I.
| Record ID | cp012010 |
| Voet reference number | 58 |
| Museum Plantin-Moretus | c:lvd:1132831 |
| Uniform title | ANTIPHONARIUM |
| Title page transcription | [Within woodcut-compartment:] † ANTIPHONARII, □ Iuxta Breuiarium ‖ Roman. restitutū, ‖ Pars Hyemalis. ‡ ANTVERPIÆ, ‖ Ex officina Christoph. Plantini, ‖ Regii Prototypographi. ‖ M.D.LXXIII. |
| Collation | Folio (430 × 277): *, A-Z⁶, a-j⁶, AA-OO⁶, PP⁸; pages [I-4], I-DXXXIX, [DXL], folios I-92v (on ro numbered in roman type, on vo in gothic type), (Errors: XI for X, CXIII for XCIII, CCCL for CCCXL, CCCCLX for CCCCLXI, CXXIII for DXXIII, CXXVI for DXXVI, 13 not numbered, 74 twice numbered, 76 missing). Printed in black and red |
| Fingerprint | 1# 157302 - # a1=a2 *2 Reg - # 1b1 A s$ : # 1b2 y4 i: - # 2b1 2A Eu : # 2b2 2P4 $Psa^2# 157302 - # a1=a2 *2 Reg - # 1b1 Z2 $s : # 1b2 Z4 x - # 2b1 2A í : # 2b2 2Z4 u - # 3b1 2a í - # 3b2 2a5 $D - # 4b1 2Q u : # 4b2 2Z4 e : # 5b1 2a í : # 5b2 2P3 $s - # 6b |
| Number of sheets | 1#: 182 |
| Pages | [1]: Title [2]: Lectori signed by (Malines, 9 December 1572, s. M. Reginaldus Rogerius) [3]: Ad Christophorum Plantinum…(s. David Michael Regius Ant.) [4]: Indices (on two columns) [I]-DXXXIX: Text (gothic type, music, parts in roman type, marginals in italic type) [DXL]: Blank [I]-92 recto: Proprium Sanctorum (gothic type, music, parts in roman type, marginals in italic type) 92 verso: ANTVERPIÆ EXCVDEBAT ‖ CHRISTOPHORVS PLANTINVS, ‖ REGIVS PROTOTYPOGRAPHVS, ‖ IDIBVS IANVARII. M.D.LXXII [92 verso]: Blank |
| Edition information | |
| Copies | KU Leuven- Maurits Sabbe Library, P Plano 141;P Plano 139;BIBK;BIBKUNamur- R6C.0004, R6C.0005 |
| Bibliographical references | Cockx-Indestege, E. Belgica typographica 5074 G. Huybens, Liturgische zangboeken 1571-1904, A 1573 (collation inaccurate) |
| Online bibliographical references | STCV c:stcv:6890208 |
| Further reading |
II.
| Title page transcription | [Within woodcut-compartment:] † ANTIPHONARII, □ Iuxta Breuiarium ‖ Roman. restitutū, ‖ Pars Aestiualis. ‡ ANTVERPIÆ, ‖ Ex Officina Christoph. Plantini, ‖ Regii Prototypographi. ‖ M.D.LXXIII. |
| Collation | Folio (406-275): *, Z⁶, Aa-Zz⁶, aa⁸, QQ-ZZ⁶, aA-oO⁶, pP⁴, A-O⁶, P⁷; pages [I-4], DXLI - DCCCXLVI, [DCCCXLVII - DCCCXLVIII], folios [93 recto-verso], 94 recto-228 verso (on ro numbered in roman type on vo in gothic type); pages I-CLXXXI, [CL XXXII] (Errors: CLIII for DCLIII, DCLXXXV for DCCLXXXV, 177 for 178, 228 not numbered, LIX for LX). Printed in black and red |
| Fingerprint | |
| Number of sheets | |
| Pages | [1]: Title [2]: Lectori S.…(Malines, 9 December 1572, signed by M. Reginaldus Rogerius) [3]: Ad Christophorum Plantinum…(s. David Michael Regius Ant.) [4]: Indices (on two columns) [DXLI]-DCCCXLVI: Text (gothic type, music, parts in roman type, marginals in italic type) [DCCCXLVII]: ANTVERPIÆ EXCVDEBAT ‖ CHRISTOPHORVS PLANTINVS, ‖ REGIVS PROTOTYPOGRAPHVS, ‖ ANNO DOMINI M.D.LXXII. ‖ KALEND. MAII [DCCCXLVIII]: Blank [93 recto]-228 recto: Proprium Sanctorum (gothic type, music, parts in roman type, marginals in italic type) [228 verso]: Blank I - CLXXXI: Commune Sanctorum (gothic type, parts in roman type) [CLXXXII]: Blank |
| Edition information | |
| Illustrations | Woodcut: Compartment used on title-page, 340 × 225, representing the choir of the Malines cathedral, cut by Arnold Nicolai, probably after a design of Pieter van der Borcht (see also Psalterium, no. 2115) |
| Copies | Museum Plantin-Moretus - B 947: on paper - A 2: on vellum, but parts on paper, the introductory pages missing [this copy is one of the two sold by Plantin to the Antwerp cathedral, and presented in 1880 by the church to the Plantin-Moretus Museum: Rooses, Musée, page 112]British Library London - on vellum, parts on paperArchives of the Chapter of the Cathedral, Tournai - 2 copies on vellem - one Pars Aestivalis on paperSéminaire de Tournai - copy on paper |
| Bibliographical references | Not in Ruelens-de Backer |
| Online bibliographical references | |
| Note 1 | Monumental service book for use in the churches of the Netherlands, being a pendant of the Psalterium, printed in 1571. An interesting and detailed note on this publication in Rooses, Musée, pages 108 and 112. |
| Note 2 | The work is divided in a Pars Hiemalis and a Pars Aestivalis, containing each the Antiphonary proper and the Proprium Sanctorum. |
| Note 3 | Each volume was completed with a Commune Sanctorum, which seems to have been identical for both volumes (to judge from the ‘Index in Commune Sanctorum’ figuring on page [4] of both the Pars Hyemalis and the Pars Aestivalis). It was an ‘optional’ part (see further in Notes). This explains why it is often missing or why certain copies have been completed with a 1574-reprint (cf. no. cp013292). Thus in Museum Plantin-Moretus, B 947: Pars Aestivalis has the original 1572-version, which in Pars Hyemalis has been replaced by the 1574-reprint; in Museum Plantin-Moretus, A 2: 1574-reprint in Pars Hyemalis, no Commune Sanctorum in Pars Aestivalis; in the copies of the Cathedral Chapter: original 1572-version; in copy Seminaire épiscopal Tournai: 1574-reprint. |
| Note 4 | Some powerful prelates induced Plantin to publish a new Antiphonary (and the Psalter of 1571 as well) for use in the churches of the Netherlands according to the instructions of the Council of Trente. Gilbert d’Oignies, Bishop of Tournai, seems to have been particularly interested in the project; letters by Plantin to the prelate about the subject: Correspondance de C. Plantin, II, nos. 212 (22 February [1570]), 224 (1570 ?), 236 (16 July 1570), 248 (22 October 1570), 278 (23 May 1571), 282 (July 1571), 287 (August 1571), 289 (28 October 1571), 298 (December 1571), 300 (19 December 1571), 309 (January 1572), 311 (6 February 1572), 316 (4 March 1572), 321 (15 March 1572); III, nos. 184 (error for 384) (20 May 1572), 187 (for 387) (22-23 May 1572), 190 (for 390) (18 June 1572), 456 (21-24 January 1573), 465 (10 March 1573). Other prelates interested include the Bishop of Ghent (Correspondance de C. Plantin, II, no. 283; 9 August 1571), the Abbot of Hasnon (Correspondance de C. Plantin, II, no. 310; 4 February 1572), the Abbot of Marchiennes (Correspondance de C. Plantin, III, no. 443), and — of course — Cardinal Granvelle, Archbishop of Malines and head of the Netherlandish churchprovince (Correspondance de C. Plantin, II, nos. 279 [7 July 1571], 286 [25 August 1571]). |
| Note 5 | The ambitious undertaking asked for a large investment. Plantin in many letters stressed the need for advance money enabling him to start with and to continue the enterprise (Correspondance de C. Plantin, II, nos. 212, 236, 278, 279, 283), but only a few prelates seem to have come to the rescue; among them Cardinal Granvelle (Correspondance de C. Plantin, II, no. 286 [25 August 1571]: Plantin has received in three installments 900 florins Carolus guilders for printing the antiphonary, for which he gave as security to the representative of Granvelle in Malines 150 copies of the Psalterium) and Bishop d’Oignies (Correspondance de C. Plantin, II, no. 236 [16 July 1570]: Plantin has received 100 escus ‘pour aider à l’impression de l’Antiphonaire et Psaultier’). Cf. Plantin’s letter to the same bishop (Correspondance de C. Plantin, II, no. 278; 23 May 1571): Plantin cannot start immediately with the ‘Antiphonaires’ for lack of money: ‘…de sorte que je ne puis faire l’un [= printing the Antiphonary], sinon de la réception de l’autre [= the money coming from the sale of the Psalterium], ou bien de l’advancement qu’il plaira à V.Rme Sie et à Messgrs. de son Chapitre et autres bons Seigneurs (encores que jusques à présent je n’en aye trouvé ung seul autre qui m’ait rien offert) de me faire pour aider à payer les papiers…’. |
| Text and instructions (including about the printing of the music) were forwarded to Plantin from Rome by Cardinal Granvelle (cf. the interesting details in Correspondance de C. Plantin, II, nos. 212 and 282). Even the use of the angular Gothic type for the text was dictated to Plantin. Anyway, this is what he affirms in a letter to the Spanish cleric Vilalva, 5 November 1572 (Correspondance de C. Plantin, III, no. 426: Plantin had been asked by Philip II to publish a similar monumental antiphonary for the Spanish market, but the Spaniards preferred a more round Gothic type than the angular form commonly used in the Netherlands: ‘Typos rotundos ejusdem magnitudinis cujus sunt dicti Antiphonarii habemus quidem optimos sed ad usum harum regionum pro quibus illud Antiphonarium et Psalterium una cum Hymnis cum cantu ad longum impressimus, jussi sumus praeter nostram sententiam hoc genere quadrato uti’). | |
| Note 7 | The compositor Cornelis Tol started on 28 May 1571 and continued till 7 June 1572. The compositor Isebrand van Kelst, who joined Tol on 2 December 1571, finished his job on 5 July 1572 (Rooses, Musée, page 108; compiled from Arch. 32, Livre des ouvriers, 1571-1579). The sale of the copies to Bishop d’Oignies and the Tournai Chapter are entered on 25 May 1572 (Arch. 16, folio 163), the first sale of a complete copy to a private customer on 10 July 1572 (Arch. 50, folio 79 recto). The colophons specify that the Proprium Sanctorum of the Pars Hyemalis was actually finished on 13 January 1572, the Proprium Sanctorum of the Pars Aestivalis on 1 May 1572. In his letters to d’Oignies and other prelates Plantin frequently gives details how the work proceeded and which parts were finished or would be achieved (cf. Correspondance de C. Plantin, II, nos. 282, 289, 298, 309, 310, 311, 316, 321; III, no. 188 [for 387]). From these letters it is clear that the typographer, before the work was completely achieved, often sent finished sheets to the parties interested so that they could be used in the churches. |
| Note 8 | The way in which the different parts were bound together could vary according to the wishes of the customers (Correspondance de C. Plantin, III, no. 184 [for 384]). This was more particularly the case for the ‘optional’ part formed by the Commune Sanctorum (cf. Correspondance de C. Plantin, II, no. 311: ‘Je désirerois aussi entendre si V. Rme Sie voudroit qu’on reliast le Commune Sanctorum avec le Proprium de Sanctis et de Tempore, aussi pro parte Hiemali; ou bien s’il luy plaira faire lier ledict Commune Sanctorum [ainsi qu’ont fait aucuns] avec le Psautier’.). This Commune Sanctorum was finished with the other parts in the first half of 1572. |
| Note 9 | The fact that so many sheets were mailed to customers before the complete achievement of the publication probably made that Plantin forgot or didn’t give sufficient attention to a particular problem: the first copies brought on the market were without any form of a title-page. Angry customers were quick to remind the typographer that this was not according to the rules. Plantin reacted — but not very swiftly: as late as March 1573 he sent to Bishop d’Oignies 12 copies of a make-shift title-page for the 12 copies of the Antiphonary bought by the Bishop and his Chapter, explaining ‘…et avec iceux 12 exemplaires de certains tiltres que j’ay imprimés pour mectre aux commencements desdicts Antiphonaires à cause qu’aucuns se plaignoyent de n’y voir pas de commencement. S’il en plaist davantage à V. Rme Se m’en faisant advertir je les envoyeray très volontiers sans en désirer aucun payement…’ (Correspondance de C. Plantin, III, no. 465). For this title-page the wood-block used in the Psalterium of 1571, cut by Arnold Nicolai after a design of Pieter van der Borcht, showing the choir of Malines Cathedral and the coats-of-arms of the archbishop and the bishops of the Netherlands, was used again, but to make possible the printing of additional texts on the title-page the block was mutilated by cutting some parts away (reproduced in L. Voet, The Golden Compasses, II, pl. 35). In this title-page the date of 1573 is given: the year in which effectively this title-page was printed, but as the work itself was already finished in 1572, the latter date is more appropriate. At the same time Plantin must have printed the introductory four pages (identical in the Pars Hiemalis and the Pars Aestivalis): the dedicatory letter by Reginaldus Rogerius in that introductory part is indeed dated 9 December 1572, that is months after the Antiphonarium was brought on the market. Title-page and introductory pages are consequently missing in many copies. |
| Note 10 | The letter by Reginaldus Rogerius is addressed to Cardinal Granvelle. Plantin himself prepared a dedication in honour of Bishop d’Oignies (manuscript text in Arch. 7, folio 237), but he must have changed his mind — or inserted it only in the 12 copies sold to the Tournai Chapter. |
| Note 11 | Some 400 copies were printed (Correspondance de C. Plantin, II, no. 282: ‘…comme je n’imprime aussi des Antiphonaires que environ quatre cents exemplaires…’). The price was 16 florins Carolus guilders for a complete copy (including the Commune Sanctorum); the latter part was also sold separately for 1 florins Carolus guilders It was moreover considered normal that in a given Antiphonarium two copies were included of the Commune Sanctorum. Part of the edition was printed on larger paper: these copies costed 18 florins Carolus guilders (20 florins Carolus guilders with two Commune Sanctorum). Cf. M 164, folio 1 recto, quoted below. |
| Note 12 | A number of copies were printed on vellum, including two for Granvelle (Arch. 16, folio 141), two for d’Oignies (Arch. 16, folio 163), two for the Antwerp Cathedral. This parchment had to come from Zeeland. When in the spring of 1572 Holland and Zeeland arose against Philip II, Plantin found it impossible to buy the necessary quantities of vellum to achieve the last part of the work: of the copies sold to Granvelle and d’Oignies it is specified that the last 44 sheets of the Pars Aestivalis were printed on paper (cf. e.g. the letter to d’Oignies, May 1572: Correspondance de C. Plantin, III, no. 387). In the Museum Plantin-Moretus-copy on vellum of the Pars Aestivalis, the Antiphonarium proper and the first part of the Proprium Sanctorum are printed on vellum, but from folio 147 the Proprium Sanctorum is continued on paper. Plantin counted 10 stuivers for each printed sheet of vellum; as 325 sheets per copy were used (the sheets on paper were added without payment asked), each copy on vellum came to 162 florins Carolus guilders 10 stuivers For the Commune Sanctorum 46 sheets of vellum were used, which meant 23 florins Carolus guilders for a copy (cf. Arch. 16, folios 141 and 163). |
| Note 13 | D’Oignies bought in all 12 copies for himself and his chapter; Granvelle 10 copies. Other customers included the Antwerp Cathedral (two copies), the Abbot of Marchiennes, (two copies: Correspondance de C. Plantin., III, no. 443), Jehan Laurent, bookseller at Tournai (one copy: Arch. 50, folio 79: first noted sale in the journal, 10 July 1572), Viglius, the president of the Privy Council (Arch. 50, folio 80 recto: 12 July 1572), but Plantin complained in many letters that on the whole the sale — owing to the political crisis — was quite unsatisfactory (cf. Correspondance de C. Plantin, III, nos. 424, 456, 461). |
| Note 14 | Listed in M 296, folio 1 recto (Antiphonarium Rom. pro choro duobus voll. ex Com[muni] papyro et uno Com[mune] Sanctorum [price:] florins Carolus guilders 16, et cum duobus Co[mmune] Sanctorum florins Carolus guilders 17; 375 f[euilles] 1 Co[mmune], avec deux [Commune] f[euilles] 422), and M 164, folio 1 recto (here is added: ‘Idem ex charta maiori [price:] florins Carolus guilders 18, cum 2 Saincts florins Carolus guilders 20’). |
| Further reading |