1 C. Sartori, Bibliografia delle opere musicali stampate da Ottaviano Petrucci (Florence, 1948). There is some evidence that Petrucci prints were collector's items already in the sixteenth century – Johann Georg von Werdenstein bought second-hand copies to add to his collection, for instance – and the absolute lust after Petrucci prints entertained by Padre Giambattista Martini certainly attests to their collectibility in the eighteenth century.

Two other catalogues with clear foundations in the bibliophilia of a private collector are F. Lesure and G. Thibault, Bibliographie des éditions d'Adrian Le Roy et Robert Ballard (1551–1598) (Paris, 1955), and Lesure and Thibault, ‘Bibliographie des éditions musicales publiées par Nicholas Du Chemin, 1549–1576’, Annales musicologiques, 1 (1953), pp. 269–373 – Mme Thibault, the Comtesse de Chambure, was an avid collector of sixteenth-century printed chansonniers. The great predecessor of Sartori's catalogue was of course E. Vogel, Bibliothek der gedruckten weltlichen Vocalmusik Italiens aus den Jahren 1500–1700: Enthaltend die Litteratur der Frottole, Madrigale, Canzonette, Arien, Opern etc., 2 vols. (Berlin, 1892).

2 See D. Heartz, Pierre Attaingnant, Royal Printer of Music (Berkeley and Los Angeles, 1969); M. S. Lewis, Antonio Gardano, Venetian Music Printer, 1538–1569: A Descriptive Bibliography and Historical Study, 3 vols. (New York, 1988–2005); J. A. Bernstein, Music Printing in Renaissance Venice: The Scotto Press, 1539–1572 (New York, 1998); and S. Boorman, Ottaviano Petrucci: A Catalogue Raisonné (New York, 2006).

3 This figure includes only the prints catalogued in Heartz, Pierre Attaingnant, but there are surely other editions of which no copy or record survives.

4 For the figures on Scotto, Gardano and the smaller presses such as Rampazetto and Merulo see J. A. Bernstein, Print Culture and Music in Sixteenth-Century Venice (Oxford, 2001), p. 10 and App. A, and for the Gardano editions after 1569, see R. Agee, The Gardano Music Printing Firms, 1569–1611 (Rochester, NY, 1998).

5 On the size of print runs see R. J. Agee, ‘A Venetian Music Printing Contract and Edition Size in the Sixteenth Century’, Studi musicali, 15 (1986), pp. 59–65, and B. J. Blackburn, ‘The Printing Contract for the Libro primo de musica de la salamandra (Rome, 1526)’, Journal of Musicology, 12 (1994), pp. 345–56. For two (higher) estimates of press-runs from commercial music houses, see Heartz, Pierre Attaingnant, p. 122, who gives the ‘conservative figure’ of 1,000 as the likely size of Attaingant's standard editions, and Bernstein, Music Printing in Renaissance Venice, p. 14, who puts the size of editions at around 1,000 copies for Venetian music books. Also see Bernstein, Print Culture and Music, pp. 11–12 and 23, n. 15.

6 For Roger Chartier's remarks, see his afterword in K. van Orden (ed.), Music and the Cultures of Print (New York, 2000). For other studies explicitly pursuing a history of print culture, see, for instance, the other essays ibid.; I. Fenlon, Music, Print, and Culture in Early Sixteenth-Century Italy (The Panizzi Lectures; London, 1995), which is also available in Italian as Musica e stampa nell'Italia del Rinascimento, ed. and trans. M. Armellini (Milan, 2001); T. Carter, Music, Patronage and Printing in Late Renaissance Florence (Aldershot and Burlington, Vt., 2000); Bernstein, Print Culture and Music (primarily a reprint of the historical study from her Scotto catalogue with supplementary material on the Gardano and other Venetian presses); and the essays in G. Cattin and P. Dalla Vecchia (eds.), Venezia 1501: Petrucci e la stampa musicale, atti del convegno internazionale di studi, Venezia, Palazzo Giustinian Lolin, 10–13 Ottobre 2001; Venice 1501: Petrucci, Music, Print, and Publishing (Venice, 2005), esp. that of R. Strohm (pp. 45–55).

7 For a thorough exploration of the survival rates of sixteenth-century music prints, see the forthcoming book of Kate van Orden on material culture, performance and the chanson in sixteenth-century Europe, from which many of the examples presented in this introduction are drawn.

8 For a general survey of music collectors see J. A. Bernstein, ‘Buyers and Collectors of Music Publications: Two Sixteenth-Century Music Libraries Recovered’, in J. A. Owens and A. M. Cummings (eds.), Music in Renaissance Cities and Courts: Studies in Honor of Lewis Lockwood (Warren, Mich., 1996), pp. 21–33.

9 See H. C. Slim, ‘The Music Library of the Augsburg Patrician, Hans Heinrich Herwart (1520–1583)’, Annales Musicologiques, 7 (1964–77), pp. 67–109.

10 Munich MS 1508 includes at least thirty chansons that appear to have been copied directly from the Attaingnant volumes and the Parangon des chansons. JoAnn Taricani has even ascertained that a few spots of ink in the prints seem to have accidentally dripped from the scribe's pen onto the printed volumes when the manuscript was being copied. See J. Taricani, ‘A Chansonnier from a Library in Renaissance Augsburg: Munich, Bayerische Staatsbibliothek, Mus. Ms. 1508’ (Ph.D. diss, University of Pennsylvania, 1986), pp. 183–4.

11 R. Charteris, Johann Georg von Werdenstein (1542–1608): A Major Collector of Early Music Prints (Sterling Heights, Mich., 2006).

12 The inventories of Werdenstein and Herwart are reproduced in Charteris, Johann Georg von Werdenstein and Slim, ‘The Music Library of the Augsburg Patrician’.

13 See M. Morell, ‘Georg Knoff: Bibliophile and Devotee of Italian Music in Late Sixteenth-Century Danzig’, in J. Kmetz (ed.), Music in the German Renaissance: Sources, Styles, and Contexts (Cambridge, 1994), pp. 103–26.

14 An example to the contrary is the music collection of the Gonzaga ducal chapel of Santa Barbara now preserved in Milan, for which a number of early seventeenth-century inventories survive along with the music in print and manuscript. See Catalogo della biblioteca: Fondi speciali, i: Musiche della Cappella di S. Barbara in Mantova, ed. G. Barblan (Biblioteca di bibliografia italiana, 68; Florence, 1972). See also the inventories and book-lists of the music holdings of the court of Alfonso II d'Este given in App. III of A. Newcomb, The Madrigal at Ferrara, 1579–1597, 2 vols. (Princeton, 1980), i, pp. 213–50. Many of the books are in the Biblioteca Estense Universitaria today. Perhaps the most remarkable Italian collection is that of the Accademia Filarmonica of Verona, where music prints, manuscripts and instruments survive together with detailed inventories and registers of expenditures. See G. Turrini, L'Accademia Filarmonica di Verona dalla fondazione (maggio 1543) al 1600 e il suo patrimonio musicale antico (Atti e Memorie dell'Accademia di Agricoltura Scienze e Lettere di Verona, ser. 5, vol. 18; Verona, 1941).

15 On Fugger, see the inventory of his son's library in R. Schaal, ‘Die Musikbibliothek von Raimund Fugger d. J.: Ein Beitrag zur Musiküberlieferung des 16. Jahrhunderts’, Acta Musicologica, 29 (1957), pp. 126–37.

16 M. G. Brennan, ‘Sir Charles Somerset's Music Books (1622)’, Music & Letters, 74 (1993), pp. 501–18. For the two volumes recently identified see R. Doggett, in J. A. Owens (comp. and ed.), “Noyses, sounds, and sweet aires”: Music in Early Modern England (Washington, DC, 2006), pp. 138 and 175–6.

17 See C. W. Chapman, ‘Printed Collections of Polyphonic Music Owned by Ferdinand Columbus’, Journal of the American Musicological Society, 21 (1968), pp. 34–84.

18 The term ‘tract volume’ relates to the practice of binding printed pamphlets or ‘tracts’ together for preservation. On tract volumes of music see M. S. Lewis, ‘The Printed Music Book in Context: Observations on Some Sixteenth-Century Editions’, Notes, 2nd ser., 46 (1990), pp. 899–918. Lists of binder's and collector's volumes appear in App. C of Bernstein, Music Printing in Renaissance Venice and also Lewis, Antonio Gardano, i, pp. 123–62; ii, pp. 155–66.

19 Descriptions of bindings were crucial in inventories, since bindings increased the value of books several-fold, and many notaries less exacting than Prommer tended to dispense with listing contents altogether and entered music books with descriptions such as ‘Four small music books bound in red leather and tied with silk strings’, followed by the value. Prommer, too, privileged bindings, listing the precious Parisian volumes first in his inventory, surely because of their gold tooling and gold edges. Girolamo Chiti and Martini, in contrast, laughed at the fact that the Pagliarini booksellers in Rome accorded so much value to bound volumes and sold the unbound music for very little. See letter I.11.105 (S. 1315) in App. V below. Letters are cited here according to their reference numbers at I-Bc and, where applicable, their number in Schnoebelen, Padre Martini's Collection of Letters (in parentheses, indicated by S.), and in Parisini, Carteggio inedito del P. Giambattista Martini (indicated by P.).

20 For which see Munich BS 4^o Mus. pr. 52. For contents see Lewis, Antonio Gardano, i, pp. 137–8.

21 Boorman et al., ‘Sources, MS, §I: Introduction’, Grove Music Online, acc. 1 December 2009.

22 See A. H. King, Printed Music in the British Museum: An Account of the Collection, the Catalogues, and their Formation, up to 1920 (London and New York, 1979), ch. 2.

23 The catalogue of 1596 is lost, but exists in a copy made in 1609. For the music listings see S. Jayne and F. Johnson, The Lumley Library – The Catalogue of 1609 (London, 1956), pp. 284–6. On the history of the collection see C. W. Warren, ‘Music at Nonesuch’, Musical Quarterly, 54 (1968), pp. 47–57, and for the reconstruction of the volumes proposed by John Milsom see his ‘The Nonsuch Music Library’, in C. Banks, A. Searle and M. Turner (eds.), Sundry Sorts of Music Books: Essays on the British Library Collections Presented to O. W. Neighbour on his 70th Birthday (London, 1993), pp. 146–82.

24 See the new biography by E. Pasquini, Giambattista Martini (Palermo, 2007), and ead., ‘Martini, Giambattista’ in Dizionario biografico degli italiani, 71 (Rome, 2008), pp. 223–8.

25 For an overview of his acquisitions, see A. Schnoebelen, ‘The Growth of Padre Martini's Library as Revealed in his Correspondence’, Music & Letters, 57 (1977), pp. 379–97. The figure of 17,000 books comes from Charles Burney, The Present State of Music in France and Italy (London, 1771), p. 195, who visited Martini in 1770. The collection was probably much larger by the time Martini passed away in 1784.

26 Giambattista Martini, Storia della musica, 3 vols. (Bologna, 1757–81); the history – initially planned to be in five volumes – remained incomplete.

27 See Schnoebelen, ‘The Growth of Padre Martini's Library’, pp. 390–1. Martini's request is in a letter to Antonio del Valleppo [1762?] I.22.28a (S. 5447) and the list in manuscript is document I-Bc H.67, fol. 18^r. In addition to the holdings of the Escorial, the musical patrimony of private and institutional libraries is the subject of various documents contained in the manuscript miscellanea of Martini. See O. Mischiati, ‘Le miscellanee come specchio degli interessi storico-musicali di Padre Martini’, in A. Pompilio (ed.), Padre Martini: Musica e cultura nel Settecento europeo (Florence, 1987), pp. 17–26, at 20 and 22. On music bibliography in the sixteenth century see especially L. F. Bernstein, ‘The Bibliography of Music in Conrad Gesner's Pandectae (1548)’, Acta Musicologica, 45 (1973), pp. 119–63.

28 Almost all of the letters are available online at <http://badigit.comune.bologna.it/cmbm/scripts/lettere/search.asp>. For an index see Schnoebelen, Padre Martini's Collection of Letters. There is no modern edition of Martini's complete correspondence, but there are many transcriptions and translations in various studies. See also A. Schnoebelen, ‘Padre Martini's Collection of Letters: An Overview’, Current Musicology, 19 (1975), 81–8; and the forthcoming Epistolario di Giovan Battista Martini con Girolamo Chiti, ed. L. Luciani, M. A. Morabito Iannucci and G. Rostirolla.

29 On the Petrucci volumes, see Boorman, Ottaviano Petrucci, p. 347, and Schnoebelen, ‘The Growth of Padre Martini's Library’, pp. 380 and 384. On the provenance of some manuscript volumes in the Martini collection see O. Mischiati, ‘Il catalogo originale dei codici manoscritti di Padre Martini’, Studi Musicali, 28 (1999), pp. 117–218, as well as id., La prassi musicale presso i Canonici regolari del SS. Salvatore nei secoli XVI e XVII e i manoscritti polifonici della Biblioteca musicale G. B. Martini di Bologna (Rome, 1985). Richard Agee also provides notes on the provenance of Gardano prints in Martini's collection, including those inventoried by Chiti (with references to Parisini, Carteggio inedito del P. Giambattista Martini). See Agee, The Gardano Music Printing Firms, 1569–1611.

30 For Martini, the project of keeping a catalogue of his own collection was related to that of assembling a bibliography, which makes assessing the materials we have from his hand rather more complex than it might initially appear. Though it is now lost, he did have a separate catalogue or ‘indice’ of his collection, which survived into the nineteenth century and is referred to in the papers of Ottavio Malvezzi Ranuzzi, president of the Assunteria del Liceo musicale (see Memoria sopra la musica Mattei 1838, revised 21 February 1852, fasc. Titoli di proprietà sulla musica Mattei, conserved at Bologna, Biblioteca comunale dell'Archiginnasio, Raccolta Malvezzi de' Medici, file 174: ‘Allorquando il Padre Mattei collocò effettivamente porzione di detti oggetti delli scaffali compiuti secondo l'intenzione sua, ritenendo presso di sé l'indice, non volle farne parziale distinzione …’). See also in the same file: Pro memoria su di alcune erroneità del rapporto della Deputazione riformatrice del Liceo in ciò che riguarda la musica Mattei, fol. 1^v: ‘tutta la musica già donata anche sulla vista di farne un indice ragionato prima della traslocazione, possedendo egli [Mattei] l'autografo di Martini’.

Although no complete catalogue of the Martini collection survives today, several ‘states’ of it are nonetheless recognisable in the fascicles and leaves that make up a number of manuscripts in Bologna today. One is a catalogue of music theory treatises in Martini's hand contained in manuscript I-Bc H.83, fols. 15^r–31^v, discussed and transcribed in Mischiati, ‘Il catalogo originale dei codici manoscritti’. Another music theory catalogue, probably earlier, can be found in the manuscript I-Bc I.47.2, significant for its size (containing around 450 titles), for its inclusion of printed books, and because it shows that Martini arranged his theory manuscripts by format (from folio = A to 16^o = D). Another list of around 360 titles of music prints owned by Martini can be found in I-Bc H.67, fols. 168^r–172^v (and recopied on fols. 208^r–219^v). It appears to date from before the acquisition of the Pagliarini collection in 1748. Indeed, it probably dates from before 1731, when Martini acquired around one hundred volumes from Ferrara (on which, see the letter from Giuseppe Sbaraglia to G. Martini, Ferrara, 3 June 1731, H.67, fol. 112^r–v). Martini mentions entering the Pagliarini books in his ‘indice’ in a letter from 2 March 1748, I.12.7 (S. 1385); see below, App. V.

31 The letters with Chiti's inventory of the collection were published in a condensed form as a single list already in 1888 by Parisini, Carteggio inedito del P. Giambattista Martini, pp. 264–91, and Martini's acquisition of books from the Libreria Pagliarini has been cited in several studies: V. Duckles, ‘The Revival of Early Music in 18th Century Italy: Observations on the Correspondence between Girolamo Chiti and Padre Giambattista Martini’, Revue Belge de Musicologie, 26–7 (1972–3), pp. 14–24, at 21; Schnoebelen, ‘The Growth of Padre Martini's Library’, p. 386; and Rostirolla, ‘La corrispondenza tra Martini e Girolamo Chiti’, pp. 234–5. Nonetheless, the collection itself has never been studied for the perhaps obvious reason that its dismemberment masked its presence at the Liceo Musicale in Bologna.

32 Before sending the Pagliarini collection, Chiti had sent several other shipments of books to Martini in 1746 and early in 1747. See, for instance, letter I.11.64 (S. 1276) about some manuscripts of Pitoni and Benevoli, and I.11.84 (S. 1296) about more than fifty prints listed there (an analogous list in Martini's hand can be found in MS H.67, fol. 82^r–v). Some of Pitoni's manuscripts and Benevoli's psalms, though cited in letter I.12.4 (S. 1382), where Martini aknowledged receipt of the entire Pagliarini collection, were not part of it, as erroneously stated in A. Schnoebelen ‘The Growth of Padre Martini's Library’, p. 386.

33 G. Rostirolla, ‘Giuseppe Ottavio Pitoni “maestro dei maestri” nella Roma dei papi’, in Giuseppe Ottavio Pitoni e la musica del suo tempo. Atti del Convegno Internazionale di Studi, Rieti, 28–29 aprile 2008, ed. G. Stella (Rome, 2009), p. 133.

34 Chiti to Martini, I.11.9 (S. 1221), 29 December 1745: ‘e se il Padre Bandi prima mi parlava più chiaro, lei averia a quest'ora tutte l'antiche memorie da me raccolte in 29 anni …’.

35 In addition to the constant expansion of his collection, many books came into Martini's hands as loans so that he could have them copied and/or record them in his bibliography. One list of books made by Martini and preserved in manuscript I-Bc H.67, fol. 81^r–v, for instance, includes annotations next to the titles to either return the book (from which he had presumably taken down the reference), to have it copied, or to exchange it for something else from his collection so he could keep it. His searches for parts missing from his collection are witnessed in a letter to Chiti from 24 August 1746, I.11.44 (S. 1259; P. 81): ‘Se ella vuol cambiare le opere non compite accennatemi in altre compite, io lo farò volentieri, stante che ne tengo varie delle duplicate.’

36 For a recent survey see E. Careri, Catalogo del Fondo musicale Chiti-Corsini della Biblioteca Corsiniana di Roma (Rome, 1998), pp. 7–13.

37 On the locations of Pagliarini's shop, at that time called ‘Libreria di Pallade’, as well as those of other Roman booksellers, see S. Franchi and O. Sartori, Le botteghe d'arte e la topografia storico-urbanistica di una zona di Roma dalla fine del XVI secolo a oggi: Edifici, botteghe, artigiani nella zona di piazza Pasquino sede storica di liutai e librai (Rome, 2001), and S. Franchi, Le impressioni sceniche: Dizionario bio-bibliografico degli editori e stampatori romani e laziali di testi drammatici e libretti per musica dal 1579 al 1800, ii (Rome, 2002), pp. 17–59, esp. 30 and 55.

38 Initially there was a misunderstanding between the two about the acquisition of the collection. Martini arranged with the Pagliarinis that they should wait until he checked the number of editions missing from his collection before he bought the lot of books (Chiti mentions that the Pagliarinis wanted to sell them only as a lot). For this, since he had to leave Rome rather quickly, Martini asked Scandalibeni to make a catalogue for him. But in the meantime, Chiti – ignorant of this arrangement – bought the collection; as soon as he learnt of Martini's interest in it, he instantly turned the collection over to him, keeping some of the single volumes on the list. See below, App. V and in particular letter I.11.124 (S. 1338) from Chiti, 27 August 1747.

39 See App. V, letter I.11.106 (S. 1319), 5 July 1747. It has not yet been possible to locate the indexes, which may well be permanently lost.

40 Chiti sent the list to Martini in several instalments, from 1 July 1747 to 9 August 1747. In addition, for tomi I–V there exists a copy of the list made by Martini in letter I.11.108 (S. 1321). For the complete list of references to the Pagliarini collection in their correspondence, see App. V. They date from June 1747 to March 1748.

41 On the Pagliarini family of booksellers see S. Franchi, Le impressioni sceniche, i, pp. 582–9, ii, p. 118; and G. Rostirolla, ‘L'editoria musicale a Roma nel Settecento’, in B. Cagli (ed.), Le muse galanti: La musica a Roma nel Settecento (Rome, 1985), pp. 121–76, at 165–6.

42 See App. V, letter I.11.114 (S. 1324), 21 July 1747.

43 Chiti describes the books as having belonged to an academy. See App. V, letter I.11.105 (S. 1315), 1 July 1747, in which he says: ‘In somma sono spaventi, vi sono tre mute di concerti sacri a 8. 7. 6. 5. con 19. e 20. opere et editioni diverse sì che di chi erano si dilettava del sacro e del soprano [read: profano] nella sua dotta academia.’ The books with the inscriptions were most probably added later to the ‘core’ of the collection in San Francesco a Ripa.

44 For instance, see most recently G. McDonald, ‘La Bibliothèque perdue de Christophe Brocart, chantre de François Ier’, Revue de Musicologie, 95 (2009), pp. 179–96. In the Pagliarini collection itself, see vol. XVIIIb.9, which bears the inscriptions ‘Pertinet ad conventum S. P. N. Francisci Transtiberim de Urbe / Reliquit frater Urbanus Romanus’.

45 The fact that the volumes of sacred music were numbered I–III (and perhaps the secular volumes were numbered I–XIII) is indicated by Chiti himself when he wrote ‘manca il numero IV’; see letter I.12.5 (S. 1383), 20 February 1748. Chiti is probably explaining to Martini that the Jacob has no number like the other sacred volumes. We can only infer that the secular volumes might have been numbered, though the Marenzio volumes do not have any number XIV on them (those are the only bindings that survive).

46 Two seventeenth-century descriptions of the library at San Francesco a Ripa can be found in Nota delli musei, librerie, galerie … (Rome, 1644), col. 26; and C. B. Piazza, Eusevologio romano, overo Delle opere pie di Roma, accresciuto & ampliato … Con due trattati delle accademie e librerie celebri di Roma (Rome, 1698), p. clxxx. Both are reproduced in V. Romani, Biblioteche romane del Sei e Settecento (Manziana, 1996).

47 See App. V, letter I.11.105 (S. 1315), 1 July 1747.

48 See App. V, letter I.11.97 (S. 1311), 11 June 1747 and letter I.11.99 (S. 1313), 21 June 1747.

49 See Bernstein, Music Printing in Renaissance Venice, p. 67.

50 The dates of the first book of five-voice madrigals for the composers with a series of prints in volumes I and II of the Pagliarini collection are as follows (all in oblong format): Giovanni Maria Nanino (first edition not available – repr. Venice: Gardano, 1579); Luca Marenzio (Venice: Gardano, 1580); Philippe de Monte (Rome: Dorico 1554; first Venetian edition Scotto, 1560); Benedetto Pallavicino (Venice: Gardano, 1581); Giaches de Wert (Venice: Scotto, 1558). Angelo Gardano changed gradually from oblong to upright format during the 1580s and 1590s, but was still issuing some oblong prints after 1600. See Agee, The Gardano Music Printing Firms, pp. 94–8.

51 For Chiti's assessment, see App. V, letter I.11.105 (S. 1315), 1 July 1747.

52 See A. Pompilio, ‘Editoria musicale a Napoli e in Italia nel Cinque-Seicento’, in L. Bianconi and R. Bossa (eds.), Musica e cultura a Napoli dal XV al XIX secolo (Florence, 1983), pp. 79–102, esp. 98; P. Cecchi, ‘La diffusione e la circolazione della produzione profana di Ruggero Giovannelli e il mercato editoriale musicale di fine Cinquecento’, in Ruggero Giovannelli, ‘musico eccellentissimo e forse il primo del suo tempo’. Atti del Convegno Internazionale di Studi, Palestrina e Velletri, 12–14 June 1992, ed. C. Bongiovanni and G. Rostirolla (Palestrina, 1998), pp. 641–94, esp. 661; L. Bianconi, ‘Parole e musica: Il Cinquecento e il Seicento’ in A. Asor Rosa (ed.), Letteratura italiana, 9 vols. (Turin, 1982–91), vi, p. 331; and A. Pompilio, ‘Strategie editoriali delle stamperie veneziane tra il 1570 e il 1630’, in Atti del XIV Congresso della Società Internazionale di Musicologia, Bologna, 27 agosto – 1 settembre 1987. Trasmissione e recezione delle forme di cultura musicale, ed. A. Pompilio, D. Restani, L. Bianconi and F. A. Gallo, 3 vols. (Turin, 1990), i, pp. 254–71.

53 See Agee, The Gardano Music Printing Firms, App. I.B, and Pompilio, ‘Editoria musicale a Napoli e in Italia’, p. 99.

54 On Roman printers see Franchi, Le impressioni sceniche; and Franchi in collaboration with O. Sartori, Annali della stampa musicale romana dei secoli XVI–XVIII, i: Edizioni di musica pratica dal 1601 al 1650, vol. i (Rome, 2006).

55 On Monte's choices of publishers and the way printers' formats affected composers' decisions about where to publish in various genres see J. A. Bernstein, ‘Made to Order: Choirbook Publications in Cinquecento Rome’, in M. J. Bloxam, G. Filocamo and L. Holford-Strevens (eds.), Uno Gentile e Subtile Ingenio: Studies in Renaissance Music in Honour of Bonnie J. Blackburn (Turnhout, 2009), pp. 669–76 at 675.

56 Judging from the graphs given in Pompilio, ‘Editoria musicale a Napoli e in Italia’, pp. 99–100, Roman editions accounted for just under 11 per cent of Italian music production overall between 1570 and 1630, whereas 24 per cent of the Pagliarini prints were issued in Rome.

57 After the Napoleonic soppressione degli ordini religiosi (particularly that of San Francesco on 21 October 1797), part of Martini's books were moved from San Francesco and stored in the Convento degli Agostiniani. It was then decided to found a Liceo Musicale there, which opened in 1804. Another part of the library was retained by Mattei, who gave the books to the Liceo in 1816 (though he continued to hold a number of books at home for teaching because of an illness that prevented him from coming in to the Liceo regularly; ten years later, in 1827, the city government had to ask Mattei's heirs for the parts of the collection that had still not been received). Tracking Martini's books in these years is complicated by the fact that Mattei had been adding his own books to the collection. In 1942 the ‘Liceo musicale’ became the ‘Conservatorio’; the existing library, including Martini's books, remained city property and was separated from the Conservatory. It was renamed ‘Civico Museo Bibliografico Musicale’ in 1959. In 2004 it became part of the newly established ‘Museo Internazionale e Biblioteca della Musica’.

For a general history of the library and its collections see F. Parisini, ‘La Biblioteca del Liceo musicale di Bologna’, in G. Gaspari, Catalogo della Biblioteca del Liceo musicale di Bologna, i (Bologna, 1890, repr. 1961), pp. ix–xxxix, and C. Sartori, Il Conservatorio di musica ‘G.B. Martini’ di Bologna (Florence, 1942), pp. 109–12. More recent studies include O. Mischiati, ‘Padre Martini e la sua biblioteca’, in Collezionismo e storiografia musicale nel Settecento: La quadreria e la biblioteca di Padre Martini (Bologna, 1984), pp. 127–42, reprinted almost in its entirety in id., ‘Il catalogo originale dei codici manoscritti di Padre Martini’, Studi Musicali, 28 (1999), pp. 117–218. See also E. Pasquini, Giambattista Martini, pp. 61–82, and the up-to-date bibliography cited there.

58 An example of the exchange of duplicates and ‘spare parts’ is cited in a letter from Giuseppe Sbaraglia from 17 November 1730, MS P.123, fol. 92^r–v (S. 4953): ‘sicché le opere che troverà finite, giacché dupplicate, se le terrà se fanno per lei; le mancanti potranno servire per compire delle sue, se ne avesse delle imperfette’.

59 A counterpoint student of Stanislao Mattei from 1808 to 1815 and member of the Accademia filarmonica di Bologna beginning in 1817, Stefano Antonio Sarti was first engaged (1820–32) as ‘ripetitore’ in the piano class of Benedetto Donelli, then as tenured instructor of the second piano class (1832–8), finally as instructor of ‘accompagnamento o numerica’ (1838–55) and archivist (1839–55). At Barbieri's death in 1828, Sarti asked to take over the vacant post of archivist, but his official nomination only came in 1839. (See the file in Bologna, Archivio Storico Comunale, Carteggio Amministrativo, 1839, titolo X, rubrica 6, prot. gen. 151, 15 gennaio 1839.) Nonetheless, Sarti must have been familiar with the archive early on through his close relationships with Mattei and Benedetto Donelli, since the counterpoint instructors were responsible for the library.

60 Sarti's catalogue is a manuscript in two volumes compiled around 1840 and arranged alphabetically; by contrast, Barbieri's inventory is arranged by the number of the boxes in which the music was stored. Most of the tract volumes described by Chiti are included in Sarti's catalogue under the name of the first composer represented in each volume or under the heading ‘Autori diversi’. Sarti's catalogue does not include incomplete sets of parts, which explains why the prints in volumes I, IX, XI, XII, XIII and XV do not have consistent sets of shelfmarks, as do those in the bound volumes.

61 Gaspari was appointed temporary librarian on 20 December 1855, and his post became permanent on 4 July 1856. See Personale del Liceo musicale, a manuscript compiled by the secretary of the Liceo, Federico Vellani, MS without shelfmark (c. 1870), Bologna, Museo Internazionale e Biblioteca della Musica. On Gaspari's life and career see F. Parisini, Elogio funebre del Cav. Prof. Gaetano Gaspari letto il 31 marzo 1882 nella grand'aula del Liceo musicale di Bologna (Bologna, 1882); repr. in Vite ed elogi di accademici filarmonici di Bologna (Bologna, 1970); F. Vatielli, ‘La biblioteca del Liceo musicale di Bologna’, L'Archiginnasio, 11 (1916), pp. 124–46, 201–17, and 12 (1917), pp. 31–47; published also as a monograph with the same title (Bologna, 1917; repr. Sala Bolognese, 1989); V. Bazzocchi, ‘L'illustrazione della biblioteca del Liceo musicale di Bologna nel carteggio Gaspari – Catelani (1848–1866)’, L'Archiginnasio, 78 (1983), pp. 267–84; and M. Armellini, ‘Tra bibliografia e musicologia: Gaetano Gaspari e la collezione libraria del Liceo musicale di Bologna’, in Magnificat Dominum musica nostra. Atti della giornata di studio sulla musica sacra nella Bologna d'un tempo dedicata alla memoria di Oscar Mischiati, ed. P. Mioli (Bologna, 2007), pp. 107–26.

62 For the 1851 announcement of Gaspari's ‘Bibliografia della Musica’ see A. Catelani, ‘Una nuova bibliografia della musica. Corredata di notizie biografiche sui professori di quest'arte. Opera originale italiana’, Gazzetta musicale di Milano, 9/7 (1851), p. 30. See also the letter from Angelo Catelani to Gaetano Gaspari of 30 January 1851, in which he enclosed a copy of a letter from Ricordi about the printing of Gaspari's bibliography ‘con caratteri nuovi e carta speciale’ (I-Bc Ep. Gaspari–Catelani) and – for another source concerning the bibliography – see the letter from Gaspari to Luigi Felice Rossi of 4 June 1851 (I-Bc Ep. Gaspari–Rossi) given in P. Bassi, ‘L'inedito carteggio con Gaetano Gaspari e la biblioteca personale di Luigi Felice Rossi’, in I. Data (ed.), Miscellanea di studi in onore di Alberto Basso, iv (Turin, 1996), pp. 133–66, at 135–7.

63 G. Gaspari, Catalogo della Biblioteca del Liceo musicale di Bologna, 5 vols. (Bologna, 1890–1943).

64 A detailed survey of the present classification system set by Gaspari and still in use at the library is given in Mischiati, ‘Il catalogo originale dei codici manoscritti’.

65 Catalogue des livres de la bibliothèque de M. Gaetano Gaspari (Paris, 1862). Gaspari's personal copy at the Museo Internazionale e Biblioteca della Musica includes notes on the sale price and purchaser. The profits from the sale were intended for the purchase of more books for the library. The 1862 auction included a number of books once belonging to Martini. In addition to those from the Pagliarini collection (on which, see below, App. IV), the auction catalogue also includes six Petrucci editions (nos. 235–40) that certainly did not belong to Gaspari and that – in fact – had already been catalogued by Sarti around 1840 and were probably originally acquired by Martini. The best source of information about the contents of Gaspari's collection is the card catalogue he himself made, which is preserved today in I-Bc with the title Schede della collezione di G.G. dove è notato il costo delle rispettive opere e da chi comperate. Each card includes a number (probably a shelfmark), the highest of which is 712.

66 A number of items in the former Paris Conservatory Library (acquisition numbers 12628–74 and 12677–714) were indeed bought at the Gaspari sale in January 1862. Among them are the Cifra, Libro sesto (Rés. 311) and the Marenzio, Terzo libro (Rés. 786), bound with the 1594 edition of the same book (Rés. 787).

67 Other similar examples include I.3, I.7, I.8, III.12, VI.5, IX.4, IX.12, XII.8, XVII.11. Detailed information concerning those sales is included in App. I.

68 In addition to various exchanges of parts, the Liceo purchased about fifty books of music from San Petronio in 1865. See note 7 in App. IV.

69 The partbooks in the loose sets (XIVb and XVIIIb) and some partbooks in tomi III, XII, XIII, XIV and XVI do not bear manuscript numeration. Volume XIII, moreover, had no index, and XIV appears to have a different provenance than the original layer of the collection, since it bears an ex libris of San Francesco a Ripa, something missing from the other tract volumes.

70 Other prints with anterior sets of folio numbers are I.14 and II.9.

71 Letter I.11.108 (S. 1321) from Martini to Chiti, 15 July 1747, responding to the list of contents in tomo I.

72 For a transcription of the inventory, see Turrini, L'Accademia Filarmonica di Verona, p. 95.

73 On the Neapolitan school of madrigalists see K. A. Larson, ‘The Unaccompanied Madrigal in Naples from 1536–1654’, 2 vols. (Ph.D. diss., Harvard University, 1985); id. and A. Pompilio, ‘Cronologia delle edizioni musicali napoletane del Cinque-Seicento’, in Bianconi and Bossa (eds.), Musica e cultura a Napoli dal XV al XIX secolo, pp. 103–39; and A. Pompilio and A. Vassalli: ‘Il madrigale a Napoli nel Cinque-Seicento’, in D. A. d'Alessandro and A. Ziino (eds.), La musica a Napoli durante il Seicento (Rome, 1987), pp. 9–16.

74 The seven composers are Gesualdo, Pomponio Nenna, Scipione Dentice, Scipione Stella, Francesco Genuino, Tommaso Pecci and Alfonso Fontanelli. See Le due ‘Scelte’ napoletane di Luzzasco Luzzaschi, ed. E. Durante and A. Martellotti, 2 vols. (Florence, 1998).

75 On Nenna's move to Rome, see A. Pompilio, I madrigali a quattro voci di Pomponio Nenna (Florence, 1983), p. 13, n. 23, which cites a letter from Leonora d'Este to Gesualdo recommending Nenna to Cardinal Alessandro d'Este. Nenna died in Rome in 1608.

76 Cerreto's extant publications are Il primo libro di canzonelle a tre voci (Naples, 1606) and L'Amarillide a tre voci con alcuni a due soprani, Il terzo libro, Opera 18 (Naples, 1621), the second of which survives in a unique but incomplete copy once part of the Pagliarini volume XII.13. Cerreto's lost works include at least four books of spiritual madrigals for four voices and three books of madrigals for five voices (all before 1601), a book of two-voice ricercars (1604), a volume of madrigals for two voices ‘sopra madrigali d'Arcadelt’ (before 1616), a book of ‘Canoni enigmatici’ for two voices (before 1631) and a volume of ‘Responsori di Natale’ for four voices.

77 The Pagliarini collection includes seventy-nine Roman prints out of a total of c. 347 known editions from the period 1566–1629; for Venice the figures are 165 out of a total of c. 3,126 known editions. The totals are extrapolated from the graphs given in Pompilio, ‘Editoria musicale a Napoli e in Italia’, pp. 99–100 and the catalogue of Neapolitan editions given in Larson and Pompilio, ‘Cronologia delle edizioni musicali napoletane’, pp. 110–29.

78 François Lesure, ‘L'Affaire Fétis’, Revue belge de Musicologie/Belgisch Tijdschrift voor Muziekwetenschap, 28 (1974–6), pp. 214–21, at 215.

79 See T. Carter, ‘Music Selling in Late Sixteenth-Century Florence: The Bookshop of Piero di Giuliano Morosi’, Music & Letters, 70 (1989), pp. 483–504, esp. 490–4.

80 Transcribed in Carter, ‘Music Selling in Late Sixteenth-Century Florence’, p. 490, n. 27.

81 See F. Hammond, ‘Girolamo Frescobaldi and a Decade of Music in Casa Barberini: 1634–1643’, Analecta Musicologica, 19 (1979), pp. 94–124. Also see a similar book order shipped to Heinrich Schütz in Gesammelte Briefe und Schriften, ed. E. Müller (Regensburg, [1931]), pp. 115–18 and 331–3.

1 The sole exception is tomo IV of the sacred music, here numbered XVIII, which Chiti mentions is not numbered. See letter I.12.5 (S. 1383) – Chiti: Rome, 20 February 1748.

2 The correspondence, including the lists, is conserved today at the Museo Internazionale e Biblioteca della Musica (I-Bc). To be specific, a complete copy of the contents up to and including tomo V survives in Martini's hand, while for subsequent volumes Martini's annotations are recorded on separate folios that are interfoliated with Chiti's lists. Finally, a general overview of the collection in Martini's hand, which was used to double-check the volumes when they arrived, is included in letter I.12.4 (S. 1382) – Martini: Bologna, 7 February 1748. See App. V.

3 Here the shelfmarks assigned to tomi II–VIII, X, XVI are highly suggestive. Sarti's shelfmarks appear on the title page of most of the partbooks, but only on the first partbook in what was presumably a bound set. These numbers were added later to the title pages of subsequent partbooks in each tomo in Gaspari's hand, which suggests that the books had been unbound and then needed to be numbered individually.

4 In the checklist included in letter I.12.4 (S. 1382), Martini notes ‘Sextus is lacking’ (‘manca il 6^o’).

5 In the checklist included in letter I.12.4 (S. 1382), Martini claims ‘Altus and Basso continuo are lacking’ (‘manca l'A. e B. continuo’).

6 Even though it was complete when Martini received it, Gaspari's manuscript card catalogue records just one single partbook.

7 From Martini's checklist (I.12.4) we can see that the final shipment of the ‘sortimento’ did not include all the partbooks of XVIIIb, but only 57 of 86, for a total of 15 of the 22 editions inventoried by Chiti. That some of the books were held back is confirmed by letter I.11.124 (S. 1338) – Chiti: Rome, 27 August 1747 (‘toltone alcune mute sciolte che lei tiene di già …’) and a little later (‘Insomma toltone queste cose sciolte, e doppie, che lei tiene e non vuole, giudicherei necessario il tutto per il suo studio, e volentieri me ne sfornisco, anzi sempre ho avuto tal mira, la spesa sarebbe 86 libri ben legati 86 pavoli, e tutto il resto non legato in carta pecora 14 pavoli che sono dieci scudi …’).

8 The complete sets in I-Bc S.322 (the same edition as I.2), T.223 (I.4), T.221 (I.6), as well as Quintus partbooks in I-Bc S.239 (I.1), T.219 (I.5, with manuscript numbering but in a different hand than that in the other books), T.29 (I.9), and Cantus, Altus, Tenor, Quintus in I-Bc T.158 (I.10) do not show any evidence of having been part of the Pagliarini collection. With the exception of T.29, they were probably already part of Martini's collection in 1747. See letter I.11.108 (S. 1321).

9 Another copy in XIII.6.

10 Another copy in X.7.

11 The complete copy in I-Bc T.218 does not show any evidence of having been part of the Pagliarini collection and was probably already part of Martini's collection in 1747. See letter I.11.108 (S. 1321).

12 Mistakenly listed as 1590.

13 Another copy in XIII.12.

14 Another copy in VI.5.

15 Mistakenly listed as 1571.

16 Mistakenly listed as 1608.

17 Mistakenly listed as ‘libro primo’.

18 Another copy in V.5.

19 Mistakenly listed as ‘libro quarto’.

20 Another copy in IX.12. The ‘Basso per l'istromenti’ is dated 1622.

21 On Cantus title page in ink: ‘Eligius Giovannoli’. Another copy in IX.6.

22 Mistakenly listed as 1617.

23 The Scaletta print was bound at the end of the Tenor partbook.

24 Another copy in VII.3.

25 The complete copy in I-Bc U.234 does not show any evidence of having belonged to the Pagliarini collection; moreover, it has a cardboard cover from the seventeenth century.

26 A complete copy is listed in Barbieri's inventory of the Biblioteca del Liceo (c. 1820) as number 7 and in Sarti with shelfmark 2300, but it is no longer in I-Bc.

27 The complete copy in I-Bc Z.218 does not show any evidence of having belonged to the Pagliarini collection, and was probably already in Martini's collection by 1747. See letter I.11.118 (S. 1335).

28 Another copy in VII.1

29 Mistakenly given as Fontani. This print was listed in Federico Franzini's catalogue (Rome: Mascardi, 1676) after the copy noted by Ottavio Pitoni in his Notitia de' contrapuntisti e compositori di musica (I-Rvat Cappella Giulia, MS I.2). See O. Mischiati, Indici, cataloghi e avvisi degli editori e librai musicali italiani dal 1591 al 1798 (Florence, 1984), p. 259.

30 Chiti does not list the Dolci affetti at all, but added it later, in the letter I.11.118 (S. 1329), though with the incorrect number 5. In fact, the manuscript numeration continues directly from number 4 (58–69) to number 6 (70–81), whereas the folio numbers in the Dolci affetti (33–44) fit perfectly between numbers 2 (17–32) and 3 (45–57).

31 Mistakenly listed as Scotto, 1585.

32 Mistakenly listed as 1589.

33 Another copy in III.12.

34 Cantus of the edition Venice, Gardano, 1611, shelfmark S.213; Tenor and Bassus of the edition Venice, Magni, 1619, shelfmark S.214.

35 Mistakenly listed as 1608.

36 The complete copy in I-Bc V.221 does not show any evidence of having belonged to the Pagliarini collection.

37 Part of this copy and the one already in Martini's collection by 1747 (Altus, Tenor, Quintus) were probably sold by Gaspari at the auction in 1862 (no. 326). See App. IV. Another copy in III.6.

38 Another copy in V.3.

39 Mistakenly listed as 1577.

40 Listed as Secondo libro.

41 A copy was sold by Gaspari at the auction in 1862 (no. 318). See App. IV.

42 Mistakenly listed as Vincenti.

43 Three partbooks bound in a single volume. On the Cantus title page a printed ex libris pasteover erased: ‘Gaetano Gaspari’. Gaspari exchanged part of his library with books from the Liceo. See the letter to Angelo Catelani, 26 April 1861: ‘volli fare da me, depositando, timbrando, e catalogando siccome cose del Liceo il triplo e forse più di quel che prendeva in cambio, e per tal guisa arricchendo chetamente la biblioteca de' miei più preziosi articoli senza farle spendere un centesimo, e nella ferma convinzione d'aver ceduto un capitale tre o quattro volte superiore di prezzo alle opere prese in baratto’ (I-Bc Ep. Gaspari–Catelani).

44 Listed as 1597.

45 In letter I.11.115 (S. 1328): ‘Musica spirituale. Tomo primo, con parte prima e 2^da, cioè primo e 2^do coro. Con basso continuo, con alcune editioni senza basso continuo’.

46 The complete copies I-Bc R.18 (the same edition as XV.2), R.26 (XV.13), AA.246 (XV.16), as well as the Cantus I and Tenor I partbooks in I-Bc BB.61 (XV.4) do not show any evidence of having belonged to the Pagliarini collection and, except for AA.246, were probably already in Martini's collection by 1747. See letter I.11.118 (S. 1335).

47 Not in Chiti's inventory, but definitely belonging to this volume, since the manuscript numbering, different for each partbook and in the same hand, matches that of the previous print exactly.

48 Another copy of XVI.1–3 (or just one of them) in XVIIIb.10.

49 Mistakenly listed as 1628.

50 The Cantus I and Bassus in the complete copy in I-Bc AA.112 do not show any evidence of having belonged to the Pagliarini collection and were probably already in Martini's collection by 1747. See letter I.11.108 (S. 1321).

51 Listed as Guglielmo Veneziano. Cited also in RISM under Guglielmo (Guilhelmus) Veneziano, a composer to be identified with Guglielmo Miniscalchi, author of the Coelum armonicum (believed lost), of which the Pagliarini copy, even incomplete, constitutes an unicum. See N. Fortune and R. Miller, ‘Miniscalchi, Guglielmo’, Grove Music Online, acc. 7 January 2010.

52 Listed as 1621.

53 According to Martini's checklist in letter I.12.4 (S. 1382), nos. 2–7 seem not to have been received. See also note 7 above. The complete sets in Bologna, I-Bc U.2 (the same edition as XVIIIb.3), T.292 (XVIIIb.4), T.324 (XVIIIb.6b), R.14 (XVIIIb.7) do not show any evidence of having been part of the Pagliarini collection. With the exception of the Bassus in R.14, they were probably already part of Martini's collection in 1747. See letter I.11.108 (S. 1321). On the Bassus ad organum title page in R.14, Martini's note ‘Vedi Mus. Sp[iri]t[ual]e T. 2’ refers to the 1620 edition in XVI.5.

54 On the title page of each partbook in ink: ‘Pertinet ad conventum S.P.N. Fran.ci Transtiberim de Urbe / Reliquit frater Urbanus Romanus’.

55 On the Cantus I title page: ‘Dalla libr. di S. Fran.co a Ripa’.

56 On the title page of each partbook in ink: ‘Pertinet ad conventum S.P.N. Francisci / Transtiberim de Urbe / Reliquit frater Urbanus Romanus’.

57 In Chiti's inventory ‘come l'ho descritta nel 2^o tomo musica spirituale. Manca l'organo’. Another copy was once in XVI.1–3.

58 The Cantus and Tenor are trimmed more than the other partbooks and were probably already in Martini's collection by 1747. See letter I.11.121 (S. 1322).

59 Listed as Mutii in Chiti's inventory.

60 On the title page of each partbook in ink: ‘Pertinet ad conventum Sancti Francisci Transtiberim de Urbe / Reliquit frater Urbanus Romanus’.

1 One Alto part not catalogued in RISM is conserved in Bologna, Biblioteca di Casa Carducci.

1 See the entire volume XIII, and nos. XIVb.2, XVIIIb.11, 14–15, 17b, and 18.

2 See App. I, in the sections describing each volume. In addition, the Cantus I and Bassus partbooks for volume XVII were lost sometime after having arrived in Bologna in 1748, probably not later than the mid-nineteenth century and probably when they were still bound.

1 Sold to Aristide Farrenc. Now part of the William Euing (1788–1874) collection.

2 Sold to the bookseller Potier. Acquired by GB-Lbl on 22 May 1873.

3 Sold to Potier, now in B-Bc, with the indication ‘F. Paetzel, Buchbinder Berlin Markgrafen-Str. 14 Geh. Rath Wagner Marburg’, which suggests that it went to Germany, then to Brussels.

4 Sold with a Quintus from the edition Venice, Rampazetto, 1566.

5 Sold to an unknown buyer.

6 Sold with an Altus from the edition Venice, Gardano, 1594.

7 In the manuscript card catalogue of the Liceo Gaspari writes ‘Manca la sola parte del Contralto (avutasi questa parte nella compra fatta da S[an] P[etronio], ora l'esemplare è completo)’. In fact, the entire exemplar came from San Petronio, in exchange for the incomplete set from the Pagliarini collection. The other two Pagliarini titles conserved in San Petronio today are also incomplete and arrived there in analogous exchanges. In the case of the Quinto libro de madrigali a 6 of Marenzio, however, this exchange cannot definitively be linked to the purchase in 1865 of books from San Petronio, which is referred to in several letters from Gaspari to Angelo Catelani between 1865 and 1866, particularly that of 11 June 1866 (‘Pare finalmente deciso che quella cinquantina d'antiche stampe pertinenti all'Archivio di San Petronio divengano proprietà del Liceo dietro l'esborso di settecento lire'; I-Bc Ep. Gaspari–Catelani). See also the fascicle (without shelfmark) in the Fondo Busi, also conserved in I-Bc, which consists of a catalogue of the early prints that remained in San Petronio after the aforementioned sale (Catalogo della musica antica in istampa pertinente all'Illustrissima Fabbriceria di San Petronio in Bologna, e rimastavi nell'archivio dopo cedutane una parte al Liceo Com.^le nell'estate del 1865 dietro il compenso di italiane L. 700). Around a hundred exemplars now in I-Bc came entirely or in part from San Petronio.

8 Sold with a Quintus from the edition Venice, Gardano, 1606 to Thoré. A decade later the copy is noted in the Catalogue of the Library of the Sacred Harmonic Society (London, 1872), no. 1086.

9 Sold with a Quintus from the edition Venice, Vincenti, 1591.

1 Most probably G. D'Avella, Regole di musica (Rome: Moneta, 1657). The copy in the Corsini library in Rome (today in the Accademia dei Lincei) bears a manuscript note by Chiti with the date 1747.

2 Chiti lists the editions of the ‘mute sciolte’ and the first four titles of tomo XV here for a second time – they were already listed in the previous letter from 29 July.

3 Schnoebelen's catalogue erroneously splits this letter into three separate items, listing them respectively as nos. 1334, 1330 and 1335.

1 A copy of the letter in Gaspari's hand is preserved in I-Bc (Ep. Gaspari–Fétis) and has been published in François-Joseph Fétis, Correspondance, ed. R. Wangermée (Sprimont, 2006), pp. 219–20. Note that Gaspari did not become librarian until 1855, though he was already quite familiar with the library in 1846.