Consists mainly of motets (37) and mass pieces (25) with some secular songs (11 Rondeaux and Virelais and 4 chaces); there are also 2 two-part discants with different texts in each voice, 2 textless pieces and a motet-like quodlibet. Besseler discerns two mains hands: the first for the main pieces on folios 1v-35v and 36v-37, the second for those on folios 37v-51, while other hands seem to have added pieces not belonging to the corpus. The manuscript seems to have been written for practical use, since there is no useless ornament; it is also well worn. Single motet parts are usually written across whole pages, the Tr on the verso and the Mot on the recto, though mass movements and old motets may be written with the pages divided into two by a line down the middle. Short secular songs and other shorter works are usually written in the space left at the bottom of pages occupied by larger works. Discovered by Borghezio in 1921; appears to have been in Ivrea since the 14th century. Its liturgical connections and central French repertoire, together with direct references to Pope Clement VI, suggest an origin in Avignon shortly after 1360. It might have been brought to Ivrea by one of the three French priests mentioned in the records there between 1361 and 1384.

Because the binding is missing, folios 1 and 64v are very worn and practically illegible. Almost complete, though the corner of fol. 5 has been torn off. The first five fascicles clearly belong together, but it is not clear whether some pages are missing between the fifth and sixth fascicles.

missing

Ars Nova: semiminims occur in only three pieces, often together with the dragma. The plica is still to be found and red notes appear occasionally, though white notes are also employed.

11 red five-line staves per page

64 ff

Modern foliation, with the exception of a VI at the top right-hand corner of fol. 26, marking the sixth folio of the third fascicle

parchment

Inventory corrected from Kügle 1997.

RISM B/IV 2: A parchment manuscript measuring 320 x 225 mm. and consisting of 64 folios divided into 6 fascicles of 5, 5, 6, 4, 6, and 6 bifolios. The binding is missing, so that folios 1 and 64v of this wholly musical manuscript are very worn and practically illegible. There are eleven red five-line staves per page and the notation is Ars Nova. The foliation is modern with the exception of a VI at the top right-hand corner of fol. 26, marking the sixth folio of the third fascicle. The manuscript was discovered by Borghezio in 1921 and appears to have been in Ivrea since the 14th century. Its liturgical connections and central French repertoire, together with direct references to Pope Clement VI, suggest an origin in Avignon shortly after 1360, whence it may have been brought to Ivrea by one of the three French priests mentioned in the records there between 1361 and 1384. The first five fascicles belonged together from the start, but it is not clear whether some pages are missing between the fifth and sixth fascicles. Besseler believes that two main hands were concerned in copying the manuscript, the first for the main pieces on folios 1v-35v and 36v-37, the second for those on folios 37v-51, while other hands seem to have added pieces not belonging to the corpus. The manuscript consists mainly of motets (37) and mass pieces (25) with a sprinkling of secular songs (11 Rondeaux and Virelais and 4 chaces). 2 two-part discants with different texts in each voice, 2 textless pieces and a motet-like quodlibet complete the picture. The manuscript gives evidence of having been written for practical use, since there is no useless ornament and moreover the codex is well worn. Single motet parts are usually written across whole pages, the Tr on the verso and the Mot on the recto, though mass movements and old motets may be written with the pages divided into two by a line down the middle. Short secular songs and other shorter works are usually written in the space left at the bottom of pages occupied by larger works. The manuscript is almost complete, though the corner of fol. 5 has been torn off. Semiminims occur in only three pieces, often together with the dragma. The plica is still to be found and red notes appear occasionally, though white notes are also employed. The Solus Tenor already occurs in 4 pieces. Composers' names are almost entirely absent, but IV is nevertheless the main source of Philippe de Vitry's works, and, although many compositions remain anonymous, there are four motets by Machaut and single works are traceable to various less known men, particularly from the ms F-APT 16 bis, a slightly later Avignon source.

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