The pieces marked thus have been printed. See No. 1058.

1879. GASTOLDI (Giovanni Giacomo). The Ballets, for five voices, composed by him, together with the Madrigals, &c., by Orazio Vecchi, and the greater part of the Canons, &c., printed with the same in the edition published at Amsterdam in 1600. (See No. 1072.) In score.

quarto.

1880. GIBBONS (Orlando), Mus. Doc. and Thomas MORLEY, Mus. Bac. "Orlando Gibbons' First Set of Madrigals and Motetts, for Five Voyces." Printed at London, 1612. See Nos. 46 and 1081, and

"Canzonets, or Little Short Songs to 4 Voc., collected out of the best and approued Italian Authors by Thomas Morley. Printed at London, 1597." See No. 1081.

In score, in the handwriting of William Walond, 1747.
Bound together.
oblong quarto.

1881. MADRIGALS (A Collection of), for three, four, five, and six
voices, in separate parts. 4 vols. (written probably towards
the middle of the 17th century), containing the Cantus,
Altus, Tenor, and Bassus parts; the vols. containing the
Quintus and Sextus parts, necessary to perfect the 5 and 6
part madrigals, being wanting. The name of William
Firmage is stamped on the covers.
oblong quarto.

1882. MADRIGALS, &c., in separate parts. Four books. Containing

the triplex, medius, tenor and bassus parts, the altus being

Pieces for viols by Weelkes, Robert Parsons, Byrd, William Wandes

ton, R. Bramley, and Johnson.

1883. MARENZIO (Luca).

Ten Madrigals, for five voices, with Italian

and English words. In separate parts, in the handwriting of John Immyns, Founder of the Madrigal Society.

oblong octavo.

Madonna mia gentil (O lovely Berenice).
Cantava la piu vaga (Sing, Muses, as enchanting).
Deggio dunque partire (I must leave her lamenting).
Io partiro ma il core (Alas, we part for ever).
Ma voi caro (But you, sweetest of pleasure).
Amor, Io non potrei (O Love, at length reward me).
Ecco più che mai belle (See, how the western winds).
Ridean gia perle (Smiling soft April).

Hiagge, herb' e fiori (Meadows, herbs, and flowers).
Liquide perle amor (So through a watery cloud).*
· Better known as "Liquid and wat'ry pearls."

1884. MORLEY (Thomas), Mus. Bac. "Canzonets; or, Little Short Songs to Three Voyces." Printed in separate parts at London in 1593, and reprinted with additions in 1606. See Nos. 1081 and 1096.

"The First Set of Ballets for Five Voyces." Printed in separate parts at London in 1595, and in score by the Musical Antiquarian Society in 1841. See Nos. 1089 and 46.

“Arise, awake,” Madrigal, from the "Triumphs of Oriana.” See Nos. 1091 and 1092.

"O amica mea," Motett.

In score, in the handwriting of Dr. John Alcock, dated Reading, 1746. 2 vols., small folio.

1885. MORLEY (Thomas). Canzonets to two voices.

Madrigals for four voices. See No. 1939.

See No. 1939.

1886. RORE (Cipriano di). Il quarto Libro de Madrigali. See No. 1889.

1887. TOMKINS (Thomas). Twenty-three of the twenty-eight "Songs of 3, 4, 5 and 6 parts," published by the author in separate parts (See No. 1107), scored from the original part books by Vincent Novello. oblong quarto. 1844.

Presented to the Society by Mr. J. A. Novello.

1888. VENOSA (Carlo Gesualdo, Principe di). Madrigali, Libro Primo et Libro Secondo." (Venice, 1603.) In score. At the end of the volume is a catch (or round) for four voices, "Happy is the man," by Barsanti. oblong quarto.

For a printed score of this composer's Madrigals, see No. 1110.

1889. WERT (Giaches de). Il primo Libro de Madrigali a cinque

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