P-Cug (Coimbra) Biblioteca Geral da Universidade MM 0012

MM 0012

P-Cug MM 0012

Source type
Subcategory of source
Document type
10 Alleluias; 5 Benedicamus Domino; 13 Canticles; 4 Credos; 3 Doxologies; 4 Fabordões; 1 Gloria; 6 Hymns; 1 Kyrie; 2 Marian antiphons; 8 Masses (3 incomplete); 1 Mass responses; 14 Motets; 1 Response; 1 unidentified (=74)
Type of script
Type of notation

Calligraphic initials in black or red ink added by music scribes and others. Boxed coloured initials, fol. 035v


Latin canonic instructions in first Mass on fol. 008v in red ink; 'Dom Bento can. Regul.', fol. 035v; 'DE.PENHALOSA', fol. 037v; 'Escouar', fols. 053v, 054r; 'DE RIBEIRA' / 'RIBEIRA', fols. 090v-091r; 'Luis Morangam', fols. 121v-133r, 134v, 139r, 146v-157v, 209v; 'Joam Monton', fols. 140v-145v; 'Ex incerto autore', fols. 159v-160v; 'De penhalosa', fols. 161v-165v; 'Uasco pirez', fols. 166v-170v; 'Joannes vtrede', fols. 173v-179r

Condition of document

Poor; considerable ink corrosion. Modern attempts at restoration by pasting tracing paper to some folios has exacerbated problem

Page layout

Choirbook format, 523 x 390 mm.


i + 209; original ink foliation, fols 001-035, 037-210; fol. 36 is missing


All gatherings now loose owing to poor condition of manuscript. Rees observes that present gatherings organized after music copying completed


Chain-line measurements show that paper types related; watermarks fall into two groups (cf. Rees 1995, p. 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, pp. 371-72, 390-93).


Old, broken (possibly original) covers of dark brown blind-tooled leather over heavy wooden boards; 5 metal bosses on each cover (front and back), and remains of leather ties


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 P-Cug MM 9. Evidence that this manuscript continued to be used by the cappella of Santa Cruz until after 1560. Not all music was texted


RIBEIRO, Mário de Sampaio, Os manuscritos musicais n.os 6 e 12 da Biblioteca Geral da Universidade de Coimbra: Contribuição para um catálogo definitivo, Achegas para a história da música em Portugal 5 (Coimbra, Biblioteca Geral da Universidade, 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, 2014, 139/2, pp. 261-302

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