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 Panciatichi 27

Manuscript type: choirbook

RISM siglum: I-Fn 27

DIAMM Source Key: 1400

Folio(s): All folios

Date: Early 16th century

Early 16th century (Becherini 1959); written in Northern Italy, perhaps in Mantua (Atlas 1975–6) or Ferrara, or perhaps Milan (Prizer 1996). According to Filocamo 2010, written in Mantua between 1505 and the early 1510s

Location of origin: Italy (North) ; Mantua, Italy

Provenance

Writen for a Mantuan confraternity Filocamo 2010. Later owned by Panciatichi family in Florence

Artists/Scribes

Person: Anonymous, Anonymous
Person type: scribe
Location of origin: Italy (North)
Note: Written by one scribe except for ff. 207v-209r (later addition) and possible music on ff. 72v, 89v [last 3 lines]-91r.

Bibliography

Bartoli 1887, 54-8; Adler 1894–1970, XXXII, 238; MGG1, II, 767-8; Schmitz et al. 1955–, VI, 6*, 142-8, 157, 163; Becherini 1959, 118ff; Jeppesen 1968–70, II, 37ff, 122ff; Atkinson 1975–, I, xiii, xvi-xvii, IX/X, xxviii; Atlas 1975–6, I, 78ff, 252, passim; Census-Catalogue 1979-88, I, 232, IV, 376; Prizer 1995; Campagnolo 1999; Filocamo 2000; Filocamo 2010.

Basis for description: original

Florence, Italy, Biblioteca Nazionale Centrale, MS Panciatichi 27, All folios

Physical description

Material: paper (with parchment)

Number of leaves: iii + i + xi + 216 + ix + i + iii

Format: oblong

Page dimensions: 153 x 214

Quire structure: Text version

Title page / Frontispiece: Title: 'Cantilene sacre e profane' with a Panciatichi bookplate below (both later additions).

Other devices: Original brown ink foliation, recto top right, ff. 1-120, followed by a modern red ink foliation in the same position, 121-216.

Page details (zoom):

Preparation and Copying

All folios

Preparation

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
lead point always Vertical bounding lines only, no lines for text.
Colour of staves Frequency Folios Note
dark brown always
Ruling medium Frequency Folios Note
single rastrum always Rastrum height ranging from 12 to 12.5 mm - either two rastra used alternatively, or one rastrum with a degree of splaying. Definitely not a double rastrum.
Indentation for initials Frequency Folios Note
none always
Extra space between voice parts Frequency Folios Note
empty ruled staves on grid rarely Space usually left below rather that between voice parts.
Space provided for separate text Frequency Folios Note
not in dedicated space sometimes Additional texts inserted on staves, in the space left empty at the end of voice parts.
Adhoc adaptation Frequency Folios Note
notation and staves extended into margin rarely 4v, 10r, 17v-18r, 70r-71r, 87r, 91r, 107r, 120r, 208r, 209r
notation extended into margin rarely 12r, 47r, 145r, 154r, 209v

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
fully texted with one text all voice parts sometimes
untexted all voice parts rarely
provided with one or two incipits all voice parts rarely
partially texted with one text all voice parts rarely
fully texted with one or two texts discantus sometimes
untexted all except discantus occasionally
partially texted with one text all except discantus rarely 3v-5r, 89v-91r
provided with one or two incipits discantus occasionally
provided with one or two incipits all except discantus rarely
provided with single incipit bassus rarely 1v-3r, 7v-8r, 17r, 20v, 27v-28r, 38v-39r, 63v-65r, 78v, 97v-98r, 110v-111r, 130v-131r
untexted all except discantus and bassus rarely 1v-3r, 17r, 20v, 27v-28r, 38v-39r, 63v-65r, 78v, 97v-98r, 110v-111r, 130v-131r
fully texted with one text bassus rarely 41v-42r, 212v-213r
untexted all except bassus rarely 41v-42r
fully texted and provided with incipit all except discantus and bassus rarely 41v-42r
fully texted with one text all except bassus rarely 7v-8r
provided with single incipit all except bassus rarely 19v-20r, 99v-100r
partially texted with one text altus rarely 102v-103r
fully texted with one text all except altus rarely 102v-103r
untexted all except altus rarely 43v-45r, 60v-61r
provided with single incipit altus rarely 22v-23r, 31v-32r, 39v-40r, 43v-46r, 60v-61r, 69v-70r, 95v-96r, 139v-140r
untexted all except discantus and altus rarely 22v-23r, 31v-32r, 39v-40r, 45v-46r, 60v-61r, 69v-70r, 95v-96r, 139v-140r
partially texted with one text tenor rarely 79v-80r
fully texted with one text all except tenor rarely 79v-80r
provided with single incipit all except tenor rarely 105v-106r
untexted tenor rarely 23v-24r, 56v, 105v-106r, 111v-112r, 149v-150r
untexted all except discantus and tenor rarely 21v, 28v, 40v
provided with single incipit all except discantus and tenor rarely 23v-24r, 56v, 77v-78r, 111v-112r, 114v-115r, 149v-150r
provided with single incipit tenor rarely 29v-30r, 40v, 109v-110r
untexted bassus rarely 19v-20r, 42v-43r, 54v-56r, 99v-100r
provided with single incipit all except discantus and bassus rarely 42v-43r, 54v-56r
partially texted with one text bassus rarely 29v-30r, 109v-110r
fully texted with one text altus rarely 29v-30r, 109v-110r
fully texted with one text tenor rarely 21v, 28v, 77v-78r, 114v-115r
Music
Colour(s) of notation black brown
Colour of notation note <p>Colours of ink varies from dark brown to brown, with a section written in black ink (ff. 138r-145r, 146v-156r, 209v-213r)</p>
Type(s) of notation chant (square), void mensural
Type of notation note Rhomboid noteheads.
Monophonic notation present
133v, 209v
Level of calligraphy fair
Non verbal performance instructions Folios Note
end symbol Decorative final barline very common. Often followed by small two/three digit number, whose significance is unclear to me.
repeat signs common
signes-de-renvoi 94v-95r
Later changes Folios
Additions by the mains scribe (ff. 23v-24r, 42v-43r, 216); later addition (ff. 207v-209r) Music theory added to blank staves on f. 216v. Music erased at top of f. 134r.
Text
Types of script cursive (humanistic)
Types of script note Some texts by the same scribe are written in textura (ff. 16v, 21v-22r, 45v, 104v, 114v-115r, 115v-116r.
Level of calligraphy fair
Colour(s) of text black brown
Colours of ink varies from dark brown to brown, with a section written in light reddish brown (ff. 133v-136v) and black ink (ff. 138r-145r, 146v-156r, 209v-213r).
Multiple texts yes
Text repetitions fairly few
Abbreviations fairly few
Non underlaid vocal text additional
Provided in blank staves. ff. 112r-113v non underlaid text vocal text erased/blackened?
Liminary text Voice names/initials in outer margins. Composer frequently named in upper margin(s). Prima pars/secunda pars, tertia pars sometimes marked: ff. 5v, 6v, 9v, 10v, 11v, 26v, 44v, 91v, 92v, 93v, 95v, 130v, 131v. Title sometimes given: ff. 14r, 15r, 17v, 19v, 27r, 29v-31r, 34v, 36v, 41v, 44r-v, 46r, 47r, 49v, 51r-v, 52v, 57r, 60v, 61v, 98v, 107r, 112v. 17v-18r: 'pro quatuor longis, in contra positis' 21v: 'Circulo quoque oveniat altus post novam' 25v: 'uolue' 56v, 112r: 'ut supra' 103v, 134v: 'duo' 135r-v: 'tacet'
Later changes additions by the main scribe (ff. 23v-24r, 42v-43r, 216v); later additions (f. 207v).

Decoration

Level of Decoration fair
Decoration initial type Frequency Folios Initial type(s) Size position Description Discrepancies
penned initials normally calligraphic , calligraphic with decoration, calligraphic with grotesque heads One stave high, in outer margins next to stave. Voice part names or initials of voice part names are usually provided in a display script by the main scribe, occasionally with some colour, flourishing or heads.
Other decoration frequency Folios Other decoration type(s) Size position Description Discrepancies
normally decorative final long, end-symbol Final note of voice part typically elongated and decorated in some manner. This is usually followed by a decorative final bar-line.