¹ Manuscripts mentioned in this review are cited in shorthand terms as follows:

Bologna Q15 = Bologna, Civico Museo Bibliografico Musicale. MS Q 15 (RISM I-Bc 15)

Boverio = Torino, Biblioteca Xazionale Universitaria, MS T.III.2 (RISM I-Tn 2)

Chantilly = Chantilly, Bibliothèque du Musée Condé, MS 564 (RISM F-CH 564)

Lo = London, British Library, MS Add. 29987 (RISM GB-Lbl 29987)

Lucca (Mancini) = Lucca, Archivio di Stato, MS 184 (RISM I-Las 184)

Modena (ModA) = Modena, Biblioteca Estense, MS a.M.5.24 (RISM 1-MOe 5.24)

Panciatichi (FP) = Florence, Biblioteca Nazionale Centrale, MS Panciatichiano 26 (RISM I-Fn 26)

Pit = Paris, Bibliothèque Nationale, MS fonds it. 568 (RISM F-Pn 568)

Reina = Paris, Bibliothèque Nationale. MS nouv. acq. fr. 6771 (RISM F-Pn 6771)

Rossi = Vatican City, Biblioteca Apostolica Yaticana. MS Rossi 215 (RISM I-Rvat 215)

SL 2211 = Florence. Biblioteca Laurenziana. MS Archivio Capitolare di San Lorenzo 2211 (RISM I-Fsl 2211)

Squarcialupi (Sq) = Florence. Biblioteca Laurenziana. MS Mediceo-Palatino 87 (RISM I-Fl 87)

SL 2211 was originally a manuscript of at least 190 folios, of which the surviving 50 per cent are parchment leaves entirely palimpsest and largely overwritten. Its state poses a challenge to transcription, and facsimile reproduction should be postponed until advances in digital enhancement techniques make it possible to improve on conventional photography. It was arranged generically and authorially, starting (like most other Florentine manuscripts) with Jacopo. It had a section of Paolo compositions, and hitherto unknown works by Ugolino of Orvieto and Giovanni and Piero Mazzuoli. Unlike comparable sources, it ends with a gathering of motets. See D'Accone, F., ‘Una nuova fonte dell'Ars Nova italiana: Il codice di San Lorenzo 2211’, Studi Musicali, 13 (1984), pp. 3–31Google Scholar, and Nádas, J., ‘Manuscript San Lorenzo 2211: Some further observations’, L'Ars Nova Italiana del Trecento, viGoogle Scholar: Atti del Congresso Internazionale ‘L'Europa e la Musica del Trecento’, Certaldo, 19–21 July 1984 (Certaldo, [1992]). pp. 145–68.

² Il codice musicale Panciatichi 26 delta Biblioteca Nazionale di Firenze. Riproduzione in facsimile. ed. Gallo, F. A.. Studi e Testi per la Storia della Musica, 3 (Florence, 1981)Google Scholar.

³ Il canzionere musicale del codice Vaticano Rossi 215. Prima parte [facsimile], ed. Vecchi, G. (Bologna, 1966)Google Scholar.

⁴ The Manuscript London, B.M., Additional 29987, A Facsimile Edition, ed. Reaney, G., Musicological Studies and Documents, 13 (n.p., American Institute of Musicology, 1965)Google Scholar.

⁵ To be edited by John Nádas in the series Late Medieval and Early Renaissance Music in Facsimile (the first volume to appear in this series is Oxford, Bodleian Library, MS Canon, misc. 213, ed. D. Fallows (Chicago, 1995)). Another beautifully produced collection of colour facsimiles including manuscripts of this period is An Anthology of Musk Fragments from the Low Countries, ed. Schreurs, E. (Leuven, 1995)Google Scholar.

⁶ The standard of facsimile is at least matched, and probably surpassed, by Engelberg Stiftsbibliothek Codex 314, Schweizerische Musikdenkmäler, 11, ed. Arlt, W. and Stauffacher, M. (Winterthur, 1986)Google Scholar from the Swiss publisher Amadeus. This is a late fourteenth–century manuscript of very different repertory. The introduction is a complete and perfect study that should serve as a model for other facsimiles. Certainly the polish, density and integration of the text are a monument to the collaborative work of the authors and show up the unevenness of the barely edited multi–author introduction to Squarcialupi; see below.

⁷ ‘Il Codice di Lucca’, Musica Disciplina, 3 (1949), pp. 119–38, 4 (1950), pp. 111–52, and 5 (1951), pp. 115–42Google Scholar.

⁸ The contratenor is still incomplete: the transcription presents just what is there, but musical repetition permits bars 45–49 to be completed from 35–39, and 49–end from 27–29.

⁹ The Music of Fourteenth–Century Italy, 1 and 2, Corpus Mensurabilis Musicae, 8, ed. Pirrotta, N. (n.p., American Institute of Musicology, 1954 and 1960)Google Scholar; the commentary is still unpublished.

¹⁰ Strohm, R., ‘Filipotto da Caserta, ovvero i Francesi in Lombardia’, in In cantu et in sermone. A Nino Pirrotta nel suo 80° compleanno, ed. della Seta, F. and Piperno, F. (Florence, 1989), pp. 63–74Google Scholar.

¹¹ In the Squarcialupi facsimile the text and translation are presented side by side, so that the reader can easily consult the original; but here too some extended Italian quotations in the text and footnotes are left untranslated.

¹² For travesties of Pirrotta's elegant originals see. among many examples, Rossi, p. 65: ‘Secondly, there are signs of fatigue on the same page (concerning which more below). And lastly, purely on grounds of probability, as all the surviving sheets belong to three of the four first fascicles’; p. 68: ‘The incomplete hexagram added on in this way suggests there ran only a short time between the ruling and the writing.’

¹³ Sometimes given as 354. reflecting the two differently notated copies of Ita se n'era, numbered 63 and 63bis in RISM. The count does not include the one uncopied piece (Girand'un bel falcon) whose identity can be inferred from the iconography of its decoration. See below, p. 261 and note 18.

¹⁴ This point is also made by David Fallows in his review in Early Music, 23 (05 1995). p. 320Google Scholar, drawing attention to the dependency of the dating on the appearance, on this one page and in a single border scene, ‘of a woman wearing a dress that ceased to be fashionable after about 1415 and a man with a haircut that became fashionable only in about 1410)’ – changes in fashion that are not here documented.

¹⁵ This, moreover, is the page for Zacara. the composer whose chronological relation to the manuscript is one of the most crucial yet uncertain, in relation to his presumed death date (at about the time of compilation), the choice of his works for inclusion, and the incomplete execution of his section. The border illustrates the song chosen to head his section. Ferito già d'un amoroso dardo. For more on these tailor-made borders, see the Squarcialupi introduction, pp. 50–1. and below, note 18.

¹⁶ von Fischer, K., ‘Paolo da Firenze und der Squarcialupi-Codex (I-Fl 87)’, Quadrivium, 9 (1968), pp. 5–24Google Scholar

¹⁷ Eisenberg, M., L. Monaco (Princeton, 1989)Google Scholar.

¹⁸ As Margherita Ferro Luraghi still assumes (p. 182). John Nádas has shown (here and previously: see notes 20 and 21 below, and the introduction to the Lucca facsimile) that the iconography of the illuminated borders points rather to Girand'un bel falcon. See p. 51 (Nádas) and p. 135 (von Fischer).

¹⁹ Kreytenberg, G., ‘Die Tabernakelnische der Årztezunft an Or San Michele’, Pantheon, 37 (1979), pp. 129–34Google Scholar. For ‘non–portraits’ see von Fischer, K., ‘“Portraits” von Piero, Giovanni da Firenze und Jacopo da Bologna in einer Bologneser Handschrift des 14. Jahrhunderts’, Musica Disciplina, 27 (1973)Google Scholar. These names were added much later to a manuscript of 1317 now in Jena.

²⁰ Ziino, A., ‘Magister Antonius dictus Zacharias de Teramo: Alcune date e molte ipotesi’, Rivista Italiana di Musicologia, 14 (1979), pp. 311–48Google Scholar; Nádas, J., ‘Further Notes on Magister Antonius dictus Zacharias de Teramo’, Studi Musicali, 15 (1986). pp. 167–82, and 16 (1987), pp. 175–6Google Scholar.

²¹ Günther, U., Nádas, J. and Stinson, J., ‘Magister Dominus Paulus Abbas de Florentia: New Documentary Evidence’, Musica Disciplina, 41 (1987), pp. 203–46Google Scholar; Nádas, J., ‘The Songs of Don Paolo Tenorista: The Manuscript Tradition’, in In cantu et sermone, ed. della Seta, and Piperno, , pp. 531–90Google Scholar.

²² The plan to include Nádas's documentation as a more solid underpinning for these biographical sketches was unaccountably suppressed, greatly reducing their usefulness.

²³ Nádas, p. 51; and see note 18 above.

²⁴ Polyphonic Music of the Fourteenth Century, vols. vi–xi (Monaco, 1956–1978)Google Scholar; The Music of Fourteenth-Century Italy, ed. Pirrotta, Google Scholar.

²⁵ For GB-Lbl 29987, for example, Marrocco's foliation in his edition differs by one from Reaney's (used here by Nádas) in the published facsimile and inventory of that manuscript: The Manuscript London, British Museum, Additional 29987, Musicological Studies and Documents, 13, ed. Reaney, G. (n.p., American Institute of Musicology, 1965)Google Scholar. In that publication, in turn, the discrepancy is mentioned but not clarified (nor is it visible in the facsimile, which fails to reproduce the full area of each page).

²⁶ Nádas tells me that his request to signal affected pieces in the inventory was not honoured.

²⁷ von Fischer, K., Studien zur italienischen Musik des Trecento und frühen Quattrocento, Publikationen der schweizerischen musikforschenden Gesellschaft, ser. ii, vol. 5 (Berne, 1956)Google Scholar.