GB-Ob MS. Bodl. 652

Bodleian Library, Oxford, England

non-music MS with interpolated music: early 14th century (flyleaves)

Archive Bodleian Library, Oxford, England (GB-Ob)
Shelfmark MS. Bodl. 652
Surface Parchment
Numbering System Foliation
Format portrait
Measurements 188 x 120 mm
Other Identifiers
  • RISM: OBo 652
Notations
  • post-Franconian
Relationships
External Links
Provenance
  • England
Contents 6 pieces from 1 composers
General Description

Three distinct manuscripts, bound together. These contain (a) 'Jacob and Joseph', a sacred poem in English (f. 1-10v), (b) a French version of the 'Elucidarius' of Honorius Augustodunensis (f. 11-46) and a letter from Prester John to Frederick Barbarossa in French (f. 46v-51v), and (c) 'Le Chasteau d'Amour' (f. 52-64). The 2 musical flyleaves are f. i-ii and 69-70, namely 2 single leaves from the same manuscript, both folded vertically so that f. i and f. 70 are little more than stubs. The music is more or less complete laterally, and, since f. i-ii have music upside down on the reverse side, these pages may be from a rotulus. On f. 69-70, however, the music is upside down on both sides. Except for the Benedicamus domino, the music consists of motet fragments. The MS was presented by Sir Richard Worseley in 1607.

DIAMM, 2017
Binding

plain brown leather over wooden boards: later than the 17th century

DIAMM, 2017
Notation

Petronian notation

DIAMM, 2017
Date

RISM dates the flyleaves c. 1400, judging from the use of the mensuration sign 0, though the notation is Petronian and there are no minims. But, as Margaret Bent pointed out in 1996 ('The early use of the sign Ø'. Early Music, 24/2: 199-225), the cut-circle sign has no mensural significance. All other palaeographical and musical aspects indicate the early 14th century. So the flyleaves should be dated to the early 14th century. (James R. Tomlinson)

DIAMM, 2017
Ruling

red five-line staves mainly, though f. i verso-ii has 3 brown five-line staves at the bottom of the page. There are now 9 staves on each side of the page, 8 and 7 on f. 69 and 70.

DIAMM, 2017
Foliation

brown ink foliation by G. Langbaine at t.r.r., which runs from f. 1-65; 17th century. Fol. i-vii and 66-70 are foliated in modern pencil at t.r.r.

DIAMM, 2017
Foliation

front and back board offsets, i-ii verso, 69-70

DIAMM, 2017
Decoration

Initials are coloured blue with red filigree for these musical leaves and section A of the corpus, and gold + blue and red in sections B and C, though the latter has mainly small capitals in red or blue.

DIAMM, 2017
Surface

parchment

DIAMM, 2017
DIAMM Note

f. 69 shows later music overwritten in very pale ink, probably 16th-century

DIAMM, 2017
RISM Description

RISM B/IV 1: A parchment manuscript of the second half of the 13th century meas. 188 x 120 mm. and containing vii + 70 folios. According to the Bodleian Summary Catalogue, this source consists of three distinct manuscripts which have been bound together. These contain (a) "Jacob and Joseph", a sacred poem in English (f. 1-10v), (b) a French version of the "Elucidarius" of Honorius Augustodunensis (f. 11-46) and a letter from Prester John to Frederick Barbarossa in French (f. 46v-51v), and (c) "Le Chasteau d'Amour" (f. 52-64). The ms was presented by Sir Richard Worseley in 1607, and the brown ink foliation by G. Langbaine at t.r.r., which runs from f. 1-65, dates from the 17th century. The plain brown leather binding over wooden boards seems to be somewhat later. Fol. i-vii and 66-70 are foliated in modern pencil at t.r.r. The 2 musical flyleaves are f. i-ii and 69-70, namely 2 single leaves from the same manuscript, both folded vertically so that f. i and f. 70 are little more than stubs. The music is more or less complete laterally, and, since f. i-ii have music upside down on the reverse side, these pages may be from a rotulus. On f. 69-70, however, the music is upside down on both sides. The date of these flyleaves is c. 1400, to judge from the use of the mensuration sign 0, though the notation is Petronian and there are no minims. The music is written on red five-line staves mainly, though f. i verso-ii has 3 brown five-line staves at the bottom of the page. There are now 9 staves on each side of the page, 8 and 7 on f. 69 and 70. The present measurements are 190 x 170 and 188 x 186 mm. respectively. Initials are coloured blue with red filigree for these musical leaves and section A of the corpus, and gold + blue and red in sections B and C, though the latter has mainly small capitals in red or blue. Except for the Benedicamus domino, the music consists of motet fragments.

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Répertoire International des Sources Musicales

69

Click an entry to see more information about that item.

Folio / Pages Composition / Item title Source attribution Composers (? Uncertain)
i, ii verso, 69 and 70v Rota versatilis. Orbis dominacio / Rota versatilis - Anonymous
Appears on: i, ii verso, 69 and 70v
Genres: Motet
Voice: [no designation]
Languages: Latin
Clef: c2
Voice Text: ... que se parit tote ... Expl ... virgo possit palatium

Voice: [no designation]
Languages: none
Clef: f4
General Note

all reversed except f. i; here are most of an upper voice and one lower textless voice of the Rota "Rosa versaulis"

Layout

parts

Item Bibliography

Bent, Margaret. 1987. The Fountains Fragments [facsimile with introduction]. Musical Sources.  Clarabricken: Boethius Press. Pages: [facs.] plate 12.

Bent, Margaret. 1981. Rota versatilis--Toward a Reconstruction. Source Materials and the Interpretation of Music: A Memorial Volume to Thurston Dart, edited by Margaret Bent, 65-98. London: Stainer and Bell. Pages: [facs.] plate 1.

Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music.  London: Stainer & Bell. Pages: (26), [facs.] plate 1.

i and ii verso Rex sanctorum, angelorum, princeps - Anonymous
Appears on: i and ii verso
Genres: Motet
Voice: Triplum
Languages: Latin
Clef: c1
Voice Text: Rex sanctorum, angelorum, princeps
General Note

Tr only

Layout

parts

Item Bibliography

Harrison, Frank Llewellyn (editor). 1963-. Early English Church Music.  London: Stainer & Bell. Pages: (26), [facs.] plate 209.

i verso …sed caritas rogantibus dat omnia / Regina - Anonymous
Appears on: i verso
Genres: Motet
Voice: Tenor
Languages: Latin
Clef: c3
Voice Text: Regina

Voice: [no designation]
Languages: Latin
Clef: c4
Voice Text: …Expl…sed caritas rogantibus dat omnia
General Note

Two parts of a motet, music cut away from initial stave

Layout

parts

i verso Salve, sancta virgula / Salve sancta parens - Anonymous
Appears on: i verso
Genres: Sequence
Voice: Triplum
Languages: Latin
Clef: c2
Voice Text: Salve, sancta virgula

Voice: Tenor
Languages: Latin
Clef: f4
Voice Text: Salve sancta parens
General Note

Tr and T only

Layout

parts

69v–70 …ut viis illudaris in naturalibus - Anonymous
Appears on: 69v–70
Genres: Motet
Voice: [no designation]
Languages: Latin
Clef: c1
Voice Text: Expl…ut viis illudaris in naturalibus
General Note

end of a Tr beg. "…rogativam potuit quare"; music cut away for first stave

Layout

parts

69v–70 Benedicamus Domino - Anonymous

Benedicamus Domino

Anonymous
Appears on: 69v–70
Genres: Benedicamus Domino, Motet
Voice: [no designation]
Languages: Latin
Clef: c5
Voice Text: Benedica[mus domino]

Voice: [no designation]
Languages: Latin
Clef: c1
Voice Text: Benedicamus domino
General Note

one fairly complete voice + the first half of a second voice

Layout

parts

Composition Composers (? Uncertain) Folios / Pages
Benedicamus Domino Anonymous 69v–70
Rex sanctorum, angelorum, princeps Anonymous i and ii verso
Rota versatilis. Orbis dominacio / Rota versatilis Anonymous i, ii verso, 69 and 70v
Salve, sancta virgula / Salve sancta parens Anonymous i verso
…sed caritas rogantibus dat omnia / Regina Anonymous i verso
…ut viis illudaris in naturalibus Anonymous 69v–70

Images © Bodleian Library, Oxford

denotes primary source study

Bent, Margaret. 1996. The early use of the sign Ø. Early Music, 199-225.

Bent, Margaret. 1981. Rota versatilis--Toward a Reconstruction. Source Materials and the Interpretation of Music: A Memorial Volume to Thurston Dart, edited by Margaret Bent, 65-98. London: Stainer and Bell.

Handschin, Jacques. 1949. The Summer Canon and its Background. Musica Disciplina, 55-94, volume 5 (1951), 65-113. Pages: I, 83.

Bukofzer, Manfred F. 1944. "Sumer is icumen in": A Revision. . Pages: 97.

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James R. Tomlinson

Wednesday, 6 March, 2024

The musical flyleaves are dateable to the early 14th century (not c.1400 as in RISM). As Margaret Bent pointed out in 1996 ('The early use of the sign Ø'. Early Music, 24/2: 199-225), the cut-circle sign has no mensural significance. All other palaeographical and musical aspects indicate the early 14th century.' Date statement and note adjusted.

Répertoire Internationale des Sources Musicales

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description