PRoMs - The Production and Reading of Music Sources

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

Manuscript: Cambridge, Great Britain, Magdalene College, MS Pepys 1760

Manuscript type: choirbook

RISM siglum: GB-Cmc 1760

DIAMM Source Key: 1671

Image repositories: DIAMM

Folio(s): All folios

Date: c. 1509-c. 1514

The date of production of the manuscript variously established in relation to a note in the 1697 catalogue (see provenance) as before the death of Prince Arthur, 1502 (Merritt 1957), during the reign of Henry VII, d. 1509 (Kakmann 1956, Brown 1964), following the accession of Henry VIII in 1509 (Fenlon 1982), or 1516, the year of the birth of Mary, daughter of Henry VIII and Catherine of Aragon (Lowinsky 1971). Probably made before the death of Anne of Brittany in 1514 (Kellman 1970), but after c. 1509 (see notes on repertory in Lowinsky 1971), and adapted for Henry VIII (added and overpainted arms).


Location of origin: France


1. Anne of Brittany (d. 1514), Queen of France, wife of Charles VIII and Louis XII: frequent use of the heraldic ermine tail of Brittany as a run-over sign perhaps points to her ownership; overpainted arms (ff. 5v, 6r) are perhaps those of the French royal Order of St. Michael; 2. Henry VIII (b. 1491, d. 1547), King of England and Ireland: probably adapted for him: added Tudor royal arms of England as used by Henry VII and Henry VIII (f. 2v) and the arms of St George (as the patron saint of the Order of the Garter) overpainting the arms of the Order of St Michael (ff. 5v, 6r); 3. English Royal library: moved to the Upper Library at Westminster during the amalgamation of manuscripts after the death of Henry VIII; includes the 'high' Westminster inventory number: no 1281 (f. 1r) (see Carley 2000); the same number is also included in the British Library Royal 20 A XVI; 4. Lady Anne Stanhope (b. c. 1510, d. 1587), Countess of Hertford, Duchess of Somerset, attendant of Catherine of Aragon and subsequently wife of Edward Seymour, Lord Protector of England during the minority of Edward VI: inscription encoded in a numeric-alphabetic cypher: '' for 'annestanhopismihope' (inside of the front cover), and 'ffor my lade anne...' (inside of the back cover); Inscribed in a 16th-century hand: 'he that stelle thys boke a shalle be hangked up on a hoke nouther be watter nor be lond bot wyt a fayer hempyng bond (inside of the front cover); 5. Samuel Pepys (b. 1633, d. 1703), English naval administrator, Member of Parliament and bibliophile: his bookplates (ff. 2r, 92r); included in his catalogue, Librum manuscriptorum viri sapientissimi Samuelis Pepysi..., in Edward Bernard, Catalogi Manuscriptorum Angliae et Hiberniae, 2 vols (Oxford 1697), II, p. 209, no 6806: 'Vocal Musick (of different styles) compos'd by the most Eminent Masters, English and Forrein in the time of King Hen. VII for the then Prince of Wales; being the Prince's Original Book, elegantly prickt and illuminated with his Figure in Miniature. Pergam'; bequeathed by Pepys with his entire library to Magdalene College, Cambridge, and m in 1723, on the death of his nephew and heir, John Jackson.


Person: Anonymous, Anonymous
Person type: artist
Location of origin: France
Note: Miniature on f. 2v only.

Person: Anonymous, Anonymous
Person type: scribe
Note: One sribe responsible for text and music throughout.

Person: Bourdichon, Jean
Person type: artist
Location of origin: Tours, France
Note: On the basis of stylistic comparison, the decoration of borders and initials can be attributed to Jean Bourdichon and/or his workshop (see <a href="/bibliography/#entry508" data-tooltip="" class="has-tip tip-top reference" data-placement="top" rel="tooltip" data-original-title="" title="Fenlon, Iain (ed.), Cambridge Music Manuscripts 900-1700 (Cambridge, 1982) "><i class="fa fa-book"></i>Fenlon 1982</a>).

Person: Anonymous, (member of workshop of Jean Bourdichon (Tours, France))
Person type: None


Frere 1894–1932, repr. 1967, II, 145; James 1923, 36-38; Blume 1949–79, VI, 70; Bukofzer 1950, 190-216; Kahmann 1956, 126-128; Merritt 1957, 91-99; Lowinsky 1957, 120; Kabis 1957, 19 passim; Picker 1960, 351; Brown 1964, 5; Russell 1967, 64; Braithwaite 1967, I, 54-5; II, passim; V, 79-200; Lowinsky 1968, III, 129; Jeppesen 1968–70, II, 17; Douglas 1969, 86-88; Lowinsky 1971, 162-164; Kellman 1970; Bent/Bent/Trowell 1970, XVIII, 108; Bernstein 1973, 8, 13; 9, 11-2; Charles 1974, 62-68; Litterick 1976, 76-77; van Benthem 1976, 429; Fenlon 1982, 38; Brown 1988; Carley 2000, 213; Dumitrescu 2007, 121-122; Robinson 2009.

Basis for description: high-quality image

Cambridge, Great Britain, Magdalene College, MS Pepys 1760, All folios

Physical description

Material: parchment

Number of leaves: 93

Format: upright

Page dimensions: 222 x 145

Quire structure: Text version

Index / Table of Contents: ff. 2v-3v:
In laudem celestis regine. Tabula huius Codicis
Ave maria. de Jo. Bortel. .i.
Que est ista. de A. defevin. .i.
Ista est speciosa. de M. Gascogne. ii
Dulcis amica dei. de Priorio. ii
Dei genitrix de priorio iii
Verbum bonum. de. A. defevin iiii
Suscipe verbum. de Bontemps. vi
O admirabile. de. Jo. des prez. viii
Quando natus es. de. Jo. des prez x
Rubum quern viderat. des prez xii
Germinavit radix. de Jo. des prez xiii
Ecce Maria de. Jo. des prez xiiii
Ave Maria. de. Jo. Mouton. xvi
Ecce Maria de Jo. Mouton. xvii
Sub tuum presidium. de Brumel. xviii
Sancta Trinitas. de. A. de fevin xx
Nobilis progenie. de. A. de fevin. xxii
Adiutorium nostrum. de fevin xxiiii
Aleph. Prima lectio. de Ro. de fevin xxvi
Gunel 2a. Lectio. de Ro. de fevin xxix
Zay 3a. Lectio. de A. de fevin. xxxii
Quam pulchra. de. Prioris. xxxiiii
Benedicite et Agimus de Jo Mouton xxxv
Sufficiebat nobis. de Richafort xxxvii

Tabula aliorum verborum az.
O preclara. de A. de fevin. xxxix
Dulcis mater de M. gascogne xl
Ave maria de prioris xlii
Inclita pura de Fevin xliii
Nigra sum. de M. gascogne. xliiii
Parce domine. de obreh xlvii

Tabula Carminum
On a mal dit de mon amy. de fevin xlviii
Tres doulce dame. de A. de fevin xlvix
Mauditz soient. de fevin l
Helas je suys marry de fevin lii
Je le lerr puys qui Mybat. De fevin liii
Chacun mauditz. de fevin liii
En amours. de fevin lvi
Petite camusette. de fevin lviii
Fors seulement de fevin lix
II faict bon aymer loyselet de fevin lxi
Jayme bien mon amy. de fevin lxiii
Adieu soulas. de fevin lxiiii
Faulte dargent. de fevin. lxv
Jay veu la beaute mamye e fevin lxvi
II mest advis que je voys perrichon lxviii
Dieu gard de mal de Mouton lxix
Jay mys mon cueur de M. gascogne lxxi
Je voys je viens. de M. gascogne lxxiii
Pastourelle. de M. gascogne. lxxiiii
Pour avoir faict. de M. gascogne lxxv
En ce joly temps. de M. gascogne lxxvii
Celle qui ma demands. de gascogne. lxxix
Helas ma dame. de Jo. Brunel iiiixx
Naymes james. de fevin. ae iiiixxii
Damours je suys de Richafort. ah. iiiixxiiii
Sy jauoys marion. de gascogne. ae. iiiixxv
Consommo. de prioris. Ae iiiixxv

Finis Tabule Huius libelli

Other devices: 1. Original foliation in red ink top right, i-lxxxvi (= 5-91).
2. Modern foliation pencil top right, 1-93.
3. Two sets of leaf signatures: a letter followed by an arabic numeral in the lower inner margin (e.g. ff. 7r, 14r, 15r, etc); a letter followed by a Roman numeral in the lower outer margin (e.g. ff. 22r, 23r).
4. Quire signatures: numbers in the lower outer margin of the first folio in a quire, from 1-11, beginning in the present quire ii.

Page details (zoom):

Preparation and Copying

All folios


Disposition of Voice Parts Key

Pricking none visible
Ruled grid always
Ruling pattern highly regular
Staves omitted from grid never
Incomplete staves never
Medium and colour of grid Frequency Folios Note
light brown ink normally
Colour of staves Frequency Folios Note
brown always
Ruling medium Frequency Folios Note
single rastrum always
Indentation for initials Frequency Folios Note
single normally First and fifth stave indented.
Extra space between voice parts Frequency Folios Note
empty ruled staves on grid often
Space provided for separate text Frequency Folios Note
no separate text always
Adhoc adaptation Frequency Folios Note
notation extended into margin occasionally 17r, 20r, 32r, 35r, 39v, 54r, 58r
notation and staves extended into margin occasionally 30r, 33r, 37v, 39v, 41r, 50r, 57v, 59v, 60r, 62r, 62v

Copying of text and music

Language(s) French, Italian, Latin
Order of Copying music first
Presence/absence of text Voice part Frequency Folios Note
fully texted with one text all voice parts normally
provided with single incipit all voice parts rarely 62v-63r
fully texted with two texts all voice parts rarely 84v-85r
fully texted with one or two texts all except discantus rarely 40v-41r
fully texted with one or two texts discantus rarely 40v
Colour(s) of notation brown
Type(s) of notation void mensural
Monophonic notation absent
Level of calligraphy very high
Non verbal performance instructions Folios Note
signa congruentiae 5r, 78v-79r, 91v
repeat signs 85r
signes-de-renvoi 20r, 32v-33r, 34v-35r, 43v-44r, 45v-46r, 48v-49r, 52v-53r, 53v-54r, 56v-57r, 57v-58r, 59v-60r, 66v-67r, 72v-73r, 73v-74r, 74v, 77v-78r, 80v-81r, 82v-83r, 83v-84 Several different shapes of run over symbols: a flower with lozenge -shaped petals (ff. 32v-33r, 52v-53r, 66v-67r, 73v-74r, 77v-78r, 80v-81r83v-84r,); a flower formed of four tear-shaped petals (f. 35r); a ermine tail or half-ermine tail (ff. 34v-35r, 43v-44r, 48v-49r, 53v-54r, 59v-60r, 72v-73r), calligraphic signs formed of lozenges, dots or circles (ff. 45v-46r, 56v-57r, 57v-58r).
pointers 88v
Later changes Folios
Added notation 50r
Types of script hybrida
Types of script note Hybrid script with features of both bastarda and humanistic script.
Level of calligraphy high
Colour(s) of text black
Multiple texts yes
40v, 84v, 85r
Text repetitions fairly many
18v-19r, 19v-20r, 22r, 25v-26r, 38v-39r, 41v-42r, 42v-43r, 43v-44r, 46v-47r, 49v-50r, 50v-51r, 52v-53r, 56v-57r, 57v-58r, 58v-59r, 65v-66r, 66v-67r, 67v-68r, 68v-69r, 69v-70r, 76v-77r, 79v-80r, 80v-81r, 81v-83r, 83v-84r, 85v-86r, 87v-88r, 90v-91r
Abbreviations fairly few
Non underlaid vocal text none
Liminary text Performance directions and rubrics: '[portion of the first line excised].. ternas. Totum dat quarta . pausas hinc quod causis apta. Canon psalle breves duana? sed semibreves dyathesso. O. cane tres partes quartam c psalle debes' (f. 5r, margin); 'Canon', 'E pithoniza bina tempora pausando vel econverso' (f. 5v); 'verte folium' (ff. 14r, 39r, 44v, 49v, 58v, 60v, 65v, 70v), or 'verte' (ff. 45r, 84v); 'Lectio prima' (f. 29v); 'Benedicite' (ff. 38v, 39r); 'Agimus tibi gracias' (inscribed on staves, ff. 38v, 39r); 'Bazis' (f. 69v). Names of composers (usually in the upper margin): 'Jo. bortel' (f. 5r); 'M. gascongue' (ff. 5v, inscribed as rubric, 44v, 48v, 75v, 77v, 78v, 79v, 81v, 83v, 89v); 'Prioris' (ff. 6r, 6v, 37v, 46v, 91v); 'P. de Therache' (f. 7v); 'Jo des prez' or 'Josquin des prez' (ff. 15v, 16v, 17v); 'Io. Mouton (ff. 19v, 20v, 38v, 73v); 'A. Brumel' or 'Brunel' (ff. 21v, 84v); 'A. de fevin' or 'Anth de fevin' (ff. 23v, 25v, 27v, 29v, 32v, 35v, 43v, 47v, 52v, 53v, 54v, 56v, 57v, 58v, 60v, 62v 63v, 65v, 68v, 70v, 86v); 'Jo. Richafort' (ff. 40v, 88v); 'N. le petit' (f. 67v); 'hylayre' (f. 72v). ,
5r-6v, 7v, 14r, 15v, 16v, 17v, 19v, 20v, 21v, 23v, 25v, 27v, 29v, 32v, 35v, 37v, 38v-39r, 43v, 44v-45r, 46v, 47v, 48v, 49v, 52v, 53v, 54v, 56v, 57v, 58v, 60v, 62v, 63v, 65v, 67v, 68v, 69v, 70v, 72v, 73v, 75v, 77v, 78v, 79v, 81v, 83v, 84v, 86v, 89v, 91v


Level of Decoration very high
Decoration miniature frequency Folios Size position Description Discrepancies
rarely 2v 45 x 90 mm; beginning of the list of contents. The royal arms of England surmounted with a crown and encircled by the Garter, placed on the Tudor livery colours of green and white and supported by the red dragon and white greyhound.
rarely 5v Beginning of the canon 'Ista est spaciosa'. Excised miniature which according to the 1697 catalogue of Pepys library represented the Prince of Wales in the time of Henry VII (see Provenance).
Decoration border frequency Border type Folios Size Position Description Discrepancies
rarely trompe-l'oeil 5v, 6r full borders inner margin, lower margin, outer margin, upper margin Flowers and insects in colours on gold grounds, with the arms of St George (referring to the Order of the Garter) overpainting an earlier shield, possibly of the Order of St Michael surmounted with a cross.
Decoration initial type Frequency Folios Initial type(s) Size position Description Discrepancies
painted initials normally decorated Initials with flowers or acanthus leaves on gold grounds.
painted initials occasionally Beginning of voice parts. Initials in gold on blue grounds with white ornamental decoration.