Bifolium slightly damaged. Stained on c. Bv (top of the page). The borders of the fragments are trimmed, with lost of contents especially on c. B: the right column of c. Br is cut in the middle, likewise the left column of c. Bv. Folded on the lower margin of both folios. The fragment is still quite readable, even if it is in certain points dirty and wrinkled. There is a big hole in the head margin of c. A. The fragment was used as book binding in the Tombo de São Mamede de Lindoso.
Fragment size: folio A c. 285 x c. 350 mm; folio B c. 235 x c. 350 mm. Text area: folio A c. 90 x c. 280; folio B internal column c. 90 x c. 280; folio B external column c. 45 x c. 280 mm. 30 or 31 text lines, most of them with music.
Type of script:
Type of notation:
Text in black ink, rubrics in red. Capital letters in red or blue with decoration in the opposite color.
Champ initials in red and blue and one "I" win red and black.
The systematic use of significative letters at the starting of each chant, clarify the modal interpretation. Significative letters for f and b may be in red and brown ind and sometimes they seem added by a later hand.
Inscriptions and marks:
Within the first communio of c. Ar "Vos qui secutis estis me" (GR reference: 448) has been inserted a verse from the Evangelium secundum Matthaeum (19,28), but with some adjustments.
P. Avelino de Jesus da Costa refers to this fragment as: "Caixa 289, 194 – Número 6 – Tombo de São Mamede de Lindoso, 1574".
COSTA Avelino de Jesus da, Pergaminhos Medievais: Inventário Ideográfico e Bibliográfico (9.vols), Braga, Seminário de Nossa Senhora da Conceição, 1944.
ALTE da VEIGA, Diogo, O Alleluia na monodia litúrgica em Portugal até 1600: comparações melódicas, Master’s Dissertation (Universidade Nova de Lisboa, November 2009).