I 1 4. 
 
 1 5- 
 
 L78 
 
A catalogue f <SAM*lHn 
 
 CORNELL 
 
 UNIVERSITY 
 
 LIBRARY 
 
 MUSIC 
 
Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924017070891 
 
A CATALOGUE OF ONE HUNDRED 
 WORKS ILLUSTRATING THE HISTORY 
 OF MUSIC PRINTING FROM THE 
 FIFTEENTH TO THE END OF 
 THE SEVENTEENTH CENTURY 
 
 IN THE LIBRARY OF 
 ALFRED HENRY LITTLETON 
 
 (Matter of the Musicians' Company, 1910-11). 
 
 Printed by NOVSLLO AND CO., Ltd., London. 
 
 19 11 . 
 
JHIS small Catalogue would never have appeared in 
 
 print except for the fact that many of the works 
 
 were included in the Exhibition organized by the 
 
 Worshipful Company of Musicians, and held at Fishmongers' 
 
 Hall in 1904. 
 
 Most of the notes and illustrations were originally 
 prepared for the Illustrated Catalogue of the Exhibition 
 above referred to (published May, 1909). 
 
a. ®mnaitg anti &toft$ei1attiJ. 
 
 Gerson, Johannes. — Collectorium super Magnificat. Folio. 
 
 [Conrad Fyner. ESSLINGEN.i 1473. 
 
 The earliest known specimen of printed musical notation is contained in this 
 volume. The notes printed at the same time as the letterpress, not 
 stamped in afterwards : a collation with the copy in the British Museum 
 confirms this hitherto doubted point. The copy exhibited differs from 
 
 Psalmorum Codex. Folio. 
 
 Fust and Schoeffer. MAINZ. 1457. 
 
 Two leaves from the celebrated Psalter, the first book printed with a dated 
 colophon. The musical notation added by hand. 
 
 wiui my unuerscanuing mar. 1 mignt teacn others, than ten thousand words 
 in an unknown tongue." He prefaced it, too, by the example of the pipe 
 and harp, which unless they give a distinction of sounds it is impossible to 
 know what is piped or what is harped ; also, if the trumpet gives an 
 uncertain sound, who will prepare himself for the battle ? And he 
 concludes that there is need of the feeling both of recognition and sympathy 
 while anyone is praying, preaching, or singing psalms, so that according to 
 the metaphor the spiritual man may prepare himself to battle, and with five 
 most pure stones from the brook of the Scriptures he may, as a second 
 David, having become a child, overthrow Goliath — that is to say, Satan. 
 This is the parable of the mystic cantichord, or Song of the Heart, which the 
 same Apostle desires to be sung with the spirit, and to be sung also with 
 the understanding. In the which Song of the Heart three things are 
 found, as in vocal song. Firstly, the subject of the song, which is called the 
 Letter [in the sense of the letter ol the law, in contradiction to its spirit]. 
 
a. 6trmattg anli #tott$erlatt&. 
 
 Gerson, Johannes. — Collectorium super Magnificat. Folio. 
 
 [Conrad Fyner. ESSLINGEN.i 1473. 
 
 The earliest known specimen of printed musical notation is contained in this 
 volume. The notes printed at the same time as the letterpress, not 
 stamped in afterwards : a collation with the copy in the British Museum 
 confirms this hitherto doubted point. The copy exhibited differs from 
 those in the British Museum and the John Rylands Library, Manchester, 
 in that both the latter are without lines, whereas the copy exhibited 
 has the lines added in red by the illuminator. 
 
 Johannes Gerson, born at Gerson, in the diocese of Rheims, in 1363, was one 
 of the most eminent scholars and divines of his time. His Collectorium is a 
 mystical elaboration of the ideas conveyed by the words of the Magnificat. 
 The thesis in which occurs the music example is contained in the following 
 extract, translated from the original Latin : 
 
 ' The noble Apostle, the child of the Gospel, a child not in understanding, 
 but a child in malice, having five loaves of the food of doctrine for five 
 thousand men, said to the Corinthians : " I had rather speak five words 
 with my understanding that I might teach others, than ten thousand words 
 in an unknown tongue." He prefaced it, foo, by the example of the pipe 
 and harp, which unless they give a distinction of sounds it is impossible to 
 know what is piped or what is harped ; also, if the trumpet gives an 
 uncertain sound, who will prepare himself for the battle ? And he 
 concludes that there is need of the feeling both of recognition and sympathy 
 while anyone is praying, preaching, or singing psalms, so that according to 
 the metaphor the spiritual man may prepare himself to battle, and with five 
 most pure stones from the brook of the Scriptures he may, as a second 
 David, having become a child, overthrow Goliath — that is to say, Satan. 
 This is the parable of the mystic cantichord, or Song of the Heart, which the 
 same Apostle desires to be sung with the spirit, and to be sung also with 
 the understanding. In the which Song of the Heart three things are 
 found, as in vocal song. Firstly, the subject of the song, which is called the 
 Letter [in the sense of the letter of the law, in contradiction to its spirit]. 
 
GERMANY AND SWITZERLAND 
 
 Secondly, the sound of the song, which is called Resonance. Thirdly, the 
 figuring of the song, which is called Note or Mark. The subject of the 
 cantichord we term the holy and pure knowledge of all things divine and 
 human. The resonance we call every moderate and well ordered affection 
 of the heart and spirit. The note or mark we figure according to the 
 conception of the two preceding, so that to which of them the resonance of 
 the affections is to be fitted may appear from the letter of the meditations. 
 Upon this matter we will give a few verses, the purpose of which shall be 
 further explained, and this by a triple set of five. 
 
 ' Five words for the letter : 
 
 Magnificus, largus, pius es, Justus, miserator. 
 Five affections for the harmony : 
 
 Gaudia, spes, pietas, hinc timor, atque dolor. 
 The adaptation of five vowels to the terms of the five affections : 
 
 A gaudens amat, E sperat, sed / miseretur. 
 
 O timet, U que dolens odit, ci? ista Notes. 
 
 ' The form is according to the five Notes, sol, fa, mi, re, ut. . . . Or let the 
 natural order of the vowels, taking away the consonants, be put, as shown 
 in the following figure : '* 
 
 /|ut ponai <»&> nature oocaliii fteptis afonanti^ ut pi m bat figura* 
 
 a 1 t o p 
 
 Qifeauouim if&pve <fC6p*f fio <£ C mot fl >do* 
 tei magftrtci* Ifmuificr cwiTnMfcow^ fuftKia^nfa mifinrta 
 
 Psalterium et Hymnarium. Quarto. [1470-80.] 
 
 No place or date. The stave lines only printed. This frequently happened in 
 the case of early liturgical works, and possibly shows that the printer was 
 unable to print the notes ; but it is more probable that the notes were 
 omitted in order that the authorities of individual churches might have 
 the opportunity of inserting the music of the service which was according 
 to their own particular ' use.' 
 
 * Translation by Mr. G. F. Barwick, B.A. 
 
- GERMJJiT AND SWITZERLADiB 
 
 Reutlingen, Hugo von. — Flores Musice artis. Quarto. 
 
 J. Pryss. STRJSBURG. [148 8.J 
 
 Wood blocks: Although printed in or about the year 1488, the body of the 
 work was written as early as 1332. It consists of a Latin poem of six 
 hundred and thirty-five hexameter verses, which are also leonine. In most 
 copies the verses run on continuously, without division of the lines, except 
 that each begins with a capital letter. In this copy, however, the verses 
 are printed in the usual manner. The smaller type is a running 
 commentary by an unknown hand. The real name of the author was 
 Spechtzhardt. 
 
 Agenda Parochialium Ecclesiarum. Folio. 
 
 Michael Wenssler et Jacobus de Kilchen. BASLE. 1488. 
 
 Type, red and black. In his article 'Notes on Early Music Printing,' 
 contributed to ' Bibliographica ' (vol. iii., p. 112, 1897), Mr. Barclay Squire 
 states that this copy is probably unique. 
 
 Wollick, Nicolaus. — Opus Aureum Musice castigatissimum 
 de Gregoriana et Figuratiua atque contrapuncto simplici 
 per commode tractans . . . Quarto. 
 
 Henricus Quentell. COLOGNE. 1501. 
 The music examples are printed from wood blocks. 
 
 Tritonius, Petrus. — Melopoiae sive Harmonise Tetracenticae 
 super xxii. genera carminum Heroicorum Elegiacorum 
 Lyricorum & ecclesiasticorum hymnorum. Folio. 
 
 Erhardus Oglin. AUGSBURG. [1507.] 
 
 Type, two impressions. The earliest known example of music type applied 
 
 to mensural music in Germany. Undated, and probably earlier than 
 
 the edition dated 1507. The volume concludes with the following lines — 
 
 Inter germanos nostros fuit Oglin Erhardus 
 
 Qui primus intidas pressit in aeris notas 
 Primus et hie lyricas expressit carmine musas 
 
 Quatuor et docuit uocibus aere cani. 
 
GERMJUiT AND SWITZBRLAOip 
 
 Virdung, Sebastian. — Musica getutscht und auszgezogen durch 
 Sebastianum. Oblong quarto. 
 
 Without printer's name. BASLE. 1 5 1 1 . 
 
 Bound in morocco by Riviere, with the original vellum covers preserved as 
 linings. 
 
 This extremely rare book (a small oblong %\ in. by 5I in.), written in dialogue, 
 is quite encyclopaedic in its survey ; moreover, it is the oldest work describing 
 the precursors of modern musical instruments. The illustrations are by no 
 means its least attractive feature. The subjoined illustrations (reproduced 
 in facsimile) show (1) the Orgel with its three divisions of pipes, (2) the 
 Positive, a chamber organ, and (3) the Regale, an instrument which consists 
 of a single row of beating reeds, and interesting as being in some respects 
 the prototype of the modern harmonium. The letterpress of this quaint old 
 book contains some curious views held by the author — e.g., that kettledrums 
 are instruments which cause ' much unrest (or tribulation) to pious old 
 people, to sick folk, and to the devout in cloisters who have to read, and 
 study, and pray ' ; and so little do the drums find favour with Virdung, 
 that he goes so far as to say : ' I verily believe that the devil has invented 
 
 and made them ! 
 
 J&ofirtw 
 
 ftrgale 
 
GERMANY AND SWITZERLAdiD 
 
 Ziraldus, [Gyraldus] Lilius Graegorius. — Syntagma de Musis. 
 
 Matthias Schurer. STRJSBURG. 15 11. 
 
 Reuchlin, Joanis. — Phorcensis Scenica Progymnasmata. Quarto. 
 
 Valentinus Schuman. LEIPZIG. 151 5. 
 This work by the great 'Humanist' Reuchlin, born at Pforzheim in 1455, 
 consists of a Latin drama written for performance by the pupils of the 
 Gymnasium at Heidelberg, and is probably the earliest example of a play 
 written with such a purpose. It contains two choruses, possibly the 
 composition of the author, who, like his contemporary Erasmus, owed 
 his earliest education to that of a choir school. 
 
 MlSSALE SECUNDUM USUM EcCLESIjE RaTISPONENSIS . . . Folio. 
 
 Johannis Pfeyl. BAMBERG. 1518. 
 
 Senfel, Ludovicus. — Liber Selectarvm Cantionvm qvas vvlgo 
 
 Mvtetas appellant sex qvinqve et qvatvor vocvm. Large 
 
 folio. Sigismund Grimm et Marcus Wyrsung. AUGSBURG. 1520. 
 
 Separate voice parts on opening pages. 
 
 Beautifully bound in morocco by Zaehnsdorff, with the original leather 
 
 covers preserved as linings. 
 This rare and magnificent volume contains a most interesting series of Motets 
 for six, five and four voices by the greatest masters of the time — 
 Henry Isaac, Josquin de Pres, Pierre de la Rue, Obrecht, Mouton, and 
 L. Senfl, under whose editorship the work was brought out at Augsburg 
 in 1520. It is a splendid example of music typography, produced by 
 two printings and not by wood blocks as asserted by Fetis, who apparently 
 had never seen the original work. 
 
 Agricola, Martin. — Musica instrumentalis deudsch ynn 
 welcher begriffen ist, wie man nach dem gesange auff 
 mancherley Pfeiffen lernen sol, Auch wie auff die Orgel, 
 
IO 
 
 GERMAUiT AND SWITZERLAND 
 
 Harffen, Lauten, Geigen, vnd allerley Instrument vnd 
 Seytenspiel, nach der recht gegriindten Tabelthur sey 
 abzusetzen. Duodecimo. Georg Rhaw. wittemberg. 1529. 
 
 The second printed book on musical instruments. The real name of the 
 author is Shor, or Sore, as stated in the 1545 edition of the book. 
 
 Psoras. 
 
 4 4 
 
 Froschius, Joannes. — Rervm Mvsicarvm Opvscvlvm rarvm ac 
 insigne. Folio. 
 
 Petrus Schceffer & Mathias Apiarius. STRASBURG. 1535. 
 
 Type : two impressions. The musical examples are beautifully printed. 
 
 Peter Schceffer, the younger, was the son of Peter Schceffer the successor and 
 pupil of Gutenberg at Mainz. 
 
GER1MAJQ AND SWITZERLAND n 
 
 Dietrich, Xistus.-— Magnificat octo tonorum. . . . Liber 
 primus (Altus, Tenor). Small quarto. 
 
 Petrus Schoffer & Mathias Apiarius. STRASBURG. 1535. 
 
 Fetis says that the only complete copy known is in the Royal Library 
 
 at Munich. 
 Presented to the Fetis Library (through Mr. P. Benoit), now forming part 
 
 of the Bibliotheque Royale de Belgique, thus making their copy complete. 
 
 1 
 
 Luscinius [Nachtgall], Ottomar. — Mvsvrgia seu praxis Mvsicae. 
 
 Oblong quarto. Joannes Schott. STRASBURG. 1536. 
 
 A translation into Latin of Virdung's treatise (151 1) with the same 
 illustrations. See p. 8. 
 
 Heyden, Sebaldus. — De arte canendi, ac vero signorvm in 
 cantibvs vsv libri duo. Quarto. 
 
 Johannes Petreius. NUREMBERG. 1540. 
 Type : one impression. 
 
 Listenius, Nicalaus. — Rudimenta Musicae. In gratiam studiosae 
 inventatis diligetur comportata. 
 
 Henricus Steyner. STRASBURG. 1540. 
 
 Glareanus, Henricus Loritus. — Dodecachordon. Folio. 
 
 Henrichus Petri. BASLE. 1547. 
 This rare and valuable treatise was written by Henricus Loritus, Poet- 
 laureate, better known as Glareanus, having been born in the Canton Glarus. 
 The object of the work was to prove that there were really twelve 
 ecclesiastical modes, and that these were identical with the ancient Greek 
 modes. Its great interest, however, to modern musicians consists in the 
 examples which it contains of the works of the older musicians, such as 
 Josquin de Pres, H. Isaac, Okeghem, Pierre" de la Rue, and others. 
 
12 GSRMAD^T AND SWITZSRLAJiD 
 
 KlRCHENGESANNG, TeUTSCH UND LaTEINISCH. Folio. 
 
 Johann vom Berg und Ulrich Neuber. NUREMBERG. 1557. 
 Type : one impression. 
 
 Dresler, Gallus. — Musicae Practicae Elementa in usum Scholae 
 Magdeburgensis. 
 
 WOLFFGANG KlRCHNER. MAGDEBURG. I57I. - 
 
 Faber, Henricus. — Compendiolum Musicae Pro Incipientibus. 
 
 CONRADUS CORNEUS. HENRICOPOLI. ISIS- 
 
 Paminger, Leonartus. — Tertius Tomus Ecclesiasticarum 
 Cantionum, Quatuor, Quinque, et sex vocum. 
 
 Katharina Theodorici, Gerlachii relicta. NUREMBERG. 1576. 
 Four parts only, in fine old calf binding. 
 
 Ulenberg, Caspar. — Die Psalmen Davids in allerlei Teutsche 
 gesang-reimen bracht . . . i6mo. 
 
 Gerwinus Calentius und die Erben Johan Quentels. COLOGNE. 1582. 
 1 50 Psalms. 
 
 Sale, Francisco. — Missarum solenniorum, tarn sanctorum 
 quam Festorum. . . . Primus Tomus. Patrocinium 
 
 Musices. Large folio. Adam Berg. MUNICH. 1589. 
 
 Large type. Separate voice parts on opening pages. 
 
 The ninth volume of the famous c Patrocinium Musices,' printed at Munich 
 by Adam Berg, under the patronage of the Duke of Bavaria, whence 
 the title of the collection. It is of the largest folio, with the voice parts 
 ' en regard,' i.e., each part printed separately on facing pages, on a 
 scale sufficiently large to be easily read by the whole choir from a single 
 copy. Seven of the eight previous volumes were entirely devoted to 
 works by O. de Lassus. 
 
GERMANY AND SWITZERLADiD 13 
 
 Praetorius, Michael. — Syntagma Musicum. 
 
 Three volumes in one. 
 
 Tomus Primus Complectens Duos Partes : quarum Prima 
 
 agit De Musica Sacra vel Ecclesiastica. 
 Pars altera : videlicet Historia de Musica extra Ecclesiam, 
 
 Quae Profana, Liberalis, Ingenua, Humana, Genialis, &c, 
 
 dici potest. Johannes Richter. W1TTEIMBERG. 161 5. 
 
 Tomus Secundus. De Organographia. 
 
 Elias Holwein. WOLFFENBUTTEL. 1619. 
 With a supplement of wood engravings of instruments entitled-: 
 
 Theatrum Instrumentorum, seu Sciagraphia. 
 
 [Holwein.] WOLFFENBUTTEL. i 620. 
 
 Tomus Tertius. 
 
 1. Die Bedeutung, wie auch Abtheil unnd Beschreibung 
 
 fast aller Nahmen, der Italianischen, Frantzosischen, 
 Englischen, und jetziger zeit in Teutschland 
 gebrauchlichen Gesange : 
 
 2. Was im singen, bey den Noten und Tactu, Modis und 
 
 Transpositione . . . zu observiren. 
 
 3. Wie die Italianische und andere Termini Musici, als : 
 
 Ripieno ; Ritornello, forte, pian : . . . &c, zu 
 verstehen und zu gebrauchen. Quarto. 
 
 Elias Holwein. WOLFFENBUTTEL. 161 9. 
 The Syntagma Musicum of Michael Praetorius was designed as a complete 
 encyclopaedia of musical knowledge. The author, whose real name was 
 Schultheis, was born in 1571 or 1572, and died at Wolfenbiittel in 1621. 
 The first volume, which is in Latin, treats of the sacred music of the Jews, 
 with an account of the musical instruments mentioned in the Bible, a 
 history of sacred music in the Roman Church and its offices. The second 
 part of the volume treats of the secular music of the ancients. 
 
14 GBRMAOiT AND SWITZERLAND 
 
 In the second volume the author discards the Latin language and proceeds to 
 describe the various instruments in use at that time. This description is 
 accompanied by a series of excellent woodcuts of these instruments. 
 
 The third volume treats of contemporary music in Italy, France, England, 
 and Germany, with directions for reading music and an explanation of 
 Italian terms. 
 
 The fourth volume was to have treated of counterpoint, but the death of the 
 author on his 50th birthday prevented the completion of his design. 
 
 [J. E. M.] 
 
 Fludd, Robert (Med. Doc. Oxon.). — De Templo Musicas, 
 in quo Musica universalis tanquam in speculo conspicitur 
 in Libros septem divisa. Folio. oppenheim. 161 8. 
 
 With illustrations of musical instruments, and music printed from engraved 
 
 plates, type, and wood blocks. 
 This is the second book : part two of Fludd's encyclopaedic work. 
 
 Wagenseil, Johann Christopher. — De Sacri Rom. Imperii Libera 
 Civitate Noribergensi Commentatio. Accedit, de Germaniae 
 Phonascorum, von der Meister- singer origine, praestantia, 
 vtilitate, et institutis, sermone vernaculo liber. Quarto. 
 
 WlLHELM KOHLES. ALTDORT. 1 697. 
 
 At p. 433 is a second title, to the Appendix : — ' Johann Christof Wagenseils 
 Buch von Der Meister-Singer Holdseligen Kunst.' Wagner made large 
 use of the Appendix in finding materials for his opera ' Die Meistersinger 
 von Nurnberg.' At p. 515 is given a list of 12 famous Nurnberg masters, 
 each of whom was adopted by Wagner for his dramatis persona. At 
 p. 517 is an account of Hannss Sachs; at p. 518 the Tablatur is 
 described, and at p. 521 are words which Wagner has turned into verse for 
 Act I. Page 534 begins with a long list of ' Tones,' several of which 
 Wagner mentions ; at p. 541 the arrangements in St. Katherine's Church 
 for a meeting of the Mastersingers are minutely described, exactly as they 
 appear in Act I. ; and opposite to p. 554 four ' Crowned Tones ' are 
 given, the first of which Wagner has adopted as one of his Mastersinger's 
 motives. 
 
b. tftalg. 
 
 Niger, Franciscus. — Grammatica Brevis. Quarto. 
 
 Theodorus Francus. VENICE. 1480. 
 
 Iufti a"a9 dedit gentes frenare fuperbas. 
 HEROICA BELLICA, 
 
 Heroics bellicacj} harmonia e qua utimur in illis 
 carminib,decantandis:quae bellica facia deoru 
 hominuqj defcribunttcuius numeri Cut tales. 
 
 E$ 4 $ $ * * « hDh B^B a 
 Bella phermati ospluiqaui li acampos 
 
 lufijdatufceleri canimuspopuluqjpotente 
 
 In fu a uidtrici conuerfu uifcera dextra. 
 
 FACSIMILE OF A PAGE FROM ' GRAMMATICA BREVIS ' BY FRANCISCUS NIGER. I480. 
 
 The earliest known specimen or secular music printed from type or by any 
 other method. The notes are printed from type without a stave. (See 
 facsimile.) In the next edition, Basle, 1500 (in the British Museum), 
 
16 ITALY 
 
 the stave is inserted. The notes, although those of songs, are here used 
 to show the length and accentuation of the syllables and the rise and 
 fall of the voice in the Italian method of chanting Latin poetry. 
 
 In connection with the history of music-printing this was perhaps the most 
 important book shown in the Exhibition, and one moreover that seems 
 to have escaped the notice of musico-bibliographers. It is the first 
 book containing melodies or songs, as Gerson's ' Collectorium ' of 1473 
 has only five notes. The printer of the ' Grammatica Brevis ' must have 
 possessed a more or less complete fount of music type ; this book may 
 have been his first venture in the art of music-printing, and so far as is 
 known he would seem to have been the first practical printer of 
 non-liturgical music. 
 
 Gafurius, Franchinus. — Theoricum opus musice. Quarto. 
 
 Francisco di Dino. NAPLES. 1480. 
 
 The earliest printed treatise on music. The book contains no printed musical 
 
 examples, but several blank spaces, including one whole page, are left for 
 
 these examples to be inserted by hand. In this copy they have been so 
 
 inserted by a contemporary scribe. 
 
 Missale secundum Ordinem Fratrum Predicatorum. Quarto. 
 
 OCTAVIANUS SCOTUS. VENICE. 1 48 2. 
 
 Type, red and black. 
 
 The third liturgical work with musical notation printed from type. The first 
 
 was printed by Ulrich Hahn, of Ingolstadt, at Rome, in 1476, and the 
 
 second by Octavianus Scotus, at Venice, in 148 1. 
 
 Burtius, Nicolaus. — Musices Opusculum : cum defensione 
 Guidonis Aretini. Quarto. Ugo de Rugerhs. bologna. 1487. 
 
 This book is of great interest as forming part of a controversy on the system 
 of hexachords which was carried on with much bitterness, and a plentiful 
 use of bad language, between a Spanish musician, Ramis de Pareija, the 
 
ITALY 
 
 17 
 
 author, Spataro, a pupil of Pareija, and the famous Gafurius. To us, 
 however, its principal interest centres in the fact that it contains some of the 
 very earliest attempts at music-printing. The first example of the use of 
 wood blocks for music-printing. 
 
 FACSIMILE OF A PAGE FROM ' MUSICES OPUSCULUM ' BY NICOLAUS BURTIUS. I487. 
 
 Gafurius, Franchinus. — Theorica Mvsice. Folio. 
 
 Per Philippum Mantegatium dictum Cassanum. MILAN. 1492. 
 The second edition, with musical examples printed from wood blocks : the first 
 edition having spaces left for the musical examples to be added by hand. 
 
18 ITALY 
 
 Verardus, Marcellinus. — Caesenatis Elegia. Octavo. 
 
 Wood blocks. Eucharius Silber, alias Franck. ROME. 1493. 
 
 This is a fragment forming the second part of * Caesenatis Historia Baetica,' 
 by Carolus Verardus, a drama on the conquest of Granada, acted at Rome 
 in 149,2. The Elegies, by his nephew and pupil, Marcellinus Verardus, 
 are followed by a song, sung in the drama, this being the earliest example 
 of secular music printed at Rome. 
 
 Presented to the British Museum Library, thus making the copy there 
 complete. 
 
 Gafurius, Franchinus. — Practica Musice. Folio. 
 
 Wood blocks. Guillaume Signerre. MILAN. 1 49 6. 
 
 Gafurius, Franchinus. — Musice utriusque cantus practica. 
 
 Folio. Angelus Britannicus. BRESCIJ. 1497. 
 
 Second edition of the Practica Musice. 
 
 Boethius. — De Arithmetica ad Patricium summachum libri 
 duo. De Musica libri quinque. De Geometria libri duo 
 
 Folio. Joannis & Gregorius de gregoriis fratres. VENICE. 1499 
 
 Gafurius, Franchinus. — Practica Musicae utriusque cantus 
 
 Folio. Bernardino Misinta de Papia. BRESCIJ. 1502 
 
 Third edition. 
 
 Motetti a cinque. Libro primo. Oblong quarto. 
 
 Ottaviano dei Petrucci. VENICE. 1505. 
 
 Collection of eighteen Motetts by various composers. Superius part only. 
 (One complete copy only known.) 
 
 The practical development of type music-printing had to await the advent 
 of Ottaviano Petrucci, who began to issue musical publications in 1501. 
 For many years he was looked upon as the inventor of music-printing from 
 movable types. This was, of course, not the case, as movable types were 
 used for the music in liturgical works twenty years before Petrucci's time. 
 To him must, however, be awarded the credit of bringing music-printing to 
 perfection, and he has the further distinction of, having been the first person 
 to devote himself chiefly, if not- entirely, to music-printing and publishing. 
 His fount of music type was so beautiful, and the whole of his workman- 
 ship so perfect, that it scarcely admitted of improvement. 
 
ITALY ig 
 
 Gafurius, Franchinus. — De Harmonia Musicorum lnstru- 
 mentorum. Folio. Gotardus Pontanus. milan. 1518. 
 
 Setting aside the ' Apologia aduersus Joannem Spartarium,' which is purely 
 controversial, the original printed works of Gafurius are three in number, 
 although the editions vary in important particulars, : — 
 
 (i.) a. Theoricum opus armonice discipline. Naples, 1480. Quarto. 
 
 b. Theorica Musice. Milan, 1492. Folio. 
 
 After a series of quotations from all the writers of antiquity in praise 
 of music, the author proceeds to expound the principles of music 
 based on the writings of Boethius, followed by an explanation of 
 the music of the Greeks, the division of the monochord, and the 
 solmisation of Guido d'Arezzo. The Quarto Edition is the 
 first printed work on music bearing a date. 
 
 (ii.) a. Practica Musicae quattuor (sic) libris compraehensa. 
 
 Milan, 1496. Folio. 
 
 b. Musice utriusque cantus libris quatuor modulatissima. 
 
 Brescia, 1497. Folio. 
 
 c. Practica Musicae quatuor libris comprashensa. 
 
 Brescia, 1502. Folio. 
 
 d. Practica Musicae utriusque cantus quatuor libris modulatissima. 
 
 Venice, 15 12. Folio. 
 This work consists of instruction in plain song, mensurable music 
 and counterpoint. It contains a large number of musical examples 
 printed from wood blocks, which in the editions of 1496, 1497, 
 and 1 502 are identical. In the Venetian edition these have been 
 re-engraved. 
 
 (iii.) De Harmonia Musicorum Instrumentorum Opus. Milan, 151 8. 
 Folio. 
 
 The only edition of this book. It consists of a learned treatise 
 on the music of the Greeks. Its great interest in the 
 present day is the life of the author by Pantaleone Melegoli. 
 The Angelicum ac divinum opus musice . . . materna lingua scriptum, 
 Milan, 1508, Folio, is an epitome of the Theoricum opus and of the 
 Practica Musicas in the Italian language, in deference to the want of scholar- 
 ship of many of the musicians of that day. One copy only is known of an 
 earlier edition of this work, Milan, 1496, in the Musee Calvet at Avignon. 
 All the works of Gafurius are uncommon ; the quarto of 1480 is of 
 considerable rarity. — J. E. M. 
 
20 ITALY 
 
 Aaron, Pietro. — Thoscanello de la Mvsica. Folio. 
 
 Bernardino et Mattheo di Vitali. VENICE. 1523. 
 
 Folianus, Ludovicus. — Mvsica Theorica. Folio. 
 
 Jo. ANTONIUS & FRATRES DE SABIO. VENICE. I S 2 9- 
 
 Mottetti del Frutto. — Primvs Liber cvm qvinqve vocibvs. 
 
 Quarto. Antonio Gardane. VENICE. 1538. 
 
 Five separate parts. Type : one impression. 
 
 The first work printed by Gardane, afterwards Gardano. It is probably the first 
 attempt in Italy at printing from type at one impression, which process is said by 
 Fournier (' Traite historique et critique sur l'origine et les progres des caracteres 
 de fonte pour l'impression de la musique,' Berne, 1765) to have been invented 
 by Pierre Haultin, of Paris, about the year 1525, and to have been brought 
 into practical use by Pierre Attaignant, also of Paris, and other printers. 
 
 Aron, Pietro. — Toscanello in Musica. Folio. 
 
 Marchio Sessa. VENICE. 1539. 
 
 Cipriani (Rore). — Musici eccelentissimi cum quibusdam aliis 
 Doctis authoribus motectorum : Liber primus. Quinque 
 
 VOCUm. Antonio Gardane. VENICE. 1544. 
 
 Five separate parts. 
 
 Aron, Pietro. — Lvcidario in mvsica di alcvne oppenioni antiche 
 et moderne. Quarto. Girolamo Scotto. venice. 1545. 
 
 Excelentiss, Autorum Diverse Modulationes. . . . Liber 
 Primus. Cum quinque vocibus. 
 
 Antonio Gardane. VENICE. 1549. 
 Five parts in one volume. 
 
 Il Primo Libro de Madrigali a Quatro Voci, de diversi Autori 
 a Notte negre, Con la sua giunta, Nouamente ristampati, 
 & corretti. Oblong quarto. Hieronymus Scotus. venice. 1550. 
 
 Bassus part only. 
 
 Contains 38 Madrigals by Berchem, Festa, Archadelr, Ferrabosco, Naich, and 
 other composers. 
 
ITALY 
 
 21 
 
 Vicentino, Nicola. — L' antica mvsica ridotta alia moderna 
 prattica . . . et con 1' inventione di vno nvovo stromento. 
 
 Folio. Antonio Barre. ROME. 1555. 
 
 PORTRAIT OF NICOLA VICENTINO FROM HIS l L* ANTICA MUSICA. ^555' 
 
 Lusitano, Vincentio. — Iiitroduttione Facilissima, et Novissima, 
 di Canto Fermo, Figurato, Contraponto semplice, et 
 
 inconceitO. . . . Francesco Marcolini. VENICE. 1558. 
 
22 ITALY 
 
 Animucia, Joannes. — Missarum Liber Primus. Large Folio. 
 
 Apud haeredes Valerii & Aloysii Doricorum fratrum Brixiensium. 
 
 ROME. 1567. 
 
 Joannellus, Petrus. — Novi Thesauri Musici Liber Primus. . . . 
 
 Quarto. Antonio Gardano. VENICE. 1568. 
 
 Sextus part only of the five books. 
 
 A very fine specimen of printing, with numerous portraits and coats of arms. 
 
 Caroso, Fabritio. — II Ballarino . . . Diuiso in due Trattati ; 
 Nel primo de' quali si dimostra la diuersita de i nomi, che si 
 danno a gli atti, et mouimenti, che interuengono ne i Balli : 
 & con molte Regole si dichiara con quali creanze, et in che 
 modo debbano far si. 
 
 Nel secondo s' insegnano diuerse sorti di Balli, & Balletti 
 si all' uso d' Italia, come a quello di Francia, & Spagna. 
 
 Ornato di molte Figure. 
 
 Et con P Intauolatura di Liuto, & il Soprano della Musica 
 nella sonata di ciascun Ballo. Quarto. 
 
 Francesco Ziletti. VENICE. 1581. 
 
 A Treatise on Music and Dancing, printed from type with tablature, and 
 containing numerous illustrations. 
 
 Merulo, Claudio. Toccate d' Intavolatvra d' Organo. Libro 
 Primo. Libro secondo, 1604. Folio. 
 
 Simone Verovio. ROME. 1597. 
 Engraved plates. 
 
 Simone Verovio appears to have been the first printer to use engraved copper 
 plates ; his earliest known publication of this kind is dated 1586. 
 
ITALY 23 
 
 Peri, Jacopo. — Le Mvsiche di Jacopo Peri, nobil Fiorentino, 
 sopra L' Euridice del Sig. Ottavio Rinuccini. Folio. 
 
 Giorgio Marescotti. FLORENCE. 1600. 
 Printed, in full score, from type. 
 
 'It ["Euridice"] was first performed in Florence in 1600, and has the singular 
 distinction of forming the actual starting-point of modern opera. Its general 
 plan served as a model upon which successive generations of composers built 
 and elaborated, adding new artistic devices, intensifying expression, widening 
 the scope and enriching the effect, branching off into various schools, and 
 manipulating their musical material in accordance with differences of temperament 
 and attitude towards artistic problems ; but never leaving a gap in the constant 
 development of operatic art, from the initial standard of the slenderest simplicity 
 up to the voluminous elaborations of the most passionate modern examples.' 
 (Sir Hubert Parry in ' The Music of the Seventeenth Century,' vol. iii. of 
 ' The Oxford History of Music,' p. 30.) 
 
 Negri, Cesare. — Nvove Inventioni di Balli. Folio. 
 
 GlROLAMO BORDONE. MILAN- 1604. 
 
 With 58 engraved plates of dancers, by Leon Palavicino. 
 
 Frescobaldi, Girolamo. — Toccate e Partite d' Intavolatvra di 
 Cimbalo. Libro primo. Folio. 
 
 NlCOLO BoRBONI. ROME. l6 1 5. 
 
 Engraved plates. 
 
 Frescobaldi, Girolamo. — Toccate d' Intavolatura di Cimbalo et 
 Organo Partite di diverse Arie e Corrente, Balletti, 
 Ciacone, Passachagli. Libro Primo. Folio. 
 
 NlCOLO BORBONE. ROME. 1 637. 
 
 Engraved plates. 
 
fmttt anti tt)e ilrtfmrlaitiJ*. 
 
 MlSSALE SECUNDUM USUM RoMANE EcCLESIE. Folio. 
 
 Mathias Hus. LYONS. 1485. 
 Stave only printed. 
 
 SOUTER LlEDEKENS GHEMAECT TER EEREN GODS, OP ALLE DIE PsALMEN 
 
 van David. Small octavo. Symon Cock. Antwerp. 1540. 
 
 Type : red and black. 
 
 The second book containing musical notation printed (from type) in the 
 Netherlands. The first edition of this book — a small selection of Psalms — 
 appeared one year earlier, in 1539. In 1515 Jan de Gheet printed at 
 Antwerp a collection of verses and music in praise of the Emperor 
 Maximilian : the music, by Benedictus de Opitiis, is printed from 
 wood blocks. 
 
 150 Psalms. 
 
 Gervaise, Claude. — Quart Liure contenant xxvj. Chansons 
 Musicalles a troys parties. Oblong octavo. 
 
 Pierre Attaignant. PARIS. 1550. 
 Type : one impression. 
 
 Attaignant was the foremost music printer in France during the 16th century. 
 
 Davantes, Pierre. — Pseavmes de David, mis en rhythme franchise 
 par Clement Marot & Theodore de Besze, avec nouvelle & 
 facile methode pour chanter chacun couplet des Pseaumes 
 sans recours au premier. Octavo. ltons. 1560. 
 
 Type : one impression. 
 
FRANCE AND THE NETHERLANDS 
 
 25 
 
 Davantes claims to have invented the numerical notation which appears in this 
 volume for the first time. 
 
 AftOVM. 
 le Prophe 
 IC extreme- 
 mcnt marry 
 da voir def- 
 honurcr 
 Dicu par let 
 inefchat, de- 
 mande d'en 
 cftrc 
 loppe 
 eric 
 
 rux. Puis 1 
 a'fleurc que 
 Dicu I'aouy 
 
 Jtfuamt XXrtl.U 
 
 ,{ PSBAV. XXVllITH. It. i" 
 
 A d te, Domim.cUmabe' 
 
 contre "■ *^ " t \ 7 i ,< , t 4 4 
 Dicul'aouy: . ft g, . , 
 
 »u q .«i .1 re- : i^rr^rr^^AiE^^SU^j^ 
 
 commande trjHtjjyT - T "* "*"" ' "4— 
 
 tous lei fidel j^^ t =^.^-~~^l—L.. ■- ■■*- 
 
 1 
 
 fneur 
 
 Pihuo 
 
 tni forccnc _ '" ° ' * " s" ' ," 1* ' "' 
 
 me by point ^■fe«*f ft: OrleSntcliY* » /*n«9 »• 1»'!> »* 
 
 dufoard.dc ' u \ 
 
 peur que fi 
 
 tu ne (ienf 
 
 conic de me 
 
 refpondre, 
 
 if foye fait 
 
 fembtable a 
 
 eelix qui de 
 
 li^^H^^^^^ 
 
 T 
 
 !« !* -V ■* -i $ 
 
 r' fo <"' 
 
 ecus qui ar- 
 
 I ... . 1- ... 
 
 .7 !/ ! !* ./ •« f •{ tr ! * 
 fa. tt t <£>i "eg ^» t*«»-C.« /rn'tgat- 
 
 * !/ ! !/ .7 .* J •* ■* •' '■' 
 fcr,Q.Mei>S>«wr art tern £«*»«?« h* <t«_. 
 
 a $WIH 
 
 i 
 
 FACSIMILE OF A PAGE FROM ' PSEAVMES DE DAVID,' BY PIERRE DAVANTES. 1560. 
 
 Bataille, Gabriel. — Airs de Differents Autheurs, mis en 
 Tablature de Luth. Quarto. 
 
 Seven books in one volume. Pierre Ballard. PARIS. 1612-1622. 
 
 Starter, Jan Jansz. — Friesche Lust-Hof, Beplant met 
 verscheyden stichtelijcke Minnae-Liedekens. . . . Oblong 
 
 quarto. Broer Jansz. AMSTERDAM. 1634. 
 
 With etched illustrations. 
 
afttijlantL 
 
 Higden, Ranulph. — Policronicoii. Englysshed by Syr Johan 
 de Trevysa. Folio. Wynkyn de Worde. Westminster. 1495. 
 
 The earliest known specimen of musical notation printed in England. In 
 Caxton's edition of this work (1482) the space is left blank for the notation 
 to be filled in by hand. The book contains one music example only, of 
 which the following is a facsimile : — 
 
 mi totottttfyto of mbtm 
 
 fourth of .ijt. w fj)fe H m $««*#• 
 
 ■ -C^NP 
 
 m —~ P iatcoiDcs wre 
 *P~~H\~ fpuoegptoago 
 
 *-■' — -mcB.flnofofr 
 
 — — be calico ft nd 
 — '- toe Double /pe 
 
 — - calico 10 fotw 
 
 rl— ttcslDpapafoo 
 3no ^ccallca 
 w tg nfibie otbet 
 alfc t)e calico 
 qfotwiclDra 
 icnfcSno J fc 
 19 ttobze fecal* 
 IcDall^^tbrt 
 
 « 1 
 
 Sfc Oi %» 
 
 til 
 
 ! 
 
 DC ode/bctc (9 (ones ZyatefleroD/g 
 
 t^at f> to nombzee is calico all <? tfjc 
 
 . epg&fctli ode / bece to cetwieo Double 
 
 The passage in which the notes occur describes the consonances of Pythagoras : 
 the double octave is wrongly printed, containing a note too much. 
 
 In printing this book Wynkyn de Worde, Caxton's ' pupil and successor, 
 solved the difficulty of ' setting up ' the above music example by putting 
 together the ' quads.' and ' rules ' used in his ordinary typographical work. 
 Thus by a practical application of the old adage ' necessity is the mother 
 
ENGLAND 27 
 
 of invention,' Wynkyn de Worde really, though unconsciously, invented 
 type music-printing — that is to say, the printing of the lines and notes at 
 one impression. 
 
 The Psalter of David newly translated into Englysh 
 Metre . . . Wherunto is added a note of four partes . . . 
 
 Robert Crowley. LONDON. 1549. 
 
 The ' note in four partes' is the first example of a double chant. 
 Only two other copies appear to be known. 
 
 Merbecke, John. — The booke of Common praier noted. 
 
 Quarto. Richard Grafton. LONDON. 1550. 
 
 'The booke of Common praier noted' was compiled in 1550, under the 
 patronage and superintendence of Archbishop Cranmer, by that enthusiastic 
 student of Holy Writ, and man of piety and learning, John Merbecke. It 
 was not merely a manual for the performance of Matins and Evensong, but 
 contained also the whole of the Office for Holy Communion noted word for 
 word throughout, according to the First Prayer Book of King Edward VI., 
 that compilation preceding it by one year. 
 
 In this manner Merbecke's book supplied a deficiency sure to have been felt 
 throughout the country, on the substitution of the English for the Latin 
 office. It is not easy to discover the precise extent to which Merbecke's 
 book was used in the English Cathedral service during the latter half of the 
 1 6th and earlier part of the 17th centuries. Primarily intended for the use 
 of the Chapel Royal, it constituted a model for the whole country, and its 
 adoption, on the whole, as the authentic choral book of the Church — not 
 only for choirs, but for congregations likewise — is placed beyond all doubt. 
 Based, musically, on the Use of Sarum, it tormed a complete antiphonarium 
 for the reformed liturgy ; in fact, it was the ' Helmore,' the ' Redhead,' 
 the ' Mercer,' the ' Cathedral Prayer Book ' ot modern times. It was 
 not, as many appear to suppose, a new composition, or series of 
 compositions, but merely an adaptation, to the words of the English 
 liturgy, of that notation which had been in use from time immemorial 
 in the English Church. — J. S. B. 
 
28 
 
 EOiGLAND 
 
 Utenhove, Jan. — Hondert Psalmen Dauids .... ouerghesett 
 in Nederlandschen dichte. Duodecimo. 
 
 John Day. LONDON. 1561. 
 ^*r n . Pta.tmii. IIS 
 
 t»flfealleBtt&o«n e»0 Dctfiingljttt. 
 
 !Bentdiftus Dominus fieus. 
 ( Pfalm.cxliiii t 
 
 fcsalD »«ncht dSoxt, too? feftns B8«!)tpt6p taferprti 
 ouettoinKlnBDejJIefpAt t« bcUorafnourrfpnb|an9CB, 
 «n»> roupt out r?n ^uspe ttflijen tcbooftnactoctieiu 
 
 ♦/ -» 
 
 G S^p 
 
 ibtiooftfp tercet mgnftontotfe 
 
 ritlU | . , ..y 
 
 «&to bafOsfytptMit (cb op tcotfr. 
 
 Sfe tot fetpflfe Imt Me tymbtn tnpn, 
 
 hh* 1 1 1 j 
 
 •Cntftot Jfcstat tiiEtitfnjfta0fpit, 
 
 «» 
 
 FACSIMILE OF A PAGE FROM ' HONDERT PSALMEN DAUIDS,' BY JAN UTENHOVE. 1 56 1. 
 
 The Whole Booke of Psalmes collected into Englysh metre 
 by T. Starnhold, I. Hopkins, & others. . . . With 
 A shorte Introduction into the Science of Musicke. Quarto. 
 
 John Day. LONDON. 1562. 
 
 Eight leaves at end, and one other in facsimile. 
 
 It was long thought that only one copy of this edition was in existence : 
 three copies at least are now known — one in the British Museum, one in 
 the John Rylands Library, and the copy here referred to. 
 
 150 Psalms. Tunes frequently repeated. 
 
EOiGLAND 
 
 29 
 
 The Whole Psalmes in foure partes, whiche may be song to 
 al musicall instrumentes, set forth for the encrease of vertue : 
 and abolishyng of other vayne and triflyng ballades. Four 
 separate parts. Oblong quarto. John Day. London. 1563. 
 
 Medius, Contra Tenor, Tenor and Bassus. 
 Type : one impression. 
 
 Contains only sixty-one Psalms, many ot them set several times ; also 
 includes settings of the Canticles, Creed, Prayers, &c. 
 
 WOODCUT FROM ' THE WHOLE PSALMES IN FOURE PARTES,' PRINTED BY 
 
 JOHN DAY IN I563. 
 
 MORNYNG AND EUENYNG PRAYER AND COMMUNION, Set fortlie in 
 
 foure partes, to be song in churches, both for men and 
 children, wyth dyuers other godly prayers & Anthems, of 
 sundry mens doynges. Folio. John Day. London. 1565. 
 
 Secundus Contra-tenor part. 
 Type : one impression. 
 
 The earliest printed collection ot Services and Anthems for the English 
 Church. . . 
 
3Q EU^GLAND 
 
 Sternhold, Thomas, Hopkins, J., and others. — The whole 
 booke of Psalmes, collected into Englishe Meter, 
 . . . with apt Notes to syng them withall. Small folio. 
 
 John Day. LONDON. 1565. 
 1 50 Psalms. 
 
 Sternhold, Thomas, Hopkins, John, and others. — The whole 
 booke of Psalmes, collected into Englishe Meter, . . . with 
 apt Notes to sing them withall. Small folio. 
 
 John Day. LONDON. 1567. 
 150 Psalms. Tunes frequently repeated. 
 
 Tallis, Thomas and Byrd, William. — Cantiones, qvae ab 
 argvmento sacrae vocantvr, qvinqve et sex partivm. Oblong 
 
 quarto. Thomas Vautrollier. LONDON. 1575. 
 
 Type : one impression. 
 Five parts in the original vellum. Contra-tenor unbound, wants 4 pp. at 
 
 end. 
 The first printed collection of Motets or Anthems for the English Church, 
 and the first work printed for Tallis and Byrd under the Patent granted to 
 them by Queen Elizabeth in the same year ; this Patent gave the sole 
 right to print and import music books. A fine specimen of type printing 
 of the period. 
 
 Sternhold, Thomas, Hopkins, John, Whittingham, W., and 
 others. — The whole Booke of Psalmes. Small quarto. 
 
 John Daye. LONDON. 1578. 
 
 Byrd, William. — Psalmes, Sonets & songs of sadnes and pietie, 
 made into Musicke of flue parts. Quarto. 
 
 Five parts in one volume. Thomas East. LONDON,. 1588. 
 
 Yonge, Nicholas. — Mvsica Transalpina. Madrigales translated 
 of foure, flue and sixe parts, chosen out of diuers excellent 
 Authors, with the first and second part of La Verginella, 
 made by Maister Byrd, vpon Stanz's of Ariosto .... and 
 
ENGLAND 31 
 
 brought to speake English with the rest. Published by 
 N. Yonge, in favour of such as take pleasure in Musick of 
 
 voices. Quarto. Thomas East. LONDON. 1588. 
 
 Six separate parts. 
 
 Byrd, William. — Songs of sundrie natures, some of grauitie, and 
 others of myrth, fit for all companies and voyces. Lately 
 made and composed into Musicke of 3. 4. 5. and 6. parts. 
 
 Quarto. Thomas East. LONDON. 1589. 
 
 Six parts in one volume. 
 
 Contra-tenor wants 2 pages, Superius wants 5 pages. 
 
 Watson, Thomas. — The first sett, Of Italian Madrigalls Englished, 
 not to the sense of the originall dittie, but after the affection 
 of the Noate. There are also heere inserted two excellent 
 Madrigalls of Master William Byrds, composed after the 
 kalian vaine, at the request of the sayd Thomas Watson. 
 
 Quarto. Thomas Este. LONDON. 1590. 
 
 Six separate parts. 
 
 The two madrigals by Byrd referred to in the title-page are two distinct settings 
 of the words ' This sweet and merry month of May,' one for four voices, 
 the other for six voices. 
 
 Sternhold and Hopkins. — The Whole Booke of Psalmes. 
 
 QuartO. John Windet. LONDON. 1594. 
 
 Bound, with a Bible dated 1595, for King James I., the Royal Arms stamped 
 on the cover. 
 
32 ENGLAND 
 
 Yonge, Nicholas. — Musica Transalpina. The Second Booke 
 of Madrigalles, to 5. & 6. voices : translated out of sundrie 
 Italian Authors. Quarto. Thomas Este. London. 1597. 
 
 Six separate parts. 
 
 Morley, Thomas. — A Plaine and Easie Introdvction to Practical 
 Mvsicke, set downe in forme of a dialogue. Folio. 
 
 Peter Short. LONDON. 1597. 
 Imperfect. 
 
 This book, more often quoted than seen, is more or less familiar from its 
 introduction describing how Polymathes, ' supper being ended and musicke 
 books brought to the table,' found himself unable to take his part, of 
 which he was so ashamed that the next day he betook himself to 
 Master Gnorimus to repair the defects of his education. This is carried 
 on by question and answer. It is a clear exposition of the art as practised 
 at the time, and the book retained its popularity for many years, having 
 been reprinted as late as 177 1. 
 
 Ward, John. — The First Set of English Madrigals to 3, 4, 5 and 
 6 parts : apt both for Viols and Voyces. Quarto. 
 
 Thomas Snodham. LONDON. 1613. 
 Six parts in one volume. 
 
 Tailour, Robert. — Sacred Hymns. Consisting of Fifti Select 
 Psalms of David and others, Paraphrastically turned into 
 English Verse. And by Robert Tailour, set to be sung in 
 Five parts, as also to the Viole, and Lute or Orph-arion. 
 
 Quarto. Thomas Snodham. LONDON. 16 15. 
 
 Type and tablature. 
 
EOiGLAND 
 
 33 
 
 Ravenscroft, Thomas. — The Whole Booke of Psalmes: with 
 the Hymnes Evangelicall, And Songs Spiritvall. Composed 
 into 4. parts by sundry Authors. 
 
 For The Company of Stationers. LONDON. 1621. 
 
 E3S3 
 
 WITH 
 
 THE HYMNES 
 
 Evangelic all, Anp 
 •feffgrSriEiiTVALL. i 
 
 Compofcd into 4- parts by fundry Au- 
 thors, with fuch fcuerjdl Tunes as haue beene, 
 and art vfutUyfung'm Englmd, ScetUnd, Walts, 
 Germany, Italy, France, and the Nethcr-landl : 
 Ntuer at f ci before in one valumnt 
 pablitbed. 
 
 9ALSO: 
 
 Abriefe Abftrift ofthcPrayfe,Efficacie, 
 and y crtue of the Pfalmes. , 
 
 Newly correBed and enlarged by Tho 
 Rauenfctoft Baehclarof Muficke. 
 
 FACSIMILE OF THE TITLE-PAGE OF ' THE WHOLE BOOKE OF PSALMES,' 
 BY THOMAS RAVENSCROFT. 1 62 I. 
 
 This Psalter contains a tune named ' Christ Hospitall Tune,' which is 
 assigned to Psalms 72 and 107. As one Thomas Ravenscroft held the 
 office of music-master at Christ's Hospital from 161 8 to 1622, there is very 
 little doubt that he and the composer were one and the same person 
 though no biographer has called attention to this coincidence, if not fact. 
 
34 Et^GLAND 
 
 Wither, George. — The Hymnes and Songs of the Church . . . 
 Duodecimo. london. [1623.J 
 
 The tunes are by Orlando Gibbons. 
 
 Butler, Charles. — The Principles of Musik, in Singing and 
 Setting, with the two-fold Use thereof, Ecclesiasticall and 
 
 Civil. QuartO. John Haviland. LONDON. 1636. 
 
 The Author incidentally gives the blazoning of the arms of the Worshipful 
 Company of Musicians. The book is printed in special type to illustrate 
 the Author's system of phonetic spelling. 
 
 Lawes, Henry and William. — Choice Psalmes put into Musick 
 for Three Voices. Quarto. 
 
 James Young for Humphrey Moselev and Richard Wodenothe. 
 
 LONDON. 1648. 
 Three parts and thorow Base in one volume. Each part has an engraved 
 portrait of Charles I., believed to be the last published before his 
 execution. Among the many commendatory verses prefixed to the work 
 is the Sonnet addressed by Milton ' To Mr. H. Lawes on his airs,' 
 beginning, ' Harry, whose tuneful and well-measured song.' 
 
 Parthenia, or The Mayden-Head of the first Musick 
 that ever was printed for the Virginalls. Composed 
 by three famous Masters ; William Byrd, Dr. John Bull, 
 and Orlando Gibbons, Gentlemen of His Majesties Chappell. 
 
 Folio. John Clarke. LONDON, 1655. 
 
 Printed from engraved plates. The first edition, published in 161 1, was 
 the first English collection of music thus printed. 
 
 Playford, J. — A Breif Introduction to the Skill of Musick : for 
 Song and Viol. 
 
 W. Godbid, for John Playford. LONT>ON. 1658. 
 Only two or three copies of this edition appear to be known. 
 
EJiGLAND 35 
 
 Simpson, Christopher. — The Division Violist : or, An Intro- 
 duction to the playing upon a Ground. Folio. 
 
 William Godbid for John Playford. LONDON. 1659. 
 With illustrations and music printed from engraved plates and also from 
 type. 
 
 Playford, John. — A Brief Introduction to the Skill of Musick. 
 In two Books. Fourth Edition much enlarged. Duodecimo. 
 
 W. Godbid for J. Playford. LONDON. 1664. 
 
 In this, the fourth edition of his popular treatise, Playford thus refers to the 
 Worshipful Company of Musicians : 
 ' Charles the Ninth of France, out of his great love and affection to Musick, 
 did establish a Musical Academy and the Constitutions thereof, and 
 confirmed the same with his own hand and Seal, professing himself 
 Protector and first Auditor. The like did our second Solomon King James 
 to the Musicians of London, granting them his Letters Patents for a Society 
 and Corporation, And gave them for their Arms Azure, a Swan Argent 
 within a Tressure Counterflour, Or, and in a chief Gules, A Rose between 
 two Lyons Or, and for their Crest the Sign (called by Astronomers) the 
 Orphean Lyre.' 
 
 Simpson, Christopher. — Chelys, Minuritionum Artiflcio Exornata. 
 The Division- Viol. Second Edition. Folio. 
 
 W. Godbid for Henry Brome. LONDON. 1667. 
 
 Salmon, Thomas. — An Essay to the Advancement of Musick, 
 by casting away the Perplexity of different cliffs, and Uniting 
 all sorts of Musick, Lute, Viol, Violin, Organ, Harpsechord, 
 Voice, &c, in one Universal Character. Duodecimo. 
 
 J. Macock for John Car. LONDON. 1672. 
 
 Under the heading of 'The objections answered' the author foreshadows 
 the Suez Canal, in the following extract : 
 
 ' Suppose the old project was brought to pass, that the nook of Land, which 
 joins Africa to the continent of Asia, was divided, and so a passage out of 
 the ^Mediterranean, opened into the Red Sea ; would the apprentices of all 
 
36 ENGLAND 
 
 former Merchants be obliged, when they took a Voyage to the East-Indies, 
 to measure the same wide circuit their Masters did ; to double the cape of 
 good Hope, twice cross the scorching line, and suffer even the Southern 
 cold, when they might return in less than half the time by the Streight of 
 Gibralter ? And with no less folly, must Musicians be still condemned to 
 steer their wandering course through many Cliffs, because their Predecessors 
 went that way before them.' 
 
 The scheme of the amateur author of this little book consisted in calling the 
 lines of the staff invariably by the letters G, B, D, F, A, and signifying the 
 actual pitch by prefixing the letters T, M, and B, standing for Treble, 
 Mean, and Bass. Lock at once attacked it with much scurrility. It was 
 not surprising that Salmon replied with equal bitterness. This called forth 
 a further and still more abusive answer from Lock, to which pamphlet was 
 added ' Duellum Musicum, by John Phillips, Gent.,' nephew of Milton, in 
 which he belies the title which he gives himself. John Playford, who added 
 a few words by way of comment, alone comes out of the controversy 
 with honour. * 
 
 Mace, Thomas. — Musick's Monument ; or, a Remembrancer 
 of the Best Practical Musick, both Divine and Civil that 
 has ever been known, to have been in the World. Divided 
 into Three Parts. Folio. 
 
 T. Ratcliffe and N. Thompson. LONDON. 1676. 
 
 Portrait of the author engraved by Faithorne. 
 
 The Author thus quaintly epitomises the contents of this interesting volume : — 
 
 The first part shews a necessity of singing Psalms well, in Parochial Churches, 
 or not to sing at all ; Directing how they may be well sung, certainly ; by 
 two several ways, or means, with an assurance of a perpetual national quire ; 
 and also shewing how cathedral musick may be much improved and 
 refined. 
 
 The second part treats of the noble lute (the best of instruments), now made 
 easie ; and all its occult-lock'd-up-secrets plainly laid open, never before 
 discovered ; whereby it is now become so familiarly easie as any instrument 
 of worth known in the world ; giving the true reasons of its former 
 difficulties ; and proving its present facility, by undeniable arguments ; 
 
ENGLAND 37 
 
 directing the most ample way for the use of the theorboe, from off the 
 note, in consort, &c. ; shewing a general way of procuring invention and 
 playing voluntarily upon the lute, viol, or any other instrument ; with two 
 pritty devices ; the one shewing how to translate lessons, from one tuning 
 or instrument, to another ; the other an indubitable way to know the best 
 tuning, upon any instrument, both done by example. 
 In the third part the generous viol, in its rightest use, is treated upon ; with 
 some curious observations, never before handled, concerning it, and musick 
 in general. 
 
 Playford, John. — The Whole Book of Psalms, with the usual 
 Hymns and Spiritual Songs ; together with all the ancient 
 and proper Tunes sung in Churches^ with some of later 
 Use. Compos'd in Three Parts. . . . 
 
 W. Godbid for the Company of Stationers. LONDON. 1677. 
 
 Bowman, Henry. — Songs, for one, two & three voices to the 
 Thorow-Bass. With some short Symphonies. Collected 
 Out of some of the Select Poems of the Incomparable 
 Mr. Cowley, and others. Folio. 
 
 Thomas Bowman. OXFORD. 1678. 
 Engraved plates. 
 
 Playford, Henry. — Harmonia Sacra : or Divine Hymns and 
 Dialogues : with a Thorow-Bass for the Theorbo-Lute, 
 Bass- Viol, Harpsichord, or Organ. Composed by the Best 
 Masters of the Last and Present Age. Folio. 
 
 Edward Jones for Henry Playford. In the Savoy. LONDON. 1688. 
 Bound with the second book, published in 1693. 
 
 Purcell, Henry. — The Vocal and Instrumental Musick of the 
 Prophetess, or the history of Dioclesian. Folio. 
 
 .'•',' J. Heptinstall. i 69 1. 
 
 Full score, with MS. corrections. 
 
38 
 
 EOiGLJND 
 
 Purcell, Henry. — Te Deum & Jubilate, for Voices and 
 instruments, Made for St. Caecilia's Day, 1694. Folio. 
 
 J. Heptinstall for the Author's Widow. LONDON. 1697. 
 Full Score. Type. 
 
 Purcell, Henry. — A Collection of Ayres, compos'd for the 
 Theatre, and upon other Occasions. Folio. 
 
 J. Heptinstall, for Frances Purcell, Executrix of the Author. LONDON. 1697. 
 Violino Secundo, Tennor and Bassus parts. 
 
 <&Jjeti?ucUtteHtinnen,bp3anS>ape 
 
 ttootfen too;ff pDcu £Puerfetter,zi.3fami »y6u 
 
 Cnm Gratia & PriuilegioRegix ' 
 
 MaicRatis.pcr feptenmum. 
 
 JOHN DAY'S DEVICE, FROM JAN UTENHOVe's ' HONDERT PSALMEN DAUIDS.' I561. 
 
 (Seep. 28.)