PL-Wn Rps 8054 III (Codex Krasiński)

Biblioteka Narodowa, Warsaw, Poland

manuscript of polyphony, bound with non-music MS: c. 1440; 1437-1441? (Gondko2026a)

Archive	Biblioteka Narodowa, Warsaw, Poland (PL-Wn)
Shelfmark	Rps 8054 III (Codex Krasiński)
Image Availability	DIAMM does not have images of this source. Please refer to the external links for image availability.
Surface	Paper
Numbering System	Foliation
Measurements	304 x 220 mm
Other Identifiers	CCM: WarN 8054 olim (Former shelfmark): MS III.8054 olim (Former shelfmark): Krasiński 52
Notations	black full mensural coloration in black full coloration in black void coloration in red full
Copyists	? Casimiria, Petrus de Music
Relationships	? Casimiria, Petrus de (owner) Krasiński family (owner) Świdziński library (owner)
External Links	images images (higher quality)
Provenance	Poland
Contents	Contains 39 compositions, 23 from 10 composers, 16 are anonymous.

General Description

Composite of several manuscripts of unrelated content, linked by the shared main scribal hand (probably Petrus de Casimiria (=Kazimierz, now part of Kraków?), who signed the 'Gesta Romanorum' in the textual portion of the manuscript - Gondko2026a). Consisting of two main parts: Part I = new ff. 1r-172v (non-musical contents; not taken into further consideration here); Part II = new ff. 173r-205v (polyphony). Part II, from c. 1440 (1437–41?) was most likely copied in Kraków (as suggested by the presence of Kraków-related compositions (BrewerAN, Gondko2026a).

The non-musical contents appear to be dated both earlier (c.1400) and later (c.1455), indicating that the separate elements were bound together after 1455. "The view that the two parts are unrelated and have been bound together by coincidence goes back to Zdzisław Jachimecki’s statements from 1914 and 1915; his perspective was adopted by Mirosław Perz and continues to be echoed in the literature. Neither author offered an explanation why this should be the case." (Gondko2026a), noting that the earliest texts dating from c.1400 appear to have marginalia added by Petrus de Casimiria, suggesting his ownership.

In Świdziński Library by the mid-19th century (as first reported in SowińskiLM). It subsequently became part of Krasiński Estate Library, where it remained until apparent confiscation and transfer to Germany prior to the destruction of the Krasiński Estate Library building in Warsaw in 1944. Surfaced again in Munich in 1948; subsequently returned to Biblioteka Narodowa.

Michał Gondko, 2026

Binding

Cardboard covered with light brown leather, with marbled endpapers inside. Tooled on spine with inscription ‘Rękopism z wieku XV’ [A 15th-Century Manuscript]. Present binding from c.1868. Holes in ff. 1 & 205 resulting from corrosion of the metal bosses of a previous (original?) binding.

Michał Gondko, 2026

Watermark

Two twin watermark pairs (bull’s head with a rod ending in a seven-petal flower; and bull’s head with a rod ending in a Latin cross). (1a/b) resemble Briquet #14790; (2a/b) resemble Briquet #14516 (AMP). Concordant watermarks suggest that the paper used in Part II dates from c. 1440 (1435–1442?) (Szyller). Analysis in Gondko2026a suggests that gatherings 17 and 18 (ff. 184-205) were written a little earlier (late-1430s?) than gathering 16 (ff. 173-183), which seems to slightly postdate 1440.

Michał Gondko, 2026

Notation

Black mensural notation with red black full and black void coloration

DIAMM, 2017

Foliation

vi+206+v. Modern (nineteenth- or early twentieth-century?) pencil foliation, 1-205 (with f. 9 followed by 9a).

Michał Gondko, 2026

Decoration

Some inked Gothic initials.

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.

Latin theological writings, with polyphony:

1 Kyrie, 10 Glorias, 5 Credos, 1 Sanctus, 2 Magnificats (1 incomplete), 16 motets (3 incomplete; some with secular texts), 1 response, 2 textless pieces = 38

Ciconia-3 + 1?, Egardus-1, (Grossin)-2, Nicholas of Radom-8, N. de Ostrorog-2* (Schweikl)-1, Zachara da Teramo [Czakaris magistri Anthony]-1, Zachara da Teramo or Zacharia? [Zacharie] -1, anon-18

*Name appears between sixth and seventh staves on f. 186, in motet "Pastor gregis"; may or may not refer to composer. Apparent attribution for Gloria on f. 205' is "O[pus] N. . . ."; remainder of name not clearly legible, but might refer to N. de Ostrorog, or to Nicholas of Radom, or to another unidentified composer.

vi + 205 + v paper folios, 304 x 220. Composite of two unrelated manuscripts later bound together: Part I = new ff. 1-172 (non-musical contents; not taken into further consideration here); Part II = new ff. 173-205 (polyphony). Modern foliation, 1-205. Rebound in modern covers of yellow leather tooled on back with inscription "Rekopism z wieku XV." No index. Black mensural notation with red full and black void coloration. Copied by a single scribe. Some inked Gothic initials. Watermarks: (1) resembles Briquet #14790; (2) resembles Briquet #14516 (AMP).

Ca. 1425-34 (BrewerAN). Copied in Krakow (BrewerAN). In Swidziñski library in Warsaw by 19th century; subsequently acquired by Krasiński family. Krasiński collection later transferred to Biblioteka Narodowa, Warsaw. Manuscript taken to Munich during World War II, but returned to Biblioteka Narodowa in 1948.

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

Click an entry to see more information about that item.

Folio / Pages	Composition / Item title	Number of voices	Source attribution	Composers (? Uncertain)
173–174, 195v	Cracovia civitas	3	-	Radomski, Mikolaj (?)
Cracovia civitas Radomski, Mikolaj (?) Appears on: 173–174, 195v Genres: Motet Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Cracovia civitas te civium unitas te cleri pluralitas Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 Voice Text: Tenor huius Cracovia [text incipit only] General Note D & Ct for the first 3 verses on f. 173; T for these verses on f. 195v, followed by all 3vv of verses 4 & 6; all 3vv of verses 7-10 on ff. 173v-174 Item Bibliography Opieński, Henryk, and Stanisław Kętrzyński. 1911. Hymn na cześć Krakowa z XV-go wieku: Mikołaj z Radomia [A fifteenth-century hymn in praise of Krakow: Mikolaj Radomski]. Kwartalnik Muzyczny, 1/1: 5-8.
174v–175	Hystoriographi aciem	3	N de Radom	Radomski, Mikolaj
Hystoriographi aciem Radomski, Mikolaj Appears on: 174v–175 Genres: Motet Source Attribution: N de Radom Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Hystorigraphi [sic] aciem mentis lustrate Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: Latin Clef: c3 Voice Text: Tenor huius hystorigraphi [incipit only] General Note written on the birth of Prince Kazimierz in 1426 (who died in infancy - not the later Kazimierz IV Jagiello)
175v	[Kyrie?] untexted	3	-	Grossin, Estienne (?)
[Kyrie?] untexted Grossin, Estienne (?) Appears on: 175v Genres: Kyrie eleison, Mass Ordinary, textless Number of voices: 3 Voice: [no designation] Languages: none Clef: c2 Voice: [no designation] Languages: none Clef: c4 Voice: [no designation] Languages: none Clef: c4 General Note The piece is in 3 sections of roughly equal length, and has some melodic and rhythmic similarities to Grossin's Gloria which follows shortly after it in Krasinski. Miroslaw Perz cautiously identified it, therefore, as a Kyrie setting possibly by Grossin and perhaps linked to the Gloria. Item Bibliography Perz, Miroslaw (editor). 1973-76. Sources of Polyphony up to c. 1500. Antiquitates Musicae in Polonia, 13-14 : . Pages: 23.
176	Maria en mitissima	3	-	Anonymous
Maria en mitissima Anonymous Appears on: 176 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Maria en mitissima Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c4 Voice Text: Ronet (=tenoR)
176v	Caro mea vere est	2 (of 4?)	-	Anonymous
Caro mea vere est Anonymous Appears on: 176v Genres: Motet Number of voices: 2 (of 4?) Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Caro mea vere est cibus Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Caro mea vere est cibus General Note folio missing which may have contained CT & T parts, making this a 4vv setting.
177	... pneumatiche endechie dextera ('Bonus aprobatus')	3	-	Anonymous
... pneumatiche endechie dextera ('Bonus aprobatus') Anonymous Appears on: 177 Genres: Cantio Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: ... pneumatice endechie(?) dextera, indivisa divinitas Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c4 General Note incomplete owing to loss of folio at beginning. CT and T are both labelled (but not texted) 'bonus aprobatus' ("well approved") in contrast to a very badly copied stave of music crossed out & labelled 'malus vitiatus' ("badly corrupted"). The Discantus part (missing at the beginning) actually starts "... pneumatice endechie(?) dextera, indivisa divinitas"
177	Response: Dignum et iustum est	2/3	-	Anonymous
Response: Dignum et iustum est Anonymous Appears on: 177 Genres: Response Number of voices: 2/3 Voice: Discantus Languages: Latin Clef: c4 Voice Text: Dignum & Justum est Voice: Tenor Languages: none Clef: c5 Voice Text: Tenor huius General Note a fragment perhaps from a set of responses (Et cum spiritu tuo/Habemus ad Dominum/Dignum et iustum est), identified by Brewer (1984, p.300-301). Possibly intended for faburden performance with a 3rd improvised voice. Item Bibliography Brewer, Charles Everett. 1984. The Introduction of the Ars Nova into East Central Europe: A Study of Late Medieval Polish Sources. City University of New York, Unpublished Ph.D. dissertation. Pages: 300-1. Notes: identified and transcribed.
177v–178	Et in terra pax [Gloria]	3	-	Grossin, Estienne
Et in terra pax [Gloria] Grossin, Estienne Appears on: 177v–178 Genres: Gloria (et in terra pax), Mass Ordinary Number of voices: 3 Voice: [no designation] Languages: Latin Mensuration: o Clef: c3 Voice Text: Et in terra pax hominibus Voice: Contratenor Languages: none Clef: f4 Voice Text: Contratenor huius Voice: Tenor Languages: none Clef: f4 Voice Text: Ronet (=tenoR) huius : 3 mensurations O - cut O - O Concordances Copy in St Emmeramm is a 5th higher. Concordance in Avezzano fragment first identified by Michael Scott Cuthbert in 2024 paper to All Souls seminar.
177v	[Gloria laus et honor] Israel es tu Rex Davidis	2	-	Anonymous
[Gloria laus et honor] Israel es tu Rex Davidis Anonymous Appears on: 177v Genres: Hymn Number of voices: 2 Voice: [no designation] Languages: Latin Mensuration: 3 Clef: c5 Voice Text: Israel es tu rex davidis Voice: [no designation] Languages: Latin Mensuration: 3 Clef: c4 Voice Text: Israel es tu rex General Note Written at foot of page under the Discantus of the Gloria. Text identified by Gancarczuk. Piece reconstructed in 'Krasinski Kodex'. Item Bibliography Budzinska-Bennett, Agnieszka, and Marc Lewon (editors). 2025. Kodeks Krasiński - Krasiński Codex (Warszawa, Biblioteka Narodowa, Rps 8054 III): A Performer's Edition with Essays and a Critical Commentary. 429. Krakow: Polskie Wydawnictwo Muzyczne (Polish Music Publishing House). 979-0-2740-3900-4. Pages: 224-30. Notes: reconstruction. Gancarczyk, Pawel. 2001. Cantus planus multiplex. Chant Polyphony in Poland from the Thirteenth to the Sixteenth Century. Notae musicae artis. Musical Notation in Polish Sources 11th-16th Centuries, edited by Pawel Gancarczyk, Krakow: Musica Iagellonica. Pages: 359, 361. Notes: identification of text.
178v–180	Patrem omnipotentem [Credo]	3	-	Grossin, Estienne (?)
Patrem omnipotentem [Credo] Grossin, Estienne (?) Appears on: 178v–180 Genres: Credo (patrem omnipotentem), Mass Ordinary Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Patrem omnipotentem Voice: [no designation] Languages: none Clef: c4 Voice: [no designation] Languages: none Clef: c4 General Note possibly by Grossin, whose Gloria precedes it in the ms (Perz) but Gondko finds this unconvincing Item Bibliography Perz, Miroslaw. 1970. Die Einflüsse der Ausgehenden Italienischen Ars Nova in Polen. L'Ars Nova Italiana del Trecento, 465-83. Pages: 471. Notes: attribution. Gondko, Michał. 2026. A New Look at the Music Gatherings in the ‘Krasiński Codex’. Muzyka, 71(1): 3–66. https://czasopisma.ispan.pl/index.php/m/article/view/4823/3578. Pages: 51.
180	Salve thronus trinitatis Maria	3	-	Anonymous
Salve thronus trinitatis Maria Anonymous Appears on: 180 Genres: Cantio Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c5 Voice Text: Salve thronus trinitatis Maria Voice: Contratenor Languages: Latin Clef: c2 Voice Text: Salve thronus trinitatis Maria Voice: [Tenor] Languages: Latin Clef: c4 Voice Text: Salve thronus trinitatis Maria General Note "Hic contratenor cantat in octava, sed clavis male est posita"(!)
180v–181	Nitor inclite claredinis	1 (of 2/3?)	-	Anonymous
Nitor inclite claredinis Anonymous Appears on: 180v–181 Genres: Motet Number of voices: 1 (of 2/3?) Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Nitor inclite claredinis General Note A Christmas motet text is accompanied by an alternative text ('Nitor inclite claredinis ovans laxat valedinis sicientis') which begins with the acrostic 'Nicolaus' (perhaps Nicolaus (Mikołaj) of Blonie, author of the text?). The text celebrates the birth of Prince Wladislaus (Władysław Warnenczyk) 'on the eve of All Saints Day 1424', the first son of Władysław II Jagiełło. Other proposals for the text author include Stanisław Ciołek, or, if 'Nicolaus' is therefore the composer - perhaps Mikołaj de Radom - it has been suggested that Radomski may have also written the text.
181v	Breve regnum erigitur	2	-	Anonymous
Breve regnum erigitur Anonymous Appears on: 181v Genres: Cantio Number of voices: 2 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Breve regnum erigitur, sublimatum deprimitur Voice: Tenor Languages: Latin Clef: c4 Voice Text: (underlaid with text of 3rd & 5th verses): Cracoviensem filium fulgentem / Octo dierum spacium General Note a student carnival song (Kowalewicz)
181v	Kyrie eleison	3 ex 2	-	Grossin, Estienne
Kyrie eleison Grossin, Estienne Appears on: 181v Genres: Kyrie eleison, Mass Ordinary Number of voices: 3 ex 2 Voice: [Discantus] Languages: Greek Clef: c2 Voice Text: Kyryon (=Kyrieleyson) Voice: Tenor Primus Languages: none Clef: c4 Voice Text: Ronet (=tenoR) primi General Note "A discanth" written under Discantus part (read as "A discantu" in AMP14 & the recent performing edition); while the latter might imply a faburden part based on the Discantus, "A discanth" perhaps is a reference to "En discort" which the opening slightly resembles. (M. Gondko) Concordances A minor third lower than the copies in Aosta & St Emmeram
182–183v	Magnificat primi toni (all verses) [K.950]	3	O[pus] N. de Radom	Radomski, Mikolaj
Magnificat primi toni (all verses) [K.950] Radomski, Mikolaj Appears on: 182–183v Genres: BVM, Canticle, Magnificat Source Attribution: O[pus] N. de Radom Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Magnificat anima mea dominum Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 General Note "per bardunum hic recipe in quinta et fiet contratenor" (182); "per bardunum hic recipe in tercia" (182v); "hic incipe in quinta contratenorem per bardunum" (183)
184	Virginem mirae pulchritudinis (= En discort)	3	-	Anonymous
Virginem mirae pulchritudinis (= En discort) Anonymous Appears on: 184 Genres: Contrafactum, Motet Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Virginem mirae pulchritudinis sole illustratam [= En discort] Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c4
184v–185	Ave mater summi nati	3	-	Anonymous
Ave mater summi nati Anonymous Appears on: 184v–185 Genres: Contrafactum, Motet Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Ave mater summi nati Ave salus desolati Voice: Contratenor Languages: French Clef: c4 Voice Text: Contratenor huius Enwarger (= En vergier) Voice: Tenor Languages: French Clef: c4 Voice Text: Tenor Enwarger (= En vergier) General Note the Ct & Tenor have incipit "Enwarger", probably a reference to an unknown French setting of "En vergier"; the Latin text of the piece fits poorly, also arguing that it is a contrafact
185	Postaris in praesepio (2p. Quivis aurum potens favit)	3	-	Anonymous
Postaris in praesepio (2p. Quivis aurum potens favit) Anonymous Appears on: 185 Genres: Motet Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Postaris in praesepio (additional text 'Maria amplioribus maiestatis muneribus' is squeezed between the stave-lines) Voice: Tenor Languages: none Clef: c3 Voice Text: Ronet (=tenoR) Voice: Contratenor Languages: none Clef: c3 General Note A second text "Maria amplioribus" is likely to be a contrafact text, rather than a second strophe of this piece (Budzinska-Bennett 2025). The primary text may also be a contrafact, as the piece shows signs of rondeau form.
185v	untexted	3	O[pus] N. de Radom	Radomski, Mikolaj
untexted Radomski, Mikolaj Appears on: 185v Genres: textless Source Attribution: O[pus] N. de Radom Number of voices: 3 Voice: [no designation] Languages: none Clef: c1 Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: none Clef: c3 General Note Perz and Szcepanska both note the 3-section form and style of a French ballade, suggesting this might be a chanson; if intended to have a Latin text here, that would make the piece a contrafact setting. But this is speculative.
186	Pastor gregis egregius	3	N. de Ostrorog	Ostorog, Nicholas de (?)
Pastor gregis egregius Ostorog, Nicholas de (?) Appears on: 186 Genres: Motet Source Attribution: N. de Ostrorog Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Pastor gregis egregius Stanislaus Voice: Tenor Languages: none Clef: c4 Voice: Contratenor Languages: none Clef: c4 General Note Hymn in honour of St Stanislaus of Poland, with some textual links with the sequence "Jesu Christe rex superne". Layout The attribution "N de Ostrorog" appears halfway down the page, between T & Ct voices. Item Bibliography Brewer, Charles Everett. 1984. The Introduction of the Ars Nova into East Central Europe: A Study of Late Medieval Polish Sources. City University of New York, Unpublished Ph.D. dissertation. Pages: 297. Notes: attribution questioned. Gondko, Michał. 2026. On the Authorship of Compositions Attributed to Nicolaus de Ostrorog in the ‘Krasiński Codex’. Muzyka, 71(1): 189–197. https://czasopisma.ispan.pl/index.php/m/article/view/4830/3583. Pages: 190-2. Notes: accepts Ostrorog as composer of Ct; identifies an Ostrorog on Kraków University roll for 1437 contemporary with copying of the Krasinski Codex. Szczepanska, Maria. 1928. Hymn ku czci św. Stanisława z XV wieku: Przyczynek do historii średniowiecznej muzyki w Polsce [A fifteenth-century hymn in honour of St Stanislaus: a contribution to the history of medieval music in Poland]. Przegląd Muzyczny, 4/7: . Pages: 3. Notes: Ct only by Ostrorog. Jachimecki, Zdzisîaw. 1935. Łacińska Pieśń do Św. Stanisława z XV wieku [A fifteenth-century Latin song to St Stanislaus]. Kraków. Pages: 6. Notes: no reason to consider Ostrorog the compose of any part of the piece.
186v	Ave mater o Maria	4	-	Anonymous
Ave mater o Maria Anonymous Appears on: 186v Genres: Ave Maria, Lauda Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Ave mater o Maria pietatis tota pia Voice: Solus Tenor Languages: Latin Clef: c1 Voice Text: Ave mater o Maria pietatis tota pia Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Ave mater o Maria pietatis tota pia Voice: Tenor Languages: Latin Clef: c4 Voice Text: Ave mater o Maria pietatis tota pia General Note First word of each verse forms an acrostic "Ave Maria gratia plena ... Benedicta tu ..." Concordances Bologna 2216 - 4vv; Venice It.IX.145 - 3vv; Wolk B - 3vv German contrafact; Buxheimer orgelbuch - as 'Maria tu solacium' with unique contratenor
186v–187	Magnificat [K.245]	3	-	Anonymous
Magnificat [K.245] Anonymous Appears on: 186v–187 Genres: BVM, Canticle, Magnificat Number of voices: 3 Voice: Discantus Languages: none Clef: c3 Voice Text: Discantus ad magnificat [untexted] Voice: Medius Languages: none Clef: f2 Voice Text: Medius huius Voice: Tenor Languages: none Clef: c4 Voice Text: Ronet [=tenoR] huius General Note untexted, but the Discantus is labelled "ad Magnificat"
187	Christicolis fecunditas	3	-	Anonymous
Christicolis fecunditas Anonymous Appears on: 187 Genres: Cantio Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Cristicolis fecunditas et captivis iocunditas Voice: [Tenor] Languages: Latin Clef: c4 Voice Text: Cristicolis [text incipit only] Voice: Contratenor Languages: Latin Clef: f2 Voice Text: Cristicolis [text incipit only]
187v–189	Et in terra pax [Gloria]	3	O[pus] N. de Radom	Radomski, Mikolaj
Et in terra pax [Gloria] Radomski, Mikolaj Appears on: 187v–189 Genres: Gloria (et in terra pax), Mass Ordinary, Troped Gloria Source Attribution: O[pus] N. de Radom Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Et in terra pax hominibus Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Et in terra pax hominibus Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Et in terra pax hominibus General Note Troped "Maria tripartitum armonice clangimus tis [tibi?]" immediately before the Cum sancto spirito
189v–191	Patrem omnipotentem [Credo]	3	O[pus] Nicolai de Radom	Radomski, Mikolaj
Patrem omnipotentem [Credo] Radomski, Mikolaj Appears on: 189v–191 Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: O[pus] Nicolai de Radom Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Patrem omnipotentem factorem celi et terre Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Patrem omnipotentem factorem celi et terre Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Patrem omnipotentem factorem celi et terre
191v–192v	Et in terra pax [Gloria]	3	-	Anonymous
Et in terra pax [Gloria] Anonymous Appears on: 191v–192v Genres: Gloria (et in terra pax), Mass Ordinary Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Et in terra pax hominibus Voice: Tenor Languages: Latin Mensuration: o Clef: c4 Voice Text: Et in terra [text incipit only] Voice: Contratenor Languages: Latin Mensuration: o Clef: c4 Voice Text: Et in terra [text incipit only]
192v–193	Et in terra pax [Gloria] [BH8]	3	-	Ciconia, Johannes (ca. 1370–1412)
Et in terra pax [Gloria] [BH8] Ciconia, Johannes (ca. 1370–1412) Appears on: 192v–193 Genres: Gloria (et in terra pax), Mass Ordinary Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Et in terra pax hominibus Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c3
193v–195	Patrem omnipotentem [Credo] (II)	3	Opus Zacharie	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Patrem omnipotentem [Credo] (II) Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 193v–195 Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: Opus Zacharie Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Patrem omnipotentem : Factorem celi & terre Voice: Contratenor Languages: none Clef: c4 Voice: [Tenor] Languages: Latin Clef: c4 Voice Text: Factorem celi ... omnium et invisibilium
196, 198–200	Et in terra pax [Gloria] 'Ad ogni vento'	4	O[pus] Czakaris magistri Anthonij	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)
Et in terra pax [Gloria] 'Ad ogni vento' Zacara da Teramo, Antonio (ca. 1350–ca. 1413) Appears on: 196, 198–200 Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: O[pus] Czakaris magistri Anthonij Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Et in terra pax hominibus Voice: [no designation] Languages: Latin Clef: c4 Voice Text: Bone voluntatis Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Et in terra pax hominibus Voice: Tenor Languages: Latin Mensuration: o Clef: c4 Voice Text: Bone voluntatis General Note Trope 'Valeamus'
196v–197	Et in terra pax [Gloria] [BH3]	4	O[pus] Ciconie	Ciconia, Johannes (ca. 1370–1412)
Et in terra pax [Gloria] [BH3] Ciconia, Johannes (ca. 1370–1412) Appears on: 196v–197 Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: O[pus] Ciconie Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Et in erra pax hominibus Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Et in terra pax hominibus Voice: Contratenor Languages: none Clef: c4 Voice: Tenor Languages: none Clef: c4 Voice Text: Ronet (= tenoR)
197v	Et in terra pax [Gloria]	4	-	Anonymous
Et in terra pax [Gloria] Anonymous Appears on: 197v Genres: Gloria (et in terra pax), Mass Ordinary Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Et in terra pax hominibus ... Benedicimus te Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Et in terra pax hominibus ... Laudamus te Voice: Tenor Languages: none Clef: c4 Voice Text: Ronet (= tenoR) Voice: [no designation] Languages: none Clef: c4 General Note The two Discantus voices share the text, singing different segments of it simultaneously
199v–200	Sanctus [Tr: Gustasti necis pocula]	2-3	-	Clibano, Jacobus de (?) Sweikl
Sanctus [Tr: Gustasti necis pocula] Clibano, Jacobus de (?) Sweikl Appears on: 199v–200 Genres: Mass Ordinary, Troped Sanctus Number of voices: 2-3 Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Sanctus : Sanctus dominus deus sabaoth Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Sanctus dominus deus sabaoth Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Lumen luminum [trope at beginning of Benedictus; Ct is silent during the Sanctus] General Note Ct from "Lumen luminum" is unique to this copy. The trope text is related to passages in Eberhard the German's "Laborintus" (Budzinska-Bennett) Item Bibliography Budzinska-Bennett, Agnieszka, and Marc Lewon (editors). 2025. Kodeks Krasiński - Krasiński Codex (Warszawa, Biblioteka Narodowa, Rps 8054 III): A Performer's Edition with Essays and a Critical Commentary. 429. Krakow: Polskie Wydawnictwo Muzyczne (Polish Music Publishing House). 979-0-2740-3900-4. Pages: 196-202.
200v–201	Et in terra pax [Gloria]	3	O[pus] Nicolai de Radom	Radomski, Mikolaj
Et in terra pax [Gloria] Radomski, Mikolaj Appears on: 200v–201 Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: O[pus] Nicolai de Radom Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Et in terra pax hominibus Voice: Contratenor Languages: none Clef: c3 Voice: Tenor Languages: Latin Clef: c3 Voice Text: Laudamus te .. Qui tollis ['signposting' sections of the setting] General Note Repeated sections of music & awkward text underlay suggest this might be a contrafact (a ballata?)
201	Alleluia	3	O[pus] N. de Radom	Radomski, Mikolaj
Alleluia Radomski, Mikolaj Appears on: 201 Genres: Alleluia Source Attribution: O[pus] N. de Radom Number of voices: 3 Voice: Discantus Languages: Latin Clef: c4 Voice Text: Alleluya Voice: Tenor Languages: Latin Clef: c1 Voice Text: Alleluya Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Alleluya General Note Although included in Sutkowski's complete works of Radomski as the final section of the Gloria, the key and voice range differences argue that this is a separate work.
201v–202	Patrem omnipotentem [Credo]	3	-	Radomski, Mikolaj
Patrem omnipotentem [Credo] Radomski, Mikolaj Appears on: 201v–202 Genres: Credo (patrem omnipotentem), Mass Ordinary Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Patrem omnipotentem factorem celi et terre Voice: Contratenor Languages: Latin Clef: c3 Voice Text: Patrem omnipotentem [text incipit only] Voice: Tenor Languages: none Clef: c3 General Note 'Short' Credo ending at 'Et homo factus est'
202–203	Regina gloriosa (2p. Praesta fulgorem noxque)	3	-	Ciconia, Johannes (ca. 1370–1412) (?)
Regina gloriosa (2p. Praesta fulgorem noxque) Ciconia, Johannes (ca. 1370–1412) (?) Appears on: 202–203 Genres: Contrafactum, Motet Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Regina gloriosa fulgens Christi decora Voice: Contratenor Languages: Latin Clef: c4 Voice Text: Regina [text incipit only] Voice: Tenor Languages: Latin Clef: c4 Voice Text: Regina fulgens Christi decora
202v–204	Patrem omnipotentem [Credo] [BH4]	4	O[pus] M[agstri] Ciconie	Ciconia, Johannes (ca. 1370–1412)
Patrem omnipotentem [Credo] [BH4] Ciconia, Johannes (ca. 1370–1412) Appears on: 202v–204 Genres: Credo (patrem omnipotentem), Mass Ordinary Source Attribution: O[pus] M[agstri] Ciconie Number of voices: 4 Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Patrem omnipotentem factorem celi et terre Voice: [no designation] Languages: Latin Clef: c2 Voice Text: Patrem omnipotentem factorem celi et terre Voice: Contratenor Languages: none Clef: f2 Voice: Tenor Languages: Latin Clef: f2
204v–205	Et in terra pax [Gloria]	3	Opus Egardi	Egardus
Et in terra pax [Gloria] Egardus Appears on: 204v–205 Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: Opus Egardi Number of voices: 3 Voice: [no designation] Languages: Latin Clef: c1 Voice Text: Et in terra pax hominibus Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Et in terra pax hominibus Voice: [no designation] Languages: Latin Clef: c3 Voice Text: Et in terra pax hominibus
205v	Et in terra pax [Gloria]	2 (of 3?)	O[pus] N. Frag	Ostrorog, Nicolaus de (?) Frangens Leodiensis, Nicolaus (?)
Et in terra pax [Gloria] Ostrorog, Nicolaus de (?) Frangens Leodiensis, Nicolaus (?) Appears on: 205v Genres: Gloria (et in terra pax), Mass Ordinary Source Attribution: O[pus] N. Frag Number of voices: 2 (of 3?) Voice: [no designation] Languages: Latin Clef: c1 Voice Text: [Et in terra pax ... Benedicimus] te Adoramus te Voice: Tenor Languages: Latin Clef: c3 Voice Text: Tenor huius ... Laudamus te [text incipit only added after 'double-bar'] General Note incomplete, with damage to page and loss of the second page (a further folio is missing from the end of this gathering): beginning and end of Discantus lost, and about half of the tenor. Modern pencil copy of the opening phrases missing through loss at top of page (up to "bone vo--" but omitting "--luntatis laudamus te benedicimus"). Attribution to Ostrorog by Perz (AMPolXIV), based on the inscription O[pus] N (illegible); Jachimecki (1915) read O[pus] N Frag, proposing this could be Beltrame Feragut or Nicolaus de Ferrara; reading confirmed by Gondko2026b, who proposes authorship by Nicolaus Frangens de Leodio. Item Bibliography Gondko, Michał. 2026. On the Authorship of Compositions Attributed to Nicolaus de Ostrorog in the ‘Krasiński Codex’. Muzyka, 71(1): 189–197. https://czasopisma.ispan.pl/index.php/m/article/view/4830/3583.

Composer	Compositions
Anonymous	Ave mater o Maria – 186v Ave mater summi nati – 184v–185 Breve regnum erigitur – 181v Caro mea vere est – 176v Christicolis fecunditas – 187 Et in terra pax [Gloria] – 197v Et in terra pax [Gloria] – 191v–192v [Gloria laus et honor] Israel es tu Rex Davidis – 177v Magnificat [K.245] – 186v–187 Maria en mitissima – 176 Nitor inclite claredinis – 180v–181 ... pneumatiche endechie dextera ('Bonus aprobatus') – 177 Postaris in praesepio (2p. Quivis aurum potens favit) – 185 Response: Dignum et iustum est – 177 Salve thronus trinitatis Maria – 180 Virginem mirae pulchritudinis (= En discort) – 184
Ciconia, Johannes (ca. 1370-1412)	Et in terra pax [Gloria] [BH3] – 196v–197 Et in terra pax [Gloria] [BH8] – 192v–193 Patrem omnipotentem [Credo] [BH4] – 202v–204 (?) Regina gloriosa (2p. Praesta fulgorem noxque) – 202–203
Clibano, Jacobus de	(?) Sanctus [Tr: Gustasti necis pocula] – 199v–200
Egardus	Et in terra pax [Gloria] – 204v–205
Frangens Leodiensis, Nicolaus	(?) Et in terra pax [Gloria] – 205v
Grossin, Estienne	Et in terra pax [Gloria] – 177v–178 Kyrie eleison – 181v (?) [Kyrie?] untexted – 175v (?) Patrem omnipotentem [Credo] – 178v–180
Ostorog, Nicholas de	(?) Pastor gregis egregius – 186
Ostrorog, Nicolaus de	(?) Et in terra pax [Gloria] – 205v
Radomski, Mikolaj	Alleluia – 201 (?) Cracovia civitas – 173–174, 195v Et in terra pax [Gloria] – 187v–189 Et in terra pax [Gloria] – 200v–201 Hystoriographi aciem – 174v–175 Magnificat primi toni (all verses) [K.950] – 182–183v Patrem omnipotentem [Credo] – 189v–191 Patrem omnipotentem [Credo] – 201v–202 untexted – 185v
Sweikl	Sanctus [Tr: Gustasti necis pocula] – 199v–200
Zacara da Teramo, Antonio (ca. 1350-ca. 1413)	Et in terra pax [Gloria] 'Ad ogni vento' – 196, 198–200 Patrem omnipotentem [Credo] (II) – 193v–195

Composition	Composers (? Uncertain)	Folios / Pages
... pneumatiche endechie dextera ('Bonus aprobatus')	Anonymous	177
[Gloria laus et honor] Israel es tu Rex Davidis	Anonymous	177v
[Kyrie?] untexted	Grossin, Estienne (?)	175v
Alleluia	Radomski, Mikolaj	201
Ave mater o Maria	Anonymous	186v
Ave mater summi nati	Anonymous	184v–185
Breve regnum erigitur	Anonymous	181v
Caro mea vere est	Anonymous	176v
Christicolis fecunditas	Anonymous	187
Cracovia civitas	Radomski, Mikolaj (?)	173–174, 195v
Et in terra pax [Gloria]	Grossin, Estienne	177v–178
Et in terra pax [Gloria]	Radomski, Mikolaj	187v–189
Et in terra pax [Gloria]	Anonymous	191v–192v
Et in terra pax [Gloria]	Anonymous	197v
Et in terra pax [Gloria]	Radomski, Mikolaj	200v–201
Et in terra pax [Gloria]	Egardus	204v–205
Et in terra pax [Gloria]	Ostrorog, Nicolaus de (?) Frangens Leodiensis, Nicolaus (?)	205v
Et in terra pax [Gloria] 'Ad ogni vento'	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	196, 198–200
Et in terra pax [Gloria] [BH3]	Ciconia, Johannes (ca. 1370–1412)	196v–197
Et in terra pax [Gloria] [BH8]	Ciconia, Johannes (ca. 1370–1412)	192v–193
Hystoriographi aciem	Radomski, Mikolaj	174v–175
Kyrie eleison	Grossin, Estienne	181v
Magnificat [K.245]	Anonymous	186v–187
Magnificat primi toni (all verses) [K.950]	Radomski, Mikolaj	182–183v
Maria en mitissima	Anonymous	176
Nitor inclite claredinis	Anonymous	180v–181
Pastor gregis egregius	Ostorog, Nicholas de (?)	186
Patrem omnipotentem [Credo]	Grossin, Estienne (?)	178v–180
Patrem omnipotentem [Credo]	Radomski, Mikolaj	189v–191
Patrem omnipotentem [Credo]	Radomski, Mikolaj	201v–202
Patrem omnipotentem [Credo] (II)	Zacara da Teramo, Antonio (ca. 1350–ca. 1413)	193v–195
Patrem omnipotentem [Credo] [BH4]	Ciconia, Johannes (ca. 1370–1412)	202v–204
Postaris in praesepio (2p. Quivis aurum potens favit)	Anonymous	185
Regina gloriosa (2p. Praesta fulgorem noxque)	Ciconia, Johannes (ca. 1370–1412) (?)	202–203
Response: Dignum et iustum est	Anonymous	177
Salve thronus trinitatis Maria	Anonymous	180
Sanctus [Tr: Gustasti necis pocula]	Clibano, Jacobus de (?) Sweikl	199v–200
untexted	Radomski, Mikolaj	185v
Virginem mirae pulchritudinis (= En discort)	Anonymous	184

‡ denotes primary source study

Gondko, Michał. 2026. A New Look at the Music Gatherings in the ‘Krasiński Codex’. Muzyka, 71(1): 3–66. https://czasopisma.ispan.pl/index.php/m/article/view/4823/3578. Notes: inventory, facsimiles, codicological and palaeographical insights, ownership/copyist, watermarks, gathering structure.

Gondko, Michał. 2026. On the Authorship of Compositions Attributed to Nicolaus de Ostrorog in the ‘Krasiński Codex’. Muzyka, 71(1): 189–197. https://czasopisma.ispan.pl/index.php/m/article/view/4830/3583. Notes: Questions attributions to Ostrorog & identifies a possible reference to the composer in the matriculation roll of Kraków University (1437); new reading of attribution of final Gloria & proposal for composer; new transcription of final Gloria.

‡ Budzinska-Bennett, Agnieszka, and Marc Lewon (editors). 2025. Kodeks Krasiński - Krasiński Codex (Warszawa, Biblioteka Narodowa, Rps 8054 III): A Performer's Edition with Essays and a Critical Commentary. 429. Krakow: Polskie Wydawnictwo Muzyczne (Polish Music Publishing House). 979-0-2740-3900-4. Notes: contents, discussion, transcriptions, facsimiles (partial).

Perz, Miroslaw. 2009. Wokół Mikołaja Radomskiego z figlami błazna Bobika [Concerning Mikołaj Radomski and the pranks of Bobik the Jester]. Muzykolog wobec świadectw źródłowych i dokumentów. Księga pamiątkowa dedykowana Profesorowi Piotrowi Poźniakowi w 70. rocznicę urodzin [The Musicologist and Source Documentary Evidence: A Book of Essays in Honour of Professor Piotr Poźniak on his 70th Birthday], Musica Iagellonica. Krakow.

Dabrowski, Maciej, and Halina Tchorzewska-Kabata (editors). 2003. Rękopis muzyczny Kras. 52 [Music Manuscript Kras. 52]. Nad złoto droższe: Skarby Biblioteki Narodowej [More precious than gold: treasures of the National Library], Warsaw.

Jabłonka, Agnieszka. 2002. Średniowieczne rękopisy z Biblioteki Krasińskich [Medieval manuscripts from the Krasiński Library]. Biuletyn Informacyjny Biblioteki Narodowej, 45/4: 35-9. https://bn.org.pl/ download/document/1246021122.pdf.

Wojnowska, Elżbieta. 2002. Kras. 52 – europejski zabytek polskiej kultury muzycznej z I połowy XV wieku [Kras. 52 – a European relic of Polish musical culture from the first half of the fifteenth century]. Biuletyn Informacyjny Biblioteki Narodowej, 45/4: 40-4. https://bn.org.pl/download/document/1246021122.pdf.

Szyller, Slawomir. 1993. Ekspertyza znaków wodnych w rękopisie Biblioteki Narodowej w Warszawie, Sygn. III.8054 (olim Kras 52) (składki 16–18 zawierające utwory muzyczne) [A study of the watermarks in the manuscript III.8054 (olim Kras 52) from the National Library in Warsaw (gatherings 16–18 containing musical compositions)]. unublished typescript prepared for the Department of Polish Music History at the Musicological Institute of the University of Warsaw. Notes: watermarks.

Perz, Miroslaw. 1992. Kontrafaktury ballad w rękopisie Kras 52 (Pl-Wn 8054) [Contrafacta of ballades in the manuscript Krasiński 52]. Muzyka, 37: 89–111.

Welker, Lorenz. 1987. New Light on Oswald von Wolkenstein: Central European Traditions and Burgundian Polyphony. Early Music History, 7: 187-226. Pages: 212 as exx 7c and 7d.

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,l 17-8,199-200,203,209,226.

Brewer, Charles Everett. 1984. The Introduction of the Ars Nova into East Central Europe: A Study of Late Medieval Polish Sources. City University of New York, Unpublished Ph.D. dissertation. Pages: 257-309,438-44,579.

Perz, Miroslaw. 1984. Zur Textunterlegungspraxis in der Mehrstimmigkeit des 14. und 15. Jahrhunderts und über einige in Polen Neu-und Wiedergefundene Quellen dieser Zeit. Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts: Vorträge des Gastsymposiums in der Herzog August Bibliothek Wolfenbüttel, 8. bis 12. September 1980, Göttinger Musikwissenschaftliche Arbeiten, vol. 10. edited by Miroslaw Perz, 327-49. Kassel: Bärenreiter. Pages: 329,331-7.

Staehelin, Martin. 1983. review of Sources of Polyphony up to c. 1500: Transcriptions, ed. Mirosław Perz (= Antiquitates Musicae in Polonia 14).

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: IV, 118.

Poźniak, Piotr. 1979. review of Sources of Polyphony up to c. 1500: Facsimiles and Transcriptions, ed. Mirosław Perz (= Antiquitates Musicae in Polonia 13–14).

Perz, Miroslaw. 1970. Die Einflüsse der Ausgehenden Italienischen Ars Nova in Polen. L'Ars Nova Italiana del Trecento, 465-83. Pages: 470ff.

Sutkowski, Adam (editor). 1969. Les oeuvres complètes de Nicolas de Radom (fl. 1420-1430). Brooklyn.

Fischer, Kurt von. 1967. Die Lauda 'Ave Mater' und ihre verschiedenen Fassungen. Colloquium Amicorum: Joseph Schmidt-Görg zum 70, 93-9. Bonn. Pages: 93-9.

Feicht, Hieronim. 1966. Quellen zur Mehrstimmigen Musik in Polen vom Späten Mittelalter bis 1600. Musica Antiqua: Acta Scientifica [Bydgoszcz, Poland], 1: 281-93. Pages: 282-3.

Feicht, Hieronim (editor). 1966. Muzyka staropolska [Old Polish Music]. Krakow. Pages: xvii, 11-29,374-6.

Kirsch, Winfried. 1966. Die Quellen der mehrstimmigen Magnificat- und Te Deum-Vertonungen bis zur Mitte des 16. Jahrhunderts. Tutzing. Pages: 172.

Szweykowski, Zygmunt M (editor). 1964. Muzyka w dawnym Krakowie (Music in Old Cracow). Krakow. Pages: l-16,22-8,297ff.

‡ Perz, Miroslaw (editor). 1963-. Antiquitates Musicae in Polonia. Warsaw and Graz. Pages: XIII,xxii-xxvi,37-102; XIV,17ff,204-379.

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,58-61, 78-80; 11,25-6,32,143-50,157-9, PI. XIV.

Layton, Billy Jim. 1960. Italian Music for the Ordinary of the Mass 1300-1450. Harvard University, Unpublished Ph.D. dissertation. Pages: 144ff,198,200,230-1,244,249,383,385-9.

Szweykowski, Zygmunt M. 1958. Z Dziejów Polskiej Kultury Muzycznej. Krakow. Pages: I,58ff, two plates following 48.

Reaney, Gilbert (editor). 1955-83. Early Fifteenth-Century Music. Corpus mensurabilis musicae, vol. 11, 1-6. Rome: American Institute of Musicology. Pages: III,xiii-xiv; VI,ix,xxvi-xxix.

Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: I,7O7; X, Tafel 83; XVI, 1053-4.

Apel, Willi. 1942. (4th ed., 1949). The Notation of Polyphonic Music 900-1600. Cambridge, Massachusetts. Pages: 186,444.

Jachimecki, Zdzisîaw. 1927. Muzyka Polska w Epoce Piastów i Jagiellonow. Polska: jej dzieje i kultura od czasów najdawniejszych do chwili obecnej Volume 1, 531-55. Warsaw. Pages: 535-40.

Jachimecki, Zdzisîaw. 1915. Muzyka na dworze króla Władysława Jagiełły, 1424-1430. Kraków. Pages: 2-3. Notes: relationship of music/non-music contents.

Jachimecki, Zdzisîaw. 1914. Rozwój kultury muzycznej w Polsce [The development of musical culture in Poland]. Kraków. Pages: 3. Notes: relationship of music/non-music contents.

Polinski, Aleksander. 1907. Dzieje muzyki polskiej w zarysie. Lwów. Pages: 40-1.

Sowiński, Wojciech. 1857. Les musiciens polonais et slaves, anciens et modernes. Dictionnaire biographique. Paris. Pages: 424.

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Michal Gondko

Monday, 20 July, 2026

Description, bibliography and inventory expanded and improved. New link to higher-quality images added. Substantial updates to bibliography have been made. Proposal for Petrus de Casimiria as owner/copyist added. Inventory updates including bibliographical and explanatory material; also, the identification of the composer of the final Gloria as Ostrorog has been challenged and Nicolaus Frangens de Leodio suggested instead; Caro mea (f. 176v) identified as not concordant with Q15; and Ostrorog's role in Pastor gregis (f. 186) questioned/clarified

Jokūbas Gadišauskas

Tuesday, 4 November, 2025

added image link

Eric Jas

Friday, 24 March, 2023

Corrected attribution of 'Ave mater O Maria' (Oswald von Wolkenstein)

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