The production speed and daily output of early modern printshops is one of those things that scholars agree is probably pretty important to know, but impossible to move beyond guesswork. For example: when we read 16C Germans boast that their press can turn out trecentas cartas in a day, does that mean 300 "modern" pages? 300 leaves (i.e. front and back)? 300 sheets in folio/quarto/octavo format, which would be 600 (300*2) leaves, 1200 leaves, 2400 leaves? Or are they just bragging and the numbers mean nothing?

Experimentation on reconstructed presses poses its own set of problems. Although scholars have pinpointed to some major technological innovations along the way, dating some of them is difficult. There are also questions of maintenance/upkeep, environmental conditions of the printshop, strength and health of the press operator, one operator or two.

And that's even before introducing variations in the texts themselves--size of page, layout of text on page (number of lines; verse versus prose), number of woodcuts, use of different ink colors, and any other wrinkle you can imagine.

One intriguing way to gain at least some input into production speed is to look at contracts for printshop employees. The cover of Hieronymous Hornschuh's Orthotypographia (Leipzig: Michaël Lantzenberger, 1608) offers a famous look into the crowded bustle of an efficient printshop--in contrast to the early Wildwuchs (frontier days), where small-time printers might operate a press on their own or with one employee on top of another career, printing became one of the first proto-industrialized crafts.

The most relevant for our purposes of evidence-hunting is the corrector, whose job it was essentially to proofread composed pages. In England, laws restricted most printshops to having only one press (though some were permitted two, and the king's official printer more). From the beginning and the end of the century, contracts between a printer and the hired corrector specify the corrector would look over one arrangement of letters ("sheet" again) per day.

Did it really take the compositor all day just to line up a bunch of letter-molds? If that seems slow to you, consider that the compositor's job was far more complex. The pages of early modern books were not printed in the order they would be read, thanks to the folding of large sheets into pages (folio, quarto, octavo). Therefore, it was paramount that each side of a page begin and end with the proper letters--while still looking right (professional and worth buying) to the purchaser and reader. So the compositor, who might be using a different size letter mold than their exemplar text, or have a different size letter-set for headings, or might be printing in a different vernacular dialect with some vocabulary quirks that their audience would need to have adjusted, had to jockey around the words to make them fit the page properly. Prior to standardization of spelling, this could mean shifting around the spelling a little in vernacular texts (not an issue for OP's example, I realize). More frequently, it would mean manipulating spaces and choosing/discarding abbreviations. Rather than simple plug-and-chug, composing formes was more like a jigsaw puzzle.

It's quite possible that printshops looking to publish epic-length tomes might hire more than one corrector and compositor, but I think identifying a numerical relationship between the two (who can only work on one forme at once, and probably have to work alone) is reasonable. (Certainly a shop could hire more than one corrector and compositor, but then eventually the output of that pair would outstrip the ability of the press operator to make the desired number of prints per carta.)

But it definitely makes sense to me that it would take a long time to print out the pages of an epic-length tome. One of the patterns that shines through early printers' bibliographies is the preponderance of pamphlet and broadsheets mixed in with prestige texts. Churning out the little guys either in between big projects, or during part of the day or week while pursuing a major text, would help printshops stay in business while waiting to complete the prestige work.

I'm sorry I can't pin down anything more precise. One of the sources I checked, that I knew provided numbers (based on modern reconstruction and guesswork), even contradicts itself at one point. But in terms of an more holistic picture, I think the evidence for the corrector-compiler speed specified in the contracts suggests the goal of output.