This Treatise occupies 7 leaves; the text is written in two columns of 36 lines each (H. 111 m. B.93 m.) to the page, and is illustrated with two diagrams. Commences: Jncipit ars musice | Qvoniam circa artem | musicam necessaria; and ends: intonacionibus per hos versus. I2. The headings of the chapters are as follows: 2. De multiplicitate nominis musice artis. 3. Quid sit musicus. 4. Unde dicatur musica. 5. Quid sit genus. 6. De materia que sit. 7. Que sint partes musice. 8. Que sint species. 9. Quod sit instrumentum. 10. Que sit utilitas eius. II. De inuencione artis musice. De officio. 13. Que sunt 4 partes in musica principales cum figura. 14. De proportione. 15. De mutationibus cum figura. 16. De speciebus. 17. De semitonio. De ditono. De semiditono. De dyatesseron. De Dyapente. De Tono cum Dyapente. De semitonio cum dyapente. De dyapason. Ter quaterni sunt species quibus omnis cantilena contexitur, with musical notation. De modis. Prefixed to the Treatise is a miniature (H. 118 m. B. 105 m.) cut from a Psalter of the twelfth century, representing, within a lozenge set in a square panel, King David holding a harp in his left hand, and the end of a string and a tuning fork in his right. In the triangular spaces are four figures of musicians; one, holding a hammer, above whom are suspended bells, is talking to the man in the opposite compartment, who has a violin and bow. The third has a Pan-pipe and a hand-bell; and the fourth a hand-bell and a horn. R 2. 3. Treatise written at Oxford by a Friar Minor in the year 1351. Metrologus Liber de plana musica. Second half of XIV century. Vellum. H. 210 m. B. 150 m. The Bodleian Library, Oxford; no 515. The volume contains 90 ff.; the text is written in long lines―30 or 24 to the full page, and is illustrated with diagrams. Commences, f. 1: Jsta dictio sequens pertinet ad mundanam musicam et humanam. The first Treatise commences, f. 4: Quoniam circa musicam Deo auxiliante consciam que ductus necessaria quedam ad cantuum utilitatem tractare propono. Chapter 49 ends on f. 77v. thus: Et hec de musice continue et eciam distincte principiis sufficiant ad presens, que tanto, ut credo, accepciora sunt quanto aliorum dictis concordantiam habent. Nam in isto libello nil apposui, quod non ab auctoribus et magistris peritis et approbatis, mediante gracia Dei, addidici, nec eciam clausula in predicto opusculo inserta est sine causa certa; verumtamen insufficienciam meam excuset pius lector, si in aliquo defeceram, cum sensui hominis difficile est omnia comprehendere, sed tamen semper benedicam Dominum qui tribuit mihi intellectum ut predictum opusculum comprehendere poteram. Igitur quod corde concepi, ad honorem Dei et Sancte Matris Ecclesie, atque propriorum utilitatem in scriptis apposui, cuius operis finis erat pridie Nonas Augusti, anno Domini м° ccc° quinquagesimo primo; illo autem anno regens erat inter Minores Oxonie frater Simon de Tustude, doctor sacre theologie, qui in musica pollebat, eciam in septem artibus liberalibus. The second Treatise commences on f. 78: In nomine Sancte et Individue Trinitatis incipit metrologus liber de plana musica et brevis sermo. Quid est musica? Musica est pericia modulacionis, sono cantuque consistens. It ends, f. 90, 1. 28: et cantus naturalis coronari potest si licet faburdonii. Five Treatises; 1 Musica Theinredi in tribus libris. 2 Regule discantus Anglice opus Ricardi Cutell de Londonia. 3 Musica magistri Franconis in sex capitulis. 4 Breviarium eiusdem de discantu in tribus capitulis. 5 Breviarium regulare musice cum aliis parvis. XIV century. Vellum. H. 221 m. B.140 m. The Bodleian Library, Oxford; no 842. The volume contains 77 leaves; the text, written in long lines— 32 to the full page-is accompanied by diagrams. Commences, f. 1: Alueredo Cantuariensi Theinredus Doverensis de legitimis ordinibus pentachordorum et tetrachordorum. Ends, f. 77 v., l. 6: proprietate coniungatur ut hic. I. (Printed Books.) PETER AARON of Florence. 14 -1533. LIBRI TRES DE INSTITVTIONE HARMONICA EDITI A PETRO | AARON FLORENTINO IN- | TERPRETE IO. ANTO- | NIO FLAM. FORO | CORNELITE. Colophon (f.62): Impressum Bononiæ in Aedibus Benedicti Hectoris Biblio | polæ Bononiensis. Tempore Pontificatus domini nostri Leonis Pape Decimi. м CCCCC XVI. Quarto. 64 ff.; 36 long lines to the full page, with spaces of 5 or 3 lines with small type indicators for the initial letters of chapters, and with running title, but without catchwords. There are 8 quires with signatures A1 B-G8 and H1o numbered ( ) 2-62, followed by 2 ff. of Errata. The title-page is adorned with a border of sprays of flowers with butterflies, &c., on a criblé ground. The printer's device occurs on f. 62, below the colophon. The treatise, dedicated by the author to the Bolognese patrician MAITTAIRE, II, 286. FORKEL, 295. PANZER, VI, 329, 83. HAWKINS, 2. THOSCANELLO DE LA | MVSICA DI MESSER | PIETRO AARON FIO-RENTINO CANO- | NICO DA RI- | MINI. | CON PRIVILEGIO. Colophon (f. 52): Impressa in Vinegia per maestro Bernardino et maestro | Mattheo de uitali 3. fratelli Venitiani, regnante | Andrea Gritti, Serenissimo Prencipe, | nel di. xxIIII. di Luglio. M.D.XXIII. Folio. 53 ff. with 36 long lines to the full page in 13 quires: a1 A4 B5 C4-L4 M6 without foliation. Musical notation on a staff of 5 lines. The Title is enclosed within a border of foliage and animals with two medallions in the side pieces; the one representing the Unicorn taking refuge in the Maid's lap; the other, the Phoenix. At the foot is a blank shield supported by two sphinxes, between a lion and a cow, each looking at a book lying open on the ground before it. A full-page cut (H. 246 m. B. 163 m.) on f. 4v., represents Aron seated in his professorial chair, with a group of clerics on either side; in the foreground, a table, on which are diverse musical instruments; the whole enclosed within an ornamental border with busts of men at the angles; signed: Ca. There are also 9 ornamental capital letters. This treatise, named after the author's native country, Tuscany, is dedicated to Sebastian Michele, a Venetian patrician, Knight of Jerusalem and Prior of S. John dal Tempio. Alfred H. Littleton. H. 267 m. B. 200 m. Reprinted at the same press in 1525 and 1529, by Mark Sessa in 1539, and by Dominic Nicolini in 1557 and 1562. WALTHER, 50. HAYM, II, 561, 12. FORKEL, 434. (PANZER, VIII, 477, 1168.) BECKER, 455. HAWKINS, 1, 290. BRUNET, I, 493. WECKERLIN, I. TRATTATO | DELLA NATVRA ET CO- | GNITIONE DI TVTTI | TANO MESSER SEBASTIANO MICHELE PRIORE DI VINETIA. Colophon (f. 22): IMPRESSO IN VINEGIA PER MAE Folio. 22 ff., 33 long lines to the full page, without running title, catchwords or foliation. Eight quires: the first without signature; a2-d2 e1-g1. The Title is within an elegant framework composed of 4 pieces; I. on the lower border are the Muses, in two groups, singing and playing divers musical instruments; the side pieces are divided each into five compartments or niches, containing half-length figures of the most celebrated Latin poets and prose writers. In the tympanum above is a half figure of a woman playing the violin. The cut representing Aron seated in his professorial chair, with his pupils grouped around him, is the same as in the Thoscanello of 1523. There are also 13 ornamental versal letters. The treatise is preceded by a dedicatory epistle to the Venetian patrician, Peter Gritti. James E. Matthew. H. 271 m. B. 195 m. On the title-page : FORKEL, 273. HAWKINS, I, 290. BECKER, 272. BRUNET, 1, 493. JOHN MARY ARTUSI of Bologna. L'ARTE DEL CONTRA- | PONTO, DEL REVER. | D. GIO. Dedicated to Father Ambrose Morandi, prior of the Canons Regular of the Holy Saviour at Bologna. The first edition of this compendium was published at Venice in 1586-89; this contains, among other additional matter, a list of 29 writers on the theory and practice of music, of whose works the author had made use when composing this treatise. James E. Matthew. H. 286 m. B. 192 m. WALTHER, 52. HAYM, II, 563, I. B. Bolongaro-Crevenna, II, 135, 2102. FORKEL, 434. HAWKINS, I, 403. BECKER, 455. BRUnet, I, 521. GROVE, I, 96. MENDEL, I, 308. WECKERLIN, 34. 2. L'ARTVSI Ouero DELLE IMPERFETTIONI DELLA MODERNA MVSICA | Ragionamenti dui. | Ne' quali si ragiona di molte cose vtili, & necessarie alli | Moderni |