Contains Commentum Ioannicii super tegni Galieni (f. 1-70), Regimentum acutorum cum commento (f. 70v-112v), the Aphorisms of Hippocrates with commentary by Constantine (f. 114-171v), and the Prognostica of Hippocrates with commentary (f. 172-213v), on vellum. Music is on the flyleaves. F. iv is torn away vertically at the right almost to the middle, while the verso of f. v is still glued to the binding and contains music in two-part score beginning with the letters 'Te-'. The front flyleaves f. i-ii are not the middle of a gathering, hence none of the pieces is complete: these works are four-part motets written in separate parts. The compositions on f. iv-v consist of a three-part Credo and 2 three-part conductus or sequences.

Petronian notation

i-ii v, iv-v v,

modern pencil at t.r.r

the four-part motet have blue-red initials

Parchment

RISM B/IV 1: An early 14th century vellum manuscript meas. 282 x 205 mm. and containing iii + 214 + ii folios. The corpus consists of f. 1-213, and f. iii and 214 are flyleaves to it. The musical flyleaves are f. i-ii and the two leaves at the end: f. iv-v. The foliation is in modern pencil at t.r.r. The contents of the corpus are: Commentum Ioannicii super tegni Galieni (f. 1-70), Regimentum acutorum cum commento (f. 70v-112v), the Aphorisms of Hippocrates with commentary by Constantine (f. 114-171v), and the Prognostica of Hippocrates with commentary (f. 172-213v). On f. 214 are a couple of scribbles in Dutch, including the name Roebosch, while at the bottom of f. 213v is the 15th century name T. Westhagh. The corpus may be of South French origin, but the music is certainly from England. The binding is of skin over wooden boards (2 clasps are missing). Of the musical flyleaves, f. iv is torn away vertically at the right almost to the middle, while the verso of f. v is still glued to the binding and contains music in two-part score beginning with the letters "Te-". The front flyleaves f. i-ii are not the middle of a gathering, hence none of the pieces is complete: these works are four-part motets in Petronian notation written in separate parts. While these pieces have blue-red initials, those at the end have no initials: the compositions on f. iv-v consist of a three-part Credo and 2 three-part conductus or sequences.

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