IIIF Manifest
Copied by several scribes; one of these also wrote most of ChiL s.s. and last three pieces in LucAS 184, another also wrote ff. b'-c of ChiL s.s. (PirrPT). Scribe of ff. 99'-111 also wrote fragments now preserved in Florence, Biblioteca Nazionale Centrale, Incunab. F.5.5 (FabbriSC). Probably copied in Florence (ReaneyP); fascicles 6 and 8 copied in Lucca (GüntA). Originally owned by Gino Capponi of Florence (GüntDM); Paolo da Firenze perhaps associated with compilation, but not as scribe (PirrPT). Owned in 19th century by Charles X, King of France (1756-1836); manuscript may have reached Paris via French branch of Capponi family. Later passed to Bibliothèque Nationale.
F-Pnm Italien 568 (Pit)
Bibliothèque nationale de France, Département des Manuscrits, Paris, France
choirbook: 14th - 15th century
| Archive | Bibliothèque nationale de France, Département des Manuscrits, Paris, France (F-Pnm) |
|---|---|
| Shelfmark | Italien 568 (Pit) |
| Image Availability | The images on this record are linked using IIIF. |
| Surface | Mixed Paper and Parchment |
| Numbering System | Foliation |
| Measurements | 257 x 175 mm |
| Other Identifiers |
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| Notations |
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| Contents | Contains 200 compositions, 165 from 23 composers, 35 are anonymous. |
General Description
Binding
Rebound in modern covers of brown leather, with arms and monogram of King Charles x on front and inscription 'Chansons italiennes en musique' on spine.
Notation
black full, black void, red coloration
Ruling
red 6-line staves
Foliation
1-140
Foliation
Modern ink foliation, A-I + original ink foliation, I-CXL + modern ink foliation, 141. Sixth and eighth fascicles of music section (= ff. LI-LX and LXXI-LXXX) are slightly later interpolations; signs of alterations of original folio numbers to accommodate added fascicles still visible.
Decoration
Inked Gothic initials in red and blue, with filigree work and floral tracery; some attributions in red ink. Full-page miniature on original f. I depicts Musica and Tubal, with motto of Capponi family ('ven goth vuel') on scroll below. Guidonian hand on f. 141; solmisation exercises on f. 140'. GüntA refutes ReaneyP's assertion that many pieces in Florence, Biblioteca Medicea-Laurenziana, MS Palatino 87 ('Squarcialupi Codex') were copied directly from ParisBNI 568.
Index
Original alphabetical index on ff. A-I; entries made in several stages by several hands, reflecting chronology of copying of various repertorial layers.
Surface
i paper + 150 parchment + i paper
RISM Description
RISM B/IV 3:
14./15. Jh.; 150 Blätter Pergament + moderne Vorsatz- und Nachstoßblätter, 257 x 175 mm. Originale Foliierung von f. I-CXL; anschließend moderne Foliierung: f. 141; zu Beginn moderne Foliierung von f. A-I (mit Original-Index). Je Seite 8 rote Sechsliniensysteme mit schwarzer, teilweise hohler weißer und ausnahmsweise roter Notation (Werke von Paolo). - Einband: 19. Jh.; braunes Leder mit Monogramm Karls X von Frankreich; auf dem Rücken: Chansons italiennes en musique.
Die Handschrift besteht aus insgesamt 14 Faszikel, von denen zwei (Faszikel 6, f. 50-60, Faszikel 8, f. 71-80, vor allem mit Werken Paolos) etwas später als das Hauptcorpus entstanden und eingeschoben sind. Geschrieben wurde der Codex in Florenz (Reaney) oder im florentinischen Herrschaftsbereich, vielleicht in Lucca oder Pisa (v. Fischer); er gehörte einem Mitglied der Familie Capponi. Das Hauptcorpus ist nach v. Fischer und Reaney kurz nach 1400, nach Günther gegen 1405, nach Pirrotta um 1425 (inklusive Faszikel 6 und 8), die zwei eingeschobenen Faszikel nach v. Fischer um 1410, nach Günther zwischen 1406 und 1408 redigiert worden. - Das Repertoire umfaßt vor allem italienische Trecentowerke, für welche diese Handschrift eine der wichtigsten Quellen darstellt. Meist als Einschiebungen erscheinen einige französische Stücke. Bemerkenswert sind die Rasuren von zahlreichen Komponistennamen, auf die Ursula Günther aufmerksam gemacht hat. Sollten die radierten Namen richtig sein, könnten den bekannten Trecentomeistern weitere Werke zugewiesen werden. - Fol. A-I enthalten den Original-Index; f. 1r eine ganzseitige Darstellung von Musica und Tubal; f. 141r eine Guidonische Hand. Leer sind f. 53v/54r und 141v.
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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.
1 Gloria, 1 Credo, 1 Sanctus, 1 Agnus, 1 Benedicamus domino, 161 Italian secular pieces, 31 French secular pieces, 1 French/Italian secular piece, 1 Italian/French/Latin secular piece = 199 + 2 duplicates = 201 (some pieces have text incipits only)
Andreas de Florentia [Fr. Andrea]-2, Arrigo-1, Bartholus de Florentia-1, Bartolino da Padua-4, (Ciconia)-1, Donatus de Florentia [Don Donato da casciaJ-5, Feo-2, (Filippo da Caserta)-1, (Franciscus)-1, (Garinus)-1, Gherardellus-5, Gian Toscan-1, Giovanni de Florentia-4, (Grimace)-1, Guilielmo de Francia-2, Jacopo da Bologna-11, Landini [Francesco]-63, Lorenço-4, (Machaut)-4, Molins [De mulino]-2, Nicolaus de Perugia [Ser Nicholo Del proposto]-6, Paolo da Firenze [Don Paolo Tenorista Da firençe; DP; PA]-47, Vincenzo da Rimini [L'abate Vincençio Da Imola]-2, anon-28
Composer list includes some original attributions which were later erased, but whose validity appears probable (discussed in GüntA).
i paper + 150 parchment + i paper folios, 257 x 175. Modern ink foliation, A-I + original ink foliation, I-CXL + modern ink foliation, 141. Sixth and eighth fascicles of music section (= ff. LI-LX and LXXI-LXXX) are slightly later interpolations; signs of alterations of original folio numbers to accommodate added fascicles still visible. Ff. LIII'-LIV have blank staves only; f. 141' blank. Rebound in modern covers of brown leather, with arms and monogram of King Charles x on front and inscription "Chansons italiennes en musique" on spine. Original alphabetical index on ff. A-I; entries made in several stages by several hands, reflecting chronology of copying of various repertorial layers. Black mensural notation on red 6-line staves, with black void and red coloration. Copied by several scribes; one of these also wrote most of ChiL s.s. and last three pieces in LucAS 184, another also wrote ff. b'-c of ChiL s.s. (PirrPT). Inked Gothic initials in red and blue, with filigree work and floral tracery; some attributions in red ink. Full-page miniature on original f. I depicts Musica and Tubal, with motto of Capponi family ("ven goth vuel") on scroll below. Guidonian hand on f. 141; solmisation exercises on f. 140'. GüntA refutes ReaneyP's assertion that many pieces in Florence, Biblioteca Medicea-Laurenziana, MS Palatino 87 ("Squarcialupi Codex") were copied directly from ParisBNI 568.
Ca. 1405-8 (GüntDM). Probably copied in Florence (ReaneyP); fascicles 6 and 8 copied in Lucca (GüntA). Originally owned by Gino Capponi of Florence (GüntDM); Paolo da Firenze perhaps associated with compilation, but not as scribe (PirrPT). Owned in 19th century by Charles X, King of France (1756-1836); manuscript may have reached Paris via French branch of Capponi family. Later passed to Bibliothèque Nationale.
Vol 4
Physical: Scribe of ff. 99'-111 also wrote fragments now preserved in Florence, Biblioteca Nazionale Centrale, Incunab. F.5.5 (FabbriSC; latter source not within scope of this catalogue).
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‡ denotes primary source study
Fabbri, Mario, and John Nadas. 1983. A Newly Discovered Trecento Fragment: Scribal Concordances in Late-Medieval Florentine Manuscripts. Early Music History, 3: 67-81. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Sadie, Stanley (editor). 1980. The New Grove Dictionary of Music and Musicians. London. Pages: XVII,666. Notes: facsimile (partial).
Fischer, Kurt von. 1979. The Mass Cycle of the Trecento Manuscript F-Pn568(Pit). Essays on Music for Charles Warren Fox, 1-13. Rochester, N.Y. Pages: 184. Notes: contents list (partial); transcriptions (partial); mention of MS; discussion.
Baumann, Dorothea. 1978. Some Extraordinary Forms in the Italian Secular Trecento Repertoire. L'Ars Nova Italiana del Trecento IV, Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial); mention of MS; discussion.
Günther, Ursula. 1972. Un Codice Trecentesco, Bibi. Nat. Paris fonds ital. 568. Lochamer-Liederbuch / Fundamentum organisandi , Documenta Musicologica. Series II, vol. 3. Kassel: International Society for Musicology. Pages: Faksimiles-Ausgaben der ganzen Handschrift.
Timm, Erika. 1972. Die Überlieferung der Lieder Oswalds von Wolkenstein. Germanische Studien, vol. 242. Lübeck and Hamburg. Pages: 160-3. Notes: physical description; contents list (partial); concordances (partial).
Schlager, Karlheinz (editor). 1971-. Répertoire International des Sources Musicales. Series A/I, vol. Einzeldrucke vor 1800. Kassel. Pages: B IV/3,436-85. Notes: physical description; contents list; concordances; incipits.
Apel, Willi (editor). 1970-72. French Secular Compositions of the Fourteenth Century. Corpus mensurabilis musicae, vol. 53. Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I-III. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial).
Fischer, Kurt von. 1969. Paolo da Firenze und der Squarcialupi-Kodex (I-Fl 87). Quadrivium, 9: 5-24. Notes: physical description (partial); contents list (partial); mention of MS; discussion.
D'Accone, Frank A. 1968. Giovanni Mazzuoli: A Late Representative of the Italian Ars Nova. L'Ars Nova Italiana del Trecento II, 23-38. Pages: 24. Notes: mention of MS; contents list (partial).
Petrobelli, Pierluigi. 1968. Some Dates for Bartolino da Padova. Studies in Music History: Essays for Oliver Strunk, edited by Pierluigi Petrobelli, 85-112. Princeton: Princeton University Press. Pages: 85,94-104. Notes: contents list (partial); concordances (partial); texts (partial); mention of MS; discussion.
Günther, Ursula. 1967. Zur Datierung des Madrigals 'Godi Firenze' und der Handschrift Paris, B.N., fonds it. 568 (Pit). Archiv für Musikwissenschaft, 24: 99-119. Pages: 99ff. Notes: contents list (partial); transcription (partial); texts (partial).
Günther, Ursula. 1966. Die 'anonymen' Kompositionen des Manuskripts Paris, B.N., fonds it. 568 (Pit). Archiv für Musikwissenschaft, 23: 73-92. Pages: 73 f. Notes: contents list (partial); concordances (partial); facsimile (partial); mention of MS; discussion.
Marrocco, W. Thomas. 1961. Fourteenth-Century Italian Cacce. Cambridge, Massachusetts. Pages: xxii, 40-3, Plate VI. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial).
Pirrotta, Nino. 1961. Paolo Tenorista in a new fragment of the Italian Ars Nova. Palm Springs, California: E. E. Gottlieb. Pages: 17ff. und öfter. Notes: physical description (partial); contents list (partial).
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,54-8,78-9 11,63-4. Notes: contents list (partial); concordances (partial); incipits (partial); transcription (partial); mention of MS; discussion.
Layton, Billy Jim. 1960. Italian Music for the Ordinary of the Mass 1300-1450. Harvard University, Unpublished Ph.D. dissertation. Pages: 57,77-115, 198. Notes: contents list (partial); concordances (partial); transcriptions (partial); mention of MS; discussion.
Reaney, Gilbert. 1960. The Manuscript Paris, Bibliothèque Nationale, Fonds Italien 568 (Pit). Musica Disciplina, 14: 33-63. Notes: physical description; contents list; concordances; mention of MS; discussion.
Schrade, Leo. 1958. Übertragungen der Werke Landinis. Pages: Übertragungen der Werke Landinis). - Für alle weiteren Faksimiles und Ausgaben, die vor 1960 erschienen sind, vergleiche G. Reaney, The Manuscript Paris Bibliothèque Nationale, Fonds italien 568 (Pit), in <em>MD</em> XIV (I960), 49ff. (Inventar der Handschrift mit Angabe der Ausgaben und Faksimile der einzelnen Stücke.
Parrish, Carl. 1957. The Notation of Medieval Music. New York. Pages: 173-81, Plates LIV, LVI-LIX. Notes: transcription (partial); facsimile (partial); texts (partial); mention of MS; discussion.
Schrade, Leo (editor). 1956-. Polyphonic Music of the Fourteenth Century. 24 vols. Monaco. Pages: Commentary to Vols. II-III, 51-2, passim; Commentary to Vol. IV, 33ff, passim; VI-XII, passim XVIII, 150, 153; XIX.181-2,191 XX,157,257. Notes: contents list (partial); concordances (partial); transcriptions (partial).
Fischer, Kurt von. 1956. Studien zur italienischen Musik des Trecento und frühen Quattrocento. Publikationen der Schweizerischen Musikforschenden Gesellschaft, vol. Serie II, Vol. 5. Bern: Paul Haupt. Pages: 18ff,92-3, passi. Notes: contents list (partial); concordances (partial); mention of MS; discussion.
Pirrotta, Nino (editor). 1954-1998. The Music of Fourteenth Century Italy. Corpus mensurabilis musicae, vol. 8 (1-5). Neuhausen nr. Stuttgart: American Institute of Musicology. Pages: I,iv-v,x-xi, 1-6,42-4,53-6; Ill,vi-vii.xii, 1-2,14-5, 29-30,37-41; IV,iv-v,xii, 14-5,47-8; V,v-vii,xvi,ll,31,40,42-3. Notes: contents list (partial); concordances (partial); transcriptions (partial); texts (partial).
Marrocco, W. Thomas. 1954. The Music of Jacopo da Bologna. University of California Publications in Music, vol. 5. Berkeley and Los Angeles: University of California Press. Pages: 6,8,69-70,145,159. Notes: physical description (partial); contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial).
Apel, Willi (editor). 1950. French Secular Music of the Late Fourteenth Century. Cambridge, Massachusetts: The Medieval Academy of America. Pages: 3-4,28, Plate VIII. Notes: contents list (partial); concordances (partial); facsimile (partial); mention of MS; discussion.
Gotti, Ettore Li, and Nino Pirrotta. 1949-1951. II codice di Lucca. Musica Disciplina, 3-4-5: III, 119-38; IV, 111-52; V, 115-42. Pages: III, 119 (Anm. 13).
Blume, Friedrich (editor). 1949-79. Die Musik in Geschichte und Gegenwart: Allgemeine Enzyklopädie der Musik. Kassel. Pages: VIII, Tafel 4. Notes: facsimile (partial).
Apel, Willi. 1942. (4th ed., 1949). The Notation of Polyphonic Music 900-1600. Cambridge, Massachusetts. Pages: 374-6, 378-80, 398-402, 407-9; Appendix, Nos. 48,54,55. Notes: transcription (partial); facsimile (partial); mention of MS; discussion.
Ellinwood, Leonard. 1941. The Conductus. Musical Quarterly, 27: 165ff. Pages: XX.
Ellinwood, Leonard (editor). 1939. The Works of Francesco Landini. Cambridge, Massachusetts: The Mediaeval Academy of America. Pages: xx, 311-6, passim; Plates VI, VIII. Notes: contents list (partial); concordances (partial); transcriptions (partial); facsimile (partial).
Gotti, Ettore Li, and Nino Pirrotta. 1935. II Sacchetti e la tecnica musicale del trecento italiano. Firenze: Sansoni. Pages: 62f.
Ludwig, Friedrich (editor). 1926-9. Guillaume de Machaut: Musikalische Werke, 1-3. Leipzig: Publikationen älterer Musik. Pages: I,18ff. Notes: physical description; contents list; incipitsst of contents (partial); concordances (partial); mention of MS; discussion.
Besseler, Heinrich. 1925. Studien zur Musik des Mittelalters: I. Neue Quellen des 14. und beginnenden 15. Jahrhunderts. Archiv für Musikwissenschaft, 7: 167-252. Pages: I, 208, 226.
Ludwig, Friedrich. 1925. Die mehrstimmige Messe des 14. Jahrhunderts. Archiv für Musikwissenschaft, 7: 417ff. Pages: II, 27 *f. und öfter.
Ludwig, Friedrich. 1923. Die Quellen der Motetten ältesten Stils. Archiv für Musikwissenschaft, 5: 185-222, Vol. 5 (1924) 273-315. Pages: 283/284 (Anm.).
Wolf, Johannes. 1913-9; Reprinted: Hildesheim, 1963. Handbuch der Notationskunde. Leipzig. Pages: I, 109 und öfter.
Ludwig, Friedrich. 1905. Studien über die Geschichte der mehrstimmigen Musik im Mittelalter. II. Ein mehrstimmiges St. Jakobs-Offiziumdes 12. Jahrhunderts. Kirchenmusikalisches Jahrbuch, 19: . Pages: 615.
Wolf, Johannes. 1904; Reprinted: Hildesheim, 1965. Geschichte der Mensural-Notation von 1250-1460 nach den theoretischen und praktischen Quellen. 3 vols. Leipzig. Pages: I,166, 250-8,304ff; II,46-9,81-2,107-9; III,72-7,116-8,139-40,145-7. Notes: physical description; contents list; transcription (partial); facsimile (partial); mention of MS; discussion.
Marrocco, W. Thomas. None. Marrocco ? Pages: Übertragung der Stücke von Giovanni und Jacopo.
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Thomas Engel
Tuesday, 3 February, 2026
Corrected two errors in the inventory: "Perche vendetta" by Paolo is not on f. 64v-65, but is the two-voice Ballata on f. 83v (which is therefore not anonymous); while the piece on f. 64v-65 is in fact Francesco's Ballata "Perche di novo sdegno".
Maria Christina Cleary
Monday, 16 December, 2024
"Aquila altera" re-categorised as a madrigal
Philippa Ovenden
Thursday, 7 March, 2024
Omitted from inventory: Imperiale sedendo fra piu stelle, by Bartolino da Padova, fols. 47v–48. Now added.
Jacob Reed
Sunday, 27 September, 2020
42 more works in Pit now attributed to Paolo di Firenze, on the basis of Gunther's work (erased attributions) and Ciliberti's catalogue.
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
Répertoire Internationale des Sources Musicales
Monday, 23 January, 2017
NB: Migrated from old site. Credit for notes may not be completely accurate. RISM Description