Musicologica Humana: Studies in Honor of Warren and Ursula Kirkendale,

ed. Siegfried Gineinwieser, David Hiley, and Jorg Riedelbauer

(Florence: Olschki, 1994), 125-38

THOMAS CRECQUILLON'S 'SALAMANDER':

AN ITALIAN IMPORT

Bonnie J. Blackburn

Si Salamandre en flamme vit, c'est peu; Merveilles n'ay des (louvres de nature. Celle qui est de glace, et moy de feu, Au droict milieu de mon cceur vit, et dure. Qui la defend en un si ardant lieu? Fondre debvroit, et si devient plus dure: Amour le faict, de nature adversaire, Qu'en despit d'elle vit, ce qu'est contraire.

When Nicolas Du Chemin published the musical setting of this text

by Thomas Crecquillon (see Appendix) in Paris in 1551,' most

Frenchmen would have associated the poem, by virtue of its central

image, with the late King Francis I, whose device was a salamander in

the midst of flames, with the motto NUTRISCO ET EXTINGO. Originally a

device of Francis's family, the house of Angouleme, the salamander took

such hold of the public and private imagination that nearly everything

built during Francis's reign carried its image.'

' Neuliesme here, contenant XXVII chansons nouvelles, a quatre parties (RISM 1551 9), pp. 10-

11. I have slightly changed the text underlay to improve the declamation: the tied g' in the

superius of mm. 8-9 and 19-20 has been broken and the syllables "tu" and "du" moved from the

second beat of mm. 11 and 22, respectively, and the syllable "du" in the superius at in. 30 has been

moved from the second beat of m. 32. On the other hand, I have let stand the different rhythm

and underlay of mm. 9-10 and 20f of the contratenor. The example was prepared by Jeffrey Dean

(The Stingray Office, Oxford), to whom my warmest thanks. Cathy Elias Simon kindly sent me a

photocopy of the original for a last-minute check of my transcription.

See A.-M. LECOQ, La salamandre royale dans les entrées de Francois I", in: Les fetes de la

Renaissance, III, Paris, C.N.R.S., 1975, pp. 93-104. GUY DE TERVARENT, Attributs et symbols dans

l'art profane 1450-1600: dictionnaire d'un langage perdu, Geneva, Droz, 1959, pp. 333f, gathered

together references to a number of representations of the salamander in medals, tapestries,

printers' marks, and other art works.

— 125 —

The motto, which mixes Italian and Latin, has been variously inter-preted. Later sixteenth- and seventeenth-century commentators thought "nutrisco" meant "I nourish"; indeed, the original form of the motto was "notrisco al buono, stingo el reo".3 And what could be more appro-priate than a royal motto proclaiming nourishment of the good, extinc-tion of the bad? The interpretation does not fit the image, however, for the salamander was thought to live in fire. The more likely interpretation of "nutrisco", explained by other sixteenth-century commentators, was as passive or reflexive, "I nourish myself". Many images show the salamander eating fire. Others show the other half of the motto, the salamander spitting out water to quench the flames.

Legends about the miraculous nature of the salamander date back to antiquity. In the Historia animalium 5.19 (552" 15-16) Aristotle men-tions the salamander as an example of an animal that can survive in fire, "for this creature, so the story goes, not only walks through the fire but puts it out in doing so". 4 Pliny (NH x.188) states that it puts out fire just like ice; he also reports on its poisonous nature (xxix.74-6). These passages, widely known in the Middle Ages because they were taken over by Isidore of Seville (Ety. xii.4.36), give added point to the warrior image of the salamander, used in Francis I's entry at Rouen in 1517. 5

A closer look at Crecquillon's poem, however, reveals nothing of the royal nature of the animal: the salamander does not appear to represent Francis I but is likened to the icy nature of the poet's beloved. Perhaps, then, we are meant to see the aspect of the salamander that Paolo Giovio claimed for Francis's device: 6

Non fu men bella di quella di Lodovico, l'impresa, che portb it successore e genero suo Francesco primo, it quale come portava la giovenile eta sua, muto la fierezza dell'imprese di guerra nella dolcezza e giocondita amorosa; e per significare, che ardeva per le passioni d'amore, e tanto gli piacevano, che ardiva di dire, che si nutriva in esse, portava la Salamandra, che stando nelle fiamme,

LECOQ, p. 95. This probably explains the half-Italian, half-Latin form. It sometimes occurs as "Nutrisco et extinguo".

The Complete Works of Aristotle, Princeton UP, 1984, 1,871. LEcoQ, p. 98. A number of references to the salamander is gathered together in LYNN

THORNDIKE, A History of Magic and Experimental Science, New York, Columbia UP, 1923-58. When the fireproof property of asbestos was discovered, the substance was at first thought to be made of the skins of salamanders. Vincent of Beauvais, in his Speculum naturale, passed on the information that "Pope Alexander had a cloak made of the wool of salamanders which, whenever it became soiled, was cleansed by casting it into the flames instead of washing it in water" (quoted ibid., II, 473).

Dialogo dell'imprese militari et amorose, Lyon, G. Roviglio, 1559, pp. 22f.

— 126 —

non si consuma, col motto Italiano, the diceva: NUTIUSCO ES11NGUO essendo

propria qualita di quello animale, spargere dal corpo suo freddo humore sopra le

bragie; onde avviene, ch'egli non teme la forza del fuoco, ma piu tosto lo

tempera e spegne.

Giovio was closer to the mark because he was well acquainted with

the poetic conceit of the salamander, a tradition that goes back at least as

far as Petrarch:

Di mia morte mi pasco, & vivo in fiamme; Stranio cibo, e mirabil Salamandra (Rime, 207.40f)

Petrarch used this image only once, but it was seized upon by later

generations as the epitome of the cruel lady whose icy heart will not melt

in the heat of the poet's passion. An example is Chariteo's sonnet:'

SI come salamandra in fiamme ardenti, Ove si more altrui, vive in diletto, Cosl tu, donna, alberghi intro '1 mio petto,

Et de l'incendio mio parte non senti; Anzi di quel ti pasci et ti contenti

Nevertheless, it was still possible to combine a love poem with a nod

towards the "royal serpent", as Maurice Sceve did so elegantly in his

Delie of 1544 (CXCIX):8

Sans lesion le Serpent Royal vit Dedans le chault de la flamme luisante:

Et en l'ardeur, qui a toy me rauit, Tu to nourris sans offense cuisante: Et bien que soft sa qualite nuisante Tu t'y complais, comme en ta nourriture.

0 fusses tu par ta froide nature La Salemandre en mon feu residente: Tu y aurois delectable pasture, Et estaindrois ma passion ardente.

The poet of "Si Salamandre" is unknown; of some two hundred

chansons written by Crecquillon, only twenty-seven are on poems by

known authors, principal among them Clement Marot and Mellin de

' Le rime di Benedetto Gareth detto ii Chariteo, Naples, Accademia delle Scienze, 1892, 11,122.

° Cambridge UP, 1966, p. 228.

--127—

Saint-Gelais.9 Although probably of north French or Walloon origin (he held benefices in Termonde, Bethune, Louvain, and Namur), Crec-quillon seems to have spent most of his career in the chapel of Charles V; in the title of some of his publications he is called "maistre de la chappelle", but other documents call him singer and composer. No connection with Francis I is known, and the chanson was first published in 1551, four years after the king's death.

Crecquillon's salamander, in fact, is neither French nor Flemish but

an Italian in French costume. Its rhyme scheme, which does not follow that of the usual French huitain, ababbcbc, suggested that it was a French attempt at writing a strambotto, identical in form with ottava rima, with the scheme abababcc. Following that trail, it did not take long to trace the creature to its lair, a strambotto by Serafino Aquilano, first published in 1502:10

Se salamandra in fiamma uiue e poco: Non me stupisce quel che fa natura Ma costei che e de ghiaccio & io de foco E in mezo del mio cor uiue secura. Chi la defende in cosi ardente loco Che deuendo squagliar diuenta dura? Solo amor de natura aspro aduersario Che a suo despecto unisce ogni contrario.

See ROBERT M. TaorrEa, The Chansons of Thomas Crequillon: Texts and Form, «Revue beige

de musicologieo, XIV, 1960, pp. 56-71. io Opere, Rome, Besicken, 1503, f. cxvi (handwritten foliation; index gives cviii), taken from

the copy, lacking the title page, in I-Fr. This was edited by Angelo Colocci and is not identical with

the editio princeps, edited by Francesco Flavio and issued by Besicken in 1502. Mario Menghini,

the editor of Serafino's sonnets, suggested it was probably made from Colocci's own manuscript

collection of Serafino's poems. The sonnets have numerous captions not present in the earlier

printing, and variant readings of great interest; see Le rime di Serafino de' Ciminelli dall'Aquila,

Bologna, Romagnoli Dall'Acqua, 1894, pp. lxxiii-lxxiv (for the present poem, however, the

differences are confined to minor variants of orthography). Certainly it (together with the other

early editions) offers a better version of the poem than the 1516 edition of Giunta, where the three

rhyming words "poco"/"foco"/"loco" are replaced with the single word "foco"; this version is

edited in BARBARA BAUER-FORMICONI, Die Strambotti des Serafino dall'Aquila, Munich, W. Fink,

1967, pp. 214f. The authorship of poems attributed to Serafino is fraught with difficulties, as

GIUSEPPINA LA FACE BIANCONI and ANTONIO ROSSI have recently reminded us in their study,

"Soffrir non son disposto ogni tormento": Serafino Aquilano, figura letteraria, fantasma musicologico,

in: Atti del XIV congresso della Societa internazionak di musicologia, Turin, EDT, 1990, 11,240-254.

The edition of 1516 (with 551 strambotti), was wildly profligate with attributions; many of the

works not in the first Besicken edition of 1502 (206 strambotti) may be by the numerous imitators

of Serafino, whose verses were all the rage in Italy at the time of his death in 1500 and continued

to influence succeeding generations. But no doubt has been cast on the authorship of "Se

Salamandra", which appears in the editio princeps.

— 128 —

The strambotto is ideally suited to the framing of Petrarchan con-ceits. While the ottava rima is the vehicle of narrative poetry, the strambotto lovingly cultivates an image, preferably a paradoxical one, often closing in the final two lines with a witty epigrammatic point. It was perfect for the poet-musicians of the late fifteenth and early six-teenth century who, like Serafino, declaimed their verses to the accom-paniment of a lira da braccio. Numerous polyphonic settings survive as well. Joseph Vianey, in a still useful study, pointed out that up to 1549, with the appearance of Joachim Du Bellay's Olive, the main influence in France was not of Petrarch himself but of poets from the end of the fifteenth century, prime among them Serafino, whose influence on Clement Marot, Mellin de Saint-Gelais, and Maurice Sceve is notable. Marot's opigrammes are not distinguishable from strambotti except in the rhyme scheme, with two rimes plates in the fourth and fifth lines; style and themes are similar, but no direct translations are known. " Mellin de Saint-Gelais, on the other hand, translated at least four strambotti, one from Serafino and three from Filosseno. " Vianey had contended that Clement Marot was the earliest of the French imitators of Petrar-chist poetry, but recent research has uncovered translations of Serafino's verses by Jean Marot and his friend Jean Picart; these and other transla-tions often change the verse-form, a strambotto, for example, becoming a sonnet." Few French poets openly acknowledged their borrowings from Ital-ian sources. A notable exception was Guillaume de La Taysonniere's Les

Amoureuses occupations (Lyon, [15561), with the subtitle Asfavoir Stram-botz, Sonnetz, Chantz, & Odes. In his preface he defends the coining of the French word "strambot", chiding his contemporaries for hiding their debt to Italian poets: Tu ne trouveras etrange (lecteur) si ayant imite une espece de rime Italienne, ie l'ay nommee de nom propre en nOtre langue, come le meme Italien. Ce que n'ont encor fait tous ceus qui en ont traduit de l'Arioste, Bembo, Petrarque, A. F. Rinieri, Olimpo da Sasso Fereato & autres: ne les trouvant differer a noz

" JOSEPH VIANEY, Le Petrarquisme en France au XVI e siecle, Montpellier, Coulet, 1909. 12 Ibid., pp. 54ff. " See C. A. MAYER and D. BENTLEY-CRANCH, Le premier Petrarquiste francais Jean Marot, «Bibliotheque d'Humanisme et Renaissance», XXVII, 1965, pp. 183ff; E. M. RursoN, A Note on Jean Marot's Debt to Italian Sources, «Modern Language Review», LXI, 1966, pp. 25-28; and MARGARITA WHITE, Petrarchism in the French Rondeau before 1527, «French Studies», XXII, 1968, pp. 287-295.

— 129 —

huittains, ou epigrammes, que en la seule enlaceure de la rime. A cause de laquelle difference, it m'a semble bon luy laisser ce nom de STRAMBOT pris de strambotto, come sonet de sonetto, stanse de stanza, & aultres imites des Tusquans. Remettant toutesfois a to discretion de les appeller come it to semblera plus propre.

La Taysonniere's own poems bear little resemblance to Serafino's stram-botti: they are more personal and lack the epigrammatic point. He can probably be discounted as the translator of "Si Salamandre". Since that translation is so literal and was made from one of the earlier prints and not the widely diffused Giunta print of 1516, on which all later editions are dependent, 14 the poet is more likely to have belonged to the first wave of Serafino enthusiasts in France.

Was Crecquillon aware that "Si Salamandre" was the translation of a strambotto by Serafino? I think that the evidence can be found in the musical setting. Crecquillon's chansons (not many of which are available in modern editions) have been characterized by Howard Mayer Brown as "paradigms of Netherlands polyphony", relying "heavily on imitative technique", in which "musical continuity and logic seem to take prece-dence over heightened rhetoric and the smooth flow of counterpoint is rarely broken entirely". 'S Robert Trotter remarks that "although Ita-lianate features are present, it must be remembered that French verse in Crecquillon's time had not yet become concerned with the precise delineation of intensely contrasting feeling-states that was so characteris-tic of the madrigal generally and of the Parisian chanson in the second half of the century". t6 Crecquillon's setting belies both these state-ments. With its homophonic opening for the first line and briefly imitative passage at the beginning of the second (repeated for the third and fourth lines) it recalls the lyric style of Claudin de Sermisy and his contemporaries, as does the musical repetition of the last line. But there are new elements, as we should expect of a chanson published in a volume of 1551 devoted to "chansons nouvelles". By mid-century the influence of the Italian madrigal on the French chanson was beginning to make itself felt. Crecquillon's setting of "Si Salamandre" is considerably

" See ANTONIO Rossi, Serafino Aquikino e la poesia cortigiana, Brescia, Morcelliana, 1980, p. 23.

" The New Grove Dictionary of Music and Musicians, London, Macmillan, 1980, V,27.

— 130 —

more expressive than are his chansons in general, especially in its har-monic orientation. A long melisma, descending and rising an octave, marks the word "nature" at the end of the second line, and "dure" at the end of the fourth. '7 Lines 1 and 3 come to rest on half-cadences calling for C. A diminished fifth makes an appearance at the word "adversaire" (m. 38). But the most Italianate of all is the last line, set to a jumble of syncopated notes beautifully illustrating the words "Qu'en despit d'elle vit, ce qu'est contraire". 18 In this sophisticated instance of concept-painting Crecquillon unites his own two contraries: the form is French, but the expression is Italian.

Crecquillon's Si Salamandre itself was transformed: it turns up in a new guise in the 1570s, this time in Latin garb: Johann Lockenburg, a colleague of Lasso in the Munich court chapel, wrote a parody Mass on it in which he took over the chanson literally in the Kyrie. 19

But it was Serafino's salamander that had the longest life of all. Crossing the Channel, he found an English home in Thomas Watson's Hekatompathia of 1582: 20

The Salamander liues in fire and flame, And yet but wonder small in Natures worke: By straunger force loue winnes away her fame, As causing colde in midst of heat to lurke.

Who list of these my paines to take the view, Will soone confesse that what I say, is true.

" P. 70. " Crecquillon ignored the elision in the first line, even though Du Chemin had indicated it

by using an e with a stroke through it (as counselled by THOMAS SEBILLET in his Art poetique francoys of 1548: "le biers escrivant en Francois le figure ainsi couppe 0"; ed. Paris, E. Droz, 1932, p. 51). In his defence, one might point out that the poet has not left him much choice by running the word "salamandre" across the normal caesura after the fourth syllable. This is normal practice, but composers often break the phrase at that point.

" Paradoxically, this line, considered as poetry, ends incoherently, mistranslates the original, and lacks the expected caesura after the fourth syllable, "e1-". All these faults would be cured if we suppose that the French poet wrote not "vit" but "unit", = Serafino's "unisce". In 16th-c. writing and printing this might have been represented as "vnit", easily misread as "vit". However, it is clear from the setting that Crecquillon knew the line in its corrupt form — which indicates, if proof were needed, that he was not the translator. (My thanks to Leofranc Holford-Strevens, who spied this flaw immediately and took pleasure in contributing this note).

" The Mass, attributed to Lasso in a 19th-c. copy of a lost manuscript, has been published in Lasso's Samtliche Werke, Neue Reihe, XI, Kassel, Barenreiter, 1971, pp. 113-132; see pp. vii-viii and xii for a discussion of the attribution. The source of the model (printed ibid., XII, 1975, pp. 264ff), to judge from the readings, was Phalese's Premier hare de chansons a quatre parties nouvelkment composer & mises en musique (RISM 1554 22). Both text and music are superior in Du Chemin's version.

20 London, J. Wolfe, 1582, p. 57.

— 131 —

For one as colde as hardest frozen yse, Is fixed fast, and lodgeth in my brest; Whome reason can remoue by no deuise. Nor any force can cause to let me rest:

And yet I still so swimme in hoate desire, That more I burne then either flame or fire.

How straunge is this? can contraries so gree, That Ise in flame will neither waste nor melt, But still encrease, and harder growe to bee, Then erst before? all this my selfe have felt.

For Loue Dame Natures foe, without remorse, Thus coopleth contraries in me by force.

Unlike many poets, Watson frankly acknowledges the sources of his poetic inspiration, if such it may be called. This poem is headed "The sense or matter of this Passion is taken out of Seraphine in his Strambotti, who writeth thus" (the Italian poem follows, after a source with lines 1, 3, and 5 ending in "fuoco"). No fewer than eleven other poems use Serafino as source (mostly his sonnets), and sometimes more than one per poem. Watson himself was no stranger to the Italian madrigal, having provided the translations for The first sett of Italian madrigalls Englished, not to the sense of the original dittie, but after the affection of the noate (1590). 21

As poet, Watson cannot hold a candle to the author of the last great poem in Serafino's tradition:

My loue is lyke to yse, and I to tyre; how comes it then that this her cold so great is not dissolu'd through my so hot desyre, but harder growes the more I her intreat?

Or how comes it that my exceeding heat is not delayd by her hart frosen cold: but that I burne much more in boyling sweat, and feele my flames augmented manifold?

21 By the end of the century there were many other poems on the same subject that he could have drawn upon. ALFRED OBERTELLO, Madrigali italiani in Inghilterra, Milan, Bompiani, 1949, p. 511, quotes the beginnings of Giovanni Bruni's Canzone II ("Vivo qual salamandra immeggio a foco"), Pietro Bembo's Sonetto XVII ("Vivo in un dolce e si cocente foco"), Valerio Sali's "Felice salamandra in dolce fiamma", Giusto de' Conti's "Qual salamandra in su l'acceso foco" (for musical settings see below, Excursus), and Girolamo Quirino's "Il pesce in foco, e salamandra in fiumi". Still more verses were set by madrigal composers; see Excursus.

— 132 —

What more miraculous thing may be told that fire which all thing melts, should harden yse: and yse which is congeald with sencelesse cold, should kindle fyre by wonderfull deuyse.

Such is the powre of loue in gentle mind, that it can alter all the course of kynd.

This is Edmund Spenser's Sonnet XXX from Amoretti and Epithalamion (London, 1595).22 The explicit reference to the salamander is gone — indeed we cannot be sure that Spenser was using Serafino's stram-botto 23 — but to many readers of the poem its image would have hovered in the background. 24

*

Excursus

In the course of investigating Crecquillon's Salamander, I came across other musical salamanders. For what it is worth, I append a list:

"Fatto io son salamandra, the vive in foco e'n fiamma" Pompilio Venturi, Il terzo libro delle villanelle a tre voci, 1583 (II nuovo

Vogel 2860) (text by Venturi).

"Mio cor se vera sei Salamandra" Felice Anerio, Nervi d'Orfeo, di eccellentiss. autori a cinque et sei voci,

1605 (RISM 16059; also RISM 1610'4).

"Qual vive Salamandra in fiamma ardente" Luca Marenzio, Ii primo libro de madrigali a sei voci, 1581 (I1 nuovo Vogel

1647, etc.).

22 Cited by BAUER-FORMICONI, p. 128, n. 422, crediting the identification to JANET G. Scow, Les sonnets elisabethains, Paris, H. Champion, 1929, p. 170. On pp. 124-134 she cites a number of French, English, Spanish, and even Croatian translations or poetic echoes of Serafino's strambotti.

" Other sources have also been suggested; see The Works of Edmund Spenser: The Minor Poems, II, Baltimore, Johns Hopkins Press, 1947, pp. 429f. Without doubt equally (or more) plausible ones could be found.

24 While this article was in the press, I learned that Laura Youens had independently discovered the source of Crecquillon's text; she will treat the matter in a wider context.

— 133 —

Jean de Castro, Madrigali di Giovan De Castro (a 3), 1588 (II nuovo Vogel 509).

Jan Pieterszn. Sweelinck, Rimes francoises et italiennes (a 3), 1612 (Il nuovo Vogel 2694).

"Qual salamandra in mezo al foco vivo" Vincenzo Neriti, Il secondo libro di canzonette a quattro voci, 1595 (Il

nuovo Vogel 2034).

"La Salamandra se nel foco dura, miracolo non e, the '1 fa natura" Jean de Macque, Madrigaletti et napolitane a sei voci, 1581 (Il nuovo Vogel

1545). Jean de Macque, Il quarto libro de madrigali a cinque voci, 1599/1600 (Il

nuovo Vogel 1541).

— 134 —

APPENDIX

Thomas Crecquillon, "Si salamandre"

o = d. N. du Chemin, Neuliesme livre (1551')

#11r.111111•11111MIE •111111

0 al

9 0 0 P • 0 0 .1111•41111111•1•11111111 ' 11111111111111111111111

Superius

4 Si Sa-la - man - dre en flam - me vit, c'est

11.111111.‘11111111111111111•11 • MltIIIIIIIIIIIIIIIIIIIIII -=•"- AIM

C l II

ontratenor

o

Si Sa-la - man - dre en flam-me vit, c'est

•.......m. t MI I AI. ... .1 j a

41 0 Cr • 6 ' a

Tenor

•

Si Sa-la - man - 41, =

---•.......,

dre en flam me vit, c'est

ti .2=1.!

IIIMMIIIIIIIIIIMIIIM

• •

Bassus

6 Si Sa-la - man dre en flam me vit, c'est

6 . • • • dp • •

j J C'_• i $ 7

peu, Mer - veil- les n'ay des mu- vres de na - 6

tu - 6

i JJ ---d P J r r

peu, Mer - veil - les n'ay des ceu

4 J 7 .t) -J JJJJ 0 $j..._._

peu, Mer- veil-les

co

.1.- n'ay des oeu-vres de na - tu - re,

• (des

0 . s , • • • *

r peu, Mer - veil - les n'ay des am vres de na-

10 9 9 `" • 6 --J'5. ..? r ° 1 J

re, Cel - le qui est de gla - ce, et

a 4

0 P r a f.1

vres de na - tu - 6

re, Cel - le qui est de gla- ce, et

. 4...., J J J 0 $ c . mu-vres de

. na - tu - 6

4,

re,)Cel-le qui est de gla

0 . . - ce,

. et moy

r 0 r 7'

tu re, Cel - le qui est

— 135 —

de gla - ce, et

16

. . .. . . .. r

$ r r ' - r r

moy de feu, Au droict mi - lieu de mon cceur vit, et

to OLD I 0 _..-A • • • • moy de feu, Au droict mi - lieu de

4 J 7 i . .1 de feu,

• .. Au droict mi - lieu de m

6 on cceur

. . vit, et du -

o IN •

u r - I r ,

moy

de

feu, Au droict mi - lieu de mon

20 . vi-

9 ,, — JJ.IJ -- -r . 1.: :DJ 5 du - -

6 1

I re,

4 . mon cceur vit, et du - re, Qui la de - fend

, 4& qui ,„) .1- - J- I .1 G GI t a .•

re,

= r r (de--

r mon cceur vit, et du - re,) Qui la de-

r r 9 , r rr r, ' r. r cceur vit, et du re, Qui la de-

25

I . . II p r r [ r $ . r „,

Qui la de - fend en un si ar - dant lieu? Fon - dre deb -

4........ r a a r r en un si ar - - dant lieu? Fon - dre

J J 4 J. J J J .t) .1 .-2-aJ. . fend en un si ar - dant lieu? Fon - dre deb - vroit, et 6 ly

fi r• v

' - r r L[I-" fend

en un si ar dant lieu?

- 136 -

29

- r r

• 4/ • J .1 4, r 4,FJ vroit, et si de - vient plus du - -

, 4

-

,i) J J J......____ J J _ j ,--,

r r .J) ci - deb- vroit, et si de - vient plus

J.

du - 4 .. . t J J J- . J. J

si de- vient plus J. du re, (et

.t) .J si de- vient plus

- $1 - - 7' r ' r r Et si de - vient plus du -

33 $1.

' II.) J J_____.. J J r -r 1 - re: A - mour le faict de

J. t 4 a J a J J- • .1- 4 J 0

re: A - mour le faict, (a - mour le faict) de na - to

$ J .1 .1 4) - at)

du - re:)

•

( a.

A- mour le faict de na - tu - re ad - b 6 •

J_ ver - sai -

, r_o 7' r re: A - mour le faict de na - hi - re ad ver- - sai

37 6 - , .

17,

r J r - J " 1 7 1 na - tu- read- ver - sai - re, Qu'en des - pit

J. 4 J •• J) ) J) .) 0,6 4,

re ad - ver - sai - . # re, Qu'en des - pit d'el - le

.. 4 J .) J) J J J) ) ) ) .) J .. .... ,

- 4.1 • re, Qu'en des - pit d'el - le

# b 11

vit,

• r 9 2 , 1

re, Qu'en des - pit d'el - le vit,

- 137 -

40

' P if ^ 5 J 1 7 . • .,)• 4 7 ' ; "-r d'el - le vit, ce

; P ; qu'est con- trai - - -

I, 4, J I J L dp.)

ot) j j it

7 vit, ce qu'est con - trai re, (ce qu'est con-trai

J J 4 J ..) . • 1.1 .f.) ce

6 r qu'est con- trai -

. . 9' $ 1 r r r r r r ce qu'est con - trai

43

s' $ W P

,. / 7 J 7 7 .1 - re, Qu'en des -

6 pit d'el - le vit,

J +I) 4 a s) #b ) J' ) J . - re,) Qu'en des - pit d'el - le vit, ce qu'est

J J .t) .) .) .) J) ,_ J J ,

- re, Qu'en des - pit d'el - le vit, ----..

9:' ; ; • $ 1

45

) J •

re, Qu'en des - pit d'el - le vit, ce

a r r 4„) ,,,r r roil ; r I . ce qu'est con - trai - re.

6 i J J a) J, .1 4 ) J / . . . .... , a) . J)r s„, 1

con - trai - re, (ce qu'est con- trai - re.)

4 $ J j 17, J .> 4,1) .1 .,- j I .. ce qu'est con- trai - -

• ... • •

- re.

I r r NM

qu'est con - trai re.

- 138 -