The earliest specimen of music-type occurs in Higden’s _Polychronicon_, printed by De Worde at Westminster in 1495. The square notes appear to have been formed of ordinary quadrats, and the staff-lines of metal rules imperfectly joined. In Caxton’s edition of the same work in 1482 the space had been left blank, to be filled up by the illuminator or scribe. In other countries music was occasionally shown, but not in type. The plain chant in the _Mentz Psalter_ of 1490, printed in two colours, was probably cut on wood. Hans Froschauer of Augsburg printed music from wooden blocks in 1473, and the notes in Burtius’ _Opusculum Musices_, printed at Bologna in 1487, appear to have been produced in the same manner[149]; while at Lyons, the _Missal_ printed by Matthias Hus in 1485 had the staff only printed, the notes being intended to be filled in by hand, {77} either with a pen or by means of an inked stamp or punch. About 1500 a musical press was established at Venice by Ottavio Petrucci, at which were produced a series of _Mass-books_. In 1513 he removed to Fossombrone, and obtained a patent from Leo X for his invention of types for the sole printing of figurative song (_cantus figuratus_). Petrucci’s notes were lozenge-shaped, and each was cast complete, with its correspondent proportion of staff-lines. Before 1550 several European presses followed Petrucci’s example, and music-type, among other places, was used at Augsburg in 1506 and 1511, Parma in 1526, Lyons in 1532, and Nuremburg in 1549. In 1525 Pierre Hautin cut punches of lozenge-shaped music at Paris. Round notes were used at Avignon in 1532, and Granjon cut this kind at Paris about 1559. In 1552, Adrian Leroy, musician to Henri II of France, and Robert Ballard were appointed King’s printers for music. Their types are said to have been engraved by Le Bé. In England, after its first use, music-printing did not become general till 1550, when Grafton printed Marbecke’s _Book of Common Prayer_, “noted” in movable type; the four staff lines being printed in red, and the notes in black. There are only four different sorts of notes used,—three square and one lozenge. The appearance of the music is very bold and distinct. Day, Vautrollier, and East, all printed with music-type, which was of the kind generally used during the sixteenth century in Italy, Germany and France. Vautrollier was the printer for Tallis and Bird, who obtained a patent from Elizabeth for the sole printing of music. After the expiration of their patent, and another granted to Morley in 1598, music-printing was exercised (as Sir John Hawkins states) by every printer who chose it. A larger variety of founts appeared, and in some works two or more founts of music appear mixed in the same work. About 1660 the detached notes hitherto used began to give place to the “new tyed note,” by which the heads of sets of quavers could be joined. But at the close of the seventeenth century music-printing