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In Germany we have at Augsburg Erhart Oeglin, whose first book in 1507 was printed from wooden type and another in 1512 from copper type, the latter being a collection of folk-songs—the first of many by other printers. At Mayence Peter Schöffer first appeared as the colleague of Gutenberg and Faust in general printing, but turned to music-printing before 1512, after which he worked first at Worms, issuing one of the earliest Protestant hymn-books in 1525, and from 1534 at Strassburg. At Wittenberg was another important Protestant publisher, Georg Rhaw (d. 1548), who began business in 1525. At Nuremberg were many printers, like Johannes Petreius (d. 1550), at work from 1536, Johann vom Berg (d. 1563) and Ulrich Neuber (d. 1571), a firm whose first book was issued in 1531, Hans Ott (d. 1550?) and Hieronymus Grapheus (d. 1556), another firm nearly as old, and Dietrich Gerlach (d. 1575), beginning about 1566. At Frankfort mention should be made of Christian Egenolff (d. 1555), at work from 1532, whose technique was notoriously poor, but whose books are historically valuable. At Munich Adam Berg was diligently at work in 1567-99.

In France music-printers were notable for zeal in the improved cutting of types as well as for their work as publishers. Pierre Haultin (d. 1580), beginning work at Paris in 1525, was followed at Avignon by Étienne Briard and Jean de Channay, and later at Paris by Guillaume Le Bé. Robert Granjon, at work from about the same date, published books at Lyons in 1559 and at Rome in 1582. At Paris Pierre Attaignant used Haultin's types in 1527-49, followed by Nicholas du Chemin in 1549-68, and Adrien Le Roy (d. 1599), a lutist and composer, who began publishing in 1540, and from 1552 was joined by Robert Ballard (d. 1606), the first of a family of publishers that lasted till the 19th century.

In the Netherlands a prominent name at Antwerp is that of Tylman Susato (d. 1564), whose work began in 1543, succeeded in 1572 by Jean Bellère (d. 1595) and his partner Pierre Phalèse (d. c. 1579), the latter having worked at Louvain from 1545.

In England slight specimens of musical typography are traceable as early as 1495. Petrucci's two-impression process began to be imitated in 1530, apparently by Wynkyn de Worde. The Prayer Book with music was printed in 1550 and the metrical Psalter in 1562. In 1575 Tallis (d. 1585) and his pupil Byrd (d. 1623) secured a monopoly, and they were followed in 1588 by Thomas Este (d. 1609?) and others.

55. The Rise of Italian Music.—Between the strictly Netherland writers of the 15th century and those of the 16th in other countries there was no absolute line of separation, though the divergences gradually became marked. The transfer of activity to Italy and Germany was made by those who were either Netherlanders themselves or their pupils. But at once the line of progress was taken up by others and carried forward with increasing independence. In Italy we now note two large groups, set apart geographically and artistically. These centre