Eight different hands can be distinguished. The folios are arranged in six gatherings of 8, 8, 5, 16, 2, and 6 leaves; the oldest pieces are in gatherings 3, 5, and 6, the more recent ones in 1, 2, and 4. Most of the repertory is from the 14th century, but some of the newer pieces were probably written in the first decades of the 15th century. Originated in the circle of the Papal residence at Avignon during the period of the Great Schism (1377-1417); probably copied at Avignon or Apt.

Modern covers of black, yellow, and red mottled paper over cardboard, with parchment spine and corners.

Ars Nova

8 or 9 red five-line staves per page (there is a 10th stave on f. 12v and 13)

1-45v

19th-century ink foliation, 1-45; original foliation, I-X; other traces of original foliation on modern ff. 25-34.

Initials and names of composers are in red.

37 parchment + 8 paper

RISM B/IV 2: A 14th-15th century manuscript meas. between 270 x 193 and 290 x 210 mm., and comprising 45 folios arranged in 6 fascicles of 8, 8, 5, 16, 2 and 6 leaves respectively. The first 4 fascicles are of parchment, the last two paper, and fascicle 6 begins by using a watermark in the shape of a hand. The codex falls into two parts: fascicles 1,2 and 4; and 3, 5 and 6 (formerly 1-3 and 4-6, but Gastoué transposed fascicles 3 and 4). There are a confusing number of foliations, but only the 19th century ink one at t.r.r. is complete. All the others are apparently medieval. Apart from binding numbers at b.r.r., there is a consecutive Roman numeration from I-X at t.r.r. on f. 25-34, followed on f. 37 by the XI, as well as other red Roman numerals from i to iiii on f. 4, 22-24 and 28. The modern binding of black, yellow and red mottled paper over pulp boards has parchment corners and spine. The latter bears the title "Missae || Ms. No. 16 bis" in gilt on brown leather. This Southern French manuscript, undoubtedly closely connected with the 14th century Papal court at Avignon, contains no secular music and only 4 motets. Otherwise, there are 10 Kyries, 9 Glorias, 10 Credos, 4 Sanctus, 1 Agnus and 10 hymns. Three-part writing predominates, but there are 2 two-part and 2 four-part compositions. Composers represented range from Philippe de Vitry to Cordier and Tapissier c. 1410-1420, though the majority are little known elsewhere (Tailhandier, Murrin, Suzoy, Perrinet, Defronciaco, Guymont, etc.). The Ars Nova notation is written on 8 or 9 red five-line staves per page (there is a 10th stave on f. 12v and 13) and makes use of red notes occasionally. Red ink is used for initials and names of composers in fascicles 1, 2 and 4, but less often for initials in fascicle 3, while fascicles 5 and 6 have no initials. An unusual notational feature is the indication of voice-levels by Roman numerals preceding each voice, e.g. XII, VIII, V. In APT 16 bis 2 the fermatas are shaped like signa congruentiae. Apparently 8 copyists were involved in the compilation of APT 16 bis, the oldest works appearing in fascicles 3 and 6, and the newest in fascicle 4.

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10 Kyries, 10 Glorias (one fragmentary), 10 Credos, 4 Sanctus, 1 Agnus, 10 hymns, 4 motets = 49

Chassa-1, Chipre-1, (Cordier)-1, Defronciaco-1, Depansis-1, Fleurie-1, (Granet)-1, Guymont-1, Loys-1, Murrin-1, Orles-1, Pellisson-2, Perrinet [Bonbarde]-2, Sortes-1, Susay-1, Tailhandier-1, Tapissier-2, (Vitri)-3, anon-26

37 parchment + 8 paper folios, 270-90 x 193-210. 19th-century ink foliation, 1-45; original foliation, I-X; other traces of original foliation on modern ff. 25-34. Modern covers of black, yellow, and red mottled paper over cardboard, with parchment spine and corners. No index. Black/red mensural notation; eight different hands can be distinguished. The folios are arranged in six gatherings of 8, 8, 5, 16, 2, and 6 leaves; the oldest pieces are in gatherings 3, 5, and 6, the more recent ones in 1, 2, and 4. Initials and names of composers are in red. Most of the repertory is from the 14th century, but some of the newer pieces were probably written in the first decades of the 15th century.

1400-25 (MGG). Originated in the circle of the Papal residence at Avignon during the period of the Great Schism (1377-1417); probably copied at Avignon or Apt.