Fountains origin of codex is indicated by the words Liber Sancte Marie de Font[ibus?] at the top of f. 4 (in a probably 15th century script), where the MS proper begins. Principal contents are: a study of the parts of speech in Latin (f. 4-17v), a treatise on the exposition of charters by Symon Oxenford (f. 18-53v) (the hand changes at f. 30), letters to Charles of Navarre by Jo. Lemovacensis (f. 55-90v) (same hand as f. 30-53v), a commentary on the 'Metamorphoses' of Ovid (f. 91-96), a process and sentence against heretics of the order of minor friars (f. 205-215v), etc. The music appears on f. 228-231, though, as can be seen from the incipits, the pages are out of order (the DIAMM inventory, though not the images, puts them in the right order). Accidentals are not infrequent; these are mainly flats, but there are some sharps and the flat is occasionally used as a natural.

white leather over wooden boards, somewhat wormeaten; one clasp.

Ars nova: employs red notes for the purpose of indicating the position of the c. f. in the middle of the three voices (responsories nos. 3, 6 and 8 have red notes; no. 4 has no minims in no. 4, but f. 231v employs the special swallow-tailed semibreve note-form. Accolades I and II of f. 228 include the downward-tailed major semibreve)

12 red four- or five-line staves per page; the four-line staves are reserved for the middle voice (the lowest accolade of the page was not filled with music at the time the sequences in the upper three accolades were copied)

228-231v. Two bifolios from another volume, bound in at the end of the ms: 229/230 was not the centre of a gathering; 228/231 was apparently the centre of a (different?) gathering.

foliated at t.r.r. in modern pencil

responsories nos. 3, 6 and 8 have initials in red with brown or green filigree, and rubrics in black ink

i vellum + 231 parchment

The Gloria Patri on fol. 228r was possibly intended for another Constantes estote on the previous leaf (now lost) with the plainsong on d in voice II (see Bent, 1987, p. vi).

RISM B/IV 2: Originally [and listed in RISM as:] STUDLEY ROYAL (nr. Ripon), FOUNTAINS ABBEY ms 23 (GB-SR 23)

A 14th-15th century vellum manuscript meas. 215 x 145 mm. and containing 231 folios numbered at t.r.r. in modern pencil. A blank vellum leaf precedes the present f. 1. The original white leather binding over wooden boards is somewhat wormeaten; it has one clasp. The Fountains origin of the codex is indicated by the words Liber Sancte Marie de Font[ibus?] at the top of f. 4 in a probably 15th century script. This is the real beginning of the ms. The principal contents are: a study of the parts of speech in Latin (f. 4-17v), a treatise on the exposition of charters by Symon Oxenford in a right-slanting 15th century hand (f. 18-53v) (the hand changes at f. 30), letters to Charles of Navarre by Jo. Lemovacensis (f. 55-90v) (same hand as f. 30-53v), a commentary on the "Metamorphoses" of Ovid (f. 91-96), a process and sentence against heretics of the order of minor friars (f. 205-215v), etc. The music appears on f. 228-231, though, as can be seen from the incipits, the pages are out of order. The Ars Nova notation employs red notes for the purpose of indicating the position of the c. f. in the middle of the three voices. There are 12 red four- or five-line staves per page, the four-line staves being reserved for the middle voice c.f. It is interesting to note that the lowest accolade of the page was not filled with music at the time the sequences in the upper three accolades were copied. The responsories nos. 3, 6 and 8 are the compositions with red notes, initials in red with brown or green filigree, and rubrics in black ink. There are no minims in no. 4, but f. 231v employs the special swallow-tailed semibreve note-form. Accolades I and II of f. 228 include the downward-tailed major semibreve. Accidentals are not infrequent; these are mainly flats, but there are some sharps and the flat is occasionally used as a natural

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