The horizontal frame-rulings at the top of each side suggest coterminous written areas at head of both recto and verso, partbook-style. At 134mm wide, it's smaller than its cousin H1709, even allowing for trimming. In Peterhouse, Fayrfax's Ave Dei patris filia takes up 27 staves, so the present recto (Fayrfax) must surely have been verso, and the present verso must originally have been ruled but unused until 1550s or later (this asumes we're not looking at the head of a long rotulet). The Fayrfax hand is c. 1530 (like H1709).

Apparently the only surviving remnant of a small portrait partbook of unknown original size. Copied in England. Owned in 20th century by the London art dealer Rex Nan Kivell (1899-1977); acquired by present library in 1969.

The first fragment is the opening of Ave Dei Patris by Fayrfax, the medius voice. Note: setting differs from all known concordances rhythmically at 'venustissima'.

The excerpt on the second page of this source is the otherwise missing part from a Gimel section of Robert White's Domine quis habitabit (II). This is cited on p. 141 of 'Robert White: II Six-Part Latin Psalms; Votive Antiphons' (Early English Church Music vol. 29 ed. David Mateer, Stainer and Bell, 1983), but 'On the eve of going to press, and too late for collation in this edition' where the passage is reconstructed.

not indicated

r+v

No initials or decoration.

paper

2 motet fragments

Anonymous

1 fragmentary paper folio, 80 x 134. Apparently the only surviving remnant of a choirbook of unknown original size. No initials or decoration.

Early 16th century. Copied in England. Owned in 20th century by the London art dealer Rex Nan Kivell (1899-1977); acquired by present library in 1969.