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