![104
Music.- Gafurius (Franchinus) Practica musicae, collation: [*4], a-b8, c6, aa-kk8, ll6, complete with final blank, [112]ff., text in single column, 38 lines, type: 10:180G (title), 2:102R (text), shoulder notes, small woodcut initials, blank spaces for capitals at the beginning of each book, a2v full-page woodcut showing a diapason after Pitagora and Guido d'Arezzo, numerous woodcut diagrams of musical notational symbols (notes, rests, ligatures) on five-line staves, some leaves trimmed, a few shoulder notes or diagrams very slightly shaved, contemporary marginalia, early shelfmark inked out on first leaf, lenghty musical example, without text, penned in ink in lower margin of last two leaves, late 19th-century brown calf, tooled in gilt, inner dentelles, gilt edges, joints slightly cracked, corners rubbed, Chancery follio, 252 x 179mm., Brescia, Angelus Britannicus, 23 September, 1497.
*** The very rare second edition of Gafurius' major work, rarer than the first, which was published in Milan in 1496 by La Signerre. These two constitute the only 15th century editions of this work, the most influential music treatise of the Renaissance. The Practica musicae is dedicated by Gafurius, choir master at the cathedral in Milan, to Ludovico il Moro, and illustrates all aspects of the theory and practice of music, including chant, polyphony and the rules of counterpoint, giving a complete picture of the status of music theory at the time. The author quotes classical authorities on music (above all Pythagoras, Aristotle and Boethius); in addition, he mentions both later theorists, such as Guido d'Arezzo and Johannes Tinctoris, and contemporary composers, such as Gilles Binchois, Guillaume Dufay, and John Dunstable.
The Brescia edition is a close reprint of the Milanese Practica, and the printer Angelus Britannicus employed the same handsome series of cuts as the edition of La Signerre. "Reprinted with the same quiring and mostly with the same page-contents from the edition of Le Signerre [...]. The diagrams and examples appear to be printed from Le Signerre's original blocks, but the title-cut and borders have not been taken over" (BMC VII, 979).
Gafurius's treatise had a wide circulation, and was referred to and plagiarised by most theorists of the following centuries.
Provenance: Emil Offenbacher (purchased March 1946); Cornelius J. Hauck (ex-libris on front pastedown; see The History of the Book: The Cornelius J. Hauck Collection, Christie's New York, 27-28 June 2006).
Literature: HC 7408; GW 10435; BMC VII, 979; IGI 4113; Goff G-7; RISM Ecrits, p. 343; Sander 2984.](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/xlarge/e340cad1-9a90-ee11-b864-d4548b6f1f2f/3be0a266-6791-ee11-817a-6045bdcfd69d.webp "104
Music.- Gafurius (Franchinus) Practica musicae, collation: [*4], a-b8, c6, aa-kk8, ll6, complete with final blank, [112]ff., text in single column, 38 lines, type: 10:180G (title), 2:102R (text), shoulder notes, small woodcut initials, blank spaces for capitals at the beginning of each book, a2v full-page woodcut showing a diapason after Pitagora and Guido d'Arezzo, numerous woodcut diagrams of musical notational symbols (notes, rests, ligatures) on five-line staves, some leaves trimmed, a few shoulder notes or diagrams very slightly shaved, contemporary marginalia, early shelfmark inked out on first leaf, lenghty musical example, without text, penned in ink in lower margin of last two leaves, late 19th-century brown calf, tooled in gilt, inner dentelles, gilt edges, joints slightly cracked, corners rubbed, Chancery follio, 252 x 179mm., Brescia, Angelus Britannicus, 23 September, 1497.
*** The very rare second edition of Gafurius' major work, rarer than the first, which was published in Milan in 1496 by La Signerre. These two constitute the only 15th century editions of this work, the most influential music treatise of the Renaissance. The Practica musicae is dedicated by Gafurius, choir master at the cathedral in Milan, to Ludovico il Moro, and illustrates all aspects of the theory and practice of music, including chant, polyphony and the rules of counterpoint, giving a complete picture of the status of music theory at the time. The author quotes classical authorities on music (above all Pythagoras, Aristotle and Boethius); in addition, he mentions both later theorists, such as Guido d'Arezzo and Johannes Tinctoris, and contemporary composers, such as Gilles Binchois, Guillaume Dufay, and John Dunstable.
The Brescia edition is a close reprint of the Milanese Practica, and the printer Angelus Britannicus employed the same handsome series of cuts as the edition of La Signerre. \"Reprinted with the same quiring and mostly with the same page-contents from the edition of Le Signerre [...]. The diagrams and examples appear to be printed from Le Signerre's original blocks, but the title-cut and borders have not been taken over\" (BMC VII, 979).
Gafurius's treatise had a wide circulation, and was referred to and plagiarised by most theorists of the following centuries.
Provenance: Emil Offenbacher (purchased March 1946); Cornelius J. Hauck (ex-libris on front pastedown; see The History of the Book: The Cornelius J. Hauck Collection, Christie's New York, 27-28 June 2006).
Literature: HC 7408; GW 10435; BMC VII, 979; IGI 4113; Goff G-7; RISM Ecrits, p. 343; Sander 2984.")
![104
Music.- Gafurius (Franchinus) Practica musicae, collation: [*4], a-b8, c6, aa-kk8, ll6, complete with final blank, [112]ff., text in single column, 38 lines, type: 10:180G (title), 2:102R (text), shoulder notes, small woodcut initials, blank spaces for capitals at the beginning of each book, a2v full-page woodcut showing a diapason after Pitagora and Guido d'Arezzo, numerous woodcut diagrams of musical notational symbols (notes, rests, ligatures) on five-line staves, some leaves trimmed, a few shoulder notes or diagrams very slightly shaved, contemporary marginalia, early shelfmark inked out on first leaf, lenghty musical example, without text, penned in ink in lower margin of last two leaves, late 19th-century brown calf, tooled in gilt, inner dentelles, gilt edges, joints slightly cracked, corners rubbed, Chancery follio, 252 x 179mm., Brescia, Angelus Britannicus, 23 September, 1497.
*** The very rare second edition of Gafurius' major work, rarer than the first, which was published in Milan in 1496 by La Signerre. These two constitute the only 15th century editions of this work, the most influential music treatise of the Renaissance. The Practica musicae is dedicated by Gafurius, choir master at the cathedral in Milan, to Ludovico il Moro, and illustrates all aspects of the theory and practice of music, including chant, polyphony and the rules of counterpoint, giving a complete picture of the status of music theory at the time. The author quotes classical authorities on music (above all Pythagoras, Aristotle and Boethius); in addition, he mentions both later theorists, such as Guido d'Arezzo and Johannes Tinctoris, and contemporary composers, such as Gilles Binchois, Guillaume Dufay, and John Dunstable.
The Brescia edition is a close reprint of the Milanese Practica, and the printer Angelus Britannicus employed the same handsome series of cuts as the edition of La Signerre. "Reprinted with the same quiring and mostly with the same page-contents from the edition of Le Signerre [...]. The diagrams and examples appear to be printed from Le Signerre's original blocks, but the title-cut and borders have not been taken over" (BMC VII, 979).
Gafurius's treatise had a wide circulation, and was referred to and plagiarised by most theorists of the following centuries.
Provenance: Emil Offenbacher (purchased March 1946); Cornelius J. Hauck (ex-libris on front pastedown; see The History of the Book: The Cornelius J. Hauck Collection, Christie's New York, 27-28 June 2006).
Literature: HC 7408; GW 10435; BMC VII, 979; IGI 4113; Goff G-7; RISM Ecrits, p. 343; Sander 2984.](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/xlarge/e340cad1-9a90-ee11-b864-d4548b6f1f2f/4ee0a266-6791-ee11-817a-6045bdcfd69d.webp "104
Music.- Gafurius (Franchinus) Practica musicae, collation: [*4], a-b8, c6, aa-kk8, ll6, complete with final blank, [112]ff., text in single column, 38 lines, type: 10:180G (title), 2:102R (text), shoulder notes, small woodcut initials, blank spaces for capitals at the beginning of each book, a2v full-page woodcut showing a diapason after Pitagora and Guido d'Arezzo, numerous woodcut diagrams of musical notational symbols (notes, rests, ligatures) on five-line staves, some leaves trimmed, a few shoulder notes or diagrams very slightly shaved, contemporary marginalia, early shelfmark inked out on first leaf, lenghty musical example, without text, penned in ink in lower margin of last two leaves, late 19th-century brown calf, tooled in gilt, inner dentelles, gilt edges, joints slightly cracked, corners rubbed, Chancery follio, 252 x 179mm., Brescia, Angelus Britannicus, 23 September, 1497.
*** The very rare second edition of Gafurius' major work, rarer than the first, which was published in Milan in 1496 by La Signerre. These two constitute the only 15th century editions of this work, the most influential music treatise of the Renaissance. The Practica musicae is dedicated by Gafurius, choir master at the cathedral in Milan, to Ludovico il Moro, and illustrates all aspects of the theory and practice of music, including chant, polyphony and the rules of counterpoint, giving a complete picture of the status of music theory at the time. The author quotes classical authorities on music (above all Pythagoras, Aristotle and Boethius); in addition, he mentions both later theorists, such as Guido d'Arezzo and Johannes Tinctoris, and contemporary composers, such as Gilles Binchois, Guillaume Dufay, and John Dunstable.
The Brescia edition is a close reprint of the Milanese Practica, and the printer Angelus Britannicus employed the same handsome series of cuts as the edition of La Signerre. \"Reprinted with the same quiring and mostly with the same page-contents from the edition of Le Signerre [...]. The diagrams and examples appear to be printed from Le Signerre's original blocks, but the title-cut and borders have not been taken over\" (BMC VII, 979).
Gafurius's treatise had a wide circulation, and was referred to and plagiarised by most theorists of the following centuries.
Provenance: Emil Offenbacher (purchased March 1946); Cornelius J. Hauck (ex-libris on front pastedown; see The History of the Book: The Cornelius J. Hauck Collection, Christie's New York, 27-28 June 2006).
Literature: HC 7408; GW 10435; BMC VII, 979; IGI 4113; Goff G-7; RISM Ecrits, p. 343; Sander 2984.")
![104
Music.- Gafurius (Franchinus) Practica musicae, collation: [*4], a-b8, c6, aa-kk8, ll6, complete with final blank, [112]ff., text in single column, 38 lines, type: 10:180G (title), 2:102R (text), shoulder notes, small woodcut initials, blank spaces for capitals at the beginning of each book, a2v full-page woodcut showing a diapason after Pitagora and Guido d'Arezzo, numerous woodcut diagrams of musical notational symbols (notes, rests, ligatures) on five-line staves, some leaves trimmed, a few shoulder notes or diagrams very slightly shaved, contemporary marginalia, early shelfmark inked out on first leaf, lenghty musical example, without text, penned in ink in lower margin of last two leaves, late 19th-century brown calf, tooled in gilt, inner dentelles, gilt edges, joints slightly cracked, corners rubbed, Chancery follio, 252 x 179mm., Brescia, Angelus Britannicus, 23 September, 1497.
*** The very rare second edition of Gafurius' major work, rarer than the first, which was published in Milan in 1496 by La Signerre. These two constitute the only 15th century editions of this work, the most influential music treatise of the Renaissance. The Practica musicae is dedicated by Gafurius, choir master at the cathedral in Milan, to Ludovico il Moro, and illustrates all aspects of the theory and practice of music, including chant, polyphony and the rules of counterpoint, giving a complete picture of the status of music theory at the time. The author quotes classical authorities on music (above all Pythagoras, Aristotle and Boethius); in addition, he mentions both later theorists, such as Guido d'Arezzo and Johannes Tinctoris, and contemporary composers, such as Gilles Binchois, Guillaume Dufay, and John Dunstable.
The Brescia edition is a close reprint of the Milanese Practica, and the printer Angelus Britannicus employed the same handsome series of cuts as the edition of La Signerre. "Reprinted with the same quiring and mostly with the same page-contents from the edition of Le Signerre [...]. The diagrams and examples appear to be printed from Le Signerre's original blocks, but the title-cut and borders have not been taken over" (BMC VII, 979).
Gafurius's treatise had a wide circulation, and was referred to and plagiarised by most theorists of the following centuries.
Provenance: Emil Offenbacher (purchased March 1946); Cornelius J. Hauck (ex-libris on front pastedown; see The History of the Book: The Cornelius J. Hauck Collection, Christie's New York, 27-28 June 2006).
Literature: HC 7408; GW 10435; BMC VII, 979; IGI 4113; Goff G-7; RISM Ecrits, p. 343; Sander 2984.](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/small/e340cad1-9a90-ee11-b864-d4548b6f1f2f/3be0a266-6791-ee11-817a-6045bdcfd69d.webp "104
Music.- Gafurius (Franchinus) Practica musicae, collation: [*4], a-b8, c6, aa-kk8, ll6, complete with final blank, [112]ff., text in single column, 38 lines, type: 10:180G (title), 2:102R (text), shoulder notes, small woodcut initials, blank spaces for capitals at the beginning of each book, a2v full-page woodcut showing a diapason after Pitagora and Guido d'Arezzo, numerous woodcut diagrams of musical notational symbols (notes, rests, ligatures) on five-line staves, some leaves trimmed, a few shoulder notes or diagrams very slightly shaved, contemporary marginalia, early shelfmark inked out on first leaf, lenghty musical example, without text, penned in ink in lower margin of last two leaves, late 19th-century brown calf, tooled in gilt, inner dentelles, gilt edges, joints slightly cracked, corners rubbed, Chancery follio, 252 x 179mm., Brescia, Angelus Britannicus, 23 September, 1497.
*** The very rare second edition of Gafurius' major work, rarer than the first, which was published in Milan in 1496 by La Signerre. These two constitute the only 15th century editions of this work, the most influential music treatise of the Renaissance. The Practica musicae is dedicated by Gafurius, choir master at the cathedral in Milan, to Ludovico il Moro, and illustrates all aspects of the theory and practice of music, including chant, polyphony and the rules of counterpoint, giving a complete picture of the status of music theory at the time. The author quotes classical authorities on music (above all Pythagoras, Aristotle and Boethius); in addition, he mentions both later theorists, such as Guido d'Arezzo and Johannes Tinctoris, and contemporary composers, such as Gilles Binchois, Guillaume Dufay, and John Dunstable.
The Brescia edition is a close reprint of the Milanese Practica, and the printer Angelus Britannicus employed the same handsome series of cuts as the edition of La Signerre. \"Reprinted with the same quiring and mostly with the same page-contents from the edition of Le Signerre [...]. The diagrams and examples appear to be printed from Le Signerre's original blocks, but the title-cut and borders have not been taken over\" (BMC VII, 979).
Gafurius's treatise had a wide circulation, and was referred to and plagiarised by most theorists of the following centuries.
Provenance: Emil Offenbacher (purchased March 1946); Cornelius J. Hauck (ex-libris on front pastedown; see The History of the Book: The Cornelius J. Hauck Collection, Christie's New York, 27-28 June 2006).
Literature: HC 7408; GW 10435; BMC VII, 979; IGI 4113; Goff G-7; RISM Ecrits, p. 343; Sander 2984.")
![104
Music.- Gafurius (Franchinus) Practica musicae, collation: [*4], a-b8, c6, aa-kk8, ll6, complete with final blank, [112]ff., text in single column, 38 lines, type: 10:180G (title), 2:102R (text), shoulder notes, small woodcut initials, blank spaces for capitals at the beginning of each book, a2v full-page woodcut showing a diapason after Pitagora and Guido d'Arezzo, numerous woodcut diagrams of musical notational symbols (notes, rests, ligatures) on five-line staves, some leaves trimmed, a few shoulder notes or diagrams very slightly shaved, contemporary marginalia, early shelfmark inked out on first leaf, lenghty musical example, without text, penned in ink in lower margin of last two leaves, late 19th-century brown calf, tooled in gilt, inner dentelles, gilt edges, joints slightly cracked, corners rubbed, Chancery follio, 252 x 179mm., Brescia, Angelus Britannicus, 23 September, 1497.
*** The very rare second edition of Gafurius' major work, rarer than the first, which was published in Milan in 1496 by La Signerre. These two constitute the only 15th century editions of this work, the most influential music treatise of the Renaissance. The Practica musicae is dedicated by Gafurius, choir master at the cathedral in Milan, to Ludovico il Moro, and illustrates all aspects of the theory and practice of music, including chant, polyphony and the rules of counterpoint, giving a complete picture of the status of music theory at the time. The author quotes classical authorities on music (above all Pythagoras, Aristotle and Boethius); in addition, he mentions both later theorists, such as Guido d'Arezzo and Johannes Tinctoris, and contemporary composers, such as Gilles Binchois, Guillaume Dufay, and John Dunstable.
The Brescia edition is a close reprint of the Milanese Practica, and the printer Angelus Britannicus employed the same handsome series of cuts as the edition of La Signerre. "Reprinted with the same quiring and mostly with the same page-contents from the edition of Le Signerre [...]. The diagrams and examples appear to be printed from Le Signerre's original blocks, but the title-cut and borders have not been taken over" (BMC VII, 979).
Gafurius's treatise had a wide circulation, and was referred to and plagiarised by most theorists of the following centuries.
Provenance: Emil Offenbacher (purchased March 1946); Cornelius J. Hauck (ex-libris on front pastedown; see The History of the Book: The Cornelius J. Hauck Collection, Christie's New York, 27-28 June 2006).
Literature: HC 7408; GW 10435; BMC VII, 979; IGI 4113; Goff G-7; RISM Ecrits, p. 343; Sander 2984.](https://am-s3-bucket-assets.s3.eu-west-2.amazonaws.com/forum/prod/lot_images/small/e340cad1-9a90-ee11-b864-d4548b6f1f2f/4ee0a266-6791-ee11-817a-6045bdcfd69d.webp "104
Music.- Gafurius (Franchinus) Practica musicae, collation: [*4], a-b8, c6, aa-kk8, ll6, complete with final blank, [112]ff., text in single column, 38 lines, type: 10:180G (title), 2:102R (text), shoulder notes, small woodcut initials, blank spaces for capitals at the beginning of each book, a2v full-page woodcut showing a diapason after Pitagora and Guido d'Arezzo, numerous woodcut diagrams of musical notational symbols (notes, rests, ligatures) on five-line staves, some leaves trimmed, a few shoulder notes or diagrams very slightly shaved, contemporary marginalia, early shelfmark inked out on first leaf, lenghty musical example, without text, penned in ink in lower margin of last two leaves, late 19th-century brown calf, tooled in gilt, inner dentelles, gilt edges, joints slightly cracked, corners rubbed, Chancery follio, 252 x 179mm., Brescia, Angelus Britannicus, 23 September, 1497.
*** The very rare second edition of Gafurius' major work, rarer than the first, which was published in Milan in 1496 by La Signerre. These two constitute the only 15th century editions of this work, the most influential music treatise of the Renaissance. The Practica musicae is dedicated by Gafurius, choir master at the cathedral in Milan, to Ludovico il Moro, and illustrates all aspects of the theory and practice of music, including chant, polyphony and the rules of counterpoint, giving a complete picture of the status of music theory at the time. The author quotes classical authorities on music (above all Pythagoras, Aristotle and Boethius); in addition, he mentions both later theorists, such as Guido d'Arezzo and Johannes Tinctoris, and contemporary composers, such as Gilles Binchois, Guillaume Dufay, and John Dunstable.
The Brescia edition is a close reprint of the Milanese Practica, and the printer Angelus Britannicus employed the same handsome series of cuts as the edition of La Signerre. \"Reprinted with the same quiring and mostly with the same page-contents from the edition of Le Signerre [...]. The diagrams and examples appear to be printed from Le Signerre's original blocks, but the title-cut and borders have not been taken over\" (BMC VII, 979).
Gafurius's treatise had a wide circulation, and was referred to and plagiarised by most theorists of the following centuries.
Provenance: Emil Offenbacher (purchased March 1946); Cornelius J. Hauck (ex-libris on front pastedown; see The History of the Book: The Cornelius J. Hauck Collection, Christie's New York, 27-28 June 2006).
Literature: HC 7408; GW 10435; BMC VII, 979; IGI 4113; Goff G-7; RISM Ecrits, p. 343; Sander 2984.")
Description
Music.- Gafurius (Franchinus) Practica musicae, collation: [*4], a-b8, c6, aa-kk8, ll6, complete with final blank, [112]ff., text in single column, 38 lines, type: 10:180G (title), 2:102R (text), shoulder notes, small woodcut initials, blank spaces for capitals at the beginning of each book, a2v full-page woodcut showing a diapason after Pitagora and Guido d'Arezzo, numerous woodcut diagrams of musical notational symbols (notes, rests, ligatures) on five-line staves, some leaves trimmed, a few shoulder notes or diagrams very slightly shaved, contemporary marginalia, early shelfmark inked out on first leaf, lenghty musical example, without text, penned in ink in lower margin of last two leaves, late 19th-century brown calf, tooled in gilt, inner dentelles, gilt edges, joints slightly cracked, corners rubbed, Chancery follio, 252 x 179mm., Brescia, Angelus Britannicus, 23 September, 1497.
⁂ The very rare second edition of Gafurius' major work, rarer than the first, which was published in Milan in 1496 by La Signerre. These two constitute the only 15th century editions of this work, the most influential music treatise of the Renaissance. The Practica musicae is dedicated by Gafurius, choir master at the cathedral in Milan, to Ludovico il Moro, and illustrates all aspects of the theory and practice of music, including chant, polyphony and the rules of counterpoint, giving a complete picture of the status of music theory at the time. The author quotes classical authorities on music (above all Pythagoras, Aristotle and Boethius); in addition, he mentions both later theorists, such as Guido d'Arezzo and Johannes Tinctoris, and contemporary composers, such as Gilles Binchois, Guillaume Dufay, and John Dunstable.
The Brescia edition is a close reprint of the Milanese Practica, and the printer Angelus Britannicus employed the same handsome series of cuts as the edition of La Signerre. "Reprinted with the same quiring and mostly with the same page-contents from the edition of Le Signerre [...]. The diagrams and examples appear to be printed from Le Signerre's original blocks, but the title-cut and borders have not been taken over" (BMC VII, 979).
Gafurius's treatise had a wide circulation, and was referred to and plagiarised by most theorists of the following centuries.
Provenance: Emil Offenbacher (purchased March 1946); Cornelius J. Hauck (ex-libris on front pastedown; see The History of the Book: The Cornelius J. Hauck Collection, Christie's New York, 27-28 June 2006).
Literature: HC 7408; GW 10435; BMC VII, 979; IGI 4113; Goff G-7; RISM Ecrits, p. 343; Sander 2984.
Lot 104
Music.- Gafurius (Franchinus) Practica musicae, Brescia, Angelus Britannicus, 23 September, 1497.
Hammer Price: £20,000
Description
Music.- Gafurius (Franchinus) Practica musicae, collation: [*4], a-b8, c6, aa-kk8, ll6, complete with final blank, [112]ff., text in single column, 38 lines, type: 10:180G (title), 2:102R (text), shoulder notes, small woodcut initials, blank spaces for capitals at the beginning of each book, a2v full-page woodcut showing a diapason after Pitagora and Guido d'Arezzo, numerous woodcut diagrams of musical notational symbols (notes, rests, ligatures) on five-line staves, some leaves trimmed, a few shoulder notes or diagrams very slightly shaved, contemporary marginalia, early shelfmark inked out on first leaf, lenghty musical example, without text, penned in ink in lower margin of last two leaves, late 19th-century brown calf, tooled in gilt, inner dentelles, gilt edges, joints slightly cracked, corners rubbed, Chancery follio, 252 x 179mm., Brescia, Angelus Britannicus, 23 September, 1497.
⁂ The very rare second edition of Gafurius' major work, rarer than the first, which was published in Milan in 1496 by La Signerre. These two constitute the only 15th century editions of this work, the most influential music treatise of the Renaissance. The Practica musicae is dedicated by Gafurius, choir master at the cathedral in Milan, to Ludovico il Moro, and illustrates all aspects of the theory and practice of music, including chant, polyphony and the rules of counterpoint, giving a complete picture of the status of music theory at the time. The author quotes classical authorities on music (above all Pythagoras, Aristotle and Boethius); in addition, he mentions both later theorists, such as Guido d'Arezzo and Johannes Tinctoris, and contemporary composers, such as Gilles Binchois, Guillaume Dufay, and John Dunstable.
The Brescia edition is a close reprint of the Milanese Practica, and the printer Angelus Britannicus employed the same handsome series of cuts as the edition of La Signerre. "Reprinted with the same quiring and mostly with the same page-contents from the edition of Le Signerre [...]. The diagrams and examples appear to be printed from Le Signerre's original blocks, but the title-cut and borders have not been taken over" (BMC VII, 979).
Gafurius's treatise had a wide circulation, and was referred to and plagiarised by most theorists of the following centuries.
Provenance: Emil Offenbacher (purchased March 1946); Cornelius J. Hauck (ex-libris on front pastedown; see The History of the Book: The Cornelius J. Hauck Collection, Christie's New York, 27-28 June 2006).
Literature: HC 7408; GW 10435; BMC VII, 979; IGI 4113; Goff G-7; RISM Ecrits, p. 343; Sander 2984.
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