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26-722: After Isaac's death in 1517 his pupil Ludwig Senfl, who had been a member of the Imperial chapel choir, compiled music composed for Constance and for the Habsburg Imperial court into the collection which was published by Hieronymus Formschneider in Nuremberg in three volumes (1550–1555) and titled the Choralis Constantinus . Gerhard Pätzig, in his dissertation for the University of Tübingen in 1956, compared available manuscripts with

52-405: A cutter based on style or quality, so much of Andreae's work remains untraceable in the large production of Nuremberg in this period. It is for example likely that Andreae cut the famous Dürer's Rhinoceros of 1515, with a lengthy inscription, but there is no direct evidence of this. With books there is more evidence, from title-pages. He was the cutter for the many illustrations and the printer of

78-624: A history of the Hohenstaufen emperors , especially Friedrich II . On his study trips made from 1756–61 through the Netherlands, England, Austria and Italy, he established relationships with numerous scholars with whom he was in active correspondence throughout his life, and he acquired an extensive collection of art and autographs. After returning from his trips, Murr became a customs and toll official in Nuremberg. In addition, he published numerous literary, art and general historical works, especially on

104-738: A large part of his business, which was commented on as being very diverse. According to the 18th-century historian Christoph Gottlieb von Murr , Emperor Maximilian regularly dropped into Andreae's workshop on his visits to Nuremberg: ....this Hieronymous resided in Breite Gasse, in this city, and his quarters extended in the rear to Frauengässlein [i.e. "Women's Alley"]. It was he who cut most of Albrecht Dürer's designs into blocks, among them Dürer's "Triumphal Chariot" [or "Car"] of His Imperial Majesty. At that time, His Majesty drove almost daily to Frauengässlein to watch his artistry, so much so that it became proverbial that "the emperor has driven once more to

130-465: A partnership lasting between 1533-1550 with the bookseller Hans Ott, their respective roles probably falling into the typical modern ones of printer and publisher. Their most ambitious production was the Novum et insigne opus musicum , a two volume anthology of one hundred motets published in 1537-1538, of which 177 examples survive, more than any other such work published before 1550. Formschneider created

156-622: A polyphonic motet, based on the corresponding Gregorian chant for the Introit , Alleluia (or Tract ) and Communion . Volume II contains most of the Solemn Feasts. Those Propers all include alternate verses of the Sequence hymn, set thus so as to allow for alternatim performance between the choir and the organist. The medieval Sequence was of particular interest to the Constance diocese, which included

182-472: A single-impression typeface for music, which he first used in 1534; in this he was only the second in Germany, being preceded by two years by Christian Egenolff of Frankfurt, who printed Petrus Tritonius's edition of Odarum Horatii concentus in 1532. There is no evidence that Formschneider was himself a musician, or that he had any deep understanding of what he was printing. Also bearing Formschneider's imprint

208-441: Is some evidence that he matriculated at the University of Leipzig in 1504, although this might also mean that he worked for the university rather than being a student. He became a citizen of Nuremberg in 1523, although he had probably run a workshop there for nearly a decade by then. He also cut metal dies and stamps, including those for type and coins, and the design, and perhaps production, of print type may also have constituted

234-582: Is the enormous Choralis Constantinus , which appeared in three volumes in 1550-55. This was the largest sixteenth century collection of Mass Proper settings, mainly by composer Heinrich Isaac , with the portion left unfinished completed on his death by his student Ludwig Senfl . He was an early sympathiser with the ideas of Martin Luther , printing his prayerbook in 1527 (but omitting Luther's name, perhaps out of discretion for buyers in Catholic territories), and

260-513: The Albertina, Vienna . Indeed, negotiations are documented from 1526 between Maximilian's heirs and Andreae, who refused to release the blocks for the Arch before being paid outstanding debts; he had meanwhile published an unauthorized partial edition himself in 1520, for which the city council had to apologise to the new Emperor, Charles V . The cutters of most "single-leaf" woodcuts (prints) produced at

286-591: The "women's alley"." He worked as blockcutter on the Triumphal Arch from 1515–17, and he and his workshop cutters would then probably have been fully occupied on that one huge commission, the quality of which has always been recognised. He also cut the Great Triumphal Car and other works by Dürer for Maximilian, but he probably appeared on the Nuremberg scene too late to produce most of Dürer's other major woodcuts, which mostly predate 1513. His Fraktur script

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312-558: The Choralis Constantinus along with several pieces of secular music. Hieronymus Formschneider Hieronymus Andreae , or Andreä, or Hieronymus Formschneider , (died 7 May 1556) was a German woodblock cutter ("formschneider"), printer, publisher and typographer closely associated with Albrecht Dürer . Andreae's best known achievements include the enormous, 192-block Triumphal Arch woodcut , designed by Dürer for Maximilian I, Holy Roman Emperor , and his design of

338-621: The Formschneider print and determined that the music written for the Constance Cathedral was most of that contained in Volume II and parts of Volume III of the Formschneider publication. The remainder of the Choralis Constantinus is from Maximilian's court repertory. A modern edition appeared in Volumes 10 and 32 of Denkmäler der Tonkunst in Österreich , the latter edited by Anton Webern ,

364-452: The artist "Fronica 1525 Formschneiderin" may be of Andreae's wife (Veronica), as an old inscription on the back says. He was buried in St John's Church in Nuremberg. After Dürer's death he became important as a printer and publisher of music, and a designer of musical type – in this field he tends to be known as "Hieronymus Formschneider", the name used on his title-pages. He published music in

390-511: The books that Dürer was working on in his final years before his death in 1526: on geometry - the Art of measurement (1525) - and Fortification (1527), and Human Proportions (1528, for Dürer's widow). Dürer returned from his trip to the Netherlands in 1521 with a number of gifts for friends, including an "exceedingly large horn" for Andreae. A Dürer drawing in the British Museum (W 899) inscribed by

416-460: The characteristic German "blackletter" Fraktur typeface ("Gothic" to most English-speakers), on which German typefaces were based for several centuries. He was also significant as a printer of music. In the opinion of Adam von Bartsch , although Andreae never designed woodcuts (as opposed to designing typefaces ), the quality of his work was such that he, along with Hans Lützelburger and Jost de Negker , should be considered an artist. There

442-556: The city to avoid two weeks in jail for failing to appear in court on a charge of slandering a member of the Council of the city, though he later returned. Christoph Gottlieb von Murr Christoph Gottlieb von Murr (6 August 1733 – 8 April 1811) was a polymathic German scholar, based in Nuremberg . He was a historian and magistrate. He edited and contributed to significant cultural and scientific journals. A notable naturalist von Murr

468-484: The famous composer, who was a composition student of Arnold Schoenberg . He prepared this volume as part of his dissertation for the University of Vienna , where he received his PhD in 1906. Volume III, edited by Louise Cuyler, was published by the University of Michigan Press in 1950. The Formschneider edition was reprinted with short introductory essays by Edward R. Lerner (Peer: Alamire, 1990–1994). Each Feast contains

494-540: The history of art, craft and culture in Nuremberg. He was also the editor of the Journals zur Kunstgeschichte und zur allgemeinen Literatur ( transl. Journal of Art History and General Literature) and des Neuen Journals zur Litteratur ) and des Neuen Journals zur Litteratur und Kunstgeschichtethe ( transl. New Journal of Literature and Art History). Friedrich Schiller used Murr's monograph (based on archives in Vienna) on

520-742: The history of the Jesuit missions, the history of the Jews in China, Arabic and Chinese literature. Familiar with most of the European languages, he was an active correspondent with many of the most distinguished scholars of the period. He had a vast library. Christoph Gottlieb von Murr studied at the University of Altdorf and received his doctorate in law in 1754. In addition to law, Murr was interested in natural history , philosophy, mathematics, archaeology and history. After completing his doctorate, he first devoted himself to

546-635: The history of the Thirty Years War as a basis when he wrote Wallenstein . Von Murr was a regular contributor to Der Naturforscher ( transl. "The Naturalist") as C. G. von M. During a stay in Strasbourg, the Protestant Murr also came into contact with the Jesuit order and became a journalist writing about Jesuit issues and the suppression of 1773 . He was one of the few German Protestants during

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572-512: The monasteries of Reichenau and St. Gall where many Sequences originated. Choralis Constantinus I ( Denkmäler der Tonkunst in Österreich , Volume 10): Choralis Constantinus II ( Denkmäler der Tonkunst in Österreich , Volume 32): Choralis Constantinus III (University of Michigan Press, 1950) Margaretha-Maximilian I , Capilla Flamenca together with La Caccia, Schola Cantorum Cantate Domino, Schola Gregoriana Lovaniensis and Joris Verdin, 2001 (Orf CD 265). Contains proper chants from

598-400: The period are unknown, as they were only rarely (usually if they also acted as publisher) credited on the printed piece. If the original block has survived these may be marked or signed, and are normally so in the case of Maximilian's projects, to ensure the right cutter was paid from the large teams. In the absence of other evidence, it is not usually worthwhile to speculate on the identity of

624-603: Was a Member of the Gesellschaft Naturforschender Freunde zu Berlin (Berlin Society of Friends of Natural Science) and the Bayerische Akademie der Wissenschaften (Bavarian Academy of Sciences). He was also an art historian ,the author of the first bibliography of books on painting, sculpture, and engraving. He published extensively on illuminated manuscripts, early printed books, the history of libraries,

650-469: Was first developed for the large texts underneath the image of the Car , and appears in its final perfected form in his (2nd) 1538 edition of Dürer's book on geometry. It was popular and became widely adopted, becoming the most widely used typeface by Lutheran printers in northern Germany by the end of the sixteenth century. In the case of the Arch and the Car , the blocks, with Andreae's mark on them, survive in

676-549: Was then jailed briefly for sympathy with, and perhaps some involvement in, the German Peasants' War in 1525. Described by Peter Parshall as "an opportunist of ... ambition and occasional unscrupulousness", he was often in trouble with the authorities. After Dürer's death he was accused, with Sebald Beham , of producing a plagiarized edition of the book on the proportions of the horse that Dürer never completed (a work very popular with generations of artists). In 1542 he fled

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