St. Augustine's commentary on Psalms (vi + 271) with polyphonic music on pages i-xii at the front and 529-540. Corpus from Bury St. Edmunds; one of 4 folio volumes given to the Bodleian in 1654 by Robert Nicholas of Queen's College, a judge. It would seem that the end flyleaves are simply a later part of the same codex as the front ones. The whole repertoire consists of three- and four-part motets, except for a textless piece in three-part score, which appears to be a Kyrie (no. 13). The French influence may be noted in the French texts of nos. 14 and 15, as well as in the original version of no. 16. An indication of later date as well as a confirmation of the French influence in the end flyleaves is the use of isorhythm with diminution.

brown leather over pulp boards; probably 17th century.

Ars Nova and Petronian

12 or 13 red five-line staves at the end

pages v-xii and 529-536

no foliation, but the corpus bears a probably 17th century pagination at t.r.r. and t.l.r.. The supplementary flyleaves are numbered from i-xii at the front and 529-540 at the back. (Equivalent foliation used in RISM: f. I-VI and 266-269.)

The front musical flyleaves have initials in blue-red, while those at the end have no initials but an occasional guide-letter

Paper for the bulk of the ms; but flyleaves with music are parchment.

The tenor of Omnis terra colere conetur / Habenti dabitur et habundabit (pp 530-1) is now identified conclusively as a melisma from the Gradual chant Viderunt omnes, specifically: [Viderunt omnes fines terrae salutare Dei nostri. Iubilate Deo] omnis terra. See Colton, 'Making Sense of Omnis/Habenti' (2020).

RISM B/IV 2: An early 12th century parchment manuscript of St. Augustine's commentary on Psalms 101-150 meas. 365 x 232 mm. and consisting of VI + 271 folios. Of this total there are 2 blank paper flyleaves at each end. The other 4 flyleaves at each end (f. Ill-VI and 266-269) are a mid-14th century set of pages of polyphonic music. The provenance of the codex is Bury St. Edmunds. It is one of 4 folio volumes given to the Bodleian in 1654 by Robert Nicholas of Queen's College, a judge. The binding of brown leather over pulp boards probably dates from this period. There is no foliation, but the corpus bears a probably 17th century pagination at t.r.r. and t.l.r., while the supplementary flyleaves are numbered from i-xii at the front and 529-540 at the back. Augustine's treatise ends at f. 255. On f. 256-265v is an incomplete legal treatise written in the late 13th century. The front musical flyleaves have initials in blue-red, while those at the end have no initials but an occasional guide-letter. The notation is of Ars Nova type on 12 or 13 red five-line staves at the end, but at the beginning Petronian notation is used. It would seem that the end flyleaves are simply a later part of the same codex as the front ones. The whole repertoire consists of three- and four-part motets, except for a textless piece in three-part score, which appears to be a Kyrie (no. 13). The French influence may be noted in the French texts of nos. 14 and 15, as well as in the original version of no. 16. An indication of later date as well as a confirmation of the French influence in the end flyleaves is the use of isorhythm with diminution.

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