P-Cug (Coimbra) Biblioteca Geral da Universidade MM 012
Chain-line measurements show that paper types related; watermarks fall into two groups (cf Rees 1995, 191). 7 paper types; 8 watermarks. Paper 1 has Briquet's sirene (mermaid) type; paper 4 has mark almost identical to Briquet #9597 (cf Rees 1995: 371-72 & 390-93).
Latin canons in first Mass on f. 00 in red ink. 'Dom Bento can. Regul', f. 35v. 'DE.PENHALOSA', f. 37v. 'Escovar', f. 53v & 54. 'DE RIBEIRA' / 'RIBEIRA', f. 90v-91. 'Luis Morangam' f. 121v-133, 134v139, 146v-157v, 209v. 'Joam Monton', f. 140v-145v; 'Ex incerto autore', f. 159v-160v; 'De penhalosa', f.161v-165v; 'uasco pirez', f. 166v-170v'; 'Johannes vtrede sextus', f. 173v-179.
Incomplete tabula added at start of manuscript after c. 1560 (cf Rees, p. 185). Eight copyists worked on this manuscript which was conceived as a single unit. Uniform musical and textual scripts; evidence of close collaboration between group. The copyists originally left blank openings between pieces. These mostly filled in by later copyists. Musical and textual scripts of the different scribes uniform. Index at beginning of manuscript, foliation, and titles added after manuscript completed at a later time by a scribe of MM 9. Evidence that this manuscript continued to be used by the capela of Santa Cruz until after 1560. Not all music was texted.
RIBEIRO, Mário de Sampayo, Os manuscritos musicais nos 6 e 12 da Biblioteca Geral da Universidade de Coimbra. Achegas para a história da música em Portugal 5, Coimbra, 1941.
REES, Owen, Polyphony in Portugal c. 1530 – c. 1620. Sources from the Monastery of Santa Cruz, Coimbra, New York & London / Garland, 1995, pp. 185-94, 371-72 & 390-93.
KREITNER, Kenneth, 'Spain Discovers the Mass', Journal of the Royal Musical Association 139/2 (2014), pp. 261-302