Damaged. Original order of pieces disrupted with modern re-binding; several lost folios
Old covers of light-brown tooled leather over boards, added in c. 1537-1941
ii + 84 + ii; original order of pieces disrupted with modern re-binding; several lost folios. Original ink foliation, 2-49, but interrupted: 28 originally unnumbered folios bound between fols 23 and 24. Modern pencil foliation from end of first section of original foliation onwards, 24-85.
Original form of book not possible to ascertain, as order of pieces disrupted with modern re-binding process (cf Rees 1995: 151)
3 paper types; 2 watermarks. Mark on paper 1 very similar to Briquet #6291; mark on paper 2 similar to Briquet #1131 (cf Rees 1995: 368-69 & 384-85).
Choirbook format. 575 x 415 mm
Type of script:
Type of notation:
Main scribe added his own decorative initials in black or red ink. Illuminated intials for Mass ff.24v-25, 37, 40v-41 Title of Mass and composer's name in banderole (ff.24v-25). Elaborate designs for initials ff.41v-42.
Inscriptions and marks:
Two initials (f.30 and f.61v) incorporate date 1575
Manuscript mostly the work of a single scribe, with some inconsistencies in notational details. Possibly mainly autography manuscript of Dom Francisco de Santa Maria. A second scribe made use of blank folios left by main scribe at end of manuscript (f. 78-85) (cf Rees 1995: 151-53).
REES, Owen, Polyphony in Portugal c. 1530 – c. 1620. Sources from the Monastery of Santa Cruz, Coimbra, New York & London / Garland, 1995, pp. 149-53, 368-69 & 384-85.
Submitted by Zuelma Duarte Chaves — Tue, 2011-11-22 00:40