Roy. App. Mss. 74-6), which have several parallels with Wanley even though they contain fewer pieces, so its apparent absence from the larger source, despite its diversity, is puzzling. However, the anonymous Wanley setting of the metrical prayer Let all the congregation (no.41) could well borrow its style or material from a secular origin. The repetition scheme, in which soloist or duettists and then the full ensemble sing the same music, is reminiscent of similar schemes in Lumley and may derive from a verseand-burden pattern. Moreover, if the rests between successive lines of text in the Wanley piece are removed, the melody is similar in character to pieces in Lumley for some of which secular origins have been traced. The next Wanley piece, the anonymous All people hearken (no.42), uses a melody with similar characteristics, although the repetition scheme is apparently absent. Information about related sources is clearly listed, although some guidance on their purpose and state of survival would have been useful, if only to show, by comparison, how important the Wanley manuscripts are. Also, the few misprints (very few, considering the size of the publication) seem to congregate in this area, creating slight inconsistencies. Prefatory staves show where strene notation occurs in Wanley, but this is not explained beyond a brief mention of Merbecke. The treatment of redundant accidentals is not discussed, presumably because they are not suppressed, but a policy statement would have made this clearer. The use of editorial accidentals, too, could have done with further explanation. Cases of musica ficta are shown differently from other editorial accidentals, but without reference to any principles (if principles applicable to every case exist) or their relevance to Wanley. Far from clarifying the situation, differentiation in this way leaves some cases open to question on whether musica ficta is relevant at all (for example, no.62, bar 2, triplex; no.78, bars 38-9, contratenor II). Regular barring is the best compromise for most pieces, although six-minim bars might have been less disruptive than alternations of twoand four-minim bars. Barring has not been imposed on recitational pieces, and further pieces might have benefited from this approach. Performers and scholars should not dismiss this music as merely being of historical curiosity. There is plenty here that deserves to be better known, and both editor and publisher have done everything possible to make it accessible to those with an interest in Tudor church music. Owen Rees