O admirabile commercium
	Simon de Lisle: Gloria   Credo   Sanctus   Agnus Dei* Source: TrentC 88, fols. 304v-311r (c.1460-62). * The final Agnus Dei is fragmentary. From a stylistic point of view this Mass is unquestionably English. De Lisle was a common name in medieval England, and it was routinely rendered De Insula in Latin texts.

O crux lignum
	Antoine Busnoys: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Edition:  Antoine Busnois, Missa “O crux lignum”, ed. Donald W. Shipley, Das Chorwerk, 123 (Wolfenbüttel: Möseler Verlag, 1978).

O lumen ecclesie
	Jacob Obrecht: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Edition:  Jacob Obrecht, New Obrecht Edition, gen.ed. C. J. Maas, 18 vols. (Utrecht: Vereniging voor Nederlandse Muziekgeschiedenis, 1983-1999), 8: 1-41.

O rosa bella
	Anonymous I: Kyrie   Gloria   Credo   Sanctus   Agnus Dei   Motet Sources: TrentC 88, fols. 363v-372r (c.1460-62); LucAS 238, fol. 24ter r-v. Edition: Denkmäler der Tonkunst in Österreich, 134 vols. to date (Vienna: Österreichischer-Bundesverlag, 1894-  ), 22: 1-12. For the motet O pater eterne see Robert J. Snow, “The Mass-Motet Cycle: A Mid-Fifteenth-Century Experiment,” in Essays in Musicology, In Honor of Dragan Plamenac On His 70th Birthday, eds. Gustave Reese and Robert J. Snow (Pittsburgh: University of Pittsburgh Press, 1969), 301-20, at 315-20.
	Anonymous II: Kyrie   Gloria  Credo   Sanctus   Agnus Dei Source: TrentC 90, fols. 420v-428r (1456). Edition: Denkmäler der Tonkunst in Österreich, 134 vols. to date (Vienna: Österreichischer-Bundesverlag, 1894-  ), 22: 13-27.
	Anonymous III: Kyrie   Gloria  Credo   Sanctus   Agnus Dei    [Agnus Dei according to ModE M.1.13] Sources: TrentC 89, fols. 330v-339r (1460-63); PragP 47, fols. 152v-161r; ModE M.1.13, fols. 104v-117r. Edition: Denkmäler der Tonkunst in Österreich, 134 vols. to date (Vienna: Österreichischer-Bundesverlag, 1894-  ), 22: 28-69. ModE M.1.13, although copied much later than either TrentC 89 or PragP 47, preserves what is evidently the older and more complete version of the Mass. The Trent/Prague version has adapted one of the two equal Contra parts into a more modern Contratenor bassus, bringing down its overall range by approximately a fifth, at the expense of several imitations in the upper range of the original voice.

O salutaris hostia
	Giovanni Spataro (lost): Mentioned in correspondence between Pietro Aaron and Giovanni Spataro, 1533. See Bonnie J. Blackburn, Edward E. Lowinsky, and Clement A. Miller, eds., A Correspondence of Renaissance Musicians (Oxford: Clarendon Press, 1991), 642, 645.

O Venus bant
	Anonymous (?Isaac): Gloria   Credo   Sanctus   Agnus Dei* Source:  MilD 3, fols. 99v-106r. Edition:  Archivium musices metropolitanum Mediolanense, 16 vols. (Milan: Veneranda Fabbrica del Duomo di Milano, 1958- ), 6: 131-56. * The Agnus Dei II is fragmentary.
	Gaspar van Weerbeke: Kyrie   Gloria   Credo   Sanctus   Agnus Dei Edition:  Martin Just, ed., Der Kodex Berlin 40021 : Staatsbibliothek Preussischer Kulturbesitz Berlin, Mus. ms. 40021, Das Erbe deutscher Musik, 76-78 (Kassel and New York: Bärenreiter, 1990- ), 1: 76-89. This recording was based directly on VatS 51, fols. 132v-145r.