57. Missale Strigonien(se). Novissime impressum.

(Venice), 1511. Joh(ann)is Paep librarii Buden(sis). (28)+CCLII [recte CCLI] fol(s). With a large, woodcut portrait of Saint Adalbert bishop on the title page. 121 leaves (XCV, CVI, CXI-CXIII, CXL-CXLI, CXLVII-CXLVIII, CLXXV, CXC, CCXVI, CCLIII-CCCLXI) missing.
A very early missal from the Archdiocese of Esztergom, even though it is fragmentary, is a unique cultural-historical memory of the time.
The medieval church's liturgical books were not completely uniform; they had specific characteristics in each diocese (above all, due to the increased veneration of different saints). In Hungary, the mass book, according to the Esztergom liturgy, was generally used; this piece follows the Roman rite, which is considered the central model.
At the dawn of humanist typography, Venice was considered the centre of book printing and became the principal place to publish missals. The book's printer, Lucantonio Giunta, has a Hungarian connection, as several well-known Buda booksellers worked with him, including Johannes Paep, Jacobus Schaller, and Urbanus Kaym. Their name is associated with the publication of numerous Hungarian religious works.
Johannes Paep mainly reprinted the ritual books of the Archdiocese of Esztergom. The first was the third edition of the "Breviarium Strigoniense" (Venice, 1497). He decorated his publisher's mark with depictions of priests, such as in the Pannonhalm breviary of 1506, Saint Benedict, and the Esztergom ritual books, with woodcuts of Archbishop Saint Adalbert. He nominated about 20 publications; between 1497 and 1509, he published at least one – sometimes 2 or 3 – works yearly. The latter's name is missing from the colophon of the works shared with Urbanus Kaym. All the books he published were printed in Venice.
The ownership inscription of the Franciscans of Nagyszeben proves the Hungarian use of this copy. They were expelled in the spring of 1556 "in the name of religious freedom." We have no information about the volume's following fate, but the other — mostly 16th-century —inscriptions and prayers were indeed written in our country.
The front, wooden board of the binding and its leather covering are contemporary, blind-tooled, Gothic-style work (its linear-framed fields are decorated with the imprints of blind stamps forming geometric and floral ornaments). The lacing of the book is also contemporary: strung on three double-buckskin straps. The backboard and its cover, which also turns round the spine, are later repairs. Clasps and metal ornaments are missing. Several leaves damaged causing text loss on four of them.
RMK III 175.; EDIT16 0; BNH Cat 0
 
Starting price: 600,000 Ft