PRoMs - The Production and Reading of Music Sources

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

Manuscript: Florence, Italy, Biblioteca Nazionale Centrale, MS Banco Rari 229 (olim Magliabechi XIX.59)

Manuscript type: choirbook

RISM siglum: I-Fn 229

DIAMM Source Key: 1410

Folio(s): All folios

Date: 1492-1493

Before 1493, the probable year of the death of Alessandro Braccesi's father, and the removal of the cadency label of his coat of arms.

Location of origin: Florence, Italy

Provenance

1. Alessandro Braccesi (or Bracci) (b. 1445, d. 1503), Florentine notary and humanist; probably made for him before 1493, the date by which his father Rinaldo was dead: coat of arms of Braccesi family with a label of cadency (f. iv verso); 2. in the Gaddi library (begun by Angelo di Zanobi Gaddi (d. 1474); 3. sold by Gasparo Gaddi in 1755: included in the 1755 sale catalogue (Florence, Archivio di Stato, Archivio della Reggenza, Busta 55, fasc. 724-25) as cod. 1024; 4. purchased with the Gaddi library by Francis I (Francis Stephen), Grand Duke of Tuscany and Holy Roman Emperor (b. 1708, d. 1865) and donated by him to the Biblioteca Magliabechiana: his bookplate recording the donation: 'Francisci Caesaris Augusti Munificientia' (pasted inside the front cover); 5. the Biblioteca Magliabechiana, which in 1861 formed the core of the Biblioteca Nazionale Centrale: bookplate with the former shelfmark 'Magl. XIX. 59' and a note 'Provenienza Gaddi no. 1024' (pasted inside the front cover).

Artists/Scribes

Person: di Giovanni di Miniato, detto del Fora, Gherardo
Person type: artist
Location of origin: Florence, Italy
Note: <p><span>Miniatures and initials attributed to the brothers Gherardo and Monte di Giovanni da Miniato (detto del Fora), who worked in Florence between 1470 and 1495 (<a href="/bibliography/#entry397" data-tooltip="" class="has-tip tip-top reference" data-placement="top" rel="tooltip" data-original-title="" title="Bragard, Anne-Marie, 'Un manuscrit florentin du quattrocento: le Magi. XIX, 59 (B.R. 229)', Revue de Musicologie, 52 (1966), 56–72 "><i class="fa fa-book"></i>Bragard 1966</a>); ParisBNF 15123 was also decorated by the same workshop.</span></p>

Bibliography

Adler 1894–1970, XXVIII, 171-172; Wolf 1913–19 (Repr. 1963), I, 450; Jeppesen 1927; Smijers 1935, 165-181, 172-173; Becherini 1948, 219-235, 219-231; Blume 1949–79, IV, 396; X, Tafel 108; Seay 1956, 193-195, 193-195; Finscher 1958–, V, [ix]; Becherini 1959, 22-29; Picker 1960, 353-354; Lerner 1961–70, IV, xv-xvi; V, v-ff, 24-5, 30-1, 41-2, 48-50, 97, 122; Just 1963, 1-19; Karp 1966, 455-473 , 455 passim; Bragard 1966, 56-72; Wangermée 1968, Plates 17, 83; Pannella 1968, 3-47 , 41-47; Jeppesen 1968–70, II, 53-54, 146; Smijers 1969, 55-60; D'Accone 1970, 263-88 , 271, passim; Atlas 1971, 483-484; Drake 1972, 167; Staehelin 1973, 79-91, 84; Brown 1973, 3-8; Lerner 1974–, VI, x, xlix, 186-188; VII, xix-xxi; Atkinson 1975–, I, x-xxiv, xxvii, 9, passim; IX/X, xiii, xxv; Harrán 1976, 172, 177; Brown 1976, 665-668; Atlas 1976, 248; Staehelin 1977, I, xxii-xxiii, 30-34, 62, 86-87; II, 858; III,70, 88-89; Hudson 1977, xvii-xviii, xxiv, xxxiii-xlviii; Boorman 1977, 183-207, 199-201, 206; Sherr 1978, xiv, 152-153; Gore 1978, I, 29-30, 115; II, xv-xvii; Brown 1978, 371-381; Perkins/Garey 1979, I, 10-15; II, 159, 214, passim; Census-Catalogue 1979-1988, I, 219-220, Sadie 1980, XVII, 683, Atlas 1981, xxiii, xxix-xxx, 62-64; Brown 1982, 1-48; Bernstein 1982, 275-326, 285, 296, 317-318, 321; Brown 1983a; Maas 1983–, I, xii-xvi; V, xix-xx.

Basis for description: original

Florence, Italy, Biblioteca Nazionale Centrale, MS Banco Rari 229 (olim Magliabechi XIX.59), All folios

Physical description

Material: paper (with parchment)

Number of leaves: iii + V + 325 + iii

Format: upright

Page dimensions: 233 x 167

Quire structure: Text version

Title page / Frontispiece: A circular canon with personifications of the four winds and a motto 'Mundus et musica et totus concentus. Bartholomeus Rami' (extract by Bartolome Ramos de Pareja, the Spanish music theorist). Below, two putti supporting a table inscribed with a quotation from the third satire of Horace: 'Omnibus hoc vitium est cantoribus inter amicos ut numquam inducant animum cantare rogati, iniussi numquam desistant' (f. IIIv).

Other devices: 1. Quire signatures in following quires: viii: 'f1-5'; ix: 'g1-5'; x: 'h1-5' (ff. 61v-90v); xv: 'e1-5'; xvi: 'd1-5'; xvii: 'c1-5'; xviii: 'b1-5'; xvii: 'a1-5' (ff. 131r-180v).
2. Modern foliation in pencil, top right,
3. Watermarks of an eagle similar to Briquet nos. 81-91 (Tuscany); all except for ff. 291-324: watermark of a hat similar to Briquet nos. 3390-3391 (Florence, 1487 and 1491) (see [[Brown 1983]], 6).

Page details (zoom):

Preparation and Copying

IIIv

Preparation

Disposition of Voice Parts Key

Pricking none visible
Ruled grid always
Ruling pattern fairly regular
Circular staves.
Staves omitted from grid never
Incomplete staves never
Medium and colour of grid Frequency Folios Note
n/a always
Colour of staves Frequency Folios Note
gold always
Ruling medium Frequency Folios Note
freehand always Underdrawing was probably done with a compass, but the lines in gold were added in freehand.
Indentation for initials Frequency Folios Note
none always
Extra space between voice parts Frequency Folios Note
none always
Space provided for separate text Frequency Folios Note
no separate text always

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 all voice parts always
Music
Colour(s) of notation gold
Type(s) of notation void mensural
Monophonic notation absent
Level of calligraphy very high
Non verbal performance instructions Folios Note
signa congruentiae Personifications of the four winds play the role of signa congruentiae (see Decoration).
Text
Types of script roman
Types of script note underlay text, names of the four winds (signa congruentiae) and a motto in the lower margin are written in roman capitals; liminary text is written in rotunda.
Level of calligraphy very high
Colour(s) of text gold
Multiple texts no
Text repetitions none
Abbreviations none
Non underlaid vocal text none
Liminary text Performance instructions for resolving the canon: 'sive lidium in sinemenon sive ypolidium diaceugmenon per quatuor quartas ducas renovando dulcem harmoniam intra diapason senties melodiam bene modulando.'

Decoration

Level of Decoration very high
Decoration miniature frequency Folios Size position Description Discrepancies
rarely Frontispiece; full-page composition. On blue ground, personifications of the four winds, symbols of the four cardinal directions, painted in gold (en grisaille d'or), surround the circular canon, which is placed in the middle of the page and symbolizes the globe. Each wind is blowing at a note indicating the entrance of one of the four voices. The winds and the globe-canon illustrate the motto encircled by the staves: 'Mundus et musica et totus concentus.' Below, two putti hold a red banner with a quotation from Horace.
IVr-Vv, 1r-324v

Preparation

Disposition of Voice Parts Key

Pricking rarely,
A single pricking hole is visible on all folios towards the bottom of the outside margin, but not aligned with either a stave or the bounding line. Possibly indicates use of a frame.
Ruled grid always
Ruling pattern highly regular
The prevailing pattern of stave heights is 13, 13, 12.5, 13, 13, 12.5, 13, 13, suggesting a combination of (from the top) two triple rastra followed a double rastrum. Slight irregularities in distance of lines within the rastra themselves confirm this. ff. IVv-Vr were first ruled with rastrum, but the staves in gold were subsequently drawn over in freehand.
Staves omitted from grid never
Incomplete staves never
Medium and colour of grid Frequency Folios Note
brown ink always Justification lines only.
Colour of staves Frequency Folios Note
gold rarely IVv-Vr
black always Dark brown, almost black.
Ruling medium Frequency Folios Note
quadruple rastrum sometimes 291-324
triple rastrum normally
double rastrum normally
Indentation for initials Frequency Folios Note
none normally Text and music are indented on staves and initials are painted over staves.
Extra space between voice parts Frequency Folios Note
empty ruled staves on grid sometimes
Space provided for separate text Frequency Folios Note
not in dedicated space sometimes 23r, 53r, 149v
Adhoc adaptation Frequency Folios Note
notation and staves extended into margin occasionally 70r, 79v, 136r, 139v, 140r, 191r, 255r, 279r
notation extended into margin rarely 4r, 230v
staveline added sometimes 3r, 7r, 63v, 70v, 130v, 131v

Copying of text and music

Language(s) Dutch, French, Italian, Latin
Order of Copying music first
always
Presence/absence of text Voice part Frequency Folios Note
provided with single incipit contratenor primus rarely 2r, 4r, 64r, 157r, 158r, 163v
untexted all voice parts often VIv-Vr, 2v-3r, 8v-12r, 13v-18r, 21v-22r, 23v-24r, 27v-28r, 32v-35r, 60v-61r, 67v-68r, 74v-75r, 79v-83r, 89v-90r, 93v-94r, 110v-111r, 119v-120r, 125v-129r, 131v-133r, 135v-137r, 139v-140r, 143v-149r, 152v-153r, 165v-167r, 169v-170r, 171v-172r, 173v-175r, 178v-180r, 181v-182r, 184v-186r, 190v-191r, 194v-195r, 201r, 204v-205r, 206v-207r, 208v-209r, 211v-212r, 213v-214r, 216v-218r, 224v-225r, 227v-228r, 232v-236r, 240v-241r, 244v-245r, 247v-251r, 252v-253r, 256v-257r, 258v-267r, 269v-270v, 271v-274r, 276v-277r, 284v-285r, 286v-287r, 288v-290v 178v-180r, 181v-182r, 184v-186r, 190v-191r, 194v-195r, 201r, 204v-205r, 206v-207r, 208v-209r, 211v-212r, 213v-214r, 216v-218r, 224v-225r, 227v-228r, 232v-236r, 240v-241r, 244v-245r, 247v-251r, 252v-253r, 256v-257r, 258v-267r, 269v-270v, 271v-274r, 276v-277r, 284v-285r, 286v-287r, 288v-290v
untexted all except discantus and contratenor primus sometimes 1v-2r, 3v-4r, 63v-64r
provided with single incipit discantus sometimes 1v, 3v, 4v, 5v, 6v, 12v, 18v, 20v, 24v, 28v, 29v, 30v, 31v, 35v, 37v, 38v, 39v, 40v, 41v, 42v, 43v, 44v, 45v, 46v, 48v, 53v, 57v, 58v, 59v, 61v, 62v, 63v, 64v, 65v, 73v, 75v, 76v, 77v, 78v, 82v, 83v, 84v, 87v, 121v, 122v, 123v, 130v, 163v, 245v, 254v
untexted tenor often 4v-7v, 12v, 19v, 20v-21r, 24v, 28v-32r, 35v-36r, 37v-43r, 44r-47r, 53v-54r, 57v, 58v, 59v, 61v, 62v, 64v-66r, 73v-74r, 75v-79r, 82v-85r, 87v, 88v, 121v-123r, 130v-131r, 163v, 245v, 254v
provided with single incipit contratenor sometimes 5r, 6r, 7r, 8r, 13r, 20r, 21r, 25r, 29r, 30r, 31r, 32r, 36r, 38r, 39r, 40r, 41r, 42r, 43r, 44r, 45r, 46r, 47r, 54r, 58r, 59r, 60r, 62r, 63r, 65r, 66r, 74r, 76r, 77r, 78r, 79r, 83r, 84r, 85r, 88r, 89r, 122r, 123r, 131r, 247r, 255r
fully texted with one text discantus sometimes 7v, 22v, 26v, 36v, 47v, 49v, 50v, 51v, 52v, 54v, 55v, 56v, 68v, 71v, 72v, 85v, 88v, 106v, 107v, 112v, 133v, 153v, 156v, 157v, 158v, 167v, 187v, 236v, 237v, 238v, 255v, 279v, 282v, 285v f. 158v: canon inserted in the position of discantus.
untexted all except discantus occasionally 18v-19r, 48v-49r, 86v-87r, 107v-108r, 123v-124r, 161v-163r, 187v-188r
provided with single incipit all except discantus sometimes 22v-23r, 26v-27r, 36v-37r, 47v-48r, 49v-53r, 54v-57r, 68v-70r, 71v-73r, 85v-86r, 106v-107r, 112v-113r, 133v-134r, 153v-154r, 158v-159r, 167v-168r, 222v-223r, 236v-239r, 255v-256r, 279v-281r, 282v-283r, 285v-286r
fully texted with one or two texts all voice parts occasionally 66v-67r, 120v-121r, 154v-156r, 180v-181r, 218v-219r
partially texted with one text discantus rarely 69v, 280v
provided with single incipit all voice parts often 70v-71r, 90v-93r, 95v-105r, 108v-110r, 111v-112r, 113v-119r, 124v-125r, 134v-135r, 137v-139r, 140v-143r, 149v-151r, 159v-161r, 164v-165r, 168v-169r, 170v-171r, 172v-173r, 175v-178r, 183v-184r, 186v-187r, 188v-190r, 191v-193r, 201v-204r, 205v-206r, 207v-208r, 209v-211r, 212v-213r, 214v-216r, 219v-222r, 223v-224r, 225v-227r, 228v-232r, 239v-240r, 241v-244r, 247v-249r, 251v-252r, 253v-254r, 257v-258r, 267v-269r, 270v-271r, 274v-276r, 277v-279r, 281v-282r, 284v-285r, 287v-288r
fully texted with two texts discantus rarely 86v
provided with single incipit all except bassus rarely 105v-106r
untexted bassus rarely 106r
provided with single incipit all except cotratenor rarely 151v-152r
untexted contratenor rarely 152r
provided with single incipit contratenor secundus rarely 157r, 158r, 164r
fully texted with two texts tenor rarely 156v, 157v
partially texted with one text all voice parts rarely 182v-183r, 193v-194r
Music
Colour(s) of notation dark brown gold
Colour of notation note <p>Music written in very dark brown, almost black ink, except for ff. IVv-Vr: music written in gold.</p>
Type(s) of notation full mensural, void mensural
Type of notation note Full mensural notation (f. 239r).
Monophonic notation absent
Level of calligraphy very high
Non verbal performance instructions Folios Note
repeat signs 37v-38r, 45v, 113v-114r, 120v-121r, 152v-153r, 156v-157r, 157v, 172v-173r, 180v, 184v-185r, 224v-225r, 240v-241r
signa congruentiae 189r, 251v, 253r-253v, 255v, 264v-265r
Line fillers Folios Note
few IVv-Vr Pen-flourished decoration in gold.
Text
Types of script cursive
Types of script size position Voice names written in larger script emulating the batarde cursive script.
Level of calligraphy high
Colour(s) of text dark brown gold
Texts written in dark brown script, except for ff. IVv-Vr, which are written in gold.
Multiple texts yes
86v, 120v, 156v, 157v, 180v
Text repetitions very few
66v-67r, 155v, 218v
Abbreviations few
Non underlaid vocal text additional
23r, 53r
Liminary text Names of composers: 'Jannes Martini' (ff. Vr [in Roman script], 2v, 4v, 6v, 8v, 10v, 12v, 14v, 16v, 18v, 101v, 143v, 148v, 156v, 173v, 189v, 216v, 235v, 290v); 'Henricus Izac' or 'Izac' (ff. 1v, 3v, 5v, 7v, 9v, 11v, 13v, 15v, 17v, 133v, 144v, 153v, 154v, 181v, 207v, 249v, 269v, 270v, 271v, 272v, 273v, 278v); 'Jo. tinctoris' (f. 19v); 'Jannes Agricola' (ff. 21v, 22v); 'Murian' (f. 41v); 'Josquin' (ff. 43v, 149v, 164v, 180v); 'Jannes Japart' (ff. 45v, 105v, 111v, 159r, 163v); 'Antonius Busnoys', 'Busnoys' or 'A. Busnoys (ff. 54v, 55v, 56v, 57v, 59v, 61v, 62v, 63v, 71v, 120v, 194v, 238v); 'Alexander Agricola' or 'Alexander'(ff. 64v, 65v, 66v, 67v, 68v, 69v, 82v, 85v, 116v, 130v, 132v, 183v, 244v, 267v); 'Caron' (ff. 72v, 75v, 98v, 99v, 113v, 170v, 222v, 236v); 'P. Congiet' or 'Petrus Congiet' (ff. 95v, 123v); 'Collinet de Lanoy' (100v); 'Joannes Regis' (f. 104v); 'F. Rubinet' (ff. 108v, 109v, 110v, 209v, 217v, 284v); 'Loyset Compere' (ff. 118v, 134v, 225v); 'Jacobus Barle' (ff. 135v, 136v); 'Pietrequin' (f. 150v); 'Jacobus Obrech' (ff. 179v, 182v, 227v); 'De Planquard' (f. 189r); 'Hemart' (f. 226v) Performance instructions: 'Residuum' (ff. 58v, 60v, 86v, 131v, 155v, 184v, 224v, 246v, 248v, 266v, 276v); 'verte' (ff. 59v-60r, 86r, 106v-107r, 131r, 154v-155r, 156v-157r, 168v-169r, 170v-171r, 177v-177r, 184r, 207v-208r, 245v-246r, 247v-248r, 265v-266r, 275v-276r, 288v-289r); 'canon. Quiescit qui super me volat. Post me venit qui in punctu clamat' (f. 149); 'Antiphrasis baritonat' and 'Canon. Ne sonites a mese Lycanosipaton summite' (f. 158v); 'Canon. Contra cum discantu' (f. 185v); 'Canon. contra cum tenore' (f. 186r); 'Fuga de minima' (f. 188v); 'Canon. Trinitas in unitate' (f. 213v);,
Vr, 1v, 2v, 3v, 4v, 5v, 6v, 7v, 8v, 9v, 10v, 11v, 12v, 13v, 14v, 15v, 16v, 17v, 18v, 19v, 21v, 22v, 41v, 43v, 45v, 54v, 55v, 56v, 57v, 58v, 59v-60v, 62v, 63v, 64v, 65v, 66v, 67v, 68v, 69v, 71v, 72v, 75v, 82v, 85v-86v, 95v, 98v, 99v, 100v, 101v, 104v,
Later changes 105v, 106v-107r, 108v, 109v, 110v, 111v, 113v, 116v, 118v, 120v, 123v, 130v-131v, 132v, 133v, 134v, 135v, 136v, 143v, 144v, 148v, 149v, 150v, 153v, 154v-155v, 156v-157r, 158v-159r, 163v, 164v, 168v-169r, 170v, 173v, 177v-177r, 179v, 180v, 181v, 182v, 183v, 184r, 185v, 186r, 188v-189v, 194v, 207v-208r, 209v, 213v, 216v, 217v, 222v, 224v, 225v, 226v, 227v, 235v, 236v, 238v, 244v, 245v-246r, 246v, 247v-248v, 249v, 265v-266v, 267v, 269v, 270v, 271v, 272v, 273v, 275v-276v, 278v, 284v, 288v-289r, 290v

Decoration

Level of Decoration very high
Decoration miniature frequency Folios Size position Description Discrepancies
rarely IVv-Vr Small miniature (double indenture); beginning of discantus and contratenor of Johannes Martini, 'Tres doulx regart'. Miniature of Tubalcain inventing music (f. IVv). Round portrait of Alessandro Braccesi (f. Vr).
rarely IVv-Vr Marginal medallions (lower margin). Medallion supported by two putti, including the coat of arms of Braccesi (f. IVv). Three medallions en grisaille, two smaller: 1. Jupiter holding a small Nike; 2. Venus and Cupid, referring to, respectively Lydian and Hypolydian modes of the circular canon on f. IIIv, according to Bartolome Ramos de Pareja's explanation in the liminary text (for transcription, see liminary texts); and one large in the middle: Priapus, the god of fertility and son of Venus and Jupiter, with his worshiper
Decoration border frequency Border type Folios Size Position Description Discrepancies
rarely decorated IVv-Vr full borders inner margin, lower margin, outer margin, upper margin Decorated foliate borders with flowers and ribbons: f. IVv coloured in blue, border edges in purple with decoration in colours (red, blue, green, yellow); f. Vr coloured in red with border in black, decorated in gold.
Decoration initial type Frequency Folios Initial type(s) Size position Description Discrepancies
painted initials sometimes decorated First (recto and verso) and sixth (verso) stave in an opening. Faceted letters on square grounds decorated with flowers and leaves outlined in white, with limited marginal extensions drawn in pen and decorated with gold dots.
penned initials often decorated First (recto and verso) and sixth (verso) stave in an opening. Letters formed of ribbon or strapwork on square grounds, decorated with flowers, leaves and fruit, with foliate extensions into the margins. Some initials are formed of objects other than ribbons: a dragon (f. 15v), a hand holding a dagger (ff, 13v), wings (f. 15v), a caduceus (f. 17v), a pierced heart (f. 43v), a skull of a cow (f. 62v), a half-moon (f. 69r), a cornucopia(s) (ff. 71r, 74r), a monkey blowing a horn (f. 114r), two hands (f. 135r); some initials are decorated with faces (e.g. ff. 92v, 94v, 100v, 112v, 116v, 119v, 120v).
initials planned sometimes 181r-290v