Bull's Head and Mermaid - The Bernstein Project - Österreichische ...
Bull's Head and Mermaid - The Bernstein Project - Österreichische ...
Bull's Head and Mermaid - The Bernstein Project - Österreichische ...
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Yoshitake Kobayashi, <strong>and</strong> of Mozart, published in 1992 by<br />
Alan Tysen. Nevertheless, in an article about the importance<br />
of paper <strong>and</strong> watermark research for musicology, Ulrich<br />
Konrad pointed out in 1999 that a methodical survey of<br />
music paper has long been needed, <strong>and</strong> emphasized that<br />
“strictly speaking, it is still missing today” (Konrad, Notenpapier,<br />
p. 20). Musicological results with regard to watermarks<br />
have often been drawn from the point of view of paper<br />
historians, <strong>and</strong> the publishing of such documentation is<br />
frequently strewn here <strong>and</strong> there, often hidden in the addenda<br />
of special studies that are not catalogued separately.<br />
This can especially be seen with regard to the critical reports<br />
relating to the New Schubert-Edition.<br />
In certain cases, an exact description of the paper <strong>and</strong> an<br />
analysis of its watermarks help to reorganize the various<br />
parts of a manuscript whose order has become obscure<br />
through years of historical tradition. When lucky, it can be<br />
found that a paper’s provenance agrees with a life station<br />
of a composer or a conductor, thus providing additional testimony<br />
regarding, for instance, the chronology of bequests<br />
or the location a piece was composed. <strong>The</strong> watermarks<br />
must be clearly identifiable for such additional information<br />
to be reliable, <strong>and</strong> therefore the need for knowledge about<br />
the history of the respective paper mills, the sequence of<br />
the mills’ owners, <strong>and</strong> about the papermakers themselves<br />
must not be underestimated. <strong>The</strong> examination of the paper<br />
music is written on can provide tentative answers to questions<br />
that, in turn, can often be confirmed by other facets<br />
of the written sources.<br />
Literature: Duda, Das musikalische Werk Franz Xaver Süßmayrs;<br />
Hudson, Musicology <strong>and</strong> paper study; Hudson, Concerning<br />
the watermarks; Konrad, Notenpapier; Konrad,<br />
Wasserzeichen; Konrad, <strong>The</strong> use of watermarks; Kümmerling,<br />
Katalog der Sammlung Bokemeyer; LaRue, Watermarks<br />
<strong>and</strong> musicology; Rudén, Vattenmärken; Schmidt-<br />
Görg, Wasserzeichen; Schmidt-Görg, Die Wichtigkeit der<br />
Wasserzeichen; Schubert, Werke; Shearon, Watermarks <strong>and</strong><br />
rastra; Tyson, Paper studies <strong>and</strong> Haydn; Tyson, Wasserzeichen-Katalog;<br />
Weiß, Katalog der Wasserzeichen; Weiß, Zu<br />
Papieren und Wasserzeichen.<br />
F.S. (C.P.-K.)<br />
Watermarks <strong>and</strong> Cartography<br />
<strong>The</strong> many advantages offered by the identification of watermarks<br />
for the history of cartography was first recognized<br />
by the English map specialist <strong>and</strong> librarian of the Royal Geographical<br />
Society Edward Heawood (1863–1949). He had<br />
examined the work done by the watermark scholars of the<br />
19 th century <strong>and</strong> had intensively studied the results of their<br />
research, such as the four-volume magnum opus of<br />
Charles-Moïse Briquet published in 1907. In 1924 Heawood<br />
published an article related to this field dealing with the<br />
verification of the period <strong>and</strong> the geographic location that<br />
specific watermarks were used. He was the first to chart, on<br />
the basis of data collected by Briquet, the spread of the<br />
“Bull’s head” <strong>and</strong> “Rod of Basel” watermarks.<br />
Heawood referred to the Mercator Atlas in this publication<br />
<strong>and</strong> recommended a detailed analysis of its first edi-<br />
tion: “A careful study of the marks in all copies available<br />
would no doubt throw light on the precise manner of issue<br />
of the various parts of this first edition.” (cf. Heawood, <strong>The</strong><br />
Use of Watermarks, p. 398). An examination of the sheets<br />
of one set of the large Mercator maps kept at the University<br />
Library in Rome resulted in the discovery that in this collection,<br />
maps that had originally been published over a extended<br />
period of time here all contained the same watermark,<br />
suggesting that this copy of the atlas was a reissue.<br />
Such results demonstrated that when using watermark<br />
analysis in studying the printing history of maps, new considerations<br />
were necessary.<br />
In reaction to the restrictions of period <strong>and</strong> subject matter<br />
Briquet had imposed on his collection, Heawood decided<br />
to examine a different period, turning to paper from the<br />
17 th <strong>and</strong> 18 th century. He also took paper that was used for<br />
printing into account. His first step was to systematically<br />
analyse watermarks in large format paper, which was used<br />
for printing maps <strong>and</strong> sea charts, as at the time of his research<br />
such paper had not been documented precisely<br />
enough. His epoch-making work about the watermarks of<br />
the 17 th <strong>and</strong> 18 th century appeared posthumously as a publication<br />
of the Paper Publication Society founded by Émile<br />
Joseph Labarre. It became the first volume of the series<br />
“Monumenta chartae papyraceae historiam illustrantia”, a<br />
series that became extremely important for watermark research<br />
as a whole.<br />
<strong>The</strong> Hessian geodesist <strong>and</strong> watermark scholar Robert<br />
Große-Stoltenberg, whose estate is now held by the Hauptstaatsarchiv<br />
Stuttgart, dealt repeatedly with the importance<br />
of watermarks in research on old maps. His study “Der<br />
Große Atlas von Deutschl<strong>and</strong> von Johann Wilhelm Abraham<br />
Jaeger”, Frankfurt 1789, which he published in 1969,<br />
is based on his research on old maps <strong>and</strong> the paper they are<br />
printed on. After an examination of eight complete copies<br />
of the maps contained in this atlas, eighty-one of Germany<br />
<strong>and</strong> seven of other countries, Große-Stoltenberg asked,<br />
“whether the watermarks of maps, printed primarily on<br />
large-format sheets (Gr<strong>and</strong> Royal <strong>and</strong> the like), may also be<br />
used without reservation in making decisions with regard to<br />
verifying the service life of moulds <strong>and</strong> motifs” (cf. Große-<br />
Stoltenberg, Wasserzeichen, p. 94). One aspect pointed out<br />
by Grosse-Stoltenberg is of particular relevance for watermark<br />
research: when maps were reissued, the cartouche<br />
usually remained unmodified, meaning that print of the<br />
chart, including the original date, also stayed the same.<br />
Thus, one must be careful when drawing conclusions about<br />
dates of watermarks based on the dates printed on maps.<br />
In the USA, over last few decades David Woodward has<br />
dealt with the physical aspects of old maps, above all carefully<br />
analysing the ink used for drawing or printing them. In<br />
Woodward’s opinion, the most important methodical<br />
progress that has been made in watermark research has<br />
been the transition from tracing by h<strong>and</strong> to more objective<br />
means of documentation like photographic contact prints,<br />
the Dylux method, or beta radiography. Through a rigorous<br />
examination of the watermark motif “<strong>Mermaid</strong>”, Woodward<br />
has tried answer the question whether differences between<br />
two watermarks were caused by two different states<br />
of the same mould or because of two different moulds being<br />
used. For this, he has analysed the number <strong>and</strong> position<br />
of knots with which the watermark figure was sewn to the<br />
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