A fourteenth- or fifteenth-century Italian liturgical manuscript containing monophonic hymns, processional, and responsorial chants, as well as Requiem chants (fols. 150r–176r), and a section with Gloria patri, psalm, and magnificat tones alongside Ite missa est and Benedicamus Domino chants (fols. 176v–188v). Near the end of the codex there are two polyphonic items, both Benedicamus Domino tropes (fols. 265v–267r), followed by a final section (fols. 267v–282r) of predominantly Marian antiphons and proper chants. In the Medieval Music Manuscripts Online Database, Dominique Gatté noted the presence of two antiphons for Saint Francis this final section (Franciscus vir catholicus and Caelorum cantor splenduit on fols. 274r–275r), suggesting that the manuscript may be Franciscan in origin.

The two polyphonic Benedicamus Domino tropes, Qui nos fecit ex nihilo and Hec est mater domini, are widely transmitted two-voice compositions, each extant in at least five other sources and both known from the Codex Las Huelgas (E-BUlh s/n). In I-BRq E. VIII.28 the two polyphonic items are notated not in score but successively across a manuscript opening. For both items, each of the voices that produces the two-part polyphony occupies a complete, separate, facing page, written in non-mensural square notation. In Qui nos fecit ex nihilo red notes are used in both of the voice parts to facilitate co-ordination by indicating a pitch of longer duration: a red note corresponds to four black notes in the accompanying voice, signalling an exception to the otherwise note-against-note polyphony.

This manuscript was listed by Dominique Gatté on the Medieval Music Manuscripts Online Database in 2021.

black, non-mensural square. In Qui nos fecit ex nihilo red notes are used in both polyphonic voices to facilitate co-ordination by indicating a pitch of longer duration

Five red four-line systems per page