Nuremberg: Georg Stuchs, 1492, vdm: 1396
[a1r:] Incipit missale integrum || tam đ temꝑe q𝔷 de sanctis || ẜm Rubricā eccłie Saltze||burgensis cū om̃ibus su⸗||is requisitis. […]
[Z8r:] Missali ẜm rubricam or⸗||dinarij Archiep̃alis eccle⸗||sie Saltzpurgensis:felicē || et optatū finem dedit Jeo⸗||rius Stüchs librorū im⸗||p̃ssor Nurnberge:mensis || Augusti die decimoquar⸗||to:post christi incarnatio⸗||nem Anno millesimoqua||dringentesimononagesi⸗||mosecundo.||
Nuremberg
Liturgical book
Commissioned by the Salzburg Archbishop Friedrich V. Graf von Schaumberg. Not all copies have a single sheet with the sequence Veni Sancte Spiritus and a reading from Mark 13 at the end.
[*2r:] Fridericus dei gratia archiepūs Saltz||burgensis. apostolice q𝔷 sedis legatus.|| [...] (Preface)
[*3r-*8v:] Calendar.
L𝔷7r-L𝔷10v: Incipit tabula dñicL𝔷 || totiꝯ anni quibꝯ habitis ea||rū ferie facili quadā conie||ctura repiri pūt.|| [...] (Register)
[*1v:] woodcut of Friedrich Graf von Schaumberg. In his left hand he holds a crozier, and in his right an open book. His legs are obscured by his heraldic arms.
[3v:] canon woodcut of the Crucifixion. Three angels catch the blood flowing from Jesus' wounds. In addition to the Blessed Virgin Mary and St. John, a small man in a red cap kneels by the foot of the cross.
[4r:] historiated 'T' depicting the angel intervening in the sacrifice of Isaac.
Latin
[20], I-CLXXXII, [8], CXCIII-CCCLXXIIII, [1]
A-Wn Ink 8.C.1, collated with D-Mbs 2 Inc.c.a. 2745b
multiple impression
Uncial, Textura
red initials, red staff lines, red text
Space is always left for the large red uncial initials, woodcut initials, and rubrics. Space is also left for signa congruentiae and some small initials in the main music section, and many initials at the beginning of important feasts and certain other initials to be added by hand. Obvious frisket marks can be seen on s4v and s5r. Red double margins bound the staves to the left and the right, and the clefs and custodes are printed within these. The staves appear to be constructed of segments of varying widths; however, these are set so carefully it is difficult to determine the width of each segment. The portion that can be the most clearly seen is the one measuring 25 mm.
cantus fractus; Hufnagel notation
full-length staff: 179 x 13 mm (c1v); double margins to the left and right add c. 4 mm each. Height of virga one: c. 7.0-7.5 mm; height of virga two: 8.5 mm; height of virga three: 9 mm; height of virga four: 11 mm.
The notation is clearly and carefully printed and in general is quite evenly spaced. The stems of Stuchs' music type are rather thick in comparison with the noteheads as can be seen on the clivis and the virga.
chant
c1v-c3r: Liber generationis; r1r-r4v: Benedictio cere;
aa1r-aa2v: Kyrie, Gloria and Credo intonations.
aa3v-bb5v: Prefaces. At first there is the notation for several levels of solemnity (presumably the quotidian preface) solemn, duple, nine lessons, dominical, ferial and requiem. Then there follows solemn and lesser feasts, duple and nine lessons, and ferial prefaces. Rubrics instruct the celebrant to sing the red notes for the more solemn of the two feasts in the pair and to omit them otherwise; however, no notes are printed in red. Prefaces are notated for the following feasts (Christmas, Epiphany, Quadragesima [dominical and ferial only], Holy Cross, Ascension, Holy Spirit, Trinity, Blessed Virgin Mary, Apostles.
bb5v-bb6v: Pater noster (solemn, duple and nine lessons, ferial).
A-Gu, A-Gu, A-KR, A-Ks, *A-MB, A-Sca, A-SL, *A-Ssp, *A-Su, *A-VOR, *A-Wn, B-BO, D-FS, D-KNd, D-LEdnb, D-Mae, *D-Mbs, *D-Mbs, *D-Mbs, D-SFschäfer, H-PH, I-Mb, I-Nn, S-Uu, SI-Lz, SI-Mš, US-BA Wagner, US-Cn, US-NH, US-PROb, US-Wc
Nuremberg: Georg Stuchs, 1498, vdm: 1397 Nuremberg: Georg Stuchs, 1505, vdm: 237 Vienna: Johann Winterburger, 1506, vdm: 678 Basel: Jakob Wolff & Johann Oswalt, 1510, vdm: 259 Vienna: Johann Winterburger, 1510, vdm: 257
Gillion, Marianne C.E. "Archiepiscopal Archetypes, Printed Books, and Parish Practices: Musical Notation in Editions of the ‘Missale Salisburgense’ (1492-1515)." Florilegium 34 (2017): 119–146 (published 2021).
Duggan, Mary Kay. Printing and Reform. The Beginning of Music Printing in German-speaking Lands in the Fifteenth Century. (under review)
imperfect: lacks eight folios. Canon on vellum.
description after online catalogue.
blue lombards, coloured and guilded initials. Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 129).
Augustinian monastery Seckau
Imperfect: lacks eight folios and the Canon image. Canon on vellum.
decsription after online catalogue.
blue lombards and framed, gilded and coloured initials. Several annotations by Markward Mettnitzter on the front pastedown and on several other pages. Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 129).
on the back pastedown: "Scriptum per me fratrum Marquardus Möttniczer 1495 laurencij martiris."
Fragment: fols. 4-5.
Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 129).
imperfect. Opening page with the woodcut and the Canon are lacking.
Additional leaf with handwritten prayers bound before CCXLIIII (Sancta Otilia), CCLIIII (Sancta Helena), CCLXVII (De sancto servatio). 13 handwritten additional leaves at the end of the book: "Sequitur missas speciales que in rubrica Saltzebgeñ. non habeantur. Et primo officiū misse dulcissimi noīs ihu."
decorated initials in red, green, blue and gold. Throughout the text blue initials, in the music section also red initials. On some pages (e.g.XLIIv and added folios) tendrils in red, blue and green. Red coloured notes in the Prefaces. Some correcrtions and additions in red on the margins (e.g. CCLVIII).
Accent marks above the textlines in red on several pages (e.g. CLVII-CLXVIII, CLX, CLII, CL, etc.).
The M in the shelfmark and the diamond shaped stamp on the pastedown with the letters V. I. M. B. B. M indicate that this exemplar was formerly owned by the Collegial Monastery of the Augustinians in Salzburg. The monastery has been dissolved in the time of secularization, and the estates were administrated by the Benedictins at Michaelbeuern. During the Second Worldwar the library was transferred to their archives.
Imperfect, lacks Canon.
No red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 130).
Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 130).
In poor condition, wormy and with water stains. Some pages are improperly restored, others are torn or demaged. The Calendar is bound after the Register.
Imperfect: lacks the first two folios with the depiction of the bishop and the Preface. Also the Canon is missing.
Illuminations on the opening page and on the beginning of higher feasts (initial with floral borders). Smaller initials are either printed in red or added by hand in blue. Some Corrections in the register and on other pages on the margins.
Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 130).
A smaller sheet of a different paper with prayers, dated 1522, is pasted on fol. CCCXIXr. On the verso of the back flyleaf prayers for S Barbara are notated.
An additional Kyrie melody is added on the margin of CLXIXr; red coloured music notes in the Prefaces.
The last folio [1*] is used as a pastedown on the back binding.
Canon on vellum
Red coloured music notes in the Prefaces, large decorated initials and openings of sections, smaller initials in red and blue, coloured Canon woodcut and Te igitur initial. Kussbild added by hand.
Due to the white painted spine, the copy was in the library of the Salzburg archbishops.
Canon on vellum. Additional leaf from the same printer at the very end of the book with printed sequences on the verso (recto is blank).
former shelfmarks: La 256 /232
Woodcut of the bishop and the Canon woodcut are handcoloured. Illuminated and decorated opening pages, simple blue initials,throughout. Individual coloured red notes in the Prefaces and as a second version of a Kyrie intonation (Min. festivale, aa1r).
Good. Some of the pages are torn.
Canon and preceding two pages on vellum. Blank pages before and after gathering L𝔷10.
[*1v, 3v, 4r:] woodcuts coloured by hand. A number of decorated and gilded initials have been added at the beginning of important feasts. Smaller initials and signa congruentiae have also been added in red and blue where space has been left. On aa1r a Kyrie incipit ('medium festum') that was omitted has been added by hand in the margin. The volume shows signs of use including candle wax and marginalia in black and red giving page references and corrections.
No red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 130).
Imperfect: lacking fols. 151-158 and 169-176
imperfect.
Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 129).
Formerly in Bornheim-Walberberg, Dominikanerkloster St. Albert, Bibliothek (D-WBB)
Imperfect: lacks gathering χ8 (Canon).
INKA 44000915. The copy is inspected by Mary Kay Duggan.
Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 129).
Duggan, Mary Kay. Printing and Reform. The Beginning of Music Printing in German-speaking Lands in the Fifteenth Century. (under review)
INKA 54000154.
delicate, preserved in a box
The Canon on vellum stems from another missal.
No red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 129). Decoration: major initials in gold and colors, minor initials in blue (Duggan).
Duggan, Mary Kay. Printing and Reform. The Beginning of Music Printing in German-speaking Lands in the Fifteenth Century. (under review)
Several initials have been cut out.
No Canon and no single sheet with the sequence "Veni Sancte Spiritus" and a reading from Mark 13 at the very end. Also the last to folios (CCCLXXIII and CCCLXXIIII) are missing.
Red coloured notes in the Prefaces.
Duggan, Mary Kay. Printing and Reform. The Beginning of Music Printing in German-speaking Lands in the Fifteenth Century. (under review)
Instead of the Canon, ten white (modern) folios have been inserted. No single sheet with the sequence "Veni Sancte Spiritus" and a reading from Mark 13 at the end.
Red couloured notes in the Prefaces.
Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 130).
Imperfect.
Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 130).
Imperfect: lacks eight folios.
Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 129).
Fragments.
A microfilm of the fragments is held at Chicago, Center for Research Libraries (Ger. Roll 494 #10).
fragmentary.
Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 129).
Imperfect: lacks 10 folios.
Fragments: 2 folios on vellum.
Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 130).
With eight folios, including the canon on vellum.
Red coloured notes in the Prefaces (Gillion, Missale Salisburgense, 130).