A bifolio of polyphonic music bound into a cartulary of St. Gudule. Written by multiple scribes. The only unique work is no. 3, but nos. 1 and 4 are indicative of the wide dissemination of Philippe de Vitry's motets.

Though the bottom of the page is torn, no music is missing on the two leaves, but the top of f. 53 in particular is faded and to some extent erased.

brown mottled paper over pulp boards; c. 1800

f. 2: Fructus capellanie Sancti Anthonii in ecclesia beate Gudile Bruxelle (1563)

Ars Nova

The large writing at the top of f. 53 is obviously the same as that dated 1563

9 or 10 red four- and five-line staves per page

53rv, 67rv

The bifolio is foliated f. 53 and 67 bis. The MS is otherwise paginated at t.r.r. in a brown ink, c. 1800 contemporary with the binding (does not include f. 67 bis).

Two leaves following the front flyleaf bear a list of contents.

i paper + 157 parchment and paper + i paper

RISM B/IV 2: A cartulary of the church of St. Gudule in parchment and paper and in many hands dating from the 15th and 16th century. There are 157 numbered leaves plus 1 blank ribbed paper flyleaf at each end. The pagination, which does not include f. 67 bis, is at t.r.r. in a brown ink of c. 1800 contemporary with the binding of brown mottled paper over pulp boards. Following the front flyleaf are two similar leaves containing a list of contents. The pages vary in size from 8vo to 4to. A 14th century bifolio of polyphonic music is bound in with the rest as f. 53 and 67 bis. The large writing at the top of f. 53 is obviously the same as that dated 1563 on f. 2. It reads: "Fructus capellanie Sancti Anthonii in ecclesia beate Gudile Bruxelle". The parchment bifolio has a maximum measurement of 295 x 220 mm. Though the bottom of the page is torn, no music is missing on the two leaves, but the top of f. 53 in particular is faded and to some extent erased. The Ars Nova notation, which probably dates from about the middle of the century, employs 9 red five-line staves per page, except for f. 53 which has 10. The only unique work is no. 3, but nos. 1 and 4 are further evidence of the wide diffusion of Philippe de Vitry's motets.

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