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)