Source: VatSP B80, fols. 154v-166r. Although copied in VatSP B80, in a layer datable c.1458-61, this delightful three-part Mass would not have sounded out of place, say, in Trent 93/90: it firmly belongs to the sound world of about 1450. There is much to suggest the possibility of English authorship, or at least strong English influence—for example, the imitations over sustained cantus firmus notes, and the kinds of motives that these involve (cf. Gloria 1:23-2:02), and the composer’s predilection for successive triads in root position, even at the risk of writing parallel fifths (as in Gloria 3:01-3:04; 7:10-7:14). Not that the Pour l’amour d’une master was incompetent, far from it. But his chief concern, as for other composers around this time, was with crafting exquisite vocal sonorities: a bare or awkward sonority, in counterpoint for three or more voices, would have been a much graver fault than the occasional parallel octave or fifth. It has sometimes been suggested that Missa Pour l’amour d’une makes use of parody. However, I have found no indication that the otherwise unknown model was anything other than a monophonic tune. So far as I can tell the Mass was based on a chanson rustique like Se tu t’en marias or Une mousse de Biscaye. See model http://elvis.music.mcgill.ca/node/644 .