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