A mixed collection of liturgico-musical miscellanea written in 17 different hands. The leaves include additions and fill-ins and some were erased and re-written. The collection however is not apparently random, and seems to have been used as updates or additions to various sections of the liturgy. The geographical or religious context seems to be consistent. The book clearly originates from the convent of S Giuliana in Perugia, and various writings and other evidence identify the scribes of the codex as belonging to this convent or the associated Hermits of St Augustine. A note on 1r reads 'Revendissimi D. Gabr. Mariae Guastucii Abbatis S. Mariae Urani, Donum Bibliothecae Class, Anno MDCCLXXIV'. There are other factors that relate the book to Cistercian monasticism, not the least of which is an illuminated initial showing a nun praying dressed in the Cistercian habit (f. 7v). The section written by Onofrio concludes with a Benedicamus. Above the original square notation a hand, if not contemporary then soon after the original copying, added a second entry using solmisation syllables.

The style of the music is unusual and archaic, reminiscent of what might have been described in the Micrologus of Guido d'Arezzo, characterised by unisons, and fourths, and almost totally excluding thirds and fifths.

There are two other works where a second part has been added: a Kyrie on f. 14r and another Benedicamus on 24v.

gothic text and quadratic music notation

A fairly precise dating is possible. S Onofrio, who identifies himself in the codex, informs us that he is lector in Perugia. In an edict issued by Pope Boniface IX in 1394, he is mentioned with the rank of professor and magister, a title equivalent to that of Lector. Innocent VII appointed him Bishop of Ugent (in Puglia) in 1405, where he remained until his death in 1427. The book was therefore probably drawn up before his episcopal election in 1405, with a terminus post quem of around 1380.

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