Appendix 2. Checklist of Historiated Initials in the Music Section of MS A

Fol. 367r – (Lay 1) opening image of the lays: a supplicating man before a standing woman.

Fol. 381v – On parle de richesses (Lai 8, no music): Dragon outside seven-line initial

Fol. 461v – Longuement me sui tenus (Lai 18/13): Dragon inside large nine-line initial

Fol. 410v – Qui bien aime (Lai 22): Dragon head in seven-line initial; body outside descender of ‘Qui’

Fol. 414v – Quant en moy (Motet 1), beginning of motets: In a separate one-column frame a group of nobles and clerics sing from a scroll and drink around a keg

Fol. 425r – Fins cuers doulz (Motet tenor, M11): large seven-line initial, hooded man playing a horn(?)

Fol. 444v – Sanctus (Mass): serpent inside the initial (grid background)

Fol. 448v – Sanctus (Mass): dragon outside initial; lion’s head in initial (grid background)

Fol. 449v – Agnus dei (Mass): bishop in ‘A’ and king in the second column ‘A’

Fol.450r – Agnus dei (Mass): ‘A’ hooded, bearded man; ‘C’ human/animal hybrid

Fol. 450v – Agnus dei (Mass): rabbit in initial (grid background); butterfly in adjacent margin

Fol. 454r – S’Amours ne fait (Ballade 1), beginning of ballades; winged dragon creates the large, nine-line initial; in the lower part of the letter a couple embrace and kiss

Fol. 472r – Quant Theseüs, Hercules et Jason (Ballade 34) – a nude, standing man gestures with his hand as if in a conversation; rinceaux in the background

Fol. 473v – Phyton le merveilleus serpent (Ballade 38): hooded man on grid background

Fol. 478r – Rose, lis (Rondeau 10): a standing fox “celebrates mass” on an altar in the ‘T’ for tenor (grid background)

Fol. 480r – Ma fin est mon commencement (Rondeau 14, contratenor): hooded man/animal hybrid (grid background)

Fol. 480v – Puisqu’on oubli (Rondeau 18): a seated monkey (eating?), (grid background)

Fol. 484v – Dame ie weil (Virelai 9): lion’s head

Fol. 485v – Dame a qui (Virelai 12): ape churning butter


***********************STOP PRESS!!!!!!!!************************

The Complete Poetry and Music of Guillaume de Machaut Volume 1 is out now!!!!

Volume 1: The Debate Poems is now available in print.

You can also enjoy the entire volume online via the Middle English Texts Website.

Edited and translated by R. Barton Palmer, with art historical commentary by Domenic Leo, and musical commentary by Uri Smilansky, the volume contains  Le Jugement dou Roy de Behaigne, Le Jugement dou Roy de Navarre, and Le Lay de Plour.




The Ferrell-Vogüé Machaut Manuscript

Full colour facsimile with introductory study by Lawrence Earp, Domenic Leo and Carla Shapreau. Preface by Christopher de Hamel

"It is a vast manuscript of royal luxury, 390 leaves of parchment, 314 mm. by 220 mm., illustrated with 118 enchanting miniatures by a workshop of court illuminators led by the Master of the Bible of Jean de Sy.They include pictures of gothic chivalry and romance, with mythology and natural history. Music is included on 235 pages of the manuscript, with almost the entire corpus of the ballades, lais and motets of Machaut, as well as his great polyphonic setting of the Mass, the four-part Messe de Nostre-Dame.The manuscript has never before been photographed in its entirety or reproduced in colour."

"Vol. 1 introductory study (225 pages colour/mono), vol. 2 facsimile (789 full colour pages) on 150gsm matt art paper. Full size reproduction, hard bound in buckram, presented in hard slipcover."

Available now from DIAMM Publications.

The Art of Grafted Song: Citation and Allusion in the Age of Machaut by Yolanda Plumley

Available now from Oxford University Press

"Presents the first detailed exploration of citational practices in the song-writing tradition of fourteenth-century France. The first monograph-length study on the Ars nova chanson with new evidence about the emergence of the new polyphonic chanson. Provides new evidence about the circle of poets and composers who engaged with Machaut and created a new style of poetry and song. Explores little studied collections of lyrics and songs of the period and provides fresh insights and perspectives on Machaut's works."