A collection of pages from a number of different manuscripts, many removed from books and manuscripts where they were re-used as guard pages. The fragments were assembled into a portfolio prior to 1891; in 1967 the pages were cleaned and restored, and re-assembled. The most significant fragments are those which were part of a manuscript of motets and mass movements (described by Lerch) and others which were part of what "appears to be the earliest 14th century manuscript containing chansons" (Hasselman, p.25).

The RISM description has now been superseded in several respects: Fallows discovered several more related folios still bound into other volumes in the library; FallowsCA suggests that the volumes were bound at the end of the 15th century, probably for the new library of St Sepulchre erected by Guillaume Courtois, abbot 1482-1503). Additionally Fallows and Lerch were able to show that the fragments forming Lerch's 'series I' (which she labelled F-CA(n) - neu/new - collected here) were originally bifolios from a manuscript that was disassembled to re-use as guard pages, so that a partial reconstruction of the manuscript was possible (see Lerch). Further, locating the volumes from which the earlier fragments had been removed, Fallows found that 'mirror-image' offsets of the glued-down side of the fragments remained on the inside of the covers from which the fragments had been detached, often in a more legible state than the fragments themselves.

Related fragments used as binding materials, or their remaining 'mirror-image' offsets, are catalogued in the following incunabula: B56, B135, B144, B145, B165, B166, C52; and in the following manuscripts: B220, B322, B447, C647.

Hasselman, FallowsCA, and Lerch have all proposed different groupings and ordering of the folios. (See also 'foliation' below.) Hasselman identified 4 main groups of 14th century fragments, plus the fragments of Adam de la Halle and Gregorian chant. Lerch largely accepts her groupings, though re-assesses the first based on Fallows' discoveries. She groups the fragments into 7 series:
- I: "manuscript F-CA(n)", an expanded and re-ordered version of Hasselman's CaB1, containing motets and mass movements, and comprising 7 pages from this collection and 9 which remain in other books; a virtaul representation of this 'original' manuscript can be found at F-CA(n). - II: a group of polyphonic chansons, Hasselman's CaB2 & CaB3 totalling 9 pages from this collection together with 2 newly-discovered pages from Inc C 52, probably from 2 (or more) different manuscripts; - III: a small group of polyphonic songs which remain in Ms B322; - IV: an Agnus and some chansons on 2 pages of this collection, Hasselman's CaC; - V: 4 pieces by Adam de la Halle on one page in this collection; - VI: 2 pages of Gregorian chant in this collection, Hasselman's CaA; - VII: 2 pages of monophonic Trouvere songs located by Fallows in Inc B135

The DIAMM inventory of this collection therefore includes much of Lerch's series I and II, and all of series IV, V and VI; with the remainder being catalogued in the other books where the pages remain.

Since these 21 pages have been removed from various bindings, often without sufficient care, a number of pages which were formerly glued into bindings are now almost or completely illegible. These include f. 1v, 2v, 4v, 7, 8v, 9v, 11, 12, 13v, 14, 15. (Some, however, can be 'read' from their 'mirror images' left in the books from which they were removed - see FallowsCA.)

Ars Nova

Fol. 5 and 6: 8 red five-line staves per page (f. 5v in brown); fol. 16-21: 9-10 red four-line staves per page; fol. 3: 3 accolades of 3 red four-line staves per page in score;

1-21v. The pages were re-assembled after restoration in 1967, following the sequence that Hasselman had determined (which differs from the numbering used by Reaney in RISM). When photographed, however, 3 folios were reversed compared to Hasselman's inventory: 2/2v, 14/14v and 15/15v. These are inventoried here in the sequence they are bound, i.e. Hasselman's 2v then 2r, 14v then 14r, 15v then 15r.

Lerch has since proposed a different order of the first group of pages, her 'series I', and re-numbers all the other pages as part of the various series she identifies.

The DIAMM inventory is foliated as the fragments are kept, i.e. as described by Hasselman but with folios 2, 14 and 15 reversed; in parentheses is given the series and number in Lerch's re-foliation.

Parchment

RISM B/IV 2: 21 folios from at least 4 parchment manuscripts dating from the 13th and 14th centuries, and now arbitrarily collected together under one signature. Ludwig thinks 16 folios come from the same codex of the second half of the 14th century. If this is so, the motet section on f. 17-20 and f. 11 and 12 belongs to the same source as the secular songs (Ballades, Rondeaux and Virelais) on f. 2, 4, 7-10 and 13-15. Quite clearly in a different hand and from different mss are f. 5 and 6 (which should proceed in the reverse of the present order), f. 3, and f. 16 and 21. Fol. 5 and 6 contain a three-part Agnus and the well-known Ballade De ce que fol pense, which also appears as no. 23 in the main codex. The two folios in question employ a neater notation than the principal ms and their somewhat smaller page size meas. 225 x 165 mm. The Ars Nova notation is written on 8 red five-line staves per page (f. 5v in brown). The bottom of f. 6 is cut away. Fol. 16 and 21 are from a Gregorian codex and contain liturgical monodies on 9-10 red four-line staves per page. Fol. 3 meas. 225 x 158 mm. contains 4 known Rondeaux of Adam de la Hale in a pre-Franconian notation of the late 13th century with long-breve differentiation, c.o.p. ligatures and three-semibreve groups or breve + two-semibreve groups. As usual in this type of composition, there are 3 accolades of 3 red four-line staves per page in score with red or blue initials. Once again the present recto is really the verso and vice versa. Ludwig believes the mass section on f. 1 belongs to the main codex with the motets and secular songs. The motets are written in 2 cols., however, while the secular songs and mass pieces go straight across the page in the same Ars Nova notation. The various pages meas. as follows: f. 1: 305 x 237 mm., f. 2: 302 x 205 mm., f. 4: 244 x 185 mm., f. 7: 242 x 185 mm., f. 8: 303 x 208 mm., f. 9: 310 x 213 mm., f. 10: 316 x 220 mm., f. 11: 309 x 220 mm., f. 12: 303 x 227 mm., f. 13: 277 x 198 mm., f. 14: 275 x 187 mm., f. 15: 310 x 210 mm., f. 18: 283 x 233 mm. Fol. 17-20 form a consecutive pair of bifolios which are cut down at top and bottom, though f. 18 is complete at the top. The other pages are not quite as long. Fol. 19 and 20 are cut in half vertically, so that only the left col. of the motets remains. Since these 21 pages have been removed from various bindings, often without sufficient care, a number of pages which were formerly glued into bindings are now almost or completely illegible. These include f. 1v, 2v, 4v, 7, 8v, 9v, 11, 12, 13v, 14, 15. Finally, here are a few further details of the individual pages, which are now foliated in 19th century ink at t.r.r. Fol. 1 contains 11 (originally 12) red five-line staves per page and employs red initials. Fol. 2 employs red or blue initials and the same number of staves as f. 1. Fol. 4 is similar to f. 2 but cut down, so that only 8 staves remain. Fol. 7 is also a cut-down page like f.4, doubtless from the same ms. Fol. 8 is a larger piece again, but upside down. The recto bears an old folio number viii at t.m.r. Initials are red or blue, and there are 11 red five-line staves per page. Fol. 9 employs some red notes, again on 11 red five-line staves. On f. 11 the top stave is cut away; there were originally 12 red five-line staves per page, as on f. 12. Fol. 13 has now only 10 red five-line staves per page with red or blue initials. Fol. 15 contains 11 red five-line staves, f. 15v 10. Fol. 17-20 contained originally 12 staves.

This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of any of this content without permission may result in legal action.