P-Ln_FCR_329

TM0114

Eva Mathilde — Mon, 28 Aug 2023 12:56:27 +0000

TM0114 Eva Mathilde Mon, 08/28/2023 - 12:56

Watermark: BEN^TO PICARDO

Countermark: EFIGLJ

Height: 24 (mm)

Paper mill

Picardo, Benedetto

Date: 1821, 1822

Source(s)

Location in source: P-Ln_FCR_168_093_3_p_1_4; P-Ln_FCR_168_093_6_p_4_9

Rastrology(ies) using this watermark

Notes

Wove paper
Parts with this watermark:
- P-Ln_FCR_023.1-3/5
- P-Ln_FCR_040_23_38/47/55
- P-Ln_FCR_080_02.2/4/6
- P-Ln_FCR_080_04.1/2/6
- P-Ln_FCR_080_06.1/2/4-6
- P-Ln_FCR_156_25.1/4/6
- P-Ln_FCR_168_090.3-6
- P-Ln_FCR_168_093.2/3/6
- P-Ln_FCR_168_094.5/6
- P-Ln_FCR_168_095.3-5
- P-Ln_FCR_190_10.1/2/4
- P-Ln_FCR_190_16.1
- P-Ln_FCR_275.3
- P-Ln_FCR_301.1
- P-Ln_FCR_329.1/4/6
- P-Ln_FCR_339.1-3
- P-Ln_FCR_371.2

Images

Watermark
Countermark
Sheet

WM0114

Eva Mathilde — Mon, 28 Aug 2023 12:45:05 +0000

WM0114 Eva Mathilde Mon, 08/28/2023 - 12:45

Watermark: BEN^TO PICARDO

Countermark: EFIGLJ

Height: 25 (mm)

Paper mill

Picardo, Benedetto

Date: 1821, 1822, 1843

Twinmark: TM0114

Location in source: P-Ln_FCR_168_093_4_p_1_4; P-Ln_FCR_168_094_3_p_9_12

Rastrology(ies) using this watermark

Notes

Wove paper
Variant 3; other variants - WM0112, WM0113, WM0115, WM0116, WM0117, WM0118, WM0119
Parts with this watermark:
- P-Ln_FCR_023.1/4
- P-Ln_FCR_040_21.1/3/8
- P-Ln_FCR_040_23.42/49/51
- P-Ln_FCR_040_27_1/3/8
- P-Ln_FCR_073.3
- P-Ln_FCR_080_02.1/3/5
- P-Ln_FCR_080_04.1/4/5
- P-Ln_FCR_080_06.3
- P-Ln_FCR_154_3.3
- P-Ln_FCR_190_10.1/5/6
- P-Ln_FCR_190_16.1
- P-Ln_FCR_205_08.1
- P-Ln_FCR_275.2/4
- P-Ln_FCR_301.1
- P-Ln_FCR_329.1/2
- P-Ln_FCR_371.3/4

Images

Watermark
Countermark
Sheet

Martins, Isidoro Simões

Eva Mathilde — Thu, 17 Aug 2023 10:32:18 +0000

Martins, Isidoro Simões

C-Clef

Type 1

Eva Mathilde Thu, 08/17/2023 - 10:32

F-Clef

Type 2

Function

Copyist

Biography

Isidoro Simões Martins (fl. 1810-1837) was admitted to the Sé Patriarcal as an adult singer (‘Cantor’) in 1802 (Fernandes 2009, ii, p. 223). He was a copyist active in the Patriarchal Church in the period 1816-1826 (Marques 2012, p. 834) and is to be identified with Sé4 in Marques 2012. He very rarely signed his copies; an exception is a score of a ‘Hymno de Laudes’ for S. Joseph performed on 19 March 1826, inscribed ‘I.S. Martins’ (P-Lf, 325, E.7).

Martins’ copies are thoroughly professional and meticulous in appearance. He often wrote the total number of sheets of paper he used on his title-pages. In addition, total numbers of bars tend to be written at the ends of movements. Elongated tails of downwards-pointing quavers are a distinguishing feature of his copies in P-Lf, which may be among the earliest examples of his work, though they are occasionally found in later manuscripts (e.g. P-Ln, F.C.R. 168//95).

An exceptionally large number of copies of sacred music in the Fundo do Conde de Redondo were copied by Martins using the same paper types. The precise circumstances in which these manuscripts were copied - whether they were copied for use at the 15th Conde de Redondo’s private chapel at the Bom Jardim or acquired from somewhere - remain an open question.

Cristina Fernandes, ‘O sistema produtivo da Música Sacra em Portugal no final do Antigo Regime: a Capela Real e a Patriarcal entre 1750 e 1807’, PhD thesis (Universidade de Évora, 2009).

António Jorge Marques, A obra religiosa de Marcos António Portugal (1762-1830): catálogo temático, crítica de fontes e de texto, proposta de cronologia (Lisbon, Biblioteca Nacional de Portugal, 2012), pp. 833-834, 851.

G-Clef

Type 2

Single quaver (stem down)

Type 2

Source(s)

Watermark ID

Paper type ID

Images

P-Ln_FCR_329

TM0114

Watermark

Countermark

Sheet

WM0114

Watermark

Countermark

Sheet

Martins, Isidoro Simões