De Gulden Passer. Jaargang 73

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Plantin's 1574 Missale Romanum in Octavo: new findings on the occasion of a new acquisition by the Plantin-Moretus museum
Dirk Imhof

In 1994 the Plantin-Moretus Museum was able to purchase three works published by the Plantin-Moretus Press, specifically: one missal and two eighteenth-century prayer books.¹ In this article, I would like to examine the first work, a 1574 Missale Romanum in 8^o with engraved illustrations, in greater detail.²

As is known, Christopher Plantin usually published his liturgical books in two versions: one illustrated with woodcuts, the other with engravings and/or etchings.³ One copy of the 1574 8^o Missale with woodcut illustrations has already been described in The Plantin Press, the standard bibliography of Plantin's publica-

1 The two prayer books are: (1) a copy of the Officium in festo omnium sanctorum ad instar breviarii Romani sub Urbano PP. VIII. recogniti, Architypographia Plantiniana (= Joannes Jacobus Moretus), 1752; and (2) a copy of the Horae diurnae breviarii Romani, ex decreto sacro-sancti concilii Tridentini restituit [sic!] S. Pii V. Pont. Max. jussu editi, Clementis VIII. & Urbani VIII. auctoritate recogniti, in quibus ea omnia continentur, quae praeter lectiones & earum responsoria, ad plenam officii matutini recitationem pertinent, Architypographia Plantiniana (= Maria-Theresia-Josephina Borrekens), 1785.

2 The copy that was purchased is bound in modern red leather, which is decorated with gold tooling. An ex-libris of the ‘Apoteker [pharmacist] H. Ameloor’ is affixed onto the front pastedown. The missal was put up for sale by the Haasrode antiquarian bookseller J. Devroe at the 2nd annual Antiquarian Book Fair in Flanders at the end of December 1993, in Mechelen. The new copy is now catalogued in the collection of the Plantin-Moretus Museum as no. 8-637. Henceforth, all references to books and archival documents from the Plantin-Moretus Museum will be preceded by the abbreviation ‘MPM’.

3 For more information on this matter see: L. Voet, Het geïllustreerde boek in de Officina Plantiniana (1555-1589) in Rubens and his World. Bijdragen-Etudes-Studies-Beiträge Opgedragen aan Prof. Dr. Ir. R.-A. d'Hulst, Antwerp, 1985, pp. 37-47, p. 45 in particular.

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tions, compiled by Leon Voet.⁴ When this bibliography was published, only the title page and the first quire of the version with engraved illustrations were known. These are preserved in two records in the Plantin-Moretus Museum archives.⁵ When, in commemoration of the 400th anniversary of Plantin's death, the Brussels antiquarian bookseller Eric Speeckaert offered a collection of approximately 500 Plantin publications for sale, a copy of the 1574 8^o Missale Romanum with engraved illustrations was included.⁶ That copy is now part of the library of the Cultura Fonds in Dilbeek (near Brussels). Two engravings, however, are missing from this book, while the copy recently purchased by the Plantin-Moretus Museum is complete. In this article, in addition to providing a description of this complete copy, I will also demonstrate that several variants exist of both the woodcut and the engraving illustrated versions, as well as discuss the distribution of this Missale.

First, I would like to expand upon C. Sorgeloos's account of the illustrations. In total, the 1574 8^o Missale Romanum has twenty-seven engravings, including one of Sts Peter and Paul on the title page. Seven engravings are approximately the size of an entire page (12 × 7.5 cm). Four of these large engravings are signed with the initials ‘IHW’ and ‘PB’, indicating that they were engraved by Jan Wierix (1549 - post? 1618) after designs by Peeter vander Borcht (1540?-1608?). Vander Borcht was also the artist who supplied the designs for the woodcuts used for the woodcut illustrated version of this missal (the cutting of the plates itself was the work of Antoon van Leest). Sixteen other engravings are smal-

4 See L. Voet, The Plantin Press (1555-1589). A Bibliography of the Works printed and published by Christopher Plantin at Antwerp and Leiden, vol. IV, Amsterdam, 1982, no. 1688. Henceforth, all catalogue entries from The Plantin Press will be preceded by the abbrevation ‘PP’. The woodcut illustrated copy noted here is part of the collection of the Plantin-Moretus Museum (MPM no. A 1433).

5 The title page is contained in the Theatrum typographicum Plantinianae officinae (MPM Archive 1228), f. 26r, while the quire is preserved in the Theatri flosculorum Plantinianae officinae pars prima (MPM Archive 1230), f. 621. A more detailed account of these pieces is given below.

6 For the description of this copy see: C. Sorgeloos, 1589-1989. Labore et constantia. A Collection of 510 Editions Issued by Christopher Plantin from 1555 till 1589, Brussels, 1990, no. 331.

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ler in scale (ca. 7 × 7 cm) and are not signed. Finally, the missal also contains three oval engravings of approximately 5 × 3.5 cm, two of which are signed with the initials ‘PB’ - Peeter vander Borcht again - and ‘IS’, which most likely refers to another Antwerp engraver, Joannes Sadeler I (1550 - ca. 1600). The number of engravings agrees with the following citation of this missal in a record book of Plantin publications: ‘Habet fig[uras] 23 magnas et 4 parvas, sunt simul 27’ (= [the missal] contains 23 large and 4 small figures, together 27), in which the ‘small figures’ refer to the three small oval engravings and that of Peter and Paul on the title page, and the 23 ‘large’ to the remaining engravings.⁷

A description of the majority of the engravings is provided by Sorgeloos, but as already noted, two are missing from this account. The first additional engraving is found following the calendar, on f. ee8v (and was, in this instance, printed within a red border). It is a representation of King David and the Angel, signed with the monograms of Peeter vander Borcht and Jan Wierix.⁸ It is worth noting that in the woodcut illustrated copy of this missal preserved in the Plantin-Moretus Museum a representation of the Annunciation was printed in this spot instead of an image of King David. Usually in editions of the Missale Romanum printed by Plantin, either an image of King David and the Angel or of the Annunciation was included with this portion of the text. In the case of Plantin's 1574 8^o missal it is apparent that this can vary even between the woodcut and engraving illustrated versions of the same edition.

The second illustration that was omitted by Sorgeloos is an engraving of the Resurrection of Christ on p. [280] of the ‘Proprium missarum de tempore’. This engraving of ca. 11.5 × 7.5 cm is also signed with the monograms of Peeter vander Borcht and Jan Wierix.⁹ In contrast with the engraving of King David, no border

7 1555-1593 Libri a Plantino editi - 1555-1581 Libri a variis impressoribus editi (MPM M 296), f. 11v.

8 For a description of this engraving see: M. Mauquoy-Hendrickx, Les estampes des Wierix conservées au cabinet des estampes de la bibliothèque royale Albert I^er, Brussels, 1982, vol. III. 1, no. 2178.

9 See M. Mauquoy-Hendrickx, op cit, no. 2212.

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was printed around this image. It has recently been indicated that Plantin never ordered a complete, new set of engravings for his missals, but instead brought together plates that had already been made for other liturgical works.¹⁰ In this case, the two engravings cited above had already been used in various editions of Plantin's Officium Beatae Mariae Virginis.¹¹

In addition to his 1574 edition, Plantin also printed missals in 8^o in 1577 and 1587.¹² For the 1577 8^o edition with engravings, only copies in the Cultura Fonds in Dilbeek and in the Bayerische Staatsbibliothek in Munich are known, while for the 1587 edition with engravings, copies are known to be preserved in the Groot Seminarie in Bruges, the abbey of Maredsous, the library of the Catholic University of Nijmegen, and The British Library in London.¹³ A comparison of the three editions of the 8^o missal indicates that the series of illustrations included varried greatly. The afore mentioned representation of the Resurrection also appears in the 1577 edition, but not the engraving of King David. Here, there is a representation of the Annunciation after the calendar. In the last edition of 1587 there is an engraving of the Last Supper on the title page instead of an image of Sts Peter and Paul. The remaining engravings in this edition are by Jan Wierix, as well as

10 See K.L. Bowen, Newly discovered Wierix prints for Plantin's books of hours in Quaerendo, 24 (1994), pp. 288-289.

11 For example, the engravings of King David and the Resurrection of Christ had both already been used in Plantin's 8^o Officium Beatae Mariae Virginis from 1573 (PP 1770B).

12 See PP 1697 and PP 1701. L. Voet did not know of any copy of the 1577 edition with engravings. For a discussion of extant copies see C. Sorgeloos, op cit, no. 332. PP 1684 and PP 1692 are also 8^o editions of 1573 and 1575, respectively. These references are based upon W.H.J. Weale & H. Bohatta, Catalogus Missalium ritus Latini ab anno M.CCCC.LXXIV impressorum, Londen, 1928, nos. 1177 and 1198, which in turn are based upon references in G. Willer, Collectio... omnium librorum... qui in nundinis Francofurtensibus venales exstiterunt, Frankfurt, 1592. There is, however, no trace of these editions in the Plantin archives. Because of this, Voet was most likely correct when he remarked that these references were probably errors for the editions published in 1574 and 1577, respectively.

13 In The Plantin Press, no copies of the 1577 edition with engravings are cited; for the 1587 edition, the copy in the Catholic University of Nijmegen (cat. no. 20 c 197) is an addition to The Plantin Press. My thanks to K.L. Bowen for this information concerning these two editions. See also Robert Arpots, Plantijn in Nijmegen. Catalogus van Plantijn-drukken aanwezig in de Bibliotheek van de Katholieke Universiteit te Nijmegen, Nijmegen, 1989, no. 82.

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by Abraham de Bruyn and Pieter Huys, all after designs by Peeter vander Borcht.

When we examine C. Sorgeloos's description of the 1574 8^o missal, even more distinctions between the Cultura Fonds copy and that of the Plantin-Moretus Museum become apparent. The Missale that is now preserved in Dilbeek contains three extra quires that do not appear in either the woodcut or the engraving illustrated copies preserved in the Plantin-Moretus Museum. The quires in question are those marked †, ††, †††. These contain the text of the ‘Missae propriae sanctorum qui in Hispania specialiter celebrantur,’ the inclusion of which may be explained by the shipment (to be discussed below) of one portion of the 1574 8^o missals to Spain. Other Plantin editions that were intended for Spain were similarly enlarged with a section of special prayers for Spanish saints.¹⁴

The first pages of the 1574 8^o missal prior to the ‘Rubricae generales missalis’ also differ. In both copies in the Plantin-Moretus Museum - that with woodcut illustrations, as well as that with engravings - Pope Pius V's bull from 14 July 1570 concerning the reform of the missal appears on pp. [3-6], followed on p. [7] by the text of a letter from Pius V to Plantin (from 28 July 1570) and the privilege from Philip II (from 7 October 1570). The first quire in both of these cases comprises six folios. In the copy in the Cultura Fonds, Pius V's bull is also included, but with a distinct setting of the text,¹⁵ and a papal privilege from Gregorius XIII from 30 December 1573 has been added.¹⁶ These are followed by

14 For another example of a missal that was supplemented with prayers for Spanish saints see, e.g., the copy of Plantin's 1572 f^o Missale Romanum described under PP 1678.

15 Compare, for example, the title of the privilege of Pius V. In the MPM copies this reads: ‘Pius PP. V. ad perpetuam rei memoriam’, while the title in the Cultura Fonds copy reads: ‘Pius episcopus servus servorum Dei, ad perpetuam rei memoriam’.

16 Noteworthy is that the privilege by Gregorius XIII was printed only in this edition of the Missale Romanum and was not included in later editions. The same can be seen in the case of the Breviarium Romanum. Here, the Gregorius privilege is included for the first time in the folio edition of 1575 (PP 822) and in the 4^o edition from the same year (PP 823), but is not present in subsequent editions. This privilege does not appear in any of the known editions of the Officium Beatae Mariae Virginis.

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the ‘Rubricae generales missalis.’ Thus, in the case of the Cultura Fonds copy, the first quire comprises eight folios.

While neither of the Plantin-Moretus Museum copies contain the Gregorius privilege, there is yet another small difference between them: in the woodcut illustrated copy, the second folio of quire ‘aa’ is signed ‘aa2’, as one would expect. In the copy with engraved illustrations, however, this folio is signed ‘*2’. In both copies, the next folio is signed ‘aa3’.¹⁷

Consequently, we have found thus far three variants of the 1574 8^o Missale Romanum: (1) (Cultura Fonds) with the privilege of Gregorius XIII and illustrated with engravings; (2) (Plantin-Moretus Museum, cat. no. A 1433) without the Gregorius XIII privilege, with woodcut illustrations, and the second folio signed ‘aa2’; and (3) (Plantin-Moretus Museum, cat. no. 8-637), also without the Gregorius privilege, but illustrated with engravings and with the second folio signed ‘*2’.

This survey can be further supplemented by looking more closely at the folios bound into the Theatri flosculorum Plantinianae officinae pars prima (MPM Archive 1230). As already mentioned, before the Dilbeek copy was known, the engraving illustrated version of the 1574 8^o Missale Romanum was known only through the title page in the Theatrum typographicum Plantinianae officinae (MPM Archive 1228) and one quire in Archive 1230.¹⁸ As noted in The Plantin Press, f. 621 of Archive 1230 is indeed a quire of the missal with engravings, more specifically, the half of the first quire that includes the title page. Here as well, there is the text of Gregorius XIII's privilege. Not mentioned in The Plantin Press,

17 The ‘series chartarum’ that is given in the back of the diverse variants of the missal states that all quires (except ‘S’ and ‘HH’) are from a complete sheet of paper (‘omnia sunt integra folia’). Quire ‘aa’ is included in these calculations. Neither quires ‘†-†††’, with the prayers for Spanish saints, nor quire ‘†’, with the indices, are listed here. The signatures for the entire missal (without indices and prayers for Spanish saints) are: aa^{6 or 8} bb-ee⁸ A-R⁸ S⁴ Aa-Gg⁸ a-l⁸ AA-GG⁸ HH⁴.

18 These two archival documents were given by Jan Moretus to Chistopher Plantin as a New Year's present. The Theatrum typographicum Plantinianae officinae of 1576 (MPM Archive 1228) contains various title pages and illustrations from Plantin publications, while the Theatri flosculorum Plantinianae officinae pars prima of 1575 (MPM Archive 1230) is a collection of various fragments from Plantin publications.

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however, is that the folios before and after this one sheet in Archive 1230 also contain parts of the 1574 Missale.¹⁹ F. 620 of Archive 1230 is half of the first quire of the woodcut illustrated version. What is the case, however? Here, too, there is a variant with the Gregorius privilege. The woodcut illustrated version, as well as that with engravings, appears to have had two variants: with or without the Gregorius privilege and a variant setting of the text of Pius V's bull. As was the case with the complete copies of this missal preserved in the Plantin-Moretus Museum (both of which lack the Gregorius privilege), there is also a small difference between the woodcut and the engraving version in the copies with the Gregorius privilege: in the woodcut version, f. 4 is signed ‘aa4’, while in the engraving illustrated version, it is signed ‘*4’. Looking further in the Theatrum flosculorum, one finds quire ‘O’ of the woodcut version on fols. 622 and 623 (a woodcut with the Crucifixion is on p. 209). On fols. 624 and 625 there are two sheets, both with pp. [3-6] and [I]-III from the missal that appear, at least initially, to be the same. Here as well, however, a closer examination reveals a small difference: the p. [3] that is on f. 624 is signed ‘*2’, while the p. [3] on f. 625 is signed ‘aa2’. It is once again the above mentioned difference between f. 2 of the woodcut version ([Archive 1230,] f. 625) and f. 2 of the engraved version ([Archive 1230,] f. 624) of the variant without the Gregorius privilege.

There are thus the following variants of the missal:

A.	Without the privilege by Gregorius XIII: 1. illustrated with woodcuts; signatures of the first quire (6 folios): aa2 and aa3 (copy: MPM A 1433); 2. illustrated with engravings; signatures of the first quire (6 folios): *2 and aa3 (copy: MPM 8-637);

19 Because the archival document containing these sheets is dated 1575, it is impossible that these are fragments from the 8^o missals from 1577 or 1587.

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B.

With the privilege by Gregorius XIII: 1. illustrated with woodcuts; signatures of the first quire (8 folios): aa3, aa4 (copy: only eight pages are known, MPM Arch. 1230, f. 620).^20 2. illustrated with engravings; signatures of the first quire (8 folios): *2, aa3, *4, and aa5 (copy: Dilbeek, Culture Fonds).

In addition, the copies of this missal that were sent to Spain had extra quires appended to them that contained texts with prayers for Spanish saints. This is definitely the case with at least variant B2. The account records of shipments to Spain indicate that copies with woodcut illustrations were also sent to Spain, and thus, possibly had these extra texts added on as well.

An examination of the payment records for the printing of this missal may help confirm the existence of these various versions. In the Livre des ouvriers 1571-1579 (MPM Archive 32), the weekly payments to the compositors and pressmen of Plantin's printing House are noted. From this account book it appears that three compositors worked on the missal concerned: Hans de Zee, Hans van Miloo, and Geerardt Deckers.²¹ Three pressmen also worked on the missal: Laurents Mesureur (assisted by Hans Tinpont), Claes van Lynschoten, and Nicolas van Cullen.²² The first payments were made on 25 January 1574 and were for the composition of quires ‘A’, ‘B’, and ‘C and the printing of “A” and “B”. The payments then continue until 8 May 1574. The quires “†-†††”, with the prayers for Spanish saints, and quire “†”, with the indices,

20 In MPM, Arch. 1230, f. 620, the second and fifth folio are missing. The signatures of these were probably similarly ‘aa2’ and ‘aa5’.

21 Hans de Zee set the following quires: Aa-Gg, BB-FF, c-f, 1, HH, †, *, and †, for which he was paid 36 stuivers per quire (see f. 108). Hans van Miloo set quires A-S, aa, cc-ee; he received the same amount per quire as De Zee (see f. 128). Finally, Geerardt Deckers set quires AA, CC-DD, GG, a-b, g-k, and †-††† (see f. 131). He, too, received 36 stuivers per quire. I found no reference to the composition of quire ‘bb’.

22 Laurents Mesureur (assisted by Hans Tinpont) printed quires A-G, I-R, aa-ee, and h (see f. 82 and 162). Claes van Lynschoten printed quires Aa-Gg, BB, EE-FF, c-f, 1, HH, †, *, and † (see f. 119). Nicolas van Cullen printed quires H, AA, CC-DD, a-b, g-k, and †-††† (see f. 152). Here, I found no reference to the printing of quire ‘S’. Mesureur, van Lynschoten, and van Cullen all received 2 gulden per printed quire.

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were the last to be printed. Thus, quire “†” appears twice, but in the first instance comprising eight folios, while in the second, four. An initial payment for the composition done by Hans de Zee and the printing by Claes van Lynschoten for a quire “†” was noted on 24 April 1574. Between 30 April and 5 May, we find the payments for the composition and printing of quires “†”, “††”, and “†††”. Three months later, on 5 August of the same year, there is one last payment for the composition and printing of a quire “†” for a 8^o missal. From this payment one can deduce that this last quire “†” comprised no more than four folios, since the compositor Hans de Zee, as well as the pressman Claes van Lynschoten, received only half of the normal amount that they usually received per quire for work on this missal. Because there are so few known copies of the 1574 8^o missal, it is difficult to draw certain conclusions in this regard. Striking is that in each case, these late payments come just before the period in which the copies with engraved illustrations were completed.

In this same archival document, Livre des ouvriers, I also found payments for work on a quire “aa”, as well as a quire “*”. Specifically, on 3 April, Hans van Miloo was paid for the composition of quire “aa” and on 30 april, Hans de Zee was paid for the composition of quire “*”.²³ The same is true for the printers: on 10 April Laurents Mesureur was paid for the printing of quire “aa”, and on 30 April van Lynschoten was paid for the printing of quire “*”.

What was the distribution of the missal like? In The Plantin Press, L. Voet notes: ‘The copies were shipped to Spain in two consignments: 960 copies “petit communs” (= with woodcuts) on 3 June 1574 (Arch. 22, fols. 39r^o-40r^o) and 260 copies “a figures en cuivre” (Ibidem, fol. 44v^o; values not listed).’ In Envois de livres à Philippe II, 1571-1576 (MPM Archive 22) one can see that there was indeed a shipment of 960 ‘Missale Rom. in 8^o petit com. 2 vachetes alentour’ on 3 July 1574.²⁴ I have found an extra ship-

23 In the annotations for the composition done by van Miloo, “*” was noted first, but was crossed out and replaced by “aa”.

24 MPM Archive 22, f. 39r and 39v, items 53-60. Comtes espagnoles 1571-1575 (MPM Archive 6) is a Spanish translation of this document recording the shipments to Spain.

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ment to Spain on 9 August 1574, however, of 40 more copies, which brings the total up to 1,000 copies.²⁵ The shipment of 300 copies with engravings (not 260, as noted in The Plantin Press) followed later in the year.²⁶ In a note accompanying a letter of 3 June 1574 to Hernando de Virbiesca, Plantin lists fewer copies of the engraving illustrated version: ‘Las obras que tenemos acabadas... 1000 Missale in 8^o con figuras en madera. 250 Missale in 8^o con figuras in cobre.’²⁷

Plantin printed more copies of this missal, however, than what was sent to Spain. The 1574 8^o Missale was also sold to other booksellers and private individuals. The first bookseller who bought copies of the missal was the publisher John Fowler, an English refugee who had settled in the Low Countries. On 11 May 1574 he was charged 6 guilders for 6 unbound copies.²⁸ It was not until 3 September that the first copies with engraved illustrations were noted. On this date, the gifts of one Missale Romanum in 8^o with engravings to Henrico d'Ardenna, head of the postal service in Rome, and one to Cardinal Granvelle in Naples are noted. It is not surprising that there appears to have been several months difference between the availability of copies with woodcuts and those with engravings. For, the printing of the engravings actually took place after the printing of the text had been completed and was done outside of Plantin's Press at a shop specialized in that work. In this case, it was Mynken Liefrink's atelier that saw to the printing of the engravings. Payment re-

25 MPM Archive 22, f. 42v, and MPM Archive 6, f. 43r: 40 Missales in 8^o de los communes.

26 See MPM Archive 22, f. 44v: on 6 September 1574, in crates 99-101 there was a shipment of 40 and two shipments of 130 ‘Missale Rom. in 8^o a fig. en cuivre deux vachettes pour envelopper’, that were sent to Spain, one after the other. This amount is confirmed in the summary of this consignment: ‘Nota que esditte disneuf balles il y a les livres suivantes...300 Missale Rom. 8 a fig. de cuivre.’

27 MPM Archive 8 (Copie de lettres de Plantin 1572-78), f. 94v.; there is a transcription of this letter in Correspondance de Christophe Plantin (ed. by J. Denucé), Antwerp, 1914 (reprint Nendeln, 1968), vol. IV, pp. 96-97.

28 See Journal 1574 (MPM Archive 52), f. 63r.

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cords indicate that she printed 1,000 copies each of twenty-two of the twenty-seven copperplates.²⁹

When all of the orders for the year 1574 are totaled, 290 copies of the version with woodcuts were either sold or given away.³⁰ For copies with engraved illustrations, this total is much lower. In 1574, I have found just two orders, namely, on 13 October, an order of 12 copies for Gillis Beys in Paris; and on 3 November, 2 copies for Georg Wilier in Augsburg.³¹ In the Journal for 1575, there are a few additional larger orders of the 8^o missal with engravings: on both 3 January and 2 September, 12 copies were sent to Gillis Beys, and on 23 August, 25 copies were charged to Michel de Wesel.³² Unbound copies with engravings were sold at twice the price of unbound copies with woodcut illustrations, namely, 42 stuivers.

In summary, it can be concluded that the 1574 Missale Romanum in 8^o was intended for shipment to Spain, in addition to sale in the Low Countries, France, and Germany. In the first case, the missal contained three extra quires with prayers for Spanish saints. Because the privilege from Pope Gregorius XIII probably arrived in Antwerp while the printing of the missal was already well underway, one portion of the issue did not contain this privi-

29 See Grand Livre + + 1571-1582 (MPM Archive 18), f. 82: under the date of 27 August 1574, when Mynken Liefrink was paid 110 guilders for ‘22 soorten van elcke een duysent vande miss^e 8^o tsame is xxii duijsent tot 10 st cent monte fl. 110.’ The ‘10 st’ is difficult to read, because a 5 appears to have been changed into a 1. Given that she was paid a 110 guilders for 22,000 prints, one can reason that the rate of pay per hundred should have been 10 stuivers in stead of 50.

30 Unbound copies were sold for 21 stuivers (if no discount was given). A copy with gilt edges and clasps cost 27 or 28 stuivers, a copy with red colored edges, 26 stuivers.

31 See Journal 1574 (MPM Archive 52), fols. 158v and 172r. The remaining references are for gifts, for example, on 19 September (f. 151 v) there was one copy for Benedictus Arias Montanus, or on 30 December (f. 204v), 6 copies were given to Alan Cope.

32 See Journal 1575 (MPM Archive 53), fols. 2v and 162v for the shipments to G. Beys; f. 157r for the shipment to M. de Wesel.

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lege, while the other portion did. This final difference is evident among both woodcut and engraving illustrated copies.

(trans. by Karen L. Bowen)

Museum Plantin-Moretus

Vrijdagmarkt 22

B-2000 Antwerpen

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Missale Romanum (Antwerp, C. Plantin, 1574): title page (Plantin-Moretus Museum, 8-637).

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King David and the Angel, engraving by Jan Wierix, included in the 1574 8^o Missale Romanum, f. ee8v (Plantin-Moretus Museum, 8-637).

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Resurrection of Christ, engraving by Jan Wierix, included in the 1574 8^o Missale Romanum, p. [280] (Plantin-Moretus Museum, 8-637).

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The first quire of the 1574 8^o Missale Romanum in the Theatri flosculorum Plantinianae officinae pars prima, f. 621 (Plantin-Moretus Museum, Archive 1230).