PRoMs - The Production and Reading of Music Sources

Mise-en-page in manuscripts and printed books containing polyphonic music, 1480—1530

Manuscript: Paris, France, Bibliothèque Nationale, fonds du conservatoire MS Rés. 862

Manuscript type: polyphonic music manuscript appended to polyphonic music print

RISM siglum: F-Pn Rés. 862

DIAMM Source Key: 2379

Image repositories: Gallica

Folio(s): 73-88

Date: c. 1503-5

Bridgman 1967

Location of origin: Milan, Italy ; Venice, Italy

Provenance

Possibly written in Milan (given the presence of works by Gaffurius) or Venice. The Library of the National Conservatory of Music (Bibliothèque du Conservatoire national de musique), created in 1795: its stamp (f. 88v), from 1942 part of the Bibliothèque nationale de France.

Artists/Scribes

Person: Anonymous, Anonymous
Person type: scribe
Note: Scribe (2) responsible for an added motet on ff. 87v-88r.

Person: Anonymous, Anonymous
Person type: scribe
Note: Scribe (1) responsible for text on ff. 73r-87r

Bibliography

Blume 1949–79, VI, 1022; Gerber 1956, 776, 79; Pope/Kanazawa 1964, 142-3; Bridgman 1967; Ward 1969, 81-87, 219, 557-563, passim; Ward 1969, Tav. I-IV, 17; Cattin 1972, 77; Kanazawa 1974, xvii; Ferer 1976, 119, 124; Pope/Kanazawa 1978, 548, 599-600; Ward 1979; Census-Catalogue 1979-1988, III, 16.

Basis for description: original

Paris, France, Bibliothèque Nationale, fonds du conservatoire MS Rés. 862, 73-88

Physical description

Material: paper

Number of leaves: ii + 88 + i

Format: upright

Page dimensions: 166 x 223

Quire structure: Text version

Index / Table of Contents: Original index of the manuscript section is copied adjacent to the index of Petrucci's Motetti A (Rés. 861, f. 1v), by a different scribe. The pieces grouped alphabetically by incipits, with sub-grouping under each letter by order of appearance. Folio numbers mentioned in index extend to '101', indicating a loss of at least 13 folios.
Index in original spelling:
Ave mater gloriosa 95
Ave maria gratia plena 96
Ave vera caro christi 98
imnus in f. omnibus sanctis
Beata quos agmina 83
Benedicamus de apostolis 101
Benedicamus de domina 101
Imnus in ressurectione domini
Cuius corpus sanctissimum 76
Magnificat octavi toni
Et exaltavit spiritus 89
Magnificat octavi toni
Et exaltavis spiritus 92
Magnificat primi toni
Et exaltavi spiritus 99
Magnificat sexti toni
Et exaltavit apiritus 99
Imnus de uno martire
hic nempe mondi gaudi 86
Imnus Hostis herodes
Imnus in epiphania
Iban magi quas 75
Imnus in nativitate sancti Johanis babtiste
Noncius celso 79
Imnus de corpore christo
Nobis datus nobis 79
Imnus petri et pauli
Janito celi 80 /
O Beatum pontificem 97
Psalite deo nostro 94
Imnus tempore adventus
Qui condolens 73
Imnus temore ascenssionis
Que te vicit clemencia 77
Imnus in festo pentacostes
Qui paraclitus diceris 78
Imnus dominicarum
Qui mane iunctum verperi 84
Imnus dominicarum
Qui mane iunctum vesperi 84
Imnus unius conffesoris
Qui pius prudens 86
Imnus unius virginis
Qui pasis inter lilia 87
Imnus unius conffessoris
Qui pius prudens 87
Imnus s. marie
Sumens ilut ave 80
Imnus s. marie
Sumens ilut ave 81
letanie
S. Maria 101
Imnus nativitatis domini
Tu lumen tu splendor 73
Imnus apostolorum petri et pauli et aliorum
Vos secli justi judices 85

Other devices: 1. Original foliation ink top right, continuation of printed foliation in Rés. 861
2. Watermark in manuscript section resembles Briquet no. 475 or nos. 498-499; similar or identical watermark also found in print section.

Page details (zoom):

Preparation and Copying

All folios

Preparation

Disposition of Voice Parts Key

Pricking none visible
Ruled grid always,
single line to left and right, text on single line
Ruling pattern highly regular
Staves omitted from grid never
Incomplete staves never
Medium and colour of grid Frequency Folios Note
hard point and lead point always Text lines in hard point; justification lines in lead point.
Colour of staves Frequency Folios Note
brown always
Ruling medium Frequency Folios Note
single rastrum always
Indentation for initials Frequency Folios Note
none always Initials and voice names are placed in the margins.
Extra space between voice parts Frequency Folios Note
empty ruled staves on grid normally 73v, 74v-79r, 80v-84r
Space provided for separate text Frequency Folios Note
no separate text always
Adhoc adaptation Frequency Folios Note
notation and staves extended into margin rarely 80r, 81r, 83v, 84r, 88r

Copying of text and music

Language(s) Latin
Order of Copying music first
always
Presence/absence of text Voice part Frequency Folios Note
fully texted with one text discantus always
fully texted with one text all voice parts rarely 73-77r
provided with single incipit all except discantus normally 77v-88v
Music
Colour(s) of notation black
Type(s) of notation void mensural
Monophonic notation absent
Level of calligraphy high
Non verbal performance instructions Folios Note
signa congruentiae 87r
Line fillers Folios Note
often All
Later changes Folios
Added music for four voices indicated as C (contratenor), T (tenor), A (altus) and B (bassus). 87v-88r
Text
Types of script hybrida
Types of script size position Voice names written vertically in larger script.
Types of script note Hybrida formata close to Gothico-Antiqua.
Level of calligraphy high
Colour(s) of text red brown
Text written in red (ff. 73r-82r) and in brown (ff. 82v-88v) with some voice names written in black.
Multiple texts no
Text repetitions few
83v, 84v, 85r, 88v
Abbreviations fairly few
Non underlaid vocal text none
Liminary text Rubrics: 'Conditor alme siderum tempore adventus' (f. 73r); 'Christe Redemptor et c. In nativitate domini himnus' (f. 73v); 'In epiphania domini Himnus', added above by the same hand but in brown ink: 'Hostis herodis' (f. 74v); 'Ad cenam agni. In Ressurectione domini' (f. 75v); 'Jesu nostra redemptio Tempore ascensionis' (f. 76v); 'Veni creator spiritus in Festo penthecostes' (f. 77v); 'In festo Corporis christi' (f. 78v); 'In nativitate sancti Johannis Baptiste' (79v); 'In nativitate apostolorum petri et pauli (f. 80r); 'In assumptione Beate Marie' (f. 80v); 'In assumptione beate Marie et in omnibus. Fe. et comme.' (f. 81v); 'In festo omnium sanctorum' (f. 82v); 'In diebus dominicalibus' (f. 83v); 'In dominicis diebus' (f. 84v); 'In festivitatibus apostolorum' (f. 85r); 'In uno martire' (f. 85v); 'In nativitate plurimorum martirorum' (f. 86r); 'In uno confessore' (f. 86v); 'De una virgine' (f. 87r); in natalis unius confessoris' (f. 87v); 'Magnificat octavi toni' (f. 88v).,
73r, 73v, 74v, 75v, 76v, 77v, 78v, 79v, 80r, 80v, 81v, 82v, 83v, 84v, 85r, 85v, 86r, 86v, 87r, 87v, 88v
Later changes Added text (late 16th or 17th century-hand) 'S. Maria ora pro eo ad dominum.',
87v-88r

Decoration

Level of Decoration fair
Decoration initial type Frequency Folios Initial type(s) Size position Description Discrepancies
penned initials occasionally 73v, 74r, 75v calligraphic with decoration Large initials at the beginning of discantus and, occasionally, small at the beginning of voice names. Calligraphic initials in black, in black and red with pen-flourished decoration in red or in red with pen-flourished decoration in brown.
penned initials rarely 74v calligraphic with grotesque heads Large initial at the beginning of discantus. Calligraphic initial 'I'(bant) in red with pen-flourished decoration in brown and a profile-head of a woman in red, thought to be a portrait of Isabella d'Este (according to Bridgman 1967).
penned initials normally 74v-88v calligraphic Initials at the beginning of voice names, all except discantus Calligraphic initials in red or black.
initials planned often 77v, 78v, 79v, 80r, 80v, 81v, 82v, 83v, 84v, 85r, 85v, 86r, 86v, 87r, 87v, 88v Beginning of discantus. Guide letters for planned initials.
Other decoration frequency Folios Other decoration type(s) Size position Description Discrepancies
always decorative final long, embellished final barline At the end of voice parts. End symbols with attached line-fillers decorated with pen-flourishing in red and/or brown and various signs, such as coronae and signa congruentiae