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transcribed in letters of extraordinary size.^[1] The three masses are now bound together, in the volumes in question; but, when this was 'restored,' in 1724, some other works were bound up with them. The present contents of the volume are—

No 22. (a) Missa, En donleur et tristesse. Noel Baudouyn.
⁠(b) Missa (dated 1568), Robledo.
⁠(c) Missa, in Modes III and IV (now known as 'Illumina oculos meos'). Palestrina.
⁠(d) Missa Papae Marcelli. Palestrina.
⁠(e) Missa, in Mode VII. Palestrina.
⁠(f) Missa, Ultimi miei sospiri. Il Rosso.

Vols. 205–206^[2] contain Palestrina's 'Improperia,' and 12 settings of the 'Miserere'; one, by an anonymous author, and the remainder by Dentice, Fr. Guerrero, Palestrina, Teofilo Gargaro, Fr. Anerio, Fel. Anerio, Giov. M. Nanini, Rugg. Giovanelli, and Gregorio Allegri—the last-named work being the famous composition sung, with so much effect, at Rome, during Holy Week.^[3] The Miserere of Bai, sung, for many years, in alternation with that of Allegri, is continued in Nos. 203–204.^[4]

The following is the list of Composers—many of them otherwise altogether unknown—whose works are contained in the MS. volumes.

N.B. Names without any distinguishing mark are attached to MSS. only; names marked †, to printed works only; names marked *, to both.

Agost. Agazzari; Alex. Agricola*; Greg. Allegri; Christ. Ameyden; Fel. Anerio; Fr. Anerio; Jo. Animuccia†; Arcadelt; Ch. d'Argentil; Tomm. Bai; Gius. Baini; Noel Baudouyn; Hotinet Barra; Ph. Basiron; Jo. Beausseron; Ant. Bencini; Jo de Billhon; Jo. Biordi; Ant. Brumel*; Jo. Brumen; Jo. Brunet; Ant. Busnoys; Ginus Angelus Capponius; Firmin Caron; Carpentrasso* (= El. Genet); Ott. Catalani; Pet. Certon†; Jo. Certori†; Ant. Cifra†; Claudin* (= Cl. de Sermisy); Clemens non papa; Clibano; Loyset Compere; Jo. Consilium; Barth. del. Cort; J. P. Colonna†; Pet. Cotin†; Giov. Costanzi; Arc. Crivelli*; Fabr. Dentice; Josquin Despres*; Ant. Divitis; De Domarto; Josquinus Dor; G. Dufay; Fr. Durante; Eloy; Eustachius de monte regali; La Fage; Vinc. Faugues; Giov. Batt. Fazzini; Ferabosco; C. Festa*; Ant. de Fevin*; Robinet de Fevin; Fr. Foggia; Foliot; Mathurin Forestyn; Fornarino; Fremin; Fresneau; Fr. Guerrero; Jo. Gallus; Theo. Gargari; Ant. Gardane†; Gascongne; Gaspar (Qy. Werbecke); Jo. Ghisellin†; Rug. Giovanelli; Vinc. de Grandis: Fr. Guerrero; Geo. de la Hele†; Hesdin; C. Heyns; J. de Hillanas; Jachet* (Qy. = Jachetto, Jaquet); Maitre Jehan (Qy. de Ferrara); N. Jomelli; Isaac; Jac. de Kerle†; Stef. Lando†; L'heritier; Orl. de Lassus†; Fr. de Layolle†; Alfons. Lobo†; Alex. Lonk; Jo. Lupi*; Lupus;† Tib. Massaino†; Maylard; Curtius Mancini; Tiburtius Mancini; Luca Marenzio; Agost. Martini; Jo. Martini; A. Michot; Vinc. Misonne; Rinaldo da Montagnana†; Cl. Monteverde; Christoph. Morales*; Pet. Moulu*; Jo. Mouton*; Romulo Naldi; Giov. Mar. Nanini; Jos. de Nebra; Jac. Obrecht; Flam. Oddus; Jo. Okeghem; Ortiz; M. de Orto; Pet. Parl. Paciotti†; Jo. Petr. Al. Palestrina*; Dom. Pane*; Fr. Parisius; Jo. Parvi; Pasquin; Vinc. Pellegrini†; Penet; Jo. le Petit; Philippon; Loyset Pieton; Pintelli; M. Pipelare*; Pasquale Pisari; Guil. Prevost†; Prioris; Lorenzo Ratti; (Jean) Regis; Jean (Richafort*); Melchior Robledo; Roselli†; Il. Rosso; Petrus, (Person or Perisson) de la Rue*; Jusquinus de Sala; Jo. Sarton†; Balth. Sartori; A. Scarlatti; Barth. Scobedo; Scribano; Sermisy (vide Claudin); Ph. Siciliani; Andr. de Silva; Matt. Simonelli; Fr. Suriano†; Pet. Ant. Tamburini; Jo. Tinctoris; Bern. Vacqueras; Jo. alla Venture; Ph. Verdelot; Jo. Viardot; Vincenet; Phil. Vitali; T. L. Vittoria*; P. de Villiers†; Laur. de Vorda; Adr. Willaert*; Jo. Wreede. Brugensis; Jul. Zacchini; Annib. Zoilo.

(Some few modern Composers have also presented their works to the Library; among others, Adrien de la Fage, and Gaetano Donizetti.)

Besides the volumes of music, the archives contain a vast mass of documents relating to the history and management of the Papal Choirs, which are not noticed in Haberl's otherwise exhaustive catalogue.

[ W. S. R. ]

SIVORI, Camille C. See vol. iii. p. 534a, where (line 2 of article), for June 6, 1817 read Oct. 25, 1815.

SLOPER, E. h. Lindsay. Add date of death, July 3, 1887.

SMART. P. 538a, l. 2, for Nov. 23 read Nov. 27.

SMETANA, F. Among his works mention should be made of the symphonic poems 'Wallensteins Lager,' 'Richard III,' and 'Hakou Jarl,' as well as of his successful 'Lustspielouverture' brought out shortly before his death, which took place May 12, 1884.

SMITH, Alice Mary. See White, Mrs. Meadows.

SMITH, John. See Vowles, in Appendix.

SMITH, John. P. 540a, l. 1 of article, for commonly styled Dr. Smith read Mus.D. Lines 8–11, for sentence beginning About 1826 read On July 7, 1827, the degree of Mus.D. was conferred upon him by the University of Dublin. (See vol. iv. p. 170b, note 9.) Line 16, for about 1845 read in 1847.

SMITH, John Christopher. Line 5 from end of article, for Two read Three, as another collection of Handel's works in Smith's writing belonging to the Granville family, is now in the possession of Bevil Granville, Esq. of Wellesbourne Hall, Warwickshire. Omit the reference to Handel in Appendix.

SMITH, Sydney. Add date of death, March 3, 1889.

SOCIÉTÉ DES CONCERTS DU CONSERVATOIRE. For corrections and additions see Altès and Garcin in Appendix.

SOGGETTO (Ital. for a Subject or Theme). The true subject of an orthodox Fugue: as opposed to the Andamento, which is a Subject of abnormal length; and the Attacco, which is a mere Point of Imitation.

In its most regular form, the Soggetto consists of a single homogeneous section; as in No. 1 of 'Das wohltemperirte Clavier.'

Occasionally, however, its division into two sections is very clearly marked; as in No. 7 of the same.

Subjects of this last-named class frequently make a very near approach to the Andamento, Prom which they sometimes differ only in their less extended dimensions. [See Andamento and Attacco in Appendix.]

[ W. S. R. ]

SONG. P. 604a, in the song 'When I am laid,' the treble clef should be added to the voice part, and the treble and bass clef to the accom-

1. Baini, Tom. i. p. 230. See also, vol. II. p. 637a.
2. Baini's description of these two famous volumes differs materially from that given by Haberl. He describes them as Nos. 150–151; and, among other differences, mentions a 'Miserere' by C. Festa, and another, by Sante Naidini. There can, however, be no doubt that the volumes are the same. (See Baini's 'Memorie,' Tom. II. pp. 194–197, note 577.)
3. See also vol. II. p. 336.
4. Ib.