P-Ln (Lisboa) Biblioteca Nacional de Portugal CIC 060

CIC 060

P-Ln CIC 060

Source type
Subcategory of source
Document type
Polyphony: 1 Alleluia; 5 Benedicamus Domino; 3 Canticles (incomplete Magnificat settings); 3 Cantigas; 1 Lamentation; 1 Litany; 12 Motets; 1 Romance; 15 Villancicos (=42). Chant: 1 Lamentation; 1 Lesson; 5 Antiphons; 1 Litany; 5 Responsories with their verses; 1 unidentified (=14)
Type of script
Type of notation

Ample decoration in the form of initial letters, some of them gilded, and floral-pattern borders (Rees 1994-95, p. 57)


‘Primeiro tema de composição de muzica/por Luis Augusto de Quadros Portugal/Absente Proffessore suo (nomine benemerito)/Joaquimo Perssona Silva Arnaut’ (fol. 1r) by a 19th-century hand (see Alvarenga 2019, p. 23); fol. 25: pouncing of initial ‘H’.

Condition of document

Mostly good, except for fols. 57v-61r, which show severe ink corrosion

Page layout

Choirbook format, 96 × 146 mm


70; fols. 6 and 63 are missing


a8 (lacks 1 fol. after fol. 5), b-g8, h8 (lacks 1 fol. after fol. 62), i8

1 type of paper; 3 watermarks (see Morais, p. ix)

16th-century covers of dark brown leather over card boards with gold tooling


Main body (fols. 1v-52r) by 1 original scribe; additions from fol. 52v on by at least 4 different later hands; several lusisms in Spanish texts (see Morais, p. ix). No pieces have composer attribution.

Main body contents divided in 2 parts: sacred works (fols. 1v-32r) and secular works (fols. 32v-52r).

Rees dates this manuscript to c.1530-c.1550 (see Rees 1994-95, p. 63).

Later additions: Chants added in fols. 52v-55r in mensural (white) notation. A different scribe added a series of chants and texts in fols. 55v-60r in square notation, under the heading ‘Ordo ad inumandum fratrem mortuum’, taken from the Cistercian ritual (see Ordo ad inungendum infirmum, 1555). Yet another scribe added 4 polyphonic Benedicamus Domino in fols. 68v-72r. These 3 sets of additions probably date from the late 16th century or the early 17th century (see Rees 1995, pp. 435-36). One or several 19th-century hands added textless fragments on fols. 46r, 48v-49r, and 61v. Blank folios: 5v, 62r-68r, 72v (staves drawn for four-part piece; first line of each voice part indented).


Ordo ad invngendum infirmum & ad communica(n)dum Atq(ue) ad mortuum sepeliendum. Secu(m)dum Cisterciensis ordinis consuetudinem (Conimcricae [sic], Excudebat Ioannes Aluarus, 1555).

MORAIS, Manuel, Vilancetes, cantigas e romances do século XVI, Portugaliae Musica 47 (Lisboa, FCG, 1986), pp. viii-x

REES, Owen, ‘Text and Music in LisbonBN 60’, Revista de Musicología, 16/3 (1993), pp. 49-67

REES, Owen, ‘Manuscript Lisbon, Biblioteca Nacional, CIC 60: The repertories and their context’, Revista Portuguesa de Musicologia, 4-5 (1994-95), pp. 53-93

REES, Owen, Polyphony in Portugal, c. 1530-c. 1620: Sources from the Monastery of Santa Cruz, Coimbra (New York & London, Garland, 1995), pp. 444-36

KREITNER, Kenneth, The Church Music of Fifteenth-Century Spain (Woodbridge, Boydell Press, 2004)

FERREIRA, Manuel Pedro, Antologia de Música em Portugal na Idade Média e no Renascimento (Lisboa, Arte das Musas - CESEM, 2008), vol. 2, pp. 56-57, 60-63.

ALVARENGA, João Pedro d', ‘On the Transmission of Iberian Polyphonic Music in the Early Decades of the Sixteenth Century: Some Philological Issues Revisited’, Portuguese Journal of Musicology, new series, 6/1 (2019), pp. 5-28, at pp. 22-23

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