IIIF Manifest
The only manuscript containing the Roman de Fauvel to include the very extensive musical as well as textual interpolations inserted by Raoul Chaillou de Pesstain. Original 'Roman' written by Gervais du Bus; the interpolations were completed in 1316 or soon after.
F-Pnm Français 146 (Roman de Fauvel)
Bibliothèque nationale de France, Département des Manuscrits, Paris, France
manuscript of polyphony (Roman de Fauvel): Early 14th century, c.1316.
| Archive | Bibliothèque nationale de France, Département des Manuscrits, Paris, France (F-Pnm) |
|---|---|
| Shelfmark | Français 146 (Roman de Fauvel) |
| Image Availability | The images on this record are linked using IIIF. |
| Surface | Parchment |
| Numbering System | Foliation |
| Format | large folio |
| Measurements | 462 x 330 mm |
| Other Identifiers |
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| Notations |
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| Provenance |
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| Contents | Contains 110 compositions, 7 from 2 composers, 103 are anonymous. |
General Description
Binding
typical 19th century Bibliothèque Nationale binding of good quality red leather with gilt tooling
Notation
Petronian
Ruling
usually 13 or so five-line staves per page
Foliation
old foliation of the Roman at t.m.r. runs from I-XLV, but two slightly later folios have been added as well with the numbers 28 bis and 28 ter
Foliation
1-88
Surface
Parchment
RISM Description
RISM B/IV 2: A large folio parchment manuscript meas. 462 x 330 mm. It is of great musical interest because it is the only manuscript containing the Roman de Fauvel to include the very extensive musical as well as textual interpolations inserted by Raoul Chaillou de Pesstain. The original Roman was written by Gervais du Bus between 1310 and 1314, while the interpolations were completed in 1316 or soon after. Since this manuscript appears to be peculiarly the work of Chaillou de Pesstain, though the original Roman appears in many other sources, we can date it c. 1316. 45 of its 88 folios are devoted to the Roman, while the rest contains mainly non-musical material, apart from the 32 Ballades, Rondeaux, Virelais and two Dits entés of Jehannot de Lescurel. From the chronological point of view, the rhymed chronicle from 1300-1316 of f. 63-88 is important. There are two old flyleaves at the beginning lettered A and B respectively at t.r.r., f. A containing an amorous lament and f. B a list of contents. There are also two blank unnumbered pages at the front and four at the back. The Roman is written in a minuscule script with a slight tendency to cursive, and there are initials in blue, red and gold. After the Roman ends on f. 45, a different hand using paler ink takes over. There are also none of the miniatures which are one of the glories of the Roman itself. The binding is a typical 19th century Bibliothèque Nationale binding of good quality red leather with gilt tooling. The old foliation of the Roman at t.m.r. runs from I-XLV, but two slightly later folios have been added as well with the numbers 28 bis and 28 ter. These are not listed in the original index. The use of three columns is normal, but sometimes two columns are employed. This means that a three-part motet has the Tr in one column, the Mot in another and the T under one of these two parts. Although only the motets are polyphonic, apart from one three-part setting of a monodic rondeau by Lescurel, the repertoire is enormous, some of it dating back more than a hundred years. There are 54 brief liturgical pieces, 14 Rondeaux and Ballades, 24 conductus and 4 lays, and 31 refrains as well as the 33 motets for from two to four voices. The notation, as befits the date, is Petronian with dots of division for the more modern works, though in odd cases a later hand has added rudimentary minim tails not long after the ms corpus was written. The absence of minims in general is counterbalanced by the use of downward tailed semibreves in the more recent works. Red notes too appear in two pieces, another indication that the codex was written on the threshold of the Ars Nova. Five motets à 3 can indeed be attributed to Philippe de Vitry. There are usually 13 or so five-line staves per page, for which the music has nearly always been inserted. One motet à 3 is however completely without music, and odd passages have been missed in other pieces.
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‡ denotes primary source study
Bent, Margaret, and Andrew B Wathey (editors). 1998. Fauvel Studies: Allegory, Chronicle, Music and Image in Paris, Bibliothèque nationale de France, MS français 146. Oxford: Clarendon Press.
Bent, Margaret. 1997. Polyphony of Texts and Music in the Fourteenth-Century Motet 'Tribum que non abhorruit/Quoniam secta latronum/Merito hec patimur' and its 'Quotations'. Hearing the Motet. Essays on the Motet of the Middle Ages and Renaissance, edited by Margaret Bent, 82-103. New York and Oxford.
Fowler, Maria Vedder. 1979. Musical Interpolations in 13th and 14th Century French Narratives. Ph.D. Notes: inventory.
Gennrich, Friedrich. 1958. Bibliographie der ältesten französischen und lateinischen Motetten. Pages: XXVIf etc.
Parrish, Carl. 1957. The Notation of Medieval Music. Pages: 109, 114, 132-140.
Reaney, Gilbert. 1955-56. The Lais of Guillaume de Machaut and Their Background. Proceedings of the Royal Musical Association, 82: 15-31,discussion31-32. Pages: 15-23.
Hoppin, Richard H. 1955. A Musical Rotulus of the Fourteenth Century. Revue Belge de Musicologie, 9: 131ff.
Reaney, Gilbert. 1954-60. Ars Nova in France. New Oxford History of Music, . Pages: III, 1-17.
Schrade, Leo (editor). 1954 -1956. The Polyphonic Music of the Fourteenth Century. 3 vols. Pages: I, 2-71 (complete edition of the 33 motets); I (commentary), 19-101.
Gennrich, Friedrich. 1949-79. Fauvel. Die Musik in Geschichte und Gegenwart, 1st Edition, 3: col.1883-1889. Pages: III, 1883ff.
Apel, Willi. 1942. (4th ed., 1949). The Notation of Polyphonic Music 900-1600. Cambridge, Massachusetts. Pages: 202, 315, 325ff, 448.
Kujlmann, G. 1938. Die zweistimmigen französischen Motetten des Kodex Montpellier, Faculté de Médecine H196. 2 vols.
Becker, Philip Adolf. 1936. Fauvel und Fauvelliana. Berichte iiber die Verhandlungen der Sdchsischen Akademie der Wissenschaf-ten zu Leipzig, Philologisch-historische Klasse, 68/2: 36ff.
Spanke, Hans. 1936. Zu den musikalischen Einlagen im Fauvelroman. Neuphilologische Mitteilungen, 37: 188ff. Pages: 209ff.
Rokseth, Y. 1935+1939. Les Polyphonies du XIVe siecle. 4 vols. Pages: IV, 80, 262, 291.
Ludwig, Friedrich (editor). 1926-9. Guillaume de Machaut: Musikalische Werke, 1-3. Leipzig: Publikationen älterer Musik. Pages: II, 21, 36a, 38b, 42b, 60f, 69a.
Besseler, Heinrich. 1926. Studien zur Musik des Mittelalters: II. Die Motette von Franko von Köln bis Philipp van Vitry. Archiv für Musikwissenschaft, 8: 137-258. Pages: I,167ff; II, 127, 137if, 188; Dahnk (critical text edition of the interpolations from Pn 146).
Ludwig, Friedrich. 1923. Die Quellen der Motetten ältesten Stils. Archiv für Musikwissenschaft, 5: 185-222, Vol. 5 (1924) 273-315. Pages: 199, 203, 209f, 278ff, 290, 303.
Gennrich, Friedrich. 1921, 1927. Rondeaux, Virelais und Balladen aus dem Ende des 12., dem 13. und dem ersten Drittel des 14. Jahrhunderts. 2 vols. Pages: I, 290-306 (complete edition of the Fauvel Rondeaux and Ballades); 307-372 (complete edition of the Lescurel Rondeaux, Virelais and Ballades); II, 234ff (all the refrains); 232, 242, 302 (3 motets).
Langfors, Arthur. 1914-19. Le Roman de Fauvel de Gervais du Bus, édition d'après tous les manuscrits existants. Paris: Société des Anciens Textes Français. Pages: (contains the complete text edition of the Roman minus the interpolations in Dahnk).
Wolf, Johannes. 1913-9; Reprinted: Hildesheim, 1963. Handbuch der Notationskunde. Leipzig. Pages: 278-286.
Ludwig, Friedrich. 1910. Repertorium organorum recentioris et motetorum vetustissimi stili. I. Catalogue raisonné. 1. Handschriften in Quadratnotation. Halle: Niemayer.
Aubry, Pierre. 1908. Cent Motets du XIIIe siècle. 3 vols. Pages: III, 59, 63, 95, 99.
Aubry, Pierre. 1907. Le Roman de Fauvel. Pages: (complete facsimile of the Roman de Fauvel and the old index: Pn 146 f. B, I-XLV).
Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: II-III, nos. 2-10 and 78 (edition of Pn 146 1-4, 9, 10, 13-15, 34; and 26 after GB-Lbm 28550); I, 40 ff, 66, 141, 143, 174, 357, 361, 363, 410.
Aubry, Pierre. 1903. Les plus anciens monuments de la musique française. Pages: (facsimile of f. 57).
Wolf, Johannes. 1899. Zur Geschichte der Orgelmusik im vierzehnten Jahrhundert. Kirchenmusikalisches Jahrbuch, 14: 14ff. Pages: 9, 29 (keyboard versions from GB-L6m 28550 of nos. 26 and 29); 14ff.
Wooldridge, Harry Ellis, and H V Hughes (editors). 1897 and 1913. Early English Harmony from the 10th to the 15th Century. 2 vols. London: The Plainsong and Medieval Music Society. Pages: pl. 42-45 (facsimiles of keyboard version of nos. 26 and 29 from GB-L&m 28550).
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Kevin Roger
Tuesday, 16 December, 2025
Pointed out that, the in title of the piece on f. 30, the first word should read 'Aman' ('Aman novi probatur exitu'), not 'Quoniam' as previously stated on this site (while the manuscript reads 'Quia[m]').
Benjamin Ory
Monday, 30 January, 2023
Fixed some composer misattributions
Répertoire Internationale des Sources Musicales
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description