PRoMs - The Production and Reading of Music Sources

Mise-en-page in manuscripts and printed books containing polyphonic music, 1480—1530

Printed Work: Obrecht: Misse, Venice, Italy, 1503,

Source type: partbooks (complete set)

RISM siglum: O7

Folio(s): All

Date: "1503 die 24 Martii"

Location of origin: Venice, Italy

Publisher: Petrucci, Ottaviano

Artists/Scribes

Person: Petrucci, Ottaviano
Person type: publisher
Location of origin: Fossombrone, Italy

Person: Petrucci, Ottaviano
Person type: printer

Obrecht: Misse, Venice, Italy, 1503, , All

Physical description

Material: paper

Number of leaves: 76f.: D 20, T 14, A 22, B 20

Format: oblong

Page dimensions: 173 x 242

Quire structure: Text version

Title page / Frontispiece: None.

"Misse obreht. | Jene demande. | Grecorum. | Fortuna desperata. | Malheur me bat. | Salue diua parens." in large Rotonda type. A woodcut initial S/T/A/B. Title only in Superius, the title page in other voices has only a woodcut initial, page number and a signature.

None.

Index / Table of Contents: None.

Colophon: "Impressum Uenetijs per Octauianum Petrutium Forosempronien | sem 1503 die 24 Martii. Cum priuilegio inuictissimi Dominij | Uenetiarum quae nullus possit cantum Figuratum imprimere | sub pena in ipso priuilegio contenta. | Registrum ABDFGJK Quaterni EH Terni CL Duerni [Petrucci's device]"

"Impressum Uenetijs per Octauianum Petrutium Forosempronien| sem 1503 die 24 Martii. Cum priuilegio inuictissimi Dominij | Uenetiarum quae nullus possit cantum Figuratum imprimere | sub pena in ipso priuilegio contenta. | Registrum ABDFGJK Quaterni EH Terni CL Duerni [Petrucci's device]"

Non-musical texts: None.

Other devices: Foliation in arabic numerals on top-right of recto above the staff:
Superius 1–20
Tenor 21–34
Altus 35–56
Bassus 57–76

I-Bc: Superius, numbering starting from f.10; f.27 numbered as "28", f.28 numbered as "29".

Page details (zoom):

Preparation and Copying

All

Preparation

Disposition of Voice Parts Key

Pricking n/a
Ruled grid n/a
Ruling pattern n/a
Staves omitted from grid n/a
Incomplete staves n/a
Colour of staves Frequency Folios Note
black always
Indentation for initials Frequency Folios Note
single often Staves never indented, stave imprint clashes with the initials.
double occasionally 1v, 5r, 7r, 9r–v, 11r, 13r, 18r, 35v, 36v, 40, 44r, 45v, 46v, 47v, 48r, 55r, 23r, 24v, 25r, 32v, 57v, 58v, 61r, 62r, 63v, 64v, 68r, 69r, 70v, 71r–v, 72r, 73r, 74r The initials inserted on the middle staves require a double indent on the music. Staves never indented, stave imprint clashes with the initials.
Space provided for separate text Frequency Folios Note
no separate text always

Copying of text and music

Language(s) Latin
Higlighting n/a
Order of Copying movable type, triple impression
always
Presence/absence of text Voice part Frequency Folios Note
fully texted with one text discantus normally Incipits only in ff.9v–11r (Gloria, Credo)
provided with one or two incipits tenor normally 21v–22v; 23v–25v; 29v-30v
partially texted with one text tenor sometimes 22v–23r; 26r; 28v–29r
fully texted with one text tenor occasionally 26v; 27r–28r; 23r
provided with one or two incipits altus normally 36v–40r; 42r–47v; 50r–55v Altus never fully texted, a few occasions of partial text underlay: ff.35v–36r (Kyrie, Gloria); 40r–41v (Gloria, Credo).
provided with one or two incipits bassus normally 57v–62r; 62v–72v Bassus fully texted only in ff.72v–73r (duo: Credo/Qui cum patrem); partial text underlay ff.62r–v (Credo).
Music
Colour(s) of notation black
Colour of notation folios All
Type(s) of notation void mensural
Monophonic notation absent
Level of calligraphy n/a
Non verbal performance instructions Folios Note
coronae
signa congruentiae
Text
Types of script rotonda
Level of calligraphy n/a
Colour(s) of text black
Multiple texts no
Text repetitions none
Abbreviations few
Non underlaid vocal text none
Liminary text Composer's name in Superius only with the title of the Mass in variable forms and places: 1v: "Obreh.t super Jene demande" (Top-middle of the staves) 6r: "Jacob Obrecht" (between top staves, moved to the right to avoid the clash with text) 9r "Jacobus obreht" (on the second stave after the end of "Agnus", above the start of "Kyrie") 12v "Ja.obreht. sup. Malheur me bat:" (between staves 2 and 3, centre/right) All other books have the title of the Mass above the start of Kyrie. Exceptions: f.21v, 23r, 27r, the title of the Mass on the text space after the incipit "Kyrie".

Decoration

Level of Decoration very poor
Decoration initial type Frequency Folios Initial type(s) Size position Description Discrepancies
printed initials always woodcut, calligraphic style Petrucci's set of woodcut initials, used on the title pages and at the start of Mass movements. Missing initials: 4r, 6r, 7v, 12v, 13v, 14r, 21v, 23v, 24r, 25r, 30r, 41r, 44v, 50v, 64r, 66r, 67r Large type instead of a woodcut initial: 50r, 65v Petrucci possibly owned only one block for each initial, resulting to blank spaces where initials would have been used to open movements (Boorman: Catalogue p.492, also p.133). The page setting to accommodate the initial with an indent on notation remains for most. When large type initial is used, the layout has not been designed to accommodate a large woodcut. Indents on the notation (when the woodcut is present) fairly uniform in lengh.