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The article presents the history of a series of incunabula belonging until the Reformation to the Dominican convent of the Holy Cross in Bistri.a, Transylvania. The books were discovered in 1776 by the Piarists, who had been active in Bistri.a since 1717. In 1878, the books were transferred to the Central Piarist Library in Budapest. To establish the books' history, the present research has benefited from two recent resources: the on-line catalogue of the Central Piarist Library, and the hitherto unused Historia Bistriciensis Domus Scholarum Piarum ab anno MDCCXVII, discovered in 2009. [ABSTRACT FROM AUTHOR]

The singularity of Francesc Alegre's translation of Ovid's Metamorphoses into Catalan has been associated with its dependence on the Latin poem in contrast to the other versions of this text that circulated in print prior to 1500. This article argues that the Catalan translation is the work of a learned author who places himself in relation to the Italian tradition and draws on different sources to complete a work influenced by humanist ideas. Moreover, the evidence strongly supports the impact of Giovanni Bonsignori's Ovidio Metamorphoseos Vulgare (c. 1375-1377) throughout the fifteen books of Alegre's translation and in his allegorical interpretations in the second part of the work. I also contend that he may have known the Expositio and the Allegorie written by Giovanni del Virgilio (1322-1323). [ABSTRACT FROM AUTHOR]

Recent researches carried out in the storehouses of different institutions holding heritage assets such as old books led to new conclusions with regard to redating or reidentifications of some old printings, more than once information correcting bibliographies and specialised catalogues. A particular case is the unstudied holdings, mostly due to absence of specialised staff or organizing issues. This study proposes to bring new contributions on copies of old printings from the incunabular period existent on the territory of Romania. We have in view the collection of Nicolae Iorga Library, belonging to Bucharest Metropolitan Library, collection that comprises three incunabula unknown to specialised bibliography. We refer to titles launched by printing houses that functioned in Italy, in Venice at the end of the XVth century: Toma de Aquino, Summa contra gentiles (1480); Robertus Caracciolus, Opera (1490) and Gaietanus de Thienis, Expositio in Aristotelem (1493). [ABSTRACT FROM AUTHOR]

The machine printing and rapid cultural development in Europe begins with the discovery of metal lettering at the end of the 15th century. This printing technique has been named the letterpress printing and is one of the greatest inventions of mankind. The development of printing was one of the main indicators of the development of individual countries. We believe that today in the world and in Europe the Croatian development of that age is significantly neglected. This paper presents European development and development in Croatia. This paper will contribute to a more accurate evaluation of Croatian printing and cultural level of that time by displaying Croatian achievements of that era, the printing staff, printed works and printing houses, throughout European and Croatian development of printing. [ABSTRACT FROM AUTHOR]

German texts in the territory of today's Slovakia were originally present in the form of manuscripts. The existence of the German-speaking ethnic group since the 12th century and a high number of German inhabitants in the Spiš region and mining towns favoured the creation of German documents illustrating that time urban administration represented by legal texts, records, chronicles, minutes, cham- ber books etc. After the invention of printing press by Johannes Gutenberg, the first German printed book appeared in the territory of Slovakia, too. It was Matthias Cor- vinus's bill from 1477 declaring war against the emperor Frederick III, which was, according to the latest research, printed in Bratislava probably by Buda typographer Andreas Hess. The work of another printing plant - Svätopluk Fiola's prin ting office, mentioned as the producer of German-Slovak song book „Zlatá studňa”, has not be- en confirmed yet and the assumptions are heading towards rebutting its existence in our territory. The space for other German typographic products remained closed until the last third of the 16th century. The reason of this situation was the activity of printing plants in the vicinity of the Slovak territory, whose book business was satis- factorily able to saturate the anyway little interest of the low literacy inhabitants in printed books. The demand for German printed books needed conditions gradually formed to stimulate potential book printers to set up printing offices and publish German books. The appropriate time came with the spread of reformation, evange- lical school system, grant of economic privileges, creation of distribution networks as well as educational and vocational mobilization of both domestic and foreign stu- dents and evangelical theologists. That is why we don't encounter further German printed books before the last third of the 16th century - in Dávid Gutgesel's printing plant in Bardejov. In 1579, its press produced Ment Goegref's Lutheran pole mic „Glaube, Bekentnus vnd Lehre”, which became a medium of controversy among Lutherans and Crypto-Calvinists in the Spiš region. Until the end of the 16th centu- ry, Slovak book printing plants only produced 13 German editions and only Gutge- sel's printing office in Bardejov participated in this process. German printed pro- duction grew significantly in the 1640s, when other stable printing plants opened. Until the end of the 17th century, their German publication portfolios represented no fewer than 12% of the total printed production of the Slovak provenience (325 edi- tions altogether). The growing demand for German (mainly evangelical) books, which were a part of scholastic, religious, but also everyday life of the Evangelical community in the territory of Slovakia, encouraged the optimistic boost of German printed books. [ABSTRACT FROM AUTHOR]

This article deals with the study of the early printed tradition of Martial and it is focused on the partial edition of the Epigrammata made in the printing house of Juan de Burgos in 1490, preserved in a single copy (Évora, BPE Inc. 299). It constitutes the first printed testimony of the work of Marcial in the Iberian Peninsula and one of the few incunable editions of this author made outside Italy. The analysis of Martialis' Italian printed tradition between 1470 and 1490 leads to identify two groups of editions that are more common in this period: one linked to the edition of Merula (Venice, c. 1472), and the other derived from the edition of Calderini (Venice,bishop/bishop/ 1480). The collation of the Burgos printing with these editions allows to conclude that the Burgos edition depends on the group of editions of Calderini, and, more specifically, on the Venetian edition printed by Thomas de Blavis in 1482, which constitutes the model on which the Burgos edition has been based. [ABSTRACT FROM AUTHOR]

This paper, that relies on the Hortus sanitatis’ example, takes stock of early printed books’ bibliographical description and enhancement. Different countries first tried, separately, to make printed catalogues, and, little by little, they all used the STC system. Later, they began to computerize the catalogues, and they first used the MARC system, and, now, the MARC-TEI system. At the same time, libraries try to digitize incunabula, but this must be done in such a way as to allow scientific research, patrimonial uses and cultural enhancement.

Valentin et Orson fut publié d’abord à Lyon (1489, 1495), puis à Paris (ca 1511-1519). Le but de cet article est double: vérifier si le passage d’un centre éditorial à l’autre a impliqué une évolution du texte; montrer l’intérêt d’une collation systématique sur plusieurs éditions, même plus tardives, afin d’établir une édition critique.Valentin et Orson was first published in Lyon (1489, 1495), then in Paris (ca 1511-1519). This article has two aims: first, to establish whether the transfer from the former to the latter editorial centre brought with some kind of evolution of the text; second, to prove how interesting a systematic collation of many editions can be, in establishing a critical edition.

The sophisticated ways in which several fifteenth-century preachers used Ovidian stories and their allegorical interpretations prove that late medieval sermons represent a promising but neglected area for classical reception studies. Preachers – whose names are today almost forgotten by scholars but whose sermons circulated at large in early printed books – considered Ovidian allegories as powerful instruments for instructing, entertaining, and moving their audiences. This article begins with a review of the literature on the presence of Ovid in sermons, and discusses the methodology to study the transformation of classical myths in preaching. Then, it focuses on four sermons that incorporated the story of Pyramus and Thisbe, which appears in the sermon collections written by Conrad Grütsch, Johann Meder, and Jacobus de Lenda. The repeated use of this Ovidian myth allows us, therefore, to investigate how different preachers appropriated and re-elaborated this story, and the role that it played in diverse contexts. Finally, the analysis of these texts also sheds light on the use of theOvidius moralizatusin fifteenth-century sermons. [ABSTRACT FROM AUTHOR]

RESUMEN La música como interpretación sonora, como idea creativa y como fenómeno social ingresa a los acervos documentales bajo diversas modalidades. La podemos encontrar en el registro de representación sonora y audiovisual cuando se trata de una interpretación o concierto y como registro gráfico en la partitura, ya sea impresa o manuscrita, antigua, moderna o digital y en diversos documentos textuales y gráficos de música o referentes a ella. Los tipos de documentos en que se plasma la música son librarios (manuscrito, impreso) o libro-música, entre ellos los de música notada, como las partituras, o de música programada, como los sonoros y audiovisuales. Independientemente de su formato y soporte, el documento testimonia un determinado entorno, que puede ser académico, religioso, comercial, artístico, que refleja el desarrollo de la música así como la destreza de la técnica de escritura manual e impresa o el desarrollo de la tecnología. Puede ser parte de un acervo que comprenda testimonios y trascienda en la memoria de la sociedad. La vasta variedad de documentos y objetos musicales tangibles constituyen la representación o vehículo material de una expresión intangible, como lo es la música, que requiere de un trabajo interdisciplinario para su tratamiento y estudio. Music as sound performance, as creative idea and as a social phenomenon enter documentary archives under diverse categorical modalities. Music created in a performance or concert can be found in the record of sound and audiovisual representation or as graphic records such as a printed or hand-written a musical scores, whether old, modern or digital, as well as in diverse textual and graphic documents of music or referring to music. Music is expressed in an array of document types, including, books of manuscripts or printed materials; musical scores, and audio and audiovisual recordings. Regardless of format or support, a document provides a record of a particular environment, which may be academic, religious, commercial or artistic, while reflecting the development of the music, the technical skill of the composer, as well as development of technology. The record may be part of a collection that stands out in the memory of a people. This wide variety of documents and vast number of tangible musical objects constitute the representation or material vehicle of the intangible expression that is music and, as such, shall require an interdisciplinary approach for both study and management. [ABSTRACT FROM AUTHOR]

Im Rahmen des BMBF-geförderten Projekts KALLIMACHOS an der Universität Würzburg soll unter anderem die Textgrundlage für digitale Editionen per OCR gewonnen werden. Das Bearbeitungskorpus besteht aus deutschen, französischen und lateinischen Inkunabeln. Dieser Artikel zeigt, wie man mit bereits heute existierenden Methoden und Programmen den Problemen bei der OCR von Inkunabeln entgegentreten kann. Hierzu wurde an der Universitätsbibliothek Würzburg ein Verfahren erprobt, mit dem auf ausgewählten Werken einer Druckerwerkstatt bereits Zeichengenauigkeiten von bis zu 95 Prozent und Wortgenauigkeiten von bis zu 73 Prozent erzielt werden. In the context of the Kallimachos project at the University of Würzburg, the textual base for digital editions of incunabula is obtained via OCR. The corpus of texts to be worked on consists of German, French, and Latin opera. This article shows how problems with OCR of incunabula can be tackled with already existing methods and programs. The developed method focuses on setting up a type-specific OCR training to be reused with different medieval printings from one printshop. Following this method we achieved letter accuracies of up to 95 percent and word accuracies of up to 73 percent. [ABSTRACT FROM AUTHOR]

For more than a century, librarians and bibliographers have supposedly identified and cataloged gothic types using the Proctor-Haebler system and many incunabula collections have been described using it. It is now widely accepted that the Proctor-Haebler system's nomenclature and techniques are uniform and consistent for cataloging rare books and that it is informative about types. This article explains that although the Proctor-Haebler system may help us to identify a printer or a printing office, it confounds different typographic concepts (typeface, font, and type), uses contradictory methods, is based on weak or arguable assumptions, and does not inform us about “types.” [ABSTRACT FROM AUTHOR]

This article tracks the formation of the inculabula collection that forms part of the stock of the National Library of Colombia, manifesting how this collection has been subject to different forms of organization, systems of cataloguing and places. Factors such as: the reason and moment of entry of books account for the relation that individuals and communities have held with ancient and rare books. In order to do this, we examined different catalogues and indexes that the Library has had, as well as the reports presented by its directors. This study constitutes a irst step towards the recognition and dissemination of Colombian bibliographical patrimony. [ABSTRACT FROM AUTHOR]

The Biblioteca Augusta of Perugia is one of the earliest public libraries in Italy. Its core foundation is made up of the collection of Prospero Podiani, whose knowledge and interest in the book market led him to create one of the largest collections of sixteenth-century Italy, including some 300 incunabula. Panzanelli’s doctoral research approached documentary evidence pertaining to the collection in order to reconstruct the lively cultural context of the time and space it belonged to. Having transferred the incunabula data into the database Material Evidence in Incunabula, we can now offer a richer and more complex representation of the development and use of the collection, of the books’ survival, loss, and mobility, and of the methodology of the investigation involved. [ABSTRACT FROM AUTHOR]

From 29 June to 1 July 2015, the Wolfenbuettel Research Group for Library, Book and Media History held a workshop on 'Incunabula and Transmission History'. The lectures focused on fundamental problems in the field of incunabula research as well as on in-depth studies regarding individual aspects of transmission history. The discussion included topics such as the use of scientific methods and marketing strategies of some early printers. [ABSTRACT FROM AUTHOR]

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Most incunabula sine notis printed at Salamanca have traditionally been attributed to the 'first anonymous printer at Salamanca', also known as the Printer of Nebrissensis Introductiones latinae (as he appears in ISTC and GW) or to the 'second anonymous printer at Salamanca', also known as the Printer of Nebrissensis Gramática (as he appears in ISTC and GW). Other forms of words have also been used. Thanks to María Victoria Varona García's research, and now that typographical analysis has been carried out using the Proctor-Haebler method, it is possible to identify the two men in charge of these anonymous printing offices. They were Alonso de Porras and Juan de Porras, members of two generations of the same family. [ABSTRACT FROM AUTHOR]

Bulls of indulgence were used to finance various enterprises such as crusades, hospitals, monastic orders and cathedrals. As far as the Canary Islands are concerned, the first bull, for their Christianization, together with a so-called Bull of Guinea, was printed at Seville in about 1477. At the end of the fifteenth century another was published, at the request of Bishop Diego de Muros II, for the construction of the Cathedral of Santa Ana in Las Palmas. This bull is little known and was printed, again at Seville, between 1498 and 1500. This article studies the reasons for its publication and analyzes this incunable of which the only extant copy is in the Acialcázar archive. [ABSTRACT FROM AUTHOR]

This paper examines soine distinctive uses of typefaces by Caxton's compositors in his early products at Westminster and illustrates how useful such examples are in revealing the chronology of actual book production, as well as in identifying the compositors at work on individual volumes. An exhaustive analysis of early printed books can provide us with information about compositors at work in England's earliest printing house. This paper therefore argues that it is inost definitely worth considering such 'inechaiiical' aspects of book design as typography when editing any printed text, and introduces most recent research results contributed by a project at Keio University, which airns to establish a semiautomatic system that can transcribe every feature of the printed text including even minute differences in types.

This article describes recent research on the textual relationship between the first and second editions of the Canterbury Tales printed in England by William Caxton and it also explores the textual affiliations of the manuscript source for the corrections in the second edition. Using both computerised and manual methods the variant readings between the first and second editions of the Tales are isolated. Examples of the textual affiliations of the manuscript source of Caxton's second edition are analysed. This article concludes that the manuscript source for the corrections introduced in Caxton's second edition of the Tales was of the same quality as tlie best extant manuscripts and that its readings can help our understanding of the textual tradition and can clarify the text for editors of the Tales.

O Regimento proueytoso contra ha pestenença e o Modus curandi cum balsamo são provavelmente os primeiros textos impressos em Portugal referentes à prevenção e ao tratamento de doenças. Sua autoria e contexto histórico são discutidos em outros artigos desta revista. Destacamos algumas questões relativas ao 'discurso médico' presente nesses textos, contrastando-os com outros do século XVIII. Os autores setecentistas escolhidos são dois portugueses, Luiz Gomes Ferreyra e João Curvo Semmedo, e um inglês, John Huxham, autor de Tratado sobre as febres, que inclui extensa discussão sobre a varíola, a 'pestilência' do século XVIII na Europa. Estas obras, escritas nos primórdios da 'medicina científica', representam, a nosso ver, uma ponte entre os textos medievais/renascentistas e os compêndios médicos atuais. Permitem apontar questões relevantes para a discussão das orientações terapêuticas e dos critérios diagnósticos presentes nos documentos.Regimento proueytoso contra ha pestenença and Modus curandi cum balsamo are probably the first texts addressing the prevention and treatment of diseases to be printed in Portugal. Their authorship and historical context are discussed elsewhere in this journal. Here we would like to raise some questions concerning the 'medical discourse' found in the texts and compare these with others from the eighteenth century. The authors chosen for the sake of comparison are two Portuguese-Luiz Gomes Ferreyra and João Curvo Semmedo - and one Englishman, John Huxham, author of An Essay on Fevers, which includes a lengthy discussion of smallpox, Europe's eighteenth-century 'plague'. It is our belief that these works, written in the early days of 'scientific medicine', represent a bridge between medieval/Renaissance texts and current medical compendia. They allow us to raise questions about the therapeutic indications and diagnostic criteria found in the documents.