The Venetian privilege and music-printing in the sixteenth century
Identifieur interne : 000207 ( Istex/Corpus ); précédent : 000206; suivant : 000208The Venetian privilege and music-printing in the sixteenth century
Auteurs : Richard J. AgeeSource :
- Early Music History [ 0261-1279 ] ; 1983-01.
Abstract
Any scholar involved in the study of sixteenth-century music printed in Venice is bound to be familiar with the phrase ‘con gratia et privilegio’; yet within the framework of music-printing as a whole, the uses and significance of the printing privilege have remained somewhat obscure. The Venetian prints on which the privilege indication appears now lie scattered across the globe, but Venice continues to guard part of her brilliant past – the archives of the Serenissima Repubblica still yield documents which clarify our understanding of the production and protection of prints during the Cinquecento.
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DOI: 10.1017/S0261127900000036
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ISTEX:F8678137C86AF58DB3FCF4E9E5B1F6A6E961D834Le document en format XML
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Agee</name><affiliation><mods:affiliation>The Colorado College</mods:affiliation></affiliation></author></analytic><monogr></monogr><series><title level="j">Early Music History</title><idno type="ISSN">0261-1279</idno><idno type="eISSN">1474-0559</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1983-01">1983-01</date><biblScope unit="volume">3</biblScope><biblScope unit="page" from="1">1</biblScope><biblScope unit="page" to="42">42</biblScope></imprint><idno type="ISSN">0261-1279</idno></series></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">0261-1279</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Any scholar involved in the study of sixteenth-century music printed in Venice is bound to be familiar with the phrase ‘con gratia et privilegio’; yet within the framework of music-printing as a whole, the uses and significance of the printing privilege have remained somewhat obscure. The Venetian prints on which the privilege indication appears now lie scattered across the globe, but Venice continues to guard part of her brilliant past – the archives of the Serenissima Repubblica still yield documents which clarify our understanding of the production and protection of prints during the Cinquecento.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Richard J. 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The Venetian prints on which the privilege indication appears now lie scattered across the globe, but Venice continues to guard part of her brilliant past – the archives of the Serenissima Repubblica still yield documents which clarify our understanding of the production and protection of prints during the Cinquecento.</abstract><qualityIndicators><score>8.128</score><pdfWordCount>12921</pdfWordCount><pdfCharCount>79087</pdfCharCount><pdfVersion>1.4</pdfVersion><pdfPageCount>42</pdfPageCount><pdfPageSize>393.12 x 638.64 pts</pdfPageSize><refBibsNative>true</refBibsNative><abstractWordCount>94</abstractWordCount><abstractCharCount>606</abstractCharCount><keywordCount>0</keywordCount></qualityIndicators><title>The Venetian privilege and music-printing in the sixteenth century</title><pii><json:string>S0261127900000036</json:string></pii><genre><json:string>research-article</json:string></genre><host><title>Early Music History</title><language><json:string>unknown</json:string></language><issn><json:string>0261-1279</json:string></issn><eissn><json:string>1474-0559</json:string></eissn><publisherId><json:string>EMH</json:string></publisherId><volume>3</volume><pages><first>1</first><last>42</last><total>42</total></pages><genre><json:string>journal</json:string></genre></host><ark><json:string>ark:/67375/6GQ-HNDRTDNP-G</json:string></ark><categories><inist><json:string>1 - sciences humaines et sociales</json:string><json:string>2 - histoire et sciences des religions</json:string></inist></categories><publicationDate>1983</publicationDate><copyrightDate>1983</copyrightDate><doi><json:string>10.1017/S0261127900000036</json:string></doi><id>F8678137C86AF58DB3FCF4E9E5B1F6A6E961D834</id><score>1</score><fulltext><json:item><extension>pdf</extension><original>true</original><mimetype>application/pdf</mimetype><uri>https://api.istex.fr/document/F8678137C86AF58DB3FCF4E9E5B1F6A6E961D834/fulltext/pdf</uri></json:item><json:item><extension>zip</extension><original>false</original><mimetype>application/zip</mimetype><uri>https://api.istex.fr/document/F8678137C86AF58DB3FCF4E9E5B1F6A6E961D834/fulltext/zip</uri></json:item><json:item><extension>txt</extension><original>false</original><mimetype>text/plain</mimetype><uri>https://api.istex.fr/document/F8678137C86AF58DB3FCF4E9E5B1F6A6E961D834/fulltext/txt</uri></json:item><istex:fulltextTEI uri="https://api.istex.fr/document/F8678137C86AF58DB3FCF4E9E5B1F6A6E961D834/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a" type="main" xml:lang="en">The Venetian privilege and music-printing in the sixteenth century</title></titleStmt><publicationStmt><authority>ISTEX</authority><publisher scheme="https://publisher-list.data.istex.fr">Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><availability><licence><p>Copyright © Cambridge University Press 1983</p></licence><p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</p></availability><date>1983</date></publicationStmt><notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note><note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note></notesStmt><sourceDesc><biblStruct type="inbook"><analytic><title level="a" type="main" xml:lang="en">The Venetian privilege and music-printing in the sixteenth century</title><author xml:id="author-0000"><persName><forename type="first">Richard J.</forename><surname>Agee</surname></persName><affiliation>The Colorado College</affiliation></author><idno type="istex">F8678137C86AF58DB3FCF4E9E5B1F6A6E961D834</idno><idno type="ark">ark:/67375/6GQ-HNDRTDNP-G</idno><idno type="DOI">10.1017/S0261127900000036</idno><idno type="PII">S0261127900000036</idno><idno type="article-id">00003</idno></analytic><monogr><title level="j">Early Music History</title><idno type="pISSN">0261-1279</idno><idno type="eISSN">1474-0559</idno><idno type="publisher-id">EMH</idno><imprint><publisher>Cambridge University Press</publisher><pubPlace>Cambridge, UK</pubPlace><date type="published" when="1983-01"></date><biblScope unit="volume">3</biblScope><biblScope unit="page" from="1">1</biblScope><biblScope unit="page" to="42">42</biblScope></imprint></monogr></biblStruct></sourceDesc></fileDesc><profileDesc><creation><date>1983</date></creation><langUsage><language ident="en">en</language></langUsage><abstract xml:lang="en" style="text-abstract"><p>Any scholar involved in the study of sixteenth-century music printed in Venice is bound to be familiar with the phrase ‘con gratia et privilegio’; yet within the framework of music-printing as a whole, the uses and significance of the printing privilege have remained somewhat obscure. The Venetian prints on which the privilege indication appears now lie scattered across the globe, but Venice continues to guard part of her brilliant past – the archives of the Serenissima Repubblica still yield documents which clarify our understanding of the production and protection of prints during the Cinquecento.</p></abstract></profileDesc><revisionDesc><change when="1983-01">Published</change></revisionDesc></teiHeader></istex:fulltextTEI></fulltext><metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="UTF-8" standalone="no"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD JATS (Z39.96) Journal Publishing DTD v0.4 20110131//EN" URI="JATS-journalpublishing0.dtd" name="istex:docType"></istex:docType><istex:document><article article-type="research-article" dtd-version="0.4" xml:lang="en"><front><journal-meta><journal-id journal-id-type="publisher-id">EMH</journal-id><journal-title-group><journal-title xml:lang="en">Early Music History</journal-title><abbrev-journal-title abbrev-type="publisher">Early Music History</abbrev-journal-title></journal-title-group><issn pub-type="ppub">0261-1279</issn><issn pub-type="epub">1474-0559</issn><publisher><publisher-name>Cambridge University Press</publisher-name><publisher-loc>Cambridge, UK</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1017/S0261127900000036</article-id><article-id pub-id-type="pii">S0261127900000036</article-id><article-id pub-id-type="publisher-id">00003</article-id><title-group><article-title>The Venetian privilege and music-printing in the sixteenth century<xref ref-type="fn" rid="fn01">*</xref></article-title><alt-title alt-title-type="left-running">Richard J. Agee</alt-title><alt-title alt-title-type="right-running">The Venetian privilege and music-printing</alt-title><fn-group><fn id="fn01" symbol="*"><label>*</label><p>This article has been abstracted from my Ph.D. thesis ‘The Privilege and Venetian Music Printing in the Sixteenth Century’ (Princeton University, 1982). In addition to exploring aspects of the privilege in greater detail than is possible here, the dissertation surveys the bibliographical background of the Venetian privilege and contains transcriptions of much of the archival material on which this article is based.</p></fn></fn-group></title-group><contrib-group content-type="authors"><contrib><name name-style="western"><surname>Agee</surname><given-names>Richard J.</given-names></name><xref ref-type="aff" rid="aff1"></xref></contrib></contrib-group><aff id="aff1"><institution>The Colorado College</institution></aff><pub-date pub-type="ppub"><month>01</month><year>1983</year></pub-date><volume>3</volume><fpage seq="3">1</fpage><lpage>42</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1983</copyright-statement><copyright-year>1983</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>Any scholar involved in the study of sixteenth-century music printed in Venice is bound to be familiar with the phrase ‘con gratia et privilegio’; yet within the framework of music-printing as a whole, the uses and significance of the printing privilege have remained somewhat obscure. The Venetian prints on which the privilege indication appears now lie scattered across the globe, but Venice continues to guard part of her brilliant past – the archives of the Serenissima Repubblica still yield documents which clarify our understanding of the production and protection of prints during the Cinquecento.</p></abstract><counts><page-count count="42"></page-count></counts><custom-meta-group><custom-meta><meta-name>pdf</meta-name><meta-value>S0261127900000036a.pdf</meta-value></custom-meta></custom-meta-group></article-meta></front><back><fn-group><fn id="fn02" symbol="1"><label><sup>1</sup></label><p>The legislation which is described in the following paragraphs is printed in <mixed-citation id="ref001" publication-type="book"><name name-style="western"><surname>Brown</surname><given-names>H.</given-names></name>, <source>The Venetian Printing Press: An Historical Study based upon Documents for the Most Part Hitherto Unpublished</source> (<publisher-loc>New York</publisher-loc>. <year>1891</year>), pp. <fpage>207ff</fpage></mixed-citation>, and mentioned at various points throughout his work. Brown extracted most of the legislation from the <italic>Raccolta de parti prese in diversi tempi in materia di stampe</italic> (Venice, n. d. [<italic>c</italic>. 1697]; reprinted by others); copies of this publication and its reprints may be found in, among other locations, Venice, Biblioteca Marciana, Cl. vii, mdcclxi (=9645), fols. 406<sup>r</sup>–421<sup>v</sup>, or Venice, Archivio di Stato, Riformatori dello Studio di Padova, filza 365. A summary of the printing laws may also be found under the entry ‘Venise’ in <mixed-citation id="ref002" publication-type="book"><name name-style="western"><surname>Fumagalli</surname><given-names>G.</given-names></name>, <source>Lexicon typographicum Italiae: Dictionnaire géographique d'Italie pour servir à l'histoire de l'imprimerie dans ce pays</source> (<publisher-loc>Florence</publisher-loc>, <year>1905</year>), pp. <fpage>449</fpage>–<lpage>509</lpage>.</mixed-citation> Some of the laws are briefly discussed by <mixed-citation id="ref003" publication-type="book"><name name-style="western"><surname>Grendler</surname><given-names>P.</given-names></name> in <source>The Roman Inquisition and the Venetian Press, 1540–1605</source> (<publisher-loc>Princeton</publisher-loc>, <year>1977</year>), pp. <fpage>151</fpage>–4.</mixed-citation></p></fn><fn id="fn03" symbol="2"><label><sup>2</sup></label><p>I would like to thank the director and staff of the Archivio di Stato di Venezia, especially Dottoresse Michela Dal Borgo Bergamasco and Alessandra Sambo, for the numerous kindnesses extended to me during my stay in Venice.</p></fn><fn id="fn04" symbol="3"><label><sup>3</sup></label><p>I use ‘1526/7’ to indicate the period in January and February which represents 1526 by the old Venetian calendar and 1527 in modern style.</p></fn><fn id="fn05" symbol="4"><label><sup>4</sup></label><p>See <mixed-citation id="ref004" publication-type="journal"><name name-style="western"><surname>Fulin</surname><given-names>R.</given-names></name>, ‘<article-title>Documenti per servire alia storia della tipografia veneziana</article-title>’, <source>Archivio Veneto</source>, <volume>23</volume> (<year>1882</year>), pp. <fpage>84</fpage>–<lpage>212</lpage>.</mixed-citation></p></fn><fn id="fn06" symbol="5"><label><sup>5</sup></label><p>The year 1527 marks both the end of Fulin's research on the privilege (in ‘Documenti’) as well as the beginning of this particular investigation. I examined the relevant Senate documents from 1517 onward, the date of the first Venetian printing legislation. Other than the privileges issued to Tromboncino, Cavazzoni and Aron, discussed by Fulin, I found no mention of music prints until the first document of 1536 (see Agee, ‘The Privilege’, Appendix ii, A, no. 1).</p></fn><fn id="fn07" symbol="6"><label><sup>6</sup></label><p>In the period immediately preceding 1544 one finds numerous instances of volumes carrying privilege designations with no corresponding Venetian archival documentation. See, for example, Verdelot's first three madrigal books, published by Ottaviano Scotto in 1536–7 (mentioned in <mixed-citation id="ref005" publication-type="book"><name name-style="western"><surname>Vogel</surname><given-names>E.</given-names></name>, <name name-style="western"><surname>Einstein</surname><given-names>A.</given-names></name>, <name name-style="western"><surname>Lesure</surname><given-names>F.</given-names></name> and <name name-style="western"><surname>Sartori</surname><given-names>C.</given-names></name>, eds., <source>Bibliografia della musica italiana vocale profana pubblicata dal 1500 al 1700</source>, <volume>3</volume> vols., <publisher-name>Pomezia</publisher-name>, <year>1977</year>, hereafter <italic>NVogel</italic>, nos. 2867, 2869, 2882;</mixed-citation> see also <mixed-citation id="ref006" publication-type="book"><name name-style="western"><surname>Vogel</surname><given-names>E.</given-names></name>, <source>Bibliothek der gedruckten weltlichen Vocalmusik Italiens aus den Jahren 1500–1700</source>, ed. <name name-style="western"><surname>Einstein</surname><given-names>A.</given-names></name>, <volume>2</volume> vols., <publisher-name>Hildesheim</publisher-name>, <year>1962</year>, hereafter <italic>OVogel</italic>);</mixed-citation> the tablature of Verdelot's madrigals by Willaert from 1536 (see <mixed-citation id="ref007" publication-type="book"><name name-style="western"><surname>Brown</surname><given-names>H. M.</given-names></name>, <source>Instrumental Music Printed before 1600: A Bibliography</source>, <publisher-loc>Cambridge, Mass.</publisher-loc>, <year>1965</year>, hereafter <italic>Brown</italic>, 1536.8);</mixed-citation> Sylvestro Ganassi dal Fontego's <italic>Regola rubertina</italic> (<italic>Brown</italic> 1542.2); and so forth. Privileges from Rome, Ferrara and other Italian cities may explain some of the many privilege designations on Venetian prints from the sixteenth century which cannot be confirmed in the Venetian documents.</p></fn><fn id="fn08" symbol="7"><label><sup>7</sup></label><p>Considering our relative ignorance of the bureaucratic machinations of printing and the problems of viewing a given situation four hundred years after the fact, it is not surprising that one finds a few exceptions. Some prints during the period under discussion carry the privilege label without any supporting documentation in the archives. Take, for example, the cases from <italic>NVogel</italic>: from 1544, no. 2312; from 1546, no. 2900; from 1553, nos. 853, 2482; from 1567, no. 940; from 1575, no. 764. In addition, for whatever reason, no documentation survives for either a licence or a privilege on music prints from the mid-1560s. Thus, the following prints have no archival documentation to support their privilege label: from 1564, no. 704; from 1565, nos. 380, 2422; from 1566 nos. 1835, 2274, and 2719.</p></fn><fn id="fn09" symbol="8"><label><sup>8</sup></label><p>See, for example, the following volumes issued with a privilege but with no supporting documentation in the Venetian archives: from 1584, <italic>NVogel</italic> no. 1676; from 1585, no. 1694; from 1586, no. 2099; from 1587, nos. 61, 313, 1661; from 1588, nos. 660, 1241, 1501, 1596; from 1589, no. 2961; from 1590, nos. 299, 670, 672, 1292, 2577; from 1591, nos. 295, 1591, 2993; from 1592, no. 300; from 1593, nos. 1218, 2573; from 1594, nos. 415bis, 674, 1629; from 1595, nos. 678, 2572; from 1596, nos. 2669, 2670; from 1597, no. 2671; and so on.</p></fn><fn id="fn010" symbol="9"><label><sup>9</sup></label><p>Grendler in <italic>The Roman Inquisition</italic>, discusses in great detail the relations between Venice and Rome during the period in question.</p></fn><fn id="fn011" symbol="10"><label><sup>10</sup></label><p>Grendler, <italic>The Roman Inquisition</italic>, pp. 225ff, criticises Horatio Brown for relying on the diminishing number of archival privileges to hypothesise a ruinous decline in the Venetian press at the end of the sixteenth century. Yet Grendler (pp. 131–2 n. 4, pp. 225–6) relies upon the diminishing number of licences issued by the Heads of the Council of Ten to posit a similar decline. Judging from the large number of music titles and the negligible number of archival licences and privileges from the late Cinquecento, the archival sources do not mirror the true state of music-printing at this time.</p></fn><fn id="fn012" symbol="11"><label><sup>11</sup></label><p><mixed-citation id="ref008" publication-type="book"><name name-style="western"><surname>Einstein</surname><given-names>A.</given-names></name>, <source>The Italian Madrigal</source>, <volume>3</volume> vols. (<publisher-loc>Princeton</publisher-loc>, <year>1949</year>), i, p. <fpage>339</fpage>.</mixed-citation></p></fn><fn id="fn013" symbol="12"><label><sup>12</sup></label><p><mixed-citation id="ref009" publication-type="book"><name name-style="western"><surname>Riemann</surname><given-names>Hugo</given-names></name> seems to have been the first to suggest this possibility in ‘Das Zeitalter der Renaissance bis 1600’, <source>Handbuch der Musikgeschichte</source>, <volume>II</volume>/1 (<publisher-loc>Leipzig</publisher-loc>, <year>1907</year>), pp. <fpage>383</fpage>–4</mixed-citation>, and he was followed by <mixed-citation id="ref010" publication-type="book"><name name-style="western"><surname>Hertzmann</surname><given-names>E.</given-names></name>, <source>Adrian Willaert in der weltlichen Vokalmusik seiner Zeit: Ein Beitrag zur Entwicklungsgeschichte der niederländisch-französischen und italienischen Liedformen in der ersten Hälfte des 16. Jahrhunderts</source> (<publisher-loc>Leipzig</publisher-loc>, <year>1931</year>; repr. 1973), p. <fpage>51</fpage>;</mixed-citation>
<mixed-citation id="ref011" publication-type="journal"><name name-style="western"><surname>Carapetyan</surname><given-names>A.</given-names></name>, ‘<article-title><italic>The Musica Nova</italic> of Adriano Willaert</article-title>’, <source>Journal of Renaissance and Baroque Music</source>, <volume>1</volume> (<year>1946</year>/<year>1947</year>), p. <fpage>202</fpage>;</mixed-citation>
<mixed-citation id="ref012" publication-type="book"><name name-style="western"><surname>Reese</surname><given-names>G.</given-names></name>, <source>Music in the Renaissance</source> (rev. edn, <publisher-loc>New York</publisher-loc>, <year>1959</year>), p. <fpage>324</fpage>;</mixed-citation>
<mixed-citation id="ref013" publication-type="book"><name name-style="western"><surname>Lowinsky</surname><given-names>E.</given-names></name>, ‘A Treatise on Text Underlay by a German Disciple of Francesco de Salinas’, <source>Festschrift Heinrich Besseler zum sechzigsten Geburtstag</source> (<publisher-loc>Leipzig</publisher-loc>, <year>1961</year>), pp. <fpage>244</fpage>–9;</mixed-citation> and <mixed-citation id="ref014" publication-type="journal"><name name-style="western"><surname>Haar</surname><given-names>J.</given-names></name>, ‘<article-title>Notes on the “Dialogo della musica” of Antonfrancesco Doni</article-title>’, <source>Music and Letters</source>, <volume>47</volume> (<year>1966</year>), pp.<fpage>206</fpage>–7.</mixed-citation> Both <mixed-citation id="ref015" publication-type="journal"><name name-style="western"><surname>Newcomb</surname><given-names>A. A.</given-names></name>, ‘<article-title>Editions of Willaert's <italic>Musica Nova</italic>: New Evidence, New Speculations</article-title>’, <source>Journal of the American Musicological Society</source>, <volume>26</volume> (<year>1973</year>), pp. <fpage>132</fpage>–45</mixed-citation>, and <mixed-citation id="ref016" publication-type="journal"><name name-style="western"><surname>Meier</surname><given-names>H.</given-names></name>, ‘<article-title>Zur Chronologie der <italic>Musica Nova</italic> Adrian Willaerts</article-title>’, <source>Analecta Musicologica: Studien zur italienisch-deutschen Musikgeschichte</source>, <volume>8</volume> (<year>1973</year>), pp. <fpage>71</fpage>–<lpage>96</lpage></mixed-citation>, argue against the possibility of an earlier edition of Willaert's print.</p></fn><fn id="fn014" symbol="13"><label><sup>13</sup></label><p>See <mixed-citation id="ref017" publication-type="other"><name name-style="western"><surname>Newcomb</surname></name>, ‘Willaert's <italic>Musica Nova</italic>’, pp. <fpage>137</fpage>–8.</mixed-citation></p></fn><fn id="fn015" symbol="14"><label><sup>14</sup></label><p>The designation by letter and number refers to <mixed-citation id="ref018" publication-type="book"><source>Einzeldrucke vor 1800</source>, ed. <name name-style="western"><surname>Schlager</surname><given-names>K.</given-names></name>, Répertoire International des Sources Musicales (hereafter RISM) a/i, (<publisher-name>Kassel</publisher-name>, <year>1971</year>–<year>1981</year>).</mixed-citation></p></fn><fn id="fn016" symbol="15"><label><sup>15</sup></label><p>See <mixed-citation id="ref" publication-type="thesis"><name name-style="western"><surname>Lewis</surname><given-names>M. S.</given-names></name>, ‘Antonio Gardane and his Publications of Sacred Music, 1538–55’ (Ph.D. thesis, <publisher-name>Brandeis University</publisher-name>, <year>1979</year>), p. <fpage>211</fpage>.</mixed-citation></p></fn><fn id="fn017" symbol="16"><label><sup>16</sup></label><p>See <mixed-citation id="ref020" publication-type="other"><name name-style="western"><surname>Agee</surname></name>, ‘The Privilege’, Appendix ii, A, nos. 130–3.</mixed-citation></p></fn><fn id="fn018" symbol="17"><label><sup>17</sup></label><p>
Ibid., pp. 123–6, and Appendix ii, A, nos. 175–80.</p></fn><fn id="fn019" symbol="18"><label><sup>18</sup></label><p>
Ibid., pp. 98–9, and Appendix ii, A, nos. 23–4.</p></fn><fn id="fn020" symbol="19"><label><sup>19</sup></label><p>This hypothesis was put forward by <mixed-citation id="ref021" publication-type="thesis"><name name-style="western"><surname>Moe</surname><given-names>L. H.</given-names></name>, ‘Dance Music in Printed Italian Lute Tablatures from 1507 to 1611’, <volume>2</volume> vols. (Ph.D. thesis, <publisher-name>Harvard University</publisher-name>, <year>1956</year>), pp. <fpage>7</fpage>–<lpage>10</lpage>.</mixed-citation></p></fn><fn id="fn021" symbol="20"><label><sup>20</sup></label><p><mixed-citation id="ref022" publication-type="other"><name name-style="western"><surname>Agee</surname></name>, ‘The Privilege’, pp. <fpage>103</fpage>–4, and Appendix ii, A, nos. 28–9.</mixed-citation></p></fn><fn id="fn022" symbol="21"><label><sup>21</sup></label><p>This information is taken from a letter dated 28 July 1548, from Carlo Gualteruzzi to della Casa in response to an earlier letter from the nuncio, printed by <mixed-citation id="ref023" publication-type="journal"><name name-style="western"><surname>Campana</surname><given-names>L.</given-names></name> in ‘<article-title>Monsignor Giovanni della Casa e i suoi tempi (con documenti inediti)</article-title>’, <source>Studi Storici</source>, <volume>18</volume> (<year>1909</year>), p. <fpage>465</fpage></mixed-citation>, cited in Grendler, <italic>The Roman Inquisition</italic>, p. 9. Grendler claims that the volume under discussion is an unidentified book of history, but the correspondence surrounding the letter in question (pp. 425–78 of the Campana article) describes a difficult struggle to obtain a privilege for Pietro Bembo's history of Venice, to which the cited letter undoubtedly refers.</p></fn><fn id="fn023" symbol="22"><label><sup>22</sup></label><p>See Agee, ‘The Privilege’, Appendix ii, B. To my knowledge, this is the first Venetian music-printing contract from the sixteenth century to come to light. I would like to thank Dottoresse Michela Dal Borgo Bergamasco and Alessandra Sambo for bringing this document to my attention.</p></fn><fn id="fn024" symbol="23"><label><sup>23</sup></label><p>This reference is printed by <mixed-citation id="ref024" publication-type="book"><name name-style="western"><surname>Göhler</surname><given-names>A.</given-names></name>, <source>Verzeichnis der in den frankfurter und leipziger Messkatalogen der Jahre 1564 bis 1759 angezeigten Musikalien</source> (<publisher-loc>Leipzig</publisher-loc>, <year>1902</year>; repr. 1965), p. <fpage>35</fpage></mixed-citation>, 1.714, and <mixed-citation id="ref025" publication-type="book"><name name-style="western"><surname>Göhler</surname></name>, <source>Die Messkataloge im Dienste der musikalischen Geschichtsforschung</source> (<publisher-loc>Leipzig</publisher-loc>, <year>1901</year>; repr. 1965), p. <fpage>56</fpage></mixed-citation>, W.65.A (i.e. the catalogue of Willer, 1565, nundinae <italic>a</italic>utumnales).</p></fn><fn id="fn025" symbol="24"><label><sup>24</sup></label><p>Though approval of all prints was required by Venetian law, it often seems that only prints which were to receive privileges were submitted to the readers.</p></fn><fn id="fn026" symbol="25"><label><sup>25</sup></label><p>To compute the cost of readers, I used the method specified in the Venetian press legislation as presented by Brown in <italic>The Venetian Printing Press</italic>: the number of folios, 54 (number obtained from the only known complete copy of this print examined in the Civico Museo Bibliografico Musicale of Bologna) × 3 readers × 1 bezzo ( <inline-graphic mime-subtype="gif" xlink:href="S0261127900000036inline001" xlink:type="simple"></inline-graphic> ducat) = <italic>c</italic>. <inline-graphic mime-subtype="gif" xlink:href="S0261127900000036inline002" xlink:type="simple"></inline-graphic>ducat in total for the reading process, as opposed to the 88+ ducats paid to Scotto for printing the edition. I was rather conservative in assuming that the readers examined only one of the four partbooks, and perhaps too liberal in assuming that the readers would have demanded the maximum payment of 1 bezzo per folio on what was essentially only a few lines of text per page.</p></fn><fn id="fn027" symbol="26"><label><sup>26</sup></label><p>See <mixed-citation id="ref026" publication-type="other"><name name-style="western"><surname>Brown</surname></name>, <italic>The Venetian Printing Press</italic>, pp. <fpage>24</fpage>–5;</mixed-citation> also <mixed-citation id="ref027" publication-type="book"><name name-style="western"><surname>Gerulaitis</surname><given-names>L. V.</given-names></name>, <source>Printing and Publication in Fifteenth-century Venice</source> (<publisher-loc>Chicago</publisher-loc>, <year>1976</year>), pp. <fpage>12</fpage>–<lpage>13</lpage>.</mixed-citation></p></fn><fn id="fn028" symbol="27"><label><sup>27</sup></label><p>A typical Senate declaration runs something like this: ‘…che altri che lui, senza sua permissione, per anni X prossimi, non possa stampare, ne far stampare, ne vendere in questa nostra città, ne in alcun luogo del dominio nostro ne altrove stampate in quelli vendere’ (‘… that no-one but he, except with his permission, can for the next ten years make prints, have them made or sell them in our city, anywhere in our dominion, or elsewhere’).</p></fn><fn id="fn029" symbol="28"><label><sup>28</sup></label><p><mixed-citation id="ref028" publication-type="other"><name name-style="western"><surname>Fulin</surname></name>, ‘Documenti’, p. <fpage>118</fpage> (no. 36)</mixed-citation>; cited in Gerulaitis, <italic>Printing and Publication</italic>, p. 40.</p></fn><fn id="fn030" symbol="29"><label><sup>29</sup></label><p><mixed-citation id="ref029" publication-type="journal"><name name-style="western"><surname>Rossi</surname><given-names>V.</given-names></name>, ‘<article-title>Un incendio a Venezia e il tipografo Bernardino Benalio</article-title>’, <source>Il Libro e la Stampa</source>, <volume>4</volume> (<year>1910</year>), pp. <fpage>51</fpage>–5;</mixed-citation> cited in Gerulaitis, <italic>Printing and Publication</italic>, p. 40 n. 26.</p></fn><fn id="fn031" symbol="30"><label><sup>30</sup></label><p>See <mixed-citation id="ref030" publication-type="book"><name name-style="western"><surname>Bühler</surname><given-names>C. F.</given-names></name>, <source>The University and the Press in Fifteenth-century Bologna</source>, Texts and Studies in the History of Medieval Education 7 (<publisher-name>Notre Dame</publisher-name>, <publisher-loc>Indiana</publisher-loc>, <year>1958</year>), p. <fpage>32</fpage>.</mixed-citation></p></fn><fn id="fn032" symbol="31"><label><sup>31</sup></label><p><mixed-citation id="ref031" publication-type="book"><name name-style="western"><surname>Fenlon</surname><given-names>Iain</given-names></name> makes a similar supposition in his <source>Music and Patronage in Sixteenth-century Mantua</source>, <volume>2</volume> vols. (<publisher-loc>Cambridge</publisher-loc>, <year>1981</year>–<year>1982</year>), i, p. <fpage>85</fpage>.</mixed-citation></p></fn><fn id="fn033" symbol="32"><label><sup>32</sup></label><p>‘persuadendomi tutto cio dovere esser grato a V.S. per la comodita che ne la Musica a due voci si trova’ from <mixed-citation id="ref032" publication-type="journal"><name name-style="western"><surname>Haar</surname><given-names>J.</given-names></name>, ‘<article-title><italic>Pace non trovo</italic>: A Study in Literary and Musical Parody</article-title>’, <source>Musica Disciplina</source>, <volume>20</volume> (<year>1966</year>), p. <fpage>122</fpage>.</mixed-citation> Scotto dedicated the collection to Cesare Visconti (see <italic>NVogel</italic>, no. 1124).</p></fn><fn id="fn034" symbol="33"><label><sup>33</sup></label><p>‘Considerant que journellement de plus en plus grande multitude de nobles espritz sont incitees & esmuez a la noble science de Musicque pour icelle apprendre, & exerciter, en chātāt & jouāt de divers Instrumentz en lieu daultre inutile passetemps … Ie me suis auāche de composer icelles chāsons amoreuses … Aultre raison ma incite a icelles cōposer, & imprimer, au prouffit des amateurs de ladicte sciēce. cest qung nouvel apprentif ou discipel nest pas hardy au chanter être grande compaignie, iusques a tant quil sera plus expert & plus hardy pour choses plus difficilles. & avecque plus grande compaignie chāter…’; the French and the English translation are both taken from <mixed-citation id="ref033" publication-type="journal"><name name-style="western"><surname>Bernstein</surname><given-names>L. F.</given-names></name>, ‘<article-title>Claude Gervaise as Chanson Composer</article-title>’, <source>Journal of the American Musicological Society</source>, <volume>18</volume> (<year>1965</year>), p. <fpage>365</fpage>;</mixed-citation> the French text may also be found in <mixed-citation id="ref034" publication-type="other"><name name-style="western"><surname>Haar</surname></name>, ‘<italic>Pace non trovo</italic>’, p. <fpage>123</fpage>.</mixed-citation> For more on the commerce of two- and three-part arrangements in the sixteenth century, see, among others, the Bernstein and Haar articles cited above, as well as <mixed-citation id="ref035" publication-type="journal"><name name-style="western"><surname>Haar</surname><given-names>J.</given-names></name>, ‘<article-title>A Diatonic Duo by Willaert</article-title>’, <source>Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis</source>, <volume>21</volume>/<issue>II</issue> (<year>1969</year>), pp. <fpage>68</fpage>–<lpage>77</lpage>, esp. p. 70</mixed-citation>, and <mixed-citation id="ref036" publication-type="journal"><name name-style="western"><surname>Heartz</surname><given-names>D.</given-names></name>, ‘<article-title><italic>Au pres de vous</italic> – Claudin's Chansons and the Commerce of Publishers' Arrangements</article-title>’, <source>Journal of the American Musicological Society</source>, <volume>24</volume> (<year>1971</year>), pp. <fpage>193</fpage>–<lpage>225</lpage>, esp. pp. 209–10.</mixed-citation>
<mixed-citation id="ref037" publication-type="other"><name name-style="western"><surname>Lewis</surname></name>, ‘Antonio Gardane’, pp. <fpage>200</fpage>–4</mixed-citation>, briefly discusses Gardano's publications of bi- and tricinia.</p></fn><fn id="fn035" symbol="34"><label><sup>34</sup></label><p>The date and number refer to <mixed-citation id="ref038" publication-type="book"><source>Recueils imprimés, XVl<sup>e</sup>–XVII<sup>e</sup> siècles: liste chronologique</source>, ed. <name name-style="western"><surname>Lesure</surname><given-names>F.</given-names></name>, RISM B/i/1 (<publisher-loc>Munich</publisher-loc>, <year>1960</year>).</mixed-citation>
<mixed-citation id="ref039" publication-type="book"><name name-style="western"><surname>Seay</surname><given-names>Albert</given-names></name> has transcribed the contents of this print in <source>Antonio Gardane: Il primo libro de' canzoni francese a due voci</source>, <publisher-name>Colorado College Music Press</publisher-name>, Transcriptions 1 (<publisher-loc>Colorado Springs</publisher-loc>, <year>1979</year>).</mixed-citation></p></fn><fn id="fn036" symbol="35"><label><sup>35</sup></label><p>Only one of the pieces in this collection had previously been printed, Costanzo Festa's <italic>Quam pulchra es</italic> (originally <italic>a 4</italic>); see <mixed-citation id="ref040" publication-type="other"><name name-style="western"><surname>Lewis</surname></name>, ‘Antonio Gardane’, p. <fpage>203</fpage>.</mixed-citation></p></fn><fn id="fn037" symbol="36"><label><sup>36</sup></label><p>Gardano's 1541.13 (mostly Gero and Jannequin pieces <italic>a 3</italic>) and 1543.19 (<italic>Il primo libro a due voci de diversi autori</italic>), judging from the absence of multiple reprints, did not prove especially popular. But it would have been difficult in any case for a supplicant to have argued for a privilege on these particular publications – the former states on the title-page that the works had been ‘ristampato’ (the Jannequin pieces taken from French publications), while the latter consists almost entirely of excerpts from published Masses and Magnificats (<mixed-citation id="ref041" publication-type="other"><name name-style="western"><surname>Lewis</surname></name>, ‘Antonio Gardane’, pp. <fpage>203</fpage>–4)</mixed-citation>. As noted above, the press legislation specifically forbade the granting of a new privilege for a reprint.</p></fn><fn id="fn038" symbol="37"><label><sup>37</sup></label><p><mixed-citation id="ref042" publication-type="other"><name name-style="western"><surname>Haar</surname></name>, ‘<italic>Pace nort trovo</italic>’, p. <fpage>124</fpage></mixed-citation></p></fn><fn id="fn039" symbol="38"><label><sup>38</sup></label><p>Scotto, in his preface to the Gardano edition of Gero's collection, suggested that the madrigals were for the most part newly composed: ‘le presenti compositioni, <italic>fatte novamente</italic> [my italics] a mia instantia dal buon Musico Gian Gero’ (see <italic>NVogel</italic>, no. 1124). <mixed-citation id="ref043" publication-type="other"><name name-style="western"><surname>Haar</surname></name>, in ‘<italic>Pace non trovo</italic>’, p. <fpage>124</fpage></mixed-citation>, admits that no models have been found for Gero's two-voice madrigals, but he argues for a loose sort of parody technique in Gero's two-voice madrigal <italic>Phillida mia</italic>.</p></fn><fn id="fn040" symbol="39"><label><sup>39</sup></label><p><mixed-citation id="ref044" publication-type="other"><name name-style="western"><surname>Heartz</surname></name>, ‘<italic>Au pres de vous</italic>’, p. <fpage>209</fpage>.</mixed-citation></p></fn><fn id="fn041" symbol="40"><label><sup>40</sup></label><p><mixed-citation id="ref045" publication-type="book"><name name-style="western"><surname>Heartz</surname><given-names>D.</given-names></name>, <source>Pierre Attaingnant, Royal Printer of Music: A Historical Study and Bibliographical Catalogue</source> (<publisher-loc>Berkeley, California</publisher-loc>, <year>1969</year>), p. <fpage>104</fpage>.</mixed-citation></p></fn><fn id="fn042" symbol="41"><label><sup>41</sup></label><p><mixed-citation id="ref046" publication-type="book"><name name-style="western"><surname>Bridges</surname><given-names>T. W.</given-names></name>, ‘Gardane, (1) Antonio’, <source>The New Grove Dictionary of Music and Musicians</source>, ed. <name name-style="western"><surname>Sadie</surname><given-names>S.</given-names></name>, <volume>20</volume> vols. (<publisher-loc>London</publisher-loc>, <year>1980</year>), vii, p. <fpage>159</fpage>.</mixed-citation></p></fn><fn id="fn043" symbol="42"><label><sup>42</sup></label><p>See <mixed-citation id="ref047" publication-type="book"><name name-style="western"><surname>Giazotto</surname><given-names>R.</given-names></name>, <source>Harmonici concenti in aere veneto</source> (<publisher-loc>Rome</publisher-loc>, <year>1954</year>).</mixed-citation></p></fn><fn id="fn044" symbol="43"><label><sup>43</sup></label><p><mixed-citation id="ref048" publication-type="book"><name name-style="western"><surname>Parabosco</surname><given-names>G.</given-names></name>, <source>Rime</source> (<publisher-loc>Venice</publisher-loc>, <year>1555</year>);</mixed-citation> cited in <mixed-citation id="ref049" publication-type="journal"><name name-style="western"><surname>Cesari</surname><given-names>G.</given-names></name>, ‘<article-title>Le origini del madrigale cinquecentesco</article-title>’, <source>Rivista Musicale Italiana</source>, <volume>19</volume> (<year>1912</year>), pp. <fpage>395</fpage>–6.</mixed-citation></p></fn><fn id="fn045" symbol="44"><label><sup>44</sup></label><p><mixed-citation id="ref050" publication-type="other"><name name-style="western"><surname>Giazotto</surname></name>, <italic>Harmonici concenti</italic>, pp. <fpage>9</fpage>–<lpage>10</lpage>.</mixed-citation></p></fn><fn id="fn046" symbol="45"><label><sup>45</sup></label><p><mixed-citation id="ref051" publication-type="other"><name name-style="western"><surname>Lewis</surname></name>, ‘Antonio Gardane’, p. <fpage>39</fpage>.</mixed-citation></p></fn><fn id="fn047" symbol="46"><label><sup>46</sup></label><p>
Ibid., p. 46.</p></fn><fn id="fn048" symbol="47"><label><sup>47</sup></label><p>For a discussion of the various editions of Morales' <italic>Magnificat</italic>, see pp. 31–7 of the introduction to <mixed-citation id="ref052" publication-type="book"><name name-style="western"><surname>Anglès'</surname><given-names>H.</given-names></name> edition of Morales' <italic>XVI Magnificat</italic> in <source>Cristóbal de Morales: Opera omnia</source>, <volume>IV</volume> (<publisher-loc>Rome</publisher-loc>, <year>1956</year>).</mixed-citation></p></fn><fn id="fn049" symbol="48"><label><sup>48</sup></label><p><mixed-citation id="ref053" publication-type="book"><name name-style="western"><surname>Eitner</surname><given-names>R.</given-names></name>, <source>Biographisch-bibliographisch Quellen-Lexikon der Musiker und Musikgelehrten der christlichen Zeitrechnung bis zur Mitte des neunzehnten Jahrhunderts</source>, <volume>10</volume> vols. (<publisher-loc>Leipzig</publisher-loc>, <year>1900</year>–<year>1904</year>; repr. New York, n. d.), IV, p. <fpage>149</fpage></mixed-citation>: ‘Trotzdem die Verleger sich stets vom Staate, in dem sie lebten, ein Druckprivilegium erwarben, wurde dasselbe so wenig geachtet, dass oft schon in demselben Jahre des ersten Druckes ein Nachdruck erschien, besonders wenn sich das Werk als zugkräftig erwies. Gardane fand schon die ältere Handlung von <italic>Scotto</italic> in Venedig vor und es ist wahrhaft komisch, wie einer den andern des Diebstahls bezichtet, denn kaum hatte der Eine einen glücklichen Griff gethan, so druckte ihm der andere es sicherlich nach.’</p></fn><fn id="fn050" symbol="49"><label><sup>49</sup></label><p>See <mixed-citation id="ref054" publication-type="other"><name name-style="western"><surname>Agee</surname></name>, ‘The Privilege’, pp. <fpage>79</fpage>–<lpage>85</lpage>.</mixed-citation></p></fn><fn id="fn051" symbol="50"><label><sup>50</sup></label><p>Here I use the list of prints with the title-page transcriptions found in <mixed-citation id="ref055" publication-type="other"><name name-style="western"><surname>Lewis</surname></name>, ‘Antonio Gardane’, pp. <fpage>589</fpage>–<lpage>679</lpage>.</mixed-citation> The second entry in that list, 1538.19, has the privilege listed not on the title-page but at the end; see ibid., Plate 32.</p></fn><fn id="fn052" symbol="51"><label><sup>51</sup></label><p>
Ibid., p. 13; see also <mixed-citation id="ref056" publication-type="book"><source>Ihan Gero: Il primo libro de' madrigali italiani et canzoni francese a due voci</source>, ed. <name name-style="western"><surname>Bernstein</surname><given-names>L.</given-names></name> and <name name-style="western"><surname>Haar</surname><given-names>J.</given-names></name>, Masters and Monuments of the Renaissance <volume>1</volume> (<publisher-loc>New York</publisher-loc>, <year>1980</year>), esp. pp. <fpage>XXV</fpage>–<lpage>XXVI</lpage>.</mixed-citation></p></fn><fn id="fn053" symbol="52"><label><sup>52</sup></label><p>‘sia concesso che altri che lui senza permissione sua non possa stampar’.</p></fn><fn id="fn054" symbol="53"><label><sup>53</sup></label><p>See Agee, ‘The Privilege’, Appendix ii, nos. 1, 3, 21 and 22.</p></fn><fn id="fn055" symbol="54"><label><sup>54</sup></label><p>ASV, Esecutori Contro la Bestemmia (hereafter ECB), Notatorio, Terminazioni, Busta 56, i (1542–60/61), fol. 128<sup>r</sup>. A copy of the print, <italic>Lucae Gaurici…Tractatus astrologicus</italic> (1552), may be found with the offending title-page in Venice, Biblioteca Marciana, 18.d.79 ( = 21948); it is briefly mentioned by <mixed-citation id="ref057" publication-type="journal"><name name-style="western"><surname>Pesenti</surname><given-names>G.</given-names></name>, ‘<article-title>Libri censurati a Venezia nei secoli xvi–xvii</article-title>’, <source>La Bibliofilia</source>, <volume>58</volume> (<year>1956</year>), pp. <fpage>18</fpage>–<lpage>19</lpage>.</mixed-citation></p></fn><fn id="fn056" symbol="55"><label><sup>55</sup></label><p>No works from this period matching this description were found in the standard bibliographical sources.</p></fn><fn id="fn057" symbol="56"><label><sup>56</sup></label><p>ASV, ECB, Notatorio, Terminazioni, Busta 57, i (1582–97), fols. 162<sup>r</sup>–162<sup>v</sup> and 239<sup>r</sup>; transcribed in Agee, ‘The Privilege’, Appendix ii, C.</p></fn><fn id="fn058" symbol="57"><label><sup>57</sup></label><p>This dedication is partly reprinted in <italic>NVogel</italic> no. 98.</p></fn><fn id="fn059" symbol="58"><label><sup>58</sup></label><p>These prints are described in <mixed-citation id="ref058" publication-type="other"><name name-style="western"><surname>Lewis</surname></name>, ‘Antonio Gardane’, pp. <fpage>9</fpage>–<lpage>12</lpage>.</mixed-citation></p></fn><fn id="fn060" symbol="59"><label><sup>59</sup></label><p>The sign of the lion and the bear was, of course, Gardano's printer's mark, taken from the name of his early patron, Leone Orsini. Geneviève Thibault first suggested this ingenious interpretation; see <mixed-citation id="ref059" publication-type="other"><name name-style="western"><surname>Heartz</surname></name>, <italic>Pierre Attaingnant</italic>, p. <fpage>158</fpage>.</mixed-citation></p></fn><fn id="fn061" symbol="60"><label><sup>60</sup></label><p><mixed-citation id="ref060" publication-type="other"><name name-style="western"><surname>Lewis</surname></name>, ‘Antonio Gardane’, pp. <fpage>11</fpage>–<lpage>12</lpage>.</mixed-citation></p></fn><fn id="fn062" symbol="61"><label><sup>61</sup></label><p><mixed-citation id="ref061" publication-type="book"><name name-style="western"><surname>Sartori</surname><given-names>C.</given-names></name>, ‘Gardane (Gardano), Antonio’, <source>Die Musik in Geschichte und Gegenwart</source>, ed. <name name-style="western"><surname>Blume</surname><given-names>F.</given-names></name>, <volume>16</volume> vols. (<publisher-name>Kassel</publisher-name>, <year>1949</year>–<year>1979</year>), iv, col. 1377.</mixed-citation></p></fn><fn id="fn063" symbol="62"><label><sup>62</sup></label><p><mixed-citation id="ref062" publication-type="thesis"><name name-style="western"><surname>Chapman</surname><given-names>C. W.</given-names></name>, ‘Andrea Antico’ (Ph.D. thesis, <publisher-name>Harvard University</publisher-name>, <year>1964</year>), p. <fpage>173</fpage>.</mixed-citation></p></fn><fn id="fn064" symbol="63"><label><sup>63</sup></label><p><mixed-citation id="ref063" publication-type="other"><name name-style="western"><surname>Lewis</surname></name>, ‘Antonio Gardane’, pp. <fpage>8</fpage>–<lpage>9</lpage>.</mixed-citation></p></fn><fn id="fn065" symbol="64"><label><sup>64</sup></label><p><mixed-citation id="ref064" publication-type="other"><name name-style="western"><surname>Heartz</surname></name>, <italic>Pierre Attaingnant</italic>, p. <fpage>159</fpage>;</mixed-citation>
<mixed-citation id="ref065" publication-type="other"><name name-style="western"><surname>Lewis</surname></name>, ‘Antonio Gardane’, p. <fpage>83</fpage>.</mixed-citation></p></fn><fn id="fn066" symbol="65"><label><sup>65</sup></label><p><mixed-citation id="ref066" publication-type="other"><name name-style="western"><surname>Heartz</surname></name>, <italic>Pierre Attaingnant</italic>, p. <fpage>159</fpage>.</mixed-citation></p></fn><fn id="fn067" symbol="66"><label><sup>66</sup></label><p>
Ibid., pp. 159–60.</p></fn><fn id="fn068" symbol="67"><label><sup>67</sup></label><p><mixed-citation id="ref067" publication-type="other"><name name-style="western"><surname>Lewis</surname></name>, ‘Antonio Gardane’, pp. <fpage>83</fpage>–5.</mixed-citation></p></fn><fn id="fn069" symbol="68"><label><sup>68</sup></label><p>
Ibid., p. 253.</p></fn><fn id="fn070" symbol="69"><label><sup>69</sup></label><p>This term is taken from <mixed-citation id="ref068" publication-type="book"><name name-style="western"><surname>Pogue</surname><given-names>S.</given-names></name>, <source>Jacques Moderne: Lyons Music Printer of the Sixteenth Century</source> (<publisher-loc>Geneva</publisher-loc>, <year>1969</year>), p. <fpage>55</fpage>.</mixed-citation></p></fn><fn id="fn071" symbol="70"><label><sup>70</sup></label><p><mixed-citation id="ref069" publication-type="other"><name name-style="western"><surname>Lewis</surname></name>, ‘Antonio Gardane’, pp. <fpage>12</fpage>–<lpage>13</lpage>.</mixed-citation></p></fn><fn id="fn072" symbol="71"><label><sup>71</sup></label><p>In order to compile these data, I began with the checklist of Gardano's editions found in <mixed-citation id="ref070" publication-type="other"><name name-style="western"><surname>Lewis</surname></name>, ‘Antonio Gardane’, pp. <fpage>589</fpage>–<lpage>679</lpage></mixed-citation>. Then I compared each of the 441 entries with items in <italic>NVogel</italic> and the appropriate RISM volumes. I did not take into consideration the musical readings found in the corresponding pairs of editions.</p></fn><fn id="fn073" symbol="72"><label><sup>72</sup></label><p>I have learned from Thomas W. Bridges, both through personal communication and from his contributions to <italic>The New Grove Dictionary</italic>, that he has come to similar conclusions. Though he still considers the two printers rivals, he sees the 1541 Gero print as decisive. ‘This collaborative publication marked the beginning of the period when Gardane and Scotto reprinted quite freely from each other, with the exception of those books of which the copyright was owned by a third party. From the frequency of such reprints, it must be assumed that the two printers accepted the practice, and, as they had no serious competition in Venice or elsewhere, the prosperity of the two firms was unharmed’ (<mixed-citation id="ref071" publication-type="journal">‘<article-title>Scotto, (3) Girolamo Scotto</article-title>’, <source>The New Grove Dictionary</source>, <volume>XVII</volume>, p. <fpage>86</fpage>).</mixed-citation> ‘The large number of titles printed by both Gardane and Scotto also should not be seen as examples of piracy: the fact that this continued for some 30 years suggests a private agreement’ (‘Gardane, (1) Antonio Gardane’, ibid., vii, p. 159).</p></fn><fn id="fn074" symbol="73"><label><sup>73</sup></label><p>This case is also discussed by <mixed-citation id="ref072" publication-type="other"><name name-style="western"><surname>Grendler</surname></name> in <italic>The Roman Inquisition</italic>, p. <fpage>80</fpage></mixed-citation>.</p></fn><fn id="fn075" symbol="74"><label><sup>74</sup></label><p>ASV, ECB, Notatorio, Terminazioni, Busta 56 (1542–60), fol. 64<sup>r</sup>.</p></fn><fn id="fn076" symbol="75"><label><sup>75</sup></label><p>See <mixed-citation id="ref073" publication-type="book"><name name-style="western"><surname>Pastorello</surname><given-names>E.</given-names></name>, <source>Tipografi, editori, librai a Venezia nel secolo XVI</source> (<publisher-loc>Florence</publisher-loc>, <year>1924</year>). p. <fpage>17</fpage>.</mixed-citation></p></fn><fn id="fn077" symbol="76"><label><sup>76</sup></label><p>
Ibid., p. 79.</p></fn><fn id="fn078" symbol="77"><label><sup>77</sup></label><p><mixed-citation id="ref074" publication-type="other"><name name-style="western"><surname>Giazotto</surname></name>, <italic>Harmonici concenti</italic>, p. <fpage>36</fpage> n. 14</mixed-citation>, cites Venice, Archivio di Stato, Repertorio Stato Libero, 1568, fol. 37, as the source for his assertion that the Gardano and Scotto families were joined by the marriage of Antonio Gardano's son Alessandro to Girolamo Scotto's daughter Laura in 1568, a year before Antonio Gardano's death. While such a marriage would support my supposition regarding the relationship of Gardano with Scotto, Dottoresse Michela Dal Borgo Bergamasco and Alessandra Sambo of the Venetian State Archive have been unable to turn up any trace of that particular archival document. No mention of any Laura Scotto is made in documents relating to the Scotto family which were published by <mixed-citation id="ref075" publication-type="journal"><name name-style="western"><surname>Sartori</surname><given-names>Claudio</given-names></name>, ‘<article-title>La famiglia degli editori Scotto</article-title>’, <source>Acta Musicologica</source>, <volume>36</volume> (<year>1964</year>), pp. <fpage>19</fpage>–<lpage>30</lpage>.</mixed-citation></p></fn><fn id="fn079" symbol="78"><label><sup>78</sup></label><p>The best summary of the music privilege in England is given by <mixed-citation id="ref076" publication-type="book"><name name-style="western"><surname>Krummel</surname><given-names>D. W.</given-names></name>, <source>English Music Printing: 1553–1700</source> (<publisher-loc>London</publisher-loc>, <year>1975</year>), esp. Chap. 2, pp. <fpage>10</fpage>–<lpage>33</lpage></mixed-citation>, ‘The Politics of the Music Patents’. For a discussion of book-licensing jurisdiction, see <mixed-citation id="ref077" publication-type="book"><name name-style="western"><surname>Greg</surname><given-names>W. W.</given-names></name>, <source>Some Aspects and Problems of London Publishing between 1550 and 1650</source> (<publisher-loc>Oxford</publisher-loc>, <year>1956</year>), p. <fpage>51</fpage></mixed-citation>. I have not mentioned the second method of English privileges – entry of a book's title into the Stationers' Hall registers – since it would have been a valid means of obtaining a privilege only when the music monopolies were not in effect, that is, from 1596 to 1598.</p></fn><fn id="fn080" symbol="79"><label><sup>79</sup></label><p>The authoritative volume on the life, works and times of this printer is Daniel Heartz's masterly study <italic>Pierre Attaingnant</italic>.</p></fn><fn id="fn081" symbol="80"><label><sup>80</sup></label><p>See <mixed-citation id="ref078" publication-type="other"><name name-style="western"><surname>Pogue</surname></name>, <italic>Jacques Moderne</italic>.</mixed-citation></p></fn><fn id="fn082" symbol="81"><label><sup>81</sup></label><p>For more information on Nicolas du Chemin, see <mixed-citation id="ref079" publication-type="journal"><name name-style="western"><surname>Lesure</surname><given-names>F.</given-names></name> and <name name-style="western"><surname>Thibault</surname><given-names>G.</given-names></name>, ‘<article-title>Bibliographie des éditions musicales publiées par Nicolas du Chemin (1549–1576)</article-title>’, <source>Annales Musicologiques</source>, <volume>1</volume> (<year>1953</year>), pp. <fpage>269</fpage>–<lpage>373</lpage>;</mixed-citation> for the firm of Le Roy & Ballard, see idem, <mixed-citation id="ref080" publication-type="book"><source>Bibliographie des éditions d'Adrian le Roy et Robert Ballard (1551–1598)</source>, Publications de la Société Française de Musicologie, ser. ii, <volume>9</volume> (<publisher-loc>Paris</publisher-loc>, <year>1955</year>).</mixed-citation></p></fn><fn id="fn083" symbol="82"><label><sup>82</sup></label><p>See <mixed-citation id="ref081" publication-type="journal"><name name-style="western"><surname>Schlottenloher</surname><given-names>K.</given-names></name>, ‘<article-title>Die Druckprivilegien des 16. Jahrhunderts</article-title>’, <source>Gutenberg Jahrbuch</source> (<year>1933</year>), pp. <fpage>89</fpage>–<lpage>110</lpage>.</mixed-citation></p></fn><fn id="fn084" symbol="83"><label><sup>83</sup></label><p><mixed-citation id="ref082" publication-type="journal"><name name-style="western"><surname>Kunze</surname><given-names>H.</given-names></name>, ‘<article-title>Über den Nachdruck im 15. und 16. Jahrhundert</article-title>’, <source>Gutenberg Jahrbuch</source> (<year>1938</year>), pp. <fpage>136</fpage>–7.</mixed-citation></p></fn><fn id="fn085" symbol="84"><label><sup>84</sup></label><p>For information pertaining to the lawsuit, see <mixed-citation id="ref083" publication-type="book"><name name-style="western"><surname>Pohlmann</surname><given-names>H.</given-names></name>, <source>Die Frühgeschichte des musikalischen Urheberrechts (ca. 1400–1800): Neue Materialien zur Entwicklung des Urheberrechtsbewusstseins der Komponisten</source> (<publisher-name>Kassel</publisher-name>, <year>1962</year>), pp. <fpage>164</fpage>–6.</mixed-citation></p></fn><fn id="fn086" symbol="85"><label><sup>85</sup></label><p>
Ibid., pp. 198, 262.</p></fn><fn id="fn087" symbol="86"><label><sup>86</sup></label><p>See <mixed-citation id="ref084" publication-type="thesis"><name name-style="western"><surname>Forney</surname><given-names>K. K.</given-names></name>, ‘Tielman Susato, Sixteenth-century Music Printer: An Archival and Typographical Investigation’ (Ph.D. thesis, <publisher-name>University of Kentucky</publisher-name>, <year>1978</year>), p. <fpage>83</fpage>.</mixed-citation></p></fn><fn id="fn088" symbol="87"><label><sup>87</sup></label><p>
Ibid., pp. 82, 244; see also <mixed-citation id="ref085" publication-type="book"><name name-style="western"><surname>Meissner</surname><given-names>U.</given-names></name>, <source>Der Antwerpener Notendrucker Tylman Susato: Eine bibliographische Studie zur niederldändischen Chanson-Publikation in der ersten Hälfte des 16. Jahrhunderts</source>, <volume>2</volume> vols. (<publisher-loc>Berlin</publisher-loc>, <year>1967</year>), ii, p. <fpage>148</fpage></mixed-citation>, Document no. 11; also ii, figure 7 (facsimile). For information regarding the privileges for music in the Low Countries which were issued before Susato's activity, see <mixed-citation id="ref086" publication-type="other"><name name-style="western"><surname>Forney</surname></name>, ‘Tielman Susato’, pp. <fpage>16</fpage>–<lpage>18</lpage>, <fpage>23</fpage>–5 and <fpage>238ff</fpage></mixed-citation>; also <mixed-citation id="ref087" publication-type="other"><name name-style="western"><surname>Meissner</surname></name>, <italic>Der Antwerpener Notendrucker</italic>, i, pp. <fpage>29</fpage>–<lpage>30</lpage>;</mixed-citation> and <mixed-citation id="ref088" publication-type="book"><name name-style="western"><surname>Goovaerts</surname><given-names>A.</given-names></name>, <source>Histoire et bibliographic de la typographic musicale dans les Pays-Bas</source>, Mémoires couronnés et autres mémoires publiés par l'Académie Royale des Sciences, des Lettres, et des Beaux-Arts de Belgique <volume>29</volume> (<publisher-loc>Brussels</publisher-loc>, <year>1880</year>; repr. 1963), pp. <fpage>13</fpage>–<lpage>22</lpage>.</mixed-citation> For a recent overview of music-printing in the Low Countries as a whole, see <mixed-citation id="ref089" publication-type="thesis"><name name-style="western"><surname>Bain</surname><given-names>S.</given-names></name>, Music Printing in the Low Countries in the Sixteenth Century (Ph.D. thesis, <publisher-name>University of Cambridge</publisher-name>, <year>1974</year>).</mixed-citation></p></fn><fn id="fn089" symbol="88"><label><sup>88</sup></label><p>See <mixed-citation id="ref090" publication-type="other"><name name-style="western"><surname>Forney</surname></name>, ‘Tielman Susato’, pp. <fpage>84</fpage>–5, <fpage>251</fpage></mixed-citation>; <mixed-citation id="ref091" publication-type="other"><name name-style="western"><surname>Meissner</surname></name>, <italic>Der Antwerpener Notendrucker</italic>, i, pp. <fpage>47</fpage>–8;</mixed-citation>
<mixed-citation id="ref092" publication-type="journal"><name name-style="western"><surname>Verheyden</surname><given-names>P.</given-names></name>, ‘<article-title>Drukkersoctrooien in de 16e eeuw</article-title>’, <source>Tijdschrift voor Boek- en Bibliotheekwezen</source>, <volume>8</volume> (<year>1910</year>), p. <fpage>271</fpage>;</mixed-citation> and <mixed-citation id="ref093" publication-type="other"><name name-style="western"><surname>Goovaerts</surname></name>, <italic>Histoire</italic>, p. <fpage>30</fpage>.</mixed-citation></p></fn><fn id="fn090" symbol="89"><label><sup>89</sup></label><p>See <mixed-citation id="ref094" publication-type="other"><name name-style="western"><surname>Forney</surname></name>, ‘Tielman Susato’, pp. <fpage>85</fpage>–6, <fpage>252</fpage>–5</mixed-citation>, and <mixed-citation id="ref095" publication-type="other"><name name-style="western"><surname>Meissner</surname></name>, <italic>Der Antwerpener Notendrucker</italic>, i, pp. <fpage>50</fpage>–1.</mixed-citation></p></fn><fn id="fn091" symbol="90"><label><sup>90</sup></label><p>See <mixed-citation id="ref096" publication-type="other"><name name-style="western"><surname>Agee</surname></name>, ‘The Privilege’, pp. <fpage>171</fpage>–2</mixed-citation>, for a summary of the location of these transcriptions in the secondary literature.</p></fn><fn id="fn092" symbol="91"><label><sup>91</sup></label><p>Grendler discusses controversial papal privileges at various points in <italic>The Roman Inquisition</italic>; Raffaele Casimiri discussed an example of a music privilege found in a papal brief, in <mixed-citation id="ref097" publication-type="journal">‘<article-title>Il Palestrina e il Marenzio in un privilegio di stampa del 1584</article-title>’, <source>Note d'Archivio per la Storia Musicale</source>, <volume>16</volume> (<year>1939</year>), pp. <fpage>253</fpage>–5.</mixed-citation></p></fn><fn id="fn093" symbol="92"><label><sup>92</sup></label><p><mixed-citation id="ref098" publication-type="other"><name name-style="western"><surname>Chapman</surname></name>, ‘Andrea Antico’, p. <fpage>41</fpage></mixed-citation>, pointed out the lack of research on the Roman privilege. <mixed-citation id="ref099" publication-type="book"><name name-style="western"><surname>Cusick</surname><given-names>S. G.</given-names></name>, <source>Valerio Dorico: Music Printer in Sixteenth-century Rome</source> (<publisher-loc>Ann Arbor</publisher-loc>, <year>1981</year>), p. <fpage>144</fpage> n. 1</mixed-citation>, reports that the archivist of the Archivio Segreto Vaticano insisted that no documents relating to music-printing were included in the licences issued by the Congregation of the Inquisition; that archive remains closed to the public.</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>The Venetian privilege and music-printing in the sixteenth century</title></titleInfo><titleInfo type="alternative"><title>Richard J. Agee</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>The Venetian privilege and music-printing in the sixteenth century*</title></titleInfo><name type="personal"><namePart type="given">Richard J.</namePart><namePart type="family">Agee</namePart><affiliation>The Colorado College</affiliation><role><roleTerm type="text">author</roleTerm></role></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>Cambridge University Press</publisher><place><placeTerm type="text">Cambridge, UK</placeTerm></place><dateIssued encoding="w3cdtf">1983-01</dateIssued><copyrightDate encoding="w3cdtf">1983</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract" lang="en">Any scholar involved in the study of sixteenth-century music printed in Venice is bound to be familiar with the phrase ‘con gratia et privilegio’; yet within the framework of music-printing as a whole, the uses and significance of the printing privilege have remained somewhat obscure. The Venetian prints on which the privilege indication appears now lie scattered across the globe, but Venice continues to guard part of her brilliant past – the archives of the Serenissima Repubblica still yield documents which clarify our understanding of the production and protection of prints during the Cinquecento.</abstract><relatedItem type="host"><titleInfo><title>Early Music History</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0261-1279</identifier><identifier type="eISSN">1474-0559</identifier><identifier type="PublisherID">EMH</identifier><part><date>1983</date><detail type="volume"><caption>vol.</caption><number>3</number></detail><extent unit="pages"><start>1</start><end>42</end><total>42</total></extent></part></relatedItem><identifier type="istex">F8678137C86AF58DB3FCF4E9E5B1F6A6E961D834</identifier><identifier type="ark">ark:/67375/6GQ-HNDRTDNP-G</identifier><identifier type="DOI">10.1017/S0261127900000036</identifier><identifier type="PII">S0261127900000036</identifier><identifier type="ArticleID">00003</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1983</accessCondition><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource><recordOrigin>Copyright © Cambridge University Press 1983</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/F8678137C86AF58DB3FCF4E9E5B1F6A6E961D834/metadata/json</uri></json:item></metadata><annexes><json:item><extension>gif</extension><original>true</original><mimetype>image/gif</mimetype><uri>https://api.istex.fr/document/F8678137C86AF58DB3FCF4E9E5B1F6A6E961D834/annexes/gif</uri></json:item></annexes><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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