Sarum Liturgical Printing in Tudor London

484 Pages·2011·14.65 MB·English

by  Jenifer Fraser

Sarum Liturgical Printing in Tudor London
Thesis submitted to Royal Holloway College,
University of London
for the degree of Doctor of Philosophy
Jenifer Raub
2011
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DECLARATION OF AUTHORSHIP
I, Jenifer Raub, hereby declare that this thesis and the work presented in it
is entirely my own. Where I have consulted the work of others, this is always
clearly stated.
Signed: .................................................................................
Date: 9th September 2011
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ABSTRACT
This thesis consists of an archival study of early liturgical printing in Tudor
London, focusing specifically on contextual and bibliographical examinations of
the printed books of the Sarum rite (Use of Salisbury). Chapter 1 provides an
introduction and background to Sarum liturgical books and the early book
trade. Chapters 2 and 3 examine the work of two early London printers,
Wynkyn de Worde and Richard Pynson, and include biographical and
bibliographical surveys, as well as case studies of each printer‘s liturgical
printing. Chapter 4 presents evidence of individual and institutional ownership
of liturgical books and analyzes the market for liturgical books. Chapter 5
considers the last manifestations of Sarum liturgical printing, examining the
impact of the liturgical reforms of the late Henrician and Edwardian churches,
as well as the re-imposition of Catholicism under Mary I, on the production and
provision of Sarum books. The three appendices present a database of printed
copies of Sarum liturgical books and the total printed output of Wynkyn
de Worde and Richard Pynson.
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CONTENTS
ABBREVIATIONS .................................................................................... 7
LIST OF FIGURES .................................................................................... 8
LIST OF TABLES .................................................................................... 12
INTRODUCTION ................................................................................... 13
ACKNOWLEDGEMENTS .................................................................... 22
CHAPTER ONE Background................................................................ 24
The Use of Salisbury and Sarum Liturgical Books ............................... 24
Sarum liturgical books ..................................................................... 25
Books for the Mass ........................................................................... 27
The Missal .................................................................................................... 27
The Gradual ................................................................................................. 32
Books for the Office .......................................................................... 36
The Breviary ................................................................................................ 36
The Antiphoner ........................................................................................... 41
The Hymnal and the Processional ................................................. 44
The Hymnal ................................................................................................. 44
The Processional ......................................................................................... 48
Manuscript Traditions............................................................................... 53
Books for the Mass ........................................................................... 54
Books for the Office .......................................................................... 55
The Hymnal and the Processional ................................................. 56
Early Printing in England ......................................................................... 58
Early Music Printing in England ............................................................. 65
The Early Book Trade in London ............................................................ 73
Sarum Books and debates about Print culture ...................................... 78
CHAPTER TWO Printers & Publishers I: Wynkyn de Worde
(d. 1534/5) .......................................................................... 93
Biographical Survey .................................................................................. 94
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Bibliographical Survey .............................................................................. 99
De Worde‘s Printed Output ............................................................ 99
De Worde‘s Liturgical Books ........................................................ 106
De Worde and the Early Book Trade .................................................... 111
De Worde‘s Liturgical Printing .............................................................. 119
Latin liturgical books ..................................................................... 119
Type/Paper/Illustration ............................................................... 131
Case Study I: Three Missals Commissioned by de Worde ................ 137
Case Study II: Hymnals from de Worde‘s Workshop ........................ 152
Conclusion ................................................................................................ 166
CHAPTER THREE Printers & Publishers II: Richard Pynson
(1449/50-1529) ................................................................. 170
Biographical Survey ................................................................................ 171
Bibliographical Survey ............................................................................ 175
Pynson‘s published output ........................................................... 175
Pynson‘s liturgical books .............................................................. 178
Pynson and the Early Book Trade ......................................................... 182
Pynson‘s Liturgical Printing ................................................................... 184
Pynson‘s music printing ................................................................ 186
The Morton Missal ......................................................................... 187
Case Study I: Pynson‘s Officia Nova Breviaries .................................... 197
Case Study II: Pynson‘s 1504 Missal ..................................................... 205
Type and ink ................................................................................... 205
Paper and watermarks ................................................................... 210
Devices and Illustration ................................................................. 212
Case Study III: Pynson‘s 1502 Processional and Bishop Foxe‘s
Redaction ......................................................................................... 216
Evidence of Workshop Practice and Wholesale Book Prices ............ 225
Conclusion ................................................................................................ 233
CHAPTER FOUR Evidence of Ownership & Market ................... 237
Evidence of Personal Ownership .......................................................... 237
PCC wills: a case study in book ownership ................................ 242
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Marian Sarum Processionals: a case study in provenance ....... 272
Evidence of Institutional Ownership .................................................... 281
Requirements .................................................................................. 283
Evidence from the visitations of Kent ......................................... 288
Evidence from London Churches ................................................ 296
The Market for Liturgical Books ............................................................ 301
Conclusion ................................................................................................ 308
CHAPTER FIVE Sarum liturgical books after 1534 ....................... 310
Sarum liturgical books of the late Henrician church .......................... 310
Sarum liturgical books in the reign of Edward VI .............................. 323
Sarum liturgical books in the reign of Mary I ..................................... 329
Books for the Choir ........................................................................ 335
Antiphoners and Graduals ...................................................................... 335
Hymnals ..................................................................................................... 336
Books for the Priest ........................................................................ 347
Missals ........................................................................................................ 347
Processionals ............................................................................................. 361
Breviaries ................................................................................................... 366
Conclusion ................................................................................................ 371
CONCLUSION ...................................................................................... 378
BIBLIOGRAPHY ................................................................................... 381
Primary Sources ....................................................................................... 381
Early printed book collections ...................................................... 381
National Archives........................................................................... 386
Secondary Sources ................................................................................... 386
APPENDICES ........................................................................................ 401
Appendix 1: Database of Sarum Liturgical Books ........................ 402
Appendix 2: Catalogue of Wynkyn de Worde's Printed Works . 438
Appendix 3: Catalogue of Richard Pynson's Printed Works ....... 462
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ABBREVIATIONS
BMC British Library Department of Printed Books, Catalogue of books
printed in the XVth century now in the British Library. BMC, Part
XI, England. ‗t Goy-Houten: Hes & de Graf, 2007.
BRUC A. B. Emden, A Biographical Register of the University of
Cambridge to A.D. 1500. Cambridge: Cambridge University
Press, 1963.
BRUO A. B. Emden, A Biographical Register of the University of Oxford to
A.D. 1500, 3 vols. Oxford: Clarendon Press, 1957-9.
BRUO1540 A. B. Emden, A Biographical Register of the University of Oxford
from A.D. 1501 to A.D. 1540. Oxford: Clarendon Press, 1974.
EEBO Early English Books Online [http://eebo.chadwyck.com]
ODNB Oxford Dictionary of National Biography, online edition
[www.oxforddnb.com]
STC A Short-Title Catalogue of Books printed in England, Scotland &
Ireland and of English books Printed Abroad 1475-1640, 2nd ed., 3
vols. London: Bibliographical Society, 1976-91.
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LIST OF FIGURES
Figure 1.1 Sarum Missal 1500, sig. Uiiij, printed by Richard Pynson for
Archbishop Morton (STC 16173), showing early printed
musical notation. [Image from Early English Books Online] ........ 31
Figure 1.2 Sarum Gradual 1527 (STC 15863), sig. bii, printed in Paris for
Wynkyn de Worde and his London collaborators. [Image
from EEBO] ............................................................................................ 35
Figure 1.3 Sarum Breviary 1525 (STC 15819), sig.  7, printed in Paris by
Y. Bonhomme, widow of T. Kerver. This opening of the
sexto-decimo format book shows the end of the liturgical
calendar (verso) and a table of dates of Septuagesima, Easter,
and the first Sunday of Advent for the years 1525 to 1552
(recto). [Image from EEBO] ................................................................. 40
Figure 1.4 Sarum Antiphoner 1519 (STC 15790), sig. a v, printed by W.
Hopyl in Paris, featuring part of the text and music for the
first Sunday of Advent. [Image from EEBO] .................................... 43
Figure 1.5 Sarum Hymnal 1502 (STC 16116a.5), sig. A iii, printed by
Richard Pynson in London, featuring Advent hymns
Conditor alme siderum and Te lucis ante terminum (verso) and
Verbum supernum (recto). Each hymn verse is followed by a
gloss on the text. [Image from EEBO] ................................................ 47
Figure 1.6 Sarum Hymnal 1518 (STC 16129), sig. A iii, printed by
Thielman Kerver in Paris, showing music and text for the
Advent hymns Conditor alme siderum (verso) and Verbum
supernum (recto). [Image from EEBO] ............................................... 48
Figure 1.7 Sarum Processional 1519 (STC 16235), folio lxxxii, printed by
Hopyl in Paris, featuring a woodcut illustration of the order
of and participants in the procession for the Easter Vigil.
Musical notation is given for the chant of the accompanying
prayer. [Image from EEBO] ................................................................ 52
Figure 1.8 Sarum Missal 1498 (STC 16172), folio cii, printed by Notary
and Barbier (for Wynkyn de Worde). The figure shows
annotated musical notation on Notary and Barbier‘s printed
staves. The musical scribe also appears to have added
vertical lines as section breaks. [Image from EEBO] ....................... 67
Figure 2.1 ‗Scholar‘ woodcut (Hodnett 927) from the title page of
Stanbridge‘s Vocabula, 1520 (STC 23181.2). This woodcut also
appears in several other educational printings by de Worde,
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as well as his 1517 edition of the Sarum Hymnal.
[Image from EEBO] ............................................................................ 136
Figure 2.2 1497 Sarum Missal (Paris) (STC 16169), sig. Miiii. An example
of the printed plainsong notation used by printers Gering
and Rembolt. [Image from EEBO]................................................... 140
Figure 2.3 Woodcut illustration from 1497 Sarum Missal (STC 16169),
sig. A1. One of the most commonly used woodcuts in
French liturgical printing through the mid-sixteenth century,
this woodcut was used by Parisian printers Gering &
Rembolt in their collaborative work with Wynkyn de Worde.
[Image from EEBO] ............................................................................ 142
Figure 2.4 1498 Sarum Missal (Notary & Barbier) (STC 16172), sig. nvi.
An example of the scribal insertions of musical notation
required for liturgical use of this edition of the Missal.
[Image from EEBO] ............................................................................ 147
Figure 2.5 1511 Sarum Missal (Paris) (STC 16189), sig. ov.
[Image from EEBO] ............................................................................ 149
Figure 2.6 1514 Sarum Hymnal (STC 16125), printed by de Worde, final
page. This edition of the Hymnal concludes with a short text
directed to the reader not found in de Worde‘s earlier
editions. [Image from EEBO] ............................................................ 156
Figure 2.7 1508 Sarum Hymnal (STC 16120), de Worde‘s printer‘s
device and title page. This device was frequently used by
de Worde‘s workshop in the production of editions of the
Sarum Hymnal. [Image from EEBO] .............................................. 160
Figure 2.8 1517 Sarum Hymnal (STC 16128), de Worde‘s printer‘s
device and title page. When compared with the use of this
same device in 1508, the 1517 printing shows heavier inking
and damage to the lower left edge of the device‘s border.
[Image from EEBO] ............................................................................ 161
Figure 3.1 Woodcut illustration acknowledging Archbishop Morton‘s
patronage of Pynson‘s 1500 edition of the Sarum Missal (STC
16173). Sig. Aii. [Image from EEBO] .............................................. 191
Figure 3.2 ‗Morton‘ Missal 1500 (STC 16173), folio Clv and folio Clir,
displaying Pynson‘s first use within this Missal of the
diamond-shaped punctum. [Image from EEBO] ........................... 193
Figure 3.3 ‗Morton‘ Missal 1500 (STC 16173), folio Cliv, displaying
Pynson‘s use of the diamond-shaped punctum, square
punctum, and virga. [Image courtesy of Pusey House,
Oxford] ................................................................................................. 194
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Figure 3.4 ‗Morton‘ Missal 1500 (STC 16173), folio lxxxvv and folio
lxxxvir, featuring Pynson‘s use of music type within the
setting of the Ordinary of the Mass. [Image from EEBO] ............ 195
Figure 3.5 ‗Morton‘ Missal 1500 (STC 16173), folio lxxxixv and folio xcr,
featuring Pynson‘s use of music type within the setting of the
Ordinary of the Mass. [Image from EEBO] .................................... 196
Figure 3.6 Woodcut illustration from Festum dulcissimi nominis jesu,
printed by Pynson in 1497 (STC 15852). Sig. a1. [Image from
EEBO] ................................................................................................... 201
Figure 3.7 Printer‘s device from Festum dulcissimi nomis jesu, final leaf
(Pynson 1497) (STC 15852), showing a more elaborate form
than the device used in Pynson‘s 1493 edition of the work.
[Image from EEBO] ............................................................................ 202
Figure 3.8 Examples of the gloved hand watermark, as seen on paper
from Richard Pynson‘s press. Pynson printed a number of
works on paper with this watermark, including his 1497
edition of the Sarum Hymnal, his 1502 Liber Festivalis, and his
1503 Stella Clericorum. [Image from Heawood 1929-30] ............... 204
Figure 3.9 Pynson‘s use of textura type, as seen in his 1504 edition of
the Sarum Missal (STC 16179). The 95 mm textura type was
Pynson‘s usual type for book texts. [Image from EEBO] ............. 206
Figure 3.10 Variant letter forms identified by F. S. Isaac (Isaac 1930).
Many of the variant forms of s, v, w, and y can identified in
works from Pynson‘s press (particularly those works
examined in this case study printed 1501-04), and the use of
these variant letter forms sheds light on Pynson‘s workshop
practice. ................................................................................................ 209
Figure 3.11 Pynson‘s printer‘s device as found in his 1501 Directorium
Sacerdotum, 1503 De Imitatione Christi, and 1503 Stella
Clericorum. [Image from EEBO] ....................................................... 214
Figure 3.12 Woodcut image of a pelican from the beginning of Pynson‘s
1502 edition of the Sarum Processional. In this context, the
pelican is possibly associated with Bishop Richard Foxe, who
prepared the edition of the Processional. The woodcut
shows its wear in the non-printing area of the lower right
corner. [Image courtesy of St. John‘s College, Oxford] ................ 219
Figure 3.13 Part of the processional chant for Palm Sunday from
Pynson‘s 1502 edition of the Processional. The identical
chant is presented in the 1523 edition. [Image courtesy of St.
John‘s College, Oxford] ...................................................................... 221