Nuremberg: Georg Stuchs, 1498, vdm: 1397
[a1r, printed in red:] Incipit missale integru𝔷 tam de || tempore ꝙ̃ de sanctis ẜm rubricā || ecclesie Saltezburgensis cū om⸗||nibus suis requisitis. Et primo || de dominica prima in aduentu || domini Introitus.||
Missale et de temꝑe et de sanctis nōmodo ẜm notulā metropoli-||tane ecclesie salisburgēsis ordinatū: verūetiam haud exigua oꝑa ad⸗||hibita:tum in quottis foliorū locādis: tum in remissiōis discreto nu||mero tam circa quālibet lectionē vel ꝓphetalē vel apostolicā ꝙ̃ circa || qđlibet euangeliū alio in loco plenarie locatum:situando reuisum.|| Deinde aūt ꝑ cola et comata distinctum: simplici puncto in collectis || secretis cōplendis lectiōibus epistolis et euāgelijs locato: colū indi||cante:gemino ꝟo puncto coma significante.sed in introitu graduali || alła sequētijs offertorio et cōmunione:puncto simplici locato medi⸗||am distinctionem que comatis appellatione venit presentāte: gemi-||no aūtpuncto subdistinctionē q̃ colum nuncupať signāte. Demū ꝟo || in officina Georij [sic] Stöchs ex Sulczpach ciuis Nurnbergeñ.expensa || Ioannis Ryman impressum. Idibus augusti anni ab incarnatione || messye nonagesimioctauisupra millesimūquadringentesimū:finit.||
Nuremberg
Liturgical book
[*3r-*8v:] Calendar.
F5r-F6r: Tabula dñicarū de tꝑe.qͥbus || habitis carū ferie facili quadam || cōiectura reperiri possunt.|| [...] (Register)
As part of the colophon (I10r), instructions regarding the intonation of plainchant are given for the celebrant.
[*1v:] heraldic arms of Salzburg Archbishop Leonhard von Keutschach (1495–1519) with a turnip on black background.
[**1v:] Canon woodcut of the Crucifixion. Three angels catch the blood flowing from Jesus' wounds. (However, this folio seems to come from a different edition)
[**2r:] historiated 'T' depicting the angel intervening in the sacrifice of Isaac.
Woodcut initials (c. 41 x 41 mm) decorated with foliage on: b5v, d7r, h4r, l7r, n3v, n7r, o4r, o5v, s4v, s5r, x5r, y1r, y8v, C7v, D4v, F6v, F8r, G3r, G5r, H2r, H5v, and H8v.
Latin
[10], (I)-CLIIII, [8], CLV-CCLI, [1]
US-SM 105123; further copies need to be inspected.
D-Mbs
multiple impression
Rotunda, Uncial
red initials, red staff lines, red text
Music on 14 leaves, quires t-v. Space is always left for the large red uncial initials, woodcut initials, and rubrics. Space is also left for signa congruentiae and certain other initials (including the first Sunday of Advent, the first large 'K' in the Kyrie incipits, and all the following smaller 'K's', and the 'P' at the beginning of the preface section) to be added by hand. 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. At times there is also an impression that the lines are nested (see, for example, the final system of t8v).
Hufnagel notation; cantus fractus
full-length staff: 170.5 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. The bottom of most of the stems are cut on an angle, but some virgae have a flat-bottomed stem. 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.
chant
b3r-b4v: Liber generationis; k4v-k8v: Benedictio Cerei; t1r-t2r: Kyrie, Gloria and Credo intonations.
t2v-v6v: Prefaces. At first there is the notation for several levels of solemnity (presumably the quotidiana preface): solemn, duple, nine lessons, dominical, ferial and requiem. Then there follows solemn and lesser feasts, duple and nine lessons, and ferial prefaces. 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 nosters (solemn, nine lessons, ferial).
*A-SPL, *A-Ska, *A-Su, *A-Su, *A-Su, *A-VOR, *A-Wn, *US-SM, A-FRIdk, A-Gd, A-Gu, A-Gu, A-Gu, A-Kadg, A-Kadg, A-Kk, A-SL, D-LEdnb, D-Mbs, GB-Mr, H-SFk, I-Nn, LV-Rg, US-SFgl, US-Wc
Nuremberg: Georg Stuchs, 1492, vdm: 1396 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)
Vellum, imperfect: lacking Canon woodcut.
description after online catalogue.
The coat of arms is coloured, also the Te igitur initial. On the last folio an Officium de presentatione b. virginis has been added (16th century).
Jesuit College Graz (Collegij Societatis Jesu Graecij. Catalogo inscriptus Anno 1591 Jan. 25. Catalogo MSS inscr. 1612. Cat. recen. 1692. Fachgruppe M. No 210.)
Vellum, imperfect: lacking coat of arms, Canon image and everything after CCXLII.
description after online catalogue.
The Te igitur initial is coloured and gilded.
Augustinian monastery Seckau (Inv. nr. 5)
Vellum, imperfect: lacking canon image.
description after onliner catalogue.
The coat of arms and the Te igitur initials alre coloured and gilded.
Jacob Heusler (Iste liber emptus est per Iacobum Hewslar de Marterstorff, tunc tempore caplanus in pruckh pro xiij lb d . . . )
Formerly in A-Kb.
Formerly in A-Kb.
Imperfect: lacking fol. 165.
vellum
single leaf with the Calendar of January/February and November/December.
in the middle section of the leaf which formed the spine of the binding: 1685 / BB / N° 80.
imperfect, lacks the Canon.
coloured title woodcut. Decorated and illuminated initials.
Register on the front pastedown; inscription on fol. [10*] verso: Rudbertus Werder / Thomas Holzer / Sigismund Holzer.
On the recto of the sheet with the title woodcut, on the last blank page and on the back pastedown additional prayers for special feasts, with read headlines; dated 1545 and signed by Erhardus Satlperger who was priest and vicar at Salzburg Cathedral.
stamp of the k.k. Studienbibliothek Salzburg.
Canon on vellum. Lacks the Canon woodcut. Te-igitur initial and the Kussbild are cut out.
The shields on the title woocut are painted over with the arms of Matthias Scheit, bishop of Seckau (1481-1502, 1508-1512); blue-patterned background.
Richly illuminated and decorated initials. Vertical inscription on the last page.
stamp of the k.k. Studienbibliothek Salzburg. Due to the coloured spine the copy was housed in the library of the Salzburg Archbishops.
Imperfect, lacks the first two folios of the Canon, including the Canon woodcut. Canon on vellum. The paper of the last three quires is heavely damaged on the right lower corner.
Title woodcut coloured and adapted for the bishop of Seckau, Matthias Scheit, in changing the shield of arms and covering the cross on the left side with white paper.
Illuminated and decorated opening initial. Inscription above the colophon and on the last blank folio.
from the library of the Salzburg archbishops.
imperfect: lacking several leaves and the music section before the Canon. Restorations throughout. Canon on vellum. At the end of the book two additional leaves from a much later print, starting with "Mense Januario" are added.
former shelfmarks: Lampel 259 / 17
woodcut with the bishops mitra and the Canon woodcut are coloured by hand.
Imperfect: canon woodcut missing. Some of the pages are torn and wormed. Evidence of trimming and repairing.
Canon on vellum.
[*1v, and 2r?:] woodcuts coloured by hand. Two decorated and gilded initials with fronds extending into the margins have been added at the beginning of the missal and at the beginning of the Kyrie incipits where it appears space was left for them. Smaller initials and signa congruentiae have also been added in red and blue where space has been left. There is marginalia in the canon.
1. A page has been added at the front of volume. The verso is titled, 'Copey den Ruittering' (?) in faded ink, and there follows several lines of text; 2. I10r: at the end of the colophon a user has written, '1.5.0.6. F. OS.' in red ink; 3. a page has been added at the end of the volume with collects and other text written by hand with black and red ink. This is signed, '1.5.0.8. F. OS'.
Duggan, Mary Kay. Printing and Reform. The Beginning of Music Printing in German-speaking Lands in the Fifteenth Century. (under review)
The music section is bound after the Canon. Canon on vellum.
The copy is inspected by Mary Kay Duggan. INKA 24006248. No handcoloured red notes.
coloured frontispiece with the heraldic arms and the insignia of the bishop, and coloured canon image.
Duggan, Mary Kay. Printing and Reform. The Beginning of Music Printing in German-speaking Lands in the Fifteenth Century. (under review)
D-Mbs
Library of Earl Spencer.
Imperfect.
Imperfect.
Vellum.
Several paper restorations but complete. The first leaf of the Canon including the woodcut has a smaller format and is of darker and softer vellum than the rest of the Canon. Also the different letter types on the recto page suggest that this leaf stems from another edition and has been integrated later.
Canon printed on vellum. Manuscript with liturgical texts and chant notation in square notation is pasted on the inside of the front and rear cover.
Woodcuts hand coloured and gilded. Opening pages of a section are nicely illuminated by floral decor. A few additions in the Calendar and some glosses (e.g. XIIr), also in the music section and in the Canon; several underlines, black "barlines". Prayer added below the colophon "Apolonie virginis et matris" and three other prayers for St Joseph on the verso of this leaf. A page written by the same hand with prayers for St Vitale is glued over the liturgical manuscript pasted on the back cover.
From Vollbehr, Mar. 23, 1925 (online catalogue)
Imperfect: canon missing (f. π1, gathering χ8).
The copy is inspected by Mary Kay Duggan.
Decoration: large initials in gold and colors, minor initials in red.
Franciscus Praepositus Cann. Regg. in Polling. Anno 1744
Duggan, Mary Kay. Printing and Reform. The Beginning of Music Printing in German-speaking Lands in the Fifteenth Century. (under review)