illustration are impressions struck from the punches, S T y i a . The caption declares the illustration to be "Specimens of music type made from Granjon's matrices," but the text identifies it as struck off punches; the matrices ( L M A 3 6 ) are lost.

M A p i b , eleven matrices of plainchant described by Parker et al. (pp. 74—75) as an "incomplete set." Would it be complete if it used the designs of M A 9 i a ? T h e incunabula type of Emerich, R 2 1 , is an example of a combined plainchant and mensural font produced to handle the mensural Credo popular at the time, and S T 6 8 may be a similar combination of mensural and plainchant type. In addition, Parker et al. discredit the large number of matrices by suggesting that they were mixed with the "Grosses Notes d'Espagne" (p. 78),

but with the manipulation of the punches necessary for staff segments needed as spacing material between, above, and below types, it is quite possible that a large number of matrices was necessary. An adjustable mold can do only so much; the contract for this type specified at least three molds, one for staves (for the text of the contract, see p. 26). Another inventory made in 1595 of type at the Tipografia Vaticana listed one plainchant type of thirty-two punches and thirty-nine matrices commissioned of Robert Granjon for printing the reviType and Typefounders

Table i o

Music types of the Le Bé typefoundry (ca. 1 6 2 0 inventory) Type Designer

Pierre Attaingnant (ca. 1494-1550) Philippe Danfrie (ca. 1 504—1606) Nicolas du Chemin (active 1541—1576) Pierre Haultin (active 1523-1580) Nicolas de Villiers Guillaume Le Bé (active 1 5 4 5 - 1 5 9 2 ) Robert Granjon ( 1513--ca. 1589)

Types from Lyons

Anonymous

Type Name

Format

Notte de gros Plainchant portant ses reglets Musique des airs Musique p. Messe

2

Musique moienne, maigre, vielle Musique des Nottes de Colin Notte de Plainchant Corniches Antiph. mon pere Tablature de lut et Guitarres Musique Musique Musique des airs plaine Musique petite pour airs Musique de Coppie moyenne Musique petite pour psaume Musique en blanc de Cicero psaumes Notte de Plainchant, Grad. et Antiph. Notte de Plainchant Process. Notte de Plainchant heure notte Notte de Plainchant Missel Notte de gros Plainchant, néant Notte de gros Plainchant courbez

sion of the gradual undertaken by Palestrina for Gregory X I I I . 9 Such evidence tells us that sixteenth-century double-impression plainchant fonts varied enormously in size, from the small sets such as Le Be's quarto antiphonal, which required fifteen punches and matrices, and van den Keere's tiny sets of four punches and matrices to quite large sets of seventythree punches and matrices. A n average early plainchant type might require from thirty to forty punches and matrices. T h e type specimens of Italian music incunabula suggest that most would require only about fifteen punches and matrices, al9. Alberto Tinto, " D i un inventario della Tipografia Vaticana ( 1 5 9 5 ) , " Studi di biblioteconomia e storia del libro in onore di Francesco Barberi, ed. Giorgio D e Gregorio and Maria Valenti (Rome: Associazione Italians Biblioteche, 1976), pp. 1578-1589 5 4 7 - 4 9 ; H . D . L. Vervliet, Robert Granjon a Rome (Amsterdam: Menno Hertzberger, 1967), p. 33.

History of Italian Music Incunabula

0

160 O 2

Punches

Matrices

40

34

29

47 92 86

4

4

0

51

67 !5 85 5° 64

0 0

4 16

55 7° 34 2

0 2 0 2

18 3°

8° 160 8°

3 18

2

7 73 62 60

39 3°

though some were more elaborate and some were as small as van den Keere's sets. Insight into the process of making early music type comes from a contract between the typecutter van den Keere and the printer Christopher Plantin. T h e contract concerns the mensural "Grande M u sicque" commissioned by Plantin in 1 5 7 6 and first used in 1 5 7 8 . In a letter of 16 January 1 5 7 6 , after looking over the manuscript leaf sent him by Plantin, van den Keere set his terms for accepting the contract. H e estimated he would need fifty punches, but thirty-nine proved sufficient and were used to produce sixty-three matrices. There would be "expense beyond the usual, because I shall have to use at least three molds. But I hope I could help myself out with your molds by packing [the bodies and jets] as needs be. T h e five staff lines answer exactly to 5 lines of the small, or new, Great Primer, by Garamont, so that its mold will be a useful

one." 1 0 Measurements made of the type in a printed sample indicate that the staff for which Garamond's Great Primer mold could be used was 22.5 mm high; segments were cast in widths ranging from 2 to 25 mm. T h e largest of the three molds survives today at the Plantin-Moretus Museum. It was made in 1 5 7 3 for the "Grande Musicque" chant type cast for a projected Spanish antiphonal. The extant mold has register setting and nick that exactly fit the museum's cast "Grande Musicque" type, although the interchangeable stools are missing that would have been necessary for casting from one matrix design the sorts of type with the distinctive faces needed to print characters on lines and spaces. 12 A punch would take a fine craftsman like van den Keere more than a day; even with extra hired help, only five or six matrices could be justified per day. " T h e punchcutting will take three months, the justification a fortnight, the molds and other preparatory work on the steel and copper a fortnight, making four months. However, with other work which may intervene, you cannot reckon on less than half a year. And it will cost quite 150 florins before you can think of casting a font, or thereabouts." 1 3 T e n months later van den Keere's bill of 1 1 November 15 77 for the completed punches at 4 florins each was 152 florins, even before striking and justifying the matrices and casting the type. For a book like the 1499/1500 Graduate of Emerich, the publisher Giunta would have had to subsidize text and music types to print the manuscript copytext, which had been especially prepared in roman plainchant notation for this first edition of the complete Graduate Romanum. Additional commissions would have been necessary for the woodcuts, initials, and unusually large paper. If a punch took more than a day and a sufficient number of men were on hand to justify five to six matrices a day, it would take about a year per font to complete

10. H . D . L. Vervliet, Sixteenth-Century Printing Types of the Low Countries, foreword by H a r r y Carter (Amsterdam: Menno Hertzberger, 1 9 6 8 ) , p. 3 3 4 . 11. T h e measurements of the segments are mine, made from the illustrations in Vervliet, Sixteenth-Century Types, P- 33512. Parker, "Early Typefounders' Moulds," pp. 94-95, plate 16 A. 13. Vervliet, Sixteenth-Century Types, p. 337.

punches and matrices for the two text fonts and a plainchant font designed and cut for the Graduate. The Graduate's plainchant font was larger in size and complexity than van der Keere's and was probably produced by a smaller establishment, so it would have taken longer. Michael Clapham estimated that a text font of about one hundred and fifty punches would have taken two years to produce in the early years of printing. 14 It is no wonder that three years intervened between the granting of Petrucci's privilege for mensural type and the first appearance of it in print. A different kind of evidence comes from the modern impression of van den Keere's singleimpression "Grande Musique" made from the type cast from thirty-eight punches extant at the Plantin-Moretus Museum. 15 The large type (printed on a staff of 22.5 mm) illustrates clearly the problems facing punchcutters of music type. The music signs range in size from large clefs and time signatures to small accidentals and rests. Signs that extended into the area of text type above or below the staff would also need a kerned version (see the flagged and unflagged lozenges). Signs such as accidentals that might occur above or below another printed design or spacing material had to be cast on a small body that occupied the space between two staff lines. T h e direct (Latin, custos) is the symbol placed at the end of a staff to indicate the first note of the next staff. Fifteenth-century type often included an alternate narrow version for use within a line as well as the normal wide version, generally kerned, that would be set in the margin beyond the end of the staff in a double-impression type. Van den Keere avoided the kerned direct by curling back the angular line on top of the sign after the point of definition of pitch.

•1 • The necessity for multiple punches for minims with shortened stems such as that used in Emerich's R 2 1 is avoided by inverting the minim. 14. Clapham, "Printing," p. 385. 15. Vervliet, Sixteenth-Century Types, M8, fig. 257, p. 336. For an example of music set with the types, see Plantin's folio specimen ca. 1585, Type Specimen Facsimiles II, and Vervliet, Sixteenth-Century Types, p. 335.

Type and Typefounders

One problem of single-impression music type apparent in music printed with the "Grande Musicque" type is the need for staff segments of varying widths to be used as spacing material between notes; small segments of 2 and 3.25 mm are frequently inserted between printed notes. The fifteenth-century printer who cast staff segments for doubleimpression type could plan their size(s) so that an easy multiple would fit the column width, without taking into consideration the sizes of the notes, which were printed separately in a second impression. Spacing material between notes was necessary in the second impression. It would not have been type high—that is, as high as the type cast with a face that was intended to make an impression on the printed page—and in the fifteenth century it may have been made of wood. In the same way, the typecaster of a double-impression type had to prepare blank spacing material to insert above and below almost every piece of music type. There is every indication that such a process was in use for early printed examples of large type such as the complex R 2 1 used in Emerich's Graduale and Antipbonarium.

agonals (now used to connect groups of eighth notes but identical in design and compositorial problems to the ligature connection of early plainchant diagonals)—that are necessary for printing above or below the staff and thus intruding upon the text type. Illustrations of cases of type and specimen sheets carefully note the presence of kerned sorts (unflagged stems no longer need be kerned, because they are built up from small pieces of type that allow variation in length). 18

A final point of reference for the understanding of punches and matrices of old music type is the physical appearance of their modern counterparts. A typical plainchant type in lower and upper cases in the nineteenth century included 128 sorts. 16 As the polyphonic and harmonic complexities of music increased and the details of performance practice became specific, the size of the music type font grew to nearly 500 sorts. Nineteenth-century music fonts were named by their style (chant, music) in "sizes" (Ruby, Diamond, Semi-Nonpareil), but the types were not cast on the point system. In his book on music printing, William Gamble wrote that "music type has a 'point' system of its own, otherwise it would be impossible to get the various pieces of type to line up." 1 7 Since music types are not set on the same line as text type, their body size need not correspond exactly to the size of the text type.

According to the first detailed description of music typefounding, published in the eighteenth century by Pierre Simon Fournier le Jeune, 20 double-impression plainchant type may consist of whole notes, which have a body size equal to the body of the staff and for which a single mold is sufficient, or piece notes, which require four molds for four body sizes. T h e latter method probably more closely resembles that used for casting Venetian incunabula music type. Of the fifteen punches that Fournier states were needed for either method, one, the dot for added value, would not have been used in the fifteenth century; but many more would have been necessary then, such as ligatures of various shapes and intervals. Of Fournier's remaining fourteen music sorts, six are cast in the smallest mold (the smallest body size: • • H V ^ Vr ) and five in the next size ( £ ^ ^ f A ). Only spacing material was cast in the third size, and the fourth and largest size was used for staves and full and par-

Still present in modern fonts are the alternate kerned sorts—clefs, noteheads, flagged stems, di16. Theotiste Lefevre, Guide pratique du compositeur d'imprimerie (1880; reprint Westmead, Farnborough: Gregg, 1972), p. 168. 17. Music Engraving and Printing (1923; reprint New Y o r k : D a Capo Press, 1 9 7 1 ) , chap. 15, "Typographically Printed Music," pp. 168—82; includes several type specimens and a variety of solutions to housing large fonts in typecases.

History of Italian Music

Incunabula

Useful for understanding music types are the variety and number of spacing material sorts for use above, below, and between type with cast typefaces. One nineteenth-century music type required eleven different sizes of quads and seven sizes of spaces to set the type in forms. 1 9 Such physical evidence of the technical difficulties in setting music type may help explain why music in print lagged twenty years behind the appearance of printed letters. There was little difficulty in casting the musical signs of plainchant in type metal; the difficulty lay in casting them on bodies that would allow the signs to be printed at the proper place on the music staff.

18. Ibid., figs. 9 2 - 9 3 , pp. 179, 1 8 1 . 19. Ibid., p. 179. 20. Fournier on Typefounding: The Text of the Manuel Typographique iy6^—iy66, trans, and ed. with notes by Harry Carter (London: Fleuron 1930), p. 58.

tial barlines. Because of the short stems of many of the notes in Venetian incunabula music type, the designs of the first two sizes could have been combined, but a second group of ligatures would have needed a double-size body. Staves were cast as abutting four-line segments of standard width, multiples of which would make up a column. Fournier advises dispensing with special punches for partial staves, "because shorter sections of the staff are so rarely called f o r , " but that advice was not always appropriate for a fifteenth-century music printer like Emerich, who frequently inserted rubrics of varying length in the staff area, creating irregular blank spaces in the staves. Abutting types in Emerich R 2 1 (for the specimens see Chapter V I I ) include, in addition to staves, several neumes the typefaces of which may have been altered to abut adjacent text types above or below the line. Such abutting variant types had been used by compositors to solve particular problems ever since Gutenberg's first book. 1 T h e first type designers to complete the transformation of complex scripts into type used complex kerned and abutting forms that create compositorial problems (gothic text, Gutenberg; cursive Greek and Latin, Francesco Griffo da Bologna). It is only natural that many instances of variant sorts and altered type are visible in Emerich's roman plainchant font, a font that was only the second attempt to cope with the melismatic music of the gradual in roman plainchant. Harry Carter attributed the development of music type in such a system of "building up the staff from types of various bodies" to the midsixteenth-century typecutters Le Be, Granjon, Nicholas Duchemin, and the two de Sanlecques; they supposedly increased the number of kerns and "arranged the joins after the manner of bricklaying." 22 T h e existing punches and matrices at the Plantin-Moretus Museum show that such a system was functioning in the sixteenth century. With the evidence of body size provided by the displaced type accidentally impressed on one leaf of Emerich's Graduate (Fig. 6), a system of several sizes of types "joined like brickwork" becomes plausible also as an explanation of the complex plainchant type of the incunabula period. 2 1 . Masson, The Mainz Psalters, pp. 42—43. 22. T h e process is described by Harry Carter in "Fell Music T y p e , " Penrose Annual 50 (1956): 7 3 - 7 4 .

Examination of that leaf has allowed me to develop a hypothesis of a system of body sizes for Emerich's R 2 1 . In the copy of the Graduate at the Music Library of the University of California, Berkeley, a piece of type that had evidently been pulled out of the form by the ink balls and had fallen back on the form set with type for the music notes (the staves had already been printed in red) was printed on its side. Measurement of the size of the indentation in the paper caused by the type when the sheet was printed indicates that the piece of type protruded a millimeter or two above the faces of the other types. T h e type faces of four pieces—the preceding clivis and barline and the following virga and cephalicus—were broken by the pressure of the displaced type on the form at the time of impression; the displaced type was apparently resting on or near the shoulders of the broken types at the time of impression. A later user has added in ink the first note of the clivis and the missing virga without a stem; still missing are the second note of the clivis, the barline, and the ornamental cephalicus. The same leaf without the displaced type appears in the Library of Congress copy (Fig. 7; staff 2, with the unbroken clivis, barline, virga, and cephalicus). Since we do not know how deeply the type was broken by the piece of displaced type, the set width of the latter cannot be specified with any certainty. However, it is possible to make a fairly accurate estimate with the help of the sixteenth-century artifacts at the Plantin-Moretus Museum. Measuring a piece of type (body size of 2 1 mm) recently cast in a sixteenth-century matrix at the museum gives a distance of 2 mm from typeface to shoulder. If this distance is considered approximately normal for the time and is added to the depth of the protrusion into the paper made by the displaced piece of type (roughly 1 mm), the resulting set width of the displaced type would be no more than 3 mm. Since the set width of a virga in Emerich's font must be at least 6 mm, the width of the printed virga face, the displaced piece of type would not be wide enough to be a virga or a cephalicus, the characters that are missing from the impression. It must therefore be spacing material. T h e body size of the type is approximately 1 1 . 5 mm and the height 33 mm (see Fig. 8). I conclude that the body size of the common note of R21, the virga with short stem, is 1 1 . 5 mm and that the font would include larger body sizes for

Type and Typefounders

y

FIG. 6. Graduale Romanum. Venice: Johann Emerich of Speier for Luca Antonio Giunta, 1499/1500, f. LII. (Music Library, University of California, Berkeley fM2149.V4G7.)

MR

such designs as the F clef and the clivis and podatus of intervals larger than a second, as well as a smaller body size for such designs as the punctum, lozenge, and accidentals (see Fig. 9 for sketched-in samples of body sizes; note in Fig. 9b the flat printed below a note, and the bend of the rule). In at least one place the careless inking and resulting impression of the shoulder of the type below the typeface in relief corroborates a hypothetical body size of 1 1 . 5 mm. On f. V of the Gradmle, a virga was printed with the lower lefthand shoulder

History of Italian Music Incunabula

of the type visible next to the kerned stem (see Fig. 10, stave 1). T h e distance from the top of the virga to the printed shoulder is 1 1 . 5 mm. In such a typeface, the stem of the virga would be kerned; in fact, there are examples of virga stems bent at the bottom. If the hypothetical size of 1 1 . 5 mm is correct, some multiple of that number would make up the size of the staff between two lines of text type. The distance between descender and ascender for the staff (the text type appears to use a face that covers

l\ vil*

:V4JMÜ|

11.5 3 mm.: set width

I

I

31

iH.ic1.unttcrc ' •ji' re

t

1 1 . 5 mm. body size

FIG. 8. Sketches of the displaced type in Emerich's Graduate, 1499/ 1500, f. LII. (Music Library, University of California, Berkeley fM2i49-V4G7.)

ioib^viic

the s u r f a c e without shoulders beyond ascenders and

inbuo p o m b FIG. 7. Graduate Romanum. Venice: Johann EmericK of Speier for Luca Antonio Giunta, 1499/1500, f. LII. (Library of Congress, Washington, D . C . , Inc. 1 5 0 0 x 3 . )

descenders) is 3 8 . 5 mm and the actual size of the staff

is

32

mm.

To

speak

now

of

Carter's

" b r i c k w o r k , " a vertical g r o u p of three pieces of 1 1 . 5 m m plus one piece o f 4 mm would make up a total o f 3 8 . 5 mm (see F i g . 1 1 ) . T h e normal virga or its variants f o r the top and bottom o f the staff are cast on the body so that the sign can be printed on any line or space o f the staff or above or below the staff. B e c a u s e o f the position of the text type, the virga on the space below the staff has no stem at all.

size of staff plus alphabetic type body (descender to ascender) 38 mm

FIG. 9. a. Hypothetical body sizes of music type R 2 1 . b. A flat printed below a note.

Y. mre

FIG. 10. Graduate Romanum. Venice: Johann Emerich of Speier for Luca Antonio Giunta, 1499/1500, f. V. (Music Library, University of California, Berkeley fM2i49-VfG7.)

I

11-5 mm.

4 mm.

ix.5 mm.

FIG. 1 1 . Hypothetical body size of virga in Emerich's R21.

11.5 mm.

T h e same punch and matrix may have been used to cast all three virgas. T h e process whereby the same punch and matrix were used to cast variant sorts was described in the eighteenth century by Fournier and was found by H a r r y Carter to be operative for the seventeenth-century Fell music type. 23 A special type mold allowed, in addition to 23. Ibid.

32

History of Italian Music Incunabula

the normal horizontal adjustment, a vertical adjustment of the matrix in various positions; the position of the matrix determined where the design would appear on the face of the type and, as a result, where the musical sign would appear on the staff. A n earlier example of such a mold, with interchangeable stools to alter the head alignment of the matrices, exists today at the Plantin-Moretus Museum ( G I 55). It was made by van den Keere in 1 5 7 6 to cast

19.3 mm (reversible)

10.5 mm FIG. 12. Hypothetical body size of staff type for Emerich's R21.

7 mm the large Spanish antiphonal type, a font which included kerned sorts for notes at the top and bottom of the staff. T h e system may well have been developed in the fifteenth century. Certainly the identical appearance of such distinctive characters as the porrectus at different positions on the staff suggests the use of a single punch. 24 T w o kinds of type were needed to print plainchant between two lines of text, one set for notes and one for staves. A strategy involving varying sizes of pieces of type may have been used to print the staff as well as the notes. Occasionally the shoulder of a piece of staff type is unintentionally printed and suggests the use of three equal pieces of staff type (body size of about 10.5 mm) plus a piece of 7 mm to fill the space next to the text type. If an extra ledger line was needed above or below the staff and reached into the space of the text type (as in Fig. 1 2 , top right, and in Fig. 10) an additional fifth piece of staff type would be needed on a body the size of the text type, or 19.3 mm. Kerning was as common in Emerich's text types as in his music types. A n unusually large repertory of kerned music types appears in R 2 1 (see the type

specimen, Chapter V I I ) ; among the kerned types visible in Emerich's text type for the Graduate a r e / the long 5 (to overlap following vowels), a form of the t with a long crossbar (to overlap vowels), a form of the r and a form of the c (to overlap vowels and other c's (see Fig. 1 3 ) . Early attempts to transfer manuscript designs to type relied on kerning to create the visual effect of linked letters (ligatures). T o be sure, a font with kerned variants was expensive and time-consuming to design and cut as well as to set; the enormous fonts of the 1450s (nearly 300 sorts for a text alphabet, plus frequent filed variants) had gradually been replaced by types with few kerned sorts and ligatures. Emerich was creating one of the first music types capable of setting the complex plainchant of the manuscript gradual and antiphonal, and it was natural that he should make use of complex kerning and variant forms of the same character to achieve his aim. Just as natural was its consignment to obsolescence when new types became available that were easier to set and allowed more music on the page, even though they lacked the capacity for printing complex neumes and liquescence.

24. Parker, "Early Typefounders' Moulds," pp. 9 4 - 9 5 and plate 1 6 A ; see also fig. 3 in Poole's "Printing," p. 237.

FIG. 13. Examples of kerned text types in Emerich's Graduate.

fô fi fit fu tit a ran Type and Typefounders

Evidence supporting the use of kerned characters in types like Emerich's large plainchant font can be sought in another important music type that, though not technically an incunabula type, was being created in Venice at almost the same time. In a dissertation on Petrucci's Motetti delta Corona (printed from 1 5 1 4 to 1 5 1 9 with the music type first used in Venice in 1 5 0 1 ) , Stanley Boorman prepared a specimen of the music font and proposed a theory of kerned types to explain the intrusion of stemmed signs into the text type.25 A frequently used note in a mensural font is the minim or stemmed lozenge, outlined or filled in depending on the meter. In Petrucci's type it has a standard height of 1 1 . 2 mm on a five-line staff of approximately 10 mm, so the stems frequently intrude on the text type above and below the staff. Boorman noted that "the tails appear to be particularly susceptible of being bent at a distance of 3.5—4 mm from the top of the note" and proposed that a reversible sort kerned at that point allowed the typesetter to combine text type and music type with less difficulty. Emerich's last music font appears to have used

a system of music type cast in multiple body sizes from several type molds and containing kerned and abutting variants for use at the top and bottom of the staff and for creating complex neumes by combining sorts. The same general system may well have been used for many of the incunabula music types. W e have seen evidence for this hypothesis in a fortuitous instance of a displaced type, in somewhat later use of the system in the earliest extant music types, and in Petrucci's music. Accounts from type designers' contracts and early type manuals, as well as the appearance of fonts in use today, provide evidence of multiple molds and large fonts. More detailed discussion of particular fonts and the printed editions that use them can be found in Part II; especially interesting are the many instances of the careless printing of shoulders of type bodies and spacing material that confirm a hypothesis of varying body sizes. A review of the limited evidence for the physical appearance of early music type prepares the way for a discussion of the history of the trade of typefounding as it relates to early Italian music type.

Music Typefounders T h e trade of making types in the fifteenth century was never clearly described in contemporary treatises but can only be inferred from chance comments in colophons and archival documents of the next century. 26 Evidence concerning typecasting in the fifteenth century was meticulously assembled by Konrad Haebler in an attempt to answer criticism of his classification of incunabula text types, a system that rests on the assumption that types were made by and in an individual printing establishment 25. Boorman, "Petrucci," pp. 377—78.

rather than purchased from an agent who had duplicate matrices for sale. According to Haebler, "it is scarcely an exaggeration to say that up to the year 1500 there were no two fonts of type the forms of which were absolutely alike." 28 Recent scholarship has stressed that, while a font of type in the fifteenth century may have been unique, it might be used by another printer who had inherited it (an alphabetic font of Ulrich Han was used by Lupus Gallus in 1475, and Han's music type by Stephan Planck), sold (Francesco Girardengo sold alphabetic matrices to Giacomino Suigo), or, in unfavorable eco-

26. T h e best modern accounts are in Harry Carter, A View of Early Typography

(Oxford: A t the Clarendon Press,

1969), and Konrad H a e b l e r , "Schriftguss und Schriftenhandel in der Frühdruckzeit," Zentralbldtt für Bibliothekswesen,

41

( 1 9 2 4 ) , 8 1 - 1 0 4 , translated as "Typefounding and C o m m e r c e in T y p e during the Early Years o f Printing," Ars ic,

3 (1926). 3-35-

History of Italian Music Incunabula

Typograph-

27. Konrad Haebler, Typenrepertorium der

Wiegendrucke,

5 vols. 28. Konrad Haebler, The Study of Incunabula, trans. Lucy Eugenia O s b o r n e ( N e w Y o r k : T h e Grolier Club, 1 9 3 3 ) , p. 104.

nomic times, even rented. 29 A publisher or commissioner of types might retain ownership and allow types to be used by different printers. There is also some reason to believe that there were common sources for the types of many fifteenth-century printers. 30 It is part of the purpose of this chapter to show that by the 1490s the typical Venetian printer could depend on free-lance professionals to create the complex fonts of Greek, Hebrew, Cyrillic, Glagolitic, and music type that kept Venice in the forefront of the international book trade. T h e first specialist in typefounding cited by Haebler is one Crafto (Kraft?), who stated in a legal document of Perugia in 1477 that a German named Steffen Arndes assisted him in making punches and justifying matrices ("ad limandum et aptandum punctellos matrices ad limandum dictas matrices"; for filing down and adjusting punches for matrices and justifying said matrices). 31 Crafto also taught Arndes how to "make a suitable mold for casting letters for printing books" ("unum instrumentum aptum ad jactandum litteras ad imprimendum libros"). T h e training of Arndes is of considerable interest since he was one of a handful of printers to print the complicated neumes of the gradual in the fifteenth century (Graduate Suecicum, 1493). Arndes had formed a partnership with Crafto in the early 1470s and is said to have written a manual on typecasting. A t the time of the Perugian litigation Crafto was in Rome, where he had been hired for ten months "to make punches and matrices for the printing of books" ("facere punctellos et matrices ad imprimendum libros"). 29. Meyer-Baer {Liturgical Music Incunabula, p. xxvii) described the Wenssler music type as "also found in the books of other houses: in Strasbourg at Gruninger's, later in Mainz at Schoeffer's, and in an anonymous Psalter. The forms in use in Strasbourg appear to be identical with Wenssler's; in Mainz they appear to be slightly bigger and clumsier than Wenssler's but apparently cut after his model. A comparison of the two fonts, side by side, would reveal whether they are of the same size." It is one thing to speak of the similarity of types; it is another to say they are the same. 30. Carter, View of Early Typography, pp. 57—58, 6 0 - 6 1 , 104—6. 3 1 . T h e source of Haebler's information is a document quoted in Adamo Rossi, L'arte tipografica in Perugia (Perugia: Boncompagni, 1868), p. 24. 32. M . Faloci Pulignani, "L'arte tipografica in Foligno nel secolo X V , " La Bibliofilia 1 ( 1 8 9 9 - 1 9 0 0 ) , 2 8 3 - 9 0 .

Thus we learn that almost exactly when the first music type was being made in Italy for Han's shop in Rome, a traveling type designer with his own tools was at work in that very city making a typefont on demand. T h e alphabetic types used by Han have puzzling connections to other printed books that suggest a common type designer at work even earlier, in the 1460s, at the time of the first printing in Rome. T h e types used by Sixtus Riessinger in what may have been the first book printed in Rome, The Letters of St. Jerome, bear a strong family resemblance to those of Han's second book, a Cicero of 4 XII 1468; the capitals are perhaps exactly the same. Although it has recently been stated that "only toward the middle of the [sixteenth] century did craftsmen like Garamond, Granjon and Guillaume Le Bé become sufficiently famous and sought after to operate as free-lance punchcutters, and they were the first to do so," it is clear from the example of Crafto that free-lance type craftsmen existed as early as the 1470s. Important to the discussion of early Italian music type are documents that mention Italian music printers who made type and others that refer to a music typecutter who was at the end of a long career in 1 5 1 3 . Few details are known of their professional training and activities as fifteenth-century typecutters, so parallels are sought in the apprenticeships and careers of men who cut music type in the sixteenth century. In an extraordinary document now in the Bibliothèque Nationale in Paris, the son of an early type designer and punchcutter wrote down his recollections of men in the printing trade, including the music type designers Guillaume Le Bé, Robert 33. A Leaf from the Letters of St. Jerome, First Printed by Sixtus Reissinger [JICJ, Rome, c. 1466-1467, ed. Gilbert Bennett; historical essay by Jeremy DuQuesnay Adams; bibliographical essay by John L. Sharpe III (Los Angeles: Zeitlin and Ver Brugge, 1 9 8 1 ) . Sharpe (pp. 1 7 - 1 9 ) suggests an independent typecutter but dismisses the possibility "since the independent type cutter is usually considered a later development within the printing business and dependent upon a larger community of printers than was so recently come to Rome in the 1460s." The resemblance to the Cicero is discussed in Mariano Fava and Giovanni Bresciano, La stampa a Napoli nel XV secolo, 2 vols, and Atlas, Sammlung Bibliothekwissenschaftlicher Arbeiten 3 2 - 3 4 (Leipzig, 1 9 1 1 - 1 9 1 3 ) , 1: 1 0 - 2 7 ; Victor Scholderer, "Sixtus Riessinger's First Press at Rome," The Library, ser. 3, 5 ( 1 9 1 4 ) : 3 2 0 - 2 4 . 34. Heartz, Attaingnant, p. 49.

Type and Typefounders

Granjon, and Pierre Haultin. 35 Guillaume Le Bé (1525—1598), son of a papermaker in Troyes, was apprenticed in 1539 or 1540, at the age of fourteen, to the scholar-printer Robert Estienne in Paris. There for the next five years he was taught all facets of the book trade: bookselling, printing, letterfounding, and lettercutting—the last two under the tutelage of respected craftsmen who have retained a place in printing history. 36 T h e next step of his training was a five-year sojourn in Venice—in 1545 still one of the main centers of the book trade— where he cut types for a number of Venetian printers, especially the Hebrew fonts for which he became famous. After finishing his Italian visit with a pilgrimage to Rome, Le Bé returned to France, stopping in Geneva to see his master, Robert Estienne. In Paris he began a decade of free-lance type design for Parisian publishers that included working in 1 5 5 1 for the typecutter Claude Garamond. 37 Products of that decade include seven music types, four of them for Adrien Le Roy and Robert Ballard, to print plainchant, mensural music, and keyboard and lute tablature. In his mature years Le Bé was an international merchant with an inventory of punches and matrices that included twenty-three sets of punches or matrices or both of music type: seven of plainchant (including one of his own design, a 4 0 antiphonal), fifteen of mensural, and one of tablature. 39 35. T h e document has been published in French and English by Harry Carter with a foreword by Stanley Morison as Sixteenth-century French Typefounders: The Le Bé Memorandum, Documents Typographiques Français 3 (Paris: Paul Jammes, 1967). T h e first part of the document was written by Guillaume Le Bé II about 1643 and the second part was copied in the hand of Jean-Pierre Fournier l'Ainé about 1730, when the Le Bé foundry was acquired by the Fournier family. 36. Ibid., pp. 3 2 - 3 3 . 37. Annie Parent and Jeanne Veyrin-Forrer, "Claude Garamont: New Documents," The Library, ser. 5, 29 (1974): 86. 38. Three of the Ballard types are described and reproduced in the type specimen now in the Paris Bibliothèque N a tionale (Dépt. des Mss., n.a.f. 4528) and are printed in facsimile in Omont's "Spécimens de caractères," pp. 273—83 and plate 3. A leaf of the "Musique grosse" annotated in Le Bé's hand is reproduced in Heartz, Attaingnant, plate 14. The other types are mentioned in The Le Bé-Moretus Collection of Fragments C . I J Ç Ç , ed. H . D. L. Vervliet and Harry Carter, T y p e Specimen Facsimiles 2 : 1 8 (Toronto: University of Toronto Press, 1972), p. 12. 39. T h e inventory of the Le Bé Foundry was made some-

History of Italian Music

Incunabula

T h e second French typecutter whose career is known in sufficient detail to contribute to our understanding of the early period of the trade is Robert Granjon (1513—ca. 1589), son of a printer and bookseller. Granjon was apprenticed to a goldsmith (probably in Lyons) and "when he had learned that calling, he set himself to work at various faces of type. . . . H e began in Paris about 1545 and even before . . . in 1570 he left Paris and went to live at Lyons. . . . Afterwards he went to Rome, which he reached in December 1578, where he worked for the Cardinal de' Medici at Arabic types." During the visit to Rome, Granjon apparently also cut a single-impression plainchant font and with it printed Guidetti's octavo Directorium Chori (1582). 4 1 Previously, Granjon had cut three mensural types purchased by Plantin. 42 A third typecutter, Pierre Haultin, "may have begun about 1500 and finished his apprenticeship about 1 5 1 0 . T h e first matrices on which he worked were for a Pica or Small Pica Greek. . . . H e began the punches in 1530." 4 3 T h e first documentary evidence we have of Haultin is a bond of 1547 by Nicolas Duchemin to pay him for punches and matrices for music type. Although Fournier credited him with making "the first [French mensural music] punches about 1 5 2 5 , " that distinction is now time after 1 6 1 7 and is now in the Paris Archives Nationales, Minutier Central des Notaires, étude 65, laisse 229. Morison reproduced the document in L'Inventaire de la Fonderie Le Bé; the music material appears on pp. 22—25. 40. Sixteenth-Century French Typefounders, pp. 32 and 44 n -394 1 . Vervliet, Robert Granjon à Rome, pp. 3 3 - 3 5 . 42. Punches and matrices of the three types remain today in the Plantin-Moretus Museum; a specimen of two of Granjon's music types made from extant matrices appears in Heartz, Attaingnant, p. 47, and Parker, Melis, and Vervliet, "Typographica Plantiniana I I , " S T 7 o a . T h e first is a medium-sized mensural font cut before 1565. The second is a civilité or gothic cursive used in printed books in 1558 and 43. Sixteenth-Century French Typefounders, p. 3 1 . Hendrik Vervliet questions Le Bé's date and suggests the early 1530s for completion of the apprenticeship: "Les Canons de Garamont: essai sur la formation du caractère romain en France au seizième siècle" in Refugium Animae Bibliotheca: Mélanges offerts à Albert Kolb, ed. Emil van der Vekene (Wiesbaden: Guido Pressler, 1969), p. 493. 44. François Lesure and G. Thibault, "Bibliographies des éditions musicales publiées par Nicolas du Chemin," Annales Musicologiques 1 (1953): 270—71.

thought to belong to Attaingnant. 45 Haultin's career, too, combines the professions of the typecutter who made several fonts of music type and the printer who used his own music type. In 1 5 1 4 , after finishing an apprenticeship in Paris—perhaps with Philippe Pigouchet, whose daughter he married—Pierre Attaingnant (ca. 1494—1551) became a bookseller with a printing press for hire. H e began his career printing dominoes, excommunications, and pardons but soon inherited all or part of the business of Pigouchet, who had died by 1518. 4 6 In April 1528 appeared the book that would transform music printing, the single-impression music book Chansons nouvelles, which used a music type with the notes and staff lines engraved on one punch. Attaingnant also cut what must have been the first single-impression plainchant type (forty punches), perhaps completed even earlier than the famous mensural type.47 T h e type was still extant for a type inventory in the seventeeth century, but there are no surviving printed sheets from it. A t that time it was still the custom to print plainchant in red and black, and therefore a single-impression type was impractical. What parallels can we draw for the training of the fifteenth-century music type designer? A standard apprenticeship in a printing shop or with a goldsmith would prepare a professional music type designer for his craft. Italy's international importance in type production is clear from the fact that it was not uncommon for a newly apprenticed sixteenth-century craftsman to make a trip to Italy. While the distinction between printer and type designer was often blurred, as for Attaingnant and Granjon, who are remembered today primarily for their types, others would be trained from the begin45. Pierre Simon Fournier le Jeune, Traité historique et critique sur l'orgine et les progrès des caractères de fonte pour l'impression de la musique, avec des épreuves de nouveaux caractères de musique, présentés aux imprimeurs de France (Berne: Fournier, 1765); Heartz, Attaingnant, pp. 49-58. 46. In his Trésor de la langue française of 1606 Jean Nicot defined dominoes as pictures and portraits cut in wood or copper and printed and painted on paper ("dominos, c'est à dire des images et oeuvres de portraicture peintes et imprimées en papier, et gravées en bois ou cuivre," quoted in Heartz, Attaingnant, p. 36). 47. Heartz, Attaingnant, pp. 57-58. For reproductions of the pertinent pages of Le Bé's inventory, see Appendix 7, plates 6 - 7 .

ning as specialists in type design and punchcutting, a mature profession in the sixteenth century. There is some evidence that in the fifteenth century music printers produced their own type. Stephan Arndes learned the craft in the 1470s for a career that continued into the next century. Antonio Zarotto, the first printer in Milan, signed contracts in 1472 that obliged him to cast enough Latin (gothic and roman) and Greek types to outfit seven presses. 48 Therefore he must have had the ability to make the small font of Ambrosian plainchant types used in his Rituale Ambrosianum (about 1488) and Missale Ambrosianum (1 March 1488). In 1478 in Basel, the music printer Michael Wenssler joined the guild of moneychangers, goldsmiths, and founders; he had been since 1474 a member of the Safranzunft, the merchants' guild. By 1478 he had apparently become his own typefounder. Wenssler began printing books first with staves and then, in 1488, with the music type of Richel. 50 Other printers were not averse to buying types. Christoph Valdarfer, another Milanese printer, attached a specimen of a roman type to a printing contract in 1 4 7 2 ; the agreement stipulated that he would retain possession of the type after the book was completed. 51 While working in Basel, he obtained from Richel two fonts of text type that he later used in his own shop. H e may have commissioned in Basel the first Ambrosian plainchant type, which appeared in his Missale Ambrosianum, 15 March 1482, the first dated music printed in Milan. As late as 1492, in the small university town of Pavia, Francesco Girardengo was making and casting his own type. On the date ending a thirteen-year partnership with the wealthy merchant Giovanni Antonio Beretta, Girardengo paid 6,000 ducats and retained the tools of his profession: metal, presses, forms, matrices, files, and letters. H e then made a

48. Arnaldo Ganda, I primordi della tipografia milanese: Antonio Zarotto da Parma (1471-1507) (Florence: Olschki, 1984), p. 34. 49. Haebler, "Schriftguss," p. 89. 50. Kathi Meyer-Baer, " D e r Musikdruck in den liturgischen Inkunabeln von Wenssler und Kilchen," GutenbergJahrbuch (1935): 1 1 7 - 2 6 . 5 1 . Haebler, "Schriftguss," p. 86. 52. B M C V I : xxiii. 53. Archivio Notarile di Pavia Bartolomeo Strada fq. Antonio, 10 November 1492: "stagna, torcularia, matres, forme,

Type and Typefounders

new agreement to rent space in Beretta's house for a printing shop and living quarters, plus a room upstairs for typefounding. Girardengo sold types as well, for records indicate that the Turin printer Giacomino Suigo bought matrices from him.54 Documentary evidence shows that by the 1490s there were printers in Venice who commissioned type from technical collaborators who cut punches and cast type. In 1 5 0 1 the printer Aldo Manuzio praised Francesco Griffo da Bologna as the typecutter of his elaborately kerned Greek and Latin cursive types. 55 Particularly relevant to the history of Italian music type is the group of Venetian documents that mention a typefounder referred to as either Jacomo Ungaro (Hungarian) or Jacobo (Jacomo) Todesco (German), gettator de lettere. On 21 November 1498, the diminutive form, Jacobino Todeschino, was used by the witness of a death certificate for Francesco del Prestade Bormi, another typefounder (gittator litterarum)?6 In 1506 Aldo Manuzio's first will refers to Jacomo Todesco, gettator de lettere, and in 1 5 1 3 Jacomo Ungaro requested a fifteen-year privilege for mensural music. Can we be sure that these documents refer to the same man? In 1889 Castellani first pointed out the likelihood that the German and Hungarian Jacomo were the same person, since Hungarians who came to do business in Venice were treated on a par with Germans and lived at the same house, the Fondaco dei Tedeschi. 57 T h e boundaries of Hungarian and German territory had been in flux throughout the fifteenth century, as had those between Hungary and Venice. 58 T h e distinction between German and

plani, littere, tellaria, et omne et totum quicquid est et operatur ad usum stamparle librorum"; as cited in Tullia Gasparrini Leporace, "La società Beretta-Girardengo ( 1 4 7 9 - 1 4 9 2 ) nei documenti inediti coevi," La Bibliofilìa 50 (1948): 45. 54. Ibid., p. J455. Albano Sorbelli, "Il mago che scolpi i caratteri di Aldo Manuzio," Gutenberg Jahrbuch (1933): 1 1 7 - 2 3 .

Hungarian must have been hazy for many inhabitants of borderlands. Jacomo Ungaro's ties to either Hungary or Germany would have been weakened by long residence in Italy. In his petition for the music type privilege Jacomo Ungaro claimed residency in Venice for forty years, verifying his presence in the city at the same time as Jacomo Todesco. It seems an acceptable conclusion that J a como Ungaro and Jacomo Todesco are one and the same man whose background was seen by Italians simply as transalpine. Aldo Manuzio's will gives to Jacomo the appellation magistro, indicating some university education. 2 7 M a r c h 1 5 0 6 . Let there be distributed two hundred and fifty ducats to ten young women of marriageable age, twenty-five (25) ducats each; the said young women being four daughters of my compatre M a s t e r J a c o m o T o d e s c o , typefounder 59

T h e term compatre has often been translated as "godfather." 6 0 Since Aldo was born about 1449 in Bassiano, a little town near Rome, such a relationship suggests that Jacomo spent most or all of his life in Italy. However, the fact that the will uses the term compatre in reference to several individuals (for the full document, see Appendix 1, no. 1) makes it more likely that the term designated a close business associate. As the father in 1506 of four unmarried daughters to whom Aldo was bequeathing small dowries, the typecaster was at least middle-aged and probably not very well-to-do. On 26 September 1 5 1 3 , Jacomo Ungaro submitted a petition to the Venetian Senate requesting a fifteen-year privilege to print mensural music. Under the terms of a Venetian privilege, which could run from one to twenty-five years, other printers could be forbidden to print a certain title, or to print or sell a title, to imitate a type, or even to import a certain title into the republic. T h e privilege might be granted for one title, a group of designated titles, or whole genres such as small mis-

56. Haebler, "Schriftguss," p. 93. 57. Carlo Castellani, La stampa in Venezia dalla sua origine alla morte di Aldo Manuzio seniore (1889; reprint Trieste: L I N T , 1973), p. 66n.2; Henry Simonsfeld, Der Fondaco dei Tedeschi in Venedig, 2 vols. (1887; reprint Darmstadt: Scientia Verlag Aalen, 1968), 2: 81. 58. György Székely, "Les Facteurs économiques et politiques dans les rapports de la Hongrie et de Venise à l'époque

History of Italian Music Incunabula

de Sigismond," in Venezia e Ungheria nel Rinascimento, ed. Vittore Branca (Florence: Olschki, 1973), pp. 4 1 - 4 5 . 59. See Appendix 1 for full text. 60. Recently by Martin Lowry, The World of Aldus Manutius: Business and Scholarship in Renaissance Venice (Ithaca: Cornell University Press, 1979), p. 48.

sals. 61 S o m e privileges have certainly disappeared, and some of the titles that were privileged were never printed. In U n g a r o ' s petition he claimed to have discovered how to print mensural music in the city of Venice where he had resided f o r forty years: Because it is the habit of your most Illustrious Signoria to remunerate those who contribute to this famous city some useful and ingenious invention, therefore your most faithful servant Jacomo Ungaro, cutter of letters and inhabitant of this most excellent city for forty years, having discovered the way to print measured music, and fearing that others, as happens, may reap the fruit of his labors, begs your Excellency that you be pleased to grant him the favor that no one else may print or have printed the said measured music either in this city or in its provinces for the next fifteen years, nor bring books printed elsewhere to sell in this city or subordinate lands, under penalty of losing all the books and 100 ducats for every time that it occurs. 62 U n g a r o was concerned that others would "harvest the fruits of his l a b o r " after he had " f o u n d the way to print measured music" because the previous privilege holder, Ottaviano Petrucci, was now absent f r o m the Venetian Republic. Petrucci's twenty-year privilege, awarded in 1498, would have had five years to run, but by April 1 5 1 1 he had moved back to Fossombrone, his home in the Papal States, no doubt because of the turbulence caused by the war being waged against the republic by the League of Cambrai ( 1 5 0 9 — 1 5 1 3 ) . Petrucci had probably already applied f o r the privilege to print music in the Papal States that was awarded to him on 22 October 1 5 1 3 , verifying his intention to remain in Fossombrone. T h e Venetian Senate

6 1 . Some two hundred can be found in Fulin, "Documenti," pp. 8 4 - 2 1 2 , and "Nuovi documenti," Archino Veneto 23 (1882): 3 9 0 - 4 0 5 ; Richard Agee, " T h e Privilege and Venetian Music Printing in the Sixteenth Century," Ph.D. diss., Princeton University, 1982, focuses on music privileges.

awarded J a c o m o the privilege on the condition that it not prejudice the previous holders ("cum hoc ne praejudicetur concessionibus, si quae forte factae fuissent antehac"). 6 4 T h e Senate's award indicates their support of his claims of residency as typecutter f o r forty years and invention of the way to print mensural music. T h e r e is no evidence that Jacomo, a typecutter, wished to use the privilege to print music books. Having lived in Venice for forty years and with four figliole by 1 5 0 6 , J a c o m o must have been reaching old age. It is more likely that the privilege was sought to prevent others from printing or bringing printed music books to offer for sale in Venice or its provinces. Rather than state that " U n g a r o never availed himself of his short-lived privilege," 6 5 it is more accurate to assume that the privilege was effective in preventing others from "harvesting the fruits of his labor." Petrucci's type was not reused in Venice. J a c o m o U n g a r o may have died by June 1 5 1 4 , the filing date of a petition by Petrucci's publishers to renew his former privilege, not just for mensural music as in U n g a r o ' s petition, but also for lute and keyboard tablature. Another intimation of U n garo's death is his absence from Aldo's second will of January 1 5 1 5 . T h e petition of 1 5 1 4 was made on Petrucci's behalf by publishers A m a d e o Scoto and N i c o l o di Raffaele, since the music printer was by then in Fossombrone. T h e petition asked that the Petrucci music privilege, which had been unused for four years, be extended for Petrucci's former partners for five years; if still valid, the original twenty-year privilege would have run to 1 5 1 8 . It sought to prevent others from printing music and from "carrying or having carried or selling those kinds of books in this country or subordinate lands." Scoto and Raffaele were portrayed as financial backers: 26 June 1 5 1 4 . . . . And because in the printing of the said works [of mensural music] much capital was necessary and was not forthcoming, the said Octaviano unable to provide it being a poor man, he took as partners S. Amadio Scoto bookseller

62. Fulin, "Documenti," no. 189. Catherine Chapman, "Andrea Antico," Ph.D. diss., Harvard University, 1964, p. 23, gives a translation of the document. For the complete document in Italian, see my Appendix 1, no. 3. Agee's translation of the reference to Ungaro as a woodcut artist and printer seems unwarranted ( " T h e Privilege," p. 43).

enee: Olschki, 1948), p. 17. The document as quoted by Sartori lacks two phrases.

63. Boorman, "Petrucci," pp. 3 8 1 - 8 2 , Appendix 4; Claudio Sartori, Bibliografia delle opere musicali stampate da Ottaviano Petrucci, Biblioteca di Bibliografia Italiana 18 (Flor-

65. Martin Picker, "Petrucci, Ottaviano," New Dictionary of Music and Musicians, 14: 596.

64. Fulin, "Documenti," no. 18. Grove

Type and Typefounders

and Ser Nicolo de Raphael who at very great expense, and the most diligent and vigilant industry, printed many and diverse volumes of the said books hoping to gain some profit, but because of the war and turbulence they have not been able to sell the said printed works and their capital is tied up, to their most great danger and loss.66 Despite their earnest protestations of interest in printing music, the seekers of the 1 5 1 4 privilege were probably looking to protect their capital investment in the still unsold Petrucci editions. Amadeo Scoto, nephew of the fifteenth-century music publisher Ottaviano Scoto (d. 1498), had inherited part of his uncle's flourishing publishing business. H e was not a printer and had no further known connection with music publishing. 67 Raffaele, nearly blind in 1 5 1 4 , was also a source of financial support rather than printing expertise. Another reason for concern to reestablish Petrucci's privilege was the appearance on the horizon of Andrea Antico, who had been printing music from woodcuts in Rome with the help of capital from Roman members of the Giunta and Scoto families since 1 5 1 o and who was to come to Venice after Petrucci received privileges in the Papal States for mensural music and tablature. U n g a r o ' s 1 5 1 3 privilege is fundamental to the history of music printing. N o t only does it award to Jacomo the credit for Petrucci's influential mensural type, it suggests that he, already known to have been a professional typecutter in Venice for decades, was capable of designing the other music fonts that made their first appearance there. Petrucci's privilege had said that he had discovered how to print mensural music "and consequently plainchant much more easily." Only four men are known to have been in the business of making types in Venice by 1 5 1 3 : Jacomo, Francesco G r i f f o , another Hungarian named Andrea (Sigismund)

Corbo (Corwin) who was an "inzisor literarum," 68 and Francesco del Prestade Bormi. T h e time has come to propose that a good share of the success of music printing in Venice at the end of the fifteenth century is owed, if not to Jacomo himself, then to fellow craftsmen like him who provided the music type for the production of the liturgical books that entered the international market from Venice. Support for Jacomo's claim to have "found the way to print mensural music" also comes from indications that all of Petrucci's type was cast before he left Venice for Fossombrone. Boorman pointed out that in Petrucci's Fossombrone imprints the ligatures grow fewer, and some ligatures are replaced altogether by two sorts butted together. There is the occasional appearance of "ugly minims with much heavier tails . . . apparently cast from a new matrix, unless, as seems more likely, the original had become distorted." 69 Such evidence indicates that Petrucci was not the owner of the matrices of his famous type and was not personally responsible for their design and production. Only a copy of J a como's will could tell us whether the typecutter owned the music punches and matrices. A f t e r Petrucci's death in 1 5 2 3 , his widow apparently sold some of his type to a Gabriele Ceccolino, who, however, made no use of any music type. 70 Evidence of Jacomo's role in the development of Petrucci's mensural type calls for a reexamination of the first font of mensural type, used in Venice in 1480. T h e craftsman would then have been in residence for seven or eight years. A foreigner was allowed to trade freely and was exempt from certain customs duties when he became a citizen after residence for fifteen years or for eight years after marriage to a Venetian. 71 If Jacomo had 68. Jozsef Fitz, "Ungarische Buchdrucker des X V . Jahrhunderts im Auslande," Gutenberg-Jabrbuch ( 1 9 3 1 ) : 1 1 5 . 69. Boorman, "Petrucci," pp. 95-96.

66. Fulin, "Documenti," no. 193; translated in David Gehrenbeck, "Motetti de la Corona: A Study of Ottaviano Petrucci's Four Last-known Music Prints (Fossombrone, 1 5 1 4 - 1 5 1 9 ) , with 44 Transcriptions," Ph.D. diss. Union Theological Seminary 1970, p. 53. For the complete document, see my Appendix 1, no. 4. 67. La musica, ed. Guido M . Gatti and Alberto Basso, 2 vols, in 6 (Turin: Unione Tipografico-Editrice Torinese, 1966—1971), 2: 1 0 7 1 .

History of Italian Music Incunabula

70. Augusto Vernarecci, Ottaviano de' Petrucci da Fossombrone, p. 226. Jacques-Charles Brunet tells us that the 1 5 2 1 Motetti libro primo and Motetti liber quartus of Torresano and the 1520 Motetti noui & cbanzoni francoise of Giunta were printed by Andrea Antico in Petrucci's type: Brunet, 3: cols. 1 4 2 6 - 2 7 . Chapman ("Antico," p. 91 and Appendix) concluded that the music was printed from woodblocks cut by Antico himself. 7 1 . Brian Pullan, Rich and Poor in Renaissance Venice (Oxford: Blackwell, 1 9 7 1 ) , pp. 1 0 0 - 1 0 1 .

married upon arrival, he would have been ready to start a type business in 1480, the year in which six pages of mensural music were printed with the first mensural type in a Grammatica written by Francesco N i g e r and printed by Theodor Franck of Wurzburg ( M 1 ; for reproductions of two of those pages and the type specimen, see Chapter V I I ) . There are striking resemblances between the first mensural font and that of Petrucci: an identical pausa of slightly more than a half circle, the distinctly pointed breve and long, the long stem of the long (in variable sizes like Petrucci's), and the calligraphic distinction of thick and thin sides of the minim. Even more surprising is the similarity in size: in both fonts the long has a notehead of about 2.5 mm square, the semibreve is 3.8 mm high, and the pausa is 2.5 mm high. T h e pointed noteheads are not accentuated as in Petrucci's type, and the stems of the long are not quite straight. Frequent impressions of edges of type shoulders provide evidence for the technique visible in fonts of the 1490s of casting a musical sign on a small body that can be positioned to print at the level of different spaces or lines of the staff by the use of spacing material above and below the sort. T h e craftsman responsible for the 1480 Venetian font could well have been the resident music typecutter who cut the next mensural font at the end of the century for Petrucci. Petrucci's awareness of interest in a system of printing mensural music both in and outside of Italy is indicated by a phrase in his privilege of 25 May 1498: " A t great expense and with most vigilant care, he has discovered that which many, not only in Italy but also outside Italy, have long sought, which is to print mensural music in a very convenient man-

ner." 7 2 Did Petrucci's publishers finance the invention claimed by the type craftsman Jacomo U n g a r o in his privilege of 1 5 1 3 ? If Jacomo were responsible for the music type used in the early 1480 printed mensural music, as well as Petrucci's, he would certainly qualify as one who had long sought a manner of printing mensural music, perhaps both inside and outside Italy. T h e Venetian plainchant fonts that appeared in Venice in the last decades of the fifteenth century include some repetitions of design. Some characters reappear in different fonts in what seem identical designs; for example, the narrow and elegant flat of Petrucci's type is like that used by Hamman in his first gothic font of 1498, where it is a bit out of character. T h e appearance of two innovative mensural types in Venice just a year apart—Emerich's black mensural type in 1500 ( R 2 1 ) and Petrucci's white mensural type in 1 5 0 1 — s u g g e s t s a single creative designer, especially since Petrucci's font is linked by name to a professional. Since the mensural types in R 2 1 match the body size of the plainchant type and would have been cast in the same molds, would not the same craftsman very likely have cut the entire font, plainchant and mensural? U n g a r o , having certainly cut Petrucci's font and perhaps having had a hand in Emerich's mensural type and by extension his plainchant type, could well have cut other plainchant fonts as well. Thirty-eight music types were used in Italy in the fifteenth century, twenty-five of them in Venice. It seems likely that many were the products of a very few craftsmen who specialized in music type. 72. Fulin, "Documenti," no. 8 1 . For the complete document, see Appendix 1, no. 2.

Type and Typefounders

iv. Italian Music Incunabula

Early printers had at least five options for the print-

(see Table 12). T h e quality of the printed staves

ing of music books. First, they could omit music and

ranges from miserable to excellent; techniques run

space for it altogether. Second, printers could

the gamut from woodcuts and poorly beaten rules

leave, often above printed lines of text that was to be

to cast metal lines the width of a staff and, finally,

sung, blank space for later manuscript insertion of

cast small metal segments of one line each. Poorly

staves and notes. O f the 156 Italian music incunab-

printed staves precluded properly printed notes, so

ula, thirty-five follow that prescription (see Table

that printers experienced with music type rarely

11), including the first four that were printed ( D

risked using wavy, irregular materials for printing

38—D 41). While most of the thirty-five appeared in

staves. A small group of twelve incunabula, nine of

the 1470s and 1480s, printers without music type or

which are music theory texts, employed a fourth op-

without type of the appropriate size for small for-

tion, notes and staves printed from

mats continued the practice into the 1490s ( D 32,

(Table 15). Finally, the largest group, seventy-six

D 91). A third option, printing staves and omitting

music incunabula, are printed from thirty-eight mu-

notes, was selected for nineteen Italian incunabula

sic types with both notes and staves.

woodcuts

Space for Music Few printers chose the option of omitting music and space for it entirely. Admittedly, it is difficult to identify editions that eliminated the music of a copytext from print, but any missal printed without music can probably be placed in that category. 1 T h e two modest octavo missals printed in Italy without space for music may have been aimed at readers unable to write music or too poor to hire someone who could. O n e of these was printed in Venice in 1481 by Franz Renner, a printer who never did attempt to print music. T h e Florence copy

(Biblioteca

Nazionale Centrale, K.7.53) has no added manu1. T h e Glagolitic Missale Romanum of 1483 is an exception. Its lack o f music probably reflects the state of the copytext, since liturgical music for the Slavonic service has a performance tradition that is still transmitted orally today. See Josip Andreis, Music in Croatia, trans. Vladimir Ivir (Zagreb: Institute of Musicology, 1974), p. 19.

42

script leaves, and the copy at Munich (Bayerische Staatsbibliothek, 8° Inc.c.a.9) has an added twentyfour manuscript leaves without chant, but the owner of at least one copy (British Library, I A . 19880) inserted before the Canon ten manuscript leaves with text and roman chant notation to replace the four printed leaves (ff. 1114—017) he felt must have music. T h e r e was obviously a market for a small, inexpensive missal printed without space for music, but at least this owner of such a book felt the lack keenly enough to redo a gathering. T h e three folio missals printed by Pachel and Scinzenzeller before 1483 had included space for music, but their 1483 octavo missal excluded music. T h e absence of music in printed breviaries follows the tradition of manuscript breviaries of the last decades of the fifteenth century. T h e list of fifteenth-century printed Italian breviaries in the

Gesamtkatalog der Wiegendrucke includes none with printed music, and only one (dated 29 Sept. 1492) was found with blank space for music (Table 1 1 , D 32). N o music types smaller than octavo format were cut in the fifteenth century and most printed breviaries were in smaller formats. Many more printers of music books in Italy chose the second option, adhering to scribal tradition by leaving space for the rubrics, initials, and music that would have been assigned to professional rubricators, illuminators, and music scribes rather than text scribes. Books with space for music were printed in locations in which music types of the right size were not yet available. T h e exception ( D 3 2 ) also exists in a state with printed staves, suggesting that more than one printer was involved in the production. T h e single folio format book with space for music from Rome was printed before 1 4 7 6 , when large music type first appeared there; most such books (eleven) were issued in Milan in the first decade of printing, before music type was available in the city. In Venice eleven such books were published before their printers owned appropriate music type. 2 Four examples were produced in Naples before its first music type appeared about 1490. T h e printers who issued such missals in Verona, Messina, and Turin did not attempt to print more than one. T h e genre had become commercially viable only in the hands of specialists at centers of printing with international distribution facilities. T h e first printed books to leave space for music were prepared for buyers accustomed to the manuscript tradition that saved rubrics, initials, staves and notes, and illumination to be added after the textual scribe had completed his task. Indeed, the large amount of handwork required for such additions resulted in printed missals that can easily be mistaken for manuscripts. T h e Franciscan monks for whom the first printed Missale Romanwn (Central Italy? ca. 1 4 7 2 , D 38) was intended may have requested an edition that left to the scriptorium the task of adding rubrics and chant. T h e missal exists in two issues which survive in unique, richly illuminated vellum copies. One, from a Benedictine

2. Since Beretta is known to have used Venice as a false imprint, D 32 may be from his home, Pavia. For controversy over the place, printer, and date of D 7 1 , see Part III.

monastery near Spoleto, now belongs to the N e w berry Library, Chicago; the other is one of five printed books in the Duke of Urbino's library of manuscripts now in the Vatican Library. About one-third of the Newberry copy is left blank for extensive rubrics, initials of major, middle, and minor size, a Crucifixion illumination, and music on fortyseven pages. In the Vatican copy, much of the rubrication is printed. A casual viewer of the books would judge them to be manuscripts; the Duke of Urbino's copy remained undisturbed in the manuscript section of the Vatican Library until recently, and the Newberry copy was described as a manuscript in an inventory at its purchase. T h e second printed missal, with rubrics for a nonmonastic audience, was produced in the urban environment of Milan by a publishing group apparently motivated by profit. 3 T h e Missale Romanum was printed by Antonio Zarotto in 1474 without a red impression, leaving space for rubrics, initials, staves and notes, and illumination. Only on the incipit leaf did Zarotto add a second impression in red, but in a fashion that showed him to be an accomplished technician. T h e omissions would have saved money for the producers of the book by leaving to the purchaser the cost of finishing it by hand. T h e first missal for the Milanese Ambrosian rite was also printed by Zarotto, in 1 4 7 5 , again with space for textual rubrics, music, initials, and Crucifixion (Figs. 14—15). Zarotto's Ambrosian copytexts would have followed a tradition of twocolored staves, a red line for fa and a yellow line for ut or C ; the copy of his 1 4 7 5 Missale Ambrosianum in Milan's Biblioteca Ambrosiana (Fig. 14) contains inserted music written on two lines drawn in colors, and the copy at the Bibliothèque Nationale at Paris (Fig. 1 5 ) has rastral staves on which the red line for fa has been darkened and a yellow line for ut has been drawn in. Early printers of music apparently never attempted printing a yellow line on a staff. In Milan, where the tradition remained strong, no music was printed until the 1480s and then only on the easier, red staves. N o n e of the printers who issued books with blank space for music did so after acquiring a font of appropriate music type. That a lack of technical

3. Ganda, I primordi della tipografia mibmese, chap. 11, " L a ricerca di un nuovo mercato: i libri liturgici," pp. 59-66.

Italian Music Incunabula

Table 11

Italian incunabula with space f o r music

Date

Author, Title

[ca. 1472] 6 XII 1474 23 III 1475 21IV 1475 26IV 1476 20 IX 1477 10 XII 1477

17 I 22IV IV 27 IX 16 XII

J 477

1478 1479 1479 1479 1479

Missale Romanum Missale Romanum Missale Ambrosianum Missale Romanum Missale Romanum Missale Romanum Officium Imm. Concept. BVM Missdle Romanum Missale Romanum Missale Romanum Missale Romanum Missale Romanum Missale Romanum

27 VIII 1480 27 VIII 1480 (reissue) 1480 31 VII 1480

Missale Missale

Messanense Romanum

23 VIII 1480

Missale

Romanum

8 X 1480 31 VIII 1481 18 IX 1481

Gaffurio, Tbeorica Missale Romanum Missale Romanum

8X1 29 XII 16 III 2 VII

1481 1481 1482 1482

1482 29 III 1483 [ca. 1483] [ca. 1485-1490] i VIII i486 28 IV i486 1487 29 IX 1492" 25 XII 1492 i i I X 1492 5 VI 1492

Missale Missale

Missale Missale Missale Missale

Ultramontanorum Strigoniense

Romanum Romanum Romanum Romanum

Missale Praedicatorum Missale Praedicatorum Missale Toletanum Missale Romanum Missale Ambrosianum Magnificat Missale Romanum Missale Clarimontense Breviarium Praedicatorum Missale Romanum Caza, Trattato

"Also exists in copies with printed staves.

Place: Printer [Central Italy?] Milan: Zarotto Milan: Zarotto Rome: Han Milan: Zarotto Venice: Siliprandi Rome: Han Naples: Moravus Milan: Zarotto Milan: [Carcano] Venice: [Jenson] Milan: Zarotto Milan: Pachel & Scinzenzeller Verona: [Maufer] Verona: [Maufer] Messina: Aiding Milan: Pachel & Scinzenzeller Venice: Joh. von Koln, Joh. Manthen Naples: F. di Dino Venice: Torti Milan: Pachel &C Scinzenzeller Milan: Zarotto Venice: Scoto Naples: Moravus Venice: Blavi, Torresani, &i Salodio Milan: Zarotto Naples: Moravus [Venice: s.t.] [Venice? s.t.] Milan: Pachel Milan: Zarotto [2 leaves] Venice: Frankfurt Venice: Beretta Venice: Emerich [Turin? Suigo di Benedicti?] Milan: Pachel

Format 0 2 0 2 0 2 0 2 0 2 0 2 0 4 20 20 0 4 0 2 0 2 20 20 20 20 O 4 2

O

8° 20 0 4 20 8° 2O 0 4 20 O 4 20 20 20 0 4 8° 8° 16° 8° 4

O

M-B — — — —

118 120

W —

852 26 853 854 856

—

121 —

857 858

—

—

122 123

859 860

—

—

D 38 39 23 40 41 43 144 44 45 46 47 48 49

1607 1488s

127 127

124

592 864

33 5°

—

865

51

— —

—

— — —

—

125—26 — —

211 213 —

167 —

24

'37 58 —

148 —

—

866 867 868 870 873 874

!4 52 53 54 55 57 58

1816 1529

!32 I33 126

953 28

25

—

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900 277 LB360 921 —

71 21

74 32 7 91 9

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^ c d o in unii m i s ^ y m b . , "Ifratrcm oipotente?. facto 'VJSK i l j i r c m celi et t e r r e . utíibiliu3 o í u m ¿ I et tnuilìbilius• i in unu3 oomínií l i d u m x p m filium vex unigemtu3* c?cpatix natum ante o í a fécula. xxum v e ceo lumen ce lumie ceií u e r u 3 ce c e o u e r o . ¿ d e n t r o n o n factum cu3 fubítanriale patri per que o í a facta flit. g p 2 o p t e r n o s tomines i p 2 0 p t e r n o f t r a m falu tem edeendit r® * i

l '

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FIG. 14. Missale Ambrosianum. Milan: Antonio Zarotto, 23 III 1475, f. [CVIII], (Biblioteca Ambrosiana, Milan, S.P.II.22.) material was the reason for the blank space in Han's Missale Romanum of 20 April 1475 is indicated by the appearance of an almost identical book on 12 December 1476 with printed notes and staves instead, and an altered colophon proclaiming it to be "with music, which had never been done before." A comparison of the two editions at the Biblioteca Vaticana revealed that the preliminary signature (the calendar) is identical, the text of the incipit has been reset but is nearly identical, and the number of pages containing music is the same, with one excep-

tion. On f. m3 v of the 1476 edition there is no music because the compositor managed to fit the one sung word on f. 013. Both editions, furthermore, contain a leaf with either too many music staves or too much space for them. T h e near-identity of the editions suggests that the 1475 edition was carefully designed to include the music that did not appear in print until the second edition, eighteen months later. T h e design and creation of the first Italian music type and staff material may have taken longer than planned. Italian Music Incunabula

45

nautgantibus iter agenti

dus * omnibufq3 b a b t e a b u s

A* bus in carceribus in utnculis in

în ea. I&ecamur te • £>o • jt

« Y

* Y

**

\ * * »

aerus temperie ac fructu

umetfecunditateterrari».*p2e

S » »——^ metallic in e;tillue conilitiitis.

ip^camurtc.JOo

mi ne.

FIG. 15. Missale Ambrosianum. Milan: Antonio Zarotto, 23 III 1475, f. [xlvi], (Bibliothèque Nationale, Paris, Rés. B.1485.)

Some books with space for music have had staff lines so skillfully drawn by a raster that they have been mistaken for print. T h e three copies I examined of the 1477 missal printed by Moravus in Naples have rastral staves, though the book was described by Meyer-Baer as having printed staves. Moravus's second printed missal of 1482 is correctly described by Meyer-Baer as having space for music, but again his Missale Ordinis Praedicatorum is described as containing printed staves when in fact in the two copies I examined they were drawn. See Fig. 16, especially col. 2, staff 8, and Fig. 17, especially col. 1, staves 2—3 (note the three-line raster) for the telltale hesitation at the beginning of the staves where the raster first touches the paper. Incunabula that contain manuscript music provide a valuable record of printers' first designs for pages of music as well as examples of the scribal tradition at the moment of transition from manu-

46

History of Italian Music Incunabula

script to printed book. Several major music printers began their involvement with music by issuing works with space for music, and the decisions made in those books about the relationship of text lines to staves were often retained in their books with music printed from type. Some of the earliest printed books with music (both copies of the ca. 1472 Missale Romanum, Zarotto's 1475 Missale Ambrosianum, Moravus's 1477 Missale Romanum) contained two-, three-, and four-line staves that varied according to the melodies to be written on them; two- and three-line staves, and variation for the ambitus of the melody were eliminated by printers, as was the two-line red and yellow staff of Ambrosian chant. Although they contain no printed music, the first printed books to include music resolved problems of book design critical to the next steps of printing staves and cutting music type.

s l o î i c tue c a n i m u s Tine I i l " l

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fedenfep n u m glone tue concinunt

FIG. 16. Mtssale Romanum. Naples: Matthias Moravus, 1 4 7 7 , f. [ 1 0 6 ] . (Bayerische Staatsbibliothek, Munich, 2 0 L. impr. membr. 62.)

Italian Music Incunabula

I „

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FIG. 17. Missale Ordinis Praedicatorum. Naples: Matthias Moravus, 29 III 1483, f. [37]. (Bibliothèque Nationale, Paris, Vélins 1704.)

48

History of Italian Music Incunabula

Printed Staves Another group of Italian incunabula were printed without notes but with staves for music (see Table 12). T h e fact that two of these exist also in a state with printed notes suggests collaboration between printers, possibly in different shops. Some of the imprint names listed with the books in Table 12 may be publishers' rather than printers': Frankfurt is not known to have been a printer, and Sessa was probably not one either; Scoto called himself a publisher after 1484, but may have been a printer before that year. If these three were not printers, the only Venetian printers known to have used rules for printing staves are Paltasichi, Ratdolt, and Hamman. Paltasichi was printing in Venice in 1475, Ratdolt in 1478, and Hamman in 1482; any of them could have printed the rules in the books of Scoto and Frankfurt (the rules in Scoto's books were printed along with the text). Since Paltasichi was working for Scoto in 1480 and 1481 and did print his own edition of a missal with ruled staves, he may well have been the printer responsible for the two editions of Scoto listed in Table 12. Several techniques were available for printing staves: rules (type-high strips of metal) of a relatively soft metal alloy; cast metal lines a column wide (probably single lines); smaller cast segments of one to four lines, a number of which together made up the width of a column; short cast metal segments of a single line nested irregularly to make up a staff line; and woodblocks. 4 When joints on all staff lines consistently occur at the same place between segments, it is impossible to know whether the segments are single lines or are cast multiples of two or four lines. The use of ledger lines above and

4. Previous discussions of the technology for printing music staves mention cast staves in blocks of metal or separate lengths of rule (Alexander Hyatt King, Four Hundred Years of Music Printing [London: British Museum, 1968], p. 9) or rules and woodblocks (Maria Przywecka-Samecka, "Problematik des Musiknotendruckes in der Inkunabelzeit," GutenbergJahrbucb [ 1 9 7 8 ] : 55). Meyer-Baer's description of methods (Liturgical Music Incunabula, p. xxvi) adds a technique of "double rules . . . recognizable by the curves occurring often in two lines at the same spot," which I have been unable to recognize in printed examples.

below the staff in Emerich's R 2 1 proves that cast single lines were available for that font; a four-line segment the size of that staff (32 mm) would be unmanageable in a handheld mold. The techniques for printed staves are not chronologically sequential, but the use of rules does disappear after 1491 (see Table 12) and nested small segments do not appear until the late 1490s. That the music printer did not store material for staves in his cases of music type is demonstrated in the earliest extant cases of music type at the Plantin-Moretus Museum in Antwerp. This practice was logical if the staves were set and locked up in forms without music characters, which would later be printed in black in a second impression. T h e technique chosen for printing staves would have depended on the material available to a printer, which included the adjustable handheld metal mold cased in wood, larger metal or stone molds, woodcuts, and brass rules. 5 Several of the books printed with staves and without notes were apparently prepared in this way because they were intended for an audience accustomed to gothic plainchant notation. The publication by Emerich of three missals for Hungary with printed staves but without notes in 1498, 1499, and 1500 ( 1 5 0 2 ? ) at a time when he owned two fonts of roman plainchant type, was probably due to his awareness of the geographical limits of the use of roman plainchant notation. There are certainly fifteenth-century chant manuscripts in the Budapest Szechenyi National Library in both gothic and roman plainchant notation, but all copies I examined of the missals for Gran printed by Emerich had manuscript gothic chant notation added to the printed staves, as did those in Ratdolt's i486 missal for Gran. T h e Hungarian publisher from Buda, J o hann Paep, may well have advised his Venetian printer to print gothic notation or none at all. It

5. See the 1580 illustration of stone slab molds in Cyril Stanley Smith, "Metallurgy and Assaying," A History of Technology (Oxford: Clarendon Press, 1956), 3: 38. For brass rules see, for example, Ratdolt's 1480 edition of Rolewinck's Fasciculus Temporum, plate 23 in Ferdinand Geldner's Die deutschen Inkunabeldrucker (Stuttgart: A . Hiersemann, 1968).

Italian Music Incunabula

Table 1 2

Italian incunabula with printed staves but no notes

Date

Author, Title

Place: Printer

Format

Metal rules 12 V 1482

Ramis de Pareja, Música

Bologna: Hyrberia and

Utriusque Cantus

4

M-B

W

0

D

150

Heinrich von Koln

Practica 5 VI 1 4 8 2

Ramis de Pareja, Música

O

Bologna: Hyrberia

4

2 4 XII 1 4 8 2

Missale Romanum Missale Ord. Praedicatorum

Venice: Scoto Venice: Scoto

4 O 4

212

1815

1484

Missale Ord. Praedicatorum

Venice: Frankfurt Venice: Paganini &

8°

214

1817

O

3I 134

132

889

67

8°

—

892

68

8°

136

896

72

1492

121

97

700

35

37

900

74

"45

916

86

—

—

31

'51

Utriusque Cantus Practica 2 8 XI 1 4 8 2 "

2 7 IX 1 4 8 4 a

Missale Romanum

O

2

127

62

877 I

Arrivabene 1484

Missale Romanum

Venice: Frankfurt Venice: Paltasichi

1 8 III i 4 8 6

Missale Romanum Missale Strigoniense

Venice: Ratdolt

2

10 XI 1 4 8 7

Missale Parisiense

Venice: Hamman 6L Emerich

8°

1487

Missale Romanum

Venice: Frankfurt

8°

6 VI 1 4 9 1

Missale Romanum

Pavia: Girardengo 6C

8°

1 1 II 1 4 8 5 - 1 4 8 6

O

—

r

Beretta Cast metal 14 III 1 4 9 0 31X1495 23 I 1 4 9 5 - 1 4 9 6

31 VII 1 4 9 8 2 6 II 1 4 9 8 — 1 4 9 9 2 4 IV 1 4 9 9

31 III 1 5 0 0 or i IV 1 5 0 2

Missale Burgense Missale Strigoniense

Venice: Hamman

2

O 0

Agenda Aquileiensis

Venice: Emerich Venice: Hamman

4

Liber Catechumeni

Venice: Sessa

8°

Missale Strigoniense

Venice: Emerich

2

Missale Quinqué Ecclesiae

Venice: Emerich

4

Missale Strtgoniense

Venice: [Emerich]

4

4

— 0 —

O

—

189

0 — 0

190

1496

123 i

—

LB725

r

1498

124

9

804

36

1499

125

° A l s o exists in a variant state with printed staves and printed notes.

would be interesting to know the reception accorded the folio Missale Strigoniense printed by H a m m a n in 1 4 9 4 with roman plainchant. T h e absence of notes in Hamman's Agenda Aquileiensis, at a time when he owned at least two fonts of roman music type but before he used his gothic plainchant font, indicates that the common notation in the Patriarchal See of Aquila was gothic. Although the town of Aquila is only a few miles north of Venice, its territory extended into

History of Italian Music Incunabula

Yugoslavia, Austria, and over to C o m o at the end of the fifteenth century. 6 T h e Missale Praedicatorum of 1484, the first of four octavo missals published by Frankfurt in the 1480s, was issued with printed staves and without notes. O f the two copies I examined, the copy at the

6. Spessot, "Libri liturgici aquileiesi," pp. 7 7 - 9 2 ; see also Archibald King, Liturgies of the Past (London: Longmans,

1959), PP- 1-5

Bibliothèque Nationale in Paris had no manuscript music and the copy at the British Library had roman notation; another four are in Poland within the boundaries of gothic notation. Only one of the ten known copies of this missal is in Italy; eight are in Poland, Germany, and the Netherlands and would presumably have manuscript gothic notation, as does the copy I have seen in Vienna. O f the five known copies of the 1 4 8 7 Missale Romanum, one is from Buxheim and one from Budapest (not all copies have manuscript notation). A s an ambitious publisher, Frankfurt may have wished to avoid making the choice between gothic and roman notation in order more easily to sell his books in both the north and the south. T h i s reason would have become less valid in the 1490s, when almost all missals were printed with notation and buyers were not likely to wish to pay for scribal additions. Frankfurt's final two octavo missals were published with roman notation, printed by H a m m a n ( 1 4 9 3 Missale Romanum) and Emerich ( 1 5 0 0 Missale Praedicatorum). T h e crudest technique f o r printing staves used rules of a soft metal alloy. It is not certain when brass was first used by printers for rules. In large cities metal forges would have sold sheets of an alloy like brass that could have been cut into rules. T h u s Biringucci speaks of visiting a brass works near Milan in the early sixteenth century, and presumably brass would have been readily available at such sites as Brescia, the so-called iron capital, which had thousands of people working iron at the end of the fifteenth century. 7 Properly beaten or rolled brass rules are still today more expensive than type-metal rules but are "in every way superior." 8 T h a t there were problems in making brass rules is evident from the cautions issued by Moxon in the seventeenth century against using unbeaten or poorly hammered metal provided by "unskilled joiners": take care that the Brass, before it be cut out, be well and skilefully Planish't, nor would that charge be ill bestowd; for it would be saved out of the

7. Biringucci, Pirotechnia, p. xix; Braudel, Capitalism and Material Life, pp. 1 8 0 - 8 1 . 8. Ralph W . Polk and Edwin W . Polk, The Practice of Printing (Peoria: Bennett, 1964), p. 148.

thickness of the Brass that is commonly used: For the Joyners being unskilful in Planishing, buy Neal'd thick Brass that the Rule may be strong enough, and so cut into slips without Hammering, which makes the Rule easily bow any way and stand so, and will never come to so good and smooth an Edge as Planish't Brass will. Besides, Brass well Planish't will be stiffer and stronger at half the thickness than unplanish't Brass will at the whole.9 Poorly prepared brass rules must have been responsible for the irregularity of printed staves in books such as the inexpensive octavo missals printed in Venice (Figs. 20 and 2 1 ) . In the earliest Italian example of music books with printed staves but no notes, the single staff so generously provided by the printer in Ramis de Pareja's Música Utriusque Cantus Practica (see Fig. 1 8 ) was clearly inadequate f o r the music notation required by the text. In one case the three-line staff, printed from inferior rules, was scratched o f f the paper by a scribe and replaced by a staff of five lines to contain the music example called for in the text (see Fig. 19). In fact, two such staves should have been printed to illustrate properly the two lines of text printed for the music example, and Franchino G a f f u r i o , another owner of this same copy, added them in the margin with the letters naming the notes printed in yet another two lines of text. 10 B o o k s published by Scoto and Frankfurt used equidistant metal rules in two columns for a page of music with text (Fig. 20). T h e space ( 4 - 4 . 5 mm) was determined by the size of the text type, as is apparent from the occasional rubrics that are printed with the staves and at first glance seem to overlap them. T h e technique allowed the printer to use a single size of spacing material between both rules and text, but the material must have been inadequate, because the staff lines wave and bend at the ends of the lines. T h e same method of equidistant

9. Joseph Moxon, Mechanick Exercises, ed. Herbert Davis and Harry Carter, 2d ed. (London: Oxford University Press, 1962), p. 27. 10. Albano Sorbelli, " L e due edizioni della Música Practice di Bartolomé Ramis de Pareja," Gutenberg-Jabrbucb (1930): 106. Música Utriusque Cantus Practica was intended as an inexpensive textbook for Ramis de Pareja's music course at the University of Bologna.

Italian Music Incunabula

Z r a c t a t ?

f e d o

«

ss

i »bì-.. 1" 1 1 W". S3l

orv

52

cUcaabifur" g r a u t o r a f e u acurtora loca r e n e b ù f . S ' t j n a b i m m g tgi t u r nane oupiicej Diapafon f n a ? a l u r e r a e.in c.aiuta i alia} ab cade? i n c . f u p a c i i u j n m c b o à t c e p-'o.uerfa loca ? n o t é t uocea

S a l l t f u r p e r uo uOces iltaatras (0 « s u 0 u o p e f t u r li f a i S a U t t n r per uo noces tftaa t a s i f c e s u o p e r f u r li Tal st. ® . € . f , < 6 . < 5 . a . b . t C X , h . a . < 8 ^ 4 £ ® X . e . d . e . f . s . 5-a t j c c. b f . c , d . c . S t a u r e ; l e c t o r n o n ira f a n le per riotulas poteft o i f e u r r e r e cu uocte elleuarione f é » oep:ciTione a d m o n o e b o r d u recurrat 1 a t e r t ' a uoce m e i p t e n s ufq? ad ciw orfana} confcendat t ad tcrtt'a? u o c e j fcaridar ft oicru f y i r cu pirata (Chilti uoleirtcs torti ¿gii tur 52 X 7.5 Photographs: Missale Romanum, Rome, H a n , 12 X 1476; Florence, Biblioteca Nazionale Centrale, E.1.22, ff. [104], [ i o 7 v ] , [12 i v ]. Editions: Ulrich Han. 1. 12 X 1476, Missale Romanum, 20. Staff (5-line): 21. Space: 5.25. x-height: 4. Music form: 242 X 162 (70—72). Music pages: 33. Staves: rules (cast metal?). N o . per col.: 8. Stephan Planck. 2. 5 III 1482, Missale Romanum, 2°. Staff (5-line): 21-22. Space: 5—6.5. x-height: 4. Music form: 210 X 145 (65—66). Music pages: 36. Staves: rules. N o . per col.: 7. 3. 20 XII 1485, Pontificale Romanum, 2°. Staff (5-line): 21—22. Space: 5.2—5.5. x-height: 4. Music form: 209 X 147 (66). Music pages: ca. 238. Staves: rules. N o . per col.: 7. 4. 22 XII 1488, Missale Romanum, 40. Staff (5-line): 21.5—22.5. Space: 5.5—6. x-height: 2.5—3. Music form: 133—38 X 108—9 (5 2 )- Music pages: 55. Staves: rules. N o . per col.: 5. 5. 1492, Missale Romanum, 2°. [no copies known.]

form: no full page of music. Music pages: 13. Staves: rules. N o . per col.: 5. 7. 27 X 1494, Missale Romanum, 40. Staff (5-line): 21.5—22. Space: 4.5—6.5. x-height: 3. Music form: 148 X 108-9 (52—53). Music pages: 55. Staves: rules. N o . per col.: 5. 8. 31 X 1496, Missale Romanum, 2°. Staff (5-line): 21-22. Space: 4.5—6. x-height: 4. Music form: 206 X 156 (72). Music pages: 39. Staves: rules (cast metal?). N o . per col.: 7. 9. 16 VIII 1497, Pontificale Romanum, 20. Staff (5line): 21-22. Space: 5.25-5.5 x-height: 4. Music form: 241 X 156 (72—73). Music pages: ca. 200. Staves: rules (cast metal?). N o . per col.: 8.

Virga 2. 5 2 X 7.5

Lozenge, kerned 2.25 X 3.5

Punctum 2-5

2

Lozenge

6. 2 III 1494, Manuale Baptisterium Romanum. 40. Staff (5-line): 21—22. Space: 6.5. x-height: 2.5. Music

Rome

87

1 3 2

Podatus 1 2.5 X

ì

5.5

2 2.5 X 5 3 2-5

x

y ì>

D i r e c t , kerned, 3.5 X

5.5

(a) bent kern

13

3

B a r line, 25 Clivis 14.5 X 2 4.5 X A d d i t i o n a l sorts used by S t e p h a n P l a n c k :

Clivis, stemless i 4.5 X 24.5 I

5.5

Italian Music

P o d a t u s 4 (Missale Romanum, 1482), 2.5 X

X 8

2

C clef, 1 . 7 5 X 7

##

3

Type and Printers

t

Clivis 3 (Pontificale,

1 4 9 7 ) , 4.5 X

10

11.5

vi. Parma

Damiano Moilli and Bernardo Moilli, R2 (M) An abbreviated gradual was the first known book printed by Damiano Moilli and his brother Bernardo Moilli (de Moylle, di Moli). Dated io April 1477 at Parma, this book was the second dated printed music and the first printed gradual in roman plainchant; the earlier Graduale printed about 1473, without printer or place, had used gothic plainchant types. Just six months earlier, in Rome, Han had printed the first music in Italy and the first roman plainchant. T h e wording of the colophon of the Parma Graduale shows an awareness of its historical importance: Musica Bernardo Damiano fratribus ars est Sic impressa prius: genuit quos parma moyllos: 1477 die x aprilis. The art of music is for the first time printed thusly [in the gradual] by the brothers Bernardo and Damiano, whom Parma bore as members of the Moylle family: 10 April 1477. Fava suggested that by including a "sic " in the colophon, the brothers claimed only to be the first to print the gradual, not the first to print music 1 , but the first gradual was printed on the other side of the Alps. A gradual is a book of the music rather than the text of the Mass, so nearly every one of the 106 1. Domenico Fava, "Il corale a stampa del 1477 e i suoi autori, Chiesa S S . Incoronata di Lodi," Archivio Storico per la Città, i Comuni del Territorio Lodigiano e della Diocesi de Lodi, 58 (1939): 54—56; rewritten as " L e conquiste tecniche di un grande tipografo del Quattrocento," Gutenberg-Jahrbuch (1940): 1 4 7 - 5 6 .

leaves of the Parma Graduate contains music, in contrast to only 16 leaves of music in Han's Missale. The abbreviated form of the printed Graduate contrasts with the expanded versions of manuscript graduals written in Damiano's shop in the 1480s and 1490s for the Benedictine monastery of S. Giovanni Evangelista in Parma (for example, the gradual of 2 1 2 leaves, Parma, Bib. Pal., Corale N . 8, i486). Damiano Moilli was born after 1439 in Parma to Francesco Moilli, an illuminator and ceramicist (boccalaio, terracotta jug maker), and was already a book printer and illuminator in his first appearance in documents in 1474. 2 Later in the account books of the monastery (1477—1500) he is listed as a cartalaio or paper dealer, an illuminator, and occasionally as a bookseller, ceramicist, and bookbinder. Of Bernardo little is known beyond the mention of him in the colophon of this one Graduate. Damiano's career is unusual for the fifteenth century in that he left the printing trade to provide the monastery of S. Giovanni Evangelista with antiphonals, graduals, and other liturgical manuscripts out of a shop staffed with scribes, illuminators, and binders. Damiano himself provided some of the large pendrawn initials that finished the manuscript books. H e published and apparently wrote the only in-

2. Fava, "Le conquiste," p. 149. 3. A n example of a pen-drawn initial by Damiano Moilli is included in Laudadeo Testi's " I corali miniati delta chiesa di S. Giovanni Evangelista in Parma," La Bibliofilia 20 ( 1 9 1 8 ) :

'5-

89

cunabulum on calligraphy, an Alfabeto of roman capital letters which followed the gradual by a year or two.4 T w o other books, without music, were published in the next decade by Damiano Moilli in conjunction with another Parma paper dealer and bookseller, Giovanni Antonio Montalli, but these were commercial products for the local trade rather than ambitious milestones in printing like the two first elegant editions, both original in content and technique. Because of Damiano Moilli's limited involvement in printing and his return to the manuscript trade, Fava suspected that Moilli was never a printer but, rather, a publisher who provided capital to printers. 5 Early in this century, Reichling (R 1 1 7 6 ) described the only known copy of the Parma Graduate (Figs. 34—35) as having been printed from two sizes of gothic metal text type, a description that completely ignored the music type.6 In his discussion of the Moillis and their Graduate, Fava proposed a technique of printing the book that consigned the music (red) andstaves (black) to a woodcut technique. My examination of the Graduate convinced me that the plainchant was printed from metal type just as was the text, in a font of roman plainchant (R2) via the double-impression process normally used for music incunabula, one form of type for red ink and another for black. 8 Several features are unusual, however. T h e most striking feature is its large size. A page of the Graduate is very large (480 X 360 mm in the Lodi copy, which is heavily trimmed). Each of the four staves with its line of text measures 1 1 0 mm.

4. A facsimile edition was printed in 1927 after the discovery of a copy of the Alfabeto in the previous year: A Newly Discovered Treatise on Classic Letter Design, ed. Stanley Morison (Paris: Pegasus, 1927). 5. "II corale," p. 60. 6. I owe thanks to Luigi Samarati, Director of the Biblioteca Comunale, for permitting me to examine at his library the Graduale, part of an impressive collection of manuscript graduals and antiphonals at the Chiesa dell'Incoronata in Lodi. Since my visit a second copy of the Graduale has been discovered at a Benedictine monastery in Genoa. 7. Fava, "II corale a stampa," pp. 5 4 - 6 1 . Descriptions based on his notes were included in Haebler 2: 72 and B M C VII:xlviii. 8. For an explanation of the printing process with metal type see my " T h e Music Type of the Second Dated Printed Music Book, the 1477 Graduale Romanum," La Bibliofilia 89 (1987): 2 8 5 - 3 0 7 .

Italian Music Type and Printers

T h e x-height of the text type is 20 mm. T h e staff is 5 5 mm high and each of its three spaces is 18 mm, nearly double that of the next largest staff printed in Italy in the fifteenth century, the 1499 Graduale printed by Emerich (x-height 13 mm, staff 32 mm, space 1 1 mm). T h e normal virga is about 20 mm or i3/i6ths of an inch high. Even in contemporary manuscript graduals the luxury of such spacious layout was unusual. Certainly no other Italian printed music in a folio format had fewer than seven staves per page. T h e Moilli brothers went to great lengths to provide a book that would exactly imitate the manuscript product of their Parma shop in both size and style of its alphabetic and music type, in its layout even to the red-ruled margins at the sides, and in its large gothic initials with the curls and cutouts of the manuscript versions. T h e only previous font of roman plainchant type had consisted of only twelve designs (Han's Ri of 1476); the Parma Graduale used thirty-three designs. One reason the Parma font used more than twice as many characters as Han's is that Han's font had been created to print a missal, which includes only a few leaves of the fairly simple syllabic chant sung by the priest, whereas the Parma font was intended for a gradual, a complete book of the much more complex neumes of melismatic plainchant sung by the choir. A more important reason seems to be the attempt of the Moilli brothers to create a type that would more closely resemble traditional notation, by using several sizes of stems for the virga and direct. Han had been content with one virga in his plainchant font, but the Moilli brothers used two virga designs, one with the stem on the right, the other with the stem on the left, and each of these had four different stem lengths, for a total of eight virga characters. T h e direct of the Parma Graduale has an impressive flourish above and below the note indicated, a basic design that required variants for use at the top and the bottom of the staff, while Han had been content with a tiny basic design that could be used on any line or space of the staff. T h e wish to make music printed with metal type resemble manuscript notation was also responsible for the high number of abutting and kerned types that could be joined together to create complex neumes. If many music notes were necessary to represent the music for one syllable of the text, those notes could be connected on the Moilli

nih-1Efta il | Ih ^^^ 1 V '

——ir

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^

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un

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fi IÉÉHj

FIG. 34. Graduale. Parma: Damiano Moilli and Bernardo Molili, 10 IV 1477, f. xiiii. (Chiesa SS. Incoronata, Lodi.) printed pages as they would have been on the manuscript pages. In Han's type, notes and neumes had been cast as complete characters, and separate types were not made to be joined to create more complex neumes. As a result, chant printed with R i often could not fulfill the original purpose of plainchant: marking syllables by means of neumes. Han sometimes was forced to break up the neume over one syllable and print it with the type designs avail-

able to him as if it consisted of separate parts. In contrast, the neumatic character and spacing of the chant are carefully retained in the Parma Graduate by tightly joining characters to keep together all notes to be sung on one syllable. An ample number of designs were cast in metal to create the complex neumes of the original chant notation, and the abutting typefaces were cast on bodies that allowed the printed images to be joined tightly together. Parma

91

m

«s*

1

•

f%cdoiunüTxI I1 1

J

. gg B

I

"

•

•

I

'"F

fe^

si

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a tre o i pote te feto

y w t r i m

in 1493 and 1494, after which he did not reuse the

-1-.

type. A variant C clef was added for the octavo Mis-

> 1 - 1 ULmi.

—

sale Sarisburiense in the same design that was needed for the folio Sarum book. A small (10 mm) staff al-

1

1

1

1

1

1

m b f a t t e . & d e n i t>c t u * g l o

lowed seven staves to the page. H a m m a n ' s only book printed in his quarto music type, R 1 1 , had a long-stemmed virga for the common note, giving the printed music page a more

T h e only gothic plainchant type used in Italy in

vertical emphasis. O n l y six staves (14.5—15 mm) fill

the fifteenth century was Hamman's quarto G i .

a page, leaving ample margins. T h e fourteen sorts

T h e thirteen type designs included a B flat. T h e

included three sizes o f stemmed virga, one of which

virga below the staff and the clivis 1 on the bottom

had a very short stem that allowed the note to be

line descended below the height o f an ascender, so

printed on the bottom space or line o f the staff. T h e

the two pieces o f type must have been kerned.

length o f the normal stem o f the virga was evidently

H a m m a n ' s later books reveal a strengthening of

determined by the distance from the bottom o f the

ties with the northern market that would account

body o f type to the top o f the head when on the sec-

for his investment in a gothic music type. T h e font

ond line o f the staff. A full bar line was used, appar-

was used by him only for the 1498 Agenda

ently printed from a brass rule.

viensis.

R 9 R o m a n L a r g e M i s s a l , 17 or

Pata-

1 IX 1494, Missale Sarisburiense, 1°. Staff: 17.5. Space: 5.5. x-height: 5. Music form: 266 X 187 (85). Music pages: 37. Staves: cast 4-line segments 23 mm X 3 + 15 mm piece. N o . per col.: 9. After 1500:

-19 3-5 X 7

Photographs: Missale Romanum, Venice, Johann Hamman, 15 X 1488; Munich, Bayerische Staatsbibliothek, 2° Inc. c.a. 2079, f. 96. Missale Sarisburiense, Venice, Johann Hamman, 1 IX 1494; Venice, Biblioteca della Fondazione Giorgio Cini, 360, ff. 16,

15 X 1508, Missale Romanum, 2°. W990; Essling 176, 71. N o t seen; folio format suggests use of R9.

V

19. Editions: Johann H a m m a n . 1. 15 X 1488, Missale Romanum, 1°. Staff: 18-19. Space: 6—6.5. x-height: 5- Music form: 237 X 162 (75). Music pages: 46. Staves: cast metal rules. N o . per col.: 8.

4

2. 13 VII 1491, Missale Romanum. 2 0 . Staff: 18—19. Space: 6—6.5. x-height: 5. Music form: 268.5 ^ 168—74 (75—83). Music pages: 45. Staves: metal rules. N o . per col.: 9.

Virga 1 3 X 3-5 2 3 X 3-5

3. 1 VI 1492, Missale Valentinum. 20. [from photograph] Staff: 15.5—16[!]. Space: 5-5.5. x-height: 4. Music form: 243 X 175 (81-83); height with extra line set at bottom. Music pages:? Staves: cast metal rules. 4. 1 II 1493/1494, Missale Strigoniense. 2°. Staff (5line: 18.5—19. Space: 5. x-height: 4. Music form: 199 X 138 (single column). Music pages: 38 + . Staves: cast metal rules for width of form; occasionally pieced from two sizes, with the break always about the same place. N o . per page: 7.

?

f

3 3 3 > < 3 - 5 X 4-5 42.5 X 7 5 3 X 6

Punctum, 32 (3.5 X 3 with points)

Lozenge 1 3-5 x 5-5 2 group of 4, showing kerning

Venice

117

ï ;: t F clef 1.5 X 13 plus C clef

3 Podatus 1 3 X 6 2 3 X 10

3 5 X 8 46X8 5 stemless

f*

Bar lines (rules)

Clivis 1 5.5 X 8 2 stemless

G

Diagonal

f 1

2

Ît ® Virga cum orisco 1 8 X 9 28X6

3

C clef 1 2 X 9 2 variant for top line of staff 3 4 X 5.5 (used only in Missale Sarisburiense)

Rio

Roman (2)

X

Small

Missal,

1 0 - 1 0 . 5 : 1 . y^ 2

3-5

Photographs: Missale Romanum, Venice, Johann Hamman, 1 XII 1493; Milan, Biblioteca Ambrosiana, Inc. 534, ff. n2v, njv — n8. Missale Sarishuriense, Venice, Johann Hamman, 1 XII 1494; London, British Library, IA 23373, f. qi. Editions: Johann Hamman. 1. 29 I 1492/1493, Missale Praedicatorum, 8°. [described in Molitor, Choral-Wiegendrucke, p. 41; no known locations; W 1 8 2 1 gives Freiburg but not there today]. Staff: 10 [Molitor]. 2. 1 VII 1493, Missale Romanum, 8°. Staff: 1 0 - 1 0 . 5 . Space: 3.5. x-height: 2. Music form: 1 1 2 X 82 (38.5). Music pages: 53. Staves: cast metal rules. 118

Direct

Italian Music Type and Printers

Additional sorts in Missale Strigoniense

^

Virga 6

= ai 5 6

7

Podatus 6, 7, 8, 9

No. per col.: 7. One extra line is set at the bottom of the form. 3. 1 XII 1493, Missale Romanum, 8°. Staff: 10—10.5. Space: 3.5—3-7- x-height: 2. Music form: 1 1 2 X 82 (38.5). Music pages: 54. Staves: cast metal rules. No. per col.: 7. 4. 1 II 1494/1495, Missale 9.75—10.5. Space: 3—3.5. h i X 81 (38). Music metal rules. No. per col.:

Praedicatorum, 8°. Staff: x-height: 2. Music form: pages: 34. Staves: cast 7.

5. 1 XII 1494, Missale Sarisburiense, 8°. Staff: 10—10.25. Space: 3—3.5. x-height: 2. Music form: 1 1 3 - 1 5 X 79—81 (37-38.5). Music pages: 40. Staves: no information. No. per col.: 7. After 1500: 1501, Missale Romanum, 8°. [not seen; octavo format suggests R i o }

Virga (pointed) 1 1.75 X

3.5

2 1.75 X

2.5

e

Virga I, 2 used upside down

Punctum

V i r g i;a cum

_

I.75 X 2

± Z+

£

Clivis j

?£

2 Stemless

~~

onsco

C clef, 2.5 X 4

Lozenge, 2 X 2.5

£

—•

Scandicus

Diagonal

Podatus

—

F clef ist half, 1 X 3.5 2d half, 1 X 3

h -X

R 1 1 Roman Medium Missal, 16:2.2^ X 8 Photographs: Missale Romanum, Venice, Johann Hamman, 5 VI 1497; San Marino, Calif., Henry E. Huntington Library, 85504, ff. p3 v , q2.

T

Direct

Bar lines (rules)

ï 3 3t

Podatus

Edition: Johann Hamman.

Clivis 1 2 (photo unavailable)

0

1. 5 VI 1497, Missale Romanum, 4 . Staff: 16. Space: 5.25. x-height: 3. Music form: 143-44 X 1 1 6 (56). Music pages: 60. Staves: cast metal(?). No. per col.: 6.

£

Virga

[N

Diagonal (photo unavailable)

Virga cum orisco (photo unavailable)

1 2.252 X 8

1

-

Punctum, 2.25

2 2.25^ X 6 3 2-252

x

4

Lozenge

Ï

C clef: right type only, 7 X 1 F clef: both types, 1 0 X 2

Direct

_ __

Bar line (rule)

Venice

119

G ì G o t h i c M e d i u m M i s s a l , 15:3 X 7 Photographs: Agenda Pataviensis, Venice, Johann Hamman, 13 IX 1498; San Marino, Calif., Henry E. Huntington Library, 99987, ff. k6v-lc7, k8 v -i 1. Edition: Johann Hamman. 1. 13 IX 1498, Agenda Pataviensis, 40. Staff: 15. Space: 5. x-height: 4. Music form: 147—48 X 110.5— m . Music pages: 134. Staves: 8 segments, 13.5 mm wide; 7 mm piece used when a space must be left blank for an initial. No. per page: 6.

__

Lozenge, 2.5 X 3

— J j

~ ~

-f

H3

I

2

an I

--

2

Clivis (two sorts)

3

Torculus

ft 3

C clef, 3 X 4.5

F clef, 2.5 X 5.5

Podatus I

1 3 X 7-5 2 3 X 6

~

i

Direct

Accidental: B flat

3 3X8-5

Battista Torti, Ri2 Torti came from the southern part of Italy, the town of Nicastro in Calabria, to print his first book in Venice, the Missale of 1 4 8 1 . H e continued publishing until 1 5 2 9 , gradually coming to specialize in glossed legal folios. That he printed books for Scoto and Giunta is clear from a contract of 1507 3 1 VIII 1 4 8 1

Missale Romanum, 1° Torti &C Soc.

29X1489

Missale Romanum, 4 0 Torti

Several points of resemblance between Scoto's missals and the 1489 Missale indicate that Torti was reprinting a Scoto quarto. Torti's Missale used the Crucifixion woodcut first used in Scoto's 1 4 8 1 Missale (blank space for music) and reused in 1482 (printed notes and staves). 21 T h e foliation, including the music pages, is identical to the Scoto quarto Missale of 28 November 1482. Torti's type varies little from Scoto's quarto type; Torti's virga is 20. Fulin, "Document!," pp. 4 0 1 - 5 .

120

among Torti, his brother Silvestro, Luca Antonio Giunta, Amadeo Scoto, and Giorgio Arrivabene. It provides a detailed description of how such an association of printers and publishers functioned. 20 Torti's first missal was printed with space for music, the second had printed notes and staves:

Italian Music Type and Printers

—

W 866

D 52

M - B 1 4 1 W 907

D 79

slightly more pointed, and his podatus has more space between the upper and lower notes. Torti's staff was probably printed from brass rules. A strong indication that in 1489 Torti was reprinting the 1482 quarto is found by comparing the music on ff. m i " and m6 of the 1489 Missale (see Figs. 44 and 45). T h e music on f. m i " is crowded. Some neumes are set upside down, and strangely 2 1 . Essling, Crucifixion no. 2 bis, p. 57 and illustration on p. 154. T h e 1498 Torti Missale is not included in Essling.

..„,,,

J ...»

... —

p i o llllUO p o p u i i o l x c e a t ó e f . u < T d o 9 a d r c h q u u e r i mi co? ì m m m ^ X i a t f m r a v e n t a n s tue ita a f f a n n i o t f c o e j r ó n s a m p l i e l e t t a n e e.'in p.iulsf t u f e f j r p s c l t a f u t a r e n e b n * . i t 0 ctìucìp. iTuIrur/^crcu.ìs 2\m. tOi p e r a l r i u e g ? p r u n o m a p u . § C« I \ 1ilnn0;.ppjig,ifii3.vt , \ I o c ^ o p t f .Hi f Vr.ir m i g r a t e ¡ 1 1 ; % > 1 1 f c o i a t b ' V o r ; vr r e h e n e i d o l i 0 ftnepucrtìmr.ui d a i immm 1 VCrù: ; VlltCUftllÙ Civ> t e f u r p m fccil i D f » 5 n f r i i ; a i q u o V u m *; r e irccc ligiiu cruc t q e fai 0 mudi ì t u t cu5 f p u reoDc°. ) j b c r o i a fccai i t o l o r lèrdpòdef '-Milieu. O r e m u s ? , j f f c c t i t n u e

FIG. 44. Missale Romanum. Venice: Battista Torti, 29 X 1489, f. mi". (Biblioteca Nazionale Braidense, Milan, Gerii Inc. 33.)

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FIG. 45. Missale Romanum. Venice: Battista Torti, 29 X 1489, f. m6. (Biblioteca Nazionale Braidense, Milan, Gerii Inc. 33.)

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121

misshapen notes appear on the top line of the staff. T h e music on f. m6 is well spaced and correctly set. T h e fact is that f. mi", the " E c c e Lignum" of Good Friday, was printed in the Scoto Missale with staves but without notes, a practice not uncommon among printers who wished to avoid setting in type that complex melismatic segment of chant. Therefore

when Torti added notes to the two staves provided in the Scoto copytext, the notes had to be compressed both vertically and horizontally. T h e close relationship between Torti's missals and the Scoto 1 4 8 2 quarto Missale suggests Torti as the likely printer of the Scoto quarto.

R 1 2 Roman Medium Missal, 12.5:1.5 2 x 5 Photographs:

Missale

Romanum,

Venice, Battista Torti,

Podatus (often inverted; see example)

2 9 X 1 4 8 9 ; Milan, Biblioteca Nazionale Braidense, Gerii Inc. 3 3 , ff. m i " , m6.

Edition: Battista Torti. 1. 29 X 1489, Missale Romanum, 40. Staff: 12.5. Space: 7.5—8. x-height: 1 3 7 X 103

slightly over 4. Music

form:

I F clef (photo unavailable)

C clef, I X 4.5

(47—49). Music pages: 39. Staves:

rules. N o . per col.: 8. Direct [ P ]

Bar line

Virga 1 1.52 X 5 2 (photo unavailable)

Punctum, 1 . 5 2 : also smaller variant (see example)

[*

]

Lozenge (photo unavailable)

Cristoforo de Pensi, Ri3 Cristoforo de Pensi of Mandello on Lake Como printed one book in Venice in 1488, two in 1489, one each in the next two years, and more frequent 31X1489 13 IX 1490

Missale Romanum,

40

—

W 908

D 80

Missale Romanum,

0

—

W913

D 82

T h e music type of the quarto missal is not impressive for its clarity. Irregularities of typeface may be due to the poor quality of type as much as to lack of skill in cutting punches. Forms of the virga with a short stem on either side are slightly kerned

122

Italian Music Type and Printers

issues until his last book in 1506. 2 2 T w o of those early books were missals:

2

to allow them to be used on any space or line except the bottom line, on which a stemless virga is used. N o t e the overlapping stems on f. m2v, col. 2, staves 2—3 (see Fig. 46). There are probably kerned sorts for the lozenge (at the bottom, not the side: see

d u r a fu?go:ibug j eterni re H

—

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t l T ^

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FIG. 46. Missale Romanum. Venice: Cristoforo de Pensi, 31 X 1489, f. m2 v . (Biblioteca della Fondazione Giorgio Cini, Venice, 726.)

small variant, col. 2, staff 4) and punctum (col. 1, staff 4). T h e direct is often bent or broken at the right and is probably kerned. The virga with the stem at the left is used to form a podatus of several sizes, but since the virga is not abutting and has only one variant stem size, there is too much white space within the neumes thus formed.

Pensi's font, though not well cut, is significant for its use of the short-stemmed kerned virga to eliminate the need for multiple sorts of the designs with stems for use at the bottom of the staff. His font resembles the Roman Medium Missal of Benali (R5) in size and design.

R 1 3 R o m a n M e d i u m M i s s a l , i 3 . 5 - i 5 : 2 2 X 5.5 Photographs: Missale Romanum, Venice, Cristoforo de Pensi, 3 1 X 1489; Venice, Biblioteca della Fondazione Giorgio Cini, 726, fif. m2 v , p6. Missale Romanum, Venice, Cristoforo de Pensi, 13 IX 1490; Rome, Biblioteca Casanatense, Inc. 1965, f. ¡4V.

3

t

z

-

:

f

Editions:

Virga I 2 2 X 5.5 X 6 X s 2 3

Punctum, 2 2 : (a), (b) variants

—

Cristoforo de Pensi. 1. 31 X 1489, Missale Romanum, 4 0 . Staff: 1 3 . 5 - 1 4 . Space: 4 - 5 . x-height: 3.5. Music form: 168 X 1 2 7 (62). Music pages: 43. Staves: rules. N o . per col.: 8. 2. 13 IX 1490, Missale Romanum, Staff: 13.5. Space: 4.5. x-height: 3.5. Music form: 243 X 163 (95). Music pages: 30. Staves: rules. N o . per col.:

2a Lozenge

2t

I

I

Podatus

12

Diagonal (Missale Romanum, 1490)

Venice

C clef 1 i X 4 2 variant

Direct

F clef 1.5 X 5.5 plus C clef Direct Bar line

Bar line

clef

Teodoro Ragazzoni, R14 T e o d o r o Ragazzoni and his brothers Giacomo and Francesco came from A s o l a to be printers in Venice in the last decades of the fifteenth century. 1 5 XII 1 4 8 9

Missale Romanum, 20

T h e Crucifixion woodcut on f. n5 v is printed from a block used by Scoto in his folio missal of 3 1 August 1 4 8 2 . Ragazzoni's virga and variants, diagonals, and clefs appear to be identical to those in the font used in Scoto's 1 4 8 2 missal ( R 3 ) , although the lozenge in Scoto's book is kerned and the book uses a few more plainchant characters. It is quite possible that Scoto was not a printer but only a publisher and that Ragazzoni was the printer of Scoto's 1482 folio missal, in which case R3 could be joined to R 1 4 as a single font. I have already pointed out the possibility that T o r t i printed Scoto's other music book, the 1 4 8 2 quarto missal. T h e crudely irregular lozenge of R 1 4 suggests that it is different from R 3 (see Fig. 47). I suspect that the irregularities are due to problems in casting abutting types. Instead of casting an abutting lozenge on a narrow body, type metal seems to have flowed into a mold set wide enough to make a 23. B M C V:xlii—xliii.

R 1 4 R o m a n L a r g e M i s s a l , 14.5—15:3 2 X 1 1 Photograph: Missale Romanum, Venice; Teodoro Ragazzoni, 15 XII 1489; Florence, Biblioteca Nazionale Centrale, Inc. c.5.24, f. n5. Edition: T e o d o r o Ragazzoni. 124

Italian Music Type and Printers

Between 1488 and 1 5 0 0 T e o d o r o issued twentythree books, many of them liturgical. 23 One contained music: —

W 909

D 81

lozenge centered on the type body, somehow creating various appurtenances to the lozenge shape. T h e usual Venetian unpointed virga has a long stem, with two shorter stemmed variants and a stemless version for use on the bottom line of the staff. A virga with the stem on the left also has a variant with a shorter stem. T h e diagonal has an almost imperceptible curve and a long stem with a shorter variant. T h e first note of the podatus is the only pointed notehead. T h e F clef has a long stem with a shorter alternate. T h e r e are no kerned types, with the possible exception of the direct. T h e bottom of the stemmed forms abut the text type, as does the stemless virga. T h e use of rules to print the staff provides an irregular base for the music type, causing some difficulty in having noteheads fall squarely on lines and spaces. T h e overall impression of Ragazzoni's music is of irregularity both in type design and in printing. 24. Essling no. 33, Crucifixion II.

1. 15 XII 1489, Missale Romdnum, 2°. Staff: 1 4 . 5 - 1 5 . Space: 4-5. x-height: 3.75. Music form: 243 X 163 (75). Music pages: 35 ( + 1 ? ) . Staves: metal rules. No. per col.: 9.

mom

in occelfe oeo.

te miffa eft mioab^feiduplirib* -zt>icb^

x>iiäe.

FIG. 47. Missale Romanum. Venice: Teodoro Ragazzoni, 15 X I I 1489, f. 115. Reduced in size. (Biblioteca Nationale Centrale, Florence, Inc. C.5.24.)

Äloaa

in ercelfia w o .

3te mifli eft. 3 it fcftfe fimplidt^ folenmbtis* i 45io?ia incrcelftö t>eo.

51 if f Virga 1 32 X 1 1 2 3 X

3 3^ X 6.5 4 32 X n

Punctum, 3

Lozenge (printed irregularities due to poor matrix?)

5 32 X 9 Venice

125

—

Podatus

m

Bivirga

S

Diagonal

C clef

f.

F clef I 1.75 X

il

2 shorter stem, 7.5 X 1.75 (photo unavailable)

K1

Bar line (rule)

Direct (photo unavailable)

Rinaldo de Novimagio, Rl5 Rinaldo de Novimagio (Reinelde of Nijmegen, in Holland) first appears in 1477 at Venice as a partner of the German Theodor von Rynsburg. By 1479 Novimagio was printing on his own with the same two gothic types used when he was a partner. H e used twelve more types by the end of his career, in 1496: seven gothic, three roman, one Greek, and one music. His business status in Venice is attested by his marriage to the Italian Donna Paula, widow of two earlier Venetian printers, Johann of Speier and Johann of Cologne. When she died, in 1480, Novimagio became her heir and each of her three sons received the considerable sum of five hundred ducats to be paid in books, goods, and money.25 T h e thirty-eight books issued by Novimagio appeared on an irregular basis: twenty-five from 1477 to 1483, three in i486, four in 1490—1491, four in 1495—1496, and two undated.26 That irregularity and small output, together with the high number of types, led the Hellingas to conjecture that Novimagio "must early have begun to concentrate on making type rather than printing and publishing, especially since only seventeen items came from his press after he parted from Theodor von Rynsburg [and before 1483}. That he gave up printing [tem-

porarily] in 1483 does not necessarily mean that things had gone badly with him. H e may well have concentrated from that time entirely on making and selling type." 27 If Novimagio was a professional type designer, his music type does him little credit. For his single book with printed music, a quarto missal of 1 4 9 1 , he used a rather poor roman plainchant font. T h e virga, cast in three stem sizes, has a slightly pointed notehead. The punctum is poorly cut, with no true right angle. N o virga cum orisco is used. T h e irregular, wavy lines of the staves were probably printed from rules; the notes rarely fall on the proper space or line. The music typesetting, containing many errors in notes and clefs, indicates a lack of musical knowledge on the part of the compositor. In addition, a virga or lozenge is frequently used instead of the correct piece of type for the direct. T h e type for the music text is changed to a smaller size on several occasions in order to fit in all the words. With eight staves per column, the number of pages with music was reduced from the usual fifty to thirty-six, but there was an equal reduction in aesthetic quality. Despite the quarto format, the music type and staff are the size appropriate to an octavo, and I have labeled the type as Roman Small Missal.

25. Marzi, " I tipografi tedeschi," pp. 548-49. 26. Statistics prepared from B M C , H , C, and Konrad Burger, The Printers and Publishers of the XV Century with Lists of Their Works. Index to the Supplement to Hain's Repertorium Bibliographicum (Berlin: Josef Altmann, 1926).

Italian Music Type and Printers

27. Wytze Hellinga and Lotte Hellinga, The FifteenthCentury Printing Types of the Low Country, 2 vols. (Amsterdam: Menno Hertzberger, 1966), 1: 37; B M C V : xix-xx.

R i 5 Roman Small Missal, 9 - 1 1 : 2 2 X 5 Photographs:

Missale

Romanum,

Punctum

Venice, Raìnaldus de

SL

Lozenge

Novimagio, 10 IV 1491; Milan, Biblioteca Nazionale Braidense, Gerii Inc. 33, ff. mi", m6. Edition:

Rinaldo de Novimagio. 1 . 10 IV 1 4 9 1 , Missale

Romanum,

—

=

M.

*

t

Podatus

r

C clef i X 4.5

4 . Staff: 9 - 1 1 .

Space: 3-4. x-height: 2.8. Music form: 147—52 X no—12 (51-53). Music pages: 36. Staves: metal (brass?) rules. No. per col.: 8.

3

Diagonal

S 0

Virga 1 22 X 2 22 X 2 X 32 4 22 X

5 3.75 2.5 5.5

I

F clef I X 5.25 plus C clef

Bar line (rule)

Direct

Filippo Pinzi, Ri6, Ri7 Filippo Pinzi (or Pincius) of Canneto near Mantua printed books in Venice from 1490 to 1 5 3 0 for several publishers, including Benali and Luca Antonio Giunta. 28 H e printed two missals in the fifteenth century. A n undated folio with space for music was 29 III 1494 16 III 1495

Missale Romanum, Missale Romanum, 2

T h e 1495 missal was printed with the financial backing of Paulus Tridentinus, a member of the Hermits of St. Augustine. Pinzi's first music font was a large missal type with a short-stemmed virga that has a notehead taller than it is wide. T h e long-stemmed F clef and diagonal have shorter variants. T h e C clef has a variant for the top line in which the top half of the character is cut off. There is a direct, but the compositor often substituted the lozenge for the direct. In addition to the normal stemless virga there is an unusual variant of half the width of the regular notehead that is used for the pressus. T h e appearance of that narrow design and the three-note scandicus in both R 1 6 and R9 (Missale Strigoniense, 1 II

28. Norton, Italian Printers, p. 148.

assigned to him by Weale-Bohatta ( W 953) and by Hubay to Eucharius Silber in Rome; assignment to a specific printer is difficult, since several shops used the same alphabetic types. — 0

M - B 154

W 927

D 96

W931

D 100

1494, printed by Johann Hamman) within two months suggests a single type designer. N o kerned types are verifiable, though the existence of broken stems of the virga and virga cum orisco suggests that those stems may originally have been kerned. Several sorts abut the text type above and below the staff (stemmed and stemless virga, podatus). A mistake by the compositor illustrates the relationship between the text type and the music type. On f. l3 v (LXXXIIIV), col. 1, staff 5, the letter x is printed twice to fill blank space not used by notes (see Fig. 48, bottom line of staff). T h e position of the letters indicates that the space for music type was made equal to three times the size of the body of a text type so that the same spacing materials could

29. Hubay, no. 1 4 3 5 ; see D 7 1 .

Venice

127

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FIG. 48. Missale Romanum. Venice: Filippo Pinzi, 29 III 1494, f. (lxxxiii v ). (Biblioteca Vaticana, Vatican City, Inc. II 127.) be used f o r both music and text fonts. Staves 4(2 of

tury by only three other printers in I t a l y — H a n ,

the f r a g m e n t illustrated in F i g u r e 48) and 6 - 9 use

E m e r i c h , and H a m m a n — a n d the additional space

periods f o r spacing material in the same way as

f o r music type helps avoid the need f o r variant stem

the x.

lengths. T h e clivis is f o r m e d by inverting the poda-

T h e second music font was a medium missal type with a longer-stemmed virga. T h e staff is made

tus. T h e r e are no apparent kerned or abutting types.

up of five lines, a number used in the fifteenth cen-

R 1 6 Roman Large Missal, 17.25:3 X 2.5 X 6.5 Photographs: Missale Romanum, Venice, Filippo Pinzi, 29 III 1494; Vatican City, Biblioteca Vaticana, Inc. I I . 1 2 7 , ff. h6, ii v , lc4,13' v .

^

Podatus fcfc

Edition:

Diagonal I 6.5 X 9.5 2 6 . 5 X 5.5

Filippo Pinzi. 1. 29 III 1494, Missale Romanum, 1°. Staff: 17.25. Space: 5.25—6. x-height: 4.5. Music form: 245 X 168 (81). Music pages: 35. Staves: metal rules. N o . per col.: 10. .

JL.

_

Virga 1

2

X

3 X -5 6.5 2 3 X 2.5 X 6.5

Punctum 1 2.5 X 3 2 1.5 X 3

128

Italian Music Type and Printers

Lozenge 2.5 X 3

3» {

t

Scandicus 1 7 X 10.5 2 7 X 10.5

C clef 1 1.5 X 7 2 trimmed for use on top line

F clef Bar line (rules)

Direct

1Ö.5

R 1 7 Roman M e d i u m Missal, 1 9 - 2 0 . 5 : 2 2 X 8.5 Photographs: III

Missale Romanum, Venice, Filippo Pinzi, 16

1495;

Bologna,

Biblioteca

A . V . K K . V I I I . 1 0 , ff. q 4

v

Universitaria,

j^j -

Clivis

Diagonal

V

(CXVI ), r3 (CXXIII).

Edition:

Filippo Pinzi. 1. 1 6 III 1 4 9 5 , Missale

Romanum,

4 0 . Staff (5-line):

19—20. Space: 4.75—5. x-height: 3.5. Music form: 156 X

1 2 0 (57). Music pages: 5 5 . Staves: metal

rules (cast?). N o . per col.: 6.

1

Virga cum orisco, 5 X 8.5

Virga 1 2 2 X 8.5

-

= F

2 3

Punctum, 2 2

2 22 X 6 3

22 X

4

2 2 X 8.5

4

C clef 0.75 X 7

^

t

F clef 0.75 X 8 plus C clef

Lozenge

Podatus

£

! 2.5 X 5

Direct

Bar line (rule)

24.5 X 6

Johann Emerich of Speier, Ris, Ri9, R20, R21 (M) Johann Emerich came from the town of Udenheim in the diocese of Speier, an area on the Rhine River south of Mannheim. His name first appeared together with the name of Johann Hamman, a fellow

native of Speier, in the colophons of two books printed in 1487, a missal for Paris and a Dominican breviary. After a hiatus in his career of five years during which his name appeared in no book, Venice

129

Emerich began issuing books under his own name as printer: 25 XII 1492

Breviarium Ordinis Praedicatorum, 16 0

G W 5227

28 III 1493

Breviarium Vallisumbrosanum for Blasi, 8°

G W 5239

28 IV 1493

Missale Romanum, 8°

M-B150

6 v 1493

Officium B.V.M.,

32

Missale Strigoniense, 1498—1503 Psalterium, 1499 Missale Ordinis Praedicatorum, 1500

Johann Paep of Buda

Missale Segoviense, 1500

Guido de Lavezari

Missale Speciale, 1504

Christoph Thum

Missale Maioriecense, 1506

Luca Antonio Giunta and Jacob Hirdus

Giovanni Battista Sessa Nikolaus von Frankfurt

T h e last book known to have been printed by Emerich is the missal for Majorca (16 September 1506). T h e colophon's notice of printing as being shared for the first time with a company of others (Emerich "et Sociorum") may be evidence of advanced age and declining power or of economic difficulties. Liturgical books, especially those with music, were Emerich's specialty. O f the seventy-one books he printed, sixty-seven were liturgical. The exceptions were the Astrolabe of Johann Angelus (editions in 1494 and 1502), three theological tracts (Bernard, Anthony, and Lyra) and the rules for the Benedictine and Carmelite monastic orders. Books with music or space for it account for twenty-four (plus six?) of Emerich's liturgical books, of which nineteen (plus one?) are incunabula (see Table 24). The music books are consistently the larger, more ambitious books. Of the eleven books in 64°, 32 0 , 24 0 , and 16 0 , just one, a breviary, had space for music (see Table 25). The other music books include more than half the quartos and all but one of the folios (omitting only a breviary). T w o of the folios were multivolume editions Italidn Music Type and Printers

W924

7

D93

0

In 1494 He began printing for Luca Antonio Giunta and continued the relationship into the sixteenth century, while also printing the following titles for other publishers:

130

d

in a large folio size (565 X 383 mm), the largest paper used for an incunabulum. These two works, the Graduate Romanum, 1499/1500, and its companion title, the Antiphonarium Romanum, 1503—1504, together contain 1,248 pages, almost all with printed music. Emerich's output is the more impressive when the size of each volume is considered, the average being well over two hundred leaves, and when the amount of illustrative material and the number of different fonts of type are taken into account. His work is of beautiful execution and design; it is therefore not surprising that he was chosen to print the music masterpieces of Venice, the Graduate and Antiphonarium published by Luca Antonio Giunta. O f a possible twenty-four (plus six?) books with music, eighteen (plus six?) are missals: seven (plus three?) Roman, three (plus two?) for Gran, one (plus one?) for the Dominican order, and one each for Messina, Segovia, Majorca, Fünfkirchen, Paris, and the Carmelite and Camaldolite orders. Two are books of other liturgical rituals entitled Liber Catechumeni, one is a breviary (with space for music), and one a Dominican processional. 31 T h e inventory of types used by Emerich includes an unusually rich stock of eighteen gothic text types, from the smallest diamond size of 46 mm (used in the 1492 Dominican breviary) to the largest canon type of 420 mm (used in the Graduale and Antiphonarium). Because of the liturgical and theological nature of his texts, Emerich never used roman type. Greek letters appear in the 1500 Regulae. Emerich's stock of music types was equally impressive. With four sizes of roman plainchant type—one of which was enlarged to include black mensural type for measured plainchant—he sur30. G o f f , " A Few Footnotes," p. 178. 3 1 . Another Missale Romanum was tentatively assigned by Weale to Emerich and dated " 1 4 - ? " (W 851). Weale gives Frankfurt am Main, Stadtbibliothek, as a location for the book, but today's Stadt- und Universitätsbibliothek does not have a copy ( see D 37*).

24

Music books of Johann Emerich of Speier

Date

Printer, Publisher

Title

IO XI

1 3 VIII 9

x

30 IV 3

IX

26II

487 Missale Parisiense

E/Hamman

8°

W 700

487 Breviarium Praedicatorum

E/Hamman

2

G W 5221

—

?

G W 5227

—

space

E

16

E 493 Missale Romanum E Processionarium Praedicatorum 493

8° O

E/Giunta 494 Missale Romanum Processionarium Praedicatorum E/Giunta 494 495 Liber Catecbumeni 495 Missale Strigoniense

4 8° O 4 O 4 O 2 0 4 O 2

E/Giunta E/Giunta E/Giunta

497 Missale Romanum 498 Missale Strigoniense

0

E/Giunta E/Paep

—

97

staves

W 924

150

music, wood

—

2

ghost

34

W 929

!53

music, R 1 8

LB782

2

music, R 1 8

L B 724

—

W 1496

—

staves

—

music, R 1 9

W933 W941

35

music, R 1 8

158 189

W 1498

staves

E/Paep

28 VI 498 Missale Romanum

E/Giunta

2

W945

162

music, R 1 9

498 Missale Romanum

E/Giunta

W946

163

music, R20

24 IV 499 Missale Quinqué Ecclesiae 28 VI 499 Missale Messanense

[E]/Paep

1499/ 500 Graduale Romanum

E/Giunta

8° O 4 O 2 0 2

6 III 500 Missale Praedicatorum

E

6 vi 500 Liber Catecbumeni

[E]/Giunta

24 VII 500 Missale Segoviense

E/Lavezari

8° O 4 O 4 0 2

Missale Carmelitarum

[E]/Giunta

2

27 II 1500/ 501

Missale Romanum

E/Giunta

20 XI 501

Missale Romanum

[E?]

3 1 III

500 Missale Strigoniense

E/Frankfurt

0

[E]/Paep

1500 5 I 1500/ 501

2 1 VII

502 Missale Romanum

0 0

4 O 2 2

0

5°3

Missale Strigoniense

[E] [E]/Paep

4

20 VII 5 ° 3 4 XII 5 ° 3

Missale Strigoniense

[E]/Kaim

4

[E] [E]/Giunta

2

8° 2

20 VII

Missale Vallisumbrosum

1503/ 504 Antipbonale Romanum 504 Missale Praedicatorum

5 Vili

504 Missale Speciale

[E] [E}/Giunta di Thum

16 IX

506 Missale Maioricense

E & Soc./

15I

2 2

0 0 0 0 0 0

W 1499

music, R 1 8

30 III 498 Missale Strigoniense I5X

After

?

8° 0

W851

Music

[Emerich?]

14 VII 496 Missale Romanum IO XI

W, G W , LB, IGI, P M-B

n.d. Missale Romanum

492 Breviarium Praedicatorum 28 IV

Format

ghost

—

W 804

—

IGI6570

—

L B 704

staves music, R 1 9 20

music, R 2 1

W 1825

218

music, R20

W 1499

190

staves

L B 726

2

W1455

3

music, R 1 8

—

music, R 1 9

W 1885

220

music, R 1 9

W958

—

music, R 1 8

P13096

—

?

p13098

—

?

W 1501

—

?

W 1502

—

?

W 1802

—

LB 27-28 W 1829

music 11

—

music, R 2 1 ?

no space W576

—

music, R 1 9

Giunta 8C Hirdus

E — Emerich.

passed all other Italian printers in his ability to print in various

formats

that music notation, the most

c o m m o n o f the time.

Praedicatorum),

Parisiense

with

Breviarium

and printed staves and notes f r o m

woodcuts (the 1 4 9 3 Missale

A f t e r having printed books with printed staves and no notes (the 1 4 8 7 Missale

H a m m a n ) , space f o r music (the 1 4 9 2 Romanum),

in 1 4 9 4

E m e r i c h published his first book with notes and staves printed f r o m metal type. R 1 8 was designed

Venice

Table 2 5 Format

F o r m a t s o f E m e r i c h ' s editions All Editions

Music Editions

64° O 32

I

0

4

0

2

I

0

4

O

16° 8° O

4 2

0

Uncertain Total

5

I (space for music)

20

5 (+

2?)

16

8 (+

2?)

12

10 ( +

12

0

71

2

4

( +

2?)

6?)

for the quarto format and was used for a total of five quartos and one octavo. Its virga, the common note of plainchant, has a head 2 mm square and a stem usually a little over 4 mm long. It was used with text types of which the letter x has a height of from 2 to 3.5 mm, most often 3 mm. R 1 8 was consistently used with a staff of about 14 mm, with the space between two lines being about 4.75 mm; thus a virga could not reach from one line to the next. T h e rather short-stemmed virga is stylistically characteristic of Emerich's music type. Another characteristic of Emerich's types is their attention to such details as liquescence, accidentals, and various sizes of diagonals and stem sizes used to form ligatures. All the stemmed notes in the type appear in multiple sizes. With the resulting large number of sorts Emerich was able to avoid the monotonous succession of virgas common in the printed music of many of his competitors and to set plainchant in type in a fashion that closely resembled the ligature construction common in the manuscripts of the time. T h e number of sorts in the font, as is shown in the specimen below, is thirtyone (or thirty-two if the small virga used to form a bivirga is included). Kerning is visible when the stem of a virga printed on the bottom line overlaps the text type. T w o years later Emerich began using a folio music type ( R 1 9 ) that appeared in five of his largeformat missals between 1496 and 1506. T h e virga was increased in size by half, to 6 X mm, and was usually used on a staff of 15.5 mm with the

Italian Music Type and Printers

space between two lines being 5.2 mm. Again the relatively short-stemmed virga does not cross two staff lines. T h e introduction of a different form of F clef, a scandicus, and a different style of virga cum orisco was no doubt due to the different manuscript style of the copytext. Another variation was a change in type design to aid in setting the type. By the introduction of a virga with the stem on the left side, Emerich made possible the creation of a number of ligatures by a combination of types. Kerning the lozenge enabled him to print a tight-fitting climacus that quite closely approximated the manuscript version. T h e diagonal was also kerned (as can be deduced from the many bent ends), probably to facilitate locking up columns of type. T h e number of sorts was reduced to twenty, primarily by the elimination of sizes of diagonals as well as liquescent notes and accidentals. A f t e r another space of two years Emerich introduced a small music type, R20, in the missals he printed for the cheap octavo market. T h e virga was reduced by about 25 percent, to 3.5 X i . 5 Z m m o n a staff of about 1 0 mm with a space of 3.5 mm and a 2 mm x-height. T h e virga was a kerned type, the stem overlapping the text type when the note appeared on the bottom line of the staff. Other kerned types were the podatus 1 (at the top; as in the 1498 Missale Romanum, f. P3, col. 2, staff 6) and the clivis 1 (the bottom of the stem is frequently bent). T h e lack of a kerned lozenge gives the climacus too much importance and distorts the balance of the chant. Nevertheless, Emerich managed to produce an attractive octavo missal, by limiting the number of staves per column to six (compared to the eight of many competitors) and by using reliable staff material that allowed him to print the notes in the correct positions on the staves. Variations of stem size were sacrificed along with liquescence and accidentals; this reduced the number of sorts in the font to about sixteen. T h e largest and most complex music type designed in Italy in the fifteenth century was R 2 1 , used by Emerich in 1499/1500. T h e large number of punches, about forty-eight, for both plainchant and mensural notation included complex double- and triple-note neumes. T h e font was extended by casting five variant forms for each of many musical signs so that they could be printed on any line or space of the staff. Other variant forms with short-

ened heads or stems were used to abut the text type above or below the staff. T h e notes are designed with sharp right angles without points or curves except in liquescent notes. T h e virga stem has the short length characteristic of Emerich. T h e r e are few new shapes (porrectus i and 2, B quadratus, naturalis, and rotundus), but the familiar sorts exist in an amazing number of variants and kerned forms. T h e font must have demanded expert knowledge of music f r o m the type designer and typesetter, who could well have been the same p e r s o n — p e r h a p s Emerich himself. T h e mensural characters in the music font are the second set ever used, after those printed in V e n i c e without staff lines f o r the N i g e r

Grammatica

of 1 4 8 0 ( D 1 4 2 ) by T h e o d o r Franck o f W i i r z b u r g ( M i ) . T h e y include a time signature f o r duple meter, a descending semibreve ligature in the f o r m of a diagonal, an ascending semibreve ligature with a square notehead, a single-stemmed semiminim, and a double-stemmed

semiminim.

Sorts

from

the

plainchant type fill out the mensural font: clefs, direct, accidentals, breve, lozenge f o r the minim, and the bivirga f o r the long. A year before Petrucci's use of mensural type in the Odhecaton (Venice, 14 M a y 1 5 0 1 ) , E m e r i c h succeeded in printing the popular " C r e d o C a r d i n a l i s " in mensural notation f o r the O r d i n a r y of the M a s s in his Graduale (Part 3, 1 March 1500).

W h i l e monophonic mensural plain-

chant sections o f the Ordinary were common in Italy and G e r m a n y , this and the " C r e d o C a r d i n a l i s " in the P a r m a Graduale

of 1 4 7 7 are the only in-

32. "Symbolum [Credo] Cardineum," in Franchino Gaffori's Practica Musicae (Book 1, chap. 2); "Credo Cardinalesco," in Gioseffo Zarlino's Le istitutioni harmomche (Venice, 1562), 4: xxxiii. For an illustration of Emerich's Credo printed in the 1499 Graduale, f. CCCL, see Duggan, " T h e Music Type of the Second Dated Printed Music," Figure 9.

stances of such music in print in the fifteenth cen33

tury. E m e r i c h developed R21 f o r the lavish production of the first complete R o m a n gradual and antiphonal ( 1 4 9 9 — 1 5 0 4 ) , published by Giunta. T h e production included a new font of extra-large music type, two new gothic text types, a stunning series of large woodcut illustrations and initials that would be reused by the G i u n t a firm f o r decades, and an extra-large, heavy folio paper that made possible the printing o f the largest book o f the century. Among

fifteenth-century

printed music books the

choirbooks contain music notes second in height and width only to the P a r m a Graduale ( D 1 6 ) of the Moilli brothers. Liquescence is better represented in the type f o r Emerich's Graduale,

with its more elaborate

neumes necessary f o r the melismatic chant sung by the choir, than it is in the music type f o r the syllabic chant o f missals, which was sung by the celebrant. T h e particular liquescent note f o r m s cut into type f o r R 2 1 include those illustrated in Fig. 49; the virga cum orisco, two f o r m s of the cephalicus, a bivirga made up of two sizes of stemmed virga, and the first half of the F clef, occasionally used to indicate liquescence in combination with other type f o r m s . T h e virga cum orisco was a much more common note at the beginning and end o f pieces of plainchant in 1 5 0 0 than it is today. A n examination o f manuscript graduals of the period (see Fig. 2) indicates that the manner of writing and executing the virga cum orisco varied with the mode of the piece, 33. A variant version of the mensural Credo of Emerich's Graduale from a contemporary St. Gall manuscript has been edited along with other mensural chant in Otto Marxer, Zur spätmittelalterlichen Choralgeschichte St. Gallens: Der Cod. 546 der St. Galler Stiftsbibliothek, Inaugural-Dissertation, Universität Freiburg (St. Gall: "Ostschweiz," 1908), pp. 143-97; for the "Credo Cardinalis" see pp. 176-78.

FIG. 49. Liquescent note forms in R 2 1 , used in Emerich's Graduale.

Venice

FIG. 50. Kerned and abutting music and text types in R 2 1 . a subtlety that was lost in the transition to type, in which there is a single musical sign for the virga cum orisco. 34 A comparison of the use of liquescence as indicated by the type forms in Fig. 49 with the liquescent forms used in the gradual published by the Catholic church in this century can provide a guide to performance practice of the time." In the type font used in the Graduate the single sign for internal liquescence is the liquescent virga or cephalicus (see Fig. 49). When a longerstemmed note was needed for a liquescent neume, as in the ancus, liquescent climacus, or liquescent porrectus, that skipped up more than one step, the printer occasionally used the first half of the F clef, a design quite close to one used in manuscript plainchant notation. Before developing a hypothesis about the method of setting Emerich's R 2 1 , let us review the sequence of impressions made and the number of forms used in printing each side of each sheet of the Graduate. T w o impressions were apparently used for the book: first, staves, rubrics, initials, foliations, and signatures in red, and then notes and text in black. T h e possibility of a third black impression of the text can be rejected, because of the consistent equal registration of black notes and text (see ff. X V I I I and X X V I I , where both notes and text slant 34. For a discussion and illustrations of liquescence, see Chapter III.

down from the left to right), similarities in inking pattern (poor inking of both notes and text on ff. L X X X , L X X X V i r , C X V I F , C X X F ) , and the appearance of a slight ghost beside both notes and text (ff. X X X I V , C X V I F ) (examples from the copy in the Music Library, University of California at Berkeley). Even stronger support can be found in the contrast between the frequent overlap of red and black printing and the nearly total absence of overlap of black text type and music type. Several text and music characters have apparently been filed to create abutting types to join kerned music and text types (Fig. 50). There were two forms of type for each page of each sheet of the Graduate, one for the red and one for the black impression. If one form had been used for both impressions, the material for the redprinted staves would have had to be pulled and replaced by the black-printed music type. Proof of the use of two forms can be found in the overprinting of black text on red text on f. X X X I , which would be impossible in one form, and in the grossly misplaced red large initial over black text on f. X X V V . 3 7 Nearly every page of the Graduate has corrections either printed or by hand, or both, which vary from copy to copy. T h e corrector, music theorist Franciscus de Brugis, who prepared the text for the printer, very likely played a continual and active part in proofing copy. T h e preface to the Graduate attests to the corrector's responsible role: Suffecisset utique mifratres universi que legitis in hoc volumine graduum id me ademptesse: summaque cura: ac tongissimus vigiliis perfecisse: quod ab impressore eius a me flagitatum extitit: correxisse scilicet in eo errores (quo ad musicen tantum attinet) que innumerabites pene extiterunt: absque quod ipsi occupationi: banc etiam (que grandis pturimum fuit) superadderem: apposuisse videlicet notulas subinferendas.

35. Graduate Romanum (Solesmes: Abbatia Sancti Petri, 1974). Comparative statistics on the use of liquescent type forms in the first fifty folios of the Graduate will form the basis of a future article.

Let it suffice at any rate my brothers everywhere who will read this volume of the gradual that I

36. For an illustration of liquescent forms used in the manuscript era, see Henry M . Bannister, Monumenti vaticani di paleografia musicale latina, Codices et Vaticanis Selecti Phototypice Expressi Iussu Pii P P . X Consilio et Opera Curatorum Bybliothecae Vaticanae 12 (Leipzig: Harrassowitz, 1 9 1 3 ) , Atlas, tables IX—X, "Segni di liquescenza applicati a neumi." T h e first half of the F clef closely resembles the final liquescent note of a torculus in table X , e - f .

37. Ferdinand Geldner ( " Z u m ältesten Missaldruck," Gutenberg-Jahrbuch [ 1 9 5 3 ] : 1 0 1 - 6 ) claims that such correction of printed leaves was not uncommon for liturgical works, but I found no examples in other Italian music incunabula. Paper copies were altered with white ink similar in appearance to today's typewriter correction fluid and equally susceptible to flaking off. In contrast, parchment copies were often scraped clean where an error had been printed.

Italian Music Type and Printers

have completed and brought to a conclusion with the greatest care and the most drawn-out attention. A s it was brought to me by the printer, I have in particular corrected the errors in it (which so affect the music) which were virtually innumerable; which was a great labor; this was added (which great as it was was immeasurable). Signs [of accidentals} were added below.

T h e care taken to make the impressions register accurately in this work of 3 8 6 leaves resulted in the printing of the notes on the appropriate lines in every case. T h e size o f the notes certainly made alignment of notes and staves easier than in a smaller

format, but a glance

at the work

of

E m e r i c h ' s contemporaries in V e n i c e makes one appreciate his accomplishment.

—

R 1 8 R o m a n M e d i u m Missal, 1 4 - 1 4 . 5 = 2 2 X 4.2 Photographs: Missale Romanum, Venice, Johann Emerich of Speier, 13 V I I I 1494; Ferrara, Biblioteca Comunale, S . i 2 . 1 . 1 4 , if. k i v , k4. Processionarium Praedicatorum, Venice, Johann Emerich of Speier, 9 X 1494; San Marino, Henry E. Huntington Library, 1 0 1 7 0 , ff. xv v -xvi, xxx v -xxxi. Liber Cdtechumeni, Venice, Johann Emerich of Speier 30 IV 1495; Venice, Biblioteca della Fondazione Giorgio Cini, 325, ff. C3 V , H 4 . Missale Romanum, Venice, Johann Emerich of Speier, 10 X I 1497; Rome, Biblioteca Corsiniana, 46.E. 10, ff. ki", n8.

Virga 2 2 X 6.5 2 2 ' X 4.2

I is 3 :

32J X 9 4 2 X 6.5

Punctum 2 tiny (or 3-note neume?

Editions: Lozenge: (a) kerned

J o h a n n E m e r i c h o f Speier. 0

1. 13 V I I I 1494, Missale Romanum, 4 . Staff: 14.5—14.75. Space: 4.5—5. x-height: 3. Music form: 153—55 X " 1 - 1 2 (54-54-5)- Music pages: 54. Staves: cast metal rules. N o . per col.: 6.

3. 30 IV 1495, Liber Catecbumeni, 4 0 . Staff: 14—14.25. Space: 4-75x-height: 2. Music form: 143—46 X 9 9 - 1 0 2 . Music pages: 37. Staves: 2 staff segments, 85 mm + 16 mm. N o . per col.: 6. 4. 10 X I 1497, Missale Romanum, 4 0 . Staff: 14.5. Space: 4.5—5. x-height: 3. Music form: 155 X 1 1 7 (57). Music pages: 54. Staves: 7 staff segments, 8 mm wide. N o . per col.: 6. 5. 6 V I 1500, Liber Catecbumeni, 4 0 . Staff: 13.75—14. Space: 4.75. x-height: 3.5. Music form: 14 X 107.5. Music pages: 35. Staves: 14 staff segments, 7.6 mm wide. N o . per page: 6. After 1500: 6. 27 I I 1 5 0 0 / 1 5 0 1 , Missale Romanum, 4°. Staff: 14.5. Space: 4.5—5. x-height: 3. Music form: 155 X 177 (57). Music pages: 54. Staves: 7 staff segments, 8 mm wide. N o . per col.: 6.

Podatus 1 2 X 4 2 2 X 5.5 3 Combined types?

Hi

2. 9 X 1494, Processionartum Praedicatorum, 8°. Staff: 13.75—15. Space: 4.75—5. x-height: 2.5. Music form: 1 4 3 - 4 6 X 99—102. Music pages: 169. Staves: cast metal rules. N o . per col.: 5.

>a e

Clivis 1 3.5 X 6 2 3.5 X 4 3 Stemless

H

Diagonal 1 4 X 1 1

J

. 2

a

3

s; s 5

6

4

S 7

(a) abutting (or 3-note neume) 3 short stem 4 x 4-5 4 stemless, 4 X 4.5 5 6 X 6.5 6 stemless, 6 X 6.5 77

x

11

135

j

Torculus

"

—

Virga cum orisco,

j

C clef

J k - F clef

5 X 8.5

I

4.5 X , . 5

JL 3 X

Accidental: B flat

" ~ Bar line (rule)

Bivirga virga I plus narrow virga

h

4

Liquescent neume 1 2 X 4 22 X 5 3 2 X 7

R 1 9 R o m a n L a r g e M i s s a l , 15.5-17:2.•y 2 X 6 Photographs (scale varies): Missale Romanum, Venice, Johann Emerich of Speier, 14 VII 1496; Rovereto, Biblioteca Civica, f. 04". Missale Messanense, Venice, Johann Emerich of Speier, 28 VI 1499; Catania, Biblioteca del Seminario Arcivescovile (microfilm of music pages). Missale Maioricense, Venice, Johann Emerich of Speier, 16 IX 1506; Venice, Biblioteca della Fondazione Giorgio Cini, 363, f. s6 v (cxlii v ).

staff segments, 8.2 mm wide. N o . per col.: 10 (+!?)• 6. 16 IX 1506, Missale Maioricense, 2°. Staff: 15. Space: 5. x-height: 4.5. Music form: ? Music pages: ? Staves: 10 staff segments, 8.2 mm wide. N o . per col.: 10. Virga 1 2.5 X 6 2 2. 5 2 X 6

Editions: Johann Emerich o f Speier. 1. 14 VII 1496, Missale Romanum, 2°. Staff: 15.5. Space: 5.5. x-height: 5. Music form: 266—71.5 X 171.5—174 (77—82). Music pages: 17 + . Staves: cast metal rules. N o . per col.: 9. 2. 28 VI 1498, Missale Romanum, 20. Staff: 15.5. Space: 5. x-height: 4.5. Music form: 260 X 174 (83.5-84). Music pages: 38. Staves: 10 staff segments, 8.2 mm wide. N o . per col.: 10 ( + 1 ? ) . 3. 28 VI 1499, Missale Messanense, 2 0 (information f r o m microfilm). Staff (occasionally 5-line): 13.5-14. Space: 4.5. x-height: 3-3.25. Music form: ! 7 7 X I 3 ° (58-60). Music pages: 12 + . Staves: cast metal rules. N o . per col.: 7. 4. 24 VII 1500, Missale Segoriense, 2° (information f r o m a photograph). Staff: 15. Space: 15. x-height: 4. Music form: 260 X 178-79 (84). Music pages: ? Staves: 10 staff segments, 8.2 mm wide. N o . per col.: 10. After 1500: 5. 5 I 1500/1501, Missale Carmelitorum, 20. Staff: 15.5. Space: 5.2. x-height: 4.5. Music form: 260 X 178—79 (84). Music pages: 31. Staves: 10 136

Italian Music Type and Printers

—

-

Punctum 2 I 2.5 22.5

•

X

Lozenge, kerned 1.5

ÏÏ33 É I

2

3

Podatus 1 3 X 6 2 Missale Messanense

Clivis 1 2 stemless

4

5

3 Combined types? 4 Combined types? 5 Combined types?

Diagonal

f

Scandicus 2 stemless

f clef, 1.5 X 7

Virga cum orisco

^ ^

F clef, 1.25 X 10 plus C clef

. ^

Direct (a) bent kern

Bar line (rule)

— J

t

I L

m -

-L.

-

____ I

_____

^

zl

J

m

_

R 2 0 R o m a n Small Missal, 1 0 - 1 0 . 2 5 : 1 . 5 2 X 3.5 Photographs: Missale Romanum, Venice, Johann Emerich of Speier, 15 X 1498; San Marino, Henry E. Huntington Library, 1 0 1 1 9 , fF. lxxvii"-lxxviii.

+

Lozenge

Editions:

Additional sorts, Missale Maioricense ( i s 06)

—

jf

—

I

2

3

*-Û

Clivis

J o h a n n E m e r i c h of Speier.

v

1. 15 X 1498, Missale Romanum, 8°. Staff: 10.25. Space: 3.25—3.5. x-height: 2. Music form: n o X 80 (39). Music pages: 55. Staves: 4 staff segments, 9.75 mm wide. N o . per col.: 7. 2. 6 III 1500, Missale Praedicatorum, 8°. Staff: 10. Space: 3.5. x-height: 2. Music form: n o X 80 (38). Music pages: 34. Staves: 4 staff segments, 9.5-9.8 mm wide. N o . per col.: 6. After 1500:

ji^

Scandicus

Diagonal i s

-sv

Virga cum orisco

4

Virga, 1.5

2

X 3.5

_

Punctum, 1.5

2

F. clef I X 5 plus C clef

Torculus

C clef 0.75 X 3.5

3. 15 III 1503, 23 VIII 1504, Antiphonarium Romanum, 2 0 . R 1 7 is used on f. I4.

Ï

Podatus

* _

Direct

t J

Bar line (rule)

Venice

137

R 2 1 ( M ) R o m a n V e r y L a r g e Antiphonal, 3 2 : 6 2 X Photographs: Graduate Romanum, Venice, Johann Emerich of Speier, 28 IX 1499, 14 I 1500, 1 III 1500; Berkeley, University of California, Music Library, many pages.

'3*5 Staves: varying number of staff segments of two lines (four?), 8, 12.5, 17, and 24 mm wide. N o . per page: 7.

Editions: J o h a n n E m e r i c h of Speier.

45

1. 28 IX 1499, 14 I 1500, 1 III 1500, Graduate Romanum, 2°. Staff: 32. Space: 10.5—11. x-height: 13. Music form: 379—81 X 2 5 6 - 5 7 ( 4 2 7 X 276, with fol. & sig.). Music pages: nearly all of the 386 ff.

2. 15 III 1 5 0 3 , 23 VIII 1504, Antiphonarium Romanum, 2°. Staff: 32. Space: 1 0 . 5 - 1 1 . x-height: 13. Music form: 379—80 X 256—57. Music pages: nearly all of the 238 ff. Staves: varying number of staff segments of two (four?) lines, 8, 12.5, 17, and 24 mm wide. N o . per page: 7, often 8.

Virga 1 6 2 X 13.5 2 4 X 6 X 13.5

•s

138

1500:

After

s.

Italian Music Type and Printers

J3 ti

Punctum

5$ Podatus 1 2 variant 3 4 5

Clivis i n X 11 2 1 1 X 17 3 1 1 X 22 4 10 X 28

Lozenge (a—c) cast in pairs?

Diagonal 1 12.5 X 12 2 1 7 X 28

Clivis, stemless i n X ii 2 1 1 X 17 3 1 1 X 22

Diagonal, stemless 1 12.5 X 12 2 1 7 X 27.5

•t

Torculus

Porrectus

3 stemless 4 stemless

Virga cum orisco 1 1 5 X 11 2 15 X 15

I

Cephalicus 1 5 X 11.5 2 kerned, 5 X

Venice

I

C clef

^ ^

f

F clef

I

V ''

Accidentals i B flat 2 B

flat

3 B natural

4B

"Bis 6

flat

I .f 5 kerned

. ..

-f

b

Bar lines

Semibreve, descending 1

I

V Semiminim 1 5 X 23 2 5 X 16 3 5

140

Italidn Music Type and Printers

Direct 1 15 X 18 2 9 X 9

Stem segment

Time signature

i t

F clef i st half, used as note

x

I

7-5

Semibreve, ascending

Kerned and altered types

HZZ\

1 ÏUÔ e-í:í

Venice

141

Kerned, and altered types

»

? 142

Italian Music Type and Printers

M 5 ft"

•D

Andrea Torresani, R22, R23 on vellum, to the four leaves of a quarto sheet containing the alphabet and prayers in Illyrian or Slavic type, which would have been sold by wandering vendors (colporteurs) in Illyria and Dalmatia. 42 A f t e r his daughter married Aldo Manuzio, Andrea and his son-in-law formed a partnership. H i s later activities focused on publishing rather than printing.

T h e successful printer and publisher Andrea T o r resani ( 1451—1529) carne from Asola to Venice, where he claimed to have learned the printing trade under Nicolas Jenson. In an application for a privilege in 1499, 3 9 Torresani spoke of having been a printer in Venice for twenty-five years, but the first known book to bear his name is a breviary of 1479. 4 0 Fumagalli tells us that Torresani bought Jenson's printing establishment after Jenson's death in 1480. Renouard lists 1 3 8 books under his name to 1 5 0 7 , ranging from such luxury items as the 1496 Missale, of which at least four copies were printed 30 XII 1496 15 V 1497

Missale

Torresani issued two missals with music. A third missal is listed by Weale for the year 1482, but it is probably a bibliographic ghost (see item after D62).

Prdedicatorum,

Missale Romanum, 2

M-B216

0

—

T h e Missale Nannentense ( 1 0 M a y 1482) issued by Biavi, Torresani, and Mapheo de Salodio (Paterbonis) has no space for music (see the item after D 34).

W1823

D137

W 937

D 103

Torresani's first music type has the usual V e netian unpointed and short-stemmed virga. There are no variant stem sizes; when a note is used on the bottom line of the staff, the text is moved down to make room (see Fig. 5 1 ) . T h e punctum is an abutting type that can be set adjacent to text type in the space above or below the staff. T h e lozenge is kerned to fit tightly against another lozenge. Since

38. D. Bernoni, Dei Torresani, Biado e Ragazzoni celebri stampatori a Venezia e Roma nel XV e XVI secolo: cogli elenchi annotati delle rispettive edizioni (Milan: Hoepli 1890), p. 7. 39. Fulin, "Documenti," no. 96. 40. Norton, Italian Printers, p. 155.

42. Antoine Renouard, Annales de I'imprimerie des Aide (Paris, 1834), pp. 2 9 3 - 9 4 .

4 1 . Fumagalli, Lexicon Typographicum, p. 460.

it FIG. 51. Missale Ordinis Praedicatorum. Venice: Andrea Torresani, 30 X I I 1496, f. i8v. Reduced in scale. (Biblioteca Nazionale Braidense, Milan, A L - X I V - 8 . )

J

.

XL

01

f

I i

l

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1

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3 te

„1 1

1

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a Venice

in some places the lozenges are not set close together, there is probably a variant sort. There are three different sorts for the podatus; podatus i abuts the text type in places. T h e type is generally well cut and printed. Some neumes created by combining types are not well designed. For instance, the torculus is poorly balanced, and the bit of line added to form a descending interval of a fifth does not abut the lines it should connect. T h e type is well spaced and easy to relate to the appropriate text syllables. Bar lines printed from rules that are sometimes bent and wavy detract from the visual design of the page. Five months after Torresani used his first large missal plainchant type, he issued the 1497 Missale Romanum with another music type. This second type has a completely different character because of the vertical accent of the long stems on its virgas, diagonals, and F clefs and the points on its noteheads. It uses the same staff of 16 mm printed from metal rules the width of a column. Because of the long stems, variants were needed in more than one

size. T h e podatus has widely separated notes, and the upper one is curved. T h e diagonal retains some of the curve of a pen stroke. T h e lozenge is tilted on its side so that it is easier to have closely joined notes without kerning. T h e virga cum orisco seems out of place among these well-crafted designs, because its stem is on the wrong side. Noteworthy is the similarity in clef designs between the two T o r resani types. T h e short stem of the alternate F clef of R 2 0 does not match the stems of the rest of the type and may have been made with a punch for a quarto type. T h e porrectus is also out of character in the type because of its short stem. T h e reason for the creation of a second large missal type within a year can probably be found in the style of the manuscript copytext provided to the printer. Torresani printed books in the Cyrillic alphabet, and today's provenance records prove that his books were distributed widely east of Venice. T h e single surviving copy of the 1497 Missale Romanum is found today in Ljubljana, Yugoslavia.

R 2 2 R o m a n L a r g e M i s s a l , 16:2.y^ 2 X 5.5 Photographs: Missale Praedicatorum, Venice, Andrea Torresani, 30 XII 1496; Milan, Biblioteca Nazionale Braidense, AL-XIV-8, ff. I19, i8v.

- - •• • (

a

)

Lozenge kerned at left

Edition: Andrea Torresani. 1. 30 XII 1496, Missale Praedicatorum, 2°. Staff: 16. Space: 5.5. x-height: 4. Music form: 258 X 173 (80). Music pages: 27. Staves: cast metal rules. No. per col.: 9.

^

f

,

Podatus 1 2 X 5

A

Virga I 2. 7 2 X 5.5

15

^ ^

2

Diagonal 1 5.5 X 8.5 2 stemless, 6 X 6

3 stem at left

Punctum

"i— fo

Ar

1272 (a) abutting virga 3 2 2 central note of torculus

Italian Music Type and Printers

^

Cclef

tf-

2 X 8

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F clef 1.5 X 9.5 plus C clef

Missale

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r

R 2 3 R o m a n L a r g e M i s s a l , i 6 : z . y y 2 (3.75) X Photographs:

1 "

Bar line (rule)

Accidental: B flat

12

Venice, Andrea T o r r e -

Romanum,

complex neumes.

j

Podatus

Diagonal

sani, 1 5 V 1 4 9 7 ; Ljubljana, N a r o d n a in Univerz-

^

itetna Knjiznica, T i III 1 2 6 7 2 , f. n2 v (xcvii v ).

i 5 X 2

5 X

12.5 10.5

Edition: Porrectus

Andrea Torresani. 1 . 1 5 V 1 4 9 7 , Missale 5.25-5.5.

2 0 . Staff: 1 6 . Space:

Romanum,

x-height:

4.25.

Music

form:

270

X

1 7 6 . 5 ( 8 3 . 5 ) . M u s i c pages: 4 i ( + i set?) Staves: 4

ll r

staff segments, 2 0 - 2 0 . 5 mm wide. N o . per col.: 1 0 .

i

4 «

V i r g a cum orisco, $

C clef

I

1-5 X

j|

Virga 1 2.75 2

2

( 3 . 7 5 with points) X

2 2 - 7 5 2 (3-75)

x

9

3 2 - 7 5 2 (3-75) 4 stem at l e f t

x

6.75

/

5 stem at l e f t

Punctum 2-75

2

Il I

12

(3-75)

stem at wrong side 7

F clef

11X8.5 2 1 X 1 1

;

Lozenge

Direct kerned

(a) tilted to

(a) bent kern

avoid kerning

Bar lines (rules)

Giovanni Battista Sessa, R24 Giovanni Battista Sessa was a Milanese whose family presumabaly came from the district of Sessa, not far from Lugano. H e issued some thirty books in the fifteenth century (one in 1489, four in 1 4 9 1 , the remainder from 1495 to 1500). His last known book was printed in 1 5 0 5 , and he was succeeded by his son Melchior in 1506. 4 3 From an examination of Sessa's types, Proctor concluded that Sessa was a publisher who relied on outside labor for the actual printing of his books, an opinion concurred in by Issac in his study of the twenty-one sixteenth-

43. Norton, Italian Printers, p. 1 5 1 .

century books with Sessa's imprint. 44 N o book is known to have been printed by Sessa. Among those who printed for him in the fifteenth century are Penzio, Vitali, Cori, and Bonelli. 45 Vitali printed the Tractatus Musices (C 5863) for Sessa with music printed from woodcuts. T h e fifteenth-century music books issued under Sessa's name include one quarto and two

44. F. Isaac, An Index to the Early Printed Books in the British Museum, Part 2: MDI-MDXX, Section 2: Italy (London: Quaritch, 1938). 45. B M C V:xliii.

Venice

145

H ¿

X

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FIG. 5 2 .

Missale Romanum.

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V e n i c e : G i o v a n n i Battista S e s s a , 8 X

cxii. (Biblioteca N a z i o n a l e M a r c i a n a , V e n i c e , Inc. V . 7 7 1 . )

146

Italian Music Type and Printers

d e o

—

1 4 9 7 , f.

FIG. 53- Missale Romanum. Venice: Giovanni Battista Sessa, 1490, f. o6(cx). (Henry E. Huntington Library, San Marino, California, 92520.)

? TS tétíapucrtít i u n u . Q u í p c

3

33531

t u r i n t e d í c e n s . I t e docete

octavos. Those examined were printed with the same music type: 8X1497

Missale Romanum, 4 0

M - B 157

1490

Missale Romanum, 8°

M-B 143- W 9 1 4 -

[not after 1498]

160—161

31 VII 1498 Liber Catechumeni, 8° — Another Missale (W 947) is apparently a ghost (see the item after D 1 1 1 ) . Sessa's music type (R24) is almost indistinguishable from Emerich's Roman Small Missal type (R20). It fits the larger staff of the quarto format better then the octavo staff (see Fig. 52), the noteheads generally landing squarely on lines and spaces of the staff. Considerable uncertainty of pitch results from printing the type on the smaller staff of the octavos. T h e music designs are rather small for a quarto (Emerich's designs of the same size were used only for octavos), but the font must have been intended for the larger staff that it fits best. If that is the case, the " 1 4 9 0 " Missale, (an octavo) was probably not the first book to use the type and was printed after the 1497 Missale (a quarto). Sessa's R24 includes a podatus with a smaller upper note and a lower note pointed at the upper left as compared with Emerich's R20, in which two sizes of lozenge are used to create the podatus, one as small as the direct and often confused with it by the compositor. Music type is used less skillfully in Sessa's books than in Emerich's. Impressions of spacing material appear above and below the music (see Fig. 53). The placement of notes on lines and spaces in the octavos is inexact. T h e staff lines of the 1490 [not after 1498] Missale vary a good deal in width and in distance from each other (3.5 to 4.5

46. See the colophon, which mentions the bull that was issued: "Tempore sanctissimi Alexandri sexti papa qui princepit festum Aurelii Augustini solemnizare sicut festum unius apostoli" (In the reign of the most holy Pope Alexander V I [ 1 4 9 2 - 1 4 9 8 ] on the feast of Aurelius Augustus, celebrated at the level of a feast of one apostle).

W939

D 105 D 112

943 L B 725

D 19

mm) and occasionally break slightly; I suspect they were printed from woodblocks. The staves in the other books are printed from cast metal rules of 9.8 to 10 mm, the technique also used by Emerich. Sessa's Liber Catechumeni illustrates how poorly music type can be composed (see Fig. 54). On various leaves many sorts are printed upside down (virga, direct, diagonal, liquescent virga, C clef, F clef). T h e direct is often substituted for the lozenge in the climacus, the neume composed of a virga followed by descending lozenges. The pieces of music type are jammed together as closely as possible with practically no bar lines. A glance at a page of a Liber Catechumeni by Emerich, the only other printer to have issued that title in the fifteenth century, proves him to have been a much more careful printer. His neumes are carefully spaced over words that are themselves widely spaced so that there is no difficulty in knowing to which syllable a neume belongs. Evidence to date does indicate, as Proctor suggested, that Sessa himself probably was a publisher rather than a printer, 47 and the appearance of a type of a certain printer in his books has been taken to indicate that that man was the printer. The text type used in the 1490 [not after 1498] Missale, is like that of Bonelli, 48 but the text type is not necessarily a key to the music printer: the music could have been printed in another shop. Despite the similarity between Sessa's R24 and Emerich's R20, I do not believe Emerich to be the printer of the music in

47. Proctor, 1: part 1, 367. 48. B M C V:479, 4 8 1 .

Venice

147

S e s s a ' s b o o k s . S e s s a ' s music type does vary f r o m IM

•1

r ornine

» ubi

. v."

P qfi

ueuc I

«"

a

J

pir>

racabfcö

ns ludica

E m e r i c h ' s in many small ways, and the s t a f f technique in S e s s a ' s books is not always appropriate to re terri

the type. T h e quality o f the S e s s a music printing is p o o r e r than that in any o f E m e r i c h ' s books. C e r tainly E m e r i c h is unlikely to have printed the text,

'

^

V

dà auulruire

since he never used roman type, which appears in tu

e.

FIG. 54. Liber Catechumeni. Venice: Giovanni Battista Sessa, 3 1 V I I 1498, f. D6 V . (Biblioteca Nazionale Braidense, Milan, Gerii Inc. 68.)

each o f S e s s a ' s music books. Similar music type could have been supplied to printers by a V e n e t i a n type p r o d u c e r who provided each printer with the specific c h a r a c t e r s n e c e s s a r y f o r the music in his b o o k in a body size o f his specification, leaving the printer to supply his own s t a f f material. I f such a type p r o d u c e r designed a small plainchant font f o r E m e r i c h , he may have provided a f o n t o f the type on a l a r g e r body to the printer(s) o f S e s s a ' s books.

R 2 4 R o m a n M e d i u m M i s s a l , i$:i.62 X 4 Photographs: Missale Romanum, Venice, Giovanni Battista Sessa, 8 X 1497; Venice, Biblioteca Nazionale Marciana, Inc. V . 7 7 1 f. C X I I . Missale Romanum, Venice, Giovanni Battista Sessa, 1490 [not before 1 4 9 3 , not after 1498}; San Marino, Calif., Henry E. Huntington Library, 92520, ff. o5"-o6. Liber Catechumeni, Venice, Giovanni Battista, 3 1 VII 1498; Milan, Biblioteca Nazionale Braidense, Gerii Inc. 68, ff. D 6 - D 7 .

Lozenge 1 2 equals direct

Punctum, 1.5 2

£

Clivis 13 X 23 X

•

Podatus

Editions:

I

' — '

2

G i o v a n n i Battista S e s s a . Diagonal ^ 1 3 X 4 2 stemless

1 . 8 X 1497, Missale Romanum, 4 0 . Staff: 1 3 . Space: 4.4. x-height: 2.25. Music form: 167 X 1 1 2 ( 5 2 . 5 - 5 3 ) . Music pages: 5 1 . Staves: 5 staff segments, 10.25 m m wide. N o . per col.: 8.

3

2. 1490 [not before 1 4 9 3 , not after 1498], Missale Romanum, 8°. Staff: 11.5—12.25. Space: 3 . 5 - 4 . 5 . xheight: 2. Music form: 136—38 X 84—86(40-41). Music pages: 53. Staves: woodblocks? N o . per col.: 7.

SI

3. 3 1 VII 1498, Liber Catechumeni, 8°. Staff: 12.4. Space: 4 . 1 . x-height: 2. Music form: 1 1 7 X 70. Music pages: 50. Staves: 7 staff segments, 10 mm wide. N o . per page: 6.

Virga I 1.6 2 X 4

3

4

4 stem at left

Italian Music Type and Printers

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2

-5

Vir& a cum orisco

C clef I X 3.5

4>

x

A

^

1*

Direct (kerned) (a) broken kern

Torculus

Liquescent neume?

F clef i 3 x 3 - 5 2 1 X 6 plus C clef

Bar line (rule)

Giorgio Arrivabene, R25 Giorgio Arrivabene (or Rivabene, also known as Parens) came from Cenneto, about halfway between Mantua and Cremona. His first printed book contains music. It was the octavo Missale Romanum of 1483, printed in partnership with Bernardino Benali and Paganino Paganini. His second book was the Ojficium (25 April 1484) printed by the same group of three. In 1484 Arrivabene be4 XII 1483 or 29 I 1484 27 IX 1484

gan printing in partnership with Paganini (1484—1486, 1488) and issued his second Missale Romanum, a folio edition that exists in copies with and without music. During a period of printing alone, he issued his final book with music, another folio missal. From 1509 to 1 5 1 5 he printed for the heirs of Ottaviano Scoto ("Haeredes Octaviani Scoti").

Missale Romanum, 8°

M - B 129

W 884

D 63

W 889

D 67

W 950

D 115

Benali, Arrivabene, Paganini Missale Romanum, 2 0

M - B 132

[Benali f o r ? ] Arrivabene, Paganini 29 V 1499

Missale Romanum, 20

The first Missale uses Benali's R5, and he probably did the printing, whereas Arrivabene and Paganini acted as publishers. T h e folio Missale Romanum of 27 September 1484 published by Arrivabene and Paganini uses R6, a music type that had appeared a month earlier in Bernardino Benali's folio Missale Romanum ( 1 5 August 1484). Because of Benali's earlier independent venture, I have attributed the music printing of the 1484 Missale to him as well. One extant copy of the 1484 Missale of Arrivabene in the Vatican Library contains printed staves without plainchant notes. T h e music could have been printed in Benali's shop for Arrivabene and Paganini, who apparently sold copies with or without printed music. T h e first signature to contain music contains missignings that support an interruption of the normal printing sequence. Signature g contains music on f. g2 r v. In at least four copies, the following leaf, g3, is mis-signed as I13, and g4 as 114. Such mistakes could result from the division of labor between two shops: one compositor finished f. g i , omitted the first folio with music, and began his next black form with a new signature letter by mistake. Only one other mis-signing occurs in the book, f. y3 as y. In 1499 Arrivabene issued a beautifully printed folio missal in a new music type that has a slightly pointed virga with a long stem and at least four vari-

M - B 165

ants for different heights on the staff. A virga with a stem on the left is used for a variety of neumes, including the clivis (with the stem pointing either up or down), climacus, and scandicus. There is a striking design for a porrectus (Fig. 55). The stemmed diagonal is frequently printed with irregularities on the right upper edge, suggesting that the sort was created by filing down the last note of the porrectus. The stemless diagonal often has a stub of a tail, so it may have been produced by filing as well. T h e existence of kerned sorts is apparent when the close juxtaposition of types shows that their bodies overlap. T h e lozenge can be printed in very tight groups and sometimes intrudes on the body of the following type (see Fig. 55, col. 2, staves 1 and 5). T h e podatus may have been made as a type that was kerned at the top. On f. p4, col. 1, staff 4, where it is printed on the top line of the staff, it extends into the area of text type. Since the text type is printed just after the note, the evidence is inconclusive. A t least one version of the C clef is kerned at the top (f. h8v) for use on the top line of the staff. T h e punctum may have a kerned face, because it appears at times to overlap the left-stemmed virga of the clivis and the outer notes of the torculus (f. 94 v , col. 2, staff 9). Other evidence for kerned typefaces is the bent end of both sizes of direct. T h e sizes of the locked-up form for the red and black

49. P. Tentori, "Arrivabene," Dizionario biografico degli italiani 4 (1962): 3 2 4 - 2 5 .

Venice

149

befano ti fertiô duplici b. tip carbolicamfufïcnrautt* re tit.®

intona in acci fi8t>e o*

felirtäriöoctous träft

tus cui totiud cclclite curie ercrcttu5 obutaufoßtideo gaudeteleuafarçanselis: Icraturcu arcbägclts: eberu

mif fa ciìf ni in e xm no t> u p Hub im: -

-

s i s © loua in crcdfis oc ò v » " V -¿i: | Ì te sitszzz: miflacft. 3nmatonb icniicinpi 6 3 lo it a in ercellte t>c o . e?*" 1 1 X te nrif fa cfc 3n nnnoub icmictupacit) —

bin quoqsacferapbimqm no ccifantquoridtcvna vo

. ». 8 V t u b •

—i-

ccclamarebiccrco• Sctifa*

FIG. 55. Missale Romanum. Venice: Giorgio Arrivabene, 29 V 1499, f. P3V. (Biblioteca Nationale Marciana, Venice, Inc. V . 1 0 5 . ) 150

Italian Music Type and Printers

impressions are identical in the editions in which Arrivabene used cast staff lines; to get the direct within that form, the end of the sort is kerned (for examples of printed directs with bent kerns, see Fig. 55, col. i, staves 2, 7 and 8). Such kerning also allows both sizes of direct to be used on the top line of the staff, where it extends into the area of text type (f. m4). T h e stem of the long virga is often bent at the tip. Though much smaller in number of punches,

Arrivabene's 1499 large missal type uses many of the idiosyncrasies of kerning that we see in Emerich's larger plainchant type, which appeared just four months later, in the Gradúale Romanum (the first section is dated 28 September 1499). That a single craftsman designed and cut punches for both types is not improbable, though several compositors must have been available in Venice to set the type for the books with music that were issued from several printing establishments.

R 2 5 R o m a n L a r g e Missal, 1 8 : 3 . X 1 1 . 7 5 Photographs: Missale Romanum, Venice, Giorgio Arriv-

Punctum

abene, 29 V 1499; Venice, Biblioteca Nationale Marciana, Inc. V . 1 0 5 , ff. 1114, p3 v -p4) (slightly larger than actual size).

Lozenge

Edition: Giorgio Arrivabene. 1. 29 V 1499, Missale Romanum, 2°. Staff: 18. Space:

n-

Virga 1 3-5 2 X 1 1 . 7 5 2 3 . 5 2 X 9.5 3 3-5 X

?

3

- 4 -

fftf

V.rg.:a cum orisco

Porrectus 1 4 X 6

V

4 stem at left, 3-5 2

x

9 X 2-5

t -

r v

k

(a) filed 1 ? (b) filed 1 ?

"75

y

C clef

Diagonal

Podatus

5.5. x-height: 5. Music form: 262 X 180 (84.5). Music pages: 46. Staves: 3 staff segments, 23 mm wide, plus one of 1 5 . 5 mm. N o . per col.: 9.

Direct 1 4 X 7 2 2.5 X 5

F clef 9-5

x

1

-75

Bar line (cast type?), 23

Venice

vili. Milan

Christoph Valdarfer, Al, R26

Christoph Valdarfer of Regensburg began his activity as a printer in Venice. During 1 4 7 0 and 1 4 7 1 , several books were issued there under his name. H e had already applied in 1 4 7 0 for permission to establish at Milan a printing shop with twelve employees, but his request was turned down because a monopolistic privilege had been granted to the publisher Panfilo Castaldi with Antonio Z a r o t t o as printer. A f t e r Castaldi's departure from Milan in 1 4 7 2 , Valdarfer came to Milan to print books for Filippo di Lavagna and Cola Montano, a humanist cleric, using two presses and the roman type of a specimen sheet attached to the contract of August 1 4 7 3 . 1 A f t e r a period of active printing in Milan between 1 4 7 4 and 2 1 February 1 4 7 8 , Valdarfer next appears in Basel, on 28 July 1 4 7 9 , as an employee of the printer Bernhard Richel. 2 A t the end of the 1 4 7 0 s , diversification from a declining market for classical literature to a growing market for liturgical books is apparent in the output of Milanese printers such as Z a r o t t o and Pachel. It may be that Valdarfer deliberately sought employment with Richel to participate in that diversification, that is, in order to learn how to print missals and in particular the music necessary for a proper edition of the Ambrosian missal. Reform-minded cathedral canons were preparing revised editions of A m brosian liturgical books (missal, breviary, psalter,

1. Fumagalli, Lexicon Typographicum, p. 2 1 4 ; Geldner, Inkunabeldrucker, 2: 109—12; B M C V I : xxvi. 2. Valdarfer is described as the employee of Bernhart the book printer ("Kristoff von Regennspurg Herrn Bernhart Buchtruckers Diener"). See B M C V I : xxiii.

152

ritual, litany) despite tepid interest on the part of the archbishops of the time. Valdarfer's work for Richel during the period when that printer issued his first two missals, including one with music, gave him familiarity with the skills necessary for liturgical printing. Richel's Missdle Basiliense of 1480 or 1 4 8 1 was the first transalpine book to print music in two colors: black notes on red staves. 4 T h e music type was less complex than that used in the first known printed music, the Graduale completed about 1 4 7 3 , probably in southern Germany.

Richel's

gothic plainchant type, a small type of about seven punches, contained a virga, lozenge, clivis, C and F clefs, and two sizes of directs. A f t e r his death in D e cember 1 4 8 2 , his music type was reused in Basel by Wenssler, with some additional punches, for two 1488 graduals. Valdarfer took back with him to M i lan two of Richel's text types, but not his music type; Richel's gothic plainchant type would not have been appropriate for the Ambrosian chant of Milan or the roman chant notation used in Italian Roman missals. Exactly when Valdarfer returned to Milan is not clear. O n 9 M a y 1 4 8 1 Angelus de Artio's Super Prima Parte Institutionum appeared under Valdarfer's name f o r the publishers P. A . Castiglione and Lavagna, but that book is described by Scholderer as printed by Pachel and Scinzenzeller with Valdar3. E. Cattaneo, "Istituzioni ecclesiastiche milanesi," in Storia di Milano, 17 vols. (Milan: Fondazione Treccani degli Alfieri, 1953—1966), 9: 5 4 0 - 7 2 . 4. Arnold p. 1 7 1 .

Pfister,

"Vom

frühesten

Musikdruck,"

{

a

K

a

m

u

l ì 1144!

i

nàrc, Qui pro nobis eterno pf i

iV 1 1 1 •

tit I m I

filioe yfrael edu
ulce lignusoulcoula

FIG. 62. Missale Ordinis Carmelitarum. Brescia: Bonino Bonini, 14 V I I I In vniuerfo mundo 1490, f. m4 (88 ). (Biblioteca Nazionale Braidense, Milan, A K - X I I I - 2 2 . ) uosDulcepöd^Aiftinef* v

v

l u s t r a t e d l e a f r e v e a l s the d i f f i c u l t i e s o f setting b l a c k

be at the t o p o f the p a g e , b u t by the middle o f b o t h

n o t e s a n d t e x t a n d red staves a n d text in s e p a r a t e

c o l u m n s it is t o o low.

f o r m s . T h e b l a c k is p r i n t e d e x a c t l y w h e r e it should

R 3 1 Roman Large Missal, i5~i6:32 Photograph:

Missale

Carmelitarum,

X

n

Brescia,

220 X Bonino

Bonini, 14 VIII 1 4 9 0 ; Milan, Biblioteca Nazionale Braidense, A K - X I I I - 2 2 , f. m4 v . Edition: Bonino Bonini. 1 . 14

VIII

1 4 9 0 , Missale

Carmelitarum,

2°.

Staff:

1 5 - 1 6 . Space: 5 - 5 . 5 . x-height: 4. Music form:

172

Italian Music

Type and

Printers

138—40 (63—65). Music pages: 36. Staves:

metal rules. N o . per col.: 9.

51

T

Virga 1 32 X 2

3

2

11

X 8.5

3 3 2 X 6.5

Punctum, 3

Hl

/

2

Lozenge

fi i

Podatus 2 (also reversed)

Liquescent neume

C clef, 8 X 2 (also reversed)

t

F clef, 1 1 X 2 plus C clef

Diagonal

4

I *

I Direct

Virga cum orisco

Bar line (rule)

«r Giacomo Britannico, R32 A f t e r printing in Venice from 1 4 8 1 to 1484, Giacomo Britannico returned to his native city of Brescia, where he and his brother Angelo began issuing books in association in 1 4 8 5 , practically monopolizing the trade in that city. T h e i r books were primarily small, inexpensive volumes in gothic types: their fifteen types included eleven gothic, one roman, two G r e e k , and one music. T h e devices of the brothers indicate that Giacomo was the printer 1 IX 1 4 9 2 27 VII 1 4 9 7 3 IX 1 4 9 7 23 IX 1 4 9 7 3 IX [ 1 5 0 0 ]

and A n g e l o the business agent. A Venetian privilege for a small gothic type ("parva f o r m a " ) indicates that they made or commissioned their own types. 3 T h e brothers had their paper made especially for them, with their own watermark. T h e y issued four of the sixteen known Italian incunabula of music theory (with music printed from woodcuts) and one missal (with music from movable type):

Missale Romanum, 2 0

G . &C A . Britannico

D 90

Bonaventura da Brescia, Breviloquium Musicale, 4 0

A . Britannico

D 3

Bonaventura da Brescia, Regula Musicae Planae, 4 0 A . Britannico

D 4

Franchino G a f f u r i o , Practica Musicae, 2

0

Bonaventura da Brescia, Regula Musicae Planae, 4

2. Fumagalli, Lexicon Typographicum, pp. 7 9 - 8 3 .

p. 52; Veneziani,

0

A . Britannico

D 13

A . Britannico

D 5

3. A . Sartori, " D o c u m e n t i padovani sull'arte della stampa nel sec. X V , " in Libri e stampatori in Padova: Miscellanea in onore di mons. G. Bellini: tipografo, editore, libraio, ed. Antonio Barton (Padua: Tipografia Antoniana, 1 9 5 9 ) , doc. 16, " S t a m p a t o r librorum."

Brescia

:

"i t i . tosta in er edfisdco*

giffeftititrari^ marie m$i#*

FIG. 63. Missale Romanum. Brescia: Giacomo Britannico and Angelo Britannico, 1 IX 1492, f. 08. (Biblioteca Nazionale Centrale, Florence, Inc. P.2.31.)

i E v ^ i m a m -•f I §MWimmtib? fcmiéhmiûzi It is assumed that the brothers issued all these books in association, whether or not the colophons mention both their names. Gaffurio's Practica Musicae was reprinted for Angelo by Bernardino Misinta in 1502 and 1508. 4 Angelo died in 1 5 1 7 , and Giacomo in 1 5 1 8 or 1 5 1 9 . 5 T h e music type of the folio missal of 1492 is much more fluid and vertically accented in design than most Venetian fonts. The diagonal is curved, and there is a slanted notehead on the first note of the climacus or clivis. The pointed virga with small notehead and long stem looks much less solid than Emerich's or Hamman's square, short-stemmed

4. Barezzani, " I Britannico," p. 157. 5. U . Baroncelli, "Britannico," Dizionario biografico degli italiani 14 (1972): 339—44.

174

Italian Music

Type and

Printers

virga. T h e top note of the podatus is slender and pointed and gives a vertical accent to the design. T h e F clef has a long stem. The 20 mm staff provides a spacious field for the notes; only two printers, Han and Odo, used a larger staff for a large missal type. The Britannico music font has few kerned types or closely abutting characters. The printer had difficulty in handling notes at the top and bottom of the staff and resorted to using notes cut in half (see type specimen: podatus top note, lozenge, punctum, top part of C clef 2), while others were roughly trimmed to fit next to the body of the text type. If the F clef is on the top line of the staff, the second part of the sign is omitted. Thus, despite its felicity of design the Britannico font lacks the advanced techniques of kerned and abutting types that are necessary for setting music close to text type.

R32

Roman Large Missal, (3) X

19.5-20:2 X 2.5

10

Photograph: Missale Romanum, Brescia, Giacomo and Angelo Britannico, i IX 1492; Florence, Biblioteca Nazionale Centrale, Inc. P . 2 . 3 1 , fol. 08. Edition: G i a c o m o B r i t a n n i c o ( A n g e l o Britannico).

Podatus i 2

i

1 . i IX 1492, Missale Romanum, 2°. Staff: 19.5. Space: 6.5. x-height: 4. Music form: 238 X 1 7 0 (79). Music pages: 38. Staves: cast metal rules. N o . per col.: 9.

(a) inverted

_

2

2a

Diagonal Virga i 2 X 2.5 (3) X 10 2 2 X 2 . 5 ( 3 ) X 8-5 3 2 X 2.5(3) X 5

lì 1

2

ï5

2 X 2 . 5 ( 3 ) X 15 5 2 X 2.5(3) X I 2 . 5 6 2 X 2.5(3) X 7

4

J —

±ÌL

7 angled head (first part of clivis) 8 with punctum

Punctum, 2 X 2.5 (3 with points) i pointed

5

Bivirga (?)

Jr E »

C clef (a) variant for top line

F clef; (a) without C clef

(a) without points (b), (c) variants for top line i

a

b

c • Lozenge (a) variant for bottom line (b) variant for top line

^Direct (a) kerned

Bar line (rule)

Brescia

xii. Naples

Christian Preller, R33

Christian Preller of Bavaria printed in Naples from 1487 to 1498, with an excursion to Capua in 1489 at the request of the archbishop, to print a breviary for local use. H e specialized in liturgical books—ten of his eighteen editions are religious — a n d used only [ca. 1490]

gothic types. None of his signed books contains music. A missal with music, printed without a colophon, is attributed to him on the basis of the text type and printer's device, the initials of which suggest as publisher Antoine Gontier: Missale Romanum, 2C M - B 130 W 8 8 7 D83 [Naples, Preller for Gontier?]

T h e date has been assigned because of the identification of the type as Preller's no. 1, used in an edition of the Officium BMV (Naples, 1490). 3 Preller's music type has as common note a virga with a stem of medium length. Variant forms of the virga provide two alternate, shorter stems, plus a punctum for the bottom line of the staff. The unusual C clef has a descending line at the bottom of the C. T h e direct is identical with the F clef; its design is the reverse of the usual Venetian style, with the note at the right instead of the left of the line pointing to the next staff. The design is vertical instead of slanted so that the direct can be set completely within the column of type without the usual shortening of the pointing line or kerning used in many fonts. T h e visual impact is weakened by the line pointing up instead of forward. If the direct must be set on the top line of the staff, a variant is used without the vertical line. The upper notes of

1. Marco Santoro, La stampa a Napoli nel Quattrocento (Naples: Istituto Nazionale di Studi sul Rinascimento Meridionale, 1984), pp. 3 1 - 3 2 . 2. Fava and Bresciano, La stampa a Napoli, 1: 1 0 3 - 4 . 3. Sander 4753.

176

both podatus 1 and podatus 2 are curved in a fashion not seen in other Italian fonts. Preller's music type is well cut and printed. The unpointed rectangles, lozenges, and diagonals have straight edges and clear angles. T h e lozenge is slightly kerned, so groups fit closely together (though not as closely as those of Emerich). Because many types are cast as abutting designs, neumes may be formed by combining sorts; some combinations are more successful than others (see Figs. 64 and 65). The bar line is exactly the height of the staff and is a cast piece of type. If the type was cut in 1490 or before, it is the most sophisticated font used in Italy to that date.

1» FIG. 64. Combined types as used in Preller's Missale Romanum.

uVMI i l M - M ¡4-4-4- 4 -

T

- M -

at

«»!

•

M l

1

n

n

r

_ T

n a t o e d J r e m u —» — j r J — 1 . 1 . 1 1 —

-

i

r

— at i

* o t d i a t e a . C e U

T f -

crtozifcfc

v i i

i

wstts ac b e a t a

: C e

tniifa

7Tf¥

n * n

fcrapbin.fo

a

I o n «

in

tree]

I

rntiratione I

r

1

•

q u i p ^ i o o ll« •

•

c o n c e l e b i f o C i •

a

is-

mttTa a r t r

ss~.

„oil

MJ 4H

IB T

1

ML. ^ T i"

FIG. 65. Missale Romanum. [ N a p l e s : Christian Preller for Antoine Gon tier?, ca. 1490], f. n i . (By permission of T h e H o u g h t o n Library, H a r vard University, Cambridge, Mass.)

R 3 3 R o m a n L a r g e Missal, 12.5:2.25 2 X 6.5 Photographs: Missale Romanum [Naples: Christian Preller, ca. 1490}; Cambridge, Mass., Harvard University, Harvard College Library, Houghton Library, microfilm of music pages. Edition:

Clivis

5

Scandicus

[Christian P r e l l e r ? ] 1. [ C a . 1 4 9 0 ] , Missale Romanum, 2 0 . S t a f f : 1 2 . 5 . Space: 4-25x-height: 3. Music form: 1 8 8 X 1 3 3 ( 6 1 ) . M u s i c pages: 3 4 . Staves: metal rules. N o . per col.: 9.

t r

ÎÇ

Virga

Punctum

Î

2.25 2 2.25

X 6.5 X

Ï

3 4

Lozenge

Podatus

Italian Music Type and Printers

Diagonal used only in combined types

H

C clef, 1.25 X

11.25

F clef I 1.25 X 6.5 plus C clef UL

2

I

Direct

xiii. Incipient Music Type

Francesco Benedetti and Guillaume Le Signerre

T w o such music-alphabetic types or "incipient" music types are those used by Le Signerre at Milan in 1496 and by Francesco Benedetti, called Plato de Benedicti, at Bologna in 1 4 9 1 . While they contain a few sorts of music type, those sorts do not face the problem of printing at various heights on a musical staff. They are therefore not to be de-

scribed as actual music types. Other such incipient type may have gone unobserved in my investigation of Italian printed incunabula; the two here described are noted as an adjunct to the inventory of music types capable of being printed as part of actual notated music. Francesco Benedetti printed in Bologna from 1482 until his death in 1496; he issued one undated book in Venice. Among the praise he received for his printing is the comment of the music theorist Nicolo Burzio ( D 8) in an illustrated history of Bologna: " I f you find an error it is the fault of the author, not the printer." 2 Comments in his colophons on the types (for example, "pulcherrimus caractheribus") suggest that he was responsible for designing his own types. Spataro's Honesto Defensio was printed at Bologna on 16 May 1491 by Benedetti with printed musical characters for the punctum, B quadratus t] (see also Figs. 18—19), a n d time signatures (O and C). T h e time signatures were actually the capital O and C of the alphabetic font used to denote duple meter or triple meter, the latter by adding dots to the capital letters in a manuscript hand. A stem would be added in manuscript to the printed square of the punctum to form the long. Space was left blank for other notes to be filled in by hand (see Fig. 66). During his first year as a printer in Milan, Guillaume Le Signerre completed a music theory book by Gaffurio entitled Practica Musicae (30 Septem-

1. Robert Proctor, The Printing of Greek in the Fifteenth Century, Bibliographical Society Monographs 8 (Oxford: Oxford University Press, 1900), pp. 1 3 - 1 4 .

2. A . Cioni, "Benedetti, Francesco," Dizionario biografico degli italiani 8 (1966): 252; B M C V I : 8 2 1 .

Music theory books sometimes make reference to music characters in passages in the text of the book. This forced early printers to create alphabeticmusic types, in much the same way as they had to create Greco-Latin types for Latin books with Greek passages. Since the music was to be printed in a line of text rather than at various heights on a musical staff, these music characters were cast on the same size body as the text type. Proctor described the Greco-Latin types as "clumsy in form and wild in employment," made by workmen accustomed to Latin types who applied their technical knowledge and practice to the production of Greek forms in a Latin spirit.1 T h e same may be said of music-alphabetic types. Frequently the music designs were improperly aligned, vertically or horizontally, with the alphabetic characters and lacked components such as stems. Printed musical characters were often supplemented by manuscript additions, such as the stem on the long and the dots within the time signatures O and C in Fig. 66 or by new musical characters not cast in type, such as the breve and semibreve of the same Figure.

179

et i l . C . T o n n o p u c t a t i f i g n i f i c a n o l a ^ f a t i u c m a z o r c e f é n o f o n puctati f i g n i f i c à o la m i n o » « A d i i c h a

que

f t l O g n i » © . ( T . f e c u n d o t e f j g n i f i c a n o Sa m i n i m a q u t f c i . O ^ C . U I e m i b f t t i c i « c u f l i né! quarto d o del p o n e t e die* c h e f e fi

mette

fra d u e

e

parlan

minime

la

p r o l a t i e n e e m a g i o r e t m a p e i c h e tu uolitti tifare de li t e r m i n i d e m a e f t r o B a r t o l o m i o d o n i t i i d i r e c h e t u ti q u e l l i q u a t t o t i g n i l i g n i f i c a n o l a p r o l a t i o n e

mino

r e : m a li p r i m i d u i l a d i m o f t r a n o p e r f e c t a e t a l i h o r a la f e m j b r e u e u a ì e tre m i n i m e l e netli alrti d u i i m p e r f e era et a l i h o r a la f c m i b r e u e naie d u e m i n i m e ; m a p e r c h e u a i r o b a n d o d a d i u e r f i a u c t o n e n o n i n t e n d i ttie h i in m o l t e c o n t r a d i c t i o n e . 1 t e m i o ti a d i m a d o d a p o che hai meiTo.de nerbo a d u e r b u m . l o

rer/o.quarto:

e q u i n t o c a p i t a l o d e J o h a n n e s , t i c r r u i n s c h c U d ì dire, q u e l l o c h e tu dici /.oe Q u a re p o f T u m u s i n t e r p e t r a r i t r i p l i c e m eflfe d i u i f i o n e m m o d i . f • p e r f e c t i o n i s e t p r ò t a a o n i s . M a certo i o c r e d o d o u e t u dici

perfectionis

itogli dire temporìsie fe p u r n o i dire ctifii n o n Uj dire triplicem : m a u n a

doue

perche t u f f i poteri,o dire

quatto infra !ógeibreue:fcmibreue:c minime.

3rem

nel q u a r t o c a p i t u l o tu dici c h e f i r n i l i s a n t e limile

no

p o e f l e r i m p e r f e c t o s c o m e d i c e la s e g u l a ; b e n c h é

fia

m a l dicto: perche n o n d o u i u i dire n o n p o e

ma

fiere;

n o n d e u c citerei e t u f r e f l o nella f i g u r a re c o n tradì ci: • p e r c h e f a i l o c o n t r a r i o m q u e f t o m o d o - M * ? it ! §

Éf

E . h l

FIG. 66. Giovanni Spataro, Honesto Defensio. Bologna: Francesco Benedetti, 16 V 1 4 9 1 , f. E i . (Bibliothèque Nationale, Paris, Rés. V . 1498.)

ISO

Italian Music Type and Printers

ber 1496) for the publisher Giovanni Pietro de Lomazzo. A brother also named Guillaume joined the printing establishment in 1498. It is not clear which of the two was born in Rouen about 1453 or which died on 8 September 1523. 3 Lomazzo is an important figure in early music publishing. H e had published two other theory books by Gaffurio, the maestro di cappella of the Cathedral of Milan: the Theorica Musicae printed by Mantegazza, and the Trattato vulgare del canto figurato as written down by Caza, printed by Pachel. 3. Norton, Italian Printers, p. 45; Dona, pp. 7 2 - 7 3 ; Sandal, Editori e tipografi, pp. 1 1 - 1 3 .

The music illustrations in Le Signerre's book are printed from woodcuts that are a model of design and execution; they have been discussed in Chapter I V , above. In addition, four sorts of metal music type are used to print the scattered notes in the text of the book, a punctum, virga, B naturalis t j , and a Greek gamma for the note "gamma ut." T h e designer of the text type apparently simply added the music characters to the punches for the regular font, and they were cast on the same size body as the text type.

Incipient Music

Type

xiv. Directory of Type Specimens

Type

Printer, Type Name, Size

First Appearance

Specimen Page

Rome Ulrich Han (Stephan Planck) Ri

Roman Large Missal 22 16 o r — : 2 . 5 2 X 7.5

12X1476

87

1 0 I V 1477

93

21 III 1480

101

31 VIII 1482

104

28 XI 1482

105

4 XII 1482/1483

108

15 VIII 1484

109

27IV 1487

112

13 V 1497

113

Parma Damiano Moilli and Bernardo Moilli R2(M)

Roman Mensural Very Large Antiphonal 5 5 : 92 X 2 1 - 2 2

Mi

Venice Theodor Franck of Würzburg Mensural (White) Medium : 2 2 ( 2 . 5 ) X ,3

J

Ottaviano Scoto R3

Roman Large Missal I

R4

R5 R6

R7 R8

182

_I

4-5 5 = 3

2 x

11

Roman Medium Missal 1 1 . 5 - 1 2 : 1.5 2 X 4.5 Bernardino Benali (Piero di Piasi) (Giorgio Arrivabene) Roman Small Missal 10.25 : 1.25 2 X 4 Roman Medium Missal 10.5—11.25 : 1.8 2 X 5 Simone Gabi, called Bevilaqua Roman Large Missal 13.5 : 1.5 2 X 8 Roman Small Missal 1 0 - 1 1 . 5 : 1.5 2 X 3.5 Francesco Girardengo. See Pavia.

Type

Printer, Type Name, Size

First Appearance

Specimen Page

Vertice, cont.

Johann Hamman R9

Roman Large Missal 18-19 17 o r — — : 3.5 X 7

Rio

Roman Small Missal

15X1488

117

29I1492/1493

118

5 VI 1497

119

1 3 I X 1498

120

29X1489

122

31X1489

123

15 XII 1489

124

10IV1491

127

29 III 1494

128

2

1 0 - 1 0 . 5 : 1.75 (2) X 3.5 Ri 1

Roman Medium Missal 16 : 2.2 5 2 X 8

Gì

Gothic Medium Missal 15:3 X 7 Battista Torti

R12

Roman Medium Missal 12.5 : 1.5

2

X 5

Cristoforo de Pensi Ri3

Roman Medium Missal 1 3 . 5 - 1 5 : 2 2 X 5.5 Teodoro Ragazzoni

R14

Roman Large Missal I

R15

4 - 5 - I 5 = 32 x 1 1 Rainaldus de Novimagio Roman Small Missal 9-11 : 2 Filippo Pinzi

R16

2

X 5

Roman Large Missal 17.25 : 3 X 2.5 X 6.5

R17

Roman Medium um Missal Miss 19—20 X 8.5 5 Johann Emerich of Speier

16 III 1495

129

R18

Roman Medium Missal

13 VIII 1494

135

14 VII 1496

136

15X1498

137

28IX 1499

138

30 XII 1496

144

15 V 1497

145

8 X 1497

148

29 V 1499

150

14—14.5 : 2 R19

2

X 4.2

Roman Large Missal 1 5 . 5 - 1 7 : 2. 5 2 X 6

R20

Roman Small Missal 10—10.25 •

R21 (M)

* 3-5

Roman (Mensural) Very Large Antiphonal 32 : 6 2 X 13.5 Andrea Torresani

R22

Roman Large Missal 16 : 2 . 7 5

R23

2

X 5.5

Roman Large Missal 16 : 2 . 7 5 2 (3.75) X 12 Giovanni Battista Sessa

R24

Roman Medium Missal 13 : 1.6 2 X 4 Giorgio Arrivabene

R25

Roman Large Missal 18 : 3 . 5

2

X 11.75

Printer, T y p e Name, Size

Type

Ai

Milan Christoph Valdarfer Ambrosian Large Missal

Specimen Page

15 III 1482

r55

I IX1482

I55

28 IV i 4 8 6

158

4 VII 1492

J 59

27 Vili 1499

159

I

III 1488

164

I

IV 1484

168

20 III 1487

169

14 Vili 1490

172

IX 1492

!75

[ca. 1490]

177

16 V 1 4 9 1

179

30 IX 1496

181

I3-75_I4-5 :

R26

R27 R28

3 Roman Large Missal 14.5 : 2.5 X 2 Leonard Pachel (Ulrich Scinzenzeller) Roman Medium Missal 15 : 2.5 X 2 X 7.5 Roman Medium Missal

First Appearance

13 : 2 2 (2.5) X 7.5 Ambrosian Medium Missal

A2

13 :

A3 (R)

R29

3 Antonio Zarotto Ambrosian (Roman) Medium Missal 12.7-13 : 2 2 X 4.5 Pavia Francesco Girardengo Roman Large Missal 14.5-15 : 2 2 X 7 . 5 - 8 Bologna

R30

Dionysio de Odo Roman Large Missal 23:3.52 X 6 Brescia

R3 i

R32

Bonino Bonini Roman Large Missal 1 5 - 1 6 : 3 2 X 11 Giacomo Britannico (Angelo Britannico) Roman Large Missal

I

1 9 . 5 - 2 0 : 2 X 2.5 (3) X 10

R33

Naples [Christian P r e l l e r ? ] Roman Large Missal 12.5 : 2.25 s 6-5

Incipient Music Type Bologna Francesco Benedetti Milan Guillaume Le Signerre

184

Italian Music

Type and

Printers

xv. Bibliography of Italian Music Incunabula

Introduction

T h e following list of Italian music incunabula includes a numbered bibliographic description of each book printed in Italy before 1501 that contains printed music or space for manuscript music. In addition, unnumbered entries describe works, once thought to be Italian music incunabula, that are in fact sixteenth-century books, contain no printed music or space for it, were printed outside Italy, or are now considered bibliographic ghosts. Each entry contains information on the date, printer and publisher, incipit and explicit, format, number and arrangement of folios, citation of numbers in standard bibliographies, and a list of selected copies. Information is provided on the nature of any printed music or space for it, the position of that music within the volume, the size of the printed staves on a leaf, and a specification of the music type or other material used to print musical notation. T h e descriptions attempt to establish the bibliographic identity of an ideal copy of a work even when no such copy exists, as well as to include identification of reissues, states, or variants, especially when relevant to the printed music. Descriptions of copies examined vary in the amount of detail given. Particular attention has been given to noting the omission of leaves containing music and to the presence of manuscript music notation. T h e time available for personal examination of music incunabula ranged from minutes to days in libraries in Europe and the United States. T h e r e is no doubt that an examination of the books and additional copies with descriptions in hand will yield corrections and additions. T h e seventeen

starred items have not been verified, either because no known copy exists or because I have been unsuccessful in visiting a location or purchasing a microfilm. T h e arrangement of items is alphabetical by short title and chronological within that title (for example, Missdle Parisiensis, 1487; Missale Romanum, 1475; Missale Romanum, 1476). Within liturgical categories such as missal or agenda, books for monastic orders follow those for geographical areas, the practice followed by G W and W (for example, Missale Romanum; Missale Ordinis Eremitarum ). Personal names are cited in the vulgar rather than the medieval Latin form, Italian names as they appear in Gedeon Borsa's Claris Typographorum Librariorumque Italiae 1465—1600 (Baden-Baden: Valentine Koerner, 1980) and German names as in Ferdinand Geldner's Die deutschen Inkunabeldrucker (Stuttgart: Hiersemann, 1968-1970). W h e r e works are known by different short titles, crossreferences are included (for example, Rituale Romanum, see Liber Catechumeni). Dates that were fixed according to the Venetian calendar that began on the first day of March have been changed to new style (for example, 2 February 1492/1493). Individual entries are organized in the following manner: 1. Author, short title. Place: printer, publisher, date. 2. References to published catalogues (for a guide to abbreviations, see "Abbreviations 187

of S o u r c e s Frequently C i t e d " at the end of

signatures. I f a book had more

this introduction).

twenty-three gatherings, a printer could

3. Incipit and explicit and, where available, title. W h e r e no known copy includes an incipit or explicit, the beginning of the first

bers, abbreviation symbols

transcribed.

Unsigned

A

facsimile transcription

is

3 ) or all of

the above. F o r a complex collational f o r mula, see D 69. gatherings

of

preliminary

leaves before the incipit of a text may in-

limitations of the type font. T h e following

clude title, table of contents, calendar,

symbols extend the standard font:

and so forth, and have been assigned the symbol IT. F o r example, 7T6 a—z

sanctu

sanctum

J

miffale

missale

3

c u 3 , c$

cum, que

E

E

pro

190

de-

scribes a book with a preliminary gathering o f 6 leaves that is unsigned, followed by 2 3 gatherings of 8 leaves signed a to z: leaves

total. Additional

unsigned

P

P

pro

gatherings, frequently containing music,

P

P

pri

that were inserted within the text have

q

q

quae

been assigned multiples of ple, 7T6 a—m8 \

qui

9 sanctoy

V

1 0

F o r exam-

n—z8 has both an un-

signed preliminary gathering and an in-

sanctorum

serted unsigned gathering of 1 0 leaves

secundum

between quires m and n: 2 0 0 leaves total.

ali?

alius

S u c h unsigned gatherings were usually

9 1'

9 suetudinë

consuetudinem

kl', al'r

kalendis, aliter

Ì

Î

capitulum

i 9

printed later than the signed gatherings and, if they contain music, may have involved collaboration with another printer.

responsus, Reverendus

I3c V

ygîalis

virginalis

1

1

et

c. Foliation. I f leaves are numbered, the sequence of numbering

together

with

an indication of unnumbered leaves is recorded. F o r example, [ 6 ] I — C C C [ 4 ]

T h e round r, l, has been transcribed as a

4.

use capital letters, double letters, num-

and end o f the last of the known pages are printed as it appears in the work within the

than

refers to a book with 6

unnumbered

normal r except where the distinction is nec-

leaves, 3 0 0 leaves numbered f r o m I to

essary f o r a collation that includes the sym-

CCC

bol.

g r o u p o f 4 unnumbered leaves.

final

d. N u m b e r of lines and columns per page.

Collation. a. F o r m a t .

in roman numerals, and a

For

example,

2°

(folio),

4

0

T h e number of printed alphabetic text lines

(quarto), 8° (octavo). b. Gatherings o f leaves with printed signatures or assigned signatures in brackets. 8

F o r example, a—z or [a—z ] refers to a

on a page

and the number

of

columns on a page. F o r the number of printed staves on a page and the number of columns o f music, see below, 6c.

book with 2 3 gatherings of 8 leaves ( 1 8 4

5. Illustration. Since woodcut or engraved il-

leaves total), in the first case with the let-

lustrative material sometimes relates closely

ters a to z printed at the bottom of the first leaf in each gathering, and in the second case with no printed signatures. A gathering (also called a quire) is a group of folded sheets sewn together. Since j , u, and w are not in the Latin

alphabet,

twenty-three letters are used f o r printed Music Books and Their Locations

to the location o f the printed music, information on its presence is indicated. S u c h a relationship occurs in the missal, in which the leaves preceding and following the fullpage Crucifixion usually contain chant. 6. M u s i c . a. P r e s e n c e of printed ( 1 ) notes, (2) staves,

(3) notes and staves, or (4) space for music to be written in by hand, as well as specification of the printing technique used (for example, notes and staves printed from wood).

scribed in the introduction to Part II. For example, R27 refers to a roman plainchant type of Leonard Pachel (Milan), G l to the gothic plainchant type of J o hann Hamman (Venice).

b. Music pages. Pages containing music or space for it, using the collational formula. T h e total is given in pages rather than leaves since music often appears on only one side of a leaf. The pages are designated by signature rather than foliation because of frequent errors in early printed foliation. For example, h i r v m2-m8 v = 16 pp. refers to a book with music on the front and back (recto and verso) of the first leaf of gathering h and on every page from m2 to m8 (recto and verso).

7. Bibliography. References to a facsimile edition or printed discussions of the work or printer.

c. Staves. T h e number of printed staves on a page or column, the number of lines in a staff, the color of the ink used to print the staves, and the size in millimeters of the area covered by the printed staves on a leaf, height by width plus width of one column (for example, 2 1 2 X 168 [67] mm). d. Music type. A classification of music type by script and numerical code, as de-

8. Notes. 9. Copies. a. Copies known. A selective list of current locations of copies of the work. b. Copies seen. A list of copies examined either in person or through microfiilm. Abbreviations for countries follow the international automobile license code. A list of library sigla for incunabula locations follows this introduction. The description of individual copies includes the library call number as well as information on variants (typesetting, foliation, arrangement of gatherings) significant to the study at hand. Missing leaves and additional manuscript leaves are described when their contents are clear from the copy. Limited notes are provided on size, decoration, provenance, and binding.

Abbreviations of Libraries Holding Music Incunabula Country-City, Lib.

Country-City, Lib.

Full Library N a m e

Austria A-Göttweig, StB Benediktinerstift, Musikarchiv A-Klosterneuberg, S B Augustiner-Chorherrenshift, Bibliothek A-Kremsmünster, S t B Benediktinerstift, Bibliothek A-Lambach, S t B Benediktinerstift, Bibliothek A-Linz, StudB Bundesstaatliche Studienbibliothek

Full Library N a m e

A-Melk an der Donau, StB Benediktinerstift, Bibliothek A-Salzburg, StP Benediktiner-Erzabtei St. Peter A-Vienna, N B Osterreichische Nationalbibliothek B-Antwerp, M P

Belgium

Museum Plantin-Moretus B-Brussels, Bol Bibliothèque des Rév. Pères Bollandistes Bibliography

of Italian Music

Incunabula

Country-City, Lib.

Country-City, Lib.

Full Library Name

Full Library Name

B-Brussels, BR Bibliothèque Royale Albert i e B-Gand, Sem Bisschoppelijk Seminarie, Bibliotheek B-Heverlee, Centre de Doc. Rei. Centre de Documentation et de Recherches Religieuses B-Louvain, Jés Bibliothèque du Collège Philosophique et Théologique de la Compagnie de Jésus Saint Albert B-Louvain, K U B Katholieke Universiteit te Leuven, Bibliotheek Brazil BR-Rio de Janeiro, B N Biblioteca Nacional Switzerland CH-Geneva, B U Bibliothèque Publique et Universitaire C H - S t . Gall, StB Stiftsbibliothek CH-Zurich, Z B Zentralbibliothek Czechoslovakia CS-Bardejov, Mus Sarisske Muzeum CS-Bratislava, U K Univerzitnâ kniznica CS-Ceské Budëjovice, Sem Seminami knihovna CS-Ceské Budëjovice, V B Cisterciâckâ knihovna ve Vyssim Brode CS-Olomouc, S B Stâtni vëdeckâ knihovna CS-Prague, UK Univerzitni knihovna CS-Spisska Nova Ves, Kap Miestne pracovisko Matice slovenskej (Spisskâ kapitula) Germany D-Augsburg, S B Staats- und Stadtbibliothek 190

Music Books and Their Locations

D-Berlin, S B Deutsche Staatsbibliothek, Musikabteilung D-Berlin, Kup Kupferstichkabinet D-Berlin, SPK Staatsbibliothek Preussischer Kulturbesitz D-Cologne, S B Universitäts- und Stadtbibliothek D-Dresden, LB Sächsische Landesbibliothek D-Eichstätt, B Bibliothek des Bischöflichen Ordinariatsarchiv D-Eichstätt, S B Staats- und Seminarbibliothek D-Erlangen, U B Universitätsbibliothek D-Frankfurt/Main, S B Stadt- und Universitätsbibliothek D-Frankfurt/Main, SK Städelsches Kunstinstitut D-Freiberg im Breisgau, U B Universitätsbibliothek D-Göttingen, U B Universitätsbibliothek D-Jena, U B Universitätsbibliothek der Friedrich-Schiller-Universität D-Karlsruhe, U B Universitätsbibliothek D-Leipzig, U B Universitätsbibliothek der Karl-Marx-Universität D-Mainz, S B Stadtbibliothek D-Munich, S B Bayerische Staatsbibliothek D-Munich, U B Universitätsbibliothek D-Münster, U B Universitätsbibliothek D-Nuremberg, N M Bibliothek des Germanischen Nationalmuseum

Country-City, Lib. Full Library Name

Country-City, Lib. Full Library Name

D-Regensburg, Proske Proske-Musikbibliothek D-Stuttgart, W L Württembergische Landesbibliothek D-Tübingen, U B Universitätsbibliothek der Eberhard-Karls-Universität D-Wolfenbüttel, H A B Herzog August Bibliothek D-Würzburg, U B Universitätbibliothek der Julius-Maximilians-Universität Denmark DK-Copenhagen, KB Kongelige Bibliotek

F-Paris, B N Bibliothèque Nationale F-Paris, Maz Bibliothèque Mazarine F-Paris, SG Bibliothèque Sainte-Geneviève

Spain

F-Rheims, A Bibliothèque de l'Archevêche F-Tarbes, BM Bibliothèque Municipale F-Troyes, BM Bibliothèque Municipale England GB-Aberdeen, U L University Library

E-Barcelona, B U Biblioteca Provincial y Universitaria

GB-Cambridge, U L

E-Madrid, B N

GB-Glasgow, Euing

Biblioteca Nacional E-Montserrat, Ben Monasterio de Montserrat (Benedictine)

GB-London, BL

E-Saragossa, Cat Biblioteca del Cabildo Catedral E-Toledo, Cat Archivo y Biblioteca Capitulares de la Catedral E-Valencia, Cat Biblioteca de la Catedral France F-Auch, Sém Grand Séminaire F-Colmar, BM Bibliothèque Municipale F-Lille, BM Bibliothèque Municipale F-Lyons, BM Bibliothèque Municipale F-Nantes, BM Bibliothèque Municipale F-Nice, BM Bibliothèque Municipale F-Paris, Ars Bibliothèque de l'Arsenal

University Library Euing Musical Library British Library GB-Manchester, JRL John Rylands Library GB-Oxford, Keble Keble College GB-Oxford, U L Bodleian Library GB-Oxford, Worcester Worcester College Hungary H-Budapest, Acad Magyar Tudomânyos Akadémia Kònyvtara (Bibliotheca Academiae Scientiarum Hungaricae) H-Budapest, B N Orszâgos Széchényi Kònyvtar (Bibliotheca Nationalis Széchényiana) H-Budapest, B U Egyetemi Kònyvtar (Bibliotheca Universitatis) H-Budapest, Piar Kegyesrendi Kòzponti Kònyvtar (Bibliotheca Centralis Ordinis Scholarum Piarum)

Bibliography

of Itdlian Music

Incunabula

Country-City, Lib.

Country-City, Lib. Full Library Name

Full Library Name

H-Esztergom, Metr Foszékesegyhàzi Kònyvtàr (Bibliotheca Ecclesiae Metropolitanae) H-Gyòr, Sem Piispòki Papneveló Intézet Kònyvtàra (Bibliotheca Seminarii Episcopalis) H-Pannonhalma, Ben Szent Benedek-rend Kòzponti Kònyvtara (Bibliotheca Archiabbatiae Ordinis S. Benedicti de Sacro Monte Pannoniae) H-Pécs, B U Egyetemi Kònyvtàr (Bibliotheca Universitatis) H-Sapron, Arch Archepiscopal Archive Italy I-Aosta, Sem Biblioteca del Seminario Maggiore I-Assisi, Cap Biblioteca del Capitolo della Cathedrale I-Bagnoregio, Sem Seminario Vescovile Bagnoregio I-Belluno, B C Biblioteca Civica I-Belluno, Cap Biblioteca Capitolare e del Seminario Lolliniana Gregoriana I-Bergamo, BC Biblioteca Civica Angleo Mai I-Bergamo, Clero di S. Alessandro Biblioteca de Clero di S. Alessandro in Colonna I-Bologna, Are Biblioteca Arcivescovile; Centro di Documentazione dell'Istituto per le Ricerche Religiose I-Bologna, BC Biblioteca Comunale dell'Archiginnasio I-Bologna, B U Biblioteca Universitaria I-Bologna, M u s Biblioteca del Civico Museo Bibliografico Musicale 192

Music Books and Their Locations

I-Bolzano, Mus Biblioteca de Museo Civico I-Brescia, BC Biblioteca Civica Queriniana I-Bressanone, Sem Biblioteca del Seminario Vescovile Maggiore I-Catania, BC Biblioteca Comunale Ursino Recupero I-Catania, Sem Biblioteca del Seminario Arcivescovile I-Cesena, BC Biblioteca Comunale Malatestiana I-Cremona, G Biblioteca Statale (formerly Governativa) I-Cupramontana, BC Biblioteca Comunale I-Fabriano, B C Biblioteca Comunale I-Ferrara, B C Biblioteca Comunale Ariostea I-Florence, B N Biblioteca Nazionale Centrale I-Florence, Laur Biblioteca Mediceo Laurenziana I-Florence, M a r Biblioteca Marucelliana I-Florence, Ricc Biblioteca Riccardiana I-Florence, Sem Biblioteca del Seminario Arcivescovile Centrale I-Foligno, Sem Biblioteca Jacobilli del Seminario I-Forli, B C Biblioteca Comunale Aurelio Saffi I-Genoa, Ben S. Maria della Castagna (Benedictine), Biblioteca I-Genoa, B U Biblioteca Universitaria I-Genoa, Fra Biblioteca Franzoniana

Country-City, Lib. Full Library Name

I-Grosseto, BC Biblioteca Comunale Chelliana I-Guastalla, BC Biblioteca Comunale Maldotti I-Lodi, BC Biblioteca Comunale Laudense I-Lodi, Chiesa SS. Incoronata I-Lodi, Sem Biblioteca del Seminario Vescovile I-Lucca, G Biblioteca Statale (formerly Governativa) I-Lugo, BC Biblioteca Comunale Fabrizio Trisi I-Macerata, BC Biblioteca Comunale Mozzi-Borgetti I-Mantua, BC Biblioteca Comunale Roberto Ardigó I-Milan, Ambr Biblioteca Ambrosiana I-Milan, B N Biblioteca Nazionale Braidense I-Milan, Cap Biblioteca del Capitolo della Basilica di S. Ambrogio I-Milan, Servi Biblioteca dei Servi di Maria I-Milan, Triv Biblioteca Trivulziana dell'Archivo Storico Civico I-Modena, Cap Biblioteca dell'Archivo Capitolare I-Modena, Est Biblioteca Estense I-Mondovi, Sem Biblioteca del Seminario Vescovile I-Naples, B N Biblioteca Nazionale I-Naples, B U Biblioteca Universitaria I-Naples, Cons Biblioteca del Conservatorio di Musica S. Pietro a Maiella I-Novara, Cap del Capitolo di S. Maria Biblioteca

Country-City, Lib. Full Library Name

-Novara, Sem Biblioteca del Seminario Teologico Filosofico S. Gaudenzio -Padua, BC Biblioteca Civica -Padua, B U Biblioteca Universitaria -Padua, Cap Biblioteca Capitolare -Padua, Sem Biblioteca del Seminario Vescovile -Palermo, BC Biblioteca Comunale -Palermo, B N Biblioteca Nazionale -Parma, Pai Biblioteca Palatina -Pavia, B U Biblioteca Universitaria -Perugia, BC Biblioteca Comunale Augusta -Pesaro, Oliv Biblioteca Oliveriana -Piacenza, BC Biblioteca Comunale Passerini Laudi -Poppi, BC Biblioteca Comunale Rilliana -Ravenna, BC Biblioteca Comunale Classense -Reggio Emilia, BM Biblioteca Municipale -Rieti, Cap Archivio Capitolare -Rimini, BC Biblioteca Civica Alessandro Gambalunga -Rome, Ang Biblioteca Angelica -Rome, B N Biblioteca Nazionale Centrale -Rome, B U Biblioteca Universitaria Alessandrina -Rome, Cas Biblioteca Casanatense Bibliogrdphy

of Italian

Music

Incunabula

Country-City, Lib. Full Library Name

I-Rome, Cec Biblioteca dell' Accademia Musicale di Santa Cecilia I-Rome, CollIntFranc. Biblioteca del Collegio Internazionale S. Antonio dei Francescani I-Rome, Cors Biblioteca Corsiniana dell' Accademia dei Lincei I-Rovereto, BC Biblioteca Comunale Girolamo Tartarotti I-Rovigo, Acc Conc Biblioteca dell' Accademia dei Concordi I-San Candido, Coli Biblioteca della Collegiata I-San Daniele del Friuli, BC Biblioteca Comunale Guarneriana I-San Gimignano, BC Biblioteca Comunale I-Siena, BC Biblioteca Comunale degli Intronati I-Subiaco, Ben Biblioteca del Monastero di S. Scolastica (Benedictine) I-Todi, BC Biblioteca Comunale I-Torgnon, Arch Parr Archivio Parrocchiale I-Trent, BC Biblioteca Comunale I-Trent, Sem Biblioteca del Seminario I-Treviso, BC Biblioteca Comunale I-Treviso, Cap Biblioteca Capitolare I-Trieste, BC Biblioteca Civica Attilio Hortis I-Turin, B N Biblioteca Nazionale I-Udine, Are Arcivescovile e Bartoliniana Biblioteca

Music Books and Their Locations

Country-City, Lib. Full Library Name

I-Udine, BC Biblioteca Comunale Vincenzo Joppi I-Venegono, Sem Biblioteca del Seminario Arcivescovile I-Venice, B N Biblioteca Nazionale Marciana I-Venice, Cini Biblioteca della Fondazione Giorgio Cini I-Venice, Cor Museo Civico Correr I-Verona, BC Biblioteca Comunale I-Verona, Cap Biblioteca Capitolare I-Vicenza, B C Biblioteca Comunale Bertoliana I-Vigevano, Cap Biblioteca Capitolare del Duomo I-Viterbo, Cap Capitolare Biblioteca Lithuania Ll-Vilnius, K J K. Jukneviciené Netherlands NL-Groningen, U B Universiteitsbibliotheek N L - T h e Hague, KB Koninklijke Bibliotheek N L - T h e Hague, M W Museum Meermanno-Westreenianum NL-Nijmegen, T B Titus Brandsma Instituut NL-Utrecht, U B Universiteitsbibliotheek Poland P-Cracow, Bern Biblioteka Prowincji OO. Bernardynów P-Cracow, P A N Polska Akademia Nauk P-Gniezno, A A Archiwum Archidiecezjalne

Country-City, Lib. Full Library Name

Country-City, Lib. Full Library Name

P-Poznan, A A Archiwum Archidiecezjalne P-Warsaw, B N Biblioteka Narodowa P-Wloclawek, Sem Biblioteka Seminarium Duchownego

US-KA-Lawrence, UKL University of Kansas Library US-MA-Boston, PL Boston Public Library US-MA-Cambridge, H U L Harvard College Library, Harvard University US-MD-Baltimore, Walt Walters Art Gallery US-MI-Ann Arbor, U M L University of Michigan Library US-NC-Chapel Hill, U N C L University of North Carolina Library US-NH-Hanover, Dartmouth Dartmouth College Library U S - N Y - N e w York, Columbia U L Columbia University Library U S - N Y - N e w York, Met Metropolitan Museum of Art U S - N Y - N e w York, PL New York Public Library U S - N Y - N e w York, PML J. Pierpont Morgan Library U S - N Y - N e w York, U T S e m Union Theological Seminary US-NY-Poughkeepsie, Vassar Vassar College Library US-NY-Rochester, Eastman University of Rochester, Eastman School of Music, Sibley Musical Library US-PA-Philadelphia, PL Free Library of Philadelphia US-PA-Philadelphia, Ros Rosenbach Foundation US-RI-Providence, ABL Annmary Brown Memorial Library US-TX-Austin, H R C Henry Ransom Humanities Research Center, University of Texas, Austin US-TX-Dallas, Baylor Baylor University Medical Center US-TX-Dallas, S M U Southern Methodist University

P-Wroclaw, BO Biblioteka Zakladu Narodowego im. Ossolinskich Polskiej Akademii Nauk P-Wroclaw, B U Biblioteka Glowna Universytetu im Boleslawa Bieruta P-Wroclaw, Kap Biblioteka Kapitulna Romania R-Alba Julia, B Biblioteca Documentara "Batthyaneum" R-Sibiu, Mus Biblioteca Documentará Brukenthal Sweden S-Stockholm, KB Kungliga Biblioteket S-Strangnas, Dom Domkyrkobiblioteket S-Uppsala, U B Universitetsbiblioteket United States US-CA-Berkeley, U C (Mus) University of California, Music Library US-CA-Los Angeles, U C University of California, Los Angeles, William Andrews Clark Memorial Library U S - C A - S a n Marino, Hunt Henry E. Huntington Library U S - C N - N e w Haven, Y U L Yale University Library US-IL-Chicago, New Newberry Library US-IN-Bloomington, UIL University of Indiana Library US-IO-Dubuque, Loras Loras College Library

Bibliography

of Italian Music

Incunabula

Country-City, Lib.

Country-City, Lib.

Full Library N a m e

Full Library N a m e

US-TX-Galveston, Rosenberg Rosenberg Library US-TX-Houston, U L University of Houston Library US-Washington, Holy Name Holy Name College US-Washington, L C Library of Congress US-Washington, L C M Library of Congress, Music Division Union of Soviet Socialist Republics

Yugoslavia Y - B o l na Bracu, D Dominikanski Samostan Y-Dubrovnik, D Dominikanski Samostan Y-Ljubljana, N A Nadskofijski Arhiv Y-Ljubljana, N U Narodna in Univerzitetna Knjiznica Y-Maribor, P A Pokrajinski Arhiv

USSR-Leningrad, N B Nauchnaya biblioteka imeni M. Gor'kogo Leningradskogo gosudarstvennogo universiteta imeni A . A . Zhdanova

Y-Stari Grad, D Dominikanski Samostan

USSR-Moscow, Len Gosudarstvennaya ordena Lenina biblioteka S S S R im. V . I. Lenina

Y-Zagreb, A K Jugoslavenski Akademije Knjiznica

Vatican City

Y-Zadar, H A Historijski Arhiv

Y-Zagreb, N B Nacionalna i Sveucilisna Biblioteka

Vatican City, B V Biblioteca Vaticana

Abbreviations of Sources Accurti, Alide Ed. Tommaso Accurti. Alide Editiones Sdeculi XV Pierdeque Nondum Descriptde. Annotdtiones ad Opus Cui Titulus "Gesdmtkdtdlog der Wiegendrucke." Vols. i - 6 . Florence: Ex Tipografia Giuntina, 1936. Accurti, Editiones Sdeculi XV Tommaso Accurti. Editiones Sdeculi XV Plerdeque Bibliogrdphis Ignotde. Annotdtiones ad Opus Quod Inscribitur "Gesdmtkdtdlog der Wiegendrucke." Vols. 1—4. Florence: Ex Tipografia Giuntina, 1930. Bosnjak Mladen Bosnjak. A Study of Slavic Incundbuld. Z a greb: Izdavacki Zavod Jugoslavenske Akademije Znanosti i Umjetnosti, 1968. BMC Cdtdlogue of Books Printed in the XVth Century Now in the British Museum. Vols. 1—12. London: Trustees of the British Museum, 1908—1985. Music Books and Their Locations

Brunet Jacques-Charles Brunet. Mdnuel du librdire et de l'dmdteur de livres. 5th ed. 6 vols. Paris: Firmin Didot, 1860-1865. C Walter Arthur Copinger. Supplement to Hdin's Repertorium Bibliogrdphicum. Parts 1, 2: 1—2. London: H . Sotheran ÔC Co., 1895—1902. CIBN Cdtdlogue des incundbles. Voi. 2, fase. 1—4: H—Z, suppl. Ed. U . Baurmeister, A . Charon-Parent, D. Coq, A . Coron, and A . Labarre. Paris: Bibliothèque Nationale, 1981—1985. Caronti Andrea Caronti. Gli incundboli delld R. Bibliotecd Universitdrid di Bolognd. Bologna: Zanichella, 1889.

D Refers to numbered entries of Descriptive Bibliography. Dibdin T h o m a s Frognall Dibdin. Bibliotheca Spenceriana, or, a Descriptive Catalogue of the Books Printed in the Fifteenth Century, Lately Forming Part of the Library of the Duke di Cassano Serra, and now the Property of George John Earl Spencer. 7 vols. London: Shakspeare Press, 1814—1823. Dona Mariangela D o n a . La stampa musicale a Milano fino all'anno 1700. Biblioteca di bibliografia italiana 39. Florence: Olschki, 1961. Essling [Prince d'Essling, Victor Massena], D u e de Rivoli. Etudes sur l'art de la gravure sur bois à Venise. Les Missels imprimés a Venise de 1481 a 1600. 5 parts. Paris: J. Rothschild, 1894—1896. Essling, Livres a figures Prince d'Essling (Victor Massena). Etudes sur l'art de la gravure sur bois a Venise. Les Livres à figures vénitiens de la fin du XV' siècle et du commencement du XVr. 3 parts in 6 vols. Florence: Olschki, 1907-1914. Fava Domenico Fava. Catalogo degli incunabuli della R. Biblioteca Estense di Modena. Biblioteca di Bibliografia Italiana 7. Florence: Olschki, 1928. Fava and Bresciano Mariano Fava and Giovanni Bresciano. La stampa a Napoli nel XV secolo. 2 vols, and Atlas. Sammlung bibliothekswissenschaftlicher Arbeiten 3 2 - 3 4 . Leipzig: R. H a u p t , 1911—1913. Ganda Arnaldo Ganda. I primordi della tipografia milanese: Antonio Zarotto da Parma ( 1471-1507). Florence: Olschki, 1984.

Halle: Schriftenverteilung für die Gesellschaft durch E. Karras Verlag, 1907—1939. Goff Frederick R. Goff. Incunabula in American Libraries: A Third Census of Fifteenth-Century Books Recorded in North American Collections. Reproduced from the annotated copy maintained by F. R. Goff. Millwood, N . Y . : Kraus Reprint, 1973. G o f f Suppl Frederick Goff. A Supplement to the Third Census of Fifteenth-Century Books Recorded in North American Collections ( 1964). N e w York: Bibliographical S o ciety of America, 1972. Graesse Johann Georg Theodor Graesse. Tresor de livres rare et précieux. 7 vols. D r e s d e n : R. Kuntze, 1859—1869. Gspan-Badalic Alfonz Gspan and Josip Badalic. Inkunabule v Sloveniji. Incunabula Quae in Slovenia Asservantur. Slovenska Akademija Znanosti in Umetnosti, Razred za Filoloske in Literarne Vede, Dela 10, Institut za Literature, Dela 3. Ljubljana: n.p., 1957. GW Gesamtkatalog der Wiegendrucke. Vols. 1—8:1. Leipzig: K. W . Hiersemann, 1925—1940; vols. 8 : 1 - 9 : 2 . Stuttgart: A . Hiersemann, 1968—1985. G W ms Gesamtkatalog der Wiegendrucke. Card catalogue (A—Z) in manuscript at the Abteilung der Gesamtkatalog, Deutsche Staatsbibliothek, Berlin. H Ludwig H a i n . Repertorium Bibliographicum in Quo Libri Omnes ab Arte Typographica Inventa Usque ad Annum MD. Typis Expressi Ordine Alphabetico vel Simpliciter Enumerantur vel Adcuratius Recensentur. 2 vols. Stuttgart: J. G . Cotta, 1826-1838.

Gaspari Catalogo della Biblioteca del Liceo Musicale di Bologna. C o m p . Gaetano Gaspari. 5 vols. Bologna: Libreria Romagnoli dall'Acqua, 1890—1943.

Haebler Konrad H a e b l e r . Typenrepertorium der Wiegendrucke. 5 vols. Sammlung Bibliothekswissenschaftlicher Arbeiten 19—20, 22—23, 27> 2 9 — 3°> 39—40. Reprint Nendeln/Liechtenstein: Kraus, 1905—1921.

Gesellschaft für Typenkunde Veröffentlichungen der Gesellschaft für Typenkunde des XV. Jahrhunderts. Ed. Ernst Voulliéme, Isak Collijn, Victor M a d g e n , Konrad Haebler. T a f . 1-2460.

H a e b l e r , Iberica Konrad H a e b l e r . Ibérica de siglo XV. Enumeración de todos los libros impresos en España y Portugal hasta el año de 1500 con notas críticas. 2 vols. T h e H a g u e : N i j h o f f ; Leipzig: Hiersemann, 1903 and 1907. Bibliography of Italian Music Incunabula

197

Hubay, Augsburg Ilona Hubay. Incunabula der Staats- und Stadtbibliothek Augsburg. Inkunabelkataloge bayerischer Bibliotheken. Wiesbaden: Harrassowitz, 1974.

Marais Paul Marais and A. Dufresne de Saint-Léon. Catalogue des incunables de la Bibliothèque Mazarine. 2d ed. Paris: H . Walter, 1898.

Hubay, Eichstätt Ilona Hubay. Incunabula Eichstätter Bibliotheken. Inkunabelkataloge bayerischer Bibliotheken 2. Wiesbaden: Harrassowitz, 1970.

Martimort Aimé-Georges Martimort. "Missels incunables d'origine franciscaine." In Mélanges liturgiques offert au R. P. Dom Bernard Botte, O.S.B, de l'Abbaye du Mont César. Louvain: Abbaye du Mont César, 1972, pp. 359-78.

Hubay, Missalia Ilona Hubay. Missalia Hungarica. Régi Magyar Misekönyvek• Budapest, Magyar Nemzeti Muzeum. Az Orszâgos Széchényi Könyvtar. Kiadvanyai 5. Budapest: Széchényi-Kônyvtâra, 1938. IBP Maria Bohonos and Elisa Szandorowska. Incunabula quae in Bibliothecis Poloniae Asservantur. 2 vols. Wroclaw: Ex Officina Instituti Ossoliniani, 1970. IDL Incunabula in Dutch Libraries: A Census of FifteenthCentury Printed Books in Dutch Public Collections. Bibliotheca Bibliographica Neerlandica 1 7 : 1 - 2 . 2 vols. Nieuwkoop: B. De Graaf, 1983. IGI Indice generale degli incunaboli delle biblioteche d'Italia. A cura del Centro Nazionale d'Informazioni Bibliografiche. 6 vols. Rome: Libreria dello Stato, 1943—1981. Kristeller L G Paul Kristeller. Die lombardische Graphik der Renaissance. Berlin: Cassirer, 1 9 1 3 . LB Hanns Bohatta. Liturgische Bibliographie des XV. Jahrhunderts mit Ausnahme der Missale und Livres d'Heures. Vienna: Gilhofer ÔC Ranschburg, 1 9 1 1 . LD Hanns Bohatta. Katalog der liturgischen Drucke des XV. und XVI. Jahrhunderts in der Herzogl. Parma'schen Bibliothek in Schwarzau am Steinfeld, N. 0. Vienna, 1909—1910. Livres de liturgie Livres de liturgie imprimés aux XVe et XVIe siècles faisant partie de la bibliothèque de son altesse royale le duc Robert de Parme. Milan: Hoepli, 1932. M-B Kathi Meyer-Baer. Liturgical Music Incunabula. London: Bibliographical Society, 1962. 198

Music Books and Their Locations

Molitor, Deutsche Raphael Molitor. Deutsche Choral-Wiegendrucke: Ein Beitrag zur Geschichte des Chorals und des Notendruckes in Deutschland. Regensburg: F. Pustet, 1904. Molitor, Nachtriden Raphael Molitor. Die nachtridentische Choral-Reform Zu Rome. 2 vols. Leipzig: R. E. C. Leuckart, 1901 and 1902. Oates A Catalogue of the Fifteenth-Century Printed Books in the University Library, Cambridge. Comp. J. C. T . Oates. Cambridge: Cambridge University Press, 1954. Ohly Kurt Ohly and Vera Sack. Inkunabelkatalog der Stadt- und Universitätsbibliothek und anderer öffentlicher Sammlungen in Frankfurt am Main. Kataloge der Stadt- und Universitätsbibliothek Frankfurt am Main i. Frankfurt am Main: Vittoris Klostermann, 1967. P Robert Proctor. An Index to the Early Printed Books in the British Museum: From the Invention of Printing to the Year 1500. With Notes of Those in the Bodleian Library. 2 vols, and supplements. Registers by Konrad Burger. London: Kegan Paul, Trench, Trübner, 1898-1906. Frank Issac. An Index to the Early Printed Books in the British Museum. Part 2: MDIMDXX. London: B. Quaritch, 1938. Panzer Georg Wolfgang Franz Panzer. Annales Typographic ab Artis Inventae Origine ad Annum MD. 11 vols. Nuremberg: Zeh, 1793—1803. Pellechet Marie Léontine Catherine Pellechet. Catalogue général des incunables des bibliothèques publiques de France. 3 vols. ( A - G R E ) . Paris: A. Picard et Fils,

1897—19°9- Unpublished manuscript by Louis Polain continuing the work, vols. 4—14 ( G R E - Z ) on microfilm. 1 1 vols, in 1 1 reels. New York: H . P. Kraus, 1950. A second number cited in parentheses is to the corrected number as found in C I B N .

Sajó-Soltész Géza Sajó and Erzsébet Soltész. Catalogus Incunabulorum Quae in Bibliothecis Publicis Hungariae Asservantur. Budapest: In Aedibus Academiae Scientiarum Hungaricae, 1970.

Polain Louis Polain. Catalogue des livres imprimés au quinzième siècle des bibliothèques de Belgique. 4 vols. Brussels: Société des Bibliophiles et Iconophiles de Belgique, 1932. Supplement. Brussels: Assoc. des Archivistes et Bibliothécaires de Belgique, 1978.

Sander Max Sander. Le Livre a figures italien depuis 1467 jusqu'à 1530. 6 vols. Milan: Hoepli, 1942; Supplement, 1969.

Przywecka-Samecka Maria Przywecka-Samecka. Poczqctki Drukarstwa Muzycznego w Europie Wiek XV. Prace Wrocíawskiego Towarzystwa Naukowego A 221. Wroclaw: ZakJad Narodowy im. Ossoliñskich, 1981.

Sassi Giuseppe Antonio Sassi. Historia LiterarioTypographica Mediolanensis ab Anno MCDLXV ad Annum MD Nunc Primum Edita. Vol. 1, pt. 1 of Filippo Argellati, Bibliotheca Scriptorum Mediolanensium. Milan, 1745; reprint Ridgewood, N.J.: Gregg Press, 1965.

R Dietrich Reichling. Appendices ad Hainii-Copingeri Repertorium Bibliographicum. Additiones et Emendationes. Fasc. 1—6. Indices. Supplementum. Munich: J . Rosenthal, 1905—1911.

S T C Italy Short-Title Catalog of Books Printed in Italy and of Books in Italian Printed Abroad, 1501—1600, Held in Selected North American Libraries. Ed. Robert G. Marshall. 3 vols. Boston: G. K. Hall, 1970.

Renouard Antoine Renouard. Annales de l'imprimerie des Aide. 3d ed. Paris: J . Renouard, 1834.

Stillwell Margaret Bingham Stillwell. Incunabula in American Libraries: A Second Census of Fifteenth-Century Books Owned in the United States, Mexico, and Canada. New York: Bibliographical Society of America, 1940.

Rhodes Dennis E. Rhodes. A Catalogue of Incunabula in All the Libraries of Oxford University outside the Bodleian. Oxford: Clarendon Press, 1982. R I S M B6 Ecrits imprimés concernant la musique. Ed. François Lesure. Répertoire International des Sources Musicales, ser. B 6:1—2. 2 vols. Munich: G. Henle, 1971. Rogers, "Hamman" David Rogers. "Johann Hamman at Venice: A Survey of His Career, with a Note on the Sarum 'Horae' of 1494-" In Essays in Honour of V. Scholderer, ed. Dennis E. Rhodes. Mainz: Pressler, 1970, pp. 348—68. Rogledi Manni Teresa Rogledi Manni. La tipografía a Milano nel XV secolo. Biblioteca di Bibliografía Italiana 90. Florence: Olschki, 1980.

Van Praet Joseph Basile Bernard Van Praet. Catalogue des livres imprimés sur vélin de la Bibliothèque du roi. 6 vols, in 5. Paris: De Bure Frères, 1822—1828. Venturini Maria and Teresa Venturini. Gli incunaboli della Biblioteca Capitolare di Verona. Verona: Valdonega, 1976. Voulliéme B Ernst Voulliéme. Die Inkunabeln der Königlichen Bibliothek und der anderen Berliner Sammlungen. Leipzig: Harrassowitz, 1906. W William Henry James Weale. Bibliographia Liturgica. Catalogus Missalium Ritus Latini ab Anno M.CCCC.LXXV. Impressorum. Re-ed. Hanns Bohatta. London: B. Quaritch, 1928.

Bibliography

of Italian Music

Incunabula

Descriptive Bibliography i. Agenda Aquileiensis. Venice: Johann H a m man for J o h a n n Volkarth, 23 I 1 4 9 5 / 1 4 9 6 . H 366; GW 45p; IGI 118; Gspan-Badalic 3 Incipit,/, al, red: Agenda dyocejis | Aquilegienjis. I Colophon,/. [r4v], red: Modus etordo cerimonialiu et quorundà actuum | ecclejiajticorum totius anni : ad vjum Jancte ecclejie | Aquilegien. ordinatus : Singulari cura et impenjis | prouidi Iohannis volkarth de Noremberga : Im- | prejjus venetijs per Iohannem herczog de landoia | alemanu : feliciter explicit Anno a xpi natiuitate pojt I milleJimumquaterq3centeJimunonageJimoquinto. | Decimo Kalendas February. | [printer's mark, red]. Collation: 4 0 . a—q [r ] = 132 ff., numbered [I] I I - C X X X I [1]. 31 11. 1 col. Illustration: woodcut initials. Music: printed staves. Music pages: a6v—biv, d7-e2, e3 v -e5 v , fy'-gl", h4 v -h5, h6-Ì4, Ì5MC2, k3 v -m6 v , myv—n^, n6v—q3", q5 r ~\ q7~[r2]— 168 pp. Staves: 6 red 4-line staves per page; 152 X 101 mm. Bibliography: Francesco Spessot, "Libri liturgici aquileiesi e rito patriarchino," Studi Goriziani 35 (1964): 77—92; cites copy at I-Udine, BC, Coll. Joppi, earlier this century. Rogers, "Hamman," p. 361. Gspan-Badalic, plate I (explicit). Copies: A-Vienna, NB; D-Munich, SB; IBressanone, Sem; Y-Ljubljana, NA. Copies seen: A -Vienna, NB, Ink 22. F. 5. Plainchant in manuscript on £ e2 (Requiem). Size: 216 X 156 mm. Provenance, f. a 1 : Andreas fuphueber . . . Anno dni 1515; [preceding leaf] Andreae Fuphueber de Velkirchen. Binding: recent vellum. D-Munich, SB, 4 ° Inc. c.a. 1172. Size: 214 X 157 mm. Provenance, f. ai: Societatis Jesv | Monachii; front pastedown: Liber Collegii Societatis IESV Monachii. Binding: blindstamped leather. —: Agenda Brevis. Venice: Johann H a m m a n , 1 X 1495. C 128; GW 453; G0//A158; LB 2 Title, f . ai, red: Agenda brevis | et perutilis | Colophon, f . i8, red: Agenda ceremonialiu ecclejiajticoru | breviter 7 compédioje recollectoi/: ad I ditis certis actibus et benedictiòibus | incòjuetis: cuctis Jacerdotib^ admodu | ne-

200

Music Books and Their Locations

cejjarijs: Iufju 7 impenjis iohannis | volkarth de noreberga: impjja vene- | tijs per iohäne herczog feliciter expli- | cit. Anno Jalutis pojt millejimum qua | terq3 centejimum nonageJimoquinto | Kalendis octobribus. f . i8v, red: [printer's mark, I H ] . Collation: 160. a—i — 72 ff. 23 11. 1 col. Note: no space for music. Copies: US-PA-Philadelphia, Ros. Copies seen: USPA-Philadelphia, Ros. — A g e n d a Brevis. Venice: Johann H a m m a n for J o h a n n Volkarth, 1 X 1495. H 373; GW vol. 1, p. 216; LB iy; Panzer 3:375, 1

947 Colophon (Panzer): Venetiis, Johannes Herzog, imp. Johannis Volkarth. 1495, Kal. oct. Collation: 4 0 . 72 ff., 70 numbered and 2 unnumbered. Note: apparently a ghost. G W , vol. 1, p. 216: "either G W 473 or G W 453?" Rogers, "Hamman," p. 368^17: Haebler and Bohatta (LB 17) "ascribe this Agenda Brevis to the use of Passau, in the belief that Volkarth was a bookseller at Nuremberg, not far away." Cited as Agenda Pataviensis in G W . Copies: none known. Panzer ascribed a copy to Lambach. 2. Agenda Pataviensis. Venice: Johann H a m man for Johann Petri, 13 I X 1498. H 374* = 2767; GW 473; Goff A165; Mohtor, Deutsche, p. 42, plate 18; Voullieme B 4286; W18; M-B 7 Title, f . 7Ti, red: Agenda Jeu Benedictionale Jcd'm I vjun [Wc] Jancte eclejie [«c] Patauienjis. I Incipit,f. a 1 (i), red: Incipit ageda Jiue benedictionale de acti | bus Jcd'm chorü 7 objeruatione eccl'ie Pata | uiejis. Colophon, f . p8 (cxx), red: Modus 7 ordo cerimoniarü eccl'iajticarü: | ad vjum Jcte ecclejie Patauien. Singulari | cura 7 impenjis Iohänis petri de patauia | Uenetijs imprejjus per Iohanne hertzog | feliciter explicit. Anno xpi M CCCC. | XCVIII. Idibus menjis Septembris./ p8r, red: [printer's mark, IH]. Collation: 4 0 . 77"4 a—p 8 =i24 ff., numbered [4] 1—cxx. 24 11. 1 col.

Illustration: woodcut initials. Music: printed staves and notes. Music pages: a2 v , C5 v -c7, d7-d8, e2-e8, f ^ - g i , g6 v -g8, h2 v h5 v , h6v—iy, lc3v—lc5, k ö - k , I4—17, m i - 0 3 , 04"—pi, p2v—p3, p6—p8=i34 pp. Staves: 6 red 4-line staves per page, 144 X 110.5—111 mm. Music type: G i . Bibliography: Molitor, Deutsche, p. 42, plate XVIII. Copies: A-Kremsmünster, StB; Lambach, StB; Linz, StudB; Melk an der Donau, StB; Vienna, NB; CSPrague, UK; D-Berlin, SPK; Munich, SB; US-CASan Marino, Hunt. Copies seen: A-Vienna, NB, Ink XXIII.H.j. Size: 203 X 150 mm. Binding: rolled and stamped leather (restored 1924), "Also Hat Got Die Weldt Geliebet" (2 clasps missing). D-Berlin, SPK, Inc. 4286 8°. Size: 212 X 156 mm. Provenance: ex libris Siluejtri Mänhardi Tiilbrigenfis. 1581. Binding: oak boards with blind-stamped leather spine. Munich, SB, 4° Inc. c.a. 1463. Provenance (bookplate, front board): Domus SS. Adelhaidis, et Caietani. Binding: oak boards with blindstamped leather spine (clasp missing). US-CA-Sdn Marino, Hunt, 99987. Binding: vellum. —

Antiphonarium Romanum. Edited by Franciscus de Brugis. Venice: [Johann Emerich of

Speier]

for

Luca

Antonio

Giunta,

1503/1504. P 5505 ("c 1499—1500"; apparently only vol. 3 described); GW 2061 ("um 1499/1500"; apparently only vol. 3 described); BMC 5:542 (vol. 3); Goff A774; LB 27-28; Accurti, Aliae Ed, p. 63; Essling, Livres ä figures, 1402; Sander 422 (vol. 3, ca. 1499/1500) and 423 (1503); M-B 11 Title, vol. 1, f . ai, red: Antiphonariü f m morem fancte | Romane ecclejie cöpletü: 9tines | dnicale: . . . | M.d.iij. | [printer's mark]. Colophon, vol. 2, f . R£: ImpreJJum | Venetijs Impenjis nobilis viri | Luce Antonij de giunta Flo rentini. Anno incarnatio | nis dnice Mccccc.iij idibus Martij. | [register], Incipit, vol. 3, f . 1, 1: Antiphonarium proprium et cö | mune Janctori/ f m ordine Jancte | Romane ecclejie. Jüma cü di| ligentia reuijum: atq3 fideli | Jtudio emendatü: per reli | gioJu3 fratre Francijcü | de Brugis ordinis I minoy regularis ob | Jeruantie de pro | uintia Jancti | Antonij. | black: Cum gratia et priuilegio. I [printer's mark of Luca Antonio Giunta]. Explicit, vol. 3,f. 30, 8 [238], black: Fiat pax in vir

I tute tua. red: black: Et ha | bundantia in tur | ribus nojtris. Collation: 2°. Vol. i : a-z 8 l 6 = 190 ff., numbered (I) I I - C X C ; vol. 2: A—R 8 = 136 ff., numbered C X C I - C C C X X V [ 1 ] ; vol. 3: 1 - 2 4 8 2 5 6 2 6 - 3 o 8 = 238 ff., numbered [I-IH] IVCCXXXVIII. Music: printed staves and notes throughout. Staves: 7 red 4-line staves per page, 18 mm. Music type: R 2 1 . Note: the Antiphonarium Romanum of Emerich was thought to be an incunabulum until Accurti correctly cited the colophon date for vol 2. Vol. 1 has no colophon but postdates the last volume of Emerich's Gradúale Romanum (D 17) (1 III 1500), since that volume is referred to on the title page. Copies: GB-London, BL (vol. 3); US-CA-Berkeley, U C (Mus). Copies seen: GB-London, BL, IC. 24247 (vol. 3). With additional manuscript hymns. Size: 565 X 380 mm. Provenance: purchased in April i860. US-CA-Berkeley, UC (Mus). Lacks signatures 26—30 and other leaves. Size: 555 X 385 mm. Binding: leather over boards, with bosses and clasps. — Antiphonarium Ordinis Sancti Hieronymi. [Seville: Compañeros Alemanes, ca. 1 4 9 1 . ] C 486a; GW 2066; LB 15; Haebler, Ibérica, 18; Pellechet 811 ("1498?"); M-B 10 Note: not an Italian incunabulum. Pellechet attributed the Antiphonarium to the Compañeros Alemanes because the majuscules are like those of the Tostado Floretum (H 1 5 5 8 1 ) of those printers. The book contains a historiated initial like one used in Emerich's Gradúale Romanum (D 17). The music type is roman plainchant with a punctum for common note and differs from all types described herein. Copies: F-Paris, BN. Copies seen: F-Paris, BN, Vél. 807. 3. Bonaventura da Brescia. Breviloquium Musicale. [Brescia]: Angelo Britannico, 27 V I I I 1497. IGI

1952;

Gaspari

1:171;

RISM

B6

1:162

(2 i f f - ) Title, f . ai, woodcut of hand and hexachord syllables; f . ai": Reuerendo in chrijto. Fratri Marcho de duchis. ordinis mi | norü prouintiae Mediolani: Jocio dignijjimo. Frater bona- | uentura de Brixia Bibliography of Italian Music Incunabula

201

Incipit, f . a2v: (£lncipit Breuiloquiu mujicale ualde optimum Et breui | ter notatum: T primo. | De compojitione manus. | Explicit, f . ei: Explicit Breuiloquium mujicale. Editum a fratre Bonaue | tura de brixia. ordinis Minorum. in conuentu nojtro Jacti | Francijci de brixia. | AccuratiJJime imprejjum per Angelum britanicum Jub | die.xxvii. Iulii M.cccc.lxxxxvii. | f . eiv, blank (f.e.2 lacking). Collation: 40. a 8 b—d4 e 2 —22 ff. col. Illustration: woodcut diagrams and music. Music: notes and staves printed from wood in black. Music pages: a i , ¿4 " , a6v—b2v, V b^—ci", C2 —C4, div—d4 = 30 pp. Music type: B quadrata is used in the text but variation in size indicates it was cut in wood rather than metal. Bibliography: M . Teresa Rosa Barezzani, "I Britannico stampatori di musica a Brescia," Commentari dell' Ateneo di Brescia 175 (1970): I 53~73Copies: I-Bologna, Mus. Copies seen: l-Bologna, Mus, A /57. Lacks f. e2. Interleaved with pages annotated in the hand of Rev. G. B. Martini. Size: 204 X 150 mm. Bonaventura da Brescia. Regula Musicae Planae. [Brescia]: Angelo Britannico, 27 IX 14 97. R 1151; GW 4833; IGI 1953; RISM B6 1:162 Title, f . ai: Regula Mujice plane: ve | nerabilis Fratris Bo | nauéture de Bri xia ordinis mi | norum. f . aiv: (fiReuerédo in chrijto patri. Fratri Marcho de duchis.ordls | minoru prouinciae Mediolani:Jocio digniJJimo.Frater Bonaue | tura de Brixia eiujdé ordls.filiale ac humilé Jalutationé 7 c. | Explicit, f . d4": (£ Explicit Breuiloquium mujicale.editum a fratre Bonauentu- | ra de Brixia:ordinis minorum.in còuétu nojtro Jancti Francijci | de brixia | AccuratiJJime imprejjum per Angelui Britannicum Jub die.xxvii. | Septebris.M.cccc.lxxxxvii. Collation: 40. a b—d4 = 20 ff. 30 11. 1 col. Illustration: woodcut diagrams and music. Music: notes and staves printed from wood in black; same cuts as D 3. Music pages: a3, a^'", a5v—b2, b3~b4v, C2-C3, C4V—d4 = 28 pp. Bibliography: facsimile editions: Milan: Bollettino Bibliografico Musicale, 1936; Antiquae Musicae Italicae, Monumenta Brixiensia 2, MiMusic Books and Their Locations

lan: A.M.I.S., 1970; Monuments of Music and Music Literature in Facsimile 2, Music Literature [77]» New York: Broude Brothers, 1975. Trans. Albert Seay, Colorado College Music Press Critical Texts 11, Colorado Springs: Colorado College Music Press, 1981. Copies: I-Milan, Triv; Parma, Pal. Copies seen: IMilan, Triv, D99. Lacks ff. a i - 2 . Size: 199 X 144 mm. Binding: vellum. 5. Bonaventura da Brescia. Regula Musicae Planae. [Brescia]: Angelo Britannico, 3 IX [1500]. H 3576*; GW 4834; IGI 1954; Pellechet 271p; RISM B6 1: 162 Incipit,/, ai: Regula Mujicae planae : ue | nerabilis Fratris Bo- | nauenturae de Bri | xia ordinis mi I norum. | Explicit, f . ¿4Explicit Breuiloquium mujicale: editum a fratre Bonauentu | ra de Brixia : ordinis minorum: in conuentu nojtro Jancti Franci- | Jci de Brixia. | AccuratiJJime imprejjum per Angelum Britannicum Jub die.iii. | Septembris .M.cccc. [fic]. Collation: 40. a 8 b - d 4 = 20 ff. 30 11. 1 col. Illustration: woodcut diagrams and music. Music: notes and staves printed from wood in black; same cuts as D 3 and D 4. Music pages: a3 [hand], aq", a-y—b?., b^—b^, [C2-C3?], C4 v -d 4 = 2 5 ( + ?) pp. Copies: F-Paris, BN; I-Verona, BC; Vicenza, BC. (RISM B6 lists a copy at I-Bologna, Mus; not in IGI.) Copies seen: F-Paris, BN, Rés. V. 1533. Lacks ff. C2-C3. Woodcut music on f. a6v printed upside down. Size: 204 X 142 mm. Provenance, f. a i : Pertinet Magistro T. Mineti, Conventu M . . . eboii. Binding: grey paper over cardboard. 6. Bonaventura da Brescia. Regula Musicae Planae. [Milan]: Leonard Pachel for Giovanni de Legnano, 10 IX 1500. GW 4835; IGI 1955; Dona, p. 48; Gaspari 1:171; RISM B6 1:162; Polain 823; Rogledi Manni ipo; Sander 1151 Title, f . ai: REGVLA MVSICE PLANE: | VENERABILE FRATRIS | BONAVENTVRE DE I BRIXIA ORDINIS | MINORVM Incipit, f . ai ": Incipit breuiloquium mujicale ualde optimü äC breuiter no | tatum: &C primo. | De compojitione manus. Explicit,f. ¿4v: Explicit Breuiloquium mujicale. editum a fratre Bonaué-

| tura de Brixia : ordinis minorum. in conuentu nojtro Jancti | Francijci de brixia. | AccuratiJJime imprejjum per magijtru Leonardum pachel | Ad impenjas magijtri Ioannis de legnano. Jub die.x.Septem- | bris .M.ccccc. [printer's mark] IOHANNES.DE.LEGNANO +. Collation: 4 0 , a8 b - d 4 = 2o f f . 3 0 - 3 1 11. 1 col. Illustration: woodcut diagrams and music. Music: notes and staves printed from wood, same cuts as D3—D5. Music pages: aq a$v—b2, b 3 - b 4 v , c2—C3, C4 v -d4 = 28 pp. Music type: B quadrata and T printed from metal in prose passages. Type from wood (C and F clef, B molle) appears on f. aq.

8. Burzio, Bologna:

Nicolo. Ugo

Musices Ruggerio

Opusculum. for

Benedetto

Faelli, 30 iv 1 4 8 7 .

Incipit, f . 771, calendar; f . 2 7Ti, red: (^Incipit tabula epl'av f . ai: VEnite exultemus dno: Colophon, f eey", red: In alma Venetiarum vrbe per Iohannè Eme | ricum de Spira Alemanu JtudioJiJJime Imprejjo | JolertiJJimeq3 reuijum ac cajtigatum. Anno nata- | lis domini .M.cccc.xcii.octauo Kl'as Ianuarij. red: [printer's mark].

H 4145*; P 6565; GW 5796; BMC VI:807 and XII:58; Goff B1331; IGI 2278; IDL io8j; Pellechet 3098; RISM B6 1:194 (8°> 67 ff-' 3° lL) Incipit, f . az: Nicolai Burtij parmenjis: mujices profefjoris: ac | iuris pontificij JtudioJiJJimi: mujices opu/culu3 inci | pit: cum defenjione Guidonis aretini: aduerjus que | ndam hyjpanum veritatis preuaricatorem. Colophon, f . 14: ImpeJis Bñdicti librarij bonoñ. ac Juma indujtria | U g o nis de rugerijs: qui propatiJJimus huius artis | exactor impjjus Bonòie. Año dñi. m.cccc.lxxxvij. | die vltima aprilis. 1 Collation: 40. a—h i4 = 68 ff. 28—29 colIllustration: woodcut diagrams and music. Music: notes and staves printed from wood, both plainchant and mensural notation. Music pages: b8v—ci, C2, E7 u , f 6 v = 5 pp. Bibliography: facsimile edition, ed. Domenico Massera, Bibliotheca Musica Bononiensis 2: 4, Bologna: Forni, 1969. Trans. Clement A . Miller, Musicological Studies and Documents 37, Neuhausen-Stuttgart: American Institute of Musicology, Hanssler Verlag, 1983. Description in Dibdin, Bibliotheca Spenceriana 3: 233—36. One of the copies in F-Paris, B N , is probably that formerly belonging to the library of S. Giustina of Padua; see Luigi Alberto Ferrai, " L a biblioteca di S. Giustina di Padova," in G. Mazzatinti, Inventario dei manoscritti italiani delle biblioteche di Francia, 3 vols., Italy, Ministero dell'istruzione pubblica, Indici e cataloghi 5, Rome, 1886—1888, 2:549—79.

Collation: 16°. 77"6 2 77 10 a - f 8 g 4 h—y8 A—S aa—bb8 cc4 dd—ee8 = 3Ó8 ff., numbered [ 1 6 ] I - X L V I I I [4] L I I I - C C X V I [36]. 34 11. 2 col. Music: space for 6 staves, 2 cols. Distance from the bottom of a line of music text to the bottom of the next line is 12 mm., and the column is 23 to 28 mm. wide. The text type has an x-height of

Copies: A-Vienna, NB; B-Brussels, BR; D-Berlin, SPK; F-Paris, BN 2 ; SG; GB-Cambridge, UL; Glasgow, Euing; London, BL 2 ; Manchester, JRL; IBologna, Are; Mus2; Cremona, G; Florence, BN; Milan, Triv; Parma, Pal; Venice, BN; NL-The Hague, KB; US-CA-San Marino, Hunt; Washington, LCM. Copies seen: I-Bologna, Mus, A64. Lacks

Copies: B-Brussels, BR; GB-London, BL; IBologna, Mus; Milan, Triv. Copies seen: B-Brussels, BR, Amp; I-Bologna, Mus, A.58. Size: 196.5 X 140 mm. Binding: blue paper over cardboard, leather spine. —

1.5 mm. Clearly the book is too small for contemporary music types. Copies: E-Madrid, BN; GB-London, BL. Copies seen: GB-London, BL, IA.24203. Size: n o X 76 mm. Provenance, f. ee8: Frater sebastianus de castro florentino. Binding: blind-stamped leather over boards.

Bonaventura da Brescia. Regula

Musicae

Planae. Venice: Giacomo Penzio, 20

III

1511. C 1200 ([1500]); P 5589 (n.d.); G W vol. 4, p. 496 (16th century); BMC V:lii (shortly before 1510); GoffBgyj (after 1500?); IGI 1:252 (dopo il 1500); Gaspari, iyi (20 III 11); RISM B6 1:162 7. Breviarium Ordinis Praedicatorum. Edited by T h o m a s Donatus. Venice: Johann Emerich of Speier, 2 5 X I I 1 4 9 2 . C 1 2 9 0 ; P 5 4 9 3 ; GW 5 2 2 7 ; BMC V7: 5 3 S ;

LB 3 60

Bibliography of Italian Music Incunabula

203

sheet ei.8, e2.7. Size: 200 X 151 mm. Provenance: Rev. G. B. Martini. Binding: vellum. A 65. Size: 192 X 135 mm. Binding: marbled paper over cardboard, black leather spine (Gaspari, p. 199). Milan, Triv, Dy8. Lacks f. a i . Decoration: First initial flourished, initials and chapters rubricated in red and blue. Binding: gold-stamped brown morocco, marbled endpapers and gold edges. Parma, Pal, Parm Inc. 132. Contemporary musical examples and notes in manuscript. Binding: marbled paper and leather spine (18th century). U S - Washington, LCM, ML 1J1.B87. Lacks f. a i . Size: 207 X 146 mm. Binding: marbled paper with leather spine.

9. Caza, Francesco. Trattato vulgare del canto figurato. Milan: Leonard Pachel for Giovanni Pietro da Lomazzo, 5 VI 1492. H 481p; GW 6441; BMC X//.55; Dona, p. 48; RISM B6 i :214; S T C Italy, p. 285 Incipit, f . aiv:

Splendido equiti aurato Philipino flijco ducalis cu | Jtodie capitaneo Franchinus Gaffurus Jalutem | Meorum affecla Jtudioru3 Francijcus cacia qui te J JuJpi | cit J veneratur eques Jplèdide vernacula lingua f . d2: Tractato vulgare de canto figurato de francejco caza Explicit,f. b4: Finis | Opera magijtri iohanis petri de Iomacio I Leonardus pachel ImpreJJit Me | diolani die quinto Iunij An | no domini .M.cccc. | lxxxx.ij. Collation: 4 0 . a 8 b 4 = 12 ff. 27—28 11. 1 col. Illustration: a woodcut initial. Music: space for music. Music pages: a2v—a6, a8—b-^— 17 pp.

Bibliography: facsimile edition, ed. Johannes W o l f , Veröffentlichungen der Musikbibliothek Paul H i r s c h , Frankfurt-am-Main, 1. Berlin, 1922. N o t e : the work is basically a translation from Latin into Italian of Gaffurio's Practica Musicde, Book 2, which was not published until 1496. It includes a prefatory epistle in Latin by Gaffurio addressed to Philipinus Fliscus. Copies: GB-London, BL. Copies seen: GB-London, BL, Hirsch 1.110. Manuscript music in brown ink (white mensural notation without staves). Provenance, on front pastedown: "EX M U S A E O H V T H I I " (see the catalogue, The Huth Library, London: Ellis and White, 1880). Stamped "Roy. Soc. sold", formerly in Royal Society, London. The owner previous to the BL was Paul Hirsch (Frankfurt), whose collection was purchased for the library.

204

Music Books and Their Locations

Size: 203 X 144 mm. Binding: stamped in gold "R. BEDFORD."

red

10. Compendium Musices. Venice: Battista SeJJa, 21 XI 1499. P 5594: 20

GW 7 2 6 3 ; RISM

morocco

Giovanni

B6 2:925;

Sander

74

Incipit, f . di [within woodcut of Guidonian

hand]:

Proprietas in mujica ejt deriuatio plurinm | vocum abvno eodèq3 principio. | Exijtentib9 | igitur modis Jiue proprietatibus trib9 toti9 | cantus; Explicit, f . b4: Explicit mujices non inutile Compendium: ad Saluatoris | Honorem: primorumq3 dijcentium utilitatem confectum. | Imprejjum Venetiis per Ioannem Baptijtam SeJJa. | .M.CCCC.Lxxxxviiii.die uero.xxi.Nouembris. | [printer's mark, IBS]. Collation:4°. a-b = 8 ff. Number of lines varies. 1 col. Music: notes and staves printed from wood. Music pages: a i , a2 v -b3 v = 12 pp. Staves: 4- and 5-line staves. Bibliography: David Crawford, " A Chant M a n ual in Sixteenth-Century Italy," Musica Disciplina 36 ( 1 9 8 2 ) : 175—90. Edition: Compendium Mvsices: Venetiis, 1499-1597, ed. David C r a w ford, Corpus Scriptorum de M u s i c a 33, Stuttgart: American Institute of Musicology, 1985. Copies: D-Jena, U B ; Leipzig, Wolfenbiittel, HAB; UB; GB-Oxford, UL. Copies seen: GB-Oxford, UL, Auct. 2Q Inf. 2.5 (Sheppard Catalog 4354). Size: 184 X 135 mm. Binding: gold-tooled calf; formerly bound with 4 0 F 13 Art., removed and bound separately in May 1822.

— Compendium Musices. [Venice: Bernardino Vitali f o r ] Giovanni Battista Sessa, [ca. 1505]. See Tractatus Musices. 1 i.*Gaf¥urio, Franchino. Opus Musicae. M i lan: Gottardo da Ponte, 10 XI 1500. H 7409;

GW 9:2, col. 220;

Dona, pp.

50-51;

Panzer 2:93; Rogledi Manni, 452; Sdssi, p.

DCVII

Franchini Gafurii Mediolanenjis Phonajci Regiique Mujici Mujicae Angelicum ac Divinum Opus (in Italian). Colophon (H): ImpreJJum Mediolani per Gotardum de Ponte anno Jalutis reparatae milleJimo, quingentejimo, die decima menjis Novembris, Alexandro Jexto Pontifice Maximo ac ChriJtianiJJimo Francorum Incipit

(H):

Rege Ludovico D u c e Mediolani, felici aujpicio regnantibus. Collation: 2°. N o t e : the colophon given in H differs from the edition o f the work by Gottardo da Ponte in date ( 1 6 I X 1508) and pope (Julius II) and is not likely to have been a misprint, as was suggested by M i c h a e l Maittaire, Annales Typographici ab Artis

Inventae Origine

5 vols.

Amsterdam:

ad Annum

MDCLXIV,

Humbert,

1719-1741,

4739Copies: none known. 12. Gaffurio, Franchino. Practica Musicae. M i lan: Guillaume Le Signerre for Giovanni Pietro da Lomazzo, 30 I X 1 4 9 6 . H 7 4 0 7 ; P 6067; and XII:56;

IGI 4112;

Gaspari 1:218; B6 1:342;

GW

10434;

VI-789

BMC

Goff G3; Dona p. 73;

Kristeller

LG

162;

RISM

Panzer 2:83; Pellechet 4949;

Sander

2983

13. G a f f u r i o ,

Franchino.

Practica

Musicae.

B r e s c i a : A n g e l o B r i t a n n i c o , 23 I X 1 4 9 7 .

Title, f.

Yi:

PRACTICA

MVSICE

FRAN-

C H I N I G A F O R I L A V D E N S I S . | Register, f ri";

and W e r n e r W o l f f h e i m , Berlin: Breslauer, 1929, pp. 65—72. Facsimile edition, W e s t m e a d , Farnborough: G r e g g Press, 1967. Trans, and ed. Irwin Y o u n g , Madison: University o f W i s consin Press, 1969. James H a a r , " T h e Frontispiece o f G a f o r i ' s Practica Musicae ( 1 4 9 6 ) , " Renaissance Quarterly, 27 ( 1 9 7 4 ) : 7—22. Copies: over fifty copies exist (see GW, IGI, RISM B6, and Dona); a vellum copy at I-Lodi, BC. Copies seen: l-Florence, BN, C3.27. Provenance: (bookplate, front pastedown): F R A N C I S C I | C A E S A R I S A V G V S T I | M U N I F I C E N T I A . ; (stamp on f. T i ) F I O R E N T I N A E . B I B L I O T H . P U B . Milan, Trw, D78. Decoration: flourished initials and rubricated chapters. Size: 276 X 200 mm. US-CA-SanMarino, Hunt, 87540. Bound with 1492 edition of Theorica of Gaffurio. Washington, LCM, ML 171.G12.14p6. Decoration: watercolors on title page, borders, and initials. Binding: vellum.

blank, f T2; Table of contents, f. V2"-3; f. ai:

FRANCHINI

GAFORI

LAVDENSIS.

M V S I C E A C T I O - I N I S . LIBER P R I M V S . | Explicit,

f.

II5v;

Practica

Mujicae

Franchini

G a f o r i laudenjis quattuor libris compraehenja Finit. I ImpreJJa Mediolani opera &C Impenja Ioannis petri de Lomatio per Guillermum | Signerre R o t h o m a g e n j e m anno Jalutis

MileJJimo

quadringentejjimo nonageJJi- | mo Jexto die vltimo Septembris. Alexandro Jexto Potifice maximo : ÖC M a x i -

I miliano Romanorum

rege

Jemper a u g u j t o ac Lodouico maria Sfortia A n glo I inuictijjimo Mediolanenjium D u c e : foelici aujpicio regnantibus.

H 7408; P 6995; XII:70; 842;

IGI 4113;

GW

10435;

VIL979,

BMC

Goff G4; Hubay, A u g s b u r g ,

Pellechet 4950; RISM

B6 1:342;

Sander

2984 Title, f. 7Ti: M u j i c e utriujq3 cantus practi | ca excellentis Frachini G a | fori Laudenjis libris | quatuor modu | latijjima. Explicit, f. II5

Practica

Mujicae

quatuor

Franchini G a f o r i laudenjis

libris compraehenja Finit. | ImpreJJa Brixiae opera &C impenja A n g e l i Britannici : anno Jalutis Millejimoquatrin-

|

gentejimononagejimo-

Jeptimo : nono Kalen : Octobris. Collation: 2 0 . 7T4 a—b8 c 6 aa—kk8 ll 6 — 112 ff. 3 7 - 3 8 11. 1 col. Illustration: woodcut initials and music. M u s i c : notes and staves printed from wood in

Collation: 2 0 . T 4 a—b8 c 6 aa—kk

II6 = 112 ff.

much o f the book.

3 6 - 4 0 11. i col.

Note:

Illustration: title woodcut, full page border at

mostly with the same page contents, from the

reprinted, with the same quiring and

chapter beginnings. T h e woodcut illustrations

1496 edition o f Le Signerre. T h e music dia-

were reused in the 3d edition (1502).

grams and examples appear to be printed from

M u s i c : notes and staves printed in black from

Le Signerre's original blocks, but the title wood-

wood, on most pages.

cut and the borders have not been reused.

Bibliography: Paul H i r s c h , "Bibliographie der

Copies: D-Augsburg, SB; F-Paris, B N ; GB-Cam-

musiktheoretischen

Franchino

bridge, U L ; London, BL 2 ; I-Bologna, BC, LM;

Beiträge:

Brescia, B C ; Florence, B N ; Genoa, B U ; Modena,

Festschrift für Johannes Wolf zu seinem sechzigsten

Est; Naples, B N ; Padua, B U ; Perugia, BC; Pesaro,

Geburtstag, ed. W a l t e r Lott, H e l m u t h O s t h o f f ,

Oliv;

Gafori,"

in

Drucke

des

Musikwissenschaftliche

Rome,

Cors;

Treviso,

BC;

US-CA-San

Bibliography of Italian Music Incunabula

205

Marino, Hunt; MA-Cambridge, H C L ; MD-Baltimore, Walt; the copy at I-Venice, B N , has been lost for centuries. Copies seen: GB-London, BL, 31159. Size: 258 X 188 mm. Provenance, bookplate: Rudolf Johann, Freiherr von Wrisberg (Hirsch Library, 1:193). K-l.g.4. Lacks f. 1 1 6 (blank). Provenance, f. TT i : Ricevuto in dono fattomi dal Sign: Gaet: Pinali in Verona Ii 2/9 1835. Gio. Gasp. Aiblinger. Binding: brown calf stamped with British royal arms, marbled endpapers and edges. l-Modena, Est, a A.5.20. (From Fava, p. 635.) Provenance: Collegii Mirandolani Soc. Jesu (17th century). Binding: vellum. Treviso, BC, 13774.2. Bound with Gaffurio's Tbeorica Musicae, 1492. Size: 280 X 199 mm. Provenance, bookplate: Biblioteca Rossi (Rossi became the librarian of the library in 1 8 1 1 , at which time he donated his 10,000 books, acquired mainly from suppressed monasteries). There is an old library mark on the front pastedown (L.3-98-H) and another above it (Cam 3/Scaf 18/Lett. 306). Binding: cardboard with paper label. 14. Gaffurio, Franchino. Theorica Musicae. Naples: Francesco di Dino, 8 X 1480. H 7404; GW 10436; BM C VI:867 andXII:63; Goff G5; IGI 4114; IDL 1872; Pellechet 4947; RISMB6 1:343; Sander 2981 Table, f . [ai]: LIBER P R I M V S H V I V S O P E R I S I Incipit, f . [ai]: CLARISSIMI A C P R E S T A N T I S S I | MI MVSICI FRANC H I N I G A F O R I I L A V D E N S I S Theoricum opus mujice | dijcipline A d ReuerendiJJimü in xpo patré | dominum dominum Iohannem Arcimbol | dum mijeratione diuina JacroJancte Roma I ne ecclejie pjbiterü Cardinale Nouarienjem | P R O H E M I V M . f . [02 ]: DE EFFECTIBVS ET COMENDA | TIONE M V S I C E Capitulum primü. Explicit, f . [p6"]: F R A N C H I N I Gafori Laudenjis MuJiceJ | gfejjoris theoricum opus armonice dijcipli | ne Explicit. Impreum Neapolis per Magi | Jtrum Fräcijcü di dino florentinum. Anno | d n i . M . C C C C . L X X X . Die octauo octo | bris. InuictiJJimo Rege Ferdinando regnan | te. Anno regni eius vigejjimo tertio. \ f . [py]: [register]. Collation: 40. [a b-p J = 1 1 6 ff. 26 11. 1 col. Music: space for music. Copies: A-Vienna, N B ; B-Brussels, BR; D Stuttgart, W L ; F-Paris, B N ; Maz; GB-Cambridge, U L ; London, BL 2 ; I-Bologna, BC; LM; Florence,

206

Music Books and Their Locations

B N ; Mar; Sem; Milan, Ambr; Naples, B N 3 ; Cons; Rome, Cors; NL-Utrecht, U B ; US-IL-Chicago, New; Washington, LC 2 . Copies seen: l-Florence, BN, A.6.36. Marginal notes in manuscript. Lacks f. [ai]. Size: 2 1 0 X 145 mm. Binding: recent vellum. 1 5 . Gaffurio, Franchino. Theorica Musicae. M i lan: Filippo Mantegazza for Giovanni Pietro da Lomazzo, 1 5 X I I 1 4 9 2 . H 7406=H 7405; P 6055; GW 10437; BMC VI:785 and X / / . 5 5 ; Goff G6; IGI 4115; IDL 1873; Dona p. 41; Kris te ller LG 161; Panzer 2:69; Pellechet 4948; Polain 1528; RISM B6 1:343; Sander 2982 Title, f . ni: T H E O R I C A M V S I C E F R A N C H I N I G A F V R I I L A V D E N S I S . | [woodcut of organ and organist}. Colophon, f . k8: Imprejjum mediolani per Magijtrum Philippum Man- I tegatium dictum Cajtanum opera &C impenja Magijtri | Ioannis Petri de lomatio anno Jalutis M.cccc.Lxxxxii. | die xv Decembris. Collation: 2 0 . 774 a8 b-i 6 k8 = 68 ff. 38 11. 1 col. Illustration: woodcut on title page. Music: notes and staves printed from wood, mostly in diagrams. Bibliography: facsimile editions: ed. Gaetano Cesari, Rome: Reale Accademia d'Italia, 1934; Bibliotheca Musica Bononiensis 2:5, Bologna: Forni, 1969. Copies: F-Paris, B N 3 (1 vellum); GB-London, BL 2 ; I-Bologna, Mus 2 ; Florence, B N ; Milan, Ambr; B N ; Triv; Naples, B N ; Novara, Sem; Parma, Pai 2 ; Pesaro, Oliv; Piacenza, BC; Rome, B N ; Cec; Cors; Treviso, B C ; Turin, B N ; NL-The Hague, KB; U S C N - N e w Haven, Y U L ; IL-Chicago, New; M A Boston, PL; Cambridge, H C L ; N Y - N e w York, PL; Washington, LC 2 . Copies seen: F-Paris, BN, Vél. 1028. Vellum. Decoration: initials in gold and colors. Size: 270 X 200 mm. Provenance, f. 7Ti: Ill'mo, Dno Corniti Amico D. Caelestinus Monachus Benedictino Casinensis | dono dedit Anno Aevae vulgaris [first owner's name scratched out]. Binding: marbled paper with leather corners and spine. IFlorence, BN, 1.4.8. Manuscript music added. Binding: boards and leather (restored). Milan, Triv. B 2 2 1 1 . Bound with 1496 edition in blind-stamped leather. Size: 270 X 200 mm. Provenance [added leaf before title page]: Questo libro e de mio zantomas fisa mano . . . 1514. Treviso, BC, 13779.1. Bound with D 13. 280 X 199 mm.

16. G r a d u a l e

Romanum.

Parma:

Damiano

Moilli de B e r n a r d o Moilli, i o I V 1477. See Figs. 3 4 - 3 5 . R 1176; IGI 4355 Incipit,/, [ai] (blank);/, [aF]: Tabula càturie:/•[¿3]: CRedo I unu deu /. [ay]: ImpreJJuq3 è parme. Colophon, /. [myy]: Mujica Bernàdo | Daiano. frib^ ars è | Sic ipjja pri^ :genu | it quos parma moyl | los:- 1477 die x aprii'. Collation: 2 0 . [a 7 ( + 1 ? ) b-{ 10 g 8 h-k 1 0 l4 m 7 ( + 1 ? ) ] = i o 6 ( + 2?) ff. 11 11. on table, 4 11. on music pages. In the Lodi copy, the first gathering is sewn after three leaves and apparently lacks the first blank leaf. T h e last gathering similarly lacks a leaf (the last blank?). Watermark: paschal lamb, similar to Briquet 17. Music: printed notes and staves. Music pages: throughout. Staves: 55 mm; 4 red 4-line staves per page, 379 X 309.5 mm. Music type: R2. Bibliography: Mary Kay Duggan, " T h e Music Type of the Second Dated Printed Music Book, the 1477 Graduale Romanum," La Bibliofilia 89 (1987), 285—307. Domenico Fava, "Il corale a stampa del 1477 e i suoi autori, Chiesa SS. Incoronata di Lodi," Archivio storico per la città, i comuni del territorio lodigiano e della diocesi di Lodi 58 (1939): 54—61; the article was rewritten as "Le conquiste tecniche di un grande tipografo del Quattrocento," Gutenberg-]ahrbuch (1940): 147—56. Lamberto Donati, "Passio Domini Nostri Iesu Christi: Frammento tipografico della Biblioteca Parsoniana," La Bibliofilia 56 (1954): 207—15, with an illustration of f. [m7 v ], the explicit. Carl Wehmer, "Udalricus Gallus de Bienna," in Contributi alla storia del libro italiano: Miscellanea in onore di Lamberto Donati, Florence: Olschki, 1969, pp. 335—36. Copies: I-Genoa, Ben; Lodi, Chiesa SS. Incoronata. Copies seen: I-Lodi, Chiesa SS. Incoronata. Heavily trimmed, lacking half of the printed foliation at top. Size: 480 X 360 mm. Binding: leather over boards (Oct. 1928). 17. G r a d u a l e R o m a n u m . Edited by Franciscus of Bruges. Venice: J o h a n n Emerich of Speier f o r Luca A n t o n i o Giunta, 28 I X 1 4 9 9 / 1 I I I 1500. See Figs. 6, 7, 10. H 7844; P 5502; BMC

V.541;

Goff

G332;

IGI 4357; LB 704; Essling, Livres à figures, 1208; Panzer 3:2345; Pellechet 5288 (variant title page); Sander 3211; M-B 20 Title,/. 7Ti, red: Graduale j?m morem Jancte Ro | mane ecclejie: integru 1 còpletu | videlicet dnicale: Janctuariu: | comune: 7 catorinu: Jive ky I riale: imprejjù Uenetijs | cum priuilegio: cu quo I etiam imprimuntur | antiphonarium et | pjalmijta: Jub pe | na vt I gratia | M.ccccc. [printer's mark] correctum per fratrem Francijcum de Brugis | ordinis minorum de objeruantia. Explicit, f . ^8" (CCXVIIF ), red: Explicit graduale dnicale ImpreJJum Uenetijs | cura atq3 impèf nobil' viri luceàtonij de giun | ta florètini: arte aut Ioanis emerici de Spira: Anno incarnationis dnice: | M.cccc.lxxxxix.iiij. Kl'.octobris. Explicit, /. N7 V (CCCXXVIIF), red: Finit feliciter comune Janctoru | maxima cum diligétia ac Jum | mo Jtudio emédatù:imprej Ju3 Uenetijs impenjis no | bilis viri Luceantonij de giuta florètini. arte | aut Ioanis Emeri | ci de Spira:anno | nativitatis dni | M.cccc.xcix. | xix.kl'.2.Febr Explicit, /. Upy (CCCLXXXF), red: Explicit volume graduu:Juma cura Ion | gijjimijq3 vigilijs gfectu: ImpJJù Uene | tijs Tpef nobil' viri Luceàtonij de giuta | florétini:arte aut Ioanis emerici de Jpi | ra. Anno natal' dni M.ccccc.Kl'.Martij. Collation: 2 0 . States vary. State 1: vol. I: 771 7(8-1) I

8

8

8

8

8

8

_

Q

re

|

i t

a b-s t v-z t; 9 \ y^ — 210 it.; vol. 11: A - C 8 D - E 1 0 F - T 8 U ' ° = 166 if., for a total of 386 ff., numbered [3] I - C C C L X X X I [1] (with omissions); N 8 , U i o blank. 1 col. State 2, with a preface added after the title page: vol. I: 77127T2 a7-G6 V , HZ~\ H 5 - I 4 = 50 pp. Staves: 6 red 4-line staves per page, 1 1 7 X 70 mm. Music type: R24. Copies: F-Paris, B N ; I-Cremona, G; Milan, B N ; Modena, Est (Fava 830); Vatican City, BV. Copies seen: l-Mtlan, BN, BG Inc. 68. Lacks f. f i , sheet E i . E8. Size: 156 X 114 mm. Provenance: Duke of Parma. Binding: recent vellum. Vatican City, BV, Ross. 967. Size: 145 X m mm. Provenance, f. 18": S. Siluestri . . . quirinalis. Binding: blind- and goldstamped brown morocco.

162a; LB 724; Essling, Livres à figures, 839, plate XLIX of f . 772Sander 1829 Incipit, f . 7Ti, red: In hoc paruo libello qui intitula | tur liber cathecumini | queda valde putilia imprejja Junt ad vjum vtilitatéq3 Jacer | dotum J m ritum Ro | mane curie; que hie | in principio huius | tabule facilere | peries. | [printer's mark] L A . Explicit, f . 14 \ red: ImpreJJum Uenetijs per Ioàné emericu de Jpy | ra. Anno dni .M.cccc.xcv.pridie kalen. Maij. | [printer's mark, IE], Collation: 4°. 7T2 A - B 8 C 1 1 ( 8 - C 1 - C 2 - C 3 + C 1 A C 2 ' 5 ' C 3 ' 4 ) D - F 8 G 1 0 H 8 I 4 = 75 £f. 30 11. 1 col. The first three leaves of gathering C have been replaced by 3 half sheets or 6 leaves. Illustration: full-page, border, and initials printed from woodcuts.

20. Liber Catechumeni. Venice: [ J o h a n n E m e rich of S p e i e r ] f o r Luca Antonio Giunta,

Music: printed notes and staves. Music pages: B8 V —Ci, C 2 — C 4 V , C6V, C 9 - D 4 , G ì , G 3 ' " , G8, H i — H 6 , H7 r _ v = 37pp. Staves: 6 red 4-line staves in 1 col., 146 X 102 (143 X 99) mm. Music type: R 1 8 .

6 VI

Copies: F-Paris, B N ; I-Palermo, B N ; Poppi, BC; Venice, Cini. Copies seen: I-Poppi, BC. Size: 196 X 143 mm. Provenance: bookplate on front pastedown C | Gì, N 1 6 . On flyleaf: Inscriptus Catalogo : Bibliothecae S. Eremi Cam. an. 1856. | PWGF N27. Concerning the library of the nearby Camaldolite Monastery, see Elena Magheri Cataluccio and A. Ugo Fossa, Biblioteca e cultura a Camaldoli: Dal medioevo all'umanesimo, Rome: Editrice Anselmiana, 1979 (Studie Linselmi 75). Binding: wooden board with leather spine labeled in gold "LIB. C A T H E C U M " ; bound with two other books. Venice, Cini, 325. Signature C 1 1 , as described by Essling, Lirres à figures, p. 839. Size: 207 X 150 mm. Binding: brown morocco (Lortic) with Essling coat of arms in gold, marbled endpapers, gold edges. 1 9 . Liber Catechumeni. Venice: Giovanni Battista Sessa, 3 1 V I I 1 4 9 8 . S e e Fig. 54. C3572; IGI5755; LB 7 2 5 ; LD 2 9 7 Title, f . f 1, red: In hoc paruo libello qui intitula | tur liber cathecumini: queda | ualde g utilia imprejja Junt | ad ujum utilitateq3 Jacer | dotum Jecundum ritù | Romane curie: | [printer's mark, I B S ] ; /. f2, red: ((^Incipit ordo maior ad cathecuminu facien- | dum. Explicit, f . i8Y, red: ImpreJJum Venetiis Ioannè Baptijtà | de SeJJa. Anno domini .M. cccc. | xcviii. pridie kaleh. Augujti. I [printer's mark, I B S ]

1500.

R 591; GoffLi98; IGI 5756; LB 726; M-B 23 Title,/. TTi, red: In hoc paruo libello qui intitula | tur liber catecumini: quedà | valde putilia imprejja Jut | ad v j u j vtilitatecg Jacer | dotu J m ritu Roma- I ne curie: que hie in | principio huius | tabule facile | reperies | [printer's mark, L . A . ] Incipit, f . ai, red: (£ Incipit ordo ad faciendum baptijmum J m curiam romanam. Explicit,/. gi2 red: ImpreJJum Uenetijs: Impenjis Lucantoni de giuta I Fiorentini. Anno dni.M.ccccc. Octauo idus Iunij. Collation: 4 0 . 7T2 a 1 2 b—f8 g 1 2 = 66 ff. 30 11. 1 col. Illustration: woodcut illustrations. Music: printed notes and staves. Music pages: b2 r_v , b3 v -b6, by, c2-cy", {2, {4^, f8r", v v g 2 - g 7 = 3 7 pp. Staves: 6 red 4-line staves per page, 1 6 1 X 1 1 3 mm. Music type: R 1 8 . Copies: US-CA-Berkeley, U C (Mus); San Marino, Hunt; Y-Zadar, HA. Copies seen: US-CA-Berkeley, UC (Mus), BX 2035JK2.1500. Size: 220 X 152 mm. Provenance, f. a2: 22 maggio 1582 | Caterina . . . civitas nostri venecia. Binding: vellum. San Marino, Hunt, 100991. Lacks f. C3. Size: 238 X 173 mm. Provenance, bookplate on front pastedown: "Ex Bibliotheca Curatiae Leifers" and, in ink, "Ab ignoto relictus." Back pastedown: Maria geborna . . . zu Leifers. This copy was described by Reichling and his slip is in the book. Binding: stamped calf with rolled border, bosses and clasps intact. —

Litanie

Ambrosiane.

Milan:

Archangelo

Ungardo, [1476]. Bibliography of Italian Music Incunabula

209

H IO 121 ; Goff L230; BMC

—

VI.734;

IGI

5767;

5-line staves per page. Music type: R i .

N o t e : N o space for music.

Copies: D-Stuttgart, WL. Copies seen: D-Stuttgart,

Copies: F-Paris, B N ; Maz; I-Bergamo, BC; Milan,

WL, Inc. 10717B

Ambr; B N ; US-IL-Chicago, New. Copies seen: I-

nance: Ernst Kyriss Coll., from Bayer. Nationalmu-

Milan, Ambr, 479.

seum, Munich. Binding: vellum; with six other items.

Litanie A m b r o s i a n e . M i l a n : A n t o n i o Z a r o t t o

IGI

P 5835a; BMC

VI:723;

—

40. Size: 202 X 132 mm. Prove-

M e s s a della M a d o n n a . V e n i c e : M a n f r i n o da M o n f e r r a da S t r e v o , 2 6 V I I 1 4 9 6 .

f o r P i e t r o C a s s o l a , 23 I V 1 4 9 4 . H 10122;

Goff

L231;

Essling, Livres à figures, 893; Sander 4307 N o t e : no space for music.

5768

N o t e : N o space for music.

Copies: I-Venice, Cini. Copies seen: I -Venice,

Copies: F-Paris, B N ; Maz; GB-London, BL; I-

354-

Milan, Ambr; Cap2; Turin, B N ; Venegono, Sem.

Copies seen: F-Paris, Maz, Inc. 764. l-Milan, Cap, 2G-3-14;

2G-3-15.

2 1 . M a g n i f i c a t . [ M i l a n : A n t o n i o Z a r o t t o , 28 I V i486.] BMC

VI:752;

M-B

Incipit, f. [ai]: Ends, f.

[a2y]:

Magnificat ala mea d o m i n g .

Cini,

Latin missals are listed in t w o alphabetic seq u e n c e s : ( 1 ) those f o r particular g e o g r a p h i cal areas or rites; (2) those f o r m o n a s t i c o r ders. 23. Missale

24

Ambrosianum.

Milan:

Antonio

Z a r o t t o [ f o r M a r c o R o m a ] , 23 I I I 1 4 7 5 . S e e Figs. 1 4 - 1 5 .

A b a c h u c in hieme.

H 11254;

Collation: 40. [a 2 ] = 2 if. 1 col. M u s i c : space for music. Music pages:

[ai],

C1BN

P 5790;

M392;

[a2r v ] = 3 pp.

W 26; M-B

N o t e : the Magnificat consists o f two unsigned fo-

F. [ai],

BMC

Vl.713;

IGI

Ganda 37; Pellechet 7976

6542; (7912);

34

blank; incipit,/. [a2]: [space for incipit in

lios inserted in the middle of gathering i of the

red is left blank to be filled in by hand; first

Psalterium Ambrosianum printed by Pachel and

printed words] V i r ijte cujtodiuit. Explicit,

Scinzenzeller ( D 147).

[dd6]:

Copies: GB-London, BL; I-Milan, Ambr; U S - C A -

zarotte: | Primus mijjales imprimis arte libros. |

f.

Finis. | Antoni patria parmenjis: gente

San Marino, Hunt. Copies seen: GB-London, BL,

N e m o reptore3 nimiu3 Je iactet. in arte | Addere

IB.26533. Size: 283 X 197 mm. l-Milan, Ambr, 145p. US-CA-San Marino, Hunt, 101724.

plus tantu. q3 pepijje ualet. | ImpreJJum in alma

22. M a n u a l e

Baptisterium

Secundum

Morem

Romanae Ecclesiae. Rome: Stephan Planck, 11 III 1494. GW

ms; Przywecka-Samecka,

p.

baptijterium Jecundü conjuetu- | dinem Romane curie ac totius diocejis N e a p o l i - | tane- Explicit, f.

f3"

(xliy):

Explicit

manuale

baptijterium

Jcd'm morem Ro | mane ecclejie Jumma cum diligentia emendatum- | ImpreJJum Rome per magijtrum Stephanum Planck- A n n o -M-cccc-xciiij-die

vero-xi-

|

menjis

domini Mar-

tij-Sedente Alexandro-vi- Pontifice. Collation: 40. a - d 8 e 6 f 4 = 42 ff., numbered i—xlij. 31 11. i col. Music: printed notes and staves. Music pages:

Music Books dnd Their Locations

ciuitate Mediolani. | M cccc lxxv decimo, kalen. aprilis. per | Antonium Zarottu3 parmenjem. Collation: 20. [7Tb a—z8 aa-cc 8 dd 6 ] = 220 ff. 41 11. 2 col.

Illustrations:

111

F. ai, blank; incipit,/. a2 (ii), red: Incipit manuale

210

di r - v , d3~d6 v , ei v —e2, e-y = 13 pp. Staves: 5 red

M-B p. 7

none.

Space

for

initials,

Cru-

cifixion, and music. Music: space left for music on ff. [d3 v , f 6 - f 7 v , g3 v -g4 v , 16, o3 v , 05"—07, p 2 - p 3 ] = 17 pp. Staves: space for 8 staves per column. Bibliography: Arnaldo Ganda, " L a prima edizione del messale ambrosiano (1475): Motivi pastoralli e aspetti commerciali," La

Bibliofilia

83 (1981): 97—112. Copies: F-Paris, B N ; GB-London, BL; I-Bologna, B U ; Milan, Ambr; B N ; Vatican City, BV. Copies

seen: F-Paris, BN, Rés. B.1485. 28 gatherings, ff. [15, 8] blank for Crucifixion. Music

added in

manuscript, Ambrosian chant on a four-line staff of

which the line for C is drawn in yellow and the line for F is drawn in red. Decoration: initials in gold and colors, minor initials in red or blue. Red text added. Size: 290 X 2 1 1 mm. Provenance: Victor Advielle of Arras. Binding: restored leather stamped in gold. GB-London, BL, IB 25954. Decoration: Crucifixion drawn and colored (f. [o8 v ]); major initials in gold and colors, minor initials and rubrics in red. Size: 324 X 320 mm. Binding: gold-stamped leather. IBologna, BU, A.V.B. VI11.36. Lacks ff. [ i i o - m , 115—16]. Leaves numbered in red ink, (6) i—ccxiii. Decoration: initials in gold and colors. Red text added. Size: 275 X 206 mm. Binding: blindstamped leather restored, 2 clasps missing. Milan, Ambr, S.P.II.22. The complete music has been added in Ambrosian plainchant on staves of a single red line or a red line and a yellow line. Decoration: initials in gold and colors, rubricated in red and yellow. Binding: red morocco stamped in gold; bound in at front are 8 manuscript leaves, "Brevi cenni sul presente Missale Ambrosiano," that trace the provenance from Santa Maria delle Selve (1574) to the hands of the French, who sold it to Father Luigi dell'Acqua, whose heirs in turn donated it to the Biblioteca A m brosiana. BN, AM. XIII.1. Size: 322 X 230 mm. Binding: leather over boards, blind-tooled, bosses intact (not original binding).

— Missale

Ambrosianum.

Milan:

Leonard

Pachel, 27 V I I I 1478. Molitor, N a c h t r i d e n , p.

101

N o t e : only in Molitor, apparently an error. Pachel printed an edition on 27 VIII 1499. 24. Missale A m b r o s i a n u m .

Milan:

Christoph

V a l d a r f e r , 15 I I I 1482. See Fig. 57. H 11255; 4:543; M-B

R 3:I°9 Panzer

(

2:45;

2 I 2

ff-)> IG1

Pellechet

6543;

Graesse

7977;

W 27;

35

Incipit,/, [ai], red: In noie yhu xpi incipit mijjale I g totius anni circulum Jecundu | 9juetudine diui Ambrojij pris | nri còpoJitu3: Explicit, f . D5: ImpreJJum.Mediolani per. | Xpoforum. RatiJponenjem. an | no.Mcccclxxxij.Die xv.men | Jis Martij. Collation: 2 0 . [7T6 a—b'° c—i8] k—n8 [o 4 p 8 ] q 6 [ r - t 8 ] u-z 8 A - C 8 D 6 = 2 i 8 ff., numbered (6) i—212. Music: printed notes and staves. Music pages: space for music on f. 2ÓV; 45-46", 50"—51", 85,

i o 6 v , i o 8 v - i o , 1 1 2 — 1 3 = 1 7 p p . S t a v e s : 8—9 r e d

4-line staves per col. 206 X 145 (67) mm. Music type: A i . Note: space is left for music on the first leaf on which music is required, though music is printed as needed in the five later gatherings ([f], 1, n, [o], [p]). T h e particular liturgical moment, before the gospel of Easter Sunday: Lecto evangelio, statum diaconus annunciat

pasca resurrectionis. Noverit caritas. [music] dni futurum ac modo. is not generally accorded a musical incipit in manuscript missals of the period, and nowhere else in printed missals, as far as I have observed. T h e reason the music was not printed in the space might be that the passage called for complex neumes beyond the capabilities of Valdarfer's type. Copies: F-Paris, S G ; I-Milan, Ambr 2 ; Cap; Rome, B N . Copies seen: l-Milan, Ambr, 379. Decoration: flourished red initials; stippled Crucifixion pasted on leaf inserted after blank f. [02]. Provenance, f. [7t6]: N o v . ec' Caroli Borromei Arciepiscopi Mini. S.P. II.20. Lacks f. D6. Woodcut Crucifixion pasted on blank folio. Decoration: initials in gold and colors. Size: 322 X 2 1 9 mm. Binding: red morocco. Cap, 2G—1—4. Lacks f. D 6 , register. Size: 325 X 228 mm. Provenance: Mei Joh'is Francisci Borghi | Canonici Insignis Basilice Scti Stephani 1793. Binding: paper over cardboard, leather spine.

25. Missale

Ambrosianum.

Milan:

Leonard

P a c h e l QC U l r i c h Scinzenzeller, 1 V I I I i486. R 995; IGI

6544;

W 28

Incipit, f . IT8: Incipit officiu ad aqua bndi | eta facienda: f 9juetudine | gloriojijjimi antijtitis.ac pa | tris nojtri Ambrojii f . ai: In nole yhu xpi Tcipit mijja | le j> totius ani circulum Jecu | dum cojuetudinem diui Am | brojii patris nojtri copojitu. Explicit, f . F6: ImpreJJum Mediolani per | Leonardum pachel T Ulde | richu Jcinzenzeler. Anno dni | M.cccclxxxvi. kal'. Augujti. r* II • o _8 8 10 8 8 8 ,8 A n 8 Collation: 2 . 7T

a-p

q

r-z

T 9

V

A-b

F 6 = 2 6 4 ft 37 11. 2 col. Music: space for music. Music pages: d 6 v - d 7 \ g 4 v - g 6 , h 2 - h 3 v , n3, q6, q 8 - q i o , r 2 v - r 3 = 19 pp. Copies: I-Lodi, BC; Milan, Ambr; BN 2 . Copies seen: l-Lodi, BC, Inc. 6. Lacks f. 7Ti. Manuscript Ambrosian plainchant on a red 3-line staff on ff. q6, Bibliography of Italian Music Incunabula

211

q8—qio, r2 v -r3> Binding: recent vellum. Milan, Ambr. 1135. Lacks f. 771. A watercolored woodcut Crucifixion is pasted on f. qio v . Size: 334 X 238 mm. Binding: marbled paper over cardboard; leather spine broken so that gatherings are clearly visible. BN, AM-XII-20. Lacks f. 771 and qio. Binding: new oak boards. AM-XIV- 9. Lacks f. 7T1. Provenance, f. 7T2: Caroli Aloysii Pionii. Binding: vellum, goldstamped spine. — Missale

Ambrosianum.

Milan:

Antonio

Zarotto, i 4 8 6 . Ganda 138*;

W 29

Note: apparently a ghost. The three copies mentioned by Weale (I-Rome, Ang; Vatican City, B V ; Turin, Biblioteca Universitaria) appear to be the 1488 edition by Zarotto. 26. Missale Ambrosianum. Milan: Antonio Z a r o t t o for Andrea de Bosis, 1 I I I 1 4 8 8 . H 11256; R log; IGI 6545; Ganda 145; Kristeller LG 247a; Sander 4672; W 3 0 (8 ff. a—z = 194 unnumbered leaves) Incipit,/. ai, red: In nomine Jancte et indiuidue tri | nitatis amen. | Incipit liber mijjarum totius ani | Jecundum morem Ambrojiane | ecclejie. Explicit, f . zio, red: Explicit mijjale: | Jecundu3 9Juetu | dinem Jancti Ambrojii. ImpreJJu3 | mediolani per magrm Antonium | zarotum parmenjem. Emendatu | per reuerendum dnm prejbyteru3 | Andream de bojjis: prepojitu Jan |cte Tegle. qui Jua opera J impenja | Tprimi curauit. Anno dni. M.cccc. | lxxxviii.calendis martiis. r

6 I

1»

10

8

r—g h—1 m—n o—y rr 94 rt., 771 and 778 blank, ai unsigned folZ — I Q 4 IT. lowed by ai, a2, at,, 84. 43 11. 2 col. Illustration: woodcut initials and Crucifixion, f. mio". 10 _

M u s i c : printed notes and staves. M u s i c pages: d i , f 3 v - f 4 v , g 2 v - g 3 , k3, k 4 v - k 5 , m 6 v - m y , m8—m9v, n2—n3v = i 9 pp. Staves: 8 red 4-line staves per col., 208 X 1 5 5 m m . M u s i c type: A 3 . Copies: I-Milan, Ambr; B N ; Cap; Triv; Rome, Ang; Turin, B N ; Van Praet listed a vellum copy for sale in 1804. Copies seen: l-Milan, Ambr, 397. Decoration: initials in gold and colors. Size: 300 X 214 mm. Provenance, f. zio v : Mcccc°lxxxx°vij die xxiiij" mensis martii | Ego Ambrosius de crinetis fq dni Ioh'ni emi hoc Missale pro uxu altaris mey syti I Ecclexia Sancti Georgii; coat of arms on f. ai v . BN,

212

Music Books and Their Locations

AM—XII—22. Lacks f f . a i o , mio, z3, z8 and sheets 771.8, ni.8, and Z2.7. Leaf zio lacks lower portion. Size: 304 X 218 mm. Cap, 2G—1—13. Lacks two leaves of signature 77 and f. m i o (Crucifixion). A woodcut Crucifixion is added between ff. m9 and n i . Decoration: some initials watercolored. Size: 303 X 224 mm. Provenance, front pastedown: Ex libris H E R C U L I S D E SILVA (coat of arms). Folio 7TÓ, calendar: November: die consegratio Sete marie de trast. Back pastedown: Ex libris Frid. cl Minetti. | VI Kal. Iul. 1868. Binding: leather over cardboard, gold-stamped labels on spine. Triv, A. 102. Size: 300 X 200 mm. Provenance: SS. Cosme et Damiani Mediolani Ordinali S. Augustii. Binding: vellum. Rome, Ang, Inc. 79. Lacks first unsigned gathering, begins f. a2. Added on f. zio v (in manuscript): Missa in comemoratione sancti pontifis gregori [and other masses]. Size: 315 X 220 mm. Binding: leather, 2 clasps (recent). 2 7 . * Missale

Ambrosianum.

Milan:

Antonio

Zarotto, 1 4 9 0 . Graesse 4:543; Ganda 164*; Collation: 2 0 . Copies: none known.

W

31*

28. Missale Ambrosianum. [Preceded by the Calendar of Valentino de Meregari, Milan, 1 4 9 4 . ] [Milan: Giovanni Antonio d'Onate, 1 4 9 4 ] . See Fig. 29. C 4079; R 3:109; IGI 6546 (with the types of Giovanni Antonio d'Onate); Kristeller LG 247b; Rhodes 1204 (as cited here); Sander 4673 ([Jacobus de Sannazaro]); W 32 ([Jacobus de Sannazaro]) F. 772 v : Per Ualentinum de Meregariis | Artium T medicine doctorem Me | diolanenjem Anno Nati.dni. 1494. Incipit, f . a 1, red: In nomine domini Jesu Christi Missale f m more diui Ambrojij | In vig. S. Martini epi ingressa/ \io, red: F I N I S . / - 11 o __2 2 6 8 vt6 8 ,8 8 Collation: 2 .77 77 a—m IN o—z T 9 V —216 ff.; 07 mis-signed as 06; 771 blank. 36 11. 2 col. Illustration: woodcut initials and Crucifixion, f. n6v. Music: notes and staves printed from wood. Music pages: v i o = i page. Staves: a 3-line black staff. Note: a colophon in the perpetual calendar (77 2 ) identifies its printer, place, and date. The rest of the edition has been assigned to Onate on the basis of the types. Copies: GB-Oxford, Keble; I-Milan, Ambr; B N ;

Cap; Triv; Turin, B N . Copies seen: GB-Oxford, Keble, Brooke 166. Lacks f. 771. F. VI0"> i n manuscript: Messa sc! antonii abatis. Provenance, ex libris: 1911, Charles Edw. Brooke, Vicar of St. John the Divine, Kennington, Surrey. Binding: modern red morocco. 1-Milan, Ambr, 1462. Size: 230 X 165 mm. Provenance, added leaf at front: H o c Missale aspersum | in Latere paginavum notis | S. Caroli Borromaei. M SL 8. Binding: boards with leather spine, bosses, clasps missing. BN, AM-IX41. Lacks f. TT 1, blank.

29. Missale Ambrosianum. Milan: Leonard Pachel for Nicolao, priest, 27 V I I I 1499. H 11257;

IGI

lecbet 7978; M-B

6547;

Kristeller LG 247c;

Sander 4674;

Sassi DCV;

Pel-

W 33;

36

Incipit, f ai:

Incipit liber mijjarum totius äni |

Jecundum morem Ambrojiane | ecclejie. plicit, f . z6 (clxxiii),

Ex-

epigram:

H o c cajtigatas: correcto codice mijjas A m b r o j i j cernas: quo reparata fides. Hinc m o r e j legecß pios: hie Jcäder celü Condijcat populus religione Jacer. Nicoleos minimo pjtabüt: credite: dixit Prejbyteri: vt Jpargat talia g pptos. Thejauros igit' cupiens haurire Jalutis ppetue: hoc dignü Jepe retractet op9.

It

O

6

10

l

8

r

6

L

18

8

10

d a r f e r , 1 I X 1 4 8 2 . S e e Missale

Romanum

8

Collation: 2 . TT a b—e r—g h—1 m n o—y z 6 = i 9 7 ff.; numbered (6) i-clxxiii with errors. 42—43 11. 2 col. Illustration: woodcut initials and illustrations (ff. 77 i r " , m8 v ). Music: printed notes and staves. Music pages: d i , f3v—£4, k3, m5 r ~ v , m6 v -m7 v , n 2 - n 3 r ~ v = 13 pp. Staves: 9 red 4-line staves per col., 2 1 4 X 1 5 1 mm. Music type: A 2 . Bibliography: W i l h e l m M a r t i n Luther, " N o t e n d r u c k : V o n den A n f ä n g e n bis 1500," in Die Musik in Geschichte und Gegenwart 9 ( 1 9 6 1 ) , pi. 4. Copies: A-Vienna, N B ; F-Paris, SG; I-Milan, Ambr; B N . Copies seen: A -Vienna, NB, Ink. 2.C.4. Size: 323 X 230 mm. Prov.: Ex dono J. B. Geissler, 1841. l-Milan, Ambr, 1796. Lacks first gathering and ff. ai and m7-m8. Binding: blind-stamped leather with 8 bosses, missing clasps (restored). BN, AMXIII-18. Lacks four leaves of gathering m and f. n i .

of

the same date (D 61). 30. Missale Auscitanum. Pavia: Francesco Girardengo, 1495. See Fig. 60. W

120

Title (Claudtn), f . [ 1], red: Missale secundum ecclesiam auxitanum | [printer's mark] Explicit (Claudin), verso of last leaf, red: Papié, per Franciscum Girardengum | M . C C C C . X C V . Collation (Claudin): 4 0 . 240 ff., numbered [8] I - C C X I I I [3]. Music: printed notes and staves. Music pages: 46 as calculated from microfilm. Staves: 7 red 4line staves per col. Music type: R29. Bibliography: Anatole Claudin, Les Origines de l'imprimerie a Auch, Paris: A . Claudin, 1894, p. 1 1 ; Siro Comi, Tipografia pavese, Pavia, 1807, p. 1 2 3 . Copies: F-Auch, Sem; Tarbes, BM. Copies seen: FTarbes, BM. Microfilm of music leaves.

— Missale Bisuntinense. Venice Jacques Maillet, 14 IV 1500.

ImpJJum Ml'i p magijtrum Leo | nardü pachel. Anno dni. M.cccc. | lxxxxviiij.die.xxvij.AuguJti. r*

— Missale Aquileiense. Milan: Christoph Val-

[Lyons]:

C 4098; Essling 5; Pellechet 7989; Sander 4683; W 176 Bibliography: Henri Louis Baudrier, Bibliographie lyonnaise, 1 2 vols, (Lyons: Brun 1895— 1 9 2 1 ) , 1 2 : 437. August Castan, Catalogue des incunables de la Bibliothèque publique de Besançon, Besançon: J . Dodivers, 1893, no. 699. N o t e : the edition is a reprint of the Lyons edition of 1497. According to Baudrier (p. 437), since it was not authorized by the archbishop, the printer used a false location in the colophon.

3 1 . Missale Burgense. Venice: Johann Hamman, 1 4 III 1 4 9 0 . Accurti, Aliae Ed., 50; Sander 4684 Incipit, f a i , red: In nomine dni.noJtri ie- | Ju chrijti. Sacri. Jpirit^ ajjìt | nobis gratia amen. Incipit J mijjale f m conjuetudinë ec | clejie burgenjis. I Explicit, f . r6, red: Finit mijjale f m vjum ec j clejie burgenjis: accuratijjì- | me emëdatû: ImpreJJu3 ve | netijs diligêtiori cura Iohä- | nis hämani de Lädoia ale- | mani. Anno Icarnatiöis xpi I M.cccc.xc. pdie id^ Martij. ti

•

o

_ 6

8

6

8

6

8

6

A

t

8

Collation: 2 . TT a—m mm n—t v x—y z A—1 K - L 6 M 1 2 N 1 0 = 2 9 8 ff. 35 11. 2 col. Foliated in Bibliography of Italian Music Incunabula

213

manuscript red ink at u p p e r left; printed register includes foliation. Illustration: woodcut initials and Crucifixion, f-x5\ M u s i c : printed staves. M u s i c pages: Ì 3 - Ì 5 , m i 1 - " , m3—7, mm2 v —mm5 v , xi—X5, X 7 r _ v = 3 5 pp. Staves: 9 red 3 - to 4-line staves per column, 2 6 8 X 164—66 (75—76) m m . Copies: Vatican City, BV. Copies seen: Vatican City, BV, Inc. I.106. Lacks ff. 771, mmi and a large part of mm6. Manuscript roman plainchant on f. x8v. Size: 333 * 2 3 2 m m - Provenance, f. k8: Yo Juan del arp(?). T h e copy remained in Burgos until 1911. It was donated to the Biblioteca Vaticana by Stanislaus, Count of Le Grelle, in 1950. 32. Missale Claromontense. Venice: Antonio

Beretta

[and

Giovanni

Francesco

Girar-

dengo], 29 I X 1492. C 4112 = 4113; Essling 6 (8, 3 3 2 j f . ) ; Marais 3 60; Pellechet 8001 = 8003 = 8002; Sander 4700; W 2 7 7 ; M-B 58=59 Incipit, f . ai, red: O r d o mijjalis j?m c o n j u e - | tudinem ecclejie claromò | tenjis ac.J.flori ad laude3 | dei óipotètis: Tcipit felicit. | Explicit, f . U4, red: U e n e t i j s . 1492. die.29.Je- | ptembris. | I o a n n e j a n t o n i ^ birreta. | [printer's mark, I A B ] , Collation: 8°. 7r 8 a - z 8 T8 9 8 v® a a - J f tt 4 = 3 6 4 ff. 34 11. 2 col. Illustration: Crucifixion, f. bb3 v . M u s i c : space f o r music. M u s i c pages: \ t j - b b 3 , bb^—bb6 v —29 pp. Staves: Space for 8 staves per column, with only 1.5 m m . between cols.; M e y e r - B a e r erroneously describes the work as having only one column ( M - B 58). Bibliography: Tullia Gasparrini Leporace, " L a società B e r e t t a - G i r a r d e n g o (1479—1492) nei d o c u m e n t i inediti coevi," La Bibliofilia 50 (1948): 2 4 - 5 2 . N o t e : since Beretta was known as a publisher, F r a n c e s c o G i r a r d e n g o was probably the printer of this as well as his other books (Gasparrini Leporace, pp. 30—31). C 4 1 1 2 and M - B 59 give a variant place of publication, Lyons. T h e copy cited by M e y e r - B a e r as M - B 59 (F-Paris, Maz, Inc. 693) lacks the final gathering (tt), so contains n o colophon. S a n d e r 4700 states that C 4 1 1 2 (Lyons) equals C 4 1 1 3 (Venice). M y notes indicate that the title page is identical in the two editions and the Crucifixion appears on 214

Music Books and Their Locations

the same leaf, but the music space begins on f. 77 in the copy at the Bibliothèque Mazarine and on f. V7 in the Bibliothe que de l'Arsenal, c o r r o b o rating C o p i n g e r ' s classification of the books as two separate editions. W e a l e cited another copy of the Lyons edition at Lyons, Bibliothèque des P è r e s Jésuites, which might provide the different colophon. M e y e r - B a e r ( M - B 59) attributes the Lyons edition to T o p i é . Copies: F-Lyons, BM; Paris, Ars, Maz. Copies seen: F-Paris, Ars, 8° T.2141. Provenance, f. 77i: Joannes (canon at Clermont-Ferrand), 1586. At front: Oratorii Sammagloriani | Ex dono R. P. Le Brun. Binding: leather over cardboard. Maz, Inc. 693. Lacks sheet 77 1.8, f. 772, and final gathering. Size: 140 X 100 mm. Binding: gold-stamped calf. 33. Missale

Messanense.

Messina:

Heinrich

Aiding, 31 V 1480. H 11304; Dibdin 6:ipo—pi, 3b; Sander 4704; W 592

1185; Panzer 9:255,

Incipit (Dibdin),f. [7], red: In laudem et gloria3 Jancte ac | indiuidue trinitàtis: Marieq3 | J e m g virginis: atq3 J a n c t o r u 3 | omniu. Incipit o r d o mijjal' Je- | c u n d u 3 c ò j u e t u d i n è Gallicoy | D o minica p r i m a de aduétu d o | mini: Introitus. | Explicit, f . [228]: S e d e t e Sixto q u a r t o poti- | fice maximo: O p u s hoc sacru | imprejjum e j t : in u r b e nobili I M e j s a n a per H e n r i c u m aiding | Regn a n t e diuo F e r d i n a n d o : | C a j t e l l e : A r o g o n u £«cj: Sicilie J c. | rege. A n n o ab incarnatione | domini: M i l l e j i m o quadringé | t e j i m o octuagejimo- pridie ka | lendas Iuniii [51c]- FeliciterCollation (Borselli): 2 0 . (6) (88) (134) = 228 ff. 41 11. 2 col. Illustration: an engraved Crucifixion by Israel van M e c k e n e m added to the only known copy. M u s i c : space for music. M u s i c pages: [78"—82, 86 r v, 8 8 v } = 13 pp. Staves: space for 10 staves per col. Bibliography: A n t o n i o Borselli, " L a produzione tipografica di E n r i c o A i d i n g in M e s s i n a , " Gutenberg-Jahrbuch ( 1 9 3 1 ) : 122—38. Copies: GB-Manchester, JRL. Copies seen: GBMancbester, JRL, MMi3 pPP. Microfilm of music leaves. Seventeen manuscript leaves inserted between groups of 88 and 134 leaves. Initials by hand, rubrics in red. An inserted leaf contains a colored copperplate engraving of the Crucifixion by Israel van Meckenem (see Ottley, History of Engraving,

2:663). Size: 212 X 140 mm. Provenance: "Liber iste pertinet ad fratres domus annuntiationis beate marie vulgariter diete Nazareth in bruxella ex donatione Iudoci Rampaert. Ad vsum vero celebrantis ad altare sanctorum martyrum Sebastiani et Adriani diebus sabbatis ex fundatione prescripti Iudoci Ram." Purchased by George John Earl Spencer from Mr. Sams of Darlington. Binding: grey calf, edged in gold (19th century). 34. Missale Messanense. Venice: Johann Emerich of Speier, 28 V I 1499. IGI 657o (IV, plate XIX o f f . Q7) Incipit (IGI),f ai: A d laudem et gloria sancte | ac indiuidue trinitatis: et Ma- | rie semj> virginis: atq3 sanctov | omniu3- Incipit ordo missalis | bene reformatus 1 de nouo cor | rectus multis superadditis: et | presertim in sanctuario J com- | muni: ac etià bene rubricatus: | j?m consuetudine Gallicoru et | messinensis ecclesie. Dominica | pma de aduètu dni: Introitus. | Explicit, f . Qy: (f Accipite optimi Jacerdotes | opus hoc Jacru iuxta more Alme ec- | clejie MeJJanenJis expletu: ac fideli Jtudio emendatu atq3 re | uijum. ImpreJJum Uenetijs: per Ioannè Emericu ale | manu SpirenJ diocef. Regnate diuo Ferdinàdo | CaJtelle:Aragonu: Sicilie 1 c. rege: Anno ab | Icarnatoe dni M.cccc.xcix.iiij.lcl'. Iulij. | Deo gratias. | (jlRegiJtrum. Collation: 2 0 . + 1 2 a - s 8 1 1 2 A - G 8 H 1 0 1 - Q 8 = 9 4 if. 36 11. 2 col. Illustration: woodcut initials and Crucifixion. Music: printed notes and staves. Music pages (from microfilm): m4—m8v, n 2 r _ v = i 2 ( + ?) pp. Staves: 7 red 4-line (and 5-line) staves per col., 177 X 130 (58—60) mm. Music type: R 1 9 . Copies: I-Catania, Sem. Copies seen: l-Catania, Sem. Microfilm of music pages. Lacks leaf preceding Canon. —

Missale Nannentense. [Venice: Bartolomeo de' Biavi, Andrea Torresani, and Mapheo de Salodio Sociorum, 10 V 1 4 8 2 . } C 4168; Graesse 4:547; Pellechet 8032, photo o f f . al ( 166 ff.); W 661 Incipit, f . ai: Incipit mijjale f m uju diocef N a | meten. requijitione Reueré.in xpo | pris dni petri de thafault epi eiuj | de dioc. Dnica pma in aduètu dni. Explicit ( from manuscript leaf at end): Impressum est hoc missale uenetiis cura et in-

dustria Bartholomaei de Alexandria, Andreae de Asula et Maphei de Salo, sociorum, anno salutis dominicae M C C C C L X X X I I , vj idus Maii. Laus Deo. Collation (W): 2 0 . 7T6 a-i 8 k 5 1-t 8 u 4 = i 6 7 f f . 2 cols. According to Péhant and Pellechet, signatures a—x include 166 ff. Illustration: woodcut initials and Crucifixion. Music: according to a letter from the conservator of the Bibliotheque Municipale of Nantes, M. Jacques-Yves de Sallier Dupin, the book contains no space for music. Bibliography: Emile Jules Fulgence Péhant de Guérande, Catalogue méthodique de la bibliothèque publique de la ville de Nantes, Nantes, 1859—1874, 1:68, no. 1276. Copies: F-Nantes, BM. Copies seen: none. FNantes, BM, Inc. 100 (from Péhant and letter of Conservator Jacques-Yves de Sallier Dupin). Lacks final leaf (leaves) with colophon. Contains 4 manuscript leaves at end entitled "Observations sur ce missel â l'usage du Diocèse de Nantes imprimé à Venise en 1482," which point out that the copy is incomplete. It gives the provenance as: "Ex dono Cl. Viri Joannis Langlois doct. Sorb(?) Victoris Sta. crux. Nannetensis 1609." Several engravings of the 17th and 18th centuries have been added to the volume. 35. Missale Parisiense. Venice: Johann Hamman & Johann Emerich of Speier, 10 X I 1 4 8 7 . See Fig. 2 3 . H 11340; CIBN M437; Essling 14; Pellechet 8038 (7970); Sander 4709; W 700; M-B 97 Title, f . 771 : Mijjale j?m uju3 ecclejie parijiêjis Incipit, f . ai, red: Incipit mijjale f m vju3 ec-| clejie parijiêjis. Dnica p'ma | aduent^ ad mijja3 Introiti I Explicit, f O12: Ad laude3 dei omnipotentis: eiujq3 intemerate ge | nitricis 1 virginis: In cuius honorem fundata ejt | Jacra eccl'a parijienjis: totiuJq3 curie celejtis. Actù | 7 completu3 extat arte imprejjoria piis hoc mijjale | Jeu mijje ordinarium in Venetiarù preclara vrbe: | pfateq3 ecclejie ritui accòmodù. In quo diligenter J adiuctis ipjius ecclejie conjtitutionibus atq3 con- I Juetudinib^ JinguliJq3 fejtinitatib^ Juum ad I0CU3 I appojitis: . . . ImpreJJoribus quide3 Ioh'is I hâmani de Landoia : Ioh'iJq3 emerich de vdëhem | Jocijs. Anno domini milleJimo quadringentejimo | octoagejimo Jeptimo: die .x.menjis Nouembris. | red: L A V S D E O . Collation: 8 . 7T8 a—1|8 m 12 mm8 n—u8 x 12 y—z8 A 8 R *

II

DO

A

Bibliography of Italian Music Incunabula

215

Ecclesien. 1769. Also: Hunc librum possidet nunc Gallus presbiter . . . Ego Gallus presbiter 15 undécimo primo sum presbiteratus et emi hunc librum.

B 1 0 C - N 8 0 1 2 = 3 2 6 fF., n u m b e r e d [ 8 ] i - C [ 8 ] C i — C C C x . 32 11. 2 col. I l l u s t r a t i o n : w o o d c u t initials a n d

Crucifixion,

f. m m 4 " . Music:

—

printed

mm3v-

staves. M u s i c p a g e s :

W

m m 4 , m m 6 v — m m 7 , 03"—o4 = 6 p p . S t a v e s : 9 r e d —

Copies: F-Paris, Ars; B N ; Troyes, BM (see JeanMarie Arnoult, Bibliothèques de la région ChampagneArdenne, Catalogues régionaux des incunables des bibliothèques publiques de France I, Bordeaux: Soc. des Bibliophiles de Guyenne, 1979, no. 1055. Copies seen: F-Paris, Ars, 8" T.2207. Table in manuscript, 2 leaves at end. Decoration: initials in red and blue. Size: 188 X 125 mm. Provenance: Oratorii Sammagloriani | Ex dono R. P. Le Brun. Binding: leather over boards (restored), 2 clasps missing. BN, Rés. B. 4663. Plainchant in manuscript on if. mmj"-mm4. Size: 186 X 125 mm. Provenance: Bibl. Royale. Binding: leather over boards, 2 clasps missing. 36. Missale Q u i n q u e Ecclesiae. Venice: [ J o h a n n Emerich of Speier] for J o h a n n Paep, 24 I V 1499. H 11355;

C 3 : 2 7 5 ; Essling 17; Hubay,

10; Panzer 3:406, Title,

2548;

Sander 4729;

Missalia, W

804

f . aa 1 , red: MiJJale f m m o r e m a i m e |

e c l e j i e Q u i n q 3 e c c l e j i e n . Incipit,/.

a 1, red: (£ I n -

cipit m i j j a l e d i u i n o r u | o f ï i c i o r u m : t a m d e t e m p o r e I q3 d e J a n c t i s f m c h o r u m a l - | m e e c c l e j i e Q u i n q 3 e c c l e j i ë - | Jis. D o m i n i c a p r i m a in a d - | u e n t u d o m i n i I n t r o i t u s a d | m i j j a m . Explicit, f . L6, red: (£ F i n i t mijjale J m choi/ al | m e

eccl'e

Q u l c g e c c l ' i e n . I m | p p j j u 3 v e n e t i j s Tpëjis J o h ' i s | P a e p Iibrarij b u d e n . A n n o | M . cccc.xcix.viij.kl' maij. C o l l a t i o n : 4 0 . aa 1 2 b b 1 0 a—z A - L 8 = 2 Ç 4 ff., n u m b e r e d [ 2 2 ] I - C C L X V I I [ 5 ] 2 3 11. 2 col. I l l u s t r a t i o n : w o o d c u t initials [ a n d C r u c i f i x i o n , f. 0 8 ? ] . M u s i c : printed staves. M u s i c pages: m4—ni, n4 v , 02—07, [ 0 8 missing], p5 r v , p 6 v = 2 Ô ( + ?) pp. Staves: 6 5 - l i n e staves per col. Copies: H-Budapest, B N 2 (1 vellum); Pannonhalma, Ben (vellum); Pécs, B U (vellum). Copies seen: H-Budapest, BN, 990 (paper) (viewed on microfilm). Manuscript music added to most printed staves. Three pages of prayers added at end in manuscript, including Missa de Sancti Gratoni. Provenance, f. aai2 v ; Georg. Klimo Eppus Quinque

216

Music Books and Their Locations

14??]

840*

N o t e : see i t e m a f t e r D 8 2 .

4 - l i n e staves p e r col., 136 X 8 6 - 8 7 (40.5—42) mm.

Missale Romanum. [Italy?

Missale R o m a n u m Multis Figuris isque

Suis

in

[Venice?

14??]

H

W

11363;

Locis

Recte

HistoriAppositis.

842*

N o t e : p r o b a b l y t h e missal cited as S a n d e r 4 8 0 1 ; a c o p y w i t h t h e a b o v e incipit, p r i n t e d by B. S t a g n i n o in V e n i c e o n 3 V I I I 1509, is a t I - R o m e , Cors. 37.* Missale

Romanum.

Emerich of Speier, GWms.;

[Venice:

Johann

14??]

Sander 4783;

Incipit (Sander and GW

W 851 (262 ms.), f.17,

ff.) red: ( f l n c i p i t

o r d o mijjalis J c d ' m c o n j u e - | t u d i n e m r o m a n e curie.

Ends,

f . H8:

c ö f i r m e n t . P e r | / . H8V,

Jépiter

|

na

gtectione

woodcut.

C o l l a t i o n ( G W m s ) : 8°. a a - b b 8 a—p 8 p q 8 q—z8 A - H = 2 7 2 ff., n u m b e r e d [ 1 6 ] 1 - 2 4 8 with e r r o r s . 3 6 11. i a n d 2 col. Illustration (Sander): beginnings of sections are f r a m e d by b o r d e r s a n d small w o o d c u t s

(273

woodcuts). N o t e : r e f e r e n c e s t o this e d i t i o n a r e in W

(re-

p e a t e d by S a n d e r ) a n d in G W m s . W is w i t h o u t an asterisk,

indicating

it was p e r s o n a l l y

in-

s p e c t e d , a n d i n c l u d e s t h e f o l l o w i n g details: " 8 v o . 2 7 2 ( ? ) F o l . (aa, b b 8 , a—z8, A - H 8 ) . 2 col. 3 6 l i n . " T h o s e s i g n a t u r e s c o n t a i n 2 6 4 leaves r a t h e r t h a n 272. Copies ( W ) : D-Frankfurt/Main, SB. Copies seen: none known. Ohly's recently published catalog of incunabula of the Stadt- and Universitätsbibliothek in Frankfurt includes two editions of Emerich's missals: no. 2024, Missale Romanum, 28 VI 1498, 2°, 208 ff. ( W 945), and 2 0 1 3 , three copies oíMissale Praedicatorum, 6 III 1500, 8°, 240 ff., numbered 1—272. This latter may be the book described by W as an octavo missal without colophon and therefore with place and printer unidentified, containing pages numbered 272, with many errors. The signatures of the five copies of the Missale Praedicatorum of Emerich ( D 141) that I have seen contain two gatherings outside the main sequence but are otherwise quite different: 7T8

I - 2 8 8 t 8 for 240 if., gatherings 1 - 2 8 numbered 1 - 2 7 2 [2] if.

38. Missale

Chicago, New, Inc. fy428.5.

Romanum.

[Central

Italy?

ca. 1 4 7 2 ? ] GoffM

Copies: U S - I L - C h i c a g o , N e w . Copies seen: U S - I L Vellum. Manuscript in-

cipit, f. 1, blue: I; red: Ncipit ordo mijjal' | frm minoi/ Jim 9Jue | tudie3 romane curie:. | D n l c a prima de aduen- | tu. Sto ad Jancta3 maria | maiorem In-

643 [ca. 1480-1490];

Martimort

1;

M-B

221 (printed staves)

troitus. 263 leaves, lacks f. [ a i ] , sheet [ r i . i o ] , gathering [cc 1 0 ], sheet [ee^.6],

Printed material begins, f

[ai],

black: [ A ] D te |

f. [ e e i o ] and following.

Manuscript calendar on preliminary gathering of six

leuaui | a l a m | m e a 3 . | d e u s | m e u s | in te | pfido |

leaves;

non e r u b e j c a m . n e c g

Bernardino, established in N o v . 1472. Manuscript

f [eepv],

irride-

| ant me.

Ends

black: G a u d e t e te e x l ' t a t e : q m m e r c e s

u e - | Jtra c o p i o j a e I c e l ' o . Last three lines scratched from

omits

feast

of

the

Translation

of

St.

roman plainchant on red 3-line (and 4-line) staves drawn by raster, in one case continuously through both columns (£[014]). Decoration: large initials and

vellum.

C o l l a t i o n : 2 0 . [ a - z 1 0 a a - e e 1 0 ] [ + ff-l l ' ° ? ] = 2 8 o [ + 6 0 ? ] ff. 2 9 11. 2 cols. Illustration: s p a c e f o r a h a l f - p a g e C r u c i f i x i o n , f. [q i ] ; 2 5 l a r g e initials o f 5 to 9 lines, and small ini-

miniatures in gold and colors, many

historiated

(lacks 4 of 25), small initials in red and flourished

blue,

in blue, rubricated, highlighted in yellow.

Size: 328 X 220 mm. Provenance: early additions to the calendar o f the dedication of the Church of St.

tials.

Eutitius (duplex major, D e c . 1), the feasts of Speus,

M u s i c : s p a c e f o r music. M u s i c p a g e s : [15*—17,

founder of the monastery o f St. Eutitius (13 Sept.),

m 3 v - 4 v , m6, m9v-n5v, 07, o i o v - p i o v , q 3 - q 5 ] =

Translation of Speus (6 June), Eutitius (duplex ma-

47 pp. S t a f f : s p a c e f o r 7 3-line staves per col.

jor, 23 M a y ) , Translation of Eutitius (12 April), and

B i b l i o g r a p h y : P i e r c e B u t l e r , ed., A Checklist Fifteenth

Century Books

Chicago:

The

in the Newberry

Newberry

Library,

of

Library,

1933,

no.

N o t e : a p p a r e n t l y the first printed missal. T h e reissue with a printed c a l e n d a r was dated by T o c c i (p. 1 9 2 ) f r o m the e v i d e n c e o f the a b s e n c e f r o m the printed c a l e n d a r , F r a n c i s c a n in c h a r a c of

book was owned by the monastery of St. Eutitius, located about 12 km north of N o r c i a in Umbria. Front pastedown: Collection of Henry Probasco, D e c . 1,

1615.

ter,

Florentius (duplex major, 27 June) indicate that the

the

feast

of

the

Translation

of

St.

1890. Binding: blind-stamped leather with bosses and clasps, resewn and repaired at spine; several gatherings at end cut from tail band. Reissue.

Incipit,

f.

[ai],

red: [ I ] N c i p i t

ordo

m i j j a l ' I f r m minov: J m c o - | Juetudiné r o m a n e c u - | rie. D m l c a p r i m a | d e a d v e n t u . S t a t i o ad |

B e r n a r d i n o o f S i e n a ( 1 7 M a y ) , w h i c h was estab-

J a n c t a m m a r i a m m a - | i o r e m . Introitus:-

lished in N o v e m b e r 1 4 7 2 . T h e t w o g o t h i c types

[ A ] D te I leuaui | a l a m | m e a 3 - 1 d e u s | m e u s | in

black:

( G 1 4 6 large, T o c c i , Plate X I X ; G 1 4 6

small,

te I 9fido I n o n e r u b e j c a m . neq3 irride- | ant me.

BMC

called

Ends f. [Up]:

n o i e , g f e j j i o Jentiatur | in o p e r e :

" 1 4 8 G " ) vary in f a c e size, but necessarily have

P e r . / [ll9y]

blank.

the s a m e b o d y size since set side by side on the

C o l l a t i o n : 2 0 . [7T 6 a—z 10 a a — 1 1 1 0 ] = 3 4 6 f f . 2 9 11.

same line. T h e l a r g e r was n e v e r reused.

2 cols.

V I I : 1075,

plate

XCVIII*,

The

smaller was r e u s e d in an edition at A s c o l i P i c e n o

Bibliography: Luigi Michelini T o c c i , "Incuna-

by a F r a n c i s c a n printer, G i o v a n n i da T e r a m o , in

boli s c o n o s c i u t i e incunaboli mal c o n o s c i u t i della

1 4 9 6 . In the first issue, a l m o s t all red text includ-

B i b l i o t e c a V a t i c a n a , " in Studi di bibliografia e di

ing the incipit is in m a n u s c r i p t , while in the reis-

storia in onore di Tammaro

sue r u b r i c s o f three lines or m o r e are printed in red and a printed c a l e n d a r is in black and red. R e d p r i n t i n g a p p e a r s o n f o u r t e e n p a g e s , three o f w h i c h are entirely red a n d all o f w h i c h are in g a t h e r i n g s that contain music and w o u l d have req u i r e d special care in c o m p o s i t i o n (ff. [015"— m 6 , m7"—m8 v , m9 v , n5 v , o6 r _ v , 08—09,

q9v-qio]).

de Marinis,

Verona: Stampa Valdonega,

1964,

3 vols.,

3:189—99,

2 1 4 — 1 5 , plates X I X , X X I , X X I I . N o t e : rubrics o f three lines o r m o r e are printed in red in a s e c o n d impression f r o m a s e c o n d f o r m e o n 125 p a g e s . A c a l e n d a r is printed in red and b l a c k o n six preliminary leaves. T h e m o v a b l e f e a s t f o r d e c e a s e d friars and b e n e f a c t o r s , w h i c h w a s t o o c c u r o n the M o n d a y after S e p t u a g e s i m a

S o m e b l a c k text within rubrics is in manuscript.

Bibliography of Italian Music Incunabula

217

Sunday (Feria secunda post .lxx. fit ofificium per fratribus et benefacta [wc]) is printed in a highly abbreviated form on the 7th cal. January (26 January); that Monday fell on 26 January only once between 1450 and 1480, in 1467. However, the rubric for the feast may be printed anywhere near the end of the month; in the N e w berry manuscript calendar it is written on 7 and 6 cal. January (26—27 January). The red printing of the reissue uses a new type character for the versiculus, G146 small. Copies: Vatican City, BV. Copies seen: Vatican City BV, Urb. lat. iop. Vellum. Lacks f. [1110] (blank?). This is a later state of the black impression found at the Newberry Library (see f. [I2V], first two lines pumiced from vellum and reprinted in correct order). Numbered in pencil (6) 1-339. Manuscript plainchant on red 3-, 4-, and 5-line staves drawn by raster. Decoration: half-page Crucifixion, f. [qi], and 6 large initials in gold and colors, other large initials in ink, flourished; rubricated. Size: 348 X 243 mm. Provenance: library of Duke of Urbino. 39. Missale Romanum. Milan: A n t o n i o Z a r o t t o [for Cola M o n t a n o and Gabriele O r s o n i ] , 6 X I I 1474. R 997; IGI 6586; Ganda 28; W 852 Incipit,/. [7], red: Incipit ordo mijjalis Jecudu co | Juetudine romane curie. Domi | nica prima de aduetu. Explicit, f . [ 188]: Antoni patria parmenjis gente zarotte | Primus mijjales imprimis arte libros. N e m o repertore3 nimiu3 Je iactet in.arte | Addere plus tantum qua pegijje ualet. | Mediolani. Mcccclxxiiii.die | vi decembris finitum. Collation: 2 0 . 8, 1 8 0 = 188 ff. 41 11. 2 col. Music: space for music. Music pages (manuscript numbers): [77-79", 8i v , 8 4 - 8 5 ] = 10 pp. Bibliography: modern edition by R. Lippe, Missale Romanum Mediolani 1474, 2 vols., London: Henry Bradshaw Society, 1899-1907, vol. 1, text; vol. 2, a collation with other editions of the missal (1481—1574). Copies: I-Milan, Ambr; Vatican City, BV. Copies seen: l-Milan, Ambr, S.P. II21. Lacks f. [1] and half of [2]. Numbered 1-181, with errors and unnumbered leaf between 121 and 122. Many of the rubrics are written in manuscript. Binding: green leather over cardboard.

218

Music Books and Their Locations

40. Missale Romanum. Edited by the Franciscans o f A r a Coeli, Rome. R o m e :

Ulrich

H a n , 21 I V 1475. H 11364; IGI 6587; Martimort 2; Van Praet 1:81, 85; W 853 Incipit,/. [a2], red: [IJNcipit ordo mijjalis Jcdm conjuetudinem curie Romane: Domi | nica prima prima de aduentu | Explicit, f . [G3], red: Sacrum Janctumq3 hoc opus ad honorem | 7 gloriam omnipotentis dei: ac dni nojtri | ieju chrijti • magni 7 | excellètis ingenij Udal | ricus gallus • al's Han Alamanus: ex ingel- | Jtat-ciuis wienenf : non calamo • ereoue Jtil^: | Jed nouo artis ac Jolerti indujtrie genere Ro | me conflatu impreumq3 • N e c n o n a fratri- | bus Sacriconuentus areceli recte ac fideliter | emendatu3 • Anno incarnationis dominice • | M c c c c l • xxv • xi • kl's Maij • Jedente Sixto diui | na prouidentia • papa • iiij • pojteris reliquit • Collation: 2 0 . [7r 6 a' 2 b 8 c - e 1 0 f 12 g - k 1 0 1-m 12 n - 0 8 p - s 1 0 t8 u 6 x - y 1 0 z8 A 1 0 B 8 C 6 D - F 1 0 G 4 ] = 294 ff.; unsigned, unnumbered. 3611. 2 col. Music: space for music. Music pages: [h3v—h4, k7, kiov—15, m2v—m3v, m6—mi2 v , n3v—n5] — 34 PPN o t e : the calendar of this edition is the same as that in the 1476 edition. The space for music is almost exactly the same in the two editions. There are changes in abbreviations, but the typesetting is strikingly similar; one is definitely set from the other. Copies: GB-Manchester, JRL; I-Florence, BN 2 ; Rieti, Cap; Rome, BN. Copies seen: l-Florence, BN, B.R. 83. IGI 6587 notes two copies in BN, "uno dei due es. membr., mutili e con varianti." The one copy locatable was vellum. Lacks ff. [773-774] (replacements are duplicates of ff. 77 2 and 775, from which the printing has been scratched for manuscript completion of the calendar). Several sheets appear to have been tipped in: ff. [ni, s6, E3, G3]. Size: 360 X 260 mm. Provenance: stamp, f. 771: BIBL I O T H . P U B . F L O R E N T I N A E . Binding: moiré silk over paper boards, leather spine. Rieti, Cap. Lost. A photograph appeared in Francesco Ferretti's L'archivio e la biblioteca della Cattedrale di Rieti (Rieti, 1939), but the book is not there today (Micaela Procaccia, "La biblioteca del vescovo Domenico Lucare," in Scrittura biblioteche e stampa a Roma nel Quattrocento: Atti del 2° seminario 6—8 maggio 1982, ed. Massimo Miglio with P. Farenga and A. Modigliani,

Vatican City: Scuola Vaticano di Paleografia, Diplomatica e Archivistica, 1983 [Littera Antiqua 3], p. 82.

4 1 . Missale Romanum. Milan: Antonio Zarotto [for Marco Roma], 26 I V 1476. H 11365; IGI 6588> CIBN M444; Canda 47; Pellechet 8071 (8003); W 854: M-B 118 Incipit (GW ms), f [ai]: Incipit ordo mijjalis Jecundum |confuetudiné romane curie. Explicit, f . zjy: Antoni patria parmenjis gente zarote | Primus mijjales imprimis arte libros. | N e m o repretorem [ite} nimiu3 Je iactet. in arte | Addere plus tantum qua pegijje ualet. | Mediolani. Mcccclxxvi.die | xxvi aprilis finitum. Collation: 2 0 . [7T8 a—k8 l6 m—t8 u—x10 y - z } = 188 ff. 41 11. 2 col. Illustration: Christ in tomb, folio after [I4}. Music: space for music. Music pages: [Ì2V—i6, kyv—k4, 14"—?, n 3 ~ n 4 ] = 23( + ?) pp. Staves: space for 8 staves per column. Copies: A-Gòttweig, Ben; F-Paris, BN; I-Cremona, G; Naples, BN. Copies seen: F-Paris, BN, Rés. B 866. Manuscript music throughout. Lacks gathering [a], ff. [I5-I6], [mi], [m8]. Gatherings signed in brown ink at right bottom, some trimmed. Size: 325 X 228 mm. Binding: red morocco. 42. Missale Romanum. Edited by the Franciscans of A r a Coeli, Rome. Rome: Ulrich Han, 12 X 1476. See Fig. 3 1 . H 11366; Goff M 6589; IGI 6589; CIBN M 445; Martimort 3; Molitor, Deutsche, plate 1; Pellechet 8072 (8004); W 855; M-B 119 Incipit,f. [ai], red: [I]Ncipit ordo mijjalis | Jcdm conjuetudiné cu | rie Romane: Domini- | ca p'ma de aduentu Sta | tio adjanctam Maria3 | maiorem: A d mijjam: | Introitus. Explicit, f . [G6], red: Sacrum Janctuq3 hoc opus ad honorem 7 gloriam | omnipotentis dei: ac dni nojtri ieju chrijti • magni et | excellentis ingenij Udalricus gallus • al's H a n Ala- | manus: ex ingeljtat ciuis w i n e n j • nò calamo • ereoue | Jtilo : Jed nouo artis ac Jolerti indujtrie genere Rome | conflatu imprejjumq3 • unacu cantu : quod nunq3 fac | turn extitit • Necnon a fratribus Sacri còuentus arece | li recte ac fideliter emendatu3Anno incarnatòis do | minice • Mcccclxxvi • die uero • xii • Octobris • Jedente | Sixto diuina prouidentia • papa • iiij • pojteris reliquit •

Collation: 2 0 . [7r 6 a 10 b 8 c—e10 f 12 g - k 1 0 1-m 1 2 8 10 8 6 _8 A 10 138 T v r?10 /"6-| n - o p-s t u x-z T A d L D - r ( j J — 290 ff., unsigned, unnumbered, but with printed register. 36 11. 2 col. Variant, F-Paris, B N : [a 1 2 ] = 292 if. Music: printed notes and staves. Music pages: [g3v-g4>

i7>

iiov-k5,

I2M3,

16-Ii2v,

m3v—m5} = 33 pp. Staves: 8 red 4 or 5-line staves per column, 242 (272) X 162 ( 7 0 - 7 1 ) mm. Music type: R i . N o t e : the calendar is apparently identical to the 1475 H a n edition. T h e music pages are the same except that one more word is set on f. [m3], so there is no music on f. [013"]. Copies: F-Paris, BN; I-Florence, BN; Ricc; Naples, BN; US-IL-Chicago, New. Copies seen: F-Paris, BN, Rés. B 865. Second gathering of 12 ff. Signatures are frequently signed in ink. Lacks [7Ti]. Decoration: initials in red and blue, first initial in gold and colors. l-Florence, BN, E. 1. 22. Vellum Crucifixion inserted between ff. [mi] and [itu]. Size: 366 X 262 mm. Provenance, front pastedown: FRANCISCI CAES ARIS A U G U S T I M U N I F I C E N T E ; (added) Bibliotheca Bistioniana. US-ILChicago, New, Inc. 3366.5. Lacks ff. [ai], [mi] and 5 other leaves in m, and [G4]; the m leaves with music are present. Decoration: initials in red and blue, rubricated in yellow. Size: 337 X 231 mm. Provenance, flyleaf: Divendres aio de satembre dia de sanct Nicholau de Tolentino 1569 . . . en la capella de sancta Barbara. Binding: blind-stamped leather over boards, bosses, 2 clasps missing. 43. M i s s a l e R o m a n u m . V e n i c e : Alvise Siliprandi &C D o m e n i c o Siliprandi, 20 I X 1 4 7 7 . C 4186; P 4451; BMC VI:260; CIBN M 446; Martimort 4; Pellechet 8074 (8006); W 856; M-B 120 Incipit, f . a2, red: [I]Ncipit ordo mijjalis Jecun | dum conjuetudinem curie | Romane Cu officijs nouis I Dominica prima de aduétu Jta | tio ad Sancta Maria maiore3 | Ad mijja3 Introitus. Explicit, f . Finit ordo mijjalis cum officijs | nup injtitutis Jcdm 9Juetudiné | romane curie I officina Aluijij | filij dni Gajparis de Jilipradis | Ciuis màtue Uenetijs Die.xx. | Septembris. Mcccclxxvij. /— 11 • o 6 18 18 v 10 I 10 1 8 10 ,10 Collation: 2 . 7T a - h 1 K k 1-y z j — 2 1 4 ff. 39 11. 2 col. Music: space for music. Music pages g6 r 17", Bibliography of Italian Music Incunabula

219

Ki v —K5, ki v —k2, k3 v —k9,12—13 = 28 pp. Staves: space for 8—10 staves per col. Copies: D-Miinster, U B ; F-Paris, B N ; GB-London, BL. Copies seen: F-Pans, BN, Res. B 867. Lacks gathering TT and f. kio. Four leaves added at end, beginning: Officiu misse de bti ludowico epi et cofessore ordls frm mloru. Binding: red morocco (Bradel l'Aine). GB-London, BL, IB 20702. Six manuscript leaves at end: Modus dicendi missa more monastiche in missali Romane curie. Manuscript roman plainchant; 4-line staves drawn by raster. Size: 295 X 203 mm. Provenance: f. 771: Iste liber est monr,J s. Foelicis de uincentia. Purchased by BL in 1875. Binding: leather stamped in gold. 4 4 . Missale Romanum. Edited by the Franciscans of S . Maria La N o v a , Naples. Naples: Matthias Moravus, 1 4 7 7 . See Fig. 16. H 11367*1=3893?); IGI 659O; CIBNM 447; Fava and Bresciano 117; Martimort 4; Pellecbet 8073 (8005) (250 ff.); Sander 4738; W 857; M-B 121 (printed staves) Incipit, f . [ai], red: Incipit ordo mijjalis Jecudu | conjuetudine curie Romane | Dominica prima de aduetu | Statio ad Janctam Mariam | maiore. A d mijja Introitus. | Explicit, f . [H5]: Sub felicijjimo Ferdinando | Rege inclite Neap, op^ hoc | Jacru3 imprejjum ejt per M a [ thiam Morauum. Emenda | tumq3 diligentijjime per Re | ligiojos fratres Sacte Marie | noue. Anno .M.cccc.lxxvij. Collation: 2°. [7T6 a—m8 n 1 0 o—s8 t6 u—z A - G 8 H 6 ] = 2 5 2 ff. 37 11. 2 col. State 1: f. [ H 5 V ] , blank (D-Munich, S B ; F-Paris, B N ) . State 2: f. [Htore3 nimiu Je iactet. T arte | Addere plus tantu qua pegijje ualet. | Mediolani. Mcccclxxviiij. die | xxvij Jeptembris finitum. Collation: 2°. 7T8 a - k 8 l4 2I8 m-s 8 t-u 1 0 x — y 8 = 192 ff. 37 11. 2 col. Music: space for music. Music pages: i 1v—15, k5 v —12,13-14 = 21 pp. Staves: space for 8 staves per col. Copies: D-Augsburg, SB; F-Paris, BN. Copies seen: F-Paris, BN, Res. B 61. Lacks 771, 13, 14. Gathering h bound between c and d. Six manuscript leaves with chant bound in at front with provenance: Istud missale ad usum curie secundum ordinem Romane e mei. Iacobi de Futigiungio(?) . . . Anno domini M° iiijto lxxxx Et die xvij.Aprilis. Size: 290 X 203 mm. Binding: red morocco stamped in gold with crown and fleur-de-lys.

47. Missale Romanum. V e n i c e : [ N i c o l a s Jenson], 1 V 1479. H 11370; IGI 6593; CIBN M 448; Pellechet 8075 (8007); W 859; M-B 122 Incipit,f. a 1, red: [I]Ncipit ordo mijjalis Jecun | dum cojuetudinem curie ro | mane cum officiis nouis. D o | minica prima de aduentu Statio | ad Janctum Mariam maiorem. | A d mijjam Introitus Explicit, f. ~[8: Finit ordo mijjalis diligenter | emendati: cum officiis nouis | Jecundum cojuetudinem roma | ne curie imprejji Uenetiis: die primo maii. M cccc lxxix. Collation: 20. 776 a-1 8 L 8 m-z 8 7 = 2 0 6 ff. 40 11. 2 col. Illustration: blank page for Crucifixion, f. I7. M u s i c : space f o r music. M u s i c pages: g2 v —g3, i 2 v , i 5 - i 8 , k6 v , k 8 v - l 6 v , 1 8 v - L i v = 2 8 pp. Staves: space for 8 staves per col. Copies: A-Salzburg, StP; F-Paris, B N ; I-Catania, BC; Rome, Ang. Copies seen: F-Paris, BN, Res. B. 869. Decoration: initials in blue and red with flourishing. Size: 292 X 200 mm. Provenance, f. 771: Usum conventus Moguntini S.P.N. Augustini. Bibl. royale. Binding: red morocco stamped in gold with crown over fleur-de-lys. I-Rome, Ang, Inc. 81. Manuscript music. Decoration: initials in colors and flourished. Rubricator's colophon on f. 78, dated M a r c h 1480. Size: 308 X 214 mm. Binding: vellum. 48. Missale Romanum. Milan: A n t o n i o Z a r o t t o ,

49. Missale Romanum. Milan: Leonard Pachel dC U l r i c h Scinzenzeller, 16 X I I 1479. IGI 6594 (plate XXIII) Incipit,/. a 1, red: Incipit ordo mijjalis Je | cundum conjuetudinem | romane curie. Dominica | prima de aduentu. Explicit (IGI),f.H8v: Mediolani per Leonardo | pachel J Uldericu scin | zenceller theuthonicos | suma cu diligetia J stu | dio impressu Anno dni | M.cccclxxviiii.die.xvj.| Decembris:. Collation: 20. 778 a 10 b-z 8 A - G 8 H 1 0 = 2 6 o ff. 33—34 11. 2 col. Music: space for music. Music pages: m2—m5, oi v —07, p2—p3 v =24 pp. Staves: space for 9 staves per col. Copies: I-Milan, Ambr. Copies seen: l-Milan, Ambr, 405. Lacks f. 08 (Crucifixion?). The feast of the Visitation added in manuscript on f. H9 (blank). Decoration: red lombard capitals added over guide letters. Size: 316 X 230 mm. Provenance, f. 772: Dono Carlo Nardi. —

M i s s a l e Romanum. V e n i c e : P i e t r o de' Piasi 6C B a r t o l o m e o de' Blavi, 1479. H 11371;

Graesse 4:548

27 I X 1479.

N o t e : in his index (p. 329), Weale corrects H

H 11369; CIBN M 449; Ganda 68; Pellechet 8076(8008); W 860; M-B 123 Incipit, f. ai, red: Incipit ordo mijjalis Jecundum con | Juetudinem romane curie. Dnica | prima de

from a missal to a breviary. 50. Missale Romanum. Milan: Leonard P a c h e l 8C U l r i c h Scinzenzeller, 31 V I I 1480. Bibliography of Italian Music Incunabula

221

H n372; P 5953; BMC VI:748; IGI 6595; W 864; M-B 124 Incipit, f . a 1, red: Incipit ordo mijjalis Jecüdü | conjuetudinem romane curie | Dnica prla de aduetu Statio | ad Janctam mariam maiorem | Introitus. Explicit, f . Ej\ red: W black: MiJJale 9pletü Jecüdum | 9Juetudine romane curie Jum | ma cum diligentia Mediolani | ImpreJJuß opificio 7 impenja | Leonardi pachel 7 Ulderici | Jcinczenceller de Alamagnia | Jociov Anno dni. M.cccc. I Lxxx. pridie kalendas Augu | Jtas. Sub ducibus IlluJtriJJi | mis Bona 7 Iohanne galea3 | Vicecomitibus. Collation: 2 0 . 7r8 a-z 8 A - D 8 E 6 = 2 3 o ff. 35 11. 2 col. Music: space for music. Music pages: k8—l3v, m5v—n2, n4~n5 = 2 i pp. Staves: space for 9 staves per col. Copies: GB-London, BL; I-Milan, Ambr. Copies seen: GB-London, BL, IA 26454. Size: 207 X 145 mm. Binding: Blind-stamped leather (restored). IMilan, Ambr, 645. Lacks ff. b^-b6 (replaced in manuscript). Paper that was pasted on has been removed from f. n2 v (Crucifixion?). Size: 201 X 142 mm. Provenance, f. E5 V : 1489 die viii Ap'lis. Ego pbr Johannes de Casteonors Capelanis ppetua eretie seu Capelle sancti petri de dauena. Ex mea g'pa deuotiöe ac dolütate legani de Indicani post meum discesü pno' meü missale pd'ca ecclie sei petri. Binding: blind-stamped leather over boards, 1 of 2 clasps missing.

5 1 . Missale Romanum. Venice: [Johann von Köln & Johann Manthen], 23 V I I I 1480. R 998; IGI 6596; Polain 4572; W 865 Title (Polain), f . ai, red: [I]Ncipit ordo missalis se I cundum cösuetudinem | curie romane cü officijs I nouis. Dominica prima de ad | uentu statio ad säetam Maria3 | maiore. Explicit, f . z6: Finit ordo mijjalis diligeter eme | dati:cum officiis nouis Jecundu3 | conjuetudinem romane curie im | prejji Uenetiis: die .xxiii.Augu | Jti .Mcccclxxx. 6

8

6

Collation: 2°. TT a—x y—z = 186 ff. 41 11. 2 col. Illustration: woodcut Crucifixion (f. k8v). Music: space for music. Music pages: f6v—fyv, h5v, h6—"¿3", i8v, k2v—k8, 12—13 = 29 pp. Staves: space for 8 staves per col. Copies: B-Heverlee, Centre de Doc. Rel.; Louvain, Jes; I-Padua, B U ; Venice, B N ; Cor. Copies seen: IPadua, BU, Sec". XV. 380.Lacks f. z6. Provenance: 222

Music Books and Their Locations

St. Anthony of Padua feast on calendar. Binding: vellum (recent). Venice, BN, Inc. V.371. Decoration: initials in gold and colors. Size: 300 X 198 mm. Binding: blind-stamped leather (restored), clasps missing. Cor, F71. Lacks f. k8; vellum leaf inserted between ky and l i with end of Ite Missa Est and Crucifixion (watercolored). Size: 272 X 198 mm. Provenance: F. H. Cicogna. Binding: blindstamped leather over boards (restored), clasps missing (see Tammaro de Marinis, La legaturd artistica in Italia nei secoli XV e XVI, 3 vols., Florence: Fratelli

Alinare, i960, 2:71, 1529). 52. Missale Romanum. Venice: Battista Torti & Soc., 3 1 V I I I 1 4 8 1 . C 4188; R 6:96; Goff M690; IGI 6598; Polain 2J31; W 866 Incipit, f . a 1, red: [IjNcipit ordo mijjalis I Jecundu còjuetudinè | curie romane cum officiis | nouis. Dominica prima | de aduentu Jtatio ad Jane I tam Mariam maiorem. | Explicit, f . G6V: ImpreJJum Venetiis: per | Baptijtà de tortis 7 Joci I os. anno Jalutis. M cccc. | Lxxxi. die ultimo augujti. Collation: 2 0 . 7T6 a-z 8 78 9" V* A - F 8 G 6 = 2 68 ff. 33 11. 2 col. Illustration: woodcut Crucifixion, f. p7v. Music: space for music. Music pages: Ì2V—¿3", mi, m3 v -ni, 03", o8-p5 v , p6 v ~7, q i v - q 3 = 36 pp. Copies: B-Brussels, BR; I-Verona, BC; U S - W a s h ington, LC. Copies seen: B-Brussels, BR, C242. Staves drawn by raster. Size: 332 X 232 mm. Provenance, f. 771 : Monastery Forestensis [Brussels]. I -Verona, BC, Inc. 858. Decoration: initials and Crucifixion in colors. Provenance, f. G6 V : Nota che questo messale sia dela còpagnia de M Sca Maria e de Jcà Maria e de scé theodoro 7 de scò Sebastiano del domo. Binding: blind-stamped leather over wood, 9 of 10 bosses, 2 clasps (restored).

53. Missale Romanum. Milan: Leonard Pachel &C Ulrich Scinzenzeller, 18 I X 1 4 8 1 . C 4187; IGI 6599; LD 304; W 867 Incipit, f . ai, red: Incipit ordo mijjalis Jm | còjuetudinè romane curie. | Dnica pria de aduentu Sta | tio ad Janctà maria maiore | Introitus. Explicit, f . ggi i MiJJale completu Jm con I Juetudinem romane curie | Jumma CU3 diligentia Me | diolani ImpreJJu3 opifico | 7 idujtria Leonardi pachel | 7 Ulderici Jcinczenceller de | Alamania Jociov* Anno do | mini. M.cccc.Lxxxxi.

| quartodecimo kaledas Oc | tobres. Sub ill'o duce Ioh'e | Galea3 Maria Sforzia Ui | cecomite. Collation: 40. 7T a—z aa—ff8 gg 12 = 252 ff. 35 11. 2 col. Music: space for music. Music pages: 18V—1114, nyv—04, 06-07 = 22 pp. Staves: space for 8 staves per col. Copies: F-Colmar, B M ( W ) ; I-Milan, B N . Copies seen: I-Milan, BN, Gerii Inc. 41. Numbered in ink, lacks f. 189. Size: 195 X 1 3 6 mm.

54. Missale Romanum. Milan: Antonio Zarotto, 8 X 1 1481. GW ms; IGI6600; Ganda 93; LD 305; Livres de liturgie, 154 (plate between pp. 78 and 79 off215 "; Sander 4731; W 868 Incipit (GW ms), f ai, red: Incipit ordo mijjalis Jecundum | conjuetudinem romane curie. | Colophon (Sander): Antoni patria parmensis gente zarote | Primus missales imprimis arte libros I Nemo repertorem nimiu se iactet: in arte | Addere plus tantum q3 pegisse ualet. | Mediolani. M.cccc.lxxxj. | Sexto idus nouembres. Collation: 20. 7T8 a—k8 l4 218 m—s8 t—u10 x—y8 = 192 ff. 41 11. 2 col. Illustration: woodcut Crucifixion on f. Music: space for music. Music pages: Ì2V— i6v, 1 4 , 2 l 3 - 2 l 4 = 2 2 pp. Copies: I-Milan, B N . Copies seen: l-Milan, BN, Gerii Inc. 17. Decoration: Crucifixion watercolored, major initials in red. Size: 322 X 230 mm. Provenance [at front]: Pour la Chappelle de St. Jacques [bookplate of Duke of Parma, no. 566]. Binding: brown leather over wood with clasps. See Livres de liturgie, 154.

55. Missale Romanum. Edited by Philippus de Rotingo. Venice: Ottaviano Scoto, 29 X I I I 1 4 8 1 . See Fig. 39. H 11375; Goff M691; IGI 6601, 6:241; Essling 18; CIBNM450; Martimort 6; Molitor, Nachtriden, 96; Pellechet 8079 (8010); Sander 4732; W 870 variant; M-B 126= 125 Incipit, f . bi, red: Incipit ordo mijjalis Jecun | du 9 Juetudiné romane curie | Dnica prima de aduentu. | Statio ad Jcà3 maria maio- | ré. Ad mijjam Introitus. Explicit, f 112 [signed 16]: Explicit mijjale Jecundum | more3 romane ecclejie per I fratrem Philippu3 de ro- | tlgo Matuanu: ordinis mi | noi/: de objeruàtia bona di- | ligentiu

1 fideli Jtudio pur | gatu: ab his erroribus: qui- | bus vel ignorantia vel leu- | ria librarioru adductis co- I munis abujus inualuit. | Quocirca quicuq3 legerit: | objecratum velim ne adhi | beat manu3 precipitem ad | corrigendam: vel poti^ cor- I rumpendam libri rectitudi | nem magno partam labo- | re: Jed multiplicato Jincero | examine pojtmodum exe- | quatur quicqd recta ratio: I 7 Jpiritus veritatis IgeJJerit | Ad laudem omnipotentis | dei 7 JanctiJjìme virginis | matris eius: ac Seraphici | patris Francijci: totiuJq3 | curie celejtis. Amen. | ImpreJJum venetijs arte | 7 Ipenjis Octauiani Sco | ti Modoetienjis Jub In- | clito Duce Ioàne Moce- | nico. quarto kaledas la- I nuarij. | M. CCCC. L X X X I . Collation: 40. a-p 8 q 12 u 6 r8 s-z8 78 9 8 V8 A - K 8 L 1 2 = 3 i o ff.; q2 unsigned, q3 instead of qiii, signatures in ll printed in red, 1 signed i—vi. 32 11. 2

col.

Illustration: woodcut Crucifixion, f. s8v. (Essling, Crucifixion, II bis, reproduced on p. 154.)

Music: space for music. Music pages: mi v -m2, P 1 ' " * P3> P6~q4> lli v -l>_5 v , r i - r 3 , r6 v -r8 v , si—s8, t2v—14 = 57 pp. Note:

Meyer-Baer

describes

the

music

as

manuscript except " o n fol. rij b one row printed stave with four lines, metal ledges." A l l copies that I examined had no printed staves; those with manuscript music had staves drawn with a raster. T h e r e are only 4 mm between columns. Copies: D-Gòttingen, U B ; F-Paris, B N 2 ; Maz; ICesena, B C ; Milan, B N ; Parma, Pal 2 ; Rovigo, A c c Cone; Siena, B C ;

US-CA-San

Marino,

Hunt;

Washington, Holy Name. Copies seen: F-Paris, BN, Rés. 1633. Manuscript music in white roman plainchant; red lines drawn by raster. Decoration: historiated major initials in gold and colors, watercolored Crucifixion.

Size:

199 X 140

mm.

Provenance

(front flyleaves): 17 Oct. 1601, Eglise St. Pierre. Bibl. Royale. Binding: black leather stamped in gold, M. P I E R R E M A R C H A N D .

F-Parts, BN,

Rés.

1634. Lacks sheet tl.8; gathering u_ misbound after gathering r. Manuscript music only on f. 1 i2 v (Sanctus); some staves drawn by raster in red, others are crude lines drawn in brown ink (ff. p6v—qi). Decoration: red and blue major initials, blue minor initials. Size: 2 1 6 X 145 mm. Provenance (front flyleaf): Ex libris

Silvini

Poulin(?),

1577.

Binding:

blind-

stamped leather over boards, 2 clasps missing. Maz,

Bibliography of Italian Music Incunabula

223

Inc. 292. Lacks f. al, blank. Decoration: initials in blue. Size: 205 X 140 mm. Binding: 18th century calf. l-Milan, BN, Inc. 40. Manuscript music in gothic notation (if. r6-ry) and roman notation (ff. p6—P7); staves drawn by raster. Lacks ff. ai, aj, qi2, G5, and sheet ki.8. Provenance: Duke of Parma. Parma, Pal, Inc. 86. Lacks ff. s8 (Crucifixion) and ai (blank). Manuscript music with 4-line staves drawn by raster. Decoration: major initials in gold and colors; minor initials in blue flourished in red. Size: 199 X 130 mm. Binding: leather stamped in gold: BIBLIOTHECAE REGIAE PARMENSIS. Siena, BC, M.VI.13. Lacks f. Li2. Staves with 3 or 4 lines drawn by raster. Size: 191 X 140 mm. Provenance, f. si: Ad Usum mei Augustine de Carducci. 1673; f. q i ; De Pre' Claudio Cennj. di Siena, 1697. US-CASan Marino, Hunt, 92519. Lacks f. ai, sheet K1.8. Manuscript roman plainchant with staves drawn by raster. Decoration: colored Crucifixion, blue initials, rubricated in yellow. Size: 211 X 145 mm. Provenance, back pastedown: Don M. Avroa de los Constitutiones [manuscript notes in Spanish]. Label: Ch. Fairfax Murray. Binding: rolled leather (repaired), clasps missing.

tia papa quar- | to. Anno eius vndecimo. | Regijtrum huius libri. Collation: 2 0 . [7r 6 a - k ' ° l12 m - n 1 0 o 6 p - t 1 0 u 8 x—z10 A - E 1 0 ] = 292 ff., numbered [6] I - C C L X X X I I I [1]. 3 2 - 3 4 11. 2 col. Register specifies eight leaves in signature m. Illustration: woodcut Crucifixion, f. [n5 v ] CXXVF. Music: printed notes and staves. Music pages: [ h 5 v - 6 , kg>, l2 v -7 v , m4 v ~5, »117^5, n 7 " - n 9 ] = 36 pp. Staves: 7 red 5-line staves per column, 210 X 145 ( 6 5 - 6 6 ) mm. Music type: R i . Copies: D-Miinster, UB; I-Florence, BN; Todi, BC. Copies seen: I-Florence, BN, E.1.23. Decoration: Crucifixion in gold and watercolors; major initials in gold and colors, flourished, and minor initials in red and blue. Size: 322 X 228 mm. Provenance, vellum leaf at front: Questo mesale e de li pretidela congregatione prete domenico; f. [77" i v ], Stamp: FLORENTINAE.BIBLIOTH.PUB. Binding: stamped colored paper, leather spine with paper label. 57. Missale

—

Naples:

Matthias

Moravus, 16 III 1482.

1481.

C 4189; R 5:197; IGI 6604; Fava and Bresciano 128; Graesse 4:548; GW ms.; Martimort 5; Van Praet, 3:112, 128 bis; W 873 Incipit (Fava), f . [b 1], red: Incipit ordo mijjalis Jecudu I conjuetudiné curie Romane | Explicit (Fava), f . [15] : In alma ciuitate Neapoli Jub inuictijjimo Ferdinàdo rege | feliciter imprejju3hie finem | accipit. In plerijq3 etiam lo | cis per religiojum fratré Ber | nardinum Siculum ordinis I minoru3 Jumma opera adhi | bita diligentijjime emedatu. Anno Jalutis .M. cccc. lxxxij . | Die uero xvj. menjis Martij.

H 11373; BMC V:i96; Goff M692; IGI 6597; CIBN M451; Martimort 20; Pellechet 8077= 8078 (8009); Polain 2730; W 871; M-B, p. 21 N o t e : no space for music. Copies: D-Munich, SB2; F-Paris, BN; Maz; GBLondon, BL; I-Florence, BN; US-MD-Baltimore, Walt; Vatican City, BV. Copies seen: D-Munich, SB, 8" Inc. c.a.9. GB-London, BL, I A 19880. IFlorence, BN, K. 7.53 56. Missale Romanum. Rome: Stephan Planck, 5 III 1482. H 11377*; IGI 6603; Sander 4734; W 872 Incipit, f . [al], (I), red: Incipit ordo mijjalis Je- | cundu conJuetudine3 cu | rie Romane. Domlca pri- I ma de aduetu. Explicit, f . [Egy], red: Sacrum Janctumcg hoc | opus ad honorem 7 glo| riam omnipotentij dei ac | domini nojtri ieju chrijti I ImpreJJum Rome per ve- | nerabilem uiru3 magijtru | Stephanum Plannck de Patauia. Sub anno dni | Millejimoquadringente JimooctuageJimoJecudo | Die vero quinta menjis | Marcij. Regnante San- | ctijjimo in xpo patre J do | mino nfo; dno Sixto diui | napuiden-

224

Romanum.

Missale Romanum. Venice: Franz Renner,

Music Books and Their Locations

Collation ( G W ms): 4 0 . [a 6 b - n 8 o 10 p—t8 u 6 x-z 8 A - H 8 1 6 ] = 2 5 2 f f . 36 11. 2 col. Music: space for music. Copies: I-Rome, Cas; Vatican City, BV2. Copies seen: Vatican City, BV, Barber AAA I.11; Ross 2167, fragment. 58. Missale Romanum. Venice: Bartolomei de' Biavi, Andrea Torresani, & Maffeo de Saiodio, 2 V I I 1482. H 11378*; Essling 20; W 874

Goff M692a (Suppi); IGI 6605; GW ms.; Sander 4735; LD 307;

Incipit, f . Ai, red: [I]Ncipit ordo mijjalis Jecundu3 | côjuetudinë curie romane cum | officiis nouis. Dnica prima de ad- | uêtu Jtatio ad Jàctâ Maria maio-1 rem. Explicit,/. Y y \ red: Imprejjum e j t hoc mijjale uenetiis | impendio Bartholomei de alexan- | dria Andree de ajula Mapheiq3 d' | salodio Jocioy A n n o Jalutis dnlce | M.cccc.lxxxii. Jexto nonas Julii. Collation: 4 0 . 7r 8 A - G 8 H 6 1 8 K 1 0 L - M 8 N - O 6 P - R 8 S 1 0 T - Y 8 = 182 ff. 4011. 2 col. G W ms.: 7r 6 and a total of 180 ff. Illustration: woodcut Crucifixion, f. K^" (reproduced in Essling, p. 58). Music: space for music. Music pages: F5, H 3 , H 5 - I 1 , Ki v —K5 v , K y r _ v = 18 pp. Copies: D-Gottingen, UB; Munich, SB; I-Milan, BN; Triv; Subiaco, Ben; Venice, BN; U S - T X Dallas, S M U . Copies seen: l-Milan, BN, Gerli Inc. 2ç. Lacks f. 114. Decoration: initials rubricated and flourished. Size: 271 X 205 mm. Provenance, f. TTi : Rutgerus Haenrath Anno 1505. Die 20 februarij. f. TT i v : Marie Ludovicus Rotgarius a Samarelo Anno 1865 Sabbato 29 Julii. Front pastedown, bookplate: Ex libris MLR de Samarelo | Bibliothèques de Semallé et de La Gastine. Bookplate: Duke of Parma. Triv, B 83/III. Lacks gathering 7T8. Size: 246 X 175 mm. Provenance: Ord. Erem. S. Aug. Binding: vellum with gold edges. Bound with Breviarium Romanum, Venice: Benali, 1523, and 60 leaves of an Officia Sanctorum Ord. Erem. S. Aug. There are 22 ms. leaves at back with prayers, commemorations, and morning and evening prayers. Venice, BN, Inc. V. 475. No manuscript music. Size: 286 X 205 mm. Binding: blind-stamped leather on wooden boards, repaired at spine, missing clasps. 5 9 . * M i s s a l e R o m a n u m . M i l a n : L e o n a r d Pachel 6 U l r i c h Scinzenzeller, V I I I 1 4 8 2 . IGI

6606

Incipit (IGI), f . a 1: Incipit ordo missalis | côsuetudinë romane curie | Dnica prima de aduétu. sta | tio ad sanctâ maria maiorë | Introitus. Explicit, f . M8r : Miff ale completu f m con I Juetudinem romane curie | Jumma cum diligëtia. M e | diolani ImpreJJu3 opificio | 7 ïdustria Leonardi pachel | 7 Ulderici scinczenceller d | Allamania Jocioru3- A n n o | domini.M. cccc. Lxxxij. | D e menje Augujti.: | Sub ill'o duce Iohanne | Galeazio Maria Sfortia | Uicecomite.

Collation (IGI): 4 0 . 7T8 a - i 1 2 A - K 1 2 L - M 8 = 2 5 2 ff. 33 11. 2 col. Illustration (Frutaz): blank page for Crucifixion with woodcut pasted on. Music: ? Bibliography: A m a t o Pietro Frutaz, "Due edizioni rare del Missale Romanum pubblicate a MiGiulio lano nel 1482 e nel 1 4 9 2 , " in Miscellanea Belvedere, Collezione "Amici delle Catacombe," 23, Vatican City: Società "Amici delle Catacombe," 1954, pp. 5 5 - 1 0 7 . Includes plate of f. M8 V ([252]) with colophon. Copies (IGI): I-Foligno, Sem; Torgnon, ArchParr. Copies seen: none. I - F o l i g n o , Sem, could not be found during my visit (summer 1979). Torgnon, ArchParr (Frutaz). Size: 170 X 120 mm. Provenance: for more than three centuries in use by the chapel of Berzin (Torgnon) until 1896 when it came to the archives of the parish. It was first the property of Antey and St. Denis (parishes of the diocese of Aosta), and then passed to the cleric Giacomo Chàtel: "Istud missale pertinet honesto domino Jacobo Castri presbitero de b[urgo] Moriacii commorante in parrochia sancti dionisii m° vc xlvii et die autem decima mensis decembris." Rebound in 1953. 6 0 . M i s s a l e R o m a n u m . Edited by Philippus de Rotingo. Venice: Ottaviano Scoto, 31 V I I I 1482. H 11376; C 4190; IGI 6607; Essling 21; Martimort 7; Sander 4736; W 875 = 879* Incipit,/, bi, red: Incipit ordo mijjalis Jecundu3 | conjuetudinem romane curie. | Dominica prima de adventu. | Explicit,/. 1/7*, red: Explicit mijjale fecudu morem | romàe ecclejie g fratré Philip- | pù de rotingo Mantuanù ordi | nis minov de objeruantia bona | diligétia T fideli Jtudio purgatu I ab his erroribus: cjb^ vel igno- | rantia vel Tcuria librarioru ad- | ductis cómunis abujus Tualuit. I Quocirca cjcucg legerit: obJe-| cratu veli ne adhibeat manu pei | pitè ad corrigéda vel poti^ cor- I rupèda libri rectitudinè magno | parta labore: J3 multiplicato Jin | cero examine, pojtmodum exe- | quat' gcquid recta ratio: 1 Jpiri- | rit^ veritatis TgeJJerit. A d lau- | dè olpotètis dei j JàctiJJlme vir- | ginis matris eius: ac Seraphici | patris Francijci: totiujcg curie celejtis. Amen. | ImpreJJu venetijs arte 7 Ipéjis Octauiani Scoti Modoetiéjis | Jub Inclito Duce

Bibliography

of Italian Music Incunabula

225

Ioane M o - | cenico. Pridie Kal'. Jeptebris. | M C C C C . L X X X I I . I/, v«: In Jolènitate. Collation:

20.

Illustration:

a6

b—z

bibliografiche, C o m o , 1906.

1/ — 2 0 6 ff. 40 11. 2 col.

N o t e : Spessot refers to the work as a Missale

Crucifixion,

Aquileiense.

9s

woodcut

rito patriarchino per la diocesi di Como, note storico-

f.

ny v .

(Essling, 2, p. 59.) M u s i c : printed notes and staves. M u s i c pages: h 2 r " , lc2 r ", lc3v, k6—li v , l 8 - m 3 , m 4 - m 6 , m8—ny, 01—02 = 43 PP- Staves: 10 red 4-line staves per col.,) 231 X 160 (76) mm. Music type: R3. Copies: I-Bologna, B U ; Florence, B N ; Reggio Emilia, B M ; Rome, CollIntFranc; Vatican City, BV 3 . Copies seen: l-Bologna, BU, A.V.KK. V.5 (Gaspari 563). Decoration: blue initials, some in gold and colors. Size: 340 X 237 mm. Vatican City, BV, Inc. I.25. First gathering misbound as a i , a3, a2, etc. Decoration: major and medium initials in gold and colors, minor initials in blue, Crucifixion watercolored. Size: 331 X 232 mm. Binding: red leather with 10 bosses intact, 2 clasps. The catalog of incunabula at the Biblioteca Vaticana cites this missal as W 873, H 11376? and Panzer 3:185, 644. Note: a careful examination of the calendar (f. a3v) reveals that the type was set in the form and inked separately in red and in black: part of the line for St. Anthony's feast appears complete in red, and again in black for the top 1/4 inch. Inc. II.457. Manuscript prayers to St. Sebastian during time of plague on f. Decoration: initials in blue, major initials flourished in red. Size: 326 X 222 mm. Binding: parchment with inked label on spine.

Copies: D-Berlin, SPK. Copies seen: D-Berlin, SPK, 40 Inc. 3068.20. Lacks ff. 771-773, the complete Canon, the Register before the Ordines, and contains only the end of the "oratio secreta" of the Temporale. Size: 328 X 235 mm. Provenance: originally belonged to the Church of Giubiasco, a town near Bellinzona in the diocese of Como, subject to the patriarchate of Aquila from 698 to 1751. In 1868 the copy belonged to an architect, Giuseppe ChicerioScalabrini (Buzzetti, p. 48). The accession number of Berlin S P K includes the year 1931, and the binding was done after that date. 6 2 . Missale Romanum. Edited by Philippus de Rotingo. Venice: Ottaviano Scoto, 28 X I 1482. C 4191; CIBN

BMC

M453;

V:277;

Goff M693;

IGI

6608;

Essling 22; Martimort 8; Pellechet

8115 (8045); Sander 4737;

W 8yy; M-B

12J

Incipit,f. bi, red: Incipit ordo mijjalis Jecun | dum 9Juetudinem romane cu- | rie. Dominica prima de adue- | tu. Statio ad Janctam mariam | maiore. A d miJJaß. Introitus. | Explicit, f. E6: Imprejum [sic] venetijs arte J im- | pejis Octauiani [or Ocotauiani] Scoti M o - | doetienjis Jub Inclyto D u c e I Ioanne M o c e n i c o . quarto | kalendas de-

61. Missale Romanum. Milan: Christoph

Val-

d a r f e r , 1 I X 1482. S e e F i g . 56. Gesellschaft fur T y p e n k u n d e , 25 ( 1931):

Tafel

9

8

f

A-D8

E 6 = 240 ff.; unsigned: I2, m2, m4, p2, p4, q2,

1928

E 2 ; mis-signed: IT13 as q3, n i as n3, n2 as n4.

Incipit, f. [a 1]: Incipit ordo mijjalis Jecudu co |

G W ms: m—n6. 33 11. 2 col. State 1, printed

Juetudiné

staves (I-Bologna, B U ) . State 2, printed notes

romane

curie.

Dnica

| prima

de

aduétu. Statio ad Jan | ctam maria maioré. In-

and staves (I-Ferrara, B C ; Florence, B N ; G B -

troitus. I Explicit,/.

London, B L ) .

[z6]: Imprefjum Mediolani

P e r I X p o f o r u m Valdarfer Ratijpo | nenjem.

Illustration: woodcut Crucifixion, f. p8 v .

Jumma cum diligentia | ac Jtudio cum aliquibus

M u s i c : state 1, printed staves without notes;

mijjìs

state 2, printed notes and staves except on f. m i v ,

I

nuper

inuentis.

Anno

domini.

|

M.cccclxxxij. D i e primo men | Jis. Septembris.

where only printed staves appear for the melis-

Collation: 2 0 . [7T8 a 4 b—k8 l 12 m 8 n—s8 t—u10 x8 y 6

matic " E c c e legnum." M u s i c pages: ¡5-16,I8 r _ v ,

z ] = 192 ff.

m i " , m4 v —m8 v , 03^05*, 08—p8, q 2 — q 3 ~ 3 9 pp.

M u s i c : printed notes and staves. Music pages:

Staves: 8 red 4-line staves per col., 157 X

6

226

cembris. | M . C C C C L X X X I I . Collation: 4 0 . a 6 b - m 8 n 4 0 - z 8 J8

118

[k2 v —k6, 17"—li2]= 19 pp. Staves: 8 red 4-line

( 5 1 - 5 3 ) mm. M u s i c type: R4.

staves per page. M u s i c type: R26.

Copies: CS-Olomouc, SB; D-Augsburg, SB; Mu-

Bibliography: Francesco Spessot, "Libri liturgici

nich,

aquileiesi e rito patriarchino," Studi Goriziani 35

I-Assisi, Cap; Bologna, B U ; Ferrara, BC; Florence,

(1964): 77—92. Pietro Buzzetti, I libri liturgici di

B N ; U S - N Y - N e w York, bookseller. Copies seen:

Music Books and Their Locations

SB 3 ;

F-Paris,

BN;

GB-London,

BL;

GB-London, BL, IA. 21185. Lacks ff. ai.6, p8, C8, Di—D2, most of D3, D4-6. Decoration: major initials and border in gold and colors; minor initials in blue flourished in red. Size: 215 X 150 mm. Provenance, f. E6: Questo libro sie de j>° nicolo brusulato; f. E6V: Guarini Veronensi | In Venetia | Ad Nicolau Drozato. Binding: stamped leather, restored at spine, 2 clasps missing. I-Bologna, BU, A.V.KK.IX.6. Printed staves. Manuscript roman plainchant. Decoration: watercolored Crucifixion, coat of arms on f. bl, flourished red initials highlighted in yellow. Size: 215 X 153 mm. Provenance, f. E6: Ad usu fratris pauli ab Asula. reg. obs. prouintie brixie. Binding: blind-stamped leather over cardboard (restored), 4 clasps missing. Ferrara, BC, S. 6.2.11. Printed notes and staves. Manuscript perpetual calendar on f. E6V. Decoration: blue initials. Size: 214 X 155 mm. Provenance, f. ai: S. Dominici Ferrari; old stamp: P. VNIVERSITÀ DI FERRARA, [in ink] O.2.6. Binding: cardboard with gatherings held by 2 new leather thongs. Florence, BN, D. 7.6.10. Printed notes and staves. Decoration, f. bi: border with space for coat of arms. Size: 219 X 155 mm. Provenance, leaf after f. E6: questo messale hè delle monache di san nicholo in via del [?]; leaf before f. a i : Della Infermeria. Binding: blind-stamped and ruled leather (restored with 2 new clasps). —

Missale Romanum. Venice: Andrea Torresani, 1482. Renouard 496; W 880* Collation ( W ) : 2 0 . N o t e : ghost? Renouard gives a single location, I-Milan, Triv, at which no such edition is known. T h e Biblioteca Trivulziana does own the quarto missal printed in 1482 by Torresani with Biavi and M a f f e o de Salodio ( D 58, W 874).

—

Missale Romanum. Venice: [s. typ.], 1482. C 4190; W 879* N o t e : ghost? T h e catalog of incunabula at Vatican City, BV, suggests that C 4190 and W 879* is identical to D 60 ( H 1 1 3 7 6 and W 875).

—

Missale Romanum. Venice: Giovanni de' Gregori, Gregorio de' Gregori, Giacomo Britannico, & Antonio Stanchi, 3 1 I 1482/ 1483. C 4192; IGI 6602; CIBN M 452; Essling 19; Sander 4733; W 878; M-B, p. 22 N o t e : no space for music.

Copies: CH-Ziirich, ZB; D-Tübingen, UB; FParis, BN; I-Ferrara, BC; Forli, BC; Genoa, Fra. Copies seen: I-Ferrara, BC, S. 6.1.11. Lacks gathering m8, including the woodcut Crucifixion (f. m5v). —

Missale Romanum (Glagolitic). [Izola? Modrus? Kosinj? Venice?], 22 II 1483. Bosnjak 36; Gspan-Badalic 760; W 1330; M-B, p. 22 Collation: 2 0 . 776 1 - 2 6 8 i~f [signed in Glagolitic letters] = 220 ff. 36 II. 2 col. Bibliography: facsimile edition: Missalpr Zdkonu Rimskoga Dvora, commentary by Slavko Goldstein, Ivo Franges, Edo Hercigonja, and Katica Zorzut, Zagreb: Liber, 1971. Barbara Krader, " T h e Glagolitic Missale of 1483," Library of Congress Quarterly Journal 20 (1963): 93—98. Josip Badalic, " U m den Druckort und den Drucker des ältesten südslawischen Wiegendruckes Missale Glagoliticum 1483/ 1484," Gutenberg-Jahrbuch (i960): 122—26. Franc Paro, "Tipografska analiza hrvatskoglagoljskog prvotiska Misala po zakonu rimskoga dvora iz 1 4 8 3 " (Typographical analysis of the Croatian glagolitic incunabulum Missale Romanum of 1483), Slovo 34 (1984): 9 1 - 1 1 0 . N o t e : no space for music. Copies: A-Vienna, NB; US-Washington, LC; USSR-Leningrad, NB; Vatican City, BV2; Y-Bol na Bracü, D; Zagreb, AK; NB 2 . Copies seen: USWasbington, LC, Vollbebr. 213 ff. Size: 258 X 180 mm. Vatican City, BV, II 733. 217 ff. Size: 312 X 218 mm. Vatican City, BV, II 734. 171 ff. Size 289 X 204 mm.

— Missale Romanum. Milan: Leonard Pachel & Ulrich Scinzenzeller, V I I 1483. C 4196; IGI 6610; W 883 Collation: 8°. tt& a—m8 n 6 A—R 8 =24Ö ff. 35 11. 2 col. Music: no space for music. Copies: CH-St. Gall, StB; I-Naples, BN. Copies seen: CH-67. Gall, StB, 1007. Binding: blindstamped leather, 2 clasps missing. 63. Missale Romanum. Venice: Bernardino Benali, Giorgio Arrivabene, & Paganino Paganini, 4 X I I 1 4 8 2 / 1 4 8 3 . or 29 I 1483/1484. H 11380= 11381 (240 ff.); C 4193; GoffM696; IGI 6611; Essling 23; Pellechet 8080; Sander 4738; W 884; M-B 129 Bibliography of Italian Music Incunabula

227

Incipit,f. a i, red: Incipit ordo mijjalis Jecu | dum 9Juetudine3 romane cu | rie. Explicit,/. E8r, red: Explicit mijjale Jm morem romane ecclejie diligeter erne | datum: Uenetijs imprejjum: cura impenjijcg Bernardini | bergomejis: Georgij mantuani: T Paganini brixiejis. Du | ce Inclyto Ioane mocenico.xxviiij. kl' Ianuarii. 1483. IT 00 / 1 \ 10 8 4 10 8 88 8 Collation: o . 7T (ab) c—n o p q—z T 9 V A - E 8 = 246 pp. 33 11. 2 col. The second gathering (I-Bologna, BU; Milan, Ambr; Rome, Cors) is signed: a, b2, unsigned, b3- Only the first two leaves of gathering o ( U S - N Y - N e w York, PML) are signed: o, 02; 03 is signed in IMilano, Ambr. Gathering p (I-Bologna, BU; Rome, Cors; U S - N Y - N e w York, PML) is signed: p i , unsigned, p2, 03, P4. Gathering p in I-Milan, Ambr is signed: p i , p2, unsigned, P4, 03. Illustration: woodcut Crucifixion, f. p8v. Music: printed notes and staves; printed staves only on £ 18. Music pages: ¿3—¿4, 16—17, 18, 1113—my, ny—n8, piv—p8, q2-q3 = 34 pp. Staves: 8 red 4-line staves per col., 122 X 85 (40) mm. Music type: R5. Note: the date in the colophon (29 cal. January 1483) can be interpreted as 4 Dec. 1482/1483 or 29 Jan. 1483/1484. Copies: F-Lyons, BM; I-Bologna, BU; Guastalla, BC; Milan, Ambr; Rome, Cors; P-W/ocIawek, Sem; Wroclaw, Kap; US-NY-New York, PML. Copies seen: l-Bologna, BU, A.V.KK IX.26 (Gaspari 565). Decoration: watercolored Crucifixion. Size: 164 X 112 mm. Binding: red morocco. Milan, Ambr, Inc. 712. Lacks four leaves in gathering z, ff. 91, and sheets ci.8 and yi.8. Binding: bindstamped leather over boards, 2 clasps. Rome, Cors, 48.E25. Decoration: watercolored Crucifixion, blue initials. Size: 171 X 120 mm. Binding: calf with marbled edges. US-NY-New York, PML, ChL 934. Manuscript roman chant in a gathering of sixteen leaves at back. Decoration: large initials in gold and colors. Size: 168 X 117. Binding: modern stamped leather. 64.* Missale Romanum. [Venice: Erhard Ratdolt, ca.1483.] R 6 3 2 ; W 882 Title (R),f. id, red: [Mjlssale scd'm | morem Ro | mane curie. Incipit (R),f. 11 (numbered 1), red: (£ Incipit ordo Missalis f m | cosuetudine Romane curie | Dominica prima de aduetu | Statio 228

Music Books and Their Locations

ad sanctam maria ma | iorem: ad missam Introitus. Explicit (R),f. 253 (numbered 243"), red: Finis. Collation (R): 40. 8 (2) 243 (I) = 2 5 4 ff., signed + a - z 79V A-F. 34 11. 2 col. Music: ? Copies: none known. 65. Missale Romanum. Venice: Francesco Girardengo, 1 I V 1484. H 11383; BMC VII: Ivni, n. 2; CIBN M 454; Pellechet 8082 (8013) (Pavia); W 89I*; M-B 133

Incipit, f . a 1, red: Incipit ordo mijjalis J3 9Jue | tudine3 romane curie. Dnica | prima de aduentu. Statio ad | Jacta maria maiorè. I n t r o i t i | Explicit, f . CC4, red: Imprejjum Venetijs g Fra | cijcum de girardenghis. | M.cccc.lxxxiiij. die primo | Aprilis. Collation: 20. 7T8 a 10 b-m 8 n10 0-z 8 78 9 s i/ aa—bb8 cc = 2 4 0 ff. 36 11. 2 col. Illustration: none (f. n7 missing; blank for Crucifixion in Pavia reissue; see next entry). Music: printed notes and staves. Music pages li—15, m8V-n6V, n9~nio = 25 pp. Staves: 8 red 4line staves per col, 195 X 147—48 (68.5—69) mm. Music type: R29. Copies: F-Paris, BN. Copies seen: F-Paris, BN, Rés. B 1635. Lacks f. n7- Manuscript Mass for St. Lazarus, bishop and martyr, on f. CC4. Decoration: major initials in red and blue, minor initials in red or blue. Size: 296 X 202 mm. Provenance: JeanBaptiste Colbert; Bibl. Royale. Binding: goldstamped red morocco. Reissue. Missale Romanum. Pavia: Francesco Girardengo, 13 I V 1484. H 11385; CIBN M454; Pellechet 8083 (8013); W 891a; M-B 134 Incipit,/, ai, red: Incipit ordo mijjalis J3 9Jue | tudine3 romane curie. Diiica | prima de aduentu. Statio ad | Jacta maria maiorè. I n t r o i t i | Explicit, /. CC4, red: Imprejjum Papié per Fra- | cijcum de girardenghis. | M.cccc.lxxxiiij. Idibus. | Aprilis. r^ II • o 10 I 8 10 8 8 8 8 118 Collation: 2 . a b—m n o—z T 9 V aa—bb cc4 = 232 ff. 36 11. 2 col. Illustration: blank page for Crucifixion, f. t\y. Music: printed notes and staves. Music pages: li—5, M8V—N6V, n9~10 = 25 PP- Staves: 8 red 4-

line staves per col., 1 9 5 X 1 4 7 - 4 8

(68.5-69)

mm. M u s i c type: R29. N o t e : this issue varies f r o m the first issue only in place, date, and absence of a calendar in a preliminary gathering. C I B N calls the two items different states of the same edition. Copies: F-Paris, B N . Copies seen: F-Paris, BN, Rés. B. 62. Decoration: major initials in gold and colors. Size: 304 X 209 mm. Provenance: Bibliotheca Colbertina. Binding: blind-stamped and ruled leather over wood, 2 clasps missing.

F-Paris, BN, Vél. Decoration: Crucifixion (on blank v. m5") and major initials in colors and gold, minor initials in blue. Size: 3 1 6 X 2 1 9 mm. Binding: gold-stamped calf with marbled endpapers. 6 7 . M i s s a l e Romanum. V e n i c e : G i o r g i o A r r i v abene dC P a g a n i n o Paganini, 2 7 I X 1 4 8 4 . H

11386*;

P 4908;

BMC

V:382;

IGI

Essling 2 5 ; Martimort 14; Sander 4739; M-B

6614; W

889;

132

Incipit,/, bi, red: Incipit ordo mijjalis Jecundum | conjuetudinem romane curie. | Dominica prima

6 6 . M i s s a l e Romanum. Edited by Philippus de Rotingo. V e n i c e : Bernardino Benali, 1 5 V I I I 1484. C 4197;

Brunet 3 : 1 7 5 9 ; CIBN

9; Pellechet 8084 (8014);

M455;

Martimort

W 888; M-B

131

Incipit./, ai, red: Incipit ordo mijjalis J m con- | Juetudine3 romane curie. D o - | minica prima de aduentu. S t a | tio ad Janctam mariam maio- | rem. A d mijjam. Introitus. | Explicit, f. Hy, red: Explicit mijjale J m morem ro- | mane eccl'ie p f r a 3 Philippu de | rotingo Mantuanu ordinis mi | noru de objeruàtia bona dilige- | tia 1

fideli

Jtudio purgatu ab h i j | errorib^: gb^ ul' ignoràtia uel in- I curia librarioru3 adductis c o l s | a b u j u j Tualuit. Q u o c i r c a gcuq3 | legerit: objecratu uelim ne adhi | beat manu precipite ad corrigen | dam uel poti^ corrupenda3 libri | rectitudle3 magno

gtà

labor:

J3

| ml'tiplicato

/incero

e x a m l e : p o j t | (1103 exeqt' gccjd recta rò J Jpus yitatis TgeJ/erit. A d JclJJìme

yglj

mris

laude o l p o ei9;

| tetis di 1

| ac Seraphici

pris

F r à c i j c i : toti | ujq3 curie celejtis. | black: I m p r e j j u uenetijs arte T Tpèjis | Bernardini d' B e nalijs b e r g o | m é j i j J b ìclito D u c e Ioàne mo- | cenico.

xv:

die

menjis

C L X X X I I I I I f.H7v:

augujti.

|

MCCC-

[register]/. H8, red: N a u i s

noue bedictio còjueuit | fieri hoc modo. s- 11 016 18 4 r 8 16 -8 1 4 1 Collation: 2 . t

a—d

e

r-g

h

1

k

8

1—o

10 p

8

A - H = 1 8 2 f f . 42 11. 2 col. Illustration: blank page f o r Crucifixion, f. m^". M u s i c : printed notes and staves; staves only on f. g ì

(preface, P a l m Sunday). M u s i c

pages:

g i - g 2 , ii r ~ v , Ì2V, Ì 4 v - i 8 , I 1 M 4 , I 5 - I 6 , l 7 - m 5 , v

v

m 6 ~ 7 = 3 7 pp. S t a v e s : 1 0 ( 1 1 ) red 4-line staves per col, 2 1 5 X 144—46 (68—70) mm. M u s i c type: R 6 . Copies: D-Munich, S B ; F-Paris, B N . Copies seen:

de aduètu. S t a | tio ad Janctam mariam maiorem. 1 Explicit, f. y7*, red: Explicit mijjale Jecüdü more roma | ne ecclejie: J u m m a cü diligentia T fi- | deli Jtudio purgatu ab his errorib^: | gbus uel ignorätia uel incuria libra | riorü adductis cömunis a b u j u s in- | ualuit. Q u o c i r c a gcunq3 legerit: ob | J e c r a t ü uell ne adhibeat manü pcipi | te3 ad corrigedä uel potius corrüpe | da3 libri rectitudinè magno parta la | bore: J e d multiplicato J i n c e r o exami | ne: p o j t m o d ü exequat' g c g d recta ra | tio: T Jpirit^ ueritatis ingejjerit. A d | laude olpotèti dei 1 J c i J J i m e u i r g l s | matris ei^: totiuJq3 curie celejtis. J ImpreJJu3 uenetiis arte J impéjis | G e o r g i i de riuabenis mantuani: 7 | Paganini de paganinis brixiani J o | cioru3: J u b Inclyto D u c e Ioanne

|

Mocenico.

quinto

Kl'.octobris.

|

8

M c c c c . L x x x i i i i . A m e n . / y , red: R e g i j t r u m huius operis. I [printer's mark]. Collation: 2 0 . a

b—k

1

m - y = 1 7 2 f f . 43 11.

2 col.

Illustration: woodcut Crucifixion, f. 15". M u s i c : state 1 , printed staves (Vatican City, B V ) ; state 2, printed notes and staves (all others seen). M u s i c pages: g2 r _ v , h7 r _ v , h8 v , Ì2—¡4", k i v — k 4 , k^—k6, k8—15, 16—mi v = 3 2 pp. Staves: 1 1 red 4-line staves per col., 230—32 X

155—57

(72—75) mm. M u s i c type: R 6 . N o t e : the use o f music type R 6 , attributed to B e r n a r d i n o Benali, suggests that he may have been the printer of the music. Copies:

A-Vienna,

NB;

CH-Basel,

UB;

D-

Freiburg im Breisgau, U B ; Munich, S B ; GB-London, B L 2 ; I-Florence, B N ; Modena, Cap; Udine, A r c ; Vatican City, B V . Copies seen: A -Vienna, Ink 8.C.21.

GB-London,

BL, IB 22487.

NB,

Decoration:

major initials in gold and colors, minor initials in blue.

Size:

323 X 220

mm. Binding:

leather (restored), 2 clasps missing. Hirsch

stamped III.933.

Bibliography of Italian Music Incunabula

229

Decoration: major initials in gold and colors, minor initials in blue, watercolored Crucifixion. Size: 320 X 207 mm. Binding: blind-stamped interlace pattern on leather over boards, 3 clasps and most bosses missing. I-Florence, BN, E.j.p. Binding: blind-stamped and ruled leather over boards, missing 2 clasps and 8 bosses. Vatican City, BV, Prop. Fide V.29. Lacks f. 15 (83), Crucifixion. Printed staves with manuscript roman plainchant. Decoration: major initials in gold and colors; minor initials in blue, rubicated in blue and yellow. Size: 3 1 6 X 2 1 0 mm. Provenance, f. y8: S. Silvestri . . . quirinalis. Binding: vellum.

A-Vienna, NB, Ink. XV.H.23. Lacks if. r 3 - r 4 . Manuscript gothic plainchant added to printed staves. Size: 151 X 106 mm. Binding: stamped and rolled leather "M V | 1581," 2 clasps missing. 6 9 . Missale Romanum. V e n i c e : Piero di Piasi, 10 X I 1485. C 4i99

(8, 238=242ff.);

GoffM

Essling 28 ( f

8

Sander 4742

(286 ff.); W 895

M-B, p. 23 (no printed Incipit, f . ai,

699;

IGI6617;

1 9 A - D 8 E 6 F - L 8 = 2 4 6 ff.);

a-z

(lacks f , 286

ff);

music)

red: I n c i p i t o r d o mijjalis J e c u n - |

d u m c o n j u e t u d i n e m r o m a n e cu | rie. D o m i n i c a 6 8 . M i s s a l e Romanum. Edited by Philippus de

f . E6:

Explicit

Rotingo. V e n i c e : N i k o l a u s von Frankfurt,

mijjale J e c u n d u m m o - | r e m r o m a n e e c c l e j i e : p e r

1484.

fratre3 | Phlippum de rotingo M a n - | tuanum:

H 11382;

IGI

Sander

4740;

Incipit,

f . ai,

6613 W

Essling 24; Martimort

10;

892

red:

Incipit

ordo

mijjalis

Jm

c ò j u e t u d i n é r o m a n e | curie. D n i c a p m a de adué tu. S t a t i o a d J a n c t a m | M a r i a m a i o r é . A d miffa I n t r o i t u s . J Explicit,/. Jm

mo-1 r e m

15, 7, black: Explicit mijjale

romane

ecclejie: per

| fratrè

Philippu de rotin- | g o M a n t u a n u 3 . ordinis | min o r u : d e o b j e r u à t i a b o | n a diligentia 7 fideli J t u | d i o p u r g a t u m a b his e r - | r o r i b ^ : q u i b ^ uel i g n o r a n | tia uel i n c u r i a l i b r a r i o r u | a d d u c t i s c o l s a b u j u s in- | ualuit. Q u o c i r c a q c u n c g | legerit: o b j e c r a t u m velim | n e a d h i b e a t m a n u p r e - | cipi t e m a d c o r r i g e n d a : uel | p o t i u s c o r r u p e d a m libri r e c t i t u d i d e m a g n o p a r | t e m l a b o r e : J e d multipli| cato / i n c e r o examine p9 | m o d u quicqd

recta

ratio:

J

Jpiritus

exequatur

ve-

|

ritatis

i n g e j j e r i t . A d lau | d e m o m n i p o t e n t i s dei 1 | J a n c t i J J i m e virginis m a - | tris eius: ac J e r a p h i c i

ordinis m i n o r u m : de | o b j e r u a n t i a bona diligentiae et | fideli J t u d i o p u r g a t u m a b his | e r r o r i b u s : q u i b u s vel i g n o r a n - | tia vel i n c u r i a l i b r a r i o r u m a d - | d u c t i s c o m m u n i s a b u j u s in | ualuit. Q u o c i r c a q u i c u n q 3 le- | g e r i t : o b j e c r a t u m v e l u m n e ad | h i b e a t m a n u m p r e c i p i t e m a d | c o r r i g e n d a m : vel p o t i u s c o r r u m p e n d a m libri r e c t i t u d i n e m | magno

partam

labore:

Jed

mul-

|

tiplicato

Jincero examine p o j t - | m o d u m exequatur quicq u i d | r e c t a r a t i o : 7 J p i r i t u s veritatis i n g e j j e r i t A d l a u d e m o m n i p - | tetis d e i T J a n c t i J J i m e virginis | m a t r i s eius: ac S e r a p h i c i p a - | tris f r a n c i j c i : totiujque curie | celejtis: A m e n . | ImpreJJum v e n e t i j s a r t e J im | p e n j i s P e t r u m C r e m o n e n j e m | Dictu3 Ioanne

Veronenjem

Mocenice.

Jub

| Die.

Indi

| to

Duce

x. n o u e m b r i s .

|

M.CCCCLXXXV. Collation:

4°. f 6 a - 1 8 m 4 n - z 8

78

9

8

A-D8

6

E = 2 4 0 f f . ; n a n d 112 m i s - s i g n e d as o a n d 0 2 .

p a - I tris f r a n c i j c i : t o t i u J q 3 c u - | rie c e l e j t i s .

33 11. 2 col.

A m e n . | red: I m p r e J J u m v e n e t i j s a r t e | e t i m p e n j i s

I l l u s t r a t i o n : w o o d c u t C r u c i f i x i o n , f. o8 v .

N i c h o l a i d e | F r a n c k f o r d i a a n n o d o - | mini. M .

M u s i c : p r i n t e d n o t e s a n d staves ( p r i n t e d staves

cccclxxxiiij. I black: D e o g r a t i a s .

only o n f. n v ,

S 2

C o l l a t i o n : 8°. 7T

4

77" a - y

8

8

i - 5 = 3 o 8 ff. 31 11.

k 8 r v,

Ecce legnum). Music liv,

I4—18V,

n3 v —n5 v ,

pages: n8—08,

col., 140 X 107 (51.5—52) m m . M u s i c t y p e : R 6 .

I l l u s t r a t i o n : w o o d c u t C r u c i f i x i o n , f. r3_ v

M u s i c : p r i n t e d staves. M u s i c p a g e s : ki—k2, n 3 , n

h5— h 6 ,

p2—p3 = 4 o p p . S t a v e s : 8 r e d 4 - l i n e staves p e r

2 col.

7 ~ ° 4 > P4 _ 7> q 2 - r 2 , [ r 3 - r 4 ? } , r 5 - r 6 = 4 3 [ + ? ]

pp.

Staves:

8

red

4-line

in

X 7 1 ( 3 3 - 3 3 . 5 ) mm.

staves

per

col.,

Copies: A-Klosterneuburg, SB; Vienna, N B ; CSOlomouc, SB; D-Munich, SB; Wiirzburg, U B ; INaples, B N ; N L - T h e Hague, M W ; P-Gmezno, A A ; Wiociawek, Sem; Wroclaw, B U 2 . Copies seen: 230

p r i m a d e a d u e n - | tu. Explicit,

Music Books and Their Locations

Bibliography: Vittorino Finni, " P i e t r o e T o m m a s o P i a s i t i p o g r a f i c r e m o n e s i di s e c o l o X V , " La Bibliofilia

4 3 ( 1 9 4 1 ) : 86—110.

Copies: D-Berlin, SPK; Munich, SB 2 ; IFlorence, B N ; Venice, Cor; S-Uppsala, U B ; U S N Y - N e w York, U T S e m . Copies seen: D-Munich, SB, 40 Inc. c.a.4i8h. Leaves 01 and 02 signed in red. Manuscript leaves (7) of sequences at back. Decora-

tion: initials in red and brown, rubricated throughout. Size: 2 1 7 X 159 mm. Provenance, front pastedown: hie missale est mgri Iohannis, 1487; f. f i : Per me fr em Martinum . . . Millejimo Quingentejimo Septuagejimoquinto. Binding: blind-stamped leather over wooden boards, 2 clasps and bosses missing, finger tabs. 40 Rar. 362. Leaves 01 and 02 signed in red. Decoration: initials and Crucifixion in gold and colors, minor initials in blue. Size: 216 X 154 mm. Provenance, f. f i : Ex Ecclesie S. Egidij . . . 1545 10 Martij. Binding: blind-stamped leather over wooden boards, 2 clasps and bosses missing. I-Florence, BN, D. 7.6.11. Decoration: border in gold and colors on f. a 1 with coat of arms (red lion over 3 red horizontal stripes on gold); blue minor initials. Watercolored Crucifixion with gold added. Size: 2 1 1 X 156 mm. Provenance, f. E6V: Io Giuliano di Stefano frili da Langaia ho compro questo Misale. Added leaf at front: uso di S.Cecilia. Binding: blind-stamped and ruled leather (restored) with 2 clasps. Venice, Cor, Gp8. Decoration: border on f. ai with coat of arms (3 gold and black lions holding ferri of gondolas). Size: 2 1 7 X 157 mm. Provenance: collection of Emanuele Antonio Cicogna (1769—1868), with his letter attached to flyleaf, dated 30 March 1862. Binding: blind-stamped leather over boards, half of both clasps missing, spine restored. For interlace tool, described as Venetian, see de Marinis, La legatura artistica in Italia nei secoli XV e XVI, 3 vols., Florence, i960, 2: plate C22. US-NY-New York, UTSem, UL 32.1485. In a letter, librarian Seth Kasten described the copy as lacking if. f 1 and 08 (woodcut Crucifixion). Manuscript leaves (25) at the end contain sequences. 70. Missale Romanum. Edited by Philippus de Rotingo. Venice: Nikolaus von Frankfurt, 1485. C 4198; IGI 6615; Goff M700; IBP 3756; Essling 29; Martimort 11; Sander 4743; W 897 (12, 296=308 ff.) Incipit, f . ai, red: Incipit ordo mijjalis cosuetudinè romane curie. Explicit, f . 15, 8 red: Explicit mijjale j?m or- | dine Jancte Romane ec| clejie magna cu diligetia | reuisum: et fideli Jtudio I emendatum per fratrem | Philippum de Rotingo I Mantuanu ordinis mi- | norum de objervantia. | ImpreJJum | venetijs arte | et impenjis Nicholai de | Franckfordia. Anno dni | M.cccc.lxxxv. black: D e o gratias. Collation: 8°. 7T8 2 7T 8 a—y8 1—1^ = 312 fi. 31 11. 2 col.

Illustration: woodcut Crucifixion, f. r3 v . Music: printed staves. Music pages: ki—k2, n3 v , n7~04, qz—r2v=28[+?] pp. Staves: 8 red 4-line staves per col. Copies: CS-Ceske Budejovice, VB 2 ; Olomouc, SB; D-Karlsruhe, U B (has both preliminary gatherings); P-WIocIawek, Sem 2 ; S-Uppsala, U B ; U S - T X Dallas, Baylor; Washington, LC. Copies seen: U S Washington, LC, Batchelder Coll. Lacks 5 leaves in signature r, and both preliminary gatherings. Manuscript roman chant. A manuscript section in an italic hand of 53 leaves at the end is entitled "Sequntur sequentia per totum annum."; it contains no music notation. Size: 141 X 102 mm. Prov.: John D. Batchelder, 1934. A note in Russian on an endpaper states: "In 1873 this book was 388 years old." 7 1 . Missale

Romanum.

[Venice?

ca. 1 4 8 5 -

1490?] C 4182; GoffM 717 (Venice: Pincius ca. 1500); CIBNM461 (Rome? Silber? ca. 1489-1490?); CIBN Suppl. (Venice? ca. 1485-1490?); Hubay, Augsburg 1435 (Rome, Silber, ca. 1500); W 953=968; M-B 167 Incipit, f . ai, red: [IJNcipit ordo mijjalis Jecundü pjuetudine | curie romane cum officiis nouis. Dominica prima | d' aduetu Jtatio ad Jäctä I Maria maiorem. A d m i j | Jam Introitus. f . K4 v: niuis d'leät | ac faciat d' albata g. Finis. Collation: 2°. (i, i2) 6 a—z8 Is g8 if A - I 8 K 4 = 290 ff. 3 3 11. 2 col. Illustration: blank page for Crucifixion, f. q2v. Music: space for music. Music pages: k i - 2 , ni v , n 5 ~ 8 V , p i v , p 4 v - 8 , q i v - q 2 , q 4 v - 6 = 27 pp. Staff: space for 9 staves per col. Bibliography: Barbara Hellwig, Inkunabelkatalog des Germanisches Nationalmuseums Nürnberg (Wiesbaden: Harrassowitz, 1970), 675 (Venice: Arrivabene); Ferdinand Geldner, "Unbekannte und ungenügend beschriebene Missaldrucke des 15. und 16. Jahrhunderts," Gutenberg-Jahrbuch (1966): 132, and plate 2 of f. 47. N o t e : the early date is likely, since there is blank space for music. Assignment to a printer on typographical grounds is difficult, since several shops used the types. M y thanks to Paul N e e d ham of the Pierpont Morgan Library for reviewing the attribution of place of publication by printing types. Further support for Venetian rather than Roman origin is found in the original Bibliography of Italian Music Incunabula

231

G e r m a n o w n e r s h i p o f six o f s e v e n c o p i e s ;

no

c o p i e s e x i s t in I t a l i a n l i b r a r i e s . C o p i e s : D - A u g s b u r g , S B ; Berlin, S B ; Munich, S B ; Nuremberg, N M ;

F - P a r i s , B N (vellum); U S - C A -

S a n M a r i n o , H u n t . C o p i e s seen: D-Municb, Inc. S.a.879". NM,

6

L a c k s gathering TT .

SB,

20

D-Nuremberg,

Inc. 2° 104047. L a c k s (i, 12)77 6 and f. q2. F -

Paris, B N , Res. vel. 137. M a n u s c r i p t roman chant on red 4-line staff. Crucifixion illumination and large initials in gold and colors, border on f. [ a i ] with arms and initials G . T . ; medium initials in red and blue, flourished.

Binding:

blind-stamped

leather

Bibliography: Lamberto Donati, "Sull'unico libro illustrato di Andrea Paltasichis da Cattaro: Missale Romanum M.CCCC.LXXXV.iij.idus February," Archivio storico per la Dalmatia 9 (1934): 2 I O - 3 i .

over

C o p i e s : B R - R i o de Janeiro, B N ; G B - L o n d o n , B L ;

wood, 2 clasps (missing) and bosses. U S - C A - S d n

I - B o l o g n a , B U ; Florence, B N ; Ricc; U S - C A - S a n

L a c k s sheet D 4 . 5 . D e c o r a t i o n :

Marino, Hunt;

Crucifixion and major initials in gold and colors, mi-

seen: l-Bologna,

Marino, Hunt,

92564.

LI-Lithuania-Vilnius, BU,

A.V.KK.

KJ.

Vili. 10

nor initials in red and blue. Size: 340 X 2 3 5 mm.

566). R e p o r t e d lost, i O c t . 1 9 4 7 . GB-London,

Binding: blind-stamped calf over wooden

21903.

boards

with beveled edges, clasps and bosses missing.

72. M i s s a l e Romanum. Venice: A n d r e a Paltasichi, 11 I I 1 4 8 5 / 1 4 8 6 . H 11387*; BMC V:3y3; Goff M 698; IGI 6616; Essling 27; Pellechet 8085; Sander 4741; W 896; M-B I36 Incipit, f . ai, red: Incipit ordo mijjalis J m cun | uetudine romane curie. Dni | ca prima de aduentu: Statio | ad Janctam Mariam maio- | rem. Ad mijjam Introitus. Explicit, f . cc8v, red: Explicit mijjale J m ordine | Jacte Romane ecclejle Jüma | cum diligentia venetijs impj | Jum per magijtrum andream | quödam Iacobi de chataro | apud Janctam Mariam for | mojam. Sub anno domini | M.cccc.lxxxv. iij. idus febru | arij Ad laudem dei totiuscß | curie triumphantis. | black: D E O G R A T I A S | Amen. Collation: 8°. 776 a—z8 x 8 g 8 ]/ aa—cc8 [i, 2, 3, 4] = 2 4 6 ff. 35 11. 2 col. State 1: last two leaves blank (GB-London, BL). State 2: last two leaves contain a printed table of movable feasts ( U S CA-San Marino, Hunt). Illustration: woodcut Crucifixion, f. n7v. Music: printed staves. Music pages: g 8 - h i , k3 v -k4, k5, k7v—14, m3~m4 v , m7-n6 v , n7, 01—2 = 40 pp. Staves: 9 red 4-line (occasionally 3-line, once 5-line) staves per col. Since on some leaves nearly every line of black text is partially printed in red, the type for red and for black text must have been set in one form. Pages with staves, including one with an additional fifth line that is printed right through text (f. m8 v ), would have been set in a separate form and printed in a 232

separate impression before the text; red initials and rubrics were then printed from a second form, and finally the black text of the music was printed from that second form with the aid of poorly cut friskets.

Music

Books and Their

Locations

Copies (Gaspari BL,

IA

L a c k s f. 7Ti, most o f f. 772, the inner sheet

o f the last gathering, and the last 2 leaves. Size: 1 7 5 X 1 1 7 mm. Provenance, f. a i

(crossed

out):

Monasterii Ste. M a . [ ? ] . F r o m the library of D r . J . W i c k h a m L e g g . Binding: half leather over wooden boards, restored at spine; 2 clasps. I-Florence,

BN,

Landau Finaly Inc. 76. L a c k s first and last leaf o f final gathering. L a c k s f. n7 (Crucifixion). Contains manuscript plainchant for Benedictio Cerei on ff. k7v—14. D e c o r a t i o n : border and major initials in gold and colors,

minor

initials

in

blue.

Size:

174 X

119 mm. Provenance, f. 771: Bibl | G V S T . C . | GALLETTI

I FLOR.

Binding:

brown

stamped in gold, marbled endpapers. Marino, Hunt,

101189.

morocco

US-CA-&m

Size: 1 7 2 X 1 1 5 mm. Prove-

nance, last gathering, f. cc8 v : H i e liber est mei | francisci Rose. L a s t gathering, f. [8] v : 1 5 2 5 . . . dal bte Siane copra quisto misali da znbatista da uale costo L i . 0 . 0 . B o o k p l a t e : G e o r g e D u n n of W o o l l e y H a l l near M a i d e n h e a d . Binding: recent brown m o r o c c o .

73. M i s s a l e Romanum. Venice: [ S i m o n e G a b i , called Bevilaqua, f o r ] Paganino Paganini, 27 I V 1487. S e e Fig. 42a. C 4200; Kruitwagen 298; Sander 4744; W 899 Incipit, f . bi, red: Incipit ordo mijjalis Jecundum | conjuetudinem romane curie. | Dominica prima de aduètu. Sta | tio ad Janctam mariam maiorem. I A d mijjam. Introitus. | Explicit, f . red: Explicit mijjale Jecundü more ro | mäe eccl'ie: Jüma cü diligétia T fide | li Jtudio purgatü ab his errorib 9 : | gb 9 uel ignorätia vel Icuria librario | rü adducis [iic] cömüis abuj 9 Tualuit. | Quocirca . . . Ad laude | olpotétis dei T JclJJime vgls mrls I ei 9 : totiuJq3 curie celejtis. ImpreJ | Jü uenetijj arte T IpéJiJ. Pagalni de | pagäinis brix. | Jub In-

clyto D u - | ce. Augujtino barbadico. v. Kl' Maij. M cccc. Lxxxvij. Amen. Collation: 2°. a 6 b—h8 i—m6 n8 o 6 p—z I s 9 s V = 196 ff. 39 11. 2 col. Illustration: woodcut Crucifixion, f. 115". Music: printed notes and staves. Music pages: ¿ - • v - v i v t v i v V g5~g"> H > »5» ki-k4 , 14-mi, m2-m3 , m5v—n5, n6—wf = yj pp. Staves: 10 red 4-line staves per col., 226 X 1 5 5 (73) mm. Music type: R7. Bibliography: B. Kruitwagen, Museum Meermanno Westreenianum, Catalogus van de Incunabelen 2 vols. (The Hague: Algemeene Landsdrukkerij, 1 9 1 1 — 1 9 2 0 ) , 1: no. 298. N o t e : the printing of the edition can now be attributed to Bevilaqua from the text and music types; they were reused in a nearly identical reprint by Bevilaqua for Paganini in 1499 ( D 1 1 3 ; to compare f. n4" of the two editions see Part II, Fig. 42 a-b). Kruitwagen earlier had proposed that Paganini was the publisher and some other Venetian the printer of the work. Copies: NL-The Hague, M W . Photocopies of the music leaves, letter from librarian Rudolf E. O. Ekkart. The copy is complete; the leaves at the end of the book are misbound. With two manuscript gatherings: a canon without music of 8 vellum leaves bound after f. n7, and manuscript prayers on paper at end. 74. Missale Romanum. Edited by Philippus de Rotingo. Venice: Nikolaus von Frankfurt, 1487. H 11389*; P 4803; BMC V:333; Goff M701; IDL 3248; Essling 30; Martimort 12; Polain 2732; Sander 4745; W 900; M-B 137 Incipit, f . a 1 (j), red: Incipit ordo mijjalis J m conjuetudine romane curie.| Explicit, f . 10, 11, red: ImpreJJu venetijs arte et im | penjis Nicholai de Franck- | fordia. Anno domini.M. | cccc.lxxxvij. | black: D e o gratias. Collation: 8°. 778 27T4 a-y 8 1—9s i o 1 2 = 2 7 2 ff., the last blank, numbered [ 1 2 ] i—259, ( 1 ) . 33 11. 2 col. Illustration: woodcut Crucifixion, f. p3". Music: printed staves. That the staves were printed from single pieces of metal is apparent from the compositor's error on f. p6 v where, following the last line of music and text, an additional red line was printed above a line of text

printed in red. Music pages: 117—8, 14'"", 15", 18V—m6, n^—n7, 02—p3, p 5 ~ p 6 v = 4 7 pp. Staves: 8 red 4-line staves per col., 1 1 1 - 1 2 X 7 9 . 5 ( 3 8 ) mm. Copies: D-Berlin, S P K ; Munich, SB; GB-London, BL; H-Budapest, Acad (Sajó-Soltész 2304); N L The Hague, KB; Utrecht, U B ; S-Stockholm, KB; US-CA-San Marino, Hunt; MD-Baltimore, Walt; TX-Galveston, Rosenberg; Houston, U L ; U S S R Moscow, Len. Copies seen: GB-London, BL, I A 22043. Decoration: woodcut watercolored Crucifixion, major initials blue. Size: 170 X 1 1 3 mm. Provenance, f. 771: Carthusiae | In Buxheim; f. 77" i v , stamp: BIBL. B U X H E I M ; back flyleaf, the names of two Augsburg Jesuits, Wendalinus Volckius and Gregorius Rosephius, 1 5 7 1 . Binding: tóth-century leather stamped and monogrammed C H , two clasps. U S - C A - Ä m Marino, Hunt, ionpo. Lacks f. 10, 12 (black). Manuscript music in both black and white roman plainchant. Decoration: initials in blue. Provenance, f. 10, 10 (258): Al mio carisimo fratelo fra signore da [cut]. Binding: half vellum. 7 5 . Missale Romanum. Milan: Antonio Zarotto, 1 V 1488. R 1 2 7 7 ; CIBNM458; Ganda 149; Pellecbet 8087 (8017); W 902; M-B 138 Incipit, f . ai, red: Incipit ordo mijjalis Jecundü con j Juetudinem romane curie. | Dnica | prima de aduétu. Statio ad Janctä | Mariam maiorem. Introitus. I Explicit, f . zio, black: Antoni patria parmenjis gente zarote | Primus mijjales imprimis arte libros | N e m o repertorem nimiü Je iactet: in arte | Addere plus tantum q3 pegijje ualet. I Mediolani. M.cccc.lxxxviii. | Calendis Maii. Collation: 2 0 . 7T8 a - g 8 h - k 6 1 - y 8 z ' ° = 188 ff. 41 11. 2 col. Illustration: woodcut Crucifixion, f. mi", woodcut initials. Music: printed notes and staves. Music pages: Ì2V— i6 v , 13"—18, m3~ 1114 = 22 pp. Staves: 8 red 4line staves per col., 2 0 7 - 2 0 X 1 5 2 ( 7 1 - 7 2 ) mm. Music type: A 3 . Copies: F-Paris, B N ; GB-London, BL. Copies seen: F-Paris, BN, Rés. B874. Decoration: major initials gold, edged in black. Size: 321 X 227 mm. Provenance: Abbé Joseph-Jean Rive. Binding: red morocco stamped in gold. GB-London, BL, IB 26052. Not in BMC. Lacks ff. 7T i (blank), mi, m2. Decoration: major initials in gold and colors. Provenance, Bibliography of Italian Music Incunabula

233

calendar: Nov. Idibus, Consecratio ecc. Jcti ant [cut]. Binding: half calf. 7 6 . * Missale Romanum. Milan: Leonard Pachel, V 1488.

IGI 6618; W 903 Incipit (IGI), f . 9: Incipit o r d o missalis J m | cósuetudinè romane curie. | D n i c a prima de aduètu. Explicit (IGI),/. 245*: Missal compietti f m cósue | tudinem r o m a n e curie sum | ma cum diligentia. M e d i o - | lani I m p r e s s u m opificio J I | dustria Leonardi pachel de | Allamania. A n n o domini. | M.cccc.Lxxxviij. D e men | se M a i j | S u b ill'o duce I o h a n n e | Galeazio M a r i a Sfortia U i | cecomite. Collation ( I G I ) : 8°. 7r 8 a - m 8 n 6 A - R 8 = 2 4 6 ff. 35 11. 2 col. Music: ? N o t e : the unique copy (I-Milan, A m b r , 521) described in I G I is now lost. 7 7 . Missale Romanum. Venice: Johann H a m man, 1 5 X 1 4 8 8 . H 11392*; IGI 6619; CIBNM459; Essling 31; Pellechet 8088 (8018); Sander 4746; W 904; M-B 139 Incipit, / . ai, red: Incipit o r d o mijjalis J m | 9Juetudinè R o m a n e cu- | rie. Explicit, / . Oj red: Accipite optimi Jacerdotes MiJJale iuxta | m o r e m R o m a n e ecclejie expletum : Ioànis | hàmani de Landoia mira arte imprejjum: | in florentijjima ciuitate U e n e t i a r u : | A u g u j t i - | ni Barbadici inclyti principis t e m p e j t a t e : | A n n o incarnationis dominice Millejimo | q u a d r i n g e t e j i m o octua g e j i m o o c t a u o : Idi- | bus O c t o b r i s . | black: LAUS DEO. 11 • o 8 rS 6 L i o • 8 6 10 8 6 Collation: 2 . 7T a—r g h i - m n o p - q l r—v x—y A—N O —296 ff. 31—32 11. 2 col. Illustration: woodcut Crucifixion, f. [ l ] i v , and woodcut Resurrection. M u s i c : printed notes and staves. M u s i c pages: i6v— Ì7V, m6 r _ v , m8, n 3 ~ o i v , o9v—P5, p6, p8 v —li, L3V—L5 = 47 pp. Staves: 8 red 4 - l i n e staves per col., 237 X 162 (75.5) m m . M u s i c type: R9. Copies: A-Vienna, N B (vellum); D-Munich, SB; FParis, BN 2 (one vellum); Rheims, A; GBManchester, JRL (vellum) (Dibdin 6:192—93, 1187, Manchester copy. W . H . James Weale, Historical Music Loan Exhibition, Albert Hall, London, June-Octo-

234

Music Books and Their Locations

ber 1885, London: Quaritch, 1886, p. 67; provenance, immediately below the colophon: Lucas Antonius de Zonta, librarius, Petrus Bensonus, librarius, Dederunt pro elemosina; Althorp); I-Florence, Ricc; Parma, Pal; San Gimignano, BC; Siena, BC. Copies seen: A-Vienna, NB, Ink• 30.62. Lacks f. O6 and one leaf in first gathering. Decoration: gold and colors for borders, major initials; blue minor initials; yellow rubrication. Manuscript prayers to Mark the Evangelist, f. Binding: gold-stamped green leather, marbled endpapers. D-Munich, SB, 20 Inc. c.a.2oyg. Decoration: Crucifixion in watercolors and gold, major initials in red and blue, minor initials in red or blue. Provenance, f. 7Ti: 30 ff. at back with Franciscan feasts, prayers, and sequences. Binding: black blind-stamped leather over boards, missing 10 bosses and 2 clasps. F-Paris, BN, Vél. 134. Lacks ff.Li (Crucifixion) and O6 (blank). Unsigned ff. p2, P3, q3, r i . Decoration: f. a i , architectural border with coat of arms; historiated major initials in gold and colors, minor initials in blue. Size: 340 X 238 mm. Binding: vellum over cardboard, floral end papers. 1-Parma, Pal, Inc. 181. Lacks ff. 7Ti, a i , Li (Crucifixion), O6. Eleven manuscript leaves at front with additional sequences and a collect for Erasmus. Decoration: major initials in gold and colors, minor initials in blue. Binding: gold-stamped leather over cardboard, edged in red. Siena, BC, MII.31. Lacks two leaves of signature l . Decoration: major initials in gold and colors, minor initials in blue, yellow rubrication. Size: 326 X 240 mm. Provenance, cover: S. Ansano; flyleaf: Salla Comp 3 di S.Ansano; manuscript prayers on f. 0 6 r _ v for S. Ansano. Binding: leather over boards.

78. Missale

Romanum.

[Rome:

Stephan

Planck], 2 2 X I I 1 4 8 8 . H 11391*; CIBN M460; Graesse 4:258; Panzer 2:494, 427> Pellechet 8089 (8019); Sander 4747; W 905; M-B 140 Incipit,/, [ai], red: Incipit o r d o mijjalis Jecun- | d u m c o n j u e t u d i n é r o m a n e cu- | rie. Dominica prima de aduen | tu- Statio ad Janctaß mariam | maioré- A d mijja3" Introitus. Explicit,/. [H2V]: (^Explicit mijfale Jecundü mo | rem romane eccelejie. ImpreJJu3 | A n n o dni Millejimo quadrin 1 g e n t e j i m o o c t u a g e j i m o octauo | D i e vero. xxij. m e n j i s Decébris. | Laus deo. Collation: 4 0 . [ t t 8 a - z 8 A - G 8 H 4 ] = 2 5 2 ff. 33 11. 2 col.

Illustration: Crucifixion, f. [p3 v }. Music: printed notes and staves. Music pages: [h5-h6 v , l i r v , l2v—13, 1 5 - 0 1 4 , n3-n4 v , n5v, n8—p3, P5—P7] = 55 pp. Staves: 5 red 5-line staves per col.; 133—38 X 108—9 (52) mm. Music type: R i . Copies: D-Munich, SB; F-Paris, B N (vellum); Vatican City, BV. Copies seen: D-Munich, SB, 40 Inc. c.a.591. Lacks sheets in 77 and [Hi.4}. Size: 213 X 155 mm. Decoration: watercolored Crucifixion, border and major initials in gold and colors, minor initials in blue. Binding: blind-stamped leather over boards, restored at spine, 2 clasps missing. F-Paris, BN, Vél. 1466. Vellum. Decoration: none. Size: 210 X 146 mm. Binding: gold-stamped green morocco (DEROME le Jeune, 1785) (see Van Praet 1:85, 91). Vatican City, BV, Inc. IV.10. Lacks f. [P3] (Crucifixion). Gathering [n] misbound as 5, 3, 2, 1, 8, 4, 7, 6. Size: 214 X 151 mm. Provenance, f. [qi]: frate rimondo; f. 7T2: donauit libri presentem. Anno 1550. Binding: vellum, leather labels. 79. Missale Romanum. Venice: Battista Torti, 29 X 1489. See Figs. 44, 45. H 11393; BMC V.326; Goff M7o2; IGI 6620; Essling 32; LD 310; Sander 4748; W 907; M-B 141 Incipit, /. bi, red: Incipit ordo mijjalis Jecun | dum 9Juetudinem romane cu | rie. Explicit, /. E j y : Uenetijs g baptijta de | tortis. Mcccclxxxix. I die .xxix. octobris. Collation: 4 0 . a6 b—m8 n4 o—z8 78 9 s y A—D8 E 6 = 2 4 o fi.; m2 unsigned. 33 11. 2 col. Illustration: woodcut Crucifixion, f. p8v. (Essling, Crucifixion II bis, reused from Missale of Scoto, 29 X I I 1 4 8 1 , D 55.) Music: printed notes and staves. Music pages: Ì5—i6, l8r v, mi", m4v—m8v, 03"—05", 08—p8, q2—q3~39 pp. Staves: 8 red 4-line staves per col. Music type: R 1 2 . Copies: GB-London, BL; I-Brescia, BC; Milan, BN 2 ; US-MD-Baltimore, Walt. Copies seen: GBLondon, BL, IA 21400. Size: 209 X 152 mm. I-Brescia, BC, F VII.3. Lacks f. p8. Decoration: major initials in blue and red and flourished, minor initials in blue, yellow rubrication. Provenance, front flyleaf: Conventus Sancti Dominici de Brixia ordinis Predicatorum; flyleaf verso: Fratis Petri Martiris de Ciuitate Jienne. Binding: blind-stamped black leather with bosses and clasps. Milan, BN, AMXVI-36. Decoration: initials in blue, rubricated

in yellow. BG Inc. 33. Decoration: major initials in red and blue, watercolored Crucifixion. Provenance, bookplate: Charles Louis de Bourbon no. 436 (see Livres de liturgie, p. 79, no. 160). Binding: blind-stamped Russian leather, recent. 80. Missale Romanum. Venice: Cristoforo de Pensi, 3 1 X 1489. See Fig. 46. R 1580; IGI 6621; Sander 4749; W 908 Incipit,/, ai, red: Incipit ordo mijjalis Jecu | du3 9Juetudinè romane cu | rie. Dnica prima de aduè- I tu. Explicit, /. F4: ImpreJJu Uenetiis g chri- I Jtophalum [sic] de penjis anno. | M.CCCC.lxxxix. I Die primo Kal\ | Nouembris. La? olpote I ti. Deo. | Ame. r. 11 • o _6 8 16 • 18 6 8 6 8 _8 8 Collation: 4 . 7T a—g h 1—1 m n p q - z T 9 y A—E8 F 4 = 244 ff.; numbered i—1 (or 50), then unnumbered; the preliminary signature bound at the end in Ferrara copy, BC. 32 11. 2 col. Illustration: woodcut Crucifixion, f. p6v. Music: printed notes and staves. Music pages: Ì1-Ì2,15—16,17 [staves only], m2-6, n 8 - o i v , o2 v , 05—p6, q 2 - q 3 = 4 3 pp. Staves: 8 red 4-line staves per col, 168 X 127 (62) mm. Music type: RI3.

Copies: I-Ferrara, BC; Modena, Est (Fava, provenance: "Istud Missale erat sororis Illuminate de Carzicula bened. (XVI)"); Trieste, BC; Venice, Cini. Copies seen: l-Ferrara, BC, S.6.3.4. Decoration: border and coat of arms on f. ai, initials in blue. Size: 241 X 176 mm. Provenance, f. F4V: Questo messale sia delle fermaria g utile di tutte le anime nostre però si guardi ognuna di rubarlo; { . t r i : messale della fermaria. Binding: blind-stamped leather over paper boards (restored) with bosses and clasps. Venice, Cini, 726. Size: 233 X 172 mm. Provenanace, f. F4": [?] di asulano 1560; front pastedown: Tammaro De Marinis. Binding: recent vellum. 8 1 . Missale Romanum. Venice: Teodoro Ragazzoni, 15 X I I 1489. See Fig. 47. C 4202 (289 ff.); IGI 6622; Essling 33 (a6 b~zS 9 V = 198 ff.); Sander 4750; W 909(295 ff.) Incipit, f. bi, red: Incipit ordo mijjalis J m conjuetudinem romane curie. Domini | ca prima de aduentu. Explicit,/. 1^7v (clxxxix"), red: Explicit mijjale J m more3 roma | ne ecclejie: Jumma cum diligen- I tia 7 fideli Jtudio purgatum. Im | prejjumq3 venetijs per theodov | de ragazonibus

Bibliography of Italian Music Incunabula

235

de ajula. A n n o | domini. Mcccclxxxix.die.xv.me | Jis decembris. /— Il o 6 l l8 • 6 8 6 8 _8 8 Collation: 2 . a b—h 1—m n o p—z 7 9 V = 196 ff. 4 0 II. 2 col. Illustration:

woodcut

Crucifixion,

n5 v .

f.

(Essling, Crucifixion II, reused f r o m Missale

of

S c o t o , 31 V i l i 1482, D 6 0 . ) M u s i cS: printed staves. M V u s i c Vpages: • V • V 1notes V Iand V SV g 5 - g ò , 14 , 15 , k - 4 , 1 4 - m i , m 2 - 3 , 1115 - m ò , [ n i ? ] , n2—n^, n 6 v - n 7 v = 3 5 ( + 1?) pp. Staves: 10 red 4 - l i n e staves per col., 2 4 3 X 163 ( 7 5 ) mm. M u s i c type: R 1 4 . Copies: I-Belluno, BC; Florence, B N ; Viterbo, Cap. Copies seen: l-Florence, BN, C.5.24. Lacks f. n i . Size: 332 X 208 mm. Provenance, front flyleaf: Monte Oliveto N o . 87IS. Binding: recent vellum. 82. Missale Romanum. Venice: Cristoforo de

Missale H 11361?; 4754?

[ca-

Romanum.

[Basel?

Goff My([n.p.: I

49°> Italy?];

ca.

1490.]

n.pr., n.d.]); W

Sander

840*?

F. ir: Registrü in libri/ missaru3 | Jpecialiü de tge et de Janctß. | p äni circl'm. 7 primo d'. A iiii-x,

calendar;

ff.

incipit, f . ai, I: [ A ] D te leuaui | Fyv

anima m e | am de9 m e | us in te c ö - | fido /

ends: g l o - | ria Jemper reJul tat. / F8, blank; f . aai, red: E x o r c i j m u s Jalis dieb^ d o | minicis. Ends: g e nuit incarnatuß. Per e u n d e m d o m i n ü nojtrü 7c. Collation: 2 0 . (i, ii, iii, iiii, v) 1 0 a—i8 k 6 l 8 X

H

m—z8

A 8 B - C 6 D 8 E 6 F 8 aa—bb 6 =2Óo ff., numbered [10] I - L X X X V [15] L X X X V I - C C X X I [13]. 26—28, 14 11. 2 col. Illustration: w o o d c u t Crucifixion, f. X ^ • M u s i c : space for music. N o t e : in his description o f the copy at U S - N e w

Pensi, 13 I X 1490. See Fig. 46.

Y o r k , U T S e m , G o f f cites W

H

11394;

4 7 5 4 ? , and H 1 1 3 6 1 ? (all 2 4 4 ff., 8°) despite the

W

913

IGI

6623;

Essling

34; Sander

4751;

8 4 0 * ? , Sander

difference in format and number o f leaves. M y Jm

date was assigned f r o m Sander, although the

9Juetudi I né romàe curie. D n i c a prima de ad |

lack o f printed staves s u g g e s t s a date closer to

uètu Explicit,

f . tp, red: Explicit mijjale J 3 more

1480. Several factors point to a northern rather

romane e c | clejie: Juma cù diligentia 7 fideli Jtu-

than Italian place o f publication: for example,

| dio purgatu3 ab his errorib^: cjbus | uel ig-

the gothic textura type, the dedication o f the

noratia uel Tcuria librario^ ad | ductis comunis

cathedral o f Basel in the printed calendar, and

abuj9

the c h a n g e to a large typesize for the C a n o n o f

Incipit,

f . bi,

red:

iualuit.

Incipit

Quo

|

ordo

circa

mijjalis

cjcuq3

legerit:

o b j e c r a t ù uelim | ne adhibeat rnanQ pcipité ad

the M a s s .

corri- I géda uel poti^ corrupèda libri recti |

Copies: U S - N Y - N e w York, U T S e m . Copies seen: U S - N Y - A W York, UTSem, UL 55 B, 14—.

tudiné m a g n o parta labore: J3 multi | plicato /incero

examine:

poJtmodu3

exequat'

cjcqd

recta ratio: 7 Jpus ue- | ritatis IgeJJerit. A d laude o l p o t è t i s | dei 7 JclJJme jpgls mris ei^: toti^ q3 | curie celejtis. ImpJ|u3 uenetiis ar | te 7 Tpéjis

83. Missale

Romanum.

C 4185 ([Venice]); ca. 1490);

| co [ne] Mille/imo

| nonagejimo: v

L A U S D E O . / tio :

quadrin-

Idus Septembris.

|

and

Goff My 04 (ca. 1488;

Essling

Bresciano

(ca. 1484);

Regijtrum.

Christian

Fig. 65.

Chrijtofori d' pé Jis d' ma | delo: Jub Iclyto duce babadi

[Naples:

Preller for Antoine Gontier? ca. 1490.] See

Augu.

gentejimo

26 (probably 174;

M-B

Sander

Suppl.,

Venetian); 4753;

Fava W

887

130

Collation: 2 0 . a—s 8 1 10 — 154 ff. 4 4 11. 2 col.

Incipit, f . ai,

M u s i c : printed notes and staves. M u s i c pages:

9Juetudine3 R o m a n e curie. | D o m i n i c a prima de

f)V— f6, hi—2, 113"—6, i 1v—14", i6—k2, k3—4V =

aduètu. I Explicit, f . L8, red: Laus deo. | [printer's

red: Incipit o r d o mijjalis Jcd'm |

3 0 pp. Staves: 10 red 4-line staves per col.,

mark, A G ? ] .

2 3 4 X 157 (74—76) mm. M u s i c type: R 1 3 .

Collation (Sander): 2 0 . TT6 a - f 8 g 6 h - i 8 k - n 1 0

Copies:

0 - r 8 A - L 8 = 2 3 6 ff. 3 8 11. 2 col.

CS-Olomouc,

SB;

I-Genoa,

Franzon;

Rome, Cas; Trent, Sem. Copies seen: l-Rome,

Cas.

Illustration: w o o d c u t Crucifixion,

Deposition,

Inc. 1965. Lacks ff. k2 (Crucifixion?) and t i o . Prove-

and Resurrection.

nance, on vellum leaf at front: Oratio Sancti Zenobij

M u s i c : printed n o t e s and staves. M u s i c pages

. . . qui In fiorentina requie feri ecclesia. Size: 312 X 215 mm. Binding: paper over paper boards, gold-stamped leather spine.

236

—

Music Books and Their Locations

(from microfilm): v

hi-2,

k4,

v

k6,

kyv—11, I9,

m3 —ni, n 3 ~ n 4 = 3 3 pp. Staves: 9 red 4-line staves per col. M u s i c type: R 3 3 .

Note: Fava and Bresciano (2:149) attribute the work to Preller because the printer's mark appears in two books printed in Naples (21 V 1490, Landino, Epistole; 1490, Officium B M V , Preller) and because the alphabetic type is no. 1 of Preller. The letters A G probably refer to the publisher ( H 540, Albertus Magnus) and sometime associate of Preller, Antoine Gontier (Fava and Bresciano, 1:104). Copies: US-MA-Cambridge, HCL. Copies seen: US-MA-Cdmbndge, HCL. Microfilm. Provenance, endpapers: qjto mejale e del I^(mo[?].

84. Missale Romanum. [Venice: Bernardino Benali? for Luca Antonio Giunta, ca. 1490.] See Figs. 2 5 , 4 1 . C 4183 ([Giunta, ca. 1496]); P 5689; BMC V:jpi; Essling 36; Oates 2228 (s.t., s.a.); Sander 4752 ([Venice, ca. 1490]); W 912 ([Venice: Giunta]); M-B 142 Incipit, f . b 1, red: Incipit ordo mijjalis Jecun- | dum 9Juetudinem romane curie. Explicit, f . D4, red: Explicit mijjale Jcd'3 curia.ro. | MiJJe noue y marie 7 alijs J c l J | black: MiJJa 9cepti5is . . . MiJJa .xi milia virginu I fine mijale. Collation: 40. a6 b-n 8 o6 p-z 8 I s 9 8 v8 A - C 8 D 4 = 2 3 2 ff. 35 11. 2 col. Illustration: woodcut Crucifixion, f. 05". B M C : " T h e canon cut is identical with that found in De Tortis' 1489 edition (IA. 21400), from which the present book was probably reprinted with the addition of the Missa in honorem xi milia virginum on 232 a." Music: printed notes and staves. Music pages: ii—Ì2, l3v—14, I5, lyv—m^v, n2-n4, nó-o^, p i - p 2 = 38 pp. Staves: 9 red 4-line staves per col., 156 X 1 1 5 (54-5-55.5) mm. Music type: R6. Note: because the music type is R6 (1484— 1485) of Bernardino Benali, he is suggested as the printer, leaving Giunta the role of publisher. Copies: GB-Cambridge, UL; London, BL. Copies seen: GB -Cambridge, UL, SSS 60.9. Size: 217 X 156 mm. Binding: blind-stamped leather over boards (rebacked), 2 clasps, bosses missing. London, BL, IA. 25100. Size: 212 X 156 mm. Binding: blindstamped leather over boards, rebacked, with bosses and clasp.

—

Missale Romanum. Venice: Giovanni Battista Sessa, [ca. 1 4 9 0 ] . W 914; M-B i43 Note: apparently equal to M-B 160 and M-B (D 112).

85. Missale

Romanum.

Venice:

Rinaldo

161 de

Novimagio, 10 I V 1 4 9 1 . C 4203 (8, 224 = 232if.); 1G1 6624 (2°); CIBN M462; Essling 37 (6, 222 = 228 ff., a6 b-p" q6 r-z8 78 98 V8 A - C 8 ) ; Pellechet 8091 (8021); LD 312; Sander 4756; W 915 (6, 223; 1 = 230 ff); M-B144 Incipit, f . bi, red: Incipit ordo mijjalis J 3 co- | Juetudinè romane curie. Explicit, f . C5: Uenetijs per Reynaldum de | Nouimagio tentonicum [sic]. I Mcccclxxxxj. die .x. Aprilis. Collation: 40. a6 b—z8 78 9 s 1/ A - C 8 = 230 ff.; numbered [6] 1—220 [ i j with errors, music folios unnumbered [my—08]. 36 11. 2 col. Illustration: woodcut Crucifixion, f. 03 v . Music: printed notes and staves. Music pages: h8 r_v , liv—12, I3, 15"—mi", m8—niv, n4—03, 05—6 = 36 pp. Staves: 8 red 4-line staves per col., 1 4 7 - 5 2 X 1 1 0 - 1 2 ( 5 1 - 5 3 ) mm. Music type: R 1 5 . Copies: CH-Geneva, BU; F-Lille, BM; Paris, BN; I-Florence, BN; Turin, BN, Vatican City, BV. Copies seen: ¥-Paris, BN, Rés. B. 2677. Decoration: initials in red and blue, rubricated in red; watercolored Crucifixion. Provenance: Carlos Antonio de la Serna Santander. Binding: stamped calf over wood, marbled endpapers. l-Florence, BN, P. 4.9. Lacks f. 03. Decoration: major initials in gold and colors, minor initials in blue. Size: 212 X 157 mm. Provenance, on vellum leaf added at end of first gathering: SM Novella | No. 46 (pencil). Binding: blindstamped leather, modern. 86. Missale Romanum. Pavia: Francesco Girardengo &C Giovanni Antonio Beretta, 6 V I 1 4 9 1 . See Fig. 2 1 . H 11396;

C 4204;

P 7077;

BMC

VII: 1005;

IGI 6625; LD 313; Sander 4757; W 916;

M-B

Incipit, f . ai, red: Incipit ordo mijjalis Jm | 9Juetudiné romane curie. | Dnica pria d' aduétu: Explicit,/. dd9, red: Papié per Ioanem an- | toniu3 birreta Francijcu- | q3 gyrardenghum. Anno | 1 4 9 1 . die.6.Junij. | [printer's mark, red, I A B ] . fCollation: 11 _ 8 27T 4 a—z8 78 9 8V 8 aa—cc8 800. 7 T Bibliography of Italian Music Incunabula

237

d d 1 0 = 2 5 4 ff-> numbered [ 1 2 ] i—24Ì [ 1 ] . 39 11. 2 col. Illustration: woodcut Crucifixion, f. 05. Music: printed staves. Music pages: 113—114, IC7—lc9, li, I3—liov, my—niv, n4v—04', v o6 —08 = 45 PP- Staves: 9 red 4-line staves per col.; 129 X 76 ( 3 6 - 3 7 ) mm. Copies: GB-London, BL; I-Milan, B N ; Pesaro, Oliv; Ravenna, BC. Copies seen: GB-London, BL, IA. 31415. Lacks f. ddio (blank). Size: 176 X 1 1 0 mm. Binding: blue morocco, stamped in gold. IMilan, BN, Gerii Inc. 53. Size: 177 X 1 1 6 mm. Provenance, f. 7Ti: Carthusia In Buxheim; Duke of Parma (Livres de liturgie 163, reproduction of woodcut Crucifixion). Binding: blind-stamped leather over wooden boards, with 2 clasps. 87. Missale Romanum. Venice: Johann Hamman, 13 V I I 1 4 9 1 . H 11397; IGI 6626; Essling 38; Pellechet 8092; Sander 4758; W pi7 Incipit, f . ai, red: Incipit ordo mijjalis j?m co | Juetudinem Romane curie. Explicit, f . F5v, red: Accipite optimi Jacerdotes MiJJale iuxta mo- I rem Romane ecclejie expletum : Ioannis hàma- | ni de Landoia mira arte imprejju3: in florentijji- | ma ciuitate Uenetiaru Augujtini Barbadici in- | clyti principis tempejtate : Anno incarnationis | dominice Millejimo quadringéteJimo nonage- | Jimo primo: Idibus Augujti. | black: L A V S D E O . | [printer's mark, I H ] , Collation: 2°. 7r 6 a - y 8 z6 j 6 9 A - E 8 F 6 = 2 4 8 ff., numbered [ó] I - C C X L I [ 1 ] with errors; h4 signed in a different type and 0 1 , 02, and 04 unsigned (all music pages). 34 11. 2 col. Illustration: woodcut Crucifixion, f. o4 v . Music: printed notes and staves. Music pages: h3 v -h4, k7r~v, I3-I7, m5 v -n3, ^ - 0 4 , o6-7 v = 45 pp. Staves: 9 red 4-line staves per col., 268.5 X 1 6 8 - 7 4 (75—83) mm. Music type: R9. Copies: I-Milan, B N ; Padua, Cap (vellum); Venice, B N . Copies seen: l-Milan, BN, AK-XIV-13. First signature lacks 1 leaf, f. e4 mis-signed C4. Decoration: major initials in colors, minor initials in red and blue and flourished, watercolored Crucifixion. Size: 345 X 230 mm. Provenance, f. 77" 1: impressed seal of the Bibliotheca Mediolanensis Imperialis Regia. Binding: red morocco with gold frame. Padua, Cap, 260. Vellum. Final gathering of eight leaves with three blanks; first gathering has a "tabula" inserted after f. 7t6. The Mass for St. Daniel added on f. F6.

238

Music Books and Their Locations

Decoration: commissioned miniatures by owner, Bishop Pietro Barozzi, in 1491 (for reproductions see Giuseppe Urbani de Gheltof, Gli artisti del Renosamente nel vescovado di Padova, Padua: Tip. del Seminario 1833, p. 20, and Padua catalog, Librorum XV sec. impressorum index, ed E. Govi, Padua: Tipographia Antoniana, 1958, plate between pp. 96-97 and 1 1 2 - 1 3 ) . Provenance: Bishop Pietro Barozzi, private library (Libro d' estimi, Vol. 70°; inventory at death from 1507); offered to canons of the cathedral at his death. Binding: red velvet with silver corners (see Antonio Barzon, "Saggi di rilegature di codici e incunaboli della Biblioteca Capitolare," in Libri e stampatori in Padova; miscellanea di studi storici in onore di mons. G. Bellini: tipografo, editore, libraio, ed. Antonio Barzon, Padua: Tipographia Antoniana, 1959, pp. 3 1 1 - 1 3 ) . See also A. Moschetti, "Il tesoro del Duomo di Padova," in Dedolo 6 (1925): 292; Rizieri Zanocco, "La biblioteca d'un grande nostro vescovo umanista (Pietro Barozzi, 1 4 4 1 - 1 5 0 7 ) , " in Bollettino diocesano di Padova 12 (1927): 442-52. Venice, BN, Inc. V 104. Lacks ff. 04, F3, F4, and F6. Gathering o signed o, oii, 03 in smaller type of type used for f. 114. Decoration: major initials in gold and colors, minor initials in blue. Size: 350 X 242 mm. Binding: brown paper over cardboard, leather spine. 88. Missale Romanum. Milan: Leonard Pachel, 4 V I I 1492. IGI 6627 Begins (Frutaz),f. di: ratum est a patre meo Explicit, f . xj v: Mediolani per Leonardum pachel | theuthonicum Jumma cum diligètia | 7 ftudio imprejjum. Anno diii.M. | cccc.lxxxxij.quarto nonas Iulias | [printer's mark, LP], f . x6: Regis trum. Collation (IGI): 2 0 . a—u x 6 = 1 7 2 ff. 43 11. 2 col. Music: printed notes and staves. Music pages: I13— li5 v , kiv—k2v + unsigned p a g e s = i 6 pp. Staves: 1 1 red 4-line staves per col. Music type: R27. Bibliography: Amato Pietro Frutaz, " D u e edizione rare del Missale Romanum pubblicate a Milano nel 1482 e nel 1 4 9 2 , " in Miscellanea Giulio Belvederi, Collezione "Amici delle Catacombe" 23, Vatican City: Società "Amici delle Catacombe," 1954, pp. 55—107. Includes plate of f. X5" with colophon. Copies: D-Berlin, SPK; Tubingen, U B ; I-Aosta, Sem. Copies seen: I-Aosta, Sem, microfilm of music pages. (Lacks gatherings a-c, ff. 76 and 77.)

89. Missale Romanum. Milan: Antonio Zarotto, 1 V I I I 1492. C 4206; Goff M705; 1GI 662.8; Ganda 179; Sander 4759; W 920; M-B147 Incipit, f . Ai, red: Incipit or do mijjalis Jecundu3 9Jue I tudine3 romane curie. Dominica pri | ma de aduètu. Explicit, f . 5p v : Antoni patria parmenjis géte zarote | Prim^ mijjales Tprimis arte libros I N e m o r e s t o r e nimiu Je iactet: in arte | Addere plus tatù qua pepijje ualet. | Mediolani. M.cccc.Lxxxxij. Calendis A u g u j t i . Collation: 2 0 . 7r 8 A - R 8 S 1 0 = 154 ff. 44 11. 2 col. Illustration: woodcut Crucifixion, f. I4V; woodcut Annunciation, f. A i . W o o d c u t initials. Music: printed notes and staves. Music pages: G4—G8, H6V—13, I 6 v = 2 2 pp. Staves: 8 or 9 red 4-line staves per col, 225.5 x I 57-5 (69—70) mm. Music type: R4. Copies: I-Parma, Pal; US-MA-Cambridge, HCL. Copies seen: I-Parma, Pal, Inc. MM 2.577. State: ff. C4—C5 on thinner paper. Size: 313 X 220 mm. Provenance, front paste-down: Bibliotheca Regia Parmensis; f. I5: Pascha anni 1583 die 10 aprilis. Binding: marbled paper, leather spine. 90. Missale Romanum. Brescia: Giacomo Britannico di Angelo Britannico, 1 I X 1492. H 11398; IGl 6629; CIBN M463; Pellechet 8093 (8023); Sander 4760; W 992; M-B149 Incipit, f . ai, red: Incipit ordo mijjalis Jcd'3 co \ Juetudiné romane curie. D o | minica pma de aduetu. Explicit,/. Q5, red: Explicit mijjale Jcd'm more3 | romane ecclejie: Jumma cum | diligentia 7 fideli Jtudio pur | gatu3- ImpreJJumq3 Brixie | per Angelu3 l Iacobum de | Britanicis fratres. A n n o dni | Mcccclxxxxij. die p° menjis | Septembris. | [printer's mark, A B]. Collation: 2 0 . A 8 a - f 8 g 6 h4 i6 k-1 8 m 6 n - 0 8 2 8 A - L 8 M 1 0 N - P 8 Q 6 = 2 3 8 ff. 37 11. 2 col. Illustration: woodcut Crucifixion, f. o8 v ; woodcut Last Judgment, f. A8 V ; woodcut initials. Music: printed notes and staves. Music pages: hiv—112, l i v - b , I3, 15V-18V, n 2 - n 4 v , n 6 - n 7 v , 0 2 - 0 8 , 2 A 2 - 2 A 3 = 3Ó pp. Staves: 9 red 4-line staves per col., 238 X 270 (79) mm. Music type: R32. Copies: D-Munich, SB; F-Paris, BN; I-Florence, BN. Copies seen: F-Pans, BN, Rés B.63. Lacks f. A i . Size: 335 X 321 mm. Provenance, f. A2: Bibliotheca Colbertina, E. 2943.2. Binding: red mo-

rocco stamped in gold. I-Florence, BN, P. 2.31. Lacks sheet A.8 and f. Q6. Decoration: watercolored Crucifixion. Size: 341 X 237 mm. Provenance, front flyleaf: Questo MeJJale e di Giovannj di Niccholo di G nl Sinij. Binding: blind-stamped leather over boards, 2 clasps missing. 91. Missale Romanum. [ T u r i n ? : Giacomino S u i g o & N . d e B e n e d i c t i ? ] , 11 I X 1492. H 11399= 11379?; p 7423> GoffM7o6 (Italy); Polain 2733 (Italy); Rhodes 1207; W 921 = 876*; M-B 148 (probably German) Incipit,/, ai, red: Incipit ordo mijjalis Je | cundum còjuetudinè roma- | ne curie. Dnica pma de ad | uentu. Statio ad Janctà ma | riam maiorem. A d mijjam. Explicit, f . K4, red: Explicit mijjale Jecundu | v j u m et conjuetudine roma | ne ecclejie cu Jumma dilige- | tia et fideli Jtudio purgatu3 I A n n o Jalutis Chrijtiane. | M . cccc.lxxxxii. die vero. xi. | menjis Septembris. | Laus deo. Collation: 8°. 7r 6 a—k8 mn 8 o—z8 I s A - I 8 K 4 = 266 ff. 35 11. 2 col. Illustration: woodcut Crucifixion, f. q5". Music: space for music. Music pages: Ì3-Ì4, 18—mm, mn2, mn4 v -mn8 v , 08—p2v, P5~q5, q 7 - q 8 = 4 i pp. Bibliography: Tullia Gasparrini Leporace, "Notizie e documenti inediti su Jacopo Suigo, tipografo del X V secolo," La Bibliofilia 49 (i947):4i-52.

N o t e : on the basis of watermarks, assigned to Suigo and Benedicti in the manuscript Sheppard Catalogue of the Bodleian Library, Oxford (signed T.F.S., 11 Sept. 1902). Rhodes (1207) cautioned: " T h e attribution of printer is very doubtful." Copies: B-Brussels, Boi; D-Munich, SB; GBOxford, UL; Worchester; P-Wroc/aw, Kap; USWashington, LC. Copies seen: GB-Oxford, UL, Auct. IQ.6.67. Lacks ff. a4~5 (Crucifixion) and others. Decoration: major capitals in gold and colors, minor capitals in blue. Size: 167 X 114 mm. Binding: blind-stamped leather (rebacked?), remains of 2 clasps. U S - Washington, LC, Vollbebr. Manuscript music added in roman and gothic plainchant. Decoration: initials and rubrication in red. Size: 149 X 107 mm. Provenance, German, from ms. names in the calendar. Binding: stamped pigskin over wooden boards with beveled edges, clasps missing. 92.* Missale Romanum. Rome: Stephan Planck, 1492. Bibliography of Italian Music Incunabula

239

Brunei 3 : 1 7 5 9 ; Graesse 4:549;

W 923* (240 ff.,

36 H.) Collation (Graesse) : 2 0 . 1 2 + ccxxviiff. 3 1 1 1 . 2 col. Note: Graesse: "Il en existe un ex. tiré sur vélin." Brunet: " U n exemplaire a été rapporté d'Italie en Angleterre par M . Payne, libraire." Copies: none known. 93. Missale Romanum. Venice: Johann Emerich

bastiani de Ianis P.; vellum leaf at back: Sige. Domenico Follazzi 1749/1751; front paste-down: Ex libris Iohannes Wickham Legg. 10 Aug. 1894. Binding: blind-stamped leather (restored), 2 clasps. IRome, Ang, Inc. 68. Lacks f. 17,3, Crucifixion. Decoration: initials in blue. Size: 169 X 112 mm. Binding: leather, restored at spine. U S -Washington, LC, H 11400 Vollbehr. Lacks gathering 27T. Provenance, f. 37,7": Ex libris Thomas Stewart d. e. Equitis Hierosol. Rome 1837.

of Speier, 28 I V 1 4 9 3 . S e e Fig. 30. H 11400*; BMC V: 5 38-39; Goff Myoj; IGI 6630; Martimort 13; Sander 4761; W 924; M-B 150 Title, f . TTi, red: MiJJale J m çjuetudi- | ne curie romane Incipit, f . 1,1, red: Incipit ordo mijjalis | J m conjuetudinê romane | curie Dnica pma de ad- uentu Statio ad Jancta3 | Mariam maiorem. A d I mijjam Introitus. | Explicit, f . 37,7: Explicit mijjale J m mo- | rem romane eccelejie: per | fratrë philippu3 de rotin- | go Mantuanuj: ordinis I minorû: de objeruàtia bo | na diligentia et fideli Jtu- I dio purgatum ab his er- | rorib^: gbus vel ignoran | tia vel incuria librarioru3 | adductis: cois abujus in- | ualuit. Quocirca cjcunq3 | legerit objecratum velim | ne adhibeat manu preci- | pitem ad corrigëdam: vel | potius corrïpendam libri I rectitudinem magno par | tam labore: Jed multipli- I cato /incero examine pojt | modu3 exequatur quicçjd I recta ratio: et Jpiritus ve- | ritatis ingejjerit. A d lau- | dem omnipotentis dei et I JanctiJJime virginis ma- | tris eius: ac Jeraphici pa- I tris francijci: totiujcg cu- | rie celejtis. Amen. | red: ImpreJJum venetijs arte | "( impensis Iohânis eme | rici de Spira. Anno dni | M.ccccxciij.qrto kl', maj | black: Deo gratias. Collation: 8°. 7T 7T 1—37 = 3 1 2 ff., numbered [ 1 6 ] 1—294 M - 31 11- 2 col. Illustration: woodcut Crucifixion, f. 17,3" ( 1 3 1 v ) . Music: woodcut notes and staves. Music pages: 10,1-10,2, i3,iv-i3,2, 13,3 V , 13,7-14,4, I

i 5>4~ 1 5>7> i6,2~17>3> 7^-i7'6"=46 PPStaves: 8 black 4-line staves per col., 126 X 83 (39—40) mm. Copies: GB-London, BL; H-Budapest, B U ; INaples, B N ; Rome, Ang; P-Cracow, Bern; USMA-Cambridge, HCL; Mi-Ann Arbor, UML; NC-Chapel Hill, U N C L ; Washington, LC. Copies seen: GB-London, BL, IA. 24206. Lacks f. 37,8. Gathering 2 7T bound at end. Provenance, f. 771: Se-

240

Music Books and Their Locations

94. Missale Romanum. Venice: Johann H a m man f o r N i k o l a u s von Frankfurt, 1 V I I 1 4 9 3 . H 11401*; P 5189a; BMC V.425, and VII:1140; Goff Myo8; IGI 6631, 6:241; CIBN M464; Essling 3 9 ; Molitor, Deutsche, plate XV; Oates 2036; Polain 2734; Sajo-Soltesz 2306; Sander 4762; W 925; M-B 151 Title, f . TT 1, red: MiJJale Jecüdü morem | Jancte Romane Ecclejie | f . ai, red: (£ Incipit ordo mijjalis Jcd'm | conJuetudine3 romane curie. Explicit,/. G$y, red: MiJJale J m cöjuetudine Jce eccl'ie romane: Jingulari cura | ac diligetia emedatü: Jüptib^ | j iujju famojijjimi Nicholai | de Franchfordia: arte iteq3 T | indujtria pbatijfimi viri io- | hänis Herczog de Landoia. | ImpJJu3 Uenetijs: explicitu3 | ejt: anno yglalis partus pojt I millejimü to quaterq3 cetejimü | nonagejimo tertio. kalendas | Iulias. I /. G6, red: (£ Incipit ordo ad cathecu- | minü faciedü f . Gy, red: [printer's mark, I H ] . Collation: 8°. 7T8 27T4 a—l8 m 1 0 n—z8 A—G8 = 254 ff., numbered [ 1 2 ] i—216, 1 1 7 - 4 0 . 37 11. 2 col. Illustration: woodcut Crucifixion, f. o6v (i24 v ). Music: printed notes and staves. Music pages: h2v—li3v, k5v—k6, k7, I2—16V, 1715"—n2, n4v—06, 08—pi = 53 pp. Staves: 7 red 4-line staves per col. (plus one line at bottom of each col.), 120 X 83 (39) mm. Music type: R i o . Note: many of the music leaves are unsigned and printed on the same paper as the 7T quires, which suggests that the music was printed after the main text and with the preliminary quires. The calendar is almost identical to that in Hamman's edition of 1 X I I 1493, although the assignment of words to red and black ink differs. Copies: B-Antwerp, MP; CH-St. Gall, StB; DEichstätt, B 2 (Hubay, Eichstätt 697); F-Paris, B N ;

GB-Cambridge, UL; London, BL2; H-Budapest, BN; BU; I-Bolzano, Mus; Ferrara, BC; Padua, Sem [missing]; Rome, Cas; Udine, BC; P-Gniezno, AA; Warsaw, BN; Wroc/aw, Kap; US-CA-San Marino, Hunt. Copies seen: CH-57. Gall, StB, 1008. Includes 23 manuscript leaves of prayers at end. Binding: paper with leather spine. F-Paris, BN, Rés. B. 2730. Lacks f. 06 (Crucifixion). Size: 159 X 1 1 7 mm. Decoration: major initials and borders in gold and colors, minor initials in blue. Binding: acideaten leather over paper boards. GB-London, BL, IA 2 3359- Size: 176 X 1 1 2 mm. Decoration: red initials. Binding: 17th-century gold-stamped leather, 2 clasps missing. IA. Lacks title page. Decoration: blue initials. Binding: stamped leather over boards, done by Anthonius de Gavere of Bruges. H Budapest, BN, 992. Size: 170 X 116. Binding: blindstamped leather over wooden boards, clasp missing. l-Ferrara, BC, S. 6.1.15. Lacks two preliminary quires. Provenance, f. a i : Ex libris domus Ferrerien. Cong ls Missionis; flyleaf: no. 0.6.6. Binding: vellum. Rome, Cas, Inc. 9. Provenance: Questo messale e ad me . . . Maria da Cannes. US-CA-idn Marino, Hunt, 92521. Includes 25 manuscript leaves at end (Temporale and Sanctorale). Binding: blindstamped calf over wooden boards, stamped "S. Maria"; metal corners and clasp. 95. Missale Romanum. Venice: Johann man f o r O t t a v i a n o S c o t o , 1 X I I

Ham-

1493.

H 11402= 11404*; P 5191; BMC V:42j; Goff Myog; IGI 6632; IDL 3250; Essling 40; Martimort 15; Sander 4763; W 926; M-B152 Title, f . 7Ti, red: MiJJale Jecudu morem | Jancte Romane Ecclejie. Incipit, f . ai,

red: (£ Incipit

o8 v —p3 v =54 pp. Staves: 7 red 4-line staves per col., 1 1 2 X 82 (38.5) mm. Music type: R i o . N o t e : mention of the feasts of SS. Clare and Francis as duplex major suggests a Franciscan origin (Martimort, p. 370). Copies: CH-St. Gall, StB; D-Munich, SB; GB-London, BL; I-Bologna, BU; Florence, BN; Milan, Ambr; Naples, BN; Rome, Ang; Cas; San Candido, Coll; Siena, BC; NL-The Hague, KB; P-Wroc/aw, BU; US-IO-Dubuque, Loras; MD-Baltimore, Walt; Vatican City, BV 2 . Cop ies seen: CH-Sf. Gall, StB, 1009. Binding: blind-stamped leather over wooden boards. GB-London, BL, IA. 23364. Lacks 771. Decoration: initials in red. Binding: goldstamped leather (17th cent.). l-Florence, BN, K. 7.51. Lacks gathering 7T, begins on f. 2 7Ti. Decoration: initials in blue. Size: 169 X 1 1 9 mm. Provenance, stamp, f. 2 7t 1: F I O R E N T I N A E BIBL I O T H . P U B . Stamp: S. GIUSEPPE | C H A | RI | TAS. Binding: marbled paper over paper boards. Milan, Ambr, Inc. 534. Lacks ff. 771 and 778. Decoration: initials in blue. Provenance, f. IT 2: Ex libris Fabrice Ldl Caroli Arone; f. G8V: Io. Andreas Franciscus. Binding: blind-stamped leather over wooden boards (restored), 2 clasps. Rome, Ang, Inc. 69. Lacks gathering 2778 and ff. 77i, n4~n5, F5. Decoration: watercolored Crucifixion. Provenance, f. A8: frate Ambrosio di roma. Siena, BC, M. VI.11. Lacks several preliminary leaves. Decoration: initials in blue, watercolored Crucifixion. Binding: paper boards with vellum spine. Vatican City, BV, Prop. III.234. Lacks gathering 7T and ff. n4~8, 03-8, E8, Fi, G8. Thirteen manuscript leaves at end. Decoration: initials in red and blue. Binding: leather with spine stamped in colors.

ordo mijjalis J c d ' 3 | conJuetudine3 romane curie I Dnica prima de aduétu: Explicit,

f . G3",

red:

9 6 . M i s s a l e R o m a n u m . V e n i c e : Filippo Pinzi, 2 9

MiJJale J m cójuetudiné Jan- | cte ecclejie ro-

III 1 4 9 4 . See Fig. 48.

mane: Jingulari | cura 7 vigilanti Jtudio reuiju | emendatucg: IuJJu 7 expenjis | nobilis viri O c -

H 11405; Essling 41; 4764; W 927

tauiani Scoti | ciuis Modoetienjis: A r t e ite | 7

Title,

idujtria gbatijjimi viri Io- | hannis Hertzog de

Roma I ne curie cum multis mijjis | nouiter addi-

Landoia | ImpreJJum venetijs: explici- | tu ejt:

tis 7 T I locis Juis po I Jitis. I Incipit, f . ai, red: In-

anno virginalis partus | pojt millejimfl quatercg

cipit ordo mijjalis J m cójue- | tudiné Romàe

cen- I tejimfl nonagejimo tertio. ka | lendis D e -

curie. Dnica pri | ma d'aduétu Statio ad Jca3 ma

cembribus. I f . G8y:

I ria maioré ad mijja Introitus. Explicit,

Collation: 8°. it

it

bered [ 1 6 ] 1—239

[printer's mark, I H ] . a—z A - G = 2 5 6 if., num35

2

c

°l-

f . A1,

red:

Pellechet 8094;

MiJJale J m

Sander

conjuetudinem

f.

red: Accipite optimi Jacerdotes | MiJJale iuxta morem Romane | ecclejie expletu: Philippi de

Illustration: woodcut Crucifixion, f. 05* ( 1 2 5 " ) .

pin I cis matuani mira arte imprejju3:

Music: printed notes and staves. Music pages:

florétijjima

h2-h3,

k4~k5,

k6, k 8 - l 5 v ,

m4~n2 v ,

jio,

n5~05,

| in

ciuitate Uenetia- | ru3: Augujtini

Barbadici incly | ti principis tempejtate: A n n o

Bibliography of Italian Music Incunabula

241

in- J carnatiois dñice Millejimo qua | dringéteJimo nonageJimo quar | to: Die vigejimonono Marcii. | Regijtrum | . . . Laus [printer's mark, P P H I ] Deo. Collation: 2°. A 8 a—z8 710 = 2O2 ff., numbered [8] I - C X C I I I [ i ] . 40 11. 2 col. Illustration: woodcut Crucifixion, f. I4. Music: printed notes and staves. Music pages: f6 r_v , h 5 , h6, H8-Í3, i 8 v - k 4 , k 6 - l 3 v , 1 5 v - 1 6 v = 35 pp. Staves: 10 red 4-line staves per col., 245 X 168 (81) mm. Music type: R16. Copies: D-Munich, SB ; Vatican City, BV. Copies seen: Vatican City, BV, Inc. II.127. Size: 333 X 225 mm. Decoration: major initials in red and blue, minor initials in blue, text highlighted in yellow, watercolored Crucifixion. Provenance, f. ai: coat of arms in border. Binding: leather stamped in gold, papal arms on spine with no. 1066.

11

•

°

8

8

6

8

8

8

10

Collation: 4 . 77 a—n o p—z T 9 V A - C 8 = 2 4 o ff., numbered [8] [ i ] - C C X X V [ 1 ] with errors. 35 11. 2 col. Illustration: woodcut Crucifixion, ff. 77 i v , o i v . Music: printed notes and staves. Music pages: g 5 v - g 6 v , £7"—i8, k i v , k3 v -8 v , l 7 - m 5 , m6, m 8 - o i , 0 3 — 0 4 ^ 5 4 pp. Staves: 6 red 4-line staves per col., 153—55 * h i — 1 2 (54—54.5) mm. Music type: R18. Copies: F-Paris, B N ; I-Brescia, BC; Ferrara, BC; NL-The Hague, KB; Y-Ljubljana, N U . Copies seen: F-Paris, BN, Res. B. 2678. Lacks f. 771. Binding: gold-stamped red morocco. I-Brescia, BC, A. II.15. Ferrara, BC, S. 12.1.14. Lacks f. 06. Size: 202 X 152 mm. Provenance: Ferrara. Binding: marbled paper over paper boards, vellum spine.

99. Missale Romanum. Rome: Steplian Planck, 27 X 1494. See Fig. 33.

97.* Missale Romanum. Naples: Ajolfo de Cantono, 5 V I 1494. GW ms. (Mallorca, B. Prov. 179); W 928 N o t e : the copy described by W as at the Biblioteca Publica Provincial, Palma de Mallorca, is not there today (letter from the director, J. Garcia Pastor), nor is it in Garcia Pastor's Catalogo de incunables de la Biblioteca Publica de Palma de Mallorca, Madrid: Góngora, 1951.

98. Missale Romanum. Venice: Johann Emerich of Speier for Luca Antonio Giunta, 13 VIII 1494. See Fig. 28. H 11406; IGI 6633; CIBN M465; Sander 4765; W 929; M-B 153

Esslmg 42;

Title, f. 7Ti, red: MiJJale Jm conjue | tudinem roma | ne curie. | [printer's mark, L A I Incipit, f. a 1, red: Incipit ordo mijjalis Jm con- Juetudiné Romane curie D o | minica pma de aduètu Statio I ad Jca maria maioré ad mij|a3 | Intro. | Explicit, f. C8, red: Accipite optimi Jacerdotes MiJJale iuxta I morem Romane ecclejie expletum: IohanEmerici de Jpira alemani mira arte imnis

H 11407; IGI 6634; Polain 2735; Sander 4766; W 930 Incipit,f. a 1 (i), red: Incipit ordo mijjalis Jcd'm | conJuetudine3 Romane curie. Explicit, f. H7" (cclxvij"), red: Imprejfu Rome per magijtru | Stephanu Planck: Patauien | Jem- A n n o domini Millejimo | quadringetejimononogejimo- | quarto. Die vero.xxvij. M e n - | Jis O c t o bris-Sedente Alexan | dro Jexto:pontifice Maximo: | A n n o eius tertio:- | Laus deoCollation (Sander): 40. 778 2772 a - z 8 A — H 8 = 258 ff., numbered [10] i—ccxlvij [1]. 34 11. 2 col. Illustration: woodcut Crucifixion, f. p3 v (cxv"). Music: printed notes and staves. Music: pages: 115—h6v, li r _ v , l2v—13, l5 v -m4, n3~4 v , n5", n8-p2 v , [p3 ?], P5~P7 — 5 5 ( + 1 ?) pp. Staves: 5 red 4-line staves per col., 148 X 108—9 (52—53) mm. Music type: R i . Copies: B-Louvain, K U B ; D-Munich, U B ; IBagnoregio, Sem. Copies seen: D-Munich, UB, 40 Inc. lat. 219. Lacks f. P3. Decoration: large initials in gold and colors. Binding: gold-stamped leather over paper boards. l-Bagnoregio, Sem. Microfilm of music pages.

prejjum: | in floren tiJJima ciuitate Uenetiaru3 Augujtini

I

tempejtate:

Anno

Millejimo

Barbadici

inclyti

principis

| incarnationis

quadringè

| tejimo

dominice

nonagejimo

quarto: Idibus A u g u j t i . | Regijtrum quaternorum. I [printer's mark, IE].

242

Music Books and Their Locations

100. Missale Romanum. Venice: Filippo Pinzi for Comin da Trino, 16 III 1495. H 11408*; Goff M710; IGI 6635; Essling 43; Polain 2736; Sander 4767; W 931; M-B 154 Title,/, [ai], red: MiJJale Romanum cu multis |

mijjis ac benedictionibus | nouiter additis 1 I

eccl'ie expletu cu di | ligétia reuiju ac fideli Jtudio

locis | Juis pojitis: quas ce | tera mijjalia im |

I emedatu ImpJJu iujju 1 Ipè- | Jis nobilis viri

pre/Ja non | habent Incipit,/,

L u c A n t o n i j | de giuta florètini: A r t e àt ioà | nis

bi, red: Incipit ordo

mijjalis Jecu | dum conjuetudine Roma- | ne curie.

Explicit,

/.

y

Ly ,

red:

Accipite

optimi

Emerici pncipe

d' Jpira Venetijs ducàte au

|

gujtino

barbadico.

felicijjimo Mcccc

|

Jacerdo- | tes MiJJale iuxta more3 Ro | mane ec-

lxxxxvj.die vero .xiiij. Iulij.

clejie expletum: cum | viglti mijjis additis: quas

Collation: 2 0 . 7r 8 a - z 8 j 8

ce | tera mijjalia imprejfa nò ha- | bent. Philippi

numbered [8] I — C C X L I I with errors. 34 11. 2

de pincis ma | tuani mira arte i m p r e j f u j : in |

col.

florentijjima

ciuitate

Vene-

| tiay.

Tepore

9

8

A - E 8 F 6 = 2 5 4 ff.,

Illustration: woodcut Crucifixion, f. 05"; wood-

JanctiJJimi D . | pp. Alexandri Jexti: g pcepit |

cut initials.

f e j t u A u r e l i j A u g u j t i n i Jole | nizare: Jicut f e j t u

M u s i c : printed notes and staves. Music pages:

vnius apl'i | ta3 a laicis q3 a clericis: 7 hoc | fuit ex

m5 v —n3, n^—n8 v , 01—05 — 29 pp. Staves: 9 red

Jollicitudine

4-line staves per col., 2 7 1 . 5 X 177 (84) mm.

7 Tpenjis

|

cuiujda3

Reuerèdi

magijtri | pauli tridétini ordinis here- | mitav

M u s i c type: R 1 9 .

Jancti A u g u j t i n i . Im | perante A u g u j t i n o Barba |

Bibliography: Notazione

dico veneto^ pricipe felicijji- | mo. A n n o ab

cunabuli conservati nella Biblioteca

Icarnatiòe

tarotti di Rovereto,

dni

| M.ccccxcv.die.xvi.Marcij.

|

bibliografica

degli

Civica G.

inTar-

Publicazione della Scuola di

R e g i j t r u cartharù. | f. L8: [woodcut o f St. A n -

Bibliografia Italiana 31, Reggio d'Emilia: Scuola

thony.]

di Bibliografia Italiana, 1935, no. 34; reproduc-

Collation:

40.

[a] 8

b—z8

J8

9s

1/

A - L = 2 9 6 ff., numbered [8] I - C C L X X X V I I

tion o f f. F6 on p. 23.

[ 1 ] , with errors. 30 11. 2 col.

Copies: B-Brussels, BR; D-Munich, SB; ESaragossa, Cat ( W ) ; I-Rovereto, BC. Copies seen: B-Brussels, BR, C 346. Lacks fif. 77" 1, 01—3, 06—8. Manuscript gothic plainchant at back (14 ff.). Size: 357 X 240 mm. Decoration: colored Crucifixion and initials, rubricated in red, highlighted in yellow and green. Binding: modern leather. l-Rovereto, BC. Microfilm of music pages.

8

Illustration: woodcut Crucifixion, f.

wood-

cut St. A n t h o n y , f. L8; woodcut initials. M u s i c : printed notes and staves. M u s i c pages: ki—lc2 v ,

n i , n 4 ~ o i , pi—p7, p8, q2 v —rq,

r6 v —r8 = 57 pp. Staves: 6 red 5-line staves per col. M u s i c type: R 1 7 . Copies: A-Gòttweig, Ben; B-Gand, Sem; D Munich, SB; I-Bologna, B U ; Florence, B N ; U S PA-Philadelphia, PL. Copies seen: I-Bologna, BU, A.V.KK.VIII.10. Size: 215 X 160 mm. Binding: recent vellum. Florence, BN, Landau-Finaly Inc. 33. Lacks ff. Z 2 — 4 and L8. Size: 2 0 7 X 1 5 5 mm. Provenance, front pastedown: bookplate, Landau-Finaly 4 2 6 4 . Binding: brown morocco, spine stamped in gold. 101. Missale Romanum. V e n i c e : Johann Emerich o f S p e i e r f o r L u c a A n t o n i o G i u n t a , 14 V I I 1496. Goff My 10a (sold to Vienna,

1977);

IGl

6636;

Polain 2737; Sander 4768; W 933 Calendar, ff. 7 T 2 - 7 , table,/.

778; incipit,/,

ai ( I ) ,

red: Incipit ordo mijjalis Jm c5 | Juetudinem Romane curie. I D n i c a prima de aduentu. | Statio ad Jancta maria3 ma | iorem ad mijjam Introitus. Explicit,

/ . F6 (CCXLII),

red: Accipite optimi

Jacerdo- | tes mijjale iuxta more Jancte | Romane

102. M i s s a l e R o m a n u m . R o m e : S t e p h a n P l a n c k , 31 X C

1496.

4207;

BMC

VII.n3o,

XI1:8;

Sander 4769; W 934 (=935?); Incipit,/,

IGI

M-B

6637;

155

ai (i), red: Incipit ordo mijjalis Jcd'm |

conjuetudine Romane curie | Dominica prima de aduétu - I Explicit, / . F6 (ccxxviij),

red: ImpreJJu3

Rome p magijtru | Stephanu Planck Patavien | Jem- A n n o dni- M-cccc-xcvj- | D i e vero vltima méjis O c t o

I bris- Sedente Alexandro -vj- |

pótifice maximo:Anno eius | quinto- Laus deo-:^ II O 8 -4 18 2-8 1 8 6 3-4 6 8 Collation: 2 . 77 1 a - h A-D

8

E-F6

1 k-m

n

1 o

p-z

= 240 ff., numbered [ 1 2 ] i-ccxxviij.

34 11Illustration: woodcut Renaissance borders and historiated initials. M u s i c : printed notes and staves. Music pages: h i v - h 2 v , k4 r_v , k5 v , k8—14", m 3 v - m 5 , m 7 v - 3 i i ,

Bibliography 0/ Italian Music Incunabula

243

S

Ì3— 3 Ì4 = 39 ff- Staves: 7 red 5-line staves per col., 206 X 1 5 6 (72) mm. Music type: R i . Copies: D-Nuremberg, N M ; GB-London, BL; ICesena, BC. Copies seen: D-Nuremberg, NM, Inc. 40 4113. Lacks ff. 117—118, gathering i . GB-London, BL, IB 18578. Vellum. Additional masses with roman plainchant on added 10 vellum leaves at end. Decoration: Crucifixion, f. ii v ; woodcut borders and initials in gold in colors. Size: 345 X 243 mm. Provenance: Giovanni Pietro Arrivabene, bishop of Urbino from 1491 to 1504 (see L. A. Sheppard, "The Early Provenance of the Museum Copy of the Missal Printed at Rome by S. Plannck, 1496," British Museum Quarterly 16 [ 1 9 5 1 ] : 2—4). Bookplate: Thomas Brooke FSA/Armitage Bridge. Binding: crushed red morocco. 1 0 3 . Missale Romanum. Venice: Andrea T o r r e sani, 1 5 V 1 4 9 7 H 11411 ; Essling 45; Gspan-Badalic 457; Sander 4 7 7 1 ; W 937 ((8) 2 5 1 (1) = 260 f f . ) Title, f . f i , red: MiJJale Romanum cum mul | tis mijjis ac benedictioni- | bus nouiter additis in | locis Juis pojitis qs | cetera mijjalia I - | prejja no ha- I bent: vt pa- | tet in ta- | buia. Explicit (Gspan-Badalic): Accipite optimi Jacerdotes mijjale iuxta morem Romane ecclejie expletum: cum aliquibus mijjis additis: quas cetera mijjalia imprejja non habent. Andree de torrejanis de ajula mira arte imprejjum: in florentijjima ciuitate Venetiarum. Tempore Sanctijfimi D . Pape Alexandri Jexti: qui precepit fejtum Aurelii Augujtini Jolennizare, Jicut fejtum unius apojtoli tam a laicis quam a clericis: et hoc fuit ex Jollicitudine: et impenjis cuiusdam Reverendi magijtri ordinis heremitarum Jcti augujtini, Imperante Augujtine Barbadico venetarum principe felicijjime. Anno ab incarnatione domini M C C C C X C V I I . d i e xv.Maij. [printer's mark]. r* II • o 4.8 8 6? 8 8 8 8 * 8 n ^10 Collation: 2 . J a—m n o—z \ 9 y A b—C (?) = 2 4 2 ( + ?) ff.; numbered [8] i - C C X X X I I . Illustration: ? (copy seen lacks f. n3"). Music: printed notes and staves. Music pages: g7 r_v , i8 r_v , k i v , k3"—k7, I4—mi", m3, 014—n2, [ n 3 ? ] , n5—n6 — 4 i ( + 1 ? ) pp. Staves: 10 red 4line staves per col, 270 X 176.5 (83.5) mm. Music type: R 2 3 . Copies: Y-Ljubljana, N U . Copies seen: Y-Ljubljana, NU, Ti III.12672. Lacks ff. n3~n4, qj, C i , C9, C 1 0 [and others?]. Decoration: historiated and 244

Music Books and Their Locations

flourished initials and borders. Size: 371 X 250 mm. Provenance, f. f i : Ex libris Conventus Labacensis ad Div. Virg. Annunciatam Ord. Erem. S. P. Augustini. Binding: blind-stamped leather over wooden boards, with 10 bosses and 4 clasps. 104. Missale Romanum. Venice: Johann H a m man for Ottaviano Scoto, 5 V I 1 4 9 7 . H 11409; Goff M711; IGI 6639; Essling 46; Sander 4772; W 938; M-B 156 Incipit, f . a 1 (i), red: »4 > >5 . k l _ k 4 > l 4 _ m i > m 2 - m 3 , m5v—n5, n6 v —^ = 37 pp. Staves: 1 0 red 4-line staves per col., 228 X 1 5 7 (74) mm. Music type: R7. N o t e : the edition is a nearly identical reprint of

the 1487 Missale Romanum, D 73 ( c o m p a r e f. nq o f both editions in my F i g . 42a—b). Copies: I-Treviso, B C ; Venice, Cini; Verona, B C ; S-Stockholm, KB. Copies seen: I-Treviso, BC, IV.14A.10. Lacks ff. ai—2. Provenance, flyleaf, stamp: acquisto Eredi B A I L O [1835-1932]. Binding: vellum. Venice, Cini, 675. (Livres de liturgie, p. 170; Bohatta L D 318 includes collation with anomalies of signatures and foliation.) Size: 307 X 205 mm. Provenance, bookplate: Duke of Parma. Binding ( T a m m a r o de Marinis, La legatura artistica in Italia nei secoli XV e XVI, Florence: Fratelli Alinare, i960, 2: no. 1714, plate C C C X X V I I ) : leather over wooden boards, 2 clasps in the form of shells. Verona, BC, Inc. 679. Size: 306 X 205 mm. Decoration: Woodcut Crucifixion and principal initials, handcolored. Copy described in 6:96.

Title, f. f i , red: MiJJale Romanu CU3 multis | mijjis ac bndictionibus no | uiter additis in locis Ju- I is pojitis quas cetera | mijjalia imprejja | non habent: | vt patet in | tabula. | black: [woodcut o f St. Francis] Incipit,/, ai, red: Incipit ordo mijjalis Jecun I dum conjuetudinem Ro- | mane curie. D n i c a prima | de aduentu. Explicit, f. I9: Finit mijjale Jm cu | riam ImpreJJu3 ve | netijs per G e o r g i - I um arriuabenum | anno dni. 1499.die | 29-menJis M a i j | [printer's mark, red, A G ] . r- II o 4.8 18 10 8 8 8 8 » Collation: 2 . 7 a - 1 m - n o—z T 9 V A - C j H—I

= 2 9 6 ff., numbered [8] 1 - 2 8 7 M >

un~

signed music leaves m4, p2-p3> 34 11. 2 col. Illustration: woodcut Crucifixion, f. i20 v ; woodcut capitals. M u s i c : printed notes and staves. Music pages: h8 v —ii v , 17'

114. Missale Romanum. Milan: Leonard Pachel,

o2 v ,

16 I V 1499. H 11415;

Goff My 15; IGI6647;

4778; W 949; M-B

ai:

Incipit ordo mijjalis Jecundum conjuetudinem romane curie. Explicit, f. u6": Explicit. MiJJale ec-

citale: I vigilanti Jtudio reuijum emendatucg: iu | ctis injuper certis mijjalum officijs: per | venerabilem prejbyterum Leonem de | cipellis laudenjem. Impressum M e d i o | lani per M a g i j t r u 3 Leonardo pacchel | A n n o diii.M.cccclxxxxix.die xvi.apl'. I [printer's mark, L P ] . Collation: 2 0 . 77 a—s t u = 1 6 2 ff., numbered [8] 1—154. 4 4 _ 5 * H-

2

Illustration: woodcuts o f St. Peter

(f.

771),

Crucifixion (f. 73), and Annunciation (f. a i ) ; woodcut initials. M u s i c : printed notes a n d staves. M u s i c p a g e s : g 3 ~ ¿ 3 " = 16 p p . S t a v e s : 11 red 4-line staves per col., 240 X

1 6 . * M i s s a l e R o m a n u m . V e n i c e : [s. t y p . ] , 1 4 9 9 . C 4216; Essling 52; Sander 4780; W 952*

170 (80) m m . M u s i c type: R28.

Collation ( W ) : 4 0 .

Copies: F - N i c e , B M ; I-Milan, B N ; U S - N Y - N e w

N o t e : the original citation in W includes an as-

York, Met. Copies seen: l-Milan, BN, Gerii Inc. 18.

terisk to indicate that the volume was not per-

Size: 323 X 228 mm. Provenance: S. Zini, Flor-

sonally examined.

ence; D u k e of Parma (Livres de liturgie, p. 171). Binding: Russian leather with coat of arms. 115. Missale Romanum. Venice: Giorgio Arriv-

1 7 . * M i s s a l e R o m a n u m . [ V e n i c e ? ] : 15 X I I 1500. W 9 5 7 * (s.l., s.); M-B, p. 61

abene, 29 V 1499. S e e Fig. 55. C 4214;

Goff M716;

IGI 6648; CIBN

Essling 53; Martimort 26; Pellechet 8098 Sander 4779; W 950; M-B

165

180 (84.5) mm. Music

type R25. Copies: F-Paris, B N (vellum); I-Belluno, Cap; Bergamo, B C ; Milan, Ambr; Palermo, B C ; Perugia, B C (vellum); Rome, Cas; Siena, B C ; Treviso, Cap; Venice, B N ; Verona, Cap; U S - M I - A n n Arbor, U M L . Copies seen: I-Perugia, BC, Inc. 917. Vellum. Provenance, f. f i : in nostra dn3 Jeruu. Binding: leather over wooden boards. Siena, BC, M. II.32. Provenance: Missale3 Sci blasij. Binding: blindstamped leather over wooden boards (restored), clasps missing, bosses. Venice, BN, Inc. V.105. Binding: blind-stamped leather over wooden boards (restored), clasps and bosses missing. Verona, Cap, H. I . i 1 (Venturini 142). Provenance, f. f i : D e mi frat9 gerardo da Verona de Verità ad ipsius usum et amicorum; f. I i o : Scritto adi 14 luglio 1572 essèdo priore il R° maestro Piero | d Taruisio. Binding: paper boards with leather spine.

164

Jecudum | conjuetudinem sancte romane

04—p4, p6—p7 v —46 pp. Staves: 9 red 4-line

staves per col., 262 X

LD 3 1 9 ; Sander

Title, f. 7Ti: [woodcut o f St. P e t e r ] Incipit,/,

18V, m3 v —m7, n^—n8, n 9 ~ m o , 0 1 ,

([Venice])

N o t e : W notes a copy at Regensburg. M 469; (8028);

—

Missale Romanum. Bevilaqua,

Venice: Simone Gabi,

called

1500.

Bibliography of Italian Music Incunabula

249

Wp59* Collation: 8°. N o t e : apparently D 141*, Missale Ordinis Praedicatorum.

—

Missale Romanum. Edited by Pietro Arrivabene. Venice: Johann Emerich of Speier for Luca Antonio Giunta, 27 II 1500/1501. C 4217; IGI 6649; Essling 54; Sander 4781; W 958 ( 16 preliminary ff., unnumbered; a—n8 o6 8

¡0

8

a

p-z v 9 A-C ) Title, f. Tri: MiJJale Jcdm (jjuetu- | dinem romane curie I nouiter imprejjum | M.cccccj. [sic] | [printer's mark, L A ] Incipit, f. ai, red: Incipit ordo mijjalis Jm 9Jue | tudinè Romane curie. Diiica I prima de aduètu Statio ad Jan | ctam maria maioré ad mijjam. | Intro. Explicit, f. C8, red: Accipite optimi Jacerdotes MiJJale iuxta mo I rem Romane ecclejie expletu: Jolerticg diligen I tia cajtigatum per fratrem Petrum A r riuabe | num ordinis minoru de objeruantia nuncupa- I toy- Impéjis nobilis viri Lucantonij de giuta I Fiorentini: Arte auté j ingenio Ioannis Eme I rici de Spira Alemani Imprejjum in florentij-

| Jima ciuitate Venetiarum Augujtini

Barba- | dici inclyti principis tempejtate: Anno incar-

| nationis

dominice

Millejimo

quin-

gentejimo | iij kl'. Martij. | Regijtrum. It

o

8

8

6

8

8

8

10

Collation: 4 . 7T a—n o p—z 7 9 ^ A - C 8 = 2 4 O ff., numbered [8] I - C I I I I [6] C V - C C X X V [1]. 35 11. 2 col. Illustration: woodcut Crucifixion, f. o2 v ; woodcut initials and border. Music: printed notes and staves. Music pages: g5 v -g6 v . i7 v ~ i8 > k l "> k3 v -k8 v , l 7 - m 5 , m6, m8—02, 04—05 V= 5Ó pp. Staves: 6 red 4-line staves per col., 158 X 118 (57) mm. Music type: R18. Copies: A-Vienna, NB; I-Florence, Mar; Vatican City, BV. Copies seen: l-Florence, Mar, R.o. 170. Lacks gatherings 77 and o. Size: 218 X 161 mm. Binding: vellum spine and corners. Vatican City, BV, Ross 2283. Binding: vellum.

—

Missale Romanum. [Venice: Antonio de Zanchi. ca. 1500 or 1 V I 1501?] GoffM7oia (ca.1487 amended to ca. 1500 in annotated edition); Essling 57? (1501); LD 320? (1501); W 898 (ca. 1487) = 961? (1501)

250

Music Books and Their Locations

Title, f. fi, red: MiJJale Jcdm | morem Ro | mane curie./ f 1, red: Incipiunt tabule mijjalis Incipit, f. ai. red: (£ Incipit ordo Mijjalis Jm | cojuetudine Romane curie. | Dominica prima de aduetu. | Statio ad Janctam maria ma | iorem: ad mijjam introitus. F. Fjy: Finis. Explicit, f. F6, 244 (misnumbered 243) (D-Municb, SB; I-Padua, Sem): IuJJu 1 \ impenjis Antonij Bergomen de Zanchis. Felici numine | expletum ejt: in Uenetiarum vrbe inclyta. Regnante cla- | rijjimo principe Augujtino Barbadico: Anno natiuitatis | chriJtianiJJime:MilleJimo gngetejimopmo: kal's Iunias. Collation: 40. t[black} 8 2 f[red] 2 a-z 8 J8 9 s y A - E 8 F 6 = 264 if., numbered 1 - 8 [2] 1 - 2 4 4 . 34 11. 2 col. Illustration: woodcut initials; woodcut Crucifixion, f. p3" (105"). Music: printed notes and staves. Music pages: h 2 - h 3 , k 5 v - k 6 , k7 v , I2-I7, m6-n5 v , n8-p3, P5V~P7 = 62 pp. Staves: 6 red 4-line staves per col., 155 X 127 (65) mm. Music type: not among numbered specimens of Italian fifteenthcentury types. Bibliography: Dennis E. Rhodes, "Antonio Zanchi of Bergamo, Printer or Publisher at Venice and Mantua," Gutenberg-Jabrbuch (1956): 141-44. N o t e : the title, collation, music leaves, and Crucifixion woodcut of G o f f M 7 o i a ( U S - T X Austin, H R C ) are identical to W 961, even though G o f f ' s entry includes the comment that the entry is not equal to W 961. T h e copy described lacks the final leaf. G o f f M 7 o i a and W 898 were dated ca. 1487 but that date was changed to ca. 1500 in the annotated edition of Goff. There is no apparent difference between the Austin book and W 961, dated 1 V I 1501 in the colophon. Copies: D-Munich, SB; GB-London, BL; I-Padua, Sem; US-TX-Austin, HRC. Copies seen: D-Munich, SB, Rar. 1797. Size: 208 X 149 mm. Binding: black velvet over wooden boards, clasps missing. IPadua, Sem; US-TX-Austin, HRC, Incun. 1500, C2865m. Lacks f. F6. Misnumbered ff. 23 for 32, 36 for 63, 55 for 59, 56—65 repeated, 137 for 138, 151 for 161, and mis-signed vii for viii. Size: 222 X 169 mm. Provenance, title page, f. f i : Conuentus Olomucensis S. Michaelis Ordinis Praedic™. Bind-

ing: blind-stamped leather over boards, 2 clasps missing.

216;

Pellechet

M-B

180

8056; Sander 4837;

W

1391;

Title, f. Vi, red: MiJJale Jecundum v j u m | eci i 8. M i s s a l e S a r i s b u r i e n s e . V e n i c e : J o h a n n H a m -

ai,

red: In

m a n f o r F r e d e r i c o f E g m o n t &C G e r a r d B a r -

nomine JanctiJJime trini- | tatis. MiJJale ad v j u m

revelt, 1 I X 1 4 9 4 .

chori I Jancte ecclejie Sarum angli- | cane felic-

H

11422;

P 5194;

Ess ling 215 Title, f

BMC

(plate LVI

W 1390; M-B

V.426;

o f f . ai);

IG1 Sander

6651; 4836;

1J9

7Ti, red: MiJJale Jecundum v j u m | ec-

clejie Sarum Anglicane. | [printer's mark, F E G B ] , Incipit, f a i , red: In nomine JanctiJJime tri| nitatis. MiJJale ad v j u m | chori ecclejie Sarum an- I glicane feliciter incipit. Explicit, f.

red:

In laude JanctiJJime trinità- | tis totiuJq3 milicie celejtis ad | honoré 1 decoré Jcè ecclejie | Say an-

.

clejie Saru Anglicane. Incipit, f.

iter

incipit.

Explicit,

f.

S8,

red:

In

laude

JanctiJJime trinità- | tis totiuJq3 milicie celejtis ad I honoré 7 decorè Jancte eccl'ie | Saru anglicane: eiujq3 deuo- | tijjimi cleri: hoc mijjale diui- I norum officioru vigilanti Jtu- | dio emendato 1 reuijum. Im | prejjum venetijs per Ioanne I hertzog de landoia: felici nu- | mine explicitu e j t . A n n o dni | M . cccc. xciiij. kal's menjis de | c e m b r i s . / S8y: [printer's mark, red, I H ] | Fredericus egmont | me fieri fecit.

glicane: euijq3 deuo | tijjimi cleri: hoc mijjale

Collation: 8°. Vs

diui- I noru3 officioru vigilanti Jtu | dio emèdatu

ff.,

T reuijum : iujju | et impenjis pjtàtijjimoru vi- |

129—328 with errors. 36 11. 2 col.

rorum fridrici de egmont ac | Gerardi barreuelt:

Illustration: woodcut Crucifixion, f. q3 v : wood-

ImpJJu3 I venetiis g Iohanè hertzog | de landoia:

cut initials.

felici numine ex- | plicitu è. A n n o dni M . c c c c |

M u s i c : printed notes and staves. Music pages:

xciiii. Kal's menjis Jeptébris.

n 4 v - o 2 v , 05, 0 7 - p i , p 2 v - q 3 , q 7 v - q 8 v , B 4 V - B 7 =

Collation: 2 0 . 778 a - i 1 0 k 8 1-z 8 A - B 1 0 C 8 D - I 1 0

47 pp. Staves: 7 red 4-line staves per col. M u s i c

q8

blank,

2V2

a—q8 qq 8 r—z8 A—S 8 = 34Ó

numbered

[10]

1—120,

[16]

K 8 = 3 3 4 ff., numbered [ 1 0 ] I - C C C X X V with

type: R i o .

errors. 37 11. 2 col.

Copies: GB-Aberdeen, U L ; Cambridge, U L 2 ; London, BL 2 ; Oxford, U L 2 ; I-Trent, BC. Copies seen: GB-London, BL, IA. 23373. Size: 162 X 113 mm. Provenance, f. 7T1 : "found in the house of mr Bostock of Molton the IXth day of august in An° Dni 1596." Later: Thomas Hewett; purchased for BL in 1852. Binding: red morocco stamped in gold.

Illustration: woodcut Crucifixion, £ n i v ; woodcut border, initials. M u s i c : printed notes and staves. M u s i c pages: I2—16,

18,

v8—vio v ,

lio v —m2,

m3 v —mio",

n6 r_v ,

nyv,

15 = 38 pp. Staves: 9 red 4-line staves

per col. M u s i c type: R9. Copies: GB-Cambridge, U L ; London, BL; Oxford, U L ; I-Bologna, B U ; Venice, Cini. Copies seen: GBLondon, BL, IB. 23371. Fragment with no leaves containing music. 1-Bologna, BU, A.V.KK IV.25. (Andrea Caronti, Gli incunaboli della R. Biblioteca Universitaria di Bologna, Bologna: Zanichella, 1889, no. 570.) Lacks ff. 77io, n i , 01, I 1 - I 1 0 , K 1 - K 3 , K 5 - K 8 . Decoration: initials in gold and colors. Size: 391 X 271 mm. Binding: vellum over paper boards. Venice, Cini, 360. Size: 392 X 270 mm. Provenance, f. n5: Johnne Saxby thys abot . . . consanguinorum suorum margaret Saxby. Binding: blind-stamped leather over boards, 2 clasps repaired.

120. M i s s a l e S e g o v i e n s e . V e n i c e : J o h a n n

Eme-

rich o f S p e i e r f o r G u i d o de L a v e z a r i & S o c . , 24 V I I 1 5 0 0 . Garcia Rojo 1306; Title (Garcia Rojo),f.

W1455 f i , red: MiJJale Jm 9Juetu

I dine Segobiè | Jis Ecclejie. Incipit (Garcia f. ai,

Rojo),

red: In n o i e dni nri ieju xpi. In- | cipit

mijjale g totu anni circu- | lu Jm 9Juetudine S e g o b i è j i s | ecele- | Jie. (fi D n i c a pma in aduen | tu dni ad mijja maiorè officiu. Explicit Rojo),f.

O 7 (CCLXXXVII),

tias. I black: [ A ] C c i p i t e

(Garcia

red: Finis. D e o graoptimi Jacerdotes |

MiJJale iux- | ta conjuetudi- | né Jancte ecclejie 119. Missale Sarisburiense. Venice: Johann H a m -

S e g o b i e n j i s : | nouiter cópilatum: ac cum dile- |

man for Frederic o f E g m o n t , 1 X I I 1494.

gentia reuijum: et fideli Jtudio | emendatu per

C 4228; P 5195; BMC

Petrum alfonji | Porcionarium: 7 Didacum de |

V.426; IGI 6652; Essling

Bibliography of Italian Music Incunabula

251

C a j t r o beneficiatimi in dicta ec | clejia Segobienji. D e mandato | ReuerédiJJimi in chrijto patris | et dni: dni Iohannis Arias de | Villar dei 1 apojtolice Jedis gra | tia Epijcopi Segobienjis vtri- | ujq3 | iuris doctoris Conjiliarij | SereniJJimoru principum Re- | gum ac dominorum noJtroru3 | Ferdinandi et helijabeth Re- | gis 1 Rgine Cajtelle Aragonu | Legionis Granate alioruqg re | gnorum: A c maioris Prejiden | tis in eov Regali Curia et Can- | cellaria in nobiliJJima villa U a l | lijoletana. Accedente ad hoc a j | JenJu et voluntate v e n e r a b i l i ^ | et circumjpectorum viroru do- | minoru Decani et Capituli pre | fate ecclejie. Et hoc acclamante | ac cum ingenti dejiderio pojtu- | lante vniuerjo PreJbyteroru3 | Collegio totius diocejis. Q d ' | adiuuate domino exactum fuit | calamo prelibati Didaci de C a | Jtro in predicta ciuitate Sego- | bienji decimaJexta die menjis | Septembris: Anno a natiuita- | te eiujdem domini Millejimo | quadringètejimo nonagejimo | nono. Laus deo. | red: ImpreJJum auté Uenetijs: Im | penjis Guidonis de lauezarijs | et socioi^. A r t e autem Johan- | nis Emerici de Spira: Anno "Jc | M.cccc 0 . N o n o kl'. Augujti. Collation:

(Garcia

Rojo):

20.

f12

a—v8

s

A - O = 284 ff., numbered ( 1 2 ) I - C C L X X X V I I ( 1 ) with errors. 39 11. 2 col. Music: printed notes and staves. Music pages: 2 [ + ?]. Staves: 1 0 red 4-line staves. Music type: R19. Bibliography: D . Garcia Rojo and G . Ortiz de Montalvan, Catalogo de los incunables de la Biblioteca Nacional, Madrid: Patronato de la Biblioteca Nacional, 1945. Copies: E-Madrid, B N . Copies seen: E-Madrid, BN, Inc. 1754. Photographs of f. 156' v. —

Missale Speciale. Venice: [Johann Emerich of Speier f o r ] Luca Antonio

Guinta

for

C h r i s t o p h e r T h u m , 2 V i l i 1 5 0 0 or 5 V i l i 1504. P13104

(1504);

Sander 4838 (1504);

W

1473

(!5°4) Title, f . f i , red: MiJJale Jpeciale. Incipit, f . ai (I), black: red: Dominica prima in aduentu | domini ad mijjam Introitus. Explicit, f . p6, black: (f red: Finit mijjale Jpeciale Juma di- | ligètia emendato. ImpreJJu U e - | netijs per Lucam Anthoniu

252

Music Books and Their Locations

de I Giunta Florentinum. Impenjis | Chrijtofori T h u m ciuis A u g u - | Jten. Anno dni. M.ccccc.iiij.no | nas Augujti. | [printer's mark, LA]. Collation: 2°. f 1 0 a—h8 i 1 0 m—o8 p 6 = 1 1 4 ff., numbered [ 1 0 ] I - C X V I I I . 39 11. 2 col. Illustration: woodcut initials. N o t e : no space for music. T h e date in the colophon may be interpreted as 1500 or 1504. Copies: GB-London, BL. Copies seen: GB-London, BL, C 52.g.io. Lacks f. f8 (XLVII). Size: 318 X 220 mm. Binding: vellum over boards, 2 clasps. —

Missale

Strigoniense.

Verona:

[Pierre

M a u f e r ] , 2 7 V I I I 1 4 8 0 . S e e D 1 2 7 , reissue. —

Missale Strigoniense. Venice: Erhard Ratdolt, [ b e f o r e i 4 8 6 ] . C 4235;

W

1491*

Bibliography: Gilbert R. Redgrave, Erhard Ratdolt and His Work at Venice: A Paper Read before the Bibliographical Society, November 20, 1893, London: Bibliographical Society, 1894, p. 44, no. 59. Hubay, Missalia, does not include the spurious missal created by Redgrave. N o t e : a ghost created by Redgrave, Ratdolt's biographer, who tells us that the existence of this edition is proved by the colophon of D 1 2 1 , which claims to be the "second": "Impressum Venetiis iterü secüdo per Erhardum ratdolt de augusta." However, this probably simply means that there was an edition of the missal for Gran before Ratdolt's; in fact there were two, D 1 2 7 and Koberger's Augsburg edition of 3 1 V I I I 1484. 1 2 1 . Missale Strigoniense. Venice: Erhard Ratdolt, 1 8 I I I i 4 8 6 . S e e F i g . 2 2 . C 423J; Essling 218; Hubay, Missalia 3; Sander 4839; W 1492 Incipit,/, ai, red: Incipit mijjale diuinov of | ficiov tarn de tge eg etiam de | Janctis cum certis officijs an- I nexis : utputa de träjfiguratio | ne dni: de pejtilentia Te. Jcd'm | chorü alme ecclejie Strigo- I nien. Dominica prima in ad- | uentu domini. Introitus ad | mijjam. Explicit, f . E6: Finit feliciter MiJJale diuino | rü officioru3 tarn de tempore | cß de Janctis cü certis officijs | annexis: utputa de tanjfigura- | tiòe [sic] dni: de pejtilétia: J cetera: | J m chorü alme ecclejie Stri- | gonien.

bene reuijum ac fideli | Jtudio emedatü: de c ö j e n j u ac fauore ReuerédiJJimi in xpo | patris ac dni:domini Michae | lis epi Milckouien.ac in pon- J tificalibus vicarij generalis p- | nomiate ecclesie Strigonien. | alioj^ß domino^ de capitulo | ImpreJJum Venetijs iterü Je | cüdo per Erhardum ratdolt I de augujta. Regnante felicijji- | me JereniJJimo ac inuictijji- | mo Matthia hungarorü rege | domino nojtro gratiojijjimo | Anno Jalutifere incarnatiöis | dni nojtri iheju xpi. M . c c c c . I lxxxvj.die xviij.Martij Ad lau | de dei eiujcß genitricis perpe | tue virginis: cui honor J glo- | ria in euum Amen. | D e o gratias. Collation (Hubay, Missalia): 2°. 77"8 2 77 4 3 7T2 a - i 8 k'° l 6 m - z 8 A—D 8 E 6 = 236 ff., numbered ( 1 4 ) 123. I - C C X X I ( i ) . 3 9 , 2 7 1 1 . 2 col. Illustration: woodcut Crucifixion, f. 1 i v ; woodcut initials. Music: printed staves. Music pages: 7Ti v , i6—ki, k4r~v, k6 v —kio v , 14—15"= 24 pp. Staves: 7 red 4line (or 8, o f which one is 3-line) staves per col., 227 X 162 (77.5) mm. Copies: H-Budapest, B N 2 ; Esztergom, Metr 2 . Copies seen: H-Budapest, BN, Inc. iy8a. Manuscript plainchant added. Decoration: watercolored Crucifixion. Provenance (Hubay, Missalia): Comparatum Sumptibus proprijs Civium Posoniensis Civitatis ad usum Parochi et Capellanorum Ecclesiae eiusdem S. Martini. Anno 1600 Mense Septembri. Binding: stamped and rolled leather over boards, 2 clasps missing and spine repaired. Inc. 178b. Manuscript plainchant added. Size: 305 X 215 mm. 1 2 2 . Missale Strigoniense. V e n i c e : J o h a n n H a m man, i I I 1 4 9 3 / 1 4 9 4 . S e e Fig. 2 4 . H 11432; Essling 219; Hubay, Missalia 6; SajóSoltész 2315; Sander 4840; W 1495 Incipit, f . ai, red: Ordo mijjalis diui- | norü officiorü : de tge et | de Janctis : cü certis officijs Jolénib^ ac deuotis | eijdé annexis : J m chorü Jcè ecclejie Strigonien. | feliciter incipit. Dnica pma in aduentu dni ad | mijjam Introitus. Explicit, f . Q6 (Hubay): MiJJale J m chorü Jäcte eccl'ie I Strigonien. feliciter e j t explici | tü. ImpJJo uenetijs g J o h ä n e | häman de lädoia Anno salut' I M.ccccxciij. Kaln Februarij. Collation: 2°. 778 a—p8 q'° r 6 s—z8 A—P Q 6 * 4 = 322 ff., numbered [ 8 ] I - C C C X [4]. 26 11. 2 col.

Illustration f. 129".

(Sander):

woodcut

Crucifixion,

Music: printed notes and staves. Music pages: 3 ~ n 7 V > o 8 > P 1 ' P 3 - q j Cq2-q9 missing], qio—ri = 3 8 [ + ? ] pp. Staves: 7 red 5-line staves per col., 199 X 1 3 8 mm. Music type: R9. Copies: H-Budapest, B N ; B U ; Gyòr, Sem., variant, with mark of publisher Georg Rum. Copies seen: H Budapest, BN, Inc. 180. Lacks ff. 7T1-773, 7T6-778, q2~9, t2-t7, M8—^4. Decoration: initials in color, rubricated in green. Size: 282 X 196 mm. Provenance: Residentiae S. Jesu Catalogo inscriptus . . . 1685. Binding: blind-stamped leather, 2 clasps, 2 bosses, restored. n

Missale Strigoniense. V e n i c e : J o h a n n E m e rich o f Speier, 31 X 1 4 9 5 . C 4238; Essling 220; Hubay, Missalia 7; SajóSóltesz, 2316; Sander 4841; W 1496 Title, f . 7Ti: MiJJale Jcd'm choru al- | me eccl'ie Jtrigonien. Incipit, f . ai, red: Incipit mijjale diuinov I officiorum tam de tempore | eg etia3 de Janctis cu certis | officijs annexis : vtputa de | tranjfiguratione dni : de pe | Jtilétia 7c J m chov alme ec | clejie Strigonien. Domi | nica prima in aduétu domi | ni Introitus ad mijjam. Explicit, f . D8, red: Finit feliciter MiJJale diui | noru officio^ tam de tge q3 | de Janctis cu certis officijs | anexis : utputa de trajfigu- | ratiòe dni de pejtilentia 7c. I J m choru alme eccl'ie Stri- | gonien. bene reuijum ac fi- | deli Jtudio emendatu. Im- | prejju Venetijs p Iohané | Emericu de Spira. Anno | Jalutifere incarnatiois dni | nojtri ieju chrijti. M . c c c c . I lxxxxv. pridie kl'. nouébris | Ad laudem dei eiujq3 geni- | tricis perpetue virginis. | cui honor 1 gloria in euum | Amen. Collation: 4 0 . 7T10 f 1 0 a - m 8 n - 0 1 2 p - z 8 a a - f f 8 A 8 B 1 2 C - D 8 = 2 9 6 ff., numbered [ 2 0 ] I - C C L V I [ 4 ] C C L V I I - C C L X X I [1]. 22 11. 2 col. Illustration: woodcut Crucifixion (f. n 12V) ; woodcut initials. Music: printed staves. Music pages: I4—18V, m8, n i , n3~ni i v = 3 0 pp. Staves: 7 red 4-line staves per col. Copies: H-Budapest, B N 3 ; Piar; Esztergom, Metr. Copies seen: H-Budapest, BN, Inc. 995a. Manuscript leaves of prayers with music bound in at end (to St. Barbara, Peter, etc.). Size: 242 X 178 mm. Provenance, title page: Capituli Posoniensis, 1645; front paste-down: Ego Matheus Rosarius canonicus Ec-

Bibliography of Italian Music Incunabula

253

clesie Posonoiensis emi hunc librum florenis III. In

Copies seen: H - B u d a p e s t , BN, Inc. 182a. Manuscript

castro Budensi auxilio egregii Johannis Erdély vice

gothic plainchant. Decoration: major initials in gold

Thezaurarii Regiae Maiestatis ut memoriam sui

and colors, minor initials in blue, rubrication. Size:

habeam circa (diem) Elizabeth vidue Anno domini

340 X 2 3 1

millesimo Quadrigentesimo Nonagesimo septimo.

over boards, 10 bosses, 2 clasps. Inc. 182b.

Binding: blind-stamped leather over boards (re-

f. m6, Crucifixion. Gothic plainchant added in

stored), 6 bosses, 2 clasps. Inc. 995b.

manuscript.

Provenance:

Size:

blind-stamped

322 X 222

mm.

leather Lacks

Provenance,

Ecclejie T . Lippesensi. Binding: recent leather over

front paste-down: R dl Martini Varadini Custodis et

wooden boards.

Canonici Posoniensis olim R. D . Joannis Thomasinouity Arch. Barsien. et Canonici Strigon; title page:

124. M i s s a l e S t r i g o n i e n s e . V e n i c e : J o h a n n E m e r -

Capituli Posoniensis, ad usum quotidianum Joannis

ich o f S p e i e r f o r J o h a n n P a e p , 2 6 I I 1 4 9 8 /

Fab(er) Parochi 6C Canonici . . . gratiose concessum. Anno 1609. Binding: blind-ruled and stamped

1499. C 4240; Goff My24; Essling 221; Hubay, Missalia 8; Sajó-Soltész 23 iy; Sander 4842 (Suppl. 325); W 1498; M-B 189 Title, f . TTi, red: MiJJale J m chorum | alme eccl'ie Stri I gonienjis. | [printer's mark, IP}. Incipit, f . ai, red: Incipit mijjale diuinoru3 | ofificioru tam de tempore q3 | etia de Janctis cum certis ofîfî | cijs annexis : vtputa de t r a n j | figuratione dni : de pejtilen- | tia 7c. J m choy alme ecclejie | Strigonien. D n i c a prima in | aduëtu dni I n t r o i t i ab mijjâ. Explicit, f . F8V, red: Finit feliciter MiJJale diui- I nov officio^ tam de tpe q3 d' | Janctis cu ceteris officijs âne | xis : vtputa de trâjfiguratiôe | dni : de pejtilëtia Je. J m choy | alme eccl'ie Strigonien. bn re | u i j u 3 ac fideli Jtudio emêda- | tu. ImpreJJu Venetijs impë | Jis Johannis P a e p library I Buden. g J o h a n n ë emericu | d' Spira. A n n o Jalutifere in- | carnationis dni nri ieju chriI Jti M.cccc.lxxxxviij. iiij. kal'n. | Martij. black: Laus deo. 10 2

2

8

8

6

8

Collation: 2°. 77 7r A a—l m n—z — 250 fif., n u m b e r e d {20] I - C C X X X . 38 11. 2 col. Illustration: woodcut Crucifixion, f. m6"; woodcut initials. M u s i c : printed staves. Music pages: k2v—k6, 14"—I5, I7—m^", n2—n4 = 28 pp. Staves: 9 red 4line staves per col., 230.5—34 X 154(72—72.5) mm. Bibliography: Imrich Kotvan, Iukunabuly archtvov, muzet a niektorych bistorickych kniznic na Slovensku = Incunabula Archivorum, Museorum, Nonullarumque Bibliothecarum Historicarum Slovaciae, M a r t i n : M a t i c a Slovenska, 1964, no. 164, plate 67 of title page. Copies: CS-Bratislava, U K ;

H-Budapest,

Acad;

B N 3 (1 vellum); B U ; Eszterg om, Metr; Gyòr, Sem (vellum);

254

mm. Binding:

R-Sibiu,

Mus;

US-Washington,

Music Books and Their Locations

LC.

leather, over wooden boards; 10 bosses and 2 clasps.

U S -Washington,

LC,

Two

Vollbehr.

leaves of

manuscript music in gothic plainchant at end. Size: 3 3 4 X 2 3 0 mm. Binding: blind-stamped leather, bosses and clasps missing.

125. M i s s a l e S t r i g o n i e n s e . V e n i c e : [ J o h a n n E m e rich of S p e i e r ] for J o h a n n P a e p , 31 I I I 1500 or 1 I V 1502. See Fig. 26. C 4241; Goff My25; Essling, Livres à figures, 6:Suppl. p. 1; Hubay, Missalia, 12 (aa6(+I>); SajóSoltész 2319; Sander 4843; W 1499; M-B 190 Title, f . 7Ti: MiJJale Jcd'm cho- | rum alme ecclejie I Strigonienjis | [printer's m a r k ] Incipit, f . ai, red: Incipit mijjale diuinoru | officiorum tam de t e m p o r e | q3 etia3 de Janctis CU3 certis | officijs annexis: ut puta de | tranjfiguratione dni: de pe- I Jtilétia 7c. J m chov alme ec- | clejie Strigonien. D o m i | nica prima in aduétu domi- | ni Introitus ad mijjam. Explicit,/. D8, black: Finit MiJJale J m choru | alme ecclejie Strigonien. | ImpreJJum Venetijs | I m p e n j i s Johannis paep | library Buden. A n n o dni | M.ccccc.ij.kal.Aprilis. (-*• II O _10 8(+l) 2 8 8 12 8 Collation: 4 . 77

aa

7T

a—m n—o

aa 8 b b — f f 8 A 8 B 1 0 C — D 8 = 3 o i

p—z

f¥., numbered

[ 2 7 ] I - X C V I [ 2 3 ] C X X I - C C L X X I [1]. 22 11. 2 col.

Illustration: woodcut Crucifixion, f. n i 2 v ; woodcut initials. Music: printed staves. Music pages: I4—18V, m8, n 3 ~ n n , [ n i 2 ? ] , 04—o6 = 3 4 [ + ? ] pp. Staves: 7 red 4-line staves per col., 176 X 122 (57.5) mm. N o t e : the date in the colophon may be interpreted as 3 1 I I I 1 5 0 0 or 1 I V 1 5 0 2 . Copies:

H-Budapest,

Acad;

BN;

US-NH-

Hanover, Dartmouth. Copies seen: H - B u d a p e s t , BN,

Inc. 996. Gothic plainchant added in manuscript. Lacks gathering 7T10 and ff. aai, aa6-9, n i , n i 2 , x i , x8, ee6, and sheet n i . 1 2 . Size: 230 X 170 mm. Provenance, f. i8 v : Anno Dni | 1617 . . . 43 fl. Binding: blind-stamped leather over boards, bosses and clasps missing.

Bibliography: Imrich Kotvan, " M i s s a l e S t r i g o n i e n s e — H a i n 1 1 4 2 8 , " Beiträge zur Inkunabelkunde 3, no. 3 ( i 9 Ó 7 ) : i 8 8 , and plates 52 and 54. Copies: CS-Bratislova, B U ; Spisska Nova Ves, Kap; D-Dresden, LB; H-Budapest, Acad; B N 5 ; B U ; Esztergom, Metr; Sapron, Arch; P-Wroclaw, B U ; Kap; R-AIba Julia, Cat USSR-Moscow, Len.. Copies seen: H-Budapest, BN, Inc. 175a. Size: 308 X 225 mm. Binding: purple velvet over boards

126. Missale Toletanum. [Venice, 1483?] Haebler, Ibérica, 1:209 [1483?

1488?];

W 1529

Incipit (Palau y Dulcet), f. 9: Incipit missale mix-

with 4 metal clasps decorated with enameled images of saints. Inc. 175b. Decoration: major initials in gold and colors, minor initials in red and blue. Size: 346 X 235 mm. Binding: blind-stamped leather over boards, 10 bosses and 2 clasps (restored). Inc. 175c. Size: 316 X 240 mm. Binding: blind-stamped and ruled leather over boards, 2 clasps missing. Inc. 173d. Lacks some leaves, including f. [q8], Crucifixion. Plainchant added on f. [ri]. Provenance on back board: Missale istud emi Cibinii. Anno 1788. Die 30. Martii. a quodam Saxone. ego Antonius Bartalis. Presbyter Secularis. Binding: blindstamped leather over wooden boards, 10 bosses and 2 clasps. Inc. i7je. Lacks many leaves. Decoration: major initials in gold and colors, minor initials in red.

tum secundum ordinem e regulam sánete ecclesie toletane yspaniarum metropolitane. Ends, f. 250*: A m e n , siguense los articulos de la sancta fe católica. Collation

(Palau y D u l c e t ) :

2 0 . (8) (248) =

2 5 6 ? ff. 38 11. 2 col. M u s i c : space f o r music on ff. h i v - h 3 v , I2-I5, m i — m 4 , 8 unsigned ff. = 26 pp. Staves: space for 9 staves per column. Bibliography: A n t o n i o Palau y D u l c e t , del librero Hispano-Americano, annotated

by

Barcelona:

Augustin

Libreria

Manuel

2d ed., rev. and Palau,

Palau,

28

vols.

1948—1977,

9

Size: 300 X 212 mm. Binding: blind-ruled leather over boards, 2 clasps missing.

( 1 9 5 6 ) ¡415—16. A n t o n i o O d r i o z o l a , " L a s primeras impresiones de libros litúrgicos españoles y un curioso y desconocido Breviario para la Diócesis Jahrbuch,

de

Orense

(¿1480?),"

—

Gutenberg-

1965:87—92.

Reissue. Missale Strigoniense. [Pierre Maufer], 27 V I I I 1480. H 11428;

Verona:

W1488*

N o t e : apparently, Cardinal X i m e n e s ordered the

Incipit, f. [bi],

edition to be destroyed because it contained

alme E c | clefie Strigonieñ. cü | q u i b u j d ä offieijs

many mistakes.

n o - I uis. D o m i n i c a pma | in aduétu Introitus.

Copies: E-Toledo, Cat. Copies seen: E-Toledo, Cat, MS 80—1. Microfilm of music pages. Lacks one leaf in the first gathering and incomplete at the end.

Music: [q4v-q7v>

Hubay, Missalia, 1; IBP 3801;

4856; W

1607

Incipit, f.

[bi],

for =

9

music.

Music

pages:

pp-

11428,"

Beiträge

zur

Inkuna-

belkunde 3, no. 3 ( 1 9 6 7 ) : 188 and plate 53. N o t e : this is a reissue o f the above with a new in-

Sander

cipit f o r distribution o f copies in the archdiocese o f G r a n , H u n g a r y . It differs f r o m the first issue only in the first and last leaves o f quire [b].

Jecundum ritum | dominorü vltramó- | tanorü

Copies: CS-Bardejov, Mus. Copies seen: none (see

cum q b u j d a 3 | officiis nouis. D ñ i - | ca prima in

plate and description in Kotvan).

red: Im-

prejjus uerone ui- | g e j i m a Jeptia a u g u j t i |

«"1

niense—Hain

red: Incipit o r d o mijja- | lis

aduentu | Introitus. Explicit, f. [N6y],

spacae

Bibliography: Imrich Kotvan, " M i s s a l e S t r i g o -

127. Missale Ultramontanorum. Verona: [Pierre Maufer?], 27 V I I I 1480. C 4125;

red: Incipit ordo | mijja | lis ß ritu3

—

Missale Ultramontanorum. [Brünn: Conrad

M.CCCC.octogeJimo | A S C U . 11 o r 6 L 10 Ll2 • 10 J2 10 Collation: 2 . [a b—g h 1—r s—t v—z

Stahel &C Mathias Preunlein, ca. 1490]

A-M10 N6] =

Mathias Preunlein, s.a.]; W 1606=

35

8 ff. 29 11. 2 col.

C 412p;

Oates 4035

([Brünn:

Illustration: w o o d c u t Crucifixion f. [q8 v ].

Calendar,

M u s i c : space for music. M u s i c pages: [ q 4 " - q 7 v ,

Jeptima fine minatur.

ri

r-vT

J — 9 pp.

f.

[a$?]:

Conrad Stahel

&

1811

[ K L ' ] Jani prima

dies.et

| Januarius habet

dies

xxxj.Luna.xxx. Incipit, f. bi (i), red: D ñ i c a prima

Bibliography of Italian Music Incunabula

255

In aduentu. | [ A ] D te leuaui ani- | ma mea F. 7T4 red: E black: t vita3 venturi Jecu | li. Amen. Collation: 2 0 . [a] 8 b - n 8 [ o 6 ] \ 6 p-z 8 A - H 8 1 1 0 K 8 77"(i, ii, iii, iiii)6 = 278 ff., foliated. 35 11. 2 col. Music: space for music. Music pages: Ì2, lc2, k8, 14", 1T14—m6v, ni— n6"-ny, n8 v —[04] X4~ v X^", K 7 ~ K 8 = 3 i pp. Staves: space for 10 staves per col. N o t e : the Missale Ultramontanorum is also known as Missale Ordinis Eremitarum S. Pauli. — Copies: CH-Basel, U B ; D-Erlangen, U B ; GBCambridge, U L ; H-Budapest, B N (vellum). Copies seen: CH-Basel, UB, AN VIII56. Lacks ff. [a 1-32}, [06], ^ 5 - , and ^ 8 . Woodcut Crucifixion from 1 2 9 . * Wenssler's Missale Basiliense, 18 III 1488, inserted in place of f. [06] Manuscript gothic chant on 4-line red staves; chant in campo aperto above the text lines of the gospels of Passion Sunday. Size: 260 X 200 mm. Binding: blindstamped leather over wood, 2 clasps missing. D-Erlangen, UB, Inc. 1630. Microfilm of calendar and music leaves. 130. 1 2 8 . Missale Valentinum. Venice: Johann H a m man for Andrea de Zavarisio, 1 V I

1492.

See Fig. 2 7 . C 4261 (1490); Garcia Rojo 1308 (220 ff.); W 1616 Incipit (Olmos y Canalda), f . 1: Iannuarius habet dies X X X I Luna X X X . Explicit (Olmos y Canalda), f . £ 5 : Missale iuxta morem et consuetudi | nem laudabilem sacrosancte sedis V a I lentiae felici numine est explicitum. M i | rifica quidem arte impressionis viri so | lertissimi Iohanis halman; et cura vigilantissima emen | dationis prout ipsum opus cuilibet in | tuncti attestavitur; viri prestantis | Andree de cavacis mantuani; di | cte sedis ac eius cleri venerandi | amore precipuo pre ceteris celato | ris. A d gloriam laudemque sanctissime tri | nitatis; dive et virginis totiusque hierar | chie celestis, eiusdemque prefate se | dis observantiam reverendissimam | Anno dominice incarnationes post | millesimum quaterque centessimum nona | gessimo secundo. Kalendas Iunias; feli | ci auspicio Venetiis est completum.

256

Collation (Garcia Rojo): 2 0 . 776 [a 8 ] b-h 8 i6 k-m 8 10 12 8 6 8 A ^-.8 r^ C 6 cc n o p q r—y A—C U—b —220 rr., numbered [ 6 ] I - C C X X I I I [2]. 4 1 11. 2 col. Illustration: woodcut Crucifixion, f. 06. Music: printed notes and staves. Music pages: within quires n and o. Music type: R9. Music Books and Their Locations

Bibliography: Elias Olmos y Canalda, Incunables de la catedral de Valencia, Madrid: Semana Gràfica, 1 9 5 1 , 55—56; Diosdado Garcia Rojo and Gonzalo Ortiz de Montalvan, Catalogo de incunables de la Biblioteca nacional, Apendice, Madrid, 1958, pp. 3 3 6 - 3 7 . Copies: E-Madrid, B N ; Valencia, Cat 2 , one vellum. Copies seen: E-Madrid, BN, photo of f. 06 (cxx). Size: 355 X 235 mm. Missale Ordinis Eremitarum S . Pauli. See Missale Ultramontanorum. [Briinn: Conrad Stahel dC Mathias Preunlein, ca. 1 4 9 0 . ] Missale Ordinis Eremitarum S . Augustini. [Venice, 1 4 8 0 - 1 4 9 0 . ] C 4128;

W

i8O3

Collation (C): 37 11. 2 col.

20.

a-o

A - 0 = 202

ff.

Copies: None known. Missale

Ordinis

Carmelitarum.

Brescia:

Bonino Bonini, 14 V I I I 1490. See Fig. 62. C 4105; R y.i95 (248 ff.); Goff M 642; IGI 6560; CIBN M394; Pellechet 8io3 (8o33); Sander 4686; W 1884; M-B 219 Incipit, f . ai (i), red: [ I J N dei nomle ac indi- | uidue trinitatis. | Incipit mijjale Jecu- | du ordine Frm Carmeli- | taru3- Explicit, f . Sjy (clxxxxvjr): Explicit Mijjale J m ordi-| nem Fratru3 diue ac Im I maculate virginis Marie | de monte Carmelo rite J I recte correctu ac cajtigatu. | ImpJJu Brixie Igeio ac J o ] lerti cura Bonini de Bo- | ninis de Ragujia. ano do | mini. Mcccclxxxx. die. xiiii. | Menjis Augujti. [printer's mark, B B ] , Collation: 2 0 . 7T6 a—i8 k 6 1 4 m6 n - 0 8 p 6 A—L8 M 6 N - O 8 P 6 Q - R 8 S 6 = 2 5 4 ff., numbered [6] i—lxxxii [ 2 8 ] Ix—clxxxxvj [ 1 ] . 35 11. 2 col. Illustration: Crucifixion, f. p2 v . Music: printed notes and staves. Music pages: m i ' v , m2v—m5, m6v—n4", oi v —o2 v , o4v—8V, p2, P4—P5 V —34 pp. Staves: 9 red 4-line staves per page,220 X 138—40(63—65). Music type: R 3 1 . Copies: D-Stuttgart, W L ; F-Paris, B N ; I-Milan, B N ; US-TX-Dallas, S M U . Copies seen: D-Stuttgart, WL, Inc. 11275B. Lacks f f . pi, P3—p6. Sequences on 14 manuscript leaves at end. Manuscript canon on vellum. ¥-Paris, BN, Rés. Vél. 262. Vellum. Lacks gathering p; inserted in place of it are 5 vellum leaves in manuscript beginning " T e igitur" which contain no music. Decoration: major initials in gold and colors, medium initials in blue. Size: 307 X 205

mm. Provenance, f. 77" i : stamped Bibliothèque Impériale. Binding: vellum (reused manuscript and printed leaves). l-Milan, BN, AK-XIII-22. Lacks gathering 77 6 and ff. k6, 03, 06. Because the Crucifixion has been copied by pricking, the music leaves preceding it are marred. Size: 291 X 193 mm. Binding: three-quarter leather with paper. —

Missale Ordinis Carmelitarum. Venice: [ J o hann Emerich of Speier for] Luca Antonio Giunta, 5 I 1 5 0 0 / 1 5 0 1 . C 4106; Essling 2 7 2 ; Marais 594, îoySA; Pellechet 8104 (8034); Sander 4687; Voulliéme B 4457; W 1885; M-B 220 Title, f . A1, red: MiJJale J m vjum | carmelitarum. [woodcut in black of "Vexilum Carmelitarum"; printer's mark in red, L A ] . Incipit, f . ai, red: ({rincipit mijjale fratrum Jacri | ordinis gloriojijfime dei genitri | cis Jemperq3 virginis marie de | monte carmeli extractum et ex | cerptu de approbato vju dnici | Jepulchri Jctë hierojolymitane ecclejie. Explicit, f. J6 (CLXXXII), red: (^Explicit mijjale J m ordinem | fratru gloriojijjime dei genitri-1 cis Jemgq3 virgns marie do mô- | te carmello : per venerabilem J a | ere theologie magijtrû fratre3 | ioannë mariam de polucijs Jeu | prandinis de noualaria eiujdë I Jacri ordinis: magna CU3 diligë- | tia emendatu. Quod impenja | Jua ac Jolerti cura nobilis vir | Lucajantonius de giunta flore | tinus in Uenetoru ciuitate flo- | rëtijjima iprejjit. Anno natalis | dni. M.ccccc. Nonis Ianuarij. Collation: 2 0 . A—B 1 0 a—k8 l 6 e m—o8 p 1 0 q—z8 -s = 2 i 2 ff. numbered [ 2 0 ] I - C L X X X I I [2]. 39 11. 2 col. Illustration: woodcut Crucifixion, f. 1 2 ; woodcut initials. Music: printed notes and staves. Music pages: I15, h8, i i - i 2 v , ¿4—iy, k 2 - k 4 " , k 6 - l i , [I2?], v Lf — = 3 1 [ + 1 ? ] pp. Staves: 10 red 4-line staves per column, 260 X 176—77 ( 8 3 - 8 4 ) mm. Music type: R 1 9 . Bibliography: see no. 722 and plate 98 of title page in Isak Colijn, Katalog der Inkunabeln de Kgl. Bibliothek in Stockholm, Stockholm: Almquist ÔC Wiksells, 1 9 1 4 . Copies: D-Berlin, S P K ; F-Paris, Maz; S-Stockholm, KB. Copies seen: ¥-Paris, Maz, ioj8. A. Lacks f. I2; 2d ccl. of (. l5 r_v missing, supplied in manuscript. Watercolored initials, rubricated in red. Size: 350 X 243 mm. Binding: blind-stamped

leather over boards, restored at spine, clasps missing. —

Missale Ordinis Humiliatorum. Milan: A n tonio Zarotto for Antonio de Capella, 2 5 I 1504. C 4138 (ca. 1490); CIBN 2:267; Ganda 169 ([ca.1490]); Pellechet 8114 (8044); W 1800 = 1801 (ca. 1490); M-B 209 (ca. 1490) Title, f . 7Ti, red: Mijjale Jecundum morem et conjti | tutiones fratru3 ordinis humi | liatorum: Jub diui benedi | cti regula militantium. | [date pumiced from copy seen] Incipit, f . ai, red: In nomine domini nojtri ieju chrijti. | Incipit ordo mijjalis : Jecundu3 for | mam fratrum ordinis humiliatoi/1 Dnica prima de aduentu. Officii^. Explicit, f . l8v, red: Injpice tu qui Jacro delectaris Jtudio: nec me | Jquallidum Jcriptura: nec inemendatum | negligentia cognojces: que me her | cle prejentijjima in litteris com | moda: Ji nouis operibus boa | impreov prejtitijjet indu | Jtria. Iam pene coclama | ta latine lingue uolumi | na: Jic reparari aut | uindicari non | indigerent. | f f f | black: ImpreJJum. Mediolani per. Antoniu Zarotu. par. Impenjis Venerabilis pa | tris domini. Antonii de. Capellis: Jancti georgii: ecclejie ad puteum album mo | deratoris: ductu J aujpicio. ReuerendiJJimi domini fratris primi crijpi braide | prepojiti: ac eiujdem ordinis humiliatorum generalis vicarii. Collation: 2°. 778 a—l8 m 6 n-z 8 j = 198 ff., numbered [ 8 ] I - L X X X V [ 1 0 5 ] . 44 11. 2 col. Illustration: woodcut Crucifixion, f. m3 v ; woodcut initials. Music: printed notes and staves. Music pages: notes and staves in first two gatherings; from f. f 2 , only staves: a6—a8, b3 r v , f2—gi, g3~g4, g 7 ~ g 8 , h2 r _ v , h3v—114, h6v—k2, k4v—li, I3—m2v, [m3 blank], m^—ni, r-j—r8v, X3—X5 = 99 ff. Staves: 9 red 4-line staves per col., 2 3 1 X 166 (76—80) mm. Music type: A 3 . N o t e : since the last three lines of the title with the date had been pumiced from the Paris copy, Van Praet assigned a date (ca. 1490) that was followed by C , W , and Ganda. C I B N 2: 267 assigns the correct date to the copy. M - B described the work as having printed staves and "musical notes very carefully written, resembling type." T h e notes on the first seven pages of music use Zarotto's music type. Copies: F-Paris, B N ; I-Milan, B N . Copies seen: FBibliography of Italian Music Incunabula

257

Paris, BN, Rés. Vél. 260. Vellum. With manuscript music. Size: 332 X 230 mm. Binding: gold-stamped black morocco. Van Praet, 1: 246, 345.

1 3 1 . Missale Ordinis Praedicatorum. Venice: Ottaviano Scoto, 24 X I I 1482. See Fig. 40. H 11289*;

P 4572;

IGI

IDL 3240;

6578;

Sander 4711 ; W 1815;

BMC

V:277;

Essling M-B

Goff M 636; 248;

LD

569;

212

Incipit,/, bi, red: Incipit mijjale Jecüdü ordine3 | fratrü predicatori^. Explicit, f . ¡¿io: Explicit Mijjale Jecundü or-1 dinem fratrum pdicatov. Im I prejjü venetijs opera J expéjis | Octauiani Scoti Modoetié I Jis MCCCCLXXXII. Nono Kalendas Ianuarij. 0

10

s

s

10

Collation: 4 . a b—z I 9 ^ = 2 i 2 ff.; k4 signed lc2. 34 11. 2 col. Gathering a: unsigned, a i , unsigned, a3, a4, and five unsigned leaves; ff. a i and a i o have different watermarks. Illustration: woodcut Crucifixion, f. i8 v . Music: printed notes and staves; staves only on part o f f . 1 8 (Sanctus and Ite Missa Est). Music pages: k 3 r v , k 4 v - k 5 , li—18, m 2 - m 3 = 22 pp. Staves: 8 red 4-line staves per col., 142 X 108 (51—53) mm. Music type: R4. Copies: D-Cologne, SB; D-Berlin, Kup; Stuttgart, W L ; Würzburg, U B ; Leipzig, U B ; E-Montserrat, Ben; GB-London, BL; Oxford, U L ; I-Bologna, B U ; Florence, B N ; Milan, B N ; Siena, BC; N L - T h e Hague, K B ; U S - C A - S a n Marino, Hunt. Copies seen: GB-London, BL, Hirsch III. 930. Binding: leather over cardboard. IA. 21186. Six leaves added at end for Offices. Decoration: initials colored in red and blue, colored Crucifixion. Size: 217 X 156 mm. Provenance, front paste-down: Istud missale pertinet ad conuentum bambergensem ordinis fratru pdicatoy. Binding: blind-stamped leather over boards (restored); 2 clasps. Oxford, UL, Auct. 1Q.VII.12. Manuscript prayers on f. ì^io": Collecta d' St5 Sebastiano pro peste. Decoration: initials colored in red and flourished. Provenance, f. aio: fratru predicato)^ Franckfordie. Binding: calf edged in gold (J. Wright). 1-Bologna, BU, A.V.KK. IX. 10. Decoration initials in red and blue, some flourished. Provenance, £ a i : Domus Cathedralis bononiensis. Date of rubrication, 24 Oct. 1492, under colophon. Binding: blind-stamped leather with rolled frame (restored); 2 clasps. Florence, BN, A. 7.10. Manuscript prayers for St. Catherine, f. yio v . Provenance, f. [ai}: Questo libro sia dato a fra Rubto Ioanj. Binding: marbled paper over cardboard. Milan, BN, Gerii Inc. 38. Lacks part of f. Provenance: Duke of

258

Music Books and Their Locations

Parma. Siena, BC, M. VI.9. Provenance: Questo messale e della sagrestia di Santo Spirito . . . cistadino Girolamo . . . 2. di maggio. 1537. U S - C A San Marino, Hunt, 92517. Decoration: initials in blue. Size: 2 1 7 X 155 mm. Provenance, label: Ch. Fairfax Murray. Binding: blind-tooled and stamped pigskin over boards with bosses and clasps.

132. Missale Ordinis Praedicatorum. Edited by Francesco of Milan &C Pietro Giustino Filelfo. Milan: Antonio Zarotto, 1482. Goff M-B

M 637;

IGI

6577

(vol.

4,

plate

21);

211

Incipit, f . ai, red: Incipit mijjale Jecundum ordine I fratrum predicatorum. Explicit, f . O5: Explicit Mijjale secundum ordi | nem fratrum predicatorum. im I prejjum Mediolani per A n t o | nium zarothum. Recognitum uero 7 emendatum per fratre3 | Francijcum mediolanenjé e i u j | dem ordinis J Petrumiujtinu | philelfum. A n n o domini Mille

I JimoquadringenteJimooctoge

| Jimo-

Jecundo. Collation: 2°. 7r 6 a - h 8 i6 A - I 8 L - N 8 O s = 178 ff.

41 11. 2 col. Illustration: woodcut Crucifixion? (f. i6 missing); woodcut initials. Music: space for music. Music pages: h8—Ì5, [ i 6 ? ] , A i - A 2 = i 4 ( + ?)pp. Copies: I-Cupramontana, B C ; Florence, Laur; U S Washington, LC. Copies seen: US-Washington, LC, Vollbehr. Lacks ff. i6 (Crucifixion?). Leaf inserted after f. h4 for Holy Saturday; it includes space for the music of the Ecce lignum. Decoration: major initials in blue with red flourishing; minor initials in blue. Size: 319 X 237 mm. Binding: blind-stamped leather over boards, 2 clasps missing.

133. Missale Ordinis Praedicatorum. Naples: Matthias Moravus for Francesco Palmieri, 29 III 1483. See Fig. 17. H 11290;

P 6703; BMC

Goff M638;

IGI

Bresciano 130; M-B

213

6579;

VL864 CIBN

Pellecbet 8108

(printed staves); M398;

(8038);

Fava and W

1816;

(printed staves)

Incipit, f . [ai],

red: Incipit ordo mijjalis Jecùdu |

conjuetudiné ordinis fratru | pdicatoru.

Do-

minica prima | in aduentu domini. I n t r o i t i

Ex-

plicit, f . [pp5 7 : Maiores nri T Romani ciues plu | rimu elaborarùt ut noie pjaltè: | Q m uité non poteràt: indebiles («e: indelebiles?] | fierét: J laude adipijcerét^ eterna | 7 h' aut Iris aut uir-

tutib^ aut opi | bus còjeqbant^: quoru uejtigia | emulati FràciJc^ palmerius N e a | politan^ ciuis Itegerrim^ ad hui^ | cemói gl'e fajtigiii ajpirans: Jibi | nome gpetuu uédicauit. D u pdi | catorie religiòis uiris Jummu bn | ficiu pjtitit: Qnquidè Jtuduit ut | Juis impéjis h' diuia oga impme | ret^: Eà ob ré pfati ordis cultors | J fres deo pees federe a j t r l g a t 9 : qtiis Fracijc^ diuti 9 uiuat JoJpes | 7 incolumis | ImpJJit Mathias morauus N e a p | Anno Jalutis. M . cccc. Lxxxiij. | Die.xxviiij. Martij.

Decoration: initials in blue, flourished in red. Size: 164 X 119 mm. Provenance: f. 77" 1: Ex bibliotheca conuentu SS. Annuncion Parissis ordini FF Praedicatorum; stamp of the Jacobins of S. Honore. Binding: rolled leather, 2 clasps missing. GB-London, BL, IA. 2203-}. Manuscript music added. Lacks gathering 7710 and f. 27T4- At end, 41 leaves of manuscript prayers. Binding: stamped pigskin. 1 3 5 . Missale Ordinis Praedicatorum. Venice: Simone Gabi, called Bevilaqua, 13 V 1487. H 11292 f (8°); Essling 250; Maittaire 1:488; Panzer 3:247, 1032; W 1818 Explicit (H): Per Symonem Papiensem dictum Bibilaquam. Collation ( W ) : 40. 7T aa—dd [ee] f f - m m 00—zz *n8 99 V1/8 AA—CC —232 ff., numbered (8) 222 (2). 36, 23 11. 2 col. Bibliography: Michael Maittaire, Annales Typographici ad Artis Inventae ad Annum MCCLXIV, 5 vols., T h e H a g u e , 1719—1725; Amsterdam, 1733; London, 1741, 1:488. N o t e : B M C V:xlviii: " T h e Dominican Missal appears as dubious now as it did to Hain 11292, obelized for doubt." T h e entry could be an error for the work published by Bevilaqua on the same day and in the same month of 1497 ( D 138; identical signature). However, the 1487 Missale Romanum ( D 73) now attributed to Bevilaqua was reprinted by him with the same signatures in 1499, so it is quite possible that the Missale Ordinis Praedicatorum described by Maittaire and H did exist and was reprinted by Bevilaqua in 1497. Copies: none known.

Collation: 4 °. Unsigned (BMC) [ A - B 8 C 6 a - t 8 v10 aa—oo8 pp 6 ] = 302 ff. 33 11. 2 col. Music: space for music. Music pages: [ b 5 ~ c i , n2 v -n6, 03—piv, p 2 v - p 4 ] = 35 pp. Copies: F-Paris, BN; GB-London, BL; I-Naples, BN; Rome, Ang. Copies seen: F-Paris, BN, Vél. 1704. Vellum. Lacks gathering o. The red staves have been carefully drawn by raster; M-B described them as printed. Manuscript plainchant on 3-line staves. Decoration: initials in gold and colors. Provenance: Comte Boutourlin. Binding: red morocco stamped in gold. GB-London, BL, IB. 29423. Manuscript plainchant on 4-line staves drawn by raster. 1 3 4 . Missale

Ordinis

Praedicatorum.

Venice:

Nikolaus von Frankfurt, 1484. H 11291*; P 4800; BMC V:335; IGI 6577-A; IDL 3241; CIBN M399; Essling 249; IBP 3795; LD 572; Livres de liturgie, 308; Pellechet 8109 (8039); Polain 2727; Sander 4712; W 1817; M-B 214 Incipit, f . ai, red: Incipit mijjale ordì- | nem fratria predicatorii. [ Dnica prima in aduentu | domini Officium. Explicit,/. Nnv, red: ImpreJJu3 venetijs arte | et impenjis Nicholai de | Frankfordia Anno do | mini. M.cccc.lxxxiiij. | D e o gratias. Collation: 8°. 7710 2 7r 4 a - y 8 A - M 8 N 1 2 = 2 9 8 fF. 31 11. 2 col. Illustration: Crucifixion, f. p2 v . Music: printed staves. Music pages: lyv, m$v— m4v,m6r-v, myv—n^, 01, 02—p2, p4v—5"— 37 PPStaves: 8 red 4-line (and 3-line) staves per col., 109.5—110.5 * 69-72 (32-34) mm. Copies: F-Paris, BN; GB-London, BL; I-Rome, Ang; NL-Nijmegen, TB; P-Cracow, PAN; Gniezno, AA; Poznan, AA; Wroclaw, BU. USCA-Los Angeles, UC. Copies seen: F-Paris, BN, B 11515. Lacks 8 leaves of first gathering and f. N12.

—

Missale Ordinis Praedicatorum. Venice: Johann Hamman for Ottaviano Scoto, 29 I 1493/1494. Molitor, Deutsche, p. 41; W 1821. Explicit (W), f . 272": Venetiis, Johannes H a m man dictus Herzog, impensis Octaviani Scoti, 1493, IV.kal.feb. Collation ( W ) : 8°. 272 ff. Music (Molitor, Deutsche): printed notes and staves. Staves: 7 red 4-line staves per col. Music type: roman plainchant; virga 4 mm high with a head of 2 mm. N o t e : probably a ghost. Molitor's description of the edition, passed on to Weale, agrees with the Scoto edition of 1 II 1494/1495, with the excepBibliography of Italian Music Incunabula

259

don of the interpretation of the word "quarto", which he translated as referring to the day of the month instead of the year: "nonagésimo quarto Kalendis februarij." Copies: none known. W lists a copy at D-Freiburg im Breisgau, U B , but a letter from Librarian Martha Spies reports that the collection has no copy.

1 3 6 . Missale Ordinis Praedicatorum. Venice: J o hann H a m m a n f o r O t t a v i a n o S c o t o , i

II

1494/1495. H 11293; P 5192; BMC V;425; Goff M639 IGI 6580; Essling 2 5 1 ; IBP 3797; LD 5 7 5 ; Pellechet 8110 (8040); Sander 4713; W 1822; MB 215 Title, f . TTi, red: MIJJale Jecundü ordi- | nem fratrum predicatov | ordinis J c l Dominici | Incipit, f . 1,3, red: Incipit mijjale Jecundü or- | dinem fratrü pdicatorü ordi- | nis Jancti D o minici Dñica J prima in aduètu dñi officiü. Explicit, f . 29, 6y (272 "), red: Mijjale Jcd'm morem J còjue I tudinem fratrü predicatorum | ordinis Jancti dominici dili- | genti Jtudio reuijum emenda | tumq3: IuJJu et impenjis no- | bilis Octauiani Scoti ciuis | Modoetièjis: imprejjum V e | netijs per Iohanné hamman | dictu3 hertzog: feliciter expli | cit. Anno Jalutifere natiuita- | tis pojt millejimum quaterq3 | centejimü nonagejimoquarto | Kalendis februarij. Collation: 8°. 7T8 i—io8 12 8 14—29 s = 232 ff., numbered [ 8 ] 1—272, with large omissions after quires 1 1 and 27. 36 11. 2 col. Illustration: Crucifixion, f. 12,3" (99"). Music: printed notes and staves. Music pages: 9,8; 1 0 , i v ; 1 0 , 2 - 1 0 , f ; i 2 , 3 - 2 i 2 , 3 ; 2 i 2 , 6 - 2 i 2 , f ; 2 1 2 , 8V — 34 pp. Staves: 7 red 4-line staves per col., i n X 8 1 (38—38.5) mm. Music type: Rio. Copies: D-Gottingen, U B ; F-Paris, B N ; GB-London, BL; I-Brescia, BC; Florence, B N ; Milan, Ambr; B N 2 ; Rome, Ang; P-Warsaw, B N ; Wiociawek, Sem; Wroclaw, B U ; S-Stockholm, KB; U S - C N - N e w Haven, Y U L . Copies seen: F-Paris, BN, Rés. B. 11516. Lacks f. TTi. Decoration: initials in blue with red flourishing; watercolored Crucifixion. Provenance, f. 77" 2; Ex libris ffrls Praedicatorum Pavidiensem; stamp of Jacobins R. S. Honoré; f. 29,8: Conuentus Vallencenensis ordinis predicatorum. Binding: leather stamped with angels playing instruments. GB-London, BL, I A. 23366. Six manu-

260

Music Books and Their Locations

script leaves of prayers at end. Size: 170 X 1 1 2 mm. Provenance, f. 771 : Frat' Iohanes d'orrjchot ordinis frm predicato^ 9ventus Bujtoduerii. Binding: goldstamped leather (17th century). I-Brescia, BC, B VI.13. Decoration: major initials in gold and colors. Size: 174 X 1 1 8 mm. Florence, BN, M. 7.45. Stubs placed between gathering 12 and 14 for nonexistent gathering 13. Size: 178 X 1 1 7 mm. Provenance, £ 7Ti: Conuétus s.n Iacobj et s." Miniati fl. Milan, Ambr, Inc. 575. Two leaves at end for "Missa quindecim auxiliatorum." Provenance, f. 29,6": Istud Missale est S. Marie Gratiarum dati. Binding: ruled and rolled frame on leather (restored), 2 clasps missing. Gerii Inc. 75. Provenance: Duke of Parma.

1 3 7 . Missale

Ordinis

Praedicatorum.

Venice:

Andrea Torresani, 30 X I I 1496. See Fig. 5 1 . H 11294*;

P 4742;

IGI 6581; gathering (8042);

CIBN of

BMC

M401;

12);

V.312;

IBP 3798;

Sander 4714;

Goff

M640;

Essling 2 5 2 (248 ff., y Pellechet

W 1823; M-B

8112

216

Title, f . A1, red: M i j j a l e J m conjuetudinem fra | trum predicatorum cum | omnibus additionibus | tam ad conuentua | lem cj ad priua- | tam mijjam I pertinenti | bu | s |. | Incipit, f . ai, red: Incipit Mijjale J m

ordinem

| fratrum

predicatorii.

Dnica I prima in aduentu dni. O f f m . Explicit, f . z8\

red:

Mijjale J m

cojuetudinem

fratru

pdicato^ I cum omnibus additionib^ tam ad 9uen| tualem q ad priuatà mijjam pertinétib^ | ex exemplari cajtigatijjimo exceptum | per magijtru Andrea de torrejanis | de A j u l a tepore

pa-

tris fratris | lohachini turriani ueneti Jacre | theo e eximij pfejjoris ac totius | ordinis pdicti gnalis magri | JolertiJJime impjjum anno | Jalutis M°cccc°xvcj°.

die

| v'o penultimo menjis |

decèbris felicijfime | explicit. | [printer's mark]. Collation: 2 0 . A 8 B 1 2 a 8 b—u10 x—y8 z 1 0 — 2 4 4 ff., numbered [ 2 0 ] 1 - 2 2 2 [ 2 ] . 36 11. 2 col. Illustration: woodcut Crucifixion, f. Ì5V. Music: printed notes and staves. Music pages: a7 v , bio, f 5 v , g 9 v , h2 v -h3, h4,115, Ì19—Ì5, Ì7—i8v, l i , 0 1 0 = 2 7 pp. Staves: 9 red 4-line staves per col., 2 5 8 X 1 7 3 (80) mm. Music type: R 2 2 . Copies: D-Munich, SB; Stuttgart, W L ; DK-Copenhagen, KB; F-Paris, B N (vellum); GB-London, BL (vellum fragment); Oxford, U L ; I-Brescia, BC 2 ; Florence, B N ; Milan, B N ; Rome, Ang; Verona, B C (vellum); P-Wroc/aw, B U ; U S - N Y - N e w York, PL; Washington, L C (vellum); Y-Dubrovnik, D.

Copies seen: F-Paris, BN, Vél. 263. Vellum. Lacks f. zio. Provenance: Joannes Chrysostemus de Casali, 1663; 1745, Di Giacopo Soranzo. Size: 352 X 249 mm. Binding: vellum. GB-London, BL, IB. 21741. Vellum. Lacks f. zzo. Decoration: initials in gold and colors. Provenance (bookplate): Liber Willellmi Maskell Clerici; BL purchased in 1848. Binding: green velvet. C 24. f . 11. Vellum. Fragment of ff. 9-20 (signature B). 1-MiLm, BN, AL-XIV-8. Lacks f. ¡5. Manuscript prayers at end (14 ff.), dated 1579. Size: 363 X 240 mm. Provenance, flyleaf: Est Conuentus S" Eustorgii Mediolanen' fr'um ordls Pred 1496. Binding: marbled paper over paper boards, leather spine. Verona, BC, Inc. 1118. Lacks f. ¡5 (Crucifixion) and f. zio. Decoration: initials in gold and colors. Binding: blind-rolled and ruled leather over boards (restored), clasps missing. U S Washington, LC, Vollbehr. Vellum. Lacks gatherings A 8 , B 1 2 and ff. Z9—zio; [14 mis-signed H3. Decoration: initials in gold and colors. Size: 335 X 239 mm. Provenance: dedication copy for Pope Alexander VI. Binding: black morocco stamped in gold. 1 3 8 . M i s s a l e Ordinis Praedicatorum. V e n i c e : S i mone G a b i , called Bevilaqua, 1 3 V 1 4 9 7 . H 11295; IGI 6582 (232 ff.); CIBN M402; Essling 253; IBP 3799; Pellechet 8111 (8041); Sander 4715; W 1824A (24off.);M-B 217 Title, f . ITI \ red: MiJJale Jecundum ordinem | fratrum predicatorum O r | dinis Jancti D o minici. f . aa3, (3), red: (fi Incipit mijjale Jcdm ordi- I nem fratru predicato!/ ordinis | Jancti D o minici Dnica pria | in aduentu domini officium. Explicit, f . CC6\ (272v, red: MiJJale Jecundum morem 7 | conjuetudinem fratrum pre- | dicatorum ordinis Jancti D o | minici. ImpreJJum venetijs | per Symonem Papienjem | dictu3 Bibilaquà. Anno do- | mini. M.cccc lxxxxvij. die ve | ro. xiij.Madij. f . CC8\ red: [printer's mark, S I M O N BIVILAQVA]. Collation: 8°. 7T8 aa-dd 8 [ee] 8 ff—mm8 oo-zz 8 ll 8 99 s i/>/8 A A — C C 8 = 2 3 2 ff., numbered [8] 1 - 2 7 2 [2}. 36 11. 2 col. Illustration: woodcut Crucifixion, f. mm3" (99"). Music: printed notes and staves. Music pages: i8, k k i v , kk2v—kk7", II3— mm3, m m ó ' - m m / , m m 8 v = 3 4 pp. Staves: 7 red 4-line staves per col., 1 1 2 X 81 ( 3 8 - 3 9 ) mm. Music type: R7. Copies D-Cologne, SB; Stuttgart, WL; F-Paris, B N ; H-Budapest, B N ; I-Brescia, BC; Lucca, G; Milan, Servi; Ravenna, BC; Verona, BC; P-

Wroc/aw, BO; S-Uppsala, U B ; US-CA-Los Angeles, U C . Copies seen: H-Budapest, BN, Inc. 1198. Lacks f. 771. Size: 160 X 1 1 5 mm. Provenance, back paste-down: est FrTs Dnici Tincti de Exio Praedicatoris; f. 772. Societtisjoh. ex liberalise Sm(?) S. Brigitta Bosnyat 1628. Binding: blindstamped black leather, gold edges. I-Brescia, BC, A. VI.5. Lacks ff. 77" 1, mm2—mm7, CC8. Decoration: initials in gold and colors. Size: 164 X 1 1 4 mm. Binding: blind-ruled and gold-stamped leather. Verona, BC, Inc. 27. Size: 160 X 1 1 3 mm. Provenance, front paste-down: Ad usum F. Vincentii M?e Cantoni de Mediolano Ordinis Praedicatoru, Anno 1730. Binding: blind-ruled and gold-stamped leather (FEP), 2 clasps intact. US-CA-Lo* Angeles, UC, 112417. Two manuscript leaves at back, humanistic hand, "Ante diem festum pasc.;" spoken parts for Peter, Christ, Thomas, etc. Binding: blind-stamped black leather over paper boards, 2 clasps. 1 3 9 . Missale Ordinis Praedicatorum. Venice: J o hann Emerich of Speier for Nikolaus von Frankfurt, 6 III 1500. H 11296; P5503; BMC XII:38; GoffM64i; IGI 6583; Essling 254; Pellechet 8113; Polain 2728; Sander 4716; W 1825; M-B 218 Title, f . 7Ti, red: MiJJale J m ordine | Jancti dominici. I [woodcut of St. Dominici] Incipit, f . 1,3 (3), red: Incipit mijjale Jecundu or | dinem fratru pdicatoru ordi- | nis Jancti Dominici Dnica I prima in aduètu dni Officiu. Colophon, f . 28,6r (272 "), red: MiJJale Jcdm morem J còjue I tudinem fratru predicatorum | ordinis Jancti dominici dilige | ti Jtudio reuiju emendatucg: | ImpreJJum venetijs iujju et impèjis mgri Nicolai de frac- | fort Alemani: Arte aut I inge | nio Ioànis Emerici de Spira | feliciter explicit Anno Jalutife I re natiuitatis dni. M.ccccc. | pridie nonis Martij. Collation: 8°. 77"8 1—28s f 8 = 240 ff., badly numbered [ 8 ] 1—96, 105—216, 2 5 9 - 7 2 [ 2 ] [8] (missigned 16 for 19; misnumbered L I for 7 1 , 27 for 72, 1 9 for 79, 168 for 198; 307 for 207, etc.). 36 11. 2 col. Illustration: woodcut Crucifixion, f. 12,3" (9i v ); woodcut initials. Music: printed notes and staves. Music pages: 9,8; 1 0 , i v IO,2 v -IO,7 v ; 1 1 , 3 - 1 2 , 3 ; i 2 , 6 , v - i 2 , 7 v ; i 2 , 8 v = 3 4 pp. Staves: 7 red 4-line staves per col., 1 1 0 X 80(38) mm. Music type: R20.

Bibliography of Italian Music Incunabula

261

Copies: B-Brussels, BR; D-Berlin, SPK; Frankfurt/ Main, SB 3 ; Munich, SB; F-Paris, Maz; GB-London, BL; Oxford, U L ; I-Florence, Laur; Parma, Pal; Rome, Ang; Cas; Venice, Cini; S-Stockholm, KB. Copies seen: B-Brussels, BR, A1219. Manuscript gathering at end with Kyrie incipits in gothic plainchant. Provenance, f. TT i: FF. Praedicatorum Louaniensum. Binding: blind-stamped leather, 2 clasps missing. D-Mumch, SB, 8° Inc. c.d.554/ Provenance, f. TT i v : Reverendissimus pater frater Menradus Muschgay ordinis praedicatorum hoc missale fratri Adamo Hainrichmayr eiusdem ordinis . . . dono dedit A o [15388 (see Ilona Hubay, Incunabula aus der Stddtlichen Bibliothek

Neuburg/Donau,

In der Benedictinerabtei Ottobeuren, Wiesbaden: H a r -

rassowitz, 1970, p. 435). Binding: rolled pig-skin, F A H I 1589. F-Paris, Maz, Inc. 1083. Lacks f. 12,$ (Crucifixion). Decoration: initials in gold and colors. Size: 161 X 103 mm. Provenance: Yves Mayeuc, Bishop of Rennes from 1507 to 1541; bookplate of Joseph Xaup, 1765, canon and archdeacon at Perpignan. Binding: tree calf. GB-London, BL, Hirsch III.928.

Oxford, UL, Douce B.B 85. Size: 158 X 105

mm. Provenance: A d usum f. Theodori Thiboll Anholdiensis Cruciferi coloniensis 1623; bookplate of Francis Douce. Binding: red morocco stamped in gold. l-Venice, Cini, 364. Lacks ff. TT2 and Try. Size 168 X h i mm. Binding: brown morocco (Lortic) with Essling coat of arms.

140.* Missale

Ordinis

Praedicatorum.

Venice:

Luca Antonio Giunta, 8 III 1500. C 4123; Essling 255; Sander 4717;

W

1826

Incipit (C): P e r A l b . Castellanum o. Praed. revisum. Explicit (C): xxv kal. apr. 1500. Collation: ( C ) : 8°. 40 ff., not numbered, +

352

ff., numbered = 392 ff. N o t e : a note in the margin o f the G W ms entry mentions: " W o h l Verwechslung mit der A u s gabe 1522, Kai. April., W e a l e - B o h a t t a 1842." It may be possible to interpret the colophon date as 25 cal. A p r i l 1500 or cal. A p r i l 1525 [not 1522]. Copies: none known.

W959*

Copies: none known. Gspan-Badalic cited a copy at the Archepiscopal Archive of Maribor, Yugoslavia; none can be found there today.

Music Books and Their Locations

Grammatica.

Venice:

Theodor Franck of Würzburg for Johann Lucilius Santritter, 21 III 1480. See Fig. 36, 38. H 11858*;

P 4498; BMC

IG I 6908; CIBNN142; RISM

V:28i;

Goff

N226;

Pellechet 8563

(8452);

B6 2:618 (8°, 247 ff.); Sdjó-Soltész

Incipit, f.

ai:

P. F R A N C I S C V S

2441

NIGER.A.

VENETVS.

I

SACERDOS.ARTIVMQVE

DOCTOR

I

LEONARDO

BOTTAE.

EQVESTRIS I ORDINIS VIRO PRO MEDIOLANEN SENA-

I SI D V C E . A P V D

I TVM

ORATORI

VENETVM FACVNDIS-

SIMO SA I PIENTISSIMOQVE

FOELICI-

T A T E M . Explicit, f. dd4y: P . F R A N C I S C I N I GRI .A. V E N E T I

SACeR

| dotis artiumcß

doctoris:aruntina grammatica ad JplendidiJJimü equitem leonardü bottam | pro JereniJJimo duce mediolani TORVM

apud

illujtrij | S I M V M

SENATVM

FACVNDISSIMVM

O

FOELI

|

VENE-

RATOREM

| CITER

EX-

P L I C I T A E S T . P L A V D I T E . f. ddy. C . Ioannes Lucilius Santreiter de Fonte salutis: | omnib. JtudioJis adolejcentib. foelicitaté dicit:. . . ImpreJJi libros dC monumenta Jui . . . O foelix patriae tempus dC omne meae. N u n c tua me laetü excipiunt bona moenia ciuem Inq3 Jinu patriae iam moriturus ero. Sed prius a nobis parua haec manujcula Jume: Q u a e mihi doctoris Junt monumenta mei. C u i referes dignas quum tanto munere grates. Lucili memores patria chara tui. Valete. aeC A H K a. Santritter helbronna genitus de gente ioannes Lucilius: prompjit grammata docta nigri. H e r b i p o l i j q Jatus Jocio Judore: lacunis ANNO

S A L V T I S . M . C C C C . L X X X . XII. |

C A L . A P R I L . Impressü è hoc op? V E N E T I I S \

mone Gabi, called Bevilaqua, 1500.

262

Francesco.

H o c uenetis francus fert theodorus opus.

141.* Missale Ordinis Praedicatorum. Venice: SiH 11417; Essling 55; Gspan-Badalic 458; Collation ( W ) : 8°.

142. Niger,

DVCE VIRTVTE & COMITE FORTVNA. Collation: 4°. a - i 8 k ( 8 + 1 ) 1 - f

s-z8

9

8

&8 Px8

aa—cc 8 d d 6 = 2 4 7 ff. 24 11. 1 col. Music: pages:

printed notes without staves. 9Ó-98 V

= 6 pp. M u s i c type: M i .

Music

Copies: over 50 copies known (see RISM B6, IGI, etc.). Copies seen: H-Budapest, BN, 1015 (2). Binding: blind-stamped leather, bound with Niger's Parnassiae. I-Venice, Cor. Lacks ff. y2 and yy. Size: 210 X 150 mm. Provenance, front paste-down: ex libris of Cicogna (Venice). Binding: paper over paper boards, leather spine. Y-Ljubljana, BN, Tesoro Inc. 5685. Size: 197 X 139 mm. Binding: brown paper with leather spine. —

Niger,

Francesco.

Grammatica.

Incipit, f . [ 2 9 — 3°> 39~4°1905—1924; reprint Nendeln, Liechtenstein: Kraus, 1968. Hain. ( H ) Hayburn, Robert F. Papal Legislation on Sacred Mu312

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sic 95 A.D. to 19JJ A.D. Collegeville, Minn.: Liturgical Press, 1979. Heartz, Daniel. Pierre Attaingnant, Royal Printer of Music. Berkeley and Los Angeles: University of California Press, 1969. . "Typography and Format in Early Music Printing." Notes 23 (1967): 7 0 2 - 6 . Hellinga, Wytze, and Lotte Hellinga. The FifteenthCentury Printing Types of the Low Country. 2 vols. Amsterdam: Menno Hertzberger, 1966. Herault, Maurice. "Les Marmions (Jehan, Simon, Mille, et Colinet), peintres amiénois du X V e siècle." Revue Archéologique, 4th ser., 9 (1907): 119—40. Hill, George F. "Francesco Girardenghi: Note of a Portraitmedal." The Library, 4th ser., 6 (1925): 90. Hubay. Augsburg. Hubay. Eichstätt. Hubay. Missalia. Hubay, Ilona. Incunabula der Staats- und Stadtbibliothek Augsburg. Inkunabelkataloge bayerischer Bibliotheken. Wiesbaden: Harrassowitz, 1974. Hughes, Andrew. Medieval Manuscripts for Mass and Ofßce: A Guide to Their Organization and Terminology. Toronto: University of Toronto Press, 1981. Huglo, Michel. Fonti e paleografia del canto ambrosiano. Archivio Ambrosiano 7. Milan: Scuola Tipografica d: San Benedetto, 1956. . "Reglement du X I I F siècle pour la transcription des livres notes." In Festschrift Bruno Stäblein zum yo. Geburtstag. Kassel: Bärenreiter, 1 9 6 7 , p p . 1 2 1 - 3 3 . Hummel, Herbert. Katalog der Inkunabeln des Stadtarchivs Heilbronn. Heilbronn: Stadtarchiv Heilbronn, 1 9 8 1 . Incunabula in Dutch Libraries. (IDL) Incunabula quae in Bibliothecis Poloniae. (IBP) Indice de caratteri, con l'inventori, e nomi di essi, esistenti nella Stampa Vaticana e Camerale. Roma, 1628. The Type Specimen of the Vatican Press 1628. Facsimile, with intro. and notes by H . D . L. Vervliet. Amsterdam: M. Hertzberger, 1967. Indice generale degli incunaboli d'Italia. (IGI) Isaac, Frank. An Index to the Early Printed Books in the British Museum. Part 2: MDI-MDXX. Section 2: Italy. London: B. Quaritch, 1938.

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Index accidentals 6, 8, 27, 132, 135, Table i

Biavi, Bartolomei de' 108, 143

Agenda Aquileiensis,

Bologna 17—18, 65, 1 6 9 - 7 0 , Tables 5 - 6

Danfrie, Philippe Table 10

Agenda Brevis, 1495 ( — D i ) 113, 200

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Agenda Pataviensis, 1498 ( D 2 ) 1 1 3 - 1 4 , 117

Bonelli, M a n f r e d o 145, 147

de Villiers, Nicolas Table 10

Aiding, Heinrich D 3 3

Bonini, Bonino 71, 93, 171—73, Fig. 62

decoration, liturgical points of 3

Ambrosian rite and chant 2, 18, 37, 43,

Bosis, Andrea de 163, D 2 6

Descriptive Bibliography 10, 187—88

Brandis, Lucas 64

Dino, Francesco di D 1 4

Braudel, Fernand 20

direct 6, 27, 158, 176, Table 1

1496 ( D i ) 113

46, 66, 152—54, 160, Fig. 14—15,

2

9

Amelung, Peter 11, 13 Antico, Andrea 40, 68 Antiphonarium

Romanum,

1503/1504

( — D 2 ) I30

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Divine Office 1

breviaries 1, 42—43

Dominicans, see O r d o Fratrum Praedicato-

Brevianum Lubicensis 64

Aquila, Patriarch 113, D i

Britannico, Angelo 1 7 3 - 7 5 , P'8-

Aquileian chant 5, 50, D i

Britannico, Giacomo 71—72, 1 7 3 - 7 5 ,

A r a Coeli (Rome, Franciscan) 80, D 3 8

Dalmatia 143, 171

rum Duchemin, Nicolas 36, Table 10 Emerich, Johann, of Speier 5, 17, 19, 25,

Fig. 63

Arndes, Steffen 35, 37, 82

Brugis, Franciscus de 8, 66, 134—35

27. 2 9 — 33> 4 1 ' 49» 5•> 5 9 " 6 2 .

Aron, Pietro 269

Burgos D 3 1

68—72, 79, 92—93, 1 1 3 - 1 6 , 1 2 8 - 4 2 ,

Arrivabene, Giorgio 60, 72, 106, 120,

Burzio, Nicolo 179

M9—51'

R

Fig. 6 - 1 3 , 23, 26, 28, 30, 4 9 - 5 0 Burzio, Nicolo, Musices Opusculum 66, D 8

England 1 5 - 1 6 , 20, T a b l e 3, Fig. 3

calligraphy 74, 90

Estienne, Robert 36

Camaldolese see O r d o Fratrum Eremitarum

Esztergom, see (Latin, Strigonia) 49, 54,

Auch D 3 0 Augustinians see O r d o Fratrum Eremitarum S. Augustini Austria 1 5 - 1 6 , 20, T a b l e 3, Fig. 3

>

1 4 7 - 4 8 , 150, 174, T a b l e 7, 14, 23—25,

g - 55

Attaingnant, Pierre 37, Table 10

66

engraving, music printed from 64

113, 130, Fig. 22, 26, D121—D125,

Camaldulensis Campano, Giovanni Antonio 80—81

D127

B naturalis 6, 133, 140, T a b l e 1

Cantono, Ajolfo de 18

B quadratus 6, 133, 140, 142, 179, 181,

Capeila, Antonio de 163

Faelli, Benedetto D 8

Carcano, Antonio 162

Fell, D r . John 32

B rotundus 6, 117, 120, 133, 140, Table 1

Cardella, Simone, of Lucca 81—82

Ferdinand, King of Aragón and Naples 66

Balkan peninsula 20

Carmelites, see O r d o Fratres Beatae M a r -

Filelfo, Francesco 162

T a b l e 1, Figures 18—19, 66

Ballard, Robert 36 Bantono, Ayolfus de see Cantono,

iae Virginis de Monte Carmelo

Filelfo, Pietro Giustino 163

Casola, Pietro 154

Florence 18, T a b l e 6

Castaldi, Panfilo 152, 160

format 68—69, 1

Barozzi, Giovanni 157

Castiglione, Pietro Antonio 152, 160—61

Fossombrone 3 9 - 4 0 Fournier le Jeune, Pierre Simon

Ajolfo de Barreveit, G e r a r d D i 19

Caza, Francesco, Trattato vulgare 181, D 9

Basel 74, 152—53

Ceccolini, Gabriele 40

Bebulco, Ludovico de 156

cephalicus 1 3 3 - 3 4 ,

Benali, Bernardino 59, 6 9 - 7 0 , 1 0 6 - 0 9 ,

Clermont-Ferrand (Latin, Clarimontium)

123, 127, 149, Fig. 25, 41 Benedetti, Francesco, called Plato de Bene-

1

39> 1 71, Fig. 49

D32 Comin da T r i n o 127

dict! 179, Fig. 66

common note, see notation, plainchant

Benedicti, Nicolo de D 9 1

Constance, diocese 1 1 - 1 2 , 74, M a p 3

Beretta, Giovanni Antonio 37—38, 54, 166,

contracts 2 6 - 2 7 , 1 6 0 - 6 2

Fig. 21 Besançon 212, — D 3 0 Bevilaqua, Simone see Gabi, Simone, called

Corbo, Andrea (Sigismund Corwin) 40, 71-72 Cori, Bernardino de' 145

132, Table 17-18, 25

28—29, 32> 36 Francesco da Milano 64, 163 France 15—16, 20, T a b l e 3, Fig. 3 Franciscans see O r d o Fratrum Minorum S. Francisci Franciscus de Brugis see Brugis, Franciscus de Franck, T h e o d o r , of Wiirzburg 14, 41, 75, 9 9 - 1 0 1 , 133, Fig. 3 6 - 3 8 Frankfurt, Nikolaus von 4 9 - 5 1 , 60, 64, 116, 130, Fig. 20

cost 69

Fratres Ordinis see O r d o Fratrum

Biringucci, Vanuccio 23—24, 51

Council of T r e n t 21

Frederic of Egmont

bivirga 133, 136, Fig. 49

Crafto (Kraft?) 35, 82

Fünfkirchen, see Pecs

Blasi, Francesco 130

Credo, mensural 8, 25, 92, 133, Fig. 35

Fyner, Conrad 13

Bevilaqua

custos, see direct

319

Gabi, Simone, called Bevilaqua 69—72,

Hungary 20, 38

1 1 0 - 1 3 , F 'g- 4 2 _ 4 3 Gaffurio, Franchino 51, 64-67, 174, 179,

Hyrberia, Baltasar di Fig. 18—19

Merli, Giuliano 160

1 8 1 , 268, Fig. 19 Galilei, Vincenzo, Dialogo della musica antica 64 Gallus, Lupus 34, 81—82

plainchant, Messine-German Meyer-Baer, Kathi 1, 10, 15, Table 3

Ingolstadt 74, 81, 156

Milán 17—19, 66, 73—74, 152—65, Tables

Map 2

5-8 Misinta, Bernardino 174

Garamond, Claude 26-27, 35-36

Jenson, Nicolas 99, 143

missals 1, 69

Germany 1 4 - 1 6 , 73—74, Table 3, 19,

Johann of Speier 71, 126

Missale Ambrosianum, 1475 (D23) 43, 46,

kerned type see type, kerned

Missale Ambrosianum, 1482 (D24) 7, 14,

Fig- 3

162—63, Fig. 14—15

Gerson, Jean, Collectorium super Magnificat !3.

Kilchen, Jacob de 14

l

7

74. *53> Fig. 57

Gerulaitis, Leonardas Vytautas 18

King, Alexander Hyatt 13

Missale Ambrosianum, 1488 (D26) 163

Girardengo, Francesco 18, 20, 34, 37-38,

Köln, Heinrich von Fig. 19, D i 5 0

Missale Ambrosianum, 1494 (D28) 17, 66,

54, 72, 108, 166—68, Fig. 2 1 , 60

Köln, Johann von 126, D51

Fig. 29 Missale Ambrosianum, 1499 (D29) 158

Giunta family 40 Giunta, Luca Antonio 20, 27, 62, 71—73,

Lampugnano, Gasparo D i 4 8

Missale Auscitanum, 1495 (D30) 167, Fig.

115—16, 120, 127, 130, 133, Fig. 6—7,

Lavagna, Filippo di 152, 156, 160—61

10, 25, 41, 58

Lavezari, Guido de 116, 130

Missale Bastltense, [ 1 4 8 0 - 1 4 8 1 ] 152, 157

Glagolitic 5, 42

Le Bé, Guillaume 24, 26, 35-36, Table 10

Missale Bellicense, 1503 171

Gontier, Antoine 176, Fig. 64-65

ledger lines 33, Fig. 10

Missale Cabilonense, 1500 171

Gorgonzola, Nicolò 19, 163

Legnano, Giovanni de D6

Missale Clarimontense, 1492 (D32) 166

gothic notation, see notation, plainchant,

Le Roy, Adrien 36

Missale Ordinis Carmelitarum, 1490 (D130)

Le Signerre, Guillaume 179—181, Fig. 66

gothic

Liber Catechumeni, 1498 (D19) 147,

Geldner, Ferdinand 13 Graduale, [ca. 1473] 11—12, 14, 89, 5 > 157

Graduale Romanum, 1477 (D16) 18—19, 8

9 " 9 3 . '33. Fig. 34-35

Graduale Romanum, [1486} 14 Graduale Romanum, 1499—1500 (D17) 8, 17, 22, 27, 29—33,

62, 66, 7 1 , 73,

92—93, 130, 132—35, 150, Fig. 6—10, 12

171, Table 1, Fig. 2, 49

Missale Ordinis Praedicatorum, 1483 (Di33) 46, Fig. 17

Locatello, Boneto 103—04 Lomazzo, Giovanni Pietro da 181, D9, D12

50, Fig. 20 Missale Ordinis Praedicatorum, 1496 (D137) '43- Fig. 51

Lyons 71, 110, 171

Missale Parisiense, 1487 (D35) 60, 1 1 5 ,

Madi, Francisco de' D 1 5 4 *

Missale Romanum, [ca. 1472] (D38) 14, 43,

129, Fig. 23

Granjon, Robert 25, 3 5 - 3 7 , Tables 9 - 1 0 Greek type 71, 130, 160

Mainz, archdiocese 11 —12, Map 3

Griffo, Francesco, da Bologna 38, 40

Mainz, city 1, 11, 14

Guidonian hand 65—66

Mainz, ecclesiastical province 11 —12, Map

Hamman, Johann 3, 18—19, 4 1 . 49 - 5'> 55. 60, 68—72, 99, 102—03, n o , 113—20, 128—29, Table 7, 13, 22—23, Fig. 23-24, 27 Han, Ulrich 13—14, 18—19, 34 — 35' 55' 7°' I28

> i 5 6 " 5 7 . 174»

Table 7, Fig. 31 Haultin, Pierre 36—37, Table 10 Hertzog, Johann see Hamman, Johann Herzog, Johann see Hamman, Johann

3 Mantegazza, Filippo 181, D 1 5 Manthen, Johann D51 manuscript tradition 3, 5, 14, 43, 46, 70, 153, Table 1—2, Fig. 1—2, Map 1 Manuzio, Aldo 21, 38-39, 71—72, 75, 143, 297-98

45. 74-75. 8 ° . 8 3 - 8 4 . Fig. 3 1 Missale Romanum, 1477 (D43) 46, Fig. 16 Missale Romanum, 1479 (D49) 75 Missale Romanum, 1481 (D52) 120 Missale Romanum, 1481 (D55) 102, 120,

Marescotti, Giorgio 64 Martini, G. B. 200

Missale Romanum, 1482 (D61) 74, 153,

Maufer, Pierre

chant, Messine-German

Missale Romanum, 1476 (D42) 13 — 14, 17,

Fig- 39 Missale Romanum, 1482 (D60) 120, 124

Manuzio, Paolo 21

Humiliati see Ordo Fratrum Humiliatorum S. Benedicti

75, 83, 160, 162 Missale Romanum, 1476 (D41) 162

Majorca 130, 136

Materanensis, Johannes 8

Hungarian notation, see notation, plain-

46, 83 Missale Romanum, 1474 (D39) 14, 19, 43, Missale Romanum, 1475 (D40) 14, 45, 83

Hirdus, Jacob 130

Index

1 7 1 , Fig. 62 Missale Ordinis Praedicatorum, 1482 (D131)

Missale Ordinis Praedicatorum, 1484 (D134)

liturgical books i

-!3, 49-5°

73-74, 80-87,

60

Fig. 40

Fig- 54 liquescence 5, 7, 93, 103, 132-34, 163—64,

! 2

320

Messine-German notation see notation,

Illyria 143 Italy 3—4, 14—21, Tables 3—8, Fig. 3,

Gallus, Ulricus, see Han, Ulrich

Messina 17, D33

mensural music 66—67, 92—93» 99~ I 0 I > 6

Fig. 56 Missale Romanum, 1482 (D62) 1 0 2 - 0 3 ,

8

Fig- 35. 3 . 3 mensuration sign 133, 140, 179, Fig. 66

124 Missale Romanum, 1483 (D63) 149 Missale Romanum, 1484 (D65) 166-67

Missale Romanian, 1484 (D67) 106, 149

O r d o Fratrum Beatae Mariae Virginis de

music incunabula

Missale Romanum, 1484 (D68) 60

definition 1

Monte Carmelo 130, 136, 171, D130,

Missale Romanum, 1487 (D73) 69, Fig. 42a

distribution in Europe 14-16,

— D i 30 Ordo Fratrum Eremitarum Camadulensis

Table 3, Fig. 3

Missale Romanum, 1488 (D77) 60, 113

Italian production analysis 17-20,

Missale Romanum, 1489 (D79) 120, Fig. 44-45 Missale Romanum, 1489 (D81) Fig. 47

options for music 43

Missale Romanum, 1489 (D82) Fig. 46

space for music 1, 42—48, 130, Table 11, Fig. 14-17

Missale Romanum, [ca. 1490] (D83) Fig. 64-65

music printing 13

106—07, Pig- 25> 4 1

127, D100, D129 Ordo Fratrum Humiliatorum S. Benedicti .63 Ordo Fratrum Minorum S. Francisci 80,

corrections 8, 134

Missale Romanum, [ca. 1490] (D84)

130 Ordo Fratrum Eremitarum S. Augustini

Tables 4—8

D17, D38, D40, D41

first 11, 14

O r d o Fratrum Praedicatorum 113,

Missale Romanum, 1491 (D85) 126

first dated 13

Missale Romanum, 1491 (D86) 166—67,

red 3, 14, 60, 85—86, 134

ornamentation, see liquescence

sequence of impressions 90, 134,

Orsoni, Gabriele 160—61

Fig. 21

129-31, D131—D141

154

Missale Romanum, 1491 (D87) 115

two impression 13, 60, 85—86, 90,

Missale Romanum, 1492 (D90) 173—74, Fig. 63

woodcut 17, 64—68, 115, 173,

Missale Romanum, 1493 (D93) 17, 66, 70,

Table 15, Fig. 29—30

r i 5 , Fig. 30

Pachel, Leonard 18-19, 42, 71, 7 4 - 7 5 , 152, 156-60, 162, Table 7, 26, Fig. 58

n o , 134, 172

Padua 20 Paep, Johann 49, 59, 116, 130, Fig. 26

musica ficta 8

Paganini, Paganino 20, 60, 69, 72—73,

Nantes 143, 214, — D 3 4

Pallavicino, Giovanni Lodovico 162

Missale Romanum, 1494 (D99) 85, Fig. 33

Naples 17-18, 82, 93, 7 6 - 7 8 , Tables 5 - 6

Palmieri, Francesco D i 3 3

Missale Romanum, 1497 (D103) 143—44

neumes 5 - 6 , Table 1

Paltasichi, Andrea 49, 102, 171

Missale Romanum, 1497 (D104) 116

Netherlands 16, Fig. 3

Paolo of T r e n t see Comin da Trino

Missale Romanum, 1497 (D105) 147, Fig.

Nicolao, priest D29

Paris 55, 113, 131, Fig. 23, D35

Niger, Francesco, Grammatica, 1480

Parma 17-18, 8 9 - 9 8 , Table 5

Missale Romanum, 1494 (D96) Fig. 48

106, 149, Fig. 42a-b

Missale Romanum, 1494 (D98) 62, 115, Fig. 28

52 Missale Romanum, 1498 (D107) Fig. 43

(D142) 14, 17, 6 4 - 6 5 , 75, 133,

Passau3, 113, D2

Missale Romanum, 1498 ( D m ) 132

Fig. 36, 38

Passio Christ1 81

Missale Romanum, 1490 [not after 1498] ( D i 12) 147, Fig. 53 Missale Romanum, 1499 ( D i 13) Fig. 42b Missale Romanum, 1499 ( D i 14) 158

notation, mensural 8—9, Table 2, Fig.

Pavia 17-18, 20, 6 6 - 6 8 , Table 5

35-36, 38, type specimens M i , R2

Paula, Donna 126

(M),R2i (M)

Pecs (Latin, Quinque Ecclesiis) 130, D36

notation, plainchant 6, Table 1

Pensi, Cristoforo de 103, 122-24, F'S-

Missale Romanum, 1499 ( D i 15) Fig. 55

boundaries 2, Map 1

Penzio, Jacopo 145

Missale Sarisburiense, 1494 ( D i 18) 115

ambrosian 3, Table 1

Petri, Johann D2

Missale Sarisburiense, 1494 ( D i 19) 117

byzantine 3

Petrucci, Ottaviano 8, 14, 20, 27, 34,

Missale Strigoniense, i486 (D121) 54,

gothic 3, 5, Table 1

Fig. 22

common note 5

Missale Strigoniense, 1494 (D122) 115, 127,

Messine-German 5 - 6 , 49—55,

Fig. 24

Table 1, Fig. 22

Missale Strigoniense, 1500 or 1502 (D125)

Fig. 27

Moilli, Damiano 19, 74, 89—98, 133, 171, F'g- 3 4 - 3 5 monastic orders 301

Novimagio, Rinaldo de 69, 126-27 Neumeister, Johann 82

place-names, Latin 303 plainchant boundaries see notation, plainchant Planck, Stephan 18-19, 34, 7 0 - 7 4 , 8 2 - 8 7 ,

Odo, Dionysio de 5, 17, 169-70, 174, Fig. 61 Officium 1mm. Cone. BVM,

Table 7, Fig. 3 2 - 3 3 Plantin, Christopher 2 4 - 2 6 , 36, Table 9

1477 (D144)

81

Plantin-Moretus Museum 24, 27, 29, 32, Table 9, Fig. 5a-b plica 104, 171

Montano, Cola 74—75, 152, 156,

Ordo ad Catecbumeni Faciendum, 1482 ( —

polyphony 66

Moxon, Joseph, Mechanick Exercises 51

4 . '33,

Piasi, Piero di 70, 1 0 7 - 0 8

Onate, Giovanni Antonio d' 17, Fig. 29

Moravus, Matthias 18, Fig. 16

io

299—300

Montalli, Giovanni Antonio 90 160—62

,

Pinzi, Filippo 115, 127-29, Fig. 48

common note 5, 167, Fig. 1

Modes, Franciscus see Madi, Francisco de' Molili, Bernardo 19, 89—98, Fig. 34—35

I01

Pigouchet, Pierre 37

roman 5, Table 1

59, Fig. 26 Missale Valentinum, 1492 (D128) 62, 115,

3 9 - 4 ' , 65> 7 I - 7 3 > 75,

D142) 157 Ordo ad Catecbumeni Faciendum, 1487 (D143) 5, 17, 169-70, Fig. 61

Ponte, Gottardo da D11 * Pontificale Romanum, 1485 (D145) 85—86, Fig. 32

Index

321

Pontificate Romanum, 1497 (D146) 85

scandicus 127-28, 132, 137

Tommaso 71—72

population 20

Scinzenzeller, Giovanni Angelo 156

Torquemada, Juan de, Cardinal 81

Portugal 16, Fig. 3

Scinzenzeller, Ulrich 42, 152—53, 156—57,

Preller, Christian 73, 176—78, Fig. 64—65 Prestade Bormi, Francesco del 40

Scoto, Amadeo 39—40, 299

printing presses 22, 160—61

Scoto, Ottaviano 40, 49, 51, 64, 71-73,

51

44-45 Treviso 20, 171

printing shops 19, 166-67, Table 7

75, 102-06, 116, 120, 124, 149, Fig.

Tridentinus, Paulus see Comin da Trino

printing technique, see music printing

39-40

Turin 17, Table 5

privileges 39—41, 71—72, 75, 110, 115—16,

Segovia 130, D120

' 4 3 . 173 Processionarium Ordinis Praedicatorum, 1494

semibreve 92, 94, 133, 140, Fig. 35, 66

(D147), " 5 Proctor, Robert 11, 68, 71-72, 179

semiminim 140, 142 Sessa, Giovanni Battista 49, 71-73, 130, 145-48, Fig. 52-54

Przywecka-Samecka, Maria 14—15, Table 3

Sessa, Melchior 145

Psalterium, 1457 14Psalterium Ambrosianum,

Sicily 20

i486 (D148) 157, Fig. 58 Psalterium Ambrosianumy 1496 (D149) 19, 163

Silber, Eucharius 99, 127, 231 Siliprandi, Alvise D43 Siliprandi, Domenico D43 Sixtus IV, Pope 80

punctum additionis 100—01

size of music incunabula 3, 130, 133,

Fig- 5

body size Fig. 5 kerned 22—23, 33 — 34' P'S- 5> ' 3 type, music 17, 68—75, Tables 16—18, 20 abutting 22, 90—91, n o , 124, 127, 134, 143, 176 type specimens A1-A3 body size 29—33, '57> Table 17, 20, Fig. 8, 11 —12 classification 68—69, 77—79» Table 16, 21

Table 17, 20, 25

contracts 27

size of edition 162, 270

design 7 1 - 7 3

Soardi, Lazzaro di 106

description of 22, 78, Table 21,

Raffaele, Nicolo di 39-40, 299

Spain 15-16, 20, Table 3, Fig. 3

Ragazzoni, Teodoro 71, 124—26, Fig. 47

Spataro, Giovanni, Honesto Defensio 179,

Ramis de Pareja 51, 60, 64, Fig. 18—19

type, text 22—24,

ambrosian plainchant 14, 37, 74,

publishers, music 73

Quentel, Heinrich 85

Fig. 66, D153

Fig- 4 displaced 8, 22, 29—31, Fig. 6, 8 gothic plainchant 14, 114, 117, type

raster, see staves, rastral

Spechtshart, Hugo (Reutlingensis) D154

Ratdolt, Erhard 49, 54, 99, Fig. 22

Speier 113, 129

incipient 179—81, Fig. 66 kerned 90—91, 114—15, 123, 132,

Renner, Franz 42

Stagnino, Bernardino 71

Richel, Bernhard 37, 74, 152, 157

statistics on early music printing 14—19

Riessinger, Sixtus 35, 82

staves in incunabula 14—15, 49—64, Table

rites, liturgical 1, 3, 303 Rituale Ambrosianum, [ca. 1487] (D152) 163-64, Fig. 59 Roma, Marco 162 Rome 17—19, 65, 63—74, 80-88, Tables 5-8 Rubeus, Johannes 99 Rubiera, Baldasarre da see Hyrberia, Baltasar di Ruggerio, U g o D8 rules 18, 51; see also staves in incunabula, rules Rynsburg, Theodor von 126

3. 12-14 cast metal lines 55, 60, 83, Fig. 24, 27-28, 31-35, 43, 48, 51, 59. 63

dictine) 89 Santa Maria dell'Anima (Rome, German hospice) 82 Santritter, Johann Lucilius 14, 73, 99, Fig. 36, 38

141-43, 149-50, Fig. 5b, 50 mensural 14, 130, 132—33, type specimens M i , R2 (M), R21 (M), Fig. 37 molds for music type 26—27, 32> 59-60 modern 28

rastral 43, 46, 49, 102, Fig. 15-17,

noteheads 70

39 red and yellow 43, 46, 154, Fig. 14 rules 17, 49, 51—55, 60, 85, 102, 107, 124, 126, 171, Fig. 18-23,

roman plainchant 14, type specimens R1-R33 similarity of design 72 specimens 10, 69, 77—79 directory of 182—84

32, 40, 42a, 43—47, 61—62, 65 segments 28, 49, 59—62, 112, 147, Fig. 6—7, 10, 52, 54—56, 58, 60 Fig. 25, 30, 41, 57 Suardi, Paolo 162 Suigo, Giacomino 34, 38 Switzerland 15—16, Table 3, Fig. 3 theory books 64-65, 173, 300, Table 15, Fig. 18-19

Salisbury D118, D119 Salodio, Mapheo de 143

Thum, Christoph 116, 130

Sanctis, Girolamo de' 99

Tipografía Vaticana 25

Sarum rite 113, 115, 117, D118, D119

Toledo D i 2 6

Index

specimen G ì

nested 17, 49, 54—60, Fig. 26, 42b

wood 49, 55—62, 64—68, 147, 153, San Giovanni Evangelista (Parma, Bene-

322

Torresani, Andrea 143—44,

Torti, Battista 103, 107, 120—22, Fig.

Fig. 58

stems of notes 70, Table 18, Fig. 5b> 37 type designers 34-41, 126, 166, 1

73

typefounding 28—29,

1

Table 10 A1 152-56, Fig. 57 A2 158-60 A3 (R) 163-165, Fig. 59 G ì 114, 117, 120 M i 17, 64-65, 73, 133, Fig. 36-38 Ri 17, 83-88, 91, Fig. 3 1 - 3 3 R2 (M) 171, Fig. 34-35

r

3 i24 R4 Fig. 40

Rz

r

R2

5 123, '49

5 M9~5', ' 5 8 , F 'g- 55 R26 152-53, 155, Fig. 56 7 157-59, R g - 5 8

Venice, Republic of 3—4, 75, 171, Map 2 Verardus, Carolus 65—66, D155, D156, —D156

R28 158

Verona 17, Table 5

R7 i n - 1 2 , Fig. 42a-b

R29 166-68, Fig. 60

Vienna 81

R8 n o , Fig. 43

R30 17, 169-170, Fig. 61

virga cum orisco 6-8, 93, 104, 127,

R9 1 1 4 - 1 5 , 127, Fig. 27

R

3 ' '7 i _ 73> p ig-

Rio 114, 116

R

3 2 '73-75. Fig. 63

Ri i 114, 116—17

r

R6 149, Fig. 41

62

3 3 '7.6-78, Fig. 64-65

R12 120—22, Fig. 44—45 Ungaro, Jacomo 10, 20, 38—41, 68,

R14 124-126, Fig. 47

72-73, 101, 299-301 Urbino, Duke of 43

R19 115, 132 R20 1 1 5 , 132, 147 R21 (M) 25, 28-34, 41» 73> 132-34, 138-42, 150, Fig. 6-8,

Valdarfer, Christoph 7, 14, 37, 70, 72—74, 152-58, 161, Fig. 56-57

Wild, Leonhard 102 printing, woodcut and staves in incunabula, wood

Valencia 113, D128 Vallis Umbrosae, Congregationis 130

Ximenes, Francisco, Cardinal 255, D126

van den Keere, Hendrik 26—27, 32>

10—12, 49—50

Table 9

R22 143-44, Fig. 51

vellum 143, 162

Rz

Venice, city 17-21, 69—74, 9 9 " ' 5 ' > Ta-

3 '43-45 R24 147-48, Fig. 52-54

Wenssler, Michael 14, 37, 152 woodcut, music printed from, see music

R17 127-29 R18 1 1 5 , 1 3 1 - 3 2 , Fig. 28

171, 173, Table i, Fig. 2a-b, 39, 49 Vitali, Bernardino 145 Volkarth, Johann D i , — D i

R13 122—24, Fig. 46 R16 1 1 5 , 127-29, Fig. 48

' 3 2 _ 3 4 , '37, 144-45, '48> ' 5 ' , '54,

bles 5-8, 17, 20

Zarotto, Antonio 14, 18—19, 37, 43, 72> 75, 152, 154, 156, 160-65, Table 7, 27, Fig. 1 4 - 1 5 , 59 Zavarisio, Andrea D128

Index

323