A late-fifteenth-century calendar-psalter-hymnal written in 1491, which Rusconi suggests is from the Dominican convent of Santa Caterina in Brescia. Towards the end of the manuscript is a collection of polyphonic settings of troped and untroped Benedicamus Domino melodies. The first two-voice setting of a Benedicamus Domino chant melody is copied in score on fol. 156r (Barclay no. 69). Here, the chant melody is transmitted in the upper voice, while the lower voice provides the polyphonic (non-chant-based) part that typically pairs with the chant melody (also found in D-B Ham. 554). A second two-voice setting of the same Benedicamus Domino chant melody (Barclay no. 69), on fols. 156v–157r, works differently. The two voices are written separately on facing pages, each occupying the top system, in white semi-mensural notation. Taken together, these two parts contain the pitches of the complete Benedicamus chant melody in AAB form (these two parts are also found, copied separately, in I-BGrt 62). The chant melody is split between the two voice for both A sections of the chant, while the voice on fol. 156v concludes with the B section. Underneath these two polyphonic voices on fols. 156v–157r is a two-voice polyphonic setting of the Benedicamus Domino trope Verbum patris hodie (each voice likewise presented separately, on facing pages, in white semi-mensural notation. A two-voice polyphonic setting of the Benedicamus Domino trope Qui nos fecit ex nihilo follows on fols. 157v–158r. Its two voices are in black square notation, but are again written separately, each occupying a single page.

Black non-mensural square (fols. 157v–158r); White semi-mensural (fols. 156r–157r)

Seven four-line systems per page

Only partial inventory provided here (focussing on polyphonic pieces/Benedicamus domino settings)