THE HYMNS OF MEDIEVAL SOUTHERN ITALY:

MUSIC, POLITICS, AND THE TRANSFORMATION OF LOCAL

LITURGICAL SONG

BIBIANA CARMELA PIA VERGINE

A DISSERTATION

PRESENTED TO THE FACULTY

OF PRINCETON UNIVERSITY

IN CANDIDACY FOR THE DEGREE

OF DOCTOR OF PHILOSOPHY

RECOMMENDED FOR ACCEPTANCE

BY THE DEPARTMENT OF

MUSIC

Adviser: Rob C. Wegman

January 2016
© Copyright by Bibiana Carmela Pia Vergine, 2016.

All rights reserved.

 Abstract

This dissertation is a musicological and historical examination of a liturgical plainchant

genre—the Divine Office hymn—and its repertorial transformation in Beneventan manuscripts

from southern Italy as monastic institutions responded to local dynamics of liturgical reform in

the eleventh through thirteenth centuries. This study has three main objectives: to fill a lacuna in

otherwise well-established scholarship on regional medieval liturgical hymns; to trace the effects

of liturgical reform and inter-regional musical exchange on the hymn repertoire in southern Italy

(at Montecassino and Benevento in particular); and to catalogue, transcribe, and analyze in their

musical and historical context local hymns, especially those from two heretofore neglected

hymnaries from the Biblioteca Capitolare of Benevento, manuscripts Ben 42 and Ben 37.

While the hymn repertoires of other regions have been studied in detail, there is still need

for a full survey of this genre in the context of late-medieval southern Italy. The identification of

a possibly more ancient layer of hymns endemic to the Beneventan region adds to the

understanding of locally-composed plainchant analyzed by scholars. The melodies of local

hymns resemble the regional musical style found in these other genres of plainchant, one that

was gradually replaced by more “Gregorian” counterparts in a period of liturgical standardization

motivated by political currents involving the papacy.

An understanding of the effects of reform and repertorial exchange at Monteecassino and

Benevento clarifies the origins and functions of the hymns used there and of the manuscripts in

which they were copied. Differences between older and newer hymnaries and between

hymnaries from central and southern Italy suggest that there was a definite transformation

through time as more standardized hymnaries replaced older ones with a greater number of local

texts and melodies, precious sources of local liturgical songs.

iii
 This dissertation contributes to a growing body of literature in medieval studies

examining the effects of reforms on regional liturgy and power structures. These broader issues

can be traced especially well in a genre such as the hymn which, by honoring local saints through

collective song, was by nature bound to questions of authority, monastic and civic identity.

iv
 Table of Contents

Abstract .......................................................................................................................................... iii

Manuscript Sigla ............................................................................................................................ ix

Acknowledgements ......................................................................................................................... x

Preface............................................................................................................................................. 1

Chapter One .................................................................................................................................... 4

Overview ..................................................................................................................................... 4

The Hymn as Genre .................................................................................................................. 12

The Hymn in the Early Church ................................................................................................. 20

The Hymn in the Divine Office ................................................................................................ 25

The Hymn in Historiography .................................................................................................... 31

Hymns in Medieval Manuscripts from Southern Italy ............................................................. 44

Chapter Two.................................................................................................................................. 54

Background: Reform, Repertoire, and Hymnaries ................................................................... 54

Goals, Methodology, and Manuscripts Examined .................................................................... 70

Hymns in Manuscripts with Ordinals: Reflections of Standardization .................................... 77

Two Ordinal Hymnaries from Benevento................................................................................. 83

Vat. lat. 4928: Sidestepping an Ordinal in Favor of Local Feasts ........................................ 83

Naples VI E 43: Approaching the Cassinese Ordinal ........................................................... 93

Three Ordinal Hymnaries from Montecassino ....................................................................... 108

Urb. lat. 585: A New Hymnary and an Old Ordinal ........................................................... 109

Paris Maz. 364: Exchange and Older Hymns in a Cassinese Ordinal Hymnary ................ 116

Getty 83 ML 97 Mixing Old and New................................................................................ 119

iv
 Chapter Two Tables ................................................................................................................ 125

Chapter Three.............................................................................................................................. 137

Background: Hymnaries in Composite Manuscripts without Ordinals .................................. 137

Naples VI F 2: Mirroring the Cassinese Ordinal .................................................................... 143

Vienna 1106 ............................................................................................................................ 147

MC 506: The Cassinese Hymnary in Transition..................................................................... 150

MC 559: The Reassertion of Sanctoral Hymns ...................................................................... 159

Ott. lat. 145: Hybrid Hymn Repertoire: Beyond Montecassino and Benevento .................... 161

Naples VI G 31: Notation and Borrowed Repertoire.............................................................. 187

Ben 42: A Notated Beneventan Anthology ............................................................................ 196

Ben 37: An Original Beneventan Hymnary? .......................................................................... 204

Chapter Four ............................................................................................................................... 218

Background: Hymns Beyond Montecassino and Benevento .................................................. 218

The Bari Hymnary .................................................................................................................. 219

Casan. 1574: Hymns from Gaeta ............................................................................................ 223

Naples VI G 29: Neapolitan Hymns ....................................................................................... 226

Vat. lat. 7172 and Paris 1092: Narni’s Hymn Anthologies .................................................... 231

Hymnaries from Subiaco and Farfa ........................................................................................ 244

Chapter Five ................................................................................................................................ 253

Background: Local Southern Italian Hymns in Ben 42 and Ben 37 ....................................... 253

Local Southern Italian Hymns and Concordances .................................................................. 258

Melodies of Local and Unique Hymn Texts in Ben 37 .......................................................... 262

Unique Hymn Texts Notated in Ben 37 .............................................................................. 264

v
 Local Hymn Texts Notated in Ben 37 ................................................................................ 270

Melodies of Local and Unique Hymn Texts in Ben 42 .......................................................... 278

Unique Hymn Texts Notated in Ben 42 .............................................................................. 278

Local Hymn Texts Notated in Ben 42 ................................................................................ 280

Local Hymn Texts Notated in Ben 42, Ben 37, and Other Hymnaries ................................. 296

Multiple Melodies ............................................................................................................... 296

The Persistence of Local Melodies ..................................................................................... 307

Conclusions ............................................................................................................................. 310

Chapter Five Tables ................................................................................................................ 317

Chapter Six.................................................................................................................................. 347

Background: Cultural and Political Importance of Hymns in Medieval Southern Italy......... 347

Hymns, Hagiography, and Power ........................................................................................... 354

Hymns as Literary Culture ...................................................................................................... 365

Hymn Authorship and the Identification with Reform ........................................................... 372

Epilogue ...................................................................................................................................... 393

Appendix A: Contents of South Italian Hymnaries .................................................................... 399

Ott. lat. 145 ............................................................................................................................. 399

Ben 37 ..................................................................................................................................... 402

Naples VI E 43 ........................................................................................................................ 404

Vat. lat. 4928 ........................................................................................................................... 407

Ben 42 ..................................................................................................................................... 410

MC 506 ................................................................................................................................... 414

Naples VI F 2 .......................................................................................................................... 416

vi
 Paris Maz. 364 ........................................................................................................................ 419

MC 559 ................................................................................................................................... 421

Urb. lat. 585 ............................................................................................................................ 423

Getty 83 ML 97 ....................................................................................................................... 426

Vienna 1106 ............................................................................................................................ 429

Rheinau 91 .............................................................................................................................. 431

Rheinau 82 .............................................................................................................................. 433

Paris 1092 and Vat. lat. 7172 .................................................................................................. 436

Chigi C VI 177 ........................................................................................................................ 442

MC 420 ................................................................................................................................... 445

Farfa A. 209 ............................................................................................................................ 447

Farfa 4 ..................................................................................................................................... 449

Casan. 1574 ............................................................................................................................. 451

Bari .......................................................................................................................................... 454

Naples VI G 29 ....................................................................................................................... 456

Ben 25 (all incipits only)......................................................................................................... 459

Ben 19 ..................................................................................................................................... 461

Ben 20 ..................................................................................................................................... 464

Ben 23 (all incipits only)......................................................................................................... 465

MC 542 (all incipits only) ....................................................................................................... 467

Appendix B: Transcription of Hymns in Ben 37 ........................................................................ 469

Appendix C: Transcriptions of Hymns in Ben 42 ...................................................................... 544

Appendix D: Melody-Text Concordances in Select Notated Southern Italian Hymnaries ........ 721

vii
Appendix E: Synoptic Contents of Southern and Central Italian Hymnaries ............................. 734

Bibliography of Primary Sources................................................................................................ 775

Liturgical Manuscripts (refer to Manuscript Sigla for Collections and Shelf Numbers): ...... 775

Dictionaries, Chronicles, Collections, and Critical Editions of Historical Texts: .................. 775

Bibliography of Secondary Sources............................................................................................ 782

viii
 Manuscript Sigla

Bari Bari, Archivio del Duomo San Nicola

Ben Benevento, Biblioteca Capitolare MS

Farfa Farfa, Biblioteca del monumento nazionale

Farfa 4 Rome, Biblioteca Nazionale MS 175 (Farfense 4)

Getty Los Angeles, Getty

MC Monte Cassino, Archivio dell’Abbazia MS

Naples Napoli, Biblioteca Nazionale Vittorio Emanuele

Paris Paris, Bibliothèque Nationale de France, MS Latini

Paris Maz. Paris, Bibliotheque Mazarine MS

Rh Zurich, Zentralbibliothek MS Rheinau

Casan. Rome, Biblioteca Casanatense MS

Chigi Biblioteca Apostolica Vaticana (BAV) Chigiani MS

Ott. lat. BAV Ottoboniani Latini MS

Urb. lat. BAV Urbinati Latini MS

Vat. lat. BAV Vaticani Latini MS

Vienna Vienna, Österreichische Nationalbibliothek MS

ix
 Acknowledgements

I would like to express my sincere gratitude to the many individuals and institutions that

contributed to my completion of this dissertation. First of all, I would like to thank my adviser,

Professor Rob C. Wegman, for his help, encouragement, and valuable feedback on the many

drafts of my chapters and for meeting with me to discuss various aspects of my research and

writing. I thank the professors outside of Princeton who read my dissertation and served on my

dissertation committee. I thank Professor Susan Boynton (Columbia) for meeting with me,

providing feedback on my dissertation, imparting her expertise on hymns, hymnaries, and

medieval studies in general, and for her generosity in directing me to publications and

microfilms relevant to my research. I thank Professor Luisa Nardini (University of Texas at

Austin) for her advice and feedback on my writing and research, for giving me the initial

inspiration to study the hymns of southern Italy, and, even before that, for inspiring me to pursue

graduate research in musicology with a focus on the plainchant of the Beneventan area. Finally, I

thank Professor Wendy Heller for her advice in the early stages of this project.

My research has greatly benefitted from exchanges at conferences and in individual

correspondence with scholars who are experts in the fields of Paleography Beneventan chant

studies, and in particular Professors Thomas Forrest Kelly, Alejandro Planchart, Matthew

Peattie, Katarina Livljanich, Nicola Tangari, and Francis Newton. I thank Professor Kelly for

meeting with me on a visit to Harvard and for guiding me through the microfilm collection at the

Isham Memorial Library at Harvard University.

I am very grateful to the librarians and archivists at the various libraries where I

consulted the manuscripts relevant to this research or to whom I requested manuscript images

x
and permissions: to Don Mario Iadanza at the Biblioteca Capitolare of Benevento, and Dottor

Daniele Mazzulla at the Ufficio Diocesano per la Cultrua ed i Beni Culturali at the Archdiocese

of Benevento; to Dottoressa Emilia Ambra, head librarian of the Sezione Manoscritti e Rari, and

Dottoressa Angela Pinto, Responsabile del Laboratorio fotografico digitale at the Biblioteca

Nazionale Vittorio Emanuele III di Napoli; to Signor Riccardo Luongo and Dottoressa Ilaria

Ciolli at the Biblioteca Apostolica Vaticana; to Dottoressa Margherita Breccia Fratadocchi at the

Centro Nazionale per lo Studio del Manoscritto at the Biblioteca Nazionale Centrale di Roma; to

Hans Peter Zimmer of the Bildarchiv und Grafiksammlung at the Österreichische

Nationalbibliothek in Vienna; and to Monsieur François Avel (bibliothécaire), Madame Suzanne

Nagy (photographe), and Yann Sordet (directeur) at the Bibliothèque Mazarine in Paris. I would

like to thank in particular Debra Cashion (Assistant Librarian), Erica Lauriello (Library

Associate for Special Collections), Susan L’Engle (Assistant Director), and Gregory Pass

(Director) at St Louis University’s Vatican Film Library for their assistance during a research

visit to consult the microfilms from the Vatican. Finally, I thank Dr. Darwin F. Scott, the music

librarian at the Mendel Music Library at Princeton University, for his help in obtaining various

microfilms and digital manuscript images from other libraries.

Timely completion of this project was greatly facilitated by the reception of the E. K.

Rand Dissertation Grant from the Medieval Academy of America in 2015, the Procter

Fellowship from the Graduate School at Princeton University, as well as travel funding by the

Princeton Institute of International and Regional Studies in 2013 and 2014 which greatly

alleviated the expenses associated with the dissertation research. I would like to sincerely thank

the members of the respective grant committees for conferring these awards, as well as to my

professors at Princeton who nominated me and supported my applications.

xi
 Last but certainly not least, I would like to thank from my heart my family and friends on

the East Coast, in Texas, and in Italy for supporting me both materially and personally during my

doctoral studies. In particular, I thank my parents Angelo and Marianna Gattozzi, my brother

Domenico Gattozzi, and my husband Fabrizio Vergine, to whom I dedicate this dissertation. I

would also like to offer this work in memory of Mr. Andrew Paul Betz, whose final words of

advice have remained with me these years.

xii
 Preface

The following work is both a broad overview of the Hymn in southern Italy between the

eleventh and thirteenth centuries as well as a more specific case study of the hymn texts and

melodies in two manuscripts from the Archivio Capitolare of Benevento. This combination of

general and specific involves the exploration and comparison of the hymn contents of over a

dozen manuscripts; thus, each chapter contains many subheadings for purposes of organization

and clarity. There are also several lengthy appendices. Due to these features, which may cause a

reader to lose sight of the “forest” among the “trees,” a few words about the organization and a

general summary of the contents of this dissertation are in order.

In Chapter One, after a brief overview introducing the connection between hymns and

broader cultural and political issues in medieval southern Italy, there follows a more general

review of the literature on the hymn qua genre and a discussion of its complex history in the

Western Church. Although hymns served as hagiographical histories, exempla of moral and

theological virtues, and vehicles for theological instruction, nevertheless their presence and

function in the liturgy was at first contested. I then describe the place that hymns took in the

Divine Office once they were adopted in the liturgy. I discuss the forms in which hymns were

copied in liturgical manuscripts, forms which reflect their simultaneous and diversified function:

as vehicles of praise, hagiographies, exempla, and theological instruction. A brief overview of

extant hymn scholarship concludes the chapter.

Chapter Two describes the reforms that impacted liturgical chant genres and their

manuscripts in southern Italy. This chapter describes one type of hymnary from southern Italy

that particularly reflected the ideals of a newly-standardized liturgical model. This type of

hymnary is the one found in composite volumes bound to the ordinal, a type of liturgical libellus

1
that began to be copied in Montecassino in the eleventh and twelfth centuries in direct response

to the reform directives of liturgical standardization. The repertoire of hymns in these “ordinal

hymnaries,” as I term them, is compared to that of non-ordinal hymnaries in Chapter Three. The

results of this comparison show how the hymn repertoire transformed over time as it became

more synthetic and less “local” in newly-copied, more standard hymnaries.

The fourth chapter involves the comparison of hymnaries from Benevento and

Montecassino to some hymnaries from central Italy (Narni, Farfa, Subiaco); this comparison

shows how the southern Italian hymn tradition extended beyond the bounds of the Beneventan

zone. It also shows that this trans-regional (but nevertheless local) hymn tradition was trimmed

down in response to liturgical standardization.

Chapter Five is a case study that examines two codices from the Archivio Capitolare of

Benevento, Ben 37 and Ben 42. These unusual hymnaries transmit a very large number of

hymns—all with musical notation. The melodies of hymns with local texts found in these

manuscripts give a glimpse at the aesthetic and musical style governing local hymn composition

in southern Italy. The local musical features in these hymns are: formulaic cadential features,

repetitive melodic formulae that resemble those in other local southern Italian chant genres,

avoidance of large leaps, preference for leaps of thirds, pervasive phrasal repetition, and modal

ambiguity in the cadences of hymn strophes or of individual verses. Full transcriptions of the

texts and melodies of Ben 37 and Ben 42 are given in appendices B and C (please note that I

have retained the medieval spellings for hymn titles throughout the dissertation).

Finally, Chapter Six describes the role of hymns in the political and cultural life of

southern Italian cities and monasteries through evidence from the repertoire, much of which

honors local saints who were civic patrons, as well as through the references to hymn singing in

2
chronicles and historical documents from Benevento and Montecassino. In this chapter, I cite

specific local hymns discussed in previous chapters as having played significant roles in civic

occasions with underlying political undertones. I discuss how the presence of author attributions

in the hymnaries under consideration might have served as a reinforcement of local identity and

as a statement of alignment to current reform ideals. An epilogue summarizes the main

conclusions and insights of this dissertation.

3
 Chapter One

Overview

Several times in his chronicle Historia Langobardorum, Paul the Deacon of

Montecassino mentions the practice of composing hymns as a means to record the deeds of great

men. For example, while discussing the military exploits of the Lombard king Alboin and his

pacts with the Bishop of Treviso, Paul mentions that there was at Treviso a “venerable and very

wise man Fortunatus” (“venerabili et sapientissimo”),1 by all means a secondary character in the

Historia. Fortunatus, Paul recounts, was “brought up and instructed at Ravenna and became very

distinguished in the grammatical, the rhetorical, and also the metrical art” (“Ravennae nutritus et

doctus, in arte grammatica sive rhetorica seu etiam metrica clarissimus extitit”). Paul is keen to

point out in what seems like an unnecessarily long digression that

…Fortunatus in tantum …Fortunatus adored the blessed

beatum Martinum veneratus
est, ut, relicta patria, paulo
ante quam Langobardi
Italiam invaderent, Toronos
ad eiusdem beati viri
sepulchrum propareret…
illic habitavit, et multorum
ibidem sanctorum gesta
partim prosa, partim metrali
ratione conscripsit…et multa
alia maximeque ymnos
singularum festivitatum et
praecipue ad singulos amicos
versiculos, nulli poetarum
secundus, suavi et disserto
sermone conposuit.
Martin so much that he abandoned
his country a little before the
Langobards invaded Italy,
and set out for the sepulcher
of that blessed man at Tours…
he dwelt there and wrote
at that place of the doings
of many saints, part in prose
and part in metrical fashion…
and he composed many
other things, most of all hymns
for particular festivals and
especially little verses
to particular friends, being
second to none of the poets
in soft and fluent speech.2

1
Paul the Deacon, History of the Langobards, trans. William Dudley Foulke (Philadelphia: University of
Pennsylvania Press, 1907), bk. 2 ch. 13, pp. 68–69.
2
Ibid., 69–70.
4
While Venantius Fortunatus is an important historical personage, and one of the most important

in the history of the liturgical hymn, his place in Paul’s mostly political chronicle seems

somewhat perplexing. Evidently, for Paul it was important to remember Fortunatus as both

author and saint; and certainly familiarity with Fortunatus and his works lends veracity and a

certain personal quality to Paul’s account. Yet this apparently desultory mention of hymns in the

context of a narrative whose fact-based, chronicling literary appeal would seem quite contrary to

that of the liturgical poetry in question implies that there is more to Paul’s reference to

Fortunatus’s works than meets the eye. This does, in fact, seem to be the case when other

chronicles by Cassinese authors are compared to that of Paul. For one thing, Paul’s Historia is

not the only time hymn composition is mentioned in the context of a history or chronicle. Like

Paul, Peter the Deacon (or perhaps his teacher, Guido),3 takes the time to list in the Chronicon

Casinensis all the hymns composed by Alberic of Montecassino.4 Why might this liturgical

genre and its authors be singled out for mention in medieval historical accounts from

Montecassino?

Perhaps it would have been inevitable that the monastic clerics who authored such

histories digressed to discuss hymns and their composers. Paul the Deacon himself was a prolific

composer of hymns, so much so that the famous hymn Ut queant laxis for St John the Baptist

3
According to Owen J. Blum, “Alberic of Monte Cassino and the Hymns and Rhythms Attributed to Saint
Peter Damian,” Traditio 12 (1956): 95n34, 97, 97n38.
4
“scripsit librum dictaminium et salutationum; hymnos in sacnti Nicolai, in musica dialogum….hymnos in
St Crucis, in Ascensionis, in Sancti Pauli, in sancti Apollinaris; Vitam St Scholasticae, homiliam ejus, et hymnos; in
Assumptoinis St Mariae hymnos tres, in sancti Petri hymnos…fecit et versus in vitam St Scholasticae, rhythmum in
Pascha, De die judicii, et De poenis inferni; rhythmum De gaudio paradisae; epistolas quoque quamplurimas ad
Petrum Ostiensem episcopum; De die mortis; De monachis. Composuit et alia quae in nostram notitiam non
venerunt” (Peter the Deacon, De Viris illustribus Casinensibus, ch. 21. Quoted in Blum, 94. The issue of authorship
is generally complicated in genres of liturgical plainchant, because authors of texts and melodies were rarely, if ever,
identified. Moreover, when an author was identified as an author of a text, many times that same person did not
compose the melody for that text, and vice versa. In the case of the Hymn, as will be discussed later, authors were
often (though not always) identified; nonetheless, we can only say with certainty that these were the authors of given
hymn texts. Whether they composed given melodies associated with these texts is harder to determine.
5
was attributed to him.5 Less musically-gifted religious were nevertheless still required by

monastic rule to sing hymns almost every hour of every day in the Divine Office. The Hymn’s

seeming ubiquity in monastic life might account for its frequent mention in other literary

contexts. However, the history of the liturgical reforms in southern Italy—in the Lombard

“Beneventan zone”—and the narrative tone assumed in certain hymns in honor of locally

important saints suggest that familiarity was not the only reason for mentioning hymns in

chronicles of history and politics from southern Italy. Here, at least, history, politics and

liturgical song were indeed inextricably bound. The following chapters will attempt to

characterize the hymns of medieval southern Italy in their musical and historical context, with

particular attention to how the two domains intersected in this genre: political and religious

realities were communicated in hymns texts, and, in turn, the politics during a time of great

societal and religious change affected the hymn repertoire of the area of the “Beneventan zone.”6

Much evidence from extant manuscripts, chronicles, and documents shows that the

politics of liturgical reform affected the melodies and texts of plainchant used in the Mass in the

Beneventan zone.7 Between the tenth and thirteenth centuries, the local pre-Gregorian southern

5
Stefano Mengozzi, The Renaissance Reform of Medieval Music Theory: Guido of Arezzo between Myth
and History (Cambridge: Cambridge University Press, 2010), 1.
6
The Beneventan zone was defined and described by Elias Avery Lowe in his study of the areas that
utilized the Beneventan script, namely, those areas of southern Italy once under Lombard political control and
whose manuscript production was centered on the scriptoria of Montecassino and Santa Sofia of Benevneto. Elias
Avery Lowe, The Beneventan Script: A History of the South Italian Miniscule (Oxford: Oxford University Press,
1914); 2nd edition prepared and enlarged by Virginia Brown, 2 vols. (Rome: Edizioni di Storia e Letteratura, 1980):
I.47.
7
This is one of the primary topics of focus in Thomas Forrest Kelly’s book (and much subsequent
research) on the music of the Old Beneventan Liturgy. See Thomas Forrest Kelly, The Beneventan Chant
(Cambridge: Cambridge University Presss, 1985). Other recent studies tracing the effects of reform on monastic life
and its artistic production include: Susan Boynton, Shaping a Monastic Identity: Liturgy and History at the Imperial
Abbey of Farfa, 1000–1125 (Ithaca: Cornell University Press, 2006); Marios Costambeys, Power and Patronage in
Early Medieval Italy: Local Society, Italian Politics, and the Abbey of Farfa, c. 700–900 (Cambridge: Cambridge
University Press, 2007); Louis I. Hamilton, A Sacred City: Consecrating Churches and Reforming Society in
Eleventh-Century Italy (Ithaca: Cornell University Press, 2010); Charles Hilken, Memory and Community in
Medieval Southern Italy: The History, Chapter Book, and Necrology of Santa Maria del Gualdo Mazzocca,
Monumenta Liturgica Beneventana 157 (Toronto: Pontifical Institute of Medieval Studies, 2008); John Howe,
6
Italian liturgies (such as the Old Beneventan, Old Campanian, and Old Roman, which were

influenced to some extent by Byzantine chant8) which had their own chant traditions were almost

completely replaced by the Gregorian one. This is well-documented in Beneventan manuscripts

with chants for the Mass, since certain formularies for Old Beneventan Masses were copied with

both sets of chants, as if in an effort to preserve the local liturgy while still adopting the new,

Gregorian one.9 Despite clear evidence such as this as to how the liturgical reforms affected the

chants of the Mass, however, it is less clear whether and how they might have altered a pre-

existing body of hymns in use in southern Italian monasteries. The likelihood that there were

hymns integrated into the Old Beneventan liturgy, which itself contained non-biblical chant texts

with (at times) interchangeable liturgical positions,10 must be considered when characterizing the

genre in southern Italy.

Church Reform and Social Change in Eleventh-Century Italy: Dominic of Sora and His Patrons (Philadelphia:
University of Pennsylvania Press, 1997); Kelly, The Ordinal of Montecassino and Benevento: Breviarium sive ordo
officiorum, 11th century, Spicilegium Friburgense 45 (Fribourg: Academic Press Fribourg, 2008); Paul Oldfield,
Sanctity and Pilgrimage in Medieval Southern Italy, 1000–1200 (Cambridge: Cambridge University Press, 2014);
Valerie Ramseyer, The Transformation of a Religious Landscape: Medieval Southern Italy, 850–1150 (Ithaca:
Cornell University Press, 2006); Nino Zschomelidse, Art, Ritual, and Civic Identity in Medieval Southern Italy
(University Park, PA: Pennsylvania State University Press, 2013).
8
Although the bibliography for studies dedicated to the characterization of each of these liturgies is
extensive, important studies focused on each of these pre-Gregorian liturgies include: Klaus Gamber, “La liturgia
delle diocesi dell’Italia centro-meridionale dal IX all’XI secolo,” Vescovi e diocesi in Italia nel Medioevo (sec. IX-
XIII), Atti del secondo convegno di storia della chiesa in Italia, Roma, 5-9 September, 1961 (Padua: Antenore,
1964), 145–56; Idem, “Die kampanische Lektionsordnung,” Sacris Erudiri, 13 (1962), 326–52; Kelly, The
Beneventan Chant; R. Andoyer, “Le chant romain antégrégorien,” Revue du Chant Grégorien, 20 (1911–12), 69–75,
107–14; Thomas Connolly, “The ‘Graduale’ of S. Cecilia in Trastevere and the Old Roman Tradition,” Journal of
the American Musicological Society, 28.3 (1975), 413–58; Paul F. Cutter, “The Question of the ‘Old-Roman’ Chant:
A Reappraisal,” Acta Musicologica, 39 (1967), 2–20; Kenneth Levy, “A New Look at Old Roman Chant,” Part 1
and 2, Early Music History 19 and 20 (2000 and 2001), 81–104, 173–97. For Byzantine influence in the region, see:
Egon Wellesz, Eastern Elements in Western Chant: Studies in the Early History of Ecclesiastical Music (Boston:
Byzantine Institute, 1947); Idem, “Recent Studies in Western Chant,” Musical Quarterly 41.2 (1955), 177–90; Père
Henri Barré, “La fete mariale du 18 décembre à Bénévent au VIIIe siècle,” Ephemerides Mariologicae, 6 (1956),
451–61.
9
Kelly, “Music of Benevento Cathedral,” in The Sources of Beneventan Chant, Variorum Collected Studies
Series CS980 (Burlington, VT: Ashgate Publishing Company, 2011): 2–11; Idem, “Notes on a Census of
Beneventan Manuscripts,” in The Sources of Beneventan Chant, 161–65.
10
Kelly, “Music of Benevento Cathedral,” 9–10.
7
 Unfortunately, due to the absence of complete Old Beneventan books for the Divine

Office, the evidence of what hymns might have been used in this older, local liturgy can only be

gleaned through inference and hypothesis. This can be done through the identification of unique

or local hymn texts and melodies in still-extant books, and by comparisons between local and

more universal hymns. Similarly, evidence of how politics affected subsequent hymn

composition in the area can be seen when changes in the hymn repertoire copied in manuscripts

from southern Italy over time are traced—without, however, neglecting the fact that the physical

locations in which given hymnaries were used might sometimes explain repertorial differences.

These differences and changes over time and space can then be correlated to the context

of concurrent historical events or changes. The hymn repertoire as represented in manuscripts

from southern Italy provides clues as to what was the logic or criteria governing the selection of

hymns for copying in liturgical books. The repercussions of the politically-motivated, eleventh-

century decree of Pope Stephen IX11 that the Old Beneventan chant or Ambrosianus cantus be

banned at Montecassino are difficult to underestimate. This decree fulfilled the earlier wishes of

Charlemagne to replace local chant dialects with a standard and universal liturgical song, a

decree that would unify the fledgling Empire religiously in the same way that the Carolingians’

military campaigns did so politically.12 A poem found in the Beneventan codex MC 318 reports

the tension caused by this musical-political change:

11
Pope Stephen II, elected in 752, was elected a Pope and died only three days later, before his
consecration. “Earlier writers do not appear to have included him in the list of the Popes; but, in accordance with the
long standing practice of the Roman Church, he is now generally counted among them. This divergent practice has
introduced confusion into the way of counting the Popes Stephen.” Thus, Pope Stephen the IX here is actually Pope
Stephen X. However, since scholars of Beneventan Chant commonly refer to him as Pope Stephen IX, in order to
avoid confusion between this and other publications on the topic of plainchant in southern Italy, I will refer to him
here in the same way. P.J. Mullins, “Stephen II, Pope,” The New Catholic Encyclopedia, 2nd edition, Vol. 13
(Detroit: Thomson and Gale, and Washington, D.C: The Catholic University of America, 2003): p. 515.
12
It must be noted that the Carolingians never conquered southern Italy, although the Duke of Benevento
briefly became a vassal to Charlemagne in 787. See Levy, Gregorian Chant and the Carolingians (Princeton:
Princeton University Press, 1998), 90.
8
 Insignis Karolus romanum pangere
carmen omnibus ecclesiis iussit
ubique sacris; unde per Italiam crevit
contemptio multa, et status ecclesie
luxit ubique sacre.
The eminent Karolus ordered all the
holy churches everywhere to sing the
Roman song; whereupon throughout
Italy there arose much contention,
and the status of the holy church was
everywhere in mourning. 13

While this poem describes the replacement of the chant repertoire under Charlemagne, in reality

the real coup de grâce to the Ambrosianus cantus came with Pope Stephen’s decree; since the

poem in MC 318 was written much later than Charlemagne’s era, around the time of Pope

Stephen’s decree, its description of the replacement of local chant by the “Roman song” was

likely a veiled reproach to the later, eleventh-century banishment of Old Beneventan chant.

Given this and other evidence from southern Italy of the differences between older and newer,

local and universal chants that resulted from liturgical standardization, one would expect to see

corresponding changes in the repertoire of hymns and not only in the plainchant for the Mass and

in the responsories and antiphons of the Divine Office during the period of the eleventh through

the thirteenth centuries.

Indeed, we find that hymns composed during the time of the decree of Pope Stephen

often reflected or communicated, through their texts and subject matters the religious and

political preoccupations of an ever more powerful ecclesiastical hierarchy.14 Political and

religious preoccupations were intertwined: as political realities changed with the Norman

13
Ambrogio Amelli, Paolo Diacono, Carlo Magno e Paolino d’Aquileia in un’epigramma inedita intorno
al canto gregoriano e ambrosiano (Montecassino: Tipografia di Montecassino, 1899). Cited and translated in Kelly,
The Beneventan Chant, 24. See also: Angelo Rusconi, “L’Ordalia della croce per il primato del ‘Cantus Romanus’
sull’Ambrosianus nel Cod. 318 di Montecassino,” Musica e Storia 13 (2005), 5–24.
14
For example, Christine Walsh pointed out that Alfanus, the bishop of Salerno (appointed by the
aforementioned Pope Stephen IX), composed many hymns to virgin martyrs in which “Alfanus’ interest in these two
themes [of virginity and martyrdom] are a reflection, not only of the religious and political environment in southern
Italy at this time, but also of Alfanus’ own role in the Church and in southern Italian politics.” Christine Walsh, The
Cult of St. Katherine of Alexandria in Early Medieval Europe (Burlington, VT: Ashgate, 2007): 57–8.
9
invasion of Italy and with the reform of the church by the papacy, local bishops and monastic

institutions struggled to assert more authority on both civic and religious life. As several scholars

of medieval history and culture have recently pointed out, the local establishment or re-

establishment of the cults of saints through the translation or invention (i.e., the discovery) of

relics as well as the increased use of the ceremony of church dedications reinforced the authority

of local bishops with particular reliance on prerogatives derived from the authority of the pope

himself.15 Historian Louis I. Hamilton points out that “these rites clearly attempted to create an

ideal eschatological community within the mundane community,”16 which involved the

participation by both religious authorities and laypeople in the performance of ceremonies

surrounding saints’ cults and church dedications. In this context, where liturgical ritual became a

public and civic occasion, hymns served as an ideal vehicle of praise. While in church

dedications, “standard” hymns such as Urbs beata Hierusalem were sung, as well-attested in

hymnaries in southern Italy as elsewhere, the hymns used in occasions for local saints’ feasts

might have been similarly more local. Whatever the case may be, occasions such as these

encouraged the use of hymns. As many medieval chronicles attest, hymns were easily sung by

both lay and religious in these ceremonies; moreover, hymns’ often hagiographical narratives

clearly connected the intercession of the saint to the needs of the community.17

Just as translation and dedication ceremonies were vehicles for the establishment of

episcopal authority in the context of new religious and political realities, the copying of new

chant books was often the consequence of ecclesiastical and monastic reform. Certain hymns

15
Hamilton describes how, in medieval Italy, the liturgy of the Dedication of Churches was a liturgical
means for bishops to control local communities. See Hamilton, 4–6.
16
Hamilton, 6.
17
See Chapter Six for descriptions of hymn singing in such public religious occasions in southern Italy.
10
(though not all) copied in new chant books in southern Italy communicated the ideals of

ecclesiastical reform by honoring saints who were ideal leaders, especially episcopal or papal.18

They also did so through the replacement of older repertoire with a newer, standardized one. It is

no surprise, therefore, that newly-composed hymns by church reformers such as St Peter Damian

(1007–1073) are well-represented in hymnaries from the area. How and when did more standard

hymn texts replace a more diverse, regional repertoire? And how are we to identify the regional

repertoire?

These questions can only be answered through an examination of the repertoire of hymns

in the manuscripts themselves. The hymn repertoires of northern France and Germany, and their

transformation through time, have been studied in detail. Yet there is still need for a full survey

of this genre in the context of late-medieval southern Italy through an examination of the main

manuscripts for the hymns, a cataloguing and transcription of melodies, and repertorial and

melodic comparison. With the hymns, there is a significant lacuna in our understanding of local

musical practices in this region. The reconstruction of the hymn repertoire of southern Italy

would add to the understanding of local plainchant practices already analyzed in other genres for

the Mass and Divine Office. The following study aims to fill this gap in the knowledge of the

hymn repertoire of southern Italy by characterizing local hymn repertoire and melodies as found

in the main hymnaries from this region. It shows that we can, indeed, find traces of hymns

18
Valerie Ramseyer has described how the area of the diocese of Salerno was transformed between the
ninth and twelfth centuries from a loosely-structured, highly regionalized area to one that was unified and
standardized. However, although the authority of powerful local bishops and the Abbey of the Trinity at Cava de
Tirreni were reinforced during this time period, Ramseyer is keen to point out the exceptionality of Salerno in that
the bishops were actually less powerful here than they were in other areas of southern Italy. Nevertheless, the
bishops did assert their control of religious life, as reflected in hagiographical literature where bishop saints became
the ideal of sanctity in contrast to the earlier ascetic, eremitical patron saints. Ramseyer, 1–21, 126–45. Since
“bishops and archbishops [in southern Italy] relied on lay rulers for financial support….southern Italian cathedral
churches became an integral part of the monarchy [Norman] at a time when the churches in northern Europe were
freeing themselves from lay power” (Ramseyer, 151), there is all the more reason to trace the effects of such
complex political currents on the liturgy and plainchant genres of southern Italy.
11
endemic to central and southern Italy, vested in melodies with the same musical style found in

other liturgical chants from the region. This initial exploration into the nature and context of

hymn and hymn writing in southern Italy in an age when political and religious change affected

the musical realities of the liturgy might just throw some light on Paul the Deacon’s reason for

mentioning Fortunatus and his hymns in his historical chronicle.

The Hymn as Genre

The ease with which one can define the Hymn as a genre belies the complicated way in

which it came into being as such, as well as the initially volatile history of this genre in the

liturgy of the early Church. Susan Boynton defines the hymn as a “strophic composition, sung in

the Divine Office, with a metrical poetic text and a predominantly syllabic melody.”19 The hymn

Ymnum canamus in the manuscript Ben 42 (folio 150v–151r) serves as a good illustration of the

genre, since it appears, at first glance, to be a hymn about a hymn, as seen in the text in Figure 1.

Figure 1: Melody and text of Ymnum canamus as copied in Ben 42, folio 150v

1-ghjg-f--hjk-kj-hg-h--fg-g-3-gk-j--h-j--g-h--gf-fgf-3-
Ym- num ca- na-mus so- ci- i de- vo-te men-te se- du- li

1-d--fe--fg-gh-gf-g--gh-h-3-k-klk-h--j--g--h--fg-g-4
fes-tum-que pi- i mar-ty- ris o-dis ca-na-mus con-so- nis

2 3
Qui spreto mundi principe Hunc laureate proceres
Christi ditatus munere rite sequuntur alacres
per sanguinis commercia quos ille doctor previus
eterna tulit premia ad etra duxit celitus

19
Warren Anderson et. al., “Hymn,” Grove Music Online, Oxford Music Online, Oxford University Press,
2001, updated 16 October 2013 (accessed June 19, 2015) http://www.oxfordmusiconline.com.
12
4 6
Nunc Cyriace inclite Ne veniente Domino
nos adiuva precamine dierum in novissimo
iunctus caterve martyrum in tartara cum reprobis
pro nobis ora Dominum voce damnemur iudicis

5 7
Ut tuis fulti precibus Laus trinitati debita
vitemus omne facinus honor potestas gloria
mundi temnamus noxia perenniter sit omnia
celi sequamur gaudia in seculorum secula.

This is not entirely true, of course, since the primary subject matters for hymns were the praises

of God and the saints. More precisely, Ymnum canamus is a hymn in honor of St Cyriacus,20 but

the action of singing hymns in honor of a particular saint is foregrounded in the text of this hymn

through a direct appeal to the singers themselves: “Sing a hymn, friends, devoutly with

disciplined mind, and let us sing the feast of the pious martyr with harmonious odes” (“Ymnum

canamus socii devote mente seduli festumque pii martyris odis canamus consonis”).21 As this

hymn shows, the genre is a collective vocal musical praise within a structured and “disciplined”

context.

The use of the word socii in this hymn highlights this function of the hymn as sung in the

divine office, namely, for use in a collective and rule-based context. The text appeals to devotion

and discipline and references the saint’s ability, through the devotion of the faithful, to intercede

for them that they might have their eternal reward: “Help us with your prayers…pray for us to

the Lord…so that with your supporting prayers…we may go after the joys of heaven” (“nos

20
Saint Cyriacus may have been tied to local southern Italian cults at an early date. To this day, the town of
Torre le Nocelle in the province of Avellino (about fifty kilometers south of Benevento and fifty kilometers west of
Naples) has a special devotion to this saint, part of whose relics were transferred to this town from Rome in the
seventeenth century. See “Santuario di San Ciriaco Diacono e Martire—Torre le Nocelle (Avellino),” Viaggi
Spirituali: Luoghi, Santuari, e Chiese, February 7, 2014 http://www.viaggispirituali.it/2014/02/santuario-di-san-
ciriaco-diacono-e-martire-torre-le-nocelle-avellino/ (accessed December 1, 2015). I thank Dr. Luisa Nardini for
pointing out to me the local devotion to St Cyriacus at Avellino.
21
“Ymnum canamus socii devote mente seduli festumque pii martyris odis canamus consonis.” The full
text of this hymn is found in the tables and figures for this chapter, below.

13
adiuve precamine…pro nobis ora Dominum…ut tuis fulti precibus…celi sequamur gaudia”).

These qualities exemplified by the text of Ymnum canamus highlight the fact that hymns were

used not only as vehicles of praise but also as didactic, theological, and moral texts for the

benefit of their singers.22 Their formal features facilitate hymns’ effectiveness as learning texts:

they are both textually and musically simple, and therefore easy to remember. Although not all

hymns have a distinct rhyme scheme such as this one, hymns are all clearly metrical, based on a

limited number of poetic meters, the most common of which were iambic quatrains or Sapphic

meters (with strophes made of three hendecasyllabic lines and one final five-syllable adoneus

line).23

But literary characteristics are not enough to fully define hymns, as their musical

dimension is essential to their use in the liturgy as prayers and praise. Musically, hymns are also

conducive to easy performance and memorization in contrast to the more complicated plainchant

styles used in other genres for the Mass such as that of the Gradual or Offertory. Most hymns are

syllabic with a stepwise contour, although certainly more melismatic musical settings exist.24

The melody of Ymnum canamus strikes a balance between the extremely simple melodies to

which hymn texts could be set and more ornate settings, as seen in Figure 1. In this transcription,

bar lines indicate the beginning of a new line of text in this four-line strophe. Only the first

strophe is copied in the manuscript Ben 42, since the same melody would have been used for

22
For an analogous discussion of these same themes (i.e., moral and theological instruction, prayer, etc.) as
found in trope texts, see Gunilla Iversen, “Pax et Sapientia: A Thematic Study on Tropes from Different Tradition,”
in Pax et Sapientia: Studies in Text and Music of Liturgical Tropes and Sequences in Memory of Gordon Anderson,
ed. Ritva Jacobsson (Stockholm: Almqvist & Wiksell International, 1986), 449–84. Iversen points out the origin for
thematic interrelationships between various liturgical poetic genres such as hymns and tropes: “In the rich literary
heritage of biblical and patristic texts, of theological and liturgical treatises as well as hymns and other poetic
creations there is a broad common textual basis on which composers of tropes and sequences depended” (Idem,
449).
23
“Hymn,” Grove Music Online.
24
It is important to note that the relative simplicity or complexity of a melody in a hymn is not a measure of
the early or late date of composition for that melody. See “Hymn,” Grove Music Online.
14
each new strophe of text. This is the case for most, though not all hymns, as will be explained

later. Certain syllables of Ymnum canamus, such as the first one of the word “Ymnum,” are set to

several notes while others have two-note groups and still others have only one note assigned to

them. Although the contour is mainly stepwise, there are several leaps, the one beginning the

second line of text, from g’ to c”, being the largest—an interval of a fourth. The range is quite

extended: a seventh, from d’ to c”. Although in this case the leap at the beginning of the second

line of text and the cadential figure from f’ to g’ at the ends of the first and fourth lines clearly

define a modal character centered on the final g’ (eighth mode or plagal tetrardus) for this hymn,

some hymn melodies do not so easily conform to modal categories.25

The renowned hymnologist Arthur Summer Walpole emphasizes the musical dimension

of hymns as a characteristic that separates them from classical Latin poetry: what was first poetry

became a hymn by virtue of its connection to melodies used in the liturgy. 26 In reality, the

connection between poetry and song in the Middle Ages was extremely close, a fact that

underscores even more acutely the Hymn’s essentially musical nature.27 Yet the melodies of

hymns are as elusive as they are essential: hymns were transmitted orally for a long time, and

thereafter not all of them were given notated melodies in chant books. Hymns with different texts

sometimes shared melodies, and sometimes a borrowed melody was applied to a hymn text. The

interchangeability of text and melody is reflected in the ways in which hymns were notated in

liturgical books (for example, some of them were notated without melodies and others were

25
Ibid.
26
Arthur Summer Walpole, ed., Early Latin Hymns, Cambridge Patristic Texts 9 (Cambridge: Cambridge
University Press, 1922), x.
27
On this close connection between poetry and music, see John Stevens, Words and Music in the Middle
Ages: Song, Narrative, Dance, and Drama 1050–1350 (Cambridge: Cambridge University Press, 1986), especially
page 20, where Stevens cites Dante’s De Vulgari Eloquentia and paraphrases Dante’s synthesis of medieval thought
on the nature of poetry: “poems are, amongst other things, musical constructs in words.”
15
notated with a single melody used for a group of different hymn texts)—when, that is, they were

eventually notated, centuries after their first use in the liturgy.28 Unfortunately we may never

know whether Ymnum canamus had a different melody than the one copied in Ben 42, since this

is the only manuscript in which this hymn text is copied along with musical notation.29

The variety of notation of hymns, or the lack thereof, is just one of the challenges

encountered when studying the hymn repertoire of a given region. Two other phenomena

commonly manifested by hymns when considered as a whole must be taken into account when

trying to identify a regional repertoire, both in terms of text and in terms of melodies. One is the

frequent use of contrafacta, or the setting of a text to a well-known melody.30 Ann-Marie

Nilsson, in her investigation of Swedish hymns, hypothesizes that the melodies borrowed for

hymns might have “had a kind of signal function, or achieved such a function from their frequent

use…the melody might affirm the message of the new text by alluding to something well-

known.”31 Thus a melody from the Common of Saints might be used to set the text of a hymn in

a saint’s office for that saint’s feast day. Often, saints with great local importance but who did

not have a universally-distributed office formulary would receive newly-composed office texts;

28
Walpole points out that the hymns of classical authors such as Prudentius and Sedulius are particularly
salient examples of the use of contrafact melodies (Ibid., x–xi). For a particularly thorough discussion of the
phenomenon of contrafactum as reflected in hymn notation, see Boynton, “Orality, Literacy, and the Early Notation
of the Office Hymns,” Journal of the American Musicological Society 56.1 (2003): 99–168 and especially pp. 115–
35.
29
In Chapter Five, this and other hymns found only in a handful of southern Italian manuscripts will be
discussed in detail.
30
Ann-Marie Nilsson points out that “the use of contrafacta in earlier liturgical monophonic repertories has
not been as rigorously studied as its use in some other genres.” Ann-Marie Nilsson, On Liturgical Hymn Melodies in
Sweden during the Middle Ages: Summary and Coments on Four Articles and a Research Project, Skriftr från
Musikvetenskapliga institutionen 24 ([Göteborg]: [Musikvetenskapliga institutionen], 1991), 14. For an in-depth
investigation into the phenomenon of contrafact in medieval song, see Friedrich Gennrich, Die Kontrafaktur im
Liedschaffen des Mittelalters, Summa Musicae Medii Aevi 12 (Langen bei Frankfurt: n.p., 1965).
31
Nilsson, 14.
16
new office formularies would often incorporate newly-composed hymns set contrafactually to

existing chants.

The second is the fact that sometimes different manuscripts transmitting the same hymn

texts transmit them with different melodies, or vice versa. Here, I will refer to this as “multiple

melodies.” The two phenomena (contrafacta and multiple melodies) might be related: if the texts

were composed independently of the melodies, then in transmission a borrowed, well-known

melody that fit the metrical structure or the affect of the text might be used for the same text

elsewhere; when a hymn text was widely transmitted over a large distance and a long period of

time, this “multiple melodies” type of borrowing might have happened simultaneously in various

places, yielding a hymn text associated with multiple melodic traditions. Vice versa, in the case

of contrafactum, different hymn texts could be used with the same melody, especially when this

was a widely-distributed melody. A hymn text that was re-used twice in the liturgical year might

acquire a different melody for each occasion. This latter feature prompted Nilsson to point out

the following:

Texts shifted melodies over the liturgical year, so to speak, carrying a musical vestment
comparable to the liturgical colours…The hypothesis that melodies by means of their use
acquire a certain liturgical ‘colour,’ a significance or symbolic meaning, seems to be well
supported, but no explicit rule for the procedure could be expected.32

Thus a “core” of the same hymn melodies and texts were used throughout Europe, although

unique and/or local texts and melodies exist. Analysis of these unique items reveals the criteria

governing the copying of hymns in manuscripts in a given place or time.

Sometimes, however, the difference in melodies between hymns with the same texts from

different hymnaries, regions, or time periods is more a matter of melodic variance than of

32
Ibid., 13.
17
contrafacta. In this case the same melody is present with the same text, but somehow differs

through alteration of melodic or notational features from manuscript to manuscript. When one

version of the melody occurs in the same way in southern Italian manuscripts but differently

from those of other regions, this could either be evidence of a local compositional alteration of

the melody, of the preservation in southern Italian manuscripts of an earlier version of a

universally-transmitted melody, or of the later accretion of melodic difference as a result of oral

transmission and subsequent copying.

The high degree of variability in the hymn repertoire is due to the diversity within the

practice of the Divine Office itself in different regions and institutions.33 Did Paul the Deacon

and Alberic of Montecassino write music along with the hymn texts? If not, who was in charge

of determining the melodies assigned to different texts? With the full understanding that we may

never know the answers to these questions, approaching the particulars of local hymn texts and

melodies and their transmission can only follow an examination of the repertoire in the principal

sources for hymns in the Beneventan zone. In southern Italy, as we shall see, although local

melodies tended to be applied to local texts, sometimes local texts were set to more universal

melodies. For those hymns that have local texts, moreover, different Beneventan manuscripts

copied in different times and places apply different melodies. Thus the interchangeability of

melodies and texts, part and parcel of the hymn genre, allowed the local melodic style

perceivable in some unique hymn melodies to be found side by side in certain southern Italian

hymnaries with more widespread hymn melodies found in hymnaries throughout Europe.

33
As László Dobsay points out: “Compared with the Mass, the order of chants for the medieval Office is
more complex and diverse, depending upon the traditions of single dioceses, religious orders, or individual
monasteries…The boundaries and mutual relationship s of liturgical rites give firm evidence for discernible
institutions, and because they do so this hint can be followed when the assignment of musical traditions and musical
influences is to be localized.” László Dobszay, “Reading an Office Book,” in The Divine Office in the Latin Middle
Ages, ed. Margot E. Fassler and Rebecca A. Baltzer (Oxford: Oxford University Press, 2000), 48.
18
 In addition to its technical musical-poetic features, the Hymn is a quintessentially

religious, liturgical genre, which distinguishes it from other types of sacred Latin strophic song

such as the versus, conductus, and cantio. St Augustine’s early definition of the genre from his

commentary on Psalm 148 reflects the positive regard for hymns as an ideal vehicle of praise for

God and the saints:

Hymnus scitis quid est? Do you know what a hymn is?

Cantus est cum laude Dei.
Si laudas Deum et non cantas,
non dicis hymnum: si cantas
et non laudas Deum, non dicis
hymnum; si laudas aliud quod
non pertinent ad laudem Dei,
etsi cantando laudes, non dicis
hymnum. Hymnus ergo tria
ista habet, et cantum, et laudem,
et Dei. Laus ergo Dei in cantico,
hymnus dicitur.34
It is a song with praise to God.
If you praise God and do not sing,
you do not utter a hymn: if you sing
and you do not praise God, you do not utter
a hymn; if you praise other things which do
not pertain to the praise of God,
although singing praises, you do not utter
a hymn. A hymn therefore contains
these three things, song, praise,
and [praise] to God. Praise, therefore,
to God in song, is called a hymn.35

As St Augustine’s words imply, the simple features of hymns belie their importance as

religious expressions and their central place in the prayer of the Church. They conceal the

Hymn’s multidimensional significance in terms of literary production, devotional motivation,

and liturgical organization in the Middle Ages. Some of this significance can be gleaned when

texts such as that of the hymn for St Cyriacus are seen in their historical context: as will be seen

in Chapter Five, this hymn is a local text found in only a handful of Italian hymnaries. The

reasons for the honoring of this particular saint with a hymn for use in the Divine Office on his

feast in certain areas of Italy and not others can also be interpreted as an expression of local

piety. An exploration of these local liturgical songs, then, can give us a glimpse at the devotional

34
Augustine of Hippo, “Enarrationes in psalmos, Psalm 148, line 17,” quoted in James J. O’Donnell,
Augustine Confessions, Volume III: Commentary, Books 8–13 (Oxford: Oxford University Press, 1992): 221
35
Translation mine.
19
and even at the political motivations that led the scribes of manuscripts such as Ben 42 to

preserve these hymns in writing.

These aspects of the Hymn as a genre guide the following investigation of its function

and presence in a circumscribed region and demarcates the types of analysis to which it can be

subjected. To investigate the role of the Hymn in the liturgy in any region it is necessary to

understand its place within the Divine Office. Some general observations about the place of the

Hymn in the Divine Office hold true across Europe. Although the regular use of hymns in the

Western liturgy had by no means gone uncontested in the early Church,36 nevertheless by the

sixth century St Benedict and the bishops Caesarius and Aurelian of Arles prescribed the regular

incorporation of hymns modeled on those written by St Ambrose in the recitation of each hour of

the Divine Office.37 This secured a permanent place for this poetic and musical genre within the

liturgy of the Church.

The Hymn in the Early Church

According to St Ephrem of Edessa, in the second century an ideological struggle

prompted the influential Syrian erudite Bardesanes, whose religious teachings were tinged with

gnostic heresy, to compose 150 poems—a type of psalter—with the expressly didactic purpose

of conveying a particular brand of theology infused with Babylonian astrology.38 Bardesanes’

36
A more detailed description of the specific controversies involving the hymns will be discussed later.
Adrian Fortescue identifies the cause of the objections to hymn singing in the liturgy, albeit in blunt terms: “At first
Latins, especially Romans, did not approve of that prolific development of human compositions in the Divine
Office…the West was sternly rejecting almost everything that was not holy Scripture.” Adrian Fortescue,
“Introduction: Concerning Hymns,” in Pange Lingua: Breviary Hymns of Old Uses with an English Rendering by
Alan G. McDougall and an Introduction by Adrian Fortescue (London: Burns and Oates, 1916): xviii.
37
James W. McKinnon, “The Origins of the Western Office,” in The Divine Office in the Latin Middle
Ages: Methodology and Source Studies, Regional Developments, Hagiography, ed. Margot Fassler and Rebecca
Baltzer (Oxford: Oxford University Press, 2000): 71.
38
Ephrem of Edessa, Sermones Polemici Adversus Haereses, 1.17, 53.5, 53.6. For the Syriac edition of
Ephrem’s hymns against heretics, see Sancti Patris Nostri Ephraem Syri Opera Omnia quae extant Graece, Syriace,
Latine, 6 vols., ed. Peter Mobarak and Stephanus E. Assemani (Rome: n.p., 1732–1746): V.437ff. and Edmund
Beck, Des heiligen Ephraem des Syrers Hymnen contra Haereses, in Corpus Scriptorium Christianorum
20
psalter was composed of strophic poetry in Syriac, which some, like Ephrem, might consider the

first hymns. According to the fifth century chronicler Sozomenos, Bardesanes was aided in his

task by his son Harmonios.39 The definitive counter-attack against these formidable foes and

their lyrical weapons of choice came with St Ephrem himself, who, “seeing that the Syrians were

charmed by the elegance of the diction and the rhythm of the melodies…applied himself to the

understanding of the metres of Harmonios, and composed similar poems in accordance with the

doctrines of the Church, and wrought also in sacred hymns…” as attested by Sozomenos.40

Harmonios was not the only charmer, as St Ambrose attests in his Epistola contra Auxentius:

Hymnorum quoque meorum They say that the people

carminibus deceptum populum
ferunt. Plane nec hoc abnuo.
Grande carmen istud est, quo
nihil potentius.
are led astray by the charms
Of my hymns. Certainly; I do
not deny it. This is a mighty
charm, more powerful than
any other.41

Here we see how St Ambrose seems to be playing with the dual meaning of the word carmen to

mean both song and incantation. In succeeding centuries St Ambrose of Milan (according to St

Augustine) and St Hilary of Poitiers used hymnody as a powerful doctrinal armament against a

new enemy, Arianism. This set the precedent for the hymn to function as a means to teach

Orientalium, Scriptores Syri, 257 vols. (Leuven: Peeters, 1957): vols. 76–77. For a translation of the first hymn, see
Phil J. Botha, “The Textual Strategy of Ephrem the Syrian’s Hymn Contra Haereses 1,” Acta Patristica et
Byzantina 15 (2004): 57–75. For a Spanish translation of hymn 53, see Francisco Javier Martinez, “Los himnos de
St Efrén de Nisibe y la liturgia de la Iglesia en lengua siriaca,” Liturgia y Padres de la Iglesia, ed. Asociación
Española de Profesores de Liturgia, Culmen et Fons 2 (Bilbao: Grafite Ediciones, 2000): 125–217. See also George
W. MacRae, “Bardesanes (Bar-Daisān),” in The New Catholic Encyclopedia, 2nd ed. (Detroit: Gale, 2003): II.97–8.
39
The veracity of this statement has been called into question. See Sebastian P. Brock, “From Ephrem to
Romanos,” Studia Patristica 20 (1989), 140.
40
“Sozomen on Ephraim the Syrian,” in Historia Ecclesiastica, 3.16, Early Church Texts (accessed June
22, 2015) http://www.earlychurchtexts.com/public/sozomen_on_ephraim.htm.
41
Ambrose of Milan, Sermo contra Auxentium de basilicis tradendis, 34.422–28, in Patrologia Latina 16,
ed. Jacques-Paul Migne (Paris: n.p., 1880): cols. 1017C–1018a. Quoted and translated in Boynton, “The Theological
Role of Office Hymns in a Ninth-Century Trinitarian Controversy,” in In principio erat verbum: Mélanges P.
Tombeur, ed. Benoît-Michel Tock, Textes et études du Moyen âge, 25 (Turnhout: Brepols, 2005): 19. See also
Ambrose of Milan, “Epistola contra Auxentium” [75a], in Ambrose of Milan: Political Letters and Speeches, ed.
John H. W. G. Liebeschuetz (Liverpool: Liverpool University Press, 2005), 159.
21
doctrine and as a weapon to fight heresy—but also to serve as a target for accusations of unsound

theology in succeeding centuries.42

The term hymnus had existed before its use by St Ambrose. Although the exact origin of

the word is not known, the term and the poetry it represented were used as early as Homeric

times.43 The term had different meanings: as recounted story, as lament, as song, as incantation.

In general, in ancient Greece and Rome it was understood as a poem to a god.44 Embroiled in

controversy, and having texts that are non-scriptural but poetic, often used to promote doctrines

contrary to the accepted faith, in the early Church hymns were considered outliers compared to

other genres of plainchant and involved a significant amount of liturgical debate. Probably

because it recognized that hymns had the dangerous potential to be used as a didactic alternative

contradicting accepted doctrine, in 561 the Council of Braga prohibited the singing of hymns, or

psalmi idiotici45 that were not based on scriptural texts.46 The term psalmoi idiotikoi had already

been used to designate hymns in the fourth century by Eusebius of Caesarea in the seventh book

of his monumental Church History, where he opposed the private composition of non-scriptural

poetic texts for use in the liturgy.47 On the other hand the Council of Tours in 567 permitted the

42
For an in-depth examination of the Hymn’s role in theological disputes, see Boynton, “The Theological
Role of Office Hymns.”
43
Thomas W. Allen, W. R. Halliday and E. E. Sikes, eds, The Homeric Hymns, 2nd ed. (Oxford: Clarendon
Press, 1936); Thomas J. Mathiesen, Apollo’s Lyre: Greek Music and Music Theory in Antiquity and the Middle Ages
(Lincoln: University of Nebraska Press, 1999), 29–36.
44
Mathiesen, 29.
45
Here idiotici designates a poetic composition that is “individual” or “private,” as opposed to one that is
based on a biblical text. See Mildred Anna Rosalie Tuker and Hope Malleson, Handbook to Christian and
Ecclesiastical Rome (London: Adam and Charles Black, 1900), 142.
46
Andrew Hughes, Medieval Maniscripts for the Mass and Office: A Guide to Their Organization and
Terminology (Toronto: University of Toronto Press, 1982), 37; Aimé-Georges Martimort, The Liturgy and Time,
vol. 4 of The Church at Prayer, ed. A. G. Martimort, I. H. Dalmais, P. Jounel (Collegeville, MN: The Order of St
Benedict, Inc., 1986), 212–216.
47
Robert Taft, St J., The Liturgy of the Hours in East and West: The Origins of the Divine Office and its
Meaning for Today (Collegeville, MN: St John’s Abbey, The Liturgical Press, 1986), 28. Taft references Eusebius’s
Historia Ecclesiastica vol. VII, 30:10.
22
singing of hymns of known authorship—evidently, if the author of the text was known and the

author was known not to be a heretic, then the hymn was acceptable. Not surprisingly, those by

St Ambrose were declared acceptable.48 The hymn continued to be contested, although its

liturgical legitimacy was, over time, defended. For example, the fourth Council of Toledo (633

A.D.) issued a warning to those who banned hymns that they would be excommunicated for so

doing.49

Despite these controversies, the Hymn’s potential as a tool for doctrinal and affective

instruction outweighed its perceived negative effects. Hymns gradually became incorporated into

the Divine Office by the sixth century in monastic rules, the earliest of which was that of

Caesarius of Arles.50 The term hymnos had been used to designate many different types of song

of praise, including psalms.51 The term was also used to designate a paraliturgical musical genre

that accompanied litany processions in the second through fourth centuries.52 As part of the

liturgy itself, the term hymn was used to describe the texts of the Gloria (the hymnus angelicus),

used for the first time in the Mass Ordinary and in the Cathedral Vigil Office in the fourth

century.53 Outside the Roman liturgical tradition that became the standard throughout Europe

48
Boynton, “The Theological Role of Office Hymns,” 20–21.
49
For a detailed account of the Hymn’s historical place in the liturgy, see Martimort, “La place des hymnes
à l’office dans les liturgies d’occident,” In Studi ambrosiani in onore di Mons. Pietro Borella, ed. C. Alzati and E.
Majo (Milan: NED, 1982): 138–153. Regarding the Council of Toledo, see idem, 145.
50
McKinnon, 71; Taft, 103–104.
51
In the East, several early church fathers such as St Chrysostom (in his Homily 14 on 1 Timothy 4,
describing the nocturnal office at Antioch) had already advocated the use of hymnoi to praise God at sunrise and
sunset in various types of early Offices, namely, the cathedral office, the Egyptian-monastic, and the urban-monastic
offices (Taft, 32–3, 38, 48–9, 80, 88). The term “hymn” seems to designate more generally “psalm” in the Institutes
of the Gallican monastery of Lerins: “Etenim hymnos, quos in hac regione ad matutinam excepere sollemnitatem, in
fine nocturnarum vigilarum, quas post gallorum cantum ante auroram finire solent, similiter hodieque decantant, id
est centesimum quadragesimum octavum psalmum” (my italics; quoted in Taft, 99).
52
Hughes, 84; Terence Bailey, “Milanese Gospel-Processions,” in Antiphonaria: Studien zu Quellen und
Gesängen des mittelalterichen Offiziums, ed. David Hiley, Regensburger Studien zur Musikgeschichte (Tutzing:
Hans Schneider, 2009), 1–3.
53
McKinnon, 70–71; Hughes, 38. The description of the singing of hymns as part of the fourth-century
monastic Vigil can be found in the account of the nun Egeria on her visit to the Holy Land. The psalterium-
hymnarium Reg. Lat. 11 is a Gallican manuscript from the early eighth century containing hymn texts by Caesarius
23
when adopted by the Franks, the Gallican liturgy had already incorporated hymns as part of the

Cathedral Office apparently well before the time the first extant books were copied.54 Other

hymns used in the liturgy outside the Divine Office, besides those that had become part of the

Mass (primarily the Gloria, or hymnus angelicus), included the Pange lingua used on Good

Friday during the adoration of the Cross; the hymn Te Deum used for special occasions55; the

processional, stichic hymns in prose, such as biblical psalms or canticles (the Gloria laus et

honor used on Palm Sunday which is an example of a non-biblical prose hymn text); and the

“hymnus” Trium puerorum or Benedicamus Domino that were sung after tracts.56

Now, when we speak of liturgical hymns, we refer first and foremost to the hymns of the

Divine Office, the context in which this genre flourished through the Middle Ages and after. It

was only a short time before the hymn became a liturgical genre prescribed for use in the Divine

and Aurelian of Arles as well as earlier Gallican prose hymns such as Gloria in excelsis, Magna et mirabilia and Te
Deum. See Mele, 42–49. See also Yitzhak Hen, Culture and Religion in Merovingian Gaul: A.D. 481–75, Cultures,
Beliefs, and Traditions 1 (Leiden: BRILL, 1995), 79–80 for a list of Gallican hymn authors.
54
The psalterium-hymnarium Reg. Lat. 11 (Psautier de la Reine) is a Gallican manuscript from the early
eighth century containing hymn texts by Caesarius and Aurelian of Arles as well as earlier Gallican prose hymns
such as Gloria in excelsis, Magna et mirabilia and Te Deum. Another early manuscript containing Gallican hymns is
the Murbach hymnal, Ox. Bodl. Junius 25 (5137), along with BnF lat. 14088 (from Corbie) and Zürich,
Zentralbibliothek Rh. 34 (from Rheinau). See also Giampaolo Mele, ed., Psalterium-Hymnarium arborense: il
manoscritto P. XIII della cattedrale di Oristano (sec. XIV/XV) (Rome: Edizioni Torre d’Orfeo), 42–9; Eduard
Sievers, ed., Die Murbacher Hymnen (Halle: n.p., 1874); Cyrille Vogel, “L’Hymnaire de Murbach contenu dans le
manuscrit Junius 24 (Oxford, Bodleian 51137) : Un témoin du cursus bénédictine ou cursus occidentale,” Archives
de l’église d’Alsace 9 (1958): 1–42; Maurice Frost, “Notes on the Te Deum: the Final Verses,” Journal of
Theological Studies 34 (1933): 250–56; Michel Huglo, “La mélodie grecque du Gloria in excelsis,” Revue
grégorienne 29 (1950): 30–40; Idem, ‘L’auteur de l’Exultet pascal,” Vigiliae christianae 7 (1953): 79–88.
55
The Te Deum is also an Office hymn, as it is used at the end of Matins on Sundays and special feasts. Fr.
Matthew Britt, in his 1922 edition of the hymn texts of the missal and breviary, explains that the Te Deum in the
Roman breviary “is said in the Office at the end of Matins whenever the Gloria in excelsis is said at Mass….In
addition to its liturgical use, the Te Deum is used in many extra-liturgical functions as a hymn of thanksgiving on
occasions of great solemnity, such as the election of a pope, the consecration of a bishop, the benediction of an
abbot, canonization of a saint, religious professions, etc.” Matthew Britt, O.S.B., The Hymns of the Breviary and
Missal (London: Burns Oates and Washbourne Ltd., 1922), 46.
56
Processional hymns were often copied in a specific type of liturgical book known as a processional and
their repertoire differs from those of hymns used for the Divine Office. Processional hymns can therefore be
considered as a separate sub-genre of the hymns. The processional hymns in southern Italy are evidently a
repertorial genre per se, which would require a separate study. Canticles are those hymns copied in the Bible that
were sung by specific biblical characters; they were used in the Divine Office especially at Matins and often copied
along with hymns.
24
Office at each canonical hour in the sixth century by St Caesarius of Arles and, most

influentially, by St Benedict. Shortly thereafter, they began to be copied in liturgical manuscripts

for the Divine Office throughout Europe, where we find hymn texts and melodies notated still

today. Hymns were first composed in Latin by Hilary of Poitiers who wrote a Liber hymnorum in

the early fourth century, and then a watershed came with the hymns composed by St Ambrose

shortly afterward.57 St Ambrose’s hymns in stanzaic, four-line iambic tetrameter were so

renowned that St Benedict referred to any hymn in general as ambrosianus.58 Finally, Caesarius

and Aurelian of Arles and St Benedict made hymns an official and regular part of the structure of

the Divine Office in their monastic Rules in the sixth century.

The Hymn in the Divine Office

Despite its presence in the context of para-liturgical processions and in the Mass, the

fixed place of hymns in the liturgy of the hours as mentioned in monastic rules makes this genre

most closely associated with the Divine Office. By the sixth century, when St Benedict wrote his

Rule, hymns were placed in specific positions within the Benedictine Divine Office. Even before

the Rule of St Benedict, hymns had standardized positions in given hours of prayer, as texts

regarding the origins of the western office attest. And after St Benedict, the Roman breviary, a

product of the thirteenth century, retained this standardized position and function for hymns in

the Divine Office.59 In the monastic Divine Office, each hour included hymns. While St Benedict

did not specify all the hymns to be sung at each hour and in each occasion, eventually a

Carolingian and post-Carolingian, standard hymn repertory for the Divine Office specified the

57
Britt, 46.
58
Idem, 18, 423. The authentic hymns attributed to St Ambrose are Eterne rerum conditor, Deus creator
omnium, Iam surgit hora tertia, Intende qui regis Israel. Others are attributed to him but their authenticity is
questionable. See Jacques Fontaine et. al., eds., Ambroise de Milan: Hymnes (Paris: Éditions du cerf, 1992). Soon
any hymn with this same metrical scheme was referred to as an “Ambrosian hymn.”
59
Martimort, “La place des hymnes,” 138–153.
25
particular hymns to be sung in certain occasions. Festal Matins included a hymn after the

invitatory and the first psalm and ended with the Te Deum, omitted in the ferial Matins. Lauds

and Vespers included a hymn after the chapter reading and Responsory. Prime, Terce, Sext, and

None began with a hymn. Compline included a hymn after the first antiphon and three psalms.60

Certain hymns had fixed assignments in a given season, day of the week, and liturgical hour (for

example, the hymn Eterne rerum conditor was assigned to Lauds on Sundays in summertime—

between the octave of Pentecost to the first Sunday in October—in manuscripts from throughout

Europe). Likewise, standard hymns are assigned for each of the ferial days of the week in a

liturgical season. In the case of special feasts, hymns proper to that feast would be used for the

hours on that feast day instead of the prescribed hymn that would normally be used for the

season, day, and liturgical hour on which the feast falls (for example, the hymn Aurea luce et

decore roseo is always used for the feast of Sts Peter and Paul instead of the general ferial or

Sunday hymns). The hymns with fixed assignments for Sundays and weekdays in the

summertime for the hours of Prime, Terce, Sext, None, and Compline are shown below.61

Iam lucis orto sidere Prime

Nunc sancte nobis spiritus Terce
Rector potens verax Deus Sext
Rerum Deus tenax vigor None
Te lucis ante terminum Compline

Although the hymns used in the other hours of the Divine Office, namely, those for Vespers,

Matins, and Lauds, changed from day to day, these also recurred in weekly cycles outside of

60
For a thorough description and outline of the Divine Office hours, see Lila Collamore, “Prelude: Charting
the Divine Office,” in The Divine Office in the Latin Middle Ages, ed. M. Fassler and R. Baltzer (Oxford: Oxford
University Press, 2000), 3–14.
61
See Matthew Britt, O.S.B., The Hymns of the Breviary and Missal (London: Burns, Oates and
Washbourne Ltd., 1922) for a complete edition of the standard breviary hymns for the sanctoral and temporal cycles
and for festal and ferial days. Here the “original titles” of the hymns will be used, as these are the ones used in
medieval liturgical books.
26
penitential times and excluding the case of special feasts and liturgical seasons (such as Easter

and Christmas) in which different hymns appropriate for the season/feast would be used. The

hymns for Vespers, Matins, and Lauds for a typical weekly cycle (where the days of the week

Monday, Tuesday, Wednesday, Thursday, and Friday correspond to Feria II, Feria III, Feria IV,

Feria V, and Feria VI, respectively; Saturday is designated Sabbato) in the summertime, are

shown in Table 1.

Table 1: Hymns of the Divine Office for ferias and Sundays

Primo dierum omnium Matins Sunday

Nocte surgentes Matins Sunday
Eterne rerum conditor Lauds Sunday
Ecce iam noctis Lauds Sunday
Lucis creato optime Vespers Sunday
Somno refectis artubus Matins Feria II
Splendor paterne glorie Lauds Feria II
Immense celi conditor Vespers Feria II
Consors paterni luminis Matins Feria III
Ales diei nuntius Lauds Feria III
Telluris ingens conditor Vespers Feria III
Rerum creator optime Matins Feria IV
Nox et tenebre et nubile Lauds Feria IV
Celi Deus sanctissime Vespers Feria IV
Nox atra rerum contegit Matins Feria V
Lux ecce surgit aurea Lauds Feria V
Magne Deus potentie Vespers Feria V
Tu Trinitatis unitas Matins Feria VI
Eterne celi Gloria Lauds Feria VI
Plasmator hominis Deus Vespers Feria VI
Summe Deus clementie Matins Saturdays
Aurora iam spargit polum Lauds Saturdays
O lux beata Trinitas Vespers Saturdays

Sundays are given two sets of Matins and Lauds because these office hours would be

repeated; the “day” for important feasts and Sundays began, in fact, at Vespers of the preceding

day. The standard hymns changed from season to season; in some penitential times (such as the

Tenebrae service in which the hymns of Matins and Lauds during the Triduum before Easter was

27
omitted) hymns were not sung. Certain hymns associated with certain feasts of the Sanctoral

cycle, for both the common of saints and the propers of given saints’ feast days, also became

standard because they were always found in fixed liturgical positions for these feasts throughout

Europe.62

Despite their secure place in the Divine Office and a high degree of standardization in

terms of the assignment of hymn texts to given feasts, the hymns differ both textually and

musically from other liturgical chant genres due to their form and their function. Their form,

with strophic, metrical, non-biblical, newly-composed texts and interchangeable melodies, more

closely resembles that of the poetry that was such an integral part of classical and, later, monastic

education and not the biblical chanted texts and prayers that formed the largest part of the

liturgy.63 Their non-biblical texts created by specific authors were considered less inspired than

those of other chants for the liturgy, which is why hymns were called “psalmi idiotici” in

contrast to the Psalms of David, and their status as a legitimate liturgical genre remained for a

long time controversial.

The resemblance in both form and function between hymns and classical Latin poetry has

been examined in detail in scholarship.64 Susan Boynton examined the function of hymns as

didactic texts in monastic education, pointing out that of all liturgical chant texts, only psalms

62
Ibid.
63
Boynton, “Orality, Literacy, and the Early Notation of the Office Hymns,” 110, 115; Idem, “Latin
Glosses on the Office Hymns in Eleventh-Century Continental Hymnaries,” The Journal of Medieval Latin 11
(2001), 19–20. For more on the place of hymns and other poetry as pedagogical texts in medieval education, see
Marjorie Curry Woods, Classroom commentaries: Teaching the Poetria Nova Across Medieval and Renaissance
Europe (Columbus: Ohio State University Press, 2010); Jan Ziolkowski, Nota bene: Reading Classics and Writing
Melodies in the Early Middle Ages (Turnhout: Brepols, 2007).
64
As will be discussed shortly, scholars considered the hymn as poetry to such an extent that early studies
on the genre were conducted with a decidedly literary methodology. See Dag Norberg, Les vers latins iambiques et
trochaï ques au Moyen Age et leurs répliques rythmiques (Stockholm: Almqvist & Wiksell International, 1988).
Frederick James Edward Raby, A History of Christian-Latin Poetry from the Beginnings to the Close of the Middle
Ages (Oxford: Clarendon Press, 1927); Giuseppe Vecchi, ed. Poesia latina medievale: Testi, Traduzione, Note,
Trascrizioni Musicali, Fenice Edizioni fuori serie 17 (Parma: U. Guanda, 1958); Walpole, Early Latin Hymns.
28
and hymns were sometimes provided with glosses in chant books of the Middle Ages, thus

resembling the extensively glossed classical texts copied at this time.65 Boynton shows that the

hymn glosses often clarified aspects of grammar, rhetoric, syntax, and vocabulary, like the

glosses on texts used for grammatical exercises.66 Moreover, hymns were often gathered into

collections, early hymnaries, which often only included the texts of hymns without notated

melodies; indeed many more hymnaries of this type exist than do those with musical notation.67

This indicates both that hymns were valued for their musical texts, and that hymn melodies were

transmitted orally for a longer period before being written down compared to other chant

genres.68

Hymns can therefore be considered different from other chant genres by virtue of their

function as poetic texts. They are also different from other genres with regards to their function

within the liturgy. Here, the Hymn’s function was both didactic/explanatory and laudatory. In

this respect, hymns are more akin to proses and sequences than to other liturgical chant genres

for the Mass or for the Divine Office. As didactic texts, Boynton states, hymns were chosen for

particular feasts because their texts explain some item of theology present in the texts and

readings of the feast.69 Because boys receiving monastic educations were taught hymns from a

65
Boynton, “Latin Glosses,” 19.
66
Idem, 5–8. Boynton states that “[Hymns] are cited in works on grammar and metrics throughout the
Middle Ages” (Idem, 22) and that “Some authors mention the hymns explicitly as study texts,” citing Notker
Balbulus’s De viris illustribus and Augustine’s De musica and Confessions, Bede’s De arte metrica, and others
(Idem, 22n57).
67
Boynton, “Orality, Literacy, and the Early Notation of Office Hymns,” 104. Boynton also points out that
because of the late copying of hymn melodies, the repertoire existed primarily as an orally-transmitted genre even
after other Mass chant melodies began to be transmitted in written form.
68
Ibid.
69
Boynton, “Orality, Literacy, and the Early Notation of Office Hymns,” 110: “Like the psalms, the hymns
functioned both as liturgical chants and as theological texts, with a didactic tradition going back to their
congregational use by Ambrose of Milan in the fourth century.”
29
very early age, after the psalter but before they were taught other chants, hymns were used for

teaching doctrine, chant melodies, and aspects of grammar and rhetoric.70

The function of hymns as laudatory chants is revealed by the great majority of hymn

texts. This function as praise accounts for their position within given hours of the Divine Office,

either as introductory chants to the psalms that are to follow or as conclusions to a portion of an

hour. In both cases, because of their texts and placement outside of the main portion of the

hour’s prayers, which consisted of psalms, antiphons, and readings, hymns act as reiterative

songs of praise that restate the importance of the hour or of the feast. Hymns serve as

introductory praise in the hours of Prime, Terce, Sext, and None, where after the verse Deus in

adiutorium the hymn begins the hour and precedes the other prayers. Matins hymns also serve as

introductory praise in both the Roman and monastic cursus, and in both festal and ferial formats,

where the hymn precedes the nocturns, or pairings of antiphons and psalms.71 The hymn Te

Deum is sung at the end of Matins in festal occasions, and the very opening words of this hymnus

Ambrosianus (as it was known) along with its place at the conclusion of the first hour of

important feast days and Sundays72 indicate its function as praise: “Te Deum laudamus, te

Dominum confitemur” (We praise you, O God, we acknowledge you as Lord).

Even in more somber occasions when some hymns are omitted, the hymn serves as a

frame in which the other prayers of the Divine Office are found. The Matins hymn is omitted in

the Tenebrae service which combines Matins and Lauds during the triduum preceding Easter.

During other times of the year, at Lauds the hymn concludes the hour. At Lauds and Vespers, the

hymn follows the antiphons and psalms, the chapter, and the responsory, and is followed only by

70
Idem, 109–134, 150.
71
Collamore, 4, 6.
72
Except during times of penitence, such as Advent, Septuagesima, Lent, and Passiontide.
30
the versicle, antiphon and Benedictus (or Magnificat at Vespers), and closing blessings (along

with a collect at Vespers). Thus the hymn is a conclusion of the main portion of the Hour’s

prayer. Compline is the only liturgical hour in which the hymn is placed right in the middle, after

the antiphon and psalms and before the chapter, responsory, versicle, antiphon and Nunc dimitis

canticle, and collect. Regardless of placement within the hours of the Divine Office, the hymn

texts are usually songs of praise, thanksgiving, and requests of intercession; the texts explain the

significance of the monastic hour in which they are used in symbolic terms and the significance

of the feast for which they are used, serving both laudatory and didactic functions.

Cognizance of both the standard hymn texts and the most widely-distributed hymn

melodies associated with a given text facilitates comparative studies of regional repertoires and

the identification of local or regional hymn traditions. In the case of the Beneventan hymnaries,

there may be variation in the assignment of hymns to feast days between two different

manuscripts. Moreover, there are many local and unique hymns that were copied alongside or

instead of standard ones for certain feast days. The situation becomes even more varied and

complex when the melodies are considered, since different melodies were very often assigned to

the same hymn texts, and sometimes a single melody was assigned to different hymn texts.

Given this complicated situation, in the past century scholars have come up with different ways

of classifying and reconstructing both the regional and pan-European history of the genre.

The Hymn in Historiography

Despite the great diversity in the distribution and representation of hymns, certain hymns

were more widespread than others, especially when they were attributed (whether spuriously or

not) to authoritative authors such as St Ambrose or included in prescribed monastic rule books.

These most widely-distributed hymns might be considered as constituting a “core repertoire,” as

31
exists in other liturgical chant genres. Because of this, and by examining the changes over time

in this standard repertoire, scholars have been able to reconstruct hypothetical core collections of

hymns at specific points in time, calling these repertories “hymnaries” to make sense of the

transmission and evolution of this genre: the Old Hymnary, the Frankish Hymnary, and the New

Hymnary. Helmut Gneuss first proposed the division between Old and New Hymnaries in his

study of English hymns, in order to explain the development of the genre in various historical

stages.73 According to the observations of Clemens Blume in the early 1900s and the later

refinement of his theory in 1968 by Gneuss, older and newer sets of hymns—the Old Hymnary

and the New Hymnary—corresponded, respectively, to the hymns used in the Divine Office

before and after ninth-century Carolingian reforms that led to the expansion of the repertoire.74

The Old Hymnary, the collection of hymns used in pre-Carolingian monastic circuits,

includes about 45 hymns mainly for ferial days and Sundays.75 There was also a Frankish

Hymnary, a collection of hymns in eighth and ninth century Frankish manuscripts. Principal

among these are Vat. Reg. Lat. 11 from the court of Charlemagne; BnF lat. 14088 from Corbie;

BnF lat. 528 from St Denis; BnF lat. 13159; Ox. Bodl. Junius 25 from Reichenau; and Zurich

Rheinau 34 from Rheinau or St Gall.76 The Old and Frankish hymnaries were replaced by a

“New Hymnary” which appeared in Carolingian lands in the ninth and tenth centuries under the

73
Helmut Gneuss, Hymnar und Hymnen im englishen Mittelalter. Studien zur Überlieferung, Glossierung
und Übersetzung lateinischer Hymnen in England, Buchreiche der Anglia, 12 (Tübingen: Max Niemeyer Verlag,
1968). See esp. pp. 10–54. Gneuss subsequently described this historical division in idem., “Zur Geschichte des
Hymnars,” Mittelalteinisches Jahrbuch 35.2 (2000), 227–47 and in idem., “Zur Geschichte des Hymnars,” in Der
lateinische Hymnus im Mittelalter:Überlieferung, Ästhetik, Ausstrahlung, Monumenta Monodica Medii Aevi
Subsidia 4, ed. Andreas Haug, Christoph März, and Lorenz Welker (Kassel: Barenreiter, 2004), 63–86.
74
Clemens Blume, Der ‘Cursus s. Benedicti Nursini’ und die liturgischen Hymnen des 6–9 Jahrhunderts,
Hymnologische Beiträge 3 (Leipzig: Georg Olms Verlag, 1908); Gneuss, Hymnar und Hymnen im englischen
Mittelalter, 10–40.
75
Boynton, “Latin Glosses,” 1; Donald A. Bullough, Carolingian Renewal: Sources and Heritage
(Manchester: Manchester University Press, 1991), 246.
76
Gneuss, “Zur Geschichte des Hymnars,” 233–35.
32
reign of Louis the Pious in a period of liturgical reform introduced by Benedict of Aniane or

Walahfrid of Strabo.77 It expanded to include over two hundred hymns with more specifications

of proper hymns for feast days, with many new anonymous Carolingian compositions as well as

those by classical authors such as Venantius Fortunatus, Sedulius, and Prudentius.78

These reconstructed hymnaries, meant to represent coherent regional repertorial trends or

the traditions of particular monastic communities, are useful in making sense of a genre with so

many examples and with such wide diffusion and variability. The a posteriori reconstruction of

“Hymnaries,” justified since there is evidence of a complete replacement of a standardized hymn

repertoire with another, different one, as in the case between the Old Hymnary and the New

Hymnary, also implies a periodization of the repertoire. Yet the recreation of regional and

temporal canons of hymns should not obscure the differences within regional and monastic hymn

repertoires of a given time period. These differences reveal the diversity and uniqueness of hymn

collections for given institutions and of inter-regional transmission patterns. For example, the

Milanese rite, as well as many regional hymns such as those used in Iberia, were not influenced

by Frankish hymns and so stand apart from the “Old” and “New” hymnary classifications. 79

Ambrosian, Iberian, and southern Italian liturgical traditions shared repertoire with those in the

77
Rosamond McKitterick, Charlemagne: The Formation of a European Identity (Cambridge: Cambridge
University Press, 2008), 342–43.
78
Boynton “Latin Glosses,” 2; Gneuss, Hymnar und Hymnen im englischen Mittelalter, 55–82; Marie-
Hélène Jullien, “Les sources de la tradition ancienne des quatorze Hymnes attribuées à saint Ambroise de Milan,”
Revue d’histoire des textes 19 (1989), 91–4. Bullough warns, however, that many hymns from the Old Hymnary
were retained or at most reassigned and transmitted as a set of libelli instead of as full codices in the New Hymnary,
and many “new hymns” were actually very old compositions (Bullough, 247–256).
79
Stäblein identifies and collects the Milanese hymns in Bruno Stäblein, ed., Die Hymnen, vol. 1, bk. 1,
Monumenta Monodica Medii Aevi. (Kassel: Bärenreiter, 1956). Juan Perez de Urbel, “Los himnos mozárabes,” in
Liturgia y música mozárabes: ponencias y comunicaciones presentadas al I congreso internacional de estudios
mozárabes, Toledo 1975 (Toledo: Instituto de Estudios Visigótico-Mozárabes de Eugenio, 1978), 135–62 discusses
the hymns of Mozarabic origin, of which the ninth-century hymnary Madrid Biblioteca Nacional MS Vitr. 5.1 is a
primary example. See Blume, Der ‘Cursus s. Benedicti Nursini’ about the ties of the “Old Hymnary” collection to
monastic rules.
33
Old and New Hymnaries, yet these regional traditions also used many hymns whose distribution

was more circumscribed. The extent to which this Carolingian reform influenced hymn

collections in the Beneventan zone has not been explored per se and the wholesale adoption of

the New Hymnary cannot be assumed without more detailed investigation of the liturgical books

from this region.80 Manuscripts of hymns themselves attest to the variability of hymn repertoire

between institutions even within the same region. There is also a great inter-regional variety in

the modes of copying and in the feast days that were assigned hymns.81

Given the coexistence of large-scale repertorial trends and local hymn traditions, to see

the hymn repertoire in southern Italy as influenced by distinct past liturgical or melodic traditions

or by monastic reform requires the examination of collections of hymns from manuscripts in the

region with particular attention to the regional repertoire along with the standard hymns taken

from the Old and New Hymnaries. The standardization of the assignment of Office hymn texts to

given days in the liturgical calendar is also reflected in Beneventan office books, as the widely-

transmitted hymns of the New Hymnary are copied in many Beneventan liturgical books and do

not usually vary in liturgical assignment. Some variation in the assignment of hymns is evident

when manuscripts from before the ninth century are compared with those from later periods due

to a standardization and expansion of the repertoire in the tenth and eleventh centuries.82

The recognition that regional repertoires were homogenous to a certain degree, yet

different from the Carolingian Old and New Hymnaries led scholars to posit the existence of

80
This is especially true since, as Donald Bullogh warns, “there is some evidence that the New Hymnary
only slowly established itself in regions in which Benedict’s reforms might be expected to have had the most
immediate effect” (Bullough, 247) and that “Gneuss himself noted evidence suggesting that in some places hymns
from the Old Hymnary were only gradually eliminated from the Office cursus as the scope and scale of the local
version of the New Hymnary were extended” (Idem).
81
Boynton, “Orality, Literacy, and the Early Notation of the Office Hymns,” 135–53.
82
Idem, “Latin Glosses,” 1–2.
34
regional hymnaries, effectively extending the precedent set by Gneuss. The first scholar after

Gneuss to explore in great detail the regional hymn traditions of the tenth through twelfth

century was Marie-Hélène Jullien, whose article “Les sources de la tradition ancienne des

quatorze Hymnes attribuées à saint Ambroise de Milan,” compared the hymn repertoires in

hymnaries from throughout Europe in the context of an exploration of the hymns attributed to St

Ambrose.83 Gneuss and Jullien’s seminal works eventually led to investigations and

reconstructions of regional hymn repertoires, for example, the “Iberian Latin Hymnody,” the

“Cistercian Hymnary,” “the Hymn in Sweden, etc.84 Despite differences in hymn repertoire that

varied from region to region and from one era to the next, the place and the function of the Hymn

in the Divine Office were the same throughout Europe, thanks to the homogenizing effect of

monastic rules and practices that defined these aspects.

The great diversity in the way hymns are presented in liturgical books, and the

differences in the repertoire of hymns depending on regional and temporal parameters account

for the interest in scholarship of regional hymn repertoires. The reconstruction of regional

repertoires through the enumeration of hymns in manuscripts remains a fundamental

methodological feature in studies of the Hymn within given regions, and one that would be

necessary for the study of the Hymn in southern Italy, long-recognized as possessing a distinct

regional chant tradition.85 Only after such a regional repertoire is identified and reconstructed,

83
Jullien, “Les sources,” op. cit.
84
The Cistercian Hymnal was reconstructed by Chrysogonus Waddell and the Iberian Hymnody was
studied by Joseph Szövérffy. Citations of these studies are provided in the overview of previous scholarship below.
85
Although the scholarship on southern Italy’s liturgical traditions, whether Old Beneventan or otherwise,
is extensive, it is worth mentioning the foremost studies on the musical features of the chants in this region: Kelly,
The Beneventan Chant; Beneventanum Troporum Corpus, I: Tropes of the Proper of the Mass from Southern Italy,
A.D. 1000–1250, 2 vols., Beneventanum Troporum Corpus II: Ordinary Chants and Tropes for the Mass from
Southern Italy, A.D. 1000–1250, 2 vols., ed. Alenjandro Enrique Planchart and John Boe, Recent Researches in the
Music of the Middle Ages and Early Renaissance 16–18 (Madison: A–R Editions, Inc., 1989); and Virginia Brown,
Beneventan Discoveries: Collected Manuscript Catalogues, 1978–2008, ed. Roger Reynolds, Monumenta liturgica
Beneventana 6, Studies and Texts 179 (Toronto: Pontifical Institute of Medieval Studies, 2012); Paléographie
35
investigations of a more specific nature can follow. These include the examination of the specific

melodies used for given hymn texts where these are notated; the investigation of the evidence for

particular patterns of transmission of these texts and melodies; and the analysis of the modal and

notational features of hymn melodies in given hymnaries.

Many early studies and editions of hymn texts are indispensable in the reconstruction of a

regional hymn repertoire, including those of central and southern Italy. Most useful for

identifying the origins of hymn texts and their authorship are the studies on the hymn that

proceeded from an interest in classical poetic texts and from a consideration of the Hymn as a

medieval continuation of a classical past.86 For example, in Britt’s introduction to his collection

of Hymns of the Breviary and Missal the study of hymns is linked to the study of classical

poetry: “the study of the ancient classics and of Christian hymns may and should go hand in

hand…the study of the former prepare one for a fuller and more generous enjoyment of the

latter.”87 This reflects the nature of the Hymn itself: the attribution in liturgical books of some

early hymns to specific classical authors such as Prudentius and Sedulius, and the Hymn’s nature

Musicale: Les principaux manuscrits de chant grégorien, ambrosien, mozarabe, gallican, publiés en facsimilés
phototypiques, ed. André Mocquereau (vols. 1–13, 1889–1930) and Joseph Gajard (vols. 14–19, 1931–1974)
(Solesmes: Abbaye Saint-Pierre, 1889–1931 and Frankfurt, Bern: Peter Lang, 1931–), Vol. 14: Le Codex 10673 de
la Bibliothique Vaticant fonds latin (Xle siecle): Graduel Bénéventain (Bern: Lang, 1931, repr., 1971), Vol. 15 : Le
codex VI.34 de la Bibliothèque capitulaire de Bénévent (XIe–XIIe siècle) (Solesmes, 1937), Vol. 20 : Le manuscrit
VI–33 Archivio Arcivescovile Benevento. Missel de Bénévent (Debut du XIe siècle) (Bern : Peter Lang, 1983), Vol.
21: Les témoins manuscrits du chant bénéventain, ed. Thomas Forrest Kelly (Bern: Peter Lang, 1992). Additionally,
James Mearns, Early Latin Hymnaries (Cambridge: Cambridge University Press, 1913), especially pp. xvii–xix,
divides hymnaries under investigation by region, among which Italy (although here there is no ulterior distinction
between the northern and southern parts of the country).
86
Examples of studies of the Hymn of this nature are: Walpole, op. cit.; Raby, op. cit.; Ruth Ellis
Messenger, The Medieval Latin Hymn (Washington, D.C.: Capital Press, 1953); Britt, op. cit.; Max Manitius,
Geschichte der christlich-lateinischen Poesie bis zur Mitte des 8ten Jahrhunderts (Stuttgart: Verlag der J. G.
Cotta’schen Buchhandlung, 1891); Walther Bulst, ed. Hymni latini antiquissimi lxxv, psalmi iii (Heidelberg: Kerle,
1956). In a review entitled “Recent Research on Latin Hymns” published in 1994, Susan Boynton points out the
emphasis on “literary and textual aspects of the sources,” citing as an exception to this Bruno Stäblein’s edition of
hymns in the Monumenta Monodica Medii Aevi (Boynton, “Recent Research on Latin Hymns,” Plainsong and
Medieval Music, 3.1 (1994), 103–4.
87
Britt, 13.
36
as metrical poetry analogous to secular classical poetic texts, considered as such even in the

Middle Ages. In a study that does not focus exclusively on the texts but on the melodies of

hymns, François-Auguste Gevaert similarly linked hymns to the classical past, identifying hymns

in the Dorian mode as those of most ancient origin, since they reflect the mode used in ancient

Greek hymns.88

But an exclusive focus on texts that tends to categorize hymns in terms of authorship,

date, and poetic features such as metrical structure, does not lead directly to the identification of

a regional repertoire.89 To identify regional repertoire, it is first necessary to get an idea of the

hymns in manuscripts from many different locations to see what distinguishes a regional

repertoire from that of other places, and to delineate where and how the manuscripts transmitting

this repertoire are distributed.90 This necessity of surveying the repertoire at large using as many

of the most important primary sources as possible was recognized early on and resulted in the

creation of the monumental Analecta Hymnica Medii Aevi.91 A similar resource is the

Repertorium Hymnologicum compiled by Ulysse Chevalier, which the Analecta Hymnica refined

88
François August Gevaert, La mélopée antique dans le chant de l’église latine: suite et complément de
l’Histoire et théorie de la musique de l’antiquité (Gand : Librairie Générale de A. Hoste, C. Annoot-
Braeckman,1895). Gevaert’s focus on the dorian mode in the hymns was later taken up by Placidus Mittler,
Melodieuntersuchung zu den dorischen Hymnen der lateinischen Liturgie im Mittelalter, Siegburger Studien 2
(Siegburg: Respublica-Verlag, 1964).
89
Walpole’s introduction to his hymnological survey in Early Latin Hymns exemplifies the literary textual
criticism methodology of his investigation: “Originally the following Corpus Hymnorum was not intended to be a
selection, but was to include all those hymns and just those hymns that, to the best of my judgment, were not only
written but also sung in church before the year of Our Lord 600….
For in the first place not all hymns can by the utmost stretch of charity be said to be good enough to claim
admission within a limited space….
…Thus, while it would have been undesirable to leave out Ennodius altogether, it has been deemed
sufficient to give, by way of a specimen, only one of his labored and unpoetical hymns” (Walpole, ix). Walpole’s
collection is arranged as a collection of the oldest hymns, the first forty of which are those whose authors are well-
known and uncontested.
90
Boynton points out that the literary focus on hymns shifted in the last decades of the twentieth century
towards a closer examination of the manuscripts themselves. See Boynton, “Recent Research on Latin Hymns,” 104.
91
Analecta Hymnica Medii Aevi, ed. Guido Maria Dreves, Clemens Blume, and Henry Marriott Bannister,
55 vols. (Leipzig: O. R. Reisland, 1886–1922).
37
and supplanted.92 The first large edition of hymn melodies was published in the Monumenta

Monodica Medii Aevi edited by Bruno Stäblein, the first volume of which was dedicated to

hymns and included a collection of melodies and variants as transmitted in medieval liturgical

books.93 The manuscripts from central and southern Italy cited in the Analecta Hymnica, in

chronological order of copying, can be seen in Table 2. Unfortunately, many of the manuscript

datings are incorrect in the Analecta Hymnica, so that examination of primary sources, namely,

the manuscript hymnaries themselves, is fundamental.94 Differently than the Analecta Hymnica,

Stäblein’s first volume of the Monumenta Monodica Medii Aevi, entitled Die Hymnen, divides

the hymn repertoire in Western Europe by region. Although this volume was not meant to be a

critical edition, nor a comprehensive survey, it sought to present the texts of the most

characteristic hymns of each region, taking into account many regional hymnaries. This volume

makes ample use of a 12th century Beneventan-script hymnary of Gaeta and references hymns

from other southern Italian manuscripts. These two resources remain the most comprehensive

collections of hymn texts although they do not take into account all the Beneventan-script

manuscripts with substantial hymn collections.

92
Ulysse Chevalier, ed., Repertorium Hymnologicum, 3 vols. (Louvain: Lefever, 1892, 1897, 1904).
93
Stäblein, ed., Die Hymnen.
94
The correct manuscript descriptions and dates for some of these manuscripts can be found in Boynton,
“Eleventh-Century Continental Hymnaries Containing Latin Glosses,” Scriptorium 53 (1999), 200–51. Table 1 in
Boynton’s article “Orality, Literacy, and the Early Notation of the Office Hymns,” is especially salient as a
fundamental reference source as it provides the correct dating for many manuscripts, the most thorough and up-to-
date list of manuscripts since Jullien’s study (Jullien, “Les sources,” op. cit.), and the most recent scholarship
available at the time of publication. For a description of Beneventan-script manuscripts, see also Elias Avery Lowe,
The Beneventan Script: A History of the South Italian Miniscule (Oxford: Oxford University Press, 1914); 2nd
edition prepared and enlarged by Virginia Brown, 2 vols. (Rome: Edizioni di Storia e Letteratura, 1980).
38
 Table 2: Manuscripts from central and southern Italy used
in the Analecta Hymnica Medii Aevi

Sigla Provenance Century Type

Rheinau 91 Subiaco XI ¼ Composite
Rheinau 82 Farfa XI Composite
Paris 1092 Narni95 XI 1/2 Hymnary
MC 506 Montecassino ~1050 Hymnary
Ott. lat. 145 Benevento XI 1-2/2 Composite
Vat. lat. 7172 Narni XI 3/4 Hymnary, Lectionary
Naples VI G 31 St Sofia, Benevento XI 4/4 Composite
Arch. St Pietro D 156 Rome XI–XII Psalter, Hymnary
Farfa 4 Farfa ~1100 Composite
Paris Maz. 364 Montecassino 1099–1105 Composite
Naples VI E 43 St Sofia, Benevento 1099–1118 Composite
Vienna 1106 Montecassino XII Composite
Vat. lat. 4928 St Sofia, Benevento XII Composite

Although many collections, editions, and translations of liturgical Latin hymns

existed in the late-nineteenth and early twentieth centuries, Gneuss’s 1968 study of the

hymn (cited above) set the stage for future scholarship on the medieval hymn in the

twentieth century. Many scholars soon noted the importance of more in-depth studies of

regional hymn repertoires to the success of the overall project of understanding the hymn

in the Western Church as a whole.96 Examining the genre at more local levels, the study

of regional repertoires per se was founded on the editions of individual, early manuscript

hymnaries and on the hymns by given hymn authors such as St Ambrose. George

95
The Analecta Hymnica incorrectly identifies this and Vat. lat. 7172 as coming from San Severinus in
Naples. See Boynton, “Glosses on Office Hymns,” 3 for correct designation.Paris 1092 and Vat. lat. 7172 seem to
be copies of each other.
96
Josef Szövérffy, for example, shifted his focus from an earlier publication, the encyclopedic Die Annalen
der lateinischen Hymnendichtung: ein Handbuch, 2 vols. (Berlin: E. Schmidt, 1964–1965), a two-volume catalogue
and historical study of the hymn, to later investigations on Iberian and Austrian hymnody, to name just two
examples. In his introduction to his book on the latter subject, he states: “While preparing the first comprehensive
history of Medieval Latin hymnody we noticed the nearly complete absence of preliminary surveys and monographs
covering the area of national hymn productions in the countries of medieval Europe. Although medieval Latin
hymnody cannot be discussed entirely in terms of national and regional differences, careful consideration should be
given to regional features which characterize the various stages of the development of medieval hymnody,” Josef
Szövérffy, Iberian Latin Hymnody: Survey and Problems, 2nd enlarged ed., Medieval Classics 29 (Turnhout,
Belgium: Brepols, Classical Folio Editions, 1998), 9.
39
Andrews’s study on The Latin Hymns of the Anglo-Saxon Church97 serves as a primary

example. More recent investigations that continue this line of research include I. Milfull’s

study and edition of the Durham Hymnal,98 the editions of the manuscript Troyes, 658,99

an edition of the Hymnarium oscense,100 and of the Psalterium-Hymnarium arborense.101

The study of regional repertoires began as early as 1891, with J. Werner’s study of the

hymns from Rheinau.102 This was followed by Carl-Allan Moberg’s research on Swedish

hymns. Moberg’s work included a historical description of the hymns, manuscripts, and

texts in the region, an edition of all the hymn melodies and variants, and critical

apparatus. This was to culminate in a three-volume series entitled Die liturgischen

Hymnen in Schweden.103 Unfortunately, Moberg’s death thirty years after the publication

of the first volume (Quellen und Texte) in 1947 prevented the completion of the work, but

since then Ingmar Milveden and Anne-Marie Nilsson continued the project, which led to

the completion of Moberg’s work in the publication of a second volume, Die

Singweisen.104 In the same vein, Claudio Leonardi and Felix Heinzer’s work on the

97
George Andrews, The Latin Hymns of the Anglo-Saxon Church with an Interlinear Anglo-Saxon
Gloss, ed. Joseph Stevenson, Publications of the Surtees Society 23 (London: George Andrews, 1851).
98
Inge Milfull, ed., The Hymns of the Anglo-Saxon Church: A Study and Edition of the Durham
Hymnal (Cambridge: Cambridge University Press, 1996).
99
John Michael Beers, ed., A Commentary on the Cistercian Hymnal: A Critical Edition of Troyes
Bib. mun. MS 658. (Gainsborough: G. W. Belton, 1982).
100
Antonio Durán, Ramón Moragas and Juan Villareal, eds., Hymnarium oscense (s. XI), 2 vols.
(Zaragoza: Institución Fernando El Católico, Sección de Musica, 1987).
101
Mele, op. cit.
102
Jakob Werner, Die altesten Hymnensammlungen von Rheinau, Mitteilungen der antiquarischen
Gesellschaft in Zürich, 23 (Leipzig: K. W. Hiersemann, 1891).
103
Carl-Allen Moberg, Die liturgischen Hymnen in Schweden I: Quellen und Texte (Uppsala: E.
Munksgaard, 1947); idem and Ann-Marie Nilsson, Die liturgischen Hymnen in Schweden II: Die
Singweisen, Acta Universitatis Upsaliensis, Studia Musicologica Upsaliensia, Nova series 13 (Uppsala:
Acta Universitatis Upsaliensis, 1991).
104
Nilsson, On Liturgical Hymn Melodies in Sweden, 7–31. Other studies of regional repertoires
or of repertoires from given institutions include: Chyrsogonus Waddell, The Twelfth-Century Cistercian
40
“Umbro-Roman Hymnary” (“innario umbro-romano”)105 is especially useful when

investigating the hymns from the Beneventan zone, as a cohesive set of hymns in use in

central Italy can be compared with the repertoire from areas closer to the “hubs” of the

Beneventan zone, namely, Montecassino and Benevento, to see whether there were any

significant patterns of transmission between the areas. The studies on the Old and New

Hymnaries should be mentioned at this point, because while not explicitly regional

surveys, these surveys also group hymns into cohesive temporal-historical collections.106

The focus on regional repertoires combines the encyclopedic surveys with the

more particular, detailed examination of limited numbers of manuscripts within regional

Hymnal (Trappist, KY and Kalamazoo, MI: Gethsemani Abbey Cistercian Publications, 1984); Benjamin
Rajeczky, ed., Melodiarium Hungariae Medii Aevi I: Hymni et sequentiae (Budapest: Polykarp Radó,
1956, 2nd ed. 1982); József Karóly Dankó, Vetus hymnarium ecclesiasticum Hungariae (Budapest: In
aedibus Franklinianis, 1893); Gneuss, Hymnar und Hymnen im englischen Mittelalter; Idem, “Latin Hymns
in Medieval England: Future Research,” Chaucer and Middle England: Studies in Honour of Rossell Hope
Robbins, ed. Beryl Rowland (London: Allen & Unwin, Ltd., 1974), 407–24; Urbel, “Los himnos
mozárabes”; Carmen Julia Gutiérrez, “El himnario de Huesca: nueva aproximación,” Anuario Musical 44
(1989), 23–60; Hymnodia Hispanica, ed. José Castro Sánchez, Corpus Christianorum, Series Latina 167
(Turnhout: Brepols, 2010); Robert Amiet, Corpus hymnologicum augustanum (Aosta: ITLA, 1989);
Emanuela Lagnier, ed., Corpus hymnologicum augustanum (Aosta: ITLA, 1991).
105
Claudio Leonardi, “Poesia e agiografia. L'innario umbro-romano,” in Poesía latina medieval
(siglos V–XV). Actas del IV Congreso del “Internationales Mittallateinerkomitee” (Santiago de
Compostela, 12–15 de septiembre de 2002), ed. M. C. Díaz y Díaz e J. M. Díaz de Bustamante, Millennio
medievale 55, Atti di convegni 17 (Firenze: SISMEL – Edizioni del Galluzzo, 2005), 1143–75; Idem, “S.
Gregorio di Spoleto e l’innario umbro-romano dei codici Par. lat. 1092 e Vat. lat. 7172,” in Lateinische
Dichtungen des X. und XI, Jahrhunderts: Festgabe für Walther Bulst zum 80. Geburtstag, ed. W. Berschin
and R. Duchting (Heidelberg: Lambert Schneider, 1981), 129–48; Idem, “Severino del Norico nell’innario
umbro-romano,” in Medioevo e latinità in memoria di Ezio Franceschini, ed. A. Ambrosini et al. (Milan:
Vita e pensiero, 1993), 243–59; Idem, “L’innario umbro-romano e l’innario di Moissac: l’episodio della
natività di Christo,” in De Tertullien aux Mozarabes. Mélanges offerts à Jacques Fontaine, ed. L. Holtz and
J.-C. Freduillie, 2 vols. (Rome: Institute d’Études Augustiniennes, 1992), II.91–6; Felix Heinzer, “Marcus
decus Germaniae: Il culto del patrono Veneziano a Reichenau: Relazioni e specificità,” ch. 3 of
Klosterreform und Mittelalterliche Buchkultur im deutschen Südwesten (Leiden: Brill, 2008), 64–83.
106
Jullien, “Les hymnes dans le milieu alcuinien,” in De Tertullien aux mozarabes: antiquité
tardive et christianisme ancien: mélanges offerts à Jacques Fontaine, ed. L. Holtz and J.–C. Fredouille, 2
vols. (Paris: Institut des recherches d’histoire des textes, 1992), II:171–82; Gneuss, Hymnar und Hymnen
and idem, “Zur Geschichte des Hymnars”; Alice Harting-Correa, “Make a Merry Noise ! A Ninth-Century
Teacher Looks at Hymns,” in The Church and the Arts, ed. D. Wood (Oxford: Blackwell, 1992), 79–86;
Bullough, op. cit.
41
liturgical traditions. A different approach in hymn scholarship combines the general with

the particular by focusing primarily on single hymns and their transmission history, or by

examining individual hymn authors. Many scholarly investigations have been dedicated

to the history and transmission of the hymns ascribed to St Ambrose, since these are

considered the very first exemplars of Western Latin hymns. Marie-Hélène Jullien

examined the fourteen hymns ascribed to St Ambrose, their manuscript sources, and

transmission history.107 Jullien, along with other authors, contributed eventually to an

edition of the texts of the hymns of St Ambrose in 1992.108 This edition was one of the

main reasons why regional repertoires and the repertoires of the New, Old, and Frankish

Hymnaries were classified and examined as stemming from specific regional liturgical

traditions or chronological eras, exemplified in the work of Jullien.109 Other hymn

authors studied in detail include Paulinus of Aquileia and Venantius Fortunatus.110

Individual hymns with particularly complicated transmission histories, and ones that are

usually very widespread, have received a fair share of scholarly investigation. These

107
Jullien, “Les sources”. Other studies dedicated to the hymns of St Ambrose include Ansgar
Franz, Tageslauf und Heilsgeschichte: Untersuchungen zum literarischen Text und liturgischen Kontext der
Tagzeitenhymnen des Ambrosius von Mailand (Erzabtei St Ottilien: EOS Verlag, 1994) and Michael
Lattke, Hymnus: Materialien zu einer Geschichte der antiken Hymnologie (Göttingen: Vandenhoeck and
Ruprecht, 1991).
108
Fontaine, et. al., eds. Ambroise de Milan: hymnes, op. cit.
109
See Jullien, “Les sources,” and Boynton’s analysis of the methodology and importance of
Jullien’s study in the context of earlier hymn research in her review “Recent Research on Latin Hymns,”
104.
110
Marco Gozzi, “Le composizioni musicali su testo di Paolino d'Aquileia: problemi e proposte
editoriali,” in Paolino d'Aquileia e il contributo italiano all'Europa carolingia. Atti del Convegno
internazionale di studi (Cividale del Friuli-Premariacco, 10–13 ottobre 2002), ed. Paolo Chiesa, Libri e
biblioteche 12 (Udine: Forum, 2003), 197–243; Jane Stevenson, “Irish Hymns, Venantius Fortunatus and
Poitiers,” in Aquitaine and Ireland in the Middle Ages, ed. J.–M. Picard (Dublin: Four Courts Press, 1995),
81–110.
42
include the Pange lingua and the Te Deum, as well as Ut queant laxis.111 Sometimes,

hymns whose texts are different but whose subject is the same, usually a saint or a

particular feast, have been devoted studies.112

The most recent research on hymns, following recent trends in medieval

scholarship at large, involves the examination of the context in which hymns and

hymnaries were used. Although dedicated to the Victorine Sequence, Margot Fassler’s

book Gothic Song: Victorine Sequences and Augustinian Reform in 12th–Century Paris

serves as a model for these types of contextual studies.113 Jullien’s and Bullough’s studies

of the hymns in Carolingian lands also blend the historical-contextual with the specific

analysis of hymns and hymn texts.114 Boynton’s studies of the didactic and theological

significance of the hymns in the eleventh century, and of the relationship of the hymns to

orality and literacy in the Middle Ages, are touchstones of the contextual approach to the

history of hymns.115

111
Moberg, “Zur Melodie-Geshichte der Pange lingua-Hymnus,” Jahrbuch für Liturgik und
Hymnologie 5(1960), 46–74; Stäblein, “Zur Geschichte der chorale Pange-lingua-Melodie,” Der kultische
Gesang der abendländischen Kirche. Ein gregorianisches Werkhaft aus Anlass des 75. Geburtstages von
Dominicus Johner, ed. Franz Tack (Köln: Bachem, 1950), 72–5; Denis Harbinson, “The Hymn Ut queant
laxis,” Music and Letters 52.1 (1971), 55–8; Angelo Rusconi, “A proposito di Ut queant laxis.” Studi
Musicali 35.2 (2006), 301–8.
112
An example of this, and one that is of interest in a survey of the hymns and their history in the
Beneventan zone, is Vaccarella’s study of the hymn to St Loup (San Lupo) of Benevento: Silvio
Vaccarella, “Presentazione,” in Presulis ecce Lupi. La felice riscoperta di un inno a san Lupo del XII
secolo nella Badia di Cava de' Tirreni, (Benevento: Edizioni Torre della Biffa, 2008). Other examples are
Caldaralo and Carola’s studies on the hymns to St Nicholas: Anna Gabriella Caldaralo, “L'ufficio di san
Nicola nella tradizione italica e transalpina,” Nicolaus 8 (1997): 385–438; Maria Antonietta Carola, “Inni,
tropi e sequenze dedicati a san Nicola tra XI e XIII secolo,” Nicolaus 8 (1997): 489–521.
113
Margot E. Fassler, Gothic Song: Victorine Sequences and Augustinian Reform in 12th–Century
Paris (Cambridge: Cambridge University Press, 1993).
114
Jullien, “Les hymnes dans le milieu alcuinien”; Bullough, op. cit.
115
Boynton, “Orality, Literacy, and the Early Notation of the Office Hymns”; idem, “The didactic
fnction and context of eleventh-century glossed hymnaries, in Andreas Haug, Christoph März, and Lorenz
Welker, Der lateinische Hymnus im Mittelalter, 301–29; Idem, “The Theological Role of Office Hymns.”
43
 These different studies of the medieval Latin hymn in the Western church have

been described in order to show how a thorough study of the hymn in Beneventan

manuscripts might be approached. A catalogue of the repertoire of hymns as represented

in the manuscripts is necessary in order to compare these hymns with those in

manuscripts both within and outside the Beneventan zone. Without this initial catalogue,

no arguments can be made about the transmission history of hymns in southern Italy, nor

can we know whether the hymn repertoire includes local and unique hymns in addition to

more widely-distributed ones. Case studies of individual hymnaries, hymns, and authors

of particular importance are necessary in order to understand the priorities guiding the

literate transmission of hymns in the area. Analyses of melodies and their notation,

moreover, uncover the characteristics of a local style of hymn melody composition where

unique hymn melodies are concerned, or else the priorities governing the copying and

borrowing of more well-known melodies. All of these approaches must be combined with

the awareness of the historical and liturgical circumstances in southern Italy at the time of

the copying of the most important hymnaries.

Hymns in Medieval Manuscripts from Southern Italy

The Hymn’s tie to the Divine Office and its distinct nature as liturgical genre

when compared to the more established texts and melodies of the Mass is reflected in the

way they are transmitted within liturgical books. Although the use of hymns in the Divine

Office became universal throughout Europe, there are great variations from region to

region, and even from manuscript to manuscript within the same region, in terms of the

following: the repertoire of hymns transmitted, the format in which they are copied
44
within liturgical manuscripts (whether notated or un-notated, intercalated with other

chants of the Divine Office or constituting their own separate section in the manuscript),

and their place within given formularies. Catalogues of hymn repertoire, descriptions of

their order within temporal or sanctoral formularies, and authoritative versions of texts

and melodies are complicated by these factors. However, investigations into regional

repertoires or hymn repertoires pertaining to given monastic orders are more manageable.

To begin to make sense of the repertoire current in a given region, it is necessary to

examine the liturgical books, primarily those for the Divine Office, that transmit hymns

that were copied and destined for institutions within the region.

When the texts for the chants of the Office began to be copied together with the

musical notation in liturgical books by the tenth century, hymns were also included in

rubrics, as incipits, and, sometimes, with fully-notated texts and melodies. Earlier, hymns

were copied in liturgical Office books without notation.116 Hymns are found primarily in

Antiphonaries, Breviaries, Psalterium-hymnariums, in separate hymnaries, or in other

types of composite office books. The earliest example of a fully-notated Office hymn in a

liturgical manuscript is the hymn Pange lingua in the manuscript St Gall 359, copied at

the beginning of the tenth century. Even earlier, the hymn Aeterna Christi munera was

116
Boynton, “Orality, Literacy, and the Early Notation of the Office Hymns,” 99–168. Examples
include the above-cited manuscripts containing Gallican hymns like Reg. lat. 11. Susan Boynton points out
that “there are twenty-five hymn manuscripts from the eighth and ninth centuries alone” containing hymn
texts without melodies (Idem, 104). Boynton also discusses the diversity in methods of notating hymns,
sometimes with or without their notation, other times only partially notated; in some cases these notational
practices seem to imply that the scribes considered hymns more as “texts” than as “chants because they
copied the hymns with the same text size as the prayers while the other chanted portions were written with
script of a different size (Idem, 104–5).
45
included with Dasian notation in the theoretical treatise Musica Enchiriadis copied in the

late ninth century.117 As Susan Boynton points out, “only two hymnaries from before

1100 contain notation for all their texts: Huesca, Archivo de la Catedral, MS 1 and

Verona, Biblioteca Capitolare, MS CIX (102).”118 Even when hymns included musical

notation in liturgical books, they were usually not fully notated, since their strophic

structure precluded the need to notate them throughout. Usually only the first strophe was

notated. Boynton points out that the full copying of hymns might reflect the earlier

function of hymnaries as a text used by professional cantors since melodic and

performative nuances between strophes would be evident when reading or singing from

such a hymnary; such notation could also reflect the importance of the hymnary itself.119

As Boynton points out, two hymnaries from Narni, Vat. lat. 7172 and Paris 1092,

are examples of hymnaries in which partial (but not necessarily first-strophe-only) hymn

notation was employed; Ben 37 is contrasted with Ben 42 as hymnaries copied in the

same Beneventan institution, although the former employs full notation of all strophes

and the latter only first-strophe notation; BAV Chigi C VI 177, Farfa, Biblioteca del

Monumento Nazionale, A 209 and Rome, Biblioteca Nazionale, Farfa 4 as examples of

hymnaries in which notation was added marginally to hymn texts.120 Boynton compares

117
The Musica Enchiriadis treatise is found in Pal. Lat. 1342 and Munich Clm 14372.
Willi Apel, “Ambrosian Hymns,” The Harvard Dictionary of Music, ed. Willi Apel, revised and enlarged
2nd ed. (Cambridge: Harvard University Press, 1944, 1969), 32. For an early and classic study on hymns
which includes a brief overview and catalogue of hymns copied in hymnaries before 1100, see Mearns,
Early Latin Hymnaries. Mearns moreover notes that there was a “continuity of use [of ancient hymns]
throughout the medieval period” since “many of these [later] manuscripts have the ancient melodies set to
the hymns” (Mearns, v).
118
Boynton, “Orality, Literacy, and the Early Notation of the Office Hymns,” 105.
119
Idem, 120.
120
Idem, 130–35.
46
the diversity of notational forms in the hymn manuscripts to the copying of customaries

tied to eleventh and twelfth century Cluniac monastic reform and to disputes (in the case

of the Abbey of Farfa) that caused the reinforcement of previously oral traditions that

were in danger of being forgotten.121

In southern Italy, the manuscripts transmitting significant hymn collections, like

those that contain the chants for the Mass—both Gregorian and Old Beneventan—are

mostly in Beneventan script. However, manuscripts in the area directly contiguous to the

Beneventan zone copied in the “Romanesca” script122 exhibit significant repertorial

crossover with Beneventan liturgical books and will be taken into account. Altogether,

there are about two dozen important hymnaries that must be examined and compared. As

we shall see, manuscript type determines, to an extent, the repertoire of hymns contained

therein. Moreover, when the types of books used for the Divine Office were reconfigured

after the introduction of the Ordinal of Montecassino, the hymn repertoire as copied in

manuscripts changed. Hymnaries that transmitted hymns chosen from a once-extensive

repertoire of hymns that included many local hymn texts gave way to more concise,

organized, and less local hymn collections.

Besides stand-alone hymnaries, the main types of manuscripts for hymns in the

Beneventan zone are composite books with material for the Divine Office, breviaries, and

antiphoners. Hymnaries not bound to other material have the largest number of hymns,

more than could be possibly used solely in the recitation of the Divine Office in a year.

121
Idem, 135–40.
122
See Paola Supino-Martini, Roma e l’area grafica romanesca (secoli X–XII), Biblioteca di
scrittura e civiltà 1 (Alessandria: Edizioni dell’Orso, 1987).
47
These serve mostly as reference, anthology-like books. However, they were neither

“library volumes” nor codices to be used in choir by everyone at once. Practical because

the full texts of the hymns are copied therein, it might seem at first glance that these

books were ultimately impractical because other books besides single-genre volumes

would be needed for the recitation of the Office. However, not all the same people used

the same books, thus parts of the office were most commonly copied in different books or

libelli. For example, a cantor would not have needed at hand the same texts as the abbot

at the recitation of the Divine Office, and likewise the common religious in the choir

would have had little use for some of the texts that would be on the other hand

indispensable for the cantor.

Nevertheless, through these large hymn collections we catch glimpses of local

feasts and hymn texts used for them. Like other liturgical items, hymns articulated the

devotional and, in some cases, political identity of the places in which these hymnaries

were used.

Breviaries and antiphoners are also reference books in that they include all the

material necessary for the recitation of the Divine Office and cite many hymns, though

fewer than the comprehensive hymnaries. The texts of hymns in these books are not

copied in full, and very rarely is there musical notation. Yet many local hymn texts are

cited in these manuscripts, referring to those found in full hymnaries and likewise

articulating the devotional priorities of the institutions in which they were used. Besides

hymnaries, antiphoners, and breviaries, composite office books also contain significant

hymn collections. These are usually in separate libelli within the manuscript, and the
48
hymns therein show the most diversity in terms of origin, number copied, and mode of

notation. They often transmit large numbers of hymns and many local hymns, though

they are more concise than stand-alone hymnaries. They are often copied with notation,

either marginal, first-strophe, and, in one notable case, full notation.

But by far the most organized and concise of these composite hymnaries are those

bound with ordinals.123 There are six such ordinal manuscripts that also contain a

hymnary section in the same codex. Ordinals were copied to direct the liturgy of the

hours, thus ensuring a standard recitation of the Divine Office. Ordinal manuscripts in

Beneventan script reflect the practice of the Divine Office at Montecassino, which was

then transmitted to Benevento and adapted, though only slightly. The hymn repertoire in

ordinal manuscripts from Montecassino differs slightly from that in Benevento; the latter

includes a greater number of hymns proper to local saints’ feasts. The ordinals and the

hymnaries copied with ordinals drew from a much larger repertoire of hymns in use in

southern Italy, but they synthesized the hymns to include only those that were strictly

necessary for the recitation of the Office in a year’s cycle, omitting most local hymn texts

in favor of more well-known ones. To find local hymns proper to the Beneventan zone,

then, it is necessary to look in formularies for important local feasts and in manuscripts

with large collections of hymns not directly modelled to reflect the citations of the

ordinal. Once identified, local hymns that also feature musical notation provide a glimpse

123
On the format and organization of the items in manuscripts containing ordinals in southern
Italy, see Kelly, The Ordinal of Montecassino and Benevento.
49
into the features that characterized a local, southern-Italic musical style of hymn

composition.

Two notated hymnaries from Benevento, in the composite books for the Divine

Office, Ben 37 and Ben 42, demonstrate the changes that occurred in the repertoire of

hymns as transmitted in manuscripts, possibly in response to greater organization of the

Divine Office. Both manuscripts have musical notation, so through them we can observe

the transformations in the melodies of hymns through time. In Ben 42, the first strophe of

each hymn is notated, though the complete texts are given. For example, several hymns

in Ben 37 have the same texts as those in Ben 42 but different melodies, such as Festum

beati martyri for St Mark; others have the same texts but different liturgical assignments,

such as Agonitheta nobilis for St Cyriacus in Ben 42 and for St Vincent in Ben 37. These

differences in manuscripts copied in the same area indicate that the once flexible

assignment of hymns to feast days according to local needs gave way to more organized

and standard assignments and melodies. The differences in terms of repertoire and

melodies between Ben 37 and Ben 42 show how standardization of the hymns through

time, thanks in part to projects such as the creation of the ordinal, gradually led to the

extraction of a collection from what was originally a much broader repertory. Most of the

hymns within the broader repertory were those for local saints’ feast days. These

sometimes used unique or local melodies. In these local hymns for the sanctoral cycle we

discern the “voice” of Paul the Deacon, Fortunatus, Alberic of Montecassino, and many

others, not all of whose names have been recorded. Ben 37 is a century older than Ben

42, and unusual in that it transmits the hymns with full notation. It is an incomplete
50
collection as it is found in the manuscript; chances are it came from a full hymnary with

full notation, a rare source indeed. It may be a vestige of an earlier hymnary type and

repertoire.

Both Ben 37 and Ben 42 were copied in Benevento and resemble hymnaries

bound with ordinals. Ben 37 was copied at Santa Sofia for the female monastery San

Pietro intra muros in Benevento.124 Ben 42 was also copied at Santa Sofia, and most

likely for a female monastery, although its exact destination is not known.125 The

differences between composite-book hymnaries without ordinals such as Ben 37 and Ben

42 and ordinal hymnaries suggest that ordinals were never meant to be part of these

books. When collections of liturgical materials such as hymns did not correspond closely

to the chants prescribed in the ordinal, there would be no sense in binding two such

volumes together. The hymn collections of Ben 42 and Ben 37 amply demonstrate this,

since they contain many more local hymn texts not cited in the ordinals.

The use of local hymns for feast days of saints who were locally important both

constructed and reflected the identity of an institution. That the practice of the liturgy and

the choice of chants used created a sense of community and built up the identity of an

institution can be seen in southern Italy at the powerful monastery of Farfa, for

example.126 The creation of local identity through literary production and liturgical

124
Jean Mallet and André Thibaut, eds., Les Manuscrits en écriture bénéventaine de la
bibliothèque capitulaire de bénévent, 3 vols, The Institute of Mediaeval Music, Musicological Studies
Series Vol. 71/1–2 (Paris and Turnhout: Centre National de la Recherche Scientifique and Brepols, 1984,
1997), II.234.
125
Idem, II.279–80.
126
There is a wealth of literature on this topic. See especially: Boynton, Shaping a Monastic
Identity; Costambeys, Power and Patronage in Early Medieval Italy. See also: Fassler, Gothic Song.
51
practice is reflected in the hymn repertories of manuscripts. Hymn collections often

highlight the cults of the saints important to an institution, and at times they also reflect

the “cults of personality” surrounding the authors of hymns themselves. It is no surprise

that the hymns of St Ambrose always receive prime importance in hymnaries throughout

Europe. In southern Italy, other hymn authors such as Bishop Alfanus promoted the

liturgical reform in the region that eventually led to the changes in the hymn collections.

Ironically, as reforms promoted the constriction of the hymn repertoire for the

sake of standardization, they led to the efflorescence of new chant composition in local

musical style. This has been observed at length in the wealth of Italian tropes and

sequences, and even in genres for the Mass.127 The melodic borrowings and similarities

between hymns and hymn-like genres such as tropes and sequences, which played a

major and important role in local chant composition in southern Italy shows how the

wealth of these genres had firm roots in a broad and varied regional hymnody. In this,

there is room for much research, but it could be that tropes and sequences superseded the

Hymn as the genre which best expressed and articulated the local liturgical and musical

identity in southern Italy. The answer for this question requires first an understanding of

the nature of the hymn qua liturgical genre.

127
For tropes and sequences, see the Beneventanum Troporum Corpus, ed. John Boe and
Alejandro Planchart, op. cit.; For the creation of “neo-Gregorian chant” for the Mass in southern Italy, see
Luisa Nardini, Il repertorio neo-gregoriano del Proprium Missae in area beneventana (Ph.D. Dissertation,
University of Rome "La Sapienza," 2001), and idem, Interlacing traditions: Neo-gregorian Chants for the
Proper of the Mass in Beneventan Manuscripts (Toronto: Pontifical Institute of Mediaeval Studies,
University of Toronto, forthcoming).
52
 As this introduction has shown, the generic identity of the hymn, one that sets it

apart from other chant genres for the Mass or Divine Office, can be traced through the

Hymn’s contested early history, its place in the Divine Office, its form and meaning, and

its mode of transmission in extant manuscripts. The general overview of the form of

hymns, of their history, of their liturgical function, and of the way they are represented in

liturgical manuscripts of the Middle Ages that this introduction has presented gives the

background against which to compare more specific regional features of the genre and its

manuscript sources. The preceding overview of extant scholarship on the hymn has

contextualized the study of the repertoire as represented in regional manuscripts from

southern Italy, to which the following chapters now turn.

53
 Chapter Two

Background: Reform, Repertoire, and Hymnaries

The hymns copied in Beneventan manuscripts changed as a result of eleventh- and

twelfth-century monastic reforms at Montecassino. Indeed, almost everything related to monastic

life changed at Montecassino under a series of abbots intent on guiding the monastery towards a

purer observance of the rule of its founder, Saint Benedict, with greater deference to the

authority of the papacy. These reforms at the Benedictine mother house eventually affected

monasteries throughout southern Italy. They followed other monastic reforms that had begun in

northern Europe, most famously those at Cluny in the preceding century.1 The monastic reform

at Cluny preceded, while that at Montecassino succeeded, a century of intense ecclesiastical

reform promoted by the Papacy.2

The history of the reforms of the Roman church in the eleventh and twelfth centuries is

important to understanding the impetus for the monastic reforms throughout southern Italy. But

the term “reform” is too general and cannot simply be used as a synonym for “change.” We must

understand exactly what facet of “reform” affected the copying of hymns in southern Italy, and

how and why it did so. As will be shown, the changes in hymns copied in manuscripts were the

result of changes in the type and contents of chant books produced in monastic scriptoria at this

time, which in turn were the result of imposed changes in the music and texts used in the liturgy

of southern Italy. Thus, a general overview of eleventh- and twelfth-century ecclesiastical

1
Although there are volumes of literature on the Cluniac reforms, Margot Fassler’s Gothic Song deals
specifically with the effects of this reform on new musical compositions.
2
John Howe, in his study of the hagiographical tradition of a southern Italian saint, Dominic of Sora, has
shown that the reform also had roots not just in the Papacy, but also in regional monastic, eremitic, and even lay
movements, as St Dominic’s life and times attest. He also warns against a historiographical trend that sees the
reform as originating north of the Alps, and taking hold in Italy and in the church at large with the election of
German popes. See Howe, Church Reform and Social Change in Eleventh-Century Italy, xiv–xvii. See also Idem,
“The Nobility’s Reform of the Medieval Church,” American Historical Review 93 (1988, 319–20.
54
reform, a very complicated topic that can only be briefly outlined here, will lead to an

examination of the specific reforms that influenced southern Italian monasteries, their liturgical

manuscript copying practices, and the types, features, and contents of liturgical manuscripts

copied during the period of reform.

Reform at this time was both religious and political. Its effects can be read in many

contemporary chronicles and in official documents sent by the Holy See. Reforms in the church

and in society were not a novelty, since in the past church councils had often been called and

measures taken in response to heretical movements or to establish administrative norms.3 Yet

there was a definite start to a discrete period of reform initiated by Pope Leo IX and continued by

his immediate successors, as reported in the contemporary chronicle History of the Normans

written by Amatus, a monk at Montecassino.4 Amatus explains how

Cestui pape Lyon combati This Pope Leo fought against simony
contre la symonie, et ala par and went through the cities making
les cités, et o saintes predications holy sermons whereby he filled the
rempli l’eclize de la foi de Christe.5 Church with the faithful of Christ.6

Leo sought to eradicate abuses within the church hierarchy, but also to assert the church’s

authority in the secular sphere, as he saw emperors and kings impinging on privileges proper to

ecclesiastical authorities. In addition to providing spiritual correctives, in southern Italy in

particular Leo’s reforms also had an unquestionably political motivation. Specifically, he was

3
Christopher M. Bellitto, Renewing Christianity: A History of Church Reform from Day One to Vatican II
(Mahwah: Paulist Press, 2001).
4
Amatus of Montecassino. The History of the Normans, trans. Prescott N. Dunbar, rev. with introduction
by Graham A. Loud (Woodbridge: The Boydell Press, 2004). The chronicle comes to us, in its earliest form, as a
fourteenth-century French translation, L’Ystoire de li Normant. For this French text, see Amatus, Ystoire de li
Normant, ed. O. Delarc (Rouen: A. Lestringant, 1892).
5
Amatus, Ystoire de li Normant, 116.
6
Idem, History of the Normans, bk. 3 ch. 15–16.
55
opposed to the growing power of the Normans who were invading the region and wreaking

havoc in Benevento. As Amatus relates:

Et quant cil de Boinvent When the citizens of Benevento

oïrent tant de perfection heard so much concerning
et de santité en lo pape, the perfection and sanctity
chacerent lo prince, et of the pope, they drove out
sousmistrent soi a la their prince and swore fealty
fidelité soe… to the pope…
[et lo pape dist] ‘Je [Pope Leo said] ‘I will find
troverai voie comment a way to defend the city
sera deffendue la cite et and break the pride
abatue la superbe de li of the Normans.’7
Normant.’8

Political exigencies thus paved the way for the assertion of papal authority in the region, which

manifested itself as changes in monastic governance, liturgical practices, furnishings, and

manuscripts.

Recently, Nino Zschomelidse has shown how liturgical furnishings and manuscripts in

southern Italy shifted in the tenth through fourteenth centuries towards more performative,

exegetical liturgical rituals which emphasized retrospective, regional traditions while

concurrently aligning to the practices of Rome.9 Zschomelidse mainly examines how objects

such as candlesticks, ambos, church architecture, and the exultet manuscript rolls reflected the

“Gregorian Reform Movement” in Rome which replaced the native Beneventan liturgy with a

Gregorian, Roman one, but also how some features clearly stem from specifically southern

Italian, Beneventan practices. The label “Gregorian Reform Movement” reduces to a single-

person enterprise what was in reality a centuries-long series of councils, synods, and decrees

7
Idem, History of the Normans, bk. 3 ch. 17–18.
8
Idem, Ystoire de li Normant, 117.
9
Zschomelidse, Art, Ritual, and Civic Identity in Medieval Southern Italy, 3–5, 72.
56
with multiple objectives and different effects on actual praxis. The establishment of solely

Gregorian liturgy in southern Italy was the consequence, not the main goal, of reforms primarily

aimed at the morality of the clergy, and at the unification of the church, including monasteries,

under the leadership of the papacy in opposition to encroachments on this authority by secular

rulers. Nevertheless, the fact that liturgical objects reflect these currents both by reasserting older

regional traditions and by reflecting “Roman” liturgy is undeniable. A similar observation can be

made of the contents and types of liturgical manuscripts (other than Exultet rolls) copied in

southern Italy. The Divine Office in particular was the site of a major change enforced by

twelfth-century popes and monastic reformers, involving, among other things, the

standardization and enforcement of monastic rules and practices, and to the copying of a new

type of monastic book for the Divine Office, namely, the complete breviary. 10 New chant books

copied at this time in southern Italy contained a mixture of older and local chants and Gregorian

ones used to standardize the liturgy between Rome and the Frankish lands. We can see this most

clearly when examining the book products of monastic scriptoria in which the governing abbots

were closely aligned with the projects of reforming pontiffs.

The reforming popes were close friends with reforming abbots, some of whom became

pontiffs themselves. Abbot Desiderius of Montecassino was heir to the papal policy of reform,

10
As Zschomelidse summarizes, “The most significant change in the liturgical practice that occurred
toward the third quarter of the eleventh century is closely connected to music: the performance of the Divine
Office…the revitalization of both versions [titular and monastic] of the Divine Office after its decline in the tenth
century and the first part of the eleventh had become one of the most important goals of the liturgical reform
initiated by Pope Gregory VII. He introduced monastic practices to the secular clergy in Rome” (Zschomelidse, 88;
on the development of the breviary as a “reform book”, see p. 89). On Pope Gregory VII’s role in promoting stricter,
monastic practices for canons regular, see Giles Constable, The Reformation of the Twelfth Century (Cambridge:
Cambridge University Press, 1996), 116, and Philip E. McWilliams, “Canons Regular, Origins of,” in The
Encyclopedia of Monasticism, Vol. 2, ed. William M. Johnston (London: Fitzroy Dearborn Publishers, 2000), 236–
7.
57
having grown up at Benevento in this political climate. Amatus tells us that Desiderius, who was

his patron,

…touz temps [il] fu nori de …was all his life reared by

gentil gent et fu enseingniez
de bones costumes…quant
il vit que lo marriage se devoit
apareiller…il s’en foy a lo
hermitage ou il desirroit de hermitage
ester…il feist profession en
Sainte-Sophie de Bonivent; més
en l’eglise de Saint-Benedit de
Mont-Cassin prist la grace de
consecration.11
aristocrats and instructed in
proper behavior…when he
realized that [his] marriage was
to be arranged…he fled to a
where he wished to
remain…He made his profession in
the church of St Sophia of
Benevento.Then in the church of St
Benedict of Montecassino he
received the grace of consecration.12

Just as in the Papal sphere, in the monastic sphere, eleventh- and twelfth-century reforms were

also not limited to spiritual matters alone. Abbot Desiderius and his successor Oderisius

enhanced the splendor of Montecassino both materially and spiritually.13 Materially, new

liturgical books were acquired and copied, new dependencies and lands were added, and new

construction projects at the abbey itself soon made the most powerful Benedictine monastery in

southern Italy also one of the most artistically grandiose.14 Amatus recalls that, “although he

[Desiderius] scorned gold and silver, he enriched and decorated the church in a noble manner”

11
Amatus, Ystoire de li Normant, 148.
12
Amatus, History of the Normans, bk. 3 ch. 52.
13
There is an overwhelming wealth of literature on the Desiderian reforms at Montecassino. Foremost
among secondary literature is Herbert Bloch’s book on the history of Montecassino: Montecassino in the Middle
Ages (Cambridge: Harvard University Press, 1988), especially pp. 38, 691–2. See also: Faustino Avagliano,
Desiderio di Montecassino e l’arte della riforma gregoriana (Montecassino: Pubblicazioni cassinesi, 1997). For the
most in-depth discussion of the effects of the Desiderian reforms on the book production and collection at
Montecassino, see Francis Newton, The Scriptorium and Library at Monte Cassino, 1058–1105, Cambridge Studies
in Palaeography and Codicology 7 (Cambridge: Cambridge University Press, 1999).
14
Leo Marsicanus [of Ostia] and Peter the Deacon. Chronica Monasterii Casinensis. Ed. W. Wattenbach.
In Monumenta Germaniae Historica, Scriptores 7. Ed. Georg Heinrich Pertz (Hannover: Impensis Bibliopolii
Hahniani, 1846) bk. II ch. 53, p. 662; bk. 3 ch. 26.
58
(“et noblement enrichi et aorna lo eglize et ot en despit l’or et l’argent”).15 This material

transformation, which included the enhancement of the monastery’s library through the

acquisition and copying of new codices, had already begun with abbot Theobald in the second

decade of the eleventh century.16 Spiritually, under abbots such as Theobald, monastic discipline

according to the rule of St Benedict was renewed, and the liturgical practices of the abbey were

codified and regulated through the copying of new books.17

Indeed both material and spiritual reforms can be “read” in the extant Beneventan-script

manuscripts of this period. In the liturgical manuscripts with musical notation, the effects of the

reform on liturgical chants are evident and were gradually applied throughout southern Italy

thanks to the increase and exchange of written chant books. The first change in liturgical

manuscripts of this period is the inevitable repertorial restriction of chants that were regional or

local compositions related to older, regional liturgical traditions. These regional and local chants

had been present in older manuscripts, as we can still discern from numerous fragmentary

manuscripts. Specifically, what had not been accomplished in southern Italy under the eighth-

century Carolingian renovatio, namely, the eradication of the Old Beneventan chant native to

southern Italy in order to ensure liturgical standardization using Gregorian chant, was finally—

albeit gradually— fulfilled in the eleventh century. At the time of Charlemagne, the area in

15
Amatus, History of the Normans,bk. 3 ch. 52; Idem, Ystoire de li Normant, 149.
16
Giulia Orofino, I codici decorati dell’archivio di Montecassino, 2 vols., Vol. II.2: I codici preteobaldiani
e teobaldiani (Roma: Istituto Poligrafico e Zecca dello Stato, 2000), 7–28.
17
The standardization of monastic practice had actually occurred in the tenth century, with the reforms of
Benedict of Aniane at Cluny. However, the coexistence of both Beneventan and Gregorian rites at Montecassino
ensured a certain heterogeneity at the abbey itself. On the standardization of monastic practice, see especially
Michael St Driscoll, “The Conversion of the Nations,” in The Oxford History of Christian Worship, ed. Geoffrey
Wainwright and Karen B. Westerfield (New York: Oxford University Press, 2006), 175–203.
59
which Old Beneventan chant was used had retained its local liturgical traditions. Old Beneventan

chant had been used in the region since the conversion of the Lombards to Catholicism in the

same century.18 It coexisted with the Gregorian “Roman” even after the time of Charlemagne

even though new “Beneventan” compositions were somewhat curtailed.19 After the Carolingian

period, the reforms of Pope Leo IX and Pope Gregory VII tended again towards the elimination

of local liturgical customs in favor of a unifying, pan-European liturgy reflecting that of the

Papacy. This time, the reform was successful.

In the eleventh century the Gregorian chant used in Rome and Francia was once again

enforced as the official music of the liturgy at Montecassino. The coup de grâce to Beneventan

chant as a viable alternative to Gregorian chant came with a decree of Pope Stephen IX, who

banned the Ambrosianum cantum or Beneventan chant at Montecassino in 1058.20 Pope Stephen

IX had been an abbot of Montecassino just before his election to the papacy. Desiderius, who

was his successor, implemented the interdict at the monastery. This time, the transformation was

successfully carried out throughout southern Italy. The effect on the community of the

elimination of the local liturgy and its chant is difficult to underestimate if we take seriously the

poem copied in the late-eleventh century tonary from Montecassino, MC 318: “The eminent

Karolus ordered all the holy churches everywhere to sing the Roman song; whereupon

throughout Italy there arose much contention, and the status of the holy church was everywhere

18
See Kelly, The Beneventan Chant, 11.
19
Idem, 11, 73. The office of St Mercurius, unlike those of the other important Beneventan saints Barbatus
and Bartholomew whose formularies developed before 768, exists with Gregorian chants but not with Beneventan.
20
Leo of Ostia, Chronica Monasterii Casinensis, bk. II ch. 94: “Hunc etiam et Ambrosianum cantum in
ecclesia ista cantari penitus interdixit.”
60
in mourning.”21 Although the verse refers to the earlier reform of Charlemagne (Karolus), we

know that, in fact, at the time the poem was copied, the Roman Song had not completely

replaced the Beneventan one. Therefore, since the poem was copied in the new historical context

following the decree of Pope Stephen, the “mourning” and “contention” was actually an oblique

commentary on the current situation in 1058.

Subsequently, the specific chants used for all feast days— every hour of the Divine

Office and every Mass proper— were codified in writing through newly-copied liturgical books

for the Mass and Office. At least ninety new books were recorded as having been acquired for

Montecassino by Theobald and Desiderius combined.22 These new books transmitted the

Gregorian, Roman rite. In Benevento itself Beneventan chant still survived in some manuscripts,

but even the newly-copied books copied at Benevento were primarily Gregorian manuscripts.

The Beneventan chants that survive in these new manuscripts were chants for the important rites

of Holy Week and for other important Masses of the sanctoral cycle, which, nevertheless, were

copied alongside their Gregorian counterparts as “doublets”. Other Old Beneventan chants were

disguised within Gregorian formularies.23 A Beneventan chant, for example, could be used as an

offertory in an otherwise Gregorian Mass.24 But usually newly-copied chant books were

21
“Insignis Karolus romanum pangere Carmen omnibus ecclesiis iussit ubique sacris: under per Italia crevit
contemptio multa et status ecclesie luxit ubique sacre” (MC 318, f. 244. Translated in Kelly, The Beneventan Chant,
24). The poem narrates allegorically the victory of Roman chant over “Ambrosian,” which really means
Beneventan, and ends with the resigned teaching that “It is not to be understood in such a way that the Ambrosian
chant is to be despised, but by God’s favor, the Roman chant is to be preferred, for brevity and the disdain of the
people” (Idem.; MC 318, f. 245).
22
Leo of Ostia, Chronica Monasterii Casinensis, bk. III, ch. 63, bk. II, ch. 53; See also Newton, 254n7;
Orofino, I Codici Decorati dell’Archivio di Montecassino II.2, p. 7.
23
Huglo, “The Old Beneventan Chant,” Studia Musicologica Academiae Scientiarum Hungaricae, 27.1/4
(1985), 85.
24
This occurs in Ben 38, specifically, for the Mass of the Holy Cross. See Kelly, The Beneventan Chant,
53.
61
essentially all-Gregorian. Those copied under abbots Desiderius and Oderisius were exported to

Cassinese dependencies, ensuring that the same standardization of the chants used in the Mass

and Divine Office occurred beyond the vast territories of the abbey.25 Liturgical standardization

allowed the monks at Montecassino to pray and live as veritable spiritual soldiers in the new

society which their founder St Benedict had envisioned centuries before.

At the same time, the reform efforts led also to a flourishing of learning, and newly-

composed local chants began to appear in contemporary manuscripts even as the older ones

disappeared. In particular, the composition of poetic works resurged, leading to a wealth of new

sequences, tropes, and proses, as well as other types of poetic works used in the liturgy.

“Reform” saints such as St Peter Damian, St Dominic of Sora, and Alfanus of Salerno were

particularly involved in devotional, if not liturgical, poetic creation. In keeping with the Hymn’s

function as a didactic genre to communicate proper devotional theology, they also composed

new hymns. The new “poetic-genre” chants often were applied to the feasts of new saints, or to

saints with particularly strong local cults.26 Desiderius himself, “when he was about forty” (“Et

quant il estoit autresi come de xl ans”), Amatus of Montecassino tells us,

Il aprist plenement grammaire He learned grammar and rhetoric

et retorica en tel maniere qu’il
passa touz ceux qui ceste
science avoient de lor juventute
estudiée. Et qui lo veut savoir
coment fu amagis tré garde a
so well that he surpassed all those
who had studied this discipline
in their youth. Whoever wishes
to know how accomplished
he was should look at the song

25
Newton, 245–246; There were also ties (albeit tense) between Montecassino and Santa Sofia, which
might account for the exchange of books such as the Ordinal from Montecassino to Benevento (Kelly, The
Beneventan Chant, 32–37).
26
The impact of these authors on the repertoire of hymns in manuscripts from southern Italy, and the
significance of new compositions in the identity of monastic institutions in times of change will be assessed in
Chapter Six.
62
 lo cant quil componi de saint
Mauor confessor, et de lo livre
de lo dialogue en loquel est la
delictance de la regule de
l’art de grammeire, et con voc
de concordance de un son
iluec verra sa science.27
which he composed in honour
of St. Maurus the Confessor
and at the book of Dialogues in
which appear the pleasures of the art
of grammar and singing
in harmony with a tune.
Then he will find Desiderius’s learning.28

Newly-composed poems and hymns were a way to create and fortify local religious and monastic

culture through the honoring of local saints such as St Maur. They also reflected the political and

spiritual ideologies of the time by honoring saints who could be easily identified with both the

ideals of monastic reform and with important local cults.

In the secular sphere, some newly-composed Latin songs served to inculcate a sense of

civic pride; although presumably such hymn-like songs would not be used in the liturgy, the line

between spiritual and civic praise through the medium of song was often very permeable, as is

clear from some hymns copied in non-liturgical southern Italian manuscripts. For example,

already in the tenth century, a hundred years before Desiderius wrote his poems, the anonymous

author of the Cronicae Sancti Benedicti Casinensis re-cycled poems cited earlier by another

monastic poet and chronicler of Montecassino, Paul the Deacon. Both Paul in his Historia

Langobardorum and the author of the Cronicae Sancti Benedicti Casinensis cite in full a poem,

which they call a “hymn.” But instead of honoring a saint, the “hymn” honors a specific city:

Capua.29 In the earliest Cassinese manuscript transmitting the Cronicae, MC 175, the poem is

copied in red ink, differently than the other texts copied in the manuscript. The only other

27
The earliest version of Amatus’s history has come to us in a fourteenth-century French translation. For
this French text, see Amatus, Ystoire de li Normant, ed. O. Delarc (Rouen: A. Lestringant, 1892), p. 150.
28
Amatus, History of the Normans, bk. III ch. 52.
29
Cronicae Sancti Benedicti Casinensis, ed. and trans. Luigi Andrea Berto, Appendix by Walter Pohl,
Edizione Nazionale dei Testi Mediolatini 15, Series II.7 (Florence: SISMEL Edizioni del Galluzzo, 2006).
63
rubricated words in this manuscript come between other verse (as opposed to prose) insertions

that the author of the Cronicae borrowed from Paul the Deacon. These rubrics inform us of the

change from prose to hymn poetry: “and at last, in the end, a Hymn” (“et in fine, et in ultimo,

Ymnus”).30 The red ink calls attention to the poems—specifically, to the fact that they are

poems—and to their political meanings, by visually marking the generic designation “Ymnus.”

MC 175 was probably copied at St Benedetto di Capua in 922-923, where the entire monastic

community of Montecassino was exiled following the destruction of the abbey by the Saracens. 31

It is no surprise, then, that the hymn to this city is copied in the manuscript in order to praise the

secular powers of this city against the Saracen invaders. The fact that Latin songs called

“hymns,” though not used in the Divine Office, were reported in chronicles to support political

messages suggests that the hymns to local saints in the Divine Office might have had a similarly

important function in the assertion of local spiritual identity.

Indeed the whole manuscript MC 175 embodies the values of the reform that would reach

its peak in the following century. A composite of different items, it combines material for

spiritual reform to that which establishes the political importance of the monastery. Spiritually, it

contains the Rule of St Benedict for Montecassino; indeed, it is the earliest extant copy of the

Rule. It also has Hildemar of Corbie’s commentary on the Rule, Expositio Regulae St Benedicti

and the Capitulary of Montecassino (attributed erroneously to Paul the Deacon in this manuscript

rather than to the Frankish monk),32 and other texts regulating the praying of the Divine Office.33

30
Cronicae Sancti Benedicti Casinensis, Introduction, xxix.
31
Idem, vii–ix.
32
Idem, xxxv.
33
Such as an Ordo Casinensis and a Memoriale Qualiter. For the contents of the manuscript, see Cronicae
Sancti Benedicti Casinensis, Appendix, xxx–xxxiv.
64
As a document supporting political reform, the manuscript contains the Cronicae with its veiled

critiques of the then-current bishop of the city, Landulf, who was as much a spiritual as a

political and indeed military leader:

Landolfus autem extitit suis
civibus non solum episcopus,
sed et comes et iudex, non
solum presul, verum etiam
gastaldius, neque tantum
pontifex, quin velut miles
super cunctos preerat.35
But Landulf arose and presided over
his citizens not only as bishop,
but also as companion and judge;
not only as protector, but truly even
as gastald; neither only as
priest, but as soldier.34

Additionally, after a list of popes, there are also catalogs of the emperors, kings, princes, and

dukes of Benevento, and the letter from Radelchis to Siginulf that divided the duchy of

Benevento. Finally, there is another Chronicle in MC 175 specific to the history of Capua, the

Chronicon comitum Capuae. This latter chronicle, in another manuscript (Cava 4) thought to be

written at Montecassino practically sanctifies the recently-assassinated Prince Landenulf of

Capua by calling him “prince and martyr” (“principis et martyris”).36 Blurring the line between

spiritual and political reform in MC 175 is a letter from the abbot Theodomar to Charlemagne,

where the abbot assures his fidelity to Roman liturgical practices: “Henceforth truly we fulfill the

offices according to the Roman way” (“Reliqua vero officialis secundum morem Romanum

34
Translation mine. A “gastald” was the highest Lombard administrative official in each city. He answered
directly to the kind. See Katherine Fischer Drew, translator, The Lombard Laws (Philadelphia: The University of
Pennsylvania Press, 1973), 240, 259. While the critiques of Landulf are veiled in the Cronicae and peppered with
praise, as this quote shows, the critiques of the same bishop in the Historia Langobardorum Beneventanorum by
Erchempert are decidedly more pronounced. See Erchempert, Historia Langobardorum Beneventanorum, ed. G. H.
Pertz and George Waitz, in Scriptores Rerum Langobardicarum et Italicarum saec. VI–IX, vol. 1, in Monumenta
Germaniae Historica (Hannover: 1878, reprinted 1964), especially ch. 31, p. 246. Hereafter Scriptores Rerum
Langobardicarum et Italicarum will be referred to as MGH SSt Lang.
35
Idem, bk. II ch. 31. See also the introduction, xv–xvi.
36
Idem, xxxix. The text of the Chronicon comitum Capue is found in the Monumenta Germaniae
Historica, Scriptorum, vol. 3, p. 207.
65
explemus”).37 That hymns are included and indeed singled out visually for special attention in

the context of such a manuscript is significant, showing that this genre partook of both liturgical

and political identity-forming discourses.

MC 175 and its “chronicle hymns” demonstrate in a particularly striking way that it is

still possible to trace the effects of political events and liturgical reform by examining the

manuscripts copied in this period. Similiarly, we can trace the effects of reform on the chants

used at Montecassino and elsewhere in the region through the extant manuscripts from this

period. Bibliophile abbots of the eleventh-century, especially those at Montecassino, ensured the

importance of communication through the written medium.38 In other words, uniformity of

liturgical practice was most effectively enforced, communicated, and practiced using written

means. Desiderius was born in Benevento and had spent time at the monastery of Santa Sofia,

where he was exposed to a highly refined monastic culture. Here, the activity of the religious

who copied elaborate liturgical books in the famous scriptorium left an indelible mark on the

young monk, for under his abbacy Cassinese book production and collection flourished.

Desiderian manuscripts were more legible, more organized, and manuscripts of the same type

were more similar to each other than before.39 The manuscripts that had contained Old

Beneventan chant and liturgical prescriptions were replaced by these newer ones. The feast days

that were remembered in formularies became more uniform, with only slight regional variation.

37
The full text of the letter is edited in Kassius Hallinger, ed., Corpus consuetudinum monasticarum, vol. 1:
Initia consuetudinis benedictinae (Siegburg: F. Schmitt, 1963), 130.
38
As liturgist Michael Driscoll points out, “monastic civilization is truly based on the book.” Driscoll, 189.
39
Newton, 63, 192–4.
66
 In the case of the Gregorian, Carolingian, and second Gregorian reforms, new standards

led not just to new chants and prayers copied in liturgical books, but also to new types of

liturgical books themselves. The ordines Romani in the eighth century were created to codify the

“Roman” liturgy and to direct the chants and readings to be used in the Mass when these

directives were exported to Gaul. Fifty ordines exist from Gregory the Great’s time.40 Similarly,

in the tenth and eleventh centuries, the increase in liturgical books known as customaries (the

“monastic equivalent to the ordines Romani”), sacramentaries (which describe the rites of the

sacraments), and pontificals (which give directions to govern the ritual actions of the bishop)

transmitted the Cluniac ideals of monastic reform and standardization.41 It is no surprise, then,

that the eleventh-century reforms at Montecassino should result in the proliferation of a similar

liturgical book. In Montecassino, the most evident effect of the eleventh-century standardization

of the liturgy on book production was the creation of a new type of liturgical book: the ordinal. It

is in this type of book that we can also understand how the hymn repertoire in use in southern

Italy was codified as part of new liturgical standards.

Andrew Hughes explains that, unlike a customary, which “contains the general

regulations of the institution, especially concerning its ceremonial” and “concerns itself with the

how and the who of the services,”42 the ordinal “is essentially a collection of rubrics, usually with

incipits, directing the performance of the service....it thus deals with the what of the services.”43

The ordinal lists the chants to be used in each hour of the Divine Office for each feast, arranged

40
Driscoll, 186.
41
Idem, 202–3.
42
Hughes, Late Medieval Liturgical Offices: Resources for Electronic Research: Sources and Chants
(Toronto: Pontifical Institute of Medieval Studies, 1996), 39.
43
Ibid.
67
in order of the liturgical calendar. The ordinal is by nature imbued with local flavor, since it

describes the liturgical practices for an entire year at a given location in very specific terms. Thus

an ordinal written in one monastery might indicate that more solemnity is to be given to the saint

for whom that monastery is named, while at a different monastery or church, different saints

whose relics are interred in that location might be granted this honor, etc. Nevertheless, the

ordinals of Montecassino and Benevento, and particularly the former, became not merely

descriptions of liturgical practices, but also essentially codifiers of a single, agreed-upon way to

perform the liturgy. In institutions where the use of two interchangeable liturgies, the

Beneventan and the Gregorian, had shifted dramatically with the ban on the Old Beneventan rite

to exclusive reliance on the “Roman” way of doing things, the ordinals both described and

dictated the particulars of this standardized liturgical norm, albeit with slight variation from one

institution to the next. The surviving ordinals from Montecassino and Benevento have a few

distinctive features that relate directly to their origin as monastic reform documents. They also

reflect a distinctly southern Italian, albeit Gregorian, tradition of the Divine Office, but one in

which local traditions can still be observed.

The ordinal itself as a type of document reflects a textual culture responding to new

directives caused by reform and standardization. Since an ordinal defines the texts of the prayers

and the order in which they are to be used for every daily liturgical service throughout the year,

prayers that would otherwise be very well known, this liturgical book type would have been

unnecessary had not the “liturgical practice been relatively unfamiliar, as might happen as the

result of liturgical reform in the home community, or if the liturgical practice is to be exported to

68
a new place…”44 The ordinal reflects a newly-standardized practice and became a text in its own

right in order to have an influence beyond the borders of a single religious community. The

ordinals of Montecassino and Benevento as a whole are different from manuscripts with ordinals

from other parts of Europe.45 They are also the oldest examples of this type of document,46

showing that the standardization of the Divine Office and the re-copying of manuscripts in

accordance with new standards were a topic of importance in the monastic life of southern Italy

in the eleventh and twelfth centuries.

In the ordinals from Montecassino and Benevento, liturgical standardization was

nonetheless flexible enough to accommodate regional variation—yet slightly, and in an equally

organized and codified manner. The ordinal originated at Montecassino and was exported to

Benevento,47 where it underwent some slight revision to reflect certain customs local to

Benevento. Thus instead of there being one uniform way of reciting the Divine Office in

southern Italy, after the initial copying of the ordinal there were two, slightly different versions

of essentially the same practice organized in a similar manner. Differences within these two

groups of ordinals show that there was slight adaptation even at the level of individual institution

or community. Regardless of this, the text of the ordinal is very much the same between the

manuscripts from both Montecassino and Benevento.

These ordinals, then, can be considered the textual reflection par excellence of the

standard monastic practice in southern Italy after the reforms at Montecassino. They also happen

44
Kelly, The Ordinal of Montecassino and Benevento, 49–50.
45
Kelly, The Ordinal of Montecassino and Benevento, 20.
46
Idem, 19.
47
The evidence for this is amply presented and explained in idem, 39.
69
to be major sources of hymn texts. This is because, in reality, ordinals themselves are not

complete codices; they are libelli bound to other libelli containing diverse liturgical items used

for the Divine Office, among which hymns, capitulae, psalms, etc. Together, these libelli form

the entire codex. Many manuscripts with ordinals thus contain hymnaries. In such composite

manuscripts, the ordinal can be considered the “key” to using the other materials collected in the

book. The “standard” chants of a monastery, including hymns, were selected and collected in

these volumes to which the ordinal is the key which regulates them. When we examine

“hymnaries bound to ordinals,” we are thus seeing the repertoire of hymns used in southern Italy

after a process of standardization. We can compare these hymnaries to hymnaries not tied to

ordinals either because they were copied before the promulgation of the ordinal or because they

are in volumes whose functions are very different from those with ordinals (i.e., stand-alone

hymnaries or even, though more rarely, in graduals). Through this comparison, we can see a

change in the hymn repertoire of southern Italy following the ordinal and, therefore, following

the Cassinese reforms. Ordinal hymnaries largely pared down the number of hymns used in the

Divine Office in southern Italy, as well as the formularies to which certain hymns were assigned.

The hymns we see in ordinal hymnaries in general reflect the centralized repertoire used,

approved, and promulgated by the church at large, but even here there are texts of hymns local to

southern Italy. Many more of these local hymns, however, are found in books whose function

and/or date of copying differ from those of the ordinal hymnaries.

Goals, Methodology, and Manuscripts Examined

Given this background of the Cassinese reforms and their effects on the types of liturgical

books copied and on the chants collected therein, in this study hymnaries are examined in order
70
to determine which collections reflect older, local repertoire and which collections of hymns

responded directly to liturgical standardization. To reiterate, the goal of this investigation of the

hymns in Beneventan-script manuscripts is twofold: to trace the transformation of the repertoire

of hymns used daily in the Divine Office in southern Italy through time in order to characterize

the nature of the change occurring as a result of liturgical standardization, and to identify and

describe the local hymns endemic to southern Italy. The first objective is pursued by examining

the repertoire of hymns in the most important hymnaries from southern Italy to identify those

that are unique to a given manuscript or circumscribed to those from this area. Since the

identification of local hymns depends on a close examination of the repertoire in all manuscripts,

tracing the change in hymn repertoire in southern Italy to see how reform and standardization

affected the copying of hymns must be addressed first. Following this, local hymns can be more

easily identified, since they are the ones that are less represented in standardized collections.

The first objective demands a comparison of hymns copied in different time periods, in

different places, and in different types of liturgical books to trace patterns of change in hymn

collections. Since ordinals were both a bound to hymnaries and a new type of book that reflected

a change or standardization in the liturgy as a result of the eleventh-century Cassinese reforms,

the following investigation depends in large part on the examination of hymnaries bound to

ordinals, and on the comparison of these collections to those in other types of hymnaries.

Although the ordinals themselves have been studied in detail by Thomas Forrest Kelly in his

edition of the ordinal of Montecassino and Benevento, the hymnaries in these codices and the

extent to which they reflect the ordinal’s directives have not been examined. The object of this

chapter, therefore, will be the examination of hymnaries bound in volumes with ordinals from
71
both Montecassino and Benevento. Cassinese and Beneventan ordinal hymnaries differ from

each other, as do their ordinals, in predictable ways, although some crossovers show that the

hymns in liturgical books from both Benevento and Montecassino were collectively known in

both centers, even though selections based on the cultic priorities of the respective locations were

later reflected in the ordinal hymnaries.

The comparison of Beneventan and Cassinese ordinal hymnaries in this chapter will set

the stage for the more general comparison of ordinal and non-ordinal hymn collections in

Chapter Three. Comparing these ordinal hymn collections to those in hymnaries copied before

the ordinals or to hymnaries in liturgical books with a function different from that of the ordinal

(i.e., stand-alone hymnaries, breviaries, antiphoners, etc.) we can see that the collection of hymns

in ordinal hymnaries was selected from a larger pool of hymns. Many of these were local texts

and melodies, known and copied elsewhere in manuscripts with Beneventan notation. A note of

caution, however: there are many hymns endemic to southern Italy still present in the ordinal

hymnaries. Moreover, ordinal hymnaries do not correspond entirely to the directives of the

ordinals to which they are attached. These phenomena are best examined on a case-by-case basis.

Hymnaries in composite office manuscripts without ordinals sometimes look very similar

to those in composite manuscripts with ordinals. Sometimes, the hymns in composite volumes

without ordinals, such as the Cassinese manuscript Naples VI F 2, are so close to the directives

of the ordinal that it is likely that these hymnaries were once attached to or copied from a codex

that contained an ordinal. The hymnaries in Vienna 1106, MC 506, and MC 559 are also

Cassinese composite manuscripts that contain hymnaries not tied to ordinals. Chapter Three will

discuss these manuscripts, comparing their hymn repertoires to those in ordinal hymnaries. Ott.
72
lat. 145 is also discussed in Chapter Three as an example of a hymnary with an early and hybrid

Cassinese-Beneventan-central Italian hymn repertoire. The origin of the manuscript is unknown,

but it is likely that the repertoire is neither exclusively Cassinese nor exclusively Beneventan,

and the manuscript might have been used at another location altogether. Ott. lat. 145’s early date

may also provide evidence that the hymns that were later polarized into either Cassinese or

Beneventan hymnaries were earlier known throughout southern Italy. Chapter Three also

discusses the hymnary in Naples VI G 31, and, finally, two composite manuscript hymnaries

from Benevento, Ben 42 and Ben 37. These two hymnaries are best viewed as anthology-like,

containing notation and a greater number and variety of hymns. These hymnaries are so unusual

in their use of notation, and so important in the reconstruction of what a Beneventan hymnary

might have looked like before liturgical standardization, that their contents and melodies will

serve as more detailed case studies in Chapter Five.

Chapter Four discusses the hymnaries Naples VI G 29; Vat. lat. 7172 and Paris 1092;

Rheinau 91 and MC 420; Rheinau 82, Chigi C VI 177, Rome 174 (Farfa 4), and Farfa A 209.

These manuscripts are representative hymnaries from Naples, Narni, Subiaco, and Farfa,

respectively. Interestingly, some of the local hymns in Cassinese and Beneventan manuscripts

are also found in manuscripts from these areas—but not from any others. This attests to an

exchange of hymns between the Beneventan zone and its immediate neighbors, the area of

central Italy where the “Romanesca” caroline miniscule was used from the tenth to the twelfth

centuries.48 Hymns in books such as antiphoners and breviaries are not grouped together but are

48
Supino-Martini, Roma e l’area grafica Romanesca, 21.
73
interspersed with the other items used in a particular formulary, and usually incipits, not the full

texts, of the hymns are given. Sometimes these codices show greater flexibility in the choice of

hymns cited, reflecting the local devotional needs of the community to which these manuscripts

were destined. Hymns are also sometimes found, usually simply cited and in limited numbers, in

books not exclusively for the Divine office, such as graduals, and in codices with more

circumscribed purposes such as psalters and processionals.49

After the first four chapters approach the first objective—tracing changes in hymnaries’

contents resulting from liturgical reform—the second objective of identifying and analyzing a

local hymn repertoire will be the object of Chapter Five. An examination of the types of sources

of hymns from southern Italy allows us to discern and reconstruct a local repertoire of hymns,

which may sometimes be part of an older layer of chant. A tripartite classification of the hymns

examined in the manuscripts discussed in the first three chapters as local, unique, or widespread

is possible and will be done in Chapter Five using the hymn repertoire of Ben 37 and Ben 42 as

case studies. Local hymns are those used in a limited geographic area and a limited number of

manuscripts, and they reflect the devotional priorities of the institution or region in which they

are found. Unique hymns are those found in a single manuscript. The importance of identifying

local hymns consists in finding possible traces of hymn composition tied to pre-Gregorian

liturgies in southern Italy. Local chants, melodies, and even entire formularies preserving local

chants are found in manuscripts copied between the eleventh and fourteenth centuries,

corresponding with the period in which liturgical books in Beneventan script were copied in

49
There would be over 200 fragments to examine between the Mass and Office books and over 100 books
for the Mass. See previous note.
74
large numbers.50 This phenomenon has been examined in detail for the chants of the Mass and

for tropes and sequences in Beneventan manuscripts, but it has not yet extended to the hymn

repertoire.51 Was there a “Beneventan” repertoire of hymn texts? Were there unique hymn

melodies? What were the features of the “Italic melodic style” used in some hymns, and do they

resemble those of other chant genres from the area? Chapter Five will provide at least an initial

exploration aimed at answering these questions.

While we know of the disappearance of Old Beneventan chants for the Mass and some

genres of the Divine Office (especially antiphons and responsories), we do not know what hymns

were used in southern Italy in conjunction with the local Old Beneventan liturgy. No complete

liturgical book for the Old Beneventan Divine Office survives, and those that do are fragmentary

and do not transmit hymns. Nevertheless, that hymns were used even in the local liturgy is

certain. Some hymns found mainly in southern Italy are shared among a limited number of

manuscripts, and sometimes have unique melodies with local musical features. Many of these

hymns eventually fell into disuse and disappeared from extant manuscripts. By identifying these

local hymns and their musical features, we have a glimpse into yet another genre of the liturgical

repertoire that was redefined with the shift to an all-Gregorian chant and a Cassinese-determined

practice. In these local hymns, we might catch a glimpse at an older repertoire concurrent with

50
Kelly, The Beneventan Chant, 30–40.
51
Kelly briefly mentions the presence of unique or local hymns in the manuscripts with ordinals for feasts
of saints with local importance (Kelly, The Ordinal of Montecassino and Benevento), and John Boe observes the
incorporation and transformation of local hymn texts and melodies into Kyrie eleison verses and tropes, a
phenomenon which will be discussed later when the relationship between local hymns and other hymn-like genres
such as tropes and sequences is examined (Boe, “Hymns and Poems at Mass in Eleventh-Century Southern Italy,” in
Atti del XIV Congresso della Società Internazionale di Musicologia: Trasmissione e recezione delle forme di cultura
musicale, vol. 3: Free Papers, ed. Angelo Pompilio et al. (Torino: E.D.T., 1990), 515–41).
75
that of the Old Beneventan chant, or at a new repertoire that, like the neo-Gregorian chant

composed after the replacement of the Beneventan,52 sought to retain local musical features.

The manuscripts discussed in this and the following chapters are necessarily only a

sample, though a substantial and representative one, of the total number of manuscripts and

fragments that might contain hymns from southern Italy. The tables at the end of this chapter

outline the main Beneventan-script manuscripts for hymns, categorized in terms of location

(origin and destination), type of liturgical book (breviary, hymnary, composite manuscript, etc.),

the date of copying, mode of copying hymns (fully copied, partially copied, or incipits), and the

number of hymns contained.53 These are the manuscripts discussed in this study. Some of the

hymnaries that are not in Beneventan script and from just outside the Beneventan zone are also

included because they are nevertheless important hymnaries and display repertorial crossover

with the Beneventan manuscripts.54 Of the books for the Divine Office in Beneventan script,

counting full or truncated manuscripts and fragments, there are about twenty hymnaries, over

fifty antiphoners, twenty-four psalters (ten of which include other material besides the psalms,

including sometimes collections of hymns), and fifty breviaries.55 There are also twenty

52
For the description of newly-composed local chants in Gregorian style, or what Luisa Nardini has
termed “Neo-Gregorian chants,” see Luisa Nardini, Interlacing Traditions: Neo-Gregorian Chants for the Proper of
the Mass in Beneventan Manuscripts (Toronto: Pontifical Institute of Mediaeval Studies, forthcoming); Idem, “Il
repertorio neo-gregoriano nei manoscritti di area beneventana,” Il Saggiatore Musicale 6 (1999): 377–78).
53
Boynton, “Orality, Literacy, and the Early Notation of the Office Hymns” uses this categorization for
modes of hymn copying in hymnaries between 900 and 1100.
54
However, it is hoped that this initial survey will result in later studies in the examination of all the
Beneventan fragments from codices for the Divine Office, such as fragments that were once antiphoners and
breviaries, for a complete cataloguing of hymns and their parent manuscripts. Manuscripts such as Naples VI G 34
and Reg. Lat. 334 (from Sora), which contain processional hymns but not hymns for the Divine Office, have not
been included in this survey, since the processional hymns of the Beneventan zone merit a separate study.
55
Richard Gyug, “Early Medieval Bibles, Biblical Books, and the Monastic Liturgy in the Beneventan
Region,” in The Practice of the Bible in the Middle Ages: Production, Reception, and Performance in Western
Christianity, ed. Susan Boynton and Diane J. Reilly (New York: Columbia University Press, 2011), 36, 38, 40.
Gyug also lists other liturgical books in Beneventan script that may have at least referenced hymns in incipits, such
76
manuscripts with ordinals (pontificals, rituals, etc.); six of these contain hymnaries, though all

ordinals at least cite hymns. To characterize the repertoire of hymns in southern Italy, it is

sufficient to consider the hymnaries that are largest and most complete, as well as the most

important antiphoners and breviaries from between 1000 and 1300. This limits the number of

manuscripts to be investigated with a minimal risk of omitting from consideration significant

witnesses to a local repertory. It provides the basis for further research that would consider all

Beneventan-script manuscripts and fragments in terms of the hymns they transmit.

Hymns in Manuscripts with Ordinals: Reflections of Standardization

Composite manuscripts with material for the recitation of the Divine Office, including

hymns, began to be copied in the eleventh century; by the twelfth century, some of these

included a section with an ordinal or breviarium sive ordo officiorum.56 This breviarium is not

to be confused with the breviary, a type of liturgical book that contains all the texts and chants

for the recitation of the Divine Office and not merely the instructions for when and what to

recite. Unlike a breviary, an ordinal has instructions referring to all the liturgical texts necessary

for the recitation of the Divine Office and when and where to use them.

Composite manuscripts with ordinals follow a standard organization of items that

include, in order: a chronicle, liturgical calendars and/or computus followed by a psalter, a

section of hymns, capitula, collects, and a ritual. The breviarium itself can come before, after, or

as the over 100 missals and 30 graduals. Kelly lists 10 complete office manuscripts (three antiphoners) and 124
office fragments (80 from antiphoners and 44 from breviaries) in Beneventan script, as well as 24 complete and 145
fragmentary volumes for the Mass (7 complete and 54 incomplete graduals, and 17 complete and 91 incomplete
missals). See Kelly, “Notes on a Census of Beneventan Manuscripts,” in Die Erschliessung der Quellen des
mittelalterichen liturgischen Gesangs, ed. David Hiley, Wolfenbüttler Mittelalter-Studien 18 (Wiesbaden:
Harrasowitz, 2004), 163–68.
56
Kelly, The Ordinal of Montecassino and Benevento, 42.
77
in between these sections.57 In composite manuscripts with ordinals from Benevento, the hymns

follow the capitula; in those from Montecassino, hymns precede the capitula.58 Not all composite

ordinal manuscripts have all the items listed, and some also include additional material, such as

litanies and texts or chants for the ferial or common offices. Whether the fascicles containing

these separate items were grouped together from different parent libelli or whether they were

copied continuously, i.e., with the fascicles containing each item bound together inseparably,

composite manuscripts with ordinals follow this general arrangement.59

The manuscripts edited by Kelly as constituting the “Ordinal of Montecassino and

Benevento” are the following60:

Urb. lat. 585

Paris Maz. 364
Getty 83.ML.97
Naples VI E 43
Vat. lat. 4928
Ben 66
MC 198
MC 562

The first five manuscripts still contain a hymnary separate from the ordinal section. Composite

manuscripts with ordinals that do not contain hymnaries or were never meant to contain them,

such as the ordinal Ben 66, still cite hymns, so we can assume that there were hymnaries

available in the same place in which these ordinals were used that contained the hymns cited in

the ordinal. Whether these hymnaries contained exactly those hymns cited in the ordinal, or

whether they were large anthologies from which the hymns called for in the ordinal were

57
Idem, 48–49.
58
Ibid.
59
Ibid.
60
Ibid.
78
selected when the time came for their singing is a matter of speculation, given the poor survival

of stand-alone hymnaries. As we shall see, there is some evidence that such hymnaries once

existed as a regular part of an institution’s liturgical book collection; the hymnary in Ben 37

seems to have once been part of a larger anthology of hymns, part of which was finally compiled

into a composite office book.

The first three manuscripts outlined above were copied and used at Montecassino. Naples

VI E 43 and Vat. lat. 4928 were copied in Benevento, at the monastery of Santa Sofia. As we

shall see, even when the ordinal manuscripts were created at different locations, the hymnaries in

all such manuscripts follow a certain ordering and logic, and the hymn contents are the same or

very similar. Usually, they follow the formularies for feasts as found in the liturgical calendar,

with a division between hymns that occur on Sundays and ferial days within a season, and those

that occur for saints’ feasts. Nevertheless, the location in which the ordinal was copied is

significant, as the tradition of Montecassino was slightly changed at Benevento.

Their similar organization shows that composite manuscripts with ordinals are not merely

“grab bag” collections of material for the Divine Office. They were compiled with a specific

purpose: to be reference sources for the recitation of the Divine Office in a given place. Indeed,

every composite manuscript with materials for the Divine Office organized in a logically

consistent way can be considered such. Even those without ordinals seem to serve this function.

Their character as reference books must be emphasized. They could not actually be used to recite

the Divine Office because these composite manuscripts omit the responsories and antiphons—

the texts that are normally set to music that would have been copied with notation in a different

type of liturgical book, namely, an antiphoner. According to paleographer Mariano Dell’Omo,

79
the composite codices in Beneventan script represented an intermediate stage between the early

copying of liturgical items in separate volumes and the later conglomeration of office items into

breviaries, which did include the responsories and antiphons, in which all texts are displayed in

the order in which they occur during the liturgical year and within each feast’s formulary. 61 The

purpose of composite volumes was to coordinate the chants and prayers of the Divine Office

recorded in different places of the volume in accordance with the practices of Montecassino. 62

The repertoire of hymnaries with ordinals reflected the citations of the ordinal itself. The ordinal

predetermined, as it were, the materials included in the other libelli of the volume. The

organizing function of the ordinal had repercussions on the hymns chosen for inclusion in the

composite codex. A standardized liturgy led to a standardized hymn collection within these

manusripts.

But just how closely can we expect the hymnaries of these codices to reflect their

ordinals? Since all the items in such composite office manuscripts are grouped together with

other texts of their kind, they would seem to be quite independent of each other, despite the fact

that they are all collected in one volume. One way to answer this question is to look at the

codicological makeup of these composite volumes. Of these codices, the hymnaries in Naples VI

E 43 and Vat lat 4928 are copied on separate libelli from the other material in the volume.63

However, they were copied by the same scribe that copied their ordinals. A composite office

codex copied at Montecassino but without an ordinal, MC 559, also has a hymnary as a separate

61
M. Dell’Omo, “Note su un manoscritto liturgico in Beneventana di origine Cassinese (Biblioteca
Apostolica Vaticana, Urb. lat. 585),” Ecclesia Orans 12 (1995), 280–82.
62
Kelly, The Ordinal of Montecassino and Benevento, 44; 47; 43.
63
As observed by Kelly in The Ordinal of Montecassino and Benevento, 47–48.
80
libellus. On the other hand, in the other manuscripts with ordinals with hymnaries, the hymn

section was copied continuously along with other items such as the psalter, capitula, and/or

canticles of Matins.64 Other composite office manuscripts such as Ott 145 and Naples VI F 2 are

also copied in the same way, though they do not contain ordinals. It is especially noticeable that

hymns are part of the core of the composite ordinal volumes when the sections of such volumes

are copied continuously, since in these cases, psalms, hymns, capitula, and collects are copied

continuously.65

The manuscripts in which the hymnary is copied continuously with other items seem to

have been created as such so that their contents could be very unified; thus we might expect the

hymnaries in these codices to follow the directives of the ordinals more closely. On the other

hand, those composite codices in which each section is its own libellus seem less unified. The

libelli could very well have been compiled from pre-existent books, unless copied by a single

scribe. Even in this case, the scribe could have referred to different exemplars for each section,

and the work could have been separated over a long period of time. In non-continuous copying

we expect hymnaries to match the directives of the ordinal less closely. In fact, however, this is

not necessarily the case. Many composite codices made of separate libelli resemble those in

which items are copied continuously. On the other hand, those that are copied continuously do

not necessarily correspond exactly to other items in the same volume.

64
Idem, 49.
65
This happens in in all the composite volumes mentioned above except Ott. lat. 145. As Kelly states,
“This, as we have noted, is the core material of all these books and has [by the twelfth century] become
standardized, at least at Montecassino, as to its order.” Kelly, The Ordinal of Montecassino and Benevento, 49–56.
Ott. lat. 145 has a continuous series containing the ferial office, the hymns, and the capitula separated from another
section containing the litanies and ritual and a final section of collects. It doesn’t have a psalter.
81
 Ordinals do not always cite hymns so as to coordinate exactly with the hymnaries they

contained, even in cases when the ordinal and the hymnary were copied continuously. For one

thing, many hymns in the hymnary are not cited in the ordinal. This is because ordinals, being

directives for practice, did not seek repertorial comprehensiveness; rather, they cited the bare

minimum number of hymns for use in the Divine Office. In this way, they synthesized and

standardized a preexisting, larger pool of hymns available at a given place and time. Hymnaries,

even those with ordinals, usually contain more hymns to be used with given feasts than are cited

in the ordinals. This is the first hint that there was a larger, regularly-used hymn repertoire than

was copied in manuscripts, especially those of reference. When we examine hymnaries in

manuscripts with a different function, namely, those that were stand-alone hymnaries and

therefore hymn anthologies, we see that this is, indeed, the case. Hymnaries in composite,

reference volumes contain fewer hymns than can be found in stand-alone hymnaries. Similarly,

at times breviaries, antiphoners, and graduals which transmit local feasts also cite a greater

number of local hymns than are found in the ordinal hymnaries. Over time, it appears that the

ordinals’ concision affected the collections of hymns in their hymnaries, as more local texts fell

out of use in written books.

Besides diverging slightly from their respective hymnaries, the hymn citations in the

ordinals from Montecassino differ from those at Benevento.66 In terms of hymn citations,

Montecassino ordinals exclude hymns for formularies of certain feasts, such as St Mercurius, St

Bartholomew, the Holy Twelve Brothers, sometimes because Cassinese ordinals omit a

66
Idem, 173–211.
82
formulary entirely (as is the case with St Mercurius). Cassinese ordinals have a different ordering

of hymns for St Bendict, St Agnes, Lent, Trinity, and two hymns in the Common of Saints.67 In

general, the ordinal hymnaries from Benevento include more hymns for sanctoral feasts than do

those from Montecassino. Thus by looking at these ordinal repertoires we can identify a

Beneventan and a Cassinese repertoire of hymns, reflected to some degree in the ordinal

citations.

Two Ordinal Hymnaries from Benevento

Vat. lat. 4928: Sidestepping an Ordinal in Favor of Local Feasts

The religious working at the most important scriptorium in Benevento in the early twelfth

century would have had good reason to personalize their liturgical books, especially those copied

from Cassinese exemplars. Through their workmanship, they could reassert the unique identity

and proud independence of their monastery, Santa Sofia, whose close ties with Montecassino

was also a source of tension in a power struggle between the two centers. This struggle is

reflected in the written records of both monasteries. For example, continuing Leo Marsicanus’s

Chronicle of Montecassino, Peter the Deacon of the eponymous monastery had gone so far as to

fabricate the charters of Montecassino’s possessions mentioned in the chronicle in order to prove

that Charlemagne himself and several popes had given Santa Sofia to Montecassino.68 In

liturgical books, the assertion of Beneventan identity at Santa Sofia resulted in the copying of

Old Beneventan chant in volumes produced at Santa Sofia that recorded the Gregorian chant

after the decree of Pope Stephen IX. The continued copying of chants of the older Beneventan

67
Idem, 176.
68
Erich Caspar, “Echte und gefälschte Karolingerurkunden für Monte Cassino,” Neues Archiv der
Gesellschaft für ältere deutsche Geschichtskunde 33 (1907–8), 53–73.
83
rite attests to the desire of the religious at this scriptorium to continue to assert their local

Beneventan identity in the face of a changing liturgical landscape.

The same process happened when the ordinal, created in Montecassino to direct the

liturgy, was copied at Santa Sofia. Vat. lat. 4928 is a composite codex with an ordinal written at

Santa Sofia through which we can see the adaptation of the ordinal of Montecassino at

Benevento. The various parts of this composite volume are continuously copied by a single

scribe in order to be a unified, presentation reference book. Considerable attention was given to

illuminations. Two in particular stand out: they are full-page illuminated initials on the folios that

begin the psalter and hymnary. That the psalter was given the honor of a full-page initial is

unsurprising, since the psalms were the main prayers of the Divine Office, forming the textual

basis for the responsories and antiphons. The fact that the hymnary also has a full-page initial

shows how important these songs accompanying the Divine Office were considered by the

communities using these books. The hymnary is on f. 214r-261v of Vat. lat. 4928 and contains

full texts but no musical notation, except for notation on the incipit of the hymn Aurora lucis for

Easter.69 There would be reason to notate this hymn, as it is a local melody. Here already we can

see the desire on the part of the scribes of Vat. lat. 4928 to retain a local musical tradition even in

a highly standardized volume.70

69
“The incipit matches the melody given in…Ben 42 (f. 135v) and almost matches that in Ben 37 (f. 46r).
In Benevento 42 the same melody is used for many hymns [Christe redemptor omnium f. 160v used for All Saints in
Ben 42 though in Ordinal for Christmastide; Ambrosi sides f. 109, Anglorum iam f. 124v, Splendor diei rutilat 157v,
Ad martiri Mercurii f. 163r, Post Petrum primum principem f. 164r]…This is the first appearance of this hymn in the
ordinal, and perhaps the scribe of D wishes to call to mind a local Beneventan melody.” Kelly, The Ordinal of
Montecassno and Benevento, 120 and 120n136.
70
The contents of Vat. lat. 4928’s hymnary are in a table at the end of the chapter; they are listed at the end
of this chapter because the organization of Vat. lat. 4928 provides an idea of the general structure of hymnaries
found in composite ordinal volumes from both Montecassino and Benevento. The contents of all the manuscripts
examined throughout this study are found in Appendix A.
84
 Indeed the hymnary of Vat. lat. 4928, like other ordinal hymnaries, is a model of

concision and organization. It begins with the full complement of hymns for Sundays in summer,

namely, between the feasts of Pentecost and Advent: hymns for matins, lauds, prime, terce, sext,

none, compline occur in that order.71 After the hymns for Sundays, those for the five ferial days

of the week follow, with their matins, lauds, and vespers hymns in that order. The hymns for

Trinity Sunday, then for advent Sundays, then for Sundays in the Christmas season follow.

Thereafter, the hymns for Christmas and all subsequent sanctoral and temporal feasts come in

calendrical order, beginning with those saints’ feasts within the Christmas season. The hymns for

the Annunciation come before the hymns for Lent, Passion Sunday, Palm Sunday, and Easter,

although the Annunciation would usually occur within Lent in the liturgical calendar. The

Lenten-Paschal hymns occur as a group without intervening sanctoral feasts. After this, sanctoral

hymns for the time after Pentecost follow, until the hymns for the feast of St Andrew. Finally,

the hymns for the commons of Apostles, martyrs, Virgins, and the hymns for the Dedication of a

church and of an altar complete the series.

For most feasts, three hymns (for vespers, matins, and lauds) are included, and for some

saints’ feasts one hymn serves for two of those hours, as is the case, for example, with the feast

of St Bartholomew where the hymn Gaudium mundi Christe serves for both vespers and lauds.

Some saints’ feast have one hymn assignment, such as Agnetis festum martyris for matins on the

feast of St Agnes in this manuscript. For the season of Lent, the hymns for each hour are given.

71
It omits the vespers hymn for these Sundays, Lucis creator optime. As this hymn is, however, found in
other hymnaries in this position, here its omission was likely an oversight. It is found in Ben 42, Paris 1092, Ben 19
(which also cites this hymn for Septuagesima Sunday), MC 542, Naples VI F 2, Ben 21, Ben 22, Ben 23, Ben 25,
Ben 44, Ben 66, Naples VI G 29.
85
In this manuscript, the hymns are not notated, but the full texts are given. The lack of notation

may simply be a matter of convenience: in a reference volume such as this, it would be

unnecessary to take up space with the notation of hymns. The arrangement of hymns in the

hymnary of Vat. lat. 4928 is shown in a concise manner below, and applies to most other

hymnaries:

Sundays (all office hours)

Feria in summer
Trinity Sunday
Advent
Saints in Advent
Christmas
Saints between Christmas and Epiphany
Epiphany
Saints between Epiphany and Quadragesima
Lenten feria (all office hours)
Passion Sunday
Palm Sunday
Easter Sunday
Saints between Easter and Pentecost
Pentecost
Saints after Pentecost up to Advent
Common of Saints (apostles, martyrs, confessors, virgins)
Dedication of a church and/or altar

A closer look at the hymns of Vat. lat. 4928 shows how this hymnary reinforces specifically

Beneventan liturgical traditions. In doing so, it differs from hymnaries from Montecassino,

which do not contain many of the hymns in Vat. lat. 4928 honoring Beneventan saints. Some of

the hymns in Vat. lat. 4928 are not even cited in the ordinals from Benevento. Comparisons with

older hymnaries show that these hymns were drawn from an older and local layer of hymn texts

that were retained because of the significance of the feasts to which they were attached. We can

also find in Vat. lat. 4928 many local hymns with concordances in manuscripts from southern

86
Italy, but not with those outside this region. The scribes at Santa Sofia thus asserted the local

identity of their monastery, their city, and their past in the copying of hymns in an otherwise

highly standardized reference book.

Several of saints with Beneventan connections that have hymns in Vat. lat. 4928 not

found in hymnaries outside of Benevento include Saints Bartholomew, Mercurius, and the Holy

Twelve Brothers. Other saints such as St Iuvenal, St Eleutherius, and St Boniface have hymns in

Vat. lat. 4928 even though they have less of a claim on specifically Beneventan devotions; they

nevertheless were significant for inter-regional cultic connections between Benevento and other

areas of Italy and Europe. Of all the manuscripts examined, the slightly later contemporary

Beneventan hymnary Ben 42 has the most concordances with these hymns in Vat. lat. 4928. This

connection is important since the hymns in Ben 42, including the local ones for local saints, are

notated and some have unique melodies with southern Italian melodic features, examples of local

compositions reflecting a local musical aesthetic.72 This will be discussed in more detail when

Ben 42 is examined in detail.

Among the Beneventan saints with hymns in Vat. lat. 4928, St Bartholomew might be

considered the most important for local Beneventan identity, as he was an apostle whose relics

were solemnly translated to Benevento’s cathedral in 838 with pomp that was as much political

as spiritual.73 It is not surprising, then, that the hymns Gaudium mundi Christe, and Ad laudem

Christi procerum are found in Vat. lat. 4928 as well as in the other main hymnaries from

Benevento, Naples VI E 43, Ben 42, Ben 37. They are also found in Ott. lat. 145, one of the

72
This will be discussed in the context of Ben 42.
73
Kelly, The Beneventan Chant, 73.
87
oldest hymnaries that will be examined here, and in two hymnaries from Narni (central Italy),

Vat. lat. 7172 and Paris 1092. These hymns for St Bartholomew are in this Beneventan ordinal

hymnary despite their absence from Cassinese hymnaries and Cassinese ordinals. They are,

however, cited in the Beneventan ordinal of Vat. lat. 4928 and in that of Naples VI E 43. A Mass

and office with unique texts for this saint are found in Beneventan manuscripts, so there would

have been good reason to have local Beneventan hymns for this saint as well.74

Like those of St Bartholomew, St Mercurius’s relics had been transferred to a new

location in Benevento with great pomp. They were taken to Santa Sofia in 769 by Arichis II,

merging political power with a religious observance of a saint who, like St Bartholomew and the

Holy Twelve Brothers, would define Lombard identity at Benevento.75 Mercurius semper

venerande, Ad martyris Mercurii, and Laudes Mecurii are the hymns for this saint in Vat. lat.

4928. They are found also in the hymnaries Naples VI E 43 (which also contains an ordinal) and

Ben 42. These hymns are cited in Beneventan ordinals but not in Cassinese ones. The presence

of the hymns for St Mercurius in Ben 42 is significant. Although we would expect there to be an

Old Beneventan musical tradition for this saint, there are no chants written for St Mercurius in

this local style, and indeed few chant for this feast at all. St Mercurius has a few responsories and

antiphons that are unique to the codex Ben 21, though they are called for in the ordinal Naples

VI 43. These are, nevertheless, essentially Gregorian (and, in some cases, neo-Gregorian) chants

and not Old Beneventan. However, as we will observe later in Ben 42, the notated hymns for St

Mercurius do exhibit traits of an earlier melodic style; it is in the hymns for this saint, therefore,

74
Ibid.
Kelly, The Beneventan Chant, 72; Matthew Peattie, “Old Beneventan Melodies in a Breviary at Naples:
75

New Evidence of Old Beneventan Music for the Office,” Journal of Musicology 29.3 (2012): 239–61.
88
and not in the propers of the Mass or in the responsories and antiphons for the office, that local

melodies and a Beneventan musical tradition for this saint can be discerned. Like Saint

Mercurius, the Holy Twelve Brothers were also interred at Santa Sofia by Arichis II in 760.76

Unsurprisingly, then, there are hymns for these saints in Vat. lat. 4928: Christi caterva and

Splendor diei rutilat. The latter has concordances with Ben 42 and with Naples VI E 43, the

former with Ben 42, and both are found in Ott. lat. 145. These hymns for the Holy Twelve

Brothers are found in the ordinals of Vat. lat. 4928 and Naples VI E 43.

St Juvenal was not a specifically Beneventan saint, although he might have been

venerated there through exchanges with central Italy. Hence, the presence in Vat. lat. 4928 of the

hymn Gaudet sanctorum, where he is invoked as “dives Benevente.”77 This hymn is not cited in

any ordinal. This saint connects Benevento with central Italy, specifically Narni, of which

Iuvenal was the first bishop.78 Among Beneventan hymnaries, Vat. lat. 4928 and Ben 42 use this

hymn for this feast, and Ben 42 also includes the hymn Paschalis dies colitur for this saint, not

found in Vat. lat. 4928. No other Beneventan or Cassinese hymnaries have hymns for St Juvenal.

Among central Italian hymnaries, the hymnaries from Narni Vat. lat. 7172 and Paris 1092 have

the hymns Clarescat terries, Verba cum vite, and Christi athlete for St Juvenal. All these hymns

to St Juvenal appear to be local compositions, and indeed all except Gaudet sanctorum are

76
Kelly, The Beneventan Chant, 11.
77
See Analecta Hymnica vol. 22 no. 258, and also Appendix C in this study for the transcription of this
hymn’s text and melody as found in Ben 42.
78
Filippo Carraffa, “San Giovenale di Narni,” Santi e beati e testimoni, 2002,
http://www.santiebeati.it/dettaglio/51700 (accessed November 11, 2014); Godefridus Henschenius and Daniel
Papebrochius, eds., De Sancto Iuvenale Episcopo Narniensi in Umbria, in Acta Sanctorum, Maii I, dies 3, vol. 1
(Antwerp: Michael Cnobarus, 1680), 386–406, available on the Acta Sanctorum Full-Text Database, Cambridge:
Chadwyck-Healey, 2001 www.acta.chadwyck.com (accessed December 2, 2015).
89
unique to their manuscripts (counting the two Narni hymnaries as a single book).79 Further

evidence that the hymns were composed locally is the fact that the hymns to St Juvenal in the

Narni hymnaries are all written in the same pseudo-Sapphic meter, with four-line strophes

composed of three twelve-syllable lines and one adonic line. This uncommon meter for hymns,

which generally employ strophes with three eleven-syllable lines before the adonic when

Sapphic meter is used, was nevertheless utilized by poets such as Peter Damian and Paulinus of

Aquileia for other genres of poetry such as “carmen” or “versus” that could have been utilized as

hymns.80 They were likely composed by the same person, possibly at Narni, and used and

included in the Narni hymnaries. If these were locally composed at Narni, then those in the

Beneventan hymnaries might likewise be local Beneventan compositions in honor of this saint.

Similarly, the hymn Aula celestis is transmitted in Vat. lat. 4928 for the feast of St

Eleutherius because of a particular inter-regional devotional connection between Benevento and,

in this case, Troia in the region of Apulia. St Eleutherius’s relics had been translated to the

newly-constructed cathedral of this city in 1104 by the bishop, a ceremony that “allowed the

city’s bishop to stand visibly as the leader of the urban community.”81 This hymn is not cited in

ordinals and it is only found in this manuscript. It might have been included here to honor a saint

with particular significance for the assertion of episcopal authority and a local relic cult. The

79
Analecta Hymnica vol. 22 no. 258 and Mearns, 98 list Vat. lat. 4928 as the sole concordance of Gaudet
sanctorum, because they do not take into consideration the hymns in Ben 42. None of these hymns are tabulated in
Jullien, “Les sources.” Mearns and Analecta Hymnica do not give any concordances besides the Narni hymnaries for
Clarescat terries, verba cum vite, and Christi athlete (Analecta Hymnica vol. 14 nos. 69, 70, and 71, and Mearns,
23, 89, and 22, respectively).
80
See the latter’s hymn Gloriam Deo in excelsis hodie for Christmas, for example. This “carmen de
nativitate Domini” is edited in Poetarum Latinorum Medii Aevi, vol. 1, ed. Ernestus Duemmler, in Monumenta
Germaniae Historica (Berlin: Weidmann, 1881), 144–46, and in Analecta Hymnica vol. 50 no. 99.
81
Oldfield, 68. See also pp. 31, 57, 67, 76, 96, 244.
90
scribes might have wanted to demonstrate the allegiance of their monastery of Santa Sofia to

episcopal authority.

This commemoration of a saint with particular significance for an ecclesiastical authority

such as a bishop might explain the inclusion in Vat. lat. 4928 of hymns for St Boniface. Vat. lat.

4928 shares these hymns, Sublime nobis imminent and Adstat en turba, with Ben 42, with Rh 91

(a hymnary from Subiaco) and with the two hymnaries from Narni, Vat. lat. 7172 and Paris

1092. The devotion to St Boniface at Benevento seems odd, as he was the archbishop of Mainz

in the eighth century.82 But perhaps it is not, after all. This bishop martyr was the main

connection between Rome and the newly-converted German people during Carolingian times.83

It would have been important in twelfth-century Benevento to remember saints that were thus

connected to Rome and to the Frankish process of liturgical unification since new liturgical

unification was underway. Finally, there are two hymns in Vat. lat. 4928 to St Cyriacus,

Agonitheta nobilis and Ymnum canamus, which are also present in Ben 42. This Roman martyr’s

relics had been translated from the Via Ostiense to the church of Santa Maria in via Lata, in

Rome by Pope Agapetus II in the tenth century.84 The inclusion of this saint again made

reference to a connection with a Roman saint in an age when the strengthening of the ties

between Benevento and the papacy in Rome was an objective of reform. These local hymn texts,

nevertheless, were not included in the ordinals.

82
The Letters of St Boniface, trans. Ephraim Emerton (New York: Columbia University Press, 2000).
83
Norman F. Cantor, The Civilization of the Middle Ages, rev. and expanded ed. (New York: Harper
Collins, 1994), 167–68.
84
W. Smith and H. Wace, eds. “Cyriacus,” in A Dictionary of Christian Biography, Literature, Sects, and
Doctrine Vol. 1 (Boston: Little, Brown, and Company, 1877), 757.
91
 Of the local sanctoral hymns enumerated above that distinguish Vat. lat. 4928 and some

other Beneventan hymnaries from Cassinese hymnaries, those for St Bartholomew, St Mercurius,

and the Holy Twelve Brothers were cited in ordinals from Benevento. The hymns for St Iuvenal,

St Eleutherius, St Boniface, and St Cyriacus are not cited in Beneventan ordinals, yet they are

still copied in the Beneventan ordinal hymnary of Vat. lat. 4928. In terms of their hymn citations,

then, ordinals from Benevento for the most part reflect Cassinese traditions (since Cassinese

hymnaries do not contain these hymns) except in the cases of local saints that had a great

importance for the city of Benevento itself. As a comparison of the hymns between the ordinal

and the hymanry of Vat. lat. 4928 shows, Beneventan ordinals did not necessarily correspond

exactly to the hymnaries to which they were bound. The presence of several hymns despite the

absence of citations for these hymns in the ordinals also demonstrates that, in Benevento, where

local saints were concerned, even a hymnary bound to an ordinal was not completely tied to the

citations of the ordinal.

A few hymns for feasts in Vat. lat. 4928 that are not as local as those of St Bartholomew,

St Mercurius, and the Holy Twelve Brothers are similarly not found in hymnaries from

Montecassino but respond to exigencies of Beneventan (not Cassinese) ordinals. The emphasis

on local saints that were martyrs in Beneventan manuscripts might account for the inclusion of

the hymn Sacrum piorum martyrum for the common of several martyrs in Vat. lat. 4928, Ben 42,

Naples VI E 43, Ott. lat. 145, the Beneventan codex Naples VI G 31, and Casan. 1574 from

Gaeta. This hymn is not found in Cassinese hymnaries except that of Vienna 1106, although it is

in several from Benevento and in a few from central Italy (the Narni hymnaries, Rh 82 from

92
Farfa, and Chigi C VI 177 from Subiaco).85 It appears to be found only in these manuscripts

from Benevento and central Italy. It is cited in the ordinals of Vat. lat. 4928 and Naples VI E 43

from Benevento. Likewise, the hymns Gemma celestis for St Benedict and Egredere Emmanuhel

for Christmas are examples of local hymns in Beneventan hymnaries and ordinals that are not

found in Cassinese hymnaries nor in Cassinese ordinals.86

The inclusion in Vat. lat. 4928 of local hymns not cited the ordinals but found in ordinal

hymnaries, and of hymns cited in Beneventan but not Cassinese ordinals is why we can still

catch glimpses of hymns local to Benevento (and, perhaps, even known at one time at

Montecassino and in central Italy) in what we might expect otherwise should be a reference

volume reflecting a standardized liturgy based on the newly-promulgated ordinals of

Montecassino. The inclusion of hymns for feasts for which the ordinal did not cite specific

hymns reflects the flexible approach taken by the scribes of both Vat. lat. 4928 and, as we will

see, Naples VI E 43 when incorporating hymns into a hymnary bound with an ordinal, especially

where particularly important local feasts were concerned.

Naples VI E 43: Approaching the Cassinese Ordinal

Not surprisingly, the hymnary in the other composite codex with an ordinal and a

hymnary from Benevento, Naples VI E 43, follows a similar ordering and contains a similar

hymn repertoire as Vat. lat. 4928. Like Vat. lat. 4928, Naples VI E 43 was copied at St Sofia in

85
Analecta Hymnica vol. 14 no. 140 lists concordances in the Narni hymnaries, Naples VI G 31, Naples VI
E 43, and Vat. lat. 4928; Mearns adds Ott. lat. 145 and Rh 82 to this list of concordances (Mearns, 76). Jullien lists
Rh 82, Naples VI E 43, and Naples VI E 31 (Jullien, “Les sources,” 188–89).
86
Gemma celestis is another example of a connection between Benevento and central Italian traditions, as it
is found also in hymnaries from Bobbio (Vat. lat. 5776, eleventh century), and from St Eutichius of Norcia
(Vallicell. B 79). It is also found in the eleventh-century hymnary Vienna 1106 from Montecassino.
93
Benevento in the early twelfth century. It is also decorated, containing full- or half-page letter

illuminations before different section of the manuscripts. Just as in Vat. lat. 4928, the two full-

page illuminations occur on separate folios preceding the psalter and the hymnary sections

(which begins on f. 182r and ends on f. 228r), communicating its function as an important

reference volume for the Divine Office.

Just as we can tell that Vat. lat. 4928 is Beneventan from its inclusion of hymns to saint

that would have been important in Benevento despite their absence from Cassinese (and

sometimes also Beneventan) ordinals, so too for Naples VI E 43. Not surprisingly, many

Beneventan features of Naples VI E 43 are shared with Vat. lat. 4928, including the Christmas

hymn Egredere Emmanuhel, Gemma celestis for St Benedict, and Sacrum piorum martyrum for

the common of martyrs cited in Beneventan but not Cassinese ordinals. The hymns for St

Bartholomew Gaudium mundi Christe and Ad laudem Christi procerum, as well as Splendor diei

rutilat for the Holy Twelve Brothers are also shared with Vat. lat. 4928. As mentioned

previously, these are specifically Beneventan hymns for important local saints and are cited in

Beneventan ordinals (except that of Ben 66). Similarly, Naples VI E 43 contains the hymns for

St Mercurius, Mercurius semper venerande, Ad martyris Mercurii, and Laudes Mercurii.

Despite these similarities, the way Naples VI E 43’s hymnary reflects Beneventan

identity is slightly different from the way it is reflected in Vat. lat. 4928. In some cases, Naples

VI E 43 includes local hymns found neither in ordinals nor in Vat. lat. 4928’s hymnary. Where

hymns not cited in ordinals are included in two different ordinal hymnaries both from the same

scriptorium, such as those of Naples VI E 43 and Vat. lat. 4928, the scribes were most likely

selecting hymns for inclusion in these hymnary from a pre-existing fund of local hymns. These
94
local hymns that may or may not have made their way into ordinal hymnaries because they were

not called for in the ordinals are of most interest: they are hymns proper to southern Italy and

may represent an older, local layer of chant. To discover which hymns might have been part of

an older and/or local layer of chant, it will be necessary to examine the differences in the

repertoire of both these Beneventan hymnaries bound to ordinals (Vat. lat. 4928 and Naples VI E

43) in more depth.

Naples VI E 43’s hymnary has a slightly different sanctoral emphasis than Vat. lat. 4928.

Naples VI E 43 omits some of the sanctoral hymns found in Vat. lat. 4928, for example, those for

the feasts of St Boniface,87 St Juvenal,88 St Cyriacus,89 or for St Eleutherius.90 On the other hand,

Naples VI E 43 includes some sanctoral hymns that are not in Vat. lat. 4928. Like the

“Beneventan” saints’ hymns in Vat. lat. 4928, most of these hymns in Napes VI E 43 assert its

Beneventan identity. The sanctoral hymns in Naples VI E 43 that are not in Vat. lat. 4928 are

listed below.

Paule doctor egregie Conversion of St Paul (in ordinals)

Festa sacrata praesulis
Iam sacra dies annua
Votis tuorum Christe
Infantum diem martyrum
Fratres alacri pectore
Dilectus hic pollet
Hodie sacratissima virgo
Salve crux sancta
Deus eterne famulos
Pangamus pariter
Samnites populos
Ut digne possint
St Apollinaris (not in ordinals)
7 Martyr Brothers (not in ordinals)
Vigil Holy Twelve Bros. (Ordinal Naples VI E 43)
Holy Innocents (not in ordinals)
St Benedict (in ordinals)
St Benedict (not in ordinals)
St Scholastica (in ordinals)
Exaltation of the Cross (not in ordinals)
Forty Martyrs (not in ordinals)
St Barbatus (not in ordinals)
St Barbatus (not in ordinals)
St Vincent (not in ordinals)

87
Sublime nobis imminent, Adstat en turba in Vat. lat. 4928.
88
Gaudet sanctorum in Vat. lat. 4928.
89
Agonitheta nobilis and Ymnum canamus in Vat. lat. 4928.
90
Aula celestis in Vat. lat. 4928.
95
 O pontifex egregie St Gregory (in three Cassinese ordinals)
Anglorum iam apostolus St Gregory (in ordinals)

Notably, most of these are not called for in ordinals. This shows that the ordinals did not

standardize hymnody in Benevento to the point of preventing the inclusion of local hymns, even

in reference books such as these. Dilectus hic pollet is rarely found in hymnaries and may have

been newly composed in southern Italy, since no other Beneventan, Cassinese, or central Italian

hymnary includes it; it may also have been imported from north of the Alps, since it is found in a

manuscript from Jumièges: Rouen, Bibliothèque municipale 231.91 However, it is very likely that

Dilectus hic pollet and other hymns actually did travel north from southern Italy to areas of

Francia, as another hymn in Naples VI E 43, Salve crux sancta, suggests. Salve crux sancta is

found in a fourteenth-century Spanish hymnary and in several earlier manuscripts from north of

the Alps.92 Since this hymn is not found in Beneventan, Cassinese, or central Italian hymnaries

except Naples VI E 43, the Bari hymnary, and in the breviary from Farfa Chigi VI C 177 (in

which this text was added later, in the twelfth century), one might be tempted to conclude that it

originated north of the Alps and somehow was copied into these three central and southern

Italian hymnaries. However, despite its absence from many Beneventan and Cassinese

hymnaries, it probably was composed in Italy, by Emperor Henry II himself. The hymn is

attributed to Henry in several hymnaries (including that of Chigi C VI 177 from Subiaco). Susan

Boynton discusses this hymn as an example of Imperial influence in central Italy. As Boynton

91
Analecta Hymnica vol. 43 no. 158 and Mearns list Naples VI E 43 as the manuscript witness to this hymn
(see Mearns, 29), while Jullien remarks its presence in Rouen 231 (Jullien, “Les sources,” 176–77.
92
Gutiérrez, “The Hymnodic Tradition in Spain,” in Andreas Haug, Christoph März, and Lorenz Welker,
Der lateinische Hymnus im mittelalter, 223. Gutiérrez cites this hymn as unique to the Spanish liturgy. However,
this hymn is not specifically Spanish, as the following discussion shows.
96
points out, the attribution to Henry is probably accurate, but nevertheless the hymn was

composed in Italy, and possibly at Farfa, while the emperor was traveling back north from

southern Italy in 1022.93 After all, the manuscripts from southern, central, and northern Italy with

Salve crux sancta are earlier than those from north of the Alps.94 Salve crux sancta was also

attributed to Heribert of Eichstätt in the chronicle Anonymus Haerensis de Eposcopis

Eichstetensibus, but, unlike the other hymns attributed to Heribert that are not found in Italian

manuscripts, this hymn is, so the attribution to Heribert is probably not true.95 The presence of

Salve crux sancta and Dilectus hic pollet in a Beneventan hymnary bound to an ordinal shows

that, where local or non-standard hymns represented political affinities, such as to the emperor,

and strong local devotions to saints such as St Benedict, their inclusion in hymnaries superseded

considerations pertaining to liturgical standardization.

Of the hymns listed above, Paule doctor egregie, Fratres alacri pectore, Hodie

sacratissima virgo, Anglorum iam apostolus, and Illuminavit hunc diem are called for in both

Cassinese and Beneventan ordinals. Interestingly, although Paule doctor egregie, a hymn by the

famous St Peter Damian, for the feast of the conversion of St Paul is called for in both

Beneventan and Cassinese ordinals, it is not found in hymnaries from these centers, including

those bound to the ordinals, except Naples VI E 43 and Ben 42. This makes its inclusion in

Naples VI E 43 all the more important as a witness to a local hymn.96 Votis tuorum Christe is

93
Boynton, Shaping a Monastic Identity, 164.
94
Idem, 163 and 163n79.
95
Idem, 162.
96
The hymnary Ben 42 also contains this hymn for this feast, and indeed the hymn seems to be found only
in these two hymnaries, at least before the fifteenth century (see Analecta Hymnica vol. 48 no. 45, which cites its
presence in a fifteenth-century manuscript, and Jullien, “Les sources,” 184–85 and Mearns, 65, which cite as a
concordance Naples VI E 43). The opening words of this hymn resemble the fourth strophe (and common division),
97
called for in Naples VI E 43’s own ordinal, but not in any of the other Beneventan and Cassinese

ordinals. Votis tuorum Christe is in the hymnary of Naples VI E 43 and in Ben 42; it is a local

hymn for the Holy Twelve Brothers by Alphanus of Salerno.97 The scribe of Naples VI E 43 may

have actually inserted the citation of this hymn into the ordinal itself (since this is the only

ordinal to contain it) to honor this feast of the saints whose relics were interred in Santa Sofia in

Benevento. Similarly, Sacrum piorum martyrum is cited for the feast of the Holy Twelve

Brothers only in Naples VI E 43’s ordinal; it is cited in Vat. lat. 4928’s ordinal for the common

of several martyrs. The hymn is found in Beneventan and in central Italian hymnaries, and in

only one hymnary from Montecassino, Vienna 1106. This hymn was probably an older, local

hymn found in central and southern Italy. Most likely, it was used for the common of several

martyrs and before being replaced by newer, less local hymns for this feast, and in Benevento it

was also used for the feast of the Holy Twelve Brothers , the local feast par excellence for

several martyrs.

Other saints of importance in Benevento commemorated by hymns in Naples VI E 43

that are not in Vat. lat. 4928 are St Vincent, St Apollinaris, the Seven Brother Martyrs, St

Barbatus, and the Forty Martyrs. Ut digne possint resonare voces for the feast of St Vincent is

included since St Vincent was the eponymous patron of the famous abbey of St Vincenzo al

Volturno, where liturgical books in Beneventan script existed, although unfortunately today there

“Doctor egregie Paule,” of the more famous hymn for SSt Peter and Paul, Aurea luce et decore roseo. In general, the
feast of the conversion of St Paul is rare in hymnaries. The Narni hymnaries do include the hymns Pangamus nunc
astrifero and Nunc laudibus symphonicis for this feast (Mearns, 65 and 58), which appear to be unique to these
hymnaries (see also Analecta Hymnica vol. 14 nos. 54 and 42; they are not listed in Jullien, “Les sources”).
97
This hymn is edited in Anselmo Lentini and Faustino Avagliano, eds., I carmi di Alfano I, arcivescovo di
Salerno, Miscellanea Cassinese 38 (Montecassino: Abazzia di Montecassino, 1974), 238. Analecta Hymnica vol. 22
no. 175 and Mearns (Mearns, 91) give Naples VI E 43 as the sole concordance.
98
are very few manuscripts left from this abbey. His feast is cited in the ordinals though no specific

hymn is assigned; nevertheless, there was definitely an older Beneventan hymn tradition attached

to this feast, as many other hymnaries from Benevento contain local hymns for this martyr. This

particular hymn is found in Naples VI E 43 and Ben 42. Likewise, Festa sacrata presulis for St

Apollinaris is an example of a local hymn known in Benevento and included in Naples VI E 43.

It is present in other hymnaries from southern Italy, including Ott. lat. 145, an earlier manuscript

than Naples VI E 43. It is also in the Narni hymnaries Vat. lat. 7172 and Paris 1092 and in

Casan. 1574 from Gaeta. It is in one Cassinese hymnary, MC 559. However, apparently the

hymn fell out of use and was not called for in ordinals.

A different case is provided by Iam sacra dies annua for the Seven Brother Martyrs.

Since it is seems to be found only in the hymnaries Naples VI E 43 and the later hymnary Ben

42,98 it could have been newly composed around the time Naples VI E 43 was copied, and then

recopied in Ben 42. But, since it was not a part of the standardized ordinal hymnaries and since

this was such a local feast, it, too, fell out of use. The Seven Brother Martyrs were especially

venerated in Benevento because the Archbishop Ursus translated their relics to a church

dedicated to them in Benevento in the ninth century.99 Similarly, the Forty Martyrs of

Byzantium, honored in Naples VI E 43 with the hymn Deus eterne famulos, were venerated in

98
Analecta Hymnica vol. 22 no. 176 and Mearns, 46 ascribe it to Naples VI E 43.
99
Richard Gyug, ed., Missale Ragusinum: The Missal of Dubrovnik (Oxford, Bodleian Library, Canon.
Liturg. 342), Pontifical Institute of Medieval Studies, Studies and Texts 103 (Toronto: Pontifical Institute of
Medieval Studies, 1990), 129–30. In the Beneventan-script Missal of Dubrovnik, this feast has a unique collect. See
also Filippo Caraffa, “Felicita e VII Figli, santi, martiri di Roma,” in Bibliotheca Sanctorum, ed. Iosepho Vizzini et
al., 12 vols. (Rome: Istituto Giovanni XXIII nella Pontificia Università Lateranense,1964), V:605–11.
99
Benevento, where their relics were taken in the eighth century.100 This hymn, too, is found only

in Naples VI E 43 and Ben 42.

Given this veneration for local saints in both Naples VI E 43 as in Vat. lat. 4928, perhaps

it is more surprising that the hymns for St Barbatus are omitted in Vat. lat. 4928 than that they

are included in Naples VI E 43. After all, this saint was one of the most important local

Beneventan saints. He had been a bishop of the city in the seventh century and was honored with

several proper, local chants in Beneventan antiphoners.101 The hymns for St Barbatus (Pangamus

pariter and its division, Samnites populi) in Naples VI E 43 are only found in one additional

manuscript, Ben 42. No hymn for St Barbatus is called for in ordinals. Neither is Infantum diem

martyrum for the feast of the Holy Innocents; this is likewise a local hymn, although it is found

in a greater number of manuscripts than Pangamus pariter. It is found in Ott. lat. 145, Urb. lat.

585, MC 559, Ben 37, and the two hymnaries from Narni, but appears to be found only in these

southern Italian hymaries.102 Thus Naples VI E 43 contains some hymns local to southern Italy

that are not copied in Vat. lat. 4928 nor are they called for in the ordinals. They were copied in

Naples VI E 43 nonetheless, most likely because they were tied to important Beneventan feasts.

Some of these might represent an older, local layer of regional hymnody.

Some of the sanctoral hymns in Naples VI E 43, however, are called for in the ordinals.

Nevertheless, they are still examples of local, southern Italian hymns. Hodie sacratissima virgo,

100
“Translatio Sancti Heliani,” in Scriptores Rerum Langobardicarum et Italicarum saec. VI–IX vol. 1, ed.
George Waitz, in Monumenta Germaniae Historica (Hanover: Culemann, 1878; reprinted 1964), 581–82; Vasiliki
M. Limberis, Architects of Piety: The Cappadocian Fathers and the Cult of the Martyrs (Oxford: Oxford University
Press, 2011), 20–52; For a concise account of the Forty Martyrs, see Edmund Granville Ryan, “Forty Martyrs, SS.,”
in The New Catholic Encyclopedia, 2nd ed. (Detroit: Gale, 2003), V:825.
101
Kelly, The Beneventan Chant, 70. These hymns are concordant with Ben 42.
102
Mearns, 43; Jullien, “Les sources,” 178–79.
100
for St Scholastica, is found in several Cassinese, Beneventan, and central Italian hymnaries, but

is found only in these regions.103 This hymn, along with Fratres alacri pectore for St Benedict

which is also found in Cassinese, Beneventan, and central Italian hymnaries,104 would have been

important to include in hymnaries from southern Italy, where Montecassino represented one of

the most powerful centers of Benedictine monasticism. Illuminavit hunc diem for the feast of St

Michael the Archangel is called for in ordinals, although it is not found in many hymnaries

outside southern Italy.105 Anglorum iam apostolus for St Gregory and its division, O pontifex

egregie, are likewise cited in ordinals (in the case of the latter, in Cassinese ordinals), are also

found in Cassinese and Beneventan manuscripts. The hymn to St Gregory is not common in

hymnaries, however, which is a rare example of a local southern Italian hymn which apparently

was not commonly transmitted in hymnaries despite its citation in the ordinals. It is found in the

hymnaries of Urb. lat. 585, Getty 83 ML 97, Naples VI E 43, Ben 42, and Ott. lat. 145. Its

presence in Naples VI E 43 shows how this hymnary stayed close to ordinal prescriptions while

at the same time reflecting local hymn traditions.

Besides these local sanctoral hymns in Naples VI E 43 but not in Vat. Lat. 4928, there are

two temporal hymns in Naples VI E 43 that are not in Vat. lat. 4928. One of these, Rex ecce tuus

humilis for Palm Sunday is unique to this manuscript and may have been part of an older layer of

hymnody. Medie noctis for Lent is not in ordinals nor in ordinal hymnaries, but it is in the older

Beneventan hymnaries Ott. lat. 145 and Ben 37. It is part of the oldest layer of hymns which

103
Mearns, 38; Jullien, “Les sources,” 184–85.
104
Mearns, 35; Jullien, “Les sources,” 176–77.
105
Mearns, 41 lists only two concordances in hymnaries outside southern or central Italy: the hymnary
Verona CIX (102) and the Iberian breviary from Santo Domingo de Silos, London, British Museum MS Add.
30848. See also Jullien, “Les sources,” 184–85.
101
Gneuss called the “Old Hymnary,” and so is not local to southern Italy. Nevertheless, its

inclusion in Naples VI E 43 despite its absece from ordinals, and its presence in several older

Beneventan hymnaries shows that in Benevento there was still an older layer of hymnody in use

at the time of Naples VI E 43’s copying.

Are all the hymns that are in Naples VI E 43 but not in Vat. lat. 4928 or in the ordinals

specifically Beneventan hymns? This is not always the case. As we have already seen, there are

some hymns in Naples VI E 43 that are neither in Vat. lat. 4928 nor in ordinals but they are

found in hymnaries from both Benevento and Montecassino, and sometimes from central Italy.

Infantum diem martyrum for the Holy Innocents is not in ordinals nor in ordinal hymnaries, but it

is found in Naples VI E 43 and in the Beneventan hymnaries Ben 37 and Ott. lat. 145. Infantum

diem martyrum is found as well in the one of the earliest manuscripts with an ordinal from

Montecassino, Urb. lat. 585. Its presence in another Cassinese hymnary, MC 506, may indicate

that this hymn was once widespread in southern and central Italy, given its presence in the Narni

hymnaries Vat. lat. 7172 and Paris 1092. At a certain point, however, it is evident that this local

hymn was omitted in favor of the more widely-recognized hymns for this feast day. The same

phenomenon is witnessed by the hymn Ambrosi sidus aureum for the feast of St Ambrose.

Ambrosi sidus aureum was apparently considered a staple of hymnaries, as it is also found in

Cassinese hymnaries such as MC 506 and the psalter-hymnary MC 559, in Cassinese ordinal

hymnaries, and in the Beneventan hymnary Ben 42 as well as in Ben 22 and Ben 19.106 However,

it is not cited in ordinals. It is no surprise that a local hymn such as this to the “father of hymns,”

106
And in the thirteenth- or fourteenth-century hymnary from Sorrento Barb. lat. XI 171 A. See Analecta
Hymnica, vol. 20 no. 32.
102
St Ambrose, would be retained even in manuscripts such as Naples VI E 43 whose ordinals did

not call for it. Similarly, Debitas laudes for St Nicholas is in Naples VI E 43 but not in Vat. lat.

4928. It is also Ben 42, Ott. lat. 145, in the breviary-missal Ben 19, and in Cassinese ordinal

hymnaries, but it is not cited in ordinals. This hymn appears in hymnaries from outside

Benevento and Montecassino and might have been an import from central Italy, since it was used

at Farfa and Narni.107 As St Nicholas of Bari was an important saint in southern Italy, there was

good reason to retain this hymn even in hymnaries bound to ordinals regardless of whether the

ordinal itself called for it or not.

So far the unique and/or local hymns in Naples VI E 43 and those not found in ordinals

nor in the other Beneventan ordinal hymnary Vat. lat. 4928 have been discussed. But some of the

ways in which Naples VI E 43 does adhere to ordinal prescriptions must also be mentioned,

since they show this manuscript’s close connection, despite the inclusion of local hymns, with

Cassinese liturgical prescriptions. Curiously, in some cases Naples VI E 43’s hymnary resembles

Cassinese ordinal citations more than it does its own, Beneventan ordinal. This is something that

was not noticeable in Vat. lat. 4928.108 Numerous differences between Naples VI E 43 and Vat.

lat. 4928 that are due to this stricter adherence in the former hymnary to directives of the

107
The other hymnaries in which it is found are the tenth or eleventh-century hymnaries Vat. lat. 7172 and
Paris 1092 from Narni; the thirteenth-century Vallicell. C 93 from Farfa; an eleventh-century manuscript from
Strumi (Florence, Mediceo-Laurent. Conv. sup. 524), and the thirteenth-century hymnary from Sorrento Barb. lat.
XI 171 B. See Analecta Hymnica, vol. 14, no. 3.
108
One seeming exception might be mentioned here. Almi prophete, a hymn for St John Baptist is an
example of a hymn in Beneventan ordinal hymnaries that follows Cassinese ordinal prescriptions more closely than
Cassinese ordinal hymnaries themselves. It is cited both for the birth and for the beheading of St John the Baptist in
both Cassinese and Beneventan ordinals, but oddly enough it is a hymn for the beheading in the Beneventan
hymnaries and one Cassinese ordinal hymnary, Getty 83 ML 97. This might serve as an example in which
sometimes the Beneventan hymnaries are more faithful to ordinal prescriptions than their Cassinese counterparts. On
the other hand, it would be unnecessary to repeat the hymn, as Getty 83 ML 97 does, for the beheading on August
29 when it is already copied for the birth of John the Baptist on June 24.
103
Cassinese—rather than Beneventan—ordinal. For example, the hymn Iam Christe sol iustitiae

for lauds in Lent in Naples VI E 43 is not in Vat. lat. 4928; it is not cited in the ordinals from

Benevento, though it is cited in the ordinals from Montecassino. Similarly, Naples VI E 43’s

hymnary also omits the hymn Christi caterva for the feast of the Holy Twelve Brothers, a hymn

cited in Beneventan but not in Cassinese ordinals and found in Vat. lat. 4928.

The placement of the hymn for St Michael Illuminavit hunc diem in southern Italian

hymnaries provides another example of how more standardized ordinal prescriptions tending to

reflect Romano-Frankish practices contradict older, local liturgical assignments. This hymn also

serves an example of how Naples VI E 43’s hymnary reflects ordinal prescriptions, sometimes

bypassing older, local customs. The hymn is only found in Italian manuscripts and in one

breviary from Spain, London Add. 30848, before the thirteenth century.109 This hymn for St

Michael is called for in all ordinals for the saint’s feast on September 29. However, this was

obviously not the original placement of this hymn, since all Cassinese ordinal hymnaries except

Getty 83 ML 97 have this hymn on the feast of St Michael in Monte Gargano, May 8. This is

most likely the original location of this hymn in the liturgical cycle in southern Italian

monasteries. The May 8 feast was an important one in southern Italy, as it recalled the apparition

of St Michael on Monte Gargano in southern Italy (present-day Puglia). It was not always

celebrated in other regions more distant from the location of the apparition. The hymnaries that

have this hymn for the May 8 feast, despite in some cases being bound to ordinals which called

109
Analecta Hymnica, vol. 14, no. 73. Mearns cites its presence in the Narni hymnaries, but for the feast of
the Purification (Mearns, 41). In fact, the hymn Illuminavit hunc diem claritas vera luminis is the hymn for the
Purification in the Narni hymnaries and in Rh 91. Illuminavit hunc diem rerum creator omnium is the hymn referred
to here, which in Rh 82, Chigi C VI 177, Ott. lat. 145, Urb. lat. 585, Paris Maz 364, Naples VI F 2, MC 506, and
MC 559 is used for the feast of St Michael on May 8.
104
for the hymn’s use on September 29, retained the older liturgical assignment of this hymn for the

feast on May 8 instead of reflecting the ordinal prescription. On the contrary, the Beneventan

hymnaries Naples VI E 43 and Ben 42, the hymnary from Gaeta Casan. 1754, and the Cassinese

hymnary Getty 83 ML 97 have Illuminavit hunc diem for the saint’s feast on September 29.

None of the Cassinese hymnaries, except Getty 83 ML 97, include hymns to St Michael on

September 29. This is a case of Cassinese hymnaries retaining a local feature of hymnaries when

Beneventan hymnaries did not.

Illuminavit hunc diem was most likely used on May 8 in southern Italy before the reforms

of the liturgy. The chronicler Erchempert, writing his Historia Langobardorum Beneventanorum

asserts this when he describes an event that took place on the “eighth day after the Ides of May,

in which we solemnly celebrate the solemnity of blessed Michael the archangel” (“octavo Ydus

Maias, quo beati Michaehelis archangeli sollempnia nos sollempniter celebramus…”).110 The

feast on May 8 was, in fact, the more ancient and more important feast for St Michael in southern

Italy, because the apparition of St Michael on Monte Gargano was associated with an important

political event. Following this apparition, both Erchempert and the anonymous author of the

Cronicae monasteri St Benedicti Casinensis report that the saint was instrumental in bringing

about the conquest of southern Italy by Beneventan Lombards. Specifically, the saint helped

chase away pagan Neapolitans, allies of the Byzantines, during a battle between Lombard

Beneventans in the seventh century:

Post hoc dominantes Italiam, After this ruling over Italy,

[Langobardi] Beneventum [the Lombards] began to

110
Erchempert, Historia Langobardorum Beneventanorum, MGH SSt Lang., 231–64. For translation, see
idem, History of the Lombards of Benevento, trans. Joan Rowe Ferry (Ph.D. Dissertation: Rice University, 1995).
105
 introeunt ad habitandum. live in Benevento. Moreover
Horum autem princeps militia Michael the archangel, the
celestis exercitus Michahel prince of the heavenly host,
extitit archangelus. Neapolites rose up as the leader of their army.
ad fidem Christi perducti. The Neapolitans were led to the
Alzechus Vulgar suis cum faith of Christ. Alzechus Vulgar
hominibus ad habitandum undertook to live there with his men.
suscipitur. Graecorum The Lombards, overcoming the
Romanorumque Langobardi Greek and the Roman nations,
gentes superantes, totam simul all at once possessed the land.
Beneventi possiderunt patriam.111

On another occasion, the Cronicae reports that St Michael aided the Capuans against an attack of

the Neapolitans:

Per idem tempus Neapolites At the same time, the Neapolitans

audacter super Capuanos venire
in bellum conati sunt, eo siquidem
die quo beati Michaelis est
festivitas…Secunda Neapolitis
haec ruina extitit similis,
quo olim in Gargano cum
beato Michahelo archangelo
agere temptaverunt.112
tried to go to war with the Capuans,
indeed on the day which is the
festival of the blessed Michael…
This second ruin of Naples
came about similarly [to the first],
when in the past in Gargano
they tried to tempt the
blessed archangel Michael.

The position of this hymn on May 8, therefore, re-elaborates and recalls an important local

devotion and recalls an event central to the political identity of the people of the region. The

ordinals place this hymn in the September 29 feast, the standard placement for feast of St

Michael and indeed for all three archangels in Frankish manuscripts, while the Cassinese

hymnaries, ignoring ordinal prescriptions in favor of a local tradition, still reflect the specifically

southern Italian devotion to the saint on May 8. Naples VI E 43 seems to compromise, therefore,

111
Cronicae Sancti Benedicti Casinensis, bk. 1, ch. 4. See also: Liber de Apparitione Sancti Michaelis in
Monte Gargano, ed. George Waitz, in MGH SSt Lang., 542 for an account of the same miracle.
112
Cronicae Sancti Benedicti Casinensis, bk. 1, ch. 22. See also Liber de Apparitione Sancti Michaelis in
Monte Gargano for another account of this story.
106
by retaining the hymns Christe sanctorum decus angelorum and Tibi Christe splendor for the

May 8 feast, but using Illuminavit hunc diem for September 29. Vat. lat. 4928 avoids the

discrepancy altogether by not including the hymn at all.

Another example of how Naples VI E 43’s hymnary closely reflects Cassinese ordinal

prescriptions is the placement of the hymns for the Trinity. In Cassinese ordinals, the Trinity

office is cited after the sanctoral. However, in most hymnaries it occurs towards the beginning of

the hymnary, after the hymns for Sundays in summer. Not so in Naples VI E 43. Here, as in the

Cassinese ordinal hymnary Getty 83 ML 97, the Trinity hymns O pater sancte mitis and O

veneranda trinitas come after the sanctoral hymns, just as they are cited in the ordinal.

Nevertheless, adherence to Cassinese ordinal citations is not all-encompassing Naples VI E 43’s

hymnary. The hymnary, unlike that of Vat. lat. 4928, omits Fit porta Christi for the Assumption,

Te trina Deus unicus for the Holy Trinity, and Eterne rerum conditor for Sunday lauds, which

are cited in both Cassinese and Beneventan ordinals. Since none of these hymns are particularly

local or for local feasts, it is not likely that their omission from Naples VI E 43 represents a

remnant feature of older Beneventan hymnaries, but rather that they might have been omitted by

mistake or because the exemplar from which Naples VI E 43 (assuming that there was an

exemplar) omitted them for some reason.

In sum, of all the sanctoral hymns in Naples VI E 43 that are not in Vat. lat. 4928, and

vice versa, most are local hymns for feasts that assert Beneventan cultic priorities. The great

majority of these are not, therefore, cited in the ordinals, which generally tried to standardize the

chants of the liturgy by using those that were more widespread rather than local, with a few

exceptions. And, not surprisingly, even though some local hymns not in ordinals made it into the
107
ordinal hymnaries from Benevento, over time these hymns gradually fell out of use and

disappeared from later hymnaries. These observations, drawn from the comparison of

Beneventan ordinal hymnaries, are confirmed through an examination the ordinal hymnaries

from Montecassino.

Three Ordinal Hymnaries from Montecassino

Comparison between the hymn collection in the Beneventan hymnaries bound to ordinals

and those from Montecassino shows a high degree of uniformity of repertoire and organization

between these two liturgical centers. Yet hymnaries from Montecassino differ slightly from those

from Benevento, since in Benevento the desire to enhance the splendor of important, specifically

Beneventan, saints’ feasts also linked to civic celebrations led to the inclusion of local chants for

these occasions. Cassinese ordinal hymnaries include fewer hymns related to feasts of saints

venerated locally, yet they also contain sanctoral hymns not found in Beneventan ordinal

hymnaries but well-represented in Cassinese manuscripts.

In some cases, differences between Cassinese hymnaries and those from Benevento

reflect differences in the ordinals to which they are attached. For example, Urb. lat. 585 has a

hymn for lauds of Lenten Sundays, Iam Christe sol iustitie, cited in the ordinals from

Montecassino but not in the ordinals (and hymnaries) from Benevento, except Naples VI E 43.

These use the hymn Audi benigne conditor for Sunday lauds in Lent instead. As a whole,

Montecassino ordinal hymnaries are more concise than their Beneventan counterparts. Most

importantly, they contain fewer local hymns, a result of the greater standardization of the liturgy

at Montecassino in accordance with Romano-Frankish models, as codified in the ordinals

promulgated from this important monastic center. The earliest extant manuscript with an ordinal
108
from Montecassino, Urb. lat. 585, exemplifies these differences when compared to the

Beneventan ordinal hymnaries.

Urb. lat. 585: A New Hymnary and an Old Ordinal

Urb. lat. 585 was written at Montecassino in the early twelfth century, when reforms

were just beginning to be enforced.113 The hymns in this composite codex are on folios 107v-

142. Right before the end of the manuscript, on folios 258-260, in a gathering that was added in

the mid-twelfth century, there are four more local hymns added later to one of the last folios in

the manuscript. These hymns are A Domini preconium Dominicum and Decus et norma omnium

for St Dominic of Sora; Ecce dies rediit iubili and Aurora fulget aurea for St Nicholas; Prebe

Christe canentibus, Ad patris decus optimi, and Christi hostis Sabina for St Sabina; and Eterne

rex altissime, Laudibus Christus modulando, Inde vos testes and Agonitheta nobilis (div. of Inde

vos testes) for Sts Rufinus and Cesidius. The importance of these local saints was felt so strongly

that the standardized hymn collection alone would not do: they needed to be honored with local

hymns that were recorded at the end of this volume. However, while St Dominic of Sora might

have been honored at Montecassino, the other saints to whom these hymns make reference are

unusual in the Cassinese sphere. Anselmo Lentini and Faustino Avagliano point out that these

hymns were, in fact, composed at Montecassino and subsequently copied into Urb. lat. 585 there:

they were written by bishop Alfanus of Salerno (once a monk at Montecassino) for bishop

Pandulf of Marsi.114

113
Kelly, The Ordinal of Montecassino and Benevento, 223. The following descriptions of these
manuscripts are paraphrased from Idem, 223–55.
114
Lentini and Avagliano, 17–22.
109
 Although a few musical items in this manuscript contain notation, none of the hymns do.

The hymns in Urb. lat. 585 resemble those of other Cassinese ordinal hymnaries, yet its ordinal

prescriptions for hymns resemble those of Beneventan ordinals more than Cassinese ordinals,

leading to some discrepancies between ordinal and hymnary in this manuscript. Urb. lat. 585’s

hymns immediately characterize it as Cassinese and not as Beneventan. We expect a Cassinese

hymnary such as Urb. lat. 585 to omit many hymns found in the Beneventan ordinal hymnaries,

particularly when these are normally not present in other hymnaries from Montecassino. This is,

indeed, the case. For example, the Christmas hymn Egredere Emmanuhel, found only in

hymnaries from Benevento and to citations in the ordinals from Benevento (Naples VI E 43, Vat.

lat. 4928, and Ben 66).115 Consequently, it is not found in Urb. lat. 585’s hymnary. Similarly,

Urb. lat. 585 omits Sacrum piorum martyrum for the common of martyrs and the Holy Twelve

Brothers, which is in Beneventan ordinal hymnaries. Christi caterva for the Holy Twelve

Brothers is cited in the ordinals from Benevento but not in those of Montecassino and thus it

should be no surprise that it is not found in Urb. lat. 585’s hymnary. Other hymns in Beneventan

ordinal hymnaries but not in Urb. lat. 585 are the following:

Iuvenalis gaudet sanctorum St Juvenal (not in ordinals)

Sublime nobis imminet St Boniface (not in ordinals)
Adstat en turba St Boniface (not in ordinals)
Gemma celestis St Benedict (in Naples VI E 43, Vat. lat. 4928, Ben
66 ord.)
Agonitheta nobilis St Cyriacus (not in ordinals)
Ymnum canamus St Cyriacus (not in ordinals)

115
Another omission is Sic ter quaternis trahitur, found in Beneventan ordinal hymnaries for
Quadragesima and in hymnaries from Narni and Farfa as well as in Ott. lat. 145. The ordinal Ben 66 has ut nox
tenebris, a division of this hymn, for the same feast, but the other ordinals do not. What is less explicable is the
omission from Urb. lat. 585 of Eterna Christi munera for the common of martyrs, since it is called for in all the
ordinals.
110
 Gaudium mundi Christe
Ad laudem Christi procerum
Christi caterva pervigil
Splendor diei rutilat
Mercurius semper venerande
Ad martyris Mercurii
Laudes Mercurii
Aula celestis
Anime Christe seculorum
Iesu redemptor omnium
St Bartholomew (in Naples VI E 43 and Vat. lat.
4928 ord.)
St Bartholomew (see above)
Holy Twelve Brothers (Naples VI E 43 and Vat. lat.
4928 ord.)
Holy Twelve Brothers (see above)
St Mercurius (Naples VI E 43, Vat. lat. 4928, Ben
66 ord.)
St Mercurius (see above)
St Mercurius (see above)
St Eleutherius (not in ordinals)
Apostles (not in ordinals)
Confessors (Naples VI E 43,
Vat. lat. 4928 ord.)

These hymns are not cited in Cassinese ordinals and, where they are cited in Beneventan

ordinals, were probably added when the ordinal was exported to Benevento from Montecassino;

thus the omission from Urb. lat. 585 of the hymns for saints Juvenal, Boniface, Cyriacus,

Bartholomew, the Holy Twelve Brothers, Mercurius, Anime Christe seculorum for Apostles, and

Iesu redemptor omnium is not surprising, since these are cited only in Beneventan ordinals.

Another difference between Urb. lat. 585 and one Beneventan ordinal hymnary has less

to do with the fact that one is Cassinese and the other is Beneventan than with the fact that the

Beneventan ordinal hymnary in question, Vat. lat. 4928, displays a more flexible and individual

approach to the choice of hymns for St Benedict. The hymns in question are Hodie sacratissima

virgo for St Scholastica, Gemma celorum, and Fratres alacri pectore for St Benedict. Instead of

Fratres alacri pectore, Vat. lat. 4928 specifies two divisions of the main hymn Christe

sanctorum: Hunc soror sacra and Cuius ad celum. The former of these refers to St Scholastica,

which might explain why Vat. lat. 4928 does not include any hymns for the feast of St

Scholastica on February 10. Hence it omits Hodie sacratissima virgo for this feast, though it is

111
cited in the ordinal and found in the hymnaries of both Naples VI E 43 and Urb. lat. 585. Since

Naples VI E 43 was copied for St Sofia while Vat. lat. 4928 was copied for one of its

dependencies, the hymns for St Benedict in the latter manuscript might reflect the preference of

hymns for this feast at the manuscript’s destination.

Although Urb. lat. 585 omits many hymns with Beneventan character, it does include

hymns that nevertheless reveal its southern Italian character. Like the hymns for local saints in

Beneventan ordinal hymnaries that were not cited in their ordinals, there are some hymns in Urb.

lat. 585 that are not in any ordinal, though they are well-represented in hymnaries from southern

Italy. The hymn for St Nicholas, Debitas laudes, and Ambrosi sidus aureum for St Ambrose,

found also in Cassinese hymnaries Paris Maz. 364, MC 559, and Getty 83 ML 97, as well as in

the Beneventan ordinal hymnary Naples VI E 43 and in the hymnary Ben 42. It is also found in

Ott. lat. 145, in the Narni hymnaries, and in Rh 91 from Subiaco. As mentioned previously, these

hymns are not included in any of the ordinals and were local hymns used at Montecassino,

Benevento, and elsewhere in central and southern Italy, but they eventually disappeared in later

hymnaries. Similarly, the hymn Infantum diem martyrum for the feast of Holy Innocents is found

in Urb. lat. 585 (and in the Beneventan ordinal hymnary Naples VI E 43) but it is not cited in the

ordinals. Urb. lat. 585 and Naples VI E 43 still retained this hymn, which, by virtue of its

omission from the ordinal, eventually was omitted from other ordinal hymnaries by the twelfth

century. Thus it is found also in the eleventh-century hymnaries MC 506, in the earliest

Beneventan ordinal hymnary Naples VI E 43 (1099-1118 A.D.), in Ott. lat. 145 (late eleventh

century) and in the eleventh-century Ben 37. The hymn is rare in general; it is found additionally

112
in the two eleventh-century hymnaries from Narni, Vat. lat. 7172 and Paris 1092.116 In the case

of this hymn we see evidence of the constricting of the local hymn repertoire in hymnaries bound

to ordinals through time as these approximated the ordinal citations.

The continuous copying (i.e., all the contents of this manuscript were copied in the order

in which they are found in the manuscript) of the different items in Urb. lat. 585 shows that the

volume was created for contents to be more highly unified, which accounts for some close

correspondences between ordinal and hymnary in this manuscript. For example, Anglorum iam

apostolus for St Gregory117 written by Peter Damian is called for in all the ordinals, including

those from Benevento. However, it is not included in most ordinal hymnaries, except Urb. lat.

585, Getty 83 ML 97, and Naples VI E 43. This hymn is, however, found in other hymnaries of

southern Italy, namely, Ott. lat. 145, Ben 42, and Naples XVI A 3. It is also cited in the breviary

Ben 22 and in the antiphoner Ben 21.118 It is a local hymn not found in manuscripts outside of

the Beneventan zone. As another example close mirroring of ordinal prescriptions in order to

include a hymn with strong local character, Urb. lat. 585 cites the hymn Christe sanctorum decus

atque virtus, albeit as an incipit, for the feast of St Maur. This hymn is cited in the ordinals both

for the feast of St Maur and for the feast of St Benedict, which is the feast to which it is assigned

in most hymnaries throughout Europe.119 It is easy to see why this hymn might have been

116
Analecta Hymnica, vol. 14, no. 21 does not list Ben 37 and Ott. lat. 145 among the concordances, but
does cite the others mentioned here. Mearns omits Ben 37 among the concordances given for this hymn (Mearns,
43). Jullien lists it as pertaining to Naples VI E 43 but not to any other manuscript in her table of concordances
(Jullien, “Les sources,” 178–79).
117
Contained in the following Beneventan manuscripts: the composite volume with an ordinal Naples VI E
43, the hymnary Ben 42, the missal-breviary Ben 20, and the antiphoner Ben 21.
118
This shows how the repertoire of hymns in ordinals resembles closely that of antiphoners and breviaries,
or vice versa. It is as yet unclear whether the antiphoners were based on ordinals, or the ordinals were based on
antiphoners. Kelly, The Ordinal of Montecassino and Benevento, 71.
119
The hymn is part of the Carolingian “New Hymnary,” and so has many concordances.
113
associated with both these saints, particularly in Benedictine monasteries, since St Maur was one

of the first, contemporary, and illustrious disciples of the Order’s founder.

But the correspondences between ordinal prescriptions and hymn contents in Urb. lat.

585 should not blind us to an interesting phenomenon: the hymnary of Urb. lat. 585 seems to be

later than its ordinal. The ordinal of Urb. lat. 585 is a bit different from the other ordinals from

Montecassino. It is an early ordinal manuscript, and because of this is more related to the

ordinals of Benevento, which may have been copied from an early version of the Cassinese

ordinal.120 Evidently, the ordinal itself contains vestiges of earlier practice, retained in the

ordinals of Benevento, which changed before the later, still-extant Cassinese ordinals were

copied. However, the hymnary follows later Cassinese ordinals. Thus there are cases where Urb.

lat. 585’s hymnary differs from its own ordinal prescriptions in agreement with later Cassinese

ordinal hymn prescriptions. For example, the hymn Agnes beate virginis for St Agnes is found in

Urb. lat. 585’s hymnary but not in its own ordinal. It is, however, found in the other ordinals

from Montecassino and in the latest Beneventan ordinal, Ben 66.121 The hymn for St Agnes

illustrates an important point: hymnaries bound to ordinals were not mere copies of the citations

in ordinals.122 Sometimes, an ordinal prescribes the use of a hymn that is not found at all in the

120
See Kelly, The Ordinal of Montecassino and Benevento, 65–6. This also supports Kelly’s observation
that Urb. lat. 585’s ordinal “appears to be an early text…” and that “[ordinal] manuscripts of the orbit of Sancta
Sophia in Benevento share variants with N [Urb. lat. 585]” (Idem, 66).
121
Ibid. Ben 66 resembles ordinals of Montecassino more closely than do Vat. lat. 4928 and Naples VI E
43, and the citation of this hymn in Ben 66 is a case in point.
122
The ordinal omits instructions for Sundays, feria, and Trinity Sunday, beginning with Advent, so many
of these hymns are not cited in the ordinal. Some of the hymns from the Common of Saints are not cited in the
ordinal. The close relationship between antiphoners and manuscripts with ordinals has been remarked by Kelly (The
Ordinal of Montecassino and Benevento, 69–74. “The Breviarium…lists the musical pieces that are sung throughout
the year, arranged in the same order as that of south Italian antiphoners. This correspondence might not be
immediately apparent from an examination of the ordinal, for it contains much additional information but as we
shall see, the antiphoner lies at the heart of the Breviarium…the correspondences of the ordinal with the
114
hymnary of the same volume. Obduxere polum, for example, is a hymn cited in the ordinals but

not in any of the hymnaries.123

Considered as a whole, however, the hymn repertoire in Urb. lat. 585 can be taken as a

model for the “standard” collection of hymns in Cassinese ordinal hymnaries (the exception is

the omission of the hymn Sollemnis dies advenit for St John the Evangelist, included in the other

Cassinese ordinal hymnaries Paris Maz. 364 and Getty 83 ML 97, but not Urb. lat. 585. It is

unclear why the latter hymnary does not include this hymn, so widespread in other hymnaries,

both Cassinese and Beneventan, for this feast). Its hymnary corresponds for the most part with its

ordinal to a greater degree than do Beneventan ordinal hymnaries to their ordinals. As the center

of the reform movement and the standardization of liturgical texts, Montecassino would have

less reason to include hymns that were local “exceptions” to the ordinal prescriptions. In this

regard, the ordinal hymnary of Paris Maz. 364 is a bit more diverse, showing that Cassinese

hymn collections were themselves subject to local variation. In this variation, we can glimpse a

organization of the surviving antiphoners of southern Italy is so exact that we must presume a close dependence.
Whether antiphoners were organized according to the ordinal, or the ordinal according to a model antiphoner,
remains to be determined. But the antiphoners of southern Italy share with the ordinal features that are rare among
European antiphoners.” Idem, 69, 71. Among these rare features are: the saints in Advent are grouped between
Advent and Christmas, and those between Epiphany and Septuagesima in between these appropriate temporal
sections; the Montecassino antiphoner is closer to the ordinal than that of Benevento because in Benevento, the
sanctoral feasts after Epiphany are divided into two groups: one group before Septuagesima and the other between
Septuagesima and Lent.
123
Except in the hymnaries Madrid, Biblioteca Nacional de España, 10001 (twelfth- or thirteenth-century
from Toledo; see Boynton, Silent Music: Medieval Song and the Construction of History in Eighteenth-Century
Spain (Oxford: Oxford University Press, 2011), 67, and Susana Zapke, “Notation Systems in the Iberian Peninsula:
from Spanish Notations to Aquitainian Notation (9th–12th Centuries),” in Hispania Vetus: Musical-Liturgical
Manuscripts from Visigothic Origins to the Franco-Roman Transition (9th–12th Centuries), ed. Susana Zapke
(Bilbao: Fundación BBVA, 2007), 189–243), a S. Domingo de Silos manuscript London Add. 30851, and the
Ambrosian manuscript Vat. lat. 83. The same is true for Squalent arvi which is in Madrid 10001, London Add.
30851 and in the missal Ben 39 (see Analecta Hymnica, vol. 27, no. 203 and vol. 27, no. 204).
115
few more older and local hymns that survived in a Cassinese ordinal hymnary, as well as

evidence of an exchange and/or sharing of hymn repertoire between central and southern Italy.

Paris Maz. 364: Exchange and Older Hymns in a Cassinese Ordinal Hymnary

Paris Maz. 364 was copied in the twelfth century at Montecassino, thus its hymnary

exhibits the same Cassinese features observed in Urb. lat. 585’s hymnary. It contains the hymns

for St Nicholas and St Ambrose, as well as the hymn for St Agnes Agnes beate virginis and Crux

benedicta nitet for the Exaltation of the Cross not found in Beneventan ordinal hymnaries, but in

Urb. lat. 585 and other Cassinese hymnaries such as Naples VI F 2. Illuminavit hunc diem for St

Michael in Paris Maz. 364 is used for the feast on May 8, not September 29, a feature common in

Cassinese hymnaries. Paris Maz. 364 uses Beneventan script and contains hymns on f. 139v-

184v with full texts but no notation.

What sets the hymnary of Paris Maz. 364 apart from the other Cassinese ordinal

hymnaries is the presence of two hymns found mostly in Milanese manuscripts, as well as the

presence of Iesu redemptor omnium. This hymn for confessors is used in Paris Maz. 364 in

addition to Iste confessor. The inclusion of both these hymns for the common of confessors is

seen as such in Beneventan hymnaries and in those from central Italy. The Cassinese hymnaries

Urb. lat. 585, Getty 83 ML 97, and Naples VI F 2 have Iste confessor but not Iesu redemptor,

apparently because Cassinese ordinals call for Iste confessor, while the Beneventan ones (except

Ben 66 which has a lacuna after the feast of St Andrew and before the common feasts) call for

both. In this case, Paris Maz. 364 resembles Beneventan ordinal prescriptions and Beneventan

hymnaries more closely than Cassinese ones. Differently than Cassinese hymnaries, the presence

of both Iesu redemptor omnium and Iste confessor in Paris Maz. 364 and in Beneventan
116
hymnaries represents a similarity between these and central Italian hymnaries. Rheinau 91,

Rheinau 82, Vat. lat. 7172 and Paris 1092, manuscripts from Subiaco, Farfa, and Narni, also

feature both hymns for the common of confessors.

In addition, two hymns in Paris Maz. 364 reinforce the hypothesis of a central Italian

repertorial connection. The hymn by St Ambrose Amore Christi nobilis for St John the

Evangelist is found primarily in Ambrosian manuscripts from the area of Milan. In southern and

central Italy, this hymn is found in Paris Maz 364 and in the two hymnaries from Narni, Vat. lat.

7172 and Paris 1092.124 These manuscripts are roughly contemporary. How did such a hymn end

up in manuscripts from such different locations, and why was it retained in this Cassinese

hymnary? Being a hymn by St Ambrose, it could have been a hymn in common use throughout

both central and southern Italy at an earlier time that later fell out of use or ceased to be part of

the hymns transmitted in writing at Montecassino. It was not, after all, called for in any ordinal,

and if Cassinese hymnaries copied after the promulgation of the ordinal adhered closely to the

ordinal prescriptions, its omission from Cassinese hymnaries is understandable. Similarly, the

hymn Apostolorum supparem for St Lawrence is found among southern and central Italian

hymnaries in these same three manuscripts (Vat. lat. 7172, Paris 1092, and Paris Maz. 364); it is,

however, well-represented in northern Italian and especially in Milanese manuscripts, as it was

written by St Ambrose.125 It may have been borrowed from a northern exemplar or tradition at

124
Analecta Hymnica vol. 50, no. 9 lists nine Ambrosian manuscript concordances. In addition to these,
Mearns lists London, British Museum, Burney 335, a Cistercian manuscript from the fourteenth century, Cambridge
University Library 3322, Oxford Bodleian Latin Lit. f 1, and London British Museum Add. 34750, thirteenth-
century Cistercian breviaries (and, in the case of London 34750, a hynary), the Ambrosian hymnary Engelberg 140,
Milan Chapter Quarto 6, Paris Maz. 364, and the Narni hymnaries (Mearns, 8). Jullien lists Paris 364 as a
concordance (Jullien, “Les sources,” 180–81).
125
See Analecta Hymnica, vol. 50, no. 16.
117
Montecassino, perhaps via central Italian manuscripts; or else it, too, was used throughout central

and southern Italy at one time and re-copied in these central and southern Italian manuscripts,

but, not being found in the ordinal prescriptions, was not copied in post-ordinal hymn

collections. Whatever the case may be, these two hymns attest to the exchange between different

areas of southern Italy of hymns for specific saints’ feasts, in which Montecassino took part. It

also shows how hymns that were not in the ordinal had a poorer survival rate in hymnaries

written after the promotion of the ordinal. Since Paris Maz. 364 retains these exchanged hymns,

it could very well be that this manuscript was copied from an older or central Italian exemplar, or

at any rate from an anthology-like hymnary like those from Narni.

Further repertorial exchange involving central Italian manuscripts and this hymnary in

particular can be seen in the hymn Christe qui lux est for lenten Sundays. The hymn is copied in

Paris Maz. 364 after the hymns for the Sundays throughout the year, before the hymns for the

ferias, towards the beginning of the hymn section. It is thus separated from the other hymns for

Lent, which are copied as a group in the approximate place for Lent among the sanctoral hymns.

Although used for Lent, the hymn is a division of the hymn Te lucis ante terminum, a hymn used

for Sundays throughout the year, so its placement at the end of the other Sundays’ hymns is as

logical as its placement with the hymns for Lent. It is copied in the same way, at the end of the

hymns for Sundays, in another Cassinese hymnary, Naples VI F 2, as well as in central Italian

hymnaries Rheinau 82 (Farfa), Farfa A. 209 (Farfa), Rheinau 91 (Subiaco), and Chigi C VI 177

(Farfa). The placement of this hymn separately from the other hymns for Lent seems to have

been a feature of central Italian manuscripts and not Cassinese or Beneventan ones. It may even

have been a feature of hymnaries used in locations such as Naples or Salerno; the other
118
Cassinese hymnary with this feature, Naples VI F 2, was eventually brought to Naples, and could

have been copied with its final destination in mind from the outset. Paris Maz. 364 may have

been copied from an exemplar, perhaps a full hymnary or hymn anthology, that came from

central Italy, such as Vat. lat. 7172 and Paris 1092, also from Narni and that also have this hymn

apart from the Lenten ones.

Getty 83 ML 97 Mixing Old and New

Getty 83 ML 97 is another ordinal hymnary that, like Paris Maz. 364, shows how the

Cassinese hymn repertoire, even when included in a reference volume with an ordinal and

adhering quite closely to ordinal prescriptions, nevertheless reveals traces of older and local

layers of hymns. The manuscript was copied in the mid-twelfth century at Montecassino and

contains hymns on folios 259v-312v. It does not begin with the highly ornamented initial “P” of

Primo dierum omnium that we have come to expect from similar hymnaries. Instead, it begins

with an equally richly ornamented “C” for Conditor alme siderum and the hymnary begins with

the hymns of Advent, not those of the Sundays. The hymns for Sundays begin on f. 270r, after

the hymns for Epiphany and for St Dominic of Sora on January 22, and are followed by the ferial

hymns. The sanctoral series starts up again after this with the hymns for St Maur. However, the

manuscript entirely omits the first Vespers and Lauds hymns for Sundays throughout the year,

Primo dierum omnium and Eterne rerum conditor. The Sunday hymns for Prime, Terce, Sext,

None, Vespers, and Compline (Iam lucis orto sidere, Nunc sancta nobis spiritus, Rector potens

verax Deus, Rerum Deus tenax vigor, Lucis creator optime, Te lucis ante terminum), however,

are included.

119
 Indeed several hymns in this manuscript seem out of place when compared to the fairly

standardized order of hymns that we have seen in both Beneventan and Cassinese manuscripts.

The other hymns for Sundays throughout the year, Nocte surgentes for Matins, Ecce iam noctis

for Lauds, and Deus creator omnium polique for Vespers, come after the hymns for Pentecost

and before those for St John the Baptist. Moreover, the hymns for Trinity Sunday, O veneranda

Trinitas, Te trina Deus unitas, and O pater sancta mitis, (Vespers, Matins, Lauds, respectively),

are found at the very end of the hymn collection, after the hymns for the dedication of a church.

The hymns for the Dedication of the church are similarly strangely placed. Although

some of them are in their customary place at the end of the hymnary, after the hymns for the

common of virgins (Christe celorum habitator alme and Christe cunctorum dominator alme and

Quaesumus ergo Deus as incipits), in reality the hymns for the Dedication of a church Urbs

beata Hierusalem, Christe celorum habitator alme, and Quaesumus ergo Deus are placed before

the hymns for the feast of All Saints.

The placement of these “out-of-place” hymns can be explained by noting that the order of

hymns in Getty 83 ML 97 resembles closely the placement of hymns in an antiphoner or

breviary. For example, in the breviaries Ben 19 and Ben 20, the hymns for Sundays come after

the hymns for the Epiphany. Similarly, in Ben 20 Nocte surgentes (and, in this case, also Primo

dierum omnium which is not found in Getty 83 ML 97) comes after the octave of Pentecost.

However, the Trinity hymns come immediately after the Pentecost hymns in these breviaries,

which differs from their placement at the end of the hymnary of Getty 83 ML 97. But this can be

explained in another way. In the ordinals, the hymns for the Trinity are called for after the

common of saints, at the end of the ordinals; the placement of the Trinity hymns in Getty 83 ML
120
97 thus mirrors their placement in the ordinal prescriptions. Similarly, the hymns for the

Dedication of a Church in Cassinese ordinals is on October 1, which commemorates a specific

church dedication: that of the basilica of St Benedict at Montecassino.126 Given this evidence, the

placement of hymns in the hymnary of Getty 83 ML 97 mirrored the arrangement of hymns in

other types of office books, specifically breviaries, antiphoners, and ordinals, and not the usual

arrangement of hymnaries.

Perhaps an ordinal, antiphonary, or breviary was used as a basis to determine the

placement and the types of hymns included in this hymnary. Nevertheless, many non-ordinal

features that characterize the hymnary of Getty 83 ML 97 as a Cassinese product are present, so

if some other type of manuscript had been used as a guide for the compilation of this hymnary, it

was probably a Cassinese antiphoner or breviary. These non-ordinal features include, as

mentioned in the context of the other Cassinese hymnaries, the presence of the hymns Debitas

laudes, Ambrosi sidus aureum, Agnes beate, Anglorum iam apostolus, and Iam Christe sol

iustitiae. A relatioship with some other non-hymnary and non-ordinal type of office book

explains also the presence of a greater number of hymns for St Peter, including some for a feast

not commonly recalled in hymnaries: that of the Chair of St Peter.

Petrus beatus catenarum is a division of the hymn for the feast of Sts Peter and Paul

Felix per omnes. In this hymnary it is present as an incipit for the octave of this feast after the

incipit for Felix per omnes, which had been copied in full for the actual feast day of Sts Peter and

Paul. This inclusion of incipits of hymns for the octave of the apostles’ feasts suggests that the

126
See Kelly, The Ordinal of Montecassino and Benevento, 209.
121
hymnary, and perhaps the entire ordinal, though written at Montecassino in 1153 by the scribe

Sigenulfus,127 was meant to be an export product for a location with a particular devotion to St

Peter. Though speculative, such a hypothesis would also explain why the ordinal of Getty 83 ML

97 has several similarities with the ordinal Ben 66, copied at S. Sofia for San Pietro intra muros

of Benevento.128 Kelly speculates that the similarities between these manuscripts are due to the

fact that Getty 83 ML 97 “gives a twelfth-century state of the ordinal—a state that may represent

the text of the second transmission of the ordinal to Benevento, where it was adapted—in part—

at St. Peter’s, but not without considerable reference to the adaptations already in use at Sancta

Sophia.”129 Indeed we know that Getty 83 ML 97 was absent from Montecassino for a long

time—it was kept at St Vincenzo al Volturno until 1505, when it was returned to Montecassino

and given the shelf number MC 199.130

Elsewhere I have noted the connection between chants for St Vincent and St Peter in

another manuscript from Benevento destined for a monastery of St Peter, Ben 35,131 a connection

that suggests, though without complete proof, that Ben 35 was destined for San Pietro extra

muros of Benevento, a dependency of San Vincenzo al Volturno.132 The devotion to St Peter

might have been especially marked at San Vincenzo: the structure of the monastery church was

127
Idem, 230.
128
Idem, 66–7.
129
Idem, 67.
130
Idem, 230–31.
131
Bibiana Gattozzi, St Vincent and St Peter: Location and the Musical Connection between Two Feasts in
Ben 35 (Master’s Thesis: The University of Texas at Austin, 2011).
132
This is still very conjectural. It was posited in Nardini, “The St. Peter Connection and the Acquisition of
a Roman Offertory in Bologna and Benevento,” Mediaeval Studies 72 (2010), 72. Indeed an exulted roll from San
Pietro extra muros was thought to have originated at San Vincenzo al Volturno, according to Myrtilla Avery,
Moneti, Garrison, and Caleca, although Kelly and others assert that it was likely copied at Santa Sofia of Benevento.
In any case, the origin of the roll is as yet by no means certain. See Kelly, The Exultet in Southern Italy (Oxford:
Oxford University Press, 1996), 251.
122
modelled on the original basilica of St Peter’s in Rome. If Getty 83 ML 97 was copied for San

Vincenzo in the first place, perhaps the scribes copying Ben 66 at S. Sofia would have used a

similar model for a church dedicated to the apostle venerated more markedly at St Vincenzo al

Volturno than at Monte Cassino which would suggest a material exchange of liturgical books

between San Vincenzo and Santa Sofia.

Iam bone pastor Petre is a division of the hymn Aurea luce et decore roseo for Sts Peter

and Paul. In Getty 83 ML 97, its incipit along with the hymn Exultet celum laudibus are cited for

the feast of the Cathedra Petri, the Chair of St Peter, after the hymns for St Agatha and St

Scholastica and before the hymn for St Gregory Anglorum iam apostolus. Exultet celum laudibus

is a hymn for the common of apostles in many Beneventan and Cassinese hymnaries. It is also

found as such in Getty 83 ML 97 in addition to its presence for the feast of the Cathedra Petri.

These chants for the feast of the Cathedra Petri are included in Ben 66, as well as in the

breviaries for S. Pietro intra muros Ben 25 and Ben 23. The feast of the Cathedra Petri is not

found in Cassinese hymnaries.

Some other features in the hymnary of Getty 83 ML 97 also connect it to Ben 66: both

manuscripts cite the hymn Ave maris stella for the Purification of the Virgin as well as for the

Annunciation (in the latter case, as an incipit). Other hymnaries copy it for the Annunciation but

not for the Purification. Moreover, unlike other Cassinese hymnaries, Illuminavit hunc dies for St

Michael is on September 29 and not on May 8. Finally, the hymn Almi prophete for St John the

Baptist is found for the feast of his decollation, not for the feast of his birth in June; Beneventan

hymnaries Naples VI E 43 and Ben 42 call for this hymn on the decollation, whereas other

southern Italian hymnaries generally cite it for the June feast. This last example, while not
123
connecting Getty 83 ML 97 to Ben 66, nevertheless reinforces the similarity between it and

Beneventan hymnaries.

Perhaps the exemplar on which this hymnary was modelled, or else the place for which it

was destined, also venerated St Dominic of Sora. Thus Celum canoris laudibus, Ecce dies

revenit, and Christe tyronum are hymns for this saint that are unique to this manuscript. So is the

hymn for St Gregory, Celum canoris laudibus. These hymns may have been found at least cited

in the exemplar used to copy Getty 83 ML 97; they could also have been newly composed, or

else in common oral tradition but not in written hymnaries because of their strongly local

character.

As the ordinal hymnaries attest, local hymns were still found in these ordinal hymnaries

despite their absence from the “official” liturgical prescriptions of the newly standardized

ordinal. But where did these local hymns come from? Non-ordinal hymnaries suggest that there

was once a great wealth of local hymns that were gradually pared down in written books used in

conjunction with a standardized liturgy. It is to these hymnaries, then, that we turn to find more

evidence of the repertoire and character of local, southern Italian hymns.

124
 Chapter Two Tables

Table 3: Hymnaries and Composite Office Manuscripts containing hymns from southern and central Italy in roughly chronological
order; Asterisks indicate presence of an ordinal within the same manuscript

Siglum Type Origin Destination Date Hymns Notation

Manuscripts used in Benevento
St Sofia, Ben., S. Beneventan; full text, 9 first strophe
Ottob. lat. 145 Composite XI 1-2/2 152
Ben. Sofia?1 notation2
St Sofia, Ben., S. Pietro
Ben 37 Composite XI 2/2 62 Beneventan; full text, 52 full notation3
Ben. intra muros
St Sofia, XI 4/4;
Naples VI G 31 Composite Ben. 50 Beneventan; full text, 4 partial notation5
Ben. XIII4
St Sofia, 1099-
Naples VI E 43 Composite* Ben., S. Maria 167 Beneventan; full text, no notation6
Ben. 1118

1
Henry Marriott Bannister, Monumenti Vaticani di Paleografia Musicale Latina, 2 vols., Codices e Vaticanis Selecti, Phototypice Expressi 12 (Leipzig:
Otto Harrassowitz, 1913, reprinted Farnborough: Gregg, 1969), I.122, no. 348, says that there is evidence that the manuscript was later taken to Terracina.
Bannister cites the hymn Hunc diem fratres for the invention of St Stephen that was added later onto f. 133v and 134r, which mentions that the saint is the patron
of the city located in a place of high elevation, hence, it could have been Terracina. However, since litanies in the manuscript include the Beneventan saints
Graficus and Quinelcus (martyrs kept at St Sofia) and mention the Beneventan St Donatus with all eleven of his companions, Banniser concludes that it was
originally made for St Sofia, but perhaps on a Cassinese exemplar. Kelly states that it was “perhaps of Montecassino but related to Sancta Sophia in Benevento”
(Kelly, The Ordinal of Montecassino and Benevento, 42).
2
The designations of hymn notations as fully notated, partially notated, or with first-strophe notation follow those of Susan Boynton in her tripartite
classification of hymn manuscripts as exhibiting “full notation,” “partial notation,” or “notation of single strophes” (Boynton, “Orality, Literacy, and the Early
Notation of the Office Hymns,” 119ff.).
3
There are only a few exceptions: the 10 hymns on folios 47r–52r are not notated (hymns for the feasts of the Holy Innocents, St Sylvester, the
Epiphany, St Maur, St Sebastian, and St Agnes); this is a gathering that was not originally part of the hymn collection but was added a century later. The hymn to
St Nazarius was not originally notated, but notation was added interlinearly later.
4
Folios 1–46 are part of an eleventh-century lectionary/collector and hymnary, while folios 47–59 are part of a Rituale from the thirteenth century. Both
were copied at Santa Sofia of Benevento. The hymns are found on folios 1 and 34–46; folio 1 was originally found after folio 46.
5
There are marginal melodies notated on folios 35r and 38v. The first strophes of the hymns on f. 37v, O quam glorifica luce and 46v, Urbs beata
hierusalem, are notated. Folio 44r–v is in a different hand than that of the original scribe and appears to come from a different manuscript altogether.
6
There is marginal notation added to the hymn Pangamus pariter for St Barbatus on folio 196r.
125
 St Sofia,
Vat. lat. 4928 Composite* Ben. XII 146 Beneventan; full text, no notation
Ben.
St Sofia, Ben. female Beneventan; full text, 172 first strophe
Ben 42 Composite XII 2/2 172
Ben. monastery notation
Manuscripts used at Montecassino
Beneventan; full text, 10 first strophe or
MC 506 Hymnary MC MC ~1050 125
partial
Naples VI F 2 Composite MC MC; Naples7 1090s 130 Beneventan; full texts, no notation
1099-
Paris, Maz. 364 Composite* MC MC 132 Beneventan; full texts, no notation
1105
Psalter-
MC 559 MC MC XI-XII 70 Beneventan; full texts, no notation
Hym.
1099-
Urb. lat. 585 Composite* MC MC 127 Beneventan; full texts, no notation
1105
Getty 83 ML 97 Composite* MC MC 1153 149 Beneventan; full texts, no notation
Vienna 1106 Composite MC MC XII 99 Beneventan; full texts, no notation
Manuscripts not from Benevento or Montecassino
Romanesca; full texts, 1 first strophe
Rheinau 91 Composite Subiaco Subiaco XI 1/4 134
notation
Rheinau 82 Composite Farfa Farfa XI 140 Romanesca; full texts, 1 partial notation

7
According to Newton, it arrived in Naples in 1094. Newton, 321–22.
126
 Romanesca; full texts, 7 full and partial
Paris 10928 Hymnary Narni Narni XI 1/2 2699
notation
Hymnary-
Vat. lat. 7172 Narni Narni XI 3/4 249 Romanesca; full texts, 2 notation
Lectionary
Composite Farfa, 1050- Romanesca; full texts, 13 full and
Chigi C VI 177 10 Farfa 151
Subiaco11 1060 partial notation
Romanesca; full texts, 1 first strophe
MC 420 Breviary Subiaco Subiaco XI 2/2 92
notation
Romanesca; full texts, 15 first strophe,
Farfa A 209 Composite Farfa12 Farfa End XI 125
full

8
The most complete, accurate, and recent descriptions of Paris 1092 and Vat. lat. 7172 are in Boynton, “Eleventh-Century Continental Hymnaries,”
200–51. According to Boynton, these manuscripts were copied in the mid-eleventh century. Edward Garrison was the first to point out the correct date and
location of origin of these manuscripts, based on evidence from its sanctoral feasts (see Edward Garrison, “Notes on Certain Italian Medieval Manuscripts, 3:
Three Manuscripts of Narni,” La Bibliofilia 69 (1967), 1–67. According to Claudio Leonardi, they were copied in the first half of the eleventh century (Leonardi,
“S. Gregorio di Spoleto,” 133). According to Dag Norberg, they were written in the very early part of the eleventh century, if not the second half of the tenth
(Dag Norberg, Notes critiques sur l’Hymnarius Severinianus (Stockholm: Almqvist & Wiksell, 1977), 6). The hypotheses of the manuscripts’ datings are based
on evidence from its hymn contents, which, according to Norberg, do not contain hymns composed in second half of the eleventh century but that would have
been known in the area in which they were copied (Ibid.). Early confrontations between Abbé Louis Duchesne and Ulysse Chevalier (Louis Duchesne,
“Correspondance,” Polybiblion: Revue bibliographique universelle, Partie litteraire, 58.1 (1890), 538–39) also hinged on the dates of these manuscripts.
Duchesne had proposed that they were copied as early as the ninth century, but Chevalier pointed out that several hymns to St Alexius in the manscripts were
composed no earlier than the late tenth century.
9
Leonardi (“S. Gregorio di Spoleto,” op. cit.) counts 288 hymns in this manuscript, but he was probably counting the hymn divisions as well. Here I am
not counting hymn divisions, except those (such as Crux fidelis, division of Pange lingua) that are consistently presented as two separate hymns in hymnaries.
10
Boynton calls this manuscript a “juxtaposed” or “primitive” breviary following a designation given in Stephen Joseph Peter van Dijk, Latin Liturgical
Manuscripts and Printed Books: Guide to an Exhibition held during 1952 (Oxford: Bodleian Library, 1952), 35; I refer to these manuscript types by the more
generic term “composite” since some will have more libelli containing different material pertaining to the divine office than others.
11
Boynton, “Liturgy and History at the Abbey of Farfa in the Late Eleventh Century: Hymns of Peter Damian and Other Additions to BAV Chigi
C.VI.177,” Sacris Erudiri 39 (2000): 317; idem, “Eleventh-Century Continental Hymnaries,” 202; Boe, “Music Notation in Archivio San Pietro C 105 and in the
Farfa Breviary, Chigi C.VI.177,” Early Music History 18 (1999), 1–45.
12
Boynton, “Eleventh-Century Continental Hymnaries,” 210. Boynton affirms Farfa as the place of origin for the manuscript despite some doubts held
by other scholars (see Supino Martini, Roma e l’area grafica romanesca, 258; Garrison, “Random Notes on Early Italian Manuscripts, I,” La Bibliofilia 80
(1978): 197–201) due to the presence of an illumination depicting a deacon—not a person one would encounter in the monastic environment of Farfa—but
Boynton points out that the illumination was probably a later addition, and in all other respects this manuscript resembles the Farfan manuscript Chigi C VI 177.
127
 Romanesca; full texts, 3 first strophe
Farfa 4 Composite Farfa Farfa ~1100 100
notation
Romanesca; full texts, first strophe and
Casan. 1574 Hymnary Gaeta Gaeta XII 124
interlinear
Bari, San Nicola
Hymnary Bari Bari XIII 110 Beneventan; first strophe notation
s.n.
Naples VI G 29 Hymnary Naples Naples13 XIII 125 Beneventan; 125 first strophe notation

13
Luisa Nardini identifies several unique hymns to saints with strong local Neapolitan cults; her attribution of the manuscript to a church dedicated to St
James in Naples rests on the evidence of a unique hymn to Sts Phillip and James, Refulget iam sollemnita. See Nardini, “I manoscritti musicali della Biblioteca
Nazionale di Napoli: Il caso dell’Innario VI G 29,” in Da Napoli a Napoli: Musica e Musicologia senza confine. Contributi sul patrimonio musicale Italiano
presentati alla IAML Annual Conference, Napoli, 20–25 Luglio 2008,ed. M. Amato, C. Corsi, T. Grande (Lucca: Libreria Musicale Italiana srl, 2012), 3–8.
128
 Table 4: All aforementioned Hymn manuscripts with number of hymns (highest to lowest)

Manuscript Total Hymns14 Hymns with Notation

Paris 1092 269 6
Vat. lat. 7172 249 2
Ben 42 172 157
Naples VI E 43 167 1
Ott. lat. 145 152 9
Chigi C VI 177 151 13
Getty 83 ML 97 149 0
Vat. lat. 4928 146 0
Rheinau 82 140 1
Rheinau 91 134 1
Paris Maz 364 132 0
Naples VI F 2 130 0
Ben 19 130 0
Urb. lat. 585 127 0
Casan. 1574 125 78
Naples VI G 29 125 125
Farfa A 209 125 15
MC 506 125 10
Ben 21 117 0
Bari 110 75
MC 420 104 1
Rome (Farfa 4) 100 3
Vienna 1106 99 0

14
Here I am not counting hymn divisions, unless they are consistently divided in all manuscripts (as in the case of Crux fidelis, division of Pange
lingua).
129
 Ben 22 91 0
Ben 25 83 0
Ben 23 72 0
MC 559 70 0
Ben 20 70 0
Ben 37 62 52
MC 542 61 0
Naples VI G 31 50 4

130
 Table 5: Hymn contents of Vat. lat. 4928

Folio Hymn Title Feast Office Hour

214v Primo dierum omnium Sundays Matins
215r Eterne rerum conditor Sundays Lauds
215v Iam lucis orto sidere Sundays Prime
Nunc sancte nobis spiritus Sundays Terce
Rector potens verax Deus Sundays Sext
216r Rerum Deus tenax vigor Sundays None
Te lucis ante terminum Sundays Compline
Nocte surgentes vigilemur omnes Sundays Matins
216v Ecce iam noctis Sundays Lauds
Deus creator omnium polique Sundays Vespers
217r Somno refectis artubus Feria II Matins
Splendor paterne glorie Feria II Lauds
217v Immense celi conditor Feria II Vespers
Consors paterni luminis Feria III Matins
Ales diei nuntius Feria III Lauds
218r Telluris ingens conditor Feria III Vespers
Rerum creator optime rectoris Feria IV Matins
Nox et tenebre et nubile Feria IV Lauds
218v Celi deus sanctissime Feria IV Vespers
Nox atra rerum contegit Feria V Matins
Lux ecce surgit aurea Feria V Lauds
219r Magnus Deus potentiae Feria V Vespers
Tu trinitatis unitas Feria VI Matins
219v Eterne celi gloria Feria VI Lauds
Plasmator hominis Deus Feria VI Vespers
Summe Deus clementiae Saturdays Matins

131
220r Aurora iam spargit Saturdays Lauds
O lux beata trinitas Saturdays Vespers
O pater sancte mitis Trinity Matins
220v O veneranda trinitas Trinity Matins
Te trina Deus unitatis Trinity Lauds
221r Conditor alme siderum Advent Vespers
Verbum supernum prodiens Advent Matins
221v Vox clara ecce intonat Advent Lauds
Verbum salutis omnium Advent Vespers
222r Egredere Emmanuel Vigil Christmas Lauds
Veni redemptor gentium Vigil Christmas Vespers
222v Christe redemptor omnium Vigil Christmas Matins
A solis ortus cardine Vigil Christmas Lauds
223r Christus est vita veniens St Stephen Matins
Imbuit primum homines beatus St Stephen Lauds
223v Stephano primo martyris St Stephen Vespers
Iste electus Iohannes St John Evangelist Matins
224r Te rogamus te precamus (division) St John Evangelist Lauds
Sollemnis dies advenit St John Evangelist Vespers
224v Hostis Herodes* Innocents Matins
Christi caterva Innocents Matins
Salvete flores Innocents Lauds
225r Iesus refulsit omnium pius Epiphany Vespers
225v Hostis Herodes impie Epiphany Matins
Illuminans latissimus Epiphany Lauds
226r Confessor Domini Maure St Maur Matins, Vespers
226v Martyr Dei egregie St Sebastian Vespers
Agnetis festum martyris St Agnes Matins
227r Quod chorus vatum Purification Vespers, Lauds
132
 Quem atra pontus Purification Matins
227v Martyris ecce dies Agathe St Agatha Vespers, Matins
Christe Sanctorum decus atque St Benedict Vespers
228r Hunc soror sacra (division) St Benedict Matins?
228v Cuius ad celum (division) St Benedict Lauds?
Gemma celestis St Benedict Vespers
229r Magno canentes St Benedict Lauds
Deus qui mundum crimine Annunciation Vespers
229v Ave maris stella Annunciation Vespers
230r Aures ad nostras Quadragesima Vespers, Matins.
Iam lucis splendor rutilat Quadragesima Lauds
230v Christe qui lux est et dies Quadragesima Compline
Ex more docti mystico Lent Matins.
231r Audi benigne conditor Lent Lauds
Dei fide qua vivimus Lent Terce
231v Qua Christus hora sitit Lent Sext
Ternis ter horis Lent None
Sicut quaternis trahit horis Lent Vespers
Pange lingua gloriosi Passion Sunday Vespers, Matins.
232r Crux fidelis (division) Passion Sunday Lauds
232v Vexilla regis Passion Sunday Vespers
Magno salutis gaudio Palm Sunday Vespers, Matins
233r Ramos virentes (division) Palm Sunday Lauds
Hic est dies verus Easter Lauds
233v Aurora lucis rutilat Easter Lauds
234r Ad cenam agni providi Easter Vespers
Gaudet sanctorum cetus supernorum Juvenal Vespers, Lauds
234v Tibi Christe splendor patris St Michael Vespers, Matins
235r Christe sanctorum decus angelorum St Michael ?
133
 Sublime nobis imminet St Boniface Vespers, Lauds
235v Adstat en turba St Boniface Matins
Festum nunc celebre Ascension Vespers
236r Optimus votis omniuum Ascension Matins
236v Iam Christus ascendit polum Ascension Lauds
Veni creator spiritus Pentecost Vespers
237r Beata nobis gaudia Pentecost Matins
Iam Christus astra ascenderat Pentecost Lauds
237v Aula celestis St Eleutherius ?
238r Ut queant laxis Vigil John Baptist Vespers, Matins
238v Non fuit vasti spatium (division) Vigil John Baptist Lauds
Almi prophete progenies pia Vigil John Baptist Vespers
239r Felix primus festum Sts Peter and Paul Vespers
239v Apostolorum passio Sts Peter and Paul Matins.
240r Aurea luce et decore roseo Sts Peter and Paul Lauds
O nata lux de lumine Transfiguration Vespers, Lauds
240v O sator rerum Transfiguration Matins
241r Agonitheta nobilis S.Cyriacus Vespers, Lauds
Ymnum canamus St Cyriacus Matins
241v Martyris Christi colimus St Lawrence Vespers, Lauds
242r Devota mente St Lawrence Matins
Quis possit amplo famine Assumption Vespers
242v Ad laudem sancte marie Assumption Lauds
243r Fit porta Christi Assumption Matins
Nunc sancti virgo virginum Assumption Vespers
243v Gaudium mundi Christe St Bartholomew Lauds, Vespers
244r Ad laudem Christi procerum St Bartholomew Matins
Assertor equi St John Baptist Vespers, Lauds
244v Christi caterva pervigil Holy Twelve Brothers Vespers, Matins
134
245r Splendor diei rutilat Holy Twelve Brothers Lauds
Gaude visceribus Nativity Virgin Mary Lauds, Vespers
245v Illuminavit hunc diem St Michael Vespers, Lauds
246r Christe redemptor omnium All Saints Vespers
Christe qui virtus sator All Saints Matins
246v Iesus salvator seculi All Saints Lauds
Martine confessor Domini St Martin Lauds
247r In laude Martini Deus St Martin Vespers, Matins
Rex Christe Martini St Martin Vespers
247v Ad Christi laudem virginis St Caecilia Vespers, Matins.
248r Mercurius semper venerande St Mercurius Vespers
248v Ad martyris Mercurii St Mercurius Matins
Laudes Mercurii St Mercurius Lauds
249r Post Petrum primum St Andrew Vespers, Lauds
249v Decus sacrati nominis St Andrew Matins.
Anime Criste seculorum Domine Natale Apostolorum Vespers
250v Eterna Christi munera Natale Apostolorum Matins
Exultet celum laudibus Natale Apostolorum Lauds
251r Sanctorum meritis Plurimum martyrum Vespers, Matins
251v Eterna Christi munera Plurimum Martyrum Matins
Sacrum piorum martyrum Plurimum Martyrum Vespers
Deus tuorum militum One martyr Vespers
252r Martyr Dei qui unicum One martyr Vespers, Lauds
Summe confessor sacer et sacerdos Confessors Vespers, Matins
252v Iste confessor Confessors aestivum Lauds
Iesus redemptor omnium Confessors aestivum Vespers
253r Iesus corona virginum Virgins Vepsers, lauds
Virginis proles opifexque Virgins Matins
253v Urbs beata Ierusalem Dedication Vespers
135
 Christe cunctorum dominator alme Dedication Matins
254r Quesumus ergo Deus (division ?) Dedication Lauds
254v Christe celorum habitator alme Dedication Vespers, Lauds
Altare hoc magnum Domini Dedication of Altar Vespers

136
 Chapter Three

Background: Hymnaries in Composite Manuscripts without Ordinals

The differences between hymnaries with and without ordinals reflect the diverse

functions these manuscripts had in the liturgical life of the monasteries in which they were used.

Those with ordinals were used as directives for the standard liturgy, and usually their hymnaries

recorded hymns that would be used during the daily cycle of the Divine Office across the entire

liturgical year. Hymnaries without ordinals, as we will see through an examination of their

repertoire, notation, and organization, overall tended to be less synthetic. Some were anthologies

used for recording all the hymns known and used at a certain place, rather resembling what we

would expect a hymnal to look like nowadays. The larger variety of hymns in manuscripts

without ordinals compared to those with ordinals reveals that there was a constriction of the

repertoire of hymns in those manuscripts that were more tied to the ordinal prescriptions.

We can see from the ways hymnaries were copied that a hymnary could function as a

standardized reference volume (ordinal hymnaries), as an encyclopedic anthology, and/or as a

collection of notated hymn melodies either for practical or didactic purposes (i.e., for use in the

choir or for the training of singers). Notation is often an indication of the function of the

hymnary. Examples of hymnaries with varying modes and amounts of notation abound. For

example, as Susan Boynton has observed, the glosses on hymnaries may indicate the didactic

function of such a manuscript in the training of young religious, and to transmit certain

theological messages.1 Hymnaries with unusual formats, such as Einsiedeln 366, where the first

strophe of text is included but each hymn is given modal signs, might indicate a more

1
Boynton, “Orality, Literacy, and the Early Notation of the Office Hymns,” 109–110.
137
experimental purpose for this manuscript.2 The sheer variety in hymn notation as seen in main

hymnaries from the Middle Ages indicates a variety of functions for manuscripts transmitting a

substantial number of hymns.

Besides the mode of notation (or lack thereof), the ways in which hymns are formatted in

hymnaries hint at their function, and also give clues as to the origin and destination of a given

hymn manuscript. Here, too, there are differences between hymnaries with ordinals and those

without ordinals. For example, many hymnaries that were used as blueprints for the recitation of

the Divine Office (namely, those hymnaries attached to ordinals) indicate divisions of longer

hymns. Divided hymns are simply parts of a larger hymn which is presented as two separate

hymns so that each part can either be used at different hours of the Divine Office or for different

feast days. A later section of a hymn is presented as a hymn in its own right, re-copied under a

different rubric and sometimes with a larger first initial. Sometimes the division is signaled in the

manuscript by the words “divisus.” When a hymn is divided many times for a given feast, this is

an indication that the feast was of considerable importance and warranted the assignment of

hymns for multiple hours of the Divine Office. Some hymn titles or incipits cited in ordinals but

not found in hymnaries are simply divisions of larger hymns that are in the hymnaries.

Hymnaries bound to ordinals usually do not indicate many divisions, while hymns that were used

as anthologies recording the full repertoire of hymns, or in other office books such as breviaries

or antiphoners generally do.

2
Idem, 107.
138
 For example, the division Doctor egregie Paule for the conversion of St Paul, a division

of the hymn Aurea luce for this same feast, is found cited in the ordinals as well as in the

antiphoner MC 542, and in the Beneventan breviaries Ben 25, Ben 23, Ben 22, and Ben 19.3

With the exception of the hymnaries in Ben 42 and Ben 37, the hymnaries actually attached to

ordinals do not divide this hymn. Similarly, the division Iam bone pastor Petre of the same

hymn, for the feast of the chains of St Peter, is found as such in the ordinals from Benevento and

in Ben 19, Ben 22, Ben 23, and Ben 25;4 and Petrus beatus catenarum, a division of the hymn

Felix per omnes for the feast of Sts Peter and Paul, is cited in Beneventan ordinals for the feast of

the Cathedra of St Peter. It is cited in the ordinals from Benevento and in those from

Montecassino Getty 83 ML 97, Paris Maz. 364, and MC 198 for the Octave of the feast of Sts

Peter and Paul, yet it is presented as a division in the hymnary Naples VI G 29,5 in the breviaries

Ben 20 and Ben 22, and in the antiphoner Ben 21.

The fact that ordinals cite hymn divisions while the attached hymnaries do not always do

so is an indication of the different functions of ordinals and ordinal hymnaries. The hymnaries’

job was simply to present the full text of the hymn that was to be divided, while the ordinal could

call for one or another part of each hymn. Ordinals, antiphoners, and breviaries could call upon

the re-use of part of a full hymn in order to augment the solemnity of a given feast by citing more

musical material in its formulary. This is the case when the ordinal Ben 66, for example, cites the

division Rector vafer of the hymn Fratres alacri pectore for the feast of St Benedict, a division

3
It is also in the later gothic-script Franciscan breviary from the cathedral of Troia, Naples VI E 20, which
dates from 1226–1244 (see Raffaele Arnese, I codici notati della Biblioteca Nazionale di Napoli (Florence: Olschki,
1967), 88–9).
4
And, again, in Naples VI E 20.
5
And in Naples VI E 20.
139
not cited in any other ordinal hymnary. Oddly enough, we can see this same division in Ben 42, a

hymnary without an ordinal, which was copied for San Pietro intra muros, the same monastery

for which Ben 66 was copied. Why would hymnaries like Ben 42, Ben 37 and Naples VI G 29,

actually reflect the divisions of hymns that other hymnaries usually did not? Such hymnaries do

reflect hymn divisions because their hymns were notated. It would be necessary to clearly mark

hymn divisions in these cases, since sometimes hymn divisions (for example, Crux fidelis which

is a division of Pange lingua) were given different melodies. The fact that hymn divisions are

noted in these hymnaries may reveal something about their function as practical books to be used

for teaching the hymn melodies and the hymn assignments for given feast days. Given the

diversity in notation and presentation of hymns (whether divided or not, whether they were given

musical notation or not, etc.), we can ascertain that there existed different types of hymnaries

which differed according to their function. Some common functions for hymnaries were the

following: to serve as reference volumes to record the prescribed repertoire of hymns for the

divine office in a given place; to serve as anthologies recording a great variety of hymns,

sometimes several per feast day, that could be selected as needed for the divine office; to serve as

teaching books where both the texts and the musical notation could preserve and transmit the

hymns used in the divine office at a given place. Of course, a given hymnary could serve a

variety of such functions, but the primary one can be determined through the ways in which its

hymns were copied in the manuscript.

The choice of hymns included in a hymnary can also reflect the primary function it

served for a given community. Like notation and format, the contents themselves of the

hymnaries show that hymnaries served diverse functions. We can see this by comparing
140
hymnaries in different types of liturgical books whose different functions are known. For

example, the contents of hymnaries attached to ordinals and those not attached to ordinals (i.e.,

stand-alone hymnaries or those with only a few other items for the divine office besides hymns)

often differ substantially, even when both types of manuscript were copied for the same

monastery and in the same time period. Hymnaries bound to ordinals omit many hymns for

sanctoral feasts found in non-ordinal hymnaries from the same era and location. Given this

observation, we might be able to say with some certainty that composite manuscripts with

material for the divine office without ordinals most likely once contained them (or were copied

from exemplars with ordinals) when their repertoire resembles that of codices that do contain

ordinals. Likewise, when the repertoire of a non-ordinal hymnary reflects the prescriptions of the

ordinals closely, we might be able to say that it was either once bound to an ordinal or else

compiled based on an exemplar with an ordinal; such hymnaries seem to have been written with

ordinals in mind. Conversely, when the repertoire of a hymnary is very different from the

repertoire of hymnaries bound to ordinals, such hymnaries may never have been intended to be

bound to ordinals. At least, such hymnaries were not modelled on those of manuscripts that

contained ordinals. And indeed we see that hymnaries in composite manuscripts not attached to

ordinals can be more prolix and diverse in terms of their hymn contents.

What, then, were the functions of these non-ordinal hymnaries, if the function of the

ordinal hymnaries was to serve as a reference volume for a standardized way of reciting the

divine office? To answer this question, it is necessary to compare the contents of composite

manuscripts from southern Italy, and specifically to compare the contents of non-ordinal

hymnaries with those of the ordinal hymnaries already described in Chapter Two. The hymnaries
141
in composite manuscripts without ordinals from Benevento are Ben 37, Naples VI G 31, and Ben

42. Those from Montecassino are MC 506, Naples VI F 2, and MC 559. Another non-ordinal

composite codex containing a hymnary is Ott. lat. 145. According to Henry Marriott Bannister,

who studied and described all the manuscripts with musical notation in the Vatican library, Ott.

lat. 145 was written at Santa Sofia of Benevento based on a Cassinese exemplar. 6 If this is true,

this is perhaps why its hymn repertoire, as we shall see, stands somewhere between that of

Benevento and Montecassino. It contains hymns found in both places, and yet, in this hymnary

there are also many hymns that are not found in either place. Many of these are, however, found

in hymnaries from central Italy. An origin or destination of this manuscript—or at any rate of its

hymn repertoire—at some place other than those considered “central” (i.e., Montecassino and

Benevento), is a tantalizing suggestion that will be explored, and one which Bannister himself

points out by looking, as it were, at evidence from the hymns in this manuscript:

The codex nevertheless pretty soon must have left the place at which it was written, since
the hymn added in folios 133v and 134 r…Hunc diem, fratres, to be used in inventioni St
Stephani protomartyris, speaks of him [saint Stephen] as a patron of their city, small and
situated in a highland ‘Urbis istius modice patroni urbis et alte,’ a place not otherwise
identified but that could be Terracina.7

If it is true that Ott. lat. 145 was copied in Benevento and reflected a Cassinese exemplar, this

indicates that a great many more hymns were actually known in these places than we find in

extant Beneventan and Cassinese hymnaries. In some of the other non-ordinal hymnaries,

especially Ben 37 and Ben 42, we can also find evidence that there was a greater size and

diversity of hymns in southern Italy before the standardization of the practice of the divine

6
Bannister, I.122, nos. 348, 350. See also Boe, “A New Source for Old Beneventan Chant: The Santa
Sophia Maundy in MS Ottoboni lat. 145,” Acta Musicologica 52.2 (1980), 124–25.
7
Bannister, 122, no. 4.
142
office. These hymnaries often contain many more local hymns reflecting the saints’ cults that

defined the religious priorities of a particular monastic institution or city. Each of these

hymnaries will thus be examined in turn.

Naples VI F 2: Mirroring the Cassinese Ordinal

The hymnary in Naples VI F 2 very likely once included an ordinal. Its hymn repertoire

is extremely similar in content and organization to that in Urb. lat. 585, which does have an

ordinal. The hymnary is on folios 142v-184r of the manuscript, preceded by psalms and followed

by canticles, very much like a composite manuscripts that contained ordinals. A few hymns

written in a later gothic hand are included at the back of the manuscript; these represent hymns

for each office hour for an unidentified feast of the Virgin Mary.8 The manuscript’s beautiful

illuminations at the initials of each hymn and the large, full-page illuminated “P” of Primo

dierum omnium shows that it was produced to be an elegant reference volume for the Divine

Office produced at the scriptorium at Montecassino.9 It was created almost contemporaneously

to Urb. lat. 585, but in many ways its hymnary is more conservative than those of other

manuscripts with ordinals. This may be due to the fact that it predates all the other extant ordinal

manuscripts from southern Italy; it may have been a model for other hymnaries in codices with

ordinals. This is certainly likely, given its rich presentation and the fact that it was an “export

product” taken from Montecassino to Naples in the late eleventh century.10

8
These hymns are: Beata Dei genitrix from Prime, Maria decus hominum for Terce, O singularis femina
for Sext, Maria templum Domini for None, and the incipit of Ave maris stella for Compline.
9
It may have been exported to Naples with Bishop Petrus in 1094 (see Newton, 321–322).
10
See previous footnote.
143
 An example of the conservatism in this manuscript is the omission of some hymns found

in other ordinal hymnaries from Montecassino. These omissions make Naples VI F 2’s hymn

repertoire closer to the ordinal rubrics than the hymnary in, for example, Urb. lat. 585. The

hymns for St Nicholas and St Ambrose (Debitas laudes and Ambrosi sidus aureum), which are

not in the ordinal but are in Urb. lat. 585, are omitted, as is Infantum diem martyrum for Holy

Innocents (also not in the ordinal but in Urb. lat. 585). Other omissions for the sanctoral,

however, do not accord well with the ordinal prescriptions, such as the omission of hymns for St

Maur and St Agnes (Confessor Domini Maure and Agnes beate virginis). These omissions are

less a departure from ordinal prescriptions than a reflection of the economy of the hymnary,

which usually has a single hymn per sanctoral feast.11 Rex Christe Martini for St Martin is

omitted, which may seem odd, given the importance of this feast in southern Italy. But, in fact,

few ordinals actually cite this hymn. It is not cited in two Cassinese ordinals, Paris Maz. 364 and

MC 562. If an ordinal did belong to Naples VI F 2, it may have resembled one from these

codices. Other hymns not in Naples VI F 2 likewise attest to the economy of the hymnary, even

when this economy sidesteps ordinal prescriptions. For example, Naples VI F 2 omits Hodie

sacratissima for St Scholastica and Anglorum iam for St Gregory (as mentioned, this is in ordinal

prescriptions but not in hymnaries except for that of Urb. lat. 585). On the whole, however,

Naples VI F 2’s hymnary stays close to ordinal prescriptions. For example, Crux benedicta nitet

for the Exaltation of the Cross, though called for in the ordinals, is not found in hymnaries

11
Exceptions to this are St Stephen, St John the Evangelist, the Purification, St Benedict, St Michael, St
John the Baptist, SSt Peter and Paul, St Lawrence, St Martin, and St Andrew, which are given more than one hymn.
Most of these saints had altars or churches dedicated to them at Montecassino (except St Lawrence and St John the
Evangelist), so the fact that there are more hymns for these feasts is not surprising.
144
attached to ordinals except for that of the early manuscript Urb. lat. 585; it is also found in

Naples VI F 2.

Some hymns make Naples VI F 2’s hymnary more like those from Benevento. The

division of Fratres alacri pectore at Hunc soror sacra for St Benedict, which is indicated in

Naples VI F 2 as in Beneventan hymnaries, does, however, acknowledge St Scholastica. Just as

the division of Fratres alacri pectore seems to be more of a Beneventan than a Cassinese feature

in Naples VI F 2, the inclusion of Sic ter quaternis for Lent, in Beneventan ordinal prescriptions

but omitted from Cassinese hymnaries, makes this hymnary more akin to those from Benevento

than Montecassino. Hymns for St John the Baptist, both for his nativity feast in June (Ut queant

laxis and its division Almi prophete) and for his beheading in August (Assertor equi), are

presented in this way in Beneventan but not in Cassinese ordinal hymnaries. They are found this

way in Naples VI F 2.

What could account for this resemblance to Beneventan ordinals in a manuscript copied

at Montecassino and otherwise very much in line with Cassinese ordinal prescriptions? As

mentioned in Chapter Two, the Beneventan ordinals seem to retain vestiges of older ordinal

prescriptions, some of which are reflected in Urb. lat. 585, but not in other ordinal manuscripts

from Montecassino. Given its otherwise close mirroring of Cassinese ordinal prescriptions, like

Urb. lat. 585, Naples VI F 2’s hymn repertoire might actually reflect earlier, Cassinese ordinal

references that were retained in Beneventan ordinals after they disappeared from Cassinese ones.

145
 There is further support for this hypothesis in a reconstructed stemma for the texts of

ordinal volumes created by Thomas Forrest Kelly.12 Here, Beneventan ordinals all derive from a

Cassinese exemplar on which Urb. lat. 585, alone among the extant Cassinese ordinals, is also

based.13 And indeed we have seen how, in some cases, Urb. lat. 585’s ordinal accords with those

from Benevento, perhaps reflecting earlier ordinal prescriptions. Urb. lat. 585’s hymnary,

however, accords better with other Cassinese ordinal prescriptions rather than with its own

ordinal (as, for example, in the inclusion of Agnes beate for St Agnes and in the use of Verbum

supernum as an Advent hymn). One explanation for this is that its hymnary might have reflected

a contemporary hymn tradition at Montecassino that was gradually incorporated into later

ordinals. If this is the case, a particular way of reciting the divine office preceded its later

codification in ordinals. A manuscript similar to Naples VI F 2, but with an ordinal, might have

been the model at least for the ordinal of Urb. lat. 585, since Naples VI F 2’s hymnary resembles

ordinal prescriptions from Urb. lat. 585. These older prescriptions were retained in Beneventan

ordinals, which accounts for the similarities between Beneventan ordinals and Naples VI F 2.

But Naples VI F 2’s resemblance to the Beneventan ordinal traditions must not be

overstated. As closely as it may mirror Beneventan ordinal prescriptions, Naples VI F 2 is clearly

very different from Beneventan hymnaries, even those attached to ordinals. For example, Naples

VI F 2 omits all the hymns that Urb. lat. 585 omits that are found in Beneventan ordinal

hymnaries. Few of these are found in the ordinal prescriptions of Benevento (e.g., the hymns for

St Juvenal, St Cyriacus, St Bartholomew, the Holy Twelve Brothers, Egredere Emmanuhel,

12
Kelly, The Ordinal of Montecassino and Benevento, 65.
13
Ibid. For the Quadragesima hymns, there seems to be a misplacement of the hymn Christe qui lux est for
Quadragesima between Sundays and Feria in Naples VI F 2.
146
Sacra piorum martyrum, etc.). As we have seen, Beneventan hymnaries would include hymns

not cited even in Beneventan ordinals for the sake of preserving hymns for important local saints.

Naples VI F 2 does not do this; it also omits Altare hoc magnum, for the dedication of a church,

included in Beneventan hymnaries as well as in the ordinals from Benevento (except the

Cassinese-like Ben 66). Naples VI F 2 includes the hymn O quam gloriose for the nativity of the

Blessed Virgin Mary and Christe celorum habitator alme for the common of Virgins, neither of

which are found in Beneventan hymnaries, though the latter appears to be a textual adaptation of

the hymn for the same feast Christe cunctorum dominator alme. This latter hymn is also included

in Naples VI F 2, and it is found in Beneventan hymnaries.

To conclude the discussion of Naples VI F 2’s hymnary without leaving the impression

that its hymnary follows Beneventan ordinal prescriptions, one final example is necessary. The

inclusion of the hymn Rex gloriose martyrum corona for the common of several martyrs, as in

Urb. lat. 585, shows that the differences between Naples VI F 2 and Beneventan hymnaries are

due, in fact, to the former’s adherence to the Cassinese ordinal prescriptions, albeit the older ones

of Urb. lat. 585. In this case, this hymn was required not just in Urb. lat. 585’s ordinal but in all

Cassinese ordinals, though not in Beneventan ones. Thus Naples VI F 2 resembles Beneventan

ordinal hymnaries only insofar as it keeps a close and conservative resemblance to older

Cassinese ordinal prescriptions.

Vienna 1106

The Cassinese hymnary in the composite manuscript Vienna 1106, copied in the twelfth

century, presents only a few differences when compared to similar non-ordinal, composite book

hymnaries (such as Naples VI F 2). Since Vienna 1106 is incomplete, it may have once
147
contained an ordinal.14 The hymnary is even more concise than that of Naples VI F 2, containing

less than one hundred un-notated hymns (in contrast, Naples VI F 2 contains one hundred thirty

hymns, and the other ordinal hymnaries usually contain around one hundred fifty hymns).

Nevertheless, a few observations can be made about the hymn contents of this manuscript which

suggest that, while it approaches ordinal prescriptions even more closely than Naples VI F 2, it

still retained some vestiges of what might have once been a local tradition shared between

Montecassino and Benevento.

The brevity of this hymnary is evident when one considers that there are no hymns for the

feast of theTrinity, a feast supplied with hymns in all the other Cassinese hymnaries discussed

thus far. There are no hymns for St Nicholas or St Ambrose, which, though not in ordinals are

commonly found in hymnaries from Montecassino and Benevento even when these are attached

to ordinals. In this, Vienna 1106 resembles Naples VI F 2. Similarly, Vienna 1106 also does not

have hymns for the feasts of St Agnes, St Sebastian, St Martin, St Cecilia, St Andrew, the feast

of all Saints, and St Lawrence. It does not have the hymns Tibi Christe splendor patris and

Christe sanctorum decus angelorum for St Michael. Surprisingly, Vienna 1106 omits the Easter

hymn Ad cenam agni providi, O sator rerum for the Transfiguration , and Deus tuorum militum

for the common of one martyr found in other Cassinese hymnaries and it has no hymns for the

Ascension, the Assumption, the common of Apostles, and the Nativity of the Virgin.

Despite these omissions, there are two hymns in Vienna 1106 not found in other

Cassinese hymnaries: Egredere Emmanuhel for Christmas, the hymn division O nimis felix of the

14
Kelly, The Ordinal of Montecassino and Benevento, 53.
148
hymn Ut queant laxis for St John the Baptist, Sacrum piorum martyrum for the common of

several martyrs, Iesu redemptor omnium perpes for the common of Confessors, and Gemma

celestis for St Benedict. The inclusion of O nimis felix for the August feast of the beheading of St

John the Baptist (as a separate hymn from its parent Ut queant laxis used for the feast of St John

the Baptist in June) resembles the use of this division in the non-ordinal Beneventan hymnary

Ben 42. Although all ordinals call for the use of this division for the beheading of St John the

Baptist,15 the ordinal hymnaries examined thus far do not use it as such; perhaps the fact that it is

a division of another hymn made its inclusion in a separate part of such hymnaries seem

redundant to their scribes. Thus, the scribe of Vienna 1106 was either copying the hymnary to

resemble an organization of hymns in non-ordinal hymnaries from Benevento such as Ben 42, or

else O nimis felix was included to make the ordinal reference to this hymn more explicit in the

hymnary itself.

That the former might have been the case (i.e., the hymnary of Vienna 1106 might have

actually been based on a Beneventan hymn tradition that was severely abbreviated in order to

correspond more closely to Cassinese usage) is demonstrated by the presence of several other

hymns found in this manuscript and in those from Benevento but not in other Cassinese ones.

Gemma celestis for St Benedict and Egredere Emmanuhel are called for in Beneventan ordinals

Naples VI E 43, Vat. lat. 4928, and Ben 66 and are found in Beneventan hymnaries.16 Iesu

redemptor omnium perpes is called for in the common of confessors in Vat. lat. 4928 and Naples

VI E 43, and is found in Beneventan hymnaries; so is the hymn Sacrum piorum martyrum, called

15
Idem 284, no. 97n19.
16
Ibid.; Idem, 342, no. 289.
149
for in these same ordinals for the common of several martyrs, the feast it is assigned to in Vienna

1106 as well.17

These peculiarities of Vienna 1106 when compared to other Cassinese hymnaries provide

evidence that Vienna 1106 is a hymnary in a transitional state between Beneventan and

Cassinese ordinal traditions. Other Cassinese hymnaries similarly reflect a state of transition in a

time when the hymn repertoire of the monastery as copied in hymnaries was evidently changing.

To highlight this phenomenon, it will be necessary to examine a few more examples of

hymnaries from Montecassino that were not attached to ordinals, such as the hymnary MC 506.

MC 506: The Cassinese Hymnary in Transition

In the early eleventh century, the abbot Theobald of Montecassino had several liturgical

books copied at the monastery. The manuscripts MC 28 and MC 57 of Montecassino record this

fact, along with a list of the volumes prepared under Theobald’s direction.18 This famous

inventory tells us that among these volumes were “Ymnario duo in choro semper habenda”: two

hymnaries kept always in the choir. If newly-copied hymnaries such as those of Theobald

conformed more closely to ordinal prescriptions and transmitted a more standardized repertoire

of hymns, then it is very possible that MC 506 was one of the “Ymnarii” in question. Its hymn

contents are very synthetic, reflecting both ordinal prescriptions and hymns from the Carolingian

New Hymnary while omitting several local hymns found in other Cassinese and Beneventan

hymnaries.

17
Idem, 479, no. 780n29; Idem, 478, no. 778n12. Sacrum piorum martyrum is also called for in the ordinal
of Vat. lat. 4928 for the feast of the Holy Twelve Brothers (Idem, 450, no. 680; Idem, 453, nos. 689 and 690).
18
Maurus Inguanez, Catalogi Codicum Casinensium Antiqui (Saec. VIII–XV) (Montecassino: Abazzia di
Monte Cassino, 1941), 5, no. 8.
150
 Paleographers and historians Anselmo Lentini and Faustino Avagliano doubt that MC

506 was one of the Theobaldan hymnaries, since the small size and simple appearance of the

book seems not to be appropriate for a choral volume.19 Moreover, the inventories in MC 28 and

MC 57, written in 1023, might predate the age of MC 506, which Mearns states was copied

around 1050.20 The inventories also do not specify that the “Ymnario” also included items such

as canticles. MC 506 does contain canticles, which come after the hymnary on folio 206r.21 Yet

it is at least possible that MC 506 was one of the Theobaldan hymnaries, since a hymnary with

canticles but with no other items like lections or capitula might be simply listed as “ymnario” in

an inventory. If, on the other hand, MC 506 had lections and prayers besides canticles, these

would have been mentioned in the inventory, as was habitual in other inventories of manuscripts

that mention hymnaries. We see this, for example, in the register of Peter the Deacon of 1066,

where he lists the books donated to the Cassinese dependency Turris ad Mare by Linus and

Liutardus: “I ymnarium cum lectionarium et orationale in unu contentum, et alter

ymnarium”(“one hymnary with lectionary and orational contained in one [volume], and another

hymnary”). Here there is a distinction between a hymnary without prayers and lections (the

“alter ymnarium”), and one with these items (“ymnarium cum lectionarium et orationale in unu

contentum”).22 Moreover, the first folio of MC 506 is a palimpsest, where the hymn Primo

dierum omnium is copied over an erased, tenth or eleventh century Beneventan-script folio. The

19
Lentini and Avagliano, 21. Although it must be noted that large volumes were not produced at
Montecassino until the Desiderian period. See Newton, 81.
20
Mearns, xviii.
21
The canticles are nevertheless incomplete, due to a lacuna at the end of the manuscript. See Inguanez,
Codicum Casinensium Manuscriptorum Catalogus, 3 vols. (Montecassino: Abazzia di Monte Cassino, 1940): vol. 3
pt 1, pp. 151–54 for a description of the manuscript and its contents.
22
Idem, 73, no. 92. From the Registri Petri Diaconi, no. 442. See Analecta Hymnica, vol. 22, no. 352.
151
presence of a palimpsest might attest to the work undertaken under Theobald to “write”

(“scribere”) books at Montecassino.23 The question of whether or not this “Ymnario” was written

under Theobald is important because its hymn repertoire would then reflect the hymns in use (or,

at any rate, promoted for copying in a standard hymnary) at Montecassino at this abbot’s behest.

Lentini and Avagliano’s argument for a non-Theobaldan origin of this codex rests on a

single hymn in this manuscript: Aurora fulget aurea dies for St Nicholas. Among southern

Italian hymnaries, this hymn is found in this manuscript and in Urb. lat. 585.24 In Urb. lat. 585, it

is one of the few hymns copied at the end of the hymnary, hymns that were locally composed in

honor of important saints and most likely all composed by Bishop Alfanus of Salerno.25

Although Alfanus’s authorship of Aurora fulget aurea is debated, Lentini and Avagliano make a

case for its authenticity on poetic and linguistic grounds. If this hymn is by Alfanus, who was

born in the second decade of the eleventh century, then MC 506 could not be one of the

23
“Domnus Tehobaldus reverentissimus abbas hunc librum de civitate Dei edito a sancto augustino
episcopo in hac ecclesia sancti Benedicti ubi sacratissimum corpus eius humatum est scribere precepit cum aliis XX
codicibus” (“The most reverend abbot, Lord Theobald, undertook to write this book of the city of God edited by the
bishop Saint Augustine in this church of Saint Benedict where his [Benedict’s] most holy body is buried, along with
other twenty codices”; Inguanez, Catalogi Codicum, 5, no. 8. The Chronicon Casinensis mentions the same activity
of Theobald using the word “describi” (“Codices…describi praecepit.” Leo Marsicanus and Peter the Deacon,
Chronica Monasterii Casinensis, bk. II ch. 53, in Monumenta Germaniae Historica, Scriptores 7, op. cit., 662).
24
The hymn seems to be rare in general: Analecta Hymnica, vol. 22, no. 352 ascribes it to MC 506 and
Urb. lat. 585, and it is not enumerated in Jullien’s table. It could be a local variant of the hymn Aurora surgit aurea
for St Benedict written by Peter Damian; according to the Analecta Hymnica, vol. 48, no. 37, Peter Damian’s hymn
is found in the late eleventh-century, composite office manuscript from Bobbio Vat. lat. 5776, in the late eleventh-
century breviary from St Eutizio of Norcia Vallicell. B 79, and in a few fourteenth and fifteenth century
manuscripts. Jullien lists Peter Damian’s hymn as belonging to the Bobbio manuscript but not to any of the other
eighteen manuscripts she tabulated for concordances of hymns attributed to St Ambrose (see Jullien, “Les sources,”
176–77). Another hymn for St Nicholas that is similar to Aurora fulget aurea and also to Peter Damian’s hymn is
Aurora surgit aurea festa restaurans, which Analecta hymnica includes in vol. 43, no. 436 as belonging to Florence,
Biblioteca Medicea Laurenziana, Convento Soppresso 524, a Cluniac breviary of the eleventh or twelfth century
from Strumi. In the absence of further evidence of concordance with other manuscripts from outside Italy, it is
reasonable to suppose that Aurora fulget aurea in MC 506 is a local southern Italian hymn.
25
Lentini and Avagliano, 17–22.
152
Theobaldan hymnaries. Indeed the presence of this hymn in this manuscript, whose hymn

repertoire otherwise closely reflects a more widespread, pan-European repertoire (i.e., many of

the hymns from the Carolingian “New Hymnary”), is significant. It shows that, even while the

standardization of hymn repertoire was occurring as manifested by Cassinese hymnaries, this did

not stop the copying of hymns such as those for St Nicholas that were especially local to

Montecassino or to southern Italy. Indeed, two other hymns to St Nicholas in MC 506 appear to

be unique to this manuscript: Festa plebs sancto and Regis superni signifer.26 Thus MC 506 is

very much transitional in the development at Montecassino toward a standardized hymn

repertoire that omitted local hymns.

Regardless of whether or not this hymnary was the one in the choir copied under Abbot

Theobald, we can definitely say that this hymnary corresponds very well with the ordinal hymn

prescriptions that would be copied later in the century. In this, MC 506 resembles Naples VI F 2.

Its concise hymn repertoire, which does not include many hymns for sanctoral feasts, is

concordant with hymns found in all the other Cassinese hymnaries examined thus far.

Nevertheless, a few hymns, as well as the few differences between MC 506 and other Cassinese

hymnaries, should be mentioned as they point to an ongoing adaptation of hymnaries to

standardized formats at the time of MC 506’s copying. Indeed, MC 506 represents a transition in

the hymn repertoire at Montecassino from a repertoire that was larger and included many local

hymns to one that omitted local hymns in favor of a more widespread hymn repertoire. MC

26
I could not find these hymns in any other reference book besides the Analecta Hymnica, vol. 22, no. 350
and no. 351, respectively, where they have no other concordance besides MC 506. Unless a search reveals these to
belong to other hymnaries whose contents have not yet been examined, I must conclude that these hymns were
probably composed in southern Italy, and likely at Montecassino.
153
506’s omission of several older and/or local hymns that are included in other manuscripts from

Montecassino (such as Debitas laudes and Agnes beate virginis already mentioned, as well as

Fratres alacri pectore for St Benedict, Crux benedicta for the Exaltation of the Cross, and Iste

confessor) in favor of a hymnary that contained the most essential and widespread repertoire for

the recitation of the Divine Office suggests a transition from a flexible repertoire with a few local

hymns toward one closely based on the Carolingian New Hymnary. However, as we shall see,

such a transition was flexible and gradual.

Despite the presence of some unique hymns, by the time MC 506 was copied, evidently a

process of selection aimed towards standardization and a hymnary based on the Carolingian New

Hymnary had been initiated. In general, compared to other Cassinese hymnaries, MC 506 tends

to omit hymns that are not in the ordinals or in the Carolingian New Hymnary. For example, like

Naples VI F 2, MC 506 omits the hymn Debitas laudes for St Nicholas, which is not called for

by ordinals from Montecassino or Benevento. Strangely, this is in contrast to the hymnaries that

are found alongside these ordinals, which (excepting Vat. lat. 4928) do include this hymn. Like

Naples VI F 2 and Beneventan hymnaries, MC 506 omits the Ambrosian hymn Agnes beate

virginis. This hymn is found in a limited number of Cassinese manuscripts with ordinals, but not

in those from Benevento, and it is not part of the “New Hymnary.” Another example of this

selection based on the New Hymnary in MC 506 and Naples VI F 2 is the inclusion of the hymn

Sic ter quaternis, a Lenten hymn in both the Frankish and the New Hymnaries. This is not found

in other Cassinese manuscripts, although it is in Beneventan hymnaries (Ben 42, Ben 37, and

Vat. lat. 4928) as well as in central Italian manuscripts. MC 506’s repertoire leaves us to wonder

whether Theobald’s “Ymnario duo,” always in the choir at Montecassino, were similarly
154
selective, preferring a more limited repertoire with fewer local hymns and a more concise,

universal hymn repertoire very much in line with the Carolingian “New Hymnary”—even when

New Hymnary hymns were not cited in ordinal prescriptions.

The compilers of MC 506 approached hymn selection differently than those of Naples VI

F 2, copied decades later. As described above, when compared to other Cassinese hymnaries,

Naples VI F 2 contains a more standard hymn repertoire closely based on ordinal (perhaps,

archaic ordinal) hymn prescriptions. Lest we think that MC 506, like Naples VI F 2, closely

reflects the ordinal prescriptions in its hymnary, we must note that MC 506 includes a few

hymns that are neither cited in the ordinals nor in Naples VI F 2. For example, MC 506 has the

hymn Ambrosi sidus aureum for St Ambrose, which is not in ordinal prescriptions although it is

in ordinal hymnaries (except Vat. lat. 4928). MC 506 also includes Infantum diem martyrum,

which is not cited in ordinals. Among the southern Italian ordinal hymnaries, it is in Urb. lat. 585

and Naples VI E 43. Apparently, this hymn was once in current use in the Beneventan area but

disappeared from later hymnaries, as it is also found in Ott. lat. 145 and in Ben 37, the oldest

hymnaries examined here allegedly copied in Benevento. It is also in the two large hymnaries

from Narni, Vat. lat. 7172 and Paris 1092, so it was probably also in use in central Italy, although

the seemingly all-encompassing, anthology-like character of the Narni hymnaries cannot be

taken to represent an exclusively central Italian repertoire.27 As seen from the above examples,

MC 506, unlike Naples VI F 2, perhaps does not closely reflect ordinal prescriptions in these

cases because it predates many of the extant ordinals.

27
The Analecta Hymnica, vol. 24, no. 21 lists Naples VI E 43, Urb. lat. 585, the Narni hymnaries, and MC
506 as having this hymn. Mearns lists these same manuscript concordances (Mearns, 43). Jullien’s table lists Naples
VI E 43 as having this hymn (Jullien, “Les sources,” 178–79).
155
 On what, then, is MC 506’s hymnary based? It would not be entirely unproblematic to

claim that MC 506’s repertoire mostly reflects that of the New Hymnary. As it so happens,

Infantum diem martyrum and Ambrosi sidus aureum mentioned above are not part of the New

Hymnary, either. Moreover, the inclusion in MC 506 of some other hymns not in the New

Hymnary further distances it from being an exclusive redaction of New Hymnary repertoire. MC

506 does have the local hymn Hodie sacratissima virgo for St Scholastica even though this hymn

is omitted from Naples VI F 2 and was not part of the New Hymnary. It most likely originated

either in central or southern Italy, since it is well-represented in manuscripts from this area, but

not from other areas of Europe.28 If it is, indeed, a local hymn, its inclusion in Naples VI F 2

makes sense in a manuscript from Montecassino, where the desire to honor St Scholastica, the

sister of the monastery’s saintly founder, would supersede other considerations. MC 506 also has

Rex Christe Martini decus for St Martin, which is not in Naples VI F 2 and not part of the New

Hymnary.29 However, it is found in manuscripts from France as well as from central and

southern Italy. This is unsurprising, as it was written by Odo of Cluny, who also travelled to

Salerno at the request of duke Alberic of Spoleto to reform several Italian monastic institutions.30

Even though it is not in the New Hymnary, Rex Christe Martine decus’s widespread use

28
The Analecta Hymnica, vol. 14, no. 47 gives as concordances Urb. lat. 585, Getty 83 ML 97, MC 506,
Naples VI E 43, Naples VI G 29, and Barb. lat. XI 171, a thirteenth-century manuscript from the area of Naples.
Mearns adds Paris Maz. 364 to this list (Mearns, 38), while Jullien, “Les sources” lists Naples VI E 43 and Paris
Maz. 364. In reality, this hymn is present in several other hymnaries from Montecassino, Benevento, and central
Italy as well, supporting the hypothesis that it has a local origin in southern or central Italy and a transmission only
in these areas: it is also in Getty 83 ML 97, in Ben 42, in Ben 37, in Ott. lat. 145, in Farfa A 209, and in Casan.
1574. See Chapter Two, Table 3 for a descriptive chart of these manuscripts’ place of origin and date of copying.
29
The hymn is called for in ordinals and is widespread in Cassinese and Beneventan hymnaries, so it is odd
that Naples VI F 2 omits it.
30
Joachim Wollasch, “Monasticism: the First Wave of Reform,” in The New Cambridge Medieval History
vol. 3: c. 900–c. 1024, ed. Timothy Reuter (Cambridge: Cambridge University Press, 2000), 178.
156
throughout Europe and its authorship by an important monastic reformer would have made it an

important hymn to retain even in a hymnary as succinct as MC 506. Finally, two omissions from

the hymnary of MC 506 seem inexplicable, considering its adherence to the New Hymnary: Iste

confessor for Confessors and Iesu corona virginum for Virgins. These omissions might simply

be reflections of the hymnary’s concision: in fact, it includes a single hymn for the common of

Confessors and one for the Common of Virgins (Summe confessor and Virginis proles opifexque,

respectively), and in general does not have that many hymns for the common of saints. The

presence of these exceptions from the usually standard, New Hymnary repertoire in MC 506

show that the process of hymn selection from an older repertoire was still flexible and variable at

the time of MC 506’s copying.

Hymns not present in MC 506 that are present in other hymnaries from Montecassino and

Benevento indicate that a process of selection based on the inclusion of fewer local hymns and

more universal ones contained in the repertoire of the New Hymnary preceded the copying of

this manuscript. For example, MC 506 does not have the hymn Fratres alacri pectore for St

Benedict, although this is called for in the ordinals. It is surprising that this hymn, by Paul the

Deacon and included in his Historia Langobardorum,31 is not in this hymnary, nor in Naples VI

F 2 or MC 559. But its omission makes sense in manuscripts where mainly more standard hymns

are included, since Fratres alacri pectore is not part of the New Hymnary. It is found in other

hymnaries from central and southern Italy, as well as in the ninth-century collectar from Corbie,

Paris 14143, and in several manuscripts from England.32 It was written by Paul the Deacon, and

31
Paul the Deacon, History of the Langobards, bk. I, ch. 26.
32
Among central and southern Italian hymnaries, it is found in Urb. lat. 585, Paris Maz. 364, Getty 83 ML
97, Naples VI E 43, Ben 42, Ott. lat. 145, Paris 1092 and Vat. lat. 7172, Rh 82, Chigi C VI 177, Rh 91, and Casan.
157
so might be considered a Cassinese hymn. Its presence both in the central and southern Italian

sphere as well as north of the Alps can be explained by Paul the Deacon’s connections with both

these areas, since Paul went with Charlemagne to Aachen. Similarly, MC 506 omits Iam Christe

sol iustitie, a hymn for Lent in ordinal manuscripts that might have been replaced by the “New

Hymnary” Lenten hymn Audi benigne conditor (which is present in MC 506). Similarly, MC 506

omits Crux benedicta nitet which is in Naples VI F 2. Among Cassinese hymnaries, this hymn by

Venantius Fortunatus is found in Naples VI F 2, Urb. lat. 585, and Paris Maz 364. It is not in

Beneventan hymnaries or in the New Hymnary. It is found in central Italian hymnaries from

Farfa, Narni, and Subiaco, and in some northern Italian manuscripts, which suggests that it might

have been transmitted to Montecassino from the north or at any rate from elsewhere on the

peninsula.33

One final hymn from MC 506 is worthy of mention, not because it represents a

significant similarity or difference when compared to other hymnaries, but because it reappears

in the context of another genre and in a manuscript from Benevento. The hymns Ut queant laxis

and Almi prophete, as they are copied in this manuscript, contain some textual variants that

reappear in exactly the same way in the Sanctus trope Antra modicis deserti in Ben 35, f. 195r.34

1574. It is also in the Missal-Breviary Ben 19 and in the Antiphoner MC 542, from Benevento and Montecassino,
respectively. See Analecta Hymnica, vol. 50, no. 95.
33
Specifically, among central Italian hymnaries, it is found in the Narni hymnaries, in Rh 82, Farfa A 209,
and Farfa 4 from Farfa, Chigi C VI 177, Rh 91, and MC 420 from Subiaco. Also see Analecta Hymnica, vol. 50, no.
68, which gives other concordances in manuscripts from Ivrea, Ravenna, Novalesa, Bobbio, and Nonantola; it
mentions that this hymn is in the Narni hymnaries and in Urb. lat. 585, but does not refer to the Farfa and Subiaco
hymnaries. Mearns lists concordances in the Narni hymnaries, Rh 91, MC 420, Paris Maz 364, Rh 82, Naples VI F
2, and Urb. lat. 585 (Mearns, 25). This hymn is not tabulated in Jullien’s concordances in her article “Les sources,”
op. cit.
34
Beneventanum Troporum Corpus, II: Ordinary Chants and Tropes for the Mass from Southern Italy,
A.D. 1000–1250, vol. 2: Tropes of the Sanctus, ed. John Boe (Madison, WI: A–R Editions, 1989), 61–62, trope 22.
158
The words from these hymns copied literally in the Ben 35 trope are “ventris abstruse” and

“recubans cubili.” Other words of the text of this trope are taken from Ott. lat. 145. The trope

itself is extremely odd: in his edition and study of Beneventan Sanctus tropes, John Boe states

that it is untranslatable: “I give no translation because no translation is possible. Whoever put the

text together did not know what the words meant, except for their general drift.”35 The trope is

given a melody unique to southern Italy; both the text and melody are thus local. 36 Could an

adventurous dilettante, perhaps the scribe of Ben 35, have composed this trope? Or, does its

apparently senseless text, utilizing references to another genre and to hymns that would have

been well-known, engage in some clever intertextual game of words whose true meaning is

obscure to us? For now, the most interesting aspect of this cross-reference is the fact that the

hymns were used as wellsprings for cross-generic poetic composition in southern Italy, which

presupposes a familiarity with hymns as copied in contemporary hymnaries.

MC 559: The Reassertion of Sanctoral Hymns

Unfortunately the hymnary of MC 559 has such extensive lacunae that it is difficult to

characterize it. It is almost impossible to determine how “normative” or distinctive the hymnary

really is when compared to hymnaries in manuscripts with ordinals and to other hymnaries from

Montecassino. This late eleventh- or early twelfth-century breviary is part of a composite office

manuscript with more than just hymns and canticles: it includes a psalter and capitula as well.

According to Kelly, MC 559 might have once contained an ordinal, because the items it contains

are arranged very similarly to those in manuscripts with ordinals.37 Moreover, the manuscript

35
Ibid.
36
Ibid.
37
Kelly, The Ordinal of Montecassino and Benevento, 251.
159
was probably used at a church dedicated to the apostles Sts Peter and Paul, since the hymns for

these saints and their names in the litany are copied in red ink to make them stand out.38 In the

hymnary, there is a lacuna between the hymns for St Stephen and those for Lent, and there are no

hymns after the feasts of Sts Peter and Paul due to a lacuna.

Despite the lacunae, a few observations can nevertheless be made about MC 559’s hymn

contents. The hymnary seems to be a bit less synthetic than that of MC 506. It is also less

synthetic than that of Naples VI F 2, the hymnary which it resembles the most, even though it

was copied later. Specifically, there are more sanctoral hymns in MC 559 that are not in the

ordinals and that were omitted from these other two Cassinese hymnaries. Whether or not this

represents a re-assertion of hymns for local sanctoral feasts over time that had been previously

excised when hymnaries became more standardized at Montecassino cannot be proven for

certain; however, there is evidence that the scribe of this hymnary was a bit less constrained in

the inclusion of hymns that were more local in character. For example, MC 559 contains Debitas

laudes for St Nicholas, as well as the hymn Iam Christe sol iustitie for Lent but not Audi benigne

conditor. This hymnary retains this hymn instead of the New Hymnary hymn Audi benigne

conditor. Other hymns attest to MC 559’s specifically Italianate character: Grates tibi Iesum

novas for Sts Gervase and Protase is found in few Cassinese and Beneventan manuscripts.

Besides its presence in this hymnary, this hymn by St Ambrose in honor of these important

Milanese saints that were also venerated at Nola, near Naples, is present in Ott. lat. 145, in the

hymnaries from Narni, and in Naples VI G 29.39 Similarly, Festa sacrata presulis for St

38
Ibid.
39
Mearns lists as concordances these four manuscripts as well as Milan, Biblioteca Ambrosiana A 246,
Munich, Bayerische Staatsbibliothek Clm 343, Vat. lat. 83, Milan, Chapter Quarto 6, and Vat. lat. 82 (Mearns, 37).
160
Apollinaris is found in MC 559, Naples VI E 43, Ben 42, Ott lat 145, Casan. 1574, and the Narni

hymnaries.40 This hymn appears to be found only in these manuscripts, and was probably

composed somewhere in central or southern Italy. Thus MC 559, while largely reflecting the

New Hymnary, nevertheless reports a few local hymns.

In the absence of further evidence from this hymnary, it would be safe to conclude

merely that it is another witness to the local hymns that were known in southern Italy, some of

which continued to be transmitted in hymnaries even while the repertoire as a whole was

becoming more standardized. In order to have a better picture of the number and variety of

hymns that had been in currency in southern Italy before the restriction of the hymn repertoire, it

will be necessary to look at manuscripts that point beyond the practices of Montecassino and

Benevento.

Ott. lat. 145: Hybrid Hymn Repertoire: Beyond Montecassino and Benevento

Unlike Naples VI F 2, Ott. lat. 145 is a composite office manuscript whose hymn

collection is much more comprehensive and diverges quite a bit from the Cassinese ordinal

prescriptions. Like composite manuscripts with ordinals, Ott. lat. 145 includes the ferial office

with antiphons, lections, hymns, capitula, litanies, an ordo for the ordination of new monks, a

mandatum ceremony, and collects.41 Ott. lat. 145 does not contain too many more hymns than do

All of these other manuscripts are office manuscripts of the Ambrosian rite. Vat. lat. 82 was at St James in Pontida,
near Bergamo, since the fourteenth century. The Analecta Hymnica, vol. 50, no. 14 lists, in addition to these: Milan,
Biblioteca Ambrosiana SH IV 43; idem, A 189; idem, A 1; idem, 71b. This hymn is not included in Jullien’s table
(see “Les sources,” op. cit.) since its attribution to St Ambrose is certain.
40
This hymn is listed neither in Mearns nor in the Analecta hymnica. In Jullien’s table Naples VI E 43 is
given as a manuscript concordance for this hymn, but none of the other six manuscripts that contain this hymn are
listed in the table (see Jullien, “Les sources,” 174–75).
41
Some texts in the manuscript were edited by Klaus Gamber and Sieghild Rehle, Manuale Casinense
(Cod. Ottob. lat. 145), Textus Patristici et Liturgici 13 (Regensburg: Friedrich Pustet, 1977). Except for O quam
161
the hymnaries in manuscripts with ordinals such as Vat. lat. 4928; however, it includes entire

formularies that are never found in these hymnaries bound to ordinals. Its divergence from

hymnaries in ordinal manuscripts and its inclusion of hymns for unusual formularies is not

merely due to its age with respect to other composite hymnaries (it was copied at the end of the

eleventh century);42 rather, it may indicate a difference in function despite the fact that it

resembles composite manuscripts with ordinals: the diversity of the hymn contents suggests that

it was probably not meant to be attached to an ordinal. Moreover, the unusual hymn contents of

Ott. lat. 145 connects this manuscript to hymnaries copied earlier, and to those copied outside

Benevento.

Claudio Leonardi observed this latter fact in his study of the hymns to St Gregory of

Spoleto in two hymnries from Narni, Vat. lat. 7172 and Paris 1092: “The whole of the collection

of hymns [in Ott. lat. 145]…certainly has a relationship with the hymnary in the codices Par.

1092 and Vat. 7172: almost all of its hymns…are also in the Paris-Vatican pair, which however

has almost double that number.” 43Leonardi notes that this affinity could be considered

unsurprising, since Benevento was a crossroads between the south and central parts of Italy, and

because many of the shared hymns are “widespread, especially in the zone that has Rome as

center or point of reference” (“molto diffusi, specialmene nella zona che ha Roma come centro o

beatum nuntium, Adest celebritas nobis O pontifex egregie, O sator rerum, the texts of the hymns were not included,
although there are references to their editions in Analecta Hymnica and Repertorium Hymnologicum.
42
Unlike Bannister, who set the date for this manuscript in the second half of the eleventh century, Boe
proposed that it was copied earlier—from the first half of the eleventh century, due to the frequent presence of the
quilisma neume, which had disappeared from Benevento by the twelfth century and earlier at Montecassino. This
claim presupposes that the copyist was faithfully reproducing quilismas he saw on Ott. lat. 145’s allegedly Cassinese
exemplar. Boe, “A New Source,” 124–25, 125n9.
43
“L’insieme della raccolta di inni [in Ott. lat. 145]…ha certo un rapporto con l’innario dei codici Par.
1092 e Vat. 7172: quasi tutti i suoi inni…sono anche nella coppia parigino-vaticano, che ne porta però quasi il
doppio.” Claudio Leonardi, “S. Gregorio di Spoleto,” 134. English translation mine.
162
come punto di riferimento”); nevertheless, there are nineteen hymns shared among these three

manuscripts.44 Leonardi notes that this number of shared hymns is not enough to conclude either

that Ott. lat. 145 reflects central Italian hymn traditions, nor that the Narni hymnaries reflect

southern Italian hymn traditions, but that these affinities “could perhaps be the echo of an ancient

contact along the Spoleto-Benevento axis” (“potrebbe forse essere l’eco di un antico contatto

lungo l’asse Spoleto-Benevento.”).45 Nevertheless, comparing Ott. lat. 145 not just with the

Narni hymnaries, but with all the other hymnaries examined in this study both from Benevento

and from central Italy reveals many more similarities between the formularies of Ott. lat. 145 and

those of central Italian hymanaries. This warrants the re-examination of the origin of this

manuscript’s hymnary, even if the origin of the manuscript itself is established at Santa Sofia in

Benevento.

Similarities with hymnaries from central Italy might suggest that its hymnary was copied

from a non-Cassinese and non-Beneventan exemplar (although Bannister asserts that it was

copied from a Cassinese exemplar)46; that it was copied as an export product for a monastery

with a different hymn tradition than that of St Sofia and Montecassino; or that there were many

more hymns circulating in Montecassino and in Benevento, at least when Ott. lat. 145 was

copied—earlier than the extant hymnaries bound to ordinals by half a century at least—than are

reported in later hymnaries. An examination of its hymnary will allow us to explore these issues

further.

44
Ibid.
45
Ibid.
46
See Bannister, I.122, no. 348.
163
 Ott. lat. 145’s hymnary begins in f. 1-11. Here, the hymnary begins as a diurnal, just like

the manuscript MC 420 from Subiaco,47 where ferial hymns are mixed with lections and notated

responsories. This format—where the hymnary begins with a diurnal—is different from the

format of hymnaries in the ordinal manuscripts examined thus far. The beginning of the hymnary

has a lacuna, so that it begins with the Ferial III hymn Telluris ingens conditor instead of the

expected series of hymns for Sundays in summer (starting with Primo dierum omnium). The

antiphons, but not the other items, are notated. Folios 4, 5, and 6 were misbound; the order

should be folios 5, 6, and 4 for ferias IV, V, and VI, respectively. As they are, feria VI comes

before ferias IV and V. After f. 11v, beginning with the hymn Sol astra terra equora for Advent,

the hymn texts continue without interruption until f. 79v. There is also a lacuna in the middle of

the manuscript between the hymns for Easter and that for St George. The hymnary ends

incomplete, after the hymns for the commons of martyrs and apostles (thus omitting those for

confessors, virgins, and the Dedication of a church).

The hymnary is not entirely un-notated. Marginal neumes added to the manuscript after

its initial copying give us clues both about the function of the hymnary and about its origin

and/or destination. The first strophe of Verbum salutis omnium for Advent on folio 13r is copied

along the edge of the right margin. This hymn appears to be southern or central Italian in origin,

since it is found in the Narni hymnaries, in Cassinese hymnaries (Urb. lat. 585, Getty 83 ML 97,

MC 50, MC 559, Paris Maz 364, Naples VI F 2, as well as MC 419 and MC 34, thirteenth- and

fourteenth-century Cassinese breviaries), and in those from Benevento (Vat. lat. 4928, Naples VI

47
See Boynton, “Eleventh-Century Continental Hymnaries,” 213–18 for the most recent and thorough
codicological description of MC 420.
164
E 43, Ben 42, Ott. lat. 145. It is not found in Ben 37 or ). It is also found in Naples VI G 29 from

Naples and Casan. 1754 from Gaeta, and in one northern Italian manuscript, the eleventh-century

hymnary from San Zeno of Verona, Verona CIX (102).48 The neumes in the margin appear to

correspond to one strophe of the hymn text; however, on closer inspection it seems more likely

that three separate, distinct melodies are copied in succession (shown in Figure 2 with my added

vertical, dotted division lines).

Figure 2: Ott. lat. 145, f. 13r: Verbum salutis omnium

If the neumes represented one and the same melody, the range would vary widely and in a way

that is uncommon for hymn melodies. Moreover, the style of the different parts of the melody

(beginning, middle, and end) would be very different from each other: the first neumes are very

recitation-like, while the middle portion has an undulating contour, and the final part has yet a

different melodic profile. It would be odd to have such variety in one single strophe of a hymn,

when hymn melodies tend to be rather uniform in style. That the three parts are three distinct

melodies is supported by the fact that the middle neumes outline the melody for Verbum

supernum prodiens, the Advent hymn copied directly underneath Verbum salutis omnium, as

shown in Figure 3.

48
See Analecta Hymnica, vol. 14, no. 2, which lists the Narni hymnaries, MC 419, MC 34, Naples VI F 2,
and MC 506 as concordances (in addition to a fourteenth century manuscript from Avignon), and Mearns, who lists
in addition to these concordances Naples VI E 43, Paris Maz 364, Ott. lat. 145, MC 559, Urb. lat. 585, and Vat. lat.
4928 (Mearns, 89). Jullien lists as concordances Naples VI E 43 and Paris Maz 364 (Jullien, “Les sources,” 170–71).
165
 Figure 3: Melody of the Advent hymn Verbum supernum prodiens

1-ghk-j-h-g-j-g-j-k-l-
Probably the notator wished to provide three different melodic options for Verbum salutis

omnium, a hymn with a local text that might have not had an assigned melody, or, if it did, that

was not familiar to the notator of the manuscript. This might indicate that the composition of

local hymn texts was sometimes independent of the composition of hymn melodies, which were

chosen from the melodies of more standardized hymns.

The same thing occurs for the hymn Enixa est puerpera on folio 18v. This hymn is

actually a division of the hymn A solis ortus cardine; it is the fifth stanza of A solis ortus

cardine, a hymn written by Sedulius. Both Enixa est puerpera and A solis ortus cardine are

rubricated as hymns for Christmas in Ott. lat. 145. Interestingly, A solis ortus cardine is copied

after its fifth-stanza division. The hymn melody notated in the margins for Enixa est puerpera is

not unique, but rather it is a common melody used for A solis ortus cardine (see Figure 4).

Figure 4: Melody of A solis ortus cardine (and Enixa est puerpera in Ott. lat. 145)

1-d-e-f-gh--d-e-fg-f-
The melody was copied, even though it was one with which the users of the manuscript were

familiar, next to Enixa est puerpera to make clear the fact that this hymn division was to be sung

with the same melody as its parent hymn, A solis ortus cardine. Chances are that if the text A

solis ortus cardine was copied in the manuscript before Enixa est puerpera, there would have

166
been no need to include neumes of the text of a division of A solis ortus cardine to the same

melody.

Notation is also added on folio 31v to the hymn Agnetis festum martyris, another hymn

text that is found mostly in manuscripts from central and southern Italy before the thirteenth

century (after which it appears in a Cistercian diurnal, Ox. Misc. Liturg. 13.1.F and in a

Florentine hymnary, Mediceo-Laurent. Aedil. 186). Before this, it was found in a ninth-century

English collectar, Cologne Chapter 106.49 Why, then, was notation provided for this hymn? The

earliest Italian manuscripts in which this hymn is found are from central Italy, namely, Narni and

Subiaco. Ott. lat. 145, if it were truly copied in Benevento, may be the first extant Beneventan

hymnary to transmit this hymn, since it was copied as early as the first half of the eleventh

century.50 The notator probably wished to provide the melody for a hymn that was unknown in

Benevento at the time and imported from central Italy. This supports the hypothesis that Ott. lat.

145 may have been copied from a central Italian, exemplar.

Further evidence to support this suggestion is provided by other instances of marginal

notation to hymn texts in the manuscript. On folio 33v, two different notators copied two

different melodies for the hymn Gaude visceribus mater, a Marian hymn used in this manuscript

for the feast of the Purification. This hymn is used for this feast in hymnaries from Farfa (Rh 82

and Farfa A 209) and Narni (Vat. lat. 7172 and Paris 1092), but in Cassinese and Beneventan

hymnaries it is used for the Feast of the Nativity of the Virgin. Again, if copied in Benevento,

notation may have been included to make it clear that this unusual sanctoral assignment to an

49
See Analecta Hymnica, vol. 14, no. 38 and Mearns, 6.
50
According to Boe, “A New Source,” 124–125n9.
167
otherwise well-known hymn also affected the melody attributed to the text. In fact, the melody

for this hymn in Ott. lat. 145 is very different from the one in Ben 42 in which the hymn is

assigned to the feast of the Nativity of the Virgin. Moreover, the left margin and bottom margin

notation represent two distinct melodies rather than a continuation of the same one, as seen in

figures 5, 6 and 7. The oscillating figure between a lower and a higher note, as well as the series

of pedes and clives (shown in the boxed and circled areas of Figure 5), are very typical of Roman

and neo-Gregorian chant in southern Italy.51

Figure 5: Ben 42, Gaude visceribus mater, f. 158r

1-f-c-d-f-g-f-g-h-g-g-hj-hg-hj-hg-g-j-h-j-g-h-g-h-g-e-f-e-

1-d-e-d-e-d-e-gh-h-d-e-gh-h-hg-hj-hg-g-4
Figure 6: Ott. lat. 145 f. 33v: Gaude visceribus mater, bottom margin

1-gj-h-g-f-fk-k-lmn-mm-lk-k-klk-j-klm-n-ml-k-k-m-lk-j-k-k-kl-k-jh-

1-g-jklk-jk-k-k-klk-j-hj-k-jhg-g-3-

51
Nardini, “Roman Intruders in Non-Roman Chant Manuscripts: The Cases of Sint lumbi vestri and
Domine si tu es.” Acta Musicologica 82.1 (2010), 3, 12; Connolly, “Introits and Archetypes: Some Archaisms of the
Old Roman Chant,” Journal of the American Musicological Society 25.2 (1972), 157-174.
168
 Figure 7: Ott. lat. 145 f. 33v: Gaude visceribus mater, left margin

1-gh-g-h-j-hg-g-k-h-k-l-kkjhjg-g-f-g-h-j-hg-g-g-j-k-l-m-l-k-k-l-

1-kjh--h-kjhjg-fg-g-f-g-h-j-k-l-kjhjg-g--3-
The melody in Ben 42 features a repeated formulaic gesture of clivis and pes (see circled

portion of Figure 5) neumes, each beginning on the pitch A and ending on G, which is also the

final note of the hymn.52 It also features a falling, sequential two-pitch pattern (shown in boxes in

Figure 5). The bottom margin melody in Ott. lat. 145 does not have exactly repeated formulae,

but rather is ornamental and neumatic. Except for the leap of a fifth towards the beginning of the

melody, it undulates stepwise and in a limited range.53 As it is transcribed, C acts as an

ornamented reciting tone for the hymn melody.54 The melody for this hymn in the left margin of

Ott. lat. 145 features a repeated formulaic gesture (circled) involving an ornamented descent of a

fourth to end on the final tone, as well as a rising, sequential syllabic pattern of a stepwise rise up

a fourth followed by a stepwise descent down a third.55

Another occasion of marginal notation occurs on f. 42r of Ott. lat. 145, where the hymn

Hodie sacratisssima virgo for St Scholastica is notated in the bottom margin below the hymn.

52
Although the notation in Ben 42 is not on staff lines, the pitches of this melody are found in other notated
manuscripts with staff lines, where the starting note is F.
53
Unfortunately, the neumes in Ott. lat. 145 are not on staff lines, although they are clearly heightened.
Thus, the pitches reconstructed here are purely speculative. I have chosen to begin on G because it is a common
initial pitch and keeps the range at a reasonable level, although it could equally well have started on the pitch D.
54
If it were transcribed on D, G would be this reciting tone.
55
Again, exact pitches are speculative, but I have chosen to use G as a final tone in this melody as in the
other to facilitate the comparison of melodic contour.
169
Here, however, the melody is the same as that in the Beneventan hymnary Ben 42. However, the

neumation is different, as seen in figures 8 and 9.

Figure 8: Ott. lat. 145, f. 42r: Hodie sacratissima virgo

Figure 9: Ben 42, f. 122r: Hodie sacratissima virgo

Biblioteca Capitolare di Benevento, used with permission

The melody seems less syllabic in the marginal notation of Ott. lat. 145. This might simply be

due to the fact that, since the notes are not written immediately over the text, the notator was free

to write the pitches in the most fluid way possible without having to reflect the syllables of the

text. This is another example in which the notator has added neumes for a hymn text that was

found only in manuscripts in central and southern Italy.56 The melody resembles that of many

56
See Analecta Hymnica, vol. 14, no. 47 and Mearns, 38.
170
alleluias and antiphons, though it does not resemble that of other hymns except for Agnetis

festum martyris in some hymnaries (not, as it happens, in this one),57 so perhaps it was borrowed

from an alleluia or antiphon and adapted for the hymn, and this occurred in central or southern

Italy. For this reason, it might have been necessary to notate this rather non-standard melody in

the margins of Ott. lat. 145.

The other three instances of notation in Ott. lat. 145 for hymns occur on folios 47v, for

the hymn Pange lingua (Passion Sunday); on folio 50v for Hic est dies verus (Easter); on folio

53v for Festum nunc celebre (Ascension); and on folio 134r for Confessor Domini Maure (St

Maur). The first three of these, contrary to the other hymns discussed thus far, are very standard

hymn texts known throughout central and southern Italy and elsewhere. The melody for Pange

lingua was written much later than the rest of the manuscript and could be an indication that the

notator was using the manuscript to reinforce his or her memory of a melody that is otherwise

not unique. The melody for Hic est dies verus is too fragmentary as notated here to discern its

function and may likewise have been copied as a memory aid. The melody for Festum nunc

celebre might also be copied as a memory aid. Its imprecisely heightened notation suggests this.

The melody is different from that in Ben 42, and it is also written in between the lines of text for

the first strophe of the hymn and not, as the others, in the margins. These differences between

melodies of the same hymn text in different manuscripts from central and southern Italy suggest

that there was a flexible approach to melodic adaptation (in the case of borrowed melodies) and

composition (in the case of unique melodies) for hymn texts. We will see several more examples

57
See the Global Chant Database, directed by Jan Kolacek, University of Prague
http://globalchant.org/melody-search.php?melody=10204030212102 (accessed February 2, 2015).
171
of this in more detail through an examination of Ben 37 and Ben 42, both notated hymanaries.

But we can already catch a glimpse at this in the added neumes in Ott. lat. 145.

The same phenomenon, whereby a melody in one notated hymnary does not match the

melody for the same hymn in another also occurs in the hymn Confessor Domini Maure for St

Maur in Ott. lat. 145. This hymn was copied into the manuscript later, in the twelfth century.

Confessor Domini Maure is present in many more Cassinese and Beneventan hymnaries than

central Italian ones; among these, it is present in the Narni hymnaries, in Chigi C VI 177 from

Subiaco, and in Casan. 1754 from Gaeta. It appears to be a local, southern or central Italian

hymn (most probably Beneventan or Cassinese, given its absence from several important central

Italian hymnaries such as those from Farfa).58 This hymn’s notation in Ott. lat. 145, a hymnary

with affinities to central Italian hymnaries, lends further weight to the hypothesis that Ott. lat.

145 might have been used or even copied outside Benevento, or else copied from a non-

Beneventan exemplar: the scribe who copied this hymn in Ott. lat. 145 might have been

recording a text that he or she knew from Beneventan or Cassinese exemplars into a manuscript

that otherwise was not based on these. Conversely, the main hymn section in Ott. lat. 145

includes a hymn for St Maur, Adest celebritas nobis, that is fairly rare in southern and central

Italian hymnaries. This hymn is not found in any Cassinese hymnary, nor in any central Italian

58
Analecta Hymnica, vol. 14, no. 32 lists the Narni hymnaries, MC 506, Naples VI E 43, Urb. lat. 585, and
Vat. lat. 4928 as concordances, along with a manuscript from St Renato in Sorrento, while Mearns lists in addition
to these Paris Maz 364 (Mearns, 24). Jullien lists Naples VI E 43 and Paris Maz 364 (Jullien, “Les sources,” 182–
83). The presence of this and other hymns to St Maur in a manuscript reflects the importance of this saint in
Benedictine monasteries, and especially at Montecassino, given the fact that St Maur was one of the primary
contemporary disciples of St Benedict.
172
hymnary except the anthology-like hymnaries of Narni, and in the early Beneventan hymnary

Ben 37.59 This hymn was probably an early, local hymn text that fell out of use.

If the original hymnary of Ott. lat. 145 had been copied at Benevento, it would seem

strange that it would not include more hymns for St Maur, and especially Confessor Domini

Maure. On the other hand, if Ott. lat. 145 was copied at Benevento for use in another region (i.e.,

central Italy), it might have been copied with the intent of reflecting the hymn traditions of that

location. Alternately, it could have been copied at Benevento from an exemplar that had a

hymnary more akin to those in central Italy. Another explanation is that earlier hymnaries from

Benevento like Ott. lat. 145 and Ben 37 did not transmit Confessor Domini Maure but Adest

celebritas nobis for this feast, which was replaced in later hymnaries by the former hymn.

Regardless, the later addition of this hymn to the manuscript represents the desire of its notator to

include a hymn for an important local saint that was in common currency in Montecassino and

Benevento. Since it does not match the melody of Ben 42, this again suggests that local hymns

warranted a flexible variety of melodic assignments.

Recently, and differently than Bannister and Boe, Kelly has proposed that Ott. lat. 145

was perhaps copied in Montecassino, but that it is so similar to liturgical books copied in St Sofia

of Benevento that it might have been made for that monastery.60 The items in the manuscript that

support the case for a Beneventan origin and/or destination are the presence of six Beneventan

antiphons used in the mandatum ceremony of Holy Thursday, as well as the mention in the litany

of each of the Holy Twelve Brothers and the Beneventan saints Graficus and Quineclus. That the

59
Mearns lists three concordances for this hymn: the two Narni hymnaries and Ott. lat. 145 (Mearns, 2).
Analecta Hymnica, vol. 14, no. 30 gives the Narni hymnaries as concordances.
60
Kelly, The Ordinal of Montecassino and Benevento, 253.
173
manuscript was copied from a Cassinese exemplar is stated in a rubric on folio 121r, which says,

“in this holy monastery where his most holy body is buried” (“in hoc sancto monasterio ubi

sacratissimum corpus eius humatum est”), apparently referencing Montecassino, where St

Benedict’s remains were interred.61 And yet, as we have already seen by looking at those hymns

with added notation, the evidence from the hymnary is not as straightforward as to the question

of this manuscript’s origin. Further examination of the contents continues to complicate the

picture.

At best, Ott. lat. 145’s hymn contents resemble those in ordinal hymnaries from both

Benevento and Montecassino as a type of hybrid. A primary example of this combination of the

two hymn repertoires (that of Montecassino and that of Benevento) in this hymnary is the

presence of both Rex gloriose martyrum and Sacra piorum martyrum for the common of martyrs.

As mentioned previously, the former was called for in the ordinals and is found in Cassinese

ordinal hymnaries for this formulary; the latter, though not in the ordinals, is found instead of

Rex gloriose martyrum in Beneventan ordinal hymnaries and is an example of a local hymn text.

Ott. lat. 145 has both hymns for this feast. Also placing Ott. lat. 145’s hymnary halfway between

Benevento and Montecassino are hymns that are rare in hymnaries from both places. For

example, Ott. lat. 145 has Infantum diem martyrum for Holy Innocents, not called for in the

ordinals. This hymn is in a handful of southern Italian codices: Urb. lat. 585, Ott. lat. 145, Naples

VI E 43, MC 506, and Ben 37, and from central Italy in the Narni hymnaries.62 Similarly, it has

61
See also Bannister, I.122–23.
62
Analecta Hymnica, vol. 14, no. 21 lists as concordances the Narni hymnaries, MC 506, Naples VI E 43,
and Urb. lat. 585. Mearns lists Ott. lat. 145 in addition to these (Mearns, 43), while Jullien lists Naples VI E 43
(Jullien, “Les sources,” 178–79).
174
Anglorum iam apostolus for St Gregory, written by Peter Damian. This hymn, which seems to be

found only in Cassinese and Beneventan hymnaries, is called for in the Cassinese and

Beneventan ordinals. It is in the hymnaries of Urb. lat. 585, Getty 83 ML 97, Naples VI E 43,

Ben 42, and Ott. lat. 145.63 Ott. lat. 145 also has Agnes beate virginis for St Agnes, called for in

Cassinese ordinals (in Paris Maz 364, MC 198, MC 562, and Getty 83 ML 97, but not Urb. lat.

58564) and in Ben 66. This hymn by St Ambrose is not found in central Italian hymnaries except

for the Narni hymnaries, nor is it in Beneventan hymnaries. Among Casinese hymnaries, it is in

Urb. lat. 585, Paris Maz 364, and Getty 83 ML 97. Apparently this hymn was found in northern

Italy in Ambrosian manuscripts from the area of Milan and was then transmitted north of the

Alps, but before that it found its way into a few Cassinese manuscripts.65

In other cases, Ott. lat. 145 is more similar to Beneventan hymnaries. For example, Ott.

lat. 145 has the same hymns for the feasts of St Bartholomew (Ad laudem Christi procerum and

Gaudium mundi Christe) and for the Holy Twelve Brothers (Splendor diei rutilat and Christi

caterva). Like the Beneventan Vat. lat. 4928 and unlike the Cassinese Urb. lat. 585, Christe

sanctorum decus atque virtus is given for the feast of St Benedict and not for St Maur. Like

63
Analecta Hymnica, vol. 22, no. 195 lists Naples VI E 43 and Urb. lat. 585 as concordances for this hymn.
Mearns adds Ott. lat. 145 (Mearns, 8). Jullien reports Naples VI E 43 as a concordance (Jullien, “Les sources,” 178–
79).
64
Kelly, The Ordinal of Montecassino and Benevento, 246n14 and 248n1.
65
Analecta Hymnica, vol. 50, no. 11 lists concordances in Milan, Biblioteca Ambrosiana SH IV 43; Milan,
Biblioteca Ambrosiana A 189; Milan, Biblioteca Ambrosiana A 1; Milan, Biblioteca Ambrosiana 71b; Milan,
Biblioteca Ambrosiana A 246; Munich, Bayerische Staatsbibliothek Clm 343; Vat. lat. 83; Milan, Chapter Quarto 6;
and Vat. lat. 82. Mearns finds this hymn additionally in Verona, Biblioteca Capitolare 85, and in some manuscripts
from England (London, Britis Museum Burney 335, a fourteenth-century Cistercian breviary), Germany (Engelberg
140, a twelfth-century Ambrosian hymnary, and London, British Museum Add. 34750, a thirteenth-century
Cistercian hymnary), and France (Cambridge, University Library Add. 3322, and Oxford, Bodleian Lit. misc. 407,
both thirteenth-century Cistercian breviaries. See Mearns, 5). Jullien lists Paris Maz 364 as a concordance (Jullien,
“Les sources,” 174–75).
175
Beneventan ordinals and their hymnaries, Ott. lat. 145 uses Audi benigne conditor for Lent

instead of Iam Christe sol iustitiae, something that we have seen may be a trait of older ordinals

and hymnaries. Similarly, it includes the hymn Sic ter quaternis for Lent, found in Beneventan

hymnaries but not Cassinese hymnaries except for Naples VI F 2. Ott. lat. 154 has the hymn

Festa sacrata praesulis for St Apollinaris, also found in Naples VI E 43 and in Ben 42. Like

other the Beneventan hymnaries Vat. lat. 4928 and Ben 42, Ott. lat. 145 has the hymn Agonitheta

nobilis. This hymn was probably originally indeed for one martyr, and then it was assigned to

different important local saints as needed in later hymnaries. This is because, in Ott. lat. 145, this

hymn is in the common for one martyr, while in both Vat. lat. 4928 and Ben 42 it is assigned for

the feast of St Cyriacus. It is also found in the Beneventan hymnary Ben 37, but for yet another

feast, that of St Vincent.

It is also true that Ott. lat. 145 sometimes resembles Cassinese hymnaries more than

Beneventan ones. Unlike Beneventan ordinal hymnaries, Ott. lat. 145 does not have hymns for St

Juvenal, St Boniface, St Mercurius, St Eleutherius, and St Cyriacus, and it does not have the

hymns Gemma celestis for St Benedict and Egredere Emmanuhel for Christmas. Like the

Cassinese ordinal hymnary Urb. lat. 585 but differently than other ordinal hymnaries, Ott. lat.

145 has Debitas laudes for St Nicholas. Like Cassinese ordinal hymnaries, the hymn for St

Michael Illuminavit hunc dies is given for the feast on May 8, not September 29, and the division

Assertor equi of the hymn for St John the Baptist is given for the June formulary and not for the

beheading of St John the Baptist. The hymn Verbum supernum is given for Advent and not for

Christmas, as in Cassinese ordinal hymnaries (Conditor alme siderum is used for Christmas).

176
 Yet Ott. lat. 145’s hymnary contains many hymns that are not found in hymnaries in

composite manuscripts with ordinals from either Montecassino or Benevento. Ott. lat. 145

contains a larger number of formularies for important local saints than in ordinal hymnaries from

either Montecassino or Benevento, as well as a few hymns for temporal feasts which are found in

at most one other hymnary from Benevento or Montecassino. An example of a hymn in Ott. lat.

145 that is found in one other Cassinese hymnary is the Christmas hymn Agnoscat omne seculum

by Venantius Fortunatus, found in MC 506.66 Many of the non-Cassinese, non-Beneventan

hymns in Ott. lat. 145 are, however, found in hymnaries from central Italy or elsewhere. The

hymns for temporal feasts in Ott. lat. 145 that are not found in Beneventan or Cassinese

hymnaries are found in the manuscripts Vat. lat. 7172 and Paris 1092 from Narni, Rh 82 from

Farfa, and Rh 91 from Subiaco. These include the following:

Christmas Audi redemptor gentium

Christmas Surgentes ad te Domine
Octave of Christmas Auctor perennis glorie (not in Rh 82 or Rh 91)
Epiphany A patre unigenitus (not in Rh 82)
Lent Medie noctis
Lent Meridie orandum est
Lent Perfecto trino numero ternis
Lent Post matutinas laudes (not in Rh 82)
Pentecost Et hoc supernum munus (not in Rh 82 or Rh 91)

The presence of these hymns makes Ott. lat. 145’s hymnary much more akin to hymnaries from

central Italy than to those from Benevento and Montecassino. Moreover, as in the

abovementioned central Italian hymnaries, the hymn Gaude visceribus is assigned to the Marian

feast of the Purification in Ott. lat. 145 rather than that of Mary’s Nativity, the feast to which this

66
Among central Italian manuscripts, it is in the Narni hymnaries. It is, however, well-attested in
manuscripts from northern Europe (Analecta Hymnica, vol. 50, no. 71; Mearns, 6). Jullien lists it for Rh 83 and
Bologna, Biblioteca municipale 20 (Jullien, “Les sources,” 170–71).
177
hymn is assigned in hymnaries from Benevento and Montecassino. Two hymns for

septuagesima, Alleluia piis edite and Alleluia dulce carmen, are present in Ott. lat. 145, in the

abovementioned central Italian hymnaries and in one hymnary from Benevento, Ben 37.67

Similarly, the hymn for Holy Thursday in Ott. lat. 145, Vat. lat. 7172, and Paris 1092, Ymnum

dicamus, is also present in Ben 37. The same hymn is found in the other two central Italian

hymnaries, Rh 82 and Rh 91, but in the former it is assigned to Palm Sunday while in the latter it

is placed with the hymns for Passion Sunday. The Ascension hymn Funeris victor triduo in Ott.

lat. 145, Vat. lat. 7172, and Paris 1092 is also found in Ben 37, but not in the manuscripts from

Subiaco and Farfa.68

Even more so than the temporal hymns, the sanctoral hymns in Ott. lat. 145 that are not in

Beneventan and Cassinese hymnaries or that are found in one or two other Beneventan or

Cassinese hymnaries, reinforce the connection with central Italy. The hymns Sancti Thome for St

Thomas and Decus sacrati nominis for St Andrew in Ott. lat. 145 are found in one other southern

Italian hymnary, Ben 42. They are, however, found in the central Italian hymnaries Vat. lat.

7172, Paris 1092, and Rh 91. Ymnum canamus Domino for St Stephen in Ott. lat. 145 is found as

a hymn for Maundy Thursday in Ben 37 (perhaps mistakenly, in lieu of Ymnum dicamus).

Similarly, Adest miranda passio levita for St Vincent and Alma beati martyris for St Vitus are

found in Ott. lat. 145, Vat. lat. 7172 and Paris 1092, and Ben 37. Ott. lat. 145 shares most of its

67
I would like to suggest that these Septuagesima hymns may have been adopted from the Alleluia
antiphons used for Septuagesima Sunday, antiphons used at Lauds on the three Sundays before Lent and all
beginning with the word Alleluia. These were suppressed either by Pope Alexander or by Pope Gregory VII (see
Kelly, The Ordinal of Montecassino and Benevento, 181). It is telling that these hymns begin with “Alleluia.”
Moreover, hymns for Septuagesima rarely appear in hymnaries. However, more study is needed on these particular
texts, their melodies, and their transmission in order to ascertain the nature of this possible connection.
68
The similarities between Ben 37 and central Italian hymnaries will be discussed later in this chapter.
178
non-Beneventan and non-Cassinese sanctoral hymns with the hymnaries from Narni, Vat. lat.

7172 and Paris 1092. These include:

St Ambrose Sancti Ambrosii presulis

St Gregory martyr Martyris en Gregori
St Mauritius Adest dies prefulgida
St Mauritius Adest sacra festivitas (for St Justus)
St Quiricus Almi triumphum Quirici
St Felicitas Pio feramo pectore
St Erasmus Rex metuende omnium
St Lucy Christe lux mundi
S Sylvester Voce iocunda resonemus omnes
St Maur Adest celebritas nobis
St Quiricus Almi triumphum Quirici
St Martin Christe rex noster
Holy Innocents Furens Herodes

The saints with hymns in both the Narni hymnaries and Ott. lat. 145 are saints important to

central Italy, with the exception of St Ambrose and St Martin who were more universally

venerated. But even here there is an affinity to central Italian hymnaries. For St Ambrose, instead

of containing the hymn Ambrosi sidus aureum, found in Cassinese hymnaries and in Ben 42, Ott.

lat. 145 shares Sancti Ambrosii presulis for the saint with the Narni hymnaries. Instead of

Martine confessor Domini, the hymn for St Martin in most other Cassinese and Beneventan (as

well as central Italian) hymnaries, Ott. lat. 145 uses the hymn Christe rex noster found in the

Narni hymnaries and in Rh 82 from Farfa. Similarly, the hymn for St Lucy, Lux mundi vera

salus, is found in Ott. lat. 145, Rh 91 from Subiaco, and the Narni hymnaries. Indeed, there are

several hymns which Ott. lat. 145 shares with the Narni hymnaries and a few other manuscripts

either from northern Italy or elsewhere:

179
 St Nicholas Sollempne tempus vertitur
St George Gesta sanctorum martyrum
St Agatha Triumphum sacre virginis
St Vitus Ad Viti beatissimi
St Lucy Lux mundi vera salus
St Sylvester Silvestri almi presulis
St Sebastian Sebastiani inclyti
Exaltation of Cross Arbor salve
St Paul Exultet orbis ambitus
St Apollinaris Sacri Christe pontificis
Sts Gervase and Protase Grates tibi Iesum novas
Exaltation of the Cross Signum crucis mirabilis
Cathedra Petri Beatus Christi famulis
St Sixtus Magni palmam certaminis
St Clement Clementis festum
St Gregory Magni miles mirabiles

These hymns connect Ott. lat. 145 to contemporary central Italian, Neapolitan and northern

Italian manuscripts as well as with other contemporary hymnaries from places outside Italy.

Sollempnis tempus vertitur for St Nicholas, Triumphum sacre virginis for St Agatha, Gesta

sanctorum martyrum for St George, Ad Viti beatissimi for St Vitus, Sebastiani inclyti for St

Sebastian, Arbor salve for the Exaltation of the Cross, and Exultet orbis ambitus for St Paul are

found in Ott. lat. 145, the Narni hymnaries, and the thirteenth-century hymnary from Naples,

Naples VI G 29 (the hymn for St George is also found in several Milanese hymnaries, and that

for St Nicholas is also found in Rh 91). Luisa Nardini recently described the presence of unique

and local hymn melodies in Naples VI G 29, as well as the presence of many hymns for saints

who were important in Naples.69 The fact that Ott. lat. 145 and the Narni hymnaries also share

some hymns with Naples VI G 29 indicates either that the repertoire of hymns in central and

southern Italy was once much more universally shared between different regions (Benevento,

69
Nardini, “I manoscritti musicali della Biblioteca Nazionale di Napoli,” 7–8.
180
Narni, and Naples) and consisted therefore of a much larger number of hymns than are reported

in later or more “standardized” hymnaries from Benevento and Montecassino, or that Ott. lat.

145 was somehow more connected with these central areas. This would lend credence to

Bannister’s suggestion that Ott. lat. 145 was taken to Terracina soon after its copying.

Indeed the presence of the hymn in Ott. lat. 145 Silvestri almi presulis for St Sylvester, a

hymn found in Barb. lat. XI 171 from Sorrento, might support a connection with an area on the

western coast of Italy south of Rome. The hymn is, however, also found in the Narni hymnaries

and in an eleventh-century manuscript from Verona, CIX (102), again suggesting that there was

once a much larger and more widespread repertoire of hymns known in southern Italy at the time

of Ott. lat. 145’s copying. Also shared with the Veronese hymnary is Sacri Christe pontificis for

St Apollinaris, a hymn which is also found in the oldest Roman hymnary, Vallicell. B 79. Other

hymns connect Ott. lat. 145 to Milanese hymnaries. Grates tibi Iesum novas for Sts Gervase and

Protase, patrons of Milan, and Magni palmam certaminis for St Sixtus connect Ott. lat. 145 to

several Milanese manuscripts as well as to the Narni hymnaries.

Most of the hymns in Ott. lat. 145 that are not concordant with Beneventan and Cassinese

hymnaries are concordant with the Narni hymnaries. Indeed Ott. lat. 145, like the Narni

manuscripts, contains a rather eclectic, anthology-like hymnary. Several of Ott. lat. 145’s hymns

are also concordant with hymnaries outside Italy, showing that Ott. lat. 145’s repertoire reflects

external influences from international hymn traditions rather than a specifically southern or

central Italian one. Moreover, some of these “foreign” hymns are found in a few hymnaries

outside of Italy from different places, so with Ott. lat. 145 we cannot simply say that it reflects a

single, imported hymn tradition from over the Alps; nor is it simply reporting the widespread
181
hymns of the “New Hymnary.” The absence of a complete, comprehensive list of concordances

for all the hymnaries throughout Europe makes it difficult to state with certainty that a given

hymn is found exclusively in this or that hymnary; nevertheless, for a few of the hymns in Ott.

lat. 145 the evidence points to their existence in limited numbers of manuscripts.

For example, Beatus Christi famulus for the Cathedra Petri is found in Ott. lat. 145 and in

other manuscripts from central Italy and in manuscripts that are not from Italy, but not in

southern Italian manuscripts. It is found in the Narni hymnaries, in Farfa A 209 from Farfa, in

Chigi C VI 177 and Rh 91 from Subiaco; outside of Italy, it is found in Rossi 205 and in the

tenth or eleventh-century antiphoner Brussels BR 8860-67.70 Similarly, the hymn Clementis

festum for St Clement is shared with hymnaries from Narni as well as with hymnaries from

Iberia.71 Magni miles mirabiles is found as a hymn for St Cuthbert in older, tenth-century

English hymnaries, although the Narni hymnaries use the hymn for St Gregory as does Ott. lat.

145. The hymn Signum crucis mirabilis in Ott. lat. 145 for the Exaltation of the Cross is

concordant with many manuscripts, most of which are not from Italy, such the late-eleventh-

century hymnary from Moissac (Biblioteca Apostolica Vaticana, Rossi 205)72 and the psalter-

hymnary Rouen 231 from St Augustine, Canterbury73; among central and southern Italian

70
See Analecta Hymnica, vol. 19, no. 24. Jullien attributes it to Rh 91 (see Jullien, “Les sources,” 184–85.
71
Such as the mid-eleventh century Mozarabic psalter London, British Library MS Additional 30851 (see
Boynton, “Eleventh-Century Continental Hymnaries,” 244). According to the Analecta Hymnica, it is found in the
Narni hymnaries and in London 30851, Toledo, archivio de la Catedral 1502, and Madrid, Biblioteca Nacional de
España, 10001 (see Analecta Hymnica, vol. 27, no. 102). It is not listed in Jullien’s article on hymns attributed to St
Ambrose (“Les sources,” op. cit.).
72
For the most recent and thorough description of this manuscript and its hymnary, see Boynton,
“Eleventh-Century Continental Hymnaries,” 222–28.
73
See Carl E. Springer, The Manuscripts of Sedulius: A Provisional Handlist, Transactions of the American
Philosophical Society 85.5 (Philadelphia: American Philosophical Society, 1995), 181; Old English Glossed
Psalters, Psalms 1–50, ed. Phillip Pulsiano (Toronto: University of Toronto Press, Inc., 2001), xxx. The manuscript
was later held at Jumièges. Of the manuscripts examined by Jullien in her enumeration of the hymnaries with hymns
182
hymnaries, this hymn is found, besides Ott. lat. 145, in Vat. lat. 7172 from Narni and Naples VI

G 29 from Naples. The presence of these hymns in Ott. lat. 145 shows that, if this hymnary were

indeed copied at Benevento, a number of international hymns that were not copied regularly in

southern Italy were at one time known at the scriptorium of Santa Sofia, or at least that scribes

there had access to exemplars that contained these international and inter-regional hymns. Since

Ott. lat. 145 is the oldest southern Italian hymnary examined here, it could provide evidence that,

at Benevento, a wider hymn repertoire known, copied, and perhaps even regularly used gave

way, over time, to one that was less cosmopolitan.

Besides differing from Beneventan and Cassinese hymnaries in its kinship to central

Italian hymnaries and, in some cases, with its kinship to hymnaries outside the Italian peninsula,

Ott. lat. 145 also contains a few unique hymns not found in other Italian hymnaries:

Lent Deus sanctorum luminis

Palm Sunday Celsa salutis gaudia
Dedication of church Urbs fortitudinis
St Vincent Levita vir Vincentius
St Vitus Festum sacrata martyrum dies
St John Baptist Summum precurrit ora

Another hymn, Rex confessorum Gloria for St Nicholas, in Ott. lat. 145 is not found in other

contemporary hymnaries from central or southern Italy, but it is found in a thirteenth century

monastic breviary from Italy, London, British Library, MS Add. 15206.

Since many of the hymns in Ott. lat. 145 are not found in ordinal hymnaries, Ott. lat.

145’s repertoire drew from a larger, underlying layer of local hymn texts because it was not as

attributed to St Ambrose, Rouen 231 was listed as containing this hymn, since Ott. lat. 145 and Vat. lat. 7172 are not
used in her tabulation of concordances, which lists 18 manuscripts of the “New Hymnary” type. See : Marie-Hélène
Jullien, “Les sources,” 178–79.
183
tied to ordinal prescriptions as the ordinal hymnaries. Some examples will further support this

claim. For some sanctoral feasts that are found in Beneventan and Cassinese ordinal hymnaries,

Ott. lat. 145 cites different hymns than those found in the ordinal hymnaries. For example, while

Urb. lat. 585 and other Cassinese hymnaries as well as Ben 42 contains a hymn for St Ambrose,

Ambrosi sidus aureum, Ott. lat. 145 has a different hymn for this feast, Sancti Ambrosii presulis.

Similarly, as already mentioned, in Ott. lat. 145, Adest celebritas nobis is a hymn for St Maur,

Sebastiani incliti for St Sebastian, Ymnum canamus for St Stephen, Magni miles mirabiles for St

Gregory, Christe rex noster (instead of Rex Christe Martini decus in Urb. lat. 585) for St Martin,

Triumphum sacre virginis for St Agatha, Summum percurrit ora oraculum for St John the

Baptist, and Exultet orbis ambitus is for St Paul. These are not found cited in ordinals, nor in

ordinal hymnaries. Two hymns, for the Purification and for the Annunciation, are also not found

in other ordinal hymnaries (Gaude visceribus and Deus qui mundum crimine).

But Ott. lat. 145 is not simply an anthology containing as many hymns as possible. This

is not what sets it apart from hymnaries bound to ordinals, as is evident from the many hymns

that are omitted from Ott. lat. 145 yet found in ordinal hymnaries. Hymns omitted (besides those

that may be absent because of lacunae, such as Aurora lucis rutiliat and Ad cenam agni providi

for Easter) but that are found in ordinal hymnaries from both Montecassino and Benevento are:

St Andrew Post Petrum primum

Common of the Apostles Exultet celum laudibus
Common of the Apostles Eterna Christi munera
Feria IV Rerum creator optime
Feria IV Nox et tenebre et nubile
Trinity Te trina Deus unitas
St Maur Confessor Domini Maure
Lent Christe qui lux est
Exaltation of the Cross Crux benedicta nitet
184
 All Saints Iesus salvator seculi
All Saints Christe redemptor omnium
St Martin Martine confessor Domini

Of these, Crux benedicta nitet was omitted because the formulary for the Exaltation of the Cross

is missing in Ott. lat. 145. However, it has a large number of hymns cited for the feast of the

Invention of the Cross, including the hymns Pange lingua*, Crux fidelis*, Vexilla regis*, Signum

crucis mirabile, and Arbor salve. The latter two are not incipits, nor are they found in either

Beneventan or Cassinese ordinal hymnaries. The others are all hymns re-used from Passion

Sunday, and therefore cited as incipits for this feast. The omission of a number of hymns for

Easter in Ott. lat. 145 is surprising. One Easter hymn that was included, Hic est dies verus, has

already been mentioned as one of the few hymns that is given notation in this manuscript.

Perhaps the large emphasis on the penitential season for Lent reflected in this hymn collection

accounts for the consequent omission of hymns for Easter. In fact, unlike Cassinese and

Beneventan ordinal hymnaries, Ott. lat. 145 includes the following hymns for Septuagesima (a

formulary not found in ordinal hymnaries) and Lent: Alleluia piis edite and Alleluia dulce

carminum for Septuagesima, and Post matutines laudes, Meridie orandum est, Perfecto trino

numero, Deus sanctorum luminis, and Sic ter quaternis for Lent. The last of these is found in

Beneventan ordinal hymnaries as well as in Naples VI F 2. The lack of hymns for Easter is made

up by the presence of a large number of hymns for Christmas not found in ordinal hymnaries,

including Enixa est puerpera, Audi redemptor gentium, Agnoscat omne seculum, Surgentes ad te

Domine for Christmas and Auctor perennis glorie for the Octave of Christmas.

What general conclusions can be drawn from the hymnary of Ott. lat. 145, given the

above observations? The differences between its hymn contents and those cited in ordinals of
185
both Montecassino and Benevento make it seem unlikely that Ott. lat. 145 was ever meant to be

attached to an ordinal. Moreover, the presentation of hymns in its hymnary also differs from

those in the hymnaries bound with the ordinals. For example, the feasts of saints between the

Epiphany and Lent, except for St Agatha and Cathedra Petri, come after the copious hymns for

Septuagesima, Quadragesima, and Lent. The hymns for the common of confessors seem to be

out of place, as they precede the hymns for St Cecilia, St Clement, and St Andrew, normally the

last formularies before the common formularies such as that for confessors. Finally, two hymns

for the Virgin Mary are switched in Ott. lat. 145 compared to their positions in hymnaries bound

with ordinals: Ave maris stella is given here for the Purification and not, as was usually the case,

for the Annunciation; similarly, Quem terra pontus is given for the Annunciation and not for the

Purification.

Although its differences when compared to ordinal hymnaries cannot be attributable

merely to the fact that it blends Cassinese and Beneventan traditions, if we assume that Ott. lat.

145 was indeed copied at St Sofia of Benevento, its differences may be attributed to its early date

of copying, since it predates ordinal hymnaries. Perhaps an older layer of hymns has not yet been

excised. While the hymnaries associated with ordinals (or those in composite manuscripts that

likely contained ordinals, such as Naples VI F 2) transmitted a more synthetic repertoire of

hymns that corresponded closely to the citations of the ordinal, those in other composite

manuscripts were drawn from a large local repertoire of hymns, and one that once may have

linked the Beneventan area to areas of central Italy and Naples. For example, the very inclusion

of a great number of hymns for the penitential portions of the year such as Septuagesima and

Lent in Ott. lat. 145 may reflect an older aspect of local devotion, namely, the embellishment of
186
these penitential times with a great number of hymns. That Lent was an especially important

time, with particular significance in the region of Benevento, can be inferred from the report of a

decree by the Frankish emperor Ludwig II for the people of Benevento. The author of the

Chronicae Sancti Benedicti Casinensis repeats the text of this decree, in which one provision

absolutely forbade acts of vandalism and immorality during Quadragesima:

Et quia etiam temporis And also because the time

congruentia imminet of the Lenten compliance
quadragesimale, in quo looms, in which the precepts of
studenda sunt praecepta God are to be studied, we establish
Dei, constituimus, ut, that whosoever shall break
quicumque ecclesiam Dei the Church of God,who shall
fregerit, adulteria et commit adultery and arson,
incendia fecerit, vitae incurs danger of life.
incurrat periculum.74

Luigi Andrea Berto points out that this is the only known documented prohibition due to a

religious occasion in southern Italy.75 The solemnity of the Lenten days might have guaranteed a

great number of hymns for the season, hymns that were later removed in more synthetic ordinal

hymnaries.

As Ott. lat. 145 demonstrates, clearly there is some distinction to be made between

ordinal hymnaries and non-ordinal hymnaries, as well as between older and newer hymnaries,

copied in Benevento and Montecassino.

Naples VI G 31: Notation and Borrowed Repertoire

It is difficult to make sense of the original function and context of the hymnary in Naples

VI G 31 due to its extended lacuna. The lacuna, however, is not the primary reason for the

74
Cronicae St Benedicti, bk. I, ch. 7–8.
75
Ibid., Introduction, 60n33.
187
mysterious nature of this manuscript. Presumed to be copied at Santa Sofia of Benevento, Naples

VI G 31 differs from all the other manuscripts examined thus far from that scriptorium due to the

presence of two hymns that were copied so as to receive interlinear musical notation on their first

stanzas. And, indeed, these hymns do contain musical notation. Moreover, there are, like in Ott.

lat. 145, other hymns that have notation in the margins. The peculiarities of the notation, coupled

with the presence of several hymns shared with central Italian hymnaries but not with Cassinese

and Beneventan ones, and one hymn that is not found in any other central or southern Italian

manuscript and is likely of German origin, make this hymnary yet another witness to a broader

and sometimes borrowed repertoire of hymns than are found in the hymnaries bound with

ordinals.

The manuscript is a conflation of two parts that together make a composite book with

material for the Divine Office: the first part, from folios 1 to 46, was copied in the eleventh

century,76 while the second part was copied in the thirteenth century.77 The first part begins, after

a lacuna, with canticles, lections, and hymns. The presumably once-complete hymnary is missing

all the hymns until that for the feast of the Transfiguration on folio 34, O nata lux de lumine. The

end of the hymnary coincides with the end of the eleventh-century portion of the manuscript on

folio 46. The hymnary ends, as expected, with the hymns for the Dedication of a Church,

although the final folio with the hymns for this feast was misplaced and rebound as folio 1. Thus,

although the hymn Urbs beata Hierusalem begins on folio 46v, it ends on folio 1r and is

76
Raffaele Arnese dates the first part of the manuscript to the beginning of the twelfth century but gives no
reason for this (See Arnese, 145–46), whereas Mearns (Mearns, xviii), Lowe (Lowe, II.102), and Kelly (Kelly, The
Beneventan Chant, 14n64) state that it is from the eleventh century.
77
Kelly, The Beneventan Chant, 14n64.
188
followed by the hymns Altare hoc magnum, Christe celorum habitator alme, and Christe

cunctorum dominator alme for the same feast on folios 1r-1v.

The hymns on folio 44 were added to the manuscript by a second hand.78 This folio

contains the hymn for apostles, Annue Christe, which is divided into hymns for each separate

apostle just as it is in Naples VI E 43 and Ben 42. There is reason to think that this hymn was

added later in order to make the Naples VI G 31 more similar to other Beneventan hymnaries.

The second part of the manuscript added in the thirteenth century makes it more “Beneventan”

than it was in its original state: it is here that the litany for the saints is found, a litany which

mentions each of the Holy Twelve Brothers. This is the evidence on which the attribution of the

manuscript’s origin at Santa Sofia is based. The contents of the earlier hymnary, however, are

not so distinctly Beneventan. Arnese and other scholars agree that the manuscript was copied at

Santa Sofia of Benevento; if this is the case, then for Naples VI G 31 the differences (including,

as with Ott. lat. 145, marked affinity to central Italian hymnaries) between this manuscript’s

hymn contents and those from other hymnaries copied and used at Benevento must be due to the

age of this hymnary compared to the other Beneventan hymnaries already considered.

Being copied in the eleventh century, the hymnary of Naples VI G 31 would be roughly

contemporaneous or just slightly later than Ben 37 and Ott. lat. 145, and just slightly earlier than

the hymnaries bound with ordinals. Indeed the fact that Naples VI G 31 shares many hymns with

central Italian hymnaries makes it resemble, in this respect, Ott. lat. 145. However, unlike Ott.

lat. 145, Naples VI G 31 has a much smaller number of local sanctoral hymns, even taking into

78
Arnese, 146. It is because of this addition of a folio with hymns for the Apostles besides St Andrew that
makes the hymns in this manuscript out of order.
189
consideration its lacuna. One way in which Naples VI G 31 resembles Ott. lat. 145 and the

hymnaries Vat. lat. 7172 and Paris 1092 from Narni is its assignment of the hymn Quem terra

pontus for the Assumption and not, as in other Beneventan and Cassinese hymnaries, for the

Purification.79 Although the Purification is missing from the manuscript, the fact that the hymn is

copied in full for the Assumption makes it evident that it was not copied for the earlier feast.

However, Naples VI G 31 is more like Cassinese and Beneventan hymnaries in that it uses the

hymn Gaude visceribus for the Nativity of the Virgin and not, unlike central Italian hymnaries

and Ott. lat. 145, for the Purification.

Nevertheless, if Naples VI G 31 really were to resemble Beneventan hymnaries, one

would expect it to contain some of the sanctoral hymns that are peculiarly Beneventan: those for

St Mercurius, for St Bartholomew, or for the Holy Twelve Brothers. Yet the absence of these

hymns is not simply due to the fact that Naples VI G 31 does not include local hymns. In fact,

there are several hymns found only in Italian manuscripts that are found in this hymnary. One of

these, the hymn Apostolorum mystica for the common of the Apostles, is found in hymnaries

from Subiaco, Farfa, Rome, and Narni and not in any of the Beneventan and Cassinese

hymaries.80 Similarly, for the same feast, Naples VI G 31 includes the hymn Regis immensi

militis, another hymn shared with the hymn anthologies Vat. lat. 7172 and Paris 1092 from Narni

but not with other hymnaries from central or southern Italy.81

79
This hymn is also used for the Assumption in the Neapolitan hymnary Naples VI G 29 and as an incipit
in the Roman breviary Vallicell. C 5.
80
See Analecta Hymnica, vol. 14, no. 134 and Mearns, 10.
81
Analecta Hymnica, vol. 14, no. 135; Mearns, 73.
190
 The notation in the hymnary suggests that its scribe was conscious of including hymns

“borrowed” from places or manuscripts other than those of Benevento and Montecassino. The

hymn O quam glorifica for the Nativity of the Virgin on folio 37v of Naples VI G 31 was copied

with the conscious intent of including musical notation on the first strophe, as indeed there are

neatly copied, accurately-heightened, legible neumes in the space left above the first few lines of

text. This hymn, found in many manuscripts from throughout Europe and used for a variety of

Marian feasts such as the Assumption, the Purification, etc. is found amongst Italian hymnaries

in Naples VI F 2, Rh 82 from Farfa, in Verona CIX (102), in Chigi C VI 177 (Farfa or Subiaco)

and the Narni hymnaries.82 In the Farfa and Narni hymnaries, the hymn is used for the feast of

the Purification, while in Naples VI G 31 and in the (roughly contemporary) Cassinese hymnary

it is used for the Nativity of the Virgin. The presence of notation might represent the notator’s

desire to record a melody that would otherwise have been unfamiliar in southern Italy.

But perhaps notation was included here simply to lend a measure of visual and aural

solemnity to this particular feast in the manuscript. Evidently, the hymn was “borrowed,” despite

its absence from Beneventan and (excepting Naples VI F 2) Cassinese hymnaries, in this

hymnary to lend more importance to the feast of the Nativity of the Virgin. In fact, the hymnary

includes three hymns for this feast. This could indicate that the hymnary reflects the cultic

priorities of an institution dedicated to the Virgin Mary, or at any rate which held her feasts in

high honor; perhaps it was used at a monastery dedicated in some way to the Virgin. While

Gaude visceribus is shared with Beneventan and Cassinese hymnaries and O quam glorifica luce

82
Mearns, 62.
191
is shared with central Italian hymnaries, the origin of the hymn O sancta mundi Domina is more

mysterious—this manuscript, alone among Italian hymnaries except for the hymnary Verona

CIX (102), contains this hymn. It is found in some German hymnaries.83 It is unclear why this

hymn did not receive musical notation like O quam glorifica luce, if it is true that Naples VI G

31 was copied with the intention to record melodies that were borrowed from other places and

for this important Marian feast.

The presence of O sancta mundi Domina, which appears to have come from outside the

Beneventan milieu, begs the question of how it came to be copied in a Beneventan hymnary.

Given its presence in German manuscripts, it could be that the hymn was imported from there

through contacts with the Empire. There was, in fact, a tangible German influence in this part of

Italy in the late eleventh century, due to the changing political landscape. Shortly before this

time, Montecassino was led by abbot Richerius of Niederaltich, who was succeeded by another

German, Frederick of Lorraine (and future Pope Stephen IX).84 It is tempting and intriguing to

think that these men had something to do with the use and copying of chants from north of the

Alps in southern Italy, but this is also a hypothesis that is beyond the scope of the present study.

Regardless of how the hymn ended up in a manuscript like Naples VI G 31, one thing is clear:

the presence of a hymn from elsewhere, possibly from north of the Alps, in this hymnary

indicates that the repertoire of hymns known in southern Italy was larger than what is recorded in

83
According to Guido Maria Dreves, it thus originated in Germany. See Analecta Hymnica, vol. 51, no.
122. However, Jullien, “Les sources,” 180-81 lists Naples VI G 31 as the sole concordance for this hymn among the
manuscripts from France, Germany, and Italy whose contents are outlined in her table of hymn concordances.
Mearns lists Verona CIX (102), Naples VI G 31, and six German manuscripts as concordances. See Mearns, 62.
84
Leo Marsicanus and Peter the Deacon, Chronica Monasterii Casinensis, bk. II, ch. 56–65; Amatus of
Montecassino, The History of the Normans; Kelly, The Beneventan Chant, 39; Bloch, 30–32.
192
extant hymnaries. From what we have already seen, especially considering early hymnaries like

Ott. lat. 145 and Naples VI G 31 which also have affinities to central Italian hymnaries, the

repertoire of hymns copied in southern Italian hymnaries was broad and varied until the

Beneventan and Cassinese hymnaries, especially those that are tied to the newly-promulgated

ordinal prescriptions, led to hymnaries transmitting a more uniform, more synthetic, and

standardized hymnary.

Another Marian hymn, Nunc tibi virgo virginum, was notated later in the bottom margin

of folio 36r. It is easy to see that this melody, though difficult to transcribe since it is faded, has a

lacuna, and was not copied very neatly, is different from that for the same hymn found in Ben 42

(folio 154r). While it is not clear why this melody is transcribed here, the notation of the hymn

Iesu redemptor omnes perpes corona for the common of one martyr, likewise marginally notated

(folio 45v) might be more easily explained. This hymn is not found in Cassinese hymnaries

except for Paris Maz. 364; it is likely that it would have been unfamiliar at Montecassino, and so

the notator thought it best to record the melody as an aid-de-memoire in the margin.

Unfortunately, the neumes are so faded that the melody in Naples VI G 31 is practically

untranscribable; it is therefore difficult to ascertain whether or not this melody differs from that

in Ben 42. If it does, and if there is reason to believe that the marginal melody is a local or new

composition, this might explain why it was copied next to the text of a hymn that might

otherwise be known by a different melody.

One more question is raised by the notation in Naples VI G 31. Why is Urbs beata

Hierusalem, like O quam glorifica, similarly prepared for notation, since it is a hymn that was

not borrowed but quite common throughout Italy and Europe? It could be that the melody’s
193
complexity or the fact that the text is copied with different melodies in different hymnaries made

the notator of Naples VI G 31 think it appropriate to leave room for notation to specify which

melody was to be used with this hymn text. In Naples VI G 31, Urbs beata Hierusalem was

copied to receive notation, but the different ink of the neumes written in a different hand than

those for O quam glorifica indicate that the neumes were probably added later. Perhaps the

original notator was unsure of the melody. Moreover, the notator included neumes between the

text even after the end of the spaced-out text lines of the first strophe, not following the approach

to notation taken by the scribe who notated O quam glorifica. The notation of Urbs beata

Hierusalem in Naples VI G 31 is so faded that it is almost impossible to transcribe; nevertheless,

it is easy to see that the melody is different from that of Urbs beata Hierusalem in Ben 42. If the

melody in Ben 42 represents the one in current use regionally throughout southern Italy (or at

any rate in Benevento), it could thus have been notated in Naples VI G 31 because a melody

different from this was intended.

Whatever the case may be, the lack of original notation for Urbs beata Hierusalem

coupled with its preparation for neumes and the presence of neumes for O quam glorifica lends

even greater support to the hypothesis that this hymnary was copied for an institution dedicated

to the Virgin. The hymns for the dedication of a church were sometimes not copied at the end of

a hymnary, but in the calendrical placement of the historical date in which the dedication of the

church for which the hymnary was destined took place.85 Thus we see that in MC 506 the hymns

85
Thus in Cassinese ordinals, the office of the Dedication occurs on October 1, which is when the basilica
of St Benedict at Montecassino was dedicated. In Vat. lat. 4928 it is on February 17, which is when Sancta Sophia
was dedicated at Benevento, while in Ben 66 it is on November 24, when San Pietro was dedicated. Ordinals also
have another office of the Dedication in the common of saints, which is where the hymns for this feast are usually
located in hymnaries (Kelly, The Ordinal of Montecassino and Benevento, 209).
194
for the Dedication of a church occur between the hymns for the feast of All Saints and those for

the feast of St Martin, perhaps to recall the use of this office on November 5 in Cassinese

ordinals (the date of the dedication of the church of St Stephen, an important location for

processions during important feasts, at Montecassino). Similarly, in Getty 83 ML 97, they occur

between the hymns for St Michael in September and those for All Saints. In Vat. lat. 7172 from

Narni, they occur between the hymns for the feast of St Zeno and those for St Ambrose and the

common of the apostles. The proximity of Urbs beata Hierusalem to the hymn for the Virgin in

Naples VI G 31 might suggest that the dedication of the church in which the hymnary was used

took place on a Marian feast day, possibly because the church itself was dedicated to the Virgin.

It may have been prepared for notation in order to lend greater visual emphasis to this important

feast.

The hymn Urbs beata Hierusalem and its strange visual aspect in this manuscript

underline the close connection between liturgical manuscripts and the social context of liturgical

reform during this period. It would have been important to draw attention to the hymns for the

office of the Dedication since, as Louis I. Hamilton has pointed out, this feast was an opportunity

for ecclesiastical leaders to draw under their authority both the heavenly and earthly cities.86

Music in general, and thus presumably hymn singing, was also a fundamental aspect of the

liturgy of the dedication, as Bruno of Segni stated after the consecration of the new church at the

Abbey of Cava de Tirreni in 1092: “the most sweet harmony was heard, the modulations of

86
Hamilton, 78. As Hamilton states, “The liturgy [of the Dedication] called together a wide array of people
and began to subtly suggest to them a variety of ways to think abstractly about the city around them and how they
might live within it…Thus the liturgy created, almost inadvertently, a kind of formation of the participant that lent
itself to communal civic-mindedness.”
195
organs and flutes, at the most pleasant intervals, so that they were heard, not in the manner of

ears, but, reason being amazed, they excited even souls to piety and religion.”87 Naples VI G 31

thus provides a reflection of this dynamic liturgical context and its effects on liturgy and

liturgical manuscripts.

Musical notation creeps into Naples VI G 31, but so far we have not seen it take a

prominent place in the copying of hymnaries from Benevento and Montecassino. This might

have been because the hymn melodies were easily memorized and remembered, or because the

types of hymnaries we have examined thus far, being bound in composite volumes, tended

towards more concision as reference volumes. However, the occasional marginal hymn melodies

we have observed in Ott. lat. 145 and other manuscripts raise the question as to whether there

were hymnaries from southern Italy in which the musical notation of melodies was just as

important as a record of the hymn texts. And, indeed, such hymnaries did exist: the two

hymnaries from Benevento, Ben 42 and Ben 37, in which musical notation is a primary feature,

rich repositories of both texts and melodies that provide hints that the hymn repertoire of

southern Italy might have indeed been vaster and more varied than would otherwise appear.

Another hymnary from Bari likewise contains musical notation, as well as the hymnary Casan.

1574 from Gaeta.

Ben 42: A Notated Beneventan Anthology

Ben 42 resembles the other composite office books examined thus far, since it contains a

variety of material for the Divine Office bound together in a single codex.88 This codex, copied

87
Quoted in Idem, 75.
88
This manuscript has been described in detail in Mallet and Thibaut, II.255–80.
196
and bound in the last half of the twelfth century, contains items such as psalms, canticles,

litanies, hymnes, antiphons, and prayers. However, the libelli in this codex were not copied all

together, although they were bound at around the same time into what is now Ben 42. Three

different scribal hands copied Ben 42. The first scribe copied the psalter while the second scribe

copied the capitula on folios 74r-95v. The third scribe copied the hymns in the manuscript,

which begin on folio 97r and end on folio 174r, along with the canticles of the third nocturn,

antiphons, prayers, and common offices that follow the hymnary until the end of the manuscript

on folio 281v. This scribe was also responsible for adding notation to the first strophe of each

hymn in the hymnary. The codex underwent some mutilation after the fourteenth century; for

example, the beginning of the codex, the part with the psalms, has a substantial lacuna of four

quaternions, but luckily this did not affect the contents of the hymnary. With Ben 42, therefore,

we have a complete hymnary copied in Benevento (probably at Santa Sofia89) in the later twelfth

century for a convent of nuns,90 possibly that of San Pietro intra muros or of San Vittorino,91

with musical notation for the first strophes of each hymn. As such, this codex represents an

important source of hymns used in Benevento at the time of its copying.

Given this background, what is surprising is that Ben 42 also contains many more

sanctoral hymns, including a few unique ones, than other hymnaries copied at the same time, and

especially those copied without notation, and those copied in volumes that contained ordinals.

89
Virginia Brown, “Origine et provenance des manuscrits bénéventains conservés à la Bibliothèque
Capitulaire,” in La Cathédrale de Bénévent, ed. Thomas Forrest Kelly (Ghent and Amsterdam: Ludion, 1999), 149–
165.
90
Mallet and Thibaut, II.279–80.
91
See Carmelo Lepore, “Monasticon Beneventanum: Insediamenti monastici di regola benedettina in
Benevento,” Studi Beneventani IV (1995): 25–168.
197
Ben 42 appears to be, therefore, somewhat of an anthology collection of hymns used in

Benevento, along with their melodies. Its purpose could have been to record the texts and

melodies for posterity, especially considering the absence of so many of these from manuscripts

with ordinals that might have been meant to direct the practice of the divine office at Benevento.

Comparing Ben 42 to Vat. lat. 4928 and Naples VI E 43 shows that many hymns were omitted

from ordinal hymnaries that were included in Ben 42.

Ben 42’s hymn repertoire resembles that of Naples VI E 43 more than it does that of Vat.

lat. 4928. This might be due to the concise nature of Vat. lat. 4928’s repertoire; but closer

inspection shows that in fact Ben 42 and Naples VI E 43 may have been copied from the same or

similar exemplars. The hymns that Ben 42 shares with Naples VI E 43 but not with Vat. lat. 4928

are the following:

Ambrosi sidus aureum St Ambrose

Ut digne possint St Vincent
Paule doctor egregie Conversion of St Paul
Hodie sacratissima virgo St Scholastica
Pangamus pariter St Barbatus
Deus eterne famulos Forty Martyrs
Anglorum iam apostolus St Gregory
Fratres alacri pectore St Benedict
Festa sacrata presulis St Apollinaris
Iam sacra dies annua Seven Brother Martyrs
Almi prophete St John the Baptist
Votis tuorum Holy Twelve Brothers
Illuminavit hunc diem St Michael
Rex gloriose martyrum Common of Several Martyrs
Iesu corona virginum Common of Virgins

In addition, in Ben 42 the hymn for the common of apostles, Annue Christe, is divided into

hymns for each of the apostles just as it is in Naples VI E 43 (but not in Vat. lat. 4928). These

hymns are worth mentioning since most of them are local hymn texts found only in southern or
198
central Italy; Ben 42’s affinity to Naples VI E 43, therefore, may indicate that these hymnaries

were both copied from the same Beneventan exemplar, which was perhaps notated. It is also

telling that many of these hymns are not cited in ordinals (the differences between Naples VI E

43’s hymnary and its own ordinal have already been discussed). Such local hymns may have not

been copied in Vat. lat. 4928 in an effort to follow ordinal dictates that did not include so many

local hymns. For example, Ambrosi sidus aureum is a hymn not cited in ordinals with

concordances in several Cassinese hymnaries. It is not found among Beneventan hymnaries

except, of course, in these two manuscripts.92 This hymn by St Peter Damian was therefore

probably composed at Montecassino but not unknown in Benevento, and thought important

enough to be used in the divine office, albeit at a local level. Another hymn by St Peter Damian,

Anglorum iam apostolus for St Gregory, is found also in Urb. lat. 585 and Ott. lat. 145, but not in

other hymnaries.93 The hymn Fratres alacri pectore for St Benedict is found in many

manuscripts from central and southern Italy, and in addition it is found in Paris 14143, a collectar

from Corbie of the ninth century94; this ancient hymn by Paul the Deacon may have reached

Corbie during one of his travels. Festa sacrata presulis for St Apollinaris is likewise a local

hymn.95

92
Analecta Hymnica, vol. 22, no. 32 lists Urb. lat. 585, MC 559, MC 506, and Barberin. XI 171, a
thirteenth-century hymnary from Sorrento, as concordances. Mearns, 8, adds to this Florence, conv. supp. 524, Paris
Maz 364, and Naples VI E 43. Jullien, 174–175, lists Naples VI E 43 and Paris Maz 364. In fact the hymn is also
present in Getty 83 ML 97 and, of course, Ben 42.
93
Mearns, 8, acknowledges all these concordances except Ben 42; Analecta Hymnica, vol. 22, no. 195 cites
Urb. lat. 585 and Naples VI E 43 as concordances; Jullien, “Les sources,” 179 cites Naples VI E 43.
94
Analecta Hymnica, vol. 50, no. 95 cites Paris 14143, MC 506, Ott. lat. 145, the Narni hymnaries, Rh 91,
Rh 82, and Naples VI E 43 as concordances. Mearns, 35, adds Farfa 4, Urb. lat. 585, and Paris Maz 364 to this. It is
also found in Chigi C VI 177 and Casan. 1754.
95
Analecta Hymnica, vol. 14, no. 98 lists the Narni hymnaries, Vallicell. B 79, Naples VI E 43, MC 559, a
fifteenth-century manuscript from MC, MC 869, and a thirteenth-century breviary from Florence as concordances.
199
 Other hymns shared between Ben 42 and Naples VI E 43 but no other hymnary reinforce

the hypothesis that these hymnaries may have been copied from the same exemplar at

Benevento, and that this exemplar had more hymns than are found in other extant hymnaries

from Benevento. The hymn Ut digne possint for the feast of St Vincent is a local hymn not cited

in ordinals; it is not found in any other hymnary besides these two.96 Similarly, Paule, doctor

egregie by St Peter Damian is copied in these two hymnaries but not in any other hymnary. 97

Pangamus pariter for St Barbatus and Deus eterne famulos for the Forty Martyrs present similar

cases.98 The same can be said for Iam sacra dies and Votis tuorum for the Seven Brother Martyrs

and the Holy Twelve Brothers, respectively.99 All of these hymns were probably composed at

Benevento. None of them are cited in ordinals. Ben 42, which contains musical notation, is thus

the sole witness to the melodies that were sung to these hymn texts at Benevento.100

The hymns shared by Ben 42 and Vat. lat. 4928 but not in Naples VI E 43 indicate that

Ben 42 was, indeed, more of an anthology comprising hymns that were known in Benevento but

which, gradually, were omitted from hymnaries (such as those attached to ordinals) whose

Mearns, 33, lists the Narni hymnaries, Ott. lat. 145, Naples VI E 43, Vallicell. B 79, and MC 559. Jullien, “Les
sources,” 174–75, lists Naples VI E 43. It is also found in Casan. 1754.
96
Analecta Hymnica, vol. 22, no. 486 cites Naples VI E 43 as the sole concordance, as does Mearns, 88.
97
Analecta Hymnica, vol. 48, no. 45 cites only a fifteenth century manuscript as a concordance. Mearns,
65, lists Naples VI E 43 as the sole concordance.
98
For the former hymn, Analecta Hymnica, vol. 22, no. 79 and Mearns, 65, and Jullien, “Les sources,”
176–77, list Naples VI E 43 as the sole concordance. It may be worth noting the unusual Asclepiadean meter of
Pangamus pariter, with its iambic trimetric, twelve-syllable lines; this could also be a hallmark of a more local
composition. Deus eterne famulos is cited in Analecta Hymnica, vol. 22, no. 319 and Mearns, 27, and Jullien, “Les
sources,” 178–79, with Naples VI E 43 as the sole concordance.
99
The former is cited in the Analecta Hymnica, vol. 22, no. 108 and in Mearns, 46, and Jullien, “Les
sources,” 178–79, with Naples VI E 43 as the sole concordance.
100
More about the melodies in Ben 42 will be discussed in Chapter Five.
200
repertoires were more selective. The hymns shared between Vat. lat. 4928 and Ben 42 are the

following:

Hostis Herodes impie Holy Innocents

Sic ter quaternis Lent
Gaudet sanctorum St Iuvenal
Sublime nobis imminet St Boniface
Adstat en turba St Boniface
Agonitheta nobilis St Cyriacus
Ymnum canamus socii St Cyriacus
Christi caterva pervigil Holy Twelve Brothers

Just like the hymns shared between Naples VI E 43 and Ben 42, these hymns are mostly local

compositions that are not cited in ordinals. The hymns for St Cyriacus are present in a few more

hymnaries from Benevento and central Italy, but they are by no means common, and they are not

present in Cassinese hymnaries. Christi caterva is present also in Ott. lat. 145, but not in other

Beneventan, Cassinese, or central Italian hymnaries. Gaudet sanctorum, Sublime nobis imminet,

and Adstat en turba are shared by these two hymnaries but they are not present in other

hymnaries from Montecassino, Benevento, or central Italy.101 These hymns show that, whatever

the exemplar from which Ben 42 was copied, it must have had a great number of local hymns;

Naples VI E 43 and Vat. lat. 4928 may have been copied from the same or a similar exemplar,

but only selectively included local hymns.

Certain hymns in Ben 42 that are not in the ordinal hymnaries from Benevento are

perhaps most revealing of the expansiveness of Ben 42’s repertoire. Most of these hymns are,

101
Analecta Hymnica, vol. 22, no. 258; vol. 22, no. 96; vol. 22, no. 97 and Meanrs, 98, 106, 92 list Vat. lat.
4928 as the sole concordance for these three hymns.
201
again, local, and most of them are for sanctoral feasts. The hymns in Ben 42 that are not found in

Naples VI E 43 or in Vat. lat. 4928 are the following:

Christe lux mundi St Lucy

Sancti Thome St Thomas
Silvestri almi presulis St Sylvester
Festum beati martyris St Mark
Clarus hec signis St Leo
Paschalis dies colitur Easter
Eustasii magni martyri St Eustace
Sancti illi presulis Common of Confessors

Christe lux mundi for St Lucy and Sancti Thome for St Thomas are not found in other

Beneventan or Cassinese hymnaries with the exception of Ott. lat. 145. They are, however,

present in the Narni hymnaries. Sancti Thome is also found in Farfa A 209, Rh 91, and Naples VI

G 29. Silvestri almi presulis for St Sylvester is found in Ben 37 and in Ott. lat. 145, but not in

any Cassinese hymnaries. It is also found in several hymnaries from central Italy, including the

Narni hymnaries, Rh 82, Farfa A 209, Chigi C VI 177, and Rh 91. Festum beati martyris for St

Mark is similarly found in Ben 37, in the Narni hymnaries (we do not know if it was present at

one time in Ott. lat. 145, since there is a lacuna in the manuscript at this point), Rh 91, and

Naples VI G 29. Eustasii magni martyri for St Eustace is found in Ben 37. Clarus hec signis for

St Leo, Paschalis dies colitur for Easter and Sancti illi presulis for the common of confessors are

unique to Ben 42. Taking all this evidence together, it is safe to say that Ben 42 contained a very

local, Beneventan repertoire, but that it also demonstrates how many more hymns were known in

Benevento than are copied simply in the ordinal hymnaries Naples VI E 43 and Vat. lat. 4928.

The hymns that are unique to this manuscript may indicate an ongoing tradition of hymn

composition at Benevento in the twelfth century, or else they may represent hymns that were

202
retained in this anthology-like codex but that had ceased to be copied in manuscripts. In the

absence of further manuscript witnesses, we can say that Ben 42 represents a valuable source of

local hymn melodies and texts.

To say that Ben 42 was an anthology-like hymnary for recording hymn texts and

melodies for posterity is not, however, to conclude that this manuscript was not actually used in

the recitation of the divine office. Indeed, as Jean Mallet and André Thibaut have pointed out,

the codex seems to have been used at Benevento until at least the fourteenth century, given the

presence of various later marginal additions.102 Thus, rather than seeing the concise hymnaries of

the ordinal manuscripts from Benevento as representing the “norm” or the standard for the

hymns used in the recitation of the divine office, Ben 42 may give a more accurate picture of

what a Beneventan hymnary actually looked like in the twelfth century. Further support for the

observation that Beneventan hymnaries were once more prolix and contained musical notation is

given by the survival of another hymnary, now bound in the codex Ben 37. Like Ben 42, Ben 37

was used at a convent of nuns in Benevento; like Ben 42, it is a composite manuscript for the

Divine office with libelli copied by different scribal hands. However, it was copied nearly a

century before Ben 42, and its musical notation comprises not just the first strophe of each hymn,

but every single strophe of every single hymn. Could Ben 37 be a vestige of an “original”

Beneventan hymnary? While a more detailed comparison of Ben 42 and Ben 37 will follow in

Chapter Five, for now it is worth exploring the features of Ben 37 to discover yet another way in

which hymns were copied at Benevento.

102
Mallet and Thibaut, II.280.
203
 Ben 37: An Original Beneventan Hymnary?

One would expect all manuscripts similar to the ones with ordinals, namely, composite

volumes for the Divine Office, to likewise have the same hymns, the same organization, and to

be copied in similar ways (i.e., complete texts mostly without musical notation). While great

uniformity does exist in composite office manuscripts containing hymnaries, the differences

reveal that hymnaries in these composite manuscripts either followed closely the ordinal

prescriptions or were more flexible in incorporating local hymn repertoire and greater number of

hymns for sanctoral feasts. There is evidence to suggest that this latter type of composite

hymnary drew its repertoire from manuscripts in central and southern Italy with larger

collections of hymns, with greater numbers of local texts. This more expanded underlying

repertoire of hymns were selected and standardized in the hymnaries with the ordinals to reflect

the more concise ordinal hymn prescriptions.

Ben 37 is the earliest still-extant hymnary from southern Italy in which hymns are copied

with full musical notation for each strophe of text. This layout is unusual for hymnaries, since a

hymn’s strophic melodic structure does not necessitate the re-copying of the melody for every

single strophe. Why would this layout have been used in Ben 37? Was it once more common, or

is Ben 37 an unusual outlier? One advantage of this layout is that the melodies follow more

closely the nuances of the text, since liquescent neumes, for example, could be indicated on

appropriate syllables as the text required. It could also serve didactic purposes. These nuance

neumes were much more common before the twelfth century and gradually fell out of use. The

204
format of the hymns in Ben 37 might reflect the desire or the need to record these melodic signs

meticulously in the place where the manuscript was copied.103

Another possible reason for the fully-notated format of Ben 37’s hymnary is suggested by

the gathering structure of the manuscript. Like the other manuscripts examined in this chapter,

Ben 37 is a composite manuscript made of different smaller collections of liturgical items.

Unlike most of the other hymnaries examined here, this one was clearly copied at a different

time than the other items in the manuscript and may therefore have been extracted from another

manuscript that exclusively contained hymns. Such a single-genre codex would explain the

layout of the hymns with complete musical notation, since there would be ample room to include

fully-notated strophes. Perhaps at one time complete hymnaries such as this were widespread in

the Beneventan region and later dismembered or rearranged into libelli according to the needs of

the religious community to which they belonged to resemble other composite office codices.

Indeed, a closer look at the contents and format of this hymnary supports this view.

The codex Ben 37 as a whole was copied for the monastery of San Pietro intra muros of

Benevento, but not all the items (i.e., the martyrology, the hymnary, etc., corresponding to

separate libelli) in this composite manuscript were copied at the same time. The hymnary in Ben

37 was taken from a different manuscript and bound to the codex later—perhaps substantially

later—than its initial date of copying. The first part of the codex Ben 37, folios 1r-18v, was

copied by a late eleventh-century scribe, while the hymnary on folios 19r-54v was copied by a

different eleventh-century scribe (with a few 12th-century replacements, namely, folios 47r-52v),

103
Boynton, “Orality, Literacy, and the Early Notation of the Office Hymns,” 119–24.
205
and the final section of the manuscript containing litanies, a martyrology-necrology, and the Rule

of saint Benedict was copied by two different scribal hands at the end of the eleventh century.

There were once many more hymns in Ben 37’s hymnary than survived in the

manuscript; indeed, the hymnary was probably once large enough to have constituted a separate

volume, especially considering the fact that each hymn was apparently fully notated. The

incomplete hymn collection of Ben 37, when ordered according to the liturgical year, includes

hymns from the feast of the Holy Innocents to that of saints Peter and Paul. This hymn ordering,

originally according to liturgical calendar, was significantly changed due to subsequent

reordering of the folios and gatherings when the hymnary was bound to the other libelli in the

codex. Table 6 shows the gatherings with the hymns in liturgical calendar order.

Table 6: Contents and gathering structure of Ben 37’s hymnary

f. 47-52 ff. 36, 19, 37 ff. 35, 53-58, ff. 39-46 ff. 20-26 ff. 34, 27-32,
38 33

Holy Vincent Gregory (end) St Benedict Easter Eustasius

Innocents Scholastica Septuagesima (end) Mark Vitus (begins f.
Sylvester Sabinus Nazarius Annunciation Michael 34, ends f. 27)
Epiphany (begins on f. Sunday Lent Passion Sun. Ascension Bartholomew
Maurus 19, ends on f. Ferial Lent Palm Sunday Pentecost John Baptist
Sebastian 37); (end on f. 38) Maundy John and Paul
Agnes Gregory Benedict Thursday Peter and Paul
Vincent (beginning) (beginning) Easter (part)
(beginning)

206
The confusing folio numbering at the top, which reflects the foliation given after the reordering

of the gatherings, shows the extent of the rearrangement of folios.104 The gathering with folios

47-52 was a twelfth-century addition to the collection; it was probably at this time that the

dismembered codex was put together and reordered. All the hymns except those on this

replacement gathering and the hymn for the feast of saint Nazarius, which was added

interlinearly later, are notated.

The most unfortunate consequence of the dismantling and reordering of Ben 37 is the

unmistakable loss of many local hymn texts and melodies. The number of unique or local hymn

texts in Ben 37 will be discussed in detail in Chapter Five, and from this we can see that the

hymnary once contained an even greater number of such unique or local hymns, apparently fully

notated. Nor do the twelfth-century additions to the hymnary, which sought to fill some lacunae,

help this situation much, because the added hymns were not copied with notation. The hymn

Infantum diem martyrum for the Holy Innocents copied in Ben 37 provides one example of how

the twelfth-century additions, which omit melodic information that might have been invaluable

for the preservation of local hymn melodies, fall short of fully filling the lacunae in the original

collection. Infantum diem martyrum seems to be found only in central or southern Italian

manuscripts: it is found (besides in Ben 37) in the Narni hymnaries, in MC 506, Naples VI E 43,

Ott. lat. 145, and Urb. lat. 585.105 None of these other concordances contain musical notation for

this hymn. Unfortunately, since it is on folio 47v of Ben 37, one of the added folios, it is not

104
For a complete paleographical description of Ben 37, see Mallet and Thibaut, II.193–235.
105
Mearns, 43 cites all these concordances except, of course, Ben 37. Jullien, “Les sources,” 178–79, cites
it in Naples VI E 43. Analecta Hymnica, vol. 14, no. 21 cites it in the Narni hymnaries, in MC 506, and in Naples VI
E 43.
207
notated, which means that the melody for this hymn text is not notated in any extant manuscript.

We cannot, therefore, know whether a local melody was once used for this hymn.

Other losses to what might have constituted a formidable source of local hymn texts and

melodies in Ben 37 are due to extensive lacunae in this hymnary. There is a lacuna of five folios

after folio 36 (hymn for the feast of St Sabinus of Canosa, celebrated on February 9), and one

folio after folio 21 (hymn for the feast of St Michael), which accounts for the omission in Ben 37

of hymns for some important Beneventan feasts such as that of St Barbatus, feasts which have

hymn assignments in the more complete hymn collection in Ben 42. These lacunae are telling

about what must have been, originally, the large hymnary that was later dismantled and bound to

the codex Ben 37. For example, in Ben 37’s hymnary, four folios are missing after folio 26,

which contains the hymns for the feast of Pentecost.106 A first glance at the hymn contents of

Ben 37 would not seem to suggest that there are any missing hymns after those for Pentecost;

after all, here, as in most other Beneventan and Cassinese hymnaries, the hymns for St John the

Baptist follow close on the heels of those for Pentecost. There are only a few intervening hymns

in Ben 37: those for St Vitus (celebrated June 13), and for St Bartholomew (celebrated on June

17 in the Beneventan calendar but usually in August).107 So what other hymns could be missing

between Pentecost and St John the Baptist, given the codicological evidence of four missing

folios?

106
See Mallet and Thibaut, II.193 and II.203.
107
Although the hymn for St Eustace (whose feast day, usually September 20, is also celebrated on May 20
in places of southern Italy) also comes between the Pentecost and St John the Baptist hymns in Ben 37, its
placement in Ben 37 should come before the feast of Pentecost as it does in Ben 42.
208
 To propose an answer to this question based on a comparison of the repertoire of Ben 37

and of the other manuscripts in this study means to draw some interesting parallels between Ben

37 and other eleventh-century hymnaries copied beyond the borders of the Beneventan scriptoria

of Santa Sofia and Montecassino. Indeed, an examination of the repertoire of Ben 37 and those

of other hymnaries shows that the missing hymns of Ben 37 were hymns found also in central

Italian hymnaries, and sporadically in other Beneventan hymnaries. To test this hypothesis, it

will be necessary to examine which hymns are, in fact, copied between the feasts of Pentecost

and St John the Baptist in hymnaries from Benevento, Monteecassino, and central Italy.

Most Beneventan and Cassinese hymnaries contain no hymns between the feasts of

Pentecost and St John the Baptist. Nevertheless, four of them (Ott. lat. 145, MC 559, Ben 42, and

Vat. lat. 4928) do; we can thus begin with a closer examination of the post-Pentecost hymns in

these manuscripts to see whether some of these hymns might have once been present in Ben 37

as well. Table 7 outlines the post-Pentecost hymns in these manuscripts. As shown in table 7, the

hymns for Pentecost in Ott. lat. 145 are immediately followed by three hymns, one to Sts

Vincent and Anastasius, Festum sacrata martyrum, and two for St Vitus, Ad Viti beatissimi, and

Alma beati martyris Viti. The first of these is unique to this manuscript.108 The second is shared

with the Narni hymnaries and Naples VI G 29, and the last is found in Ott. lat. 145, the Narni

hymnaries, Ben 37, and a few more hymnaries outside southern Italy.109 The next feast with

hymns after Pentecost in Ott. lat. 145 is that of St Erasmus, with the unique hymn Rex metuende

108
See contents of hymnaries in Appendix A. Analecta Hymnica, vol. 43, no. 51 and Mearns, 34 list Ott.
lat. 145 as the sole concordance.
109
Mearns, 2; Analecta Hymnica, vol. 14, no. 87. Also see contents of hymnaries in Appendix A.
209
omnium.110 Then come the hymns for St John the Baptist. In Vat. lat. 4928, as in other

Beneventan and Cassinese hymnaries, the hymns for St John the Baptist would follow

immediately after those of Pentecost, were it not for the presence of the hymn to St Eleutherius,

Aula celestis. Similarly, in MC 559, the hymns for St John the Baptist are separated from those

of Pentecost by a single hymn, Grates tibi Iesum novas for Sts Gervase and Protase.

110
See Appendix A. Mearns, 6 also lists the tenth-century rituale Munich, Clm 17027 and the eleventh-
century hymnary Verona CIX (102); Analecta Hymnica, vol. 14, no. 88 lists the Narni hymnaries alone as
concordances.
210
Table 7: Synoptic view of manuscripts with hymns for Sts Erasmus, Vitus, Eustace, Eleutherius,
Gervase and Protase following the feast of Pentecost

Vat. lat. 4928

hymnaries111

Naples VI G
Ott. lat. 145
MC 559
Ben 37

Ben 42

Narni
Hymn incipit Feast

29
25r 143r 236v 174 56v112 88v 55r Veni creator Spiritus Pentecost
25v 143r 237r 174 56r 89r 56r Beata nobis gaudia Pentecost
Iam Christus astra Pentecost
26r 143v 237r 175 56r 89v 56v
ascenderat
89v Anni peractis mensibus Pentecost
90r Et hoc supernum munus Pentecost
? 237v Aula celestis St Eleutherius
34r113 142r114 Eustasii magni martyris St Eustace
? 57r Festum sacrata martyrum St Vitus
? 57v 92r115 57v Ad Viti beatissimi St Vitus
34v-27r 58r 92v116 Alma beati martyris St Vitus
? 90v Apologetici martyrem St Erasmus
? 91r Hostem humani generis St Erasmus
? 58v 91v Rex metuende omnium St Erasmus
? 175 63v117 93r 58v Grates tibi Iesum novas Sts Gervase, P.
27r118 70r 113v 71v Ad laudem Christi proc. St Bartholomew
28r 70v 114r Gaudium mundi Christe St Bartholomew
29r 144r 238r 176 59r 94r 59v Ut queant laxis St John Baptist

Given the paucity of these post-Pentecost, pre-St John the Baptist hymns in Beneventan

and Cassinese hymnaries, one wonders why Ott. lat. 145 contains so many, and why two show

111
Folios from Vat. lat. 7172 are given, although the hymns appear in the same order in Paris 1092.
112
Immediately follows Iam Christus astra ascenderat in this manuscript.
113
This hymn immediately precedes those of Pentecost in Ben 42, the other hymnary with which Ben 37
shares this hymn. Note that the strange folio numbering reflects the re-organization of the folios of this manuscript.
This is where the hymn should come, were the folios in proper order.
114
Note that the hymn to St Eustasius in Ben 42 immediately precedes those of Pentecost; in the
manuscript, therefore, there are no hymns copied between Pentecost and St John the Baptist, in keeping with the
usual layout of most Beneventan and Cassinese hymnaries.
115
Comes after the hymns for St Erasmus in this manuscript.
116
Comes after the hymns for St Erasmus in this manuscript.
117
Follows the hymns for the feast of Sts Peter and Paul in this manuscript.
118
Note that the other manuscripts have these hymns for the feast of St Bartholomew for his feast in
August, after the Assumption. The placement of his feast here is an archaic characteristic of Ben 37.
211
up in Vat. lat. 4928 and MC 559. In fact, there is reason to believe that such hymns were once

more widespread in Benevento, given the evidence for these hymns in some central Italian

manuscripts. In the Narni hymnaries, the hymns for Pentecost are followed by two unique hymns

for St Erasmus, Hostem humani generis and Apologetici martyrum, then by the two hymns for St

Vitus, Ad Viti beatissimi and Alma beati martyris, shared with Ott. lat. 145. Grates tibi Iesum

novas for Sts Gervase and Protase follow these hymns and precede the hymns for St John the

Baptist. Compared to Ott. lat. 145 and the Narni hymnaries, the Neapolitan manuscript Naples

VI G 29 looks relatively conservative in its inclusion of hymns between Pentecost and St John

the Baptist; nevertheless, these hymns are indeed present in Naples VI G 29, including Ad Viti

beatissimi for St Vitus and Grates tibi Iesum novas for Sts Gervase and Protase. Thus hymns for

four feasts—St Eleutherius, St Vitus, St Erasmus, and Sts Gervase and Protase—that, moreover,

appear to be found only in manuscripts from central and southern Italy are copied between the

hymns of Pentecost and those of St John the Baptist in a few manuscripts from these areas.

Whether these hymns originated in southern or central Italy remains subject to conjecture, but

what we can conclude from this survey is that Beneventan manuscripts could, in fact, contain

hymns for feasts between Pentecost and St John the Baptist, hymns that were known in central

Italy as well. These hymns were not copied in more standardized hymnaries, Vat. lat. 4928 being

the only southern Italian ordinal hymnary to have one (and only one) of these local hymns copied

between those of Pentecost and St John the Baptist.

Thus it is reasonable to suppose that the missing hymns from Ben 37 might have been

those for the feast of St Erasmus and possibly a few more hymns for St Vitus as well as Grates

tibi Iesum for Sts Gervase and Protase. All of these feasts have hymns in the Narni hymnaries
212
and in Ott. lat. 145, the Beneventan hymnary whose similarities to central Italian hymnaries has

already been discussed. In fact, Ben 37 might even have contained the feast for St Eleutherius,

celebrated on May 26, but since this hymn is, as far as extant hymnaries attest, unique to Vat. lat.

4928, this hypothesis is more speculative. This parallel with central Italian manuscripts suggests

that, at the time Ben 37 was copied, the hymn repertoire it contained was not only very large

compared to those of later southern Italian hymnaries, but also that the repertoire was shared

with areas of central Italy outside the scriptorium centers of Benevento and Montecassino.

We can imagine the following scenario: to make up for the missing folios which would

have contained the hymns to St Erasmus, those who rearranged the gatherings of Ben 37 added

the bifolium that is now folios 33 and 34 with the hymns of St Eustace (May 20) and Sts Peter

and Paul. The hymn to St Eustace, Eustasii magni martyris, in Ben 37 seems to leave no room

for the feast of Saint Erasmus of June 2. But this same hymn, also present in Ben 42 and in no

other manuscript, seems to be, in fact, out of place in Ben 37. Ben 42 has this hymn, which in

Ben 37 is copied between the hymns for Pentecost and for St John the Baptist. In Ben 42, this

hymn is copied before the hymns for Pentecost. Evidently the compilers (or rather, the re-

arrangers) of Ben 37 were mistaken in beginning to copy this hymn on folio 27r, after the feast

of Pentecost.

This examination of the gathering structure and lacunae of Ben 37 suggest that it was

once a much larger hymnary with many hymns that were shared with regions of central Italy but

that, with a few exceptions, were not copied in hymnaries from Benevento and Montecassino

with more standardized repertoire. Indeed it may have been for this reason that the folios

containing these hymns were excised from Ben 37 before it was recompiled. If it had a large
213
repertoire, all fully notated, it is reasonable to suppose that Ben 37 might have once been a

separate, complete hymnary, or at least a manuscript more akin to the Narni hymnaries, which

contain little material besides hymns.

Another indication that Ben 37 was once a complete and separate hymnary with a greater

number of hymn texts (and local hymn texts) than most other southern Italian hymnaries is

provided by its still-extant hymn contents. For some feasts in Ben 37, more than one hymn is

included for a given feast. The feasts with more than one hymn are summarized in Table 8.

Table 8: Feasts with more than one hymn in Ben 37

Feast Number of hymns for this feast Local or unique hymns among these
Holy Innocents 3 Infantum diem martirum119
Epiphany 3
Beatus vir Vincentius120
St Vincent 3
Agonitheta nobilis cultorque121
Septuagesima 2
Quadragesima 10 Iam lucis splendor rutilat122
Annunciation 2 Deus qui mundum crimine123
Passion Sunday 3
Easter 5

119
Analecta hymnica, vol. 14, no. 21 lists the Narni hymnaries, MC 506, Naples VI E 43, and Urb. lat. 585
as concordances; Mearns, 43, adds to this Ott. lat. 145; Jullien, “Les sources,” lists Naples VI E 43.
120
Analecta Hymnica, vol. 14, no. 41 and Mearns, 15, list the Narni hymnaries as concordances; it is not
included in Jullien’s table in idem, “Les sources.”
121
Analecta Hymnica, vol. 14, no. 109 lists the Narni hymnaries, Rh 91, and Florence, Conv. Sup. 524 as
concordances; Mearns, 6, adds Ott. lat. 145 and Vat. lat. 4928 to this; Jullien, “Les sources,” lists Rh 91. In fact it is
also in Ben 42.
122
Jullien, “Les sources,” 170–71, lists Rh 82 and Naples VI E 43 as concordances. Analecta Hymnica, vol.
12, no. 11 lists a fourteenth-century Celestinian manuscript from Avignon; Mearns. 45, lists the Narni hymnaries,
Farfa 4, MC 420, MC 506, Naples VI E 43, Paris Maz 364, Ott. lat. 145, Verona CIX (102), Rh 82, Naples VI F 2,
Urb. lat. 585, Vat. lat. 4928. In fact it is also copied in Getty 83 ML 97, Ben 42, Farfa A 209, Chigi C V 177, Naples
VI G 29, Casan. 1574.
123
Mearns, 28, lists the Moissac hymnary (Rossi 205), the Narni hymnaries, Casan. 1907 from Monte
Amiata, Rh 91, MC 420, MC 506, Naples VI E 43, Paris Maz 364, Ott. lat. 145, Verona CIX (102), Rh 82, Naples
VI 2, Urb. lat. 585, Vat. lat. 4928, to which Analecta Hymnica adds Viena 1106 and a thirteenth century
manuscript, Paris 10479. Jullien, “Les sources,” 180–81, lists Rh 91, Rh 82, Naples VI E 43, Paris Maz 364.
Although its presence in the Rossi 205 and Verona CIX (102) makes this hymn not strictly local to central and
southern Italy, its distribution seems sufficiently confined to manuscripts primarily from this area. It is also found in
Casan. 1574, Naples VI G 29, Chigi C VI 177, Farfa A 209, Ben 42, and Getty 83 ML 97.
214
 Funeris victor triduo124
Ascension 4
Iam Christus ascendit polum125
Pentecost 3
Ad laudem Christi procerum126
St Bartholomew 2
Gaudium mundi Christe127
St John Baptist 3 Deus qui verbi angelo128
O clara mundi lumina129
Sts John and Paul 2
Decessit ut mitissimus130
Sts Peter and Paul 3

Sometimes these additional hymns are local to the Beneventan zone. One of the three alternate

hymns for the Feast of St John the Baptist, Deus qui verbi angelo, and the hymns for Sts John

and Paul (a feast not usually given hymns), O clara mundi lumina and Decessit ut mitissimus, are

unique to Ben 37. Due to the high number of local texts in these alternate hymns (indeed, there is

at least one local hymn for all the feasts in Ben 37 given more than one hymn except those of the

Epiphany, Seputagesima, Passion Sunday, Easter, Pentecost, and saints Peter and Paul), we see

that alternate hymns for feasts of local importance maintained local flavor in the divine office at

Benevento, even though the divine office was becoming more standardized in southern Italy.

124
Mearns, 36, lists the Narni hymnaries and Ott. lat. 145 as concordances; Jullien does not mention this
hymn; Analecta Hymnica, vol. 14, no. 81 lists the Narni hymnaries.
125
Mearns, 44, lists as concordances the Narni hymnaries, MC 506, Naples VI E 43, Paris Maz 364, Ott.
lat. 145, MC 559, Naples VI F 2, Urb. lat. 585, Vat. lat. 4928. Analecta Hymnica, vol. 50, no. 60, lists Ott. lat. 145,
the Narni hymnaries, MC 506, and Naples VI F 2. Jullien, “Les sources,” 174–75 lists Naples VI E 43, and Paris
Maz 364. In fact the hymn is also in Getty 83 ML 97 and Casan. 1754.
126
Jullien, “Les sources,” 176–77, lists Naples VI E 43 as a concordance; Mearns, 2, adds to this the Narni
hymnaries, Vat. lat. 7018 (breviary from Reggio Emilia, eleventh century), Ott. lat. 145, Vat. lat. 4928; Analecta
Hymnica, vol. 14, no. 110 lists the Narni hymnaries, Vat. lat. 7018, Vat. lat. 4928, Naples VI E 43, and Barb. lat. XI
171 (thirteenth century Italian manuscript) as concordances. It is also in Ben 42 and Naples VI G 29.
127
Analecta Hymnica, vol. 14, no. 111 and Mearns, 37, list as concordances the Narni hymnaries, Vat. lat.
7018 from Reggio Emilia, Naples VI E 43, and Vat. lat. 4928; Jullien lists Naples VI E 43. It is also in Ben 42.
128
Not cited in any concordance study of hymns.
129
Not cited in any concordance study of hymns.
130
Not cited in any concordance study of hymns.
215
 Some hymns in Ben 37 appear to be local hymns because they are uncommon and found

in a limited number of southern Italian codices, but closer examination shows that they are

actually found in manuscripts from other regions. One such hymn is Verbum patris principium

for the Holy Innocents. The hymn is found in Ben 37, in Chigi C VI 177, in Rh 91, in the Narni

hymnaries, and in Verona CIX (102). Besides its presence in these manuscripts, this hymn is

found in a few eleventh-century manuscripts from St. Gall and Kempten.131 Ben 37 is the only

southern Italian manuscript, therefore, to have this hymn. It could thus have been imported to

southern Italy from the north early on, attesting to an exchange of repertoire in the eleventh

century between Benevento and places such as St. Gall that is not so evident in later hymnaries.

More about the unique and local hymns in Ben 37 will be discussed in Chapter Five; for

now, it is evident that Ben 37 represents an important source of local and unique hymn texts and

musical notation. Moreover, the early date of this manuscript and the likelihood that it was once

a stand-alone hymnary might lead us to consider whether most hymnaries in southern Italy were

once copied with the same format: fully notated, with a large number of hymns, some of which

are found in manuscripts from central Italy. As hymnaries, and indeed most texts for the divine

office, became more standardized and concise, the format of the notated, stand-alone hymnary

might have yielded to the format of a hymnary copied as a libellus in codices with collections of

many items for the divine office. Although this may never be able to be proven with certainty, it

remains a plausible and tantalizing possibility.

131
Analecta Hymnica, vol. 14, no. 20 and vol. 23, no. 339 cites its presence in the Narni hymnaries, in
Verona CIX (102), and in two fourteenth-century manuscripts from Mondsee (Palat. Vindobon. 1950) and St
Emmeram (Munich, Clm 14741). Mearns, 89, adds to this Rh 91 and Ott. lat. 145, as well as in the eleventh-century
breviary St Gall 413 and in the eleventh-century hymnaries Rh 83 from Kempten and Rh 97 from St Gall. Jullien,
“Les sources,” 178–79, cites it in Rh 91 and in Rh 83.
216
 The examination of these hymnaries without ordinals has shown how local hymn texts

continued to be copied in hymnaries that were not tied to the prescriptions of the ordinals. Some

manuscripts such as Ott. lat. 145 and Ben 37 have many repertorial connections with manuscripts

from central Italy, suggesting the presence of a more widespread, yet still relatively local, hymn

repertoire. In order to characterize the relationship between southern and central Italian

hymnaries more precisely, the following chapter examines hymnaries from central Italy.

217
 Chapter Four

Background: Hymns Beyond Montecassino and Benevento

As we have already observed with Ott. lat. 145, hymnaries from other areas of southern

and central Italy near Benevento and Montecassino sometimes display similarities in textual and

melodic contents with hymnaries from these centers. The correspondences in terms of hymn

contents between the earliest hymnaries copied in Benevento (and/or of those whose contents are

more independent of the ordinal prescriptions, namely, Ott. lat. 145, Naples VI G 31, Ben 37 and

Ben 42) and those of other parts of Italy point to the existence of widespread repertoire of hymns

shared between central and southern Italy. Many of these were not copied in Divine Office books

with ordinals which contained more synthetic hymnaries. A brief investigation into the

hymnaries of these non-Benventan and non-Cassinese manuscripts can shed light on the extent

of the correspondences between these hymnaries with those already examined. They show in

more detail the way a hymnary’s function and location determined its hymn contents. They also

show that several non-Beneventan and non-Cassinese hymns may have been known even in

these central areas. Thus the compilers of the hymnaries from Benevento and Montecassino

would have had access to a large number of familiar or known melodies and texts for hymns, a

far larger number than were eventually copied in most hymnaries. The compilers of hymnaries

made an effort to adapt known hymns to the places at which they were used and the purposes for

which the hymnaries were copied. As hymnaries were attached to ordinals whose function was to

record a standardized Divine Office, several hymns that were previously shared with mauscripts

from non-Beneventan and non-Cassinese place were no longer copied in hymnaries from the

main Beneventan scriptoria.

218
 The Bari Hymnary

The Bari hymnary was copied at San Nicola in Bari, 200 kilometers southeast of

Benevento, thus its hymn repertoire represents that of another important center of southern Italy.

In 1087, the relics of St Nicholas were transferred to Bari from Myra, Turkey. This was a very

important occasion spiritually for the city, which thereby acquired a powerful patron saint and

increased the power of the local bishop. But it was also an important civil victory, as the relics

had been contested between Bari and Venice. Politically, the translation of the saints’ relics was

an important victory over the Venetians, and also a means for the spreading of the fame of Bari

as an international pilgrimage site.1 It is no surprise, therefore, that on the second folio of the

Bari hymnary, there are two unique hymns to St Nicholas, Exultet aula celica and Nicolay

laudibus concordant.2

But the other hymns in the Bari hymnary were copied in the thirteenth century in

Beneventan script. Although the exact location of copying is not known, it is thought to have

been copied in a dependency of the basilica within the area of Bari. It may have been copied at

the powerful Benedictine monastery of Ognissanti di Cuti in present-day Valenzano, whose

eleventh-century founder, Abbot Eustace, also became the rector of the Basilica of San Nicola.

Despite the early independence of the monastery from the Basilica of San Nicola, in 1295 Pope

1
Oldfield, 202–208.
2
See Gattagrisi, 203 for a transcription of these hymn texts, and pp. 213–15 for the hypothesis of Nicholas
of Perillo’s fifteenth-century authorship of the hymns. For other studies on this manuscript and its contents, see
Filippo Ermini, “L’innario della basilica di San Nicola di Bari e un’antica sequenza,” Studi Medievali 6.1 (1933),
109–13.
219
Boniface VIII declared the monastery to be the property of the Basilica, whereby eventually the

manuscripts from the monastery were transferred to the Basilica in Bari.3

This hymnary thus serves as an example of the hymn repertoire as it existed in a

monastery in Bari in the thirteenth century, at the tail end of the period under investigation in this

study. The codex is another example of a composite codex, with a hymnary as well as a

capitulary, collectar, and ritual. The hymnary is very concise, omitting many feast days that

otherwise are present in hymnaries from southern and central Italy. For example (and most

unusual for a hymnary copied near the center of St Nicholas’s cult), there are no hymns for St

Nicholas in the hymnary. Surely this is why the two hymns for this saint were added in the folios

preceding the beginning of the hymnary. Perhaps the hymns for St Nicholas were once

conserved on a separate libellus along with other chants for his feast.4 Surprisingly, given the

importance of these feasts, there are no hymns for St Stephen, St Agnes, St Maur, St Sebastian,

St Benedict, and the Transfiguration. There is only one hymn for the Holy Innocents (Hostis

Herodes, which presumably would serve as an Epiphany hymn as well, since there are otherwise

no hymns for the Epiphany).

Despite the absence of hymns for several feasts, the Bari hymnary contains some hymns

that make it resemble the oldest hymnaries from Benevento, and others that are found primarily

in central Italian hymnaries. For example, the hymn Salve crux sancta, already discussed as a

local composition by Emperor Henry II, is found in this hymnary as well as in the Beneventan

3
“La Chiesa di Ognissanti di Valenzano,” Basilica Pontifcia San Nicola di Bari, 2015
http://www.basilicasannicola.it/page.php?id_cat=2&id_sottocat1=99&titolo=La%20Chiesa%20di%20Ognissanti%2
0di%20Valenzano (accessed August 27, 2015).
4
I thank Dr. Luisa Nardini for suggesting this.
220
ordinal hymnary Naples VI E 43. It was added later in the Farfa breviary Chigi C VI 177. The

Easter hymn Rex eterne Domine (sometimes found in manuscripts as Rex sempiterne Domine) is

found in this hymnary and primarily in central Italian hymnaries, but not in Cassinese or

Beneventan hymnaries, excepting Ben 37. Likewise, Signum crucis mirabile is found in Naples

VI G 29 from Naples, in Ott. lat. 145 (whose affinities with central Italian hymn repertoires have

been discussed), and the Narni hymnaries. These affinities might point to the fact that the Bari

hymnary preserves an older version of the hymn repertoire that was once in use in southern Italy

(given the early date of copying of Ben 37 and the presence of Rex eterne Domine in this

hymnary), one that was shared between southern and central Italy before the ordinals caused a

polarization of the two regions’ hymn repertoires.

The Bari hymnary also contains many unique hymns, as well as some hymns not found in

other southern or central Italian hymnaries. The unique hymns serve as important examples of

local hymns that may have been newly composed at the place in which the Bari hymnary was

copied, or else vestiges of local hymns that were not copied in other extant manuscripts. Deus

pater piissime for Saturdays (throughout the year) is found in this hymnary but not in others from

central and southern Italy, although it is found in a hymnary from the Abbey of Lyra in

Normandy.5 Similarly, the Trinity hymn Adest sancta trinitas is found in manuscripts from

elsewhere in Europe but not from central and southern Italy. Chorus nove Hierusalem for Easter

is found in many hymnaries from northern Europe, but not in those from central and southern

Italy, except this Bari hymnary. Eterne rex altissime is found in early Iberian hymnaries as well

5
Analecta Hymnica, vol. 12, no. 29.
221
as in the hymnary of Moissac (Biblioteca Apostolica Vaticana, Rossi 205), but not in other

central and southern Italian manuscripts; it is, however, included in the Bari hymnary.6 Three

hymns for St Mary Magdalene, Christe creator omnium, Pie colamus annua, and O quam beata

femina are similarly found in northern European manuscripts and in this hymnary.7 Three unique

hymns, one for the feast of All Saints and two for the feast of All Souls, a feast day not given

hymns in other hymnaries, support the hypothesis that this manuscript was copied at the

monastery of Ognissanti. These hymns are Devotis te concentibus for All Saints, Pro

defunctorum requie for the feast of All Souls, and Iesu piorum caritas for the feast of All Souls.

Thus, the Bari hymnary is a hymnary that reflects both the permeation of international and inter-

regional hymn repertoires into southern Italy, as well as the retention of an older layer of

hymnody in common with older Beneventan hymnaries that disappeared from later ones.

What is most important about this hymnary, however, is the presence of notation. Each

hymn has its first strophe notated, which means that the melodies that are unique can be

identified as constituting local hymn compositions. Those that are concordant with other hymn

melodies from southern Italy show that there was a shared, regional melodic tradition for hymns

in this region. Already Bruno Stäblein, in his edition of hymns for the first volume of the

Monumenta Monodica Medii Aevi, transcribed certain melodies from the Bari hymnary that he

identified as unique.8 These include:

Iam lucis orto sidere Sundays

Pange lingua…prelium Passion Sunday
Aurora lucis rutilat Easter
Festum nunc celebre Ascension
6
Idem, vol. 27, no. 39.
7
Idem, vol. 12, no. 290.
8
Stäblein, 451–57. Melodies no. 768–779.
222
 Iam Christus astra ascenderat Pentecost
Salve crux sancta Exaltation of the Cross
Christe sanctorum decus angelorum St Michael
Felix per omnes Sts Peter and Paul
O pater sancta mitis Trinity
Ad laudem sancta Marie Assumption
Deus tuorum militum Common of single martyr
Martyr Dei qui unicum Common of single martyr

The melodies of the Bari hymnary will be discussed in comparison with those from Ben 37 and

Ben 42 in more detail in Chapter Five and in Appendix D. As will be shown, three of these

melodies are not unique and were indeed known in Benevento; they were thus part of an older,

local style of hymn composition in use at one time in various places in southern Italy. There are

also other unique melodies in the Bari hymnary not noted by Stäblein.

Casan. 1574: Hymns from Gaeta

Like the Bari hymnary, the hymnary from Gaeta Casan. 1574 was used in Stäblein’s

edition of hymns from different regions of Europe in the first volume of the Monumenta

Monodica Medii Aevi. This hymnary, copied in the twelfth century and written in the Romanesca

script of central Italy, is halfway between Rome and Naples, northwest of Benevento and

southwest of Montecassino. It was one of the most important political and trade route centers of

southern Italy. Originally under the control of Byzantium even after the Lombard invasion, it

became its own duchy until Prince Pandulf of Capua took over the city in 1032. This initiated a

century of battles for control of the city between the princes of Capua and other Norman rulers.

In the mid-twelfth century, Gaeta became part of the Kingdom of Sicily.9

9
For a (rather biased) account of the details surrounding the political battles of the Normans in Gaeta, see
Amatus of Montecassino, History of the Normans.
223
 Culturally and spiritually, Gaeta was tied not only to Byzantium but also to other centers

from southern Italy such as Montecassino and Benevento. In terms of local plainchant, there are

still Exultet rolls in the cathedral of Gaeta, showing that a local southern Italian chant was once

in use in this area. As for ties with Montecassino, one of its abbots was from Gaeta; this abbot

John of Gaeta later became Pope Gelasius II.

Casan. 1574 is a composite manuscript that contains brief missal, a calendar, a Rule of

Saint Benedict, a ritual, canticles, a hymnary, and other items for the Divine Office. It was

probably written for a monastery dependent on Montecassino, perhaps the monastery of San

Salvatore in insula maris, near Naples, given a note about the dedication of this church in the

calendar of the manuscript.10 This hymnary therefore provides an interesting comparison for the

Cassinese hymnaries examined previously. Like the Bari hymnary, Casan. 1574 is notated. The

melodies in Casan. 1574 and their relationship to the notated Beneventan hymnaries Ben 37 and

Ben 42 as well as to the Bari hymnary will be discussed in more detail in Chapter Five and in

Appendix D. For now, a few comments on the contents of this hymnary reflect both its

connection to Montecassino and to other areas of both southern and central Italy.

The Cassinese character of this hymnary can be seen in the inclusion of the local hymn

Te trina Deus unicum for the Trinity. This hymn is found in this hymnary as well as in those

from Montecassino; it is in Vat. lat. 4928 but not in any other Beneventan hymnary, and not in

hymnaries from central Italy. Similarly, like Getty 83 ML 97, it contains Exultet celum laudibus

for the feast of St Peter’s chair. On the other hand, a few other hymns in Casan. 1574 emphasize

10
See Robert Amiet, “Inventaire des manuscrits liturgiques conservés dans les bibliothèques et les archives
de Rome,” Scriptorium 1 (1958), 109–18; Idem, “Catalogue des livres liturgiques manuscrits conservés dans les
archives et les bibliothèques de la Ville de Rome,” Studi Medievali 3.27 (1986), 925–97.
224
connections to central Italy, and specifically to Naples, reinforcing the hypothesis that the

monastery for which it was copied was in the Neapolitan area. For example, the hymn Canticum

laudis for St Severinus is found in this hymnary and in the two hymnaries from Narni. This

saints’ relics had been kept at an eponymous monastery in Naples, on a hill known as

Pizzofalcone,11 which accounts for the inclusion of a hymn for his feast in Casan. 1574 (and for

the misattribution of the Narni hymnaries to this monastery on the part of the editors of the

Analecta Hymnica and other scholars). There are also several hymns in Casan. 1574 that

emphasize Beneventan connections. Like the Beneventan hymnaries Naples VI E 43, Ben 37,

and Ott. lat. 145, it contains Festa sacrata presulis for St Apollinaris.12 This hymn is also found

in the Narni hymnaries and in one Cassinese hymnary, MC 559. Its presence in a few

manuscripts from so many different places in central and southern Italy is further evidence that

there once existed local hymns that were known in both central and southern Italy but that

gradually stopped being copied in hymnaries due to their association with feast days that were

not so widespread. Unlike Cassinese hymnaries, Casan. 1574 contains the hymn Annue Christe

for the Apostles that is present in Beneventan hymnaries as well as in the Bari hymnary, as well

as Sacrum piorum martyrum which is found in Beneventan hymnaries and those from central

Italy.

11
The monastery was that of Santi Severino e Sossio, after the saints whose relics it housed. Since 1490 a
church, San Severino e Sossio, is annexed to the monastery. The monastery is now the home of the Archivio di Stato
di Napoli. See Stanislao D'Aloe, “Catalogo di tutti gli edifici sacri della città di Napoli e suoi sobborghi,” Archivio
Storico per le province Napoletane 8 (Napoli: F. Giannini, Società di Storia Patria, 1883), 728.
12
Although St Apollinaris was from Ravenna, where his relics are kept, and so not a local southern Italian
saint, his cult was well-attested in southern Italian manuscripts; for example, there are antiphons for St Apollinaris
borrowed from Ambrosian antiphons for this saint. See Garrison, “Notes on Certain Itailan Medieval Manuscripts,
3: Three Manuscripts of Narni,” 25; Kelly, The Beneventan Chant, 183.
225
 Other than these hymns, the other hymn contents of Casan. 1574 are not very unusual,

and actually they are rather synthetic as a whole, since the hymnary omits hymns for several

feast days normally found in Cassinese and Beneventan hymnaries. Nevertheless, the interest in

this hymnary stems from its melodies, several of which are local and some of which are unique.

As it so happens, many of the melodies of this hymnary edited by Stäblein which he identified as

unique are not; in reality, some are found in the Beneventan hymnaries Ben 37 and Ben 42.

These musical connections, which will be discussed in Chapter Five and which are outlined in

Appendix D, mirror the repertorial connections exhibited by this hymnary between

Montecassino, Benevento, and other areas of central and southern Italy and which witness the

existence of a regionally widespread, once-extant, local southern Italian hymns that gradually

disappeared from hymnaries.

Naples VI G 29: Neapolitan Hymns

The presence in Naples VI G 29 of unique hymns local to Naples or its immediate

surroundings was first described by Raffaele Arnese in his catalogue and description of the

manuscripts with musical notation in Naples’s Biblioteca Nazionale.13 Arnese referred to the

contents of the hymnary in order to assert the manuscript’s origin in Naples, since the

paleographical features of the manuscript are indistinguishable from those originating at

Montecassino and Benevento.14 Specifically, the presence of hymns dedicated to saints important

to the hagiographical traditions of Naples indicate its Neapolitan (or at any rate its littoral,

13
Arnese, 143–145.
14
Idem; for its paleographical similarity to Beneventan and Cassinese manuscripts, see Nardini, “I
manoscritti musicali della Biblioteca Nazionale di Napoli,” 4–5. Nardini explains that the connection between this
manuscript and the Cassinese tradition was particularly strong since, in the thirteenth century, areas that were farther
from Montecassino and Benevento often employed scripts other than the Beneventan in their liturgical manuscripts.
226
Campanian) origin. This manuscript’s hymn contents and its unique hymns were subsequently

studied in much greater detail by Maria Antonietta Carola and Luisa Nardini, who identified and

transcribed the unique hymn melodies for the hymns dedicated to St Nicholas in this

manuscript.15 Nardini also discussed the importance of the hymn for Sts Phillip and James,

Refulget iam sollemnitas, with a unique hymn and melody and thus locally composed, since the

mention of the latter saint as “patron” suggests that the manuscript was copied in a Neapolitan

church dedicated to this saint.16 The absence of hymns to some saints that would have been

important to the cathedrals in Naples and Sorrento (whose cathedral was the only one in southern

Italy dedicated to St James) narrows places of the manuscript’s probable origins to institutions

other than these civic cathedrals.17 A comparison of this hymnary with those already examined

will delineate some of the main differences between a hymnary outside Montecassino and

Benevento and those at these centers.

The hymnary’s order resembles that of Getty 83 ML 97. Unlike the standard presentation

of hymns in other hymnaries, in both Getty 83 ML 97 and Naples VI G 29 the hymns begin not

with Primo dierum omnium and the other hymns for Sundays and Ferias of summer but with

Conditor alme siderum and the other hymns for Advent. Thus the arrangement of hymns in Getty

82 ML 97 matches the arrangement of items in its ordinal, something that is unusual even for

ordinal hymnaries. In the case of Naples VI G 29, the manuscript may have been made to

resemble, perhaps in order to supplement, an antiphoner. Indeed the order of hymns in both

15
Idem, 3–8 and especially pp. 6–7; Idem, “Una prosula per San Nicola in un codice della Biblioteca
Capitolare di Benevento,” Nicolaus. Studi Storici 8.2 (1997), 481–88; Carola, 489–522.
16
Nardini, “I manoscritti musicali della Biblioteca Nazionale di Napoli”, 7–8.
17
Idem, 6, 8.
227
Getty 83 ML 97 and Naples VI G 29 resembles the ordering of feasts in ordinals and in

antiphoners.18 Antiphoners also begin with the formularies for Advent, and the hymns for

Sundays occur at the changes in the seasons of the liturgical year. As such, this notated hymnary

would provide a perfect complement to a notated antiphoner, where almost all of the musical

items for the recitation of the Divine office would be notated—all, that is, except the hymns.

Whatever the reason for its strange, antiphoner-like order, the order of hymns surely indicates a

practical function for both the hymnary of Getty 83 ML 97 as well as Naples VI G 29.

But a few differences exist in the order of feasts as given in Naples VI G 29 when

compared with antiphoners from southern Italy and with Getty 83 ML 97. In Ben 21, one of the

most important antiphoners from Benevento, the order of feasts is as follows:

Advent
Sanctoral feasts in Advent
Christmas
Epiphany
Sanctoral feasts after Epiphany
Septuagesima Sunday to the Sunday before Lent
More sanctoral feasts for after the Epiphany
Lent
Easter
Sanctoral feasts during Eastertime
Ascension
Pentecost
Sundays after Pentecost
Sanctoral feats after Pentecost
Common of saints and Dedication of a church

In Naples VI G 29, a list of hymns for each hour, except for Matins and Lauds, for Sundays

follows directly after the hymns for Advent and precedes the hymns for the sanctoral feasts in

18
Kelly, The Ordinal of Montecassino and Benevento, 69. The ordering of items in ordinals exactly
matches that of antiphoners.
228
Advent. However, in this collection there are no hymns for Sunday Matins and Lauds. The

Sunday hymns are normally part of a group of hymns comprising each hour of Sundays and

ferial days (outside of special feasts or seasons) and are usually found, as mentioned, together at

the very beginning of hymnaries. As they are found in Naples VI G 29, the Sunday hymns are

separated from those of the ferial days, which are in turn separated from the hymns for Sunday

Matins and Lauds. The hymns for each hour of each ferial day of the week follow hymns for the

Epiphany in Naples VI G 29. This arrangement resembles that of the psalmistica in antiphoners

and in ordinals.19 In Naples VI G 29, these post-Epiphany Sunday and ferial hymns are also

interspersed with the appropriate short responsories as would be found in an antiphoner. These

are the only non-hymn contents of the manuscript, and they are only found in this section. The

missing Matins and Lauds hymns for Sundays (Primo dierum omnium and Eterne rerum

conditor) are placed after the feast of St Scholastica and before the hymns for Lent.

This is not the only time such an arrangement is found in southern Italian hymnaries. In

Getty 83 ML 97, the ferial day hymns occur after the Epiphany as well, but without Primo

dierum omnium and Eterne rerum conditor. Perhaps the notator of Naples VI G 29 wished to

follow an arrangement similar to that in Getty 82 ML 97 without omitting Primo dierum omnium

and Eterne rerum conditor, and so he or she placed these latter two hymns before the hymns for

Lent. Three more hymns for Sundays are placed after the hymns for Pentecost in Getty 83 ML

97; this arrangement, too, makes reference to the arrangement of the ordinal, which would have

19
Kelly, The Ordinal of Montecassino and Benevento, 126: “The usual place, in the ordinal as in other
monastic books, for describing what is done on a normal day—one with no special feast—is the psalmistica, the
section given here as the first Sunday after the octave of the Epiphany and the following weekdays. These offices
are to serve as models for Sundays and ferias, and deviations from this model are given from time to time
throughout the book as seasonal changes require.”
229
instructions in this same position regarding the normal ferial items for the days in the

summertime.20

It almost seems as if the arrangement of hymns in this manuscript reflects some

subsequent re-arrangement of gatherings; however, the manuscript is arranged in quaternions

throughout,21 and the way the hymns are copied sequentially prevents the rearrangement of folios

or gatherings. The manuscript is almost complete, but there is a lacuna of a quaternion between

folios 8 and 9 (after the first quaternion gathering), so the hymn Sancti Ambrosii presulis for St

Ambrose is incomplete and the hymns for Christmas and for the sanctoral feasts between

Christmas and the Epiphany are missing (e.g., St Stephen, Holy Innocents, St John the

Evangelist). The last gathering appears to be an afterthought: it contains the hymns for the

common of saints, as well as a hymn for the Ascension Optatus votis omnium and a hymn to a

locally-venerated saint, St Restituta (Plebs devota mente tota). Here again, this is not simply a

matter of re-arranged gatherings; this final gathering could not be inserted after the hymns for St

Andrew, since these are on the verso sides of two contiguous folios within a single gathering. If

they were to be placed before the preceding gathering, they would split up the hymns for the

feast of St Martin, which are on contiguous folios each on a separate gathering.

To sum up, clearly the scribe or compiler thought it was important to follow the order of

an antiphoner. This is further emphasized by the presence of short responsories after each hymn

of the psalmistica copied after the Epiphany. The scribe also thought it was important to record

the melodies of the hymns. Although space was left for notation of the first strophes of the

20
Idem, 150: “…the daily schedule for summer is indicated to some extent at the octave of Pentecost.”
21
Description in Arnese, 143.
230
hymns, the actual neumes were added later to four-line staves for each hymn. The scribe and

notator also thought it was important to record hymns for saints with important local cults—

some of these were given local melodies. Other hymns have local melodies but texts found in

other hymnaries. The most plausible explanation is that the compiler of this hymnary used an

antiphoner, breviary, or other such office book, probably one that included proper offices for

local saints, as a guide to create a complementary hymnary. However, the compiler was not too

careful and put a few items out of order; this would be easy to do if one were to try to reconstruct

a hymnary in proper order by reading the incipits recorded in a breviary or antiphoner, where the

same hymn incipits are often repeated throughout a season or feast and where the hymns for

temporal feasts can reappear in the sanctoral of the same season.22 This could easily lead to the

omission of the hymns for the common of saints and of one of the hymns for the Ascension,

which were subsequently added in a final gathering. Perhaps the compiler was also trying to

improve upon the model by inserting even more local hymns: thus the near afterthought of the

inclusion of a hymn to St Restituta in the final folio.

Vat. lat. 7172 and Paris 1092: Narni’s Hymn Anthologies

The hymnaries Vat. lat. 7172 and Paris 1092 have already been cited in concordance with

several of the other hymnaries from Benevento and Montecassino. These are two massive hymn

anthologies from Narni containing around 250 hymns each, thus it is not surprising that they are

concordant with many other hymnaries. The hymnaries are nearly identical; their contents and

22
One need only refer to the hymn contents of the breviaries and antiphoners such as Ben 19, Ben 20, Ben
21, Ben 23, Ben 25, and MC 542 to confirm this (see Appendix A for a full list of the hymn contents of some of
these codices).
231
ordering are essentially the same. Thus they might have been copied from the same exemplar.23

This means that once these books were not the only ones of their kind. Detailed studies of these

hymnaries have been conducted by several scholars over the past century, most notably by Guido

Maria Dreves, Ernesto Maurice, Edward Garrison, Dag Norberg, Paola Supino Martini, Claudio

Leonardi, and Susan Boynton.24 The main observations on these manuscripts highlighted by

these studies explain why there are non-trivial connections (i.e., not simply those due to the

presence of shared repertoire that was widespread throughout Europe) between these hymnaries

and some from Benevento.

The contents of the manuscripts will be discussed insofar as they witness a hymn

repertoire and functions that are shared with the hymnaries from southern Italy already

examined. The hymn contents and the function of these manuscripts can shed light on the inter-

regional transmission of hymns between central and southern Italy. A comparison of these

hymnaries’ contents with those from Benevento highlights the changes that occurred both in the

contents of hymnaries and in the ways in which they were copied in the Beneventan zone over

time. The concordances between these hymnaries from Narni and those in southern Italy, as well

as the unusual, anthology-like nature and function of the Narni hymnaries demonstrate that,

before the twelfth century, there was a broad repertoire of hymns, many for local sanctoral feasts,

23
Norberg, Notes critiques sur l’Hymnarius Severinianus, 7.
24
Hymnarius Severinianus. Das Hymnar der Abtei St Severin in Neapel: Nach den Codices Vaticanus 7172
und Parisinus 109, ed. Guido Maria Dreves, vol. 14 of Analecta Hymnica Medii Aevi (Leipzig: O. R. Reisland,
1893); Ernesto Maurice, “Intorno alla collezione d’inni sacri contenuta nei manoscritti Vaticano 7172 e Parigino
latino 1092,” Archivio della Società romana di storia patria 22 (1899), 5–23; Bannister, I.91–92, 115; Mearns, xvii;
Leonardi, “S. Gregorio di Spoleto”; Supino-Martini, Roma e l’area grafica Romanesca; Norberg, Notes critiques
sur l’Hymnarius Severinianus. A detailed overview of scholarly literature on these two codices is outlined in
Leonardi, “S. Gregorio,” 129–33. Boynton offers the most recent description of this manuscript in her article
“Eleventh-Century Continental Hymnaries Containing Latin Glosses,” 218-22.
232
known inter-regionally in central and southern Italy; many of these hymns were included in the

early Beneventan hymnaries but ceased to be copied in later hymnaries from Benevento. The

existence of large hymnaries such as these from Narni suggests that there may have at one time

existed hymnaries with a more expanded repertoire in the Beneventan zone as well, hymnaries

which gradually gave way to the more standard and synthetic hymnaries that still survive from

Benevento and Montecassino.

Extant scholarship on these manuscripts has focused primarily on the origins and dating

of the codices. Paola Supino Martini and Claudio Leonardi have conclusively supported what

Bannister, Mearns, and others had already asserted—that the manuscripts were copied in Narni.

It is now recognized that these hymnaries were not copied, as sustained by Maurice, in Rome for

the schola cantorum of St John Lateran, nor in Naples (as asserted by Dreves in his edition of the

hymnal in Analecta Hymnica volume 14, where it was dubbed the “Hymnarium Severinianus”

after a Neapolitan monastery, Santi Severino e Sossio), nor elsewhere.25 Concordances between

hymns in the Narni hymnaries and those from Farfa might suggest, as Susan Boynton has

pointed out, that they were copied for a dependency of Farfa.26 Although the earliest

examinations of the codices centered on their dates of redaction, what is most interesting for our

purposes is a parallel line of inquiry focused on the contents of the manuscripts and, in particular,

on their local hymns. According to Leonardi, “the two [Narni] codices represent one of the forms

[of the New Hymnary], most likely the one it took in the Roman territory” (“i due codici

25
See note above for bibliographic references. Supino-Martini, 227 places the origin of the manuscript, on
paleographic and hagiographic evidence, in Narni, and in the eleventh century. A. Fornasari argued that the
manuscript originated in Farfa, but his conclusion was subsequently contested and rejected by, among others,
Garrison.
26
Boynton, “Eleventh-Century Continental Hymnaries Containing Latin Glosses,” 219.
233
dell’innario [di Narni] ne rappresentano una delle forme [della nuova raccolta di inni],

verosimilmente quella che assunse nel territorio romano”);27 thus, shared repertoire between

Narni and Benevento could reflect an initial widespread adoption of the New Hymnary. The

presence of local hymns and the changes in the repertoire of hymns over time in central and

southern Italy highlight an active, local process involving the adaptation of imported hymn

repertoire. Here, we will not examine the many hymns unique only to one or both of these

manuscripts, but rather, the relationship of these hymnaries’ contents to those of hymnaries

copied in the Beneventan zone.

Claudio Leonardi observed the relationship between the Narni hymnaries and Ott. lat.

145 by focusing on the hymn Martyris en Gregori to the local saint, St Gregory of Spoleto,

contained only in these three hymnaries.28 The presence of this hymn in Ott. lat. 145 and its

origin at a scriptorium in Benevento where it was perhaps modelled on a non-Beneventan

exemplar warrant a deeper investigation into a possible shared tradition, in the early- and mid-

eleventh century, of hymns known at Narni and at Benevento and/or Montecassino. What is most

interesting about such an inter-regional repertorial affinity is not the fact that it existed per se,

but rather that a shared, inter-regional repertoire of hymn texts representing local hagiographical

traditions was apparently forgotten or expunged from later-copied Beneventan hymnaries. The

Narni hymnaries may have been copied as early as the mid-to late-tenth century, according to

Dag Norberg,29 although the common consensus is that they were certainly copied no later than

27
Leonardi, “S. Gregorio di Spoleto,” 133. English transation mine.
28
Leonardi, “S. Gregorio di Spoleto,” 133ff.
29
Norberg, 6. Norberg cites as evidence the fact that the hymnaries’ most recent hymns of known
authorship are Rex Criste Martini by Odo of Cluny (died 943) and O martyr eterni patris by Ekkehard I (died 973),
234
the beginning of the eleventh century. As such, they predate all of the ordinal hymnaries and

many of the other extant hymnaries from Benevento and Montecassino.

As we have seen, Ott. lat. 145 has striking similarities to the Narni hymnaries. Claudio

Leonardi has suggested that this is because there was once a “Spoleto-Benevento axis” (“asse

Spoleto-Benevento”).30 Leonardi cites the hymns shared only between the Narni hymnaries and

Ott. lat. 145 as evidence of this axis (the concordances between the Narni hymnaries and those

from central Italy such as Farfa and Subiaco would not be as surprising, given the geographic

nearness of these three places and the fact that they all shared the “Romanesca” script, and do not

constitute evidence of inter-regional transmission).31

The hymns shared only between the Narni hymnaries and Ott. lat. 145 do not, as

Leonardi points out, constitute proof of a transmission between Narni and Benevento, since there

are relatively few of them. And indeed there are even fewer of these hymns than Leonardi

thought. Leonardi lists nineteen; in reality, several of these hymns are shared with Naples VI G

29 (Ad Viti beatissimi, Arbor salve sanctissima, Sebastiani incliti, Sancti Ambrosii presulis,

Exultet orbis ambitus, this latter hymn also present in Farfa 4) or Ben 37 (Adest celebritas

Domini Mauri, Funeris victor triduo, Voce iocunda Sylvestri, this latter hymn also present in Ben

42). This further supports Leonardi’s hypothesis of a Benevento-Spoleto axis and brings down

the list of the hymns shared exclusively by the Narni hymnaries and Ott. lat. 145 to the

following:

and the fact that they do not include hymns by the eleventh-century authors Peter Damian and Alfanus of Salerno
(authors whose hymns were otherwise widely cited in other southern and central Italian hymnaries).
30
Ibid. Leonardi preferred hypothesizing an “axis” rather than a directional exchange of repertoire from
Narni to Benevento or vice versa, via manuscripts such as these hymnaries.
31
See Supino-Martini, op. cit. regarding the Romanesca script in manuscripts from these places.
235
 Adest dies prefulgida St Mauritius
Adest sacra festivitas St Mauritius
Almi triumphum Quirici St Quiricus
Deus candorum luminis Lent
Et hoc supernum munus Pentecost
Furens Herodis Holy Innocents
Magnus miles mirabilis St Gregory of Spoleto
Martyris en Gregori St Gregory of Spoleto
Pio feramus pectore St Felix
Rex metuende St Erasmus
Summum percurrit circulum St John the Baptist

Hymns in the Narni hymnaries that are not in Ott. lat. 145 are not necessarily those only found in

central Italian manuscripts, or those that are unique only to the Narni manuscripts. Instead,

several hymns in the Narni hymnaries that are not in Ott. lat. 145 are found in other Beneventan

and Cassinese hymnaries, which provides even further evidence of the Spoleto-Benevento axis.

Even if these hymns are not in Ott. lat. 145 (the hymnary whose repertoire is most similar to that

of the Narni hymnaries), since they are in other hymnaries from Benevento and Montecassino,

they would have also been transmitted along the axis cited by Leonardi. By examining the hymns

shared between the Narni hymnaries and other codices from Benevento and Montecassino

besides Ott. lat. 145, we see that this axis does indeed, in some cases, trace transmission of hymn

repertoire from north to south (and vice versa) through Narni; in other cases, the evidence points

to the existence of a once-widespread repertoire of hymns in central and southern Italy and thus

present in hymnaries from both areas, either because they belonged to the Carolingian New

Hymnary that was widely adopted throughout Europe or—more interestingly—because they

were adapted to the New Hymnary in Italy itself to localize hymn collections as specifically

Italian.

236
 Disregarding hymns that are not present in Ott. lat. 145 due to lacunae and that—due to

their near-universal presence in hymnaries both from Benevento and Montecassino—were likely

once part of Ott. lat. 145,32 the hymns shared between the Narni hymnaries and manuscripts from

Benevento and Montecassino besides Ott. lat. 145 are the following:

Amore Christi nobilis St John Evangelist Paris Maz 364

Verbum patris principium Holy Innocents Rh 91, Ben 37
Christi caterva clamitat Holy Innocents Vat. lat. 4928
Beatus vir Vincentius St Vincent Ben 37
Claret sacrata iam dies St Gregory Ben 37, Naples VI G 29
Angusta vite tempore St Nazarius Ben 37
Iam Christe sol iustitiae Lent In all except Vat. lat. 4928,
Ben 42, Rh 91, Naples VI F 2
Festum beati martyris St Mark Ben 42, Ben 37, Naples VI G
29, Rh 91
Crux benedicta nitet Exaltation of the Cross Not in Beneventan
hymnaries; in Cassinese hymnaries
except Getty 83
ML 91; in Farfa and Subiaco; not in
Naples VI G 29
Ymnum canamus socii St Cyriacus Ben 37, Vat. lat. 4928
Apostolorum supparem St Lawrence Paris Maz 364
O quam glorifica luce Purifiation Naples VI F 2, Rh 82
Iesu salvator seculi All Saints In all except Paris 1092
Martine confessor Domini St Martin In all except Farfa 209
Rex Christe Martine decus St Martin In all except Naples VI F 2,
Rh 82, Rh 91
Post Petrum primum St Andrew In all others
Annue Christe Apostles Not in Paris 1092, Naples VI
E 43, Naples VI G 31
Rex sempiterne Domine Easter Ben 37, Rh 82, Farfa 209,
Naples VI G 29
Iesu nostra redemptio Easter Ben 37, Naples VI G 29

32
Rerum creator optime and Nox et tenebre (Feria IV); Christe qui lux est (Sundays); Aurora lucis rutilat
and Ad cenam agni providi (Easter); Exultet celum laudibus, Eterna Christi munera (Apostles); Iesu corona
virginum and Virginis proles opifexque (Virgins); Urbs beata Hierusalem, Christe celorum habitator alme, and
Christe cunctorum dominator alme (Dedication of a church).
237
The hymns Rex sempiterne Domine and Iesu nostra redemptio may have been present in Ott. lat.

145 if it weren’t for a lacuna, though without certainty since they are also relatively uncommon

in Beneventan and Cassinese hymnaries. The former is only present in Ben 37; it is also in the

Farfa hymnaries Rh 82 and Farfa 209 and in Naples VI G 29. The latter is only in Ben 37 and

Naples VI G 29 (in the Naples hymnary, it is assigned to the feast of the Ascension). The same

goes for Annue Christe for Apostles. This hymn, a division of the hymn Andrea pie, is only

present in the Narni hymnary Vat. lat. 7172, and in the Beneventan hymnaries Naples VI E 43

and Naples VI G 31.

Amore Christi nobilis and Apostolorum supparem are shared, among central and southern

Italian hymnaries, only between the hymnaries of Narni and Paris Maz. 364, which is striking

given the fact that the latter manuscript is an ordinal hymnary. These hymns have already been

noted in the examination of Paris Maz. 364, where much of this hymnary’s repertoire seems to

have been shared with central Italian hymnaries. Amore Christi nobilis is a widespread hymn

attributed to St Ambrose. Apostolorum supparem supports the idea of a north-south axis traced

by the main Benedictine mother houses from Milan (where the hymn originated), through Narni

and towards Montecassino. Leonardi’s axis could be extended from northern to southern Italy, as

attested by the presence of the hymn Crux benedicta nitet, which is present in manuscripts from

Bobbio, Ravenna, and Nonantola.33

The hymn Angusta vita tempore for St Nazarius further attests to a north-south

transmission of hymns. It is found in these Narni hymnaries as well as in the Beneventan

33
See Analecta Hymnica, vol. 50, no. 68.
238
hymnary Ben 37. This hymn was written by Ennodius, once a bishop of Pavia, the Lombard

capital that fell to the Franks in 774. Paul the Deacon, who wrote the Historia Langobardorum,

was, according to classicist S. A. H. Kennell, “the most likely person to have rediscovered

Ennodius’s works and brought them over the Alps to the court of Charlemagne,” during his exile

at the Frankish court following this circumstance.34 Including this hymn in the repertoire for the

Divine Office would have represented a touch of Lombard pride on the part of scribes of the

Narni hymnaries and Ben 37.

Hymns such a O quam glorifica luce were well-attested in hymnaries from north of the

Alps.35 The presence of this hymn in the Narni hymnaries shows that hymnaries in central and

southern Italy reflected the more widespread repertoire of the Carolingian New Hymnary;

however, the fact that only two other hymnaries, Naples VI F 2 from Montecassino, and Rh 82

from Farfa, share this hymn suggests that the New Hymnary was not simply adopted wholesale

into central and southern Italian hymnaries. Instead, the New Hymnary was amplified by local

hymns.

But can we really speak of an axis of transmission where the Narni hymnaries are

involved? Maurice points out that these hymnaries, rather than reflecting the hymn tradition of a

single place (Narni), were meant to be collections of hymnaries themselves from many different

areas, collecting and preserving the hymns that “otherwise would have been lost” (“che

altrimenti sarebbero andati perduti”).36 As Maurice points out, a phrase written on the first page

34
Stefanie A. H. Kennell, Magnus Felix Ennodius: A Gentleman of the Church, Recentiores: Later Latin
Texts and Contexts (Ann Arbor: The University of Michigan Press, 2000), 221–22.
35
Analecta Hymnica, vol. 51, no. 126.
36
Maurice, 14–15.
239
of Paris 1092 calls the collection a “Liber Hymnariorum” or “Book of hymnaries,” supporting

this assertion.37 But more can be said about the function and the raison d’être of these

hymnaries. The uncommonly large repertoire size of the two hymnaries from Narni when

compared to other central and south Italian hymnaries, and the fact that the two nearly-identical

hymnaries were copied contemporaneously at the same place raises questions about the function

of such manuscripts. It is reasonable to assume that the Narni hymnaries were meant to serve a

function similar to those of hymnaries today: as anthology-like collections of many hymns from

which selections could be chosen based on liturgical occasion and as the need arose. The

manuscripts must have served such a practical, rather than a luxurious or decorative, purpose.

Their style and decoration confirms this fact: the same scribe copied the collection canonum

from Narni, manuscript Vat. lat. 1339 and, as this latter manuscript witnesses, evidently was

capable of much more decorative craftsmanship.38 Apparently the scribe did not feel that the

decorative style was needed for these hymnaries, either because they were made for daily use,

for learning purposes, as a record of all the known hymns for reference, or some other practical

purpose.

Another sign that the hymmaries were used for practical, learning purposes is signaled by

the presence of many interlinear glosses, which Boynton connects with the process of monastic

education through the study of Latin texts, and especially those for recitation of the Divine

37
Ibid.
38
See Supino-Martini, 227 “Si potrà semmai notare un maggiore impegno della mano a raggiungere effetti
calligrafici nel Vat. lat. 1339, che è un libro di lusso, rispetto al Vat. lat. 7172, libro di fattura del tutto modesta” (“If
anything, one can notice in the hand a greater effort to reach calligraphic effects in [the manuscript] Vat. lat.
1339, which is a luxury book, compared to Vat. lat. 7172, a book of entirely modest craftmanship.”)
240
Office.39 Leonardi states that the glosses, all grammatical, show an effort to comprehend a poetic

language in certain hymns that had become obsolete:

The glosses, all interlinear for our text [the hymnary Vat. lat. 7172], are thus indicative of
the difficulty of comprehending, between the ninth and eleventh centuries, certain terms
that must have dated to a former time and that in the average culture, maybe in the
Ottonian era, might have no longer been immediately comprehensible.40

Using evidence from the Passions written about St Gregory of Spoleto in martyrologies,

Leonardi concludes that the hymn dated to the tenth century; perhaps the language was difficult

to comprehend, but it is more likely that the glosses were clarifications for the purpose of

learning. A practical, pedagogical purpose for these manuscripts is supported by the musical

notation found in certain places in the hymnaries, and by the way this notation is presented, as

Susan Boynton explains in her study of the interplay of orality and notation in office hymns. 41

Boynton cites these manuscripts as examples of how full, partial, and single-strophe notation can

all be present in a single hymnary, as seen from the seven hymns given notation in Paris 1092.

Boynton shows how the notation is added to Paris 1092 and Vat. lat. 7172 to clarify text-music

relationships; however, it could also attest to the exportation of this hymnary to an area in which

the hymns given notation were not as well-known and thus their melodies would have needed to

be recorded. The full notation given to the hymn O quam glorifica luce, something that we have

seen also in the Beneventan hymnary Naples VI G 31, might have also had to do with the fact

that the Paris manuscript was eventually used in southern Italy where the hymn was not well-

39
Boynton, “Latin Glosses,” 20–4.
40
“Le glosse, tutte interlineari per il nostro testo, sono dunque indicative della difficoltà di comprendere,
tra secolo IX e XI, dei termini che dovevano risalire a un tempo precedente e che nella cultura media, forse di epoca
ottoniana, potevano non essere più di immediata comprensione” (Leonardi, “S. Gregorio,” 138). English translation
mine.
41
Boynton, “Orality, Literacy, and the Early Notation of the Office Hymns,” 129.
241
known. Another hymn only found in the Narni hymnaries, Centies mille, is notated in Vat. lat.

7172, perhaps because this local text was given a new melody that would need to be recorded. A

similar case is presented by the notation on Alleluia piis edite, a hymn which we have seen is

only included in hymnaries from central and southern Italy with formularies for Septuagesima. In

Paris 1092, as Boynton points out, only two words (Alleluia perhenne) are notated (and a few

more words in the last part of the hymn) to clarify text setting; the melody is the same as that in

Ben 37.42 The hymnaries from Narni were used in an area in which the melodies of certain

hymns that were found in a limited and local geographic area were unfamiliar and needed to be

recorded.

This raises the possibility of a further hypothesis about the function of these hymnaries.

Such collections could have been used as the exemplars from which other hymnaries were

copied, ones that were perhaps tailored to a given institution or place. This hypothesis was also

suggested by Maurice, who, placing the origin of the manuscripts in Rome, conjectured that they

were created for the use of secular clergy, for scholastic study, and for exportation.43 Although

the Roman origin has been convincingly refuted, and the suggestion that the hymnaries were

made for use by secular clergy is largely conjectural, the fact that the hymnaries were used in a

place different from that where they were copied seems to be more supported by the manuscript

evidence. The glosses might reflect a foreign scribe’s effort to comprehend a received and

unfamiliar text—unfamilar either because of age or, perhaps, because certain Latin terms were

used in one place and not in another. Indeed some of the glossed Latin terms in the hymn to St

42
See idem, 130–131 Figure 3. Alleluia piis edite is on Folios 35v and 53r of Ben 37.
43
Maurice, 19–23.
242
Gregory of Spoleto in Vat. lat. 7172 seem very much derived from local usage or dialect:

“acharontis,” for example, is glossed “id est diabolus” (“that is, the devil”), diabolus being a

more common and universal term for the infernal creature whose metonymic name in the

manuscript hearkens back to Homeric and classical literature, where the river Acheron was the

river of Hades.44 The text (and the glosses) may also have been used for pedagogical purposes.

The fact that two nearly-identical hymnaries, Vat. lat. 7172 and Paris 1092 were copied

in the same place at the same time might support this suggestion: one of these hymnaries may

have been intended as an “export product,” another reference anthology from which new

hymnaries could be made, and so multiple copies would be needed even contemporaneously.

The suggestion that some hymnaries were created based on exemplars of a different kind or with

a different function has already been presented in the case of Naples VI G 29; although copied in

the thirteenth century, it was suggested that this hymnary was created using an antiphoner or a

similar codex as a guide. If further and more detailed study supports this suggestion, it would be

interesting to explore the possibility that an exemplar similar to Vat. lat. 7172 or Paris 1092

could have been used for the copying other extant hymnaries.

44
Homer, Odyssey, trans. William Cowper (Minneapolis: Lerner Publishing Group, 2014), 620, bk. 10 vs.
513. The transfer of the name of the god-river Acheron to refer to the devil in Christian times may have been logical
for the people living in the Campanian region of Italy where St Gregory of Spoleto would have been most venerated:
this area was once land of the Etruscans whose culture had spread all the way down the Western Campanian coast,
and the Etruscans worshipped the god “Acherontis” of the underworld, and their religious beliefs are recorded in the
Liber Acherontici. See: Nancy Thomson de Grummond, “Introdution: The History of the Study of Etruscan
Religion,” in Nancy Thomson de Grummond and Erika Simon, The Religion of the Etruscans, 1; Ingrid Krauskopf,
“The Grave and Beyond in Etruscan Religion,” idem, 66–67. For the presence of Etruscans as far south as
Campania, see Mariassunta Cuozzo, “Etruscans in Campania,” Ch. 16 in The Etruscan World, Ed. Jean Macintosh
Turfa (New York: Routledge, 2013), 301–318. Interestingly, the hymn’s message, namely, the triumph of St
Gregory of Spoleto over paganism (see also Leonardi, “S. Gregorio di Spoleto,” 136–38 for Latin text of the hymn,
and idem, 142–143 for explication of the hymn’s main message), becomes somewhat less marked when a local term
for the devil, so redolent of the former pagan religion of the area is replaced by the more universal term; in the latter
case, evil and paganism seem to be no longer so closely tied one to the other.
243
 Were hymnaries in such a format, namely, anthologies collecting as many hymns as

possible and reflecting a strongly local hagiographic program, once more widespread even in

southern Italy? Would such hymnaries have been known in Benevento and Montecassino? As we

have seen, the closest hymnaries to resembling such an anthology-like format with local hymns

are Ben 42 and, if it were complete, Ben 37. To be sure, none of the hymnaries under

examination reaches quite such breadth in terms of hymn repertoire as the Narni hymnaries, but

the similarities between the older Beneventan hymnaries and these Narni hymnaries might point

to the widespread existence of much larger hymnaries than those transmitted in composite office

books, as became the norm.

Hymnaries from Subiaco and Farfa

The network of Benedictine monastic institutions throughout central and southern Italy

and the interaction that would have necessarily occurred between them resulted in the presence

of shared hymns found only in hymnaries from central Italy and from Montecassino and

Benevento, suggesting significant repertorial interchange between these areas in the Middle

Ages.45 By identifying the points of contact between the hymn repertoires in southern and central

Italy, we can discern that some hymns shared inter-regionally in the eleventh century gradually

fell out of use in the twelfth century or were subsequently copied only in hymnaries from one

region or another. In general, older manuscripts from Montecassino and Benevento share more

45
One need only think of the many manuscripts that were written at Montecassino for its dependencies in
other areas of Italy, and of the many exchanges of abbots and religious between one institution and another in
different regions. For example, Archbishop Alfanus I of Salerno had traveled to Benevento and Montecassino and
had developed a close friendship with Abbot Desiderius of Montecassino before becoming the Archbishop of
Salerno (see Ramseyer, 153–56). Often, exchanges of manuscripts occurred between a large monastery and its
dependencies, but sometimes the dependencies were themselves located in liminal areas between different cultural
zones, which would have facilitated the exchange of repertoire inter-regionally.
244
hymn repertoire with central Italian hymnaries than do later ones. I examined the Narni

hymnaries separately because their unconventionally expansive hymn repertoire makes them

somewhat exceptional when compared to other hymnaries from central Italy. Here, I will

compare the hymn repertoire from Montecassino and Benevento with that in hymnaries from

Subiaco and Farfa. The hymnaries from Subiaco and Farfa are much more similar than the stand-

alone hymn anthologies from Narni to hymnaries from Benevento and Montecassino, making the

comparison more revealing of the actual similarities and differences between the hymn

repertoires of central and southern Italy.

We might expect hymnaries from areas where scribes employed a type of script distinct

from the Beneventan miniscule to contain a significant number of local hymns not present in

Beneventan and Cassinese hymnaries. The hymnaries from Subiaco (MC 420 and Rh 91) and

Farfa (Farfa A.209, Farfa 4, Rh 82, and Chigi C VI 177), not written in Beneventan script but in

the romanesca miniscule, might have relied on non-Beneventan exemplars for the copying of

their hymnaries, in which case the presence of hymns not in Beneventan or Cassinese

manuscrips would not be surprising. However, there are only a few hymns that are found

exclusively in hymnaries from central Italy and not in at least one other hymnary from

Benevento or Montecassino. This can be explained by positing an early, inter-regional similarity

between hymnaries from central and southern Italy, even for local hymn texts (i.e., those found

only in central and southern Italian hymnaries). In fact, there are only three saints whose feasts

appear in central Italian hymnaries but not in any Beneventan or Cassinese ones. The first is St

Victoria, for whose feast are copied the hymns Virginis Christi merita beatae in Rh 82 and Chigi

C VI 177 from Farfa and—unique to Rh 82—Assiste nunc precatibus and Iam festa fulget aurea.
245
Then, there is the feast of Sts Valentine and Hilarius, which is assigned the hymn Splendor decus

martyrum, unique to Chigi C VI 177.46 As Susan Boynton has pointed out, it would have been

important for these saints to be commemorated at Farfa, since their relics (often the subject of

disputes between Farfa and other monasteries) were translated to dependencies of the monastery

and given special veneration.47 In Chigi C VI 177, these hymns are notated, which is uncommon

in this manuscript, and they have melodies unique to Farfa.48 As already observed for a number

of other hymnaries, unique and local melodies are sometimes included even in hymnaries that

are otherwise un-notated.

Evidence of the presence of an inter-regional yet local hymn repertoire in the eleventh

century and of the disappearance of a few of these hymns from later hymnaries (particularly MC

420), is the fact that many of the local hymns in the earliest hymnaries from central Italy can also

be found in early hymnaries from Benevento and Montecassino. Claret sacrata iam dies for the

feast of St Gregory, for example, appears to be an early hymn that was not common in hymnaries

from central and southern Italy and that eventually fell out of use. Nevertheless, it is present in

Ben 37, in the Narni hymnaries, in Rh 91 from Subiaco, and in Naples VI G 29, attesting to

repertorial contact between these areas. The common thread connecting the different institutions

from which these manuscripts came would have been, of course, the veneration of St Gregory;

this is supported by the presence of local hymns for this saint in many Cassinese, Beneventan,

46
Boynton, Shaping a Monastic Identity, 187–99. See especially pp. 205, 229 for a discussion of the
contestation of these saints’ relics.
47
Idem, 187.
48
Idem, 194.
246
and central Italian hymnaries, as well as the presence of unique hymns for this saint. Thus, Rh 91

also includes a unique hymn for St Gregory, Presulis egregie meritis.

While this inter-regional sharing of a hymn for St Gregory might merely reflect an

enduring emphasis for a particular saint’s cult shared between Benevento and central Italy, only

the presence of an earlier inter-regional repertoire can explain the presence of the unusual local

hymn for Septuagesima, Alleluia piis edite. This hymn is found in the earliest Beneventan and

central Italian hymnaries from both Subiaco and Farfa (manuscripts copied before the latter half

of the eleventh century): Ben 37, Ott. lat. 145, Rh 82, Chigi C VI 177, Rh 91.49 Its presence in

the early manuscripts Ben 37 and Ott. lat. 145, and its absence from later central Italian

hymnaries suggests that it was part of an inter-regional hymn repertoire which contained many

local hymn texts no longer copied in later hymnaries. Similarly, Crux benedicta nitet for feasts of

the Holy Cross, appears only in hymnaries from Montecassino and central Italy. It is found in

early Cassinese hymnaries (Urb. lat. 585 Paris Maz. 364, and Naples VI F 2), though not in the

earliest MC 506, and in all the hymnaries from central Italy examined here. Its presence in early

Cassinese and both earlier and later central Italian hymnaries shows that the hymn was retained

in later hymnaries from central Italy even while it fell out of use at Montecassino.

Given the fact that even local hymn texts were present in both central and southern Italy

at the time the earliest hymnaries were copied, what are we to make of the differences between

hymnaries from Benevento and Montecassino and those from central Italy? Some differences can

merely be considered regional variants. For example, hymnaries from Farfa and Subiaco are

49
Alleluia piis edite is also in the Narni hymnaries.
247
much sparser in their assignment of proper hymns to sanctoral feasts. Thus, most of these

hymnaries omit hymns for the feasts between Advent and Christmas, and between the Epiphany

and the Purification (exceptions to this are, for example, the presence of hymns for St Sebastian

and St Agnes in a few of the central Italian hymnaries). Saints between Christmas and the

Epiphany are assigned few hymns, if any. One such hymn that is widespread in central Italy but

not in Benevento or Montecassino is Silvestri almi presulis for St Sylvester. Similarly, the hymn

Triumphum sacre virginis for St Agatha and Beatus Christi famulis for the Chair of St Peter are

found mostly in central Italian hymnaries. Seemingly to make up for a limited number of

sanctoral hymns, central Italian hymnaries also feature a greater number of hymns for temporal

feasts such as Christmas, Lent, and Easter. These include:

Medie noctis Lent

Meridie orandum est Lent
Perfecto trino numeris Lent
Post matutinas laudes Lent
(all the above hymns are part of the Old and/or New Hymnaries in Gneuss’s typology)
Rex sempiterne Domine Easter
Iesu nostra redemptio Easter
Te lucis auctor personet Easter
(all the above hyns are also in Old and/or New Hymnaries)

One hymn for the common of apostles, Apostolorum mystica, and one hymn for the dedication of

a church, Sacratum hoc templo, are found mostly in central Italian hymnaries rather than those

from Benevento and Montecassino. The feast of St Martin has a few hymns in central Italian

hymnaries that are not in most Beneventan and Cassinese hymnaries: Bellator armis is the one

shared by the greatest number of central Italian hymnaries.

The hymnaries from Subiaco in particular highlight another possible reason for

differences between some central Italian hymnaries and those from Benevento and
248
Montecassino. The hymnaries from Subiaco show that there was a change in the hymn

repertoires at this monastery over the course of the eleventh century: an inter-regional repertoire

of hymns, many of which are found only in Italian hymnaries, gave way to a more succinct and

universal repertoire. There are two significant hymnaries copied at Subiaco: Rh 91, a hymnary

with interspersed lections, hymns, canticles, etc. copied in the first quarter of the eleventh

century, and MC 420, a breviary copied in the latter half of the eleventh century or the first

quarter of the twelfth (1068-1120). Of course, comparing only two hymnaries cannot constitute

secure proof of change over time, even when these manuscripts come from the same place;

however, when the manuscripts from Farfa are drawn into the comparison of the hymnaries from

Subiaco, the fact that there existed an earlier and later stage of hymn repertoire from Subiaco—

and, for that matter, from Farfa—is supported by the fact that a repertoire with a greater number

of inter-regional and/or local hymns disappeared from later hymnaries.

The manuscripts from Farfa show that the earlier hymn repertoire from Subiaco which

disappeared from MC 420 existed also at Farfa. Many of these hymns remained even in later

hymnaries from Farfa, those copied at the end of the eleventh century. This is demonstrated by

the many resemblances between Rh 82, Farfa A.209 and the earlier codex from Subiaco, Rh 91.

What are we to make of the resemblance of early manuscripts from central and southern

Italy and the apparent disappearance of these inter-regional local hymns from codices such as

MC 420? Perhaps the compiler of MC 420 leaned towards later Cassinese models, which (as we

have seen) were starting to omit many older, local hymns. Support for this scenario is given by

the use, in MC 420, of Beneventan notation, despite the fact that the script is in romanesca. The

influence of Montecassino on the creation of a hymnary in Subiaco would reflect the growing
249
influence of Montecassino in the region at the time even on the scribal activity in other areas of

the Italian peninsula. The similarity between the hymns in MC 420 and those from later

Cassinese hymnaries (especially those with ordinals), coupled with MC 420’s more concise

repertoire, might simply reflect a more widespread trend, namely, the transition from an inter-

regional yet local hymn repertoire to one with more standard texts, at least in written hymnaries.

The hymns Claret sacrata iam dies in Rh 91, Gemma celestis in MC 420, Ymnum

canamus in Rh 91, and Sacrum piorum martyrum, found in several central Italian manuscripts,

are hymns that otherwise appear only in hymnaries from Benevento. These inter-regionally

shared hymns are sometimes the result of the shared veneration of certain important saints in

Benevento and central Italy. Of these hymns, Gemma celestis for St Benedict is actually an

example of a more recently-composed, eleventh-century hymn that was shared inter-regionally.

It is found in all the Beneventan hymnaries examined here except Benevento 37, one of the

earliest Beneventan hymnaries; it is also found in Chigi C VI 177 and MC 420. Gemma celestis

was written by St Peter Damian, a promoter of monastic reform whose hymns were widely

transmitted throughout Italy, mirroring the saint’s own extensive epistolary contact with the

highest ecclesiastical and political authorities in Rome, Montecassino, and at the court of Henry

III, as well as his itinerant career as a cardinal and legate.50 Thus it is not surprising that

50
For a discussion of the manuscripts of Peter Damian’s poetic works, see Margareta Lokrantz, ed.,
L’Opera poetica di St Pier Damiani: Descrizione dei manoscritti, edizione del testo, esame prosodico-metrico,
discussione delle questioni d’autenticità, Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia 12
(Stockholm: Almquist & Wiksell, 1964).
250
manuscripts from both central and southern Italy share Gemma celestis, which is otherwise not

common in hymnaries.51

As this and as the other examples of hymns shared exclusively between Benevento and

central Italy have shown, there is evidence of an inter-regional repertoire of hymns (most of

which are found in earlier codices) in central and southern Italy which disappeared as hymnaries

from the southern Italian “centers” (i.e., Montecassino and Benevento) became more

standardized.

Hymnaries from Farfa and Subiaco were similar to each other earlier in the eleventh

century than they were later in the century. This observation, along with an examination of the

contents of the earliest hymnary from Farfa, Rheinau 82, can help to narrow down the date of

copying of this manuscript to the first half of the eleventh century. Rh 82, an eleventh-century

codex from Farfa, includes hymns, lections, and orations for the liturgical year, from pages 3–

112. The hymn for the Dedication of a church, Urbs beata Hierusalem on page 2, stands outside

the normal cursus of the hymns, which begin as expected on page 3 with the hymns for Sundays.

Urbs beata Hierusalem probably should have come on pages 102-104, where the other hymns

for the Dedication of a Church are found; as is common in hymnaries from central Italy, but

differently from most of those from Benevento and Montecassino, the hymns for the Dedication

of a Church in Rheinau 82 come immediately after the sanctoral (after the hymn for St Andrew)

and before the hymns for the common of the saints. A first scribe wrote pages 3–96, a second

wrote pages 97–262. A comparison of its repertoire with that of the earliest manuscript from

51
See Analecta Hymnica, vol. 48, no. 35; it is found also in an eleventh-century manuscript from
Montecassino, Vindobon. 1106, as well as the eleventh-century hymnaries from Bobbio (Vat. lat. 5776) and St
Eutychius of Norcia (Vallicell. B 79).
251
Subiaco examined here, Rh 91, shows a good deal of shared hymn repertoire between these two

institutions, and supports the hypothesis that Rh 82 was copied, like Rh 91, in the earlier part of

the eleventh century.

Of the hymnaries from Subiaco and Farfa, only Rh 82, Rh 91, and Chigi VI C 177 have

Illuminavit hunc dies for St Michael. This hymn probably originated at Montecassino; while it is

called for in Cassinese ordinals, and it is found in Cassinese hymnaries, it is not found in

Beneventan hymnaries.52 It shows an inter-regional connection between the hymn repertoires of

Montecassino, Subiaco, and Farfa, the traces of which disappeared from later hymnaries of Farfa

and Subiaco. These same three codices also share the hymn Medie noctis tempus est for Lent,

found in only a few hymnaries from Benevento (Naples VI E 43 and Ben 37; it is also in the

early Ott. lat. 145). Again, this is an example of a local hymn once known inter-regionally in

central Italy and Benevento, but which later disappeared from Italian hymnaries as their

repertoire became more standardized. Other similarities between Rh 82 and Rh 91 include the

presence of hymns for Palm Sunday; this feast had no hymn assignments in the other hymnaries

from Subiaco and Farfa, which could either indicate that the hymns for Palm Sunday were

recorded in a separate volume such as a processional (given the nature of the feast, which could

include a long procession), or that the hymns for Passion Sunday were used again for Palm

Sunday in these places. Whatever the case may be, this was a development that showed up in

later hymnaries and not in these earlier hymnaries, which otherwise resembled those from

Montecassino and Benevento more closely in their inclusion of hymns for Palm Sunday.

52
It is also found in the early hymnary Ott. lat. 145 and in the Narni hymnaries.
252
 Chapter Five

Background: Local Southern Italian Hymns in Ben 42 and Ben 37

Each year on April 30, anyone who happens to be near the village of San Martino in

Pensilis, near Campobasso, Italy, will witness the “Carrese” or “Corsa dei Carri.” This annual

oxcarts race comprises three teams of oxcarts, said to belong to the “youth” (Giovani), the

“young ones” (Giovanotti) and the “very young ones” (Giovanissimi). They race from the ruins

of the church of San Felice to reach the main church in the town, each team desiring their cart to

be the fastest. The designations Giovani, Giovanotti, and Giovanissimi for the oxcart teams may

seem strange in the twenty-first century, considering the race’s venerable origin in the twelfth;

indeed, the aptly-named Giovanissimi became part of the race in 2007.1 For over eight hundred

years, this local festivity, originally comprising as many as ten carts named after different

families,2 has been an important part of San Martino’s civic history. Eight hundred years of

annual oxcart racing (compared to fifty of professional football) begs the question of what could

possibly prompt such longevity for a mere ludic event. In fact, there is a deep symbolism binding

this event to its place of origin, which accounts for its persistence. The Carrese is rooted in a

religious festivity, as it is a reenactment of the finding of the relics of a local eleventh-century

martyr, Saint Leo. The prize of the race for the winning cart is the honor of carrying the silver

bust of the saint (the Pallio) in the solemn procession in his honor on his feast day a few days

later (May 2).3 An occasion such as the Carrese and especially its accompanying procession

would have been the ideal context for the composition of hymns in honor of St Leo. A unique

1
“La storia della carrese,” Official Website of San Martino in Pensilis, ALI ComuniMolisani, 2008–2015
http://www.comune.sanmartinoinpensilis.cb.it/storia-tradizioni/la-carrese/storia-del-carro-dei-giovanotti.html
(accessed April 21, 2015).
2
The earliest document that talks about the race dates from 1728, when Domenico Cattaneo, the magistrate
of the Terra San Martino, as the town was known, writes about the race to the Duke of Termoli (see above website).
3
Ibid.
253
hymn in a single Beneventan manuscript, Ben 42, pays tribute to the same saint, reflecting a key

characteristic of this twelfth-century manuscript: the persistence of unique and local hymns for

southern Italian saints despite the increased standardization and absence of such hymns from

other Beneventan hymnaries copied around the same time.

The eighteenth-century historian Giovanni Andrea Tria recounts the episode that initiated

the Carrese in his book, Memorie storiche civili ed ecclesiastiche della città e diocese di Larino.

In this work, Tria transcibes the legend, office, and Mass for St Leo that he found in a

manuscript from San Martino in Pensilis. Tria offers his own commentary on the life of the saint

and reprints the texts of the official documents accompanying the translations of the saint’s relics

from one church to another in San Martino in Pensilis.4 He recounts that, at some point in the

twelfth century,5 Robert of Bassavilla, count of Loritello, had gone hunting with several other

noblemen near the ruins of the church of San Felice near San Martino in Pensilis. There, the

horses fell to their knees near the ancient altar-stone of the church.6 Lifting the altar stone, from

which emanated a great light, the noblemen found the remains of St Leo. Each wanted to claim

the relics, and they could not agree as to where the relics should be brought. The bishop of

Larino advised them to place the relics on a cart and to inter them in the place where the oxen (or

rather the bulls, as Tria recounts) would stop. The beasts promptly ran with the cart and the relics

4
Giovanni Andrea Tria, Memorie storiche civili ed ecclesiastiche della città e diocesi di Larino (Rome:
Giovanni Zempel, 1744), Appendix, ch. 3, pp. 654–677.
5
Robert II of Loritello, who died in 1182. For several mentions of the political career of Count Robert, see
Hugo Falcandus, The History of the Tyrants of Sicily by ‘Hugo Falcandus’ 1154–1169, trans. Graham A. Loud and
Thomas Wiedmann (Manchester: Manchester University Press, 1998). See p. 62n11 for brief biographical details.
The count must have lived for an extraordinarily long time, if it is true that in 1113 he went to Montecassino and
asked to become part of a confraternity there (See Erasmo Gattula, Historia Abbatiae Casinensis (Venice: 1733),
344–345).
6
Tria, 655–657.
254
to San Martino in Pensilis, stopping in front of the main church of Santa Maria. Thereafter, the

oxcart race in honor of St Leo was held annually at San Martino in Pensilis to commemorate this

event, as Tria attests.7

The translation story resembles many others that circulated throughout the Italian

peninsula at this time as bishops used the translation of relics to urban cathedrals to increase their

religious authority.8 We have only to read a little further in Tria’s account to find the liturgical

texts that honored this saint, at least at San Martino in Pensilis. Unfortunately, these make no

mention of hymns, even though the Office composed in St Leo’s honor likely would have

included them. Transcribing the precious little that had come down to the eighteenth century of

this saint’s story, Tria complains that,

Con tutte le diligenze da noi Despite all our assiduousness,

pratticate, altro in iscritto non
abbiamo trovato di questo
glorioso Santo, che una
leggenda, l’ordine del suo
officio, e Messa con propria
orazione che si conserva in
pergamena nell’Archivio della
Chiesa Arcipretale di d. Terra
di S. Martino.9
we have not found other accounts
of this glorious Saint in writing
but a Legend, the ordines
of his Office, [and] a Mass
with a proper oration [i.e., Collect],
which is conserved in parchment
in the Archive of the Archdiocesan
church of the aforementioned
Terra San Martino.

Tria could not have known that there was, indeed, another liturgical text in honor of St Leo, and

from a place far beyond the confines of San Martino in Pensilis and the diocese of Larino: the

hymn in honor of St Leo, Clarus hec signis, is found uniquely on folio 137v of the Beneventan

hymnary Ben 42. This hymn is found transcribed in figure 81 at the end of Chapter Six.

7
Idem, 656.
8
Benjamin Brand recounts numerous examples of this in medieval Tuscany. See Brand, op. cit.
9
Tria, Appendix, ch. 3, p. 654. Translation mine.
255
 More about this hymn and the identity of St Leo will be discussed further in this chapter.

For now, it is important to note that Clarus hec signis is not the only hymn in Ben 42 to reflect a

local and ancient liturgical devotion in a unique hymn text. There are many hymns in Ben 42 that

are not found in other manuscripts even from Benevento or other areas of southern Italy.

Moreover, those hymns in Ben 42 found regionally in southern Italy but not always with musical

notation are given notated melodies for their first strophes in this manuscript, making this

hymnary one of the most important, heretofore un-transcribed sources of local hymn texts and

melodies.

Besides Ben 42, the most ancient notated hymnary from southern Italy is Ben 37.

Together, these two hymnaries in most cases provide the only notated exemplars of the melodies

for local, southern Italian hymn texts. Unique melodies may be witnesses of the musical

characteristics and melodic style proper to southern Italian hymns. An examination of the

melodies assigned to local hymns in Ben 37 and Ben 42 shows that certain texts were given such

unique, perhaps newly-composed, melodies; others had local melodies also notated in other

southern Italian hymnaries, while still others were given melodies that were widespread

throughout Europe, albeit elsewhere assigned to different, non-southern Italian hymn texts. At

times, the sharing of melodies for local hymn texts highlights inter-textual connections between

different feasts. In the Middle Ages, these audible connections could have been exploited for

pedagogical purposes, or used to legitimize the local hymn texts and hagiographical devotions

they accompanied. Hymns that are shared but given different melodies in Ben 37 and Ben 42

demonstrate that the selection of melodies for hymn texts varied according to circumstance and

location in place and time. These “multiple melodies” trace the transformation over time
256
whereby more universal hymn melodies were preferred over locally-composed ones even when

the corresponding hymn text was a local composition.

The analysis of the hymn contents of the hymnaries in the preceding chapters has shown

the presence in these manuscripts of hymns that are unique to certain manuscripts from southern

Italy, hymns that are more regional, i.e., found in codices of southern (or at most southern and

central) Italy, and hymns that are pan-European, i.e., those that formed part of the “Old” or

“New” Hymnaries. This chapter will probe the musical characteristics of local southern Italian

hymn melodies. These are identified using Ben 42 and Ben 37 as case studies through which

local hymn texts with notated melodies in these manuscripts are identified and their melodies are

analyzed. One may consider these local hymn texts to have formed part of a southern Italian

hymn tradition composed locally and copied into these notated hymnaries from Benevento. Not

all the melodies assigned to local texts were local or unique, as we shall see. But some are, and

these share musical features that suggest that there was a previously unidentified, local southern

Italian musical style for hymn composition witnessed by notated hymnaries in Benevento and

other areas of southern Italy. This chapter thus provides an analysis of such hymn melodies to

trace the features of a southern Italian melodic style for hymns.

The identification of local melodies in this chapter will proceed as follows. First, the texts

that are found in a single hymnary will be enumerated, followed by those that are found only in

hymnaries in southern and central Italy (or in at most in one or two manuscripts from other

areas). From among these texts, those that are notated in one or more hymnaries are identified.

Then, using Ben 37 and Ben 42 as starting points, the melodies assigned to hymns with unique

texts in each of these manuscripts will be transcribed and any melodic concordances discussed.
257
The same will be done for melodies assigned to non-unique, yet local, hymn texts in each of

these manuscripts. Where the only melodic concordances for these unique and local texts in Ben

37 and Ben 42 are those found in other southern Italian notated hymnaries but not elsewhere, the

melody is assumed to be a local melody; these melodies’ musical features will be analyzed and

compared. The chapter will end with a comparison of the melodies of hymns with local texts that

are notated with different melodies in the principal notated hymnaries from southern Italy,

namely, Ben 37, Ben 42, Casan. 1574, and the Bari hymnary.

As mentioned in previous chapters, many local saints are given local hymn texts in

hymnaries such as Ben 42. St Barbatus, St Boniface, the Forty Martyrs, the Holy Twelve

Brothers, St Vitus, and St Mercurius all have local hymn texts in Ben 42 which are also found

notated only in this hymnary. By the end of the chapter, we will see how, like the eight hundred-

year-old oxcart race, these and other hymns copied with notation were important for

remembering local saints and local melodies, a discussion that will be further explored in

Chapter Six.

Local Southern Italian Hymns and Concordances

In studies of other genres of plainchant from southern Italy, the search for unique and

local items is considered important both for the identification of an older layer of chant that was

eventually replaced, as well as for the identification of newly-composed chants that were created

as a local response or adaptation to the new requirements calling for exclusive use of Gregorian

chants.10 The same type of work can be revealing in the case of the local hymns from southern

10
For example, Luisa Nardini has identified several of these “neo-Gregorian” and non Gregorian local
chants through an examination of texts and melodies in southern Italian chant books. See Nardini, Il repertorio neo-
gregoriano del Proprium Missae in area beneventana; idem, “Roman Intruders in non-Roman Chant Manuscripts:
258
Italy. The hymns that are unique to given manuscripts from southern Italy were most likely local

compositions. Whether or not these are relics of an older, local layer of hymnody or whether they

are newly-composed for that manuscript in the wake of the efflorescence of liturgical poetry in

the late tenth through twelfth centuries (one thinks immediately of the great number of local

sequences and tropes from the Beneventan area) remains, for the most part, difficult to determine

with certainty. However, it is still possible to discern common traits in the unique and local

hymns that together constitute a local musical style for hymns. A closer look at the texts that are

unique in Beneventan-script southern Italian hymnaries will better illustrate these points.

Based on the previous examination of the main hymnaries, by way of synthetic summary,

the hymns that are unique to southern Italian manuscripts are enumerated in Table 9 along with

their feast day assignments. Of course, in order to claim that these hymns are unique to these

manuscripts, one would need to have an accurate and up-to-date table of contents of every single

still-extant hymnary from before the thirteenth century—and even this would not take into

account evidence from lost manuscripts. Additionally, there might be hymn incipits in

manuscripts that are not hymnaries, so one would have to know these in order to ascertain

whether these hymns are indeed unique. Yet, in the absence of such monumental documentation,

it is reasonable to presume that these are, indeed, unique hymns if they appear neither in the

Analecta Hymnica, in the Monumenta Monodica, in Jullien’s tables of hymns, in Mearns’s book

on Early Latin Hymnaries, nor in other recent printed scholarship discussing the hymn contents

The Cases of Sint lumbi vestri and Domine si tu es,” Acta Musicologica 28.1 (2010), 1–20; idem, “Aliens in
Disguise: Byzantine and Gallican Chants in the Latin Liturgy,” Plainsong and Medieval Music 16.2 (2007), 145–72.
259
of different hymnaries, or else if they are cited as unique in these studies.11 The same caveat goes

for the hymns listed in Table 10. This table lists hymns that appear in southern Italian

manuscripts that are not unique to a given hymnary but that appear in hymnaries confined either

to these locations or to locations in central Italy.12 I have called these hymns “regional” hymns to

reflect both their probable local origin and their nature as intra-regionally shared repertoire.

Unfortunately, for those hymns copied only in manuscripts without notation, we can

never know what melodies might have been used for these hymns. For other unique and local

hymns, we thankfully have Ben 42, Ben 37, Casan. 1574, the Bari hymary, and Naples VI G 29

that are notated, in addition to some marginally-notated hymns in other manuscripts, so that we

can discern which melodies southern Italian scribes (or cantors or other manuscript users) copied

along with these local hymns. At this point the importance of Ben 42 and Ben 37 as witnesses of

local southern Italian hymn melodies becomes apparent: the majority of local hymn texts are

found in one or both of these manuscripts. These two manuscripts will form the basis of this

study of local hymn melodies, therefore. But before analyzing the melodies in these manuscripts,

a few of the hymns notated in other southern Italian hymnaries with notation but not in Ben 42 or

Ben 37 should be mentioned.

11
I will often refer to these publications hereafter as “concordance studies” to indicate the fact that they are
indispensable resources for checking concordances between hymn texts in different manuscripts. Analecta Hymnica
Medii Aevi; Stäblein, Die Hymnen; Mearns, op. cit.; Jullien, “Les sources.” Stäblein’s citations of concordances also
reference, among others works, the following important concordance studies on medieval Latin hymns: Franz
Joseph Mone, ed., Hymni Latini Medii Aevi, 3 vols. (Freiburg: Herder, 1853); Peter Wagner, Die Gesänge der
Jakobsliturgie zu Santiago de Compostela (Freiburg: Universitäts-Buchhandlung, 1931); Emilio Garbagnati and
Luigi Colombo, eds., Gli inni del breviario Ambrosiano corredati delle melodie liturgiche (Milan: Premiata Libreria
Religiosa di Giuseppe Palma, 1897). The hymns in Beneventan manuscripts from the Biblioteca Capitolare of
Benevento are indexed in Mallet and Thibaut, especially in the index of chants in vol. 3.
12
A few of these hymns also appear in manuscripts other than those from southern and central Italy. These
concordances have been noted, and such hymns have been included because their concordances with hymnaries
outside these areas are so rare and so might indicate transmission from southern or central Italy to other areas.
260
 Triumphum sacre virginis for St Agatha, Summe tocius reparator orbis for St Agnellus,

Refulget iam sollemnitas for Sts Phillip and James, Tuam o pater postulamus for St Peter in

Chains, Martirum princeps and Pastor insignis faciendo signa for St Januarius, Sebastiani inclyti

for St Sebastian, Christi fideles milites for Sts Cosmas and Damian, Marciani meritum for St

Marcianus of Frigento, O Agrippine pontifex for St Agrippinus, Christe immense dominator

sancte for the Dedication of a church, and Arbor salve for the Invention of the Cross are in

Naples VI G 29 and not in Ben 37 or Ben 42.13 Of the hymns enumerated here, Martyr Dei

egregie for St Sebastian is notated in the margin of folio 128r of Chigi C VI 177 (in addition to

being notated in Ben 42 and Ben 37), and O genitrix eterni virgo for the Asssumption is notated

on folio 161v of this same manuscript as well as in Vat. lat. 3797.14 This could have been the

same melody used with this text in Benevento, where Naples VI E 43 was used; unfortunately,

there is no notation in Naples VI E 43. One local hymn text is found notated in Casan. 1574 and

not in Ben 37 and Ben 42: Canticum laudis for St Severinus. As for the presence of marginally-

notated melodies for local hymn texts, neumes were added to Confessor Domini Maure in Ott.

lat. 145; however, this hymn is also found, notated, in Ben 42. Despite the few exceptions where

a unique or local hymn is not copied in Ben 42 and/or Ben 37, it is evident that a detailed look at

the melodies in these two Beneventan hymnaries, largely ignored in the literature on hymns, can

reveal the presence of unique hymn melodies used in Benevento and, therefore, of the style of

13
These hymns are transcribed in Figures 54–62. Since this chapter is focused primarily on Ben 37 and Ben
42, since Naples VI G 29 is at the tail end of the time period under investigation (thirteenth century), and since it
will be the object of a separate, future study, these hymns are not examined per se but will be mentioned as
necessary where they are concordant with melodies in Ben 37 and/or Ben 42.
14
Boynton, “Eleventh-Century Continental Hymnaries,” 209. Boynton provides the most thorough study of
the paleography, origin, illumination, contents, and notation in several glossed hymnaries, including Chigi C VI 177,
Farfa 209, Vat. lat. 7172, and MC 420 relevant to this study.
261
local hymn composition. These hymn melodies allow us to characterize the features that

distinguished the local Beneventan melodic style for hymns from those used more commonly

throughout Europe.

Melodies of Local and Unique Hymn Texts in Ben 37

The search for a local musical style for hymns with the identification of unique hymn

texts might reasonably begin by examining the oldest notated hymnary in this study, in this case,

Ben 37. Usually the hymns that form part of a more widely-distributed repertoire in Ben 37 are

those that have “ordinary” or fixed assignments for given canonical hours and/or feasts. They are

not usually assigned to special feasts or feasts of saints with local importance and are shared

amongst many codices both within and outside the Beneventan circuit without great differences

in text and melody. Examples of widespread hymns in Ben 37 are, unsurprisingly, mostly from

the temporal cycle, such as those for the Epiphany, Lent, Passion Sunday, Palm Sunday, Easter,

the Ascension, and Pentecost. The sanctoral feasts with widespread concordances are those for

saints venerated universally, such as saint Sebastian, saint Agnes, saint Benedict, the

Annunciation, saint Michael, saint Scholastica, saint John the Baptist, and saints Peter and Paul.

Sanctoral and temporal feasts in which multiple hymns were copied in Ben 37 (such as the

Ascension) also allowed for the inclusion of local hymns besides the more widespread repertoire

in the form of “alternate” hymns for a given feast day.

The hymns in Ben 37 that have limited or no presence in manuscripts outside the

Beneventan zone before the thirteenth century are usually those for feasts of saints with local

importance. Among the local saints, some had more of an importance in a wider area of the

Beneventan zone than others, and therefore the local hymns in their honor are represented in a
262
greater number of manuscripts. For example, in Ben 37 the hymns for saint Bartholomew (Ad

laudem Christi procerum and Gaudium mundi Christe) are also present in a number of

Beneventan manuscripts; these hymns are present also in the two hymnaries from Narni, and Ad

laudem Christi procerum is in Naples VI G 29. Saint Bartholomew was well-known and much

venerated in Benevento.15 On the other hand, the hymn O clara mundi lumina for saints John and

Paul is uncommon: it is in Ben 21 and Ben 37 and might have been used for a limited time in

Benevento before falling out of use after the copying of Ben 37. The hymn for St Eustasius,

Eustasii magni martyris, is found in Ben 37 and Ben 42. Both Ben 42 and Ben 37 were copied

for female monasteries in Benevento; St Eustasius might have been venerated in a special way at

female monasteries in Benevento, and so the hymn is present in the manuscripts destined for

these monasteries. Local hymn texts sometimes have local melodies in Ben 37, while others are

copied with more widespread hymn melodies used elsewhere for different texts. Each of these

cases will be discussed, first using examples of hymns whose texts are found in Ben 37 alone,

and then using examples of hymns whose text may be found in Ben 37 and in other hymnaries,

but that are only notated in Ben 37.

Given the fact that Ben 37 is one of the oldest notated hymnaries from southern Italy, the

melodies of unique hymn texts should be given special attention, since they might represent

examples of hymn texts and melodies that were once more widespread in the region as a whole.

On the other hand, they might just be texts newly-composed for inclusion in this manuscript; this

possibility cannot be discounted. Whatever the case may be, the melodies assigned to unique

15
See Oldfield, 21–23, 72.
263
hymn texts in Ben 37 reveal the priorities governing the setting of rare local hymns to melodies

in at least one monastery of southern Italy. This can be compared to the assignment of melodies

to unique hymns in other notated hymnaries of southern Italy that are more recent, such as Ben

42, to determine whether these priorities changed in any significant ways through time, and to

discern why this might be.

Unique Hymn Texts Notated in Ben 37

In Ben 37, there are three unique hymn texts, but only one of them has a unique melody.

The other two texts are notated with hymn melodies that are used in other hymnaries—but only

in southern Italy—for different hymn texts. The use of melodies for hymns used elsewhere for

different hymn texts has always been a common phenomenon seen in hymnaries throughout

Europe; however, here the re-use of melodies that are nevertheless still only found in the region

of southern Italy implies that these local melodies were more well-known and widespread in the

Beneventan region than would otherwise seem. It also suggests that, when faced with hymn texts

that were either newly composed, that had a very limited circulation, or that were found only at a

single institution (perhaps such as the one where Ben 37 was used or copied), the notators and/or

users of Ben 37 used melodies with similarly limited circulation for these texts. They did not,

however, use newly-composed melodies for these texts. Perhaps the local melody helped the

users of Ben 37 identify more closely with the saints who were honored with rare hymns in this

manuscript than would be possible if, for example, a melody used throughout Europe were

adapted to these texts. It may also imply that, at the relatively early date of Ben 37’s copying,

there were fewer non-local melodies known or, vice versa, there were more local melodies in

264
circulation than not. As we shall see, this musical backdrop would change a century later, by the

time unique texts were given notated melodies in Ben 42.

The hymn Presulem sanctum reboate for St Sabinus is copied in Ben 37 on folios 19v

and 37r.16 Although the text is unique to Ben 37,17 the melody is found elsewhere, albeit in

southern Italy. It is a hymn melody used for the hymn Christe sanctorum decus angelorum for St

Michael, as Bruno Stäblein points out in the first volume of the Monumenta Monodica Medii

Aevi, in a thirteenth-century hymnary from Bari’s cathedral of San Nicola, folios 35v-36r.18

Stäblein calls the melody “Singulär” or unique—in other words, not copied in other known or

examined manuscripts.19 In fact the same melody (only slightly varied) is found for the two

unique hymn texts Martirum princeps and Pastor insignis faciendo signa for St Januarius in

Naples VI G 29.20 Given the fact that this melody (number 774 in Stäblein’s edition) appears to

be associated with only three hymnaries from the Beneventan zone (the Bari hymnary, Ben 37,

and Naples VI G 29), with the oldest fully-notated hymnary from Benevento, and in conjunction

16
For a paleographical description of the gathering structure of this manuscript, see Chapter Three.
17
It is not cited in Analecta Hymnica, Jullien, or Mearns. It is copied in the eighteenth-century manuscript
Borg. Lat. 296 on folio 107r-v; unfortunately, I have as yet been unable to consult this manuscript. The manuscript
is a collection of various items pertaining to the religious customs of Benevento, and includes an index of
manuscripts found in the Biblioteca Capitolare of Benevento, a calendar, martyrology, and necrology of Santa Sofia,
various transcriptions from some manuscripts kept in the Biblioteca Capitolare, and other items. The manuscript was
compiled by Cardinal Stefano Borgia and so he might have found this hymn, along with Paschalis dies colitur for St
Juvenal (otherwise only found in Ben 42), Sublime nobis imminet for St Boniface (in Ben 42 and Vat. lat. 4928),
Iam sacra dies annua for St Felicitas (in Ben 42 and Naples VI E 43), and Votis tuorum Christe for the Holy
Twelve Brothers (in Ben 42 and Naples VI E 43), hymns copied right after that for St Sabinus on folios 109r-111r of
Borg. Lat. 296, in manuscripts from the Biblioteca Capitolare, probably Ben 37 and Ben 42.
18
Stäblein, Die Hymnen, 454, 676.
19
It is therefore unclear how Stäblein was able to determine this because he notes before the textual index
listing the hymn incipits that the source for this hymn text “could not be found.” Idem, 663.
20
See Figures 57–58. See Figures 54–62 for the transcription of the hymns with unique texts that are
notated in Naples VI G 29.
265
with unique texts, its musical features reflect a local and, apparently, ancient southern-Italian

melodic style for hymn melodies.

Figure 10 and Figure 11 compare the melodic transcriptions of Christe sanctorum decus

angelorum from the Bari hymnary as edited by Stäblein and that of Presulem sanctum reboate

from Ben 37. Phrase marks have been added to show the delineation of the line structure of the

Sapphic text. Although an exact clef was not marked in Ben 37, the melody here is assumed to

begin on the same pitch as that of the Bari hymnary. The melody clearly reflects the Sapphic

meter of the text, cadencing after the first two hendecasyllabic lines of the strophe. The melodies

of the first two hendecasyllabic lines are nearly identical, falling and rising before dipping down

again just before an internal cadence. The melody of the third hendecasyllabic line begins at a

higher pitch level, although the contour resembles that of the previous two phrases, with an

initial stepwise descent. In this third phrase, however, there is no pronounced ascent as the

melody lingers on a recitation-like pitch for several syllables before dipping down; instead of

cadencing after the third hendecasyllabic line of text, the melody ends with the final cadence

comprised of the last adonic line of text.

The melodies from the Bari hymnary and Ben 37 would be identical were it not for two

variant portions which cast subsequent melodic phrases into different transpositions in each

hymnary. In the first variant portion (shown in each melody with a square), the melody in the

Bari hymnary dips down to a C and rises up to an E so that the first line ends with a cadence on

E. In the Beneventan hymnary the initial descent stops short of C, leaping up instead to the F that

started the hymn and affirming the first line cadence on this note. The second phrase of the

melody in the Bari melody thus is identical to its first phrase, except it is transposed down a step
266
(starting on E) compared to the first phrase. Despite this, the second phrase does cadence on an E

like the first phrase, since the initial descent is only of three notes, E-D-C and not F-E-DC as in

the first phrase, due to the absence of a clivis. The leap between the third phrase and the fourth

phrase is thus that of a fourth, from E to A. In the Beneventan hymnary, however, the second

phrase is identical to the first; no transposition takes place, since the initial descent of the first

phrase is followed by a leap of a third to F instead of a stepwise ascent to E, and thus the ascent

continues up to A before cadencing on F. The third phrase of Ben 37’s melody is almost the

same as that of the Bari hymnary, but after the recitation-like G the descent before the final

cadence does not go all the way to C; instead, it stops on D and allows the melody to cadence on

F (see circled portion of the melody).

Could the Bari melody reflect a newer adaptation of an older, more archaic southern

Italian hymn melody to reflect newer sensibilities, given the fact that the Bari hymnary was

copied in the thirteenth century? Or, were there different variant versions of the melody

corresponding to each of these variants in circulation over the period of two centuries between

the copying of each hymnary? To summarize the comparisons of these two melodies, Ben 37’s

melody begins and cadences on F with an E-F-F rise in every phrase; it avoids descending below

D and has no leap larger than a third between consecutive notes. Bari’s melody begins phrases

on F but avoids the E-F-F cadence: each cadence is D-E-E. There is a leap of a fourth and the

melody descends down to C. The impression obtained from this comparison is that the melody in

Bari was adapted from a version in which the first two phrases were originally identical, even in

level of transposition, but that the half-step cadence was avoided. The limited range of Ben 37’s

melody mirrors the local southern chant style of Old Beneventan chant in other genres where
267
repetitive melodies and limited ranges were the norm.21 Another hypothesis might be that the

hymn as copied in Ben 37 did not really begin on F, but rather on E. Since the melody in this

hymnary is not on staff lines, its starting pitch is not unambiguous. Where the melody was

redacted with a starting pitch of F, as in Bari, adjustments would need to be made to avoid half-

step cadences.

While the exact explanation of these differences might not be discerned with complete

certainty now, it is clear that this unique melody was once more widespread than was once

thought; it is not an isolated melody in the Bari hymnary but it existed in Ben 37 nearly two

centuries before, and in a fully-notated format (though without clefs). In this earlier hymnary, the

melody was assigned to a text that, as yet, has no known concordances. Thus this local melody

appears to have been used flexibly with various local hymn texts in honor of locally-important

saints such as St Sabinus and St Januarius. It is clear that, while the text for St Sabinus

disappeared from later, more standard hymnaries, this melody dating from at least the eleventh

century lived on in the region, possibly due to its adaptability to various hymn texts for different

feasts.

Another hymn whose text is found complete only in Ben 37, O clara mundi lumina for

the feast of Sts John and Paul, may illuminate further aspects of local hymn melodic style.22 This

hymn is cited in the antiphoner from Benevento, Ben 21 (folio 192r), but as an incipit only. The

unique melody follows the iambic dimetric text in an A-B-A’-B melodic phrase pattern (see

21
See Kelly, “Music of Benevento Cathedral,” in Thomas Forrest Kelly, The Sources of Beneventan Chant,
15.
22
This hymn is not cited by Stäblein in Die Hymnen, nor is it in the Analecta Hymnica, nor in other
concordance tables.
268
Figure 12 for a transcription). The modality of the chant, assuming an initial pitch G, is in

authentic deuterus, with a range from a tone below the final (used as a sort of pickup note at the

beginning of the chant) to an E a fifth above the final. The range is less restricted than that of

Presulem sanctum reboate, and the melody features a descending leap of a fourth from D to A.

The “A” phrases end inconclusively on a note above the final pitch of the mode, while the “B”

phrases bring the melody to a cadential resting point on the final pitch A. The opening of the

melody somewhat resembles the mode 3 antiphon Immittet Angelus Domini for Wednesday at

Compline, but whether this results from a conscious borrowing or not is subject to conjecture.23

The resemblance of the different phrases of the hymn to one another is a feature that this melody

shares with that of Presulem sanctum reboate, and might have been a feature common all

locally-composed southern Italian hymns.

Like O clara mundi lumina, Deus qui verbi angelo for St John the Baptist is another

hymn whose text is unique to Ben 37 and whose melody (Figure 13) is a local southern Italian

hymn melody. It is the same as that of Deus qui mundum crimine as found on folio 144v of the

hymnary from Gaeta, Casan. 1574, and in Ben 42.24 Stäblein lists the melody of this hymn as

unique since it is not used as a hymn melody elsewhere.25 The melodic contour resembles the

style of other, non-local hymns more so than those of Presulem sanctum reboate and O clara

mundi lumina. The opening, with its leap by thirds from g to d, resembles that of certain hymns

23
Solesmes, Abbaye Saint-Pierre, ed., Liber Usualis (Tournai, Belgium and New York: Desclée,
1962), 293.
24
Stäblein, Die Hymnen, 428; melody no. 736. This is the same melody as used for Martyris Christi
colimus triumphum for the feast of St Lawrence on folio 144v of the same manuscript (which, however, starts on the
pitch of a).
25
Idem, 428, 608. The melody of Deus qui mundum crimine in Casan. 1574 is no. 736.
269
from places other than Italy (for example, Aurora lucis rutilat from the manuscript Einsiedeln,

Stiftsbibliothek 366, page 41), as well as numerous Alleluia melodies, including the well-known

Alleluia Nativitas.26 The boxes and circles in Figure 13 indicate formulaic portions of this hymn

that recur in other hymn melodies from southern Italy, as will be discussed shortly.

Local Hymn Texts Notated in Ben 37

A few other local hymns whose texts are not unique to Ben 37 but that are nevertheless

found only in southern or central Italian hymnaries are notated in Ben 37 alone. Of these, one has

a unique melody. Two utilize a local melody used elsewhere for other hymn texts, while two

others use hymn melodies that were widespread throughout Europe. Each of these hymn texts

and their melodies will be discussed in turn.

There are two hymns in Ben 37 that are local texts not notated elsewhere, but that

unfortunately are not notated in Ben 37 either. Unfortunately, while the local hymn Angusta vite

tempora for St Nazarius is shared between Ben 37 and the two Narni hymnaries, it was added

into Ben 37 after its initial copying, and so does not contain notation. Thus we cannot know the

melody used for this hymn. Whoever copied it into Ben 37 might have been familiar with the

hymn through contacts with central Italy. Adest celebritas nobis for St Maur is likewise present

in the Narni hymnaries and Ben 37, as well as in Ott. lat. 145, but not notated in any of these

26
Idem, 288; for the melody of Alleluia Nativitas, see Karlheinz Schlager, Thematischer Katalog der
ältesten Alleluia-Melodien aus Handschriften des 10. und 11. Jahrhunderts, ausgenommendas ambrosianische, alt-
Romische und alt-spanische Repertoire (Munich: W. Ricke, 1965), no. 318. More comparative research on the
hymns of southern Italy in relation to other genres may reveal a high degree of cross-generic melodic borrowing
between hymns and other liturgical genres in this region, as attested by this hymn melody. This would be similar to
the way in which Old Beneventan alleluias and some ingressae, antiphons, offertories, and communions shared the
same melodies. See Kelly, The Beneventan Chant, 110, 114–115, 119, 126, 140.
270
hymnaries, since it is on the non-notated replacement gathering of Ben 37 (see Chapter Three for

codicological description of Ben 37).

Five other local hymns are, however, notated in Ben 37 and not in any other hymnary.

The text Adest miranda passio for St Vincent is found in a few other southern Italian hymnaries,

namely, Ott. lat. 145, the Narni hymnaries, and Chigi C VI 177 and also in two earlier, eleventh-

century Iberian hymnaries, Madrid 10001 and London Add. 30851.27 The beginning of Adest

miranda passio is not notated because it is copied on the replacement gathering on folio 52r, but

the remainder of the hymn is still preserved in one of the original gatherings on folio 36r, and so

contains notation. This melody, found above the last two strophes of the hymn, is transcribed in

Figure 14. It is a common and ancient hymn melody that was first used in Milan, since it is very

similar to a melody found as one of six notated hymns in the twelfth-century hymnary London,

British Museum Add. 34209 on folio 29v, Intende qui regis Israel (for Christmas).28 This hymn

shows how not all texts found mostly in southern Italian manuscripts bore local melodies; rather,

some used well-known hymn melodies that fit well with the metric scheme of the new hymn

text. This could also reflect the fact that the text was found in Spanish manuscripts before the

earliest extant southern Italian ones, and that the text is an adaptation of an even older, seventh

27
Even though this is not a local southern Italian hymn, given its probable origin in Spain, it is included
here because of its remarkable presence in southern Italy, which highlights a musical connection and shared saint’s
cult between the Iberian and Italian peninsula thanks to the origin of St Vincent’s cult in Saragossa and its
subsequent adoption in southern Italy, most notably at the monastery of San Vincenzo al Volturno.
28
See Stäblein, Die Hymnen, 81 and 503–504; this is melody no. 14.1, from the hymnary Biblioteca
Trivulziana 347, folio 204r, a Milanese hymnary from the fourteenth century. A variant of the same melody in a
different transposition (on g rather than on d) is transcribed by Stäblein as melody no. 14.2, found in the thirteenth-
century Cistercian hymnary from the monastery of the Holy Cross (Idem, 30). It is also similar to melody 14.3,
found in the twelfth-century hymnary from Nevers, Paris 1235 on folio 150r–v for the other Christmas hymn Veni
redemptor gentium.
271
century hymn to St Cyriacus.29 Thus, a borrowed and ancient text was used with a borrowed and

ancient melody, as attested by Ben 37.

A similar case can be seen for the hymn for St Gregory, Claret sacrata iam dies notated

in Ben 37(see Figure 15). This text is found also in the Narni hymnaries and in Rh 91. The

melody in Ben 37 is the same as that for the hymn Rex gloriose martyrum in the hymnary of

Moissac (Biblioteca Apostolica Vaticana, Rossi 205—hereafter Rossi 205), and for the hymns

Quem terra pontus ethera in the Verona hymnary CIX (102) and Christe redemptor omnium in

Casan. 1574.30 In Ben 42, it is used for several hymns.31 The melody is not proper to southern

Italy, as it is found in other German and, in a few cases, French hymnaries. In the Italian

hymnaries, the hymn begins on g, in the fourth authentic (mixolydian) mode, whereas in the

northern manuscripts it begins on d, in the Dorian, second authentic mode. Using g or a as a

starting note is a common feature of southern Italian hymns, and of those that may not be local

but nevertheless are copied in southern Italian manuscripts. Of course, since Ben 37 is notated

without clef lines, the starting pitch cannot be determined with certainty; however, since two

other Italian hymnaries containing this melody have it beginning on g, we can assume that it

29
Dieter Schaller, Ewald Könsigen, and John Tagliabue, Initia carminum latinorum saeculo undecimo
antiquiorum (Göttingen: Vandenhoeck & Ruprecht, 1977), no. 32. The text of this hymn resembles the older text of
the hymn to St Cyriacus, Adest miranda passio Quirici, in London Add. 30845. This connection between these two
feasts, at least in terms of hymn text adaptation, might account for the assignment of Agonitheta nobilis variously to
St Vincent in Ben 37 and to St Cyriacus in other manuscripts such as Ben 42. This will be discussed further in this
chapter.
30
See Stäblein, Die Hymnen, 60, 398, 410, 526; melody no. 116. Stäblein points out that this melody is the
one most frequently used in Casan. 1574 (Idem, 607).
31
Magno canentes annua (St Benedict), O nata lux (Transfiguration), Fit porta Christi (Assumption),
Sacrum piorum martyrum (Common of a single martyr).
272
started on the same pitch in Ben 37.32 Claret sacrata iam dies, like the hymn Adest miranda

passio for St Vincent, shows that for some local hymn texts, well-known and widely-distributed

melodies associated with other texts were used.

In other cases, the texts of local hymns in Ben 37 are given melodies not widespread

throughout Europe, but that are found in the area of southern Italy. However, in other hymnaries

these melodies are assigned to different hymn texts. There are similarities in the musical features

of these local melodies that suggest that they constitute a musical style for hymns that was

endemic to southern Italy. One example of a local text assigned to a local melody is Beatus vir

Vincentius, a second hymn to St Vincent out of the many dedicated to this saint in Ben 37. This

text, like that of the un-notated hymn for St Nazarius in Ben 37, is found in the Narni hymnaries

and in Ben 37. Beatus vir Vincentius (Figure 16), can be considered more endemic to southern

Italy than the abovementioned Adest miranda passio levita, since both the text and the melody

are found only in hymnaries from southern Italy. In Ben 37 it has the same melody as that for the

hymn used on feasts of a single martyr, Martyr Dei qui unicum, on folio 51r-v of the Bari

hymnary.33 It is also used for the hymn to the Seven Martyr Brothers in Ben 42, Iam sacra dies

annua (see Figure 38). This melody was therefore once more widespread in southern Italy than

has heretofore been recognized; it may have been a local melody for the common of a single

martyr that was then adapted to the text of saints’ feasts as needed, or vice versa. Hence, it was

assigned to this hymn for St Vincent (who was, after all, a single martyr) in the place where Ben

32
Several times in Ben 37, when a hymn begins on a, the first neume is represented as a virga, which gives
us further reason to believe that a modality beginning on g was considered the norm for the notators of this
manuscript.
33
Stäblein, Die Hymnen, 457, melody no. 779. Stäblein cites the melody as unique to the Bari hymnary.
273
37 was used. More common hymn melodies for Martyr Dei qui unicum were adopted in southern

Italy later,34 after which this local melody for Martyr Dei qui unicum became obsolete just as did

many of the hymn texts for single martyrs such as St Vincent.

The different phrases of this melody, like those of O clara mundi lumine and Presulem

sanctum reboate, resemble each other; here, the first and last phrases (which presumably begin

on A like the melody in the Bari hymnary) are the same, cadencing a third above (on c) while the

second phrase begins like the first but ends on a secondary cadential tone a fifth higher (g) The

third phrase takes the melody back down from this high point to cadence on c again before the

final phrase. The phrase outline is thus A, A’, B, A. The modality can be considered either a

transposed first (dorian) mode or a second mode chant (hypodorian); however, the chant does not

end on what would be considered the final, D. This phenomenon of seemingly inconclusive

cadences (either final cadences or internal cadences) on notes other than what would be

considered the final of the mode of the chant is a feature evident in the other local southern

Italian melodies (those for Presulem sanctum reboate and O clara mundi lumina) examined here.

This, along with a high degree of phrasal repetition, the avoidance of large leaps in favor of those

no larger than thirds (usually minor thirds), and the presence of a penultimate clivis, podatus, or

bipunctum before phrase endings is likely a defining feature of a local hymn style, as they recur

in many local, southern Italian hymn melodies.35

34
For example, the melody for Martyr Dei qui unicum in the twelfth-century hymnary Ben 42 is a variant
of the melody (Stäblein, Die Hymnen, melody no. 117) for this hymn found in places north of the Alps as well, such
as in the hymnaries of Moissac (Rossi 205) and Nevers. Compare Stäblein’s transcriptions of the related variant
melodies 117.1, 117.2, and 117.3 and the transcription of this hymn in Ben 42 in the appendix of this dissertation.
35
O clara mundi lumina does not feature this last trait; instead, the final notes of phrases are approached
stepwise from a note above. The third-to-last note either is the same as the final note or is a note below the final
274
 The same local melody is used for Alma beati martyris Viti, a hymn for St Vitus whose

text is found in just a few southern Italian hymnaries: Ben 37, Ott. lat. 145, Vat. lat. 7172, and

Paris 1092. Ben 37 alone has a notated melody for Alma beati martyris Viti. Since it is the same

melody as Beatus vir Vincentius, we can assume that this hymn and Alma beati martyris Viti

begin on A, as does Martyr Dei qui unicum with the same melody in the Bari hymnary.

However, I would like to suggest that it is just as likely that this hymn melody began on E, a fifth

above (see Figure 18). Since Ben 37 does not indicate clefs, and a transposition on E would

retain all the modal features of the melody (i.e., the half steps would be in the same places), Alma

beati martyris Viti (and Beatus vir Vincentius, for that matter) could have begun on this note.

This transposition of the melody on E brings to the fore some interesting melodic features that

might be overlooked otherwise. In the first phrase, the melody begins by outlining an ascent via

leaps of thirds until it gradually comes down stepwise to rest on a pitch a third above the initial

note. This opening phrase leap from E to G to b resembles the melodic opening of a number of

local chants identified by Nardini as displaying a Byzantine chant style because of the presence

of the melodic formula E-G-a-b-a-a-G, a characteristic previously identified by Kenneth Levy as

being present in the Byzantine Sanctus melodies and in an Ambrosian sequence Lux de luce.

The first and last phrases of this hymn are identical, and the second phrase begins in the same

way but continues rising to a note a seventh above the initial pitch. The modal character of the

melody is unclear; the final of the mode may appear to be the initial pitch and in an authentic

mode, but the melody ends a third higher than this so that, by the end, the final note seems to be

note. Together, the final three notes of each phrase in this hymn are quasi-formulaic, just as the final three notes in a
phrase ending with a clivis or podatus in other local hymns.
275
also the modal final. Thus the melody that may have started out in an authentic mode seems to

be in a plagal mode with a tenor a fourth above the final by the end of the second phrase and in

the third phrase. Leaps of thirds, deceptive modal ambiguity, a high degree of internal repetition,

and the existence of this melody in few southern Italian hymnaries indicate that not only the text,

but also the melody of Alma beati martyris Viti is a local, southern Italian creation.

A unique hymn melody in Ben 37 confirms the fact that these musical traits are indicative

of southern Italian hymn melodies. Funeris victor triduo for the Ascension in Ben 37 features

these same local melodic traits. This local hymn text is found in Ben 37, Ott. lat. 145, and the

Narni hymnaries, but it is not notated except in Ben 37. Figure 17 shows the transcription of this

hymn. This melody is unique to Ben 37. In the first strophe, the melody cadences on a note other

than what would be the expected, mode-defining note. Here the chant (assuming it begins on g)

cadences on a in every phrase except the last, which cadences on its starting note, g. Despite the

fact that we do not know the exact mode of the chant, since it is notated without clef lines, it is

evident that the last note of the phrase does not contribute to the expected modal outline, being

different from the first note. Perhaps this is what prompted the scribe of this melody to change

the third and fourth phrases of the melody in subsequent strophes, as seen in Figure 17; if this is

the case, the solution is not obvious, since even here the chant ends either a step below or a third

above the last note of the previous phrases’ cadences. The first strophe features an A A A B

melodic profile, whereas the subsequent strophes are A A B C. The B phrase here nevertheless

resembles the A phrases, since it, too, begins with a stepwise descent of a third that rises up to

c”. Another feature that this melody shares with those of the other local hymns are the cadential

figures that either contain a penultimate podatus, bipunctum, or a stepwise descent preceded by a
276
third leap. Moreover, there is an evident preference for leaps of thirds in this as in the other local

hymn melodies. Pervasive phrasal repetition, modal ambiguity in the final note, leaps of minor

thirds, and formulaic cadential figures relate the melody of Funeris victor triduo to other local,

southern Italian hymn melodies.

All the unique and local hymn texts in Ben 37 that also have southern Italian melodies

with musical features identified here as belonging to a local hymn style indicate that, at the time

and place in which this hymnary was used, there was a regional hymn tradition endemic to the

southern Italian Beneventan zone. The melodies of these hymns, like many of their texts, were

sometimes used also in areas of central Italy and in places of southern Italy outside Benevento

proper, given the existence of some concordances for these regional hymns in other manuscripts.

Whether the same texts were always given the same melodies in all these areas is difficult to

determine without the presence of musical notation in all still-extant hymnaries. Nevertheless,

the fact that Ben 37 is often the only manuscript with musical notation for these hymns allows

for the identification of a local hymn style and its particular musical features.

The other notated hymnary in the Biblioteca Capitolare of Benevento, Ben 42, was

copied a century after Ben 37. Its large size and better state of conservation, the presence of

several unique and local hymn texts, along with the fact that the hymns in Ben 42 are notated

(first strophes only), allows for the identification of still other local and unique melodies.

Comparison of the musical style of these melodies to those identified as unique and local in Ben

37 corroborates the particular musical features identified here as belonging to a southern Italian

hymn style.

277
 Melodies of Local and Unique Hymn Texts in Ben 42

Ben 42 features two hymns with texts found in this hymnary alone. It has twenty-one

others with texts found in other manuscripts in southern and/or central Italy but that are only

notated in Ben 42. The melodies of the unique hymn texts in Ben 42, when compared to those in

Ben 37, can further help to characterize the locally-composed, southern Italian hymn melodies.

While the unique hymns in Ben 37 were all given melodies which, though found elsewhere for

different hymn texts, were nevertheless local, southern Italian melodies, in Ben 42 none of the

unique hymn texts were given borrowed local melodies. Instead, they were copied with hymn

melodies that were widespread throughout Europe. This suggests that there was a change in the

criteria for assigning unique texts to melodies between the copying of Ben 37 and Ben 42: while

there were many local hymn melodies in circulation for borrowing or re-use with more rare

hymn texts at the time of Ben 37’s copying, a century later it may have become necessary, or at

least preferable, to re-use more universal hymn melodies for rare texts.

Unique Hymn Texts Notated in Ben 42

Two hymns in Ben 42, Clarus hec signus for St Leo and Paschalis dies colitur for St

Juvenal, are texts found copied completely in this hymnary but not in other manuscripts. Clarus

hec signis was introduced at the opening of this chapter as a quintessentially local text for a

southern Italian saint whose vita and translation story played and continues to play an important

role in the civic life of at least one town in southern Italy. In the Middle Ages, St Leo and the

hymn in his honor may have had a significant influence even in the major city of Benevento, as

the presence of Clarus hec signis in Ben 42 attests.

278
 The melody of this hymn is transcribed in Figure 19. The melody is a well-known hymn

melody, being used for the hymn for Sts Peter and Paul, Aurea luce et decore roseo, in many

hymnaries both within and outside the Italian peninsula.36 The use of the words “decorat” and

“roseis” in the text of the hymn to St Leo recall this connection to the hymn Aurea luce, and the

use of the melody for the feast of St Peter, the first pope, may have been intentional: the notator

of Ben 42 may have wanted to draw an intertextual resonance between the Prince of the Apostles

and St Leo. There were, after all, several Pope St Leos, the most famous of which was Pope Leo

the Great. Was this hymn dedicated to Pope Leo the Great, or perhaps to Pope Leo IX, who had

been held hostage at Benevento in the mid-eleventh century and who himself composed the

Christmas hymn Egredere Emmanuhel, found in Ben 42 with an attribution to his name? Is the

St Leo honored with a hymn in Ben 42 different, therefore, than the St Leo honored at San

Martino in Pensilis still today by the millennial oxcart races? This question will be addressed at

the end of this chapter, after the musical features of other hymns with local and/or unique texts in

Ben 42 are examined. For the time being, it suffices to note how here, as in Ben 37, some local

hymn texts were given well-known hymn melodies, possibly to exploit intertextual references

between the two.

Similarly, the hymn Paschalis dies colitur for St Iuvenal (Figure 20), also uses a

widespread melody for a unique hymn text. The hymn for the feast of this saint draws another

parallel between Benevento and Narni: the Narni hymnaries also fetature hymns for the feast of

this saint found nowhere else. This particular hymn text, however, is found only in Ben 42. The

36
As, for example, can be seen in the hymnary of Nevers (Stäblein, Die Hymnen, 95). This melody is no.
152 in Stäblein’s edition.
279
melody of this hymn is not, however, unique to this manuscript nor local to southern Italy.

Instead, it is the same melody as that for Verbum salutis omnium for St Nicholas in the Casan.

1574 and in many other hymnaries from throughout Europe.37 The fact that Ben 42’s unique

hymn texts utilize melodies that are not local or unique may reflect a change in the copying of

hymnaries in Benevento since the copying of Ben 37: unique or rare hymn texts may have been

assigned more well-known melodies in an effort to grant these rare texts more legitimacy, or

perhaps because it would have been easier to learn a new text with a well-known melody. In the

case of Clarus hec dies, the choice of melody may have exploited intertextual resonances

between hymns for popes and this one for St Leo, while in the case of Paschalis dies colitur the

melody for St Nicholas may have intended to draw a parallel between this bishop saint and St

Iuvenal, the bishop saint honored by this hymn in Ben 42.

Whatever the reason for non-local melodies assigned to unique texts in Ben 42, there are

many more local texts whose melodies are notated in Ben 42 alone and that may shed more light

on the melodies used for local texts in Beneventan hymnaries. Local hymn texts that are not

unique to Ben 42 present a scenario quite different from that of the unique hymn texts: in this

case, most of the melodies in Ben 42 used for these local texts are also local or unique.

Local Hymn Texts Notated in Ben 42

While Clarus hec signis and Paschalis dies colitur are texts found only in Ben 42, other

local hymn texts in Ben 42 are found in other southern and/or central Italian hymnaries.

However, they are notated in Ben 42 alone. Six unique melodies are found in Ben 42 in

37
See Idem, 409, melody no. 71. This melody is also used for Ymnum dicamus Domino for Maundy
Thursday in Ben 37.
280
conjunction with local hymn texts. It is tempting to think that these unique melodies were

composed in Benevento itself, and perhaps at the place where Ben 42 was copied or used.

Although this is impossible to determine, the musical features of these melodies do resemble

those of the local hymn melodies discussed in the context of Ben 37, confirming the existence of

a musical style for hymn composition endemic to southern Italy. Nine local texts are also given

local melodies in Ben 42 used elsewhere in southern Italy (and, at times, elsewhere in Ben 42)

for different hymn texts (not always local ones). The musical style of these local melodies further

supports the presence of common musical features for southern Italian hymns.

Given the preponderance of local or unique melodies for correspondingly local hymn

texts in Ben 42, there must have been some specific reason for choosing non-local melodies for

four local hymn texts in Ben 42. In the case of the local hymn text Ymnum canamus for the feast

of St Cyriacus, it is not easy to determine what the reason could be.38 The melody in Ben 42

(Figure 21) is the same as that used for common ferial hymns such as Lucis creator optime and

Aurora lucis rutilat in hymnaries from other parts of Italy, England, and Germany.39 However, in

the case of Sacra piorum martyrum for the common of several martyrs, the use of a non-local

melody draws on an intertextual resonance between this local hymn for martyrs and those for

martyrs in other regions of Europe. Sacra piorum martyrum is a local hymn text found in

hymnaries from Benevento and central Italy but not Montecassino. It is notated in Ben 42 (see

38
Analecta Hymnica, vol. 14, no. 108 cites its presence in the Narni hymnaries, in Vat. lat. 4928, and in
Florence Conv. supp. 524 (a Cluniac breviary from Strumi of circa 1070); Mearns, 40, cites its presence in these as
well as in Rh 91. Jullien, “Les sources,” 176–77, cites its presence in Rh 91. Text is found in Ben 42, Vat. lat. 4928,
the Narni hymnaries, Rh 91, and Florence Conv. Supp. 524 and seems to have originated in southern Italy.
39
Stäblein, Die Hymen, melody 155. See Idem, 98, 182, 288. The melody might have originated in
Germany, according to Stäblein (Idem, 544).
281
Figure 22). The melody in Ben 42 is not local to southern Italy, but found in hymnaries in

Germany and Italy for different texts. Ben 42 utilizes the same melody as that used for Christe

redemptor omnium in Casan. 1574 and for Rex gloriose martyrum in the hymnary of Moissac,

Rossi 205.40 This latter is also a hymn for the common of the martyrs, implying that there may

have been a possible association of the melody in Rossi 205 with the text of Sacra piorum

martyrum in Ben 42—and, perhaps, in other places where this text is found in hymnaries that

are, unfortunately, un-notated.

The desire to draw intertextual resonance between a (local) saint honored by a local hymn

text and similar, more universal saints (honored in more widespread hymn texts) through the use

of the non-local melodies associated with the latter can be seen in the case of the two hymns for

St Boniface in Ben 42. The text of the hymn Sublime nobis imminet for St Boniface (Figure 23)

is found in one other hymnary from Benevento, Vat. lat. 4928, besides Ben 42. In Ben 42 it has

the same melody as that of Paschalis dies colitur, which is the same melody as that for Verbum

salutis omnium for St Nicholas in the Casan. 1574 and in many other hymnaries from throughout

Europe.41 St Boniface, like St Nicholas (and St Juvenal), was a bishop and the use of the melody

used elsewhere in honor of St Nicholas (a bishop) may have been intentional.

The other local hymn for St Boniface, Adstat en turba, is also found in Ben 42 and Vat.

lat. 4928, and also features an adaptation of a widely-used hymn melody for a local text. The

melody for this hymn in Ben 42 (see Figure 24) is an internationally-used melody, used for the

40
See Idem, 60, 410, 526; melody no. 116. The melody was known throughout Germany and Italy, and in a
few cases in France.
41
See Idem, 409, melody no. 71. This melody is also used for Ymnum dicamus Domino for Maundy
Thursday in Ben 37.
282
hymn Iste confessor Domini sacratus in other hymnaries, such as the eleventh-century hymnary

of Worcester (Cambridge, Corpus Christi College, MS 391).42 The use of the melody for hymns

of confessors is appropriate for St Boniface, himself a confessor saint. Although the affirmation

that the use of non-local melodies for local texts was a conscious effort to draw intertextual

resonances between melodies and texts of different hymns for different saints may be contested,

these particular hymns show that such associations were at least highly plausible. The notator’s

(and, likely, its users’) sensitivity to the suitability of the melodies associated with given feasts

and texts seems evident in Ben 42 especially when one considers that many of the local texts for

saints of great local importance were also given unique melodies. Perhaps unique melodies were

deemed more appropriate for those texts and/or saints honored in a more limited area because

they drew attention to the local character of these saints’ feasts; or, these melodies might have

been of recent composition out of necessity to supply local hymn texts in honor of local saints

with their own melody. Regardless of the reasons which might never be determined with

certainty, local musical features can be discerned in these unique melodies.

One such local text with a unique melody is associated with a second hymn for St Juvenal

(besides Paschalis dies colitur) in Ben 42. Gaudet sanctorum for St Juvenal is found in Ben 42

and in Vat. lat. 4928, and so its circulation appears to have been found only in Benevento itself.

The melody in Ben 42 for Gaudet sanctorum is also unique to this manuscript (Figure 25).43 The

melody is very similar to that of Iam Christus astra ascenderat on folio 30r of the Bari hymnary,

a local southern Italian hymn melody that Stäblein cites as belonging uniquely to the Bari

42
Idem, 200 melody no. 422; see also Idem, 564.
43
It is interesting to note that the unique text in honor of this saint is given a non-local melody while the
non-unique text is given a unique melody.
283
hymnary.44 However, there are enough variants between them to say that they constitute two

separate hymn melodies. The similarity (though non-equivalence) of the melody of Gaudet

sanctorum in Ben 42 with a melody found elsewhere only in the Bari hymnary shows that there

was a common musical style for hymns in southern Italy at one time. Gaudet sanctorum does not

feature as many of the characteristics observed in the local hymn melodies in Ben 37. In

particular, there is less modal ambiguity and fewer leaps of thirds. The melody features a mostly

stepwise contour and fairly clear modality in the eighth authentic mode (Mixolydian). It does,

however, feature the high degree of inter-phrasal repetition of melodic contour and gestures,

especially in the descent from d to g at the ends of the first, second, and fourth phrase that seems

to be characteristic of local southern Italian hymn melodies. Might the less evidently “local”

musical style of this hymn indicate that it was newly composed shortly before being copied in

Ben 42, and so reflect a more “modern” hymn style indicative of a musical change in the region

toward a more international style? Any possible answer to this can only be speculative, but the

question remains intriguing.

Another unique melody in Ben 42 similarly shows a mixture of musical features that can

be identified as “local” and others that attenuate this local quality. The hymn Ut digne possint for

the feast of St Vincent in Ben 42 is found additionally in one other hymnary, Naples VI E 43

from Benevento. This local text is given a unique melody (Figure 26) that is similar, though

different, to two other hymns that are local to southern Italy: O genitrix eterni virgo, a rhythmus

by Peter Damian found in Vat. lat. 3797, a collection of works by this author, and Iam Christus

44
See Idem, 453, 611, melody no. 772.
284
astra ascenderat in the Bari hymnary.45 The modality is fairly clear, since each phrase (except

the third) descends to the initial pitch. The melody leaps up a fifth between the first and second

phrases, further defining the ambitus of the mode. Nevertheless the melodic contour often

circulates around central tones such as g at the beginning of phrase one, d at the beginning of

phrase two, and a in phrase three, a stylistic trait common to southern Italian hymn melodies.

Pangamus pariter for St Barbatus also has a unique melody (Figure 27). The musical

features show the hymn’s local style: the modal ambiguity is evident, for example. The melody

in the first phrase, which seems to circle the first pitch g ends a third below this pitch. The

melody begins again on g in the second phrase, moving up to a c and d but, instead of cadencing

on g, ending on b. The third phrase moves up even higher to a recitation-like stasis on the high e

before finally ending on g. The fourth phrase, exactly like the first, ends again on e a third below

g, making the melody sound incomplete. The modal ambiguity and frequent motion by thirds are

features that have been observed characterize local southern Italian hymn melodies.

Deus eterne famulos for the Forty Martyrs also is a local hymn text with a unique melody

in Ben 42. The text is found in Ben 42 and Naples VI E 43. Although unique, the melody is

extremely similar to that of Deus qui verbi angelo in Ben 37 (discussed above). The two middle

phrases are more dissimilar between the two hymns than the outer phrases; it could be that a

well-known local melody, or at least its outline, was adapted to the hymn text for the Forty

Martyrs in Ben 42. The musical style is similar to that of other local hymn melodies, due to the

presence of formulaic portions (see boxes in Figure 28) that recur in several southern Italian

45
Melodies 788 and 772, respectively, in Stäblein, Die Hymnen 462 and 453–454. See also references to
these melodies in Idem, 612 and 611.
285
hymn melodies. As already noted in the case of Deus qui verbi angelo, the style as a whole

features a more clearly discernible modality. The stepwise, circling motion around the first (and

final) pitch of the hymn, a, leads into an upwards leap by thirds from g to d before descending by

step back to a in the first phrase, which repeats almost exactly in the second phrase. The third

phrase is characterized by the presence of a quasi-formulaic, four-note compound neume that

ends the two halves of the phrase, with the last one leading the melody to g before the fourth

phrase, which mimics the ascent by thirds from g to d seen in the first two phrases before

cadencing on a. The circling motion around a main tone, sequential, formulaic repetition of the

four-note neume and the large-scale repetition at the level of the phrase is a feature that we have

seen is common to southern Italian hymn melodies.

Egredere Emmanuhel for Christmas is a hymn text found in a few Cassinese and

Beneventan manuscripts before the thirteenth century. It is not found in hymnaries outside

southern Italy. This local text has a widespread melody in Ben 42 (Figure 29). The first phrase of

this hymn resembles the opening of the melody for the communion Christus resurgens ex

mortuis. The similarities stop there, however. The first and third phrases of the hymn are exactly

alike, featuring an initial leap of a fourth. The phrase ends with a climacus down to the initial

note. The modality is therefore well-defined (in this transcription, in second authentic, Dorian

mode). The second and fourth phrases are also almost exactly alike, and both end with the same

descent, albeit syllabic, to the final note as the one outlined by the scandicus in the first and third

phrases. There are frequent leaps of thirds: from g down to e in each phrase, from a down to f in

the first and third phrases, and from d up to f before the last phrase. In general, the melody

circles the note a fourth above the final.

286
 Ben 42 features three local hymn texts to St Mercurius, evidence that the saint was

singled out for special attention by the users of this manuscript. These hymns, Mercuri semper

venerande, Ad martyris Mercurii, and Laudes Mercurii are also found in Vat. lat. 4928 and

Naples VI E 43, and therefore had a limited circulation in southern Italy and only in the area of

Benevento itself. Perhaps because of this special attention to St Mercurius, one of the hymns for

this saint in Ben 42 has a melody unique to this manuscript. The melody for Mercuri semper

venerande (Figure 30) is used for both Mercuri semper venerande and Ut digne possint for St

Vincent in Ben 42; as mentioned in the discussion of this latter text, the melody is unique to this

manuscript though it resembles other local hymn melodies.46 This melody thus represents a

different instantiation of a local hymn melody, with all the features characteristic of a local

musical style for hymns.

The melody for Laudes Mercurii is a widespread melody (Figure 31). It features a

stepwise ascent (assuming that the melody begins on g) from g to d, with frequent repetition of

the pitch d throughout the melody. The first two phrases begin the same way but the second

phrase ends with an ascent back to d, which leads into the third phrase that steps back down to g

before the fourth phrase. The contour is mostly stepwise, with some leaps of thirds. The only

leap of a fourth (from g to c) occurs at the beginning of the fourth phrase. Besides this tendency

to prefer leaps of third and the frequent repetition of one main pitch, the musical features that

46
As mentioned for Ut digne possint, this melody is similar to the local hymn melody for O genitrix eterni
found in Vat. lat. 3797 and that for Iam Christus astra ascenderat in the Bari hymnary. Melodies 788 and 772,
respectively, in Stäblein, Die Hymnen, 462 and 453–454. See also references to these melodies in Idem, 612 and
611.
287
have been identified as belonging to a local southern Italian hymn style are not present in this

melody.

In Ben 42, local hymn texts are more likely to have a unique melody when they refer to a

feast which was given hymns in a limited number of manuscripts. Similarly, local hymn texts are

more likely to have unique melodies when they are written for a feast that is singled out for

special consideration through the use of multiple hymns. In Ben 42, where a local hymn text is

for a saint or feast venerated universally or at any rate in a more extended area, it is more likely

that the melodies of these hymns are found in other hymnaries, either local or beyond southern

Italy, often with different hymn texts. When there are multiple local hymn texts for a given saint,

it is often the case that some do not have unique or local melodies. We have already seen this in

the case of the hymns for St Iuvenal in Ben 42, where one of the local texts has a non-local

melody and the other has a unique melody. The same goes for the hymns for St Mercurius.

While one of the hymns for St Mercurius has a unique melody and one a widespread one, a third

hymn for this saint, Ad martyris Mercuri (Figure 32), features the re-use of a local melody for a

different local hymn text: it is the same melody as that for Splendor diei rutilat and Anglorum

iam apostolus in Ben 42. This local melody was used for Aurora lucis rutilat in Ben 42, Casan.

1574, and the Bari hymnary.47

Ad martyris Mercurii is just one of several instances where a local hymn melody in Ben

42 is found in other hymnaries with different hymn texts. In Ben 42, these melodies are often

used with hymn texts for feasts that represented in a limited number of manuscripts. This can be

47
Idem, 419 and 607, melody no. 723.
288
seen in the case of three hymns for the Holy Twelve Brothers. Votis tuorum for the Holy Twelve

Brothers is also found in Naples VI E 43 and Ben 42. Two other hymns for the Holy Twelve

Brothers, Christi caterva pervigil and Splendor diei rutilat are found in these hymnaries as well

as in Vat. lat. 4928 and Ott. lat. 145. The melody of Votis tuorum (Figure 33) is a local southern

Italian melody that is used for the hymns Almi prophete progenies pia (feast of St John the

Baptist) in Ben 42 and Casan. 1574 and for Quis possit amplo famine (feast of the Assumption)

in the Bari hymnary, Casan. 1574, and in the combined missal-breviary Ben 20.48 In this case,

the rationale in Ben 42 behind the choice of the melody for Almi prophetae for the text Votis

tuorum is simple: the former hymn is found immediately before the latter in the hymnary. There

is a high degree of large-scale repetition, since phrases one and three are the same, and phrase

two begins in the same way. Even within a phrase, the contour of the melody is repetitive,

reiterating a melodic formula whereby the melody moves up stepwise to a note which is repeated

and then down again (see the boxed sections of Figure 33). The last phrase is constructed entirely

of this short formula, each of which is framed by a scandicus and climacus (or repeated clivis):

the melody moves up a third stepwise, repeats the high note one or more times, then moves down

stepwise. The melody’s modal outline seems fairly clear, especially because of the leap of a

fourth from g to c at the opening, which repeats at the beginning of phrases two and three (with

the addition of an a before the c due to the presence of a pes). One might think it is eighth mode,

hypomixolydian. Nevertheless, the jump up to a higher register with notes ranging from c to e in

the final phrase before the ending on the final g is surprising; this and the frequent repetition of

48
Idem, 430, 432, 608, melody no. 738.
289
the note B, along with the fact that the range remains above the first note g (the final of the

mode) complicate this modal attribution. It almost seems as if the melody is in seventh mode,

mixolydian, by the fourth phrase because of the registral shift and the repetition of the high d,

which would be the tenor note of this mode.

Christi caterva (Figure 34) utilizes a local hymn melody used in Casan. 1574 and in the

Bari hymnary for Ad laudem sancte Marie (Assumption); both these hymnaries as well as Ben

42 use this melody for the hymn in honor of St Martin, In laude Martini decus. Casan. 1574 and

the Bari hymnary also use it for another hymn to St Martin, Martine confessor Dei.49 It

resembles the family of hymns comprising Deus eterne famulos, Confessor Domini Maure, and

Deus qui verbi angelo discussed previously because of the use of melodic formulae that recur in

each of these melodies. There is, for example, the characteristic rise by thirds in the melody at

the opening following a torculus (in this case, the rise is not by thirds throughout, but by step and

then by a third, as indicated by the dotted box in Figure 34). It shares with Confessor Domini

Maure a cadential formula whereby the melody leaps up by third, then a torculus and clivis lead

back down stepwise to a the characteristic three note cadence where the semi-penultimate note is

a step lower than the last two (see hexagon in Figure 34).

Splendor diei rutilat’s melody in Ben 42 is the same as that of the hymn Aurora lucis

rutilat in Casan. 1574, in the Bari hymnary, in Ben 37, and in Ben 42 itself (see Figure 35). This

is perhaps predictable, given the similarity of the opening lines of text. This local southern Italian

49
Idem, 432, 434, 608, melody no. 740. In Ben 42, Ad laudem sancte Marie and Martine confessor Dei
utilize the same melody as Sublime nobis imminent (discussed above) for St Boniface.
290
melody seems to be found only in these hymnaries.50 It is the same melody as used for Ambrosi

sidus aureum and Anglorum iam apostolus in Ben 42. Ambrosi sidus aureum is not found in the

Narni hymnaries, but it is in several Cassinese hymnaries (both with and without ordinals),

namely, Urb. lat. 585, Paris Maz. 364, Getty 83 ML 97, MC 506, and MC 559, and in Naples VI

E 43 from Benevento. The first words of the text of this hymn recall the hymn to St Donatus by

Peter Damian, Donatus sidus aureum, and one to St Germain, Germane sidus aureum, used

outside Italy.51 However, the likeness ends there, and Ambrosi sidus aureum can be considered a

local, southern Italian hymn text. The melody of the hymn is unfortunately incomplete in Ben

42; only the first phrase and part of the second are copied (see Figure 36), but it is enough to

show that the melody is the same as that used for other hymns in southern Italian manuscripts,

such as Anglorum iam apostolus and Splendor diei rutilat in Ben 42, and Aurora lucis rutilat in

Ben 42, Casan. 1574, and the Bari hymnary.52 Anglorum iam apostolus (Figure 37) was

similarly written by Peter Damian, in honor of St Gregory. It is found in Ben 42, Urb. lat. 585,

Naples VI E 43, and Ott. lat. 145.53

Local musical features of the melody for these three hymn texts in Ben 42 include the

melodic equivalence of phrases one and four, as well as the repetition on a main pitch, in this

case, a.54 The melody is simple, stepwise, and wavelike around the initial pitch (here transcribed

50
See Stäblein, Die Hymen, 607, where he states that it is found only in the Bari hymnary and in Casan.
1574. The melody is no. 723 in Stäblein’s edition (Idem, 412, used for Sollemnis dies advenit in the Casan. 1574 and
in the Bari hymnary).
51
See Analecta hymnica, vol. 48, no. 39 and vol. 51, no. 156.
52
See Stäblein, Die Hymnen, 419 and 607, melody no. 723.
53
It is a local melody used for Aurora lucis rutilat in Ben 42, Casan. 1574, and the Bari hymnary. See
Idem, 419 and 607, melody no. 723.
54
The hymn is variously found either beginning on d, a, or g; since hymns in Ben 42 that begin with a
clivis appear to correspond to a beginning pitch on a (or at any rate higher than g), a was chosen as the starting pitch.
If it were to start on g, then a B–flat would be implied.
291
as starting on a). These are typical musical traits of southern Italian chants.55 This pitch begins

the second phrase, which seems to continue the stepwise, circling style. The contour of this hymn

resembles those of antiphons or some other genre of chant. The melody circles mostly around a;

although the melody steps up to d in the second phrase, it does not return to this high point

anywhere in the hymn, and right after this it cadences on a, which also is the main, recitation-like

pitch in the third phrase. The use of a single local melody for several different hymn texts in Ben

42 suggests that a basic local melody could have been adapted to suit hymn texts with different

meters that may not have had fixed melodies.

The three hymns for the Holy Twelve Brothers in Ben 42, hymns with a limited presence

even among southern Italian hymnaries, feature the re-use of local melodies normally with a

fairly fixed assignment to other, different hymns. Since the hymns for the Holy Twelve Brothers

are only notated in Ben 42, it is difficult to say with certainty whether these same melodies

would have been those utilized by the users of the other hymnaries in which these texts are

found; it could be that the notator of Ben 42 simply transcribed other local melodies for use with

these texts, which might otherwise have been used with different melodies in different locations.

Ambrosi sidus aureum and Anglorum iam apostolus, though found in more hymnaries than the

three texts for the Holy Twelve Brothers, likewise re-use local hymn melodies used elsewhere

for other hymn texts. They may have been given the same melody because there was not a fixed

melody assigned to these hymn texts; the melody for Aurora lucis rutilat (a case in which a non-

55
See Nardini, “Aliens in Disguise,” and Idem, “Roman Intruders in Non-Roman Chant Manuscripts” for a
discussion using particular examples of local musical traits, some of which may be derived from Byzantine chant.
See Kelly, The Beneventan Chant, 96–160 for a discussion of the Old Beneventan musical style.
292
local hymn text has a local melody) may have been used because it fit the meter of the hymn

texts.

The hymn Iam sacra dies annua for the Seven Brother Martyrs, another local text with a

melody in Ben 42 used elsewhere for different texts, gives another glimpse into the reasons

behind the re-use of hymn melodies for local texts. Iam sacra dies annua is found in Naples VI E

43 and Ben 42. Its melody in Ben 42 (Figure 38) is a local melody found notated in one other

hymnary from southern Italy, the Bari hymnary. This is the same melody as that of Beatus vir

Vincentius in Ben 37 (see Figure 16). In the Bari hymnary, this melody is used for Martyr Dei

qui unicum, a hymn for the common of one martyr. It might seem strange that the melody in Ben

42 is used for the feast of Seven Brother Martyrs. In reality, in Ben 42 this hymn is rubricated for

the feast of “St Felicitas” (“sancta Felicitate”), the mother of the Seven Brother Martyrs who was

herself a martyr. The feast of the mother and sons are usually celebrated together. In any case,

this is an example where a local melody was used for a local text in Ben 42. Since this is the only

hymn in honor of St Felicitas and her martyred sons in the hymnaries examined here from

southern Italy, it could be that this melody was used in southern Italy for the hymns dedicated to

martyrs and eventually notated as such in the Bari hymnary alone.56 Martyr Dei qui unicum is

not used with this local melody in Ben 42 and in Casan. 1574.57

Many local musical features can be discerned in this hymn, including a preponderance of

leaps by thirds and a high degree of phrase repetition. Phrases one and four are exactly the same,

56
A similar case in which a chant for the Common of Confessors was later applied to specific saints’ feast
days is demonstrated by the Roman Communion Sint lumbi vestri, as discussed in Nardini, “Roman Intruders in
Non-Roman Chant Manuscripts.”
57
Stäblein indicates that this melody is unique to the Bari hymnary. See Stäblein, Die Hymnen, 611; Idem,
457, melody no. 779.
293
and phrase two begins with the same ascent from a to f as found at the beginning of these

phrases, but it ends differently with a rise to g via a recitation-like repetition of f. The modality

of the hymn seems more straightforward than that of most other local southern Italian hymns:

although it starts on a, it appears to be a transposed sixth mode (hypolydian) melody; it may have

been transposed to a in the Bari hymnary (here it is assumed that the melody in Ben 42 is copied

starting on this same pitch) to avoid the presence of a B-flat.

Sancti illi presulis for the common of Confessor is a hymn whose local text is found in

several manuscripts but which is notated in Ben 42 alone. The text is not unique to this hymnary;

the word “illi” in the title serves as a placeholder for the name of particular saint confessors in

Vat. lat. 7172 and Paris 1092 (e.g., Sancti Ambrosi presulis or Sancti Gregorii presulis).

Nevertheless, the text seems to be found only in Ben 42, Ott. lat. 145 and the Narni hymnaries

before the thirteenth century, and thus represents a local hymn text.58 The melody for this text is

notated in Ben 42 but not in these other hymnaries. The melody (Figure 39) is the same as that

used for Iam Christus ascendit polum in Ben 37, Casan. 1574, and in Ben 42 itself. This melody

was used with many more hymn texts, in a broader area of Italy, and for a longer time than has

hitherto been acknowledged, especially if the same melody was used for the similar hymn texts

in Narni, something that unfortunately cannot be determined with certainty at this time. In any

case it is clear that there existed a local southern Italian musical style for hymns that can be seen

in particular local melodies. The local style and melodies were not confined to any one single

place or time.

58
It is not cited in Jullien, “Les sources.” Mearns and the Analecta Hymnica cite the versions with
particular saints (Ambrose, Gregory, and Zeno) as being found in Vat. lat. 7172 and/or Paris 1092 and/or Ott. lat.
145.
294
 The melody features more leaps greater than a third than the others examined thus far,

beginning with a fifth leap from d to a. The phrases are not identical to each other, but they bear

a close resemblance to each other, consistent with what has been observed so far about the high

degree of phrase-level repetition in local southern Italian hymn melodies. The second phrase

mimics the first phrase’s leap of a fifth, but this time featuring a leap of a fourth from e to a. The

rest of the second phrase is identical to the first phrase, except for the melody over the last two

syllables; instead of ascending to a and descending to e with a climacus on the final syllable, the

melody leaps from g to b to a, a three-note ending gesture already been observed in the local

southern Italian hymn melodies examined above. The third phrase descends back to the e in an

ending similar to that of the first phrase. The final phrase does not begin with a fifth leap from d

to a; but, after a repetition of the note g, it has the same stepwise ascent from d to a, with a

climacus final neume down to e, as in phrase one. In this melody, the modal outline of Dorian

authentic mode appears clear at the beginning with the fifth leap and ascent from d to a, the

phrase ending on e foreshadows the Phrygian-like (third mode) third phrase. The melody itself

ends on e, not on the expected second mode final tone, d. Here, as in many of the other local

southern Italian hymn melodies, the modal character of the melody is ambiguous and, at times,

outright deceptive.

As many of these local hymns in Ben 42 show, some local hymn texts found notated in

this manuscript alone nevertheless use local melodies used for different hymn texts in other

notated hymnaries. In addition, Sancti illi presulis provides an example of a hymn whose text is

also found in notated southern Italian hymnaries besides Ben 42 but with different melodies. It

shows that, just as the text could be adapted to the feasts of different confessor saints, its melody
295
could also be adapted. These “multiple melodies” (i.e., hymns with the same local text but

different melodies in one or more notated hymnaries) are a common phenomenon in hymnody in

general throughout Europe; nevertheless, where local texts and local melodies are both involved,

there might be deeper reasons for the change in the melodies used for a given local text. Further

comparisons of these shared texts between Ben 42, Ben 37, and other notated hymnaries from

southern Italy give clues regarding specific changes in the local musical style for hymns through

time.

Local Hymn Texts Notated in Ben 42, Ben 37, and Other Hymnaries

Multiple Melodies

Confessor Domini Maure provides a striking example of how a local text was given

different melodies in different hymnaries, possibly in response to changing musical

preferences.The melody assigned to Confessor Domini Maure in Ott. lat. 145 and Casan. 1574 is

different from that assigned to this hymn in Ben 42 (compare Figures 40 and 41). This hymn text

is found in many of the southern Italian hymnaries from Benevento and Montecassino examined

here; it is also found in the Narni hymnaries. Unfortunately, only the first two phrases and a bit

of the third are copied in Ben 42, but it is enough to determine that it is the same melody as that

used for the hymn Martyris ecce dies Agathe, a hymn and a melody found in hymnaries from

France and Italy.59 The melody assigned to Confessor Domini Maure in Ott. lat. 145 and Casan.

1574 is found in these two hymnaries alone. Compared to the melody in Ben 42, with its

59
It is in the hymnary of Nevers, for example (Stäblein, 88) and in the Verona hymnary CIX (102)
(Stäblein, Die Hymnen, 376), as well as in Casan. 1574 (Idem, 427). This is melody 147 in Stäblein (Idem, 529).
The Italian version is more syllabic than the French one. As we have seen, several hymns in Ben 42 use melodic
formula of the rising thirds that is found in the opening of this melody for Ecce dies Agathe.
296
frequent leaps (some more than a fourth) and clear modal outline, this melody is very stepwise,

almost recitational, alternating between the pitches c and d. The first, second, and fourth phrases

are almost identical. This high degree of phrasal repetition and simple, wavelike contour not

straying far from the initial note is a characteristic of local southern Italian chant genres. It also

resembles the musical style that can be observed in other local chants in other genres in southern

Italian liturgical manuscripts. Thus, there is evidence that by the time Ben 42 was copied, there

had already been a change in the melodies used for local hymns in southern Italy. In order to see

this more clearly, it will be necessary to compare the hymn melodies for local hymn texts that are

shared between Ben 42 and other notated hymnaries in southern Italy.

The hymn text Fratres alacri pectore for St Benedict is found in central and southern

Italian hymnaries and in a hymnary from Corbie; it is found in almost all the hymnaries

discussed in this study, but, excepting the hymnary from Corbie, is not present in extant

hymnaries from other regions. Notated melodies for this text are found in two southern Italian

hymnaries: Casan 1574 and Ben 42, but they are different in each. The melody in Ben 42 (see

Figure 42) is the same as that used for Agnetis festum martyrum (for St Agnes) and Hodie

sacratissima virgo (for St Scholastica) in Casan. 1574.60 Ben 37 and Ben 42 use this melody for

Hodie sacratissima virgo as well, but not for Agnetis festum martyris (which is not notated in

any case in Ben 37); apparently the same melody was deemed appropriate for both saint siblings,

St Scholastica and St Benedict, where Ben 42 was copied. This local melody features a mainly

60
Stäblein, Die Hymnen, 425, 427, melody no. 733. Stäblein identifies this melody as unique to Casan.
1574. See Idem, 608. The melodies in Ben 42 and Casan. 1574 are slightly variant one from the other: the forth
phrase begins differently (that of Casan. 1574 is not exactly the same as the second phrase, while that of Ben 42 is),
but other than this the melodies are exactly the same.
297
stepwise contour with phrasal repetition (phrase two and phrase four are the same). It has several

pes and clivis embellishments in the repeated phrases that are found in other local hymn

melodies like O clara mundi lumine (see Figure 12), Claret sacrata iam dies (see Figure 15),

Alma beati martyris Viti (see Figure 18), Clarus hec signis (see Figure 19), and Confessor

Domini Maure (as found in Casan. 1574 and Ott. lat. 145; see Figure 41). Thus, although the

musical features that have been described previously as local southern Italian traits are subdued

and not all present in this melody, it still bears traces of a local musical style.

Festa sacrata presulis for St Apollinaris is also notated in Ben 42 and in Casan 1574. The

text for this hymn is found in several southern Italian hymnaries and in the Narni hymnaries.

However, the melodies are not the same in these hymnaries. The melody for this hymn in Casan.

1574 is the same as that used for the hymn Stephano primo martyri in this and in other

hymnaries from the north of Italy.61The melody in Ben 42, however, is unique (see Figure 43). It

is a simple melody with a very limited range and mostly stepwise motion centered on the main

note (a in this transcription), although the final appears to be one note below this (the hymn ends

on g, as do the first and second phrases of the melody). The melody is slightly neumatic, with a

recurring four-note neume. The musical style is rather formulaic and repetitive, with phrases one

and two being identical and with many similarities between melodic figures in all the phrases.

The melodic style is similar to that of other local hymns such as Confessor Domini Maure as

found in Casan. 1574 and Ott. lat. 145 (see Figure 41). While the melodies for Confessor Domini

Maure and Fratres alacri pectore in Ben 42 were revised or changed in order to downplay local

61
Stäblein, Die Hymnen, 368, 411, 601, melody no. 706.
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melodic features present in other melodies associated with these texts, the melody for Festa

sacrata presulis may have been newly composed in Ben 42 or might represent an older, local

melody. In any case, this unique melody in Ben 42 has all the features of the unique and local

hymn melodies copied in older manuscripts such as Ben 37.

As it so happens, the melody for Festa sacrata presulis in Casan. 1574 is the same as that

used for Silvestri almi presulis in Ben 42 (Figure 44). While this text is also in Ben 37, it is

unfortunately not notated in Ben 37 because it is on one of the un-notated “replacement” folios

described in Chapter Three. It seems likely that the scribes of Ben 42 used the melody of Festa

sarata presulis in Casan. 1574 for this text due to the similarity of their opening lines; however

it might be that this melody was different from the one that would have been used at the time

Ben 37 was copied. It is certainly different from the melody for this hymn copied in the gradual

from Benevento, Ben 38, which is a unique melody (see Figure 45).62The melody in Ben 42 is

certainly less local in style and is found in several manuscripts for Stephano primo martyri even

outside southern Italy. 63 For example, there is less repetition from phrase to phrase and there are

no recurrent, distinctive melodic formulae (although certain pitches such as g, f, and a are

repeated, recitation-like). Could the melody in Ben 38 be an older, local melody that was

replaced by a more widespread one in Ben 42? Might Ben 37 have had the same melody as Ben

38 for this hymn, if it were copied in the original hymnary? These questions are up to

speculation, but further investigation of hymns with the same local texts in different manuscripts

62
Transcribed in Idem, 445, melody no. 757. See also Idem, 610.
63
Idem, 368, 411, 601, melody no. 706.
299
but with different melodies continue to hint that, by the time Ben 42 was copied, local melodies

were being replaced by those that were more widespread.

Martyr Dei egregie for St Sebastian is another example of a local hymn text found

notated in Ben 42 and in other hymnaries from southern Italy with different melodies in different

manuscripts. The melody in Ben 42 is not local; it is used in many hymnaries for the text Martyr

Dei qui unicum (in fact, this melody is used for Martyr Dei qui unicum in Ben 42 itself), and in

Casan. 1574 for the widespread Easter hymn text Hic est dies verus (see Figure 46).64 This

melody was probably used for Martyr Dei egregie in Ben 42 because it was deemed appropriate

to use this melody associated with a hymn for the common of one martyr for St Sebastian,

himself a martyr. But why, then, does only Ben 42 seem to do this? In Casan. 1574 Martyr Dei

egregie has a unique melody (see Figure 47).65 This melody has many of the local musical

features seen in other hymns from southern Italy: the first two phrases are exactly alike and each

phrase contains several neumatic syllables (resembling the embellishments in local hymn

melodies such as that of the unique Festa sacrata presulis in Ben 42).

Similarly, Naples VI G 29 has a unique melody for this text, different from that in Ben 42

and Casan. 1574. Although the melody for this hymn in Naples VI G 29 resembles that of Ben

42 (and therefore the widespread melody for Martyr Dei qui unicum) in the first phrase, with its

stepwise ascent to a which is repeated before a descent back to the starting note f, thereafter the

two melodies are quite different from each other (Figure 48). There are enough variants in the

first phrase itself to constitute an entirely different melody. The melody in Naples VI G 29 is

64
Idem, 61, 100–101, 418, melody no. 117.
65
Idem, 426, 612, melody no. 732.
300
unique and has many features that resemble those of other local southern Italian hymn melodies:

the first and third phrases are exactly alike, and the second phrase is a slight variant of these two

with a slightly different cadence ending on a instead of f. The range is extremely limited in these

first three phrases, with the melodic contour moving stepwise and wavelike between f and a,

with a serving as a recitation-like pitch. Except for a dip down to d at the beginning of the fourth

phrase, this final phrase proceeds in a very similar fashion, with a stepwise ascent from f to a

before the cadence on f which is the same as that in phrases one and three. In Chigi C VI 177, the

marginal notation of this hymn in campo aperto makes an accurate transcription difficult (see

Figure 49).66 Nevertheless, it is easy to see that this melody is different from those in Ben 42,

Casan. 1574, and Naples VI G 29. The third phrase in particular, where the melody consists of an

oscillating embellishment of a single note (g in this transcription) seems to bear traces of a local

melodic style.

What are we to make of this diversity of melodies for the same local hymn text? Most

likely this hymn did not have a fixed melody in southern Italy. What is interesting to note is that

Casan. 1574,Naples VI G 29, and Chigi C VI 177 all use unique melodies while Ben 42 uses a

melody found not only in other southern Italian hymnaries, but also in hymnaries outside this

area. The melodies in Casan. 1574, Naples VI G 29, and Chigi C VI 177 might have been

composed shortly before being copied, or else they could be older melodies that disappeared

from other local hymnaries such as Ben 42, which preferred instead to use a more universal

66
This melody was transcribed by Boynton, Glossed Hymns in Eleventh Century Continental Hymnaries
(Ph.D. Dissertation, Brandeis University, 1997), 644. My transcription is slightly different due to a few emendations
that I thought necessary after examining the notation in Chigi C VI 177, but for the most part my transcription is the
same as Boynton’s. I have begun on the same initial pitch for ease of comparison; however, my transcription might
work equally well on a different modality with an initial pitch of g.
301
melody associated with the more general category of hymns for single martyrs. Unfortunately,

while the text of Martyr Dei egregie is in Ben 37 (and, indeed, in most of the other southern and

central Italian manuscripts discussed here), like Silvestri almi presulis, it is not notated in Ben 37

as it is on the replacement gathering; thus, in this case we cannot use Ben 37 as a check for

concordances with any of these other hymnaries. If Ben 37 had a melody that was the same as

any of the ones in Naples VI G 29, Chigi C VI 177, or Casan. 1574, then the possibility that this

melody is an older, local one that was replaced would have to be seriously considered.

It is not idle to speculate that Silvestri almi presulis and Martyr Dei egregie might have

had a different melody than the ones they have in Ben 42. As we have seen, in some cases it

appears that the scribes of Ben 42 were in favor of copying well-known melodies for local hymn

texts even when, elsewhere, the same texts were copied with unique or local melodies. Where

this occurs in hymns found both in Ben 37 and Ben 42—hymnaries copied in the same city but a

hundred years apart—the possibility that there might have been a purposeful elimination of local

hymn melodies in favor of more universal ones in Benevento must be considered. Indeed,

examples of this abound when we consider the many local hymn texts shared between Ben 42

and Ben 37, many of which have different melodies. Either this points to the fact that the scribes

of Ben 37, when faced with a local text, newly composed a melody, or else by the time the

scribes of Ben 42 were copying this hymnary, more widespread melodies were preferred to those

that were local or newly composed. Some hymns with local texts whose melodies are notated

both in Ben 37 and in Ben 42 allow for an explicit comparison between the melodies assigned to

local hymn texts in Benevento one hundred years apart.

302
 Festum beati martyris for St Mark is notated in both Ben 42 and in Ben 37. It is not found

in many hymnaries besides these (it is additionally in Naples VI G 29, in the Narni hymnaries,

and in Rh 91). Given its absence from many codices in Benevento proper, we might be tempted

to assume that the melody of Festum beati martyris in Ben 42 was copied from the earlier Ben

37 or from a similar, now-lost exemplar. However, the melodies in each manuscript are different,

as shown in Figures 50 and 51. The melody in Ben 42 is the same as that used for Verbum salutis

omnium in Casan. 1574 (but not in Ben 42 itself) and in other hymnaries from throughout Europe

it is used for Splendor paterne glorie.67 The melody in Ben 37, on the other hand, is not

concordant with any other hymn melody. It resembles a widespread hymn melody used

elsewhere for several hymns such as Nunc sancte nobis spiritus,68 Rector potens verax Deus,69

and Rerum Deus tenax vigor.70 However, while the first two phrases seem like embellished

variants of this well-known hymn melody, the third and fourth phrases are so different as to

constitute a different melody altogether. The melody for Festum beati martyri in Ben 37 (Figure

51) might have been a local composition that used the melody used elsewhere for hymns such as

Nunc sancte nobis spiritus as a framework.

Whatever the degree of similarity between this hymn in Ben 37 and others, the musical

style of the melody in Ben 37 resembles that of other local southern Italian hymn melodies. The

neumatic syllables seem to embellish a main note (in this case, e) around which the melody

67
Stäblein, Die Hymnen, 409, 504–505, melody no. 3.
68
This is melody no. 7 in Stäblein, Die Hymnen. It can be seen with this text in the Milanese hymnary
Biblioteca Trivulziana, in the hymnary of Nevers, in the hymnary of Einsiedeln, and others. See Idem, 4, 77–78,
266, 505–506.
69
As in the hymnary of Verona CIX (102); Idem, 361.
70
As in the hymnary of Worcester; Idem, 175.
303
(which has a limited range) winds, stepwise. The main notes e and d are repeated often, and there

is repetition both on the phrase level (phrases one and two) and on the level of shorter melodic

formulae (see circled areas). It is possible that the melody in Ben 37 for Festum beati martyris

was replaced by a different, more well-known melody in Ben 42. This further supports the

hypothesis that the hymn repertoire in the Beneventan zone changed through time to adapt local

texts to new melodies, possibly in an effort to unify liturgical practice by eliminating local

compositions in favor of more well-known melodies.

The southern Italian hymn text Iam lucis splendor rutilat for Lent is found notated in Ben

37, Ben 42, and Casan. 1574 (Figures 52, 53, and 54). It is found in almost all of the manuscripts

examined here, but, strangely enough, it is found mostly in southern Italian hymnaries.71 The

melody in Ben 37 is the same as that used here and in Ben 42 for the local hymn text to St

Bartholomew, Ad laudem Christi procerum. As will be discussed further on, this local melody

seems to have been originally associated with ferial hymn texts in southern Italy and was adapted

to the texts of specific saints. It is a local melody found only in Ben 37, Ben 42, and Casan.

1574, where it is used for well-known ferial hymn texts such as Aurora lucis rutilat in Casan.

1574, Ben 37, and Ben 42. Unlike Ben 37, which uses a local hymn melody for the local text Iam

lucis splendor rutilat, Ben 42 and Casan. 1574, on the other hand, use variants of the same,

internationally-known melody. The melody is associated elsewhere with the similar text Iam

lucis orto sidere.72

71
The hymnary of Verona CIX (102) is an exception. See Mearns, 45 for a list of concordances.
72
Stäblein, Die Hymnen, 415, melody no. 5.
304
 The textual similarity between Aurora lucis rutilat and Iam lucis splendor rutilat (which

both use the words “rutilat” and “lucis”) might have prompted the use of the same melody for

these texts in Ben 37, while the similarity in the texts Iam lucis orto sidere and Iam lucis

splendor rutilat might have prompted the re-use of a melody associated with the former for the

latter, local text in Casan. 1574 and Ben 42.73 What is interesting to note is that the older

hymnary Ben 37 uses local melodies for both the local and non-local “lucis” hymns (Aurora

lucis rutilat and Iam lucis splendor rutilat) while the newer hymnaries Casan. 1574 and Ben 42

use an international melody for the local Iam lucis splendor rutilat—yet they retain a local

melody for internationally-known texts such as Aurora lucis rutilat. Perhaps associating a local

hymn text with an international melody legitimized the use of the local text in a time when the

local musical style was contested and hymnaries were changing towards more international

repertorial standards. Likewise, the association of an international text with a local melody might

have legitimized the latter so that it could continue to be copied in notated hymnaries. An older

hymnary like Ben 37 might have been copied when there was less need to use international

melodies for local texts.

So far, the “multiple melodies” for local hymn texts found notated in both Ben 37 and

Ben 42 seems to point to a change towards the use of more widespread melodies in the latter.

However, the situation is really not this simple. In the case of the hymn Agonitheta nobilis, both

Ben 37 and Ben 42 have different, local melodies. This chant presents an interesting case of local

adaptation of hymn repertoire, and can serve as an example of the issues of transmission

73
It is interesting to note that Iam lucis orto sidere is only an incipit in Ben 42. Could the users have known
to sing it to the same melody as that of Iam lucis splendor rutilat?
305
involving the hymn repertoire in the Beneventan zone. The text of Agonitheta nobilis is present

in Ben 37, Ben 42, and Ott. lat. 145 from Benevento, in the hymnaries from Narni, in Rh 91, and

in Vat. lat. 4928. Ben 37 assigns this hymn text to the feast of saint Vincent. Ben 42, the Narni

hymnaries, and Rh 91 assign it to the feast of saint Cyriacus, and Ott. lat. 145 assigns it to the

common of one martyr. It is notated in Ben 37 and Ben 42. In Ben 37 the melody for this hymn

is different from that in Ben 42, as shown in Figures 55 and 56. Although the melody for

Agonitheta nobilis in Ben 37 resembles that of many hymns of widespread distribution such as

Pange lingua in the melodic outline of its first phrase, it is nevertheless different and unique to

this manuscript. In Ben 42, the melody of Agonitheta nobilis is likewise a local one; it is a

variant of Sylvestri almi presulis as it is found notated in Ben 38 (as noted above, this melody is

different from that for Sylvestri almi presulis in Ben 42 itself). The first and third phrases of the

melody of Agonitheta nobilis in Ben 42 (almost identical to each other) are almost the same as

those for Sylvestri almi presulis in Ben 38 (Figure 45). The second and fourth phrases are

slightly different, beginning on a higher pitch (in this case, c) in the Ben 42 melody before

dipping down, but then the ends of these phrases in both hymns feature the same cadence: a(g)-

b-a-g(-g).

Which of the melodies, that in Ben 37 or that in Ben 42, was used for Agonitheta nobilis

the most in Benevento? We cannot necessarily say that the melody in Ben 37 is the one

originally assigned to this text; if it were, it could be that scribes of Ben 42 thought it best to use

a different melody rather than the one that had been used for saint Vincent previously in

Benevento, even though the text of the hymn is the same. However, it could also be that the text

of this hymn was originally for the feast of a single martyr as it is in Ott. lat. 145, and that later it
306
was adopted for use with for the feast of different saints: first St Vincent in Ben 37, then St

Cyriacus in Ben 42, possibly influenced by the feast assignment of this text found in central

Italian hymnaries. The change in feast assignment (from St Vincent to St Cyriacus) might have

prompted the change in melody in Ben 42, even though the melody is equally local. More

comparative research is needed to establish the directionality of such melodic transformations,

but instances such as these of differences between melodies assigned to the same texts in

manuscripts from different geographic locations or centuries gives clues about the nature of

melodic and textual transmission of the hymn repertoire in the Beneventan zone. It is evident that

some local hymns had great prestige in the Beneventan zone and enjoyed longevity due to the

flexible re-adaptation of texts and melodies according to liturgical and devotional needs.

The Persistence of Local Melodies

As a few of the above examples have shown, if there was an older, local melodic style for

hymns, it did not completely disappear between the copying of the earlier manuscripts such as

Ben 37 and the copying of Ben 42. This is most evident in the cases where the same local hymn

texts have the same (local) melodies in different hymnaries, even if these hymnaries were copied

decades apart. A few local hymn texts which share the same melodies in Ben 37 and Ben 42

attest to this fact.

If any hymn can tell for sure whether the hymn melodies in Benevento changed in the

period between the copying of Ben 37 and Ben 42, it would be the hymn Eustasii magni martyris

in honor of St Eustasius. This is because this hymn text is found in Ben 37 and Ben 42 alone, and

it is notated in both (see previous mention of this hymn in the discussion of the repertoires of

Ben 42 and Ben 37 in Chapter 3). Surely, if local hymn melodies were being replaced by more
307
international ones, the melody for this text would have changed between the copying of Ben 37

and Ben 42, just as (apparently) happened with the hymn Iam lucis splendor rutilat discussed

earlier. As it turns out, this hymn for St Eustasius complicates the picture. The melody is the

same in both hymnaries (with slight variants), and is a variant of the melody for the hymn

Stephano primo martyris in other Italian hymnaries such as Casan. 1574 (see Figures 57 and

58).74 Thus, local melodies were not completely eradicated from Ben 42. Further examples of the

persistence of local melodies for local hymn texts exist and can be seen through a comparison of

texts found notated in both Ben 37 and Ben 42.

A similar case can be seen in the melody used for the hymn Gaudium mundi Christe for

St Bartholomew in Ben 37 and Ben 42 (Figure 59). This hymn is notated in both manuscripts.

The text seems to be found only in Beneventan hymnaries (besides being in Vat. lat. 4928,

Naples VI E 43, Ott. lat. 145, Ben 37, Ben 42, it is additionally in the Narni hymnaries). The

melody, however, is found in hymnaries even outside Italy, with variants. This melody is exactly

the same as the one in Casan. 1574 for the Transfiguration hymn O sator rerum.75 According to

Stäblein, the melody may have originated in Italy. Several features in common with other local

hymn melodies support this hypothesis: a high degree of phrasal repetition (phrases one, two,

and four begin exactly the same way), the preponderance of leaps of thirds, the otherwise

stepwise motion embellished with many clivis and podati, and the deceptive modality with the

final cadence ending on b, a third higher than the initial note and a step above a (which appeared

to be the final, given the cadences on a in phrases one and three), are all features that we have

74
Stäblein, Die Hymnen, 368, 411, melody no. 706.
75
Idem, melody no. 532. See Idem, 422. For the possibility of an Italian origin, see Idem, 548.
308
seen in other local melodies. If an Italian origin for this melody is true, then Gaudium mundi

Christe provides evidence of not just the persistence, but of the spread of southern Italian hymn

melodies to places outside the Beneventan area.

Another hymn for St Bartholomew, Ad laudem Christi procerum, is another example of a

local hymn text with a local melody found in other hymnaries of southern Italy. Outside

Benevento, however, this melody is associated with different texts. Ad laudem Christi procerum

is found in Naples VI E 43, Vat. lat. 4928, Ben 42, Ben 37, Ott. lat. 145, Naples VI G 29, and the

Narni hymnaries. It is notated in Ben 37 and in Ben 42. The melodies are the same, though slight

variants of each other (the one in Ben 37 has more embellishments than that in Ben 42) and of

the same melody in Casan. 1574 for the hymn text Aurora lucis rutilat.76 The melodies can be

seen in Figures 60 and 61, where their local musical features are evident, including the

embellishing, wavelike contour around principal notes (here a and b), and the mostly stepwise

motion with some leaps of thirds.

The association of this local melody with hymn texts for ferial days (not feast days) in

hymnaries such as Casan. 1574 outside Benevento and its association with St Bartholomew in

hymnaries from Benevento itself (a saint who is honored with hymns only in hymnaries from

Benevento besides the anthology-like Narni hymnaries and, in one case, in Naples VI G 29)

makes it likely that this melody was originally associated with hymn texts for ferial days or

common feasts, and then it was adapted to the texts of more specific feasts such as that of St

Bartholomew in Benevento.77 This shows one possible reason for the persistence through time of

76
Idem, 412–413, 607. Stäblein cites this melody as present only in Casan. 1574 and the Bari hymnary.
77
As it so happens, the melody for Ad laudem Christi procerum is found also in Ben 42 for the hymn
Aurora lucis rutilat just as it is in Casan. 1574—but not, however, for Sollemnis dies advenit.
309
local southern hymn melodies: local melodies associated with the universal hymn texts that had

also been adapted to local hymn texts continued to be copied in conjunction with the latter, as

Ben 42 attests. As the hymns for St Eustasius and St Bartholomew show, it is more likely that a

local melody was retained between the years of the copying of Ben 37 and Ben 42 when these

melodies were associated with particularly local feasts.

Another example of the persistence of local melodies can be seen in the hymn Iam

Christus ascendit polum for the Ascension, found notated in Ben 37, Ben 42, and in Casan 1574

(Figure 62). The text is found in several Cassinese and Beneventan hymnaries, as well as in the

hymnaries from Narni, but it is limited to hymnaries from these areas. The melody is the same in

all three notated manuscripts, and it is the same melody as used for another hymn, Iam Christus

astra ascenderat for Pentecost in these same hymnaries.78 As we have seen, the same melody

was used for Sancti illi presulis in Ben 4279 and is a local hymn melody. It seems that Iam

Christus astra ascenderat maintained the association to a single melody through time due to the

importance of the feast for which this text was used, even though the feast itself is universal and

not distinctly local.

Conclusions

Given the examples of local hymn melodies and texts discussed thus far, is it possible to

reconstruct a scenario that accounts for the reasons why certain local melodies and texts seem to

have persisted through time, and in several different manuscripts or locations? Can we say for

certain which local texts or local melodies were part of an earlier layer of chant and which might

78
Stäblein, Die Hymnen, 419, 421, melody no. 726 and 727. According to Stäblein, the melody is unique to
Casan. 1574.
79
According to Idem, 607.
310
have been composed shortly before being copied? What accounts for the cases of multiple

melodies for the same local texts in different hymnaries from the same city copied decades apart,

as is the case of several hymns in Ben 37 and Ben 42? While definite answers cannot be given,

the analysis of the local melodies and hymn texts allows for a few tentative conclusions

regarding the trajectory through time and space of southern Italian hymns and their melodies.

Unique hymn texts attest to the importance of certain sanctoral feasts in given places and/or

institutions in which southern Italian hymnaries were copied.

As this chapter has demonstrated, the hymnaries of Ben 42 and Ben 37, the most

complete notated hymnaries in southern Italy before the thirteenth century, have much to teach

us about the style, both textual and musical, of hymn composition in southern Italy. Whether

these musical elements contributing to the local style identified here are remnants of a centuries-

old tradition of chant or new compositions is difficult to determine due to the dearth of notated

hymnaries. Nevertheless, the local melodies that continued to be copied and re-copied in

hymnaies attest to the importance accorded to different sanctoral feasts. In cases where a local

melody seems to have been replaced by a more widespread one in newer manuscripts, there is a

hint of some underlying concern regarding the appropriateness—aesthetic, liturgical, or

political—of using local melodies for hymns.

Where changes in hymnaries can be traced, these hint at the complex web underlying

spiritual alliances between institutions and their patron saints and, sometimes, cultural alliances

between different institutions, far apart either in time or in location. Appendix D shows the

concordances between melodies and texts in notated southern Italian hymnaries. As these tables

show visually, several hymns utilize the same local melody for the same hymn text in most of the
311
notated hymnaries, such as Magno salutis gaudio for Palm Sunday or Iam Christus ascendit

polum for the Ascension. In other cases, a local hymn melody evidently fell out of use over time,

only to be replaced by a more universal and common melody, such as in the case of Optatus

votis omnium for the Ascension: in Ben 37 this text has a local melody while in Ben 42 uses a

common hymn melody. The Bari hymnary contains many local and unique melodies when

compared to other notated hymnaries from southern Italy; perhaps, while local hymn melodies

were being replaced by more universal ones in Benevento, in Bari they were retained. There

might have been more pressure for standardization at Benevento, as seen by the promulgation of

the Ordinal.

Greater sensitivity to underlying, shared hymn traditions through a closer scrutiny of

southern Italian hymnaries can provide answers to centuries-old mysteries. To assert this is not

merely to rehearse an optimistic academic platitude. In order to demonstrate concretely how an

examination of these hymnaries can increase our knowledge of the musical-poetical and

historical milieu of medieval southern Italy, the story of St Leo of the oxcart races and of the

hymn Clarus hec signis on folio 137v of Ben 42 serves as a pivot into the next chapter’s

exploration of southern Italian hymns in their cultural and political context.

One historian, at least, was convinced that Clarus hec signis was for Pope Leo IX. Pope

Leo IX’s fame, and knowledge of the existence of the hymn Clarus hec signis were renewed in

the eighteenth century in Benevento by the Cardinal Stefano Borgia in his Memorie istoriche

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della pontificia città di Benevento dal secolo VIII al secolo XVIII.80 Borgia announces the subject

of the tenth chapter of volume two as follows:

L’Autore si studia di far rifiorire The author [Borgia] endeavors to

in Benevento la divozione verso
S. Leone IX, del quale ritrova
nuovi monumenti storici, e le
reliquie del Suo Tempio, e lo fa
eleggere per Protettore di questa
città, verso la quale si narrano i
benefici da esso fatti.81
make re -flourish in Benevento the
devotion to St Leo IX, of whom [the
author] finds new historical
monuments, the remains of his
temple [i.e., church], and whom [the
author] elects as protector of this
city, to which the benefices given by him are
narrated.

Borgia proceeds to recount how the city of Sessa, fifty miles from Benevento, kept a relic of

Pope Leo IX in the cathedral, and how a monastery was named in his honor in the city of

Guardia Lombardi. He continues with a passionate, oratorical plea to the city of Benevento, that

its citizens might remember this saint who wrought so many miracles within its walls, and

laments the forgetfulness of four centuries since the saint had been held in high esteem:

“whoever has a sense of true gratitude will, I have no doubt, blush at the wide gulf of four

centuries or more of total oblivion [towards this saint]” (“che io non dubito, che arrossirà

chiunque ha sensi di vera gratitudine in vista dell’ampia laguna di Quattro e più Secoli d’una

totale dimenticanza [verso questo santo]”).82 To this end, Borgia had an inscription made for

Pope Leo, with the saint’s name gilded in silver:

Ci rivolgemmo poi a fare diligenti I turned then to conduct diligent

ricerche tralle [sic] vestuste carte research among the ancient papers of

80
Stefano Borgia, Memorie istoriche della pontificia città di Benevento dal secolo VIII al secolo XVIII, 3
vols. (Rome: Stampe del Salomoni, 1763–69).
81
Idem., II. 44. English translations for this and subsequent quotes are mine.
82
Idem, II.47. Borgia ends the chapter in a similar vein: “We hope that, in times to come, there will be
more success in devotion for so many and so great titles due in a special way in Benevento to the excellent and
saintly Pope Leo IX…” (“Auguriamo ne’tempi avvenire migliori successi al culto per tanti e sì grandi titoli in
ispecial maniera dovuto in Benevento all’ottimo e Santissimo Pontefice Leone IX”). Idem, II.53.
313
 della biblioteca Beneventana per
ritrovare qualche nuova memoria
di questo gran Santo, e dopo lunga
e laboriosa perquisizione
felicemente ci venne fatto di
rinvenirne non una, ma tre; cioè
una vita di Papa Leone scritta da
Autore anonimo, che visse nel fine
del Secolo XI…un Martirologio
usato in Benevento, e composto
nello stesso Secolo XI…e
l’Inno per fine, che in questa città
a di Lui Gloria recitavasi ne’
divini uffizi nel secolo XI, giacchè
in un codice scritto in questo
secolo prima dell’anno 1087.83
the biblioteca of Benevento to
find some new memory
of this great saint, and after a long
and laborious search
happily we came across
not one, but three; that is,
a life of Pope Leo written by
an anonymous author who lived
in the eleventh century…a
martyrology used in Benevento and
composed in the same eleventh
century…and at last the hymn for
him which in this city was recited to
his glory in the divine offices in the
eleventh century, since it is recorded
in a codex written in this century
before the year 1087.

The codex referred to by Borgia is, in fact, Ben 42, and the hymn in question is Clarus hec

signis, the text of which Borgia transcribed in his chapter. Although the codex was written later

than Borgia had estimated, and thus at a greater distance from the actual time in which Pope Leo

IX lived, Borgia attributed the devotion which had motivated the copying of Clarus hec signis in

Ben 42 to this saint who had wrought so many miracles within the city’s walls,84 the saint to

whom an eponymous church had been built in Benevento, now in ruins, and who would have

been honored in every way possible, including through the composition of local hymns in his

honor.

However, when a few peculiarities of Clarus hec signis and its placement in the

manuscript Ben 42 are taken into account, the attribution to this hymn to Pope St Leo IX cannot

be taken as certain. If the hymn Clarus hec signis, unique to Ben 42, were for the feast of St Leo

83
Idem, II.48–49.
84
The words of the hymn clearly refer to a Leo whose miracles were felt in Benevento: “te Beneventus
debito glorificat in qua resplendet actus tui gratia.” See Appendix C for transcription of text and music of this hymn.
314
IX, which would have been celebrated on April 19, it is strange that the hymn for Saint Mark,

celebrated on April 25, immediately precedes it on folio 137r. All the other sanctoral feast days

are in order in Ben 42, so this would be the only exception. This might raise some doubts as to

whether this hymn really was for Pope St Leo IX; adding to this doubt is the fact that the “Sancti

Leonis” in the rubric of the hymn does not specify whether it is for Leo IX or for some other St

Leo, perhaps his predecessor, Pope Saint Leo I (“the great”), whose feast day would have been

celebrated on April 11. It is unlikely that it was for Pope St Leo II (feast on June 28) or Pope St

Leo IV (feast on July 17), although an attribution to the former would explain the use of the

melody for Aurea luce et decore roseo for Clarus hec signis (the feast of Sts Peter and Paul is on

June 29, and June 28 is the vigil on which day Aurea luce, the vespers hymn for the feast, might

have been sung). However, if indeed the Leo of Clarus hec signis were the St Leo confessor

honored by the oxcart races at San Martino in Pensilis, his feast day of May 2 would coincide

perfectly with the placement of this hymn in Ben 42: after the hymn for St Mark (April 25) and

right before that of St Juvenal (May 3).

The passage of time since the copying of Ben 42 and the loss of incontrovertible evidence

that Leo the confessor was venerated at Benevento as he was at San Martino cannot allow us to

say with certainty that Clarus hec signis was written for St Leo the confessor. However, this is a

possibility, as Ben 42 shows, and its implications can tell us something, in turn, about the

manuscript. Since no other hymnary from central and southern Italy examined thus far contains

hymns to any St Leo—Pope, Great, or otherwise—it is just as likely that a local saint, Leo the

Confessor, might have been honored by a local hymn in Ben 42 which the scribe of the hymnary

knew or composed. It may also be the case that the scribe of the hymn texts (a single scribe for
315
all the hymns in Ben 42) mistakenly put a hymn in honor of Pope St Leo IX in the wrong place

of the sanctoral order. Given the otherwise extreme orderliness of the hymnary in Ben 42, this

seems unlikely. It is more likely that the Leo honored by the unique hymn in Ben 42 is the same

as that honored by the oxcart race still today.

The longevity of the tradition of the race in his honor was spurred by the same impulse

that made the scribe of Ben 42 copy the hymn to St Leo. It is the same impulse that prompted

different scribes to copy unique and local texts and unique and local melodies in southern Italian

hymnaries, even when other hymnaries did not use them. This impulse to honor local saints with

melodies, texts, and other traditions found in the area in which they were considered the most

important legitimized the local feasts as well as the hymns, texts, and other liturgical and

paraliturgical customs associated with them in a time when these were being slowly replaced by

non-local traditions. The cultural and political importance of hymns in southern Italy is the

subject of the following chapter. Keeping the peculiarities of the hymn repertories, texts, and

melodies in southern Italy in mind, the political and cultural backdrop against which the hymn

repertoire developed can explain the persistence of local texts and melodies in a time of liturgical

and political change.

316
 Chapter Five Tables

Table 9: Unique Hymn Texts from Southern Italy

Hymn Incipit Feast Manuscript

Regis superni signifier St Nicholas MC 506
Festa plebs sancto St Nicholas MC 506
Ecce dies rediit St Nicholas Urb. lat. 585
Summe tocius reparator orbis St Agnellus Naples VI G 29
Auctor perennis glorie Christmas Octave Ott. lat. 145
Celum canorus laudibus St Dominic of Sora Getty 83 ML 97
Ecce dies revenit St Dominic of Sora Getty 83 ML 97
Christe tyronum St Dominic of Sora Getty 83 ML 97
A Dominum preconium St Dominic of Sora Urb. lat. 585
Decus et norma omnium St Dominic of Sora Urb. lat. 585
Levita vir Vincentius St Vincent Ott. lat. 145
Presulem sanctum reboate St Sabinus Ben 37
Paule doctor egregie Conversion of St Paul Naples VI E 43
Tuam o pater postulamus St Peter’s Chains Naples VI G 29
Clarus hec signis St Leo Ben 42
Refulget iam sollemnitas Sts Philip and James Naples VI G 29
Paschalis dies colitur St Juvenal Ben 42
Festum sacrata martyrum St Vitus Ott. lat. 145
Rex metuende omnium St Erasmus Ott. lat. 145
Aula celestis St Eleutherius Vat. lat. 4928
Summum precurrit ora St John Baptist Ott. lat. 145
Deus qui verbi angelo St John Baptist Ben 37
O sancte presul inclite St Aspren Naples VI G 29
Prebe Christe canentibus St Sabina Urb. lat. 585
Ad patris decus St Sabina Urb. lat. 585
Christi hostis Sabina St Sabina Urb. lat. 585
O sancta mundi domina Nativity of Mary Ott. lat. 145
Signum tuum crucis Exaltation of the Cross Naples VI G 29
Martyrum princeps St Januarius Naples VI G 29
Pastor insignis faciendo signa St Januarius Naples VI G 29
Christi fideles milites Sts Cosmas and Damian Naples VI G 29
Marciani meritum St Marcianus of Frigento Naples VI G 29
O Agrippine pontifex St Agrippinus Naples VI G 29
Laudibus Christi modulando Sts Rufinus and Cesidius Urb. lat. 585
Inde vos testes Sts Rufinus and Cesidius Urb. lat. 585
Beata Dei genitrix Virgin Mary Naples VI F 2
Maria decus hominum Virgin Mary Naples VI F 2
O singularis femina Virgin Mary Naples VI F 2
Maria templum Domini Virgin Mary Naples VI F 2
Christe immense dominator Dedication of a Church Naples VI G 29

317
Table 10: Local/Regional Hymns from Southern Italy (some also in central Italian hymnaries)

Hymn Incipit Feast Concordances

Urb. lat. 585, Paris Maz.
364, Getty 83 ML 97, MC
Ambrosi sidus aureum St Ambrose
506, MC 559, Napes VI E
43, Ben 42
Aurora fulget aurea dies St Nicholas Urb. lat. 585, MC 506
Vat. lat. 4928, Naples VI E
Egredere Emmanuhel Christmas
43, Ben 42
Vat. lat. 4928, Ben 42, Vat.
lat. 7172, Paris 1092, Rh
Ymnum canamus socii St Cyriacus
91, Florence conv. supp.
524
Paris Maz. 364, Vat. lat.
Amore Christi nobilis St John Evangelist
7172, Paris 1092
Urb. lat. 585, MC 506,
Naples VI E 43, Ben 37,
Infantum diem martyrum Holy Innocents
Ott. lat. 145, Vat. lat. 7172,
Paris 1092
Ott. lat. 145, Vat. lat. 7172,
Furens Herodes impie Holy Innocents
Paris 1092
Ben 42, Ben 37, Ott. lat.
145, Vat. lat. 7172, Paris
1092, Rh 82, Farfa A 209,
Silvestri almi presulis St Sylvester
Chigi C VI 177, Rh 91,
Verona CIX (102), Barb.
lat. XI 171
Ott. lat. 145, Vat. lat. 7172,
Voce iocunda resonemus St Sylvester
Paris 1092
Ben 37, Ott. lat. 145, Vat.
Adest celebritas nobis St Maur
lat. 7172, Paris 1092
Urb. lat. 585, Paris Maz.
364, Getty 83 ML 97, MC
506, Vat. lat. 4928, Naples
Confessor Domini Maure St Maur VI E 43, Ben 42, Ott. lat.
145, Vat. lat. 7172, Paris
1092, Chigi C VI 177,
Casan. 1574
Ott. lat. 145, Vat. lat. 7172,
Sebastiani inclyti St Sebastian
Paris 1092, Naples G VI 29
All except Rh 82, MC 420;
Martyr Dei egregie St Sebastian
Chigi 177, Ben 37, Ben 42
318

Canticum laudis
Adest miranda passio
Ut digne possint
Beatus vir Vincentius
Triumphum sacrae virginis
Pangamus pariter
Deus eterne famulos
Claret sacrata iam dies
Anglorum iam apostolus1
Angusta vite tempora
Iam lucis splendor rutilat
Gemma celestis
Fratres alacri pectore
1
Although this is a division of the hymn O pontifex egregie which is not only found in southern Italian
manuscripts, it is given a separate melody in Ben 42 and so is considered as a local hymn in the sense that the
division existed as separable from the parent hymn.
Vat. lat. 7172, Paris 1092,
St Severinus
Casan. 1574
Ben 37, Ott. lat. 145, Vat.
lat. 7172, Paris 1092, Chigi
St Vincent
C VI 177, Madrid 1005,
London Add. 30851
St Vincent Naples VI E 43, Ben 42
Ben 37, Vat. lat. 7172,
St Vincent
Paris 1092
Ott. lat. 145, Vat. lat. 7172,
Paris 1092, Chigi C VI
St Agatha
177, Rh 91, Naples VI G
29
St Barbatus Naples VI E 43, Ben 42
Forty Martyrs Naples VI E 43, Ben 42
Ben 37, Vat. lat. 7172,
St Gregory
Paris 1092, Rh 91
Urb. lat. 585, Naples VI E
St Gregory
43, Ben 42, Ott. lat. 145
Ben 37, Vat. lat. 7172,
St Nazarius
Paris 1092
Rh 82, Naples VI E 43,
Vat. lat. 7172, Paris 1092,
Farfa 4, MC 420, MC 506,
Paris Maz 364, Ott. lat.
145, Verona CIX (102),
Quadragesima
Naples VI F 2, Urb. lat.
585, Vat. lat. 4928, Getty
83 ML 97, Ben 37, Ben 42,
Farfa A 209, Chigi C VI
177, Casan. 1574
Vat. lat. 5776, Vallicell. B
79, Naples VI E 43,
St Benedict
Vienna 1106, MC 420,
Chigi C VI 177
Paris 14143, Urb. lat. 585,
Paris Maz. 364, Getty 83
St Benedict
ML 97, Naples VI E 43,
Ben 42, Ott. lat. 145, Vat.
319
 lat. 7172, Paris 1092, Rh
82, Chigi C VI 177, Rh 91,
Casan. 1574, Farfa 4
Ben 42, Ben 37, Vat. lat.
Festum beati martyris St Mark 7172, Paris 1092, Rh 91,
Naples VI G 29
Ott. lat. 145, Vat. lat. 7172,
Arbor salve Invention of the Cross Paris 1092, Naples VI G
29
Gaudet sanctorum St Iuvenal Vat. lat. 4928, Ben 42
Sublime nobis imminent St Boniface Vat. lat. 4928, Ben 42
Adstat en turba St Boniface Vat. lat. 4928, Ben 42
Ben 37, Ott. lat. 145, Vat.
Funeris victor triduo Ascension
lat. 7172, Paris 1092
Ben 37, Ben 42, Naples VI
F 2, Naples VI E 43, MC
506, Vat. lat. 7172, Paris
Iam Christus ascendit
Ascension 1092, Paris Maz 364, Ott.
polum
lat. 145, MC 559, Urb. lat.
585, Vat. lat. 4928, Getty
83 ML 97, Casan. 1574
O clara mundi lumina Sts John and Paul Ben 37, Ben 21
Eustasii magni martiris St Eustace Ben 42, Ben 37
Ben 37, Ott. lat. 145, Vat.
Alma beati martyris Viti St Vitus
lat. 7172, Paris 1092
Vat.lat. 4928, Ben 42, Ben
Agonitheta nobilis St Cyriacus 37, Ott. lat. 145, Vat. lat.
7172, Paris 1092, Rh 91
Ott. lat. 145, Vat. lat. 7172,
Magni palmam certaminis St Sixtus
Paris 1092
Paris Maz. 364, Vat. lat.
Apostolorum supparem St Lawrence
7172, Paris 1092
MC 559, Naples VI E 43,
Ben 42, Ott. lat. 145, Vat.
Festa sacrata presulis St Apollinaris lat. 7172, Paris 1092,
Casan. 1574, Vallicell. B
79
Iam sacra dies annua Seven Brother Martyrs Naples VI E 43, Ben 42
Vat. lat. 4928, Naples VI E
43, Ben 42, Ben 37, Ott.
Gaudium mundi Christe St Bartholomew
lat. 145,
Vat. lat. 7172, Paris 1092

320
 Vat. lat. 4928, Naples VI E
43, Ben 42, Ben 37, Ott.
Ad laudem Christi
St Bartholomew lat. 145, Vat. lat. 7172,
procerum
Paris 1092, Naples VI G
29
O genitrix eterni virgo Assumption Naples VI E 43, Chigi C
VI 177, Vat. lat. 3797
Votis tuorum Holy Twelve Brothers Naples VI E 43, Ben 42
Vat. lat. 4928, Ben 42, Ott.
Christi caterva pervigil Holy Twelve Brothers
lat. 145
Vat. lat. 4928, Naples VI E
Splendor diei rutilat Holy Twelve Brothers
43, Ben 42, Ott. lat. 145
Ott. lat. 145, Vat. lat. 7172,
Adest dies prefulgida St Mauritius
Paris 1092
Adest sacra festivitas St Mauritius Ott. lat. 145, Paris 1092
Naples VI F 2, Ott. lat.
145, Vat. lat. 7172, Paris
O quam glorifica luce Nativity of Mary
1092, Rh 82, Chigi C VI
177
Ott. lat. 145, Vat. lat. 7172,
Christe rex noster St Martin
Paris 1092, Rh 82
Mercurius semper Vat. lat. 4928, Naples VI E
St Mercurius
venerande 43, Ben 42
Vat. lat. 4928, Naples VI E
Ad martyris Mercurii St Mercurius
43, Ben 42
Vat. lat. 4928, Naples VI E
Laudes Mercurii St Mercurius
43, Ben 42
Ott. lat. 145, Vat. lat. 7172,
Clementis festum St Clement
Paris 1092
Martyris Christi [magni] Naples VI G 29, Paris
St Clement
veneranda festa 1092
Urb. lat. 585, Vat. lat.
7172, Paris 1092, Rh 82,
Eterne rex altissime Sts Rufinus and Cesidius
Farfa A 209, Chigi C VI
177, Rh 91, MC 420
Ott. lat. 145, Vat. lat. 7172,
Paris 1092, Rh 82, Farfa A
Apostolorum mystica Common of Apostles
209, Farfa 4, Chigi C VI
177, Rh 91
Ott. lat. 145, Vat. lat. 7172,
Regis immensi militis Common of Apostles
Paris 1092

321
 Vat. lat. 4928, Naples VI E
43, Ben 42, Naples VI G
Common of Several 31, Ott. lat. 145, Vat. lat.
Sacra piorum martyrum
Martyrs 7172, Paris 1092, Rh 82,
Chigi C VI 177, Casan.
1574

322
Figure 10: Christe sanctorum decus angelorum from the Bari hymnary, f. 35v as transcribed by
Stäblein in Monumenta Monodica Medii Aevi I

1-f---e-dc-de--d--e-f--g-fe-de-e-3-e--d-c--de-d-e-f--g-fe-de-e-3
Chris- te sanc-to-rum de-cus an-ge-lo- rum rec-tor hu-ma- ni ge-ne-ris et auc-tor

1-h-g-f--g---g--g-g-f--f-ed-c-3-cd-ff-d--e--e-4
no-bis e- ter-num tri-bu-e be-nig-nus scan-de- re reg-num

Figure 11: Presulem sanctum reboate from Ben 37, folios 19v and 37r

1-f--e--d--fe--e--f-g-h-gf-ef-f-3-f-e-d--f---e-f--g-h--gf-ef-f-3-
Pre-su-lem sanc-tum re-bo-a-te spon-te ei-us in temp-lo mo-du-lis Sa- bi- num

1-h--g-f-g-fg---g-h-f-e--dd-c-3-cd-g-e--f--f-4
qui De-o { } stu-du-it pla-ce- re pec-to-re sem-per

Figure 12: O clara mundi lumine from Ben 37, folios 31v-32r

1-g-hj-jh-k--hg-h--k-j-3-h--g-h--k--jk-h-j--h-3-
O cla-ra mun-di lu-mi-ne ut ves-tra Pau-le pro-me-re

1-h-jk-kj-l--ml-h--k-j-3-h--g-h--k---jk-h-j-h-4
pos-sim Io-han-nes mu-ne-ra vos fer-te nunc so- la-mi-na

323
 Figure 13: Deus qui verbi angelo in Ben 37, folios 30v-31v

1--h--h-h--h-hjhh-g-j-l--kj-hj-j-3-l--k--m-l-k-k-j-k--l-kjh-h-3-
De-us qui ver-bi an-ge-lo pre-co- ne an-nun-ti- a- re va-ti de-cre-vis- ti

1-l-k--l--jh-j--h-g-j-l-jh-h-3-jkl-lk-k-k-jh-h-4
an-ge-lum no- bis tri-bu-e tu-to-rem tem- po-re vi- te

Figure 14: last verse of Adest miranda passio levita in Ben 37, f. 36r

1-g--gg--f--e-d-fhg-fg-g-3-gk-kj-h-g--h-jg--h--g-f-3-
Ex hinc ad cy-me-te- ri-um ma-nu- i fer-tur psal-len- ti-um

1-f--g--f--g-h--k-g-hjh-3--j--h-ghg-e--f--hg-fg-g-4
in sanc-to do-mi-ci- li- o Chris- ti re- po-nunt mi- li-tem

Figure 15: Claret sacrata iam dies in Ben 37, f. 37v and 35r

1-gh-h--gf-g-hjh-g--fg-g-3-gh-h-gf-g--h--k--kl-l-3-
Cla-ret sa-cra-ta iam di- es quo ur-bis Ro-me pon- ti-fex

1-l-lml-k-k--g-hj-hg-g-3-gh--h-gf-g-hjh-g-fg-g-4
po-lum so-lu-tus ex car- ne Gre- go-ri- us pe- ti-e-rat
324
 Figure 16: Beatus vir Vincentius in Ben 37, f. 36v

1-a-cd-d--f--e--de-dc-c-3-a-cd-d--f---f-fe-fg-g-3-
Be-a- tus vir Vin-cen- ti- us vo-ca-tus no-men me-ri-tum

1-g--ghg-f--fe--d-de-dc-c-3-a--c--d--f--e-de-dc-c-4
qui fi- de Chris- ti po- ti- tus dra-co-nem cal-cat za- bu-lum

Figure 17: Funeris victor triduo in Ben 37, f. 24v-25r

1-g-f-e---g-f--g-h-k--jh-gh--h-3-g--f-e--g--f--g-h-k--jh-gh-h-3-
Fu-ne-ris vic-tor tri-du-o re- sur-gens sus-tu-lit sanc-tos E-re-bo re- ten-tos

*1-g-f--e-g-f--g-h--k--jh-gh-h-3-h---g-f-h-g-4
Ce-li-cas il-lis tri-bu-ens be- nig-nus scan-de-re se-des

*for all subsequent verses, the final two lines of the stanza are set as follows (using the
appropriate lines from verse 2 as an example):

1-k--j-h-jh-j-j--k-h-g-ff--e-3-ef-h--f--g--g-4
men-tis ut cu-ret re-se-ra-ta Tho-me stig-ma-ta pan-dit

325
 Figure 18: Alma beati martyris Viti in Ben 37, folios 34v and 27r

1-e-g--j-kj-j-hj-hg-g-3-e-g-j-k--k---kj-kl-l-3-
Al-ma be-a- ti mar-ty- ris Vi-ti ca-na-mus tro-phae-a

1-l-lml-k-kj-h-hj-hg--g-3-e-g-j--kj-jj-hj-hg-g-4
ym-nis ve-ni- te dul- ci- bus ce-le-bra-re so-lem- ni- a

Figure 19: Clarus hec signis in Ben 42, folios 137v-138r

1-ffe-dc-dfd-e--e-e-dc-f-gf-e-de-e-3--g---h-j--h-gfe-f-dc-f-gf-e-
Cla-rus hec sig-nis ru-ti- lat ho-no-ri-bus quam so-lis iu-bar so-li- to de-cen-

1-de-e-3-edc-d-fd-e--e-g-e-d-f-fe-de-e-3-ed--dc-cd-de-dc--f-gh-hg-
ti- us su- is de- co-rat ro-se-is lu-mi- ni-bus Chris- ti con-fes-sor cel-sis ni-

1-fg-fe-de-e-4
tet se- di-bus

326
 Figure 20: Paschalis dies colitur in Ben 42, folio 138r

1-g--g--h--k-j-jj-h-h-3-g---j-j-h--g-h--k-klkj-3-h--k--k--l-j-k--
Pas-cha-lis di-es co- li-tur nunc Iu-ve-na-lis se-qui-tur post Do-mi-ni vic-to-

1-j-j-3-g-h--j-h--g---j-h-g-4-g--g-h--k-j-j--h-hh-3-
ri-am fer-vi co-la-mus glo-ri-am Pro Iu-ve-na-le nas-ci-tur...

Figure 21: Ymnum canamus in Ben 42, folio 150v

1-ghjg-f--hjk-kj-hg-h--fg-g-3-gk-j--h-j--g-h--gf-fgf-3-
Ym- num ca- na-mus so- ci- i de- vo-te men-te se- du- li

1-d--fe--fg-gh-gf-g--gh-h-3-k-klk-h--j--g--h--fg-g-4
fes-tum-que pi- i mar-ty- ris o-dis ca-na-mus con-so- nis

Figure 22: Sacra piorum martyrum in Ben 42, folio 169r

1-gh-h--gf-g-hjh-g--fg-g-3-gh-h-gf--g-h--k-kl-l-3-
Sa-cra pi- o-rum mar-ty-rum fes-ta nunc in-stat an-nu-a

1-l--l--k---k-g---j-h-g-3-gh-h-gf-g-hjh-g-fg-g-4
qua mun-di spre-to prin-ci-pe reg-na be- a- ta pos-si-dent

327
 Figure 23: Sublime nobis imminet in Ben 42, folio 140r

1-g--g--h-k--j--j-h--h-3-g--j--j--h-g-h--k--klkj-3-h---k--k--l-j-k-
Sub-li-me no-bis im-mi-net fes-tum ni-mis ce-le-bri-us sanc-tus quo Bo-ni-fa-

1-j-j-3-h--j--k-j-h-j--h--g-4-g-g-h-k--j---j-h-h-3-g-j-j--------
ci-us mar-tir se-ve ne-ca-tus est Mu-ta-ti-o-nem dex-te-re De-i mi-ran-tes…

Figure 24: Adstat en turba in Ben 42, folio 140r-v

1-h-g--h-gff-dc-g--g-f-g-h--h-3-h--k-l-kjj-g--j-g-f-gh-h-h--h-3-
Ads-tat en tur- ba po-pu-li fi-de-lis mar-ti-ris sanc-ti Bo-ni-fa-ci- i lau-des

1-h--g--h-gf-dc-g-g--f--g-[-gf-f-3-eghg-e--f-d---d-]-4
vo-ci- bus sa-cris iu-bi-lans per- en-nes at- que tri-um-phos

Figure 25: Gaudet sanctorum in Ben 42, folio 138v

1-g---h--f--g--hjk-k--l-k--j-hh--g-3-k-j-l--k-j--k-l-k-j-hh-g-3-
Gau-det sanc-to-rum ce-tus su-per-no-rum an-nu-a ve-nit pre-ti-o-sa re- dit

1-kjhg--h--j-hh-g-g--h-g--f-gh-h-3-hjk-j-j--h-g-4-g--h--
qua Chris-ti mi-les Iu-ve-na-lis di- es e- the-ra pe- tit Un-de…

328
 Figure 26: Ut digne possint in Ben 42, folio 120r

1-g--h--f--g--hjk-k-l--k-j-hh-g-3-l-k--m--l--k--k--l--k--j-hh-g-3-
Ut dig-ne pos-sint re-so-na-re vo-ces ef-fan-do car-men mo-du- la- re to-nos

1-kjhg-h-j--hh-g-g--h-g-f-gh--h-3-hjk-j-jj-h-g-4-g-
ti- bi o Chris-te tri-bu-e fa-mel- lis con- di-tor al-me Mar-ti-ris...

Figure 27: Pangamus pariter in Ben 42, folio 123r

1-gj-h---j--g-h-k--kk-h-g--h-gh-e-3-gj-h--j---g--h-k--kk-h-g--k-
Pan-ga-mus pa-ri-ter car-mi-na can-ti-bus fra-tres nunc Do-mi-no om-ni-um ar-

1-l-j-3-jm-m-m--l-k-l-l-k-h--j--h--g-3-gj-h-j--g-h-k-k-h-g--h-
bi-tro ce-tus e- the-re-i or-ga-na con-ci-nant vo-ces ar-mo-ni-e si-de-ra ver-

1-gh-e-4--gj--h--
be- rent Sanc-tis...

329
 Figure 28: Deus eterne famulos in Ben 42, folio 124r

1-hj-g-h-h--hjhg-j-l--k--lk-jj--h-3-
De-us e-ter-ne fa-mu-los cle-men-ter

1-hj--g---h--h--hjhg-j--l-k-jkj-h--h-3-
ym-num sanc-to-rum spe-ci- e ca- nen-tes

1-j---k--l-k-jkjh-h-j--k--h---j-hjhg-3-jkl--k-jkj-h--h--4
quo-rum vo-ti-va ce-le-bra-mus fes-ta nunc qua-dra- gin-ta

Figure 29: Egredere Emmanuhel in Ben 42, folio 111v

1--d-dg-f-g--e--g-h--fed-3-g---h--h-ge-f--f--e-d-3-
E-gre-de-re Em-ma-nu-hel quem nun-ti-a- vit Gab-ri-hel

1-d-dg--f--g--e--g-h--fed-3-f--h--h--ge-f--f-e-d-4
u-ti spon-sus de tha-la-mo vir-gi-nis ma-tris u-te-ro

330
 Figure 30: Mercuri semper venerande in Ben 42, folio 162v

1-g--h-f--g--hjk-k-l--k--j-hh--g-3-l--k-m-l---k--k--l-k-j-hh-g-3-
Mer-cu-ri sem-per ve-ne-ran-de mar-tyr qui ge-ris sa-crum me-ri-to co-ro-nam

1-kjhg-h--j--h--g--g-h-g--f-gh-h-3-hjk-j-j-hh--g-4
mix- te sanc-to-rum ni-ve-is cho-re- is ar- ce po-lo-rum

Figure 31: Laudes Mercurii in Ben 42, folio 163v

1-g---h--j--k-l-kk-k-j-h--j--k-h-3-g--h-j--k-l-l--l-k--j--k-l-l-3-
Lau-des Mer-cu-ri- i di-ce-re mar-ty-ris vir-tu-tum ti-tu-lis co-gi-mur ar-du-is

1-l--n-nm-k-l-l--l-k-h--j-h--g-3-k-j-k-h-jh-g--h--h-4
Chris-ti mi- li-te et bel-li-ger in-cli-tus ter-ris e-ni-tu- it qui-bus

Figure 32: Ad martyris Mercurii in Ben 42, folio 163r

1-h-gh--h-j--gh-k-j-h-3-h-j--k-l-h-j--j--j-3-j---j-h--g-e--g-h-h-3-
Ad mar-ty-ris Mer-cu-ri-i fes-ta ve-ni-te sup-pli-ces gau-den-do vo-ta sol-vi-te

1-j---h--h-hh-gh-k--j-h-4
lau-des vin-cen-ti red- di-te

331
 Figure 33: Votis tuorum Christe in Ben 42, folio 156r

1-gk-hjh-g-hj-j---jh-k-h-j-h--g-3-gh-k--h-j--j--hg-k-l-lk-hj-jhg-3-
Vo- tis tu-o-rum Chris-te fi-de-li-um te pos- tu-la-mus ple-ni-us an-nu- e

1-gh--k--h-j--j-jh-k-h-j---h-g-3-
qui nunc tu-o-rum an-nu-a mar-ty-rum

1-ghj-j---j-jhg-g--klm-m-lk-lk-hj-jhg-4
fra- trum ce-le- brant fes- ta du- o- de- cim

Figure 34: Christi caterva pervigil in Ben 42, folio 156v

1-d--ded-c-d--f--fgfe-d-e-3-e-h-h-g--f--g-h--h-3-
Chris-ti ca-ter-va per- vi-gil su-a-vi mo-du- la-mi-ne

1-h---h--g-gf-f---d--c-dededc-3-c-e--d-fgf-ed-c--d--d-4
ym-num ca-na-mus Do-mi-no qui est co-ro- na mar-ty-rum

332
 Figure 35: Splendor diei rutilat in Ben 42, folio 157v

1-h---gh-h-jh-gh-k-j-h-3-h-j--k--l--g---h--h-h-3-h--h--g--f-d-g-
Splen-dor di-e- i ru-ti-lat di-ca-tus fra-trum san-gui-ne in quo Do-na-tus e-

1-h--h-3-h-gh-jh-gh-k--j-h-4
mi-cat Fe-lix et A- ron- ti-us

Figure 36: Ambrosi sidus aureum in Ben 42, folio 109r

1--h--gh-h-jh-gh-j-h--g-3-g-h-j--k--g--h-
Am-bro-si si- dus au-re-um or-bis il-lus-trans am-bi-tum…

Figure 37: Anglorum iam apostolus in Ben 42, folio 124v

1-h--gh--h--jh-gh-k--j-h-3-h--j-k--l--g--h--h-h-3-h--h---g--f-d-g--
An-glo-rum iam a- pos- to-lus nunc an-ge-lo-rum so-ci-us ut tunc Gre-go-ri gen-

1-h-h-3-hh-gh-h--j--gh--k-j-h-4
ti-bus suc-cur-re iam cre-den-ti-bus

333
 Figure 38: Iam sacra dies annua in Ben 42, folio 148r

1-a--c-d--f--e-de-d-c-3-a--c-d--f--f-fe-fg-g-3-
Iam sa-cra di-es an- nu- a no-bis re-dux-it gau- di- a

1-g--ghg-g--fe-de-e-d-c-3-a-c-d--f--e-de-d-c-4
que sanc- to-rum ex- i-mi-o di-ca-ta est mar-ty- ri- o

Figure 39: Sancti illi presulis in Ben 42, folio 170v

1-dh-g-d-e-f--g-h-gfe-3-h--g----d--e-f-g-h--g-3-g--j---h--gf-gh-
Sanc-ti il- li pre-su-lis ym-num Chris-to re-fe-ri-mus qui con-temp-sit se-

1-gg--e-3-g--gg-f--d---e--f-g--h--gfe-4
clo-rum mer-ca-tus est Chris-ti pre-mi-um

334
 Figure 40: Confessor Domini Maure in Ben 42, folio 118v

1-ghgg-f-h---k--j-h--klk-hg-fg-g-g-3--lk-k--l--n-m-l-ln-nnml-k--l-
Con- fes-sor Do-mi-ni Mau- re pa-ter-ni sum-mis pro me-ri-tis no- mi-nis

1-l-l-3-ll-k-l--lm-k--[-jh-hj-h-g-fg-g-3-h---k-k--kl-g-gh-hg-f-g--
he-res col- li-ba- tus a- des re-gis a-mi-cis cunc-tis pre-ci-pu- is om-ni-te-

1-g-g-]-4
nen-tis

Figure 41: Confessor Domini Maure in Casan. 1574, page 250 and Ott. lat. 145, folio 134r

1-dd--c--def-fg-fe-d--dd-c-d-dd-c-3-dd--c---d-defg-fe-d-e--c--
Con-fes-sor Do-mi-ni Mau-re pa-ter-ni sum-mis pro me- ri- tis no-mi-

1-cd-d-d-3-f-f--g--hg-f-f--ed-c-cd-d--d-3-dd--c-def-g-fe-d-ded-c-
nis he-res col-li-bra- tus a-des re- gis a- mi-cis cunc-tis pre- ci-pu- is om- ni-

1-cd-d--d-4
te-nen-tis

335
 Figure 42: Fratres alacri pectore in Ben 42, folio 126v

1-g---g-fd-e-f--g--h-g-3-f-g-h--kj-hg-hj-hg-g-3-k--l-j--kj-h-k-kk-
Fra-tres a- la-cri pec-to-re ve-ni-te con-cen- tu pa- ri fru-a- mur hu-ius in-cli-

1-ghgf-3--f-g-h--kj-hg-hj-hg-g-4
te fes-ti-vi- ta- tis gau-di- is

Figure 43: Festa sacrata presulis in Ben 42, folio 148v

1-hh-g-h--hjkj-k-h--hh-g-3-h-g--h-hjkj-kj-h--hh-g-3-
Fes-ta sa-cra- ta pre- su- lis A-pol-li- na- ris mar-ti- ris

1-g-g-hj-h--ghj-h-g-f-3-hjkh-jh-h--g-f--gh--hh-g-4
an-ni re-cur-sa or-bi-ta ce- le-bra-re io-cun- dum est

Figure 44: Silvestri almi presulis in Ben42, folio 116v

1-g--e--f-g-g---g-f-d-3-g-f--f--f--d-e-d-c-3-d-c---d---f-f--g-h--h-3
Sil-ves-tri al-mi pre-su-lis ur-bis Ro-me e-gre-gi-i tri-um-phum o- re con-so-no

1-h--g--f----g--def-f-e-d-4
de-can-tent Chris-ti po-pu-lus

336
 Figure 45: Silvestri almi presulis in Ben 38, folio 170v

1-g-hjh-j-k-j-h-g-hjhjhg-3-h-hg-f-hg-j-h-g-g-3-
Sil-ves-tri al-mi pre-su-lis ur-bis Ro-me e-gre-gi-i

1-g-jh-j-k-j-h-gg-hjhjhg-3-h-hg-f-hg-j-hh-g-g-4
tri-um-phum o- re con-so-no de-can-tent Chris-ti po-pu-lus

Figure 46: Martyri Dei egregie in Ben 42, folio 119r

1-f---f-g-h-h-gh-g-f-3-h--k-k--kk-g--h--h-hg-3-f--ff-d-f-g--h--g-f-3
Mar-tir De-i e-gre- gi-e in-ten-de me-los glo-ri- e Se-bas- ti- a-ne bel- li-ger

1-f--f--g--h-h--gh-g--f-4
im-men-si re-gis sig- ni- fer

Figure 47: Martyr Dei egregie in Casan. 1574, page 251

1-g--hjk-j-kj-h-j--kl-lkj-3-g--hjk-j-kj-h--j--kl-lkj-3-
Mar-tir De-i e-gre-gi- e in-ten- de me-los glo-ri- e

1-j--ml-m-kj-hj-jj-h-g-3-e--fe-d--g-hjk-kj-hg-g-4
Se-bas- ti- a- ne bel- li-ger im-men-si re-gis sig- ni- fer

337
 Figure 48: Martyr Dei egregie in Naples VI G 29, folio 25v

1-f--gh-h-h-f--g-f-f-3-f-gh-h--hg-h--gfgh-h-h-3-
Mar-tir De-i e-gre-gi- e in-ten-de me- los glo- ri-e

1-f--gh-h-h-f--g-f-f-3-d--f--g-h-f--g--f-f-4
Se-bas- ti-a- ne bel-li-ger im-men-si re-gis sig-ni-fer

Figure 49: Martyr Dei egregie in Chigi C VI 177, folio 128r

1-d---d--e-g-g--g-g-gf-3-g-j--h-g--f--gjkj-hg-g-3-
Mar-tir De-i e- gre-gi-e in-ten-de me-los glo- ri- e

1-g--j-g-h-g--h--g-hg-3-h--g--f-e--d-egf-ed-d-4
Se-bas-ti-a-ne bel- li-ger im-men-si re-gis sig- ni-fer

Figure 50: Festum beati martyris in Ben 42, folio 137r

1--g--g--h-k-j-jj-h-h--3-g-j--j-h--g---h--k-klkkj-3-
Fes-tum be-a-ti mar-ty-ris o- dis co-la-mus con-so-nis

1--h---k--k-l-j--k-j--j-3-h--j--k-jj-h--j--h-g-4
quem mi-sit or-bi pro-vi-da re-gis su-per-ni gra-ti- a

338
 Figure 51: Festum beati martyris in Ben 37, folio 21r

1-d--c--d-defe-fe-d--d-c-3-d-c--d-defe-fe--d--d-c-3-
Fes-tum be-a- ti mar-ty-ris o-dis co-la- mus con-so-nis

1-c---c-ef-e-def-e--d-c-3-efge-fe-e--d-c--de-e-d-4
quem mi-sit or-bi pro-vi-da re- gis su- per-ni gra- ti- a

Figure 52: Iam lucis splendor rutilat in Ben 42, folio 130v

1-d--d-e--fe--de--f-e-d-3-g--g-f--g-fe-d-c--d-3-d--d--d---c-a--c--
Iam lu-cis splen-dor ru-ti-lat noc-tis fu-ga-tis te-ne-bris red-da-mus lau-des Do-

1-d-dd-3-dd-c--d--f-fg-f-e-d-4-dd-c--d--fe-de-f-e--d-3-
mi-no qui ma-net an-te se-cu-la Pel-la-mus om-ne no-xi-um...

Figure 53: Iam lucis splendor rutilat in Casan. 1574, p. 238

1-dd--c-d--f--g--f-e-d-3-g--g-f--g-ghg-f-e--d-3-d--d--d--c--a--c--
Iam lu-cis splen-dor ru-ti-lat noc-tis fu-ga-tis te-ne-bris red-da-mus lau-des Do-

1-d--d-3-dd-c--d--f-g-f-e-d-4
mi- no qui ma-net an-te se-cu-la

339
 Figure 54: Iam lucis splendor rutilat in Ben 37, folio 55r

1-h--gh-gh--jh-gh-k-jh-h-3-h--j--k-l--h-j-hj-j-3-
Iam lu- cis splen-dor ru-ti-lat noc-tis fu-ga-tis te-ne-bris

1-j--j--h---g--f--g--hj-j-3-k--hj-hj-k-hj-k-jh-h-4
red-da-mus lau- des Do-mi-no qui ma-net an-te se-cu- la

Figure 55: Agonitheta nobilis in Ben 42, folio 151r

1-g-hjh-j--k--j-h-g-hjhg-3-k--j--g---hg-f-h--jh-g-3-
A-go- ni-the-ta no-bi-lis cul-tor-que sum-mi nu-mi-nis

1-g-hjh-j--k-j--h--g--hjhjhg-3-k--j-g--h--f-h--jh-g-4
ad-sis- te vo-tis sup-pli-cum te lau-di-bus co-len- ti- um

Figure 56: Agonitheta nobilis in Ben 37, folio 36r

1-gh-h-gf-g-h-klk-j-h-3-l-lk-jk--lk-hg-h-fg-g-3-
A- go-ni-the-ta no- bi-lis cul-tor-que sum-mi nu-mi-nis

1-gh-h-gf-g-h--k---l--k-3-h--h-gf-h--j--h-fg-g-4
as- sis-te vo-tis sup-pli-cum te lau-di- bus co-len-ti- um

340
 Figure 57: Eustasii magni martyris in Ben 42, folio 142v

1-g--e--f-f-g--g--g--f-d-3-g-f-f--d-e--d-dd--c-3-d-c--d--f--f--g-
Eu- sta-si- i ma-gni mar-ti-ris ux-o-ris at-que pi-gno-rum ca-na-mus sa-cra can-

1-h-h-3h--g--f---gf-def-ff-e-d-4
ti-ca cas-tis [be]- nig-nis lau-di-bus

Figure 58: Eustasii magni martyris in Ben 37, folio 34r

1-g--e--f--g-g-gh-gfe-e-3-g-f-f-e-d-e-dd-c-3-d-c-d-f-f-g-h-h-3-
Eu-sta-si-i mag-ni mar-ti-ris ux-o-ris at-que pig-no-rum ca-na-mus sa-cra can-ti-ca

1-h-g-f-gf-def-f-ed-d-4
sanc-tus be-nig-nis lau-di-bus

Figure 59: Gaudium mundi Christe in Ben 42, folio 155r

1-g--j--k--lm-l---lk-h--j--k--j--h-3-g-j--k-lm-l--k--m-l-n-mm-l-3-
Gau-di-um mun-di Chris-te lux sanc-to-rum ce- li qui reg-na con-tu-lis-ti tu- is

1-lm-ml-k-lk-j--kj-h-j--k--jj--h-3--g-j-k--lkj-j-4
vo- ta tu-o-rum fa- mu-lo-rum cle-mens sus-ci-pe sem- per

341
 Figure 60: Ad laudem Christi procerum in Ben 42, folio 154v

1-h--gh--h---jh-gh-k--j--h-3-h--j---k--l--h--j--j-j-3-j-jj-h-g--e-
Ad lau-dem Chris-ti pro-ce-rum cunc-to-rum fra-trum con-ti-o su- a- vi mo-du-

1-g-h-h-3-h--j--h--hh-gh-k-j-h-4
la-mi-ne de-pro-mat ac- tus pa-ri-ter

Figure 61: Ad laudem Christi procerum in Ben 37, folio 27v

1-h-gh--gh--jh-gh-k-jh-h-3--h--j--k--l---h---j-hj-j-3
Ad lau-dem Chris-ti pro-ce-rum cunc-to-rum fra-trum con-ci- o

1-j-j-h-g--f-g-hj--j-3-k--hj-hj-k--hj-k-jh-h-4
su-a-vi mo-du-la- mi- ne de-pro-mat ac- tus pa- ri- ter

Figure 62: Iam Christus ascendit polum in Ben 37, folio 23r-v

1-dh---g---d-e--f--g--h-gfe-3-eh-g--d-e-f-g-j-h-3-h--h-jk-j--gf-gh-
Iam Chris-tus as-cen-dit po-lum ne- ca-vit an-te fu-ne-ra le-tum se-pul-tus ex-

1-gf-e-3-g---g--d--e-f--g-h-gfe-4
pu- lit mors mor-tis im-pul-su ru-it

342
 Figure 63: Summe tocius reparator orbis in Naples VI G 29, folio 7v

1-f--f--f-g-f-f-f--e--f-d-c-3-f-f--f---g-f---g-f--g-h-g-f-3-
Sum-me to-ci-us re-pa-ra-tor or-bis vi-ta sanc-to-rum de-cus et co-ro-na

1-hjkj-h-h--g--f-f--f-e-f--d-c-3-fg-h--ghg--f--f-4
da tu-i sanc- ti fa- mu-li ag-nel- li pro-me-re lau-des

Figure 64: Tuam o pater postulamus in Naples VI G 29, folio 65r

1-cg-h--f-g-g--h--j-h--g--f--g-g-3-dg-hf--f-g--g-h--j--h---g--f--
Tu-am o pa-ter pos-tu-la-mus gra-ti-am in cunc-tis tu-am pos-ci-mus cle-men-

1-g-g-3-k--k---l--km-jhj-g-h--j-h--g-f-g-g-3-k-k--l-kjhj-g-h-j--h--
ti-am mun-dum qui so- lus re-no-vas-ti per-di- tum ex-au-di pre- ces ti-bi sup-

1-g--f-g-g-3-gf-e--g--fe-dc-g-h---k-j--g-h-h-4
pli-can-ti-um ir- ri-gans cor-da ro-re sanc-ti spi-ri-tus

343
 Figure 65: Refulget iam sollempnitas in Naples VI G 29, folio 50r (237r)

1-f--f--g--h--h--h---g-g-3-f--h-h-g---f-g-j-jkjh-3-
Re-ful-get iam sol-lemp-ni-tas a-pos-to-lo-rum a-ni-ma

1-g-j-j--k-h-j-h-h-3-g-h-j-h-g--h-g-f-4
as-sit no-bis le-ti- ti-a et spi-ri-ta-lis glo-ri-a

Figure 66: Martirum princeps in Naples VI G 29, folio 75r

1-f--e-dc-de---d-e--f--g-fd-e---e-3-e--d-c--de-d-e-f-g-fd-e--e-3-
Mar-ti-rum prin-ceps de-cus et ho-nes-tus da-tur tes- tis va-ri-os a- go-nes

1-e--h-f--g--g--g--h-f-e--d---c-3-f---f-d-e--e-4
at-que sub-li-mes fa-mu-lis tri-um-phos pan- ge-re no-bis

Figure 67: Pastor insignis faciendo signa in Naples VI G 29, folio 76r-v

1-f--e-dc-de-d--e-f-g--fd-e-e-3-e--d-c-de--d-e-f-g-fd-e--e-3-
Pas-tor in- sig-nis fa-ci-en- do sig-na ad De-i cul- tus fi-de-i que lu-cem

1--h-g--f-g-g-g--h--f--e--d-c-3-[ ]-4
trax-it om-ni-no te-ne-bris sub ac-tos milia quinque

344
 Figure 68: Christi fideles milites in Naples VI G 29, folio 77r

1-f--gh-h-h--f-g-f--f-3-f--gh-h-hgj--h-gfgh-h-h-3-
Chris-ti fi-de-les mi-li-tes quos al-vus u-na pro-tu- li-co

1-f-gh-h-h--g-h-g--g-3-e-g-h-j-g--h--g--g-4
ger-ma-ni-ca te no-bi-les fe-li-ci-ta- te com-pa-res

Figure 69: Marciani meritum in Naples VI G 29, folio 78r

1-d--de-f-ed-g--fe-fed-3-d-def-ed-g--fe-fed-3-
Mar-ci- a- ni me-ri- tum pi-e- ta-te pre-di- tum

1-d-c-d--f-g-fg-h-3-h-gf-gh-fed-c-d--d-4
ad sa-lu-tis re-di- tum nul-li sit in de-bi-tum

Figure 70: O Agrippine pontifex in Naples VI G 29, folio 80r

1-d-dfd-c--d-fe-fgfe--d-e--e-3-h-h--h--g-f--g--g--hg-3-
O A- grip-pi-ne pon-ti-fex De-i con-fes-sor op- ti-me

1-h-hjh-g--g--e-d--c--e-3-c-e-d-fgf-ed-c-d-d-4
ad es- to pre-ci-nen-ti- bus tu- i di-e- i glo-ri-a

345
 Figure 71: Christi immense dominator sancte in Naples VI G 29, folio 87r-v

1-d---e-f---g-h--hgf-h--g-e--fe-d-3-d--e--f--g--h--hgf--h-g-e-fe-d3
Chris-te im-men-se do- mi-na-tor sanc-te con-ser-va ple-bem quam tu re-de-mis-ti

1-d---f-e-d-c--e-f--g-e-fe-d-3-g-f-e-[ ]-4
san-gu-i sa-cro tu- o pre-ci-o- so -ip-se sal-vas-ti

346
 Chapter Six

Background: Cultural and Political Importance of Hymns in Medieval Southern Italy

There was a great continuity in the perception of the importance of hymns by the

religious of southern Italy long after the Middle Ages. Apparently the works of literary or artistic

merit of powerful monasteries of southern Italy had been forgotten for a time, and with them the

political clout and grandeur that these monasteries achieved by the late Middle Ages. But the

same political sentiment that animated Desiderius and other medieval religious to increase the

material and cultural prosperity of their religious institutions in the face of ongoing threats from

secular powers was rekindled, as a seventeenth century account from Giovan Battista Maro, a

canon of Sant’Angelo nel Foro Pescatorio near Rome, shows. Thanks to his willingness to bring

to light the medieval (and continued) splendor of Montecassino, Maro published an important

primary source written by Peter the Deacon of Montecassino in which the literary works of the

monastery—including hymns—and their authors are recounted in order to secure for posterity

the prominence of the abbey. In so doing, both Peter the Deacon and Maro achieved one and the

same goal, and thanks to their efforts the place of hymns in the wider cultural context of southern

Italian monasteries is clearly discernible today.

In 1655, Giovan Battista Maro complained of the contemporary, “impudent heretics”

who mocked the illustrious monastery of Montecassino.2 As a cleric of Sant’Angelo nel Foro

Pescatorio near Rome, Maro had come across and “brought to light” many codices that belonged

to Montecassino, “found amidst moths and worms, retrieved in preceding years from the

2
Giovan Battista Maro, “Prefazione,” in Peter the Deacon, De viris illustribus Casinensibus, ed. and trans.
Giuseppe Sperduti (Cassino: Francesco Ciolfi, 1995), 31.
347
Biblioteca Vaticana.”3 Maro saw the importance of these codices, which were proof positive of

the erstwhile existence of the monastery’s glorious and flourishing literary and intellectual

culture. This cultural heritage had been questioned by some “lousy know-it-alls”4 in the wake of

humanism and a century of religious warfare, when many Europeans were disinclined to identify

their cultural roots as having sprung from what was considered a dark age. Maro complained that

naysayers denied the veracity of medieval accounts of the history of Montecassino, causing

“many men of little conviction, who hear and read nothing, and who do not believe unless they

know that [detractions] have been refuted” to doubt the historical and cultural value of

Montecassino and of Benedictine monasticism in general.5 Maro’s battle for the cultural

legitimacy of Montecassino paralleled those conducted by the monks of this same abbey during

the eleventh and twelfth centuries, and indeed throughout its medieval history, when the

establishment, assertion, and defense of the monastery’s political and artistic prowess was

necessary to its survival.

As proof that Montecassino had been a pillar of intellectual and artistic accomplishment

even in the Middle Ages, Maro published the De viris illustribus Casinensibus of Peter the

Deacon, written in 1137 and rediscovered by Maro in a codex in the Biblioteca Barberini in

Rome. In so doing, he published a document that beyond the stated objective was also a veritable

testament to the political and social significance of hymn and hymn writers in medieval southern

3
Ibid.
4
Ibid. Maro calls him a “saputello da strapazzo”; Maro affirms passionately that “until now we did not
hear…a more idiotic detractor and if we wished to relate all his arguments, we would certainly abuse our free
time…” (“Finora non sentimmo...un detrattore più sciocco e se volessimo riferire tutti gli argomenti di lui,
abuseremmo certamente del nostro tempo libero...”).
5
Ibid.
348
Italian monastic circles. Similar to the vitae of saints’ lives written at the time, De viris is a

collection of short biographies of Cassinese authors and their works. The genre of biography was

uncommon at the time of Peter’s writing; it stepped into the tradition initiated by the monk

Gennadius of Massilia,6 who, in turn, had continued St Jerome’s De viris illustribus in the fifth

century.7 In Peter the Deacon’s work, Cassinese monks’ composition of prose and poetry—

including hymns—served both to communicate the monastery’s cultural patrimony to posterity

and to codify Montecassino’s stature as a foundation of learning and culture.

Peter’s work recounts the abbots known for their exceptional literary output or

intellectual and moral merit. Within these biographies, there are citations of specific hymns and

their authors. Here the hymns function as poetry, and specifically as hagiographical poetry

honoring saints who, like the authors of the poems themselves, contributed to the glory of the

monastery. Hymns are mentioned as a literary genre akin to the versi, ritmi, odes, canti, and

carmina also cited in Peter’s work, which makes them as important for the theological and

literary contributions of the monastery as the sermons, commentaries, and chronicles alongside

which they are mentioned.

And indeed the hymns were akin to hagiographies, sermons, commentaries, and

chronicles. Just as sermons and commentaries clarified the spiritual and doctrinal significance of

biblical texts, so too hymns elaborated the theological meanings of liturgical feasts, saints’ lives,

6
For an edition of Gennadius’s work, see Ernest Cushing Richardson, ed., Hieronymus, Liber de viris
inlustribus. Gennadius De viris inlustribus, Texte und Untersuchungen zur Geschichte der altchristlichen Literatur
14 (Leipzig: J.C. Hinrichs, 1896). Rosamond McKitterick discusses the significance of the genre of “De viris”
biographies in the development of early medieval bibliographical guides, especially in the Carolingian world, in her
book The Carolingians and the Written Word (Cambridge: Cambridge University Press, 1989), 200–206.
7
McKitterick, The Carolingians and the Written Word, 200–202.
349
hours of the day, or other religious occasions through ethos, pathos, and logic. Many scholars

have identified and discussed the role of hymns as a vehicle of theological, religious authority

and doctrinal interpretation, which often led to the contested status of certain of these non-

scriptural compositions.8 Susan Boynton has shown how a growing tradition of hymn glosses

added yet another explicative layer of theological and spiritual commentary to hymn texts.9 This

doctrinal function of hymns also made them ideal for pedagogical applications.10 But we must

not overlook how the hymn also functioned, especially in southern Italy in the eleventh and

twelfth centuries: in the same way as medieval historical chronicles and as the hagiographies

that, as in our specific example, had always been part of Montecassino’s literary output. 11 Peter’s

citation of hymns in the context of a biography glorifying the most illustrious monks of

Montecassino makes this eminently clear. Chronicles explained historical events in order to

situate or legitimize specific communities within political contexts that were continually in flux,

and often violently so.12 Similarly, hymns served to create and affirm an institution’s venerable

cultural and religious history in order to ensure its continuity and survival.

8
See especially Boynton, “The Theological Role of Office Hymns,” 19–44. Boynton explains how the
hymn Sanctorum meritis, with its last verse containing the words “trina Deitas,” spurred a heated debate on the
doctrinal correctness of this phrase between the bishop Hincmar of Rheims and the monk Gottschalk of Orbais in
the ninth century. Interestingly, other hymns are used to support the doctrinal validity or invalidity of Sanctorum
meritis, illustrating how hymns were considered as vehicles of theological and doctrinal truths.
9
However we must not overlook the fact that Doctrine and Liturgical Theology are only two of the types of
glosses to hymn texts identified by Boynton. Glosses could also be lexical, grammatical, syntactical, and formal or
stylistic. See Boynton, “Latin Glosses on the Office Hymns,” 1–26.
10
Boynton, “The Didactic Function and Context of Eleventh-Century Glossed Hymnaries,” 301–329. See
also the discussion on the role and significance of hymns in the introduction of this dissertation.
11
Oldfield, 22. Oldfield states, “There are hints at scriptoria producing hagiographical works at Capua,
Salerno and more clearly at Benevento, but it is only at Naples and the great monastery of Montecassino where fully
functioning hagiographical ‘schools’ can be detected.”
12
Marios Costambeys has shown how charters and legal documents performed a similar function in the
context of the Abbey of Farfa: “Just as much as preserving written records, producing them was a necessary element
in the construction of memory, and such memories were useful not only as guarantees of property or other
rights….Documents were produced in order that they be preserved: not only so that they might be brought forward
350
 It was important to define and defend the cultural history and the political power of

Montecassino for Peter the Deacon just as it was for Maro when he rediscovered Peter’s work.

While in Maro’s case the assertion and defense of the monastery’s role as a pillar of intellectual

and religious culture took the form of re-discovering older texts, in the late Middle Ages it

involved the creation of new texts, including those for use in the liturgy. In Peter the Deacon’s

work, the hymn’s primary role at Montecassino was to communicate both a high literary, cultural

tradition at the monastery and to affirm its political power. The hymns cited are those composed

to invoke the intercession of the potent patron saints that had contributed to the establishment of

the monastery and who were at the same time considered protectors of cities and civil rulers.

Politically, Montecassino had always been an active participant in internecine struggles

between the different Lombard rulers of southern Italy, between these rulers and Saracen raiders,

and, at the time Peter wrote, between the waning Lombard rulers and the Norman conquerors. It

was therefore constantly necessary to invoke powerful patrons, whether saints or secular rulers,

through newly composed hymns in their honor, whether these were part of the liturgy or not.

Doing so was a step towards ensuring the longevity of the monastery when the threat of

destruction was tangibly felt. The hymns also affirmed Montecassino’s cultural heritage in

another sense. By choosing to include hymns that were locally composed in a hymnary, the

compilers were asserting the validity of the liturgical and cultural patrimony of southern Italy at

times of liturgical change and standardization.

when property rights were challenged, but as blocks of past history with which identities could be built in the
present” (Costambeys, 30).
351
 The hymnaries and their contents that we examined in Chapters Two, Three, and Four

and the accounts of hymn-singing activities in important civic occasions are proof that the

presence of local hymns in manuscripts had a deeper cultural and political significance in

southern Italy. Their presence, absence, or disappearance from hymnaries, a phenomenon we

have observed through the comparison of different types of codex, is more than merely a trace of

a manuscript’s location in place and time. This is particularly so when, as we have seen in earlier

chapters, the inter-regional diffusion of local hymn repertoire was frequent and not always found

only in a single place or institution. Instead, the presence or absence in a manuscript of local

hymns that had otherwise been present in several different manuscripts previously shows the

extent to which the scribes of that manuscript (and, by extension, the institution at which the

manuscript was produced and/or used) wished to highlight—or moderate—the local poetic,

hagiographical, and political trends on which the legitimacy of the institutions depended.

Finally, hymns were often copied in manuscripts along with the names of their authors.

By doing this, the scribes of these hymnaries were legitimizing the doctrinal authority of the

texts and, sometimes, recognizing the identities of local hymn authors. They were implicitly

identifying the religious values of the institution with those of the hymns’ authors. As these

authors were often key players in the monastic reforms of the eleventh and twelfth centuries, the

copiers and users of the manuscript were allying themselves with these reform movements. What

has been observed here in the context of Montecassino can be extended to other religious

institutions where hymns were composed, copied, and/or sung in southern Italy in the Middle

Ages.

352
 In what follows, I will discuss the role of hymns in the political life of the cities in

southern Italy, with examples of local hymns from the manuscripts examined in Chapters Two,

Three, and Four that might have contributed to, or resulted from, a civic occasion in honor of a

local saint. The witnesses to this civic life of hymns are contemporary chronicles. I will cite these

to give examples of specific mentions of hymn singing in civic occasions in southern Italy.

Following this, I will discuss the importance of authorship in the presentation of hymns in the

manuscripts described in the first four chapters, where at times the authors of specific hymns are

acknowledged by name in the manuscript. Just as the type of manuscript (composite or single-

genre, with ordinal or without ordinal, with notation or without notation, etc.), its age, and the

place in which it was copied determined the nature of its hymn contents, as we saw in the

preceding chapters, these factors also determined the extent to which the authorship of hymns

was recorded.

In southern Italy, the attention to authorship was not simply due to the necessity of

legitimizing the doctrinal validity of a given hymn text. Nor was it simply due to the pedagogical

function of hymnaries. It also reflected the need to legitimize the cultural patrimony associated

with a given institution or place, much as did texts such as Peter the Deacon’s biography of

monks of Montecassino. This was accomplished through the citation of authors of hymns linked

to local ecclesiastical reforms, which associated the institutions in which the hymnary was

copied with the reform values of these authors. The links between hymns, authorship and

authority, and reform have been discussed by Susan Boynton in her unpublished dissertation and

353
in other publications,13 while the scholarship on reform and civic identity more generally in

southern Italy in this period is lengthy and ever-growing.14 Here, I will explore the link between

hymns, reform, authorship and authority, and civic identity specifically in the context of southern

Italy by looking at accounts from local historical chronicles and by citing traces—sometimes

quite evident—of the civic, identity-constructing, reform-supporting role of hymns in the

hymnaries themselves.15

Hymns, Hagiography, and Power

Peter the Deacon’s De viris illustribus Casinensibus provides concrete examples of how

hymns were composed and used to establish Montecassino’s “allegiances” to patron saints, to

assert its cultural achievements, and to remember the “dynasty” of monks whose works

contributed to its power. Peter’s work, when supplemented with accounts of hymn-singing in

local chronicles, sketches a picture of the interconnectedness of the religious and socio-political

spheres in late medieval southern Italy. The first hymn author mentioned by Peter is the eighth-

century monk Cyprian. Peter tells that Cyprian “wrote a hymn of the miracles of the Blessed

13
Boynton, Glossed Hymns in Eleventh-Century Continental Hymnaries, ch. 6, “Monastic Reform and
Glossed Hymnaries,” 273–321; Idem, “Liturgy and History at the Abbey of Farfa,” 253–80.
14
There are essential studies by Herbert Edward John Cowdrey and Graham A. Loud: H. E. J. Cowdrey,
The Age of Abbot Desiderius: Montecassino, the Papacy, and the Normans in the Eleventh and Early Twelfth
Centuries (Oxford: Oxford University Press, 1983) ; G. A. Loud, Church and Society in the Norman Principality of
Capua 1058–1197 (Oxford: Clarendon Press, 1985); Idem, Conquerors and Churchmen in Norman Italy, Variorum
Collected Studies 658 (Burlington: Ashgate, 1999); Idem, Montecassino and Benevento in the Middle Ages: Essays
in South Italian Church History, Variorum Collected Studies 673 (Burlington: Ashgate, 2000); Idem, The Latin
Church in Norman Italy (Cambridge: Cambridge University Press, 2007). Additionally, some more recent
publications, include: Boynton, Shaping a Monastic Identity; Costambeys, op. cit.; Hamilton, op. cit.; Hilken, op.
cit.; Howe, op. cit.; Oldfield, op. cit.; Ramseyer, op. cit.; Zschomelidse, op. cit.
15
Several publications that trace links between hymns in southern Italy and broader historical and political
issues should be mentioned, although these are smaller case studies on particular manuscript soures and/or hymn
authors : Nardini, “I manoscritti musicali”; Garrison, “Notes on Certain Italian Medieval Manscripts, 3: Three
Manuscripts of Narni”; Leonardi, “St Gergorio di Spoleto”; Mele, op. cit., especially ch. 7, “Cenni sull’Innografia
Latina in Sardegna”; Umberto Longo, “L’esperienza di riforma avellanita e i rapporti con il mondo monastico,” Reti
Medievali Rivista 11 (2010), 1–12.
354
Benedict to be sung on his feast”16 Maro’s footnote to this entry identifies the hymn in question

as Aureo solis radio perennis. However, Maro’s identification of the author of this hymn

contradicts the ascription of the same hymn to Alfanus of Salerno in a Cassinese manuscript. The

hymn, which takes the form of an abecedarius (an “A-B-C hymn” in which each stanza begins

with an ordered letter of the alphabet17) is attributed to Alfanus of Salerno in the collection of his

poems in the codex MC 280.18 This is the only manuscript that transmits this hymn; it is probable

that it was never a regular part of the divine office, or that if it was used for the liturgy on the

saint’s feast day or for processions, it remained within the oral tradition, and was only used at

Montecassino. From the description of Cyprian’s hymn writing, we can discern the function of

the genre in Montecassino at this time: as a poetic genre of praise that, when it is for a saint,

recounts some aspect of the hagiographical accounts proper to that saint to be sung during the

saint’s feast day. Peter uses the word hymnus to describe the hymns written by monks such as

Cyprian, the same term by which they are designated in rubrics such as those in ordinals,

antiphoners, and breviaries directing the performance of the divine office chants. Because of this,

it is reasonable to believe that these hymns could have been used as part of the divine office at

Montecassino.

It is not insignificant that the hymn mentioned by Peter as having been written by

Cyprian was in honor of St Benedict, the founder and protector of the powerful abbey. It attests

16
Peter the Deacon, De viris illustribus Casinensibus, ch. 7, ed. Jean-Paul Migne, in Patrologia Latina 173
(Paris: n.p., 1854), 1015A. “de Beati Benedicti miraculis hymnum in ejus festivitate cantandum descripsit.”
17
For the importance of the use of the alphabet as a mnemonic device in medieval education, see Mary
Carruthers, The Book of Memory: A Study of Memory in Medieval Culture, 2nd ed. (Cambridge: Cambridge
University Press, 1990, repr. 2008), especially “Chapter 3: Elementary Memody Design.”
18
See Lentini and Avagliano, op. cit.
355
to the fact that newly-composed hymns were used to cement the spiritual relationship between

the living members of the community and the spiritual father and protector of the community, St

Benedict. This and other references to hymns throughout De viris reaffirms what we have

observed in the overview of local hymns in Beneventan-script manuscripts: that hymns written

locally most often exalted saints that played important roles in southern Italy or in the

communities in which these hymns were written. Sometimes, however, local hymn texts were

written in honor of more universally-renowned saints. Thus Peter the Deacon describes Paul the

Deacon as having composed “hymnos quoque sancti Johannis Baptistae, sanctique Benedicti.”19

Maro adds to this that Paul the Deacon actually composed many verses to several different

saints, ascribing to him the hymn Ut queant laxis for John the Baptist, a hymn on the passion of

St Mercurius, a hymn on the translation of this same saint’s relics to Benevento, and an alcaic-

dactylic20 hymn for the Assumption, Quis possit amplo famine.21 As Maro states, the first hymn

to St Mercurius, whose title Maro does not mention, as well as Quis possit amplo famine, are

reported in a book on magic by Pietro Piperno of Benevento.22 This citation is significant,

because it shows that the local hymns and their authors were recalled centuries after the fact.

19
Peter the Deacon, De viris illustribus Casinensibus, ch. 8, ed. Migne, 1017.
20
See introduction for a discussion of hymn meters.
21
Peter the Deacon, De viris illustribus Casinensibus, ch. 8, ed. Mige, 1017: “Divorum etiam aliquot
facinora, laudesque luculentis versibus celebravit: quo in genere carmen in St Ioannem Baptistam tutelarem suum,
patronumque regni Langobardorum maxime excellit, cujus pietate, ac numeris Romana ecclesia dectata recitandum
proposuit, estque inter sacratos hymnos elegantia et venustate facile princeps: sic exorditur Ut queant laxis resonare
fibris, etc. Composuit et hymnum de passione sancti Mercurii ac etiam alterum in translatione corporis Beneventum.
Exstat partier hymnus alcaicus dactylicus e vet[us] manuscriptus Lang[obardicum] Eccles[ia] Benevent[anum] ritu
in festo assumptae virginis Dei parae decatari solitus, a nostro Paulo, ut asseritur, scriptus, incipit: Quis possit amplo
famine praepotens, etc. Insuper aliqua fragmenta MSSt sub nomine Pauli Diaconi, mutila tamen, et hiulea nos
custodimus.”
22
Pietro Piperno was a Beneventan physician who wrote in 1634. Pietro Piperno, Della superstitiosa noce
di Benevento (Naples: Gacomo Gaffaro, 1640). On the connection between magic, the walnut tree, and the
connection of a tree with ancient Lombard pagan rites that ended with St Barbatus’s uprooting of the tree, see Paolo
Portone, Il noce di Benevento: La stregoneria e l’Italia del Sud (Milan: Xenia, 1990).
356
Moreover, Quis possit amplo famine, Maro tells us, is “from an old Lombard [i.e., Beneventan-

script] manuscript of the Beneventan Church,”23 an explicit reference to the fact that local hymns

were, indeed, copied and circulated not just orally but in written form. Indeed Quis possit amplo

famine is reported in almost all southern Italian hymnaries, and is found only in hymnaries from

central and southern Italy.24 Whether Maro’s mention of the “Beneventan Church” also refers to

the fact that the hymn was used in an older, local liturgy found only in “Benevento” is a

tantalizing possibility, given the fact that Paul the Deacon lived in the eighth century. In this

case, Quis possit amplo famine is an example of a local hymn codified in the ordinals of

Montecassino and Benevento despite the ordinals’ resemblance to the Romano-Frankish liturgy.

It would have been important for a monastery to honor and remember local patrons

through liturgical genres such as hymns, because through these patrons one could establish a

bond of protection between the saints and the monastery. Power was established at a monastery,

as at a castle, through the strategy and nobility of its rulers, and it was maintained through the

cultivation of personal loyalties and material and cultural treasures. Lack of alliances to other

established powers was a source of vulnerability for castles and towns. To this end, dukes and

nobles sought always to pledge fealty and vassalage to more powerful lords. Amatus relates how

Prince Guaimar sought to retaliate against the Salernitans for the insurrections they were causing

against him, but could not because he did not have sufficient fealty:

23
Peter the Deacon, De viris illustribus Casinensibus, ch. 8, ed. Migne, 1017. Maro’s comment: “Exstat
partier hymnus alcaicus dactylicus e vet[us] ms. Lang[obardicum] Eccles[ia] Benevent[anum] ritu.”
24
Among the manuscripts examined here, the hymn is found in Ott. lat. 145, Naples VI G 31, Naples VI E
43, Vat. lat. 4928, Ben 42, Paris Maz. 364, Urb. lat. 585, Getty 83 ML 97, Rheinau 91, Rheinau 82 Chigi C VI 177,
Farfa A. 209, Ben 20, MC 506, Vat. lat. 7172, Paris 1092, MC 420, Naples VI F 2. It is also cited in all the ordinals
and in breviaries such as Ben 20 and Chigi C VI 177.
357
 Puiz li sien assembla la
grandesce de lo principe, et
virent que lui estoit faillie la
fidelité de cil de Amalfe, et
lui estoit faillie li deniers,
non lui furent tant fidel.25
Then he called together the
grandees of the principality, who,
when they saw that Guaimar lacked
the fealty of the citizens of Amalfi
as well as its money, they
[the Normans likewise] were
no longer so faithful to him.26

Along with the establishment of loyal following, a ruler would also seek to ensure the

maintenance of that power by securing dynastic succession. Similarly, towns and religious

institutions sought both to establish personal connections to patron saints, especially those that

had come from their own community. This was done by consecrating churches, chapels, and

altars in a saint’s honor, by honoring their relics and translating them within the precincts of a

town or church, by relating the lives of those saints in vitae, by invoking their protection through

special celebrations on their feast days, and by composing new hymns and other prayers, chants,

and poetry in their honor.

Thus Peter mentions several other local saints honored with newly-composed, local

hymns by Cassinese writers: Theodoric wrote hymns for St Maur;27 Alberic wrote hymns for St

Nicholas, for the Holy Cross, for the Ascension, for St Paul, for St Apollinaris, for St

Scholastica, three hymns for the Assumption, and for St Peter;28 Benedict wrote a hymn for St

Secundinus;29 Gregory wrote hymns for Sts Castus and Cassius;30 Rainald wrote hymns for St

25
Amatus, Ystoire de li Normant, 126.
26
Amatus of Montecassino, The History of the Normans, bk 3 ch 28, pp. 95–96.
27
Peter the Deacon, De viris illustribus Casinensibus, ch. 16, ed. Migne, 1025: “hymnum in laudem
beatissimi Mauri venusto stylo descripsit”
28
Idem, ch. 22, ed. Migne, 1032: “scripsit…hymnos in sancti Nicolai, in musica Dialogum…hymnos in St
Crucis, in Ascensionis, in sancti Pauli, in sancti Apollinaris; hymnos [in St Scholasticae]; in Assumptionis St Mariae
hymnos tres; in sancti Petri hymnos…”
29
Idem, ch. 29, ed. Migne, 1037: “scripsit…in laudem sancti Secundini; Hymnos de eodem…”
30
Idem, ch. 32, ed. Migne, 1039: “scripsit…cantus sanctorum Casti et Cassii; hymnos eorum.”
358
Severus;31 finally, Peter the Deacon himself wrote a hymn to St Christina.32 The monk

Benedict’s writing of a hymn for St Secundinus is worth highlighting; the saint’s relics had been

“rediscovered” by Bishop Stephen Romannus of Troia in the 1020s, on which occasion Stephen

requested that an account of this rediscovery be penned at Montecassino. This account was re-

elaborated in 1067 by the monk Guaiferius, who also wrote a hymn in the saint’s honor.33 Paul

Oldfield sees the hagiographical activity focused on St Secundinus as bearing distinctly political

overtones, as it was promulgated by Stephen Romannus, a Norman. By honoring a locally

popular saint, the Norman bishop hoped to make the citizens more comfortable with Norman

rulers, to show that they respected the city’s local characteristics, history, and cultic traditions.34

Peter’s mention of a monk who had similarly written a hymn for this saint might represent a

willingness to associate Montecassino to as many local hagiographical traditions as possible, and

particularly to those involving saints whose veneration contained deeper political and social

overtones.

Just as Peter’s mention of hymn writing at Montecassino in honor of local and important

saints represents a means of creating and legitimizing the identity of a monastic institution,

Bishop Stephen’s institution of the cult of St Secundinus did the same in an urban setting. And

indeed the use of hagiographical songs in honor of local patrons was a very real phenomenon and

functioned in the same way in the urban centers of southern Italy as it did in monastic

31
Idem, ch. 44, ed. Migne, 1046: “Hymnos in laudem sancti confessoris Christi atque pontificis Severi.”
Maro points out that Gregory’s hymns for St Severus were later inserted into the Cassinese breviary in 1568 and
1572 (Ibid.).
32
Idem, ch. 47, ed. Migne, 1049: “Hymnum de sancta Christina.”
33
Oldfield, 57.
34
Ibid.
359
institutions. We find ample accounts of this in contemporary chronicles. Indeed, the use of

hymns to honor saints that asserted civic identity was an important feature in southern Italian

cities in the eleventh and twelfth centuries. For example, the papal rector of Benevento,

Dacomarius, decreed that public processions accompanied by the singing of the laypeople should

be held to honor St Nicholas.35 This was important, since St Nicholas’s cult, centered where his

relics were kept in Bari, was a cause of contention between Benevento and Bari; it would have

been important for Benevento to stake a claim in the veneration of this important saint who was

drawing both papal and monarchical, ecclesiastical and lay attention to Bari and increasing the

renown of the city.36 In this case, the account states that the laypeople were to sing “litanies” as

part of the processions, but there are many accounts in which hymn singing accompanied

important civic-religious events such as relic translations and the “invention” (or re-discovery) of

local patron saints’ relics.

Falco of Benevento’s Chronicon, a chronicle of the city of Benevento that recounts the

events of the time period between 1102 and 1140, describes in great detail several civic

occasions centered on local saints’ cults and involving hymn singing.37 Falco recounts the

exposition of the relics of the saints Martianus, Dorus, Potitus, Prosperus, Felix, Cervoli, and

Stephen the Levite (not the more famous eponymous martyr venerated universally in the church

35
Cited in Oldfield, 102. The account is based on a spurious account of the invention of the saints’ relics at
Benevento; the anonymous author of this account, the Adventus Sancti Nycolai in Beneventum, wrote it around
1100, a few decades after Dacomarius’s rule as papal rector of Benevento (Oldfield, 101). See also Gaetano
Cangiano, “L’Adventus Sancti Nycolai in Beneventum,” Atti della società storica del Sannio 2 (1924), 151. Borgia
was the first to republish the Adventus Sancti Nycolai in Beneventum. See Borgia, II.362–88.
36
Oldfield, 102.
37
Falco of Benevento, Chronicon, ed. Raffaele Matarazzo, Thesaurus Rerum Beneventanarum 2, ed. P. L.
Rovito and R. Matarazzo (Naples: Arte Tipografica, 2000), 38–44 and n106, n115.
360
with a feast day on the day after Christmas) by the archbishop Landulf of Benevento at the

cathedral of the city in 1119.38 To the exposition of these relics were added also the relics of the

Blessed John, the twenty-first bishop of Benevento. These saints were particularly important for

civic pride: Blessed John, St Marcianus and St Dorus were bishops of Benevento in antiquity,

and the latter two were included in the Beneventan sanctorale, while Potitus, Stephen, and Felix

had churches dedicated to them near the confines of the city.39 The saints had been interred in a

grave that was not, according to Falco, up to par compared to their degree of eminence, which

was the reason for the exposition and re-interment of the relics to a more appropriately grandiose

situation. Moreover, the archbishop Landulf did this explicitly for the populace of the city so that

“they might believe” (ut crederent):

corporis…in conspectu omnium The aforementioned bishop

civium Antestes praefatus poni commanded that the body be placed
magna cum reverentia, ut in the sight of all the citizens
crederent, praecepit.40 with great reverence, so that they might
believe.

The subsequent, large-scale public veneration and procession was accompanied with music,

including hymn-singing, and is worth quoting at length.

Falco describes how the archbishop determined that the clerics in charge of each “Porta”

or division of the city would accompany the relics “singing praises” (the words “jubilando” and

“laudes…decantarent” are used) to the saints:

continuo...dedit in mandatis, Immediately…[the archbishop]

ut primum praesbyteri Portae directed that first the clerics of Porta
Summae ad Episcopium Somma would go down to the

38
Idem, n115.
39
Idem, n106.
40
Idem, 38–39. Note: this and the following are my English translations, based on the original Latin with
reference and comparison to the Italian translation provided by Matarazzo.
361
 jubilando, cereis et lampadibus
descenderent et coram
Sanctorum ossibus laudes Deo
et eis decantarent...presbyteri
autem pastoris jussa audientes,
sicut imperaverat, execute sunt
et laudibus innumeris ordinatim
ad Sanctorum corpora
descendebant.41
episcopal palace jubilating, with
candles and lamps, and would sing front
of the bones of the saints praises to them
and to God…also the priests, hearing the
shepherd’s command, fulfilled them as he
had ordered, and in good order descended
to the bodies of the saints with innumerable
praises.

Though the word “hymnum” is not used to describe the singing of the clerics, it is reasonable to

believe that at least processional hymns were used, if not also sung poetry that was newly-

composed for the occasion. Perhaps they sang some other type of “song of praise” that would

have been well-known even to the lay populace, since these were also involved in the

processional music-making:

Virorum autem et mulierum et O reader, if you had seen also the

pauperum turbam canentium,
quae praecedebat et sequebatur....
lector, si cerneres, de tanto gaudio
ultra humanum modum exultares…
Regem quidem testor coelorum
quod si lingua triplicatos ederet
sonos, et vox incessabili plectro
promeretur, tanti gaudii pondus et
tantarum laudum densitatem nullo
modo exarare valerem. Quis
unquam civium tempore isto
viventium sic prorsus civitatem
laetari poterit recordari? Credo
vero sub Beati Apostoli Bartholomaei
Patroni civitatis adventum, ita prorsus
gaudio magno civitatem
impletam fuisse.42
crowd of men and women and
poor people, singing, which preceded
and followed [the procession]…you
would have exulted with a joy above
any human expression…I call in testimony
the King of heaven, that if the tongue
produced a triple the sound and the voice
were capable of being an incessant stringed
instrument, I could not describe to you in
any way the weight of similar jubilation and
the density of so many songs of praise.
Which of the citizens living in that time or
since could remember that the city had ever
had such a great joy? I believe in truth that
in the occasion of the entrance of the patron
of the city, the blessed apostle Bartholomew,
and since then forward was [Benevento] the
city filled with great joy.

41
Idem, 40–41.
42
Ibid. Translated into Italian in the same; English translation mine.
362
The extent of the singing by all involved indicates both the integral part that it played in the

occasion, as well as the civic character of the occasion. The songs would have had to be those

that were known by a large number of people, or else the singing some sort of antiphonal

structure where a group of singers familiar with a song text would lead the crowd’s song. The

music-making also involved the use of musical instruments, as Falco attests: “Indeed within the

float of woods [i.e., the wooden float] we saw young men giving praise with drums and with

cytharas. We also saw bells and many tintinnabula among those instruments.”43 Given the

general outburst of praise, it is not unreasonable to believe that hymns that were used in the

divine office or that were, at any rate, copied in the hymnary volumes with material for the

recitation of the divine office were also part of the occasion.

We will never know the exact songs that were sung in Benevento on this occasion in

1119 A.D. However, regardless of whether any of the hymn texts that are attested in the

manuscripts examined in the first four chapters were used in this or other occasions, what is

important to note is that a local tradition of singing in praise of saints, centered in a particular

location, was not unknown in southern Italy. Moreover, this hagiographical praise was public

and used for a civic occasion in honor of local saints. It is not surprising, then, to find many local

hymn texts for important local saints within the hymnaries for the divine office in the region. The

same poetic, cultural heritage and the same political and devotional influences that were the

wellspring of these processions in honor of local patrons to invoke their protection on the city

43
Ibid: “Infra eam [lignorum machinam] vero iuvenes cum tympanis, cum cytharis tinnientibus vidimus
exultantes. Campanas namque et tintinnabula multa intra struem illam videbamus.”
363
and to construct a civic identity also formed the basis for the composition of local poetic texts

used as hymns in the divine office.

Examples of this function for hymns (i.e., as forming an institution or place’s identity

through the tie with local saints’ cults) are numerous. As we have seen, hymns that were local

products or found in a limited number of manuscripts in central and southern Italy are often those

for saints’ feasts that were particularly significant in the cultic devotions of a given place.

Examples of this are the hymns for St Bartholomew in Beneventan hymnaries, or those for

Neapolitan saints in Naples VI G 29. The texts of these hymns are like miniature hagiographies

that extolled the local saints, and often the hymns make reference to the specific place under

these saints’ protection. Moreover, even more so than hagiographies, hymns could have an

immediate appeal to a large number of people, including lay people. Indeed, perhaps more so

than any other genre of plainchant, hymns had a life outside the walls of monasteries in which

the Divine Office was recited, and this public life of hymns was extremely instrumental in the

creation and assertion of civic identity involving devotion to local saints. It was not only in the

composition of new hymns that patron saints tied to a city’s identity were honored, but also in

the retention of local hymn texts. In Benevento and Montecassino, even though certain hymns—

for example, Anglorum iam apostolus, attributed to Peter Damian, for St Gregory of Spoleto—

that once had been widespread in manuscripts from central and southern Italy were not cited in

ordinals as part of the newly-standardized Divine Office, they were nevertheless retained and re-

copied in some hymnaries.

Hagiographies and saints’ cults in southern Italy, as Paul Oldfield has recently shown,

also function as anchors of a city’s or institution’s legitimacy and power. The invocation and
364
honoring of local patron saints was an important political move.44 At Montecassino and Naples,

this took form through the use of the written medium, and specifically in the production of

hagiographies.45 Oldfield explains that saints’ cults proliferated in urban centers “where they also

expressed ongoing political conflicts and contributed to the formative development of civic

consciousness. Benevento and Salerno…as well as the important coastal city of Naples, were at

the forefront of these developments.”46 Given their unifying function centered on the

construction of civic or institutional identities, it is no wonder that saints’ cults and

hagiographies had a very close connection to specific places and to large numbers of people,

including laity.47 Indeed, the honoring of local saints through the written medium took place

everywhere, if one considers the hymnaries produced at major scriptorias even in Benevento as a

sort of hagiographical work. The devotion to saints in southern Italy, as elsewhere, was tied not

only to the writing of hagiographies, but also to the creation of poetic works and, specifically,

newly-composed hymns in their honor. Just like hagiographies, hymns served to create and

reaffirm an institution’s cultural identity. We will explore this function of the hymn as cultural

capital in medieval southern Italy.

Hymns as Literary Culture

Peter the Deacon’s citations of the literary works of Cassinese monks show a keen

awareness of the variety and differences between poetic genres, including the hymn. Peter’s

44
Oldfield, 2: “In the political landsape of southern Italy…sources of legitimacy were highly prized and
carried great weight. Many power-holders and communities sought associations with a saint; their choice revealed
much about their self-identity and conception of authority.”
45
Idem, 22. Oldfield mentions the presence of “hagiographical schools” in these locations.
46
Oldfield, 22.
47
Idem, 4: “…churchmen could not simply ignore secular opinion and needed to structure its responses and
messages in a manner which would resonate with the laity.”
365
entry for the poet Alfanus is particularly revealing about the nature and function of the hymn in

southern Italy in relation to other poetic genres. It reads as a veritable catalogue of poetic genre,

since Alfanus’s prolific poetic output encompassed many diverse types of poetry. Among these

are “sermons,” “hymns,” “cantus,” “versus,” and “Sapphic hendecasyllabic meters,” and “other

[works] that have not come to our attention.” 48 The presence of so many different genres in the

output of Cassinese monks testifies to the medieval authors’ flexibility and erudition. Peter’s

mention of the Hymn along with these other genres shows that the Hymn qua genre was not

simply liturgical, but also extra-liturgical or simply literary, like other forms of poetry. In the

latter case, the hymns served a cultural function in addition to their more general purpose as

poetic praise, both within the divine office and, as we have seen, in civil contexts. But what,

exactly, was this cultural function? Why would the enumeration of so many poetic genres have

been important for Peter the Deacon to point out?

An answer to this can be found by examining parallels between the monastic/spiritual and

political/feudal spheres of medieval life in southern Italy. As we have seen, through the accounts

of civic occasions in honor of saints, through the mention of specific hymns in honor of local

saints in books such as Peter the Deacon’s De viris, and through the representation in

manuscripts of local hymn texts for local patron saints, hymn singing worked in tandem with the

48
Peter the Deacon, De viris illustribus Casinensibus, ch. 19, ed. Migne, 1030–31. “[Alfanus]
composuit…sermone passionem Sanctae Christinae, Hymnos praeterea de eadem virgine duos…cantus St Sabinae,
versus Sanctae Christinae, St Petri Apostoli; in laudem monachorum Casinensium…metrum saphicum
hendecasyllabum de St Mauro; item ejusdem hymnos; de sancto Matthaeo hymnos tres; de sancto Fortunato duos;
de sancto Nicolao; ad Attonem episcopum Theatinum; ad Gisulphum principem Salernitanum; ad Sigismundum
monachum Casinensem; ad Guilielmum ejusdem loci grammaticum; ad Guidonem fratrem principis Salernitani; ad
Goffridum Aversanum episcopum; ad Hildebrandum archidiaconum Romanum; ad Romualdum causidicum
Salernitanum; ad Roffridum monachum Casinensem…et alia quae in nostram notitiam non venerunt.”
366
need for the protection of powerful patrons, both in the civic as well as in the religious spheres.

Religious institutions in southern Italy asserted their power and assured their survival by

constructing spiritual identities and by defending them much in the same way as the lay rulers of

the land would have done for their dynastic, material and territorial possessions. Contemporary

chroniclers often made political power dependent upon spiritual and divine authority. We can

trace a parallel between the political events in southern Italy and its religious institutions, which

in turn affected the function of the hymns used in these institutions. In this context, it is easier to

understand the function of hymns as establishing both spiritual and temporal bonds to establish

monastic power.

But we cannot overlook the fact that material prosperity—and even less tangible sources

of wealth, such as artistic and literary output—was just as important as powerful patronage for

legitimizing and protecting a city or religious institution. Just as the lack of a strong bond with a

powerful authority threatened the integrity of a castle or town in medieval southern Italy, lack of

material superiority was also a sign of vulnerability for religious institutions in medieval

southern Italy. Treasures, lands, and fighting manpower were important to establish the authority

of an individual ruler. It was no different for Montecassino, which received benefices from rulers

and whose treasure was itself often the object of attack for princes. Amatus relates how the duke

Pandulf of Capua took from Montecassino

li possession de l’eglize the possessions of the church

comment li plaisoit retenoit
a son service, et des choze de
Dieu li et li sien se sacioient…
cestui estoit prélat sur toute la
poverté de li servicialz de
Dieu, et pour ce que cestui
367
[which] he reserved for his use
according to his pleasure, so that
he and his men employed the things
of God to satisfy their appetites…
he was the person responsible for
the suffering of God’s servants
 estoit molt grant maistre de lo and, as a consequence, he held
monastier.49 great power in the monastery.50

While the material possessions of a monastery were thus important, its spiritual possessions,

namely, its religious character and its cultural output, were of equal importance. The hymns

composed at a monastery, usually in honor of saints that defined the religious identity of the

monastery, were part of this cultural heritage. Thus in Peter the Deacon’s list of genres, including

hymns, we can read between the lines and discern yet another function for the hymn, namely, as

a measure of the intellectual significance of a monastery or community.

It was not simply the erudite Peter the Deacon who displayed a keen awareness of the

variety and differences between poetic genres such as rithmi, versi, hymni, etc. One Cassinese

manuscript examined in Chapter Two provides evidence that a genre other than a hymn was

copied routinely in hymnaries, and that the scribes were aware of its generic difference. On folio

163r of Paris Maz. 364, copied at Montecassino, Crux benedicta nitet for the feast of the

Exaltation of the Cross is copied in the hymnary, but the rubric calls it a “versus ante crucem”

and not an “ymnus,”as shown in Figure 72.

49
Amatus of Montecassino, Ystoire de li Normant, 43.
50
Idem, History of the Normans, 58, bk. 1 ch. 35.
368
 Figure 72: Paris Maz. 364, folio 163r: rubric and first line of the “versus ante crucem,” Crux
benedicta nitet for the feast of the Exaltation of the Cross in this manuscript

© Bibliothèque Mazarine, used with permission

Crux benedicta nitet was used primarily in Cassinese hymnaries and in those from central Italy

(Narni, Farfa, and Subiaco).51 It is also present in many northern Italian manuscripts.52 And

indeed the scribe of Paris Maz. 364 was right to indicate that this is not a hymn: this versus is

taken from a carmen by Venantius Fortunatus. Its poetic structure is decidedly un-hymnlike,

with long lines having varying syllable lengths (some have 13 syllables; others have 14, 15, or

16). This versus was copied in the hymnary, showing that different poetic genres could permeate

the divine office when the occasion warranted. In this case, this poem was copied in hymnaries

after Easter (in Urb. lat. 585 and in Paris Maz. 364) or for Passion Sunday; it may have been

sung as part of a ceremony to honor the cross similar to that of the adoration of the cross on

Good Friday, especially given the rubric “ante crucem” (“in front of the cross”) in Paris Maz.

51
It is found in Urb. lat. 585, Naples VI F 2, Vat. lat. 7172, Paris 1092, Rh 82, Rh 91. It is also mentioned
in the ordinal Ben 66 (whose similarities to Cassinese manuscripts has already been mentioned), although it is not
present in Beneventan hymnaries.
52
See Analecta Hymnica, vol. 50, no. 68.
369
364.53 Regardless of its function, the indication of the genre of the hymn in Paris Maz. 364

shows that the Cassinese monks were well-versed in the classical poetic genres and were able to

distinguish among them, evidence of their high standards of learning and culture. The users of

Cassinese hymnaries would have understood well the importance of Peter the Deacon’s

enumeration of the variety of poetic genres in which Cassinese monks distinguished themselves

and, by consequence, their abbey.

The honor and power of a religious institution was solidified through the memory of its

history as preserved through chronicles. It was also transmitted through the literary and artistic

works of its members. At Montecassino, because temporal political affairs were so tied with the

history of the abbey, Amatus of Montecassino affirms the importance of remembering both the

spiritual and the secular events that transpired, not just at the Abbey but in the whole of southern

Italy:

Et pense que je me prendrai alli Know that I hope to disprove the

menachi de la parole de alcun,
liquel diront: non covient a un
moine escrive les batailles de li
seculer. Mès a moi pensant ceste
choze me recorda que Paul
dyacone e moine de cest monastier
don’t je sui, escrit li fait de li
Longobart, coment il vindrent
et demorerent en Ytalie; et fu
home cler de vie, de science et
de doctrine. Et autresi me recorda
words of those brothers who say,
‘It is not proper for a monk to write
of the battles of laymen.’
Still, on this matter I remembered
that Paul, a deacon and monk
of this same monastery, wrote of
the deeds of the Lombards and
how they came and remained
in Italy. He was a man
distinguished in life knowledge,
and doctrine. I also remembered

53
Many of these features of Crux benedicta nitet apply to other hymns such as Pange lingua, Vexilla regis,
and Gloria laus et honor, which were used as processional hymns for Passion Sunday and Palm Sunday. These
hymns were often denoted in liturgical books as “versus” rather than “hymnus”, and they often appear copied in
formats that would be different from those used for other hymns, for example, with written-out refrains. They are
also found in liturgical books such as graduals which would normally not contain hymns. I thank Susan Boynton for
drawing my attention to this parallel between the features of Crux benedicta nitet and other hymns used in
processions. See Hiley, 146–48, for a description of processional hymns.
370
 que ces grans homes sont tant
liberal et devot a nostre monastier,
et por la merite que par aucun de lo
monastier, le fait lor pour perpetual
mémoire soit escrit.54
that these great men were very
generous and devoted to our
monastery. It is thus proper that
someone of the monastery should
write about their deeds, recording them for
posterity.55

Paul the Deacon, as the passage relates, had been the first Cassinese monk to recount the History

of the Lombards just as Amatus was to later record that of the Normans. The remembrance of a

monastery’s leaders and history were part of an institution’s “treasure” just as the grandeur of the

books and buildings created there. In a monastery, the transmission of this heritage from one

abbot to another, and from abbots to monks, was akin to the dynastic succession of the princes

and dukes of Lombard and then Norman southern Italy. It would have been important to assert

both a noble lineage as well as a longstanding and exalted intellectual patrimony.

Perhaps for this reason, the composition of hymns did not cease after the Middle Ages at

Montecassino. The Cassinese monk Placidus, writing in the late sixteenth century, had added a

supplement to Peter’s manuscript, following the same form, listing Cassinese authors and their

accomplishments. He continues Peter’s vein of singling out specific hymns by given monks. The

significance of these hymn citations remains the same—their reflection of a specifically

Cassinese institutional identity both as regards their authorship by Cassinese monks and their

reference to saints important to the Abbey. In the third chapter of the Supplement, Placidus

mentions that Ignatius Florentinus composed hymns to St Bertarius, the ninth-century abbot

martyred when Saracens sacked the monastery.56 Similarly, the abbot Angelus Sangrinus is

54
Amatus of Montecassino, Ystoire de li Normant, 2–3.
55
Idem, History of the Normans, 41. Dedication of the work to Desiderius of Montecassino.
56
Peter the Deacon, De viris illustribus Casinensibus, Supplemental ch. 3, by Placidus, ed. Migne, 1053.
“edidit quoque hymnos in honorem sancti Bertharii martyris et abbatis Casinensis.”
371
reported to have composed many “very famous facts of saints, and their deeds are sung in the

meters of the hymns.”57 Hymns would never have been mentioned in Peter the Deacon’s work,

nor in its sixteenth-century supplement, if the ascription of authorship to hymns were not

considered an inseparable part of its presentation and mention in manuscripts. After all, the use

of hymns as a measure of an institution’s high level of literary culture would be most effective

when the hymns were ascribed to authors who belonged to the community such as Montecassino

for whom the memory of its literary output was important. Montecassino was not alone in giving

credit where credit was due as far as hymn composition was concerned. The manuscripts of

hymnaries themselves report the names of certain hymns’ authors—some more so than others.

By examining these citations of hymns’ authors in hymnaries from southern Italy, we can

determine why it would have been necessary to include information about authorship in the

transmission of this genre, unlike others used in the Mass and divine office. Moreover, by

examining the extent to which hymn authorship is highlighted or ignored in hymnaries, we can

determine some important clues about the function of given hymnaries as preservers of local

hymn traditions and/or as transmitters of the values of the reforms of the church and society in

this period.

Hymn Authorship and the Identification with Reform

As observed, the mention of specific saints’ hymns in Peter the Deacon’s work is tied to a

sense of historical importance, political and social power, and literary merit that depended both

on the saints’ connection to the institution and to the erudition of the hymns’ authors. Indeed, as

57
Idem, supplemental ch. 8, ed. Migne, 1055. “Exstant quoque libro duo, in quibus celeberrima nonnulla
sanctorum et sanctarum sacra vario describuntur metro, eorumque gesta hymnidicis proferuntur modulis.”
372
the citations of the hymns and their authors in De viris show, the hymn was one of the only

liturgical genres to which authorship was regularly ascribed and indeed valued. In this they

resemble sermons and commentaries more than musical genres of the liturgy. The hymns were

often copied in manuscripts along with the names of their authors. By doing this, the scribes of

these hymnaries were legitimizing the doctrinal soundness of the texts, which otherwise would

have been looked upon with suspicion.58 Sometimes, the scribes of hymnaries recognized the

identities of local hymn authors. They were implicitly identifying the religious values of the

institution with those of the hymns’ authors. As these authors were often key players in the

monastic reforms of the eleventh and twelfth centuries, the users of the manuscript were allying

themselves with these reform movements. Since not all of the hymns whose authors would have

definitely been known were attributed authorship consistently in manuscripts, it seems that

author attributions were selectively included. From the fact that many of the authors who were

either contemporaries to the copyist of hymnaries and/or who had ties with reform initiatives are

often among those mentioned, it seems that the attribution of authorship in a hymnary was one

way the community in which the hymnary was copied or used was allying themselves with these

authors.

In the manuscript Getty 83 ML 97, the names of the authors of some hymns are penned

within the rubrics announcing the title of the hymn, the feast day on which it occurs, and the hour

of the divine office at which it is to be sung. Perhaps the indication of hymn authors in this

manuscript is merely a consequence of its detailed rubrics; even hymn divisions are assiduously

58
Boynton, “The Theological Role of Office Hymns,” 20–21.
373
marked, for example, “hic dividatur in laudibus” (divided here in [for] lauds).59 This detail

complements the splendor of the manuscript as a whole: in the hymnary, decorated capitals

precede each hymn, and some very large capitals precede the hymns for important feasts or

divisions of the liturgical year.60 But a closer look at the exact instances in which authorial

recognition occurs shows that, in addition to enhancing the splendor and specificity of the

hymnary, the indication of authorship corresponded to two additional concerns that would have

been important especially at Montecassino: the desire to invoke a venerable and authoritative

classical tradition and the need to recognize the author of local and unique hymns in this

manuscript as belonging to the Cassinese monastic community.

The first reference to an author in Getty 83 ML 97 is on folio 262v, where the rubric for

the hymn A solis ortus cardine reads “ymnus Seduli ad laudes” (hymn of Sedulius [to be sung] at

lauds). Sedulius was one of the most influential poets in the Middle Ages, especially used as a

pedagogical example for the teaching of proper grammar and rhetoric.61 If Getty 83 ML 97 were

also used for pedagogical purposes, it would have been important to note this abcedarius hymn,

an A–Z song of praise and commentary on the life of Christ (each hymn begins with a different

letter of the alphabet). Sedulius actually provided more than one hymn for the divine office,

since Hostis Herodes impie is a division of A solis ortus cardine used for the Epiphany. It would

have been important to include Sedulius’s name as the author of this hymn in a manuscript such

59
Folio 263v, the division for the hymn Christus vita veniens for St Stephen. The division is Imbuit primus
homines.
60
For example, the capital for Conditor alme siderum which begins the hymnary takes up an entire folio,
while that of Ad cenam agni providi for Easter on f. 286r and that for Pentecost, Veni creator spiritus on f. 289r take
up half a folio each.
61
Springer, 2–3.
374
as Getty 83 ML 97 because his authorship, like that of St Ambrose, accorded hymns a stamp of

theological and doctrinal soundness. This was something that the compilers of this Cassinese

composite manuscript, perhaps used for pedagogical purposes for teaching the liturgy and

featuring an attached ordinal and specific directives for the events and texts of the divine office,

would have thought important to note.

One might wonder why Getty 83 ML 97 notes Sedulius’s authorship and not that of St

Ambrose himself. But there was good reason for this, one that mirrored Peter the Deacon’s

desire to point out the high level of classical learning at Montecassino. As one of the earliest and

“classical” hymn authors, noting Sedulius’s authorship in this Cassinese hymnary would call

attention to the presence at Montecassino of the highest level of classical culture. Moreover,

Sedulius was considered on par with St Ambrose himself when the composition of hymns was

concerned. Providing a medieval definition of the hymn, the Liber Hymnorum or Expositio

hymnorum, which appears in several manuscripts throughout Europe, actually lists Sedulius as

one of the four primary authors of hymns:

Iste liber dicitur hymnorum. This book is called the Hymnary.

Hymnus est laus Dei cum
cantico facta. Quattuor fuerunt
principales auctores hymnorum
qui hymnos consuerunt, scilicet
Gregorius, Prudentius, Ambrosius,
Sedulius, sed quidam vir prudens
nomine Hilarius videns eos multos
composuisse hymnos, placuit ei
quosdam in unum colligere et
compendiosum opus facere…
A Hymn is the praise of God
made with song. There were four
principal hymn authors who made
hymns, namely, Gregory, Prudentius,
Ambrose, Sedulius, but a certain
prudent man named Hilary,
seeing they had composed so many
hymns, it pleased him
to collect them in one place and to
make [of them] a collective work…62

62
Quoted and translated in Springer, 13.
375
Just as it was important to announce that the “prudent man Hilary” had compiled the liber

hymnorum in order to collect the most venerable hymns in a single anthology, it would have

been important for the Cassinese compilers of Getty 83 ML 97 to indicate in some way that

Montecassino was aware of the origins (and, therefore, of the doctrinal validity) of the hymns as

well as their classical lineage and venerable pedigree. As we have already observed in the De

viris of Peter the Deacon, in Getty 83 ML 97’s indication of Sedulius’s authorship we find

another instance in which hymns are used to build up a cultural identity for Montecassino,

through the recognition of the authors of hymns that were very culturally significant.

The second instance of author attribution in Getty 83 ML 97 accords Montecassino even

greater intellectual import. On folio 266v, the three hymns for St Dominic which are unique to

this manuscript are given author indications: “In sancti Dominici ymnus Alberici ad vesperum”

for Celum canoris laudibus. Alberic also composed Ecce dies remeat celebris for vespers and

Christe tyronum clipeus for lauds, copied right after Celum canoris laudibus in Getty 83 ML 97,

although the rubrics do not specify this.63 Nevertheless we know that these three consecutive

hymns used for the same (local saint’s) feast day that are unique to this manuscript are all by the

same author, since they were also found attributed to Alberic in the twelfth-century codex MC

199, on folios 266v–267v.64 Unfortunately, this codex, which was probably copied under the

abbot Rainaldus between 1137 and 1166, due to a mention of this abbot in the manuscript, has

been lost since the nineteenth century (between 1845 and 1874, according to Inguanez).65

63
The hymns are discussed in Anselmo Lentini, “Su tre inni in onore di St Domenico Abate,” Benedictina
5 (1951), 185–99.
64
Inguanez, “Inni inediti di Alberico ed il codice Cassinese 199,” Bullettino dell’ISIME e Archivio
Muratori 47 (1932), 191–98.
65
Ibid.
376
Luckily, these hymns by Alberic were also copied in MC 618, a sixteenth-century manuscript,

which shows that the hymns had a long life even beyond the twelfth century, perhaps because

they had as author one of the people mentioned even by Peter the Deacon in De viris for his

talent in composing hymns.

And it is no wonder that Alberic would be cited as a prolific hymn author by Peter the

Deacon. Alberic was a monk of Montecassino who became a cardinal during the time of abbot

Desiderius.66 He was an advocate of the values of church reform67 and a teacher of the ars

dictaminis or the art of writing letters, which, along with the ars versificandi and the ars

praedicandi, was medieval type of rhetorical study based on classical models.68 His work De

rithmis cited hymns as examples for explaining the rules of metrics.69 It is also not surprising that

the hymns included in Getty 83 ML 97 by Alberic are those for St Dominic of Sora, since

Alberic had composed Dominic’s Vita between 1067 and 1070 at Montecassino.70 The saint and

Alberic shared many of the same values in promoting the reforms, a further reason for the

compilers of the hymnary of Getty 83 ML 97 to cite him and to include hymns for St Dominic of

Sora: this connected Montecassino with the values promoted by Dominic and Alberic. Perhaps

this is why only the hymns by Alberic for St Dominic of Sora—and not those for the Holy Cross,

for the Ascension, for St Paul, for St Apollinaris, for St Scholastica, for the Assumption, and for

66
Ibid.
67
Lentini, “Alberico di Montecassino nel quadro della riforma gregoriana,” in Faustino Avagliano,
Medioevo Letterario Cassinese, 47–48.
68
Martin Camargo, “Between Grammar and Rhetoric: Composition Teaching at Oxford and Bologna in the
Late Middle Ages,” Rhetoric and Pedagogy: Its History, Philosophy, and Practice, ed. Winifred Bryan Horner and
Michael Leff (London: Routledge, 2013), 83–94. For Alberic’s work on the Ars dictaminis, see Alberico di
Montecasssino, Breviarium de dictamine, ed. Filippo Bognini (Florence: SISMEL, Edizioni del Galluzzo, 2008).
69
Hugh H. Davis, “The ‘De rithmis’ of Alberic of Monte Cassino: A Critical Edition,” Mediaeval Studies
28 (1966), 202–204.
70
Howe, xix. This Vita survives in the manuscript MC 101.
377
St Peter enumerated in Peter the Deacon’s De viris—were included in this hymnary. In this

authorial reference, just as in that of Sedulius, we can see that the hymnary of Getty 83 ML 97

was copied with a pedagogical intent, since it includes three hymns by a master of classical

rhetoric,71 and that it was copied to highlight Montecassino’s intellectual and cultural

contributions from a literary point of view. But the inclusion of these hymns and the specific

reference to Alberic in Getty 83 ML 97 shows something more: that the hymnary was meant to

remind the user of local, Cassinese hagiographical writings, calling on the protection of a saint

who embodied the ideals of Montecassino at the time. Pointing out that Alberic was the author

further tied Montecassino to the protection of St Dominic, since Alberic was also the composer

of the saint’s hagiography.

What is perhaps unusual is the fact that Getty 83 ML 97 is the only Cassinese hymnary

from among those examined that includes these three hymns by Alberic. The manuscript itself

was copied only slightly more than half a century after Alberic’s death in the last decade of the

eleventh century. Perhaps Getty 83 ML 97’s late date of copying, after the Normans were

consolidating their power in southern Italy, in a period when Montecassino was bound more

closely both to the Normans and to the reforms promulgated by the papacy, made it more likely

to contain three hymns to one of the primary contemporary saints who embodied the virtues of

the reform. But in fact, another hymnary from Montecassino cites an author that was, like

Alberic, tied to the reform promulgated by the papacy and one that exerted a great influence at

71
Indeed, Alberic was also instrumental in teaching rhetoric to the monk John of Gaeta, who would
become Pope Gelasius II. Both John of Gaeta and Alberic used a new type of rhythmic prose (cursus velox) in the
composition of their hagiographical texts, which reflects their high literary prowess. See Carmela Vircillo Franklin,
“The Restored Life and Miracles of St. Dominic of Sora by Alberic of Monte Cassino,” Mediaeval Studies 55
(1993), 310–15.
378
Montecassino itself. Specifically, Paris Maz. 364 indicates hymns by Peter Damian, a close

friend of Alberic.72

Of the other hymnaries examined thus far from Montecassino, Paris Maz. 364 also

references specific hymn authors. Here, too, Sedulius is noted as the author of A solis ortus

cardine on folio 150r, as seen in Figure 73. “Sedulii presbyter” is clearly indicated in the rubric

(see Figure 73). In this manuscript, as in Getty 83 ML 97, Sedulius is mentioned in order to

anchor the Cassinese culture to that of the classical, theologically sound, pedagogically inclined

milieu of Sedulius.

Figure 73: Paris Maz. 364, folio 150r: identification of Sedulius as author of the hymn A solis
ortus cardine

© Bibliothèque Mazarine, used with permission

The only other indications of hymn authorship in Paris Maz. 364 are those found in the

rubrics of hymns by Peter Damian. Thus, on folio 149r, the local hymn Ambrosi sidus aureum,

72
Blum, “Alberic of Monte Cassino and a Letter of St. Peter Damian to Hildebrand,” Studi Gregoriani 5
(1956), 291–98.
379
found (as discussed in Chapters Two and Three) only in Cassinese hymnaries as well as in

Naples VI E 43 and Ben 42 from Benevento, clearly indicates “Petri Damiani” in the rubric, as

seen in Figure 74.

Figure 74: Paris Maz. 364, folio 149r: identification of St Peter Damian as the author of the local
hymn text Ambrosi sydus aureum

© Bibliothèque Mazarine, used with permission

And, as seen in Figure 75, Naples VI E 43 also attributes the Assumption rithmus, O genitrix

eterne virgo, to Peter Damian.

Figure 75: Naples VI E 43, folio 211v: identification of St Peter Damian as the author of the
local hymn O genitrix eterne virgo

Napoli, Biblioteca Nazionale Vittorio Emanuele III, used with permission

380
This rithmus is unique to this hymnary, among Beneventan hymnaries.73 It is found as an

addition, along with nine other hymns all written by Peter Damian, to the codex Chigi C VI 177

from Farfa, and in the collected works of Peter Damian in the eleventh-century manuscript Vat.

lat. 3797.74 Since O genitrix eterne virgo was not a hymn, it is even more telling about the status

of its author that this poem of a different genre was considered important enough to include in a

hymnary. Just like the versus Crux benedicta nitet in Paris Maz. 364, perhaps this rithmus was

used for a special liturgical occasion such as a procession rather than the divine office per se. The

Assumption would easily have warranted extra-liturgical processions, with added chants and

prayers, given the fact that the cathedral of the city was dedicated to this feast. More will be said

about Beneventan hymnaries’s author attributions in correspondence with specific civic events;

here, however, it behooves us to consider the importance of the authorship attributions to Peter

Damian. As a near contemporary of the scribes copying these manuscripts, he was not, like

Sedulius, listed among the foremost “fathers” of the hymn genre. Why, then, single him out for

authorial recognition in a hymnary?

Peter Damian was one of the foremost reformers of the church in southern Italy in the

eleventh century, as well as one of the primary authors of hymns. A hermit and a scholar from

Ravenna, by 1057 he was a prominent member of the papal curia.75 The manuscript Vat. lat.

3797 from Fonte Avellana (written in Caroline miniscule) is one of four anthologies dedicated

73
It is found in an eleventh-century neumed manuscript from England, Cod. Londin. Jul. A.VI. See
Analecta Hymnica, vol. 11, no. 90.
74
See Boynton, “Liturgy and History at the Abbey of Farfa in the Late Eleventh Century: Hymns of Peter
Damian and Other Additions to BAV Chigi C.VI.177,” Sacris Erudiri 39 (2000): 303–36, regarding the additions of
Damian’s hymns in Chigi C VI 177.
75
Howe, 21.
381
exclusively to transmitting the hymns and other poetic works (carmen, poems, rhythms, offices)

by Peter Damian.76 Apparently Desiderius of Montecassino was extremely keen on transmitting

the hymns and poetic works of Peter Damian, as he may have had a hand in sending copyists to

produce some of these manuscripts.77 Among the manuscripts of hymnaries examined here, Ott.

lat. 145, while not indicating authors’s names in its hymnary’s rubrics, does transmit one of Peter

Damian’s carmen (no. 8, according to Lokrantz), on folio 41v–42, while MC 420 has carmens 9–

11 on pp. 138–188.78 Moreover, Peter Damian was also recognized as a great hymn writer by

contemporaries, such as the scribes of the manuscript Chigi C VI 177 from Farfa, in which nine

hymns composed by (and, in the manuscript, attributed to) Peter Damian are copied in a group as

part of a libellus added to the manuscript. As Susan Boynton points out, Peter Damian’s probable

presence at Farfa as part of Pope Nicholas II’s retinue to consecrate the main altars in the abbey

church in 1060 might have prompted the scribes there to include his hymns in this liturgical

books for the Divine Office subsequently.79 Given Peter Damian’s fame both as a saint, as author

of works such as hymns and hagiographies,80 and as an advocate of the reform that Montecassino

76
Lokrantz, 7–42. The other manuscripts are MC 358, MC 359, and another manuscript from
Montecassino, now lost. MC 358 and MC 359 do not, unlike Vat. lat. 3797, transmit many hymns. There are
numerous other manuscripts that transmit Peter’s works along with other items.
77
Ibid.
78
Ibid.
79
Boynton, “Liturgy and History at the Abbey of Farfa in the Late Eleventh Century,”
80
See Umberto Longo, “L’esperienza di riforma avellanita,” 1–12.
382
was eager to embrace,81 it is unsurprising that his authorship would be considered important to

indicate in Paris Maz. 364.82

Thus far we have seen indication of hymn authorship in hymnaries from Montecassino,

but the same phenomenon can be observed in hymnaries from Benevento. Of the hymnaries

discussed in Chapters One, Two, and Three, the one with the most author references (four in

total) is Naples IV E 43. As mentioned, Naples VI E 43 cites the authorship of Peter Damian for

the unique Assumption hymn O genitrix eterni virgo. Additionally, Naples VI E 43 mentions St

Ambrose as the author of the Lenten hymn Ex more docti mystico, as shown in Figure 76.

Figure 76: Naples VI E 43, folio 200v: St Ambrose identified as author of Ex more docti mystico

Napoli, Biblioteca Nazionale Vittorio Emanuele III, used with permission

It is unclear why this was necessary, since the hymn is in every manuscript we have examined

from Benevento and Montecassino and its authorship is likely to have been well-known.

81
On this latter point, see Giuseppe Fornasari, Medioevo riformato del secolo XI: Pier Damiani e Gregorio
VII (Napoli: Liguori, 1996), 97–126. Longo points out that St Peter Damian’s reform ideology can be summed up as
follows: he promoted a view of “bishop as hermit” and “hermit as martyr” especially in his hagiographical writings.
Longo, 6. However, he also points out that, in the end, Peter Damian’s advocacy of stricter eremitism contrasted a
bit with the more moderate monastic reform projects outlined by the papacy (Longo, “L’esperienza di riforma
avellanita,” 10–11).
82
Although Peter Damian is mentioned as author of these hymns in particular, actually there are other
hymns by Peter Damian in hymnaries, such as Anglorum iam apostolus, that do not specifically mention him as the
author.
383
Similarly, Venantius Fortunatus is mentioned as the author of the famous hymn Pange

lingua…proelium, as seen in Figure 77.

Figure 77: Naples VI E 43, folio 202r: Venantius Fortunatus identified as author of Pange
Lingua Fortunatus

Napoli, Biblioteca Nazionale Vittorio Emanuele III, used with permission

Despite this relatively generous number of citations in Naples VI E 43, in manuscripts

from Benevento the mention of hymn authorship is rare. This shows that there was a slightly

different purpose for the attribution of authorship in manuscripts from Benevento: the authors

mentioned are those that are most linked to the city of Benevento itself. We have already seen

the use of a different genre, a rithmus, and its authorial attribution to St Peter Damian in Naples

VI E 43, perhaps because this poem was to be used (presumably, sung) on a feast day that could

have easily involved a large part of the city of Benevento, given the importance of the feast for

the Cathedral of the city. Even more evidence of the close tie between authorship and civic

history is provided by the author attribution of a different, more widespread, hymn. The author of

one hymn in particular is cited in the rubrics of several Beneventan hymnaries. In Vat. lat. 4928,

the only hymn with authorship mention is on folio 221v. Among central and southern Italian

hymnaries, Egredere Emmanuhel is found in hymnaries from Benevento and Montecassino.83 It

83
It is found in Vienna 1106, Vat. lat. 4928, Naples VI E 43, and Ben 42. For a discussion of the melody of
this hymn as copied in Ben 42, see Chapter Five and figure 15.
384
appears to be found only in these manuscripts before the thirteenth century. The hymn is

presented in Vat. lat. 4928 as shown in Figure 78.

Figure 78: Vat. lat. 4928, folio 221v: the local hymn text Egredere Emmanuhel ascribed to Pope
St Leo IX

The rubric reads “Vigil of the Birth of the Lord. Hymn at lauds. Saint Leo, Pope.” In the

manuscript Naples VI E 43 from Benevento, on folio 189r, the same hymn is given the same

rubric, as seen in Figure 79.

Figure 79: Naples VI E 43, folio 189r, Egredere Emmanuhel ascribed to Pope St Leo IX

Napoli, Biblioteca Nazionale Vittorio Emanuele III, used with permission

The mention of Pope St Leo IX as the author of this hymn is significant for the same

reason that it would have been significant for Cassinese scribes to indicate the presence of hymns

by Alberic in honor of St Dominic or hymns by Peter Damian. Pope Leo IX was one of the

foremost reformers of the church in the eleventh century and supported local saints of the region.

Miracles by Leo IX were reported in Amatus’s History of the Normans, and Amatus also relates

how, at Melfi, Leo

reprist lo deffette des evesques, reproved the bishops for their errors
et fai qu’il non soient taisant, and told them not to remain silent,
385
 més ensaigna lor langue a instructing them to use their tongues
preccier. Et quiz s’en torna a to preach. After this the pope
Rome; et puiz se remist à la voie returned to Rome and then set out
pour corrigier les autres cites.84 again to reform the other cities.85

Pope Leo IX also had a particularly strong tie to hagiographical and pilgrimage traditions of

southern Italy, and especially in the Beneventan region. This is demonstrated by the fact that he

went in pilgrimage to the shrine of St Michael in Monte Gargano in 1049.86 But the indication of

his authorship of this hymn not only recalls the sanctity of its author and ties the users of the

manuscript to Leo’s reform ideals; instead, it refers to a specific, civic and religious events in

Benevento at which the pope was present.

Leo IX had been present in Benevento for extended periods of time, usually in

conjunction with political events. In Benevento, Pope Leo’s sanctity caused them in 1050 to

“drive out their [Norman] prince and swear fealty to the pope for themselves and the city”

(“chacerent lo prince, et sousmistrent soi a la fidelité soe, eaux et la cite”).87 Subsequently, Pope

Leo IX was imprisoned for nine months at Benevento by the Normans after losing the battle of

Civitate in 1053, a year before his death.88 The hymn Egredere Emmanuhel was written by Pope

Leo IX and probably sung in Benevento on the occasion of his presence there on Christmas,

1053.89 Such a confluence of political and religious events, compounded with the important

84
Amatus of Montecassino, Ystoire de li Normant, 117.
85
Idem, The History of the Normans,bk. 3 ch. 16.
86
Leo Marsicanus and Peter the Deacon, Chronica monasterii Casinensis, bk. II ch. 78.
87
Idem, bk. 3 ch. 18; Idem, Ystoire de li Normant, 117.
88
Ibid. But, as part of a truce, Benevento was finally ceded by the Normans to the Papacy; later, the
Normans ruled Benevento again, but as the Pope’s vassals until Prince Robert Guiscard placed Benevento under
papal power again in 1081. Paul Oldfield points out that this was a turning point for the relationship between the
Normans and the Papacy: “[after this,] the papacy promptly reversed its previous hostility, aware that the Normans
were now a permanent fixture in the south, and hopeful that they might provide the military backing to forward the
Church-reform movement in the face of opposition from the Salian emperors of Germany.” Oldfield, 15.
89
See Analecta Hymnica, vol. 50, no. 237.
386
public figure of the pope led to the commemoration of his authorship of the hymn in these

Beneventan hymnaries.

Even the non-ordinal hymnary Ben 42 contains a reference to Leo’s authorship of

Egredere Emmanuhel, as shown in Figure 80, on folio 111v. As the only manuscript in which

this hymn is actually notated, Ben 42 is a precious source for the record of this unique, local

hymn melody (see Figure 80 for transcription). This melody is not used for any other hymn,

although it resembles in style the mode 8 communion Christus resurgens ex mortuis. The

ascription of authorship to Leo IX shows how, in Beneventan manuscripts, the authorship of

hymns was indicated to serve as a reminder of the honor due to their authors specifically because

of their holiness and their ties with the city.

387
 Figure 80: Egredere Emmanuhel from Ben 42, f. 111v, ascribed to Pope St Leo IX

Biblioteca Capitolare di Benevento, used with permission

1-g-gk-j-k--h--k--l--jhg-3-k----l-l-kh-j--j--h-g-3-g-gk--j--k--h--
E-gre-de-re Em-ma-nu-hel quem nun-ti-a- vit Ga-bri-hel u- ti spon-sus de

1-k-l-jhg-3-k--l-l--kh--j--j-h-g-3-g-gk-j---k-h-k-l-jhg-3-k-l--l-
tha-la-mo vir- gi-nis ma- tris u-te-ro. Spi-ri- tus sanc-ti o-pe-re si-ne vi-

1-kjh-j-j-h-g--4
ri- li se-mi-ne…

Ben 42, from the second half of the twelfth century, is the latest manuscript from among

the Beneventan hymnaries to report Egredere Emmanuhel. There would have been good reason

to indicate Leo IX’s authorship in Ben 42 in particular, since, by the time this manuscript was

388
copied, Leo IX had been canonized. Leo’s quick canonization by Pope Gregory VII, which took

place in 1082, less than thirty years after his death, may have been necessary in order to establish

continuity between Gregory VII’s papacy and that of Leo since, perhaps even more so than Leo

IX, Gregory VII is remembered for his intense activities in reforming the church and would want

to ally himself quickly with the ideology of his predecessor. Thus, in the hymnaries from

Benevento, the mention of specific hymn authors is tied to the function of the hymnaries not only

as pedagogical texts, but also as reflections of the political, religious, and cultural stature of the

places at which they were used by invoking the saints or by referencing the authors who played

the greatest roles in defining its cultural and religious importance.

The indication of authorship in hymnaries from Benevento played a similar role as the

gilded inscription to Pope Leo commissioned by Cardinal Borgia four centuries later. They were

meant to kindle in the users the memory of the author and the gratitude due to him. Rather than a

citation of authorship to show a high level of learning, or a necessary proof of the doctrinal

soundness and venerability of the text of the hymn due to the sanctity of its author (as we have

seen in authorial citations in hymnaries from Montecassino and in some of the ordinal hymnaries

from Benevento), the citation of authorship in Benevento recalled the historical, religious events

and their actors that were proper to the city itself, and to which the city had a proud claim. The

exiled Pope Leo finally had the upper hand despite his political setback due to his elevation to

sanctity. It would have been important for the city of Benevento, at a time of political change

during the Norman takeover and the ecclesiastical movements, to inspire greater devotion for

contemporary saints who embodied the ideals of increased papal authority over secular rulers, to

remember Pope Leo IX.

389
 As this chapter has shown, the hymn played an important role in southern Italy even

outside the divine office. They were used to commemorate local events, saints, and authors who

would help to define and secure a political, cultural, and religious identity for the places at which

these hymns were used in a time of intense political, religious, and social change. This explains

why, in southern Italian hymnaries, so many local and unique hymns were copied. As the hymn

to Pope Leo in Ben 42 shows, once again, the presence of a local hymn in a manuscript is not

simply a marker of the origin of the manuscript in place and time, but a reflection of the deeper,

ongoing negotiations between religion and politics in a time of change.

390
 Figure 81: Unique hymn to St Leo in Ben 42, folio 137v and transcription; text from Borgia,
Memorie istoriche, p. 49

1-f-fe-dc-dfd-e--e-e-dc-f--g-e-de-e-3-g---h-j-h-gfe-f-dc-f-g--e-de-e-3-
Cla- rus hec sig-nis ru-ti- lat ho-no-ri-bus quam so-lis iu-bar so-li- to de-cen-ti- us

1-edc-d-fd-e-ef-g--d-c-f-fe-de-e-3-ed--dc-cd-de-dc-f--gh-hg-fg-fe-de-e--4
su- is de- co-rat ro- se-is lu-mi- ni-bus Chris- ti con-fes-sor cel-sis ni- tet se- di- bus

1-f-fe-dc-dfd-e--e--e-dc--
Ec- ce di- es- cit tan-tis…

391
2 5
…auctus meritis Hic cecus surdus mutus atque languidus
presul assistat atque rebus publicis videt et audit loquitur et graditur
quas accurate iam tueri solvitur te operante quid tibi divinitus
omnibus turris sit inexpugnabilis fore concessum mundi noscat circulus

3 6
Universali redimitus culmine Ergo spem vite tuis posce famulis
pacis amator fortis Leo annue qui cecis visum gressum reddis languidis
quid tibi dignum valeamus promere surdis auditum lingue mutis premium
unde possimus tui frui munere ut post eccessum tecum esse possimus

4 7
Te consulatus te senatus dignitas Gloria Deo patri sit ingenito
te Romanorum omnis ordo predicat ingenitique eius unigeniti
te Beneventus debito glorificat semper equalis sancto sit Spiritui
in qua resplendet actus tui gratia per cuncta semper seculorum secula.
Amen.

392
 Epilogue

It is hoped that the preceding study of the history and features of hymns in medieval

southern Italy as reported in the earliest extant hymnaries (i.e., those copied between the eleventh

and thirteenth centuries) has provided a starting point for further exploration of this genre and of

its significance in a region whose liturgical and cultural facets attract the interest of scholars of

the Middle Ages in many disciplines. This study has explored southern Italian Hymn’s

manuscript context, musical features, and cultural milieu, and new insights have been gleaned in

each of these three areas as a result. These insights have opened just as many questions as they

have answered for many of the issues involving this little-studied regional hymn repertoire; each

of these new questions provides an avenue for future research. While waiting for the fresh

perceptions of future studies, in the meantime I summarize here those that have resulted from the

present exploration.

In terms of the southern Italian hymns in their manuscript context, this dissertation has

examined two types of hymnary from four different places: hymnaries contained in composite

manuscripts for the Divine Office that contained the newly-promulgated ordinals and hymnaries

that were copied in manuscripts without ordinals; those that were copied at or for Benevento,

Montecassino, other areas of southern Italy such as Gaeta, Bari, and Naples, or for areas of

central Italy utilizing the Romanesca script that were a bit more removed from Montecassino and

Benevento (Subiaco, Farfa, Narni).

The comparison of ordinal hymnaries from Benevento with those from Montecassino

showed that ordinals and their hymnaries reflect a more concise hymn repertoire than that which

was once more widely known or available; that ordinal hymn citations do not always coincide

with their attached hymnaries (the latter usually contain more hymns than are cited in the

393
ordinal); and that ordinal hymnaries from Benevento contain more sanctoral hymns compared to

those from Montecassino. The two ordinal hymnaries from Benevento, Vat. lat. 4928 and Naples

VI E 43, both reflect the desire on the part of their compilers to retain local hymns even in the

context of an ordinal hymnary, especially noticeable in the inclusion of hymns to Sts

Bartholomew, Mercurius, and the Holy Twelve Brothers. Both moreover contain hymns to

important local saints (such as Sts Juvenal, Eleutherius, and Boniface) that are both rare in other

Beneventan hymnaries and are not cited in odinals. However, their format and repertoire for the

most part reflects that in Cassinese ordinal hymnaries and ordinal prescriptions, though Naples

VI E 43 seems to do this to a greater degree than Vat. lat. 4928.

The examination of the three ordinal hymnaries from Montecassino, Urb. lat. 585, Paris

Maz 364, and Getty 83 ML 97, demonstrated that these hymnaries contain a more concise

repertoire with fewer hymns for local saints’ feasts compared to those from Benevento.

Nevertheless, local hymn texts are still found in Cassinese ordinal hymnaries even when these

are not cited in the ordinals themselves. These hymns provide clues as to the logic governing the

compilation of these Cassinese ordinal hymnaries. For example, the hymnary of Urb. lat. 585

seems to resemble later ordinal hymnaries, but its ordinal seems to be a slightly older version

closer to those of Benevento, while that of Paris Maz. 364 reflects repertorial connections with

central and northern Italy. The hymnary Getty 83 ML 97, in addition to resembling a Cassinese

antiphoner or breviary in the ordering of its hymns, shows evidence that the codex may have

been created as an export product for another monastery, possibly San Vincenzo al Volturno, due

to the unusual presence of hymns for the feast of the Chair of St Peter and three unique hymns

for St Dominic of Sora.

394
 As observed, the hymnaries in manuscripts without ordinals are more varied in contents

and mode of copying than those with ordinals, suggesting that before the promulgation of the

ordinal the hymn repertoire of southern Italy was larger and that there was significant repertorial

transmission between central and southern Italy. This is most evident in the hymnary of Ott. lat.

145, whose hymn repertoire encompasses hymns found in manuscripts from Benevento,

Montecassino, as well as areas of central Italy to such a degree that the destination of this

manuscript may very well have been somewhere other than Montecassino or Benevento.

However it is just as likely that Ott. lat. 145’s repertoire may have reflected an older tradition at

Benevento, or perhaps that it was copied from a central Italian exemplar, as the presence of

marginal notation for select hymns in the manuscript suggests. Other examples of non-ordinal

hymnaries from Montecassino, MC 506, Naples VI F 2, and MC 559, are generally more

conservative in the number and type of hymns included. Indeed Naples VI F 2 and Vienna 1106

resemble ordinal hymnaries very closely and could have once been bound to an ordinal, although

they are so conservative in their hymn contents that they might reflect an early version of ordinal

hymn prescriptions. This might also explain a few of the similarities between these hymnaries

and those from Benevento. MC 506 and MC 559 show a transitional state in the hymnaries of

Montecassino: between the prolixity of earlier hymnaries that included sanctoral hymns used

also at Benevento and the brevity of ordinal hymnaries in which many hymns for local sanctoral

feasts were eliminated in favor of hymns found in the Carolingian New Hymnary.

As the comparison of these hymnaries with non-ordinal hymnaries from Benevento (Ben

37, Naples VI G 31, and Ben 42) has shown, Beneventan non-ordinal hymnaries contain more

musical notation and a greater number of local hymn texts than those from Montecassino. They

are also much more diverse in their contents and format. Naples VI G 31 shows signs that its

395
compilers were incorporating a repertoire borrowed from places outside southern Italy; the

difference between its repertoire and that of other Beneventan hymnaries might just as likely be

due to its early date of copying, perhaps at a time when the Beneventan hymn repertoire was

larger and more diverse than later manuscripts reflect. Ben 37 and Ben 42 are unusual in their

use of notation for every single hymn text. They might reflect an earlier format for Beneventan

hymnaries, one in which each hymn was notated. Ben 37 might have once been a full hymnary

with a large repertoire of hymns, including several found outside Benevento and Montecassino,

and may represent the way hymnaries in Benevento were usually copied before the end of the

eleventh century.

As we have seen, the hymnaries copied in other areas from southern Italy such as the Bari

hymnary, Naples VI G 29 (Naples), and Casan. 1574 (Gaeta) show that a number of local

southern Italian hymns were shared between these areas and Benevento, due to concordances

among these manuscripts in both melodies and texts. These local hymns are mostly present in the

earliest hymnaries from Benevento, indicating that the repertoire of local southern Italian hymn

melodies and texts gradually disappeared from hymnaries as time went on. The hymnaries from

Narni (Vat. lat. 7172 and Paris 1092), Subiaco (Rh 91 and MC 420), and Farfa (Farfa 4, Farfa A

209, Rh 82, and Chigi C VI 177) also show repertorial connections with hymnaries from

southern Italy, especially with the earliest and/or most complete hymnaries from Benevento. This

demonstrates that there was an inter-regional transmission of hymns between central and

southern Italy, which later became more restricted as shared hymns, especially those with local

texts, were omitted from hymnaries copied at Montecassino and Benevento.

This study included a transcription and analysis of the melodies and texts in the

hymnaries Ben 42 and Ben 37, important sources of heretofore un-transcribed local hymns.

396
These case studies have served to characterize the southern Italian hymn in terms of its musical

features, which have been described using evidence from several local hymn melodies. The

melodies of these hymnaries were compared to those of the other notated southern Italian

hymnaries (Bari and Casan. 1574), and cases of multiple melodies for a given hymn texts or the

use of the same melody for different texts were noted. The reasons for why Ben 42 and Ben 37

might employ different text-melody pairs were hypothesized. It seems that, by the time Ben 42

was copied, there was a tendency to utilize local melodies with more widespread hymn texts,

while more widespread melodies were used with local texts, perhaps in an effort to legittimize

local texts and melodies when local hymns were no longer copied to a great extent in

manuscripts. In the course of this exploration, several previously-unknown unique hymn

melodies were identified, and a hymn in Ben 42 thought to be in honor of Pope Leo was shown

to be just as likely in honor of another, local St Leo who is still venerated in areas of southern

Italy today.

The final chapter of this dissertation placed the hymns of southern Italy in their cultural

and political context. As observed, hymns often served as a vehicle for transmitting the values

associated with the ecclesiastical reforms of the eleventh through thirteenth centuries through

their texts and through references to the hagiographies of the saints they honored. Hymns appear

referenced in Peter the Deacon’s De viris illustribus Casinensibus because they served as proof

of the monastery’s spiritual and cultural importance; asserting this importance was of primary

interest at a time when monasteries and churches were threatened by political changes among

secular powers, and when their proper liturgical traditions were changing to conform to more

universal liturgical standards. Hymns were thus valued both for their role in the liturgy of the

Divine Office and as poetic texts that reflected a high literary culture. The attribution of hymn

397
authorship in hymnaries illustrates these diverse political and cultural functions of the hymns,

and may have served to ally the institution at which a hymnary was copied with the ideals of

recent reforms.

This dissertation has thus provided a comprehensive view of the hymn in medieval

southern Italy, one that supplements previous scholarship on hymns in this and in other regions

and scholarship on other genres of plainchant from this region. Future research will have to

include an examination of hymns in other types of liturgical manuscript from southern Italy such

as antiphoners, breviaries, and (occasionally) in graduals. Evidence is also provided by the

second tonary of MC 318, in which around ninety hymn incipits (texts and melodies) are copied,

and arranged according to mode and differentia. Several represent the only occasion in which a

given text is found with a notated melody. I am currently writing about these observations on the

hymns in the second tonary of MC 318, and am analyzing the melodies of Naples VI G 29 (only

briefly examined here). These activities have shown me just how much more work there is to be

done on the manuscripts, music, and historical context of the hymn in medieval southern Italy.

398
 Appendix A: Contents of South Italian Hymnaries

Ott. lat. 145

Folio Hymn Title Feast

1v Telluris ingens conditor Feria III

2v Lux ecce surgit aurea Feria V
3v Magne Deus potentie Feria V
4r Tu trinitatis unitas Feria VI
5v Celi Deus sanctissime Feria IV
6r Nox atra rerum contegit Feria V
7r Eterna celi gloria Feria VI
8v Plasmator hominis Deus Feria VI
8v Summe Deus clementie Saturdays
10r Aurora iam spargit polum Saturdays
11r O lux beata trinitas Saturdays
11r O pater sancte mitis Trinity Sunday
11v O veneranda trinitas Trinity
12v Sol astra terra equora Advent
12v O quam beatus nuntius Advent
12v Vox clara ecce intonat Advent
13r Verbum salutis omnium Advent
13r Verbum supernum Advent
13v Debitas laudes St Nicholas
14v Sollempne tempus St Nicholas
15r Rex confessorum gloria St Nicholas
15v Sancti Ambrosii praesulis St Ambrose
16r Lux mundi vera salus St Lucy
16v Sancti Thome apostoli St Thomas
17r Martyris en Gregori St Gregory (martyr)
18r Christe redemptor omnium ex patre Christmas
18v Enixa est puerpera Christmas
18v A solis ortus cardine Christmas
19r Veni redemptor gentium Christmas
20r Audi redemptor gentium Christmas
20v Agnoscat omne seculum Christmas
21r Surgentes ad te Domine Christmas
21v Conditor alme siderum Christmas
21v Christus est vita veniens St Stephen
22v Stephano primo martyris St Stephen
23r Ymnum canamus Domino St Stephen
23v Iste electus Iohannes St John Evangelist
24r Sollempnis dies advenit St John Evangelist
24v Furis Herodes impie Holy Innocents
25r Infantum diem Holy Innocents
25v Salvete flores martyrum Holy Innocents
26r Silvestri almi presulis St Sylvester
26v Voce iocunda resonemus omnes St Sylvester
27r Auctor perennis glorie Octave Christmas
27v Hostis herodes impie Epiphany
28r Iesus refulsit omnium Epiphany

399
28v Illuminans altissimus Epiphany
29r A patre unigenitus Epiphany
29v Adest celebritas nobis St Maur
30v Sebastiani incliti St Sebastian
31r Martyr Dei egregie St Sebastian
31v Agnetis festum martyris St Agnes
32r Agnes beata virginis St Agnes
32v Adest miranda passio levita St Vincent
33r Levita vir Vincentii St Vincent
33v Gaude visceribus Purification
34r Quod chorus vatus Purification
34v Ave maris stella Purification
34v Alleluia piis edite Septuagesima
35r Alelluia dulce carminum Septuagesima
35v Martyris ecce dies agathe St Agatha
36r Triumphum sacre virginis St Agatha
36v Beatus Christi famulis Cathedra Petri
37r Medie noctis tempus est Lent
38r Iam lucis splendor rutilat Lent
38r Aures ad nostras Lent
38v Ex more docti mystico Lent
39r Audi benigne conditor Lent
39v Post matutina laudes Lent
39v Dei fide qua vivimus Lent
40r Qua Christus hora sitit Lent
40r Ternis ter horis Lent
40v Meridie orandus est Lent
40v Perfecto trino numero ternis Lent
40v Deus sanctorum luminis Lent
41r Sic ter quaternis Lent
41r Magni miles mirabiles St Gregory
41v Anglorum iam apostolus St Gregory
42r Hodie sacratissima St Scholastica
43r Fratres alacri pectore St Benedict
44r Christe sanctorum decus atque virtus St Benedict
44v Hunc soror sacra St Benedict
45r Magno canentes St Benedict
45v Quem terra pontus Annunciation
46r Deus qui mundum crimine Annunciation
47r Vexilla regis Passion Sunday
47v Pange lingua Passion Sunday
48r Crux fidelis Passion Sunday
48v Magno salutis gaudio Palm Sunday
49v Celsa salutis gaudia Palm Sunday
50r Ymnum dicamus Domino Maundy Thursday
50v Hic est dies Easter

51r Gesta sanctorum martyrum St George

51v Pange lingua* Holy Cross
51v Crux fidelis* Holy Cross
51v Vexilla regis* Holy Cross
51v Signum crucis mirabile Holy Cross
52r Arbor salve Holy Cross
400
52r Christe sanctorum decus angelorum St Michael
52r Illuminavit hunc dies St Michael
53r Tibi Christe splendor patris St Michael
53v Festum nunc celebre Ascension
54r Funeris victor triduo Ascension
54v Optatus votis omnium Ascension
55r Iam Christus ascendit polum Ascension
55v Et hoc supernum munum Pentecost
56r Beata nobis gaudia Pentecost
56r Iam Christus astra ascenderat Pentecost
56v Veni creator spiritus Pentecost
57r Festum sacrata martyrum dies St Vitus
57v Ad Viti beatissimi gloria St Vitus
58r Alma beati martyris St Vitus
58v Rex metuende omnium St Erasmus
59r Ut queant laxis St John Baptist
60r Almi prophete progenies St John Baptist
60v Summum precurrit ora oraculum St John Baptist
60v Assertor equi St John Baptist
61r Aurea luce Sts Peter and Paul
61v Felix per omnes Sts Peter and Paul
62v Apostolorum passio dies Sts Peter and Paul
63r Exultet orbis ambitus St Paul
63v Grates tibi Iesum novas Sts Gervase and Protase
64r Pio feramo pectore St Felix
64v Almi triumphum Quirici St Quiricus
65r Festa sacrata praesulis St Apollinaris
65v Sacris Christe pontificis Apollinaris St Apollinaris
66r O sator rerum reparator Transfiguration
66v O nata lux de lumine Transfiguration
67r Magni palmam certaminis St Sixtus
67v Devota mente socii St Lawrence
68r Martyris Christe colimus St Lawrence
68v Quis possit amplo famine Assumption
69r Ad laudem sancte Marie Assumption
69v Nunc tibi virgo virginum Assumption
70r Fit porta Christi* Assumption
70r Ad laudem Christi procerum St Bartholomew
70v Gaudium mundi Christe St Bartholomew
71r Splendor diei rutilat Holy Twelve Brothers
71r Christi caterva pervigil Holy Twelve Brothers
72r Adest dies prefulgida St Maurice
73r Adest sacra festivitas St Maurice
73v Christe qui virtus sator All Saints
74r In laude Martini St Martin
74r Christe rex noster St Martin
75r Summe confessor Confessors
75v Iste confessor Confessors
76r Ad laudem Christi virginis St Cecilia
76v Clementis festum St Clement
77v Decus sacrati nominis St Andrew
78r Sanctorum meritis Several martyrs
78v Rex gloriose martyrum Several martyrs
401
 79r Sacra piorum Several martyrs
79r Deus tuorum militum One martyr
79v Martyr Dei qui unicum One martyr
79v Agonitheta nobilis One martyr

134r Confessor Domini Maure (not.) St Maur

Ben 37

Folio Hymn Title Feast

47r Salvete flores Holy Innocents

47r Verbum patris principium Holy Innocents
47v Infantum diem martirum Holy Innocents
48r Silvestri almi presulis St Silvester
48v Hostis Herodis impie Epiphany
49r Iesus refulsit omnium Epiphany
50r Illuminans altissimus micantium Epiphany
50v Adest celebritas nobis mauri St Maur
51r Martir dei egregie intende St Sebastian
51v Agnetis festum martiris St Agnes
52r36r Adest miranda passio levite St Vincent
36r Agonitheta nobilis cultorque St Vincent
36v Beatus vir Vincentius St Vincent
19r Hodie sacratissima virgo St Scholastica
19v37r Presulem sanctum reboate St Sabinus
37v35r Claret sacrata iam dies St Gregory
35v53r Alleluia piis edite laudibus Septuagesima
53r Alleluia dulce carmen vox perennis Septuagesima
53v Angusta vite tempora St Nazarius
54r Medie noctis tempus est Lent
55r Iam lucis splendor rutilat Lent
55r Iam Christus sol iustitie Lent
55v Aures ad nostras Deitatis preces Lent
56v Ex more docti mistico Lent
57r Audi benigne conditor Lent
57v Dei fide qua vivimus Lent
58r Qua Christus hora sitiit Lent
58r Ternis ter horis Lent
58v38r Sic ter quaternis trahitur Lent
38r Christe sanctorum decus St Benedict
39v Deus qui mundum crimine Annunciation
40v Ave Maris Stella Annunciation
41r Pange lingua gloriosi prelium Passion Sunday
42r Crux Fidelis Passion Sunday
42v Vexilla regis Passion Sunday
43v Magno salutis gaudio Palm Sunday
44v Ymnum dicamus Domino fratres Maundy Thursday
45r Hic est dies verus dei sancto Easter
46r Aurora lucis rutilat Easter
46v20r Ad cenam agni provide Easter
20r Rex sempiterne domine Easter

402
 21r Iesu nostra redemptio Easter
21r Festum beati martyris odis St Mark
22r Christe sanctorum decus angelorum St Michael
22r Optatus votis omnium Ascension
23r Iam Christus ascendit polum Ascension
23v Festum nunc celebre Ascension
24v Funeris victor triduo Ascension
25r Veni creator Spiritus Pentecost
25v Beata nobis gaudia anni Pentecost
26r Iam Chrsitus astra ascenderat Pentecost
34r Eustasii magni martyris St Eustasius
34v27r Alma beati martyris viti St Vitus
27r Ad laudem Christi procerum St Bartholomew
28r Gaudium mundi Christe St Bartholomew
29r Ut queant laxis St John Baptist
29v Non fuit vasti spatium St John Baptist
30r Almi prophete progenies pie St John Baptist
30v Deus qui verbi angelo St John Baptist
31v O clara mundi lumina Sts John and Paul
32v Aurea luce et decore roseo Sts Peter and Paul
32v Doctor egregie Paule Sts Peter and Paul
33r Apostolorum passio diem Sts Peter and Paul

Naples VI G 31

Folio Hymn Title Feast

1r Urbs beata Hierusalem (continued) Dedication Church
1r Altare hoc magnum Dedication Altar
1r Christe celorum habitatur alme Dedication Church
1v Christe cunctorum dominator alme Dedication Church

34r O nata lux de lumine Transfiguration

34r Martyris Christi colimus triumphum St Lawrence
34v Devota mente socii preces St Lawrence
35r Quis possit amplo famine Assumption
35v Quem terra pontus Assumption
35v Ad laudem sancte Mariae* Assumption
36r Nunc tibi virgo virginum (not.) Assumption
36v Almi prophetae progenies* St John Baptist
36v Assertor equi St John Baptist
36v Gaude visceribus Nativity Mary
37r O sancta mundi Domina Nativity Mary
37v O quam glorifica luce (not.) Nativity Mary
37v Christe qui virtus sator All Saints
38r Iesu salvatoris saeculi redemptis All Saints
38v Christe redemptor omnium (not. ?) All Saints
39r In laude Martini St Martin
39r Martine confessor Domini St Martin
39v Rex Christe martini decus St Martin
40r Ad Christi laudem virginis St Cecilia
40r Deus sacrati nominis St Andrew

403
40v Post petrum primum St Andrew
41r Exultet celum laudibus Apostle
41r Eterna Christi munera apostolorum Apostle
41v Apostolorum mistica digna Apostle
42r Regis immensi militis triumphos Apostle
42v Sacrum piorum martirum Several martyrs
42v Sanctorum meritis inclita Several martyrs
43r Eterna Christi munera et martirum Several martyrs
43r Rex gloriose martirum corona Several martyrs
43v Deus tuorum militis One martyr
43v Martir Dei qui unicum One martyr
44r O Thoma christi St Thomas vigil
44r Matthia iuste duodeno St Matthew vigil
44r Iacobe iuste St Jacob vigil
44r Proni rogamus philippe Sts Phillip and Jacobi vigil
44r Iacobi magne supplantator St Jacobi vigil
44r Bartholomee celi sydus aureum St Bartholomew vigil
44v Mathee sancte bino pollens St Matthias vigil
44v Beate simon thadee inclyte Sts Simon and Jude vigil
44v Andrea pie sanctorum St Andrew vigil
44v Annue Christe St Andrew vigil
45r Summe confessor sacer Confessors
45v Iste confessor Domini sacratus Confessors
45v Iesu redemptor omnium perpes (not.) Confessors
46r Iesu corona virginum Virgins
46r Virginis proles opifexque matris Virgins
46v Urbs beata Hierusalem (not.) Dedication church

Naples VI E 43

Folio Hymn Title Feast

183v Primo dierum omnium Sundays
183v Iam lucis orto sydere Sundays
183v Nunc sancte nobis spiritus Sundays
183v Rector potens verax Deus Sundays
183v Rerum Deus tenax vigor Sundays
183v Lucis creator optime Sundays
184r Te lucis ante terminum Sundays
184r Nocte surgentes vigilemus omnes Sundays
184r Ecce iam noctis Sundays
184r Deus creator omnium polique Sundays
184v Somno refectus artubus Feria II
184v Splendor paterne glorie Feria II
185r Immense celi conditor Feria II
185r Consors paterni luminis Feria III
185v Ales diei nuntius Feria III
185v Telluris ingens conditor Feria III
185v Rerum creator optime Feria IV
185v Nox et tenebre et nubila Feria IV
186r Celi Deus sanctissime Feria IV
186r Nox atra rerum contegit Feria V
186r Lux ecce surgit aurea Feria V

404
186v Magne Deus potentie Feria V
186v Tu trinitatis unitas Feria VI
187r Eterna celi gloria Feria VI
187r Plasmator hominis Deus Feria VI
187r Summe Deus clementie Saturdays
187v Aurora iam spargit polum Saturdays
187v O lux beata trinitas Saturdays
187v Conditor alme syderum Advent Sunday
188r Verbum supernum prodiens Advent
188r Vox clara ecce intonat Advent
188r Debitas laudes St Nicholas
188v Verbum salutis omnium St Nicholas
188v Ambrosi sidus aureum St Ambrose
188v Tue vocis (div.) St Ambrose
189r Egredere Emmanuhel Christmas vigil
189r Veni redemptor gentium Christmas
189v Christe redemptor omnium Christmas
189v A solis ortus cardine Christmas
190r Christus est vita veniens St Stephen
190r Imbuit primus homines St Stephen
190v Stephano primo martyris St Stephen
190v Iste electus Iohannes St John Evangelist
191r Te rogamus te precamus St John Evangelist
191r Sollempnis dies advenit St John Evangelist
191v Salvete flores martyrum Holy Innocents
192r Infantum diem martyrum Holy Innocents
192r Iesus refulsit omnium Epiphany
192v Hostis Herodes impie Epiphany
192v Illuminans altissimus Epiphany
193r Confessor Domini Maure St Maur
193v Martyr Dei egregie St Sebastian
193v Agnetis festum martyris St Agnes
194r Ut digne possint resonare voces St Vincent
194r Paule doctor egregie Conversion of St Paul
194v Quod chorus vatum Purification
194v Quem terra pontus Purification
195r Martyris ecce dies Agathe St Agatha
195r Hodie sacratissima virgo St Scholastica
196r Pangamus pariter (marginal not.) St Barbatus
196r Samnites populos St Barbatus
196v Deus eterne famulos clementia Forty Martyrs
196v Anglorum iam apostolus St Gregory
197r O pontifex egregie St Gregory
197r Christe sanctorum decus atque virtus St Benedict
197v Hunc soror sacra (div.) St Benedict
197v Fratres alacri pectore St Benedict
198r Rector vafer deprenderis (div.) St Benedict
198v Magno canentes annua St Benedict
198v Dilectus hic pollet tuus St Benedict
198v Gemma celestis St Benedict
199r Deus qui mundum crimine Annunciation
199v Ave maris stella Annunciation
199v Aures ad nostras Lent
405
200r Medie noctis tempus est Lent
200v Iam lucis splendor rutilat Lent
200v Ex more docti mystic Lent
201r Iam Christe sol iustitie Lent
201r Dei fide qua vivimus Lent
201v Qua hora Christus sitiit Lent
201v Ternis ter horis Lent
201v Audi benigne conditor Lent
202r Christe qui lux est et dies Lent
202r Pange lingua gloriosi Passion Sunday
202v Crux fidelis Passion Sunday
202v Vexilla regis prodeunt Passion Sunday
203r Magno salutis gaudio Palm Sunday
203r Rex ecce tuus humilis Palm Sunday
203v Ymnum dicamus Domino Maundy Thursday
203v Hic est dies Easter
204r Aurora lucis rutilat Easter
204v Ad cenam agni providi Easter
204v Salve crux sancta Holy Cross
205r Tibi Christe splendor patris St Michael
205r Christe sanctorum decus angelorum St Michael
205r Festum nunc celebre Ascension
205v Optatus votis omnium Ascension
206r Iam Christus ascendit polum Ascension
206r Veni creator spiritus Pentecost
206v Beata nobis gaudia Pentecost
206v Iam Christus astra ascenderat Pentecost
207r Ut queant laxis St John Baptist
207v Non fuit vasti spatium St John Baptist
207v Almi prophete progenies pia St John Baptist
208r Felix per omnes Sts Peter and Paul
208v Apostolorum passio diem Sts Peter and Paul
208v Aurea luce et decore roseo Sts Peter and Paul
209r O nata lux de lumine Transfiguration
209r O sator rerum reparator Transfiguration
209v Martyris Christi colimus St Lawrence
210r Devota mente socii St Lawrence
210r Quis possit amplo famine Assumption
210v Ad laudem sancte marie Assumption
211r O genitrix eterni virgo Assumption
211v Nunc tibi virgo virginum Assumption
212r Festa sacrata praesulis St Apollinaris
212v Iam sacra dies annua Seven Brother Martyrs
212v Ad laudem Christi procerum St Bartholomew
213r Gaudium mundi Christe St Bartholomew
213r Almi propheti* St John Baptist
213r Assertor equi St John Baptist
213v Votis tuorum Christe fidelium Holy Twelve Brothers
213v Splendor diei rutilat Holy Twelve Brothers
214r Gaude visceribus Nativity Virgin Mary
214r Illuminavit hunc diem Dedication? of Angels
214v Christe redemptor omnium All Saints
214v Christe qui virtus sator All Saints
406
215r Iesu salvator seculi All Saints
215r In laude Martini Deus St Martin
215v Martine confessor Domini St Martin
215v Rex Christe Martini decus St Martin
216r Ad Christi laudem virginis St Cecilia
216r Mercuri semper venerande St Mercurius
216v Ad martyris Mercurii St Mercurius
217r Laudes Mercurii St Mercurius
217v Post Petrum primum St Andrew
217v Deus sacrati nominis St Andrew
218r O veneranda trnitas Trinity
218r O pater sancte mitis Trinity
218r Annue Christe Apostles
218v Andrea pie sanctorum St Andrew
218v Iacobe magne supplantator St Iacobi
218v Bina celestis Sts John and Iacobi
218v O Thoma St Thomas
218v Proni rogamus St Philip
218v Iacobe sancta Iesus St Iacobi
218v Bartholomee celi sydus aureum St Bartholomew
218v Mathee sancte bino St Matthew
218v Beate Simon et Taddee Sts Simon and Jude
219r Mathia iuste duodene St Matthias
219r Luca verende St Luke
219r Eterna Christi munera Apostles
219r Exultet celum laudibus Apostles
219v Deus tuorum militum One martyr
219v Martir Dei qui unicum One martyr
219v Sanctorum meritis Several martyrs
220r Rex gloriose martyrum Several martyrs
220r Sacrum piorum martyrum Several martyrs
220r Summe confessor sacer Confessors
220v Iste confessor Domini Confessors
221r Iesu redemptor omnium Confessors
221r Iesu corona virginum Virgins
221r Virginis proles opifexque Virgins
221v Urbs beata Ierusalem Dedication Church
221v Christe cunctorum dominator Dedication Church
222r Altare hoc magnum Dedication Altar
222v Christe celorum habitator alme Dedication Church

Vat. lat. 4928

Folio Hymn Title Feast

214v Primo dierum omnium Sundays
215r Eterne rerum conditor Sundays
215v Iam lucis orto sidere Sundays
215v Nunc sancte nobis spiritus Sundays
215v Rector potens verax Deus Sundays
216r Rerum Deus tenax vigor Sundays
216r Te lucis ante terminum Sundays
216r Nocte surgentes vigilemur omnes Sundays sumemr

407
216v Ecce iam noctis Sundays
216v Deus creator omnium polique Sundays
217r Somno refectis artubus Feria II
217r Splendor paterne glorie Feria II
217v Immense celi conditor Feria II
217v Consors paterni luminis Feria III
217v Ales diei nuntius Feria III
218r Telluris ingens conditor Feria III
218r Rerum creator optime rectoris Feria IV
218r Nox et tenebre et nubile Feria IV
218v Celi deus sanctissime Feria IV
218v Nox atra rerum contegit Feria V
218v Lux ecce surgit aurea Feria V
219r Magnus Deus potentiae Feria V
219r Tu trinitatis unitas Feria VI
219v Eterne celi gloria Feria VI
219v Plasmator hominis Deus Feria VI
219v Summe Deus clementiae Saturdays
220r Aurora iam spargit Saturdays
220r O lux beata trinitas Saturdays
220r O pater sancte mitis Trinity
220v O veneranda trinitas Trinity
220v Te trina Deus unitatis Trinity
221r Conditor alme siderum Advent
221r Verbum supernum prodiens Advent
221v Vox clara ecce intonat Advent
221v Verbum salutis omnium Advent
222r Egredere Emmanuel Christmas
222r Veni redemptor gentium Christmas
222v Christe redemptor omnium Christmas
222v A solis ortus cardine Christmas
223r Christus est vita veniens St Stephen
223r Imbuit primum homines beatus St Stephen
223v Stephano primo martyris S Stephen
223v Iste electus Iohannes St John Evangelist
224r Te rogamus te precamur St John Evangelist
224r Sollemnis dies advenit St John Evangelist
224v Hostis herodes* Holy Innocents
224v Christi caterva Holy Innocents
224v Salvete flores martyrem Holy Innocents
225r Iesus refulsit omnium pius Epiphany
225v Hostis Herodes impie Epiphany
225v Illuminans altissimus Epiphany
226r Confessor Domini Maure St Maur
226v Martyr Dei egregie St Sebastian
226v Agnetis festum martyris St Agnes
227r Quod chorus vatum Purification
227r Quem atra pontus Purification
227v Martyris ecce dies agathe St Agatha
227v Christe Sanctorum decus atque St Benedict
228r Hunc soror sacra (div.) St Benedict
228v Cuius ad celum (div.) St Benedict
228v Gemma celestis St Benedict
408
229r Magno canentes St Benedict
229r Deus qui mundum crimine Annunciation
229v Ave maris stella Annunciation
230r Aures ad nostras Lent
230r Iam lucis splendor rutilat Lent
230v Christe qui lux est et dies Lent
230v Ex more docti mystico Lent
231r Audi benigne conditor Lent
231r Dei fide qua vivimus Lent
231v Qua Christus hora sitit Lent
231v Ternis ter horis Lent
231v Sic ter quaternis trahit horis Lent
231v Pange lingua gloriosi Passion Sunday
232r Crux fidelis (div.) Passion Sunday
232v Vexilla regis Passion Sunday
232v Magno salutis gaudio Palm Sunday
233r Ramos virentes (div.) Palm Sunday
233r Hic est dies verus Easter
233v Aurora lucis rutilat Easter
234r Ad cenam agni providi Easter
234r Gaudet sanctorum cetus supernorum St Juvenal
234v Tibi Christe splendor patris St Michael
235r Christe sanctorum decus angelorum St Michael
235r Sublime nobis imminet St Boniface
235v Adstat en turba St Boniface
235v Festum nunc celebre Ascension
236r Optimus votis omniuum Ascension
236v Iam Christus ascendit polum Ascension
236v Veni creator spiritus Pentecost
237r Beata nobis gaudia Pentecost
237r Iam Christus astra ascenderat Pentecost
237v Aula celestis St Eleutherius
238r Ut queant laxis St John Baptist
238v Non fuit vasti spatium (division) St John Baptist
238v Almi prophete progenies pia St John Baptist
239r Felix per omnes festum Sts Peter and Paul
239v Apostolorum passio Sts Peter and Paul
240r Aurea luce et decore roseo Sts Peter and Paul
240r O nata lux de lumine Transfiguration
240v O sator rerum Transfiguration
241r Agonitheta nobilis St Cyriacus
241r Ymnum canamus socii St Cyricaus
241v Martyris Christi colimus St Lawrence
242r Devota mente St Lawrence
242r Quis possit amplo famine Assumption
242v Ad laduem sancte Marie Assumption
243r Fit porta Christi Assumption
243r Nunc sancti virgo virginum Assumption
243v Gaudium mundi Christe St Bartholomew
244r Ad laudem Christi procerum St Bartholomew
244r Assertor equi John Baptist
244v Christi caterva pervigil Holy Twelve Brothers
245r Splendor diei rutilat Holy Twelve Brothers
409
245r Gaude visceribus Nativity Mary
245v Illuminavit hunc diem St Michael
246r Christe redemptor omnium All Saints
246r Christe qui virtus sator All Saints
246v Iesus salvator seculi All Saints
246v Martine confessor Domini St Martin
247r In laude Martini Deus St Martin
247r Rex Christe Martini St Martin
247v Ad Christi laudem virginis St Cecilia
248r Mercurius semper venerande St Mercurius
248v Ad martyris Mercurii St Mercurius
248v Laudes Mercurii St Mercurius
249r Post Petrum primum St Andrew
249v Decus sacrati nominis St Andrew
249v Anime Criste seculorum Domine Apostles
250v Eterna Christi munera Apostles
250v Exultet celum laudibus Apostles
251r Sanctorum meritis Several martyrs
251v Eterna Christi munera Several martyrs
251v Sacrum piorum martyrum Several martyrs
251v Deus tuorum militum One martyr
252r Martyr Dei qui unicum One martyr
252r Summe confessor sacer et sacerdos Confessors
252v Iste confessor Confessors
252v Iesus redemptor omnium Confessors
253r Iesus corona virginum Virgins
253r Virginis proles opifexque Virgins
253v Urbs beata Ierusalem Dedication Church
253v Christe cunctorum dominator alme Dedication Church
254r Quesumus ergo Deus (div.) Dedication Church
254v Christe celorum habitator alme Dedication Church
254v Altare hoc magnum Domini Dedication Altar

Ben 42

Folio Hymn Title Feast

97r Primo dierum omnium Sunday
97v Eterne rerum conditor Sunday
98r Nocte surgentes, vigilemus omnes Sunday summer
98v Ecce iam noctis Sunday summer
98v Iam lucis orto sidere* Sunday summer
99r Nunc sancte nobis Spiritus Sunday summer
99r Rector potens verax deus Sunday summer
99v Rerum deus tenax vigor Sunday summer
99v Lucis creator optime Sunday summer
100r Deus creator omnium polique In summer
100v Te lucis ante terminum In summer
100v Somno refectis artubus Feria II
101r Splendor paterne glorie Feria II
101v Immense celi conditor Feria II
101v Consors paterni luminis Feria III
102r Ales diei nuntius Feria III

410
102r Telluris ingens conditor Feria III
102r Rerum creator optime Feria IV
103r Nox et tenebre et nubila Feria IV
103r Celi deus scissime Feria IV
103v Nox atra rerum contegit Feria V
103v Lux ecce surgit aurea Feria V
104r Magne Deus potentie Feria V
104v Tu Trinitatis unitas Feria VI
104v Eterna celi Gloria Feria VI
105r Plasmator hominis Feria VI
105v Summe Deus clementine Saturday
105v Aurora iam spargit polum Saturday
106r O lux beata Trinitas Saturday
106r O Pater sancte mitis Trinity
106v O veneranda Trinitas laudanda Trinity
107r Conditor alme siderum Saturday advent
107r Verbum supernum prodiens Saturday advent
107v Vox clara ecce intonate Saturday advent
108r Verbum salutis omnium Cotidianis diebus
108r Debitas laudes Domino canentes St Nicholas
108v Terret augustum pater almus St Nicholas
109r Ambrosi sidus aureum St Ambrose
109v Christe, lux mundi* St Lucy
110v Sancti Thome apostoli laudes canamus St Thomas
111v Conditor alme* Christmas Vigil
111v Egredere, Emmanuhel Christmas Vigil
111v Veni, redemptor gentium Christmas Vigil
112r Christe redemptor omnium Christmas Vigil
112v A solis ortus cardine Christmas Vigil
113r Christus est vita veniens St Stephen
113v Imbuit primus homines beatus* St Stephen
114r Stephano primo martiri cantemus St Stephen
114v Iste electus Iohannes diligendi St John Evangelist
115v Sollemnis dies advenit St John Evangelist vespers
115v Hostis Herodes* Innocents
116r Salvete Flores martirum Innocents
116v Silvestri almi presulis St Silvester
117r Iesus refulsit omnium Epiphany
117v Hostis Herodes impie Vespers
118r Illuminans latissimus Vespers
118v Christe scorum* St Maur
118v Confessor Domini Maure St Maur
119r Christe scorum* St Maur
119r Martir Dei egregie St Sebastian
119v Agnetis festum martiris St Agnes
120r Ut digni possint resonare voces St Vincent
120v Doctor egregie* Conversion of St Paul
120v Quod chorus vatum Purification
121r Quem terra, pontus, ethera Purification
121v Martiris ecce dies Agathe St Agatha
122v Hodie sacratissima virgo Christi St Scholastica
123r Pangamus pariter carmina St Barbatus
123v Samnites populos eruit hostibus St Barbatus
411
123v Deus eterne, famulos clementer Forty Martyrs
124r Anglorum iam apostolus St Gregory
124v O pontifex egregie lux et decus St Gregory
125r Magno canentes annua St Benedict
125v Christe, scorum decus atque virtus St Benedict
126v Fratres, alacri pectore St Benedict
127r Rector vafer deprenderis* St Benedict
128r Gemma celestis pretiosa St Benedict
128v Deus qui mundum crimine Annunciation
129v Quem terra, pontus* Annunciation
129v Ave maris stella Annunciation
129v Aures ad nostras deitatis Lent Sunday
130v Iam lucis splendor rutilat Lent Sunday
130v Ex more docti mistico Cotidians diebus
131r Audi benigne Conditor Cotidians diebus
131v Dei fide, qua vivimus Cotidians diebus
131v Qua Christus hora sitiit* Cotidians diebus
132r Ternis ter horis numerus* Cotidians diebus
132r Sic ter quaternis trahitur Cotidians diebus
132v Christe qui lux es et dies Cotidians diebus
132v Pange lingua Passion Sunday
133v Crux fidelis Passion Sunday
133v Vexilla regis Passion Sunday
134r Magno salutis gaudio Palm Sunday
134v Ramos virentes* Palm Sunday
135r Hic est dies verus Easter Sunday
135v Aurora lucis rutilat Easter Sunday
136v Ad cenam Agni provide Easter Sunday
137r Festum beati martiris S.Mark
137v Clarus hec signis rutilat St Leo
138r Paschalis dies colitur St Juvenalis
138v Gaudet sanctorum cetus supernorum St Juvenalis
139r Tibi Christe splendor patris St Michael
139v Christe sanctorum decus angelorum St Michael
139v Sublime nobis imminent St Boniface
140r Astat en turba populi St Boniface
140v Festum nunc celebre Ascension
141r Optatus votis omnium Ascension
141v Iam Christus ascendit polum Ascension
142r Eustasii magni martiris St Eustasius
143r Veni, creator Spiritus Pentecost
143r Beata nobis gaudia Pentecost
143v Iam Christus astra ascenderat Pentecost
144r Ut queant laxis St John Baptist
144v Non fuit vasti spatium St John Baptist
145r Almi prophete progenies pia St John Baptist
146r Felix per omnes St Peter and Paul
147r Apostolorum passio diem St Peter and Paul
147v Aurea luce et decore roseo St Peter and Paul
148r Doctor egregie, Paule* St Paul
148r Iam sacra dies annua St Felicitas
148v Festa sacrata presulis Apollinaris St Apollinaris
149r O nata lux de lumine Transfiguration
412
149v O sator rerum Transfiguration
150v Ymnum canamus socii St Cyriacus
151r Agonitheta nobilis St Cyriacus
151r Martiris Chrissti colimus St Lawrence
152r Devota mente socii preces St Lawrence
152v Fit porta Christi pervia Vigil Assumption
152v Ave maris stella* Vigil Assumption
152v Quis possit amplo Vigil Assumption
153v Quem terra pontus* Assumption
153v Ad laudem sancte Marie Assumption
154r Nunc tibi, virgo virginum Assumption
154v Ad laudem Christi procerum St Bartholomew
155r Gaudium mundi, Christe St Bartholomew
155v Almi prophete progenies pia St John Baptist
156r O nimis felix* St John Baptist
156r Votis tuorum Christe Holy Twelve Brothers
156v Christi caterva pervigil Holy Twelve Brothers
157v Splendor diei rutilat Holy Twelve Brothers
158r Gaude visceribus Nativity of Mary
158v Illuminavit hunc diem St Michael
159r Christe, qui virtus sator All Saints
159v Jesu, salvator seculi All Saints
160r Christe redemptor omnium All Saints
160v In laude Martini St Martin
161r Martini confessor Dei St Martin
161r Rex Christe Martini decus St Martin
161v Ad Christi laudem virginis St Cecilia
162v Mercuri semper venerande martir St Mercurius
162v Ad martiris Mercurii festa venite St Mercurius
163v Laudes Mercurii dicere St Mercurius
164r Post Petrum primum St Andrew
164v Decus sacrati nominis St Andrew
165r Exultet celum laudibus Apostles
165v Eterna Christi munera Apostles
165v Andrea pie St Andrew
166r A Thoma Christi perlustrator St Thomas
166v Mathia iuste duodeno solio* St Mathias
166v Proni rogamus Philippe St Phillip
166v Iacobe magne St Jacob
166v Bartholomee celi sidus St Bartholomew
167r Mathee sancta St Matthew
167r Luca verende St Luke
167r Beate Symon et Taddee St Simon
167r Deus, tuorum militum One martyr
167v Martir Dei qui unicum One martyr
168r Sanctorum meritis Several martyrs
168v Eterna Christi munera Several martyrs summer
168v Rex gloriose martirum Several martyrs summer
169r Sacrum piorum martirum Several martyrs summer
169r Summe confessor sacer Confessors
170r Iste confessor Domini sacratus Confessors
170v Iesu redemptor omnium Confessors
170v Sancti illi presulis Confessors
413
171r Iesu corona virginum One Virgin
171v Virginis proles opifexque matris One Virgin
172r Urbs beata Ierusalem Dedication of a Church
172v Christe cunctorum dominator Dedication of a Church
173r Quesumus ergo Deus Dedication of a Church
173v Christe celorum habitator alme Dedication of a Church
174r Altare hoc magnum Dedication of one Altar

MC 506

Folio Hymn Title Feast

1 Primo dierum omnium Sundays
2 Nocte surgetes Sundays
3 Eterne rerum conditor Sundays
3 Iam lucis orto sidere Sundays
4 Nunc sancta nobis spiritus Sundays
4 Rector potens Sundays
5 Rerum Deus Sundays
5 Lucis creator optime Sundays
6 Deus creator omnium polique Sundays
8 Te lucis ante terminum Sundays
8 Christe qui lux es et dies Sundays
9 Somno refectis artubis Feria II
10 Splendor paterne glore Feria II
12 Immense celi conditor Feria II
13 Consors paterni luminis Feria III
14 Ales diei nuntius Feria III
15 Telluris ingens conditor Feria III
16 Rerum creator optime Feria IV
17 Nox et tenebre Feria IV
18 Celi Deus sanctissime Feria IV
18 Nox atra rerum contegit Feria V
19 Lux ecce surgit aurea Feria V
20 Magne Deus potentie Feria V
22 Tu trinitatis unitas Feria VI
23 Eterne celi gloria Feria VI
24 Plasmator hominis Deus Feria VI
25 Summe Deus clementie Saturdays
26 Aurora iam spargit Saturdays
27 O lux beata trinitas Saturdays
27 O veneranda trinitas Trinity
28 Te trina Deus unitas Trinity
30 O pater sancte mitis Trinity
31 Conditor alme syderum Advent
32 Verbum supernum prodiens Advent
33 Vox clara ecce intonat Advent
34 Verbum salutis omnium Advent
36 Festa plebs sancto St Nicholas
37 Regis superni signifer St Nicholas
39 Aurora fulget aurea St Nichlolas
41 Ambrosi sidus aureum St Ambrose
43 Veni redemptor gentium Christmas

414
 45 Christe redemptor omnium Christmas
46 A solis ortu cardine Christmas
48 Fit porta Christi Purification
50 Christus est vita St Stephen
52 Imbuit primus homines St Stephen
54 Stephano primo martiri St Stephen
56 Iste est electus Iohannes St John Evangelist
59 Sollempnis dies advenit St John Evangelist
61 Salvete flores martirum Holy Innocents
63 Infantum diem martyrum Holy Innocents
64 Hostis Herodis impie Epiphany
66 Illuminans altissimus Epiphany
68 Iesus refulsit omnium Epiphany
70 Confessor Domini Maure St Maur
73 Martir Dei egregie St Sebastian
74 Agnetis festum martiris St Agnes
76 Quod chorus vatum Purification
78 Quem terra pontus Purification
80 Martiris ecce dies Agathe St Agatha
82 Hodie sacratissima virgo St Scholastica
86 Christe sanctorum decus St Benedict
91 Fratres alacri pectore St Benedict
96 Magno canentes annua St Benedict
97 Deus qui mundum crimine Annunciation
101 Ave maris stella Annunciation
102 Aures ad nostras Lent
105 Iam lucis splendor rutilat Lent
105 Ex more docti mistico Lent
107 Audi benigne conditor Lent
108 Dei fide qua vivimus Lent
109 Qua Christus hora sitiit Lent
110 Teris ter horis Lent
110 Sic ter quaternis Lent
111 Pange lingua gloriosi Passion Sunday
115 Vexilla regis Passion Sunday
117 Magno salutis gaudio Palm Sunday
119 Hic est dies verus Easter
121 Aurora lucis rutilat Easter
124 Ad cenam agni providi Easter
125 Tibi Christe splendor patris St Michael
127 Christe sanctorum decus angelorum St Michael
128 Illuminavit hunc diem St Michael
130 Optatus votis omnium Ascension
132 Iam Christus ascendit polus Ascension
134 Festum nunc celebre Ascension
136 Veni creator spiritus Pentecost
137 Beata nobis gaudia Pentecost
139 Iam Christus astra ascenderat Pentecost
141 Ut queant laxis St John Baptist
144 Almi prophete progenies pie St John Baptist
146 Assertor equi St John Baptist
147 Aurea luce et decore roseo Sts Peter and Paul
149 Apostolorum passio diem Sts Peter and Paul
415
151 Felix per omnes Sts Peter and Paul
154 O sator rerum Transfiguration
157 O nata lux de lumine Transfiguration
158 Martyris Christi colimus St Lawrence
161 Devota mente socii St Lawrence
163 Quis possit amplo famine Assumption
166 Ad laudem sancte Marie Assumption
167 Nunc tibi virgo virginum Assumption
169 Gaude visceribus Nativity of the Virgin
171 Christe qui virtus All Saints
174 Iesu salvator seculi All Saints
175 Christe redemptor omnium All Saints
176 Urbs beata Hierusalem Dedication of Church
179 Christe cunctorum dominator alme (not.) Dedication of Church
181 Quesumus ergo Deus Dedication of Church
182 Christe celorum habitator alme Dedication of Church
183 In laude Martini Deus St Martin
185 Martine confessor Dei St Martin
187 Rex Christe Martini decus St Martin
188 Ad Christi laudem virginis St Cecilia
190 Post Petrum primum St Andrew
192 Decus sacrati nominis St Andrew
193 Exultet celum laudibus Apostles
195 Eterna Christi munera apostolorum Apostles
198 Sanctorum meritis Several martyrs
198 Eterna Christi munera et martyrum Several martyrs
200 Rex gloriose martyrum Several martyrss
200 Deus tuorum militum One martyr
202 Martyr Dei qui unicum One martyr
203 Summe confessor sacer Confessors
205 Virginis proles opifexque Virgins

Naples VI F 2

Folio Hymn Title Feast

143r Primo dierum omnium Sunday Summer
143r Eterne rerum conditor Sunday Summer
143v Nocte surgentes Sunday Summer
144r Ecce iam noctis Sunday Summer
144r Iam lucis orto sidere Sunday Summer
144r Nunc sancta nobis spritus Sunday Summer
144v Rector potens verax Deus Sunday Summer
144v Rerum Deus tenax vigor Sunday Summer
144v Lucis creator optime Sunday Summer
144v Deus creator omnium Sunday Summer
145r Te lucis ante terminum Sunday Summer
145v Christe qui lux est et dies Lent Sunday
145v Somno refectis artubus Feria II
146r Splendor paterne glorie Feria II
146r Immense celi conditor Feria II
146v Consors paterni luminis Feria III
146v Ales diei nuntius Feria III

416
146v Telluris ingens conditor Feria III
147r Rerum creator optime Feria IV
147r Nox et tenebre et nubila Feria IV
147v Celi deus sanctissime Feria IV
147v Nox atra rerum contegit Feria V
148r Lux ecce surgit aurea Feria V
148r Magne Deus potentie Feria V
148r Tu trinitatis unitas Feria VI
148v Eterna celi gloria Feria VI
148v Plasmator hominis Deus Feria VI
149r Summe Deus clementie Saturdays
149r Aurora iam spargit polum Saturdays
149v O lux beata trinitas Saturdays
149v O pater sancte mitis Trinity Sunday
149v O veneranda trinitas Trinity Sunday
150r Te trina Deus unitas Trinity Sunday
150v Conditor alme siderum Advent
150v Vox clara ecce intonat Advent
151r Verbum supernum prodiens Advent
151r Verbum salutis omnium Advent
151r Veni redemptor gentium Christmas
151v Christe redemptor omnium Christmas
152r A solis ortus cardine Christmas
152v Christe vita veniens St Stephen
153r Imbuit primus homines (division) St Stephen
153r Stephano primo martytris St Stephen
153v Iste electus Iohannes St John Evangelist
154r Te rogamus te precamus (division) St John Evangelist
154r Sollemnis dies advenit St John Evangelist
154v Salvete flores martyrum Holy Innocents
155r Hostis Herodes Epiphany
155v Illuminans altissimus micantium Epiphany
155v Iesus refulsit omnium Epiphany
156r Martyr Dei egregie St Sebastian
156v Agnetis festum martyris St Agnes
157r Quod chorus vatus Purification
157r Quem terra pontus Purification
157v Martyris ecce dies agathe St Agatha
158r Christe sanctorum decus atque virtus St Benedict
158v Hunc soror (division) St Benedict
159r Magno canentes annua St Benedict
159r Deus qui mundum crimine Annunciation
160r Ave maris stella Annunciation
160v Iam lucis splendor rutilat Lent
160v Aures ad nostras Lent
161r Ex more docti mistico Lent
161v Audi benigne conditor Lent
161v Dei fide qua vivimus Lent
161v Qua Christus hora sitit Lent
162r Ternis ter horis Lent
162r Sic ter quaternis Lent
Pange lingua gloriosi proelium
162r Passion Sunday
certaminis
417
163r Crux fidelis (division) Passion Sunday
163r Vexilla regis prodeunt Passion Sunday
163v Magno salutis gaudio Palm Sunday
164r Ramos virentes (division) Palm Sunday
164r Hic est dies verus Easter
164v Aurora lucis rutilat Easter
165r Ad cenam agni providi Easter
165v Crux benedictus Invention Cross
166r Tibi Christe splendor St Michael
166v Christe sanctorum decus angelorum St Michael
166v Illuminavit hunc dies St Michael
167r Optatus vocis omnium Ascension
167v Iam Christus ascendit polum Ascension
168r Festum nunc celebre Ascension
168v Veni creator spiritus Pentecost
168v Beata nobis gaudia Pentecost
169r Iam Christus astra ascenderat Pentecost
169v Almi prophete progenies pia St John Baptist
170r Ut queant laxis St John Baptist
170v Aurea luce et decore roseo Sts Peter and Paul
171r Apostolorum passio diem Sts Peter and Paul
171v Felix per omnes festum Sts Peter and Paul
172v O sator rerum Transfiguration
173r O nata lux de lumine Transfiguration
173r Martyris Christi colimus St Lawrence
173v Devota mente socii St Lawrence
174r Quis possit amplo famine Assumption
174v Ad laudem sancte marie Assumption
175r Nunc tibi virgo virginum Assumption
175v Fit porta Christi Assumption
175v Assertor equi John the Baptist
175v Gaude visceribus Nativity Mary
176r O quam glorifica Nativity Mary
176v Christe qui virtus sator All Saints
177r Iesus salvator seculi All Saints
177r Christe redemptor omnium All Saints
177v In laude Martini Deus St Martin
178r Martine confessor Domini St Martin
178r Ad Christi laudem virginis St Cecilia
178v Deus sacrati nominis St Andrew
179r Post petrum primum St Andrew
179v Aeterna Christi munera Apostles
179v Exultet celum laudibus Apostles
180r Sanctorum meritis More than one martyr
180v Rex glorie martyrum corona More than one martyr
180v Deus tuorum militum One martyr
181r Martyr Dei qui unicum One martyr
181r Iste confessor Domini Confessors
181v Summe confessor sacer et sacerdos Confessors
182r Iesus corona virginum Virgins
182r Virginis proles opifexque Virgins
182v Christe celorum habitator alme Dedication Church
182v Christe cunctorum dominator alme Dedication Church
418
183r Quaesumus ergo Deus (div.) Dedication Church
183v Urbs beata Ierusalem Dedication Church
258v Beata dei genitrix Prime
258v Maria decus hominum Terce
258v O singularis femina Sext
258v Maria templum Domini None
258v Ave maris stella (incipit) Compline

Paris Maz. 364

Folio Hymn Title Feast

139v Primo dierum omnium Sundays
140r Eterne rerum conditor Sundays
140v Nocte surgentes Sundays
140v Ecce iam noctis Sundays
141r Iam lucis orto sydere Sundays
141r Nunc sancte nobis spiritus Sundays
141r Rector potens verax Deus Sundays
141r Rerum Deus tenax vigor Sundays
141v Lucis creator optime Winter
141v Deus creator omnium Summer
142r Te lucis ante terminum Sundays
142r Christe qui lux es et dies Sundays
142r Somno refectus artubus Feria II
142v Splendor paterne glorie Feria II
142v Immense celi conditor Feria II
143r Consors paterni luminis Feria III
143r Ales diei nuntius Feria III
143r Telluris ingens conditor Feria III
143v Rerum creator optime Feria IV
143v Nox et tenebre et nubila Feria IV
144r Celi deus sanctissime Feria IV
144r Nox atra rerum contegit Feria V
144r Lux ecce surgit aurea Feria V
144v Magne Deus potentie Feria V
144v Tu trinitatis unitas Feria VI
145r Eterne celi gloria Feria VI
145r Plasmator hominis Deus Feria VI
145r Summe Deus clementie Saturdays
145v Aurora iam spargit polum Saturdays
145v O lux beata trinitas Saturdays
145v O veneranda trinitas Trinity
146r O pater sancte mitis Trinity
146r Te trina Deus unitas Trinity
146v Conditor alme siderum Advent
148r Verbum supernum prodiens Advent
148r Vox clara ecce intonat Advent
148v Verbum salutis omnium Advent
148v Debitas laudes St Nicholas
149r Ambrosi sydus aureum St Ambrose
149v Veni redemptor gentium Christmas
150r Christe redemptor omnium Christmas

419
150r A solis ortus cardine Christmas
150v Christus est vita veniens St Stephen
151r Imbuit primus homines (div.) St Stephen
151r Stephano primo martyris St Stephen
151v Iste electus Iohannes St John Evangelist
151v Te rogamus te precamus (div.) St John Evangelist
152r Amore Christi nobilis St John Evangelist
152r Sollemnis dies advenit St John Evangelist
152v Salvete flores martyrum Holy Innocents
152v Iesus refulsit omnium Epiphany
153r Hostis Herodes Epiphany
153v Illuminans altissimus Epiphany
153v Confessor Domini Maure St Maur
154r Martyr Dei egregie St Sebastian
154r Agnetis festum martyris St Agnes
154v Agnes beata virginis St Agnes
155r Quod chorus vatum Purification
155r Quem atra pontus Purification
155v Martyris ecce dies Agathe St Agatha
155v Hodie sacratissima virgo St Scholastica
156v Christe sanctorum St Benedict
157r Fratres alacri pectore St Benedict
157v Magno canentes annua St Benedict
158r Deus qui mundum crimine Annunciation
158v Ave maris stella Annunciation
158v Aures ad nostras Lent
159r Ex more docti mystic Lent
159v Iam Christe sol iustitie Lent
159v Dei fide qua vivimus Lent
160r Qua Christus hora sitiit Lent
160r Ternis ter horis Lent
160r Audi benigne conditor Lent
160v Pange lingua Passion Sunday
160v Crux fidelis (div.) Passion Sunday
161r Vexilla regis Passion Sunday
161v Magno salutis gaudio Palm Sunday
161v Ramos virentes (div.) Palm Sunday
162r Hic est dies verus Easter
162v Aurora lucis rutilat Easter
163r Ad cena agni provide Easter
163r Crux benedicta nitet Holy Cross
163v Tibi Christe splendor St Michael
164r Christe sanctorum decus angelorum St Michael
164r Illuminavit hunc diem St Michael
164v Festum nunc celebre Ascension
164v Optatus votis omnium Ascension
165r Iam Christus ascendit polum Ascension
165v Veni creator spiritus Pentecost
165v Beatus nobis gaudia Pentecost
166r Iam Christus astra ascenderat Pentecost
166v Ut queant laxis St John Baptist
166v Non fuit vasti spatium (div.) St John Baptist
167r Almi prophete progenies pia St John Baptist
420
167r Assertor equi Beheading of St John Baptist
167v Felix per omnes Sts Peter and Paul
168r Apostolorum passio diem Sts Peter and Paul
168v Aurea luce et decore roseo Sts Peter and Paul
168v O nata lux de lumine Transfiguration
169r O sator rerum Transfiguration
169v Martyris Christi colimus St Lawrence
170r Devota mente socii St Lawrence
170r Apostolorum supparem St Lawrence
170v Quis possit amplo famine Assumption
171r Ad laudem sancte Marie Assumption
171v Fit porta Christi Assumption
171v Nunc tibi virgo virginum Assumption
172r Gaude visceribus Assumption
172r Christe redemptor omnium All Saints
172v Christ qui virtus All Saints
173r Iesu salvator seculi All Saints
173r In laude Martini Deus St Martin
173v Martine confessor Domini St Martin
173v Rex Christe Martini Deus St Martin
174r Ad Christi laudem virginis St Cecilia
174v Deus sacrati nominis St Andrew
174v Post Petrum primum St Andrew
175r Exultet celum laudibus Apostles
175r Eterna Christi munera Apostles
175v Sanctorum meritis Martyrs
175v Rex gloriose martyris Martyrs
176r Deus tuorum militum One martyr
176r Martyr Dei qui unicum One martyr
176r Summe confessor sacer Confessors
176v Iesu redemptor omnium Confessors
176v Iste confessor Domini Confessors
177r Iesu corona virginum Virgins
177r Virginis proles opifexqui Virgins
177v Urbs beata Ierusalem Dedication Church
178r Christe cunctorum dominator alme Dedication Church
178r Quesumus ergo Deus ut sereno (div.) Dedication Church
179v Christe celorum habitator alme Dedication Church

MC 559

Folio Hymn Title Feast

149 Primo dierum omnium Sundays
149 Eterne rerum conditor Sundays
150 Nocte surgentes Sundays
150 Ecce iam noctis Sundays
150 Iam lucis orto sydere Sundays
151 Nunc sancta nobis spiritus Sundays
151 Rector potens Sundays
151 Rerum Deus tenax vigor Sundays
151 Lucis creator optime Sundays
151 Deus creator omnium Sundays

421
152 Te lucis ante terminum Sundays
152 Christe qui lux est Sundays
152 Somno refectis artubus Feria II
153 Splendor paterne glorie Feria II
154 Immense celi conditor Feria II
154 Consors paterni luminis Feria III
154 Ales diei nuntius Feria III
154 Telluris ingens conditor Feria III
155 Rerum creator optime Feria IV
155 Nox et tenebre Feria IV
155 Celi Deus sanctissime Feria IV
156 Nox atra rerum contegit Feria V
154 Lux ecce surgit aurea Feria V
156 Magne Deus potentie Feria V
157 Tu trinitatis unitas Feria VI
157 Eterna celi Gloria Feria VI
158 Plasmator hominis Deus Feria VI
158 Summe Deus clementie Saturdays
158 Aurora iam spargit polum Saturdays
158 O lux beata trinitas Saturdays
159 O pater sancta mitis Trinity
159 Te trina Deus unitas Trinity
159 O veneranda trinitas Trinity
160 Debitas laudes St Nicholas
161 Ambrosii sydus auream St Ambrose
161 Conditor alme syderum Advent
162 Verbum supernum prodiens Advent
162 Vox clara ecce intonate Advent
162 Verbum salutis omnium Advent
163 Veni redemptor gentium Christmas
163 Christe redemptor omnium Christmas
164 A solis ortus cardine Christmas
164 Christus est vita veniens St Stephen

165 Dei fide qua vivimus Lent

165 Qua Christus hora sitiit Lent
165 Ternis ter horis Lent
165 Iam Christe sol iustitie Lent
166 Pange lingua gloriosi Passion
167 Vexilla regis Passion
168 Magno salutis gaudio Palm Sunday
169 Hic est dies verus Easter
169 Aurora lucis rutilat Easter
170 Ad cenam agni provide Easter
171 Tibi Christe splendor patris St Michael
171 Christe sanctorum decus angelorum St Michael
171 Illuminavit hunc diem St Michael
172 Optatus votis omnium Ascension
173 Iam Christus ascendit polum Ascension
173 Festum nunc celebre Ascension
174 Veni creator spiritus Pentecost
174 Beata nobis gaudia Pentecost
175 Iam Christus astra ascenderat Pentecost
422
175 Grates tibi Iesu Sts Gervase and Protase
176 Ut queant laxis St John Baptist
177 Alme prophete St John Baptist
178 Assertor equi St John Baptist
178 Aurea luce et decore Sts Peter and Paul
179 Apostolorum passio dies Sts Peter and Paul
179 Felix per omnes Sts Peter and Paul
180 Festa sacrata presulis St Apollinaris

Urb. lat. 585

Folio Hymn Title Feast

107v Primo dierum omnium Sundays
108r Eterne rerum conditor Sundays
108r Nocte surgentes Sundays
108v Ecce iam noctis Sundays
108v Iam lucis orto sidere Sundays
108v Nunc sancta nobis spiritus Sundays
108v Rector potens verax Deus Sundays
108v Rerum Deus tenax vigor Sundays
108v Lucis creator optime Sundays
109r Deus creator omnium polique Sundays
109r Te lucis ante terminum Sundays
109r Somno refectis artubs Feria II
109v Splendor paterne glorie Feria II
109v Immense celi conditor Feria II
109v Consors paterni luminis Feria III
110r Ales diei nuntius Feria III
110r Telluris ingens conditor Feria III
110r Rerum creator optime Feria IV
110r Nox et tenebre Feria IV
110v Celi Deus sanctissime Feria IV
110v Nox atra rerum contegit Feria V
110v Lux ecce fulgit aurea Feria V
110v Magne Deus potentie Feria V
111r Te trinitatis unitas Feria VI
111r Eterna celi Gloria Feria VI
111r Plasmator hominis Deus Feria VI
111r Summe Deus clementiae Saturdays
111v Aurora iam spargit polum Saturdays
111v O lux beata trinitas Saturdays
111v O pater sancta mitis Trinity
111v O veneranda trinitas Trinity
112r Te trina Deus unicus Trinity
112r Conditor alme siderum Advent
112v Vox clara ecce intonat Advent
112v Verbum supernum prodiens Advent
112v Verbum salutis omnium Advent
112v Debitas laudes St Nicholas
113r (div.) St Nicholas
113r Ambrosi sidus aureum St Ambrose

423
113v Veni redemptor gentium Christmas
113v Christe redemptor omnium Christmas
114r A solis ortus cardine Christmas
114r Christe est vita veniens St Stephen
114v Stephano primo martyris St Stephen
114v Electus Iohannis diligendi St John Evangelist
115r Te rogamus (div.) St John Evangelist
115v Hostis Herodes* Holy Innocents
115v Salvete flores Holy Innocents
115v Infantum diem martyrum Holy Innocents
116r Hostis Herodes Epiphany
116r Illuminans altissimus Epiphany
116v Iesus refulsit omnium Epiphany
116v Christe sanctorum* St Maur
116v Confessor Domini Maure St Maur
117r Martyr Dei egregie St Sebastian
117r Agnetis festum martyris St Agnes
117v Agnes beate virginis St Agnes
117v Quod chorus vatus Purification
118r Quem atra pontus ethera Purification
118r Martyris ecce dies agathe St Agatha
118v Hodie sacratissima virgo St Scholastica
118v Anglorum iam apostolus St Gregory
119r Christe sanctorum decus atque virtus St Benedict
119v Fratres alacri pectore St Benedict
120v Magno canentes St Benedict octave
120v Deus qui mundum crimine Annunciation
121r Ave maris stella Annunciation
121r Aures ad nostras Lent
121v Iam lucis splendor rutilat Lent
121v Ex more docti mystico Lent
122r Iam Christe sol iustitie Lent
122r Deus fide qua vivimus Lent
122r Qua Christus hora sitit Lent
122r Ternis ter horis Lent
122v Audi benigne conditor Lent
122v Christe qui lux est Lent
122v Pange linga gloriosi proelium Passion Sunday
123r Crux fidelis (div.) Passion Sunday
123r Vexilla regis Passion Sunday
123v Magno salutis gaudio Palm Sunday
123v Ramos virentes (div.) Palm Sunday
124r Hic est dies verus Easter
124r Aurora lucis rutilat Easter
124v Ad cenam agni providi Easter
124v Crux benedicta Exaltation Cross
125r Tibi Christe splendor St Michael
125v Christe sanctorum decus angelorum St Michael
125v Illuminans hunc dies St Michael
126r Optatus votis Ascension
126r Iam Christus ascendit polum Ascension
126v Festum nunc celebre Ascension
126v Veni creator spiritus Pentecost
424
127r Beata nobis gaudia Pentecost
127r Iam Christus astra ascenderat Pentecost
127v Ut queant laxis St John Baptist
127v Non fuit vasti spatium (div.) St John Baptist
128r Almi prophete St John Baptist
128r Felix per omnes Sts Peter and Paul
128v Apostolorum passio Sts Peter and Paul
129r Aurea luce et decore roseo Sts Peter and Paul
129r O sator rerum Transfiguration
129v O nata lux de lumine Transfiguration
129v Martyris Christi colimus St Lawrence
130r Devota mente socii St Lawrence
130v Quis possit amplo famine Assumption
130v Ad laude Sancte marie Assumption
131r Nunc sancta virgo virginum Assumption
131r Fit porta Christi Assumption
131v Gaude visceribus Nativity Mary
131v Christe qui virtus All Saints
132r Iesus salvator seculi All Saints
132r Christe redemptor omnium All Saints
132v In laude Martini Deus St Martin
132v Martine confessor domini St Martin
133r Rex Christe Martini decus St Martin
133r Ad Christi laude virginis St Cecilia
133v Deus sacrati nominis St Andrew
133v Post petrum primum St Andrew
133v Exultet celum laudibus Apostles
134r Eterna Christi munera Apostles
134r Sanctorum meritis Several martyrs
134v Rex gloriose martyrum Several martyrs
134v Deus tuorum militum One martyr
134v Martyr Dei qui unicum One martyr
134v Summe confessor sacer Confessors
135r Iste confessor Confessors
135r Iesu corona virginum Virgins
135v Virginis proles opifexque Virgins
135v Urbs beata Ierusalem Dedication Church
136r Christe cunctoru dominator alme Dedication Church
136v Christe celorum habitator alme Dedication Church
136v Altare hoc magnum Dedication Altar
258v A domini preconium dominicum St Dominic Sora
258v Decus et norma omnium St Dominic Sora
Ecce dies rediit iubili o Nycolae dicta
259v St Nicholas
tibi
259v Aurora fulget aurea dies St Nicholas
260r Praebe Christe canentibus St Sabina
260r Ad patris decus optimi cordis St Sabina
260v Christi hostis Sabina St Sabina
260v Eterne rex altissime Sts Rufinus and Cesidius
261r Laudibus Christus modulando Sts Rufinus and Cesidius
261r Inde vos testes et agonitheta nobiles Sts Rufinus and Cesidius

425
 Getty 83 ML 97

Folio Hymn Title Feast

259v Conditor alme siderum Advent
260r Verbum supernum prodiens Advent
260v Vox clara ecce intonate Advent
260v Verbum salutis omnium Advent
261r Debitas laudes St Nicholas
261r Terret augustum St Nicholas
261v Ambrosi sydus aureum St Ambrose
262r Veni redemptor gentium Christmas
262v Christe redemptor omnium Christmas
263r A solis ortus cardine Christmas
263r Christus est vita veniens St Stephen
263v Imbuit primus homines St Stephen
263v Stephano primo martyris St Stephen
264r Iste electus Iohannes St John Evangelist
264v Te rogamus te precamus St John Evangelist
264v Sollemnis dies advenit St John Evangelist
265r Hostis Herodes* Holy Innocents
265r Salvete flores martirum Holy Innocents
265v Iesus refulsit omnium Epiphany
265v Hostis Herodes Epiphany
266r Illuminans latissimus Epiphany
266v Celum canorus laudibus St Dominic
267r Ecce dies revenit celebris St Dominic
267v Christe tyronum St Dominic
270r Iam lucis orto sidere Sundays
270v Nunc sancta nobis spiritus Sundays
270v Rector potens verax Deus Sundays
270v Rerum Deus tenax vigor Sundays
270v Lucis creator optime Sundays
271r Te lucis ante terminum Sundays
271r Somno refectis artubus Feria II
271v Splendor paterne glorie Feria II
271v Immense celi conditor Feria II
272r Consors paterni luminis Feria III
272r Ales diei nuntius Feria III
272v Telluris ingens conditor Feria III
272v Rerum creator optime Feria IV
272v Nox et tenebre et nubile Feria IV
273r Celi Deus sanctissime Feria IV
273r Nox qui atra rerum contegit Feria V
273v Lux ecce fulgit aurea Feria V
273v Magne Deus potentie Feria V
274r Tu trinitatis unitas Feria VI
274r Eterna celi gloria Feria VI
274v Plasmator hominis Deus Feria VI
274v Summe Deus clementie Saturdays
275r Aurora iam spargit polum Saturdays
275r O lux beata trinitas Saturdays
275r Christe sanctorum* St Maur

426
275r Confessor Domini Maure St Maur
275v Martir Dei egregie St Sebastian
276r Sanctorum meritis* St Sebastian
276r Rex gloriose martyrum* St Sebastian
276r Martyr Dei egregie St Sebastian
276r Agnes beate virginis St Agnes
276v Agnetis festum martyris St Agnes
277r Quod chorus vatum Purification
277r Quem terra pontus Purification
277v Ave maris stella Purification
277v Martyris ecce dies Agathe St Agatha
278r Hodie sacratissima virgo St Scholastica
278v Iam bone pastor Petre* Cathedra Petri
278v Exultet celum laudibus Cathedra Petri
279r Anglorum iam apostolus St Gregory
279r O pontifex egregie St Gregory
279r Magno canentes annua St Benedict
279v Christe sanctorum St Benedict
280v Fratres alacri pectore St Benedict
281v Deus qui mundum crimine Annunciation
282r Quem terra pontus* Annunciation
282r Ave maris stella* Annunciation
282r Aures ad nostras Lent
282v Iam lucis splendor rutilat Lent
282v Christe qui lux est Lent
283r Ex more docti mystico Lent
283r Iam Christe sol iustitie Lent
283v Dei fide qua vivimus Lent
283v Qua Christus hora sitit Lent
283v Ternis ter horis Lent
284r Audi benigne conditor Lent
284r Pange lingua Passion Sunday
284v Crux fidelis Passion Sunday
284v Vexilla regis Passion Sunday
285r Magno salutis gaudio Palm Sunday
285v Ramos virentes Palm Sunday
286r Ad cenam agni providi Easter
286v Hic est dies verus Easter
287r Aurora lucis rutilat Easter
287v Pange lingua* Exaltation Cross
287v Crux fidelis* Exaltation Cross
287v Tibi Christe splendor patris St Michael
287v Christe sanctorum decus angelorum St Michael
288r Festum nunc celebre Ascension
288r Optatus vots omnium Ascension
288v Iam Christus ascendit polum Ascension
289r Veni creator spiritus Pentecost
289v Beata nobis gaudia Pentecost
290r Iam Christus astra ascenderat Pentecost
290r Nocte surgentes Sundays
290v Ecce iam noctis Sundays
290v Deus creator omnium polique Sundays
291r Ut queant laxis St John Baptist
427
291r Non fuit vasti spatium St John Baptist
291v Almi prophete progenies pia St John Baptist
292r Felix per omnes Sts Peter and Paul
292v Apostolorum passio Sts Peter and Paul
293r Aurea luce et decore roseo Sts Peter and Paul
293r Felix per omnes* Sts Peter and Paul Octave
293v Petrus beatus* Vincula Petris
293v O nata lux de lumine Transfiguration
293v O sator rerum Transfiguration
294r Martyris Christi colimus St Lawrence
294v Devota mente socii St Lawrence
295r Quis possit amplo famine Assumption, Octave
295v Ad laudem sancte Marie Assumption
296r Fit porta Christi Assumption Octave
296r Nunc sancta virgo virginum Assumption Octave
296v Almi prophete St John Baptist
297r Gaude visceribus Nativity Mary
297r Illuminavit hunc dies St Michael
297v Urbs beata Hierusalem Dedicaton Church (Benedict)
298r Christe cunctorum Dedication Church
298v Quesumus ergo Deus Dedication Church
299r Christe redemptor omnium All Saints
299r Christe qui virtus sator All Saints
299v Iesus salvator saeculi All Saints
299v In laude Martini St Martin
300r Martine confessor St Martin
300v Rex Christe Martini St Martin
300v Ad Christi laudem virginis St Cecilia
301r Post Petrum principem St Andrew
301v Decus sacrati nominis St Andrew
301v Exultet celum laudibus Apostles
302r Eterna Christi munera Apostles
302r Sanctorum meritis Several Martyrs
302v Eterna Christi munera Several Martyrs
302v Rex gloriose martyrum Several Martyrs
303r Deus tuorum militum One Martyr
303r Martyr Dei qui unicum One Martyr
303v Summe confessor Confessors
303v Iste confessor Confessors
304r Iesus corona virginum Virgins
304r Virginis proles opifexque Virgins
304v Christe celorum habitator alme Dedication Church
304v Christe cunctorum* Dedication Church
304v Quesumus ergo Deus* Dedication Church
304v O veneranda Trinitas Trinity
305r Te trina Deus Trinity
305v O pater sancte mitis Trinity

428
 Vienna 1106

Folio Hymn Title Feast

104v Primo dierum omnium Sundays
105r Eterne rerum conditor Sundays
105r Iam lucis orto sidere Sundays
105v Nunc sancta nobis spiritus Sundays
105v Rector potens verax Deus Sundays
105v Rerum Deus tenax vigor Sundays
105v Lucis creator optime Sundays
105v Te lucis ante terminum Sundays
106r Nocte surgentes vigilemus omnes Sundays
106r Ecce iam noctis Sundays
106r Deus creator omnium Sundays
106v Somno refectus artubus Feria II
106v Splendor paterne glorie Feria II
106v Immense celi conditor Feria II
107r Consors paterni luminis Feria III
107r Ales diei nuntius Feria III
107r Telluris ingens conditor Feria III
107v Rerum creator optime Feria IV
107v Nox et tenebre et nubile Feria IV
107v Celi Deus sanctissime Feria IV
107v Nox atra rerum contegit Feria V
108r Lux ecce surgit aurea Feria V
108r Magne Deus potentie Feria V
108r Tu trinitatis unitas Feria VI
108v Eterna celi gloria Feria VI
108v Plasmator hominis Deus Feria VI
108v Summe Deus clementie Saturdays
109r Aurora iam spargit polum Saturdays
109r O lux beta trinitas Saturdays
109r Conditor alme siderum Advent
109v Vox clara ecce intonat Advent
109v Verbum supernum prodiens Advent
109v Verbum salutis omnium Advent
109v Egredere Emmanuhel Christmas
110r Veni redemptor gentium Christmas
110r Christe redemptor omnium Christmas
110v A solis ortus cardine Christmas
110v Christus est vita veniens St Stephen
111r Imbuit primus homines (div.) St Stephen
111r Stephano primo martyris St Stephen
111v Iste electus Iohannes St John Apostle
111v Te rogamus te precamur (div.) St John Apostle
112r Sollemnis dies advenit St John Apostle
112r Hostis Herodes* Holy Innocents
112r Salvete flores martyrum Holy Innocents
112v Iesus refulsit omnium Epiphany
113r Hostis Herodes impie Epiphany

429
113r Illuminans altissimus Epiphany
113v Confessor Domini Maure St Maur
114r Quod chorus vatum Purification
114r Quem terra pontus Purification
114r Martiris ecce dies Agathe St Agatha
114v Christe sanctorum decus atque virtus St Benedict
115r Hunc soror sacra (div.) St Benedict
115v Magno canentes annua St Benedict
115v Gemma celestis St Benedict
116r Deus qui mundum crimine Annunciation
116v Ave maris stella Annunciation
116v Aures ad nostras Lent
117r Iam lucis splendor rutilat Lent
117r Ex more docti mystico Lent
117v Audi benigne conditor Lent
117v Dei fide qua vivimus Lent
117v Qua Christus hora sitiit Lent
117v Ternis ter horis Lent
118r Sic ter quaternis Lent
118r Christe qui lux es Lent
118r Pange lingua…prelium Passion Sunday
118v Crux fidelis (div.) Passion Sunday
118v Vexilla regis prodeunt Passion Sunday
119r Magno salutis gaudio Palm Sunday
119r Ramos virentes (div.) Palm Sunday
119v Hic est dies verus Easter
119v Aurora lucis rutilat Easter
120r Veni creator spiritus Pentecost
120r Beata nobis gaudia Pentecost
120r Iam Christus astra ascenderat Pentecost
120v Ut queant laxis St John Baptist
121r O nimis felix St John Baptist
121r Almi prophete prognies St John Baptist
121v Felix per omnes Sts Peter and Paul
122r Apostolorum passio diem Sts Peter and Paul
122r Aurea luce et decore roseo Sts Peter and Paul
122v Doctor egregie (div.) Sts Peter and Paul
122v O nata lux de lumine Transfiguration
123r Martyr Dei qui unicum Single martyr
123r Sanctorum meritis Single martyr
123v Rex gloriose martyrum Multiple martyrs
123v Sacrum piorum martyrum Multiple martyrs
123v Summe confessor sacer Confessors
124r Iste confessor Domini Confessors
124r Iesu redemptor omnium Confessors
124r Iesu corona virginum Virgins
124v Virginis proles opifexque Virgins
124v Urbs beata Hierusalem Dedication
125r Christe cunctorum dominator alme Dedication
125r Christe celorum habitator alme Dedication
125v Altare hoc magnum (div.) Dedication

430
 Rheinau 91

Page Hymn Title Feast

197 Iesu salvator seculi All Saints
198 Christe qui virtus sator et vocaris All Saints
199 Alma cunctorum celebre All Saints
201 Portator armis in chorus St Martin
203 Martine confessor Dei St Martin
204 Martine ? (incomplete) St Martin
205 Ad laudem Christi virginis St Cecilia
207 Inclite estum St Cecilia
209 Decus sacrati nominis St Andrew
210 Maiestate tui Domine (div.) St Andrew
211 Post Petrum prinicpem St Andrew
212 Sacratum hoc templum Dedication Church
214 Christe cunctorum dominator alme Dedication Church
217 Eterne Christi munera Martyrs or Apostles
218 Exultet celum laudibus Apostles
219 Apostolorum mystica Apostles
221 Sanctorum meritis Several martyrs
222 Rex gloriose martyrum Several martyrs
223 Deus tuorum militum One martyr
224 Martyri dei qui unica One martyr
225 Summe confessor sacer Confessors
227 Iste confessor Confessors
229 Iesu redemptor omnium Confessors
230 Iesu corona virginis Virgins
230 Virginis proles opifexque Virgins
1 Primum dierum omnium Sundays
2 Eterne rerum conditor Sundays
4 Nocte surgentes Sundays
4 Ecce iam noctis Sundays
5 Iam lucis orto sidere Sundays
5 Post matutinas laudes Sundays
7 Nunc sancta nobis spiritus Sundays
7 Rector potens verax Deus Sundays
8 Rerum Deus tenax vigor Sundays
9 Lucis creator optime Sundays
10 Te lucis ante terminum Sundays
11 Christe qui lux est et dies (div.) Sundays
12 Somno refectus artubus Feria II
14 Splendor paterne glorie Feria II
16 Plasmator hominis Deus Feria II

19 Aurora iam spargit polum Saturdays

22 O lux beata trinitas Saturdays
23 Deus creator omnium Saturdays
24 Sol astra terra Advent
28 Vox clara ecce intonat Advent
29 Conditor alme siderum Advent
31 Debitas laudes St Nicholas
33 Sollempne tempus vertitur St Nicholas

431
 35 Exultet orbis St Barbara
37 Virginum virtus decus et corona St Barbara
39 Lux mundi vera salus St Lucy
40 Christe lux mundi St Lucy
43 Festa iocunda St Thomas
45 Sancti Thoma St Thomas
47 A solis ortus cardine Christmas
51 Audi redemptor gentium Christmas
52 Christe redemptor omnium Christmas
54 Christe est vita veniens St Stephen
57 Stephano primo martyri St Stephen
58 Iste electus Iohannes St John Evangelist
61 Evangelista fulgidus St John Evangelist
63 Agite omnes St John Evangelist
67 Salvete flores martyrum Holy Innocents
69 Verbum patris principum Holy Innocents
71 Iesus refulsit omnium Epiphany
73 Hostis Herodes impie Epiphany
74 Illuminans altissimus Epiphany
76 A patre unigenitus Epiphany
77 Silvestri almi presulis St Sylvester
79 Martyr Dei egregie St Sebastian
80 Agnetis festum martyris St Agnes
81 Quod chorus vatum Purification
82 Quem terra pontus Purification
84 Alelluia piis edite Septuagesima
85 Alleluia dulce carmen Septuagesima
86 Martyris ecce dies Agathe St Agatha
88 Triumphum sacre virginis St Agatha
90 Medie noctis tempus est Lent
93 Audi benigne conditor Lent
94 Ex more docti mystic Lent
96 Aures ad nostras Lent
98 Dei fide qua vivimus Lent
98 Meridie orandum est Lent
99 Perfecto trino numero Lent
100 Sic ter quaternis Lent
101 Claret sacrata iam dies St Gregory
103 Presulis egregii merita St Gregory
105 Petre pontifex Cathedra Petri
107 Beatus Christus famulis Cathedra Petri
108 Christe sanctorum decus atque virtus St Benedict
110 Hunc soror sacra (div.) St Scholastica
113 Magno canentes annua St Benedict
114 Fratres alacri pectore St Benedict
117 Deus qui mundum crimine Annunciation
121 Ymnum dicamus Domine Maundy Thursday
122 Vexilla regis Passion Sunday
124 Pange lingua Passion Sunday
126 Crux benedicta nitet Passion Sunday
129 Magno salutis gaudio Palm Sunday
130 Celsae salutis gaudia Palm Sunsday
134 Te lucis auctor personet Easter
432
135 Aurora lucis rutilat Easter
137 Ad cenam agni providi Easter
139 Sol luna celum Easter
141 Eterne rex altissime Ascension
143 Optatus votis omnium Ascension
145 Festum nunc celebre Ascension
147 Ymnum canamus glorie Ascension
149 Veni creator spiritus Pentecost
150 Beata nobis gaudia Pentecost
152 Iam Christe astra ascenderat Pentecost
154 Ut queant laxis St John Baptist
158 Almi prophete St John Baptist
159 Assertor equi St John Baptist
161 Praeco praeclarus St John Baptist
162 Aurea luce St Peter
163 Doctor egregie (div.) St Paul
165 Praelata mundi culmina Sts Peter and Paul
166 Apostolorum passio Sts Peter and Paul
168 Felix per omnes Sts Peter and Paul
171 O nata lux de lumine Transfiguration
173 O sator rerum Transfiguration
175 Ymnum canamus socii St Cyriacus
176 Agonitheta nobilis St Cyriacus
177 Devota mente socii St Lawrence
179 Martyris Christi colimus St Lawrence
182 Quis possit amplo famine Assumption
185 Ad laudem sancte Marie Assumption
187 Nunc tibi virgo virginum Assumption
188 Festum beati martyris St Mark
190 Fit porta Christi Nativity Mary
191 Tibi Christe splendor patris St Michael
192 Christe sanctorum decus angelorum St Michael
194 Illuminavit hunc diem St Michael

Rheinau 82

Page Hymn Title Feast

2 Urbs beata Ierusalem Dedication Church
4 Primo dierum omnium Sundays
5 Nocte surgentes Sundays
5 Eterne rerum conditor Sundays
6 Ecce iam noctis Sundays
6 Iam lucis orto sidere Sundays
7 Nunc sancte nobis spiritus Sundays
7 Rector potens verax Deus Sundays
7 Rerum Deus tenax vigor Sundays
8 Lucis creator optime Sundays
8 Deus creator omnium polique Sundays
9 Te lucis ante terminum Sundays
9 Christe qui lux est et dies Sundays
10 Somno refectus artubus Feria II
11 Splendor paterne glorie Feria II

433
12 Immensi celi conditor Feria II
12 Consors paterni luminis Feria III
13 Ales diei nuntius Feria III
13 Telluris ingens conditor Feria III
14 Rerum creator optime Feria IV
14 Nox et tenebre et nubila Feria IV
15 Celi Deus sanctissime Feria IV
15 Nox atra rerum contegit Feria V
16 Lux ecce surgit aurea Feria VI
16 Magne Deus potentie Feria VI
17 Tu trinitatis unitas Feria VI
17 Aeterna celi gloria Saturdays
18 Plasmator hominis Deus Saturdays
18 Summe Deus clementie Saturdays
19 Aurora iam spargit polum Trinity
19 O lux beata trinitas Trinity
20 Sol astra terra equora Advent
21 Verbum supernum prodiens Advent
22 Vox clara ecce intonat Advent
22 Conditor alme siderum Advent
23 Virginis Christi merita beate St Victoria
24 Assiste nunc precatibus St Victoria
25 Iam festa fulgent aurea St Victoria
26 Surgentes ad te Domine Christmas
27 A solis ortus cardine Christmas
28 Audi redemptor gentium Christmas
29 Christe redemptor omnium Christmas
30 Christus est vita veniens St Stephen
31 Stephano primo martyris St Stephen
32 Iste electus Iohannis St John Evangelist
33 Salvete flores martyrum Holy Innocents
34 Silvestri almi praesulis St Sylvester
35 Hostis Herodes impie Epiphany
36 Iesus refulsit omnium Epiphany
37 Illuminans altissimus Epiphany
38 Quod chorus vatus Purification
39 Quem terra pontus Purification
40 Ave maris stella Purification
41 O quam glorifica Purification
41 Martyris ecce dies St Agatha
42 Alleluia piis edite Septuagesima
43 Alleluia dulce carmen Septuagesima
44 Medie noctis tempus est Lent
45 Iam lucis splendor rutilat Lent
45 Aures ad nostras Lent
47 Ex more docti mystico Lent
48 Iam Christe sol iustitiae Lent
48 Dei fide qua vivimus Lent
49 Qua Christus hora sitit Lent
49 Meridie horandus est Lent
49 Ternis ter horis Lent
50 Perfecto trino numero Lent
50 Audi benigne conditor Lent
434
 51 Sic ter quaternis Lent
51 Christe sanctorum St Benedict
52 Hunc soror sacra St Benedict
54 Fratres alacri pectore St Benedict
55 Magno canentes annua St Benedict
56 Deus qui mundum crimina Annunciation
58 Vexilla regis Passion Sunday
59 Pange lingua gloriosi Passion Sunday
60 Lustra sex qui iam (div.) Passion Sunday
61 Crux benedicta nitet Passion Sunday
62 Ymnum dicamus Domino Palm Sunday
63 Magno salutis gaudio Palm Sunday
64 Celsa salutis gaudia Palm Sunday
65 Ad cena agni providi Easter
66 Rex sempiterne Easter
67 Aurora lucis rutilat Easter
68 Te lucis auctor Easter
69 Tibi Christe splendor St Michael
69 Christe sanctorum decus angelorum St Michael
70 Illuminavit hunc diem St Michael
71 Ymnum canamus glorie Ascension
72 Eterne rex altissime Ascension
73 Iesus mirare ? Ascension
73 Festum nunc celebre Ascension
74 Optatus votis omnium Ascension
75 Veni creator spiritus Pentecost
76 Beata nobis gaudia Pentecost
77 Iam astra ascenderat Pentecost
78 Ut queant laxis St John Baptist
80 Almi prophetae (div.) St John Baptist
81 Assertor aequi St John Baptist
81 Aurea luce et decore roseo Sts Peter and Paul
82 Felix per omnes Sts Peter and Paul
84 Apostolorum passio die Sts Peter and Paul
85 O sator rerum Transfiguration
87 O nata lux de lumine Transfiguration
87 Devota mente socii St Lawrence
89 Martyris Christi colimus St Lawrence
90 Quis possit amplo famine Assumption
92 Ad laude sancte Marie Assumption
93 Gaude visceribus Assumption
94 Nunc tibi virgo virginum Assumption
95 Fit porta Christi Assumption
95 Ave maris stella* Assumption
95 Alma cunctorum celebre All Saints
97 Christe qui virtus All Saints
98 Iesu salvator saeculi All Saints
98 Christe redemptor omnium All Saints
99 Martine confessor Domini St Martin
99 Christe rex nostris St Martin
100 Bellator armis incliti St Martin
101 Decus sacrati nominis St Andrew
101 Post Petrum primum St Andrew
435
 102 Sacrati hoc templum Dedication Church
103 Christe sanctorum dominator alme Dedication Church
104 Christe celorum habitator alme Dedication Church
104 Exultet celum laudibus Apostles
105 Apostolorum mystica Apostles
106 Aeterna Christi munera Apostles
106 Sanctorum meritis Many martyrs
107 Rex gloriose martyrum Many martyrs
107 Sacra piorum martyrum Many martyrs
108 Deus tuorum militum One martyr
108 Martyr Deu qui unicus One martyr
109 Summe confessor Confessors
110 Iste confessor sacratus Confessors
110 Iesu redemptor omnium Confessors
110 Virginis proles opifexque Virgins
111 Iesu corona virginum Virgins
111 O pater sanctissime Trinity
112 O veneranda trinitas Trinity
112 Summe largitor primi Trinity

Paris 1092 and Vat. lat. 7172

Folio
Folio
Vat.
Paris Hymn Title Feast
lat.
1092
7172
1v Primo dierum omnium Sundays
2r 2r Eterne rerum conditor Sundays
2v 2v Nocte surgentes Sundays
3r 2v Ecce iam noctis Sundays
3r 3r Iam lucis orto sidere Sundays
3r 3r Post matutinas laudes Sundays
3r 3v Nunc sancte nobis spititus Sundays
3v 3v Rector potens verax Deus Sundays
3v 3v Rerum Deus tenax vigor Sundays
3v 3v Lucis creator optime Sundays
4r 4r Deus creator omnium Sundays
4v 4v Te lucis ante terminum Sundays
4v 4v Christe qui lux es et dies Sundays
8v 5r Cultor Dei memento Sundays
4r 5v Somno refectis artubus Feria II
4r 5v Splendor paternae gloriae Feria II
5r 6r Immense celi conditor Feria II
5r 6v Consors paterni luminis Feria III
5r 6v Ales diei nuntius Feria III
5v 7r Telluris ingens conditor Feri III
5v 7r Rerum creator optime Feria IV
6r 7v Nox et tenebre Feria IV
6r Celi Deus sanctissime Feria IV
6v 8r Nox atra rerum contegit Feria V
6v Lux ecce surgit aurea Feria V

436
 7r Lucis creator optime Feria V
7v Deus creator omnium Feria V
7v Te lucis ante terminum Feria V
8r Christe qui lux es Feria V
8v Cultor Dei memento Feria V
9r 8v Magnae Deus potentiae Feria V
9r 8v Tu Trinitatis unitas Feria VI
9v 1r Aeterna celi gloria Feria VI
9v 1v Plasmator hominis Deus Feria VI
10r 1v Summae Deus clementiae Saturdays
10r 2r Aurora iam spargit polum Saturdays
10r 2r O lux beata trinitas Saturdays
15r 3v Sol astra terra aequora Advent
15v 2v Verbum supernum prodiens Advent
16r 2v Vox clara ecce intonat Advent
16v 3r Conditor alme siderum Advent
16v 3v Verbum salutis omnium Advent
17r 4v Christi caterva clamitat Advent
17r 5r Debitas laudes St Nicholas
18r 6r Solemne tempus vertitur St Nicholas
18v 7v Christus lux mundi St Nicholas
19v 8v Lux mundi vera St Lucy
20r 9r Festa iucunda St Thomas
20v 10r Sancti Thomae apostoli St Thomas
21r 10v Martyris en Gregorii St Gregory (martyr)
23v 11v Veni redemptor gentium Christmas
24r 12r Surgentes a te Domine Christmas
24v 12v Audi redemptor gentium Christmas
25r 13r A solis ortus cardine Christmas
25r 13v Christe redemptor omnium Christmas
25v 14r Agnoscat omne saculum Christmas
26r 14v Christus est vita St Stephen
26v 15r Hymnum cantemus Domino St Stephen
27r 15v Stephano primo martyri St Stephen
27r 16r Consors levita martyris St Stephen
28v 16v Iste electus Iohannes St John Evangelist
29r 17r Agite omnes St John Evangelist
30r 18v Ecce Iohannes St John Evangelist
31r 19v Solempnis dies advenit St John Evangelist
31v 20r Iubilemus carmen dulce St John Evangelist
31v 20v Amore Christi nobilis St John Evangelist
32r Evangelista fulgidus St John Evangelist
32v Altissimi apostolum St John Evangelist
34r 21v Salvete flores martyrum Holy Innocents
34v 22r Verbum patris principium Holy Innocents
35r 21r Infantum diem martyrum Holy Innocents
35v 21v Furens Herodes impie Holy Innocents
35v 22v Silvestri almi praesulis St Sylvester
36r 23r Voce iucunda St Sylvester
36r 23v Christe rex regum St Sylvester
37r 24v Auctor perennis gloriae Christmas
38r 26r A patre unigenitus Epiphany
38r 26r Hostis Herodes impie Epiphany
437
39r 27r Illuxit orbi iam dies Epiphany
39v 28r Illuminans altissimus Epiphany
40r 28v Iesus refulsit omnium Epiphany
40v 29r Artifex poli siderum St Julian and Basilissae
41v 30r Fratres fibrarum carmine St Julian and Basilissae
42r 31r Adest celebritas St Maur
Christe sanctorum decus
42v 31v St Maur
angelorum
43r 32r Confessor Domini Maure St Maur
43v 32v Sacrae refulgent mystica St Maur
44r 33r Canticum laudis St Virini
44v 34r Gloriam Christo St Virini
45v 35r Martyr Dei egregie S.Sebastian
45v 35v Sebastiani incliti St Sebastian
45br 26r Agnetis festum martyris St Agnes
45bv 36v Agnes beatae virginis St Agnes
46r 37v Quae mens recensere audeat St Agnes
46v 38r Adest miranda passio St Vincent
47r 38v Beatus vir Vincentius St Vincent
47v 39r Pangamus nunc astrifero Conversion St Paul
48r 39v Nunc laudibus symphonicis Conversion St Paul
48v 40r Gaude visceribus Purification
49r 40v Quod chorus vatum Purification
49r 41r O beatus ortus ille Purification
O quam glorifica (Paris 1092
49v 41v Purification
notated)
49v 41v Refulsit almae Purification
50v 43r Ave maris stella Purification
51r 43v Illuminavit hunc diem Purification
51v 44r Triumphum sacrae virginis St Agatha
52v 44v Martyris ecce dies Agathae St Agatha
52v 45r Hodie sacratissima St Scholastica
53v 46r Hunc soror sacra St Scholastica
54r 46v Beatus Christi famulus Cathedra Petri
54r Sancti Gregorii praesulis St Gregory
54v 46v Claret sacrata iam dies St Gregory
55r 47r Magnus miles mirabilis St Gregory
55v Norma sanctorum St Gregory
56v 47v Christe sanctorum St Benedict
Fratres alacri pectore (div. each
58r 48v St Benedict
hour)
58r 49v Magno canentes annua St Benedict
58v 50r Omnes venite monachi St Benedict
59v 50v Deus qui mundum Annunciation
60r 51v Quem terra pontus aethera Annunciation
61r 52r Alleluia piis edite Septuagesima
61v 52v Alleluia dulce carmen Septuagesima
63v 53r Mediae noctis tempus est Lent
64r 53v Aures ad nostras Lent
64v 54r Iam lucis splendor rutilat Lent
65r 54v Insigne sanctum tempus est Lent
65v 55v Ex more docti mystico Lent
66v 56r Audi benigne conditor Lent
438
66v 56r Post matutinas laudes Lent
66v 56r Deus candorum luminis Lent
67r 56v Dei fide qua vivimus Lent
67r 56v Meridie orandum est Lent
67r 56v Perfecto trino numero Lent
67v 57r Sic ter quaternis trahitur Lent
67v 57r Deus qui claro lumine Lent
67v 57v Iesu quadragenariae Lent
68r 57v Clarum decus ieiunii Lent
68r 58r En tempus acceptabile Lent
68v 58v Cum ieiunasset Dominus Lent
71v 59r Pange lingua gloriosi Passion Sunday
71v 59v Crux fidelis inter omnes Passion Sunday
72v 60r Vexilla regis prodeunt Passion Sunday
73r 60v Certum tenentes ordinem Lent
73r 60v Qua Christus hora sitiit Lent
73v 61r Ternis ter horis numerus Lent
73v 61r Iam Christe sol iustitiae Lent
73v 61v Rex Christe factor omnium Passion Sunday
74r 61v Quae lingua carnis eloquens Passion Sunday
75r 62r Crux benedicta nitet Passion Sunday
75v 63v Magno salutis gaudio Palm Sunday
76v 64v Celsae salutis gaudia Palm Sunday
77r 65r Pio feramus pectore Palm Sunday
77v 66r Ymnum dicamus Domine Maundy Thursday
78r 66v Cum ascendisset (div.) Maundy Thursday
78v 67v Tellus et aethera iubilent (div.) Maundy Thursday
82v 68r Rex eterne Domine Easter
83v 69r Aurora lucis rutilat Easter
84r 69v Iesu nostra redemptio Easter
84r 70r Hic est dies verus Dei Easter
84v 70v Te lucis auctor personent Easter
84v 71r Rex Christe factor (div.) Easter
85r 71r Ad coenam agni providi Easter
85r 71v Sol luna coelum sidera Easter
85v 72r Refulsit omnis Easter
86v 73r Laetare celum desuper Easter
87r 74r Vita sanctorum Deus angelorum Easter
Orat salutem servulo (div. A
87v 74v Easter
solis)
88r 75r Gesta sanctorum martyrum St George
88v 75v Festum beati martyris St Mark
89r 76r Iam nunc per omne saeculum St Mark
89v 76v Clarescat terris St Juvenal
90v 78r Verba cum vitae St Juvenal
90v 78v Christi athletae St Juvenal
91v 79v Signum crucis mirabile Invention Cross
91v 79v Rex angelorum praepotens Invention Cross
80r Arbor salve sanctissima Invention Cross
92r 80v Tibi Christe splendor patris St Michael
Christe sanctorum decus
80v St Michael
angelorum
92v 81r Illuminavit hunc diem St Michael
439
 93r 81v Mysteriorum signifer St Michael
93v 82r Celestium te signifer St Michael
94r 82v Alme rex archangelorum St Michael
94r 83r Sancte Michael archangele St Michael
94v 83v Unitas in trinitate St Michael
95r 84r Centies mille St Michael
96v 85r Alme confessor St Flavianus
97v 85v Eterne rex altissime Ascension
98r 86r Optatus votis omnium Ascension
98v 86v Hymnum canamus gloriae Ascension
98v 87r Festum nunc celebre Ascension
99r 87v Funeris victor Ascension
99v 89v Iam Christus ascendit polum Ascension
101r 88v Veni creator spiritus Pentecost
101r 89r Beata nobis gaudia Pentecost
101v 89v Iam Christus astra ascenderat Pentecost
102r 89v Anni peractis mensibus Pentecost
102r 90r Et hoc supernum munus est Pentecost
102v 90v Apologetici martyrem St Erasmus
103r 91r Hostem humani generis St Erasmus
103v 91v Rex metuende St Erasmus
104r 92r Ad Viti beatussimi St Vitus
104r 92v Alma beati martyris St Vitus
104v 93r Grates tibi Iesu novas Sts Gervase and Protase
105r 94r Ut queant laxis St John Baptist
106v 95r Almi prophetae St John Baptist
107r 95r Assertor aequi St John Baptist
107r 93v Praeco praeclarus St John Baptist
107v 95v Decus sanctorum martyrumque Sts John and Paul
108v 96v Sanctorum laudes celebrent Sts John and Paul
109v 97r Aurea luce Sts Peter and Paul
110r 97v Doctor egregie Sts Peter and Paul
110r 98v Apostolorum passio Sts Peter and Paul
110v 99r Felix per omnes Sts Peter and Paul
111v 98r Praelata mundi culmina Sts Peter and Paul
111v 100r Utraque pars psallentium Sts Peter and Paul
112v 101v Christe rex clemens Sts Peter and Paul
113r 101r Exsultet orbis ambitus St Paul
114v 102r Almi triumphum Quirici St Quiricus
115r 102v Cantemus omne arbitri St Alexis
115v 104v Festa sacrati praesulis St Apollinaris
115v 105r Apollinaris beate St Apollinaris
115v 105v Sacri Christi pontificis St Apollinaris
116v 106r Angusta vitae tempora Sts Nazarius and Celsus
117r 106v O nata lux de lumine Transfiguration
117v 107r O sator rerum Transfiguration
118r 107v Magni palmam certaminis St Sixtus
119r 108v Martyris Christi St Lawrence
119v 108r Devota mente socii St Lawrence
120r 109v En martyris Laurentii St Lawrence
120r 109r Apostolorum supparem St Lawrence
121v 110v Quis possit amplo Assumption
122r 111r Fit porta Christi pervia Assumption
440
112r 111v Nunc tibi virgo virginum Assumption
122v 110r Ad laudem sanctae Mariae Assumption
123r 112r Mariam matrem Domini Assumption
123r 112v Lux mundi beatissima Assumption
123v 112v Hymnum canamus socii St Cyriacus
123v 113r Agonitheta nobilis St Cyriacus
124r 113v Ad laudem Christi procerum St Bartholomew
124v 114r Gaudium mundi St Bartholomew
125r 114v Summum percurrit circulum St John Baptist
126r 103r Adest dies praefulgida St Mauritius
126v 104r Alma Christi quando fides St Mauritius
115r Eufemiae celebremus St Euphemia
127r 116r Conditor cosmi Sts Cosmas and Damian
128r 117v Solemne tempus vertitur Sts Cosmas and Damian
118r Pangendo coeli Sts Placidus and Sigisbertus
119r Eterne Iesu Sts Placidus and Sigisbertus
119v Adest sacra festivitas St Justus
129r 120r Christe qui virtus All Saints
129v 120v Alma cunctorum All Saints
131r Iesu salvator saeculi All Saints
131v 122r Martine confessor Dei St Martin
132r 122v Christe rex noster St Martin
132v 124r Bellator armis inclitus St Martin
133r 123v In laude Martini Deus St Martin
133r 124r Rex Christe Martini decus St Martin
134r 125r O pater sancte Trinity
134r 125v O veneranda trinitas Trinity
134r 125v Ad Christi laudem virginis St Cecilia
134v Martyris Christi veneranda festa St Clement
153r 126r Clementis festum St Clement
135v 127r Pio feramus pectore St Felicitas
136v 127v Decus sacrati nominis St Andrew
136v 128r Post Petrum primum principem St Andrew
137r 128v Nobis ecce dies St Andrew
128v Sancti Zenonis praesulis St Zeno
138r 129r Sacratum hoc templum Dei Dedication Church
138v 129v Christe cunctorum Dedication Church
139r 129v Christe celorum Dedication Church
139v 130r Urbs beata Dedication Church
139v 130v Refulgent clara Dedication Church
140v 131v Sancti Ambrosii praesulis St Ambrose
141v Annue Christe Apostles
142v 132r Exsultet coelum laudibus Apostles
142v 133r Apostolorum mystica Apostles
143r 134r Aeterna Christi munera Martyrs
143v 133v Regis immensi One Apostle
143v 132r Palma sanctorum One Apostle
145r Sanctorum meritis Several martyrs
145v 134v Rex gloriose martyrum Martyr
146r Aeterna Christi munera Martyr
146v 134v Deus tuorum militum Martyr
147r Martyr dei qui unicum Martyr
147v Adest iam dies Martyr
441
148r 135r O martyr aeterni patris Martyr
148v Christe rex splendor gloriae Confessors
149r 135r Summe confessor Confessors
149v 136r Iste confessor Confessors
150r 136r Iesu redemptor omnium Confessors
136v Iesu corona celsior Confessors
150v 137r Sacra piorum martyrum Many martyrs
151r 137v Virginis proles Virgins
151v 137r Iesu corona virginum Virgins
151v 138r Digne te sancte Domine Virgins
152r 138v Felix vera virginitas Virgins

Chigi C VI 177

Folio Hymn Title Feast

9v Primo dierum omnium Sundays
11r Eterne rerum conditor Sundays
11v Nocte surgentes Sundays
11v Ecce iam noctis Sundays
14r Iam lucis orto sydere Sundays
18v Nunc sancte nobis spiritus Sundays
18v Rector potens verax Deus Sundays
19r Rerum Deus tenax vigor Sundays
19r Lucis creator optime Sundays
19r Deus creator omnium Sundays
20r Te lucis ante terminum Sundays
20r Christe qui lux est et dies Sundays
20v Somno refectus artubus Feria II
21r Splendor paterne glorie Feria II
25v Consors paterni luminis Feria III
26r Ales diei nuntius Feria III
26r Telluris ingens conditor Feria III
26v Rerum creator optime Feria IV
27r Nox et tenebre et nubila Feria IV
27r Celi Deus sanctissime Feria IV
27v Nox atra rerum contegit Feria V
28r Lux ecce surgit aurea Feria V
28r Magne Deus potentie Feria V
28v Te trinitatis unitas Feria VI
29r Aeterna celi gloria Feria VI
29v Plasmator hominis Deus Feria VI
29v Summe Deus clementie Saturdays
30r Aurora iam spargit polum Saturdays
30v O lux beata Trinitas Saturdays
31r Primo dierum omnium Sundays
110v Te Deum laudamus St Abundis
121r Sol astra terra equore Advent
121v Verbum supernum prodiens Advent
121v Vox clara ecce intonat Advent
121v Conditor alme syderum Advent
122r Virginis Christi merita beate St Victoria
122v A solis ortus cardine Christmas

442
123r Christe redemptor omnium Christmas
123v Surgentes ad te Domine (notated) Christmas
123v Audi redemptor gentium (notated) Christmas
124r Christus est vita veniens St Stephen
124v Stephano primo martyris St Stephen
124v Iste electus Iohannes (marginal not.) St John Evangelist
125r Sollemnis dies advenit St John Evangelist
125v Verbum patris principium Holy Innocents
126r Salvete flores martyrum Holy Innocents
126r Sivestri almi presulis St Sylvester
126v Hostis Herodes Epiphany
127r Illuminans altissimus Epiphany
127v Confessor Domini Maure St Maur
127v Sacer refulget mystica St Maur
128r Martyr Dei egregie (marginal not.) St Sebastian
128v Agnetis festum martyris (marginal not.) St Agnes
128v Adest miranda passio levita St Vincent
129r Quem terra pontus Purification
129r Quod chorus vatum Purification
129v O quam glorifica Purification
129v Alleluia piis edite Septuagesima
Martyris ecce dies Agathe (marginal
130r St Agatha
not.)
130v Triumphum sacre virginis St Agatha
131r Beatus Christi famulis Cathedra Petri
131r Medie noctis tempus est Lent
131v Iam lucis splendor rutilat Lent
131v Aures ad nostras Lent
132r Ex more docti mystico Lent
132v Iam Christe sol iustitiae Lent
132v Post matutinas laudes Lent
133r Dei fide qua vivimus Lent
133r Meridie horandum est Lent
133r Qua Christus hora sitiit Lent
133r Ternis ter horis Lent
133v Perfecto trino numero Lent
133v Sic ter quaternis Lent
133v Audi benigne conditor Lent
134r Christe sanctorum decus atque virtus St Benedict
134r Hunc soror sacrum St Benedict
134v Fratres alacri pectore St Benedict
135v Magno canentes annua St Benedict
135v Deus qui mundo crimine Annunciation
136r Ave maris stella Annunciation
136r Oritur sydus inclyta Annunciation
136v Veni benigne spiritus Annunciation
136v Vexilla regis prodeunt Passion Sunday
137r Pange lingua gloriosi proelium Passion Sunday
137v Crux fidelis inter omnes Passion Sunday
137v Crux benedicta nitet Passion Sunday
138r Ad cena agni providi Easter
138r Te lucis auctor Easter
138v Rex eterne Domine Easter
443
138v Aurora lucis rutilans Easter
139r Sancte Michael archangele St Michael
139r Eternae rex altissime Ascension
139v Festum nunc celebre Ascension
139v Optatus votis omnium Ascension
140r Iesus nostra redemptio Ascension
Tibi Christe splendor patris (margin.
140r St Michael
not.)
140v Christe sanctorum decus angelorum St Michael
140v Illuminavit hunc diem St Michael
141r Iam Christus astra ascenderat Pentecost
141r Ut queant laxis (lacuna) St John Baptist
142v Beata nobis gaudia St John Baptist
143r Assertor aequi St John Baptist
143r Felix per omnes (div. for feasts) Sts Peter and Paul
144r Apostolorum passio dies Sts Peter and Paul
144v O sator rerum reparator Transfiguration
145r O nata lux de lumine Transfiguration
145r Devota mente socii St Lawrence
145v Martyris Christi colimus St Lawrence
145v Quis possit amplo famine Assumption
146r Eterne sacre virginis Assumption
146v Gaude visceribus Assumption
146v Nunc tibi virgo virginum Assumption
147r Fit porta Christi Assumption
147r Christe redemptor omnium All Saints
147v Iesus salvator saeculi All Saints
147v Rex Christe Martine St Martin
148r Bellator almis inclitis St Martin
148r Martine confessor Domini St Martin
148v Decus sacrati nominis St Andrew
148v Post Petri primus principem St Andrew
149r Sacratum hoc temple Dedication Church
149r Urbs beata Ierusalem Dedication Church
149v Christe celorum habitator alme Dedication Church
150r Apostolorum mystica Apostles
150v Aeterna Christi munera Apostles
150v Exultet celum laudibus Apostles
150v Sanctorum meritis (accents) Martyrs
151r Aeterna Christi munera (marginal not.) Martyrs
151v Sacra piorum martyrum Martyrs
151v Deus tuorum militum One martyr
151v Martyr Dei qui unicum One martyr
151v Iste confessor Domini Confessors
152r Summe confessor sacer Confessors
152v Iesu redemptor omnium perpes corona Confessor
152v Iesus corona virginum Virgins
152v Virginis proles opifexque Virgins
153r Gaudeum mundi nova Assumption
153v Terrena cuncta iubilent Assumption
153v Aurora velut fulgida Assumption
153v Lux mundi beatissima Assumption
154r Splendor decus martyrum Sts Valentine and Hilarius
444
154r Vita sanctorum Deus De Resurrectionis
154v Crux orbis salus (accents) Finding of the Cross
154v Crux mundi benediction Finding of the Cross
154v Salve rex sancta Attributed to St Henry King
163r Gemma celestis St Benedict
163r Signifer mitissime St Nicholas
163r Aurora surgit aurea St Nicholas

MC 420

Folio Hymn Title Feast

9 Primo dierum omnium Sundays Summer
40 Eterne rerum conditor Sundays Summer
42 Nocte surgentes Sundays Summer
43 Ecce iam noctis Sundays Summer
52 Iam lucis orto sydere Sundays Summer
56 Nunc sancta nobis spiritus Sundays Summer
57 Rector potens verax Deus Sundays Summer
58 Rerum Deus tenax vigor Sundays Summer
59 Lucis creator optime Sundays Summer
62 Christe redemptor omnium* Sundays Summer
63 Te lucis ante terminum Sundays Summer
64 Christe qui lux es Sundyas Summer
67 Somno refectus artubus Feria II
71 Splendor paterne glorie Feria II
80 Immense celi conditor Feria II
85 Consors paterni luminis Feria III
87 Ales diei nuntius Feria III
89 Telluris ingens conditor Feria III
90 Rerum creator optime Feria IV
92 Nox et tenebre et nubila Feria IV
94 Celi Deus sanctissime Feria IV
95 Nox atra rerum contegit Feria V
98 Lux ecce surget aurea Feria V
99 Magne Deus potentie Feria V
101 Tu trinitatis unitas Feria VI
104 Eterna celi gloria Feria VI
106 Plasmator hominis Deus Feria VI
107 Summe Deus clementie Saturdays
110 Aurora iam spargit polum Saturdays
111 O lux beata trinitas Saturdays
113 Sol astra terra aequora Advent
116 Verbum supernum prodiens Advent
125 Vox clara ecce intonat Advent
129 Conditor alme syderum Advent
133 Veni redemptor gentium Christmas
136 Christe redemptor omnium Christmas
137 Surgentes ad te Domine Christmas
145 A solis ortus cardine Christmas
148 Audi redemptor gentium Christmas
151 Iesus refulsit omnium Epiphany
160 Quod chorus vatum Purification

445
162 Quem terra pontus Purification
167 Aures ad nostras Lent
169 Ex more docti mystico Lent
176 Iam lucis splendor rutilat Lent
176 Iam Christe sol iustitie Lent
178 Dei fide qua vivimus Lent
179 Qua Christus hora sitiit Lent
180 Ternis ter hora Lent
182 Audi benigne conditor Lent
183 Gemma celestis St Benedict
185 Signifer invictissime St Benedict
187 Aurora surgit aurea (neumes) St Nicholas
188 Deus qui mundum crimine Annunciation
192 Ave maris stella Annunciation
195 Vexilla regis prodeunt Passion Sunday
199 Pange lingua Passion Sunday
201 Crux benedicta nitet Passion Sunday
210 Ad cena agni providi Easter
211 Rex eterne Domine Easter
217 Aurora lucis rutilat Easter
219 Te lucis auctor personet Easter
226 Tibi Christe splendor patris St Michael
228 Christe sanctorum decus angelorum St Michael
229 Optatus votis omnium Ascension
231 Eterne rex altissime Ascension
233 Festum nunc celebre Ascension
239 Veni creator spiritus Pentecost
240 Beata nobis gaudia Pentecost
242 Iam Christus astra ascenderat Pentecost
257 Ut queant laxis St John Baptist
259 Non fuit vasti spatium (div.) St John Baptist
261 Almi prophete progenies pia St John Baptist
266 Felix per omnes Sts Peter and Paul
269 Aurea luce Sts Peter and Paul
271 Apostolorum passio diem Sts Peter and Paul
275 Prelata mundi culmina Sts Peter and Paul
278 O sator rerum Transfiguration
281 O nata lux de lumine Transfiguration
282 Martyris Christi colimus St Lawrence
285 Devota mente socii St Lawrence
290 Quis possit amplo famine Assumption
293 Fit porta Christi pervia Assumption
297 Ad laudem sancta Marie Assumption
302 Nunc tibi virgo virginum Assumption
304 Assertor equi Beheading St John Baptist
307 Christe redemptor omnium conserva All Saints
309 Iesus salvator seculi All Saints
311 Rex Christe Martini decus St Martin
312 Martine paratis festum colentes St Martin
314 Bellator armis inclitus St Martin
316 Decus sacrati nominis St Andrew
318 Post Petrum primum St Andrew
321 Urbs beata Hierusalem Dedication Church
446
323 Sacratum hoc templum Dedication Church
341 Christe celorum habitator alme Dedication Church
344 Exultet celum laudibus Apostles
345 Eterna Christi munera apostolorum Apostles
365 Sanctorum meritis Martyrs
367 Eterna Christi munera et martyrum Martyrs
391 Rex gloriose martyrum Martyrs
393 Deus tuorum militum One Martyr
414 Martyr Dei qui unicum One Martyr
415 Summe confessor sacer Confessor

Farfa A. 209

Folio Hymn Title Feast

133r Primo dierum omnium Sundays
133r Eterne rerum conditor (not.) Sundays
133v Nocte surgentes Sundays
133v Ecce iam noctis Sundays
133v Iam lucis orto sydere Sundays
134r Nunc sancte nobis spiritus Sundays
134r Rector potens verax Deus Sundays
134r Rerum Deus tenax vigor Sundays
134r Deus creator omnium Sundays
134v Lucis creator optime Sundays
134v Te lucis ante terminum Sundays
134v Christe qui lux est et dies Sundays
134v Somno refectus artubus Feria II
135r Splendor paterne glorie Feria II
135r Immense celi conditor Feria II
135r Consors paterni luminis Feria III
135r Ales diei nuntius Feria III
135v Telluris ingens conditor Feria III
135v Rerum creator optime Feria IV
135v Nox et tenebre et nubila Feria IV
135v Celi Deus sanctissime Feria IV
136r Nox atra rerum contegit Feria V
136r Lux ecce surgit aurea Feria V
136r Magne Deus potentie Feria V
136r Tu trinitatis unitas Feria VI
136v Aeterna celi gloria Feria VI
136v Plasmator hominis Deus Feria VI
136v Summe Deus clementie Saturdays
137r Aurora iam spargit polum Saturdays
137r O lux beata trinitas Saturdays
137r O pater sancte mitis Trinity
137r O venerande trinitas Trinity
137r Sol astra terra equora Advent
137v Verbum supernum prodiens Advent
137v Vox clara ecce intonat Advent
138r Conditor alme syderum Advent
138r Sancti Thome (marginal not.) St Thomas

447
138r Veni redemptor gentium (not.) Christmas
138v Audi redemptor gentium Christmas
138v Christe redemptor omnium Christmas
139r A solis ortus cardine Christmas
139r Surgentes ad te Christmas
139v Christe est vita veniens St Stephen
139v Iste electus Iohannes St John Evangelist
140r Silvestri almi presulis St Sylvester
140v Hostis Herodes Epiphany
140v Illuminans altissimus Epiphany
141r Iesus refulsit omnium Epiphany
141r Martyr Dei egregie St Sebastian
141r Agnetis festum martyris (marginal not.) St Agnes
141v Quod chorus vatum (not.) Purification
141v Quem terra pontus Purification
142r Gaude visceribus (not.) Purification
142r Martyres ecce dies Agathe (not.) St Agatha
142v Hodie sacratissima virgo (not.) St Scholastica
142v Beatus Christus famulus Cathedra Petri
143r Aures ad nostras Lent
143r Primo dierum omnium Lent
143r Iam lucis splendor rutilat Lent
143v Ex more docti mystico Lent
143v Iam Christe sol iustitie Lent
143v Dei fide qua vivimus Lent
144r Quam Christus hora sitiit Lent
144r Ternis ter horis Lent
144r Audi benigne conditor Lent
144r Christe sanctorum decus atque virtus St Benedict
145r Deus qui mundum crimine Annunciation
145v Ave maris stella Annunciation
145v Vexilla regis Passion Sunday
145v Pange lingua Passion Sunday
146r Crux benedicta nitet Passion Sunday
146v
147r
147v Te lucis auctor personent Easter
147v Rex eterne Domine Easter
148r Aurora lucis rutilans Easter
148r Tibi Christe splendor patris St Michael
148v Christe sanctorum decus angelorum St Michael
148v Sancte Michael archangele St Michael
148v Eterne rex altissime Ascension
149r Festum nunc celebre Ascension
149r Optatus votis omnium Ascension
149v Beata nobis gaudia Pentecost
149v Veni creator spiritus Pentecost
150r Iam Christus astra ascenderat (not.) Pentecost
150r Ut queant laxis St John Baptist
150v Almi prophete progenies pia St John Baptist
151r Assertor equi St John Baptist
151r Felix per omnes Sts Peter and Paul
151v Aurea luce et decore roseo Sts Peter and Paul
448
152r Apostolorum passio Sts Peter and Paul
152r O sator rerum Transfiguration
152v O nata lux de lumine Transfiguration
152v Devota mente socii St Lawrence
153r Martyris Christi colimus St Lawrence
153v Quis possit amplo famine Assumption
153v Ad laudem sancte Marie Assumption
154r Nunc tibi virgo virginum Assumption
154r Fit porta Christi Assumption
154v Lux mundi beatissima Assumption
154v Alme cunctorum celebremus All Saints
155r Iesus salvator seculi All Saints
155r Christe redemptor omnium All Saints
155r Rex Christe Martini St Martin
155v Martine paratis festum St Martin
155v Bellator almis incliti St Martin
155v Decus sacrati nominis St Andrew
156r Post Petrum primum (not.) St Andrew
156r Sacratus hoc templum Dedication Church
156v Urbs beata Ierusalem Dedication Church
156v Angularis fundamento (div.) Dedication Church
157r Apostolorum mistica Apostles
157r Aeterna Christi munera Apostles
157v Exultet celum laudibus Apostles
157v Sanctorum meritis (not.) Several martyrs
158r Aeterna Christi munera Several martyrs
158r Rex gloriose martyrum Several martyrs
158r Deus tuorum militum (not.) One martyr
158v Martyr Dei qui unicum One martyr
158v Iste confessor (not.) Confessors
158v Summe confessor Confessors
159r Iesus redemptor omnium (marginal not.) Confessors
159r Iesu corona virginum Virgins
159v Virginis proles opifexque Virgins
159v Dignere sancte Domine Virgins

Farfa 4

Folio Hymn Title Feast

88v Primo dierum omnium Sundays
89v Eterne rerum conditor Sundays
90r Nocte surgentes Sundays
90r Ecce iam noctis Sundays
90v Iam lucis orto sidere Sundays
91r Nunc sancta nobis spiritus Sundays
91r Rector potens verax Deus Sundays
91r Rerum Deus tenax vigor Sundays
91v Lucis creator optime Sundays
91v Deus creator omnium Sundays
92r Te lucis ante terminum Sundays
92v Christe qui lux es Sundays
93r Somno refectus artubus Feria II

449
 93r Splendor paterne glorie Feria II
94r Immense celi conditor Feria II
94r Consors paterni luminis Feria III
94v Ales diei nuntius Feria III
94v Telluris ingens conditor Feria III
95r Rerum creator optime Feria IV
95r Nox et tenebre Feria IV
95v Celi Deus sanctissime Feria IV
96r Nox atra rerum contegit Feria V
96r Lux ecce surgit aurea Feria V
96v Magne Deus potentis Feria V
97r Tu trinitatis unitas Feria VI
97r Eterna celi Gloria Feria VI
97v Plasmator hominis Deus Feria VI
98r Summe Deus clementine Saturdays
98r Aurora iam spargit polum Saturdays
98v O lux beata trinitas Saturdays
98v Verbum supernum prodiens Advent
98v Vox clara ecce intonat Advent
99r Conditor alme siderum Advent
99v Virginis Christi merita beate St Victoria
100r Iam festa fulgent aurea St Victoria
101r Veni redemptor gentium Christmas
101v A solis ortu cardine Christmas
102r Christe redemptor omnium Christmas
102v Surgentes ad te Domine Christmas
103r Audi redemptor gentium Christmas
103v Hostis Herodes impie Epiphany
104r Iesus refulsit omnium Epiphany
104v Illuminans altissimus Epiphany
105r Quod chorus vatum Purification
105v Quem terra pontus Purification
106r Alleluia piis edite Septuagesima
106v Aures ad nostras Lent
107v Iam lucis splendor rutilat Lent
107v Ex more docti mistico Lent
108r Iam Christe sol iustitie Lent
108v Dei fide qua vivimus Lent
108v Qua Christus hora sitiit Lent
109r Ternis ter hora Lent
109r Audi benigne conditor Lent
109v Christe sanctorum decus atque virtus St Benedict
110r Hunc soror sacra (div.) St Benedict
110v Fratres alacri pectore St Benedict
111r Christe sanctorum decus angelorum St Benedict
111v Eterne rex altissime Ascension
112r Festum nunc celebre Ascension
112v Optatus votis omnium Ascension
113r Iesu nostra redemptio Ascension
113v Veni creator spiritus Pentecost
113v Beata nobis gaudia Pentecost
114r Iam Christus astra ascenderat Pentecost
114v Ut queant laxis St John Baptist
450
115r Non fuit vasti spatium (div.) St John Baptist
115v Almi prophete St John Baptist
116r Assertor equi St John Baptist
116v Felix per omnes Sts Peter and Paul
117v Aurea luce et decore roseo Sts Peter and Paul
117v Doctor egregie Paule Sts Peter and Paul
118r Apostolorum passio diem Sts Peter and Paul
118v O sator rerum Transfiguration
119r O nata lux de lumine Transfiguration
119v Martyris Christi colimus St Lawrence
120v Devota mente socii St Lawrence
121r Quis possit amplo famine Assumption
121v Ad laudem sancte Marie Assumption
122r Fit porta Christi Assumption
122v Nunc tibi virgo virginum Assumption
123r Lux mundi beatissima Assumption
123r Christe redemptor omnium All Saints
123v Iesu salvator seculi All Saints
124r Rex Christe Martini decus St Martin
124v Martine paratis festum St Martin
124v Bellator armi incliti St Martin
125r Post Petrum primum St Andrew
125v Decus sacrati nominis St Andrew
126r Sacratum hoc templum (notated) Dedication
126v Urbs beata Ierusalem Dedication
127r Apostolorum mistica Apostles
127v Aeterna Christi munera Apostles
128r Exultet celum laudibus Apostles
128v Rex gloriose martyrum Martyrs
129r Deus tuorum militum Martyrs
129v Martyr Dei qui unicum Martyrs
130r Iste confessor Confessors
130v Summe confessor Confessors
131r Iesus redemptor omnium Confessors
131v Iesu corona virginum Virgins
132r Virginis proles opifexque Virgins

Casan. 1574

Folio Hymn Title Feast

188 Primo dierum omnium Sundays
195 Eterne rerum conditor Sundays
196 Ecce iam noctis Sundays
198 Iesu salvator seculi Sundays
198 Iam lucis orto sydere Sundays
200 Nunc sancte nobis spiritus Sundays
201 Rector potens verax Deus Sundays
201 Rerum Deus tenax vigor Sundays
201 Lucis creator optime Sundays
202 Te lucis ante terminum Sundays
202 Christe qui lux est et dies Sundays
203 Somno refectus artubus Feria II

451
206 Splendor paterne glorie Feria II
208 Christe redemptor omnium Feria II
208 Consors paterni luminis Feria III
211 Ales diei nuntius Feria III
213 Telluris ingens conditor Feria III
213 Rerum creator optime Feria IV
217 Nox et tenebre et nubila Feria IV
218 Celi Deus sanctissime Feria IV
218 Nox atra rerum contegit Feria V
220 Lux ecce surgit aurea Feria V
221 Magne Deus potentie Feria V
222 Tu trinitatis unitas Feria VI
225 Eterna celi gloria Feria VI
226 Plasmator hominis Deus Feria VI
229 Aurora iam spargit polum Saturdays
230 O lux beata trinitas Saturdays
231 Conditor alme syderum Advent
231 Verbum supernum prodiens Advent
231 Vox clara ecce intonat Advent
231 Verbum salutis omnium St Nicholas
232 Veni redemptor gentium Christmas
232 Christe redemptor omnium Christmas
232 A solis ortus cardine Christmas
233 Christus est vita veniens St Stephen
233 Imbuit primus homines St Stephen
234 Stephano primo martyris St Stephen
234 Iste electus Iohannes St John Evangelist
234 Te rogamus te precamus (div.) St John Evangelist
235 Solempnis dies advenit St John Evangelist
235 Hostis Herodes impie Holy Innocents
235 Salvete flores martyrum Holy Innocents
236 Infantum diem martyrum Holy Innocents
236 Iesus refulsit omnium Epiphany
236 Hostis herodes impie Epiphany
237 Illuminans altissimum Epiphany
237 Aures ad nostras Lent
238 Iam lucis splendor rutilat Lent
238 Ex more docti mystico Lent
238 Audi benigne conditor Lent
239 Dei fide qua vivimus Lent
239 Qua Chritste hora sitiit Lent
239 Ternis ter horis Lent
239 Sic ter quaternis Lent
239 Pange lingua Passion Sunday
240 Crux fidelis (div.) Passion Sunday
240 Vexilla regis Passion Sunday
241 Magno salutis gaudio Palm Sunday
241 Ramos virentes (div.) Palm Sunday
241 Hic est dies verus Easter
242 Aurora lucis rutilat Easter
242 Ad cena agni providi Easter
243 Optatus votis omnium Ascension
243 Iam Christus ascendit polum Ascension
452
243 Festum nunc celebre Ascension
244 Veni creator spiritus Pentecost
244 Beata nobis gaudia Pentecost
245 Iam Christe astra ascenderat Pentecost
245 O sator rerum Pentecost
246 O nata lux de lumine Pentecost
246 O veneranda trinitas Trinity
246 Te trina Deus unitas Trinity
247 O pater sancte mitis Trinity
247 Urbs beata Ierusalem Dedication Church
247 Angularis fundamenti (div.) Dedication Church
248 Christe cunctorum dominator alme Dedication Church
248 Christe celorum habitator alme Dedication Church
249 Sacratum hoc templum Dedication Church
249 Decus sacrati nominis St Andrew
249 Post Petrum principem St Andrew
250 Canticum laudis St Severinus
250 Confessor Domini Maure St Maur
251 Martir Dei egregie St Sebastian
251 Agnetis festum martyris St Agnes
252 Quod chorus vatum Purification
252 Que terra pontus Purification
252 Martyris ecce dies Agathe St Agatha
253 Hodie sacratissima virgo St Scholastica
253 Christe sanctorus decus atque virtus St Benedict
254 Fratres alacri pectore St Benedict
255 Magno canentes annua St Benedict
256 Deus qui mundum crimine Annunciation
256 Ave maris stella Annunciation
257 Tibi Christe splendor patris St Michael
257 Christe sanctorum decus angelorum St Michael
257 Ut queant laxis St John Baptist
258 Non fuit vasti spatium St John Baptist
258 Almi prophete progenies pia St John Baptist
259 Felix per omnes Sts Peter and Paul
259 Apostolorum passio die Sts Peter and Paul
260 Aurea luce et decore roseo Sts Peter and Paul
260 Festa sacrata presulis St Apollinaris
261 Martyris Christi colimus St Lawrence
261 Devota mente socii St Lawrence
262 Quis possit amplo famine Assumption
262 Ad laudem sancte Marie Assumption
263 Fit porta Christi Assumption
263 Nunc tibi virgo virginum Assumption
263 Assertor equi Beheading John the Baptist
264 Gaude visceribus matrem Nativity Holy Mary
264 Illuminavit hunc die St Michael
265 In laude Martini St Martin
265 Martine confessor domini St Martin
265 Rex Christe Martini St Martin
266 Ad Christi laudem virginis St Cecilia
322 Exultet celum laudibus Apostles
322 Annue Christe Apostles
453
322 Aeterna Christi munera Apostles
336 Sanctorum meritis Several Martyrs
337 Aeterna Christi munera Several Martyrs
346 Sacra piorum martyrum Several Martyrs
364 Iste confessor Domini Confessors
368 Iesu corona virginum Virgins
368 Virginis proles opifexque Virgins

Bari

Folio Hymn Title Feast

3r Conditor alme siderum Advent
3v Verbum supernum prodiens Advent
4r Vox clara ecce intonat Advent
4r Veni redemptor gentium Christmas
5r Christe redemptor omnium Christmas
5v A solis ortus cardine Christmas
6r Enixa est puerpera (div.) Christmas
6r Hostis Herodes impie Epiphany
6v O lux beata trinitas Saturdays
7r Primo dierum omnium Sundays
8r Eterne rerum conditor Sundays
8v Nocte surgentes vigilemus Sundays
9r Ecce iam noctis Sundays
9r Iam lucis orto sydere Sundays
9v Nunc sancte nobis spiritus Sundays
10r Rector potens verax Deus Sundays
10r Rerum Deus tenax vigor Sundays
10v Lucis creator optime Sundays
11r Christe qui lux est Sundays
11v Te lucis ante terminum Sundays
11v Sompno refectus artubus Feria II
12r Splendor paterne glorie Feria II
13r Immense celi conditor Feria II
13r Consors paterni luminis Feria III
13v Ales diei nuntius Feria III
14r Telluris ingens conditor Feria III
14v Rerum creator optime Feria IV
14v Nox et tenebre et nubila Feria IV
15r Celi Deus sanctissime Feria IV
15v Nox atra rerum contegit Feria V
15v Lux ecce surgit aurea Feria V
16r Magne Deus potentie Feria V
16v Tu trinitatis unitas Feria VI
17r Eterna celi gloria Feria VI
17v Plasmator hominis Deus Feria VI
17v Summe Deus clementie Saturdays
18r Aurora iam spargit polum Saturdays
18v Deus pater piissime Saturdays
19r Summi largitor premii Lent
19v Audi benigne conditor Lent
20r Sic ter quaternis Lent

454
20v Ex more docti mystico Lent
21r Iam Christus sol iustitie Lent
21v Vexilla regis Passion Sunday
22v Pange lingua…prelium Passion Sunday
23r Lustris sex qui iam Passion Sunday
24r Magno salutis gaudio Palm Sunday
25r Ad cenam agni providi Easter
25v Rex eterne Domine Easter
26v Aurora lucis rutilat Easter
27r Chorus nove Hierusalem Easter
28r Festum nunc celebre Ascension
28v Eterne rex altissime Ascension
29r Tu Christe nostrum gaudium (div.) Ascension
29v Veni creator spiritus Pentecost
30r Iam Christus astra ascenderat Pentecost
31r Beata nobis gaudia Pentecost
31v Quod chorus vatum Purification
32r Quem terra pontus Purification
32v O gloriosa domina Purification
32v Ave maris stella Purification
33r Martyris ecce dies Agathe St Agatha
34r Salve crux sancta Exaltation Cross
34v Signum crucis mirabile Exaltation Cross
35r Tibi Christe splendor patris St Michael
35v Christe sanctorum decus angelorum St Michael
36r Ut queant laxis St John Baptist
36v Antra deserti (div.) St John Baptist
37r O nimis felix (div.) St John Baptist
37v Almi prophete St John Baptist
38v Felix per omnes Sts Peter and Paul
39r O Roma felix Sts Peter and Paul
39v Aurea luce et decore roseo Sts Peter and Paul
40v Christe creator omnium St Mary Magdalen
41r Pie colamus annua St Mary Magdalen
41v O quam beata femina St Mary Magdalen
42r Adesto sancta trinitas Trinity
42v O pater sancte mitis Trinity
43r O veneranda trinitas Trinity
43v Martyris Christi colimus St Lawrence
44v Ad laudem sancte Marie Assumption
45r Assertor equi St John Baptist
45v Gaude visceribus Nativity of the Virgin
46v Ave maris stella* Nativity of the Virgin
46v Christe redemptor omnium All Saints
47r Iesu salvator seculi All Saints
47v Devotis te concentibus All Saints
47v Pro defunctorum requie All Souls
48r Iesu piorum caritas All Souls
48r In laude Martini St Martin
49r Andrea pie St Andrew, Apostles
49r O Thoma Christe St Thomas Apostle
49r Matthia iuste St Matthias Apostle
49v Iacobe iuste St James Apostle
455
49v Proni rogamus Philippi St Phillip Apostle
49v Bina celestis St James Apostle
50r Bartholomee celi sidus St Bartholomew
50r Matthee sancte St Matthew
50r Beate Simon St Simon Apostle
50r Annue Christe Apostles
50v Eterna Christi munera Apostles
51r Exultet celum laudibus Apostles
51v Deus tuorum militum Single martyr
52r Eterna Christi munera Single martyr
52v Rex gloriose martyrum Single martyr
53r Martyr Dei qui unicum Single martyr
53v Sanctorum meritis Multiple martyrs
54r Iste confessor Domini Confessors
54v Iesu redemptor omnium Confessors
55r Huius o Christe (div.) Confessors
55r Virginis proles opifexque Virgins
55v Iesu corona virginum Virgins

Naples VI G 29

Folio Hymn Title Feast

1r Conditor alme siderum Advent
1v Verbum supernum prodiens Advent
2r Vox clara ecce intonat Advent
2v Iam lucis orto sidere Sundays
3r Nunc sancte nobis spiritus Sundays
3v Rector potens Sundays
3v Rerum Deus tenax vigor Sundays
4r Te lucis ante terminum Sundays
4v Verbum salutis omnium Octaves?
5r Solemne tempus vertitur St Nicholas
6r Rex confessorum gloria St Nicholas
6v Sancti Ambrosii praesulis St Ambrose
7v Summe tocius reparator orbis St Agnellus
8v Sancti Thome St Thomas
9r Hostis Herodes Epiphany vigil
10r Iesus refulsit omnium Epiphany vigil
10v O lux beata trinitas Sunday in Epiphany Octave??
11r Nocte surgentes Sundays
11r Ecce iam noctis Sundays
11r Lucis creator optime Sundays
11v Somno refectis artubus Feria II
12v Splendor paterne glorie Feria II
13v Immense celi conditor Feria II
14v Consors paterni luminis Feria III
15r Ales diei nuntius Feria III
16r Telluris ingens conditor Feria III
16v Rerum creator optime Feria IV
17v Nox et tenebre et nubila Feria IV
18r Celi Deus sanctissime Feria IV
18v Nox atra rerum contegit Feria V

456
 19v Lux ecce surget aurea Feria V
20v Magnae Deus potentiae Feria V
21r Tu Trinitas Unitas Feria VI
21v Aeterna celi gloria Feria VI
22v Plasmator hominis Deus Feria VI
23r Summae Deus clementiae Saturdays
23v Aurora iam spargit polum Saturdays
24v O lux beata trinitas (1st strophe) Trinity
24v Sebastiane inciti St Sebastian
25v Martyr Dei egregie St Sebastian
26r Agnetis festum martyris St Agnes
26v Exultet orbis ambitus (incomplete) Conversion of St Paul
27v Quod chorus vatum Purification
O gloriosa Domina [femina] (div. Quem
28v Purification
terra pontus)
29r Martiris ecce dies Agathae St Agatha
29v Triumphum sacre virginis St Agatha
31r Hodie sacratissima virgo St Scholastica
32r Primo dierum omnium Sundays
33r Eterne rerum conditor Sundays
34r Summi largitor premii Lent
34v Aures ad nostras deitatis preces Lent
35v Iam Christus sol iustitiae Lent
36r Ex more docti mistico Lent
37r Audi benigne conditor Lent
37v Sic ter quaternis trahitur Lent
38v Christe qui lux es et dies Lent
38v Christe sanctorum decus St Benedict
40v Hunc soror sacra nimium St Benedict
41v Deus qui mundum crimine Annunciation
43r Pange lingua gloriosi Passion Sunday
44r Hic acetum fel arundo Passion Sunday
44v Vexilla regis Passion Sunday
45v Ad cenam agni providi Easter
46v Rex eterne Domine Easter
47v Aurora lucis rutilat Easter
48v Gesta sanctorum martyrum St George
49v Festum beati martyris St Mark
50r
Refulget iam solemnitas Sts Phillip and James
(237r)
51r
Signum crucis mirabile Invention Cross
(238r)
51v Arbor salve sanctissima Invention Cross
52r Tibi Christe splendor patris St Michael
53r Christe sanctorum decus angelorum St Michael
53v Iesu nostra redemptio Ascension
54v Festum nunc celebre magna Ascension
55r Veni creator Spiritus Pentecost
56r Beata nobis gaudia Pentecost
56v Iam Christus astra ascenderat Pentecost
57v Ad Viti beatissimi gloriam St Vitus
58r Sed armis tectus fidei (div.) St Vitus
58v Grates tibi Iesu novas Sts Gervase and Protase
457
59v Ut queant laxis St John Baptist
60v Non fuit vasti spaatium per orbis (div.) St John Baptist
61r Felix per omnes Sts Peter and Paul
62r Petrus beatus catenarum laqueos (div.) Sts Peter and Paul
63r Non impar Paulus (div.) Sts Peter and Paul
63v O beata Magdalena St Mary Magdalene
64v Sidus solare revehit St Mary Magdalene
65r Tuam o pater postulamus gratiam St Peter’s Chains
66v O sancte presul inclite St Aspren
67r O sator rerum reparator Transfiguration
68r O nata lux de lumine Transfiguration
68v Martyris Christi colimus triumphum St Lawrence
69v Devota mente socii St Lawrence
70v Ave Maris stella Assumption
71r Quem terra pontus Assumption
71v Ad laudem Christi St Bartholomew
72v Assertor aequi non ope regia (div.) St John Baptist
73v Summa percurrit oraculum St John Baptist
73v Nunc tibi virgo virginum Nativity Mary
75r O gloriosa Domina* Nativity Mary
75r Signum tuum crucis* Exaltation of the Cross
75r Arbor salve* Exaltation of the Cross
75r Tibi splendor* St Michael
75r Christe sanctorum* St Michael
75r Martirum princeps St Januarius
76r Pastor insignis St Januarius
77r Christi fideles milites Sts Cosmas and Damian
78r Marciani meritum St Marcianus
78v Christe redemptor omnium All Saints
79r Iesu salvator saeculi All Saints
80r O Agrippine pontifex St Agrippinus
80v Martine confessor St Martin
82r Rex Christe Martini St Martin
83r Ad Christi laudem virgnis St Cecilia
83r Martyris magni veneranda festa St Clement
84v Post Petrum primum principem St Andrew
85v Decus sacrati nominis St Andrew
86r O pater sancte Trinity
86v O veneranda trinitas laudanda Trinity
87r Christe immense dominator sancte Dedication Church
87v Sacratum hoc templum Dei Dedication Church
88v Christe celorum habitator alme Dedication Church
89r Exultet celum laudibus Apostles
89v Aeterna Christi munera Several martyrs
91r Martyr Dei qui unicum One martyr
91v Deus tuorum militum One martyr
92r Iste confessor Domini sacratus Confessors
93r Summe confessor Confessors
94r Sancte tu praebe quotiens rogaris (div.) Pontiff
94r Iesu corona virginum Virgins
94v Virginis proles opifexque matris Virgins
95v Optatus votis omnium Ascension
96r Plebs devota mente tota St Restituta
458
 Ben 25 (all incipits only)

Folio Hymn Title Feast

2v Vox clara ecce intonat Advent
3r Verbum supernum prodiens Advent
3r Conditor alme siderum Advent
3v Vox clara ecce intonat Advent
3v Verbum salutis omnium Advent
4r Conditor alme siderum Advent
16r Virginis proles opifexque Virgins
18r Conditor alme siderum Advent
19v Veni redemptor gentium Christmas
19v Egredere Emmanuel Christmas
20r Christe redemptor omnium Christmas
23r Christus est vita veniens St Stephen
25v A solis ortus cardine Christmas
25v Christe redemptor omnium Christmas
27r Hostis Herodes Holy Innocents
27r Iesus refulsit omnium Epiphany
30r Illuminans altissimus Epiphany
30v Hostis Herodes Epiphany
33v Primo dierum omnium Sundays
36v Eterne rerum conditor Sundays
37r Somno refectus artubus Feria II
37r Lucis creator optime Sundays
38r Splendor paternae gloriae Feria II
38r Iam lucis orto sidere Sundays
38v Nunc sancta nobis Spiritus Sundays
38v Rerum Deus tenax vigor Sundays
38v Rector potens verax Deus Sundays
39r Te lucis ante terminum Sundays
39r Immense celi conditor Feria II
39r Consors paterni luminis Feria III
50r Telluris ingens conditor Feria III
50r Ales diei nuntius Feria III
50v Rerum creator optime Feria IV
51r Nox et tenebre et nubila Feria IV
51v Celi Deus sanctissime Feria IV
51v Nox atra rerum contegit Feria V
52r Lux ecce surgit aurea Feria V
52v Magne Deus potentiae Feria V
53r Aeterna celi Gloria Feria VI
53v Summae Deus clementiae Saturdays
53v Plasmator hominis Deus Feria VI
54r Aurora iam spargit Saturdays
54v O lux beata trinitas Saturdays
57r Confessor Domini Maure St Maur
57r Christe sanctorum decus atque virtus St Benedict
59v Confessor Domini Maure St Maur
63r Martyr Dei egregie St Sebastian
67r Rex gloriose martyrum Several Martyrs

459
 67v Martyr Dei egregie St Sebastian
67v Agnetis festum martyris St Agnes
74r Doctor egregie Paule Cathedra Petri
74r Exultet celum laudibus Cathedra Petri
76v Doctor egregie Paule Cathedra Petri
77r Quod chorus vatum Purification
77r Quem terra pontus Purification
81r Ave maris stella Purification
81r Quod chorus vatum Purification
81v Martyris ecce dies Agatha St Agatha
88r Hodie sacratissima virgo St Scholastica
88r Christe sanctorum decus atque virtus St Benedict
93r Christe sanctorum decus atque virtus St Benedict
99r Iam bone pastor Petre (div.) Cathedra Petri
99r Exultet celum laudibus Apostles
111r Magno canentes annua St Benedict octave
111r Christe sanctorum decus atque virtus St Benedict octave
111v Hunc soror sacra (div.) St Benedict octave
114v Fratres alacri pectore St Benedict octave
121v Deus qui mundum crimine Annunciation
125r Ave maris stella Annunciation
125v Primo dierum omnium Sundays
128r Eterne rerum conditor Sundays
128v Lucis creator optime Sundays
137v Aures ad nostras Lent
142r Iam lucis splendor rutilat Lent
142v Aures ad nostras Lent
142v Christe qui lux es et dies Lent
142v Ex more docti mystico Lent
143v Iam Christus sol iustitiae Lent
144r Qua Christus hora sitiit Lent
144r Dei fide qua vivimus Lent
144v Audi benigne conditor Lent
170r Pange lingua Passion Sunday
170v Pange lingua Passion Sunday
170v Crux fidelis Passion Sunday
173v Crux fidelis Passion Sunday
174r Vexilla regis Passion Sunday
175r Vexilla regis Passion Sunday
175r Crux fidelis Passion Sunday
178r Magno salutis gaudio Palm Sunday
178v Ramos virentes Palm Sunday
178v Magno salutis gaudio Palm Sunday
181v Ramos virentes Palm Sunday
182r Magno salutis gaudio Palm Sunday
199r Exultet celum laudibus Apostles
199r Aeterna Christi munera apostolorum Apostles
203r Exultet celum laudibus Apostles
203v Deus tuorum militum One martyr
206v Martyr Dei qui unicum One martyr
207r Martyr Dei qui unicum One martyr
207v Sanctorum meritis Several martyrs
207v Aeterna Christi munera et martyrum Several martyrs
460
 211r Rex gloriose martyrum Several martyrs
211v Summe confessor sacer Confessors
211v Rex gloriose martyrum Several martyrs
212r Iesu redemptor omnium Confessors
215r Iste confessor Domini Confessors
215r Iesu redemptor omnium Confessors
215r Huius O Christe (div.) Confessors
215v Iste confessor Domini Confessors
215v Iesu corona virginum Virgins
215v Virginis proles opifexque Virgins
215v Huius O Christe (div.) Virgins
219v O veneranda trinitas Trinity
219v Iesu corona virginum Virgins
220r Te trina Deus unitas Trinity
224r O pater sancte mitis Trinity
224v Urbs beata Ierusalem Dedication
224v O veneranda trinitas Trinity
225r Christe cunctorum dominator alme Dedication
227v Christe celorum habitator alme Dedication
228r Urbs beata Ierusalem Dedication
238r Aures ad nostras Lent

Ben 19

Folio Hymn Title Feast Office Hour

1r Summe confessor* St Nicholas Matins
3v Ambrosi sidus aureum orbis St Ambrose Matins
4v Sanctorum meritis* St Eustasius Matins
6v Jesu corona virginum* St Lucy Lauds
7v Aeterna Christi munera et St Thomas Matins
9v Exsultet celum laudibus St Thomas Lauds
10v Silvestri almi praesulis St Sylvester Matins
12r Iste confessor domini* St Sylvester Lauds
13r Iste confessor* St Sylvester Vespers
13r Deus tuorum militum sors et St Gregory Matins
13v Martyr dei qui unicum patris St Gregory Lauds
14r Summe confessor* St Hilarius Matins
14v Iste confessor* St Hilarius Lauds
14v Summe confessor* St Felix Matins
15r Iste confessor* St Felix Lauds
15r Iste confessor* St Felix Lauds
15v Christe sanctorum decus atque St Maur Matins
19v Confessor domini Maure St Maur Lauds
20v Deus tuorum militum* St Marcellus Matins
21v Martyr dei* St Marcellus Lauds
22v Sanctorum meritis* Sts Sebastian and Fabian Matins
26v Martyr dei egregie intende Sts Sebastian and Fabian Lauds
28r Agnetis festum martyris St Agnes Matins
31v Agnes beatae virginis St Agnes Lauds
36v Doctor egregie* Conversion of St Paul Vespers
36v Exsultet celum laudibus* Conversion of St Paul Matins
39v Doctor egregie Paule mores Conversion of St Paul Lauds

461
 42r Quod chorus vatum venerandus Purification Vespers
42r Quem terra pontus aethera Purification Matins
46r Quod chorus vatum* Purification Lauds
46r Ave maris stella dei mater Purification Vespers
50r Martyris ecce dies Agathae St Agatha Vespers
57r Christe sanctorum decus atque St Scholastica Vespers
57v Hodie sacratissima virgo St Scholastica Matins
62r Christe sanctorum decus* St Scholastica Lauds
62v Magna Modesti merita sancta St Modestus Vespers
67r Summum Modesti meritum turba St Modestus Lauds
73r Jam bone pastor Petre clemens Cathedra Petri Vespers
73r Exsultet celum laudibus* Cathedra Petri Matins
76r Jam bone pastor* Cathedra Petri Lauds
86v Christe sanctorum decus atque St Benedict Vespers
87r Hunc soror sacra nimium St Benedict Vespers
87v Fratres alacri pectore venite St Benedict Matins
94r Rex ditans famulos munere St Benedict Lauds
96r Deus qui mundum crimine Annunciaton Vespers
100r Ave maris stella dei mater Annunciation Lauds
112r Conditor alme siderum aeterna Sunday 1 Advent Vespers
112r Verbum supernum prodiens a Sunday 1 Advent Matins
113v Vox clara ecce intonat Sunday 1 Advent Lauds
113v Jam lucis orto* Sunday 1 Advent Prime
115r Conditor alme siderum* Sunday 1 Advent Vespers
115v Conditor alme siderum* Sunday 2 Advent Vespers
115v Verbum supernum* Sunday 2 Advent Matins
117r Vox clara* Sunday 2 Advent Lauds
118v Conditor alme* Sunday 3 Advent Vespers
118v Verbum supernum* Sunday 3 Advent Matins
120r Vox clara* Sunday 3 Advent Lauds
121r Conditor* Sunday 4 Advent Vespers
121v Verbum supernum* Sunday 4 Advent Matins
123v Vox clara* Sunday 4 Advent Lauds
132r Christe redemptor omnium ex Christmas vigil Vespers
132v Veni redemptor gentium Christmas Matins
139v Judicii signum tellus sudore Christmas Matins
142r A solis ortu cardine et usque Christmas Lauds
144v Christe redemptor omnium* Christmas Vespers
147r Stephano primo martyris St Stephen Lauds
148v Deus tuorum* St Stephen Vespers
148v Exsultet celum* St John Evangelist Vespers
148v Iste est electus Joannes St John Evangelist Matins
151v Te rogamus te precamur sancte St John Evangelist Lauds
153r Sanctorum meritis* Holy Innocents Vespers
153v Aeterna Christi munera* Holy Innocents Matins
155v Hostis Herodes impie Christum Holy Innocents Lauds
156v Sanctorum meritis* Holy Innocents Vespers
156v Audite filii lucis adoptati Sunday after Christmas Matins
159v Veni redemptor gentium* Christmas octave Matins
161v A solis ortu* Christmas octave Vespers
162v Hostis Herodes impie Christum Epiphany Vespers
169v Hostis Herodes* Sunday 1 Epiphany Vespers
169v Illuminans altissimus* Epiphany octave Matins
462
171v Hostis Herodes impie* Epiphany octave Lauds
172r Hostis Herodes* Epiphany octave Vespers
172v O lux beata trinitas et Sundays Vespers
172v Primo dierum omnium quo Sundays Matins
172v Nocte surgentes vigilemus Sundays Matins
174v Eterne rerum conditor noctem Sundays Lauds
174v Jam lucis orto sidere deum Sundays Prime
177r Nunc sancte nobis spiritus Sundays Terce
177r Rector potens verax deus qui Sundays Sext
177r Rerum deus tenax vigor Sundays None
177v Lucis creator optime lucem Sundays Vespers
177v Te lucis ante terminum rerum Sundays Compline
177w Somno refectis artubus Feria II Matins
177x Splendor paternae gloriae de Feria II Lauds
178r Immense celi conditor qui Feria II Vespers
178v Consors paterni luminis lux Feria III Matins
179r Ales diei nuntius lucem Feria III Lauds
179v Telluris ingens conditor Feria III Vespers
179v Rerum creator optime rex Feria IV Matins
180v Nox et tenebre et nubila Feria IV Lauds
180v Celi deus sanctissime qui Feria IV Vespers
181r Nox atra rerum contegit Feria V Matins
181v Lux ecce surgit aurea pallens Feria V Lauds
182r Magnae deus potentiae qui ex Feria V Vespers
182v Tu trinitatis unitas orbem Feria VI Matins
183r Aeterna celi gloria beata Feria VI Lauds
183v Plasmator hominis deus qui Feria VI Vespers
184r Summae deus clementiae Saturdays Matins
184v Aurora iam spargit polum Saturdays Lauds
189r O lux beata* Septuagesima Vespers
189r Primo dierum omnium* Septuagesima Matins
192r Eterne rerum* Septuagesima Lauds
193r Lucis creator* Septuagesima Vespers
195v O lux beata trinitas* Sexagesima Vespers
195v Primo dierum* Sexagesima Matins
198r Eterne rerum* Sexagesima Lauds
201v O lux beata* Quinquagesima Vespers
201v Primo dierum* Quinquagesima Matins
204v Eterne rerum* Quinquagesima Lauds
212v Aures ad nostras* Sunday 1 Lent Vespers
213r Aures ad nostras Sunday 1 Lent Matins
216r Iam lucis splendor rutilat Sunday 1 Lent Lauds
216v Aures ad nostras* Sunday 1 Lent Vespers
216v Christe qui lux es et dies Sunday 1 Lent Compline
217v Ex more docti mystico Feria II Lent Matins
218v iam Christe sol justitiae Feria II Lent Lauds
219r Dei fide qua vivimus spe Feria II Lent Terce
219r Qua Christus hora sitiit Feria II Lent Sext
219v Ternis ter horis Feria II Lent None
219v Audi benigne conditor Feria II Lent Vespers

463
 Ben 20

Folio Hymn Title Feast Office Hour

10v Ad cenam agni providi Easter octave Vespers
10v Hic est dies verus dei sancto Easter octave Matins
12r Aurora lucis rutilat celum Easter octave Lauds
13v Ad cenam agni* Easter octave Vespers
14r Hic est dies* Feria II Easter Matins
14v Aurora lucis* Feria II Easter Lauds
14v Ad cenam* Feria II Easter Vespers
20v Aurora lucis* Second Sunday after Easter Lauds
25r Hic est dies* Third Sunday after Easter Matins
28v Aurora lucis* Third Sunday after Easter Lauds
36v Aurora lucis* Fourth Sunday after Easter Lauds
46r Festum nunc celebre magnaque Ascension Vespers
46v Optatus votis omnium sacratus Ascension Matins
50r Jam Christus ascendit polum Ascension Lauds
56r Jam Christus ascendit* Feria II Ascension Lauds
57r Veni creator spiritus mentes Pentecost Vespers
57v Beata nobis gaudia anni Pentecost Matins
59v Jam Christus astra ascenderat Pentecost Lauds
61r Veni creator spiritus* Pentecost Vespers
61r Beata nobis gaudia* Feria II Pentecost Matins
71r Beata nobis* Pentecost octave Matins
75r Nocte surgentes vigilemus Sunday summer Matins
115r Primo dierum* Sundays Matins
138r O lux beata trinitas* Saturdays Vespers
138r O veneranda trinitas laudanda Trinity Matins
141v O pater sancte mitis atque Trinity Lauds
142v O lux beata trinitas* Saturdays Vespers
156v Exsultet celum* St Mark Vespers
156v Aeterna Christi* St Mark Matins
163v Exsultet celum* Sts Phillip and Jacobi Lauds
165r Vexilla regis prodeunt fulget Invention Cross Vespers
165r Aeterna Christi munera* Invention Cross Matins
167v Lustra sex qui jam peracta Invention Cross Lauds
169r Pange lingua gloriosi Invention Cross Vespers
170r Tibi Christe splendor patris St Michael Vespers
170v Christe sanctorum decus St Michael Matins
174r Christe sanctorum decus* St Michael Lauds
188v Rex gloriose* St Michael Lauds
192r Ut queant laxis resonare St John Baptist Vespers
192v Antra deserti (Ut queant laxis)* St John Baptist Matins
196v Non fuit vasti* St John Baptist Lauds
200r Sanctorum meritis* Sts John and Paul Vespers
204r Rex gloriose* Sts John and Paul Lauds
206v Felix per omnes festum mundi St Peter Vespers
207r Apostolorum passio dum St Peter Matins
212v Aurea luce et decore roseo St Peter Lauds
213v Aurea luce* St Peter Vespers
213v Felix per omnes* St Paul Matins
218v Non impar Paulus* St Paul Lauds

464
229v Martyr dei qui unicum* St Apollinaris Lauds
237r Petrus beatus* Peter’s chains Vespers
243v Sanctorum meritis* St Stephen Vespers
244r Aeterna Christi munera* St Stephen Matins
247v Rex gloriose* St Stephen Lauds
249v O nata lux de lumine Jesu Transfiguration Vespers
249v O sator rerum reparantor aevi Transfiguration Matins
254r Martyris Christi colimus* St Lawrence Lauds
258r Quis possit amplo famine Assumption Vespers
258v Quem terra pontus aethera Assumption Matins
264r Ad laudem sanctae Mariae Assumption Lauds
265v Bartholomaee celi sidus* St Bartholomew Matins
270r Ad laudem Christi procerum St Bartholomew Lauds
271v Almi prophetae progenies pia St John Baptist Vespers
272r Deus tuorum militum* St John Baptist Matins
275r Omnis felix* St John Baptist Lauds
278v Rex gloriose martyrum* Holy Twelve Brothers Lauds
279v Gaude visceribus manibus Nativity Mary Vespers
279v Quem terra pontus* Nativity Mary Matins
283v O gloriosa femina excelsa* Nativity Mary Lauds
285v Vexilla regis* Exaltation Cross Vespers

Ben 23 (all incipits only)

Folio Hymn Title Feast

4v Vox clara ecce intonat Advent
5r Conditor alme siderum Advent
5v Verbum supernum prodiens Advent
5v Vox clara ecce intonat Advent
6r Verbum salutis omnium Advent
6v Conditor alme siderum Advent
27r Virginis proles opifexque Virgins
30v Conditor alme siderum Advent
32v Egredere Emmanuel Christmas
33r Veni redemptor gentium Christmas
33v Christe redemptor omnium Christmas
41r A solis ortus cardine Christmas
42r Christus est vita veniens St Stephen
42r Verbum supernum prodiens Advent
46v Imbuit primus homines St Stephen
47r Stephano primo martyri St Stephen
47v Iste electus Iohannes St John Evangelist
52r Te rogamus te precamur St John Evangelist
53r Hostis Herodes Holy Innocents
56r Salvete flores martyrum Holy Innocents
57r Christe redemptor omnium Christmas
57v Christe redemptor omnium Christmas
61v Christe redemptor omnium Christmas
64r Illuminans altissimus Epiphany
65r Hostis Herodes Epiphany
69v Primo dierum omnium Sundays
74v Eterne rerum conditor Sundays

465
 75v Lucis creator optime Sundays
76r Somno refectus artubus Feria II
77v Splendor paternae gloriae Feria II
77v Iam lucis orto sidere Sundays
78r Nunc sancte nobis spiritus Sundays
78v Rector potens verax Deus Sundays
78v Rerum Deus tenax vigor Sundays
79r Immense celi conditor Feria II
79r Te lucis ante terminum Sundays
79v Consors paterni luminis Feria III
81r Ales diei nuntius Feria III
81v Telluris ingens conditor Feria III
81v Rerum creator optime Feria IV
83r Nox et tenebre Feria IV
83v Celi Deus sanctissime Feria IV
83v Nox atra rerum contegit Feria V
85r Lux ecce surgit aurea Feria V
85v Magne Deus potentiae Feria V
86v Aeterna celi gloria Feria VI
87r Plasmator hominis Deus Feria VI
87v Summae Deus clementiae Saturdays
88v Aurora iam spargit Saturdays
89r O lux beata Trinitas Saturdays
94r Confessor Domini Maure St Maur
94v Christe sanctorum decus atque virtus St Maur
97v Christe sanctorum decus atque virtus St Maur
98r Confessor Domini Maure St Maur
102v Martyr Dei egregie St Sebastian
109r Rex gloriose martyrum Several Martyrs
109v Martyr Dei egregie St Sebastian
109v Agnetis festum martyris St Agnes
120r Doctor egregie Paule Conversion of St Paul
120r Exultet celum laudibus Conversion of St Paul
124v Doctor egregie Paule Conversion of St Paul
124v Quod chorus vatum Purification
125r Quem terra pontus Purification
130r Quod chorus vatum Purification
130v Ave maris stella Purification
130v Martyris ecce dies Agathae St Agatha
140r Hodie sacratissima virgo St Scholastica
140r Christe sanctorum decus atque virtus St Benedict
148v Christe sanctorum decus atque virtus St Benedict
155v Iam bone pastor Petre Cathedra Petri
155v Exultet celum laudibus Cathedra Petri
172v Christe sanctorum decus atque virtus St Benedict octave
172v Magno canentes annua St Benedict octave
173r Hunc soror sacra St Benedict octave
173v Fratres alacri pectore St Benedict octave
186v Deus qui mundum crimine Annunciation
191v Ave maris stella Annunciation
192r Primo dierum omnium Sundays
196v Eterne rerum conditor Sundays
209r Aures ad nostras Lent
466
 209v Aures ad nostras Lent
214v Iam lucis splendor rutilat Lent
215r Christe qui lux es et dies Lent
215r Aures ad nostras Lent
215v Ex more docti mystico Lent
217r Iam Christus sol iustitiae Lent
217v Dei fide qua vivimus Lent
217v Qua Christus hora sitiit Lent
218r Audi benigne conditor Lent
251r Pange lingua Passion Sunday
252r Pange lingua Passion Sunday
252v Crux fidelis Passion Sunday
256r Crux fidelis Passion Sunday
256v Vexilla regis Passion Sunday
257v Crux fidelis Passion Sunday
257v Vexilla regis Palm Sunday
261v Ramos virentes Palm Sunday
261v Magno salutis gaudio Palm Sunday
262r Magno salutis gaudio Palm Sunday
266r Ramos virentes Palm Sunday
266v Magno salutis gaudio Palm Sunday

MC 542 (all incipits only)

Folio Hymn Title Feast Office Hour

8 A solis ortus Christmas Lauds
9 Veni redemptor Christmas Vespers
15 Imbuit St Stephen Lauds
16 Stephano primo St Stephen Vespers
16 Iste electus St John Evangelist Matins
20 Te rogamus St John Evangelist Lauds
21 Sollemnis St John Evangelist Vespers
22 Hostis Herodes impie Holy Innocents Matins
26 Salvete flores Holy Innocents Lauds
27 Christe redemptor Christmas octave Matins
31 Christe redemptor Christmas octave Matins
33 Christe redemptor Epiphany Matins
33 A solis ortus Epiphany Lauds
33 Christe redemptor omnium Epiphany Matins
34 Jesus refulsit Epiphany Vespers
40 Illuminans Epiphany Lauds
41 Hostis Herodes Sunday 1 Epiphany Matins
57 Lucis creator Sundays Vespers
58 Somno refectis Feria II Matins
59 Splendor paternae Feria II Lauds
60 Immense celi conditor Feria II Vespers
60 Consors paterni Feria III Matins
61 Ales diei nuntius Feria III Lauds
62 Telluris ingens conditor Feria III Vespers
63 Nox et tenebre Feria IV Lauds
63 Celi deus sanctissime Feria IV Vespers
63 Nox atra rerum Feria V Matins

467
65 Lux ecce surgit Feria V Lauds
65 Magnae deus Feria V Vespers
67 Aeterna celi Feria VI Lauds
67 Plasmator Feria VI Vespers
67 Summae deus clementiae Saturdays Matins
68 Aurora jam Saturdays Vespers
69 O lux beata Saturdays Vespers
70 Christe sanctorum St Maur Vespers
70 Confessor St Maur Matins
76 Christe sanctorum St Maur Lauds
76 Martyr dei egregie Sts Sebastian and Fabian Vespers
80 Rex gloriose Sts Sebastian and Fabian Lauds
82 Martyr dei egregie Sts Sebastian and Fabian Vespers
89 Doctor Conversion St Paul Vespers
89 Quod chorus Purification Vespers
95 Quod chorus Purification Lauds
96 Martyris St Agatha Vespers
100 Christe sanctorum St Scholastica Vespers
106 Fratres alacri pectore St Benedict Matins
112 Christe sanctorum St Benedict Lauds
113 Deus qui mundum Annunciation Vespers
114 Quem terra Annunciation Matins
114 Ave maris Annunciation Lauds
115 O lux beata trinitas Septuagesima Vespers
115 O lux beata trinitas Septuagesima Vespers
163 Pange lingua Passion Sunday Vespers
167 Crux fidelis Passion Sunday Lauds
168 Vexilla regis Passion Sunday Vespers
169 Magno salutis Palm Sunday Vespers
175 Ramos virentes Palm Sunday Lauds
179 Gloria laus et honor tibi sit Palm Sunday
181 Magno salutis Palm Sunday Vespers
181 Crux fidelis Feria II Lent Lauds
181 Crux fidelis Feria II Lent Lauds

468
 Appendix B: Transcription of Hymns in Ben 37

A note on the transcriptions

The notation in Ben 37 presents several major challenges to transcription. First of all,

although it is fully notated, each strophe of a given hymn is by no means exactly the same as the

others. For example, there are cases where the neumes used for certain places of the melody

change from strophe to strophe; this occurs because the scribe was keen to use liquescent and

nuance neumes to follow the text closely. In the interest of space, and because the goal in the

present transcription is to record the basic melodic pitches (hence the use of round noteheads

which are incapable of conveying the notational richness of the original manuscript), only the

first strophe of each hymn is notated here.

The melodies in Ben 37 are not notated on staff lines, and there are no clefs. Thus, unless

the hymn melody is notated in another manuscript with staff lines, the initial pitch of the hymn

melody is hypothetical, and thus also the mode. I have tried, where there are no concordant

melodies, to notate such hymns beginning on G, since this pitch usually presents a plausible

modal solution.

The notator of Ben 37 uses extremely imprecise diastematy at times, which makes it

difficult to know (in the case of unique melodies) what are the exact pitches and intervals. The

scribe seems to have wanted to keep the melodies visually within a limited range: thus, notes in

the higher or lower extremes of a melody are often more imprecise in terms of diastematy. There

also appears to be a tendency for the writing to slant upwards from the beginning of a line to the

end, so that the pitches towards the right of a line are at a higher level than the preceding ones.

Thus, I have examined all the strophes of the melody in order to best determine the most accurate

469
reading of a melody, since often a transcription that relies on the visual appearance of the

neumes in the first strophe alone can be inaccurate.

The following editorial practices have been adopted, which apply also to the

transcriptions in Appendix C.

I have added barlines to indicate the breaks in the verse structure of the text, which shows

how the melody of a hymn corresponds to its text’s versification and meter. A double barline

indicates the end of a strophe. In the first strophe, syllables belonging to a single word are

separated by hyphens to make the words of the text placed under different notes in the melody

clear.

Before the transcription of each hymn, I have indicated the incipit of the hymn, the feast

day to which it is assigned, its folio number(s) in the manuscript, and, if the melody is present in

the Monumenta Monodica Medii Aevi, the corresponding melody number as follows: MMMA

(volume I),(number). Where a melody is unique, I have indicated this. I have also included the

Latin rubric, if present, provided for the hymn in the manuscript. These rubrics are abbreviated in

the manuscript, but I have resolved the abbreviations in full here. Where a hymn appears in the

manuscript only as an incipit, without a fully written-out text and melody, I have provided its

title followed by an asterisk, the feast to which it is assigned, the folio number(s), and the rubric

(if present).

As with all other chant texts cited in this dissertation, I have preserved the medieval

orthography (i.e., presulem instead of praesulem, etc.) of the original manuscript both in the

hymn titles and in their texts, as well as in the Latin rubrics. Where I have had to editorially

change the text in order to make the meaning of the word clear (i.e., in the case of the word

“varatro,” which, although written with a “v” in the manuscript, is the same as “baratro”), I

470
indicate this with a footnote. I have tried to make as few editorial interventions in the texts as

possible, therefore, I have not changed the endings of words in order to make them more

grammatically correct according to the rules of classical Latin grammar. However, I have

introduced capitalization for proper nouns, and I have capitalized the first word of each strophe. I

have numbered each strophe of text after the first one (2, 3, 4, etc.). I have not included the

punctuation (i.e., periods) that may be found in the manuscript, as it often does not correspond to

verse structure and may instead indicate other types of performative breaks; instead, I have only

added a period at the end of the doxology or final strophe of each hymn. When the abbreviation

“Am.” for “Amen” is found at the end of a hymn, this abbreviation has been omitted.

Square brackets are used in three different ways: first, in the text of the hymn to indicate

places in the manuscript where the text is illegible because the folio has been cut (some folios

have the tops and/or bottoms trimmed so as to obscure the text; where this happens at the

beginning or end of the hymn collection, I indicate that there is a lacuna in the hymnary by

writing “lacuna” in the square brackets); second, in nearly every hymn’s doxology, since usually

only the first few words of the doxology are indicated in the manuscript; third, in the melodies

where the folio has been cut so as to obscure a hymn’s melody in the first strophe. Where it is

possible to reconstruct a text or melody either from concordances or from the examination of

subsequent strophes of melody, I have editorially provided the missing text or notes within the

square brackets (except in the case of the texts or melodies missing at the very beginning or at

the very end of a hymn collection). I have, where possible, provided the omitted parts of the

doxologies within the brackets. Hyphens have been used to indicate syllables belonging to the

same word where a lacuna interrupts a word.

471
 Curly brackets indicate illegibility due to poor parchment or ink preservation. Thus,

where the ink is faded or the parchment is worn to the point of making the text or melody

illegible, this is indicated with a curly bracket. As with the square brackets indicating missing

texts or melodies due to lacunae in the folii, I have editorially provided the missing text or notes

within the curly brackets where it is possible to reconstruct a text or melody that is otherwise

obscured due to poor ink or parchment quality. Hyphens have been used to indicate syllables

belonging to the same word where a lacuna interrupts a word. I have chosen to use different

types of brackets (besides square ones) for this type of omission because, in the future, studies of

these places in the folii with ultraviolet light might reveal the underlying texts or melodies. This

type of examination would be especially valuable where I have not been able to identify

obscured text or melodies that are unique and lack concordances elsewhere.

Parentheses are used next to strophe numbers to note hymn divisions indicated as such in

the manuscript (usually with the abbreviation “div.” and the appropriate office hour in which the

divided strophes would be used, such as “ad laudem”). The division and the appropriate office

hour (where indicated) are stated in the parentheses.

472
Hodie sacratissima virgo Christi Scholastica, St Scholastica, f. 19r-19v (MMMA I, 733)

[lacuna]

1 -k--k-hhg-3-g-h---j---kj-hg-hj-hg-g-4
... ma-ne-am cu-ram-que fra-trum ne- gli-gam

1-g--g-fd-e-f-gh-h-g--3-f-g-h--kj-hg--hj-hg-g-3-
Sed ca-ri-tas in vir-gi-ne ma-io-ri fer-vens cau- ma- te

1-k--l--j-k-h--k--k-hhg-3-g--h--j--kj-hg-hj-hg-g-4
ca-put ac-cli-nat ma-ni-bus Chris-tum ro- gat e- ni- xi- us

9 12
Tunc subito tonitrua Perfisis ergo gaudio
plenaque metu fulgura visum narrat continuo
erumpunt atque pluvias hanc in columbe specie
mundo spargunt horrificas celorum alta petere

10 13
Sic frater mansit invitus Hinc statim iussit fratribus
totamque noctem laudibus quo matu-[rarent ocius
expenderat celestibus sacrum corpus adducere
soror triumphat precibus eiusque] tumba condere

11 14
At pater permagnificus Iam nos o virgo nobilis
ad cellam redit ocius tuis commenda meritis
ubi cernit post triduum ut post emensum stadium
sancte sororis obitum regni sumamus bravium

15
Laus illi et victoria
qui te elegit gratia

473
assumpsit et cum gloria
per infinita secula.

474
Presulem sanctum reboate, St Sabinus, f. 19v, 37r-v (MMMA I, 774), ymnum in sancti Sabini
episcopus

1-f--e--d---fe--e-f-g-h-gf-ef-f-3-f-e-d--f---e-f--g-h--gf-ef-f-3-
Pre-su-lem sanc-tum re-bo-a-te spon-te ei-us in temp-lo mo-du-lis Sa- bi- num

1-h--g-f-g-fg--g-h-f-e--dd-c-3-cd-g-e--f--f-4
qui De-o { }-stu-du-it pla-ce- re pec-to-re sem-per

2 7
Iste { } -stiva forevit Mira dum cernit { } recessit
esse ut felix ruti- { } eredit et gaudens sine luce videns
{ } experta domuiti quantum occultum retegit vir esset
corpus { } scivit et ipse

3 8
Orbis ius sator pie benedictus Basculum mortis puer vane caret
{} porrigens ore Domini sed obstat
territis servus michi dicit hoc sit
servus suoque

4 9
{} Funditus vitam misertaquem plebem
ambit et quam non sibilure prodit
hoc die factum facerat pro actum
esto Sabinum

5 10
Calli- { } Concinit gentem patria rapacem
esse ventura maledice { }
et suam sedem { }
dixerat ipse

6 11
{} Paribus { }
exclamat manus { }
conscia fraudem

475
12
Gloria summo chorus hinc Sabinum cantet
eterno Domino Deoque qui
suum sanctum beatificavit
nunc et in evum.

476
Ad cenam agni providi, Easter, f. 46v, 20r (MMMA I, 3), ymnum ad vesperum

1630
Ad cenam {agni providi
et stolis albis candidi
post transitum maris} rubri
Christo canamus principi

1-g--g--h--k--j---j-h--h-3-g-j-j-j--g--h-k-klkj-3-h-k-k--l-j-k-j-j-3
Cu-ius cor-pus sanc-tis-si-mum in a-ra cru-cis tor-ri-dum cru-o-re e-ius ro-se-o

1-h--j--k-j-h--j---hg-g-4
gus-tan-do vi-vi-mus De- o

3 6
Protecti pasche vespere Cum surgit Cristus tumulo
a devastante angelo victor redit de baratro631
erepti de durissimo tyrannum trudens vinculo
pharaonis imperio et reserans paradisum

4 7
Iam pascha nostrum Christus est {Quesumus auctor} omnium
qui immolatus agnus est in hoc paschali gaudio
sinceritatis azyma {ab omni mortis impetu
caro eius oblata est tuum} defende populum

5 8
O {vere digna} hostia Gloria tibi [Domine
per quam fracta sunt tartara qui scandis super sidera
redempta plebs captivata cum patre et sancto spiritu
reddita vite premio in sempiterna secula].

630
Notation is illegible in the first strophe, so I have included it on the second strophe here.
631
Originally “varatro.”

477
Rex sempiterne Domine, Easter, f. 20v-21r, (MMMA I, 3), alium ymnum

1-g---g--h-k--j--j--h-h-3-g--j--j-j-g--h--k-klkj-3-
Rex sem-pi-ter-ne Do-mi-ne re-rum cre-a-tor om-ni-um

1-h-k-k--l-j--k-j-j-3--h---j--k---j-h-j-hg-g-4
qui e-ras an-te se- cu-la sem-per cum pa-tre fi-li- us

2 5
Qui mundi in primordio Quem editum ex virgine
Adam plasmasti hominem pavescit omnis anima
cui tue imagini per quem nos et re-s{urge}-re
vultum dedisti similem devota mente credimus

3 6
Quem zabulus deceperat Qui nobis per bap-{tismum
hostis humani generis donasti indulgentiam}
cuius tu formam corporis qui teneba-{mur vinculis
assumere dignatus es ligati conscientie}

4 7
Ut hominem redimeres Qui {crucem propter} hominem
quem ante iam plasmaveras suscipere dignatus es
et nos Deo coniungeres dedisti tuum sanguinem
per carnis contubernium nostre salutis pretium

8
Gloria tibi Domine
[qui scandis super sidera
cum patre et sancto spiritu
in sempiterna secula].

478
Iesu nostra redemptio, Easter, f. 21r (MMMA I, 528), alium ymnum

1-ghj-f-g--g--ghg-gf--g-g-3-g-h--k-k-hh-g-h-h-3-
Ie- su nos-tra re- demp-ti-o a-mor et de-si-de-ri-um

1-hjk-j-h-ghj-hg-f--h-h-3-g--f--h-h-gg-f--g--g-4
De- us cre- a- tor om-ni-um ho-mo in fi-ne tem-po-rum

2 4
Que te vicit clementia Ipsa te cogat pietas
ut ferres nostra crimina ut mala nostra superes
crudelem mortem patiens parcendo et voti compotens
ut nos a morte tolleres nos tuo vultu saties

3 5
Inferni claustra penetrans Tu esto nostrum gaudium
tuos captivos redimens qui es futurus premium
victor triumpho nobili sit nostra in te gloria
ad dextram patris residens per cuncta lausque secula.

6
Gloria tibi Domine
[qui scandis super sidera
cum patre et sancto spiritu
in sempiterna secula].

479
Festum beati martyris, St Mark, f. 21r-v (unique melody), ymnum in sancti Marci

1-d--c--d-defe-fe-d--d-c-3-d-c--d-defe-fe--d--d-c-3-
Fes-tum be-a- ti mar-ty-ris o-dis co-la- mus con-so-nis

1-c---c-ef-e-def-e--d-c-3-efge-fe-e--d-c--de-e-d-4
quem mi-sit or-bi pro-vi-da re- gis su- per-ni gra- ti- a

2 5
Te in quaternis vultibus Cuius sacratis artubus
propheta quondam prescius salutis auctor omnium
vidit leonis inclitam Christus moderno tempore
mysteriarchis formula compsit solum Germanie

3 6
Missus superno munere Letare felix Augia
terra in Alexandrie honore tanto predita
doctis refulsit incolis tuum fovens carum solo
evangelista nobilis habes patronum quem polo

4 7
Spargendo plebi lucida Te Marce voto supplici
verbi salutis spermata culpis rogamus {perditi
pro regis alti nomine tuis} benigne servulis
fit laureatus sanguine laxa malum {peccaminis}

8
[lacuna; doxology?]

480
Christe sanctorum decus angelorum, St Michael, f. 22r (MMMA I, 532)

[lacuna]

1- -m-l-3-lm-ml-k--lk--j--kj-h-j-k--j---h-3-h--j-k--lkj-j--4
… au-lam no-bis ut cre-bro ve-ni-en-te cres-cant pros-pe-ra cunc- ta

1-g--j-k--lm-l-llk-h-j-k--j---h-3-g-j--k-lm-l---k-m-l--n-m-l-3-
An-ge-lus for-tis Ga- bri-el ut hos-tem pel-lat an-ti-quum vo-li-tet ab al-to

1-lm-ml-k--lk---j--kj-h-j-k-j-h-3-h-j-k-lkj--j--4
se- pi- us tem-plum ve- ni-at et is-tud vi-se-re nos- trum

4 5
Angelum nobis medicum salutis Hinc Dei nostri genetrix Maria
mitte de celis Raphael ut omnes totus et nobis chorus angelorum
sanet egrotos pariterque nostros semper assistat simul et beata
dirigat actus contio tota

6
Prestet hoc nobis Deitas beata
patris et nati pariterque sancti
spiritus cuius reboatur omni
gloria mundo.

481
Optatus votis omnium, Ascension, f. 22r-23r (MMMA I, 723), ymnum in ascensione Domini

1-h-gh-gh-jh-ghg-k-jh-h-3-h-j--k-l-h--j-hj-j-3-
Op-ta-tus vo- tis om-ni-um {sa-cra-tus il-lu}-xit di-es

1-j---j---h--g--e--f--gh-h-3-h---gh-gh-jh-ghg-k-jh-h-4
quo Chris-tus mun-di spes De-us {con}-scen-dit ce- los ar-du-os

2 6
Ascendens in altum Domine Agamus ergo gratias
{propriam ad sedem remeans nostre salutis vindici
gavisa sunt celi regna nostrum quod corpus vexerit
reditu unigeniti} sublimen ad celi regiam

3 7
{Magno} triumpho prelii Sit nobis cum celestibus
mundi perempto principe commune manens gaudium
Patris presentans vultibus illis quod se praesentavit
victricis carnis gloria nobis quod se non abstulit

4 8
Est elevatus nubibus Nunc provocatis actibus
et spem fecit credentibus Christum exspectare
aperiens paradisum nos {decet vitaque} talis vivere
quem protoplasti clauserat quae possit {celos} scandere

5 9
O grande cunctis gaudium Gloria tibi Domine
quod partus nostrae virginis {qui scandis super sidera
post sputa flagra post crucem cum patre et sancto spiritu}
paternae sedi ilungitur in sempiterna secula.

482
Iam Christus ascendit polum, Ascension, 23r-v (MMMA I, 726)

1-dh---g---d-e--f--g--h-gfe-3-eh-g--d-e-f-g-j-h-3-
Iam Chris-tus as-cen-dit po-lum ne- ca-vit an-te fu-ne-ra

1-h--h-jk-j--gf-gh-gf-e-3-g----g--d--e-f--g-h-gfe-4
le-tum se-pul-tus ex- pu- lit mors mor-tis im-pul-su ru-it

2 6
Cantate factum seculi Quam si {coruscis sedibus}
funus sublegit tartarum fulgore {terreres reos
vicit peremptus exitum Deus pater per omnia
mors inde luget pallida nullo remotus} tegmine

3 7
Presumpsit unde gaudium Sed ut iacentes erigat
esce vorator captus est dignatus esse quod sumus
et preda raptor omnium redemit ipse ius suum
iam rete vinctus ducitur ovem reduxit perditam

4 8
Iacet catena in nexibus Pastoris ad custodiam
serpens venena preferens levate portas angeli
mitis terit superbiam intret tremendus arbiter
agnus leonem eviscerat maior tropeis ostium

5 9
Plus istud est potentie Gloria tibi Domine
quod nostre sanctus induens [qui scandis super sidera
veste servi accipiens cum patre et sancto spiritu
nos ad triumphos provehis in sempiterna secula].

483
Festum nunc celebre, Ascension, f. 23v-24r (MMMA I, 548) alium ymnum ad vesperum

1-c---d---e--f-g--g--g---f-d---e-f-d-3-c--d---e-f-g--g---f-d-e--f--
Fes-tum nunc ce-le-bre mag-na-que gau-di-a com-pel-lunt a-ni-mos car-mi-na pro-

1-g--g-3-g---gh--hg-f-g-g---g---f-d-e-dc-c-3-f-e--f--d-e-c-d-d-4
me-re cum Chris-tus so-li-um scan-dit ad ar-du-um ce-lo-rum pi-us ar-bi-ter

2 4
Conscendit iubilans letus [ad ethera Oramus Domine condtor inclite
sanctorum populus predicat inclitum devotos famulos respice protege
concinit pariter angelicus chorus ne nos libor edax demonis obruat
victoris boni gloriam demergat vel in inferos

3 5
Qui scandens superos vincula] vinxerat Ut cum flammivoma nube reverteris
donans terrigenis munera plurima occulta hominum pandere iudicans
districtus rediens arbiter omnium non des supplicia horrida noxiis
qui mitis modo transiit sed iustis bona premia

6
Presta hoc genitor optime maxime
hoc tu nate Dei et bone spiritus
regnans perpetuo fulgida trinitas
per cuncta pie secula.

484
Funeris victor triduo Ascension, f. 24v-25r (unique melody), alium ymnum

1-g-f-e---g-f--g-h-k--jh-gh--h-3-g--f-e--g--f--g-h-k--jh-gh-h-3-
Fu-ne-ris vic-tor tri-du-o re- sur-gens sus-tu-lit sanc-tos E-re-bo re- ten-tos

*1-g-f--e-g-f--g-h--k--jh-gh-h-3-h---g-f-h-g-4
Ce-li-cas il-lis tri-bu-ens be- nig-nus scan-de-re se-des

*for all of the following verses, the final two lines of each strophe are set to the following
melody (using the appropriate text from verse 2 as an example):

1-k--j-h-jh-j-j--k-h-g-ff--e-3-ef-h--f--g--g-4
men-tis ut cu-ret re-se-ra-ta Tho-me stig-ma-ta pan-dit

2 5
Ut homo verus liquido patescat Quid tibi dignum fecimus redemptor
mandit et potat tibi namque vulnus cor quidem nostrum lubricat profanum
mentis ut curet reserata Thome supplices tantum labiis litamus
stigmata pandit pectoris ymnum

3 6
Ut Deus scandit nitidus triumphis Tu tamen grates placidusque sumens
regna stellati penetrans Olympi noxias mentis remove figuras
omnibus nobis solidam reliquit nesciam mortis tribuendo vitam
spemque fidemque consule nobis

4 7
Clarus ad dextram residens paternam Una majestas parilis potestas
regnat equalis patri atque compar vita communis sociale sceptrum
spiritus sancti sibi servientes Deus excelsus Deus absque cursu
protegit omnes temporis exstas

8
Laus honor virtus tibi sit perennis
qui bonus solus bonitate vera
Deus excels bonitate regnas
trinus et unus.

485
Veni creator spiritus, Pentecost, f. 25r-v (MMMA I, 17) ymnum in pentecostem

1-g--h-gf-g-h--k--l-k-3-k---g-h-k-lk-l-m-l-3-k--lm-kj-h-jk--g-h-k-3-
Ve-ni cre- a-tor spi-ri-tus men-tes tu-o-rum vi-si-ta im-ple su-per-na gra-ti- a

1-jk-h--gf-g-hjh-g-fg-g-4
que tu cre- as- ti pec-to-ra

2 5
Qui paraclytus diceris Hostem repellas longius
donum Dei altissimi pacemque dones protinus
fons vivus [ignis caritas ductore sic te previo
et spiritalis unctio vitemus omne noxium

3 6
Tu septiformis] munere Per te sciamus da patrem
dextre Dei tu digitus noscamus atque filium
tu rite promisso patris te utriusque spiritum
sermone ditans gutture credamus omni tempore

4 7
Accende lumen sensibus Da gaudiorum premia
infunde amore cordibus da gratiarum munera
infirma nostri corporis dissolve litis vincula
virtute firmans perpeti astringe pacis feder

8
Gloria patri Domino
natoque qui ex mortuis
surrexit ac paraclito
in sempiterna secula.

486
Beata nobis gaudia, Pentecost, f. 25v-26r (MMMA I,36), alium ymnum

1-f-g-hk-k--g--jh-fg-g-3-k-k--hj-k--g-h-fg-g-3-
Be-a-ta no-bis gau-di- a an-ni {re- du-xit or-bi- ta}

1-k---k-l-l--j-k--j--hg-3-[g--f-e-f--h--g-fg-g-]-4
cum spi-ri-tus pa-ra-cly-tus [re-ful-sit in dis-ci-pu-los

2 5
{Ignis} [vibrante] lumine Te nunc Deus piissime
lingua figuram detulit vultu precamur cernuo
verbis ut essent proflui illapsa nobis celitus
et caritate fervidi largire dona spiritus

3 6
Linguis loquuntur omnium Dudum sacrata pectora
turbae pavent gentilium tua replesti gratia
musto madere deputant dimitte nunc peccamina
quos spiritus repleverat et da quieta tempora

4 7
Patrata sunt hec mystice Gloria patri Domino
pasche peracto tempore [natoque qui ex mortuis
sacro dierum numero surrexit ac paraclito
quo lege fit remissio in sempiterna secula].

487
Iam Christus astra ascenderat, Pentecost, f. 26r-27r632 (MMMA I,726)

1-dg---f--c--d-e--e-f--g-fed-3-dg--f--c--d-e-f--g-f-3-
Iam Chris-tus ast-ra as-cen-de-rat re- gres-sus un-de ve-ne-rat

1-f--f--h--g-fe-g--f-d-3-g---g--c-d-e--f-g-fed-4
pro-mis-so pa-tris mu-ne-re sanc-tum da-tu-rus spi-ri-tum

2 5
Sollemnis {urgebat dies Impleta gaudent viscera
quo mystico septemplici afflata sancto lumine
orbis vo}-lutus septies voces diverso consono
signat beata tempora fantur Dei magnalia

3 6
{Cum} hora cunctis tertia Ex omni gente cogitur
repente mundus intonat Grecus Latinus Barbarus
apostolis orantibus Cunctisque admirantibus
Deum venisse nuntians linguis loquuntur omnium

4 7
De patris ergo lumine Iudea tunc incredula
decorus ignis almus est versanit {turba} spiritu
quo fida Christi pectora ructare musti crapula
calore verbi compleat alum{-nos Christi} concrepat

8
Sed signis et vir{-tutibus
occurrit et docet Petrus
falso profari perfidos
Ioele teste comprobans}.

632
Stäblein identifies this melody as unique on folios 135v and 136v for the hymns Iam Christus ascendit
polum and Iam Christus astra ascenderit in the hymnary of Gaeta, Casan. 1574, but we see that it was notated in
Ben 37 for the latter of these texts. See Monumenta Monodica Medii Aevi, vol.1, pp. 419, 421, and 607. This
melody in Ben 37 is something in between Stäblein’s No. 726 and No. 727, which are only slight variants of each
other.

488
Alma beati martyris Viti, St Vitus, f. 34v, 27r (MMMA I,779)

1-e-g--j-kj-j-hj-hg-g-3-e-g-j-k--k---kj-kl-l-3-
Al-ma be-a- ti mar-ty- ris Vi-ti ca-na-mus tro-phae-a

1-l-lml-k-kj-h-hj-hg-g-3-e-g-j---kj-jj-hj-hg-g-4
ym-nis ve-ni-te dul-ci- bus ce-le-bra-re so-lem- ni- a

2 6
Dona divini spiritus Durissimus in labiis
septems hausit fontibus fatetur Abrenuntio
{Christi repletus gratia} puer agnoscens omnia
Contempsit mundi culmina dat patri indulgentiam

3 7
{Cecus} amisso lumine Imperatoris filium
Ylas {videndo agmina nequam vexabat spiritus
cum Vito in cubiculo sed Viti verbo territus
repleto} sancto spiritu illum reliquit protinus

4 8
Provolutus vestigiis Cuncta {cucurru fortiter}
infantis rogat menta vincla flagella carcerem
ut ei quod amiserat {beatus Vitus} inclitam
lumen donaret pristinum celo reddidit animam

5 9
Hoc {audiens} almificus Posce pro nobis {veniam
Vitus patri addiderat Vite pater sanctissime
si pompis abrenuntias a Iesu Christo Domino
magna videbis lumina qui est corona martyrum}.

489
Ad laudem Christi procerum, St Bartholomew, f. 27v-28r (MMMA I,723)

1-g-fg--fg--hg-fg-j-hg-g-3--g--g--h--kj--g---h-gh-h-3
Ad lau-dem Chris-ti pro-ce-rum cunc-to-rum fra-trum con-ci- o

1-h-h-g-f--e-f-gh--h-3-j--gh-gh-jh-fg-j-hg-g-4
su-a-vi mo-du-la- mi- ne de-pro-mat ac- tus pa- ri- ter

2 6
Postquam ad patris dexteram Conversus rex ad Dominum
sua Christus potentia statim et omnis populus
ascendit et discipulus ablutus est Polimius
sancto replevit spiritu sacro fonte cum omnibus

3 7
Bartholomeus inclitus Hinc castigatus ictibus
predicans Dei filium Astrige sub sevissimo
ingressus est in India nudatur cutis tegmine
faciens mirabilia vivens Deumque confitens

4 8
Cuius vultus insignia Sic in tropheo fidei
virtutes et prodigia celebs athleta permanens
hostis Beyr nequissimus abscisus ense verticem
suis narrat complicibus celos triumphans petiit

5 9
Apostolus tunc filiam Cuius caterva precibus
cernens regis lunaticam sacris fulta fidelium
saluti verbo reddidit devicto hoste callido
et idola comminuit fruatur celi gaudius

10
Deo patri et filio
sancto simul spiritui
honor potestis gloria
per seculorum secula.

490
Gaudium mundi Christe, St Bartholomew, f. 28r-29r, (MMMA I,532) alium ymnum ad
matutinum

1-g--j-k---lm-l---lk-h--j--k--j--h-3-g-j-k--lm-l--k--m-l-n-m-l-3-
Gau-di-um mun-di Chris-te lux sanc-to-rum ce-li qui reg-na con-tu-lis-ti tu-is

1-lm-ml-k-l-j---kj-h-j-k---j--h-3--g-j-k--lkj-j-4
vo-ta tu-o-rum fa-mu-lo-rum cle-mens sus-ci-pe sem-per

2 5
Barholomei precibus placatus Judicis iram miseratus placa
veniam nobis tribue culparum pestem et morbos languoresque pelle
huius et vite commoda dignanter fidei spei caritatis nobis
nobis concede bona largire

3 6
Hunc diem sacrum tuis ita cede Gaudet iam terra tuo decorata
digne famellis celebrare semper lumine celum simul et resultat
quo post hanc vitam mereamur celi gaudium nobis tribue iam sancte
scandere regna Bartholomee

4 7
Athleta Dei tuum qui devote Gloriam patri resonemus omnes
celebrant festum miseratus fove et tibi Christe genite superne
scelerum atque potestate magna cum quibus sanctus simul et creator
vincla dissolve spiritus regnat.

491
Ut queant laxis, St John the Baptist, f. 29r-v (MMMA I,532), In sancti Iohanni ymnum ad
vesperum

1-d--e--f--gh-g--ggf-d-e-f--e--d-3-d-e---f-gh-g--f--h-g-j-h-g-3-
Ut que-ant la- xis re- so-na-re fib-ris mi-ra ges- to-rum fa-mu-li tu-o-rum

1-gh-hg-f-gf-e-fe-d-e-f-e--d-3-d--e-f--gfe-e-4
sol-ve pol-lu- ti la- bi- i re- a-tum sanc- te Io-han- nes

2 7
Nuntius celso veniens Olympo Ceteri tantum cecinere vatum
te patri magnum fore nasciturum corde presago iubar adfuturum
nomen et vite seriem gerende tu quidem mundi scelus auferentem
ordine promit indice prodis

3 8 [division: Non fuit vasti spatium 29v]

Ille promissi dubius superni Non fuit vasti spatium per orbis
perdidit prompte modulos loquele sanctior quisquam genitus Iohanne
sed reformasti genitus perempte qui nefas secli meruit lavantem
organa vocis tingere lymphis

4 9
Ventris obstruso positus cubili O nimis felix meritique celsi
senseras regem thalamo manentem nesciens labem nivei pudoris
hic parens nati meritis uterque prepotens martyr eremique cultor
abdita pandit maxime vatum

5 10
Antra deserti modicis sub annis Serta ter denis alios coronant
civium turmas fugiens petisti aucta crementis dupplicata quosdam
ne levi saltem maculare vitam tria centeno cumulata fructu
famine posses te sacer ornant

6 11
Prebuit irtum tegimen camelus Nunc potens nostri meritis opimis
artubus sacris strophium bidentis pectoris duros lapides repelle
ast latex haustum sociata pastum asperum planans iter et reflexos
mella locusti dirige calles

492
12
Ut pius mundi sator et redemptor
mentibus pulsa livione puris
rite dignetur veniens sacratos
ponere gressus
493
13
Laudibus cives celebrant superni
te Deus simplex pariterque trine
supplices ac nos veniam precamur
parce redemptis.
Almi prophete progenies pie, St. John the Baptist, f. 30r-v (MMMA I,738)

1-gk-hjh-g--hj-j-jh-k--h-j-h-g-3-gh-k--h-j--j-j-hg-j-kl-lk-jk-kjh-3
Al- mi pro-phe-te pro-ge-ni-es pi-a cla-rus pa-ren-te et no- bi-li- or pa- tre

1-gh---k-h-j--j--jh-k--h--j-h-g-3-ghj-j-j-jhjh-g--klm-m-lk-lk-hj-
quem ma-tris al-vus clau-de-re nes-ci-a or- tus e- ri- lis pro- di-dit in- di-

1-jhg-4
cem

2 4
Cum virginalis regia gloriam Scribendus hic est vocis ut augeat
summi tonantis nomine pignoris nostre canorem duraque vincula
gestret aule nobilis intimo dissolvat oris larga prophetici
claustro pudoris fertilis integro verborum habenis litera nominis

3 5
Vox suscitavit missa puerpere Vox namque verbi vox sapitentie est
fovitque vatis gaudia parvuli maior prophetis et minor angelis
matres prophetant munere pignorum qui preparavit corda fidelium
mutus locutus nomine filii est stravitque rectas iustitie vias

6
Sit trinitati gloria unice
virtus potestas summa potentia
regnum retentans que Deus unus est
per cuncta semper secula seculi.

494
Deus qui verbi angelo, St John the Baptist, f. 30v-31r (MMMA I,736), alium ymnum

1-h--h-h---h-hjhh-g-j-l--kj-hj-j-3-l--k--m-l-k-k-j-k--l-kjh-h-3-
De-us qui ver-bi an-ge-lo pre-co- ne an-nun-ti- a- re va-ti de-cre-vis- ti

1-l-k--l--jh-j--h-g-j-l-jh-h-3-jkl-lk-k-k-jh-h-4
an-ge-lum no- bis tri-bu-e tu-to-rem tem- po-re vi- te

2 5
Maior in natis non surrexit nemo Heremi cultor sponsi et amicus
sanctio atque baptista Iohanne mundi tollentem crimina qui tingui
nos apercavis surgere concedat aquis Iordanis meruisti virtus
norma virtutum ablue sordes

3 6
Vincla parentis ut resolvit lingue Fac ut securi iudicem videre
patris pudore repulit ut natus quem predixisti mereamur atque
solvat nostrorum delictorum nexus cum sanctis potiamur omnes
gratiam reddens gaudia vite

4 7
Spiritu sancto quo repleatus ante Presta Christe genitoris alme
quam nasceretur fuit et virtute {}
impleas et nos hec virtutum dona { } et gubernas
pie concedas secula semper.

495
O clara mundi lumina, Sts John and Paul, f. 31v-32v (unique melody), Ymnum in sancti
Iohannis et Pauli

1-g-hj-jh-k--hg-h--k-j-3-h--g-h--k--jk-h-j--h-3-
O cla-ra mun-di lu-mi-na ut ves-tra Pau-le pro-me-re

1-h-jk-kj-l--ml-h--k-j-3-h---g-h--k--jk-h-j-h-4
pos-sim Io-han-nes mu-ne-ra vos fer-te nunc so- la-mi-na

2 7
Cum Gallicanus coniugem {}
Augusti natum posceret auguste Philippo polim
audacter estis traditi cunctisque me palantibus
vos ethnico sub scemate Paulus Iohannes instruunt

3 8
Sed filias ex coniuge Depre me Christo credere
hoc iure Christi virgini primo fuisti fortior
prius casut quas edidit mox victor eris talia
altrinsecus retradidit instructus id decreverat

4 9
Postquam suo sub egerit Vir candidus pre grandior
mucrone gentes scithicas crucem gerens exercitus
tum rite iustas aceolans crimatus hinc apparuit
victorque consul nuptias dicensque me regetenus

5 10
Devectus in { } limina Ovans ad hec cum Attica
ad sacra primum properat doctrix adit Constantia
au-{ } ovans numin procur prepesque tunc Arthemia
denegaret { } genitrix necnon Helena

6 11 [division, lauds]
{} Decessit ut mitissimus
successit ac retrogradus
tunc iura Christi militent
decrevit ut sequentibus

496
12 13
Terentius statum cuius Hinc tunc scruovem vix precepit
composito iam vespere librare dumpque spernitis
defert Iovis tunc aureum cessim dehisci spiculo
ponatis ut libra [ ] Christum subistis ethera

14
Deo patri sit gloria
[eiusque soli filio
cum spiritu paraclito
et nunc et in perpetuum].

497
Aurea luce et decore roseo, Sts Peter and Paul, f. 32v-33r (MMMA I,152), in sancti Petri et Pauli

1-f-fe-dc-ded-e-e-e-dc-e-gf-e-de-e-3-
Au- re- a lu-ce et de-co-re ro-se- o

1-g-h--j--h--gfe-e--dc-e-gf-e-de-e-3-
lux lu-cis om-ne per- fu- dis-ti se-cu-lum

1edc-d--fe--e-e--g-e-d--f--fe-de-e-3-
de- co-rans ce-los in-cli-to mar-ty- ri- o

1-ed-dc-cd-de-dc-f-gh-gh-fg-fe-de-e-4
hac sa- cra di- e que dat re- is ve- ni- am

2 4 [division]
Ianitor celi doctor orbis pariter Doctor egregie Paule mores instrue
iudices secli vera mundi lumina et mente polum nos transferre satage
per crucem alter alter ense triumphans donec perfectum largiatur plenius
vite senatum laureati possident evacuato quod ex parte gerimus

3 5
Iam bone pastor Petre clemens accipe Olive bine pietatis unice
vota precantum et peccati vincula fide devotos spe robustos maxime
resolve tibi potestate tradita fonte repletos caritatis gemine
qua cunctis celum verbo claudis aperis post mortem carnis impetrate vivere

6
Sit trinitati sempiterna gloria
honor potestas atque iubilatio
in unitate cui manet imperium
ex tunc et modo per eterna secula.

498
Apostolorum passio diem, Sts Peter and Paul, f. 33r (MMMA I,721), alium ymnum

1-gh-f--g-h--k--j-h-g-3-l-l--lm-m--l-kj-kl-l-3-
A-pos-to-lo-rum pas-si-o di-em sa-cra-vit se- cu- li

1-g--j-h---k--g---h-g--f-3-h-k-l-kj-hg--hj-hg-g-4
Pe-tri tri-um-phum no-bi-lem Pau-li co-ro-nam pre- fe-rens

2 5
Coniunxit equales viros Precinctus ut dictum est senex
cruor triumphalis necis et elevatus ab altero
Deum secutos presulem quo nollet ivit sed volens
Christi coronavit fides mortem subegit asperam

3 6
Primus Petrus apostolus Hinc Roma celsum verticem
nec Paulus impar gratia devotionis extulit
electionis vas sacre fundata tali sanguine
Petri adequavit fidem et vate tanto nobilis

4 7
Verso crucis vestigio Tante per urbis ambitum
Simon honorem dans Deo stipata tenunt agmina
suspensus ascendit dati trinis celebratur viis
non immemor oraculi festum sacrorum martyrum

8
Prodire quis mundum putet
concurrere plebem poli
[electa gentium caput
sedes magistri gentium].

499
Eustasii magni martyris, St Eustace f. 34r-v (MMMA I,706), ymnum in sancti Eustasii

1-g--e--f---g--g-gh-gfe-e-3-g-f-f-e--d--e--dd-c-3-
Eu-sta-si-i mag-ni mar-ti- ris ux-o-ris at-que pig-no-rum

1-d-c--d---f-f--g-h-h-3-h---g-f-gf-def-f-ed-d-4
ca-na-mus sa-cra can-ti-ca sanc-tus be-nig-nis lau-di-bus

2 6
…[ ]tum Christus creator omnium
bellator et fortissimus mestorum consolatio
qui olim fuit previus matrem collegit et natos
Romanorum exercitus athletam ad Eustasium

3 7
Venatum isdum progeret Tandem ad romat sustinet
ferarum cernit agmina ab Adriano cesare
cervique inat cornua leonum nempe morsibus
Christum videre meruit per Christum liberati sunt

4 8
Terra tenus prostratus est Missi bove inereo
ad nostro vocatus est succenso flamma ignea
erectus est Eustasius adepti sunt qui bravium
nomen ammittens placidus per agonem martirii

5 9
Baptisma Christi consequens Presta beata trinitas
cum filiis et coniuge [indulgens, clemens unitas,
sed post modum exiliens ut tibi casto corpore
varique pene passi sunt letemur omni tempore].

500
Claret sacrata iam dies, St Gregory, f. 37v and 35r (MMMA I,116), ymnum in sancti Gregorii
papae

1-gh-h--gf-g-hjh-g--fg-g-3-gh-h-gf-g--h--k--kl-l-3-
Cla-ret sa-cra-ta iam di- es quo ur-bis Ro-me pon- ti-fex

1-l-lml-k-k--g-hj-hg-g-3-gh--h-gf-g-hjh-g-fg-g-4
po-lum so-lu-tus ex car- ne Gre- go-ri- us pe- ti-e-rat

2 7
Tunc magis altum moribus Nam eius inter cetera
doctrinaque egregius virtutum et documenta
a pubertatis tempore quod gessit post obitum
almum gerebat filium suum Rome ad fideleum

3 8
O magnum decus ecclesie Quidam cecus a parvulo
o sacerdotum gloria suo privatus lumine
dum gregi prestat pabulum antrum excubat avidus
tecta pandit mysteria lumen requirit perditum

4 9
Fulgent verbis et sensibus Sed virtus alma protinus
eius dogmata omnia favet poscenti anxie
sancti ut credant spiritus suis reddit obtutibus
doum fuisse maximum lucis munera ocius

5 10
Prebent salutis copiam Huius sane ut precibus
sale precepta condita iuvemur omnes poscamus
et munus magnum populis ut celi {aulam propere}
rigans corda mysteriis valeamus penetrare

6 11
Gessit et curam pastoris {Deo patri sit gloria}
ut gentibus ferret opem [eiusque soli filio
anglos convertit ad fidem cum spiritu paraclito
addens plebem ecclesie et nunc et in perpetuum].

501
Alleluia piis edite, Septuagesima, f. 35v, 53r (unique melody), dominica in septuagesima ymnum
ad nocturnas

1-gj-h-jh-g-h-k-k-h-g-hg-gh-f-3-gj-h-jh-g-h-k-k--h-g-k-lkj-j-3-
Al- le-lu- ia pi-is e-di-te lau-di-bus ci-ves e-the-re-i psal-li-te na-vi- ter

1-j-jm-m-l-k--l--l-l-k-h--j-hg-g-3-gj-h-jh-g-h-k-k--h-g-hg-gh-f-4
Al-le-lu-ia pe-ren-ne e-di-te lau-di-bus ci- ves e-the-re-i psal-li- te na- vi- ter

2 5
Hinc vos perpetui luminis accolas [Almum sideree iam patrie decus
assumens resonans ymniferis choris victores capitis] quo canor est iugis
alleluia perenne alleluia perenne
luminis accolas assumens resonans iam patrie decus victores capitis
ymniferis choris quo canor est iugis

3 6
Vos urbs eximia suscipiet Dei Hoc fessis requies hoc cibus et potus
Que letis resonans cantibus excitat hoc letans reduces hostibus affluis
alleluia perenne alleluia perenne
suscipiet Dei que letis resonans hoc cibus et potus hoc letans reduces
cantibus excitat hostibus affluis

4 7
Tu lucis redita gaudia sumite Nos te suavisonis conditor affatim
reddentes Domino glorificos melos rerum carminibus laudeque pangimus
alleluia perenne alleluia perenne
gaudita sumite reddentes Domino conditor affatim rerum carminibus
glorificos melos laudeque pangimus

8
Te Christe celebrat gloria vocibus
nostris omnipotens ac tibi dicimus
alleluia perenne
gloria vocibus nostris omnipotens
ac tibi dicimus.

502
Adest miranda passio levite, St Vincent, f. 52r-v, 36r (MMMA I,14), ymnum in sancti Vincentii
levita et martyri

1 4
Adest miranda passio Dolore nullo frangitur
Levite sancti martyris nullaque pena vincitur
cui clara virtu[te fragrans flammas ferens per ungulas
corona Vincenti datur robusta permansit fides

2 5
Beatus ille spiritus Exhinc reponunt mollibus
quem post triumphum prelii Christi fidelem militem
Post vincla diri carceris carnis relicto pondere
Celestis aula suscipit ad astra migrat spiritus

3 6
Cuncti mirantur perpetim Feris vesanus imperat
post tot cruorem martyrem iactum cadaver mandere
quem testularum fragmina custode corvo corporis
mucrone acuto vulnerant fames lupina pellitur

7 8
Gravis tirannum excitat Honore summo redditur633
furor iubetque martyrem Christo iubente litori
insuto gravi herunculo revectus undis lembus
ponti profundo mergere prevenit omnes remiges

1-g--gg--f--e-d-fhg-fg-g-3-gk-kj-h-g--h-jg--h--g-f-3-
Ex hinc ad cy-me-te- ri-um ma-nu- i fer-tur psal-len- ti-um

1-f--g--f--g-h--k-g-hjh-3--j--h-ghg-e--f--hg-fg-g-4
in sanc-to do-mi-ci- li- o Chris- ti re- po-nunt mi- li-tem

633
At this point the hymn continues on folio
36r with notation.

503
Agonitheta Nobilis cultorque, St Vincent, f. 36 r-v (unique melody), alium ymnum

1-gh-h-gf-g-h-klk-j-h-3-l-lk-jk--lk-hg-h-fg-g-3-
A- go-ni-the-ta no- bi-lis cul-tor-que sum-mi nu-mi-nis

1-gh-h-gf-g-h--k---l--k-3-h--h-gf-h--j--h-fg-g-4
as- sis-te vo-tis sup-pli-cum te lau-di- bus co-len-ti- um

2 5
Columna templi lactea Tu vires hostis impii
celestis aule vernula fretus virtute Domini
levita clarus meritis penasque carnis superans
prece et favetus miseris polum petis tripudians

3 6
Te Vincentie canimus Nunc adunatus angelis
festumque diem colimus tuis faveto famulis
et vota pia reddimus quo tecum celi fulgida
melosque leti pangimus leti sumamus premia

4 7
Tu laureatus sanguine Laus sit parenti Domino
celi fulges in culmine laudes canamus unico
conjunctus choro martyrum laudes amborum flamini
sanctissime Christicolum in secula laudabili.

504
Beatus vir Vincentius, St Vincent, f. 36v (MMMA I,779), alium ymnum

1-a-cd-d--f--e--de-dc-c-3-a-cd-d--f---f-fe-fg-g-3-
Be-a- tus vir Vin-cen- ti- us vo-ca-tus no-men me-ri-tum

1-g--ghg-f--fe--d-de-dc-c-3-a--c--d--f--e-de-dc-c-4
qui fi- de Chris- ti po- ti- tus dra-co-nem cal-cat za- bu-lum

2 3
In Spania provincia Qui plura mirabilia
habitans in Valentia fecit fide Christicola
vitam tenens innoxiam pau-{peribus vel egenis
fidus de Christi gloria ministrans utensilia}.

505
Christe sanctorum decus atque virtus, St Benedict, f. 38r-39v, item ymnum in natali sancti
Benedicti634

1-hjh-hg-gh--h--h--h--k-j-gh--h-h-3-hlm-l-l-kl-lk-j-l-k-jk-kj-hg-3-
Chris-te sanc-to-rum de-cus at-que vir-tus vi- ta et for-ma vi- a lux et auc-tor

1-gk-kj-hg-fg-gg-f-h-k-jkj-g-hj--jh-3-hjk-jh-gh-h--h-4
sup- pli-cum vo- ta pa-ri-ter-que ym-num sus- ci- pe cle-mens

2 7
Qui tuum dudum Benedictum ad te In quibus ipse via vite clarens
attrahens mire segregasti mundo artibus sanctis docet admonendo
ut probra mundi reprobare discens sic Dei iussis libere parendo
te sequeretur mente subesse

3 8
Cuius devotum animum pueri Pauperum cuncta pietate gliscens
gratia prestas fidei valere usibus prebens fidei calore
qua valens mira precibus peregit instruit corda ambigua sequentum
mente fideli fidere semper

4 9
Dein extendens pedem in remotis Quod probans factis fidei vigore
ardua scandit cruciare malens fratribus iunctis precibus refusis
corporis artus iuvenalis ardens vas redundare oleo fluente
casto amore illico pandit

5 10
Imbuit post hinc homines beatos Usibus iustis pietate instans
regulis artis animos retundi Christe fidendo fidei calore
et iugo semper domini polorum te precans certus animam reduxit
subdere colla corpore functi

6 11
E quibus Maurus sedulus minister Hunc soror sacra nimium sequendo
gurgite ductum Placidum puerum tardius visum retinere malens
obsequens patrilatice levatum imbre obtento valide fluente
equore traxit artius vinxit

634
Same melody as Iste confessor in Solesmes Liber Hymnarius, 466. See Mallet and Thibaut, 201.

506
12
Triduum postque residens beatus
cernit eiusdem animam sororis
celsa secreta petere volucris
pernicitate
15
Cuius ad celum via clara fulgens
angelo teste Benedicti esse
auribus fratrum resonare visa est
voce sonora

13
Inde gaudendo fratribus vocatis
corpus afferri tumulo humandum
precipit dudum sibi preparato
mox secuturus
16
Huius o Christe meritis precamur
arceas iram tribuas favorem
gratiam prestes veniamque nobis
mitis ad omnes

14
Prescius posthinc finis adfuturi
promptius insistit tumulum parare
gratia sumpta animum remisit
ethre locandum
17
Prebe oramus Deus magne rector
ut fides nostra vitiis resistat
atque virtutum studiis ministret
pectore puro

18
Gloriam patri resonemus omnes
et tibi Christe genite superne
cum quibus sanctus simul et creator
spiritus regnat.

507
Deus qui mundum crimine, Annunciation, f. 39v-40v (MMMA I,736), in annunciatione sancte
Marie ad nocturnam

1-g--g--g--g--ghgg-f-h--k-jh-gh-h-3-l-k-m-l-k-kk-j-k-l-kjh-h-3-
De-us qui mun-dum cri-mi-ne ia-cen-tem fi-li- i tu-i car-ne re-le-vas- ti

1-k-j--k-hg-h--g-f-h-k--jh-g-3-hjk-kj-j--j-hg-g-4
et ve-ter-no-sa per-fi-di ser-pen-tis no- xa de-les- ti

2 7
Mortem quam dudum Eva propinavit Gaudens in verbo sed turbata virgo
ventre beato virginis fugasti cogitans cur sit ita salutata
ad preces nostras aures pietatis quomodo possit fieri que dixit
tue reclina angelus Dei

3 8
Celo dimissus Gabriel salutem Quam adsecutus Gabriel adfatur
in Galilea virgini detulit noli timere gratia repleta
gaudium certum nuntiare venit numinis alti filium gestabis
mundo venturum ventre beato

4 9
Dudum iam virgo desponsata erat Inquiens virgo nuntium perquirit
proco famoso annulo pudoris unde hoc mihi virum non cognovi
Ioseph qui nunquam copulam iugalem quomodo possit fieri que dicis
corpore gessit unde hoc sciam

5 10
Hec casta degens pectore puella Cui repente angelus respondit
quam sic ingressus angelus salutat spiritus sanctus super te descendit
ave Maria gratia plena ideo sanctum quod erit vocatur
Dominus tecum filius Dei

6 11
Festinus dehinc nuntius adiunxit Mox sacra virgo angelo respondit
beata eris inter mulieres ecce ancilla Domini sum ego
et benedictus fructus ventris tui contingat mihi iuxta verbum tuum
que credidisti sicut dixisti

508

12
Statim discessit angelus ab ea
virgo festinans abiit montana
domum ingressa Zacharie vatis
cum caritate
509
13
Gloria summo referamus patri
cui congaudet filius dilectus
sanctus simulque spiritus creator
in sempiternum.
Ave maris stella, Annunciation, f. 40v-41r (MMMA I,149), ymnum ad matutinum

1-h-hg-f--e-fgf-g--g-3-j-j-jh-jklk-jh-jkj-h-h-3-jk-j--h--j-ghg-fg-3-
A- ve ma-ris stel-la De-i ma- ter al-ma at-que sem-per vir- go

1-gf-f--g-ghg--gfhg-g-4
fe- lix ce-li por- ta

2 5
Sumens illud ave Virgo singularis
Gabrielis ore inter omnes mitis
funda nos in pace nos culpis solutos
mutans nomen Eve mites fac et castos

3 6
Solve vincla reis Vitam presta puram
profer lumen cecis iter para tutum
mala nostra pelle ut videntes Iesum
bona cuncta posce semper colletemur

4 7
Monstra te esse matrem Sit laus Deo patri
sumat per te precem summum Christo decus
qui pro nobis natus spiritui sancto
tulit esse tuus honor tribus unum.

510
Pange lingua gloriosi prelium, Passion Sunday, f. 41r-42r (MMMA I,724), ymnum de passione
Domini ad nocturnas

1-k--k--j--h--j-j-h-g-3-h-j--k-h--j-j--h-3-
Pan-ge lin-gua glo-ri-o- si pre-li-um cer-ta-mi-nis

1-k--k-j--h--j-kk-jh-g-3-h--j--k-[-h--j--j-h-3-
et su-per cru-cis tro-pe- o dic tri-um-phum no-bi-lem

1-h--h-h--e--g--h--j--h-]-3-h-h--h-g--j-j-h-4
qua-li-ter re-dem-ptor or-bis im-mo-la-tus vi-ce-rit

2 5
De parentis protoplasti Vagit infans inter arta
fraude factor condolens conditus presepia
quando pomi noxialis membra pannis involuta
morte morsu corruit virgo mater adligat
ipse lignum tunc notavit et pedes manusque crura
damna ligni ut solveret stricta pingit fascia

3 6
Hoc opus nostre salutis Lustra sex qui iam peracta
ordo depoposcerat tempus implens corporis
multiformis perditoris se volente natus ad hoc
arte ut artem falleret passioni deditus
et medelam ferret inde agnus in crucis levatur
hostis unde leserat immolandus stipite

4 7
Quando venit ergo sacri Hic acetum fel arundo
plenitudo temporis sputa clava lancea
missus est ab arce patris mite corpus perforatur
natus orbis conditor sanguis unda profluit
atque ventre virginali terra pontus astra mundus
carne factus prodiit quo lavantur flumine

511
8
Gloria et honor Deo
atque coaltissimo
una patri filioque inclito
cui laus est et potestas
per eterna secula.

512
Crux fidelis inter omnes, Passion Sunday, f. 42r-v (MMMA I,56), ad matutinum

1-e--f-e--d-g-g-ghj-j-3-jkl-k-j--j-h--k-jhg-3-
Crux fi-de-lis in-ter om-nes ar- bor u- na no-bi-lis

1-g--h-k--j--h-g--hg-h-3-h--j--g--f-e--h-hd-3-
nul-la ta-lem sil-va pro-fert flo-re fron-de ger-mi-ne

1-d--e--g--e--f--g--h-hh-g-3-h--j--g--h--d-de-e-4
dul-ce lig-num dul-ce cla- vos dul-ce pon-dus sus-ti-net

2 3
Flecte ramos arbor alta Sola digna tu fuisti
tensa laxa viscera ferre pretium seculi
et rigor lentescat ille atque portum preparare
quem dedit nativitas nauta mundo naufrago
ut superni membra regis quem sacer cruor perunxit
mite tendas stipite fusus agni corpore.

4
Gloria et honor Deo.
[atque coaltissimo
una patri filioque inclito
cui laus est et potestas
per eterna secula].

513
Vexilla regis prodeunt, Passion Sunday, f. 42v-43v (MMMA I,32), ymnum ad vesperum

1-f--gh-j-hgf-g-ghg-f-ed-3-g--g-hg-fd-f-ef-d-cd-3-
Vex-il- la re- gis pro-de-unt ful-get cru-cis mis-te-ri-um

1-d--d--d-dc-f--gh-g-gf-3-g--gjkjh-j--hd-e-de-c--cd-4
quo car-ne car-nis con-di-tor sus-pen- sus est pa-ti- bu- lo

2 6
Confixa clavis viscera Beata cuius brachiis
tendens manus vestigia pretium pependit seculi
redemptionis gratia statera facta est corporis
hic immolata est hostia predam tulitque tartari

3 7
Quo vulneratus insuper Fundis aroma cortice
mucrone diro lancee vincis sapore nectare
ut nos lavaret crimine iucunda fructu fertili
manavit unda et sanguine plaudis triumpho nobili

4 8
Impleta sunt que concinit Salve ara salve victima
David fideli carmine de passionis gloria
dicendo nationibus qua vita mortem pertulit
regnavit a ligno Deus et morte vitam redidit

5 9
Arbor decora et fulgida Deo patri sit gloria
ornata regis purpura [eiusque soli filio
electa digno stipite cum spiritu paraclito
tam sancta membra tangere et nunc et in perpetuum].

514
Magno salutis gaudio, Palm Sunday, f. 43v-44v (MMMA I,725), dominica in palmis

1-dd---c--d-f-d--e-dc-c-3-f-f--g-hf-g--g-f--e-3-
Mag- no sa-lu-tis gau-di-um le-te-tur om-ne se-cu-lum

1-g-g--gh-h---g--gg-f-g-3--h-f--f--edc-de--d--d--d-4
Ie-sus re-demp-tor gen-ti-um sa-na-vit or- bem lan-gui-dum

2 7
Sex ante pasche ferias Rex ecce tuus himilis
advenit in Bethaniam noli timere veniet
ubi pie post triduum pullo iugalis residens
resuscitavit Lazarum tibi benignus patiens

3 8
Nardi maria pistici Ramos virentes sumpserat
sumpsit libram mox optimi palma recisos tenera
unxit beatos Domini turba processit obviam
pedes rigando lacrimis regi perenni plurima

4 9
Post hec iugalis asine Cetus sequens et previus
Iesus supernus arbiter sanctoque plenus spiritu
pullo sedebat inclitam clamabat in altissimis
pergebat Hierosolymam hosanna David filio

5 10
O quam stupenda pietas Quidam salutis propriis
mira Dei clementia viam tegebant vestibus
sessor aselli fieri pluresque flores candidum
dignatur auctor seculi iter parabant Domino

6 11
Olim propheta prescius Ad cuius omnis civitas
predixit almo spiritu commota ingressum tremuit
exsulta dicens filia Hebrea proles aurea
Sion satis et iubila laudes ferebat debitas

515
12
Nos ergo tanto iudici
curramus omnes obviam
palmas gerentes glorie
mente canamus sobria
516
13
Honor decus imperium
sit Trinitati unice
Patri nato paraclito
per infinita secula.
Ymnum canamus Domino, Maundy Thursday, f. 44v-45r (MMMA I,3), ymnum in cena Domini

1-g---g--h-k---j--j-h--h-3-g--j--j-j--g--h--k-klkkj-3-
Ym-num ca-na-mus Do-mi-no lau-des De-o cum can-ti-co

1-h--k--k---l-j-k-j-j-3-h-j-k-j--h--j--h-g-4
qui nos cru-cis pa-ti-bu-lo su-o re-de-mit san-gui-ne

2 6
Diei cursus ad vesperum Preses Pilatus proclamat
quo Christus morti traditur nullam culpam invenio
ad cenam venit impius ablutis aqua manibus
qui erat Christi proditor Christum Iudeis tradidit

3 7
Iesus futura nuntiat Fallax Iudea impia
cenantibus discipulis latronem petit vivere
unus ex discumbentibus Christum accusat graviter
ipse me traditurus est crucifigature reus est

4 8
Iudas mercator pessimus Barabbas dimittitur
osculo petit Dominum qui reus mortui fuerat
ille ut agnus innocens vita mundi suspenditur
non negat Iude osculum per quam resurgunt mortui

5 9
Denariorum numero Deo patri [sit gloria
Christus Iudeis traditur eiusque soli filio
innocens et innoxius cum spiritu paraclito
quem Iudas tradit impius et nunc et in perpetuum].

517
Hic est dies verus, Easter, f. 45r-46r (MMMA I,117), ymnum de resurrectione Domini ad
nocturnas

1-f---f-g-h--h-gh-g--f-3-h--k-k---k--g-h-h-hg-3-
Hic est di-es ve-rus De-i sanc-to se-re-nus lu-mi-ne

1-f--f-d-f-g---h--g-f-3-f--f--g--h--h-gh-gf-f-4
quo di-lu-it san-guis sa-cer pro-bro-sa mun-di cri-mi-na

2 6
Fidem refundens per ditis Quid hoc potest sublimius
cecosque visu illuminans ut culpa querat gratia
quem non gravi solvit metu metumque solvat caritas
latronis absolutio reddatque mors vitam novam

3 7
Qui premium mutans cruce Hamum sibi mors devoret
Iesum brevi querit fide suisque se nodis liget
iustusque previo gradu moriatur vita omnium
pervenit in regnum Dei resurgat ut vita omnium

4 8
Opus stupent et angeli Cum mors per omnes transeat
penam videntes corporis omnes resurgant mortui
Christoque adherentem reum consumpta mors ictu suo
vitam beatam carpere perisse se solam gemat

5 9
Mysterium mirabile Gloria tibi domine
ut abluat mundi luem qui surrexisti a mortuis
peccata tollat omnium cum patre et sancto spiritu
carnis vitia mundans caro in sempiterna secula.

518
Aurora lucis rutilat, Easter, f. 46r-v (MMMA I,723), ymnum ad matutinum

1-h-gh-h-j-gh-k-j-h-3-h--j--k--l-h--j-j-j-3--j--j--h-g--e--g-h--h-3-
Au-ro-ra lu-cis ru-ti-lat ce-lum lau-di-bus in-to-nat mun-dus ex-ul-tans iu-bi-lat

1-hh-gh--h-j--gh-k-j-h-4
ge-mens in-fer-nus u-lu-lat

2 7
Cum rex ille fortissimus Ille dum pergunt concite
mortis confractis viribus apostolis hoc dicere
pede conculcans tartara videntes eum vivere
solvit catena miseros osculant pedes Domini

3 8
Ille qui clausus lapide Quo agnito discipuli
custoditur sub milite in Galilea propere
triumphans pompa nobili pergunt videre faciem
victor surgit de funere desideratam Domini

4 9
Solutis iam gemitibus Claro paschali gaudio
et inferni doloribus sol mundo nitet radio
quia surrexit Dominus cum Christum iam apostoli
splendens clamat angelus visu cernunt corporeo

5 10
Tristes erant apostoli Ostensa sibi vulnera
de nece sui Domini in Christi carne fulgida
quem pena mortis crudeli resurrexisse Dominum
sevi damnarunt impii voce fatentur publica

6 11
{Sermone blando angelus Rex Christe clementissime
predixit mulieribus} tu corda nostra posside
in Galilea Dominus ut tibi laudes debitas
videndus est quantocius reddamus omni tempore

519
12
Gloria tibi Domine
[qui surrexisti a mortuis
cum patre et sancto spiritu
in sempiterna secula].

520
Salvete flores martyrum, Holy Innocents, f. 47r

1 5
[Salvete flores martyrum Transfigit ergo carnifex
quos lucis ipso in limine mucrone districto furens
Christi insecutor sustulit effusa nuper corpora
ut turbo florentes rosas animas rimatur nobas

2 6
Quid crimen Herodem iuvat O barbarum spectaculum
vos prima Christi victima vix interemptor invenit
grex immolatorum tener locum minutis artubus
palma et coronis luditis quo plaga descendat patens

3 7
Audit tirannus anxius Quid profuit tantum nefas
adesse regum principem inter coevi sanguinis
exclamat amens nuntio fuenta solus integer
ferrum satelles corripe impune Christus tollitur

4 8
Mas omnis infans occidat Sit trinitati gloria
scrutare nutricum sinus virtus honor victoria
fraus ne qua]635 furtim subtrahat que dat coronam testibus
prolem virilis indolis per seculorum secula.

635
There is a lacuna until this point.

521
Verbi Patri principium, Holy Innocents, f. 47r-v

1 5
Verbum patris principium Sanguis pius dum funditor
proles beata celitus natorum ipsorum strage
narrare quem nemo valet edictum regis pervolans
dimissus terris appares occidit infantum agmina

2 6
Homo videris Deitas Dicto patratur citius
manens apud patrem ut eras Herodis seva iussio
omnipotens inspiceris abstractos ab uberibus
et immortalis cerneris allidi solo protinus

3 7
Tu priscis vaticinus Vos etiam sequi semper
te veturum spoponderas agni refert vestigial
ades medendi pietas quos protulit cruor sacer
cunctorum cura vulnera primam premittens hostiam

4 8
Tibi iam prima munera Gloria tibi Domine
dependit Ethiopia qui natus es de virgine
Bethleem Iudea patria cum patre et almo spiritu
salemque offert eximia in sempiterna secula.

522
Infantum diem martirum, Holy Innocents, f. 47v-48r

1 5
Infantum diem martirum Mox ille novas animas
qui iam pro Christi nomine renatos suo sanguine
sanctum cruorem fuderunt perrosea baptismate
summis canamus laudibus eterno regi tradidit

2 6
Cum rex Herodes impius Principia tunc martyrum
vellet punire Dominum cruor effusus infantum
qui propter nostrum omnium qui lacteis tunc vocibus
mundi salutem venerat Deum celi testati sunt

3 7
A magis se dum conspicit Iesus per omnes queritur
illusum cepit stridere in omnibus occiditur
quod cogitatum facinus ut ipse idem Dominus
perficere nequiverat reddat coronam omnibus

4 8
Tunc iubet omnes infantes Felix est horum gloria
crudeli extingui gladio et nimium felicior
dum putat inter plurimos qui vix dum mundo nati sunt
celestem regem perdere pro Christo coronati sunt

9
Gloria tibi Domine
[qui natus es de virgine
cum patre et almo spiritu
in sempiterna secula].

523
Silvestri almi presulis, St Sylvester, f. 48r-v, in sancti Silvestri confessorem

1 5
Silvestri almi presulis Quem ut linivit chrismate
urbis Rome egregie a morbo elephantie
triumphum ore consono est emundatus ilico
decantent Christi populus virtute sancti spiritus

2 6
Quem inanis indolibus Dein contra incommodos
truculentus pro Domino Iudeorum philosophus
prefectus tunc Tarquinius de celestis misterio
lacessivit carceribus bellans vicit intrepidus

3 7
Sed persistens immobilis Nam draconis pestiferi
vicit athleta nobilis sevitiam compescuit
post cuius nequam exitum et populos innumeros
hic pontifex eligitur adauxit celi Domino

4 8
Cuius castis affatibus Nosque a culpe nexibus
Constantinus tunc Augustus eruat suis precibus
hortatur Christo credere qui pro tonantis gloria
renatus est baptismate eius canamus munia

9
Gloria tibi Domine
[qui natus es de virgine
cum patre et almo spiritu
in sempiterna secula].

524
Hostis Herodes impie, Epiphany, f. 48v-49r, ymnum in Epiphania

1 4
Hostis Herodes impie Lavacra puri gurgitis
Christum venire quid times celestis agnus attingit
non eripit mortalia peccata que non detulit
qui regna dat celestia nos abluendo sustulit

2 5
Ibant magi qua viderant Miraculis dedit fidem
stellam sequentes previam habere se Deum patrem
lumen requirunt lumine infirma sanans corpora
Deum fatentur munere resuscitans cadavera

3 6
Caterva matrum personat Novum genus potentie
collisa deflens pignora aque rubescunt ydrie
quorum tirannus milia vinumque iussa fundere
Christo sacravit victimam mutavit unda origine

7
Gloria patris ingenito
gloria unigenito
una cum sancto spiritu
in sempiterna secula.

525
Iesus refulsit omnium, Epiphany, f. 49r-50r, ymnum ad matutinum laudibus

1 5
Iesus refulsit omnium Felix Iohannes mergere
pius redemptor gentium illum tremiscit flumine
totum genus fidelium potest suo qui sanguine
laudes celebret dragmatum peccata cosmi tergere

2 6
Quem stella natum fulgida Vox ergo prolem de polis
monstrat micans in ethera testatur excelsi patris
magosque duxit previa virtus adestque neumatis
ipsius ad cunabula sancti datrix charismatis

3 7
Illi cadentes parvulum Nos Christe supplici prece
pannis adorant obsitum precamur omnes protege
verum fatentur et Deum qui precipis rubescere
munus ferendo misticum potenter ydrias aque

4 8
Denum ter annorum ciclis Presta benignum sedulo
iam parte vivens corporis solamen adiutorio
limpham petit baptismatis raptosque nos de tartaro
cunctis carens contagiis regnare fac tecum polo

9
Laus trinitati debita
honor potestas gloria
perenniter sit omnia
per seculorum secula.

526
Illuminans altissimus, Epiphany, f. 50r-v, ymnum ad vesperum

1 5
Illuminans altissimus Aquas colorari iubens
micantium astrorum globos inebriare flumina
pax vita lumen veritas mutata elementa stupet
Iesu fave precantibus transire in usus alteros

2 6
Seu mistico baptismate Sic quinque milibus virus
fluenta Iordanis retro dum quinque panes dividit
confusa quondam tertio edentium sub dentibus
presentem sacraris diem in ore crescebat cibus

3 7
Seu stella partum virginis Multiplicabatur magis
celo micans signaverit dispendio panis suo
et hoc adoratum diem quis hec videns mirabitur
presepe magos duxerit iuges meatus fontium

4 8
Vel ydris plenis aqua Inter manus frangentium
vini saporem fuderit panis rigatur profluus
hausit minister conscius intacta que non fregerant
quod ipse non impleverat fragmenta subrepunt viris

9
Gloria tibi Domine
[qui natus es de virgine
cum patre et almo spiritu
in sempiterna secula].

527
Adest celebritas nobis carissimi Mauri, St Maur, f. 50v-51r, sancte Maure

1 4
Adest celebritas nobis carissimi Postquam discipulos suos perdocuit
Mauri eximii que sacris refulget vitam celibem agere
eius dignis meritis Christi premisit in regno
atque ornat miraculis eos post secutus est

2 5
Cuius nobilitas ex senatoribus Dona que petimus confessor levita
cuius miris claruit actibus Maure felicibus vivere actibus
cuius vita patris ut cum sanctis pariter
sequendo egit miraculis esse mereamur

3 6
Hic est amabilis patris Benedicti Presta summe pater patris et unice
bonus discipulus cuius imperio Amborumque simul spiritus annue
cito Placidum qui regnas Deus omni
de unda rapuit unus tempore seculi.

528
Martir Dei egregie, St Sebastian, f. 51r-v, ymnum in sancti Sebastiani

1 4
Martir Dei egregie Per sagittarum iacula
intende melos glorie rogamus patris vernula
Sebastiane belliger per rivos tui sanguinis
immensi regis signifer iram remove iudicis

2 5
Devotos tibi famulos Ut tecum laudes perpetim
peccati sorde languidos Christo canamus affatim
sana virtutum opifex tuis eruti precibus
verbique sator multiplex a penis infernalibus

3 6
Lingue torpentis vinculum Laus sit parenti Domino
absolve fandi dans donum laudes canamus unico
ut quondam mute femine laudes amborum flamini
Christi ditatus munere per tempora laudabili.

529
Agnetis festum martiris, St Agnes, f. 51v-52r, ymnum in sancte Agnes virgine

1 4
Agnetis festum martiris Hec strinxit luxus iuvenum
Deo dicate virginis Dei monstrando nuntium
colamus omnes socii in domibus scortantium
carmen canendo seduli preclarum cernunt angelum

2 5
Quam auro texta cyclade Psallamus ergo strenui
Christus vestitus podere laudes ferendo virgini
sponsam ornavit fulgidam ut nobis celi principem
donando vestem misticam efficiat placabilem

3 6
Hec minas sprevit principis Precamur ergo fulgida
penas derisit corporis nobis faveto sedula
hec mechi ducis filium quo tibi melos glorie
vite donavit mortuum pangamus omni tempore

7
Laus patri invisibili
laus eius almo flamini
laus sit et unigenito
orbis terrarum Domino.

530
Alleluia dulce carmen, Septuagesima, f. 53r-v (MMMA I,112), ymnum ad matutinum

1-c-cd-d-d-f--e--d-{-c-3-f---g-h-gf--g-gh-hg-3-
Al-le- lu-ia dul-ce {car- men vox per-en-nis gau-di- i

1-f-g-h-g--fe-fgf-d-d-3-d--f--f--d--e-ed-d-}-3-
al-le-lu-ia laus su- a-vis est cho-ris ce- les-ti-bus}

1[-c--d--f---d-e--f--gg--f-3-h-ghg-fe-fgf-d-cd-d-]-4
[quod ca-nunt De- i] ma-nen- tes in do- mo per se-cu- la

2 3
Alleluia leta mater concinis Ierusalem Alleluia non meremur nunc perenne psallere
Alleluia vox tuorum civium gaudentium alleluia nos reatus cogit intermittere
exsules nos flere cogunt Babylonis flumina tempus instat quo peracta lugeamus crimina

4
Unde laudando precamur te beata trinitas
ut tuum nobis videre Pascha des in ethere
quo tibi leti canamus alleluia perpetim.

531
Angusta vite tempora, St Nazarius, f. 53v-54r, ymnum in sancti Nazarii

1 5
Angusta vite tempora Nam ductor ille fortis est
parvis coacta terminis que vellum viribus docet
mors sancta dona crescere quem dicta milite tradunt
et Nazariis preparat fidux gerendi abstulit

2 6
Despuge casuus venia Ventus a lingue oratio
quo surgat humanum genii qua forma prestet non habet
stirpe Nazarius bona sed post quam magna femina
de morte lumen addidit scribente terra sarculo

3 7
Nerone felix principe { }-leb refundit optimis
diversas per pessus mala mediolanum mox pentit
lustravit orbem non gravi Triumpho { } nobili
pavore cordis algidus carnis ruina repulit

4 8
Sed ut prophanis inderet Qui sede non digna
quo calle conscindans polum [ ].
verus magistra acaibi
exempla non verbi dedit

532
Medie noctis tempus est, Lent, f. 54r-55r (MMMA I,761), item ymnus in quadragesima ad
nocturnas per dominicam

1-cf-e-f--d-efg-g---f--e-3-f--d--e-d-dc--f-h--hghjhhgf-3-
Me-di-e noc-tis tem- pus est pro-phe-ti-ca vox ad-mo-net

1-j-jh-f---g-efg-f-e-d-3-f-e---f--d-efg-f-e-d-4
di-ca-mus lau-des ut De-o pa-tri sem-per ac fi-li- o

2 7
Sancto quoque spiritui Medie noctis tempore
perfecta enim trinitas per vocem evangelicam
uniusque substiantie venturus sponsus creditur
laudanda semper nobis est regni celestis conditor

3 8
Medie noctis tempore Occurrent sancte virgines
pergens vastator angelus obviam tunc adventui
Egypto mortem inferens clarus gestantes lampades
diluit primogenita magno letantes gaudio

4 9
Hec hora iustis salus est Stulte foris remanent
in quos evictus angelus que extinctas habent lampades
ausus punire non fuit frustra pulsantes ianuam
signum formidans sanguinis iam clausa regni regia

5 10
Egyptus flebat fortiter Quare vigilemus sobrie
tantorum dira funera gestantes mentes splendide
solus gaudebat Israel ut advenienti Iesu
agni protectus sanguine digni occurramus obviam

6 11
Nos vero Israel sumus Medie noctis tempore
letemur in te Domine Paulus quoque et Sileas
hostem prosternentes malum pro Christo vincti in carcere
Christi defensi sanguine laudando resoluti sunt

533
12
Nobis hic mundus carcer est
Christe resolve vincula
nostra relaxa crimina
in te sancte credentium.

534
Iam lucis splendor rutilat, Lent, f. 55r (MMMA I,723), ymnum ad matutinum

1-h-gh-gh--jh--gh-k-j-h-3-h--j--k--l-h--j-hj-j-3-
Iam lu-cis splen-dor ru-ti-lat noc-tis fu- ga-tis te-ne-bris

1-j--j--h---g--e--g-gh-h-3-h--gh-gh-jh-gh-k-jh-h-4
red-da-mus lau-des Do-mi-no qui ma-net an- te se-cu- la

2 3
Pellamus omne noxium Deo patri sit gloria
poscamus omne prosperum [eiusque soli filio
defendat suos famulos cum spiritu paraclito
virtus aeterna iugiter et nunc et in perpetuum].

535
Iam Christe sol iustitie, Lent, 55r-v (MMMA I,148), alium ymnum ad matutinum

1-g---g---f-e--f-hg-fg-g-3-gh--j-k--h--jk-hg-fg-g-3-
Iam Chris-te sol ius-ti- ti- e men-tis de-his-cant te- ne-bre

1-k--h-k--g--h-gf-eh-h-3-hg-f--f-h--hjh-g-fg-g-4
vir-tu-tum ut lux re- de-at ter-ris di-em cum re-pa-ras

2 4
Dans tempus acceptabile Dies venit dies tua
et penitens cor tribue per quam reflorent omnia
convertat ut benignitas letemur in hac ut tue
quos longa suffert pietas per hanc reducti gratie

3 5
Quiddamque penitentie Te rerum universitas
da ferre quamvis grandium clemens adoret trinitas
maiore tuo munere et nos novi per veniam
quod demptio sit criminum novum canamus canticum

6
Presta beata trinitas
concede simplex unitas
ut fructuosa sint tuis
ieiuniorum munera.

536
Aures ad nostras, Lent, f. 55v-56v (MMMA I,714), ymnum ad vesperum

1-j--jh-ghj-jh--g--f-e-g-hjh-g--g-3-k--k-k-l--k-k-h-k-l-l-lk-3-
Au-res ad nos-tras De- i-ta-tis pre-ces De-us in-cli-na pi- e-ta-te so-la

1-kl-m---k--l-k--k-l-j--k--hgf-ghjk-3-kj-hg-hjh-g-g-4
sup-pli-cum vo-ta sus-ci-pe pre-ca- mur fa- mu-li tu- i

2 6
Respice clemens solio de sancto Insere tuum petimus amorem
vultu sereno lampadas illustra mentibus nostris fidei refunde
lumine tuo tenebras depelle lumen eternum caritatis auge
pectore nostro dilectionem

3 7
Crimina laxa pietate multa Tu nobis dona fontem lacrimarum
ablue sordes vincula disrumpe ieiuniorum fortia ministra
parce peccatis releva iacentes vitia carnis milia retunde
dextera tua framea tua

4 8
Te sine tetro mergimur profundo Procul a nobis perfidus absistat
labimur alta sceleris sub unda satan a tuis viribus confractus
brachio tuo trahamur ad clara sanctus assistat spiritus a tua
sidera celi sede dimissus

5 9
Christe lux vera bonitas et vita Gloria Deo sit eterno patri
gaudium mundi pietas immensa sit tibi semper genitoris nate
qui nos a morte roseo salvasti cum quo equalis spiritus per cuncta
sanguine tuo secula regnat.

537
Ex more docti mystico, Lent, f. 56v-57r (MMMA I,412), ymnum ad nocturnas infra ebdomadam
usque in dominica quinta

1-g--hj-j--j-hg-h-hj-j-3-h-f--g---h-gf-e-df-f-3-
Ex mo-re doc-ti mis-ti-co ser-ve-mus en ie- iu- ni- um

1-f--h--hj-jh-gf--g-fe-e-3-d--f-gh--g-fe-fg-gf-f-4
de-num di- e- rum cir-cu- lo duc-to qua-ter no- tis- si- mo

2 6
Lex et prophete primitus Nostris malis offendimus
hoc pretulerunt postmodum tuam Deus clementiam
Christus sacravit omnium effunde nobis desuper
rex atque factor temporum remissor indulgentiam

3 7
Utamur ergo parcius Memento quod sumus tui
verbis cibis et potibus licet caduci plasmatis
somno iocis et artius ne des honorem nominis
perstemus in custodia tui precamur alteri

4 8
Vitemus autem pessima Laxa malum quod fecimus
que subruunt mentes vagas auge bonum quod poscimus
nullumque demu callido placere quo tandem tibi
hosti locum tirannidis possimus hic et perpetim

5 9
Dicamus omnes cernui Presta beata trinitas
clamemus atque singuli [indulgens, clemens unitas,
ploremus ante iudicem ut tibi casto corpore
flectamus iram vindicem letemur omni tempore].

538
Audi benigne conditor, Lent, f. 57r-57v (MMMA I,55), ad matutinum

1-dc-d-f-ff-de--d-cd-d-3-f--fg-gf--d--f--ef-ed-d-3-
Au-di be-nig-ne con-di-tor nos-tras pre-ces cum fle- ti- bus

1-d--e--f-fe-d-e-fg-g-3-cd-fg--e--fe-d-ed-cd-d-4
in hoc sa-cro ie-iu- ni- o fu- sas qua-dra-ge-na- ri- o

2 4
Scrutator alme cordium Sic corpus extra conteri
infirma tu scis virium dona per abstinentiam
ad te reversisexhibe ieiunet ut mens sobria
remissionis gratiam a labe prorsus criminum

3 5
Multum quidem peccavimus Presta beata trinitas
sed parce confitentibus concede simplex unitas
ad laudem tui nominis ut fructuosa sint tuis
confer medelam languidis ieiuniorum munera.

539
Dei fide qua vivimus, Lent, f. 57v-58r (MMMA I,413), ymnum ad tertiam

1-h-h-h-h--h--hj-h--h-3-h--h--h-g--f--gh-g--g-3-e--g-g-f-e--f-fg-g-3
De-i fi-de qua vi- vi-mus spe per-en-ni qua cre- di-mus per ca- ri-ta-tis gra-ti- am

1-g--g-g--fe-d--f-ed-d-4
Chris-ti ca-na-mus glo-ri-am

2 3
Qui ductus hora tertia Precemur ergo subditi
ad passionis hostiam redemptione liberi
crucis ferens suspendia ut eruat a seculo
ovem reduxit perditam quos solvit a chirographo

4
Gloria tibi trinitas
equalis una Deitas
et ante omne seculum
et nunc et in perpetuum.

540
Qua Christus hora sitiit, Lent, f. 58r (MMMA I,413), ymnum ad sextam

1-h----h---h--h-h-hj-h-h-3-h--h---h-g--f--gh-g-g-3-
Qua Chris- tus ho-ra si- ti-it cru-cem vel in qua sub- i- it

1-f---h--h--g-f---g--g-g-3-g-g-g-gf-d-f-e-d-4
quos pres-tat in hac psal-le-re di-tet si-ti ius-ti-ti-e

2 3
Quibus sit et esuries Charisma sancti spiritus
de se quam ipse satiet sic influat psallentibus
crimen sit ut fastidium ut carnis estus frigeat
virtusque desiderium et mentis algor ferveat

4
Gloria tibi trinitas
[equalis una deitas
et ante omne seculum
et nunc et in perpetuum].

541
Ternis ter horis, Lent, f. 58r-v (MMMA I,413), ymnum ad nonam

1-h--h--h-h--h-hj-h---h-3-h-h--h-g-g-g--f--g-3-f---h-h-g--f-h--h-h-3
Ter-nis ter ho-ris nu- me-rus sa-cre fi-de- i pan-di-tur nunc tri-ni-ta-tis no-mi-ne

1-h--h---h-gf-d--f-e-d-4
mu-nus pre-ce-mur ve-ni-e

2 3
Latronis en confessio Mors per crucem nunc interit
Christi meretur gratiam et post tenebras lux redit
laus nostra vel devotio horror deiscat criminum
mercetur indulgentiam splendor nitescat mentium

4
Gloria tibi trinitas
[equalis una deitas
et ante omne seculum
et nunc et in perpetuum].

542
Sic ter quaternis trahitur, Lent, f. 58v+38r (MMMA I,14), ad vesperum

1-g--gg--f--e--d-fhg-fg-g-3-gk-kj-h-g-h--j--h-g-hg-3-
Sic ter qua- ter-nis tra- hi-tur ho- ris di-es ad ves-pe-rum

1-f-g--f-g--h--k--g-hjh-3-j--h--g-g-f--h--fg-g-4
oc-ca-su sol pre-nun-ti-ans cor-tem re-di-re tem-po-rum

2 3
Nos ergo signo Domini Sed armis pudicitie
tutemus casta pectora mens fulta vigil libere
ne serpens ille callius sobrietate comite
intrandi temptet aditus hostem repellat improbum

4
Sed nec ciborum crapula
tandem distendat corpora
ne vi per somnum animam
iudificatam polluat.

543
 Appendix C: Transcriptions of Hymns in Ben 42

Nota bene: The editorial principles adopted in the following transcriptions are the sameas those

adopted for the transcription of Ben 37 in Appendix B. Beneventan orthography has been

retained. Text and spelling have not been amended from original manuscript, but appear exactly

as they do in Ben 42. An exception: the insertion of capital letters at the beginnings of each

strophe and for proper nouns. Rubrics have been included as they appear in Ben 42, except they

are not abbreviated. In the melodic transcriptions, a single bar line indicates a line break in the

verse structure of the text; these are provided to clarify aspects of meter. Strophes are numbered.

A double bar line indicates the end of a strophe in the melody. There is no punctuation, even

where this does occur in the manuscript, except for a period at the end of the last strophe. Where

a hymn is a division of another, this is indicated as reported in the manuscript (when divisions

utilize same melody) in parentheses before the number of the appropriate strophe. Illegible

portions are given between square brackets if there is a lacuna, and within curly brackets if the

parchment or ink is deteriorated so that the text or melody is illegible. Square brackets are also

used in the doxologies where these are abbreviated in the manuscript. The portions of text and

melody within brackets are reconstructed when possible. In Ben 42, all hymns end with the

abbreviation Am. to indicate Amen, though I have not included this abbreviation in the

transcriptions.

544
Primo dierum omnium, Sundays, f. 97r-v (MMMA I,142), ad nocturnas

1-d--e--f-g-eg--f-e--f-3-d---e--f--g--eg-f-e--ded-3-
Pri-mo di- e-rum om-ni-um quo mun-dus ex- tat con-di-tus

1-ed--e-gh-hj--h--g---h-g-3-g---h--g-f--efg-g-f--e-4-d--e-
vel quo re-sur-gens con-di-tor nos mor-te vic- ta li-ber-at Pul-sis...

2 6
…procul torporibus Ne foeda sit vel lubrica
surgamus omnes ocius compago nostri corporis
et nocte quaeramus pium per quam averni ignibus
sicut prophetam novimus ipsi crememur acrius

3 7
Nostras preces ut audiat Ob hoc redemptor quaesumus
suamque dextram porrigat ut probra nostra deluas
et expiatos sordibus vitae perennis commoda
reddat polorum sedibus nobis benignus conferas

4 8
Ut quique sacratissimo Quo carnis actu exules
huius diei tempore effecti ipsi celibes
horis quietis psallimus ut praestolamur cernui
donis beatis muneret melos canamus gloriae

5 9
Iam nunc paterna claritas Presta pater piissime
te postulamus affatim patrique compar unice
absit libido sordidans cum spiritu paraclito
omnisque actus noxius regnans per omne saeculum.

545
Eterne rerum conditor, Sundays, f. 97v-98r (unique melody), ymnus ad laudes

1-d-fgf-g-h--g---g--f-e-3-h--kj--j-hf--g--g--f-e-3-
E-ter- ne re-rum con-di-tor noc-tem di-em- que qui re-gis

1-e-gf-g--hf--g--g--f-e-3-h-kj-j-hf-g--g-f-e-4-d-fgf-
et tem-po-rum das tem-po-ra ut al- le-ves fas-ti-di-um Pre-co...

2 5
...diei iam sonat Surgamus ergo strenue
noctis profundae pervigil gallus iacentes excitat
nocturna lux viantibus et somnolentos increpat
a nocte noctem segregans gallus negantes arguit

3 6
Hoc excitatus lucifer {Gallo canente spes} redit
solvit polum caligine egris salus {refunditur
hoc omnis erronum chorus mucro latro}-nis conditur
viam nocendi deserit lapsis {fides revertitur}

4 7
Hoc nauta vires colligit Iesu labentes respice
pontique mitescunt freta {et nos videndo corrige
hoc ipsa petra ecclesie si} respicis lapsus cadunt
canente culpam diluit {fletuque culpa} solvitur

8 9
{Tu lux refulge sensibus Deo patri sit gloria
mentisque} somnum {discute {eiusque soli filio
te nostra vox primum} sonet cum spiritu paraclito
{et ora solvamus tibi} et nunc et in perpetuum}.

546
Nocte surgentes vigilemus omnes 98r-v (MMMA I,73)

1-hj-f--g--g-{-gf-h-h-hkh-j---g--g-}-3-
Noc-te sur-gen- tes vi-gi- le- mus om-nes

1-k---k-l--lj-jk-{-h-g-h--k--h-g-3-
sem-per in psal-mis me-di-te-mur at-que

1-gh-k--k-ghg-ef-}-g--h-g--f-efd-{-c-}-3-ghg-fe-fg-{-g-g-}-4
vi- ri-bus to- tis Do-mi-no ca-na- mus dul- ci- ter ym-nos

2 3
Ut pio regi partier canentes Praestet hoc nobis deitas beata
cum suis sanctis mereamur aulam patris et nati partierque sancti
ingredi celi simul et beatam spiritus cuius reboatur omni
ducere vitam gloria mundo.

547
Ecce iam noctis, Sundays, f. 98v (MMMA I,729), ad laudes ymnus

1-fgf-g-{-h--gg--f-f-}-g-h-f--fg-g-3-
Ec- ce iam noc-tis te- nu-a-tur um-bra

1-j-h--h-g-g-h-g--f-{-g-}-f-{-d-}3-
lu-cis au-ro-ra ru-ti-lans co- rus- cat

1-fgf-g-h--g-f-{-f-g-h-}-f-{-g-ghg-}-3-f--e-f-fegf-f-4
ni- si-bus to-tis ro-gi-te- mus om-nes cunc-ti-po-ten- tem

2 3
Ut Deus nostri miseratus omnem Praestat hoc nobis [Deitas beata
pellat languorem tribuat salutem patris et nati pariterque sancti
donet et patris pietate nobis spiritus cuius reboator omni
regna polorum gloria mundo].

548
Iam lucis orto sidere, Sundays, 98v-99r ymnus ad primam636

1-{-k-kkj-}-gf-h-j-kl-kj-k-3-g-gk--j--jh-f--ghj-hg-g-3-
Iam lu- cis or-to si- de-re De-um pre-ce-mur sup- pli-ces

1-gf-e-gf-h-jh-jkj-gk-hg-3--g-gk-j-jh-f--ghj-hg-g-4
ut in di- ur-nis ac- ti- bus nos ser-vet a no-cen- ti-bus

1-k---k---ghg-h--j--
Lin-guam re- fre-nans...

2 4
…temperet Ut cum dies abcesserit
ne litis horror insonet noctemque sors reduxerit
visum fovendo contegat mundi per abstinentiam
ne vanitates hauriat ipsi canamus gloriam

3 5
Sint pura cordis intima Deo patri [sit gloria
absistat et vecordia eiusque soli filio
carnis terat superbiam cum spiritu paraclito
potus cibique parcitas et nunc et in perpetuum].

636
Mallet and Thibaut identified the melody as that of Adorna Sion in the Solesmes Liber Hymnarius (Liber
Hymnarius, Solesmes, 1983, p. 347). However, they note that the beginning of the second verse seems to be a
different, unidentified melody. See Mallet and Thibaut, II.264.

549
Nunc sancte nobis spiritus, Sundays, f. 99r (MMMA I,7), ymnus ad tertiam

1-ef---d--f-h-hh--f-g--f-3-ff-d--f--g--f--e-ee-deg-3-
Nunc sanc-te no-bis spi-ri-tus u- num pa-tri cum fi-li- o

1-g-hj-h---j---g-h-gg-e-3-d--e-
dig-na-re promp-tus in-ge-ri nos-tro refusus pectori

2 3
Os lingua mens sensus vigor Praesta pater piissime
confessionem personent patrique compar unice
flammescat igne caritas cum spiritu paraclito
accendat ardor proximos regnans per omne saeculum.

550
Rector potens verax Deus, Sundays, 99r (MMMA I,7), ymnus ad sextam

1-eff-e--f-h---hh-f--g-f-3-ff-e--f-h--g--e-ee-deg-3-
Rec-tor po-tens ve- rax De-us qui tem-pe-ras re-rum vi-ces

1-g---hj-h-j--g--h--g-e-3-cd--e-f--g--f-e-de-e-4--e-d--e---g--f-
splen-do-re ma-ne ins-tru-is et ig-ni-bus me-ri-di-em Ex-tin-gue flam-mas...

2 3
...lilium Presta pater [piissime
aufer calorem noxium patrique compar unice
confer salutem corporum cum spiritu paraclito
veramque pacem cordium regnans per omne seculum].

551
Rerum Deus tenax vigor, Sundays, 99v (MMMA I,7), ymnus ad nonam

1-d--c---d-f--f-d--e-d-3-dd-c--d-f-e-d--d--cdf-3-
Re-rum De-us te-nax vi-gor im-mo-tus in te per-ma-nens

1-f-g--g-h-f--g--ff-d-3-dd--c-d--f--fe-d--cd-d-4
lu-cis di-ur-ne tem-po- ra suc-ces-si-bus de- ter- mi-nans

1-d--e-d--f--e---d-dd-c-3-
Lar-gi-re cla-rum ves-pe- re…

2 3
...quo vita nunquam decidat Presta pater [piissime
sed praemium mortis sacrae patrique compar unice
perennis instet gloria. cum spiritu paraclito
regnans per omne seculum]

552
Lucis creator optime, Sundays, 99v (MMMA I,22), ymnus ad vesperum

1-h--gf-e-f-g-hj-jj-h-3-j--hg-e-f-g---hj-jj-h-3-
Lu-cis cre-a-tor op- ti-me lu-cem di-e-rum pro- fe-rens

1-j--k--jk-j-hg-hj-hg-f-3-h--gf-e--f--g-hj-jj-h-4-h--gf-e--f--g--
pri-mor-di- is lu- cis no- ve mun-di pa-rans o- ri- gi-nem Qui ma-ne iunc-tum...

2 4
...vesperi Celorum pulset intimum
diem vocari praecipis vitale tollat premium
tetrum chaos illabitur vitemus omne noxium
audi preces cum fletibus purgemus omne pessimum

3 5
Ne mens gravata crimine Deo patris [sit gloria
vitae sit exul munere eiusque soli filio
dum nil perenne cogitat cum spiritu paraclito
seseque culpis illigat et nunc et in perpetuum].

553
Deus creator omnium, Sundays, 100r-v (MMMA I,501), in estivo tempore ymnus ad vesperum

1-d-dg--f-g-e--g-g--fed-3-f-hg-h--ge-f--f--e-d-3-
De-us cre-a-tor om-ni-um po-li-que rec- tor ves-ti-ens

1-d-dg-f-g--e-g-h-fed-3-f--hg--h-fd-e--f-e-d-4
di-em de-co-ro lu-mi-ne noc-tem so-po- ris gra-ti-a

2 5
Artus solutos ut quies Ut cum profunda clauserit
reddat laboris usui diem caligo noctium
mentesque fessas allevet fides tenebras nesciat
luctusque solvat anxios et nox fide reluceat

3 6
Grates peracto iam die Dormire mentem ne sinas
et noctis exortu preces dormire culpa noverit
voti reos ut adiuves castos fides refrigerans
ymnum canentes solvimus somni vaporem temperet

4 7
Te cordis ima concinant Exuta sensu lubrico
te vox canora concrepet te cordis alta somnient
te diligat castus [amor] nec hostis invidi dolo
te mens adoret sobria pavor quietos suscitet

8
Christum rogemus et patrem
Christi patrisque spiritum
unum potens per omnia
fove precantes trinitas

554
Te lucis ante terminum, Sundays, 100v (MMMA I,136), ad complinam

1--h-h--h-h-h--j-h---g-3-e--f--f-f--f--g-f--e-3-g-f-e-c-d--e--f-e-3-
Te lu-cis an-te ter-mi-num re-rum cre-a-tor pos-ci-mus ut so-li-ta cle-men-ti-a

1-f--h--h--g-f--g-f-e-4--h--h--h-h--h---j-h-g-3-
sis pre-sul et cus- to-di-a Pro-cul re-ce-dant som-ni-a...

2 3
Presta pater omnipotens
...et noctium phantasmata per Iesum Christum Dominum
hostemque nostrum comprime qui tecum in perpetuum
ne polluantur corpora regnat cum sancto spiritu.

555
Somno refectus artubus, Feria II, 100v-101r (MMMA I,142), feria ii ad nocturnas ymnus

1--d---e-f--g-eg-f-e--f-3-d--e-f-g-eg-f--e-ded-3-
Som-no re-fec-tis ar-tu-bus spre-to cu-bi-li sur-gi-mus

1-e--d-e-gh-hj-h-g--h-3-g-h--g-ge-def-f--e-d-4-d--d-e-
no-bis pa-ter ca-nen-ti-bus a-des-se te de- pos-ci-mus Te lin-gua…

2 3
… primum concinat Cedant tenebre lumini
te mentis ardor ambiat et nox diurno sideri
ut actuum sequentium ut culpa quam nox intulit
te sancte sis exordium lucis labascat munere

4
Precamur idem supplices
noxas ut omnes amputes
et ore te canentium
lauderis in perpetuum.

556
Splendor paterne glorie, Feria II, 101r-v (MMMA I,2), ymnus ad laudes

1--ed---c-d--e-fg-g-f-e-3-ed-c-d-e--f---g--h--g-3-
Splen-dor pa-ter-ne glo-ri-e de lu-ce lu-cem pro-fe-rens

1-g--g-h--h-f--g-f--e-3-ed-c-d-e-f--g-g--f--e-4
lux lu-cis et fons lu-mi-nis di- es di-e-rum il-lu- mi-nans

1-ed-c--d--e-fg-g-f--e-3-ed-c-
Ve-rus-que sol il- la-be-re mi-cans…

2 5
Mentem gubernet et regat
…nitore [perpeti]637 casto fideli corpore
iubarque sancti spiritus fides calore ferveat
infunde nostris sensibus fraudis venena nesciat

3 6
Votis vocemus et patrem Christusque noster sit cibus
patrem perennis glorie potusque noster sit fides
patrem potentis gratie leti bibamus sobriam
culpam releget lubricam ebrietatem spiritus

4 7
Informet actus strenuos Letus dies hic transeat
dentem retundat invidi pudor sit ut diluculum
casus secundet asperos fides velut meridies
donet gerendi gratiam crepusculum mens nesci

8 9
Aurora cursus provehit Deo patris [sit gloria
aurora totus prodeat eiusque soli filio
in patre totus filius cum spiritu paraclito
et totus in verbo pater et nunc et in perpetuum].

637
This word was omitted from this hymn
text in the manuscript.

557
Immense celi conditor, Feria II, 101v (MMMA I,145), ymnus ad vesperum

1--d--e--f--g-e-f--e-d-3-f-e--e-e--d--f--g--f-3-
Im-men-se ce-li con-di-tor qui mix-ta ne con-fun-de-rent

1-f-f--g--h-f--g-f--e-3-g--f--ff-e-d-f-e--d-4-d---e--f--g-
a-que flu- en-ta di-vi-dens ce-lum de-dis-ti li-mi-tem Fir-mans lo-cum...

2 4
… celestibus Lucem fides inveniat
simulque terre rivulis sic luminis iubar ferat
ut unda flammas temperet hec vana cuncta terreat
terre solum ne dissipent hanc falsa nulla comprimant

3 5
Infunde nunc piissime Presta pater [piissime
donum perennis gratie patrique compar unice
fraudis nove ne casibus cum spiritu paraclito
nos error atterat vetus regnans per omne seculum].

558
Consors paterni luminis, Feria III, 101v-102r (MMMA I,142), feria iii ad nocturnas ymnus

1--d---e--f--g-eg-f-e--f-3-d-e-f--g-eg-f-e-ded-3-
Con-sors pa-ter-ni lu-mi-nis lux ip-se lu-cis et di-es

1-e--c--e--gh-hj-h---g-h-3-h-[-h-h--g-ef-g--f-e-]-4
noc-tem ca-nen-do rum-pi-mus as- sis-te pos-tu-lan-ti-bus

2 3
Aufer tenebras mentium Sic Christe nobis ommnibus
fuga catervas demonum indulgeas credentibus
expelle somnolentiam ut prosit exorantibus
ne pigritantes obruat quod precinentes psallimus

4
Presta pater [piissime
patrique compar unice
cum spiritu paraclito
regnans per omne seculum].

559
Ales diei nuntius, Feria II, 102r (MMMA I,2), ad laudes ymnus

1--ed-c-d-e-fg-gg-f-e-3-ee-c---d-e---f---g-h-g-3-
A-les di-e-i nun-ti-us lu-cem pro-pin-quat pro-ci-nit

1-g--g-h-h-gf--g--g-e-3-e---c---d-e-efg-g---f-e-4
nos ex-ci-ta-tor men-ti-um iam Chris-tus ad vi- tam vo-cat

2 4
Auferte clamat lectulos Tu Christe somnum dissice
aegro sopore desides tu rumpe noctis vincula
castique recti ac sobrie tu solve peccatum vetus
vigilate iam sum proximus novumque lumen ingere

3 5
Iesum ciamus vocibus Deo patris [sit gloria
flentes precantes sobrie eiusque soli filio
intenta suppicatio cum spiritu paraclito
dormire cor mundum vetat et nunc et in perpetuum].

560
Telluris ingens conditor 102r-v Ad vesp. yms. (MMMA I,145)

1--f--f-g--h--f---g--f-e-3-g--f-f-ff-[-e-f-f-f-3-f-f-g-h-g-g-f-e-3-
Tel-lu-ris in-gens con-di-tor mun-di so-lum... 638

1-g-f-e-d-c-f-d-d-]-4
3
Mentis perustae vulnera
...qui eruens munda vi roris gratie
pulsis aque molestiis ut facta fletu diluat
terram dedisti immobilem motusque pravos atterat

2 4
Ut germen aptum preferens Iussis tuis obtemperet
fulvis decora floribus nullis malis adproximet
fecunda fructu sisteret bonis repleri gaudeat
pastumque gratum redderet et mortis actum nesciat

5
Praesta pater [piissime
patrique compar unice
cum spiritu paraclito
regnans per omne seculum].

638
The remainder of the first strophe of this hymn is not notated in the manuscript.

561
Rerum creator optime, Feria IV, 102v (MMMA I,142), feria iiii ad nocturnas ymnus

1--d--e---f-g-eg-f-e-f-3-d--e--f--g--eg-f--e-ded-3-
Re-rum cre-a-tor op-ti-me rec-tor-que nos-ter res-pi- ce

1-e-c--e-gh-hj-h-g-h-3-g---h--g-fe-def-f-e-d-4
nos a qui-e- te no-xi-a mer-sos so-po-re li-be-ra

2 4
Te sancte Christe poscimus Vides malum quod gessimus
ignosce tu criminibus occulta nostra pandimus
ad confitendum surgimus preces gementes fundimus
morasque noctis rumpimus dimitte quod peccavimus

3 5
Mentes manusque tollimus Presta pater [piissime
propheta sicut noctibus patrique compar unice
nobis gerendum precipit cum spiritu paraclito
Paulusque gestis censuit regnans per omne seculum].

562
Nox et tenebre et nubila, Feria IV, 103r (MMMA I,2), ad laudes

1--fe-c-d-e--f-g-h--g-f-3-ff-d-e--f--g-h--j-k--j-3-
Nox et te-ne-bre et nu-bi-la con-fu-sa mun-di et tur-bi-da

1-j--j-k--j--g-h--h-f-3-fe--c-d-[-e--f--g-f-e-]-4
lux in-trat al-bes-cit po-lus Chris- tus ve- nit dis-ce-di-te639

2 4
Caligo terre scinditur Sunt multa fucis illita
percussa solis spiculo que luce purgentur tua
rebusque iam color redit tu lux eoy sideris
vultu nitentis sideris vultu sereno illumina

3 5
Te Christe solum novimus Deo [sit gloria
te mente pura et simplici eiusque soli filio
flendo et canendo quaesumus cum spiritu paraclito
intende nostris sensibus et nunc et in perpetuum].

639
The final part of the melody is not notated in the manuscript.

563
Celi Deus sanctissime, Feria IV, 103r-v (MMMA I,145), ad vesperum ymnus

1--f-f--g-h--f--g-f-e-3-g-g-g--gg---e--g--h-g-3-g-g--h--j-g--h-g-f-3
Ce-li De-us sanc-tis-si-me qui lu-ci-dum cen-trum po-li can-do-re pin-gis ig-ne-o

1-h--h--h-g-f--h-g-f-4--f--f-g-h-f---g--f--e-3-
au-gens de-co-ri lu-mi-na Quar-to di-e qui flam-me-am...

2 4
Illumina cor hominum
…solis rotam constituens absterge sordes mentium
lune ministrans ordini resolve culpe vinculum
vagos recursus sidereum everte moles criminum

3 5
Ut noctibus vel lumini Presta pater [piissime
diremptionis terminum patrique compar unice
primordiis et mensium cum spiritu paraclito
signum dares novissimum regnans per omne seculum].

564
Nox atra rerum contegit, Feria V, 103v (MMMA I,142) feria v ad nocturnas ymnus

1--d--e-f-g--eg-f--e--f-3-d--e-f-g--eg-f--e-ded-3-
Nox a-tra re-rum con-te-git ter-re co-lo-res om-ni-um

1-e--d--e-gh-hj-h--g--h-3-g--j-h--gf--efg-g-f--e--4
nos con-fi-ten- tes pos-ci-mus te ius-te iu- dex cor-di-um

1-d--e-f--g--eg-f-e-f-3-
Ut au-fe-ras pi- a- cu-la…

2 4
Repelle tu caliginem
…sordesque mentis abluas intrinsecus quam maxime
donesque Christe gratiam ut in beato gaudeat
ut arceantur crimina se collocari lumine

3 5
Mens ecce torpet impia Presta pater [piissime
quam culpa mordet noxia patrique compar unice
obscura gestit tollere cum spiritu paraclito
et te redemptor querere regnans per omne seculum].

565
Lux ecce surgit aurea, Feria V, 103v-104r (MMMA I,2), ad laudes ymnus

1--fe-c--d--e-efg-g-f-e-3-fe--c--d-e--f-g--h-g-3-
Lux ec-ce sur-git au-re-a pal-lens fa-tes-cat ce-ci-tas

1-g--g--h--h-f---g--g-e-3-ed-d-[-e--e-f-g-f-e-]-4
que nos-met in pre-ceps di-u er- ro- re trax-it de-vi-o

2 4
Hec lux serenum conferat Speculator astat desuper
purosque nos prestet sibi qui nos diebus omnibus
nihil loquamur subdolum actusque nostros prospicit
volvamus obscurum nichil a luce prima in vesperum

3 5
Sic tota decurrat dies Deo patri [sit gloria
nec lingua mendax nec manus eiusque soli filio
ocul nec peccent lubrici cum spiritu paraclito
ne noxa corpus inquinet et nunc et in perpetuum].

566
Magne Deus potentie, Feria V, 104r-v (MMMA I,145), ad vesperum ymnus

1--f--f--g--h-f--g-f-e-3-g-f--f--f-e--f--g--f-3-
Mag-ne De-us po-ten-ti- e qui ex a-quis or-tum ge-nus

1-f--f--g--h--f--g--f-e-3-g--f--f--e--d-f-e-d-4
par-tim re- mit-tis gur-gi-ti par- tim le-vans in a- e- ra

1-f--f--g--h---f--g--f------
Di-mer-sa lym-phis im-pri-mens...

2 4
Ut culpa nullum deprimat
...subvecta celis irrogans nullum levet iactantia
ut stirpe una prodita elisa mens ne concidat
diversa rapiant loca elata mens ne corruat

3 5
Largire cunctis servulis Presta pater [piissime
quos mundat unda sanguinis patrique compar unice
nescire lapsum criminum cum spiritu paraclito
nec ferre mortis tedium regnans per omne seculum].

567
Tu trinitatis unitas, Feria VI, 104v (MMMA I,142), feria vi ad nocturnas ymnus

1--d-e--f-g-eg-f-e-f-3-d--e--f--g-eg-f--e-ded-3-
Tu tri-ni-ta-tis u-ni-tas or-bem po-ten-ter qui re-gis

1-e-d--e-gh--hj--h-g-h-3-g--j-h--gg-efg-g--f--e-4--d--e-f-g-
at-ten-de lau-dum can-ti-ca que ex-cu-ban-tes psal-li- mus Nam lec-tu-lo…

2 4
...consurgimus Ne corpus assit sordidum
noctis quieto tempore nec torpor instet cordium
ut flagitemus vulnerum et criminis contagio
a te medelam omnium tepescat ardor spiritus

3 5
Quo fraude quidquid demonum Ob hoc redemptor quesumus
in noctibus deliquimus reple tuo nos lumine
abstergat illud celitus per quod dierum circulis
tue potestas glorie nullis ruamus actibus

6
Presta pater [piissime
patrique compar unice
cum spiritu paraclito
regnans per omne seculum].

568
Eterna celi gloria, Feria VI, 104v-105r (MMMA I,2) ad laudes ymnus

1-fe-d--e-f-gh-h-g-f-3-fe-d-e--f--g--h-j-h-3-h-h-j--jj-g-h-hh-f-3-
E- ter-na ce-li glo-ri-a be- a-ta spes mor-ta-li-um cel-si to-nan-tis u-ni- ce

1-ff-e-[-e---e-f--g-f--e-]-4
cas-te- que pro-les vir-gi-nis

2 4
Da dexteram surgentibus Manensque nostris sensibus
exurgat et mens sobria noctem repellat seculi
flagransque in laudem Dei omnique fine diei
grates rependat debitas purgata servet pectora

3 5
Ortus refulget lucifer Quesita iam primum fides
spargamque lucem nuntiat radicet altis sensibus
cadit caligo noctium secunda spes congaudeat
lux sancta nos illuminet quod malor extat caritas

6
Deo patris [sit gloria
eiusque soli filio
cum spiritu paraclito
et nunc et in perpetuum].

569
Plasmator hominis Deus, Feria VI, 105r-v (MMMA I,145), ad vesperum

1--f---f-g--h--f--g-f--e-3-g--f--f-ff-d-f-g--f-3-
Plas-ma-tor ho-mi-nis De-us qui cunc-ta so- lus or-di-nans

1-f--f--g--h--f--g-f-e-3-g--f--f-e-d-f--e-d-4-f--f--g--h--f-
hu-mum iu-bes pro-du-ce-re rep-tan-tis et fe-re ge-nus Qui mag-na re-rum…

2 4
…corpora Da gaudiorum premia
dictu iubentis vivida da gratiarum munera
ut serviant per ordinem dissolve litis vincula
subdens dedisti homini adstringe pacis federa

3 5
Repelle a servis tuis Presta pater [piissime
quidquid per immunditiam patrique compar unice
aut moribus se suggerit cum spiritu paraclito
aut actibus se interserit regnans per omne seculum]

570
Summe Deus clementie, Saturdays, 105v (MMMA I,142), sabbato ad nocturnas ymnus

1--e--f--g--e--g--f-e-f-3-d--e--f--g--eg-f--e--ded-3-
Sum-me De-us cle-men-ti-e mun-di-que fac-tor ma-chi-ne

1-e-d--e-gh-hj-h-g-h-3-g--j--h--g--efg--g-f-e-4--e--f--g-e--g--f-e-
u-nus po-ten- ti- a-l i-ter tri-nus-que per-so- na-li-ter Nost-ros pi-us cum can-ti-cis…

2 4
Ut quique horas noctium
…fletus benigne suscipe nunc concinendo rumpimus
quo corde puro sordibus donis beate patre
te perfruamur largius ditemur omnes affatim

3 5
Lumbos iecurque morbidum Presta pater [piissime
adure igni congruo patrique compar unice
accincti ut sint perpetim cum spiritu paraclito
luxu remoto pessimo regnans per omne seculum].

571
Aurora iam spargit polum, Saturdays, 105v-106r (MMMA I,2), ad laudes ymnus

1--fe-d-e--f--fgh-h-g--f-3-fe-d-e-f-g-h-j--h-3-h-h--j-jj-g-h--g--f-3
Au- ro-ra iam spar-git po-lum ter-ris di-es il-la-bi-tur lu-cis re-sul-tat spi-cu-lum

1-[-fd-c-de-e--ef-g-fe-e-]-4
dis-ce-dat om-ne lu-bri-cum640

2 3
Fantasma noctis decidat Ut mane illud ultimum
mentis reatus subruat quod prestolamur cernui
quicquid tenebris horrida in luce nobis effluat
nox attulit culpe cadat dum hoc canore concrepat

4
Deo patris [piissime
patrique compar unice
cum spiritu paraclito
regnans per omne seculum].

640
The final part of this hymn’s first strophe is not notated in the manuscript.

572
O lux beata trinitas, Saturdays, 106r (MMMA I,22), ad vesperum ymnus

1--h-gf-d-e-f-gh-hh-g-3-h-gf-d--e-f-gh-h-g-3-h--j--hj-h-gf-g-gh-e-3-
O lux be-a-ta tri- ni-tas et prin-ci-pa-lis u- ni-tas iam sol re- ce-dit ig-ne- us

1-g-gf--d--e--f--gh-hh-g-4-h--gf-d-
in-fun- de lu-men cor-di- bus Te ma- ne…

2
...laudum carmine
te deprecemur vespere
te nostra supplex gloria
per cuncta laudet secula.

573
O Pater sancte mitis, Trinity, 106r-v (MMMA I,532), de trinitate ad nocturnas

1--d-f-g---hj-h-hg-e-f-g--ff-e-3-d-f-g--hj-h-g-h-g--h-hh-g-3-
O pa-ter sanc-te mi-tis at-que pi- e O Ie-su Chris-te fi- li ve-ne-ran-de

1-gh-hg-f--g--e--e-e-f-g-f-e-3-d--f-g-hgf-f-4
pa- ra-cli-tus-que spi-ri-tus o al-me De-us e- ter- ne

1-d--f--g-hj-h--hg-e-f--g---
Tri-ni-tas sanc-ta u- ni-tas-que…

2 3
...firma Serviunt tibi cuncta que creasti
Deitas vera bonitas immensa te tue cuncte laudant creature
lux angelorum salus orfanorum nos quoque tibi psallimus devoti
spesque cunctorum tu nos exaudi

4
Gloria tibi Deus omnipotens
trinus et unus magnus et eternus
te decet hymnus honor laus et decus
nunc et in evum.

574
O veneranda trinitas, Trinity, 106v-107r (MMMA I,422), ad laudes ymnus

1--h-g--h-gff-d-g-g--f--g--h--h-3-h-j--k-jhh-f-g--f-e--f--g--g-3-
O ve- ne-ran- da tri-ni-tas lau-dan-da val-de be-nig- na glo-ri- a-que dig- na

1-g--f--g-fee-d--f--f---e-fg-gfef-e-3-fghgf-ed-efe--d--d-4
nos-tras ex- au- di pre- ces qui-bus ti- bi ca- ni- mus hym-num

1-h--g-h-gff----
Te in-vo-ca-mus...

2 3
…atque adoramus Ut valeamus mentibus devotis
teque laudamus trinitas beata agere dignas tibi quoque laudes
tu nobis dona scelerum cunctorum die ac nocte horis et momentis
remissionem semper dicamus

4
Gloria ingens sine fine manens
sit trinitati summe deitati
cuncta per secla voce simul una
cuncti dicamus.

575
Conditor alme siderum, Advent, 107r (MMMA I,19) sabbato de adventu domini ymnus ad
vesperum

1---g-gg-f-g-e-fg--g-g-3-j-jklk-jh-j--jkj-g--fg-g-3-
Con-di-tor al-me si- de-rum e- ter- na lux cre- den- ti-um

1--g--g-f---g---e--fgh--g-f-3-h-hh-g-j--jkj-g--fg-g-4
Chris-te re-demp- tor om- ni-um ex-au-di pre-ces sup-pli-cum

1-g--g--f---g--e-f-g-g-3-
Qui con-do-lens in-te-ri-tu…

2 5
Occasum sol custodiens
…mortis perire speculum luna pallorem retinens
salvasti mundum languidum candor in astris relucens
donans reis remedium certos observant limites

3 6
Vergente mundi vespere Te deprecamur hagie
uti sponsus de thalamo venture iudex seculi
egressus honestissima conserva nos in tempore
virginis matris clausula hostis a telo perfidi

4 7
Cuius forti potentie Laus honor virtus gloria
genu curvantur omnia Deo patri cum filio
celestia terrestria una cum sancto spiritu
nutu fatentur subdita in sempiterna secula.

576
Verbum supernum prodiens, Advent, 107r-v (MMMA I,126) ad nocturnas

1-jk---g--h--kl-l---m-l--m-3-j-k-l--m-lj-k-l-k-3-
Ver-bum su-per-num pro-di-ens a pa-tre o-lim e-xi-ens

1-k-k--k-kl-jg-h--g--f-3-g--f--g-jk-k-lk--jk-k-4
qui na-tus or- bi sub-ve-nis cur-su de-cli- vi tem-po- ris

1-k-g-h--kl-l---m-l-m-3-
Il-lu-mi-na nunc pec-to-ra...

2 4
Non demum artemur malis
...tuoque amore concrema pro qualitate criminis
audita ut preconia sed cum beatis compotes
sint pulsa tandem lubrica simus perennes celibes

3 5
Iudexque cum post aderis Laus honor [virtus gloria
rimari facta pectoris Deo patri et filio
reddens vicem pro abditis una cum sancto spiritu
iustique regnum pro bonis in seculorum secula].

577
Vox clara ecce intonat 107v-108r ad laudes (MMMA I,16)

1--l---l-lkkhjkjhg-j-k-ml-jk-kj-3-l--lk-jk-l--h--j-gh--h-3-
Vox cla-ra ec-ce in- to- nat ob-scu- ra que-que in-cre-pat

1-l--ll-j--l-l--lml-k--j-hjhg-3-j-kl-k---jh--gh-k--j--h--4
pel-lan- tur e-mi-nus som-ni-a ab e- thre Chris-tus pro-mi-cat

2 4
Mens iam resurgat torpida Secundo ut cum fulserit
que sorde extat saucia mundumque horror cinxerit
sidus refulgent iam novum non pro reatu puniat
ut tollat omne noxium sed pius nos tunc protegat

3 5
E sursum agnus mittitur Laus honor [virtus gloria
laxare gratis debitum Deo patri et filio
omnes pro indulgentia una cum sancto spiritu
vocem demus cum lacrimis in seculorum secula].

578
Verbum salutis omnium, Advent, 108r (unique melody), in cotidiam diebus ad vesperum

1--gh--g--f-g-g--h--f--g-3-h--f-f-fe-def-f--e-d-3-
Ver-bum sa-lu-tis om-ni-um pa-tris ab o- re pro-di-ens

1-e--e-e-g-g-h-j--j-3-jj-h-g--h-jkh-gh-gf-e-4
vir-go be-a-ta su-sci-pe cas-to Ma-ri-a vis- ce-re

2 4
Te nunc illustrat celitus Olim quod clausus retulit
umbra sacrati spiritus liber septenis clausulis
gestes ut Christum Dominum de tribu Iuda nunc leo
patri equalem filium victor existens prodidit

3 5
Hec est sacrati ianua Ob hoc surgamus ocius
templi serata iugiter grates feramus Domino
soli tremendo principi qui manet ante secula
pandens beata limina semper cum patre filius

6
Laus honor [virtus gloria
Deo patri et filio
una cum sancto spiritu
in seculorum secula].

579
Debitas laudes Dominum canentes, St Nicholas, 108r-109r, in sancti Nicolay ad vesperum et ad
nocturnas ymnus641

1--ghg-gf-ef-f--f--g--h-g-fg-g--g-3-
De- bi- tas lau-des Do-mi-no ca- nen-tes

1-gkl-k--k-[kj-jk-h-jk-j-hj-j]-hg-3-
men- te de-vo-ta ce-le-bre-mus om-nes

1-gkl-gh-hh-g--h---j--h--f--gh-hg-3-ghj-hg-fg--g--g-4-ghjg-gf-gh-
hunc di- em sa-crum Ny-co-laus in quo e- the- ra scan-dit Qui De- i...

2 6
...legem meditando digne Predicat cunctis famulari Christo
pervigil celi cupiendo regna allevat tristes famis ex pavore
hoste devicto nitidus refulsit commoda prestans tritici ministrans
sanctus in orbe nil minuendo
7
3 Fluctibus mersis precibus vocatus
Namque cum pastor bonitate dignus assuit presens mitigansque fluctus
mirensi clare peteretur urbi providus monstrans olei liquore
celitus tandem meruit vocari temnere flammas
rector opimus
8 [Division: ad laudes]
4 Terret Augustum pater almus inquam
Presul effectus populis benignus solvat ut frustra miseros revinctos
extitit dulcis placidusque clemens mortis atrocis monitis beatis
omnibus prestans pietatis usu vincula fregit
commoda digna
9
5 Sicque devotus pietatis actor
Gratia Christi salubri repletus se pius gestans famulando Christo
demonum cultus penitus repellit etheris regnum meruitque sacratum
per viam lucis tenebris repulsis scandere clarus
currere monstrat

641
Mallet and Thibaut point out that this is the same melody as that of Iste confessor in the Solesmes Liber
Hymnarius, p. 466. See Mallet and Thibaut, II.265.

580
10
Plaudet insignis tua plebs beatis
Grecia gaudet redimita festis
quod tuis sanctis meritis maligni
crimina quassat
11
Protege plebem tibi precinentem
hostis adversi quatiendo fraudes
quatinus mundi mereamur atros
temnere fluctus
581
12
Quesumus sancte nimium beate
posce pro nobis Dominum rogando
quo suam veram mereamur omnes
cernere lucem
13
Gloriam patri resonemus omnes
et tibi Christe genite superni
cum quibus sanctus simul et creator
spiritus regnat.
Ambrosi sidus aureum, St Ambrose, 109r-v (MMMA I,723), in sancti Ambrosii ymnus

1--g--fg-g-hg-fg-j-h--g-3-f-g-h--j--f---g-[-fg-g-3-
Am-bro-si si- dus au-re-um or-bis il-lus-trans am- bi-tum

1-g-g--f--e-c---f--g-g-3-g--h-g--g-fg--j-h-g--]-4
tu no-bis lu-men men-ti-bus sac-ris in-fun-de pre-ci-bus642

2 4
Tu verbi vibrans jaculum Tue vocis imperium
ut fulmen sternis arrium pavescit agmen demonum
fugas errorum tenebras flent spiritus nequissimi
ut mera cluat veritas solutum ius hospitii

3 5
Clangor tube terribilis Qua vi precellas meriti
coruscas et prodigiis experiuntur emuli
quem deflet mater mortuum qui te ledunt vel detrahunt
reddis vitae pansophium ultore Deo pereunt

6
Sit patri laus ingenito
sit decus unigenito
sit utriusque parili
majestas summa flamini.

642
The final part of the first strophe of this hymn is not notated in the manuscript.

582
Christe lux mundi salus et redemptor, St Lucy, 109v-110v (MMMA I,151), in sancte Lucie
virgine ymnus

1--fgg-f-ghj-jj-gh-g-g--f-g--h---h-3-j-j-k-jh-j--jk-l--k-h-j--h--g3
Chris-te lux mun-di sa-lus est re-demp-tor et no-vi for-ma re- de-un-tis or-bem

1-ghjkjh-g-f-h--h--j--k-j-hj-jh-gf-3-h--g--h-fef--f--4
qui tu-o to-tum pro-pri-o di- ca- sti san-gui-ne mun-dum

2 7
Instrue nos te petere quod optas Illa dum mullis agitata rebus
martyrum simus memores tuorum ne viros saltem habitura proles
Lucie sacris meritis iuvemur cuncta dispersit tribuens egenis
virginis alme virgo beata

3 8 [Divisus]
Et tuos semper famulos gubernes Mox ut audivit stupuit tirrannus
et tibi dignos faciat ministros preses et turbos removere vultus
integros mentis operum simulque cepit et iussit sibi presentari
dirigat actus protinus illam

4 9
Que patris gazas fugiens reliquit Et modo blandis gravibusque minis
simul et clare genitricis opes publice terret refovetque spondet
cuius et fedum pariter utraque sed nullo illam potuit tenore et
virgo cruorem flectere pulchram

5 10
Iam cum et festum tumulum Agathae Estuat sevus nimio furore
sisterent ambe simul ad precandum iussit accendi famulis caminum
et fidem mater simul et salutem quod dum orasset humilis puella
sensit inoram flamma recessit

6 11
Tunc piae mater monitum puelle Cumque infelix valide prefixam
copias rerum satis universas cerneret stantem penitus puellam
vendidit cuncta tradidit dilecte tum boum fexit paria trahentum
premia nate iungere multa

583
12 14
Quam cum hanc nullus removere possit Quo licet facto diruit furentem
lutium fundi capiti decoro iussit alloquens plebem populumque totum
et torpens refugosa diu pace letari ecclesiam recepto
fronte remansit rege perempto

13 15
Tandem ad duros animum retorquens Sicque cum palma Dominum petivit
carnifex actus scelerumque nitor etheris celsa gradiens ad aulas
precepit cultrum graviter in eius et patris summi penetrat ad regnum
viscera mergi martyra celebs
16
Gloriam patri [resonemus omnes
et tibi Christe genite superne
cum quibus sanctus simul et creator
spiritus regnat].

584
Sancti Thome apostoli laudes, St Thomas Apostle, 111r-v (MMMA I,740), sancti Thome
apostoli

1--g--ghg-f--g--j-jkjhgh-h-h-3-k--kk-j-h--j--k-k--k-3-
Sanc-ti Tho-me a-pos- to-li lau-des ca-na-mus de-bi-tus

1-k---j----j---h-f-g--gfgfe-f-3-g-f--hjh-hg-f-g-g--g-4
qui-quem per Chris-ti no-mi- ne car-nis tor- men-ta sus-tu-lit

1-g-ghg-f-g-j--jkjh-g-h-
Di-ri- ga-tur in In- di-am …

2 6
Percussus telis quatuor
…predicans urbum Domini suo decoratus sanguine
miles aule etheree fidem coservans integram
firmans culmen orthodoxum evi complevit terminum

3 7
Tetro retrusus carcere O mira fides apostoli
alma luce ingreditur regis diri ex sobole
porte signate annulo post causam eiecit demonem
patefiunt apostolo Deum credere compulit

4 8
Regis coniux et filia Venite omnes populi
eius adsistunt glorie ipsum rogemus subditi
suisque sacris monitis ut illibatis precibus
Christum hotantur credere nostra delicia deleat

5 9
Traditus est militibus Deo patri sit gloria
Deum patrem glorificans [eiusque soli filio
quod monumentis attritis cum spiritu paraclito
devicit adversarios et nunc et in perpetuum].

585
Conditor alme*, Christmas, 111v, vigilia natalis Domini ymnus ad nocturnas

Egredere Emmanuhel, Christmas, 111v (MMMA I,501), ad laudes ymnus sancti Leonis

1--g-gk-j-k--h--k-l--jhg-3-k---l--l-kh-j--j--h-g-3-
E-gre-de-re Em-ma-nu-hel quem nun-ti-a- vit Gab-ri-hel

1-g-gk--j--k--h--k-l--jhg-3-k--l--l--kh-j--j-h-g-4
u-ti spon-sus de tha-la-mo vir-gi-nis ma-tris u-te-ro

1-g-gk-j--k--h-k-l-jhg-3-k-l-l-kjh-j-j-h--g-3-
Spi-ri-tus sanc-ti o-pe-re si-ne vi-ri- li se-mi-ne…

2 3
Sicquem lege deposita
tua simus sub gratia
...ad tuum natalicium qui aperis diu clausum
delens Eve flagitium bonis intrandi adytum

4
Laus sit patri et filio
spiritui paraclito
unitati sit Gloria
per infinita secula.

586
Veni redemptor gentium, Christmas, 111v-112r (MMMA I,17), ad vesperum

1--g-h--gf--g--h--k--l-k-3-kk-g--g--j--k-l--m-l-3-
Ve-ni re-demp-tor gen-ti-um os- ten- de par-tum vir-gi-nis

1-k-lm-kj-h-kl--g-h-k-3-jk-h-gf-h-hjh-g--fg-g-4
mi-re-tur om-nes se-cu-lum tu-lis de-cet par- tus De-um

1-g---h-gf-g-h-k-l--k-3-kk-g-h------
Non ex vi- ri- li se-mi-ne sed mi-sti-co…

2 5
Egressus eius a patre
…spiramine regressus eius ad patrem
verbum Dei factum est caro excursus usque ad inferos
fructusque ventris floruit recursus ad sedem Dei

3 6
Alvus tumescit virginis Equalis eterno patri
claustrum pudoris permanet carnis tropeo cingere
vexilla virtutum micant infirma nostri corporis
versatur in templo Deus virtute firmans perpeti

4 7
Procedat e thalamo suo Presepe iam fulget tuum
pudoris aula regia lumenque nox spirat suum
gemine gigas substantie quod nulla nox interpolet
alacris ut currat viam fideque iugi luceat

8
Gloria tibi Domine
qui natus es de virgine
cum patre et sancto spiritu
in sempiterna secula.

587
Christe redemptor omnium, Christmas, 112r-v (MMMA I,71), ad nocturnas ymnus

1--f---g-hk-kk--j--hj-hg-g-3-gh-j-jk-kk-j-klm-lj-k-3-
Chris-te re-demp-tor om- ni-um ex pa-tre pa- tris u- ni- ce

1-klk-j--hj-g-jh--j-jk-k-3-g--h-jl-ll-j-hj-hg-g-4
so- lus an- te prin-ci- pi-um na-tus in- ef- fa-bi- li- a

1-f-g--hk-k--j---hj-
Tu lu-men tu splen-dor…

2 5
…patris Hunc celum terra hunc mare
auferes perennis omnium hunc omne quod in eis est
intende quas fundunt preces auctorem adventus tui
tui per orbem famuli collaudans canit canticum

3 6
Memento salutis auctor Nos quoque qui sancto tuo
quod nostri quondam corporis redempto sanguine sumus
ex illibata virgine ob diem natalis tui
nascendo formam sumpseris ymnum novum concinimus

4 7
Sic presens testatur dies Gloria tibi Domine
currens per anni circulum [qui natus es de virgine
quod solus a sede patris cum patre et sancto spiritu
mundi salus adveneris in sempiterna secula].

588
A solis ortus cardine, Christmas, 112v-113r (MMMA I,721), ad laudes

1--gh-f--g-h--k--j-hh-g-3-l-l-lm--m-l--j-kl-l-3-
A so-lis or-tus car-di- ne ad-us-que ter-re li-mi- te

1-g---h--g-j--g---h--g-f-3-h--k---l-kj-hg-hj-hg-g-4
Chris-tum ca-na-mus prin-ci-pem na-tum Ma-ri- a vir- gi- ne

1-gh-f-g--h--k--j-h-g-3-l-l-m-
Be-a-tus auc-tor se-cu-li ser-vi-le…

2 5
Enixa est puerpera
...corpus induit quem Gabrihel predixerat
ut carne carnem liberans quem matris alvo gestiens
nos proderet quod condidit clausu Iohannes senserat

3 6
Clause parentis viscera Feno iacere pertulit
celestis intrat gratia presepe non aborruit
venter puelle balulat parvoque lacte pastus est
secreta que non noverat per quem nec ales esurit

4 7
Domus pudici pectoris Gaudet chorus celestium
templum repente fit Dei et angeli canunt Deo
intacta nesciens virum palamque fit pastoribus
verbo concepit filium pastor creator omnium

8
Summo paterni gloria
natoquem laus quam maxima
cum sancto fit spiramine
nunc et promen seculum.

589
Christus est vita veniens, St Stephen, 113r-114r (MMMA I,722), in sancti Stephani ad nocturnas
ymnus

1--defgfef-d--f-e-e-f-g--f--g-ee-d-3-dg--f-g--h-gfe-f-g-e--g-ee-d-3
Chris- tus est vi-ta ve-ni-ens in or-bem mor-tis oc-ca-sum pa-ti-ens a-cer-be

1-dg-gg-e-f-gfe-f-g-e-f-e-dedc-3-cdefede-d--e-d-d-4
mor-tu- is ac-tum pi- e-ta-tis u-su vi- ve- re do-nat

2 7
Sustulit vulnus removendo mortem Sustinet mortem rabie profana
mortis auctorem perimendo surgit plenus est omni pietate cordis
patris ad dextram repetendo regnat hostibus querit veniam misertus
sede suprerna pectore grato

3 8
Hunc sequens primus Stephanus minister Gloriam [psallat chorus et resultet
sortis illate titulo decorus gloram dicat canat et revolvat
quam dedit spirans Domini benignus nomine trino Deitate soli
spiritus illi sydera clament]

4 9 ad laudes
Vadit exemplo Domini revinctus Imbuit primus homines beatus
testibus falsis adopertus innox corde directo lecore fideli
iudicum portat scelerata sanctus in fide Christi iugulata telis
dicta malorum ponere membra

5 10
Ore scelestos referit malignos Quesumus flentes benedicte prime
et probat constans ratione falsos martir et civis sociate iustis
semper indignos Domino polorum celitus clare regionis heres
credere nolle inclite pollens

6 11
Saxeo nimbo lapidatus instat Promptus hic nostrum facinus remitte
Paulus est summus lapidantum servat tolle languorem tribue salutem
vestes ut reddat liberos ad ictus confodi hostem releva merorem
cede cruentos morte subacta

590
12
Gloriam psallat chorus et resultet
gloram dicat canat et revolvat
nomine trino Deitati soli
sydera clament.

591
Stephano primo martyris, St Stephen, 114r-v (MMMA I,706), ad vesperum ymnus

1--g---e-f--g--g--g--f-d-3-g-f--f---ff-d---e-d---c-3-
Ste-pha-no pri-mo mar-ti-ris can-te-mus can- ti-cum no-vum

1-d----c--d--f--f--g--h-h-3-h--g--f-g-g-efg-g--f-e-4-g-
quam dul-cis est psal-len-ti-bus o-pem fer-at cre- den-ti-bus Hic...

2 6
...primus almo sanguine Judei magis seviunt
Christi secutus gloriam saxaque prendunt manibus
viam salutis ceteris conlurant ut occiderent
amore mortis probuit verendum Christi militem

3 7
Hic enim per apostolos [A]t ille celum intuens
probatus in laude Dei tradit beatum spiritum
vexilla mortis rapuit pro persequentum crimine
ut preferetur omnibus precem secundam dirigat

4 8
O preferenda gloria Deus creator omnium
o beata victoria indulge cecis hoc malum
hoc meruisse Stephanum et hoc nefas quod aspicis
ut sequeretur Dominum indulge meis precibus

5 9
Ille levatis oculis Gloria tibi Domine
vidit patrem cum filio [qui natus es de virgine
monstrans in celis vivere cum patre et sancto spiritu
quem plebs gaudebat perdere in sempiterna secula].

592
Iste electus Iohannes, St John Evangelist, 114v-115v (MMMA I,112), sancti Iohannis
evangelista

1--g-gh-h--h-k--j--hh-g-3-k-l--m--k--k---l-lk-3-
Is-te e- lec-tus Io-han-nes di-li-gen-di promp-ti-or

1-h--j-k--j-hg-hjh-g--g-3--k-j-jj-g--h-g-f-3-
ad-vo-ca-tus in per- en-nem ve-ri-ta- tis gra-ti-am

1-f--g--j--g--h---j-k--j-3-l---klk-jh-jkj-g-fg-g-4
mer-ce-dem su-mens a-mo-ris quic-quid am-bit op-ti- net

1-f-gh-h--h-
Is-te sup-ra…
2 5
…pectus illud Insula Pathmos teneris
sempiterna numinis imperante promitur
corporis usu reclinis conspicit illic refusa
hauriebat intima celitus misteria
spiritum que indicabat et profunda que notavit
veritatis gutture mente narrat ardua

3 6
Ad crucem tractus redemptor Ultime prenotus hore
esse matris filium scindere tunc precipit
dicit ipsum rursus ipsam terream fossam ministris
esse matrem precipit qua reclinis irruit
carne unus spiritu alter mortis et vice quievit
ut manerent filii omni vivens seculo

4 7 (Divisus)
Accipit Dei parentem Te rogamus te precamur
in suis precordiis sancte Christi apostole
ut minister veritatis tolle pestem aufer ulcus
administret virgini et foveto languidos
que Deum enixa sola pelle morbum cede hostem
virgo semper astitit et remove scandalum

593
8 9
Non adurat terram ignis Decidat delictum omne
terem non sauciet subsequatur gratia
non refundat ultionis auferatur culpa tota
triste celum turbines sit salutis copia
non reclinet in ruinam sit remota cuncta labes
orbem ira funditus augeatur caritas

10
Gloria sit Deo patri
gloria sit filio
sit paraclito manenti
semper ymnus gloria
qui Deus trinus et unus
extat ante secula.

594
Sollemnis dies advenit, St John Evangelist, 115v unique melody, ad vesperum

1--g--ghg-f-g-hjkj-k-hg-g-3-k--j-lk-h--h--j-h-g-3-
Sol-lem-nis di-es ad-ve-nit quo vir-go ce-lum pe-ti-it

1-g-ghg-f-g-h--k--l--k-3-k-kk--g-h-hjkj-k--hg-g-4
e-van-ge-lis-ta ma-xi-mus Io-han-nes et a- pos-to- lus

2 5
Hinc vota laudis solvere Qui carne solo positus
et ymnum gestit promere mente polo contiguus
caterva nostri ordinis urbum inedicibile
honore tanti celibi cordis conspexit lumine

3 6
Quem sacro super pectore Huius preces assidua
tuo facis recumbere ut nostra solvat crimina
ultima in cena Domine e celo dones premia
quam patereris pridie voce precamur cernua

4 7
Cui matrem tali federe Sursum erectis cordibus
mortis conlungis tempore versis in terram vultibus
ut noverint se colere in trinitatis nomine
matris ac prolis nomine te adoramus Domine

8
Gloria tibi Domine
[qui natus es de virgine
cum patre et sancto spiritu
in sempiterna secula].

595
Hostis Herodes*, Holy Innocents, 116r, sanctorum innocentum ad nocturnas

Salvete flores martyrum, Holy Innocents, 116r-v (unique melody), ad laudes

1--f--gj-j-jh-g-h--jk-k-3-h--kl-h-h-f-g-fg-gfe-3-
Sal-ve-te flo-res mar-ti-rum quos lu-cis ip-so li-mi- ne

1-e-f-f-gh-hh-f--g--gh-h-3-f-h--g--jh-gf-gh-gf-f-4-f---gj-j---
Chris-ti in-se-cu-tor sus- tu- lit ut tur-bo flo- ren-tes ro-sas Quid cri- men…

2 5
…Herodem iuvat Transfigit ergo carnifex
vos prima Christi victima mucrone districto furens
grex immolatorum tener effusa nuper corpora
palma et coronis luditis animas rimatur novas

3 6
Audit tirannus anxius O barbarum spectaculum
adesse regum principem vix interemptor invenit
exclamat amens nuntio locum minutis artubus
ferrum satelles corripe quo plaga descendat patens

4 7
Mas omnis infans occidat Quid profuit tantum nefas
scrutare nutricum sinus inter coevi sanguinis
fraus ne qua furtim subtrahat fuenta solus integer
prolem virilis indolis impune Christus tollitur

8
Sit trinitati gloria
virtus honor victoria
que dat coronam testibus
per seculorum secula.

596
Silvestri almi presulis, St Sylvester, 116v-117r (MMMA I,706), sancti Sylvestri

1-g--e--f-g-g---g-f-d-3-g-f--f--f--d-e-d-c-3-d-c---d---f-f--g-h--h-3
Sil-ves-tri al-mi pre-su-lis ur-bis Ro-me e-gre-gi-i tri-um-phum o- re con-so-no

1-h--g--f----g--def-f-e-d-4--g---e-f--g-g-g-f--d--
de-can-tent Chris-ti po-pu-lus Quem in-an-nis in-do-li-bus...

2 6
Dein contra incommodos
…truculentus pro Domino Iudeorum philosophus
prefectus tunc Tarquinius de celestis misterio
lacessivit carceribus bellans vicit intrepidus

3 7
Sed persistens immobilis Nam draconis pestiferi
vicit athleta nobilis sevitiam compescuit
post cuius nequam exitum et populos innumeros
hic pontifex eligitur adauxit celi Domino

4 8
Cuius castis affatibus Nosque a culpe nexibus
Constantinus tunc Augustus eruat suis precibus
hortatur Christo credere qui pro tonantis gloria
renatus est baptismate eius canamus munia

5 9
Quem ut linivit chrismate Gloria tibi Domine
a morbo elephantie [qui natus es de virgine
est emundatus ilico cum patre et sancto spiritu
virtute sancti spiritus in sempiterna secula].

597
Iesus refulsit omnium, Epiphany, 117r-v (MMMA I,528), in epiphania Domini ad vesperum

1-gh-f--g-g--h-f--g-g-3-g-h-j---k---j--g-h-h-3-
Ie-sus re-ful-sit om-ni-um pi-us re-demp-tor gen-ti-um

1-hjkh-j---h-ghj-h-f-h-h-3--hh--g--j-h--g---f--g--g-4
to- tum ge-nus fi-de-li-um lau-des ce-le-bret drag-ma-tum

1--gh--f--g-g--h-
Quem stel-la na-tum…

2 6
…fulgida Vox ergo prolem de polis
monstrat micans in ethera testatur excelsi patris
magosque duxit previa virtus adestque neumatis
ipsius ad cunabula sancti datrix charismatis

3 7
Illi cadentes parvulum Nos Christe supplici prece
pannis adorant obsitum precamur omnes protege
verum fatentur et Deum qui precipis rubescere
munus ferendo misticum potenter ydrias aque

4 8
Denum ter annorum ciclis Presta benignum [s]edulo
iam parte vivens corporis solamen adiutorio
limpham petit baptismatis raptosque nos [de] tartaro
cunctis carens contagiis regnare fac tecum polo

5 9
Felix Iohannes mergere Laus trinitati debita
illum tremiscit flumine honor potestas gloria
potest suo qui sanguine perenniter sit omnia
peccata cosmi tergere per seculorum secula.

598
Hostis Herodes impie, Epiphany, 117v-118r (MMMA I,36), ad nocturnas

1-e---f-gj-jj-f--g-e-f-3--j--j--g--j-f--gf-ef-f-3-
Hos-tis He- ro-des im-pi-e Chris-tum ve-ni-re quid ti-mes

1-j--j-k--l-h--j-h-gf-3-f---f-e--d-e--fe-de-e-4
non e- ri-pit mor-ta- li-a qui reg-na dat ce-les- ti- a

2 5
Ibant magi qua viderant Miraculis dedit fidem
stellam sequentes previam habere se Deum patrem
lumen requirunt lumine infirma sanans corpora
Deum fatentur munere resuscitans cadavera

3 6
Caterva matrum personat Novum genus potentie
collisa deflens pignora aque rubescunt ydrie
quorum tirannus milia vinumque iussa fundere
Christo sacravit victimam mutavit unda origine

4 7
Lavacra puri gurgitis Gloria patri ingenito
celestis agnus attingit gloria unigenito
peccata que non detulit una cum sancto spiritu
nos abluendo sustulit in sempiterna secula.

599
Illuminans altissimus, Epiphany, 118r-v (MMMA I,535), ad laudes

1-f-g--j--hg-f-g-j--g-3-g--h-jk-kj-g--j--j---h--h-3-
Il-lu-mi-nans al-tis-si-mus mi-can-ti- um as-tro-rum glo-bos

1-h--k-kl-lk-gf-h-g-f-3-f-g--j-hg-f--h-hh-g-4-f--g-j-hg-f-g-------
pax vi-ta lu- men ve-ri-tas Ie-su fa-ve pre-can-ti-bus Seu mis-ti-co bap-tis-ma-te...

2 6
Sic quinque milibus virus
...fluenta Iordanis retro dum quinque panes dividit
confusa quondam tertio edentium sub dentibus
presentem sacraris diem in ore crescebat cibus

3 7
Seu stella partum virginis Multiplicabatur magis
celo micans signaverit dispendio panis suo
et hoc adoratum diem quis hec videns mirabitur
presepe magos duxerit iuges meatus fontium

4 8
Vel ydris plenis aqua Inter manus frangentium
vini saporem fuderit panis rigatur profluus
hausit minister conscius intacta que non fregerant
quod ipse non impleverat fragmenta subrepunt viris

5 9
Aquas colorari iubens Gloria patri [ingenito
inebriare flumina gloria unigenito
mutata elementa stupet una cum sancto spiritu
transire in usus alteros in sempiterna secula].

600
Christe sanctorum*, St Maur, in sancti Mauri ymnus ad vesperum

Confessor Domini Maure, St Maur, 118v-119r (MMMA I,147), ad nocturnas

1-ghgg-f-h---k--j-h--klk-hg-fg-g-g-3-
Con- fes-sor Do-mi-ni Mau- re pa-ter-ni

1-lk-k--l--n-m-l-lnonnml-k--l--l-l-3-
sum-mis pro me-ri-tis no- mi-nis he-res

1-ll-k--l--lm-k-[-jh-hj-h-g-fg-g-3-h---k-k--kl-g-gh-hg-f-g--g-g-]4
col-li- ba- tus a- des re- gis a-mi-cis cunc-tis pre-ci-pu- is om-ni-te-nen-tis643

2 5
Clemens vise locum quo puer olim Te dux eximius ac pater almus
cohursatus eras dogmate sacro Gallis archiatrum dat animarum
oblatus Domino dote parentum hinc iam collacrimant oscula fratrum
nutritore cluens iam duodennis abscessumque tuum flendo susurrant

3 6
Parens imperio curris in undis Annos iam tibi dat aurea libra
erepto socio laude bearis ad lucis patria lux tua spirat
primum discipulum sic imitaris qua solis radiis cuncta videntis
qui primus liquidas presserat undas perfusus placidis largire coruscas

4 7
Claudus te querula voce perurget Te nunc suppliciter quesumus una
ex in nem[pre?] tua fert prece gressum ut nobis veniam rite preceris
virtutum studiis tantus haberis evicto stadio quo mereamur
quo magnis patribus par videaris tecum perpetua sede locari

8
Prestet alithroni summa potestas
qui celi solio regnat in alto
solo velle suo condita servans
fixus imperitat cuncta regendo.

643
The last part of the first strophe of this hymn is not notated in this manuscript.

601
Christe sanctorum*, St Maur, ad laudes

Martir Dei egregie, St Sebastian, 119r-v (MMMA I,117), sancti Sebastiani ad laudes

1-f---f-g-h-h-gh-g-f-3-h--k-k--kk-g--h--h-hg-3-f--ff-d-f-g--h-g-f-3-
Mar-tir De-i e-gre- gi-e in-ten-de me-los glo-ri- e Se-bas- ti- a-ne bel-li-ger

1-f--f--g--h-h--gh-g--f-4-f--f-g--h-h-gh-g--f-3-h--k-k-kk-g--h--h-
im-men-si re-gis sig- ni- fer De-vo-tos ti- bi fa- mu-los pec-ca-ti sor-de lan-gui-dos...

2 4
Per sagittarum iacula
rogamus patris vernula
...sana virtutum opifex per rivos tui sanguinis
verbique sator multiplex iram remove iudicis

3 5
Lingue torpentis vinculum Ut tecum laudes perpetim
absolve fandi dans donum Christo canamus affatim
ut quondam mute femine tuis eruti precibus
Christi ditatus munere a penis infernalibus

6
Laus sit parenti Domino
laudes canamus unico
laudes amborum flamini
per tempora laudabili.

602
Agnetis festum martiris, 119v-120r (MMMA I,733), in sancte Agnes

1--e-g--h--k--j--hj-h-g-3-e-g-h-k-k-kj-kl-l-3-
Ag-ne-tis fes-tum mar-ti-ris De-o di-ca-te vir-gi-nis

1-l-lml-k--kj-ghj-jj-h-g-3--e--g---h-k---j-hj-h-g-4
co-la- mus om-nes so- ci- i car-men ca-nen-do se- du-li

1-e--g-h--k-j--hj-h-g-3--e--g-
Quam au-ro tex-ta cy- cla-de Chris-tus…

2 5
Psallamus ergo strenui
…vestitus podere laudes ferendo virgini
sponsam ornavit fulgidam ut nobis celi principem
donando vestem misticam efficiat placabilem

3 6
Hec minas sprevit principis Precamur ergo fulgida
penas derisit corporis nobis faveto sedula
hec mechi ducis filium quo tibi melos glorie
vite donavit mortuum pangamus omni tempore

4 7
Hec strinxit luxus iuvenum Laus patri invisibili
Dei monstrando nuntium laus eius almo flamini
in domibus scortantium laus sit et unigenito
preclarum cernunt angelum orbis terrarum Domino.

603
Ut digne possint resonare voces, St Vincent, 120r-v (unique melody), in sancti Vincentii
vesperum

1-g--h--f--g--hjk-k-l--k-j-hh-g-3-l-k--m--l--k--k--l--k--j-hh-g-3-
Ut dig-ne pos-sint re-so-na-re vo-ces ef-fan-do car-men mo-du- la- re to-nos

1-kjhg-h-j--hh-g-g--h-g-f-gh--h-3-hjk-j-jj-h-g-4-g-
ti- bi o Chris-te tri-bu-e fa-mel- lis con- di-tor al-me Mar-ti-ris...

2 4
...magni canimus tropeum Oramus martir sociate iustis
Vincenti quem dum Dacianus atrox ut nostra cuncta pereant delicta
dure affligit cruciando seve crescant virtutes bonitate pia
mente maligna te supplicante

3 5
Fixus dum esset solidatus fide Restituantur veniaque nobis
Christi repletur bonitate larga tuique omnis chorus monachorum
tormenta ferens patienter cuncta post mortem carnis properemus celum
corde presago morte subacta

6
Gloriam patri resonemus omnes
et tibi Christe genite superni
cum quibus sanctus simul est creator
spiritus extat.

604
Doctor egregie*, Conversion of St Paul, 120v, vocatio sancti Pauli ad vesperum

Quod chorus vatum, Purification, 120v-121r (MMMA I,160), in purificatione sancte Marie
vesperum

1--hjh-gf-ghg-h--h--j-hg-j--lk-j-h-3-l-j-l-kj--h-j-h-f--ghg-h-h-3-
Quod cho-rus va-tum ve-ne-ran-dus o-lim spi-ri-tu sanc-to ce-ci-nit re- ple-tus

1-hg-f-h-gf-ed--d-e-f--g-hj-jh-3-jkl-lk-jh-jkj-h-h-4
in De-i fac-tum ge-ne-tri-ce con-stat es- se Ma- ri-a

2 4
Hec Deum celi Dominumque terre Tu libens votis petimus precantum
virgo concepit peperitque virgo regis eterni genitrix faveto
atque post post partum meruit manere clara que celsi retinens Olimpi
inviolata regna beata

3 5
Quem senex iustus Symeon in ulnis Sit Deo nostro decus et potestas
in domo sumpsit Domini gavisus sit salus perpes sit honor perennis
hoc quod optatum proprio videre qui poli summa residet in arce
lumine Christum trinus et unus.

605
Quem terra pontus ethera, Purification, 121r-v (MMMA I,733), ad nocturnas

1---h---h-h--gf-e--gh-jj-h-3-h--jk-j-hg-jjj-f--g--g-3-
Quem ter-ra pon-tus e- the-ra co-lunt a-do- rant pre-di-cant

1-e--k--kk-j--h---j--k-ghgf-fg--jk---j-hg-jj-f-g-g--4
tri-nam re-gen-tem ma-chi-nam clau-strum Ma-ri- e ba-iu-lat

2 5
Cui luna sol et omnia Benedicta celi nuntio
deserviunt per tempora fecunda sancto spiritu
perfuse celi gratia desideratus gentibus
gestant puelle viscera cuius per alvum fusus est

3 6
Mirantur ergo secula O gloriosa femina
quod angelus fert semina excelsa super sidera
quod aure virgo concipit qui te creavit provide
et corde credens parturit lactas sacrato ubere

4 7
Beata mater munere Quod Eva tristis abstulit
cuius supernus artifex tu reddis almo germine
mundum pugillo continens intrent ut astra flebiles
ventris sub arca clausus est celi fenestra facta es

8
Tu regis alti ianua
et porta lucis fulgida
vitam datam per virginem
gentes redempte plaudite

606
Martyris ecce dies Agathe, St Agatha, 121v-122r (unique melody), in sancta Agathe

1--gg-f-g--j-h-g--h--f-g-g-3-gg-f-g--j-h--g-h-f-g-g-3-
Mar-ti-ris ec-ce di- es A-ga-the vir-gi-nis e-mi-cat ex- i-mi-e

1-j---j-k---l---k-j-kl-j-h-g-3-gg-f-g-j-h--g---h-f--g-g-4-gg-f-g-
quam si-bi Chris-tus e- am so-ci-at et di-a-de-ma du-plex de-co-rat Stir-pe de-cens…

2 5
…elegans facie Iam renitens quasis polo
sed magis actibus atque fide pro miseris supplicet Domino
terrea prospera nil reputans sic sua festa coli faciat
iussa Dei sibi corde ligans se celebrantibus ut faveat

3 6
Fortior hec trucibusque viris Ethnica turba rogum fugiens
exposuit sua membra flagris huius et ipsa meretur opem
pectore quam fuerit valido quos fidei titulus decorat
torta mamilla docet patulo his Venerem magis ergo premat

4 7
Delicie cui carcer erat Gloria cum patre sit genito
pastor ovem Petrus hic recreat spirituique perinde sacro
inde gavisa magisque flagrans nunc Deus unus et omnipotens
cuncta flagella cucurrit ovans hanc memorem faciat memorem.

607
Hodie sacratissima virgo Christi Scholastica, St Scholastica, 122r-123r (MMMA I,733) sancte
Scolastice ad nocturnas

1-g--g-fd-e-f--g-h--g-3-f-g----h-kj-hg-hj-hg-g-3-
Ho-di-e sa-cra-tis-si-ma vir-go Chris-ti Sco- la- sti-ca

1-k---lk-j-kj--h---k-k-ghgf-3-f-g--h---kj-hg-hj-hg-g-4-
mem-bel-la lin-quens ter-re-a ce-lo-rum scan-dit ar- du- a

1--g---g-fd-e-f-g--h--g-
Quam spi-ri-tus pa-ra-cly-tus…

2 6
Virgo fratrem et devotius
…tantis ditavit opibus summis implorat precibus
ut eius cor mundissimum quo secum pernox maneat
templum ferret gratissimum panemque celi prebeat

3 7
Cuius frater dulcissimus Ad hec frater egregius
cunctis pollens virtutibus absit hoc inquit longius
illam decrevit propere ut extra cellam maneam
semel in anno visere curamque fratrum negligam

4 8
Descendit ergo solito Sed caritas in virgine
die quadam diluculo maiore fervet caumate
quo caritatis xenia caput acclinat manibus
sorori ferret annua Christum rogat enixius

5 9
Post dulcia colloquia Tunc subito tonitrua
nec non et vite gaudia plenaque metu fulgura
refectionis mensula erumpunt atque pluvias
sobria fert convivia mundo spargunt horrificas

608
10
Sic frater mansit invitus
totamque noctem laudibus
expenderat celestibus
soror triumphat precibus
11
At pater permagnificus
ad cellam redit ocius
ubi cernit post triduum
sancta sororis obitum
12
Perfusus ergo gaudio
visum narrat continuo
hanc in columbe specie
celorum alta petere
609
13
Hinc statim iussit fratribus
quo maturarent ocius
sacrum corpus adducer
eiusque tumba condere
14
Iam nos o virgo nobilis
tuis commenda meritis
ut post emensum stadium
regni sumamus bravium
15
Laus illi et victoria
qui te elegit gratia
assumpsit et cum gloria
per infinita secula.
Pangamus pariter carmina cantibus, St Barbatus, 123r-v (MMMA I,108), sancti Barbati

1-gj-h---j--g-h-k--kk-h-g--h-gh-e-3-
Pan-ga-mus pa-ri-ter car-mi-na can-ti-bus

1-gj-h--j---g--h-k--kk-h-g--k-l-j-3-
fra-tres nunc Do-mi-no om-ni-um ar-bi-tro

1-jm-m-m--l-k-l-l-k-h--j--h--g-3-gj-h-j--g-h-k-k-h-g--h-gh--e-4
ce-tus e-the-re-i or-ga-na con-ci-nant vo-ces ar-mo-ni-e si-de-ra ver-be- rent

1-gj--h--
Sanc-tis...

2 6
…quique suis munera contulit Pellis sacrilegam incidit arborem
egros ut relevent demonas effugent pendens qua iaculant sacrum ut ederent
nigrum haud noceat virus et aspidis bardorum suboles moribus exteris
cunctos per populos gaudia seminent cedunt corvipedes calcaribus suis

3 7
E quibus famulis sydus ut Eous Postquam sacra colit rite per ordinem
Barbatus meritis clarius emicat lotis tunc manibus haustaque vasculis
docens catholicam fidem in omnibus libantes latices eger et insanus
languores diluit expulit heresim surgunt incolumes solvata somata

4 8
Ostendit Romuald Samnie principi Presul magnifice cernue poscimus
sancta theotocon virgo puerpera regem terribilem precibus obsecra
expians animum illius hebetis ut culpa deluat crimina dissipet
compellit Domino credere maxime et nos participes annuat angelis

5 ad laudes
Samnites populos eruit hostibus
credentes fatuis religionibus
fregit vipereum nempe simulacrum
formavit pateram hinc calicem quoque
9
Laudes altithrono semper in ethera
patri et genito concio depromat
fratrum perspicue equus honor quoque
sancto spiritui sitque paraclito.

610
Deus eterne famulos, Forty Martyrs, 124r-v (unique melody), sanctorum quadraginta martyri

1-hj-g-h-h--hjhg-j-l--k--lk-jj--h-3-
De-us e-ter-ne fa-mu-los cle-men-ter

1-hj--g---h-h--hjhg-j--l-k-jkj-h--h-3-
ym-num sanc-to-rum spe-ci- e ca- nen-tes

1-j---k--l-k-jkjh-h-j--k--h---j-hjhg-3-jkl--k-jkj-h--h--4
quo-rum vo-ti-va ce-le-bra-mus fes-ta nunc qua-dra- gin-ta

2 5
Veniam presta pietate sancta Vos ergo Christi martyres rogamus
martyrum prece crimina dimitte vestro precatu hoc ut mereamur
nobis est iram mitiga quam multum nunc adipisci demum et vobiscum
nos provocamus regna polorum

3 6
Christe qui mundum morte redemisti Ecce quam rite decorata manet
cujus exemplum martires secuti Samnium vestris reliquiis sacris
nunc sacrum quorum corpus sanctum iussit poscite semper pro nobis oramus
Samnie duci Dominum Christum

4 7
Aufer a nobis famem iam et pestem Sit laus Deo sempiterno patri
quesumus gentem sevam atque mortem sit Christo Jesu virtus honor omnis
pariter penam pie quam meremur flamini sancto sit gloria perpes
daque medelam semper in evum.

611
Anglorum iam apostolus, St Gregory, 124v (MMMA I,723), in sancti Gregorii ad nocturnas

1-h--gh--h--jh-gh--k--j-h-3-h--j--k-l--g--h-h-h-3-
An-glo-rum iam a- pos- to-lus nunc an-ge-lo-rum so-ci-us

1-h--h---g--f-d--g-h-h-3-hh-gh-h--j--gh--k-j-h-4--h-gh-h-
ut tunc Gre-go-ri gen-ti-bus suc-cur-re iam cre-den-ti-bus Tu lar-gas…

2 3
…opum copias Videtur egens naufragus
omnemque mundi gloriam dum stipem petit angelus
supernis ut inops inopem tu munus iam post geminum
Iesum sequaris principem prebes et vas argenteum

4
Ex hoc te Christus tempore
sue prefert ecclesie
sic Petri gradum percipis
cuius et normam sequeris.

612
O pontifex egregie, St Gregory (division of Anglorum iam), 124v-125r (MMMA I,733), ad
laudes

1-e--g--h--k-j-hj-h-g-3-e-g--h--k-k-kj-kl-l-3-l-lml-k-kj-hj-jj-h-g-3
O pon- ti-fex e-gre-gi-e lux et de-cus ec-cle-si- e non si-nas in pe- ri- cu-lis

1-e--g--h--k--j-h---hj-h-g-4-e--g--h-k--j--hj-h-g-3-e-g--
quos tot man-da-tis con-stru-is Mel-la cor ob-dul-can- ti-a tu-a

2 4
Tu nactus apostolicam
...distillant labia vicem simul et gloriam
fraglantum vim aromatum nos solve culpe nexibus
tuum vincit eloquium redde polorum sedibus

3 5
Scripture sacre mistica Sit patri laus ingenito
mire solvis enigmata sit decus unigenito
theorica misteria sit utriusque parili
te docet ipsa veritas maiestas summa flamini.

613
Magno canentes annua, St Benedict, 125r-v (MMMA I,116), vigilia sancti Benedicti ad laudes

1-gh--h-gf-g--hjh-g-fg-g-3-gh--h-gf-g-h--k-kl-l-3-
Mag-no ca-nen-tes an-nu- a nunc Be-ne-dic-to can-ti- ca

1-l-l--k-kk--g-j-h-g-3-gh-h-gf-g-hjh-g--fg-g-4-gh-h--gf-
fru-a-mur hu-ius in-cli-te fes-ti-vi- ta-tis gau-di- is Qui ful-sit…

2 4
…ut sidus novum Non ante seclis cognitum
mundana pellens nubila noctu iubar effulgurat
etatis ipso limine quo totus orbis cernitur
despexit evi florida flammisque subvehi pius

3 5
Miraculorum prepotens Sit trinitati gloria
adflatus alto flamine sit perpes et sublimitas
resplenduit prodigiis hanc que lucernam fulgidam
ventura seclo precinens donavit nostro seculo.

614
Christe sanctorum decus atque virtus, St Benedict, 125v-126v, ad vesperum644

1-ghg-gf-fg-g--g---h--j-h-gh--h-h-3-hklh-k-k-jk-kj-g-j-h-gh-hg-fe-3
Chris-te sanc-to-rum de-cus at-que vir-tus vi- ta et for- ma vi-a lux et auc-tor

1-eh-gf--e--ff-e-g-h--g--e--gh-hg-3-ghj-hg-fg-g---g-4-ghg-
sup-pli-cum vo- ta pa-ri-ter-que ym-num sus- ci- pe cle-mens Qui…

2 7
...tuum dudum Benedictum ad te In quibus ipse via vite clarens
attrahens mire segregasti mundo artibus sanctis docet admonendo
ut probra mundi reprobare discens sic Dei iussis libere parendo
te sequeretur mente subesse

3 8
Cuius devotum animum pueri Pauperum cuncta pietate gliscens
gratia prestas fidei valere usibus prebens fidei calore
qua valens mira precibus peregit instruit corda ambigua sequentum
mente fideli fidere semper

4 9
Dein extendens pedem in remotis Quod probans factis fidei vigore
ardua scandit cruciare malens fratribus iunctis precibus refusis
corporis artus iuvenalis ardens vas redundare oleo fluente
casto amore illico pandit

5 10
Imbuit post hinc homines beatos Usibus iustis pietate instans
regulis artis animos retundi Christe fidendo fidei calore
et iugo semper domini polorum te precans certus animam reduxit
subdere colla corpore functi

6 11
E quibus Maurus sedulus minister Hunc soror sacra nimium sequendo
gurgite ductum Placidum puerum tardius visum retinere malens
obsequens patrilatice levatum imbre obtento valide fluente
equore traxit artius vinxit

644
The same melody as Iste confessor in Solesmes Liber Hymnarius. See footnote above.

615
12
Triduum postque residens beatus
cernit eiusdem animam sororis
celsa secreta petere volucris
pernicitate
15
Cuius ad celum via clara fulgens
angelo teste Benedicti esse
auribus fratrum resonare visa est
voce sonora

13
Inde gaudendo fratribus vocatis
corpus afferri tumulo humandum
precipit dudum sibi preparato
mox secuturus
16
Huius o Christe meritis precamur
arceas iram tribuas favorem
gratiam prestes veniamque nobis
mitis ad omnes

14
Prescius posthinc finis adfuturi
promptius insistit tumulum parare
gratia sumpta animum remisit
ethre locandum
17
Prebe oramus Deus magne rector
ut fides nostra vitiis resistat
atque virtutum studiis ministret
pectore puro

18
Gloriam patri resonemus omnes
et tibi Christe genite superne
cum quibus sanctus simul et creator
spiritus regnat.

616
Fratres alacri pectore, St Benedict, 126v-128r (MMMA I,733), ad nocturnas

1-g---g-fd-e-f--g--h-g-3-f-g-h--kj-hg-hj-hg-g-3-
Fra-tres a- la-cri pec-to-re ve-ni-te con-cen- tu pa- ri

1-k--l-j--kj-h--k-kk-ghgf-3-f-g-h-kj-hg-hj-hg-g-4
fru- a- mur hu-ius in-cli-te fes-ti-vi-ta-tis gau- di- is

1-g---g-fd-e--f--g-h-g-3-f-g--h-kj-hg-hj-hg-g-3-k-
Hac Be-ne-dic-tus au-re-a os-ten-sor ar-ti tra- mi-tis ad…

2 5
Laturus esum pluribus
panis reformat vasculum
…regna conscendit pater artum petens ergastulum
captans laborum premia extinxit ignes ignibus

3 6
Effulsit ut sidus novum Fregit veneni baiulum
miraculorum prepotens 645 [mundana pellens crucis per arma cymbiam
nubila coercuit mentem vagam
etatis ipso limine leni flagello corporis
despexit evi florida]

4 7
[Miraculorum prepotens Fundantur amnes rupibus
adflatus alti flamine redit calybs e gurgite
resplenduit prodigiis currit per undas obsequens
ventura seclo precinens] peplo puer vitat necem

645
These words are crossed out in the
manuscript. “Miraculorum prepotens” should begin
verse four; they were copied erroneously after
“Effulsit ut sydus,” the words which begin verse
three. This third verse was never completed, nor was
verse four eventually included. Instead, the hymn
continues to verse five, “Laturus esum pluribus” etc.
Another hand wrote the missing parts of verse three
and verse four in the bottom margin of this folio.

617
8 12
Virus patescit abditum Vitrum resistit cautibus
mandata prepes efficit manant olico dolia
hostem ruina conterit vinctum resolvit visio
cedit fremens leo grave vitam receptant funera

9 13
Immota fit moles levis Tanti potestas luminis
rogus migrat fantasticus voto sororis vincitur
fractum revisit sospitas quo plus amat quis plus valet
excessus absentum patet enare quam cernit polum

10 ad laudes 14
Rector vafer deprenderis Non ante seclis cognitum
inique possessor fugis noctu iubar effulgurat
futura prenoscimini quo totus orbis cernitur
arcana cor non contegis flammisque subvehi pius

11 15
Fundantur edes somniis Hec inter instar nectaris
tellus vomit cadavera miranda plectro claruit
dracone frenatur fugax nam pinxit apte lineam
ether pluit numismata vite sacre sequacibus

16 17 646
Iam dux alumnis sat potens Ymnum patrono concinant
assis gregis suspiriis Nursia Roma Sublacus
gliscat bonis ydrum cavens nosque datori munerum
sit callis ut sequax tui Deo dicamus gratiam

18
Gloria summo resonet
patris nato paraclitum
unum seperque Dominum
cuncta per evi secula.

646
This and the last strophe are unique to Forma vivendi scribitur
this hymnary. In MC 506 and Naples VI E 43, the iter migrantis cernitur
following strophes are found after strophe 15: ab angelis deducitur
demensque menti redditur
Cernit germane spiritum
secum cadaver condidit and the following is found after strophe 16:
mundum collectum conspicit
vatemque globo subvehi Alto tonanti gloria
sit proli laus quam maxima
cum spiritu paraclito
et nunc et in perpetuum

618
Gemma celestis, St Benedict, 128r-v (MMMA I,794), ad vesperum

1-fghf-ghj-jhgf-gh-h--hjk-j-jh-gf-gh-h-3-
Gem- ma ce- les-tis pre- ti-o- sa re-gis

1-h--k--l-k--kjh-k-j-jh-gf-gh--h-3-hjk-jh-gf-gg-f--f-gh-j-gf-gg--f3
nor-ma ius-to-rum vi-a mo-na- cho-rum nos ab im-mun-di Be-ne-dic-te mun-di

1-hjkjh-j-jh-g-g-4-fghf-ghj-jhgf-gh--h-
sub- tra-he ce-no Tu so- lum sper-nens

2 5
...cor in astra figes Iure sub blande specie columbe
cogis heredes fieri parentes nesciam fellis animam sororis
vas Deo plenum reparare fractura summa stellati penetrare celi
promeruisti culmina cernis

3 6
Magnus in parvis eremita membris Ipse post clarum referens triumphum
vincis etatem superas laborem celsa devicto petis astra mundo
arta districte rudimenta vite luce flammantem radiante callem
fervidus imples pallia sternunt

4 7
Strage saxorum puerum sepultum Laus honor patri parilique proli
mox ut orasti prece suscitasti una maiestas eadem potestas
sensus hinc carni caro sanitati cum quibus sanctus simul implet omnem
redditur eque spiritus orbem.

619
Deus qui mundum crimine, Annunciation, 128v-129v (MMMA I,736), in annunciatione Marie

1-g--g--g--g--ghgg-f-h--k-jh-gh-h-3-l-k-m-l-k-kk-j-k-l-kjh-h-3-
De-us qui mun-dum cri-mi-ne ia-cen-tem fi-li- i tu-i car-ne re-le-vas- ti

1-k-j--k--h-h--h-g-f-h--hh-g-3-hjk-j--j-h-g-4--g--g--
et ve-ter-no-sa per-fi-di ser-pen-tis no- xa de-les-ti Mor-tem...

2
...quam dudum Eva propinavit 7
ventre beato virginis fugasti Gaudens in verbo sed turbata virgo
ad preces nostras aures pietatis cogitans cur sit ita salutata
tue reclina quomodo possit fieri que dixit
angelus Dei
3
Celo dimissus Gabriel salutem 8
in Galilea virgini detulit Quam adsecutus Gabriel adfatur
gaudium certum nuntiare venit noli timere gratia repleta
mundo venturum numinis alti filium gestabis
ventre beato
4
Dudum iam virgo desponsata erat 9
proco famoso annulo pudoris Inquiens virgo nuntium perquirit
Ioseph qui nunquam copulam iugalem unde hoc mihi virum non cognovi
corpore gessit quomodo possit fieri que dicis
unde hoc sciam
5
Hec casta degens pectore puella 10
quam sic ingressus angelus salutat Cui repente angelus respondit
ave Maria gratia plena spiritus sanctus super te descendit
Dominus tecum ideo sanctum quod erit vocatur
filius Dei
6
Festinus dehinc nuntius adiunxit 11
beata eris inter mulieres Mox sacra virgo angelo respondit
et benedictus fructus ventris tui ecce ancilla Domini sum ego
que credidisti contingat mihi iuxta verbum tuum
sicut dixisti

620
12
Statim discessit angelus ab ea
virgo festinans abiit montana
domum ingressa Zacharie vatis
cum caritate
621
13
Gloria summo referamus patri
cui congaudet filius dilectus
sanctus simulque spiritus creator
in sempiternum.
Quem terra pontus*, Annunciation, 129v, ad nocturnas

Ave maris stella, Annunciation, 129v (MMMA I,149), ad nocturnas

1-h-hg-f--e-fhf-g--g-3-h-h-jkl-lk-jh-jkj-h-h-3-jk-j---h--j-fgf-ef-3-
A- ve ma-ris stel-la De-i ma- ter al-ma at-que sem-per vir- go

1-fe-e--g-ghg-gf-fghg-g-4-h--hg--
fe- lix ce-li por- ta Su-mens...

2 5
...illud ave Virgo singularis
Gabrielis ore inter omnes mitis
funda nos in pace nos culpis solutos
mutans nomen Eve mites fac et castos

3 6
Solve vincla reis Vitam presta puram
profer lumen cecis iter para tutum
mala nostra pelle ut videntes Iesum
bona cuncta posce semper colletemur

4 7
Monstra te esse matrem Sit laus Deo patri
sumat per te precem summum Christo decus
qui pro nobis natus spiritui sancto
tulit esse tuus honor tribus unum.

622
Aures ad nostras, Lent, 129v-130r (MMMA I,714), dominica caput quadragesima ad vesperum
et nocturnas et vesperum

1-k--k-hjk-kj--h--g-f-g-hjh-g--g-3-k--k-k-l--k-kk-h-k-l-k-k-3-
Au-res ad nos-tras De-i-ta-tis pre-ces De- us in-cli-na pi- e- ta-te so-la

1-[-kl-m--ll-l-k--k--k-j--k-hgf-ghjk-3-kj-hg-hjh-g-g-]-4
sup-pli-cum vo-ta sus-ci-pe pre-ca- mur fa-mu- li tu-i

2 6
Respice clemens solio de sancto Insere tuum petimus amorem
vultu sereno lampadas illustra mentibus nostris fidei refunde
lumine tuo tenebras depelle lumen eternum caritatis auge
pectore nostro dilectionem

3 7
Crimina laxa pietate multa Tu nobis dona fontem lacrimarum
ablue sordes vincula disrumpe ieiuniorum fortia ministra
parce peccatis releva iacentes vitia carnis milia retunde
dextera tua framea tua

4 8
Te sine tetro mergimur profundo Procul a nobis perfidus absistat
labimur alta sceleris sub unda satan a tuis viribus confractus
brachio tuo trahamur ad clara sanctus assistat spiritus a tua
sidera celi sede dismissus

5 9
Christe lux vera bonitas et vita Gloria Deo sit eterno patri
gaudium mundi pietas immensa sit tibi semper genitoris nate
qui nos a morte roseo salvasti cum quo equalis spiritus per cuncta
sanguine tuo secula regnat.

623
Iam lucis splendor rutilat, Lent, 130v (MMMA I,5), ad laudes

1-d--d-e--fe--de--f-e-d-3-g--g-f--g-fe-d-c--d-3-
Iam lu-cis splen-dor ru-ti-lat noc-tis fu-ga-tis te-ne-bris

1-d--d--d---c-a--c--d-dd-3--dd-c--d--f-fg-f-e-d-4
red-da-mus lau-des Do-mi-no qui ma-net an-te se-cu-la

1-dd-c--d--fe-de-f-e--d-3-
Pel-la-mus om-ne no-xi-um...

2 3
Deo patri sit gloria
…poscamus omne prosperum [eiusque soli filio
defendat suos famulos cum spiritu paraclito
virtus eterna iugiter et nunc et in perpetuum].

624
Ex more docti mistico, Lent, 130v-131r (MMMA I,412), in cotidians diebus ad nocturnas

1-g--hj-j--j-hg-h--j-j-3-h-f--g---h-g-e-f-f-3-
Ex mo-re doc-ti mis-ti-co ser-ve-mus en ie-iu-ni-um

1-f--h--hj-jh-fe--g-f-e-3--d--f--h--g-fe-ef-gg-f-4
de-num di- e- rum cir-cu-lo duc-to qua-ter no- tis- si-mo

1-g-hj-j---j-hg-h--j--j-3-
Lex et pro-phe-te pri-mi-tus...

2 6
Nostris malis offendimus
...hoc pretulerunt postmodum tuam Deus clementiam
Christus sacravit omnium effunde nobis desuper
rex atque factor temporum remissor indulgentiam

3 7
Utamur ergo parcius Memento quod sumus tui
verbis cibis et potibus licet caduci plasmatis
somno iocis et artius ne des honorem nominis
perstemus in custodia tui precamur alteri

4 8
Vitemus autem pessima Laxa malum quod fecimus
que subruunt mentes vagas auge bonum quod poscimus
nullumque demu callido placere quo tandem tibi
hosti locum tirannidis possimus hic et perpetim

5 9
Dicamus omnes cernui Presta beata trinitas
clamemus atque singuli [indulgens, clemens unitas,
ploremus ante iudicem ut tibi casto corpore
flectamus iram vindicem letemur omni tempore].

625
Audi benigne conditor, Lent, 131r-v (MMMA I,55), ad laudes

1-g--g-j--j-gh--g-f--g-3-j--jk-kj--g--j--hj-h-g-3-
Au-di be-nig-ne con-di-tor nos-tras pre-ces cum fle- ti-bus

1-g--h--j-jj-g-h-jk-k-3-fg-jk--h--j--g-h-fg-g-4
in hoc sa-cro ie-iu- ni- o fu- sas qua-dra-ge-na-ri- o

1-gf-g-j--jj-gh-g-fg-g-3-
Scru-ta-tor al- me cor-di-um...

2 4
Sic corpus extra conteri
…infirma tu scis virium dona per abstinentiam
ad te reversisexhibe ieiunet ut mens sobria
remissionis gratiam a labe prorsus criminum

3 5
Multum quidem peccavimus Presta beata trinitas
sed parce confitentibus concede simplex unitas
ad laudem tui nominis ut fructuosa sint tuis
confer medelam languidis ieiuniorum munera.

626
Dei fide qua vivimus, Lent, 131v (MMMA I,413), ad tertiam

1-h-h-h-h--h--hj-h--h-3-h--h--h-g--f--gh-g--g-3-f--h-h-g--f-g--g-g-3
De-i fi-de qua vi- vi-mus spe per-en-ni qua cre- di-mus per ca- ri-ta-tis gra-ti-am

1-g--g-g--gf-d---f-e-d-4--h-
Chris-ti ca-na-mus glo-ri-am Qui...

2 3
...ductus hora tertia Precemur ergo subditi
ad passionis hostiam redemptione liberi
crucis ferens suspendia ut eruat a seculo
ovem reduxit perditam quos solvit a chirographo

4
Gloria tibi trinitas
equalis una Deitas
et ante omne seculum
et nunc et in perpetuum.

627
Qua Christus hora sitit, Lent, 131v, ad sextam647

1 3
Qua Christus hora sitiit Charisma sancti spiritus
crucem vel in qua subiit sic influat [psallentibus]648
quos prestart in hac psallere ut carnis estus frigeat
ditet siti iustitie et mentis algor ferveat

2 4
Quibus sit et esuries Gloria tibi trinitas
de se quam ipse satiet [equalis una deitas
crimen sit ut fastidium et ante omne seculum
virtusque desiderium et nunc et in perpetuum].

647
Although this hymn is not notated, it is likely that the same melody as the previous hymn, Dei fide qua
vivimus (MMMA I,413), would have been implied for use with this text as well.
648
This word is omitted in this hymn in the manuscript.

628
Ternis ter horis, 132r, ad nonam649

1 3
Ternis ter horis numerus Mors per crucem nunc interit
sacre fidei panditur et post tenebras lux redit
nunc trinitatis nomine horror deiscat criminum
munus precemur venie splendor nitescat mentium

2 4
Latronis en confessio Gloria tibi trinitas
Christi meretur gratiam [equalis una deitas
laus nostra vel devotio et ante omne seculum
mercetur indulgentiam et nunc et in perpetuum].

649
Although this hymn is not notated, it is likely that the same melody as Dei fide qua vivimus (MMMA
I,413), would have been implied for use with this text as well.

629
Sic ter quaternis, Lent, 132r-v (MMMA I,55), ad vesperum

1-dc--d--f-ff-de-d-cd-d-3-f-fg-gf-d-f-ef-e--d-3-
Sic ter qua-ter-nis tra-hi-tur ho-ris di- es ad ves-pe-rum

1-d--e-g--gg-d--e--fg-g-3-cd-fg--e-f-d-dd--cd-d-4
oc-ca- su sol pre-nun-ti- ans noc-tem re-di-re tem- po-rum

1-dc-d--f-ff-de-d--c-d-3-f-fg-
Nos er-go sig-no Do-mi-ni tu-te-mus…

2 3
Sed armis pudicitie
…casta pectora mens fulta vigil libere
ne serpens ille callidus sobrietate comite
intrandi temptet aditus hostem repellat improbum

4
Sed nec ciborum crapula
tandem distendat corpora
ne vi per somnum animam
ludificatam polluat.

630
Christe qui lux es et dies, Lent, 132v (MMMA I,9), ad completorum

1-h--hg-f--g--h-j-h-g-3-h--h--h-j--f--g-j--h-3-
Chris-te qui lux es et di-es noc-tis te- ne-bras de-te-gis

1-j-k-j-g--f--h--g--f-3-g--gf-e-f-g---j--h-f-4
lu-ci-fer lu-cem pre-fe-rens lu-men be-a-tum pre-di-cans

2 5
Precamur sancte Domine Defensor noster aspice
defende nos in hac nocte insidiantem reprime
sit nobis in te requies guberna tuos famulos
questam noctem tribue quos sanguine mercatus es

3 6
Ne gravis somnus irruat Memento nostri Domine
nec hostis nos subripiat in gravi isto corpore
nec caro illi consentiat qui es defensor anime
nos tibi reos statuat adesto nobis Domine

4 7
Oculi somnum capiant Presta patri [omnipotens
cor semper ad te vigilet per Iesum Christum Dominum
dextera tua protegat qui tecum in perpetuum
famulos qui te diligunt regnat cum sancto spiritu].

631
Pange lingua gloriosi prelium, Passion Sunday, 132v-133v (MMMA I,724), in dominica de
passione

1-k--k--j--h--j-j-h-g-3-h-j--k-h--j-jj-h-3-
Pan-ge lin-gua glo-ri-o- si pre-li-um cer-ta-mi-nis

1-k-k--j--h--j-jj-h-g-3-h--j--k--h---j--j-h-3-
et su-per cru-cis tro-pe-o dic tri-um-phum no-bi-lem

1-h--h-h--e--g---h--j-h-3-h--h--hh-g--j-h-h-4
qua-li-ter re-demp-tor or-bis im-mo- la- tus vi-ce-rit

2 5
De parentis protoplasti Vagit infans inter arta
fraude factor condolens conditus presepia
quando pomi noxialis membra pannis involuta
morte morsu corruit virgo mater adligat
ipse lignum tunc notavit et pedes manusque crura
damna ligni ut solveret stricta pingit fascia

3 6
Hoc opus nostre salutis Listra sex qui iam peracta
ordo depoposcerat tempus implens corporis
multiformis perditoris se volente natus ad hoc
arte ut artem falleret passioni deditus
et medelam ferret inde agnus in crucis levatur
hostis unde leserat immolandus stipite

4 7
Quando venit ergo sacri Hic acetum fel arundo
plenitudo temporis sputa clava lancea
missus est ab arce patris mite corpus perforatur
natus orbis conditor sanguis unda profluit
atque ventre virginali terra pontus astra mundus
carne factus prodiit quo lavantur flumine

632
8
Gloria et honor Deo
atque coaltissimo
una patri filioque inclito
cui laus est et potestas
per eterna secula.

633
Crux fidelis inter omnes, Passion Sunday, 133v (MMMA I,56), divisus

1-e--f-e--d-g-g-ghj-j-3-jkl-k-kk-j-h--k-jhg-3-
Crux fi-de-lis in-ter om-nes ar- bor u- na no-bi-lis

1-g--h-k--j--h-g--hg-h-3-h--j--g--f-e--h-hd-3-
nul-la ta-lem sil-va pro-fert flo-re fron-de ger-mi-ne

1-d--e--g--e--f--g--h-g-3-h--j--g--h--e-de-e-4
dul-ce lig-num dul-ce cla-vos dul-ce pon-dus sus-ti-net

1-e--f-e---d-g--g-ghj-j-3-
Flec-te ra-mos ar-bor al- ta…

2 3
Sola digna tu fuisti
...tensa laxa viscera ferre pretium seculi
et rigor lentescat ille atque portum preparare
quem dedit nativitas nauta mundo naufrago
ut superni membra regis quem sacer cruor perunxit
mite tendas stipite fusus agni corpore.

4
Gloria et honor Deo

634
Vexilla regis prodeunt, Passion Sunday, 133v-134r (MMMA I,32), ad vesperum

1-f--gh-j-h--g-fe-fg-g-3-g--gh-g--gf-e--f-e-d-3-
Vex-il- la re-gis pro-de-unt ful-get cru-cis mis-te-ri-um

1-d--fe-f-fe-f--gh--g-f-3--e--d--c--d--efg-gf-ed-d-4
quo car-ne car-nis con-di-tor sus-pen-sus est pa- ti- bu- lo

1-j--jk-l--k-j--hg-hj-j-3-j-
Con-fi- xa cla-vis vis-ce- ra ten-dens…

2 5
Arbor decora et fulgida
...manus vestigia ornata regis purpura
redemptionis gratia electa digno stipite
hic immolata est hostia tam sancta membra tangere

3 6
Quo vulneratus insuper Beata cuius brachiis
mucrone diro lancee pretium pependit seculi
ut nos lavaret crimine statera facta est corporis
manavit unda et sanguine predam tulitque tartari

4 7
Impleta sunt que concinit Fundis aroma cortice
David fideli carmine vincis sapore nectare
dicendo nationibus iucunda fructu fertili
regnavit a ligno Deus plaudis triumpho nobili

8 9
Salve ara salve victima Deo patri sit gloria
de passionis gloria [eiusque soli filio
qua vita mortem pertulit cum spiritu paraclito
et morte vitam redidit et nunc et in perpetuum].

635
Magno salutis gaudio, Palm Sunday, 134v (MMMA I,725), dominica in palmis

1-dd---c--d-f-e--de-d--c-3-f-f-g--h--g--g-f-d-3-
Mag- no sa-lu-tis gau-di-um le-te-tur om-ne se-cu-lum

1-g-g--h--hh--g--gg-f-g-3-h-f--f--edc-ded-c--c--c-4
Ie-sus re-demp-tor gen-ti-um sa-na-vit or- bem lan-gui-dum

2 7
Sex ante Pasche ferias Rex ecce tuus humilis
advenit in Bethaniam noli timere veniet
ubi pie post triduum pullo iugalis residens
resuscitavit Lazarum tibi benignus patiens

3 8
Nardi Maria pistici Honor decus imperium
sumpsit libram mox optimi sit trinitati unice
unxit beatos Domini patri nato paraclito
pedes rigando lacrimis per infinita secula.

4 9 ad laudes
Post hec iugalis asine Ramos virentes sumpserat
Iesus supernus arbiter palma recisos tenera
pullo sedebat inclitam turba processit obviam
pergebat Ierosolymam regi perenni plurima

5 10
O quam stupenda pietas Cetus sequens et previus
mira Dei clementia sanctoque plenus spiritu
sessor aselli fieri clamabat in altissimis
dignatur auctor seculi hosanna David filio

6 11
Olim propheta prescius Quidam salutis propriis
predixit almo spiritu viam tegebant vestibus
exsulta dicens filia pluresque flores candidum
Sion satis et iubila iter parabant Domino

636
12 13
Ad cuius omnis civitas Nos ergo tanto iudici
commota ingressum tremuit curramus omnes obviam
Hebrea proles aurea palmas gerentes glorie
laudes ferebat debitas mente canamus sobria

14
Honor decus imperium
sit trinitati unice
patri nato paraclito
per infinita secula.

637
Hic est dies verus, Easter, 135r-v (MMMA I,3), ad nocturnas

1-g--g--h-k-j--j--h-h-3-g--j-j-jj-g--h-k-klkj-3-
Hic est di-es ve-rus De- i sanc-to se-re-nus lu-mi-ne

1-h--k-k-l-j---k--j-j-3--h--j--k--j--h--j--h-g-4
quo di-lu-it san-guis sa-cer pro-bro-sa mun-di cri-mi-na

1-g--g--h--k---j--j-h-h-3-g--j--j-
Fi-dem re-fun-dens per-di-tis ce-cos-que...

2 6
Quid hoc potest sublimius
…visu illuminans ut culpa querat gratia
quem non gravi solvit metu metumque solvat caritas
latronis absolutio reddatque mors vitam novam

3 7
Qui premium mutans cruce Hamum sibi mors devoret
Iesum brevi querit fide suisque se nodis liget
iustusque previo gradu moriatur vita omnium
pervenit in regnum Dei resurgat ut vita omnium

4 8
Opus stupent et angeli Cum mors per omnes transeat
penam videntes corporis omnes resurgant mortui
Christoque adherentem reum consumpta mors ictu suo
vitam beatam carpere perisse se solam gemat

5 9
Mysterium mirabile Gloria tibi domine
ut abluat mundi luem qui surrexisti a mortuis
peccata tollat omnium cum patre et sancto spiritu
carnis vitia mundans caro in sempiterna secula.

638
Aurora lucis rutilat, Easter, 135v-136v (MMMA I,723), ad laudes

1-h-gh-h-j-gh-k-j-h-3-h--j--k--l-h--j-j-j-3--j--j--h-g--e--g-h--h-3-
Au-ro-ra lu-cis ru-ti-lat ce-lum lau-di-bus in-to-nat mun-dus ex-ul-tans iu-bi-lat

1-hh-gh--h-j--gh-k-j-h-4
ge-mens in-fer-nus u-lu-lat

2 7
Cum rex ille fortissimus Ille dum pergunt concite
mortis confractis viribus apostolis hoc dicere
pede conculcans tartara videntes eum vivere
solvit catena miseros osculant pedes Domini

3 8
Ille qui clausus lapide Quo agnito discipuli
custoditur sub milite in Galilea propere
triumphans pompa nobili pergunt videre faciem
victor surgit de funere desideratam Domini

4 9
Solutis iam gemitibus Claro paschali gaudio
et inferni doloribus sol mundo nitet radio
quia surrexit Dominus cum Christum iam apostoli
splendens clamat angelus visu cernunt corporeo

5 10
Tristes erant apostoli Ostensa sibi vulnera
de nece sui Domini in Christi carne fulgida
quem pena mortis crudeli resurrexisse Dominum
sevi damnarunt impii voce fatentur publica

6 11
Sermone blando angelus Rex Christe clementissime
predixit mulieribus tu corda nostra posside
in Galilea Dominus ut tibi laudes debitas
videndus est quantocius reddamus omni tempore

639
12
Gloria tibi domine
[qui surrexisti a mortuis
cum patre et sancto spiritu
in sempiterna secula].

640
Ad cenam agni providi, Easter, 136v (MMMA I,3), ad vesperum

1-g--g--h--k-j--j--h-h-3-g--j-j--h-g--h-j-jkjh-3-
Ad ce-nam ag-ni pro-vi-di sto-lis a-mic-ti can-di-dis

1-g--j--j--k--h--j-h--h-3--g---h-j-h--g---j--h-g-4
post tran-si-tum ma-ris ru-bri Chris- to ca-na-mus prin-ci-pi

1-g--g-h---k--j---j-h--h-3-
Cu-ius cor-pus sanc-tis-si- mum…

2 5
O vere digna hostia
...in ara crucis torridum per quam fracta sunt tartara
cruore eius roseo redempta plebs captivata
gustando vivimus Deo reddita vite premia

3 6
Protecti pasche vespero Cum surgit Christus tumulo
a devastante angelo victor redit de barathro
erepti de durissimo tyrannum trudes vinculo
Pharaonis imperio et reserans paradisum

4 7
Iam pascha nostrum Christus est Quesumus auctor omnium
qui immolatus agnus est in hoc paschali gaudio
sinceritatis azyma ab omni mortis impetu
caro eius oblata est tuum defendas populum

8
Gloria tibi domine
[qui surrexisti a mortuis
cum patre et sancto spiritu
in sempiterna secula].

641
Festum beati martyris, St Mark, 137r-v (MMMA I,3), in sancti Marci

1--g--g--h-k-j-jj-h-h--3-g-j--j-h--g---h--k-klkkj-3-
Fes-tum be-a-ti mar-ty-ris o- dis co-la-mus con-so-nis

1--h---k--k-l-j--k-j--j-3-h--j--k-jj-h--j--h-g-4
quem mi-sit or-bi pro-vi-da re-gis su-per-ni gra-ti- a

1-g-g--h---k-j--j-h--h-3-g---j-j--
Te in qua-ter-nis vul-ti-bus pro-phe-ta...

2 5
Cuius sacratis artubus
...quondam prescius salutis auctor omnium
vidit leonis inclitam Christus moderno tempore
mysteriis artis formula compsit solum Germanie

3 6
Missus superno munere Letare felix Augia
terras in Alexandrie honore tanto predita
doctis refulsit incolis tuum fovens carum solo
evangelista nobilis habes patronum quem polo

4 7
Spargendo plebi lucida Te Marce voto supplici
verbo salutis spermata culpis rogamus perditi
pro regis alti nomine tuis benigne servulis
fit laureatus sanguine laxa malum peccaminis

8
Sit trinitati gloria
et laus honoris maxima
que dat coronam martirum
nunc et per omne seculum.

642
Clarus hec signis, St Leo, 137v-138r (MMMA I,152), sancti Leonis ad vesperum

1-ffe-dc-dfd-e--e-e-dc-f-gf-e-de-e-3-
Cla-rus hec sig-nis ru-ti- lat ho-no-ri-bus

1-g---h-j--h-gfe-f-dc-f-gf-e-de-e-3-
quam so-lis iu-bar so-li- to de-cen-ti- us

1-edc-d-fd-e--e-g-e-d-f-fe-de-e-3-
su- is de- co-rat ro-se-is lu-mi- ni-bus

1-ed--dc-cd-de-dc--f-gh-hg-fg-fe-de-e-4
Chris- ti con-fes-sor cel-sis ni- tet se- di- bus

1-f-fe-dc-dfd-e--e--e--dc-
Ec- ce di- e scit tan- tis…

2 5
…auctus meritis Hic cetus surdus mutus atque languidus
presul assistat atque rebum publicis videt et audit loquiar et graditur
quas accurate iam tueris solvit te optante quid tibi divinitus
omnibus auris sit inexpugnabilis fore concessum mundi noscat circulus

3 6
Universali redimatus culmine Ergo spem vite tuis posce famulis
pacis amator fortis Leo annue qui cecus visum gressum reddis languidis
quid tibi dignum valeamus promere surdis auditum lingue mutis premium
unde possimus tuisrui munere ut post excessum tecum esse possimus

4 7
Te consulatus te senatus dignitus Gloria Domini patris sit ingenito
te Romanos omnis ordo predicat ingenitique eius unigeniti semper
te Beneventus debito glorificat equalis sancto sit spiritui
inguare splendet actus tui gloria per cuncta semper seculorum secula.

643
Paschalis dies colitur, St Juvenal, 138r-v (MMMA I,3), in sancti Iuvenalis ad vesperum et
nocturnas

1-g--g--h--k-j-jj-h-h-3-g---j-j-h--g-h--k-klkj-3-
Pas-cha-lis di-es co- li-tur nunc Iu-ve-na-lis se-qui-tur

1-h--k--k--l-j-k--j-j-3-g-h--j-h--g---j-h-g-4
post Do-mi-ni vic-to- ri-am fer-vi co-la-mus glo-ri-am

1-g--g-h--k-j-j--h-hh-3-
Pro Iu-ve-na-le nas-ci-tur...

2 5
...Christus per quo hic moritur Perforatus homo corpore
hic descendit ad infirma divino surgit munere
ut iste petat supera dum pestem pellit de plebe
percusso virga demone
3
Concurrans ergo populi 6
ad huius festa seduli Ergo martir egregie
luces canut luminaria nos toto munda crimine
exultet tota patriam hostemque nostrum comprime
ut nostre surgant anime
4
Nam Iuvenalis annua 7
celebramus natalia Laus sit patris cum filio
ipsius nobis solita ambos laus paraclito
renovantur miracula qui suo gaudet sedule
in Iuvenali martire.

644
Gaudet sanctorum cetus supernorum, St Juvenal, 138v-139r (MMMA I,723), ad laudes

1-g---h--f--g--hjk-k--l-k--j-hh--g-3-k-j-l--k-j--k-l-k-j-hh-g-3-
Gau-det sanc-to-rum ce-tus su-per-no-rum an-nu-a ve-nit pre-ti-o-sa re- dit

1-kjhg--h--j-hh-g-g--h-g--f-gh-h-3-hjk-j-j--h-g-4-g--h--
qua Chris-ti mi-les Iu-ve-na-lis di- es e- the-ra pe- tit Un-de…

2 4
…natalem ipsius iam diem Te Iuvenalis veneratur orbis
mente devota celebret plebs tota miraculorum patrator multorum
cum quibus chorus noster et canorus quodcunque poscis obtinere noscis
personet odas inclite martir

3 5
Cuius o dives Benevente vides Nunc smmo cultu supplices precamur
surdis auditum meritisque visum suscipe iuges famulorum preces
cecis infirma sanitati membra ac tua prece scelera repelle
reddere semper te venerantum

6
Quod nobis prestet te patris orante
Deitas nati spiritusque sancti
optatum munus qui colitur summus
trinus et unus.

645
Tibi Christe splendor patris, St Michael, 139r-v (MMMA I,112), inventione sancti Michael ad
vesperum et nocturnas

1-g-gh--h--hg--k---j--h-g-3-k-l--m-k--l--m-ml-3-
Ti-bi Chris-te splen-dor pa-tris vi-ta vir-tus cor- di-um

1-k--l--m--l-kj-klk-h--h-3-l--k--k-h--j--hh-g-3-
in con-spec-tu an-ge- lo-rum vo-tis vo-ce psal-li-mus

1-g-h--k--h--j--k--l---k-3-m---l-kj-klk-h-gh-h-4
al-ter-nan-tes con-cre-pan-do me-los da- mus vo-ci-bus

1--g--gh-h--h--
Col-lau-da-mus...

2 3
…venerantes Quo custode procul pelle
omnes celi milites rex Christe piissime
sed precipue primatem omne nefas inimici
celestis exercitus mundos corde et corpore
Michaelem in virtute paradiso redde tuo
conterentem zabulum nos sola clementia

4
Gloriam patri melodis
personemus vocibus
gloriam Christo canamus
gloriam paraclito
qui Deus trinus et unus
exstat ante secula.

646
Christe sanctorum decus angelorum, St Michael, 139v (MMMA I,151), ad laudes

1-hh--g--hjk-kj-hj-h--hh-g-h-k--k-3-lk-l--m-lk-l--l-k-h-j-hh-g-3-
Chris-te sanc- to- um de-cus an-ge-lo-rum rec-tor hu-ma-ni ge-ne-ris et auc-tor

1-hjk-lkj-h-g--k--k--l-m-l-kl-lk-jh-3-j---h-j-hgh-h-4
no- bis e-ter-num tri-bu-e be-nig-nus scan-de-re reg-num

1-h-g--hjk-kj-hj--
An-ge-lum pa-cis…

2 4
…Michael ad istam Angelum nobis medicum salutis
celitus mitti rogitamus aulam mitte de celis Raphael ut omnes
nobis ut crebro veniente crescant sancte egrotos pariterque nostros
propsera cuncta dirigat actus

3 5
Angelus fortis Gabriel ut hostem Hinc Dei nostri genetrix Maria
pellat antiquum volitet ab alto totus et nobis chorus angelorum
sepius templum veniens ad istud semper assistat simul et beata
visere nostrum contio tota

6
Prestet hoc nobis Deitas beata
patris et nati pariterque sancti
spiritus cuius reboatur omni
gloria mundus.

647
Sublime nobis imminet, St Boniface, 140r (MMMA I,3), ad vesperum

1-g--g--h-k--j--j-h--h-3-g--j--j--h-g-h--k--klkj-3-
Sub-li-me no-bis im-mi-net fes-tum ni-mis ce-le-bri-us

1-h---k--k--l-j-k-j-j-3-h--j--k-j-h-j--h--g-4
sanc-tus quo Bo-ni-fa-ci-us mar-tir se-ve ne-ca-tus est

1-g-g-h-k--j---j-h-h-3-g-j-j--------
Mu-ta-ti-o-nem dex-te-re De-i mi-ran-tes…

2 4
Romam missis ab Aglae
...famine Tharsum venit Cilicie
Christo laudes concinite pro martirum reliquiis
suo vincenti martire ipse martir effectus est

3 5
Qui igne sancti spiritus Costans tribunus adiit
immensa ussit vitia trucem confundit arbitrum
ex mecho castum protulit quod passus plura et orrida
ex temulento sobrium celorum scandit arduum

6
Laudem canentes Domino
patris semper ac filio
sancto quoque spiritui
in seculorum secula.

648
Adstat en turba, St Boniface, 140r-v (MMMA I,422), ad nocturnas

1-h-g--h-gff-dc-g--g-f-g-h--h-3-h--k-l-kjj-g--h-g-f-gh-h-h--h-3-
Ads-tat en tur- ba po-pu-li fi-de-lis mar-ti-ris sanc-ti Bo-ni-fa-ci- i lau-des

1-h--g--h-gf-dc-g-g-f---g-[-gf-f-3-eghg-e--f--d--d-]-4
vo-ci-bus sa-cris iu-bi-lans per- en-nes at- que tri-um-phos

2 4
Inclite martir Bonifati nostra Servuli indigni tibi supplicamus
respice vota polica de sede fluctibus quassis scelerum tu nobis
angelis qua es sociatus atque porrige dextram liberari tandem
civibus almis ut mereamur

3 5
Tanta qui ferre Domini amore Christe tu nobis meritis beati
mente devota maluisti atque martiris huius tribue benigne
sanguine fuso meruisti celsa in tuo tecum iubilare regno
scandere sede iure perenni

6
Dignus es summa celebrari laude
Iesu cum patre pariterque sancto
spiritu iugi iubilo in omni
tempore secli.

649
Festum nunc celebre, Ascension, 140v-141r (MMMA I, 548), in ascensione domini ad vesperum

1-c---d--e---f-g-g---g--f--d--e--f-d-3-
Fes-tum nunc ce-le-bre mag-na-que gau-di- a

1-c---d--e-f-g--g---g-f--e--f--g-g-3-
com-pel-lunt a-ni-mos car-mi-na pro-me-re

1-g----h--hg-f-g--g--g--f--d-e-d--c-3-f-e---f--d-e-c-d-d-4-cd--e---
cum Chris-tus so-li-um scan-dit ad ar-du-um ce-lo-rum pi-us ar-bi-ter Con-scen-dit...

2 4
…iubilans letus ad ethera Oramus Domine conditor inclite
sanctorum populus predicat inclitum devotos famulos respice protegens
concinit pariter angelicus chorus ne nos livor edax demonis obruat
victoris boni gloriam demergat vel in inferos

3 5
Qui scandens superos vincula vinxerat Ut cum flammivoma nube reverteris
donans terrigenis munera plurima occulta hominum pandere iudicans
districtus rediet arbiter omnium non des supplicia horrida noxiis
qui mitis modo transiit sed iustis bona premia

6
Presta hoc genitor optime maxime
hoc tu nate Dei et bone spiritus
regnans perpetuo fulgida trinitas
per cuncta pie secula.

650
Optatus votis omnium, Ascension, 141r-v (MMMA I, 3), ad nocturnas

1-g--g-h--k-j--j-h--h-3-g--j--j-h--g-h-j-jkjh-3-
Op-ta-tus vo-tis om-ni-um sa-cra-tus il-lux- it di-es

1-g----j--j---k--h--j--h--h-3-g---h--k--j-g--j-h-g-4-g--g--g---
quo Chris-tus mun-di spes De-us con-scen-dit ce-los ar-du-os As-cen-dens…

2 6
...in altum Dominus Agamus ergo gratias
propriam ad sedem remeans nostre salutis vindici
gavisa sunt celi regna nostrum quod corpus vexerit
reditu unigeniti sublimem ad celi regiam

3 7
Magno triumpho prelii Sit nobis cum celestibus
mundi perempto principe commune manens gaudium
patris presentans vultibus illis quod se presentavit
victricis carnis gloriam nobis quod se non abstulit

4 8
Est elevatus nubibus Nunc provocatis actibus
et spem fecit credentibus Christum expectare nos decet
aperiens paradisum vitaque tali vivere
quem protoplasti clauserant que possit celos scandere

5 9
O grande cunctis gaudium Gloria tibi Domine
quod partus nostre virginis qui scandis super sidera
post sputa flagra post crucem cum patre et sancto spiritu
paterne sedi iungitur in sempiterna secula.

651
Iam Christus ascendit polum, Ascension, 141v-142r (MMMA I, 727), ad laudes

1-dg---f--c--d-e--f--g-fed-3-dg-f-c--d-e-f-g--f-3-
Iam Chris-tus as-cen-dit po-lum ne- ca-vit an-te fu-ne-ra

1-f--f-h--g-fe-fg-ff-e-3--g--ff-c--d--e--f-g-fed-4
le-tum se-pul-tus ex- pu- lit mors mor-tis im-pul-su ru-it

1-dg-f-c--d--e--
Can-ta-te fac-tum…

2 6
…secula Quam si coruscis sedibus
funus subletit tartari fulgore terreres reos
vicit peremptus exitus Deus patet per omnia
mors inde luget pallida nullo remotus tegmine

3 7
Presumpsit unde gaudium Sed ut iacentes erigat
escis vorator captus est dignatus esse quod sumus
est preda raptor omnium redemit ipse ius suum
iam rete vinctum ducitur ovem reduxit perditam

4 8
Iacet catena in nexibus Pastoris ad custodiam
serpens venena pertulit levate portas angeli
mitis terit superbiam intret tremendus arbiter
agnus leonem eviscerat maior tropeis hostium

5 9
Plus istud est potentie Gloria tibi domine
quod nostra Christe suscipis [qui scandis super sidera
et veste servi absconditus cum patre et sancto spiritu
nos ad triumphum provehis in sempiterna secula].

652
Eustasii magni martiris, St Eustace, 142v-143r (MMMA I,706), in sancti Eustasii ymnus

1-g--e--f-f-g--g--g--f-d-3-g-f-f--d-e--d-dd--c-3-
Eu- sta-si- i ma-gni mar-ti-ris ux-o-ris at-que pi -gno-rum

1-d-c--d--f--f--g-h-h-3-h--g--f--gf-def-f--e-d-4-g--e--f--g---g--
ca-na-mus sa-cra can-ti-ca cas-tis [be]-nig-nis lau-di-bus Ma-gis-ter nam-que…

2 6
…[ ]tum Christus creator omnium
bellator et fortissimus mestorum consolatio
qui olim fuit previus matrem collegit et natos
Romanorum exercitus athletam ad Eustasium

3 7
Venatum isdum progeret Tandem ad romat sustinet
ferarum cernit agmina ab Adriano cesare
cervique inat cornua leonum nempe morsibus
Christum videre meruit per Christum liberati sunt

4 8
Terra tenus prostratus est Missi bove inereo
ad nostro vocatus est succenso flamma ignea
erectus est Eustasius adepti sunt qui bravium
nomen ammittens placidus per agonem martirii

5 9
Baptisma Christi consequens Presta beata trinitas
cum filiis et coniuge concede simplex unitas
sed post modum exiliens ipsorum per suffragia
varique pene passi sunt defendi nos ab hostibus.

653
Veni creator spiritus, Pentecost, 143r (MMMA I,17), sabbato in pentecostem ad vesperum

1-g-h--gf-g-h--k-l--k-3-kk-g--h-k-lk-l-m-l-3-k--lm-kj-g--kl-g-h-k-3-
Ve-ni cre- a-tor spi-ri-tus men-tes tu-o-rum vi-si-ta im-ple su-per-na gra-ti-a

1-jk-h-gf-h-hjh-g-fg-g-4-g--h-gf-g-h--k-l-k-3-kk-g---
que tu cre-as-ti pec-to- ra Qui pa-ra-cli-tus di-ce-ris do-num…

2 4
Accende lumen sensibus
…Dei altissimi infunde amorem cordibus
fons vivus ignis caritas infirma nostri corporis
et spiritalis unctio virtute firmans perpeti

3 5
Tu septiformis gloria Hostem repellas longius
dextre Dei tu digitus pacemque dones protinus
tu rite promissum patris ductore sic te previo
sermone dita guttura vitemus omne noxium

6
Per te sciamus da patrem
noscamus atque filium
te utriusque spiritum
credamus omni tempore.

654
Beata nobis gaudia, Pentecost, 143r-v (MMMA I,3), ad nocturnas

1-f-g-h--k--j-jj-h-h-3-g-j--j-h-g-h-k--klkj-3-h--k-k--l--j-k-j--j-3-
Be-a-ta no-bis gau-di-a an-ni re-dux-it or-bi-ta cum spi-ri-tus pa-ra-cli-tus

1-h-j--k-j--h-j-h--g-4
ef-ful-sit in dis-ci-pu-los

2 5
Ignis vibrante lumine Te nunc Deus piissime
lingue figuram detulit vultu precamur cernuo
verbis ut essent proflui illapsa nobis celitus
et caritate fervidi largire dona spiritus

3 6
Linguis loquuntur omnium Dudum sacrata pectora
turbe pavent gentilium tua replesti gratia
musto madere deputant dimitte nunc peccamina
quos spiritus repleverat et da quieta tempora

4 7
Patrata sunt hec mystice Gloria patri Domino
pasche peracto tempore natoque qui a mortuis
sacro dierum numero surrexit ac paraclito
quo lege fit remissio in seculorum secula.

655
Iam Christus astra ascenderat, Pentecost, f. 143v-144r (MMMA I,726), ad laudes

1-gk---j---f-g--h-j--k-l--kjh-3-gk-j--f--g-h-j--k-j-3-
Iam Chris-tus as-tra as-cen-de-rat re-gres-sus un-de ve-ne-rat

1-j---j-l--k--jh-jk-jj-g-3-h---h--f-g--h--j-k-jhg-4
pro-mis-so pa-tris mu- ne-re sanc-tum da-tu-rus spi-ri-tum

1-gk--jj-f-g--h--j-k--jhg-3-
So-lem-nis ur-ge-bat di-es...

2 6
Ex omni gente cogitur
…quo mistico septemplici Grecus Latinus Barbarus
orbis volutus septies cunctisque admirantibus
signat beata tempora linguis loquuntur omnium

3 7
Cum hora cunctis tertia Iudea tunc incredula
repente mundus intonat vesano turba spiritu
apostolis orantibus ructare musti crapulam
Deum venisse nuntians alumnos Christi concrepat

4 8
De patris ergo lumine Sed signis et virtutibus
decorus ignis almus est occurrit et docet Petrus
qui fida Christi pectora falso profari perfidos
calore verbi compleat Ioele teste comprobans

5 9
Impleta gaudent viscera Gloria patri Domino
adflata sancto lumine [natoque qui a mortuis
voces diverse consonant surrexit ac paraclito
fantur Dei magnalia in seculorum secula].

656
Ut queant laxis, St John Baptist, 144r-v (MMMA I,151), in sancti Iohannis baptista ad nocturnas
et vesperum

1-h--g--hjk-kk-hj-h-hh-g-h-k--k-3-l-l-m--lk-l--ll-k-h-j-hh-g-3-
Ut que-ant lax-is re-so-na-re fi-bris mi-ra ges-to-rum fa- mu-li tu-o- rum

1-hjklkj-h-g--k-k-l-m-l-kl-lk-jh-3-k--j--k-hgh-h-4
sol- ve pol-lu-ti la-bi-i re- a- tum sanc-te Io- han- nes

1-hh-g-hjk-kk-hj-h-hh-g-
Nunt-i-us cel-so ve- ni-ens...

2 5
...Olympo Antra deserti teneris sub annis
te patri magnum fore nasciturum civium turmas fugiens petisti
nomen et vite seriem gerende ne levi saltem maculare vitam
ordine promit famine posses

3 6
Ille promissi dubius superni Prebuit hirtum tegimen camelus
perdidit prompte modulos loquele artubus sacris strophium bidentes
sed reformasti genitus perempte cui latex haustum sociata pastum
organa vocis mella locustis

4 7
Ventris obstruso positus cubili Ceteri tantum cecinere vatum
senseras regem thalamo manentem corde presago iubar adfuturum
hinc parens nati meritis uterque tu quidem mundi scelus auferentem
adbita pandit indice prodis.

657
Non fuit vasti spatium, St John Baptsit, 144v-145r (division of Ut queant laxis; MMMA I,532),
ad laudes

1-g--j-k--lm-l-kj-{-h-}-j--k-jj-h-3-g-j-k--lm---l--k--m-l--n-mm-l3
Non fu-it vas- ti spa- ti- um per or-bis sanc-ti-or quis-quam ge-ni-tus Io-han-ne

1-lm-ml-k--l-j-k--h-j-k-jj-h-3-g--j-k-lkj-j-4
qui ne-fas se-cli me-ru-it la-van-tem tin-ge-re lym-phis

2 4
O nimis felix meritique celsi Nunc potens nostri meritis opimis
nesciens labem nivei pudoris pectoris duros lapides repelle
prepotens martyr eremique cultor asperum planans iter et reflexos
maxime vatum dirige calles

3 5
Serta ter denis alios coronant Ut pius mundi sator et redemptor
aucta crementis duplicata quosdam mentibus pulsa livione puris
trina centeno cumulata fructu rite dignetur veniens sacratos
te sacer ornant ponere gressus

6
Laudibus cives celebrant superni
te Deus simplex pariterque trine
supplices ac nos veniam precamur
parce redemptis.

658
Almi prophete progenies pia, St John Baptist, 145r-v (MMMA I,738), ad vesperum

1-gk-hjh-g--hj-j-jh-k-h--j-h-g-3-gh-k--h--j-j-j-hg-k-kl-lk-hj-jhg-3
Al-mi pro-phe-te pro-ge-ni-es pi-a cla-rus pa-ren-te et no- bi-li- or pa- tre

1-gh---k--h--j-j--jh--k-h-j-h-g-3-ghj-j-j-jhg-g-jkl-l-kj-k-hj-jhg-4
quem ma-tris al-vus clau-de-re ne-sci-a or- tus e-ri- lis pro- di-dit in-di-cem

1-gk-hj-g-hj-j-jh-k-h--j-h-g-3-
Cum vir-gi-na-lis re- gi- a glo-ri-am...

2 4
Scribendus hic est vocis ut augeat
...summi tonantis nomine pignoris nostre canorem duraque vincula
gestaret aule nobilis intimo disolvat oris larga prophetici
claustro pudoris fertilis integro verborum habenis litera nominis

3 5
Vox suscitavit missa puerpere Vox namque verbi vix sapientie est
fovitque vatis gaudia parvuli maior prophetis et minor angelis
matres prophetant munere pignorum qui preparavit corda fidelium
mutus locutus nomine filii est stravitque rectas iustitie vias

6
Sit trinitati Gloria unice
virtus potestas sumina potentia
regnum retentus que Deus unus est
per cuncta semper secula seculi.

659
Felix per omnes festum, Sts Peter and Paul, 146r-147r (MMMA I,739 strophe 1; MMMA I,759
strophe 2), apostolorum Petri et Pauli ad vesperum

1-gh-g--f--h--h--k--k---k--j--k--j-hjk-3-
Fe-lix per om-nes fes-tum mun-di car-di-nes

1-klk-k--k-jhg-g---k--kl-lk-jkl-k-j-hjk-3-
a- pos-to-lo- rum pre-pol- let a- la-cri-ter

1-klk-j-j-jhg-g--g-hj-jh-ghj-h-g-f-3-
Pe- tri be-a- ti Pau-li sa- cra- tis-si-mi

1-h----f---h-kl-l--kj-klk-jh-jk-j--h-ghg-3-
quos Chris-tus al- mo con-se- cra-vit san-gui-ne

1-gf-f-h-hjhg-g--j--k--kj-hjk-j--h-g-4
Ec-cle-si-a- rum de-pu- ta- vit prin-ci-pes

1-gk--k-jk-k-k--k-l-k-jkj-h--j-j-3-gk-kk-jk-k--k-k-l-k-jkj-h-j-j-3-
Hi sunt o- li-ve du-e co-ram Do-mi-no et can-de- la-bra lu-ce ra-di- an-ti-a

1-g---k-k-jh-g-h-j-h-ghg-f-g-g-3-k-k-k-jh-g---h--j-j-hjh-g--h-h-3-
pre-cla-ra ce- li du-o lu-mi- na-ri- a for-ti-a sol-vunt pec-ca-to-rum vin-cu-la

1-hjh-g--g-gf-e-h-jkl-k--jkj-h-gh-h-4
por- tas O-lym-pi re-se- rant fi- de-li-bus

660
1-gk-k---jk-k--k--l--l------
Ha-bent su-per-nas po-tes-ta-tem...

3 6
...claudere Non impar Paulus huic doctor gentium
sermone sedes pandere splendentia electionis templum sacratissimum
limina poli super alta sidera in morte compar in corona particeps
lingue eorum claves celi facte sunt ambo lucerne et decus ecclesie
larvas repellunt ultra mundi limites in orbe claro coruscant vibramine

4 7
Petrus beatus catenarum laqueos O Roma felix que tantorum principum
Christo iuvente rupit mirabiliter es purpurata pretioso sanguine
custos ovilis et doctor ecclesie excellis omnem mundi pulchritudinem
pastorque gregis conservator ovium non laude tua sed sanctorum meritis
arcet luporum truculentam rabiem quos cruentatis iugulasti gladiis

5 8
Quodcunque vinclis super terram strinxerit Vos ergo modo gloriosi martyres
erit in astris religatum fortiter Petre beate Paule mundi lilium
et quod resolvit in terris arbitrio celestis aule triumphales milites
erit solutum super celi radium precibus almis vestris nos ab omnibus
in fine mundi index erit seculi munite malis ferte super ethera

9
Gloria Deo per immensa secula
sit tibi nate decus et imperium
honor potestas sanctoque spiritui
sit trinitati salus individua
per infinita seculorum secula.

661
Apostolorum passio diem, Sts Peter and Paul, 147r-v (MMMA I,721), ad nocturnas

1-gh-f--g-h--k---j-h-g-3-k-k-kl-l--k-h-jk-k-3-
A-pos-to-lo-rum pas-si-o di-em sa-cra-vit se-cu- li

1-g--j-h--k--g--h--g-f-3-hh-k-l--kj-hg--hj-h--g-4-gh--f--g-h--j-h-
Pe-tri tri-um-phum no-bi-lem Pau-li co-ro- nam pre-fe-rens Con-iun-xit e-qua-les...

2 6
...viros Hinc Roma celsum verticem
cruor triumphalis necis devotionis extulit
Deum secutos presulem fundata tali sanguine
Christi coronavit fides et vate tanto nobilis

3 7
Primus Petrus apostolus Tante per urbis ambitum
nec Paulus impar gratia stipata tendunt agmina
electionis vas sacre trinis celebratur viis
Petri adequavit fidem festum sacrorum martyrum

4 8
Verso crucis vestigio Prodire quis mundum putet
Simon honorem dans Deo concurrere plebem poli
suspensus ascendit dati electa gentium caput
non immemor oraculi sedes magistri gentium

5 9
Precinctus ut dictum est senex Deo patri [sit gloria
et elevatus ab altero sit laus et unigenito
quo nollet ivit sed colens sancto simul paraclito
mortem subegit asperam in seculorum secula].

662
Aurea luce et decore roseo, Sts Peter and Paul, 147v-148r (MMMA I,152), ad vesperum

1-f-fe-dc-dfd-e-e-e-dc-f-g--f-de-e-3-
Au- re- a lu-ce et de- co-re ro- se- o

1-g--h-j---h-gfe-f-ed--f--g-e-de-e-3-
lux lu-cis om- ne per-fu- dis- ti se-cu-lum

1-edc-d---fd-e-ef-g-e--d--f-fe-de-e-3-
de- co-rans ce-los in-cli-to mar-ty- ri- o

1-ed-dc-cd-de-dc-f--gh-hg-fg-fe-de-e-4
hac sa- cra di- e que dat re- is ve- ni-am

1-f-fe-dc-dfd-e-e--e--dc-f--g--f------
Ia- ni- tor ce-li doc-tor or-bis pa-ri-ter...

2 4 In sci. Pauli
Doctor egregie Paule mores instrue
...iu-di-ces secli vera mundi lumina et mente polum nos transferre satage
per crucem alter alter ense triumphans donec perfectum largiatur plenius
vite senatum laureati possident evacuato quod ex parte gerimus

3 5
Iam bone pastor Petre clemens accipe Olive bine pietatis unice
vota precantum et peccati vincula fide devotos spe robustos maxime
resolve tibi potestate tradita fonte repletos caritatis gemine
qua cunctis celum verbo claudis aperis. post mortem carnis impetrate vivere

6
Sit trinitati sempiterna gloria
honor potestas atque iubilatio
in unitate cui manet imperium
ex tunc et modo per eterna secula.

663
Iam sacra dies annua nobis, St Felicitas 148r-v (MMMA I,733), sancte Felicitate

1-a--c-d--f--e-de-d-c-3-a--c-d--f--f-fe-fg-g-3-
Iam sa-cra di-es an- nu- a no-bis re-dux-it gau- di- a

1-g--ghg-g--fe-de-e-d-c-3-a-c-d--f--e-de-d-c-4
que sanc- to-rum ex- i-mi-o di-ca-ta est mar-ty- ri- o

1-a---c--d-f-e-de-d-c-3-a-
Ho-rum be- a-ta no-mi-na et...

2 5
Alexandri suffragia
…triumphalem gloriam nos a delictis abluant
deprecamur ut annuant Vitalis pia merita
nobis polorum gaudia eterna poscant premia

3 6
Hec magnus Ianuarius Et Martialem septimum
qui primus est ex fratribus valde rogando petimus
Felice cum magnifico cum matre sacratissima
concedat ab altissimo ut miseris subveniat

4 7
Alma Philippi gratia Sed magis o sanctissime
nunc nostris votis faveat Silane tu clarissime
sacris Silani precibus precare unigenitum
solvat a mortis nexibus pro nobis Dei filium

8
Qui cum patre Deifico
et spiritu vivifico
unus est in essentia
per infinita secula.

664
Festa sacrata presulis, St Apollinaris, 148v-149r (unique melody), sancti Apollinaris

1-hh-g-h--hjkj-k-h--hh-g-3-h-g--h-hjkj-kj-h--hh-g-3-
Fes-ta sa-cra- ta pre- su- lis A-pol-li- na- ris mar-ti- ris

1-g-g-hj-h--ghj-h-g-f-3-hjkh-jh-h--g-f--gh--hh-g-4
an-ni re-cur-sa or-bi-ta ce- le-bra-re io-cun- dum est

1-hh-g--h--hjkj-k--
A Pe- tro mis- sus…

2 6
…principe Seva cuius rapacitas
Ravennam urbem adiit grassata circa martirem
virtus quidem prenuntians tellis perfossum gravibus
ante ingressum patuit seminecem exposuit

3 7
Nam Yrenei filium Ex templo Bonifacius
dudum orbatum lumine cuius classis obmutuit
nubem squamosam detegens indita urba labiis
clara refulsit visio loquendi usu meruit

4 8
Tecla matrona nobilis Inter eadem famina
coniunx tribuni militum perrexit ad Emiliam
per annos curva plurimo signis ditatur optimus
gressus resumpsit pristinos salutem egros reddita

5 9
Nec tecta diu gratia Rufi domo patricii
signorum fama latuit filia morbo languida
fertur ad aures tiranni morte preventa subitam
Saturnini tunc iudicis pestem exclusit luridam

665
10
Precemur ergo subditi
merita tanti presulis
ut nos a culpe vinculo
eruat suis precibus
666
11
Presta patre [piissime
patrique compar unice
cum spirtu paraclito
regnans per omne seculum].
O nata lux de lumine, Transfiguration, 149r-v (MMMA I,116) transfiguratione domini ad
vesperum et laudes

1-gh-h-gf-g--hjh-g-fg-g-3-gh-h-gf--g---h-k-l-l-3-
O na-ta lux de lu-mi-ne Ie- su re-demp-tor se-cu-li

1-l-ll-k--k--g---j--h--g-3-gh--h-gf--g-hjh-g--f-g-4-gh--h----
dig-na-re cle-mens sup-pli-cum lau-des pre-ces-que su-me-re Qui car-ne…

2 5
…quondam contegi Te vox paterna celitus
dignatus es pro perditis suum vocavit filium
nos membra confer effici quem nos fideli pectore
tui beati corporis regem fatemur celitum

3 6
Pre sole vultu flammeus Concede nobis quesumus
ut nix amictu candidus almis micare moribus
in monte dignis testibus ut ad polorum gaudia
tu paruisti conditor bonis vehamur actibus

4 7
Vates alumnis abditos Laudes tibi nos pangimus
novis vetustos conferens eterne regum rex Deus
utrasque te divinitus qui trinus unus rector es
Deum dedisti credere per cuncta regnans secula.

667
O sator rerum reparator, Transfiguration, 149v-150v (MMMA I,532), ad nocturnas

1-g-j--k-lm-l--kj-h-j-k-jj-h-3--g--j-k-lm---l--k-m--l-n--mm-l-3-
O sa-tor re-rum re-pa-ra-tor e- vi Chris-te rex reg-num me-tu-en-de cen-sor

1-lm-ml-k--lk--j-kj-h-j--k--jj-h-3-g--j-k-[-lkj-]-j-4-g--j-k-
tu pre-ces nos-tras pa-ri-ter-que lau-des sus-ci-pe gra- tus Noc-tis en…

2 6
…cursu tibi vota laudum Ure cor nostrum iecur atque lumbos
pangimus presta tibi sint ut apta igne divino vigilesque nos fac
nosque concentu refove perenni semper ardentes manibus lucernas
luminis auctor ut teneamus

3 7
Inter Eliam Moysenque vates Esto tu noster cibus atque potus
ut iubar solis facie refulgens tu labor virtus requies amictus
candidas vestes nivis instar almis livor absistat tumor ira luxu
tu reserasti meror et omnis

4 8
Tu Dei patris patre teste proles Lumen infundens tenebras repelle
tuque sanctorum decus angelorum aufer infesti laqueos celydri
tu salus mundi via vita virtus vincla dissolvens scelerum fer astra
crederis esse scandere nobis

5 9
Da dies nobis probitate faustos Gloria virtus tibi sit creator
mortis ignaram tribuendo vitam cuncta qui solus retinens gubernas
semper ut nostros tua sit per actus in throno regni sine fine regnans
gloria perpes trinus et unus.

668
Ymnum canamus, St Cyriacus, 150v-151r (MMMA I,155), in sancti Ciriaci ad nocturnas

1-ghjg-f--hjk-kj-hg-h--fg-g-3-gk-j--h-j--g-h--gf-fgf-3-
Ym- num ca- na-mus so- ci- i de- vo-te men-te se- du- li

1-d--fe--fg-gh-gf-g--gh-h-3-k-klk-h--j--g--h--fg-g-4
fes-tum-que pi- i mar-ty- ris o-dis ca-na-mus con-so- nis

1-ghjg-f--hjk-kj-hg-
Qui spre-to mun-di...

2 4
...principe Nunc Cyriace inclite
Christi ditatus munere nos adiuva precamine
per sanguinis commercia iunctus caterve martyrum
eterna tulit premia pro nobis ora Dominum

3 5
Hunc laureate proceres Ut tuis fulti precibus
rite sequuntur alacres vitemus omne facinus
quos ille doctor previus mundi temnamus noxia
ad etra duxit celitus celi sequamur gaudia

6 650 7
Ne veniente Domino Laus trinitati debita
dierum in novissimo honor potestas gloria
in tartara cum reprobis perenniter sit omnia
voce damnemur iudicis in seculorum secula.

650
Vat. lat. 4928 has the following as the Fidelis invictissime
sixth strophe: et palestrita eximie
tua prece sanctissima
nostra mundentur scelera

669
Agonitheta nobilis, St Cyriacus, 151r (MMMA I,757), ad laudes

1-g-hjh-j--k--j-h-g-hjhg-3-k--j--g---hg-f-h--jh-g-3-
A-go- ni-the-ta no-bi-lis cul-tor-que sum-mi nu- mi-nis

1-g-hjh-j--k-j--h--g--hjhjhg-3-k--j-g--h--f-h--jh-g-4
ad-sis- te vo-tis sup-pli-cum te lau-di-bus co-len- ti- um

1-g--hjh-j--k---j-h--g-hjhg-3-
Co-lum- na tem- pli lac- te-a...

2 3
Te Cyriace canimus
...celestis aule vernula festumque diem colimus
levita clarus meritis et vota pie solvimus
prece faveto miseris melosque leti pangimus

4 6
Tu laureatus sanguine Et nunc cum sanctis angelis
celi fulges in culmine tuis faveto famulis
coniunctus choro martyrum quo tecum celi fulgida
sanctissime christicolum leti sumamus premia

5 651 7
Tu vires hostis impii Laus sit parenti Domino
fretus virtute Domini [laudes canamus unico
penasque carnis superans laudes amborum flamini
polum petis tripudians in secula laudabili].

651
In Rh 91 this strophe is missing; in other The doxology in Rh 91 is as follows :
hymnaries it is as follows:
Honor virtus et iubilum
Furtus virtute celica sit decus summum Domino
hostis tempsisti pessima qui trinitate socia
penamque carnis superans gubernat cuncta secula.
celum petit tripudians

670
Martiris Christi colimus triumphum, St Lawrence, 151r-152r (MMMA I,736), in sancti Laurenti
ad vesperum et nocturnas

1-g--g-g---g--ghgg-f-h--k-jh-gh--h-3-
Mar-ti-ris Chris-ti co-li-mus tri-um-phum

1-k--j-k--jj-h--hh-g--h-j--hgf-f-3-
an-nu-um tem-pus ve- ne-ran-do cu- ius

1-h-g-h-gf-g--h--g--f-h--hh-g-3-hjk-j-jj-hg-g-4
cer-nu-a vo-cis pre-ce iam ro-tun-dus or- bis a- do-rat

2 6
Pontifex Xystus monuit ministrum Uritur postquam latus omne testis
fixus in ligno crucis exsequeris verte prefecto loquitur iocando
me cito penam patiendo magnam corporis partem laniando coctam
ibis ad astra dentibus atris

3 7
Tortor iratus petit ut talenti Spiritum sumpsit chorus angelorum
pondus ignoti manifestet omne intulit celo pie laureandum
mente vesana cupiens vorare ut scelus lavet hominum precando
aurea lucra omnipotentem

4 8
Sprevit hic mundi peritura dona Supplici voto rogitamus omnes
fert opem nudis alimenta claudis sancte Laurenti veniam preceris
dividit nummos miseris catervis qui tuum festum celebrant ubique
corde flagranti voce vel actu

5 9
Igne torquetur stabili tenore Gloriam patri resonemus omnes
cordis accensus superat minaces eius et nato iubilemus apte
ignium flammas in amore vite cum quibus regnat simul et creator
semper opime spiritus almus.

671
Devota mente socii preces, St Lawrence, 152r-v (MMMA I,706), ad laudes ymnus

1-h--f-g--h--h-h-g-e-3-h--g--g--gg-e---f-e-d-3-e--d--e-g-h-j--k--k-3
De-vo-ta men-te so-ci-i pre-ces fun-da-mus mar-ty-ri quo no-bis ce-li do-mi-num

1-k--j--h-j-fgh-hh-g--f-4--h--f-g--h--h-h------
pos-cat fa-ve-re pla-ci-dum Lau-ren-ti mar-tir in-cli-te...

2 5
Sed fortis Christi signifer
...sacrato comptus sanguine talia perfert alacer
profanum spernens iudicem interritusque funestum
Xystum secutus presulem verbis lacessit Decium

3 6
Cavernas atri carceris Quid furis hostis impie
milleque penas corporis Christumne putas vincere
ac minas trucis aucupis qui suo pio militi
temnis athleta nobilis tyrannum subdit seculi

4 7
Carpuntur sacra viscera Per penas tui corporis
seva persultant verbera perque squalorem carceris
suspenditur craticula rogamus martyr incilte
subduntur et incendia nobis misellis annue

8
Laus sit parenti Domino
laudes canamus unico
laus sit amborum flamini
per secula laudabili.

672
Fit porta Christi pervia, Assumption, 152v-153v (division of A solis ortus cardine; MMMA
I,116), in vigilia sancta Marie ad nocturnas ymnus

1-gh-h--gf-g---hjh-g-fg-g-3-gh-h-gf-g--h-k-kl-l-3-
Fit por-ta Chris-ti per-vi- a re-fer-ta om-ni gra-ti- a

1-l-ll-k--kk-g-j--h--g-3-gh-h-h-gf-g-hjh-g-fg-g-4
tran-si-tum rex et per-ma-net clau-sa ut fu- it per se-cu- la

2 3
Genus superni numinis Honor matris et gaudium
processit aula virginis immensa spes credentium
sponsus redemptor conditor per atra mortis pocula
sue gigas ecclesie resolvit nostra crimina

4
Gloria tibi Domine
qui natus es [de virgine
cum patre et almo spiritu
in sempiterna secula].

673
Ave maris stella*, Assumption, 153v, ad laudes

Quis possit amplo famine, Assumption, 153v (MMMA I,738), ad vesperum ymnus

1-gk--hjh-g-hj--j-jh-k--h--j--h--g-3-gh-k-h-j-j-hg-k-l-lk-hj-jhhg-3
Quis pos- sit amp- lo fa- mi- ne pre-po-tens dig-ne fa-te-ri pre-mi-a vir-gi- nis

1-gh---k--h-j--j-jh-k--h-j--h-g-3-
per quam ve-ter-ne sub la-que-o ne-cis

1-ghj-j-j-jhhg-g-[-klm-m-lk-lk-]-hj-jhg4
or- bi re-ten- to red-di-ta vi- ta est

2 6
Hec virga Iesse virgo puerpera Intacta mater virgoque fit parens
hortus superno germine consitus orbis creator ortus in orbe est
signatus alto munere fons sacer hostis pavendi sceptra remota sunt
mundum beavit viscere celibi toto refulsit lux nova seculo

3 7
Hausto maligni primus ut occidit Sic virginalis vincula permanent
viro chelydri terrigenum parnes prodit pudoris dum thalamo potens
hinc lapsa pestis per genus irrepens mansere clause artius ut fores
cunctum profundo vulnere perculit intrante Deo quas sera vinxerat

4 8
Rerum misertus sed sator inscia Hoc signat edis ianua non patens
cernens piacli viscera virginis quam celsa vatis visio prodidit
his ferre mortis crimine languido soli tremendo pervia principi
mandat salutis gaudia seculo mansura nempe clausa perenniter

5 9
Missus ab astris Gabriel innube Sit trinitati gloria unice
eterna portat nuntia virgini virtus potestas summa potentia
verbo tumescit latior ethere regnum retentans que Deus unus est
alvus replentem secula continens per cuncta semper secula seculi.

674
Quem terra pontus*, Assumption, ad nocturnas

Ad laudem sancte Marie, Assumption, 153v-154r (MMMA I,3), ad laudes ymnus

1-g--g--h----k-j--j-jj-h-3-g-j-j--h-g--h--k-klkj-3-
Ad lau-dem sanc-te Ma-ri- e e-ter-ne sa-cre vir-gi-nis

1-h---k---k--l---j---k-j-j-3-h-j-k-j--h---j-h-g--4
ym-num no-vum cum glo-ri-a le-ti ca-na-mus Do-mi-no

2 6
Que pro salute seculi De patre sine semine
et libertate populi de matre sine coniuge
iam mundi ab initio Deum de Deo genitum
electa est a Domino patri equalem filium

3 7
Non est in mundo similis Credant Iudei increduli
inventa sancte virginis credant qui nolunt credere
quia per ipsam Dominus nos trinitatem credimus
descendens liberavit nos venturum mundi iudicem

4 8
Cum esset ancilla humilis Venite omnes populi
facta est mater Domini rogemus matrem Domini
O quam beata virgo est ut ipsa nobis impetret
que tantam meruit gratiam pacem et indulgentiam

5 9
Tunc portabat in utero Gloria tibi Domine
qui matrem non corruperat [qui natus es de virgine
lactabat mater filium cum patre et almo spiritu
quem agnoscebat Dominum in sempiterna secula].

675
Nunc tibi virgo virginum, Assumption, 154r-v (MMMA I,705), ad vesperum ymnus

1-h---hjhg-j--l--lk-jh-gh-h-3-l--kj-h-k-klk-j--h--g-3-
Nunc ti- bi vir- go vir- gi-num lau-des fe-ri-mus car-mi-num

1-g--g--g-h-j-hj-j--jhg-3-g-h--jkl-lk-jh-j-gh-h-4-
te-que ce- li o do-mi-na re-sul-tat hec ple-be-cu-la

1-h--hjhg-j-l--lk-jh-gh-h-3
Tu por- ta do-mus ful-gi-da...
2 5
Tu clara stirpe regia
...egressionis inscia iureque mundi domina
tu virga fructu florida desideratum omnibus
virgoque nato gravida tu protulisti gentibus

3 6
Te nostra sonant carmina O stella maris fulgida
te angelorum agmina absolve plebis crimina
infernus tibi ululat fletus quoque supplicium
fretumque maris intonat immuta dando gaudium

4 7
Leta regina parvulum Laus patri invisibili
eterni regis filium laus eius almo flamini
lacta sacrato ubere lausque sit unigenito
qui te concessit vivere orbis terrarum Domino.

676
Ad laudem Christi procerum, St Bartholomew, 154v-155r (MMMA I,723), sancti Bartholomei
ad vesperum et ad nocturnas ymnus

1-h--gh--h---jh-gh-k--j--h-3-h--j---k--l--h--j--j-j-3-
Ad lau-dem Chris-ti pro-ce-rum cunc-to-rum fra-trum con-ti-o

1-j-jj-h-g--e-g-h-h-3-h--j--h--hh-gh-k-j-h-4-h---gh--h-jh-gh--k----
su- a- vi mo-du-la-mi-ne de-pro-mat ac- tus pa-ri-ter Post-quam ad pa- tris dex-te-ram…

2 6
Conversus rex ad Dominum
…sua Christus potentia statim et omnes populus
ascendit et discipulus Abintus est Polymius
sancto replevit spiritu sacro fonte cum omnibus

3 7
Bartholomeus inclitus Hinc castigatur ictibus
predicans Dei filium ab Astrige nequissimo
ingressus est in Indiam nudatur cutis tegmine
faciens mirabilia vivensque Deum confitens

4 8
Cuius vultus insignia Sic in tropheo fidei
virtutes et prodigia celebs athleta permanens
hostis Behir nequissimus abscisso ense vertice
suis narrat complicibus celos triumphans petiit

5 9
Apostolus tunc filiam Cuius caterva precibus
cernens regis lunaticam sacris fulta fidelium
saluti verbo reddidit devicto hoste callido
et idola comminuit celi fruatur gaudio

10
Deo patri sit gloria
sit laus et unigenito
sancto simul paraclito
in seculorum secula.

677
Gaudium mundi Christe, St Bartholomew, 155r-v (MMMA I,532), ad vesperum et laudes

1-g--j--k--lm-l---lk-h--j--k--j--h-3-g-j--k-lm-l--k--m-l-n-mm-l-3-
Gau-di-um mun-di Chris-te lux sanc-to-rum ce- li qui reg-na con-tu-lis-ti tu- is

1-lm-ml-k-lk-j--kj-h-j--k--jj--h-3--g-j-k--lkj-j-4--g--j-k-lm-l-
vo- ta tu-o-rum fa- mu-lo-rum cle-mens sus-ci-pe sem- per Bar-tho-lo-me-i...

2 5
…precibus placatus Iudicis iram miseratus placa
venia nobis tribue culparum pestem et morbos languoresque pelle
huius et vite commoda dignanter fidei spei caritatis nobis
nobis concede bona largire

3 6
Hunc diem sacrum tuis ita cede Gaudet iam terra tuo decorata
digne famellis celebrare semper lumine celum simul et resultat
quo post hanc vitam mereamur celi gaudium nobis tribue iam sancte
scandere regna Bartholomee

4 7
Athleta Dei tuum qui devote Gloriam patri resonemus omnes
celebrant festum miseratus ove et tibi Christe genite superne
scelerum atque potestate magna cum quibus sanctus simul et creator
vincla dissolve spiritus regnat.

678
Almi prophete progenies pia, Beheading of St John Baptist, 155v-156r (MMMA I,738)
decollatione sancti Iohannis baptiste ad vesperum et laudes et vesperum

1-gk-hjh-g--hj-j-jh-k--h-j-h-g-3-gh-k--h-j--j-j-hg-j-k-kj-hj-jhg-3-
Al-mi pro-phe- te pro-ge-ni-es pi-a cla-rus pa-ren-te et no- bi-li-or pa- tre

1-gh---k--h--j-j--jh-k--h-j--h-g-3-
quem ma-tris al-vus clau-de-re nes-ci-a

1-ghj-j-j-jhg-g-klm-m-lk-lk-hj-jhg-4
or- tus e-ri- lis pro- di-dit in- di- cem

1-gk-hj-g--hj-j-jh-k--h-j-h-g-3-gh-
As- ser-tor e- qui non o-pe re-gi-a nec…

6652
…morte dura linquere tramitem
veri coactus non licet ait tibi
uxorem habere fratris adulteram
8
Hec vitricus dat dona vesanior
quasi veneni pocula traderet
negare presta quam dare vitrico
odisse prestat plus nocet horum amor

7 9
Hinc ira regis sevaque funera Sit trinitati gloria unice
saltationis munere vendita virtus potestas summa potentia
mensas tyranni et victrici ebrius regnum retentas que Deus unus est
luxus replevit sanguine sobrio per cuncta sempiterna secula seculi.

652
Strophes 2–5 missing.

679
O nimis felix * 156r

Votis tuorum Christe, Holy Twelve Brothers, 156r-v (MMMA I,738) in sanctorum xii fratrem ad
vesperum

1-gk-hjh-g-hj-j---jh-k-h-j-h--g-3-gh-k--h-j--j--hg-k-l-lk-hj-jhg-3-
Vo- tis tu-o-rum Chris-te fi-de-li-um te pos- tu-la-mus ple-ni-us an-nu- e

1-gh--k--h-j--j-jh-k-h-j---h-g-3-
qui nunc tu-o-rum an-nu-a mar-ty-rum

1-ghj-j---j-jhg--g--klm-m-lk-lk-hj-jhg-4
fra- trum ce-le- brant fes- ta du- o- de- cim

2 5
Quos sacra Thecle visceribus satos Horum precatu filius unicus
tui replevit gratia spiritus est Restitute incolumis datus
ut veritatis carpere semitam quem vis nefandi demonis horride
fidemque possent spargere gentibus vexerat atrox tempore plurimo

3 6
Felix Donatus est et Arontius Horum precatu nos quoque poscimus
Felix Vitalis atque Repositus te Christe laus et gloria martyrum
his Septiminus septimus additur ut a nefandis demonibus tuos
Sabinianus et Ianuarius servans fideles undique protega

4 7
Satorus et cui nomen honor dedit Horum precatu crimina deleas
Fortuna fratrum nominat ultimum remissionis munera conferas
quos semper unum vivere vel mori et nos eorum iungere cetui
tui peregit gratia spiritus dignare semper gloria martyrum

8
Sit trinitati [gloria unice
virtus potestas summa potentia
regnum retentans que Deus unus est
per cuncta semper secula seculi].

680
Christi caterva pervigil, Holy Twelve Brothers, 156v-157v (MMMA I,740), ad nocturnas

1-d--ded-c-d--f--fgfe-d-e-3-e-h-h-g--f--g-h--h-3-
Chris-ti ca-ter-va per- vi-gil su-a-vi mo-du- la-mi-ne

1-h---h--g-gf--f--d--c-dededc-3-c-e--d-fgf-ed-c--d--d-4
ym-num ca-na-mus Do-mi-no qui est co-ro- na mar-ty-rum

1-d--ded-c--d-f--fgfe-d-e-3-e--
De-cus vir-tus po-ten- ti- a et…

2 6
Orantes fratres pariter
…triumphator optimus disrumpunt vincla demonum
celorum regna tribuens et matri reddunt unicum
quos suas proles efficit que credit Christo Domino

3 7
Hinc aula sacra resonet Hoc videntes sacrilegi
cunctorum fratrum vocibus Christo depromunt munia
mixtis choris angelicis peruncti sacro chrismate
ferventum sancto spiritu fonte perenni rutilant

4 8
Ex quo fratres duodecim Quos mox minister demonum
rite succensi celitus catenis vinxit fortiter
spreverunt mundi copias quibus in imo carceris
et demonum contagia lux divina resplenduit

5 9
Quorum cernit insignia Angelus sanctus veniens
dum supplex mater postulat disrupit ferri vincula
pro salute filii me inquit misit Dominus
quem atrox demon vinxerat qui est redemptor omnium

681
10
Iudex postquam hec viderat
ferro restringens iterum
et in maris tunc pelago
cepit cum ipsis pergere
11
Mox tempestas exoritur
iudex iniquus flagitat
ut sancti Dei martyres
Christi deposcant munera
12
Exorant fratres supplices
facta maris tranquillitas
multi tunc ex militibus
Christum credendo flagitant
682
13
Hoc cernens mestus carnifex
hos multa post supplicia
mucronis ictu feriens
ad celi misit gaudia
14
Horum te Christe meritis
nunc deprecamur cernui
quo mereamur veniam
et paradisi gaudia
15
Deo patri sit gloria.
[sit semper unigenito
sanctorque sit spiritui
per seculorum secula].
Splendor diei rutilat, Holy Twelve Brothers, 157v-158r (MMA I,723), ad laudes

1-h---gh-h-jh-gh-k-j-h-3-h-j--k--l--g---h--h-h-3-
Splen-dor di-e- i ru-ti-lat di-ca-tus fra-trum san-gui-ne

1-h--h--g--f-d-g-h--h-3--h-gh-jh-gh-k--j-h-4
in quo Do-na-tus e-mi-cat Fe-lix et A- ron- ti-us

1-hh-gh-h-jh-gh-k-j-h-3--h--j---
Hinc Ho-no-ra- tus ra-di-at Chris-tum…

2 5
Felix Vitalis concinunt
…fatendo predicat Satorus et Repositus
mixti turmis angelicis Micantes aula regia
iam reddunt laudes Domino semper felices iubilant

3 6
Fortunatianus iubilat Unde nos omnes supplices
gerens serta martyrii vos flagitamus martyres
nexus sacris virginibus per regem regum Dominum
depromit Christo cantica ut celi donet gaudia

4 7
Sabinianus inclitus Deo patri [sit gloria
septiminus similiter sit semper unigenito
simulque Ianuarius sanctorque sit spiritui
concives beatissimi per seculorum secula].

683
Gaude visceribus mater, Nativity of the Virgin Mary, 158r-v (MMMA I,741), nativitate sancte
Marie ad vesperum laudes et vesperum

1-h--e--f-h-j--h--h-jk-jh-jk-jh-h-3-k-j--k--h-j-h--j-h-f--g-f--e-3-
Gau-de vis-ce-ri-bus ma-ter in in- ti-mis fe-lix ec-cle-si-a que sa-cra re-pli-cas

1-f--e--f-e-f-hj-j-3-e---f-hj-j-jh-jk-jh-h-4-h--e--f-h------
sanc-te fes-ta ma-ri- e plau-dant as-tra so-lum ma- re Cu-ius mag-ni-fi-ca…

2 5
…est generatio Te nunc suppliciter sancta theotocos
cuius vita sacris claruit actibus regis perpetui sponsaque poscimus
cuius finis honorem ut nos semper ubique
summum fine tenet sine miti munere protegas

3 6
Que virgo peperit virgoque permanet Sanctis obtineas virgo precatibus
lactavit propriis uberibus Deum pacis presidium dulce diutine
portantemque gerebat nobis atque beati
ulnis prona trementibus regni dona perennia

4 7
Felix multiplici laude puerpera Presta summe pater patris et unice
regis porta sui clausa perenniter amborumque simul spiritus annue
mundi stella fluentis qui regnas Deus unus
floris virgula regia omni tempore seculi.

684
Illuminavit hunc diem, St Michael, 158v-159r (MMMA I,126), dedicatio sancti Michaelis
archangele ad vesperum

1-h-e-f--hj-j--k--j--k-3-h--j--k--l-kh-j-k--j-3-
Il-lu-mi-na-vit hunc di-em re-rum cre-a- tor om-ni-um

1-j-j-j--jk-hf-g-f--e--3--f---e--f-hj-j--k-g-h-4--h---e--f-hj-j--
fes-ti-vi-ta- te ma-xi-ma que nunc iu-cun-da du-ci-tur Tem-plum di-ca- vit...

2 6
...celitus Summi tonantis nuntius
eius perennis gloria dignum gerens officium
honore in archangeli orationes omnium
hoc Michaelis annuo offert Deo fidelium

3 7
Volvente cursu rediens Archangelorum primus est
celebritatis inclitum princeps Dei exercitus
altare quo templum simul plebem regit catholicam
hoc dedicatum splenduit per cuncta mundi climate

4 8
Hec aula celi ianua Vicit draconem perfidum
hic panis almus vescitur iecit polo superbiam
hic sanguis agni sumitur venturus est in seculo
hic abluuntur crimina ponere finem antichristo

5 9
Hic vota redduntur pia Deo patri sit gloria
que sacer ipse suscipit sit semper unigenito
Christi minister Michael sanctorque sit spiritui
eiusque fert obtutibus per seculorum secula.

685
Christe qui virtus sator, All Saints, 159r-v (MMMA I,532), omnium sanctorum ad nocturnas

1-f--h--j--kl-k-jh-g-h-j--h-g-3-f-h--j-kl-k-j-l-k-m--l---k-3-
Chris-te qui vir-tus sa-tor et vo-ca-ris cu-ius or-na-tur pi-e-ta-te quid-quid

1-kl-lk-j-k--h--jh-f-g--h-gg-f-3-g-h--j-kjh-h-4-f-h--j--------
vel sta-tu cla-ret vel ho-no-re pol-let sus-ci-pe lau- des Ec-ce so-lem-nis…

2 6
…diei voluptas Omnis hoc dignam patriarcha partem
plena sanctorum meritis tuorum doctor et vates habet et sacerdos
corde devotam sociando turbam gaudio quorum numerum superna
personet ymnos scriptio servat

3 7
Hec dies festum colit angelorum Omnium sane pariter tuorum
ut tuam semper faciem videntes festa sanctorum colimus precantes
semper in nostro vigilent favore hos tibi qui iam meruere iungi
te miserante nostra tueri

4 8
Et choros ducit sub apostolorum Ut quibus vite stadium magistris
turba preclaro nitidos honore curritur horum precibus beatis
per preces quorum meat et loquelas fulgido celi gremio locemur
tuta per hostes perpete vita

5 9
Martyres festis veneramur aptis Gloriam sancte pia trinitati
vita confessor capit omnis ista turba persultet canat et revolvat
virgines sanctas monachosque claros que manens regnat Deus unus omni
laude sonamus tempore secli.

686
Iesu salvator seculi redemptis, All Saints, 159v-160r (MMMA I,733), ad laudes

1-h-h--h-gf-e-gh-j-h-3-h--kl--k-jh-kk-g--h-h-3-h-l-l-k-j-k-l--hjhg-3
Ie-su sal-va-tor se-cu-li re-demp-tis o- pe sub-ve-ni et pi-a De-i ge-ni-trix

1-gh-kl-k---jh-kk-g-h-h-4
sa- lu-tem pos- ce mi-se-ris

2 4
Cetus omnis angelicus Chorus sacratus martyrum
patriarcharum cunei confessio sacerdotm
et prophetarum merita et virginalis castitas
nobis precentur veniam nos a peccatis abluant

3 5
Baptista Christi previus Monachorum suffragia
et claviger ethereus omnesque cives celici
cum ceteris apostolis annuant votis supplicum
nos solvant nexu criminis et vite poscant premium

6
Laus honor virtus gloria
Deo patri et filio
una cum sancto spiritu
in sempiterna secula.

687
Christe redemptor omnium conserva tuos, All Saints, 160r-v (MMMA I,723), ad vesperum

1-h--gh-h--j---gh-k-j--h-3-h--j--k-l-h-j--j--j-3-
Chris-te re-demp-tor om-ni-um con-ser-va tu-os fa-mu-los

1-j-j-h--g--e--g-h--h-3-hh-gh-h---j-gh--k-j--h-4
be-a-te sem-per vir-gi-nis pla-ca- tus sanc-tis pre-ci-bus

1-h-gh-h--j--gh-k--j-h-3-h---------
Be-a- ta quo-que ag-mi-na ce-les-ti-um...

2 5
Chorus sanctarum virginum
...spirituum monarchorumque omnium
preterita presentia simul cum sanctis omnibus
futura mala pellite consortes Christi facite

3 6
Vates eterni iudicis Gentem auferte perfidam
apostolique Domini credentium de finibus
suppliciter exposcimus ut Christi laudes debitas
salvari vestris precibus persolvamus alacriter

4 7
Martyres Dei incliti Gloria patri ingenito
confessoresque lucidi eiusque unigenito
vestris orationibus una cum sancto spiritu
nos ferte in celestibus in sempiterna secula.

688
In laude Martini Deus, St Martin, 160v-161r (MMMA I,740), in sancti Martini ad vesperum et
nocturnas

1-h-hjh-f--h--k-klkj-h-j-3-j--l--l--k-j---k--l-l-3-
In lau- de Mar-ti-ni De-us te lau-dat om-nis grex tu-us

1-l-l--k-k---j---h--j--jhjjhg-3-g--j-h-klk-jh-g-h--h-4-h-hjhh-f-h-
ce-lo fa-cis quem pre-clu- em ter-ris u- bi- que ce-le-brem Sit laus ti-bi…

2 5
..rex glorie Herili nocte media
qui comis hunc tam splendide qui pace migrat reddita
ut unus inter splendides quam nunc refundat omnibus
nitet per orbis terminos festum sui colentibus

3 6
Sermone signis opere Hunc semper orbis celebret
precelluit mirifice consertum ut apostolis
ob grande nimis meritum hinc illum apud te iuvet
est gemma dictus presulum nulli secundus meritis

4 7
Decorus ipso transitu Ut caritatis spiritu
omnes quam ornant celibes sic affluamus invicem
dives qui in Abrahe sinu quo corde cum suspiriis
intendat inde supplices ipsum seuamur intimis

8
Sit trinitati gloria
Martinus ut confessus est
cuius fidem per opera
in nobis ipse roboret.

689
Martine confessor Dei, St Martin, 161r (MMMA I,3), ad laudes

1-g--g-h--k--j--j--h-h-3-g--j--j-h-g--h-k-klkj-3-
Mar-ti-ne con-fes-sor De-i va-lens vi-go-re spi-ri-tus

1-h--k-k-l--j---k-j-j-3-h--j--k-j-h--j--h-g-4
car-nis fa-tis-cens ar-tu-bus mor-tis fu-tu-re pres- ci-us

1-g--g-h---k--j-j--h-hh-3-
Qui pa-ce Chris-ti aff-lu-ens…

2 5
Per te quies sit temporum
…in unitate spiritus vite detur solacium
divisa membra ecclesie pacis redundel commodum
paci reformas unice sedetur omne scandalum

3 6
Quem vita fert probabilem Ut caritatis spiritu
quem mors cruenta non tedet [sic affluamus invicem
cum callidi versatilis quo corde cum suspiriis
in mortis hora derogas Christum sequamur intimis]653

4 7
Hec plebs fide promptissima Sit trinitati [gloria
tui diei gaudia Martinus ut confessus est
votis colit fidelibus cuius fidem per opera
adesto mitis omnibus in nobis ipse roboret].

653
The remainder of this strophe is not
written in the manuscript.

690
Rex Christe Martini decus, St Martin, 161r-v (MMMA I,740), ad vesperum

1-g--ghgg-f--h-k-klkj-g-h-3--h--l--l-k-j-k-k-k-3-
Rex Chris-te Mar-ti-ni de-cus hic laus tu-a tu il-li-us

1-k--j-jj-h--f-e-g-ghghgf-3-g--j--h--klk-jh-f-g-g-4
tu nos in hoc te co-le-re quin ip-sum in te tri-bu-e

1-g--ghgg-f-h--k-klk-g-h-3--h---l--l--
Qui das per or-bis car- di-nes quod gem-ma…

2 6
Fac nunc quod olim gesseras
…fulget presulum nunc presules clarifica
da quos premunt culpe graves auge decus ecclesie
solvat per ingens meritum fraudes relige satane

3 7
En pauper hic et modicus Qui ter chaos evisceras
polum dives ingreditur mersos reatu susciat
celi honores obviant diviseras ut clamidem
lingue tribus gentes ovant nos indue iustitiam

4 8
Ut vita fulget transitus Ut specialis glorie
celis et arvo splendidis qoundam recorderis ave
gaudere cunctis pium est monastico nunc ordini
cunctis salus sit hec dies lampene lapso subveni

5 9
Martine par apostolis Sit trinitati gloria
festum colentes tufone [Martinus ut confessus est
qui vivere discipulis cuius fidem per opera
virtus moris nos respice qui semper in nos roberet].

691
Ad Christi laudem viginis, St Cecilia, 162r unique melody, in sancte Cecilie ad vesperum

1-g--ghg-f--g-hjkj-k-hg-h-3-k--j--l-h--h-j-hg-g-3-
Ad Chris-ti lau-dem vir-gi- nis et mar- ty-ris Ce-ci-li- e

1-g-ghg-f--g--h-k--l-k-3-k---k--g-h--hjkj-k-hg-g-4
su-a- vi mo-du- la-mi-ne ym-num ca-na-mus pa-ri- ter

2 6
Que ineptas divitias Cuius sacris alloquiis
contempsit ut quisquilia quater centeni populi
et famine equissimo renati sunt baptismate
ostendit Dei filium ab Urbano antistite

3 7
A nuptiali thalamo Hinc flammis balnealibus
sposi convertit animum ad concremandum traditur
ut intactis corporibus sed rore sancti spiritus
Christo servirent Domino hostilis rogus vincitur

4 8
Qui post beatum lavacrum Ubi lanista pestifer
a funesto Almachio tertio sanctam feriit
sauciatus occiditur mucronis ictu occiditur
adiit astra spiritus sic aulam poli petiit

5 9
Post hec virgo ab impio Nos ergo tuis quesumus
prefecto comprehenditur tuere virgo precibus
sed stetit imperterrita ut consequamur veniam
prolem tonantis predicans tua colentes merita

10
Deo patri sit gloria
sit laus et unigenito
sancto simul paraclito
in seculorum secula.

692
Mercuri semper venerande martir, St Mercurius, 162v (unique melody; same as Ut digne
possint), in sancti Mercurii martiri ad vesperum

1-g--h-f--g--hjk-k-l--k--j-hh--g-3-l--k-m-l---k--k--l-k-j-hh-g-3-
Mer-cu-ri sem-per ve-ne-ran-de mar-tyr qui ge-ris sa-crum me-ri-to co-ro-nam

1-kjhg-h--j--h--g--g-h-g--f-gh-h-3-hjk-j-j-hh--g-4
mix- te sanc-to-rum ni-ve-is cho-re- is ar- ce po-lo-rum

1-g--h-f--g-hjk-k-l--k--
No-bi-les ves-tros re-ci-nam..

2 5
…triumphos Impie spernens sacra qui Diane
deditos terris tua gesta sancte nobilis subdis caput et periclo
concinat letus horus atque vires mixtus ut sanctis capias laborum
personet ore premia digna

3 6
Ut tuas laudes mereamur omnes Ut tegas nosmet tibi concinentes
voce precelsa celebrare sanctas nobiles laudum titulos precamur
sume virtutum cumulos tuarum ut locis sanctis habitare celi
splendide martyr nos mereamur

4 7
Bella qui vincens Decii iuvamen Sit tibi virtus decus et potestas
Barbarum regem gladio vibranti lumen eternum maris et polorum
prelio vincis caput et superbum atque terrarum tibimet sit ingens
ense repellis gloria Christe.

693
Ad martiris Mercuriii festa venite, St Mercurius, 163r-v (MMMA I,723), ad nocturnas

1-h-gh--h-j--gh-k-j-h-3-h-j--k-l-h-j--j--j-3-j---j-h--g-e--g-h-h-3-
Ad mar-ty-ris Mer-cu-ri-i fes-ta ve-ni-te sup-pli-ces gau-den-do vo-ta sol-vi-te

1-j---h--h-hh-gh-k--j-h-4-hh-gh-h-h-j-gh-k-j-h-3-h-------
lau-des vin-cen-ti red- di-te Con-fer-to cu-i in pre-li-o man-da-ta...

2 6
Dum referuntur tyranno
…prepes detulit talia facta concite
verbis firmans ne ambigat fremens corde ingemuit
promittens et victoriam ense plectendum flagitat

3 7
Hic comptus crucis tropheo Adducunt vinctum martyrem
parmam gestans et lanceam dictis vesanum superat
pugnans fidelis fortiter et multa post supplicia
fissus armis celestibus flavo secatur vertice

4 8
Principis ceso capite Tutus superno munere
responsa dantur illico tormenta vicit omnia
tu prisca mente recole Deo vocante celitus
et fidem redde debitam sumpsit palmam victorie

5 9
Tinctus aquis salubribus Hunc imploremus pariter
et delibutus charismate nos omnes eius famuli
sprevit secli militiam ut nobis poscat premia
tiro deridens Decium sacrique regni gaudia

10
Deo perennis gloria
et gratiarum copia
qui nos credentes refovet
et regnat ante secula.

694
Laudes Mercurii dicere martiris, St Mercurius, 163v-164r (MMMA I,548), ad laudes

1-g---h--j--k-l-kk-k-j-h--j--k-h-3-g--h-j--k-l-l--l-k--j--k-l-l-3-
Lau-des Mer-cu-ri- i di-ce-re mar-ty-ris vir-tu-tum ti-tu-lis co-gi-mur ar-du-is

1-l--n-nm-k-l-l--l-k-h--j-h--g-3-k-j-k-h-jh-g--h--h-4-g--h-j--
Chris-ti mi- li-te et bel-li-ger in-cli-tus ter-ris e-ni-tu- it qui-bus Bel-la-tor…

2 6
…validus providus hostium Christum lingua sonat mens bene conscia
calcavit cuneos visibiles prius nil preter Dominum postulat et rogat
mox invisibiles sustinuit globos defixis oculis ethera respicit
munitus stabili fide promissam requiem sitit

3 7
Nec flecti monitis nec potuit minis Cervix carnifici lactea traditur
nec penis variis et cruciatibus et sanctum gladio subjicitur caput
victor corporei spiritus aggeris miles signiferi dona capit sui
liber sidera prospicit nunquam deficientia

4 8
Pene multiplicant multiplices bona Nunc celo residens ad Dominum preces
et tormenta parant plurima gaudia nostras cum lacrimis votaque conferat
servat propositum purus et integer ut commissa Deus crimina deleat
per quod sidera possidet concedat sua gaudia

5 9
Sectus non timuit dum caro finditur Qui firmas animos rex pie martyrum
nec dum scissa cutis traditur ignibus et iustis tribuis premia largius
nec possunt lapidis claudere pondera peccantum lacrimas respice poscimus
Christum labra vocantia clemens esto rogantibus

10
Sit patri Domino gloria laus honor
semper sit Domino gloria filio
sancto spiritui gloria sit simul
et laus secla per omnia.

695
Post Petrum primum principem, St Andrew, 164r-v (MMMA I,723), sancti Andree ad vesperum
et laudes

1-h--gh--h---j--gh--k--j--h-3-h--j-k--l-h-j--j-j-3-
Post Pe-trum pri-mum prin-ci-pem An-dre-as est a-pos-to-lus

1-j-j-h---g--e--g--gh-h-3-h-gh-h-j--gh--k-j-h-4
sa-lu-tis ver-bum pre-di-cans in A-cha-ia pro-vin- ci- a

2 6
Captus in Patria oppido Loris resolvat impius
traditur diro carceri divinis indeptus muniis
ferali pena ceditur frater instigat iurgiis
tortor callet vesania iustisque querimoniis

3 7
Dilaniatus ictibus Eant tecum que tua sunt
ligno crucis suspenditr Egea tu durissime
bidua vivens non cessat completa eius passio
fidem docere populum devicto hoste callido

4 8
Clamor plebis attollitur Imploret ergo meritis
carus Deo exposcitur suis pro nostris actibus
reddi iustus et innocens ut mereamur conseque
sanctus et bonus poscitur sancta in fine premia

5 9
Fallax ad patibulum Deo patri [sit gloria
quasi ad solvendum properat eiusque soli filio
devotus martyr in penis cum spiritu paraclito
orat ne artioribus nunc et per omne seculum].

696
Decus sacrati nominis, St Andrew, 164v-165r (MMMA I,706), ad laudes

1-h--f--g-h--h-h--g-e-3-h--g---g--g-e-f--e--d-3-
De-cus sa-cra-ti no-mi-nis no-men-que vi-ta ex-pri-mens

1-e--d-e-g--g---h-j--j-3-j--h--g-h-efg-g-f-e-4
hinc te de-co-rum pre-di-cat cru-cis be- a-te glo-ri- a

1-h--f-g---h-h-h--h-g-e-3-h--g-g--
An-dre-a Chris-ti a-pos-to-le hoc ip-se…

2 4
In te crucis mysterium
…iam vocabulo cluit gemello stigmate
decorus idem mystice dum probra vincis per crucem
signaris isto nomine crucisque pendis sanguinem

3 5
Quem crux ad alta provehit Iam nos foveto languidos
crux quem beata diligit curamque nostri suscipe
cui crux amata preparat quo per crucis victoriam
lucis future gaudia celi petamus patriam

6
Deo patri [sit gloria
eiusque soli filio
cum spiritu paraclito
nunc et per omne seculum].

697
Exultet celum laudibus, Common of Apostles, 165r-v (unique melody), in apostolis ad laudes et
vesperum

1-g-k--k--k-h---k-l--l-3-m-m--l--m-k--l-ll-j-3-
Ex-ul-tet ce-lum lau-di-bus re-sul-tet ter-ra gau-di- is

1-j-j--kl-lk-h---j-h-g-3-l--l-k---m--l--j--hj-jhg-4
a-pos-to- lo-rum glo-ri-am sa-cra ca-nant sol-lem-ni- a

1-g--k--k-k-h-k-l--l-3-m-m-l--
Vos se-cli iu-sti iu-di-ces et ve-ra…

2 4
Quorum precepto subditur
...mundi lumina salus et languor omnium
votis precamur cordium sanate egros moribus
audite preces supplicum nos reddentes virtutibus

3 5
Qui celum verbo clauditis Ut cum iudex advenerit
serasque eius solvitis Christus in fine seculi
nos a peccatis omnibus nos sempiterni gaudii
solvite iussu quesumus faciat esse compotes

6
Deo patri [sit gloria
eiusque soli filio
cum spiritu paraclito
nunc et per omne seculum].

698
Eterna Christi munera, Common of Apostles, 165v (MMMA I,127), ad nocturnas

1-g-g--hj--j--hg-hjkj-hg-g-3-g--j-k-l-lml-j-kl-l-3-
E-ter-na Chris-ti mu- ne- ra a-pos-to-lo-rum glo-ri- a

1-j--l-lm-mm-l-kj-hg-hjkjjhg-3-g-hk-k--kj-hg-hjkj-hg-g-4
lau-des fe-ren-tes de- bi- tas le-tis ca-na- mus men- ti-bus

1-g--g-hj-j-hg--hjkj-hg-g-3-g-j-
Ec-cle-si- a-rum prin- ci-pes bel-li...

2 4
In his paterna gloria
…triumphales duces in his voluntas spiritus
celestis aule milites exultat in his filius
et vera mundi lumina celum repletur gaudio

3 5
Devota sanctorum fides Te nunc redemptor omnius
invicta spes credentium ut ipsorum consortio
perfecta Christi caritas iungas precantes servulos
mundi triumphat principem in sempiterna secula.

699
Andrea pie sanctorum, Apostles, 165v-166r (MMMA I,152), de apostolis ad vesperum

1-f-fe-dc-dfd-e--e--e--dc--e--g-e-de-e-3-
An- dre- a pi- e sanc- to- rum mi-tis-si-me

1-g-h-j--h--gfe-f-ed-f--g-e-de-e-3-
ob-ti-ne nos-tris er-ra- ti-bus ve-nu-am

1-edc-d--fd-e--ef--g-e-d-eg-gf-ef-f-3-
et qui gra-va-mur sar-ci-na pec-ca-mi-num

1-fe-ed-de-ef-ed-f--h-hg-fg-fe-de-e-4
sub-le- va tu- is in-ter-ces-si- o- ni-bus

1-f-fe-dc-dfd-e-e-dc-e--g---e-d--e-3-
An-nu- e Chris-te se-cu- lo-rum Do-mi- ne...

2 4
Dole captivos esse tuos servulos
...nobis per horum tibi cara merita absolve reos compeditos erige
ut qui te coram graviter deliquimus et quos cruore redemisti proprio
horum solvamur gloriosis precibus rex bone tecum fac gaudere perpetim

3 5
Salva redemptor plasma tuum nobile Sit tibi Iesu benedicte Domine
signatum sancto vultus tui lumine gloria virtus honor et imperium
ne lacerari sinas fraude demonum una cum patre sanctoque paraclito
propter quod mortis exsolvisti pretium cum quibus regnas Deus ante secula.

700
O Thoma Christe, Apostles, 166r-v (MMMA I,152), sancti Thome

1-f-fe-dc--dfd--e--e-e--dc-e--g--f-de-e-3-g-h-j-
O Tho- ma Chris-ti per-lus- tra-tor la- te- ris per il-la...

...sancta te rogamus vulnera

que mundi cuncta diluerunt crimina
nostros reatus terge tuis precibus.

Annue Christe. Salva redemptor. Dole captivos.654

Mathia iuste duodeno, St Matthias, 166v (no notation), sancti Mathie

Mathia iuste duodeno solio

residens sorte nos a cunctis nexibus
solve peccati vere lucis gaudiis
quo perfruamur tuis sanctis precibus

Annue Christe. Salva. Dole captivos. Sit tibi.

Proni rogamus Philippe, St Phillip 166v (MMMA I,152), in sancti Philippi

1-f-fe-dc-dfd-e--e--e--dc-e-g--e--de-e-3-
Pro- ni ro- ga-mus Phi-lip-pe os lam-pa- dis...

…pias celestis aures pulsa iudicis

ut que meremur repellat supplicia
et que precamur det superna gaudia

Iacobe sancte Iesus frater Domini

sit tibi pia super nos compassio
quos reos fecit superba iactantia
atque fedavit mundi petulantia.

Annue Christe.

654
The subsequent strophes are abbreviated, as they come from strophes 2–4 of the preceding hymn,
Andrea pie sanctorum.

701
Iacobe magne supplantator, St James the Greater, f. 166v (MMMA I,152), sancti Iacobi

1-f-fe-dc-dfd-e--e--ee-dc-e--g--e-de-e-3-
Ia- co- be mag-ne sup-plan-ta-tor ma-xi-me…

…qui vitiorum partivisti spicula

mucrone secte posce nobis veniam
quam Christus fuerit gratis dare miseris.

Annue Christe.

Bartholomee celi sidus, St Bartholomew, 167r (MMMA I,152), sancti Bartholomei

1-f-fe-dc-dfd-e-e-e-dc-e--g--e-de-e-3-g-h-j-h-ge--
Bar- tho- lo- me-e ce- li si-dus au- re-um mi-li-es su-pra...

...solis iubar radians

erige mentes nostras polo turbidas
egrasque nostras sana conscientias.

Annue Christe.

Mathee sancte bino, St Matthew, 167r (MMMA I,152), sancti Mathei

1-f-fe-dc-dfd-e--e-e-dc-e---g--e-de-e-3-g-h-j--h-ge-
Mat- the-e sanc-te bi-no pol-lens mu-ne-re se-du-lis Ie-sum…

...interpella questibus
ut nos in mundi gubernet turbinibus
ne post eternus sorbeat interitus.

Annue Christe.

702
Luca verende evanglista, St Luke, 167r (MMMA I,152), sancti Luce

1-f-fe-dc-dfd-e--e-e-e--dc-e-g--e-de-e-3-g--h----
Lu- ca ve- ren-de e-van-ge- lis-ta ma-xi-me mar-ti-ris…

…beate corporisque medice

ora pro nobis iudicem magnificum
ne nos peccati diluat contagio.

Annue Christe.

Beate Symon et Taddee, Sts Simon and Jude, 167r (MMMA I,152), sancti Symon

1-f-fe-dc-dfd-e---e-e--dc--e-g-e-de-e-3-g-h--j-h--gfe-
Be- a- te Sy- mon et Thad-de- e in-cli-te cer-ni-te nos-tros…

…gemitus cum lacrimis

quique per lapsum promeremur barathrum
per vos celorum mereamur aditum.

Annue Christe.

703
Deus tuorum militum, Common of One Martyr, 167v (MMMA I,115), in nativitate unum
martirum ad nocturnas

1-g-g--gf-h-hj--l-l-kj-3-l--k-j-jj-h-jklk-jh-h-3-
De-us tu- o-rum mi-li-tum sors et co- ro-na pre- mi-um

1-h--k--j-hh-g---j-gh-hg-3-ghjg-h--g-gf-e-fghg-fe-e-4
lau-des ca-nen-tes mar-ty-ris ab- sol-ve ne-xu cri- mi-nis

2 4
Hic nempe mundi gaudia Ob hoc precatu supplici
et blandimenta noxia te posciumus piissime
caduca rite deputans in hoc triumpho martyris
pervenit ad celestia dimitte noxam servulis

3 5
Penas cucurrit fortiter Sit laus perennis gloria
et sustulit viriliter Deo patri cum filio
pro te effundens sanguinem sancto simul paraclito
eterna dona possidet in seculorum secula.

704
Martir Dei qui unicum, Common of One Martyr, 167v-168r (MMMA I,117), ad vesperum et
laudes

1-f---f-g-h--h-gh-g--f-3-h--k-k---k--g-h-h-hg-3-
Mar-tyr De-i qui u- ni-cum pa-tris se-quen-do fi-li-um

1-f--f-d--f---g---h--g-f-3--f--f--g--h--h-gh-g--f-4
vic-tis tri-um-phans hos-ti-bus vic-tor fru-ens ce-les- ti-bus

1-f-f--g-h--h-gh-g-f-3-h-- k---k-k-----
Tu-i pre-ca-tus mu-ne-re nos-trum re-a-tum…

2 3
Soluta sunt iam vincula
…dilue tui sacrati corporis
arcens mali contagium nos solve vinclis seculi
vite removens tedium amore filii Dei

4
Deo patri [sit gloria
eiusque soli filio
cum spiritu paraclito
nunc et per omne seculum].

705
Sanctorum meritis, Common of Several Martyrs, f. 168r-v (MMMA I,159) in plurimum martiri
ad vesperum

1-d---e---f-g--h-gh-k-k-l--k-j-h-f-3-
Sanc- to-rum me-ri-tis in-cli-ta gau- di-a

1-k---k-g--h-gh-e-g--g-h--g-h-gh-3-
pan-ga-mus so-ci- i ges-ta-que for-ti-a

1-g---g--h-k-j--h---k--k-g--h-gh-e-3-g--g-fgfe-f-g---j-gh-h-4
nam glis-cit a-ni-mus pro-me-re can-ti-bus vic-to-rum ge-nus op-ti-mum

2 4
Hi sunt quos retinens mundas inhorruit Ceduntur gladiis more bidentium
ipsum nam sterili flore peraridum non murmur resonat non querimonia
sprevere penitus teque secuti sunt sed corde tacito mens bene conscia
Rex Christe bone celitus conservat patientiam

3 5
Hi pro te furias atque ferocia Que vox que poterit lingua retexere
calcarunt hominum sevaque verbera que tu martyribus munera preparas
cessit his lacerans fortiter ungula rubri nam fluido sanguine laureis
nec carpsit penetralia ditantur bene fulgidis

6
Te trina Deitas unaque poscimus
ut culpas abluas noxia subtrahas
des pacem famulis nos quoque gloriam
per cuncta tibi secula.

706
Eterna Christi munera, Common of Martyrs, 168v (MMMA I,115), in estivo tempore ad
nocturnas

1-e--e-ed--g-gh-k--k-jh-3-k--j-h--hh--g-hjkj-h-g-3-
E-ter-na Chris-ti mu-ne-ra et mar-ty-rum vic-to- ri-as

1-gh--k--j-h--g--j-gh-hg-3-ghjg-h-g-gf-e---fghg-fe-e-4
lau- des fe-ren-tes de-bi- tas le- tis ca-na-mus men- ti- bus655

1-e--e-ed-g-g-h--k-k-jh-3-k-j---h--hh-g-
Ter-ro-re vic-to se- cu-li pe-nis-que spre-tis...

2 4656
Nudata pendent viscera
…corporis sanguis sacratus funditur
mortis sacre compendio sed permanent immobiles
lucem beatam possident vite perennis gratia

3 5
Traduntur igni martyres In his paterna gloria
et bestiarum dentibus in his voluntas spiritus
armata sevit ungulis exsultat in his filius
tortoris insani manus celum repletur gaudio

6
Te nunc redemptor quesumus
ut martyrum consortio
iungas precantes servulos
in sempiterna secula.

655
There is a strophe missing right after the first.
656
There is a strophe missing right afterthis one.

707
Rex gloriose martirum, Common of Martyrs, 168v-169r (unique melody), ad laudes

1-g--ghg-f-g-h--k--k--j-3-h-j--k--h-h--j-h-g-3-g-hj-h-hh-g--h-g-f-3-
Rex glo- ri-o- se mar-ty-rum co-ro-na con-fi-ten-ti-um qui res-pu-en-tes ter-re-a

1-h--k--j-k-h--j-h-g-4
per-du-cis ad ce-les-ti-a

2 3
Aurem benignam protinus tu vincis in martyribus
adpone nostris vocibus parcendo confessoribus
tropea sacra pangimus tu vince nostra crimina
ignosce quod delinquimus donando indulgentiam

4
Deo patri [sit gloria
eiusque soli filio
cum spiritu paraclito
nunc et per omne seculum].

708
Sacra piorum martirum, Common of Martyrs, f. 169r (MMMA I,116), ad vesperum

1-gh-h--gf-g-hjh-g--fg-g-3-gh-h-gf--g-h--k-kl-l-3-
Sa-cra pi- o-rum mar-ty-rum fes-ta nunc in-stat an-nu-a

1-l--l--k---k-g--j--h-g-3-gh-h-gf-g-hjh-g-fg-g-4
qua mun-di spre-to prin-ci-pe reg-na be- a- ta pos-si-dent

1-gh-h-gf-g-hjh-g--fg-g-3-
Ce- les-ti vi- ti gra-[ti- a]...

2 4
Horum sanctorum precibus
...spreverunt mundi gaudia fulti precemur Dominum
penis afflicti gravibus ut nobis donet veniam
preberunt colla gladiis nec non polorum gaudia

3 5
Tortor adurit impius Deo patri [sit gloria
membra beata ignibus eiusque soli filio
fuso cruore viscerum cum spiritu paraclito
palmam sumserunt glorie nunc et per omne seculum].

709
Summe confessor sacer et sacerdos, Common of Confessors, f. 169r-170r (MMMA I,73), in
sanctorum confessorum ad vesperum et ad nocturnas

1-hg--f--h--g--g--g-h--k-j-hh-g-3-[-k-k-]-l--kh-jk-h-g-h--j--hh-g-3
Sum-me con-fes-sor sa-cer et sa-cer-dos tem-po-rum me-tas ro-ta tor-quet an-ni

1-gh--j-j--k-f-g-g--j--j-h--hj--3-jh-f-h-g--g-4
tem-pus est no-bis ti-bi con-se-cra-tum pan-ge-re fes-tum

2 6
Presul insignis meritisque clare Tu procul casus prohibe tonantes
te sacra cleri populique turba pelle peccata tenua furorem
corde prostrato pietate poscit pestis et morbus petimus recedant
vernula patrem sospite cive

3 7
Vota cunctorum relevans in aula Moribus cunctis moderare vitam
regis eterni foveas utrumque confer et sudam placidamque mentem
ordinem cuius pius exstitisti corda virtutum meditentur arma
pastor in urbe munere Christi

4 8
Questibus cunctis referunt gementes Sancte tu prebe quoties rogaris
gesta culparum lacrymasque pandunt profluos fructus pluviasque largas
pessime mentis animeque nigre credimus cuncta Domino favente
crimina dira te dare posse

5 9
Dignaque pena revocat in ora Credimus Christum pretium laborum
nostra cum dira miseros perurget premium iustis studiis dedisse
pandere mundo variante facta a quibus artus etiam solutus
celitus ira morte bearis

10
Gloria Christo patulo canamus
ore prestanti sive servienti
tanta qui pollet Deitate simplex
trinus et unus.

710
Iste confessor Domini sacratus, Common of Confessors, 170r-v (MMMA I,729), ad laudes et
vesperum

1-ghg-h--j---h-g--g-h--j-g--hj-jh-3-jk-j--j---hg-h--j-h-g---h-gg-e3
Is- te con-fes-sor Do-mi-ni sa-cra- tus fes- ta plebs cu-ius ce-le-brat per or-bem

1-gjg-h-j-hh-g-g--h-j-g--h-jkj-3-h--g--h-fefgf-f-4-ghg-h-j--
ho- di-e le- tus me-ru-it se-cre-ta scan-de-re ce- li Qui pi-us…

2 4
…prudens humilis pudicus Unde nunc noster chorus in honore
sobrius castus fuit et quietus ipsius ymnum canit hunc libenter
vita dum presens vegetavit eius ut piis eius meritis iuvemur
corporis artus omne per evum

3 5
Ad sacrum cuius tumulum frequenter Sit salus illi decus atque virtus
membra languentum modo sanitati qui supra celi residens cacumen
quilibet modo fuerint gravati totius mundi machinam gubernat
restituuntur trinus et unus.

711
Iesu redemptor omnium perpes corona, Common of Confessors, f. 170v (unique melody), ad
vesperum

1-g-ghg-f---g---h-k--l-lk-3-k--lm-l-kj-g--j--k--j-3-
Ie-su re-demp-tor om-ni-um per-pes co-ro- na pre-su-lum

1-h-g--f-g-h--k--l-k-3-k---k-g-h-f-gh-hh-g-4
in hac di-e cle-men-ti-us nos-tris fa-ve-to vo- ci-bus

2 4
Tui sacri qua nominis Cuius benignus annue
confessor almus claruit nobis seque vestigia
cuius celebrat annua huius precatu servulis
devota plebs solemnia dimitte noxam criminis

3 5
Qui rite mundi gaudia Sit Christe rex piissime
huius caduca respuens tibi patrique gloria
cum angelis celestibus cum spiritu paraclito
letus potitur premiis et nunc et in perpetuum.

712
Sancti illi presulis, Common of Confessors, f. 170v-171r (MMMA I,726), alius

1-dh-g-d-e-f--g-h-gfe-3-h--g----d--e-f-g-h--g-3-
Sanc-ti il- li pre-su-lis ym-num Chris-to re-fe-ri-mus

1-g--j---h--gf-gh-gg--e-3-g--gg-f--d---e--f-g--h--gfe-4
qui con-temp-sit se- clo-rum mer-ca-tus est Chris-ti pre-mi-um

2 5
Qui in adulescentia Magnus existens medicus
precepta Dei tenuit infirma sanans corpora
stipemque largam iugiter devote salvans animas
erogavit pauperibus possessas a diabolo

3 6
Instat doctrina orthodoxa Tanta repletus gratia
digna sortitus premia obviam Christo abiit
pastorque versus populo et nobis semper maxima
summus sacerdos rutilat ostendit mirabilia

4 7
Crebris quoque ieiuniis Rogemus ergo populi
carnis repulit vitia pontificem Gregorium
sepe docendo populum ut eius interventibus
destruxit mundi idola letemur in celestibus

8
Deo patri [sit gloria
sit laus et unigenito
sancto simul paraclito
in seculorum secula].

713
Iesu corona virginum, Common of Virgins, 171r-v (MMMA I,750), in unius virgine ad
vesperum et laudes

1-g-hj-jh-k-hg-h--k--j-3-hh--g--h-j-hj-g-h--g-3-
Ie-su co-ro-na vir-gi-num quem ma-ter il-la con-ci-pit

1-g--hj-jh-k-l--h--k-j-3-h-g-h--j---hj--g-h-g-4
que so- la vir-go par-tu-rit hec vo-ta cle-mens ac-ci-pe

1-g--hj-jh-k--hg-h-k-j-3-h-----
Qui pas- cis in- er li-li- a sep-tus…

2 3
Quocunque pergis virgines
…choreis virginum sequuntur atque laudibus
sponsus decorus gloria post te canentes cursitant
sponsisque reddens premia ymnosque dulces personant

4
Te deprecamur largius
nostris adauge mentibus
nescire prorsus omnia
corruptionis vulnera.

714
Virginis proles opifexque matris, Common of Virgins, 171v (MMMA I,532), ad nocturnas

1-f--h--j-kl--k-jh-g--h--j--hh-g-3-f-h---j---kl-k-j--l--k--m--l-k-3
Vir-gi-nis pro-les o- pi-fex-que ma-tris vir-go quem ges- sit per-pe-rit-que vir-go

1-kl-lk-j--k--h--j-g--h--j-hg--g-3-f-h-j-kjh-h-4
vir- gi-nis fes-tum ca-ni-mus tro-pe-um ac-ci-pe vo- tum

2 4
Hec tua virgo duplici beata Huius obtentu Deus alme nostris
sorte dum gestit fragilem domare parce iam culpis vitia remittens
corporis sexum domuit cruentem quo tibi puri resonemus almum
corpore seclum pectoris ymnum

3 5
Inde nec mortem nec amica mortis Gloria patri genitique proli
seva penarum genera pavescens et tibi compar virtusque sempiterni
sanguine fuso meruit sacratum spiritus alme Deus unus omni
scandere celum tempore secli.

715
Urbs beata Ierusalem, Dedication of a Church, f. 172r (MMMA I,112), dedicatione ecclesiam ad
vesperum

1-g--gh-h-h-k-j-hh-g--j--k-l-kj-k-l-lk-3-
Urbs be- a-ta Ie-ru-sa-lem dic-ta pa-cis vi-si- o

1-j---k--l-k-jh-jkj-g-g--k-j--j-h-j-h--g-3-
que con-stru-i-tur in ce-lis vi-vis ex la-pi-di-bus

1-g-h--k-h--j-k-l--k-m--l--kj-klk-h-gh-h-4
et an-ge-lis co-ro-na- ta ut spon-sa- ta co-mi- te

2
Nova veniens e celo nuptiali thalamo
preparata ut sponsata copulatur Domino 6
platee et muri eius ex auro purissimo Omnis illa Deo sacra et dilecta civitas
plena modulis in laude et canore iubilo
3 trinum Deum unicumque cum favore
Porte nitent margaritis adytis patentius predicat
et virtute meritorum illuc introducitur
omnis qui pro Christi nomine hic in mundo 7
premitur Hoc in templo summe Deus exoratus adveni
et clementi bonitate precum vota suscipe
4 largam benedictionem hic infunde iugiter
Tunsionibus pressuris expoliti lapides
suis coaptuntur locis per manum artificis 8
disponuntur permansuri sacris edificiis Hic promereantur omnes petita adquirere
et adepta possidere cum sanctis perenniter
5 paradisum introire translati in requiem
Angularis fundamentum lapis Christus
missus est 9
qui compagne parietis in utroque necitur Gloria et honor Deo usquequo altissimo
quem Sion sancta suscepit in quo credens una patri filioque inclito paraclito
permanet cuius laus est et potestas per eterna secula.

716
Christe cunctorum dominator alme, Dedication of a Church, f. 172v-173r ad noct. (MMMA
I,151), ad nocturnas

1-gg--f--ghj-jh-gh-g-gg-f--h-j--j-3-l--l-m-lk-l-l-k--h-j-hh-g-3-
Chris-te cunc- to-rum do-mi-na-tor al-me pa-tris e- ter-ni ge-ni-tus ab o- re

1-hjk-lkj-h--j-j--k-l-k--jk--kj-hg-3-j-h--j-gf-g-4-
sup- pli-cum vo-ta pa-ri-ter-que ym-num cer-ne be-nig-nus

2 6
Cerne quod puro Deus in honore Demonis seva perit hic rapina
plebs tua supplex resonat in aula pervicax monstrum pavet et retenta
annua cuius redeunt colenda corpora linquens fugit in remotas
tempora festa ocius umbras

3 7
Hec domus rite tibi dedicata Hic locus nempe vocitatur aula
noscitur in qua populus sacratum regis immensi niveaque celi
corpus assumit bibit et beati porta que vite patriam petentes
sanguinis haustum accipit omnes

4 8
Hic sacrosancti latices veternas Turbo quam nullus quatit aut vagantes
diluunt culpas perimuntque noxas diruunt venti penetrantque nimbi
chrismate vero genus ut creetur non tetris ledit piceus tenebris
Christicolarum tartarus horrens

5 9
Hic salus egris medicina fessis Gloria summum [resonet parentem
lumen orbatis veniaque nostris gloria natum pariterque sanctum
fertur offensis timor atque meror spiritum dulci moduletur ymno
pellitur omnis omne per evum].

717
Quesumus ergo Deus, Dedication of a Church, f. 173r-v (Division of Christe cunctorum;
MMMA I,723), ad laudes

1-g---h-f---g-hjk-k-l-k-j-hh-g-3-l-k-m--ll-k-k-l---k-j-hh--g-3-
Que-su-mus er-go De-us ut se-re-no an-nu-as vul-tu fa-mu-los gu-ber-nans

1-kjhg-h-j-h---g-g-h--g---f-gh-h-3-hjk-j-j-hh-g-4-g-h--
qui tu-i sum-mo ce-le-bran-tis a- mor gau- di-a tem-pli Nul-la…

2 3
…nos vite cruciet molestis Hic dies in quo tibi consecratam
sint dies leti placideque noctes conspicis aram tribuat perenne
nullus ex nobis pereunte mundo gaudium nobis vigeatque longo
sentiat ignes temporis usu

4
Gloria summum resonet parentem
gloria natum pariterque sanctum
spiritum dulci moduletur ymno
omne per evum.

718
Christe celorum habitator alme, Dedication of a Churh, f. 173v-174r (unique melody), ad laudes

1--g--g-g-h--g--g-g--f-g--e-d-3-g--g--g---h--g-h--g--h-j--h-g-3-
Chris-te ce-lo-rum ha-bi-ta-tor al-me hec do-mus ful-get sub ho-no-re cu-ius

1-jklkjhg-h-j--h---g--g-g--f---g-e-d-3-ghg-h--j-h--g-4
hos- ti-am cle-mens ti-bi quam li-ta-mus sus- ci-pe lau-dis

2 4
Omnium semper chorus angelorum Virginis sancte meritis Marie
in polo temet benedicit alto atque cunctorum pariter piorum
atque te sancti simul universi contine penam pie quam meremur
sedulo laudant daque medelam

3 5
Quesumus quorum precibus sacratis Hic tuam presta celebrare laudem
nos in hoc templo tibi dedicato flebilem vitam miseratus istam
cernuis votis petimus canentes fiat ut nobis licitum videre
cerne benignus te sine fine

6
Doxa sublimi maneat parenti
eius ac nato simul atque sancto
neumati trino Domino et uno
semper in evum.

719
Altare hoc magnum Dei, Dedication of an Altar, f. 174r (MMMA I,13), dedicatione unius altaris
ad vesperum

1-h-hh-g--h---f---g--h-h-3-h--k-kl--l-kj-kl-kjh-h-3-
Al-ta- re mag-num hoc De- i sa-cra-tum est in hac di- e

1-h-h--g--h-f-g-h-hg-3-g--g---f-g--h---j-h-g-4
cu-ius ho-no-re se-du-lo om-nes cur-va-mus ge-nu-a

1-h--hh--g-h--f--g--h--h-3-h--k-kl-
Pre-can-tes au-tem Do-mi-num qui so-lus...

2 4
Omnis qui hic ingreditur
…invisibilis sanctificatus exeat
ut nos semper in hoc loco semper orando Dominum
sanctificari iubeat purificatus maneat

3 5 657
Vota solventes hic Deo Sanctificet nos Dominum
sanctisque eius omnibus in hoc templo sancto suo
quorum sacre reliquie in quo et nos solemniter
templum ornarunt hoc Dei sacrum munus offerimus

6
Deum fratres carissimi
et Christum eius filium
simul cum sancto spiritu
ymnis laudemus iugiter.

657
There is a strophe missing right before
this one, and one missing before the first strophe.

720
 Appendix D: Melody-Text Concordances in Select Notated Southern Italian Hymnaries

Nota Bene: The numbers refer to the number given to the hymn melody in Stäblein’s index. The

numbers preceded by the letter U indicate melodies that are unique to a given manuscript and not

previously identified in Stäblein’s hymn index. I have assingned these numbers myself. The

letter S indicates melodies in the Solesmes Liber Hymnarius. These are identified in the footnote

following this table.

Table 11: Melodic concordances of four southern Italian notated hymnaries arranged according
to melody number

Melody

Ben 37

Ben 42
Casan.
Hymn Incipit Feast

1574
number658

Bari
2 Splendor paterne glorie Feria II X
Ales diei nuntius Feria III X
Nox et tenebre et nubila Feria IV X
Lux ecce surgit aurea Feria V X
Eterna celi gloria Feria VI X
Aurora iam spargit polum Saturdays X
3 Ad cenam agni providi Easter X X X
Rex (sempi)eterne Domine Easter X
Ymnum canamus Domino Maundy Thursday X
Festum beati martyris St Mark X
Optatus votis omnium Ascension X
Beata nobis gaudia Pentecost X
Hic est dies verus Easter X
Paschalis dies colitur Easter X
Sublime nobis imminet St Boniface X
Ad laudem sancte Marie Assumption X
Martine confessor Dei St Martin X
Verbum salutis omnium Advent X X
4 Beata nobis gaudia Pentecost X
Ad cenam agni providi Easter X
5 Iam lucis splendor rutilat Lent X X
7 Nunc sancte nobis spiritus Sundays X
Rector potens verax Deus Sundays X X
Rerum Deus tenax vigor Sundays X

658
Melody numbers given in Stäblein, Die Hymnen.
721
 9 Christe qui lux est et dies Lent X X
13 Altare hoc magnum Dei Dedication X
Sacratum hoc templum Dedication X
Post Petrum primum St Andrew X
14 Adest miranda passio St Vincent X
Sic ter quaternis Lent X X
15 Magno salutis gaudium Palm Sunday X
Rex (sempi)eterne Domine Easter X
16 Vox clara ecce intonat Advent X X X
17 Veni creator spiritus Pentecost X X X X
Veni redemptor gentium Christmas X
19 Conditor alme siderum Advent X
22 Lucis creator optime Sundays X
O lux beata trinitas Saturdays X X
23 Conditor alme siderum Advent X
32 Vexilla regis Passion X X X X
36 Beata nobis gaudia Pentecost X
Hostis Herodes impie Epiphany X X X
53 A solis ortus cardine Christmas X
54 Summe largitor premii Lent X
55 Audi benigne conditor Lent X X X X
Sic ter quaternis Lent X
56 Crux fidelis Passion X X
Pange lingua Passion X
59 Nunc sancte nobis spiritus Sundays X
70 Sanctorum meritis Multiple martyrs X
71 Christe redemptor omnium Christmas X
Veni redemptor gentium Advent X X
Eterne rex altissime Ascension X
73 Nocte surgentes Sundays X
Summe confessor sacer Confessors X
105 Felix per omnes (strophe 2) Sts Peter and Paul X
112 Alleluia dulce carmen Septuagesima X
Iste electus Iohannes St John Apostle X X
Tibi Christe splendor patris St Michael X X X
Urbs beata Hierusalem Dedication X
114 Beata nobis gaudia Pentecost X
115 Deus tuorum militum One martyr X
Eterna Christi munera Multiple martyrs X
116 Claret sacrata iam dies St Gregory X
Magno canentes annua St Benedict X
O nata lux de lumine Transfiguration X X
Fit porta Christi pervia Assumption X X
Sacrum piorum martyrum Multiple martyrs X
722
 Christe redemptor omnium Christmas X
Devota mente socii St Lawrence X
Fratres alacri pectore St Benedict X
Decus sacrati nomini St Andrew X
Te trina Deus Trinity X
Optatus votis omnium Ascension X
Infantum diem martyrum Holy Innocents X
Salvete flores martyrum Holy Innocents X
Quem terra pontus Purification X
117 Hic est dies verus Easter X X
Martyr Dei egregie St Sebastian X
Martyr Dei qui unicum One martyr X
126 Verbum supernum prodiens Advent X X X
Illuminavit hunc diem St Michael X
127 Eterna Christi munera Apostles X X
Apostolorum passio diem Sts Peter and Paul X
130 Deus pater piissime Lent X
133 Crux fidelis Passion X
136 Te lucis ante terminum Sundays X X
142 Primo dierum omnium Sundays X X
Somno refectus artubus Feria II X X
Consors paterni luminis Feria III X
Rerum creator optime Feria IV X
Nox atra rerum contegit Feria V X
Tu trinitatis unitas Feria VI X
Summe Deus clementie Saturdays X
143 Eterne rerum conditor Sundays X
145 Immense celi conditor Feria II X X
Telluris ingens conditor Feria III X
Celi Deus sanctissime Feria IV X
Magne Deus potentie Feria V X
Plasmator hominis Deus Feria VI X
147 Confessor Domini Maure St Maur X
Martyris ecce dies Agathe St Agatha X X
148 Iam Christe sol iustitie Lent X X
149 Ave maris stella Annunciation X X X X
Christe sanctorum decus St Michael
151 X
angel.
Ut queant laxis St John Baptist X
Christe lux mundi St Lucy X
Christe cunctorum dominator Dedication X
152 Aurea luce et decore roseo Sts Peter and Paul X X X X
Andrea pie & Annue Christe Apostles X X
Clarus hec signis St Leo X
723
 Salve crux sancta Exaltation Cross X
155 Ymnum canamus St Cyriacus X
157 Rex Christe Martini decus St Martin X
159 Sanctorum meritis Multiple martyrs X
160 Quod chorus vatum Purification X X X
412 Ex more docti mystico Lent X X X X
413 Dei fide qua vivimus Lent X X X
Qua Christus hora sitiit Lent X
Ternis ter horis Lent X
422 O veneranda trinitas Trinity X
Adstat en turba St Boniface X
501 Deus creator omnium Sundays X
Egredere Emmanuhel Christmas X
503 Exultet celum laudibus Apostles X
528 Iesu nostra redemptio Easter X
Iesus refulsit omnium Epiphany X X
Christe sanctorum decus St Michael
532 X
angel.
Gaudium mundi Christe St Bartholomew X X
Ut queant laxis St John Baptist X X
O pater sancte mitis Trinity X
Non fuit vasti spatium St John Baptist X
O sator rerum Transfiguration X X
Christe qui virtus sator All Saints X
Virginis proles opifexque Virgins X
535 Illuminans altissimus Epiphany X X
Illuminavit hunc diem St Michael X
548 Festum nunc celebre Ascension X X X
Laudes Mercurii St Mercurius X
549 Almi prophete progenies St John Baptist X
704 Christe redemptor omnium Christmas X
705 Nunc tibi virgo virginum Assumption X X
706 Eustasii magni martyris St Eustasius X X
Stephano primo martyris St Stephen X X
Devota mente socii St Lawrence X
Decus sacrati nominis St Andrew X
Deus qui mundum crimine Annunciation X
Festa sacrata presulis St Apollinaris X
Ad Christi laudem virginis St Cecilia X
Silvestri almi presulis St Sylvester X
Magno canentes annua St Benedict X
714 Aures ad nostras Lent X X X
721 Apostolorum passio diem Sts Peter and Paul X X
A solis ortus cardine Christmas X X
724
722 Christus est vita veniens St Stephen X X
723 Optatus votis omnium Ascension X
Ad laudem Christi procerum St Bartholomew X X
Aurora lucis rutilat Easter X X X
Iam lucis splendor rutilat Lent X
Christe redemptor omnium All Saints X X
Quesumus ergo Deus Dedication X
Post Petrum primum St Andrew X
Ad martyris Mercurii St Mercurius X
Splendor diei rutilat Holy Twelve
X
Brothers
Gaudet sanctorum St Iuvenal X
Anglorum iam apostolus St Gregory X
Ambrosi sidus aureum St Ambrose X
Sollemnis dies advenit St John Apostle X X
Ad Christi laudem virginis St Cecilia X
Gaudium mundi Christe St Bartholomew X
Devotes te concentibus All Souls X
Splendor paterne glorie Feria II X
Signum crucis mirabile Exaltation Cross X
O gloriosa Domina Purification X
Christe creator omnium St Mary Magdalen X
Pie colamus annua St Mary Magdalen X
O quam beata femina St Mary Magdalen X
Adesto sancta trinitas Trinity X
Iesu salvator seculi All Saints X
724 Pange lingua…prelium Passion X X X
Urbs beata Hierusalem Dedication X
725 Magno salutis gaudium Palm Sunday X X X
726 Iam Christus ascendit polum Ascension X X
Iam Christus astra ascenderat Pentecost X X
Sancti illi presulis Confessors X
727 Iam Christus ascendit polum Ascension X
Iam Christus astra ascenderat Pentecost X
729 Ecce iam noctis Sundays X X
Iste confessor Domini Confessors X
O veneranda trinitas Trinity X
O pater sancte mitis Trinity X
Christe celorum habitator Dedication X
730 Christe cunctorum dominator Dedication X
Christe sanctorum decus St Michael
X
angel.
732 Martyr Dei qui unicum St Sebastian X
733 Hodie sacratissima virgo St Scholastica X X X

725
 Agnetis festum martyris St Agnes X X
Quem terra pontus Purification X
O pontifex egregie St Gregory X
Fratres alacri pectore St Benedict X
Iam sacra dies annua St Felicitas X
Iesu salvator seculi All Saints X
Confessor Domini Maure St Maur X
734 Martyris ecce dies Agathe St Agatha X
Christe sanctorum decus St Benedict
735 X
atque
736 Deus qui verbi angelo St John and Paul X
Deus qui mundum crimine Annunciation X X X
Martyris Christi colimus St Lawrence X X
737 Ave maris stella Annunciation X
738 Almi prophete progenies St John Baptist X X X X
Quis possit amplo famine Assumption X X X
Votis tuorum Christe Holy Twelve
X
Brothers
Assertor equi St John Baptist X
739 Felix per omnes (strophe 1) Sts Peter and Paul X X
740 Sancti Thome St Thomas Apostle X
Christi caterva pervigil Holy Twelve
X
Brothers
In laude Martini St Martin X X X
Rex Christe Martini St Martin X
Ad laudem sancte Marie Assumption X
Martine confessor Dei X
741 Gaude visceribus Nativity of Virgin X X X
750 Iesu corona virginum Virgins X
757 Agonitheta nobilis St Cyriacus X
759 Felix per omnes (strophe 2) Sts Peter and Paul X
761 Medie noctis tempus est Lent X
768 Iam lucis orto sidere Sundays X
769 Pange lingua…prelium Passion X
Lustra sex Passion Sunday X
770 Aurora lucis rutilat Lent X
771 Festum nunc celebre Ascension X
772 Iam Christus astra ascenderat Pentecost X
773 Salve crux sancta Exaltation Cross X
774 Presulem sanctum reboate St Sabinus X
Christe sanctorum decus St Michael
X
angel.
775 Felix per omnes Sts Peter and Paul X
776 O pater sancte mitis Transfiguration X

726
 777 Ad laudem sancte Marie Assumption X
778 Deus tuorum militum One martyr X
779 Beatus vir Vincentius St Vincent X
Martyr Dei qui unicum One martyr X
794 Gemma celestis St Benedict X
Gaudium mundi nova stella Annunciation X
659
U1 Agonitheta nobilis St Vincent X
U2 Funeris victor triduo Ascension X
U3 Festum beati martyris St Mark X
U4 O clara mundi lumina Sts John and Paul X
U5 Verbum salutis omnium Advent X
U6 Mercurii semper venerande St Mercurius X
Ut digne possint St Vincent X
U7 Eterne rerum conditor Sundays X
U8 Salvete flores martyrum Holy Innocents X
U9 Martyris ecce dies Agathe St Agatha X
U10 Deus eterne famulos Forty Martyrs X
U11 Festa sacrata presulis St Apollinaris X
U12 Exultet celum laudibus Apostles X
U13 Rex gloriose martyrum Multiple martyrs X
Iesu redemptor omnium Confessors
U14 X
perpes
Christe celorum habitator Dedication
U15 X
alme
U16 Sollemnis dies advenit St John Evangelist X
Ad Christi laudem virginis St Cecilia X
U17 Gaudet sanctorum St Iuvenal X
U18 Alleluia piis edite Septuagesima X
U19 Nocte surgentes Sundays X
U20 Rector potens verax Deus Sundays X
U21 Rerum Deus tenax vigor Sundays X
U22 Lucis creator optime Sundays X
U23 Ut queant laxis St John Baptist X
U24 O Roma felix Sts Peter and Paul X
U25 Andrea pie St Andrew, Apostles X
U26 Pangamus pariter St Barbatus X
S1660 Iam lucis orto sidere Sundays X
Christe sanctorum decus St Benedict
S2661 X X
atque

659
U indicates a unique melody not catalogued in Stäblein, Die Hymnen.
660
S1 indicates Solesmes, Liber Hymnarius (Belgium and New York: Desclée, 1983), melody for the text
Adorna Sion on p. 347.
661
S2 indicates Solesmes, Liber Hymnarius, melody for the text Iste confessor Dominum on p. 466.
727
Nota Bene: The numbers in the following table refer to the number given to the hymn melody in

Stäblein’s index. The numbers preceded by the letter U indicate melodies that are unique to a

given manuscript and not previously identified in Stäblein’s hymn index. I have assigned these

numbers myself. The letter S indicates a melody in the Solesmes Liber Hymnarius, identified in

the two preceding footnotes.

Table 12: Melodic concordances of four southern Italian notated hymnaries arranged according
to hymn incipit

Ben 37

Ben 42

Casan.
1574
Bari
Hymn Incipit Feast

Primo dierum omnium Sundays 142 142

Eterne rerum conditor Sundays U7 143
Nocte surgentes Sundays 73 U19
Ecce iam noctis Sundays 729 729
Iesu salvator seculi Sundays 733
Iam lucis orto sidere Sundays S1 768
Nunc sancte nobis spiritus Sundays 7 59
Rector potens verax Deus Sundays 7 U20
Rerum Deus tenax vigor Sundays 7 U21
Lucis creator optime Sundays 22 U22
Deus creator omnium Sundays 501
Te lucis ante terminum Sundays 136 136
Christe qui lux est et dies Sundays, Lent 9 9
Somno refectus artubus Feria II 142 142
Splendor paterne glorie Feria II 2 723
Immense celi conditor Feria II 145 145
Christe redemptor omnium Feria II
Consors paterni luminis Feria III 142
Ales diei nuntius Feria III 2
Telluris ingens conditor Feria III 145
Rerum creator optime Feria IV 142
Nox et tenebre et nubila Feria IV 2
Celi Deus sanctissime Feria IV 145
Nox atra rerum contegit Feria V 142
Lux ecce surgit aurea Feria V 2
Magne Deus potentie Feria V 145
Tu trinitatis unitas Feria VI 142
Eterna celi gloria Feria VI 2
728
Plasmator hominis Deus Feria VI 145
Aurora iam spargit polum Saturdays 2
O lux beata trinitas Saturdays 22 22
Conditor alme siderum Advent 19 23
Verbum supernum prodiens Advent 126 126 126
Vox clara ecce intonat Advent 16 16 16
Verbum salutis omnium Advent U5 3
Debitas laudes St Nicholas S2
Ambrosi sidus aureum St Ambrose 723
Christe lux mundi St Lucy 151
Sancti Thome St Thomas Apostle 740
Egredere Emmanuhel Christmas 501
Veni redemptor gentium Christmas 17 71 71
Christe redemptor omnium Christmas 71 116 704
A solis ortus cardine Christmas 721 721 53
Christus est vita veniens St Stephen 722 722
Imbuit primus homines (div.) St Stephen 722
Stephano primo martyris St Stephen 706 706
Iste electus Iohannes St John Apostle 112 112
Te rogamus te precamus (div.) St John Apostle 112
U1
Sollemnis dies advenit St John Apostle 723
6
Salvete flores martyrum Holy Innocents U8 116
Infantum diem martyrum Holy Innocents 116
Silvestri almi presulis St Sylvester 706 706
Iesus refulsit omnium Epiphany 528 528
Innocents, 36
Hostis herodes impie 36 36
Epiphany
Illuminans altissimus Epiphany 535 535
Confessor Domini Maure St Maur 147 733
Martir Dei egregie St Sebastian 117
Agnetis festum martyris St Agnes 733 733
Agonitheta nobilis St Vincent U1
Beatus vir Vincentius St Vincent 779
Adest miranda passio St Vincent 14
Ut digne possint St Vincent U6
Quod chorus vatum Purification 160 160 160
Quem terra pontus Purification 733 116
O gloriosa Domina Purification 723
147 147
Martyris ecce dies Agathe St Agatha U9
734
Hodie sacratissima virgo St Scholastica 733 733 733
Presulem sanctum reboate St Sabinus 774

729
 U2
Pangamus pariter St Barbatus
6
U1
Deus eterne famulos Forty Martyrs
0
Anglorum iam apostolus St Gregory 723
O pontifex egregie (div.) St Gregory 733
Claret sacrata iam dies St Gregory 116
Magno canentes annua St Benedict 116 706
Christe sanctorum decus atque St Benedict S2 S2 735
Fratres alacri pectore St Benedict 733 116
Gemma celestis St Benedict 794
706
Deus qui mundum crimine Annunciation 736 736
736
149 149
Ave maris stella Annunciation 149 149
737
Alleluia piis edite Septuagesima U18
Alleluia dulce carmen Septuagesima 112
Deus pater piissime Lent 130
Summe largitor premii Lent 54
Medie noctis tempus est Lent 761
Aures ad nostras Lent 714 714 714
Iam lucis splendor rutilat Lent 723 5 5
Ex more docti mystico Lent 412 412 412 412
Audi benigne conditor Lent 55 55 55 55
Dei fide qua vivimus Lent 413 413 413
Qua Chritstus hora sitiit Lent 413
Ternis ter horis Lent 413
Sic ter quaternis Lent 14 55 14
Iam Christus sol iustitie Lent 148 148
Pange lingua…prelium Passion Sunday 724 724 724 56
Lustra sex (div.) Passion Sunday 769
Crux fidelis (div.) Passion Sunday 56 56
Vexilla regis Passion Sunday 32 32 32 32
Magno salutis gaudio Palm Sunday 725 725 725 15
Ramos virentes (div.) Palm Sunday 725
Ymnum canamus Maundy Thursday 3
Hic est dies verus Easter 117 3 117
Aurora lucis rutilat Easter 723 723 723 770
Ad cenam agni providi Easter 3 3 3 4
Rex (sempi)eterne Domine Easter 3 15
Chorus nove Hierusalem Easter 59
Iesu nostra redemptio Easter 528
Festum beati martiris St Mark U3 3
Clarus hec signis St Leo 152

730
Paschalis dies colitur St Iuvenal 3
U1
Gaudet sanctorum St Iuvenal
7
Tibi Christe splendor patris St Michael 112 112 112
Christe sanctorum decus angel. St Michael 532 151 730 774
Sublime nobis imminet St Boniface 3
Astat en turba St Boniface 422
Optatus votis omnium Ascension 723 3 116
Iam Christus ascendit polum Ascension 726 727 726
Festum nunc celebre Ascension 548 3 548 771
Eterne rex altissime Ascension 71
Funeris victor triduo Ascension U2
Eustasii magni martiris St Eustasius 706 706
Salve crux sancta Exaltation Cross 152 773
Signum crucis mirabile Exaltation Cross 723
Veni creator spiritus Pentecost 17 17 17 17
Beata nobis gaudia Pentecost 36 3 4 114
Iam Christus astra ascenderat Pentecost 726 726 727 772
Alma beati martyris Viti St Vitus 779
Ut queant laxis St John Baptist 532 151 532 U23
Non fuit vasti spatium (div.) St John Baptist 532
Almi prophete progenies St John Baptist 738 738 549 738
Deus qui verbi angelo Sts John and Paul 736
O clara mundi lumina Sts John and Paul U4
739 105 775
Felix per omnes Sts Peter and Paul
759 739
O Roma felix Sts Peter and Paul U24
Apostolorum passio diem Sts Peter and Paul 721 721 127
Aurea luce et decore roseo Sts Peter and Paul 152 152 152 152
Christe creator omnium St MaryMagdalen 723
Pie colamus annua St MaryMagdalen 723
O quam beata femina St MaryMagdalen 723
Iam sacra dies annua St Felicitas 733
U1
Festa sacrata presulis St Apollinaris 706
1
O sator rerum Transfiguration 532 532
O nata lux de lumine Transfiguration 116 116
Ymnum canamus socii St Cyriacus 155
Agonitheta nobilis St Cyriacus 757
Martyris Christi colimus St Lawrence 736 736 736
Devota mente socii St Lawrence 706 116
Quis possit amplo famine Assumption 738 738
Ad laudem sancte Marie Assumption 3 740 777
Fit porta Christi Assumption 116

731
Nunc tibi virgo virginum Assumption 705 705
Ad laudem Christi procerum St Bartholomew 723 723
Gaudium mundi Christe St Bartholomew 532 532
Almi prophete progenies St John Baptist 738 738 738
Assertor equi St John Baptist 738
Holy Twelve
Votis tuorum Christe 738
Brothers
Holy Twelve
Christi caterva pervigil 740
Brothers
Holy Twelve
Splendor diei rutilat 723
Brothers
Gaude visceribus mater Nativity Virgin 741 741 741
Illuminavit hunc diem St Michael 126 535
Christe qui virtus sator All Saints 532
Iesu salvator seculi All Saints 733 723
Devotes te concentibus All Souls 723
Christe redemptor omnium All Saints 723 723
In laude Martini St Martin 740 740 740
Martine confessor Dei St Martin 3 740
Rex Christe Martini St Martin 740 157
Canticum laudis St Severinus
U1
Ad Christi laudem virginis St Cecilia 706
6
Mercuri semper venerande St Mercurius U6
Ad martiris Mercurii St Mercurius 723
Laudes Mercurii St Mercurius 548
Decus sacrati nominis St Andrew 706 116
Post Petrum primum St Andrew 723 13
U1 503
Exultet celum laudibus Apostles
2
Annue Christe, Andrea pie, etc Apostles 152 152 U24
Deus tuorum militum One Martyr 115 778
Martyr Dei qui unicum One Martyr 117 732 779
Sanctorum meritis Several Martyrs 159 70
Eterna Christi munera Several Martyrs 127 127
U1
Rex gloriose martyrum Several Martyrs
3
Sacra piorum martyrum Several Martyrs 116
Summe confessor sacer Confessors 73
Iste confessor Domini Confessors 729
U1
Iesu redemptor omnium perpes Confessors
4
Sancti illi presulis Confessors 726
Iesu corona virginum Virgins 750

732
Virginis proles opifexque Virgins 532
Adesto sancta trinitas Trinity 723
O veneranda trinitas Trinity 422 729 776
Te trina Deus unitas Trinity 116
O pater sancte mitis Trinity 532 729 776
Urbs beata Hierusalem Dedication 112 724
Angularis fundamenti (div.) Dedication 112
Christe cunctorum dominator alme Dedication 151 730
Quesumus ergo Deus (div.) Dedication 723
U1
Christe celorum habitator alme Dedication 729
5
Sacratum hoc templum Dedication 13
Altare hoc magnum Dedication 13

733
 Appendix E: Synoptic Contents of Southern and Central Italian Hymnaries

Rome Casan 1574

Getty 83 ML 97

Naples VI G 29
Naples VI G 31

Chigi C VI 177
Naples VI E 43
Paris Maz. 364

Naples VI F 2

Vat. lat. 4928

Vienna 1106
Urb. lat. 585

Vat lat 7172

Farfa A 209
Ott. lat. 145
Paris 1092
MC 506
MC 559

MC 420
Ben 42
Ben 37

Farfa 4
Rh 82

Rh 91
Hymn

Bari
Feast
Incipit

Primo
Sundays
dierum x x x x x x x x x x x x x x x x x x x x
summer
omnium
Eterne
Sundays
rerum x x x x x x x x x x x x x x x x x x x
summer
conditor
Nocte Sundays
x x x x x x x x x x x x x x x x x x x x
surgentes summer
Ecce iam Sundays
x x x x x x x x x x x x x x x x x x x x
noctis summer
Iam lucis Sundays
x x x x x x x x x x x x x x x x x x x x x
orto sidere summer
Nunc
sancte Sundays
x x x x x x x x x x x x x x x x x x x x x
nobis summer
spiritus
Rector
potens Sundays
x x x x x x x x x x x x x x x x x x x x x
verax summer
Deus
Rerum
Deus Sundays
x x x x x x x x x x x x x x x x x x x x x
tenax summer
vigor
734
 Lucis
Sundays
creator x x x x x x x x x x x x x x x x x x x x
summer
optime
Deus
creator Sundays
x x x x x x x x x x x x x x x x x
omnium summer
polique
Te lucis
Sundays
ante x x x x x x x x x x x x x x x x x x x x x
summer
terminum
Cultor Dei Sundays
x x
memento summer
Somno
refectus Feria II x x x x x x x x x x x x x x x x x x x x x
artubus
Splendor
paterne Feria II x x x x x x x x x x x x x x x x x x x x x
glorie
Immense
celi Feria II x x x x x x x x x x x x x x x x x x
conditor
Consors
paterni Feria III x x x x x x x x x x x x x x x x x x x x
luminis
Ales diei
Feria III x x x x x x x x x x x x x x x x x x x x
nuntius
Telluris
ingens Feria III x x x x x x x x x x x x x x x x x x x x x
conditor
Rerum
creator Feria IV x x x x x x x x x x x x x x x x x x x x
optime

735
 Nox et
Feria IV x x x x x x x x x x x x x x x x x x x x
tenebre
Celi Deus
sanctissim Feria IV x x x x x x x x x x x x x x x x x x x x
e
Nox atra
rerum Feria V x x x x x x x x x x x x x x x x x x x x x
contegit
Lux ecce
fulgit Feria V x x x x x x x x x x x x x x x x x x x x
aurea
Magne
Deus Feria V x x x x x x x x x x x x x x x x x x x x x
potentie
Tu
trinitatis Feria VI x x x x x x x x x x x x x x x x x x x x x
unitas
Eterna
Feria VI x x x x x x x x x x x x x x x x x x x x x
celi Gloria
Plasmator
hominis Feria VI x x x x x x x x x x x x x x x x x x x x x x
Deus
Summe
Deus
Saturdays x x x x x x x x x x x x x x x x x x x x
clementia
e
Aurora
iam
Saturdays x x x x x x x x x x x x x x x x x x x x x x
spargit
polum

736
 O lux
beata Saturdays x x x x x x x x x x x x x x x x x x x x x x
trinitas
Deus
pater Saturdays x
piissimus
O pater
sancte Trinity x x x x x x x x x x x x x x x x x
mitis
O
veneranda Trinity x x x x x x x x x x x x x x x x
trinitas
Te trina
Deus Trinity x x x x x x x x
unicus
Summe
largitor Trinity x x x
premii
Adesto
sancta Trinity x
trinitas
Sol astra
Advent x x x x x x x x
terris
Conditor
alme Advent x x x x x x x x x x x x x x x x x x x x x x
siderum
Vox clara
ecce Advent x x x x x x x x x x x x x x x x x x x x x x
intonat
Verbum
supernum Advent x x x x x x x x x x x x x x x x x x x x x
prodiens

737
 Verbum
salutis Advent x x x x x x x x x x x x x x x
omnium
Debitas
St Nicholas x x x x x x x x x x
laudes
Terret
augustum St Nicholas x x x
(div.)
Regis
superni St Nicholas x
signifer
Festa
plebs St Nicholas x
sancto
Sollemne
St Nicholas x x x x x
tempus
Rex
confessor St Nicholas x x
um gloria
Sancti
St
Ambrosii x x x x
Ambrose
praesulis
Ambrosi
St
sidus x x x x x x x
Ambrose
aureum
Tue vocis St
x
(div.) Ambrose
Summe
tocius St
x
reparator Agnellus
orbis

738
Virginum
virtus
St Barbara x
decus et
corona
Lux
mundi St Lucy x x x x
vera salus
Christe
St Lucy x x x x
lux mundi
Festa
St Thomas x x x
iocunda
Sancti
St Thomas x x x x x x x
Thome
Martyris
en St Gregory x x x
Gregorii
Virginis
Christi
St Victoria x x x
merita
beata
Assiste
nunc St Victoria x
precatibus
Iam festa
fulgent St Victoria x x
aurea
Egredere
Emmanuh Christmas x x x x
el
Veni
redemptor Christmas x x x x x x x x x x x x x x x x x x
gentium

739
 Audi
redemptor Christmas x x x x x x x x x
gentium
Agnoscat
omne Christmas x x x x
seculum
Surgentes
ad te Christmas x x x x x x x x
Domine
Christe
x
redemptor Christmas x x x x x x x x x x x x x x x x x x x x
x
omnium
A solis
ortus Christmas x x x x x x x x x x x x x x x x x x x x x
cardine
Enixa est
puerpera Christmas x x
(div.)
Ymnum
canamus St Stephen x x x x
Domino
Christus
est vita St Stephen x x x x x x x x x x x x x x x x x x
veniens
Imbuit
primum
St Stephen x x x x x x x x
homines
(div.)
Stephano
primo St Stephen x x x x x x x x x x x x x x x x
martyris

740
 Consors
levita St Stephen x x
martyrum
[Iste est]
Electus St John
x x x x x x x x x x x x x x x x x
Iohannis Evangelist
diligendi
Te
St John
rogamus x x x x x x x x
Evangelist
(div.)
Agite St John
x x x
omnes Evangelist
Ecce St John
x x
Iohannes Evangelist
Evangelist St John
x x
a fulgidus Evangelist
Altissimi St John
x
apostolum Evangelist
Amore
St John
Christi x x x
Evangelist
nobilis
Sollemnis
St John
dies x x x x x x x x x x x x x
Evangelist
advenit
Iubilemus
St John
carmen x x
Evangelist
dulce
Hostis Holy
x x x x x x x
Herodes Innocents
Salvete Holy
x x x x x x x x x x x x x x x x
flores Innocents

741
 Verbi
patri Holy
x x x x x
principiu Innocents
m
Infantum
Holy
diem x x x x x x x
Innocents
martyrum
Christi
Holy
caterva x x x
Innocents
clamitat
Furens
Holy
Herodes x x x
Innocents
impie
Silvestri
St
almi x x x x x x x x x
Sylvester
praesulis
Christe St
x x
rex regum Sylvester
Voce
iocunda St
x x x
resonemu Sylvester
s
Auctor
Christmas
perennis x
Octave
glorie
Hostis
Epiphany x x x x x x x x x x x x x x x x x x x x
Herodes
Illuxit
orbi iam Epiphany x x
dies

742
Illuminan
s Epiphany x x x x x x x x x x x x x x x x x x x
altissimus
Iesus
refulsit Epiphany x x x x x x x x x x x x x x x x x x x
omnium
A patre
Epiphany x x
unigenitus
Artifex Sts Julian
poli and x x
siderum Basilissae
Fratres Sts Julian
fibrarum and x x
carmine Basilissae
Celum
canorus St Dominic x
laudibus
Ecce dies
St Dominic x
revenit
Christe
St Dominic x
tyronum
Adest
celebritas St Maur x x x x
nobis
Christe
sanctorum St Maur x x x
*
Confessor
Domini St Maur x x x x x x x x x x x x x
Maure

743
 Sacrae
refulgent St Maur x x x
mystica
Canticum St
x x x
laudis Severinus
Gloriam St
x x
Christo Severinus
Sebastiani St
x x x x
inclyti Sebastian
Martyr
St
Dei x x x x x x x x x x x x x x x x x
Sebastian
egregie
Agnetis
festum St Agnes x x x x x x x x x x x x x x x x x
martyris
Agnes
beate St Agnes x x x x x x
virginis
Quae
mens
St Agnes x x
recensare
audeat
Adest
miranda St Vincent x x x x x
passio
Ut digne
St Vincent x x
possint
Levita vir
Vincentiu St Vincent x
s

744
Beatus vir
Vincentiu St Vincent x x x
s
Paule
Conversion
doctor x x
St Paul
egregie
Pangamus
Conversion
nunc x x
St Paul
astrifero
Nunc
laudibus Conversion
x x
symphoni St Paul
cis
Quod
Purificatio
chorus x x x x x x x x x x x x x x x x x x x x x
n
vatum
O gloriosa
Purificatio
Domina x x
n
(div.)
Quem
terra Purificatio
x x x x x x x x x x x x x x x x x x x x x x
pontus n
ethera
O beatus Purificatio
x x
ortus ille n
Refulsit Purificatio
x x
almae n
Martyris
ecce dies St Agatha x x x x x x x x x x x x x x x x x x x
Agathe

745
Triumphu
m sacre St Agatha x x x x x x
virginis
Praesulem
sanctum St Sabinus x
reboate
Hodie
St
sacratissi x x x x x x x x x x x x x
Scholastica
ma virgo
Beatus
Cathedra
Christi x x x x x x
Petri
famulis
Exultet
Cathedra
celum x x
Petri
laudibus
Iam bone
pastor Cathedra
x
Petre Petri
(div.)
Petre Cathedra
x
pontifex Petri
Pangamus
St Barbatus x x
pariter
Samnites
populos St Barbatus x x
(div)
Deus
Forty
eterne x x
Martyrs
famulos
Sancti
Gregori St Gregory x
praesulis

746
 Magni
miles St Gregory x x x
mirabiles
Claret
sacrata St Gregory x x x x
iam dies
Anglorum
iam St Gregory x x x x x
apostolus
O
Pontifex
St Gregory x x x
egregie
(div.)
Presulis
egregie St Gregory x
meritis
Norma
St Gregory x
sanctorum
Petrus
beatus St Peter's
x
catenarum Chains
(div.)
Tuam o
pater St Peter's
x
postulamu Chains
s
Alleluia
Septuagesi
piis edite x x x x x x x x
ma
laudibus
Alleluia
Septuagesi
dulce x x x x x x
ma
carmen

747
 Angusta
vite St Nazarius x x x
tempora
Christe
sanctorum
decus St Benedict x x x x x x x x x x x x x x x x x x x x
atque
virtus
Hunc
soror
St Benedict x x x x x x x x x x x x
sacra
(div.)
Cuius ad
celum St Benedict x
(div.)
Gemma
St Benedict x x x x x x
celestis
Signifer
invictissi
me St Benedict x x
[mitissime
]
Aurora
surgit St Benedict x x
aurea
Fratres
alacri St Benedict x x x x x x x x x x x x x
pectore
Rector
vafer St Benedict x x
(div.)

748
 Omnes
venite St Benedict x x
monachi
Magno St Benedict
x x x x x x x x x x x x x x x x
canentes octave
Dilectus
St Benedict x
hic pollet
Deus qui
Annunciati
mundum x x x x x x x x x x x x x x x x x x x x
on
crimine
Ave maris Annunciati
x x x x x x x x x x x x x x x x x x x x
stella on
Oritur
Annunciati
sydus x
on
inclyte
Veni
Annunciati
benigne x
on
spiritus
Aures ad Quadragesi
x x x x x x x x x x x x x x x x x x x x x
nostras ma
Medie Quadragesi
x x x x x x x x
noctis ma
Iam lucis
Quadragesi
splendor x x x x x x x x x x x x x x x x x x x
ma
rutilat
Insigne
Quadragesi
sanctum x x
ma
tempus est
Ex more
Quadragesi
docti x x x x x x x x x x x x x x x x x x x x x x
ma
mystico

749
 Iam
Quadragesi
Christe x x x x x x x x x x x x x x x
ma
sol iustitie
Dei fide
Quadragesi
qua x x x x x x x x x x x x x x x x x x x x x
ma
vivimus
Qua
Quadragesi
Christus x x x x x x x x x x x x x x x x x x x x
ma
hora sitit
Ternis ter Quadragesi
x x x x x x x x x x x x x x x x x x x x
horis ma
Meridie
Quadragesi
orandum x x x x x x
ma
est
Perfecto
trino Quadragesi
x x x x x x
numero ma
ternis
Deus
Quadragesi
sanctorum x x x
ma
luminis
Audi
Quadragesi
benigne x x x x x x x x x x x x x x x x x x x x x x
ma
conditor
Post
Quadragesi x x
matutinas x x x
ma x x
laudes
Christe Quadragesi
x x x x x x x x x x x x x x x x x x x x x
qui lux est ma
Ut nox Quadragesi
tenebris ma

750
 Sic ter Quadragesi
x x x x x x x x x x x x x x x
quaternis ma
Deus qui
Quadragesi
claro x x
ma
lumine
Iesu
Quadragesi
quadragen x x
ma
ario
Clarum
Quadragesi
decus x x
ma
ieiuniii
En tempus
Quadragesi
acceptabil x x
ma
e
Cum
Quadragesi
ieiunasset x x
ma
Dominus
Pange
lingua Passion
x x x x x x x x x x x x x x x x x x x x x x
gloriosi Sunday
proelium
Lustra sex
Passion
qui iam x x
Sunday
(div.)
Crux
Passion
fidelis x x x x x x x x x x x x x x
Sunday
(div.)
Vexilla Passion
x x x x x x x x x x x x x x x x x x x x x x
regis Sunday
Coetum
Quadragesi
tenentes x x
ma
ordinem

751
 Rex
Christe Passion
x x
factor Sunday
omnium
Quae
lingua Passion
x x
carnis Sunday
eloquens
Magno
Palm
salutis x x x x x x x x x x x x x x x x x x
Sunday
gaudio
Celsa
Palm
salutis x x x x x
Sunday
gaudia
Rex ecce
tuus Palm
x
humilis Sunday
(div.)
Ramos
Palm
virentes x x x x x x x x
Sunday
(div.)
Ymnum Maundy
x x x x x x x
dicamus Thursday
Hic est
Easter x x x x x x x x x x x x x x x
dies verus
Aurora
lucis Easter x x x x x x x x x x x x x x x x x x x x x
rutilat
Ad cenam
agni Easter x x x x x x x x x x x x x x x x x x x
providi

752
 Rex
sempitern Easter x x x x x x x x x
e domine
Iesu
nostra Easter x x x x x x
redemptio
Te lucis
auctor Easter x x x x x x x
personet
Sol luna
Easter x x x
celum
Refulsit
Easter x x
omnis
Laetare
celum Easter x x
desuper
Vita
sanctorum
Deus Easter x x x
angeloru
m
Orat
salutem Easter x x
servulo
Chorus
nove
Easter x
Hierusale
m
Obduxere
Rogations
polum
Squalent
Rogations
arva

753
 Festum
beati St Mark x x x x x x
martyris
Iam nunc
per omne St Mark x x
seculum
Clarus hec
signis St Leo x
rutilat
Gesta
sanctorum St George x x x x
martyrum
Refulget
iam Sts Phillip
x
solemnita and James
s
Signum
Exaltation
crucis x x x x x
Cross
mirabile
Rex
angeloru Exaltation
x x
m Cross
prepotens
Arbor Exaltation x
x x
salve Cross x
Salve crux Exaltation
x x x
sancta Cross
Crux Exaltation
x x x x x x x x x x
benedicta Cross
Clarescat
St Iuvenal x x
terris

754
 Verba
St Iuvenal x x
cum vite
Christi
St Iuvenal x x
athlete
Paschalis
dies St Iuvenal x
colitur
Gaudet
St Iuvenal x x
sanctorum
Tibi
x
Christe St Michael x x x x x x x x x x x x x x x x x x x
x
splendor
Christe
sanctorum
x x x
decus St Michael x x x x x x x x x x x x x x x x x x x
x x x
angeloru
m
Illuminavi
x x
t hunc St Michael x x x x x x x x x
x x
diem
Mysterior
um St Michael x x
signifer
Celestium
St Michael x x
te signifer
Alme rex
angeloru St Michael x x
m
Sancte
Michael
St Michael x x x x
archangel
e

755
Unitas in
St Michael x x
trinitate
Centies
St Michael x x
mille
Alme St
x x
confessor Flavianus
Sublime
St
nobis x x
Boniface
imminet
Adstat en St
x x
turba Boniface
Optatus
Ascension x x x x x x x x x x x x x x x x x x x x x
votis
Iam
Christus
Ascension x x x x x x x x x x x x
ascendit
polum
Festum
nunc Ascension x x x x x x x x x x x x x x x x x x x x x x
celebre
Funeris
victor Ascension x x x x
triduo
Iesus
Ascension x
mirare
Ymnum
canamus Ascension x x x x
glorie
Et hoc
supernum Pentecost x x x
munus

756
 Veni
creator Pentecost x x x x x x x x x x x x x x x x x x x x x
spiritus
Beata
nobis Pentecost x x x x x x x x x x x x x x x x x x x x x x x
gaudia
Iam
Christus
Pentecost x x x x x x x x x x x x x x x x x x x x x x x
astra
ascenderat
Anni
peractis Pentecost x x
mensibus
Aula St
x
celestis Eleutherius
Eustasii
St
magni x x
Eustachius
martiris
Festum Sts Vincent
sacrata and x
martyrum Anastasius
Ad Viti
beatissimi St Vitus x x x x
gloria
Alma
beati
St Vitus x x x x
martyris
Viti
Apologeti
ci St Erasmus x x
martyrum

757
 Hostem
humani St Erasmus x x
generis
Rex
metuende St Erasmus x
omnium
Grates tibi Sts
Iesum Gervase x x x x x
novas and Protase
Ut queant St John
x x x x x x x x x x x x x x x x x x x x x x x
laxis Baptist
Non fuit
vasti St John
x x x x x x x x x x x
spatium Baptist
(div.)
Almi St John
x x x x x x x x x x x x x x x x x x x x x x
prophete Baptist
Assertor St John
x x x x x x x x x x x x x x x x x x
equi (div.) Baptist
Summum
St John
precurrit x
Baptist
ora
Deus qui
St John
verbi x
Baptist
angelo
Preco St John
x x x
preclarus Baptist
Decus
sanctorum Sts John
x x
martyrum and Paul
que

758
Sanctoru
Sts John
m laudes x x
and Paul
celebrent
O clara
Sts John
mundi x
and Paul
lumina
Decessit
ut Sts John
x
mitissimu and Paul
s
Felix per Sts Peter
x x x x x x x x x x x x x x x x x x x x x
omnes and Paul
Apostolor Sts Peter
x x x x x x x x x x x x x x x x x x x x
um passio and Paul
Aurea
luce et Sts Peter
x x x x x x x x x x x x x x x x x x x x x
decore and Paul
roseo
Doctor Sts Peter
x x x x x x
egregie* and Paul
Prelata
Sts Peter
mundi x x x x
and Paul
culmina
Utraque
pars Sts Peter
x x
psallentiu and Paul
m
Christe
Sts Peter
rex x x
and Paul
clemens
O Roma Sts Peter
x
felix and Paul

759
 Exultet
orbis St Paul x x x x x
ambitus
Christe
St Mary
creator x
Magdalene
omnium
Pie
St Mary
colamus x
Magdalene
annua
O quam
St Mary
beata x
Magdalene
femina
O beata
St Mary
Magdalen x
Magdalene
a
Side
St Mary
solare x
Magdalene
revehit
Pio
x x
feramo St Felix x
x x
pectore
Almi
triumphu St Quiricus x x x
m Quirici
Cantemus
omne St Alexis x x
arbitri
O sancte
presul St Aspren x
inclite
O sator Transfigur
x x x x x x x x x x x x x x x x x x x
rerum ation

760
O nata lux Transfigur
x x x x x x x x x x x x x x x x x x x x x
de lumine ation
Agonithet
St Cyriacus x x x x x x x
a nobilis
Ymnum
canamus St Cyriacus x x x x x
socii
Magni
palmam St Sixtus x x x
certaminis
Martyris
St x
Christi x x x x x x x x x x x x x x x x x x x x
Lawrence x
colimus
Devota
St
mente x x x x x x x x x x x x x x x x x x x x
Lawrence
socii
En
St
martyris x x
Lawrence
Laurentii
Apostolor
St
um x x x
Lawrence
supparem
Quis
possit Assumptio
x x x x x x x x x x x x x x x x x x x
amplo n
famine
Eterne
Assumptio
sacre x
n
virginis
Ad Assumptio
x x x x x x x x x x x x x x x x x x x
laudem n

761
 Sancte
Marie
Mariam
Assumptio
matrem x x
n
Domini
O genitrix
Assumptio
eterni x x
n
virgo
Nunc
sancta
Assumptio
[tibi] x x x x x x x x x x x x x x x x x x x x
n
virgo
virginum
Fit porta Assumptio
x x x x x x x x x x x x x x x x x
Christi n
Terrena
Assumptio
cuncti x
n
iubilent
Aurora
Assumptio
velut x
n
fulgida
Gaudium
Assumptio
mundi x
n
nova
Lux
Assumptio
mundi x x x x x
n
beatissima
Festa
St
sacrata x x x x x x x
Apollinaris
praesulis
Apollinari St
x x
s beate Apollinaris

762
 Sacris
St
Christe x x x
Apollinaris
pontificis
Iam sacra 7 Brother
x x
dies annua martyrs
Gaudium St
mundi Bartholom x x x x x x x
Christe ew
Ad
St
laudem
Bartholom x x x x x x x x
Christi
ew
procerum
Summum
St John
percurrit x x x
Baptist
circulum
Almi St John
x x x x
prophete Baptist
O nimis St John
x x
felix Baptist
Holy
Votis
Twelve x x
tuorum
Brothers
Christi Holy
caterva Twelve x x x
pervigil Brothers
Holy
Splendor
Twelve x x x x
diei rutilat
Brothers
Adest dies St
x x x
prefulgida Mauritius
Alma St
x x
Christi Mauritius

763
 quando
fides
Adest
St
sacra x x
Mauritius
festivitas
Eufemiae
St
celebremu x
Euphemia
s
Martirum St
x
princeps Januarius
Pastor St
x
insignis Januarius
Christi Sts Cosmas
fideles and x
milites Damian
Sts Cosmas
Conditor
and x x
Cosmi
Damian
Marciani St
x
meritum Marcianus
Sts
Pangendo Placidus
x
celi and
Sigisbertus
Sts
Eterne Placidus
x
Iesu and
Sigisbertus
Gaude Nativity
x x x x x x x x x x x x x x x x x
visceribus Mary

764
 O sancta
Nativity
mundi x
Mary
Domina
O quam
Nativity
glorifica x x x x x x
Mary
luce
Signum
Exaltation
tuum x
Cross
crucis
Illuminavi
t hunc St Michael x x x x x
diem
Christe
All Saints x x x x x x x x x x x x x x
qui virtus
Iesus
salvator All Saints x x x x x x x x x x x x x x x x x x x
seculi
Alma
cunctoru All Saints x x x x x
m celebre
Christe
redemptor All Saints x x x x x x x x x x x x x x x x
omnium
Devotis te
concentib All Saints x
us
Pro
defunctor All Souls x
um requie
Iesu
piorum All Souls x
caritas

765
 O
St
Agrippine x
Agrippinus
pontifex
Portato
armis in St Martin x
chorus
In laude
Martini St Martin x x x x x x x x x x x x x x
Deus
Martine
confessor St Martin x x x x x x x x x x x x x x x x
domini
Christe
St Martin x x x x
rex noster
Bellator
St Martin x x x x x x x
armis
Martine
paratis St Martin x x x
festum
Rex
Christe
St Martin x x x x x x x x x x x x x x x x
Martine
decus
Ad Christi
laudem St Cecilia x x x x x x x x x x x x x x x
virginis
Mercurius
St
semper x x x
Mercurius
venerande
Ad
St
martyris x x x
Mercurius
Mercurii

766
 Laudes St
x x x
Mercurii Mercurius
Martyris
magni St Clement x x x
veneranda
Clementis
St Clement x x x
festum
Decus
sacrati St Andrew x x x x x x x x x x x x x x x x x x x x
nominis
Post
petrum St Andrew x x x x x x x x x x x x x x x x x x x
primum
Nobis
St Andrew x x
ecce dies
Maiestate
tui
St Andrew x
Domine
(div.)
Sancti
Zenonis St Zeno x
presulis
Annue
Apostles x x x x x
Christe
Andrea
pie
St Andrew x x x x
sanctorum
(div.)
Iacobe
magne St James
x x x
supplantor Greater
(div.)

767
 Bina
Sts John
celestis x x
and James
(div.)
O Thoma
St Thomas x x x x
(div.)
Proni
rogamus St Phillip x x x x
(div.)
Iacobe
sancte St James
x x
Iesus lesser
(div.)
Bartholo
St
mee celi
Bartholom x x x x
sydus
ew
(div.)
Matthee
sancte St Matthew x x x x
bino (div.)
Beate
Simon et Sts Simon
x x x x
Taddee and Jude
(div.)
Matthia
iuste
St Matthias x x x x
duodene
(div.)
Iacobe
St James
iuste x
Greater
(div.)

768
 Luca
venerande St Luke x x
(div.)
Exultet
celum Apostles x x x x x x x x x x x x x x x x x x
laudibus
Eterna
x
Christi Apostles x x x x x x x x x x x x x x x x x x x
x
munera
Apostolor
um Apostles x x x x x x x x
mystica
Regis
immensi Apostles x x x
militis
Palma
Apostles x x
sanctorum
Sacra
Several
piorum x x x x x x x x x x x
martyrs
martyrum
Sanctoru Several
x x x x x x x x x x x x x x x x x
m meritis martyrs
Rex
Several
gloriose x x x x x x x x x x x x x x x x x x
martyrs
martyrum
Deus
tuorum One martyr x x x x x x x x x x x x x x x x x x x x
militum
Martyr
Dei qui One martyr x x x x x x x x x x x x x x x x x x x x
unicum

769
Adest iam
One martyr x
dies
O martyri
eterni One martyr x x
patris
Summe
confessor Confessors x x x x x x x x x x x x x x x x x x x x
sacer
Christe
rex
Confessors x
splendor
glorie
Iesu
redemptor
Confessors x x x x x x x x x x x x x x
omnium
perpes
Iesu
corona Confessors x
celsior
Iste
Confessors x x x x x x x x x x x x x x x x x x x x
confessor
Sancti illi
Confessors x
presulis
Iesu
corona Virgins x x x x x x x x x x x x x x x x x x
virginum
Virginis
proles Virgins x x x x x x x x x x x x x x x x x x x x
opifexque
Digne te
sancte Virgins x x x
Domine

770
Felix vera
Virgins x x
virginitas
Christe
Dedication
immense x
Church
dominator
Refulgent Dedication
x x
clara Church
Sacratum
Dedication
hoc x x x x x x x x x x
Church
templo
Altare hoc
Dedication
magnum x x x x x x
Altar
(div.)
Urbs
Dedication
beata x x x x x x x x x x x x x x x x x
Church
Ierusalem
Christe
cunctoru
Dedication
m x x x x x x x x x x x x x x x
Church
dominator
alme
Quesumus
Dedication
ergo Deus x x x x x x
Church
(div.)
Christe
celorum Dedication
x x x x x x x x x x x x x x x x x
habitator Church
alme
Splendor Attributed
decusque to Sts x
martyrum Valentine

771
 and
Hilarius
Crux orbis Finding of
x
salus the Cross
Crux
Finding of
mundi x
the Cross
benedictio
Attributed
Salve rex to St
x
sancte Henry,
King
Plebs
devota St Restituta x
mente tota
A domini
preconiu
St Dominic
m x
Sora
dominicu
m
Decus et
St Dominic
norma x
Sora
omnium
Ecce dies
rediit
iubili o St Nicholas x
Nycolae
dicta tibi
Aurora
fulget St Nicholas x x
aurea dies
Praebe
St Sabina x
Christe

772
canentibu
s
Ad patris
decus
St Sabina x
optimi
cordis
Christi
hostis St Sabina x
Sabina
Sts Rufinus
Eterne rex
and x x x x x x x x x x
altissime
Cesidius
Tu Christe
nostrum
x
gaudium
(div.)
Laudibus
Sts Rufinus
Christus
and x
moduland
Cesidius
o
Inde vos
testes et Sts Rufinus
agonitheta and x
nobiles Cesidius
(div.)
Beata Dei
BVM x
genitrix
Maria
decus BVM x
hominum

773
 O
singularis BVM x
femina
Maria
templum BVM x
Domini

774
 Bibliography of Primary Sources

Liturgical Manuscripts (refer to Manuscript Sigla for Collections and Shelf Numbers):

Bari hymnary (no shelf number)

Ben 37
Ben 42
Farfa A 209
Farfa 4
Getty 83 ML 97
MC 420
MC 506
MC 559
Naples VI E 43
Naples VI F 2
Naples VI G 29
Naples VI G 31
Paris 1092
Paris Maz. 364
Rh 82
Rh 91
Casan. 1574
Chigi C VI 177
Ott. lat. 145
Urb. lat. 585
Vat. lat. 4928
Vat. lat. 7172
Vienna 1106

Dictionaries, Chronicles, Collections, and Critical Editions of Historical Texts:

Alberico di Montecassino. Breviarium de dictamine. Ed. Filippo Bognini. Florence: SISMEL,

Edizioni del Galluzzo, 2008.

Allen, Thomas W., William R. Halliday, and Edward E. Sikes, eds. The Homeric Hymns. 2nd
edition. Oxford: Clarendon Press, 1936.

Ambrose of Milan. Sermo contra Auxentium de Basilicis Tradendis. In Patrologia Latina 16. Ed.
Jacques-Paul Migne (Paris: n.p., 1880): cols. 1017C–1018a.

Amiet, Robert. Corpus hymnologicum augustanum Aosta: ITLA, 1989.

Amatus of Montecassino. The History of the Normans. Trans. Prescott N. Dunbar, rev. with
introduction by Graham A. Loud. Woodbridge: The Boydell Press, 2004.

775
AH Analecta Hymnica Medii Aevi. Ed. Guido Maria Dreves, Clemens Blume, and Henry
Marriott Bannister. 55 vols. Leipzig: O. R. Reisland, 1886–1922.

Andrews, George. The Latin Hymns of the Anglo-Saxon Church with an Interlinear Anglo-Saxon
Gloss. Ed. Joseph Stevenson. Publications of the Surtees Society 23. London: George
Andrews, 1851.

Arnese, Raffaele. I codici notati della Biblioteca Nazionale di Napoli. Florence: Olschki, 1967.

Bannister, Henry Marriott. Monumenti Vaticani di Paleografia Musicale Latina. 2 vols. Codices
e Vaticanis Selecti, Phototypice Expressi 12. Leipzig: Otto Harrassowitz, 1913, reprinted
Farnborough: Gregg, 1969.

Beck, Edmund, trans. Des heiligen Ephraem des Syrers Hymnen contra Haereses. In Corpus
Scriptorium Christianorum Orientalium, Scriptores Syri, 257 volumes (Leuven: Peeters,
1957): vols. 76–77.

Beers, John Michael, ed. A Commentary on the Cistercian Hymnal: A Critical Edition of Troyes
Bib. mun. MS 658. Gainsborough: G. W. Belton, 1982.

BTC Beneventanum Troporum Corpus I: Tropes of the Proper of the Mass from Southern
Italy, A.D. 1000–1250. 2 vols. Beneventanum Troporum Corpus II: Ordinary Chants and
Tropes for the Mass from Southern Italy, A.D. 1000–1250. 2 vols. Ed. Alenjandro
Enrique Planchart and John Boe. Recent Researches in the Music of the Middle Ages and
Early Renaissance 16–18. Madison: A-R Editions, Inc., 1989.

Brown, Virginia. Beneventan Discoveries: Collected Manuscript Catalogues, 1978–2008. Ed.

Roger Reynolds. Monumenta liturgica Beneventana 6, Studies and Texts 179. Toronto:
Pontifical Institute of Mediaeval Studies, 2012.

Bulst, Walther, ed. Hymni latini antiquissimi lxxv, psalmi iii. Heidelberg: Kerle, 1956.

Canterbury Dictionary of Hymnology. Ed. Emma Hornby and J.R. Watson. (2013)
http://www.hymnology.co.uk.

Chevalier, Ulysse, ed. Repertorium Hymnologicum. 3 vols. Louvain: Lefever, 1892, 1897, 1904.

Cronicae Sancti Benedicti Casinensis. Ed. and trans. Luigi Andrea Berto, Appendix by
Walter Pohl. Edizione Nazionale dei Testi Mediolatini 15, Series II.7. Florence: SISMEL
Edizioni del Galluzzo, 2006.

Dankó, József Karóly. Vetus hymnarium ecclesiasticum Hungariae. Budapest: In aedibus

Franklinianis, 1893.

Davis, Hugh H. “The ‘De rithmis’ of Alberic of Monte Cassino: A Critical Edition.” Mediaeval

776
 Studies 28 (1966): 198–277.

Durán, Antonio, Ramón Moragas and Juan Villareal, eds. Hymnarium oscense (s. XI). 2 vols.
Zaragoza: Institución Fernando El Católico, Sección de Musica, 1987.

Erchempert. Historia Langobardorum Beneventanorum. Ed. G. H. Pertz and George Waitz.

MGH Scriptores. Vol. 1. pp. 231–64.

----------. History of the Lombards of Benevento. Trans. Joan Rowe Ferry. Ph.D. Dissertation:
Rice University, 1995.

Ephrem of Edessa. Sermones Polemici Adversus Haereses. In Peter Mobarak and Stephanus E.
Assemani. Sancti Patris Nostri Ephraem Syri Opera Omnia Quae Extant Graece,
Syriace, Latine. V.437ff.

Falcandus, Hugo. The History of the Tyrants of Sicily by ‘Hugo Falcandus’ 1154–1169. Trans.
Graham A. Loud and Thomas Wiedmann. Manchester: Manchester University Press,
1998.

Falco of Benevento. Chronicon. Ed. Raffaele Matarazzo. Thesaurus Rerum Beneventanarum 2.

Ed. P. L. Rovito and R. Matarazzo. Naples: Arte Tipografica, 2000.

Gamber, Klaus and Sieghild Rehle. Manuale Casinense (Cod. Ottob. lat. 145). Textus Patristici
et Liturgici 13. Regensburg: Friedrich Pustet, 1977.

Garbagnati, Emilio and Luigi Colombo, eds. Gli inni del breviario Ambrosiano corredati delle
melodie liturgiche. Milan: Premiata Libreria Religiosa di Giuseppe Palma, 1897.

Gattula, Erasmo. Historia Abbatiae Casinensis. Venice: n.p., 1733.

Global Chant Database. Directed by Jan Kolacek. University of Prague

http://globalchant.org/melody-search.php?melody=10204030212102 (accessed February
2, 2015).

Gyug, Richard, ed. Missale ragusinum: The Missal of Dubrovnik (Oxford, Bodleian Library,
Canon. liturgy. 342). Pontifical Institute of Mediaeval Studies, Studies and Texts, 103.
Toronto: Pontifical Institute of Mediaeval Studies, 1990.

Hallinger, Kassius, ed. Corpus consuetudinum monasticarum, vol. 1: Initia consuetudinish

benedictinae. Siegburg: F. Schmitt, 1963.

Homer. Odyssey. Trans. William Cowper. Minneapolis: Lerner Publishing Group, 2014.

Hymnarius Severinianus. Das Hymnar der Abtei St Severin in Neapel: Nach den Codices
Vaticanus 7172 und Parisinus 109. Ed. Guido Maria Dreves. Vol. 14 of Analecta
Hymnica Medii Aevi. Leipzig: O. R. Reisland, 1893.

777
Hymnodia Hispanica. Ed. José Castro Sánchez. Corpus Christianorum, Series Latina 167.
Turnhout: Brepols, 2010.

Inguanez, Maurus. Catalogi Codicum Casinensium Antiqui (Saec. VIII–XV). Montecassino:

Abazzia di Monte Cassino, 1941.

----------. Codicum Casinensium Manuscriptorum Catalogus. 3 vols. Montecassino: Abazzia di

Monte Cassino, 1940.

Kelly, Thomas Forrest, ed. The Ordinal of Montecassino and Benevento: Breviarium sive
ordo officiorum, 11th Century. Spicilegium Friburgense, Texts Concerning the History of
Christian Life 45. Freiburg: Academic Press Freibourg, 2008.

Lagnier, Emanuela, ed. Corpus hymnologicum augustanum. Aosta: ITLA, 1991.

---------- and Faustino Avagliano, eds. I carmi di Alfano I arcivescovo di Salerno. Miscellanea
Cassinese 38. Montecassino: Abazzia di Montecassino, 1974.

Leo Marsicanus [of Ostia] and Peter the Deacon. Chronica Monasterii Casinensis. Ed. W.
Wattenbach. MGH Scriptores. Vol. 7. pp. 551–844.

Les Manuscrits en écriture bénéventaine de la bibliothèque capitulaire de bénévent. 3 vols.

Ed.Jean Mallet and André Thibaut. The Institute of Mediaeval Music, Musicological
Studies Series Vol. 71/1–2. Paris: Centre National de la Recherche Scientifique, 1984
(vol. 1) and Turnhout: Brepols, 1997 (vols. 2–3).

The Letters of St Boniface. Trans. Ephraim Emerton. New York: Columbia University Press,
2000.

Liber de Apparitione Sancti Michaelis in Monte Gargano. Ed. George Waitz. MGH Scriptores.
Vol. 1. pp. 540–43.

Lokrantz, Margareta, ed. L’Opera poetica di St Pier Damiani: Descrizione dei manoscritti,
edizione del testo, esame prosodico-metrico, discussione delle questioni d’autenticità.
Acta Universitatis Stockholmiensis, Studia Latina Stockholmiensia 12. Stockholm:
Almquist & Wiksell, 1964.

Mele, Giampaolo, ed. Psalterium-Hymnarium arborense: il manoscritto P. XIII della cattedrale

di Oristano (sec. XIV/XV). Roma: Edizioni Torre d’Orfeo, 1994.

MGH Poetarum. Poetarum Latinorum Medii Aevi. Vol.1. Ed. Ernestus Duemmler.
In Monumenta Germaniae Historica. Ed. Georg Heinrich Pertz. Berlin:
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MGH Scriptores. Scriptores Rerum Langobardicarum et Italicarum saec. VI–IX. Ed.

778
 G. H. Pertz and George Waitz. In Monumenta Germaniae Historica. Ed.
Georg Heinrich Pertz (Hannover: Culemann, 1978, reprinted 1964): 231–
64.

Milfull, Inge, ed. The Hymns of the Anglo-Saxon Church: A Study and Edition of the Durham
Hymnal. Cambridge: Cambridge University Press, 1996.

MMMA Monumenta Monodica Medii Aevi. 19 vols. Kassel: Bärenreiter, 1956–.

Mobarak, Peter and Stephanus E. Assemani, eds. Sancti Patris Nostri Ephraem Syri Opera
Omnia quae extant Graece, Syriace, Latine. 6 volumes. Rome: n.p., 1732–1746.

Moberg, Carl-Allan. Die liturgischen Hymnen in Schweden I: Quellen und Texte. Uppsala: E.
Munksgaard, 1947.

---------- and Ann-Marie Nilsson. Die liturgischen Hymnen in Schweden II: Die Singweisen. Acta
Universitatis Upsaliensis, Studia musicological Upsaliensia, Nova series 13. Uppsala:
Acta Universitatis Upsaliensis, 1991.

Mone, Franz Joseph, ed. Hymni Latini Medii Aevi. 3 vols. Freiburg: Herder, 1853.

The New Catholic Encyclopedia. 2nd ed. Detroit: Gale, 2003.

O’Donnell, James J. Augustine Confessions, Volume III: Commentary, Books 8–13. Oxford:
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Old English Glossed Psalters, Psalms 1–50. Ed. Phillip Pulsiano. Toronto: University of Toronto
Press, Inc., 2001.

PM Paléographie Musicale : Les principaux manuscrits de chant grégorien, ambrosien,

mozarabe, gallican, publiés en facsimilés phototypiques. Ed. André Mocquereau (vols.
1–13, 1889–1930) and Joseph Gajard (vols. 14–19, 1931–1974). Solesmes: Abbaye
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----------. Vol. 14. Le Codex 10673 de la Bibliothèque Vaticane fonds latin (Xle siècle): Graduel
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----------. Vol. 15. Le codex VI.34 de la Bibliothèque capitulaire de Bénévent (XIe–XIIe siècle).
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----------. Vol. 20. Le manuscrit VI–33 Archivio Arcivescovile Benevento. Missel de Bénévent
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----------. Vol. 21: Les témoins manuscrits du chant bénéventain. Ed. Thomas Forrest Kelly Bern:
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Paul the Deacon. History of the Langobards. Translated by William Dudley Foulke.
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Peter the Deacon. De Viris Illustribus Casinensibus. Ed. and trans. Giuseppe Sperduti. Cassino:
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de Urbel, Juan Perez. “Los himnos mozárabes.” In Liturgia y música mozárabes: ponencias y
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Bodleian 51137) : Un témoin du cursus bénédictine ou cursus occidentale.” Archives de
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D’Aloe, Stanislao. “Catalogo di tutti gli edifici sacri della città di Napoli e suoi sobborghi.”
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Amelli, Ambrogio. Paolo Diacono, Carlo Magno e Paolino d’Aquileia in un’epigramma

inedita intorno al canto gregoriano e ambrosiano. Montecassino: Tipografia di
Montecassino, 1899.

Anderson, Warren et. al. “Hymn.” Grove Music Online. Oxford Music Online. Oxford University
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