Music-printing in late sixteenth- and early seventeenth-century Florence: Giorgio Marescotti, Cristofano Marescotti and Zanobi Pignoni
Identifieur interne : 000C45 ( Istex/Corpus ); précédent : 000C44; suivant : 000C46Music-printing in late sixteenth- and early seventeenth-century Florence: Giorgio Marescotti, Cristofano Marescotti and Zanobi Pignoni
Auteurs : Tim CarterSource :
- Early Music History [ 0261-1279 ] ; 1990-10.
Abstract
A number of scholars have begun to explore the activities of music-printers in sixteenth-century Italy. The first music-print produced by movable type was issued by Ottaviano Petrucci in 1501, and by the 1540s improvements in printing techniques, and particularly the introduction of single-impression printing, had set music-printing on a firm commercial footing, first and foremost in Venice, the centre of the printing trade on the peninsula. The two chief Venetian music-printers in the mid-century, Antonio Gardano and Girolamo Scotto, headed commercial enterprises the organisation of which merits close study by economic historians. But the activities of these and other music-printers must also be examined for their effect on contemporary musical culture. Through their editorial policies and commercial strategies, printers such as Gardano and Scotto had an undeniable influence on the composition and dissemination of music in this period, creating and defining a market or markets for their wares which increasingly directed the activities of contemporary composers.
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DOI: 10.1017/S0261127900000991
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The first music-print produced by movable type was issued by Ottaviano Petrucci in 1501, and by the 1540s improvements in printing techniques, and particularly the introduction of single-impression printing, had set music-printing on a firm commercial footing, first and foremost in Venice, the centre of the printing trade on the peninsula. The two chief Venetian music-printers in the mid-century, Antonio Gardano and Girolamo Scotto, headed commercial enterprises the organisation of which merits close study by economic historians. But the activities of these and other music-printers must also be examined for their effect on contemporary musical culture. Through their editorial policies and commercial strategies, printers such as Gardano and Scotto had an undeniable influence on the composition and dissemination of music in this period, creating and defining a market or markets for their wares which increasingly directed the activities of contemporary composers.</div></front></TEI><istex><corpusName>cambridge</corpusName><author><json:item><name>Tim Carter</name><affiliations><json:string>Royal Holloway and Bedford New College, University of London</json:string></affiliations></json:item></author><articleId><json:string>00099</json:string></articleId><arkIstex>ark:/67375/6GQ-PBXB1MK2-T</arkIstex><language><json:string>eng</json:string></language><originalGenre><json:string>research-article</json:string></originalGenre><abstract>A number of scholars have begun to explore the activities of music-printers in sixteenth-century Italy. 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The first music-print produced by movable type was issued by Ottaviano Petrucci in 1501, and by the 1540s improvements in printing techniques, and particularly the introduction of single-impression printing, had set music-printing on a firm commercial footing, first and foremost in Venice, the centre of the printing trade on the peninsula. The two chief Venetian music-printers in the mid-century, Antonio Gardano and Girolamo Scotto, headed commercial enterprises the organisation of which merits close study by economic historians. But the activities of these and other music-printers must also be examined for their effect on contemporary musical culture. Through their editorial policies and commercial strategies, printers such as Gardano and Scotto had an undeniable influence on the composition and dissemination of music in this period, creating and defining a market or markets for their wares which increasingly directed the activities of contemporary composers.</p></abstract></profileDesc><revisionDesc><change when="1990-10">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="US-ASCII"</istex:xmlDeclaration><istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType><istex:document><article dtd-version="2.2" article-type="research-article"><front><journal-meta><journal-id journal-id-type="publisher-id">EMH</journal-id><journal-title>Early Music History</journal-title><abbrev-journal-title>Early Music History</abbrev-journal-title><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/S0261127900000991</article-id><article-id pub-id-type="pii">S0261127900000991</article-id><article-id pub-id-type="publisher-id">00099</article-id><title-group><article-title>Music-printing in late sixteenth- and early seventeenth-century Florence: Giorgio Marescotti, Cristofano Marescotti and Zanobi Pignoni<xref ref-type="fn" rid="fn01">*</xref></article-title><alt-title alt-title-type="left-running">Tim Carter</alt-title><alt-title alt-title-type="right-running">Music-printing in Florence</alt-title><fn-group><fn id="fn01" symbol="*"><label>*</label><p>The research for this study was done under the auspices of the Harvard University Center for Italian Renaissance Studies, Villa I Tatti, Florence, and the Newberry Library, Chicago, whose support I gratefully acknowledge. A preliminary report on this material was presented in my ‘The Music Trade in Late Sixteenth-Century Florence’ at the Fourteenth Annual Convention of the International Musicological Society, Bologna, 1987; and a companionpiece, ‘Music-Selling in Late Sixteenth-Century Florence: The Bookshop of Piero di Giuliano Morosi’, appeared in <italic>Music & Letters</italic>, 70 (1989), pp. 483–504. I thank the staff of the Archivio di Stato, the Biblioteca Nazionale Centrale, and the Biblioteca Marucelliana, Florence, for their unfailing courtesy and assistance, and also Jane Bernstein, Iain Fenlon and Nigel Fortune for their comments on earlier drafts.</p></fn></fn-group></title-group><contrib-group><contrib><name><surname>Carter</surname><given-names>Tim</given-names></name><xref ref-type="aff" rid="aff1"></xref></contrib></contrib-group><aff id="aff1"><addr-line>Royal Holloway and Bedford New College</addr-line>, <institution>University of London</institution></aff><pub-date pub-type="ppub"><month>10</month><year>1990</year></pub-date><volume>9</volume><fpage seq="4">27</fpage><lpage>72</lpage><permissions><copyright-statement>Copyright © Cambridge University Press 1990</copyright-statement><copyright-year>1990</copyright-year><copyright-holder>Cambridge University Press</copyright-holder></permissions><abstract abstract-type="text-abstract"><p>A number of scholars have begun to explore the activities of music-printers in sixteenth-century Italy. The first music-print produced by movable type was issued by Ottaviano Petrucci in 1501, and by the 1540s improvements in printing techniques, and particularly the introduction of single-impression printing, had set music-printing on a firm commercial footing, first and foremost in Venice, the centre of the printing trade on the peninsula. The two chief Venetian music-printers in the mid-century, Antonio Gardano and Girolamo Scotto, headed commercial enterprises the organisation of which merits close study by economic historians. But the activities of these and other music-printers must also be examined for their effect on contemporary musical culture. Through their editorial policies and commercial strategies, printers such as Gardano and Scotto had an undeniable influence on the composition and dissemination of music in this period, creating and defining a market or markets for their wares which increasingly directed the activities of contemporary composers.</p></abstract><counts><page-count count="46"></page-count></counts><custom-meta-wrap><custom-meta><meta-name>pdf</meta-name><meta-value>S0261127900000991a.pdf</meta-value></custom-meta></custom-meta-wrap></article-meta></front><back><fn-group><fn id="fn02" symbol="1"><label><sup>1</sup></label><p><citation id="ref001" citation-type="thesis"><name><surname>Lewis</surname><given-names>M. S.</given-names></name>, ‘Antonio Gardane and his Publications of Sacred Music, 1538–55’ (Ph.D. dissertation, <publisher-name>Brandeis University</publisher-name>, <year>1979</year>)</citation>. For a parallel example dealing with Rome, see <citation id="ref002" citation-type="book"><name><surname>Cusick</surname><given-names>S.</given-names></name>, <source>Valerio Dorico: Music Printer in Sixteenth-Century Rome</source> (<publisher-loc>Ann Arbor</publisher-loc>, <year>1981</year>)</citation>. Would that commercial records for Italian printers had survived to the same extent as for the Plantin-Moretus press in Antwerp, see <citation id="ref003" citation-type="book"><name><surname>Voet</surname><given-names>L.</given-names></name>, <source>The Golden Compasses: A History and Evaluation of the Printing and Publishing Activities of the Officina Plantiniana at Antwerp</source>, 2 vols. (<publisher-loc>Amsterdam</publisher-loc>, <year>1969</year>–<year>1972</year>)</citation>.</p></fn><fn id="fn03" symbol="2"><label><sup>2</sup></label><p><citation id="ref004" citation-type="thesis"><name><surname>Agee</surname><given-names>R. J.</given-names></name>, ‘The Privilege and Venetian Music Printing in the Sixteenth Century’ (Ph.D. dissertation, <publisher-name>Princeton University</publisher-name>, <year>1982</year>)</citation>; <xref ref-type="bibr" rid="ref004">idem</xref>, ‘The Venetian Privilege and Music-Printing in the Sixteenth Century’, <italic>Early Music History</italic>, 3 (1983), pp. 1–42; <xref ref-type="bibr" rid="ref004">idem</xref>, ‘A Venetian Music-Printing Contract and Edition Size in the Sixteenth Century’, Studi Musicali, 15 (1986), pp. 59–65.</p></fn><fn id="fn04" symbol="3"><label><sup>3</sup></label><p>Some brief general comments on music-printing in Florence over the 1600s are made in <citation id="ref005" citation-type="book"><name><surname>Fabbri</surname><given-names>P.</given-names></name>, <name><surname>Pompilio</surname><given-names>A.</given-names></name> and <name><surname>Vassalli</surname><given-names>A.</given-names></name>, ‘Frescobaldi e le raccolte con composizioni a voce sola del primo Seicento,’ <source>Girolamo Frescobaldi nel <sc>iv</sc> centenario della nascita</source>, ed. <name><surname>Durante</surname><given-names>S.</given-names></name> and <name><surname>Fabris</surname><given-names>D.</given-names></name> (<publisher-loc>Florence</publisher-loc>, <year>1986</year>), pp. <fpage>233</fpage>–60</citation>. The following abbreviations are used here to identify <italic>fondi</italic> in the Archivio di Stato, Florence: Aud. Rif., Auditore delle Riformagioni; Dep. Gen., Depositeria Generale; GCS, Guicciardini–Corsi–Salviati; LC, Libri di Commercio; Mag. Pup., Magistrato de' Pupilli; Mag. Sup., Magistrato Supremo; MdP, Mediceo del Principato; Med. Spez., Arte dei Medici e Speziali; Misc. Med., Miscellanea Medicea; Prat. Seg., Pratica Segreta; PdB, Provvisioni della Balìa; Reg. Dir., Regio Diritto; S. M. Nuova, Santa Maria Nuova; Trib. Mer., Tribunale di Mercanzia; Urb., Urbino. Petitions and memoranda are often undated, or bear a date only in the <italic>rescritto</italic>, an official annotation indicating action to be followed. This <italic>rescritto</italic> could be added anything from a few days to several months after the original submission. Documents which can be dated only in this manner are so indicated. The Florentine year began on 25 March; where necessary, <italic>stile fiorentino</italic> and <italic>stile comune</italic> datings are combined in a single formula, e.g. 23 February 1562/3. The monetary units adopted here are, in order of increasing value, denari, soldi (1 soldo=12 denari), lire (1 lira=20 soldi), scudi (in general, 1 scudo=7 lire). Lire, soldi and denari may be expressed in a single formula, e.g. L. 3.12. 8. Quotations follow the source, with expanded abbreviations and contractions indicated by italics. All translations are my own.</p></fn><fn id="fn05" symbol="4"><label><sup>4</sup></label><p>Lewis, ‘Antonio Gardane and his Publications of Sacred Music’, p. 160.</p></fn><fn id="fn06" symbol="5"><label><sup>5</sup></label><p>See <citation id="ref006" citation-type="book"><name><surname>Ascarelli</surname><given-names>F.</given-names></name>, <source>La tipografia cinquecentina italiana</source> (<publisher-loc>Florence</publisher-loc>, <year>1953</year>), pp. <fpage>133</fpage>–46</citation>; <citation id="ref007" citation-type="journal"><name><surname>Bareggi</surname><given-names>C.</given-names></name>, ‘<article-title>Giunta, Doni, Torrentino: tre tipografie fiorentine fra repubblica e principato</article-title>’, <source>Nuova Rivista Storica</source>, <volume>58</volume> (<year>1974</year>), pp. <fpage>318</fpage>–48</citation>; <citation id="ref008" citation-type="journal"><name><surname>Biagiarelli</surname><given-names>B. Maracchi</given-names></name>, ‘<article-title>Il privilegio di stampatore ducale nella Firenze medicea</article-title>’, <source>Archivio Storico Italiano</source>, <volume>123</volume> (<year>1965</year>), pp. <fpage>304</fpage>–70</citation>; <citation id="ref009" citation-type="book"><name><surname>Perini</surname><given-names>L.</given-names></name>, ‘Editoria e società’, <source>Firenze e la Toscana dei Medici nell'Europa del Cinquecento: la corte il mare i mercanti; la rinascita della scienza; editoria e società; astrologia, magia e alchimia</source>, ed. <name><surname>Perini</surname><given-names>L.</given-names></name> (<publisher-loc>Florence</publisher-loc>, <year>1980</year>), pp. <fpage>245</fpage>–<lpage>308</lpage></citation>. On the Giunti, see <citation id="ref010" citation-type="book"><name><surname>Decia</surname><given-names>D.</given-names></name>, <name><surname>Delfiol</surname><given-names>R.</given-names></name> and <name><surname>Camerini</surname><given-names>L. S.</given-names></name>, <source>I Giunti tipografi editori di Firenze, 1497–1570: annali</source> (<publisher-loc>Florence</publisher-loc>, <year>1978</year>)</citation>; <citation id="ref011" citation-type="book"><name><surname>Camerini</surname><given-names>L. S.</given-names></name>, <source>I Giunti tipografi editori di Firenze, 1571–1620: annali</source> (<publisher-loc>Florence</publisher-loc>, <year>1979</year>)</citation>; <citation id="ref012" citation-type="book"><name><surname>Pettas</surname><given-names>W. A.</given-names></name>, <source>The Giunti of Florence: Merchant Publishers of the Sixteenth Century</source> (<publisher-loc>San Francisco</publisher-loc>, <year>1980</year>)</citation>. According to Ascarelli, the Sermartelli firm did not begin its activities until 1554, but the family can be traced back to the fifteenth-century Florentine printer Bartolomeo di Francesco ‘detto de’ Libri', see <citation id="ref013" citation-type="journal"><name><surname>Biagiarelli</surname><given-names>B. Maracchi</given-names></name>, ‘<article-title>I Sermartelli, discendenti di Bartolomeo de' Libri</article-title>’, <source>La Bibliofilia</source>, <volume>63</volume> (<year>1961</year>), pp. <fpage>281</fpage>–8</citation>. From 1519 to 1524, Bartolomeo's son, Michelangelo, operated a press in Siena before returning to Florence. On the press run by Antonfrancesco Doni, see <citation id="ref014" citation-type="book"><name><surname>Marsili-Libelli</surname><given-names>C. Ricottini</given-names></name>, <source>Anton Francesco Doni scrittore e stampatore: bibliografia delle opere e della critica e annali tipografi</source> (<publisher-loc>Florence</publisher-loc>, <year>1960</year>)</citation>.</p></fn><fn id="fn07" symbol="6"><label><sup>6</sup></label><p><citation id="ref015" citation-type="book"><name><surname>Adelson</surname><given-names>C.</given-names></name>, ‘Documents for the Foundation of Tapestry Weaving under Cosimo <sc>i</sc> de' Medici’, <source>Renaissance Studies in Honor of Craig Hugh Smyth</source>, ed. <name><surname>Morrogh</surname><given-names>A.</given-names></name>, <name><surname>Gioffredi</surname><given-names>F. Superbi</given-names></name>, <name><surname>Morselli</surname><given-names>P.</given-names></name> and <name><surname>Borsook</surname><given-names>E.</given-names></name>, 2 vols. (<publisher-loc>Florence</publisher-loc>, <year>1985</year>), <volume>ii</volume>, pp. <fpage>3</fpage>–<lpage>21</lpage></citation>. The parallels between the tapestry workshop and the ducal press were noted in a decision of the Pratica Segreta on the renewal of Lorenzo Torrentino's privileges taken on 15 July 1560: ‘li pare si possa aiutare con darli una stanza per sua habitatione, et per la stamperia, come V<italic>ostra</italic> Ecc<italic>ellenza</italic> da alli M<italic>aest</italic>ri Tappezzierj’ (Prat. Seg. 5, ins. 69, given in Maracchi Biagiarelli, ‘Il privilegio di stampatore ducale’, pp. 338–9; another copy in Aud. Rif. 3, fol. 518<sup>r</sup>, given, with an incorrect reference, in Bareggi, ‘Giunta, Doni, Torrentino’, p. 347).</p></fn><fn id="fn08" symbol="7"><label><sup>7</sup></label><p>See the letter from Lelio Torelli to Lorenzo Pagni, 8 January 1546/7, given in <citation id="ref016" citation-type="book"><name><surname>Moreni</surname><given-names>D.</given-names></name>, <source>Annali della tipografia fiorentina di Lorenzo Torrentino impressore ducale</source> (<edition>2nd edn</edition>, <publisher-loc>Florence</publisher-loc>, <year>1819</year>), p. <fpage>xxv</fpage></citation>: ‘si potrebbe concludere seco, o con li Giunti chi più a S<italic>ua</italic> E<italic>ccellenza</italic> piacesse; et quella risponse al [Cosimo] Lattino, che più li piacea questo M<italic>esser</italic> Lorenzo, che nel vero, et di comodità di pratiche di fuori, et di correttori, et di lettere, et di diligentia è più da piacere’. On Torrentino, see also <citation id="ref017" citation-type="book"><name><surname>Hoogewerff</surname><given-names>G.</given-names></name>, ‘L'editore del Vasari: Lorenzo Torrentino’, <source>Studi vasariani: atti del convegno internazionale per il IV centenario della prima edizione delle ‘Vite’ del Vasari</source> (<publisher-loc>Florence</publisher-loc>, <year>1952</year>), pp. <fpage>93</fpage>–<lpage>104</lpage></citation>.</p></fn><fn id="fn09" symbol="8"><label><sup>8</sup></label><p>‘homo spensierato et dedito à sua piaceri’, in a memorandum from Paolo Vinta to Grand Duke Francesco <sc>i</sc>, 15 April 1577, Aud. Rif. 12, fol. 209<sup>r</sup>, given (with some inaccuracies) in Maracchi Biagiarelli, ‘Il privilegio di stampatore ducale’, pp. 352–3. Torrentino's own complaints about Florence are in a petition for the renewal of his privileges in 1560, summarised in Prat. Seg. 5, ins. 69 (original in Misc. Med. 314, ins. 3, no. 1), given in <citation id="ref018" citation-type="other"><name><surname>Biagiarelli</surname><given-names>Maracchi</given-names></name>, <italic>op. cit.</italic>, pp. <fpage>338</fpage>–9</citation>. Dissatisfaction with Florence is also suggested by the fact that in the early 1560s, Torrentino established a press in Mondovì.</p></fn><fn id="fn10" symbol="9"><label><sup>9</sup></label><p>Torrentino's sons petitioned for the maintenance of their father's privileges on 16 February 1562/1563, see Aud. Rif. 8, fol. 692<sup>r</sup>. They were granted, but were not renewed in 1566, see Aud. Rif. 9, no. 174. The sons formed partnerships with Bernardo Fabroni and Carlo Pettinari (the latter petitioned for a monopoly on the printing of state legislation on 30 January 1567/8, see Aud. Rif. 10, no. 117, but it was denied). The partnership with Pettinari lapsed in 1570, and there are no further records of the activities of Torrentino's heirs in Florence. For other documents on the parlous financial state of the firm after Lorenzo Torrentino's death, see Reg. Dir. 6025, fol. 378<sup>r</sup>; 6029, fol 55<sup>r</sup>.</p></fn><fn id="fn11" symbol="10"><label><sup>10</sup></label><p>An undated petition (but after 1563) by Filippo and Jacopo Giunti for concessions and the title of ‘stampatore ducale’, Misc. Med. 314, ins. 3, no. 3, fol. [l]<sup>r</sup>: ‘Ma li libri ch<italic>e</italic> si hanno da stampare in Fiorenza, non sono di questa carattata, ch<italic>e</italic> no<italic>n</italic> si potrebbe competere conloro ne prezzi, ma sono libri piu squesitj e di piu honore e manco vtile, rispetto alla fatica e spesa grande al condurlj, p<italic>er</italic> tante sorte di caratterj ch<italic>e</italic> uà in vno di questi librj, doue sia piu Testj Grecj latinj e tradottj, con parafrase Annotatione e comentj, ch<italic>e</italic> hanno a esser tuttj caratterj variatj, e in oltre si ha da fare trascriuere le copie della libreria di s<italic>an</italic> lorenzo, doue si spende molte dozzine di scudj, e nej corettorj e lauora<italic>n</italic>tj della stampa, si spende doppiamente, piu ch<italic>e</italic> no<italic>n</italic> si fa nelle opere ordinarie e corrente…’.</p></fn><fn id="fn12" symbol="11"><label><sup>11</sup></label><p>A petition of 13 March 1562/3 for concessions and the title of ‘stampatore ducale’, Reg. Dir. 6029, fols. 122<sup>r</sup>–122<sup>v</sup>: ‘Che quando fino ahora hauemo hauto a stampare qualche libro d'importanza e di grande spesa, e potuto disporre a cio fare gl'Autori delle opere, noi gli hauiamo fattj stampare, come puo <italic>Vostra Signoria</italic> ageuolmente sapere, in Vinezia p<italic>er</italic> queste cagionj, Prima p<italic>er</italic>ch<italic>e</italic> essendo qua grandj e molte le gabelle et in gran prezzo tutte le cose attenentj a questo esercitio, non si puo senza qualche aiuto stampare librj grandj e d'importanza, se non da chj vuole mettersj a rischio dj manifesto danno, come la sperienza può gia hauer a moltj insino a hoggi dimostrato. Secondariamente p<italic>er</italic> questo, ch<italic>e</italic> hauendosi a concorrer con Vinezia francia & Alemagna, doue le stampe fioriscono in gran copia, e sono gl'huominj a ciò molto attj, e tutte le cose a miglior mercato, no<italic>n</italic> si puo qui senza qualche aiuto e habilità stampare, ne senza perderuj grossamente libri grandj come si è detto, e d'importanza. Oltre alle dette gabelle e spese è da considerar' ancora che chi stampa in Fiorenza spende assaj similmente nelle vetture, bisognando necessariamente mandar' fuorj e in diuersj luoghj i libri p<italic>er</italic> smaltirgli, et a Vinetia massimamente, doue concorrono moltj forestierj a comprare, p<italic>er</italic> esser in q<italic>ue</italic>lla citta com<italic>m</italic>odo dj fare assortimento di librj, e molte Botteghe di librarj, bisogna dico smaltirglj fuora, essendo questo verissimo, che d'ogni libro ch<italic>e</italic> si stampa in fiorenza quantunque buono 25, 30, o, 40, o, vn cosi fatto numero condisce tutto lo stato, e l'ordinario è stampar' d'ognj libro mille, la doue tuttj gl'altri principali luoghj di stampe no<italic>n</italic> hanno queste spese, o, al meno cosj grande di vetture a vn pezzo, doue noj siamo forzatj condurglj in altrj paesi con infinite spese, p<italic>er</italic> tacere i moltj pericolj aj qualj sottogiace quest'arte, o <italic>per</italic>che riesca cattiuo il libro, o, <italic>per</italic>che sia ristampato in minor volume e minorj caratterj, o, <italic>per</italic>che finalmente è mandate fuorj da altrj con nuoue additionj postille tauole e altre cosi fatte cose ch<italic>e</italic> si veggono ognj giorno fare co<italic>n</italic> gran danno di chi ha da prima stampato il libro semplicemente, e particularmente p<italic>er</italic> le dette cagionj in fiorenza doue quando ciò auiene, rimangono i librj a far la guardia ajmagazzinj e doppo qualch<italic>e</italic> [fol. 122<sup>v</sup>] tempo inuolture delle mercanzie de pizzicagnolj, si come la sperienza giornalmente ne dimostra.' This petition and its supporting documents are also transcribed (with some inaccuracies) in Maracchi Biagiarelli, ‘Il privilegio di stampatore ducale’, pp. 347–51.</p></fn><fn id="fn13" symbol="12"><label><sup>12</sup></label><p>An estimate prepared by Lelio Torelli in response to the Giunti's petition of 13 March 1562/3 (see n. 11), Reg. Dir. 6029, fol. 123<sup>r</sup>; see also Maracchi Biagiarelli, ‘Il privilegio di stampatore ducale’, pp. 349–50. Imported books seem to have been taxed at 12.5% of their value, exported books at 8.3%, and imported paper at L. 1.19. 0 per 100 Florentine lbs. (1 Florentine lb. equals approximately 12 English ounces). On this and other matters of taxation and costs, see also <citation id="ref019" citation-type="other"><name><surname>Pettas</surname></name>, <italic>The Giunti of Florence</italic>, pp. <fpage>124</fpage>–52</citation>.</p></fn><fn id="fn14" symbol="13"><label><sup>13</sup></label><p>Misc. Med. 314, ins. 3, no. 3 (see n. 10), fol. [l]<sup>v</sup>: ‘q<italic>uesta</italic> mercantia di librj, è diuersa dal altre, e seco<italic>n</italic>do ch<italic>e</italic> è stimata, p<italic>er</italic> ch<italic>e</italic> e librj no<italic>n</italic> si uendon tuttj, e si attende a empier delle stanze, e scanzie …’.</p></fn><fn id="fn15" symbol="14"><label><sup>14</sup></label><p>A petition (<italic>rescritto</italic> dated 23 February 1624/5) by Salvestro Marchetti and Carlo Massini for a five-year privilege on all their new prints, Aud. Rif. 34, fol. 253<sup>r</sup>: ‘nello stampare libri et altre op<italic>ere</italic> ui ua qualche spesa, e longhezza di tempo nello smaltirle’.</p></fn><fn id="fn16" symbol="15"><label><sup>15</sup></label><p>Giovan Maria Giunti to Duke Cosimo, Venice, 11 September 1546, given in <citation id="ref020" citation-type="book"><name><surname>Camerini</surname><given-names>P.</given-names></name>, <source><italic>Annali dei Giunti</italic>, <sc>i</sc>: <italic>Venezia</italic></source>, 2 vols. (<publisher-loc>Florence</publisher-loc>, <year>1962</year>–<year>1963</year>), <volume>i</volume>, p. <fpage>304</fpage></citation>: ‘perché tale exercitio in altra città d'ltalia non si può fare meglio che in questa’. On the attractions of Venice for the printing trade, see also <citation id="ref021" citation-type="journal"><name><surname>Manzi</surname><given-names>P.</given-names></name>, ‘<article-title>Editori tipografi e librai napoletani a Venezia nel secolo <sc>xvi</sc></article-title>’, <source>La Bibliofilia</source>, <volume>76</volume> (<year>1974</year>), pp. <fpage>35</fpage>–<lpage>138</lpage></citation>; <citation id="ref022" citation-type="book"><name><surname>Grendler</surname><given-names>P. F.</given-names></name>, <source>The Roman Inquisition and the Venetian Press, 1540–1605</source> (<publisher-loc>Princeton</publisher-loc>, <year>1977</year>), pp. <fpage>3</fpage>–<lpage>24</lpage>, <fpage>225</fpage>–33</citation>; <citation id="ref023" citation-type="book"><name><surname>Pesenti</surname><given-names>T.</given-names></name>, ‘Stampatori e letterati nell'industria editoriale a Venezia e in terraferma’, <source><italic>Storia della cultura veneta</italic>, <sc>iv</sc>: <italic>Il Seicento</italic></source>, <volume>i</volume>, ed. <name><surname>Arnaldi</surname><given-names>G.</given-names></name> and <name><surname>Stocchi</surname><given-names>M. Pastore</given-names></name> (<publisher-loc>Vicenza</publisher-loc>, <year>1983</year>), pp. <fpage>93</fpage>–<lpage>129</lpage></citation>. On the similar attractions of Antwerp, see Christopher Plantin's remarks quoted in <citation id="ref024" citation-type="thesis"><name><surname>Forney</surname><given-names>K. K.</given-names></name>, ‘Tielman Susato, Sixteenth-Century Music Printer: An Archival and Typographical Investigation’ (Ph.D. dissertation, <publisher-name>University of Kentucky</publisher-name>, <year>1978</year>), p. <fpage>6</fpage></citation>.</p></fn><fn id="fn17" symbol="16"><label><sup>16</sup></label><p>Reg. Dir. 6029, fol. 122<sup>v</sup> (continuation of the passage in n. 11): ‘Le quali tutte cose apertamente dimostrano p<italic>er</italic> lo contrario ch<italic>e</italic> con qualche esentione et habilità si possono fuggir questj pericolj, lauorar assaj cose, concorrer con le altre città, dar l'opere a miglior mercato, e cosj exercitarsi con honore e vtile de mercantj e com<italic>m</italic>odo e beneficio dell'Vniversita.’</p></fn><fn id="fn18" symbol="17"><label><sup>17</sup></label><p><citation id="ref025" citation-type="journal"><name><surname>Panella</surname><given-names>A.</given-names></name>, ‘<article-title>L'introduzione a Firenze dell'Indice di Paolo IV</article-title>’, <source>Rivista Storica degli Archivi Toscani</source>, <volume>1</volume> (<year>1929</year>), pp. <fpage>11</fpage>–<lpage>25</lpage></citation>; <citation id="ref026" citation-type="other"><name><surname>Pettas</surname></name>, <italic>The Giunti of Florence</italic>, pp. <fpage>162</fpage>–8</citation>. In late 1562, Duke Cosimo urged his agent at the Council of Trent, the Archbishop of Ragusa, to seek moderation in the application of the Index, see the letters in Reg. Dir. 6028, fols. 398–9. Relations between the civil and ecclesiastical censors in Florence remained tense, see Aud. Rif. 20, fols. 193<sup>r</sup>, 352–3, 391–4 (and the comments of the Venice branch of the Giunti firm given in <citation id="ref027" citation-type="journal"><name><surname>Camerini</surname><given-names>P.</given-names></name>, <source><italic>Annali dei Giunti</italic>, <sc>i</sc>: <italic>Venezia</italic></source>, <volume>ii</volume>, p. <fpage>16</fpage>)</citation>, and also <citation id="ref028" citation-type="journal"><name><surname>Panella</surname><given-names>A.</given-names></name>, ‘<article-title>La censura sulla stampa e una questione giurisdizionale fra Stato e Chiesa in Firenze alla fine del secolo <sc>xvi</sc></article-title>’, <source>Archivio Storico Italiano</source>, 5th series, <volume>43</volume> (<year>1909</year>), pp. <fpage>140</fpage>–51</citation>.</p></fn><fn id="fn19" symbol="18"><label><sup>18</sup></label><p>Paolo Vinta argued for restricting privileges in early 1573 (Aud. Rif. 11, no. 115); thereafter they were awarded to editions printed outside Tuscany only if these were sufficiently prestigious or supported by a prominent patron. He then objected to universal privileges (the Giunti appear to have had an unused one between 1560 and 1573, see Aud. Rif. 7, no. 27[bis] II, no. 199) on the grounds that individual privileges avoided favouring one printer over another, allowed the grand duke to display repeatedly his benevolence, and maintained a check on output and quality (Aud. Rif. 11, no. 118). On the cost of printing and other privileges (including 100 scudi for the title of Marchese), see Aud. Rif. 4, fols. 551–2; the Giunti sometimes attempted to circumvent this charge through multiple applications (Aud. Rif. 22, fols. 94–5). Civil censorship in Florence merits a detailed study. Unlike Venice, no formal system seems to have operated regularly, but books had to be approved variously by members of the Accademia Fiorentina (1585, Aud. Rif. 15, no. 24), by the court <italic>auditore</italic> (1591, Aud. Rif. 18, no. 134, Prat. Seg. 95, fol. 72<sup>v</sup>; 1618, Reg. Dir. 19, fol. 422<sup>r</sup>), and by an academic at the University (1598, Aud. Rif. 23, fol. 73<sup>r</sup>), while in December 1602, the Giunti requested a clarification of procedure (Reg. Dir. 10, fol. 21<sup>r</sup>). Censors monitored quality (Reg. Dir. 9, fol. 326<sup>r</sup>), political content (for Scipione Ammirato, see Aud. Rif. 20, fols. 137–40), and undesirable references to internal and foreign affairs (Reg. Dir. 13, fol. 247<sup>r</sup>; 16, fol. 899<sup>r</sup>; 19, fol. 422<sup>r</sup>). Privileges could also be used to encourage particular types of publication: in May 1616, Antonio Guiducci was granted one for a book on ‘la uita, estasi, e reuelationi di Suor Giovanna della Croce’ with the revealing suggestion that it might ‘dar' animo alli stampatori che piu volentieri imprendino simili imprese’ (Reg. Dir. 18, fol. 697<sup>r</sup>).</p></fn><fn id="fn20" symbol="19"><label><sup>19</sup></label><p>Reg. Dir. 6029, fols. 121–33, also given in Maracchi Biagiarelli, ‘Il privilegio di stampatore ducale’, pp. 347–51 (see above, n. 11).</p></fn><fn id="fn21" symbol="20"><label><sup>20</sup></label><p>A memorandum by Paolo Vinta, 8 October 1571, Aud. Rif. 11, no. 41: ‘Jacopo et Ber<italic>nar</italic>do Giunti librari desiderando d'intromettere nella Città di Firenze la stampa dell'opere musicali, supp<italic>lica</italic>no V<italic>ostra</italic> A<italic>ltezza</italic> li conceda un’ Privilegio per quel tempo che à lei parrà, che nissuno possa ne' suoi feliciss<italic>imi</italic> stati stampare simili opere ò, stampato dalli supplica<italic>n</italic>ti uendere senza loro consenso, qua<italic>n</italic>tunche stampassino cose altra uolta stampate, et inoltre che nissuno possa condurre opere stampate in Venetia, ò, in altre bande ogni uolta, che da Giunti sarà stampato i<italic>n</italic> Fiore<italic>n</italic>za'. Jacopo Giunti seems to have separated from his brother, who raised objections to this request so as to guarantee his own privileges.</p></fn><fn id="fn22" symbol="21"><label><sup>21</sup></label><p>PdB, 8 February 1514/5: ‘volendo essi fare qualche opera lodevole circa l'arte liberale della Musica avean trovata moda di stamparla come si fanno gli altri libri di lettera cosa non riuscita ad alcuno in Firenze’. I am most grateful to Professor Timothy McGee for communicating this source and a transcription to me.</p></fn><fn id="fn23" symbol="22"><label><sup>22</sup></label><p><citation id="ref029" citation-type="journal"><name><surname>Haar</surname><given-names>J.</given-names></name>, ‘<article-title>A Gift of Madrigals to Cosimo I: the Ms. Florence, Bibl. Naz. Centrale, Magl. <sc>xix</sc>, 130</article-title>’, <source>Rivista Italiana di Musicologia</source>, <volume>1</volume> (<year>1966</year>), pp. <fpage>167</fpage>–89</citation>. For Doni's complaints about the Giunti luring staff away from his press, including, as well as a German apprentice from Nuremberg and a Flemish type-founder, ‘un altro … che compone musica, un altro che <italic>scrive al greco, uno che intaglia nel legno et al torchio un francese</italic>’, see his letter given in Bareggi, ‘Giunta, Doni, Torrentino’, pp. 327–8.</p></fn><fn id="fn24" symbol="23"><label><sup>23</sup></label><p>Aud. Rif. 11, no. 41 (see n. 20): ‘Ho inteso l'opinione delli altri librari di Fiorenza, et sicome tutti si conte<italic>n</italic>tano che li supp<italic>lican</italic>ti otte<italic>n</italic>ghino dà q<italic>ue</italic>lla il Priuilegio circa le cose nuoue solame<italic>n</italic>te, cosi ciascuno di loro per il suo interesse dicè no<italic>n</italic> essere co<italic>n</italic>ueniente, che l'impetrino qua<italic>n</italic>ta alle op<italic>er</italic>e antiche, e di gia stampate, Maxime quando fussino impediti di no<italic>n</italic> poter condurne di fuore, atteso che li Giunti ristamperebbono con prestezza tutte le più belle, et ridurrebbono in som<italic>m</italic>a nella bottega loro tutte le cose di Musica, et li altri nè sarebbono priui, et anco sarieno forzati tenere quei libri, che hauessino in bottega persi, senza speranza di poterli uendere, [<italic>sic</italic>] Inoltre à me non pare ragioneuole il prohibire, che no<italic>n</italic> si possi condurre dell'opere et libri stampati altroue, ancorche li Giu<italic>n</italic>ti li ristampassino qui, non solo perche si preiudicherebbe alle gabelle di Fiorenza, mà ancora perche instituirebbono un' Monopolio, et dell'abunda<italic>n</italic>tia, si faria carestia.’</p></fn><fn id="fn25" symbol="24"><label><sup>24</sup></label><p>Aud. Rif. 11, no. 41 (see n. 20), unsigned and undated annotation (but in the hand of Lelio Torelli): ‘S<italic>ua</italic> A<italic>ltezza</italic> no<italic>n</italic> uuole ristringner' i<italic>n</italic> loro soli lo sta<italic>m</italic>par' le Musiche ne inpeder’ ch<italic>e</italic> no<italic>n</italic> sen' ue<italic>n</italic>ghono'.</p></fn><fn id="fn26" symbol="25"><label><sup>25</sup></label><p>See the memorandum by Paolo Vinta, 9 06 1573, Aud. Rif. 11, no. 199, also given (with some inaccuracies) in <citation id="ref030" citation-type="other"><name><surname>Pettas</surname></name>, <italic>The Giunti of Florence</italic>, pp. <fpage>328</fpage>–9</citation>.</p></fn><fn id="fn27" symbol="26"><label><sup>26</sup></label><p>It is not clear whether the Giunti obtained copies of the first edition of the <italic>Dialogo</italic> from the Marescotti shop (which still had two bundles containing two loose reams, some twentyfour copies, of the treatise in 1603, see n. 35), or from Galilei or some other source. The practice of reissuing old prints with new title-pages was by no means uncommon – it was one solution to the problem of slow turnover – and was even officially sanctioned: for example, in November 1565 Duke Cosimo gave the Giunti official permission to print new title-pages (dated 1565) for a number of old books recently purchased from the estate of Lorenzo Pasquali (Mag. Sup. 1139, no. 53; and see <citation id="ref031" citation-type="journal"><name><surname>Badia</surname><given-names>I. del</given-names></name>, ‘<article-title>Libri con falsa data di stampa</article-title>’, <source>Miscellanea Fiorentina di Erudizione e Storia</source>, <volume>1</volume> (<year>1886</year>), p. <fpage>15</fpage></citation>; <citation id="ref032" citation-type="other"><name><surname>Pettas</surname></name>, <italic>The Giunti of Florence</italic>, pp. <fpage>180</fpage>–1, <fpage>323</fpage>)</citation>.</p></fn><fn id="fn28" symbol="27"><label><sup>27</sup></label><p>See the memorandum by Francesco Vinta, 6 May 1570, Aud. Rif. 10, no. 453: ‘Giorgio Mareschot Franzese libraro, et accasato già xvj anni nella Città di Fior<italic>en</italic>za desidera co<italic>n</italic> il fauore di V<italic>ostra</italic> Alt<italic>ezza</italic> stampare, et fare stampare alla giornata libri latinj, et Volgari, in lingua Thoscana, o, altra lingua scritti Et per cio sup<italic>pli</italic>ca quella le faccia gratia dun' priuilegio p<italic>er</italic> <sc>xx</sc> annj …’. The privilege was denied. On Marescotti, see <citation id="ref033" citation-type="journal"><name><surname>De Marinis</surname><given-names>T.</given-names></name>, ‘<article-title>Nota sul tipografo Giorgio Marescotti</article-title>’, <source>La Bibliofilia</source>, <volume>71</volume> (<year>1969</year>), pp. <fpage>179</fpage>–80</citation>; <citation id="ref034" citation-type="journal"><name><surname>Delfiol</surname><given-names>R.</given-names></name>, ‘<article-title>I Marescotti, librai, stampatori ed editori a Firenze tra Cinque e Seicento</article-title>’, <source>Studi Secenteschi</source>, <volume>18</volume> (<year>1977</year>), pp. <fpage>146</fpage>–<lpage>204</lpage></citation> (including a checklist of Marescotti prints).</p></fn><fn id="fn29" symbol="28"><label><sup>28</sup></label><p>The matriculation entry for ‘Giorgio d<italic>e</italic> xpofori [Cristofori] de’ malischottis gallus terra d<italic>icta</italic> Constanzo p<italic>ar</italic>tiu<italic>m</italic> gallia librarius in garbo' is in Med. Spez. 12, fol. 116<sup>r</sup>. Marescotti's origins in France are unclear, although one Nicolas Malescot was a bookseller in Paris in 1542–3, see <citation id="ref035" citation-type="book"><name><surname>Renouard</surname><given-names>P.</given-names></name>, <source>Répertoire des imprimeurs Parisiens</source>, ed. <name><surname>Veyrin-Fourer</surname><given-names>J.</given-names></name> and <name><surname>Moreau</surname><given-names>B.</given-names></name> (<publisher-loc>Paris</publisher-loc>, <year>1965</year>), p. <fpage>291</fpage></citation>, and see below, n. 39.</p></fn><fn id="fn30" symbol="29"><label><sup>29</sup></label><p>See the memorandum by the consuls of the Arte dei Medici e Speziali, 29 May 1562, S. M. Nuova 193, no. 189: ‘Giorgio marescottj franzese libraro i<italic>n</italic> fire<italic>n</italic>ze chomanda p<italic>er</italic> le sue precj di poter smaltir’ diuerse sorte di disegni di pittura, attene<italic>n</italic>tj à pittorj, scultorj, et storiografi, et altre professionj, co<italic>n</italic> poterli uender' in giornj festiui et distenderli i<italic>n</italic> pubblico doppo le messe d<italic>e</italic>lle feste, accioche trouandosj egli hauerli condottj i<italic>n</italic> q<italic>uestas</italic> Citta, habbino exito piu facilme<italic>n</italic>te'. Such petitions were becoming increasingly common as the authorities began to clamp down on trading on Sundays and feasts.</p></fn><fn id="fn31" symbol="30"><label><sup>30</sup></label><p>Misc. Med. 314, ins. 3, no. 3 (see n. 10), fol. [2]<sup>r</sup>: ‘Li detti Giuntj allj annj passatj comperorno li librj e la stamp<italic>er</italic>ia del Torrentino, e voleuon vn di loro seguire la d<italic>ett</italic>a stampa, e domandarne poj a lor altezze li p<italic>ri</italic>uilegij del d<italic>etto</italic> Torre<italic>n</italic>tino ma p<italic>er</italic> inuidia fu rotto loro la vendita, e fu compera da giorgio Mariscotti. e p<italic>er</italic> esser quello el sito solito della stamperia ducale, dessiderano ottener quello p<italic>er</italic> esser piu a p<italic>ro</italic>posito, e comodo e lucido p<italic>er</italic> lauorare, e tener moltj huominj, e offeriscono al detto Giorgio di darlj un altro sito di bottega doue stauono e Caccinj, e non possendo di presente, lo aspetteranno 6 mesi vn an<italic>n</italic>o o 18 mesi tanto ch<italic>e</italic> si accomodj, ancor ch<italic>e</italic> d<italic>ett</italic>o Giorgio habbi vn altra bottegha, et appiogiaua molte stanze ad altri p<italic>er</italic> essere a luj troppo.’ For Marescotti's taking over Torrentino's plant and stock, see also the petition by Modesto Giunti to Cammillo Guidi, June 1605, Misc. Med. 314, ins. 3, no. 7.</p></fn><fn id="fn32" symbol="31"><label><sup>31</sup></label><p>An undated petition by Marescotti to the grand duke (sent to the court <italic>auditore</italic> on 2 October 1585), Aud. Rif. 15, no. 54: ‘Giorgio Marescotti, umilmente spone a V<italic>ostra</italic> A<italic>ltezza</italic> S<italic>erenissi</italic>ma come l'animo suo, è stato sempre et è piu che maj, che con le sue fatiche, et industria, possa uiuere, sustentare, et la sua famiglia, con giouare ancora al prossimo, et fare fiorire l'arte sua, in q<italic>ue</italic>sta sua inclita cita di Firenza, sicome ha fatto assaj bene, et honoratamente, in tre<italic>n</italic>ta anni ch'egli ui sta: non solamente, a condurre dj paesi lontanj, molti belli librj, et d'ognj professione, et di diuersi linguagij, figure di disegnj, cosmografie, et altre mercantie appartenantj a detta sua arte, ma ha ancora arrichitto la sua stamparia, dj uarie sorte dj carratterj, de quali giornamente, ne stampa librj, et altre cose, et dj piu ha condotto, Ponzonj, madre, per stampare Musica, che gia ne ha stampato alcune mute, et è il primo che la messa in questa sua detta cita di Firenze, et ne i suoj felicissimj stati, ma non gia senza difficulta, et spese grande Et perche spesse uolte, quando egli si crede guadagnare, p<italic>er</italic>de in digrosso, come fece non troppo mesi sono, che li corsarj li tolsano alquante balle di librj di Francia, che per il buon mezo, et soccorso di V<italic>ostra</italic> A<italic>ltezza</italic> S<italic>erenissi</italic>ma ne riscalo una parte, Poj uj sono alcunj li quali uanno ristampando le sue cose, pero quelle che han<italic>n</italic>o piu credito, spesse uolte in contrario delli originali, et con male satisfattione di chi fa stampare, et in particolare li Bandj, Ordinj, Decreti, Legge, Prouisionj, et altre cose similj de Magistrati dj V<italic>ostra</italic> A<italic>ltezza</italic> S<italic>erenissi</italic>ma Li quali il detto supplicante si e studiato dj stamparli tuttj, (pero quegli che ha potuto hauere) per benefizio, et co<italic>n</italic>solattionj, de Ministrj, et sudittj di V<italic>ostra</italic> A<italic>ltezza</italic> S<italic>erenissi</italic>ma Et acioche egli possa in parte riparare à sj grandi dannj, et male fattj, egli umilmente, et dj cuore supplica V<italic>ostra</italic> A<italic>ltezza</italic> S<italic>erenissi</italic>ma che per sua benignita, li conceda grazia, che nissuno possa ristampare, nellj suoj felicissimj stati, dettj Bandj, Ordinj, Decretj, Legge, Prouisionj, et altre cose similj appartenantj a dettj magistratj, non piu stampati se non da luj, tempo sei mesi dal dj che saranno finitj dj stampare, et annj dodecj per i librj et altre cose nuoue ch'egli alla giornata stampara, et altroue stampate, condurre in dettj suoj felicissimj statj. sotto le solite pene, et preiudizij, del che gliene restara obligatissimo, con tutta la sua famiglia …’.</p></fn><fn id="fn33" symbol="32"><label><sup>32</sup></label><p>An undated petition by Marescotti (sent to the court <italic>auditore</italic> on 6 November 1587), Aud. Rif. 16, no. 40: ‘acciòche egli possa tirare innanzi il suo esercitio nel quale ha introdotto di stampare in musica che non ci era, e mantener la sua sconcia famiglia’.</p></fn><fn id="fn34" symbol="33"><label><sup>33</sup></label><p>Filippo Giunti to Belisario Vinta, 26 September 1596, MdP 873, fol. 403<sup>r</sup>, given in <citation id="ref036" citation-type="other"><name><surname>Camerini</surname><given-names>L. S.</given-names></name>, <italic>I Giunti tipografi editori di Firenze, 1571–1620</italic>, p. <fpage>25</fpage></citation>: ‘perché tra la fame e l'Indice questo mestieri va in terra a fatto’.</p></fn><fn id="fn35" symbol="34"><label><sup>34</sup></label><p>For Layolle, see <citation id="ref037" citation-type="journal"><name><surname>D'Accone</surname><given-names>F. A.</given-names></name>, ‘<article-title>The Intavolatura di M. Alamanno Aiolli</article-title>’, <source>Musica Disciplina</source>, <volume>20</volume> (<year>1966</year>), pp. <fpage>151</fpage>–74</citation>. These disputes, and others involving Florentine printers, are noted in the records of the Accademia Fiorentina in Florence, Biblioteca Marucelliana, MS B. <sc>iii</sc>. 53–4. I am most grateful to Professor D'Accone for directing me to this source.</p></fn><fn id="fn36" symbol="35"><label><sup>35</sup></label><p>See the inventories and accounts of Giorgio Marescotti's estate in Mag. Pup. 692, fols. 96–127 (dated 14/15 February 1602/3), and Mag. Pup. 695, fols. 448–533 (dated 11 November 1603). The most detailed lists of printing equipment and stock are in Mag. Pup. 695, and the bundles and bales of unbound treatises and music are listed on fols. 465<sup>r</sup>, 470<sup>r</sup>, 471<sup>r</sup>, 511<sup>r</sup>. I have estimated the number of copies from the size of the bundles (given in reams). In addition, listed on fol. 469<sup>v</sup> is ‘l Mazo di Madrigali del Caualiere R<italic>is</italic>ma una q<italic>uinter</italic>ni 10’ (presumably some 27 copies of Giovanni del Turco's <italic>Il primo libro de madrigali a cinque</italic> printed in mid-1602). Other unbound prints in the listing include ‘Madrigali Ian gero q<italic>uinter</italic>ni 8’ and ‘Madrigali dorlando [di Lasso] q<italic>uinter</italic>ni 14’: they are entered separately from the other music-prints stored in the shop, but it is unlikely that they are now lost editions by Marescotti himself. No volume of lute intabulations printed by Marescotti survives, although he did own a font for lute tablature, see nn. 38, 41.</p></fn><fn id="fn37" symbol="36"><label><sup>36</sup></label><p>A memorandum by the Magistrato de' Pupilli, 26 November 1602, Mag. Pup. 2285, no. 210: ‘s<italic>er</italic> Gherardo di Gismondo Gherardini, et m<italic>aestro</italic> Dario d'Andrea Grazzi generi di d<italic>etta</italic> m<italic>adama</italic> Agnoletta, et cognati del d<italic>etto</italic> Christofano chiamati d'ordine nostro p<italic>er</italic> dire quanto occhore loro in benefitio de pupilli, fanno instantia, che tal tutela come à noi deferita s'accetti asserendo, che d<italic>etto</italic> Christofano non è habile à esercitarla essendo uissuto p<italic>er</italic> il passato mentre era uiuo d<italic>etto</italic> Giorgio licentiosamente, et con poca satisfatione del padre, et dubitano che sia p<italic>er</italic> fare il medesimo in danno del fratello d'età minore et delle due sorelle’. Cristofano Marescotti had matriculated in the Arte dei Medici e Speziali on 21 May 1602, Med. Spez. 14, fol. 108<sup>r</sup>.</p></fn><fn id="fn38" symbol="37"><label><sup>37</sup></label><p>See the minutes of the Magistrato de' Pupilli, Mag. Pup. 31, fols. 143<sup>r</sup>, 174<sup>r</sup>, 216<sup>v</sup>–217<sup>r</sup>, 229<sup>v</sup>–230<sup>r</sup>, 245<sup>v</sup>; 32, fols. 49<sup>v</sup>–50<sup>r</sup>, 170<sup>r</sup>, 206<sup>r</sup>, 237<sup>v</sup>; 33, fols. 80<sup>v</sup>–81<sup>v</sup>, 84<sup>v</sup>; 34, fols. 10<sup>v</sup>, 82<sup>v</sup>. Supporting documents are in Mag. Pup. 692, fols. 96–127, 575–80; 694, fols. 468, 630, 701; 695, fols. 218, 448–533, 602, 689, 692; 699, fols. 722–3; 715, fols. 214–19, 256–65, 303–8, 742, 921, 1037; 2657, fols. 743–52.</p></fn><fn id="fn39" symbol="38"><label><sup>38</sup></label><p>The music and tablature fonts are listed in an undated (but 1603?) inventory in Mag. Pup. 2657, fols. 743–52, see fols. 746<sup>r</sup>–746<sup>v</sup>. Twenty-one ‘punsonj di Canto Fermo’ were sold by July 1608, Mag. Pup. 715, fol. 1037<sup>v</sup> (see n. 41).</p></fn><fn id="fn40" symbol="39"><label><sup>39</sup></label><p>It is not known whether Thomas Roigny is related to Jean de Roigny, a Parisian printer and bookseller also associated with Robert Estienne, see <citation id="ref038" citation-type="other"><name><surname>Renouard</surname></name>, <italic>Répertoire des imprimeurs Parisiens</italic>, pp. <fpage>379</fpage>–80</citation>; <citation id="ref039" citation-type="book"><name><surname>Armstrong</surname><given-names>E.</given-names></name>, <source>Robert Estienne, Royal Printer: An Historical Study of the Elder Stephanus</source> (<publisher-loc>Cambridge</publisher-loc>, <year>1954</year>), p. <fpage>18</fpage></citation>. See also Delfiol, ‘I Marescotti’, p. 152, n. 18.</p></fn><fn id="fn41" symbol="40"><label><sup>40</sup></label><p>For various attempts to establish a press at Pisa in the early 1600s, see Reg. Dir. 8, fols. 125–8 (June 1600, by one Giorgio in the employ of Don Antonio de' Medici); 10, fol. 573<sup>r</sup> (June 1603, by Volcmar Timan); 11, fol. 247 (early 1604, by the Giunti). Boschetti negotiated loans, concessions and exemptions to move to Pisa in mid- to late 1604, Aud. Rif. 25, fol. 321<sup>r</sup>; Reg. Dir. 11, fols. 416<sup>r</sup>–417<sup>r</sup> (also given in Maracchi Biagiarelli, ‘Il privilegio di stampatore ducale’, pp. 355–6). He was still active there in 1613, Reg. Dir. 17, fol. 142<sup>r</sup>.</p></fn><fn id="fn42" symbol="41"><label><sup>41</sup></label><p>Details of the sale, which followed unsuccessful attempts to sell the fonts in Florence, are given in Mag. Pup. 715, fols. 214–19, 256–65, 303–8. <xref ref-type="bibr" rid="ref039">Ibid.</xref>, fol. 1037, is a list of the fonts sold, dated 11 July 1608, including ‘118 punsonj di Musjcha in vna scatola / 50 punsonj dj detta In vna altra scatola / … / 25[?] Madre della Musjcha dj piu sorte / … / [?] punsonj dj Musjcha p<italic>er</italic> in Tauolatura / … / 26 Madre della Musjcha / 10 Madre della In Tauolatura dj leuto / … / 12 Madre della Musjca / … / 21 punsonj di Canto Fermo / …’. There seems to have been a dispute about the price received (80 ducats): it was not as high as had been hoped, even though ‘nella Città di Venetia, è Carestia di Madre, punzoni, tasselli, et altri strumenti, da formare lettere, et stamperia, et p<italic>er</italic>ciò à chi ne cavassi, di d<italic>etta</italic> Città, et ne portassi altroue, ui è il pregiuditio della Galera, et perdita delle robe, et altri pregiuditij, et p<italic>er</italic>ciò chi vene portasse, ò facessi condurre, da altre Bande, <italic>per</italic> uenderle ne cauerebbe prezzo grande, come sarebbe, se in quel luogho doue l'hauessi fussero stimate, è valessero scudi cento in venetia ne cauerebbe scudi 150. ò piu …’ (Mag. Pup. 715, fol. 215<sup>r</sup>–215<sup>v</sup>). Other Florentine printers (including Michelangelo Sermartelli, Cosimo Giunti, Francesco Tosi and Antonio Guiducci) were also called upon to testify to the quality and value of Giorgio Marescotti's fonts.</p></fn><fn id="fn43" symbol="42"><label><sup>42</sup></label><p>See the petitions in Misc. Med. 314, ins. 3, nos. 4–7; Reg. Dir. 11, fols. 247–55; Maracchi Biagiarelli, ‘Il privilegio di stampatore ducale’, pp. 356–8.</p></fn><fn id="fn44" symbol="43"><label><sup>43</sup></label><p>Misc. Med. 314, ins. 3, no. 7 (see n. 30), fol. [1]<sup>r</sup>: ‘che in breue sarà forza pigliar prouedim<italic>en</italic>to a q<italic>ues</italic>to neg<italic>ozio</italic> p<italic>er</italic> esser d<italic>et</italic>ti eredi d<italic>e</italic>l Mariscotti inabili a poterlo continuare p<italic>er</italic> molte cause, è in p<italic>ar</italic>ticolare p<italic>er</italic> hauer già dato esito alla maggior parte della stamperia, parte uenduta p<italic>er</italic> toccar danarj, e'parte data a'cognati in conto di Dote’.</p></fn><fn id="fn45" symbol="44"><label><sup>44</sup></label><p><xref ref-type="bibr" rid="ref039">Ibid.</xref>, fol. [l]<sup>v</sup>: ‘infiniti altri <italic>signori</italic> litterati, quando uoglion qualche libro squisito, subito fanno far capo a noj, come uien fatto continuam<italic>en</italic>te da quelli che anno uisto il catalogo stampato li giorni passati, di tutti e' n<italic>ost</italic>ri libri'. The <italic>Catalogus librorum qui in Iunctarum Bibliotheca Philippi haeredum Florentiae prostant</italic> (Florence, 1604 [?<italic>stile fiorentino</italic>]) probably appeared in early 1605, see the documents in <citation id="ref040" citation-type="other"><name><surname>Camerini</surname><given-names>L. S.</given-names></name>, <italic>I Giunti tipografi editori di Firenze, 1571–1620</italic>, p. <fpage>27</fpage></citation>, and a copy was sent to the Duke of Urbino on 12 March 1604/5, Urb. Classa I<sup>a</sup>, Div. G, 237, fol. 264. Its appearance should probably be linked directly to the Giunti's attempts to gain concessions, exemptions and privileges on Giorgio Marescotti's death. The extensive list of music is transcribed in <citation id="ref041" citation-type="journal"><name><surname>Kast</surname><given-names>P.</given-names></name>, ‘<article-title>Die Musikdrucke des Kataloges Giunta von 1604</article-title>’, <source>Analecta Musicologica</source>, <volume>2</volume> (<year>1965</year>), pp. <fpage>41</fpage>–<lpage>71</lpage></citation>, and in <citation id="ref042" citation-type="book"><name><surname>Mischiati</surname><given-names>O.</given-names></name>, <source>Indici, cataloghi e avvisi degli editori e librai musicali italiani dal 1591 al 1798</source> (<publisher-loc>Florence</publisher-loc>, <year>1984</year>), pp. <fpage>110</fpage>–34</citation>.</p></fn><fn id="fn46" symbol="45"><label><sup>45</sup></label><p>Misc. Med. 314, ins. 3, no. 7, fol. [l]<sup>v</sup>: ‘Il che sarà un darci animo a mantenere, continuare è crescer piu che maj, questo grand' assortim<italic>en</italic>to di libri di Germania, Fiandra, Francia, Spagna, Inghilterra, è d'ogni parte del mondo, com'è stato sempre n<italic>ost</italic>ro p<italic>ro</italic>p<italic>osito</italic>’.</p></fn><fn id="fn47" symbol="46"><label><sup>46</sup></label><p>Sermartelli's undated (but late 1603?) petition survives in Reg. Dir. 11, fols. 248<sup>r</sup>–248<sup>v</sup> (also Misc. Med. 314, ins. 3, no. 6).</p></fn><fn id="fn48" symbol="47"><label><sup>47</sup></label><p>The Marescotti heirs' undated (but late 1603?) petition survives in Reg. Dir. 11, fols. 249<sup>r</sup>–249<sup>v</sup> (also Misc. Med. 314, ins. 3, no. 8), given in Maracchi Biagiarelli, ‘Il privilegio di stampatore ducale’, pp. 356–7.</p></fn><fn id="fn49" symbol="48"><label><sup>48</sup></label><p>Christine's support is reported in a memorandum from Belisario Vinta to Giovanni Battista Concini, 15 January 1603/4, Reg. Dir. 11, fol. 251 (given in Maracchi Biagiarelli, ‘Il privilegio di stampatore ducale’, pp. 357–8); on his death Giorgio Marescotti owed her 100 scudi, Mag. Pup. 692, fol. 112<sup>r</sup>. Belisario Vinta himself was reluctant to become involved in the arguments because he was godfather to members of both the Giunti and the Marescotti families.</p></fn><fn id="fn50" symbol="49"><label><sup>49</sup></label><p>Mag. Pup. 31, fol. 216<sup>v</sup> (9 September 1603); 32, fol. 49<sup>v</sup> (14 June 1604).</p></fn><fn id="fn51" symbol="50"><label><sup>50</sup></label><p>This is clear from the testimonies of Florentine printers on the quality and value of Giorgio Marescotti's fonts (see n. 41) in Mag. Pup. 715, fols. 256–65.</p></fn><fn id="fn52" symbol="51"><label><sup>51</sup></label><p>Reg. Dir. 15, fols. 642<sup>r</sup>–647<sup>r</sup> (containing Margherita's petition, sent to the court <italic>auditore</italic> on 21 September 1611, comments by other printers and a memorandum); 16, fol. 930<sup>r</sup> (the renewal on 7 July 1613); S. M. Nuova 199, no. 14.</p></fn><fn id="fn53" symbol="52"><label><sup>52</sup></label><p>See the memoranda of August 1615 and November 1616 in Reg. Dir. 18, fols. 478<sup>r</sup> (where Pignoni petitions for the privileges previously awarded to Margherita), 790<sup>r</sup>–791<sup>r</sup>. Domenico Magliani may have been related to one Salvestro Magliani who was employed in the Giunti press in 1589, see LC 554, fol. 19<sup>v</sup>. In October 1614 Pignoni is included in a list of Florentine printers and booksellers as ‘stampatore et libraio alla condotta’, i.e. on the Via della Condotta, where the Marescotti had their shop, and separately from the ‘Heredi di Cristofano Marescotti’ (i.e. Margherita), Reg. Dir. 18, fols. 64<sup>r</sup>–65<sup>v</sup>. He had matriculated in the Arte dei Medici e Speziali on 15 November 1607, see Med. Spez. 14, fol. 190<sup>r</sup>.</p></fn><fn id="fn54" symbol="53"><label><sup>53</sup></label><p>Reg. Dir. 18, fol. 478<sup>r</sup> (<italic>rescritto</italic> dated 8 August 1615). In another petition (<xref ref-type="bibr" rid="ref042">ibid.</xref>, fol. 479<sup>r</sup>) Pignoni styles himself ‘uno de’ Cantori di Cappella di V<italic>ostra</italic> A<italic>ltezza</italic> S<italic>erenissi</italic>ma'.</p></fn><fn id="fn55" symbol="54"><label><sup>54</sup></label><p>Trib. Mer. 10838, fol. 126<sup>r</sup>: ‘Addi 18 di lug<italic>lio</italic> 1614 / Il Molto Mag<italic>nifi</italic>co, S<italic>igno</italic>r Caual<italic>ie</italic>re Giouan<italic>n</italic>i di Ant<italic>oni</italic>o del Turco in nome proprio, il S<italic>ignor</italic> Lod<italic>ovi</italic>co de Franc<italic>esco</italic> Arrighetti in nome della sua co<italic>m</italic>pagnia ca<italic>n</italic>ta<italic>n</italic>te sotto nome di Franc<italic>esc</italic>o Arrighetti e [Compagni] di Banco, et il <italic>Signor Giovanni battista</italic> di Zanobi da Gagliano in suo nome prop<italic>ri</italic>o han<italic>n</italic>o dato, et dan<italic>n</italic>o in accom<italic>andi</italic>ta a Zanobi di Franc<italic>esc</italic>o Pignoni libraio nella citta di Fire<italic>n</italic>ze, p<italic>rese</italic>nte, et co<italic>n</italic>fessa<italic>n</italic>te hauere hauuto et riceuuto in acoma<italic>n</italic>dita da li p<italic>re</italic>nominati la som<italic>m</italic>a, et quantità di scudi trecento di l<italic>ire</italic> 7. p<italic>er</italic> scudo, c<italic>on</italic> scudi ce<italic>n</italic>to da ciascuno delli p<italic>re</italic>d<italic>et</italic>ti S<italic>ignor</italic> Cauali<italic>e</italic>re, S<italic>igno</italic>r Lod<italic>ovi</italic>co et S<italic>ignor</italic> Gio<italic>vanni</italic> b<italic>attista</italic> da Gagliano et cosi in t<italic>ut</italic>to la d<italic>etta</italic> som<italic>m</italic>a di scudi 300, p<italic>er</italic> esercitarli nell'esercitio del libraio et sta<italic>m</italic>peria nella citta di Fir<italic>enz</italic>e sotto nome di <italic>detto</italic> Zanobi pignoni e [Compagni] librai in Firenze p<italic>er</italic> tempo et termine di Anni tre pross<italic>im</italic>i futuri, et già cominciati il il [<italic>sic</italic>] di 9 di giug<italic>n</italic>o pross<italic>im</italic>o passato …’. Another copy, with minor variants, is in Trib. Mer. 10837, fols. 125<sup>v</sup>–126<sup>r</sup>. I am most grateful to Professor Edmond Strainchamps and Dr David Butchart for sharing with me their own information on this company.</p></fn><fn id="fn56" symbol="55"><label><sup>55</sup></label><p>‘Pur venisti cor mio’ (<italic>a</italic> 2) in <citation id="ref043" citation-type="book"><name><surname>da Gagliano</surname><given-names>M.</given-names></name>, <source>Musiche a una dua e tre voci</source> (<publisher-loc>Venice</publisher-loc>, <year>1615</year>)</citation>; ‘Movetevi a pietà del mio tormento’ (<italic>a</italic> 5) in <xref ref-type="bibr" rid="ref043">idem</xref>, Il sesto libro de madrigali a cinque voci (Venice, 1617).</p></fn><fn id="fn57" symbol="56"><label><sup>56</sup></label><p><citation id="ref044" citation-type="journal"><name><surname>Strainchamps</surname><given-names>E.</given-names></name>, ‘<article-title>New Light on the Accademia degli Elevati of Florence</article-title>’, <source>The Musical Quarterly</source>, <volume>62</volume> (<year>1976</year>), pp. <fpage>507</fpage>–35</citation>. In April 1609 the Elevati had plans to issue an anthology of madrigals by their members, but this seems to have come to nothing, see <xref ref-type="bibr" rid="ref044">ibid.</xref>, pp. 523–4.</p></fn><fn id="fn58" symbol="57"><label><sup>57</sup></label><p>Trib. Mer. 10838, fol. 132<sup>r</sup>.</p></fn><fn id="fn59" symbol="58"><label><sup>58</sup></label><p>Trib. Mer. 10838, fols. 137<sup>r</sup>, 179<sup>v</sup>–180<sup>r</sup>; 10839, fol. 8<sup>r</sup>. For a time, Pignoni held the company in partnership with one Giovanni di Romolo Benucci. Pasquale d'Antonio Pignoni had matriculated in the Arte dei Medici e Speziali on 3 January 1586/7, Med. Spez. 13, fol. 231<sup>r</sup>, and in 1588 he was associated with a bookshop owned by the heirs of Giovanni Passignani, GCS Libro 408, opening 102.</p></fn><fn id="fn60" symbol="59"><label><sup>59</sup></label><p>In August 1615, Pignoni sought a privilege for his self-financed editions of Gabriello Chiabrera's <italic>Firenze, poema eroico</italic> and Andrea Salvadori's <italic>Lettere eroiche</italic>, Reg. Dir. 18, fol. 479<sup>r</sup>.</p></fn><fn id="fn61" symbol="60"><label><sup>60</sup></label><p>Covoni, a ‘paggio nero di <italic>Sua Altezza Serenissima</italic>’, composed a madrigal for the court in May 1616, see <citation id="ref045" citation-type="book"><name><surname>Solerti</surname><given-names>A.</given-names></name>, <source>Musica, ballo e drammatica alla corte medicea dal 1600 al 1637: notizie tratte da un diario con appendice di testi inediti e rari</source> (<publisher-loc>Florence</publisher-loc>, <year>1905</year>; repr. New York, 1968), p. <fpage>131</fpage></citation>.</p></fn><fn id="fn62" symbol="61"><label><sup>61</sup></label><p><citation id="ref046" citation-type="journal"><name><surname>Romano</surname><given-names>R.</given-names></name>, ‘<article-title>Tra <sc>xvi</sc> e <sc>xvii</sc> secolo. Una crisi economica: 1619–1622</article-title>’, <source>Rivista Storica Italiana</source>, <volume>74</volume> (<year>1962</year>), pp. <fpage>480</fpage>–<lpage>531</lpage></citation>; translated as <citation id="ref047" citation-type="book">‘Between the Sixteenth and Seventeenth Centuries: The Economic Crisis of 1619–22’, <source>The General Crisis of the Seventeenth Century</source>, ed. <name><surname>Parker</surname><given-names>G.</given-names></name> and <name><surname>Smith</surname><given-names>L. M.</given-names></name> (<publisher-loc>London</publisher-loc>, <year>1978</year>), pp. <fpage>165</fpage>–<lpage>225</lpage></citation>. For the effects of this crisis on musicprinting, see the comments in <citation id="ref048" citation-type="book"><name><surname>Pompilio</surname><given-names>A.</given-names></name>, ‘Editoria musicale a Napoli e in Italia nel Cinque-Seicento’, <source>Musica e cultura a Napoli dal XV al XIX secolo</source>, ed. <name><surname>Bianconi</surname><given-names>L.</given-names></name> and <name><surname>Bossa</surname><given-names>R.</given-names></name> (<publisher-loc>Florence</publisher-loc>, <year>1983</year>), pp. <fpage>79</fpage>–<lpage>102</lpage></citation>.</p></fn><fn id="fn63" symbol="62"><label><sup>62</sup></label><p>Cecconcelli seems to be first mentioned in official records to do with the book trade in December 1618, Aud. Rif. 31, fols. 453–4.</p></fn><fn id="fn64" symbol="63"><label><sup>63</sup></label><p>One Giovanni Landi was a <italic>fattore</italic> in the Marescotti press in 1612, see Delfiol, ‘I Marescotti’, p. 178. He may have been an older relative of Lando Landi.</p></fn><fn id="fn65" symbol="64"><label><sup>64</sup></label><p><citation id="ref049" citation-type="journal"><name><surname>Carter</surname><given-names>T.</given-names></name>, ‘<article-title>Music Publishing in Italy, c.1580–c.1625: Some Preliminary Observations</article-title>’, <source>Royal Musical Association Research Chronicle</source>, <volume>20</volume> (<year>1986</year>–<year>1987</year>), pp. <fpage>19</fpage>–<lpage>37</lpage></citation>.</p></fn><fn id="fn66" symbol="65"><label><sup>65</sup></label><p>For a document outlining these various methods of payment from a printer to an author, although not in connection with a music-print, see <citation id="ref050" citation-type="journal"><name><surname>Carter</surname><given-names>T.</given-names></name>, ‘<article-title>Another Promoter of the 1582 “Rassettatura” of the <italic>Decameron</italic></article-title>’, <source>The Modern Language Review</source>, <volume>81</volume> (<year>1986</year>), pp. <fpage>893</fpage>–9</citation>.</p></fn><fn id="fn67" symbol="66"><label><sup>66</sup></label><p>Misc. Med. 314, ins. 3, no. 3 (see n. 10). The term ‘a mezzo torculo’ refers to the operation of a press by one worker instead of the normal two, see <citation id="ref051" citation-type="journal"><name><surname>Voet</surname></name>, <source>The Golden Compasses</source>, <volume>ii</volume>, p. <fpage>318</fpage></citation>. The Giunti claimed that with two working presses they could print 6000–7000 (presumably single-sided) sheets per day, which is somewhat more than modern estimates (Voet suggests 1250 double-sided sheets per press per day, <italic>op. cit.</italic>, <sc>ii</sc>, p. 20).</p></fn><fn id="fn68" symbol="67"><label><sup>67</sup></label><p>Mag. Pup. 31, fols. 216<sup>v</sup>–217<sup>r</sup> (7 October 1603). An account sheet submitted by Caccini, similarly dated 7 October 1603, is preserved in Mag. Pup. 695, interleaved sideways between fols. 108–9 and 116–17. Caccini deposited in total twenty-six copies of <italic>L'Euridice composta in musica</italic> and <italic>forty-six of Le nuove musiche in</italic> the Marescotti shop, for which he was owed 127 lire. However, he himself owed the Marescotti L. 74.13. 4 for copies of these two prints which he had re-purchased from the shop (one for presentation to the court on 18 November 1602, presumably in connection with the performance of <italic>Euridice</italic> on 5 December), for various binding expenses (including 1 lira for the ‘Legatura dj vno petrarcha’), and also for ‘I Canzonette dj Giuljo romano’, costing L. 1.13. 4. This is kept distinct from <italic>Le nuove musiche</italic>, and it would be intriguing if Caccini had indeed published a volume of canzonets which is now lost. However, the term is inappropriate for the now convincingly disputed <italic>Fuggilotio musicale</italic> by ‘D. Giulio Romano’, a second edition of which was printed by Giacomo Vincenti in Venice in 1613, see <citation id="ref052" citation-type="journal"><name><surname>Hitchcock</surname><given-names>H. W.</given-names></name>, ‘<article-title>Depriving Caccini of a Musical Pastime</article-title>’, <source>Journal of the American Musicological Society</source>, <volume>25</volume> (<year>1972</year>), pp. <fpage>58</fpage>–<lpage>78</lpage></citation>. The magistrates adjudicated that the sum owed Caccini should be paid in equal parts by the heirs.</p></fn><fn id="fn69" symbol="68"><label><sup>68</sup></label><p><citation id="ref053" citation-type="other"><name><surname>Mischiati</surname></name>, <italic>Indici, cataloghi e avvisi</italic>, pp. <fpage>99</fpage>–<lpage>106</lpage></citation>. The Scotto prices are comparable with those in the Vincenti catalogue of 1591 given in <xref ref-type="bibr" rid="ref053">ibid.</xref>, pp. 92–8. It seems clear that, in general, the cost of printed music was <italic>pro rata</italic> the number of sheets in the print, see <citation id="ref054" citation-type="journal"><name><surname>Fenlon</surname><given-names>I.</given-names></name>, ‘<article-title>Il foglio volante editoriale dei Tini, circa il 1596</article-title>’, <source>Rivista Italiana di Musicologia</source>, <volume>12</volume> (<year>1977</year>), pp. <fpage>231</fpage>–51</citation>, see p. 242.</p></fn><fn id="fn70" symbol="69"><label><sup>69</sup></label><p>‘… che appena stampato in Firenze si ristampò in Venetia, et hebbe per sua buona ventura tanto di credito, che in un tratto fu levato via di su le Stamperie’. <citation id="ref055" citation-type="book"><name><surname>Bonini's</surname></name> <source>Madrigali, e canzonette spirituali … per cantare a una voce sola</source> (<publisher-loc>Florence, Cristofano Marescotti</publisher-loc>, <year>1607</year>)</citation> was reprinted in Venice by Alessandro Raverii in 1608.</p></fn><fn id="fn71" symbol="70"><label><sup>70</sup></label><p>See the petition by Giulio Cesare Giusti, August 1577, for a privilege for ‘vn libro intitolato Le Battaglie à difesa della lingua italica’ by his father, Mutio, Aud. Rif. 12, no. 262. Although Giusti was planning to dedicate it to Grand Duke Francesco <sc>i</sc>, he wanted to have it printed in Venice ‘perche li nè cauera maggior frutto, et harò piu com<italic>m</italic>odità di stampatori’. The privilege was granted, but on condition that the book be printed in Florence.</p></fn><fn id="fn72" symbol="71"><label><sup>71</sup></label><p><citation id="ref056" citation-type="thesis"><name><surname>Butchart</surname><given-names>D. S.</given-names></name>, ‘The Madrigal in Florence, 1560–1630’ (D.Phil, dissertation, <publisher-name>University of Oxford</publisher-name>, <year>1980</year>), pp. <fpage>34</fpage>–5, <fpage>44</fpage></citation>, discusses such advertising, and particularly in Luca Bati's dedication to <citation id="ref057" citation-type="book"><name><surname>Corsi</surname><given-names>Jacopo</given-names></name> of his <source>Il primo libro de madrigali a cinque voci</source> (<publisher-loc>Venice, Angelo Gardano</publisher-loc>, <year>1594</year>)</citation>. It is also significant that Cristofano Malvezzi should have decided to issue the <citation id="ref058" citation-type="other"><italic>Intermedii et concerti, fatti per la commedia rappresentata in Firenze nelle nozze del Serenissimo Don Ferdinando Medici, e Madama Christiana di Loreno, Gran Duchi di Toscana</italic> in Venice (Giacomo Vincenti, <year>1591</year>)</citation>, whether or not this decision was prompted by any lack of capacity in the Marescotti press in Florence.</p></fn><fn id="fn73" symbol="72"><label><sup>72</sup></label><p>For Don Antonio as a patron, see <citation id="ref059" citation-type="other"><name><surname>Solerti</surname></name>, <italic>Musica, ballo e drammatica</italic>, pp. <fpage>25</fpage>, <fpage>28</fpage>, <fpage>29</fpage>, <fpage>30</fpage>, <fpage>31</fpage>, <fpage>34</fpage>, <fpage>36</fpage>, <fpage>45</fpage>, <fpage>58</fpage> and <fpage>62</fpage></citation>, and for his support of the castrato Giovanni Gualberto Magli (whom he sent for two years' further training in Naples in October 1611), see Dep. Gen. 389, appendix no. 1064; Dep. Gen. 1520, opening 114. The prince appears to have maintained a significant musical establishment, see the dedication of <citation id="ref060" citation-type="book"><name><surname>Rontani's</surname></name> <source>Le varie musiche … a una due e tre voci … libro primo</source> (<publisher-loc>Florence, Zanobi Pignoni</publisher-loc>, <year>1614</year>)</citation>.</p></fn><fn id="fn74" symbol="73"><label><sup>73</sup></label><p><citation id="ref061" citation-type="book"><name><surname>Fétis</surname><given-names>F.-J.</given-names></name>, <source>Biographie universelle des musiciens et bibliographic générale de la musique</source>, 8 vols. (<edition>2nd edn</edition>, <publisher-loc>Brussels</publisher-loc>, <year>1860</year>–<year>1865</year>), <volume>ii</volume>, p. <fpage>97</fpage></citation>, reports a copy of Brunelli's ‘Esercisi ad una e due voci’ published in Florence in 1605. No details of the printer are given, and the volume now appears lost.</p></fn><fn id="fn75" symbol="74"><label><sup>74</sup></label><p><citation id="ref062" citation-type="journal"><name><surname>Fétis</surname></name>, <source>Biographie universelle des musiciens</source>, <volume>ii</volume>, p. <fpage>97</fpage></citation>, reports copies of Brunelli's ‘Motetti a due voci, lib. 1°’ (Florence, 1607), ‘Motetti a due voci, lib. 2°’ (Florence, 1608), ‘L'Affettuoso invaghito, canzonette a tre voci’ (Florence, 1608). Again, no details of the printer(s) are given, and the volumes now appear lost.</p></fn><fn id="fn76" symbol="75"><label><sup>75</sup></label><p>One further study of some relevance appeared while this essay was in press: <citation id="ref063" citation-type="journal"><name><surname>Guidobaldi</surname><given-names>N.</given-names></name>, ‘<article-title>Music Publishing in Sixteenth- and Seventeenth-Century Umbria</article-title>’, <source>Early Music History</source>, <volume>8</volume> (<year>1988</year>), pp. <fpage>1</fpage>–<lpage>36</lpage></citation>.</p></fn></fn-group></back></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo><title>Music-printing in late sixteenth- and early seventeenth-century Florence: Giorgio Marescotti, Cristofano Marescotti and Zanobi Pignoni</title></titleInfo><titleInfo type="alternative"><title>Tim Carter</title></titleInfo><titleInfo type="alternative" contentType="CDATA"><title>Music-printing in late sixteenth- and early seventeenth-century Florence: Giorgio Marescotti, Cristofano Marescotti and Zanobi Pignoni*</title></titleInfo><name type="personal"><namePart type="given">Tim</namePart><namePart type="family">Carter</namePart><affiliation>Royal Holloway and Bedford New College, University of London</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">1990-10</dateIssued><copyrightDate encoding="w3cdtf">1990</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><abstract type="text-abstract">A number of scholars have begun to explore the activities of music-printers in sixteenth-century Italy. The first music-print produced by movable type was issued by Ottaviano Petrucci in 1501, and by the 1540s improvements in printing techniques, and particularly the introduction of single-impression printing, had set music-printing on a firm commercial footing, first and foremost in Venice, the centre of the printing trade on the peninsula. The two chief Venetian music-printers in the mid-century, Antonio Gardano and Girolamo Scotto, headed commercial enterprises the organisation of which merits close study by economic historians. But the activities of these and other music-printers must also be examined for their effect on contemporary musical culture. Through their editorial policies and commercial strategies, printers such as Gardano and Scotto had an undeniable influence on the composition and dissemination of music in this period, creating and defining a market or markets for their wares which increasingly directed the activities of contemporary composers.</abstract><relatedItem type="host"><titleInfo><title>Early Music History</title></titleInfo><titleInfo type="abbreviated"><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>1990</date><detail type="volume"><caption>vol.</caption><number>9</number></detail><extent unit="pages"><start>27</start><end>72</end><total>46</total></extent></part></relatedItem><identifier type="istex">1C28E31ABED60ED38AC46F512615197E44E6362F</identifier><identifier type="ark">ark:/67375/6GQ-PBXB1MK2-T</identifier><identifier type="DOI">10.1017/S0261127900000991</identifier><identifier type="PII">S0261127900000991</identifier><identifier type="ArticleID">00099</identifier><accessCondition type="use and reproduction" contentType="copyright">Copyright © Cambridge University Press 1990</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 1990</recordOrigin></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/1C28E31ABED60ED38AC46F512615197E44E6362F/metadata/json</uri></json:item></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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