Chapter I
1.An illuminated initial “D” at the beginning of the alto voice of Morales’s Asperges me (5vv) from a manuscript choirbook copied at Toledo cathedral in 1546 (E-Tc 25, f. 15r). It is possible that it depicts Morales.
2. Title page of Morales’s Missarum Liber Secundus (Rome: Valerio & Luigi Dorico, 1544).
3. Title page of the Liber Quindecim Missarum (Rome: Andrea Antico, 1516).
4. Opening of Morales’s Magnificat quarti toni (Et exultavit), Toledo Cathedral, Manuscript polyphonic choirbook E-Tc 34, copied 1546.
5. Title pages of the complete set four partbooks that make up Magnificat Moralis Ispani cum quatuor vocibus liber primus (Venice: Antonio Gardano, 1545) (Munich, Bayerische Staatsbibliothek).
6. Opening of Morales’s Magnificat Quarti toni (even verses), in each of the 4 partbooks, Magnificat Moralis Ispani cum quatuor vocibus liber primus (Venice: Antonio Gardano, 1545), (Munich, Bayerische Staatsbibliothek).
7. The opening two plainsong verses (1 and 3) of the Magnificat quarti toni.
8. The opening of the first polyphonic verse “Et exultavit”, from Morales’s Magnificat quarti toni.
Chapter II
9. First double-page opening of Morales’s Missa de Beata Virgine (4vv) (folios 1v-2r) (Lyon: Moderne, 1546) (Boston College, Burns Library).
10. Details of the musical notation at the top of the left-hand page.
11. Metal movable music type, as used by the Flemish printer Christopher Plantin in the mid 1500s (Plantin-Moretus Museum, Antwerp).
12. Citation needed!
13. Woodblock initial “F”, and metal movable music type, as used by the Flemish printer Christopher Plantin (Plantin-Moretus Museum, Antwerp).
14. Opening of plainsong Kyrie, Missa de Beata Virgine; at left, from Officiarium Toletanum (Alcalá de Henares: Brocar, 1515), folio 17v (Biblioteca Histórica Municipal, Madrid).
15. From Missa familiares (Lyon: Moderne, c.1545), folio 179r (Bibliothèque municipale de Lyon).
Chapter 3
16. Buzet (Pinguente) in Croatia, a territory then ruled by Venice, Lyon, and Rome (the four marked with white squares)
17. Moderne appears as “Jacobus Modernus de Pinguento” on the title page of the Liber decem missarum, a book of polyphonic masses published in 1532 in Lyon (in Latin “Lugduni”)
18. Moderne gives his nickname and address (“Jaques Moderne dict grand Jaques pres nostre dame de Confort”) on this title page of an anthology of French polyphonic chansons, Le parangon des chansons, neufvieme livre (Lyon, 1541)
19. Map of Lyon (detail) c. 1550, showing the rue Mercière running between the two bridges, and the church of Our Lady of Comfort with the triangular walled garden (centre); Georg Braun, Civitates orbis terrarum, book 1, 1572/82; Universitätsbibliothek Heidelberg.
20. From the title page of Les dictz et complainctes de trop tard marie (Lyon: Moderne, 1544) a guide to the joys and travails of marrying late, this woodcut, custom made in Moderne’s workshop, depicts an elderly couple sitting contentedly under their own fig tree. Reproduction from Andrew Lang, Books and bookmen (London, 1887), 110.
21. Title page of a manual of canon law published after his death by Moderne’s successors, Regulae generalis juris ordine methodico vij. lib. digestae … (Lyon: Jacques Moderne, 1589).
22. The title page of Francesco Bianchini’s Tabulature de lutz en diverses formes … (“newly printed at Lyon by Jacques Moderne”), with a custom made woodcut of the instrument.
23. At the top of the page, the antiphon Domine adjutor meus (with musical notation) and the text of psalm 19 Exaudiat te dominus, from Psalterium ad honorabilem ritum Lugdunensis ecclesie Galliarum primatis (Lyon: Jacques Moderne, c.1550), a book of plainsong for use in the churches of Lyon.
24. The first page of music (folio 1 verso), from Dorico’s ‘authorized’ 1544 Rome edition; this copy of Dorico’s edition, Bayerische Staatsbibliothek.
25. The Burns Library copy of Moderne’s edition
26. Detail of the large initial “K” on the first page (fol. 1v) from Dorico’s edition.
27. Detail of the large initial “K” on the first page (fol. 1v) from Moderne’s edition.
28. Detail of Moderne’s large initial “K”, from the first page of music (folio 1v) of the Missa De beata virgine (with vignette of the virgin and child).
29. Detail of Moderne’s large initial “K” from the first page (fol. 104v) of the Missa Mille regretz (with vignette of the double-headed eagle of Emperor Charles V).
30. The first page (fol. 1v) of Pierre Colin’s Missa Veni sponsa Christi, from Harmonidos ariston tricolono ogdoameron (Lyon: Jacques Moderne, 1548) (Bibliothèque nationale de France).
31. The first initial of the Agnus Dei from Morales’s Missa Aspice Domine, from the original Dorico 1544 edition (folio 29v).
32. Counterfeit initial from the 1546 Moderne edition (folio 29v).
33. Missing citation!
34. Nicolo Antonio, Bibliotheca Hispana siue Hispanorum, qui vsquam vnquamue sive Latina sive populari … tomus primus (Rome: Nicolo Angelo Tinaffi, 1572), 189.
35. Agnus 1, from Morales’s Missa Aspice domine (folios 29v-30r).
36. The sack of Rome, 1527, engraving after Maarten van Heemskerck (c.1555); the Duke of Bourbon falls in the fighting; in the distance Rome, and the Castel Sant’ Angelo, are in flames.
37. Motteti del fiore, primus liber cum quatuor vocibus (Lyon: Jacques Moderne, 1532), title pages of the 4 partbooks (Die Bayerische Staatsbibliothek, Munich)
(DIGITIZED).
38. Gombert’s motet Aspice domine, from Motteti del fiore, primus liber cum quatuor vocibus (Lyon: Jacques Moderne, 1532), folio [page] 48 of each of the 4 partbooks (Die Bayerische Staatsbibliothek, Munich) (DIGITIZED).
39. Gombert’s motet Aspice domine, opening, in modern score notation.
40. Gombert’s motet Aspice domine, opening, in modern score notation with the successive entries of the opening figure in each of the voices highlighted.
41. Opening of Morales’s Agnus 1, from Missa Aspice domine, in modern score notation.
42. Opening of Morales’s Agnus 1, from Missa Aspice domine, in modern score notation with the successive entries of the opening figure in each of the voices highlighted.
Chapter 4
43. First double-page opening of Morales’s Missa Ave maris stella (folios 50v-51r) (Lyon: Moderne, 1546) (Boston College, Burns Library) (DIGITIZED).
44. A manuscript copy of the hymn, Ave maris stella, in the so-called “Breviary of Paris”, and The highlighted image shows the whole hymn, with the words and melody of the first verse beginning at the bottom of the left column, followed by the words of verses 2-7 in column 2 (each verse being sung to the same melody), folio 467r; Bibliothèque nationale de France (DIGITISED).
45. Plainsong hymn, Ave maris stella, from Intonarium Toletanum (Alcalá de Henares: Brocar, 1515), folio 21r, Madrid, Biblioteca Nacional de España (DIGITIZED), and the same image, highlighted.
46. Pleni sunt caeli (duo) and Osanna, from Morales’s Missa Mille regretz (folios 63v-64r) (Lyon: Moderne, 1546) (Boston College, Burns Library) (DIGITIZED), and the same image, highlighted.
47. Kyrie eleison I, from Morales’s Missa Ave maris stella (folios 50v-51r) (Lyon: Moderne, 1546) (Boston College, Burns Library) (DIGITISED), and the same image, highlighted.
Chapter 5
48. Opening of Morales’s Missa Mille regretz (folios 104v-105r) (Lyon: Moderne, 1546) (Boston College, Burns Library) (DIGITIZED).
49. the initial “K” on the first page of the Missa Mille regretz (folio 104v, detail), from the original Dorico edition (Rome, 1544), with a vignette of the Emperor Charles V’s emblem (Die Bayerische Staatsbibliothek. Munich).
50. An anonymous Flemish portrait of Charles V, c.1550 (Wikimedia).
51. An anonymous French portrait of Francis I, c. 1530 (Wikimedia).
52 and 53. The title page of Moderne’s Missae familiares, a collection of plainsong masses, and, on its reverse, a four part polyphonic canon (or round), to the words “Victory to our noble king Francis” (Bibliothèque municipale de Lyon) (DIGITIZED).
54. opening of the Missa Mille regretz, folios 104v-05r (Burns Library), with melody in the tenor part highlighted.
55. Opening of the chanson Mille regretz, attributed to Josquin des Prez, from the superius partbook of L’unzieseme livre contenant vingt & neuf chansons amoureuses a quatre parties (Antwerp: Susato, 1549), fol. 9v (detail), with ascription to “Jo. de Pres” [Josquin des Prez](DIGITIZED).
56. Opening of Morales’s Missa Mille regretz (fol. 104v-105r) (Lyon: Moderne, 1546), with the six separate voice parts highlighted (Burns Library)
57. Benedictus (folios 121v-22r) from Morales’s Missa Mille regretz (Lyon: Moderne, 1546) (Burns Library) (DIGITIZED).
58. Benedictus (opening), from the Missa Mille regretz, in modern score notation with the leading points of imitation highlighted.
59. Benedictus (opening), from the Missa Mille regretz, in modern score notation, with the leading points of imitation marked and labelled (A, B, C).