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RomeP\nHabR 255, 257.\n\nLE BEL Jacques (Jacotin) [av. 1525 - av. 1547 ; ap. 1555] Chantre de la Chapelle de musique de François Ier (haute-contre).  Le problème du ou des « Jacotin » est encore loin d’être résolu, car plusieurs musiciens de la première moitié du XVIe siècle ont porté ce diminutif, d’où d’inextricables problèmes d’interprétation . Tout ce que nous pouvons avancer est que le « Jacotinus Level » employé comme « cantor secretus » de Léon X, c’est-à-dire chantre de la chapelle privée du pontife, de juin 1516 à septembre 1517 et de février 1519 à octobre 1520 , semble être le haute-contre de la Chapelle de musique de François Ier appelé en 1533 « Jacques Le Beel ». Sans doute « Jacobus Level », maître de chapelle de Saint-Louis-des-Français du 1er octobre 1519 au 13 mars 1521, est-il aussi la même personne . Ce qui empêche sans doute d’affirmer qu’il s’agit dans les trois cas d’un seul et même personnage vient du fait que les noms recueillis ne sont jamais exactement identiques : dans le même alinéa du compte de la Chapelle de musique pour 1533, on lit successivement « Jacques Le Beel » et « Jacques Lebel ». La forme « Level » donnée par les documents pontificaux n’est guère étonnante, la distinction entre « v » et « b » n’étant pas toujours nette dans les manuscrits de l’époque. Par ailleurs, il n’est pas impossible, comme l’a suggéré, avec des réserves, L. Lockwood, que Le Bel soit le surnom d’un chantre d’origine française cité par l’ambassadeur de Ferrare à Rome, Enea Pio, un certain « Jacotino Frontino » ; ce dernier était au service du cardinal Louis d’Aragon et se rendit en France en février 1516, curieusement, « pour devenir maître de la chapelle royale » . Antoine de Longueval occupant déjà ce poste, il se peut que Jacotino soit alors parti à Rome, et que ce soit encore lui le « cantor secretus » de Léon X.  Des archives royales permettent de dire que le chanteur qui apparaît sur le compte de 1533 était certainement au service de François Ier avant 1525 : le 20 mai, Jacques Le Bel, clerc du diocèse d’Amiens, fut pourvu par la régente, Louise de Savoie, d’un canonicat à Notre-Dame-du-Puy-en-Anjou, dans le diocèse de Poitiers . Nous retrouvons un « Jacotin » dans l’épître de Jean Du Four adressée à Hector Boucher, parmi d’autres musiciens de la chapelle de François Ier, comme Sermisy, Pierre Vermont, Jacques Turpin et le Liégeoys. Le poème ayant été composé et copié entre 1523 et 1530 , cela s’accorde avec les deux mentions de « Jacques Le Bel » relevées dans les documents royaux, en 1525 et 1533. Enfin, un document daté du 17 février 1555 par lequel « Guillaume Millet, secretaire de la Chambre du roy et tresorier et paieur des gaiges des chantres, chanoines et autres officiers de sa Chappelle de musicque, certiffie a qui il appartiendra que me Jacotin Le Bel est chantre et chanoine ordinaire en lad. Chappelle, couché et emploié en l’estat faict par led. sr et par moy paié de ses gages comme les autres chantres, chanoines et aultres officiers d’icelle Chappelle » .  Ces témoignages rendent très probable l’hypothèse faisant du chantre de la chapelle de François Ier le « Jacotin » dont trente-deux pièces ont été éditées par Attaingnant. Les œuvres de ce musicien ne sont d’ailleurs pas de nature à la contredire, puisque selon G. Nugent, deux motets au moins ont été clairement composés à l’intention de la cour. L’un d’eux, Interveniat pro rege nostro, imprimé par Petrucci dans les Motetti de la corona, fait certainement référence à la mort de Louis XII. Jacotin est également l’auteur d’une trentaine de chansons . \n\n . Voir G. NUGENT, « Jacotin », dans Grove, énumérant les différents compositeurs appelés Jacotin. \n . H. W. FREY, « Regesten... », op. cit., 1955, vol. VIII, p. 422.\n . H. W. FREY, « Die Kapellmeister an der französischen nazionalkirche San Luigi dei Francesi in Rom im 16. Jahrhundert », Archiv für Musikwissenschaft, 1965, vol. XXII, p. 274.\n . L. LOCKWOOD, dans « Jean Mouton... », op. cit., p. 223 : « ... partì per Franza fa Maestro di Capella del Christianissimo ». J. T. Brobeck a fait remarquer qu’on trouve dans l’ouvrage de J.-R. Bloch, L’Anoblissement en France au temps de François Ier, Paris, 1934, p. 174, un « Jacques Frontin, normand », anobli par François Ier en 1533 ou 1534. (The Motet..., op. cit., p. 590, note 34.) \n . G. ROBERTET, op. cit., n° 464. Le roi jouissait dans cette collégiale de la collation plénière des bénéfices. Plus tard, en 1594, Henri IV les réserva aux chantres de sa Chapelle, rendant officielle une pratique sans doute ancienne. (Voir l’abbé OROUX, op. cit., vol. II, p. 259-260).\n . Le poème se trouve dans le ms. 17276 de la BNF, f. 95, DOC. 6. Cette épître fut composée avant octobre 1530. (Voir J. T. BROBECK, op. cit., p. 588, note 29.)\n . BNF ms. F 7835, n° 8 (original sur parchemin). Cela suppose cependant, si l’on considère qu’il s’agit toujours du même personnage, qu’il ait momentanément quitté la cour de France, car il ne figure pas sur le compte des obsèques de François Ier.\n . G. 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For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1"},["text","Person"]]]]]]]],["itemType",{"itemTypeId":"19"},["name","PersonChantres"],["description"],["elementContainer",["element",{"elementId":"52"},["name","CESR_person_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27615"},["text","CESR_person_02785"]]]],["element",{"elementId":"53"},["name","Surname"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27617"},["text","Houte (van)"]]]],["element",{"elementId":"54"},["name","Given Name"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27618"},["text","Jan"]]]],["element",{"elementId":"55"},["name","Given Name Surname"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27619"},["text","Jan van Houte"]]]],["element",{"elementId":"56"},["name","Variant name"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27620"},["text","Johannes "]],["elementText",{"elementTextId":"27621"},["text"," Ligno (de)"]]]],["element",{"elementId":"57"},["name","Gender"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27622"},["text","Male"]]]],["element",{"elementId":"69"},["name","Role_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27623"},["text","Role_001"]]]],["element",{"elementId":"70"},["name","Role"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27624"},["text","Musician"]]]],["element",{"elementId":"72"},["name","Period of activity (beginning) Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27625"},["text","1493"]]]],["element",{"elementId":"74"},["name","Period of activity (ending) Qualif"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27626"},["text","1503"]]]],["element",{"elementId":"80"},["name","Biography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27627"},["text","Wegman BSCE\nHoute, Jan van [Johannes de Ligno]\nfl. 1493-1503. Singer?; mag. (Leuven; Orléans).\nAntwerpOL; BrusselsSG\nPLP II; 2, 238. HagghB 612.\n"]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27628"},["text","Haggh 1989"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"27616"},["text","Houte (van), Jan (…-…). Musician"]]]]]]]],["item",{"itemId":"1784","public":"1","featured":"1"},["collection",{"collectionId":"1"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1"},["text","Person"]]]]]]]],["itemType",{"itemTypeId":"19"},["name","PersonChantres"],["description"],["elementContainer",["element",{"elementId":"52"},["name","CESR_person_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27602"},["text","CESR_person_02784"]]]],["element",{"elementId":"53"},["name","Surname"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27604"},["text","Precigney"]]]],["element",{"elementId":"54"},["name","Given Name"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27605"},["text","Raynero"]]]],["element",{"elementId":"55"},["name","Given Name Surname"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27606"},["text","Raynero Precigney"]]]],["element",{"elementId":"56"},["name","Variant name"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27607"},["text","Precigneyo"]]]],["element",{"elementId":"57"},["name","Gender"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27608"},["text","Male"]]]],["element",{"elementId":"64"},["name","Date of death Qualif"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27609"},["text","before"]]]],["element",{"elementId":"65"},["name","Date of death Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27610"},["text","1482-3"]]]],["element",{"elementId":"72"},["name","Period of activity (beginning) Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27611"},["text","1469"]]]],["element",{"elementId":"74"},["name","Period of activity (ending) Qualif"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27612"},["text","1482"]]]],["element",{"elementId":"80"},["name","Biography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27613"},["text","A faire d’après Merkley & Merkley 1999, p. 58-60, 87, 90-1, 101-2, 107, 109, 153, 177-80, 242-4, 251-2, 277, 284, 375\nIl arrive à Milan en provenance de Naples\nDoc cité p 60:\nSite Web :http://www.british-history.ac.uk/report.aspx?compid=92257Oct. 15.\nRegistro\nMissivi\nDucale.\nVol. 108.\nMilan\nArchives. 232. Galeazzo Maria Sforza, Duke of Milan to Edward IV, King of England.\nCum decreverimus cappellam nostram aliquibus perfectis musicis et cantoribus ornare, qui nobis cantu et musica satisfaciant, jussimus venerabili dom. Raynerio, musico nostro, et Aloysio, nostro familiari dilectis, ut in loca transalpina et in Angliam proficiscantur, qui eos cantores et musicos necessarios nostris diligenter querant, atque ad nos cum spe optima premiorum deducant, qui tamen et arcte musicam et canendi suanitatem optime teneant. Itaque visum est etiam nobis non alienum a nostra in Majestatem vestram benevolentiam litteras nostras ad illa dare quam vehementer hortamur horamusque ut iis duobus nunciis nostris faveant opituleturque, si quid eis occurrat in quo Majestatis vestri opere favoribusque opus fuerit, ita ut mente nostram et desiderium in iis perquirendis pro capella nostra cantoribus diligenter adimplere possent. In quo sane Sublimitas vestra rem nobis faciet pergratissima, cui et nos ad alia hujusmodi longeque majora paratissimi erimus.\nDatum in urbe nostra Mediolani, die xv. Octobris, 1471, per Fabrit.\n\nWegman BSCE\nPrecigneyo, Raynero\nfl. 1469-75. Cler.; can. NaplesRC; MilanDC\nAtlaN 40-1, 52, 95. SartJ 64-5. LowAS 38.\n"]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27614"},["text","Atlas 1985"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"27603"},["text","Precigney, Raynero (…-before Mar. 1482)"]]]]]]]],["item",{"itemId":"1783","public":"1","featured":"1"},["collection",{"collectionId":"1"},["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"1"},["text","Person"]]]]]]]],["itemType",{"itemTypeId":"19"},["name","PersonChantres"],["description"],["elementContainer",["element",{"elementId":"52"},["name","CESR_person_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27577"},["text","CESR_person_02783"]]]],["element",{"elementId":"53"},["name","Surname"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27579"},["text","Busnoys"]]]],["element",{"elementId":"54"},["name","Given Name"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27580"},["text","Antoine"]]]],["element",{"elementId":"55"},["name","Given Name Surname"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27581"},["text","Antoine Busnoys"]]]],["element",{"elementId":"56"},["name","Variant name"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27582"},["text","Busne (de) "]],["elementText",{"elementTextId":"27583"},["text"," Busnes (de) "]],["elementText",{"elementTextId":"27584"},["text"," Bunes (de) "]],["elementText",{"elementTextId":"27585"},["text"," Busnois "]],["elementText",{"elementTextId":"27586"},["text"," Bunois "]],["elementText",{"elementTextId":"27587"},["text"," Bunoys"]]]],["element",{"elementId":"57"},["name","Gender"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27588"},["text","Male"]]]],["element",{"elementId":"58"},["name","Date of birth Qualif"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27589"},["text","circa"]]]],["element",{"elementId":"59"},["name","Date of birth Qualif Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27590"},["text","1435"]]]],["element",{"elementId":"64"},["name","Date of death Qualif"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27591"},["text","before"]]]],["element",{"elementId":"65"},["name","Date of death Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27592"},["text","1492-11-6"]]]],["element",{"elementId":"67"},["name","Cities_Standardized_ID Death"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27593"},["text","Cities_Standardized_0130"]]]],["element",{"elementId":"68"},["name","Place of death"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27594"},["text","Brugge (?)"]]]],["element",{"elementId":"69"},["name","Role_ID"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27595"},["text","Role_024 "]],["elementText",{"elementTextId":"27596"},["text"," Role_001"]]]],["element",{"elementId":"70"},["name","Role"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27597"},["text","Composer "]],["elementText",{"elementTextId":"27598"},["text"," Musician"]]]],["element",{"elementId":"72"},["name","Period of activity (beginning) Start"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27599"},["text","1461"]]]],["element",{"elementId":"74"},["name","Period of activity (ending) Qualif"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27600"},["text","1492"]]]],["element",{"elementId":"80"},["name","Biography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27601"},["text","Dans le texte de son motet In hydraulis, Busnoys se décrit comme “indigne musicien du comte de Charolais”. Aucun registre du comte de Charolais n’étant conservé entre celui de 1457 et celui de 1467, il est impossible de documenter les premiers contacts de Busnoys avec le futur duc de Bourgogne avant mars 1467, date du premier don connu de Charles de Bourgogne à Busnoys. Le séjour du comte de Charolais à Tours à l’automne 1461 offre un possible contexte à une première rencontre, puisque Busnoys y est mentionné comme chapelain de la cathédrale en février 1461, où sa présence remonte au moins à l’automne précédent (Starr 1992, pp.249-256), puis comme clerc de chœur et heurier de St-Martin en avril 1465 (Higgins1987, pp.125-138) et, enfin, comme maître des enfants de St-Martin en septembre 1465, date à laquelle il postule au poste de maître des enfants de St-Hilaire de Poitiers, qu’il obtient et conserve jusqu’en juillet 1466 (Higgins1999, pp.155-160). A cette date, Charles le Téméraire se trouvait à nouveau en France, dans la région parisienne, où, après les campagnes militaires de la Ligue du Bien Public de l’été 1465, se déroulèrent, de la fin août au départ du comte de Charolais le 1er novembre, les négociations des traités de Conflans et de Saint-Maur (5-6 octobre). Outre tous les plus importants seigneurs du royaume, les compositeurs Robert Morton et, peut-être, Adrien Basin et Hayne de Ghizeghem étaient présents, dans l’entourage de Charles de Bourgogne. La certitude d’être engagé rapidement à la cour de Bourgogne est la plus probable explication du départ de Busnoys de Poitiers en juillet 1466 puisqu’il reçoit de Charles, dès mars 1467, une série de dons individuels “pour soy entretenir en son service”: 8£ le 14 mars, 16£ le 26 août et 20£ le 18 octobre (1467R, ff. 97, 259v & 358). En 1468, le duc lui donne 16£ en avril, “en consideration des services qu’il lui a faiz” de décembre 1467 à mars 1468, 16£ en juillet suivant “en faveur des bons services par lui faiz” d’avril à juin, et 24£ en septembre “pour soy monter, habiller et le servir en sadicte armee [de Liège]” (1468R, ff. 77v, 160 & 234). Dans toutes ces entrées, il est appellé “Antoine de Busne dit Busnoys, chantre de mondit seigneur”, un statut exceptionnel, indépendant de tout statut officiel de l’hôtel, qu’il ne partage alors qu’avec Pasquin Louis, moins célèbre mais également compositeur. Il faut ensuite attendre la liste des livrées de 1470 (1470R, f.51) pour voir figurer Busnoys au sein de l’effectif officiel de la chapelle ducale, au sein d’un petit contingent de quatre demi-chapelains qualifiés de nouveaux, mais avec la précision: “pour sa portion de robe du mois d’octobre”. Les escroes confirment qu’à la différence de ses trois collègues, engagés au 1er février, Busnoys ne fut retenu qu’en octobre. Entre septembre 1468, date de son dernier don au titre de chantre et octobre 1470, date de sa retenue officielle dans la chapelle, son nom n’est mentionné qu’une fois, à l’occasion du remboursement, en août et septembre 1469, des frais engagés pour faire faire deux habillements de chapelain domestique, l’un pour Busnoys, l’autre pour Pasquin Louis (1469R, ff. 319v & 341v). A la différence de Busnoys, Pasquin reçut cependant tous les mois, à partir de juin 1469, des gages extraordinaires de “chantre en la chapelle domestique” (N.B.: la formulation “en la chapelle” et non “de la chapelle” n’est absolument pas fortuite, Pasquin n’étant toujours pas officiellement retenu dans l’institution). La disparition des folios 167 à 182 du registre de 1469 (1469R) qui contenaient sans doute une section de “dons ordinaires” laisse certes planer une incertitude, mais le fait que Busnoys n’ait pas bénéficié du même traitement que Pasquin et que le paiement de la livrée de chapelain de Busnoys précise qu’elle lui avait été donnée “nagaires”, précision absente de l’entrée concernant la livrée de Pasquin, tend à indiquer qu’il s’absenta pendant la plupart de l’année 1469 et les 9 premiers mois de 1470. La présence de Louis XI pendant la campagne de Liège de l’automne 1468, juste avant la période d’absence de Busnoys, pourrait indiquer qu’il suivit momentanément ce souverain qu’il avait pu cotoyer à Tours dans la première moitié des années 1460. Quoiqu’il en soit, cette période d’absence fut apparemment mise à profit par Busnoys pour terminer des études universitaires (à Poitiers, ou ailleurs). A l’automne 1470, date de son retour et de son engagement officiel dans la chapelle, il porte pour la première fois le titre de “messire” et l’acte juridique de février suivant par lequel il donne procuration pour sa prébende d’Andenne le qualifie de “maître” (voir ci-dessous). Le fait qu’il ait reçu, juste après son engagement en octobre 1470, un don de 16£ en novembre (1470R, f. 389v) et, à peine trois mois plus tard, une prébende canoniale est conforme au processus d’engagement de chantres réputés attesté, par exemple, à Ferrare en 1479-80 (Lockwood1984, 174-177). A partir de son engagement officiel, la carrière de Busnoys suit un cours régulier mais sans éclat particulier. Promu clerc vers le 1.1.1472, puis chapelain vers le 1.11.1473, il demeure modestement jusqu’à la fin de sa carrière parmi les trois ou quatre derniers chapelains nommés. Ses deux seules périodes d’absence dans les escroes conservés (19.5 - 23.6.1479 et 1.2- 21.4.1481) indiquent qu’au cours de sa carrière bourguignonne, il n’eut aucun ancrage local nécessitant sa présence.\n\n• Cathédrale de Tours, 1461-1465. Après avoir peut-être servi à la cour de Bretagne vers 1458, dans l’entourage du seigneur et poète Jacques de Luxembourg, originaire de Saint Pol sur Ternoise, près de Béthune (Fallows1999), sa présence est attestée en 1461 à Tours, dans le cadre de la cathédrale St-Gatien  (Starr1992) puis de l’abbaye St-Martin en 1464-1465 (Higgins1986/-87). En sept. 1465, il obtient, avec le soutien des chanoines Jean d’Amboise (frère de Louis, évêque d’Albi en 1474 et conseiller de Louis XI), Réné du Bellay (frère de Jean, évêque de Poitiers de 1462 à 1478) et Jacques Boisleve (recteur de l’université de Poitiers), le poste de maître des enfants de la collégiale St-Hilaire de Poitiers, qu’il quitte apparemment précipitemment en juillet suivant (Higgins1999).\n• Arrivé au service de Charles, comte de Charolais, avant mars 1467, en provenance de Poitiers où il se trouve encore en juillet 1466, il sert en continu jusqu’à la fin de l’année 1468 au titre exceptionnel de “chantre de mondit seigneur” (titre dont bénéficie aussi Pasquin Louis*). Il semble alors s’absenter, peut-être pour terminer ses études universitaires, jusqu’en octobre 1470, date de son engagement officiel dans la chapelle, suivi d’un don en novembre et d’au moins une prébende en février (acte d’installation à Ste-Begge d’Andenne dans lequel figure la première mention de son titre de maître, qui n’apparaît dans la documentation de la cour qu’en janvier 1472, juin 1473 et >13.2.1474, mais pas partout avant décembre 1474). Carrière continue jusqu’en avril 1483 au moins. Dans les doc. bg, le titre de maître .\n• Chanoine de Ste-Begge d’Andenne installé le 29.10.1471 (le 15.2.1471, lui et Martin Florent nomment comme procureurs pour leurs prébendes de Ste-Begge d’Andenne ou pour tout autre bénéfice, Jean Lanvin, chanoine de St-Aubain de Namur et Bernard Buillot, clerc du diocèse de Thérouanne. Busnoys est “magister”, toute premiere mention de ce titre), il résigne le 10.11.1478 (N.B.: une “fille Hugues Bunois” figure dans le rôle des bénéfices de 1481 pour les “prébendes des demoiselles” d’Andenne (2/3), 1481Bén, f. 3v). Résigne la chapelle St-Sylvestre du château de Mons le 4.6.1473 au profit de Bernard Buillot (AGR, AdL, Ch. 1737). Chanoine de la cathédrale de Thérouanne dans la liste d’annates de janvier 1477 (Roth1991, p. 542-43). Il permute sa prébende d’Andenne contre la chapelle St-Esprit et Ste-Croix de St-Nicolas de Bruxelles avec Gauthier Heny* le 10.11.1478, et, quatre jour après, cette chapelle contre une chapelle non nommée située à Tervuren, sans doute celle du château, avec Jean Pintot* (Haggh1999, p.310). Chanoine de St-Gommaire de Lierre, il résigne le 27.1.1482, au profit de Jean de Bourgogne (1482Aud, f.9 ; Theunissens 1881, p. 417, d’après la Lyra sacra, manuscrit de Christophe Drymans sur l’histoire de l’église de Lierre rédigé dans la seconde moitié du XVIIIe siècle recense “Antonius Bunoy” parmi les détenteurs de la dixième prébende de l’église, et dans un ordre manifestement erroné ; Wouters & Shreurs 1996, p. 124, indiquent que c’est en fait la quatrième prébende — celle qui fut effectivement détenue par Jean de Brabant puis, d’ailleurs, par Jean Cordier* [Theunissens 1881, p. 402]) Rôle des bénéfices de 1481: prébendes de Mons (4/5), de Condé (1/3) et de Tholen en Zélande (3/4). Doyen de St-Pancrace d’Oost-Voorne à une date inconnue (qualifié de “doyen de Vorne” dans la lettre de Molinet FD, II, pp. 795-796). Cette référence ne peut renvoyer à la collégiale Ste-Walburge de Furnes (Veurne), dont le doyen, Robert de Cambrin, est mentionné de 1450 à 1503  au moins (Berlière1904, p.104; PirroBN, acta 1062, f.100, etc.).\n• Un document perdu de St-Sauveur de Bruges, publié par Strohm1985, p.234, n. 51, d’après une copie du début du XXe siècle, signale que, le 6.11.1492, la charge de cantor de cette église échut “per obitum cantoris Anthonii Busnois” à un certain “Dominus Walterus”. Du fait de l’absence de toute autre mention de Busnoys dans les archives de Bruges et des incertitudes concernant le statut de cantor de St-Sauveur, Strohm suggère que Busnoys décéda ailleurs, mais remarque que les années 1485 furent marquées par un développement important de la polyphonie à St-Sauveur, et que Busnoys était membre de la conférie St-Sauveur."]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"27578"},["text","Busnoys, Antoine (circa 1435-before 6 Nov. 1492). 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En 1524, l’archevêque de Rouen nomme Brocart à la cure de Saint-Jean Pierrefiques (F-dép. Seine-Maritime). Cette nomination étant du ressort du Roi, en sa fonction de gardien légal (“garde-noble”) des enfants de feu Jean Bailly, seigneur de Pierrefiques, cela indique que Brocart était déjà lié d’une façon ou d’une autre à la cour du roi (document de Saint-Just-sur-Lyon en date du 23.11.1524 ; voir François Ier Actes, V, p. 632 ; Robertet 1888, nº 63 ; Cazaux 2002, p. 346 n. 93, le tout d’après F-BnF, f. fr. 5779). En 1533 et 1535, Brocart apparait parmi les chanteurs de la chapelle de plainchant, placée sous le patronage de Louise de Savoie depuis sa création en 1524/1525 jusqu’à la mort de Louise en 1531 (Cazaux 2002, p. 95-9, 314, d’après F-BnF, f. fr. 10389 & 2964). Sept autres chanteurs (Jean Baillet*, Jacques Glénard, François Marandet, Anthoine Perthius, Guillaume Royer and Jean Villaine) à qui Louise avait accordé des bénéfices lors de la création de la chapelle de plainchant en 1524/1525 y chantaient toujours en 1533. Étant donné que Brocart avait reçu une prébende à Notre-Dame de Vernon-sur-Seine le 27.3.1525 (François Ier Actes, V, p. 684-685, nº 18199 ; Robertet 1888, nº 340, d’après F-BnF, f. fr. 5779, f. 77) il est probable qu’il faisait lui aussi partie des chanteurs de la chapelle dès son origine, bien que la liste de 1525 ne le mentionne pas comme membre de la maison de Louise de Savoie. Comme les autres chantres et chapelains, Brocart percevait un salaire annuel de 140 l.t. en 1533 et 1535, bien inférieur à celui des chanteurs de la chapelle de musique, dont le salaire annuel allait de 240 à 500 l.t. (Cazaux 2002, p. 249-250).\n• Cathédrale de Senlis, 1539-1557. Brocart devint chanoine de la cathédrale Notre-Dame de Senlis en 1539 au plus tard, et exerça son privilège d’occupation de l’une des maisons de chanoines. Les registres indiquent qu’il assista régulièrement aux chapitres de la cathédrale (Amalou 2007, p. 231, d’après F-AD60, annexe de Senlis, FF 8, fol. 48). Son testament (F-AD60, G 2183) fait état des bénéfices qui lui étaient accordés: le canonicat de la cathédrale de Senlis, la prébende de Vernon-sur-Seine et la cure de Saint-Pierre de Géfosse (dioc. De Bayeux, près d’Isigny-sur-Mer). Un inventaire de ses biens établi de 3.3.1557 par Jacques de La Chausée, chanoine de la cathédrale de Senlis, recense quatorze livres de musique sacrée, comprenant imprimés et manuscrits, livres de chœur et en parties séparées (F-AD60, G 2183). Cet inventaire ne relève que la première et la dernière pièces de chaque livre, mais ces informations même limitées fournissent de précieux éléments sur l’état du répertoire à l’époque (McDonald 2009)."]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27448"},["text","Amalou 2007 "]],["elementText",{"elementTextId":"27449"},["text"," Cazaux 2002 "]],["elementText",{"elementTextId":"27450"},["text"," François Ier Actes "]],["elementText",{"elementTextId":"27451"},["text"," McDonald 2009 "]],["elementText",{"elementTextId":"27452"},["text"," Robertet 1888"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. 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Soprano; cler.. MilanDC;\nFlorAnn/ FlorSG; Florc; FerraraDC\nLowAS 40. LockS 236-7. D'AccG 334, 337, 341-3. LockF 161-5, 318, 320-6.\n\nLockwood 2009, p. 178-183\nFerrare au service de Borso dès 1470 et encore en 1511. Sert à Milan en 1474-77, et à Florence en 1482-84 puis 1488-90.\nIl est marié (évoque sa femme enceinte dans une lettre de mars 1490, pour expliquer son retard à revenir à Ferrare), et manifestement non clerc (recensé parmi les ‘laizi’ sans bénéfice dans la chapelle de Ferrare en 1503).\n\nDoc de 1482 qui cite à la fois : dom. mag. Cornelio de Florentiis de Zelandia et ‘dom. Cornelius Laurentii de Lilloe … cantor domino nostri ducis’. Autre de 1495 qui indique ‘Cornelio Laurentii Hantverpia.\n\nCompte rendu dans le Journal des savants 1902 :\nC n N ! sronici INTERJVO ALL'UN!VERSITÀ D! FERRARA, r e d a t t i d a GJOVANNJ MARTINELLI; en tête de ]'Annuario della Libera. Uni- vcrsilà di Ferras-a, anno scolastico 1899-1 900, I-Lv)U. - Giu- SERPEPARDI,Prof. nd B. Liceo di Ferrant.nJIroLïDol-TOJIALI CONFEJUTI DALLO STUDIO DI FERRARA NE! SEC. XV E XV!. - - Lucca. Tipogralin Alberlo Marchi, 1 901 . iii-fol.\nEXTRAITDUJOURNALDESSAI'livrs.-FévrieretMars1902.\n\nLe chanteur Jean Brehis est cité en 1475. Le 18 février 1482 , Antoine Baneston, de Cambrai, chantre du duc de Ferrare, Guillaume de Lamyn, du diocèse de Liège, et Corneille Laurent, de Lille, chanteurs du duc de Florence, assistent à la soutenance d'Arthur Maider. Le 10 avril 1488, Mathias de Parisiis , ducis Ferrarie cantor et frater Johannes de Ramundis , de Frantia , ordinis minorwri , prelibali di icis cantor i sont témoins (les promotions de deux docteurs en méde- cine. Le musicien Jacquet de Marville est présent à des tidises en t 484. i4inpnimeur André Beaufort est cité en i 482 et t ZiBA.\n\n• Merkley relèvent deux chanteurs prénommés Cornelio qu’ils n’identifient pas. On relève Cornelio Picardo (51), puis Cornelius de Fiandra (101-02, 243) et Cornelio de Lillo (236). Ces derniers noms renvoient à la même personne, qui fait partie des chanteurs libérés suite à l’assassinat de Galeazzo, est évidemment le Cornelio di Lorenzo actif a Ferrare.\n• Merkley p.51 sur le recrutement de chanteurs napolitains par Galeazzo. Une lettre de mars 1473 mentionne les chanteurs “volés” à Ferrante d’Aragon liste: Cornelio Picardo, Aloe de Brabantia, Gregorio de Fiandra. Le roi de Naples leur a donné licence de retourner dans leur pays natal (pas de partir à Milan !).\n\nPicardo n’est ss doute pas \n\nL’hypothèse que Croneille van Loo à la présence épisodique soit le chanteur Cornelio di Lorenzo d’Anvers, également appelé  de Lilloo (= de Loo?), qui fit carrière à Ferrare entre 1470 et son décès en 1510, aujourd’hui célèbre pour être venu recruter Jacob Obrecht à Bruges en octobre 1487 en compagnie de Jean Cordier*  cadrerait bien avec la présence à la cour de Bourgogne de personalités majeures du mécénat musical italien (Jean Cordier* en 1479-1482 et 1485-1488 mais aussi Victor Brunink* ca. 1486, peut-être le ‘Vittore de Bruges’ employé à Milan et à Ferrare ca. 1479-80). Cependant, son statut de prêtre semble interdire toute identification avec le chanteur de Ferrare, qui est recensé en 1503 parmi les “laizi” de la chapelle qui ne détenaient aucun bénéfice (Lockwood1984, p.165 bien que la note de bas de page donne le titre “dom. Cornelius Laurentii de Lilloe” en 1482). Strohm se demande si Cornelio di Lorenzo peut être le fou Cornelius f. Laurents payé à Bruges en 1483 (Strohm1985, p.136).\n\nChapelain de l’église St-Sauveur de Bruges dans les années 1480 (Strohm1985, p.156). Le chanteur Cornelio di Lorenzo / de Lilloo d’Anvers fit une longue carrière de Cornelio di Lorenzo d’Anvers au service de la cour de Ferrare, depuis Borso d’Este en 1470 jusqu’à disparition de la chapelle en 1510, avec seulement trois intermèdes, le premier à Milan en 1474-77, et les deux autres à Florence en 1482-84, puis en 1488-90. Dans la mesure où ce chantre célèbre pour être venu recruter Jacob Obrecht à Bruges en octobre 1487 en compagnie de Jean Cordier, semble avoir beaucoup voyagé à l’occasion de missions de recrutement pour son employeur, on peut se demander si son nom ‘Lilloo’ (attesté à Milan et à Bruges) permet de le rapprocher du Cornelius de Loo de la cour, dont l’activité semble très épisodique. Cette hypothèse cadrerait bien avec les contacts entre Maximlien et des personalités importantes du mécénat musical des cours italiennes (surtout Jean Cordier*, à la cour de Bourgone en 1479-1482 et 1485-1488 et Victor Brunink*, ca. 1486, qui pourrait être le ‘Vittore de Bruges’ employé à Milan et à Ferrare ca. 1479-80). Cependant, outre la différence entre les noms Loo et Lilloo et le problème de la chronologie, la question semble tranchée négativement par le fait que le chapelain de la cour de Bourgogne était prêtre, alors que le chanteur de Ferrare est recensé en 1503 parmi les “laizi” de la chapelle qui ne détenaient aucun bénéfice (Lockwood1984, p.165. La note de bas de page donne cependant le titre “dom. Cornelius Laurentii de Lilloe” en 1482).Lockwood1984, pp.161-165, retrace"]]]],["element",{"elementId":"36"},["name","Bibliography"],["description"],["elementTextContainer",["elementText",{"elementTextId":"27275"},["text","D’Accone 1961"]]]]]],["elementSetContainer",["elementSet",{"elementSetId":"1"},["name","Dublin Core"],["description","The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/."],["elementContainer",["element",{"elementId":"50"},["name","Title"],["description","A name given to the resource"],["elementTextContainer",["elementText",{"elementTextId":"27236"},["text","Lorenzo (di), Cornelio (…-…). 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Bass.. FlorC; FlorAnn; FlorSG\nD'AccG 329-31, 336-41, 345-6.\n\nWilson 2006, p. 116\n\nThe remainder of Ambrogio's September 1488 letter is significant for what it tells us about the contemporary musical scene in both \nNantes and Florence: \n\nLet me say that if there was some good bass, tenor, or contralto voice over there [in Nantes], they would be well-received here [in Florence], because Niccolo di Lore has left here. He quit the chapel, and made an agreement with the King of Hungary, and Bartolomeo has done the same. Their departure without Lorenzo's knowledge has displeased him very much. I tell you all of this because if I can, I shall help any of your friends. (Doc. 7b: 5-9)\n\nCathedral documents published some time ago by Frank D'Accone record that on 30 April 1488 Bartolomeo de Castris and the bass Ser \nNiccolo di Lore left Florence, but we are not told why they left or where they went.46 Both had come to Florence at about the same time in 1482, and Lorenzo's anger at their abrupt departure in 1488 is understandable; the music-loving monarch of Hungary, Matthias Corvinus, had covertly recruited from the Florentine chapel the services of two able and long-time singers, and in so doing had taken a lesson from the Italian princes who had long since been engaged in competition for the services of northern musicians in their chapels. What is perhaps more surprising to learn, however, is how close Ambrogio was to these events. The departure of good singers, particularly those with whom he had been directly involved, could not have escaped his notice, but he also felt compelled and qualified to act in helping to fill the vacancies. 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