Footlines appear principally within the music text, reproducing such information as the plate number and, on the first and last pages of many editions, the name and address of the publisher. They therefore resemble those in modern editions. The FLs of certain Chopin first editions also include the following details:
notices (e.g. 2–1-HAt, 2–2-HAt, 4–1-R, 13–1a-W, 17–1-W, 21–1-W, 33–1-B&H,
on performance (e.g. 2–1-HAt, p. 9; 14–1-Sm, p. 2), on attributed opus numbers
(see the separate German editions of Opp. 66–73)
or on compositional genesis (e.g. 68–1-MEIf, 68–1-Sam, MM–1-Sm, PolG#m–1-K)
about the publisher’s other output (e.g. 3–1-W, 6–1-W, 14–1-W, 17–1-W)
- confirmation of the censor’s approval (e.g. 74/10&1–1-KO,
of the series to which the work belongs and the work number therein (e.g.
of foreign publishers sharing or holding copyright (e.g. 32/1–1-Sam,
33–1-B&H, 50/1–2-Sm, 57–1-W, MFM–1-E, 74–1-G)
of engraver or printer (e.g. 1–1a-BR, 1–2-HO, 4–1-R, 32–3-Sam, 35–1-TR,
43–1a-SCHU, 66–1-MEIf) or of the firm carrying out lithographic transfer (e.g. 40–1g-A&P, 43–1g-SCHU, 53–1d-A&P)
of editor (e.g. 1–2-HO, 3–1-W, 4–1-CO, 10/1-6–1e-W,
51–2-HO, VGNA–1-COC) or arranger (e.g. 8–1a-W)
of orchestral accompaniment (e.g. 2–1-W, 13–1-W).