10 Bodleian Library

Oxford, Bodleian Library,
Music School Manuscripts C.59-60
Two companion partbooks mainly containing music for t wo bass vi ols, perhaps
copied in the 1690s.
C.59 ‘The Treble’ (p. i); ‘Treble’ (inside back cover): iii + 33 + iii. Front flyleaves
paginated i-vi in modern pencil, then pagination 1-69 (fi nal flyleaf) applied in
contemporary ink to many pages and completed in pencil on others. At the start of
the manuscript pagination corresponds with numbering of pieces, but at pp. 24-25
the number sequence clearly becomes pagination; p. 30 is omitted, so that 31 is a
verso; no p. 40, but pencil sequence 40a-40e. No music entered pp. 40d-40e; 60-
62.
C.60 ‘Basse’ (inside back cover): iii + 3 7 + ii (p p. 27e-27f inserted). Front

flyleaves paginated i-vi in modern pencil, then pagination 1-72 (final flyleaf); no p.
27, but pencil 27a-27g. No music entered pp. 24-27c, 27f, 62-67.
Scribe: Francis Withy (as Plate 17d-f).
Inscriptions:
C.59, p. 41: ‘W or’, pp. 42, 43: ‘W o’ (i.e. copies of these pieces sent to Francis
Withy’s contacts in Worcester?); p. 59: ‘at welb eck’;1 p. 69: ‘May 17) 1708. M r
Baron has ye Booke belonging to this’; inside back cover: ‘Augustini Pfleger Mr
of Dukes of Holstein Chappel an Excele composer’ (all Francis Withy).
C.60, p. 27d: ‘Given mee by Dr Dentry’; p. 27e: ‘The last note of ye Second part
of ye Ground must be held a Breve ye last time of playing it’; p. 27g: ‘Given me
by my loving Frend Dr Dentry’; p. 55: ‘ex by Mr Huttons Booke’ (correcting error
on p. 54).
Format and dimensions:

Folio; C.59, 302 x 195; C.60, 300 x 195
Watermarks: Amsterdam I/11; inserted folio C. 60 pp. 27e-27f, unrelated

countermark IM.
1
This inscription beside the first few ba rs of a movement by Simpson links the
composer with Welbeck, the seat of the Duke of Newcastle. See CAVENDISH H2.
133
Oxford, Bodleian Library, MSS Mus. Sch. C.59-60
Rastrology:
A 10; B 5; C 118.5; D; 13.5(12.5)14(13)13(14.5)12.5(12.5)13
Inserted folio C. 60 pp. 27e-27f: incomplete sheet of twelve-stave paper, ruled in

three separate blocks; lower section cut off removing most of bottom stave. Extra
staves added in spaces between blocks giving thirteen staves in all.
A 11; B 4; C 73.5; D 9.5(11)10.5(11)10.5(11)10
Collation: folios guarded, obscuring original structure.
Binding: contemporary sheep, tooled and gilt. C.59, 306 x 204; C.60, 304 x 200.
Flyleaves of main paper type.
Provenance: Oxford: Francis Withy’s personal collection of bass viol duos,

containing a l arge amount of m usic by his father John W ithy. Deposited in the
Music School collection on Franci s’s retirement or deat h; none of his private
material is listed in the amended copies of Richard Goodson’s 1682 list made by
the younger Richard Goodson in or after January 1718.
Bibliography: WITHIE T; OXFORD C2; CAVENDISH H2
134
Contents
Title Ascription Key C.59 C.60 VdGS No.
For 2 Basses (Fancie) Coperario g 1 1 7
(Fancie) Coperario g 2 29
(Fancie) Coperario a 3 31
(Fancie) Coperario a 4 42
(Fancie) Coperario d 5 53
(Pauan) John Jenkins a 8 81
[For two basses] Mr Jo Ward d 9 9 3
[For two basses] Mr J(ohn) Tomkins C 10 10 1
[For two basses] Mr Tho: Forde F 11[a-b] 11[a-b] 1
For 2 Basses Mr. J[ohn] W[ithey] e 12 12 20
[For two basses] Mr John Withey g 12-13 13 21
For 2 Basses Mr John Withey F 14 14-15 9
For 2 Basses J Withey F 15 15 11
For 2 Basses J. Withe[y] d 16 16 22
For 2 Basses John Withe[y] F 17 17 7
For 2 Basses J. W(ithe[y]) F 18 18 10
For 2 Basses J. W[ithie]. F 19 19 8
For 2 Basses J(ohn) W(ithe[y]) d 20 20 4
For 2 Basses J. W[ithie] d 21 21 5
For two Bases (Mr. John Withe[y]) d 22 22 2
[For two basses] (Mr. J[ohn] W[ithie]) d 23 23 3
[blank] 24-25
For two Division Viols to A Ground (C[hristopher] S[impson]) A 24-25 42-43 23
135
For 2 Division Viols2 Mr John Jenkins C 26-27 27d-27g3 11
For 2 Division Basses4 Mr Jenkins C 28-295 28-30 12
For two Division Viols to a Ground Mr John Jenkins C 31-32 30-31 13
for 2 Basse Vialls The Treble6 John Jenkins a 33-34 32-33 14
for 2 Division Viols to A Ground J. Jenkins e 35-37 34-36 15
[For two division viols to a ground] Mr. J. Jenkins B 37-39 36-38 16
(the 4 lesson for 2 Basse Viall) J[ohn] J[enkins] F 39-40c 38-41 17
[blank] 40d-40e
For 2 Division violls to A Ground Mr C. S. C 41 44 24
For 2 Division Violls Mr. Christopher Simpson a 42-43 45-46 25
[For two basses] Mr. C. S. F 43-44 46-47 26
For 2 Division Viols to a Ground Mr. John Jenkins A 45-46 48-49 18
For two Division Viols to A Ground Mr John Jenkins a 47-48 50-51 19
[For two basses] John Jenkins a 49-50 52-53 20
for 2 Divission Viols to A Ground Mr. John Jenkins D 51-52 54-55 21
For a Division Treple & a Basse CS a 53 56 1
Mr Ch: Sympson C 54 57 2
for 2 pt Divisions Mr Ch: Simpson a 55-56 58-59 3
[Treble and bass divisions] Mr Ch: Simpson a 57-58 60-61 4
[fragment]7 [Christopher Simpson] D 59 - 1
2
In C.60, p. 27g is the continuation of this piece from p. 27d. The inserted p. 27e appears to contain a prelim inary copy of the second half of
the work, with numerous corrections; p. 27f is blank.
3
The Ground is written separately on p. 31 of C.60.
4
No. ‘8’.
5
Numbering omits p. 30, so from this point on all pages are advanced by one.
6
This and the next three pieces are numbered 1-4 respectively.
136
[blank] 60-62 62-67
[Ground] c 63 A100
[Ground] c 63 A101
[Ground] F. W. [Francis Withie?] F 63 A102
[Ground] c 63 A103
[Ground]8 [c] 63 (A103)
[Ground] [Henry Butler] a 68 14
[Ground] F 68 A17
[Ground] B 68 A33
7
Opening of pavan from Simpson’s three-part airs for two trebles and bass. Number ‘1’.
8
This is a variant of the previous ground.
137
Music School Manuscript C.61
Francis Withy’s scorebook containing vocal and instrumental music.
Copied c.1688-1700.
i + 44 + i. Pencil pagination: pp. i-ii, 1-90 (the end flyleaf is numbered). No music
entered on pp. 13, 27, 39, 54-55, 74-76.
Scribe: Francis Withy (as Plate 17).
Inscriptions:
Front cover: ‘Divitions for ye Bass Violl / Decemb. 3d. Anno Domini / 1687’ (now
almost invisible); p. i : ‘The gi ft of hi s loving Scholler/ Hen: Knight A:B: è Coll
Wadh[am] / A:D: 1687 / Decem b[e]r 4th / Nat9 Octob[e]r 24th / 1662’; p. ii: ‘A
Bassoon.’; p. 90: numerous notes and inscriptions including ‘H. K[night?] anno in
f A / 1689’, ‘Mrs Elizabeth Hide was my / Scholler April 2d 1697’, ‘M r Shore /
Monseur la Rich / July, 22d Anna [sic] 1693 / was at Mr G. Luellen Cham[bers] /
at Ch. Ch. / Monse: Diseb plais on y e / Base Violin Ex[cellently]’, ‘Trumpet p’
[drawing of mouthpiece labelled ‘led’]; f. 90 rev.: ‘Bap: / Closes prope to C key
1st Close in C. 2d G – 3dA 4t C / 1st C 2G 3d C ://: C 2A – 3G – C / C 2G C ://: C
A – D – G - e / C F-G 2 G ://: G a-D-b g-C’, and ‘Da Gio. Battista Bassani / Opera
Quinta. / in Anverso, Appresso Henrico Aertssens, / Stam patore di Musica all, /
Insegna del Monte Parnasso. / 1691.’; insi de back cover, rev.: ‘Mr Tho Mace’s
Book / Mr Tho: Mace pr: 1676 / about 64 ye[ars] old’.
Format and dimensions: folio, 315 x 205.
Watermarks:
Foolscap III/16
Amsterdam I/12 (bifolia pp. 1 & 19, pp. 31 & 33)
Rastrology:
A 12; B 6; C 137; D 11.5(13.5)11.5(13.5)12.5(13)12(13)12(12)12
(the same on both types of paper.) Red marginal rulings on left and right.
Collation: A12(A1 removed) B10 C12 D12(D5 removed)
138
Oxford, Bodleian Library, MS Mus. Sch. C.61
Binding: White vellum, 315 x 204. Rear flyleaf, Grapes FI/2.
Provenance: Oxford; apparently presented to Francis Withy in 1687.
Bibliography: WITHIE T
139
Contents
Pages Composer Title/First Line Inscriptions Catalogue Ref.
1 [E. Withy] [Last four bars of section 16 and sections 17-23 of divisions for b.vl RT 67
on ‘Mr Wythy’s Trumpet tune’]1
2-3 Mr. R [Divisions on a ground for b.vl] ‘Mr. R. May 2 / [16]88’ RT 21
4 Mr Henry Purcell [Textless; opening bars of ‘What makes the spring’]2 Z473, 2
4 [13 bars of a treble part] ‘J: Ban: / Bow:’3
5 [4 bar fragment for 2 trebles and bass] ‘in G #3’
5 [2 staves of a ‘2d Tre[ble]’ part of a Jig]
5 Mr Da Purcell [Minuet in C for 2 trebles and bass]
5 [Division on ‘La Folia’ for b.vl, inc.]
6-7 Peter Young [Divisions for b.vl on Polewheele’s ground]
8-9 F[rancis] W[ithy] [Divisions for b.vl] RC 1 /RT 272
10-11 F[rancis] W[ithy] [Divisions for b.vl] RC 2 / RT 761
12 [5 bar fragment of a Jig in G minor for b.vl and bc]
14-15 F[rancis] W[ithy] [Divisions for b.vl, inc.] RC 4 / RT 377
16-17 [Matteis?] [Divisions for vln and bc on ‘La Folia’]4
18-19 N[icola] M[atteis] [Divisions for vln and bc on ‘La Folia’]
20-1 [Divisions for b.vl on ‘La Folia’] VdGS Anon 31 /RT 762
1
See Cfm Mu 647, pp. 1-3, 9-11; sections 1-16 would have taken up about one side, which suggests that there is at least one leaf missing
between pp. ii and 1. The four bars at the bottom of p. 1 labelled ‘part of ye 1st strain’ do not seem to belong to this piece.
2
‘From ‘Young Thyrsis’ fate the hills and groves deplore’, Elegy upon the Death of Mr. Thomas Farmer, early 1689; numerals suggest that
Withy was analysing the harmony.
3
Could this mean that the piece is by Banister, arranged or given to Withy by Henry Bowman?
4
The two sets of divisions on ‘La Folia’ are transcribed in Simon Jones, ‘The “Stupendious” Nicola Matteis: An Exploration of his Life, His
Works for the Violin and His Performing Style’, (Ph.D. Dissertation, University of York, 2003), vol. 3, pp. 466-9 and 470-3.
140
22 A Division for a Violin & a Bass to a Ground VdGS Anon 97

23 Sola / Slow [for 2 b.vls]5 VdGS Anon 301
23 [Saraband, 16 bar fragment for b.vl] VdGS Anon 302
24 Adagio / Vivace [for b.vl]6 VdGS Anon 303/ RT439
25 H[enry [P]urcell And all things in nature are mad7 Z608, 1h
25 F[rancis] W[ithy] [Divisions for b.vl, on a ground]8 RC 5 / RT5 & 23
26 I am the Duke of Norfolk [ground and a division for b.vl] VdGS Anon 84 /
28-31 [14 divisions for vln, b.vl & bc on the same ground bass as p. 26]9 RT 443
32-3 Se: Lelicolista [Sonata for vln & bc] [arr. by?] ‘G[eorge] Ll[ewellyn]’
34-7 R[obert] K[ing] Sola [6 movement sonata for vln & bc]
37 F[rancis] W[ithy] [Divisions for b.vl, inc.] VdGS 6 / RT 274 (1st half)
38 Preludium in Ab3d [4½ bars only]
40-3 Sign Corelli [Sonata in D for vln & bc] Marx Anh. 34 / RISM C3855
44-7 [Sonata in D for vln & bc]
48-9 G[odfrey] F[inger] Sonata [in B flat for vln & bc] A Collection of Musick in Two Parts
(London, 1691), No. 14. (Not in RISM; unique copy in DRc)
50-3 [Godfrey Finger] [Sonata] For the Flute in F key / 1st Set in F [here in D] RISM F850, No. 8
Volume reversed
5
Probably the first two movements of a sonata, possibly by a continental composer.
6
Probably the first two movements of a sonata, possibly by the same composer as VdGS Anon 301.
7
Textless version of ‘Then mad, very mad’, from the dialogue ‘Behold the man that with gigantic might’ from The Richmond Heiress, or A
Woman Once in the Right (D’Urfey), April 1693.
8
A composite work consisting of two divisions on 1st strain by Simpson (RC 9), then two divisions on both strains by Francis Withy.
9
The last two variations, on p. 31, are unnumbered and separated from the rest, and may be an addition.
141
88 [Almand for b.vl] VdGS Anon 295

88 rev J[ohn] J[enkins] [Ayre for 2 b.vls] VdGS No. 32 / RT 668 & 667
87 rev [John Withy] [Air for 2 b.vls] ‘For 2 Basses’ VdGS No. 21 / RT 590 & 608
86 rev [Corant for 2 b.vls] VdGS Anon 491/ RT 831 & 842
86 rev [9 cadences for b.vl & bc in G minor]10 ’89 / Closes’, ‘C: / S.’
85 rev ‘A Bass & Treble, quite through’, ‘T Ma / se: 12 / 90 [crossed through] / 251 / 253’, ‘The
Treble of the Lesson’,
‘The / Marke / for / Holds / [symbol]’, ‘The Bass of the Lesson’ [air, D minor; T. Mace,
Musick’s Monument (London, 1676), pp. 252-3: ‘The Former Lesson Explain’d in Scores, in
which appears a Perfect Bass, and Treble, quite through.’]11
85 rev ‘T: Ma. / From 102. / to 110.’, ‘Holds from ye long Notes / in the B and Tr’ [and explanation
of ornaments]12
85 rev ‘Ascend Elevation’ [tablature; Mace, Musick’s Monument, p. 106: ‘The Elevation,
Ascending, and Descending’, but with letters in top space, not second space]
85 rev ‘Single Relish Ex’ [tablature; Mace, Musick’s Monument, p. 106]
85 rev ‘Single Relish’ [tablature; Mace, Musick’s Monument, p. 107]
83-2 rev Dr. B[low] [‘Ground in Gamutt Flatt’]13
82 rev [Ascending and descending scale in G major, ascending scale in G minor, demonstrating
application of ornaments]
10
Nos. 5-9 correspond to five of the ‘Example[s] of the Second Sort of Cadence upon a Minim’, in C. Simpson, Chelys…The Division Viol
(London, 1665/R), p. 40.
11
A note about Mace’s book appears inside the back cover (see Inscriptions above).
12
This doesn’t appear in Mace, Musick’s Monument.
13
Lacks most of the inner parts; added num erals in places show that Withy was studying the harmony. See B-Bc 15139 pp. 47-51 and Och
Mus. 1177 20-18v rev; edn: Musica Britannica, 73, pp. 87-9.
142
81-80 rev Mr. D. P[urcell] Overture [in C for 2 vln & bc]
79 rev [D. Purcell] Round O [in C for 2 vln & bc] ‘Sent this Wo[r]c[ester]’
79-78 rev Mr D: Purcell A March [in C for 2 vln & bc] ‘Sent this to Wo[r]c[ester]’
77 rev [C. Simpson] For two Basses [Division on a ground, inc.] VdGS No. 24 /RT 90 & 91
73-64 rev H[enry] P[urcell] My song shall be alway [score] ‘H.P. Sep: 9/[16]90’14 Z31
63-60 rev Mr H[enry] P[urcell] Fly swift ye houres [voice & bc] Z369
59-58 rev Seg. Bap. [Lully] [Piece for 2 vln & bc on varied ground ‘Scocca pur’]15 [LWV 76/3]
58 rev F. W[ithy] [Canon a 3 in C]
57 rev ‘Mr. G. Arnald / A Denmark Gen[tleman], July 30 / [16]92’
[Ground and a division for b.vl] None
57-6 rev G. F[inger] [Divisions on the same ground as pp. 59-58 rev for b.vl, inc.] RC1 / RT 770
14
William III entered Windsor on 9 September 1690, so the date could be of first performance rather than copying.
15
Presumably ascribed to Lully because the ground is the same as the song ‘Scocca pur’, LWV 76/3 (see R. Klakowich, ‘Scocca pur: Genesis
of an English Ground’, JRMA, 116 (1991), 63-77), but the piece is quite different from the instrumental versions of the Lully , such as the one in
The Second Part of the Division Violin (London, 1705), p. 36, ‘M Baptist of France his Ground’. It is probably by Withy.
143
Music School Manuscripts C.64-69
Six partbooks of fantasies, In nomines and dances in 3-6 parts.
Copied in the mid-to-late 1630s.
[Foliation: adjacent pages are—or were intended to be—pasted together

throughout the partbooks as the paper was t oo thin and thus made the use of t he
verso impossible;1 no music is ‘hidden’ by this pasting process. The initial modern
pencil foliation generally took account of the ‘pasted’ pages either tacitly or by
numbering the verso of the second folio in each pasted pair. Occasionally the
pasted pages were i gnored, so t hat two original folios were count ed as one;
subsequent revisions to the foliation compensate by adding ‘b’ t o the number
originally applied (e.g. 146b) and trea ting the preceding pasted folio as, for
example, [146a], generally tacitly. All original folios are in f act accounted for in
this way with a si ngle exception of a fol io following f. 201b i n C.64; as the
approach adopted was i nconsistent between partbooks, however, the modern
foliation tends to obscure the remarkable similarity of structure between the
different volumes of the set. Th e collation scheme below treats all fo lios as
‘unpasted’, whether or not they are currently separate.]
C.64 ‘Cantus’: v (i-iii: stubs only) + 276 + vi (iv-vi: stubs only). Irregular modern
pencil foliation: ff. i-ii (com plete flyleaves), iii-iv (m usic paper), 1-251b, 252-4
(complete flyleaves). No music entered on ff. iii-iv, 17v-24, 59-62v, 71v-79, 129b-
134b, 199v-201bv, 244v-251bv.2
C.65 ‘Altus’: i + 276 + iii. Irregular modern pencil foliation: ff. 1 (flyleaf), 2-185,
186-8 (flyleaves). No music entered on ff. 2, [20v]-[26], 61-64v, 73v-[80a], 109b-
[116a], 149bv-[152av], 178bv-185v.
C.66 ‘Contratenor’: v (i-iii: stubs only) + 128 + v (iii-v: stubs only). Modern pencil
foliation: ff. 1 (second complete flyleaf), 2-129, 130-1 (com plete flyleaves). No
music entered on ff. 2-3, 68v-73v, 120v-129v.
C.67 ‘Tenor’: ii +196 + ii. Irregular modern pencil foliation: ff. 1-2 (flyleaves), 3-
[194], 195-6 (flyleaves). No music entered on ff. 3-4, 63-72, 134v-[138v], 185v-
[194v].
1
A similar method was adopted in IRL-Dm Z.3.4.1-6.
2
Ignoring the internal ‘pasted’ (or once pasted) folios.
144
C.68 ‘Bassus i ’: i + 278 + i . Irregular modern pencil foliation: ff. 1 (fl yleaf), 2-
[266], 267 (flyleaf), 268 (pastedown). No m usic entered on ff. 2-3, 20v-27, 62-
65v, 74v-80, 134-143, 205v-210v, 257v-266v.
C. 69 ‘Bassus ii’: ii + 56 + i. Irregular modern pencil foliation: ff. 1-2 (fly leaves),
3-56, 57 (flyleaf). No music entered on ff. 47v-56v.
Scribes:
A: Copied everything except 3-part pieces nos. 39-47 = hand ‘J’ in IRL-Dm
Z3.4.7-123 (as Plate 13)
B: Copied 3-part pieces nos. 39-47 (3-part fantasies by O. Gibbons).
C: Added corrections (e.g. C.67 f. 19)
Inscriptions: on front covers: C.64: ‘Cantus’ (according to an inscription on the

verso of the flyleaf that became the pastedown, before binding the book was called
‘Altus / 4.’); C.65: ‘Altus’ (form erly ‘5, Cantus’); C.66: ‘Contratenor’ (formerly
‘Mean / 2’); C.67: ‘Tenor’; C.68: ‘Bassu s i’ (formerly ‘6’); C.69: ‘Bassus 2’.
Inside the front cover of each partbook (or on the verso of a flyleaf that was once
the pastedown): ‘George Stratford / 1641’.
Format and dimensions: Folio, c. 295 x 196
Watermarks and collations:

Although only C.64, C.65 and C.68, which contain the three-part music, have the
entire collation scheme, the collation of all partbooks is identical for the sections
that are present. The sequence of paper types is also closely similar in all six
partbooks. To show t hese relationships more clearly, the collations of C.66, C.67
and C.69 begin with the letters corresponding to their starting points in the
‘complete’ volumes C.64, C.65 and C .68; hence t he four-part material always
starts at gathering M, the five-part at Ee and the six-part at Qq.
Book No. of parts Gatherings Folios Watermark

8
C.64 a3 A-H i-62 Grapes I/5
J-K4 L8 63-78 Grapes I/6
a4 M-Q4 79-96 Pillars II/4
R4 97-100a Fleur-de-lys II/5
S-T4 100b-107 Pillars II/4
V-X4 108-115 Fleur-de-lys II/5
Y-Bb4 116-125b Pillars II/4
Cc4 Dd8 126-134a Grapes I/6
3
See DUBLIN C2, 27. The contents and readings of Ob Mus. Sch. MSS C.64-9 closely
resemble IRL-Dm Z3.4.1-6 & 7-12; it seem s that Matthew Hutton and Narcissus Marsh had
access to this source.
145
a5 Ee-Ff4 134b-141 Fleur-de-lys II/5
Gg4 142-145 Pillars II/4
Hh-Mm8 146-185 Grapes I/5
Nn-Oo8, Pp4 186-201b Grapes I/6
a6 Qq-Xx44 202-224 Pillars II/5
Yy-Zz4 225-229 Pillars II/4
Aaa-Ccc8 230-251 Grapes I/5
C.65 a3 A-H8 2-64 Grapes I/5

J-K4 L8 65-79a Grapes I/6
a4 M-V4 79b-97a Pillars II/4
X4 97b-99a Fleur-de-lys II/5
Y-Bb4 99b-107a Pillars II/4
Cc4, Dd8 107b-115a Grapes I/6
a5 Ee-Ff4 115b-119a Fleur-de-lys II/5
Gg4 119b-121a Pillars II/4
Hh-Mm8 121b-142a Grapes I/5
Nn-Oo8, Pp4 142b-151b Grapes I/6
a6 Qq-Xx4 152-167a Pillars II/5
Yy4 167b-168 Fleur-de-lys II/5
Zz4 169-171a Pillars II/4
Aaa-Ccc8 171b-185 Grapes I/5
C.66 a5 Ee-Ff4 2-9 Fleur-de-lys II/5

Gg4 10-13 Pillars II/4
Nn-Oo8, Pp4 54-73 Grapes I/6
Yy4 98-101 Pillars II/4
Zz4 102-105 Pillars II/5
C.67 a4 M-R4 3-26 Pillars II/4

S4 27-30 Fleur-de-lys II/5
T-Bb4 31-58 Pillars II/4
Cc4, Dd8 59-70 Grapes I/6
a5 Ee4 71-74 Fleur-de-lys II/5
Ff-Gg4 75-79 Pillars II/4
Yy-Zz4 163-170 Pillars II/4
C.68 a3 A-H8 2-65 Grapes I/5

146
J-K4, L8 66-79 Grapes I/6
a4 M-Bb4 80-129 Pillars II/4
Cc4, Dd8 130-141 Grapes I/6
a5 Ee4 142-145 Fleur-de-lys II/5
Ff-Gg4 146-152a Pillars II/4
Hh-Mm8 152b-190 Grapes I/5
Yy-Zz4 235-242 Fleur-de-lys II/5
C.69 a6 Qq-Zz4 3-33a Pillars II/5

Aaa-Bb8 33b-48 Grapes I/5
Cc8 49-56 Grapes I/5, 6
Traces of an original pencil foliation rem ain (the same in all parts, not noted here);
these probably provided a schem e for t he original binder, by whom they were
largely trimmed away.
Rastrology:
Grapes I/5: A 10; B 5; C 119.5; D 12(14)12.5(14.5)12.5(15)12.5(14.5)12
Fleur-de-lys II/5: A 10; B 5; C 119.5; D 12(14)12(14)12.5(15.5)12(15)12
(This appears to be the same ruling as in Grapes I/5.)
Grapes I/6: A 10; B 5; C 119; D 14(12.5)13.5(12.5)13(13)13(13.5)14
Pillars II/4:
i A 10; B 5; C 117; D 13(13.5)12.5(13)13(12.5)13(13)13
ii (C.64: 225-229; C.65: 119b-120b, 169-170; C.66: 98-101; C.67:
163-170; C.68: 146-151):
A 10: B 5: C 116: D 12(12)13(13)13.5(12.5)14(13)13
Pillars II/5: A 10; B 5; C 117.5; D 13(13)13(12)13.5(12.5)13(13)13
Binding: White vellum: C.64 304 x 208, C .65 302 x 203, C .66 304 x 205, C.67
303 x 201, C .68 302 x 208, C .69 303 x 203. The out er stubs of the flyleaves
(originally pastedowns) contain sections from a sixteenth-century(?) theological
manuscript.
Flyleaf watermarks: C.64 f. 252, C.65 ff. 166-8, C.68 ff. 1, 267, C . 69 ff. 1, 2, 57:
coat of arms resembling Heawood 580 but variously lettered ‘PG’, ‘PC’ or ‘PD’
and with differing pendant patterns (see TOMKINS I3, fig. facing 147). C.66 f. [i],
131: Grapes FI/4/a.
147
Provenance: Oxford. George Stratford of Thornton, Gloucestershire was a student
of Magdalen Hall, Oxford (m atriculated 28 January 1625), B D (2 Jul y 1639),
expelled by Parliament from Oxford (1648). The part books were in use in Oxford
before 1682 as t hey appear i n the Bodleian Music School list of 1682 as ‘A set
bound in vellum in Folio of Fancies by several Authors 6’.
Bibliography: OXFORD C2; DUBLIN I; BODLEIAN G
Contents
[Three-part pieces]
No. Ascription Title 64 65 68 VdGS No.
1 Mr Jenkins [Fantasia]4 v
iv -1r 3v-4r 3v-4r 5
2 (Mr Jenkins) [Fantasia] 2v-3r 5v-6r 5v-6r 2
3 Mr Jenkins [Fantasia] 4v-5r 6v-7r 7v-8r 3
4 Mr Jenkins [Fantasia] 6v-7r 8v-9r 9v-10r 13
5 (Mr Jenkins) [Fantasia] 8v-9r 10v-11r 11v-12r 14
6 -5 [Fantasia] 10v-11r 12v-13r 13v-14r A928
7 - [Fantasia] 12v-13r 14v-15r 15v-16r A929
10 [blank]
11 [blank]
12 [blank]
13 Mr Mico [Fantasia] 24v-25r 26v-27r 27v-28r 2
16 (Mr Mico) [Fantasia] 30v-31r 32v-33r 33v-34r 1
20 Coperario [Fantasia] 38v-39r 40v-41r 41v-42r 10
21 (Coprario) [Fantasia] 40v 42v 43v 1
22 Coperario [Fantasia] 41r 43r 44r 2
26 Coperario [Fantasia] 48v-49r 50v-51r 51r-52r 5
28 Mr Lupo [Fantasia] 52v 54v 55v 16
4 Nos. 1-3 come from the series for treb le, two basses and organ; nos. 4-5 from the
series for two trebles and a bass.
5 ‘Mr Lugg’ crossed out at the head of nos. 6-9.
148
No. Ascription Title 64 65 68 VdGS No.
29 Mr Lupo [Fantasia] 53r 55r 56r 17
30 Mr Lupo [Fantasia] 54v 56v 57v 18
31 Mr Lupo [Fantasia] 55r 57r 58r 19
32 (Mr Lupo) [Fantasia] 56v 58v 59v 7
33 (Mr Lupo) [Fantasia] 57r 59r 60r 20
34 (Mr Lupo) [Fantasia] 58v 60r 61v 21
35 [blank]
36 [blank]
37 [blank]
38 [blank]
39 [O. Gibbons] Fantazia 63r 65r 66r 1
40 [O. Gibbons] Fantazia 64v 66r 67v 2
42 [O. Gibbons] Fantazia 66v 68v 69v 4
44 [O. Gibbons] [Fantasia] 68v 70r 71v 6
45 [O. Gibbons] [Fantasia] 69r 71r 72r 7
46 [O. Gibbons] [Fantasia] 70v 72v 73v 8
47 [O. Gibbons] [Fantasia] 71r 73r 74r 9
149
Bodleian Library, MSS Mus. Sch. C.64-69
[Four-part works]
No. Ascription Title 64 65 67 68 VdGS No.
1 Mr R. Gibbons Fantazia 79bv-80r 80v-80br 4v-5r 81v-82r 1
2 Mr R. Gibbons [Fantasia] 81v-81br 81v-81br 6v-7r 83v-84r 2
3 [T. Tomkins] Ut re me fa sol la 82v-84v 82v-83v 8v-10v 85v-87v None
4 [T. Tomkins] [Pavan] 85r 83br 11r 88r None
5 [T. Tomkins] [Almain] 85r 83br 11r 88r None
6 Alfonso fferrabosco [Fantasia] 86v-87r 84v-84br 12v-13r 89v-90r 15
7 Alfonso fferrabosco [Fantasia] 88v-89r 85v-85br 14v-15r 91v-92r 7
8 Alfonso fferabosco [Fantasia] 90v-91r 86v-86br 16v-17r 93v-93br 8
9 Alfonso [Fantasia] 92v-93r 87v-87br 18v-19r 94v-94br 9
10 Mr: Allfon: [Fantasia] 94v-95r 88v-88br 20v-21r 95v-95br 21
13 Mr: Allfon: [Fantasia] 100v-100br 91v-91br 26v-27r 98v-99r 17
14 Mr: Allfon: [Fantasia] 101v-102r 92v-92br 28v-29r 100v-101r 20
15 [A. Ferrabosco II] [Fantasia] 103v-104r 93v-93br 30v-31r 102v-102br 22
16 Mr: Allfonso [Fantasia] 105v-106r 94v-94br 32v-33r 103v-104r 1
17 [A. Ferrabosco II] [Fantasia] 107v-108r 95v-95br 34v-35r 105v-106r 2
18 Mr: Ives [Fantasia] 109v-110r 96v-96br 36v-37r 107v-108r 1
22 [A. Ferrabosco II] [Fantasia] 117v-118r 100vv 44v 115v 3
23 [A. Ferrabosco II] [Fantasia] 118r 100br 45r 116r 13
150
24 Mr: Jenkins6 [Fantasia] 119v-120r 101v-101br 46v-47r 117v-118r JW3
25 Mr: Jenkins [Fantasia] 121v-121br 102v-102br 48v-49r 119v-120r 5
29 [J. Ward] [Fantasia] 125v-125br 106v-106br 56v-57r 127v-128r 5
30 [J. Ward] [Fantasia] 126v-126br 107v-107br 58v-59r 129v-130r 4
31 [J. Ward] [Fantasia] 127v-128r 108v-108br 60v-61r 131v-132r 6
32 [J. Ward] [Fantasia] 129v 109v 62v 133v 2
[Five-part works]
No. Ascription Title 64 65 66 67 68 VdGS No.
1 Mr Fferabosco [II] In Nomine 135v-136r 116v-116br 3v-4r 72v-73r 143v-144r 1
2 Ferrabosco [II] In Nomine 137v-138r 117v-117br 5v-6r 74v-75r 145v-146r 2
3 Allffonso [Ferr. II] [In Nomine] 139v-140r 118v-118br 7v-8r 76v-76br 147v-148r 3
4 [Gill] Innomine 141v-142r 119v-119br 9v-10r 77v-77br 149v-150r None
5 Mr Orlando [Gibbons] Innomine 143v-144r 120v-120br 11v-12r 78v-78br 151v-151br 2
6 Mr Ward Innomine 145v-146r 121v-121br 13v-14r 79v-80r 152v-152br None
7 Mr Cranford Innomine 147v-148r 122v-122br 15v-16r 81v-82r 153v-153br None
8 Mr Cranford
(Mr Ives)7 Innomine 149v-150r 123v-124r 17v-18r 83v-84r 154v-155r None
9 - Innomine 151v-152r 125v-125br 19v-20r 85v-86r 156v-157r A1661
6 By John Ward, VdGS No. 3.

7
Attributed to Cranford in two of the partbooks (C.64 & C.67) and to Ives in three (C.65, C.66 & C.68); the work is attributed to Ives in five
other sources.
151
10 - Innomine 153v-154r 126v-126br 21v-22r 87v-88r 158v-159r A1662
11 Mr Weelkes Innomine 155v 127v 23v 89v 160v 1
12 Mr Weelkes Innomine 156r 127br 24r 90r 161r 2
13 Lupo8 [Fantasia] 157v 128v 25v 91v 162v TR4
14 Lupo [Fantasia] 158r 128br 26r 92r 163r TR3
15 [R. Dering] [Fantasia] 159v 129v 27v 93v 164v 4
16 [J. Ward] [Fantasia] 160r 129br 28r 94r 165r 2
17 [J. Ward] [Fantasia] 161v 130v 29v 95v 166v 4
23 (Ward)9 [Fantasia] 167v 133v 35v 101v 172v WW1
24 (Ward) [Fantasia] 168r 133br 36r 102r 173r 3
25 (Ward) [Fantasia] 169v 134v 37v 103v 174v 10
26 (Ward) [Fantasia] 170r 134br 38r 104r 175r 9
27 (Coleman) [Fantasia] 171v 135v 39v 105v 176v None
28 [T. Lupo] [Fantasia] 172r 135br 40r 106r 177r 20
29 [T. Lupo] [Fantasia] 173v 136v 41v 107v 178v 21
8 Nos. 13 and 14 are by Thomas Ravenscroft.
9 By William White.
152
36 [W. White] [Fantasia] 180r 139br 48r 114r 185r 2
37 - [Fantasia] 181v-182r 140v-140br 49v-50r 115v-116r 186v-187r A1663
38 [T. Ford] [Fantasia] 183v 141v 51v 117v 188v 1
39 [T. Ford] [Fantasia] 184r 141br 52r 118r 189r 2
40 [T. Ford] [Fantasia] 185v-186r 142v-142br 53v-54r 119v-120r 190v-191r 3
43 - [Fantasia] 191v 145v 59v 125v 196v A1615
44 [J. Coprario] [Fantasia] 192r 145br 60r 126r 197r 49
45 [R. Dering] [Fantasia] 193v-194r 146v-146br 61v-62r 127v-128r 198v-199r 6
46 [R. Dering] [Fantasia] 195v-196r 147v-147br 63v-64r 129v-130r 200v-201r 1
47 [R. Dering] [Fantasia] 197v-197br 148v-148br 65v-66r 131v-132r 202v-203r 2
48 [R. Dering] [Fantasia] 198v-198br 149v-149br 67v-68r 133v-133br 204v-205r 8
[Six-part works]
No. Ascription Title 64 65 66 67 68 69 VdGS No.
r
1 M : Tomkins Pavin 202r 152br 74r 139r 211r 3r None
2 Mr: Tomkins Galliard 202r 152br 74r 139r 211r 3r None
3 Mr: Birde Pauin 203v 153v 75v 140v 212v 4v E402
4 Mr: Birde Galliard 203v 153v 75v 140v 212v 4v E501
5 (Mr: [T.] Tomkins) Fantazia 204v 153br 76r 141r 213r 5r 1
6 (Mr: [T.] Tomkins) (Fantazia) 205v-206r 154v-154br 77v-78r 142v-143r 214v-215r 6v-7r 2
7 (Mr: [T.] Tomkins) Fantazia 207v-207br 155v-155br 79v-80r 144v-145r 216v-217r 8v-9r 3
153
8 (Mr: [T.] Tomkins) Fantazia 208v-209r 156v-157r 81v-82r 146v-147r 218v-219r 10v-11r11r 4
9 Mr: [W.] White Fantazia 210v-211r 158v-159r 83v-84r 148v-149r 220v-221r 12v-13r 3
10 Mr: [W.] White [Fantasia] 212v-213r 160v-161r 85v-86r 150v-151r 222v-223r 14v-15r 4
11 Mr: [W.] White [Fantasia] 214v-215r 162v-162br 87v-88r 152v-153r 224v-225r 16v-17r 1
14 Mr: [W.] White [Fantasia] 220v 165v 93v 158v 230v 22v 5
15 [R. Dering?]10 (Fantazia) 221r 165br 94r 159r 231r 23r [4]
16 [R. Dering?] [Fantasia] 222v-223r 166v-166br 95v-96r 160v-161r 232v-233r 24v-25r [5]
17 [R. Dering?] [In Nomine] 224v-225r 167v-167br 97v-98r 162v-163r 234v-235r 26v-27r [1]
18 [R. Dering?] (Fantazia) 226v-226br 168v-168br 99v-100r 164v-165r 236v-237r 28v-29r [6]
19 [R. Dering] (Fantazia) 227v-227br 169v-169br 101v-102r 166v-167r 238v-239r 30v-31r 1
20 [R. Dering?] Innomine 228v-228br 170v-170br 103v-104r 168v-169r 240v-241r 32v-32br [2]
21 Mr: Warde [Fantasia] 229v 171v 105v 170v 242v 33v 2
22 (Mr: Warde) [Fantasia] 230r 171br 106r 171r 243r 33br 3
23 Mr: Warde [Fantasia] 231v 172v 107v 172v 244v 34v 5
24 Coperario [Fantasia] 232r 172br 108r 173r 245r 35r 2
25 Mr: Warde [Fantasia] 233v-234r 173v-173br 109v-110r 174v-175r 246v-247r 36v-37r 4
26 Mr: John Warde [Fantasia] 235v 174v 111v 176v 248v 38v 6
27 Mr: John Warde [Fantasia] 236r 174br 112r 177r 249r 39r 7
28 Mr: John Warde In nomine 237v-238r 175v-175br 113v-114r 178v-179r 250v-251r 40v-41r 1
29 Mr: Warde In nomine 239v-240r 176v-176br 115v-116r 180v-181r 252v-253r 42v-43r 2
30 Mr: Coleman [Fantasia] 241v 177v 117v 182v 254v 44v 1
31 Mr: Coleman [Fantasia] 242r 177br 118r 183r 255r 45r 3
32 Mr: Ives [Fantasia] 243v 178v 119v 184v 256v 46v 1
33 Mr: Lupo [Fantasia] 244r 178br 120r 185r 257r 47r 9
10
Although anonymous, Nos. 15-18 and 20 are attributed to Dering who is given pencilled authorship in IRL-Dm MSS Z.3.4.1-6.
154
Christopher Simpson’s, The Division Viol (London, 1667) bound with 48 folios of
paper containing mostly bass viol music, to which a further folio was later added.
Most of the additional folios were ruled with staves one line at a time, using a ruler
rather than a rastrum, presumably by the book’s owner William Noble. The flyleaf
of the whole volume appears to be made of one of the paper types of the
manuscript section.
Three different pagination schemes are applied to the manuscript section, all
including the added folio:
a. ink pagination 81[82]83 etc. continuing from the printed section, applied in ink
to recto pages beginning at the first manuscript music page. This is the numbering
followed below. The extra folio is pp. 137-8. No music entered on p. 161. An
unruled flyleaf preceding p. 81 and unruled p. 173 are also blank; p. 176 is ruled
vertically down the centre with a double line, as if for an index.
b. internal ink foliation 1-48 applied to versos, omitting first unruled folio of
gathering A.
c. internal pencil pagination 1-92 applied to music folios only.
Scribes: William Noble (see Plate 21); Francis Withy (inserted folio pp. 137-8
only).
Inscriptions: on front flyleaf of printed section: ‘Will Noble 1671 [£1?] 9s 00’; p.
101: ‘August 30th 1672’; p. 108: ‘August 1672’; p. 118: ‘Sept. 2d: 1672’; p. 135:
‘Sept 16th 1672’; p. 136: ‘March 19. 1672/3’; p. 139: ‘-78. Sep. 28th.’; p. 147:
‘Finis. March 19th. 1672/3.’; p. 152: ‘Sept. 28th.1678.’; p. 172: ‘May. 19th. 1677.’
Format and dimensions: Folio, 309 x 199 (p. 137, 309 x 196)
Watermarks:
Front flyleaf of whole volume, pp. 161-76 and occasionally elsewhere: Foolscap
III/14; elsewhere mainly Foolscap III/15 apart from p. 137, which has a further
Foolscap II watermark too indistinct to measure.
Rastrology: staves ruled one line at a time except for pp. 137-8 which were ruled
with a rastrum as follows:
155
Bodleian Library, MS Mus. Sch. C.71
A 10; B 5; C 128; D 13(14)15(13.5)14(15)15(13)14.5
Collations: (manuscript section only) A-G8; this comprises all the manuscript
pages incorporated in the original binding including the flyleaf at the front of this
section and two folios left unruled at the end. An additional folio (pp. 137-8) was
later inserted into gathering D.
Bindings: Contemporary blind-tooled calf, 314 x 207.
Provenance: Oxford. William Noble (d. 1681) was a singing man at Christ
Church, and therefore a colleague of Francis Withy. Wood described him as ‘very
well skilled in the practic part of music’. See Foster, Alumni iii, 1073; Wood,
Athenae Oxonienis (1813-21 edn) iv (Fasti ii), 367.
Bibliography: PAPER T2; OXFORD F; OXFORD W
Contents
Seq. Ascription Title Key Page VdGS No.
1 [Henry Lawes] So sing the song 81 -
2 Mr. Jenkins C 82-83 12
5 [John Jenkins] D 88-89 21
6 Mr. Jenkins a 90-91 14
7 Mr. Jenkins A 92-93 18
10 [Henry Butler] F 98-99 18
11 Mr. Jenkins1 d 100-102 5
12 Mr. Butler d 102-104 -2
13 ‘Addend. to Mr Simpson in D sol re flat’3d 104-105 (7)
14 [Henry Butler] a 106-108 14
15 Mr. Poole a 109-111 15
Seq. Ascription Title Key Page VdGS No.
16 Dan: Norcome D 112-113 9
17 Mr. Jenkins D 114-117 9
1
On Polewheele’s ground. At the foot of p. 102 is added after this piece the first
division ascribed elsewhere as ‘P.W’s’ or by ‘Peter Young’.
2
Assigned to Polewheele as VdGS No. 2 in the VdGS Thematic Index, since he wrote
the ground, but several composers wrote divisions on it.
3
Assumed to have been composed (by William Noble?) as additions to Simpson’s
divisions on p. 57 of Chelys … The Division Viol (London, 1665/R).
156
18 ‘Addend. to Mr. Jenk D sol re’4 D 117 (9)
19 - [2 Sept. 1672] C 118 A32
20 John Daniel Preludium G 119 None
21 Mr Dan: Norcome d 120-121 10
22 Francis Farmeloe G 122 None
23 Mr. Jenkins d 123, 125 6
24 Daniel Norcome a 124-125 21
25 Mr. Symson a 126-127 16
26 Mr. Daniel Norcome d 128-129 11
27 Mr. Dan: Norcome d 130-131 13
28 Mr. Dan: Norcome d 132-133 12
29 Daniel Norcome C 134-135 3
30 J[ohn]: W[ithy]: Prelude a 136 None
31 - Call George again 137 -
32 Mr C. S[impson]. d 138 17
33 Mr. A Poole [Almain] C 139 1
34 John Withy [Divisions] d 140-142 -5
35 - F 142-143 A33
36 F[rancis]. W[ithy]. a 144-145 3
37 - C 146-147 A34
38 Mr. Hugh Facy [Divisions] e 148-149 2
39 Mr. A. Poole [Divisions] c 150-152 8
40 Mr. P[oole]. Alm[ain] C 153 4
41 A[nthony]. P[oole] [Corant] C 153 5
42 A. Pool [Corant] C 155 6
43 - [Divisions] C 154 16
44 M[r]. P[oole]. [Almain] e 156 10
45 Mr. Poole Corant e 156 11
46 M[r]. P[oole]. Sar[aband]. e 157 12
47 - [Prelude] e 158- 13
48 - [incomplete] 160
[blank] 161
49 Mr Antony Pool [Divisions] e 162-163 14
50 Mr. An. Pool’s chicone C 164-165 2
51 Mr. Pool [Divisions] C 166-169 3
52 - [sonata] 170-172
4
Additions to the Jenkins piece on p. 114 which also occur as additions in the only
other known source: GB-Ob, printed book Mus. 184.c.8.
5
Assigned to Polewheele as VdGS No. 2 in the VdGS Thematic Index, since he wrote
the ground, but several composers wrote divisions on it.
157
‘The situation of ye Gamut on ye Lute, where ye notes are 174
expressed by Letters, & ye Tuning by Octaves. vid Mr Salmons
Essay to ye advancement of Musick.’6
‘The situation of ye Gamut on ye organ, Harsichord, and virginals.’ 175
6
MS copy of plate facing p. 66 in Thomas Salmon’s book; includes ‘Arrons Gigue’
written out twice, once ‘by notes’ according to Salmon’s system and once ‘by letters’ in
tablature.
158
Two calligraphic partbooks containing string parts of bass viol duos by Simpson
and Jenkins.
i. C77a; ii. C77b: i + 8 + i. Pencil foliation including covers and flyleaves: C77a 1-
10, 11a, 11b; C77b 12-23. No music entered ff. 10v, 21v.
Scribe: a single unidentified calligraphic hand who also copied part of US-Cu 959
(nos I-XII, Corelli Op. 1) (see Plate 22); see Provenance below.
Format and dimensions: large upright quarto. C77a, 335 x 229; C77b, 332 x 229.
Watermarks: Fleur-de-lys I/11
Rastrology: A 12; B 4; C 68; D 10(9)10(9)10(9)10.5
Collations: A-B 4
Bindings: contemporary boards covered in marbled paper. C77a, 334 x 232; C77b,
331 x 230. Flyleaves Grapes FI/3, conjunct with pastedown at each end of each
book.
Provenance: possibly the court of James II at Whitehall, with which circumstantial

evidence links the work of the same hand in US-Cu 959.
Bibliography: PAPER T2, especially p. 287; PURCELL ST, pp. 119-121.
159
Contents
No. Ascription Title Key I II VdGS No.

1 Mr Chris: Simpson [Divisions] C 3r 14r 24
2 Mr Christ: Simpson [Divisions] a 3v-4r 14v-15r 25
3 Mr Christ: Simpson [Divisions] F 4v-5r 15v-16r 26
4 Mr John Jenkins [Divisions] g 5v-6r 16v-17r 23
5 Mr Christo: Simpson [Divisions] F 6v-7r 17v-18r 27
6 Mr John Jenkins [Divisions] A 7v-8r 18v-19r 18
7 Mr Christo: Simpson [Divisions] G 8v-9r 19v-20r 28
8 Mr John Jenkins [Divisions] C 9v-10r 20v-21r 13
[blank] 10v-11v 21v-23v
160
Music School Manuscripts
D.241-244
Four partbooks given to Edward Lowe by Theodore Colby, probably in the 1660s,
containing music by Jenkins, Rogers, Lawes, Baltzar and Bowman copied over an
extended period by three hands including Lowe himself. Short-score organ parts to
the three-part music by Jenkins copied by Hand A can be found i n Ob MS Mus.
Sch. D. 261, which appears to have been regarded as part of the same original set;
Lowe’s own thorough-bass parts for much of the music he copied himself are in
Ob MS Mus. Sch. E. 451, to which he refers in D.241-4 as ‘the thick Quarto Book’
and ‘my 4to Booke in a vellam cover’.
D. 241 (first treble), iii + 74 + i. Modern pencil pagination i-vi; Lowe’s ink
pagination 1-148; modern pencil 149-50. No music entered pp. 7-12, 40, 48, 60-
64, 70-71, 75-6, 80, 83-8, 92, 97, 100-101, 105-107, 112, 124-5, 131, 136-7, 143,
147-50.
D.242 (second treble) iii + 73 + i. Modern pencil pagination i-vi; Lowe’s ink
pagination 1-146; modern pencil 147-8. No music entered pp. 7-12, 40, 48, 66-9,
72, 84, 90-97, 113-121, 128-137, 143-8.
D.243 (tenor) iii + 74 + i. Modern pencil pa gination i-vi; Lowe’s ink pagination 1-
148; modern pencil 149-50. No m usic entered pp. 7-12, 36, 40, 45-48, 60-61, 67-
72, 80, 83-4, 89, 92-97, 102-9, 118-20, 125, 128-33, 140-50.
D.244 (bassus) iii + 74 + i. Modern pencil pagination i-vi; Lowe’s ink pagination
1-148; modern pencil 149-50. No music entered pp. 7-12, 40, 45-8, 55-61, 67, 73,
77, 87-9, 96-7, 101-3,108-9,113-5,124-5, 129, 136-7, 140, 143, 148-50.
Scribes:
A [Anon]; copyist of the first layer of music by Jenkins and Rogers (Plate 18d-e)
B [contributed headings, etc.; hand as in D.261] (as Plate 19)
C Matthew Hutton (as Vol. I, Plate 7)
D Edward Lowe (see Plate 18a-c)
Inscriptions:
D.241-244, p. 44: ‘Mr Roge rs of Mag: Col: 1668’; in addition, in D. 244 only:
‘Mr Rogers Retrograde Ay res, the Base tw ice forward is th e first strain & twice
161
Oxford, Bodleian Library, MSS Mus. Sch. D.241-244
backward the 2d straine: ther[e] are 4 more in D. page 36.’ [Lowe]; D. 244, p. 36:
‘the Base twice forward is the first strain & twice b ackward the 2d straine, to
thes[e] 4: & 3 more in G page 44’.
D. 241, p. 55: ‘Thes[e] 15 fol lowinge Ayres were com posd by Mr Bowman, &
first performd in the Schooles on Thursday 5. feb: 1673/4’; similar inscription
omitting ‘15’ in D. 242, f. 56. D. 243, p. 55 has ‘Thes[e] 15 Ayres followinge were
composd by Mr Bowman, & were fi rst perform’d in the Publick schooles on
Thursday the 5 of Feb: 1673/4.’; D. 244, p. 51: ‘Thes[e] 15 followinge Ayres
were composd by Mr Bowman, & first performd in the Schooles on Thursday 5.
feb: 1673/4’; and, in addition, ‘ther[e] is another playin[g] Base in the Tenor of
thes[e] Bookes.’ [Lowe]
Lowe added a com prehensive index to the front of each volum e, which contains
cross-references to Ob M S Mus. Sch. E. 451; these are not ed against the works
concerned in the contents list below.
Format and dimensions: large upright quarto, c. 281 x 220.
Watermarks: Bend I/3
Rastrology:
A 10; B 5; C 112.5; D 13(12)12(13)12(12.5)12(13)12.5
Collations:
D.241: A-D6 E8 F-M6
D.242: A-K6 L8 M6 (M6 removed)
D.243: A-L6 M8
D.244: A-J6 K8 L-M6
Bindings:
Contemporary boards covered in white vellum; D.241 285 x 225; D.242 287 x
227; D.243 285 x 227.5; D.244 288 x 225
Identifiable flyleaf papers:

D.241 pp. iii, v, D.244 pp. iii, v: Bend FII/1
D.243 p. i, D.244 p. i: Arms of France and Navarre FII/1
D.241 p.149, D.242 pp. iii, v, D. 243 pp. iii, v, p. 149: main Bend I paper type
Provenance:
Oxford, as indicated by the note in Mus. Sch. D. 261, f. 61r: ‘Organ Parte to Mr
Jenkins fancies Division for 3 partes. Prickt in the Bookes with vellim covers. &
given mee by Mr Colbius Organist of Exeter’. Theodore Colby was organist of
162
Magdalen College, Oxford, before being appointed at Exeter in 1664; the books
were probably used in connection with an Oxford music meeting, and Hutton may
have made his contribution to the copying either before or aft er the set was given
to Lowe.
163
Contents
No. Ascription Title Key 241 242 243 244 Scoring Continuo Scribe VdGS
page page page page No.
Mr Rogers 4 Partes Ayres &c
1 Rogers Pavine a 1 1 11 TrTrTB A 151
2 Ayre a 1 1 11 A 152
3 Cour. a 2 2 22 A 153
4 Pavine a 2 2 22 A 154
5 Ayre a 3 3 33 A 155
6 Ayre a 3 3 33 A 156
7 Cour. A 3 3 33 A 157
Dr Rogers 9 muses1
1 Dr Rogers Prelude A 4 4 44 TrTrTB E451 D 81
2 Aire A 4 4 44 E451 D 82
3 Aire A 4 4 44 E451 D 83
4 Corant A 5 5 55 E451 D 84
5 Saraband A 5 5 55 E451 D 85
6 Jiggue A 5 5 55 E451 D 86
7 Corant A 6 6 66 E451 D 87
8 Aire A 6 6 66 E451 D 88
9 Jigg A 6 6 66 E451 D 89
1
D.241 p. v: ‘Through base to thes[e] of Rogers in the thick Quar to Book. page 147 and page 152’ [i .e. Ob MS Mus. Sch. E. 451] ; bass parts
to the ‘Nine Muses’ begin on p. 147. Simila r note in D.242 p. v. In D.243 p. v only ‘Through base in y e thick 4to Booke page 147’, the
‘Retrograde Ayres’ not being copied in this partbook. No cross-reference in D. 244.
164
[blank] 7-12 7-12 7-12 7-12
1 Pavine B 13 13 13 13 TrTrTB A 101
2 Ayre B 13 13 13 13 A 102
3 Cour: B 14 14 14 14 A 103
4 Ayre B 14 14 14 14 A 104
5 Ayre B 14-15 14 14 14 A 105
6 Cour: B 15 15 15 14 A 106
7 Sar: B 15 15 15 15 A 107
[William Lawes: from the Royall Consort]
Pavan d 16 16 16 16 TrTrBB C 8
[Air] d 16-17 16-17 16-17 16-17 C 15
[Air] d 17 17 17 17 C 16
[Almain] d 17 17 17 17 C 19
Galliard d 18 18 18 18 C 11
[Air] d 18 18 18 18 C 9
[Air] d 18-19 18-19 18-19 18-19 C 10
Coranto d 19 19 19 19 C 12
Saraband d 19 19 19 19 C 13
[Air] d 20 20 20 20 C 2
Coranto d 20 20 20 20 C 18
Saraband d 21 21 21 21 C 20
Saraband d 21 21 21 21 C 21
[Almain] d 22 22 22 22 C 3
Coranto d 22 22 22 22 C 17
165
[Corant] d 23 23 23 23 C 4
Coranto d 23 23 23 23 C 5
Saraband d 24 24 24 24 C 6
Saraband d 24 24 24 24 C 14
[Benjamin Rogers continued]
1 Pavine D 25 25 25 25 TrTrTB A 122
2 Ayre D 25 25 25 25 A 128
3 Ayre D 26 26 26 26 A 129
4 Ayre D 26 26 26 26 A 130
5 Pavine D 27 27 26-27 26-27 A 121
6 Cour: D 27 27 27 27 A 131
7 Sarab: D 28 28 27 27 A 132
[William Lawes: from the Royall Consort]
Pavan D 29 29 28 28 TrTrBB C 22
[Air] D 29 29 28 28 C 23
[Air] D 30 30 29 29 C 32
[Corant] D 30 30 29 29 C 39
[Air] D 31 31 30 30 C 24
(Saraband) D 31 31 30 30 C 25
[Air: Morris] D 32 32 31 31 C 41
[Almain] D 32 32 31 31 C 38
[Air] D 33 33 32 32 C 30
Saraband D 33 33 32 32 C 26
166
[Saraband] D 34 34 33 33 C 34
Saraband D 34 34 33 33 C 35
[Air] D 35 35 34 34 C 29
[Air] D 35 35 34 34 C 37
[Almain] D 36 36 35 35 C 31
[Corant] D 36 36 35 35 C 33
Saraband D 36 36 35 35 C 27
[blank] 36
[Benjamin Rogers continued]
1 Pavine e 37 37 37 37 TrTrTB A 91
2 Ayre e 37 37 37 37 A 92
3 Ayre e 38 38 37 37 A 93
4 Cour: e 38 38 38 38 A 94
5 Ayre e 38 38 38 38 A 95
6 Ayre e 39 39 38 38 A 96
7 Cour: e 39 39 39 39 A 97
8 Sarab: e 39 39 39 39 A 98
[blank] 40 40 40 40
2
1 Rogers Praelude e 41 41 41 41 TrTrTB D 161
2 Ayre e 41 41 41 41 D 162
3 Galliard e 42 42 42 42 D 163
2
‘Mr Rogers 2d sett in Elami.’
167
4 Corant e 43 42 42 42 D 164
5 Aire e 42 43 43 43 D 165
6 Corant e 43 42 43 43 D 166
7 Saraband e 43 43 44 43 D 167
8 Mr Rogers3 Jiggue e 44 44 44 44 D 168
Rogers Retrograde Ayres for 3 pts.4
Rogers Aire d 45 45 - 36 TrTrB E451 D 71
Corant d 45 45 - 36 E451 D 72
Saraband d 46 46 - 36 E451 D 73
Jigg d 46 46 - 36 E451 D 74
Rogers Aire G 47 47 - 44 E451 D 77
Corant G 47 47 - 44 E451 D 78
Saraband G 47 47 - 44 E451 D 79
[blank] 48 48 45-48 45-48
1 [Rogers] Ayre F 49 49 49 49 TrTrTB A 111
2 Ayre F 49 49 49 49 A 112
3 Cour: F 49 49 49 49 A 113
4 Ayre F 50 50 50 50 A 114
5 Cour: F 50 50 50 50 A 115
6 Sarab: F 50 50 50 50 A 116
page page page page
3
‘Mr Rogers of Mag: Col: 1668 /.’
4
D.241 p. v: ‘Through base to thes[e] of Rogers in the thick Quarto Book. page 147 and page 152’ [i.e. Ob MS Mus. Sch. E. 451]; bass parts
to the ‘Retrograde Ayres’ begin on p. 152. Similar notes in D. 242 p. v.
168
Baltzar(’s ayres) for 3 violins5
Pavan C 51 51 51 TrTrTr[B] E451 D 61
Galliard C 52 52 52 E451 D 62
Almaine C 52 52 52 E451 D 63
Almand C 53 53 53 E451 D 64
Almand C 53 53 53 E451 D 65
Almond C 53 53 53 E451 D 66
Corant C 53 54 53 E451 D 67
Corant C 54 54 54 E451 D 68
Saraband C 54 55 54 E451 D 69
Saraband C 54 55 54 E451 D 70
Thes 15 followinge Ayres were composd by Mr [Henry] Bowman & first
performd in the Schooles on Thursday. 5 feb: 1673/4
1 Bowman Prelude g 55 56 556 517 TrTrB E451 D 1
2 Allem[.] g 55 56 55 51 E451 D 2
3 Cor: g 55 56 55 51 E451 D 3
4 Gauott g 55 56 55 51 E451 D 4
5 Sarabrand g 56 57 56 51 E451 D 5
6 Prelude a 56 57 56 52 E451 D 6
7 Allem. a 56 57 56 52 E451 D 7
5
D.241 p. v: ‘The Through Base to them in the thick 4to Book page 140.’; similar notes in D. 242 and D. 243.
6
D.243 p. v: ‘A second playinge Base to Mr Bowmans Ayres; the through Base beinge in the thick 4to Booke in a vellam cover’.
7
D.244 p. v: A 2d Base in ye Tenor of thes[e] Bookes & the through Base in my 4to Booke in a vellam cover’.
169
8 Galliard a 56-57 57 56 52 E451 D 8
9 Gauot a 57 58 57 52 E451 D 9
10 Saraband a 57 58 57 53 E451 D 10
11 Allem. D 58 58 57 53 E451 D 11
12 Air D 58 59 58 53 E451 D 12
13 Gauott D 59 59 58 54 E451 D 13
14 Air D 59 59 58 54 E451 D 14
15 Saraband D 59 59 59 54 E451 D 15
[blank] 60-64 60 60-61 55-61
[Jenkins: Fantasia-Air sets and Fantasia-Suites]
Jenkins Fancy g 65-66 61-62 - 62-63 TrTrB8 D261 A 1
Ayre g 66-67 62-63 - 64
Fancy g 68 64 65 65 TrTrBB9 E451 D 1
Aire g 69 65 66 66
(Corant) g 69 65 66 66
[blank] 70-71 66-69 67-72 67
Fancy g 72-73 - 62-63 68-69 TrBB10 D261 A 1
Allemande g 74 - 63 70
Courante g 74 - 64 70
8
All for this scoring are VdGS Group VI.
9
All for this scoring are VdGS Group V.
10
All for this scoring are VdGS Group III.
170
[blank] 75-76 73
Fancy a 77-78 73-74 - 74-75 TrTrB D261 A 2
Ayre a 78-79 74-75 - 76
[blank] 80 76 - 77
Fancy a - 77-78 73 78-79 TrBB D261 A 2
Allemande a - 78-79 74 79-80
Courante a - 79 75 80-81
Fancy a - 80-81 76-77 81-82 TrBB D261 A 3
Allemande a - 81 78 83
Courante a - 82 79 84
[blank] 80
Fancy a 81 70 81 71 TrTrBB E451 D 2
Ayre a 82 71 82 72
Corant a 82 71 82 72
[blank] 83-88 72 83-84
Fancy B 89-90 85-86 - 85 TrTrB D261 A 3
Ayre B 90-91 86-87 - 86
[blank] 92 87-89
Fancy B 93-94 - 85-86 90-91 TrBB D261 A 4
Allemande B 94-95 - 87 92
Courante B 96 - 88 93
171
[blank] 97 89
Fancy B 98 88 90 94 TrTrBB E451 D 5
Ayre B 99 89 91 95
Corant B 99 89 91 95
[blank] 100-101 91-97 92-97 96-97
Fancy C 102-103 98-99 - 98-99 TrTrB D261 A 4
Ayre C 104 100 - 100
[blank] 105-107 101-109 101-103
Fancy C 108-109 - 98-99 104-105 TrBB D261 A 5
Allemande C 110-111 - 100-10111 106-107
Courante C - 82-83 79 84
[blank] 112 102-109 108-109
Fancy D 113-114 110-111 - 110-111 TrTrB D261 A 5
Ayre D 114-115 111-112 - 112
[blank] 116-117 113-121 - 113-115
Fancy D 118-119 - 110-11 116-117 TrBB D261 A 6
Allemande D 119 - 112 118
Courante D 120 - 113 119
Fancy d 121-122 - 114-115 120-121 TrBB D261 A 7
11
‘The Courant to this Suit[e], is the 2d Courant of the 2d Suit[e] in A.’
172
Allemande d 122-123 - 116 122
Courante d 123 - 117 123
[blank] 124-125 118-120 124-125
Fancy e 126-127 122-123 - 126-127 TrTrB D261 A 6
Ayre e 127-128 124-125 - 128
[blank] 129
Fancy e 129 126 126 130 TrTrBB E451 D 7
Ayre e 130 127 127 131
Corant e 130 127 127 131
[blank] 131 128-137 128-133
Fancy e 132-133 - 121-122 132-133 TrBB D261 A 8
Allemande e 133-134 - 122-123 134-135
Courante e 134-135 - 124 135
[blank] 136-137 125 136-137
Fancy F 138-139 138-139 - 138-139 TrTrB D261 A 7
Ayre F 139-140 140 - 139
[blank] 140
Fancy F 141 141 138 141 TrTrBB E451 D 4
Ayre F 142 142 139 142
Corant F 142 142 139 142
173
[blank] 143 143
Fancy F 144-145 - 134-135 144-145 TrBB D261 A 9
Allemande F 145-146 - 135-136 146
Courante F 146 - 136-137 147
[blank] 147-148 143-146 140-148 148
174
Music School Manuscript D. 261,
ff. 39-76
Organ parts for works by John Jenkins for two basses and a treble, incorporated in
a modern guardbook with continuous pencil foliation. Two separate books: (a) ff.
39-60, 22 folios; no music copied f. 52v; (b) ff. 61-76, i [=cover] + 14 + i [=cover].
Owner: Edward Lowe
Scribes: Music hand anonymous (see Plate 19); many titles added by Lowe.
Inscriptions:
f. 39r: ‘Organ Part to Mr. Jenkins Division Lessons for 2 Base Viols & a Treble’
f. 61r: ‘Organ Parte to Mr Jenkins fancies Division for 3 partes. Prickt in the
Bookes with vellim covers. & given mee by Mr Colbius Organist of Exeter.’
Format and dimensions: Upright quarto, 290/298 x 215/221.
Watermarks:
a: Flag countermarked PA; Bend I. Position of marks and obscurity of paper makes
detailed measurement impossible. Both marks have widely-spaced chain lines, c.
28-30 mm apart.
b: corner watermark apparently lettered MAD, visible ff. 68, 71 (ff. 74-75 are
probably made from the unmarked side of the Bend I paper used in (a), with which
they share their stave ruling).
Rastrology:
ff. 39-60, 74-75: five-line staves to which a sixth line has been added. A 8; B 2; C
42; D 13(15.5)13
ff. 61-73: six-line staves. A 8; B 2; C 42.5; D 14.5(14.5)13.5. Extra staves have
sometimes been added at the top and bottom of the page.
Collations:
14 6 2 4 2
(a): A B C ; b: A-C D
175
Bodleian Library, MS Mus. Sch. D.261
Bindings: grey paper cover (typical of seventeenth-century Music School MSS) to

second book, ff. 61, 76; discoloration of f. 62 suggests that it might have been
exposed as the front page for some years.
Provenance:
Oxford, perhaps in connection with William Ellis’s music meetings during the
Commonwealth: the mixture of paper types in ff. 39-60 is matched in IRL-Dm
Z2.1.13 and Z3.4.13 ff. 7-12, respectively the work of the copyist of John Wilson’s
song book, GB-Ob MS Mus.b.1, and Ellis himself. Theodore Colby, from whom
Lowe acquired the manuscripts, was organist of Magdalen College from 1660 to
1664 before he went to Exeter and may have presented the organ parts and the
companion string parts in Ob MSS Mus. Sch. D. 241-4 to Lowe on his departure.
The set is identified as follows in the 1682 list of Music School holdings (Ob MS
Mus. Sch. C. 204* [R]): ‘A set of Books bound in Vellim of Mr. Roger’s, Ayrs for
4 parts, & Mr. Jenkin’s Divisions for 2 & 3 [in fact only 3] Parts with ye Organ
Part cover’d with white Paper’.
Bibliography: OXFORD C2; DUBLIN T
Contents of D.261, ff. 39-76

Organ Part to Mr. Jenkins Division Lessons for 2 Base Viols & a Treble
[VdGS Group III]
folios No. Title Key VdGS No.
39r-40v I Fancy g 1
40v-41r II Almand g
41v-42r III Courant g
42v-43v IV Fancy a 2
44r V Allemand a
44v VI Courant a
45r-45v VII Fancy a 3
45v-46r VIII Alm. a
46r IX Cour. a
B
46v X Cour. a (5c)
B
47r-48v XI Fancy 4
B
48v-49r XII Almand
49r-49v XIII Courant
50r-51r XIV Fancy C 5
51r-51v XV Almand C
51v-52r X1 Courant C
1
‘vid: in A’: entered with suite in A on f. 46v, but re-copied here.
176
Bodleian Library, MS Mus. Sch. D.261
52v [blank]
53r-54r XVI Fancy D 6
54r XVII Allemand D
54v XVIII Courant D
55r-56r XIX Fancy d 7
56r XX Almand d
56v XXI Courant d
57r-58r XXII Fancy e 8
58r-58v XXIII Almand e
58v XXIV Courant e
59r-59v XXV Fancy F 9
60r XXVI Almand F
60v XXVII Courant F
[f.61r] Organ Parte to Mr Jenkins fancies Division for 3 partes. Prickt in

the Bookes with vellim covers. & given mee by Mr Colbius Organist of
Exeter.
62r-63r I Fancy g 1
63r-63v II Ayre g
63v-64v III Fancy a 2
B
64v-65v IV Ayre a
B
65v-66r V Fancy 3
66v-67r IV Ayre
67v-68r V Fancy C 4
68v-69r VI Ayre C
69v-70r VII Fancy D 5
70v-71r VIII Ayre D
71v-72r IX Fancy e 6
72v-73r X Ayre e
73v-74r XI Fancy F 7
74v-75r XII Ayre
177
E.415-418
Four of a set of five partbooks associated with the Withy family of Worcester.
Some of the contents were evidently copied in 1641, but the paper of the set
appears to be rather earlier, the books appearing to have been obtained as a bound
set from which previously-copied vocal music had been removed (see Inscriptions
and Collations below).
i. E.415 ‘Cantus’: 26 + iii. Modern pencil foliation 1-29; including rear flyleaves; f.
11a is a pinned continuation slip. Final piece (no. 50) copied on flyleaf ruled with
four staves, f. 27r.
ii. E.416 [Altus]: 29 ff. (no flyleaves). Modern pencil foliation 1-29, f. 11 is a
continuation slip. No music entered on ff. 28v-29v.
iii. E.417 [Tenor]: i + 27 + iii. Modern pencil foliation 1-32; f. 12 is a continuation
slip. The whole of f. 7 has been cut out and replaced with paper of the main type,
perhaps from the end of the ruled section where there is a stub between ff. 29 and
30. Final piece (no. 50) copied on flyleaf ruled with four staves, f. 30r.
iv. E.418 [Bass]: iii + 27 + iii. Modern pencil foliation 1-33. No music entered f.
30v.
Scribes: A: unidentified, variable hand (see Plate 17a-c).

B: John Withy (final piece in each volume only).
C: Francis Withy (annotations only).
Inscriptions:
ss
The cover of each partbook is inscribed ‘CANTO. [etc.]/ A Me elania of /
Madrigales Songes Sonets & / villanelles / of five partes.’
E.415, inside front cover: ‘ruld pap 26. leaves.’
E.417, f. 1v: ‘ruld pap fol: 29.’
E.418, inside front cover: ‘27. leaves ruld pap’. These coincide exactly with the
present number of ruled music pages except for E.417, from which the original f. 7
was excised.
E.415, f. 1r: ‘Cantus. 1641’; f. 23v: ‘8ber 9. 1641’.
178
Bodleian Library, MSS. Mus. Sch. E.415-418
E.416: name ‘Richard Gillam’ (?) faintly inscribed inside front cover; f. 24v: ‘8ber
9. 1641’; f. 26v: ‘’deliv[er] yis to one of ye Trebles who hath a lower pt.’.
E.417, f. 25v: ‘8ber 9. 1641’; f. 31v: ‘Mr Tho: Tomkins Mr Humphrey Withy
1642’ (Francis Withy); f. 32r: ‘Thomas’.
Format and Dimensions: small upright quarto, 190 x 136.5
Watermarks: Pot I, though the characteristic crescent is missing and the top of the
mark is the quatrefoil normally found below the crescent. Lettered IDB.
Measurements not possible because of the upright quarto format.
Rastrology: six staves on each page, five of which were ruled with a rastrum and
the sixth added with a straight-edge one line at a time.
A 6; B 5; C 115.5; D 12.5(13)12(13.5) 12(13.5)12.5(13.5)12.5
Collations: The Bodleian Library Music Room Revised Descriptions states

‘formerly each 9 gatherings of 4 ruled leaves within end-papers of the same paper’;
a number of leaves have been cut out from the front of each book, and these
presumably contained the vocal music described on the covers.
Bindings: limp white vellum. E.415, 192 x 144; E.416, 192 x 145; E. 417, 194 x
143; E.418, 196 x 145
Provenance: Worcester, circle of Thomas Tomkins, Humphrey Withy and John

Withy; brought to Oxford by Francis Withy.
Bibliography: FERRABOSCO II 5/6; TOMKINS I1; TOMKINS I3; WITHIE T
179
Contents
1 AF[errabosco II] (Pavan 5 parts) 1r 1r 2r 4r 1
2 Mr Tho: Tomkins Pavan 5 parts 1v 1v 2v 4v 8
3 Alfonso [Ferrabosco II]
The 4 note Pavan 5 parts
2r 2r 3r 5r 4
4 Mr T: Tomkins Pavan 5 parts 2v 2v 3v 5v 1
Pavan 5 parts 3r 3r 4r 6r 3
6 Mr Nicholson Pavan 5 parts 3v-4r 3v-4r 4v-5r 6v-7r 1
7 Mr Mico Pavan 5 parts 4v-5r 4v-5r 5v-6r 7v-8r 2
1
8 Mr (Mico) Pavan 5 parts 5v 5v 6v 8v 3
9 - Pavan 5 parts 6r 6r 7r 9r A1671
10 - Almayn to ye Pavan
5 parts 6v 6v 7v 9v A1672
11 - Coranto 6v 6v-7r 7v-8r 9v-10r A1673
12 - Pavan 5 parts 7v 7v 8v 10v A1674
13 - Almayn 5 parts 8r 8r 9r 11r A1675
14 - Pavan A:5 8v 8v 9v 11v A1676
15 - Almane to the
Pavan A:5 9r 9r 10r 12r A1677
2
16 - Coranta A:5 9r/11r 9r/11r 10r/12r 12r A1678
17 Mr R Browne Pavan A:5 9v-10r 9v-10r 10v-11r 12v-13r None
18 AF[errabosco II] Almayn 10v 10v 11v 13v 5
19 AF[errabosco II] Almayn 11r 12r 13r 14r 6

22 AF[errabosco II] Almayn 12r 13r 14r 15r 9
23 AF[errabosco II] Almayn 12v 13v 14v 15v3 10
24 Mr T: Tomkins Pavan A:5 13r 14r 15r 16r 2
4
25 Mr Tomkins A Pavan A5 13v 14v-15r 15v-16r 16r-17v 3
26 Mr Younge A Pavan A5: 14v 15v-16r 16v-17r 17v-18r None
27 Mr Younge Flatt Pavan 15v 16v 17v5 18v None
1
Attributed incorrectly to White, except in E.417, which has Mico (also named in four
other sources).
2
Incomplete; no continuation slip.
3
‘ffinis {1641}’.
4
‘made for J: Withy’ (Francis Withy).
5
Ascriptions, numbers, time signatures, clefs and key signatures only.
180

5
28 Mr Younge Almane A:5 15v 16v-17r 18r 19r None
29 Younge Coranta A:5 16r 17r 18r5 19r None
30 Mr Younge Sarrabrand A:5 16v 17v 18v5 19v None
31 - Pavan A:5 16v 17v-18r 18v-19r 20r A1679
6
32 - Alman A:5 17v 18v 19v 20v A1680
33 - Pavan A:5 18r 18v-19r 19v-20r 21r A1681
34 - Almane A:5 18v 19v 20v 21v A1682
35 - Coranta A:5 19r 20r 21r 22r A1683
36 - Pavan A:5 19v 20v 21v 22v A1684
37 - (Alman to the
Pavan A:5) 20r 21r 22r 23r A1685
38 - (Coranta to the
Alman A:5) 20v 21v 22v 23v A1686
39 - Pavan A:5 21r 22r 23r 24r A1687
40 - Almane to ye
Pavan A:5 21v 22v 23v 24v A1688
41 - Coranta to the
Alman 21v 22v-23r 23v-24r 25r A1689
42 Mr Tho: Tomkins Ut re mi fa sol la
7
Pavan A:5 22v 23r 24v 25v 4
8
43 Mr T: Tomkins Pavan A:5 23r 24r-24v 25r-25v 26r-26v 5
44 Mr Myco Pavan A:5 24r 24v-25r 25v-26r 26v-27r 3
Pavan A:5 24v 25v 26v 27v 9
46 Claudio Monteverde Latral Sangue
A:5: 25r 26r 27r 28r None
Mr Myco 2 da pte9 27v-28r None
47 Mr T: Tomkins Pavan A:5 25v 26v 28v 28v 6
48 [M. Borchgrevinck] Pavan A:5 26r 27r 29r 29r 1
49 AF[errabosco II] Pavan A:5 26v 27v 29v 29v 2
Allman 27r 28r 30r 30r 1*
6
‘A:5. Coranta to the Alman.’ at bottom of page.
7
‘made for J: Withy’ (Francis Withy).
8
‘8ber 8 1641’ in E.415, E.416, 417; ‘8ber 9th 1641’ in E.418.
9
E.417 only.
181
Music School Manuscript E.428
Two partbooks copied by Francis Withey containing music for two bass viols by
Benjamin Hely and Marin Marais.
Copied c.1670-90s
iii + [original card cover] + 12 + 12 + [o riginal card cover] + ii. Continuous

modern pencil foliation 1-24 (partbook a: ff. 1-12; partbook b: ff. 13-24). No
music entered on ff. 1, 8, 12v (excepting a four-bar addendum), 13, 20, 24v.
Scribe: Francis Withy (as Plate 17d-e).
Inscriptions: f. 1: ‘1st Base. / Sonatas For two Base Viols / To a Thorough Basse.’
(‘Hely’ added in pencil); f. 13: ‘Sonata’s For t wo Basse Viols / to a Thorough
Basse. / Mr Benjamin Hely.’
Format and dimensions: oblong quarto 235 x 174 mm.
Watermarks: Fleur-de-lys I/12.
Rastrology: A 6; B 3; C 63; D 11.5(13.5)12(14.5)11.5. R ed marginal rulings on

left and right.
Collation: each partbook A-C4
Binding: original card covers covered i n marbled paper (one front and one back)
survive within a modern binding.
Provenance: Oxford.
182
Oxford, Bodleian Library, MS Mus. Sch. E.428
Contents
No. Folios Composer Title Printed Source VdGS No.
a b
1 1v-2 13v-14 (Mr Benjamin Hely) [Sonata for 2 Bass Viols & bc in g]* I (RC 32) 1
[2] 2v-3 14v-15 (Mr Benjamin Hely) [Sonata for 2 Bass Viols & bc in G]* VI (RC 37) 6
3 3v-4 15v-16 (Mr Benjamin Hely) [Sonata for 2 Bass Viols & bc in B flat]* III (RC 34) 3
4 4v-5v 16v-17v (Mr Benjamin Hely) Sonata [for 2 Bass Viols & bc in F]* V (RC 36) 5
5 5v-6v 18r-v (Mr Benjamin Hely) Sonata [for 2 Bass Viols & bc in a]* II (RC 33) 2
6 6v-7v 18v-19v (Mr Benjamin Hely) (Sonata) [for 2 Bass Viols & bc in c]* IV (RC 35) 4
1 8v-9 20v-21 [Marais] Tombeau de / Mr Meliton M383 (1686) 83

2 9v-10 21v-22 [Marais] Prélude a 2 violes M383 (1686) 66
3 10v 22v [Marais] Allemande M383 (1686) 67
4 10v-11 22v-23 [Marais] Courante M383 (1686) 68
5 11 23 [Marais] Sarabande M383 (1686) 69
6 11v 23v [Marais] Gigue M383 (1686) 70
7 11v 23v [Marais] Gavotte M383 (1686) 71
8 12 24 [Marais] Menuet M383 (1686) 72
* Two b.vl parts only
183
Francis Withey’s partbooks of Simpson’s ‘Little Consort’ presented to Edward

Lowe and the Oxford Music School in January 1673.
Copied c.1670.
Four partbooks now bound in one volume: iii + 76 + iii. Continuous modern pencil
foliation: i-iii, 1-76, 76bis-78.
i. ‘Treble’, f. 1: flyleaf/title page; ff. 2-21; f. 22, stub of flyleaf.

ii. ‘The Lyra Part’: f. 25, flyleaf/title page; f. 26, stub of flyleaf; ff. 27-46; f. 47,
flyleaf; f. 48, stub of flyleaf.
iii. ‘Basse’: f. 49, flyleaf/title page; f. 50, stub of flyleaf; ff. 51-60; f. 61, flyleaf; f.
62, stub of flyleaf.
iv. ‘Bassus Continuus’: f. 63, flyleaf/title page; f. 64, stub of flyleaf; ff. 65-74; f. 75,
flyleaf; f. 76, stub of flyleaf.
The flyleaves ff. 23-24, which are now bound in as a separate quire of two folios
between partbooks i and ii, probably belonged to i; in all other parts the music
pages were surrounded by two unruled flyleaves. No music entered on ff. 11v, 12v-
21v, 37-46v, 60r-v, 74v.
Scribe: Francis Withey (as Plate 17d-e)
Inscriptions:
f. 1: ‘20.th. 4 Bookes. / 4 Bookes. / Treble Mr Sympson’s little Consort.’
f. 25: ‘20.th. 4 Bookes. / 4 Bookes. / The Lyra Part Mr Sympson’s little Consort.’
f. 49: ‘20.th. 4 Bookes. / 4 Bookes. / Basse. Mr Sympsons little Consort.’
f. 63: ‘20.th. 4 Bookes. / 4 Bookes. / Bassus Continuus: / Mr Sympson’s little
Consort: Prickt & given mee by / Mr Francis Withye: 11 Jan: 1672/3’
(all Edward Lowe).
Format and dimensions:

Large oblong quarto: i, iii & iv, 187 x 245; partbook ii, 187 x 240.
184
Bodleian Library, MS Mus. Sch. E.430
Watermarks:
i, iii-iv: Fleur-de-lys I/9; ii: Fleur-de-lys I/10.
Rastrology: i, iii, iv: A 6; B 3; C 65; D 12(15.5)11.5(14)12

ii: A 6 (six-line); B 3; C 64.5; D 12(14)12.5(14)12
Marginal rulings on left and right.
Collation:
Each partbook consisted of a single quire of music paper: i, ii, 20 folios; iii, iv, 10
folios; ff. 37-38, 39-40, 41-42, 43-44 & 45-46 are still joined (i.e. uncut) at the top
of the page.
Binding: modern; ff. 1 & 22, 25 & 48, 49 & 62, 63 & 76 are the original paper
covers; 26 & 47, 50 & 61 and 64 & 75 are the original flyleaves of partbooks ii-iv.
The inner flyleaf of partbook i is probably the now detached bifolio ff. 23-24.
Covers and flyleaves marked with Posthorn FI/1.
Provenance: copied in Oxford within a few years of Francis Withy’s arrival there,
for use at the Music School.
185
Contents
Christopher Simpson’s Little Consort for treble, lyra, and bass viols & bc
No. Folios Title Key VdGS No.
i ii iii iv
(1) 2 27 51 65 [Pavan] g 1
(2) 2v 27v 51v 65v [Corant] g 2
(3) 3 28 52 66 [Air] g 3
(4) 3v 28v 52v 66v [Corant] g 4
(5) 4 29 53 67 [Almain] g 5
(6) 4v 29v 53 67 [Corant] g 6
(7) 5 30 53v 67v [Almain] g 7
(8) 5 30 53v 67v [Saraband] g 8
9 5v 30v 54 68 [Pavan] G 9
10 6 31 54v 68v [Almain] G 10
11 6v 31v 55 69 [Corant] G 11
(12) 6v 32 55 69 [Corant] G 12
13 7 32 55v 69v [Almain] G 13
14 7 32v 55v 69v [Saraband] G 14
15 7v 32v-33 56 70 [Pavan] d 15
16 8 33 56v 70v [Almain] d 16
(17) 8 33 56v 70v [Saraband] d 17
18 8v 33v 57 71 [Almain] d 18
19 9 34 57 71v [Air] d 19
20 9 34 57v 71v [Saraband] d 20
21 9v 34v 57v 72 [Almain] d 21
22 10 35 58 72v [Air] d 22
23 10 35 58 72v [Saraband] d 23
(24) 10v 35v 58v 73 [Alman] D 24
25 11 36 59 73v [Almain] D 25
26 12 36v 59v 74 [Air] D 26
186
Music School Manuscripts E.431-436
Six partbooks containing airs by Thomas Brewer, John Carwarden, Charles

Coleman, John Jenkins, William Lawes, Benjamin Rogers and Christopher
Simpson.
E.431 ‘First Treble’: iv + 186 + iv. Pencil pagination i-viii (pp. i-iv stubs only), 1-
370 (end of music) mainly in ink; no p. 106 but pencil 106a, 106b, ink 106 altered
in pencil to 106c; p. 177 omitted; p. 289 numbered twice, the second altered in
pencil to 290a; ink 290 altered to 290b in pencil. End-paper pagination 371-378 in
pencil, pp. 375-8 stubs only. No music entered pp. 34-6, 84, 127-30, 152-70, 202-
3, 269-75, 314, 335-8, 358-9, 362-70.
E.432 ‘Seconde. Treble’: iv + 186 + iv. Pagination broadly as E.431; no music
entered on the same pages except that pp. 358-70 are completely unused.
E.433 ‘Countertenor’: iv + 104 + iv. Pencil foliation 1-4 (front flyleaves), 1-108
(rest of the book including end flyleaves); original ink pagination for music pages
pp. 171-370, corresponding with other books. Omissions and duplications as in
E.431-2 from p. 171; no music entered on the same pages as in E.432 from p. 171.
E.434 ‘1 Base.’: iv + 185 + iv. Pagination as in E.431-2 except that there is no
extra folio pp. 106a-106b. No music entered on same pages as in E. 431.
E.435 ‘2 Base:’: iv + 186 + iv. Pagination as in E.431. No music entered on same
pages as in E.432, with addition of unused pp. 106a-106b.
E.436 ‘Through Base’: iv + 185 + iv. Pagination as in E.434 (i.e. no extra folio pp.
106a-106b). No music entered on same pages as in E. 431 except that unused
section begins on p. 270 rather than p. 269.
Scribes:
1: Unidentified Oxford copyist, possibly Thomas Jackson, who also copied most of
John Wilson’s song-book, GB-Ob MS Mus.b.1, and sections of IRL-Dm Z3.4.7-12
and Z3.4.13; ‘Hand K’ in DUBLIN T (see Plate 20). See Provenance below.
2: Edward Lowe (as Plate 18)
Inscriptions: All partbooks have a label on the front cover giving the part name as
above and the title ‘Ayres’. The stub flyleaf p. ii (f. 1v in E.433) bears the name of
one or more of the composers represented in the collection, e.g. E.431, ‘Mr. Rogers
Mr. Sympson Mr. Brewer’.
187
Bodleian Library, MSS Mus. Sch. E.431-436
Format and Dimensions: Oblong quarto, 176 x 230.
Watermarks: Fleur-de-lys I/13; Fleur-de-lys II/6. Fleur-de-lys II/6 appears in all

partbooks except E. 433, always in pp. 155-169 and in various other places
especially in E.431 and E.435.
Rastrology (both paper types):

A 6; B 3; C 62.5; D 11.5(13.5)12(13.5)12
Collations: not always clear, but visible stitches and watermark distribution show
that quiring must often have been in fours. The Revised Descriptions state ‘Quiring
irregular, commonly in fours’.
Bindings: reversed calf with blind fillets and corner decoration. Gold decoration on
edges of boards; green strings; paper labels in Lowe’s hand: ‘Ayres’; his no. 41
inked on cover of 436. E. 431-2, 182 x 232; E. 433, 183 x 232; E. 434, 182 x 233;
E.435-6, 180 x 233. Flyleaves have a watermark depicting a church with a tall
cross, round which a serpent is entwined.
Provenance: Oxford. It has been suggested (OXFORD C2, p. 27) that these books
might correspond to payments made to John Wilson in August 1657 for ‘a Sett [of]
Bookes of 3. 4. 5. and 6. parts in Manuscript’ and for £1 he had ‘given in hand to
Mr Jackson for pricking of aires for the scooles’; ‘Mr Jackson’ was probably
Thomas Jackson, who played the bass viol and became a singing-man at St. John’s.
The mixture of Fleur-de-lys I and Fleur-de-lys II watermarks strongly supports a
date in the late 1650s for Mus. Sch. E.431-6, which are clearly the work of an
Oxford musician active at that time, but if they were copied especially for the
Music School it is strange that they do not appear in Richard Goodson’s 1682 list.
Bibliography: OXFORD C2; DUBLIN T; DUBLIN C2. See also Elise Bickford
Jorgens (ed.), English Song 1600-1675, vii: Manuscripts at Oxford, Part 2 (New
York and London 1987) (facsimile of John Wilson’s songbook).
Contents
Title Key 431 432 433 434 435 436 VdGS
page page folio page page page No.
Mr: [John] Jenkins: ‘3 partes two Trebles & a Base’
Aire g 1 1 1 1 1 85
Aire g 2 2 2 2 2 10
Cor: g 3 3 3 3 3 86
Aire g 4 4 4 4 4 11
Cor: g 5 5 5 5 5 12
Sar: g 6 6 6 6 6 87
188
Title Key 431 432 433 434 435 436 VdGS

Aire G 7 7 7 7 7 1
Aire G 8 8 8 8 8 3
Cor: G 9 9 9 9 9 4
Cor: G 10 10 10 10 10 2
Sar: G 11 11 11 11 11 5
Cor: G 12 12 12 12 12 51
Sar: G 13 13 13 13 13 52
Aire G 14 14 14 14 14 89
Cor: G 15 15 15 15 15 91
Sar: G 16 16 16 16 16 88
Aire a 17 17 17 17 17 39
Aire a 18 18 18 18 18 41
Cor: a 19 19 19 19 19 40
[Cor:] a 20 20 20 20 20 42
Aire a 21 21 21 21 21 38
Aire a 22 22 22 22 22 37
Aire a 23 23 23 23 23 35
Sar: a 24 24 24 24 24 36
[Aire] a 25 25 25 25 25 43
B
Sar: a 26 26 26 26 26 44
B
Aire 27 27 27 27 27 75
B
Aire 28 28 28 28 28 77
B
Cor: 29 29 29 29 29 78
B
Sar: 30 30 30 30 30 76
B
Aire 31 31 31 31 31 81
B
Aire 32 32 32 32 32 80
Cor: 33 33 33 33 33 79
[blank] 34-36 34-36 34-36 34-36 34-36
Aire c 37 37 37 37 37 62
Aire c 38 38 38 38 38 63
Aire c 39 39 39 39 39 65
Galliard c 40 40 40 40 40 64
Cor: c 41 41 41 41 41 66
Sar: c 42 42 42 42 42 67
Aire c 43 43 43 43 43 98
Cor: c 44 44 44 44 44 97
Aire c 45 45 45 45 45 99
Cor: c 46 46 46 46 46 100
Sar: c 47 47 47 47 47 101
Aire C 48 48 48 48 48 58
Aire C 49 49 49 49 49 56
189
Title Key 431 432 433 434 435 436 VdGS

Cor: C 50 50 50 50 50 57
Cor: C 51 51 51 51 51 59
Aire C 52 52 52 52 52 102
Aire d 53 53 53 53 53 28
Aire d 54 54 54 54 54 24
Aire d 55 55 55 55 55 26
Galliard d 56 56 56 56 56 27
Cor: d 57 57 57 57 57 25
Aire d 58 58 58 58 58 22
Cor: d 59 59 59 59 59 23
Cor: d 60 60 60 60 60 34
Aire d 61 61 61 61 61 32
Aire d 62-63 62-63 62-63 62-63 62-63 33
Cor d 64 64 64 64 64 29
Aire d 65 65 65 65 65 31
Aire d 66-67 66-67 66-67 66-67 66-67 30
Aire D 68-69 68-69 68-69 68-69 68-69 18
Eccho D 70-71 70-71 70-71 70-71 70-71 19
Aire D 72 72 72 72 72 20
Cor: D 73 73 73 73 73 21
Aire e 74 74 74 74 74 45
Aire e 75 75 75 75 75 46
Cor: e 76 76 76 76 76 47
Aire e 77 77 77 77 77 48
Aire e 78 78 78 78 78 50
Cor: e 79 79 79 79 79 49
Aire F 80 80 80 80 80 71
Aire F 81 81 81 81 81 73
Cor: F 82 82 82 82 82 72
Sar: F 83 83 83 83 83 74
[blank] 84 84 84 84 84
Mr: [John] Carwarden: Two Trebles & a Base
Pauin e 85 85 85 85 85 14
Aire e 86 86 86 86 86 15
Sar: e 87 87 87 87 87 16
Aire e 88 88 88 88 88 17
Cor: e 89 89 89 89 89 18
Sar: e 90 90 90 90 90 19
Pauin A 91 91 91 91 91 20
Aire A 92 92 92 92 92 21
Cor: A 93 93 93 93 93 22
190
Title Key 431 432 433 434 435 436 VdGS

B
Sar: A 94 94 94 94 94 23
B
Aire 95 95 95 95 95 24
B
Cor: 96 96 96 96 96 25
B
Sar: 97 97 97 97 97 26
B
Aire 98 98 98 98 98 9/27
B
Cor: 99 99 99 99 99 28
A Morris B 
Sar: 100 100 100 100 100 29
B
101 101 101 101 101 30
- 102 102 102 102 102 13/31
Dr: Coleman: two Trebles & a Base
B
B
Aire 103 103 103 103 103 387
B
Cor: 104 104 104 104 104 388
(Aire)1 B 
Sar: 105 105a 105 105 105 389
B
106a [105b] - - - [24]
Cor:2 106b 105c - - - [25]
[blank] 106a-b
Aire d 106c 106 106 106c 106 111
Cor: d 107 107 107 107 107 112
Sar: d 108 108 108 108 108 113
Eccho
Aire d 109 109 109 109 109 114
Eccho
Corrant d 110 110 110 110 110 115
Eccho
Sar: d 111 111 111 111 111 116
Aire d 112 112 112 112 112 117
Cor: d 113 113 113 113 113 118
Sar: d 114 114 114 114 114 119
Aire F 115 115 115 115 115 195
Cor: F 116 116 116 116 116 196
Sar: F 117 117 117 117 117 197
Aire F 118 118 118 118 118 198
Cor: F 119 119 119 119 119 199
Sar: F 120 120 120 120 120 200
Aire F 121 121 121 121 121 201
Cor: F 122 122 122 122 122 202
Sar: F 123 123 123 123 123 203
Aire F 124 124 124 124 124 204
1
by Carwarden, No. 24.
2
by Carwarden, No. 25.
191
Title Key 431 432 433 434 435 436 VdGS

(Cor:) F 125 125 125 125 125 205
Sar: F 126 126 126 126 126 206
[blank] 127-130 127-130 127-130 127-130 127-130
Mr [Christopher] Simpson: two Trebles & a Base
Ayre c 131 131 131 131 131 19
Cor: c 132 132 132 132 132 20
Aire c 133 133 133 133 133 21
Sar: c 134 134 134 134 134 22
Pauin F 135 135 135 135 135 7
Aire F 136 136 136 136 136 8
Cor: F 137 137 137 137 137 9
Aire F 138 138 138 138 138 10
Sar: F 139 139 139 139 139 11
Aire F 140 140 140 140 140 12
Aire d 141 141 141 141 141 13
Galliard d 142 142 142 142 142 14
Aire d 143 143 143 143 143 15
Aire d 144 144 144 144 144 16
Galliard d 145 145 145 145 145 17
Aire d 146 146 146 146 146 18
Pauin D 147 147 147 147 147 1
Aire D 148 148 148 148 148 2
Cor: D 149 149 149 149 149 3
(Aire) D 150 150 150 150 150 4
Cor: D 151 151 151 151 151 5
[blank] 152-170 152-170 152-170 152-170 152-170
Mr: Will: Lawes: 4 partes Two Trebles Countertenor, & Base

3
Pauin g 171 171 5r 171 171 171 101
Aire g 172 172 5v 172 172 172 103
Corranto g 173 173 6r 173 173 173 338
Aire g 173 173 6r 173 173 173 70
Corranto g 174 174 6v 174 174 174 339
Pauin G 175 175 7r 175 175 175 79
Aire G 176-74 176-74 7v 176-74 176-74 176-74 320
Aire G 178 178 8r 178 178 178 80
3
The pieces are numbered 171, etc. as elsewhere, but the modern folio numbers are as
shown.
4
So marked, but is a single page (i.e. the real p. 177 is omitted).
192
Title Key 431 432 433 434 435 436 VdGS

Corranto G 179 179 8v 179 179 179 322
Pauin d 180 180 9r 180 180 180 8
Aire d 181 181 9v 181 181 181 15
Aire d 182 182 10r 182 182 182 16
Corranto d 183 183 10v 183 183 183 18
Aire d 184 184 11r 184 184 184 19
Corranto d 185 185 11v 185 185 185 20
Sar: d 186 186 12r 186 186 186 21
Aire d 187 187 12v 187 187 187 10
Corranto d 188 188 13r 188 188 188 12
Aire d 189 189 13v 189 189 189 13
Pauin D 190 190 14r 190 190 190 22
Air D 191 191 14v 191 191 191 23
Corranto D 192 192 15r 192 192 192 25
5
Sar: D 193 193 15v 193 193 193 35
Aire D 194 194 16r 194 194 194 24
Corranto D 195 195 16v 195 195 195 26
Corranto D 196 196 17r 196 196 196 28
Aire D 197 197 17v 197 197 197 29
Aire D 198 198 18r 198 198 198 31
Corranto D 199 199 18v 199 199 199 33
Aire D 200 200 19r 200 200 200 37
Sar: D 201 201 19v 201 201 201 32
[blank] 202-203 202-203 20r-20v 202-203 202-203 202-203
Aire a 204 204 21r 204 204 204 43
Aire a 205 205 21v 205 205 205 44
Aire a 206 206 22r 206 206 206 45
Cor: a 207 207 22v 207 207 207 47
Cor: a 208 208 23r 208 208 208 46
B
Sar: a 209 209 23v 209 209 209 48
B
Pauin 210 210 24r 210 210 210 62
B
Aire 211 211 24v 211 211 211 63
B
Cor: 212 212 25r 212 212 212 64
B
Aire 213 213 25v 213 213 213 65
B
Cor: 214 214 26r 214 214 214 66
Sar: 215 215 26v 215 215 215 67
Aire C 216 216 27r 216 216 216 50
Aire C 217 217 27v 217 217 217 51
Cor: C 218 218 28r 218 218 218 52
5
‘Corranto’ in E.432.
193
Title Key 431 432 433 434 435 436 VdGS

Cor: C 219 219 28v 219 219 219 53
Sar: C 220 220 29r 220 220 220 54
Pauin F 221 221 29v 221 221 221 55
Aire F 222 222 30r 222 222 222 56
Aire F 223 223 30v 223 223 223 57
Cor: F 224 224 31r 224 224 224 58
Aire F 225 225 31v 225 225 225 59
Cor: F 226 226 32r 226 226 226 60
Sar: F 227 227 32v 227 227 227 61
Mr: [Benjamin] Rogers: 4 partes. 2 Trebles Countertenor & Base
Pauin e 228 228 33r 228 228 228 91
Aire e 229 229 33v 229 229 229 92
Aire e 230 230 34r 230 230 230 93
Cor: e 231 231 34v 231 231 231 94
Aire e 232 232 35r 232 232 232 95
Aire e 233 233 35v 233 233 233 96
Cor: e 234 234 36r 234 234 234 98
B
Cor: e 235 235 36v 235 235 235 97
B
Aire 236 236 37r 236 236 236 102
B
Cor: 237 237 37v 237 237 237 103
B
Aire 238 238 38r 238 238 238 104
B
Aire 239 239 38v 239 239 239 105
B
Cor: 240 240 39r 240 240 240 106
Sar: 241 241 39v 241 241 241 107
Aire F 242 242 40r 242 242 242 111
Aire F 243 243 40v 243 243 243 112
Cor: F 244 244 41r 244 244 244 113
Aire F 245 245 41v 245 245 245 114
Cor: F 246 246 42r 246 246 246 115
Cor: F 247 247 42v 247 247 247 116
Pauin D 248 248 43r 248 248 248 122
Aire D 249 249 43v 249 249 249 123
Aire D 250 250 44r 250 250 250 124
6
(Cor:) D 251 251 44v 251 251 251 125
Cor: D 252 252 45r 252 252 252 126
Cor:7 D 253 253 45v 253 253 253 127
Aire D 254 254 46r 254 254 254 128
Aire D 255 255 46v 255 255 255 129
6
‘Aire’ in E.431.
7
‘Sar:’ in E.432.
194
Title Key 431 432 433 434 435 436 VdGS

Cor: D 256 256 47r 256 256 256 131
Sar: D 257 257 47v 257 257 257 132
Pauin G 258 258 48r 258 258 258 141
Aire G 259 259 48v 259 259 259 142
Aire G 260 260 49r 260 260 260 143
Aire G 261 261 49v 261 261 261 144
Cor: G 262 262 50r 262 262 262 145
Pauin a 263 263 50v 263 263 263 151
Aire a 264 264 51r 264 264 264 156
Cor: a 265 265 51v 265 265 265 157
Aire a 266 266 52r 266 266 266 152
Aire a 267 267 52v 267 267 267 155
Aire a 268 268 53r 268 268 268 153
Pavin a 2698
[blank] 269-275 269-275 53v-56v 269-275 269-275 270-275
Dr: Colman: 4 partes. Two Trebles Countertenor & Base
Pauin d 276 276 57r 276 276 276 101
Aire d 277 277 57v 277 277 277 103
Cor: d 278 278 58r 278 278 278 102
Gailliard d 279 279 58v 279 279 279 104
Aire d 280 280 59r 280 280 280 105
Cor: d 281 281 59v 281 281 281 106
Aire d 282 282 60r 282 282 282 107
Aire d 283 283 60v 283 283 283 108
Cor: d 284 284 61r 284 284 284 110
Sar: d 285 285 61v 285 285 285 109
Aire D 286 286 62r 286 286 286 71
Aire D 287 287 62v 287 287 287 79
Cor: D 288 288 63r 288 288 288 72
Aire D 289 289a 63v 289a 289a 289a 77
Cor: D 290a 289b 64r 289b 289b 289b 76
Sar: D 290b 290 64v 290 290 290 74
Mr: [Thomas] Brewer: 4 partes. Two Trebles, Countertenor & Base
Pauin g 291 291 65r 291 291 291 15
Aire g 292 292 65v 292 292 292 16
Aire g 293 293 66r 293 293 293 17
Aire g 294 294 66v 294 294 294 18
Cor: g 295 295 67r 295 295 295 19
8
Figured bass in the hand of Edward Lowe.
195
Title Key 431 432 433 434 435 436 VdGS

Aire g 296 296 67v 296 296 296 20
Cor: g 297 297 68r 297 297 297 21
Pauin G 298 298 68v 298 298 298 22
Aire G 299 299 69r 299 299 299 23
Aire G 300 300 69v 300 300 300 24
Aire G 301 301 70r 301 301 301 25
Cor: G 302 302 70v 302 302 302 26
Pauin c 303 303 71r 303 303 303 1
Pauin c 304 304 71v 304 304 304 2
Aire c 305 305 72r 305 305 305 3
Aire c 306 306 72v 306 306 306 4
Aire C 307 307 73r 307 307 307 7
Cor: C 308 308 73v 308 308 308 8
Aire C 309 309 74r 309 309 309 9
Aire C 310 310 74v 310 310 310 11
Aire F 311 311 75r 311 311 311 12
Aire F 312 312 75v 312 312 312 13
Cor: F 313 313 76r 313 313 313 14
[blank] 314 314 76v 314 314 314
Mr: [John] Jenkins 4 pts. 2 Trebles. Countertenor & Base
9
Pauin g 315 315 77r 315 315 315 *
Aire g 316 316 77v 316 316 316 85a3
Aire g 317 317 78r 317 317 317 *
Cor: g 318 318 78v 318 318 318 12a3
Sar: g 319 319 79r 319 319 319 52
Pauin g 320 320 79v 320 320 320 *
Aire g 321 321 80r 321 321 321 30
Aire g 322 322 80v 322 322 322 34
Aire g 323 323 81r 323 323 323 *
Aire g 324 324 81v 324 324 324 *
Aire G 325 325 82r 325 325 325 23
Cor: G 326 326 82v 326 326 326 *
Sar: G 327 327 83r 327 327 327 *
Aire F 328 328 83v 328 328 328 19
Aire F 329 329 84r 329 329 329 *
Aire F 330 330 84v 330 330 330 *
Aire F 331 331 85r 331 331 331 20
9
Airs marked with an asterisk are by Charles Coleman: p. 315 = Air 325; p. 317 = Air 261;
p. 320 = Air 329; p. 323 = Air 327; p. 324 = Air 328; p. 326 = Air 262; p. 327 = Air 261; p.
329 = Air 209; p. 330 = Air 210.
196
Title Key 431 432 433 434 435 436 VdGS

Aire F 332 332 85v 332 332 332 18
Pauin a 333 333 86r 333 333 333 46
Aire a 334 334 86v 334 334 334 1
[blank] 335-338 335-338 87r-88v 335-338 335-338 335-338
Mr: [Christopher] Simpson. 4 partes. Two Trebles & two Bases
Pauin C 339 339 89r 339 339 339 1
Aire C 340 340 89v 340 340 340 2
B  342
Sar: C 341 341 90r 341 341 341 3
B  343
Pauin 342 90v 342 342 342 4
B  344
Galliard 343 91r 343 343 343 5
B  345
Aire 344 91v 344 344 344 6
Sar: 345 92r 345 345 345 7
Pauin D 346 346 92v 346 346 346 8
Aire D 347 347 93r 347 347 347 9
Aire D 348 348 93v 348 348 348 11
Aire D 349 349 94r 349 349 349 12
Cor: D 350 350 94v 350 350 350 10
Pauin d 351 351 95r 351 351 351 14
Aire d 352 352 95v 352 352 352 16
Galliard d 353 353 96r 353 353 353 15
Pauin d 354-355 354-355 96v-97r 354-355 354-355 354-355 17
Galliard d 356-357 356-357 97v-98r 356-357 356-357 356-357 18
[blank] 358-359 98v-99r 358-359 358-359 358-359
B
10
B
- 360 - - 360 - 360
B
- 360 - - 360 - 360
- 361 - - 361 - 361
[blank] 362-370 362-363 362-363
10
Three airs by ‘Mr Baptist’ [Lully] in the hand of Edward Lowe.
197
E.437-442
An early seventeenth-century set of parts bought by Francis Withy for six

shillings; corrections and some music added by him.
E 437: ‘Treble’: ii + 100. Pencil foliation: 1-102 (the flyleaves are numbered; f. 1:
‘The Table of ye Fancyes contayned in yis booke: wt their Authors’). No music
entered on ff. 22v-23, 93v-102v.
E 438: ‘Contratenor’: ii + 94. Pencil foliation. 1-96 (the flyleaves are numbered; f.
2: ‘The Table of the fancyes ...’). No music entered on ff. 22v-23, 38v-39, 94v-
96v.
E 439: ‘1 Base’: iii + 91. Pencil foliation: 1-94 (the flyleaves are numbered; f. 2:
‘The Table of ye Fancyes ...’). No music entered on ff. 23v-24, 92, 94v.
E 440: ‘2 base’ ii + 85 + i. Pencil foliation: 1-88 (the flyleaves are numbered; f. 2:
‘The Table of the fancyes ...’). No music entered on ff. 3, 74v-87v.
E 441: ‘Treble / The fift booke’: Pencil foliation: 1-95 (the flyleaves are
numbered; f. 2: ‘The Table of the Fancyes ...’). No music entered on ff. 3, 48v-61,
76v-87, 89-95v.
E 442: ‘Tener / Base / The sixt booke’: i + 92 + i. Pencil foliation: 1-94 [‘95’
written erroneously] (the flyleaves are numbered; f. 1: ‘The Table of the Fancyes
...’). No music entered on ff. 2, 23v-35, 52-62, 64-93.
Scribes:
(a) unidentified seventeenth-century copyist (who also contributed the second
series of In Nomines to GB-Ob, Mus. Sch. MSS D.212-16) (see Plate 14).
(b) Francis Withy: completed Ferrabosco four-part fantasia (no. 20 in the group),
added the four-part fantasia by Jenkins at the end and copied the Coprario fantasia-
suite parts in E.441-442; he also made various corrections to the music copied by
the first scribe.
Inscriptions:
E 437, f. 2: ‘Superius’. E 438, f. 1: ‘sexta pars’; f. 43v: ‘Mr Alfonso’s Ut, re, mi,
fa, sol, la,’ (in red ink, Francis Withy).
198
Oxford, Bodleian Library, MSS Mus. Sch. E.437-442
E 439, f. 1: ‘Medius’; f. 13: ‘Willawes’ (pencil); f. 44: ‘Alfonso’s Ut re mi fa sol
la.’ (Francis Withy).
E 440, f. 1: ‘Bassus’; f. 22v: ‘Alfonso’s Ut, re, mi, fa, sol, la,’ (Withy);
f. 88v rev: ‘F Withey / His Book’ (Francis Withy).
E 441, front cover: ‘Mr. Gio: Coprario his / two Parts For A / Treble and Base / to
The / Organ:’ (Francis Withy); f. 1: ‘Contra Tenor’; inside back cover: ‘Gio:
Coperario / or John Cooper’ (Francis Withy).
E 442, front cover: ‘Mr. Gio: Coprario his / two Parts For A / Treble And Base /
To The / Organ:’ (Francis Withy); inside front cover: ‘6 Books. 6s.’; inside back
cover: ‘Tenor for my love sake’.
All parts are marked ‘ex[amined]’.
Format and dimensions: oblong quarto; 167 x 217. Marginal rulings on left and
right.
Watermarks: Letter B I/1, I/2. (The final blank 4 folios of E 437 are a later paper:
Foolscap III with countermark CB.)
Staves:
5 hand-ruled staves per page; the top and bottom staves utilise a pre-ruled top and
bottom horizonal line that crosses the full width of the page (extending through the
marginal rulings).
(The final 4 folios of E 437 = A 6; B 3; C 57; D 11.5(11.5)11(12)11.)
Collations:
E 437: A8(A1-3 & 8 removed) B-O8 P-Q4
E 438: A8(A6 removed) B-M8 N8(N8 removed) P8
E 439: A8(A1-4 removed) B-L8 M8(M1 removed) N-P8
E 440: A4(A1-3 removed) B4 C-O8
E 441: A8(A1-3 & 8 removed) B8 C8(C7 removed) D8(D7 removed) E-H8 L8(L5
removed) M-O8 Q4
E 442: A8(A1-4 removed) B-O8
Bindings: white vellum with green silk ties: E.437, 176 x 228; E.438, 178 x 226;
E.439, 177 x 228; E.440, 176 x 228; E.441, 176 x 229; E.442, 174 x 225.
Flyleaves are watermarked with a double candlestick pattern with an illegible
name in the base.
Provenance: Worcester (John Withy seems to have been an earlier owner.)
Bibliography: JENKINS AH, WITHIE T
199
Contents
Composer No. Title Pages VdGS No.
437 438 439 440 441 442
[Three-part works]
Mr Lupoe 1 Fantazia 3 3 4 - - - 14
Mr Thomas Lupo 2 Fantazia 3v-4 3v-4 4v-5 - - - 2
[Lupo] 3 Fantazia 4v-5 4v-5 5v-6 - - - 3
Mr Lupo 16 Fantazia 17v-18 17v-18 18v-19 - - - 21
Mr Jenkins 17 Fantazia 18v-19 18v-19 19v-20 - - - 13
[Jenkins] 18 Fantazia 19v-20 19v-20 20v-21 - - - 14
[Four-part works]
187
437 438 439 440 441 442
Alfonso Ferrabosco [II] 1 Fantazia 23v-24 23v-24 24v-25 3v-4 - - 1
[Ferrabosco II] 2 Fantazia 24v-25 24v-25 25v-26 4v-5 - - 5
[Ferrabosco II] 9 (Fantazia) 31v-32 31v-32 32v-33 11v-12 - - 9
[Ferrabosco II] 19 [Hexachord] Fantazia [pt 1]
41v2 42v-43 42v-43 21v-22 - - 10
[Ferrabosco II] 20 [Hexachord] Fantazia [pt 2]3
1
At the end of the piece Francis Withy has written: ‘hold out ye last Note / 6 Sem breves’.
2
At the end of both nos. 19 and 20, Francis Withy has written: ‘hold out the last Note tel ye other parts Close’.
3
The parts in E.438-40 were copied by Francis Withy.
188
437 438 439 440 441 442
42 43v-44 43v-44 22v-23 - - 11
Mr Ward 21 Fantazia 42v-43 44v-45 44v-45 23v-24 - - 1
(Mr Warde) 22 Fantazia 43v-44 45v-46 45v-46 24v-25 - - 2
[Five-part works]
Mr Lupoe 1 Fantazia 48v-49 50v-51 50v-51 29v-30 3v-4 - 3
(Lupo) 2 Fantazia 49v-50 51v-52 51v-52 30v-31 4v-5 - 4
(Lupo) 5 Fantazia [‘Il vago’]
52v-53 54v-55 54v-55 33v-34 7v-8 - 5
437 438 439 440 441 442
189
Giovanni Coperario Fantazia [O misero mio core]
15 62v-63 64v-65 64v-65 43v-44 17v-18 - 33
(Giovanni Coperario) Fantazia [Per far una Leggiadra vendetta]
16 63v-64 65v-66 65v-66 44v-45 18v-19 - 31
(Giovanni Cop[r]ario) Fantazia [Fuggi se sai fuggire]
17 64v-65 66v-67 66v-67 45v-46 19v-20 - 38
(Giovanni Cop[r]ario) Fantazia [Caggia fuoco dal Cielo]
18 65v-66 67v-68 67v-68 46v-47 20v-21 - 19
(Giovanni Cop[r]ario) Fantazia [Io vivo in amoroso fuoco]
19 66v-67 68v-69 68v-69 47v-48 21v-22 - 44
(Giovanni Cop[r]ario) Fantazia [Voi caro il mio contento]
20 67v-68 69v-70 69v-70 48v-49 22v-23 - 17
(Giovanni Cop[r]ario) Fantazia [Alma mia tu mi dicesti]
21 68v-69 70v-71 70v-71 49v-50 23v-24 - 18
Giov: Cowpario4 Fantazia [Lieti cantiamo]
22 69v-70 71v-72 71v-72 50v-51 24v-25 - 43
Gio: Cowperario Fantazia [Quando la vaga flori]
23 70v-71 72v-73 72v-73 51v-52 25v-26 - 42
(Gio: Coprario) Fantazia [Fugga dunque la luce]
24 71v-72 73v-74 73v-74 52v-53 26v-27 - 20
[Six-part works]
437 438 439 440 441 442
4
Attributions to nos. 22 and 23 in E.437 by Francis Withy.
190
Mr Lupoe
[recte White] 1 Fantazia 72v-73 74v-75 74v-75 53v-54 27v-28 2v-3 4
(Mr Lupo)
(Mr Lupo)
(Mr Lupo) 4 Fantazia 75v-76 77v-78 77v-78 56v-57 30v-31 5v-6 10
Mr Ward 5 Fantazia 76v-77 78v-79 78v-79 57v-58 31v-32 6v-7 2
(Mr Warde) 6 Fantazia 77v-78 79v-80 79v-80 58v-59 32v-33 7v-8 3
(Mr Warde) 11 In nomine 82v-83 84v-85 84v-85 63v-64 37v-38 12v-13 1
(Mr Warde) 12 In nomine 83v-84 85v-86 85v-86 64v-65 38v-39 13v-14 2
Jo: Coperario 13 Fantazia 84v-85 86v-87 86v-87 65v-66 39v-40 14v-15 2
(Mr Cop[r]ario) 14 Fantazia [Al folgorante squardo]
85v 87v 87v 66v 40v 15v 3
(Mr Copraio) 15 Fantazia [Risurgente madonna]
86 88 88 67 41 16 4
Mr [Orlando]
Gibbons 16 Pavine 86v 88v 88v 67v 41v 16v None
437 438 439 440 441 442
(Mr Gibbons) 17 Galliardo 87 89 89 68 42 17 None
5
On E.437 f. 80 and E.441 f. 35, Francis Withy has added the note: ‘playe the 10th Fancye next and then the 9th’.
191
Mr [Orlando]
Gibbons 18 Fantazia 87v-88 89v-90 89v-90 68v-69 42v-43 17v-18 2
Mr Phillipes 19 [Passamezzo Pavan]
88v-90 90v-92 90v-91v 69v-71 43v-45 18v-20 21
Mr Phillipes 20 Fantazia6 90v-91 92v-93 92v-93 71v-72 45v-46 20v-21 22
(Mr Phillipps) 21 Fantazia 91v-92 93v-94 93v-94 72v-73 46v-47 21v-22 23
[Added by Francis Withy:]
[Jenkins] Fantazia [a 4] 92v-93 - - 73v-74 47v-48 22v-23 2
[String parts to Fantazia-suites for vn, b vl & org]
Mr Gio: Coperario Fantazia: 1st - - - - 61v-62 36v-37 1
(Almaine: 1st) - - - - 62v 37v
Galliard: 1st - - - - 63 38
[Coprario] (Fantazia: 2d) - - - - 63v-64 38v-39 2
Almaine: 2 - - - - 64v 39v
Galliard - - - - 65 40
[Coprario] Fantazia: 3d - - - - 65v-66 40v-41 3
Almaine: 3d - - - - 66v-67 41v-42
Galliard - - - - 67 42
[Coprario] Fantazia: 4th - - - - 67v-68 42v-43 9
437 438 439 440 441 442
Almaine: 4 - - - - 68v 43v
6
Nos. 20 and 21: ‘Quando Urania rimira’ and ‘E quando fra le rose’, seconda and terza parte respectively of ‘Porta nel viso’ from Il secondo
libro de madrigali a sei voci (Antwerp, 1603).
192
Galliard (4th) - - - - 69 44
[Coprario] Fantazia: 5 - - - - 69v-70 44v-45 10
[Almain] - - - - 70v 45v
[Galliard] - - - - 71 46
[Almain] - - - - 72v 47v
[Galliard] - - - - 73 48
Almaine: 7 - - - - 74v 49v
[Galliard] - - - - 75 50
[Coprario] Fantazia: 8th - - - - 75v-76 50v-51 13
Almain (8) - - - - - 51v
[Almain] - - - - 63v
[Triple-time tune for Treble and Bass]7 93v rev
7
Later hand (not Withy’s).
193
Music School Manuscripts E.447-449
Three partbooks containing airs for two trebles and bass by H.[enry?] A.[ldrich?],
John Banister, Stephen Crespion, Sampson Estwick, Richard Goodson, John
Jenkins, William King, W illiam Marsh, Ar thur Phillips, Christopher Sim pson,
William Young and some which are ‘Outlandish’ (i.e. foreign). Copied 1681-2.
i. E.447 [1 st treble]: Iv + 50 + i i. Pencil foliation 1-56. No music entered 9v-10r,

13r, 18r-18v, 19v-20r, 26v, 29r, 31v-32r, 36v-38r, 43v-44r, 47r, 48v-49r, 50r, 53r.
ii. E.448 [2 nd treble]: ii + 48 + ii. Pen cil foliation 1-52. No music entered 3v, 4r,
11r, 12v, 16r-16v, 27v-28r, 32r-35r, 43r, 44v-48r, 49v-50r.
iii. E.449 ‘Bassus’: iv + 49 + ii. Pencil fo liation 1-55. No m usic entered 10r, 13r,
18r-18v, 19v-20r, 27r, 29v-30r, 34r-38r, 46r, 50r-51r, 52v-53r.
Scribe: Francis Withy (see Plates 17d-f).
Inscriptions:
E.447 f. 1r: rough index of contents by composer and number of movements.
E.448 f. 52v: ‘6 leafes Mr Robbert Speare Minnestr in Bristol’.
Format and dimensions: Oblong quarto; E.447, 164 x 210; E. 448, 163 x 209; E.
449, 165 x 205.1 Deckels on front and lower edges.
Watermarks: Foolscap III/17.
Rastrology:
1. A 5; B 5; C 113.5; D 12(13.5)12.5(11.5)13(14.5)12.5(12.5)12.5
2. A 5; B 5; C 117; D 13.5(13.5)13(12.5)13.5(13.5)12.5(12)12.5
(E.447 f. 26 only).
1
E.449 is the only book in this set to be tightly bound; E.447 and 448 were measured
outside gatherings.
207
Collations:
E.447 A-B8 C8 plus one inserted folio (f. 26) D-E8 F10-1
E.448 A-F8
E.449 A-D8 E10-1 F8
Bindings: limp white vellum, tooled and gilt front and back with crowned rose
emblem at centre flanked by initials ‘HG’; E. 447, 177 x 218; E. 448, 175 x 218;
E.449, 175 x 219. Flyleaves Posthorn FI/2.
Provenance: Oxford; much of the content of the set co nsists of music by local
composers.
Contents
Seq. No./Title Key 447 448 449 VdGS No.
r
[‘For 3 pts by M William Young’]
1 12 [Allemand] d 5r 3r 5r Al1
[blank] 3v-4r
2 2 [Allemand] d 5v-6r 4v-5r 5v-6r Al2
3 (3) [Corrente] d 6r 5r 6r Cor3
4 (4) [Allemand] d 6v 5v 6v Al4
5 (5) [Allemand] d 7r 6r 7r Al5
6 (6) [Corrente] d 7v 6v 7v Cor3
7 (7) [Allemande] d 8r 7r 8r Al4
8 8 [Corrente] d 8v 7v 8v Cor2
9 9 [Allemande] c 9r 8r 9r Misc1
[blank] 9v-10r 10r
10 10 [Allemande] c 10v 8v 9v3 Misc2
10v
12 12 [Allemande] c 11v 9v 11v Misc4
14 14 [Allemande] c 12v 10v 12v Misc6
[blank] 13r 11r 13r
[‘For 3 pts in A#3 Mr S:[tephen] C[respion]’]
15 [1] A 13v 11v 13v
16 [2] A 13v 11v 13v
17 [3] Corant A 13v-14r 11v-12r 14r
18 [4] Gavot4 A 14r 12r 14r
2
Nos. 1-8 all published in YOUNG 1653/1.
3
Incomplete; recopied at 10v.
4
‘The first Treble is in ye 2d Treble booke’.
208

19 [5] Gavot A 14v 14v
20 [6] Jigg A 14v 14v
[blank] 12v
[William Marsh]
21 (1) D 15r 13r 15r
22 (2) D 15r 13r 15r
23 3 D 15v 13v 15v
24 4 D 15v 13v 15v
25 5 D 15v-16r 13v-14r 15v-16r
26 6 D 16r 14r 16r
27 7 D 16r 14r 16r
28 8 D 16v 14v 16v
29 9 D 16v 14v 16v
30 10 D 16v-17r 14v-15r 16v-17r
31 11 D 17r 15r 17r
32 12 D 17v 15v 17v
[blank] 18r-v 16r-16v 18r-18v
[John Jenkins]
33 Corant B 19r 17r 19r 79
[blank] 19v-20r 17v-18r 19v-20r
34 [Air] c 20v-21r 18v-19r 20v-21r 62
35 [Air] c 21r 19r 21r 63
36 (Aire) c 21v 19v 21v 65
37 [Ayre] c 22r 20r 22r 64
38 Corant c 22v 20v 22v 66
39 Saraband c 23r 21r 23r 67
[‘Outlandish Airs’; ‘german’]*
40 (1) (Fantasia)
[1, Suite IX] B 23v-24r 21v-22r 23v-24r
41 (2) (Ballet)
[8. Suite VIII] B 24v 22v 24v
42 (3) [Courante 10,
Suite VIII] B 25r 23r 25r
43 4 Jigg [Gicque 6,
Suite VIII] B 25v 23v 25v
* We are very grateful to Anne Kräft for identifying these piece as by Peeter
Picard in Antoverpsche Vrede Vrought, Antwerp, 1679, and for details about them.
209

44 (5) Symphoney
[Fantasia 2, IX] B 26r 24r-25r 26r-26v
[blank] 26v 27r
44 (5) Symphoney
[Fantasia 2, IX] B 26r 24r-25r6 26r-26v
[blank] 26v 27r
45 Symphony7 B 27r-28r
46 (6) Corant [Courante B 28r
11, Suite IX]
47 7 Saraband [Sarabande B 28v
8, Suite VIII]
48 8 [Gicquae 7, Suite IX] B 28v
[blank] 29r
[Mr Ar:[thur] Phillips]
51 A Pavan c 29v-30r 25v-26r 27v-28r
52 c 30r 26r 28r
53 g 30v 26v 28v
54 g 31r 27r 29r
55 Corant g 31r 27r 29r
[blank] 31v-32r 27v-28r 29v-30r
[-] D 32v-33r 28v-29r 30v-31r
[William King]
56 Almane before the
Songue Mr. W: K: D 33v 29v 31v
57 (Ayre) D 34r 30r 32r
58 [Galliard] D 34v 30v 32v
59 [Ayre] D 35r 31r 33r
60 [Galliard] D 35v 31v 33v
[blank] 36r-38r 32r-35r 34r-37r
[Christopher Simpson]
62 (Alman) c 38v 35v 38v 19
63 Ayre c 39r 36r 39r 21
64 Cor[ant]. c 39v 36v 39v 20
65 Sar[aband]. c 40r 37r 40r 22
66 (Pavan) F 40v-41r 37v-38r 40v-41r 7
67 (Ayre) F 41r 38r 41r 8
68 Corant F 41v 38v 41v 9
69 Ayre F 42r 39r 42r 10
70 Saraband F 42v 39v 42v 11
6 7
Incomplete. . Same piece as no. 44, second part.
210
71 Ayre F 43r 40r 43r 12
[blank] 43v-44r
72 (Alman) d 44v 40v 43v 13

73 (Ga[lliard]) d 45r 41r 44r 14
74 Ayre d 45v 41v 44v 15
75 (Ayre) d 46r 42r 45r 16
76 Gal(liard) d 46v 42v 45v 17
[blank] 47r 43r 46r
‘Braules in F by Mr John Banister’
77 Prelude F 47v 43v 46v
78 the Braule F 47v 43v 46v
79 Cor F 47v-48r 43v-44r 46v-47r
Sa: F 48r 44r 47r
Gavot F 48r 44r 47r
[blank] 48v-49r 44v-48r
Moun. Gerda
80 Prelude/Ayre g/B 49v 48v -
81 Jigg g 49v 48v-49r
Sar. g 49r
Samuel [Sampson] Estwick
‘Instrumental Musick made for the Theatre in Oxford July Anno [16]81’
82 Overture B 50v-51r - 47v-48r
83 Retornello B 51r - 47v-48r
‘Rich. Goodson July 1681
84 Almain B 51v - 48r
85 Menuet B 51v-52r - 48v
86 Gavot B 52r - 48v
87 Saraban B 52r - 49r
[H.A.]
90 - B 52v - 49r5
91 Brouch B 52v - 49v
[blank] 53r - 50r-51r
Prelude/Ayre g 53v - 51v
93 Jigg g 53v-54r - 51v-52r
5
These are treble parts.
211
94 Saraband g 54r - 52r
[blank] 54v
- g 50v8
[pencilled piece] B - - 52v-53r
table of staff notes and corresponding tablature letters 53v
8
In two-part score: treble, bass and continuo on one staff.
211a
Edward Lowe’s copies of vocal and i nstrumental music by English and It alian
composers.
i + i + 191 + i + iii. Original pagination pp. 1-46[a] , 46[b]-161, 164-206[a],

206[b]-207, 209-384 (i.e. 46 bi s, 162-3 rem oved, 206 bis, 208 om itted in error).
No music entered on pp. 6-25, 73-8, 85, 85, 87, 89, 91, 93, 95, 97-102, 105, 107,
109-10, 113-18, 121-2, 125-6, 130, 133, 135-9, 151, 164, 183-6, 189, 191, 193,
195, 207, 209-12, 214-18, 221-36, 245, 247, 251-2, 291-2, 295-6, 301-2, 313-14,
317, 337-9, 349-55, 361-2, 364, 366, 368,
370, 372, 374, 376, 378, 380, 382.
Scribe: copied by Edward Lowe over a l ong period (c.1636-82) and therefore
includes different styles of handwriting (see Plate 18). The singing parts of music
by William and Henry Lawes (pp. 1-2, 26-72 and 219-20) were probably copied
soon after the book’s acquisition in 1636 and spaced throughout the book
according to a partly-com pleted plan; th e scores of m usic by Richard Dering,
William Lawes and Lowe (pp. 253-85, 297-300 and 335-6) were probably added
next; and finally, probably after c.1674, t he book was adopt ed as t he basso
continuo book for Lowe’s partbooks (now Ob MSS Mus. Sch. D.233-6 and D.241-
4) when the remaining spaces between earlier entries were filled.
Inscriptions: front cover: ‘This Book belongs to the two / sets of Books bound in
Vellum / those of Dr. Rogers & Mr Jenkins / Workes [Ob MSS Mus. Sch. D.241-
4] & the others of Mr Locks / and Several l other Authors [Ob M SS Mus. Sch.
D.233-6]’ (Lowe); inside front cover: ‘[Bought] Of Mr. Davis. price 3s. May. 28:
1636’ (Lowe); f. ir-v: index in Lowe’s hand (for other inscriptions see the inventory
below).
Format and dimensions: Oblong quarto, 180 x 225.
Rastrology: A 6; B 3; C 66; D 12(13)13(13.5)13. Marginal rulings on left and

right.
Watermark: coat of arms (see Appendix, p. 329).
Collation: A-K8 L8 (L2 removed) M-Aa8.
212
Binding: vellum with white leather ties.
Bibliography: HATTON W
Contents
Page Composer No. Title/Inscription Scoring Printed

Sources
1 W. Lawes She weepeth sore in the night 4vv 16484

[A Canon of 4. Voc. in the Unison]
1 W. Lawes Happy Sonnes of Israell 3vv
16484
‘Canon in / the 4th & 8[th] below:’
2 W. Lawes Lord thou has bin favorable 3vv 16484
‘Canon in / the unison’
---------------------------------------------------------------------------------------------------
‘Thes[e] 6 new ayres a la mode were made & given mee in May. 1674’1
3 Prelude [TrTrB vl] bc
3 Corant [TrTrB vl] bc
4 Saraband [TrTrB vl] bc
4 Jig [TrTrB vl] bc
4 Saraband [TrTrB vl] bc
5 Jig [TrTrB vl] bc
---------------------------------------------------------------------------------------------------
----
26 Mr: H[enry] L[awes]2 How are the gentiles ‘Psal: 2d’ CCB 16484
28 Mr Henry Lawes To heare mee Lord ‘Psal / 5th’ CCB 16484
30 W[illiam] L[awes] Lord thy deserved wrath ‘Psall: 6’ SSB 16484
30 W[illiam] L[awes] To thee I cry ‘psal: 141.’ SSB 16484
32 H[enry] L[awes] Lord Judge my Cause ‘psal: 26’ CCB 16484
32 H[enry] L[awes] With Sighs & Cryes ‘psal: 142’ CCB 16484
34 W[illiam] L[awes] Oft from my early youth ‘psal: 129’ SCB 16484
36 W[illiam] L[awes] I am wearye ‘psal: 6’ SCB 16484
38 Henry Lawes] Who trusts in thee ‘psall: 31’ CCB 16484
38 H[enry] L[awes] O thou from whom all mercy CCB 16484
springs ‘psa: 57.’
40 H[enry] L[awes] Not in thy wrath ‘psal: 38’ CCB 16484
1
Parts in Ob MS Mus. Sch. G.612 (four pocket partbooks in a leather case given to
Lowe by the composer of the original cont ents, Valentine Oldis, on ‘24th March 1659. at
ye Legg in Kings Street / Westminster’).
2
The three-part settings of Psalm s by Henry and W illiam Lawes on pp. 26-72 (texts
mostly from George Sandy s’ Paraphrase upon the Psalmes of David (London, 1636)) are
copied in tablebook format (i.e. the top two voice parts are reversed).
213
Sources
40 H[enry] L[awes] Cast of[f] & scatter[e]d CCB 16484
42 H[enry] L[awes] Lord showre on us ‘Psal: 67’ CCB 16484
43 H[enry] L[awes] Accept my praires SSB 16484
44 [Henry Lawes] The bountye of Jehovah praise SSB 16484
‘psal: 136’
46[a] [William Lawes] Let all in sweet accord ‘psal: 48’ SSB 16484
46[a] W[illiam] L[awes] Thou that art inthrond SSB 16484
47 W[illiam] L[awes] You Nations of the earth ‘psal: 100’ SSB 16484
49 W[illiam] L[awes] To thee O god ‘psal. 63’ SSB 16484
51 W[illiam] L[awes] To the God whom wee adore
‘psal: 149’ SSB 16484
53 [William Lawes] Come singe the great Jehovahs SSB 16484
praise ‘psal: 95.’
55 W[illiam] L[awes] Thou mover of the Rolling spheares SSB 16484
‘psal: 123’
57 W[illiam] L[awes] How longe wilt thou forget mee SSB 16484
‘psal: 6’
59 W[illiam] L[awes] Praise the lord inthroand ‘psal. 150’ SCB 16484
61 W[illiam] L[awes] They who the Lord their fortress SCB 16484
make ‘psal: 125’
63 W[illiam] L[awes] My god, O why hast thou forsooke SCB 16484
‘psal. 22’
63 W[illiam] L[awes] Sing to the King of Kings ‘psal: 98’ SCB 16484
65 W[illiam] L[awes] Out of the Horror ‘psal: 130’ SCB 16484
65 W[illiam] L[awes] In the substraction of my yeares SCB 16484
3
‘Esay [Isaiah]: 38’
67 W[illiam] L[awes] Lord as the hart ‘Psal: 42’ SCB 16484
67 W[illiam] L[awes] Let god the god of battaile rise SCB 16484
‘Psal: 68’
69 H[enry] L[awes] Lord for thy promise sake defend CCB 16484
‘psal: 54’
704 H[enry] L[awes] Woe is mee CCB 16484
....................................................................................................................................
‘Mottets. of 3 voc: By Mr Geofryes [George Jeffreys]’5
79 [Jeffreys] Prior Christus [TTB]bc
80 [Jeffreys] Nil Canitur [TTB]bc
81 [Jeffreys] Ecce dilectus [meus] [TTB]bc
82 [Jeffreys?]6 Euge [serve] bone [CTB]bc
3
Sandys (1636), 263.
4
Words only copied on p. 70; complete on pp. 71-2 (later copy?).
5
These pieces are duplicated on pp. 241-4; see below.
214
Page Composer No. Title/Inscription Scoring VdGS
No.
83 Mr Sy[mon] Ive[s] He that in heaven - bc
84 Mr Ives Singe praises - bc
‘Basso Continuo to Mr Rich[ard] Cookes’
86 [1] Pavan [in D] [TrTrBB vl] bc 21
86 2 Aire [in D] [TrTrBB vl] bc 22
88 3 Eccho [in D] [TrTrBB vl] bc 23
90 4 Eccho Corant [in D] [TrTrBB vl] bc 24
90 5 Sarabrand [in D] [TrTrBB vl] bc 25
92 6 Pavan [in E minor] [TrTrBB vl] bc 26
92 7 Ayre [in E minor] [TrTrBB vl] bc 27
94 8 Almaine [in E minor] [TrTrBB vl] bc 28
94 9 Corant [in E minor] [TrTrBB vl] bc 29
94 10 Sarabrand [in E minor] [TrTrBB vl] bc 30
96 [Pavan in D]7 - bc
103 W[illiam] Child O bone Jesu [CATB]bc
104 Mr Christopher Gibbons O bone Jesu [SAAB]bc
106 Mr Heardson8 Gloria patri [CTB]bc
108 W[illiam] Kinge O blest estate [2vv]bc
‘Ecce quam bonum. Sand’s Translation.’9
111 Mr. Rogers8 Laudate Dominum [omnes gentes] [4vv]bc
112 Gloria Partij
Mr. Math[ew] Lock[e] [The ‘Broken Consort’ Part 2]10
119 611 Galliard [in C] [TrTrB vl] bc 6
120 7 Pavan [in D minor] [TrTrB vl] bc 7
123 8 Ayre [in D minor] [TrTrB vl] bc 8
123 9 Galliard [in D minor] [TrTrB vl] bc 9
124 10 Ayre [in D] [TrTrB vl] bc 10
124 11 Sarab[and in D] [TrTrB vl] bc 11
124 bass for ‘La Folia’
127 12 Pavan [in E minor] [TrTrB vl] bc 12
128 13 Ayre [in E minor] [TrTrB vl] bc 13
128 14 Corant [in E minor] [TrTrB vl] bc 14
6
‘Euge serve bone’ is not to be found in any of Jeffrey s’ autograph manuscripts (e.g.
Lbl Add. 10,338, Lcm 920); the implied attribution on p. 79 is therefore questionable.
7
Unfinished. Perhaps also by Richard Cooke?
8
Attribution from the index f. iv.
9
G. Sandys, ‘Psalm CXXXIII’, (1636).
10
Parts in Ob MS Mus. Sch. D.233-6.
11
Nos. 1-5 of the second part of the ‘Broken Consort’ appear on pp. 194-8, see below.
215
No.
129 15 Chicon’ [in E minor] [TrTrB vl] bc 15
131 16 Pavan [in F] [TrTrB vl] bc 16
132 17 Galliard [in F] [TrTrB vl] bc 17
132 18 Ayre [in F] [TrTrB vl] bc 18
134 19 Corant [in F] [TrTrB vl] bc 19
134 20 Jigg [in F] [TrTrB vl] bc 20
‘Mr. Baltzar consort for 3 violins’ [in C]12
140 1 Pavan [3vln] bc 61
141 2 Galliard [3vln] bc 62
142 3 Almaine [3vln] bc 63
142 6 [Almain] [3vln] bc 66
143 7 Corant [3vln] bc 67
144 8 Corant [3vln] bc 68
144 9 Saraband [3vln] bc 69
144 10 Saraband [3vln] bc 70
‘The 3 thinges I brought from Court in B [flat]’13
145 1 [Untitled] - bc
145 2 [Untitled] - bc
146 3d [Untitled] - bc
[‘Rogers 9 Muses in A. #3 4 pts’]12
147 1 Prelude [TrTrTB vl] bc 81
147 2 Aire [TrTrTB vl] bc 82
148 4 Corant [TrTrTB vl] bc 84
148 5 Saraband [TrTrTB vl] bc 85
149 6 Jigg [TrTrTB vl] bc 86
149 7 Coranto [TrTrTB vl] bc 87
150 9 Jigg [TrTrTB vl] bc 89
‘Roger’s Retrograde Ayres’12
152 Ayre [in G] [TrTrB vl] bc 77
152 Corant [in G] [TrTrB vl] bc 78
152 Sarabrand [in G] [TrTrB vl] bc 79
12
Parts in Ob MSS Mus. Sch. D.241-4.
13
According to the index on f. i.
216
No.
152 Aire [in D minor] [TrTrB vl] bc 71
152 Corant [in D minor] [TrTrB vl] bc 72
152 Sarabrand [in D minor] [TrTrB vl] bc 73
153 Jiggue [in D minor] [TrTrB vl] bc 74
‘Thes[e] 15 followinge Ayres were compos[e]d by Mr Bowman & first
perform[e]d in the schooles / the 5 of Feb: 1673/4’14
154 1 [Prelude in G minor] [TrTrBB vl] bc 1
154 2 [Allem[an in G minor] [TrTrBB vl] bc 2
154 3 Corant [in G minor] [TrTrBB vl] bc 3
155 4 Gavot[te in G minor] [TrTrBB vl] bc 4
155 5 Sarabrand [in G minor] [TrTrBB vl] bc 5
155 6 Prelude [in A minor] [TrTrBB vl] bc 6
156 7 Allem[an in A minor] [TrTrBB vl] bc 7
156 8 Corant [in A minor] [TrTrBB vl] bc 8
157 9 Gavot[te in A minor] [TrTrBB vl] bc 9
157 10 Sarabrand [in A minor] [TrTrBB vl] bc 10
157 11 Allm[an in D] [TrTrBB vl] bc 11
158 12 Ayre [in D] [TrTrBB vl] bc 12
159 13 Gavot[te in D] [TrTrBB vl] bc 13
159 14 Ayre [in D] [TrTrBB vl] bc 14
160 15 Sarab[and in D] [TrTrBB vl] bc 15
‘Mr. Rogers 2d Sett in E la me’15

161 Prelude [in E minor] [TrTrBB vl] bc 161
Mr Jenkins [Suite in G minor]14 1

165 Fancy [TrTrBB vl] bc
167 Ayre [TrTrBB vl] bc
168 Corant [TrTrBB vl] bc
[Jenkins] [Suite in A minor]14 2
[Jenkins] [Suite in B flat]14 5
175 Almane [TrTrBB vl] bc
14
15
Only the Prelude appears in Ob MS Mus. Sch. E.451; presumably the basso continuo
parts were on pp. 162-3 which are missing. The parts for all seven movements of the ‘2d
Sett’ are in Ob MSS Mus. Sch. D.241-4.
217
No.
[Jenkins] [Suite in E minor]14 7
[Jenkins] [Suite in F]16 8
‘Mr Baltzars su[i]te in Gamut’17

187 1 Pavan [2vln b.vl] bc 51
188 2 Galliard [2vln b.vl] bc 52
188 3 Almaine [2vln b.vl] bc 53
190 4 Pavan Almaine [2vln b.vl] bc 54
190 5 Almaine [2vln b.vl] bc 55
192 6 Corant [2vln b.vl] bc 56
192 7 Corant [2vln b.vl] bc 57
192 8 Sarabrand [2vln b.vl] bc 58
192 9 Sarabrand [2vln b.vl] bc 59
Mr Lock[e] [The ‘Broken Consort’ Part 2]18

194 119 Pavan [in C minor] [TrTrB vl] bc 1
195-6 [‘The 3 thinges I brought from Court in B’: Lully]20
196 2 Ayre [in C minor] [TrTrB vl] bc 2
196 3 Corant [in C minor] [TrTrB vl] bc 3
197 Galliard [TrTrBvl] bc 6
198 4 Pavan [in C] [TrTrB vl] bc 4
198 5 Ayre [in C] [TrTrB vl] bc 5
‘A songe for 3 of Dr. Wilson. This was prict out for / ye Act. 1674’
199 The southwinde Blowes [3vv] bc
Mr Will: Lawes [Dance movements]20
16
17
The index (f. i) s tates ‘Mr. Baltzars su[i]te in G: made in A’, indicating that the suite
has been transposed from A to G major. Parts in Ob MSS Mus. Sch. C.102 a-b.
18
19
Nos. 6-20 of the Second Part of the ‘Broken Consort’ appear on pp. 119-34 (see
above).
20
GB-Ob, MSS Mus. Sch. E.431-6, pp. 360-1.
218
No.
201 1 Almaine [in G minor] [TrB vl] bc 349
201 2 Corant [in G minor] [TrB vl] bc 350
201 3 Almaine [in G minor] [TrB vl] bc 351
201 4 Sarabrand [in G minor] [TrB vl] bc 352
202 5 Almaine [in G] [TrB vl] bc 314
202 6 Coranto [in G] [TrB vl] bc 315
202 7 Coranto [in G] [TrB vl] bc 316
202 921 Almaine [in C minor] [TrB vl] bc 221
203 10 Ayre [in C minor] [TrB vl] bc 222
203 1222 Sarabrand [in C minor] [TrB vl] bc 224
203 13 Almaine [in C] [TrB vl] bc 202
203 1521 Ayre [in C] [TrB vl] bc 204
204 16 Sarabrand [in C] [TrB vl] bc 205
204 19 Morris [TrB vl] bc 41
204 [20]21Ayre [in D] [TrB vl] bc 248
205 [H. Lawes] Simphonye [in G minor]23 [TrB vl] bc
205 [H. Lawes] Simphonye [in G]22 [TrB vl] bc
[H. Lawes] ‘Thes[e] 3 [Symphonies] belonge to St Johns play’24
205 1 [Symphony in D minor]22 [TrB vl] bc
205 2d [Symphony in D]22 [TrB vl] bc
205 3d [Symphony in D]22 [TrB vl] bc
Mr W: Lawes [Dance Movements]22

206[a] Almaine [in G minor] [TrB vl] bc 346
Printed sources: 16516/2, 16555, 16628
206[a] Coranto [in G minor] [TrB vl] bc 167
206[a] Almaine [in D minor] [TrB vl] bc 256
206[a] Coranto [in D minor] [TrB vl] bc 257
206[b] Sarabrand [in D minor] [TrB vl] bc 258
213 [E. Lowe?] Pavan [in C minor]22 [TrTrB vl] bc

‘Made for Mr Godfrey. Octo: / 25. 1641.’
....................................................................................................................................
219 Mr Will Lawes Goe bleeding hart25 [SAB]bc
21
Sic: ‘8 none’, ‘11 none. / Corant’, ‘14 none / Corant:’ and ‘17. 18 none’.
22
23
Possibly George Wilde’s Love’s Hospitall which was acted before the King and
Queen on 30 August 1636 at St John’s College, Oxford.
24
Text only; laid out in table book format but no music entered.
219
Source
...................................................................................................................................
237 [Dering] Conceptio tua22 [CB]bc 16624
22
238 [Dering] Sancta et Im[m]aculata Virgo [TT]bc 16624
239 Mr Deeringe Qualis est Dilectus tuus [CTB]bc 16624
240 Geo: Jeffreyes Singe unto ye Lord [TTB]bc
241 [Jeffreys] Prior Christus26 [TTB]bc
242 [Jeffreys] Ecce Dilectus meus27 [TTB]bc
243 [Jeffreys] Nil canitur26 [TTB]bc
244 [Jeffreys?]28 Euge Serve [bone]26 [CTB]bc
29
246 Mr. Deeringe O bone Jesu [ATTB]bc G3422,
[recte Grandi] ‘The 4th part is in / Medius 2dus of ye 6 bookes 16624
for ye church’30
248 [Antonelli] Dulcis Jesu [pie Deus]31 [CCB]bc
r
249 D [C.] Gibbons Gloria Patrj [CB]bc
‘This songe was part of his exercise / for his
DrShip. [7 July 1664] & after this was a / Gloria
patris of 8 partes’
250 Merula Fontes et omnia [BB]bc M2338
....................................................................................................................................
253 Mr: Deeringe 3d32 Gaudent in C[a]elis33 CCbc 16624
32
255 Mr: Deeringe 2d Justus Cor suum tradidit CBbc 16624
32
258 Mr: Deeringe 7th O bone Jesu CCbc 16624
32
261 Mr: Deeringe 8 O Domine Jesu Christe SBbc 16624
32
264 Mr: Deeringe 4 Isti sunt sancti C[CB]bc34 16624
32
266 Mr: Deeringe 5 Panis Angelicus C[CB]bc33 16624
32
268 Mr: Deeringe 6 L[a]etamini Cum Maria C[CB]bc33 16624
‘Deeringes Songes of 5 voc:’35
26
A duplicate of that on pp. 79-82.
27
These pieces are a duplicate of those on pp. 79-82.
28
See above, p. 214, note 6.
29
Attributed to ‘Legrand’ in the index (f. iv).
30
These partbooks have not been identified.
31
Incomplete.
32
We have been unable to identify the source to which the number sy stem refers
(perhaps the ‘6 bookes for the church’ menti oned on p. 246?). (The source for the Dering
motets is not Playford, ed., Cantica Sacra (London, 1662): the readings differ).
33
34
Short score.
220
Source
271 1 O bone Jesu Cbc33 D1317
272 2d O nomen Jesu Cbc33 D1317
274 3d Jesu dulcis memoria Cbc33 D1317
275 4 Quando Cor visitas Nostrum Cbc33 D1317
276 4 Jesu Dulcedo cordium Cbc33 D1317
278 Desidero [te] Cbc33 D1317
279 Jesu Decus Angelicum Sbc33 D1317
281 6 Jesu sum[m]a benignitas Cbc36 D1317
282 7 Ave verum Corpus Cbc35 D1317
283 8 Anima Christi Sanctifica me Cbc35 D1317
285 9 Vox in Rama Cbc35 D1317
....................................................................................................................................
287 [Casati] O dulce [nomen Jesu] [CC]bc C1411
289 [Casati] Tota pulchra es [SS]bc C1411
293 [Casati] Magnificate c’lj [SS]bc C1411
....................................................................................................................................
[‘Deeringes Songes of 5 voc:’ continued]37
297 16 Contristatus est Rex Cbc D1317
298 17 Omnem super quem videritis Cbc D1317
299 18 Ave Marja Cbc D1317
....................................................................................................................................
303 [Sances] Laudemus viros [gloriosos] [TT]bc S768
305 [Casati] Exultate justi [CC]bc C1411
307 [F.M. Marini] Venite Gentes [CC]bc M672
308 [F.M. Marini] Euge serve bone [CC]bc M672
309 [Filippi] Canite tuba [CC]bc F733
310 [Fontei] Laudamus Dominum [CC]bc F1487
312 [Fontei] Felix victoria [CC]bc F1487
315 [Rovetta] Io mi sento morir [CC]bc R2981
‘Italian songe for 2 meanes’
....................................................................................................................................
VdGS No.
Printed
Source
318rev Mr Mel[l] ‘An Almaine for two’ [in c] TrB vl 55
35
The firs t 11 pieces —here numbered 1-9—from Dering, Cantiones Sacrae Quinque
Vocum (Antwerp, 1617); see also pp. 297-300: space was left for nos. 10-15 (pp. 287-96)
but this was later used for the three pieces by Casati.
36
Short score.
37
Dering (1617) continued: see pp. 271-86.
221
Page Composer No. Title/Inscription Scoring VdGS Print
No.
‘Thes[e] 10 are Mr Davice Mell’s: wch are for 4 parts, all but /
the 4th wch had noe inner part sent. The Other two / parts are in
the Countertenor & Tenor of my / Parchment-cover Bookes’38
319rev 10 [Morisco in G minor] TrB vl 5 16628
320rev 9 [Morisco in F] TrB vl 70 16628
321rev 8 Tom Sharlett [in F] TrB vl 69 16628
322rev 7 Sarabrand [in F] TrB vl 68 16628
323rev 6 Corant [in F] TrB vl 67 16628
324rev 5 Almaine [in F] TrB vl 66 16628
324rev 4 Longe time [in B flat] TrB vl 38 16628
325rev 3 Sarabrand [G min.] TrB vl 3 16628
326rev 2 Corant [G min.] TrB vl 2 16628
326rev 1 A masqinge Ayre [G min.] TrB vl 1 16628
39
327rev Mr Jenkins 173 [Air in D minor] [TrATB vl] bc 17
328rev Mr Jenkins 172 [Almain in D min.] [TrATB vl] bc38 16
328rev Mr Jenkins 171 [Corant in D min.] [TrATB vl] bc38 41
330rev Mr Jenkins 168 [Corant in D min.] [TrATB vl] bc38 40
331rev Mr [W.] Lawes 166 [Corant in D min.] [TrB vl] bc38 288
331rev Mr [W.] Lawes 165 [Air in D minor] [TrB vl] bc38 287
332rev Mr [W.] Lawes 163 [Corant in D minor] [TrB vl] bc38 285
....................................................................................................................................
333 Cum Comederis CCAB40
335 Mr Will[iam] Lawes Gather y[ou]r rose buds SSB L1172-3
16527, 16528, 16537, 16664, 16676, 16695, 16734, 16784
336 E[dward] L[owe] You who the Lord adore AAB
‘Psal: 134. Sands translation’41
....................................................................................................................................
340rev Mr [W.] Lawes 66 [Corant in G] [TrB vl] bc38 326
340rev Mr [W.] Lawes 65 [Corant in G] [TrB vl] bc38 325
341rev Mr [W.] Lawes 64 [Air in G] [TrB vl] bc38 118
38
i.e. the two missing parts from Ob MSS Mus. Sch. D.233-6 which was originally a set
of six books.
39
Bass viol part only in Ob MS Mus. Sch. D.236.
40
Copied in tablebook format (i.e. the top two voice parts are copied upside down).
41
Sandys (1636).
222
No.
Printed Sources: 16556, 16628
341rev Mr [W.] Lawes 63 [Pavan in G] [TrB vl] bc38 324
342rev Mr Jenkins 36 [Saraband in G min.][TrATB vl] bc41 52
342rev Mr Jenkins 35 [Almain in G min.] [TrATB vl] bc42 33
343rev Mr Jenkins 34 [Corant in G min.] [TrATB vl] bc41 44
343rev Mr Jenkins 33 [Pavan in G min.] [TrATB vl] bc41 49
344rev Mr Jenkins 32 [Corant in G min.] [TrATB vl] bc41 43
344rev Mr Jenkins 31 [Air in G minor] [TrATB vl] bc41 32
Printed Sources: 16516, 16555, 16628
344rev Mr [W.] Lawes 30 [Air in G minor] [TrB vl] bc43 341
345rev [W.] Lawes 29 [Air in G minor] [TrB vl] bc42 102
Printed Source: 16555
345rev Mr [W.] Lawes 28 [Air in G minor] [TrB vl] bc42 340
346rev Mr [W.] Lawes 19 [Corant in G minor] [vln b.vl] bc42 370
346rev Mr [W.] Lawes 18 [Corant in G min.] [vln b.vl] bc42 369
346rev Mr [W.] Lawes 17 [Air in G min.] [vln b.vl] bc42 73
347rev [W. Lawes] Corant [in G] [?tr tr t b.vl] bc42 322 & 323
347rev W. Lawes] [Air in G] [?tr tr t b.vl] bc42 80
347rev [W. Lawes] [Air in G] [?tr tr t b.vl] bc42 320
348rev Mr [W.] Lawes Pavan [in G] [?tr tr t b.vl] bc42 79
Mr [W.] Lawes [‘Sharp Ayres’ in D from The Royall Consort]

356rev 6 Sarabrand [tr tr t b vl, 2 theo] bc44 28
356rev 5 Corant [tr tr t b vl, 2 theo] bc43 26
357rev 4 Alman [tr tr t b vl, 2 theo] bc43 24
357rev 3 Ayre [trrtr t b vl, 2 theo] bc43 23
358rev 1 Pavan [tr tr t b vl, 2 theo] bc43 22
359rev 5 Sarabrand [tr tr t b vl, 2 theo] bc43 32
359rev 4 Ayre [tr tr t b vl, 2 theo] bc43 37
360rev 2 Ayre [tr tr t b vl, 2 theo] bc43 31
360rev 1 Alman [tr tr t b vl, 2 theo] bc43 29
42
Tr & B parts in Ob, MSS Mus. Sch. D 233 & 236.
43
Bass viol part only in Ob MS Mus. Sch. D.236.
44
Two treble and a bass viol part in Ob MSS Mus. Sch. D.233-4 and 236; the ‘two
breaking Base’ parts were, according to a note in D.236 f.1v, copied by Lowe in the missing
countertenor and tenor books.
223
Page No. Title/Inscription Scoring VdGS
No.
‘Mr Younges sharpe Ayres’
363rev [8] [Saraband in D] [TrB vl] bc43 8
363rev [7] [Almain in D] [TrB vl] bc43 7
363rev [6] [Corant in D] [TrB vl] bc43 6
363rev [5] [Almain in D] [TrB vl] bc43 5
363rev [4] [Saraband in D] [TrB vl] bc43 4
363rev 3 [Almain in D] [TrB vl] bc43 3
365rev 2 [Corant in D] [TrB vl] bc43 2
365rev 1 [Almain in D] [TrB vl] bc43 1
‘Hudsons Ayres’
365rev [Corant in F [TrB vl] bc45 73
367rev [Almain in F] [TrB vl] bc44 72
367rev Pavan [in F] [TrB vl] bc44 71
367rev [Air & Tripla in F] [TrB vl] bc44 70
367rev [Air in F] [TrB vl] bc44 47
369rev 5 [Corant in D minor] [TrB vl] bc44 46
369rev 4 [Almain in D minor] [TrB vl] bc44 45
369rev 3 [Air in D minor] [TrB vl] bc44 43
‘Mr. Younges sett’

371rev 9 Pavan [in D minor] [TrB vl] bc44 9
373rev 8 [Saraband in D minor] [TrB vl] bc44 8
‘Mr [W.] Lawes flat Ayres in D [minor]’ from The Royall Consort
377rev 12 [Saraband] [TrTrBB vl, 2 theo] bc46 13
45
Parts in Ob MSS Mus. Sch. D.233 and 236.
46
Two treble and a bass viol part in Ob MSS Mus. Sch. D.233-4 and 236; the ‘two
breaking Base’ parts were, according to a note in D.236 f.1v, copied by Lowe in the missing
countertenor and tenor books.
224
Page No. Title/Inscription Scoring VdGS
No.
377rev 11 [Corant] [TrTrBB vl, 2 theo] bc45 12
377rev 10 [Air] [TrTrBB vl, 2 theo] bc45 10
377rev 9 [Saraband] [TrTrBB vl, 2 theo] bc45 21
379rev 7 [Almain] [TrTrBB vl, 2 theo] bc45 19
383rev 1 Pavan [TrTrBB vl, 2 theo] bc45 8
224a

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Oxford, Bodleian Library,

Music School Manuscripts C.59-60

C.60 ‘Basse’ (inside back cover): iii + 3 7 + ii (p p. 27e-27f inserted). Front

Scribe: Francis Withy (as Plate 17d-f).

Format and dimensions:

Watermarks: Amsterdam I/11; inserted folio C. 60 pp. 27e-27f, unrelated

Inserted folio C. 60 pp. 27e-27f: incomplete sheet of twelve-stave paper, ruled in

Collation: folios guarded, obscuring original structure.

Provenance: Oxford: Francis Withy’s personal collection of bass viol duos,

Bibliography: WITHIE T; OXFORD C2; CAVENDISH H2

Francis Withy’s scorebook containing vocal and instrumental music.

Scribe: Francis Withy (as Plate 17).

Format and dimensions: folio, 315 x 205.

Collation: A12(A1 removed) B10 C12 D12(D5 removed)

Binding: White vellum, 315 x 204. Rear flyleaf, Grapes FI/2.

Provenance: Oxford; apparently presented to Francis Withy in 1687.

22 A Division for a Violin & a Bass to a Ground VdGS Anon 97

88 [Almand for b.vl] VdGS Anon 295

Six partbooks of fantasies, In nomines and dances in 3-6 parts.

Copied in the mid-to-late 1630s.

[Foliation: adjacent pages are—or were intended to be—pasted together

Inscriptions: on front covers: C.64: ‘Cantus’ (according to an inscription on the

Format and dimensions: Folio, c. 295 x 196

Watermarks and collations:

Book No. of parts Gatherings Folios Watermark

C.65 a3 A-H8 2-64 Grapes I/5

C.66 a5 Ee-Ff4 2-9 Fleur-de-lys II/5

C.67 a4 M-R4 3-26 Pillars II/4

C.68 a3 A-H8 2-65 Grapes I/5

C.69 a6 Qq-Zz4 3-33a Pillars II/5

Grapes I/6: A 10; B 5; C 119; D 14(12.5)13.5(12.5)13(13)13(13.5)14

Bibliography: OXFORD C2; DUBLIN I; BODLEIAN G

6 By John Ward, VdGS No. 3.

Bindings: Contemporary blind-tooled calf, 314 x 207.

Bibliography: PAPER T2; OXFORD F; OXFORD W

Watermarks: Fleur-de-lys I/11

Rastrology: A 12; B 4; C 68; D 10(9)10(9)10(9)10.5

Provenance: possibly the court of James II at Whitehall, with which circumstantial

Bibliography: PAPER T2, especially p. 287; PURCELL ST, pp. 119-121.

No. Ascription Title Key I II VdGS No.

Format and dimensions: large upright quarto, c. 281 x 220.

Watermarks: Bend I/3

Identifiable flyleaf papers:

Owner: Edward Lowe

Format and dimensions: Upright quarto, 290/298 x 215/221.

Bindings: grey paper cover (typical of seventeenth-century Music School MSS) to

Bibliography: OXFORD C2; DUBLIN T

Contents of D.261, ff. 39-76

[f.61r] Organ Parte to Mr Jenkins fancies Division for 3 partes. Prickt in

Scribes: A: unidentified, variable hand (see Plate 17a-c).

E.415, f. 1r: ‘Cantus. 1641’; f. 23v: ‘8ber 9. 1641’.

Format and Dimensions: small upright quarto, 190 x 136.5

Collations: The Bodleian Library Music Room Revised Descriptions states

Provenance: Worcester, circle of Thomas Tomkins, Humphrey Withy and John

Bibliography: FERRABOSCO II 5/6; TOMKINS I1; TOMKINS I3; WITHIE T

19 AF[errabosco II] Almayn 11r 12r 13r 14r 6

20 AF[errabosco II] Almayn 11v 12v 13v 14v 7

21 AF[errabosco II] Almayn 11v 12v 13v 14v 8

No. Ascription Title 415 416 417 418 VdGS No.

iii + [original card cover] + 12 + 12 + [o riginal card cover] + ii. Continuous