F-Pnm NAF 4379 (Seville Chansonnier (part))

Bibliothèque nationale de France, Département des Manuscrits, Paris, France

manuscript of polyphony: Part I: ca. 1470-85; Part II: early 15th century; Part III: ca. 1433; Part IV: late 15th century

Archive Bibliothèque nationale de France, Département des Manuscrits, Paris, France (F-Pnm)
Shelfmark NAF 4379 (Seville Chansonnier (part))
Surface Paper
Numbering System Foliation
Measurements 207 x 154; 210 x 143; 210 x 143; 220 x 150 mm
Other Identifiers
  • CCM: ParisBNN 4379
  • Other catalogues/source: PC
  • olim (Former shelfmark): F-Pn nouvelles acquisitions françaises 4379
  • Alternative names: SevC 5-1-43
Notations
  • black full mensural
  • black void mensural
  • coloration in black full
Copyists
Relationships
External Links
Provenance
  • Napoli (Naples)? Italy
Contents Contains 97 compositions, 48 from 21 composers, 49 are anonymous.
General Description

Images shown are on the Gallica IIIF server.

Composite of four separate and unrelated manuscripts first bound together in 1885: Part I = new ff. 1-42 (originally part of same manuscript as SevC 5-1-43); Part II = ff. 43-60; Part III = ff. 61-68; Part IV = ff. 69-92.

Part I copied by two main scribes and two additional scribes, all of whose hands also appear in SevC 5-1-43. Part II copied by a single scribe. Part III (tenor only of each composition) copied mostly by two scribes, one of whom (the copyist of ff. 61-64) also wrote OxfBC 213 (SchoopO); piece in black notation at top of f. 64' is later addition by a third scribe. Part IV copied by two main scribes and two additional scribes.

Part I probably copied in Naples, but Roman origin also possible (AtlCG); Part II copied in Italy (DufayO); Part III probably copied in Venice or vicinity (see SchoopO for discussion of relationship of Parts II-III to OxfBC 213); Part IV copied in Italy (DufayO) or Spain (MME).

Part I and SevC 5-1-43 once formed single manuscript, purchased in Rome in 1515 by Fernando Colón (1488-1539), son of the navigator; manuscript listed as #2526 in surviving catalogue ('Registrum B') of Colón's books. A virtual reconstruction of this complete manuscript is here. Parts II-IV also possibly owned by Colón, who bequeathed his library (the so-called 'Fernandina' or 'Colombina') to his nephew Luis. Collection passed to chapter of Seville Cathedral in 1552.

Part I of present manuscript (and probably Parts II-IV) removed from Colombina in 1884, and taken to Paris; all four items acquired by Bibliothèque Nationale in 1885, and rebound in present arrangement.

DIAMM, 2017
Physical Description

Some folios damaged by ink corrosion, but music still legible. Later trimming of many folios obliterated some attributions and most of a Roman numeral foliation in Part I

DIAMM, 2017
Binding

Rebound in modern covers of green morocco leather, with inscription 'CHANSONS A TROIS VOIX' stamped in gold on spine

DIAMM, 2017
Watermark

Only fragments of watermarks visible-Part I: (1) resembles Briquet #3387; (2) generally resembles Briquet #4413. Part II: three-peaked mountain. Part III: (1) generally resembles Briquet #6296; (2) bow and arrow. Part IV: (1) extended hand with six-petalled flower; (2) crown(?).

DIAMM, 2017
Notation

black full mensural, with black full black void coloration; black void mensural with black full black full coloration

DIAMM, 2017
Ruling

Staff height 14.5 in Part I, Part II, and ff. 65'-68' of Part III; 13.5 on ff. 61-65 of Part III; 16.0 in Part IV.

DIAMM, 2017
Foliation

Part 1: Remnants of Roman numeral foliation; modern ink foliation, 1-92 on upper right rectos. Two additional numbering systems in original manuscript to which Part I once belonged: (1) Original ink foliation on lower right rectos uses letters to designate gatherings, Arabic numbers to designate folios within gatherings. Foliation extended from 'a1' through 'r8' in original manuscript of 188 folios; (2) Original ink numbering of pieces on upper right rectos, 1-164 (numbers sometimes mistakenly construed as foliation).

Original folios now in Part I of ParisBNN 4379 include e2-e11, f4-f12, g1, h2-h11, n2-n12, o1; eight original folios (a10, b6-b10, f3, g2) lost at an unknown time; remaining folios now SevC 5-1-43.

DIAMM, 2017
Decoration

Part I has inked calligraphic initials coloured with a light yellow wash and decorated with faces, flower and leaf designs. No initials or decoration in Parts II-III. Part IV has inked calligraphic initials, less elaborate than those in Part I.

DIAMM, 2017
Index

No index in ParisBNN 4379, but incomplete alphabetical index of Part I found at beginning of SevC 5-1-43.

DIAMM, 2017
Surface

paper

DIAMM, 2017
Census Catalogue of Music Description

This information is reproduced here by kind permission of the publishers. It is COPYRIGHT and copying/reproduction of this content without permission may result in legal action.

PARIS. Bibliothèque Nationale, Département des Manuscrits. Nouvelles Acquisitions Françaises. MS 4379 [see also SevC 5-1-43]

Part I: 35 French secular pieces, 3 Italian secular pieces, 1 Dutch secular piece, 1 piece with mixed text incorporating many transliterations of Hebrew words, 4 quodlibets = 44 (7 incomplete, but missing parts for 6 of these are found in SevC 5-1-43). Part II: 13 French secular pieces, 3 Italian secular pieces = 16. Part III: 3 motets (T only), 12 French secular pieces (T only), 5 Italian secular pieces (2 with T only, 1 with fragmentary D only) = 20. Part IV: 1 Gloria, 1 Magnificat, 2 motets, 1 Benedicamus domino, 8 French secular pieces (1 with D only), 2 Spanish secular pieces, 1 textless piece (D only) = 16. Total for manuscript = 96

Part I: (Bedingham)-1, (Bedingham/Dufay)-1, (Bedingham/ Dufay-anon)-1, (Bedingham/Dunstable)-1, (Bedingham/Dunstable-anon)-1, (Binchois)-2, (Binchois-anon)-1, (Binchois-anon-Bedingham/Dunstable)-1, (Binchois/Frye)-1, (Busnois-anon)-1, (Busnois/Caron)-1, (Caron/Morton)-1, (Dufay)-3, (Hayne van Ghizeghem)-2, (Molinet)-1, Morton-1, (Ockeghem)-2, Phillipet de Pres-1, anon-21. Part II: (Binchois)-2, (Ciconia)-3, (Dufay)-2, (Fontaine)-1, (Franchois)-1, (Grossin)-1, (A. Lantins)-2, anon-4. Part III: (Binchois)-4, (Ciconia)-1, (Dufay)-4, (Grossin)-1, (A. Lantins)-4, (Vide)-1, anon-5. Part IV: (Basiron)-1, (Busnois)-1, (Dufay)-1, Madrid-2, Wreede-2, anon-9

iii + 92 + iii paper folios, of varying sizes (see below). Composite of four separate and unrelated manuscripts first bound together in 1885: Part I = new ff. 1-42, measuring ca. 207 x 154 (originally part of same manuscript as SevC 5-1-43); Part II = ff. 43-60, 210 x 143; Part III = ff. 61-68, 210 x 143; Part IV = ff. 69-92, 220 x 150. Some folios damaged by ink corrosion, but music still legible. Later trimming of many folios obliterated some attributions and most of a Roman numeral foliation in Part I. Modern ink foliation, 1-92, on upper right rectos.

Two additional numbering systems in original manuscript to which Part I once belonged-(1) Original ink foliation on lower right rectos uses letters to designate gatherings, Arabic numbers to designate folios within gatherings. Foliation extended from "a1" through "r8" in original manuscript of 188 folios. Original folios now in Part I of ParisBNN 4379 include e2-e11, f4-f12, g1, h2-h11, n2-n12, o1; eight original folios (a10, b6-b10, f3, g2) lost at an unknown time; remaining folios now SevC 5-1-43. (2) Original ink numbering of pieces on upper right rectos, 1-164 (numbers sometimes mistakenly construed as foliation).

New ff. 20, 67-68, 69, and 84 have blank staves only. Rebound in modern covers of green morocco leather, with inscription "CHANSONS A TROIS VOIX" stamped in gold on spine. No index in ParisBNN 4379, but incomplete alphabetical index of Part I found at beginning of SevC 5-1-43.

All of Part II and one piece in Part III (f. 64') copied in black mensural notation, with black void coloration; all other music in white mensural notation, with black full coloration. Part I copied by two main scribes and two additional scribes, all of whose hands also appear in SevC 5-1-43. Part II copied by a single scribe. Part III copied mostly by two scribes, one of whom also wrote OxfBC 213 (SchoopO); piece in black notation at top of f. 64' is later addition by a third scribe. Part IV copied by two main scribes and two additional scribes. Staff height 14.5 in Part I, Part II, and ff. 65'-68' of Part III; 13.5 on ff. 61-65 of Part III; 16.0 in Part IV.

Part I has inked calligraphic initials colored with a light yellow wash and decorated with faces, flower and leaf designs. No initials or decoration in Parts II-III. Part IV has inked calligraphic initials, less elaborate than those in Part I. Only fragments of watermarks visible-Part I: (1) resembles Briquet #3387; (2) generally resembles Briquet #4413. Part II: three-peaked mountain. Part III: (1) generally resembles Briquet #6296; (2) bow and arrow. Part IV: (1) extended hand with six-petalled flower; (2) crown(?).

Part I: ca. 1470-85 (see discussion in AtlCG, SchavP). Part II: early 15th century. Part III: ca. 1433 (SchoopO). Part IV: late 15th century. Part I probably copied in Naples, but Roman origin also possible (AtlCG); Part II copied in Italy (DufayO); Part III probably copied in Venice or vicinity (see SchoopO for discussion of relationship of Parts II-III to OxfBC 213); Part IV copied in Italy (DufayO) or Spain (MME). Part I and SevC 5-1-43 once formed single manuscript, purchased in Rome in 1515 by Fernando Colón (1488-1539), son of the navigator; manuscript listed as #2526 in surviving catalogue ("Registrum B") of Colón's books. Parts II-IV also possibly owned by Colón, who bequeathed his library (the so-called "Fernandina" or "Colombina") to his nephew Luis. Collection passed to chapter of Seville Cathedral in 1552. Part I of present manuscript (and probably Parts II-IV) removed from Colombina in 1884, and taken to Paris; all four items acquired by Bibliothèque Nationale in 1885, and rebound in present arrangement.

Vol 4

Contents: In Part IV, change "8 French secular pieces" to "9 French secular pieces"; change "2 Spanish secular pieces" to "1 Spanish secular piece."

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

65v-66r

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Sets

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‡ denotes primary source study

Cuthbert, Michael Scott. 2006. Trecento fragments and Polyphony beyond the codex. Harvard University, Ph.D.

Bent, Margaret, and Anne Hallmark (editors). 1985. Complete Works of Johannes Ciconia. Polyphonic Music of the Fourteenth Century, vol. 24.  Monaco: Éditions de l'Oiseau-Lyre. Pages: XXIV, 144-6,210-2. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Baumann, Dorothea. 1984. Silben- und Wortwiederholungen im italienischen Liedrepertoire des späten Trecento und frühen Quattrocento. Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts: Vorträge des Gastsymposiums in der Herzog August Bibliothek Wolfenbüttel, 8. bis 12. September 198, Göttinger Musikwissenschaftliche Arbeiten, vol. 10. edited by Dorothea Baumann, 77-91. Kassel: Bärenreiter. Pages: 77-92.

Brown, Howard Mayer (editor). 1983. A Florentine Chansonnier from the Time of Lorenzo the Magnificent: Florence, Biblioteca Nazionale Centrale MS Banco Rari 229. Monuments of Renaissance Music, vol. VII.  Chicago and London. Pages: 191,210,212ff,224, passim. Notes: physical description (partial); contents list (partial); concordances (partial); mention of MS; discussion.

Hanen, Martha Knight. 1983. The Chansonnier El Escorial IV.a.24: Commentary and Edition. Musicological Studies, vol. XXXVI/1-3. 3 vols. Henryville, Ottawa, and Binningen. Pages: I, 30, 36-8, 163-70; II1,442-5. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Staehelin, Martin. 1983. Bemerkungen zum Verhältnis von Werkcharacter und Filiation in der Musik der Renaissance. Datierung und Filiation von Musikhandschriften der Josquin-Zeit, Wolfenbütteler Forschungen, vol. 26. 199-215. Wiesbaden. Pages: 202,211. Notes: contents list (partial); concordances (partial); facsimile (partial); mention of MS; discussion.

Atlas, Allan W (editor). 1981. Robert Morton: The Collected Works. Masters and Monuments of the Renaissance, vol. 2.  New York. Pages: xxiii,xxvi-xxvii,xxxi,xxxvi,3-4,62-4,77-85,89-92. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Atlas, Allan W. 1981. Review of Perkins, Leeman L: and Garey, Howard (eds.): "The Mellon Chansonnier" (New Haven and London, 1979). Journal of the American Musicological Society, 34: 132ff. Pages: 139-40. Notes: physical description; mention of MS; discussion.

Atlas, Allan W. 1981. Conflicting Attributions in Italian Sources of the Franco-Netherlandish Chanson, c. 1465-c. 1505: A Progress Report on a New Hypothesis. Music in Medieval and Early Modern Europe: Patronage, Sources and Texts,  Cambridge. Pages: 260-2,269-71,278,281,283. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Boorman, Stanley. 1981. Limitations and Extensions of Filiation Technique. Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, edited by Stanley Boorman, 319-46. Cambridge: Cambridge University Press. Pages: 326-39. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Bernstein, Lawrence F. 1980. French Duos in the First Half of the Sixteenth Century. Studies in Musicology in Honor of Otto E. Albrecht, , 43-87. Kassel, Basel, and London. Pages: 48-9. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Sadie, Stanley (editor). 1980. The New Grove Dictionary of Music and Musicians.  London. Pages: IX,627-8. Notes: contents list (partial); transcription (partial); facsimile (partial).

Hamm, Charles E, and Herbert Kellman (editors). 1979-1988. Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550. Renaissance Manuscript Studies, vol. 1-5. 5 vols. Neuhausen nr. Stuttgart: American Institute of Musicology, Hänssler Verlag. Pages: III, 29; IV, 43.

Davis, Dennis Michael. 1979. The Structure and Contents of Munich, Bayerische Staatsbibliothek Codex Lat. Mon. 5023. University of Illinois, Unpublished Master's thesis. Pages: 92, 94, 133-4, 150-1. Notes: mention of MS; contents list (partial); concordances (partial); incipits (partial).

Perkins, Leeman L, and Howard Garey (editors). 1979. The Mellon Chansonnier.  New Haven and London. Pages: I,15; II,169,176-7, 254ff, passim. Notes: physical description; contents list (partial); concordances (partial); mention of MS; discussion.

Fallows, David. 1978. Robert Morton's Songs: A Study in Styles in the Mid-Fifteenth Century. University of California at Berkeley, Unpublished Ph.D. dissertation. Pages: 76,433-4,458,497. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Gore, Glenn Leon. 1978. The Works of Philippe Basiron (Philippon?): Transcription and Commentary. West Virginia University, Unpublished Ph.D. dissertation. Pages: I,27-8, 108-11; Il, xviii. Notes: contents list (partial); concordances (partial); mention of MS; discussion.

Hoppin, Richard H. 1978. Medieval Music.  New York: W. W. Norton. Pages: 495.

Pope, Isabel, and Masakata Kanazawa (editors). 1978. The Musical Manuscript Montecassino 871: A Neapolitan Repertory of Sacred and Secular Musk of the Late Fifteenth Century.  Oxford. Pages: 489,547ff, passim. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Kemp, Walter H. 1976. The Manuscript Escorial V.III.24. Musica Disciplina, 30: 97-129. Pages: 112,118. Notes: mention of MS; contents list (partial); concordances (partial).

Thompson, James (editor). 1976. Les Oeuvres Completes de Philippe (?) Caron. Transcription et Notes Critiques de James Thomson.  Brooklyn: Institute of Mediaeval Music. Pages: II, iv, 170,194-5. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Atlas, Allan W. 1975-6. The Cappella Giulia Chansonnier (Rome, Biblioteca Apostolica Vaticana, C. G.XIII.27). Musicological Studies, vol. 27.  Brooklyn. Pages: I,164,178,180,183-5,192-6,212-3,257. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.

Pirrotta, Nino. 1972. Ricercare e variazioni su "O rosa bella". Studi Musicali, 1: 59-77.

Moerk, Alice Anne. 1971. The Seville Chansonnier: An Edition of Seville 5-1-43 and Paris N.A.FR. 4379 (Pt 1). West Virginia University, Ph.D. Dissertation. Notes: physical description; contents list; concordances; texts; discussion.

Schoop, Hans. 1971. Entstehung und Verwendung der Handschrift Oxford Bodleian Library, Canonici misc. 213. Publikationen der Schweizerischen Musikforschenden Gesellschaft Series II, vol. 24.  Bern and Stuttgart. Pages: 72-85, Taf. 1-2. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.

Bernstein, Lawrence F. 1969. Cantus Firmus in the French Chanson for Two and Three Voices, 1500-1550. New York University, Unpublished Ph.D. dissertation. Pages: 129-30. Notes: contents list (partial); mention of MS; discussion.

Jeppesen, Knud. 1968-70. La Frottola. Acta Jutlandica, vol. XL/2, XLI/1, & XLII/1. 3 vols. Copenhagen. Pages: II,86-7,182-3. Notes: physical description; contents list (partial); concordances (partial).

Günther, Ursula. 1966. Die 'anonymen' Kompositionen des Manuskripts Paris, B.N., fonds it. 568 (Pit). Archiv für Musikwissenschaft, 23: 73-92.

Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts.  Tutzing. Pages: 155. Notes: physical description; contents list (partial); concordances (partial); incipits (partial).

Plamenac, Dragan. 1965. The Two-Part Quodlibets in the Seville Chansonnier. The Commonwealth of Music, 163-81. London and New York. Notes: contents list (partial); transcriptions (partial); facsimile (partial); mention of MS; discussion.

Plamenac, Dragan. 1962. Facsimile Reproduction of the Manuscripts Sevilla 5-1-43 & Paris N. A. Fr. 4379 (Pt. 1). Publications of Medieval Musical Manuscripts, vol. 8.  Brooklyn. Notes: physical description; contents list (partial); concordances (partial); facsimile.

Clercx-Lejeune, Suzanne, and Suzanne Clercx. 1960. Johannes Ciconia, un musicien liégois et son temps. Académie Royale de Belgique, Classe des Beaux-Arts: Mémoires: Collection in-4, II série, vol. X, fasc. 1a/1b. 2 vols. Brussels: Palais des Académies. Pages: I,54-7,79; II,11-2,15-8, 63-7,73-7. Notes: contents list (partial); concordances (partial); incipits (partial); transcription (partial); mention of MS; discussion.

Schmitz, Arnold (editor). 1955-. Musikalische Denkmäler.  Mainz. Pages: II,13*,55,62ff. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Reaney, Gilbert. 1955. The Manuscript Oxford, Bodleian Library, Canonici Misc. 213. Musica Disciplina, 9: 73-104. Pages: 88ff. Notes: contents list (partial); concordances (partial).

Plamenac, Dragan. 1953. New light on the Codex Faenza 117. Bericht über den internationalen Kongress für Kirchenmusik in Bern, 1952, Publikationen der schweizerischen musikforschenden Gesellschaft, vol. ii/3. 310–326. Bern: Paul Haupt. Pages: 310-326.

Pirrotta, Nino. 1952. Paolo Tenorista, fiorentino 'extra moenia'. Estudios Dedicados a Menéndez Pidal III, edited by Nino Pirrotta, 577-606. Madrid: Consejo superior de investigaciones scientificas. Pages: 577-606.

Plamenac, Dragan. 1951-1952. A Reconstruction of the French Chansonnier in the Biblioteca Colombina, Seville. The Musical Quarterly, 37-38: (37) 501-542, (38) 85-117, 245-77. Notes: physical description (partial); contents list; concordances; facsimile (partial); mention of MS; discussion.

Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik.  Kassel. Pages: X,800-1; XII,984. Notes: physical description (partial).

de Van, Guillaume, and Heinrich Besseler (editors). 1948-66. Guillaume Dufay: Opera Omnia. Corpus mensurabilis musicae, vol. 1.  Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: V.xli; VI, passim. Notes: physical description (partial); contents list (partial); concordances (partial).

Plamenac, Dragan (editor). 1947-. Johannes Ockeghem: Collected Works.  American Musicological Society. Pages: II,xxxvii,116. Notes: contents list (partial); transcription (partial).

Anglès, Higinio (editor). 1941-1971. Monumentos de la Mùsica Espanola.  Madrid (later Barcelona, later Rome). Pages: I, 107-10,118; X,19-20,23. Notes: physical description; contents list (partial); concordances (partial).

Blume, Friedrich (editor). 1929-. Das Chorwerk.  Berlin/Wolfenbüttel. Pages: XIX,4; XLV,13-4. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Jeppesen, Knud (editor). 1927. New York, 1965 (reprint, with new remarks by the editor). Der Kopenhagener Chansonnier: Das Manuskript Thott 291s der Königlichen Bibliothek Kopenhagen. Copenhagen and Leipzig.  Copenhagen and Leipzig. Pages: lxxi,lxxviii-lxxix. Notes: physical description; contents list (partial); concordances (partial).

Besseler, Heinrich. 1925. Studien zur Musik des Mittelalters: I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts. Archiv für Musikwissenschaft, 7: 167-252. Pages: 232-3. Notes: contents list (partial); concordances (partial).

Wolf, Johannes (editor). 1908-21. Reprint: Farnborough, England, 1968. Werken van Jacob Obrecht.  Leipzig and Amsterdam,. Pages: XV/XVI,xix-xx,92-4. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.

Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: I,211-3. Notes: physical description; contents list (partial); concordances (partial).

Adler, Guido (editor). 1894-1970. Denkmäler der Tonkunst in Österreich.  Graz and Vienna. Pages: XIV/XV,30; XXVIII, 190-1,196-8. Notes: contents list (partial); concordances (partial); transcriptions (partial).

Delisle, Leopold. 1891. Bibliothèque Nationale. Manuscrits Latins et Français Ajoutés aux Fonds des Nouvelles Acquisitions pendant les Années 1875-1891.  Paris. Pages: 127-30. Notes: physical description; contents list.

Omont, Henri (editor). 1868-1902. Bibliothèque Nationale: Catalogue Général des Manuscrits Français.  Paris. Pages: XVI,177. Notes: physical description.

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Michael Cuthbert

Monday, 21 December, 2020

The music on f 45v/46r "Tu say che honesto" is the second half of the previous piece "Lizadra donna" by Ciconia; separate composition "Tu say che.." deleted, extent of & images for Lizadra donna extended to include 45v/46r

Scott Metcalfe

Thursday, 6 August, 2020

"Rendre me vieng" moved from f. 65v to f. 65.

Scott Metcalfe

Thursday, 6 August, 2020

"Merce per dio" moved to 68v, not 67v. (67v-68 are blank.) Basiron added as composer of "Tan fort me tarde" on 73v-74 – it is ascribed to “Phelippon” in RCas (see Fallows, Catalogue, p. 380).

François-Pierre Goy

Tuesday, 3 March, 2020

Archive name updated (belatedly!!) to ' Bibliothèque nationale de France'; siglum altered to that of the manuscript dept, F-Pnm. Shelfmarks for items in the Manuscripts department changed to read F-Pn fond français -> F-Pnm Français F-Pn fonds italien -> F-Pnm Italien F-Pn fonds latin -> F-Pnm Latin F-Pn nouvelles acquisitions françaises -> F-Pnm NAF F-Pn nouvelles acquisitions latines -> F-Pnm NAL F-Pn collection de Picardie -> F-Pnm Picardie F-Pn Coll. Roths. MS 2973 -> F-Pnm Rothschild 2973

Census-Catalogue of Manuscript Sources of Polyphonic Music 1400-1550

Monday, 23 January, 2017

NB: Migrated from old site. Credit for notes may not be completely accurate. Census Catalogue of Music Description