Preferred Citation: Duggan, Mary Kay. Italian Music Incunabula: Printers and Type. Berkeley:  University of California Press,  c1992 1991. http://ark.cdlib.org/ark:/13030/ft409nb31c/

Italian Music Incunabula Printers and Type Mary Kay Duggan UNIVERSITY OF CALIFORNIA PRESS Berkeley · Los Angeles · Oxford © 1992 The Regents of the University of California

Preferred Citation: Duggan, Mary Kay. Italian Music Incunabula: Printers and Type. Berkeley:  University of California Press,  c1992 1991. http://ark.cdlib.org/ark:/13030/ft409nb31c/

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 Romanum) 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 The 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 The 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 Typographorum 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 Jahrhunderts nach Druckorten (Stuttgart: Hiersemann, 1968–1970) The following monetary values are used: 20 soldi = i lira; 124 soldi or 6 lire 4 soldi = I ducat A ducat, a florin, and a scudo were roughly equivalent.

PREFACE

From the moment I first saw Berkeley's copy of the giant Graduate 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 Orszagos Szechenyi Konyvtar in Budapest, the Bibliotheque 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 Special thanks must go to Ursula Altmann, who graciously allowed me access to the manuscript 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 I477 Graduale 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 Duckles 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 Harlan, Daniel Heartz, Richard L Crocker, Roger Levenson, Bernard Rosenthal, Donald Krummel, 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.

PART I—
A HISTORY OF ITALIAN MUSIC INCUNABULA

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 As 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 While 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 Descriptive 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 That total, however, includes many small pamphlets and single leaves The 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 woodcut illustrations The 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 The major services of the Catholic church were the Mass and the canonical hours of the Divine Office.2 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, fifteenth-century 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) The 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 Pontificate for use in cathedrals by a bishop; processionals; and psalters Most 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 i Frederick R Goff, "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 I78 2 For definitions of kinds of service books, see the glossary.

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

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, Besancon, 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.3 The major determinant of the design of early printed books was the design of the manuscript copytext. So too for music: the look of early printed products conformed to the appearance of manuscript books. The sizes of liturgical books were usually large or _olio 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 monophonic music of the Catholic liturgy) and for mensural or measured music (liturgical or secular, monophonic 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, 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. The 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 (i454), 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 I453, 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 3. For a directory of Latin forms of place-names and monastic orders used in Italian music incunabula for liturgical uses, see Appendix 3. 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. iii.

MAP 2 Europe at the advent of printing.

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 The 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 i The last column provides a transcription of the neumes into modern notation The 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 The 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 Graduale (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 6i).

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, 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 The 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 The lozenge was the common note of gothic notation, and its style varied just as did the square of roman notation The 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 FIG I Graphic forms of the basic time value in roman plainchant 5 A survey of the notation of plainchant is contained in Willi Apel's Gregorian Chant (Bloomington, Indiana: Indiana University Press, 1958), pp 99-132.

6 Recently discussed in Leo Treitler, "The Early History of Music Writing in the West," Journal of the American Musicological Society 35 (1982), 2457 Peter Wagner, Neumenkunde: Palaographie des liturgischen Gesanges, 2nd ed (Leipzig: Breitkopf und Hartel, I912), p 352; Johannes Wolf, Handbuch der Notationskunde, 2 vols (Leipzig, Breitkopf and Hartel, 1913), I I46 8 Francesco Spessot, "Libri liturgici aquileiesi e rito patriarchino," Studi Goriziani 35 (1964), 77-92.

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 I431 in Posonio, ed Janka Szendrei and Richard Rybaric (Budapest, I982), pp 46-67 A name coined here to describe the combination of virga and oriscus that commonly appeared in late fifteenth-century manuscripts and printed books.

FIG 2a-b The 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 Missale Ambrosianum The carefully written decorated final notes in a Perugian antiphonal (see Fig 2a-b) show how the shape of the note could indicate decoration appro-

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 150 , both white and black mensural notations were cut into type in Italy in the fifteenth century (for type specimens, see Part II, M1 and R21[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 The interpretation of accidentals in fifteenth-century 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 seen in such theoretical works as the Quaestiones et Solutiones (2 June 1509) by the Venetian Johannes Materanensis and in the preface to the printed Graduale 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 maxime delectantur Italici vero et cetere nationes citra illos 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." Accidentals were part of the task of the international committee of musicians selected to decide upon the text to be printed in the Graduale "in the hope of unifying and reforming the chant."'2 That the task was not easy is clear from a comparison of extant copies of the Graduale 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 The 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 III analyzes the techniques of casting and setting types and staves in printed music books A displaced music type in the I499 Graduale is adduced as evidence that the method of casting into type music designs of varying heights in pieces of more than one body

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, I i Nov 1985) o Edited by Albert Seay, Colorado College Music Press Critical Texts 2 (Colorado Springs: Colorado College Music Press, 1977), p 14 11 The preface is printed in Giuseppe Massera, La "Mano musicale perfetta" de Francesco de Brugis dalle prefazioni ai corali di L A Giunta (Venezia: 1499-1504), Historiae Musicae Cultores Biblioteca 18 (Florence: Leo S Olschki, 1963), pp 71-73· 12 Ibid.

Table 2 Mensural notation White Black Modern notation notation transcription (1:4)a Long Breve Semibreve Minim Semiminim Descending ligature Ascending ligature White and black notation Modern transcription Tempus perfectum, prolatio minor Tempus imperfectum Tempus imperfectum diminutum Signum congruentiae Accidentals Custos or direct Rests C clef F clef a 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 The chapter ends with a sketch of the role of the professional type designer and founder in the early history of music printing The 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 Next, the books printed with staves and without notes are examined and techniques for printing staves are discussed The third section surveys Italian music incunabula printed from woodcuts The 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 Part 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 The headnote explains the scheme of type classification and the method used to assemble type specimens from photographs developed to actual size These 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 With 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 Part III contains a Descriptive Bibliography of Italian music incunabula with information essential in understanding and supporting the conclusions of 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 The 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 countries-in particular, Italy The description of each music incunabulum attempts to establish the ideal copy of the book as it came from 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 Ungaro, 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 The paleotypography of music is a fledgling enterprise compared to other areas of the study of incunabula With 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 No 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 15154) and in a fragment of seven leaves in the University Library at Tubingen The book contains no colophon naming a date or printer Because it

uses an alphabetic type identical to that of a breviary (GW 53 I5) rubricated in I473 and therefore printed about a year before that date, the Graduale has been dated about I473 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 I5152); 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 BMC (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 Graduale, 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.3 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 I7,060 priests and 350 monasteries and convents and would thus have provided a good market for liturgical books I For the most recent discussion, see Alexander Hyatt King, "The 500th Anniversary of Music Printing: The Gradual of c1473," The Musical Times, Dec 1973, 1220-23 2 Proctor, vol i, part 1, 132, 1940 3 Peter Amelung, Der Fruhdruck im deutschen Sudwesten 1473-1500 (Stuttgart: Wurttembergischen Landesbibliothek, 1979), p xviii.

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

The watermarks of the paper of the Graduale promise more tangible evidence of the geographic origins of the book My preliminary investigation of i he watermarks, with the help of Piccard's carefully documented work on watermarks in books in the Stuttgart Archive,4 offered somewhat contradictory evidence for a date and place The 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 XV, 203 from the year i477 to 1482.5 Because the mark appears in paper from Donauworth, Kirchheim unter Teck, Leonberg, Nurnberg, Stuttgart, and Ulm, he classified it as from "southern Germany." The crossed keys (f m5, for example) appear in Piccard, Schlussel, III, 1:35, and are found in printed books from Ulm and Wurttemberg during the earlier period of 1467 to I471, 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 Wurttemberg and Reutlingen.6 If the Graduale's ox-head watermark does indeed come from late in the decade, it provides evidence of a later date for the Graduale As geographical evidence, the watermarks are less helpful The 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 Graduale was printed from metal or wooden type, but an examination of the BL copy leaves no doubt that the music present on nearly every one of the I60 leaves is printed from movable metal type The 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,"8 a practice suggested by the existence of other music incunabula in states with and without printed music (D 63 and D 68) The Graduale 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 The earliest book with music notes and staves printed from movable type that is actually dated is the Missale 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 I473 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 Graduale and the Han Missale of I476 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 No other technical problems involved in printing music, such 4 Gerhard Piccard, Die Wasserzeichenkartei Piccard im Hauptstaatarchiv Stuttgart, Veroffentlichungen der Staatlichen Archivverwaltung Baden-Wurttemberg, 15 vols to date, Stuttgart: Kohlhammer, 1961-I987.

5 Piccard, Die Ochsenkopf-Wasserzeichen, vol 2 part I (1962) of Die Wasserzeichenkartei Piccard, p 346 Piccard, Wasserzeichen Schlussel, vol 8 (1979) of Die Wasserzeichenkartei Piccard, p 229 7 Ferdinand Geldner, Inkunabelkunde, eine Einfuhrung in die Welt des fruhesten Buchdrucks Elemente des Buch und Bibliothekswesens 5 (Wiesbaden: Dr Ludwig Reichert, 1978), p 124 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 1473-1934," The Dolphin 2 (i935), pp 172-73·

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'° 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 Graduale had a printed black staff with one red line added in manuscript In his first attempt at a printed missal in I475, 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 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 So far as we know, they first appeared in the books listed below: i Gothic [ca 1473] Graduale, plainchant [Germany?] 2 Roman 1476 Missale Romanum, plainchant Rome, Ulrich Han 3 Ambrosian 1482 Missale Ambrosianum, plainchant Milan, Christoph Valdarfer 4 White I480 Niger, Grammatica, mensural Venice, Theodor Franck of notation Wurzburg for Johann Santritter 5 Black [I486] Graduale, [Basel, mensural Michael Wenssler and notation 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,'3 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 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 Pontificale Romanum (1487, I495), discussed on pp 85-86 Stanley Boorman cites as further examples Hamman's editions of the Missale Romanum of i5 X 1488 and i XII 1493 and his Missale Sarisburiense of i XII 1494, as well as the Emerich Graduale Romanum of 1499-1500: "A Case of Work and Turn Half-Sheet Imposition in the Early Sixteenth Century," The Library, 6th ser., 8 (1986): 304 n 8.

i See Chapter 5, "Red Print," in Irvine Masson, The Mainz Psalters and Canon Missae 1457-x459 (London: Bibliographical Society, 1954), pp 28-30 12 For an illustration of the notation, see Mary Kay Duggan, "The Music Type of the Second Dated Printed Music Book, the 1477 Graduale Romanum, " La Bibliofilia 89 (1987): 279, Fig i 13 Przywecka-Samecka, list of music incunabula on pp 103-26.

Table 3 Distribution, by country, of incunabula with printed notes and staves Przywecka-Samecka M-B Country Original Revised Total Printed staves Germany 105 [revised 94a 50 I I Italy 95 [revised 89b 50 9 France 46 32 24 Switzerland 22 [revised 24] 6 4 Spain 14 5 3 England 2 i I Austria I o o Unassigned o I 4 Netherlands o o I Total 285 [270] 145 57 Two additional titles may be added: a broadsheet, Ain schone Tagweis [Ulm, ca 5oo] (RISM, Das deutsche Lied, 5oo°' ), and Is ist dye ynnige geistlich bruderschafft genant S Ursulen schiffelin (Strasbourg: Knoblochtzer, ca 148 I) (RISM, Das deutsche Lied, 1481°' ) The Obsequiale Augustense (Augsburg: Ratdolt, 1499) is also listed as printed in 1489 (p 1I6) The Ordo Infirmum Ord Carthusiensis (Cologne: Landen) was printed after i5oo The Missale Misnense (Leipzig: i Ix 15oo Konrad Kachelofen) is listed three times on pp i 9 (H 11329 and H 1330) and 121 (Nuremberg: Stuchs) The Missale Romanum (Nuremberg: Fratres Ord Eremitarum S Augustini, 1491) (P 120) appears also as Missale Augustinorum de Observantia (p 12 ) 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 117 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 Pruss in

Strasbourg (p I 23) does not include printed music The Vigiliae Mortuorum Secundum Chorum Moguntinum, p 123, is usually dated after 500oo The Psalterium Constantiense, p 120, is dated as ca 1504 The Ordo Infirmum Carthusiensis, p 1 19, is dated as after 1500oo h The Processionarium Ord Praedicatorum (Venice: Emerich, 1493) is a bibliographic ghost The Antiphonarium Romanum, GW 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 1 1493 is apparently a misreading of the date (see the Descriptive Bibliography) The new year begins on i March in Venice, so two of Emerich's books, the Missale Romanum of 27 1I 15oo and the Missale Ord Carmelitarum of I 500oo, were printed in i50o and are not incunabula Two items may be added to Przywecka-Samecka's list for Italy: D 16 and rD 1 5 'The Antiphonarium Basiliense (Basel: Wenssler, ca 1488) is entered again as Antiphonarium Constantiense Three items may be added to Switzerland's total: a 1486 edition of Wenssler's Graduale Romanum and two broadsheets by Sebastian Brant, Ave preclara [Basel, ca 1496] (RISM, Das deutsche Lied, 1496° ) and Verbum bonum (RISM, Das deutsche Lied, 1496 ') elude recent research, in areas such as dating, bibliographic ghosts, and multiple titles for single works, presents a picture of nearly equally important roles for Germany and Italy as leaders in music printing Meyer-Baer's figures on incunabula printed with music staves are included in Table 3 to provide a more complete picture of the work of the printers who brought music into printed books Przywecka-Samecka's list and the addition of nonliturgical editions to Meyer-Baer's earlier work on

solely liturgical music incunabula dramatically increase the total of known items.4 Of course, the discovery of copies of unverified titles, or of now unknown editions that contain music, will continue to alter the picture Until collections of fifteenth-century books are well described in printed catalogues that include identification of printed music, any description of the corpus will be inexact An analysis of the production of music incunabula by decade (Fig 3) shows how the technique of music printing spread throughout Europe By the last decade the two early leaders in the production of music incunabula were to share one-third of the editions with other countries Of 14 Meyer-Baer, Liturgical Music Incunabula (London: Bibliographical Society, 1962) Helmut Rosing's even more dramatic estimate of 1,5oo incunabula with printed music seems unlikely Helmut Rosing and Joachim Schlichte, "Die Serie A/I des RISM: Eine Dokumentation der Musikdrucke von den Anfangen bis 800oo," Gutenberg-Jahrbuch (1983): 132.

FIG 3 The production of incunabula with printed music, by decade.

course, the reduction of any data to numbers can be misleading For example, the first decade of German music printing includes a landmark gradual, but the three other items are much less impressive: a book with music printed from woodcuts and two editions of Gerson's Collectorium super Magnificat with a short musical example printed as simple squares without staff lines Italian music incunabula include eighty-nine verified editions with printed notes, seventy-six of which were printed from metal type cast in thirty-eight different fonts (see Table 4) Most were large liturgical books-two very large graduals, two pontificals, and 35 folio missals-with chant printed on a number of pages that ranged from some 40 ro 700 (the latter a gradual, D I7) The music type fonts vary in size from a few sorts (Dionysio de Odo's crude font R3o, used in an Ordo, D I43) to elaborate fonts for melismatic chant (Emerich's R21, used in D i7) While some types were monumental firsts (roman chant type, Ri in D 42; mensural type, Mi in D 142), others are so derivative in style and design as to suggest the work of a common type designer (Venetian roman chant types R4, R5, R8, etc.) The books with

music printed from woodcuts range from the ambitious forty-six pages of chant in Emerich's octavo missal of 1493 (D 93) to one staff of chant in Onate's folio Ambrosian missal of I494 (D 28) Table 4 Italian music incunabula Printed notes and staves (metal) 74 Printed notes (metal) 2 Printed staves 7 Printed notes and staves (wood) 13 Total printed music Io6 Blank space for music 34 Unverified titles I6 Total 156 The books printed with staves and without notes rely on techniques ranging from the use of irregular metal rules that provide a poor foundation for manuscript notation and an impossible one for printed metal type to sophisticated nested cast-metal segments used by printers who included printed notation in many of their other books Printing in Italy in the last quarter of the fifteenth century was concentrated in a few cities, with less important smaller presses in smaller cities and towns, and music printing followed the same pattern Table 5 lists the production of Italian music incunabula by city and technique and affirms the

importance of Venice A large proportion of books printed in Milan with space for music comes from the earliest years of music printing, before develop Table 5 Distribution of Italian music incunabula by place Not Total Printed Printed Printed City Verified Verified Notes, Metal Staves Space Notes, Wood Venice 9 76 50 14 Io 2 Milan 4 30 12 14 4 Rome 2 II 7 2 2 Brescia 6 2 4 Naples i 5 I 4 Bologna 5 2 2 I Pavia 2 i I Verona I I Parma I I Messina i i [Turin] I I [Italy]} I Total i6 i40 76 17 34 13

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."5 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 Graduale 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 GW (see Table 6).17 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 io6 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-

I5 Francesco Malaguzzi, La Corte di Lodovico II Moro, 5 vols (Milan: Hoepli, 1913-1923), vol 4 i6 Lucien Febvre and Henri-Jean Martin, L'Apparition du livre (Paris: Editions Albin Michel, 1958), p 278 7 Leonardas Vytautas Gerulaitis, Printing and Publishing in Fifteenth-Century Venice (Chicago: American Library Association, 1976), p 64 Table 6 Production by city of all Italian incunabula compared to Italian music incunabula City % Italian % Music Venice 38 54.4 Rome I6 8.3 Milan io 21.8 Florence 9 o.o Bologna 5 3.2 Brescia 3 3.8 Naples 3 3.2 Others 16 4.5

Table 7 The most important Italian shops printing music incunabula City Editions Metal Notes Printing Shops Editions Metal Notes Fonts Rome ii 7(+I?) Han/Planck 8(+ ?) 7(+I?) I Milan 30 12 Pachel ii 5 3 Zarotto 14 6 I Venice 75 49 Hamman 4 I t 4 Emerich 18 12 4 Total I16 68 65(+ ?) 42(+ ?) 13 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 I5oo Johann Hamman and Johann Emerich of Speier, who did not enter the field until I487, 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 Rome and the Moilli brothers' giant type for the Parma Graduale of I477 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 Table 8 Production of Italian music incunabula by decade 1472 479 1480-1489 1490- 500 Total Music incunabula verified i 5 1 74 I 4 Incunabula with space for music 13 17 4 34 Printed notes and/or staves by city Venice o 22 45 67 Milan o 6 Io I6 Rome 3 5 9 Brescia o o 6 6 Others I 3 4 8 Total 2 34 70 io6

quest of the bishop of Milan, financed by a local merchant Nicolo 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 I480, 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 The first book from a Venetian press was issued in 1469; by the i48os, 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 i450 numbered only about sixty-six million (fifty-five million, according to Braudel), who were for the most part illiterate.'8 Venice was the richest city in Italy, possibly in all Europe, and the most important European commercial center of the i490s, 19 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.20 Paper 18 For information on the number of books printed, see Febvre and Martin, L'Apparition, p 278; for information on population, see Julius Beloch, "Die Bevolkerung Europas zur Zeit der Renaissance," Zeitschrift fur Socialwissenschaft, 3 (1900); Fernand Braudel, The Mediterranean and the Mediterranean World in the Age of Philip II, 2 vols., trans Sian Reynolds (New York: Harper & Row, 1972), I: 394-96; Fernand Braudel, Capitalism and Material Life 1400-1800, trans Miriam Kochan (New York: Harper & Row, I973), pp 15-16 The 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: The Johns Hopkins University Press, 1977), p 85 20 Gino Luzzatto, Storia economica di Venezia dall'XI al XVI secolo (Venice: Centro Internazionale delle Arti e del Costume, 1971), p 214 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 I56 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 The 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.2 The 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.

The 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 The existence of early specialists in music type design and production in Venice is suggested by music type specialist Jacomo Ungaro's claim in I513 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 21 Braudel, Afterthoughts, pp 46-47.

1480 until the political turmoil of the early sixteenth : century forced the book trade to seek a more stable vase, 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 The 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 production 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.23 The 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 1977 4.D (Collegeville, Minnesota: The Liturgical Press, 1979), chap 3 23 Robert M Kingdon, "The Plantin Breviaries: A Case Study in the Sixteenth-Century Business Operations of a Publishing House" in Bibliotheque d'Humanisme et Renaissance, Travaux et Documents, 2d sr., 22 (1960), 135.

III—
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 Stande [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 I5oo.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 I499/I500 Graduale Romanum (Venice: Emerich 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 f is one of the few kerned types still commonly in use, but in the i49os 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 i 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, I954-I984), 3:392.

2 For a review of the literature on displaced type, see Michael Pollak, "Incunable Printing with the Form Inverted: An Untenable Theory," Gutenberg-Jahrbuch (1973): 168-84; Victor Scholderer, "The Shape of Early Type," in his Fifty Essays in Fifteenth and Sixteenth-Century Bibliography, ed Dennis E Rhodes (Amsterdam: Menno Hertzberger, 1966), p 107 3 For a photograph of a kerned type that overlaps an adjacent type, see Philip Gaskell, A New Introduction to Bibliography (New York: Oxford University Press, 1972), p 32, fig i8 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.

FIG 4 The terminology of a piece of modern type and its printed image (Philip Gaskell, A New Introduction to Bibliography [New York: Oxford University Press, 1972], p 9.) the punch into a matrix, and ends with the casting of an individual piece of type by pouring hot metal into a mold to which the matrix is affixed The process was first described in a technical manual by Vanuccio Biringucci, an Italian metallurgist of the early sixteenth century: The 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 The desired quantities of these metals are melted and cast into bars so arranged that they can easily be cut Then a mold [formal is made of brass [ottone] or bronze [bronzo], as true as possible and flat so that ii: may fit into its companion The 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 The matrix is the impression of the letter that you wish to make, or rather to cast, made by the steel punch [polzone de l'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)

the gates [gitti] and adjust them all to the same size with a mold as a little gauge.* With these letters, one by one, the compositors set the press forms for the books in a frame [telaro] made of iron, bronze, or wood, and compress and lock them in with screws in the outer edges * 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." The antimony present in Biringucci's type would have increased its hardness considerably Antimony was apparently not added to type metal until the end of the incunabula period, when it theoretically had the effect of allowing finer detail in the design of type.6 Early fonts of softer metal had short lives; 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 VIII of Antonio Zarotto), testaments (see the discussion in Chapter IX of 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 of type and business records of Christopher Plantin at the Plantin-Moretus Museum in Antwerp Types, type specimens, and inventories of Christopher Plantin ( 520-I 589)gives us the names and sizes of sixteen sets of music punches, twelve sets of matrices, and one music mold.7 Those identified as the products of particular type designers are listed in Table 9 The inventory of Guillaume Le Be's sixteenth-century typefoundry listed matrices and punches for twenty-three music types, six of them plainchant (see Table io).8 ST68 is identified as "Grande Musicque" in the Appendix of Parker et al., "Typographica Plantiniana II," but on p 74 in the I58I inventory as "Grosses Notes de Musicque plain Chant de la taille de Henry du Tour." It is clearly not a plainchant type and was used first in 1578 for the polyphonic masses of

Georges de la Hele The 1581 inventory specifies thirty-nine punches, but the illustration of the extant punches uses only thirty-eight The matrices for ST68, MA9ia, have the same problem with name in the 1581 inventory The answer may lie in 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, "The Durability of Fifteenth-Century Type," Visible Language 5 (197 ): 160-6 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 [I514-1519]," 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 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 I567 & Folio Specimen of c 585 Together with the Le Be-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 (1960):-I139 The mold is described in Mike Parker, "Early Typefounders' Moulds at the Plantin-Moretus Museum," The Library, ser 5, 29 (1974): 98-99 8 The inventory of Guillaume Le Be's sixteenth-century typefoundry was made sometime after I617 by Le Be's son and is known today through a copy made by Jean-Pierre Fournier in 1730 when he purchased the typefoundry The inventory was published by Stanley Morison, L'Inventaire de la Fonderie Le Be (Paris: Andre 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 I55os for Le Roy and Ballard in Paris: a mensural "Musique grosse" (i554-i555), a double-impression "Grosse tablature d'epinette," and a single-impression "Petite tablature d'epinette," in H Omont, "Specimens de caracteres hebreux, grecs, latins et de musique graves a Venise et a Paris par Guillaume Le Be (1545-1592)," Memoires de la Societe de l'Histoire de Paris et de l'Ile-de-France 15 (1888): plate 3.

Table 9 Music types of Christopher Plantin's shop Extant material at the Plantin-Moretus Museum in Antwerp: ST = punches; MA = matrices; LMA = lost matrices; PM = type; GI = molds Type Designer Type Name Punches Matrices Type Mold Robert Granjon Petit Musique sur le Gros Texte, 22, ST75 25, MAioic (I5I3-ca 1589) 1566 Musique sur 2 R Augustine, 73,ST7xa" LMA36 (single impression) Premieres Notes (double i6, ST64 MA86 impression plainchant) Hendrik van den Keere Grosses Notes d'Espaigne, I574 i6, ST6i 20, MA93 PM222 GI55 (active 1540-1580) Moyennes Notes d'Espaigne, 20, ST62 49, MA8ga PM223 GI55 1573 Grosses Notes de l'Antiphonaire, 30, ST63 MA9o '57' Moyennes Notes du Missel, 1572 35, ST65 41, MA87 Petites Notes pour les ST66 39, MA88 Processionels Petites Notes du Missel, i571 32, ST67 38, MA85 Grande Musicque, 1577 38 [39], 63, MA9Ia PM234 GI55 (single impression) ST68 Grosses Notes ST69 MA9Ib Moyenne Musique, Notes in 4° ST7o 67, MAioo MAio2 Petite Musique sur la ST73 LMAIg Parangonne 2 sets for chant in small missals, 4, MA92d 1571 4, MA92e Daniel Heartz, Pierre Attaingnant, Royal Printer of Music (Berkeley, University of California Press, 1969), p 47 The top two lines of the illustration are impressions struck from the punches, ST7 ia 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 (LMA36) are lost MA9 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 MAgia? The incunabula type of Emerich, R2I, is an example of a combined plainchant and mensural font produced to handle the mensural Credo popular at the time., and ST68 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 revi-

Table io Music types of the Le Be typefoundry (ca 1620 inventory) Type Designer Type Name Format Punches Matrices Pierre Attaingnant Notte de gros Plainchant portant ses 2 40 34 (ca I494 550) reglets Philippe Danfrie (ca 1504-I606) Musique des airs 16° 47 Nicolas du Chemin Musique p Messe 2 29 92 (active 154I-1576) Pierre Haultin (active I523-1580) Musique moienne, maigre, vielle 86 Nicolas de Villiers Musique des Nottes de Colin 51 67 Guillaume Le Be Notte de Plainchant Corniches 4° 5 15 (active 1545-I592) Antiph mon pere Robert Granjon (I513-ca 1589) Tablature de lut et Guitarres 85 Musique 4 50 Musique 4° 64 Types from Lyons Musique des airs plaine I6° 55 Musique petite pour airs 70 Musique de Coppie moyenne 34 Musique petite pour psaume 23 Anonymous Musique en blanc de Cicero psaumes 2 18 18 Notte de Plainchant, Grad et Antiph 2 30 27 Notte de Plainchant Process 8° 73 Notte de Plainchant heure notte I6° 62 Notte de Plainchant Missel 8° 60 Notte de gros Plainchant, neant [2°] 39 Notte de gros Plainchant courbez [2°] 30 sion of the gradual undertaken by Palestrina for Gregory XIII.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 seventy-three punches and matrices An average early plainchant type might require from thirty to forty punches and matrices The type specimens of Italian music incunabula suggest that most would require only about fifteen punches and matrices, although 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 The contract concerns the mensural "Grande Musicque" commissioned by Plantin in 1576 and first used in I578 In a letter of i6 January 1576, after looking over the manuscript leaf sent him by Plantin, van den Keere set his terms for accepting the contract He 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 The 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 9 Alberto Tinto, "Di un inventario della Tipografia Vaticana (I595)," Studi di biblioteconomia e storia del libro in onore di Francesco Barberi, ed Giorgio De Gregorio and Maria Valenti (Rome: Associazione Italiana Biblioteche, 1976), pp 547-49; H D L Vervliet, Robert Granjon a Rome 1578-1589 (Amsterdam: Menno Hertzberger, 1967), p 33-

one."'° 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." The largest of the three molds survives today at the Plantin-Moretus Museum. It was made in 573 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."2 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. "The 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 I50 florins before you can think of casting a font, or thereabouts."" Ten months later van den Keere's bill of I I November I577 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 Graduale 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 Graduale 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 punches and matrices for the two text fonts and a plainchant font designed and cut for the Graduale. The Graduale'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.4 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 single-impression "Grande Musique" made from the type cast from thirty-eight punches extant at the Plantin-Moretus Museum.' 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. The 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. (c The necessity for multiple punches for minims with shortened stems such as that used in Emerich's R2 is avoided by inverting the minim. io. H. D. L. Vervliet, Sixteenth-Century Printing Types of the Low Countries, foreword by Harry Carter (Amsterdam: Menno Hertzberger, 1968), p. 334. i. The 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 i6A.

13. Vervliet, Sixteenth-Century Types, p. 337. 14. Clapham, "Printing," p. 385. i5. 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.

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 double-impression 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 type-caster 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 R2 used in Emerich's Graduale and Antiphonarium 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.l6 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."'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 Still present in modern fonts are the alternate kerned sorts-clefs, noteheads, flagged stems, diagonals (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

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.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 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 The 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: * * ) and five in the next size( r ).Only spacing material was cast in the third size, and the fourth and largest size was used for staves and full and par I6 Theotiste Lefevre, Guide pratique du compositeur d'imprimerie (i880; reprint Westmead, Farnborough: Gregg, 1972), p i68 17 Music Engraving and Printing (1923; reprint New York: Da Capo Press, 1971), chap i5, "Typographically Printed Music," pp i68-82; includes several type specimens and a variety of solutions to housing large fonts in typecases I8 Ibid., figs 92-93, pp 179, i8i 19 Ibid., p 179 20 Fournier on Typefounding: The Text of the Manuel Typographique 1764-1766, 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 for," 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 R2 I (for the specimens see Chapter VII) 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.21 The 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 mid-sixteenth-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 The 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 Graduale (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 Examination of that leaf has allowed me to develop a hypothesis of a system of body sizes for Emerich's R2 I In the copy of the Graduale 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 The 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 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 I 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 The body size of the type is approximately II.5 mm and the height 33 mm (see

Fig 8) I conclude that the body size of the common note of R2 I, the virga with short stem, is I 1.5 mm and that the font would include larger body sizes for 2 I Masson, The Mainz Psalters, pp 42-43 22 The process is described by Harry Carter in "Fell Music Type," Penrose Annual 50 (1956): 73-74.

FIG 6 Graduale Romanum Venice: Johann Emerich of Speier for Luca Antonio Giunta, 1499/1500, f LII (Music Library, University of California, Berkeley fM2I49.V4G7.) 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 I.5 mm On f v of the Graduale, a virga was printed with the lower lefthand shoulder of the type visible next to the kerned stem (see Fig io, stave I) The distance from the top of the virga to the printed shoulder is 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 I i.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

FIG 7 Graduale Romanum Venice: Johann Emerich of Speier for Luca Antonio Giunta, 1499/1500, f LII (Library of Congress, Washington, D.C., Inc 1500.c3.) FIG 8 Sketches of the displaced type in Emerich's Graduale, I499 1500, f LII (Music Library, University of California, Berkeley fM2 49.V4G7.) the surface without shoulders beyond ascenders and descenders) is 38.5 mm and the actual size of the staff is 32 mm To speak now of Carter's "brickwork," a vertical group of three pieces of I i.5 mm plus one piece of 4 mm would make up a total of 38.5 mm (see Fig i i) The normal virga or its variants for the top and bottom of the staff are cast on the body so that the sign can be printed on any line or space of the staff or above or below the staff Because of the position of the text type, the virga on the space below the staff has no stem at all size of staff 32 mm size of staff plus alphabetic type body (descender to ascender) 38 mm FIG 9 a Hypothetical body sizes of music type R2 I b A flat printed below a note.

FIG o Graduale Romanum Venice: Johann Emerich of Speier for Luca Antonio Giunta, 1499/1500, f V (Music Library, University of California, Berkeley fM2 49.V4G7.) FIG I i Hypothetical body size of virga in Emerich's R2 I The same punch and matrix may have been used to cast all three virgas The 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 Harry Carter to be operative for the seventeenth-century Fell music type.2 A special type mold allowed, in addition to 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 An earlier example of such a mold, with interchangeable stools to alter the head alignment of the matrices, exists today at the Plantin-Moretus Museum (GI 55) It was made by van den Keere in 1576 to cast 23 Ibid.

FIG. 12. Hypothetical body size of staff type for Emerich's R2 1. the large Spanish antiphonal type, a font which included kerned sorts for notes at the top and bottom of the staff. The 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 Two 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 0o.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. I2, top right, and in Fig. io) 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. An unusually large repertory of kerned music types appears in R2 I (see the type specimen, Chapter VII); among the kerned types visible in Emerich's text type for the Graduale are f, the long s (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. 13). Early attempts to transfer manuscript designs to type relied on kerning to create the visual effect of linked letters (ligatures). To 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 I450s (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. 94-95 and plate i6A; see also fig. 3 in Poole's "Printing," p. 237. FIG. 13. Examples of kerned text types in Emerich's Graduale.

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 della Corona (printed from 15 14 to 15 19 with the music type first used in Venice in 15 0 ), 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 I 1.2 mm on a five-line staff of approximately io 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 We 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

The 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 rather than purchased from an agent who had duplicate matrices for sale.27 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 25 Boorman, "Petrucci," pp 377-78.

26 The best modern accounts are in Harry Carter, A View of Early Typography (Oxford: At the Clarendon Press, 1969), and Konrad Haebler, "Schriftguss und Schriftenhandel in der Fruhdruckzeit," Zentralblatt fur Bibliothekswesen, 41 (1924), 8-I o04, translated as "Typefounding and Commerce in Type during the Early Years of Printing," Ars Typographica, 3 (1926), 3-35 27 Konrad Haebler, Typenrepertorium der Wiegendrucke, 5 vols 28 Konrad Haebler, The Study of Incunabula, trans Lucy Eugenia Osborne (New York: The Grolier Club, 1933), p 104.

nomic times, even rented.2 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 It is part of the purpose of this chapter to show that by the 149os 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 The 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") The 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 (Graduale Suecicum, 1493) Arndes had formed a partnership with Crafto in the early 147os and is said to have written a manual on typecasting.32 At 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") 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 The alphabetic types used by Han have puzzling connections to other printed books that suggest a common type designer at work even earlier, in the I46os, at the time of the first printing in Rome The 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.33 Although it has recently been stated that "only toward the middle of the [sixteenth] century did craftsmen like Garamond, Granjon and Guillaume Le Be become sufficiently famous and sought after to operate as free-lance punchcutters, and they were the first to do so,"34 it is clear from the example of Crafto that free-lance type craftsmen existed as early as the i470s 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 1513 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 Bibliotheque 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 Be, Robert 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, 60-61, io4-6 3 The 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 XV." La Bibliofilia 1 (1899-1900), 283-90. 33.

A Leaf from the Letters of St Jerome, First Printed by Sixtus Reissinger [sic], 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, 198 ) Sharpe (pp 17-19) 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 146os." 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 32-34 (Leipzig, 1911-1913), I: 10-27; Victor Scholderer, "Sixtus Riessinger's First Press at Rome," The Library, ser 3, 5 (1914): 320-24 34 Heartz, Attaingnant, p 49.

Granjon, and Pierre Haultin.35 Guillaume Le Be (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, letter-founding, and lettercutting-the last two under the tutelage of respected craftsmen who have retained a place in printing history.36 The 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 Be 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 i55 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.38 In his mature years Le Be 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° antiphonal), fifteen of mensural, and one of tablature.39 The 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 (5 I 3-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 He began in Paris about I545 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."40 During the visit to Rome, Granjon apparently also cut a single-impression plainchant font and with it printed Guidetti's octavo Directorium Chori (I582).41 Previously, Granjon had cut three mensural types purchased by Plantin.42 A third typecutter, Pierre Haultin, "may have begun about I500 and finished his apprenticeship about 51 o The first matrices on which he worked were for a Pica or Small Pica Greek He began the punches in 1530."4 The 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.44 Although Fournier credited him with making "the first [French mensural music] punches about 1525," that distinction is now

35 The document has been published in French and English by Harry Carter with a foreword by Stanley Morison as Sixteenth-century French Typefounders: The Le Be Memorandum, Documents Typographiques Francais 3 (Paris: Paul Jammes, i967) The first part of the document was written by Guillaume Le Be II about 1643 and the second part was copied in the hand of Jean-Pierre Fournier l'Aine about 1730, when the Le Be foundry was acquired by the Fournier family 36 Ibid., pp 32-33 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 Bibliotheque Nationale (Dept des Mss., n.a.f 4528) and are printed in facsimile in Omont's "Specimens de caracteres," pp 273-83 and plate 3 A leaf of the "Musique grosse" annotated in Le Be's hand is reproduced in Heartz, Attaingnant, plate 14 The other types are mentioned in The Le Be-Moretus Collection of Fragments c.1599, ed H D L Vervliet and Harry Carter, Type Specimen Facsimiles 2:18 (Toronto: University of Toronto Press, 1972), p 12 39 The inventory of the Le Be Foundry was made sometime after 1617 and is now in the Paris Archives Nationales, Minutier Central des Notaires, etude 65, laisse 229 Morison reproduced the document in L'Inventaire de la Fonderie Le Be; the music material appears on pp 22-25 40 Sixteenth-Century French Typefounders, pp 32 and 44n.39· 41 Vervliet, Robert Granjon a Rome, pp 33-35 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 II," ST7oa The first is a medium-sized mensural font cut before 1565. The second is a civilite or gothic cursive used in printed books in 1558 and 155943 Sixteenth-Century French Typefounders, p 31 Hendrik Vervliet questions Le Be's date and suggests the early i53os for completion of the apprenticeship: "Les Canons de Garamont: essai sur la formation du caractere romain en France au seizieme siecle" in Refugium Animae Bibliotheca: Melanges offerts a Albert Kolb, ed Emil van der Vekene (Wiesbaden: Guido Pressler, i969), p 493 44 Francois Lesure and G Thibault, "Bibliographies des editions musicales publiees par Nicolas du Chemin," Annales Musicologiques i (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 1514 after finishing an apprenticeship in Paris-perhaps with Philippe Pigouchet, whose daughter he married-Pierre Attaingnant (ca I494-155I) became a bookseller with a printing press for hire He began his career printing dominoes, excommunications, and pardons but soon inherited all or part of the business of Pigouchet, who had died by I518.46 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 The type was still extant for a type inventory in the seventeeth century, but there are no surviving printed sheets from it At 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 beginning 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 I488) and Missale Ambrosianum (i March I488) 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.49 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 1472; the agreement stipulated that he would retain possession of the type after the book was completed.5' While working in Basel, he obtained from Richel two fonts of text type that he later used in his own shop.52 He 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,ooo ducats and retained the tools of his profession: metal, presses, forms, matrices, files, and letters.53 He then made a 45 Pierre Simon Fournier le Jeune, Traite historique et critique sur l'orgine et les progres des caracteres de fonte pour l'impression de la musique, avec des epreuves de nouveaux caracteres de musique, presentes aux imprimeurs de France (Berne: Fournier, 1765); Heartz, Attaingnant, pp 49-58 46 In his Tresor de la langue francaise of 1606 Jean Nicot defined dominoes as pictures and portraits cut in wood or copper and printed and painted on paper ("dominos, c'est i dire des images et oeuvres de portraicture peintes et imprimees en papier, el: gravees en bois ou cuivre," quoted in Heartz, Attaingnant, p 36).

47 Heartz, Attaingnant, pp 57-58 For reproductions of the pertinent pages of Le Be's inventory, see Appendix 7, plates 6-7 48 Arnaldo Ganda, I primordi della tipografia milanese: Antonio Zarotto da Parma (147i1-507) (Florence: Olschki, 1984), p 34 49 Haebler, "Schriftguss," p 89 5o Kathi Meyer-Baer, "Der Musikdruck in den liturgischen Inkunabeln von Wenssler und Kilchen," Gutenberg-Jahrbuch (1935): 117-26 5i Haebler, "Schriftguss," p 86 52 BMC VI: xxiii 53 Archivio Notarile di Pavia Bartolomeo Strada fq Antonio, io November 1492: "stagna, torcularia, matres, forme,

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 I49os there were printers in Venice who commissioned type from technical collaborators who cut punches and cast type In I50o the printer Aldo Manuzio praised Francesco Griffo da Bologna as the typecutter of his elaborately kerned Greek and 55 Latin cursive types 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 2 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).56 In 1506 Aldo Manuzio's first will refers to Jacomo Todesco, gettator de lettere, and in 5 I3 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 The boundaries of Hungarian and German territory had been in flux throughout the fifteenth century, as had those between Hungary and Venice.58 The distinction between German and 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 Jacomo 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 27 March I5o6 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 Master Jacomo Todesco, typefounder 59 The term compatre has often been translated as "godfather."60 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 i, no i) makes it more likely that the term designated a close business associate As the father in I506 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 5 13, 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 The privilege might be granted for one title, a group of designated titles, or whole genres such as small mis plani, littere, tellaria, et omne et totum quicquid est et operatur ad usum stamparie librorum"; as cited in Tullia Gasparrini Leporace, "La societa Beretta-Girardengo (1479-1492) nei documenti inediti coevi," La Bibliofilia 50 (1948): 45 54 Ibid., p 34 55 Albano Sorbelli, "II mago che scolpi i caratteri di Aldo Manuzio," Gutenberg Jahrbuch (1933): 117-23 56 Haebler, "Schriftguss," p 93.

57 Carlo Castellani, La stampa in Venezia dalla sua origine alla morte di Aldo Manuzio seniore (1889; reprint Trieste: LINT, 1973), p 66n.2; Henry Simonsfeld, Der Fondaco dei Tedeschi in Venedig, 2 vols (1887; reprint Darmstadt: Scientia Verlag Aalen, 1968), 2: 81 58 Gyorgy Szekely, "Les Facteurs economiques et politiques dans les rapports de la Hongrie et de Venise a l'epoque de Sigismond," in Venezia e Ungheria nel Rinascimento, ed Vittore Branca (Florence: Olschki, 1973), pp 41-45 59 See Appendix i 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 Some privileges have certainly disappeared, and some of the titles that were privileged were never printed In Ungaro's petition he claimed to have discovered how to print mensural music in the city of Venice where he had resided for 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 ioo ducats for every time that it occurs.62 Ungaro was concerned that others would "harvest the fruits of his labor" after he had "found the way to print measured music" because the previous privilege holder, Ottaviano Petrucci, was now absent from the Venetian Republic Petrucci's twenty-year privilege, awarded in 1498, would have had five years to run, but by April 511 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 (1509-1513) Petrucci had probably already applied for the privilege to print music in the Papal States that was awarded to him on 22 October 15I3, verifying his intention to remain in Fossombrone.63 The Venetian Senate awarded Jacomo the privilege on the condition that it not prejudice the previous holders ("cum hoc ne praejudicetur concessionibus, si quae forte factae fuissent antehac").4 The Senate's award indicates their support of his claims of residency as typecutter for forty years and invention of the way to print mensural music There 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 I506, Jacomo 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 "Ungaro never availed himself of his short-lived privilege,"65 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 Jacomo Ungaro may have died by June 15I4, the filing date of a petition by Petrucci's publishers to renew his former privilege, not just for mensural music as in Ungaro's petition, but also for lute and keyboard tablature Another intimation of Ungaro's death is his absence from Aldo's second will

of January I 515 The petition of 1 514 was made on Petrucci's behalf by publishers Amadeo Scoto and Nicolo di Raffaele, since the music printer was by then in Fossombrone The 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 5 i8 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 1514 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 61 Some two hundred can be found in Fulin, "Documenti," pp 84-212, and "Nuovi documenti," Archivio Veneto 23 (1882): 390-405; Richard Agee, "The Privilege and Venetian Music Printing in the Sixteenth Century," Ph.D diss., Princeton University, 1982, focuses on music privileges 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 i, no 3 Agee's translation of the reference to Ungaro as a woodcut artist and printer seems unwarranted ("The Privilege," p 43).

63 Boorman, "Petrucci," pp 381-82, Appendix 4; Claudio Sartor , Bibliografia delle opere musicali stampate da Ottaviano Petrucci, Biblioteca di Bibliografia Italiana i8 (Florence: Olschki, 1948), p 17 The document as quoted by Sartori lacks two phrases 64 Fulin, "Documenti," no 18 65 Martin Picker, "Petrucci, Ottaviano," New Grove Dictionary of Music and Musicians, 14: 596.

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 5 14 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 He was not a printer and had no further known connection with music publishing.67 Raffaele, nearly blind in I5I4, 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 i 5 o and who was to come to Venice after Petrucci received privileges in the Papal States for mensural music and tablature Ungaro's 1513 privilege is fundamental to the history of music printing Not 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 1513: Jacomo, Francesco Griffo, another Hungarian named Andrea (Sigismund) Corbo (Corwin) who was an "inzisor literarum,"68 and Francesco del Prestade Bormi The 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."6 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 Jacomo's will could tell us whether the typecutter owned the music punches and matrices After

Petrucci's death in 1523, his widow apparently sold some of his type to a Gabriele Ceccolino, who, however, made no use of any music type.0 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 The 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 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, I514-15I9), with 44 Transcriptions," Ph.D diss Union Theological Seminary 1970, p 53 For the complete document, see my Appendix i, no 4 67 La musica, ed Guido M Gatti and Alberto Basso, 2 vols in 6 (Turin: Unione Tipografico-Editrice Torinese, I966-I971), 2: Io7I 68 Jozsef Fitz, "Ungarische Buchdrucker des XV Jahrhunderts im Auslande," Gutenberg-Jahrbuch (931) : I 15 69 Boorman, "Petrucci," pp 95-96.

70 Augusto Vernarecci, Ottaviano de' Petrucci da Fossombrone, p 226 Jacques-Charles Brunet tells us that the 1521 Motetti libro primo and Motetti liber quartus of Torresano and the 1520 Motetti noui & chanzoni francoise of Giunta were printed by Andrea Antico in Petrucci's type: Brunet, 3: cols 1426-27 Chapman ("Antico," p 91 and Appendix) concluded that the music was printed from woodblocks cut by Antico himself 7 i Brian Pullan, Rich and Poor in Renaissance Venice (Oxford: Blackwell, 1971), pp IOO-IoI.

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 Niger and printed by Theodor Franck of Wurzburg (M1; for reproductions of two of those pages and the type specimen, see Chapter VII) 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 The 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 i49os 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 The 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: "At 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 manner."72 Did Petrucci's publishers finance the invention claimed by the type craftsman Jacomo Ungaro in his privilege of 5 13 ? 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 The 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 The appearance of two innovative mensural types in Venice just a year apart-Emerich's black mensural type in i500 (R2i) and Petrucci's white mensural type in I50I suggests a single creative designer, especially since Petrucci's font is linked by name to a professional Since the mensural types in R2 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? Ungaro, 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 81 For the complete document, see Appendix i, no 2.

IV—
Italian Music Incunabula

Early printers had at least five options for the printing of music books First, they could omit music and space for it altogether Second, printers could leave, often above printed lines of text that was to be sung, blank space for later manuscript insertion of staves and notes Of the 156 Italian music incunabula, thirty-five follow that prescription (see Table II), including the first four that were printed (D 38-D 4 i) While most of the thirty-five appeared in the i47os and I48os, printers without music type or without type of the appropriate size for small formats continued the practice into the I49os (D 32, D 9 i) A third option, printing staves and omitting notes, was selected for nineteen Italian incunabula (see Table 12) The quality of the printed staves ranges from miserable to excellent; techniques run the gamut from woodcuts and poorly beaten rules to cast metal lines the width of a staff and, finally, cast small metal segments of one line each Poorly printed staves precluded properly printed notes, so that printers experienced with music type rarely risked using wavy, irregular materials for printing staves A small group of twelve incunabula, nine of which are music theory texts, employed a fourth option, notes and staves printed from woodcuts (Table I5) Finally, the largest group, seventy-six music incunabula, are printed from thirty-eight music types with both notes and staves.

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.' The 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 One of these was printed in Venice in 1481 by Franz Renner, a printer who never did attempt to print music The Florence copy (Biblioteca Nazionale Centrale, K.7.53) has no added manuscript leaves, and the copy at Munich (Bayerische Staatsbibliothek, 8° Inc.c.a.9) has an added twenty-four manuscript leaves without chant, but the owner of at least one copy (British Library, IA 19880) inserted before the Canon ten manuscript leaves with text and roman chant notation to replace the four printed leaves (ff m4-m7) he felt must have music There 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 The three folio missals printed by Pachel and Scinzenzeller before I483 had included space for music, but their 1483 octavo missal excluded music.

The absence of music in printed breviaries follows the tradition of manuscript breviaries of the last decades of the fifteenth century The list of fifteenth-century printed Italian breviaries in the i The Glagolitic Missale Romanum of 1483 is an exception Its lack of 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-

Gesamtkatalog der Wiegendrucke includes none with printed music, and only one (dated 29 Sept 1492) was found with blank space for music (Table i I, D 32) No 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 The exception (D 32) also exists in a state with printed staves, suggesting that more than one printer was involved in the production The single folio format book with space for music from Rome was printed before 1476, 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 I490 The printers who issued such missals in Verona, Messina, and Turin did not attempt to print more than one The genre had become commercially viable only in the hands of specialists at centers of printing with international distribution facilities.

The 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 The Franciscan monks for whom the first printed Missale Romanum (Central Italy? ca 1472, D 38) was intended may have requested an edition that left to the scriptorium the task of adding rubrics and chant The missal exists in two issues which survive in unique, richly illuminated vellum copies One, from a Benedictine monastery near Spoleto, now belongs to the Newberry 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 forty-seven 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 The 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 The Missale Romanum was printed by Antonio Zarotto in I474 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 The omissions would have saved money for the producers of the book by leaving to the purchaser the cost of finishing it by hand The first missal for the Milanese Ambrosian rite was also printed by Zarotto, in 1475, again with space for textual rubrics, music, initials, and Crucifixion (Figs I4-I5) Zarotto's Ambrosian copytexts would have followed a tradition of two-colored staves, a red line for fa and a yellow line for ut or C; the copy of his I475 Missale Ambrosianum in Milan's Biblioteca Ambrosiana (Fig 14) contains inserted music written on two lines drawn in colors, and the copy at the Bibliotheque Nationale at Paris (Fig i5) 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 148os and then only on the easier, red staves None 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 2 Since Beretta is known to have used Venice as a false imprint, 1) 32 may be from his home, Pavia For controversy over the place, printer, and date of D 7 1, see Part III 3 Ganda, I primordi della tipografia milanese, chap ii, "La ricerca di un nuovo mercato: i libri liturgici," pp 59-66.

Table I 1 Italian incunabula with space for music Date Author, Title Place: Printer Format M-B W D [ca 14721 Missale Romanum [Central Italy?] 2 38 6 XII 474 Missale Romanum Milan: Zarotto 2° 852 39 23 III 1475 Missale Ambrosianum Milan: Zarotto 2° 26 23 21 IV 1475 Missale Romanum Rome: Han 2 853 40 26 IV 1476 Missale Romanum Milan: Zarotto 20 1 8 854 41 20 IX 1477 Missale Romanum Venice: Siliprandi 2° 120 856 43 io XII 1477 Officium Imm Concept Rome: Han 4 144 BVM I477 Missale Romanum Naples: Moravus 2° 121 857 44 17 I 1478 Missale Romanum Milan: Zarotto 2 858 45 22 IV 1479 Missale Romanum Milan: [Carcano] 4° 46 i V I479 Missale Romanum Venice: [Jenson] 2° 122 859 47 27 IX 1479 Missale Romanum Milan: Zarotto 2° 123 860 48 16 XII 1479 Missale Romanum Milan: Pachel & 2° 49 Scinzenzeller 27 VIII 1480 Missale Ultramontanorum Verona: [Maufer] 2 I607 127 27 VIII 1480 Missale Strigoniense Verona: [Maufer] 2° 1488a 127 (reissue) 1480 Missale Messanense Messina: Aiding 2° 592 33 31 VII 1480 Missale Romanum Milan: Pachel & 40 124 864 50 Scinzenzeller 23 VIII I480 Missale Romanum Venice: Joh von Koln, 2 865 5i Joh Manthen 8 X 1480 Gaffurio, Theorica Naples: F di Dino 80-— 14 31 VIII 1481 Missale Romanum Venice: Torti 2° 866 52 18 IX 1481 Missale Romanum Milan: Pachel & 4 867 53 Scinzenzeller

8 XI 1481 Missale Romanum Milan: Zarotto 2° 868 54 29 XII I481 Missale Romanum Venice: Scoto 8° 125-26 870 55 16 III 1482 Missale Romanum Naples: Moravus 2° 873 57 2 VII 1482 Missale Romanum Venice: Blavi, Torresani, 4 874 58 & Salodio 1482 Missale Praedicatorum Milan: Zarotto 2° 211 132 29 III 1483 Missale Praedicatorum Naples: Moravus 4° 213 i816 133 [ca 1483] Missale Toletanum [Venice: s.t.] 2° 1529 26 [ca 1485-1490] Missale Romanum [Venice? s.t.] 2° I67 953 7I i VIII 1486 Missale Ambrosianum Milan: Pachel 2° 28 25 28 IV 1486 Magnificat Milan: Zarotto 4° 24 2 [2 leaves] 1487 Missale Romanum Venice: Frankfurt 8° 137 900 74 29 IX 1492a Missale Clarimontense Venice: Beretta 8° 58 277 32 25 XII 1492 Breviarium Praedicatorum Venice: Emerich 16° LB36o 7 II IX 1492 Missale Romanum [Turin? Suigo & 8° 148 921 91 Benedicti?] 5 VI 1492 Caza, Trattato Milan: Pachel 4° 9 a Also exists in copies with printed staves.

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 exception On f m3v of the 1476 edition there is no music because the compositor managed to fit the one sung word on f m3 Both editions, furthermore, contain a leaf with either too many music staves or too much space for them The 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 The design and creation of the first Italian music type and staff material may have taken longer than planned.

FIG 15 Missale Ambrosianum Milan: Antonio Zarotto, 23 III 1475, f [xlvi] (Bibliotheque Nationale, Paris, Res 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 The three copies I examined of the I477 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 i6, especially col 2, staff 8, and Fig 17, especially col i, 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 manuscript 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.

FIG i6 Missale Romanum Naples: Matthias Moravus, 1477, f [106] (Bayerische Staatsbibliothek, Munich, 2° L impr membr 62.)

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

Printed Staves

Another group of Italian incunabula were printed without notes but with staves for music (see Table 12) The 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 I475, 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 below the staff in Emerich's R2I 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 I49I (see Table 2) and nested small segments do not appear until the late I490s 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 The 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, I499, and I500 (1502?) 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 1486 missal for Gran The Hungarian publisher from Buda, Johann Paep, may well have advised his Venetian printer to print gothic notation or none at all It 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, I968], p 9) or rules

and woodblocks (Maria Przywecka-Samecka, "Problematik des Musiknotendruckes in der Inkunabelzeit," Gutenberg-Jahrbuch [I978]: 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 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).

Table 12 Italian incunabula with printed staves but no notes Date Author, Title Place: Printer Format M-B W D Metal rules12 V 1482 Ramis de Pareja, Musica Bologna: Hyrberia and 4 150 Utriusque Cantus Heinrich von Koln Practica VI 1482 Ramis de Pareja, Musica Bologna: Hyrberia 4° - i5 Utriusque Cantus Practica 28 XI I482a Missale Romanum Venice: Scoto 4 127 877 62 24 XII 1482 Missale Ord. Praedicatorum Venice: Scoto 4 2I2 i8i5 131 1484 Missale Ord. Praedicatorum Venice: Frankfurt 8° 214 I8I7 I34 27 IX I484a Missale Romanum Venice: Paganini & 2 132 889 67 Arrivabene 1484 Missale Romanum Venice: Frankfurt 8° - 892 68 I II 485-I486 Missale Romanum Venice: Paltasichi 8° 136 896 72 i8 III 1486 Missale Strigoniense Venice: Ratdolt 2° 492 121 Io XI 1487 Missale Parisiense Venice: Hamman & 8° 97 700 35 Emerich 1487 Missale Romanum Venice: Frankfurt 8° 137 9°o 74 6 VI 1491 Missale Romanum Pavia: Girardengo & 80 I45 916 86 Beretta Cast metal 14 III 1490 Missale Burgense Venice: Hamman 2° 3 31 X 1495 Missale Strigoniense Venice: Emerich 4° - 496 I23

23 I I495-1496 Agenda Aquileiensis Venice: Hamman 4 31 VII 1498 Liber Catechumeni Venice: Sessa 80 - LB725 19 26 II I498-I499 Missale Strigoniense Venice: Emerich 2° i89 1498 124 24 IV 1499 Missale Quinque Ecclesiae Venice: Emerich 4 - 804 36 31 III 1500 or Missale Strigoniense Venice: [Emerich] 4 90 I499 125 I IV 1502 Also 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 Hamman in 1494 with roman plainchant. The 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 Yugoslavia, Austria, and over to Como at the end of the fifteenth century.6

The Missale Praedicatorum of 1484, the first of four octavo missals published by Frankfurt in the i48os, was issued with printed staves and without notes. Of the two copies I examined, the copy at the 6. Spessot, "Libri liturgici aquileiesi," pp. 77-92; see also Archibald King, Liturgies of the Past (London: Longmans, 1959), pp. 1-51.

Bibliotheque 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 Of the five known copies of the 1487 Missale Romanum, one is from Buxheim and one from Budapest (not all copies have manuscript notation) As 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 This 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 Hamman (1493 Missale Romanum) and Emerich (500o Missale Praedicatorum) The crudest technique for 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 Thus 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 That 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 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 21) 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 Musica Utriusque Cantus Practica (see Fig i8) was clearly inadequate for the music notation required by the text In one case the three-line staff, printed from inferior rules, was scratched off 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 Gaffurio, 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.'° Books published by Scoto and Frankfurt used equidistant metal rules in two columns for a page of music with text (Fig 20) The 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 The 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 The same method of equidistant

7 Biringucci, Pirotechnia, p xix; Braudel, Capitalism and Material Life, pp 180-81 8 Ralph W Polk and Edwin W Polk, The Practice of Printing (Peoria: Bennett, 1964), p 148 9 Joseph Moxon, Mechanick Exercises, ed Herbert Davis and Harry Carter, 2d ed (London: Oxford University Press, 1962), p 27 Io Albano Sorbelli, "Le due edizioni della Musica Practice di Bartolome Ramis de Pareja," Gutenberg-Jahrbuch (1930): 106 Musica Utriusque Cantus Practica was intended as an inexpensive textbook for Ramis de Pareja's music course at the University of Bologna.

4 iIG 18 Bartolome Ramis de Pareja

4 iIG 19 Bartolome Ramis de Pareja, Musica Utriusque Cantus Practica Bologna: Baltasar di Hyrberia, 5 VI 1482, f b6v (Biblioteca del Civico Museo Bibliografico Musicale, Bologna, A 81) * FIG 19 Bartolome Ramis de Pareja, Musica Utriusque Cantus Practica Bologna: [Baltasar di Hyrberia and Heinrich von Koln], 12 V 1482, f b6V (Biblioteca del Civico Museo Bibliografico Musicale, Bologna, A 80.)

FIG 20 Missale Ordinis Praedicatorum Venice: Nikolaus von Frankfurt, 1484, f 06" (Bibliotheque Nationale, Paris, Res B 1515.) FIG 21 Missale Romanum Pavia: Francesco Girardengo and Giovanni Antonio Beretta, 6 VI 1491, f n5v(Biblioteca Nazionale Braidense, Milan, BG Inc 53.) rules was employed by Girardengo and Beretta to print an octavo Missale Romanum on 6 June 149i in Pavia (Fig 21) The rules were cut to exact length and suffer from a moderate amount of bending Girardengo himself had printed a beautiful folio missal (D 65) in 1484 with notes and cast metal staves and later printed a quarto missal (1495, D 30) with the same material His printing of the 1491 and 1492 missals with weak rules and without notes can almost certainly be attributed to a lack of type for the octavo format.

Though he was later to be an important music printer in Augsburg, the only music book Erhard Ratdolt printed in Italy is a missal with printed staves and without notes Neither Ratdolt nor any other printer in Italy in I486 had type for the gothic plainchant that was standard in the See of Esztergom (Strigonium) northwest of Budapest in Hungary The folio Missale Strigoniense (Fig 22) disdains the utilitarian practice of less expensive octavo missals of allowing just enough space between staves for the body of the text type; instead, it uses leads in the area above and below the staff to prevent the text from intruding on the staves Each column of staves is designed to fit the ambitus of the music, varying from columns of eight three-line

staves to seven five-line staves The two copies in Budapest's Szechenyi National Library have manuscript notation in the Messine-German style (see Table i) A final example of the use of rules for staves is the 1487 Missale Parisiense printed by Hamman and Emerich, who later became the most prolific printers of music incunabula in Italy The missal for Paris, their first attempt to print music at a time when neither owned music type, is their only book to use rules They clearly had some difficulty with the technique, for many of their staves are missing a line that was not type-high (Fig 23) The ideal printed staff, pleasing to the eye, easy to read, and exact in its spacing and horizontal direction, would be a staff cast in strong metal in one piece measuring the width of the column, without joints to interrupt the movement of the eye and without wavy up-and-down irregularity to disturb the symmetry of the several lines of the staff Entire lines a column wide would have been too large for a handheld mold and would have had to be cast in a rule mold, an item known to have been standard in printers' shops from the seventeenth century and certainly developed much earlier In the first dated printed music of 1476 (see Fig 3I) Ulrich Han used cast metal lines a column wide, four or five of which made up a staff The strong, wide lines have

two distinct edges, clearly visible under a magnifying glass The absence of breaks in the straight lines of the thirty-three pages of staves and the use of five-line as well as four-line staves speak against the possibility of the medium being wood An impressive use of cast metal lines was made in the folio missal printed by Hamman in which the staves reach across the full page (see Fig 24) The unbroken lines provide a good base for the plainchant type; note the provision of shorter pieces for lines that begin with rubrics or large initials The printer was forced to use some short pieces to finish staff 2, however, in which the joints are unpleasantly wide Staves printed from wood appear rarely to have been used, though they necessarily appear in conjunction with notes cut on the same wood (see next

A FIG 23 Missale Parisiense Venice: Johann Hamman and Johann Emerich of Speier, Io XI 1487, f m3" (Bibliotheque Nationale, Paris, Res B 4663.) FIG 24 Missale Strigoniense 0 Venice: Johann Hamman, i II 1493/1494, f ri (Orszagos Szechenyi Konyvtar, Budapest, Inc 180.)

FIG 25 Missale Romanum [Venice: Bernardino Benali? for Luca Antonio Giunta, ca 1490], f o3v (British Library, London, IA 25 Ioo.)

section, "Music Printed from Woodcuts") The appearance of the printed staves in an undated quarto missal (D 84) suggests that wood may have been the printing medium (Fig 25 and Fig 41) Individual lines vary considerably in width; actual breaks occur that could be explained as the wood having been chipped and broken; and sharp changes in width of lines suggest the beginning of the motion of a cutting tool I have attributed the book to the printer Bernardino Benali because it uses his plainchant type R5 The metal rules used in Benali's missal of 1484 (D 63) had provided a poor foundation for printing the notes squarely on lines and spaces In D 84 the same music type is printed on a regular staff that is reduced in size from 13.25-14 mm to o0.5-11.25 mm; the new staff technique provides lines on which notes can be printed in the correct position Because the music type best fits the staff of the quarto format, one would suppose it to have been designed for the smaller book Perhaps a reexamination would reveal that the quarto now assigned the date of ca I490 was the first to use Benali's music type R5, before January 1484, the date of D 63.

The last technique for printing staves developed in the fifteenth century was nesting, the use of a number of short, single-line metal segments to make up a staff line the width of a column The technique was used in Italy by Johann Emerich for a Missale Strigoniense published for Johann Paep of Buda Segments, usually four pieces of II.7512 mm plus one of 8.5 mm, make up each of the four lines of the staff in what appears to be random succession (Fig 26) The handheld, adjustable FIG 26 Missale Strigoniense Venice: [Johann Emerich of Speier for] Johann Paep, 500oo or 1502, f nii (Orszagos Szechenyi Konyvtar, Budapest, Inc 996.)

mold that was used for casting music and text type was the likely instrument for casting the small segments, which are no taller or wider than a stemmed ligature of the same music type This technique became the common method of printing music staves in the sixteenth century and later Since cast segments set as abutting types often leave irregular gaps, they provide less regularity for eye movement, but they do achieve an exact background for printed notes Books printed with staves and without notes could have been composed in a single form, although for Italian liturgical books they would have been printed in two impressions: first in red for staves, rubrics, and initials, and then in black for the text Music theory books such as the Ramis theory text (Fig i8) use a single, black impression for the staves and text The use of two separate forms for printing the text and the staves is suggested in the first Italian printing of staves in two colors and without notes In 1484 Frankfurt published an octavo Dominican missal with red four-line staves printed from metal rules (Fig 20) These rules, often bent and frequently failing to print at all, create a crude and amateurish contrast to the tightly locked and justified text type, and the fact that the black text between the staves is both too high and too low suggests that rules were not present in the black form to aid the compositor in spacing Furthermore, on f 02 nine consecutive red lines are

printed right through black text, an error impossible using one form Music staves in other Frankfurt missals also appear to have been set in two forms, and the Missale Romanum of 1484 has one staff of five lines that overlaps the text (f q7v) Does the use of an additional form for staves suggest the involvement of a separate craftsman to print them? The form used to print the red and black impressions of text type would have had to have the blank spaces for staves filled with spacing material or wooden furniture If the printer had had material on hand to print staves, it would have saved time and energy (and thus money) to print the red staves together with textual rubrics in the first red impression The postponement of printing the staves to a third impression from a newly locked-up form suggests that a separate craftsman with separate materials might have been required for music staves The involvement of a separate craftsman for music printing is also suggested by the existence of two editions with variant copies, some with printed staves and some with an added impression of printed notes One of those cases is the 1484 Missale Romanum of Paganini and Arrivabene Copies exist with the red staves added from a separate form, as described above, and others with both red staves and black notes printed from two additional separate forms It seems unlikely that the printer of the original form

would have chosen to fill the space with furniture and prepare two additional forms if he had owned either staff material or a chant type font Another printer, already a music specialist, may have been hired for the task The following review of the staff techniques of the two most prolific printers of Italian music incunabula (see Tables 13-I4) makes it clear that individual printers tried many techniques Hamman and Emerich used all the techniques described: blank space for music, printed staves from rules, cast lines a column wide, and cast segments The metal rules, probably of poorly beaten brass, used by Hamman for the irregular staves of the I487 Missale Parisiense (Fig 23) did not provide the accuracy necessary for a second impression of notes To print his first notes in the 1488 Missale Romanum, Hamman used cast metal to produce straight lines of exact size That same material, lines of about 75-76 mm for the width of a column, was used in three other books (nos 3, 4, and 12), another 38.5 mm size was used for four books, and two other sizes appear Initials sometimes required shortened lines but rubrics were often pushed into the margin (Fig 27) Both Hamman and Emerich changed their technique for printing staves in I497, discarding metal the width of the column for small segments a number of which made up a column Cast segments allowed easy revision of the length of

one or all of the staff lines, a practice put to frequent use in Emerich's I499/5oo00 Graduale Emerich, the most prolific fifteenth-century Italian music printer, joined Hamman in 1487 for their first book to use metal rules, printed a second in 1492 with space for music, and produced a third in I493 with music printed from woodblocks (Fig 30) After a hiatus of more than a year, Emerich published his first book to use cast music type and metal staves (Fig 28), a technique he continued to use throughout his career His association with

Table 3 Staff techniques of Johann Hamman Date Title Music Staff Size Font Technique D io XI 1487 Missale Parisiense staves io-io.5 40.5-42 (rules) 35 5 x 1488 Missale Romanum notes 18-i9 R9 75 mm 77 14 III 1490 Missale Burgense staves 75-76 mm 31 13 VII 1491 Missale Romanum notes 18-I9 R9 75-83 mm 87 i VI 1492 Missale Valentinum notes 16-16.5 R9 83 mm 128 [from photograph] I VII 1493 Missale Romanum notes io Rio 39 mm 94 XII 1493 Missale Romanum notes io-Io.5 Rio 38.5 mm 95 II 1493/94 Missale Strigoniense notes 5-line R9 138 mm 122 18.5-19 I IX 1494 Missale Sarisburiense notes 17.5 Rg 23 + 15 mm X 3a 118 I XII 1494 Missale Sarisburiense notes o0-10.25 Rio 38.5 mm 119 i II 1494/95 Missale Praedicatorum notes 9.5-10.5 Rio 38.5 mm 136 23 I 1495/96 Agenda Aquileiensis staves 14-15 75 + 25 mm i 5 VI 1497 Missale Romanum notes 16-i6.5 Rii '135-I4 mm X 3a 104 13 IX 1498 Agenda Pataviensis notes 15 Gi 13.5 mm X 8a 2 "Cast segments.

Table I4 Staff techniques of Johann Emerich of Speier Date Title Music Staff Size Font Technique D [n.d.] Missale Romanum ? 37 io XI 1487 Missale Parisiense staves Io-1o.5 rules, 40.5-42 mm 35 25 XII 1492 Breviarium Praedicatorum space 7 28 IV 1493 Missale Romanum notes Io woodcut 93 13 VIII 1494 Missale Romanum notes 14.5 Ri8 54.5 mm 98 9 X 1494 Processionarium Praedicatorum notes 13.75-15 Ri8 85 mm 147 30 IV 1495 Liber Catechumeni notes 14-14.25 Ri8 85 + 16 mm 18 31 X 1495 Missale Strigoniense staves 15.5 58-58.5 mm 123 i4 VII 1496 Missale Romanum notes I5.5 Ri9 77-5-82 mm ioi 1o 0I 1497 Missale Romanum notes 14.5 Ri8 8 mm X 7, segments 1o6 28 VI 1498 Missale Romanum notes i5.5 RI9 8 mm X io 109 15 x 1498 Missale Romanum notes 10.25 R20 9.75 mm X 4 III 26 II 1498/1499 Missale Strigoniense staves 15.5 7.8 mm X 9 124 24 IV I499 Missale Quinque Ecclesiae staves [film] ? X 5, segments 36 28 VI I499 Missale Messanense notes [film] Ri9 34 1499/1500 Graduale Romanum notes 32 R2I 8, 12.5, 17,24 mm 17 6 III 1500 Missale Praedicatorum notes io R20 9.5 mm X 4 139 31 III 1500 Missale Strigoniense staves 16 11.75 mm X 4 + 8.5mm 125 6 VI 1500 Liber Catechumeni notes 13.75-14 Ri8 7.6 mm X 14 20 24 VII 1500 Missale Segoviense notes 15.5 Ri9 7.8 mm X I 120 5 I i5co0/I0I Missale Carmelitarum notes 15.5 RI9 8 mm X 7-130 27 II ISOO/I5o0 Missale Romanum notes 14.5 Ri8 8 mm X 7-17

FIG 27 Missale Valentinum Venice: Johann Hamman, I VI 1492, f 06 (Biblioteca Nacional, Madrid, Inc 773-) publisher Luca Antonio Giunta began with a Missale Romanum of 1494 that contained fifty-four pages of music with staves printed from cast lines and notes from type It may have been Giunta's capital that enabled Emerich to abandon the woodcut technique permanently Emerich's technique for printing staves soon changed to use of short metal segments The quarto and octavo books printed by Emerich used 8 mm segments; large folios used 12 mm segments; octavos used 9.5-10 mm segments When a note of the music strayed above or below the normal staff, it was common practice in manuscript and printed music to change the clef to avoid the need for a line above or below the staff, but in his Graduale of 499/1500o Emerich often used one of his segments to print a ledger line for notes beyond the staff (see Fig io); he was the only Italian printer to trouble to

FIG 28 Missale Romanum Venice: Johann Emerich of Speier, 3 VIII 1494, f k4 (mis-signed 14) (Biblioteca Comunale, Ferrara, S12.1.14.)

do so Emerich's staff lines consistently fit together so well that the eye often detects no break in the printed line The space is almost invariably without fluctuation, making possible an accurate second impression of the notes The stage of printing music books with staves and without notes proved to be of short duration Primarily a transitional practice of printers who lacked the appropriate type, it lost its validity quickly as various notational styles became available in movable metal type It is generally the later specialists in music type who tried printing staves without notes (Frankfurt and Scoto are publishers rather than printers) Books printed with staves provide an interesting glimpse of several printers' first essays into the field of music printing and illustrate a variety of technical solutions that would be integral to their later work in double-impression printing of music with type.

Music Printed from Woodcuts

Some of the earliest and best-known examples of music printed from woodcuts are found in twelve Italian music incunabula (Table 15).l The first woodcut music was printed in the Breviarium Lubicensis (GW5374) by Lucas Brandis in Lubeck in 1478.1 The second woodcut music was printed in the second edition of Niger's Grammatica ([Basel? ca I4851, Hii857); the first edition of 1480, printed in Venice, had used the first known mensural type (MI) The third woodcut music is the first Italian effort, a theory book with examples of mensural music printed in Bologna in I487 German printing historians classify such woodcut incunabula as "block printing" and do not distinguish between wood and metal techniques (the German term Blockdruck comprises both Holzschnitt and Metallschnitt).'3 However, all known incunabula music illustrations from blocks cut by hand are printed from wood The first application of metal engraving to music is thought to be the Intabolatura da leuto del divino Francesco da Milano, published sometime before I536.14 Not until the reappearance of engraved music in the i58os, first in Vincenzo Galilei's Dialogo della musica antica e della moderna (Florence: Marescotti, 158 i), did the technique become frequently used by printers.

Woodcut music illustrations made possible the early printing of theoretical works on music without the expensive production of mensural music types or fonts of complex plainchant neumes They constitute, therefore, an important part of fifteenth-century music printing Multiple editions of several titles prove the heavy demand for such publications; the large number of extant copies of such books as the folio Practica Musicae of 1496 suggests that publishers printed many copies in anticipation of high sales Not only students but also professors purchased the books: an extant copy of Ramis de Pareja's Musica Utriusque Cantus Practica contains marginal notes by Gaffurio (Bologna, Museo Bibliografico Musicale, A.80, see Figure 19), and a copy of Bonaventura da Brescia's Regula Musicae was owned by Pietro Aron (I507 edition; British Library, K.i.gIo [i]) Most Italian incunabula with woodcut examples-ten of the twelve-are theoretical works that require illustrations of mensural music, com i I For a review of the literature on incunabula with music printed from woodcuts, see Hermann Springer, "Die musikalischen Blockdrucke des 15 und i6 Jahrhunderts," Bericht uber den 2 Kongress der Internationalen Musikgesellschaft zu Basel 1906 (Leipzig: Breitkopf & Hartel, 1907), pp 37-46; Wilhelm Martin Luther, "Die nichtliturgischen Musikinkunabeln der Gottinger Bibliothek," Libris et Litteris: Festschrift fir Hermann Tiemann zum sechzigsten Geburtstag am 9 Juli i959, ed Christian Voigt and Erich Zimmerman (Ham-

burg: Maximilian-Gesellschaft, 1959), pp I31-37; Maria Przywecka-Samecka, "Problematik des Musiknotendruckes in der Inkunabelzeit," Gutenberg-Jahrbuch, 1978, pp 54-55; Wilhelm Martin Luther, "Der Blockdruck," in "Notendruck," Die Musik in Geschichte und Gegenwart, 9: cols I676-680 I2 Przywecka-Samecka, "Problematik des Musiknotendruckes," pp 54-5513 Springer, "Die musikalischen Blockdrucke." I4 An illustration is included in H Edmund Poole's "Printing," p 248.

Table 15 Italian music incunabula printed from woodcuts Date Author, Title Place: Printer References D 30 IV 1487 Burzio, Musices Opusculum Bologna: Ugo Ruggerio for GW 5796 8 Benedetto Faelli RISM 162 IGI 1954 15 XII 1492 Gaffurio, Theorica Musicae Milan: Filippo Mantegazza for GS 10437 I5 Giovanni Pietro da Lomazzo IGI 4115 7 III 1493 Verardus, Historia Baetica Rome: Eucharius Silber IGI 10146 156 H*I594I 28 IV 1493 Missale Romanum Venice: Johann Emerich of W924 93 Speier IGI 6630 1494 Missale Ambrosianum Milan: [Giovanni Antonio W 32 28 d'Onate] for Valentino de IGI 6546 Meregari 30 IX I496 Gaffurio, Practica Musicae Milan: Guillaume Le Signerre GW I0434 12 for Giov P da Lomazzo IGI 4112 H 7407 27 VII I497 Bonaventura da Brescia, Brescia: Angelo Britannico IGI 1952 3 Breviloquium Musicale RISM 1:162 [Regula Musicae Planae} 23 IX 1497 Gaffurio, Practica Musicae Brescia: Angelo Britannico GW 10435 13 IGI 413 H 7408 27 IX I497 Bonaventura de Brescia, Regula [Brescia]: Angelo Britannico GW 4833 4 Musicae Planae IGI 1953 21 IX 1499 Compendium Musices Venice: for Giovanni Battista GW 7263 10 Sessa RISM 2:925 3 IX 1400 Bonaventura da Brescia, Regula Brescia: Angelo Britannico GW 4834 5 [15300] Musicae Planae RISM : 162 IGI 1954 o1 IX I500 Bonaventura de Brescia, Regula Milan: Leonard Pachel for GW 4385 6 Musicae Planae Giovanni de Legnano IGI 1955 plex diagrams such as the Guidonian hand, or representations of the hexachord system that are

difficult to create in type A book printed in Rome in 1493 with woodcut music (see Table I5), however, includes the first secular polyphonic music printed in Italy By using woodcuts to print short examples of mensural music, printers avoided the challenge and cost of cutting mensural music types, thereby postponing their development The first mensural music type, a font in the standard white notation (Mi), had been used in 1480 for Niger's Grammatica in Venice, but white mensural type was not to appear again until the next century, in Petrucci's publications All the examples of incunabula with woodcut mensural music appeared outside Venice, in cities where mensural type was presumably not available.

Incunabula with music printed in Italy from woodcuts were not as concentrated in major centers of printing as were music books printed from type, presumably because the woodcuts were more easily produced by local craftsmen than were music types Bologna's single music book using woodcuts was a textbook printed for use at the local university; Brescia's four editions honored local authors; Rome's edition of Verardus was aimed at the fol-

lowers of the king of Naples Milan's editions include a missal for local use, two theoretical works by the head of the ducal chapel, and a reissue of Bonaventura's popular treatise on plainchant Venice's editions include two of a treatise that closely resembles that written in Venice by Franciscus de Brugis (first printed in 1499 in the Graduale Romanum), as well as the introduction to the reader of the missal printed by Emerich in I493 The twelve Italian music incunabula (Table 15) were printed from only eight sets of woodcuts and represent only eight different titles The four editions of Bonaventura da Brescia's Regula Musicae Planae use the same woodcuts for twenty-three pages of illustrations of roman plainchant In addition, the short, eight-leaf Venetian treatise on plainchant was reissued by the publisher with new woodcuts about I5o5. The two editions of the Practica Musicae of Gaffurio use the same woodcuts.'5 Music appears on very few pages in most of the books with music printed from woodcuts The diagrams in the Theorica Musicae of Gaffurio include actual notes on only one leaf, kiv, in a crude representation of the hexachords.'6 The Missale Ambrosianum includes on its final leaf one three-line staff of Ambrosian plainchant (Fig 29) The woodcuts of the Burzio treatise include illustrations of plainchant, mensural music, and diagrams on five

pages.7 Of the two Italian fifteenth-century editions of the Historia Baetica of Verardus, only that of 1493 can be located today; on the final two pages (ff e7V-e8) are printed four voice parts of an Italian song in praise of Ferdinand and Isabella, the first known publication of a polyphonic Italian song The Venetian plainchant treatise contains diagrams or plainchant music on eleven of its sixteen pages In later editions the music illustrations were set in type Three of the sets of music woodcuts were more ambitious Emerich's first printed missal, of I493, contained music on forty-six pages The style of Emerich's woodcut plainchant is close to that of his music type: a short-stemmed virga with unpointed notehead, lozenges set close together for the climacus, a stemmed diagonal, and an angular F clef The overall appearance of the music, however, is comparatively crude, because of the placement of the stem on the wrong side of the virga and a frequent inconsistency in the balance of the size of noteheads (Fig 30) The treatise on music theory by the Franciscan monk Bonaventura da Brescia contains music woodcuts on twenty-eight pages.'8 The Guidonian hand includes three accidentals: flat, natural, and sharp The chant examples are cut in roman plainchant notation with a long-stemmed virga and a liquescent neume as well as many compound neumes Again the effect is crude, because the

notes are often compressed into too little space to align with the text printed from type, the noteheads are far from square, and the neumes are irregular in size The music written in Bonaventura's own 15 The third staff off gg3 of the 1497 editions has been recut (British Library, K.1.g4) 16 Facsimile editions, Bologna: Formi, 1969; Rome: Reale Accademia d'Italia, 1934 Meyer-Baer describes the music woodcuts of the 1492 Theorica as: "cut in wood, in a wonderfully clear and precise manner The typographical beauty of these examples consists in the harmony of the proportions and in the exactitude of the execution" ("The Printing of Music," p 174), but she is clearly referring to the Practica Musicae of 1496 as her illustration confirms The printed music in the Theorica consists of crudely cut isolated notes in diagrams 17 Facsimile edition, Bologna: Formi, 1969 18 Facsimile edition, Milan: Bollettino Bibliografico Musicale, 1934 S Martinotti, "Bonaventura da Brescia (de Brixia)," in Dizionario biografico degli Italiani, vol 2 (Rome: Istituto della Enciclopedia Italiana, 1969), pp 631-32 FIG 29 Missale Ambrosianum [Milan: Giovanni Antonio d'Onate, 1494], f ¥IO (Biblioteca Nazionale Braidense, Milan, AM-IX-4I.)

FIG 30 Missale Romanum Venice: Johann Emerich of Speier, 28 IV I493, f 13 I (I7,4v) (Biblioteca Angelica., Rome, Inc 68.) manuscript hand in his 1489 text of the treatise displays a lightness and grace that were not translated into the woodcut.19 The masterpiece of early Italian woodcut music is the Practica Musicae of Gaffurio Numerous examples of roman plainchant on a four-line staff and of mensural music on a five-line staff are printed throughout the book The mensural music is in a graceful, well-spaced style that flows as naturally as a manuscript hand, with oval noteheads and flags curving down from the tops of note stems The roman plainchant is well spaced but less pleasing to the eye because of the lack of regularity in the supposedly square noteheads The woodcut music of Practica Musicae is a notable exception to the usual

poor level of craftsmanship of early woodcut music, which falls far below the quality of contemporary woodcut pictorial illustrations and initials The technique of printing music from woodcuts was used in the absence of music type or in 19 The manuscript is at the Museo Bibliografico Musicale, Bologna For a reproduction, see M T Rosa Barezzani, "I Britannico stampatori di musica a Brescia," Commentari dell'Ateneo di Brescia 175 (1970): 159.

competition with printers who had monopolies on music printing from type Woodcuts continued to be used, though infrequently, for printing music into the sixteenth century, reaching a high point in the Roman and Venetian music publications of Andrea Antico, which rivaled their typeset competitors Despite such exceptions, the use of woodcuts to print music has been a peripheral technique throughout the history of music books, employed only rarely and then primarily for short musical examples.

Music Printed from Type

The transformation of the music manuscript into the printed music book was completed in the i47os when, in the first book printed with music, metal type was used to print music notation on the lines and spaces of a previously printed staff The less complete techniques of printing notes or staves discussed earlier in this chapter were later developments Of the I56 Italian incunabula, 76 contain music notation printed from metal type cast in 38 designs Analysis of statistics on printers, their music imprints, and their music types clarifies the importance in the history of music printing of certain individuals-Emerich and Hamman-and of certain cities-Rome in the I470s, Milan in the I48os, and Venice in the i48os and especially the i490s During these decades there was a gradual addition of formats smaller than the early folios and a commensurate development of new small music types Type designers chose differing solutions to the challenge of reproducing in metal the varying stem lengths of manuscript notation and the complexity of compound neumes and liquescence, and some of the resulting types were more successful than others (see Part II for discussions of individual types and printers) By the end of the century, and perhaps much earlier, it is likely that printers delegated responsibility for music type to type professionals,

one of whom is named in archival documents as Jacomo Ungaro The printing of music with metal type became a specialized trade focused in a few cities and practiced by only a handful of craftsmen The alphabetic types of fifteenth-century printers were studied and classified at the turn of the century by Robert Proctor (An Index to the Early Printed Books in the British Museum, 1898 906) and Konrad Haebler (Typenrepertorium der Wiegendrucke, I905), illustrated in the Veroffentlichungen der Gesellschaft fur Typenkunde des XV Jahrhunderts (I907-1939), and further classified by the editors of the Catalogue of Books Printed in the XVth Century Now in the British Museum (i908 to the present) The omission of music type from those studies distorts the contribution of printers who specialized in music It is a serious misrepresentation of the printing career of Johann Emerich of Speier, for example, to describe him as a printer who used eighteen gothic text types and not to mention his four roman plainchant fonts, one extended to include mensural type Emerich has been praised for his fine text types in an unusually wide range of sizes and for his illustrated books, but his music printing has been an undervalued field of accomplishment His ambitious production of a gradual and an antiphonal in

roman plainchant printed from a complex font of type that was designed to handle the intricacies of melismatic and liquescent plainchant notation is a fitting capstone to the often uneven body of work that formed the transition from manuscript to printed book for the music service books of the Catholic church With the development by Haebler and Proctor of a system of alphabetic type classification by printer and size and design of type, printing historians acquired a basic tool for the attribution of incunabula without imprint information While the text types of music incunabula remain the basic tool for attribution, the relatively small number of music types makes them a useful additional aid The identification of the printer of a book's text type may not necessarily identify the printer of the entire book The music in the book may have been printed separately, by a second printer-a theory supported by the existence of some music incunabula in two variants, one with printed notes and staves and

Table 16 Classification of music types in Italian incunabula* Size Total Roman Ambrosian Gothic Mensural Small 5 5 Medium 14 10 2 I I Large I7 16 I Very Large 2 2 * With some exceptions, large missal types are defined as those printed on a staff of from 15 to 20 mm; medium missals, on a staff of I I to i5 mm; and small fonts on a staff of 9 to I mm the other with blank space for music The specimens and classification of music types used in Italy in the fifteenth century provide a tool for attribution of early music books Most of the music types can be assigned to printers and chronological periods A few that were used in books without colophons or with colophons that mention only a publisher can be attributed only to a city and time period or can be attributed to a particular printer with reservations From its types the 1487 Missale Romanum (D 73) published by Paganini can be attributed to Bevilaqua, who did the almost identical reprint for Paganini in 1499 (D I 13) with the same music and alphabetic types (see Fig 42) And the appearance of Benali's music type in the anonymously printed Missale Romanum (D 84) of the British Library is firmer evidence for attribution than a woodcut, an item that may be suspected to have circulated more frequently among printers than did music type A review of Italian music types discloses that nearly all are designs of roman plainchant and nearly half are in the "large" type size used for the

folio format of the missal used on the altar (see Table i6) By far the largest category of Italian music incunabula is that of the 121 missals No missal smaller than f-olio size was issued in Milan, and only two missals smaller than folio size in Rome, the quartos of 1488 and 1494, which used the large music type designed for folio format It was Venetian craftsmen, and particularly the printers Hamman and Emerich, who took advantage of the sizable new audience for small missals by introducing five small roman plainchant fonts Venice produced all the Italian small plainchant types (see Table 17), an innovation that dramatically extended the marketing of service books by lowering their cost and improving their portability Benali was the innovator who added plainchant type to the octavo missals that had been appearing in Venice since 1481 with either no space or blank space for music, or with stoves printed from rules Other small types quickly followed Benali's type used a virga with a very small notehead and an even smaller lozenge that were very difficult to print on the appropriate lines and spaces of a staff that was printed from irregular and wavy rules Novimagio used a type that was more balanced in design

though limited in number of characters, but his printed staves were grossly irregular The next three types, very similar in size, design, and number of characters, were used consecutively by Hamman, Bevilaqua, and Emerich of Speier Hamman Table 17 Small type fonts in Venice Date Printer No of Editions Type Measurement 1483 Benali R5: 10.25:I.252 X 4 1491 Novimagio I R5: 9-II:22 X 5 1493 Hamman 4 Rio: IO-IO.5:I.752(2) X 3.5 1497 Bevilaqua 2 R8: IO-Io.5:1.52 X 3.5 1498 Emerich 2 R20: IO-IO.25:I.52 X 3.5 Type measurement is in mm, staff:virga (notehead by stem).

Table I8 The relationship of book production to stem length of Roman Large Missal types Short Stems Long Stems No of Editions Printer Length No of Editions Printer Length 7 Han (Planck) 7.5 i Valdarfer 15 3 Girardengo 7.5 I Torresani 12 5 Hamman 7 I Ragazzoni 12 I Preller 6.5 i Arrivabene I 1.75 i Pinzi 6.5 I Bonini 11.75 i Emerich 6 I Scoto 1 I Torresani 5.5 i Britannico o1 2 Bevilaqua 12 printed octavos from I493 to 1495 and Bevilaqua printed two octavos in 1497 (and D 141* in 15oo?) Emerich began using a small type in 1498 The fact that in I493 Emerich published an octavo missal with forty-six pages of woodcut music (D 93) suggests that he lacked capital to purchase music type at that time; his first music printed from type appeared in a quarto missal of August 1494 (D 98) While the designs of plainchant type are very similar, the length of the note stem is a variable that dramatically changes the appearance of printed chant The stem lengths of Roman Large Missal types are compared in Table i8 The lightness and

fluidity of the long-stemmed pointed types of Torresani and Bevilaqua make a refreshing contrast to the heavy regularity of the short-stemmed unpointed notes of the three main music printers The most prolific Italian music printers, Han (Planck), Hamman, and Emerich, used types with a short stem; the notes seem to hang in midair rather than rest securely on the staff Designs with short stems need fewer variants to enable them to be printed on any line or space of the staff and therefore take less time to cut, cast, and set Such designs, then, were more practical, but they were farther from the manuscript plainchant models, which frequently had stems that reached from the notehead to the bottom of the staff One early roman plainchant font, that of Christoph Valdarfer, first used in 1482, avoided the problem of casting variable stem lengths by using rules placed below cast stemless noteheads (see Figs 56 and 57) The result is far from satisfying: the stems look weak and wavy and often are unconnected to the noteheads In settling on short-stemmed notes, aesthetic demands may have been sacrificed to the technical requirements of the compositor in the age of printing, imposing a standard on plainchant types that persists today It is interesting to note that mensural fonts followed a different path of development; varying stem lengths have been cast in metal from the first fonts of i480 to today.

The size of the notehead in relation to the space between staff lines and the size of the text type is another important determinant of the stylistic appearance of a font A notehead that takes up three-fourths of the space between staff lines looks heavy (RI2), whereas a note that fills only one-half the space (RI7) is much easier to read A notehead that is smaller than one-half a staff space (R23, RI i) is more difficult to read, perhaps partly because of the difficulty in printing the note squarely within a space or on a line If the notehead is as large as the x-height of the text type (as in D I43, which is printed with R30), the music overbalances the letters Most of the music types presented in this study can be associated with a single printer The only music font to appear in Rome in the fifteenth century was that introduced by Han and kept in use by Planck, who was evidently his heir However, the Medium Missal type introduced by Benali is apparently identical to that used in the only music book by the printer Piero di Piasi (D 69) and that used in

in unsigned missal (D 84) There are strong similarities between Scoto's types, Roman Large R3 and Medium R4, and those of Torti, Medium Ri2, and Ragazzoni, Large RI4 If Scoto was a publisher rather than a printer, the music in his 1482 missals may have been printed by Torti and Ragazzoni, who later used the types in signed books Because Ri2 and RI4 have certain idiosyncrasies that challenge that hypothesis, however, Scoto is assumed to have been the printer until further evidence is forthcoming Giovanni Battista Sessa is another individual mentioned in the imprints of music incunabula who was very likely a publisher rather than a printer Proctor suggested that Sessa relied on outside labor for the printing of his books, and that has proven to be true for the sixteenth-century output (see Chapter VII) Sessa's R24 is very similar to Emerich's R20, and one of the books printed with R24 uses the staff technique employed by Emerich It would not be surprising if Sessa's music type were found to have been crafted by a local type designer and used by hired printers.

Fifteenth-century music types had remarkably short lives While Hamman and Emerich had as many as four music type fonts in different sizes and Pachel had three, most printers had only one size of roman plainchant type Twenty-five of the Italian fonts were used in Italy for only one book At least one printer used his type for a second time outside Italy (Bonini's R3 i, in Lyons) Perhaps one explanation for the short life of types in Venice lies in the monopolies created by privileges either for the types themselves or for the special kinds of books for which they were designed Such privileges were not uncommon The first privilege granted to a printer in Italy went to the founder of the art in Venice, Johann of Speier, in I469, who received a five-year monopoly on all printing in the city; fortunately for the development of the field, he died a few months later In i495 the Venetian Senate granted a privilege for printing Greek to the printer who commissioned the first Greek types there, Aldo Manuzio, and in I498 to the music printer Ottaviano Petrucci for a mensural music type In i 50 Bevilaqua asked for a ten-year privilege to print small missals ("li messaleti picoli"), which apparently was not granted; he soon left Venice to take up the life of an itinerant printer The use of privileges to protect type designers encouraged the development of new designs but discouraged competition, since only one type could be granted official approval.

An attempt to follow the documentation from the Venetian archives for privileges for the first publication of the gradual and antiphonal in roman plainchant reveals a confusing sequence of requests by several individuals: I January 1497 Bernardino Stagnino requested a privilege of ten years to print the "Antifonario e Graduale di canto." (Fulin 62) 5 March 1497 Tommaso, a Venetian, received a privilege to print the "Antifonario Graduale et il Salmista in coro," not yet printed, and for which it was very difficult to find a publisher, because it was so expensive (Fulin 64) 6 December I497 Giacomo Britannico, citizen of Brescia and printer officiossimo, obtained the privilege to print the gradual and antiphonal (Fulin 73) 21 January 1499 Andrea Corbo received a ten-year privilege for capital letters of such a shape, height, and width that they could only be used to print choirbooks ("quod ipse solus facere possit stampare litteras ejusdem formae et grossitiei ac magnitudinis").20 (Fulin 9o)

A gradual was finally printed in Venice by Emerich for Luca Antonio Giunta in three volumes that appeared on 28 September 1499, February I5oo, and I March I5oo (D 17) The title page of the third volume states that it was printed under a privilege that also applied to the forthcoming antiphonal 20 Andrea Corbo is cited as Andrea da Corona (Andrea de Cronstadt, Andreas Burciensis, Corbo, Corvo, Corvus) in Gedeon Borsa, Clavis Typographorum Librariorumque Italiae 1465-I600 (Baden-Baden: Valentine Loerner, 1980) A typecutter and printer in Venice from 1476 to 1484, he was from Transylvania, then a part of Hungary, and was formerly known as Sigismund Corwin: "Andreas olim Sigismundi Corui inxisor literarum stampe (impressor liborum)" (Fitz, "Ungarische Buchdrucker," p I I5).

(1503-1504; unnumbered item after D 2) and psalter: Cum privilegio concesso ab illustrissimo Venetorum domino pro dicto graduali modo impresso et etiam pro antiphonario et psalmista iam immediate imprimendis: With a privilege granted by the most illustrious Signoria of Venice for the said manner of printing of the gradual and also for the antiphonal and psalter immediately to be printed: Despite the apparent expenditure of time and money by several printers and by the Venetian Senate and College of Counselors, Giunta managed to secure the privilege for plainchant service books that would bring his family money for reprints for more than a century It is not clear what happened to the privileges for printing choirbooks that were granted in 1497 to the Venetian Tommaso and the Brescian Britannico; perhaps they were unable to secure financial backing for so expensive an undertaking as was mentioned in Tommaso's privilege The large capital letters printed in red in the Giunta choirbooks may well be those cut by Corbo The alphabetic and music types cut for the choirbooks may have been acquired from Venetian type designers in a similar fashion, perhaps from Corbo's fellow countryman Jacomo Ungaro In the fifteenth

century many Italian printers had been commissioned to print liturgical books with music for foreign cities and religious communities, but by the mid-sixteenth century that business was to be concentrated in the hands of a very few.2' Of the men associated with liturgical music printing in Venice, only those who were active publishers in the fifteenth century managed to establish the family dynasties that were to dominate the trade in the sixteenth century-Giunta, Scoto, Sessa, Paganini, Torresani (with Manuzio), and Arrivabene Of those, Giunta was to be by far the most important.2 The existence of a large number of similar fifteenth-century Venetian alphabetic types has long puzzled bibliographers Proctor tried to explain their presence by suggesting that there might be "type factories independent of the printers" where types could be purchased.2 Remarkably similar plainchant music types also appear in Venice in the last decades of the fifteenth century As we have seen, Jacomo Ungaro, a typecutter who claimed responsibility for Petrucci's first music type, worked in Venice "for forty years" (from about I473 to 15 4), and other craftsmen in Venice in the 1490s called themselves typecutters and typecasters Some music printers are known by their privileges

or equipment to have made or commissioned their own types between 1474 and I492: Zarotto, Valdarfer, Bevilaqua, Britannico, and Girardengo Printers in cities far from the industrial development of Venice (Rome, Parma, Naples, Brescia, Bologna, Pavia) seem to have been more skillful in typecutting and casting in addition to the techniques used for printing books Similarities between the music types of the major music printers, Hamman and Emerich, may be the result of common techniques evolved during the time the two men worked together on music books as partners before they began printing music on their own It is also possible that Emerich was responsible for some of Hamman's music printing (his whereabouts are unknown between 1487, when he printed a missal with Hamman, and 1492, when he issued his first book) or that a separate type designer and cutter was used by both printers It is a fact that type foundries and type designers played an important role in Venice in the 1490s in the establishment of such a well-known printer as Aldo Manuzio, and it appears that the music printer Petrucci relied on type specialists to provide him with music types It would be surprising if other Venetian music printers of the I49os did not avail themselves of such accessible type craftsmen.

21 The surviving contracts for the first Ambrosian missal (D 23) and for a 1484 Florentine breviary provide insight into the publishing process for early liturgical books See Arnaldo Ganda, "La prima edizione del messale ambrosiano (1475): Motive pastorali e aspetti commerciali," La Bibliofilia 83 (1 981 ): 97 12; William A Pettas, "The Cost of Printing a Florentine Incunable," La Bibliofilia 75 (I973), 67-85 Kingdon's study of the economics of publishing a nonmusical liturgical book, the breviary, gives an account that parallels in many ways that of the liturgical books with music "The Plantin Breviaries," pp I34-50. 22 For a review of the trade in Venice in the sixteenth century, see Paul Grendler, The Roman Inquisition and the Venetian Press, 154o-1605 (Princeton: Princeton University Press, i977), pp 3-3223 Proctor, I: 14.

Were Venetian music types designed by type professionals? The first music type in Venice, introduced in I48o, was the first mensural type (Mi, white mensural notation) The second and third mensural types were also introduced in Venice, in 1500oo (Ri9, roman plainchant and black mensural rotation) and i o i (Petrucci, white mensural notation) Jacomo Ungaro claimed responsibility for Petrucci's font, the semibreve of which is nearly identical in size to the music font Mi used in 1480 in a book whose colophon tells us little about the edition's producers (the title was selected by Santritter and the printing was done by an otherwise unknown printer, Theodor Franck of Wurzburg) f Ungaro knew how to cut white mensural type for Petrucci in about i500 (the privilege for the type vas granted in 1498 and it was first used in 50oI), ie was certainly capable of playing a part in the creation of the equally demanding first black mensural type that appeared in the 1499 gradual in the same city If Ungaro contributed to the design or production of the mensural types of R2I, he would probably have produced the plainchant designs that make up the rest of the font If we know that Ungaro cut the second mensural type in Venice in about i500 and that he was living in Venice from about 1473, it is also reasonable to suggest that he might be responsible for the only other white mensural type cut there during that time, the 1480 type used by Theodor Franck of Wurzburg Furthermore, if a music typecutter was active in Venice as

early as 1480, most of the music type introduced there in the fifteenth century may have come from him rather than from the printers themselves The most important role in the history of Italian music incunabula, dominated by the Venetian contribution, may have been that of the music typecutter, without whom many printers and publishers who creatively set the type and marketed the finished product could not have printed music While there are many gaps in our knowledge of the origins and training of fifteenth-century printers, there is a consensus that after the art of printing reached its first full flowering in Mainz in the early I450s, craftsmen who were trained there moved to new localities to set up shops, trained others, and rapidly transmitted the technique outside Germany If music printing follows the process of linear development known for alphabetic printing, the training of music printers should lead back to early masters As would be expected with a linear development of printing from Mainz, the earliest printers in Italy were German immigrants Many of the first music printers in Italy were also Germans (see Table i9) The cast of characters in the history of early Italian music printers and types is smaller than it appears from the multitude of names in the colophons of music books Many who claimed responsibility for music books were publishers rather than printers: Giunta, Scoto, Paganini, Sessa, and probably Torresani and others as well The men who actually printed music books were not always

specified but certainly number fewer than the names listed with music types in Part II, since that list includes some publishers Of the twenty-two men who are known to have used music types in Italy during the fifteenth century, eight were Germans, one Dutch, one Dalmatian, and the other thirteen Italian natives of regions from Calabria to Lake Como German printers introduced music printing in Rome (Han), Milan (Valdarfer), Venice (Theodor Franck), and Naples (Preller) They issued the first signed books of roman, ambrosian, gothic, and black and white mensural types anywhere, though it is not certain that any of the nine printers cut his own types Undoubtedly, the contributions of German craftsmen dominated early music printing in Italy What of the chronological sequence of development of individual music types? The first music Table 19 German music printers in Italy Number Number Name of Types of Editions Han (Planck) i 7 Valdarfer 2 2 Pachel 3 4 Novimagio I i Theodor Franck I I Hamman 4 12 Preller I I Emerich 4 I4 Total 17 of 38 42 of 76

Table 20 Venetian incunabula music type by size and year Roman Small Missal Roman Medium Missal Roman Large Missal Type Number Date Type Number Date Type Number Date R5 1483 R4 1482 R3 1482 Rio, 14 149 1-492 R6 1484 R9, 14 1488-1489 R20, 24 1498 Ri2, I3 I489 RI6 1494 Ri8 1494 RI9, 22,23 1496 RII, 24 1497 R25 1499 type appeared about 1473 in a gradual and the next, in Germany, was used by Bernhard Richel (active I472-1484) for a Missale Basiliense in 1480 or I48i.2 The first Italian music types appeared in 1476 and 1477, followed by a proliferation of types in the i48os, mainly in Venice (see Table 20) Practically nothing is known about the printing of the ca 1473 gradual Richel had printed the first dated book in Basel in 1474 and his first Missale Basiliense, with blank space for music, about I478 (IGI 6552) Richel must have known of the earlier book, since Basel is located just outside the Diocese of Constance (see Map 3), for which the ca 1473 gradual was printed; indeed, he may well have received some training in the shop that produced it.

Did Ulrich Han, the German printer of the first music in Italy (1476 Missale Romanum), know of the ca I473 gradual? Han's dated imprints in Rome begin in I467, but no books were issued under his name alone between 4 October 1470 and 24 December 1474 Capable German printers were present in Rome who could have printed for him, including Stephan Planck, who in 1478 took over his shop Perhaps Han's role in Rome in the early I470S was that of an absent publisher and he was present at the first music printing A small Parma publisher, Damiano Moilli, issued the first gradual printed in roman plainchant type, in April 1477, six months after Han's missal It was the first printed book issued by Moilli, who spent most of his career preparing manuscript choirbooks for the local Benedictine monastery He published only three books after the impressive gradual, among them another landmark, the only incunabulum on calligraphy An acknowledged craftsman and artist, he seems to have been quite capable of designing and cutting the text and music types used for the gradual At his first appearance in archival documents in 1474, he was already listed as a printer, and Donati suggested that he may have been involved with the first printing in Italy.25 Where did he learn to cut types and print-more specifically, to print music?

The circumstances surrounding the music type introduced by Christoph Valdarfer at Milan in 1482 strongly suggest a link to the north Valdarfer, the first music printer in Milan, is known to have traveled from Milan to Basel to enter the employ of the printer Bernhard Richel during I4801481, when Richel issued the Missale Basiliense with music.26 Upon Valdarfer's return to Milan, he issued the Missale Ambrosianum of x5 March 1482, the first printed music in Milan from the first ambrosian plainchant type A few months later ( I September) he issued the Missale Romanum with music printed from the first roman plainchant type used in Milan At Basel under Richel he must have acquired the ability to cut music types or have found someone who could, as well as to use them to print music on staves in a two-color process His solution for music type, cast noteheads with stems apparently printed from rules, was unique Leonard Pachel, music printer in Milan from 1486, was, like Ulrich Han, from Ingolstadt Pachel first appears as the witness of a contract between Valdarfer and Cola Montano in 1474; Montano was the publisher of the first dated Missale Romanum, printed in Milan by Zarotto in 1474 Pachel

24 Arnold Pfister, "Vom fruhsten Musikdruck in der Schweiz," in Festschrift: Gustav Binz, Oberbibliothekar der Offentlichen Bibliothek der Universitat Basel zum 70 Geburtstag (Basel: Schwabe, I935), pp 160-77 25 Lamberto Donati, "Passio Domini Nostri Iesu Christi: Frammento tipografico della Biblioteca Parsoniana," La Bibliofilia 56 (1954): 8I-21526 BMC VI: xxiii.

issued his first book in Milan in i477 and his first.Missale Romanun (with space for music) in 1479 In [476 he would have been about twenty-five years old, connected with printing, and without a shop; night he have become acquainted with music type it the printing of Han's Missale Romanum in 1476 at Rome? Because the earliest Venetian music types cannot be associated with particular craftsmen, there is no way to connect them with the beginning of music printing The first, a mensural type, was used by Theodor Franck of Wurzburg, who is described in the colophon simply as one who labored on the book ("fert opus") The second type was used in books issued by Scoto, a publisher who seems to have preferred to hire others to print his books From Petrucci's 1498 privilege we find it was common knowledge that protracted attempts had been made outside Italy to develop music type for both mensural and plainchant notations: "many not only in Italy but also outside Italy had long sought to print music in a very convenient manner and, consequently, plainchant much more easily."7 As we have seen, there is a possibility that Ungaro was cutting music type in Venice as early as 1480, when the first music was printed there in Niger's Grammatica, and that he was responsible for several of the music types used there.

The marshaled evidence, though far from proof, supports the hypothesis of transmission of music printing in linear fashion to future practitioners The current state of knowledge about music printers, publishers, and typecutters makes it difficult to distinguish between their activities and to allocate responsibility for music types The hypothesis promotes an awareness that the reinvention of music printing in neighboring cities is less plausible than shared knowledge of the technique among printers trained in shops where music printing took place Italian incunabula printed from music type reached a peak of quality in types, printing, and marketing that allowed them to dominate the international market for liturgical books in the late fifteenth century Printing began in Mainz, music printing began in or near the diocese of Constance in southern Germany or Switzerland, and Italy's music printing began in Rome, but Venice provided 27 For the Venetian, see Appendix i, no 2 the site of the prodigious activity of the last decade of the century Italy printed two-fifths of all music incunabula, and Venice alone printed about one-fifth Thirty-eight music types were used in Italy, twenty-five of them used in Venice and probably produced there Persuasive factors attracted the international pool of talent that contributed to

printed music books The political and monetary stability of the Republic of Venice made it a good risk for capital investment at a time when southern Germany was going through upheavals The metallurgy industry in Venice that supported a large shipbuilding industry was competitive with the technology of any other European city At that time it may have been the richest city in the world and had risk capital to finance publications for international circulation The Venetian shipping routes to the west and land routes to eastern European countries were well established A highly developed system of privileges may well have prevented other Italian cities from competing in printing and distributing books Italians such as Petrucci and Aldo Manuzio emigrated from the Papal States to the Republic of Venice to take advantage of its attractions The city fathers made it possible for immigrants to acquire citizenship quickly so that they could compete in the central marketplace of Europe But without the talents of creative individuals, the growth of early music printing could not have taken place The inventor of movable metal music type remains elusive, but identification has been made and the role clarified of many of the small

group of printers, publishers, and typefounders who began to print music books in Italy From lists and classification of Italian editions and types, a new picture emerges of a well-developed industry that brought double-impression music type to a peak by the end of the century Recognizable in Italian music types are solutions to problems of printing music notation and staves that still form the substance of today's few music types Much remains to be learned from examination of other copies of the books described, by seeking the answers to the right questions in archival documents, and by establishing lists of editions and classifying types for other countries in Europe Already indisputable is the major significance of Italy's contribution to the early history of music printing.

PART II—
ITALIAN MUSIC TYPE AND PRINTERS

Italian Music Type Specimens

Part II presents thirty-eight numbered type specimens, representing each music type used in Italy in the fifteenth century The types are arranged in chronological order, first by city, in the sequence in which music printing appeared in Italian cities, and, within each city, by printer An account of the career of each printer and comments on the types used by him precede the type specimens for that printer The type specimens have been prepared by isolating individual types from photographs developed to original size, verified by a ruler in the positive print Where a problem of scale exists for an individual photograph, a note appears on the type specimen Some specimens remain provisional, either because the examined copies of the books containing the types lack one or more leaves that could supply further designs of a type or because analysis of a type

during a short visit may have omitted a type design printed on a leaf of which no photograph was made Only the use of the specimens in conjunction with all known copies will assure complete accuracy The arrangement of type designs within a specimen begins with simple neumes and variants, followed by complex neumes and variants, and, finally, additional signs such as clefs, accidentals, directs, and bar lines The types are classified according to their notation: R for roman, G for gothic, A for ambrosian, M for mensural Within

these broad categories, types are named and numbered according to a system based on design, size, chronology, and accompanying staves A system of music type description cannot depend on the standard used for alphabetic types (measurement of twenty lines of type) because (i) lines of music are almost always separated by lines of unrelated text type; (2) only four to eleven lines of music or staves appear on a page; and (3) the size of the body of a single sort of music type cannot tell us the height of a staff or "line of music" since a musical sign, vertically adjustable to various spaces or lines of the staff, must be used in combination with spacing material to form the size of the height of a staff Another standard system of identification used for alphabetic types, comparison of a selected letter (M for gothic types and Q for roman), can be imitated in discussions of music type by comparing clef signs,' but the similarity of the design of plainchant clefs makes the technique inconclusive without the aid of type specimens The method used here to describe music types combines the measurements in millimeters of the virga (the square of the notehead plus the stem) with the height of the staff over the number of the staff lines if this is not standard (i.e., if not four for plainchant or five for measured music) The dimensions of the

notehead do not include points; where pointed noteheads regularly occur, a second measurement including points is given in parentheses The height of the stem is measured from the top of the notehead without points to the tip of the tail; again, if points exist, a second measurement that includes the points is given in parentheses For gothic and ambrosian plainchant, in which the common notehead is not a square or a rectangle but a lozenge, only the measurement of the height of the virga is given If there is no virga with a stem in the font, measurement of the notehead alone is given, with the specification that no stemmed version appears Despite the fact that the measurement of an undifferentiated shape such as a square or a rectangle cannot alone serve to identify a type, it can provide a point of departure.

Table 21 provides sample descriptions of music types Music types are named using the vocabulary of sixteenth-century documents in which music types begin to be spoken of by name (see pp 24-26) Early documents distinguish first between plainchant, mensural, and tablature notations Next they indicate the general size or format of the book in which the type is to be used, coupled with the name of the book (for example, plainchant large missal, plainchant medium processional, and so on) i Mary Kay Duggan, "A System for Describing Fifteenth-Century Music Type," Gutenberg-Jahrbuch (I984), Table 2.

Types are labeled, then, by descriptions that include i A letter designating the kind of notation 2 A number indicating chronology, first by city, then by printer 3 A name designating the size, usually related to format 4 A formula of measurement of the staff and common note Thus the four plainchant types of Emerich of Speier at Venice are designated: Ri8 Roman Medium Missal, I3.75-I4.5:22 X 4.2 Ri9 Roman Large Missal, I3.5-i7:2.52 X 6 R2o Roman Small Missal, io.25:1.52 X 3.5 R2i Roman Very Large Antiphonal, 32:62 X I3.5 If it should prove necessary to distinguish music types from alphabetic types, music type labels could be prefaced with the letter M for music (for example, MR2 I) Table 2I Samples of descriptions of music type roman plainchant: 22.5-: 2.52 (22) X

staff height/no of lines if 5 5 not 4: virga notehead 7 (6.5) dimensions squared without points (with points) X height of stem without points (with points) gothic plainchant: Io-1o.5: 5.5 staff height/no of lines if not 4: virga height ambrosian plainchant: 13.75-14: 5-3 staff height/no, of lines if not 4: virga height mensural music: 32 staff height/no of lines if 4 23 not 5: minim height

V—
Rome

Ulrich Han (Stephan Planck), R1

The earliest known music printed in Italy is found in the Missale Romanum of Ulrich Han, completed in Rome on I2 October, I476 The best source of information concerning its printing is the colophon: Sacrum sanctumque hoc opus ad honorem & gloriam omnipotentis dei: ac domini nostri iesu christi: magni et excellentis ingenii Udalricus gallus alias Han Alamanus: ex ingelstat ciuis wienensis: non calamo ereoue stilo: sed nouo artis ac solerti industrie genere Rome conflatum impressumque unacum cantu: quod nunquam factum extitit Necnon a fratribus Sacri conuentus araceli recte ac fideliter emendatum Anno incarnationis dominice Mcccclxxvi die uero.xii Octobris sedente Sixto diuina prouidentia papa iiii posteris reliquit This sacred and holy book to the honor and glory of the omnipotent God and Our Lord Jesus Christ: by Udalricus Gallus, alias Han the German, of great and excellent talents, from Ingolstadt, citizen of Vienna: not by the reed or copper stylus but by a new method cleverly and painstakingly forged and printed at Rome Together with music: which had never been done before And also correctly and faithfully edited by the Brothers of the Sacred Convent of Ara Coeli In the year of Our Lord 1476, 12 October, in the reign of Pope Sixtus IV bequeathed for posterity.

With the exception of the words "unacum cantu," the same colophon had been used in Han's edition of the missal of the previous year, in which blank space had been left for the plainchant to be added by hand The colophon calls attention to the manufacture of the type ("conflatum"), the addition of music, and the preparation of the copytext by the Franciscans of the Roman monastery of Ara Coeli The printer's name appears most frequently in its Latin form, Ulricus Gallus, although the earliest books use the German form of the last name and colophons in 1475 and I476 give Han as an alias The wordplay with Gallus (rooster in Latin) and Hahn (rooster in German) was emphasized in a colophon written by the erudite Italian humanist Cardinal Giovanni Antonio Campano and was used in several of the editions of classical works prepared for Han by Campano between I469 and 1470 Ad Huldericum Gallum Anser Tarpeii custos Iovis, unde quod alis Constreperes, Gallus decidit, ultor adest Huldericus Gallus, ne quem poscantur in usum, Edocuit pennis nil opus esse tuis Imprimit ille die, quantum non scribitur anno, Ingenio haud nocdas, omnia vincit homo.

To Uldaricus Gallus Goose, custodian of Jove's Tarpeius, under which the Gauls fell while you flapped your wings, an avenger is here Uldaricus Gallus taught that man does not need a feather; there is no use for it He prints in one day what cannot be written in a year; his genius cannot be harmed, man conquers all Campano refers to Livy's story of the goose that saved Rome from the Gauls He calls Ulricus Gal-

lus an avenger who now banishes the goose, for its feathers are no longer needed for bookmaking Colophons tell us that Han was a priest (venerabile vir), university-trained (magister), and a man of some social (and financial?) standing (dominus, honorabile vir) An extant manuscript signed Ulricus Han (1469) reveals his accomplishments as the scribe of a theological text.2 Documentary evidence reveals that an Ulrich Han from Ingolstadt in either Bavaria or Franconia ("Ulricus Han de Yngilstavia") matriculated at the University of Leipzig in the winter semester of I443/1444 He is also probably the "Udalricus de Yngelstavia p[auper}" registered for the winter semester of 1438.3 The phrase found in many of Han's colophons, "Civis Wienensis," ("Vienensis," "de Bienna"), suggests that Han was a citizen of Vienna, and he may have introduced printing there as early as 1462 Han has also been proposed as the printer of the first book in Italy, a Passio Christi.4 Han's production of about sixty printed books in Rome between about 1467 and 1478 began with a focus on classical works, many edited by Campano.5 Between 1471 and 1474 he was in partnership (always with his name listed first) with Simone Cardella of Lucca, a Roman businessman (merchatore) After that partnership he

published the two missals in which he is referred to as a man of great and excellent talents responsible for using a new method of printing In i477 he issued a short Officium Immaculate Conceptionis Virginis Marie (D 144) with blank space for music; presumably the missal music type was not yet suitable for the quarto format Later books include papal orders, bulls, and speeches, as well as reprints of earlier editions In 1476, a reprint of Han's i470 edition of Torquemada's Expositio Psalterii appeared in Rome with a colophon naming a brother of Ulrich's (or a fellow monk?): "providum virum Magistrum Lupum Gallum, fratrem magistri Udalrici galli do Bienna." A total of seven books dated from 1476 to 1478 are attributed to Lupus (Wolf), who used U1rich's types in a debased form.6 What was Han's role in the production of the books issued in his name in Rome? He was certainly a publisher, twice with Cardella: Sub iussu Ulrici Galli Teutonici: Et Simonis Nicolai Lucensis (H 15563) By the order of Ulricus Gallus, German, and Simone Nicolas of Lucca.

i For a discussion of the colophon and other references in poetry to Ulricus Gallus, see Achim Aurnhammer, "Gallus restitutus: Dichterische Zeugnisse uber den Buchdrucker Ulrich Han," Gutenberg-Jahrbuch (1981), pp 161-62 2 Lamberto Donati, "Escorso sulle Meditationes Johannes de Turrecremata 1467," La Bibliofilia 76 (1974), 7 3 Die Matrikel der Universitat Leipzig, ed Georg Erler Vol 1: Die Immatrikulationen von 1409-I559 (Leipzig, 1895), pp 146, 125 4 The case for attributing a 1462 Almanach for Vienna to Han is reviewed by Gedeon Borsa in "Wann wurde in Osterreich zum ersten Mal gedruckt?" Biblos 32 (1983): 132-40 Carl Wehmer reviewed the question of the Passio Christi in his article "Udalricus Gallus de Bienna," in Contributi alla.storia del libro italiano Miscellanea in onore di Lamberto Donati (Florence: Olschki, 1969), pp 325-57 He concluded that the relationship of the missal types used for the Vienna Almanac and the Passio Christi needed further investigation, a work that was occupying him at the time of his death in August I982 For further details of Han's life and work, see Ferdinand Geldner, "Zum fruhesten deutschen und italienischen Buchdruck (Mainz-Baiern-Foligno Johannes Neumeister und Ulrich Han?)," Gutenberg-Jahrbuch (1979): 18-38; Geldner, Die deutschen Inkunabeldrucker 2: 30-35; Luigi de Gregori, La stampa a Roma nel secolo XV: Mostra di edizioni romane nella R Biblioteca Casanatense aprile-maggio 1933-XI (Rome: Tipografia Cuggiani, 1933), pp 13-14; Demetrio Marzi, "I tipografi tedeschi in Italia durante il secolo XV," in Festschrift zum funfhundertjahrigen Geburtstage von Johann Gutenberg, ed Otto Hartwig, Centralblatt fir Bibliothekswesen 23 (1900): Supplement, pp 515-18; Friedrich

Noack, Das Deutschtum in Rom seit dem Ausgang des Mittelalters, 2 vols (1927; rpt Stuttgart: Scientia Verlag Aalen, 1974), i: 345 The beginning of Han's career in Rome is unclear His edition of Torquemada's Meditationes has the printed date 31 December 1467 (1466 if the new year were dated from Christmas) Donati assigned the book to between 1469 and 1472 on the basis of a manuscript copy of the work signed with Ulrich's name and dated October, 1469 (Lamberto Donati, "Escorso sulle Meditationes Johannes de Turrecremata 1467," La Bibliofilia 76 [1974], 7 and figure 5) According to Geldner the manuscript was actually copied from the book (Ferdinand Geldner, "Ulrich Han und Sixtus Riessinger im altesten romischen Buchdruck," Archiv fur Geschichte des Buchwesens 10 [1969-70]: col 100oo4n.3) 6 "Indice delle edizioni romane a stampa (1467-1500)," in Scrittura, biblioteche e stampa a Roma nel Quattro-cento: aspetti e problemi, Atti del Seminario 1-2 giugno 1979, ed C Bianca, P Farenga, G Lombardi, A G Luciani, and M Miglio, 2 vols (Vatican City: Scuola Vaticana di Paleografia, Diplomatica e Archivista, 1980), 2: nos 455-60, 563.

A domino Udalrico gallo almano felicit impressos A prudent viro Simone Nicholai Chardella de lucha merchatore fide dignissimo (H 4174) Printed by master Udalricus Gallus, German, and by the prudent man Simone Nicolas Cardella of Lucca, merchant of very good faith In another book the two men swear to return a Lactantius manuscript used as a copytext, acting as responsible agents together Colophons are less emphatic about Han's role as a printer The verb imprimere appears frequently in colophons without being linked to Han's name: sine calamo aut pennis eundem librum impressi these books printed without stylus or pen plumali calamo necque stilo ereo sed artificiose quadum ad inventione imprimendi seu caracterizandi sic effigiatum [the text]which has been given form not by the quill, stylus, or pen, but artificially by the invention of printing or setting [of metal] characters created in an effigy [of handwriting] Non calamo ereoue stilo: Sed nove artis ac solerti industrie genere Rome impressa Not by the stylus or pen, but by a new art and method cleverly and painstakingly printed in Rome.

In 1477 and 1478, books were issued with the statement "impressum per Ulricum gallum alamanum"; by that time the printer must have already been present who was to take over the shop in 1479 80 (see the discussion of Stephan Planck, below) The possibility exists that Ulricus Gallus was a wealthy priest whose involvement in the book trade was less at the technical level of printing than at the financial and intellectual level of providing capital for the furnishing of a shop, bringing selected theological, classical, and liturgical texts to print, and acting as official printer for the papacy If Han was a publisher rather than a printer, who might have been responsible for the actual printing of the books issued in his name? The accomplished German printer Sixtus Riessinger apparently issued the first book in Rome, the Letters of St Jerome, half finished by March 1466 and completed early in 1467.7 The type used by Riessinger closely resembles that of Han, the capitals being perhaps exactly the same.8 Born about 1430, Riessinger, a priest of the diocese of Constance, held a benefice in Strasbourg and was to begin issuing books in Naples in 1471 He could have been the printer responsible for Han's early books, and Lupus Gallus and Han's successor Stephan Planck (born ca 1457) could have carried on after

Riessinger's move to Naples Another group of German printers who arrived in Italy in the 1460s included one who would later issue music incunabula, Stephan Arndes (Graduale Suecicum, 1493), who printed with Johann Neumeister in Foligno in 1470 and then formed a partnership with Crafto of Mainz He moved to Perugia in 1472 or 1473 but is not named as printer of a book until 148 He reappeared in 1485 as a printer in Germany.9 In 1476 the hospice of the German church in Rome, Santa Maria dell'Anima, recorded in its Liber Confraternitatis the receipt of one of Han's missals in lieu of rent.'° Historians have assumed that Han died soon thereafter, because in 1479/80 Stephan Planck, his successor, finished printing a book "in domo quondam Magistri Udalrici Galli barbati" ("in the house of the former magister Udalricus Gallus Barbatus"), a house of the Tagliacozzo family, probably located in the Ponte quarter An "Ulricus Nicolai de Wienna" (a reference to Ulrich by his patronymic instead of the family name?) is later named among the dead members of the German confraternity at Santa Maria dell'Anima." 7 A Leaf from the Letters of St Jerome 8 BMC, IV: 27; Fava and Bresciano, La stampa a Napoli, i: o1-27; Scholderer, "Sixtus Riessinger's First Press at Rome," The Library, 3d ser., 5 (1914), 320-24.

9 Rossi, L'arte tipografica, p 24; Michele Faloci Pulignani, "L'arte tipografica," p 286; BMC VI: xlv io F Nagl and A Lang, "Mitteilung aus der Archiv der deutsches Nationalhospizes S Maria dell'Anima in Rom," Romische Quartalschrift 12, Suppl., pp 112-31; as cited in Gregori, La stampa a Roma, p 14 "Magister barbatus" designated a philosopher in classical times, but in medieval Latin it can refer to a monk who lives as a lay person outside the congregation i I Liber confraternitatis B Marie de Anima Teutonicorum de Urbe, quem rerum Germanicorum cultoribus offerunt sacerdotes Aedis Teutonicae B.M de Anima Urbis (Prooemium Scr Carolus Jaenig) (Rome: Ex Typographia Polyglotta S C de Pro-

Ulrich Han entered the field of publishing music books with the Missale Romanum of 21 April 1475, in which blank space for music was carefully measured out on thirty-three pages, leaving the scribe with the task of writing staves and notes Han's 1475 Missale was the second dated missal to have been printed and the fourth known printed missal It follows the vellum edition tentatively dated about I472 and placed in central Italy (D 38),'2 the one Zarotto finished in Milan in 1474 (D 39), and the Missale Speciale probably printed in Basel about 1473 A year and a half later Han reprinted his Missale Romanum with music (Fig 3 1), the first printed roman plainchant, the first printed music in Italy, and the second music printing anywhere (after the ca 1473 Graduale) Han's two missals vary only in such details as abbreviations and the alteration of an occasional word; the calendars appear to be identical Since preliminary pages are usually printed last and therefore are not signed in the normal sequence of gatherings, the calender may have been printed from the form for both, the last gathering of the 1475 edition There is one fewer page for music in the second edition because one extra word is fitted on the previous page (f [m3]) It must have been an enormous undertaking to reset the type for the folio Missale; the best hypothesis to account for such labor is that the music type was not ready until I476 Perhaps that type was originally intended for the 1475 edition as well Han's first edition may have been small and quickly sold out The extant three copies, two on vellum and one on paper, reveal no Maecenas who might have sponsored the project.

The 1476 Missale Romanum is a masterpiece of music printing, far beyond the experimental stages of the craft The staves and notes are well designed and cut, printed clearly and strongly on paper or vellum, precisely registered for the proper placement of black notes on red staves, and luxuriously spaced with eight staves per column 242 mm high on a large folio page of 374 mm (Paris copy) The black text and notes were printed in a second impression after the red text and staves Han and his successor in Rome, Stephan Planck, usually used a five-line staff, though occasionally four-line staves appear The strong, wide lines of the staves stretch the width of a column and are never shortened for initials or rubrics The lines are straight, uninterrupted, and of consistent length The two sharp edges of staff lines and the smooth spreading of the ink over the o.5 mm surface revealed by magnification indicate printing from metal: in thirty-three pages of printed staves surely some irregularity would occur in lines printed from staves cut from wood Since lines printed by Planck in books as late as I497 measure the same as those in the 1476 Missale, it seems reasonable to assume that Han's material (or molds for it) was sufficiently durable to survive three decades

of use Because of the occasional use of four-line staves (see, for example, f 104) and some irregularity of beginnings and corresponding endings of vertical alignment of lines, the staves may be considered to have been printed from single metal rules divided by precisely made furniture Han's font of music type, R1, has only twelve characters Han's use of a five-line staff or extra white space under the staff allowed room to print the entire short-stemmed virga without overlapping text type Any ligature that was printed was cut as such in type or was broken into its component parts and printed with separate type designs (see Fig 3 I, the torculus and scandicus completed by using lozenges) No ligatures are printed from combinations of abutting characters The only obvious kerned sort is the lozenge, which was kerned on one side to allow it to overlap the next lozenge in a climacus and, on occasion, other characters (in Fig 3I, a clivis) The direct was apparently kerned on the right, since it extends beyond the normal black column boundary and often is bent or broken The bar line is regularly 25 mm long and extends from the descenders of one line of text to the ascenders of the next, making the probable body size of Han's

paganda Fide, 1875), p 266; Ulricus is entered in a list of "Nomina fratrum et sororum ac benefactorum laicorum defunctorum." As quoted in Ferdinand Geldner, "Deutsche Buchdrucker des funfzehnten Jahrhunderts als Mitglieder romischer Bruderschaften," Gutenberg-Jahrbuch (1953): 211 12 The design of the types used for that first printed missal is quite closely related to that of types used by Han in Rome in the 1460s, but there are fewer overhanging bars on letters like t, c, and long s than are common in early Gutenbergian types.

FIG 3 1 Missale Romanum Rome: Ulrich Han, 12 X 1476, f [1o4] (Biblioteca Nazionale Centrale, Florence, E 1.22.) music type 25 mm Only the C clef appears, never an F clef Han's successor, Stephan Planck, may have been the printer responsible for Han's system of printing music At the very least, the chronology of the professional relationship between the two men and the details of Planck's use of Han's type suggest the possibility that Planck played an important role in printing the first music in Italy Planck acquired Han's printing establishment in about 1478 or 1479 Since he was the apparent beneficiary of Han's estate, or at least heir to his printing equipment after Han left Rome, Planck must have been working for him well before 1479 and quite possibly during the creation of the music type, between I475 and 1476 Planck assumed control of the business in 1479/80, at the age of twenty-two, presumably well after the completion of his apprenticeship By 1482 he had printed his own folio missal with two new fonts of large gothic text type and with impeccable use of Han's music font That same music type was used for Planck's missals of 1482, 1488,

I494, and 1496, as well as for the musically much more ambitious pontificals of 1485 and 1497 The books of Han and Planck used an identical technique for setting staves: five-line or, occasionally, four-line staves printed from metal rules a column wide with a rather wide line impression While it is often said that Planck owned Han's type as well as his shop and printing equipment, only one font of Han's type has been noted as used by Planck: the music type.' Although it might be argued that Planck rejected Han's two gothic fonts of pre-I468 design as being outdated whereas the music type was of more recent design, it seems unusual that Planck ignored eight fonts of Han's text types and created twelve new text fonts while using Han's music material almost without alteration Could the music type have been Planck's own? Or was it produced by an unnamed specialist in music type? That Planck learned to set the music type in 13 Another "doubtful" roman font listed under Planck in the BMC (IV:8I; IoI R, P 3) is apparently identical with Han's o03 R (P 4) but "with single Qu only." Planck also used Han's woodcuts.

Han's employ is scarcely to be doubted Someone in Rome after Han's departure had the ability to design and cut music type, because a few characters were added to Han's font (see the type specimen, Ri) A likely candidate for the typefounder is Planck himself The colophon of the first book (1479) printed by Planck states that Stephan Planck of Passau was printing "in the house of the former magister Udalricus Gallus Barbatus." Apparently the young German came into possession of Ulrich Han's printing equipment and office and managed to retain the favor of the Roman Curia Planck printed some 325 works between 1479 and his death at the age of forty-four on [7 February I50oI He was the most prolific of the thirty-four Roman printers of incunabula, indeed, of all printers of incunabula save Quentel of Cologne, who was responsible for 336.15 Perhaps the word "Roman" in the previous sentence is misleading; only four Italians printed in Rome in the fifteenth century, the other thirty, including Planck, being German Many of Planck's editions involved little technical skill, being thin quartos of straightforward prose catering to the sure market of the papal bureaucracy But as early as I482, at the age of twenty-five, Planck printed a book with music notation in red and black with all the technical accomplishment of the finest early Italian music prints His two editions of the pontifical, the only editions

of that ritual to have been printed in the fifteenth century," were impressive folio volumes with music on most of the 302 (1485) and 232 leaves (I497); the second edition is shorter because it used eight staves of music per column instead of seven Seven of eight copies examined of the 1485 edition were illuminated in gold and colors Planck's three folio and two quarto editions of the missal, issued between 1482 and 1492, were also major undertakings, printed in red and black with Han's music type 14 The date of death is known from the tombstone in the German Campo Santo in Rome, reproduced in Cod Vat 7916, f 58, n 245, and Vincenzo Forcella, Iscrizioni delle chiese e d'altri edficii di Roma dal secolo Xl fino ai giorni nostri, 14 vols (Rome: Tipografia delle Scienze Matematiche e Fisiche, I869-I884), 3:352 15 Gregori, La stampa a Roma, p 22; "Indice delle edizioni romane," 2: 266 i6 LB, pp 47-48 All twelve text types, four roman and eight gothic, which Haebler attributes to Planck were new, and only one "doubtful" type of the eleven gothic and three roman listed under Planck in BMC is apparently identical, except for one letter, with a type of Han's.'7 Numberings of Planck's text types vary, in part because of the large number of books, issued without colophons, about which there is a question of attribution Planck may have obtained Han's types, discarded the roman fonts seldom

needed for his output, and replaced the two older gothic fonts in favor of newer designs, one of which he had ready for use when he began printing in 1479 and two more of which were ready for the 1482 Missale Since he never used them, it is equally likely, however, that he did not own any of Han's types except the music font An able type designer and cutter created Planck's twelve text types, some introduced as early as 1479 Since only a person with sophisticated musical knowledge would have attempted to print a pontifical in which nearly half the pages contain music, Planck or someone in his shop must also have had some musical ability With such a combination of technical and artistic strengths, a major role for a music type specialist or Planck himself in the creation of the first roman plainchant type should be considered as a possibility Planck began by printing staves with rather irregular rules (see Fig 32) but changed to what appear to be cast metal lines like Han's for five-line staves of a design wider and straighter than those of contemporary music printers His rules occur in

lengths a column wide with average measurements of 52 mm, 66 mm, and 72 mm, the last identical to Han's Planck added to Han's music type a few sorts which allowed him to print ligatures not found in Han's Missale He combined the C clef with a virga to create the F clef used in the Manuale Baptisterium He managed to use the folio type for three quarto as well as five folio editions, with a smaller text type and reduced inner and outer margins surrounding columns (see Fig 32, folio, and Fig 33, quarto) The normal practice of Italian printers of both music and text in red and black was to make a red first impression followed by a black second impres 17 Haebler, 2: 96; BMC IV:8o-8i.

FIG 32 Pontificale Romanum Rome: Stephan Planck, 20 XII 1485, f [cxvi] (Henry E Huntington Library, San Marino, California, 95514.) sion That sequence was probably followed by Planck; the frequent appearance of continuous red staff lines that often appear to be uninterrupted by the black music notes and printed on top of them may be due to the rejection of the black second impression by the unusually crystalline, shiny red ink A careful examination of the British Library copy of the 1485 Pontificate shows, however, that in at least one gathering the black text was printed first and the red second Folio i2" provides a good example of both red staves and red letters printed after the black text and notes Furthermore, on f i8v the 1 has been printed in both colors by mistake, red over black, and red and black in the same lockup of alphabetic type are visible in several places where part

of a letter or a group of letters is printed in both colors Such mistakes indicate that a frisket was used in Planck's shop to cover the type of one color for double impressions from one form and that too little care was sometimes taken in cutting it The pontifical particularly challenges the use of two-color printing, because its pages frequently contain more rubrics or red text than black (f ai of Planck's pontifical is completely red, and the first gathering is predominantly in that color).

R1 Roman Large Missal, 16 or 22/5:2.5[sup(2)] x 7.5

Photographs: Missale Romanum, Rome, Han, 12 x 1476; Florence, Biblioteca Nazionale Centrale, E 1.22, ff [104], [107", [I2 1"] Editions: Ulrich Han I 12 X 1476, Missale Romanum, 2°. Staff (5-line): 21 Space: 5.25 x-height: 4 Music form: 242 X 162 (70-72) Music pages: 33 Staves: rules (cast metal?) No 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 No 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 No per col.: 7 4 22 XII 1488, Missale Romanum, 4°. Staff (5-line): 21.5-22.'5 Space: 5.5-6 x-height: 2.5-3 Music form: 133-38 10o8-9 (52) Music pages: 55 Staves: rules No per col.: 5 5 1492, Missale Romanum, 2° [no copies known.] 6 2 III 1494, Manuale Baptisterium Romanum 4°. Staff (s-line): 21-22 Space: 6.5 x-height: 2.5 Music form: no full page of music Music pages: 13 Staves: rules No per col.: 5.

7 27 X 1494, Missale Romanum, 4°. 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 No 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?) No per col.: 7 9 16 VIII 1497, Pontificale Romanum, 2° Staff (5-line): 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?) No per col.: 8 FIG 33 Missale Romanum Rome: Stephan Planck, 27 X 1494 f [lxxvi] Slightly larger than scale (Seminario, Bagnoregio.)

Podatus I 2.5 X 5-5 22.5 X 5 3 2.5 X 13 Clivis I 4.5 X 8 24.5 X 8 Clivis, stemless 1 4-5 55 24.5 x 8 C clef, i.75 X 7 Direct, kerned, 3.5 X 5.5 (a) bent kern Bar line, 25 Additional sorts used by Stephan Planck: Podatus 4 (Missale Romanum, 1482), 2.5 X I.5 Clivis 3 (Pontificale, I497), 4.5 X IO

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 i477 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 The 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: I477 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: io 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', 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 leaves of the Parma Graduale contains music, in contrast to only 16 leaves of music in Han's Missale The abbreviated form of the printed Graduale contrasts with the expanded versions of manuscript graduals written in Damiano's shop in the I48os and i49os for the Benedictine monastery of S Giovanni Evangelista in Parma (for example, the gradual of 212 leaves, Parma, Bib Pal., Corale N 8, 1486) 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 I474.2 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 Graduale 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 pen-drawn initials that finished the manuscript books.3 He published and apparently wrote the only in i Domenico Fava, "II corale a stampa del 1477 e i suoi autori, Chiesa SS Incoronata di Lodi," Archivio Storico per la Citta, i Comuni del Territorio Lodigiano e della Diocesi de Lodi, 58 (1939): 54-56; rewritten as "Le conquiste tecniche di un grande tipografo del Quattrocento," Gutenberg-Jahrbuch (1940): 147-562 Fava, "Le conquiste," p 149 3 An example of a pen-drawn initial by Damiano Moilli is included in Laudadeo Testi's "I corali miniati della chiesa di S Giovanni Evangelista in Parma," La Bibliofilia 20 (1918): 15·

cunabulum on calligraphy, an Alfabeto of roman capital letters which followed the gradual by a year or two.4 Two 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 Early in this century, Reichling (R 1176) described the only known copy of the Parma Graduale (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 Graduale, Fava proposed a technique of printing the book that consigned the music (red) and staves (black) to a woodcut technique.7 My examination of the Graduale 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.

The most striking feature is its large size A page of the Graduale 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 I Io mm The x-height of the text type is 20 mm The staff is 55 mm high and each of its three spaces is i8 mm, nearly double that of the next largest staff printed in Italy in the fifteenth century, the I499 Graduale printed by Emerich (x-height 13 mm, staff 32 mm, space I I mm) The normal virga is about 20 mm or 13/16ths 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 The 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 The only previous font of roman plainchant type had consisted of only twelve designs (Han's R I 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 The 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 The 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 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 54-61 Descriptions based on his notes were included in Haebler 2: 72 and BMC VII:xlviii 8 For an explanation of the printing process with metal type see my "The Music Type of the Second Dated Printed Music Book, the 1477 Graduale Romanum," La Bibliofilia 89 (1987): 285-307.

FIG 34 Graduale Parma: Damiano Moilli and Bernardo Moilli, io 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 RI 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 available 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 Graduale 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.

FIG 35 Graduale Parma: Damiano Moilli and Bernardo Moilli, io IV I477 Mensural Credo (Chiesa SS Incoronata, Lodi.) Greatly reduced in size Notes or neumes printed above or below the staff were cast as kerned designs extending beyond the type body in order to be set next to the standard body of the alphabetic type (see R2 type specimen: virga A5, punctum 1a and 1b, podatus ia) The lozenge has a kerned variant that allowed the notes of the climacus to be set tightly together The Parma type might have included even more characters if the printers had tried to use the mensural notation that was standard for the Credo in the gradual of the late fifteenth century Despite

the fact that its notation required characters that had not appeared in the plainchant, no extra type was cast for it by the Moilli brothers Instead they used the plainchant virga for the semibreve and the lozenge for the minim, and they reversed a short-stemmed virga and joined it to a punctum to form a ligature of semibreves A comparison of the mensural Credo in the 1477 Graduale (Fig 35) to that in the Venetian I499/500o Graduale (see type specimen R21 ) shows the paucity of mensural characters in the earlier edition In the 1477 Credo there are

no semiminims or diagonal ligatures such as are found in Emerich's more elaborate designs for mensural chant In contrast to the frequent liquescence of the I499 Graduale printed by Emerich from a carefully prepared copytext edited by an international committee, the only suggestion of liquescence in the Parma Graduale comes in the virga cum orisco and in the few instances of neumes printed with the singular character which suggests both the upper and the lower ornamentation of the cephalicus and epiphonus The design for the virga cum orisco could be printed upside down so that the ornament to be added could be either an upper or a lower neighbor All other Italian fifteenth-century printed plainchant provided only the design with an upper neighbor Only one other printer used such a liquescence design in Italy in the fifteenth century, Bonini in R3 i Since the Parma Graduale seems to imitate closely the manuscript chant books of that city, perhaps such common designs of mensural notation as key signatures, diagonals, and semiminims did not appear in the manuscript copytext for the Graduale and therefore were not considered necessary for the printed version.

R2 (M), Roman Very Large Antiphonal, 55:9[sup(2)] x 21–22

55:9; X 21-22 Photographs: Graduale Romanum, Parma, Damiano and Bernardo Moilli, io IV i477; Lodi, Biblioteca Comunale Laudense; the author's photographs taken with a hand-held camera (scale may be slightly off from top to bottom of a photo) Editions: Damiano and Bernardo Moilli I io IV 1477, Graduale Romanum, 2° Staff: 55 Space: i8 x-height: 20 Music form: 379 X 30o9-5 Music pages: 212 Staves: rules (cast metal?) No per page: 4 Virga A 92 X 21-22 22 X 17-19 3 92 X 26 48 X 9 36 5 Kerned at top, 92 X 23

Virga B, stem on left (used only in combination with other types to form neumes) I (in clivis)92 x 23-24 4 a kern removed? 2 (in clivis) 92 X 39 3 (in climacus) 92 47 Punctum 92 (a) kerned at bottom Lozenge (used as single neume in climacus or as semibreve) in mensural notation) 27 9 for bottom of staff (b) kerned at top io-ii X 16-20 (a) kerned (in climacus)

Torculus i center note only, apparently with stems at right and left Torculus 2 center note 6.5 X 9 X 8 1a 1b A similar character used alone for liquescence, or with virga A2 for a clivis (see below) 27 x 9 x 27 (with virga A2)

Podatus (note that top note is the narrower) I8 X 9 (a) kerned at top 29 X 27 39 X 48 Diagonal I 19 X 25 2 26 X 28 I ia 2 3 I 2 Porrectus I 24 X 26 2 23 X 28 3 29-31 X 33

Virga cum orisco I 21-22 27 2 20-21 X 23-24 320-21 X 16-17 420-21 C clef 14 X 22 2 kerned at top F clef 3 X io plus C clef Accidental, B flat

Direct (kerned at top and bottom?) I 8-9 X 26 a broken at top b broken at bottom c broken 2 small, for interior placement Semibreve for mensural notation (combination of virga A2 [inverted] and punctum i) Bar lines (rules), about 55 mm

VII—
Venice

Theodor Franck of Würzburg, M1

Theodor Franck of Wurzburg appears as a printer in only one book, the first edition of the Grammatica (Venice, 21 March I480), by the Dominican Francesco Niger In Book 8 are sections on meter, rhythm, and harmony, the last of which is illustrated with six pages of the first printed mensural music The publisher of the Grammatica was Johann Lucilius Santritter, a mathematician and astronomer from Heilbronn who between 1480 and 1498 published books with several Venetian printers: Ratdolt (I482 1485), De Sanctis (I488-1489), Hamman (1492), and others.' From Santritter's elegant colophon we learn that upon his arrival in Venice he was befriended by Niger and decided to show his appreciation by publishing Niger's grammar The verse ends: Santritter helbronna genitus de gente ioannes Lucilius prompsit grammata docta nigri Herbipolisque satus socio sudore lacunis Hoc uenetis francus fert theodorus opus Santritter, son of a Heilbronn family, Johannes Lucilius, publishes the grammar of the learned Niger By the exertion of a native of Wurzburg and associate, The Franconian, Theodore, did this work in Venice.

Santritter was apparently the publisher ("prompsit grammata") and his associate the printer ("fert opus") The text types include a Latin font very close to those of Nicolas Jenson and Johannes Rubeus and a Greek font that cannot be distinguished from that of Johannes Rubeus Franck was still known in Venice in 1495 but apparently was not again associated with printing.2 He may have been connected with Eucharius Silber, another Franconian of the diocese of Wurzburg, who started his prosperous Roman press in the same year, 1480.3 Franck's font of mensural type has nine designs, four of which are the long with stems of different lengths The relationship of long i with stem of 13 mm to long 2 of 1.5 mm is that of notes a half-step apart (see Fig 36, staff4) The same relationship holds for longs 3 and 4 Therefore, long I and long 2 were probably cast on bodies of an equal size, about 14 mm Longs 3 and 4 could have been cast on the same size body or, by using a smaller type mold, on a shorter body (Fig 37) The stemless notes could have been cast on a body as short as 4 mm but were probably cast on bodies of the standard 14 mm size for ease of composition This would have required three invertible sorts with the notes a half-step apart Evidence for the use of type of two body sizes-4 mm and 7 mm, to make up the 21 mm distance between two lines of text-

i Herbert Hummel, Katalog der Inkunabeln des Stadtarchivs Heilbronn (Heilbronn: Stadtarchiv Heilbronn, 1981), PP 37-392 Geldner, Inkunabeldrucker, 2: 83 3 Silber signed his name "Eucharius Silber alias Franck." In 1510 his son Marcello printed the first publication of Antico, the Canzoni nove: Claudio Sartori, Dizionario degli editori musicali italiani (tipografi, incisori, librai-editori) (Florence: Olschki, 1958), p i44.

FIG 36 Francesco Niger, Grammatica Venice: Theodor Franck of Wurzburg for Johann Santritter, 2 III 1480, f 98 (Museo Civico Correr, Venice.) FIG 37 Proposed body size of the longs in MI comes from the frequent impressions of type shoulders, especially at the top and bottom of the 2 I mm space and also at a point 4 mm from the top Another piece of evidence that small designs were cast on large bodies is the incorrect impression of the point, or punctum (see Fig 38, staff i); it falls much too low instead of immediately after the semibreve it affects Other misplaced points occur on f 9 7, staff 2 Thus while there are only nine punch designs on the type specimen sheet, this music font would have consisted of about fourteen to eighteen different sorts The missing staff could be drawn in without difficulty The normal five-line staff for

mensural music would measure about 13 mm Mensural music in white notation was not printed again until the sixteenth century, not because of the difficult technological skill required-skill clearly present here even though the printing was accomplished with smudges from spacing material and type shoulders-but because of the limited market for books of music theory and mensural performance music The condition of extant copies of the Grammatica (a partial list includes eighteen in

FIG 38 Francesco Niger, Grammatica Venice: Theodor Franck of Wurzburg for Johann Santritter, 21 III 4 8o, f 9 7" (Museo Civico Correr, Venice.) Italy, fourteen in Germany, twelve in the United States, three in Paris, two in London, two in Budapest, and one in Yugoslavia, for a total of at least fifty-two) suggests that the book survived well because it was one of the least-used books on the library shelf The argument seems valid that the audience of interested scholars who were literate in mensural notation was small There are distinct similarities between this mensural type and that used by Petrucci in 501 In his dissertation on Petrucci Boorman included a type specimen of the mensural music type used by Petrucci, with measurements: Long 2.52 mm, variable tail Breve 2.5 X 2 mm Semibreve 3.8 mm high Pausa [no measurements given; apparently about 2.5 mm high] C clef new design4 Petrucci's long and breve are pointed, and the semibreve has the same calligraphic character of opposing thick and thin sides As was mentioned in Chapter III, Petrucci's typecutter, Jacomo Ungaro, was in Venice in 1480 and could have played a role in the creation of M i.

M1 Mensural (White) Medium, [13/5]:2[sup(2)] (2.5) x 13

[3 :22 (25) X 13 Photographs: Niger, Grammatica, Venice, Theodor Franck of Wurzburg, 21 IIl I480; Venice, Museo Civico Correr, ff 96-98" Edition: Theodor Franck of Wurzburg I 21 IlI 4.80, Francesco Niger, Grammatica, 4°. Staff: none x-height: 2.25 Music form: not clear Music pages: 6 No staves printed Long 4 Boorman, "Petrucci," pp 377-78 Breve 22 (2.5) t Semibreve 4 high Punctum additionis 0 ° Pausa 2.5 high J C clef 6X2 : I 22 (2.5 with points) X 13 2 2 (2.5) X 11.5 3 22 (2.5) X 8 4 22 (2.5) X 6.5

Ottaviano Scoto, R3, R4

During his career in Venice Ottaviano Scoto issued seven missals, six with music and one with space for music The first four appeared before 1484, when he still called himself a printer, and include the first plainchant printed in Venice: 29 XII 148I Missale Romanum, 4° 31 VIII 1482 Missale Romanum, 2 28 XI 1482 Missale Romanum, 4° 24 XII 1482 Missale Praedicatorum, 4° M-B 125-26 W 870 D 55 W 875-79 D6o R3 M-B i27 W 877 D 62 R4 M-B 22 W I815 D 13 R4 In the 1490S Scoto published three missals with music that were printed by Hamman: 5 I XII 1493 Missale Romanum, 8° I II 1494/1495 Missale Praedicatorum, 8° 5 VI I497 Missale Romanum, 4° M-B 152 W 926 D 95 Rio M-B 215 W I822 D 136 Rio M-B 56 W938 D 04 RII For a discussion of Hamman's music types, see below under Hamman Unlike his other roman fonts, Hamman's quarto music type was used only once, for Scoto's 1497 Missale Its production may have been subsidized and retained by the publisher, who died in I498.

Although Meyer-Baer classified the 1481 Missale as having appeared in two states, one with printed staves (M-B 125) and one with blank space for music (M-B 126), my examination of eight copies revealed only one state, with blank space for music Although raster-drawn staves can be quite regular (see Fig 39), variation in width of line, intensity of color, the way the ink spreads, difference in quality of penned ink from printed ink, the occasional angled line from the pen having been lifted, and so on all show that the lines were not printed In addition, the Huntington Library copy has three-line staves that are drawn in single lines without a raster and on one leaf of the Siena copy the staves are drawn straight across the page without columns Proof of the demand for different kinds of notation is the existence of a variety of notations in the 148 Missale: gothic with an occasional ambrosian neume (Milan), a punctum for the common note (Huntington Library and Bibliotheque Nationale), and one copy (Parma) with the virga cum orisco (see Fig 39)Was Scoto a music printer as well as a publisher? The fact that two folio and quarto music type fonts appear only in Scoto's books appears to support his claim to be both printer and publisher: "arte & impensis Octaviani Scoti Modoetiensis" in

the first three missals and "opera & expensis Octaviani Scoti Modoetiensis" in the last However, because of a correspondence of text types, Proctor has suggested that even the early books signed by Scoto were printed for him by such men as Leonard Wild and Andrea Paltasichi.6 Andrea Paltasichi, a Dalmatian who worked for Scoto in 1480 and 1481, did print an octavo with music staves (Missale Romanum, 11 II 1485) but is not known to have used music type His technique of setting staves-the crude use of irregular metal rules spaced so that they can be set at equal distances apart down the page, including text where necessary-bears little resemblance to the nearly straight rules of the staves of Scoto's folio publications, in which music text type is surrounded by ample white space Leonard Wild printed no staves or music The existence of copies of the Missale Romanum of 28 November 1482 with and without printed notes suggests that the music type was printed by a separate impression and perhaps even by a different printer in another shop All but one of the four copies I inspected had printed notes The copy at Biblioteca Universitaria, Bologna, has printed staves only; those at Biblioteca Nazionale Centrale, 5 The Missale Ordinis Praedicatorum (29 I 1493, item after D I35*) is apparently a ghost 6 Proctor, Index, 2: 310.

FIG 39 Missale Romanum Venice: Ottaviano Scoto, 29 XII 148i, f q4 (Biblioteca Palatina, Parma, Inc 86.) Florence; Biblioteca Comunale, Ferrara; and British Library, London, have printed staves and notes except for f mIV, which has staves only None of the copies had notes printed on the two staves of f mi", the short "Ecce Lignum" for Good Friday A glance at the opening of that antiphon reveals a melismatic passage with complex liquescent neumes that was beyond the capabilities of the typefont A compositor had either to reduce the neumes to single notes or to leave the passage blank The notes I took on my brief visits to Florence and Ferrara are not detailed enough to tell if any of the Italian copies omitted printed notes on the staves of the first leaves with music (ff i5-i6), but the London copy has printed notes for the Palm Sunday service The m gathering of twelve leaves is signed in all copies: mi, m3 as q3, and m8 and mg as n3 and n4, with the rest of the leaves unsigned; music is printed on leaves m4V-m8 In addition to the m gathering, printed signatures are also missing from music leaves p2, p4, and q2 The answer to the problem of variant copies with and without printed music notes, as well as to the signature peculiarities, probably lies in the fact that a separate printer was responsible for the music notes He could have printed the music leaves separately to be integrated into the other signatures upon completion of the book An examination of the paper for evidence of different stock might support that theory.

The eight extant copies that I have seen of the 1482 Missale Praedicatorum have printed notes and staves except for six staves without notes on column 2 off 18 Proof that the music notes were printed in a separate, later impression occurs at the top of f m3, where a black note is printed on a black letter (see Fig 40, staff i) The black music printing was done in a separate third impression, perhaps by a second printer, after the first (red) and second (black) impressions The colophons of the four missals published by Scoto in the i49os clearly attribute the printing to Hamman The evidence from all of Scoto's music books certainly points to a role for Scoto as music publisher rather than as music printer, and the two fonts attributed to him were probably commissioned by him and printed on contract by one of the identified Venetian music printers Battista Torti and his partners issued a folio Missale in 148I (D 52) and a quarto in 1489 that appears to be a reprint of Scoto's 1482 quarto, with identical foliation and Crucifixion woodcut Torti, who is known to have printed for the Scotos, seems the likely candidate for the honor of being the first printer of plainchant in Venice.

Scoto was born in Monza near Milan He appears to have entered the book trade in Venice about 1479 The priest Boneto Locatello was printer in ordinary to Scoto, and he used other printers (the Gregori brothers, Leoviler, Zani, Tacuino, Hamman, Capcasa, Gusago, Pensi, Vercellensi) as well, though infrequently.7 Of these, 7 BMC V: xxii.

FIG 40 Missale Ordinis Praedicatorum Venice: Ottaviano Scoto, 24 XII 1482, f m3 (Biblioteca Nazionale Braidense, Milan, Gerli Inc 38.) only Hamman and Pensi used music type after 1487 Locatello printed only one Missale Romanum, in 50I; it is an octavo music type Scoto died on 24 December I498, and the inscription on his tombstone describes him as a publisher and printer ("mercator librorum impressor").8 His name continued to appear in colophons until 500oo, when "Haeredes Octaviani Scoti" took its place His successors subsidized Ottaviano Petrucci, a well-known printer of mensural music, and the family name continued to be linked with music printing The music type used in Scoto's only folio missal (R3) is a handsome long-stemmed type with square unpointed noteheads The virga cum orisco varies in shape from the usual Venetian neume, and the double-stemmed plica is unique in fifteenth-century Italian fonts Many variant sorts were created to handle the difficulties of setting the long-stemmed types on lower lines and spaces of the staff A special variant sort of the stemless virga was designed for the top note in the torculus The clivis was not cut into type but formed by combining virgas 2 and 4.

The lozenge was kerned at the side but groups of two lozenges show kerning on both sides This technique may have been used in other fifteenth-century fonts, but it is clear only in Scoto's folio font, because there the pair are set closely with other sorts on both sides The clivis and torculus are made by combining types and are very well done The typecutter made a special punch for a small curved virga at the center of a torculus which makes the neume stand out visually The sort may have been kerned slightly; at any rate it is set so close to its adjacent virga that it seems to overlap on the left The lozenge and direct are identical in size and, when used consecutively, cause some visual confusion The problem of printing double impressions on wavy metal rules for staves becomes more acute in the quarto font than in the larger folio size Many notes are rather ambiguously printed in relation to the staff lines The F clef is sometimes improvised using a reversed C clef as its second part 8 Giuseppe Fumagalli, Lexicon Typographicum Italiae: Dictionnaire geographique d'Italie pour servir a l'histoire de l'imprimerie dans ce pays (Florence: Olschki, 1905), p 458.

R3 Roman Large Missal, 14.5–15:3[sup(2)] x 11

Photograph: Missale Romanum, Venice, Ottaviano Scoto, 3 VIII 1482; Bologna, Biblioteca Universitaria A.V.KK.V.5, f n7 Edition: Ottaviano Scoto I 31 VIII 1482, Missale Romanum, 2°.

Staff: i4.5-15 Space: 3.75-5 x-height: 4 Music form: 231 X I60 (76) Music pages: 43 Staves: metal rules, col wide No per col.: io Virga 5 Small variant for top of torculus Lozenge, kerned

R4 Roman Medium Missal, 11.5–12:1.5[sup(2)] x 4.5

Photograph: Missale Romanum, Venice, Ottaviano Scoto, 28 XI 1482; Florence, Biblioteca Nazionale Centrale, D.7.6.0o, f pIo Editions: Ottaviano Scoto I 28 Xi 1482, Missale Romanum, 4°. Staff: 11.5-12 Space: 3-75-5 x-height: 3 Music form: 141-2 X III (51 53) Music pages: 39 Staves: metal rules No per col.: 8 2 24 XII 1482, Missale Praedicatorum, 4°. Staff: 11.5-12 Space: 3.75-4.25 x-height: 2.75 Music form: 142-44 X io8-io (51-53) Music pages: 22 Staves: metal rules No per col.: 8 Virga i I.5 X 4-5 (a) bent kern 2 1.5 X 3.5 3 1-5 X 4-5 Lozenge 2, 3, 4 groups of two, kerned Diagonal I5 X I 25 X7 Podatus Virga cum orisco 16 X ii 2 6 X 75 Plica 32X II C clef 1.75 X 8 F clef 11.5 X 13 2 1.5 X io Bar line 18 Punctum 1 1.5 X 1.25 2 1.5 X I.5 Lozenge Podatus I 1.5 X 3 2 1.5 X 45 C clef, 0.9 X 4-5 F clef, 0.3 X 4.5 plus C clef (a) C clef printed backwards Bar line (rule)

Bernardino Benali, R5, R6

Bernardino Benali, a native of Bergamo, had become a master printer in Venice by 1483 and continued printing books there as late as 1543 Although his output was no more than moderate in quantity, he printed some beautiful illustrated books such as the Supplementum Chronicarum of Jacopo Filippo de Bergame (1486) and important first editions such as the dictionary of Calepinus ( 520) He was the second Venetian printer of plainchant music and the first to print music in octavo format Proctor's attribution of twenty-three text types to Benali suggests that he either was himself or had access to a type designer The latter is probably correct since at the end of his collaboration (i497-I517) with Lazzaro di Soardi, Benali was awarded a font of cast type and punches for a small text type that the two men had commissioned from a Venetian typefounder.9 Shortly after producing his first book, Benali copublished an octavo Missale Romanum with Arrivabene and Paganini, using a small music type that is distinguished by very small and rather crude noteheads That music type, R5, closely resembles Scoto's R4, which had appeared for the first time in the quarto Missale Romanum of 28 November 1482.

Although slightly different in size, the music characters of the two types are identical in design and number, with the exception of the design of the stemmed diagonals of R5 The virga in both types is slightly pointed, with a stem that extends nearly to the adjacent line The similarity suggests that one punchcutter created both types, the first for quarto format and the second for octavo The next year Benali printed and published by himself a folio missal with a new music type that was quickly reused in another edition for his former two colleagues, with no mention of his name 4 XII482/1483 Missale Romanum, 8° M-B 129 W 884 D 63 R5 Benali, Arrivabene, Paganini 1 VIII 484 Missale Romanum, 2 M-B I3 W888 D66 R6 Benali 27 IX 1484 Missale Romanum, 2° M-B I32 W889 D67 R6 [Benali for?] Arrivabene, Paganini One extant copy of the Missale of 27 IX 1484 in the Vatican Library contains printed staves without plainchant notes It is possible that Benali printed only the music for Arrivabene, who could have printed the nonmusic portions of the book and apparently sold copies with or without notes Paganini appears to have been a publisher rather than a printer.

The first signature of the book to contain music includes mis-signings that support the idea of an interruption of the normal printing sequence: signature g contains music on both sides of f g2 In at least four copies, that signature is mis-signed g3 as h3, g4 as h4 Such a mistake could result from a division of labor in two shops: Arrivabene's compositor finished the black second impression of f gi, stopped work to omit the first folio with notes, and began his next black form with a new signature letter by mistake The only other mis-signing in the book, f y3 as y, is not connected with music With the aid of a type specimen of Benali's R6, Roman Medium Missal, it has been possible to identify the music type of a quarto missal without date, printer, or place (Fig 4 ) as that of Benali: [ca i49o] Missale Romanum, 4 M-B 42 W 92 D 84 [Benali? for Luca Antonio Giunta] 9 Dennis E Rhodes, Annali tipografici di Lazzaro di Soardi (Florence: Olschki, 1978), p ii; A Cioni, "Benali, Bernardino," Dizionario biografico degli italiani: 8 (1966): I65-67; BMC V:xxx.

FIG 4 Missale Romanum [Venice: Bernardino Benali? for Luca Antonio Giunta, ca 149o] f o5 (British Library, London, IA 25100.) The text type has not been connected with a printer Because its Crucifixion woodcut has been considered to be first used by Torti in a 1489 Missale, ' the anonymous Missale has been attributed to Venice and dated ca i49o In the light of the discovery that its music type is the same as that used by Benali in 148.4, it would be worthwhile to compare the Crucifixion woodcuts again to be sure that Torti was the first to use the block The staves of the British Library Missale were most likely printed from woodblocks (see Fig 4 and Fig 25), whereas the staves in Benali's missals were printed from metal rules For his folio missals Benali used staves of about 13.5 to 14 mm A smaller io.5 to 1.25 mm staff was used by the anonymous printer for his quarto edition The fact that the notes strike the appropriate lines and spaces of the staff more accurately in the anonymous quarto Missale suggests

that the type was designed and therefore first used for that format It is also difficult to understand why a printer in 1490 would use woodblocks to print staves in Venice, where rules had been in use since the i47os and had been used for printing staves since 1482 Therefore it seems reasonable to propose that the printer of the quarto Missale was the first to use the type, before August 1484 Might he have been Benali? Another Venetian missal printed by Piero di io BMC V:591; Sander 4752.

Piasi uses what appears to be R6, Roman Medium Missal type of Benali: Io XI 485 Missale Romanum, 4 M-B, p 23 ("no space for music") W 895 D 69 Piasi's type is identical in size and design, although he did not use the diagonal As in the ca I490 Missale (D 84), the type fits the small staff of the quarto format much better than that of the folio format Piero di Piasi (Petrus de Plasus, de Cremona, called Veronensus) came to Venice from Cremona He began printing with the issue of a breviary in Venice with Bartolomeo di' Blavi in 1478 and was printing until at least I494 His editions include five breviaries (one called a missal by Hain I 37I) and one missal." R5 is an unattractive type with noteheads poorly balanced in size and too small for the staff on which they are printed A podatus for each of two intervals was cut, but the clivis and torculus are formed by combining types No diagonal appears The tiny direct needed no variant The short virga needed only one variant stem length The importance of the font should not be underestimated, however It was used for the first printed octavo i Vittorino Finni, "Pietro e Tommaso Piasi, tipografi cremonesi del secolo XV," La Bibliofilia 43 (1941): 85-1 1o missal with music, and the fact that several extant copies belonged to users in northern and southern Italy, France, and Poland suggests that the book was a success with its clerical market It had many imitators.

In 1484 Benali printed one (or two) folio missals (and a quarto?) in a plainchant type that was much improved in design The lozenge is now in proportion with the virga notehead and appears slightly kerned at the side A stemmed diagonal was introduced but there is no longer a podatus of an interval of a third, so the fonts have the same number of punches Benali used a staff printed from rules that were spaced slightly too far apart and wave and bend in a distracting fashion The total effect is much less professional than that of the music of the folio Missale printed in Venice by Girardengo four months earlier, which had a long-stemmed virga, several sizes of clivis (reversed to indicate the podatus), tightly kerned lozenges, and cast staff segments that allowed perfect alignment of notes and staff lines.

R5 Roman Small Missal, 10.25:1.25[sup(2)] x 4

Photographs: Missale Romanum, Venice, Bernardino Benali, Giorgio Arrivabene, and Paganino Paganini, 4 XII 1482/1483; Milan, Biblioteca Ambrosiana, Inc 712, ff m2V-m3, 03, 04V, P5, p8V I Missale Romanum, Venice, 4 XII I482/1483 Staff: 10.25 Space: 4-5 x-height: 2 Music form: 122 X 85 (40) Music pages: 34 Staves: metal rules No per col.: 8 Virga I 1.252 X 4 2.252 X 3 3.252 X 4 Punctum Lozenge Podatus I 1.25 X 2.5 2 1.25 X 4-5 C clef, I X 4 F clef, 0.5 X 4 plus C clef Direct (kerned) Bar line (rule)

R6 Roman Medium Missal, 10.5–11.25:1.8[sup(2)] x 5

Photographs: Missale Romanum, Venice, Bernardino Benali, 15 VIII 1484; Paris Bibliotheque Nationale, Vel i , 3, f m5 Editions: Bernardino Benali I 15 VIII 1484, Missale Romanum, 2°. Staff: 13.25-14 Space: 4.25-4.75 x-height: 3.5 Music form: 215 X 144-46 (68-70) Music pages: 37 Staves: metal rules No per col.: io (9, I I) [Bernardino Benali? for} Giorgio Arrivabeni with Paganino de Paganini 2 27 IX 1484, Missale Romanum 2°. Staff: 13-14 Space: 4-5 x-height: 3 Music form: 230-32 X i55-56 (72-75) Music pages: 32 Staves: metal rules No per col.: i Piero di Piasi [and Bernardino Benali?] 3 io XI 1485, Missale Romanum 4 . Staff: 11.5-12 Space: 3.75-4.25 x-height: 2.5 Music form: 140o X I7 (5.5-52) Music pages: 40 Staves: metal rules No per col.: 8 [Bernardino Benali? for Luca Antonio de Giunta] 4 [ca 14901, Missale Romanum 4. Staff: Io.5-11.5 Space: 3 5-3.75 x-height: 3 Music form: 156-59 X i i5-i6 (54.5-55.5) Music pages: 38 Staves: woodblocks No per col.: 9 Virga (also pointed) i 1.82 X 5 (5,25 with points) 2 1.82 X 4 3 1.82 X 3.5 4.82 X 5

Punctum, 1.82 Lozenge Podatus, 1.8 X 3.5 Diagonal, 3 X 6 C clef, I X 4-5 F clef, I X 5.5 plus C clef Bar line (rule) Additional sort: ca 1490 Missale Romanum, podatus 2 (slightly enlarged)

Simone Gabi, called Bevilaqua, R7, R8

Simone Gabi, called Bevilaqua, of Pavia, began printing in Vicenza in 1487 He later moved to Venice and printed until I506 After a period as an itinerant printer he established a shop in Lyons, in I5I5.12 In i50i Bevilaqua requested a ten-year privilege from the Venetian government to print missals in small format ("li messaleti picoli");l3 the request was probably denied, because no sixteenth-century editions of missals printed by Bevilaqua survive Bevilaqua may have been one of the printers forced to emigrate from Venice because of the abuses of the privilege system, which limited profitable titles to a few printers, a problem discussed by the Venetian Senate in 15 17-14 There is a close relationship in size and design between the small missal plainchant types of Hamman and Bevilaqua Hamman's type Rio was used in 1493 and 1494 and probably again in the octavo missal of I501 Six or seven missals were printed in Venice by Bevilaqua; because the first Missale Romanum appeared in 1487 without Bevilaqua's name but in his types, I have attributed the edition to him:

27 IV I487 Missale Romanum, 2° W 899 D 73 [Bevilaqua for] Paganini I3 V 1487 Missale Praedicatorum, 4° W i8I8 D 135* I3 v 1497 Missale Praedicatorum, 8° M-B 217 WI824A D 138 311 497/1498 Missale Romanum, 8° M-B 159 W942 D 107 15 III 498 Missale Romanum, 2 W 944* D io8* Bevilaqua for Paganini 10 11 1499 Missale Romanum, 2 W 948 D II3 Bevilaqua for Paganini i500 Missale Praedicatorum, 8° W 959 D 41* My comparison of the printed music in D 73 and D I 3 reveals the two to be nearly identical (see Fig 42), although the staves of the 1487 version were printed from rules and the 1499 staves from nested segments of cast metal No copies are known of D 135* or D 141* Bevilaqua's R8, Roman Small Missal type was used in the fifteenth century for the third, fourth, and probably the seventh of the books listed above The short-stemmed virga is unpointed and has a shorter variant There is no sort with a stem on the left; the compositor has inverted the first virga to form a podatus of a large interval, with rather strange results (see Fig 43, col 2, staff 3) The

lozenge abuts the adjoining lozenge but does not appear to be kerned Abutting types include the variant podatus, the C clef, and the virga at the bottom of the stem The diagonal has no short-stemmed variant, and the compositor has resorted to inverting the type (f mm7) to use it at the bottom of the staff With the exceptions of the podatus and clivis, which are cut without proper vertical alignment, the font is well executed but does not equal the quality of Hamman's similar small type Since the 1497 Missale Praedicatorum has no nn gathering and the music ends on f mm8v, it is likely that the music leaves were printed later than the text The text would have been set in one form to be printed in two impressions, red and black, while the music required two forms, one for the red words and staves and one for the black words and notes Setting type in two forms must have demanded a higher level of skill in a compositor and the work 12 F J Norton, Italian Printers 1501-1520, Cambridge Bibliographical Society Monograph 3 (London: Bowes and Bowes, 1958), pp 129-130 13 Fulin, "Documenti," p io8 14 Norton, Italian Printers, p xiv.

FIG 42 a Missale Romanum Venice: [Simon Gabi, called Bevilaqua, for] Paganino Paganini, 27 IV 1487, f n4v. (Ryksmuseum Meermanno-Westreenianum, The Hague.) FIG 42 b Missale Romanum Venice: Bevilaqua for Paganini, io III 1499, f n4v- (Fondazione Cini, Venice, 675.) may have been postponed until the best craftsman was available Some irregularities in signing also occur in the music leaves of the 1498 Missale Romanum Bevilaqua's R7, Roman Large Missal type has a light, vertical quality due to the long stems of the characters and their small, pointed noteheads The lozenge is a weak design, too small and uneven and, without kerning, set too far from a neighboring lozenge Its size equals that of the direct, which is sometimes used interchangeably with it There is no variant of the F clef with a shorter stem, so the compositor was forced to compromise in order to place the F clef on the first or second line of the staff The variant of the C clef used with the F clef here would also have served when a C clef was printed on the top line of the staff.

FIG 43 Missale Romanum Venice: Simone Gabi, called Bevilaqua, 31 I 1497/1498, f io9 (Osterreichische Nationalbibliothek, Vienna, Ink I5.H.2.) The staff of the 1499 folio missal with the large missal type was printed from small, cast metal segments nested together to form lines Lines printed from such small segments that do not abut as well as they might cannot compare to the even product seen in the first Italian music of 1476, but the book was probably much cheaper and intended for a wider audience Even a relatively undemanding buyer, however, must have been upset by such flagrant errors in typesetting as the "Per omnia saecula saeculorum" a step too low on the staff (f n7V).

R7 Roman Large Missal, 13.5:1.5[sup(2)] x 8

Photographs: Missale Romanum, Venice, Simone Gabi, called Bevilaqua, io III 1499; Venice, Biblioteca della Fondazione Giorgio Cini, 675, f n4v Editions: [Simone Gabi, called Bevilaqua, for] Paganini I 27 IV 1487, Missale Romanum, 2° Staff: I5-17 Space: 4-6 x-height: 3 Music form: 233-35 X I56-57 (72-74) Music pages: 37 Staves: metal rules No per col.: Io Simone Gabi, called Bevilaqua 2 o1 III 1499, Missale Romanum, 2° Staff: I3.5 Space: 4.5 x-height: 3 Music form: 228 X 157 (74) Music pages: 37 Staves: i2 staff segments 5.5 mm wide, plus i staff segment 2 mm wide No per col.: io Virga (pointed) i 1.82 X 8 2 1.8 X 3-5 3 i.8 X 7 Punctum, 1.82 Podatus, 1.8 X 4 C clef, i X 6 Direct Lozenge I 2 Diagonal, 3.5 X 7.5 F clef, 8 X I (a) printed with C clef Bar line (rule)

R8 Roman Small Missal, 10–11.5:1.5[sup(2)] x 3.5

Photographs: Missale Romanum, Venice, Simone Gabi, called Bevilaqua, 31 I 1497/1498; Vienna, Osterreichische Nationalbibliothek, Ink 5.H.2, f io09rv Editions: Simone Gabi, called Bevilaqua I I3 V 1497, Missale Praedicatorum, 8° Staff: 11.5-11.75 Space: 3-4-3-75 x-height: 2 Music form: 112 X 81 (38-39) Music pages: 34 Staves: cast metal rules No per col.: 7 2 31 I 1497/1498, Missale Romanum, 8° Staff: o0-1 o.5 Space: 3.25-3.5 x-height: 2 Music form: 121 X 79.5-80 (38) Music pages: 53 (+ I?) Staves: cast metal rules No per col.: 7 Virga 11.52 X 3-5 (a) pointed 22 X 2.5 Punctum, I.52 Lozenge 2.75 X 2.75 Podatus I 2 3 3 X4.5 Clivis 3 X 4-5 2 3 X 45 Diagonal 3-5 X 4 Virga cum orisco 4.5 X 4 C clef, o.5 X 3 F clef I X 4.5 plus C clef Direct Bar line

Johann Hamman, R9, R10, R11, G1

Johann Hamman, called Hertzog, was a native of Landau in the Speier diocese of Germany, near the Rhine River south of Mainz and Mannheim Between 1482 and 1509 he printed eighty-five books, all in Venice except his last, which was printed in Speier.'5 Of the eighty-five, fifty-one are liturgical and sixteen (plus one?) contain printed notes or staves, 16 fourteen (plus one?) of them incunabula (see Table 22) Six each of Hamman's music incunabula are in folio and octavo formats, while the final three, printed between I495 and 1498, are quartos Only two kinds of liturgical music books are represented: thirteen missals (five Roman, two Dominican, two Sarum, and one each for Paris, Burgos, Valencia, and Gran) and two agendas (for Passau and Aquila) An Agenda Brevis, a shortened version useful for any location, contains no music or space for 17 it.

After issuing only two books between 1482 and 1487, Hamman began his printing of music books with an octavo missal for Paris that contained printed staves without music notes, done in collaboration with his compatriot Emerich of Speier Hamman's font of type for roman plainchant was first seen in the folio Missale Romanum of I488, in 15 Rogers, "Hamman," pp 349-68 16 No copy of the 1492/1493 Missale Praedicatorum is known; it could be expected to use Rio 17 Rogers, "Hamman," pp 36I-62 and p 368n.i7 Haebler (Die deutschen Buchdrucker des XV Jahrhunderts im Ausland [Munich: J Rosenthal, 1924], pp 115-8) and Bohatta (Liturgische Bibliographie, p 2 no 17) ascribe the Agenda Brevis to the use of Passau because of the publisher's location at Nuremberg.

Table 22 Music books printed by Johann Hamman Date Title, Format Printer, Publisher Music Type o1 XI 1487 Missale Parisiense, 8° H & Emerich staves only I5 X 1488 Missale Romanum, 2° H R9 14 V 1490 Missale Burgense, 2° H staves only 13 VII i49I Missale Romanum, 2° H R9 I VI 1492 Missale Valentinum, 2 H, for Zavarisio R9 291 492/1493 Missale Praedicatorum, 80 H, for Scoto [Rio] I VII 1493 Missale Romanum, 8° H, for Frankfurt Rio I XII I493 Missale Romanum, 8° H, for Scoto Rio II 1493/I494 Missale Strigoniense, 2° H, part of the edition for R9 Georg Rum I IX 1494 Missale Sarisburiense, 2° H, for Egmont & Barrevelt R9 i XII 1494 Missale Sarisburiense, 80 H, for Egmont Rio 23 I 1495 Agenda Aquileiensis, 4° H, for Volkarth staves only III 494/I495 Missale Praedicatorum, 8° H, for Scoto Rio 23 I I495 Agenda Brevis, 16° H, for Volkarth no space for music 5 VI I497 Missale Romanum, 40 H, for Scoto RII 13 IX 1498 Agenda Pataviensis, 4° H, for Joh Petri Gi After I500 1501 Missale Romanum, 8° H, for Frankfurt [Rio] 15 X 1508 Missale Romanum, 2° H [R9] H = Hamman.

which only eleven sorts were used That same font was used for four other folio missals but was enlarged by twelve more sorts, some created for a particular book Five years later his octavo type of fifteen sorts was introduced, first used in the Missale Praedicatorum of 29 January 1493 (which I have not seen), then in the Missale Romanum of I July 1493, and later in three other missals A quarto type of fourteen sorts was made and used for his single quarto missal ( 497) Another quarto type of about thirteen sorts, the only gothic plainchant type to be used in Italy in the incunabulum period, was used for the Agenda Pataviensis of 1498 Characteristic of Hamman's music type is the slightly pointed head of both his single notes and his ligatures The short-stemmed virga, the same style used by Emerich, appears in Hamman's folio and octavo fonts; for the quarto font a longer stem is used, one that overbalances the shorter stems of the podatus and clivis The heads of the virga in R9 and Rio are slightly taller than they are wide (about 3 X 3.5 mm), which results in a less heavy appearance on the page Kerning of the folio type is visible in the lozenge, the point of the direct, the stem of the virga, and the top of podatus I No kerning is visible in R io and R i The virga of Gi must have had a kerned base, since it appears below the staff next to text type, as does clivis I.

Hamman consistently used fewer type designs than Emerich, dispensing with the alternate sizes of diagonals and the stemless characters necessary for combining type to form ligatures He had no need for the elaborate ligatures required for printing the melismatic text of a processional, gradual, antiphonal, or Liber Catechumeni Quarter, half, and full bar lines for the various kinds of pauses in chant can be seen in some of the books printed in R9 and RIo, but GI uses no bar lines, and R i uses only a full bar line Such variety may indicate that the printer followed his copytext Hamman's first plainchant type was a Roman Large Missal, R9 In its first appearance R9 has only one pointed note, the virga cum orisco, with the rest of the noteheads nearly square at the corners The

lozenge is carefully kerned to form a tight descending series of lozenges in the climacus The direct is kerned at the left The podatus of two notes in vertical alignment and the diagonal clivis are the only forms of podatus and clivis used Only eleven sorts were needed to provide a clear, well-designed font for the syllabic chant found in the missal Two weaknesses are the too close resemblance of the lozenge and the direct, leading to misinterpretation in performance, and the short podatus, which looks weak next to the taller virga In the 149I Missale there is a two-note clivis as well as the diagonal The two pieces of the F clef have variants, a shorter stem on the first piece and a shortened top on the second piece to prevent intrusion on the text above and below the staff In the i492 Missale Valentinum (see Fig 27), ligatures with distinctly pointed heads, a scandicus, a podatus, and a clivis, were added to the original designs of Rg The stems of the podatus and clivis are often bent, indicating kerning Apparently, in order to have enough stemless virgas to print that design as the common note Hamman also used virga 4 with the stem removed: many notes have a visible stub on the left.

For the Missale Strigoniense (I February 1493 1494), Hamman added to Rg a very narrow virga that served as a pressus.'8 That idiosyncratic note and the three-note ascending podatus are nearly identical to the characters that appeared one month later in a missal of Pinzi (Ri6) The common note in the Missale Strigoniense is the stemless virga, whose pointed notehead indicates that a new piece of type was created to supplement virga 2 A second pointed podatus was added for an upward interval of a third The Missale Sarisburiense of i September I494 further enlarged the font Among the designs added are a new C clef, an eccentric pointed podatus for another variant of the upward interval of a third, the stemless podatus and clivis, and a quarter bar line A number of facts suggest that Johann Emerich of Speier may have played an important role in Hamman's music books Emerich was working with Hamman at least as early as io November 1487, when the two printers issued a missal for Paris and a Dominican breviary No other book was printed with Emerich's name in the colophon until 25 December 1492, when he independently issued another Dominican breviary Haebler speculated that Emerich continued working for Hamman between 1487 and 1492 without being mentioned in a colophon, and Rogers concurs.'9 Hamman's Rg bears a strong resemblance to Emerich's folio font,

RI9 Such distinctive characters as the F clef and the virga cum orisco differ very little in shape With the exceptions of the podatus and scandicus, the two fonts only differ slightly in size The tight-fitting lozenges in both fonts are kerned An integrated list of both men's early editions (Table 23) makes it clear that in 1493 Emerich began his separate career in earnest After 1494 Hamman never again used his R9 folio type or Rio octavo type Emerich's folio type Ri9 appeared in 1496 and his R2o octavo font in I498 The business relationship between the two men can be postulated as having been a five-year (1487-1492) contract of apprenticeship for Emerich under Hamman, at the end of which Emerich began printing independently and Hamman began working on commission for various publishers During those years Hamman's folio and octavo music types would have been designed and cast, and two books with the folio type issued An explanation for Emerich's rather crude woodcut music, used for his first book with printed music in April I493, could be the existence of a privilege held in Venice by Hamman for printing music from movable type Despite the existence of such a privilege for Hamman's music type, Emerich could have created his quarto font Ri8, which appeared in September I494 in a missal for Giunta That font was probably subsidized by Giunta, since Emerich used it only for books published by him.

The second appearance of Emerich's R 18 was in an octavo Dominican Processionarium (9 October 1494), the only instance in Hamman's and Emerich's careers of the use of a type designed for one format in a book of another That deviation supports the hypothesis that a privilege prevented 18 A pressus follows a note on the same pitch and serves to lengthen and intensify it According to current performance practice it should be sung "with more intensity, or even, if it be preferred, tremolo" (Liber Usualis, p xii) In this missal the pressus usually occurs at the beginning of a climacus 19 Haebler, Die deutschen Buchdrucker, pp 115-I8; Rogers, "Hamman," p 35.

Table 23 Early book production of Hamman and Emerich Date Author, Title, Format Printer, Publisher Music 4 IX 1482 Aquinas, Catena Aurea, 2° Hamman with H Lichtenstein o 7 XI 1486 Breviarium Carnotense, 8° (GW 5302) Hamman, for Milon, Bishop of Chartres o [after 3 VI] 1487 Breviarium Praedicatorum, 2° (GW 5221) Hamman and Emerich space 10 XI 1487 Missale Parisiense, 8° Hamman and Emerich staves 15 X 1488 Missale Romanum, 2° Hamman R9 i4 V 490 Missale Burgense, 2° Hamman staves i VI 1492 Missale Valentinum, 20 Hamman, for Zavarisio R9 25 XIII I492 Breviarium Praedicatorum, 16 ° Emerich o 29 I I492/I493 Missale Praedicatorum, 80 Hamman, for Scoto Rio 28 III 1493 Breviarium Vallisumbrosam, 8° Emerich, for Blasius Florentinus o 28 IV I493 Missale Romanum, 8° Emerich woodblocks 6 V I493 Officium BVM, 32 Emerich o I VII I493 Missale Romanum, 8° Hamman, for Frankfurt Rio I XII 1493 Missale Romanum, 8° Hamman, for Scoto Rio I493/i494 Expositio Hymnorum, 16° Emerich o I II 493/I494 Missale Strigoniense, 2 Hamman, for Rum (part) Rio 25 V I494 Lyra, Postilla super Epistola, 4° Emerich, for Giunta o 9 VI 1494 Angelus, Astrolabium, 4° Emerich, for Giunta o 13 VIII 1494 Missale Romanum, 4 Emerich, for Giunta Ri8 I IX 1494 Missale Sarisburiense, 20 Hamman, for Egmont R9 9 X 1494 Processionarium Praedicatorum, 8° Emerich [for Giunta] Ri8 I XIII I494 Missale Sarisburiense, 8° Hamman [for Egmont] Rio A psalter for the Dominicans was printed by Emerich in an octavo format without music (LB 964) It is usually dated ca.

1490 but could just as likely have been done after 1492 Emerich from using an octavo music type in competition with Hamman Since Hamman did not use his folio and octavo music types between 1494 and i50I, Giunta may have obtained the privilege at that point, perhaps for another five years All of Emerich's books with printed notes were published by Giunta until 1500 At that date both octavos and folios were published by Frankfurt, Paep, Lavezari, Thum, and Sessa, as well as by Giunta, and printed by Emerich An examination of the three watermarks that appear in Hamman's 1497 Missale Romanum, printed for Scoto in the new R i i type, reveals an interesting pattern The book begins with paper containing watermark i (gatherings a-g), changes to a second batch of paper for gatherings n-q, and returns to watermark I for gatherings r-y Just at the point where the watermark changes, printed music first appears (gatherings h, I, m, n, o, p, and q) The appearance of a second watermark in precisely those gatherings with music suggests that they were postponed by the printer and completed later, out

of sequence An obvious explanation for postponing the music gatherings would be their assignment to a separate printer who specialized in that work Perhaps a careful study of the watermarks in Hamman's other books will support a theory that responsibility for printing music resides in other hands than Hamman's Certainly no one in Venice in I497 was better qualified as a specialist in music printing than Emerich In 1493 Hamman introduced a Roman Medium Missal type, Rio Hamman's octavo font had a short-stemmed, pointed virga, and a pointed podatus, clivis, and scandicus It contained thirteen different pieces of type plus two basic sizes of bendable bar lines that were apparently made of metal rules No kerning is visible The type was cleanly and simply designed for the inexpensive octavo missals that were being purchased by the moderately wealthy

clergy, and Hamman managed to issue five editions in I493 and [494, after which he did not reuse the type A variant C clef was added for the octavo Missale Sarisburiense in the same design that was needed for the folio Sarum book A small (io mm) staff allowed seven staves to the page Hamman's only book printed in his quarto music type, Ri [, had a long-stemmed virga for the common note, giving the printed music page a more vertical emphasis Only six staves (I4.5-15 mm) fill a page, leaving ample margins The fourteen sorts included three sizes of stemmed virga, one of which had a very short stem that allowed the note to be printed on the bottom space or line of the staff The length of the normal stem of the virga was evidently determined by the distance from the bottom of the body of type to the top of the head when on the second line of the staff A full bar line was used, apparently printed from a brass rule The only gothic plainchant type used in Italy in the fifteenth century was Hamman's quarto Gi The thirteen type designs included a B flat The virga below the staff and the clivis i on the bottom line descended below the height of an ascender, so the two pieces of type must have been kerned Hamman's later books reveal a strengthening of ties with the northern market that would account for his investment in a gothic music type The font was used by him only for the 1498 Agenda Pataviensis.

R9 Roman Large Missal, 17 or 18–19/5 : 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, I IX 1494; Venice, Biblioteca della Fondazione Giorgio Cini, 360, ff i6, I9. Editions: Johann Hamman I 15 X 1488, Missale Romanum, 2° Staff: I8-I9 Space: 6-6.5 x-height: 5 Music form: 237 X i62 (75) Music pages: 46 Staves: cast metal rules No per col.: 8 2 13 vII 1491, Missale Romanum 2° Staff: i8-i9 Space: 6-6.5 x-height: 5 Music form: 268.5 X i68-74 (75-83) Music pages: 45 Staves: metal rules No per col.: 9 3 i VI 1492, Missale Valentinum 2° [from photograph] Staff: i5.5-i6[!] Space: 5-5-5 x-height: 4 Music form: 243 X 175 (81-83); 256 height with extra line set at bottom Music pages:? Staves: cast metal rules 4 i II I493/I494, Missale Strigoniense 2° Staff (5-line: I8.'5-I9 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 No per page: 7.

5 i IX 1494, Missale Sarisburiense, 2° Staff: i7.5 Space: 5-5 x-height: 5 Music form: 266 X 187 (85) Music pages: 37 Staves: cast 4-line segments 23 mm X 3 + I5 mm piece No per col.: 9 After 1500: 15 X i508, Missale Romanum, 2° W99o; Essling 176, 71. Not seen; folio format suggests use of R9 Virga 3 3 X 3-5 X 4-5 13 X 3-5 X 7 4 25 X 7 23 X 3.5 X 5 53 X 6 Punctum, 32 (35 X 3 with points) Lozenge I3-5 X 5-5 2 group of 4, showing kerning

Podatus 35 8 I 3 x 6 46 x 8 23x6 468X 2 3 X 10 5 stemless Clivis i 55 X 8 2 stemless Diagonal Virga cum orisco 8 X 9 28 X 6 C clef 12 X 9 2 variant for top line of staff 3 4 X 5-5 (used only in Missale Sarisburiense) F clef 1.5 X 13 plus C clef Direct Bar lines (rules) Additional sorts in Missale Strigoniense Virga 6 Podatus 6, 7, 8, 9

R10 Roman Small Missal, 10–10.5:1.75[sup(2)] (2) x 3.5

Photographs: Missale Romanum, Venice, Johann Hamman, i XII 1493; Milan, Biblioteca Ambrosiana, Inc 534, if n2V, n7v-n8 Missale Sarisburiense, Venice, Johann Hamman, I XII I494; London, British Library, IA 23373, f qi Editions: Johann Hamman I 29 I 1492/1493, Missale Praedicatorum, 8° [described in Molitor, Choral-Wiegendrucke, p 4I; no known locations; Wi82i gives Freiburg but not there today] Staff: io [Molitor] 2 I VII 1493, Missale Romanum, 8° Staff: Io-io.5 Space: 3.5 x-height: 2 Music form: 112 X 82 (38.5) Music pages: 53 Staves: cast metal rules No per col.: 7 One extra line is set at the bottom of the form 3 i XII 1493, Missale Romanum, 8° Staff: IO-io.5 Space: 3.5-3.7 x-height: 2 Music form: 112 X 82 (38.5) Music pages: 54 Staves: cast metal rules No per col.: 7 4 i II I494/I495, Missale Praedicatorum, 8° Staff: 9.75-10 o5 Space: 3-3.5 x-height: 2 Music form: iii X 8i (38) Music pages: 34 Staves: cast metal rules No per col.: 7 5 I XII I494, Missale Sarisburiense, 8° Staff: Io-Io.25 Space: 3-3-5 x-height: 2 Music form: 113-15 X 79-8I (37-38.5) Music pages: 40 Staves: no information No per col.: 7 After i500: 15 , Missale Romanum, 8°. [not seen; octavo format suggests Rio]

Virga (pointed) I 1.75 X 3-5 2 1.75 X 2.5 Virga I, 2 used upside down Punctum 1.75 X 2 Lozenge, 2 X 2.5 Podatus Clivis 2 Stemless

R11 Roman Medium Missal, 16:2.25[sup(2)] x 8

Photographs: Missale Romanum, Venice, Johann Hamman, 5 VI 1497; San Marino, Calif., Henry E Huntington Library, 85504, ff p3v, q2 Edition: Johann Hamman i 5 VI 1497, Missale Romanum, 4°. Staff: i6 Space: 5.25 x-height: 3 Music form: 143-44 X ii6 (56) Music pages: 60 Staves: cast metal(?) No per col.: 6 Virga 1 2.25 X 8 2 2.252 X 6 3 2.25 X 4 Punctum, 2.25 Lozenge Diagonal Virga cum orisco Scandicus C clef, 2.5 X 4 Direct F clef ist half, I X 3-5 2d half, I X 3 Bar lines (rules) Podatus I 2 3 Clivis 2 (photo unavailable) r Diagonal (photo unavailable) Virga cum orisco (photo unavailable) C clef: right type only, 7 X I F clef: both types, io X 2 Direct 2 2 Bar line (rule)

G1 Gothic Medium Missal, 15:3 x 7

Photographs: Agenda Pataviensis, Venice, Johann Hamman, I3 IX 1498; San Marino, Calif., Henry E Huntington Library, 99987, ff k6-k7, k8V-I I Edition: Johann Hamman I I3 IX 1498, Agenda Pataviensis, 4°. Staff: 15 Space: 5 x-height: 4 Music form: 147-48 X I Io.5-I I i Music pages: I34 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 Podatus I 3 X 7-5 23 X 6 33 X 8.5 Clivis (two sorts) Torculus C clef, 3 X 4-5 Direct F clef, 2.5 X 5.5 Accidental: B flat

Battista Torti, R12

Torti came from the southern part of Italy, the town of Nicastro in Calabria, to print his first book in Venice, the Missale of 48 i He continued publishing until 1529, gradually coming to specialize in glossed legal folios That he printed books for Scoto and Giunta is clear from a contract of I507 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: 3 VIII 1481 Missale Romanum, 2° W866 D52 Torti & Soc 29 x I489 Missale Romanum, 4 M-B i4 W 9o7 D79 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 1481 Missale (blank space for music) and reused in 1482 (printed notes and staves).2' The 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 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 I482 quarto is found by comparing the music on ff m I and m6 of the 489 Missale (see Figs 44 and 45) The music on f mi" is crowded Some neumes are set upside down, and strangely 21 Essling, Crucifixion no 2 bis, p 57 and illustration on p 154 The 1498 Torti Missale is not included in Essling.

FIG 44 Missale Romanum Venice: Battista Torti, 29 X I489, f mIv (Biblioteca Nazionale Braidense, Milan, Gerli Inc 33.) FIG 45 Missale Romanum Venice: Battista Torti, 29 X 1489, f m6 (Biblioteca Nazionale Braidense, Milan, Gerli Inc 33.)

misshapen notes appear on the top line of the staff The music on f m6 is well spaced and correctly set The fact is that f m I, the "Ecce 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 The close relationship between Torti's missals and the Scoto 1482 quarto Missale suggests Torti as the likely printer of the Scoto quarto.

R12 Roman Medium Missal, 12.5:1.5[sup(2)] x 5

Photographs: Missale Romanum, Venice, Battista Torti, 29 X 1489; Milan, Biblioteca Nazionale Braidense, Gerli Inc 33, ff mi', m6 Edition: Battista Torti I 29 X 1489, Missale Romanum, 4°. Staff: 12.5 Space: 7.5-8 x-height: slightly over 4 Music form: 137 X 103 (47-49) Music pages: 39 Staves: rules No per col.: 8 Virga I 1.5 X 5 2 (photo unavailable) Punctum, i.52: also smaller variant (see example) Lozenge (photo unavailable) Podatus (often inverted; see example) C clef, i X 4.5 F clef (photo unavailable) Direct Bar line

Cristoforo De Pensi, R13

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 issues until his last book in I506.2 Two of those early books were missals: 31 X 1489 Missale Romanum, 4° W 98 D 80 13 Ix I490 Missale Romanum, 2 W9I3 D82 The 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 to allow them to be used on any space or line except the bottom line, on which a stemless virga is used Note the overlapping stems on f m2", col 2, staves 2-3 (see Fig 46) There are probably kerned sorts for the lozenge (at the bottom, not the side: see

FIG 46 Missale Romanum Venice: Cristoforo de Pensi, 31 X i489, f m2v (Biblioteca della Fondazione Giorgio Cini, Venice, 726.) small variant, col 2, staff 4) and punctum (col i, staff 4) The 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.

R13 Roman Medium Missal, 13.5–15:2[sup(2)] x 5.5

Photographs: Missale Romanum, Venice, Cristoforo de Pensi, 31 X 1489; Venice, Biblioteca della Fondazione Giorgio Cini, 726, ff m2", p6 Missale Romanum, Venice, Cristoforo de Pensi, 13 IX 1490; Rome, Biblioteca Casanatense, Inc I965, f i4v Editions: Cristoforo de Pensi I 31 X 1489, Missale Romanum, 4°. Staff: 13.5-14 Space: 4-5 x-height: 3.5 Music form: 168 X 127 (62) Music pages: 43 Staves: rules No per col.: 8 2 13 IX 1490, Missale Romanum, 2° Staff: I3.5 Space: 4.5 x-height: 3.5 Music form: 243 X I63 (95) Music pages: 30 Staves: rules No per col.: IO Virga 2 22 X 2 22 X 6 32 x5 Punctum, 22: (a), (b) variants Podatus I 2 Diagonal (Missale Romanum, 1490)

Teodoro Ragazzoni, R14

Teodoro Ragazzoni and his brothers Giacomo and Francesco came from Asola to be printers in Venice in the last decades of the fifteenth century Between 1488 and I5oo Teodoro issued twenty-three books, many of them liturgical.23 One contained music: 15 XII 1489 Missale Romanum, 2 W o99 D 8 The Crucifixion woodcut on f n5v is printed from a block used by Scoto in his folio missal of 3 I August I482.4 Ragazzoni's virga and variants, diagonals, and clefs appear to be identical to those in the font used in Scoto's I482 missal (R3), 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 4 as a single font I have already pointed out the possibility that Torti printed Scoto's other music book, the 1482 quarto missal The crudely irregular lozenge of RI4 suggests that it is different from R3 (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 lozenge centered on the type body, somehow creating various appurtenances to the lozenge shape.

The 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 The diagonal has an almost imperceptible curve and a long stem with a shorter variant The first note of the podatus is the only pointed notehead The F clef has a long stem with a shorter alternate There are no kerned types, with the possible exception of the direct The bottom of the stemmed forms abut the text type, as does the stemless virga The 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 The overall impression of Ragazzoni's music is of irregularity both in type design and in printing 23 BMC V:xlii-xliii 24 Essling no 33, Crucifixion II.

R14 Roman Large Missal, 14.5–15:3[sup(2)] x 11

Photograph: Missale Romanum, Venice; Teodoro Ragazzoni, 15 XII 1489; Florence, Biblioteca Nazionale Centrale, Inc c.5.24, f n5 Edition: Teodoro Ragazzoni I 15 XII 1489, Missale Romanum, 2 Staff: 14.5-15 Space: 4-5 x-height: 3.75 Music form: 243 X 163 (75) Music pages: 35 (+i?) Staves: metal rules No per col.: 9.

FIG 47 Missale Romanum Venice: Teodoro Ragazzoni, 15 XII 1489, f n5 Reduced in size (Biblioteca Nationale Centrale, Florence, Inc C.5.24.) Punctum, 32 Lozenge (printed irregularities due to poor matrix?) Virga I X : 2 () 3 32 X 6.5 432 X II 32 X 9 5 3X

Podatus Diagonal F clef I I.75 X I 2 shorter stem, 7.5 X 1-75 (photo unavailable) Bivirga C clef Direct (photo unavailable) Bar line (rule)

Rinaldo De Novimagio, R15

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 He 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.2 The thirty-eight books issued by Novimagio appeared on an irregular basis: twenty-five from 1477 to 1483, three in 1486, four in 1490-1491, four in i495-1496, 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 I483] That he gave up printing [temporarily] in 1483 does not necessarily mean that things had gone badly with him He 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 149 , he used a rather poor roman plainchant font The virga, cast in three stem sizes, has a slightly pointed notehead The punctum is poorly cut, with no true right angle No virga cum orisco is used The 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 The 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 BMC, 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) 27 Wytze Hellinga and Lotte Hellinga, The Fifteenth-Century Printing Types of the Low Country, 2 vols (Amsterdam: Menno Hertzberger, 1966), i: 37; BMC V: xix-xx.

R15 Roman Small Missal, 9–11:2[sup(2)] x 5

Photographs: Missale Romanum, Venice, Rainaldus de Novimagio, io IV I49I; Milan, Biblioteca Nazionale Braidense, Gerli Inc. 33, ff. miV, m6. Edition: Rinaldo de Novimagio. I. io IV I491, Missale Romanum, 4°. Staff: 9-ii. Space: 3-4. x-height: 2.8. Music form: 147-52 X io0-12 (51-53). Music pages: 36. Staves: metal (brass?) rules. No. per col.: 8. Virga 22 X 5 2 22 X 3-75 3 22 X 2.5 4 22 X 55 Punctum Podatus C clef I X 45 Direct Lozenge Diagonal F clef I X 5.25 plus C clef Bar line (rule)

Filippo Pinzi, R16, R17

Filippo Pinzi (or Pincius) of Canneto near Mantua printed books in Venice from I490 to 1530 for several publishers, including Benali and Luca Antonio Giunta. 2t He printed two missals in the fifteenth century. An undated folio with space for music was assigned to him by Weale-Bohatta (W 953) and by Hubay to Eucharius Silber in Rome;29 assignment to a specific printer is difficult, since several shops used the same alphabetic types. 29 III 1494 Missale Romanum, 4° W 927 D 96 16 III 495 Missale Romanum, 2 M-B I54 W 93 D Ioo The 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. The long-stemmed F clef and diagonal have shorter variants. The 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. The appearance of that narrow design and the three-note scandicus in both RI6 and R9 (Missale Strigoniense, I II 1494, printed by Johann Hamman) within two months suggests a single type designer. No 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. 13v (LXXXIIIv), col. I, staff 5, the letter x is printed twice to fill blank space not used by notes (see Fig. 48, bottom line of staff). The 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 28. Norton,Italian Printers, p. 148. 29. Hubay, no. 1435; see D 71.

FIG 48 Missale Romanum Venice: Filippo Pinzi, 29 III 1494, f 13v (lxxxiiiv) (Biblioteca Vaticana, Vatican City, Inc II 127.) be used for both music and text fonts Staves 4(2 of the fragment illustrated in Figure 48) and 6-9 use periods for spacing material in the same way as the x The second music font was a medium missal type with a longer-stemmed virga The staff is made up of five lines, a number used in the fifteenth century by only three other printers in Italy-Han, Emerich, and Hamman-and the additional space for music type helps avoid the need for variant stem lengths The clivis is formed by inverting the podatus There are no apparent kerned or abutting types.

R16 Roman Large Missal, 17.25:3 x 2.5 x 6.5

Photographs: Missale Romanum, Venice, Filippo Pinzi, 29 III I494; Vatican City, Biblioteca Vaticana, Inc II.127, ff h6, ii", k4, 13v. Edition: Filippo Pinzi I 29 III 1494, Missale Romanum, 2° Staff: 17.25 Space: 5.25-6 x-height: 4.5 Music form: 245 X i68 (8I) Music pages: 35 Staves: metal rules No per col.: io Virga 3 X 2.5 X 6.5 2 3 X 2.5 X 65 Punctum I2.5 X 3 2.5 X 3 Lozenge 2.5 X 3 Podatus Diagonal i 6.5 X 9-5 26.5 x 55 Scandicus i 7 X 10-5 2 7 X °1.5 C clef 1.5 X 7 2 trimmed for use on top line

F clef Direct Bar line (rules) I8.5 Clivis Diagonal Virga cum orisco, 5 X 8.5

R17 Roman Medium Missal, 19–20.5:2[sup(2)] x 8.5

Photographs: Missale Romanum, Venice, Filippo Pinzi, 16 III I495; Bologna, Biblioteca Universitaria, A.V.KK.'III io, ff q4v (CXVI), r3 (CXXIII) Edition: Filippo Pinzi i i6 II1 1495, Missale Romanum, 4°. Staff (5-line): 19-20 Space: 4-75-5 x-height: 3.5 Music form: 156 X 120 (57) Music pages: 55 Staves: metal rules (cast?) No per col.: 6 Virga i 2 X 8.5 222 X 6 3 2 4 4 22 8.5 Punctum, 22 Lozenge C clef 0.75 X 7 F clef o.75 X 8 plus C clef Podatus I 2.5 X 5 24.5 X 6 Direct Bar line (rule)

Johann Emerich of Speier, R18, R19, 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,

Emerich began issuing books under his own name as printer: 25 XII 1492 Breviarium Ordinis Praedicatorum, I6° GW 5227 D 7 28 III 1493 Breviarium Vallisumbrosanum for Blasi, 8° GW 5239 28 IV I493 Missale Romanum, 8° M-B I5o W924 D93 6 v I493 Officium B.V.M., 3 2 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: Missale Strigoniense Johann Paep of Buda I498-I503 Psalterium, 1499 Giovanni Battista Sessa Missale Ordinis Nikolaus von Frankfurt Praedicatorum, I500 Missale Segoviense, Guido de Lavezari I500 Missale Speciale, Christoph Thum I504 Missale Luca Antonio Giunta Maioriecense, I5o6 and Jacob Hirdus The last book known to have been printed by Emerich is the missal for Majorca (16 September I5o6) The 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 Of the seventy-one books he printed, sixty-seven were liturgical The exceptions were the Astrolabe of Johann Angelus (editions in 1494 and I502), 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°, 24°, and I6°, 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) Two of the folios were multivolume editions in a large folio size (565 X 383 mm), the largest paper used for an incunabulum.30 These two works, the Graduale 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 Graduale and Antiphonarium published by Luca Antonio Giunta Of 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, Funfkirchen, 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.3' The 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 sur-

30 Goff, "A Few Footnotes," p 178 3 i Another Missale Romanum was tentatively assigned by Weale to Emerich and dated "14-?" (W 851) Weale gives Frankfurt am Main, Stadtbibliothek, as a location for the book, but today's Stadt und Universitatsbibliothek does not have a copy ( see D 37*)-

Table 24 Music books of Johann Emerich of Speier W, GW, LB, Date Title Printer, Publisher Format IGI, P M-B Music n.d Missale Romanum [Emerich?] 8° W 85 ? 10 XI 1487 Missale Parisiense E/Hamman 8° W 700 97 staves 1487 Breviarium Praedicatorum E/Hamman 2° GW 5221 ? 1492 Breviarium Praedicatorum E i60 GW 5227 space 28 IV 1493 Missale Romanum E 8° W 924 150 music, wood 493 Processionarium Praedicatorum E 234 ghost 13 VIII 1494 Missale Romanum E/Giunta 4 W 929 I53 music, Ri8 9 x 1494 Processionarium Praedicatorum E/Giunta 8° LB 782 235 music, RI8 3( IV `:495 Liber Catechumeni E/Giunta 4° LB 724 music, Ri8 3I x :495 Missale Strigoniense E/Giunta 4° W 496 staves 14 VII 1496 Missale Romanum E/Giunta 2 W 933 music, Ri9 10 XI [497 Missale Romanum E/Giunta 4° W 941 I58 music, Ri8

26 II 498 Missale Strigoniense E/Paep 2° W I498 189 staves 30 III 1498 Missale Strigoniense E/Paep W 1499 ghost 28 VI 1498 Missale Romanum E/Giunta 2° W 945 162 music, RIg 15 X i498 Missale Romanum E/Giunta 8° W 946 i63 music, R20 2.4 IV 1499 Missale Quinque Ecclesiae [E]/Paep 4° W 804 staves 28 VI 1499 Missale Messanense E 2° IGI 6570 music, Ri9 1499/1500 Graduale Romanum E/Giunta 2° LB 704 20 music, R2 6 III 1500 Missale Praedicatorum E/Frankfurt 8° W i825 218 music, R20 31 III 1500 Missale Strigoniense [E]/Paep 4 W I499 i90 staves 6 VI 500o Liber Catechumeni [E]/Giunta 4° LB 726 23 music, Ri8 24 VII 1500 Missale Segoviense E/Lavezari 2° W I455 music, Ri9 After I5oo I 500 150I1 Missale Carmelitarum [E]/Giunta 2° W i885 220 music, Ri9 27 II I500oo/I50 Missale Romanum E/Giunta 4 W 958 music, Ri8 20 XI I501 Missale Romanum [E?] 2° P 13096 ? 2 i VII I502 Missale Romanum [E] 2° P 13098 ? 20 VII 1503 Missale Strigoniense [E]/Paep 4° W I50 ? 20 VII 1503 Missale Strigoniense [E}/Kaim 4 W 1502 ?

4 XII 1503 Missale Vallisumbrosum [El 2° W i802 music 1503/1504 Antiphonale Romanum [E]/Giunta 2° LB 27-28 i music, R2 15 I 1504 Missale Praedicatorum [E] 8° W I829 ? 5 VIII I504 Missale Speciale [Ej/Giunta & Thum 2° no space 16 IX 1506 Missale Maioricense E & Soc 2 W 576 music, Ri9 Giunta & Hirdus E = Emerich passed all other Italian printers in his ability to print in various formats that music notation, the most common of the time After having printed books with printed staves and no notes (the i487 Missale Parisiense with Hamman), space for music (the 1492 Breviarium Praedicatorum), and printed staves and notes from woodcuts (the 1493 Missale Romanum), in 1494 Emerich published his first book with notes and staves printed from metal type Ri8 was designed

Table 25 Formats of Emerich's editions All Format Editions Music Editions 64 I 0 32 4 0 o 24 I 0 16° 5 i (space for music) 8° 20 5 (+2?) 4° 16 8 (+2?) 2 12 10 (+2?) Uncertain 12 o Total 71 24 (+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 Ri8 was consistently used with a staff of about i 4 mm, with the space between two lines being about 4.75 mm; thus a virga could not reach from one line to the next The 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 The number of sorts in the font, as is shown in the specimen below, is thirty-one (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 Two years later Emerich began using a folio music type (Ri9) that appeared in five of his large-format missals between I496 and 1506 The virga was increased in size by half, to 6 X 2.52 mm, and was usually used on a staff of i5.5 mm with the space between two lines being 5.2 mm Again the relatively short-stemmed virga does not cross two staff lines The 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 The diagonal was also kerned (as can be deduced from the many bent ends), probably to facilitate locking up columns of type The number of sorts was reduced to twenty, primarily by the elimination of sizes of diagonals as well as liquescent notes and accidentals After another space of two years Emerich introduced a small music type, R20, in the missals he printed for the cheap octavo market The virga was reduced by about 25 percent, to 3.5 X I.52 mm on a staff of about io mm with a space of 3.5 mm and a 2 mm x-height The 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 i (at the top; as in the 1498 Missale Romanum, f P3, col 2, staff 6) and the clivis i (the bottom of the stem is frequently bent) The 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.

The largest and most complex music type designed in Italy in the fifteenth century was R2 I, used by Emerich in 1499/1500 The large number of punches, about forty-eight, for both plainchant and mensural notation included complex double and triple-note neumes The 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. The notes are designed with sharp right angles without points or curves except in liquescent notes. The virga stem has the short length characteristic of Emerich. There are few new shape: (porrectus i and 2, B quadratus, naturalis, and rotundus), but the familiar sorts exist in an amazing number of variants and kerned forms. The font must have demanded expert knowledge of music from the type designer and typesetter, who could well have been the same person-perhaps Emerich himself. The mensural characters in the music font are the second set ever used, after those printed in Venice without staff lines for the Niger Grammatica of 1480 (D 142) by Theodor Franck of Wurzburg (Mi). They include a time signature for duple meter, a descending semibreve ligature in the form 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 for the minim, and the bivirga for the long. A year before Petrucci's use of mensural type in the Odhecaton (Venice, 14 May 50o1 ), Emerich succeeded in printing the popular "Credo Cardinalis" in mensural notation for

the Ordinary of the Mass in his Graduale (Part 3, I March 5oo). 2 While monophonic mensural plainchant sections of the Ordinary were common in Italy and Germany, this and the "Credo Cardinalis" in the Parma Graduale of I477 are the only instances of such music in print in the fifteenth century. Emerich developed R2 for the lavish production of the first complete Roman gradual and antiphonal (1499-i504), published by Giunta. The 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 Giunta firm for decades, and an extra-large, heavy folio paper that made possible the printing of the largest book of the century. Among fifteenth-century printed music books the choirbooks contain music notes second in height and width only to the Parma Graduate (D i6) of the Moilli brothers. Liquescence is better represented in the type for Emerich's Graduale, with its more elaborate neumes necessary for the melismatic chant sung by the choir, than it is in the music type for the syllabic

chant of missals, which was sung by the celebrant. The particular liquescent note forms cut into type for R2I include those illustrated in Fig. 49; the virga cum orisco, two forms 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 forms. The virga cum orisco was a much more common note at the beginning and end of pieces of plainchant in 50oo than it is today. An examination of 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, 32. "Symbolum [Credo] Cardineum," in Franchino Gaffori's Practica Musicae (Book i, chap. 2); "Credo Cardinalesco," In Gioseffo Zarlino's Le istitutioni harmoniche (Venice, 1562), 4: xxxiii. For an illustration of Emerich's Credo printed in the I499 Graduale, f. CCCL, see Duggan, "The Music Type of the Second Dated Printed Music," Figure 9.

33. A variant version of the mensural Credo of Emerich's Graduate from a contemporary St. Gall manuscript has been edited along with other mensural chant in Otto Marxer, Zur spatmittelalterlichen Choralgeschichte St. Gallens: Der Cod. 546 der St. Galler Stiftsbibliothek, Inaugural-Dissertation, Universitat Freiburg (St. Gall: "Ostschweiz," 1908), pp. 143-97; for the "Credo Cardinalis" see pp. 176-78. FIG. 49. Liquescent note forms in R2I, used in Emerich's Graduale.

FIG 50 Kerned and abutting music and text types in R2 I a subtlety that was lost in the transition to type, in which there is a single musical sign for the virga cum orisco.3 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.3 In the type font used in the Graduale the single sign for internal liquescence is the liquescent virga or cephalicus (see Fig 49) When a longer-stemmed 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.3 Before developing a hypothesis about the method of setting Emerich's R2 I, let us review the sequence of impressions made and the number of forms used in printing each side of each sheet of the Graduale Two impressions were apparently used for the book: first, staves, rubrics, initials, foliations, and signatures in red, and then notes and text

in black The 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 XVIII and XXVII, where both notes and text slant down from the left to right), similarities in inking pattern (poor inking of both notes and text on ff LXXX, LXXXVIIv, CXVIIv, CXXIV), and the appearance of a slight ghost beside both notes and text (ff XXXIV, CXVIIV) (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 5o) There were two forms of type for each page of each sheet of the Graduale, one for the red and one for the black impression If one form had been used for both impressions, the material for the red-printed 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 XXXI, which would be impossible in one form, and in the grossly misplaced red large initial over black text on f XXVV.37

Nearly every page of the Graduale has corrections either printed or by hand, or both, which vary from copy to copy The corrector, music theorist Franciscus de Brugis, who prepared the text for the printer, very likely played a continual and active part in proofing copy The preface to the Graduale attests to the corrector's responsible role: Suffecisset utique mi fratres universi que legitis in hoc volumine graduum id me ademplesse: summaque cura: ac longissimus vigiliis perfecisse: quod ab impressore eius a me flagitatum extitit: correxisse scilicet in eo errores (quo ad musicen tantum attinet) que innumerabiles pene extiterunt: absque quod ipsi occupationi: hanc etiam (que grandis plurimum fuit) superadderem: apposuisse videlicet notulas subinferendas Let it suffice at any rate my brothers everywhere who will read this volume of the gradual that I 34 For a discussion and illustrations of liquescence, see Chapter III 35 Graduale Romanum (Solesmes: Abbatia Sancti Petri, 1974) Comparative statistics on the use of liquescent type forms in the first fifty folios of the Graduale will form the basis of a future article.

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 PP X Consilio et Opera Curatorum Bybliothecae Vaticanae 12 (Leipzig: Harrassowitz, 1913), Atlas, tables IX-X, "Segni di liquescenza applicati a neumi." The first half of the F clef closely resembles the final liquescent note of a torculus in table X, e-f 37 Ferdinand Geldner ("Zum altesten Missaldruck," Gutenberg-Jahrbuch [1953]: ioi-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.

have completed and brought to a conclusion with the greatest care and the most drawn-out attention As 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 The care taken to make the impressions register accurately in this work of 386 leaves resulted in the printing of the notes on the appropriate lines in every case The size of the notes certainly made alignment of notes and staves easier than in a smaller format, but a glance at the work of Emerich's contemporaries in Venice makes one appreciate his accomplishment.

R18 Roman Medium Missal, 14–14.5:2[sup(2)] x 4.2

Photographs: Missale Romanum, Venice, Johann Emerich of Speier, I 3 VIII 1494; Ferrara, Biblioteca Comunale, S.12.1.I4, ff kIV, k4 Processionarium Praedicatorum, Venice, Johann Emerich of Speier, 9 x 1494; San Marino, Henry E Huntington Library, Io170, ff xvV-xvi, xxxV-xxxi Liber Catechumeni, Venice, Johann Emerich of Speier 30 IV 1495; Venice, Biblioteca della Fondazione Giorgio Cini, 325, ff C3V, H4 Missale Romanum, Venice, Johann Emerich of Speier, io XI 1497; Rome, Biblioteca Corsiniana, 46.E Io, ff ki", n8 Editions: Johann Emerich of Speier I 13 VIII 1494, Missale Romanum, 4" Staff: i4-5-14.75 Space: 4.5-5 x-height: 3 Music form: 153-55 X 111-12 (54-54.5) Music pages: 54 Staves: cast metal rules No per col.: 6 2 9 X 1494, Processionarium Praedicatorum, 8° Staff: 13.75-15 Space: 4.75-5 x-height: 2.5 Music form: 143-46 X 99-102 Music pages: 169 Staves: cast metal rules No per col.: 5 3 30 IV 1495, Liber Catechumeni, 4°. Staff: 14-14.25 Space: 4.75 x-height: 2 Music form: 143-46 X 99-102 Music pages: 37 Staves: 2 staff segments, 85 mm + 16 mm No per col.: 6.

4 o1 XI 1497, Missale Romanum, 4°. Staff: i4.5 Space: 4.5-5 x-height: 3 Music form: 155 X 117 (57) Music pages: 54 Staves: 7 staff segments, 8 mm wide No per col.: 6 5 6 VI i5oo, Liber Catechumeni, 4°. 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 No per page: 6 After 50oo: 6 27 II 1500/1501, Missale Romanum, 4°. Staff: I4.5 Space: 4.5-5 x-height: 3 Music form: I55 X I77 (57) Music pages: 54 Staves: 7 staff segments, 8 mm wide No per col.: 6 Virga 22X 6.5 3 2^{2 9 222 X 4.2 422 6 Punctum 2 1 2 2 tiny (or 3-note neume?) Lozenge: (a) kerned Podatus 12 X 22 X 5-5 3 Combined types? Clivis I 3.5 6 2 3.5 4 3 Stemless Diagonal 14 11 24X 6 (a) abutting (or 3-note neume) 3 short stem 4 X 45 4 stemless, 4 X 4-5 56 x 6.5 6 stemless, 6 X 6.5 77 X 11}

Torculus Virga cum orisco, 5 X 8.5 C clef F clef 3 X 4 Bivirga virga i plus narrow virga Accidental: B flat Bar line (rule) Liquescent neume 2 X 4 22 5 32 7

R19 Roman Large Missal, 15.5–17:2.5[sup(2)] x 6

Photographs (scale varies): Missale Romanum, Venice, Johann Emerich of Speier, 14 VII 1496; Rovereto, Biblioteca Civica, f o4v. Missale Messanense, Venice, Johann Emerich of Speier, 28 VI i499; Catania, Biblioteca del Seminario Arcivescovile (microfilm of music pages) Missale Maioricense, Venice, Johann Emerich of Speier, i6 IX 15o6; Venice, Biblioteca della Fondazione Giorgio Cini, 363, f s6v (cxliiV) Editions: Johann Emerich of Speier I 14 VII 1496, Missale Romanum, 2° Staff: 15.5 Space: 5.5 x-height: 5 Music form: 266-71.5 X I71.5-174 (77-82) Music pages: 17+ Staves: cast metal rules No per col.: 9 2 28 VI 1498, Missale Romanum, 2° Staff: i5.5 Space: 5 x-height: 4.5 Music form: 260 X I74 (83.5-84) Music pages: 38 Staves: io staff segments, 8.2 mm wide No per col.: io (+ i?) 3 28 VI 1499, Missale Messanense, 2° (information from microfilm) Staff (occasionally 5-line): 13.5-14 Space: 4.5 x-height: 3-3.25 Music form: I77 X I30 (58-6o) Music pages: I2+ Staves: cast metal rules No per col.: 7 4 24 VII i500, Missale Segoviense, 2° (information from a photograph) Staff: I5 Space: 15 x-height: 4 Music form: 260 X 178-79 (84) Music pages: ? Staves: io staff segments, 8.2 mm wide No per col.: Io.

After I500oo: 5 5 I 5oo 5o , Missale Carmelitorum, 2° Staff: i5.5 Space: 5.2 x-height: 4.5 Music form: 260 X I78-79 (84) Music pages: 31 Staves: io staff segments, 8.2 mm wide No per col.: io (+ i?) 6 i6 IX i5o6, Missale Maioricense, 2° Staff: 15 Space: 5 x-height: 4.5 Music form: ? Music pages: ? Staves: io staff segments, 8.2 mm wide No per col.: Io Virga I 2.52 X 6 2 2.52 X 6 Punctum 2 I 2.5 2 2.5 X I.5 Lozenge, kerned Podatus I3 X 6 2 Missale Messanense 3 Combined types? 4 Combined types? 5 Combined types? Clivis I 2 stemless Diagonal

Scandicus I 2 stemless r F clef, 1.25 X I0 plus C clef Virga cum orisco C clef, I.5 X 7 Direct (a) bent kern Bar line (rule) Additional sorts, Missale Maioricense (15o6)

R20 Roman Small Missal, 10–10.25:1.5[sup(2)] x 3.5

Photographs: Missale Romanum, Venice, Johann Emerich of Speier, :t5 X I498; San Marino, Henry E Huntington Library, io I I9, ff lxxvii"-lxxviii Editions: Johann Emerich of Speier I 15 X 1498, Missale Romanum, 8° Staff: 10.25 Space: 3.25-3.5 x-height: 2 Music form: iio X 80 (39) Music pages: 55 Staves: 4 staff segments, 9.75 mm wide No per col.: 7 2 6 III 1500, Missale Praedicatorum, 8° Staff: io Space: 3.5 x-height: 2 Music form: IIo X 80 (38) Music pages: 34 Staves: 4 staff segments, 9.5-9.8 mm wide No per col.: 6 After 500oo: 3 15 III 50o , 23 VIII I504, Antiphonarium Romanum, 2° R17 is used on f 14 Virga, 1-5' X 3-5 Punctum, 1.52 Lozenge Podatus Clivis Diagonal Scandicus Torculus Virga cum orisco C clef.075 X 3-5 F clef I X 5 plus C clef Direct Bar line (rule)

R21 (M) Roman Very Large Antiphonal, 32:6[sup(2)] x 13.5

Photographs: Graduale Romanum, Venice, Johann Emerich of Speier, 28 IX 1499, 14 I I500, i III I 5oo; Berkeley, University of California, Music Library, many pages Editions: Johann Emerich of Speier I 28 IX 1499, 14 I I500, I III I500, Graduale Romanum, 2° Staff: 32 Space: Io.5-I I x-height: 13 Music form: 379-81 X 256-57(427 X 276, with fol & sig.) Music pages: nearly all of the 386 ff Staves: varying number of staff segments of two lines (four?), 8, I2.5, 17, and 24 mm wide No per page: 7 After I500: 2 15 III 1503, 23 VIII I504, Antiphonarium Romanum, 2° Staff: 32 Space: Io.5-Ii 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 No per page: 7, often 8 Virga I 6 X 13.5 24 X 6 X 13.5 Punctum Lozenge (a-c) cast in pairs? Podatus I 2 variant 3 4 5 Clivis I II X II 2 II X 17 311 X 22 4 10 X 28

Clivis, stemless I II X II 2 II X 17 3 1 X 22 Diagonal I 12.5 X 12 2 17 X 28 Diagonal, stemless I 12.5 X 12 2 17 X 27.5 Torculus Porrectus I 2 3 stemless 4 stemless Virga cum orisco I I5 X II 2 15 X I5 Cephalicus '5 x 1 2 kerned, 5 X 8

C clef 3 x I4.5 F clef 3 X 20 plus C clef F clef Ist half, used as note Accidentals i B flat 2 B flat 3 B natural 4 B flat 5 kerned Direct i I5 X 18 29 9 Bar lines Stem segment Time signature Semibreve, descending Semibreve, ascending Semiminim 5 X 23 25 x 16 2 5 X i6 3 5 X 17.5

Kerned and altered types

Kerned, and altered types

Andrea Torresani, R22, R23

-'he successful printer and publisher Andrea Torresani (I451-I '29) came from Asola to Venice, where he claimed to have learned the printing trade Under Nicolas Jenson.38 In an application for a privilege in 149,39 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 479-40 Fumagalli tells us that Torresani bought Jenson's printing establishment after Jenson's death in I480.41 Renouard lists 138 books under his name to 1507, ranging from such luxury items as the 1496 Missale, of which at least four copies were printed 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 After his daughter married Aldo Manuzio, Andrea and his son-in-law formed a partnership His later activities focused on publishing rather than printing 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 D 62) 30XII 496 Missale Praedicatorum, 2 M-B 26 W I823 D 37 15 V I497 Missale Romanum, 2° W 937 D 103

The Missale Nannentense (io May 1482) issued l)y Blavi, Torresani, and Mapheo de Salodio Paterbonis) has no space for music (see the item after D 34), Torresani's first music type has the usual Venetian 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 ) The punctum is an abutting type that can be set adjacent to text type in the space above or below the staff The lozenge is kerned to fit tightly against another lozenge Since 38 D Bernoni, Dei Torresani, Blado e Ragazzoni celebri.stampatori a Venezia e Roma nel XV e XVI secolo: cogli elenchi annotati delle rispettive edizioni (Milan: Hoepli i890), p 7 39 Fulin, "Documenti," no 96 4o. Norton, Italian Printers, p 155 4i Fumagalli., Lexicon Typographicum, p 460 42 Antoine Renouard, Annales de l'imprimerie des Aide (Paris, 1834), pp 293-94ZIG 5 I Missale Ordinis Praedicatorum Venice: Andrea Torresani, 30 XII I496, f i8' Reduced in scale (Biblioteca Nazionale Braidense, Milan, AL-XIV-8.)

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 The 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 The 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 i6 mm printed from metal rules the width of a column Because of the long stems, variants were needed in more than one size The podatus has widely separated notes, and the upper one is curved The diagonal retains some of the curve of a pen stroke The lozenge is tilted on its side so that it is easier to have closely joined

notes without kerning The 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 Torresani types The short stem of the alternate F clef of R2o does not match the stems of the rest of the type and may have been made with a punch for a quarto type The porrectus is also out of character in the type because of its short stem The 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 The single surviving copy of the i497 Missale Romanum is found today in Ljubljana, Yugoslavia.

R22 Roman Large Missal, 16:2.75[sup(2)] x 5.5

Photographs: Missale Praedicatorum, Venice, Andrea Torresani, 30 XII 1496; Milan, Biblioteca Nazionale Braidense, AL-XIV-8, ff h9, i8v Edition: Andrea Torresani I 30 XII 1496, Missale Praedicatorum, 2° Staff: 16 Space: 5-5 x-height: 4 Music form: 258 X I73 (80) Music pages: 27 Staves: cast metal rules No per col.: 9 Virga 12.7' X 5'5 2 3 stem at left Punctum 2 I 2.72 (a) abutting virga 3 2 22 central note of torculus Lozenge (a) kerned at left Podatus I2 X 2 Diagonal 5.5 X 8-5 2 stemless, 6 X 6 C clef 2 X8 F clef I.5 X 9.5 plus C clef

Accidental: B flat Bar line (rule) Line segment for complex neumes.

R23 Roman Large Missal, 16:2.75[sup(2)] (3.75) x 12

Photographs: Missale Romanum, Venice, Andrea Torresani, 15 ' I497; Ljubljana, Narodna in Univerzitetna Knjiznica, Ti III 12672, f n2V (xcviiV) Edition: Andrea Torresani I 15 V 1497, Missale Romanum, 2° Staff: 16 Space: 5.25-5.5 x-height: 4.25 Music form: 270 X 176., (83.5) Music pages: 41(+ set?) Staves: 4 staff segments, 20-20.5 mm wide No per col.: io Podatus Porrectus C clef 1.5 X 7 Diagonal 1 5 X I2.5 2 5 X 10.5 Virga cum orisco, stem at wrong side F clef I X 8.5 2 X ii Virga 1 2.752 (375 with points) X 12 2 2.752 (375) X 9 3 2-752 (375) X 6-75 4 stem at left 5 stem at left Punctum 2.752 (3-75) Lozenge (a) tilted to avoid kerning Direct kerned (a) bent kern 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 He issued some thirty books in the fifteenth century (one in 1489, four in 149 the remainder from I495 to 500oo) His last known book was printed in 1505, and he was succeeded by his son Melchior in 1506.43 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-century books with Sessa's imprint.44 No 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.4 Vitali printed the Tractatus Musices (C 5863) for Sessa with music printed from woodcuts The fifteenth-century music books issued under Sessa's name include one quarto and two 43 Norton, Italian Printers, p 15i 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 BMC V:xliii.

FIG 52 Missale Romanum Venice: Giovanni Battista Sessa, 8 X 1497, f cxii (Biblioteca Nazionale Marciana, Venice, Inc V.77.)

FIG 53 Missale Romanum Venice: Giovanni Battista Sessa, 1490, f o6(cx) (Henry E Huntington Library, San Marino, California, 92520.) octavos Those examined were printed with the same music type: 8x 1497 Missale Romanum, 4 M-BI57 W939 DIo5 1490 Missale Romanum, 8 M-BI43 W 94 DI12 [not after I498]46 i60-I6i 943 3 I VII 1498 Liber Catechumeni, 8° LB 725 D 9 Another Missale (W 947) is apparently a ghost (see the item after D I I ) Sessa's music type (R24) is almost indistinguishable from Emerich's Roman Small Missal type (R2o) 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 The 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 ' 1490" 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 R2o, 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 The 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 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 io 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) The 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 I490 [not after 14981 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 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 VI [ 1492 498] on the feast of Aurelius Augustus, celebrated at the level of a feast of one apostle) 47 Proctor, i: part I, 367 48 BMC V:479, 48i.

FIG 54 Liber Catechumeni Venice: Giovanni Battista Sessa, 3 I VII 1498, f D6v (Biblioteca Nazionale Braidense, Milan, Gerli Inc 68.)

R24 Roman Medium Missal, 13:1.6[sup(2)] x 4

Photographs: Missale Romanum, Venice, Giovanni Battista Sessa, 8 x I497; Venice, Biblioteca Nazionale Marciana, Inc V.77I f CXII Missale Romanum, Venice, Giovanni Battista Sessa, 1490 [not before I493, not after I498]; San Marino, Calif., Henry E Huntington Library, 92520, ff o5V-o6 Liber Catechumeni, Venice, Giovanni Battista, 3 VII 1498; Milan, Biblioteca Nazionale Braidense, Gerli Inc 68, ff D6V-D7 Editions: Giovanni Battista Sessa i 8 X 1497, Missale Romanum, 4°. Staff: 13 Space: 4.4 x-height: 2.25 Music form: 167 X 112 (52.5-53) Music pages: 51 Staves: 5 staff segments, Io.25 mm wide No per col.: 8 2 1490 [not before 1493, not after I498], Missale Romanum, 8° Staff: 1.5-12.25 Space: 3.5-4-5 x-height: 2 Music form: I36-38 X 84-86 (40-4I) Music pages: 53 Staves: woodblocks? No per col.: 7 3 31 VII 1498, Liber Catechumeni, 8° Staff: 12.4 Space: 4.1 x-height: 2 Music form: 117 X 70 Music pages: 50o Staves: 7 staff segments, io mm wide No per page: 6.

Sessa's books Sessa's music type does vary from Emerich's in many small ways, and the staff technique in Sessa's books is not always appropriate to the type The quality of the Sessa music printing is poorer than that in any of Emerich's books Certainly Emerich is unlikely to have printed the text, since he never used roman type, which appears in each of Sessa's music books Similar music type could have been supplied to printers by a Venetian type producer who provided each printer with the specific characters necessary for the music in his book in a body size of his specification, leaving the printer to supply his own staff material If such a type producer designed a small plainchant font for Emerich, he may have provided a font of the type on a larger body to the printer(s) of Sessa's books Virga I I.62 X 4 2 3 4 stem at left Punctum, i.52 Lozenge I 2 equals direct Podatus Clivis I 3 X 4-5 23 X 35 Diagonal 13 4 2 stemless 3 X 2.5 Torculus Virga cum orisco Liquescent neume? C clef I X 35 F clef I 3 X 35 2 I X 6 plus C clef Direct (kerned) (a) broken kern Bar line (rule)

Giorgio Arrivabene, R25

Giorgio Arrivabene (or Rivabene, also known as Parens) came from Cenneto, about halfway between Mantua and Cremona.49 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 Officium (25 April 1484) printed by the same group of three In 1484 Arrivabene began printing in partnership with Paganini (I484-1486, 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 i 5o9 to 5 5 he printed for the heirs of Ottaviano Scoto ("Haeredes Octaviani Scoti") 4 XII 1483 or Missale Romanum, 8° M-B 129 W 884 D 63 29 I 484 Benali, Arrivabene, Paganini 27 IX 1484 Missale Romanum, 2° M-B 132 W889 D67 [Benali for?] Arrivabene, Paganini 29 V 1499 Missale Romanum, 2° M-B i65 W 95 D ii5 The first Missale uses Benali's R5, and he probably did the printing, whereas Arrivabene and Paganini acted as publishers The 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 ( 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 The music could have been printed in Benali's shop for Arrivabene and Paganini, who apparently sold copies with or without printed music The first signature to contain music contains mis-signings that support an interruption of the normal printing sequence Signature g contains music on f g2r-V In at least four copies, the following leaf, g3, is mis-signed as h3, and g4 as h4 Such mistakes could result from the division of labor between two shops: one compositor finished f gI, 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 variants 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 The existence of kerned sorts is apparent when the close juxtaposition of types shows that their bodies overlap The lozenge can be printed in very tight groups and sometimes intrudes on the body of the following type (see Fig 55, col 2, staves i and 5) The podatus may have been made as a type that was kerned at the top On f p4, col i, 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 At least one version of the C clef is kerned at the top (f h8V) for use on the top line of the staff The 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", col 2, staff 9) Other evidence for kerned typefaces is the bent end of both sizes of direct The sizes of the locked-up form for the red and black 49 P Tentori, "Arrivabene," Dizionario biografico degli italiani 4 (1962): 324-25.

FIG 55 Missale Romanum Venice: Giorgio Arrivabene, 29 V 1499, f p3v. (Biblioteca Nationale Marciana, Venice, Inc V o05.)

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) The 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 Graduale 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.

R25 Roman Large Missal, 18:3.5[sup(2)] x 11.75

Photographs: Missale Romanum, Venice, Giorgio Arrivabene 29 V I499; Venice, Biblioteca Nationale Marciana, Inc V.io5, ff m4, p3V-P4) (slightly larger than actual size) Edition: Giorgio Arrivabene I 29 V 1499, Missale Romanum, 2° Staff: I8 Space: 5.5 x-height: 5 Music form: 262 X I8o (84.5) Music pages: 46 Staves: 3 staff segments, 23 mm wide, plus one of i5.5 mm No per col.: 9 Virga 352-5X-75 2 3.52 X 9-5 3 352 X 7 4 stem at left, 3.52 X i.75 Virga cum orisco C clef 9 X 2.5 F clef 9-5 X I175 Punctum Podatus Lozenge Diagonal Porrectus 14 X 6 (a) filed i ? (b) filed i ? Direct 14 X 7 22.5 X 5 Bar line (cast type?), 23

VIII—
Milan

Christoph Valdarfer, A1, R26

Christoph Valdarfer of Regensburg began his activity as a printer in Venice During 1470 and I47I, several books were issued there under his name He had already applied in I470 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 Zarotto as printer After Castaldi's departure from Milan in 1472, 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 I473 After a period of active printing in Milan between I474 and 2i February 1478, Valdarfer next appears in Basel, on 28 July 1479, as an employee of the printer Bernhard Richel.2 At the end of the I470S, 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 Zarotto 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 Ambrosian liturgical books (missal, breviary, psalter, ritual, litany) despite tepid interest on the part of the archbishops of the time.3 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 Missale Basiliense of 1480 or 1481 was the first transalpine book to print music in two colors: black notes on red staves.4 The music type was less complex than that used in the first known printed music, the Graduale completed about I473, 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 After his death in December 1482, his music type was reused in Basel by Wenssler, with some additional punches, for two 1488 graduals Valdarfer took back with him to Milan 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 On 9 May 148 Angelus de Artio's Super Prima Parte Institutionum appeared under Valdarfer's name for the publishers P A Castiglione and Lavagna, but that book is described by Scholderer as printed by Pachel and Scinzenzeller with Valdar i Fumagalli, Lexicon Typographicum, p 214; Geldner, Inkunabeldrucker, 2: 109-12; BMC VI: xxvi 2 Valdarfer is described as the employee of Bernhart the book printer ("Kristoff von Regennspurg Herrn Bernhart Buchtruckers Diener") See BMC VI: xxiii 3 E Cattaneo, "Istituzioni ecclesiastiche milanesi," in Storia di Milano, 17 vols (Milan: Fondazione Treccani degli Alfieri, 1953-1966), 9: 540-72 4 Arnold Pfister, "Vom fruhesten Musikdruck," p 171.

FIG. 56. Missale Romanum. Milan: Christoph Valdarfer, i IX 1482, f. [i4J. (Staatsbibliothek Preussischer Kulturbesitz, Berlin, Inc. 3068.20.) fer's type.5 The first book certainly printed by Valdarfer after his return is the Missale Ambrosianum of 15 March I482, which included the first printed Ambrosian plainchant (AI) and the first music printed in Milan. Nothing is known of the financial backing for the Missale and its music type, but it is possible that the promise of a remunerative commission for the work provided at least part of the incentive for Valdarfer's sojourn in Basel, where he could have learned how to print music. Valdarfer's next book containing music was a Missale Romanum of i September I482, just six months after the Missale Ambrosianum. The Roman Large Missal is designated as a new type, R26, despite the fact that it shares some designs with Ai (the direct, the virga, and the C clef) and shares the same body size, cast to be printed on a staff of 14.5 mm. That staff is now made of cast metal segments in one size (17.5 mm) instead of what appear in the Missale Ambrosianum to be woodcut staves. The bodies of the cast types were small enough to allow characters to be printed

one above the other to form, for example, a podatus of a fifth. AI and R26 share designs with very long stems reaching down from the top line of the staff to the bottom. The irregularity and thinness of those stems, together with their frequent lack of connection to the notehead, suggest that the printer added stems to the cast noteheads by using various lengths of metal rules, just as was done for the bar lines (see Fig. 56). That technique certainly simplified punchcutting and casting of multiple stem lengths but resulted in a weak and irregular appearance. Nevertheless, it allowed the printer to preserve a common scribal practice of bringing the stems of notes down to the bottom of the staff. On the first staff printed with type (f. k2") stems were omitted from most of the printed notes; the resulting music printed from cast type has the strong character of Roman and Venetian music type. Only in Valdarfer's music books has the technique of using metal rules for note stems been observed. The first music type for Ambrosian plainchant is a fairly sophisticated font with a different-size podatus for three intervals and a torculus for two intervals, as well as five sizes of custos or direct, a 5.BMC6:724.

FIG 57 Missale Ambrosianum Milan: Christoph Valdarfer, I5 III 1482, f [I093 Not to scale (Biblioteca Capitolare del Duomo, Milan, 2G-I-4.) record in Italian incunabulum type fonts The virga cum orisco (see Fig 57) is unusual in the company of Ambrosian neumes and recalls Valdarfer's familiarity with Venetian tradition The rhombus or lozenge was the common note of Ambrosian chant when it was first printed Valdarfer's font has two versions, the normal upright one and another that tilts to the left, perhaps designed to follow a diagonal within a neume but frequently used independently With the exception of the virga cum orisco, Valdarfer's type closely resembles the contemporary music manuscripts pictured in Huglo's Fonti e paleografia del canto ambrosiano, 6 one of which was written by Pietro Casola, the editor and publisher of two printed Ambrosian breviaries (1490, 1492) and two printed Ambrosian litanies (1494, 1503).7

The staff of Ambrosian chant was still commonly written with two lines, a red F and a yellow C line, or with four black lines with additional colored lines for C or F inserted between the black lines as needed.8 No printer attempted to print a yellow and red two-line staff, although such staves were drawn by hand in the blank spaces of the early missals of Zarotto Valdarfer printed four staff lines in red, probably from woodblocks since the lines vary slightly in width and are occasionally broken by white space The facts that the red capital letters overlap the red staves slightly and that the black notes intrude on the black text suggest that the book was printed in four impressions The printing of the music pages may have proceeded as follows: i Printing of the red letters from a form with all text type, masked by a frisket covering the black text 2 Printing of the black letters from the first form 3 Printing of the red staves from woodblocks 4 Printing of the black notes from a form with the music type The registration of the four impressions is quite good, with notes centered on staff lines.

6 Huglo, Fonti e paleografia, plate X, no 85, Liber hiemalis cantus ambrosiani, 1486, copied by Pietro Casola; nos 86-87, choirbook in 2 vols., 1487 7 Pietro Casola, canon of the Cathedral of Milan, born ca 1427, died 6 November 1507: Dizionario biografico degli italiani 21 (1978): 375-77 8 Huglo, Fonti e paleografia, plate X; Bannister, Monumenti vaticani, plate 686.

A1 Ambrosian Large Missal, 13.75–14.5:3

Photographs: Missale Ambrosianum, Milan, Christoph Valdarfer, 15 III 1482; Milan, Biblioteca Capitolare del Duomo, 2G-I-4, ff [51V], [109], [122] (scale varies) Edition: Christoph Valdarfer I 15 III 1482, Missale Ambrosianum, 2° Staff: i3.7'5~45 Space: 4.5-5 x-height: 4 Music-form: ? Music pages: 17 Staves: woodblocks No per col.: o Virga I I.5 X 3 2 3 22 X IO (photo unavailable)-Podatus Clivis Scandicus

R26 Roman Large Missal, 14.5:2.5 x 2

Photographs: Missale Romanum, Milan, Christoph Valdarfer, I IX 1482; Berlin, Staatsbibliothek Preussischer Kulturbesitz, Inc 3068.20, microfilm of music pages Virga (equals punctum) · · I A 1 2 , with rules for stems (a) rules at right (b) rules at left (c) irregular 2 (a) 22 X 3-3-5 (b) variant (c) variant Torculus Virga cum orisco, rule for stem I 3.5 X 12 23-5 X I 33-5 X 9 Liquescent neume F clef F clef with C clef Bar line (rule) Direct Edition: Christoph Valdarfer I.1 IX 1482, Missale Romanum, 2" Staff: I4.5 Space: 4.5-5 x-height: 4 Music form: 237 X 33 (76-77) Music pages: 19 Staves: 4 staff segments, 17.5 mm wide No per col.: 8 Punctum Lozenge, kerned Podatus 12 X5 2 X 6.5 Diagonal

Porrectus C clef Direct F clef 2.5 X I4-5 Bar line (rule)

Leonard Pachel, R27, R28, A2

Leonard Pachel came from Ingolstadt in Bavaria, as did Ulrich Han, who matriculated at the University of Leipzig in the i44os and became the first named printer of music A professional connection between two Germans from Ingolstadt who number among the first music printers in Italy is possible Pachel, who died on 7 March i 511 at the age of sixty, was about twenty-five in 1476, the time of Han's first music book Pachel first appears in printing history as a witness to a Milanese contract of I473 between the first music printer in Milan, Christoph Valdarfer, and his publishers Cola Montano and Lavagna.9 He then disappears from view until i477, when his first book was issued in Milan in association with Ulrich Scinzenzeller (from Zinzenzell?), with whom he printed until 1490 Scinzenzeller was somewhat older and apparently died in 500oo, since his last book is dated 9 March 15oo and his successor, Giovanni Angelo Scinzenzeller, issued his first book on 20 June I5oo Both Pachel and Scinzenzeller called themselves magister, an indication of university training In his will of 27 February I 5 I, Pachel left one press with its type and accessories to his employee Ludovico de Bebulcho.'0 If this single press represents the size of his printing establishment, it contrasts strongly with the equipment of a contemporary of his, Antonio Zarotto, who is described in 1472 as responsible for providing seven presses for his publishers.

Pachel and Scinzenzeller's first book was a Virgil of 30 November I477, and their last joint venture appeared on i August I49o. The first book issued under Pachel's name alone appeared in I487 Together the men printed about four hundred works, only sixty with named publishers Since the music type first used by the pair in 1486 remained in Pachel's hands, it may be considered to have been his possession The fifty works printed in the sixteenth century apparently contain no music Pachel printed at least ten and probably eleven editions with either printed music or space for it (see Table 26) The 1482 missal, which I have not seen, probably contains space for music, as did his previous quarto missals The lost 1488 octavo missal may not have space for music, since the previous octavo missal did not The ca 1478 Rituale Ambrosianum and the 1482 Ordo ad Cathecumenum Faciendum have no space for music The examples of mensural music in the two theoretical works, the Trattato vulgare and the Regula, were added by hand in blank spaces or printed from woodcuts Four editions contain music printed from type, three of the four with music from type printed by Pachel alone He was responsible for printing the first edition of the Ambrosian psalter and, if my dating of the

9 BMC VI: ix io Caterina Santoro, "Documenti sulla storia dell'arte tipografica a Milano nel Quattrocento," in her Scritti rari e inediti (Milan: Universita degli Studi di Milano, 1969), p 283 i i Ennio Sandal, Editori e tipografi a Milano nel Cinque-cento, 3 vols., Bibliotheca Bibliographica Aureliana 68, 72, 83 (Baden-Baden: Valentin Koerner, 1977-1981), 3: 16-30.

Table 26 Music incunabula of Pachel Date Author, Title, Format Printer, Publisher Music ca 1478 Rituale Ambrosianum, 4 Pachel & Scinzenzeller no space i6 XII 1479 Missale Romanum, 2° Pachel & Scinzenzeller space 31 VII 1480 Missale Romanum, 4° Pachel & Scinzenzeller space I8 IX 1481 Missale Romanum, 4 Pachel & Scinzenzeller space Io V 1482 Ordo ad Catechumenum Faciendum, 4° Pachel & Scinzenzeller no space VIII 1482 Missale Romanum, 40 Pachel & Scinzenzeller ? VII 1483 Missale Romanum, 8° Pachel & Scinzenzeller no space 28 IV 1486 Psalterium Ambrosianum, 4° Pachel & Scinzenzeller, for Lampugnano music i VIII 1486 Missale Ambrosianum, 2° Pachel & Scinzenzeller space V I488 Missale Romanum, 80 Pachel ? 4 VII 1492 Missale Romanum, 2° Pachel music 5 VI 1492 Caza, Trattato vulgare, 4° Pachel, for Lomazzo space i6 IV 1499 Missale Romanum, 2° Pachel music 27 VIII 1499 Missale Ambrosianum, 2° Pachel, for Nicolao, priest music Io IX 1500 Bonaventura da Brescia, Regula, 4° Pachel, for Legnano music, wood Zarotto version with music as "about 1478" is correct, the first Ambrosian ritual His Ordo ad Catechumenum Faciendum, not cited in Bohatta's bibliography of liturgical works other than missals, precedes by five years the first cited edition, printed in Bologna in 1487.'2

Pachel's appearance as a witness for Valdarfer in 1474 suggests that he may have been associated with his fellow German, perhaps as one of the twelve employees mentioned by Valdarfer in I470 Valdarfer, who was the first to print music in Milan, had probably learned to print music while working in Basel for Richel from 1479 to 148I; therefore Pachel's familiarity with the craft of music printing and type design may have come through a rather direct line from the gothic plainchant of the Graduale of about 1473 and Richel's Missale Basiliense of 1480/1481 Since Pachel's birthplace and that of the first printer of music in Italy are the same, there might also conceivably have been some professional contact between Pachel and Han of Rome Pachel's first music type appeared in the first edition of the Ambrosian psalter, on 28 April 1486 Although one would expect the music to be printed in ambrosian neumes, the type contains none of the distinctive musical signs of ambrosian plainchant, and almost all neumes are replaced with stemmed virgas Pachel did attempt to print one neume, a podatus formed by the impression of two unstemmed virgas with a cast line nearly connecting them (f 16) A stylistic feature is the long stem of the virga, more than three times the length of the notehead and the height of a space and a half of the staff.

Such a long-stemmed virga was common in such contemporary manuscripts as the pontifical of Giovanni Barozzi, bishop of Bergamo, 1449I465.3 Han had used a shorter stem and wider notehead in the only previous such type design The problem of setting the long stem below the second line of the staff was solved by creating two alternate forms of the virga with shorter stems and a squat stemless virga for the space below the staff An alternate direct was provided for the top of the staff Counting the bar line, which was cast rather than made from material for rules, there are only about ten sorts in the font Thanks to the frequent printed outlines of type shoulders, the body of the type can be determined (see Fig 58) It measures 12.5 mm, the height of the bar line The F clef was cast as a single piece and was frequently reversed by the compositor There were no kerned types, and the only abutting type 12 LB, p 44 13 Bannister, Monumenti vaticani, plate 126b.

FIG 58 Psalterium Ambrosianum Milan: Leonard Pachel and Ulrich Scinzenzeller, 28 IV 1486, f m4 (Henry E Huntington Library, San Marino, California, I01724.) was a crudely altered virga that touches the text type below the staff The irregularity in design and appearance of carelessness due to the intruding image of type shoulders give the printed page a crude effect The staff of cast type was too large for the note design, so noteheads rarely fall on the correct line or space Pachel seemed to have learned by doing In 1492 and 1499 Pachel issued folio Roman missals with roman plainchant type that appears to be the same size as the 1486 type and could probably have been made from the same molds, but was of completely new design This roman plainchant font includes a virga with the same long stem and alternates as R25, but with a pointed notehead A notehead with the stem on the left was combined with a punctum to form the clivis Two sizes of podatus were available The lozenge was either slightly

R27 Roman Medium Missal, 15:2.5 x 2 x 7.5

Photographs: Psalterium Ambrosianum, Milan, Leonard Pachel and Ulrich Scinzenzeller, 28 IV 1486; San Marino, Calif., Henry E Huntington Library, 101724, ff kI, m4; Milan, Biblioteca Ambrosiana, Inc 1459, f [88] Edition: Leonard Pachel and Ulrich Scinzenzeller for Gasparo Lampugnano I 28 IV 1486, Psalterium Ambrosianum cum Hymnis, 4°. Staff: 14.5-I5 Space: 4.25-5.25 x-height: 4 Music form: I75 X I21 Music pages: 38 Staves: io staff segments, 12 mm wide No per page: 7 kerned or was cut as a separate punch of two close lozenges Thanks to the smaller staff, the noteheads now usually printed on the proper lines and spaces and the printed page has a much more finished look An ambrosian plainchant type appeared in the Missale Ambrosianum of 27 August I499 The type is apparently an extension of the roman plainchant type, since it shares the C clef and direct, but every other design is different The podatus and torculus resemble Valdarfer's but the torculus had become less angular By using a tiny direct that can be set on any line or space Pachel eliminated one difficult piece of type that is usually kerned, but in so doing he detracted from the function of the direct, that is, to catch the reader's eye and carry it away from the staff, a task ill performed by a short stem that does not reach into the margin Virga I 2.5 X 2 X 75 2 3 Punctum Podatus, combined types C clef x.5 X 6.5

F clef 13 X 8.5 2 3 X 8.25 Direct Biar line (apparently cast type of the body size, approximately 12.5 mm)

R28 Roman Medium Missal, 13:2[sup(2)] (2.5) x 7.5

Photographs: Missale Romanum, Milan, Leonard Pachel, 16 IV 1499; Milan, Biblioteca Nazionale Braidense, Gerli Inc 18, ff g3, g9 Editions: Leonard Pachel i 4 VII 1492, Missale Romanum, 2° Staff: 13 Space: 4.5 x-height: 3.5 Music form: ? Music pages: 16? Staves: 6 staff segments, i.5 mm wide No per col.: ii 2 i6 IV 1499, Missale Romanum, 2° Staff: 13 Space: 4.5 x-height: 3.5 Music form: 240 X 170 (80) Music pages: 32 Staves: 5 staff segments i.5 mm wide, plus one staff segment 8 mm wide No per col.: 9 Virga 2 (2.5 with points) X 7-5 2 wit 2 22 (2.5) X 6.5 3 22 (2-5) X 4-5 4 2 (2.5) X 3 5 2 X 7

A2 Ambrosian Medium Missal, 13.3

Photographs: Missale Ambrosianum, Milan, Leonard Pachel, 2;7 VIII 1499; Milan, Biblioteca Nazionale Braidense, AM-XIII-I8, ff xlivV-xlv Edition: Leonard Pachel I 27 VIII 1499, Missale Ambrosianum, 2° Staff: 13 Space: 4.5 x-height: 3.5 Music form: 214 X 151 (67-68) Music pages: 14 Staves: 5 staff segments 11.5 mm wide, plus one staff segment 8 mm wide No per col.: 9 Virga Punctum, 2 * Lozenge Podatus I 1 3 X 4(4-5) C clef, I X 5-5 2 2.5 x 5.5(6) F clef, i X 7.5 plus C clef Direct Bar line (rule) Podatus I 2 3 variant of 2 4 Clivis variants

Torculus C clef with F clef Direct Bar line (rule)

Antonio Zarotto, A3 (R)

Thanks to Arnaldo Ganda's recent research on the biography and works of Antonio Zarotto (ca I450-I5Io), his career has unusual clarity in our account of early Italian music printers.14 Printer of the largest number of editions in Milan in the incunabulum period, he issued 218 works which cover a variety of topics-literature, 146; law, 9; medicine, 7; religion, 56-among which are 22 liturgical books, 15 with music or space for it (see Table 27) The 1474 Missale, the first dated missal, is a landmark in printing Equally important are the first editions of the Ambrosian service books (psalter, litany, breviary, and missal), Zarotto's important contribution to the movement to reform the Ambrosian liturgy.'5 Born in Parma about I450, Zarotto was in Venice by early 1471, probably to learn the trade of printing, and was connected there with the medical doctor and merchant Panfilo Castaldi.l6 On 29 October I47 Zarotto appears in Milan as a partner in a typographical venture with Castaldi.'7 The first printed books in Milan, Latin classics and an Italian Life of the Virgin Mary, are unsigned but attributed to Castaldi and Zarotto.'8 In February 1472 a new partnership was formed between Zarotto, his brother Fortuna, the beneficed priest Gabriele Orsoni of Cremona, and the Bolognese humanist Cola

Montano Montano assumed responsibility for choosing titles for their classical publishing program Their first book, Cicero's Epistles, was financed by the rector of Casorate, Giuliano Merli, with Panfilo Castaldi as agent Merli advanced the money for the paper (25 soldi imperiali per volume), plus other expenses up to 30 ducats of gold Montano and Orsoni received half of the profits, Zarotto the other half Unfortunately, a competing publisher, Filippo di Lavagna, apparently managed to issue an edition of the Epistles first, on 25 March 1472 To avoid leakage of information on current publications and the possibility of future simultaneous publications, clauses were inserted in Zarotto's next printing contracts demanding secrecy from the partners and employees concerning future publications.'9 Castaldi had left Milan by May 1472 and Montano, Orsoni, and Zarotto formed a new partnership with the noble Pietro Antonio Castiglione and his brother Nicola Zarotto was to be directly responsible for "making all the Latin and Greek type, antiqua and moderna which will be necessary for the work of all the presses" and for making four presses.2 While no details are given about how he "made" the type, it is usually assumed that he personally designed the letters, cut them on punches, and cast sufficient numbers of sorts of type Support of Zarotto's ability in type manufacture is the

first use of a Greek type at Milan in Castaldi and 14 Ganda, I primordi See also Arnaldo Ganda, "Antonio Zarotto da Parma, tipografo in Milano (I47I-I507)," La Bibliofilia 77 (1975): 167-222; 8i (1979): 23-40, 223-88; Ganda, "La prima edizione," La Bibliofilia 83 (1981): 97-i 12 15 For a discussion of the reform of the Ambrosian liturgy, see Cattaneo, "Istituzioni ecclesiastiche milanesi," pp 560-72 i6 Luigi Balsamo, "Presentazione," in Ganda's I primordi, p viii 17 For the contract of 29 October 1471 (Archivio di Stato, Milan, Notarile, busta 855, Notary Tommaso Giussani), see G Biscaro, "Panfilo Castaldi e gli inizi dell'arte della stampa a Milano (I469-1472)," Archivio Storico Lombardo 42 (1915): 12-i3; Ganda, p 85 and figs 1-2 on p 207 18 Ganda, nos i-6 19 The date of Zarotto's Cicero is known not from the colophon of the book but from the contract of 29 October 1472, which required that 300 copies of the book be printed before Easter of the following year (Ganda, "Zarotto," p 176) 20 For a discussion of the documents, see Ganda, I primordi, pp 34-38.

Table 27 Music books of Zarotto Date Title, Format Printer, Publisher Music D 6 XIII 1474 Missale Romanum, 2° Zarotto, [Cola Montano & Gabriele Orsoni] space 39 23 III 1475 Missale Ambrosianum, 2° Zarotto, [Marco Roma] space 23 26 IV 1476 Missale Romanum, 2 Zarotto, [Marco Roma] space 41 17 I1478 Missale Romanum, 2° Zarotto, [Marco Roma] space 45 27 IX 1479 Missale Romanum, 2 Zarotto space 48 8 XI 1481 Missale Romanum, 20 Zarotto space 54 1482 Missale Praedicatorum, 2° Zarotto space 134 28 IV 1486 Magnificat, 4°, two leaves in Pachel's Zarotto space 21 Psalter Ambrosianum [ca 1487] Rituale Ambrosianum, 4° Zarotto music 152 I III 1488 Missale Ambrosianum, 2° Zarotto, Andrea de Bosis music 26 V I488 Missale Romanum, 2 Zarotto music 75 1490 Missale Ambrosianum, 2° Zarotto ?a 27* I VIII 1492 Missale Romanum, 20 Zarotto music 89 i VII 1496 Psalterium Ambrosianum, 4° Zarotto, Nicolo Gorgonzola music 149 I X1498 Missale Romanum, 2 Zarotto music iio After 1500oo 1504 Missale Ordinis Humiliatorum, 2° Zarotto, Antonio de Capella music aKnown only by a citation in Brunet 3:1758: "Missale Ambrosianum, 1488 and 1490, 2'." The citation was repeated in

Graesse 4:'543 It is possible that Brunet's citation was in error; he made no reference to the 1475 Missale Ambrosianum Zarotto's Cicero of 1472, the first year of printing in Milan, when there would presumably have been no craftsmen available to supply a printer's needs The contract further specified that Zarotto would receive one-third of the profits, the other two-thirds to be divided among the remaining four members of the society The books were to be sold by all the members except Castiglione A final clause stipulated that Zarotto provide three presses and enough type and ink for Castiglione and his brother Nicola to print, with the permission of the society, some additional titles in their fields of law and medicine The costs of the paper and half the rent were to be paid by the brothers, who kept three-fourths of the profits, the other fourth to be divided among the other four members, who would each also receive a copy of every book printed Thus Zarotto in his twenties provided the technical typefounding and printing expertise for two capitalist endeavors and participated in the profits earned from the publications A clause in the 1472 contract gave him the right to take over the three presses and type of the Castiglione brothers at market value at the end of three years, paving his way to becoming a printer-publisher with ownership of his equipment.

Cola Montano was expelled from Zarotto's printing society on 20 February 1473 for having employed other printers, an act expressly forbidden in the contract of the society First esteemed by the Sforzas, Montano's tumultuous career would include expulsion from Milan for instigating a plot to kill the duke, and death by hanging soon afterward, in Florence Upon leaving Zarotto, Montano associated himself with the Milanese publisher Filippo di Lavagna and the printer Christoph Valdarfer On Io September 1474 he reestablished contact with Zarotto and Orsoni in a contract for printing missals ("fabricandi libros missales in civitate Mediolani ad stampam").2' Few contracts for fifteenth-century books survive, and it is fortunate to find 21 Archivio di Stato, Milan, Notarile, busta 1425, Notary Giacomo Brenna.

documentation on the circumstances surrounding the publication of the first dated printed missal, a genre so important in music printing The contract provided for a loan of 200 lire imperiali to Montano by the Marquis Giovanni Lodovico Pallavicino, a ducal senator, to be repaid by the feast of St Peter in the following year In lieu of interest the marquis requested thirty of the printed missals, twenty paper and ten parchment, of which five would be goat and five kid ("statim quando erunt expleta e dicto magistro Antonio missalia viginti in papiro et missalia decem in carta, videlicet quinque capre et quinque capreti") He was no Maecenas but an investor buying into a new invention, substituting finished books for interest Montano had been drawn into the publishing business to print classics for the Studio Generale, the school of Francesco Filelfo, but wisely foresaw the market for a printed missal He negotiated a capital loan with a noble in the ducal senate and together with two other clerics repaid the loan and took the profits, after paying the printer for the presswork This was no commission on the part of a reform-minded high-ranking ecclesiastic, but a business proposition to earn money It can be assumed that many other Roman missals were printed for the same reason, although editions of missals for particular localities or monastic orders may have been commissioned for more high-minded purposes.

The first dated printed missal appeared on 6 December 1474,22 with a colophon that specified its innovative character: Antonii patria parmensis gente Zarotte primus missales imprimis arte libros Nemo repertorem nimium se iactet in arte addere plus tantum quam peperisse ualet The first printed missal in the art of the book by Antonio of the country of Parma and the family of Zarotto No one deems it worthy to add more to the undertaking than that which he has brought forth in his craft Zarotto's pride in his accomplishment is proven by his reuse of this colophon in several Roman missals His first missal with 190 leaves, handles the major challenges of printing missals-two-color impression, full-page illustration before the Canon, and music-by omitting them An examination of the single extant copy reveals that only the incipit leaf is printed with two impressions of red and black ink; the large number of handwritten red rubrics on the rest of the leaves makes the book appear at first glance to be a manuscript A watercolored Crucifixion woodcut was pasted on the blank leaf before the Canon Thirteen pages included space for music.

That the market was ready for his Roman missals was made clear by the appearance of Zarotto's second edition on 26 April 1476, only sixteen months later Nearly a copy of the first, this folio of I92 leaves added the service for blessing of holy water and doubled the number of pages with space for music Rubrics were printed in red throughout, but the leaf for a Canon illustration was still left blank, and music was left to the scribe The death of Marco Roma, Zarotto's major backer of the I470s, accounts for the drastic reduction, amounting to near-suspension, of new editions in 1478 In 148i Zarotto's Missale Romanum included a printed illustration for the first time; in 1488 he added printed music Between 1474 and 148I Zarotto printed a folio Roman missal about every eighteen months His Milanese competitor, Leonard Pachel, issued missals annually from 1479 to I483, plus three more in 1488, 1492, and I499, but they were intended for less affluent consumers: all but two were quartos and octavos, and only the last had printed music Another quarto edition (D 46) with space for music was printed in Milan for Suardi in 1479, probably by the printer Antonio Carcano The lacuna in Milanese missal editions in the mid I48os was probably due to saturation of the market for folio format, heavy competition from Venice for quarto and octavo sizes, and a disastrous appearance of the Plague in 1485 that killed "a hundred thousand" in Milan.23

The first Ambrosian missal was printed in 1475 by Zarotto and financed by Marco Roma for Archbishop Daniele, who collected forty-two orders for copies, nineteen printed on vellum, eleven on paper, 22 For a facsimile edition, see R Lippe, Missale Romanum Mediolani 1474, 2 vols (London: Henry Bradshaw Society, I899-I907) 23 Paolo Morigia, Historia dell'antichita di Milano, Historiae Urbum et Regionum Italiae Rariores 18 (Bologna: Forli, 1967), p I65.

and twelve unspecified.24 A second, also printed by Zarotto, was commissioned in 1488 by Andrea de Bossi, rector of St Tegle's Church A single Missale Praedicatorum was published by Zarotto in 1482 with the help of two editors, the Dominican Francesco of Milan and the humanist scholar Pietro Giustino Filelfo Another music book printed by Zarotto was the Psalterium Ambrosianum of I496, the first work published by Nicolo Gorgonzola, a priest and ducal chaplain who continued publishing until his death in I537.2 Zarotto printed in 1504 the first edition of the Missale Ordinis Humiliatorum, financed for his order by Antonio de Capella, rector of St Giorgio in Milan, under the auspices of the vicar-general of the order, which had over two hundred houses in the diocese of Milan.26 The amount of music is extraordinarily large for a missal: one-fourth of the total pages, spread out in twelve of the gatherings.

Zarotto's music type included characters to print both Ambrosian and Roman plainchant Its first dated use was on i January I488 in his Ambrosian missal, and just two months later he used it for his first Roman missal with music Because both works were in folio one would assume the type to have been designed for that format, but the size of the type-a notehead of 2 square mm, a lozenge of 4 mm, and a staff of I2.7-I3 mm-seems more appropriate to a quarto format It is unusual to use a single music type for books of different formats, but Zarotto did so for two quarto books, one of them undated This undated quarto, the Rituale Ambrosianum, has been roughly dated "ca 1476" by Ganda ("after I475" in the index of Italian incunabula) The Rituale contains printed music on 34 of its io4 pages Another undated edition by Pachel (ca 1478) has no music or space for it on its 68 leaves or 136 pages A music type for printing a ritual had to be capable of handling melismatic antiphons with liquescent neumes, which are much

24 Ganda, "La prima edizione," p 104 and Document i, pp 109-i [ 25 Caterina Santoro, "L'arte della stampa nel XVI secolo," in Storia di Milano, vol io (Milan: Fondazione Treccani degli Alfieri, 1963), 865, 874 Gorgonzola owned a bookstore in Milan where religious books and popular works were sold 26 Not [1490] as in C4138, Wi8oo, and Ganda 169 (see unnumbered item after D 130) FIG 59 Rituale Ambrosianum [Milan: Antonio Zarotto, ca 1487], f e5v Larger than scale (Biblioteca Capitolare del Duomo, Milan, 2G-2-6.)

more demanding than the syllabic chant of the missal A glance at the Rituale (see Fig 59) reveals an admirable compositorial job, with notes well spaced, text carefully underlaid, neumes created by combining sorts of type, careful use of liquescent neumes, and few reversed types That the Rituale contains an important amount of music and was printed so carefully suggests that it may have been the raison d'etre for Zarotto's music type, his first attempt I would like to suggest the date of ca 1487 for the quarto Rituale, a date just preceding the first dated use of the music type for the folio format, i January 1488 Zarotto's music type is short-stemmed and fluid, with a clivis and liquescent neume remarkably like manuscript designs There do not appear to be any kerned types; the need for them to allow for stemmed notes on the bottom line of the staff or the space below the staff is obviated by reversing the direction of the stem of the virga of the existing type Occasionally Zarotto's type is used as decorative filler for unused staff space by printing groups of virgas on every line and space of the staff (Rituale, Fig 59 and f q4; Missale Romanum, 1488, f I7v; Missale Romanum, 1492), providing us with an illustration of the flexible use of a musical sign cast on a

small body size set at varying heights through combination with spacing material above and below The compositor seems to be showing off the technical possibilities of the type, although such decorative use of notes also appears in manuscript (see Fig I5).

A3 (R) Ambrosian (Roman) Medium Missal, 12.7–13:2[sup(2)] x 4.5

Photographs: Rituale Ambrosianum, Milan, Antonio Zarotto, [ca 1487]; Milan, Biblioteca Capitolare del Duomo, 2G-2-6, ff e5V, f2^{V, g4V Missale Ambrosianum, Milan, Antonio Zarotto, III 1488; Milan, Biblioteca Nazionale Braidense, AM-XIII-22, f f4; Milan, Biblioteca Ambrosiana, Inc 397, f ZIO Editions: Antonio Zarotto i [Ca 1487], Rituale Ambrosianum, 4°. Staff: 13 Space: 4.25 x-height: 3.5 Music form: 178-80 X 131 Music pages: 36 Staves: metal rules (?) No per page: 7 2 I III 1488, Missale Ambrosianum, 2° Staff: 12.7 Space: 4-4.5 x-height: 3.5 Music form: 208 X 155 (71) Music pages: 19 Staves: metal rules (?) No per col.: 8 3 I V 1488, Missale Romanum, 2° Staff: 12.5-12.7 Space: 4-4.5 x-height: 3.5 Music form: 207-20 X 152 (71-72) Music pages: 22 Staves: metal rules (?) No per col.: 8 1490, Missale Ambrosianum, 2° No known copy.}

4 VIII 1492, Missale Romanum, 2° Staff: 13 Space: 4.25 x-height: 3.5 Music form: 225.5 X 157.5 (69-70) Music pages: 22 Staves: metal rules (?) No per col.: 8 or 9 5 i VII 1496, Psalterium Ambrosianum, 4°. Staff 12.7 Space: 4.25 x-height: 3.5 Music form: ? X Io3 Music pages: 34 Staves: metal rules (?) No per page: Room for 5, but no more than 4 printed 6 i X 1498, Missale Romanum, 2° Music pages: 23 + Staves: cast metal for width of column No per col.: 8 After I50o: 7 26 I 1504, Missale Ordinis Humiliatorum, 2°.

Virga I 2 22 X 4'5 Virga angled stem angled stem Punctum Liquescent neume F clef I with C clef: F clef piece, i X 5.5 C clef piece, i X 6.5 (a) inverted, C clef reversed 2 first piece, i X 9; both pieces, 3 X I I; C clef reversed at times Virga 1 2 22 X 4-5 3 angled stem Direct I Bar line (rule) Clivis Additional sorts Photographs: Missale Romanum, I V 1488; Paris, Bibliotheque Nationale, Res B.874, ff i2V, 14 Podatus I (a) inverted 2 punctum and new sort at bottom Diagonal Linking stem, 6

IX—
Pavia

Francesco Girardengo, R29

Francesco Girardengo began printing in Pavia in 1480 and issued books with colophons naming his native city, Venice, and Siena until at least I497.1 The well-to-do son of a scholar at the University of Pavia, Girardengo set up his shop in Pavia and specialized in printing law books for the university A Venice imprint used for music books in 1484-I486, I494, and I496 was probably put on Pavian books to facilitate marketing A Siena imprint was a piracy.2 Girardengo's music type has been classified as belonging to Pavia since the Venice imprint does not clearly indicate the use of the type there Venice i IV 1484 Missale Romanum, 2° H II385 W89I D 65 Reissue: Pavia I3 IV 1484 Missale Romanum, 2 HII383 W89iA D 65 Pavia 6 VI I49I Missale Romanum, 8° H 11396 W 916 D 86 with Beretta Pavia 1495 Missale Auscitanum, 4° W 20 D 30 Girardengo was still alive in 1504 if he is the man of that name commemorated on a medal struck in that 3 year.

From 1479 to 1492 Girardengo acted in partnership with another citizen of Pavia, Giovanni Antonio Beretta, issuing about fifty works The terms of their association reveal that Beretta, treasurer of the local cathedral, provided the capital and a retail outlet in his house while Girardengo was the printer and seller on both sides of the Alps The fact that one missal, with blank space for music (Missale Claromontense, D 32) was issued under the sole name of Beretta is discounted by the men's biographer, who feels that during the partnership both men were responsible for each book issued.4 At the dissolution in 1492 of the partnership, Beretta founded a music school for cathedral singers5, and at his death in 1496 he willed to the school some money Girardengo still owed him Perhaps Beretta was a student of music as well as law who, in the studiolo adjacent to the shop, served as corrector of the music books published by the partners Girardengo was not only a printer but a typefounder He rented rooms in Beretta's house for the printing shop and for "making and casting type for the printed books" ("fabricantur et seu funduntur littere pro ipsis libris stampandis") and sold matrices to other printers At the end of the partnership Beretta received 6,ooo ducats and kept the

i His types were used in a Cistercian breviary of 22 March 1500 signed "per Georgium de Arriuabenis & socium Characteris Venetiis" (GW5205); BMC VII: lviii 2 Dennis E Rhodes, "More Light on Fifteenth-Century Piracies in Northern Italy," in his Studies in Early Italian Printing (London: Pindar Press, 1982), p 120 3 George F Hill, "Francesco Girardenghi: Note of a Portraitmedal," The Library, 4th ser., 6 (1925): 90o. 4 Gasparrini Leporace, "Beretta-Girardengo," pp 30-3I A Cioni, "Beretta, Giovanni Antonio," Dizionario biografico degli italiani 9 (1967): 5 1-53 5 Gasparrini Leporace, "Beretta-Girardengo," p 25.

stock in his shop, while Girardengo received the tools of his trade: type metal, presses, matrices, punches, files, and type.6 Girardengo used his music type for the folio Missale Romanum issued in 1484 with colophons for Pavia and Venice The common plainchant note of the type was a stemmed virga In the missal for Auches, printed in 1495 in a quarto format, the same type was used but the common note was a punctum (Fig 60) Since the height of the staff had to remain the same, to accommodate the music type that had been designed for a folio format, the number of staves per column for the smaller book was decreased from eight to seven and the staff segments were recast in narrower pieces (i8-i8.5 mm instead of 22.5 mm) The change to a punctum as common note demanded many more pieces of that type per page (about 170 instead of io, or 340 per form) The visible stub of a stem on many of the puncta of the quarto indicate that Girardengo may have altered the shortest virga (virga 3) to increase the available sorts of the punctum The lozenge is kerned for a tight-fitting climacus That diamond shape prints on a slant rather than upright, providing a visual

clue to the font Both forms of the virga apparently were kerned, since printed versions with bent stems can be found in a number of places Virgas 4-6 abut the adjoining type on the right and the punctum abuts on one side; the two together form a clivis in which it is difficult to distinguish individual pieces of type Other combined forms include various sizes of the podatus and clivis using virga 3 and virga 4 in combination with virga 6 and virga 5 The F clef is apparently one piece of type By mistake it occasionally appears in inverted form (see Fig 60) The direct is usually set with the stem pointing down but is reversed when used on the bottom space or line The absence of printed notes in the i49I Octavo missal can be attributed to a lack of music type small enough for the format Because exactness of staff impression was less important when there was to be no second impression of notes, the printer resorted to using crudely bent rules for the staves The rules were set with an equal amount of space

(3-5-4-5 mm) between lines of the staff or between staves for the text Because it was practically impossible to keep the second impression of black text from touching the red staff lines, impressions over 6 Pavia, Archivio Notarile, Stada Bartolomeo fq Antonio, I490-1)46, as quoted in Gasparrini Leporace, "Beretta-Girardengo," p 45 FIG 60 Missale Auscitanum Pavia; Francesco Girardengo, 1495, f k2 (Bibliotheque de Ville, Tarbes.)

lap and weaken the appearance of the printed page The copy seen had no manuscript music It would have been difficult to fit plainchant, printed or manuscript, on the crowded page of nine staves per column.

R29 Roman Large Missal, 14.5–15:2[sup(2)] x 7.5–8

Photographs: Missale Romanum, Venice, Francesco Girardengo, I IV 1484; Paris, Bibliotheque Nationale, Res B I635, f i Missale Auscitanum, Pavia, Francesco Girardengo, 1495; Tarbes, Bibliotheque de Ville, photocopy of music pages Editions: Francesco Girardengo I I IV 1484, Missale Romanum, 2°, Venice Staff: 15 Space: 5 x-height: 3.5 Music form: 195 X I47-48 (68.5-69) Music pages: 25 Staves: 3 cast staff segments, 22.5 mm wide No per col.: 8 Reissued as: 13 IV 1484, Missale Romanum, 2°, Pavia 2 I495, Missale Auscitanum, 4, Pavia Staff: I4.5-I5 Space: 4.75-5 x-height: 2.5 Music form: 157-61 X 114-15 (54-55) Music pages: 46 Staves: 3 cast staff segments, i8-18.5 mm wide Virga 12 X 7.5-8 22 X 6 3 22 X 35 4 virga I plus inverted virga 5 Virga, stem at left 5 22 X 6.5 622 X IO 7 22 X 7.5 plus punctum Punctum Lozenge (kerned) Podatus C clef, 7 X I.25 F clef, 9 X 2.5 Direct Bar line (cast type?), 17

X—
Bologna

Dionysio De Odo, R30

Dionysio de Odo is known to us only through the single book printed with music in Bologna in the fifteenth century 20 II] I487 Ordo ad Catechumeni Faciendum, 4° M-B 254 LB 723 D 143 Dionysio tried to print all neumes with two pieces of music type, a stemmed virga and a punctum (see Fig 6i) The resulting trail of undifferentiated notes set very close together above the text would confuse any singer who did not already know the music quite well The direct functions well, and its strong design matches the virga The staff lines are nearly straight, with a good wide impression that suggests that they were printed from woodcuts The clefs caused more problems for the typecutter than the notes The F clef must have been too narrow, because a wider variant was printed, apparently formed by trimming or filing a virga on the left and inserting two tiny types between the two components of the clef The F clef on the first staff of the illustration (see Fig 6 ) is yet another variant, the right component being built of two rectangles and a metal bar The same method is used to make the C clef on the second staff and may indeed have been used for all the clefs.

The book is evidence that in 1487 in Bologna, music type was being cut on a small body and set at varying heights with the aid of spacing material The stem of the virga abuts its adjacent type The piece of metal joining the C clef appears to be kerned and slightly bent Perhaps the rather crude appearance of the music is due in part to a poor compositor, since such an easy word as "domine" is misspelled in the second line of text i BMC VI: 832; Albano Sorbelli, Storia della stampa in Bologna (Bologna: N Zanichelli, 1929), tav XIV.

R30 Roman Large Missal, 23:3.5[sup(2)] x 6

Photograph: Ordo ad Catechumeni Faciendum, Bologna, Dionysio de Odo, 20 III 1487; San Marino, Calif., Henry E Huntington Library, I o 44 I, fol 1371 Edition: Dionysio de Odo I 20 III 1487, Ordo ad Catechumeni Faciendum, 4° Staff: 23 Space: 7.25 x-height: 3.5 Music form: 132 X 9o Music pages: fols 135-401] Staves: metal rules No per page: 4 Virga 3.52 x 6 (also inverted) (a) abutting Punctum

C clef, 3 pieces of type F clef i 2 pieces of type 2 5 pieces of type FIG 6 I Ordo ad Catechumeni Faciendum Bologna: Dionysio de Odo, 20 III 1487, f [37] (Henry E Huntington Library, San Marino, California, 0 I44.) Direct

XI—
Brescia

Bonino Bonini, R31

Bonino Bonini (Dobric Dobricevic) was born about I450 in Ragusa (now Dubrovnik) in Dalmatia, when that country shared borders on two sides with the Republic of Venice (see Map 2) In i475 he went to Venice to learn the art of printing, probably from a fellow Dalmatian and music printer, Andrea Paltasichi (Andrija Paltasic), with whom he published a book in 1478 In 1480 he opened a printing shop in Verona and in 1483 went to Brescia, a city of more than 25,000 with an unusually high level of teachers per inhabitant, i per 900, and therefore a level of literacy truly remarkable for the period In nine years Bonini printed over forty books, more than half of which were humanistic texts According to Paolo Veneziani, his types (i i gothic, 3 roman, and 2 Greek) appear to come from Venice; the same is probably true of the large plainchant type, R3I By 149i Bonini was operating a bookshop in Lyons, where he printed two missals with music ( 500 Missale Cabilonense, 1503 Missale Bellicense) At some point Bonini acquired ecclesiastical status, for by 1499 he was receiving lucrative benefices from the Republic of Venice, which he was serving as a spy In 1502 he became a canon of the Cathedral of Treviso and spent most of the rest of his life there, maintaining a shop in Lyons He died soon after June 1528.

The single incunabulum with music printed by Bonini in Italy is a Carmelite missal: 14 VIII I490 Missale Carmelitarum, 2° M-B 219 W I884 D 130 The book is beautifully printed, with ample margins and well-spaced type The music type has a long-stemmed virga, virga cum orisco, and diagonal, and all have two alternates with shorter stems Where notes are to be printed above the staff, the compositor has left additional space above the red staff in anticipation of the problem An alternate stemless podatus (or clivis when inverted) is provided to be used within a compound neume There appears to be no kerned type Bonini set short bars below a punctum to form a neume that resembles the plica (see Fig 62, col i, staff 4), a design seen in R2 of the Moilli brothers It may indicate a cephalicus or it may be a way of forming a simple podatus of the interval of a fourth The modern Liber Usualis shows no liquescence at that point in "Crucem Tuam Adoramus" (Good Friday, p 741), though liquescence immediately precedes the note and a podatus of a fourth immediately follows it Bonini's music type is well designed and well executed Thanks to the alternate podatus, compound neumes built up from his types are quite easily recognizable Unfortunately, the staves are printed from rules that wave and bubble somewhat erratically around his strong, sharp neumes The il-

i Paolo Veneziani, La tipografia a Brescia nel XV secolo (Florence: Olschki, 1986), pp 68-70, and bibliography, pp 42-43; A Cioni, "Bonini (Boninis), Bonino," Dizionario biografico degli italiani 12 (1970): 215-19; Sime Juric "Aus der Geschichte des kroatische Wiegendrucke," Beitrage zur Inkunabelkunde 3d ser., 8 (1983): 87.

FIG. 62. Missale Ordinis Carmelitarum. Brescia: Bonino Bonini, 14 VIII 1490, f. m4v (88"). (Biblioteca Nazionale Braidense, Milan, AK-XIII-22.) lustrated leaf reveals the difficulties of setting black notes and text and red staves and text in separate forms. The black is printed exactly where it should be at the top of the page, but by the middle of both columns it is too low.

R31 Roman Large Missal, 15–16:3[sup(2)] x 11

Photograph: Missale Carmelitarum, Brescia, Bonino Bonini, 14 VIII 1490; Milan, Biblioteca Nazionale Braidense, AK-XIII-22, f. m4. Edition: Bonino Bonini. I. 14 VIII I490, Missale Carmelitarum, 2°. Staff: I5-I6. Space: 5-5-5. x-height: 4. Music form: 220 X 138-40 (63-65). Music pages: 36. Staves: metal rules. No. per col.: 9. Virga I3 2X ii 232 X 8.5 3 32 X 6.5 25

Punctum, 32 Lozenge Podatus 2 (also reversed) 2 (also reversed) Diagonal Virga cum orisco Liquescent neume C clef, 8 X 2 (also reversed) F clef, i X 2 plus C clef Direct Bar line (rule)

Giacomo Britannico, R32

After printing in Venice from 1481 to 1484, Giacomo Britannico returned to his native city of Brescia, where he and his brother Angelo began issuing books in association in 1485, practically monopolizing the trade in that city.2 Their books were primarily small, inexpensive volumes in gothic types: their fifteen types included eleven gothic, one roman, two Greek, and one music The devices of the brothers indicate that Giacomo was the printer and Angelo the business agent A Venetian privilege for a small gothic type ("parva forma") indicates that they made or commissioned their own types.3 The brothers had their paper made especially for them, with their own watermark They issued four of the sixteen known Italian incunabula of music theory (with music printed from woodcuts) and one missal (with music from movable type):

i IX 1492 Missale Romanum, 2° G & A Britannico D 9o 27 VII I497 Bonaventura da Brescia, Breviloquium Musicale, 4° A Britannico D 3 3 IX 1497 Bonaventura da Brescia, Regula Musicae Planae, 4° A Britannico D 4 23 IX I497 Franchino Gaffurio, Practica Musicae, 2° A Britannico D 13 3 IX [i5oo] Bonaventura da Brescia, Regula Musicae Planae, 4° A Britannico D 5 2 Fumagalli, Lexicon Typographicum, p 52; Veneziani, pp 79-83 3 A Sartori, "Documenti padovani sull'arte della stampa nel sec XV," in Libri e stampatori in Padova: Miscellanea in onore di mons G Bellini: tipografo, editore, libraio, ed Antonio Barton (Padua: Tipografia Antoniana, 1959), doc 16, "Stampator librorum."

FIG 63 Missale Romanum Brescia: Giacomo Britannico and Angelo Britannico, I IX 1492, f o8 (Biblioteca Nazionale Centrale, Florence, Inc P.2.3 i.) 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 15o8.4 Angelo died in I517, and Giacomo in 1518 or 1519 The 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 virga The top note of the podatus is slender and pointed and gives a vertical accent to the design The 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 4 Barezzani, "I Britannico," p 157 5 U Baroncelli, "Britannico," Dizionario biografico degli italiani 14 (1972): 339-44.

R32 Roman Large Missal, 19.5–20:2 x 2.5 (3) x 10

Photograph: Missale Romanum, Brescia, Giacomo and Angelo Britannico, X IX 1492; Florence, Biblioteca Nazionale Centrale, Inc P.2.3 I, fol o8 Edition: Giacomo Britannico (Angelo Britannico) I I IX 1492, Missale Romanum, 2° Staff: I9.5 Space: 6.5 x-height: 4 Music form: 238 X 170 (79) Music pages: 38 Staves: cast metal rules No per col.: 9 Virga 1 2 X 2.5 (3) X io 22 X 2.5 (3) X 8.5 3 2 X 2.5 (3) X 5 42 X 2.5 (3) X I5 52 X 2.5 (3) X 12.5 62 X 2.5 (3) X 7 7 angled head (first part of clivis) 8 with punctum Punctum, 2 X 2.5 (3 with points) i pointed (a) without points (b), (c) variants for top line Lozenge (a) variant for bottom line (b) variant for top line Podatus I 2 (a) inverted Diagonal Bivirga (?) C clef (a) variant for top line F clef; (a) without C clef 'Direct (a) kerned Bar line (rule)

XII—
Naples

Christian Preller, R33

Christian Preller of Bavaria printed in Naples from 1487 to 1498, with an excursion to Capua in I489 at the request of the archbishop, to print a breviary for local use. He specialized in liturgical books-ten of his eighteen editions are religious'-and used only 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:2 [ca. 490] Missale Romanum, 2° M-B 3o W887 D 83 [Naples, Preller for Gontier?] The date has been assigned because of the identification of the type as Preller's no. i, 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. The 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. The 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 both podatus I 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. The 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. i. Marco Santoro, La stampa a Napoli nel Quattrocento (Naples: Istituto Nazionale di Studi sul Rinascimento Meridionale, 1984), pp. 31-32. 2. Fava and Bresciano, La stampa a Napoli, I: 103-4. 3- Sander 4753FIG. 64. Combined types as used in Preller's Missale Romanum.

FIG 65 Missale Romanum [Naples: Christian Preller for Antoine Gontier?, ca 149o], f ni (By permission of The Houghton Library, Harvard University, Cambridge, Mass.)

R33 Roman Large Missal, 12.5:2.25[sup(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: [Christian Preller?] I [Ca 1490], Missale Romanum, 2° Staff: I2.5 Space: 4.25 x-height: 3 Music form: i88 X I33 (6i) Music pages: 34 Staves: metal rules No per col.: 9 1 2.25 X 6.5 Virga 2 2.252 5 Virga 3 4 Punctum Lozenge Podatus Clivis Scandicus Diagonal used only in combined types C clef, 1.25 X 11.25 F clef 1 1.25 X 6.5 plus C clef 2 Direct

XIII—
Incipient Music Type

Francesco Benedetti and Guillaume Le Signerre

Music theory books sometimes make reference to music characters in passages in the text of the book This forced early printers to create alphabetic-music types, il 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.' The 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 Two 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 149I 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 described 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: "If 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 i6 May I49i by Benedetti with printed musical characters for the punctum, B quadratus b (see also Figs i8-19), and time signatures (O and C) The 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 i Robert Proctor, The Printing of Greek in the Fifteenth Century, Bibliographical Society Monographs 8 (Oxford: Oxford University Press, 1900), pp 13-14 2 A Cioni, "Benedetti, Francesco," Dizionario biografico degli italiani 8 (1966): 252; BMC VI: 821.

FIG 66 Giovanni Spataro, Honesto Defensio Bologna: Francesco Benedetti, i6 V I49i, f EI (Bibliotheque Nationale, Paris, Res V 1498.)

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 I453 or which died on 8 September I523.3 Lomazzo is an important figure in early music publishing He 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 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 IV, 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, and a Greek gamma for the note "gamma ut." The 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 3 Norton, Italian Printers, p 45; Dona, pp 72-73; Sandal, Editori e tipografi, pp 1-3.

XIV—
Directory of Type Specimens

First Specimen Type Printer, Type Name, Size Appearance Page Rome Ulrich Han (Stephan Planck) RI Roman Large Missal 12 X I476 87 22 I6 or- :2.52 X 7.5 5 Parma Damiano Moilli and Bernardo Moilli R2(M) Roman Mensural Very Large Antiphonal io IV I477 93 55: 9 X 21-22Venice Theodor Franck of Wurzburg MI Mensural (White) Medium 21 III 1480 IOI 3 : 22(25) X 13 Ottaviano Scoto R3 Roman Large Missal 31 VIII 1482 104 14.5-I5:32 X R4 Roman Medium Missal 28 XI 1482 I05 11.5-12 : 1.5 X 4-5 Bernardino Benali (Piero di Piasi) (Giorgio Arrivabene) R5 Roman Small Missal 4 XII I482/I483 Io8 10.25 : 1.25 X 4 R6 Roman Medium Missal 15 VIII 1484 IO9 I.5-I1.25 : 1.82 X 5 Simone Gabi, called Bevilaqua R7 Roman Large Missal 27 IV 1487 I12 I3.5: I.5 X 8 R8 Roman Small Missal I3 V i497 113 IO-II.5 : 1.5 X 3-5 Francesco Girardengo. See Pavia.

First Specimen Type Printer, Type Name, Size Appearance Page Venice, cont Johann Hamman R9 Roman Large Missal 15 X 1488 117 18-19 7 or : 3.5 X 7 5 RIo Roman Small Missal 29 I 1492/1493 i18 Io-IO.5:.752 (2) X 3-5 RiI Roman Medium Missal 5 VI 1497 I19 16:2.252 X 8 GI Gothic Medium Missal 13 IX 1498 120 15:3 X 7 Battista Torti R12 Roman Medium Missal 29 X 1489 122 12.5 :-5 X 5 Cristoforo de Pensi R13 Roman Medium Missal 31 X 1489 123 135-15 :22 X 5-5 Teodoro Ragazzoni R14 Roman Large Missal 15 XII 1489 124 14.5-15:32 X I Rainaldus de Novimagio R15 Roman Small Missal io IV 1491 127 9 II:22 X 5 Filippo Pinzi R16 Roman Large Missal 29 III 1494 128 7.25: 3 X 2.5 X 6.5 R17 Roman Medium Missal 6 III 1495 129 19-20 :22 X 8.5 5 Johann Emerich of Speier R18 Roman Medium Missal 13 VIII 1494 135 14-14.5:22 X 4.2

R19 Roman Large Missal 14 VII 1496 136 15.5-17:2.52 X 6 R20 Roman Small Missal 15 x 1498 137 00-10.25 :.5 X 3-5 R21 (M) Roman (Mensural) Very Large Antiphonal 28 IX 1499 138 32:62 X 13.5 Andrea Torresani R22 Roman Large Missal 30 XII 1496 144 16:2.753 X 5-5 R23 Roman Large Missal 15 V 1497 145 6 : 2.75' (3-75) X 12 Giovanni Battista Sessa R24 Roman Medium Missal 8 X 1497 148 13 :.6 X 4 Giorgio Arrivabene R25 Roman Large Missal 29 V 1499 150 18:3.5' X 1.75

First Specimen Type Printer, Type Name, Size Appearance Page Milan Christoph Valdarfer AI Ambrosian Large Missal 15 III 1482 155 13-75-14.5 :3 R26 Roman Large Missal I IX 1482 I55 4.5: 2.5 X 2 Leonard Pachel (Ulrich Scinzenzeller) R27 Roman Medium Missal 28 IV 1486 158 I5:2.5 X 2 X 7-5 R28 Roman Medium Missal 4 VII 1492 159 13 :2 (2.5) X 7-5 A2 Ambrosian Medium Missal 27 VIII I499 I59 13:3 Antonio Zarotto A3 (R) Ambrosian (Roman) Medium Missal I III I488 i64 12.7-13:22 X 4.5 Pavia Francesco Girardengo R29 Roman Large Missal I IV 1484 i68 14.5-15: 2 X 7.5-8 Bologna Dionysio de Odo R30 Roman Large Missal 20 III 1487 i69 23: 3.52 X 6 Brescia Bonino Bonini R31 Roman Large Missal 14 VIII I490 172 I5-I6:32 X ii Giacomo Britannico (Angelo Britannico) R32 Roman Large Missal I IX I492 175 9.5-20 : 2 X 2.5 (3) X io Naples [Christian Preller?] R33 Roman Large Missal [ca. 1490] 177 12.5: 2.252 X 6.5 Incipient Music Type Bologna Francesco Benedetti 6 V I49I 179 Milan Guillaume Le Signerre 30 IX 496 I8I

PART III—
MUSIC BOOKS AND THEIR LOCATIONS

XV—
Bibliography of Italian Music Incunabula

Introduction

The following list of Italian music incunabula includes a numbered bibliographic description of each book printed in Italy before 50oI 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 The 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 The time available for personal examination of music incunabula ranged from minutes to days in libraries in Europe and the United States There is no doubt that an examination of the books and additional copies with descriptions in hand will yield corrections and additions The 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 The arrangement of items is alphabetical by short title and chronological within that title (for example, Missale 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 GW 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 Clavis Typographorum

Librariorumque Italiae 1465-I6oo (Baden-Baden: Valentine Koerner, 1980) and German names as in Ferdinand Geldner's Die deutschen Inkunabeldrucker (Stuttgart: Hiersemann, 1968-1970) Where works are known by different short titles, cross-references 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/I493) Individual entries are organized in the following manner: i Author, short title Place: printer, publisher, date 2 References to published catalogues (for a guide to abbreviations, see "Abbreviations

of Sources Frequently Cited" at the end of this introduction) 3 Incipit and explicit and, where available, title Where no known copy includes an incipit or explicit, the beginning of the first and end of the last of the known pages are transcribed A facsimile transcription is printed as it appears in the work within the limitations of the type font The following symbols extend the standard font: sanctu sanctum f miffale missale 3 cu3, CB cum, que p p pro p p pro p5 p pri q q quae_q_q qui sancto¢ sanctorum f jm secundum 9 ali9 alius 9 9 suetudine consuetudinem 1' kl', al'r kalendis, aliter ¢( ¢2 capitulum 3( 13( responsus, Reverendus PV Pgalis virginalis T 7 et The round r, L, has been transcribed as a normal r except where the distinction is necessary for a collation that includes the symbol 4 Collation a Format For example, 2° (folio), 4 (quarto), 8° (octavo) b Gatherings of leaves with printed signatures or assigned signatures in brackets For example, a-z8 or [a-z8] refers to a book with 23 gatherings of 8 leaves (184 leaves total), in the first case with the letters 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 for printed signatures If a book had more than twenty-three gatherings, a printer could use capital letters, double letters, numbers, abbreviation symbols (i, 3) or all of the above For a complex collational formula, see D 69.

Unsigned gatherings of preliminary leaves before the incipit of a text may include title, table of contents, calendar, and so forth, and have been assigned the symbol 7T For example, 7r6 a-z8 describes a book with a preliminary gathering of 6 leaves that is unsigned, followed by 23 gatherings of 8 leaves signed a to z: 190 leaves total Additional unsigned gatherings, frequently containing music, that were inserted within the text have been assigned multiples of X For example 6 8 10 SI L L, 7T a-m8 X0° n-z8 has both an unsigned preliminary gathering and an inserted unsigned gathering of io leaves between quires m and n: 200 leaves total Such unsigned gatherings were usually printed later than the signed gatherings and, if they contain music, may have involved collaboration with another printer c Foliation If leaves are numbered, the sequence of numbering together with an indication of unnumbered leaves is recorded For example, [6] I-CCC [4] refers to a book with 6 unnumbered leaves, 300 leaves numbered from I to CCC in roman numerals, and a final group of 4 unnumbered leaves d Number of lines and columns per page.

The number of printed alphabetic text lines on a page and the number of columns on a page For the number of printed staves on a page and the number of columns of music, see below, 6c 5 Illustration Since woodcut or engraved illustrative material sometimes relates closely to the location of the printed music, information on its presence is indicated Such a relationship occurs in the missal, in which the leaves preceding and following the full-page Crucifixion usually contain chant 6 Music a Presence of printed (i) 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) b Music pages Pages containing music or space for it, using the collational formula The 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, hirm2-m8v = i6 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) c Staves The 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, 212 X i68 [671 mm).

d Music type A classification of music type by script and numerical code, as described in the introduction to Part II For example, R27 refers to a roman plainchant type of Leonard Pachel (Milan), G1 to the gothic plainchant type of Johann Hamman (Venice) 7 Bibliography References to a facsimile edition or printed discussions of the work or printer 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 microfilm 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 Full Library Name Austria A-Gottweig, StB Benediktinerstift, Musikarchiv A-Klosterneuberg, SB Augustiner-Chorherrenshift, Bibliothek A-Kremsmunster, StB Benediktinerstift, Bibliothek A-Lambach, StB Benediktinerstift, Bibliothek A-Linz, StudB Bundesstaatliche Studienbibliothek Country-City, Lib Full Library Name A-Melk an der Donau, StB Benediktinerstift, Bibliothek A-Salzburg, StP Benediktiner-Erzabtei St Peter A-Vienna, NB Osterreichische Nationalbibliothek Belgium B-Antwerp, MP Museum Plantin-Moretus B-Brussels, Bol Bibliotheque des Rev Peres Bollandistes

Country-City, Lib Full Library Name B-Brussels, BR Bibliotheque Royale Albert ie B-Gand, Sem Bisschoppelijk Seminarie, Bibliotheek B-Heverlee, Centre de Doc Rel Centre de Documentation et de Recherches Religieuses B-Louvain, Jes Bibliotheque du College Philosophique et Theologique de la Compagnie de Jesus Saint Albert B-Louvain, KUB Katholieke Universiteit te Leuven, Bibliotheek Brazil BR-Rio de Janeiro, BN Biblioteca Nacional Switzerland CH-Geneva, BU Bibliotheque Publique et Universitaire CH-St Gall, StB Stiftsbibliothek CH-Zurich, ZB Zentralbibliothek Czechoslovakia CS-Bardejov, Mus Sarisske Muzeum CS-Bratislava, UK Univerzitna kniznica CS-Ceske Budejovice, Sem Seminarni knihovna CS-Ceske Budejovice, VB Cisterciacka knihovna ve Vyssim Brode

CS-Olomouc, SB Statni vedecka knihovna CS-Prague, UK Univerzitni knihovna CS-Spisska Nova Ves, Kap Miestne pracovisko Matice slovenskej (Spisska kapitula) Germany D-Augsburg, SB Staats und Stadtbibliothek D-Berlin, SB Deutsche Staatsbibliothek, Musikabteilung D-Berlin, Kup Kupferstichkabinet D-Berlin, SPK Staatsbibliothek Preussischer Kulturbesitz D-Cologne, SB Universitats und Stadtbibliothek D-Dresden, LB Sachsische Landesbibliothek D-Eichstatt, B Bibliothek des Bischoflichen Ordinariatsarchiv D-Eichstatt, SB Staats und Seminarbibliothek D-Erlangen, UB Universitatsbibliothek D-Frankfurt/Main, SB Stadt und Universitatsbibliothek D-Frankfurt/Main, SK Stadelsches Kunstinstitut D-Freiberg im Breisgau, UB Universitatsbibliothek D-Gottingen, UB Universitatsbibliothek D-Jena, UB Universitatsbibliothek der Friedrich-Schiller-Universitat

D-Karlsruhe, UB Universitatsbibliothek D-Leipzig, UB Universitatsbibliothek der Karl-Marx-Universitat D-Mainz, SB Stadtbibliothek D-Munich, SB Bayerische Staatsbibliothek D-Munich, UB Universitatsbibliothek D-Munster, UB Universitatsbibliothek D-Nuremberg, NM Bibliothek des Germanischen Nationalmuseum

Country-City, Lib Full Library Name D-Regensburg, Proske Proske-Musikbibliothek D-Stuttgart, WL Wurttembergische Landesbibliothek D-Tubingen, UB Universitatsbibliothek der Eberhard-Karls-Universitat D-Wolfenbuttel, HAB Herzog August Bibliothek D-Wurzburg, UB Universitatbibliothek der Julius-Maximilians-Universitat Denmark DK-Copenhagen, KB Kongelige Bibliotek Spain E-Barcelona, BU Biblioteca Provincial y Universitaria E-Madrid, BN Biblioteca Nacional E-Montserrat, Ben Monasterio de Montserrat (Benedictine) 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, Sem Grand Seminaire F-Colmar, BM Bibliotheque Municipale F-Lille, BM Bibliotheque Municipale F-Lyons, BM Bibliotheque Municipale F-Nantes, BM Bibliotheque Municipale F-Nice, BM Bibliotheque Municipale F-Paris, Ars Bibliotheque de l'Arsenal F-Paris, BN Bibliotheque Nationale F-Paris, Maz Bibliotheque Mazarine F-Paris, SG Bibliotheque Sainte-Genevieve F-Rheims, A Bibliotheque de l'Archeveche F-Tarbes, BM Bibliotheque Municipale F-Troyes, BM Bibliotheque Municipale England GB-Aberdeen, UL University Library GB-Cambridge, UL University Library GB-Glasgow, Euing Euing Musical Library GB-London, BL British Library GB-Manchester, JRL John Rylands Library GB-Oxford, Keble Keble College GB-Oxford, UL Bodleian Library

GB-Oxford, Worcester Worcester College Hungary H-Budapest, Acad Magyar Tudomanyos Akademia Konyvtara (Bibliotheca Academiae Scientiarum Hungaricae) H-Budapest, BN Orszagos Szechenyi Konyvtar (Bibliotheca Nationalis Szechenyiana) H-Budapest, BU Egyetemi Konyvtar (Bibliotheca Universitatis) H-Budapest, Piar Kegyesrendi Kozponti Konyvtar (Bibliotheca Centralis Ordinis Scholarum Piarum)

Country-City, Lib Full Library Name H-Esztergom, Metr Foszekesegyhazi Konyvtar (Bibliotheca Ecclesiae Metropolitanae) H-Gyor, Sem Puspoki Papnevelo Intezet Konyvtara (Bibliotheca Seminarii Episcopalis) H-Pannonhalma, Ben Szent Benedek-rend Kozponti Konyvtara (Bibliotheca Archiabbatiae Ordinis S Benedicti de Sacro Monte Pannoniae) H-Pecs, BU Egyetemi Konyvtar (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, BC 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, Arc Biblioteca Arcivescovile; Centro di Documentazione dell'Istituto per le Ricerche Religiose I-Bologna, BC Biblioteca Comunale dell'Archiginnasio I-Bologna, BU Biblioteca Universitaria I-Bologna, Mus Biblioteca del Civico Museo Bibliografico Musicale 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, BC Biblioteca Comunale I-Ferrara, BC Biblioteca Comunale Ariostea I-Florence, BN Biblioteca Nazionale Centrale I-Florence, Laur Biblioteca Mediceo Laurenziana I-Florence, Mar Biblioteca Marucelliana I-Florence, Ricc Biblioteca Riccardiana I-Florence, Sem Biblioteca del Seminario Arcivescovile Centrale I-Foligno, Sem Biblioteca Jacobilli del Seminario I-Forli, BC Biblioteca Comunale Aurelio Saffi I-Genoa, Ben S Maria della Castagna (Benedictine), Biblioteca I-Genoa, BU 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 Ardigo I-Milan, Ambr Biblioteca Ambrosiana I-Milan, BN 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, BN Biblioteca Nazionale I-Naples, BU Biblioteca Universitaria I-Naples, Cons Biblioteca del Conservatorio di Musica S Pietro a Maiella I-Novara, Cap Biblioteca del Capitolo di S Maria

I-Novara, Sem Biblioteca del Seminario Teologico Filosofico S Gaudenzio I-Padua, BC Biblioteca Civica I-Padua, BU Biblioteca Universitaria I-Padua, Cap Biblioteca Capitolare I-Padua, Sem Biblioteca del Seminario Vescovile I-Palermo, BC Biblioteca Comunale I-Palermo, BN Biblioteca Nazionale I-Parma, Pal Biblioteca Palatina I-Pavia, BU Biblioteca Universitaria I-Perugia, BC Biblioteca Comunale Augusta I-Pesaro, Oliv Biblioteca Oliveriana I-Piacenza, BC Biblioteca Comunale Passerini Laudi I-Poppi, BC Biblioteca Comunale Rilliana I-Ravenna, BC Biblioteca Comunale Classense I-Reggio Emilia, BM Biblioteca Municipale I-Rieti, Cap Archivio Capitolare I-Rimini, BC Biblioteca Civica Alessandro Gambalunga I-Rome, Ang Biblioteca Angelica

I-Rome, BN Biblioteca Nazionale Centrale I-Rome, BU Biblioteca Universitaria Alessandrina I-Rome, Cas Biblioteca Casanatense

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, Coil 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, BN Biblioteca Nazionale I-Udine, Arc Biblioteca Arcivescovile e Bartoliniana I-Udine, BC Biblioteca Comunale Vincenzo Joppi I-Venegono, Sem Biblioteca del Seminario Arcivescovile I-Venice, BN 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, BC Biblioteca Comunale Bertoliana I-Vigevano, Cap Biblioteca Capitolare del Duomo I-Viterbo, Cap Biblioteca Capitolare Lithuania LI-Vilnius, KJ K Jukneviciene Netherlands NL Groningen, UB Universiteitsbibliotheek NL-The Hague, KB Koninklijke Bibliotheek NL-The Hague, MW Museum Meermanno-Westreenianum NL-Nijmegen, TB Titus Brandsma Instituut NL-Utrecht, UB Universiteitsbibliotheek Poland P-Cracow, Bern Biblioteka Prowincji 00 Bernardynow P-Cracow, PAN Polska Akademia Nauk P-Gniezno, AA Archiwum Archidiecezjalne

Country-City, Lib Full Library Name P-Poznan, AA Archiwum Archidiecezjalne P-Warsaw, BN Biblioteka Narodowa P-Wloclawek, Sem Biblioteka Seminarium Duchownego P-Wroclaw, 130 Biblioteka Zakladu Narodowego im Ossolinskich Polskiej Akademii Nauk P-Wroclaw, BU Biblioteka Glowna Universytetu im Boleslawa Bieruta P-Wroclaw, Kap Biblioteka Kapitulna Romania R-Alba Julia, B Biblioteca Documentara "Batthyaneum" R-Sibiu, Mus Biblioteca Documentara Brukenthal Sweden S-Stockholm, KB Kungliga Biblioteket S-Strangnas, Dom Domkyrkobiblioteket S-Uppsala, UB Universitetsbiblioteket United States US-CA-Berkeley, UC (Mus) University of California, Music Library US-CA-Los Angeles, UC University of California, Los Angeles, William Andrews Clark Memorial Library US-CA-San Marino, Hunt Henry E Huntington Library US-CN-New Haven, YUL Yale University Library US-IL-Chicago, New Newberry Library US-IN-Bloomington, UIL University of Indiana Library

US-IO-Dubuque, Loras Loras College Library US-KA-Lawrence, UKL University of Kansas Library US-MA-Boston, PL Boston Public Library US-MA-Cambridge, HUL Harvard College Library, Harvard University US-MD-Baltimore, Walt Walters Art Gallery US-MI-Ann Arbor, UML University of Michigan Library US-NC-Chapel Hill, UNCL University of North Carolina Library US-NH-Hanover, Dartmouth Dartmouth College Library US-NY-New York, Columbia UL Columbia University Library US-NY-New York, Met Metropolitan Museum of Art US-NY-New York, PL New York Public Library US-NY-New York, PML J Pierpont Morgan Library US-NY-New York, UTSem 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, HRC Henry Ransom Humanities Research Center, University of Texas, Austin US-TX-Dallas, Baylor Baylor University Medical Center US-TX-Dallas, SMU Southern Methodist University

Country-City, Lib Full Library Name US-TX-Galveston, Rosenberg Rosenberg Library US-TX-Houston, UL University of Houston Library US-Washington, Holy Name Holy Name College US-Washington, LC Library of Congress US-Washington, LCM Library of Congress, Music Division Union of Soviet Socialist Republics USSR-Leningrad, NB Nauchnaya biblioteka imeni M Gor'kogo Leningradskogo gosudarstvennogo universiteta imeni A A Zhdanova USSR-Moscow, Len Gosudarstvennaya ordena Lenina biblioteka SSSR im V I Lenina Vatican City Vatican City, BV Biblioteca Vaticana Yugoslavia Y-Bol na Bracu, D Dominikanski Samostan Y-Dubrovnik, D Dominikanski Samostan Y-Ljubljana, NA Nadskofijski Arhiv Y-Ljubljana, NU Narodna in Univerzitetna Knjiznica Y-Maribor, PA Pokrajinski Arhiv Y-Stari Grad, D Dominikanski Samostan Y-Zadar, HA Historijski Arhiv Y-Zagreb, AK Jugoslavenski Akademije Knjiznica Y-Zagreb, NB Nacionalna i Sveucilisna Biblioteka

Abbreviations of Sources

Accurti, Aliae Ed Tommaso Accurti Aliae Editiones Saeculi XV Pleraeque Nondum Descriptae Annotationes ad Opus Cui Titulus "Gesamtkatalog der Wiegendrucke." Vols i-6 Florence: Ex Tipografia Giuntina, I936 Accurti, Editiones Saeculi XV Tommaso Accurti Editiones Saeculi XV Pleraeque Bibliographis Ignotae Annotationes ad Opus Quod Inscribitur "Gesamtkatalog der Wiegendrucke." Vols I-4 Florence: Ex Tipografia Giuntina, 1930 Bosnjak Mladen Bosnjak A Study of Slavic Incunabula Zagreb: Izdavacki Zavod Jugoslavenske Akademije Znanosti i Umjetnosti, 1968 BMC Catalogue of Books Printed in the XVth Century Now in the British Museum Vols 1-12 London: Trustees of the British Museum, 908-1985 Brunet

Jacques-Charles Brunet Manuel du libraire et de l'amateur de livres 5th ed 6 vols Paris: Firmin Didot, I860-I865 C Walter Arthur Copinger Supplement to Hain's Repertorium Bibliographicum Parts i, 2: 1-2 London: H Sotheran & Co., I895-1902 CIBN Catalogue des incunables Vol 2, fasc 1-4: H-Z, suppl Ed U Baurmeister, A Charon-Parent, D Coq, A Coron, and A Labarre Paris: Bibliotheque Nationale, 198 I-985 Caronti Andrea Caronti Gli incunaboli della R Biblioteca Universitaria di Bologna Bologna: Zanichella, 1889.

D Refers to numbered entries of Descriptive Bibliography Dibdin Thomas Frognall Dibdin Bibliotheca Spenceriana, "r, 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, I814-I823 Dona Mariangela Dona La stampa musicale a Milano fino all'anno i700 Biblioteca di bibliografia italiana 39 Florence: Olschki, I96I Essling [Prince d'Essling, Victor Massena], Duc de Rivoli Etudes sur l'art de la gravure sur bois a Venise Les Missels imprimes a Venise de 148I i600o 5 parts Paris: J Rothschild, [894-I896 Essling, Livres a figures Prince d'Essling (Victor Massena) Etudes sur l'art de la gravure sur bois a Venise Les Livres a figures venitiens de la fin du XVe siecle et du commencement du XVI' 3 parts in 6 vols Florence: Olschki, I907-1914 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 32-34 Leipzig: R Haupt, 1911-I93.

Ganda Arnaldo Ganda I primordi della tipografia milanese: Antonio Zarotto da Parma (I471-I507) Florence: Olschki, 1984 Gaspari Catalogo della Biblioteca del Liceo Musicale di Bologna Comp Gaetano Gaspari 5 vols Bologna: Libreria Romagnoli dall'Acqua, 189o-1943 Gesellschaft fr Typenkunde Veroffentlichungen der Gesellschaft fir Typenkunde des XV Jahrhunderts Ed Ernst Voullieme, Isak Collijn, Victor Madgen, Konrad Haebler Taf 1-2460 Halle: Schriftenverteilung fur die Gesellschaft durch E Karras Verlag, I907-1939 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, I973 Goff Suppl Frederick Goff A Supplement to the Third Census of Fifteenth-Century Books Recorded in North American Collections (I964) New York: Bibliographical Society of America, 1972 Graesse Johann Georg Theodor Graesse Tresor de livres rare et precieux 7 vols Dresden: R Kuntze, I859-I869 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 io, Institut za Literature, Dela 3 Ljubljana: n.p., 1957.

GW Gesamtkatalog der Wiegendrucke Vols I-8:i Leipzig: K W Hiersemann, 1925-1940; vols 8:I-9:2 Stuttgart: A Hiersemann, I968-1985 GW ms Gesamtkatalog der Wiegendrucke Card catalogue (A-Z) in manuscript at the Abteilung der Gesamtkatalog, Deutsche Staatsbibliothek, Berlin H Ludwig Hain 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 Haebler Konrad Haebler Typenrepertorium der Wiegendrucke 5 vols Sammlung Bibliothekswissenschaftlicher Arbeiten 19-20, 22-23, 27, 29-30, 39-40 Reprint Nendeln/Liechtenstein: Kraus, I905-1921 Haebler, Iberica Konrad Haebler Iberica de siglo XV Enumeracion de todos los libros impresos en Espana y Portugal hasta el ano de 50oo con notas criticas 2 vols The Hague: Nijhoff; Leipzig: Hiersemann, 1903 and 1907.

Hubay, Augsburg Ilona Hubay Incunabula der Staats-und Stadtbibliothek Augsburg Inkunabelkataloge bayerischer Bibliotheken Wiesbaden: Harrassowitz, 1974 Hubay, Eichstatt Ilona Hubay Incunabula Eichstatter Bibliotheken Inkunabelkataloge bayerischer Bibliotheken 2 Wiesbaden: Harrassowitz, 1970 Hubay, Missalia Ilona Hubay Missalia Hungarica Regi Magyar Misekonyvek Budapest, Magyar Nemzeti Muzeum Az Orszagos Szechenyi Konyvtar Kiadvanyai 5 Budapest: Szechenyi-Konyvtara, 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 Fifteenth-Century Printed Books in Dutch Public Collections Bibliotheca Bibliographica Neerlandica 17:I-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 LG Paul Kristeller Die lombardische Graphik der Renaissance Berlin: Cassirer, 1913LB Hanns Bohatta Liturgische Bibliographie des XV Jahrhunderts mit Ausnahme der Missale und Livres d'Heures Vienna: Gilhofer & Ranschburg, 9 I LD Hanns Bohatta Katalog der liturgischen Drucke des XV und XVI Jahrhunderts in der Herzogl Parma'schen Bibliothek in Schwarzau am Steinfeld, N O Vienna, 1909-1910 Livres de liturgie Livres de liturgie imprimes aux XVe et XVIe siecles faisant partie de la bibliotheque de son altesse royale le duc Robert de Parme Milan: Hoepli, 1932.

M-B Kathi Meyer-Baer Liturgical Music Incunabula London: Bibliographical Society, 1962 Marais Paul Marais and A Dufresne de Saint-Leon Catalogue des incunables de la Bibliotheque Mazarine 2d ed Paris: H Walter, 1898 Martimort Aime-Georges Martimort "Missels incunables d'origine franciscaine." In Melanges liturgiques offert au R P Dom Bernard Botte, O.S.B, de l'Abbaye du Mont Cesar Louvain: Abbaye du Mont Cesar, 1972, pp 359-78 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, 1900 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 Universitatsbibliothek und anderer offentlicher Sammlungen in Frankfurt am Main Kataloge der Stadt und Universitatsbibliothek 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 50000 With Notes of Those in the Bodleian Library 2 vols and supplements Registers by Konrad Burger London: Kegan Paul, Trench, Trubner, 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 Typographici ab Artis Inventae Origine ad Annum MD i I vols Nuremberg: Zeh, 1793-1803 Pellechet Marie Leontine Catherine Pellechet Catalogue general des incunables des bibliotheques publiques de France 3 vols (A-GRE) Paris: A Picard et Fils,

897-I909 Unpublished manuscript by Louis Polain continuing the work, vols 4-I4 (GRE-Z) on microfilm ii vols in II reels New York: H P Kraus, i950 A second number cited in parentheses s to the corrected number as found in CIBN Polain Louis Polain Catalogue des livres imprimis au quinzieme siecle des bibliotheques de Belgique 4 vols Brussels: Societe des Bibliophiles et Iconophiles de Belgique, 1932 Supplement Brussels: Assoc des Archivistes et Bibliothecaires de Belgique, 1978 Przywecka-Samecka Maria Przywecka-Samecka Poczactki Drukarstwa Muzycznego w Europie Wiek XV Prace Wroclaw-skiego Towarzystwa Naukowego A 22 I Wroclaw: Zaklad Narodowy im Ossolinskich, 1981 R Dietrich Reichling Appendices ad Hainii-Copingeri Repertorium Bibliographicum Additiones et Emendationes Fasc i-6 Indices Supplementum Munich: J Rosenthal, 1905-191 1 Renouard Antoine Renouard Annales de l'imprimerie des Aide 3d ed Paris: J Renouard, I834 Rhodes Dennis E Rhodes A Catalogue of Incunabula in All the Libraries of Oxford University outside the Bodleian Oxford: Clarendon Press, 1982 RISM B6 Ecrits imprimes concernant la musique Ed Francois Lesure Repertoire International des Sources Musicales, ser B 6:1-2 2 vols Munich: G Henle, I971 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 tipografia a Milano nel XV secolo Biblioteca di Bibliografia Italiana 9o. Florence: Olschki, I980 Sajo-Soltesz Geza Sajo and Erzsebet Soltesz Catalogus Incunabulorum Quae in Bibliothecis Publicis Hungariae Asservantur Budapest: In Aedibus Academiae Scientiarum Hungaricae, 1970 Sander Max Sander Le Livre a figures italien depuis 1467 jusqu'a I530 6 vols Milan: Hoepli, I942; Supplement, 1969 Sassi Giuseppe Antonio Sassi Historia Literario-Typographica Mediolanensis ab Anno MCDLXV ad Annum MD Nunc Primum Edita Vol i, pt i of Filippo Argellati, Bibliotheca Scriptorum Mediolanensium Milan, I745; reprint Ridgewood, N.J.: Gregg Press, I965 STC Italy Short-Title Catalog of Books Printed in Italy and of Books in Italian Printed Abroad, I5o-I600oo, Held in Selected North American Libraries Ed Robert G Marshall 3 vols Boston: G K Hall, 1970 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 Van Praet

Joseph Basile Bernard Van Praet Catalogue des livres imprimes sur velin de la Bibliotheque du roi 6 vols in 5 Paris: De Bure Freres, I822-I828 Venturini Maria and Teresa Venturini Gli incunaboli della Biblioteca Capitolare di Verona Verona: Valdonega, I976 Voullieme B Ernst Voullieme Die Inkunabeln der Koniglichen Bibliothek und der anderen Berliner Sammlungen Leipzig: Harrassowitz, I906 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.

Descriptive Bibliography

I Agenda Aquileiensis Venice: Johann Hamman for Johann Volkarth, 23 1 495/I496 H 366; GW 459; IGI I8; Gspan-Badalic 3 Incipit, f al, red: Agenda dyocefis I AquilegienfJis I Colophon, f [r4 ], red: Modus et ordo cerimonialiu et quorunda actuum I ecclefiafticorum totius anni: ad vfum fancte ecclefie | Aquilegien ordinatus: Singulari cura et impenSis I prouidi Iohannis volkarth de Noremberga : Im I preffus venetijs per Iohannem herczog de landoia ) alemanu: feliciter explicit Anno a xpi natiuitate poSt millefimumquaterq3centefimunonagefimoquinto I Decimo Kalendas Februarij [printer's mark, red] Collation: 4°. a-q8 [r4]= 132 ff., numbered [I1 II-CXXXI [II 3 I col Illustration: woodcut initials Music: printed staves Music pages: a6V-bIv, d7-e2, e3V-e5, f7V-g3v, h4V-h5, h6-i4, i5V-k2, k3"-m6v, m7v-n5, n6"-q3v, q5-v, q7-[r2]= I68 pp Staves: 6 red 4-line staves per page; I52 X IOI 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; I-Bressanone, Sem; Y-Ljubljana, NA Copies seen:

A-Vienna, NB, Ink 22.F.5 Plainchant in manuscript on f e2 (Requiem) Size: 216 X 156 mm Provenance, f aI: Andreas fuphueber Anno dni 1515; [preceding leaf] Andreae Fuphueber de Velkirchen Binding: recent vellum D-Munich, SB, 40 Inc c.a 1172 Size: 214 X i57 mm Provenance, f ai: Societatis Jesv I Monachii; front pastedown: Liber Collegii Societatis IESV Monachii Binding: blind-stamped leather Agenda Brevis Venice: Johann Hamman, I X I495C 128; GW 453; Goff A i58; LB 2 Title, f ai, red: Agenda brevis et perutilis Colophon, f i8, red: Agenda ceremonialiu ecclefiafticoriu breviter compediofe recollecto&: ad I ditis certis actibus et benedictioibus I inc5fuetis: cuctis Sacerdotib9 admodu I neceffarijs: Iuffu 7 impenSis iohannis I volkarth de noreberga: impJ'a vene-I tijs per iohane herczog feliciter expli | cit Anno Jalutis poft millefimum qua I terq3 centefimum nonageJimoquinto I Kalendis octobribus f i8', red: [printer's mark, IH] Collation: i6° a-i8=72 if 23 11 I col Note: no space for music Copies: US-PA-Philadelphia, Ros Copies seen: US-PA-Philadelphia, Ros Agenda Brevis Venice: Johann Hamman for Johann Volkarth, I X 1495 H 373; GW vol I, p 216; LB 17; Panzer 3:375, I947 Colophon (Panzer): Venetiis, Johannes Herzog, imp Johannis Volkarth i495, Kal oct Collation: 4°. 72 ff., 70 numbered and 2 unnumbered.

Note: apparently a ghost GW, vol i, p 216: "either GW 473 or GW 453?" Rogers, "Hamman," p 368n.I7: Haebler and Bohatta (LBI7) "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 GW Copies: none known Panzer ascribed a copy to Lambach 2 Agenda Pataviensis Venice: Johann Hamman for Johann Petri, 13 IX 1498 H 374*=2767; GW 473; Goff Ai65; Molitor, Deutsche, p 42, plate i8; Voullieme B 4286; Wi8; M-B 7 Title, f TI, red: Agenda feu Benedictionale fcd'm I vjun [sic] jancte eclejie [sic] Patauienfis I Incipit, f a (i), red: Incipit ageda fiue benedictionale de acti ( bus fcd'm choru 7 obferuatione eccl'ie Pata I uiefis Colophon, f p8 (cxx), red: Modus 7 ordo cerimoniaru eccl'iafticaru: Iad vJum fcte ecclefie Patauiefi Singulari I cura 7 impenfis Iohanis petri de patauia I Uenetijs imprefJus per Iohanne hertzog I feliciter explicit Anno xpi M CCCC I XCVIII Idibus menfis Septembris f p8", red: [printer's mark, IH] Collation: 4°. 74 a-p8= 24 ff., numbered [4] i-cxx 24 11 I col.

Illustration: woodcut initials Music: printed staves and notes Music pages: a2v, c5-c7, d7-d8, e2-e8, f4-gI, g6V-g8, h2V-h5v, h6"-i7, k3v-k5, k6-12, 14-17, mI'-03, 04V-P , p2v-p3, p6-p8= I34 pp Staves: 6 red 4-line staves per page, 144 X Iio.5-iI mm Music type: GI Bibliography: Molitor, Deutsche, p 42, plate XVIII Copies: A-Kremsmunster, StB; Lambach, StB; Linz, StudB; Melk an der Donau, StB; Vienna, NB; CS-Prague, UK; D-Berlin, SPK; Munich, SB; US-CA-San Marino, Hunt Copies seen: A-Vienna, NB, Ink XXIII.H.3 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 80 Size: 212 X I56 mm Provenance: ex libris Siluejtri Manhardi Tilbrigenfis I58i Binding: oak boards with blind-stamped leather spine Munich, SB, 4 Inc c.a I463 Provenance (bookplate, front board): Domus SS Adelhaidis, et Caietani Binding: oak boards with blind-stamped leather spine (clasp missing) US-CA-San Marino, Hunt, 99987 Binding: vellum Antiphonarium Romanum Edited by Franciscus de Brugis Venice: [Johann Emerich of Speier) for Luca Antonio Giunta, 1503/]504P 5505 ("cI499-I5oo"; apparently only vol 3 described), GW 206I ("um I499/1500"; apparently only vol 3 described); BMC 5:542 (vol 3);

Goff A774; LB 27-28; Accurti, Aliae Ed, p 63; Essling, Livres a figures, I402; Sander 422 (vol 3, ca 1499/15oo) and 423 ( 503); M-B i Title, vol i, f ai, red: Antiphonariu fm morem fancte I Romane ecclefie copletu: 9tines I dnicale: I M.d.iij I [printer's mark] Colophon, vol 2, f R8: Impreffum I Venetijs Impenjis nobilis viri f Luce Antonij de giunta Flo rentini Anno incarnatio ) nis dnice Mccccc.iij idibus Martij [register] Incipit, vol 3, f I, i: Antiphonarium proprium et co I mune fanctor9 fm ordine fancte I Romane ecclefie fama cu diligentia reuilum: atq3 fideli Jftudio emendatu: per reli I giofu3 fratre Francifcu | de Brugis ordinis I mino regularis ob I feruantie de pro I uintia fancti I Antonij I black: Cum gratia et priuilegio I [printer's mark of Luca Antonio Giunta] Explicit, vol 3, f 3o, 8 [238], black: Fiat pax in vir I tute tua red: Px black: Et ha I bundantia in tur | ribus noftris Collation: 2° Vol I: a-z8 L 6 I90 ff., numbered (I) II-CXC; vol 2: A-R'= i36 ff., numbered CXCI-CCCXXV [i]; vol 3: I-24 256 26-308=238 ff., numbered [I-III] IVCCXXXVIII Music: printed staves and notes throughout Staves: 7 red 4-line staves per page, i8 mm Music type: R2.

Note: the Antiphonarium Romanum of Emerich was thought to be an incunabulum until Accurti correctly cited the colophon date for vol 2 Vol i has no colophon but postdates the last volume of Emerich's Graduale Romanum (D 17) (I III I5oo), since that volume is referred to on the title page Copies: GB-London, BL (vol 3); US-CA-Berkeley, UC (Mus) Copies seen: GB-London, BL, IC 24247 (vol 3) With additional manuscript hymns Size: 565 X 380 mm Provenance: purchased in April I86o 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: Companeros Alemanes, ca I49I.] C 486a; GW 2066; LB i5; Haebler, Iberica, i8; Pellechet 81i (" 1498?"); M-Bio

Note: not an Italian incunabulum Pellechet attributed the Antiphonarium to the Companeros Alemanes because the majuscules are like those of the Tostado Floretum (H I558i) of those printers The book contains a historiated initial like one used in Emerich's Graduale Romanum (D I7) 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, Vel 807 3 Bonaventura da Brescia Breviloquium Musicale [Brescia]: Angelo Britannico, 27 VIII I497IGI I952; Gaspari I:I71; RISM B6 I:I62 (2 ff.) Title, f a i, woodcut of hand and hexachord syllables; f ar': Reuerendo in chrifto Fratri Marcho de duchis ordinis mi I noru prouintiae Mediolani: focio dignifJimo Frater bona I uentura de Brixia

Incipit, f a2 : 4:Incipit Breuiloquiu muficale ualde optimum Et breui I ter notatum: 7 primo | De compofitione manus I Explicit, f ei: Explicit Breuiloquium muficale Editum a fratre Bonaue I tura de brixia ordinis Minorum in conuentu noftro facti I FranciJci de brixia ) Accuratiffime impreffum per Angelum britanicum fub I die.xxvii Iulii M.cccc.lxxxxvii f eI, blank (f e2 lacking) Collation: 4°. a8 b-d4 e2=22 ff I col Illustration: woodcut diagrams and music Music: notes and staves printed from wood in black Music pages: ai, a3, a4-, a5S, a6-b2v, b3V-cIv, c2V-c4, dIV-d4=3o 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 i75 (1970): I53-73 Copies: I-Bologna, Mus Copies seen: I-Bologna, Mus, A/57 Lacks f e2 Interleaved with pages annotated in the hand of Rev G B Martini Size: 204 X I50 mm 4 Bonaventura da Brescia Regula Musicae Planae [Brescia]: Angelo Britannico, 27 IX I497R ii5i; GW 4833; IGI 1953; RISM B6 1:162 Title, f ai: Regula Mufice plane: ve I nerabilis Fratris Bo I naueture de Bri xia ordinis mi norum f ai": ¢Reueredo in chrijto patri Fratri Marcho de duchis.ordis minoru prouinciae Mediolani:focio digniffimo.Frater Bonaue

tura de Brixia eiufde ordis.filiale ac humile falutatione 7 c I Explicit, f d4^{': : Explicit Breuiloquium muficale.editum a fratre Bonauentu I ra de Brixia:ordinis minorum.in couetu noftro fancti Francifci ) de brixia I Accuratiffime impreffum per Angelui Britannicum fub die.xxvii I Septebris.M.cccc lxxxxvii Collation: 4°. a8 b-d4=20 ff 30 11 i col Illustration: woodcut diagrams and music Music: notes and staves printed from wood in black; same cuts as D 3 Music pages: a3, a4ra5V-b2, b3-b4, C2-C3, c4V-d4=28 pp Bibliography: facsimile editions: Milan: Bollettino Bibliografico Musicale, I936; Antiquae Musicae Italicae, Monumenta Brixiensia 2, Milan: A.M.I.S., 1970; Monuments of Music and Music Literature in Facsimile 2, Music Literature 87 [77], New York: Broude Brothers, I975 Trans Albert Seay, Colorado College Music Press Critical Texts I I, Colorado Springs: Colorado College Music Press, 1981 Copies: I-Milan, Triv; Parma, Pal Copies seen: I-Milan, Triv, D99 Lacks ff ai-2 Size: 199 X I44 mm Binding: vellum 5 Bonaventura da Brescia Regula Musicae Planae [Brescia]: Angelo Britannico, 3 IX [50oo] H 3576*; GW 4834; IGI 1954; Pellechet 2719; RISM B6 I: 162 Incipit, f ai: Regula Muficae planae : ue I nerabilis Fratris Bo ) nauenturae de Bri xia ordinis mi I norum Explicit, f d4 : Explicit Breuiloquium muficale: editum a fratre Bonauentu I ra}

de Brixia : ordinis minorum: in conuentu noftro fancti Franci I fci de Brixia ) Accuratiffime impreffum per Angelum Britannicum fub die.iii Septembris.M.cccc [sic] Collation: 4°. a8 b-d4=20 ff 30 11 I 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], a4r-, a5v-b2, b3-b4v, [c2-c3?], c4'-d4=25(+?) 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, Res V I533 Lacks ff c2-c3 Woodcut music on f a6v printed upside down Size: 204 X 142 mm Provenance, f ai: Pertinet Magistro T Mineti, Conventu M ebon Binding: grey paper over cardboard 6 Bonaventura da Brescia Regula Musicae Planae [Milan]: Leonard Pachel for Giovanni de Legnano, o0 IX 500oo GW 4835; IGI 1955; Dona, p 48; Gaspari 1:171; RISM B6 I:162; Polain 823; Rogledi Manni i90; Sander i5Ir

Title, f ai: REGVLA MVSICE PLANE: VENERABILIS FRATRIS I BONAVENTVRE DE I BRIXIA ORDINIS I MINORVM Incipit, f a2': Incipit breuiloquium muficale ualde optimu i& breuiter no I tatum: & primo I De compofitione manus Explicit, f d4 : Explicit Breuiloquium muficale editum a fratre Bonaue-

tura de Brixia : ordinis minorum in conuentu noftro fancti I Francifci de brixia I AccuratifJime impreffum per magiftru Leonardum pachel I Ad impenfas magiftri Ioannis de legnano Jub die.x.Septem I bris.M.ccccc [printer's mark] IOHANNES.DE.LEGNANO + Collation: 4,, a8 b-d4=20 ff 30-3 11 I col Illustration: woodcut diagrams and music Music: notes and staves printed from wood, same cuts as D3-D5 Music pages: a3, a4r-v a5V-b2, b3-b4, c2-c3, c4V-d4=28 pp Music type: B quadrata and F printed from metal in prose passages Type from wood (C and F clef, B molle) appears on f a4 Copies: B-Brussels, BR; GB-London, BL; I-Bologna, Mus; Milan, Triv Copies seen: B-Brussels, BR, Aiiig; I-Bologna, Mus, A.58 Size: 196.5 X I40 mm Binding: blue paper over cardboard, leather spine-Bonaventura da Brescia Regula Musicae Planae Venice: Giacomo Penzio, 20 III I5I11 C 1200 ([1500]); P 5589 (n.d.); GW vol 4, p 496 (16th century); BMC V:lii (shortly before I5io); Goff B973 (after I5oo?); IGI 1:252 (dopo il I500); Gaspari, 171 (20 III 15 ); RISM B6 1:162 7 Breviarium Ordinis Praedicatorum Edited by Thomas Donatus Venice: Johann Emerich of Speier, 25 XII 1492 C 1290; P 5493; GW 5227; BMC V: 538; LB 360

Incipit, f 71i, calendar; f 2rrI, red: (Incipit tabula epl'ai f ai: VEnite exultemus dno: Colophon, f ee7, red: In alma Venetiarum vrbe per Iohanne Eme I ricum de Spira Alemanu ftudiofifJime ImpreJff I folertiJfimeq3 reuifum ac caJtigatum Anno nata I lis domini.M.cccc.xcii.octauo Kl'as Ianuarij red: [printer's mark] Collation: 160 7T6 2r10 a_f8 g4 hY8 A-S8 aa-bb8 cc4 dd-ee8=368 ff., numbered [i6] I-XLVIII {4} LIII-CCXVI [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 I.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: IIo X 76 mm Provenance, f ee8: Frater sebastianus de castro florentino Binding: blind-stamped leather over boards 8 Burzio, Nicolo Musices Opusculum Bologna: Ugo Ruggerio for Benedetto Faelli, 30 iv 1487 H 4 45*; P 6565; GW 5796; BMC VI:807 and XII:58; Goff BI33 I; IGI 2278; IDL 1o87; Pellechet 3o98; RISM B6 1:194 (8°, 67ff., 30 11.) Incipit, f a2: Nicolai Burtij parmenfis: mufices profefforis: ac I iuris pontificij StudiofiJfimi: mufices opufculu3 inci I pit: cum defenfione Guidonis aretini: aduerfus que I ndam hyfpanum

veritatis preuaricatorem Colophon, f 4: Impelis Bndicti librarij bonon ac fuma induftria I Ugonis de rugerijs: qui propatiJfimus huius artis I exactor impffus Bonoie Ano dni m.cccc.lxxxvij I die vltima aprilis Collation: 4°. a-h8 i4=68 ff 28-29 11 I col Illustration: woodcut diagrams and music Music: notes and staves printed from wood, both plainchant and mensural notation Music pages: b8v-cI, c2, E7v, f6v=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, I983 Description in Dibdin, Bibliotheca Spenceriana 3: 233-36 One of the copies in F-Paris, BN, is probably that formerly belonging to the library of S Giustina of Padua; see Luigi Alberto Ferrai, "La 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, i886-i888, 2:549-79 Copies: A-Vienna, NB; B-Brussels, BR; D-Berlin, SPK; F-Paris, BN2; SG; GB-Cambridge, UL; Glasgow, Euing; London, BL2; Manchester, JRL; I-Bologna, Arc; 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

sheet ei.8, e2.7 Size: 200 X 151 mm Provenance: Rev G B Martini Binding: vellum A 65 Size: I92 X I35 mm Binding: marbled paper over cardboard, black leather spine (Gaspari, p I99) Milan, Triv, D78 Lacks f ai 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) US-Washington, LCM, ML I7i.B87 Lacks f ai 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 4819; GW 644 ; BMC XII:55; Dona, p 48; RISM B6 :2 14; STC Italy, p 285 Incipit, f ai': Splendido equiti aurato Philipino flifco ducalis cu I ftodie capitaneo Franchinus Gaffurus falutem I Meorum affecla ftudioru3 Francifcus cacia qui te ' fufpi ( cit 7 veneratur eques fpledide vernacula lingua f a2: Tractato vulgare de canto figurato de francefco caza Explicit, f b4: Finis I Opera magiftri iohanis petri de Iomacio I Leonardus pachel Impreffit Me I diolani die quinto Iunij An ) no domini.M.cccc lxxxx.ij Collation: 4°. as b4= 12 ff 27-28 11 I col Illustration: a woodcut initial Music: space for music Music pages: a2V-a6, a8-b3^{v= 17 pp.}

Bibliography: facsimile edition, ed Johannes Wolf, Veroffentlichungen der Musikbibliothek Paul Hirsch, Frankfurt-am-Main, I Berlin, I922 Note: the work is basically a translation from Latin into Italian of Gaffurio's Practica Musicae, 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 I.Iio Manuscript music in brown ink (white mensural notation without staves) Provenance, on front pastedown: "EX MUSAEO HVTHII" (see the catalogue, The Huth Library, London: Ellis and White, I88o) 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 Size: 203 X 144 mm Binding: red morocco stamped in gold "R BEDFORD." io Compendium Musices Venice: Giovanni Battista Seffa, 21 XI I499 P 5594: GW 7263; RISM B6 2:925; Sander 2074 Incipit, f aI [within woodcut of Guidonian hand]: Proprietas in mufica eft deriuatio plurinm I vocum abvno eodeq3 principio I ExiJtentib9 igitur modis fiue proprietatibus trib9 toti9 I cantus; Explicit, f b4: Explicit mufices non inutile Compendium: ad Saluatoris ) Honorem: primorumq3 difcentium utilitatem confectum I Impreffum Venetiis per Ioannem Baptiftam Seffa [.M.CCCC.Lxxxxviiii.die uero.xxi.Nouembris [printer's mark, IBS].

Collation:4° a-b4= 8 ff Number of lines varies I col Music: notes and staves printed from wood Music pages: ai, a2V-b3v= 12 pp Staves: 4 and 5-line staves Bibliography: David Crawford, "A Chant Manual in Sixteenth-Century Italy," Musica Disciplina 36 (1982): I75-90 Edition: Compendium Mvsices: Venetiis, I499 597, ed David Crawford, Corpus Scriptorum de Musica 33, Stuttgart: American Institute of Musicology, I985 Copies: D-Jena, UB; Leipzig, Wolfenbuttel, HAB; UB; GB-Oxford, UL Copies seen: GB-Oxford, UL, Auct 2Q Inf 2.5 (Sheppard Catalog 4354) Size: 184 X 3 5 mm Binding: gold-tooled calf; formerly bound with 4° F 13 Art., removed and bound separately in May 1822 Compendium Musices [Venice: Bernardino Vitali for] Giovanni Battista Sessa, [ca I505} See Tractatus Musices I.*Gaffurio, Franchino Opus Musicae Milan: Gottardo da Ponte, Io XI I500.

H 7409; GW 9:2, col 220; Dona, pp 50-5i; Panzer 2:93; Rogledi Manni, 452; Sassi, p DCVII Incipit (H): Franchini Gafurii Mediolanenfis Phonajci Regiique Mufici Muficae Angelicum ac Divinum Opus (in Italian) Colophon (H): Impreffum Mediolani per Gotardum de Ponte anno falutis reparatae millefimo, quingentefimo, die decima menfis Novembris, Alexandro fexto Pontifice Maximo ac ChriftianifJimo Francorum

Rege Ludovico Duce Mediolani, felici aufpicio regnantibus Collation: 2° Note: the colophon given in H differs from the edition of the work by Gottardo da Ponte in date (i6 IX 1508) and pope (Julius II) and is not likely to have been a misprint, as was suggested by Michael Maittaire, Annales Typographici ab Artis Inventae Origine ad Annum MDCLXIV, 5 vols Amsterdam: Humbert, 1719-I741, 4:739 Copies: none known I:: Gaffurio, Franchino Practica Musicae Milan: Guillaume Le Signerre for Giovanni Pietro da Lomazzo, 30 IX 1496 H 7407; P 6067; GW 10434; BMC VI:789 and XIl:56; IGI 4112; Goff G3; Dona p 73; Gaspari 1:218; Kristeller LG I62; RISM B6 I:342; Panzer 2:83; Pellechet 4949; Sander 2983 Title, f Fi: PRACTICA MVSICE FRANCHINI GAFORI LAVDENSIS I Register, f F i; blank, f F2; Table of contents, f Fz2'-3; f ai: FRANCHINI GAFORI LAVDENSIS MVSICE ACTIO I NIS LIBER PRIMVS I Explicit, f 11 : Practica Muficae Franchini Gafori laudenfis quattuor libris compraehenfa Finit I Impreffa Mediolani opera & Impenfa

Ioannis petri de Lomatio per Guillermum I Signerre Rothomagenfem anno falutis MilefJimo quadringenteffimo nonagefJi I mo fexto die vltimo Septembris Alexandro fexto Potifice maximo : & Maxi I miliano Romanorum rege Jemper augufto ac Lodouico maria Sfortia Anglo I inuictiJ imo Mediolanenfium Duce : foelici aufpicio regnantibus Collation: 2° F4 a-b8 c6 aa-kk8 116=I 2 ff 36-4o II I col Illustration: title woodcut, full page border at chapter beginnings The woodcut illustrations were reused in the 3d edition (I502) Music: notes and staves printed in black from wood, on most pages Bibliography: Paul Hirsch, "Bibliographie der musiktheoretischen Drucke des Franchino Gafori," in Musikwissenschaftliche Beitrage: Festschrift fur Johannes Wolf zu seinem sechzigsten Geburtstag, ed Walter Lott, Helmuth Osthoff, and Werner Wolffheim, Berlin: Breslauer, I929, pp 65-72 Facsimile edition, Westmead, Farnborough: Gregg Press, 1967 Trans and ed Irwin Young, Madison: University of Wisconsin Press, 1969 James Haar, "The Frontispiece of Gafori's Practica Musicae (1496)," Renaissance Quarterly, 27 (I974): 7-22 Copies: over fifty copies exist (see GW, IGI, RISM

B6, and Dona); a vellum copy at I-Lodi, BC Copies seen: I-Florence, BN, C3.27 Provenance: (bookplate, front pastedown): FRANCISCI I CAESARIS AVGVSTI I MUNIFICENTIA.; (stamp on f FI) FIORENTINAE.BIBLIOTH.PUB Milan, Triv, D78 Decoration: flourished initials and rubricated chapters Size: 276 X 200 mm US-CA-San Marino, Hunt, 87540 Bound with 1492 edition of Theorica of Gaffurio Washington, LCM, ML 171.GI2.1496 Decoration: watercolors on title page, borders, and initials Binding: vellum 13 Gaffurio, Franchino Practica Musicae Brescia: Angelo Britannico, 23 IX 1497 H 7408; P 6995; GW 10435; BMC VII:979, XII:70; IGI 4 I3; Goff G4; Hubay, Augsburg, 842; Pellechet 4950; RISM B6 I:342; Sander 2984 Title, f wi: Mufice utriufq3 cantus practi I ca excellentis Frachini Ga J fori Laudenfis libris | quatuor modu I latiffima Explicit, f 115': Practica MuJicae Franchini Gafori laudenfis quatuor libris compraehenfa Finit I ImpreJfa Brixiae opera & impenfa Angeli Britannici : anno falutis Millefimoquatrin I gentefimononagefimofeptimo: nono Kalen : Octobris Collation: 2° 7r4 a-b8 c6 aa-kk8 116= 12 ff 37-38 11 I col Illustration: woodcut initials and music Music: notes and staves printed from wood in much of the book.

Note: reprinted, with the same quiring and mostly with the same page contents, from the 1496 edition of Le Signerre The music diagrams and examples appear to be printed from Le Signerre's original blocks, but the title woodcut and the borders have not been reused Copies: D-Augsburg, SB; F-Paris, BN; GB-Cambridge, UL; London, BL2; I-Bologna, BC, LM; Brescia, BC; Florence, BN; Genoa, BU; Modena, Est; Naples, BN; Padua, BU; Perugia, BC; Pesaro, Oliv; Rome, Cors; Treviso, BC; US-CA-San

Marino, Hunt; MA-Cambridge, HCL; MD-Baltimore, Walt; the copy at I-Venice, BN, has been lost for centuries Copies seen: GB-London, BL, 3II59 Size: 258 X 188 mm Provenance, bookplate: Rudolf Johann, Freiherr von Wrisberg (Hirsch Library, I:193) K.l.g.4 Lacks f 116 (blank) Provenance, f T7 I: Ricevuto in dono fattomi dal Sign: Gaet: Pinali in Verona li 2/g9 835 Gio Gasp Aiblinger Binding: brown calf stamped with British royal arms, marbled endpapers and edges I-Modena, Est, a A.5.20 (From Fava, p 635.) Provenance: Collegii Mirandolani Soc Jesu (i 7th century) Binding: vellum Treviso, BC, 13774.2 Bound with Gaffurio's Theorica Musicae, 1492 Size: 280 X i99 mm Provenance, bookplate: Biblioteca Rossi (Rossi became the librarian of the library in 1x8 , at which time he donated his io,ooo 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 i8/Lett 306) Binding: cardboard with paper label 14 Gaffurio, Franchino Theorica Musicae Naples: Francesco di Dino, 8 X I480 H 7404; GW 10436; BMC VI:867 and XII:63; Goff Gs; IGI 4114; IDL I872; Pellechet 4947; RISM B6 i:343; Sander 298i Table, f [aI]: LIBER PRIMVS HVIVS OPERIS I Incipit, f [a2]: CLARISSIMI AC PRESTANTISSI MI MVSICI FRANCHINI GAFORI LAVDENSIS Theoricum

opus mufice | diScipline Ad Reuerendiffimu in xpo patre I dominum dominum Iohannem Arcimbol I dum miferatione diuina facrofancte Roma I ne ecclejie pfbiteru Cardinale Nouarienfem I PROHEMIVM f [b2]: DE EFFECTIBVS ET COMENDA I TIONE MVSICE Capitulum primu Explicit, f [p6]: FRANCHINI Gafori Laudenfis Muficef pfefforis theoricum opus armonice difcipli ne Explicit Impreum Neapolis per Magi I ftrum Fracifcu di dino florentinum Anno I dii.M.CCCC.LXXX Die octauo octo bris Inuictiffimo Rege Ferdinando regnan I te Anno regni eius vigeffimo tertio I f [P7]: [register] Collation: 4°. [a4 b-p8]= I I6 ff 26 11 I col Music: space for music Copies: A-Vienna, NB; B-Brussels, BR; D-Stuttgart, WL; F-Paris, BN; Maz; GB-Cambridge, UL; London, BL2; I-Bologna, BC; LM; Florence, BN; Mar; Sem; Milan, Ambr; Naples, BN3; Cons; Rome, Cors; NL-Utrecht, UB; US-IL-Chicago, New; Washington, LC2 Copies seen: I-Florence, BN, A.6.36 Marginal notes in manuscript Lacks f [ai] Size: 210 X 145 mm Binding: recent vellum 15 Gaffurio, Franchino Theorica Musicae Milan: Filippo Mantegazza for Giovanni Pietro da Lomazzo, 15 XII 1492 H 74o6=H 7405; P 6055; GW 10437; BMC VI:785 and XII:55; Goff G6; IGI 4115; IDL I873; Dona p 41; Kristeller LG 161; Panzer 2:69; Pellechet 4948; Polain 1528; RISM B6 1:343; Sander 2982

Title, f 7TI: THEORICA MVSICE FRANCHINI GAFVRI i LAVDENSIS I [woodcut of organ and organist] Colophon, f k8: ImpreJfum mediolani per Magiftrum Philippum Man I tegatium dictum Caftanum opera & impenfa Magiftri Ioannis Petri de lomatio anno Jalutis M.cccc.Lxxxxii I die xv Decembris Collation: 2 7T4 a8 b-i6 k8=68 ff 38 11 i 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, I969 Copies: F-Paris, BN3 (i vellum); GB-London, BL2; I-Bologna, Mus2; Florence, BN; Milan, Ambr; BN; Triv; Naples, BN; Novara, Sem; Parma, Pal2; Pesaro, Oliv; Piacenza, BC; Rome, BN; Cec; Cors; Treviso, BC; Turin, BN; NL-The Hague, KB; US-CN-New Haven, YUL; IL-Chicago, New; MA-Boston, PL; Cambridge, HCL; NY-New York, PL; Washington, LC2 Copies seen: F-Paris, BN, Vel 1028 Vellum Decoration: initials in gold and colors Size: 270 X 200 mm Provenance, f wTI: Ill'mo, Dno Comiti Amico D Caelestinus Monachus Benedictino Casinensis I dono dedit Anno Aevae vulgaris [first owner's name scratched out] Binding: marbled paper with leather corners and spine I-Florence, BN, 1.4.8 Manuscript music added Binding: boards and leather (restored) Milan, Triv.

B22/1 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.I Bound with D 13 280 X 199 mm.

it Graduale Romanum Parma: Damiano Moilli & Bernardo Moilli, io IV 1477 See Figs 34-35 R I 176; IGI 4355 Incipit, f [aij (blank); f [ai]: Tabula caturie: f[a3]: CRedo i unu deu f [a7]: Impre'fuq3 e parme Colophon, f [m7V]: Mufica Bernado Daiano frib9 ars e I Sic ipffa pri9 :genu ( it quos parma moyl I los: 1477 die x april' Collation: :,o [a7(+ 1?) b-f0 g8 h-k'0 14 m7(+ ?}):= io6 (+2?) ff I 11 on table, 4 II on music pages In the Lodi copy, the first gathering is sewn after three leaves and apparently lacks the first blank leaf The 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, 37!9 X 309.5 mm Music type: R2 Bibliography: Mary Kay Duggan, "The Music Type of the Second Dated Printed Music Book, the 1477 Graduale Romanum," La Bibliofilia89 (1987), 285-307 Domenico Fava, "II corale a stampa del 1477 e i suoi autori, Chiesa SS Incoronata di Lodi," Archivio storico per la citta, i comuni del territorio lodigiano e della diocesi di Lodi 58 (I939): 54-5I; the article was rewritten as "Le conquiste tecniche di un grande tipografo del Quattrocento," Gutenberg-Jahrbuch (I940): I47-56 Lamberto Donati, "Passio Domini Nostri Iesu Christi: Frammento tipografico della Biblioteca Parsoniana," La Bibliofilia 56 (i954):

207-15, with an illustration of f [m7V}, 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: 48o X 360 mm Binding: leather over boards (Oct 1928) 7 Graduale Romanum Edited by Franciscus of Bruges Venice: Johann Emerich of Speier for Luca Antonio Giunta, 28 IX I499/I III I5oo See Figs 6, 7, Io H 7844; P 5502; BMC V:54r; Goff G332; IGI 4357; LB 704; Essling, Livres a figures, 1208; Panzer 3:2345; Pellechet 5288 (variant title page); Sander 321 I; M-B 20 Title, f 7Tr, red: Graduale Jm morem fancte Ro ) mane ecclefie: integru copletu I videlicet dnicale: fanctuariu: I comune: 7 catorinu: five ky I riale: impreJufi Uenetijs I cum priuilegio: cu quo etiam imprimuntur antiphonarium et I pfalmifta: fub pe na vt i gratia M.ccccc [printer's mark] correctum per fratrem Francijcum de Brugis I ordinis minorum de obferuantia Explicit, f ,8v (CCXVIIIV), red: Explicit graduale dnicale ImpreJfum Uenetijs cura atq3 impeJ nobil' viri luceatonij de giun I ta floretini: arte aut Ioanis emerici de Spira: Anno incarnationis dnice: I M.cccc.lxxxxix.iiij.

Kl'.octobris Explicit, f N7' (CCCXXVIII'), red: Finit feliciter comune fanctoru I maxima cum diligetia ac fum ) mo ftudio emedatu:impref fu3 Uenetijs impenfis no I bilis viri Luceantonij de giuta floretini arte I aut Ioanis Emeri I ci de Spira:anno j nativitatis dni i M.cccc.xcix xix.kl'.2.Febr Explicit, f U9 (CCCLXXXI), red: Explicit volume graduu:juma cura Ion I gifJimifq3 vigilijs pfectu: ImpJfi Uene I tijs tpeJ nobil' viri Luceatonij de giuta I floretini:arte aut Ioanis emerici de fpi ra Anno natal' dni M.ccccc.KI'.Martij Collation: 2° States vary State i: vol I: 7T' a7(8-1) bs8 tO'° v-8 8 98 8 ,8 = 218 ff.; vol II: A-C8 D-E'l F-T8 Ul"= i66 ff., for a total of 386 ff., numbered [31 I-CCCLXXXI [i} (with omissions); N8, Uxo blank i col State 2, with a preface added after the title page: vol I: 7T 12T 2 7(8-1) a , continuing as in state i Illustration: new set of historiated woodcut initials.

Music: printed notes and staves throughout Staves: 33 mm; 7 red 4-line staves per page, 381 X 257 mm Music type: R21 Bibliography: Giuseppe Massera, La "Mano musicale perfetta" di Francesco de Brugis dalle prefazione ai corali di L A Giunta (Venezia, 1499-1504), "Historiae Musicae Cultores" Biblioteca i8, Florence: Olschki, I963 Note: state i: without preface (272) State 2: with preface State 3: without preface and with variant title page, dated MCCCCC (DK-

Copenhagen, KB, Inc. 1745). State 4: with preface and second variant title page dated MCCCCCI (F-Paris, BN, B.1482). Copies: CS-Bratislava, UK; DK-Copenhagen, KB; F-Paris, BN; GB-London, BL; H-Budapest, BU; I-Florence, BN; Lugo, BC; Milan, BN; Modena, Est; Parma, Pal; Rimini, BC; Rome, BN; Venice, BN (vellum); Verona, BC; US-CA-Berkeley, UC (Mus); KA-Lawrence, UKL; NY-New York, Columbia UL; Washington, LC (vellum); Vatican City2, BV2 (vellum). Copies seen: DK-Copenhagen, KB, 1745.F-Paris, BN, B. 1482 (Pellechet-Polain 5288). State 3. 2 vols., Dl° instead of D8 and C8 instead of Cl°. Variant title, f. 7T , red: Graduale fm morem sancte Ro j mane ecclesie integrum I com- | pletum: videlicet dominicale I) fanctuariu: comune: 1 can I torinum fiue kyriale. [ M.ccccci I Cu priuilegio 9ceJSo ab illuftriJJi ] mo Veneto, domino pro di- I cto graduali modo impreffo I et etiam pro antiphonario I 7 pfalmifta iam imediate I imprimendis : jub pe-| na vt in gratia. I [printer's mark] I Correctum per fratrem Francifcum de Brugis ) ordinis minorum de obferuantia. I GB-London, BL, IC 24240. State 2. Lacks f. K8, N8, and Vio; a manuscript leaf with prayers for St. Francis is inserted for F8. Size: 501 X 348 mm. Provenance, f. >8": Ego beren [trimmed]. I-Florence, BN, 0.16. 2 vols. Vol. i lacks gathering 7T, ff.c5 and d5 (last present in manuscript);

vol. 2 includes a sheet pasted over f. Ai (CCXIX) with new music and a new woodcut. Decoration: major initials watercolored in early gatherings. Size: 5 7 X 358 mm. Milan, BN, Gerli Inc. 1-2. State I. 2 vols., lacks ff. E9-EIo, N8, UIo. Provenance: Duke of Parma. Modena, Est, a P.i.5 (Fava 660). Incomplete; bound in leather over wood, with bosses. Parma, Pal, Inc. Parm. 1I7I bis2. State I. Size: 523 X 354 mm. Provenance: I814. Die 2 Martii. Est Thomae Gasparotti Parmensis ex dono Adm. R. d. D. Vitalis Gallineri Monachi Casinatis. Venice, BN, Rari 708-709 (vellum). State 2. Lacks f. y4; ff. fI and tiV-2 have been scratched clean and manuscript music added. Collation, vol. 2. A-C8 D°(-Dl) E°1 F-M8 N8(-N8) R8(-RI.R8) X2 O-Q826 S8(-S1-7) Ts(-T4-8) 3X8 4X 6+1 U0(-1-8 10). Added manuscript vellum leaves include a Kyriale and mensural Credo. Added manuscript paper leaves include a table of contents, dated x746, and the endpaper at back with music for St. Didacus. Decoration: historiated initials in gold and colors. Size: 534 X 350 mm. Binding: leather over boards, bosses at corners, two leather flaps on each volume (only one remains). Pastedowns are discarded printed vellum leaves of vol. 2. Verona, BC, Inc.i190. State 2, Vol. i only: begins with the title page and one prefatory leaf before signature a. Size: 520 X 362 mm. Binding: ruled leather, restored with 2 new clasps. Appears almost unused, in contrast to other copies examined, but a few pasted-in corrections and a crossed-out passage indicate updating (perhaps at the printer's shop?).

US-CA-Berkeley, UC (Mus), JM2149. V4G7. State 2. Lacks f. Vio and sheets E5.6, I4.5, K2.7; 14. 5 and K2.7 replaced in manuscript. Size: 557 X 383 mm. Binding: leather over boards with bosses, one leather strap per vol., parchment label. Washington, LC, Inc. I5oo.c3 (vellum). Vatican City, BV. Inc. S.244-245. State I. Lacks signatures 08-P8, and ff. Qi, RI, R8, Si-S3, S5-S6, Ti-T3, T5-T6, V2, V4-VIo. Used as pastedowns: ff. T4, T7-T8, VI, V3. Music added in manuscript on f. N8 (blank), and a new vellum sheet inserted for Ri. Mensural Credo (f. CCCL) with manuscript title "Cardinalis." Size: 5i8 X 371 mm. Binding: leather over boards, io bosses at corners and center (8 remaining), leather straps to pegs on back for closings; vol. 2 has thumb pulls.

—Hymnarium. Milan: Leonard Pachel & Ulrich Scinzenzeller, 28 IV 1486. M-B 22 Note: the Hymnarium is the last part (ff. kIV-m4 [75V-94]) of the same printers' Psalter Ambrosianum, D 147. —Liber Baptismalis. [Pavia: Francesco Girardengo & Giovanni Antonio Beretta, 1480–1490.] R I786; IGI 5753 Incipit, f. a2, red: Incipit ordo ad faciedu aqua bndicta. I Dnica prima aduetus 7 T oibus dnicis I per annu pulfato figno ad tertia hebdo I madari9 itret facraftia: Explicit, f q4, red: Finitur opus libri baptifmalis cum mul tis benedictionib9 . . . bndictio fornacis: I Deo Gratias. Amen. Collation: 8°. a-f8 g4= 52 ff. Note: no space for music. Copies: I-Milan, Ambr. Copies seen: I-Milan, Ambr, 259. Lacks sheets al.8, bl.8. Size: 213 X 148 mm. Binding: marbled paper over cardboard, leather gold-stamped spine. 18—
Liber Catechumeni. Venice: Johann Emerich of Speier for Luca Antonio Giunta, 30 IV 1495. C 357I; R 2:203; IGI 5754; CIBN Supp L-

i62a; LB 7;24; Essling, Livres a figures, 839, plate XLIX off r2 '; Sander 1829 Incipit, f 7Tl, red: In hoc paruo libello qui intitula I tur liber cathecumini I queda valde putilia imprefja junt ad vjum vtilitateq3 facer I dotum fm ritum Ro I mane curie; que hic I in principio huius I tabule facilere I peries I [printer's mark] LA Explicit, f 14 , red: ImpreJ]um Uenetijs per Ioane emericu de fpy I ra Anno dni.M.cccc.xcv.pridie kalen Maij I [printer's mark, IE] Collation: 4- 72 A-B8C' 1(8-CiC2, C+C1.6, C2.5, C3.4) D_F G'0 lj8 J4=75 ff 30 11 i 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 Music: printed notes and staves Music pages: B8v-C , C;-C3V, C4v, C6v, C9-D4, GI, G3'-", G8, H:[-H6, H7r-= 37pp Staves: 6 red 4-line staves in i col., 146 X 102 (143 X 99) mm Music type: Ri8.

Copies: F-Paris, BN; I-Palermo, BN; Poppi, BC; Venice, Cini Copies seen: I-Poppi, BC Size: 196 X 143 mm Provenance: bookplate on front pastedown C I GI, N16 On flyleaf: Inscriptus Catalogo: Bibliothecae S Eremi Cam an I856 I 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 CATHECUM"; bound with two other books Venice, Cini, 325 Signature C", as described by Essling, Livres a figures, p 839 Size: 207 X 150 mm Binding: brown morocco (Lortic) with Essling coat of arms in gold, marbled endpapers, gold edges.

19—Liber Catechumeni Venice: Giovanni Battista Sessa, 31 VII 1498 See Fig 54 C3572; IGI 5755; LB 725; LD 297 Title, f fi, red: In hoc paruo libello qui intitula ( tur liber cathecumini: queda I ualde p utilia imprefJa funt ad ufum utilitateq3 facer I dotum fecundum ritu I Romane curie: I [printer's mark, IBS]; f f2, red: ¢Incipit ordo maior ad cathecuminu facien I dum Explicit, f 18", red: Imprefurn Venetiis Ioanne Baptifta de Seffa Anno domini.M cccc I xcviii pridie kalen AuguJti I [printer's mark, IBS] Collation: 8° t8 A-I8 = 8o ff 3011 I col Illustration: woodcut initials Music: printed notes and staves Music pages: B8rv, CI-C4v, C6r-, DI-D4, D5-D7, G3-G4, G5-G6v, H2r-V, H5-I4 = 50 pp Staves: 6 red 4-line staves per page, 117 X 70 mm Music type: R24 Copies: F-Paris, BN; I-Cremona, G; Milan, BN; Modena, Est (Fava 830); Vatican City, BV Copies seen: I-Milan, BN, BG Inc 68 Lacks f tI, sheet EI E8 Size: I56 X 114 mm Provenance: Duke of Parma Binding: recent vellum Vatican City, BV, Ross 967 Size: 145 X I i mm Provenance, f 18": S Siluestri quirinalis Binding: blind and gold-stamped brown morocco.

20—Liber Catechumeni Venice: [Johann Emerich of Speier] for Luca Antonio Giunta, 6 VI 1500 R 59I; Goff LI98; IGI 5756; LB 726; M-B 23 Title, f 7rTi, red: In hoc paruo libello qui intitula I tur liber catecumini: queda I valde putilia impreJfa Jfit I ad vJu3 vtilitateq3 facer I dotiu fm ritu Roma ne curie: que hic in I principio huius I tabule facile I reperies I [printer's mark, L.A.] Incipit, f ai, red: ¢ Incipit ordo ad faciendum baptifmum fm curiam romanam Explicit, f: gi2 red: ImprefJum Uenetijs: Impenfis Lucantoni de giuta I Florentini Anno dfii.M.ccccc Octauo idus Iunij Collation: 4. T'2 a"2 b-f8 g'2=66 ff 30 11 I col Illustration: woodcut illustrations Music: printed notes and staves Music pages: b2r-v, b3v-b6, b7, c2-c7v, f2, f4r-v, f8r-v, g2v-g7v=37 pp Staves: 6 red 4-line staves per page, 61i X 113 mm Music type: Ri8 Copies: US-CA-Berkeley, UC (Mus); San Marino, Hunt; Y-Zadar, HA Copies seen: US-CA-Berkeley, UC (Mus), BX 2035.A2.I500 Size: 220 X 152 mm Provenance, f a2: 22 maggio 1582 I Caterina civitas nostri venecia Binding: vellum San Marino, Hunt, Ioo099 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].

H Io112; GoffL23o; BMC VI.734; IGI 5767; M-B p 7 Note: No space for music Copies: F-Paris, BN; Maz; I-Bergamo, BC; Milan, Ambr; BN; US-IL-Chicago, New Copies seen: I-Milan, Ambr, 479—Litanie Ambrosiane Milan: Antonio Zarotto for Pietro Cassola, 23 IV 1494 H 10122; P 5835a; BMC VI:723; Goff L23I; IGI 5768 Note: No space for music Copies: F-Paris, BN; Maz; GB-London, BL; I-Milan, Ambr; Cap2; Turin, BN; Venegono, Sem Copies seen: F-Paris, Maz, Inc 764 I-Milan, Cap, 2G-3-I4; 2G-3-5.21—
Magnificat [Milan: Antonio Zarotto, 28 IV 1486.] BMC VI:752; M-B 24 Incipit, f [ai]: Magnificat aYa mea dominu3 Ends, f [a2 ]: Abachuc in hieme Collation: 4°. [a2]=2 ff I col Music: space for music Music pages: [ai], [a2 r-=3 PP Note: the Magnificat consists of two unsigned folios inserted in the middle of gathering i of the Psalterium Ambrosianum printed by Pachel and Scinzenzeller (D I47) Copies: GB-London, BL; I-Milan, Ambr; US-CA-San Marino, Hunt Copies seen: GB-London, BL, IB.26533 Size: 283 X I97 mm I-Milan, Ambr, 1459 US-CA-San Marino, Hunt, 101724.

22—Manuale Baptisterium Secundum Morem Romanae Ecclesiae Rome: Stephan Planck, 11 III 1494 GW ms; Przywecka-Samecka, p I i I F aI, blank; incipit, f a2 (ii), red: Incipit manuale baptifterium fecundu confuetu dinem Romane curie ac totius diocefis Neapoli I tane Explicit, f f3) (xliv): Explicit manuale baptifterium fcd'm morem Ro mane ecclefie fumma cum diligentia emendatum I Impreffum Rome per magiftrum Stephanum Planck Anno domini ·M'cccc'xciiij-die veroxi I menfis Martij-Sedente Alexandro-vi Pontifice Collation: 4°. a-d8 e f4=42 ff., numbered i-xlij 3 I11 i col Music: printed notes and staves Music pages: dI v, d3-d6v, eiv-e2, e5=13 PP Staves: 5 red 5-line staves per page Music type: Ri Copies: D-Stuttgart, WL Copies seen: D-Stuttgart, WL, Inc IO7I7B 4°. Size: 202 X 132 mm Provenance: Ernst Kyriss Coll., from Bayer Nationalmuseum, Munich Binding: vellum; with six other items —Messa Della Madonna Venice: Manfrino Da Monferra Da Strevo, 26 VII 1496 Essling, Livres a figures, 893; Sander 4307 Note: no space for music Copies: I-Venice, Cini Copies seen: I-Venice, Cini, 354 Latin missals are listed in two alphabetic sequences: (i) those for particular geographical areas or rites; (2) those for monastic orders.

23—Missale Ambrosianum Milan: Antonio Zarotto [for Marco Roma], 23 III 1475 See Figs 14–15 H 11254; P 5790; BMC VI:7I3; IGI 6542; CIBN M392; Ganda 37; Pellechet 7976 (7912); W 26; M-B 34 F [ai], blank; incipit,f [a2]: [space for incipit in red is left blank to be filled in by hand; first printed words] Vir ifte cuftodiuit Explicit, f [dd6]: Finis I Antoni patria parmenjis: gente zarotte: I Primus miffales imprimis arte libros Nemo reptore3 nimiu3 Je iactet in arte I Addere plus tantu q3 pepiffe ualet I Impreffum in alma ciuitate Mediolani ) M cccc lxxv decimo kalen aprilis per ) Antonium Zarottu3 parmenfem Collation: 2° [Tr6 a-z8 aa-cc8 dd = 220 ff 41 11 2 col Illustrations: none Space for initials, Crucifixion, and music Music: space left for music on ff [d3v, f6-f7', g3V-g4v, 16, 03, o5V-o7, p2-p3]= 17 pp Staves: space for 8 staves per column Bibliography: Arnaldo Ganda, "La prima edizione del messale ambrosiano (1475): Motivi pastoralli e aspetti commerciali," La Bibliofilia 83 (1981): 97-II2 Copies: F-Paris, BN; GB-London, BL; I-Bologna, BU; Milan, Ambr; BN; Vatican City, BV Copies seen: F-Paris, BN, Res B.1485 28 gatherings, ff [I5, 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 211 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 rnm Binding: gold-stamped leather IBologna, BU, A.V.B VIII.36 Lacks ff [iio-iiI, Ii5-16] Leaves numbered in red ink, (6) i-ccxiii Decoration: initials in gold and colors Red text added Size: 275 X 206 mm Binding: blind-stamped 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 Ambrosiana BN, AM XIII.i Size: 322 X 230 mm Binding: leather over boards, blind-tooled, bosses intact (not original binding).

Missale Ambrosianum Milan: Leonard Pachel, 27 VIII 1478 Molitor, Nachtriden, p ioi Note: only in Molitor, apparently an error Pachel printed an edition on 27 VIII 1499 24 Missale Ambrosianum Milan: Christoph Valdarfer, 15 III 1482 See Fig 57 H II255; R 3:I09 (22 ff); IGI 6543; Graesse 4:543; Panzer 2:45; Pellechet 7977; W 27; M-B 35 Incipit, f [a ], red: In noie yhu xpi incipit miffale 1 p totius anni circulum fecundu I g9uetudine diui Ambrofij pris I nri copofitu3: Explicit, f D5: ImprefJum.Mediolani per I Xpoforum Ratifponenfem an no.Mcccclxxxij.Die xv.men I fis Martij o 6-o811 8 4 8 6 Collation: 2 [1T6 a-b c-i] k-n8 [o4 p8] q [r-t8] u-z' A-C8 D6=2I8 ff., numbered (6) 1-212 Music: printed notes and staves Music pages: space for music on f 26V; 45-46v, 50V-51v, 85, Io6v, Io8-io, 112-13 = 17 pp Staves: 8-9 red 4-line staves per col 206 X I45 (67) mm Music type: AI 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]) The particular liturgical moment, before the gospel of Easter Sunday:

Lecto evangelio, statum diaconus annunciat pasca resurrectionis Noverit caritas [music] dfii 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 The 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, SG; I-Milan, Ambr2; Cap; Rome, BN Copies seen: I-Milan, Ambr, 379 Decoration: flourished red initials; stippled Crucifixion pasted on leaf inserted after blank f [02] Provenance, f [7r6]: Nov ec' Caroli Borromei Arciepiscopi Mlii S.P 11.20 Lacks f D6 Woodcut Crucifixion pasted on blank folio Decoration: initials in gold and colors Size: 322 X 219 mm Binding: red morocco Cap, 2G-1-4 Lacks f D6, 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 Pachel & Ulrich Scinzenzeller, I VIII 1486 R 995; IGI 6544; W 28 Incipit, f 7r8: Incipit officiu ad aqua bndi I cta facienda: f 9fuetudine I gloriofifJimi antiftitis.ac pa | tris noftri Ambrofii f ai: In note yhu xpi icipit miffa I le p totius ani circulum fecu I dum cofuetudinem diui Am I brofii patris noftri copofiti Explicit, f F6: Impreffum Mediolani per I Leonardum pachel 7 Ulde richu fcinzenzeler Anno dni i M.cccclxxxvi kal' Augufti Collation: 2 78 a-p q r-z 8 9-E F6=264 ff 37 I 2 col Music: space for music Music pages: d6V-d7v, g4v-g6, h2-h3^{v, n3, q6, q8-q o, r2-r3 19 pp Copies: I-Lodi, BC; Milan, Ambr; BN2 Copies seen: I-Lodi, BC, Inc 6 Lacks f 7ri Manuscript Ambrosian plainchant on a red 3-line staff on ff q6,}

q8-q o, r2V-r3 Binding: recent vellum Milan, Ambr 1135 Lacks f r i A watercolored woodcut Crucifixion is pasted on f qIo". 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 Tr i and qIo Binding: new oak boards AM-XIV 9 Lacks f T i Provenance, f 7T2: Caroli Aloysii Pionii Binding: vellum, gold-stamped spine Missale Ambrosianum Milan: Antonio Zarotto, 1486 Ganda 138*; W 29 Note: apparently a ghost The three copies mentioned by Weale (I-Rome, Ang; Vatican City, BV; Turin, Biblioteca Universitaria) appear to be the 1488 edition by Zarotto 26 Missale Ambrosianum Milan: Antonio Zarotto for Andrea de Bosis, I III 1488 H 11256; R 3: 09; IGI 6545; Ganda 145; Kristeller LG 247a; Sander 4672; W 30 (8 if a-z = I94 unnumbered leaves) Incipit, f ai, red: In nomine fancte et indiuidue tri I nitatis amen I Incipit liber miffarum totius ani fecundum morem Ambrofiane I ecclefie Explicit, f zio, red: Explicit miffale: I fecundu3

9fuetu I dinem fancti Ambrofii Impreffu3 mediolani per magrm Antonium I zarotum parmenfem Emendatu [ per reuerendum dnm prefbyteru3 I Andream de boffis: prepofitu fan Icte Tegle qui fua opera I impenfa I primi curauit Anno dni M.cccc I lxxxviii.calendis martiis Collation: 2° Tr8 a'l b-e8 f-g6 h-18 m-no o-y8 z = 194 ff., Tr i and 7r8 blank, ai unsigned followed by aI, a2, a3, a4 43 11 2 col Illustration: woodcut initials and Crucifixion, f mio Music: printed notes and staves Music pages: di, f3v-f4^{v, g2"-g3, k3, k4-k5, m6V-m7, m8-mg9, n2-n3v= 9 pp Staves: 8 red 4-line staves per col., 208 X I55 mm Music type: A3 Copies: I-Milan, Ambr; BN; Cap; Triv; Rome, Ang; Turin, BN; Van Praet listed a vellum copy for sale in 1804 Copies seen: I-Milan, Ambr, 397 Decoration: initials in gold and colors Size: 300 X 214 mm Provenance, f zioV: Mcccc°lxxxx°vij die xxiiij° mensis martii I Ego Ambrosius de crinetis fq dfii Ioh'ni emi hoc Missale pro uxu altaris mey syti i Ecclexia Sancti Georgii; coat of arms on f aIV BN, AM-XII-22 Lacks ff aio, mio, z3, z8 and sheets IT.8, ni.8, and z2.7 Leaf zio lacks lower portion Size: 304 X 218 mm Cap, 2G-I-13 Lacks two leaves of signature IT and f mio (Crucifixion) A woodcut Crucifixion is added between ff mg and ni Decoration: some initials watercolored Size: 303 X 224 mm Provenance, front pastedown: Ex libris HERCULIS DE SILVA (coat of arms) Folio}

7T6, calendar: November: die consegratio Scte marie de trast Back pastedown: Ex libris Frid.ci Minetti I VI Kal Iul i868 Binding: leather over cardboard, gold-stamped labels on spine Triv, A Io2 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 zioV (in manuscript): Missa in comemoratione sancti pontifis gregori [and other masses] Size: 315 X 220 mm Binding: leather, 2 clasps (recent) 27.* Missale Ambrosianum Milan: Antonio Zarotto, 1490 Graesse 4:543; Ganda I64*; W 3'* Collation: 2° Copies: none known 28 Missale Ambrosianum [Preceded by the Calendar of Valentino de Meregari, Milan, 1494.] [Milan: Giovanni Antonio d'Onate, 1494] 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 7r2 V: Per Ualentinum de Meregariis I Artium 7 medicine doctorem Me I diolanenfem Anno Nati.dfii 494 Incipit,f a i, red: In nomine domini Jesu Christi Missale fm more diui Ambrofij In vig S Martini epi ingressaf ,io, red: FINIS.

Collation: 2 Tr2 2T6 a-ms N6 o-z8 7 9 0= 216 ff.; 07 mis-signed as 06; 7r T blank 36 11 2 col Illustration: woodcut initials and Crucifixion, f n6" Music: notes and staves printed from wood Music pages: Io =I page Staves: a 3-line black staff Note: a colophon in the perpetual calendar (Tr2) 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; BN;

Cap; Triv; Turin, BN Copies seen: GB-Oxford, Keble, Brooke 166 Lacks f 7r F yioV, in manuscript: Messa sci antonii abatis Provenance, ex libris: I9II, Charles Edw Brooke, Vicar of St John the Divine, Kennington, Surrey Binding: modern red morocco I-Milan, Ambr, 1462 Size: 230 X i65 mm Provenance, added leaf at front: Hoc 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 7r , blank 9 Missale Ambrosianum Milan: Leonard Pachel for Nicolao, priest, 27 VIII 1499 H I1257; IGI 6547; Kristeller LG 247c; Pellechet 7978; Sander 4674; Sassi DCV; W 33; M-B 36 Incipit, f a.r: Incipit liber miffarum totius ani jecundum morem Ambrofiane I ecclefie Explicit, f z6 (clxxiii), epigram: Hoc cajtigatas: correcto codice miffas Ambrofij cernas: quo reparata fides Hinc moreS legeq3 pios: hic jcader celu Condifcat populus religione facer Nicoleos minimo 9gtabut: credite: dixit Prefbyteri: vt fpargat talia p pptos Thefauros igit' cupiens haurire falutis ppetue: hoc dignu fepe retractet op9.

Impffum Ml'i p magiftrum Leo nardu pachel Anno dni M.cccc I lxxxxviiij.die.xxvij.Augufti Collation: 2z 7Tr a' b-ge h-l8 m8 n'0 o-y8 z6= I97 ff.; numbered (6) i-clxxiii with errors 42-43 11 2 col Illustration: woodcut initials and illustrations (ff 7Tr Lv, m8V) Music: printed notes and staves Music pages: di, f3v-4, k3, msv, m6V-m7v, n2-n3 v= I3 pp Staves: 9 red 4-line staves per col., 214 X 15 mm Music type: A2 Bibliography: Wilhelm Martin Luther, "Notendruck: Von den Anfangen bis i5oo," in Die Musik in Geschichte und Gegenwart 9 (196 ), pl 4 Copies A-Vienna, NB; F-Paris, SG; I-Milan, Ambr; BN Copies seen: A-Vienna, NB, Ink 2.C.4 Size: 3-?3 x 230 mm Prov.: Ex dono J B Geissler, I84 I-Milan, Ambr, I796 Lacks first gathering and ff ai and m7-m8 Binding: blind-stamped leather with 8 bosses, missing clasps (restored) BN, AMXIII-i8 Lacks four leaves of gathering m and f n i Missale Aquileiense Milan: Christoph Valdarfer, i IX 1482 See Missale Romanum of the same date (D 6I) 30 Missale Auscitanum Pavia: Francesco Girardengo, I495 See Fig 6o W 120 Title (Claudin), f [], red: Missale secundum ecclesiam auxitanum I [printer's mark] Explicit (Claudin), verso of last leaf, red: Papie, per Franciscum Girardengum I M CCCC XCV Collation (Claudin): 4°. 240 ff., numbered [8] I-CCXIII [3}.

Music: printed notes and staves Music pages: 46 as calculated from microfilm Staves: 7 red 4-line staves per col Music type: R29 Bibliography: Anatole Claudin, Les Origines de l'imprimerie a Auch, Paris: A Claudin, i894, p i I; Siro Comi, Tipografia pavese, Pavia, 1807, p 123 Copies: F-Auch, Sem; Tarbes, BM Copies seen: F-Tarbes, BM Microfilm of music leaves Missale Bisuntinense Venice [Lyons]: Jacques Maillet, 14 IV 50oo C 4098; Essling 5; Pellechet 7989; Sander 4683; W 176 Bibliography: Henri Louis Baudrier, Bibliographie lyonnaise, 12 vols, (Lyons: Brun i895I92I), 12: 437 August Castan, Catalogue des incunables de la Bibliotheque publique de Besanfon, Besanqon: J Dodivers, I893, no 699 Note: 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 31 Missale Burgense Venice: Johann Hamman, 14 III I490. Accurti, Aliae Ed., 50; Sander 4684 Incipit, f ai, red: In nomine diii.noftri ie fu chrifti Sacti fpirit9 afjit I nobis gratia amen Incipit I miffale fm confuetudine ec I clefie burgenfis I Explicit, f r6, red: Finit miffale fm vfum ec I clefie burgenfis: accuratiffi me emedatu: Impreffu3 ve I netijs diligetiori cura Ioha nis hamani de Ladoia ale mani Anno Icarnatiois xpi I M.cccc.xc pdie id9 Martij.

0,ii 0 6 8 6 86 8 Collation: 2 T6 a-m8 mm n-t8 v x-y8 z A-I8 K-L6 Ml2 N°=298 ff 35 11 2 col Foliated in

manuscript red ink at upper left; printed register includes foliation. Illustration: woodcut initials and Crucifixion, f. x5v. Music: printed staves. Music pages: i3--i5, mi , m3-7, mm2 -mm5 ,xI-X5, x7 35 PP Staves: 9 red 3- to 4-line staves per column, 268 X I64-66 (75-76) mm. Copies: Vatican City, BV. Copies seen: Vatican City, BV, Inc. I.io6. Lacks ff. 77I, mmi and a large part of mm6. Manuscript roman plainchant on f. x8v. Size: 333 X 232 mm. Provenance, f. k8: Yo Juan del arp(?). The copy remained in Burgos until 19I I. It was donated to the Biblioteca Vaticana by Stanislaus, Count of Le Grelle, in 1950. 32. Missale Claromontense. Venice: Giovanni Antonio Beretta [and Francesco Girardengo], 29 IX I492. C4I 2 =413; Essling 6 (8, 332ff); Marais 360; Pellechet 8oo00 = = 8 8002; Sander 4700; W 277; M-B 58=59 Incipit, f ai, red: Ordo miffalis fm confuetudinem ecclefie claromo I tenfis ac.f.flori ad laude3 I dei ipotetis: icipit felicit. Explicit, f. tt4, red: Uenetijs. 1492. die.29.fe- I ptembris. I Ioannefantoni9 birreta. I [printer's mark, IAB]. Collation: 8°. 7r8 a-z8 78 98 8 aa-ff8 tt4= 364 ff. 34 11. 2 col.

Illustration: Crucifixion, f. bb3". Music: space for music. Music pages: 7-bb3, bb5-bb6V=29 pp. Staves: Space for 8 staves per column, with only I.5 mm. between cols.; Meyer-Baer erroneously describes the work as having only one column (M-B 58). Bibliography: Tullia Gasparrini Leporace, "La societa Beretta-Girardengo (1479-1492) nei documenti inediti coevi," La Bibliofilia 50 (1948): 24-52. Note: since Beretta was known as a publisher, Francesco Girardengo was probably the printer of this as well as his other books (Gasparrini Leporace, pp. 30-31). C4 112 and M-B 59 give a variant place of publication, Lyons. The copy cited by Meyer-Baer as M-B 59 (F-Paris, Maz, Inc. 693) lacks the final gathering (tt), so contains no colophon. Sander 4700 states that C4112 (Lyons) equals C4113 (Venice). My notes indicate that the title page is identical in the two editions and the Crucifixion appears on the same leaf, but the music space begins on f. 77 in the copy at the Bibliotheque Mazarine and on f. )7 in the Bibliothe'que de l'Arsenal, corroborating Copinger's classification of the books as two separate editions. Weale cited another copy of the Lyons edition at Lyons, Bibliotheque des Peres Jesuites, which might provide the different colophon. Meyer-Baer (M-B 59) attributes the Lyons edition to Topic.

Copies: F-Lyons, BM; Paris, Ars, Maz. Copies seen: F-Paris, Ars, 8° T.214 I. Provenance, f. 7r i: Joannes (canon at Clermont-Ferrand), 1586. At front: Oratorii Sammagloriani I Ex dono R. P. Le Brun. Binding: leather over cardboard. Maz, Inc. 693. Lacks sheet 71T.8, f. 77T2, and final gathering. Size: 140 X ioo mm. Binding: gold-stamped calf. 33 Missale Messanense. Messina: Heinrich Alding, 31 V I480.H I 1304; Dibdin 6: 90-91, I I85; Panzer 9:255, 3b; Sander 4704; W592 Incipit (Dibdin), f. [7], red: In laudem et gloria3 fancte ac I indiuidue trinitatis: Marieq3 I femp virginis: atq3 fanctoru3 I omniu. Incipit ordo miffal' fe-I cundu3 cofuetudine Gallico, I Dominica prima de aduetu do I mini: Introitus. ( Explicit, f. [228]: Sedete Sixto quarto poti- fice maximo: Opus hoc sacriu impreffum eft: in urbe nobili I Mefsana per Henricum aiding I Regnante diuo Ferdinando: I Caftelle: Arogonu [sic]: Sicilie 7 c. I rege. Anno ab incarnatione I domini: Millefimo quadringe I tefimo octuagefimo. pridie ka I lendas Iuniii [sic]. Feliciter Collation (Borselli): 2°. (6) (88) (134)=228 ff. 41 11. 2 col. Illustration: an engraved Crucifixion by Israel van Meckenem added to the only known copy. Music: space for music. Music pages: [78v-82, 86r-v, 88v] 13 pp. Staves: space for io staves per col. Bibliography: Antonio Borselli, "La produzione tipografica di Enrico Aiding in Messina," Gutenberg-Jahrbuch (i931): 122-38.

Copies: GB-Manchester, JRL. Copies seen: GB-Manchester, JRL, M.MI3 9PP. 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 i40 mm Provenance: "Liber iste pertinet ad fratres domus annuntiationis beate marie vulgariter dicte 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 ( I th century) 34 Missale Messanense Venice: Johann Emerich of Speier, 28 VI 1499 IGI 6570 (IV, plate XIX off Q7) Incipit (IGI), f aI: Ad laudem et gloria sancte ac indiuidue trinitatis: et Ma I rie semp virginis: atq3 sanctoI omniu3 Incipit ordo missalis bene reformatus 7 de nouo cor I rectus multis superadditis: et I presertim in sanctuario I communi: ac etia bene rubricatus: | pm consuetudine Gallicoru et messinensis ecclesie Dominica I pma de aduetu dni: Introitus Explicit, f Q7: ¢(Accipite optimi racerdotes I opus hoc facri iuxta more Alme ec-I clefie Meffanenfis expletu: ac fideli ftudio emendatii atq3 re ) uiJum Imprefjum Uenetijs: per Ioanne Emericu ale manu Spirenj diocef Regnate diuo Ferdinado I Caftelle:Aragonu: Sicilie 7 c rege: Anno ab Tcarnatoe clni M.cccc.xcix.iiij.kl' Iulij I Deo gratias I (RegiJtrum.

Collation: 2° + 12 a-s8 t'2 A-G8 H'0 IQ8=94 ff 36 11 2 col Illustration: woodcut initials and Crucifixion Music: printed notes and staves Music pages (from microfilm): m4-m8", n2r -= 12(+ ?) pp Staves: 7 red 4-line (and 5-line) staves per col., 77 X 130 (58-60) mm Music type: Ri9 Copies: I-Catania, Sem Copies seen: I-Catania, Sem Microfilm of music pages Lacks leaf preceding Canon Missale Nannentense [Venice: Bartolomeo de' Blavi, Andrea Torresani, and Mapheo de Salodio Sociorum, io V I482.] C 4 i68; G;aesse 4:547; Pellechet 8032, photo off al (I66 ff ); W 66i Incipit, f a;: Incipit miffale Jrm ufu diocef Na meten requifitione Reuere.in xpo I pris dni petri de thafault epi eiuf de dioc Dnica pma in aduetu diii Explicit (from manuscript leaf at end): Impressum est hoc missale uenetiis cura et industria Bartholomaei de Alexandria, Andreae de Asula et Maphei de Salo, sociorum, anno salutis dominicae MCCCCLXXXII, vj idus Maii Laus Deo Collation (W): 2° T6 a-i8 k5 I-t8 u4=67ff 2 cols According to Pehant 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 Pehant de Guerande, Catalogue methodique de la bibliotheque publique de la ville de Nantes, Nantes, I859-I874, 1:68, no 1276 Copies: F-Nantes, BM Copies seen: none F-Nantes, BM, Inc ioo (from Pehant 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 a l'usage du Diocese de Nantes imprime a 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 I609." Several engravings of the i7th and 18th centuries have been added to the volume 35 Missale Parisiense Venice: Johann Hamman & Johann Emerich of Speier, io XI 1487 See Fig 23 H II340; CIBN M437; Essling 14; Pellechet 8038 (7970); Sander 4709; W 700; M-B 97 Title, f 7ri: Miffale j;m uju3 ecclefie pariJieJis Incipit, f ai, red: Incipit miJfale jm vfu3 ec-I clefie parifiefis Dnica p'ma I aduent9 ad miffa3 Introit9 Explicit, f 012: Ad laude3 dei omnipotentis: eiufq3 intemerate ge I nitricis 7 virginis: In cuius honorem fundata eft I facra eccl'a parifienfis: totiufq3 curie celeftis Actu I 7 completu3 extat arte imprefforia pns hoc miffale I feu miffe ordinarium in Venetiari preclara vrbe: pfateq3 ecclefie ritui accomodu In quo diligenter I adiuctis ipfius ecclefie conftitutionibus atq3

con fuetudinib9 fingulifq3 feftinitatib9 fuum ad locu3 I appofitis: Imprejforibus quide3 Ioh'is I hamani de Landoia : Ioh'ifq3 emerich de vdeherm I ocijs Anno domini millefimo quadringentefimo I octoagefimo feptimo: die.x.menfis Nouembris I red: LAVS DEO Collation: 8 7r a-18 m12 mm8 n-u x'2 y-z8 A8

B'1 C-N8 012=326 ff., numbered [8] i-C [8] Ci-CCCx. 32 11. 2 col. Illustration: woodcut initials and Crucifixion, f. mm4. Music: printed staves. Music pages: mm3vmm4, mm6V-mm7, 03V-o4=6 pp. Staves: 9 red 4-line staves per col., 136 X 86-87 (40.5-42) mm. Copies: F-Paris, Ars; BN; Troyes, BM (see Jean-Marie Arnoult, Bibliothtques de la region Champagne-Ardenne, Catalogues regionaux des incunables des bibliotheques 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: i88 X 125 mm. Provenance: Oratorii Sammagloriani I Ex dono R. P. Le Brun. Binding: leather over boards (restored), 2 clasps missing. BN, Res. B. 4663. Plainchant in manuscript on ff. mm3V-mm4. Size: i86 X 125 mm. Provenance: Bibl. Royale. Binding: leather over boards, 2 clasps missing. 36. Missale Quinque Ecclesiae. Venice: [Johann Emerich of Speier] for Johann Paep, 24 IV I499H 11355; C 3:275; Essling 17; Hubay, Missalia, Io; Panzer 3:4o6, 2548; Sander 4729; W 804 Title, f aa i,red: Miffale Jm morem alme eclefie Quinq3 ecclefiefi. Incipit, fai,red: ¢ Incipit miffale diuinoru I officiorum: tam de tempore I q3 de fanctis fm chorum al- I me ecclefie

Quinq3ecclefie- I is. Dominica prima in aduentu domini Introitus ad I miffam. Explicit, f. L6, red: 4 Finit miffale Jfm chop al me eccl'e Quiq3eccl'iefi. Im I ppu3 venetijs ipefis Joh'is I Paep librarij buden. Anno I M. cccc.xcix.viij.kl' maij. Collation: 4°. aa"2 bbl a-z A-L8= 294 ff., numbered [22] I-CCLXVII [51 23 11. 2 col. Illustration: woodcut initials [and Crucifixion, f. o8?]. Music: printed staves. Music pages: m4-nI, n4v, 02-07, [o8 missing], 5r-v, p6"=26(+?) pp. Staves: 6 5-line staves per col. Copies: H-Budapest, BN2 (i vellum); Pannonhalma, Ben (vellum); Pecs, BU (vellum). Copies seen: H-Budapest, BN, 99o (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. aaI2v; Georg. Klimo Eppus Quinque Ecclesien. 1769. Also: Hunc librum possidet nunc Gallus presbiter. . . Ego Gallus presbiter I5 undecimo primo sum presbiteratus et emi hunc librum. - Missale Romanum. [Italy? 14??] W 840* Note: see item after D 82. - Missale Romanum Multis Figuris Historiisque Suis in Locis Recte Appositis. [Venice? 14??]

H II363; W 842* Note: probably the missal cited as Sander 4801; a copy with the above incipit, printed by B. Stagnino in Venice on 3 VIII I509, is at I-Rome, Cors. 37.* Missale Romanum. [Venice: Johann Emerich of Speier, 14??] GW ms.; Sander 4783; W 85 (262 f) Incipit (Sander and GW ms.), fI7, red: ¢(Incipit ordo miffalis fcd'm confue- tudinem romane curie. Ends, f. H8: fepiter I na ptectione cofirment. Per )f H8, woodcut. Collation (GW ms): 8°. aa-bb8 a-p8 pq8 q-z8 A-H8=272 ff., numbered [i6] 1-248 with errors. 36 11. i and 2 col. Illustration (Sander): beginnings of sections are framed by borders and small woodcuts (273 woodcuts). Note: references to this edition are in W (repeated by Sander) and in GW ms. W is without an asterisk, indicating it was personally inspected, and includes the following details: "8vo. 272 (?) Fol. (aa, bb8, a-z8, A-H8). 2 col. 36 lin." Those signatures contain 264 leaves rather than 272. Copies (W): D-Frankfurt/Main, SB. Copies seen: none known. Ohly's recently published catalog of incunabula of the Stadt- and Universitatsbibliothek in Frankfurt includes two editions of Emerich's missals: no. 2024, Missale Romanum, 28 VI 1498, 2°, 208 ff. (W 945), and 2013, three copies of Missale 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: 7r8

I-288 t8 for 240 ff., gatherings 1-28 numbered 1-272 [2] ff 38 Missale Romanum [Central Italy? ca 14;2?] Goff M 643 [ca 1480-1490]; Martimort I; M-B 22 1 (printed staves) Printed material begins, f [ai], black: [AID te leuaui I alam I mea3 I deus I meus I in te I gfido non erubefcam neq3 irride I ant me Ends f [ee9g', black: Gaudete te exl'tate:qm merces ue I ftra copiofa e i cel'o Last three lines scratched from vellum Collation: 2° [a-z'° aa-ee"] [ +ff-1 10?]= 280 (+60? ff 29 11 2 cols Illustration: space for a half-page Crucifixion, f [q 1;25 large initials of 5 to 9 lines, and small initials Music: space for music Music pages: [i5v-i7, m3"-4, m6, m9 5-n5 , 07, oio-pIO q, q3-q5]= 47 pp Staff: space for 7 3-line staves per col Bibliography: Pierce Butler, ed., A Checklist of Fifteenth Century Books in the Newberry Library, Chicago: The Newberry Library, 1933, no I 65 Note: apparently the first printed missal The reissue with a printed calendar was dated by Tocci (p 192) from the evidence of the absence from the printed calendar, Franciscan in character, of the feast of the Translation of St Bernardino of Siena (17 May), which was established in November 1472 The two gothic types (Gi46 large, Tocci, Plate XIX; GI46 small, BMC VII: o75, plate XCVIII*, called

"I48G") vary in face size, but necessarily have the same body size since set side by side on the same line The larger was never reused The smaller was reused in an edition at Ascoli Piceno by a Franciscan printer, Giovanni da Teramo, in 1496 In the first issue, almost all red text including the incipit is in manuscript, while in the reissue rubrics of three lines or more are printed in red and a printed calendar is in black and red Red printing appears on fourteen pages, three of which are entirely red and all of which are in gatherings that contain music and would have required special care in composition (ff [m5Vm6, m7-rm8V, mg9, n5V, o6-, o8-o9, q9-qIo}) Some black text within rubrics is in manuscript Copies: US-IL-Chicago, New Copies seen: US-IL-Chicago, New, Inc f7428.5 Vellum Manuscript incipit, f.i, blue: I; red: Ncipit ordo miffal' I frm mino, fJm 9fue I tudie3 romane curie: Dnica prima de aduen j tu Sto ad fancta3 maria | maiorem Introitus 263 leaves, lacks f [ai], sheet [rI.Io], gathering [cc'°], sheet [ee5.6], f [eeio] and following Manuscript calendar on preliminary gathering of six leaves; omits feast of the Translation of St Bernardino, established in Nov 1472 Manuscript roman plainchant on red 3-line (and 4-line) staves drawn by raster, in one case continuously through both columns (f.[m4}) Decoration: large initials and miniatures in gold and colors, many historiated (lacks 4 of 25), small initials in red and blue, flourished in blue, rubricated, highlighted in yellow Size: 328 X 220 mm Provenance: early additions to the calendar of the dedication of the Church of St.

Eutitius (duplex major, Dec i), the feasts of Speus, founder of the monastery of St Eutitius (13 Sept.), Translation of Speus (6 June), Eutitius (duplex major, 23 May), Translation of Eutitius ( 2 April), and Florentius (duplex major, 27 June) indicate that the book was owned by the monastery of St Eutitius, located about 12 km north of Norcia in Umbria Front pastedown: Collection of Henry Probasco, Dec i, I890 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]Ncipit ordo miJJal' I frm mino,: fm co | fuetudine romane cu rie Dmica prima I de adventu Statio ad fanctam mariam ma iorem Introitus: black: [AID te leuaui I alam I mea3 I deus I meus in te I 9fidoI non erubefcam neq3 irride I ant me Ends f [119]: noie pfeffio fentiatur I in opere: Per [119 ] blank Collation: 2° [7h a-z'° aa-11'0=—346 ff 29 II 2 cols Bibliography: Luigi Michelini Tocci, "Incunaboli sconosciuti e incunaboli mal conosciuti della Biblioteca Vaticana," in Studi di bibliografia e di storia in onore di Tammaro de Marinis, 3 vols., Verona: Stampa Valdonega, 1964, 3:I89-99, 2 I4-15, plates XIX, XXI, XXII Note: rubrics of three lines or more are printed in red in a second impression from a second forme on 125 pages A calendar is printed in red and black on six preliminary leaves The movable feast for deceased friars and benefactors, which was to occur on the Monday after Septuagesima

Sunday (Feria secunda post.lxx fit officium per fratribus et benefacta [sic]) is printed in a highly abbreviated form on the 7th cal January (26 January); that Monday fell on 26 January only once between I450 and 1480, in 1467 However, the rubric for the feast may be printed anywhere near the end of the month; in the Newberry 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, GI46 small Copies: Vatican City, BV Copies seen: Vatican City BV, Urb lat 109 Vellum Lacks f [Ilio] (blank?) This is a later state of the black impression found at the Newberry Library (see f [12v], 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: Antonio Zarotto [for Cola Montano and Gabriele OrsoniJ, 6 XII 1474R 997; IGI 6586; Ganda 28; W 852 Incipit, f [7], red: Incipit ordo miSfalis fecudu co I fuetudine romane curie Domi I nica prima de

aduetu Explicit, f [i88]: Antoni patria parmenfis gente zarotte I Primus miffales imprimis arte libros Nemo repertore3 nimiu3 fe iactet in.arte I Addere plus tantum qua pepiffe ualet I Mediolani Mcccclxxiiii.die I vi decembris finitum Collation: 2° 8, i8o= 188 ff 41 11 2 col Music: space for music Music pages (manuscript numbers): [77-79v, 8i, 84-85]= io pp Bibliography: modern edition by R Lippe, Missale Romanum Mediolani 1474, 2 vols., London: Henry Bradshaw Society, I899-1907, vol I, text; vol 2, a collation with other editions of the missal (1481-1574) Copies: I-Milan, Ambr; Vatican City, BV Copies seen: I-Milan, Ambr, S.P 112 Lacks f [i] and half of [2] Numbered i-i8 , with errors and unnumbered leaf between 121 and 122 Many of the rubrics are written in manuscript Binding: green leather over cardboard 40 Missale Romanum Edited by the Franciscans of Ara Coeli, Rome Rome: Ulrich Han, 21 IV 1475 H II364; IGI 6587; Martimort 2; Van Praet I:8I, 85; W 853 Incipit, f [a2], red: [I]Ncipit ordo miffalis fcdm confuetudinem curie Romane: Domi nica prima prima de aduentu I Explicit, f [G3], red: Sacrum fanctumq3 hoc opus ad honorem ( 7 gloriam omnipotentis dei: ac dni noftri I iefu chriJti

magni ) excelletis ingenij Udal ricus gallus al's Han Alamanus: ex ingel I ftat.ciuis wieneni : non calamo · ereoue ftil9: | fed nouo artis ac folerti induftrie genere Ro me conflatu impreumq3 · Necnon a fratri ) bus Sacriconuentus areceli recte ac fideliter I emendatu3 · Anno incarnationis dominice · | Mccccl xxv · xi kl's Maij ' fedente Sixto diui I na prouidentia · papa iiij · pofteris reliquit · Collation: 2° [IT6 a'2 b8 c-e'l fl2 g-k'O I-m12 8 10 8 6 10 8 A10 8 6 1-l n-o p-s t u x-y z A BC D-F G4]= 294 ff.; unsigned, unnumbered 3611 2 col Music: space for music Music pages: [h3V-h4, k7, kIoV-15, m2V-m3v, m6-mI2v, n3-n5] = 34 PP Note: 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, BN2; Rieti, Cap; Rome, BN Copies seen: I-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 TT3-TT4] (replacements are duplicates of ff 7T2 and Tr5, from which the printing has been scratched for manuscript completion of the calendar) Several sheets appear to have been tipped in: ff [nl, s6, E3, G3] Size: 360 X 260 mm Provenance: stamp, f T i: BIBLIOTH.PUB.FLORENTINAE Binding: moire 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 I982, ed Massimo Miglio with P Farenga and A Modigliani,

Vatican City: Scuola Vaticano di Paleografia, Diplomatica e Archivistica, 1983 [Littera Antiqua 3], p 82 i Missale Romanum Milan: Antonio Zarotto [for Marco Roma], 26 IV 1476 H 1365; IGI 6588; CIBN M444; Ganda 47; Pellechet 8o7I (8003); W 854: M-B 118 Incipit (GIV ms), f [ai]: Incipit ordo mijfalis fecundum Iconfuetudine romane curie Explicit, f z7V: Antoni patria parmenfis gente zarote I Primus miffales imprimis arte libros Nemo repretorem [sic] nimiu3 fe iactet in arte Addere plus tantum qua pepiffe ualet I Mediolani Mcccclxxvi.die ) xxvi aprilis finitum Collation: 20 [7r8 a-k8 16 m-t8 u-xl0 y-z8]= I88 ff 4I 11 2 col Illustration: Christ in tomb, folio after [14] Music: space for music Music pages: [i2v-i6, k7V-k4, 14V-?, n3-n4]=23(+?) pp Staves: space for 8 staves per column Copies: A-Gottweig, Ben; F-Paris, BN; I-Cremona, G; Naples, BN Copies seen: F-Paris, BN, Res B 866 Manuscript music throughout Lacks gathering [a], ff [15-16], [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 Ara Coeli, Rome Rome: Ulrich Han, 12 X 1476 See Fig 31 H 11366; Goff M 6589; IGI 6589; CIBN M 445; Martimort 3; Molitor, Deutsche, plate i; Pellechet 8o72 (8004); W 855; M-B I 19 Incipit., f [a i], red: [I]Ncipit ordo miJfalis I fcdm confuetudine cu I rie Romane: Domini-I ca p'ma de aduentu Sta I tio adjanctam Maria3 maiorem: Ad miffam: I Introitus Explicit, f [G6], red: Sacrum fanctuq3 hoc opus ad honorem 7 gloriam I omnipotentis dei: ac dni noftri iefu chrifti magni et I excellentis ingenij Udalricus gallus · al's Han Ala-( manus: ex ingelftat ciuis winenf * no calamo ereoue I ftilo : fed nouo artis ac folerti induftrie genere Rome conflatii impreffumq3 ' unacu cantu : quod nunq3 fac I tum extitit-Necnon a fratribus Sacri couentus arece I li recte ac fideliter emendatu3 Anno incarnatois do I minice · Mcccclxxvi · die uero xii Octobris f· edente I Sixto diuina prouidentia · papa ' iiij · pofteris reliquit · Collation: 2° [Tr6 a'l b8 c-e° fl2 g-k'0 Im'2 8 10 t8 6 n-o p-s0 t8 U6 x-Z 18 A0 B8 C6 D-Fl° G6]= 290 ff., unsigned, unnumbered, but with printed register 36 11 2 col Variant, F-Paris, BN: [a 2]= 292 ff.

Music: printed notes and staves Music pages: [g3'-g4, i7, iIoV-k5, 12v-13, 16-112v, m3v-m5]=33 pp Staves: 8 red 4 or 5-line staves per column, 242 (272) X I62 (70-71) mm Music type: Ri Note: the calendar is apparently identical to the 1475 Han edition The music pages are the same except that one more word is set on f [m3], so there is no music on f [m3v] Copies: F-Paris, BN; I-Florence, BN; Ricc; Naples, BN; US-IL-Chicago, New Copies seen: F-Paris, BN, Res B 865 Second gathering of 12 ff Signatures are frequently signed in ink Lacks [rTi] Decoration: initials in red and blue, first initial in gold and colors I-Florence, BN, E i 22 Vellum Crucifixion inserted between ff [mi] and [m2] Size: 366 X 262 mm Provenance, front pastedown: FRANCISCI CAESARIS AUGUSTI MUNIFICENTIA; (added) Bibliotheca Bistioniana US-IL-Chicago, 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 23I 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 Missale Romanum Venice: Alvise Siliprandi & Domenico Siliprandi, 20 IX I477 C 4186; P 445I; BMC VI:26o; CIBNM 446; Martimort 4; Pellechet 8074 (8006); W 856; M-B I20 Incipit, f a2, red: [I]Ncipit ordo miffalis fecun dum confuetudinem curie Romane Cu officijs nouis I Dominica prima de aduetu fta tio ad Sancta Maria maiore3 I Ad miffa3 Introitus Explicit, f: 79: Finit ordo miffalis cum officijs I nup inftitutis fcdm gfuetudine I romane curie i officina Aluifij I filij dni Gafparis de filipradis I Ciuis matue Uenetijs Die.xx I Septembris Mcccclxxvij Collation: 2 Tr6 a-h8 18 K'° kl° l-y8 z'0 110= 214 ff 39 11 2 col Music: space for music Music pages g6r-, I7v,

KIV-K5, kIV-k2, k3V-k9, 12-13=28 pp Staves: space for 8-Io staves per col Copies: D-Munster, UB; F-Paris, BN; GB-London, BL Copies seen: F-Paris, BN, Res B 867 Lacks gathering 7r and f kxo Four leaves added at end, beginning: Officiu misse de bti ludowico epi et cofessore ordis 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 i I: Iste liber est mon"ri s Foelicis de uincentia Purchased by BL in I875 Binding: leather stamped in gold 44 Missale Romanum Edited by the Franciscans of S Maria La Nova, Naples Naples: Matthias Moravus, I477 See Fig i6 H II367*(=3893?); IGI 6590; CIBNM 447; Fava and Bresciano 117; Martimort 4; Pellechet 8073 (8005) (250 if.); Sander 4738; W 857; M-B 121 (printed staves) Incipit, f [ai], red: Incipit ordo miffalis fecudu I confuetudine curie Romane I Dominica prima de aduetu I Statio ad fanctam Mariam I maiore Ad miffa Introitus I Explicit, f [H5]: Sub felicifirmo Ferdinando I Rege indite Neap op9

hoc I facru3 impreffum eft per Ma I thiam Morauum Emenda I tumq3 diligentiffime per Re I ligiofos fratres Sacte Marie I noue Anno.M.cccc.lxxvij Collation: 2° [IT6 a-m8 n'° o-s8 t6 u-z8 A-G8 H6]=252 ff 37 11 2 col State I: f [H5sV, blank (D-Munich, SB; F-Paris, BN) State 2: f [H5s}, register of 3I gatherings (I-Rome, Cas) Illustration: space for initials; Crucifixion, half-col preceding Te igitur, f [oI"] Music: space for music Music pages: [h3v-h4', k8, 12, 13v-17, m8, n3V-o0v, 03-041=34 pp Staves: space for 9 staves per col Note: although Meyer-Baer describes the staves as printed, in the three copies I viewed they were drawn by raster, as was clearly visible at the beginnings and ends of lines, where the raster turned slightly as it left the page Copies: D-Munich, SB (vellum); F-Paris, BN (vellum), GB-Manchester, JRL (vellum); I-Naples, BN; Piacenza, BC; Rome, Cas Copies seen: D-Munich, SB, 2° L impr membr 62 Vellum Numbered in ink: [6] 1-249 [i] Manuscript white roman plainchant Decoration: illuminated in colors and gold Size: 293 X 205 mm Binding: gold-stamped red morocco F-Paris, BN, Res Vel I32 Vellum Decoration: illuminated in gold and colors Binding: red morocco stamped in gold I-Rome, Cas, Inc 46i Numbered in pencil, 251 The black and red inks

of gathering 7r differ from the rest of the volume Manuscript white roman plainchant, pointed; black roman plainchant on f 04 Size: 312 X 215 mm Provenance, f [7T Ij, stamp: D O Pred Bibliothe A Card H Casan; f [ai]: Questo messale e ad me Maria da Cannes, 1493 Jul I Binding: Vellum 45 Missale Romanum Milan: Antonio Zarotto [for Marco Roma], 17 I 1478 H 11368; IGI 6591; Ganda 65; W 858* Incipit, f a8, red: Incipit ordo ad faciendu3 aqua benedictam f 2ai, red: Incipit ordo miffalis Jecudum I fuetudinem romane curie Do minica prima de aduentu Explicit, f; y7Y: Antoni patria parmenfis gente zarote I Primus miffales imprimis arte libros Nemo repretorem [sic] nimiu Je iactet in arte Addere plus tantum qua pepiffe ualet I Mediolani Mcccclxxviij die xvij Ianuarij Finitum Collation: 2° a8 2a8 b-k8 14 218 m-s8 t-x10 y8= 194 ff Gathering 1 is signed I and 12 Gathering 21 is signed: unsigned, 14, 14 4 11 2 col Music: space for music Music pages: i2"-i6", k7-14^{v, 214-[215?} [lacks 3 leaves in the gathering]=22(+ ?) pp Copies: I-Bergamo, Clero di S Alessandro; Genoa, BU Copies seen: I-Bergamo, Clero di S Alessandro Lacks ff y8, ai (blank), and three leaves (including Crucifixion?) in signature 21 Folio y7v with colophon is torn but colophon is complete Manuscript music Decoration: initials in gold and colors Size: 313 X 223 mm.}

46 Missale Romanum Milan: [Antonio Carcano] for Paolo Suardi, 22 IV 1479 IGI 6592 and Appendix (plate XXII); Rogledi Manni 673 Incipit: [the only extant copy lacks the first folio (blank?); the first and second gatherings lack the tops and sides of the leaves] Explicit, f y8": Impreffum Mediolani ad impen I fas Paulini de fuardis Anno a I natali chriftiano Mcccclxxviiij I die.xxij.menfis aprilis 0 ii o 8 4 8 8 10 Collation: 4o 7T8 a-k8 L4 LL8 m-s8 t-u x-y = 192 ff 38 11 2 col.

Illustration: space for initials [and Crucifixion? (lacks f LLi)} Music: space for music Music pages: k7V-L4, LL3-4= 13 pp Copies: I-Milan, Ambr Copies seen: I-Milan, Ambr, I498 Lacks f 7 I, and sheet LLi.8; the tops and sides of the first two gatherings are missing Size: 215 X 160 mm Provenance (on leaves bound in at front): Sr Petrolamaei Busiox gratissimi her' Missale istud a me Bartholomaeo Buxione; Ego presbiter antonius de buxionibus die 24 aprilii I56o f 7r8v: I491.die iij decembris est consecratio altaris eccl'ie sci :isinnij de mendrisio Binding: brown leather (recent) 7' Missale Romanum Venice: [Nicolas Jenson], r V 1479H I137o; IGI 6593; CIBN M 448; Pellechet 8075 (800;7); W 859; M-B I22 Incipit, f a.r, red: f[INcipit ordo miffalis fecun I dum co-fuetudinem curie ro I mane cum officiis nouis Do I minica prima de aduentu Statio ) ad fanctum Mariam maiorem ) Ad miJfam Introitus Explicit, f 78: Finit ordo miffalis diligenter I emendati: cum officiis nouis I fecundum cofuetudinem roma I ne curie imprejJi Uenetiis: die primo maii M cccc Ixxix Collation: 2° 7T a-18 L8 mz 78=2o6 ff 40 II 2 col.

Illustration: blank page for Crucifixion, f 17 Music: space for music Music pages: g2v-g3, i2v, i5-i8, k6v, k8-1l6V, 18V-LIV=28 pp Staves: space for 8 staves per col Copies: A-Salzburg, StP; F-Paris, BN; 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 TTi: 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 March i48o Size: 3o8 X 214 mm Binding: vellum 48 Missale Romanum Milan: Antonio Zarotto, 27 IX I479H I Ii69; CIBN M 449; Ganda 68; Pellechet 8076 (8oo8); W 860; M-B 123 Incipit, f ai, red: Incipit ordo miffalis fecundum con J uetudinem romane curie Dnica ) prima de aduentu Explicit, f y8: Antoni patria parmefis gente zarote ) Prim9 miJJales iprimis arte libros I Nemo reptore3 nimiu fe iactet i arte I Addere plus tantu qua pepiffe ualet Mediolani Mcccclxxviiij die I xxvij feptembris finitum Collation: 2° 7T8 a-k8 14 218 m-s8 t-u' x-y 192 ff 37 11 2 col.

Music: space for music Music pages: iIx-i5, k5V-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 7r , 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° iiij"' lxxxx Et die xvij.Aprilis Size: 290 X 203 mm Binding: red morocco stamped in gold with crown and fleur-de-lys 49 Missale Romanum Milan: Leonard Pachel & Ulrich Scinzenzeller, i6 XII 1479IGI 6594 (plate XXIII) Incipit, f ai, red: Incipit ordo miffalis fe I cundum confuetudinem I romane curie Dominica I prima de aduenti Explicit (IGI), f H8": Mediolani per Leonardiu pachel T Uldericu scin zenceller theuthonicos I suma cu diligetia 7 stu dio impressu Anno dni i M.cccclxxviiii.die.xvj.( Decembris: Collation: 2° 7'8 a'° b-z8 A-G8 H'°=260 ff 33-34 11 2 col Music: space for music Music pages: m2-m5, oi"-07, p2-p3V=24 pp Staves: space for 9 staves per col.

Copies: I-Milan, Ambr Copies seen: I-Milan, Ambr, 405 Lacks f o8 (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 7T2: Dono Carlo Nardi Missale Romanum Venice: Pietro de' Piasi & Bartolomeo de' Blavi, 1479 H 1137i; Graesse 4:548 Note: in his index (p 329), Weale corrects H from a missal to a breviary 50 Missale Romanum Milan: Leonard Pachel & Ulrich Scinzenzeller, 3 VII 1480.

H 11372; P 5933; BMC VI:748; IGI 6595; W 864; M-B 124 Incipit, f ai, red: Incipit ordo miJfalis fecudu confuetudinem romane curie I Diica pria de aduetu Statio I ad fanctam mariam maiorem | Introitus Explicit, f E5V, red: 3t' black: MiIfale gpletu fecudum I 9fuetudine romane curie fum I ma cum diligentia Mediolani I Impreffu3 opificio 7 impenfa I Leonardi pachel i Ulderici fcinczenceller de Alamagnia I Iocio Anno dni M.cccc I Lxxx pridie kalendas Augu I ftas Sub ducibus IlluJtriJJi I mis Bona 7 Iohanne galea3 Vicecomitibus Collation: 2° 7T8 a-z8 A-D8 E6=230 ff 35 11 2 Col Music: space for music Music pages: k8-13", m5V-n2, n4-n5=2I 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 I45 mm Binding: Blind-stamped leather (restored) I-Milan, Ambr, 645 Lacks ff b3-b6 (replaced in manuscript) Paper that was pasted on has been removed from f n2v (Crucifixion?) Size: 201 X I42 mm Provenance, f E5V: 1489 die viii Ap'lis Ego pbr Johannes de Casteonors Capelanis ppetua eretie seu capelle sancti petri de dauena Ex mea p'pa deuotioe ac dolutate legani de Indicani post meum discesu pnio' meu missale pd'ca ecclle sci petri Binding: blind-stamped leather over boards, I of 2 clasps missing.

51 Missale Romanum Venice: [Johann von Koln & Johann Manthen], 23 VIII 1480 R 998; IGI 6596; Polain 4572; W 865 Title (Polain), f ai, red: [I]Ncipit ordo missalis se I cundum cosuetudinem curie romane cu officijs I nouis Dominica prima de ad I uentu statio ad sactam Maria3 I maiore Explicit, f z6: Finit ordo miffalis diligeter emre dati:cum officiis nouis fecundu3 I conjuetudinem romane curie im I prefji Uenetiis: die.xxiii.Augu If ti.Mcccclxxx Collation: 2° 7T6 a-x8 y-z6= x86 ff 41 11 2 col Illustration: woodcut Crucifixion (f k8V) Music: space for music Music pages: f6-f7", h5^{V, h6-vi3v, i8", k2v-k8, 12-13 =29 pp Staves: space for 8 staves per col Copies: B-Heverlee, Centre de Doc Rel.; Louvain, Jes; I-Padua, BU; Venice, BN; Cor Copies seen: I-Padua, BU, Sec" XV 38o Lacks f z6 Provenance: St Anthony of Padua feast on calendar Binding: vellum (recent) Venice, BN, Inc V.37I Decoration: initials in gold and colors Size: 300oo 198 mm Binding: blind-stamped leather (restored), clasps missing Cor, F7i Lacks f k8; vellum leaf inserted between k7 and II with end of Ite Missa Est and Crucifixion (watercolored) Size: 272 X 198 mm Provenance: F H Cicogna Binding: blind-stamped leather over boards (restored), clasps missing (see Tammaro de Marinis, La legatura artistica in Italia nei secoli XV e XVI, 3 vols., Florence: Fratelli Alinare, 1960, 2:71, 1529).}

52 Missale Romanum Venice: Battista Torti & Soc., 31 VIII 1481 C 4 88; R 6:96; Goff M69o; IGI 6598; Polain 273 ; W 866 Incipit, f ai, red: [I]Ncipit ordo miSIalis fecundii coluetudine I curie romane cum officiis nouis Dominica prima I de aduentu ftatio ad fanc I tam Mariam maiorem I Explicit, f: G6': ImpreJfum Venetiis: per I Baptifta de tortis 7 foci I os anno falutis M cccc I Lxxxi die ultimo augufti Collation: 2° T6 a8 78 98 98 8 A G6=268 ff 33 11 2 col Illustration: woodcut Crucifixion, f p7v Music: space for music Music pages: i2V-i3', mi, m3'-nI, 03, o8-p5, p6'-7, qi'-q336 pp Copies: B-Brussels, BR; I-Verona, BC; US-Washington, LC Copies seen: B-Brussels, BR, C242 Staves drawn by raster Size: 332 X 232 mm Provenance, f r xi: Monasterij Forestensis [Brussels] I-Verona, BC, Inc 858 Decoration: initials and Crucifixion in colors Provenance, f G6": Nota che questo messale sia dela copagnia de M Sca Maria e de Jca Maria e de see theodoro T de sco Sebastiano del domo Binding: blind-stamped leather over wood, 9 of io bosses, 2 clasps (restored).

53 Missale Romanum Milan: Leonard Pachel & Ulrich Scinzenzeller, i8 IX I481 C 4187; IGI 6599; LD 304; W 867 Incipit, f ai, red: Incipit ordo miJfalis fm cofuetudine romane curie I Dnica pria de aduentu Sta tio ad fancta maria maiore I ntroitus Explicit, f ggi : Miffale completu fm con I Suetudinem romane curie ) Jumma cu3 diligentia Me I diolani ImpreJfu3 opifico ) i7duftria Leonardi pachel~7 Ulderici fcinczenceller de I Alamania focio4 Anno do I mini M.cccc.Lxxxxi.

quartodecimo kaledas Oc I tobres. Sub ill'o duce Ioh'e | Galea3 Maria Sforzia Ui I cecomite. Collation: 4°. 7T a-z8 aa-ff8 gg—2=252 ff. 35 11. 2 col. Music: space for music. Music pages: 18V-m4, n7 -o4, o6-o7=22 pp. Staves: space for 8 staves per col. Copies: F-Colmar, BM (W); I-Milan, BN. Copies seen: I-Milan, BN, Gerli Inc. 4I. Numbered in ink, lacks f. 189. Size: i95 X 136 mm. .4- Missale Romanum. Milan: Antonio Zarotto, 8XI 148I.GW ms; IGI 6600; Ganda 93; LD 305; Livres de liturgie, r54 (plate between pp. 78 and 79 off 21'5 ; Sander 473 r; W 868 Incipit (GVW ms), f ai, red: Incipit ordo miffalis fecundum I confuetudinem romane curie. Colophon (Sander): Antoni patria parmensis gente zarote I Primus missales imprimis arte libros I Nemo repertorem nimiu se iactet: in arte I Addere plus tantum q3 pepisse ualet. IMediolani. M.cccc.lxxxj. ( Sexto idus nouembres. Collation: 2. rT8 a-k8 14 218 m-s t-u" X-y = 192 ff. 41 11. 2 col. Illustration: woodcut Crucifixion on f. 215v. Music: space for music. Music pages: i2v-i6v, k7V-14, 213-214=22 pp. Copies: I-Milan, BN. Copies seen: I-Milan, BN, Gerli Inc. I;7. 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 XIII 1481. See Fig. 39H II375; Goff M69I; IGI 66o0, 6:241; Essling i8; CIBN M450; Martimort 6; Molitor, Nachtriden, 96; Pellechet 8079 (8oio); Sander 4732; W 87o variant; M-B I26= 125 Incipit, f b i, red: Incipit ordo miffalis fecun I du gfuetudine romane curie I Dnica prima de aduentu. I Statio ad fca3 maria maio- re. Ad milfam Introitus. Explicit, f I 12 [signed 16]: Explicit miffale fecundum I more3 romane ecclefie per I fratrem Philippu3 de ro- I tigo Matuani: ordinis mi I nov: de obleruatia bona di- I ligentiu 7 fideli ftudio pur I gatu: ab his erroribus: quibus vel ignorantia vel icu- j ria librarioru adductis co- I munis abufus inualuit. I Quocirca quicuq3 legerit: I objecratum velim ne adhi I beat manu3 precipitem ad I corrigendam: vel poti9 cor- I rumpendam libri rectitudi I nem magno partam labo- I re: fed multiplicato fincero I examine poftmodum exe- I quatur quicqd recta ratio: I T fpiritus veritatis igefferit I Ad laudem omnipotentis I dei 7 fanctiJfime virginis matris eius: ac Seraphici I patris Francifci: totiufq3 I curie celeftis. Amen. I Impreffum venetijs arte 1 7 ipenfis Octauiani Sco I ti Modoetienfis fub In- I clito Duce Ioane Moce- I nico. quarto kaledas Ia- I nuarij. I M. CCCC. LXXXI.

Collation: 4°. a-p8 ql2 L)6 r' s-z 8 98 8 A-K8 L 2-310 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: mIv-m2, PI, p3, p6-q4, LLI--LL5, rI-r3, r6v-r8v, s I-s8, t2 -t4= 57 pp. Note: Meyer-Baer describes the music as manuscript except "on fol. rij b one row printed stave with four lines, metal ledges." All copies that I examined had no printed staves; those with manuscript music had staves drawn with a raster. There are only 4 mm between columns. Copies: D-Gottingen, UB; F-Paris, BN2; Maz; I-Cesena, BC; Milan, BN; Parma, Pal2; Rovigo, Acc Conc; Siena, BC; US-CA-San Marino, Hunt; Washington, Holy Name. Copies seen: F-Paris, BN, Res. I633. Manuscript music in white roman plainchant; red lines drawn by raster. Decoration: historiated major initials in gold and colors, watercolored Crucifixion. Size: I99 X 140 mm. Provenance (front flyleaves): 17 Oct. i60o, Eglise St. Pierre. Bibl. Royale. Binding: black leather stamped in gold, M. PIERRE MARCHAND. F-Paris, BN, Res. I634. Lacks sheet tl.8; gathering LL misbound after gathering r. Manuscript music only on f. I 12" (Sanctus); some staves drawn by raster in red, others are crude lines drawn in brown ink (ff. p6V-q ). Decoration: red and blue major initials, blue minor initials.

Size: 216 X i45 mm. Provenance (front flyleaf): Ex libris Silvini Poulin(?), I577. Binding: blind-stamped leather over boards, 2 clasps missing. Maz,

Inc. 292. Lacks f. al, blank. Decoration: initials in blue. Size: 205 X 140 mm. Binding: 18th century calf. I-Milan, BN, Inc. 40. Manuscript music in gothic notation (ff. r6-r7) and roman notation (ff. p6-p7); staves drawn by raster. Lacks ff. ai, a3, 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: I99 X I30 mm. Binding: leather stamped in gold: BIBLIOTHECAE REGIAE PARMENSIS. Siena, BC, M.VI.I3. 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. I673; f. qi; De Pre' Claudio Cennj. di Siena, 1697. US-CA-San Marino, Hunt, 925I9. Lacks f. aI, sheet Ki.8. Manuscript roman plainchant with staves drawn by raster. Decoration: colored Crucifixion, blue initials, rubricated in yellow. Size: 211 X I45 mm. Provenance, back pastedown: Don M. Avroa de los Constitutiones [manuscript notes in Spanish]. Label: Ch. Fairfax Murray. Binding: rolled leather (repaired), clasps missing. Missale Romanum. Venice: Franz Renner, I481. H 11373; BMC V: 96; Goff M692; IGI 6597; CIBN M45i; Martimort 20; Pellechet 8077= 8078 (8009); Polain 2730; W 871; M-B, p. 21 Note: no space for music.

Copies: D-Munich, SB2; F-Paris, BN; Maz; GB-London, BL; I-Florence, BN; US-MD-Baltimore, Walt; Vatican City, BV. Copies seen: D-Munich, SB, 8° Inc. c.a.9. GB-London, BL, IA 19880. I-Florence, BN, K. 7.53 56. Missale Romanum. Rome: Stephan Planck, 5 III I482. H I 377*; IGI 6603; Sander 4734; W 872 Incipit, f [al], (I), red: Incipit ordo miJfalis fecundu confuetudine3 cu I rie Romane. Domica pri- I ma de aduetu. Explicit, f. [E9], red: Sacrum fanctumq3 hoc I opus ad honorem 7 glo1 riam omnipotentif dei ac I domini noftri ie'u chrifti I mpreffum Rome per ve-I nerabilem uiru3 magiftru I Stephanum Plannck de Patauia. Sub anno dni I Millejimoquadringente fimooctuagefimoJecudo I Die vero quinta menfis ) Marcij. Regnante San- I ctifJSmo in xpo patre 7 do I mino nro; dno Sixto diui I na puidentia papa quar- to. Anno eius vndecimo. Regiftrum huius libri. Collation: 2 . [rT6 a-kIo 112 m-n'0 o6 p-t1o u8 X-10 X'0 A-E°1]=292 ff., numbered [6] I-CCLXXXIII [I]. 32-34 11. 2 col. Register specifies eight leaves in signature m. Illustration: woodcut Crucifixion, f. [n5v] CXXVI".

Music: printed notes and staves. Music pages: [h5s-6, k9, 12v-7v, m4V-5, m7-n5, n7V-n9] 36 pp. Staves: 7 red 5-line staves per column, 210 X i45 (65-66) mm. Music type: RI. Copies: D-Munster, UB; I-Florence, BN; Todi, BC. Copies seen: I-Florence, BN, E.I.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. [7r i], stamp: FLORENTINAE.BIBLIOTH.PUB. Binding: stamped colored paper, leather spine with paper label. 57. Missale Romanum. Naples: Matthias Moravus, i6 III 482. C 4 89; R 5: 97; IGI 6604; Fava and Bresciano 128; Graesse 4:548; GW ms.; Martimort 5; Van Praet, 3:ii2, I28 bis; W 873 Incipit (Fava), f: [b I], red: Incipit ordo miJJalis fecudu I confuetudine curie Romane I Explicit (Fava), f [15]: In alma ciuitate Neapoli fub inuictiJ imo Ferdinado rege I feliciter impreJfu3. hic finem I accipit. In plerifq3 etiam lo ) cis per religiofum fratre Ber I nardinum Siculum ordinis I minoru3 fumma opera adhi I bita diligentiffime emedatu. Anno falutis .M. cccc. lxxxij . ] Die uero xvj. menfis Martij.

Collation (GW ms): 4°. [a6 b-n8 o p-t8 u6 x-z A-H8 I6]=252 ff. 36 11. 2 col. Music: space for music. Copies: I-Rome, Cas; Vatican City, BV2. Copies seen: Vatican City, BV, Barber AAA I. I I; Ross 2i67, fragment. 58. Missale Romanum. Venice: Bartolomei de' Blavi, Andrea Torresani, & Maffeo de Salodio, 2 VII 1482. H 11378*; Goff M692a (Suppl.); IGI 6605; Essling 20; GW ms.; Sander 4735; LD 307; W 874

Incipit, f A i, red: [I]Ncipit ordo miffalis fecundu3 I cofuetudine curie romane cum I officiis noui: Dnica prima de ad uetu ftatio ad facta Maria maio I rem Explicit, f Y7, red: Impreffum efi: hoc miffale uenetiis I impendio Bartholomei de alexan d dria Andree de afula Mapheiq3 d' ( salodio focioy Anno falutis dnice I M.cccc.lxxxii fexto nonas Julii Collation: 4. 78 A-G8 H6 I8 K'0 L-M8 N-06 P-R8 S' T-Y8= 182 ff 40 11.2 col GW ms.: 7'6 and a total of 80 ff Illustration: woodcut Crucifixion, f K5v (reproduced in Essling, p 58) Music: space for music Music pages: F5, H3, H5-I i K i'-K5V, K7r-v = 8 pp Copies: D-Gittingen, UB; Munich, SB; I-Milan, BN; Triv; Subiaco, Ben; Venice, BN; US-TX-Dallas, SMU Copies seen: I-Milan, BN, Gerli Inc 29 Lacks f 114 Decoration: initials rubricated and flourished Size: 271 X 205 mm Provenance, f TI: Rutgerus Haenrath Anno 505 Die 20 februarij f r iV: Marie Ludovicus Rotgarius a Samarelo-Anno 365 Sabbato 29 Julii Front pastedown, bookplate: Ex libris MLR de Samarelo I Bibliotheques de Semalle et de La Gastine Bookplate: Duke of Parma Triv, B 83/Ill Lacks gathering Tr8. Size:

246 X I75 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 5o.* Missale Romanum Milan: Leonard Pachel & Ulrich Scinzenzeller, VIII 1482 IGI 6606 Incipit (IGI), f ai: Incipit ordo missalis f3 I cosuetudini romane curie Dnica prima de aduetu sta I tio ad sancta maria maiore Introitus Explicit, f M8' : Mi'fale completu fm con I fuetudinem romane curie I jumma cum diligeia Me I diolani Impreju3 opificio 7 idustria Leonardi pachel I 7 Ulderici scinczenceller d I Allamania focioru3 Anno I domini.M cccc Lxxxij ) De menSe Augufti.: I Sub ill'o duce [ohanne I Galeazio Maria Sfortia Uicecomite Collation (IGI): 4°. I8 a-i2 A-K'L L-M8=252 ff 33 11 2 col Illustration (Frutaz): blank page for Crucifixion with woodcut pasted on Music: ?

Bibliography: Amato Pietro Frutaz, "Due edizioni rare del Missale Romanum pubblicate a Milano nel 1482 e nel 1492," in Miscellanea Giulio Belvedere, Collezione "Amici delle Catacombe," 23, Vatican City: Societa "Amici delle Catacombe," 1954, pp 55-I07 Includes plate of f M8' ([252]) with colophon Copies (IGI): I-Foligno, Sem; Torgnon, ArchParr Copies seen: none I-Foligno, Sem, could not be found during my visit (summer 1979) Torgnon, ArchParr (Frutaz) Size: i70 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 Chatel: "Istud missale pertinet honesto domino Jacobo Castri presbitero de b[urgo] Moriacii commorante in parrochia sancti dionisii m° v' xlvii et die autem decima mensis decembris." Rebound in I953 60 Missale Romanum Edited by Philippus de Rotingo Venice: Ottaviano Scoto, 31 VIII 1482 H 1 376; C 4190; IGI 6607; Essling 21; Martimort 7; Sander 4736; W 875 = 879*

Incipit, f bi, red: Incipit ordo miffalis fecundu3 I confuetudinem romane curie I Dominica prima de adventu I Explicit, f 7%, red: Explicit miffale feciidu morem I romae ecclefie p fratre Philippu de rotingo Mantuanu ordi nis minoq de obferuantia bona I diligetia 7 fideli ftudio purgati I ab his erroribus: qb9 vel igno I rantia vel icuria librarioru ad I ductis comunis abufus lualuit I Quocirca qcuq3 legerit: obfe-I cratu veli ne adhibeat manu pci I pite ad corrigeda vel poti9 cor rupeda libri rectitudine magno parta labore: 13 multiplicato fin I cero examine poftmodum exe I quat' qcquid recta ratio: 7 fpiri rit9 veritatis igefferit Ad lau de olpotetis dei 7 factiffime vir I ginis matris eius: ac Seraphici I patris Francifci: totiufq3 curie celeftis Amen I ImpreJuf venetijs arte 7 ipejis Octauiani Scoti Modoetiefis I fub Inclito Duce

Ioane Mo-I cenico Pridie Kal' feptebris MCCCC.LXXXII I f ,8: In folenitate Collation: 2° a6 b-z8 78 98 8=206 ff 4011 2 col Illustration: woodcut Crucifixion, f n7V. (Essling, 2, p 59.) Music: printed notes and staves Music pages: h2r-v, k2r-v, k3v, k6-liv, 18-m3, m4-m6, m8-n7, OI-02=43 pp Staves: io red 4-line staves per col.,) 231 X i6o (76) mm Music type: R3 Copies: I-Bologna, BU; Florence, BN; Reggio Emilia, BM; Rome, CollIntFranc; Vatican City, BV3 Copies seen: I-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 1.25 First gathering misbound as ai, 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 io 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 ,8V Decoration: initials in blue, major initials flourished in red Size: 326 X 222 mm Binding: parchment with inked label on spine.

61 Missale Romanum Milan: Christoph Valdarfer, I IX 1482 See Fig 56 Gesellschaft fir Typenkunde, 25 (i93i): Tafel 1928 Incipit, f [a]: Incipit ordo miffalis fecudu c6 fuetudine romane curie Dniica I prima de aduetu Statio ad fan I ctam maria maiore Introitus I Explicit, f [z6]: Impreffum Mediolani Per I Xpoforum Valdarfer Ratifpo I nenfem fumma cum diligentia I ac ftudio cum aliquibus miJfis I nuper inuentis Anno domini M.cccclxxxij Die primo men ) fis Septembris-i o 8 4,L s8112 8 8 1 0 8 6 Collation: 2 [vT8 a4 b-k8 112 m8 n-s t-ul x y z }6 192 ff Music: printed notes and staves Music pages: [k2V-k6, 17V-1I2} - I9 pp Staves: 8 red 4-line staves per page Music type: R26 Bibliography: Francesco Spessot, "Libri liturgici aquileiesi e rito patriarchino," Studi Goriziani 35 (I964): 77-92 Pietro Buzzetti, I libri liturgici di rito patriarchino per la diocesi di Como, note storico-bibliografiche, Como, 1906 Note: Spessot refers to the work as a Missale Aquileiense Copies: D-Berlin, SPK Copies seen: D-Berlin, SPK, 4° Inc 3068.20 Lacks ff i71-7T3, 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 I868 the copy belonged to an architect, Giuseppe Chicerio-Scalabrini (Buzzetti, p 48) The accession number of Berlin SPK includes the year 93 i, and the binding was done after that date 62 Missale Romanum Edited by Philippus de Rotingo Venice: Ottaviano Scoto, 28 XI 1482 C 419I; BMC V:277; Goff M693; IGI 6608; CIBN M453; Essling 22; Martimort 8; Pellechet 8I I5 (8045); Sander 4737; W 877; M-B 127 Incipit,f bi, red: Incipit ordo miffalis fecun | dum 9fuetudinem romane cu I rie Dominica prima de adue I tu Statio ad fanctam mariam I maiore Ad mila3 Introitus I Explicit, f E6: Imprefum [sic] venetijs arte 7 im pefis Octauiani [or Ocotauiani] Scoti Mo I doetienfis Sub Inclyto Duce I Ioanne Mocenico quarto I kalendas decembris I M.CCCCLXXXII Collation: 4°. a6 b-m8 n4 o-z8 78 98 8 A-D8 E6=240 ff.; unsigned: 12, m2, m4, p2, p4, q2, E2; mis-signed: m3 as q3, ni as n3, n2 as n4.

GW ms: m-n6 33 11 2 col State I, printed staves (I-Bologna, BU) State 2, printed notes and staves (I-Ferrara, BC; Florence, BN; GB-London, BL) Illustration: woodcut Crucifixion, f p8v. Music: state I, printed staves without notes; state 2, printed notes and staves except on f mi", where only printed staves appear for the melismatic "Ecce legnum." Music pages: i5-i6, 18 v, miv, m4v-m8, 03v-05", o8-p8, q2-q3=39 pp Staves: 8 red 4-line staves per col., 157 X II8 (5I-53) mm Music type: R4 Copies: CS-Olomouc, SB; D-Augsburg, SB; Munich, SB3; F-Paris, BN; GB-London, BL; I-Assisi, Cap; Bologna, BU; Ferrara, BC; Florence, BN; US-NY-New York, bookseller Copies seen:

GB-London, BL, IA. 21185. Lacks ff. a .6, p8, C8, DI-D:!, most of D3, D4-6. Decoration: major initials and border in gold and colors; minor initials in blue flourished in red. Size: 215 X i50 mm. Provenance, . E6: Questo libro sie de p1 nicolo brusulato; f. E6V: Guarini Veronensi I In Venetia I Ad Nicolaf 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: 2I5 >X I53 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 I55 mm. Provenance, f. ai: S. Dominici Ferrari; old stamp: P. VNIVERSITA DI FERRARA, [in ink] 0.2.6. Binding: cardboard with gatherings held by 2 new leather thongs. Florence, BN, D. 7.6. io. 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 he delle monache di san nicholo in via del [?]; leaf before f. aI: [)ella Infermeria. Binding: blind-stamped and ruled leather (restored with 2 new clasps).

Missale Romanum. Venice: Andrea Torresani, 1:482. Renouard 496; W 880* Collation (W): 2°. Note: ghost? Renouard gives a single location, I-Milan, Triv, at which no such edition is known. The Biblioteca Trivulziana does own the quarto missal printed in 1482 by Torresani with Blavi and Maffeo de Salodio (D 58, W 874). Missale Romanum. Venice: [s. typ.], 1482. C 4 I90; W 879* Note: ghost? The catalog of incunabula at Vatican City, BV, suggests that C 4190 and W 879* is identical to D 60 (H 11376 and W 875). Missale Romanum. Venice: Giovanni de' Gregori, Gregorio de' Gregori, Giacomo Britannico, & Antonio Stanchi, 31 I i482/ I483. C 4192; IGI 6602; CIBN M 452; Essling 19; Sander 47J3; W 878; M-B, p.22 Note: no space for music. Copies: CH-Zurich, ZB; D-Tubingen, UB; F-Paris, BN; I-Ferrara, BC; Forli, BC; Genoa, Fra. Copies seen: I-Ferrara, BC, S. 6.I.II. Lacks gathering m8, including the woodcut Crucifixion (f. m5V). Missale Romanum (Glagolitic). [Izola?

Modrus? Kosinj? Venice?], 22 II I483. Bosnjak 36; Gspan-Badalic 760; W I33o; M-B, p. 22 Collation: 2°. IT6 1-268 27h [signed in Glagolitic letters] 220 ff. 36 11. 2 col. Bibliography: facsimile edition: Missal pr Zakonu Rimskoga Dvora, commentary by Slavko Goldstein, Ivo Franges, Edo Hercigonja, and Katica Zorzut, Zagreb: Liber, 1971. Barbara Krader, "The Glagolitic Missale of 1483," Library of Congress Quarterly Journal 20 (1963): 93-98. Josip Badalic, "Um den Druckort und den Drucker des altesten sudslawischen Wiegendruckes Missale Glagoliticum I483/ 1484," Gutenberg-Jahrbuch (1960): 122-26. Franc Paro, "Tipografska analiza hrvatsko-glagoljskog prvotiska Misala po zakonu rimskoga dvora iz 1483" (Typographical analysis of the Croatian glagolitic incunabulum Missale Romanum of I483), Slovo 34 (1984): 9I- IO.Note: no space for music. Copies: A-Vienna, NB; US-Washington, LC; USSR-Leningrad, NB; Vatican City, BV2; Y-Bol na Bracu, D; Zagreb, AK; NB2. Copies seen: US-Washington, LC, Vollbehr. 213 ff. Size: 258 X i80 mm. Vatican City, BV, II 733. 217 ff- Size: 312 X 218 mm. Vatican City, BV, II 734. I71 ff. Size 289 X 204 mm. Missale Romanum. Milan: Leonard Pachel

& Ulrich Scinzenzeller, VII 1483. C 4196; IGI 66Io; W 883 Collation: 8°. 78T a-m8 n6 A-R8=246 ff. 35 11. 2 col. Music: no space for music. Copies: CH-St. Gall, StB; I-Naples, BN. Copies seen: CH-St. Gall, StB, 1007. Binding: blind-stamped leather, 2 clasps missing. 63. Missale Romanum. Venice: Bernardino Benali, Giorgio Arrivabene, & Paganino Paganini, 4 XII 1482/I483. or 29 I I483/1484H II380o= I38 (240ff); C 4193; Goff M696; IGI 6611; Essling 23; Pellechet 8080; Sander 4738; W 884; M-BI29

Incipit, f a , red: Incipit ordo miffalis fecu I dum 9fuetudine3 romane cu I rie Explicit, f E8v, red: Explicit miffale fm morem romane ecclefie diligeter eme I datum: Uenetijs imprejfum: cura impenfifq3 Bernardini I bergomefis: Georgij mantuani: 1 Paganini brixiefis Du I ce Inclyto Ioane mocenico.xxviiij kl' Ianuarii I483 Collation: 8o 7rT (ab)' c-n o4 p 0 q-z8 1898 8 A-E8=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 (US-NY-New York, PML) are signed: o, 02; o3 is signed in I-Milano, Ambr Gathering p (I-Bologna, BU; Rome, Cors; US-NY-New York, PML) is signed: pi, unsigned, p2, 03, P4 Gathering p in I-Milan, Ambr is signed: pi, p2, unsigned, P4, 03 Illustration: woodcut Crucifixion, f p8V. Music: printed notes and staves; printed staves only on f 18 Music pages: i3-i4, 16-17, 18, m3-m7, n7-n8, pIv-p8, q2-q3=34 PP Staves: 8 red 4-line staves per col., I22 X 85 (40) mm Music type: R5 Note: the date in the colophon (29 cal January I483) can be interpreted as 4 Dec I482/1483 or 29 Jan I483/1484.

Copies: F-Lyons, BM; I-Bologna, BU; Guastalla, BC; Milan, Ambr; Rome, Cors; P-Wloclawek, Sem; Wroclaw, Kap; US-NY-New York, PML Copies seen: I-Bologna, BU, A.V.KK IX.26 (Gaspari 565) Decoration: watercolored Crucifixion Size: I64 X 112 mm Binding: red morocco Milan, Ambr, Inc 712 Lacks four leaves in gathering z, ff 91, and sheets ci.8 and 1I.8 Binding: bind-stamped 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: I68 X I17 Binding: modern stamped leather 64.* Missale Romanum [Venice: Erhard Ratdolt, ca 1483.] R 632; W 882 Title (R), f ia, red: [M]Issale scd'm I morem Ro I mane curie Incipit (R), f II (numbered i), red: ( Incipit ordo Missalis m rn cosuetudine Romane curie ) Dominica prima de aduetu I Statio ad sanctam maria ma iorem: ad missam Introitus Explicit (R), f 253 (numbered 243 ), red: Finis Collation (R): 4° 8 (2) 243 (I)=254 f., signed +a-z 7 9 A-F 34 11 2 col Music: ? Copies: none known.

65 Missale Romanum Venice: Francesco Girardengo, I IV 1484 H II383; BMC VII: lviii, n 2; CIBN M 454; Pellechet 8082 (80I3) (Pavia); W 89I*; M-B I33 Incipit, f ai, red: Incipit ordo mijfalis f3 g9ue I tudine3 romane curie Dnica I prima de aduentu Statio ad I facta maria maiore Introit9 I Explicit, f cc4, red: Impreffum Venetijs p Fra I cifcum de girardenghis I M.cccc.lxxxiiij die primo Aprilis Collation: 20 7T8 a0 b-m8 n'O o-z8 78 98 8 aa-bb8 cc= 240 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 11-15, m8v"n6", ng-nIo=25 pp Staves: 8 red 4-line staves per col, I95 X 147-48 (68.5-69) mm Music type: R29 Copies: F-Paris, BN Copies seen: F-Paris, BN, Res B I635 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: Jean-Baptiste Colbert; Bibl Royale Binding: gold-stamped red morocco.

Reissue Missale Romanum Pavia: Francesco Girardengo, 13 IV 1484 H I3 85; CIBN M454; Pellechet 8083 (8013); W 891a; M-B 134 Incipit, f ai, red: Incipit ordo miffalis 3 9fue I tudine3 romane curie Dnica I prima de aduentu Statio ad I Jacta maria maiore Introit9 ( Explicit, f cc4, red: Impreffum Papie per Fra I cifcum de girardenghis I M.cccc.lxxxiiij Idibus ) Aprilis Collation: 2 a' b-m8 n o-z8 9 aa-bb cc =232 ff 36 11 2 col Illustration: blank page for Crucifixion, f n7 Music: printed notes and staves Music pages: 11-5, m8v-n6V, n9-Io=25 pp Staves: 8 red 4-

line staves per col., i95 X I47-48 (68.5-69) mm. Music type: R29. Note: this issue varies from the first issue only in place, date, and absence of a calendar in a preliminary gathering. CIBN calls the two items different states of the same edition. Copies: F-Paris, BN. Copies seen: F-Paris, BN, Res. 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. (,6. Missale Romanum. Edited by Philippus de Rotingo. Venice: Bernardino Benali, 15 VIII 1484. C 4I9;;Brunet 3: '759; CIBN M455; Martimort 9; Pellechet 8084 (80o4); W 888; M-B I3IIncipit. f a , red: Incipit ordo miffalis fm confuetudine3 romane curie. Do- I minica prima de aduentu. Sta j tio ad fanctam mariam maiorem. Ad miffam. Introitus. I Explicit, f H7, red: Explicit miffale fm morem ro- I mane eccl'ie p fra3 Philippi de I rotingo Mantuanu ordinis mi I noru cle obferuatia bona dilige- I tia 7 fideli ftudio purgatu ab hif I errorib9: qb9 ul' ignoratia

uel in- I curia librarioru3 adductis cois I abufuf Tualuit. Quocirca cuiq3 I legerit: obfecratu uelim ne adhi I beat manu precipite ad corrigen I dam uel poti9 corrupenda3 libri rectitudie3 magno ptai labor: 3 I ml'tiplicato fincero examie: poft I m63 exeqt' qcqd recta r6 7 fpus pitatis igelferit. Ad laude oipo I tetis di 7 fciSSime ygif mFis ei9: I ac Seraphici pris Fracifci: toti ufq3 curie celeftis. black: Imprefiu uenetijs arte 7 lpefis I Bernardini d' Benalijs bergo mefif fb clito Duce Ioane mocenico. xv: die menfis augufti. I MCCC-CLXXXII[I f H7V: [register]f. H8, red: Nauis noue bedictio cofueuit fieri hoc modo. Collation: 2°. t6 a-d8 e4 f-g8 h6 i8 k4 I-o8 p" A-H8= 182 ff. 42 11. 2 col. Illustration: blank page for Crucifixion, f. m5". Music: printed notes and staves; staves only on f. gi (preface, Palm Sunday). Music pages: gI-g2, ii , i2, i4-i8, I -14, 15-16, 17-m5, m6v-7v= 37 PP. Staves: io ( I ) red 4-line staves per col, 215 X 144-46 (68-70) mm. Music type: R6. Copies: D-Munich, SB; F-Paris, BN. Copies seen: F-Paris, BN, Vel. I33. Decoration: Crucifixion (on blank v. m5v) and major initials in colors and gold, minor initials in blue. Size: 3 I6 X 2 9 mm. Binding: gold-stamped calf with marbled endpapers.

67. Missale Romanum. Venice: Giorgio Arrivabene & Paganino Paganini, 27 IX 1484. H I1386*; P 4908; BMC V:382; IGI 6614; Essling 25; Martimort 14; Sander 4739; W 889; M-B 132 Incipit, f:bi,red: Incipit ordo miffalis fecundum I confuetudinem romane curie. I Dominica prima de aduetu. Sta I tio ad fanctam mariam maiorem. I Explicit, f. y7, red: Explicit miffale fecudu more roma I ne ecclefie: fumma cu diligentia 7 fi- I deli ftudio purgatu ab his errorib9: I bus uel ignoratia uel incuria libra I riori adductis comunis abufus in- I ualuit. Quocirca qcunq3 legerit: ob fecratu ueli ne adhibeat manu pcipi I te3 ad corrigeda uel potius corrupe I da3 libri rectitudine magno parta la I bore: fed multiplicato fincero exami I ne: poftmodu exequat' qcqd recta ra I tio: 7 fpirit9 ueritatis ingefferit. Ad I laude oipoteti dei 7 fclffime uirgis I matris ei9: totiufq3 curie celeftis. I Impreffu3 uenetiis arte 7 impefis Georgii de riuabenis mantuani: 7 | Paganini de paganinis brixiani fo I cioru3: fub Inclyto Duce Ioanne I Mocenico. quinto Kl'.octobris. I Mcccc.Lxxxiiii. Amen.f y7, red: Regiftrum huius operis. ( [printer's mark]. Collation: 2°. a6 b-k8 16 m-y8= 72 ff. 43 11. 2 Col.

Illustration: woodcut Crucifixion, f. 15v. Music: state i, printed staves (Vatican City, BV); state 2, printed notes and staves (all others seen). Music pages: g2r", h7r, h8", i2-i4^{v, kIV-k4, k5-k6, k8-15, 16-mV"=32 pp. Staves: red 4-line staves per col., 230-32 X 155-57 (72-75) mm. Music type: R6. Note: the use of music type R6, attributed to Bernardino Benali, suggests that he may have been the printer of the music. Copies: A-Vienna, NB; CH-Basel, UB; D-Freiburg im Breisgau, UB; Munich, SB; GB-London, BL2; I-Florence, BN; Modena, Cap; Udine, Arc; Vatican City, BV. Copies seen:A-Vienna, NB, Ink 8.C.2I. GB-London, BL, IB 22487.Decoration: major initials in gold and colors, minor initials in blue. Size: 323 X 220 mm. Binding: stamped leather (restored), 2 clasps missing.Hirsch 111.933.}

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.5.9 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: 3I6 X 210 mm Provenance, f y8: S Silvestri quirinalis Binding: vellum 68 Missale Romanum Edited by Philippus de Rotingo Venice: Nikolaus von Frankfurt, I484 H 11382; IGI 6613 Essling 24; Martimort io; Sander 4740; W 892 Incipit, f ai, red: Incipit ordo miffalis Jm cofuetudine romane I curie Dnica pma de adue tu Statio ad fanctam I Maria maiore Ad miffa Introitus I Explicit, f 5, 7, black: Explicit mif ale fm mo-I rem romane ecclefie: per I fratre Philippu de rotin I go Mantuanu3 ordinis I minoru: de obferuatia bo I na diligentia 7 fideli ftuI dio purgatum ab his er rorib9: quib9 uel ignoran I tia uel incuria librariorui adductis cois

abufus in I ualuit Quocirca qcunq3 I legerit: objecratum velim I ne adhibeat manu pre cipitem ad corrigenda: uel I potius corripedam libri rectitudide magno par ) tern labore: fed multipliI cato fincero examine p9 I modu exequatur quicqd recta ratio: 1 fpiritus ve I ritatis ingefferit Ad lau I dem omnipotentis dei I fanctiJfime virginis ma tris eius: ac feraphici pa I tris francifci: totiufq3 cu rie celeftis Amen I red: ImpreJfum venetijs arte ) et impenfis Nicholai de I Franckfordia anno do I mini M cccclxxxiiij I black: Deo gratias Collation: 8° 78 2'7T a-y8 i-58=308 ff 31 11 2 col Illustration: woodcut Crucifixion, f r3 Music: printed staves Music pages: kI-k2, n3V, n7-04, P4-7, q2-r2, [r3-r4?], r5-r6=43[+?] pp Staves: 8 red 4-line staves per col., II X 71 (33-33.5) mm Copies: A-Klosterneuburg, SB; Vienna, NB; CS-Olomouc, SB; D-Munich, SB; Wurzburg, UB; I-Naples, BN; NL-The Hague, MW; P-Gniezno, AA; Wloclawek, Sem; Wroclaw, BU2 Copies seen: A-Vienna, NB, Ink XV.H.23 Lacks ff r3-r4 Manuscript gothic plainchant added to printed staves Size: 151 X o16 mm Binding: stamped and rolled leather "M V 158 I," 2 clasps missing.

69 Missale Romanum Venice: Piero di Piasi, Io XI 1485 C 4 99 (8, 238=242if.); Goff M 699; IGI 6617; Essling 28 ( t a-z 7 9 A-D8 E6 F-L8=246ff'); Sander 4742 (286 f.); W 895 (lacks f, 286 f.); M-B, p 23 (no printed music) Incipit, f ai, red: Incipit ordo miffalis fecundum conJuetudinem romane cu I rie Dominica prima de aduen I tu Explicit, f E6: Explicit miffale fecundum mo I rem romane ecclefie: per fratre3 I Phlippum de rotingo Man I tuanum: ordinis minorum: de I objeruantia bona diligentiae et ) fideli ftudio purgatum ab his I erroribus: quibus vel ignoran I tia vel incuria librariorum ad I ductis communis abufus in I ualuit Quo circa quicunq3 le I gerit: obfecratum velum ne ad I hibeat manum precipitem ad I corrigendam: vel potius corrumpendam libri rectitudinem I magno partam labore: fed mul I tiplicato fincero examine poft I modum exequatur quicquid I rectaratio: 7 fpiritus veritatis ingefferit Ad laudem omnip tetis dei 7 fanctiJfime virginis I matris eius: ac Seraphici pa I tris francifci: totiufque curie celeftis: Amen I Impreffum venetijs arte 7 im | penfis Petrum Cremonenfem I Dictu3 Veronenfem fub Incli I to Duce

Ioanne Mocenice I Die x nouembris M.CCCCLXXXV Collation: 4°. t6 a-I8 m4 n-z8 18 98 A-D8 E6=240 ff.; n and n2 mis-signed as o and 02 33 11 2 col Illustration: woodcut Crucifixion, f o8" Music: printed notes and staves (printed staves only on f ii, Ecce legnum) Music pages: h5-h6, k8r-, lIv, 14-18", n3V-n5v, n8-o8, p2-p3=40 pp Staves: 8 red 4-line staves per col., 140 X I07 (51.5-52) mm Music type: R6 Bibliography: Vittorino Finni, "Pietro e Tommaso Piasi tipografi cremonesi di secolo XV," La Bibliofilia 43 (1941): 86-I Io Copies: D-Berlin, SPK; Munich, SB2; I-Florence, BN; Venice, Cor; S-Uppsala, UB; US-NY-New York, UTSem Copies seen: D-Munich, SB, 40 Inc c.a.4 8h. Leaves oI and 02 signed in red Manuscript leaves (7) of sequences at back Decora-

tion: initials in red and brown, rubricated throughout Size: 217 X I59 mm Provenance, front pastedown: hic missale est mgri Iohannis, I487; f tI: Per me fr en Martinum Millejimo Quingentefimo Septuagefimoquinto Binding: blind-stamped leather over wooden boards, 2 clasps and bosses missing, finger tabs 4° Rar 362 Leaves oi and 02 signed in red Decoration: initials and Crucifixion in gold and colors, minor initials in blue Size: 216 X I54 mm Provenance, tI: Ex Ecclesie S Egidij 545 io Martij Binding: blind-stamped leather over wooden boards, 2 clasps and bosses missing I-Florence, BN, D 7.6 I Decoration: border in gold and colors on f ai with coat of arms (red lion over 3 red horizontal stripes on gold); blue minor initials Watercolored Crucifixion with gold added Size: 2 1 X 156 mm Provenance, f E6": 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, G98 Decoration: border on f ai with coat of arms (3 gold and black lions holding ferri of gondolas) Size: 2 7 X 157 mm Provenance: collection of Emanuele Antonio Cicogna (1769-1868), with his letter attached to flyleaf, dated 30 March i862 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 rei 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 ff t I and o8 (woodcut Crucifixion) Manuscript leaves (25) at the end contain sequences o Missale Romanum Edited by Philippus de Rotingo Venice: Nikolaus von Frankfurt, I485 C 4198; IGI 66I5; Goff M7oo; IBP 3756; Essling 29; Martimort ii; Sander 4743; W 897 (12, 296= o8ff.) Incipit, f ai, red: Incipit ordo miffalis fm cosuetudini romane curie Explicit, f 15, 8 red: Explicit miJiale fm or I dine fancte Romane ec| clejie magna cu diligetia I reuisum: et fideli ftudio I emendatum per fratrem ) Philippum de Rotingo I Mantuanu ordinis mi I norum de obfervantia I Impreffum I venetijs arte et impenfis Nicholai de I Franckfordia Anno dnii M.cccc.lxxxv black: Deo gratias Collation: 8° 7r8 2' a-y 1-15 312 ff 31 11 2 col.

Illustration: woodcut Crucifixion, f r3" Music: printed staves Music pages: kI-k2, n3v, n7-o4, q2-r2 =28[+ ?] pp Staves: 8 red 4-line staves per col Copies: CS-Ceske Budejovice, VB2; Olomouc, SB; D-Karlsruhe, UB (has both preliminary gatherings); P-Wloclawek, Sem2; S-Uppsala, UB; US-TX-Dallas, Baylor; Washington, LC Copies seen: US-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: 14i X 102 mm Prov.: John D Batchelder, I934 A note in Russian on an endpaper states: "In I873 this book was 388 years old." 7I Missale Romanum [Venice? ca I485-I490?] C 4 i82; Goff M 7I7 (Venice: Pincius ca i5oo); CIBN M 461 (Rome? Silber? ca 1489-1490?); CIBN Suppl (Venice? ca 1485-1490?); Hubay, Augsburg 1435 (Rome, Silber, ca I5oo); W 953 =968; M-B 67

Incipit, f; ai, red: [I]Ncipit ordo miSfalis fecundu g9uetudine I curie romane cum officiis nouis Dominica prima ) d' aduetu ftatio ad facta I Maria maiorem Ad mif J fam Introitus f K4 : niuis d'leat I ac faciat d' albata p Finis Collation: 2 (i, i2)6 a-z8 78 98 8 A-8 K4= 290 ff 33 11 2 col Illustration: blank page for Crucifixion, f q2 Music: space for music Music pages: kI-2, nI', n5-8", pi", pv4-8, qi'-q2, q4'-6=27 pp Staff: space for 9 staves per col Bibliography: Barbara Hellwig, Inkunabelkatalog des Germanisches Nationalmuseums Nurnberg (Wiesbaden: Harrassowitz, 1970), 675 (Venice: Arrivabene); Ferdinand Geldner, "Unbekannte und ungenugend beschriebene Missaldrucke des i5 und i6 Jahrhunderts," Gutenberg-Jahrbuch (1966): I32, and plate 2 off 47 Note: 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 My thanks to Paul Needham 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

German ownership of six of seven copies; no copies exist in Italian libraries Copies: D-Augsburg, SB; Berlin, SB; Munich, SB; Nuremberg, NM; F-Paris, BN (vellum); US-CA-San Marino, Hunt Copies seen: D-Munich, SB, 2° Inc S.a.879u Lacks gathering 7T6. D-Nuremberg, NM, Inc 2° 1o4047 Lacks (i, i2)76 and f q2 F-Paris, BN, Res vel 137 Manuscript roman chant on red 4-line staff Crucifixion illumination and large initials in gold and colors, border on f [aI] with arms and initials G.T.; medium initials in red and blue, flourished Binding: blind-stamped leather over wood, 2 clasps (missing) and bosses US-CA-San Marino, Hunt, 92564 Lacks sheet D4.5 Decoration: Crucifixion and major initials in gold and colors, minor initials in red and blue Size: 340 x 235 mm Binding: blind-stamped calf over wooden boards with beveled edges, clasps and bosses missing 72 Missale Romanum Venice: Andrea Paltasichi, ii II 1485/1486 H 11387*; BMC V:353; Goff M 698; IGI 66I6; Essling 27; Pellechet 8085; Sander 4741; W 896; M-B 136 Incipit, f ai, red: Incipit ordo miffalis fm cun I uetudine romane curie Dni i ca prima de aduentu: Statio ad fanctam Mariam maiorem Ad miffam Introitus Explicit, f cc8v, red:

Explicit miffale fm ordinIe facte Romane ecclefie fima I cum diligentia venetijs impf I fum per magiftrum andream I quodam Iacobi de chataro I apud fanctam Mariam for I mofam Sub anno domini I M.cccc.lxxxv iij idus febru I arij Ad laudem dei totiusq3 curie triumphantis black: DEO GRATIAS I Amen 11li oo 6 8888 Collation: 8° T6 a-z x 8 9 aa-cc8 [i, 2, 3, 418=246 ff 35 11 2 col State I: last two leaves blank (GB-London, BL) State 2: last two leaves contain a printed table of movable feasts (US-CA-San Marino, Hunt) Illustration: woodcut Crucifixion, f n7v Music: printed staves Music pages: g8-hi, k3V-k4, k5, k7V-14, m3-m4v, m7-n6v, n7, OI-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 m8V), would have been set in a separate form and printed in a

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 Bibliography: Lamberto Donati, "Sull'unico libro illustrato di Andrea Paltasichis da Cattaro: Missale Romanum M.CCCC.LXXXV.iij.idus Februarij," Archivio storico per la Dalmatia 9 (1934): 210-3I Copies: BR-Rio de Janeiro, BN; GB-London, BL; I-Bologna, BU; Florence, BN; Ricc; US-CA-San Marino, Hunt; LI-Lithuania-Vilnius, KJ Copies seen: I-Bologna, BU, A.V.KK VIII.io (Gaspari 566) Reported lost, I Oct 1947 GB-London, BL, IA 2I903 Lacks f 7Ti, most of f ir2, the inner sheet of the last gathering, and the last 2 leaves Size: i75 XII7 mm Provenance, f ai (crossed out): Monasterii Ste Ma [?] From the library of Dr J Wickham Legg Binding: half leather over wooden boards, restored at spine; 2 clasps I-Florence, BN, Landau Finaly Inc 76 Lacks first and last leaf of final gathering Lacks f n7 (Crucifixion) Contains manuscript plainchant for Benedictio Cerei on ff k7^{V-14 Decoration: border and major initials in gold and colors, minor initials in blue Size: 174 X II9 mm Provenance, f rrI: Bibl I GVST C.}

GALLETTI I FLOR Binding: brown morocco stamped in gold, marbled endpapers US-CA-San Marino, Hunt, IoI 89 Size: 172 X I 5 mm Provenance, last gathering, f cc8": Hic liber est mei I francisci Rose Last gathering, f [8]v: 1525 dal bte Siane copra quisto misali da znbatista da uale costo Li o o Bookplate: George Dunn of Woolley Hall near Maidenhead Binding: recent brown morocco 73 Missale Romanum Venice: [Simone Gabi, called Bevilaqua, for] Paganino Paganini, 27 IV 1487 See Fig 42a C 4200; Kruitwagen 298; Sander 4744; W 899 Incipit, f: bi, red: Incipit ordo miffalis fecundum | confuetudinem romane curie I Dominica prima de aduetu Sta I tio ad fanctam mariam maiorem Ad miJfam Introitus Explicit, f~5, red: Explicit miffale fecundu more ro mae eccl'ie: fima cu diligetia 7 fide I li ftudio purgatfi ab his errorib9: qb9 uel ignoratia vel icuria librario I ru adducis [sic] comuis abuf9 Tualuit I Quocirca Ad laude I oipotetis dei 7 fciffime vgls mris I ei9: totiufq3 curie celeJtis ImpreJf fu uenetijf arte 7 Tpe~fif Pagaini de I pagainis brix I fub In-

clyto Du I ce Auguftino barbadico v KI' Maij M cccc Lxxxvij Amen •11 o 6 Lt 8 6 8 6 8 8 8 Collation: 20 a b-h8 i-m n8 0 p-z 78 9 4= —10 f f 39 11 2 Col Illustration: woodcut Crucifixion, f n5'. Music: printed notes and staves Music pages: g5-g6 , i' , i5v, kI-k4v, 14V-mI, m2-m3, m5v-n5, n-n7V=37 pp Staves: io red 4-line staves per col., 226 X 55 (73) mm Music type: R7 Bibliography: B Kruitwagen, Museum Meermanno Westreenianum, Catalogus van de Incunabelen 2 vols (The Hague: Algemeene Landsdrukkerij, 19II-1920), I: no 298 Note: 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 I 3; to compare f n"4 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, MW 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:335; Goff M7oi; IDL 32-48; Essling 30; Martimort I2; Polain 2732; Sander 4745; W 900; M-B 137 Incipit, f ai (j), red: Incipit ordo miffalis ;m confuetudine romane curie Explicit, f io, ii, red: ImpreJff venetijs arte et im I penSis Nicholai de Franck I fordia Anno domini.M cccc.lxxxvij black: Deo gratias 2 ii 8 4 8 8 12 Collation: 8° 7T8 274 a-y-9 I_8-22 ff., the last blank, numbered [12] i-259, (i) 33 1 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 p6V 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: h7-8, 14-v, 15V, 18v-m6, n5-n7, 02-p3, p5-p6v=47 pp Staves: 8 red 4-line staves per col., I 1-12 X 79.5 (38) mm Copies: D-Berlin, SPK; Munich, SB; GB-London, BL; H-Budapest, Acad (Saj6-Soltesz 2304); NL-The Hague, KB; Utrecht, UB; S-Stockholm, KB; US-CA-San Marino, Hunt; MD-Baltimore, Walt; TX-Galveston, Rosenberg; Houston, UL; USSR-Moscow, Len Copies seen: GB-London, BL, IA 22043 Decoration: woodcut watercolored Crucifixion, major initials blue Size: i70 X II3 mm Provenance, f Tr I: Carthusiae I In Buxheim; f ir i", stamp: BIBL BUXHEIM; back flyleaf, the names of two Augsburg Jesuits, Wendalinus Volckius and Gregorius Rosephius, I57i Binding: 16th-century leather stamped and monogrammed CH, two clasps US-CA-San Marino, Hunt, ioi90o Lacks f Io, 12 (black) Manuscript music in both black and white roman plainchant Decoration: initials in blue Provenance, f Io, 0o (258): Al mio carisimo fratelo fra signore da [cut] Binding: half vellum 75 Missale Romanum Milan: Antonio Zarotto, IV 1488.

R 1277; CIBNM458; Ganda I49; Pellechet 8087 (80I7); W 902; M-B 138 Incipit, f ai, red: Incipit ordo miffalis fecundu con I fuetudinem romane curie I Dnica I prima de aduetu Statio ad fancta I Mariam maiorem Introitus I Explicit, f zIo, black: Antoni patria parmenfis gente zarote | Primus miffales imprimis arte libros I Nemo repertorem nimiu fe iactet: in arte Addere plus tantum 3 pepiffe ualet I Mediolani M.cccc.lxxxviii I Calendis Maii Collation: 2° T'8 a-g8 h-k6 1-y8 z" = i 88 ff 4 11 2 col Illustration: woodcut Crucifixion, f miv, woodcut initials Music: printed notes and staves Music pages: i2v-i6v, 13v-18, m3-m4=22 pp Staves: 8 red 4-line staves per col., 207-20 X 152 (7I-72) mm Music type: A3 Copies: F-Paris, BN; GB-London, BL Copies seen: F-Paris, BN, Ris B874 Decoration: major initials gold, edged in black Size: 321 X 227 mm Provenance: Abbe Joseph-Jean Rive Binding: red morocco stamped in gold GB-London, BL, IB 26052 Not in BMC Lacks ff 7r i (blank), mi, m2 Decoration: major initials in gold and colors Provenance,

calendar: Nov Idibus, Consecratio ecc fcti ant [cut] Binding: half calf 76.* Missale Romanum Milan: Leonard Pachel, V 1488 IGI 66i8; W 9o3 Incipit (IGI), f 9: Incipit ordo missalis fm cosuetudine romane curie Dniica prima de aduetu Explicit (IGI), f 245 : Missal completu fm cosue I tudinem romane curie sum I ma cum diligentia Medio I lani Impressum opificio 7 T I dustria Leonardi pachel de I Allamania Anno domini I M.cccc.Lxxxviij De men I se Maij i Sub ill'o duce Iohanne I Galeazio Maria Sfortia Ui cecomite Collation (IGI): 8° r8 a-m8 n6 A-R8=246 ff 35 11 2 col Music: ? Note: the unique copy (I-Milan, Ambr, 52 ) described in IGI is now lost 77 Missale Romanum Venice: Johann Hamman, I5 X 1488 H 11 392*; IGI 6619; CIBN M459; Essling 3 1; Pellechet 8o88 (8oi8); Sander 4746; W 904; M-B 139 Incipit, f ai, red: Incipit ordo mifJalis fm 9fuetudine Romane cu I rie Explicit, f 05 , red: Accipite optimi facerdotes Miffale iuxta I morem Romane ecclejie expletum : Ioanis I hamani de Landoia mira arte impreJfum: in florentiJfima ciuitate Uenetiaru: I Augufti ( ni Barbadici inclyti principis tempeftate : ) Anno incarnationis

dominice Millefimo quadringeteJimo octuagefimooctauo : Idi bus Octobris I black: LAUS DEO 6 i • o•10 8 6 Collation: 2° 7Tr a-f8 g6 hlO i-m8 n6 o0 p-q L r-v8 x-y6 A-N8 06=296 ff 31-32 11 2 col Illustration: woodcut Crucifixion, f [L)I', and woodcut Resurrection Music: printed notes and staves Music pages: i6v"i7v, m6'", m8, n3-o o09p5, p6, p8-LI, L3V-L5=47 pp Staves: 8 red 4-line staves per col., 237 X i62 (75.5) mm Music type: R9 Copies: A-Vienna, NB (vellum); D-Munich, SB; F-Paris, BN2 (one vellum); Rheims, A; GB-Manchester, JRL (vellum) (Dibdin 6:192-93, 187, Manchester copy W.H James Weale, Historical Music Loan Exhibition, Albert Hall, London, June-October I885, London: Quaritch, i886, 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 06 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 05' Binding: gold-stamped green leather, marbled endpapers D-Munich, SB, 2 Inc c.a.2079 Decoration: Crucifixion in watercolors and gold, major initials in red and blue, minor initials in red or blue Provenance, f 7r i: 30 ff at back with Franciscan feasts, prayers, and sequences Binding: black blind-stamped leather over boards, missing io bosses and 2 clasps F-Paris, BN, Vel 134 Lacks ff.LI (Crucifixion) and 06 (blank) Unsigned ff p2, p3, q3, rI Decoration: f aI, 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 I-Parma, Pal, Inc I8I Lacks ff 7i, ai, LI (Crucifixion), 06 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.3 I 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 Compa di S.Ansano; manuscript prayers on f 06r-v for S Ansano Binding: leather over boards.

78 Missale Romanum [Rome: Stephan Planck], 22 XII 1488 H II39I*; CIBN M46o; Graesse 4:258; Panzer 2:494, 427; Pellechet 8089 (80o9); Sander 4747; W 9o; M-B 140 Incipit, f [a ], red: Incipit ordo miffalis fecundum confuetudine romane cu I rie Dominica prima de aduen I tu Statio ad fancta3 mariam | maiore' Ad miS3a3 Introitus Explicit, f [H2]: ¢Explicit miffale fecundu mo I rem romane eccelefie Impreffu3 I Anno dnii Millefimo quadrin I gentefimo octuagefimo octauo ) Die vero xxij menfis Decebris ( Laus deo Collation: 40. [7T8 a-z8 A-G8 H41=252 ff 33 11 2 col.

Illustration: Crucifixion, f [p3V] Music: printed notes and staves Music pages: [h5-h6v I' I, 12v-13, 15l-m4, n3-n4, n5, n8-p3, P5-P7]=55 pp Staves: 5 red 5-line staves per col.; I33-38 X 0o8-9 (52) mm Music type: RI Copies: D-Munich, SB; F-Paris, BN (vellum); Vatican City., BV Copies seen: D-Munich, SB, 4° Inc c.a.59I Lacks sheets in 7T 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, Vel I466 Vellum Decoration: none Size: 210 X 146 mm Binding: gold-stamped green morocco (DEROME leJeune, 1785) (see Van Praet I:85, 91) Vatican City, BV, Inc IV io Lacks f [P3] (Crucifixion) Gathering [n] misbound as 5, 3, 2, I, 8, 4, 7, 6 Size: 214 X I5i mm Provenance, f [qi]: frate rimondo; f 7T2: donauit libri presentem Anno i55o Binding: vellum, leather labels 7) Missale Romanum Venice: Battista Torti, 29 X I489 See Figs 44, 45 H ii393; BMC V:326; Goff M702; IGI 6620; Essling 32; LD 30o; Sander 4748; W 907; M-B 141 Incipit, f bi, red: Incipit ordo mijfalis fecun dum gJuetudinem romane cu I rie Explicit, f Es V: Uenetijs p baptifta de I tortis Mcccclxxxix die.xxix octobris.ll o 6 L 84 88 88 9 8

Collation: 4° a6 b-m8 n4 o-z 7 98 A-D8 E6=24o ff.; m2 unsigned 33 11 2 col Illustration: woodcut Crucifixion, f p8' (Essling, Crucifixion II bis, reused from Missale of Scoto, 29 XII 1481, D 55.) Music: printed notes and staves Music pages: i5-i6, 18'-v, miv, mm4-m8", o3-0o5, o8-p8, q2-q3-=39 pp Staves: 8 red 4-line staves per col Music type: RI2 Copies: GB-London, BL; I-Brescia, BC; Milan, BN2; US-MD-Baltimore, Walt Copies seen: GB-London, 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 fienne Binding: blind-stamped black leather with bosses and clasps Milan, BN, AM-XVI-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 i6o) Binding: blind-stamped Russian leather, recent.

80 Missale Romanum Venice: Cristoforo de Pensi, 3 X 1489 See Fig 46 R 1580; IGI 662 I; Sander 4749; W 908 Incipit, f a , red: Incipit ordo miJJalis fecu I du3 g9uetudine romane cu I rie Dnica prima de adue tu Explicit, f F4: ImpreffJu Uenetiis p chri Iftophalum [sic] de penfis anno I M.CCCC.lxxxix I Die primo Kal' I Nouembris I La9 olpote I ti Deo I Ame ii o 8 i_•18686 888 Collation: 4O. 'r6 a-g h6 i-I8 m6 n p q-z 8 98 8 A-E8 F4=244 ff.; numbered i-I (or 50), then unnumbered; the preliminary signature bound at the end in Ferrara copy, BC 32 11 2 col Illustration: woodcut Crucifixion, f p6' Music: printed notes and staves Music pages: iI-i2, 15-16, 17 [staves only], m2-6, n8-oi", 02", o5-p6, q2-q3=43 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: I-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 p utile di tutte le anime nostre per6 si guardi ognuna di rubarlo; f 7T i: messale della fermaria Binding: blind-stamped leather over paper boards (restored) with bosses and clasps Venice, Cini, 726 Size: 233 X I72 mm Provenanace, f F4V: [?] di asulano I56o; front pastedown: Tammaro De Marinis Binding: recent vellum 81 Missale Romanum Venice: Teodoro Ragazzoni, 15 XII 1489 See Fig 47 C 4202 (289 ff.); IGI 6622; Essling 33 (a6 b-z8 9 88 = I98ff); Sander 4750; W 909 (295ff) Incipit, f bi, red: Incipit ordo miJfalis fm confuetudinem romane curie Domini I ca prima de aduentu Explicit, f 7' (clxxxix'), red: Explicit miffale fm more3 roma I ne ecclefie: fumma cum diligen tia 7 fideli jtudio purgatum Im I preffumq3 venetijs per theodoi I de ragazonibus

de afula Anno I domini Mcccclxxxix.die.xv.me Jis decembris Collation: 2° a6 b-h8 i-m6 n8 06 p-z8 78 98 8 = 196 ff 40 11 2 col Illustration: woodcut Crucifixion, f nSv. (Essling, Crucifixion II, reused from Missale of Scoto, 31 VIII 1482, D 60.) Music: printed notes and staves Music pages: g5-g6, i4v, 15v, kV-4, 14V-mI, m2-3v, m5v-m6v, [ni?], n2-n5, n6v-n7v=35(+I?) pp Staves: Io red 4-line staves per col., 243 X I63 (75) mm Music type: RI4 Copies: I-Belluno, BC; Florence, BN; Viterbo, Cap Copies seen: I-Florence, BN, C.5.24 Lacks f ni Size: 332 X 208 mm Provenance, front flyleaf: Monte Oliveto No 87IS Binding: recent vellum 82 Missale Romanum Venice: Cristoforo de Pensi, 13 IX I490 See Fig 46 H ij394; IGI 6623; Essling 34; Sander 4751; W9I3 Incipit, f bi, red: Incipit ordo miffalis fm gJuetudi I ne romae curie Dnica prima de ad I uetu Explicit, f t9, red: Explicit mifJale f3 more romane ec I clefie: fuma cu diligentia 7 fideli ftudio purgatu3 ab his errorib9: gbus I uel ignoratia uel icuria librario ad I ductis comunis abuf9 iualuit Quo I circa qcuq3 legerit:

obfecratu uelim I ne adhibeat manu pcipite ad corri I geda uel poti9 corrupeda libri recti tudine magno parta labore: f3 multi I plicato fincero examine: poftmodu3 exequat' qcqd recta ratio: Spus ue ) ritatis igefferit Ad laude olpotetis I dei 7 fciffme pgis mris ei9: toti9 q3 curie celeftis Impffu3 uenetiis ar I te 7 ipefis Chriftofori d' pe fis d' ma ) delo: fub Iclyto duce Augu babadiI co [sic] Millefimo quadringentefimo I nonagefimo: Idus Septembris LAUS DEO.f tioV: Regiftrum Collation: 2° a-s8 t'= 154 ff 44 1 2 col Music: printed notes and staves Music pages: f5v-f6, hI-2, h3V-6, iiv-i4^{v, i6-k2, k3-4v= 30 pp Staves: io red 4-line staves per col., 234 X '57 (74-76) mm Music type: RI3 Copies: CS-Olomouc, SB; I-Genoa, Franzon; Rome, Cas; Trent, Sem Copies seen: I-Rome, Cas Inc I965 Lacks ff k2 (Crucifixion?) and tio Provenance, on vellum leaf at front: Oratio Sancti Zenobij qui In florentina requie feri ecclesia Size: 3 2 X 215 mm Binding: paper over paper boards, gold-stamped leather spine-Missale Romanum [Basel? ca 1490.] H 1136?; Goff M735 ([n.p.: n.pr., n.d.]); Sander 4754? [ca I490, Italy?]; W 840*?}

F i': Registru in libr missaru3 I fpecialiu de tpe et de fanct3 I p ani circl'm 7 primo d' A ff iiii-x, calendar; incipit, f ai, I: [AID te leuaui | anima me am de9 me I us in te co I fidof F7 ends: glo ria femper rejultat f F8, blank; f aai, red: Exorcifmus falis dieb9 do I minicis Ends: genuit incarnatu3 Per eundem dominu noftru Ec *i o/• •• ••• •••• 10 816 18 14 8 Collation: 2° (i, ii, iii, iiii, v)10 a-i8 k6 18 x 14 m-z A8 B-C6 D8 E6 F8 aa-bb6=260 ff., numbered [io] I-LXXXV [i5] LXXXVI-CCXXI [13] 26-28, 14 11 2 Col Illustration: woodcut Crucifixion, f X i' Music: space for music Note: in his description of the copy at US-New York, UTSem, Goff cites W 840*?, Sander 4754?, and H 136I? (all 244 if., 8°) despite the difference in format and number of leaves My date was assigned from Sander, although the lack of printed staves suggests a date closer to I480 Several factors point to a northern rather than Italian place of publication: for example, the gothic textura type, the dedication of the cathedral of Basel in the printed calendar, and the change to a large typesize for the Canon of the Mass.

Copies: US-NY-New York, UTSem Copies seen: US-NY-New York, UTSem, UL 35 B, 14 83 Missale Romanum [Naples: Christian Preller for Antoine Gontier? ca 1490o See Fig 65 C4 85 ([Venice]); Goff M7o4 (ca 1488; Suppl., ca 1490); Essling 26 (probably Venetian); Fava and Bresciano i74; Sander 4753; W 887 (ca I484); M-B i30 Incipit, f ai, red: Incipit ordo miffalis fcd'm gfuetudine3 Romane curie I Dominica prima de aduetu I Explicit, f L8, red: Laus deo I [printer's mark, AG?] Collation (Sander): 2 7r6 a-f8 g6 h-i8 k-n'o o-r8 A-L8=236 ff 38 11 2 col Illustration: woodcut Crucifixion, Deposition, and Resurrection Music: printed notes and staves Music pages (from microfilm): hI-2, k4, k6, k7V-li, 19, m3v-nI, n3-n4v=33 pp Staves: 9 red 4-line staves per col Music type: R33.

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 BMV, Preller) and because the alphabetic type is no i of Preller The letters AG probably refer to the publisher (H 540, Albertus Magnus) and sometime associate of Preller, Antoine Gontier (Fava and Bresciano, I: 104) Copies: US-MA-Cambridge, HCL Copies seen: US-MA-Cambridge, HCL Microfilm Provenance, endpapers: qJto meJale e del I"m°[?] 8 Missale Romanum [Venice: Bernardino Benali? for Luca Antonio Giunta, ca.I490.] See Figs 25, 4 1 C 4183 ([Giunta, ca 1496]); P 5689; BMC V:59i; Essling 36; Oates 2228 (s.t., s.a.); Sander 4752 ([Venice, ca I490]); W 9I2 ([Venice: Giunta]); M-B 142 Incipit, f bi, red: Incipit ordo miJfalis Jecundum gfuetudinem romane curie Explicit, f D4, red: Explicit miffale fcd'3 curia.ro I MiSfe noue p marie alijs fcf black: Miffa 9ceptiis Mif'a.xi milia virginu i fine miSale Collation: 4° a6 b-n8 06 p-z8 t8 98 8 A-C8 D4=232 ff 35 11 2 col.

Illustration: woodcut Crucifixion, f o05 BMC: "The 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-i2, 13V-14, 15, 17V-m3v, n2-n4, n6-o5, pI-p2=38 pp Staves: 9 red 4-line staves per col., 156 X: 115 (54-5-55-5) mm Music type: R6 Note: because the music type is R6 (14841485) 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: blind-stamped leather over boards, rebacked, with bosses and clasp Missale Romanum Venice: Giovanni Battista Sessa, [ca 14901 W 914; M-B I43 Note: apparently equal to M-B i60 and M-B 16 (D 112) 85 Missale Romanum Venice: Rinaldo de Novimagio, o IV 149 1 C 4203 (8, 224=232 ff); IGI 6624 (2°); CIBN M462; Essling 37 (6, 222=228 ff, a6 b-p8 q6 r 8 8 9 A-C8); Pellechet 8091 (8021); LD 312; Sander 4756; W 9'5 (6, 223; I = 23off.); M-BI44

Incipit, f bi, red: Incipit ordo mijfalis f3 cojuetudine romane curie Explicit, f C5: Uenetijs per Reynaldum de ) Nouimagio tentonicum [sic] I Mcccclxxxxj die.x Aprilis Collation: 4°. a6 b-z8 T8 98 8 A-C8=230 ff.; numbered [6] 1-220 [I] with errors, music folios unnumbered [m7-o8] 36 11 2 col Illustration: woodcut Crucifixion, f 03" Music: printed notes and staves Music pages: h8r-v, l"-12, 13, I5-mIm , m8-niv, n4-03, 05-6=36 pp Staves: 8 red 4-line staves per col., 147-52 X 110-12 (51-53) mm Music type: RI5 Copies: CH-Geneva, BU; F-Lille, BM; Paris, BN; I-Florence, BN; Turin, BN, Vatican City, BV Copies seen: F-Paris, BN, Res 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 I-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 I No 46 (pencil) Binding: blind-stamped leather, modern 86 Missale Romanum Pavia: Francesco Girardengo & Giovanni Antonio Beretta, 6 VI 1491 See Fig 21.

H 11396; C 4204; P 7077; BMC VII:Ioos; IGI 6625; LD 3I3; Sander 4757; W 916; M-B '45 Incipit, f ai, red: Incipit ordo miffalis jm | 9fuetudine romane curie Dfiica pria d' aduetu: Explicit, f dd9, red: Papie per Ioanem an I toniu3 birreta Francifcu q3 gyrardenghum Anno 1491 die.6.Junij ) [printer's mark, red, IAB] CollationI 8° 0 r8 2r84 a 8 8 8 Collation: 80 T8 2T4 a-z8 9 V8 aa-cc

dd =254 ff., numbered [121 i-24i [I] 39 11 2 col Illustration: woodcut Crucifixion, f o5 Music: printed staves Music pages: h3-h4, k7-k9, II, 13-110o, m7-n I, n4-o04, o6V-o8=45 pp Staves: 9 red 4-line staves per col.; I29 X 76 (36-37) mm Copies: GB-London, BL; I-Milan, BN; Pesaro, Oliv; Ravenna, BC Copies seen: GB-London, BL, IA 31415 Lacks f ddio (blank) Size: 176 X I io mm Binding: blue morocco, stamped in gold I-Milan, BN, Gerli Inc 53 Size: 177 X I I6 mm Provenance, f 7r I: Carthusia In Buxheim; Duke of Parma (Livres de liturgie I63, reproduction of woodcut Crucifixion) Binding: blind-stamped leather over wooden boards, with 2 clasps 87 Missale Romanum Venice: Johann Hamman, 13 VII 1491 H II397; IGI 6626; Essling 38; Pellechet 8092; Sander 4758; W 9I7 Incipit, f ad, red: Incipit ordo mijfalis Jfm c6 fuetudinem Romane curie Explicit, f F5 V red: Accipite optimi facerdotes Mif ale iuxta mo-I rem Romane ecclefie expletum : Ioannis hama I ni de Landoia mira arte impreffu3: in florentiJJi I ma ciuitate Uenetiaru Auguftini Barbadici in I clyti principis tempeftate : Anno incarnationis I dominice Millefimo quadringetefimo nonage I fimo primo: Idibus Augujti.

black: LAVS DEO I [printer's mark, IH} Collation: 2° r7T a-y8 z6 76 98 A-E8 F6=248 ff., numbered [6] I-CCXLI [I] with errors; h4 signed in a different type and oi, 02, and 04 unsigned (all music pages) 34 11 2 col Illustration: woodcut Crucifixion, f 04" Music: printed notes and staves Music pages: h3V-h4, k7r-, 13-17, m5"-n3, n5-o4, o6-7= 45 pp Staves: 9 red 4-line staves per col., 268.5 X 168-74 (75-83) mm Music type: R9 Copies: I-Milan, BN; Padua, Cap (vellum); Venice, BN Copies seen: I-Milan, BN, AK-XIV-i3 First signature lacks i 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 7r I: 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 Decoration: commissioned miniatures by owner, Bishop Pietro Barozzi, in 149I (for reproductions see Giuseppe Urbani de Gheltof, Gli artisti del Renascimento nel vescovado di Padova, Padua: Tip del Seminario I833, p 20, and Padua catalog, Librorum XV sec impressorum index, ed E Govi, Padua: Tipographia Antoniana, 1958, plate between pp.

96-97 and II2-I13) 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 I I-I3) See also A Moschetti, "II tesoro del Duomo di Padova," in Dedolo 6 (1925): 292; Rizieri Zanocco, "La biblioteca d'un grande nostro vescovo umanista (Pietro Barozzi, 1441-1507)," in Bollettino diocesano di Padova 12 (1927): 442-52 Venice, BN, Inc V I04 Lacks ff 04, F3, F4, and F6 Gathering o signed o, oii, 03 in smaller type of type used for f h4 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 VII 1492 IGI 6627

Begins (Frutaz), f di: ratum est a patre meo Explicit, f x5 : Mediolani per Leonardum pachel theuthonicum fumma cum diligetia I 7 Studio impreffum Anno dni.M cccc.lxxxxij.quarto nonas Iulias I [printer's mark, LP] f x6: Registrum Collation (IGI): 2° a-u8 x6= 172 ff 43 11 2 col Music: printed notes and staves Music pages: h3-h5v, kiV-k2v + unsigned pages=I6 pp Staves: i I red 4-line staves per col Music type: R27 Bibliography: Amato Pietro Frutaz, "Due edizione rare del Missale Romanum pubblicate a Milano nel 1482 e nel 1492," in Miscellanea Giulio Belvederi, Collezione "Amici delle Catacombe" 23, Vatican City: Societa "Amici delle Catacombe," 1954, pp 55-107 Includes plate of f X5 with colophon Copies: D-Berlin, SPK; Tubingen, UB; I-Aosta, Sem Copies seen: I-Aosta, Sem, microfilm of music pages (Lacks gatherings a-c, ff 76 and 77-)

8 Missale Romanum Milan: Antonio Zarotto, I VIII 149:2 C 4206; Gff M7o5; IGI 6628; Ganda i79; Sander 4759, W 920; M-B'47 Incipit, f: Ai red: Incipit ordo miJfalis fecundu3 g9ue I tudine3 romane curie Dominica pri I ma de aduetu Explicit, f Sg9: Antoni patria parmenfis gete zarote I Prim9 miffales iprimis arte libros I Nemo reptore nimiu fe iactet: in arte I Addere plus tatu qua pepiJfe ualet I Mediolani M.cccc.Lxxxxij Calendis Augufti Collation: 2" 7r8 A-R8 S°= i54 ff 44 11 2 col Illustration: woodcut Crucifixion, f 14'; woodcut Annunciation, f Ai Woodcut initials Music: printed notes and staves Music pages: G4-G8, H6"-I3, 5V-I6v= 22 pp Staves: 8 or 9 red 4-line staves per col, 225.5 X 157.5 (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-(5 on thinner paper Size: 313 X 220 mm Provenance, front paste-down: Bibliotheca Regia Parmensis; f 15: Pascha anni 1583 die io aprilis Binding: marbled paper, leather spine.

9Q Missale Romanum Brescia: Giacomo Britannico & Angelo Britannico, I IX 1492 H II398; IGI 6629; CIBN M463; Pellechet 8093 (8023); Sander 4760; W 992; M-B 49 Incipit, f ai red: Incipit ordo mifSalis fcd'3 co Juetudine romane curie Do I minica pma de aduetu Explicit, f: Qs, red: Explicit miS.ale Jcd'm more3 I romane ecclelie: fumma cum I diligentia 7 fideli ftud:,o pur I gatu3 Impreffumq3 Brixie I per Angelu3 7 Iacobum de I Britanicis fratres Anno dii I Mcccclxxxxij die p° menfis ) Septembris I [printer's mark, A B] Collation: 2° A8 a_f8 g6 h4 i6 k-18 m6 n-o8 2A8-L8 M'1 N-P8 Q6=238 ff 3711 2 col Illustration: woodcut Crucifixion, f o8"; woodcut Last Judgment, f A8"; woodcut initials Music: printed notes and staves Music pages: hi"-h2, 11"-12, 13, 15-18", n2-n4, n6-n7, 02-08, 2A:-2A3=36 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-Paris, BN, Res B.63 Lacks f Ai Size: 335 X 321 mm Provenance, f A2: Bibliotheca Colbertina, E 2943.2 Binding: red morocco 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 Mejfale e di Giovannj di Niccholo di G"' Sinij Binding: blind-stamped leather over boards, 2 clasps missing.

9I Missale Romanum [Turin?: Giacomino Suigo & N de Benedicti?], i i IX 1492 H 11399= 1379?; P 7423; Goff M7o6 (Italy); Polain 2733 (Italy); Rhodes 1207; W 92 = 876*; M-B 148 (probably German) Incipit, f ai, red: Incipit ordo miSfalis fe I cundum coJuetudine roma I ne curie Dnica pma de ad I uentu Statio ad fancta maI riam maiorem Ad miffam Explicit, f K4, red: Explicit miffale fecundi I vJum et conJuetudine roma j ne ecclefie cu fumma dilig I tia et fideli Jtudio purgatu3 I Anno Jalutis Chriftiane I M cccc.lxxxxii die vero xi I menfis Septembris I Laus deo Collation: 8° 7r6 a-k8 mn8 o-z8 A8 A-I8 K4= 266 ff 35 I1 2 col Illustration: woodcut Crucifixion, f q5V. Music: space for music Music pages: i3-i4, 18-mni, mn2, mn4'-mn8', o8-p2", P5-q5, q7-q8=-4 pp Bibliography: Tullia Gasparrini Leporace, "Notizie e documenti inediti su Jacopo Suigo, tipografo del XV secolo," La Bibliofilia 49 (I947):41-52 Note: on the basis of watermarks, assigned to Suigo and Benedicti in the manuscript Sheppard Catalogue of the Bodleian Library, Oxford (signed T.F.S., ii Sept 1902) Rhodes (I207) cautioned: "The attribution of printer is very doubtful."

Copies: B-Brussels, Bol; D-Munich, SB; GB-Oxford, UL; Worchester; P-Wroclaw, Kap; US-Washington, 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 i14 mm Binding: blind-stamped leather (rebacked?), remains of 2 clasps US-Washington, LC, Vollbehr 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, I492.

Brunet 3: 759; Graesse 4:549; W 923* (240 ff., 3611.) Collation (Graesse): 2° 2 + ccxxvii ff 3 I 11 2 col Note: Graesse: "II en existe un ex tire sur velin." Brunet: "Un exemplaire a ete rapporte d'Italie en Angleterre par M Payne, libraire." Copies: none known 93 Missale Romanum Venice: Johann Emerich of Speier, 28 IV I493 See Fig 30 H 11400*; BMC V.538-39; Goff M707; IGI 6630; Martimort i3; Sander 476i; W 924; M-B I50 Title, f: tri, red: Miffale fm 9guetudi I ne curie romane Incipit, f i, i, red: Incipit ordo miJfalis I fm confuetudine romane I curie Dnica pma de ad-I uentu Statio ad fancta3 I Mariam maiorem Ad miJJam Introitus I Explicit, f 37,7: Explicit miffale fm mo rem romane ecceleJie: per fratre philippu3 de rotin I go Mantuanu3: ordinis I minorii: de obferuatia bo I na diligentia et fideli ftu I dio purgatum ab his er I rorib9: lbus vel ignoran ) tia vel incuria librarioru3 I adductis: cois abufus in I ualuit Quocirca qcunq3 I legerit obfecratum velim I ne adhibeat manu precipitem ad corrigedam: vel potius corripendam libri I rectitudinem magno par ) tam labore: fed multipli I cato fincero examine poft I modu3 exequatur quicqd I recta ratio: et fpiritus ve I ritatis ingefferit Ad lau I dem omnipotentis dei et

fanctiffime virginis ma I tris eius: ac feraphici pa tris francifci: totiufq3 cu rie celeftis Amen red: Impreffum venetijs arte 7 impensis Iohanis eme I rici de Spira Anno dni | M.ccccxciij.qrto kl' maj I black: Deo gratias Collation: 8° r8 27r8 I-378 3 2 ff., numbered [i6] 1-294 [2] 3 I 1 2 col Illustration: woodcut Crucifixion, f 17,3v ( 13 IV) Music: woodcut notes and staves Music pages: 10,1-10,2, I3,I-I3,2, I3,3 13,7-14,4, I5,4-15,7, I6,2-17,3, 17,5-17,6=46 pp Staves: 8 black 4-line staves per col., 126 X 83 (39-40) mm Copies: GB-London, BL; H-Budapest, BU; I-Naples, BN; Rome, Ang; P-Cracow, Bern; US-MA-Cambridge, HCL; MI-Ann Arbor, UML; NC-Chapel Hill, UNCL; Washington, LC Copies seen: GB-London, BL, IA 24206 Lacks f 37,8 Gathering 27T bound at end Provenance, f 7T i: Sebastiani de Ianis P.; vellum leaf at back: Sige Domenico Follazzi 1749/175i; front paste-down: Ex libris Iohannes Wickham Legg io Aug I894 Binding: blind-stamped leather (restored), 2 clasps I-Rome, Ang, Inc 68 Lacks f 17,3, Crucifixion Decoration: initials in blue Size: I69 X 12 mm Binding: leather, restored at spine US-Washington,

LC, H 11400 Vollbehr Lacks gathering 2T Provenance, f 37,7: Ex libris Thomas Stewart d e Equitis Hierosol Rome 1837 94 Missale Romanum Venice: Johann Hamman for Nikolaus von Frankfurt, I VII 1493H 11401*; P 5i89a; BMC V.425, and VII.: 140; Goff M7o8; IGI 663 , 6:241; CIBN M464; Essling 39; Molitor, Deutsche, plate XV; Oates 2036; Polain 2734; Sajo-Soltesz 2306; Sander 4762; W 925; M-B 151 Title, f 7ri, red: Miffale fecudu morem I fancte Romane Ecclefie I f ai, red: ¢ Incipit ordo mifJalis fcd'm I confuetudine3 romane curie Explicit, f G5, red: Miffale fm cofuetudine Jce eccl'ie romane: fingulari cura I ac diligetia emedatu: fJptib9 7 iufu famofiffimi Nicholai | de Franchfordia: arte iteq3 7 I indujtria pbatiffimi viri io I hanis Herczog de Landoia ImpNju3 Uenetijs: explicitu3 I ejt: anno pgialis partus poft I millefimu to quaterq3 cetejimu I nonagefimo tertio kalendas I Iulias I f G6, red: ¢ Incipit ordo ad cathecu ) minu faciedu f G7, red: [printer's mark, IH] Collation: 8° 7T8 21T4 a-18 m°' n-z8 A-G8 254 ff., numbered [12] i-216, 117-40 37 11 2 col.

Illustration: woodcut Crucifixion, f o6" (I24v) Music: printed notes and staves Music pages: h2v-h3', ksV-k6, k7, 12-16", m5V-n2, n4-o06, o8-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: Rio Note: many of the music leaves are unsigned and printed on the same paper as the rr 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 i XII I493, although the assignment of words to red and black ink differs Copies: B-Antwerp, MP; CH-St Gall, StB; D-Eichstatt, B2 (Hubay, Eichstatt 697); F-Paris, BN;

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; Wroclaw, Kap; US-CA-San Marino, Hunt Copies seen: CH-St Gall, StB, Ioo8 Includes 23 manuscript leaves of prayers at end Binding: paper with leather spine F-Paris, BN, Res B 2730 Lacks f o6 (Crucifixion) Size: i59 X 17 mm Decoration: major initials and borders in gold and colors, minor initials in blue Binding: acid-eaten leather over paper boards GB-London, BL, IA 23359 Size: 176 X 112 mm Decoration: red initials Binding: 17th-century gold-stamped leather, 2 clasps missing IA 23359a Lacks title page Decoration: blue initials Binding: stamped leather over boards, done by Anthonius de Gavere of Bruges H-Budapest, BN, 992 Size: i70 X I 6 Binding: blind-stamped leather over wooden boards, clasp missing I-Ferrara, BC, S 6.i.15 Lacks two preliminary quires Provenance, f ai: Ex libris domus Ferrerien.9 Congis Missionis; flyleaf: no 0.6.6 Binding: vellum Rome Cas, Inc 9 Provenance: Questo messale e ad me Maria da Cannes US-CA-San Marino, Hunt, 9252I Includes 25 manuscript leaves at end (Temporale and Sanctorale) Binding: blind-stamped calf over wooden boards, stamped "S Maria"; metal corners and clasp.

5 Missale Romanum Venice: Johann Hamman for Ottaviano Scoto, I XII 1493 H 1402= 1i404*; P 5 9i; BMC V:425; Goff M7o9; IGI 6632; IDL 3250; Essling 40; Martimort I5, Sander 4763; W 926; M-BI52 Title, f ri, red: Miffale fecudu morem I fancte Romane Ecclefie Incipit, f ai, red: ¢( Incipit ordo miffalis fcd'3 I confuetudine3 romane curie I Dnica prima de aduetu: Explicit, f G3, red: Miffale fm cofuetudine fan cte ecclefie romane: Jingulari I cura 7 vigilanti ftudio reuifu I emendatuq3: Iuffu 7 expenfis I nobilis viri Octauiani Scoti I ciuis Modoetienfis: Arte ite iduftria pbatiffimi viri Io I hannis Hertzog de Landoia ] Inpreffum venetijs: explici I t eft: anno virginalis partus I poft millefimii quaterq3 cen I tefimi nonagefimo tertio ka ) lendis Decembribus I f G8': [printer's mark, IH] Collation: 8' T8 27r8 az8 A-G8=256 if., numbered [16] 1-239 [I] 35 11 2 col Illustration: woodcut Crucifixion, f 05v (125v) Music: printed notes and staves Music pages: h2-h3, k4-k5, k6, k8-lv, m4-n2v, n5-o5, o8V-p3v=54 pp Staves: 7 red 4-line staves per col., 112 X 82 (38.5) mm Music type: Rio Note: 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-Wroclaw, BU; US-IO-Dubuque, Loras; MD-Baltimore, Walt; Vatican City, BV2 Copies seen: CH-St Gall, StB, oo009 Binding: blind-stamped leather over wooden boards GB-London, BL, IA 23364 Lacks TI Decoration: initials in red Binding: gold-stamped leather (i7th cent.) I-Florence, BN, K 7.5I. Lacks gathering 7r, begins on f 27 I Decoration: initials in blue Size: 169 X 19 mm Provenance, stamp, f 2irr : FIORENTINAE BIBLIOTH.PUB Stamp: S GIUSEPPE I CHA ) RI TAS Binding: marbled paper over paper boards Milan, Ambr, Inc 534 Lacks ff 7T I and 7r8 Decoration: initials in blue Provenance, f 7T2: Ex libris Fabrice Ldi Caroli Arone; f G8v: Io Andreas Franciscus Binding: blind-stamped leather over wooden boards (restored), 2 clasps Rome, Ang, Inc 69 Lacks gathering 27r8 and ff rTI, n4-n5, F5 Decoration: watercolored Crucifixion Provenance, f A8: frate

Ambrosio di roma Siena, BC, M VI ii Lacks several preliminary leaves Decoration: initials in blue, watercolored Crucifixion Binding: paper boards with vellum spine Vatican City, BV, Prop 111.234 Lacks gathering 7r 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 96 Missale Romanum Venice: Filippo Pinzi, 29 III I494 See Fig 48 H 11405; Essling 41; Pellechet 8094; Sander 4764; W 927 Title, f Ai, red: Miffale fm confuetudinem Roma ne curie cum multis mif is I nouiter additis 7 I locis fuis po I fitis I Incipit, f ai, red: Incipit ordo miffalis fm cofue tudine Romae curie Dnica pri I ma d'aduetu Statio ad fca3 ma I ria maiore ad miffa Introitus Explicit, f~io, red: Accipite optimi facerdotes I Miffale iuxta morem Romane I ecclefie expletu: Philippi de pin I cis matuani mira arte impreffu3: I in floretiffima ciuitate Uenetia I ru3: Auguftini Barbadici incly I ti principis tempeftate: Anno

in I carnatiois dnice Millefimo qua I dringetefimo nonagefimo quar to: Die vigefimonono Marcii I Regiftrum I Laus [printer's mark, P PHI] Deo Collation: 2° A8 a-z8 710=202 ff., numbered [8] I-CXCIII [i] 40 11 2 col Illustration: woodcut Crucifixion, f 14 Music: printed notes and staves Music pages: f6r-", h5, h6, h8-i3, i8V-k4, k6-13v, 15v-16v= 35 pp Staves: io red 4-line staves per col., 245 X i68 (8I) mm Music type: Ri6 Copies: D-Munich, SB2; 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 io66 97* Missale Romanum Naples: Ajolfo de Cantono, 5 VI 1494GW ms (Mallorca, B Prov 179); W 928 Note: 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: Gongora, 195.

98 Missale Romanum Venice: Johann Emerich of Speier for Luca Antonio Giunta, 13 VIII 1494 See Fig 28 H 11406; IGI 6633; CIBN M465; Essling 42; Sander 4765; W 929; M-B 153 Title, f Tri, red: Miffale jm confue tudinem roma I ne curie I [printer's mark, LA]) Incipit, f aI, red: Incipit ordo miffalis fm con I fuetudine Romane curie Do I minica pma de aduetu Statio ad fca maria maiore ad miffa3 I Intro I Explicit, f C8, red: Accipite optimi facerdotes Miffale iuxta I morem Romane ecclefie expletum: Iohannis I Emerici de fpira alemani mira arte impreffum: I in florentiffima ciuitate Uenetiaru3 Augujtini I Barbadici inclyti principis tempeftate: Anno incarnationis dominice Millefimo quadringe I tefimo nonagefimo quarto: Idibus Augufti I Regiftrum quaternorum I [printer's mark, IE] Collation: 4" 7T8 a-n8 o6 p-z8 78 98 A-C8=240 ff., numbered [8] [i]-CCXXV [i] with errors 35 11 2 col Illustration: woodcut Crucifixion, ff 7r Iv, o Music: printed notes and staves Music pages: g5v-g6, i7v-i8, kiv, k3V-8v, 17-m5, m6, m8-oi, o3-04V=54 pp Staves: 6 red 4-line staves per col., 153-55 X I I-12 (54-54.5) mm Music type: Ri8.

Copies: F-Paris, BN; I-Brescia, BC; Ferrara, BC; NL-The Hague, KB; Y-Ljubljana, NU Copies seen: F-Paris, BN, Res B 2678 Lacks f 7rI Binding: gold-stamped red morocco I-Brescia, BC, A II.I5 Ferrara, BC, S I2.I.I4 Lacks f o6 Size: 202 X 152 mm Provenance: Ferrara Binding: marbled paper over paper boards, vellum spine 99 Missale Romanum Rome: Stephan Planck, 27 X 1494 See Fig 33H 1407; IGI 6634; Polain 2735; Sander 4766; W 930 Incipit, f a (i), red: Incipit ordo miffalis fcd'm | confuetudine3 Romane curie Explicit, f H7v (cclxvijV), red: ImpreJfi Rome per magijtru Stephanu Planck: Patauien I fem Anno domini Millefimo I quadringetefimononogefimo quarto Die vero.xxvij Men fis Octobris-Sedente Alexan I dro fexto:pontifice Maximo: I Anno eius tertio: I Laus deo Collation (Sander): 4" T8 2T'r2 a-z8 A-H8= 258 ff., numbered [io] i-ccxlvij [i] 34 11 2 col Illustration: woodcut Crucifixion, f p3v (cxvV) Music: printed notes and staves Music: pages: h5-h6v, lIr , 12v-13, 15-m4, n3-4v, n5v, n8-p2V, [P3?], P5-P7=55(+ I?) PP Staves: 5 red 4-line staves per col., 148 X o18-9 (52-53) mm Music type: Ri.

Copies: B-Louvain, KUB; D-Munich, UB; I-Bagnoregio, Sem Copies seen: D-Munich, UB, 4° Inc lat 219 Lacks f p3 Decoration: large initials in gold and colors Binding: gold-stamped leather over paper boards I-Bagnoregio, Sem Microfilm of music pages Ioo Missale Romanum Venice: Filippo Pinzi for Comin da Trino, 16 III 1495H 11408*; Goff M7Zo; IGI 6635; Essling 43; Polain 2736; Sander 4767; W 93 I; M-B I54 Title, fi [ai], red: Miffale Romanum cu multis I

miJfis ac benedictionibus I nouiter additis 7 i locis I Juis pofitis: quas ce tera miffalia im I prefJa non I habent Incipit, f bi, red: Incipit ordo miffalis feci I dum confuetudine Roma ne curie Explicit, f L7Y, red: Accipite optimi facerdo I tes Miffale iuxta more3 Ro I mane ecclefie expletum: cum I vigiti miJfis additis: quas ce I tera miJfalia impreffa no ha | bent Philippi de pincis ma I tuani mira arte impre]fu3: in florentiJJima ciuitate Vene I tia Tepore fanctiJfimi D pp Alexandri fexti: q pcepit feftu Aurelii Auguftini fole I nizare: ficut feftu vnius apl'i ) ta3 a laicis q3 a clericis: i hoc | fuit ex follicitudine I ipenfis cuiufda3 Reueredi magiftri pauli tridetini ordinis here mitaq fancti Auguftini Im I perante Auguftino Barba ) dico venetoy pricipe feliciffi I mo Anno ab icarnatioe dni I M.ccccxcv.die.xvi.Marcij I Regiftru cartharu I f L8: [woodcut of St Anthony.] Collation: 4° [a8 bz8 7 98 8 A-L8=296 ff., numbered [8] I-CCLXXXVII [i}, with errors 30 11 2 col Illustration: woodcut Crucifixion, f r4V; woodcut St Anthony, f L8; woodcut initials Music: printed notes and staves Music pages: ki-k2v, m7 , ni, n4-oi, pI-p7, p8, q2-r4,

r6V-r8==57 pp Staves: 6 red 5-line staves per col Music type: RI7 Copies: A-Gottweig, Ben; B-Gand, Sem; D-Munich, SB; I-Bologna, BU; Florence, BN; US-PA-Philadelphia, PL Copies seen: I-Bologna, BU, A.V.KK.VIII.io Size: 215 X i60 mm Binding: recent vellum Florence, BN, Landau-Finaly Inc 33 Lacks ff z2 and L8 Size: 207 X i55 mm Provenance, front pastedown: bookplate, Landau-Finaly 4264 Binding: brown morocco, spine stamped in gold io Missale Romanum Venice: Johann Emerich of Speier for Luca Antonio Giunta, 14 VII 1496 Goff M7ioa (sold to Vienna, I977); IGI 6636; Polain 2737, Sander 4768; W 933 Calendar, ff 72-7, table, f: r8; incipit, f ai (I), red: Incipit ordo miffalis fm co f ]uetudinem Romane curie Dnica prima de aduentu I Statio ad fancta maria3 ma I iorem ad miJfam Introitus Explicit, f F6 (CCXLII), red: Accipite optimi facerdo tes miffale iuxta more fancte ) Romane eccl'ie expletu cu di I ligetia reuifa ac fideli ftudio I emedatu ImpfJfi iuffu 7 Tpe I fis nobilis viri LucAntonij I de giuta floretini: Arte at ioa i nis Emerici d' fpira Venetijs ducate feliciJfimo pncipe au I guftino barbadico Mcccc lxxxxvj.die vero.xiiij Iulij Collation: 2° 7T8 a-z8 8 98 A-E8 F6=254 ff, numbered [8] I-CCXLII with errors 34 11 2 col.

Illustration: woodcut Crucifixion, f o5V; woodcut initials Music: printed notes and staves Music pages: m5v-n3, n5-n8v, oI-o5=29 pp Staves: 9 red 4-line staves per col., 271.5 X I77 (84) mm Music type: Ri9 Bibliography: Notazione bibliografica degli incunabuli conservati nella Biblioteca Civica G Tartarotti di Rovereto, Publicazione della Scuola di Bibliografia Italiana 3 i, Reggio d'Emilia: Scuola di Bibliografia Italiana, I935, no 34; reproduction off F6 on p 23 Copies: B-Brussels, BR; D-Munich, SB; E-Saragossa, Cat (W); I-Rovereto, BC Copies seen: B-Brussels, BR, C 346 Lacks ff 71I, 01-3, o6-8 Manuscript gothic plainchant at back (I4 ff.) Size: 357 X 240 mm Decoration: colored Crucifixion and initials, rubricated in red, highlighted in yellow and green Binding: modern leather I-Rovereto, BC Microfilm of music pages 102 Missale Romanum Rome: Stephan Planck, 31 X 1496 C 4207; BMC VII-Ii30, XII.8; IGI 6637; Sander 4769; W 934 (=935?); M-B I55

Incipit, f ai (i), red: Incipit ordo miffalis fcd'm | confuetudine Romane curie I Dominica prima de aduetu Explicit, f F6 (ccxxviij), red: Impreffu3 Rome p magiftru I Stephanu Planck Patavien I fem Anno dni M'cccc'xcvj' Die vero vltima mefis Octo [ bris' Sedente Alexandro vj' potifice maximo:Anno eius ) quinto Laus deo.: C0i T 8 4 882-8 8 63-4 6 8 Collation: 2 78 i4 a-h8 2i8 k-m n i o p-z A-D8 E-F6=240 ff., numbered [12] i-ccxxviij 34 11 Illustration: woodcut Renaissance borders and historiated initials Music: printed notes and staves Music pages: hIV-h2v, k4 r-, k5V, k8-14V, m3-m5, m7V-3ii,

3i3 i439 ff Staves: 7 red 5-line staves per col., 206 X I56 (72) mm Music type: Ri Copies: D-Nuremberg, NM; GB-London, BL; I-Cesena, BC Copies seen: D-Nuremberg, NM, Inc 4° 4113 Lacks ff n7-n8, gathering 3i4 GB-London, BL, IB I8578 Vellum Additional masses with roman plainchant on added io vellum leaves at end Decoration: Crucifixion, f.3i"; woodcut borders and initials in gold in colors Size: 345 X 243 mm Provenance: Giovanni Pietro Arrivabene, bishop of Urbino from I491 to I504 (see L A Sheppard, "The Early Provenance of the Museum Copy of the Missal Printed at Rome by S Plannck, 1496," British Museum Quarterly i6 [195I]: 2-4) Bookplate: Thomas Brooke FSA/Armitage Bridge Binding: crushed red morocco 103 Missale Romanum Venice: Andrea Torresani, I5 V 1497 H I141 i; Essling 45; Gspan-Badalic 457; Sander 4771; W 937 ((8) 25, () = 260ff.) Title, f f , red: Miffale Romanum cum mul I tis mif is ac benedictioni I bus nouiter additis in I locis fuis pofitis qs cetera miffalia I preffa no ha I bent: vt pa tet in ta-I bula Explicit (Gspan-Badalic): Accipite optimi facerdotes miffale iuxta morem Romane ecclefie expletum: cum aliquibus miffis additis: quas cetera miffalia impreffa non habent Andree de torrefanis de

afula mira arte impreffum: in florentiffima ciuitate Venetiarum Tempore Sanctiffimi D Pape Alexandri fexti: qui precepit feftum Aurelii Auguftini folennizare, ficut feftum unius apoftoli tam a laicis quam a clericis: et hoc fuit ex follicitudine: et impenfis cuiusdam Reverendi magiftri ordinis heremitarum fcti auguftini, Imperante Auguftine Barbadico venetarum principe feliciffime Anno ab incarnatione domini MCCCCXCVII.die xv.Maij [printer's mark] Collation: 2° t8 a-m8 n6? o-z8 98 8 A8 B-C (?)=242(+?) ff.; numbered [8]}-CCXXXII Illustration: ? (copy seen lacks f n3V) Music: printed notes and staves Music pages: g7 , i8 , kiv, k3v-k7, 14-m", m3, m4-n2, [n3?], n5-n6=4(+ i?) pp Staves: io red 4-line staves per col, 270 X 176.5 (83.5) mm Music type: R23 Copies: Y-Ljubljana, NU Copies seen: Y-Ljubljana, NU, Ti 111.12672 Lacks ff n3-n4, q3, Ci, C9, Cro [and others?] Decoration: historiated and flourished initials and borders Size: 371 X 250 mm Provenance, f t i: Ex libris Conventus Labacensis ad Div Virg Annunciatam Ord Erem S P Augustini Binding: blind-stamped leather over wooden boards, with io bosses and 4 clasps I04 Missale Romanum Venice: Johann Hamman for Ottaviano Scoto, 5 VI 1497.

H 11409; Goff M7i; IGI 6639; Essling 46; Sander 4772; W 938; M-B i56 Incipit, f ai (i), red: : Incipit ordo miffalis f3m I confuetudine Romane curie [ Explicit, f M4, red: Miffale fcd'm confuetudine fancte romane ecclefie: vigi [ lanti ftudio reuifum emedatiuq3: iunctis infup certis mif I faru officijs: q antea minie impreffa fuere: videl3 Officio I dulciffimi nominis iefu: Officio corone dni: completifq3 officijs deuotiffimis fc3: Clementis pape: et fcti Rochi confefforis contra peftem et epidimie morbu 7 c: Iuffu et I impenfis nobilis Octauiani Scoti modoetinefis: Arte item famatiffimi Uenetiaru imprefforis Ioinis hertzog: I feliciter expletu eft: Anno christianif ime natiuitatis poft I millefimum quaterq3 centefimu xcvij Nonis lunij F M4, red: [printer's mark, IH] Collation: 4°, 7TI6 2774 a-z8 A-L8 M4=286 ff.; numbered [io] i-cclxxliii 32 11 2 col Illustration: woodcut Crucifixion, f q3V; historiated initial of Mass, f q4; other minor initials Music: printed notes and staves Music pages: h6-h7v, 13v-14v, 15-16, 18V-m6, n5V-o5, o8-q3=60 pp Staves: 6 red 4-line staves per col., I43 x i i6 (56) mm Music type: RI i.

Copies: I-Milan, BN; Rome, Ang; San Daniele del Friuli, BC; US-CA-San Marino, Hunt Copies seen: I-Milan, BN, Gerli Inc 36 Livres de liturgie, p 82, no 166 First signature of 8 leaves, no second, unsigned signature Provenance: Duke of Parma Binding: blue morocco (Lortic) Rome, Ang, Inc 76 Lacks T7 i-4 (begins with calendar, month of September) Binding: acid-eaten calf US-CA-San Marino, Hunt, 85504 Lacks f 27r4 Size: 221 X I60 mm Binding: calf over wooden boards with clasps Io5 Missale Romanum Venice: Giovanni Battista Sessa, 8 X 1497 See Fig 52 H 114 12*; Goff M7I2; IGI 6640; CIBNM467; Essling 47; Oates 2200; Sander 4773 W 939= 947; M-B 157 Title, f 7ri, red: Miffale fecundum morem

fancte Romane Ecclejie [printer's mark, IBS.] Incipit, f a , red: Incipit ordo miJfalis jm con I fuetudine Romane curie Do I minica prima de aduentu: Sta I tio ad fanctam mariam maio I rem ad miiJam Introitus I Explicit, f K3 , red: Accipite optimi facerdotes Mirfale iuxta more Ro ) mane eccl'ie expletu: Ioanis baptifte de feffa mediola nenfis mira arte imprej'um: in florentiSJima ciuitate I Venetiaru Auguftini barbadici inclyti principis tem peftate: Anno incarnatiois dniice Millefimo quadrin I getefimo nonagefimofeptio octauo idib9 octobris Regiftrum quaternoy [printer's mark, IBAS] Collation: 4°, r8 a-z8 78 A-I8 K4=276 ff., numbered t 8 i-cclxvii [i] 33 11 2 col Illustration: woodcut Crucifixion, f pi"; woodcut initials Music: printed notes and staves Music pages: h4v-h5v, i7,, k3, lr- 3, 13, 5-mI, nI-n6v, n8v-pI, p3-p4v =5 pp Staves: 8 red 4-line staves per col.; 167 X 122 (53) mm Music type: R24 Copies: D-Munich, SB; F-Paris, BN; GB-Cambridge, UL; I-Treviso, BC; Venice, BN; US-IN-Bloomington, UIL; Vatican City, BV Copies seen: I-Treviso, B(, 13484 Lacks sheets 71r.8, 7T2.7, and signatures k through x, and K Size: 218 X 158 mm.

Provenance, front paste-down: 1490 a di xx maggio I Questo libro si e de me preto Zane I Andriana Zane Binding: blind-stamped leather over wooden boards, clasps missing Venice, BN, Inc V 77i Lacks ff K3-K4 Binding: modern leather Vatican City, BV, Inc IV.2.9 Lacks ff K3-K4 Many changes have been made in ink to the music Provenance, stamp on f 7r I: BIBL[OT.S.SILVEST [S Silvestro al Quirinale, Rome] A note in the copy says that Frutaz, "Contributo alla storia della riforma de Messale promulgato da san Pio V nel i570," p 193, claims that this copy contains the annotations in the hand of Cardinal Sirlete (15 14-1585) used for the reform of the missal Sirlei:e was at S Silvestro from 1563 to I565, when he was made cardinal Binding: vellum I,)6 Missale Romanum Edited by Pietro Arrivabene Venice: Johann Emerich of Speier for Luca Antonio Giunta, io XI I497H 114I0; C 4208; P 5499; BMC D.540; Goff M713; IGI 6642; Essling 48; Martimort 23; Sander 477; W 94I: M-B I58 Title, f 7rl, red: Miffale jcd'm gfuetu I dinem romane curie I nouiter imprejfum I M.ccccxcvij I [printer's mark LA] Incipit, f; ai, red: Incipit ordo miffalis fm con fI uetudine Romane curie Do I minica prima de aduetu Statio Iad fancta maria maiore ad miJJa Intro Explicit, f C8, red: Accipite optimi facerdotes Miffale iuxta

mo rem Romane ecclefie expletu: folertiq3 diligen | tia caftigatum per fratrem Petrum Arriuabe num ordinis minoru de obferuantia nuncupa I torum Impenfis noblilis viri LucAntonij de giuta Florentini: Arte aute 7 ingenio Ioannis Emerici de Spira Alemani Impreffum in flo I rentif ima ciuitate Uenetiaru Auguftini Bar I badici inclyti principis tempeftate: Anno incar nationis dominice Millefimo quadringentefi ) mo nonagefimofeptimo iiij Idus Nouebris Regiftrum quaternorum * o 8 8 6 8 8 8 10 Collation: 4. 77 a-n o6 p-z 8 98 1 A-C8=240 ff., numbered [8] I-CIIII [8] CVI-CCXXV [ ] 35 11 2 col Illustration: woodcut Crucifixion, f 02; woodcut initials and border Music printed notes and staves Music pages: g5s-g6", i7v-i8, kiv, k3v-k8", 17-m5, m6-o2, o4-05V=55 pp Staves: 6 red 4-line staves per col., 55 X I 17 (57) mm Music type: RI8 Copies: D-Berlin, SPK; GB-London, BL; I-Lucca, G; Parma, Pal; Rome, Cors; US-TX-Dallas, SMU; Vatican City, BV Copies seen: GB-London, BL,

IA 24229 Size: 217 X i60 mm Provenance, f 7T i: Sum Cartusiae Scti Laurentij in Fetingen Binding: modern stamped leather I-Parma, Pal, Inc MMG 339 Binding: half leather (I8th cent.) Rome, Cors, 46.E Io Lacks f 02 Decoration: major initials in gold and colors Binding: half leather Vatican City, BV, de Marinis, Stamp 5 Ris Provenance: Duke of Parma Binding: brown calf stamped with Venetian interlace pattern (Tammaro de Marinis, La legatura artistica in Italia nei secoli XV e XVI, Florence: Fratelli Alinare, 1960, 2: plate 1506) I07 Missale Romanum Venice: Simone Gabi, called Bevilaqua, 3 I I497/1498 See Fig 43H I1413; IGI 6638; CIBN M 466; Essling 44; Pellechet 8096(8026) ("1497"); Sander 4770; W 942; M-B I59 Title (Pellechet), f 7rl, red: Missale secundem morem I sancte Ecclesie Romane Incipit, f al, red: ( Incipit ordo miffale fcd'm confuetudinem

romane curie I Dominica prima de aduentu Explicit, f G5, red: ¢ MiJfale fm cofuetudinem I fancte ecclefie Romane: fingu I lari cura ac diligetia: ImpJJu3 I Uenetijs per Simone dictu i biuilaqua Papienfem Anno I a Natiuitate Dni noftri ieJu I Chrifti 1497 Die Ultimo I anuarij f G8: [printer's mark, SIMO BEVIAQVA] Collation: 8° 7rT A4 a-18 m°' n-z8 A-G8= 254 ff., numbered [12] 242; unsigned h3, 12-14, n3, 02-03 3611 2 col Illustration: woodcut Crucifixion, f o6" Music: printed notes and staves Music pages: h2V-h3^{v, k5V-k6, k7, 12-16, m5V-n2, n4V-05v, [o6?], o8-piV=53[+ I] pp Staves: 7 red 4-line staves per col., I21 X 79.5-80 (38) mm Music type: R8 Copies: A-Vienna, NB; D-Munich, SB2; DK-Copenhagen, KB; F-Paris, BN; I-Brescia, BC [could not be found] Copies seen: A-Vienna, NB, Ink I5.H.2 Lacks gathering 7T8 and f o6 Preliminary gathering A4 bound at end Decoration: major initials and borders in colors, minor initials in blue, rubrication in red Size: i65 X 113 mm Binding: blind-stamped leather over wooden boards, 2 clasps missing Io8.* Missale Romanum Venice: Simone Gabi, called Bevilaqua, for Paganino Paganini, 15 III I498 C 4212; W 944* Explicit (W): Simon Bevilaqua impensis Paganini de Paganinis Collation (W): 2°. Note: might this item be the same as D II3, which differs only in date (io III 1499)? Copies: none known.}

og9 Missale Romanum Edited by Pietro Arrivabene Venice: Johann Emerich of Speier for Luca Antonio Giunta, 28 VI I498 C 4211; IGI 6643-A; Essling 49; Martimort 24; Ohly 2024; Sander 4775; W 945; M-B 162 Title, f 7i: MiJfale Jfm vfum Jfancte Roma I ne ecclefie I [printer's mark, LA] Incipit, f ai, red: Incipit ordo mijfalis fm con I fuetudine Romane curie Do I minica prima de aduetu Explicit, f 98, red: Accipite optimi Jacerdotes miJfale iuxta moru fce Romane I ecclefie expletu cu diligentia re I uiJum ac fideli ftudio emedatu i per fratre Petru Arriuabenu I ordinis fci FranciJci de obJer I uantia ImpreJfum iuJfu et im I pefis nobilis viri LucAntonij I de giuta Florentini: Arte aute I oanis Emerici de Spira: Ue-I netijs ducante feliciffimo prin cipe Auguftino Barbadico I M.ccccxcviij Quarto kal' Iulij Regiftrum Collation: 2° 78 a-z8 '8 8=208 ff., numbered [8] I-CC Ohly 2024 adds three more signatures, AA-CC Several music leaves signed in a smaller type, gi, i4, k4, 14, m2 2 col Illustration: woodcut Crucifixion, f 18 Music: printed notes and staves Music pages: f8-gI, h8-, iiv, i3-i6, k4-k8v, liV, 12v-17, [18?], m2-m3=37(+ ?) pp Staves: io red 4-line staves per col., 260 X 174 (83.5-84) mm Music type: RI9.

Copies: D-Frankfurt/Main, SK (Ohly 2024): Wurzburg, UB; F-Paris, SG; GB-Oxford, UL; I-Piacenza, BC; S-Strangnas, Cat Copies seen: GB-Oxford, UL, Inc c.14.1498.4 Lacks f I8 Size: 344 X 241 mm Provenance, f 7TI: adi uintafette dagoJfto unauolta f°; front paste-down: bookplate of Virtue & Cahill Library overstamped: "Following enemy action in 194 I and dispersal of the library, the bishop and Cathedral Chapter agreed to the disposal of the books for better care and to the advantage of scholars 1967." Binding: leather with arms of Michael Wodhall [Woodhull] stamped in gold IIo Missale Romanum Milan: Antonio Zarotto, I X I498 IGI 6644; Ganda 203; Rogledi Manni 686 Explicit: Antoni patria parmefis gete zarote Prim9 miJfales iprimis arte libros I Nemo reptore nimiu fe iactet: i arte I Addere p19 tatu qua pepifJe valet Mediolani M.cccc.lxxxxviij I Calendis Octobris ) [printer's mark, AZ] Collation (GW ms.): 2° 7TrA-R8 S-T6=I56

ff 44 11 2 cols Illustration: woodcut Crucifixion Music: printed notes and staves Music pages (letter from Dr Bonfatti, Novara, Sem.): ff 59-63, 69'-74, 76v-77. Staves: 8 red 4-line staves per col Music type: A3 Copies: I-Novara, Sem Copies seen: I-Novara, Sem, Inc X.i Microfilm of music and colophon See R Beltrami, Incunabuli di biblioteche e di archivi novaresi, Novara: E Cattaneo, 1937, no 206.

I I Missale Romanum Edited by Pietro Arrivabene Venice: Johann Emerich of Speier for Luca Antonio Giunta, I 5 X 1498 H I1414*; BMC V:54 ; Essling 50; Goff M7I4; Sander 4776; Polain 2738; Sajo-Soltesz 2307; Pellechet 8097 (8027); CIBN M468; IGI 6645; Martinmort 25; W 946= 849; M-B I63 (corrected) Title, fi , red: MIffale Ro I manum I [printer's mark, LA Incipit, f ai, red: ¢ Incipit ordo mifalis Je ) cundu3 gfuetudine romane I curie Dnica prima de adue I tu: Explicit, f G3j, red: Accipite optimi facerdotes I miffale iuxta more fancte Ro I mane ecclefie expletum: cum I diligentia reuifu3 ac fideli ftu I dio emendatu per fratre Pe [ trum Arriuabenui: ordinis fci Francifci de obJeruantia Im I preffum iuffu 7 impenfis nob) I lis viri Lucantonij de giunta: I Florentini: Arte autem Ioan I nis Emerici de Spira Uene I tijs Anno.M.ccccxcviij Idi I bus Octobris Collation: 8° t8 A8 a-z8 A-G =256 ff., numbered (16]3 [i]-ccxl 35 11 2 col Illustration: woodcut Crucifixion, f oSV; woodcut border and initials Music: printed notes and staves Music pages: h2-h3, k4v-k5, k6, k8-l1v, m4-n2v, n5-o5,

o8V-p3v=55s pp Staves: 7 red 4-line staves per col., i o X 80 (39) mm Music type: R20 Bibliography: on the identification of W 849, see R Meuth, "Die Prafation unseres heiligen Vatere Franziskus," Franziskanische Studien 23 (1939): 71Copies: A-Salzburg, StP; Vienna, NB; D-Eichstatt, SB (Hubay, Eichstatt, 698: provenance, Bibl Aulica Eystettensis); Mainz, SB; Munich, SB; F-Nice, BM; Paris, BN; GB-London, BL; H-Budapest, BN2; I-Mantua, BC; Milan, Ambr; Cap; Servi; Modena, Est (Fava, 926; provenance: Collegii Mirandulani Soc Jesu [XVII}); San Candido, Coil; Vigevano, Cap; P-Wroclaw, BU; Kap; US-CA-San Marino, Hunt; CN-New Haven, YUL; Vatican City, BV Copies seen: GB-London, BL, IA.24234 Lacks f tI; manuscript prayers at back Provenance, front flyleaf: ffr9 Ludovicus Leynier; front paste-down: Dr F Zander I 1840 Binding: blind-stamped leather over wooden boards, 2 clasps H-Budapest, BN, Inc 99 Lacks gatherings t8 and A8, and ff ai, a8, b4-b5, ci, c8, iI-mi, m3-m6, m8-pi, p3-p6, p8-q7, ri-r2, r7-r8, t8-v2, v8, G4-G8 Size: 135 X 103 mm Provenance, f G3v: Reuerendus Pater Demetrius Harolykaii i66i Binding: half leather with paper boards, tied with ribbon I-Milan, Ambr, 529 Size: 163 X I o mm Provenance, f m6: A laur9 Bermo emptu9 sui Amicoru3q Comodis QSQ; v kal Mai 1824, Bibl Ambr Binding: vellum US-CA-San Marino, Hunt, Io1019 Size: 169 X 114 mm Provenance, f I": Francis W P Greenwood, bought in Edinburgh, June 1821 Binding: stamped calf over wooden boards, panel of angels playing musical instruments, 2 clasps missing;

bound by Anthony van Gavere of Ghent, Flanders (1459-1505) (see W H Weale, Bookbindings and Rubbings of Bindings in National Art Library, South Kensington, London: Eyre and Spottiswoode, 1898, pp 83 and 37I, no 373) Vatican City, BV, Inc V.207 Size: I63 X 114 mm Provenance: Addi 26 febrayo 1532 Cafrancescha Missale Romanum Venice: Giovanni Battista Sessa, 15 X 1498 Graesse 4:549; Panzer 4:450, 2268b; W 947 Incipit (Panzer): Missale fecundum morem fanctae Romanae Ecclesiae Explicit (Panzer), f 261i: Ioannis baptiste de sessa mediolanensis mira arte impressum in ciuitate Venetiarum Anno Millesimo quadringentesimo nonagesimo septimo octavo idibus octobris Registr Collation (Panzer): 4°. Signed and numbered ff CLXI (7) Graesse: (8) 261 ff., numbered, 33 11 W: 4°. 270 ff., numbered (8) 261 (i) Note: ghost? The incipit and explicit are identical to D io6 The date may have been read incorrectly by Panzer I 2 Missale Romanum Venice: Giovanni Battista Sessa, 1490 [not before 1493 or after 14981 See Fig 53H 11395*; BMC V:480-8i; Goff M7o3; IGI 6643; Essling 35; LD3ii; Sander 4755; W 9I4=943; M-B 160= 16 = 143?

Title, f 7rT, red: Miffale fecundum morem fancte Romane Ecclefie I [printer's mark, IBSI Incipit, f aI, red: Incipit ordo miffalis f3 co fuetudine Romane curie Dnica prima de aduentu: Explicit, f Tg9, red: Accipite optimi facerdotes Miffale iuxta more Roma I ne ecclefie expletu3 per Ioanne Baptifta de Seffa Medio lanenfem mira arte ipreffu3: in florentiffima ciuitate Ve I netiaru Tepore fanctiffimi Alexandri fexti papa qui pce ) pit feftu Aurelii Auguftini folenizare ficut feftu uni9 apl'i Et Auguftini

Barbadici inclyti principis tepeftate: Anno I Incarnationis dnice Millefimo quadringentefimo nona I gerimo I Regiftrum quaternorumf Tio: [printer's mark, IBAS] Collation: 8° r8 a-q8 A-S8 T'=2o if., numbered [8] I-cxxxviii, cxxxvii-cclxxx [actually ccxc] [i] Many of the folios with music are unsigned because of extra long music forms: i3, m2, ni-n2, 03-04, p4, qI-q3 34-35 11 2 col Illustration: woodcut Crucifixion, f q4V; woodcut capitals Music: printed notes and staves Music pages: i2-i3v, m2 m4, m6V-n3, 02V-piV, p3V-q4, q6-q7V=53 pp Staves: 7 red 4-line staves per col., 136 X 84-86 (40-41) mm Music type: R24 Note: the date ' 490' in the colophon cannot be correct, because there is a reference to Pope Alexander VI, who was elected in 1492 and lived until I498 W gives two numbers for this item: under W 914, the reader is told to see W 943 for the correct chronological placement M-B gives three numbers for this item, apparently all equal, despite her claim that M-B i6i "is different from the previous item [M-B I60o], as well as from W 914."

Copies: D-Berlin, SB; D-Munich, SB; F-Paris, SG; GB-London, BL; Oxford, UL; I-Bologna, BU, Florence, Ricc; Milan, BN; Padua, BU; Rome, BN; Cors; Venice, BN; US-CA-San Marino, Hunt; Vatican City, BV Copies seen: D-Munich, SB, 8° Inc c.a.92 Lacks f rTi Size: 167.5 X I I mm Binding: blind-stamped leather over paper boards, "IHS," 2 clasps missing GB-London, BL, IA 24573 Lacks ff T I, q4-q5, H2-H8, T5-T6, gatherings I and S The "Ordo ad faciendum cathecuminum" from D I I has been inserted at the end Size: I75 X 122 mm Provenance: Ex libris Iohannis Wickham Legg; Ex libris Frid Minetti, 1876, Nono Kal Febr Binding: stamped leather over paper boards, 2 clasps Oxford, UL, Don f Ij37 Missing since 1972 I-Bologna, BU, A.V.KK.XI.9o Gaspari 567 Lacks f Tio: manuscript leaf at end with prayers to St Gregory Size: 170 X 16 mm Provenance, f T"g: Fris Ludouici Ano I Dni i650 Mensi9 Maii Bologninis I In Foro Binding: vellum (modern) Milan, BN, Inc 52 (Livres de liturgie, p i64) Lacks f Tio Decoration: crude brown ink on some initials and Crucifixion Size: 172 X 119 mm Provenance: Duke of Parma Binding: blind-stamped brown morocco, coat of arms on cover (Lortic) Padua, BU, S° XV.I2 Provenance, title page: Matthei Erasmi Binding: blind-stamped leather, 2 clasps Rome, Cors,

46.E.24 Size: I64 X 13 mm Binding: gold-stamped morocco Venice, BN, Inc V.85I S Michaelis (29 Sept.) and Marce evangeliste (25 April) Decoration: crudely inked initials Size: 176 X 121 mm Binding: modern, vellum corners US-CA-San Marino, Hunt 92520 Binding: recent vellum Vatican City, BV, BBB I.I8 Size: 178 X I23 mm Binding: gold-stamped black leather, 2 clasps II3 Missale Romanum Venice: Simone Gabi, called Bevilaqua, for Paganino Paganini, o1 III 1499 See Fig 42 b C 4213; IGI 6646; Essling 5I; LD 3i8; Sander 4777; W 948 Title, f a , red: Miffale Romanum Jfm ordinem I curie cum numeris foliorum ) orationum epl'aq 7 euan I geliorum: que multis in I locis complete non I reperiuntur Incipit, f bi, red: Incipit ordo miffalis fecundum I confuetudinem romane curie Explicit, f 5, red: Explicit miffale fecundu more ro mae eccl'ie: fuma cu diligetia 7 fide I li ftudio purgatu ab his errorib9: ) qb9 vel ignoratia vel icuria librario I ru adhuc commuis abufuf lualuit I Quocirca qcuq3 legerit: obfecratiu veli ne adhibeat manu pcipite3 ad I corrigeda vel poti9 corrupeda libri I rectitudine magno parta

labore: f3 I ml'tiplicato fincero examine: poftmodu exequatur qc qd recta ratio 7 fIpus veritatis igeSjerit Ad laude | oipotetis dei 7 fcilJime v'gis mris I ei9: totiufq3 curie celeftis Impref I fa venetiif Tpefif Pagaini d' paga I nis brix Arte at 7 iduftria Sionif ) Beuilaque papi fub Inclyto Du I ce Auguftio barbadico vj Idus I Martii Mcccc:Lxxxxviiij Ame Collation: 2° a-h8 i-m6 n8 06 p-z8 78 98 8= 198 ff., numbered [8] I-I9o; unsigned: k2-n4, n2-n4 37-39 11 2 col Illustration: woodcut Crucifixion, f n5s; woodcut capitals Music: printed notes and staves Music pages: g5-g6, i4v, i5', kiV-k4v, 14V-mI, m2-m3', m5v-n5, n6V-n7=37 pp Staves: io red 4-line staves per col., 228 X 157 (74) mm Music type: R7 Note: the edition is a nearly identical reprint of

the 1487 Missale Romanum, D 73 (compare f. n"4 of both editions in my Fig. 42a-b). Copies: I-Treviso, BC; Venice, Cini; Verona, BC; S-Stockholm, KB. Copies seen: I-Treviso, BC, IV.I4A.io. Lacks ff. ai-2. Provenance, flyleaf, stamp: acquisto Eredi BAILO [1835-1932]. Binding: vellum. Venice, Cini, 675. (Livres de liturgie, p. i70; Bohatta LD 3 i8 includes collation with anomalies of signatures and foliation.) Size: 307 X 205 mm. Provenance, bookplate: Duke of Parma. Binding (Tammaro de Marinis, La legatura artistica in Italia nei secoli XV e XVI, Florence: Fratelli Alinare, 1960, 2: no. I714, plate CCCXXVII): 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. I [4. Missale Romanum. Milan: Leonard Pachel, i6 IV I499. H1145; GoffM7I5; IGI 6647; LD 3 9; Sander 4778; W 949; M-B 164 Title, f 7rI: [woodcut of St. Peter] Incipit, f ai: Incipit ordo miJfalis fecundum confuetudinem romane curie. Explicit, f. u6': Explicit. Miffale fecudum conjuetudinem sancte romane ecclefie: I vigilanti ftudio reuifum emendatuq3: iu ctis inJuper certis miJfalum officijs: per I venerabilem prejbyterum Leonem de I cipellis lauden em. Impressum Medio I lani per Magiftru3

Leonardu pacchel I Anno dfii.M.cccclxxxxix.die xvi.apl'. I [printer's mark, LP}. Collation: z°. iT a-s8 t4 u= 162 ff., numbered [8} 1-154. 44-5 I 11. 2 col. Illustration: woodcuts of St. Peter (f. rTi), Crucifixion (f. 73), and Annunciation (f. ai); woodcut initials. Music: printed notes and staves. Music pages: g3-i3V= I6 pp. Staves: i i red 4-line staves per col., 24,0 X I70 (80) mm. Music type: R28. Copies: F-Nice, BM; I-Milan, BN; US-NY-New York, Met. Copies seen: I-Milan, BN, Gerli Inc. I8. Size: 323 X 228 mm. Provenance: S. Zini, Florence; Duke of Parma (Livres de liturgie, p. 171 ). Binding: Russian leather with coat of arms. I15. Missale Romanum. Venice: Giorgio Arrivabene, 29 V 1499. See Fig. 55. C 4214; Goff M7I6; IGI 6648; CIBN M 469; Essling 53; Martimort 26; Pellechet 8098 (8028); Sander 4779; W 950; M-B 65 Title, f. fi, red: MifJale Romanu cu3 multis mifJis ac bndictionibus no uiter additis in locis fu- is pofitis quas cetera I miffalia impreffa I non habent: I vt patet in I tabula. I black: [woodcut of St. Francis] Incipit, f. a , red: Incipit ordo miffalis fecun I dum confuetudinem Ro- mane curie.

Dfnica prima I de aduentu. Explicit, f. 19: Finit miffale fm cu I riam ImpreJfu3 ve netijs per Georgi- ( um arriuabenum I anno dni. I499.die 29.menfis Maij I [printer's mark, red, AG]. Collation: 2°. t8 a-I8 m-n'° o-z8 18 98 8 A-G8 H-I'°=296 if., numbered [8] I-287 [i}; unsigned music leaves m4, p2-p3. 34 11. 2 col. Illustration: woodcut Crucifixion, f. I20o; woodcut capitals. Music: printed notes and staves. Music pages: h8i ii", 17r-v, 18v, m3Vm7, n5-n8, ng-n Io, 0o, 02V, o4-p4, p6-p7V=46 pp. Staves: 9 red 4-line staves per col., 262 X i8o (84.5) mm. Music type R25. Copies: F-Paris, BN (vellum); I-Belluno, Cap; Bergamo, BC; Milan, Ambr; Palermo, BC; Perugia, BC (vellum); Rome, Cas; Siena, BC; Treviso, Cap; Venice, BN; Verona, Cap; US-MI-Ann Arbor, UML. Copies seen: I-Perugia, BC, Inc. 917. Vellum. Provenance, f. tI: in nostra dfn3 feruu. Binding: leather over wooden boards. Siena, BC, M. II.32. Provenance: Missale3 Sci blasij. Binding: blind-stamped leather over wooden boards (restored), clasps missing, bosses. Venice, BN, Inc. V. Io5. Binding: blind-stamped leather over wooden boards (restored), clasps and bosses missing. Verona, Cap, H.

I. i (Venturini 142). Provenance, f. t i: De mi frat9 gerardo da Verona de Verita ad ipsius usum et amicorum; f. IIo: Scritto adi 14 luglio I572 essedo priore il R° maestro Piero I d Taruisio. Binding: paper boards with leather spine. i I6.* Missale Romanum. Venice: [s. typ.], 1499. C 42 i6; Essling 52; Sander 4780; W 952* Collation (W): 4°. Note: the original citation in W includes an asterisk to indicate that the volume was not personally examined. II7.* Missale Romanum. [Venice?]: 5 XII 1500. W 957* (s.l., s.); M-B, p. 6I ([Venice]) Note: W notes a copy at Regensburg. Missale Romanum. Venice: Simone Gabi, called Bevilaqua, 1500.

W 959* Collation: 8° Note: apparently D 14i*, Missale Ordinis Praedicatorum Missale Romanum Edited by Pietro Arrivabene Venice: Johann Emerich of Speier for Luca Antonio Giunta, 27 II I500/15 I C 4217; IGI 6649; Essling 54; Sander 4781; W 958 (I6 preliminary if., unnumbered; a-n8 o6 p_z8 10 98 A_C8) Title, f TrI: Miffale Jcdm 9fuetu dinem romane curie I nouiter impreJJum I M.cccccj [sic] [printer's mark, LA] Incipit, f ai, red: Incipit ordo miffalis jm 9rue I tudine Romane curie Dnica prima de aduetu Statio ad fan I ctam maria maiore ad mifJam I Intro Explicit, f C8, red: Accipite optimi facerdotes Miffale iuxta mo I rem Romane ecclefie expletu: folertiq3 diligen I tia caftigatum per fratrem Petrum Arriuabe ) num ordinis minoru de obJeruantia nuncupa toe ImpeJis nobilis viri Lucantonij de giuta I Florentini: Arte aute ingenio Ioannis Eme rici de Spira Alemani Impreffum in florentiJ Jima ciuitate Venetiarum Auguftini Barba I dici inclyti principis tempeftate: Anno incar nationis dominice Millefimo quingentefimo I iij kl' Martij ) Regiftrum Collation: 4° 7r8 a-n8 o6 p 8 8 8 ' A-C8=24o ff., numbered [8] I-CIIII [6] CV-CCXXV [] 3 11 2 col.

Illustration: woodcut Crucifixion, f 02V; woodcut initials and border Music: printed notes and staves Music pages: gSV-g6v, i7v-i8, kIv, k3v-k8', 17-m5, m6, m8-o2, o4-o5V=56 pp Staves: 6 red 4-line staves per col., 158 X I 8 (57) mm Music type: Ri8 Copies: A-Vienna, NB; I-Florence, Mar; Vatican City, BV Copies seen: I-Florence, Mar, R.o 170 Lacks gatherings iT 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 50oo or i VI 150I?] Goff M7oia (ca 1487 amended to ca 500oo in annotated edition); Essling 57? (i50i); LD 320? (I50o); W 898 (ca i487)=96i? (I50o) Title, f f i, red: MIffale fcdm ) morem Ro f mane curie f 2f i, red: Incipiunt tabule miJfalis Incipit, f ai red: ¢ Incipit ordo MiJfalis fm I cofuetudine Romane curie I Dominica prima de adueu | Statio ad fanctam maria ma I iorem: ad miffam introitus F F3S: Finis Explicit, f F6, 244 (misnumbered 243) (D-Munich, SB; I-Padua, Sem): Iujju 7 I impenfis Antonij Bergomen de

Zanchis Felici numine I expletum ejt: in Uenetiarum vrbe inclyta Regnante cla I rijfimo principe Auguftino Barbadico: Anno natiuitatis I chriftianiJfime:Millejimo gngeteJimol mo: kal's Iunias Collation: 4°. t[black]8 2t[red]2 a-8 8 98 A-E8 F6=264 ff., numbered i-8 [2] 1-244 34 11 2 col Illustration: woodcut initials; woodcut Crucifixion, f p3' (io5V) Music: printed notes and staves Music pages: h2-h3, k5V-k6, k7v, 12-17, m6-n5v, n8-p3, p5-p7=62 pp Staves: 6 red 4-line staves per col., I55 X 127 (65) mm Music type: not among numbered specimens of Italian fifteenth-century types Bibliography: Dennis E Rhodes, "Antonio Zanchi of Bergamo, Printer or Publisher at Venice and Mantua," Gutenberg-Jahrbuch (1956): 141-44 Note: the title, collation, music leaves, and Crucifixion woodcut of Goff M7oIa (US-TX-Austin, HRC) are identical to W 96I, even though Goff's entry includes the comment that the entry is not equal to W 961 The copy described lacks the final leaf Goff M7oia and W 898 were dated ca 1487 but that date was changed to ca 500oo in the annotated edition of Goff There is no apparent difference between the Austin book and W 961, dated I VI i50o in the colophon.

Copies: D-Munich, SB; GB-London, BL; I-Padua, Sem; US-TX-Austin, HRC Copies seen: D-Munich, SB, Rar I797 Size: 208 X 149 mm Binding: black velvet over wooden boards, clasps missing I-Padua, Sem; US-TX-Austin, HRC, Incun I500, C2865m Lacks f F6 Misnumbered ff 23 for 32, 36 for 63, 55 for 59, 56-65 repeated, I37 for 138, I5I for I6I, and mis-signed vii for viii Size: 222 X I69 mm Provenance, title page, f tI: Conuentus Olomucensis S Michaelis ) Ordinis Praedicm Bind-

ing: blind-stamped leather over boards, 2 clasps missing i i8 Missale Sarisburiense Venice: Johann Hamman for Frederic of Egmont & Gerard Barrevelt., IX 1494 H II422; P 5194; BMC V:426; IGI 6651; Essling 2I;5 (plate LVI off ai); Sander 4836; W 1390; M-B 179 Title, fi 7T.r, red: MiJfale fecundum vfum I ecclefie Sarum Anglicane I [printer's mark, FE GB] lncipit, f ai, red: In nomine JanctiJfime tri I nitatis Miffale ad vfum I chori ecclefie Sarum an I glicane feliciter incipit Explicit, f K7Y, red: In laude Janctiffime trinita I tis totiuJq3 milicie celeftis adI honore 7 decore fce ecclefie I Sa9 anglicane: euiJ'q3 deuo I tiffimi cleri: hoc miSfale diui I noru3 officiori vigilanti ftu I dio emedatu ' reuiJum: iu'ffu I et impenfis pftatiJfimoru virorum fridrici de egmont ac I Gerardi barreuelt: Impff'u3 I venetiis p Iohane hertzog I de landoia: felici numine ex I plicitu e Anno dni M.cccc I xciiii Kal's menfis feptebris Collation: 2° Tr8 a-i°0 k8 l-z8 A-B1° C8 D-I11 K8=334 ft., numbered [io] I-CCCXXV with errors 37 11 2 col.

Illustration: woodcut Crucifixion, f niv; woodcut border, initials Music: printed notes and staves Music pages: 12-16, 18, lio-m2, m3-mIo, n6rv , n7v, v8-vIov, I5=38 pp Staves: 9 red 4-line staves per col Music type: R9 Copies: GB-Cambridge, UL; London, BL; Oxford, UL; I-Bologna, BU; Venice, Cini Copies seen: GB-London, BL, IB 2337I. Fragment with no leaves containing music I-Bologna, BU, A.V.KK IV.25 (Andrea Caronti, Gli incunaboli della R Biblioteca Universitarial di Bologna, Bologna: Zanichella, 1889, no 570.) Lacks ff 7TIo, ni, oi, II-IIo, Ki-K3, K5-K8 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 I 19 Missale Sarisburiense Venice:Johann Hamman for Frederic of Egmont, I XII 1494 C 4228; P 5 I95; BMC V:426; IGI 6652; Essling 216; Pellechet 8056; Sander 4837; W I391; M-B i8o Title, f TI, red: MiJ'ale Jecundum vfum ecclefie Saru Anglicane Incipit, f ai, red: In nomine janctiJfime trini I tatis MifJale ad vfum chori I jancte ecclefie Sarum angli I cane feliciter incipit Explicit, f S8, red: In laude

fanctiJfime trinita tis totiufq3 milicie celeftis ad I honore 7 decore fancte eccl'ie I Sarui anglicane: eiuJqc deuo tiJfimi cleri: hoc mi'fale diui ) norum officioru vigilanti ftu I dio emendatiu 7 reuifum Im I preJfum venetijs per Ioanne I hertzog de landoia: felici nu mine explicitu eft Anno dni I M cccc xciiij kal's menfis de I cembris.f S8': [printer's mark, red, IH] [ Fredericus egmont I me fieri fecit Collation: 8° 7T8 27r2 a-q8 qq8 r-z8 A-S= 346 ff., q8 blank, numbered [io] 1-120, [i6] I29-328 with errors 36 11 2 col Illustration: woodcut Crucifixion, f q3': woodcut initials Music: printed notes and staves Music pages: n4-o02, 05, 07-pI, p2v-q3, q7v-q8, B4-B7= 47 pp Staves: 7 red 4-line staves per col Music type: Rio Copies: GB-Aberdeen, UL; Cambridge, UL2; London, BL2; Oxford, UL2; I-Trent, BC Copies seen: GB-London, BL, IA 23373 Size: 162 X 113 mm Provenance, f 7T I: "found in the house of mr Bostock of Molton the IXth day of august in An° Dni I596." Later: Thomas Hewett; purchased for BL in 1852.

Binding: red morocco stamped in gold 120 Missale Segoviense Venice: Johann Emerich of Speier for Guido de Lavezari & Soc., 24 VII I500 Garcia Rojo I306; W i455 Title (Garcia Rojo), fi f , red: Miffale jm 9fuetu I dine Segobie I fis Ecclefie Incipit (Garcia Rojo), f ai, red: In nole dni nii iefu xpi In cipit miJfale p totu anni circu I lu m 9guetudine Segobiefis I ecele I fie ( Dnica pma in aduen I tu dni ad miJff maiore officiu Explicit (Garcia Rojo), f 07 (CCLXXXVII), red: Finis Deo gratias I black: [A]Ccipite optimi facerdotes MiJSale iux ta confuetudi I ne jancte ecclefie Segobienfis: | nouiter copilatum: ac cum dile I gentia reuiJum: et fideli ftudio emendatu per Petrum alfonfi I Porcionarium: 7 Didacum de |

Caftro beneficiatum in dicta ec I clefia Segobienfi De mandato I ReuerediJfimi in chrifto patris I et dni: diii Iohannis Arias de I Villar dei 7 apoftolice fedis gra I tia Epifcopi Segobienfis vtri uq3 I iuris doctoris ConJiliarij I SereniJfimoru principum Re I gum ac dominorum noftroru3 I Ferdinandi et heliJabeth Re gis 7 Rgine Caftelle Aragonu I Legionis Granate alioruq3 re ) gnorum: Ac maioris Prefiden I tis in eof Regali Curia et Can ) cellaria in nobiliffima villa Ual I lifoletana Accedente ad hoc aS I fenfu et voluntate venerabiliu3 Iet circumfpectorum viroru do I minoru Decani et Capituli pre I fate ecclefie Et hoc acclamante I ac cum ingenti dejiderio poftu I lante vniuerfo Prefbyteroru3 I Collegio totius diocefis Qd' I adiuuate domino exactum fuitI calamo prelibati Didaci de Ca I jtro in predicta ciuitate Sego I bienli decimaJexta die menfis I Septembris: Anno a natiuita I te eiufdem domini Millefimo I quadringetefimo nonagefimo I nono Laus deo red: Impreffum aute Uenetijs: Im I penfis Guidonis de lauezarijs et socio& Arte autem Johan ) nis Emerici de Spira: Anno Tc I M.ccccc Nono kl' Augufti Collation: (Garcia Rojo): 2° a-v8 A-08=284 ff., numbered (12) I-CCLXXXVII (I) with errors 39 11 2 col.

Music: printed notes and staves Music pages: 2[+ ?] Staves: io red 4-line staves Music type: RI9 Bibliography: D Garcia Rojo and G Ortiz de Montalvan, Catalogo de los incunables de la Biblioteca Nacional, Madrid: Patronato de la Biblioteca Nacional, I945 Copies: E-Madrid, BN Copies seen: E-Madrid, BN, Inc '754 Photographs off I 56r Missale Speciale Venice: [Johann Emerich of Speier for] Luca Antonio Guinta for Christopher Thum, 2 VIII 500oo or 5 VIII 1504 P,3,o4 (1504); Sander 4838 (I504); W 1473 (1504) Title, f: f , red: Miffale fpeciale Incipit, f ai (I), black: ¢ red: Dominica prima in aduentu I domini ad miffam Introitus Explicit, f p6, black: ¢ red: Finit miffale fpeciale fSma di I ligetia emendatu ImpreJff Ue j netijs per Lucam Anthoniu de Giunta Florentinum ImpenJis I Chriftofori Thum ciuis Augu I ften Anno dni M.ccccc.iiij.no nas Augufti ) [printer's mark, LA] Collation: 2° a-h8 i m 8 p6= I 4 f., numbered [io] I-CXVIII 39 11 2 col Illustration: woodcut initials Note: no space for music The date in the

colophon may be interpreted as 500 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 Maufer], 27 VIII 1480 See D 127, reissue Missale Strigoniense Venice: Erhard Ratdolt, [before 1486] C 4235; W 1491* Bibliography: Gilbert R Redgrave, Erhard Ratdolt and His Work at Venice: A Paper Read before the Bibliographical Society, November 20, I893, London: Bibliographical Society, 1894, p 44, no 59 Hubay, Missalia, does not include the spurious missal created by Redgrave Note: a ghost created by Redgrave, Ratdolt's biographer, who tells us that the existence of this edition is proved by the colophon of D I21, which claims to be the "second": "Impressum Venetiis iteru secudo 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 127 and Koberger's Augsburg edition of 3I VIII 1484 121 Missale Strigoniense Venice: Erhard Ratdolt, 18 III 1486 See Fig 22 C 4237; Essling 2i8; Hubay, Missalia 3; Sander 4839; W 1492

Incipit, f ai, red: Incipit miffale diuinoq of I ficio9 tam de tpe q3 etiam de I fanctis cum certis officijs an I nexis : utputa de traffiguratio I ne dni: de peftilentia cE fcd'm I choru alme ecclefie Strigo I nieii Dominica prima in ad I uentu domini Introitus ad I miffam Explicit, f E6: Finit feliciter Miffale diuino I ru officioru3 tam de tempore I q3 de fanctis cu certis officijs I annexis: utputa de tanffigura tioe sic] dnii: de peftiletia: 7 cetera: I Jm choru alme ecclefie Stri I goniefi.

bene reuifum ac fideli ftudio emedatu: de cofenfu ac fauore Reuerediffimi in xpo I patris ac dni:domini Michae I lis epi Milckouien.ac in pon I tificalibus vicarij generalis p I nomiate ecclefie Strigonien I alioiq3 dominoi de capitulo ImpreJfum Venetijs iteru fe I cudo per Erhardum ratdolt de augufta Regnante feliciffi me fereniffimo ac inuictiffi mo Matthia hungaroru rege I domino noftro gratiofiffimo I Anno falutifere incarnatiois I dni noftro ihefu xpi M.cccc I lxxxvj.die xviij.Martij Ad lau I de dei eiufq3 genitricis perpe tue virginis: cui honor 7 glo I ria in euum Amen ) Deo gratias Collation (Hubay, Missalia): 2°. 7T8 27T4 372 a-i8 k1' 16 m-z8 A-D8 E6 = 236 ff., numbered (i4) I CCXXI (i) 39, 27 11 2 col Illustration: woodcut Crucifixion, f i iv; woodcut initials Music: printed staves Music pages: Ir Iv, i6-ki, k4^{r-v, k6V-kIov, 14-15v=24 pp Staves: 7 red 4-line (or 8, of which one is 3-line) staves per col., 227 X I62 (77·5) mm.}

Copies: H-Budapest, BN2; Esztergom, Metr2 Copies seen: H-Budapest, BN, Inc i78a 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 I78b Manuscript plainchant added Size: 305 X 215 mm : 22 Missale Strigoniense Venice: Johann Hamman, I II 1493/1494 See Fig 24 H II432; Essling 2I9; Hubay, Missalia 6; Sajo-Soltesz 2315; Sander 4840; W I495 Incipit, f ai, red: Ordo miffalis diui I noru officioru : de tpe et I de fanctis : cu certis officijs folenib9 ac deuotis ) eifde annexis : fm chori fce ecclelie Strigoniefi feliciter incipit Dnica pma in aduentu dni ad I miffam Introitus Explicit, f Q6 (Hubay): Miffale fm choru facte eccl'ie I Strigonieii feliciter eft explici tu Impffi uenetijs p Johane I haman de ladoia Anno salut' I M.ccccxciij Kali Februarij Collation: 2° 7T a-p q r sz8 Ap8 Q6 X4=322 ff., numbered [8] I-CCCX [4] 26 11 2 col.

Illustration (Sander): woodcut Crucifixion, f I29 Music: printed notes and staves Music pages: n3-n7v, o8, pi, p3-qI [q2-q9 missing}, qIo-rI=—38[+?] pp Staves: 7 red 5-line staves per col., I99 X 138 mm Music type: R9 Copies: H-Budapest, BN; BU; Gyor, Sem., variant, with mark of publisher Georg Rum Copies seen: H-Budapest, BN, Inc i8o Lacks ff T I-7T3, 776-7T8, q2-9, t2-t7, M8-X4 Decoration: initials in color, rubricated in green Size: 282 X 196 mm Provenance: Residentiae S Jesu Catalogo inscriptus I685 Binding: blind-stamped leather, 2 clasps, 2 bosses, restored I23 Missale Strigoniense Venice: Johann Emerich of Speier, 31 X i495 C 4238; Essling 220; Hubay, Missalia 7; Sajo-Soltesz, 23 i6; Sander 484 I; W 1496 Title, f 7rI: Miffale fcd'm choru al I me eccl'ie ftrigoniefi Incipit, f ai, red: Incipit miffale diuino I| officiorum tam de tempore I c3 etia3 de fanctis cu certis I officijs annexis : vtputa de I tranffiguratione dni : de pe I ftiletia 7c fm choy alme ec I clefie Strigonien Domi I nica prima in aduetu domi I ni Introitus ad miffam Explicit, f;

D8, red: Finit feliciter Miffale diui I noru officio& tam de tpe q3 I de fanctis cu certis officijs I anexis : utputa de traffigu I ratioe dii de peftilentia Ic f m choru alme eccl'ie Stri-I gonieii bene reuifum ac fi I deli ftudio emendatu Im I preffu Venetijs p Iohane I Emericf de Spira Anno falutifere incarnatiois dni I noftri iefu chrifti M.cccc I lxxxxv pridie kl' nouebris Ad laudem dei eiufq3 geni tricis perpetue virginis cui honor ( gloria in euum I Amen Collation: 40. 7To t10 a-m8 n-o'2 p-z8 aa-ff8 A8 B12 C-D8=296 ff., numbered [20] I-C-CLVI [4} CCLVII-CCLXXI [i] 22 11 2 col Illustration: woodcut Crucifixion (f n x 2); woodcut initials Music: printed staves Music pages: 14-18', m8, ni, n3-ni Ii=30 pp Staves: 7 red 4-line staves per col Copies: H-Budapest, BN3; 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-

clesie Posonoiensis emi hunc librum florenis III. In castro Budensi auxilio egregii Johannis Erdely vice Thezaurarii Regiae Maiestatis ut memoriam sui habeam circa (diem) Elizabeth vidue Anno domini millesimo Quadrigentesimo Nonagesimo septimo. Binding: blind-stamped leather over boards (restored), 6 bosses, 2 clasps. Inc. 995b. Provenance: EccleJie T. Lippesensi. Binding: recent leather over wooden boards. 124. Missale Strigoniense. Venice: Johann Emerich of Speier for Johann Paep, 26 II 1498/ I499C 4240; Gff M724; Essling 221; Hubay, Missalia 8; Sajo-Soltesz 2317; Sander 4842 (Suppl. 325); W 1498; M-B 189 Title, f. ITI, red: Mirfale fm chorum I alme eccl'ie StriI gonienfis. I [printer's mark, IP]. Incipit, f. ai, red: Incipit miJJale diuinoru3 I officioru tam de tempore q3 I etia de fanctis cum certis offi I cijs annexis : vtputa de tranf I figuratione dni : de peftilen- I tia 7c. fm chop alme ecclefie I Strigoniefi. Dnica prima in I aduetu dnii Introit9 ab miffa. Explicit, f F8, red: Finit feliciter Miffale diui- I noy officiop tam de tpe q3 d' fanctis cu ceteris officijs ane I xis : vtputa de tra.figuratioe dni : de peftiletia (7. fm cho I alme eccl'ie Strigonien. bn re ) uifu3 ac fideli ftudio emeda- | tu. ImpreJff Venetijs impe I Jis Johannis Paep librarij I Buden. p Johanne emericu I d' Spira.

Anno falutifere in- I carnationis dnii nri iefu chriI Jti M.cccc.lxxxxviij. iiij. kal'n. I Martij. black: Laus deo. Collation: 2°. 7r0 27T2 A8 a-18 m6 n-z8 = 250 ff., numbered [20] I-CCXXX. 38 11. 2 col. Illustration: woodcut Crucifixion, f. m6V; woodcut initials. Music: printed staves. Music pages: k2V-k6, 14-15, 17-m5v, n2-n4=28 pp. Staves: 9 red 4-line staves per col., 230.5-34 X 154 (72-72.5) mm. Bibliography: Imrich Kotvan, Iukunabuly archivov, muzei a niektorych historickych kniinic na Slovensku = Incunabula Archivorum, Museorum, Nonullarumque Bibliothecarum Historicarum Slovaciae, Martin: Matica Slovenska, I964, no. 164, plate 67 of title page. Copies: CS-Bratislava, UK; H-Budapest, Acad; BN3 (i vellum); BU; Esztergom, Metr; Gy6r, Sem (vellum); R-Sibiu, Mus; US-Washington, LC. Copies seen: H-Budapest, BN, Inc. 182a. Manuscript gothic plainchant. Decoration: major initials in gold and colors, minor initials in blue, rubrication. Size: 340 X 231 mm. Binding: blind-stamped leather over boards, io bosses, 2 clasps. Inc. 182b. Lacks f. m6, Crucifixion. Gothic plainchant added in manuscript. Size: 322 X 222 mm. Provenance,

front paste-down: Rdi Martini Varadini Custodis et Canonici Posoniensis olim R. D. Joannis Thomasinouity Arch. Barsien. et Canonici Strigon; title page: Capituli Posoniensis, ad usum quotidianum Joannis Fab(er) Parochi & Canonici . . . gratiose concessum. Anno 1609. Binding: blind-ruled and stamped leather, over wooden boards; io bosses and 2 clasps. US-Washington, LC, Vollbehr. Two leaves of manuscript music in gothic plainchant at end. Size: 334 X 230 mm. Binding: blind-stamped leather, bosses and clasps missing. 125. Missale Strigoniense. Venice: [Johann Emerich of Speier] for Johann Paep, 31 III 1500 or I IV 1502. See Fig. 26. C 4241; Goff M725; Essling, Livres a figures, 6: Suppl. p.i;Hubay, Missalia, 12(aa6(+'); Sajo-Soltesz 2319; Sander 4843; W 1499; M-B190Title, f Ti: Miffale fcd'm cho-I rum alme ecclelie I Strigonienfis I [printer's mark] Incipit, f. ar, red: Incipit miffale diuinoru I officiorum tam de tempore I q3 etia3 de fanctis cu3 certis I officijs annexis: ut puta de I tranffiguratione dni: de pe- I ftiletia 'c. fm chop alme ec- I clefie Strigonien. Domi | nica prima in aduetu domi- I ni Introitus ad miffam. Explicit, f D8, black: Finit Miffale fm choru I alme ecclefie Strigoniei.

ImpreJJum Venetijs I Impenfis Johannis paep I librarij Buden. Anno dni I M.ccccc.ij.kal.Aprilis. Collation: 4°. 710 aa8(+I) 2T8 a-m8 n_o12 pz8 aa8 bb-ff8 A8 B1° C-D8=3oi ff., numbered [27] I-XCVI [23] CXXI-CCLXXI [i]. 22 11.2 col. Illustration: woodcut Crucifixion, f. n 2V; woodcut initials. Music: printed staves. Music pages: 14-18", m8, n3-n I  [n 2?], 04-06=34[+ ? pp. Staves: 7 red 4-line staves per col., 176 X 122 (57.5) mm. Note: the date in the colophon may be interpreted as 3 III 1500 or i IV 1502. Copies: H-Budapest, Acad; BN; US-NH-Hanover, Dartmouth. Copies seen: H-Budapest, BN,

Inc 996 Gothic plainchant added in manuscript Lacks gathering 717 and ff aaI, aa6-9, ni, nx2, xI, x8, ee6, and sheet ni.i2 Size: 230 X 170 mm Provenance, f 18v: Anno Dni I617 43 fl Binding: blind-stamped leather over boards, bosses and clasps missing I26 Missale Toletanum [Venice, 1483?] Haebler, Iberica, 1:209 [1483? 1488?]; W I529 Incipit (Palau y Dulcet), f 9: Incipit missale mixtum secundum ordinem e regulam sancte ecclesie toletane yspaniarum metropolitane Ends, f 250': Amen siguense los articulos de la sancta fe catolica Collation (Palau y Dulcet): 2° (8) (248) 256? fi 38 11 2 col Music: space for music on ff hIV-h3v, 12-15, mI-m4,8 unsigned ff.=26 pp Staves: space for 9 staves per column Bibliography: Antonio Palau y Dulcet, Manuel del librero Hispano-Americano, 2d ed., rev and annotated by Augustin Palau, 28 vols Barcelona: Libreria Palau, 1948-1977, 9 (1956):415-16 Antonio Odriozola, "Las primeras impresiones de libros liturgicos espanoles y un curioso y desconocido Breviario para la Diocesis de Orense ( I480?)," Gutenberg-Jahrbuch, 1)65:87-92 Note: apparently, Cardinal Ximenes ordered the edition to be destroyed because it contained many mistakes.

Copies: E-Toledo, Cat Copies seen: E-Toledo, Cat, MS 80-i Microfilm of music pages Lacks one leaf in the first gathering and incomplete at the end 127 Missale Ultramontanorum Verona: [Pierre Maufer?], 27 VIII 1480 C 4125; Hubay, Missalia, I; IBP 38o0; Sander 4856; W 1607 Incipit, f [bi], red: Incipit ordo miJ'a lis fecundum ritum I dominoru vltram I tanoru cum qbufda3 I officiis nouis Dni I ca prima in aduentu Introitus Explicit, f [N6'], red: Impreffus uerone ui gelima feptia augujti M.CCCC.octogefimo A S C U 2 10 12 10 Collation: 2° [a6 b-g'° h1 i-r° s-t12 v-z° A-M" N61=358 ff 29 11 2 ol Illustration: woodcut Crucifixion f [q8V} Music: space for music Music pages: [q4V-q7v rr-I]=-9 pp Bibliography: Imrich Kotvan, "Missale Strigoniense-Hain 11428," Beitrige zur Inkunabelkunde 3, no 3 (I967): 88, and plates 52 and 54 Copies: CS-Bratislova, BU; Spisska Nova Ves, Kap; D-Dresden, LB; H-Budapest, Acad; BN5; BU2; Esztergom, Metr; Sapron, Arch; P-Wroclaw, BU; Kap; R-Alba Julia, Cat USSR-Moscow, Len Copies seen: H-Budapest, BN, Inc I75a Size: 308 X 225 mm Binding: purple velvet over boards with 4 metal clasps decorated with enameled images

of saints Inc i75b Decoration: major initials in gold and colors, minor initials in red and blue Size: 346 X 235 mm Binding: blind-stamped leather over boards, io bosses and 2 clasps (restored) Inc I75c Size: 3 I6 X 240 mm Binding: blind-stamped and ruled leather over boards, 2 clasps missing Inc i75d Lacks some leaves, including f [q8], Crucifixion Plainchant added on f [r ] Provenance on back board: Missale istud emi Cibinii Anno 1788 Die 30 Martii a quodam Saxone ego Antonius Bartalis Presbyter Secularis Binding: blind-stamped leather over wooden boards, io bosses and 2 clasps Inc i75e Lacks many leaves Decoration: major initials in gold and colors, minor initials in red Size: 300 X 212 mm Binding: blind-ruled leather over boards, 2 clasps missing Reissue Missale Strigoniense Verona: [Pierre Maufer], 27 VIII 1480 H 11428; WI488* Incipit, f [bI], red: Incipit ordo I miffa I lis f ritu3 alme Ec I clefie Strigoniefi cu quibufda officijs no I uis Dominica pma I in aduetu Introitus Music: spacae for music Music pages: [q4V-q7V, r I-] = 9 pp Bibliography: Imrich Kotvan, "Missale Strigoniense-Hain 11428," Beitrage zur Inkunabelkunde 3, no 3 (1967): i88 and plate 53.

Note: this is a reissue of the above with a new incipit for distribution of copies in the archdiocese of Gran, Hungary It differs from the first issue only in the first and last leaves of quire [b} Copies: CS-Bardejov, Mus Copies seen: none (see plate and description in Kotvan) Missale Ultramontanorum [Brunn: Conrad Stahel & Mathias Preunlein, ca 1490] C 4129; Oates 4035 ([Brunn: Conrad Stahel & Mathias Preunlein, s.a.]; W 606= 8 i Calendar, f [a3?]: [KL'] Jani prima dies.et Septima fine minatur I Januarius habet dies xxxj.Luna.xxx Incipit, f bi (i), red: Dnica prima

In aduentu I [A]D te leuaui ani ma mea F 74 ', red: E black: t vita3 venturi fecu I li Amen Collation: 2o [a]8 b-n8 o[06 X6 p-z8 A-H8 I1° K8 7r(i, ii, iii, iiii)6 = 278 ff., foliated 35 11 2 col Music: space for music Music pages: i2, k2, k8, 14, m4-m6v, nI-n3, n6V-n7, n8V-[o4] X4X5v, K7-K8 = 3 I pp Staves: space for io staves per col Note: the Missale Ultramontanorum is also known as Missale Ordinis Eremitarum S Pauli Copies: CH-Basel, UB; D-Erlangen, UB; GB-Cambridge, UL; H-Budapest, BN (vellum) Copies seen: CH-Basel, UB, AN VIII 56 Lacks ff [ai-a2], [o6], X5-, and X8 Woodcut Crucifixion from Wenssler's Missale Basiliense, 18 III I488, 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 I630 Microfilm of calendar and music leaves I28 Missale Valentinum Venice: Johann Hamman for Andrea de Zavarisio, i VI 1492 See Fig 27 C 4261 (1490); Garcia Rojo 1308 (220 ff.); W i6I6

Incipit (Olmos y Canalda), f i: Iannuarius habet dies XXXI Luna XXX Explicit (Olmos y Canalda), f Es: Missale iuxta morem et consuetudi nem laudabilem sacrosancte sedis Va I lentiae felici numine est explicitum Mi rifica quidem arte impressionis viri so ) lertissimi Iohanis halman; et cura vigilantissima emen I dationis prout ipsum opus cuilibet in ) tuncti attestavitur; viri prestantis I Andree de cavacis mantuani; di I cte sedis ac eius cleri venerandi I amore precipuo pre ceteris celato ris Ad gloriam laudemque sanctissime tri I nitatis; dive et virginis totiusque hierar I chie celestis, eiusdemque prefate se I dis observantiam reverendissimam Anno dominice incarnationes post I millesimum quaterque centessimum nona I gessimo secundo Kalendas Iunias; feli ci auspicio Venetiis est completum Collation (Garcia Rojo): 2° 7T6 [a8] b-h8 i6 k-m8 n10 12 p8q6 ry8 A-C8 D-E6=220 ff., numbered [6] I-CCXXIII [2] 41 II 2 col Illustration: woodcut Crucifixion, f o6 Music: printed notes and staves Music pages: within quires n and o Music type: R9 Bibliography: Elias Olmos y Canalda, Incunables de la catedral de Valencia, Madrid: Semana Grafica, 195I, 55-56; Diosdado Garcia Rojo and Gonzalo Ortiz de Montalvan, Catalogo de incunables de la Biblioteca nacional, Apendice,

Madrid, 1958, pp 336-37 Copies: E-Madrid, BN; Valencia, Cat2, one vellum Copies seen: E-Madrid, BN, photo of f o6 (cxx) Size: 355 X 235 mm Missale Ordinis Eremitarum S Pauli See Missale Ultramontanorum [Brunn: Conrad Stahel & Mathias Preunlein, ca I490.] I29.* Missale Ordinis Eremitarum S Augustini [Venice, I480-1490.] C4128; W i8o3 Collation (C): 2° a-o A-O=202 ff 37 11 2 col Copies: None known I30 Missale Ordinis Carmelitarum Brescia: Bonino Bonini, 14 VIII 1490 See Fig 62 C 4105; R 5:I95 (248 ff.); Goff M 642; IGI 6560; CIBN M394; Pellechet 8103 (8033); Sander 4686; W 1884; M-B 2 I9 Incipit, f; ai (i), red: [I]N dei nomie ac indiuidue trinitatis I Incipit miJJale fecu du ordine Frm Carmeli I taru3 Explicit, f: S5' (clxxxxvjv): Explicit Mi'fale Jm ordi-I nem Fratru3 diue ac Im I maculate virginis Marie ) de monte Carmelo rite 7 recte correctu ac caftigatu Impffiu Brixie Tgeio ac fo I lerti cura Bonini de Bo I ninis de Ragufia ano do I mini Mcccclxxxx die xiiii Menfis Augufti [printer's mark, BB] Collation: 2° 7T6 a-i8 k614 m6 n-o8 p6 A-L8 M6 N-08 p6 Q_R8 S6=254 ff., numbered [6]

i-lxxxii [28] lx-clxxxxvj [i] 35 11 2 col Illustration: Crucifixion, f p2v. Music: printed notes and staves Music pages: mIrV, m2"-mS, m6"-n4v, OI"v02", 04"-8, p2, p4-p5V=34 pp Staves: 9 red 4-line staves per page,220 X 138-40(63-65).Musictype:R3i Copies: D-Stuttgart, WL; F-Paris, BN; I-Milan, BN; US-TX-Dallas, SMU Copies seen: D-Stuttgart, WL, Inc II275B Lacks ff pi, p3-p6 Sequences on 14 manuscript leaves at end Manuscript canon on vellum F-Paris, BN, Res Vel 262 Vellum Lacks gathering p; inserted in place of it are 5 vellum leaves in manuscript beginning "Te igitur" which contain no music Decoration: major initials in gold and colors, medium initials in blue Size: 307 X 205

mm Provenance, f 7r I: stamped Bibliotheque Imperiale Binding: vellum (reused manuscript and printed leaves) I-Milan, BN, AK-XIII-22 Lacks gathering IT6 and ff k6, 03, 06 Because the Crucifixion has been copied by pricking, the music leaves preceding it are marred Size: 291 X I93 mm Binding: three-quarter leather with paper Missale Ordinis Carmelitarum Venice: [Johann Emerich of Speier for] Luca Antonio Giunta, 5 I I50oo/I5o C 4io6; Essling 272; Marais 594, io78A; Pellechet 8104 (8034); Sander 4687; Voullieme B 4457; W i885; M-B 220 Title, f A , red: MifJale fm vfum I carmelitarum [woodcut in black of "Vexilum Carmelitarum"; printer's mark in red, LA] Incipit, f ai, red: ¢(Incipit miJfale fratrum Jacri I ordinis gloriofiJfime dei genitri cis femperq3 virginis marie de I monte carmeli extractum et ex I cerptu de approbato vfu dfiici I epulchri fcte hierofolymitane ecclefie Explicit, f 76 (CLXXXII), red: (Explicit miJfale fm ordinem I fratru gloriofiJJime dei genitri-| cis fempq3 virgns marle do mo ) te carmello : per venerabilem Ja I cre theologie magiftru fratre3 I ioanne

mariam de polucijs feu I prandinis de noualaria eiufde ] facri ordinis: magna cu3 dilige tia emendatu Quod impenfa I fua ac folerti cura nobilis vir I Lucafantonius de giunta flore I tinus in Uenetoru ciuitate flo retiJfima ipreJJit Anno natalis ] dni M.ccccc Nonis Ianuarij Collation: 2° A-Bl° a-k8 16e m-o8 pl1 q-z8 =2I12 ff numbered [20] I-CLXXXII [2] 39 11 2 col Illustration: woodcut Crucifixion, f 12; woodcut initials Music: printed notes and staves Music pages: h5, h7'-h8, iI-i2', i4-i7, k2-k4v, k6-lI, [12?], 14v-l15"=3[+I?] pp Staves: io red 4-line staves per column, 260 X I76-77 (83-84) mm Music type: RI9 Bibliography: see no 722 and plate 98 of title page in Isak Colijn, Katalog der Inkunabeln de Kgl Bibliothek in Stockholm, Stockholm: Almquist & Wiksells, 1914 Copies: D-Berlin, SPK; F-Paris, Maz; S-Stockholm, K:B Copies seen: F-Paris, Maz, o078 A Lacks f 12; 2d col of f 15r-V missing, supplied in manuscript Watercolored initials, rubricated in red Size:-,3o X 243 mm Binding: blind-stamped leather over boards, restored at spine, clasps missing Missale Ordinis Humiliatorum Milan: Antonio Zarotto for Antonio de Capella, 25 I I504.

C 4138 (ca 1490); CIBN 2:267; Ganda 169 ([ca I490]); Pellechet 8114 (8044); W 800o = i8oi (ca 1490); M-B 209 (ca 1490) Title, f; rri, red: Mijfale fecundum morem et confti I tutiones fratru3 ordinis humi I liatorum: jub diui benedi j cti regula militantium I [date pumiced from copy seen] Incipit, f ai, red: In nomine domini noftri ieJu chrifti I Incipit ordo miJfalis: fecundu3 for I mam fratrum ordinis humiliatoi I Dnica prima de aduentu Officiu3 Explicit, f W8, red: Infpice tu qui facro delectaris ftudio: nec me I Jquallidum fcriptura: nec inemendatum I negligentia cognofces: que me her I cle prefentiffima in litteris com I moda: fi nouis operibus boa impreoi preftitiffet indu f tria Iam pene coclama I ta latine lingue uolumiI na: fic reparari aut I uindicari non ] indigerent I 't(t black: Impreffum Mediolani per Antoniu Zarotu par Impenfis Venerabilis pa I tris domini Antonii de Capellis: fancti georgii: ecclefie ad puteum album mo I deratoris: ductu 7 aufpicio ReuerendiJfimi domini fratris primi crifpi braide I prepofiti: ac eiufdem ordinis humiliatorum generalis vicarii Collation: 2° 7r8 a-18 m6 n-z8 78= 98 ff., numbered [8] I-LXXXV [io5] 44 11 2 col Illustration: woodcut Crucifixion, f m3v; woodcut initials.

Music: printed notes and staves Music pages: notes and staves in first two gatherings; from f f2, only staves: a6-a8, b3 -v, f2-gI, g3-g4, g7-g8, h2r'-, h3V-h4, h6-k2, k4v-li, 13-m2v, [m3 blank], m5-nI, r5-r8v, x3-x5 = 99 ff Staves: 9 red 4-line staves per col., 231 X i66 (76-80) mm Music type: A3 Note: 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 CIBN 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." The notes on the first seven pages of music use Zarotto's music type Copies: F-Paris, BN; I-Milan, BN Copies seen: F-

Paris, BN, Res Vel 260 Vellum With manuscript music Size: 332 X 230 mm Binding: gold-stamped black morocco Van Praet, i: 246, 345I3I Missale Ordinis Praedicatorum Venice: Ottaviano Scoto, 24 XII 1482 See Fig 40 H 11289*; P 4572; BMC V:277; Goff M 636; IGI 6578; IDL 3240; Essling 248; LD 569; Sander 4711; W i8i5; M-B 212 Incipit, f bi, red: Incipit miffale fecudu ordine3 I fratru predicatoru3 Explicit, f ,io: Explicit MiJfale fecundu or I dinem fratrum pdicato¢ Im I preffJu venetijs opera 7 expefis I Octauiani Scoti Modoetie I fis MCCCCLXXXII Nono Kalendas Ianuarij Collation: 4° a° b-z8 78 98 102I2 ff.; k4 signed k2 34 11 2 col Gathering a: unsigned, ai, unsigned, a3, a4, and five unsigned leaves; ff ai and a io have different watermarks Illustration: woodcut Crucifixion, f 18" Music: printed notes and staves; staves only on part off i8 (Sanctus and Ite Missa Est) Music pages: k3r-", k4V-k5, 11-18, m2-m3 = 22 pp Staves: 8 red 4-line staves per col., 142 x io8 (5-53) mm Music type: R4 Copies: D-Cologne, SB; D-Berlin, Kup; Stuttgart, WL; Wurzburg, UB; Leipzig, UB; E-Montserrat, Ben; GB-London, BL; Oxford, UL; I-Bologna, BU;

Florence, BN; Milan, BN; Siena, BC; NL-The Hague, KB; US-CA-San Marino, Hunt Copies seen: GB-London, BL, Hirsch III 930 Binding: leather over cardboard IA 2I 86 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 pdicato¢ Binding: blind-stamped leather over boards (restored); 2 clasps Oxford, UL, Auct IQ.VII.I2 Manuscript prayers on f/io": Collecta d' Sto Sebastiano pro peste Decoration: initials colored in red and flourished Provenance, f aio: fratru predicatoe Franckfordie Binding: calf edged in gold (J Wright) I-Bologna, BU, A.V.KK IX.io Decoration initials in red and blue, some flourished Provenance, f aI: 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.io Manuscript prayers for St Catherine, f/iov. Provenance, f [ail: Questo libro sia dato a fra Rubto Ioanj Binding: marbled paper over cardboard Milan, BN, Gerli

Inc 38 Lacks part of f\i Provenance: Duke of Parma Siena, BC, M VI.9 Provenance: Questo messale e della sagrestia di Santo Spirito cistadino Girolamo 2 di maggio 1537 US-CA-San Marino, Hunt, 92517 Decoration: initials in blue Size: 217 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 & Pietro Giustino Filelfo Milan: Antonio Zarotto, 1482 Goff M 637; IGI 6577 (vol 4, plate 21); M-B 211 Incipit, f ai, red: Incipit miJfale fecundum ordine fratrum predicatorum Explicit, f; 05: Explicit Miffale secundum ordi I nem fratrum predicatorum im I preffum Mediolani per Anto I nium zarothum Recognitum uero 7 emendatum per fratre3 I Francifcum mediolanenfe eiuf I dem ordinis 7 Petrumiuftinu I philelfum Anno domini Mille I fimoquadringentefimooctoge I fimofecundo Collation: 2° 7T6 a-h8 i6 A-I8 L-N8 06= 178 ff 41 11 2 col Illustration: woodcut Crucifixion? (f i6 missing); woodcut initials Music: space for music Music pages: h8-i5, [i6?], AI-A2 = 14(+ ?) pp.

Copies: I-Cupramontana, BC; Florence, Laur; US-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 I483 See Fig 17 H 11290; P 6703; BMC VI:864 (printed staves); Goff M638; IGI 6579; CIBN M398; Fava and Bresciano I30; Pellechet 8io8 (8038); W 1816; M-B 213 (printed staves) Incipit, f [ai], red: Incipit ordo mijfalis fecudu I confuetudine ordinis fratru I pdicatoru Dominica prima [ in aduentu domini Introit9 Explicit, f [pp5 ]: Maiores nri 7 Romani ciues plu ( rimu elaborarut ut noie pfalte: Qmf uite non poterat: indebiles [sic: indelebiles? I fieret: 7 laude adipiJceret9 eterna I 7 h' aut Iris aut uir-

tutib9 aut opi I bus cofeqbant9: quoru ueftigia I emulat9 Fracifc9 palmerius Nea I politan9 ciuis itegerrim9 ad hui9 ) cemoi gl'e faftigiu aJpirans: fibi I nome ppetuu uedicauit Di pdi I catorie religiois uiris fummu bin ficiu pftitit: Qnquide ftuduit ut I fuis impefis h' diuia opa impme ret9: Ea ob re pfati ordis cultors I 7 fres deo pces fudere aftrigat9: qtus Fracifc9 diuti9 uiuat foJpes 1 incolumis I ImpJfit Mathias morauus Neap Anno falutis M cccc Lxxxiij Die.xxviiij Martij Collation: 4°. Unsigned (BMC) [A-B8 C6 a-t' 10 8 6-1 Co1 v aa-oo pp= 302 ff 33 11 2 col Music: space for music Music pages: [b5-ci, n2"-n6, o3-pIv, p2"-p4] =35 PP Copies: F-Paris, BN; GB-London, BL; I-Naples, BN; Rome, Ang Copies seen: F-Paris, BN, Vel 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 [34 Missale Ordinis Praedicatorum Venice: Nikolaus von Frankfurt, 1484 H 1 291*; P 4800; BMC V:335; IGI 6577-A; IDL 324 I; CIBNM399; Essling 249; IBP 3795; LD 572; Livres de liturgie, 308; Pellechet 8109 (8039); Polain 2727; Sander 4712; W i8i7; M-B ! 14

Incipit, f a , red: Incipit miffale fm ordi I nem fratru predicatoru Dnica prima in aduentu I domini Officium Explicit, f NIV, red: ImprefJu3 venetijs arte et impenfis Nicholai de I Frankfordia Anno do I mini M.cccc.lxxxiiij I Deo gratias Collation: 8° 7r '24 a_y A-M8 N12298 ff 31 I11 2 col Illustration: Crucifixion, f p2" Music: printed staves Music pages: 17V, m3V-m4,m6- , m7v-n5, , o, 2-p2, p4-5 = 37 PP Staves: 8 red 4-line (and 3-line) staves per col., 109.5-11.5 X 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 US-CA-Los Angeles, UC Copies seen: F-Paris, BN, B I 5I5 Lacks 8 leaves of first gathering and f N12 Decoration: initials in blue, flourished in red Size: 164 X II9 mm Provenance: f r i: 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 22033 Manuscript music added Lacks gathering 71r and f 27r4 At end, 41 leaves of manuscript

prayers Binding: stamped pigskin 135 Missale Ordinis Praedicatorum Venice: Simone Gabi, called Bevilaqua, 13 V 1487 H 11292 f (8°); Essling 250; Maittaire I:488; Panzer 3:247, 1032; W i818 Explicit (H): Per Symonem Papiensem dictum Bibilaquam Collation (W): 4°. Tr8 aa-dd8 [ee'] ff-mm8 oozz 778 998 ,8 AA-CC8=232 ff., numbered (8) 222 (2) 36, 23 11 2 col Bibliography: Michael Maittaire, Annales Typographici ad Artis Inventae ad Annum MCCLXIV, 5 vols., The Hague, 1719-1725; Amsterdam, 1733; London, 1741, 1:488 Note: BMC V:xlviii: "The Dominican Missal appears as dubious now as it did to Hain I 1292, obelized for doubt." The 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 Missale Ordinis Praedicatorum Venice: Johann Hamman for Ottaviano Scoto, 29 I 1493/1494 Molitor, Deutsche, p 4 ; W 1821 Explicit (W), fi 272": Venetiis, Johannes Hamman 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 Note: probably a ghost Molitor's description of the edition, passed on to Weale, agrees with the Scoto edition of i II 1494/1495, with the excep-

tion of the interpretation of the word "quarto", which he translated as referring to the day of the month instead of the year: "nonagesimo quarto Kalendis februarij." Copies: none known W lists a copy at D-Freiburg im Breisgau, UB, but a letter from Librarian Martha Spies reports that the collection has no copy 136 Missale Ordinis Praedicatorum Venice: Johann Hamman for Ottaviano Scoto, i II 1494/1495H 11293; P 5192; BMC V:425; Goff M639 IGI 6580; Essling 251; IBP 3797; LD 575; Pellechet 8iio (8040); Sander 4713; W I822; MB 215 Title, f 7i, red: MIffale fecundu ordi nem fratrum predicatoe ordinis Jci Dominici I ncipit, f 1,3, red: Incipit miffale fecundu or I dinem fratru pdicatoru ordi I nis fancti Dominici Dfnica I prima in aduetu dni officiu Explicit, f 29, 6V (272 ), red: Miffale Scd'm morem 7 cofue I tudinem fratru predicatorum I ordinis fancti dominici dili genti ftudio reuifum emenda I tumq3: IuJfu et impenfis no I bilis Octauiani Scoti ciuis I Modoetiefis: impreffum Ve I netijs per Iohanne hamman I dictu3 hertzog: feliciter expli I cit Anno falutifere natiuita tis poft millefimum quaterq3 centejimu nonagefimoquarto I Kalendis februarij.

Collation: 8° TI8 I-Io8 128 14-298 = 232 f., numbered [8] 1-272, with large omissions after quires 1 i and 27 36 11 2 col Illustration: Crucifixion, f I2,3v (99V) Music: printed notes and staves Music pages: 9,8; Io, I; 10,2-Io,7V ; 12,3-212,3; 212,6-22,7v; 22, 8v = 34 pp Staves: 7 red 4-line staves per col., iii X 8i (38-38.5) mm Music type: Rio Copies: D-Gottingen, UB; F-Paris, BN; GB-London, BL; I-Brescia, BC; Florence, BN; Milan, Ambr; BN2; Rome, Ang; P-Warsaw, BN; Wloclawek, Sem; Wroclaw, BU; S-Stockholm, KB; US-CN-New Haven, YUL Copies seen: F-Paris, BN, Res B 11516 Lacks f irI Decoration: initials in blue with red flourishing; watercolored Crucifixion Provenance, f 77T2; Ex libris ff ri Praedicatorum Pavidiensem; stamp of Jacobins R S Honore; f 29,8: Conuentus Vallencenensis ordinis predicatorum Binding: leather stamped with angels playing instruments GB-London, BL, IA 23366 Six manuscript leaves of prayers at end Size: 170 X I 12 mm Provenance, f iT i: Frat' Iohanes d'orrfchot ordinis frm predicatoe 9ventus Bujtoduern Binding: gold-stamped leather (i7th century) I-Brescia, BC, B

VI.i3 Decoration: major initials in gold and colors Size: 174 X 1 8 mm Florence, BN, M 7.45 Stubs placed between gathering 12 and 14 for nonexistent gathering 13 Size: 178 X 117 mm Provenance, f 7r I: Conuetus s." Iacobj et s." Miniati fl Milan, Ambr, Inc 515. Two leaves at end for "Missa quindecim auxiliatorum." Provenance, f 29,6v: Istud Missale est S Marie Gratiarum dati Binding: ruled and rolled frame on leather (restored), 2 clasps missing Gerli Inc 75 Provenance: Duke of Parma I37 Missale Ordinis Praedicatorum Venice: Andrea Torresani, 30 XII I496 See Fig 5 i H 11294*; P 4742; BMC V:312; GoffM64o; IGI 658I; CIBN M4oi; Essling 252 (248ff, y gathering of 12); IBP 3798; Pellechet 8112 (8042); Sander 4714; W 823; M-B 216 Title, f A i, red: MIffale jm confuetudinem fra trum predicatorum cum I omnibus additionibus tam ad conuentua I lem g ad priua I tam mirfam pertinenti [ bu ( s ( Incipit, f; ai, red: Incipit Miffale fm ordinem I fratrum predicatoru Dfnica I prima in aduentu dni Offfm Explicit,

f z8", red: Miffale fm cojuetudinem fratru pdicato I cum omnibus additionib9 tam ad 9uenI tualem q ad priuata miffam pertinetib9 | ex exemplari caftigatiffimo exceptum per magiftru Andrea de torrefanis I de Afula tepore 13(m patris fratris I Iohachini turriani ueneti facre I theoe eximij pfefforis ac totius I ordinis pdicti gnalis magri folertiJfime impifum anno I falutis M°cccc°xvcj°. die v'o penultimo menfis I decebris feliciffime explicit I [printer's mark] Collation: 2° A8 B12 a8 b-ul xy8 z1=244 ff, numbered [20] 1-222 [2] 36 I1 2 col Illustration: woodcut Crucifixion, f i5 Music: printed notes and staves Music pages: a7v, bio, f5v, g9v, h2V-h3, h4, h5, h9-i5, i7-i8v, 11, 010=27 pp Staves: 9 red 4-line staves per col., 258 X 173 (80) mm Music type: R22 Copies: D-Munich, SB; Stuttgart, WL; DK-Copenhagen, KB; F-Paris, BN (vellum); GB-London, BL (vellum fragment); Oxford, UL; I-Brescia, BC2; Florence, BN; Milan, BN; Rome, Ang; Verona, BC (vellum); P-Wroclaw, BU; US-NY-New York, PL; Washington, LC (vellum); Y-Dubrovnik, D.

Copies seen: F-Paris, BN, Vel 263 Vellum Lacks f zio Provenance: Joannes Chrysostemus de Casali, 1663; :745 Di Giacopo Soranzo Size: 352 X 249 mm Binding: vellum GB-London, BL, IB 21741 Vellum Lacks f zio Decoration: initials in gold and colors Provenance (bookplate): Liber Willellmi Maskell Clerici; BL purchased in 1848 Binding: green velvet C 24 f II Vellum Fragment of ff 9-20 (signature B) I-Milan, BN, AL-XIV-8 Lacks f i5 Manuscript prayers at end (I4 ff.), dated 1579 Size: 363 x 240 mm Provenance, flyleaf: Est Conuentus S"' Eustorgii Mediolanen' fr'um ordis Pred 1496 Binding: marbled paper over paper boards., leather spine Verona, BC, Inc i 18 Lacks f i5 (Crucifixion) and f zio Decoration: initials in gold and colors Binding: blind-rolled and ruled leather over boards (restored), clasps missing US-Washington, LC, Vollbehr Vellum Lacks gatherings A8, B" and ff z9-zio; h4 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.

138 Missale Ordinis Praedicatorum Venice: Simone Gabi, called Bevilaqua, 13 V 1497 H 11295; IGI 6582 (232 ff.); CIBN M402; Essling 253; IBP 3799; Pellechet 8i , (8041); Sander 4715; W i824A (240ff.); M-B 217 Title, f 7TrJi, red: Miffale fecundum ordinem fratrum predicatorum Or I dinis fancti Dominici f aa3, (3), red: ¢( Incipit miffale fcdm ordi I nem fratru predicatoe ordinis f Jancti Dominici Dnica pria I in aduentu domini officium Explicit, f CC6v, (272V, red: Miffale fecundum morerm I confuetudinem fratrum pre I dicatorum ordinis fancti Do I minici ImprefJum venetijs I per Symonem Papienfem I dictu3 Bibilaqua Anno do I mini M.cccc lxxxxvij die ve I ro xiij.Madij f CC8', red: [printer's mark, SIMON BIVILAQVA] Collation: 80 T8 aa-dd8 lee]8 ff-mm8 oo-zz8 778 998 A8 AA-CC8 = 232 ff., numbered [8] 1-272 [2] 36 11 2 col Illustration: woodcut Crucifixion, f mm3v (99V) Music: printed notes and staves Music pages: i8, kkiv, kk2v-kk7v, 113-mm3, mm6'-mm7v, mm8V:=34 pp Staves: 7 red 4-line staves per col., 112 X 81 (38-39) mm Music type: R7 Copies D-Cologne, SB; Stuttgart, WL; F-Paris,

BN; H-Budapest, BN; I-Brescia, BC; Lucca, G; Milan, Servi; Ravenna, BC; Verona, BC; P-Wroclaw, BO; S-Uppsala, UB; US-CA-Los Angeles, UC Copies seen: H-Budapest, BN, Inc ri98 Lacks f 7ir Size: 60o X ii5 mm Provenance, back paste-down: est Fris Dnici Tincti de Exio Praedicatoris; f 72 Societtis Joh ex liberalitte Sm(?) S Brigitta Bosnyat 1628 Binding: blind-stamped black leather, gold edges I-Brescia, BC, A VI.5 Lacks ff 71T, mm2-mm7, CC8 Decoration: initials in gold and colors Size: 164 X 14 mm Binding: blind-ruled and gold-stamped leather Verona, BC, Inc 27 Size: 160 X 113 mm Provenance, front paste-down: Ad usum F Vincentii M"a Cantoni de Mediolano Ordinis Praedicatori, Anno 173o. Binding: blind-ruled and gold-stamped leather (FEP), 2 clasps intact US-CA-Los 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 139 Missale Ordinis Praedicatorum Venice: Johann Emerich of Speier for Nikolaus von Frankfurt, 6 III 1500 H 11296; P55o3; BMCXII:38; GoffM64i; IGI 6583; Essling 254; Pellechet 8II3; Polain 2728; Sander 47I6; W I825; M-B 218

Title, f 7ri, red: Miffale fm ordine I fancti dominici I [woodcut of St Dominici] Incipit, f I,3 (3), red: ¢( Incipit miffale fecundu or I dinem fratru pdicatoru ordi nis fancti Dominici Dnica prima in aduetu dni Officiu Colophon, f 28,6" (272 ), red: Miffale fcdm morem 7 cofue tudinem fratru predicatorum I ordinis fancti dominici dilige ti Studio reuifJ emendatuq3: Impreffum venetijs iuffu et impefis mgri Nicolai de frac I fort Alemani: Arte aut~( inge I nio Ioanis Emerici de Spira ( feliciter explicit Anno falutife Ire natiuitatis dni M.ccccc I pridie nonis Martij Collation: 8° 78 1-288 t8=240 ff., badly numbered [8] 1-96, 105-2 6, 259-72 [2] [8] (missigned i6 for i9; misnumbered L i for 7I, 27 for 72, L 9 for 79, i68 for 198; 307 for 207, etc.) 36 11 2 col Illustration: woodcut Crucifixion, f 12,3v (9 I); woodcut initials Music: printed notes and staves Music pages: 9,8; IO,I" I0,2-io0,7; 11,3-12,3; I2,6,-I2,7"; 12,8v= 34 pp Staves: 7 red 4-line staves per col., iio X 80(38) mm Music type: R20.

Copies: B-Brussels, BR; D-Berlin, SPK; Frankfurt Main, SB3; Munich, SB; F-Paris, Maz; GB-London, BL; Oxford, UL; I-Florence, Laur; Parma, Pal; Rome, Ang; Cas; Venice, Cini; S-Stockholm, KB Copies seen: B-Brussels, BR, A 12I9 Manuscript gathering at end with Kyrie incipits in gothic plainchant Provenance, f r i: FF Praedicatorum Louaniensum Binding: blind-stamped leather, 2 clasps missing D-Munich, SB, 8° Inc c.a.354f Provenance, f 7TTV: Reverendissimus pater frater Menradus Muschgay ordinis praedicatorum hoc missale fratri Adamo Hainrichmayr eiusdem ordinis dono dedit Ao [I5]88 (see Ilona Hubay, Incunabula aus der Staatlichen Bibliothek Neuburg/Donau, In der Benedictinerabtei Ottobeuren, Wiesbaden: Harrassowitz, 1970, p 435) Binding: rolled pig-skin, FAH 1I589 F-Paris, Maz, Inc Io83 Lacks f 12,3V (Crucifixion) Decoration: initials in gold and colors Size: 161 X 103 mm Provenance: Yves Mayeuc, Bishop of Rennes from i507 to 154 ; bookplate of Joseph Xaup, 1765, canon and archdeacon at Perpignan Binding: tree calf GB-London, BL, Hirsch 111.928 Oxford, UL, Douce B.B 85 Size: x58 X o05 mm Provenance: Ad usum f Theodori Thiboll Anholdiensis Cruciferi coloniensis I623; bookplate of Francis Douce Binding: red morocco stamped in gold I-Venice, Cini, 364 Lacks ff 7r2 and 7r7 Size i68 X IIi mm Binding: brown morocco (Lortic) with Essling coat of arms.

I40.* Missale Ordinis Praedicatorum Venice: Luca Antonio Giunta, 8 III 1500 C4 123; Essling 255; Sander 47I7; W 1826 Incipit (C): Per Alb Castellanum o Praed revisum Explicit (C): xxv kal apr 1500 Collation: (C): 8°. 40 ff., not numbered, + 352 ff., numbered= 392 ff Note: a note in the margin of the GW ms entry mentions: "Wohl Verwechslung mit der Ausgabe 1522, Kal April., Weale-Bohatta I842." It may be possible to interpret the colophon date as 25 cal April I5oo or cal April 1525 [not I522} Copies: none known I4I.* Missale Ordinis Praedicatorum Venice: Simone Gabi, called Bevilaqua, 1500 H 114 7; Essling 55; Gspan-Badalic 458; W 959* Collation (W): 8°. Copies: none known Gspan-Badalic cited a copy at the Archepiscopal Archive of Maribor, Yugoslavia; none can be found there today I42 Niger, Francesco Grammatica Venice: Theodor Franck of Wirzburg for Johann Lucilius Santritter, 21 III 1480 See Fig 36, 38.

H 11858*; P 4498; BMC V:28I; GoffN226; IGI 6908; CIBN NI42; Pellechet 8563 (8452); RISM B6 2:618 (8°, 247 ff.); Sajo-Soltsz 2441 Incipit, f ai: P FRANCISCVS NIGER.A VENETVS SACERDOS.ARTIVMQVE DOCTOR LEONARDO BOTTAE EQVESTRIS I ORDINIS VIRO PRO MEDIOLANEN I SI DVCE.APVD VENETVM SENA-I TVM ORATORI FACVNDISSIMO SA I PIENTISSIMOQVE FOELICITATEM Explicit, f dd4 : P FRANCISCI NIGRI.A VENETI SACeR dotis artiumq3 doctoris:aruntina grammatica ad fplendidifJimu equitem leonardu bottam I pro fereniffimo duce mediolani apud illuftrif I SIMVM VENETORVM SENATVM O RATOREM FACVNDISSIMVM FOELI CITER EXPLICITA EST PLAVDITE f dd5: C Ioannes Lucilius Santreiter de Fonte salutis: I omnib ftudiofis adolefcentib foelicitate dicit: Impreffi libros & monumenta fui O foelix patriae tempus & omne meae Nunc tua me laetu excipiunt bona moenia ciuem Inq3 finu patriae iam moriturus ero Sed prius a nobis parua haec manufcula fume: Quae mihi doctoris funt monumenta mei Cui referes dignas quum tanto munere grates Lucili memores patria chara tui Valete art AHK ca Santritter helbronna genitus de gente ioannes

Lucilius: prompfit grammata docta nigri Herbipolifq fatus focio fudore: lacunis Hoc uenetis francus fert theodorus opus ANNO SALVTIS M.CCCC.LXXX XII CAL APRIL Impressu e hoc op9 VENETIIS I DVCE VIRTVTE & COMITE FORTVNA Collation: 4. a-i8 k(8+') l-f8 s-z8 98 &8 px8 aa-cc8 dd6=247 ff 24 11 I col Music: printed notes without staves Music pages: 96-98= 6 pp Music type: Mi.

Copies: over 50 copies known (see RISM B6, IGI, etc.) Copies seen: H-Budapest, BN, 1o15 (2) Binding: blind-stamped leather, bound with Niger's Parnassiae I-Venice, Cor Lacks ff y2 and y7 Size: 210 X i50 mm Provenance, front paste-down: ex libris of Cicogna (Venice) Binding: paper over paper boards leather spine Y-Ljubljana, BN, Tesoro Inc 5685 Size: I97 X 139 mm Binding: brown paper with leather spine Niger, Francesco Grammatica [Basil: Michael Wenssler, ca 1485.] H i8 857 [s1., a., t.]; Goff N227 [Basel: Michael Wenssler, about I485] Music: woodcut music Bibliography: Maria Przywecka-Samecka, "Problematik des Musiknotendruckes in der Inkunabelzeit," Gutenberg-Jahrbuch (1978): 55 Note: now attributed to Wenssler in Basel, the book is the second known example of woodcut music, after the 1477/i478 Liber horarum of Lucas Brandis, Lubeck Copies: P-Wloclawek, Sem; US-Washington, LC Officium Beatissime Virginis Marie Bologna: Ugo Ruggerio, 23 II 1498 R 271 = I591; LB 85

Incipit, f a2, red: INcipit officiu3 beatifJime virginis marie:Secun I du conaJetudine romane curie:ad matutinu verfus I Explicit, f e4: Irm prelfo nelinclita 7 alma cita de bo I logna: per me red: Ugo black: di rugerii da re | 30 ftampatore::neli anni del noftro fi [ gnore mefer ihefu chrifto.Mcccclxx I xxviii.adi.xxiii.de febraro priego I ui preghiati idio per me 7c Collation: Z° a8 b6-d6 e4= 3 ff Music: Antiphon incipits are printed in tiny type, possibly to leave space for tiny manuscript plainchant incipits Copies: US-CA-San Marino, Hunt Copies seen: US-CA-San Marino, Hunt, o03886 Lacks f ai Decoration: initials in red and blue Size: 293 X 206 mm Provenance: Ex libris R Ambrosini Binding: limp vellum 13' Officium Immaculate Conceptionis Virginis Marie Edited by Leonardo Nogarolo Rome: Ulrich Han, io XII 1477 BMC IV:25 Incipit, f [a2]: Ad fanctiffimum ac beatiffimum domi I num D Sixtum:iii pontificem fnmu3 facrumq3 confiftorium f [a6V], red: Incipit officium immaculate conceptiI onis virginis marie editum per reue-I rendu patre dnm Leonardu nogarolu I Protonotariu apoftolicu

famoJifJimum Colophon, f c8: Rome impreffum per ingeniofum I uiru3 Magiftru Vdalricu3 Gallum I Alamanum Anno domini Millefimoquadringentefimofeptuagefimo f eptimo die-'xmefis Decembris.: Collation: 4°. [a6 b-c ]=22 ff 30, 24 11 Music: space for music Music pages: [b6V] I p Staves: space for 3 staves (rubric "loco eius cantatur a choro Tota pulcra es.") Copies: GB-London, BL Copies seen: GB-London, BL, IA 17347 Lacks f aI Size: 205 X i45 mm Binding; modern cloth, quarter leather Ordo ad Catechumenum Faciendum Milan: Leonard Pachel & Ulrich Scinzenzeller, 22 V I482 Accurti, Editiones Saeculi XV, I3 Music: no space for music Copies: Vatican City, BV Copies seen: Vatican City, BV, Incun IV.640 I44 Ordo ad Catechumenum Faciendum Bologna: Dionysio de Odo, 20 III 1487 See Fig 6 C 4514; BMC VI:832 (plate LXII); Goff R2oI; LB 723; M-B 254 Incipit, f [a2] (2), red: Incipit ordo ad cathecumi nu3 faciendu3 fcd'm gfuetudine3 ro I mane curie Imprimis Iacerdos I Jtans in eccl'ie limYe cathetizandu3 Explicit, f [g8] (58), red: Bononie

impressu3 Mcccclxxxvii I die xx Martii per dyonifiuum de I Odis Collation: 4°. [a-g8= 56 ff., mis-numbered [I}2-58, omitting 55 and 56 18 11 I col Music: printed notes and staves Music pages: [e3-e8V]= 2 pp., for the "Ordo ad fepeliendu3." Staves: 4 red 4-line staves per page; 128 X 98 mm Music type: R3o Copies: GB-London, BL; US-CA-San Marino, Hunt; IL-Chicago, New Copies seen: US-CA-San Marino, Hunt, IoI441. Lacks f 47 Size: 195 X 147 mm Provenance, f [g8V]: Adi 17 de februarij I519 fiolo de Ant' garello in el pozo Adi 3 de mazo

1523 Rubto Galioto Iohani filiolo de P(?) Malatesta e baptizato Ex libris, Bibliotheca Richteriana Binding: half calf and wooden boards with clasp (repaired) I45 Pontificale Romanum Edited by Augustinus Patritius & Johann Burchard Rome: Stephan Planck, 20 XII 1485 See Fig 32 H 13285; P 3670; BMCIV:86; Goff P933; IGI 8020; LB 777; CIBN P579; Pelleche 9690; M-B 229 Incipit, f [1r3], red: [Plontificalis ordinis I liber incipit In quo I ea tantu ordinata funt I [table of contents]fi [a ], red: Incipit prima pars Explicit, f [09V], red: Explicit Potificalis Li | ber-magna diligentia Re ) ueredi in xpo patris dni i Auguftini Patricij de Pi [ colominib9 Epi Pientiin I IIcinefnAc Venerabi I lis Viri dni Iohannis Burckardi-Prepofiti et Canonici ecclefie fancti Florentij Hafelacefi Ar gentineiidiocefCapelle I Sanctffimi'd-n-pape Ce I remoniaru magistri cor I rect9 7 emedatus Impref I fus Rome opera difcreti y viri Magiftri Stephani Plannck cl'ici Patauiefi I diocef ei9 artis exptiffimi I Anno a Natiuitate domi I ni-Mcccclxxxv Indictio ] ne'iij-die vero'xx'menis Decebris Pontificatus I Sanctiffimi i xpo pris 7 I dii nFi dii Innocentij' ] diuina puidetia pa.viij'

anno fecudo Et cu adeo I difficile fit qd impoffibi le dici poffit qd i libro | impreffionib9 ppter Ira& ' caractei paritate I mul titudinem-error aliqfi no comittat9 colleget9 oes in I vni'in hui9 libri impref ) fione errores comiffi ut quiJq3 illos poffit intelli I gere comode.7 reformare Collation: 2° [7T4 a-z8 A-N8 001 = 302 ff 34 11 2 col In some copies, the gatherings are signed in ink Music: printed notes and staves Music pages: about 238 pp Staves: 7 red 5-line staves per col., 209 X i47 (66) mm Music type: RI Copies: DK-Copenhagen, KB; F-Paris, BN3; SG; GB-London, BL; I-Bologna, BU; Fabriano, BC; Milan, Ambr; BN; Mondovi, Sem; Naples, BN2; BU; Novara, Cap; Padua, BU; Rome, BU; Siena, BC; Subiaco, Ben; Trent, BC; US-CA-San Marino, Hunt Copies seen: F-Paris, BN, Res B 92 Lacks f [T i], blank Decoration: major initials in gold and colors, minor initials in red and blue Binding: vellum Res B 93 Lacks f [7T i], blank Provenance, f [rT3], Cathedral of Pavia: Iste liber est Ecclie maioris ppfi; f [OioV]: Et Anno Domini I60o iterum opere confutinationis restitutus Studio Ioannis baptistae Carpani Canonici papiensis, et Presbiteri, ut penes alios libros ecclesiasticos Sacrarij dicta ecclesia maioris papiensis perpetua asservatur ad rei memoria est n annotationibus ex iure potissimis canonico excerptis Binding: calf, green leather

spine, marbled endpapers Res B 94 Decoration: major initials in gold and colors, minor in red or blue Eleven leaves of prayers at back with lines drawn for music but no plainchant Size: 335 X 227 mm Provenance: Bibliotheque Royale Binding: blind-stamped leather over boards, 4 clasps missing GB-London, BL, IB I843I Lacks first signature Decoration: initials in gold and colors, flourished Size: 330 X 237 mm Provenance, ff [ai] and [O9V]: Contus SSme Trinitatis Viterbij Binding: vellum I-Bologna, BU, A.V.KK V.I Decoration: many initials in gold and colors Size: 328 X 230 mm Provenance, f [ai]: Monastery.s.saluatoris bonon num." 443 Binding: blind-stamped leather over paper boards, 4 clasps missing Milan, Ambr, Inc 182 Size: 307 X 215 mm Decoration: major initials in gold and colors, minor initials in blue and red Binding: gold-stamped leather, marbled endpapers BN, Gerli Inc I5 Lacks one leaf between penciled ff 147 and 149 Decoration: major initials in gold and colors, rubricated in blue and red; copious marginal notes Many accidentals added to the plainchant (for example, f 87, Regnum Mundi, with flats) Size:

332 X 230 mm Provenance: Duke of Parma, no I62 Binding: black leather over paper boards Padua, BU, Sec XV.44I Lacks ff [1TI-2] and [O io] Decoration: major initials in gold and colors, rubricated in red and blue Size: 312 X 230 mm Binding: paper boards with leather spine, not contemporary US-CA-San Marino, Hunt, 955'5 Lacks f [7ri} Decoration: first initial, little else Size: 326 X 227 mm Provenance, f [OioV]: 1547 1 Questo sia del Domo di [?]; f [OioV]: Iste liber est meus anibal saibru Binding: brown morocco (Riviere) I46 Pontificale Romanum Edited by Jacobus de Lutiis & Johann Burchard Rome: Stephan Planck, i6 VIII I497 H I3287* = 13286; P 3721; BMC IV:99; Goff P934; IGI 802 ; LB 778; CIBN P58o; Pellechet 969i (95II); Polain 4669; Sajo-Soltesz 2822; M-B 230 Incipit, f 7T3, red: Pontificalis ordinis liber I in-

cipit In quo ea tantu I ordinata funt: que ad officiu I Pontificis pertinet f ai, red: ¢ Incipit prima pars Et pri I mo de chrilmadis in fronte Explicit, f F4 v, red: Finit liber Pontificalis eme I datus diligetia Reuerendi in | xpo patris dni Iacobi de Lu I tiis vtriufq3 Iuris doctoris I Epi Caiacen et dni Ioannis ) Burckardi Capelle-'S'DN pape Ceremoniaru magiftri I Impreffus Rome per magi I ftrum Stephanum Plannck I fedente Alexandro 'vi Ponti I fice Maximo anno eius vM-cccc'lxxxxvij'Die xvi Au ) gufti Collation: 2° Ir4 a-z8 A-D8 E-F6=232 ff, numbered [4] i-ccxxvi [2] 37 11 2 col Illustration: woodcut initials Music: printed notes and staves Music pages: about half of the total Staves: 8 red 5-line staves per col., 24I X I56 (92-93) mm Music type: Ri Copies: D-Munich, SB; E-Barcelona, BU; F-Paris, BN2; SG; GB-London, BL; H-Gyor, Sem; I-Brescia, BC; Florence, BN; Grosseto, BC; Lodi, Sem; Macerata, BC; Milan, Cap; Naples, BN; Piacenza, BC; Rome, BN; Siena, BC; Trent, Sem; Turin, BN; S-Stockholm, KB; US-CA-San Marino, Hunt; Washington, LC; USSR-Moscow, Len Copies seen: F-Paris, BN, Res B 95 Lacks f 7 i Decoration: initials in blue, flourished in red Size: 320 X 214 mm Provenance: Joannes Sinck; Capuchins of Armentieres Binding: leather with rolled panel of St George (Ernest Philip

Goldschmidt, Gothic and Renaissance Bookbindings, 2 vols., Boston: Houghton Mifflin, 1928, I: no 189, "Flemish (?) or French (?), about 1540") Res B 96 Decoration: initials in gold and colors Size: 315 x 210 mm Provenance, stamps: Bibl Imp., Bibl Regiae Binding: red morocco with gold royal arms GB-London, BL, IB i858i Lacks f F6, blank Size: 320o X 221 mm Binding: vellum I-Brescia, BC, F I.io Lacks ff n2, n7 Size: 331 X 230 mm Provenance, flyleaf: Ex libris Pauli Guerrini presb brixiani Binding: blind-stamped leather, 2 clasps missing Milan, Cap, 2G-2-5 Lacks ff I7I-2, y6, F6 Size: 283 X I98 mm Binding: gold-stamped leather over paper boards Siena, BC, N II I Size: 326 X 232 mm Provenance: Hic liber est mon9 plis sc' narie montes In agro senensi que si donauit 1( in chr° Pr Dnis Ventura d senensis In bancho xtm" ex parte orientis librarie eisdem mon sig m.iiij US-CA-San Marino, Hunt, 95514 Size: 310o 217 mm Binding: sprinkled calf Washington, LC, Incun I497.C32 Lacks f F6, blank Size: 303 X 220 mm Provenance, f 7r2: stamp, LOCI NOVI CAPVC.PERVS Binding: vellum; label on cover: Cirimonie Romane, costa f 23 47 Processionarium Ordinis Praedicatorum Venice: Johann Emerich of Speier for Luca Antonio Guinta, 9 X 1494 H I338I*; P 5496; BMC V:539; Goff P998;

IGI 8071; IDL 3796; LB 782; CIBN P6I7; Essling, Livres a figures, 75I; Sander 5903; M-B 235=234 (I493) Title, f 7T , red: Proceffionariu3 ordinis I fratru predicatorum [printer's mark, LA] Incipit, f A i, red: INcipit pceJfionariu3 fcd'm I ordine fratrfi pdicato cum | rubricis fuis 7 alijs reJitis ad I libellu pcffionale: ta d' feftiuita I tibus q p defunctis cu3 multis I additionib9 Explicit, f pri , red: AUxiliante deo I dno nro iefu xpo pceffiona I lis libellus fm ritu ordinis fratru pdicatoru I defuiens pceffionib9: ta3 de solenitatib9 q3 p de I functis cu additioib9 opportunis : vt pat3 1 tabu I la in pncipio pofita : ad laude eiufde dei d dni nri iefu xpi: 7 btiffime femp vginis gl'iofe: 7 olm fancto 7( fcta3 dei: I necno 7 fraty ipi9 ordinis comoditate : tpe gene I ralat9 ReuerediJfimi pris fris ioachini turiani ve I neti: sacre theologie eximii pfefJoris: pfidente co gregatioi Lobardie reueredo pre fratre vincetio de caftro nouo euifde facultatis pfeffore doctiffimo : p queda3 eiufde ordinis pfeJfore cogregati onis pfate obfvatie regularis diligetiJJime ordi| nat9 7 JolertiJfime correct9 quo ad cantu 7 reliq I eo 9tenta: ac p folertiJfimu viru Ioanne Emericu I alemanu de Spira : in alma venetiarum vrbe acu I tiffime impreffum explicit Anno ab incarnatio I ne dnica Mcccc.xciiij feptimo id9 octobris I Deo omipotenti 7 maximo laus 7 gl'ia:Ame [printer's mark, IE].

Collation: 8° 7T4 A-B8 a-o8 p2 144 f numbered [20] I-CXXII [2] 29 11 I col Several leaves are signed in red, all contain music; A2, BI, B3 mis-signed B2, C2, and C4 Illustration: full-page woodcut illustrations; woodcut initials The woodcut Crucifixion, f Io6v, is from the block used in the Emerich I493 Missale (D 93), and also appears in an unsigned Covalca (GB-London, BL, IA 2I443) completed by Torti on the same day as the present book.

Music: printed notes and staves Music pages: 7r4, AIV-A2, A3-Bi, B2-a5, a7-d5 , d6V-e2v, e3v-f2, f3-f5, f6v-f7v, f8-gI, g21, g3-g7, g8-v, hIV-h2, h3-h7v, k4v-k6, 12V-3, 02, 03-4v, o7V-p8 I 7 pp Staves: 5 red 4-line staves per page, 125 X 85 (82-84) mm Music type: Ri8 Copies: CS-Bratislava, UK; D-Berlin, Kup; F-Paris, BN2; GB-London, BL; I-Florence, BN3; Mantua, BC; Milan, Ambr; Pavia, BU; Pesaro, Oliv; Reggio Emilia, BC; Rome, Cas; Venice, BN; Cini; Cor; Vicenza, BC; NL-Groningen, UB; US-CA-San Marino, Hunt; NY-Poughkeepsie, Vassar; Rochester, Eastman; Y-Dubrovnik, D2; Stari Grad, D Copies seen: F-Paris, BN, Res B 27720 Lacks many leaves Size: 171 X 120 mm Provenance f pi2: Dominicans of Perugia; Dfis Mains Molino Xeius et patris amatissimus ac deuotissimus in dio filius Donauit xii 2cessionaria quo, unu hoc Binding: vellum Res B 27879 Lacks f l 1, sheet k4.5 Size: 169 X 117 mm Provenance: Dominicans of Perugia Binding: blind-stamped leather over paper boards GB-London, BL, IA 24214 Size: 180 X 123 mm Provenance, f 7Ti: Soc Jesu Binding: blind-stamped leather over boards, 2 clasps I-Florence, BN, F 6 5 Lacks f p 12 Provenance, f rT I: Questo processionario e di I Suor fiamecta freschobaldi di sa Domenico pe dello ordine de

fratj Predicatorij: Vallombrosa (in pencil) Binding: blind-stamped leather, not contemporary K 7.54Lacks first gathering Size: 172 X 120 mm Binding: marbled paper over paper boards Inc Nenc 80 Frequent bar lines added in manuscript Size: 176 X 120 mm Provenance: Ex libris Ioannis Nencini I874 Binding: blind-stamped leather over boards, 2 shell clasps Pavia, BU, III A.12 Lacks ff rTT, 7r4, and pI2 Size: I50 X 114 mm Provenance: Suor Vittoria Madalena Caponaga Binding: recent vellum Venice, BN, Inc V.853 Lacks ff 7rI, gi, pi2 Size: i66 X 120 mm Binding: modern quarter calf with marbled paper Cini, 477 Binding: red morocco with Essling coat of arms Cor, 127 Lacks ff 7T2-Tr4 and gathering p Manuscript additions include accidentals and directions for singers, organ, and chorus Size: 161 X 113 mm Provenance, f 7rT: Cons Sti Dnici ) Marz 1593; ex libris: Provenienza Cicogna Binding: paper over paper boards, leather spine US-CA-Los Angeles, UC, A i C27p 1484 Provenance: Bibliotheque Aug Tiot Binding: modern leather, gold edges San Marino, Hunt, 10170 I48 Psalterium Ambrosianum Milan: Leonard Pachel & Ulrich Scinzenzeller for Gasparo Lampugnano, 28 IV 1486 See Fig 60 C 4937; BMC VI:752-53; Goff Pio6o; IGI 8148; LB 946; M-B 22 (Hymnarium) and p 42 (without the presence of printed music) Incipit, f ad, red: t [guide letter] black: E deu laudamus red: T black: e dominu cofitemur Explicit,

f m4: Pfalteriu Ambrofiani cu hymnif oiu3 fco6 notatis I caftigatis ac diligeter emedatis ImpJJfu3 ml'i p Leo ) nardu3 pachel 7 Uldericu fclzezeller ipefis pbri Ga I Jparis lapugnani iuris potificij pfeJforis finiti quar I to kaledas maij olimpiadib9 dnicis Mcccc lxxxvj Collation: 4°. a-8 m4= 92 ff 29 11 I col In every copy examined, one sheet or two leaves of a Magnificat (D 21) printed with Zarotto's text type with space for music were inserted as the inmost sheet of gathering i, giving the book a total of 94 ff Music: printed notes and staves Music pages: kIV-m4=38 pp Staves: 7 red 4-line staves per page, 175 X I21 mm Music type: R27 Note: Meyer-Baer incorrectly described the work as without printed music Her Hymnarium (M-B 22) is an integral part (ff kiv-m4) of the Psalter Ambrosianum Copies: A-Vienna, NB; GB-London, BL; I-Milan, Ambr; US-CA-San Marino, Hunt Copies seen: A-Vienna, NB, Ink 37-227 GB-London, BL, IB 26533 Decoration: blue initials flourished in red Size: 283 X I97 mm Provenance, label on inside front cover: Bibliotheca Ambrosii Firmini Didoti i850 Binding: red sheepskin (i8th century?) with green

leather spine I-Milan, Ambr, i459 Size: 242 X 187 mm Provenance: Ex libris Herculis de Silva Binding: vellum with gold-stamped label on spine US-CA-San Marino, Hunt, 10I724 Provenance, f gl: pbr Batta de marliano vice rector sti Lazarii mlI 1569 Binding: three-quarter vellum (modern) I49 Psalterium Ambrosianum Milan: Antonio Zarotto for Nicolo Gorgonzola, I VII 1496 P 58I9A; IGI 8149; LB 945 (ca 1485); Accurti, Editiones Saeculi XV, I35; Ganda 196; Sander 5940 Incipit, f ai: [woodcut initial cut out] E deum laudam9 red: T black: e dominu [hole] 6fitemur red: T black: e dominum patrem I omnia terra uenerat9 f ai , red: Pfalterium David fecundum [hole] I brofij cu3 officio comuni fanct [hole] Explicit, f; q4 : ImpreJfum Mediolani p magiftrum Antonium Zarotum parmefem ImpeJis venerabilis dni I pbri Nico-

lay gorgonzole ducalis capellani I Anno dfi M.cccc.lxxxxvi Primo Iulii Collation: 4' T'4 a-18 m-o6 p-q4= i i8 ff., numbered [4] i-cxiiij 291 I col Illustration: full-page woodcut illustrations and initials Music: printed notes and staves Music pages: k4V-k5., k6V-nI, n5, 02, 05=34 pp.; f m6V has printed staves without notes (Pange Lingua, feast of St Catherine) and f m3v has notes on only one staff Staves: room for 5 staves but no more than 4 red 4-line staves per page, Io3 mm wide Music type: A3 Copies: GB London, BL (fragment of 2 folios); I-Parma, Pal Copies seen: I-Parma, Pal, Inc Parm I7I Lacks f h8 Size: 212 X I49 mm Binding: leather stamped in gold: BIBLIOTHECAE REGIAE I PARMENSIS Psalterium Ambrosianum [Venice: Johann Hamman, ca 1497.] IGI 8I50 (plate LXVIII, incipit) Incipit, f ar, red: ¢ Incipit pfalterium mona Jticui Ambrofianfu fm ordine officij ferialis Explicit, f i9, red: Finit pfalterium ambrofia I num cum canticis fuis f iio, red: In ferialibus fit

officiu3 de I pfalmifta Antiphone ad magnificat f i12, red: FINIS Collation: 4°. a-h8 i12=76 ff 32 II 2 col Illustration: woodcut initials Note: no space for music Copies: I-Milan, Ambr Copies seen: I-Milan, Ambr, Inc i8o Provenance: Per Benedettine Monastero Maggiore in Milano Binding: gold-stamped red morocco Psalterium Romanum Milan: Antonio Zarotto, I5 VIII 1487 R 1850; IGI 8157; LB 9I5 Note: no space for music Copies: I-Milan, Ambr; Triv Copies seen: I-Milan, Ambr, 202 Psalterium Romanum [Strasbourg: Johann Pruss, between 1499 and i5o6?] CIBN P 666; M-B 236 (s.l., ca I490) Music: space for music on about half of the pages Copies: F-Paris, BN Copies seen: F-Paris, BN, VIl i30, Vellum Incomplete from f CLV Manuscript music on raster-drawn staves Size: 370 X 270 mm Binding: red morocco.

Psalterium Romanum Milan: Leonard Pachel, 13 VIII I491 C 4943; IGI 8i60 Note: no space for music Copies: I-Milan, Ambr; Rome, Ang Copies seen: I-Milan, Ambr, Inc 169 Provenance, f ai: Hieronymi Minetti ex dono Ioannis Cazzolli; Ex libris Frid Minetti: Presb Mediol., Kal Iulii I874 Binding: rough paper boards Psaltir s postedovaniem (Serbian) Cetinje (Montenegri): [Hi]jeromonah Makarije & Gjurgja of Crne Gori, 22 IX I495 LB 1046 Bibliography: Pavel Mikhailovich Stroev, Obstoiatel'noe opisanie staropechatnykh knig Slavianskikh i Rossiiskikh, Khraniashchikhsia v Biblioteke Grafa F A Tolstova, Moscow, Tip S Selivanskago, 1829 Note: no space for music Copies: Y-Ljubljana, BN Copies seen: Y-Ljubljana, NU, Ti 9829 Size: 204 X i53 mm Binding: gold-stamped leather (not contemporary) Psaltiri (Catalan) Venice: Johann Hamman [for Hans Rix of Churl, 30 IV I490 Incipit (Aguilo y Ftster), red: Psaltiri trelladat de lati en romanq per I lo reuerent mestre corella Explicit (Aguilo y Fuister), f X io, red: Aci feneix lo psaltiri arromacat p lo I Reuerent mestre Johan royq d' corella I mestre en sacra theologia Corregit e fe I elment smenat per Johan ferrando de )

guiuara preuere Empremtat en vene I cia per mestre Johan hertezog tudesch ) A xxx dies de abril Any de la natiuitat I de nostre senyor deu Iesu crist Mil e I cccclxxxx I Laus deo I [printer's mark] Collation (Aguilo y Fister): 8° a-r8 X0 = 46 ff Bibliography: Mariano Aguilo y Fister, Catalogo de obras en lengua catalana impresas desde I474 hasta I860, Madrid: Sucesores de Rivadeneyra, 1923, pp i5-i6, no 5 Note: no space for music The unique surviving copy was preserved at the request of the Inquisitors: I5 July i802, El Arzobispo Inquisidor

General ordena, a instancia de don Mathias Bertran, inquisidor mayor, que se traslade a la Biblioteca de la Real Universidad de Valencia el libro que se halla en este Tribunal, cuyo titulo es: Psaltiri trelledat del Lati en Romanf per lo Reverent Mestre Corella (Aguilo y Fuster, p I5) Copies: E-Madrid, BN I50 Ramis de Pareja, Bartolome Musica Utriusque Cantus Practica Bologna: [Baltasar di Hyrberia and Heinrich von Koln], 12 V 1482 See Fig I9 R, Appendices I343 (Giovanni Schriber and Enrico di Colonia); IGI 8279; Sander 6085 (2°) Incipit, f a2: Prologus I [B]Oetii mufices difciplina I quinq3 voluminibus comprehenfa quoniam profundiffi I mis f a3: Finite prologo incipit trctatus ubi primo quid fit mufica quid harmonia diJpurat9 I [H]Armonia atq3 mufica idem effe multi I credut ueru3 nos loge aliter fentenius Explicit, f [fi ]: Explicit mufica practica Bartholomei Rami de Pareia Hifpani I ex Betica prouincia 7 Ciuitate Baecza Giefi dioceJ vel fuffraga na oriundi Alme vrbis Bononie dum ea3 ibidem publice legeret I Impreffa anno domini millefimo quatrigentefimo octuagefimo fecu I do quarto idus Maij.

Collation: 4°. a-b6 c8 [d-f6 g4 h2]=44 f 37 11 I col Illustration: woodcut diagrams Music: printed staff Music pages: b6v Staves: black 3-line staff, apparently printed from metal rules Bibliography: Albano Sorbelli, "Le due edizioni della Musica practica di Bartolome Ramis de Pareja," Gutenberg-Jahrbuch (1930): 104-I4 Note: Sorbelli (p I i i) concluded that the work was printed by Baltasar di Hyberia (Baldassare da Rubiera) and not by Johann Schriber; the least leaf was printed by Heinrich von Koln, in two of his well-known types Copies: I-Bologna, LM; Florence, BN Copies seen: I-Bologna, LM, A 8o Lacks ff e6, h2 (blank) Decoration: major initials in gold and colors, minor initials in blue Size: 238 X i66 mm Provenance: personal copy of Franchino Gaffurio; see, for example, the marginal note on f d6": In practica noftra declaram gpit hoc etiam lpbat9 exemplo [musical example] Binding: vellum I5I Ramis de Pareja, Bartolome Musica Utriusque Cantus Practica Bologna: Baltasar di Hyrberia, 5 VI I482 See Fig i8 IGI 8278; Panzer 4: 417 (Salamanca); RISM B6 2:687

Incipit (copy seen lacks f ai) Explicit, f [hi V]: Explicit feliciter prima ps mufice egregii 7 famofi mufici domini bar I tolomei parea hifpani du, publice mufica bononie legeret in qua tota practica cantoy ptractat' impreffa vero ope& iduftria ac expefis Magi I tri baltafaris de hiriberia ano domini m cccc lxxxii die 5°. iunii Collation: 4°. a-b6 c8 [d-f6 g4 h2]=44 ff 37 11 I col Illustration: woodcut diagrams Music: printed staff Music pages: b6v Staves: black 3-line staff, apparently printed from metal rules Bibliography: Albano Sorbelli, "Le due edizioni della 'Musica practica' di Bartolome Ramis de Pareja," Gutenberg-Jahrbuch (1930): 104-I4 Note: this edition is a reprint of the previous item; ff b3-4 have been recomposed and differently paged, and the colophon varies Copies: D-Regensburg, Proske; I-Bologna, LM Copies seen: I-Bologna, LM, A 8i Lacks ff ai, d3, d5-d6, and h2 Decoration: major initial in gold and colors, minor initials in blue Size: 225.5 X I63 mm Binding: vellum.

Regule Cantus Plane Venice: [s typ., I505?} C 5091 [500o?]; RISM B6 2:978 Collation (C): 8°. 4 ff 30 11 Note: the only copy known was "destroyed by bombing in the war," according to the catalogue card at the British Library Copies: GB-London, BL Copies seen: none GB-London, BL, 7897.a.33 Missing The library catalogue card dates the book [io55?] and includes the note "destroyed by bombing in the war." Reisch, Gregorius Margarita Philosophica [Heidelberg,] 3 kal ian 1496.

H I385'2 (s.l., a., t.); RISM B6 2: iooi (chronological index to early works) Note: apparently a ghost H gives no printer, place, or year but includes after the title "Ex Heidelberga III.Kal.Ianuarius MCCCCLXXXVI." that same information is written as a manuscript addition to the foreword of a copy of a 1504 edition at D-Berlin, SPK (A 4402) The first edition of Reisch's work was printed in 503 in Freiburg by Johann Schott-Rituale Ambrosianum [Milan: Leonard Pachel & Ulrich Scinzenzeller, ca I478] IGI 8382 Incipit, f ai, red: Incipit ordo officii ad faciendu aqua I benedictam f b5 : Incipit ordo officij ad cathecumini faciendu3 sino hef oleu ab epo 9gecratu caufa neceffita tuf pri9 benedic oleu p hoc exorcifmiiu ic dicedo I Benedici io fup agni ul' carneJ i pascha Explicit (IGI), f i6v: Sequitur euangelui [sic] secudu iohane ad altare I In principio erat uerbu 7 uerbu erat apud C FINIS Collation: 4°. a-f8 g h8 i6=68 ff 30 11 i col Bibliography: M Magistretti, "Di due edizioni sconosciute del Rituale dei Sacramenti secondo il Rito Ambrosiano," in Miscellanea Ceriani, Milan: Hoepli, I9Io, pp 121-26.

Note: no space for music Copies: I-Milan, Cap2 Copies seen: I-Milan, Cap, 2G-2-17 Size: 222 X I50 mm Binding: blind-ruled leather, 2 clasps missing (restored) 2G-2-I8 Binding: blind-stamped leather over paper boards 1i2 Rituale Ambrosianum [Milan: Antonio Zarotto, ca I487.] See Fig 59 IGI 838i (after 1475); Ganda 55 (ca 1476) Incipit, f a , red: IN xpi nomine Incipit I liber facrameto, eccle I Jie: in quo qde duo fpecialiter cotinent9 facramnte: uidelicet I facramentum baptiJfmi ianua I olum facrameto,: T primu I re I mediu cotra originalis pecca I ti flagitiu Ends (IGI), f f8v: pro ultimo articulo mortis I tue In nomine pris 7 filij spiritus sancti Amen [Dies Irae follows.] Collation: 40. T2 a-g6 h8=52ff 36-37 11 2 col., I col Illustration: one woodcut initial Music: printed notes and staves Music pages: e4-g6, h4-8= 36 pp Staves: 7 red 4-line staves per page, 178-80 X Ii3 mm Music type: A3 Bibliography: M Magistretti, "Di due edizioni sconosciute del Rituale dei Sacramenti secondo il Rito Ambrosiano," in Miscellanea Ceriani, Milan: Hoepli, 1910, pp 121-26.

Note: the date usually assigned to the ritual is 1476, but that date is well before the first dated use of Zarotto's music type, 1488 (D 26) Zarotto missals from 1474 to 1482 and a Magnificat of about 1486 (D 21) contain blank space for music If Zarotto's music type was first used in the undated Rituale Ambrosianum, the earliest date for the book's printing is very likely after the works with blank space for music, or about 1487 Copies: I-Milan, Cap3 Copies seen: I-Milan, Cap, 2G-2-6 Provenance: Istud sacramentarium est mei petri de canubio cantore; S Martino Nosseggia P.N Binding: oak boards with leather spine (restored) 2G-2-7 Size: 275 X 198 mm Binding: oak boards with leather spine, i clasp missing 2G-2-8 Provenance: Sancti Raphaelis P O Mll; Sagrestia Meridionale (later hand) Binding: oak boards with leather spine nailed on, 3 clasps missing Rituale Romanum Florence: Antonio Miscomini, 5 III I476[?] R 715; IGI 8383; LB 1053 Incipit, f; ai, red: Incipit ordo ad faciendum baptiS I mum fecundum curiam romanam Explicit, f k6: Impreffum Florentie per Anto I nium Francifci uenetum Anno ab incarnatione domini M I CCCCLXXVI tertio nonas martii Collation: 4°. '4 a-e8 f4 g8 h-kO=74 ff 2I 11.

I col Note: no space for music The work is probably misdated, since other work by the printer is from 1487 or 1488 (BMC VI:677) Copies: I-Florence, BN; Milan, BN; Naples, BN Copies seen: I-Florence, BN, F.6 I3 Size: 210 X 140 mm Decoration: blue initials, major initials flourished Binding: blind-stamped leather (restored).

-Rituale Romanum Florence: [Francesco Bonaccorsi] for Michelangelo Biagi de Emporio, 31 III 1495 R 1367; IGI 8384; LB 1054 Incipit, f Ai, red: [I]Ncipit ordo ad baptizandum I fecundum curia3 Romanam I Cu3 uenerit Explicit, f n8': ImpreJfum florentie per preJbiter I michaelangelus blafij de eporio I anno Jalutis Mcccclxxxxv I pridie kalendas aprilis Collation: 4°. A6 a-d8 e6 f-n8= 00 ff 21 11 I col Note: no space for music Copies: I-Florence, BN Copies seen : I-Florence, BN, B.R.I34 Size: 195 X I33 mm Binding: blind-stamped brown morocco, gold-stamped spine 153 Spataro, Giovanni Honesto Defensio Bologna: Francesco Benedetti, called Plato, I6 V 1491- See Fig 66 H 14895; Goff S636; CIBN S325; Pellechet 10629; RISM B6 2:798 (8°); Sander 7024 Incipit, f Ai: AD REVERENdiJfimum in Xpo patrem et.D.d I Antonium Galeaz de Bentiuolis

Sedis apoftolicae I prothonotarium B.M Iohannis fpadarii in mufica I humilimi profeJforis eiufde mufices ac Bartolomei I Rami pareie eius preceptoris honefta defenfio In Ni I colai Burtii parmenfis opufculum Explicit, f Fio: Impreffo nel alma: et Inclyta cita di Bologna per mi I Plato de Benedecti Regnate lo Inclyto : et illuftre Si I gnor S Zohane di Betiuogli de lano Mcccclxxxxi I adi xvi de Mazo I [printer's mark, PLA} Collation: 4°. A-E8 F'l=5o ff 26 11 i col Illustration: woodcut diagrams Music: printed notes in text Music pages: B6, EI=2 pp.; also B quadratus on f D3" Music type: a proto-font of a punctum (3 mm square), a circle and a C for tempus imperfectum (dots for perfect prolation added in manuscript when necessary, as are all other notes and staff lines) Bibliography: edition by Joseph Vecchi, vol I of Spataro's Opera Omnia, Antiquae Musicae Italicae, Monumenta Bononiensia, Bologna: Forni, 1967; Albano Sorbelli, "II magazzino librario e la privata biblioteca di un grande tipografo del secolo XV (Plato Benedetti)," Gutenberg-Jahrbuch (1935): 93-99; Sorbelli, "La libreria di uno stampatore bibliofilo del Quattrocento," Studi e ricerche sulla storia della stampa del Quattrocento: Omaggio dell' Italia a Giovanni Gutenberg nel V centenario della sua scoperta, Milan: Hoepli,

1942, pp 259-336 Note: as official printer and bookseller to the University of Bologna, Plato carried the two music books of Burzio and Spataro (see inventory of over i,ooo volumes at death in 1496) Copies: D-Berlin, SPK ("nicht nachweisbar"); F-Paris, BN; GB-Cambridge, UL; I-Bologna, BC; US-NY-Rochester, Eastman Copies seen; F-Paris, BN, Res V.I498 Size: 196 X 141 mm Binding: marbled paper over paper boards, fabric spine I54.* Spechtshart, Hugo (Reutlingensis) Flores Musicae Venice: Francisco de' Madi, 1485 RISM B6 1:427 Incipit (RISM B6): Flores musice omnis cantus gregoriani Explicit (RISM B6): Venezia Fransciscus de Madiis, 1485 Collation (RISM B6): 8°. Music: printed notes and staves, according to a list of music incunabula by Domenico Masseo Bibliography: Domenico Masseo, ("La stampa musicale nel periodo degli incunaboli: Catalogo degli incunaboli musicali non liturgici," thesis, Scuola di Paleografia e Filologia Musicale, University of Pavia, 1977 Not all of the incunabula were examined by Masseo Copies (RISM B6): A-Vienna, NB According to a

letter from Dr Evan Irblich, the Osterreichische Nationalbibliothek has no such edition Tractatus Musices [Venice: Bernardino Vitali for] Giovanni Battista Sessa, [ca I5o5] C 5863 [1500]; P I2555; GW 6:814 (nach den Typen, i6 Jh.); Goff Suppl T4Isb (after 00oo); IGI 5:208; RISM B6 2:925; Sander 7347 (Plate 260 off ai) Incipit, f ai, wooduct: [TRACTATVS MVSICES, Guidonian hand with printed text within] PRoprietas in mufica eft deriuatio pluriam vocu I ab vno eodeq3 principio.

Exijtentibus igitur mo I dis [woodcut, IBS] Explicit, f b4: Explicit mufices non inutile Compendium:ad Saluatoris Honorem: I primorumq3 diJcentium vtilitatem confectum ImpreJfum per Ioannem Baptiftam SefJa [printer's mark, IBS] Collation: 4°. a-b4=8 ff 39 11 i col Variant (LC Washington, LCM, and Sander), colophon ends: ImprefJum Uenetijs per Ioannem Baptiftam Seffa [printer's mark, IBS] Illustration: woodcut diagram, music, and initial Music: printed notes and staves from woodcuts Music pages: ai, a2V-b3v= 12 pp Staves: 4 and 5-line staves Bibliography: David Crawford, "A Chant Manual in Sixteenth-Century Italy," Musica Disciplina 36 (I)82): 175-90 Edition: Compendium Mvsices: Venetiis, I499-I597, ed David Crawford, Corpus Scriptorum de Musica, 33 Stuttgart: American Institute of Musicology, 1985 Note: second edition of Compendium Musices (D io) Copies: F-Paris, BN; GB-London, BL; I-Bologna, BC; US-IL-Chicago, New; NY-New York, PL (lacks f b4; without foliation); Washington, LC Copies seen: GB-London, BL, K.l.g io (2) Size: 192 X 140 mm Provenance: personal copy of Pietro Aron; four leaves of manuscript music at the

front begin: Delli principij de tuti li toni Jecondo mi I pietro aro I [1 primo tono; f b4V: Est Io Petri Ar Binding: red morocco stamped in gold; bound with Bonaventura da Brescia, Regula Musice Plane, 30 IV I507 US-Washington, LCM, ML I7i T8i Manuscript foliation 1 o8-15 I55.*Verardus, Carolus Historia Baetica Rome, [s.t.], 1492 H I5940 Collation (H): 4°. Copies: none known-Verardus, Carolus Historia Baetica [Deventer: Richard Paffraet, after 22 IV 1492.1 H I5939 ((s 1., t., a.]); C 1:48I ([Deventer: Richard Paffraet, after 22 IV 1492] Title, f AI: In laudem JereniJfimi Fer I dinandi HiJpaniarum regis Bethice et regni Gra I natae, obfidio, victoria et triumphus Ends, f C5: Anno a Natali Saluatoris M CCCC xcii Undecimo Ka I lendas Maij Note: no space for music Copies: DK-Copenhagen, KB Copies seen: DK-Copenhagen, KB, Inc 4095

156 Verardus, Carolus Historia Baetica Rome: Eucharius Silber, 7 III 1493 H I5941*; P 3867; BMC IV:114; Goff VI24; IGI 10146; CIBN V9o; Pellechet 1457 Incipit, f [a2]: Caroli Verardi Caefenatis Cubicularii Pontifi I cii in hiftoriam Baeticam ad R P Raphaelem ) Riarium S Georgii Diaconum Cardinalem: S.R.E.Camorarium Praefatio: Colophon, f [e7]: ImpreJfum Romae per Magiftrum Eucha I rium Silber: alias Franck: Anno Domini I M.CCCC.XCIII.Die uero VII Martii Collation: 4°. [a-e']=40 ff 26 11 i col Music: printed notes and staves from wood Music pages: [e7'-e8]=2 pp (discantus, tenor, bassus, altus) Copies: A-Vienna, NB; F-Paris, BN4; Maz; GB-Cambridge, UL (vellum); London, BL; I-Bologna, LM; Brescia, BC; Cesena, BC2; Florence, BN; Milan, Ambr; Parma, Pal2; Perugia, BC; Ravenna, BC; Rome, Cors; Venice, BN; Verona, BC; P-Wroclaw, BU2; US-RI-Providence, ABL; Vatican City, BV2 Copies seen: GB-London, BL, IA I8975 I-Parma, Pal, Inc 63/2-3 Lacks f [ai] (blank) Binding: paper with vellum spine Rome, Cors, 53 E.3o Lacks f [ai] Size: 214 X i34 mm Binding: vellum Venice, BN, Min 1288.3 Lacks quires a-d, but contains quire e with the music Size: 202 X i45 mm Binding: vellum (bound with 22 items).

Verardus, Carolus Historia Baetica Rome, i6 VIII 1494 [Valladolid: Pedro Giraldi & Miguel de Planes, ca I497.] H 15943; Goff Vi26 ([Valladolid: Pedro Giraldi & Miguel de Planes, about 1497]); Vindel 6:I7; Voullieme B 4966 Title, f a i : Hiftoria betica I Incipit, f a2 : ¢ Caroli Uerardi Cefenatis Cubicularij I Pontificij in hiJtoriam Beticam ad R ) P Raphaelem Riarium S Georgij I Diaconum Cardinalem I Prefatio | f c8: ¢ Acta Ludis Romanis In nocentio octauo in folio Pe ) tri sedente Anno a Natali

I Saluatoris Mil CCCC I Xcij Undecimo Kalendas Maij Colophon, f e8: ¢ Factum rome Anno domini Millefimo I quadringentefimo Nonage fimo quarto I Die vero decimafexta Menfis augufti Collation (Vindel): 4°. a-e=40 ff 32-33 11 I col Bibliography: Francisco Vindel, El arte tipografico en Espana durante el siglo XV, 9 vols., Madrid: Direcion General de Relaciones Culturales, 1950, 6: 36-38, no I7; facsimile, Gesellschaft fur Typenkunde, plate 359 (f ai) Note: no space for music Despite the information in the colophon, the book, which is printed in the types of the de Planes brothers of Valladolid, is now attributed to them and dated about I497 Copies: E-Valencia, Cat; D-Berlin, SPK; US-CA-San Marino, Hunt Copies seen: US-CA-San Marino, Hunt, 98609 Size: 208 X i47 mm Provenance, f e8v: Michael floretibus.

XVI—
Indexes and Concordance

Chronological Index

Abbreviations B: blank space for music; M: printed notes and staves; M(W): printed notes and staves from woodcuts; N: printed notes; S: printed staves; ?: unknown Place: Date Author, Title Printer, Publisher Music D No [147,!?} Missale Romanum [Central Italy?] B 38 6 XII 1474 Missale Romanum Milan: Zarotto B 39 23 ]II 1475 Missale Ambrosianum Milan: Zarotto B 23 21 IV i475 Missale Romanum Rome: Han B 40 26 I 1476 Missale Romanum Milan: Zarotto B 41 12 X 1476 Missale Romanum Rome: Han M 42 Io IV 1477 Graduale Romanum Parma: Moilli M I6 20 IX I477 Missale Romanum Venice: A & D Siliprandi B 43 o0 XII 1477 Officium Imm Conceptionis BVM Rome: Han B 144 1477 Missale Romanum Naples: Moravus B 44 I :7 I478 Missale Romanum Milan: Zarotto B 45 22 IV 1479 Missale Romanum [Milan: Carcano] B 46 for Suardi I V I479 Missale Romanum Venice: [Jenson] B 47 27 IX 1479 Missale Romanum Milan: Zarotto B 48 16 XII 1479 Missale Romanum Milan: Pachel B 49 & Scinzenzeller

21 III 480 Niger, Grammatica Venice: Franck N 142 for Santritter 3I V 1480 Missale Messanense Messina: Alding B 33 31 VII 1480 Missale Romanum Milan: Pachel B 50 & Scinzenzeller 23 ViII 1480 Missale Romanum Venice: [J Koln B 5 & Manthen]

Place: Date Author, Title Printer, Publisher Music D No 27 VIII 1480 Missale Strigoniense Verona: [Maufer] B 127 27 VIII 1480 Missale Ultramontanorum Verona: [Maufer] B 127 8 x 1480 Gaffurio, Theorica Musicae Naples: Dino B 14 [1480-1490} Missale Ord Eremitarum [Venice] ? 129* S Augustini 31 VIII 1481 Missale Romanum Venice: Torti & Soc B 52 i8 IX 148I Missale Romanum Milan: Pachel B 53 & Scinzenzeller 8 XI 1481 Missale Romanum Milan: Zarotto B 54 29 XII 1481 Missale Romanum Venice: Scoto B 55 5 III 1482 Missale Romanum Rome: Planck M 56 15 III 1482 Missale Ambrosianum Milan: Valdarfer M 24 I6 III 1482 Missale Romanum Naples: Moravus B 57 i2 V 1482 Ramis de Pareja, Musica Bologna: [Hyrberia S i50 Utriusque Cantus Practica & Heinrich von Koln] 5 VI 1482 Ramis de Pareja, Musica Bologna: Hyrberia s 151 Utriusque Cantus Practica 2 VII 1482 Missale Romanum Venice: Blavi, B 58 Torresani & Salodio VIII I482 Missale Romanum Milan: Pachel ? 59*

& Scinzenzeller 3 I VIII 1482 Missale Romanum Venice: Scoto s 60 I IX 1482 Missale Romanum Milan: Valdarfer M 61 28 XI 1482 Missale Romanum Venice: Scoto s or M 62 24 XII 1482 Missale Ord Praedicatorum Venice: Scoto M 131 1482 Missale Ord Praedicatorum Milan: Zarotto B 132 4 XII I482/I483 Missale Romanum Venice: Benali, M 63 or 29 I I483/1484 Arrivabene, Paganini 29 III 1483 Missale Ord Praedicatorum Naples: Moravus B I33 for Palmieri [ca 1483] Missale Romanum [Venice: Ratdolt] ? 64* [1483?] Missale Toletanum [Venice] B 126 I IV 1484 & Missale Romanum Venice: Girardengo M 65 13 IV 1484 Reissue of above Pavia: Girardengo M 65 15 VIII 1484 Missale Romanum Venice: Benali M 66 27 IX 1484 Missale Romanum Venice: Arrivabene S or M 67 & Paganini 1484 Missale Romanum Venice: Frankfurt s 68 1484 Missale Ord Praedicatorum Venice: Frankfurt s 134 Io xI 1485 Missale Romanum Venice: Piasi M 69 20 XII I485 Pontificale Romanum Rome Planck M I45

Place: Date Author, Title Printer, Publisher Music D No 1485 Missale Romanum Venice: Frankfurt S 70 1485 Spechtshart, Flores Musicae Venice: Madi ? I54* [ca 1485i-1490? Missale Romanum [Venice?] B 71 II 11 485/1486 Missale Romanum Venice: Paltasichi s 72 I8 III [486 Missale Strigoniense Venice: Ratdolt S 121 28 IV [486 Psalterium Ambrosianum Milan: Pachel M 148 & Scinzenzeller for Lampugnano [28 IV 1486] Magnificat [Milan: Zarotto] B 21 I VIII 1486 Missale Ambrosianum Milan: Pachel B 25 & Scinzenzeller 20 III ,187 Ordo ad Catechumenum Faciendum Bologna: Odo M i44 27 IV I487 Missale Romanum Venice: [Bevilaqua M 73 for] Paganini 30 IV 1487 Burzio, Musices Opusculum Bologna: Ruggerio M(W) 8 for Faelli I3 V i487 Missale Ord Praedicatorum Venice: Gabi ? 135* 0o xI 1487 Missale Parisiense Venice: Hamman s 35 & Emerich I487 Missale Romanum Venice: Frankfurt s 74 [1487] Rituale Ambrosianum [Milan: Zarotto] M 152 I III 4188 Missale Ambrosianum Milan: Zarotto M 26 for Bosis

I 1488 Missale Romanum Milan: Zarotto M 75 V 14.88 Missale Romanum Milan: Pachel ? 76* I5 X I188 Missale Romanum Venice: Hamman M 77 22 XII 1488 Missale Romanum [Rome: Planck] M 78 29 X i489 Missale Romanum Venice: Torti M 79 3 IX I1489 Missale Romanum Venice: Pensi M 80 15 XII 1489 Missale Romanum Venice: Ragazzoni M 8I 14 III 14190 Missale Burgense Venice: Hamman s 3 14 VIII 1490 Missale Ord Carmelitarum Brescia: Bonini M 130 13 IX 1I90 Missale Romanum Venice: Pensi M 82 1490 Missale Ambrosianum Milan: Zarotto ? 27* [1490] Missale Romanum [Naples: Preller M 83 for Gontier?] [1490] Missale Romanum [Venice: Benali? M 84 for Giunta] Io IV 1491 Missale Romanum Venice: Novimagio M 85 i6 V i.49i Spataro, Honesto Defensio Bologna: Benedetti (N) 153

Place: Date Author, Title Printer, Publisher Music D No 6 VI 1491 Missale Romanum Pavia: Girardengo S 86 & Beretta 13 VII 1491 Missale Romanum Venice: Hamman M 87 i VI 1492 Missale Valentinum Venice: Hamman M 128 for Zavarisio 5 VI 1492 Caza, Trattato vulgare Milan: Pachel B 9 for Lomazzo 4 VII 1492 Missale Romanum Milan: Pachel M 88 i VIII 1492 Missale Romanum Milan: Zarotto M 89 I IX I492 Missale Romanum Brescia: A & G M 90 Britannico 11 IX 1492 Missale Romanum [Turin?: Suigo B 9I & Benedicti?] 29 IX I492 Missale Claromontense Venice: Beretta B 32 & Girardengo 15 XII 1492 Gaffurio, Theorica Musicae Milan: Mantegazza M(W) 15 for Lomazzo 25 XII 1492 Breviarium Ord Praedicatorum Venice: Emerich B 7 1492 Missale Romanum Rome: Planck ? 92* 1492 Verardus, Historia Baetica Rome ? I55* 7 III 493 Verardus, Historia Baetica Rome: Silber M(W) 156 28 IV I493 Missale Romanum Venice: Emerich M(W) 93 i VII I493 Missale Romanum Venice: Hamman M 94 for Frankfurt

I xII I493 Missale Romanum Venice: Hamman M 95 for Scoto I II I493/1494 Missale Strigoniense Venice: Hamman M 122 11 III 1494 Manuale Baptisterium Secundum Rome: Planck M(W) 22 Morem Romanae Ecclesiae 29 III I494 Missale Romanum Venice: Pinzi M 96 5 VI I494 Missale Romanum Naples: Cantono ? 97 13 VIII 1494 Missale Romanum Venice: Emerich M 98 for Giunta I IX I494 Missale Sarisburiense Venice: Hamman M 118 for Egmont & Barrevelt 9 X 1494 Processionarium Ord Praedicatorum Venice: Emerich M I47 for Giunta 27 X 1494 Missale Romanum Rome: Planck M 99 I XII 1494 Missale Sarisburiense Venice: Hamman M 119 for Egmont [I4941 Missale Ambrosianum [Milan: Onate] M(W) 28

Place: Date Author, Title Printer, Publisher Music D No I II 1494/1495 Missale Ord Praedicatorum Venice: Hamman M 136 for Scoto i6 III 495 Missale Romanum Venice: Pinzi M Ioo for Trino 30 IV 1495 Liber Catechumeni Venice: Emerich M I8 for Giunta 31 x 1495 Missale Strigoniense Venice: Emerich S I23 1495 Missale Auscitanum Pavia: Girardengo M 30 23 I 1495/1496 Agenda Aquileiensis Venice: Hamman s i for Volkarth i VII 1496 Psalterium Ambrosianum Milan: Zarotto M I49 for Gorgonzola 14 VII 1496 Missale Romanum Venice: Emerich M IOi for Giunta 30 IX 1496 Gaffurio, Practica Musicae Milan: Le Signerre M(W) 12 for Lomazzo 31 X 1496 Missale Romanum Rome: Planck M 102 30 XII 1496 Missale Ord Praedicatorum Venice: Torresani M 137 I3 v I497 Missale Ord Praedicatorum Venice: Gabi M 138 i5 V I497 Missale Romanum Venice: Torresani M I03 5 VI I4.97 Missale Romanum Venice: Hamman M 104 for Scoto 27 VII 1497 Bonaventura da Brescia, [Brescia]: Britannico M(W) 3 Breviloquium Musicale I6 VIII 1497 Pontificale Romanum Rome: Planck M 146 23 IX 1497 Gaffurio, Practica Musicae Brescia: Britannico M(W) 13 27 IX 1497 Bonaventura da Brescia, [Brescia]: Britannico M(W) 4

Regula Musicae Planae 8 x 1497 Missale Romanum Venice: Sessa M 1O5 10 XI 1497 Missale Romanum Venice: Emerich M IO6 for Giunta I 31 1497/1498 Missale Romanum Venice: Gabi M 107 15 III 1498 Missale Romanum Venice: Gabi ? o18* for Paganini 28 VI 1498 Missale Romanum Venice: Emerich M IO9 for Giunta 31 VII 1498 Liber Catechumeni Venice: Sessa M 19 I3 IX 1498 Agenda Pataviensis Venice: Hamman M 2 for Petri i X 1498 Missale Romanum Milan: Zarotto M IIO 15 X 1498 Missale Romanum Venice: Emerich M 1I for Giunta

Place: Date Author, Title Printer, Publisher Music D No 26 II 1498/1499 Missale Strigoniense Venice: Emerich S 124 for Paep 1490 [not before Missale Romanum Venice: Sessa M 112 1493 or after I4981 io III I499 Missale Romanum Venice: Gabi M 13 for Paganini i6 IV 1499 Missale Romanum Milan: Pachel M I14 24 IV 1499 Missale Quinque Ecclesiae Venice: [Emerich] s 36 for Paep 29 V 1499 Missale Romanum Venice: Arrivabene M I15 28 VI I499 Missale Messanense Venice: Emerich M 34 27 VIII 1499 Missale Ambrosianum Milan: Pachel M 29 for Nicolao 28 IX 1499 Graduale Romanum Venice: Emerich M 17 I III I5oo for Giunta 21 XI I499 Compendium Musices Venice: Sessa M(W) IO I499 Missale Romanum Venice ? 116* 6 III 1500 Missale Ord Praedicatorum Venice: Emerich M 139 for Frankfurt 8 III I500 Missale Ord Praedicatorum Venice: Giunta ? 140* 31 II 111500 Missale Strigoniense Venice: [Emerich] S 125 or i IV I502 for Paep

6 vI I5oo Liber Catechumeni Venice: [Emerich} M 20 for Giunta 24 VII I500 Missale Segoviense Venice: Emerich M 120 for Lavezari & Soc 3 IX [i5oo0 Bonaventura da Brescia, [Brescia]: Britannico M(W) 5 Regula Musicae Planae Io IX I5oo Bonaventura da Brescia, [Milan]: Pachel M(W) 6 Regula Musicae Planae for Legnano 0 XI 500oo Gaffurio, Opus Musicae Milan: Ponte ? II* i5 XII I500 Missale Romanum [Venice?] ? II7* I500oo Missale Ord Praedicatorum Venice: Gabi ? I41* [14??} Missale Romanum [Venice: Emerich] ? 37*

Index of Printers by Location

Abbreviations: B: blank space for music; M: printed notes and staves; M(W): printed notes and staves from woodcuts; N: printed notes; (N): incipient font; S: printed staves; ?: unknown Printer, Date Author, Title Music Duggan No.

Bologna

Benedetti, Francesco (called Plato) 16 v i491 Spataro, Honesto Defensio (N) 153 Faelli, Benedetto See Ruggerio, Ugo [Hyrberia, Baltasar di] 12 V 1482 Ramis de Pareja, Musica Utriusque S i50 Cantus Practica [with Heinrich von Koln] 5 VI 1482 Ramis de Pareja, Musica Utriusque S I51 Cantus Practica Koln, Heinrich von 12 V 1482 Ramis de Pareja, Musica Utriusque S i50 Cantus Practica (with Baltasar di Hyrberia) Odo, Dionysio de 20 III 1487 Ordo ad Catechumenum Faciendum M I44 Rubiera, Baldasarre da See Hyrberia, Baltasar di Ruggerio, Ugo 30 IV 1487 Burzio, Musices Opusculum M(W) 8 (for Benedetto Faelli)

Brescia

Bonini, Bonino I4 VIII 1490 Missale Ord Carmelitarum M I30 Britannico, Angelo 27 VII 1497 Bonaventura, Breviloquium Musicale M(W) 3 :23 IX 1497 Gaffurio, Practica Musicae M(W) 13 2;7 IX 1497 Bonaventura, Regular Musicae Planae M(W) 4 3 IX {I500] Bonaventura, Regula Musicae Planae M(W) 5

Printer, Date Author, Title Music Duggan No Brescia, cont Britannico, Giacomo, & Angelo Britannico i IX 1492 Missale Romanum M 90

Messina

Alding, Heinrich 31 V 1480 Missale Messanense B 33

Milan

Bosis, Andrea de See Zarotto, Antonio Carcano, Antonio 22 IV 1479 Missale Romanum B 46 (for Paola Suardi) Gorgonzola, Nicolo See Zarrotto, Antonio Lampugnano, Gasparo See Pachel, Leonard; See Scinzenzeller, Ulrich Legnano, Giovanni de See Pachel, Leonard Le Signerre, Guillaume 30 IX 1496 Gaffurio, Practica Musicae M(W) 12 (for Giovanni Pietro da Lomazzo)

Lomazzo, Giovanni Pietro da See Le Signerre, Guillaume; Mantegazza, Filippo; See Pachel, Leonard Mantegazza, Filippo 15 xII 1492 Gaffurio, Theorica Musicae M(W) I5 (for Giovanni Pietro da Lomazzo) Nicolao, priest See Pachel, Leonard Onate, Giovanni Antonio d' [I494] Missale Ambrosianum M(W) 28 Pachel, Leonard I6 XII 1479 Missale Romanum B 49 (with Ulrich Scinzenzeller) 31 VII 1480 Missale Romanum B 50 (with Ulrich Scinzenzeller)

Printer, Date Author, Title Music Duggan No Milan, cont 8 IX 1481 Missale Romanum B 53 (with Ulrich Scinzenzeller) VIII 1482 Missale Romanum ? 59 (with Ulrich Scinzenzeller) 28 VI 1486 Psalterium Ambrosianum M 148 (with Ulrich Scinzenzeller for Gasparo Lampugnano) I VIII 1486 Missale Ambroisanum B 25 (with Ulrich Scinzenzeller) V 1488 Missale Romanum ? 76* '5 VI 1492 Caza, Trattato vulgare B 9 (for Giovanni Pietro da Lomazzo) 4 VII I492 Missale Romanum M 88 16 IV 1499 Missale Romanum M 114 27 VIII 1499 Missale Ambrosianum M 29 (for Nicolao, priest) Io IX 1500 Bonaventura, Regula Musicae Planae M(W) 6 (for Giovanni de Legnano) Ponte, Gottardo da io XI 1500 Gaffurio, Opus Musicae ? 11* Scinzenzeller, Ulrich I6 XII 1479 Missale Romanum B 49 (with Leonard Pachel) 31 VII 1480 Missale Romanum B 50 (with Leonard Pachel) 18 IX 1481 Missale Romanum B 53

(with Leonard Pachel) VIII 1482 Missale Romanum ? 59 (with Leonard Pachel) 28 IV 1486 Psalterium Ambrosianum M 148 (with Leonard Pachel for Gasparo Lampugnano) I VIII 1486 Missale Ambrosianum B 25 (with Leonard Pachel) Suardi, Paoli See Carcano, Antonio Valdarfer, Christoph 15 III 1482 Missale Ambrosianum M 24 I XI 1482 Missale Romanum M 61 Zarotto, Antonio 6 XII 1474 Missale Romanum B 39 [for Montano & Orsoni] 23 III 1475 Missale Ambrosianum B 23 [for Marco Roma]

Printer, Date Author, Title Music Duggan No Milan, cont 26 IV 1476 Missale Romanum B 41 [for Marco Roma] I7 1 1478 Missale Romanum B 45 [for Marco Roma] 27 IX 1479 Missale Romanum B 48 8 xI 1481 Missale Romanum B 54 1482 Missale Ord Praedicatorum B 132 [28 IV 1486] Magnificat B 21 [1487] Rituale Ambrosianum M 152 I III 1488 Missale Ambrosianum M 26 (for Andrea de Bosis) I V 1488 Missale Romanum M 75 1490 Missale Ambrosianum ? 27* i VIII 1492 Missale Romanum M 90 I VII I496 Psalterium Ambrosianum M I49 (for Nicolo Gorgonzola) I x 1498 Missale Romanum M IIo

Naples

Bantono, Ayolfus de See Cantono, Ajolfo de Cantono, Ajolfo de 5 VI I494 Missale Romanum ? 97* Dino, Francesco di 8 x 1480 Gaffurio, Theorica Musicae B 14

Gontier, Antoine See Preller, Christian Moravus, Matthias 1477 Missale Romanum B 44 16 III 1482 Missale Romanum B 57 29 III 1483 Missale Ord Praedicatorum B 133 (for Francesco Palmieri) Palmieri, Francesco See Moravus, Matthias Preller, Christian [1490] Missale Romanum M 83 [for Antoine Gontier?]

Parma

Moilli, Damiano, & Bernardo Moilli Io IV 1477 Graduale Romanum M 16

Printer, Date Author, Title Music Duggan No.

Pavia

Beretta, Giovanni Antonio 6 VI 149 Missale Romanum S 86 (with Francesco Girardengo) Girardengo, Francesco i IV 1484 Missale Romanum M 65 13 IV 1484 Reissue of above 6 VI 1491 Missale Romanum S 86 (with Giovanni Antonio Beretta) 1495 Missale Auscitanum M 30

Rome

Han, Ulrich 2 IV 1475 Missale Romanum B 40 2 x 1476 Missale Romanum M 42 0o XII 1477 Officium Imm Concep BVM B 143 Planck, Stephan 5 III 1482 Missale Romanum M 56 20 XII 485 Pontificale Romanum M I45 22 XII 1488 Missale Romanum M 78 1492 Missale Romanum ? 92* 27'X I494 Missale Romanum M 99 11 III 1494 Manuale Baptisterium Secundum Morem M 22 Romanae Ecclesiae 31 X 1496 Missale Romanum M I02 I6 VIII 1497 Pontificale Romanum M 146 Silber, Eucharius 7 III 1493 Verardus, Historia Baetica M(W) 156 printer unknown 1492 Verardus, Historia Baetica ? I55*

Turin

Benedicti, N de ii [X I492 Missale Romanum B 9I (with Giacomino Suigo) Suigo, Giacomino iI [X 1492 Missale Romanum B 91 (with N de Benedicti)

Printer, Date Author, Title Music Duggan No.

Venice

Arrivabene, Giorgio 4 XII 1482/1483 Missale Romanum M 63 (with Bernardino Benali & Paganino Paganini) 27 IX 1484 Missale Romanum M or S 67 (with Paganino Paganini) 29 V I499 Missale Romanum M iI5 Barrevelt, Gerard See Hamman, Johann Benali, Bernardino 4 XII 1482/1483 Missale Romanum M 63 (with Giorgio Arrivabene & Paganino Paganini) i5 VIII 1484 Missale Romanum M 66 [14901 Missale Romanum M 84 (for Luca Antonio Giunta) Beretta, Giovanni Antonio 29 IX 1492 Missale Claromontense B 32 (with Francesco Girardengo) Bevilaqua, Simone See Gabi, Simone (called Bevilaqua) Blavi, Bartolomei de' 2 VII 1482 Missale Romanum B 58 (with Andrea Torresani & Maffeo de Salodio) Emerich, Johann, of Speier [14??] Missale Romanum ? 37* o1 XI 1487 Missale Parisiense S 35 (with Johann Hamman) 25 XII 1492 Breviarium Ord Praedicatorum B 7 28 IV 1493 Missale Romanum M(W) 93 I3 VIII 1494 Missale Romanum M 98 (for Luca Antonio Giunta)

9 X 1494 Processionarium Ord Praedicatorum M 147 (for Luca Antonio Giunta) 30 IV I495 Liber Catechumeni M 18 (for Luca Antonio Giunta) 3 X 1495 Missale Strigoniense S 123 14 VII 1496 Missale Romanum M io (for Luca Antonio Giunta)

Printer, Date Author, Title Music Duggan No. Venice, cont.I0 XI 1497 Missale Romanum M Io6 (for Luca Antonio Giunta) 28 VI 1498 Missale Romanum M 109 (for Luca Antonio Giunta) 15 X 1498 Missale Romanum M III (for Luca Antonio Giunta) 26 II 1498/1499 Missale Strigoniense S124 (for Johann Paep) 24 IV 1499 Missale Quinque Ecclesiae S 36 (for Johann Paep) 29 VI 1499 Missale Messanense M 34 28 IX 1499/1 III I500 Graduale Romanum M 17 (for Luca Antonio Giunta) 5 III 1500 Missale Ord. Praedicatorum M 139 (for Nikolaus von Frankfurt) 31 III 500oo or I IV 1502 Missale Strigoniense S 125 (for Johann Paep) 6 VI 1500 Liber Catechumeni M 20 (for Luca Antonio Giunta) 24 VII 1500 Missale Segoviense M 121 (for Guido de Lavezari & Soc.) Franck, Theodor, of Wurzburg 21 III 1480 Niger, Grammatica N 142

(for Johann Lucilius Santritter) Frankfurt, Nikolaus von 1484 Missale Romanum S 68 1484 Missale Ord. Praedicatorum S 134 1485 Missale Romanum S 7i 1487 Missale Romanum S 74 See also Emerich, Johann, of Speier; Hamman, Johann Frederic of Egmont See Hamman, Johann Gabi, Simone (called Bevilaqua) Romanum 27 IV 1487 Missale M 73 ([for] Paganino Paganini) [3 V I487 Missale Ord. Praedicatorum ? 135* i3 V 1497 Missale Ord. Praedicatorum M 138 31 11497/1498 Missale Romanum M I07 15 III I498 Missale Romanum ? 108* (for Paganino Paganini) 10 I 1499 Missale Romanum M 113 (for Paganino Paganini) I500 Missale Ord. Praedicatorum ? 141*

Printer, Date Author, Title Music Duggan No Girardengo, Francesco I IV i484 Missale Romanum M 65 13 IV 1484 Reissue of above 29 IX 1492 Missale Claromontense B 32 (with Giovanni Antonio Beretta) Giunta, Luca Antonio 8 III 1500 Missale Ord Praedicatorum ? 40* See also Benali, Bernardino; Emerich, Johann, of Speier Hamman, Johann Io XI 1487 Missale Parisiense S 35 (with Johann Emerich of Speier) 15 X 1488 Missale Romanum M 77 14 III 1490 Missale Burgense S 31 I3 VII 1491 Missale Romanum M 87 I VI 1492 Missale Valentinum M 128 (for Andrea de Zavarisio) i VII 1493 Missale Romanum M 94 (for Nikolaus von Frankfurt) I XII I493 Missale Romanum M 95 (for Ottaviano Scoto) II 1493/I494 Missale Strigoniense M 122 I IX 1494 Missale Sarisburiense M I18 (for Frederic of Egmont & Gerard Barrevelt) i XII 1494 Missale Sarisburiense M 119 (for Frederick of Egmont) I II 494/1495 Missale Ord Praedicatorum M I36 (for Ottaviano Scoto) 23 I I495/1496 Agenda Aquileiensis S I (for Johann Volkarth) 5 VI 1497 Missale Romanum M 104

(for Ottaviano Scoto) 13 IX 1498 Agenda Pataviensis M 2 (for Johann Petri) Jenson, Nicolas I V 1479 Missale Romanum B 47 Koln, Johann von 23 VIII I480 Missale Romanum B 5 (with Johann Manthen) Lavezari, Guido de See Emerich, Johann, of Speier Madi, Francesco de' 1485 Spechtshart, Flores Musicae ? I54* Manthen, Johann 23 VIII 1480 Missale Romanum B 5 (with Johann von Koln) Modes, Franciscus See Madi, Francesco de'

Printer, Date Author, Title Music Duggan No. Venice, cont. Novimagio, Rinaldo de io IV I491 Missale Romanum M 85 Paep, Johann See Emerich, Johann, of Speier Paganini, Paganino 27 IV 1487 Missale Romanum M 73 See also Arrivabene, Giorgio; Benali, Bernardino; Gabi, Simone Paltasichi, Andrea I I I1I 485/I486 Missale Romanum S 72 Paolo of Trent (Comin da Trino) See Pinzi, Filippo Pensi, Cristoforo de 3 X 1489 Missale Romanum M 80 13 IX 1490 Missale Romanum M 82 Petri, Johann See Hamman, Johann Piasi, Piero di 10 XI 1485 Missale Romanum M 69 Pinzi, Filippo 29 III 1494 Missale Romanum M 96 i6 III 1495 Missale Romanum M o00 (for Comin da Trino) Ragazzoni, Teodoro 15 xII 1489 Missale Romanum M 81

Ratdolt, Erhard [14831 Missale Romanum ? 64* i8 III 1486 Missale Strigoniense S121 S aladio, Maffei de 2 VII 1482 Missale Romanum B 58 (with Bartolomei de' Blavi & Andrea Torresani) Santritter, Johann Lucilius See Franck, Theodor, of Wurzberg Scoto, Ottaviano 29 XII 1481 Missale Romanum B 55 31 V[II 1482 Missale Romanum S 60 28 KI 1482 Missale Romanum S or M 62 24 XII 1482 Missale Ord. Praedicatorum M 3 I

Printer, Date Author, Title Music Duggan No Venice, cont See also Hamman, Johann Sessa, Giovanni Battista 1490 Missale Romanum M 112 [not before 1493 or after 1498] 8 X 1497 Missale Romanum M I05 31 XII 1498 Liber Catechumeni M 19 21 XI 1499 Compendium Musices M(W) io Siliprandi, Alvise, & Domenico Siliprandi 20 IX 1477 Missale Romanum B 43 Torresani, Andrea 2 VII 1482 Missale Romanum B 58 (with Bartolomei de' Blavi & Maffeo de Salodio) 30 XII 1496 Missale Ord Praedicatorum M 137 15 V 1497 Missale Romanum M I03 Torti, Battista 29 X 1489 Missale Romanum M 79 Torti, Battista, & Soc 3 VIII 1481 Missale Romanum B 52 Trino, Comin da See Pinzi, Filippo Volkarth, Johann See Hamman, Johann Zavarisio, Andrea de See Hamman, Johann Printer unknown [1480-1490] Missale Ord Eremitarum S Augustini ? 129* [1483?] Missale Toletanum B 126 [1485-1490] Missale Romanum B 71 1499 Missale Romanum ? 16* 15 XII I500 Missale Romanum ? 117*

Verona

Maufer, Pierre 27 VIII 1480 Missale Strigoniense B 127 27 VIII 1480 Missale Ultramontanorum B 127

[Central Italy, s.t., a.]

Printer unknown [ca 1472?] Missale Romanum B 38

Concordance

1—
Duggan Numbers (D) and Catalogues of Incunabula:
Hain (H), Copinger (C), Reichling (R), Gesamtkatalog der Wiegendrucke (GW), Accurti (Aliae Ed., Ed S XV)

H D H D H D 366 I 11363-36 11399 91 373-I 1364 40 I1400* 93 374 2 11365 41 I140* 94 2767 2 I1366 42 11402 95 3576* 5 11367* 44 I1404* 95 4145* 8 I1368 45 11405 96 4819 9 11369 48 11406 98 7404 14 11370 47 11407 99 7405 15 11371-49 11408* 100 7406 15 11372 51 11409 104 7407 12 I1373-55 11410 I06 7408 13 11375 55 11411 103 7409 II* 11376 60 11412* 105 7844 17 11377* 56 11413 107 I 0121-20 11378* 58 11414* III 10122-20 11379 91 11415 114 11254 23 11380 63 11417 141* 11255 24 11381 63 11422 118

11256 26 11382 68 11428 127 [1257 29 11383 65 11432 122 11289* 131 11385 65 11857-142 [1290 133 11386* 67 11858* 142 11291* 134 11387* 72 13285 145 11292t 135* 11389* 74 13286 146 1293 136 11391* 78 13287* 146 11294* 137 11392* 77 13381* 147 11295 138 11393 79 13852-151 11296 139 11394 82 14895 153 11304 33* 11395* 112 15939 —155* [1340 35 11396 86 15940 155* 11355 36 11397 87 15941* 156 (1361?-82 11398 90 15943-156 NOTE: A number preceded by a dash indicates the unnumbered item that follows that number.

R D R D R D 271 142 1176 i6 III 109 24 591 20 1277 75 III 109 26 632 64* 1367-I52 III 109 28 715-152 1580 80 V 195 I30 995 25 1591-142 V 197 57 997 39 1786-17 I 96 52 998 51 i850-149 App 1343 I50 II5I 4 11203 i8 C D C D C D 128-I 4185 83 4208 i06 486a-2 4186 43 4211 109 1200-6 4187 53 4212 108* 1290 7 4188 52 4213 113 3571 18 4189 57 4214 115 3572 19 4190 60 4216 116* 4079 28 4190-62 4217 I17 4098-30 4191 62 4228 119 4105 I30 4192-62 4235-120 4106-130 4193 63 4237 121 4112 32 4196-62 4238 123 4113 32 4197 66 4240 124 4123 140* 4198 70 4241 125 4125 127 4199 69 4261 128 4128 129* 4200 73 4514 144 4129-26 4202 8I 4937 148 4138-130 4203 85 4943-149 4168 34 4204 86 5091-151 4182 71 4206 89 5863-154 4183 84 4207 102 III 275 36 GW D GW D GW D 453-1 5227 7 1216-I 459 I 5796 8 IV 496-6 473 2 6441 9 ms 22 2061-2 7263 Io ms 37 2066-2 10434 12 ms 57 4833 4 10435 3 ms 58 4834 5 10436 14 ms 97 4835 6 10437 15

Accurti D Accurti D Accurti D Aliae Ed., p 5o 31 Ed S XV, ii3 1I43 Ed S XV, 135 149 Aliae Ed., p 63-2

2—
Duggan Numbers and Union Catalogues of Incunabula:
Proctor (P), BMC, IGI, Goff, Pellechet, CIBN

P D P D P D 3670 145 5194 120 5819a 21 3721 146 5I95 119 5835a-20 3867 156 5493 7 5933 50 4451 43 5496 147 6055 15 4498 142 5499 o06 6067 12 4572 131 5502 17 6565 8 4742 138 5503 139 6703 133 4800 135 5505-2 6995 13 4803 74 5589-6 7077 86 4908 67 5594 10 7423 91 5189a 94 5689 84 12555-154 519I 95 5790 23 13014-120 5192 128 BMC D BMC D BMC D IV 25 144 V 425 94 V 789 12 Iv 86 I45 v 426 118 vI 807 8 IV 99 146 v 480-81 112 VI 832 144 IV 114 156 v 538 7 VI 864 133 v lii 6 V 538-89 93 vI 867 14 v I96 55 v 539 I47 VII lviii n 2 65 V 260 43 V 540 106 VII 979 13 V 277 131 V 541 III VII 1i05 86 V 277 62 V 541 17 VII 1130 102 V 281 142 V 542-2 VII 114o 94 V 32 137 V 591 84 XII 18-60 v 326 79 VI 152 21 XII 51 74 v 335 I34 I 713 23 xII 55 9 V 335 74 I 734-20 Xl 55 I5 v 353 72 VI 748 50 xII 56 12 v 382 67 VI 752-53 148 xII 58 8 v 425 136 vI 785 15 xi 63 14

IGI D IGI D IGI D 118 I 6592 46 6633 98 1952 3 6593 47 6634 99 1953 4 6594 49 6635 Ioo 1954 5 6595 50 6636 iOI 1955 6 6596 51 6637 102 2278 8 6597-55 6638 107 4112 12 6598 52 6639 104 4113 13 6599 53 6640 105 4114 14 6600 54 6642 106 4115 15 6600 55 6643 112 4355 16 6602-62 6643A 109 4357 17 6603 56 6644 IIO 5753-17 6604 57 6645 III 5754 18 6605 58 6646 113 5755 19 6606 59* 6647 114 5756 20 6607 60 6648 115 5767-20 6608 62 6649 117 5768-20 6610-62 6651 118 6542 23 6611 63 6652 119 6543 24 6613 68 6908 142 6544 25 6614 67 8020 145 6545 26 6615 70 8021 146 6546 28 6616 72 8071 147 6547 29 6617 69 8148 148 6560 130 6618 76* 8149 149 6570 34 6619 77 8500-149 6577 132 6620 79 8157-149 6577A 134 6621 80 81600 49 6578 131 6622 81 8278 151 6579 133 6623 82 8279 150 6580 136 6624 85 8381 152 6581 137 6625 86 8382-151 6582 138 6626 87 8383-152 6583 139 6627 88 8384-152 6586 39 6628 89 10146 156 6587 40 6629 90 1252-6 6588 41 6630 93 V 208 154 6589 42 6631 94 V1241 55 6590 44 6632 95 V1241 94 6591 45

Goff D Goff D Goff D A158-I M690 52 M711 104 A165 2 M691 55 M712 105 B973-6 M692-55 M713 106 B1331 8 M692a 58 M714 III G3 12 M693 62 M7 15 14 G4 13 M696 63 M7 6 115 G5 14 M698 72 M717 71 G6 15 M699 69 M724 124 G332 17 M700 70 M725 125 L198 20 M701 74 M735-82 L230-20 M701a 17* N226 142 L231-20 M702 78 N227-142 M636 131 M703 112 P933 145 M637 132 M704 83 P934 146 M638 133 M705 89 P998 147 M639 136 M706 91 P1060 148 M640 137 M707 93 R201 144 M641 139 M708 94 S636 153 M642 130 M709 95 T415b 54* M643 38 M710 Ioo V124 156 M689 42 M710a IOI V126-156 Pellechet D Pellechet D Pellechet D 811-2 8073 (8005) 44 8096(8026) 107 2719 5 8074 (8006) 43 8097 (8027) III 3098 8 8075 (8007) 47 8098 (8028) 115 4947 14 8076 (8008) 48 8103 (8033) 130 4948 15 8077 (8009)-55 8104 (8034)-30 4949 12 8078 (8009)-55 8018 (8038) 133 4950 13 8079 (8010) 55 8009 (8039) 134 5288 17 8080 (8001) 63 8110(8040) 136 7976 (7912) 23 8082 (8013) 65 8111 (8041) 138 7977 (7913) 24 8083 (8013) 65 8112 (8042) 137 7978 (7914) 29 8084(8014) 66 8113(8043) 139 7989 (7924)-30 8085 (8015) 72 814 (8044)-30 8002 (7935) 32 8087 (8017) 75 8115 (8045) 62 8003 (7936) 32 8088 (8018) 77 8563 (8452) 142 8032 (7937)-34 8089 (8019) 78 9690 (9510) 145 8038 (7970) 35 8091 (8021) 85 9691 (951) 146 8056 (7987) 119 8092 (8022) 87 01629 153 8071 (8003) 41 8093 (8023) 90 11457 156 8072 (8004) 42 8094 (8024) 96

CIBN D CIBN D CIBN D M392 23 M450 55 M465 98 M394 130 M451 -55 M466 107 M398 133 M452 -62 M467 105 M399 134 M453 62 M468 III M400 136 M454 65 M469 115 M401 137 M455 66 N142 142 M402 148 M458 75 P579 145 M437 35 M459 77 P580 146 M444 41 M460 78 P617 147 M445 42 M461 71 P666 149 M446 43 M462 85 S325 153 M447 44 M463 90 V90 156 M448 47 M464 94 11267 -130 M449 48

3—
Duggan Numbers (D) and Catalogues of Liturgical Incunabula:
Weale-Bohatta, Catalogus Missalium (W); Weale-Bohatta, Liturgische Bibliographie (LB)

W D W D W D 18 2 887 84 945 109 26 23 888 66 946 III 27 24 889 67 947 105 28 25 891* 65 947 III 29 -25 891a 65 948 113 30 26 892 68 949 114 31* 27* 895 69 950 115 32 28 896 72 952* 116* 33 29 897 70 953 71 120 30 898 117 957* 117* 176 -30 899 73 958 117* 177 32 900 74 959* -117* 592 33 902 75 959* 141* 661 -34 903 76* 961 -117* 700 35 904 77 968 71 804 36 905 78 1330 -62 840* -82 907 79 1390 118 842* 36 908 80 1391 119 849 III 909 81 1455 120 851 37* 912 84 1473 120 852 39 913 82 1488* 127 853 40 914 -84 1491* 120 854 41 914 112 1492 121

W D W D W D 855 42 915 85 1495 122 856 43 916 86 1496 123 857 44 917 87 1498 124 858* 45 920 89 1499 125 859 47 921* 91 1529 126 860 48 922 90 1606-126 864 50 923* 92* 1607 127 865 51 924 93 1616 128 866 52 925 94 1800-130 867 53 926 95 800-130 868 54 927 96 1803 129* 870 56 928 97* 1815 131 871-56 929 98 1816 133 872 55 930 99 1817 134 873 57 931 100 1818 135* 874 58 933 Ioi 1821-135 875 60 934 102 1822 136 876* 92 935 102 1823 137 877 62 937 103 1824A 138 878-62 938 014 1825 139 879* 60 939 105 1826 140* 880*-62 941 106 1884 130 882 64* 942 107 1885 130 883-62 943 112 p.329 49 884 63 944* 18* LB D LB D LB D 2-I 724 18 915-150 15-2 725 19 945 149 17-I 726 20 946 148 27-2 777 145 1046-149 28-2 778 146 1053-152 360 7 782 147 1054-152 704 17 723 144

4—
Duggan Numbers and Catalogue of Music Incunabula:
Meyer-Baer (M-B)

M-B D M-B D M-B D 7 2 136 72 167 71 10-2 137 74 179 120 II-2 138 75 180 119 20 17 139 77 189 124 22-17 140 78 190 125 22 147 141 79 209-130 23 20 142 84 211 132 24 21 143-84 212 131 34 23 143 112 213 133 35 24 144 85 214 134 36 29 145 86 215 136 58 32 147 89 216 137 59 32 148 91 217 138 97 35 149 90 218 139 118 41 150 93 219 130 119 42 151 94 220-130 120 43 152 95 221 38 121 44 153 98 229 145 122 47 154 100 230 146 123 48 155 102 234-147 124 50 156 104 235 147 125 55 157 105 236-149 126 55 158 106 254 144 127 62 159 107 P.7-20 129 63 160 112 p.21 55 130 84 161 112 p.22-62 131 66 162 109 p.22-62 132 67 163 III p.23 69 133 65 164 114 p.42 148 134 65 165 115 p 61 117*

APPENDICES

1—
Documents Relating to Jacomo Ungaro

i First Testament of Aldus Manutius 27 March 1506 Venice, Archivio di Stato, Notarile Atti del Notaio Gio Francesco Pozzo, busta 765.2 Rinaldo Fulin, "Documenti per servire alla storia della tipografia veneziana," Archivio Veneto 23 (1882): no i55, pp 159-62; Harry George Fletcher III, New Aldine Studies: Documentary Essays on the Life and Works of Aldus Manutius (San Francisco: Bernard M Rosenthal, 1988), pp 60-62 In nomine sanctissime Trinitatis, Patris, et Filij, et Spiritus sancti Die vigesimo septimo (27) Martij M 1) VI (1506), Venetijs, in studio domus quam habito, in vico Divi Paterniani Essendo Io Aldo Pio Manutio per andar fora de Venetia per alcune mei occurentie, et perche la vita humana e fragile, et sopposta a molti pericoli et infortunij, ho voluto ordinare le cose mei in questo testamento scripto de mia mano, dove se sapia la mia ultima voluntate; accio che, se piacesse al nostro Signore et Redemptore Jesu Christo fare altro di me, sia remossa ogni via et occasione de discordia et lite possesse nascere per le mei facultate Lasso l'anima mia a Christo Jesu, il quale prego suppliciter, che per la sua infinita misericordia et clementia habia misericordia de mei peccati II corpo mio voglio sia sepulto in una Ecclesia de li fratri de San Francesco de observantia, in la quale parera alli infrascripti mei commissarij Lasso ad quello Monastero, dove sera

sepulto il mio corpo, ducati cinquanta (50), pregando li fratri de epso Monastero, che ogni anno una volta vogliano dire una messa cantata pregando Dio per l'anima mia Lasso che siano distribuiti docento cinquanta (250) ducati in deci donzelle da maritare, a vinticinque (25) ducati per una: le quali siano, quatro figliole de mio compatre magistro Jacomo todesco gettator de lettere, et doe figliole de mistro Petro da Cafa mio compatre, et doe figliole de Hilario Botiro da Parma mio servitore, et una figliola de mistro Antonio venetiano mio compatre, et una figliola de mistro Marco da Capodistria sartore et mio compatre; et quando dicte donzelle morano anti lo tempo siano da maritare, che se substituiscano altre tante donzelle in loco di quelle seranno mancate, quali parera alli commissarij et executori di questo mio testamento; quali denari non se debbano sborsare nisi quando se sposarano dicte donzelle Lasso a Julia, Petrucia, Benvenuta, mei sorelle, cento ducati per una, cum conditione che l'una mora all'altra, mancando senza figlioli Lasso a Maria, mia consorte carissima, ultra la sua dota, ducati cinquecento (500), cum questa conditione, che in termine de uno anno poi la morte mia deba fare una de doi cose: o deventare monacha de osservantia de quelle che sono de bona fama, o maritarse in uno che sia o da Carpi, o da Asula, o da Ferrara, et non da altri lochi Altramente facendo, non voglio habia cosa alcuna di mei beni et facultate Lasso ad Hilario predicto vinticinque (25) ducati A Federico da Ceresara vinticinque (25) ducati A misser Hieronymo Motta un libro greco per sorte,

de quelli ho facto stampare Io Item uno Suida, uno Etymologicon, la Terapeutica de Galeno, stampati per altri Al Illustre Signor Alberto mio Signore lasso tutti li mei libri greci scripti a mano II resto di mei libri lasso ad Alexandro mio nepote, et uno libro per sorte de tutti quelli che ho stampati Io, non se retrovando tra li mei libri Excepto che il Terentio, le epistole de Plinio, Claudiano, Lucretio, Salustio, che Io era per stampare, voglio remangano a Ser Andrea mio socero Del residuo di mei beni et facultate lasso et constituisco herede la creatura nascera de mia mogliera de questa sua gravedenza, essendo masculo; el qual, se 'I morera senza figlioli, costituisco herede mio socero, ser Andrea, o soi heredi et successori; ma se '1 sera femina, li lasso per sua dote mille (iooo) ducati, et voglio che sia allevata et ammaestrata in uno monastero de sore de observantia de bona fama, dove meglio parera alli mei commissarij, et sia

messa, compiti che havera quattro anni, usquequo sit matura viro; poi sia maritata a chi meglio parera alli mei commissarij infrascripti, o vero alla piu parte de epsi Del residuo di mei beni lasso herede ser Andrea d'Asula, mio socero II quale constituisco ancora commissario et executore de questa mia ultima voluntate et testamento; et similiter il mio Signor Alberto, et il Signor Leonello de Pijs, il magnifico misser Nicolo Zorzo mio compatre, Gasparo et Bonaventura de Beccari da Ferrara, Joanni Leto mio cognato, misser Nicolo Judeco, misser pre'Joanni Baptista Egnatio, misser Paulo Canale, misser Hieronymo Motta De la quale mia ultima voluntate e una copia de verbo ad verbum de mia mano appresso de fra' Lodovico Fiorio a San Job, il quale e mio confessore; al quale lasso ducati deci per subventione de la sua grave et incurabile infirmitate Et tutti li predicti mei legati non voglio possa esser strecto a pagarli il mio herede, fin passati tre anni poi la mia morte; excepto li deci lasso al mio confessore, li quali li siano dati ad suo beneplacito; et li cinquecento ducati lasso a mia mogliera, voglio li siano dati cento ducati l'anno poi li dicti tre anni, et questo per commoditate del mio herede Illo etiam declarato, che se'l fara mia mogliera uno figliolo masculo, che non se intendano lassati li mei libri allo Illustre Signor Alberto, ne ad Alexandro mio nepote, ma siano de epso mio

figliolo, et al dicto Alexandro sia dato uno per sorte de tutti li libri greci et latini stampati per mi Li mei fragmenti grammatici, et altre cose composte per mi, per non esser reviste da mi cum diligentia, lasso et voglio siano brusciate, presenti li soprascripti commissarij, o altri per epsi Ab extra, Qui dentro e scripta la mia ultima voluntate de mi Aldo Manuzio Pio Romano, de mia mano propria, de quello voglio se faccia de' miei figlioli et facultate Die 27 martij I506 Indictione nona Rivoalti Testamentum domini Aldi Manutij Romani scriptum, ut asseruit, manu sua propria, continens suam ultima voluntatem, presentatum mihi Joanni Francisco a Puteo, clerico et notario Venetiarum Rogans me etc Interrogatus de interrogandis, respondit nolle aliud ordinare etc Ego Paulus Dacanalis testis scripsi Ego Petrus Ritius clericus et notarius subscripsi 2 Privilege of Ottaviano Petrucci, 25 V 1498 Venice, Archivio di Stato, Notarile, Collegio 1489-I499, car I70 Rinaldo Fulin, "Documenti per servire alla storia della tipografia veneziana," Archivio Veneto 23 (1882): no 81, p 133; Augusto Vernarecci, Ottaviano de' Fossombrone, inventore dei tipi mobili metallici fusi della musica nel secolo xv, 2d ed (Bologna: Romagnoli, 1882) pp 42-43.

Serenissimo Principe, et illustrissima Signoria siando fama celebratissima vostra serenita cum sue concession et privilegij invitar, et excitar li inzegni ad excogitar ogni di nove invention qual habiano esser acommodita, et ornamento pubblico da questa invitado Octaviano de i petruci da fosonbron habitator in questa inclyta Cita homo ingeniosissimo Cum molte sue spexe, et vigilantissima cura ha trovado quello che molti non solo in Italia, ma etiam dio de fuora de Italia za longamente indarno hanno investigato che e stampar commodissimamente Canto figurado Ed per consequens molto piu facilmente Canto fermo: Cossa precipue a la Religion Christiana de grande ornamento et maxime necessaria: per tanto el soprascripto supplicante recorri ali piedi de vostra Illustrissima Signoria, supplicando Quella per solita sua clementia et benignita se degni concederli de gratia special chome a primo inventor che niuno altro nel dominio de Vostra Signoria possi stampar canto figurado ne intaboladure dorgano et de liuto per anni vinti ne anche possi portar ne far portar o vender dicte cosse in le terre et luogii de Excelsa Vostra Signoria stampade fuora in qualunque altro luogo sotto pena de perdere dicte opere stampade per altri, over portade de

fuora et de pagare ducati X per chadauna opera: la qual pena sia applicata per la mita a lospedal de sancto Antonio, et laltra mita a la franchation del monte nuove et questo dimanda de gratia singulare a Vostra Illustrissima Signoria a la qual sempre se ricomanda Quod suprascripto supplicanti concedatur prout petit Consiliarij Ser Marinus leono Ser Hieronimus Vendramino Ser Laurentius Venerio Ser Dominicus Bollani.

3 Privilege of Jacomo Ungaro, 26 IX 15I3 Venice, Archivio di Stato, Notarile Rinaldo Fulin, "Documenti per servire alla storia della tipografia veneziana," Archivio Veneto 23 (1882): no 189, p 178 Perche suole la Illustrissima Signoria Vostra remunerare quelli che giovano in questa inclita cita cum qualche utile et ingeniosa inventione, pertanto havendo el fidelissimo servitor di quella Jacomo ungaro, intagliatore de lettere et habitante za XL anni in questa excellentissima citade, trovato el modo de stampare canto figurato, et temendo che altri, come accade, toglia el fructo de le sue fatiche, suplica a la Excellentia Vostra che li piaqua conciederli gratia che niuno altro possa stampare o far stampare dicto canto figurato in questa citade ne in lochj sotoposti a quella per anni XV proximi, ne altrove stampati portarli a vender in questa citade o in lochi de quella, soto pena de perder tuti li libri et ducati cento per cadauna volta che '1 se contrafazia De la qual pena sia la terza parte de l'hospitale de la Pietate, l'altra de l'accusatore, l'altra de l'officio dove sia facta la conscientia; et che sia licito a l'accusatore andar a qualuncha officio che li piaqua de questa inclita cita.

[Granted] cum hoc ne praejudicetur concessionibus, si quae forte factae fuisset antehac 4 Privilege of Ottaviano Petrucci, 26 VI 1514 Venice, Archivio di Stato, Notarile, xxv, I512-1514, car 92 Rinaldo Fulin, "Documenti per servire alla storia della tipografia veneziana," Archivio Veneto 23 (1882): no 193, p i8o; Augusto Vernarecci, Ottaviano de' Petrucci da Fossombrone, inventore dei tipi mobili metallici fusi della musica nel secolo XV, 2d ed (Bologna: Romagnoli, 1882), pp I46-49 Serenissimo Principe et Ill.ma Signoria La sublimita vostra concesse a Octaviano di petrucci da fossombron presente supplicante Como a primo Inventore de stampar libri de canto figurato per comodita et ornamento de la religion christiana et de tuti quelli sono a tal scientia dediti: che altri che lui non potesse stampar ditti libri de canto figurato ne intabulature de lauto et de organo, ne anche potesse portar, ne far portar, o vender de dicte sorte de libri in le terre et luogi sotto posti e la excel.sa signoria Vostra stampar da altri in qualunque loco sotto pena, como in la gratia a lui concessa si contiene Et perche nel stampar de dicte opere era bisogno di gran capitale et non si trovando II ditto Octaviano il modo ne commodita per esser povre homo, tolse per compagnis Amadio Scoto mercadante di libri e ser Nicolo de Raphael li quali cum grandisima spesa summa diligentia Industria et vigilantia hano stampati molti volumi et diversi de ditte libri sperando

conseguirne qualche utile, ma per rispetto de le guerre et turbolentie sono al presente non hano possuto dar expeditione a le ditte opere stampate, adeo che vengano ad haver intrigato el loro capitale cum grandissimo suo danno et jactura; et perche nel poco tempo che resta de ditte gratia e Impossibile dare idonea expeditione a detti libri ma li restariano a le spalle cum grandissimo detrimento de ditto Octaviano et compagni, et sapendo loro che la sublimita V non abbandona quelli che di continuo cercano excogitare nove invention a ornamento de questa Inclyta Cita, como fidelissimi subditi di vostra Sublimita genibus flexis Ricorrano a i piedi di quella, supplicando che di gratia special li sia concesso che a ditta gratia sia prolungato il tempo per anni cinque cum tuti li modi et condition ne la ditta gratia dechiariti azo che posino, se non a tutte al manco a bona parte de ditte opere dar qualche bon fine per poter fruire qualche beneficio de le sue fatiche et vigilie, essendo s Nicolo de Rafael diventato mezo orbo che non po piu exercitarsi ne le sue solite mercantie mediante le quali substentava la sua fameglia et azo che ditti supplicanti posino piu promptamente far stampare molte altre opere nove de ditte faculta da loro raccolte in diversi loci cum grandissima ornamento et beneficio di questa inclyta cita:

Et questo se rechiede de gratia special a Vostra Sub.ta ai piedi de la qual humiliter se riccomandano 1514 die XXVI Iunij Quod suprascriptis supplicationibus concedatur quod petitur Consiliarij S Petrus Capellus S Hieronimus Contarenus S Donatus Marcellus S Nicolaus Bernardus

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Nonliturgical Italian Music Incunabula

Abbreviations: B: blank space for music; M: printed notes and staves; M(W): printed notes and staves from woodcuts; S: printed staves; X: printed diagrams that contain some notes; ?: not inspected Date Author, Title Place: Printer, Publisher Music D 27 VII 1497 Bonaventura da Brescia, Brescia: Angelo Britannico M(W) 3 Breviloquium Musicale 3 IX 1497 Bonaventura da Brescia, Regula Brescia: Angelo Britannico M(W) 4 Musicae Planae 3 IX [1500] Bonaventura da Brescia, Regula Brescia: Angelo Britannico M(W) 5 Musicae Planae 10 IX 1500 Bonaventura da Brescia, Regula Milan: Leonard Pachel for Giovanni M(W) 6 Musicae Planae de Legnano 30 IV 1487 Burzio, Musices Opusculum Bologna: Ugo Ruggerio for Benedetto M(W) 8 Faelli 5 VI 1492 Caza, Trattato vulgare Milan: Leonard Pachel for Giovanni B 9 Pietro da Lomazzo 21 XI 1499 Compendium Musices Venice: Giovanni Battista Sessa M(W) Io 10 XI 1500 Gaffurio, Opus Musicae Milan: Gottardo da Ponte ? i * 30 IX 1495 Gaffurio, Practica Musicae Milan: Guillaume Le Signerre for M(W) 12 Giovanni Pietro da Lomazzo 23 IX 1497 Gaffurio, Practica Musicae Brescia: Angelo Britannico M(W) 13

8 x 148o Gaffurio, Theorica Musicae Naples: Francesco di Dino B 14 15 XII 1492 Gaffurio, Theorica Musicae Milan: Filippo Mantegazza for X(W) i5 Giovanni Pietro da Lomazzo 21 III 1480 Niger, Grammatica Venice: Theodor Franck of Wurzburg M 142 for Johann Lucilius Santritter 12 V 1482 Ramis de Pareja, Musica Utriusque Bologna: [Baltasar di Hyrberia & S i5o Cantus Practica Heinrich von Koln] 5 VI 1482 Ramis de Pareja, Musica Utriusque Bologna: Baltasar di Hyrberia S i5i Cantus Practica i6 v 1491 Spataro, Honesto Defensio Bologna: Francesco Benedetti, called M 153 Plato 1485 Spechtshart, Flores Musicae Venice: Francesco de' Madi ? 54* 1492 Verardus, Historia Baetica Rome ? 55* 7 III 1493 Verardus, Historia Baetica Rome: Eucharius Silber M(W) 156

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Directory of Latin Place-Names and Monastic Orders Used in Italian Music Incunabula

Aquilae; Aquileiense Auscis; Auscitanum Bisuntii; Bisuntinensis Burgis; Burgense Claromontium; Claromontense Messanae; Messanense Nannetis; Nannentense Parigi; Parisiense Pataviae; Pataviensis Quinque Ecclesiis Sarisburia; Sarisburiense Segubia; Segoviense Strigonia; Strigoniense Toleti; Toletanum Valentiae: Valentinum Ordo Fratrum Eremitarum S Augustini Ordo Fratrum Humiliatorum S Benedicti Ordo Fratrum Beatae Mariae Virginis de Monte Carmelo Ordo Fratrum Minorum S Francisci Ordo Fratrum Praedicatorum Aquila, Italy Auch, France Besancon, France Burgos, Spain Clermont-Ferrand, France Messina, Italy Nantes, France Paris, France Passau, Germany Pecs (Funfkirchen), Hungary Salisbury, England

Segovia, Spain Esztergom (Gran), Hungary Toledo, Spain Valencia, Spain Order of Hermits of St Augustine; Augustinians Humiliati, Rule of St Benedict; Benedictines Brothers of the Blessed Virgin Mary of Mount Carmel; Carmelites Order of Friars Minor; Franciscans Order of Friars Preachers; Dominicans

GLOSSARY

accidental-sign of chromatic alteration introduced for a single note (see Table i, B rotundus, B naturalis, B quadratus) ambitus-the range of a melody from the highest to the lowest note Ambrosian chant-the ecclesiastical chant of the cathedral of Milan, has its own system of notation ancus-liquescent climacus, a plainchant neume (see Table I) antiphonal-a liturgical book containing the plainchant of the offices sung by the choir; for the texts of the offices, see breviary Baptismale-a liturgical book containing the services for baptism Benedictionale-a liturgical book containing a wide variety of blessings and consecration prayers bivirga (distropha) a plainchant neume of two identical notes; thought to have called for some sort of staccato or treolo (see Table i) body (type)-(I) the shank of a type; (2) the measurement of thickness of a type (see Fig 4) book of hours-a liturgical book containing excerpts from the breviary for private use, popular in the late fourteenth and fifteenth-century breve-a note in mensural notation (see Table 2) breviary-a liturgical book containing the texts of the offices For the plainchant of the office sung by the choir, see antiphonal Byzantine chant-the ecclesiastical chant of the Byzantine empire, has its own system of notation Canon of the Mass-the central part of the Mass, said by the priest after the Sanctus; begins with the words "Te igitur" and includes the Communion prayers.

cantus fractus-see mensural music cantus planus-see plainchant cephalicus-liquescent clivis, a plainchant neume (see Table I) chase-an iron frame into which the form is locked before printing choirbook-one of the two central liturgical books of plainchant sung by the choir (gradual or antiphonal) civilite a cursive typeface designed about 1556 by Robert Granjon clef-a symbol placed at the beginning of each staff, and often at new sections within the staff, to specify the pitch, which is represented by the line or space the clef designates climacus-a plainchant neume of three descending notes (see Table i) clivis-a plainchant neume of two descending notes (see Table i) colophon-a statement at the end of a book giving all or some of the following: title, author, printer, place of printing, date Common-that portion of the prescribed liturgical service which remains the same for every day on which a prescribed item is used See also Ordinary custos-see direct direct (Latin, custos)-a sign at the end of a line of music that indicates the pitch of the first note of the next line.

distropha-a plainchant neume of two identical notes; thought to have called for some sort of staccato or tremolo See also bivirga Divine Office-liturgical services prescribed for specific parts of the day known as the canonical hours, as distinct from the Mass edition-the whole number of copies of a book printed at any time or times from substantially the same setting of type; includes all the form issues and states epiphonus-a plainchant neume, liquescent and ascending face (type)-(i) the printing surface of a type character (see Fig 4); (2) the family name for types with common characteristics, for example, ambrosian plainchant feet (type)-the base on which a type character stands (see Fig 4) folio-a book made up of sheets printed from pairs of two-page forms folded once, making two leaves or four pages per sheet.

font (type)-a complete set of type characters of one size and style, designed and made up as a group form-type assembled into pages and locked up in a chase ready for printing frisket-a thin rectangular iron frame on a hand-printing press, covered with brown paper and attached by a hinge to the upper part of the tympan; used to hold the sheet to the tympan and lift it off the form after printing furniture-wood or metal filling in the blank space around and between pages of type in a form gathering-a unit of sheets of paper or vellum that have been folded to the size of the book and gathered into groups for sewing; also called quire, signature, section gradual-the liturgical book containing that portion of the plainchant of the Mass sung by the choir For the plainchant sung by the celebrant, see missal hour-liturgical service prescribed for specific parts of the day: Matins, lauds, prime, terce, sext, none, vespers, and compline ictus-in the Solesmes system of interpretation of plainchant, a point of stress marking off groups of two or three notes for rhythmic performance ideal copy-a bibliographical concept of a basic ideal form of a copy of the original issue; established for descriptive purposes even when no such copy is extant incipit-the first words or notes of a text or song incunabulum (plural, incunabula)-a book printed from movable type before 1501.

issue-all the copies of that part of an edition that is identifiable as a consciously planned printed unit; distinct from the ideal copy kerned type-typefaces in which part of the character projects beyond the body leading (type)-the insertion of thin strips of spacing material (leads) to separate lines of type Liber Catechumeni-a liturgical book containing services other than the Mass and the Office: baptism, extreme unction, burial, etc ligature-notational sign (or metal type) that combines two or more symbols in a single design liquescent neume-a plainchant neume with a notational addition that suggests alteration by some mode such as lengthening or ornamentation Litania-the liturgical book containing litanies, that is, short responsorial supplications to God, the Virgin, and the saints lozenge-a diamond-shaped note used within plainchant neumes, for example, in the climacus (see Table i) matrix (type)-a metal die from which a single type character is cast melismatic-a type of plainchant melody in which a single syllable of text may be given several musical tones mensural music-music in which each note has a fixed rhythmic value, as distinct from plainchant.

mensuration sign-sign in mensural music that indicates tempus, temporal relationship between note values minim-a note in mensural notation (see Table 2) missal-the liturgical book containing the texts and plainchant of the Mass spoken and sung by the celebrant For the plainchant sung by the choir, see gradual neume-notational sign in plainchant for one, two, three, or more tones (see Table 2) notae quadratae (square notes)-the roman system of plainchant notation (see Table i) octavo-a book made up of sheets printed from pairs of eight-page forms folded three times, making eight leaves or sixteen pages per sheet Office-see Divine Office Ordinary of the Mass (Latin, Ordo Missae)-that portion of the Mass that normally remains the same, distinct from the prayers and chants of the Proper.

Ordo-a liturgical book containing incipits of prescribed prayers and chants arranged according to the liturgical calendar oriscus-a sign, placed at the end of a plainchant neume, indicating a note of the same degree to be sung more lightly than the other notes and perhaps with ornamentation pausa-see signum congruentiae plainchant-monophonic and rhythmically free music of various liturgies (e.g., Gregorian chant, Ambrosian chant).

plica-a plainchant sign that calls for an ornamental tone to be inserted between the pitch of the note to which it is attached and that of the next note podatus-a plainchant neume of two ascending notes (see Table i) point (type)-a numerical unit for measuring type, developed in the eighteenth century; now approximately i/72d of a linear inch pontifical-the liturgical book containing the services used in functions at which a bishop or other prelate officiates porrectus-a plainchant neume of three notes of which the middle one is lower than the others (see Table i) pressus-a plainchant neume that lengthens a note (e.g., a distropha) processional-a liturgical book containing the hymns, psalms, and litanies used during the processions of a church or cathedral Proper of the Saints (Latin, Proprium Sanctorum)that portion of the Mass or Office that varies for individual saints' feasts Proper of the Season (Latin, Proprium de Tempore)-that portion of the Mass or Office that varies for feasts according to the season of the year (e.g., Lent, Advent) psalter-the book of psalms punctum-a plainchant note without a stem that has its antecedents in the dot (punctus) (see Table i).

quarto-a book made up of sheets printed from pairs of four-page forms folded twice, making four leaves or eight pages per sheet quaternion-a gathering of four sheets folded once (eight leaves) quilisma-an ornamented note within a plainchant neume that probably indicates tremolo performance In the Solesmes system it has a rhythmic value equal to the other notes but is to be performed lightly quinternion-a gathering of five sheets folded once (ten leaves) quire-see gathering raster-a four or five-pronged pen used by the music scribe to assist in drawing music staves register-( i ) in printing of two or more colors, the positioning of one color in correct relation to the rest (for example, red staves and black notes); (2) exact correspondence in position of the printed areas on the two sides of a leaf; (3) a list of signatures, given at the end of early printed books as a guide to the binder Rituale-see Ordo rule-a strip of brass or type metal, type height, made in pointsizes and to various lengths scandicus-a plainchant neume of three or more ascending notes (see Table i) section-see gathering semibreve-a note in mensural notation (see Table 2) serif-the short finishing stroke across or projecting from the end of a letter stem (see Fig 4).

sextodecimo-a book made up of sheets of paper or vellum folded four times, making sixteen leaves or thirty-two pages per sheet shoulder (type)-the platform of a shank of type, from which the face rises; i.e., the nonprinting area surrounding the face (see Fig 4) signature-(i) the letters, numbers, or symbols printed in the bottom margin of the first leaf (at least) of each gathering of a book to serve as a guide to the binder in assembling gatherings correctly; (2) gathering (q.v.) signum congruentiae-a notational sign in mensural music that indicates points of coincidence between parts The sign is used in canonic pieces to indicate either the fugal entrance of the imitating part or, in mensuration canons, the places where the various singers have to stop sorts-single characters of type of various size or face, as distinct from a complete font state-part of an edition; certain copies of an edition varying in the typesetting from other copies of the same printing.

tablature-any of various systems of notation in which the tones are indicated, not by notes on a staff, but by letters, figures, or other symbols torculus-a plainchant neume of three notes of which the middle one is higher than the others (see Table i) tympan-the frame on a handprinting press, covered with a sheet of parchment, on which a leaf of paper to be printed is positioned and held by the frisket during operation.

vigilia-the second part of the nocturnal office, made up of vespers, nocturns, lauds virga-a single plainchant note with a stem (see Table i) virga cum orisco-a plainchant neume common in fifteenth-century Italian plainchant, used at the beginning or end of a chant or section of chant to indicate note lengthening or ornamentation (see Fig 2 and Table i).

BIBLIOGRAPHY

See also Abbreviations of Sources Accurti Aliae Ed Accurti Editiones Saeculi xv Agee, Richard "The Privilege and Venetian Music Printing in the Sixteenth Century." Ph.D diss., Princeton University, 1982 Aldo Manuzio editore: Dediche, prefazioni, note di testi Intro Carlo Dionisotti, ed and trans Giovanni Orlandi 2 vols Documenti sulle Arti del Libro ii Milan: Edizioni II Polifilo, 1975 Andreis, Josip Music in Croatia Trans Vladimir Ivir Zagreb: Institute of Musicology, I974 Apel, Willi Gregorian Chant Bloomington: Indiana University Press, 1958 Te Notation of Polyphonic Music, oo00-I60o 5th ed Cambridge, Mass.: Mediaeval Academy of America, 1953 Audin, Maurice "Types du XVe siecle." Gutenberg Jahrbuch (1954): 84-100 Aurnhammer, Achim "Gallus Restitutus: Dichterische Zeugnisse uber den Buchdrucker Ulrich Han." Gutenberg-Jahrbuch (1981): 161-62 Balbi, G "Gli incunaboli della Biblioteca Franzoniana di Genova." In Miscellanea di studi storici 2 vols Collana Storica di Fonti e Studi 38 Genoa: Fratelli Bozzi, 1969-1983, I: 365-84 Bannister, Henry M Monumenti vaticani di paleografia musicale latina Codices et Vaticanis Selecti Phototypice Expressi Iussu Pii PP X Consilio et Opera Curatorum Bybliothecae Vaticanae 12 Leipzig: Harrassowitz, 1913.

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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, I628 The Type Specimen of the Vatican Press 1628 Facsimile, with intro and notes by H D L Vervliet Amsterdam: M Hertzberger, I967 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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Lowry, Martin. The World of Aldus Manutius: Business and Scholarship in Renaissance Venice. Ithaca: Cornell University Press, 1979. Luther, Wilhelm Martin. "Die nichtliturgischen Musikinkunabeln der Gottinger Bibliothek." In Libris et Litteris: Festschrift fur Hermann Tiemann zum sechzigsten Geburtstag am 9 Juli 1959, ed. Christian Voigt and Erich Zimmerman. Hamburg: Maximilian-Gesellschaft, I959, PP 131-37. ."Notendruck: Von den Anfangen bis I500." Die Musik in Geschichte und Gegenwart 9(1961): cols. 1667-79, plates 99-103. Luzzato, Gino. Storia economica di Venezia dall'XI al XVI secolo. Venice: Centro Internazionale delle Arti e del Costume, 1971. Magistretti, M. "Di due edizioni sconosciute del Rituale dei Sacramenti secondo il Rito Ambrosiano." In Miscellanea Ceriani: Raccolta di scritti originali per onorare la memoria di mons. Antonio Maria Ceriani, prefetto della Biblioteca Ambrosiana. Milan: Hoepli, 191o, pp. 121-26. Malaguzzi, Francesco. La corte di Lodovico il Moro. 5 vols. Milan: Hoepli, 1913-1923. Marais. Mardersteig, Giovanni. The Remarkable Story of a Book Made in Padua in 1477. London: Nattali & Maurice, 1967. Martimort, Aime-Georges. "Missels incunables d'origine franciscaine." In Melanges liturgiques

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INDEX

A

accidentals

Agenda Aquileiensis

Agenda Brevis

Agenda Pataviensis

Alding, Heinrich D33

Ambrosian rite and chant

Amelung, Peter

Antico, Andrea

Antiphonarium Romanum

Aquila, Patriarch

Aquileian chant

Ara Coeli (Rome, Franciscan) , D38

Arndes, Steffen

Aron, Pietro

Arrivabene, Giorgio

Attaingnant, Pierre , Table 10

Auch D30

Augustinians see Ordo Fratrum Eremitarum S. Augustini

Austria –16, , Table 3, Fig. 3

B

B naturalis , , , Table 1

B quadratus , , , , , , Table 1, Figures –19,

B rotundus , , , , , Table 1

Balkan peninsula

Ballard, Robert

Bantono, Ayolfus de see Cantono, Ajolfo de

Barozzi, Giovanni

Barrevelt, Gerard D119

Basel , –53

Bebulco, Ludovico de

Benali, Bernardino , –70, –09, , , , Fig. 25,

Benedetti, Francesco, called Plato de Benedicti , Fig. 66

Benedicti, Nicolo de D91

Beretta, Giovanni Antonio –38, , , Fig. 21

Besançon , —D30

Bevilaqua, Simone see Gabi, Simone, called Bevilaqua

Biringucci, Vanuccio –24,

bivirga , , Fig. 49

Blasi, Francesco

Blavi, Bartolomei de

Bologna –18, , –70, Tables –6

Bonaventura da Brescia –67

Bonelli, Manfredo

Bonini, Bonino

Bosis, Andrea de , D26

Brandis, Lucas

Braudel, Fernand

Brescia –19, , –75, Tables –6,

breviaries , –43

Breviarium Lubicensis

Britannico, Angelo –75, Fig. 63

Britannico, Giacomo –72, –75, Fig. 63

Brugis, Franciscus de , , –35

Burgos D31

Burzio, Nicolo

Burzio, Nicolo, Musices Opusculum , D8

C

calligraphy

Camaldolese see Ordo Fratrum Eremitarum Camaldulensis

Campano, Giovanni Antonio –81

Cantono, Ajolfo de

Capella, Antonio de

Carcano, Antonio

Cardella, Simone, of Lucca –82

Carmelites, see Ordo Fratres Beatae Mariae Virginis de Monte Carmelo

Casola, Pietro

Castaldi, Panfilo ,

Castiglione, Pietro Antonio , –61

Caza, Francesco, Trattato vulgare , D9

Ceccolini, Gabriele

cephalicus –34, , , Fig. 49

Clermont-Ferrand (Latin, Clarimontium) D32

Comin da Trino

common note, see notation, plainchant

Constance, diocese –12, , Map 3

contracts –27, –62

Corbo, Andrea (Sigismund Corwin) , –72

Cori, Bernardino de'

cost

Council of Trent

Crafto (Kraft?)

Credo, mensural

custos, see direct

D

Dalmatia

Danfrie, Philippe Table 10

dates, new style

de Villiers, Nicolas Table 10

decoration, liturgical points of

Descriptive Bibliography , –88

Dino, Francesco di D14

direct , , , , Table 1

Divine Office

Dominicans, see Ordo Fratrum Praedicatorum

Duchemin, Nicolas , Table 10

E

Emerich, Johann, of Speier

England –16, , Table 3, Fig. 3

engraving, music printed from

Estienne, Robert

Esztergom, see (Latin, Strigonia

F

Faelli, Benedetto D8

Fell, Dr. John

Ferdinand, King of Aragon and Naples

Filelfo, Francesco

Filelfo, Pietro Giustino

Florence , Table 6

format –69, , , Table 17–18,

Fossombrone –40

Fournier le Jeune, Pierre Simon –29

Francesco da Milano

France –16, , Table 3, Fig. 3

Franciscans see Ordo Fratrum Minorum S. Francisci

Franciscus de Brugis see Brugis, Franciscus de

Franck, Theodor, of Würzburg , , , –101, , Fig. 36–38

Frankfurt, Nikolaus von –51, , , , , Fig. 20

Fratres Ordinis see Ordo Fratrum

Frederic of Egmont

Fünfkirchen, see Pécs

Fyner, Conrad

G

Gabi, Simone, called Bevilaqua –72, –13, Fig. 42–43

Gaffurio, Franchino , –67, , , , , Fig. 19

Galilei, Vincenzo, Dialogo della musica antica

Gallus, Lupus , –82

Gallus, Ulricus, see Han, Ulrich

Garamond, Claude –27, –36

Germany –16, –74, Table 3, , Fig. 3

Gerson, Jean, Collectorium super Magnificat ,

Gerulaitis, Leonardas Vytautas

Girardengo, Francesco

Giunta family

Giunta, Luca Antonio

Glagolitic

Gontier, Antoine , Fig. 64–65

Gorgonzola, Nicolò

gothic notation, see notation, plainchant, gothic

Geldner, Ferdinand

Graduale

Graduale Romanum,

Graduale Romanum,

Graduale Romanum,

Granjon, Robert , –37, Tables –10

Greek type

Griffo, Francesco, da Bologna

Guidonian hand –66

H

Hamman, Johann

Han, Ulrich

Haultin, Pierre –37, Table 10

Hertzog, Johann see Hamman, Johann

Herzog, Johann see Hamman, Johann

Hirdus, Jacob

Humiliati see Ordo Fratrum Humiliatorum S. Benedicti

Hungarian notation, see notation, plainchant, Messine-German

Hungary ,

Hyrberia, Baltasar di Fig. 18–19

I

Illyria

Ingolstadt

Italy –4, –21, Tables –8, Fig. 3, Map 2

J

Jenson, Nicolas

Johann of Speier

K

kerned type see type, kerned

Kilchen, Jacob de

King, Alexander Hyatt

Köln, Heinrich von Fig. 19, D150

Köln, Johann von , D51

L

Lampugnano, Gasparo D148

Lavagna, Filippo di , , –61

Lavezari, Guido de ,

Le Bé, Guillaume , , –36, Table 10

ledger lines , Fig. 10

Legnano, Giovanni de D6

Le Roy, Adrien

Le Signerre, Guillaume –181, Fig. 66

Liber Catechumeni, 1498 (D19) , Fig. 54

liquescence , , , , –34, –64, , Table 1, Fig. 2,

liturgical books

Locatello, Boneto –04

Lomazzo, Giovanni Pietro da , D9, D12

Lyons , ,

M

Madi, Francisco de' D154*

Mainz, archdiocese –12, Map 3

Mainz, city , ,

Mainz, ecclesiastical province –12, Map 3

Majorca ,

Mantegazza, Filippo , D15

Manthen, Johann D51

manuscript tradition , , , , , , , Table 1–2, Fig. 1–2, Map 1

Manuzio, Aldo , –39, –72, , , –98

Manuzio, Paolo

Marescotti, Giorgio

Martini, G. B.

Materanensis, Johannes

Maufer, Pierre

mensural music –67, –93, –101, Fig. 35, ,

mensuration sign , , , Fig. 66

Merli, Giuliano

Messina , D33

Messine-German notation see notation, plainchant, Messine-German

Meyer-Baer, Kathi , , , Table 3

Milan –19, , –74, –65, Tables –8

Misinta, Bernardino

missals ,

Missale Ambrosianum,

Missale Ambrosianum,

Missale Ambrosianum,

Missale Ambrosianum,

Missale Ambrosianum,

Missale Auscitanum,

Missale Basiliense,

Missale Bellicense,

Missale Cabilonense,

Missale Clarimontense,

Missale Ordinis Carmelitarum,

Missale Ordinis Praedicatorum,

Missale Ordinis Praedicatorum,

Missale Ordinis Praedicatorum,

Missale Ordinis Praedicatorum,

Missale Parisiense,RD>Missale Romanum,

Missale Romanum,

Missale Sarisburiense,

Modes, Franciscus see Madi, Francisco de'

Moilli, Bernardo , –98, Fig. 34–35

Moilli, Damiano , , –98, , , Fig. 34–35

monastic orders

Montalli, Giovanni Antonio

Montano, Cola –75, , , –62

Moravus, Matthias , Fig. 16

Moxon, Joseph, Mechanick Exercises

music incunabula

definition

distribution in Europe –16, Table 3, Fig. 3

Italian production analysis –20, Tables –8

options for music

space for music , –48, , Table 11, Fig. 14–17

music printing

corrections ,

first ,

first dated

red , , , –86,

sequence of impressions , ,

two impression , , –86, , , ,

woodcut , –68, , , Table 15, Fig. 29–30

musica ficta

N

Nantes , ,—D34

Naples –18, , , –78, Tables –6

neumes –6, Table 1

Netherlands , Fig. 3

Nicolao, priest D29

Niger, Francesco, Grammatica,

notation, mensural –9, Table 2, Fig. 35–36, ,

type specimens M1, R2 (M),R21 (M)

notation, plainchant , Table 1

boundaries , Map 1

ambrosian , Table 1

byzantine

gothic , , Table 1

common note

Messine-German –6, –55, Table 1, Fig. 22

roman , Table 1

common note , , Fig. 1

Novimagio, Rinaldo de , –27

Neumeister, Johann

O

Odo, Dionysio de , , –70, , Fig. 61

Officium Imm. Conc. BVM, 1477 (D144)

Onate, Giovanni Antonio d' , Fig. 29

Ordo ad Catechumeni Faciendum, 1482 (—D142)

Ordo ad Catechumeni Faciendum, 1487 (D143) , , –70, Fig. 61

Ordo Fratrum Beatae Mariae Virginis de Monte Carmelo , , , D130,—D130

Ordo Fratrum Eremitarum Camadulensis

Ordo Fratrum Eremitarum S. Augustini , D100, D129

Ordo Fratrum Humiliatorum S. Benedicti

Ordo Fratrum Minorum S. Francisci , D17, D38, D40, D41

Ordo Fratrum Praedicatorum , –31, D131–D141

ornamentation, see liquescence

Orsoni, Gabriele –61

P

Pachel, Leonard –19, , , –75, , –60, , Table 7, , Fig. 58

Padua

Paep, Johann , , , , Fig. 26

Paganini, Paganino , , , –73, , , Fig. 42a-b

Pallavicino, Giovanni Lodovico

Palmieri, Francesco D133

Paltasichi, Andrea , ,

Paolo of Trent see Comin da Trino

Paris , , , Fig. 23, D35

Parma –18, –98, Table 5

Passau , , D2

Passio Christi

Pavia –18, , –68, Table 5

Paula, Donna

Pécs (Latin, Quinque Ecclesiis) , D36

Pensi, Cristoforo de , –24, Fig. 46

Penzio, Jacopo

Petri, Johann D2

Petrucci, Ottaviano , , , , , –41, , –73, , , , , –300

Piasi, Piero di , –08

Pigouchet, Pierre

Pinzi, Filippo , –29, Fig. 48

place-names, Latin

plainchant boundaries see notation, plainchant

Planck, Stephan –19, , –74, –87, Table 7, Fig. 32–33

Plantin, Christopher –26, , Table 9

Plantin-Moretus Museum , , , , Table 9, Fig. 5a-b

plica ,

polyphony

Ponte, Gottardo da D11*

Pontificale Romanum,

Pontificale Romanum,

population

Portugal , Fig. 3

Preller, Christian , –78, Fig. 64–65

Prestade Bormi, Francesco del

printing presses , –61

printing shops , –67, Table 7

printing technique, see music printing

privileges –41, –72, , , –16, ,

Processionarium Ordinis Praedicatorum, 1494 (D147),

Proctor, Robert 11, , –72,

Przywecka-Samecka, Maria –15, Table 3

Psalterium, 1457 14

Psalterium Ambrosianum, 1486 (D148) , Fig. 58

Psalterium Ambrosianum, 1496 (D149) ,

publishers, music

punctum additionis –01

Q

Quentel, Heinrich

R

Raffaele, Nicolo di –40,

Ragazzoni, Teodoro , –26, Fig. 47

Ramis de Pareja , , , Fig. 18–19

raster, see staves, rastral

Ratdolt, Erhard , , , Fig. 22

Renner, Franz

Richel, Bernhard , , ,

Riessinger, Sixtus ,

rites, liturgical , ,

Rituale Ambrosianum, [ca. 1487] (D152) –64, Fig. 59

Roma, Marco

Rome –19, , –74, –88, Tables –8

Rubeus, Johannes

Rubiera, Baldasarre da see Hyrberia, Baltasar di

Ruggerio, Ugo D8

rules , ; see also staves in incunabula, rules

Rynsburg, Theodor von

S

San Giovanni Evangelista (Parma, Benedictine)

Santa Maria dell'Anima (Rome, German hospice)

Santritter, Johann Lucilius , , , Fig. 36,

Salisbury D118, D119

Salodio, Mapheo de

Sanctis, Girolamo de'

Sarum rite , , , D118, D119

scandicus –28, ,

Scinzenzeller, Giovanni Angelo

Scinzenzeller, Ulrich , –53, –57, Fig. 58

Scoto, Amadeo –40,

Scoto, Ottaviano

Segovia , D120

semibreve , , , , Fig. 35,

semiminim ,

Sessa, Giovanni Battista , –73, , –48, Fig. 52–54

Sessa, Melchior

Sicily

Silber, Eucharius , ,

Siliprandi, Alvise D43

Siliprandi, Domenico D43

Sixtus IV, Pope

size of music incunabula , , , Table 17, ,

size of edition ,

Soardi, Lazzaro di

Spain –16, , Table 3, Fig. 3

Spataro, Giovanni, Honesto Defensio , Fig. 66, D153

Spechtshart, Hugo (Reutlingensis) D154

Speier ,

Stagnino, Bernardino

statistics on early music printing –19

staves in incunabula –15, –64, Table 3, –14

cast metal lines , , , Fig. 24, –28, –35, , , , ,

nested , , –60, Fig. 26, 42b

rastral , , , , Fig. 15–17,

red and yellow , , , Fig. 14

rules , , –55, , , , , , , , Fig. 18–23, , , 42a, –47, –62,

segments , , –62, , , Fig. 6–7, , , –56, ,

wood , –62, –68, , , Fig. 25, , ,

Suardi, Paolo

Suigo, Giacomino ,

Switzerland –16, Table 3, Fig. 3

T

theory books –65, , , Table 15, Fig. 18–19

Thum, Christoph ,

Tipografia Vaticana

Toledo D126

Tommaso –72

Torquemada, Juan de, Cardinal

Torresani, Andrea –44, Fig

Torti, Battista , , –22, Fig. 44–45

Treviso ,

Tridentinus, Paulus see Comin da Trino

Turin , Table 5

type, text –24, , Fig. 5 body size Fig. 5 kerned –23, –34, Fig. 5,

type, music , –75, Tables –18,

abutting , –91, ambrosian plainchant ,type specimens A1-A3 body size –33, , Table 17, , Fig. 8, –12 classification –69, –79, Table 16, contracts

design –73 description of , , Table 21, Fig. 4displaced , , –31, Fig. 6,gothic plainchant , , , type specimen G1incipient –81, Fig. 66

kerned –91, –15, , , –43, –50, Fig. 5b,mensural , , –33, type specimens M1, R2 (M), R21 (M), Fig. 37molds for music type –27, , –60modern

noteheads roman plainchant , type specimens R1-R33 similarity of design specimens , , –79 directory of –84 stems of notes , Table 18, Fig. 5b,typefounding

U

Ungaro, Jacomo

Urbino, Duke of

V

Valdarfer, Christoph Valencia , D128 Vallis Umbrosae, Congregationis van den Keere, Hendrik –27, , Table 9 vellum ,

Venice, city –21, –74, –151, Tables 5–8, ,Venice, Republic of –4, , , Map 2Verardus, Carolus –66, D155, D156,—D156 Verona , Table 5

Vienna virga cum orisco Vitali, Bernardino

Volkarth, Johann D1,—D1

W

Wenssler, Michael , ,

Wild, Leonhard

woodcut, music printed from, see music printing, woodcut and staves in incunabula, wood

X

Ximenes, Francisco, Cardinal , D126

Z

Zarotto, Antonio ,

Zavarisio, Andrea D128

Preferred Citation: Duggan, Mary Kay. Italian Music Incunabula: Printers and Type. Berkeley:  University of California Press,  c1992 1991. http://ark.cdlib.org/ark:/13030/ft409nb31c/