Surname
Chaney (de)
Given Name
Jean
Active period
1500 - 1539
Biography
Channey, Jean de (b Piedmont, c1480; d Avignon, c1539–40). French printer. He began his printing career in Lyons around 1500 as an apprentice to Jacques Arnoullet. On the latter’s death in 1504 or 1505, his widow Michelette du Cayre entrusted the press to Channey, who published a book under his own name in about 1505, using Arnoullet’s type. Assuming that he would have had to be in his mid-20s for such a responsibility, he was probably born about 1480. Another book with his name as printer was published in 1510, using his printer’s mark, a copy of the Aldine anchor and dolphin, for the first time.
Because Arnoullet’s sons were coming of age and were ready to take over their father’s business, Channey petitioned the Avignon town council in late 1512 for permission to establish a printing firm there. In August 1513 the first of many books with the Avignon address appeared in print. Michelette du Cayre followed him to Avignon, where she married him.
His involvement with music came about through a contract with the composer Elzéar Genet, known as Carpentras, to print four books of his music. Channey was perhaps the best of the few printers in Avignon, but apart from the undated book Regles communes de plain chant avecques la fin des tons tant reguliers que irreguliers nottee, he had no experience with music. He remained a publisher of books of grammar, law, theology, popular tales in French and Latin, and poetry (including Marot) until 1540 when he issued a series of ordinances of King François I. This last publication is dated 1540 on the title-page but 1536 on the colophon. An agreement dated 2 January 1531, which reveals many important details about contemporary printing problems, states that Carpentras was to provide a trained singer-corrector at his own expense, to supervise the project and to share the responsibilities for the print run of 500 copies. There was great difficulty in making the note types fit the lines and spaces of the staves, and instead of the six months specified in the contract it was 16 months before the first of the four books appeared (on 15 May 1532). Following this first book (of masses), a second book (of Lamentations) was published on 14 August 1532. An undated book of hymns was issued before 1534 (it is dedicated to Cardinal Ippolito de’ Medici, who died in August 1534). A fourth book, also undated and containing Magnificat sections, appeared later, probably not after 1536.
Although Attaingnant and Moderne had already begun printing music by the new single-impression method, Channey was the only French printer to follow the double- or triple-impression methods of Petrucci and other Italian music publishers. The most original and distinctive feature of the books is the music type, which has rounded instead of lozenge-shaped note heads. This type was designed by the music copyist Etienne Briard of Bar-le-Duc, who imitated the kind of handwriting that he himself had used 15 years earlier at the papal chapel of Leo X where Carpentras had been a singer. (For illustration, see Printing and publishing of music, fig.7.)
His four music books are an isolated example of teardrop notation in the history of music printing, unless they served as a model for Robert Granjon in Lyons when he designed a similar round-note music type in 1558.
BIBLIOGRAPHY
H. and J. Baudrier: Bibliographie lyonnaise (Lyons, 1895–1921/R), x, 291–2. P. Pansier: Histoire du livre et de l’imprimerie à Avignon du XIVme au XVIme siècle (Avignon, 1922/R). D. Heartz: Pierre Attaingnant, Royal Printer of Music (Berkeley, 1969), 110ff. L. Guillo: Les éditions musicales de la renaissance lyonnaise (Paris, 1991). SAMUEL F. POGUE/FRANK DOBBINS
Bibliographie lyonnaise du XVe siècle Par Antoine Péricaud
Appeared first in the Annuaire de Lyon, 1840; reprinted for private distribution the same year. A supplement, Nouvelles recherches sur les éditions lyonnaises du XVe siècle, was also issued the same year.
Plus d'infos
Bibliographie lyonnaise du XVe siècle: deuxième partie contenant le catalogue des imprimeurs et des libraires de Lyon de 1473 a 1500 ...
Par Antoine Péricaud
Publié par Perrin, 1851
189. Breuiarium camere ad vsum ecclesie lugdunensis. — ... Impressit... Janonus carcani librarius lugduni. Die quinta mensis marcii. Anno dni millesime quatercentesimo nonagesimo octauo (1499, n. s.). Deo gratias. In-fol. goth. de 8 ff. non chiffr. et de cccxvi ff. chiffr. suivis de 32 ff. non chiffr. mais avec signat. aa-ddiiij. (B. Coste). Van-Praet, vél. des B. publiq., I, 101.
La souscription qui est sur le recto du fol. cccxxvi signale les noms de ceux qui ont surveillé l'impression de ce Bréviaire ; ce sont : Roland de Vaulx , vice-maitre de la grande église de Lyon ; Pierre Godemard et Jean Bas. (sic), prêtres perpétuels ; Jean Chaney , maitre es arts , bachelier en lois et licencié en déerets , lesquels ont continué l'œuvre qui avait été commencée par Sébastien Reneri (sic], ancien sous-maitre de ladite église. — La B. de Lyon possède deux exemplaires de ce Bréviaire ; le premier porte sur le f. de tête le titre donné ci-dessus ; le second a cet autre titre imprimé en rouge et collé sur un f. blanc : Psalterium camere ad nsuni ecclesie Lugdunensis.
Because Arnoullet’s sons were coming of age and were ready to take over their father’s business, Channey petitioned the Avignon town council in late 1512 for permission to establish a printing firm there. In August 1513 the first of many books with the Avignon address appeared in print. Michelette du Cayre followed him to Avignon, where she married him.
His involvement with music came about through a contract with the composer Elzéar Genet, known as Carpentras, to print four books of his music. Channey was perhaps the best of the few printers in Avignon, but apart from the undated book Regles communes de plain chant avecques la fin des tons tant reguliers que irreguliers nottee, he had no experience with music. He remained a publisher of books of grammar, law, theology, popular tales in French and Latin, and poetry (including Marot) until 1540 when he issued a series of ordinances of King François I. This last publication is dated 1540 on the title-page but 1536 on the colophon. An agreement dated 2 January 1531, which reveals many important details about contemporary printing problems, states that Carpentras was to provide a trained singer-corrector at his own expense, to supervise the project and to share the responsibilities for the print run of 500 copies. There was great difficulty in making the note types fit the lines and spaces of the staves, and instead of the six months specified in the contract it was 16 months before the first of the four books appeared (on 15 May 1532). Following this first book (of masses), a second book (of Lamentations) was published on 14 August 1532. An undated book of hymns was issued before 1534 (it is dedicated to Cardinal Ippolito de’ Medici, who died in August 1534). A fourth book, also undated and containing Magnificat sections, appeared later, probably not after 1536.
Although Attaingnant and Moderne had already begun printing music by the new single-impression method, Channey was the only French printer to follow the double- or triple-impression methods of Petrucci and other Italian music publishers. The most original and distinctive feature of the books is the music type, which has rounded instead of lozenge-shaped note heads. This type was designed by the music copyist Etienne Briard of Bar-le-Duc, who imitated the kind of handwriting that he himself had used 15 years earlier at the papal chapel of Leo X where Carpentras had been a singer. (For illustration, see Printing and publishing of music, fig.7.)
His four music books are an isolated example of teardrop notation in the history of music printing, unless they served as a model for Robert Granjon in Lyons when he designed a similar round-note music type in 1558.
BIBLIOGRAPHY
H. and J. Baudrier: Bibliographie lyonnaise (Lyons, 1895–1921/R), x, 291–2. P. Pansier: Histoire du livre et de l’imprimerie à Avignon du XIVme au XVIme siècle (Avignon, 1922/R). D. Heartz: Pierre Attaingnant, Royal Printer of Music (Berkeley, 1969), 110ff. L. Guillo: Les éditions musicales de la renaissance lyonnaise (Paris, 1991). SAMUEL F. POGUE/FRANK DOBBINS
Bibliographie lyonnaise du XVe siècle Par Antoine Péricaud
Appeared first in the Annuaire de Lyon, 1840; reprinted for private distribution the same year. A supplement, Nouvelles recherches sur les éditions lyonnaises du XVe siècle, was also issued the same year.
Plus d'infos
Bibliographie lyonnaise du XVe siècle: deuxième partie contenant le catalogue des imprimeurs et des libraires de Lyon de 1473 a 1500 ...
Par Antoine Péricaud
Publié par Perrin, 1851
189. Breuiarium camere ad vsum ecclesie lugdunensis. — ... Impressit... Janonus carcani librarius lugduni. Die quinta mensis marcii. Anno dni millesime quatercentesimo nonagesimo octauo (1499, n. s.). Deo gratias. In-fol. goth. de 8 ff. non chiffr. et de cccxvi ff. chiffr. suivis de 32 ff. non chiffr. mais avec signat. aa-ddiiij. (B. Coste). Van-Praet, vél. des B. publiq., I, 101.
La souscription qui est sur le recto du fol. cccxxvi signale les noms de ceux qui ont surveillé l'impression de ce Bréviaire ; ce sont : Roland de Vaulx , vice-maitre de la grande église de Lyon ; Pierre Godemard et Jean Bas. (sic), prêtres perpétuels ; Jean Chaney , maitre es arts , bachelier en lois et licencié en déerets , lesquels ont continué l'œuvre qui avait été commencée par Sébastien Reneri (sic], ancien sous-maitre de ladite église. — La B. de Lyon possède deux exemplaires de ce Bréviaire ; le premier porte sur le f. de tête le titre donné ci-dessus ; le second a cet autre titre imprimé en rouge et collé sur un f. blanc : Psalterium camere ad nsuni ecclesie Lugdunensis.