Thl* itlii »natlon hu b««n ■IfinOhiiil cMcllr u nctind 66*312

BARR, F.S. P .A ., Sister M. Cyrtlla. 1929- TH E L A U D E FRANCESCA NE A N D T H E DISCI P LIN A TI OF THIRTEENTH CENTURY UM BRIA A N D TUSCANY: A C R IT IC A L STUDY OF THE CORTONA CODEX 91. (VOLUMES I AND I I ) (S tu d ie s in Music, No. 2 1 ).

The Catholic University of Am erica, Ph.D., 1965 Music

University Microfilms, Inc.. Ann A rb o r. Michigan Copyright by ster M. CyrI I la Borr, F.S.P.A. 1966 THE CATHOLIC UNIVERSITY OF AMERICA

Stuoies in Music No. 21

THE LAUDE FRANCESCANE AND THE DISC I PL I NAT I OF THIRTEENTH CENTURY UMBRIA AND TUSCANY: A CRITICAL STUDY OF THE CORTONA CODEX 91

A DISSERTATION

Submitted to the Faculty of the Graduate School of Arts and Sciences Of the Catholic University of America In Partial Fulfillment of tne Requirements For the Degree Doctor of Philosophy

by

Sister M. Cyri I la Barr, F.S.P.A,

Washington, D. C. 1965 This dissertation was conducted under the direction of

Tkovn(x/> os Major Professor and was approved by ( j t and /C'- y ^ ______os readers THE LAUDE FRANCESCANE AND THE DISC I PL I NAT I OF THIRTEENTH CENTURY UMBRIA AND TUSCANY: A CRITICAL STUDY OF THE CORTONA CODEX 91

VOLUME I PREFACE

Italian music of the middle ages followed a somewhat d if­ ferent course than did that of northern Europe and England.

The musician of the transalpine and insular schools carefully

recorded not only much of his music, but also treatises on its theory and performance as well. This is perhaps the reason why

the troubadour, trouvere, and Minnesinger repertoires have fared so much better in musicologicaI pursuits of modern times than have their Italian counterparts. Studies and tronscriptions of French monophonic music in particular have continued to multiply, while conversely, the neglect of Italian secular monody has continued well into our own century, and the English reader s t ill awaits the publication of the firs t monograph or. the subject.

Mus i co log1*sts have tended to dismiss the laude spi r ? tua I ? with a few brief paragraphs couched in general terms, usually ascribing the laude to the wandering bonds of flege Ilanti which sprang up throughout Italy around 1260. There may be on oc­ casional reference to the role of the Franciscan Order in the early dissemination of the practice of laude singing, but lit tle or nothing has been written about this f,pre-f loge I lent i" phase.

The reasons for this neglect are to some extent related to the feet that the laude sprang from a social stratum consider­ ably lower then the chanson and the Lei ch. The troubadour, trouvere, and Minnesinger were well educated, and if not of noble birth were at least in the employ of the aristocracy.

What they produced was an esoteric kind of song intended to entertain the restricted circle of the court. The laude, on the contrary, was whet might today be termed Gebrauchsmus ? k, uti lity music combining the immediacy of the present need with the informatily of daily routine into an art which sometimes attained a truly universal character. The composer of the laude was no nobleman by birth, end his audience was far from courtly. On the contrary, he was most likely an itinerant mendicant fria r bent on reaching his illite ra te congregation.

The few manuscripts he left behind are not the product of an established scriptorium and cannot compare in magnificence with the troubadour chansonn?ers.

Only a relatively small number of these Italian laudario manuscripts contain the melodies to which the poetry was sung.

Of these the two most important are the thirteenth-century

Lauderi o 91 of the Bi bIi oteca deI Comune e de I I * accademi a Etrusca of Cortona, and the MS Mag Ii abechi eno II I 122 of the Bi b 11 o- teca Naz ? onale Centra Ie of Florence. S till I ess is known of the manner in which the hymns were performed. The mediaeval

Italian wrote very sparingly about his music, and the only treatises which have come down from this period ere related to learned music and the problems of singing polyphony, such as those illustrated by Guido of Arezzo in his Microloqus.

This paucity of recorded information relative to the lauda and its performance has caused the subject to be more widely studied by phi lologists and students of Iiterature than of music. Periodicals of romance philology published in the years just following Ita ly ’ s unification witness to the sudden surge of interest in this national form. Yet not unti I 1935 did there appear a complete musical study of the two above mentioned manuscripts. In this year Fernando Liuzzi published his two-volume work entitled J_a Laude q _i_ pr ? mord ? de I la me lodi a i ta I iana . Musicology owes much to bis labors, though today the rhythmic fancies of Liuzzi's transcriptions are quite unanimously rejected os being both unrealistic and inartistic^ and his claims for the importance of the ba I lata form are disputed. Neverthe­ less, the work remains a monument, published in a ll the elegance of a facsimile edition of the m id-thirties. The present work, while taking issue with Liuzzi's transcriptions and other of his theories, is greatly indebted to his redaction of the text, which was the result of collating thirteen different sources— not all of which were available to this writer in the original.

Throughout the present dissertation the version of the lauda texts used is generally that of Liuzzi. Any departures from or disagreements with his text are cited in the accompanying notes.

In approaching the study of the lauda one is faced with the question as to why the Italian in the middle ages seldom recorded anything about his music and indeed wrote down only a limited amount of the music its e lf. The answer would seem to lie in the fact that for people to whom music was so essential an element of dai ly living, the recording of hymns would have been about as necessary as committing the Poter Noster to manu- scripT to insure preservation. But for the student who turns his interest to this repertoire the absence of sources poses a formidable obstacle, though not an insuperable one. The research­ er is obliged to forage through chronicles, annals, papal bulls, ecclesiastical legislation and directives, letters, sermons, statutes of confraternities and religious orders, and from time to t 'me 0 v i ta or pass i o of some saint. Occasionally valuable bits of information are discovered in paintings, manuscripts illuminations, and not least of all in popular legends, which in the present work have proved so valuable to the unraveling of obscure textual references. The research takes on somewhat the character of an archeological expedition and the material amassed must be sifted, rejected, or accepted, until the whole hypothesis emerges os something homogeneous but cemented to­ gether from bits and scraps of information from a variety of sources.

Since no musico logicoI investigation of popular art con be divorced from the.circumstonces which gove it birth this study purposes to examine the lauda in the setting of its own time. It is hoped that such on investigation will contribute to our knowledge of the delly life of the medioevel townsfolk.

These early laude, designed as they were to meet the spiritual needs of the common man, constitute a considerable revelation of his religious awareness, end certainly provide some insight into the mind of the poet musician who invented them. For thi reason the study will be concerned with t ue hymn texts as well as the music. It will concentrate solely on the Leudorio 91 of the BIbIiotece deI Comune e deI I 1accadem?a Etrusca of

Cortona. The choice of the manuscript is based upon its posi­ tion of primacy as the oldest known source containing both the poetry and music of the laude.

The present dissertation is submitted 1) as an attempt to determine the nature of the group to which the Cortona

Leudario 91 belonged; 2) to search for evidence within the poetry which might point to origin, age, end authorship of the work; 3) to provide a transcri ption of the music more in keeping with the simplicity of the poetic text; and 4) to present for the firs t time an English translation of these simple and charming hymn texts. In doing so it is hoped that the laude w ill offer a fresh insight into the tender, personal and indeed, sometimes earthy manifestations of the mind and heart of the mediaeval man as he spoke to God. ACKNOWLEDGMENTS

I wish to express my sincere thanks to Professor Isaac

Thomas under whose direction this dissertation was completed, end to the Right Reverend A. K. Ziegler, Ph.D., and Professor

Allen Garrett, Ph.D., who os readers gave generously of their time and critical suggestions.

I am especially grateful to the American Commission for

Cultural Exchange with Italy under whose auspices I was the recipient of a Fulbright Scholarship to the University of

Florence, 1963-64. During this time the major portion of the primary research for the dissertation was completed under the direction of Maestro Frederico Ghisi, to whom I feel on especial debt of gratitude for his kind personal interest as well os his generous assistance. I am likewise indebted to

Signorino Ginetto dal la Moro for advice and guidance in the early stages of translation, and to Dottore Roberto Abondanza for the use of the fa c ilitie s of the Arch i v i o d< Stoto in

Perugia, Ita ly . I am deeply grateful to Don Aldo Brunacci for making possible a thorough search of the statutes and other pertinent manuscripts of the Arch i v i o de I I a cat tedreIe d ? San

Ruf i no, Assisi. Likewise I om indebted to Dottore Luigi

Pencrozi, director of the Bi bIi oteca deI Comune of Cortona, for his interes+ in the work end his generous offer of complete

.access to the rich manuscript coUection of the library.

To Reverend Patrick Howard, O.F.M., Holy Name College,

Washington, D.C., I am grateful for making available the

* collection of Franciscan sources owned by the college. A very

special note of thanks is due to Mr. Raphael Urciolo, Ph.D., for his kind interest and most generous assistance in the final

preparation of the Italian text and translation.

And fin a lly , I wish to acknowledge my deep gratitude to my religious community, the Congregation of Franciscan Sisters of Perpetual Adoration, La Crosse, Wisconsin, for the opportunity of advanced study. To my religious superiors and feMow sisters alike go my sincerest thanks for their constant understanding and encouragement. TABLE OF CONTENTS

Volume I

Peqe PREFACE...... “v ACKNOWLEDGMENTS...... x LIST OF...... TABLES...... xiv LIST OF ILLUSTRATIONS...... xv Chapter I. LAUDA SINGING IN THE CONFRATERNITIES OF MEDIAEVAL ITALY...... 1 The Period of the Leudes? and Tertiarias. . 4 The F laoe I lant i ...... 8 The Pi sci pi ? n a ti...... 17 I I . THE CORTONESE CONFRATERNITIES...... 25 Problems of Id en tity ...... 26 The Capi to I? del la Confratern ? ta di Santa Croce~*de \ 1300. 7 “ ...... 35 I I I . LAUDARI0 91 OF THE BIBLIOTECA DEL COMMUNE E DELL'ACCADEMIA ETRUSCA IN CORTONA...... 40 Description of the Monuscript...... 42 Examination of Content ...... 46 Theories of Origin and Age of the Manuscript...... 53 IV. PROBLEMS OF EDITING...... 74 Editing the M u s ic ...... 75 Editing the Text ...... 83 V. FINDING AND CONCLUSIONS...... 88 The Text: Content...... 89 The Text: Form and Expression ...... 94 The Music: Notation...... 9& The Music: Performance ...... 97 Recapitulation ...... 100

xi i xi i i

APPENDICES Roge APPENDIX A ...... 104 Inventory of the Confroternity of Sen Domenico, Addendum to the MS Perugia 955 APPENDIX B ...... 109 Photographic Plates of the church of Son Francesco ond tne Cortona Laudorio 91/ Port 5. APPENDIX C ...... 117 Various transcriptions of loude from the Cortona Manuscri pt APPENDIX D ...... 124 Photographic plates of the laude to Saint Margaret of Cortona ond Blessed Guido; ond oddi tionaI texts APPENDIX E ...... 132 Fourteenth century Florentine Laudorio I I Iuminotions BIBLIOGRAPHY...... 134 Manuscript Sources...... 134 Primary Sources ...... 136 Li teroture ...... 138 Dictionaries...... 151 LIST OF TABLES

Table Page

1. Musical form of the laude from MS Cortona 91 which are composed of six melo­ dic members ...... 49 2. Musical form of the laude from MS Cortona 91 which are composed of more than six melodic members .... 50 3. Poetic form of the laude of MS Cortona 91 ...... 52

x i v LIST OF ILLUSTRATIONS i gure page 1 . Entrance of the church of San Francesco in Cortona, with partially visible ' door frame of the subterranean chapel of the laudesi ...... 109 1 1 . The deteriorated first folio of the MS Cortona 9i • ••••••••••• ...o #. . 110 III. Folio 46v, illustrating the use of guide lines in the music...... 111 IV. Folio 65r, illustrating faulty alignment of text ond music ...... V. Folio 70r, illustretinq notes in compo a oe rto...... 113 VI . Folio 100v, the most perfect example from MS Cortona 91 ...... VI 1 . Folio 123r, a later addition to the monu- scri p t...... VI 1 1 . Folio l64v, hymn to Beoto Guido found in port two of the Cortono Laudorio ...... IX. Folio l65r, from the hymn to Blessed Guido of Cortono...... X. Folio 139r, the opening of the hymn to Saint Margaret of Cortono, found ?n port two of the Cortono Laudorio...... XI . MS 742 of the Pierpont Morgan Library, New York Ci ty . An i I Iumi not i on from a fourteenth century Florentine lou- d a r i o ......

xv CHAPTER I

LAUDA SINGING IN THE CONFRATERNITIES

OF MEDIAEVAL ITALY CHAPTER I

LAUDA SINGING IN THE CONFRATERNITIES

OF MEDIAEVAL ITALY

As the early middle ages witnessed the organic growth of the liturgy and the compilation of a rich corpus of liturgical music so did the later middle ages observe the rise_of another repertoire, neither strictly liturgical nor purely secular. Its healthy roots were sunk in a soil of distinctly popular nature, but the fruit it bore was distinguished by a religious spirit be-speaking a long tradition of deep spiritual awareness. Much has already been written of the more learned mediaeval music and of the theoretical treatises emerging for the most port from the monastic scriptorium. But the popular religious music of thirteenth century Italy remains in many respects os obscure to us today os the unrecorded names of the many who cut and carried the stone for the cathedrals, or who lost their lives in the crusades, ond whose immortality in stone ond poetry remains on anonymous one. This may be due in some measure to that tendency of the mediaeval man towards the anonymity of communitarian life .

The phenonemon of collective endeavor may be observed on

2 many levels of his existence. It occurnedin the economic sphere in the formation of the guilds, and on the poIiticel-socia I scene in the emergence of the commune. Spiritually it manifested its e lf in the formation of numerous pious lay confraternities which multipled rapidly and soon fi lied the open field that had been created by the polarity between life in the cloister end

life in the world. The fervor of thirteenth century Italy was definitely an evangelical one— but so also was it a singing one.

Although the idea of popular hymn singing did not originate with the mendicant friars these itinerant preachers were quick to recognize its effectiveness as an organ of teaching. Thus the pedagogical method of the evangelizing friars bore o causal relationship to the rapid growth of the custom of popular hymn singing in the thirteenth century. As the period progressed ond confraternities tended to organize themselves on a more 2 permanent basis, the singing of vernacular hymns, or laude os they ore known, was firmly ensconced os an abiding tradition.

4 Pierre Mendonnet, "Les Origines de l fordo de Poenitentia," Compte rendu du I Ve Conqres Sc? ent ? f ique i nternat ionoI des Co tno I i Ques, laciences hi stor fquesT ed. Paul Sabat i er. “ TTTibourg: i m r 1 8 3 : ------—

Earlier writings contain variants in the spelling of the word lauda ( laude, singular and loudi. plural) but the present work follows the generally accepted forms employed by present- day musicologists, lauda. singular ond laude. plural. 4

The Per i od of the Laudes i end Tert i ar i es

The practice of popular hymn singing in the middle ages

divided its e lf into three general phases which, for purposes of

both utility and clarity, will be followed here. The earliest

of these extended from the late years of the twelfth century

unti I the third quarter of the thirteenth and was undoubtedly

a time when lauda singing was carried on under some type of

clerical sanction. During these years the I audes i and tertiaries

were primarily responsible for the dissemination of the practice.

The activities of both groups were characterized by orderliness

and by the absence of se lf-in flic ted scourging.

Our knowledge of the origin of these religious, singing

groups in Italy is very fragmentary and relies largely on the

records of early chroniclers, yet It is sufficient to prove 3 their existence es early es the precommune I period. An

examination of the sources for the religious confraternity of

this period witnesses to the sim ilarity of purpose and structure

of such organizations. Likewise it attests to the wide dis­

persion of the confraternity over the peninsula and to the

charitable nature of its apostolate.^

3 L. Muratori . Ant iqu? tates Ita Ii cae Medi i Aevi sive Pi ssei— tat iones. (2d ed. rev.; Arezzo: fypi ffiTchaeIi 6e T fotf i, 17?3- 80) , Vo. XVI, col. 12. [All subsequent reference w ill be cited Ant i q . I ta I . D? s .1

^Gennaro Maria MontS, Le, Confratern? te medi eva I ? del Malta Ita I ?a. (Venice: Ed. la Nuove Ita Tia, 1927)1 p. 7 6 ff. 5

There is evidence that singing was incorporated into the activities of these religious societies as early as the tenth century in Italy^ but nothing is known of the manner in which this was implemented. In the late twelfth and early th: ~teenth centuries Florentine chronicles in particular begin to mention societies of lay people, specifically popoIo bordone, who gathered before the figure of the Madonna at the end of the day's work and addressed to her their prayers and songs.^ Be­ cause of the nature of the "praise songs" which they sang, the groups werq. given the name laudes ? .^The firs t such company recorded with any certainty was the Compaqni a de i Laudes ? deI I a

Beata Verq i ne Mar i a in Florence In 1183. It was attached to

5 Muratori, o£. ci t ., col. 41.

^Johennis Vi Ilani, Hi s tor i a uni versa I ? s a cond? ta F lorent i a . Vo I . XIII of Rerum ? ta I ? corum scrIptores, ("Me3 i o I on i : Typograph i a Societatis palatfnae, 1?29), col. 345. l_A I I subsequent references to this work will be cited Re r . Ita I . Scr i p t., with numbers desig­ nating the volumes in the seriesT] C f. of so Annibale Tenneroni, Ini z ii de ant i che Poes i i t a I ? ene re I i qi ose e mora I i con prospetto dei codTce che contenqono et introduzione aTla Laudi S p iritu a li. TTTorenceT “n o “<5Tsl^T7“i^59)7 ™ f x ': ------

^There is confusion in the use of the term Iaudes? due to the fact that some of these groups adopted the practice of the discipline after 1260 ond changed their names to disci pIi not i . The confusion is incremented by the tendency of modern writers to use the terms laudes i , d is c ip lin a ti, and bat tut i interchange­ ably. Q Enrico Battozzi, Net ? z i a di un laudari o deI secolo X I I I , (Arezzo: Stabi limento Ti pogrof i a T5e I lott i , 1*89(51, p. 14. It is worthy of note that laudes? groups nearly always were dedicated to the Virgin and contained her name in their title , 6

the parish of Santa Reparata end was known to gather together

on the eve of all feasts of the Blessed Virgin to sing laude in o her honor.7 As early as 1211 Bologna possessed a similar society

kno'*"-' as the Compeqn ?a de I I a Verq i ne, ^ and between 1223 and 1233

Florence witnessed the rise of several more. One of the most

important of these was the group which eventually evolved into

the Order of Servites.^

These peaceful ond we I I organized companies of laudes ? were

never given to the practice of se lf-in flic ted scourging, end

their songs retain the lyric quality of a purely devotional hymn

repertoire totally free of both dramatic effect and all reference

to flagellation. In this they bear a closer relationship to the

tertiary groups a ffilia te d with the mendicant orders than to any other of the mediaeval singing societies.

There was apparently little to distinguish the tertiary from the laudes ? in the early thirteenth century. Each was bound

by a rule and marked by certain external observances which had much in common. Like the statutes of the laudes ?, the rule of

the third order made no reference whatsoever to the practice of

the discipiine. But unfortunately neither does it speak of the

whereas, the later disc?pii nati more frequent ly adopted the name of the saint who was the patron of the parish with which they were off i Ii ated .

9 1bi d. 10 lb id ., p. 15. 11 Ib id . 7 role of hymn singing in the functions of the group, and no tertiary r 1tua I i is known to exist. But in 1247 Pope Innocent IV ordered the Franciscans to assume the direction of the penitent groups of all Italy and Sicily, with the result that the character of the fraternities guided by the Friars Minor became hardly distinguishable from the te rtia rie s . On the basis of the strong

likeness between the third order ond other confraternities, which we know placed so much emphasis on the practice of lauda singing, it is safe to assume that in this, too, the resemblance is carried out. It would indeed seem unlikely that the singing of laude, generally acknowledged to be disseminated by the Friars

Minor, should not have been found in the tertiary groups which are bound by on even closer relationship to the order than ore the confraternities. Yet up to the present no musicologist has been able to label a leudario as that of a third-order group.

One solitory shred of evidence to uphold the lauda-singing tra­ dition of the tertiaries exists in that precious fragment at the close of the letter "a tu tti i fedele," intended by Saint Francis 1 2 os an exhortation to the people of his time. Vicinelli believes that it embodies, for the fir s t time in writing, the 13 founder’ s idea of the third order. The letter closes with

Augusto Vicinel li, Gl i scr i tt ? di_ San Francesco _e f ? oret t ? . (Verona; Arno I do Mondodore, 1955), p. 14£."™ The version of the letter quoted here is that prepared by Vincinelli from the two most famous manuscripts in which it is contained, MS 338 of Assisi, ond that of the Convent of Ognissanti in Florence. 1 3 This was about the year 1215, 8

the beautiful words,

. . . it is necessary that everyone adore him, adore him in the sp irit of truth. And let us sing to him laude, and let us prey day and night, saying: ’Our Father who art in heaven,’ because we must pray always and without becoming t ir e d .^

Apart from the hymns themselves, the only secure bit of

information which can be produced to prove the lauda singing of

the third order is contained in these words of Francis, "and let us sing to him laude."

The F laqe I I anti

Although the thirteenth century was marked by the establish­ ment of tertiary orders attached to the orders of mendicant friars, ond the multiplication of Iaudesi companies, the third quarter of that century was characterized by events of a seriously disruptive nature. The tertiaries hod achieved a sufficiently stable charac­ ter to safeguard them from the metamorphosis through which many

laudesi groups passed, only to emerge with a charocter entirely changed. The phenomenon which brought about the revolution in the nature of the confraternity is that commonly called the f laqe I-

lantI movement of 1260. It was initiated in Perugia, presumably at the instigation of one man, but soon spread rapidly throughout nearly all of northern Ita ly . Without considering the restless­ ness of mid thirteenth-century Italy it is difficult to conceive

14lbid», p. 149. 9

how one hermit’ s cry of pen i tenza could incite the populace to

such extremes of se lf-in flic ted scourging that the chronicler 1 5 could say that in those days "Italian blood flowed like water."

Yet the picture becomes more credible if we recall the climate

created by Woldenses, Cathari, and various itinerant evangelizers

commonly known to the people. A state of expectancy had been

created by the Joachites disseminating the dreams of their sp iri-

tua I forefather.

Although the figure of Joachim of Flora (b. 1132, d. 1202)

properly belongs in twelfth century Calabria, his influence

reached far beyond his own time and native province. Dante

placed the revered old man in the company of those great lights,

Hugh of St. Victor, Rabanus Mourus, and Anselm, claiming for

him a prophetic s p irit.^ Likewise the Bollandists found f i t to

include his life in the Acta Sanctorum ^ But irreproachable as Joachim’ s life may have been, it was his writings which caused 18 a near crisis for the church in the thirteenth century.

^ ^Rer . I to I . Seri p t.. V IM , co I . 699 •

16 Dante A lighieri, Divina commedie. (London: J.M. Dent and Sons, Ltd., 1962), Parodi so" Canto XII, v. 139, p. 150.

1 7 Acta Sanctorum, (ed. Bollandists, 68 vols, Paris: Ed. Victor TTO eTlW rrM aii, Tom 7, pp. 87-144.

^Joachim of Flora,' PTC, VI I I cc. 1425-1458. 10

However, in e ll justice to Joechim it must be seid thet the

extent of his influence was due to those who enlarged upon his

thesis, notably the spiritual Franciscans. They avidly seized

upon Joachim’ s idee of a contemplative and evangelical band of

barefoot friars as a prefiguring of their mission and a ju sti­

fication of their attitude toward the rigid observance of the

rule. But the writings of Joachim were in themselves vague,

and it was only by freedom of interpretetion and the attribution

of anonymous and apocryphal works to him that the zealots were

able to arouse such a fu r o r.^

The most controversia I of Joachim's works was the Eterna I

/ GospeI, an expose of his theory of an organic and developing

church as opposed to what he considered a static foundation.

His inspiration for ihe book came from the Apoclypse, XIV, 6,

"And I sew another angel flying through the midst of heaven having

the eternal gospel to preach unto them that sit upon the earth and over every other nation, tribe, and tongue, and people."

In the work he devised an elaborate system of calculations where­

by he divided history into three periods. The firs t of these was the age of God the Father, extending from the time of Adam

to Christ; the second was that of the Son and was calculated

19 Francesco Russo, "San Francesco e i francescani nelle letteretura profetica q5oachimita," Miscellanea Francescana, XLVI (June, 1946), 233. 11 to be forty-two generations of thirty years each, or one thousand two hundred and sixty years. Each age had its hero, its precursor, end its book of life . The age of the Father was enlightened by the Old Testament and had Adam as the herald of Abraham. Simi­

larly the Baptist was the precursor of Christ and as such ushered in the era of the New Testament. Now as the year of 1260 approached Italians were warned of the coming of the age of the

Holy S pirit. The herald, Benedict, had long since passed, and the people apprehensively awaited the appearance of the new hero.

Into such a setting the figure of Raniero Fasani emerged from his cove outside the city of Perugia and began to preach his message of penance. According to popular legend the Blessed

Virgin had revealed to the old man that unless he preached penance to the city and gave its citizens a public example of the discipline he hod long practiced in private, Perugia would 20 be lost. Several accounts of the incident exist, and various theories hove been propounded regarding the identity of Raniero 2i but they ore of lit tle consequence here. All that is known

2 0 Cf . Arnoldo Fortini, Lo louda in Ass i s i e _[e oriq i ni de I teat ro i ta I ? ano. (Assisi: A Cura deTTa Societi i nternozioneI e Ti STucfi TroncTsconi, 1961 ), p. 14ff.

21 These hitherto unknown theories are contained in on un­ published inventory of the private collection of the Arch i v i o de I Pi o Soda Ii z ? o Braceio Fortebracc? (Perugia), now in the possession of the Archfvio~~3i Stoto, Perugia, p. 341ff. 12 with any degree of certainty is t-hat Raniero d i d inaugurate the f laqe I lant ? movement in 1260 and that he was responsible for the formation of the firs t d? sci p I i nat i society, that of Ges u

Cr ? s to .

Several important chronicles of the middle ages record the event with unusual vividness and detail, and are quick to relate that a multitude of other Italian cities followed the example of

Perugia. Token together these accounts supply an amazingly com­ plete narrative of the events surrounding the rise of the f laqe 11 ant ? . We ore told that whenever the movement spread, men and women, clergy end laity, and civil and ecclesiastical officials alike joined in the penitential processions initiated 22 by Raniero. These demonstrations were know to be of th irty- 23 24 three day duration, and were continued throughout the night, 25 and in spite of rain and cold alike. Solemnly the penitents 26 walked from one church to another whi le scourging themselves, 27 and singing hymns. The movement spread with greet rapidity

oo Muretori, Rer. I ta I. Script., VIII, col. 712/ IX, col. 704; and c o I. 49.

231 bi d .. V III, col. 712. 241 bid ., Cf . IX, col. 50.

25Ib id . 26lb id ., IX, col. 49; VI, col. 527.

271 bi d ., VI I I, col . 1121 . 13 but was always character!zed by these some invocations imploring 28 peace and mercy for the people. Several chroniclers record the actual invocations used, but the specific mention of sing­ ing is by for more valuable to the musicologist. Two chroniclers in particular relate thot the petitions sung were in proise of 29 30 God end the Virgin, end the possion of Christ. Furthermore, the Chron i con Patav i n ? mokes it clear thot these lugubrious songs were the only music allowed at this time, saying specifically 31 thot both musical instruments and love songs were silenced.

Only the "angelic songs of the penitents were to be heard, 32 repeated over and over again."

Fro Solimbene, with his usual eye for detail, hos left one of the most colorful occounts of the phenomenon of the flaqeI lent ? .

He describes their songs thus:

. . . in their mouths sounded words of God ond not of men and their voice was os the voice of a multitude: and men walked in the way of solvotion, ond composed godly songs of proise in honor of the Lord and the Blessed Virgin: and these they song os they went ond scourged themseIves .33

What is most significant is his use of the verb "componebont"

28 l bid., IX, col. 704. and co I . 134. C f. a I so XVII I , coI . 271, onT"vT, col. 527.

29lbtd., V III, col. 1121. 301b i d., XV, col. 334.

311 bid., V III, col. 713. 32lbid., IX, col. 49. 33 Monumenta Germani a Hi storia. The Chroni cle of SaI?mbene. Script XXXI I , fed. Oswo I d Ho ider-Egger; hlanover: 1890), P- 7T • [a ll further references w ill be indicated MGH.l 14 which would seem to imply an element of improvization in the per­ formance. Elsewhere in his chronicle Salimbene provides one of those rare descriptions of mediaeval performance when he recounts the story of an itinerant preacher known as Benedetto. The bearded evangelizer is described as going about in a long cloak and carrying a trumpet which Salimbene describes as "frightful, and not beautiful." The chronicler was undoubtedly an eye­ witness of the incident which he relates with such vividness, for Benedetto visited the town of Parma whi le Salimbene was s till Ii vi ng there .

(Benedetto) said aloud in the vernacular: "Praised and glorified be the Father!" And the children repeated it after him aloud. And then he repeated the words, adding: "and so also be the Son!" After that the third! And after that, he added—Alleluia, Alleluia, Alleluia. Then he played on his trumpet. . .34

From the account of Salimbene it is clear that the respon- sorial manner of performance was already employed in the sing­ ing of these vernacular hymns. The same description is given by the chronicler Riccardo of San Germano, but with the added note that Benedetto used his trumpet as a means of announcing 35 his presence and summoning the people to the piazza.

Although the scene described above occurred previous to the f leoeIlant i movement it is possible to reconstruct from it

34Ibid., p. 71 . 35tbid.. XIX, col. 370. 15

some ideo of the manner In which this popular singing of laude

was executed. In addition it is a testimony of the use of crude

instruments even in this early stage of development. Many laude of a later period, upon examination of both text and music, give

evidence of antiphonal, responsoria I, or even dialogue perform­

ance . And illuminated laudorIo manuscripts of the fourteenth

century contain representations of figures with musical instru­ ments— a fact which has led some musicologists to hold the opinion that the laude were probably accompanied by some crude

instruments. But, unfortunately, Salimbene does not describe

the manner of performance of the laude during the f laqeI lent?

per i od.

Within a year after the outbreak of the penitential mania

both the papacy and civil authorities hod forbidden the proces-

ions. Out of the great upheaval many temporary truces hod been mode, ond long standing enmities resolved, at least apparently.

Prisioners were freed and vendettas abandoned, ond not least of a ll, new confroternities come into being. But wise rulers

legislated against such disturbances more for the soke of order 36 than out of impiety os some contemporary chroniclers charged.

In the face of such opposition the more fanatic element fled from Italy into northern Europe. Soon their like was to be

^M uratori, Rer. I to I . Seri p t., XVI, col. 47; Ant i q. I ta I . Pis., XVI, co 1. 46; and Rer. Ita lT Scr ? p t., V III, coTI 7l 3. 16 found !n the Midi, ond os for north os Hollond ond Polond. The ropid spreod of the movement ofter it crossed the Alps is Attested by Solimbene’ s stotement thot "this devotion flew like on eogle ofter its prey." And in Germony porticulorly, it left in its woke o new musical repertoire known os the Ge i ssIerIi eder.

In the relative quiet thot settled over Italy ofter the passing of the f looe I lont i several elements of their actions remained. Although the public demonstrations hod ceosed, at

leost tempororily, the singing of loude hymns was now on institu­ tion, ond the practice of the discipline continued in o more temperate manner. The consequent development of the religious confraternity ofter the denunciation of the f loqe I lont i is characterized by o movement out of the open ond into the church; owoy from the spontaneous ond violent uprising ond toword the more ordered ond quiet devotion of resident groups which flout— ished under the watchfulness of the mendicont frio rs. In the period which followed the eccIesiostico I censure of the flag­ ellants, numerous companies of Ioudesi assumed this quieter ond more modified form of penitential life . They began the practice of s e lf-in flic te d scourging, while continuing their long established custom of laudo singing, and in many instances changed their t it le to di sci pii net ?. It was this very with­ drawal into sedentary, quos?-reIigious communities which ushered in the next era in the development of the hymn-singing con­ fraternity. 17

The D i s c i p I? nat i

A new stab ility was insured when the penitential bands attached themselves to urban parishes, where they carried on their rites under the direction of an official visitetor, usually either Franciscan or Dominican. This period of imposed

/ order soon bore fru it in the form of written documents govern­ ing the whole existence of the di sci pii nat? from the time of entrance into the order until death and even after. It is significant that the papacy granted to these lay religious groups the privilege of canonical approbation. The sanction was not without precedent, for the tertiaries of an earlier period had been given similar recognition. The action thus taken by the Holy See in behalf of the d ? sc? pIi nat i resulted in granting them autonomous juridical status based on the canonical principle of exemption. But more than this, it imparted a per­ manence to the fraternity which insured its continuance and permitted an expansion of creative expression within its ritu a l.

Just what direction that expansion assumed may be seen from an examination of the s ta tu ti, ri tu a Ii, and laudari . Taken together they constitute an invaluable source of information relative not only to the growth of the confraternity and the lauda, but to that of the Italian theater as well. The songs of the flaq- e I lanti had been devotional in character, and even when dialogue performance may have been employed, the nature of the peniten­ tia l processions made it highly improbable that there should 18 have been any greet spectacle 'nvolved. But the new stobllity of the di sci pIi nati allowed for the acquisition of properties and costumes, ond clearly the louda now moved in the direction of the devoz i one or rappresentaz i one. Manuscripts of the period show evidence of this in the replacement of Latin rubrics with 37 scenic annotations in Italian .

Furthermore, it is possible to reconstruct from these manu­ scripts a reasonably accurate picture of life in the confra­ ternity. The documents chosen for thot purpose ore six, three laudarI ond three statut i , all of Umbrian origin. They are;

1 . MS 2 . MS 3. MS 4. MS i s I

5. MS y i s j i » lomo 11 iy/ uc m o w ii| i g i gi i i i i w w i wun i Ass i s i, also f rom the cathedra I arcKfves; 6 . MS 38

37 It should be noted thot the Umbrian laude tended to be­ come dramatic whereas the Tuscon remained always more lyric in nature.

38 The six monuscripts mentioned will be abbreviated accord­ ing to the following key wherever cited. 1) MS Vo I A 26; 2) Per. 955; 3) V. Em. 478; 4) Stot. Sen Stef.; 5) Ord. Sen Lor.; 6) Stat. San a i f . Number 1) i s the laudar io of the Compaqnio di San Simone e firenze in Perugia. The work Ts a palimpsest of rather modest dimensions, written in clear gothic script with Latin rubrics. Number 2) contains both the statutes ond the laudari o of the 0 1s c i p I»no t i di Sen Domcni co of Perugia. Manu­ script number 3) is fne laudaTTo of the oIdest of the confrot- ernities of Assisi, that of San Stefano. It is sometimes 19

These sources indicate thot in origin, organization, and

government most d? sci pIi nat i groups hod much in common. The

penitents who established themselves in Perugia in 1260 in many

respects set a precedent for later societies. This was true not only of their name, which numerous others adopted, but of their

internal administration os well. In their fanotic zeal the early

companies grew so large thot religious ond civil authorities alike feared their power. Thus the original compony of Disci p-

I ? nat i di Gesu Cri sto of Perugia was forced to divide into

several smaller ond therefore less powerful companies. In the some fashion thot the "mother confroternity" was divided and divested of strength, so too were the others. Soon the Umbrian volley was dotted with numerous di sc? p i? nati groups bearing the names of a variety of popular saints.

In general the confraternity of this period wos sufficiently well established to mointain the prerogative of upholding a high standard of conduct os requisite for entronce into its ranks. If a prospective aspirant to the life of the di sc? pIi nat i wos not 39 barred from entrance by outright prohibitions stoted in the rule,

referred to in older sources os the Codex Frondini (Cf. Tenneroni', op. ci t ., p. 10) but since its removal to the National Library in "Rome it is named for its present abode. It is doted 1327, but this is believed to be the yeor of canonical approbation of the confroternity rather than that of its inception. The work is mode up primarily of lamentations ond devoz i one for Hdly Week and con- toins many rubrics indicating the dramat? c character of the monuscript. 39 S tat. Son Ruf., p. 2r. The statutes deny entronce to the lazy, dissolute, sooomi tes, ond usurers. 20 he might proceed in his desire, submit to exeminotion, ond re­ ceive the h a b it .^ The r i tuoI? contain explicit instruction 41 for the ceremony of investiture, ond the stotuti spelI out in detoi I the duties of the di sci pii not i life of proyer ond penonce.

But what of the loude which we.know were sung os on adjunct to the religious services of the confroternity? Unfortunately the three manuscripts discussed in this connection contain only the hymn texts ond the reader is left to speculate over the music. But the fact thot the melodies for the hymns were not recorded suggests that the tunes employed must certainly hove been familiar to the singers. The collating of texts has brought to light frequent repetitions of certain hymns ond in a few instances has supplied the melody for these. But even in the absence of such evidence it is possible to gain some insight into the manner of performance of the loude, and to determine its functional role in the life of the di sci p i? nat i . The r ? tu o Ii,

MS 21 of the Cothedrol Archives in Assisi, describes o semi-

liturgical, privote service during which the discipline was wos token. The codex, written in Lotin ond Italian, contains

Ord. Son Lor., p. 4i—5v contains a description of the in­ vestiture, re fating thot the aspirant donoted o pound of pure wax in payment for the socco which he would wear ond the scourge he would use.

^ Laudoriq dello Oliveriono contoins in number X III a hymn proper to the rnvestiture service. It begins, "Guordo bene, d i sci pi i not i , tu chfo Cristo om ore....1' 21 prayers, collects, and annotations to enunciate the ceremonial 4 2 aspects of worship. From it and others like It we learn that

frate I I i possessed a modified version of an office for the dead into which were incorporated laude designated in the laudario manuscripts as "pro defunctis." MS VaI A 26, for example, con­ tains eleven such hymns. A detailed description of the demise of the brethren is contained in MS 120 of Cortona, the Cap? to ! i deI la confraterni tS d ? Santa Croce, which advises the frate I I i to sing the leuda on death while accompanying the corpse to the 43 grave .

The incipits and rubrics of MS VaI A 26 are valuable com­ ments on the dramatic tendencies of the lauda of this period.

Hymn strophes are divided, assigning parts to various characters by means of rubrics such as "dicunt angeli," "Christus ad Mater," and "Mater ad filium ." On the whole the dramatizations appear carry out the theme of the Gospel for the day and generally occur on Sundays, feasts of Our Lord end Our Lady, and the ferial days of Lent, rather than on feasts of the sanctora I cycle .44 In

42 P. 4r. Elsewhere, in MS Ord. San Lor. there is a descrip­ tion of the service during which the brothers took the discipline. It was held on Fridays and Sundays, and carried out in an orderly fashion end for a specific lengtn of time which was to be indicat­ ed by the prior

4 3 Pp. 9'—11 r .

44This pattern is rarely broken but when it is the excep­ tion usually serves to identify the patron of the confraternity. 22 much the same manner MS V. Em. 478 contains many Indications of 45 characters and stage instruction, and is given to lengthy 46 dialogue treatment of the laude.

Religious orders were particularly active in the develop­ ment and disseminotion of this type of dramatic lauda. While the secular clergy were occupied with concerns of church government the young mendicant orders were becoming increasingly involved in the mission of reaching the poor in a language which they might readily comprehend. Dramatization of the type described was a useful organ of instruction and soon religious houses of Fran­ ciscans and Dominicans became veritable theaters. MSS Va I . A

26, V. Em. 478, and Per. 955 all manifest this dramatic tendency and at the same time preserve the identity of the order to which they belonged. In the case of the firs t mentioned, the Dominican character of the manuscript is underscored by the occurrence of a remarkably beautiful dramatic lauda for the feast of Saint

Dominic and another for the th 5rteenth-century martyr of the order, Peter of Verona. The manuscript points out the little recognized role of the Friars Preachers in the development of the rappresentaz i one in the fourteenth century. Perhaps the most

The lauda contained on pp. I2v-l6r, for example, I ists the characters as Mary the mother of Jesus, John, Magdalene, Mary the mother of James, and Joseph of Arimethee.

^Lauda V III, pp. 24v-29v contains a fine example of dia­ logue in the account of the bargain between Caiphas and Judas. 23 remarkable document of this sort is MS Per. 955 which belonged to the Conf ratern i t£ d? San Domen i co in Perugia. The laudar?o contains an addendum in the form of an inventory list which bears the date 1339. Its t it le , "nuovo inventerio,M suggests that there had been an earlier redaction. Within its lists of items there ore many examples of what might be considered prop­ erties ond costumes. By comparing actual hymn texts of the accompanying laudario with the items of the inventory it is possible to find here both the properties ond their specific A *7 mention in the rubrical directions found with the poetry.

A document of equal ly evident Franciscan influence is found in MS V. Em. 478. Apart from its loude of the passion which ore markedly Franciscan in their affective emphasis on the humanity of Christ, the manuscript contains two loude to St. Francis, ond orations for the feasts of Francis ond Clare. The close associa­ tion of the Franciscans with the practice of loude singing, especially in its earlier phase, is well known. And by the fourteenth century thot fact is further strengthened by document­ ary evidence of another sort. A diploma of Biship Teboldo of

Assisi, doted 1325, contains the words, "frotrum minorum gerunt in cordibus eorum.” The worm feeling must hove been reciprocated by the Friars Minor, for they assumed the role of visitator to many confraternities of di sci p I i not i at about this time. A member-^

^For a selected list of those items pertinent to the lauda c f . Appendix A, pp. i04-r7. 24

4R shi p roll doted 1336 includes the names of numerous "frote."

And since the tit le does not appear indiscriminately before all the names os it does in a roI I doted 1407, it is possible to interpret this to mean thot some members of the d ? sci pIi net ? 49 were at the some time Franciscans, 7 though this relationship is not clearly defined.

Summary

The religious confraternities of Umbria ond Tuscany were both numerous ond active throughout the thirteenth ond fourteenth centuries, ond from them come the hymns which comprise the Cortona

Laudar?o 91. Whether or not the manuscript wos the hymnal of a group of laudes i , tertories, f laqeI I ant i , or di sci pii not ? con only be determined by examining it in the light of the informa­ tion yielded from these brief considerations of the various types of mediaeval confroternity. A comparatively large number of such groups were known to hove existed in the little town of

Cortona. Therefore, before turning to the laudario manuscript under consideration, it is necessary to examine the fragmentary

Cortonese documents which remain, in the hope of discovering among them some evidence to indicate the origin of this precious hymn coI Iect i on .

80 of the Archi v i o deI I a cattedra I e d? San Ruf i no, Assisi,p.9r.

^ \ b i d p. I2r. CHAPTER I I

THE CORTONESE CONFRATERNITIES CHAPTER I I

THE CORTONESE CONFRATERNITIES

Part I

Problems of Identity

The richness of Cortona's pest signifies that her position at the border of Umbria and Tuscany is more than a mere geogra­ phic point of meeting. The mingling of cultural elements from both provinces is reflected In her remarkable art treasures— not least among them this most ancient of lauda collections.

Although the city dates back to Etruscan times, the great flowering of Cortonese culture as it is known today came about in the firs t half of the thirteenth century and is a history in­ separably linked with the Franciscan order, which established its elf there very soon after, if not almost simultaneously with its settlement in Assisi.^ In 1210 Francis himself went to

Cortona to preach to the people of the city. Among them was

The rule of the Friars Minor was given oral approval in 1210 by Pope Innocent III. ond in 1211 the young order achieved something of a permanent basis in Assisi through the donation of a small plot of land ond a tiny chapel later to be colled Maria deq I i Anqe I ? .

26 27 one Guido Vegnotelli; for the anno Is of the order relate that in the following year Guido distributed his possessions, donated 2 his property outside the city to Francis to use as a hermitage, 3 and received the habit of the order from the founder himself.

Thereafter the rapid growth of the Franciscan order in Cortona is attested by both the material monuments which remain today, and the numerous documents establishing the transfer of property to the order. Throughout the remainder of the thirteenth century and well into the fourteenth the activities of the Friars Minor in the little city were intimately related with the growth of the various lay confraternities which came into being there.

A brief consideration of the enigmatic figure of Brother

Elies is of some value in this connection, since there is s u ffi­ cient documentary evidence concerning him to establish certain dates essential to this study. It is especially significant that Elias, himself a layman, should have been so influential 4 in Cortona at precisely this time.

The much debated issues of Elias' life and the evaluation

2 This property wos the famous hermitage of the CeI Ie.

^Cf. Acta SS., June Tom. Il l , p. 97.

^Cf. Edward Lempp, Frere E I i e de Cortone. (Paris: Libroirie Fischbocher, p. 14£7 of his actual role in the order are of little concern here.^

But the fact of his deposition as general of the Franciscan

Order in 1239 is of greet consequence, for from that time unti I his death in 1253 Elias passed his time alternately in the town of Cortona and at the court of Frederick I I . He had, in fact, been sent at one time by Pope Gregory IX as legate to the emperor.^ Attracted by the intellectual climate of the court,

Elias sought asylum there after his great humiliation ond by

1240 he wos fighting in the ranks of Frederick's army both at the seige of Foenzo and at thot of Ravenna. This open trans­ ference of allegiance from the pope to the emperor merited for

Elios both expulsion from his order ond excommunication from the church.

On his periodical returns to Cortona Elias wos followed by various intellectuals of the court of Frederick— a fact of some significance, because the court of the emperor wos the center of the so-called Sicilian school of poetry ond hod become, after the seige of Toulouse in 1218, the refuge of several trou­ badours, But there were others who followed Elios to Cortona os well. The Chronicle s L the Twenty- Four Genera I s relates

'’"Elio d? Cortcne," Enci clopedia i ta I i ana, v 13, p. 719

^The incident is related in the SpecuI urn Vi tee. that some friars remained faithful to the deposed general,^ and

there is documentary evidence that among them was one Giovanni

delle Laude, so-called because of his a b ility to compose in that g genre. The identity of this ley brother is well established in

various sources of early Franciscan history and he is perhaps

best known for having been selected by Francis' himse If to care

for him after the saint had received the stigmata.^

But despite his closeness to Francis, Giovanni remained a

faithful follower of Elias, and after the letter’s death retired

from Cortona to the little village of Bettona where he remained ..10 until the end of his life . After his death two laude were

found in the old convent where he had made his home.^ It is

Analecta Franci scana, ed. Brothers of Quaracchi; (Florence: Typographio Col Tegio Sen feonaventura, 1951), I I I , p. 232. [All subsequent references will be cited AF.3

®MGH Scri p t ., XXXII, p. 158. C f. Anna Ies Mi norum, ed. Luke Wadding, 3d ed. Joseph Fonseca; (Florence: fipoqrafia Barbera, 1931), IV, p. 299. [A ll subsequent references w ill be cited AM.3

^AF. Ibid., p. 225. Cf . also X, p. 619/ and Leqenda Maior, X III, 8 .

^The monastery where Giovanni was buried is now only a de- serted she I I .

^According to Fortini (cf. supra, p. 8 , n. 40) the two laude of Giovanni are now in the possession of the Conventual Friars in Rpme. However, a thorpuqh search of the archives of* $anti. Apostoli, the general curia of the Conventuals in Rome, has produced no such evidence. Neither the present archivist, Father Antonio Coccia, nor the past archivist and well-known historian, Father Joseph Abate, knew of the document. not possible to determine if they ore his, nor is it odvisoble

to claim thot the loude of Cortono MS 9*1 ore the work of Giovanni.

But his octivity in Cortono does coincide with the yeors in which

the loudorio wos taking shope ond it is possible that ot leost

some of the hymns in it were composed by him. However, So Iimbene

speoks of severe.I other Franciscon friors in the oreo of Tuscony 1 2 ond Umbrio who were gifted in both performonce ond composition.

It is equolly possible thot they moy hove hod some port in the

composition of the loude of the Cortono MS.

Elsewhere in his writings Solimbene gives vent to his dis­

like for Elios ond pours forth numerous chorges ogoinst the

deposed genera I . There is, despite the w riter’ s coloring of fact, o certain groin of truth in Salimbene's chorges thot Elias

showed extreme favor to the loity. During his superiorship he hod received unusually lorge numbers of loy brothers into the order ond hod even appointed these to positions of authority os ministers and guardians. As o result there were sometimes more

lay brot-hers at the chopters of the order thon there were clerics.

It is not surprising that this concern for the loity won from the

townspeople of Cortono o support ond enthusiasm which were demon­

strated in the form of generous donations to the early frio rs.

C f. MGH Scr i p t. XXXII, pp. 181 f f . Solimbene mentions specif i co I ly"“BroTKer Enri co do rise whom he soys composed many hymns; Brother Vito Lucchese, ond Brothers Giovanni do Pormo, Giacomino Olie da Parma, Bonog Junto de Fabriano;’ Guido 11 hi do Parma ond Guglielmo piemontese. 1 3 C f. Lempp, o£. ci t .. p. 115. 31

Under Elies the Frenciscens cored for the sick of the city, buried

the deed in the cemetery of the order, essumed the direction of e

group of Ieudes i , end supplied for them en o ra to ry .^

This oretory wes incorporoted into the church of Sen Fron-

cesco which Elies built in Cortone. It is possible to esteblish

with certeinty the dete of the erection of the church. In 1244,

just ofter Elios' second excommunicetion, Frederick sent him on

o mission to Cons tentinop Ie whence he brought bock to Cortone

o lerge relic of the true cross J ^ Upon his return the people of

the city presented to him the plot of lend known os Beqno de I Ie

Reg i no, where, with cherocteristic dispetch, Elias set ebout

bui Iding o church which wes to enshrine his coveted relic of the

Hoiy Cross. Before the yeer 1245 hed ended this now famous chiesa

di Sen Froncesco wes we I I under wey.

After the reneissence the little oratory beaneoth the church

wos obendoned end eventuolly forgotten until foirly recent times.

It wos re-discovered in 1887 when the commune ordered the seerch

for the bones of Luce Signorelli (1450-1523), a native Cortonese

who wes believed to hove been buried in the church of Sen Fron­

cesco. The search for the remains of the greet artis t proved to

^Girolamo Mencini, Cortone ne I Me d i o Evo . (Firenze: Tip. G. Carnesecchi e F igli, 1&i/), pp. T06 f f . 1 5 The story of the relic is told in the SpecuIum Vi tee but a fu lle r reference is contained in the V? ta of Guido of Cortono in Acta SS, June I I I , p. 98. The Bo Ilendi st odds to the description that TFTe re lic "was one of the largest relics of the Holy Cross in ell of Italy." C f. also Lempp, o£. c? t p. 15u. 32 be fruitless but the excavations were not without reword, for in the digging the small subterroneon chopel of the loudesI wos discovered, and wos identified os o port of the original con­ struction completed some time between 1245 and 1250. Like the 16 grea t bas i Ii ca of Son Francesco wh i ch Elios had bu i 11 in Assisi the little church wos actually a double structure with one church superimposed over the other. The . lower chopel hod been walled up in the sixteenth century when the interior of the upper church wos renovated ond four large alters instolled along the lateral walls of the nave. After the excavations of 1887 the oratory wos again closed, but one small reminder of it may s till be seen in the slightly rounded arch of a door frame protruding above the stone pavement to the left of the entrance of the church .^7

If this oratory was truly thot of a laudes i group, Cortona must hove possessed such a singing group os early os 1245 when the 1 8 church wos begun.

This immediately provokes the question of the identity of the confraternity to which the oratory might have belonged.

The town of Cortono hod a number of such societies which ore

Elios is believed by many to hove been the architect of the basilica in Assisi. Whether this is true or not, he was in cnorge of the building, ond in thot capacity undoubtedly had much to do wi th the p Ions .

17Cf. Appendix B, Plate I, p. 109. ^Moncini, Ib id . 33

recorded In locomo Lauro Romano's Hi stor i a dI C o rto n o Sev­

eral of these dote from the fourteenth century ond a few even

e a rlie r. He enumerates them thus:

1 ) The Confroternit& d i San Ni colo, whose special duty it wos to pay the dowry of needy gir Is; 2) The Confratern? t& deI Ges u, which assumed the duty of accompanying the priest with the Blessed Sacrament when he visited the sick of the parishes of the duomo ond Sent'Andreo; 3) The Confratern? t& di Sant'Antonio e Honof rio, which cored for prisioners; 4) The Confratern? tS de I I a Sant ? ss i mo Tr ? n ? ta. which offered lodging to pi Igrims, and sponsored on elaborate procession through the city on Holy Thursday, carrying a statue of the naked Christ at the pi I lor; 5) The Confratern? to di Mor i a deI I ? A lemonn i (de I la Manna) , which was re's pons iBTe for the grand procession on Good Friday during which the image of the dead Christ wos carried through the streets in a coffin; 6 ) The Conf roterni td d i Ma r ? a de I la Miser? cordia, ^ which carried the s + otue of the risen Christ in process?on on Holy Saturday. Among these last three mentioned there was apparently some rivalry for the historian speaks of their "having a contest to determine which of them could produce the most smoke (presumably in­ cense) ond the most music. "21

^ P ie tro Ridolfini, Hi s.tor ? a di” Cortona di lacomo Lauro Romano. (Rome: Appresso Lodovi co GrTgnoni, T6oT9)7 P. 15v. Ri doffini was a canonist ond historian of repute. Some of his counsels as a canon lawyer hove come down to modern times in the manuscripts of the Roman Roto, CC484, CC489, ond CC500. As on historian Ridolfini produced a work on th e c ity of Romet ond this volume on Cortono, his birthplace. His Histori a di Cortona, published with the name Lauro Romano, firs t appeared i n 1 6'3'J . Today the work is very rare, for only a very limited number of books were printed in each of the five impressions which it received. This 1o39 edition is in the Bi bIi oteca Vat i cone. 20 This confraternity owes its origin^to the combined efforts °f . St. Margaret of Cortono ond the podesta Uguccio Cosoli. It wos established about 1286.

^ Ridolfini, oj>. ci t ., p. 15v. f f . 34

7) The Confroterni t& d i Santa Croce? P) The Confroterni tS de I Io Sp? rI to Santo in the church of Son Stefano; 9) The Confratern? tfr d ? San Stefano in the church of Son Borto fomeo; ’ 10) The Confroterni t& di San Giovanni Evangelista in San Benedetto parish; 11) The Confrate rni t& de I Sant i ss i mo SaIvotore; 12) And f i na I Iv the Conf ratern i t& d? Son Gi ovann i Bat t i s to .22

A search for the documents identifying these confroternities has brought to light bulls of approval, statutes, and partial re­ forms of statutes as early os the fourteenth century. The oldest of these is thot en title d Cap? to I i de I I a Compoqn i a ^i_ Santo Croce 23 de I 1300. The fraternity appears to have been one of the more stable ones, for there ore later adaptations of the rule which indicate thot the group wos s t i l l active at the end of the six- 24 teenth century. The antiquity of the original statutes, and certain references contained within it, raise the inevitable ques­ tion of a relationship between this Confraternity of the Holy

Cross and the Cortona Laudario MS 91.

^ 1 b? d ., l 6r.

^MS 120 of the B? b I ioteca deI Comune e deI 1 1accadem? a Etrusca, in Cortono.

24 The manuscript contains in addition to the statutes of 1300 a partial reform of 1325. a supplement in 1514, a bull of papal approval also bearing tne date 1514, a partial reform of 1526, ond further ecclesiastical approval in 1583. 35

Pert II

The Capi to Ii deI I a Compaqn i a de Santa Croce de I 1300

On reading the capi to I i one is impressed with four particu­

larly distinctive features:

1) the High degree of organization in them, which would seem to indicate stebi lity and an acquaintance with other rules; 2) the fact that the rule is definitely that of a di sci pI Inat i group; 3) that it was a ley confraternity under the direction of a priest; and 4) that its chief devotion and raI son d'etre was the ve­ neration of the Holy Cross.

These marks are best observed In a few extractions from the capi to I ? to be considered under the four headings just enumerated.

1) The hi qh degree of orqani zat io n. The statutes show a similarity with the rules of other confraternities of its time as well as with the rules of religious orders. In the opening chapter the directives for the election of the prior and other officials of the organization are extremely detailed, and in­ dicate that this is not an untried system but rather the codifi­ cation of a practice of some standing. The prior, four counsellors, a camerlingo and two infirmarians were elected four times a year, therefore, holding office for three months and beginning their 25 terms on the kalends of January, April, July, and October.

25 MS 120( Cortona. p. 2 r . "Ordenemo et fermamo che en queste conpagnie debie essare uno Priore et 1i i j Conseglieri et uno cemer- lengo et Ij Enfermieri, et en che modo debiano essare electi quarto 36

The chapter was convoked with oil the secrecy befitting the 26 occasion. The members of the association obviously wore a

habit which is described in detei I in the chapter on investiture.

Each candidate was to have a cape of poor quality coarse cloth, 27 a discipline, and a capuche.

2) The qroup was def inIte Iy one of disciplinot? . The

above reference to the discipline is enlarged upon in the chapter

which prescribes the proper obsequies of the f rate I I i . A de­

ceased man, upon condition that he lived a good life and observed

the rules of the confraternity, might be permitted burial in his 2S cappa and with his discipline in hand. 1 At the funeral itself

some of the frate I I i carried the bier whi le singing the lauda on

death. The remainder of the company walked before the cross 29 disciplining themselves all the way to the church. 7 They scourged

volte I ’anno, cioS ne lo dicembre per lo genario. L 'o ffitio debia durare tre mesi et debiano incomencare el loro o ffitio m calende genario et apri le e luglio et ottobre . ..."

26 o o Ib id ., p. 2v. ". .. . et questp corner Iengo stia enn uon luoq secreto e fs e n v o delatemente; el priore che sira per lo tenpo voo secretemente a I decto earnerlengo et dica piano...." 27 Ib id ., p. 9r. "Et quello cotale che fosse recevuto debio essare de compi uto etd almeno XX onni; et cioscuno puoi che sard receuto debio far fare uno coppo de conovaccio vi le, et uno dis­ cipline con una corda anodato, et ello capuccio . . . . " 28 Ib id ., p. 10. "Ancho ordenomo, quondo elcuno passosse de la nostro conpognio de questo mi sera vita, debia evere ordenato de volere essare sepiI Iito con quel le cappa et discipline con lo quo le^esso andave a processione, salvo cn'l priore debia vedere se eg I i e stato de buona vita et portotose ooestemente et obediti ei capi to Ii . ..." 29 Ib id ., p. 11r. " . . . . que I 11 de lo compoqnio che vengono bene a I To sue sepulture, chi vorra: e quel II cne verranno vengono vestiti e octenti de desciplino, et vodono de rietro a queI Ii de 37

themselves et the grove end again return to the house after having

recited the required prayers for the deceased.

3) The confraterni ty was under the direction of a priest.

The group was obviously made up of laymen, since every allusion

to Mosses celebrated in common speaks of the prior securing a

priest to conduct the services. In addition, Chapter XII, in discussing the punishment for various infractions of the rule,

refers to the practice of accusing one another secretly and to 30 the prior, but adding, "or to the priest who was over them."

4) Tbe fraterni ty was i n a specia I manner devoted to the vene rati on of the Ho Iy Crps s. This is clear from the last chapter of the rule which is devoted entirely to a detei led account of

the manner in which the feast of the Holy Cross should be cele­ brated. According to the directives a special mess was offered, processions were formed and alms given to the poor on the day of

la fraterni ta d iscipIinandose en fine a la case del morto. A pie! de I'uscio e al pigliare del catelecto facciano essa discipline ini al morto, e a ita llo ad arcane vadano duo de loro cum queI Ii de le fra t[e ][r]n ita , e quattro vengano ad ercarlo col loro, li a ltritu c ti vadano denangi a la croce discipIinandosi in fine alia hiesa, e ive stieno d’aliato dei preti in silengo tanto chi sari ?acta la predicatione poi rimangano iver sopra la sepoltura dis­ ci pi inandosi tanto che serS sepellito, ed a lore se ne vengano dieendo ciascuno XII pater nostri per I'anime sue; e poi che saron torneti a la chasa, overo ghiesa, lo priore lo racomandi a tucti guanti, che sempreI'abbieno en recomandato, e sia scripto ello libro oe la compagnia

30 Ib id ., p. 13r. "E ki contra fecesse ciascuno d’acusere 11unno I 'a ftro secretemente a I nostro priore, o vero a I sacerdote ke fosse posto sopra cio." 38 the feast. In addition there were devotions throughout the octave 31 and preaching on a I I eight days.

At this point it is possible to suggest a relationship be­ tween the ca pi to Ii and the Cortona Laudario 91 which contains in hymn number XXV a remarkably beautiful leuda to the Holy Cross.

Both the refrain and the fir s t strophe of the hymn makes a clear reference to the fraternity in these words:

lesu Cristo, lo fraterno tu lo cresce e lo governo de lo gloria sepiterno ^2 per lo virtu della croce.

It is indeed possible that the word verace, os used in the leuda, was meant in its most literal sense to refer to the relic of true Holy Cross. Inasmuch os the oratory in the crypt of the church bui It by Elias belonged to an unidentified group of laudes i, and the church housed the treasured relic of the true cross brought bock from the East, it has been suggested that there may have been a relationship between these three— the 33 Iauda r i o, the ca pi to I ?, and the oratory. But to advance such a theory of relationship on the basis of what is hardly more than speculation would be to project hypotheses all too tenuous

31 lb?d.# p. 18r.

3^Cort. 91> P. 57v. C f. Vol. II, p. 266. for transcription and trohs lot ion of the complete hymn.

33Cf. Zefferino Lezzeri, "I Capitoli della Compaqnie dei disciplinoti di Cortona, Anno 1300, e il Loudorio deI I'Accademla etrusco,” Primo Annuario deI I 'Accodemia Etrusca di Cortona X II- x i i i (i934^5TT’i^r: ------39 to have real value. There are serious discrepancies between the two manuscripts which would require resolution before such a theory could be accepted. The capi to Ii are dated 1300 and con­ tain many indications that they belonged to a group practicing the discipline. The laudario, on the other hand contains no hint whatsoever to the practice of se lf-in flic ted scourging. On the contrary, the hymns are purely devotional, and of the Iaudes i character. This difference in age is born out by the linguistic behavior of the two documents which exhibit common Cortonese origins but divergent practices of two distinct periods.

Therefore, at best it con only be said that these three, the laudari o, the ca pi to I ;, and the oratory did, and indeed s t ill do exist. No valid conclusions may be drown from this fragmentary evidence. But even os unrelated expositions of fact they are invaluable testimonies of the nature of the activity of the mediaeval confroternity in Cortona. It is only by careful examina­ tion of the Loudorio 91 itself that we con hope to discover some indication of the identity of the owner of the manuscript. CHAPTER I I I

LAUDAR10 91 OF THE BIBLIOTECA DEL COMUNE E

DELL'ACCADEMIA ETRUSCA DI CORTONA CHAPTER I I I

LAUDARI0 91 OF THE BIBLIOTECA DEL COMUNE E

DELL 1ACCADEMIA ETRUCA DI CORTONA

There is en element of mystery about the MS Cortona 91 which despite the efforts of philologists and musicologists will probably always remain inviolate. Certain of its folios exhibit signs of much use but the general poor condition of the entire codex is the result of a period of loss and utter neglect. It was in 1876 that Girolamo Mancini, librarian and curator of the

Bi bI Ioteca deI Comune. discovered the precious document under a stairway in a tiny room used to store kindling wood and coal, and which served at the same time as a roost for pigeons. For how many years this oldest of leuda collections lay hidden under

layers of dirt and dust no one wi II probably ever know.^ There was no title page or identification of the manuscript and the first folios are badly deteriorated. So also are the edges of

Mancini, os curator and librarian at the B? b I i oteca de I Comune, devoted his entire life to the search for and study of documents relative to the history of Cortona, It is his opinion that the manuscript was removed from the monastery of Son Fran­ cesco to the library at the time of the suppression of the Italian monasteries and convents. BtTt no one knows why it should have been relegated to the coal bin.

^Cf. Appendix B, Plate II, p. 110.

41 42

the vellum. Mancini, recognizing the value of the document,

cleaned it, bound it, and entered it into the library's catalog of manuscripts a? number ninety-one.

Descr ? pt i on of the Manuscr i pt

The manuscript is divided into two distinct parts, the firs t of which is of greater antiquity. It is written on better vellum

than the last half of the work and is slightly larger in size, measuring 231 by 174 mm. The calligraphy is large Gothic in

style and is much clearer than the small script of the newer section. The later portion of the manuscript measures 220 by

165 mm. and is in part ille g ib le.^ Neither section of the work contains any illumination, although the older part is ornamented with initial letters executed alternately in red and blue. But

the most notable difference lies in the musical notation found only in the firs t part. The music is in square black plainsong notation on staves of red and with vertical lines of red marking off the margins. Find arabesques of red decorate the left hand margins above and below the in itia l letters. As in troubadour manuscripts the music appears with the firs t strophe of the text, end ell subsequent strophes are collected at the end.

3 C f. I Manoscritt i de I le Li breria deI Comune q deI I *Accademio Etrusca dj £o r f o na . (Co rtona: 18S4), p. 3l~! [XT l"”further ref- erences will be cited thus: Mancini, I Manoscri tt ? . . . . 1

^Cf. Appendix 0, Plates VIII, IX, and X, pp. 124, 125, and 128 . 43

In both dimension and workmanship Cortona 91 is a modest

manuscript. Neither calligraphy nor n o -la t i on can be assigned

to a particular school or scriptorium, and both contain many

discrepancies which indicate clearly that this is not a connois­

seur’ s manuscript of the refined character of Las Huelgas or

Chansonnier Cange. Yet its value both as literature and as music

is not diminished by this fact. There is a sense of harmony

between the simplicity of the texts and the unstudied manner of

the calligraphy and notation, which are probably the work of

two different scribes.

Apart from the pleonasm and lack of clear definition in

grammar and syntax in the text, the manuscript abounds in d if­

ficulties of a more purely mechanical nature. Numerous com­

plications arise from the lock of proper alignment of music and

text. At times the scribe was forced to employ guide lines to

indicate the proper placement of syllables,"* while in other

instances the editor is left with the task of establishing

the best possible distribution of music and text J3

The amanuensis of the music lapsed into frequent inaccuracies

in the placement of clefs. Examples of forgotten clefs or of dis­

agreement between the clef and the preceding custos ore many. In

~*Cf. Appendix B, Plate III, p. 111. In the fourth system the scribe, (or perhaps the. singer) has drawn a guide .line from the beginning of the word baseio to the proper note which is actually over the wrong word. £ C f. Appendix B^ Plate IV. Compare the solution on p. 285 with Liuzzi's transcription, Appendix C, p. 122. 44 the latter case it has been found that the custos is a more re­ liable guide. Not infrequently notes are omitted, or conversely, are repeated unnecessarily. Similarly one can find examples of poor alignment which force the musical scribe to extend the notes into the margin where they hang j_n campo aperto without extension of the s taff ?

The plainsong notation of the music manifests a complete absence of any of the usual pre-franconian forms and symbols.

The shapes of the vi rqe and punctum appear more or less indis­ criminately and there is no use of the forms s ? ne propr? etate or s i ne perfect i one, nor of the cum oppos ? ta propr i etate. The ligatures used are the simple neume forms of gregorian notation; the Podatus, c I i v? s, bi v? rga, scandi cus, torcu I us, porrectus, and cIimacus. The last named, however, often exceeds the usual three note form and the downward pattern is lengthened by added rhomboidal-shaped notes to form conj uncturae. Compound neumes corresponding to the gregorian forms of the podatus sub- bi puncti s, torcu I us resupi nus, scand i cus f I exus, and c l? macus resupi nus are found. No liquescent neumes appear in the manuscript but the plica form is rather frequent and always occurs with a downward tai I .

One of the most fascinating aspects of the notation of Cor­ tona MS 91 is the inconsistency of neume forms in repeated melodies.

7Cf. Appendix B, Plate V, p .113 • NB last system. 45

It is not uncommon to find identical melodic turns written in several different ways, and sometimes taking on a strangely awkward appearance in a neume which might have been written much more simply.

In Laude XL I the form , occurs. It is an upside-down torcu lus which would normally have taken the form of a porrectus♦

Laude XIII uses the shape A* , where a torcu I us would have been proper. When the phrase is repeated in the fif th system the neume takes its correct form. Laude XXI contains a four-note ligature written thus , when a torcu 1 us resupi nus form would be more common in gregorian notation. Such examples are too numerous to bear mention, but by way of summary the follow­ ing figure repetitions indicate to some degree the variations in neume forms which appear commonly throughout the manuscript.

Lauda IX i N i . i i second system pi- e- tan- 9 a ■ 8 fk 1 1 thi rd systern cia-scun re- gno Jl Ik 1 1 fourth system quan- do se- gno a 1 *1 seventh system no-bli- an- 9 a

Lauda XXVI 1 fourth system di- e 1 1 fifth system Me-ri- e 46

Lauda XXXVI I I

fourth system a- ma- re i fwS 1 sixth system for- ja- re Hi IV* 1 seventh system for- ma- re

Liuzzi has remarked that the final notes of certain laude are the only indications of exact measurement. He refers to

numbers XII, XXVI, XXIX, XXX, XXXVII, and XLV, In all these

instances the long note occurs at the end of the strophe,

indicating thus no repetition of the refrain. But in numbers

XX and XXVII it is placed at the cadence of the ritornello, thus

insuring its repetition. The shape of the notes differs from n to , and they are not given the significance of the duplex longa here, but are rather taken to be indications of a visual nature to represent to the mediaeval singer the notion of a relative length at the point of rest.

Exami nat i on of Content

In treating the tonality of the lauda it is possible to say that they are definitely rooted in gregorian tradition.

But this statement must be tempered with some reservations, for the frequent use of th-e b fla t necessitated by tri-tones in

the melodic line gives a strong suggestion of major-minor ton­ a lity when it occurs in the tr i tus and protus modes. There are only two instances of an accidental written into the melody, and

that very lightly and perhaps in another hand. The finals most 47 frequently used are the protus and t r i tus, with a considerable number in t et ra rdus . An occasional example lies within the ambitus of the i on i an or aeo I i an mode. Frequent inner cadences on the dominant strengthen the quasi-tonal feeling of tonic-

dominant polarity, and triadic figures in the melodies add to

the tonal direction of the music.

Unlike the gregorian repertoire the laude employ intervals of the sixth, tenth, and occasionally the seventh. Regarding

the matter of range it may be observed that some laude remain

confined to a narrow ambitus suggesting a plagal mode, while others, especially those employing a joyous text, may u tilize an unusually wide range for monophonic music of this period.

The formal elements of the lauda are the refrain (ritornello) and the strophe (stanza). The latter may be divided into the pi ed i and voIta . It is quite character?stic of the lauda to repeat one or more of the melodic members of the ritornello in the strophe. However, this repetition is more often a deriva­ tion than an exact restatement. There is considerable varieiy

in the melodic scheme to discredit the exaggerated emphasis which Liuzzi places on the so-called lauda-ba11ata form,

A b b a A. Actually only a very few of the forty-six examples

8 The terms refrain and strophe will be used interchangeably with the alternate forms indicated in parentheses here. 48

in the manuscript can be reduced to this formula.

The musical form is here represented by letters (each cor­

responding to a verse of text) thus: A B c d a b. Capital

letters indicate the refroin sung by the chorus end smo I I letters the p i edi ond vo I ta sung by soloists in the manner of the round dance. Whenever the last lines of the strophe uti I ize the melody of the refrain, es in numbers IX, XXXI, ond XXXVI, the melody is said to turn in upon i t s e l f ^ ond the scheme may be reduced to that of the baI I ata, thus:

1) A B c c a 'b A B c c a b A 3 etc. Sr* Sr' V v 2) A bba A bbo A etc.

Of the relotively small number of laude which follow this procedure most exomples tend more to variation of the theme than to simple restatement of it and thus lose the donee character of the true bo I I a t a Perhaps the best means of disproving liu z z i's claims is to examine the skeletal framework of the hymns in the form of a graph. The diversity of their forms is immediotely d i scerni b le .

g 7Liuzzi colls this the coble copfinida.

^The letters of 1 ) each represent one musical phrase which corresponds with one line of verse. In 2) one letter only is used to represent the refroin ond one letter for the corresponding section os it appears at the end of the strophe. The refrain and strophe alternate in on interlocking foshion erecting a oaI lata effect. 1 1 The baI lata is considered here in its strictest definition, as a six line form. 49

TABLE 1

THE MUSICAL FORM OF THE LAUDE FROM MS CORTONA 91

WHICH ARE COMPOSED OF SIX MELODIC MEMBERS12

Type I . RefraIn of two members; strophe of four members

Form Number of Lauda

A B c d a b ...... A B a c d b ...... II A B c d e b ...... II I , XXI, XXV A B c b a b ...... V, XIV A B a a c b ...... VI A B c c d e ...... V II, X, XVI I A B a b a b ...... A B c c d b ...... XI A B c d b a ...... XIII A B c c a b ...... A B c d c e ...... XV A B c d e f ...... XVI, XIX, XXIX, XLII I A B c d c d ...... XXVI I A B c c d b ...... XXVI I I A B a c a b ...... XXXV A B b a c b ...... XXXIX A B c c d e ...... XL A B a a a b ...... XL IV

1 2 The hymns hove been classified by graph, on the basis of the number of verses (ond melodic members; in each. 50

TABLE 2

THE MUSICAL FORM OF THE LAUDE FROM MS CORTONA 91

WHICH ARE COMPOSED OF MORE THAN SIX MELODIC MEMBERS

Type I I . TweIve members; ref ra i n of f our, strope of eight.

Form Number

ABC D e f c d 9 h c d . . . , . . . XVI I I ABA B c d c d a b a b ...... XXI I ABC D e f e f a b c d ...... XXVI ABCD e f 9 h a b c 6 ...... XXXI I I ABA C d b d b d b a c ...... XL I

Type III. Seven members ; ref ra i n of three, s trophe of fo ur. A B C abed XXXVI I A B C ddbc...... XXXIV

Type IV. TweIve members; refra i n of three, strophe of nine. A B C dededeabc XXXVI I I

Type V. Ten members; refra ? n of four, st rpphe of s ix . A B C D a b abed ...... XLVI

Type VI . NIne members; refra i n of two and strophe of seven . A B c b c b d a b ...... XXXI I

Incomplete A B C D ...... IV A B c c d ( ) ...... XXI I I A B C D d e d e ( ------) ...... XLV 51

Regarding the poetry of the manuscript one can observe a

wide variety in rhyme scheme, although the greater number of

laude employ the a a b b b a pattern. The second largest

group is that using the a b c c c b scheme. Several of the

texts contain a rather elaborate pattern of internal rhyme as

exemplified by the following:

Lauda '^aDio te mandoe - san Gabriello ke t'aportbe - * I saluto bello, e annuntiie - ke de novello eri da Dio madre ordenata. Lauda I X 0 Maria, - d'omelia - se' fontana fior e grana: - de me aia pietanga. Gram reina, - chi inchina - ciascum regno, si m'affina - la curina - quando seqno, io non degno, - 'n core tegno - tu figura ^ chiar’ e pura, - ch'ongne mat m'e’n oblionga.

A few of the hymns employ a device comparable to the

rhetor i caI practice of anadlplosis, thus effecting an inter­

locking pattern between the last word of the strophe ond the

beginning of the n e x t.^ Metrically the laude tend to regulari­

ty, ond most examples contain a pattern in the number of syl­

lables to the line of verse, thus:

Lauda I I I ver+g celestiole 8 collo gratia superno le 8 eri te, virgo virginole, 8 discese bernignissimo . 8

-Others ore Laude V II, X, XVIII, and XXXVIII

14They are Laude I. XXII, XXVI, XXXII, XXXIII, XXXIV, and XL. In lauda V every strophe begins with the word "ave" and in lauda XII with the words, H0 Maria," Similarly every verse of number XXV ends with the word "croce.” 52

TABLE 3

POETIC FORM OF THE LAUDE OF CORTONA 91

Type I ♦ S i x verses; refra i n of two lines, s t rophe of four .

Form Number of Lauda

a a b b b a ...... I I , I I I , VI , XI II , XIV, XV, XVI, XVI I , XX, XXI, XXIV, XXV, XXVI I , XXVI I I , XXIX, XXX, XXXI, XXXV, XXXVI, XXXIX, XL, XL I V . a b c c c b ...... I , V, VI I , VI I I , X, XI , X II, XIX, XXI I I , XL I I , XL I I I . a a bbaa...... IX a b a a a b . . ■...... 1 Vb

TVPe. 1 1 . Twelve verses; refrain of four, strophe of eiqht. a b b a cdcddeea ...... XXII, XXXI11 a b b a cbcbbcaa ...... XXVI a b b a cdcddeeb ...... XLV a ba b bcbcbccb ...... XLI a bcd defegefg..... XLVI11

Type III, • Seven verses; refrain of three, strophe of four. a a b c c c b ...... XXXIV, XXXVI 1

Type IV. Twelve verses; refrain of three, strophe of nine a a b cdcdcbeeb ...... XXXVI11

Type V. Ten verses; refrain of four, strophe of six. a b c b adaddb ...... XLVI

Type V I. Ni ne verses; refra i n of two, strophe of seven. a b cdcdcdb XXXI I 53

Theories of Origin and Age

£ f the Manuscript

News of the discovery of a laudario reputed to be from the mid-thirteenth century attracted several scholars to Cortona to examine it . Their attention to the codex resulted in the publi­ cation of several studies which appeared in journals of Italian phi lology and literature. These discussions and disputations, all concentrated in the last decade and a half of the nineteenth century, are characterized by two especially significant features

The firs t of these is that none of the scholars writing about the manuscript concerned themselves with the music. It is incredible that BarthoIomaeis, writing nearly half a century after the dis­ covery of the manuscript should have cause to lament

the absence of one of the most helpful instruments of critique, which would be able to resolve so many doubts, that is, the knowledge of the music which accompanied these songs.^5

The second observation is that the arguments adduced by the authors of these studies are based only on isolated aspects of the manuscript. In fact, the claims of three of them revolve entirely around one issue, namely, the presence (or absence) of

laude to Blessed Guido Vagnotelli, and Saint Margaret (both of

15 Vincenzo de Bertholomaeis, Le or ? gini deI I a poes i a dram- mat i ca, (Bologna: Zanichelli, 1927T, p. 241 . 54

Cortona) In the manuscript. Significant as this may be in

determining the approximate age of the codex, it is only a part

of the argument and does not in itself present indisputable

ev i dence .

Mancini, in designating the laudario as a mid-thirteenth

century work^ was basing his hypothesis upon the absence of

laude to Guido and Margaret in the early part of the document.

In doing so he cites the great enthusiasm of the Cortonesi for 1 7 their two saints (an enthusiasm s t ill very truly alive) and

recalls that within a year of Margaret’s death the people of 1 R the town had already erected a church in her honor.

Guido, according to his Vi ta in the Acta SS., was twenty-

four years old when he received the habit of the Franciscan

Order in 1211. He died at sixty, which would fix the date of

1 6 Mancini, I Manoscr i tt ? . . ., p. 51.

^The Cortonesi s t ill observe the feast of Saint Margaret Margaret twice annually, the firs t time on February 22, and the second with a grand festa on May 10. For many years they kept two feasts for Guido too, one celebrating the findinq of his head (after the sacrophagus containing his body had been smashed) and the other commemorating the loss of the rest of the body. C f. Acta SS. June Tom. M l, p. 97.

18 C f. Margaret’ s Vi to written by her Franciscan confessor, Fra Giunta. Acta SS. Feb. Tom I I I , pp. 302-363. Other editions ore those of Lodovico do Pelego, 1793, E. C riv e lll, 1897. More recent works ore A Tuscon Pen!tent, Cuthbert, 1907; Marquer? te de Cortona, L. di~*Cherehce, 1 9271 Marqherita do Cortona, la sua Teqqenda e la s tori a, M. Nuti, 1923; and Morqaref of Ciortona, Fran901 s $0uri ac, T?47. ------55

19 his death at approximately 1247. This accords with Wadding's statement that by 1250 there was a popular cult in Guido's honor

If +be Vi ta is trustworthy his cult was of immediate and spontane- . . 20 ous origin.

The v ita lity of Cortonesi devotion to the two saints is the basis of Mancini's argument for dating the Laudario 91* He notes that the older part of the codex contains no hymn to either of these two local saints. It does, however, include two laude to St. Francis and one to St. Anthony. From this he deduces that the col lection of hymns must have been compiled after the death of the latter two saints, but before that of Margaret and 21 Guido, that is to say, between 1231 and 1250.

The fir s t reaction to Mancini's theory came from Rodolfo

Renier in the form of an article, published in 1888, in which 22 he voices an opinion completely at variance with Mancini's.

In it Renier emphatically states, "I am convinced that it

^ *^Cf . Acta SS., June Tom. I l l , p. 97 .

20 For fu lle r discussion of the origin of his cult see the supplementary notes contained in Appendix D, p. 127 ,

21 Mancini, I Manoscr i 11 i . . ., p. 51 .

22 Rodolfo Renier, "Di un antico codice di flagellanti nella b i bIi oteca di Cortona," Giornale s tor i co della I etteratura ? ta I ?- ana XI (1888), 109-124. 56

( laudario) cannot be from before the firs t decade of the four- 23 teenth century." His contradiction of Mancini is based upon

the partially deteriorated laude to Guido ond Margaret which he found on folios 139r and 164 v . But Renier fai Is to mention

the fact that the hymns occur only in the latter half of the codex (without music)— a part of the manuscript already well known to Mancini who had previously admitted its fourteenth century origin. In this Renier's argument has no validity, as Mancini was quick to point out in his rebuttal.

The two men are equally at variance in their attribution of the laudar i o to the confraternity . From the beginning

Mancini had insisted that it belonged to a Iaudes i group, whi le

Reiner ascribed it to a d ? sc ? pIi na t i association. The titles of the two men's articles provide a noteworthy example of the confusion in the use of terms which has so complicated the issue for the student coming after them. In spite.of claims for

laudes i origin Mancini entitles his letter in Mi see Ilanea F ran- cescana, "Laudi Francescane dei disciplinati di Cortona." And

Renier, holding forth for di sci pIi nati origins, entitles his,

"Di un antico codice di flagellant! nella biblioteca di

23lb id ., 109 .

24 Girolamo Mancini, "Laudt Francescane dei disciplinati di Cortona," Miscellanea Francescan, IV (1889), 48. [All further references wi I I be cited thus: Mancini, Laud? . . .MF] . Cor tona .

There is an inconsistency in Renter's argument that the

firs t part of the manuscript was from the fourteenth century.

He admits that the "firs t section could be from the end of the

thirteenth (century) . The frequent use of the U for ch which

is found here does, in fact occur more especially in the ver- 25a nacular manuscripts of that century." Actually this prim­

itive use of the k occurs more than ninety per cent of the time

in the part of the manuscript which contains the music. But

Renier dismisses the issue briefly, ending his provocative study with two Indexes and the reproduction of six laude from 26 the manuscri p t.

The article by Renier served as a catalyst to ensuing debate, and the chain of polemics was continued by other scholars. 27 Next came the study of Guido Mazzoni who accepted some of

Mancini's theories while defending also some of Renier's.

25Cf . Renier, ojg. c? t., 111. Ib id .

26 The laude which Renier chose to transliterate (without much editing) are: II, VI, VII, XIX (which in the present system of numbering is X V III), XXXVI (XXXV) and XXXVII (XXXVI). His version of Lauda XIX (XVIII) includes the Franciscan inter­ polation which is obviously in error. Cf. Vo I H . p. 240.

2^Guido Mazzoni, "Leudi Cortonesi del secolo X III," II Pro- puqnatore, NS II, (1889-90), 205-270; and NS II I (1889-90)7"5^?3. The work appeared later in the form of a separate volume bearing the same t i t l e . Published in Bologna: Tipografia Gargnani, 1890 . 58

Mazzoni admits using the year of Margaret's death (1297) to

establish one date of the possible boundary of the laudar ? o' s

origin, but denies using the year of Guido’ s death to determine

the other. He justifies this stand by claiming that Guido was

not well enough known and loved to have aroused the immediate

cult which Margaret had. Thus he denies the possibility of .

origin before 1250. In attempting to fix the earlier date of

this boundary Mazzoni fa lls into the same error as did Renier,

namely, the belief that the group to which the laudorio belonged was one of disci pii nat ? or battutI . Both men caI I upon the argument of Cortona's proximity to Perugia in an attempt to 28 justify such claims. As testimony Mazzoni calls attention

to the drops of wax that s till remain on the manuscript— signs,

he claims, of their use during penitential processions of the 29 fI age I lant ?. This comment has little meaning in view of the

fact that processions were one of the main activities of the 30 I a udes ? in a period decades earlier. The attribution of

Cortona 91 to f laqe i lant ? or disci pii nat i betrays a lack of

investigation into the history of the early confraternities of

Italy, an area now acknowledged to be of the utmost importance for the development of mediaeval popular hymnody in that country.

28lbipd., p. 6; Cf. Renier, o£. c? t ., 111.

29 30 7Mazzoni, Ib id . Cf . Tenneroni, oj>. c i t ., p. ix. 59

The eminent lauda scholar of the present day, Dottoressa Angela

Terruggia, has aptly pointed out:

A great help in this research comes to us from the most intimate knowledge of the activities of the fraternities which had employed tne lauda in the vernacular, injecting these songs into the DevozI one and thus preserving them for the people.51

Such studies would go far to unravel some of the entangle­ ments caused by an all too casual confusion in the use of terms on the part of earlier writers.

Enrico 3ettazzi, the last of the four polemicists of the

1 8 9 0 *s, approached the codex with the eyes of a philologist.

He comments rather briefly on the possible origin and age of the work but then takes up the matter of Cortonese origin, a fact which the other three men seem to have assumed without question. By comparing the manuscript with documents of the notary, Ermanno, dated 1244-45, he is able to establish their

Cortonese identity, and to point out at the same time certain usages of definite Tuscan origin, others of Umbrian, and s till 32 others which by 1300 were already defunct. Like Mancini he favors the Iaudes i origin of the laudari o .

0-1 Angelo Terruggia, "Lo svi luppo del dramma sacro visto ottroverso i codici di Assisi," At t i deI cent ro stud ? or i q i ni de I teatro i ta I i ono (1957-59)/ 43.

^Enrico Bettozzi, Not i z i a d ? un Lauda r i o deI Sec . X I I I , (Arezzo: Tip B ello tti, 1890), pp. 10 f f . 60

WI+ h the passing of the year 1890 the Cortona MS 91 again settled into comparative obscurity, having had lit t le more effect on the musico logicaI world than to make its existence known. How true this is is testified by the words of the eminent British musicologist Edward Dent, who, in addressing the Musical Association of Great Britain in 1R16, could say that "about it (the mediaeval lauda) hardly anyone knows any- , i • „33 thing ."

By 1930 attention was again focused on the Cortona la uda r i o and Italian reviews and periodicals were publishing new studies of the manuscript. They were nearly all the work of one man, Fernando Liuzzi, of Florence. Appearing in a var- 3 4 iety of publications, his articles presaged the magnificent facsimile publication of 1935 which was to make him famous.

In an study in Arch i vum Roman ?cum (1930) Liuzzi quoted generous ly from the laudario and in doing so gave to the public its fir s t 35 glimpse of th? hymns of Cortona 91 • The Christmas and Epiphany

"^Edward J. Dent, "The Laudi S piritu ali," Proceedings of the Mus ? caI Associ at ion, (1916), 64,

3 4 Fernando Liuzzi, "Melodie musicaIi inedite del duecento," Arch i vum Roman? cum XIV, (1930); "Bo II ato e I auda alia or i g i n i deI I a ITr i co mus 1 co I e i to I Iona," Annuar i o de I 1 0 _R. Accademi a di Santo Cecilia (1930-31); "I primi canti iteTioni per la notivTta e I'infanzio de Cristo," I I I us t roz ? one Vat ? cona XV, (1931); and "Jacopone do Todi; uno lauda neI I ' i ntonoz i one del codice 91 di Cortona," So I a r i a (1931).

35Cf. supra., p. 34. 36 loude of the collection then appeared in a study of 1931.

And in 1932 he published a compilation of selected laude with 37 instrumental accompaniment.

hi 1935, the year in which Liuzzi’s monograph appeared,

Gilberto Brunacci published an artic le concerning the Cortona

loudario. It contained no new theories but is worthy of men­ tion here if for no other reason than the poor musical taste exhibited in the transcription of the hymns accompanying the a rtic le . Nicolo Garzi, the editor of the music, has taken greet liberty in his rendering of the rhythm and the insertion of accidentals. His additions of markings such as con sentimento are at best suspect.33

The only really scholarly approach to the entire manuscri text and music, is the beautiful facsimile publication of Liuzzi which crowned his years of study and research. An evaluation of the work is a less d iffic u lt task today than it would hove been a quarter of a century ago. The thirty years which have intei— vened since the publication of JLo laude e primord? me I odi a

36Cf. supra, n. 34.

37 Passione ne I la intonazioni deI laudar?o 91 d 1 Cortona. (Rome: . di SoTvtis, 1932) . the accompaniment is scored for 2 flutes, 1 oboe, 2 trumpets, 2 harps, organ, and strings. Cf. Appendix C, pp. 118-120.

38 Gilberto Brunacci, ”Le loude del laudario Cortona secondo la tronscr i z i one de 11'ecc.. con. Don Nicolo G arzi,” Secondo annuario d g l i ♦acpademta etrusco

39 ? ta 1 ? a na have, according to the inscrutable ways of time, made

it the object of both praise and criticism. Today most musi­

cologists agree in their rejection of Liuzzi’s transcription of

the music,^ but are at the same time equally at one in commend­

ing him for at last bringing the lauda into a position of

recognition. It appears now that Liuzzi's greatest contribution

lies in his painstaking preparation of the texts. His emendation

is the result of collating no less than ten manuscripts, all of 41 which he attributes to the fourteenth century. In addition he

recognizes the efforts of his predecessors and sometimes calls

upon their editions to help clarify obliterated passages or

lacunae in the text.

In his edition Liuzzi sets the poetry in its correct

stanzaic form, and by means of vertical lines indicates to the

reader just where the line endings occur in the manuscript.

^Published by the Li brer i o de I I o stato, 1935.

40Cf. Jack Westrup, "Medieval Song," New Oxford History of Mus i c, Vol II, ed. Dom Anselm Hughes (London: Oxford University Press, 1954), p. 267; Archibald T. Davison and W illi Ape I, The H i stori ca I Antho I oqy of Mus? c, (Cambridge: Harvard University Press, 1957), Vol 17 p. 216, n .21; Hi ginio Angles, La Mus i ca de las Cant ? qas de Santa Mar? a de I Rey Alfonso Sab?o, TSerceIona: Diputecion Provincia l de BarceTona, 1943), p. 47. More genera I ly endorsing the use of free rhythm in mediaeval song, c f . Curt Sachs, Rhythm and Tempo, (New York: W.W.Norton and Co., 1953).

It should be noted that in his attribution of the MS Ars 8521 to the fourteenth century he stands in contradiction to Tenneroni, o j j . c? t p . 25, wno assigns it to the fifteenth century. • 63

Unlike earlier editors he adds the necessary punctuation and diacritical markings. In addition, wherever internal rhyme occurs he sets it off by using the sign^y to separate the rhyming word from that ■ ediately following.

It is, however, d iffic u lt to understand how after such careful attention to the text, Liuzzi should have failed to recognize the broad outlines of the codex. The manuscript falls

into four general sections, the fir s t of which is made up of fifteen Marian hymns. There follow two seemingly misplaced

loude to saints, and then the second large section which comp­ rises the liturgical cycle. The third is devoted to hymns of a homiletic and didactic nature and the last primarily to the saints. Yet Liuzzi persists in dissecting the beautifully clear outlines of theliturgical year by dividing the manuscript

into small cycles and individual pieces.

Furthermore, in his labeling of several of the laude he falIs into error. He designates the firs t of the two added hymns at the end of the manuscript as a hymn to a I I the saints, when in reality it is addressed to the twelve apostles. Simi larly he mistakenly identifies Lauda XLII as one addressed to John the

Evangelist, instead of John the Baptist. It seems incredible that he should have fai led to see the names of Zachary and

Elizabeth in the fir s t and second strophes respectively.

Regarding the controversial issue of the manuscript’ s age

Liuzzi writes in a style uncommonly succinct, in contrast to 64

his usual manner. With dispatch he dismisses the issue, saying

clearly that the codex definitely originated after 1270 and

before 1297. He arrives at the firs t date by rather circuitous

and not altogether sound arguments. In collating texts he observed

that Lauda IV of the Cortona MS occurs also in the Ioudar?o

belonging to the confraternity of Ba 11 u t i from Udine. In the

latter collection the hymn includes four strophes describing in a very graphic manner the act of self-flagellation.

Strophe 11 lo si son stado pecadore et ai offeso al mio signore, bittome per lo suo amore ch'el me debia perdonare

Strophe 12 Et alegro e goudente bitome le spa lie e 'l ventre, per descazar quel serpente che me volea devorare.

Strophe 14 Oime, came topinel la, come tu e ! fresca e bella, tu dei andar sotto la terra e li vermi t'avera a manziare

Strophe 15 Non sia nessun si duro che si vergoqni d’andar nudo; Jesu Cristo fo batudo ^ per li peccator? selvare.

4 2 Quoted in Liuzzi, La lauda. . . , p. 246 Strophe 11, I have been such a sinner/ and have offended my lord,/ and so I scourge myself for his love/ so that he must pardon me. Strophe 12. And Joyously and happily/ I scourqe my shoulders and belly/ in order to escape the serpent/ who wanls to devour me. Strophe 14. Alas, miserable flesh/ how fresh and beautiful you are,/ (but) you must go under the earth/ and the worms w ilI have you to eat Strophe 15. Let nothing be so hard/ that you be ashamed to go. naked; Jesus Christ was beaten/ in order to save sinners. 65

On the bos'is of this Liuzzi claims that hymn no. IV of the

Cortona Codex must have belonged to the f lege I I ant i of 1260, and consequently that the entire manuscript must date from after that time. But the lauda in question, as it appears in Cortona

9 1 , not only does not contain these strophes, it contains no evidence of any sort to substantiate his theory. Liuzzi seems to discount entirely the fact that the document in which he finds these verses is, in fact, known to have its origin some-

y| ^ time after the year 1356. It simply represents, therefore, the type of accretion so common in that period of more than a century of dissemination. Countless other examples of this type couid be cited if one chose, for the hymns of the Cortona codex appear frequently in later manuscripts and with sizeable additions in text. Furthermore it must be remembered that large numbers of I a udes i became d i sc i pIi nat i after 1260. It is entirely understandable that their hymns should reflect this metamorphosis. In this Liuzzi's argument is entirely untenable, resting as it does, on evidence drawn from a work at least a century removed from the issue.

But having established to his own satisfaction the notion that Cortona 91 was a post-flaqellanti document, he goes on to insist that the date 1260 must be moved forward another decade.

This allegation he bases on another unproved and unqualified attribution, namely the assigning of lauda XXXII to Jacopone da

43 Cf . Tenneroni, o£. ci t ., p. 10. Todi. Sines the Franciscan fria r's conversion occurred in 1268,

Liuzzi reasons that the lauda could hardly have been written be­ fore 1270, In this, too, Liuzzi's claims are suspect, for the hymn to which he refers is contained in a number of mediaeval manuscripts, several of which ascribe it to a Tudertino.^

Furthermore, recent scholarship has revealed that a vast amount of the poetry once attributed to Jacopone is really not his but should more correctly be designated as "pseudo-Jacopone." One m i ght well point out in this connection the striking sim ilarity between Lauda XXV, strophes eight to eleven particularly, and 45 the famous poem of Jacopone, Donna de I pa rad i so . Again the hypothesis underlying Liuzzi 's theory is weak.

His views on the form of the laude are well known,^ and the theory regarding the baI lata form has already been discussed.

But is should be mentioned that Liuzzi believes the laude have their prototype in Latin ecclesiastical forms. In his opinion

C f. Renier, o£. ci t ♦, 111 . It should be noted that Liuzzi makes some other errors of this nature. Ha places Marchettus of Padua's work in 1274 rather than after 1300; he situates Anonymous IV at the opening of the fifteenth century instead of around 1280, and insists upon attributing the SpecuIum mus icae to Jean de Muris, whereas it is generally assigned to Jacobus of Lifcge.

45 For comparison of these two texts cf . notes after Lauda XXV, Vol II, p. 269 .

^ C f . Ape I, Harvard Dictionary, p. 294; Reese, Mus i c in the Middle Ages , p. 237. 67 those hymns which contain the exact repetition of the refrain within the stanza have their roots in the litany form. He notes specifically that in these cases the last line of the r i presa and the last of the strophe always rhyme. In the Cortona

laudario there are four such exact examples, V III, XX, XXIV, and XXX. At the extreme opposite end of the scale he places those laude which contain no repetition whatsoever. They are, according to Liuzzi, patterned after the Latin hymn compositions.

The best examples are XIX, XXIX, and XL I I I . -Midway between these two designations lie the more numerous examples in which the repeated sections must more truly be considered variations of the original melody. These he calls the sequence laude.

Whatever value these designations may have is doubtful.

Formally a good deal of mediaeval monody can be reduced to such patterns. But even if we admit the influence of Latin prototypes it is impossible to determine to what extent this was intentional. It is more likely that the influence was of a subconscious nature--resu 11ing from repeated hearing of

liturgical song. The popular element in the very environment of lauda is too prominent to discount, and present-day Italian musicologists are inclined to favor the theory of popular influence more than that of liturgical.^

4 *7 Notably professors Ghisi and Fabri, from remarks in pei— sonaI interview and lectures at the Conservatorio Luigi Cherubini, i n F I orence. 68

But the real "Achilles hell" of Liuzzi's theory is his system of transcription of the music. He justly rejects the

Franconian solution for the following reasons:

1 ) that it was intended for use in polyphonic music pr i ma r i Iy; 2 ) that the manuscript contains none of the usual Franconian symbols; and 48 3) that where the system is tried it proves in artistic.

The solution which he suggests instead rests upon a two-fold principle enunciating his primary concern for fid e lity to the rhythm of the word. It may be described as follows:

In the usual disposition of elements in the lauda a musical phrase normally coincides in length with a verse of text (as a rule the pattern is one of eight syllables). This phrase in turn falls into four smaller rhythmic groups comparable to four measures in modern notation. Each of these in turn comprises two units of time, one strong and one weak, or one thetic and one arsic. Upon this alternation of strong and weak beats Liuzzi begins his work. But whereas French monody could be rendered in the alternating longs end breves of modal notation, the laude transcriptions rest upon the equality of syllables. Applying the rhythmic modes to Italian verse would do violence to the rhythm of the text which is not accentual but tonic.

Madame Rokseth remarks that in an accentual language such

^ L iu z z i, La Iauda. . . , p. 192. 6 9 as French, the corset de fer of the inflexible rhythmic modes 49 serves to support and underscore the text. But in the case of Italian lyric poetry the rhythm of the verse is sufficiently marked to eliminate the need of underscoring the accent by such a device as the prolongation of notes.

Liuzzi proceeds with a scrupulous but Procrustean manipula­ tion of the music, bending it, stretching it, and contracting it in such a manner that the primary accent of the word must always coincide with the thetic beat of the music. Whatever lies between these strong beats must accomodate itself to the amount of space left. For all his foreswearing of the

V? erhebi q ke I t theory, the result of his method cannot but have strongly "Riemanesque" overtones. This manipulation of music to suit text is far from the type of procedure which was very likely employed in the actual singing of the laude in the thirteenth century. Such an academic approach is not in keep­ ing with the simplicity of purpose of the lauda. The problem of rhythmic alterations becomes even more complicated in stanzas with an uneven verse length, and is twice confounded by the eleven-syllable strophic pattern.

^Yvonne Rokseth, "Le laude et leur edition par M. Liuzzi," Roman?a, LXV (1939), 385. More recent works would take issue with Madame Rokseth in calling French poetry accentual. Best known is the opinion of Curt Sachs (C f. Rhythm and Tempo, 1953, p. 178) . Dr. Sachs claims that the rhythm of French verse is numberical rather than metrical or accentual. 70

The harmonizing of syntactic structure with music is one of the basic laws of form in all early music. In gregorian psalmody, for example, the individual word is of little relevance.

It is the entire sentence with its caesura and its cadence which represents the musical unit. MadameRokseth observes that there is a tripartite rule to be applied in the transcription of old music, and its three axioms are to be employed according to a certain hierarchy of importance. The music must always be con­ sidered firs t. Therefore, the prime concern of the transcriber is to preserve the melodic contour without distortion. Only then is the metric system of the text called into play, and wherever the two may come into conflict it is the consideration of the music which takes precedence. Finally, the last principle to be applied is the alignment of thetic beat with tonic accent.

Liuzzi, on the contrary, calls upon these rules in reverse order, with the result that the text remains inviolate and the music is sometimes subjected to real deformity. This is par­ ticularly true of those laude containing melismatic figures.

Perhaps the strongest argument against such a method lies In its inabi lity to handle the succeeding verses of the hymn in a framework carefully constructed to f i t the fir s t strophe.

Mazzoni had once believed that only the in itia l stanza of the lauda was sung and the others were simply performed in declama­ tory style. The theory never found credence, yet Liuzzi's trans­ criptions treat the laude as if he believed this to be true. 71

His rhythmic, mensural versions show little or no regard for

succeeding strophes of the hymns.^

No one would deny the possibility of corruption during the

period in which the laude were being transmitted aurally, and

certainly the Iik I ihood of some error on the part of the scribe must be admitted. There is, therefore, on inevitable need for

correction on the part of the transcriber of such music. Liuzzi

has attended to such editings in text, and has not hesitated to

inject, not altogether tastefully, on abundance of accidentals

into the transcriptions. He has, however, shown a certain

reluctance to rectify even small errors In the music, when in actuality only a slight adjustment would both enhance the musical 51 sense and clarify the distribution of text. His system works well in the cose of certain syllabic hymns whose rhythm is par­

ticularly obvious, as in the case of VII and X. But its weakness appears most obviously in the laude of a more melismetic character.

By almost mechanically confining ligatures to the space of the

MadameRokseth calls attention to this and offers corrected version of several laude. (Cf. Rokseth, 391-393). But both she and Liuzzi are criticized by Raffaello Monterosso in his Mus i ca <5 ri tm? ca dei trovatori . (Mi lano: Giuffre, 1956), pp. 66-75. Monterosso's objection is that while RoKseth’ s corrected versions presume to be on improvement they are sti II mensural and therefore equally os unacceptable as those of Liuzzi.

51 For example c f . resolution of Lauda XXIX, Vol II, p. 285. Compare this with Liuzzi*s versior} Appendix C, p. 1 22. 72 unit note, Liuzzi presents in his transcriptions some jarring sequences of rapid, measured semiquavers which would require a trained singer to execute a rtis tic a lly . This becomes par­ ticularly unsatisfying when the melismas occur on the last s y I Sables ^

Yet wi th a I I i ts weakness, _La I auda £ J_ pr ? mord i de I I a me I od i a i ta I i ana has fi I led a large hiatus in the history of mediaeval non-liturgical monody and will remain a monument .

By way of contrast the most recent excursion into the study of the lauda represents a complete reversa I of the men- suralist approach of Liuzzi. It is the work entitled

Qua rantadue Laude Francescane do I I audar i o Cor tonese XIII secoIo.

The transcription by Padre Antonio Conuto is (with the exception of four laude) completely in the free rhythm of chant. The accompaniment supplied by Padre N. Praglia is in the modal style but not bound by the rules of strict chant hormonization.

In the words of the editor the harmonization is that "with which the polyphonic composers of the fourteenth, fifteenth, and six- 53 teenth centuries clothed their melodies." The application of the fluid rhythm of the chant to this music with its regular

52Cf. Appendix C, p. 121.

53 Antonio Canuto, and N. Praglia. Quarentadue Iaudi frances- cene de I laudar io Cortonese X III secoIo, (ftome: f3i zI on i NT Frag I ia, 1957), p. 4. 73

and usually very rhythmic poetic meter results in an unsatis­

factorily amorphous character which shows too lit t le regard

for the rhythm of the text. Furthermore, the editors have taken

the liberty of altering the texts, sometimes almost completely.

However, in view of their intention to produce a practical

hymnal for present day use, such textual emendation would be

justified, since both the archaisms of the poetry and the

crudity of certain passages would render it impractical for use

in any less forthright age than the mediaeval. In their behalf

it must be said that neither Father Canuto nor Father Praglia

makes any claim to present a c ritic a l editionof the manuscript,

but rather a practical one.

In thus reviewing the amount of "plastic surgery" to which

Cortona 91 has already been subjected one hesitates to suggest

s till another theory. But the writer believes that the complete

investigation of the text, for content as well as merely mech­

anical behavior, can be of some enlightenment. And together with the study of the developing mediaeval confraternity in

Italy it points to the need for a system simple enough to re ­ construct the lauda according to the specifications imposed upon it by the very society that brought it into existence.

Out of this conviction the present work has evolved. CHAPTER IV

PROBLEMS OF EDITING CHAPTER IV

PROBLEMS OF EDITING

Port I

Ed i t i nq the Mus i c

Despite the pro Iiferotion of musicoIogica I investigation in the last century the problem of rhythm in mediaeval monody remains a controversia I one. Suggested solutions range from the application of modal rhythm to the other extreme of the free rhythm of the chant, depending largely upon the taste of the individuo I . transcriber , The present transcription issues from a conviction that any sophisticated realization of the laude would be completely out of hormony with their simplicity of content and expression as well as that of the people for whom they were intended. Therefore, on the basis of both musical and sociological reasons the laude have here been presented in the simplest rendition possible, with the hope of preserving their original popular character.

There is a rusticity endemic to the lauda which is violated by the Procrustean methods of certain fixed academic approaches to the transcription of the music. Fundamental to any study of this repertoire is the understanding that it is music which con­ stitutes perhaps the final stages in the evolution of neumatic

75 notation, and can neither be attributed to any specific school or scriptoriurn, nor be given an unequivocal realization. There is, therefore, lit tle to be gained by comparing manuscripts.

Even within the same work the discrepancies encountered from page to page frequently present problems in notational practice which are not easi ly solved. The individual is thus left with the task of devising his own best method for the specific work under consideration.

The question of origin poses a problem to the transcriber.

The absence of music in nearly all the lauda manuscripts which have been preserved from the middle ages, points to the obvious fact that th e melodies employedin singing them must have been well known to the people. Considering the evangelical and didactic nature of the laude it is unthinkable that the itinerant fria r should have had to employ anything so academic as solfeggio or even repetitious rote methods in presenting the hymns to his outdoor congregation. The reason for this dearth of written music may lie in the fact that its source was popular song, and popular art of the past has always been poor Iy recorded. But it may also be ascribed to the sheer force of circumstances.

Vellum was costly; and the lit tle town of Cortona undoubtedly had very few citizens who could have acquired the knowledge of music and the skill in calligraphy needed to record this music.

Italian was not yet taught in the schools and the scribe had to rely on his knowledge of Latin to record the vulgar texts as he 77

heard them. In a ll probability this was the work of a cleric.

Admittedly the surveillance of the mendicant friars over

the lay confraternities of the middle ages may have caused an

element of the clerical to enter into the musical style of the

laude, but the Cortona manuscript offers little evidence of

this nature. Only one lauda from the codex exhibits certain

signs of borrowing from a gregorien source and it is unquestion­

ably a later addition to the manuscript. It is Lauda XLV,

Bened ? cti _e I laudat i, which clearly draws upon the chant theme

of the Pueri haebraeorum from the Palm Sunday liturgy. Padre

Canuto claims that the opening line of the Lauda XXV, Onne homo

ad a I ta voce, is derived from the gregorian Vex ? I la Reg i s . In

view of the fact that both compositions are in praise of the

Holy Cross it is possible that there might be some association,

if only an unconscious inspiration. But the resemblance is

confined to a mere six note pattern at the end of the firs t

line— hardly sufficient evidence to substantiate claims of chant origin.

There is in the laudario ?1 evidence of a tendency to draw

upon a common fund of melodic fragments. Perhaps the most fre­ quently encountered pattern in the manuscript is the following:

I|l:/7 f » • ' i

Vor differences in calligraphy cf. Appendix B, Plate VII, p. 115 . Cf. also Vol. II, p. 404 2 Note from personal interview with Padre Canuto, Cortona. Italy. May 1l, 19o4. For purposes of comparison c f . Lauda XXV, vol H , p. 266 , and Li ber Usuo I i s, p. 575. 78

Although this fragment occurs in many examples of gregorian chant it cannot be considered a borrowing from it, for it is 3 found in numerous other sources as well. Above all these few fragmentary sim ilarities cannot justify the rhythmic rendition of the laude in the manner of the chant repertoire.

The present transcription of the music rejects the mensural, mode 1^ and gregorian solutions of the rhythmic problem of the

Cortona 91. The hymns have here been rendered in a rhythm free enough to respect the natural melodic curve without the jarring juxtaposition of slow and rapid groups which occur in the Liuzzi version, and yet rhythmically regular enough to preserve the meter of the poetry. In texts of a decidedly regular meter the system followed here necessarily results in a hymn of the same metric quality. To preserve the rhythm in these instances it if sometimes necessary, or at least advisable, to make certain alterations in the text and in the manner of singing; altera­ tions which were probably automatical ly applied by the singer in much the same manner as the unwritten mus ica f i eta . Such alterations are not necessary in the hymns of a recitative nature such as XXIII, or in those possessing a weaker and less regular pulse. In general these alterations may be divided

The phrase quoted may be found in graduals of the chant, hymns, antiphons of the office and in the Ordinary of the Mass, But tney are likewise contained in the cant i gas, the Lei ch# and the carol. For more complete di scuss i on cf .Jack Westrup, NQHM, II, p. 239. 79 according to those made in text, those in music, and those in both simultaneously. They are the following:

A Itera t i ons i n Tex t

^ * Elision. A word which ends in a vowel and precedes a word beginning with a vowel may sometimes unite with that word. In this case the two syllables united are treated os one, shoring one note of music. In al I cases the alteration is indicated in the transcription by a curved line connecting the syllables united.

"modre^e f i Ii a"

A Iterat i ons ? n Mus i c

* Synaeresls. This is the uniting of single notes which would ordinari ly receive one pulse each, in the manner of a ligature. They contract to share the value of the unit note. It occurs only in hymns of reasonably regular meter and is employed in order not to interrupt the rhythmic flow. It is indicated by the use of a pointed arch connecting the syllables concerned.

A . . A "Gloria'n cielo e pace'n terra.”

2. D ? aeres i s . This is the opposite procedure, by which the music is expanded to f it the syllables of text. It occurs very Infrequently and when it does, takes the form of breaking ligatures into single notes in order to accomodate the text. . i a n a i M l "Stomme allegro et latioso” + + 80

Si mu Itaneous A Iterat ion of Tex t and Mus i c

1. The combination of elision and synaeresis occurs very commonly in the laude, particularly in those of a decidedly rhythmic character. It results in the simultaneous treatment of single notes as ligatures (in the sense of contracting them into approximately the space of the unit note), and the contracting of vowels into one sound. It is indicated by the simultaneous use of the symbols proper to each, thus:

"Onne homo^pd alta voce"

"Quanto^e digna da laudare"

Unaccented Words

1. All in itia l unaccented syllables, as well as pro­ c litic words at the beginning of lines are rendered as an anacrusis in the music.

In the present edition all signatures, bar lines, and the

usual indications of a regular pattern of stress have been avoided. It may be noted that generally a phrase of music corresponds with a phrase of text and a cadence to a pause in

the thought of the poetry. There are a few exceptions, usually

to be found in the long narrative type poems, in which the thought continues from the end of one strophe to the beginning of the next without interruption or even punctuation. In these cases the repetition of the refrain after each stanza would be

i ncorrect. 81

Throughout the transcription the • , the ^ , and the are reduced to the J of modern notation, with the obvious exception of the alterations previously noted. Ligatures are transcribed as quarter notes and appear under brackets thus:

J J J . The plica is infrequently transcribed as such virtue of the fact that the scribe seems to have used it practically indiscriminately with the breve and the longa.

Comparison of identical passages reveals that this is frequently the case. For this reason the plica has not been taken too seriously, and in nearly every instance those transcribed have been passing tones.

Dotted vertical lines extending above and below the staff are placed in the exact location in which rubric slashes occur in the original manuscript. Since there are no signs of men­ suration in the music these vertical dashes are not given the value of punct i d ? v i s i on i nor of bar lines in the modern sense.

Their placement at the middle and end of verses indicates that they are more likely simple indications of breathing places.

However, laude VII and X present a particular problem in the frequency with which the lines occur. They are too close to indicate pauses or breath marks. Yet it is possible to discredit completely any suggestion of the notion of bar line. It is immediately obvious that such an interpretat5 on would result in a horrendous conflict between the natural accent of the text and the strong pulse of the music. The vertical lines in number

X appear thus: 82

Re- gi- no so- vor- no de grom pi- e- ton- qo

The placement of rubrical signs in the above-mentioned

hymn is not consistent. After occurring in close sequence in

the opening system they nearly disappear entirely from the

lost four systems. The lines ore perhaps no more meaningful

than the strange inconsistencies already noted in ligature

forms or in spelling.

Small solid lines above and below the staff ore used to

set off the beginning of new groupings and occur before the

natural accent of the word, except in those few coses in which

this is in contradiction to the melodic structure. In those

instances the music takes precedence over the word accent.

These indications ore meant to be interpreted, not os a musical

accent or a regular pulse in the sense of a bar line, but

rather os an indication of elan marking the new impulse at the

beginning of a rhythmic group. The rhythm thus alternates in

groups of two, three, or more. It must be repeated, however,

that some particularly regular patterns of poetic meter combine

with syllabic musical style to form a very regular and rhythmic

hymn tune. The number of such examples is fa irly large.

Above all it must be emphasized that the ligatures are

not meant to be interpreted as occupying s tric tly the same amount of time as the unit note. They ore not strict mathemot- 83 ica I subdivisions of the tactus into duplets, triplets and quadruplets, but are to be rendered freely, and with a sense of broadening rather than of contracting exactly into the space of the unit note. This is especially necessary in the hymn such as number XI in which each phrase ends with a me Iisma. These flo rid portions are intended to retain the quality of free vocalization, and should not be stric tly measured. In short, the notation is only an approximation of the true sound.

All ligatures and single note shapes are indicated on a dry line above the staff, as ere also the accidentals. This application of mus i ca f i eta is necessary in order to avoid the tritone, but only rarely is the chromatic alteration written

into the manuscript its e lf. In these few cases the accidental is placed on the staff in the transcription.

Part II

Editing the Text

Liuzzi's careful preparation of the laude texts of Cortona

91 has already been considered. It is his edition of the poems

(with a few exceptions which are clearly noted) that has been followed throughout in preparing this translation. Therefore, both the pages of the manuscript and those of Liuzzi's monograph occur in the upper right hand corner of each transcription. The writer has worked from both the manuscript and the printed edition of the laudario. and has consulted numerous other manuscripts 84 which might clarify certain textual emendations. Whenever the manuscript sources were not available to the writer, the necessary texts were located in secondary sources. In addition, several manuscripts not used by Liuzzi were employed in this transcri pt i on.

All textual emendations necessitated either by corruption, omission, or obliteration of text ere clearly indicated as such in the translation, and the source of the correction is given in the accompanying notes. Similarly certain obscure usages or philological problems are clarified in the notes collected at the end of each translation. A key to these and other abbreviations is contained in the introductory section of Vo Iume I I .4

The purpose of the translation has been to render the poetry into sufficiently readable English to permit comment on content matter which is relevant to the question of origin and authorship of the manuscript. No attempt has been made to render the laude into verse but rather every effort has been made to keep them as literal as is possible. Necessarily the writer has been forced to be free in some instances where literal interpretations remain vague today.

Frequently etymological explanations are required to clarify particularly d iffic u lt passages. At the same time the

4Cf. p. 15 3 f f . 85 dialectal traits evidenced here ere extremely significant in determining the background of the manuscript. Some general and uncomplicated patterns of linguistic behavior may be commented on collectively. The manuscript shows throughout a fa irly con­ sistent tendency to the following usages.

1. The homorqanic m (or n ) ♦ Before labials, "p," "b," and "m" the "n" becomes and "m." Conversely, before dentals, "t," and "d," the "m" becomes an "n."

2. The sib? lant "c." When "c" precedes a palatal vowel it is written with the' cedilla and appears thus: mer^ede, do I ye. do I yore .

3. The use of "q" for "c." This is common in words such as sequro, for securo. The seme is true of the use of the "d" for "t," and the "v" or "b" for "p.” emperadore for emperatore, and sav i a for sapi a .

4. The intrusion of "n" or "m" before "qn." This is very frequent in words such as oqne (onqne) .

5. Ecclesiastical Letinisms. These may be in the form of Latin word endings such as entia, or entia, or in the borrowing of entire words such as i uxta. Lux, etc.

6 . The preservation of the tonic "o." Throughout the codex the tonic "o" is rarely transmuted into a diph­ thong. For example, fuoco remains foco, cuore, core, and uomof om.

7. Frequent substitutions. The "e" for " i ," and vice- versa, the "II" for "gl/" and the "sc" for "g."

Finally some general mention should be made of the literary sources known to the composer of the leude. Allusions occurring most commonly are those to Scripture. They may be in the form of a simple reference or a more elaborate paraphrase. Investi­ gation has shown that often, when obscure Old Testament passage are alluded to, they are texts which occur in the Divine Office of the time and were probably well known to the scribe through this intervening source.

Wherever the Bible ceased to supply what the poet sought to find he turned to the other half of his literary source, popular legend. This happens most often in laude to the saints and is discussed individually in each case. By way of general comment it may be said that the work most frequently consulted was the famous Leqenda Aurea of the Dominican fria r, Jacobus de

Voragine. But it appears that other legendaries were known aiso. Occasionally the stories drawn from these legends have been recorded in paintings of the middle ages. These, like

literary references, are indicated in the notes assembled at the end of the individual translations.

Each of the four divisions of the manuscript is preceded by a brief introductory section dealing with the background helpful in understanding the respective groups of hymns. In addition each individual lauda transcription Is accompanied by a citation of the other manuscripts in which the hymn may be found.

And fin a lly , regarding the translations, the writer mokes no c lo i m 'to ph i lo log i ca I exce I I ence. Ra ther it is si nee re I y 87 hoped that this firs t English translation of the beautiful laude of Cortona 9*1 moy prompt the phi lologist to a more prefected version of these texts which so deserve to be read and understood. CHAPTER V

FINDINGS AND CONCLUSIONS CHAPTER V

FINDINGS AND CONCLUSIONS

This d iscussion of the Cortona Loudarto 91 has been based

upon an investigation which might be called simultaneously ana­

lytical and synthetical. The former process has brought to

light innumeroble and foscinoting aspects of the codex which

indicate its oge and origin. At the some time the compounding

of elements from whot oppeor in itia lly to be extraneous sources,

yields a kind of synthesis of material which serves as a touch­

stone to assist in identifying the origin and inspiration of

the manuscript. It is in the convergence of these two processes

that the conclusions to such an investigation begin to emerge.

The Text; Content

The general formal pattern of the manuscript is almost im­ mediately discernible to the exominer. Its distinct four-fold

division is too clear to have b^en merely fortuitous. The scribe, obviously a man of considerable abi lity and good taste, manifests

a pleasing sense of balance and organization in his arrangement of the codex. In this disposition of parts the fifteen Marian

laude appear fir s t, probably on the basis of their chronological

primacy. The liturgical cycle which follows illustrates how

invalid the label "secular monody" is when attached to the leuda

89 90 repertoire. In sp irit these hymns carry the theme of the

liturgical season into the daily life of the townspeople and wou Id more correctly be designated as "extra-I iturgica I In the third division, the homiletic laude, there is manifested a forthright intention to didacticism, for the hymns are clearly intended to instruct, edify and admonish. And fin ally the laude to the saints contain striking overtones of Franciscan influence.

Apart from these general observations of formal arrangement the investigation points to certain indications of authorship, ranging from the actual naming of an author to vague hints of assignations to a particular group or confraternity .

Spec i f i c des i qna t ? on of author . The manuscript contains four laude (VII, X III, XXIX, and XLIV), which bear the name of

Garzo, who appears to have been the author of the poems. The actual identity of the poet is not known, since none of the oldest documents of the archives of Cortona contain any record -| of the name. The firs t of these is a set of proverbs written in verse, discovered in the B? b I ? oteca de I Comune of Cortona.

They designate the author as Garzo, and since their style is similar to the laude it is logical to suppose that they may be

1 There is at present a fami Iv in the town of Cortona by the name of Garzi, but according to tne head of the :amily, the ancestral line originated in Spain, and the fami ly came to Italy only in the sixteenth century. 91

the work of the same man.

Another poem bearing the name of Garzo is contained

in the MS I I I 4 of the B? bIi oteca comunaI d i S i ena . It reads:

A lui fie le gratie che fa I? doni cio£ i I grande signore che e somo bene, di cui sempre fa laudore; e Garzo amen ora.

It is followed in the manuscript by the lauda Ave donna san-

t i ss i ma, which also contains his name as author. It is worthy

of note that this latter hymn is found in the Cortona manuscript

without Garzo's name, a fact which might indicate that he is

conceivably the author of some of the hymns which contain no such

specific identification.

Garzo is believed by some scholars to have been the paternal 3 grandfather of the poet Petrarch. This is based on a register

containing the name of Garzo, a notary reputed to be the father

of Perenzo who was the father of Petrarch. Although the evidence

is not conclusive there is some reason to believe that the two

poets were related.

2 The Proverbs of Garzo appear in two modern publications. They are included in the Mazzoni’ s edition of the Cortona laude, (Pub. Gargnani, 1890), 114-138. A later edition may be found in Poet i de I duecento, Vo I . II of La Letteratura i ta I i ana stor i a e teste, fid? ted by Roffaello Ma 11 i o T i, Pi etro Pancrazi, and A l"f redo Schiaffini. (Milan: Riccardo Ricciardi Editore), pp. 295-313. 3 Among them Mazzoni, Liuzzi, and Pirrotta. 92

Genera I references . Several of the laude of the codex

mention a company or fraternity which may have sung the hymn

in common. One of these, Lauda XXV, in honor of the Holy Cross,

has received perhaps undue emphasis--to the extent that some

writers assign the entire codex to the Confraternity of the

Holy Cross in Cortona. This is untenable for several reasons.

Those who make such attributions hove clearly foiled to note

that two other laude in the manuscript also speak of a company

or brotherhood. They are Lauda XXX to the Holy Spirit, and

Lauda II to the Blessed Virgin. In view of the fact that

Cortona possessed a Confraternity of the Holy Spirit, and another

dedicated to the Blessed Virgin, it is equally possible to

assign the laudori o to one of these.

Anonymous I aude. By far the majority of the hymns of the

codex are not attributed to any author. But this does not automatically preclude the possibi lity of determining at least

some hints of origin from the text. These may be in the form of positive assertions, or simply ommissions. The argument

"ex silentio" is not without relevance here. On the side of

the positive inference must be counted the many brief but

important allusions revealing Franciscan influence. Perhaps

the most impressive of these is the three-fold reference in

Laude XXXVI and XXXVII to the three distinct branches of the order. The latter of the two mentioned hymns devotes an entire strophe to the praise of the third order, and in a later stanza 93 closes with the invocation of Francis as "padre.” Less obvious but no less significant is the allusion to St. Francis contained in Lauda XXX to the Holy S p irit. In addition the manuscript contains hymns for two feasts which were introduced into the

Roman calendar primari ly through the efforts of the Friars

Minor, namely, the Visitation, and the feast of the Holy Trinity.

The inclusion of hymns to Francis and Anthony in the fourth section of the I a uda r i o is a testimony obvious enough to require no comment.

The "praise" character of the Marian Laude must not be overlooked. These beautiful hymns, the simplest and undoubtedly the oldest in the collection are frequently in the form of a litany of laudatory invocations of the Virgin. Their character is markedly that of a I audes i hymn repertoire.

The argument "from silence" provides two important obser­ vations. The absence of any reference to the act of self- inf I icted scourging is very significant. All the manuscripts of laude from the period of the f I age I I ant i and d ? sc i pIi na t i contain at least some references to taking the discipline, and provide laude designated to be sung at these penitential meet­ ings. They are likewise more realistic in imagery, and more affective in expression than the hymns of Cortona 91.

From this examination of textual content the following conclusions may be drawn:

1. The Cortona Laudario contains a set of hymns of laudes i origin. 94

2 . 1+ is found +o contain also the hymns of certain other confraternities. 3. The frequency of Franciscan references suggests that some of the nymns of the manuscript were intended for a group of tertiaries of the Order of Friars Mi nor. 4. It follows from this that the Cortona Laudario 9*1 >s certainly, in the most literal sense, a compilation of laude from a variety of sources. 5. The absence of a I I references to scourging, as well as the freedom from the extreme realism of the fI age I I ant ? hymns, indicates origins prior to the pen itent i a I mania of 1 260.

The Text: Form and Expression

The diversity of origins manifested by the textual content of the I auda r i o is borne out by the variety of forms employed

in the hymns. Although the four- I ine, octosyl labic strophe

is the most common, the hendecasyI Iabic strophe and the stanza of uneven verse length do appear with some frequency in the manuscript. There is a great stylis tic uniformity in the earlier hymns of the collection while the homi letic-+aude and those'to

the saints manifest a sense of greater individuality in both style and form.

D i a I ecta I behavi or . The hymns of the codex are in the

Umbrian dialect, but there is reason to believe that the scribe who wrote them was a Tuscan-- perhaps Sienese. This is betrayed by his spelling of certain forms. Throughout the manuscript his Latin training is evident; not only in the borrowing of whole Latin words, or Latin suffixes, but in hyper-correction 95

os well.^ In view of the fact that Italian was not yet taught

in the schools the scribe had to improvise the best he could

with is knowledge of Latin, and simulate the sound of the ver­

nacular to the best of his abi lity . In this he succeeded, and

with much o rig in ality. His texts draw together the dialectal

usages from Sici ly, Umbria, Tuscany, and even those common to

the little city of Arezzo. But throughout, Latinisms appear

with regularity. Such words as oqne ore frequently spelled

with on ”m" - omqne, suggesting the unconscious intrusion of

omnes.

The poet sometimes employed words of Tuscan origin such os avenente, moi a, qui nci, voI Ii (s till used in Tuscan dialects),

and auIi re (from the Latin o iire ). But he preserves the tonic

"i" with some degree of consistency where the more typical Tus­

can usage would substitute an "e." A few words ore of Sicilian origin, and many, such os possamo, and sirave, are definitely

not Tuscan but rather southern. Taken in its entirety the manu­

script Is a beautiful example of the flexibi lity evident in the

early vernacular.

There is lit tle to characterize the palaeography of the - manuscript except to soy that the almost consistent use of "k" for "ch" bespeoks definite thirteenth century origin. By 1300

^For example the word perti scione for perdi z i one. 96 the custom hod become defunct.

On the bosis of these observations it is possible to cone Iude that:

1 . The authors of the poetry were well instructed in Latin (as well os theology, scripture, and the sources of legend); 2. That the scribe too manifested thorough Latin back­ ground; 3. That they (poets and scribe), were fami liar with the Umbrian dialect, but knew also the Tuscan and perhaps the Sicilian os well. It is likely that the scribe who recorded the laude may also have been the author of at least some of them.

The Music: Notation

The problem faced by the amanuensis of the text was essentially the some os that encountered by the writer of the music, namely, how to capture the aure I impression of on un­ written musical repertoire and represent it to the eye, s till employing the tools of a post style. It is quite certain that the music of the laude was not sung according to the rules of p loinsong--which was the style of notation in which the scribe, of necessity, expressed himself. Nototionol practice in the thirteenth century was passing through subsequent stages of development so rapidly that the theorists hardly hod sufficient time to codify the rules regulating the ?nterpretotion of such methods, before they hod passed into obsolescence and been superseded by another more modern method. Hence the rhythm of monody in the pre-franconion period proves a special problem 97 to the transcriber. if is altogether possible that it may have been a problem to the scribe as well. For this reason it is useless to claim that an unequivocal transcription can be mode into modern note values. The amanuensis simply employed the familiar neumes of chant notation, knowing that the singer was familiar with the melodies, and would not be inclined to interpret them in the manner of the ploinchont.

The lauda repertoire is essentially on unwritten one and exists totally independent of the manuscript. Therefore, we may conclude that:

• 1 . The music, os well os the poetry, of Cortona Loudario 91 are at best visual approximations of the actual aural expression of this hymnody; 2 . that these laude preserved a certain freedom and fle x ib ility which defy reduction to tne absolute note values of modern mensural notation; and 3. that the singer probably never sow the manuscript.

It follows from these observations that the transcriber of such a popular repertoire must prudently correct, amend, and inter­ pret the music according to his understanding of the literature and his sense of musical taste.

The Music: Performance

A question which invariably arises in the discussion of any type of mediaeval monody is that of instrumental accompani­ ment. There is no indication of such accompaniment in the

Cortona MS yet there is every reason to believe that some crude type of instrument, or complex of instruments may have been 98 employed in the performance of these laude.

Musicologists have at times based such claims on the appearance of figures with instruments in the illumination of manuscripts.^ This has little bearing on the laude of the

thirteenth century, for several reasons. The only illuminated

Iaudar i o MSS are later specimens and are of far greater elegance

than the Cortona laudario. The instruments represented in them are as a rule the vielle, the psaltery, the rebec, and the por­

ta t ive organ- - instruments beyond the means of the simple folk for whom these hymns were intended. Furthermore, an invest!ga

tion of the laude containing such illuminations reveals that the text frequently makes some allusion to an instrument, and the artis t was very likely inspired to convey a pictorial image f of the thought contained in the poem.

Far more convincing is the testimony of Salimbene in which he describes the manner in which old fria r Benedetto employed his trumpet in the singing of the threefold blessing described

in chapter I. Coming from Salimbene, who boasted of his c u lti­ vated musical ear, the remark that 3enedetto's trumpet was

5Cf. Appendix E, Plate XI, p. 132.

6 1 A case in point is the lauda of Magi , p. 6v. which relates the description of the last judgment and speaks of the angel who summons the dead from the four corners of the earth with his trumpet. The illumination contains a long trumpet. 99

"terrible sounding" and "not sweet," is fir s t hand evidence of the crude and make-shift character of the instruments used by the people of the town in that era.

The mere fact that no notation is provided for an accompani­ ment is irrelevant, inasmuch as the manuscript contains only the bare bones of the performance. It is certain that the pipe and tabor were used in accompanying the troubadour songs yet their chansonn i er1s contain no music for these instruments. In reality the instrumental part only doubled the vocal line and at best allowed for a few improvized elaborations on it. It is conceiv­ able that some simple rhythm instruments of the tabor or cymbal type may have been used. If harmony was desired it was probably supplied by the drone of the bagpipe or the open fifths of some crude string instrument.

It is fa irly certain that the singing of the laude was carried on in a responsorial manner with a soloist or small group of soloists performing the pi edi and vo I ta, and the chorus singing the refrain. However, it is d iffic u lt to imagine that in the case of certain of the simpler laude, the congregation should not have participated in the singing of the strophe as well as the refrain.

The music, like the text of the laudar i o, presupposes a scribe of considerable intellectual stature. In the small town of Cortona it is unlikely that such a person should have been found outside the walls of the monastery. Hence the music veri- 100 fies what has been said of the clerical origin of the text.

Reca p it uI a t i on

On the basis of the evidence assembled here in summary, the conclusions of this study may be stated briefly thus:

1. The codex 91 ' s + he work of two scribes, one who copied the music and one the text.

2. It is truly a compilation, drawing from a variety of sources, and representing some divergence in age and style, though not a greet one.

3. The poet?, as well as the scribe were well versed in Latin, theology, Scripture, and popular legend. These qualifications combine to suggest that he was a cleric.

4. The recurrence of Franciscan references indicates that at least some of the hymns were the work of one (or more) of the Friars Minor who were active in Cortona at this time.

5. The firs t fifteen hymns of the manuscript are praise songs to the Blessed Virgin, typical laudes i hymns. They may possibly have been the same hymns sung by the laudes ? of San Francesco for whom Elias bui It the oratory beneath the church.

6 . Since the manuscript includes hymns to Francis and Anthony it could not have been written before their deaths in 1226 and 1231.

7. And fin ally , the obvious absence of a I I trace of flagellant? and di sc i p I? na t i usage can indicate one of two things, namely,

( \ 101

a. that the codex was written before the f I age I lant i outbreak in 1260, or b. that it was the property of a group sufficiently stable to remain unchanged by the penitential mania. Such a group would almost certainly have been one of te rt i a rIes .

Therefore, the Cortona Codex 91 had its origin in the monastery of San Francesco. It was written by a fa irly learned fria r, probably more for the purpose of preservation than to be used by the tertieries themselves. At most it would have been found in the hands of the fria r who acted as cantor in the per­ formance of these hymns. It is likely that the laude were written at about the time of the f laqe I I ant i outbreak or slightly before. It is impossible to determine the date of the writing of the codex on grounds of either palaeographicaI or notational practice. Neither is it possible to determine it entirely on the basis of content alone, since the hymns must have existed

long before they were recorded in the Iaudar?o. Therefore, we may only suggest a span of years during which the manuscript was very likely written. This would have been sometime between

1250 and 1265 .

Whatever the intervening history of the Iauda r ? o may have been, it is fa irly certain that the hymns contained in it were not the exclusive repertoire of the Franciscan tertiaries them­ selves, but the common fund of popular hymnody sung by the other confraternities of the lit t le town of Cortona as well. Thus 102 the Cortona Codex 91 represents o collection of the best endeavors of the mediaeval Italian Christian. The remainder of its story must be pursued in the simple beauty of the hymns themselv-es. APPENDIX A

INVENTORY OF THE CONFRATERNITY

OF SAN DOMENICO; ADDENDUM TO THE

MS PERUGIA 955 104

Quisto si e lo Eventerio nuovo de tute le mosorie che sonno de lo froternetd nostro, e tutte ei comorlenghe sonno tenute de ronderne rogione oi loro successore. Fotto en le MCCCXXXVII IJ, ol tempo de Giovogne d'Amotuccio priore, e de Motiucdio d'Andruccio sopriore.

29 Ancho uno montello nero do Devozione 30 Ancho uno velo de zendodo nero 31 Ancho tre vegIi nere de lino

33 Ancho dole veste nere de zendodo nero do Angnoli 34 Ancho uno montello de zendodo roscio con frosce od oro 35 Ancho uno bendo con copeto od oro 36 Ancho quottro bende de seto bionche 37 Ancho uno bendo de seto brunetto

39 Ancho quottro veg'l i de sette brunette 40 Ancho uno veto de seto bioncho 41 Ancho tre bende de bonbogio con copetto de seto

48 Ancho uno comiscio dot Signore del Venerdi So nto 49 Ancho uno vesto nero do Modonno 50 Ancho seie veste nere, I 'uno e do I nemico

52 Ancho seie berette, bionche con creste roscio 53 Ancho tre berette, I'uno bigio, I'oltro bionco, I'oltro gio I lo 54 Ancho uno borbo e uno copello de lino cioscuno con pelo nero 55 Ancho doie borve de polo, I ' uno bioncoccio e I'oltro nero 56 Ancho uno poio de quonte segnote de roscio

59 Ancho ire livoro de loode, doie e pecorino e I'o ltro de bonbogi o

65 Ancho tre borsole do Mogie piccoline

75 Ancho uno sedio do sedere e uno stello de leno

79 Ancho uno croce con doie fruste, con lo loncio e con gli ch i oveg I e This is the Inventory of oil the things which belong to our fraternity, ond all that the stewards must render account of to their successors. Made in the year 1339, during the office of Giovanni D*Amatuccio, prior, and of Matiuccio d'Andruc­ cio, sub-prior.

29 Also one black mantel for the devoz i one 30 Also one veiI of block taffeta 31 Also three vei Is of block linen

33 Also two black robes of taffeta, for anqels 34 Also a mantel of red taffeta with gold fringe 35 Also a band with a little cop of gold 36 Also four bonds of white silk 37 A I so a band of brown silk

39 Also four veils of brown silk 40 Also a veil of wh i te silk 41 Also three bonds of cotton-wool with a lit t le cope of si Ik

43 Also 0 shirt for the Lord for Good Friday 49 Also a black dress for the Madonna 50 Also six black gowns, one for the enemy

52 Also six white birettos with red crests 53 Also three birettos, one gray, one white ond one yellow 54 Also 0 beard ond a wig of linen, each with black skin 55 Also two beards of leather, one white and the other black 5o Also a pair of gloves embossed with red

f* 1 59 A I so three books of laude, two of vellum, and one of cotton

65 A I so three smo I I purses for the little magL

75 A I so a cho ir for sitting on (throne?) ond 0 wooden star

79 Also a cross with two scourges, with the lance ond with the no i Is 106

82 Ancho doie polo d'egli da Agnoglie cun la vesta de saccho

92 Ancho uno livero de carte de pecora el quale se chiama le Discipline degle Spirituagle. 32 Also two pairs of angel wings with a loose fitting gown

92 Also a booh of vellum which is colled the D i s c ?pIino deqIi Spi rItuaIi

Bondogio * 'bombogio'. When used in reference to manuscripts it signifies a type of material used in place of vellum. It was erroneously believed to be mode of cotton. APPENDIX 5

PHOTOGRAPHIC PLATES OF THE CHURCH

OF SAN FRANCESCO AND

THE CORTONA LAUDARI0 91, PART I 109

PLATE I

Entrance of the church of San Francesco in Cortona, with partially visible door frame of the sub­ terranean chapel of the laudes i . 110

PLATE I I

The deteriorated first folio of the MS Cortona 91 111

PLATE I I I

FoIi o 46v, illustrating the use of guide lines in the mus i c 112

PLATE IV

Folio 65r illustrating faulty alignment of text and music 113

PLATE V

Folio 70r, . i I I us tret i ng notes i n campo aperto 114

| • ¥ . ■ ± v 1 1 fi^glulcna ccgna tw Uutmr

■ ■ — v icpjcoqgrdiopnct

l( ■ #

. * r+M - ■ ■ ■ tuna fee

PLATE VI

Folio 100 v, The most perfect example from MS Cortona 91 PLATE VI I

Fo I I o 1 23 r , A later addition to the manuscrIpt APPENDIX C

VARIOUS TRANSCRIPTIONS OF THE LAUDE

FROM THE CORTONA MANUSCRIPT 117

LAUDA VI I f of CORTONA LAUDARIO 2 1 r TRANSCR I BED BY

Ni coIo Gorz i

R e f r a i n Con sentimento 9 : J / \t ' J / -J—J-fj J M AAlt* I — + i s — si- • mo I lu- ce col i gron-de* i splen-i do-re. i

i c c-r f r -p in voi do I - ce o-mo-re a- giam con— so- Ian- go.

S t r o p h e

r . .... r 1/wVTf * ------Hs-----1------1 t w * r ./ __f .J “= J -i ifi """ ....'J '1 A- ve, Re- gi- no pul- cel-lo^ja mo- ro- so.

-r ..j ■.. i J' J> • } SteI- lo mo- r i- no ke non stoi no- sco- so.

i f l f1 ■ ------l y j , j j* J J J* J. j. ^ Lu- ce di- vi- no vir- tD gra- ti- o- so

j p j 1 y be I - le- go for- mo- so di Di- o sem blon-go. 118

La Pass i one neI Ie i ntonaz iont deI Laudari o 91 de Cortona

transcri bed by Fernando Li u zzi

I (number XVIII in the manuscript) Sostenuto Dec Iemato-solennemente i i na- to et hu- ma- na- to per salvar la

i I -fyg jH rf-j; ¥

gen- te k’e- ra per- du- ta e de-sca-du-ta ne I primer pa-

f mm m PS

L_J------J------.f i f ■f" V “ “■#------" “ f* M . - 4 J 1.------■ * ^ 1 f — ------/: ------— ren- te e t c . Per-ke fa 1- len- ti e non ser- f e y J

etc.

-A * — |------1------1 "Jt "— - 1------' ------= i [ i ------1~V ■ ..X J ^ - - fo e - t i do cu- lu! tr o - c tl k ’ e tu - to r f o - le n - t e

| 4 a ~ t- - 4 - ...... - - } i t .— ...... T^"-.“ jh..- j ...... w-\ I } =

f : ...... r l ~ - Wt"...... \— f------u : : : . - i t ___ “ ft------1£*<*■ \j9% \ E 1f ------b— f------120

IV (number XXXIX of manuscript)

Lento, dolcissimo

■ if ■ —p k ^- — —fc— =— ar ar -r-----:-----r— \\g y t IjA p *h£p J/} ....i ^ ... i ... £ J*-

Mag- da- le- na de-gna da lau- da- re, sempre degge

— jH— H ------\A& r J ------f-J------a p e x * 1 1 l i — II il- It ar Te z . j i z .:.., ° (*"r> { t i±:

T i r I F ------if t f I f = £ - ■ ■ f f : l a «* 11 | r__ j ------t i---- i-C------1 J r.:. j

------*_ ------f e > F J 1 ' ;■ ~ J > i — Z i L " ' * J - 5 J' ■ f* « D n- i-o per noi pre -ga- re. Ben e de- gna d*es-se- ra lau-

- a l t ------— f j ' f 4 * 4 -f —..- ~ y J — — - U : ! * .. . i

AS Jb^ f c l------j f - l - t - E f tfif 1 f _L_...._.T.r ■ ■ ” ..... Iff ...... - - r-

: j !~ : :f J . zf:t o j r . ' de- ta, ke fo - e pec- ca- t r i - ce no- mi - na- t a ,

H.\k* i l l ------TP------5-4------i9-~ r —ffl4 f ...... - # = : . ■ - ..i f ...... z z d b j y fli 1' "

0- . I t —1 e : w = 121

TRANSCRIPTIONS FROM LA LAUDA E I PRIMORDI

DELLA ME LOP IA I TALI ANA, BY FERNANDO LIUZZI

R e f r a i n

... J f) _ j j_. ■■ J -J-j * Q A- ve^ Di - 5 ge- n i- tr I x,

fon-to • no d'o- le- gron

S t r o p h e ___ ^ T \ ■J.:—J— iL:.-;:i) ' r. j JTJ J J, J ~SE A- ve, fon- te con- si- gno- to,

J j.:jF j^ : j -J Xz

de la s tir- pe Do- vid no- to.

^ r ~ r ; J J J J

piu de nul'al- tro se' be- o- ta:

a- vest-in De- o ve- ro- ce o- man- 122

R e f r a i n

U -i ^ Cfr= ^ Spi- r i- to san- c + a g Io- r i- o-

so- vro noi sia gro- t i- o- so

S t r o p h e

f* 1 J " ■ 1 ■ " # ■■ ■' i #' r • 0 *TT\— — i—

# ? f ...... f 'i f" C/ '^ 1 / d r

Ke con gran dol- cor[e] ve- ni- s + i ,

_ _ h [ P f 0 taW cJ..*»- .:.Cj'FT=...... •."".""'f... f "---- f— V la pen- te- co- s+e tu con- pi- s + i;

t o r r -j

li di- sci- pu- li rin- pi- s+i

de I t uo mo­ regau- o- so. APPENDIX D

PHOTOGRAPHIC PLATES OF THE LAUDE

TO SAINT MARGARET OF CORTONA AND BLESSED GUIDO;

AND ADD ITIONAL TEXTS 124

cfhrtvJTi rtttfci iX'Q'.o rtmotk

fteflcitat'C &

PLATE VIII Fo I i o 164v, Hymn to Blessed Guido found in Part II of the Cortona Laudario 125

id IflUDACo am cte (p i* o f CO * h « CMpWTcn: a m a t o I t a fiW e Tnctjo nr.^terin? ^litiono fiio azvc ft najnwa (cr Ml* avpo cub nntnoiiw *’ ‘ ft1o0Nf(b:tana, ci.v friit^ ndfwo f fyun> fb ihiienfc ce l& uitt vpo cm ihrt*B*c> nonottns mmvyrcpemir r a p fdircmico d iic m it

i s t j b w p cmuht

~ ' a n t *

> t

PLATE IX Folio I65r, from the hymn to Blessed Guido of Cortona 126

LAUDA TO BEATO GUIDO VAGNOTELLI

Cortone 91 / port i i ,

fo I i os 164v- 165r

Buono conto sio canto soncto Guido sio loudoto.

Sio loudoto o tucte I ’ore quello soncto frote confessore chiomoto ero frote menore. Stondo ol luogo suo ordenoto.

Soncto Guido si odorovo servivo o Christo e non moncovo liangelo si lo confortovo che stesse fermo neI suo stoto.

Sancte Guido fo servente de servire Christo ero obedente non potevo motore mente che i mol nemico e descocioto.

Quondo venne ei punto e I'oro Dio gli opresento corono e*n vito eterno co llui demoro cum soncto Froncesco ene ocompongnoto.

C f. Appendix B, Plotes IX ond X. 127

THE CULT OF BLESSED GUIDO OF CORTONA

Supplementory Notes

On hearing of his death, the citizens of Cortona immediately gathered together for e public Council, and determined unanimously that his body must never be token from them but should be buried in a suitable sepulcner within the province. Then in on ardent sea of people, men and women, boys and girls, all waving palm branches and singing hymns they walked in pro­ cession to the Celle. From there tney carried the corpse back to Cortona and reverently laid it out in the church. Then when the Office hoo beanrecited, they met to decide what manner of sepulcher ought to be erected for the deceased. Suddenly a rustic plow­ man rushed in and said: "0 men of Cortona, come and see the miracle!" They asked what hod happened. "Be­ hold, while I was plowing my oxen fe ll to their knees and nothing can budge them." Therefore, many ran out to see this thing and when they come to the spot where the oxen were genuflecting, they began to dig a lit t le . They uncovered a most lovely marble sepulcher, and im­ mediately the oxen rose. Without hesitation, all a- greed that God hod miraculously provided for the burial of Guido, and thus they immediately lifted that se­ pulcher into a cart and the very some oxen pulled it into the city. There it was received with great joy and placed ooove the altar containing the body of Blessed Guido whose soul no one doubted to be among the saints in heaven.

Translated from the Vita of Beato Guido contained in the Acta Sanctorum, June, Torn. I l l , p. 100. 128

e r a t u a f t u

m a r i o t o t o

i

PLATE X Folio 139r, Opening of the hymn to Saint Margaret of Cortona, found in Part Two of the Cortona Leudario 129

LAUDA TO SAINT MARGARET OF CORTONA ,

Cortono 91/ port i i ,

f o I i os 1 39 r-1 41 r

Allegramente e de buon^or con fede] ch! o morgorito crede [e liberoto] et e l [ l i ] donta ducta sua entondoLnzo.]

La suo entendonza si fo ihesu christo d amorlo tanto non se porreo dire el suo core piengeva e stava tristo e va gridondo che I volea vedere dicia mesere vo[i folste encrociato n[el v]ostro lato je frito do] loncio.

De loncio fu fe rito [signore mio] [per] noi peccoto ri recoperore [oceto e fie le dotote omore mio] de questo peccotrice che si rone] [voive pregore che n ogiote merzede] [ch io abbo en voi grande fede et] gran speronzo

Si gr[an]de speronzo abbo en vo? mesere piu ch io non dico ne porrio contiore a voi me rendo in colpo per mercede che voi me deggiate perdonare ch io so neI more e veggiome peri re se I vostro omore non me done boldonzo.

A grande boldonzo se mosse el signore quell? che pi eno di tucta coritode o sancto froncesco en croce se mostrone oporechioto per comuni core or non pensore morgorito mio tu se e I Io e donote olegronzo.

Con olegronzo o lie? se demostrone bi ene e stoto fervente e IIo suo nome el di e Io nocte stovo od orotione piongendo il suo peccoto con do lore e dice peccotor? che non piangete quondo vedete si grande cordogIionzo . 130

31 qrande cordoglio facea margarita de la passione non se porrea dire scalze e nuda quel la e la sua vita e I suo corpo pena assai sentire del suo savere tuctora dice humi Ii a margarita pien de meturezza.

F[o?te p]reghiere o sancta margarita a yhesu christo per li [cor]tonesi [cn]e le mantegna in poce et [in ] buona [v ita ] et per le vostri [meriti sieno] defesi et sienol acesi de I amore divino Eche] al [pun]cto [st]remo aggion conso I [an]za . En poso stai e sa I ita en grend[ezza] e n te bellezza porto se de mare chi a alcuno male c a voi s’acomanda christo li manda la sua medicina e forte pena senza dubitare e ralegrarse po cun grande baldanza

Grande baldanza sete margarita in cielo sa I ita devante al signore e la madonna se fa molta lieta e san francesco suo amadore ch amasti lui sopra onni sancto ora steite in canto e n alegranza

Grande alegranza facea maregrita denante al viso de la maiestede el dire I'aleqranza e I gioco e I riso chi a quel [b lallo e preso bene ne [va] [enl vi ta etferna] e sta sen[za] langofre] [en] verdure ed en grande alegranza. Amen .

Cf . Appendix B, Plate VIII. Tne translation is taken from Mancini, Laudi . . . Cortona, MF. p. 53. The poor condi tion of the frr ios containing this particular hymn made it necessary for Mancini to seek clarification elsewhere. Hence a ll parts of the text contained within brackets are those which he has interpolated with the aid of the Ant ? ca leqqenda de I la vi te de _s. Marqher i te di fra Gtiunta feeveqnatT] part II, pub Ii sned In Lucca, 1793. p. 1^4. tne work was based on a manuscript vi t a . \

APPENDIX E

FOURTEENTH CENTURY FLORENTINE

LAUDARIO ILLUMINATION 132

Pf!

PLATE XI MS 742 of the Pierpont Morgan Library, New York City. An illumination from a fourteenth century Florentine Laudario B I BL I OGRAPHY BlBLIOGRAPHY

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VOLUME I I Filmed as received without page(s)___

UNIVERSITY MICROFILMS, INC. TABLE OF CONTENTS Page KEY TO ABBREVIATIONS IN EDITING...... 153 PART I THE MARIAN LAUDE . . 157 Laude No. Fi rst Li ne I Venite e la u d a re ...... 160 II Lauda novella sia cantata...... 165 III Ave, donna santissime...... 1 08 IV Madonna sante Marla...... 175 I Va Ave Maria, gratia plena ...... 178 V Ave, Regina gloriosa ...... 182 VI Da ciel venne messo novel lo ...... 187 VII Altissime luce col grande splendore ...... 192 VIII Fami center I ’amor di la b e a ta ...... 197 IX 0 Maria d'omelie se' f on ta n a ...... 202 X Regina sovrana de gram pietanja ...... 205 XI Ave, Dei g en itrix ...... 208 XII 0 Maria, Dei c e l l e ...... 211 X III Ave, vergane geudente ...... 216 XIV 0 divine virgo, flore...... 223 XV Salve, salve, virgo pia...... 228

PART II THE LITURGICAL CYCLE...... 234 Laude No. Fi rst L? ne XVIII Cristo S nato et humanato...... 239 XIX Glorio in cielo e pace’ n t e r r a ...... 243 XX Stella nuova'n fra la gente ...... 246 XXI Plengiemo quel crudel bascier[e] ...... 249 XXII Ben £ crudele e s p ie to s o ...... 252 XXIII De la crudel morte de C r i s t o ...... 258 i v

Laude No. First Li ne Page XXIV Demi conforto, Dio, et alegrenge ...... 263 XXV Onne homo ad a I ta voce ...... 266 XXVI lesu Cristo glorioso...... 271 XXVII Laudamo la resurrectione ...... 277 XXVIII Spiritu sancto dolge amore...... 282 XXIX Spirito sancto glorioso ...... 285 XXX Spirito sancto da servire ...... 292 XXXI Alta Trinita beeta ...... 297

PART III THE HOMILETIC LAUDE...... 303 Laude No. First L?ne XXXII Troppo per del tempo ke ben non t ’ame .... 306 XXXIII Stomme allegro et latioso ...... 319 XXXIV Oi mS lasso e freddo lo mio core ...... 325 XXXV Chi vol[e3 lo mondo despreccare ...... 330

PART IV LAUDE TO THE SAINTS...... 334

Laude No. Fi rst Line XVI Vergene dongella da Dio am ate ...... 340 XVII Peccatrice nominate ...... 344 XXXVI Laudar vollio per am ore ...... 347 XXXVII Sia laudato San Francesco...... 352 XXXVIII Ciescun ke fede sente ...... 359 XXXIX Magdalena degna de laudare ...... 369 XL L’ elto prence ercangelo lucente ...... 384 XL I Faciamo laude a tu tt'i s a n c t i...... 387 XLII San lovaunni a I mond’e nato...... 391 XL I Il Ognom canti novel c a n to ...... 394 XLIV Amore dolge, senga p a r e ...... 397 XLV Benedict! e llau d ati ...... 404 XLVI Selutiem divotamente...... 419 Filmed as received without page(s) 152

UNIVERSITY MICROFILMS, INC. KEY TO ABBREVIATIONS IN EDITING

Abbrev i a t i on Manuscri pt Source

Aret MS 180 deI I a Bi b I i oteca della Fra tern itS de i Tai ci d'Arezzo

Ars MS 8521 of the Bi b I id’ heque Arsena I Paris

Mag 1^ MS Mag I iabechiano ll [ 122, Bi bIi oteca Tfoz ? ona Te Centra I e, F I orence

Mag I ^ MS Mag I iabechiano II I 21 2, Bi bIi oteca Naz i ona fe Cent ral e, F I orence

Mod MS della Corqreqaz ? one d i Car i t& di Modena

Pis Fog I i deq I i Statut i ne I Arch ? vi o de Stato a r i s a

S Sep MS de I Arch i vi o deI I *ospedaIe d ? San Barto- Tomeo in 'Sorgo San Sepolcna

Ud MS deI I a Confraterni t& d i Santa Ma r ? a de i Ba t tut i , ora de l I * os peda I e d i Ud ? ne e de- pos i tato ne I I a Bi bIioteca C? v j ca

F i or MS della Compaqnia de San' Eustachio, Florence. TKe' manuscript is now Tost and the writer was forced to depend upon the monograph of E Ceccone Laudi dj una compaqnia f ?orentina deI sec XIV.

LA Jacobus de Varagine, Leqenda aurea vulqo Hi s tori a lombardi ce dicta. Edi ted by Thomas Graesse. Lipsiae: Librariae Arnoldionae, 1846.

Li u Fernando L i uzz i , L£ Iauda e j_ pr i mordi delb me I o- d?a i ta I iana. Rome: Li brerio della Stato, 19^5.

Mazz Guido Mazzoni, ’’Laudi Cortonesi del secolo X III," II Propuqnatore. NS II (1888-9)» P. 205-270; and FT5 ITrTT85$=T390), p. 5-48.

Bett Enrico Bettazzi, Not ? zI a di un laudar io de I sec. X III. Arezzo! tip .”*SeTTot t i , i 890 .

153 154

Cel 1 Thomas of Celeno. St. Francis of Assisi. r*Fi • rst±. and J c Second J i LiTe, • “F"* with "« »"l selections i . !■ ^ rom9 tne freat ise on the Miracfes of Blessed F rancis . CRicago: Franci scan Herald Press, V ? vr.

Leg. M. Leqenda Ma j o r, _S. Bona venture . Ana I ecta Fran­ ci scana, III, Quoracchi, 1897, ppT 557-&57T

Trium Soc. Leqenda Trium Sociorum, Miscellanea Francescana, X III (1968 ), pp. M-107, "and XXXIX (1929), pp. 325-432.

F io r. The L ift le FI owe rs of S t. Franc i s . Trans lated into English by RopRoe T B' own 1 Sarden City: Doubleday and Co., 1?58.

Spec. SpecuIum perfect i onis, leqenda antiquissima. ed Paul Sabot i e r . Par i s': L i brer i e FI schbacher, 1898 .

Kerv. Leon de Kerva I . Sanct i i Anton iI de Padua vitae duae quorum a Itera hucusque indeito. Peris: L i bra i r i e Fi schbo’cher, 19u4.

Jul. Sp. (Julian of Speier). Vi ta auctore anonymo vaIde antiquo de Beato Antonio. Acta SS., Jun. T. I l l , Peri s: " T?>89, pp. T98-202.

Scr i pturaI References

All references and quotations from the Bible are taken from the Douay-Rheims ChaI loner edition.

SymboIs

[ . . . . . ] Indicates an ommission in the text in the manu­ script version.

[ ] When brockets ore used to enclose words they in­ dicote that the portion of text thus set off is on emendotion necessitoted by deterioration of ports of the manuscript. All such emendations are noted in the remarks collected at the end of the respective laude. 155

( ) OccosionaIly articles, adverbs, or conjunctions have been added to the English translation in order to clarify meaning. When such words are not actually found in the Italian version they are noted in the English by being enclosed in parentheses.

' ' Words thus enclosed are the modern Italian equiva­ lents of old forms.

" 11 Words set off with quotation marks are quotations from manuscri P + sources other than Cort 91 .

______Words underlined are old forms

Med Indicates mediaeval usage

XIII Common in thirteenth century

XIV Found predominantly in the fourteenth century

/ Diagonal lines in the Italian text indicate the end of a page in the manuscript.

46v Small numbers appearing in the left hand margin of the Italian text are page numbers in the manuscript PART I

The Morion Loude TRANSLATION AND TRANSCRIPTION OF THE

CORTONA LAUDARIO 91

The Morian Loude

With the writings of Anselm (d.1109) ond Bernord of Cloii— vaux (1091-1153) Morion devotion began to assume on effective quality hitherto unknown in mediaeval piety. The tendency re­ ceived impetus from the rapid growth of the Order of Friars

Minor, for from the very outset St. Francis and his sons had preached a sp iritu a lity which placed great emphasis on the hu­ manity of Christ. And os qualities of human sonship were em­ phasized it followed that the mother should enter the picture in a more human manifestation also. The Franciscan mission was one of popular preaching, and veiled imagery was of lit t le avail to the itinerant evongelizer if his audience could neither read nor write. But the images of the mother ond child were tangible realities which chould penetrote where mere concepts miqht never gain entrance.

Soon the affectivity of the preaching friars* message was reflected in visual representations. In time Mary ceased to be the enthroned, hieratic, strong but dispassionate mother holding a crowned figure with the form ond expression of a man shrunken down to the proportions of a child. Instead the thirteenth-century madonna gradually assumed a more realistic appearance.

It was £mile Mole who developed the theory of relationship

157 158 between this effective type of devotion dissemineted by the Friers

Minor end the effective que I ity found more end more prominently in peinting of the time.^ Mele cells the ononymous Frenciscen euthor of the Medltet ions sgr Ie vi e de Jesus- Christ e peinter wi th words, whose picturesque descriptions suggested meny e tender scene to the ertis t of the time. The some humen queIities which Mele finds in the peinting ore evident in the leude texts of the Cortone menuscript.

The imogery used is simple end direct end e Iweys eppeeling to the common fund of every-doy experience. Most commonly in the Merion leude of the menuscript the imoges oppeer in the foshion of o Iiteny of invocotions of the virgin under verious leudetory title s . But eIweys the humen condition of Christ end Mery is present most tenderly.

Mele remerks thet es the twelfth century representetions of the Christ child elwoys picture him in e long tunic end peI Iiurn, those of the thirteenth present him in the gorments of e beby, or by the end of the century, es e neked bebe. Netivity scenes of this type represent the virgin kneeling in odoretion before her son end the enonymous

Frenciscen meditetions likewise exhort the reeder to epprooch him lovi ng ly.

Quend tu eures reconnu I'Enfent, egenoui I Ie -to i, beise ses petits pieds, puis prends-le dens tes bres, et^pleine d’ une douce quietude, demeure quelque temps evec lui.

1 # Emile Mdle, L'Art relioieux de Jo fin du moyen eqe en Fronce, (Poriss Libreirie Armend Colin, 1925), p. 34.

2 Quoted in Mole, og. ci t ., p. 144. 159

O In somewhat the same attitude Lauda XIX describes the scene of the mother and baby:

She gave him birth with a song, fu ll of the Holy S p irit, In her arms she mantled him with greatest fervor.

In the strophe which follows immediately there is contained a word picture comparable to the paintings of the young madonna suckling the child, at first timidly and then openly. The some anonymous meditations describe the scene, reflecting

Avec quelle joie elle l*ol loitoit! On peut croire qu'elle ressentoit en^I'a 11oitent une douceur incon- nue aux outre femmes.

The composer of the loudo soys simply:

Then the glorious mother, the clear luminous star with great sweetness suckled the high desirous Sun.

The lock of mannerism ond the tenderness of address found in the loude simply intensify the impression that this is the young, fresh poetry of an unlettered people, in a longuoge which has not yet produced a corpus of literature. But in its utter lock of affectation ond its directness of approach, it constitutes a precious chapter in what might be called the layman's mariology.

O S trictly considered, Lauda XIX belongs to the section of the laudorio devoted to hymns for the liturgical cycle. Cf. p. 234.

Ie, o£. ci t ., p. 149 . Lauda I MS Ir - 3v. Liuzzi, 257 160

R e f r a i n

mo- re can- ta- re

n n n n t n n n 5 . w fo..f J r r r f ■ rJ"~ J 3=^ I'a - mo- ro- sa ver- ge- ne Ma- ri- a.

Strophe^ 1 | 3 4 -I , IV__ T_

M'f' f* r f f

Ma- ri-a glo- r i- o- sa bi- a- ta,

sem- pre au- da-

1 . 9 i 1 , jl i n h _ n ^ - f f . f f % r ' :7 ^ i —f ...... r-^- -■ 1------Pre- ghiem ke ne si* a- vo- ca- ta

The text of th is lauda occurs also ih the MS Arezzo , 161

Venice o leudere per emore centore I'amoroso vergene Marta.

Maria glorise biota, sempre si' molto laudato; 1» preghiam ke ne/si' avocata 5 a I tuo filio l, virgo pi a.

Pietose regina sovrana, conforta la mente ch'S vana; grande medicina ke sana, eiutone per tua c o rtis ia . 10

Cortese ke fai grandi don?, I'amor tuo mai non ci abandon?: preg&n-fe che tu ne perdoni tutte la nostra vi Mania.

Vi I loni peccetori semo s ta ti 15 amando la carne e li p e c c a ti;/ 2« vid&n ke n'o' I mondo engonnoti;* defendane la tua gran b a ilia .*

Bailia ne dona e potentio, 0 madre, de far penitentia: 20 volemo a te fare obedientia e stare a la tua signoria,

Signoria k’afranchi lo core. Dio, & la tua madre d'amore: s e 'I sapesse lo peccatore 25 a te, donna, retornaria.

Retorni a tua gran fidanga I'omo cum grande speronge/ 2v ke tu li fare? perdononga pi Ci k 'adomandar non saperia. 30

Sapesse la gente c rlstian a k'& sconoscente e vi I lana gustar de te, dolge fontana, d'omarte piu gran sete avoreo*

Avfen-te per nostra richega, 35 vol&n-te sovrana bellega; ki tua non sente dolcega, tropp'e lo suo vita ria. 162

Come to praise and fo r love to sing to the lovable Virgin Mary.

Blessed and glorious Mary may you always be greatly praised: 5 We prey that you be our odvocate with your Son, compassionate V irg in .

Merciful sovereign queen, comfort and mind which e rrs . Great medicine which heals, 10 out of your kindness help us.

Kind one who gives great g ifts , in your love never abandon us: We pray that you pardon us a I I of our baseness.

15 Low sinners we hove been, loving the flesh ond sins. Since we hove been deceived by the world moy your great power defend us.

Give us power ond strength 20 in order to do penance, 0 mother: We wont to be obedient to you and remain under your domain,

a domain which frees the heart. God is the origin of your love, 25 ond if every sinner could know this he would come bock to you, lady.

Moy he return to your full confidence, the man with great hope„ You w ill forgive him more than 30 he would actually dare to ask.

Could the low and ignorant C hristian only toste of you, sweet fountoin, he would have a greater thirst for you.

35 We hove you fo r our riches^ we want you for our sovereign beauty. Too miserable is the life of those who do not feel your sweetness. 163

Rio vito dei peccotorl che non pensono neI I i lor cori, 40 de tanto qoudio son fuori 3r ke Iinguo/contor no I porreo.*

Potrebbet'over per emen 9 o e tutto sentir delectongo chi ben ti^portosse liongo* 45 ne I cuor si come dovreo.

Dovrebbe cioscum rifru to re * per te tu tto ' I mondo d'omere, e te, dolge modre, loudore col piu dol9 e filiol che sia. 50

\ Siate o piocere, gloriosa, ke canto tuo leudo amoroso, de f o r li lo mente studiose,/ 3v ke laudi ben nocte e d ie .*

Diana s te lla lucente, 55 letitio de tutta lo gente tutto' I monde & perdente sengo lo tua vigorio.

Vigoroso potente beoto, per te £ questa laude cantoto: 60 tu se* lo nostro ovocata, la piu fede I ke mai s ie .

17 ENGANNARE - X I I I CENT. ' IIG ANN ARE'

18 Ba il ia - X I I I Cent , • • a l ia '

34 Avarea - Ending shoulo be ' i a ' in order to preserve tne Rhyme .

42 Porrea - Again sreakes the Rhyme scheme . CF. S upra , 34

45 L1AN9 A - X I I I Cen t , ' leanza '

47 Rifrutare - Example of hyper correction

54 O lA - l*DIAEVAL USAGE FROM THE LATIN, 'DIES'

NOTE THE USE OF THE RHETORICAL DEVICE OFANAOIPLOSIS USED HERE BETWEEN THE LAST WORD OF THE REFRAIN AND THE FIRST WORD OF TNE STROPHE! THEREAFTER, BETWEEN THE LAST WORD OF ONE STROPHE AHO THE FIRST WORD OF THE STROPHE IMMEDIATELY FOLLOWING. 164

Miserable is the life of sinners 40 who do not think in th e ir heart, who ore so much outside of happiness that no human tongue could t e l l .

He who is completely faithful of heort, as he should be, 45 could hove you as a lover ond fee I a ll de I i g h t.

Everyone ought to refuse to love all the world (in order) to praise you, sweet mother, 50 witn the sweetest Son there is.

Moy he please you, glorious one, who sings your loving laude. Moke the mind anxious to praise you well night and doy.

55 Shining morning stor, joy of all the people, ell tne world is lost without your vigor.

Vigorous, powerful, blessed one, 60 fo r you this leudo is sung: You ore our advocate, the most faithful ever. 165 Lauda M MS 3v ~ 5v. LIuzz i , 260-3

R efrain £

Lou- do no- vel- s si- o con- to- +o

ft 1 ' r A. v V ' i A■»— . 1 n . 1 i n 1 i , <"»A n n ! ^ ^ * rJ I 'j.|||g^ o I * o I — to don- no en- co- ro- no- ta .

Strophe ^ i| 1

iJ:_____ J i----n— ------Fre- sco ver- ge- ne don- ^el-

1 -I _» x I J..... J - - 2LUrj;J J :-■ J ■«a- Pri m- mo fior, ro- sa no­ vel -

^ 1 1 t A ^ ^ ^ ^ ,3 ^

j . . ■■, J p S

Tut- to'I mon- mon- do*a do*a te te s'o- pel- Ito'I lo;

* 1 p 1 ^A f s " 1 ■ ^ ...: . IA j- *UjL' j i Ne I - lo bo- nor fo- sti no- t o .

Text occurs also in Arezzo MS. There is a transposition of c l e f i MISs in b on tne t h in s system OF TNE MANUSCRIPT BEFORE TNE WORS 'NULLA'. THE CLEF SHOULD BE MOVED FROM THE THIRD TO TNE SECOND LINE IN ORDER TO PRESERVE THE NODE. THE LAST THREE NOTES OF THE NYMN HANS 'IN CAMFO AFERTO'. 166

Loude novella sio contoto/ 4* o I'olto donno encoronoto.

Fresco vergene don^ello, primo fio r, roso novella, tutto*I mondo a te s'apella; 5 nello bonor fosti note./

4v Fonte se* d'oqquo surgente, modre de Dio vivente; tu se' luce de lo gente, sovra le enge I i exaltota. 10

Tu se' verge, tu se' fiore, tu se' luna de splendore; volunto ovemo e core de venir a te, ornota.

Tu se' roso, tu se' g illio , 15 tu portosti el^dolce f i l lio : peri, donno, si m'enpillio de laudar te, honoroto.

Archa se' d’ umiIitode, voso d'ogne sanctitede; 20 en te venne deitode;/ 5* d'ongel foste solutote.

De la vergin se'verdore,* de le spose se* honore; a tutto gente port'omore, 25 tonto se' ingrotioto.

Nulla lingua pd contore come tu se' do laudare; lo tuo nome fa tremore Sathanas a mi Ile fio to .* 30

Pregot*, ovocoto mio, ke ne metti en bona vio: questa nostro componie* slate sempre commandoto.

Commenton-te questa terra 35 5v che/lo guard! d'ogne guerro: ben s'enganna e trop'erro ki t'afende,* o beoto.

23 'VEROORE' FROM 'VERDE*, LITERALLY SREENESS, SPROUT, BUD ETC.

30 *F ia t a ' should be ’ m a t e *? Probably considered a neuter plural E .g . 'Gauoia ' 167

Let e new loude be sung to the exalted, crowned lody.

Fresh virgin damsel, first flower, new rose 5 all the world implores you: In a blessed hour you were born.

You ore a spring of water, mother of tne living God. You ore the light of the people, 10 exalted above the angels.

You are the staff, you ore the flower, you ore a moon of splendor. We have both the wi II ond the courage to come to you, adored one.

15 You ore the rose, you ore the li ly; you bore the sweet son: For that, lady, I commit myself to praise you, honored one.

You ore the ork of humi I ity, 20 the vessel of oil sanctity: In you the godheod come (when) you were greeted by the onge I .

You ore the freshness of virgins, you ore the nonor of brides. 25 To all people you bear love, so fu ll of grace ore you.

No tongue can tel I how you ore to be praised. Your name makes Satan 30 tremble a thousand times.

I pray you my, advocate, that you place us in the right path: Moy tnis, our company, always be commended to you.

35 We commend to you this eorth that you guard it from all war. He is completely decieved, ond astray who offends you, 0 blessed one.

33 NOTE REFERENCE TO THIS COMPANY, 'QUESTO COMP ASK I A.'

38 'Afende ' for ' offenoe ' An example of the tendency to employ the ' a ' for unaccented INITIAL SYLLABLES. 168 Lauda I I I Ms 5v - 8v. Li uzzi, 264-9

R efrain to to j r ,r r J . i A- ve, don- na san- 1 1 s- si- ma,

ft ^ I 1 I % to 1 % to 1 i£j' / l f ^

;e- gi na po- ten- t i s- 1 - ma

S t r o p h e q

La ver- ce- I

-1------1, ------...... f1------' '—p-'-'-.jifjrrr1------^------ty- • > I ... W ,!1 en te, vi r- go v 1 r- 9'“ na- le,

d isce- se be- n i*- gni s- s i ma .

Text only occurs ir MSS ARET., ARS., FIOR., and MAGL2. The do clef on the last system of the MANUSCRIPT HRS BEEN CHANGED TO A FA CLEF IN ORDER TO PRESERVE THE MODE. THE PRECEDING CUST0S IS CORRECT. T he PENULTIMATE SYLLABLE OF POTENT 188 IMA IS HERE CARRIED UNDER TNE CLIVI3 FIGURE, RE-DO, BECAUSE OF TNE ANALOGOUS FIGURES OCCURRING ON THE WORDS 8ANTIS8IMA AND BENIGNIS3IMA. 169

Ave, donna sontissime, reglna potentissI mo.

Lo vertO celestiole 6r collo grot I o/superno le en te, virgo virginole, 5 discese* benignissimo.

Lo nostro redemptione prese encornotione k'& sen9 a corruptione, de te, donno sonctissimo. 10

Stond'al mondo sengo’ l mondo tutto fo per te iocondo, lo superno e'I profondo, e I'oere suovissimo./

6v Quosi come lo vitrero, 15 uondo le roi del sole lo fie ro ,* entro posso queIlo spero 3k*£ tonto splendidissimo,

stondo colle porte kiuse en te Cristo se renchiuse: 20 quondo de te se deschtuse permonsisti* purlssimo.

Altres' per tuo munditia venne*I sol de lo iu stitio in te, donno di le titio , 25 si foste preclarissimo.

Tu se1 porto e tu se' domo, di te noqque Diu* et homo; or bo re* col do Ice porno 7r ke sempre sta/ florissimo. 30

Per lo tuo scientio puro conservosti lo scripture: tutto qente s'osicura o te, donno purissimo.

Oimondasti per pieton 90 35 de li apostoli consolon9 o, o lo tuo tronsmuton9 o* lor componio corissimo. Hoi I, most holy lady, queen most powerful.

The celestiol virtue with di vi ne grace decended on you, maidenly virgin, most benign.

Our redemption took f lesn which is without corruption of you, most noly lady.

Being in the world though not of it a ll was (made) fo r your joy, the sublime ond the lowly ond the sweetest air.

Almost like a pane of glass when the rays of the sun strike it, inside passes tnot light which is so b r illia n t .

With the doors remaining shut, ?n you Christ enclosed himself: When he come forth from you you remained most pure.

And so for your purity the son of justice came in you, lady of joy. You were so b r illia n t .

You ore the door, you are the house, of you was born God and mon; Tree with sweet apple which is always blooming.

In your pure wisdom you kept the contract: (Now) a ll people take refuge in you, purest lady.

Out of p ity you asked the apostles for their mercy ond consolation (in) your passage to another life in their deerest company. Per6 k'el eron g iti* per lo mondo dispariti. per tuo prego fdr rediti davent'e te, gaudissime.

Quando tu stevi In orare si f6r fact! adunare; non dove1* piu/dimorare, regina genti I issIma.

Cognoscesti* ben per certo ke lasclavi lo deserto: su neI cielo k'era aperto a(n)dasti,* di lectissima.

In lor men! ti mutasti: credo ke t'edormentastI: ad altra vita tronslatesti* sempre ma? securrissime.

A costume k’ era usitato, s' ebbero collocato lo suo corpo consecrato cum pietd grandissima.

Sane’ Tomasso veramente non era co I lor presente: s' venia tostamente davan/te a la belissima.

Quando neI monte venia vidde la donna ke salia; le ange I i sua compania, tutta I ’aire ple^issima.

Ed e lli piange e kiamd mo I to de lacreme si lava’ I volto: HTheseuro ke me se’ tolto, gemmo pretiosisima!"

Glamai quince* non me muto, si non mi da' del tuo aiuto; f a ’ s^ ke mi sid creduto, donna laudabi11ssima Even though they were gone, dispersed over the world, at your request they come bock before you, joyous one.

When you were in prayer they gathered together. You no longer had to dwell here, most gentle queen.

You surely know that you were leaving this desert: Up into the open sky you went, dearest one.

In their honds you were changed: I believe that you fe ll asleep, translated to another life for evermore secure.

According to the custom followed, they thus prepared your blessed body with greatest reverence.

Truly, holy Thomas was not with them: He come immediately before the most beautiful one.

When he come up the mountain he sow the lady who was ascending The angels, her escort, filled all the air.

And he wept ond lamented much, his face bathed with tears, "Jewel that is token from me, most precious gem."

"Never con I move from here if you do not give me your help. Grant thot I may be believed, lady most praiseworthy." 173

La raina se destrenge,* 75 vidde* ben ke non s ’ infiqne;* in presente si discinge,/ 8v k& tento S cortes ? ss ima .

"Tomosso, questo te ne porta,* colli apostoli ti conforto; 80 de* k*io so* viva, non so1 morta; non fui mei s' boIdissimo."

Ben si move a questo pocto per confer tutto lo facto, come orece' I grond'ocatto 85 di la piu nobilissima.

8 OlSCESE - MEDIAEVAL USAGE FOB ’ 01 SCEHDERE. 1

16 FlERA - FROM 'FIEOERE'. CF. 'CHIEOERE,' *Rl CHIE OERE,'ETC.

22 PERMANSISTI - BETRAYS THE SCRIBE'S FAMILIARITY WITH LATIN.

28 OlU - VERY RARELY USED FORM FOR 'D lO '.

29 ARBORE ~ NOT A LATINISM AS IT APPEARS ON FIRST REAOING, BUT RATHER A WORD OF COMMON USAGE in South central I taly

36-46 The thoughts contained in these three strophes which tell of Mary ' s desire to be cohsoleo BY THE COMPANY OF THE APOSTLES AS HER LAST HOURS APPROACHED, ARE A PARAPHRASE OF THE WELL KNOWN PASSAGES CONTAINEO IN THE LEGENOA AUREA OF JACOBUS DA VARAGINE. CF. P .335. THE SANE ACCOUNT IS PORTRAYEO PICTORULLY IK THE FRESCOES OF GROTTO IN THE SCROVEGNI CHAPEL IN PADUA.

37 Transmutan ; a - ' transmutare '

39 FERO K'EL ERAH GITI - IN THE MANUSCRIPT THE EL' IS FOLLOWED BY AH ERASURE.

46 Dove - shortened form of 'Oovete' dropping the final ' te* of the second person plural ending IS NOT SO RARE AS IT MIGHT SEEM.

46 C ognoscesti - fo r 'conoocesti '.

50 ANOASTI - THE MANUSCRIPT HAS 'ADASTI' WITHOUT THE SI6N OF THE NASAL.

53 TRAN3LATA8TI - PURE ECCLESIASTICAL LATINISM.

59-82 The oramatic account of Thomas ' absence from the scene of the assumption and h is consequent OOUBT AND SORROW IS INSPIRED BY THE LEGENOA AuREA, CF. P. 509."THOMAS AUTEM CUM ABESSET . . . Fu isset Assumta .”

64 V idde - y ic u it ' v id e ' s t il l common dialectical form used in Tuscany and all po ints south .

71 QUINCI - TYPICALLY TUSCAN USAGE.

75 Destrenge - cf . 'R is t r in g e '

76 INFIGNE — MEDIAEVAL 1INFINGERE THIRTEENTH CENTURY MEANING SlMILARE

76 Vi o d i , - 'V io e ' cf . Sups A. 64

79 The meaning of this text woulo be most obscure were it nof for the Lesenpa Aurea WHICH in s p ir e d so many pain tin g s of the middle ages too. The account of the Vir g in throwing her belt down to the doubting ano sorrowful Thomas below may be found in numerous pa in t in g s . The Vatican Museum ALONE CONTAINS EXAMPLES BY GOZZOL1, ANTONIO DA VlTERBO, RAPHAEL, AND N|COLO FlLOTESIO. The queen was so overwhelmed (when she) saw that he did not ffeign immediately she ungirded herself, so great is her kindness.

"Thomas, take this away; with the apostles comfort yourself in that I am living, I am not dead; I was never so alive."

(He was) completely moved at this covenant to tell the whole story, to announce the great deed of the most noble one. l_auda IV 175 MS 8V - I0 r. L i uzz i , 270-3

J k A *< i * % . i ...... »*•

------1 _ « _ • f c " i = 3 = 49------• • - j - ...... -J - — ------P— U j p L — 3 = 1 ■ " 1 ......

m e r - c & d e n o i p e c - c a - t o - r i ;

* * • « « i i A , n i ...... y.. - ...... _ ... i

------1— - j - — j — ------J — ■" # ...- “ 5 A» 1 f a i - t e p r e - g o ^ ° 1 d o l - ge 1 C r i - s + o

& ke n e d e - g i a p e r - do- na- re .

Text is containeo also in Mss Aret . , Mabl . 2 , and (JO.* only tne f ir s t nnree systems contain m u sic * WHILE THE LAST THREE MtMAIN EMPTY* 176

Madonna santa Mario, merce de noi peccatori; 9b f e ite * prego/a I dolge Cristo Ke ne degia perdonare.

Madonna sancta Maria, 5 che n’a^ mostrata la via, ore scacia ogne resio,* receve ki vo I tornare./

9v Miseri cordio, patre Deo, de tutto*I peccato meo: 10 e' so* quel melvascio* reo ke sempre volsi maI fore.

Peccotori ebhominoti,* pensiam li nostri peccati: tau p in elli,* ondate a I padre, 15 metteteve'n suo iudicore.

0 taupinella* e folle gente, tornate a Dio omnipotente, ke ne fece de niente ed a lui dovem tornare. 20

Te ne prego, Ihesu Christo, alleqra lo mio cor k'£ tristo, e scampane da oueI m inistro I Or ke Lucifer/se fa kiamore.

Penetentio, penetentio, 25 domendata con reverentio: omgn'om pensi la sententia* ke non se die moi revocore,

lesu Cristo, mondo pace; scompane do la fornace 30 lo quo I gemai altro non face che i peccotori etormentare.

3 FaiTE - MOT MERELY AN AMOLOGY TO 'DATE* BUT AM EXCELLENT EXAMPLE OF THE INTERMEDIATE STA6E OF < FACITE.

T Re s i a - common Thirteenth Century Tuscan usage for 'E r e sia , ' in the light of the numerous HERESIES CORRENT IN THE OUGENTO THE REFERENCE IS ESPECIALLY MEANINGFUL.

I I Malvascio - mediaeval for ' malvagio ' . cf . X I I . 5 for use of 'SC' in place of the mooern ' g*.

12 Volsi - ' v o l l i' s t il l useo in the Tuscan dialects .

13 ABHOMINATI “ THE SCRIBE USES THE 'H' AFTER THE *B* IN THIS LEARNED WORO UNDOUBTEDLY TO INSURE THAT TNE PLOSIVE SOUND NOT BECOME 'V* AS WAS COMMONLY DONE AT THE TIME.

15 Taupinella - < TALPA - ' tofo* , literally ' moles'

IT Ta u p in e l li - CF. S upra , 15 27 Sententia - X III Sec . 'G i u d i z i ©' Madonna holy Mary, have mercy on us sinners; Prey to sweet Christ so that He forgive us.

Madonna, holy Mary, you who hove showed us the way, now drive away all heresy (and) receive him who wants to return.

Have mercy, God the Father, on all of my sin: I am that wicked, guilty one who always wonted to do wrong.

Abominable sinners, let us think of our sins: Miserable wretches, go to the Father, place yourself in his judgment.

0 mod and miserable lit t le people return to olmightyGod who mode us out of nothing ond to whom we must return.

1 pray you, Jesus Christ, moke my sod heart happy ond free me from that agent who colls himself Lucifer.

Penitence, penitence, ask it with reverence. Every mon must think of the judgment which wi I I never be revoked.

Jesus Christ, send us peace, free us from the furnace which never does anything but torment sinners. Lauda IV a MS 10r - 1 2v. Lluzzi, 274-5 178

Ave Marla, gratia plena, 10* vergene/modre beata.

Ave Maria,- gratia plena, stella diana, - luce serene, de vita via - per cui de pena 5 & la gente liberate./

11s Grand*a legrengo - cun umeltade fo enturbongo - in tua bonitede, quando in posange* - de la deitade fosti madre annuntiata 10

Vergene pure - per cui diviso fuor de rongure* - fo*I mondo mi so, porta secure - del perediso, ch*er'e loseppo sposata.

Dio te mand&e - son Gobriello 15 ke t*aportde - 'I saluto bello, e onuntide - ke de novel lo eri do Dio madre ordenata./

11» In Nagoreth - de Galilee I'onqelo stette - ke resplendeo; 20 tuo fede*I credette - quando diceo: "De Dio siroi obumbrata."

Morovegliosa - fo*n suo porvente* si a I ta cosa, - stello lucente; dolce resposa - desti’ n presente, 25 poi ke fosti salutota.

Per tutto* I mondo - voce suove desti dicendo: - "Come si rove* quello ch*intendo? - Ben senbra grove; non sono ad omo contoto." 30

Response a tent’ - alto mesoio in suo be I canto: - "Roso de moio 12r Spiritu soncto - /si S* I tuo donoio; vero in te, don’omorote.

Tu incigneroi,* - et piu che gillio 35 puro siroi; - dolce f i l i o perturiroi: - per te mi n'empillio, de quale grotio t'S donate. 179

Hail Mary, fu ll of grace, Blessed Virgin mother.

Hail Mary, full of grace, morning star, clear lig h t, 5 way of life by whom men is freed from punishment.

Great joy with humility, you were disturbed in your goodness when in (your) tra n q u ility you 10 were so luted the mother of God.

Pure virg in by whose wish the world was put outside of enmity. Sure gate of poradise who was espoused to Joseph.

15 God sent to you Saint Gabriel who brought you the beautiful greeting ond announced the news that you hod just been ordained a mother by God.

In Nazareth of Galilee stood 20 the angel who was shining. Your foith believed when he soid, "By God you w ill be overshadowed."

Marvelous (he) was in his appearance, such a heavenly thing, shining star: 25 Sweet onswer you mode immediately after you were greeted.

For a ll the world your sweet voice spoke saying: "How con this be, wnat I hear? This is d if f ic u lt , 30 I am untouched by man."

He answered to such a high message in his beautiful song, "Rose of May, the Holy S p irit is thus your g i f t . He w ill come in you, beloved lady.

35 You w? I I be pregnant, yet you wiI I be purer thon the l i l y . A sweet son you will bring forth: For you I shall speak of the grace which is given to you.

The MS contains the staves for the hymh but fob some reason the scribe never recorded the notes OF THE MELOOY. THE TEXT IS ALSO CONTAINED IN MS ARET,» AND THE REFRAIN OCCURS IN MAGL.'» Lauda XXIX. 180

Non dubitore, - che Dio potente lo pb ben fore - lo suo placente:* 40 fi io kiomore - enf ro lo gente non s ie turboto.

Fie* figlo degno - de I'olto Dio: perd lo 'nsegno - k'e Nogorio, entro e(n) regno - del signor mio 45 ke non fin'alcuno fioto./

I2v Or guordo bene - gronde certego, gratia ke venne - k'e[n] suo vechiego o’ I f i l l i o e tene - ogn'olegreco Elisabet cognate.”* 50

Alor respondisti, - bello doncello, poi lo'ntendesti, - vere novella; s' che dicesti: - "lo sone ouello de I ’olto Dio cui sono donato"

9 POSANIjA - ’ RIPOSANJA'

12 RANGURA - ’ RANCORE’

18 ERI - MS HAS ’ERA’

21 MS IS HISSING THE NASAL SI6N OVER THE • OE’ OF ’ CREDETTE1

23 PARVENTE -X III 'FARVENZA'

28 SlRAVE “ 'SAREBBE' THIS FORM IS DEFINITELY NOT TUSCAN

34 MS HAS 'DONA MORATA' MAZZONl'S SUGGESTEO CORRECTION IS "DOHA INORATA*.

35 I NCIGNERAI - FROM * IN CIGNERE 1 MEDIAEVAL USAGE OF ' INCINGERE '

40 PLACENTE - ' PIACENTE’

43 F ie - from «. FIAT

47 Or GUARDA - MS HAS 'ORGIAROA' THE CORRECTION USED HEREIS THAT SUGGESTEO BY MAZZONI

50 COGNATA - THE MEDIAEVAL USAGE MEANING SIMPLY 'RELATIVE'. FROM THE LATIN CUM (g) NATUSj I t . congiunto di sangue . Cf . V I, 47.

50 o'Eliza b et - MS is m is s in g the ' o' which is supplied here .

NB The dramatic dialogue manner of the lauoa as it relates the story of the annunciation FROM VERSE 15 TO THE END. 181

Have no fear, because the powerful 40 God con certainly do his pleasure to call his son among the people. Do not be disturbed.

He will be the worthy son of the high God: For this reason I teach that he is a Nazorene 45 who enters the kingdom of my lord, which wi II have no end.

Now observe well, (with) absolute certainty, the grace which has come to Elizabeth your relative, that in her old age 50 she beers a son with every joy.”

Then you answered, beautiful damsel, when you understood the true message; Thus you said: "I am the servant of the high God to whom I am given." Lauda V !AS 1 2v - 14v. Liuzzi, 276-9 182

Refrain

^ L . " 1 * > , N L V jA-r. r jjrj rr»^gj^..j

A- ve, re- gi- na g I o- r i- o- sa, 1 iv ih j i -h i i I pie- na d'o- gne con- so- Ian- ^a.

Strophe^ 1 \ ^ « f f t , .—x^v. , . |- : : ; ;-t.- .. . Jj ' a: ...... rfr...-.., ~ r ; A- ve, pul- chra mar- ga- r i- ta,

4 ft. • <1 A f t . a • J______. ■ — A. ■ ■" 7 . ■ ■__jp. —r-jl . ■ raa»- , ..... I—— —Tt"'"" *...... T * * * * * ^ * ■y - 1 " * 1 I ■ J f —...... #' 1 | 1 "I -yf ...... | ||. . - ^ ^ ■■ • splen- di- da Iu- ce cla- ri- ta,

1 •» ■i. • • ■ ^ V ^ y J • r f"'" • r ,,fTf V"J' ^ I I r . . Fre- sea ro- sa^et . au- lo- ri- ta,

*1 fli ft ft ft ft ft^ ft ft i no- stro gau- di£^o ^ et a- le gran- ^a

One OF THE FEW HYMNS OF THIS MANUSCRIPT WHICH IS NOT FOUND IN ANY OTHER UUOARIO- THE SYSTEM UPON WHICH THE REFRAIN IS NOTATEO CONTAINS NO CLEF BUT ITS POSITION NAY BE DEDUCED BY ANALOGY WITH THE SAME MELODIC FIOURE WHICH OCCURS AT THE END OF THE FOURTH SYSTEM- Ave, regino glorioso, plena d’ogne consolongo./

Ave, pulcre merger!ta, splendida luce clarita, fresca rose et aulorito,* nostro gaudio et alegronge.

Ave, reglna adorata, virgene madre beata; poi ke fosti salutata, madre se' de gran pietonge./

Ave, scale per la quale descese la deitade et prese in te umenitade per dare segurango.*

Ave, relucente s te lla , virgene madre dongella: alor che ti chiamasti anciI la fece in te Dio riposenga.

Ave, virgo imperiale: madre se' de gran pietade; tu se* quel la per la quale noi semo fo r di dubitonga.

Ave, perodisi* porta, di la quale luce h c rto :* ki enni I* tuo nome si conforta, ben s'eprende a buona omange./

Ave, flo re cum bello odore, fructo cum dolge sovore, s te lla cum grande splendore, madre de nostro solvenga.*

Ave, virgo pretiose, piu de nulla amoroso, tu tta iocunda et gioiosa, madre de gran delectanga.

Ave, madre incoronota, sovra i cieli exaltata, do tutti li sancti veneroto; de? peccotori se' speranga. Hail, glorious queen, fu ll of every consolation.

Hail, beautiful pearl, resplendent clear light, fresh end fragrant rose, our joy and our happiness.

Hai I, adored queen, holy virgin mother; Since you were saluted, you are the mother of great compassion.

Hail stairway by which descended the godhead and in you took on humanity in order to give us security.

Hail, resplendent star, virgin mother, damsel; When you called yourself a handmaiden God took his repose in you.

Hail, imperial virgin, you ore the mother of great piety: You ore the one because of whom we no longer hove any fear.

Hail, gate of paradise from which light hos arisen: He who takes comfort in your name attaches himself to a good lover.

Hail, flower of beautiful fragrance, fruit with sweet flavor, stor of great splendor, mother of our salvation.

Hail, precio,,e w ;°;" more loving all happy and joyous mother of great delight.

Hai I, crowned mother, exalted above the heavens, venerated by a ll the saints; you are the hope of a I I sinners. 185

Ave. porto de solute; ki ben t'oma tu I'oiute; 40 guardane di fa r cadute, troicl for di dubitongo./

14* Ave, dice* l l i tuoi amenti quondo ti stanno davanti; laude cum dulci bei canti 45 cantam cum grftn iubilonga.*

Ave, virga di rodice,* d? Ihesu dolce nutrice: ke le tue laude dice, da I Ii de te consolonga. 50

5 Aulorita - L at . ' o l ir e 'J I t . ' a u lir e ' , common in Tuscany in X I II Cent . CF. X, 7; X III, 6; X IV , 2 .

14 Seguran ; a - ' sic u rezza '

23 Pa r a disi - pure Latin g e n it iv e

24 Orta - pure La t in is m . 'L ight has arisen figure for g ir th .

25 Kl ENNIL “ SHOULD THIS BE 'K tE NNEL'T THE LATER ITALIAN 'NEL' INTRANSITION. CF. LAUOA V I, 18

30 Salvan ; a - X llt Cent , from ' salvare '

43 Dice l l i - no lack of concordance between the subject and verb here . The 'N' has been ASSIMILATEO INTO THE FOLLOWING ' L ' .

46 Iu b ila n {a - xill Cent. '6 iubilanpa', from'giubilane’

47 Virga oi radice - obvious reference to the scriptural ' radix Jesse' CF. Is a ia s i X I , 1 186 ;

Hoik harbor of solvation; 40 you help him wno loves you well: Guard us from fa llin g , (end) draw us out of (our) fears.

Hoi I, soy your lovers when they stand before you; 45 With great jubilation they sing praise with sweet beautiful songs.

Ho? I, bronch from the root, sweet nurse of Jesus: (to) him who speaks your praises 50 give of your sweet consolation. Lauda VI MS 14v - 17 r. Liuzzi, 280-3 187

R efrain

ven

S t r o p h e

- Nl ci- I e- aNel-

m la* v'e- ra la gen- te I u- de- a,

a h ]

r a y , - - H ^ j i ^ r _ fa- vel- la- va- no in Ien- gua^e- bre- a

n i A * . a 1 1 TF-

in ci- ti et in ca- stel- lo.

The text is containeo also in MSS Magl 1 . , Aret . , F io r . , and Ars . Both text and music are found IN MA6L2 . The manuscript is m is s in g a note above the e l is io n which occurs on the syllables 'FAVELLANO IN '* THE NOTE SUPPLIED HERE IS SOL. 188

Do ciel venne messo nove I lo cid fo I'angel Gobriello.

15r Nelle cite di Galileo Id'v'ero lo gente Iudeo. fovellovono in lengua ebree 5 in citd et in costello

ch'e kiomonto Nogoreth,* Id u’ la vergene noque et stotte; sponsato era a losephe, 15v secondo lo. legge,/ co I I ' one I lo .* 10

L'engelo fo messo da Dio, ben comengd* et ben finio; soviomente sengo rio annuntio lo suo Ii be I Io:

"Ave Marla, gratio plena; 15 Dio ti salvi, stella sereno: Dio e con teco che ti meno* ennel* pa rod iso bello.

Fro le femene se' benedecto piu ke n u ll’oltro ke sia decta: 20 Spiritu soncto s' t ’a electo per lo melio sengo ribello.

Del tuo ventre uscird ta I fructo/ 16r ke salvi ra lo mondo tutto, unde'I diavolo ovird corocto, 25 s' porra grande'I flogello."

Lo donna fo tutta turboto, lo raina incoronota, et d ieisi* gran mi rote d? quel ke disse Gobriello. 30

"Come fie quel che tu di decto? no I credo a torto nd a dritto, e ben ne posso for disdetto; non cognosco horn vechio n£ foncello."

L'ongelo disse: "Non temere, 35 tu se' a Dio si a piocere, 16v altro madre non/vole avere se non voi con k'io fovello. From heaven there came a new messenger; It was the angel Gabriel

In the city of Galilee, there where tne Jewish people lived they spoke the Hebrew language in the city and in the country which is called Nazareth, where the virgin was born and lived; She was espoused to Joseph according to the law with a ring.

The angel was a messenger from God who began well end ended well: Wisely and with due propriety he announced his declaration.

"Hail, Mary, full of grace, God keep you, clear star: God is with you, who leads you into beautiful paradise.

Among women you are blessed more than any other that has been said: Thus the Holy Spirit has elected you the best womon, without contradiction.

From your womb will come such fru it that it will save a I I the world. Where the devi 1 will hove corrupted the disaster will appear great.

The lady was much disturbed, the crowned queen, A great marvel occurred at that which Gabriel said:

"How con it be, what you hove said? I do not believe it one way or the other. And I con clearly deny it (for) I know not man, neither old nor young.

"Have no feor," the angel said. You are so pleasing to God that no other mother does he wish to hove if not you with whom I om speaking. 190

Fill©!* di I'eltissimo fie chiemato lesu Christo in ont leto: 40 per lui f i * 'I mondo solveto et trocto de le men del fello.*

Tu se’ regine et elli e reie; virgo Marie, crede o meie: non evri fine, iI dico a teie, 45 lo so regno eltissimo e bello.

Elysabeth tua cognate* in sue vekie^a £ •ngrevidata: 17r non & /impossibile cosa nate* fere el re Manuel Io." 50

Respose la kiare stella: "lo son qui ke so' su* ancella: sia secundo la tua favella, cusi mi chiamc et apetlo."

Questa donna intercedente 55 agia mercfc de la gente: Pregi ’ l*padre omnipotente ke possamo* essare con ello.

With THE EXCEPTION OF THE CLOSING STNOPHE TNE ENTINE LAUD* IS a OR AMAT 1C VENSION IN DIALOGUE FORM, OF THE GOSPEL STORY OF TNE ANNUNCIATION AS FOUNO IN LUKE 1, 26-36*

7 NOTE THAT TNE SENSE OF THE TEXT CONTINUES WITHOUT EITHER PAUSE OR PUNCTUATION BETWEEN THE CLOSE OF STROPHE NUMBER 1 , AND THE BEGINNING OF STNOPHE NUMBER 2 . OBVIOUSLY THE REPETITION OF THE REFRAIN AFTER THE FIRST STROPHE WOULD INTERRUPT TNE MEANING OF THE POETRY AND WOULD SEEN UNCALLED FOR HERE.

10 NB. The reference to Mary being espoused ro Joseph ’ according to the law * w ith a r in g .' Th is rather quaint allusion was a favorite subject of mediaeval pain tin g and we see portrayeo in many instances the marriage of Mary and Joseph * in which ceremony the husband is clearly SftN TO PLACE A RING ON MARY'S FINGER* AN EXAMPLE IN THE VATICAN MUSEUM IS THE CANVAS OF S ana da Pie tr a * and a more famous picture is that of Beato Angelico in tne museo di San Marco * Florence * The significance attached to the material symbol of the ring is s t il l alive in ITALY* MORE SPECIFICALLY IN PERUGIA WNERE THE MOST COVETEO RELIC OF TNE CATHEORAL IS THE ALLEGE0 WEODING RING OF TNE VIR6IN. TRADITION HAS IT THAT IT WAS BROUGHT THERE BY A LEVANTINE MERCHANT IN THE MIDDLE A6ES.

12 Comen ; o - X I II Ce n t , ' c om inciare '

14 L ibello - Mediaeval usage * ' breve s o r it t o ' l it e r a l l y .

17 Mena - MS has ' m in a '

18 Ennel - CF. V* 2 5 .

29 Di e i s i - 'S i Di e i ** (Die d e ) 191

The son of the most high w ill be 40 celled Jesus in every piece: By him the world w ill be seved end drewn from the hends of the evi I one.

You ere the queen end he is the king; Virgin Mery, believe me: 45 I t e ll you, i t w ill heve no end, his high end beeutiful kingdom.

Elizebeth your cousin hes become pregnent in her old age: For the king, Emmenuel 50 nothing is impossible."

The cleer stor enswered, "Behold me who em his hendmeiden: Mey it be done occording to your words. Thus I cell end declere myself."

55 Mey this ledy intercede end heve mercy on the people: Mey she prey the omnipotent Fether thet we mey be with him.

39 F i l i o l -MS has 'P f i l i o l '

42 F e l l o - X l l l Ce n t . Eq u i * . 'C a t t iy o *

47 C06NATA - CF. IV A , 50

57 Pn e «( n ) i l -

58 Possamo - De f in it e l y not Tuscan Lauda VI I MS 17 r- 19 v 192 Liuzzi, 284-7

R efrain

^ f ! . A • ; J,... ^ ,rj J*. J 5 E T _ - | r - i Al- t i s— si- ma Iu- ce col gran- de splen-do-re,

• * 1 ■» •L %, >L, • * r ~r' r ./? r| jV j rjjj j j)

in voi, do I- fejs- mo- re a- giam con- so- Ian- ya.

S t r o p h e

A- * a- mo- ro- sa

s te I- ma- na ke non stai na- sco- sa

• i f i at' a) J I ~ j -|- J— bI- Iu- ce di- vi- na vir- tu gra- ti- o- sa;

X X T riJ.

Ts x t also in MSS Magl 1 . , As e t * , F io r . , S . Se p t . , v . EM, 360. Te x t ano m u s ic both in Ma6L2 . , N8 THE RELATIONSHIP BETWEEN THIS lAUOA ANO NUMBER X OF THE NAME MANUSCRIPT. THE 1WO ARE NEARLY IDENTICAL: THE MELODIC MATERIAL OF THE FIRST TWO MEMBERS OF THE STROPHE IS JUST REVERSED IN ORDER. Altissime luce - col grande/spIendore, in voi, dolge emore, - egiem consolanga.

Ave, regina, - puIgeI I'araorosa, stella marina - ke non stal nescose,*/ luce divina, - virtu gratiose; be I lege formosa, - di Dio s e ’ semblanga.*

Templo sacrato, - ornato vasello ennuntiato - da san Gabriello; Christo incarnato - neI tuo ventre bello, fructo novello - cum gran delectange.

Verginitade - a Dio prometteste, umenitede* - co llui coniungeste,* cum puritede/ - tu si ’ I p a rtu ris ti, non cognoscesti* - carnal delectange.

Fost? radice* - in cielo plantata, madr’e nudrice - a Dio disponsata: imperadrice - tu se’ deficata,* nostra advocate - per tua pietenge.

Fresca rivera - ornata di fiori, tu se* la spera - di tu tfi c o lo ri; guido la skiera - di noi peccetori si c ’ asevori - de tua beninanga

Ave Maria, - di g ratia plena, tu se* la via - c'a vita ci mena; di tenebria/ - traesti et di pena in gente terrena- k ’ ere'n gron turbange,

Dono placente - ke si foste humane, fonte surgente - sovr’ogne fontana, istlevi a mente la qente cristiane, ke non sie vane - la nostra sperenge.

HumiHasti - la summa potenge; quando incillasti* - la tua sapientia; sig norigiasti - cum grande excellenga si c 'a i licenga - di fa r perdonanga.

Vergene pure - cum tu tta be llega, senga mi sura - S la tua grandega: nostra/nature - recast! a frankega k’ere a vilega - per molta offesange.* 194

Highest light with great$plendor, let us heve confidence in you, sweet love.

H a il, queen, lovely damsel, star of the sea which is never hidden, 5 divine light, gretious virtue; Comely beauty, you are the likeness of God.

Sacred temple, adorned vessel, saluted by Saint Gabriel; Christ took flesh in your beoutiful womb, 10 the new fruit of great delight.

You promised v irg in ity to God, you united humanity to him. With p u rity you so gave birth (that) you did not know carnal delight.

15 You were the s ta ff planted in heaven, mother and nurse espoused to God: Empress, you ere godlike. (Be) our advocate out of your mercy.

Fresh riverbank adorned with flowers, 20 you ere the light of all colors; Guide the legion of us sinners that we may taste of your benignity.

Hail, Mary, full of grace, you ore tne way which leads us tolif e : 25 Out of dorkness and sorrow you drew the people of earth who were in great d istress.

Pleasing lady who was made a human, flowing fountain above every other fountain, Dear in mind the Christian people, 30 that our hope be not in vain.

You humbled the high power when you made a servant of your wisdom; You commanded with such excellence that you hove the right to grant pardon.

35 Pure virgin with all beauty, your greatness is without measure: You brought to freedom our nature which was base because of our many offences. 195

De la do l 9 ore - ke’n te d tanta lingua ne Core - non pd dicer quanta, 40 Gar5o* doctore - di voi, donna, canta, virgene sancta - cum tu tto honoran9 a.

4 S t e l l a m a r in a - mote the l ik e m e s s to the f ig u r e common in L a t in h y m n s of the m io d l e ages , 'HARIS STELLA.'

6 S em blanja - X l l l Cent ; ' s e m b ia r e .'

9 CRISTO - HAS BEEN ADOED TO THE MAHUSCRI FT LATER AND IN ANOTHER NAND.

12 UMANITADE - THE MS ACTUALLY READS 'IM A N ITA ' THE CORRECTION IS JUSTIFIED BY REASON OF ANALOGY WITH THE PREVIOUS LINE WHICH READS ' VERGINIT ADE' ANO ALSO TO PRESERVE THE REGULAR ELEVEN SYLLABLE STRUCTURE OF THE VERSE THROUGHOUT THE LAUDA.

13 PURITADE - MS READS 'PU R ITA ' FOR CORRECTION CF. SUPRA. 1 2 .

14 C o g n o sc esti - MS reads ' cosnoscenoo ' . Both L iu z z i ano Mazzoni correct i t th u s in order to PRESERVE THE PATTERN OF INTERNAL RHYME.

15 RAOICE - AGAIN THE 'RADIX JESSE' FIGURE FROM IS A IA S . CF. V, 4 7 .

17 De f ic a t a - * de i f ic a t a '

32 INCILLASTI - MEANING NOT CLEAR. LlUZZI SUGGESTS THAT IT MIGHT BE ' ANCILLASTI '

38 Of f e s a n $ a - X l l l Ce n t . 'O f f e s a .'

41 GARJO - THIS IS THE FIRST OF THE FOUR LAUDE OF OUR MANUSCRIPT WHICH BEAR THE NAME G AR^O. FOR DISCUSSION OF HIS POSSIBLE IDENTITY, AND THEORY OF HIS RELATIONSHIP WITH THE POET PETRARCH CF. Cha pter V, P. 9 1 . Also CF L auoe X lllx 41; XXIX, 91 1 and X L IV , 77.

NB» the same t e x t o ccu r in g in MS 3 . Se p . r epla ces the words 'G ar $ o doc t o r e * w it h *G r a n ( oe) DOCTORS." .196

Of the sweetness which is so greet in you 40 neither tongue nor heart con te ll enough. Gorzo, the doctor, sings to you, lady, holy virgin with all honor.

/ Loudo VI I I MS 19v - 22r. 197 Liuzzi, 288-291

R efrain 1 ,1 * * a s i\ NP « rw

'' r r— f ...... J ■ - Wf- ■ Tr? <*'P 1 J

Fo- mi con- tor I’o- mor di lo be- o- to, J » ‘ 1 1 \ , V . y 1 , " v

I f f l J.. ^ .- : A ...; - Ci:: p ...... ^ . l ^ : j ....J :1J j quel- lo ke de C ri- sto sto gou- den- te*.

Strophe ^ ^ • a 1,8 IN'

r ' r r" T"' J'‘?TT''Tryr|jr|

Do- mi con- fo r- to, ''mo- dre de I ’ o- mo- re,

.j.. ^gjrTr^i, .,j . i

et met- te fuo- co et flom- bo ne I nafo co-re;

5 V Ml

d—•

K* i t’o- mos- se ton- to o tut- te I’o- re,’

a a s* • * * * JL-J______L ii; :.■*! - j d : t . ^ -J -.r J ' g 4 K’io ne trons- mor- tis- se spes- sa-men-te.

Te xt also in MSS As e t . , ano Ar s . T e x t and m u s ic in MAGL1. Fomi cantor I ’ amor di lo beota, quello ke de Cristo sto goudente./

Domi conforto, madre de I'omore, et mette fuoco et fiombo* ne I mio core; k*i 't'omosse tonto a tutte I'ore k'io ne tronsmortisse* spessemente./

Femino qloriose si benigno, null ’oltra se ne trovo tonto degna come se' tu, madonna, c 'di la 'nsegno del creotore oltissimo vivente.

Spendiente luce d’ ogne mondo diffin lo cielo disppro et in profondo, und'ogre core sto'I legro e iocundo di quel' c'dono lo mente o Dio intendent

Confortami de te, modonna mi a, et giorno et nocte o I'ora de lo dio;* come se1 dol 9 e o chiomor, Moria, ke por ke rimboldisco tutto gente./

Vergine bello, f io r sovr’ogni roso, senca carnal omore se' dilectoso; omoro fo s ti et se* sovr’ ogni coso, ne I porodiso se' la pi u piocente.

Per voi ne piangon molti sospi rondo, kiedendo lo tuo omore von gridando, levan li occhii in olto ami rondo: or ti ci dona, goudio della gente.

Cominciomento fo s ti, modre bello, dl stari costo virgene donee lie: per voi fioresc’ il mondo et rinovella, reina sovro li ange I i resplendente./

Porno col dol^e fructu sovorito, I'onine ke t ’ asoggrio por smorito;* non euro mio d’esto presente vito , per cid ke’ l tuo savor suave sente,

Vergene pieno di tu tto Momore, kui fe ' s i'n voi lo g lo ria cum dol^ore, spspiri si ti mondo col mio core ke tu d’omor me focci store ardente. Let me sinq the love of the blessed one, the one who Is joyful in C hrist.

Give me comfort, mother of love, end put in my heart f i r e and flame, that I may love you so much at a ll times that I swoon frequently.

Glorious lady so benign, no other exists so worthy as you who have the sipn of the highest living creator.

Shining light of all the world, from out the sky above and in the deep, because of whom every heart is cheerful end gey of those who have the mind to comprehend God.

Comfort me with yourself, my lady, and day and night, at the hour of the day, how sweet it is to call, Mary, by whom a ll people become more cheerful.

Beautiful virgin, flower above every rose, you are full of delight without carnal love: You have been and are loved above a ll things. In paradise you are the most pleasing.

For you many weep, sighing deeply, Calling on your love they go shouting. They lift their eyes on high, gazing at vou: Now give yourself to us, joy of the people.

(From) the bepinning you were, beautiful mother to remain a chaste v irg in damsel: The world flowers and is renewed because of you resplendent queen above the angels.

Apple with sweet savory f r u i t , the soul who tastes of you seems confused: It never more ceres for the present life because it tastes your sweet savour.

V irgin fu ll of a ll love, which made in you glory end sweetness, such sighs I send you with my heort that you may make me ardent with love. 200

Voi ke vivete col cornole omore, coptivi ke dormite in omorore, 40 non cognoscete Dio nostro signore quei ke dolc'e sovro d o ^ o r po tente./

22r Or vi confortate in olegronya, voi k’ avete in Dio lo gron speranca: Madonna cum I esu nostro boldon9a 45 tuttor a lo patre sonno presente.

Modre de Cristo plena de scientie, in voi e S0I090, gioi'e sopien9a; per pi etd ci dona cognoscen 9 a, ke sempre teco sio lo nostro mente. 50

4 F ia m b a - rut ’ MB' is n e it h e r Tuscan nor Southern

6 T R ANSMORTISSE - XI I I CENT. USAGE MEANING 1TRAMORT I RE'

16 Dia - C ommon X l l i c e n t . Um b r ia n and S ic il ia n s from l a t in -<0IES. (F requent in J aco fo ne )

32 SMARITA - LITERALLY * ASTRAY *

45 BXLOANgATr CF. lauda X,.1Q; XI, 10 You who live in carnal love, captives who sleep in bitterness, you do not know our lord God who is sweetest above strong sweetness.

Now comfort yourself in joy, you who have greatest hope in God, Our lady, with Jesus our pride, are always present to the Father.

Mother of C hrist, fu ll of knowledge, in you is solace, joy and wisdom: Out of compassion give us understanding May our minds be always with you. Loudo IX MS 22r - 24r. 202 L i uzz i , 292-4

R efrain 1 i \ * iv ■ l • 1 ru •

0 Ma- ri- a, d*o- me- li- a se* fon- ta- na,

, 1 1, 1 1 , 1 1, IV J N i) , *l 1 iv

ly - *1 J ^ ^

fior e gra na: de ma aia pi- e- tan- go.

Strophe^ ^ 1% » (V 1, 1 • 9 IW 1 1 in - ^ a m i. r'..i iiiijj i Grom re- i- no chi in- chi- no cia- scun re-gno,

1 *1 , ru • n. • , • • ji t u t* <1

si m 'of- f i - no la cu- r i - no quon- do se-gno,

• 1 V* " , ' 1 * ".«■ 1

f r | t 7 r 7 7 ^ r uLr, lo non de- gno'n co- re te- gno tu-o fi-gu-ra

■ 1 , 1 1 1 i , ( V * 1 * _ * > * , * *

r ■--•■r-:~-~3:- g r J--r/ ^ iT P ^ j T------r ^ ------r I chi a- r'e pu- ro, ch’on- gne mol m’e'n o- bli-on-go.

T e x t in MS A re t . The p o s it io n o f the cle f m is s in g in tne l a s t l in e has here been ascertained FROM THE CUSTOS NOTE OF TNE PRECEEOINO L IR E . CURIOUS ALTERATIONS OFNEUNE SHAPES OCCUR IN TNE NOTATION OF ANALOGOUS CAOENCES C F . CHAPTER IV , P . 60. 0 Maria, - d'omelie - se’ fontana,/ 22v fior e grana: - de me aia pieten^e.

Gram reina, - chi inchina - ciescun regno, s' m'effine* - la curine* - quando segno, 23r io non degno, - *n core tegno -/tu o ficjure 5 chiar'e pura, - ch’ongne maI m'i'n oblienpe.*

Ros'aulente* - splendiente,* - fa' venire me fa lle n te - tuo servente - obedire, cum ^echire- reverire, - te laudando honorando: - egia de te consolan 9 a. 10

Chiare spera, - gram lumera,* - di conforto 23v k 'io non pera - stendo nera - ne I m el/porto. Ben i morto- chi nonn i ecorto* «• [a] servire; mai sag Iire- non porri in alegran^a.

Rocco fo rte - sen 9 a porte - di'n socorso 15 ch£ [lei sorte - de la morte - vien de corso. lo sum [smorso]* - sal* ch'un sorso - di savore dal tu'emore - non me viem mi a dolqa oman^e.

Gran rugiata* - canditata* - pur'e necte, anti nata - per beata - da Di' electa, 20 tu m'aspecta - ch'io remetta, - ch'io sum ciso me I ass iso, ch'io non vada'n perdenqa.

Dol^'aurora - fre s c 'e t sora - riseren e*/ 24r le memoria - ke m'acor' - e ma I me mena; la catena - m'enterrena - d'esto mondo: 25 s i'I secondo,* - mer^, damme spreyenye.*

Amen.

4 Af f in a - XI11 Ce n t , 'm o u r n a lla f i n e , ' l it e r a l l y , to r e f in e .

4 Cu n in a - ' co rona ' ro sary .

6 Ob l ia n ( a - ' o b l ia r e ' X l l l Ce n t , u sag e , 'D in e n t ic a r e .'

13 Acorto - 'A c c o r to '

16 Smorso - No t a c t u a l l y found in the m a n u s c r ip t but s b p f l ie d here by L i u z z i .

17 Sorso - L it e r a l l y a s i p , a oraught of a savory broth .

19 Ru g ia t a - M e o ia e v a l usage for ' g u a zza m a t t u t in a , ' ' m o r n in g dew ,'

19 C a n d io a t a - F rom ' v e s t it o in B ia n c o ' or ' oresseo in w h it e ' De r iv e o from the p r a c t ic e of CANOITATES FOR ADMITTANCE INTO A RELIGIOUS SOCIETY WEARING A WHITE GARMENT WHEN PRESENTED FOR ACCEPTANCE. 204

0 Mary, you are the fountain of homilies, flower and groin: hove compassion on me.

Great queen, before whom every kingdom bows down, though I am not worthy to bear in my heart your 5 pure, clear image; when I sign myself in the rosary moke me so keen that I may forget every evi I .

Fragrant shining rose, ollow me, your erring servant, to come to you, to obey you blindly, to revere you, proising you, 10 and honoring you. Grant us consolation.

Clear light and great lamp, give comfort that I may not perish, being block in the evi I port. He is re a lly dead who is not wise tc serve you; Never wi II ne be able to ascend tc bliss.

15 Strong fortress without entrance, give us aid because the fate of death comes quickly. 1 am parched if a sip of the savor of your love does not come to me, sweet love.

Great white morning dew, pure and clean, 20 before birth you were elected blessed by God. You must wait fo r me, that I recover, fo r I am dead; I am badly situated, (wait) that I go not into perdition.

Sweet dawn, fresh and simple, calm my memory which saddens me and nurts me; 25 The cneins of this world hold me to earth. Hence 1 w ill bear i t . Mercy! Give me hope. Amen.

2 3 R is e r e n a - From ' s e r e n a '

26 S i ' l seconoo - Ha v in g the m e a n in g of ' so be i t .'

26 SPREf AN(A - LAPSIS CALAMI FOR 'SPREfANJA, OR PERHAPS SUBCONSCIOUS INTERVENTION OF , 'P R E IA N fA ,' J o v .

11 ISMERA - X I I I , 'U lM IER A ' A HANGING LAMP WITH MANV LIGHTS. CF. X III, 71. Lauda X MS 24r - 25v. Liuzzi, 296-9 205

R e f r a i n .111111111a a • t d H 1 aJ1 "'■ jJ— ri ^ jJ"■ j 1 < C ? : ± ^ i y g |I ,m—------— |------~ ■■ " j.....■+ > ’ ■ J^ — I » Re- gi- no so- vro- na de gram ’pi- e- te- de/

« 1 .i 1 j, *» r ?, 1 1 8 11

en te, do I- mo- dre, a- giam re- po- son- ^o *.

S t r o p h e

o o g a - e p e- o r .t I- lo chia r 1 to col gran- de splen-do-re.Ste

gen- te smo- ri- ta tro- he- ste d’er- ro- re;

l i *11 1 1 1 , 1 1 J______I______I______L j J j:, A ^ J, j w.. i r reg- gi la vi- to s' ch’e tut- te I’o- re

re- ser- viom le- on- ^o

Text foono also in MSS Nasi8., FIOR., ASET., and ARS. Cf. Lauda V II, p. 192, for same MELODIC MATERIAL 0ISP0SE0 IN SLIGHTLY DIFFERENT ORDER. 206

Regina sovrana - de gram* pietade, en te, dolge medre, - agiam respoaanga.

S te lla c h ia rita - col grande splendore / 24v gente smarita* - treheste* d'errore: reggl la v ita - s' ch’ a tu tte I ’ore 5 reserviam leenga.*

Orto lucente - e aulite* rose, a tutta gente - se’ madre pietosa: non & perdente - ke en te se repose, ma sta gran baldanga.* 10

Fructo piacente - col grande splendore/ 25r satia la mente, - reempe lo core: siamot’ a mente, - fontana d’ amore. Et agge pietenga.

Giardin ornato - de fresca verdure, 15 fosti serreto - de forte clausura; tuo fructo neto - non pose nature ma grande sperange.

Bel gillio d’orto, - cristallo splendente, I ’ om ch’ era morto - fecesti vivente: 20 se* cjren conforto - a I’om pen!tente, a daiIi ferman9a.

A lta raina* - de sol amantata, 25v corona/ fine - se stelle t’& data; gratia divine - t’e facta amata, 25 ke t ’an’ venerenga.

Tu retrovasti - el theseuro smaruto,* tu retrovasti - I ’om k’era caduto, quand’ ascoI testi - lo dolge saluto cum grande fid en ge.* 30

Arbor frondose - ke fai dolge fructo, de Cristo se’ sposa - k’e nostro conducto.* Dacci riposa - de questo gron lucto, et don’aIegrenge. Amen.

1 Gram - The *m' is m erely H o h o g ra ric . CF. 7 A u lit a - CF. V, 5 j XIII, 6) XIV, 2 .

4 Smarita - MS has 'Smarite' CF. Infra, 27. 10 Baldar^a - CF. XI, 1 0 ; VI11, 4 6 .

4 T raheste - L it e r a l l y , ’ brew ’

6 Leah9 * “ CF. 1* 45• 207

Sovereign queen of great compassion, in you, sweet mother, let us hove repose.

Bright star, with great splendor, you led a lost people out of error: 5 Rule our life so that at every hour we may remain f a it h f u l.

Shining garden and fragrant rose, to a I I people you ore a mother of compassion: No one is lost who takes rest in you, 10 be he is in great courage.

Pleasing fruit with great splendour, you satisfy the mind and fill the heart: We bear you in our minds, fountain of love. Hove compassion (on us).

15 Garden odorned with fresh fo liag e, you were sealed os a strong cloister: Your f r u it cannot be born of nature but of great hope.

Beautiful lily of the garden, shining crystal, 20 you revived the man who was dead: You ore a great comfort to the repentent man and you give him steadfastness.

Exalted queen clothed with the sun, a fine crown of stars was aiven to you: 25 Divine qroce has mode you beloved who holds you in reverence.

You found again the lost treasure, you recovered the man who had fa lle n , when you heard the sweet salutation 30 with greot confidence.

Leafy tree which bears sweet f r u it , you ore the spouse of Christ who is our guide. Give us rest from this greot mourning and give us happiness. Amen.

23-24 NB. Refer en c e to tne f ig u r e founo in Afo c . X II, I . , The women " clo th ed w it h the sun " and HAVING *A CROWN OF STARS* ADOUT HEN HEAO.

27 Smaruto - CF. Sm a r it a , S urra . , 4 * Usual r e a o ir s ' s h a r k it a .'

30 F 1DAN9 A - X lll Cent, for 'fiducia* the mediaeval Latins fioantiare, meaning to render secure.

32 CONDUCTO - HAVING LITERALLY THE MEANING OF 'VIATICUM.1

32 CONDUCTO - MS HAS 'CONDUCTS' CORRECTED HERE TO PRESERVE THE RHYME. Lauda XI MS 25v - 27 r . Liuzzi, 300-303 208

R efrain * ft ii if J J J ' ' ' Uj.'" A- ve, De-- ge- n i - tr i x,

P>F 1 \

T fon- ta­ na d’o- I e- gron- 9°

S t r o p h e

:i"m d bzrj A- ve, fon- te con- s I- goa- to, ' Nl

■ J - - D i Y T ? T T de la stI r- pe D o - 'Id no­ te:

a JL a * r^ h r.'J ■ riTj § ■cr 1 ------~ T Pit) de null* a i- tro se' be- o- to :

• • 9 ,bfU !______" * -=al- . * * " , * s f V % d ?( • V -; • J ’ ~ ^ , jJi j l ^ X « f J FT A- ve- s t i'n De- o ve- re- ce /'*e- mon- 9 °

Th is lauds i s not pound in any otnen known m a n u s c r ip t . There i s a transposition of c le f H I3S IN 6 IN THE FOURTH SYSTEM, DETWEEN THE WORO 'S E ' AND ’ BEATS'. SIMILARLY THE 00 CLEF OF THE LAST SYSTEM MUST SE READ AS A FA CLEF. IN BOTH INSTANCES THE CORRECTION IS DEOUCEB FROM THE FRECEDIN6 CUSTOS. THE LAST SYLLABLE OF ’ ALEBRAN9A’ HAS BEEN CARRIEO UNDER THE FINAL NOTE OF THE ME LI SNA BY REASON OF ANALOGY WITH ’ AMAN9A.’ 209

Ave, De! g e n it r ix ,* / 26ii fontana d*alegron 9e.

Ave, fonte consignete, de lo stlrpe Dovid note:* piu de null'eltre se’ beefo: 5 ev e s ti'n Deo veroce emonge. /

26v Amotti certo veramente I’elto Dio omnipotente, cho per soluto de la gente suo f i l i o l in te prese baldon^o.* 10

Verio forte nature quando’ n te, verqene pure, lo signor prese figure senge carnal delectange.

A losep desponsoto, 15 quando fosti salutata concepisti fecundate* lo re k *h pien de pietan 9o.

Regino vergene del mondo, lo re c e lle s tia l iocondo 20 portesti neI tuo corpo mondo, ke ne trosse d’ogne pesenga./

2 7 r Vergene pure p o rtu risti e depoi partu permonsisti vergene, perk£ credest! 25 a Gabriel sen9o follango.

Tu se' columbo sen9o fe le ; do Ice a gustor piu ke mele, p o rT o de cu! Egechiel[el disse ke sempre ero’n clausange.* 30

Donna, de laude se* degna, k4 portesti I 'a I to*nsegne, lo solvotor ke viv'et regno per cui sem fo r de molignan 9a.

1 AVE DEI SEN ITR IX - PURE LATIN ISM

4 OE la STIRPE OAVIO NATA - INTERISTIHSLY ENOUSN TNE SOS PELS DO NOT SPEAK OP MARTAS SE LONS INS TO THE NOUSE OF OAVID. TWICE THERE IS MENTION OF JOSEPH DELONS INS TO TNE LINE OF D AVIS. CF. M A T T *, 1 -1 7 1 AND MATT. 1 , 2 0 . TNE BOOK OF NUMBERS DOES, HOWEVER, STATE THAT ALL HEN MUST TAKE WIVES FROM WITHIN TNE IN OWN TNI BE AND CLAN. CF. NUMBER, XXXVI, 8. 10 BALBANQA - CF. VIII, 48, AND X, 10. 210

Hoi I, mother of God, fountain of Joy.

Ho i I, 'ountoin set oport, born of the line of David: 5 More than ony other you ore blessed; You hod in God a true lover.

He surely loved you tru ly , the high omnipotent God, thot in order to sove the people 10 his son took courage in you.

He changed nature greatly when in you, pure v irg in , the lord took flesh without carnal pleasure.

15 Espoused to Joseph when you were greeted, you conceived and were pregnant with the king fu ll of compassion.

Virgin queen of the world. 20 you carried in your pure body the heavenly and joyful king who freed us of every worry.

Virgin pure# you gave b irth and a fte r ch ild b irth rema i ned 25 a virgin because you believed of Gabriel without error.

You ore a dove without g a ll; sweeter than honey to taste; door of whom Ezecniel said 30 it was always closed.

Lady, you are worthy of praise, you who bore the high sign, the savior who lives ond reigns, through whom we are outside of harm.

17 FECUROATA “ LITERALLY * IHPRE8RATEB.*

29-30 Tee w r it e r retrays eer e IE h is refer er c e to Ez e c m ia l aroteer f ir e exam ple of h is familiarity WITH TEE SCRIPTURE ARD PARTICULARLY TEE Ct.0 Te STAMCRT. CF. EZCCH. XLIV, 2. “Sh u t THIS 0ATE MUST EVER BE, TEE lORB TOLO ME, R0R 0PER ITS BOORS TO BIVE MAR EHTRARCE AGAIR, SIHCE TEE LORB, tee God of I s r a e l e et e r e b by i t .* Lauda X!I MS 27r - 29r . Liuzzi, 304-7 211

R efrain

Me-r i- De- ce

ft

vo I u- ce sem- na

S t r o p h e . 1 ISP 1 4 ------L_ r 1 m.ir* j ' T j J B = 0 Mar- r i - sa- via d’ a- mo­ re,

1 1 9 1 1 IV • . fV bL jL*s Jl fi ■ y fif / r r 771 f- f> - H - . ■ " - i | T v~''cr 1J— - x 1------1 IT Si fort* a- ma- sti Di- s i- gno- re,

•I 2*1

T r w ■ ■ L^ n = Ke te fe - ci su- ma- sc 10- ne

■I V fV» 1 11 ft 9 ftftM - Bhi I ------ft 1 A 1 ^ I T lor ke pre- se^el- bei— go’n ter-ra.

The t ext is found a ls o in H5 F iO R . Tne o l iv e s f io u n e on the word »v o i » is not c l e a n . I t m i out BE BEAD AS D O T I ON AS N £ T | . TNE FONMEN NEAOINS NAS BEEN CHOSEN HENE SV SEASON OF ANALOOV WITH THE C LIV IS OO-TI ON TNE SYLLABLE 'H E .' THE THINS NOTE OH TNE WOND •SAVIA* IS B4SCOLONEO TO THE POINT OF BEIN| ALMOST INVISIBLE IN TNE NANUSCHIFT. U ffa ftm A jg 'I IWU/ IKS,«Ia,/l i wAfcS,{|.l!i,i;''SI1 OCCURANCE OF TNE LONG NOTE, f f t * a | f ENT f f t l B B I OF TNE STHOPNEt UNDOUBTEDLY THE SCNIBE'S WAV OF WASINDICATING « TO THE SINSEN THAT THE NEFNAIN SHOULD NOT BE SUI6 AFTEN EACH STNOPHE AS IT ONDIHANILV 0 Maria, Dei ce I la ,* sia a voi Iuce/sempiterne.

0 Maria, sovio* d'emore, s' f o r t ’ amosti Dio signore, ke de te feci sua mascione* allor ke prese/aIbergo*n terra.

0 Maria, cum' f o r t ’ omasti ke I'alto Dio esediesti,* ke de cielo ad te'l chiamasti, s' forte te fasti be I la.

0 Marie, cum111adornesti a Dio piacent*asuti II iosti* ke sovro i c ie li a lui mandasti per tro re r inde nova s te lle .

0 Maria, cum umi11tade venceste la summo citade, 1erusaIem si f« chiamare; per te v^intromo e possedSlla.

0 Mario, virgene modre, sempre/o te voliam d ir ave, perkl tu a lo trinitode oparechiosti novo cella.*

0 Mario, fresco rose, de te fece Dio sue sposo perkfe tu fosti gratioso d'essare pure donyella.

0 Mario, cui onuntidne san G obriello, ke lo mandone Dio de cie l e i comenddne te solutar, te sue sposello.

0 Mario, cum* recevesti lo dol9e soluto cfovesti cum gram pauro/respondesti: "Eccome, k 'io sum su* once lie ." *

0 Mario, virgene pure, porto se’ del cielo sicuro; ki* per te v’entro non trovo muro n6 serrome ke lo retegno. 213

0 Mary, God* s ceI I, eternal light be to you.

0 Mary, learned in love, you loved the lord God so strongly 5 that he made his house in you when he took his lodging on earth.

0 Mary, you loved so strongly that you besieged the high God, and from heaven you called him to you. 10 You mode yourself so very beoutiful.

0 Mory, you adorned yourself and mode yourself so extremely pleasing to God that above the heavens you sent to him in order to draw a new star from there.

15 0 Mary, with hum ility you conquered the great ci ty which is called Jerusalem; Through you we enter there to take possession.

0 Mory, vircjin mother, to you 20 we olweys wish to soy "hoi I" because you prepared for the Trinity a new cell.

0 Mory, fresh rose, of you God mode his spouse, 25 because you were (so) gracious os to be a pure v irg in .

0 Mory, to whom Saint Gabriel announced, because he hod been sent from heaven by God and commanded 30 to solute you, his l i t t l e spouse.

0 Mory, os you received the sweet salutation with fear you responded, "Behold me, I who am his hondmoiden."

35 0 Mary, pure virg in , you ore the sure gate of heovenj Who enters through you does not find walls or a lock to impede him. 214

0 Mario, cum gram* pietode o voi kiomom cum hum!Iifade, 40 ke tu ce debio sempr’ oitore dal nimico ke non ce prendo.

1 Ce l l a - MS F io a . reads “ a n c ec l a "

3 S a v ia - XIII Ce n t , usase f o r ' s a p ia ,* ceaa n eo , w is e .

5 MASCIONE - 'MASIONE' CF. IV, II FOR USE OF 'SC FOR 'G'

8 As e d ia s t i - XI!I Ce n t . Tuscan for 'A s s e o ia a e ' , to b e s ie o e .

12 ASUTILLIASTI - ' ASSOTISC I AST I *

22 CELLA - c f . SUTRA. 1.

34 Ma r y ' s woros are here a i exa c t taratnrase of the L a t in *ECCE ANCILLA DOMINI.* c f . Luke 1, 38.

37 Kl - f® HAS NE

39 Gram t ie t a o e - m om organic 'M * c f . X , 1 . 215

0 Mory, with qreot piety 40 to you we coll with humility, thot you should olwoys help us from the enemy, that he moy not seize us. Leudi a X III MS 29r - 32v. Liuzzi, 308-313 216

R efrain

b ^ . j J *1 ^ A- ve, ver- ge- ne geu- den- te,

1 1 l\i • m m m4 fa * I ^ _ I » L h

T mo- dre de I*on- ni po- ten- te.

S t r o p h e 1 ,— b b | Thf- f lt ---- ft - f T jt ~-jrf.t*.w—^ — r LL.rp i f r — 1 % ’ ' ' m1 ...... 1 .. 1 .1.....j .1.. -J Lo s i- gnor per ma- ra- ve- gla

" 8 ^ ^ t* ■> * ■ * 1

. r de te fei- ce ma- dre e fi- 1a,

^ gg I ^ ^ . n f r ,, 1.1 . I. I ft ft.., . , ^.-L, -f- J ? f

ro- so bl- am- ch'e ver- me- gla • * • Hi • • a ,, iv j IT , a > 1 - t

I 1 ------^ ~ 7 T so- vr’ogl* 0 1- tro fio- rejsu- len- te.

The t e x t occurs also in MS P IS . The fourth system c o n t a in s o nly one note for the s y l l a b l e 'D r e ' OF *MADRE * ANO THE 'E * OF THE WORO WHICH FOLLOWS, L lU ZZ I HAS OIVIDEO THE VALUE OF TNE NOTE INTO TWO HALVES OF THE VALUE, THE PRESENT TRANSCRIPTION INSTEAD USES AN ELISION OF THE WORDS THUS! 'HADRE £ ' , IN THIS MANNER AVOIOING TNE DIVISIO N OF THE UNIT NOTE AND AT THE SAME TIME NOT INTERRUPTING THE FLOW OF SCXT. Ave, vergene gaudente, madre / de I ’onn?potente .

Lo signor per meraveqle* de te feice madre e tilia, rosa biamch'e vermegle sovr*ogI'a I fro fiore aulente,

Eravamo’ n perdimento per lo nostro/fa I Iimento; tu se' via de salvemento, cbiara stella d*oriente.

Stella sovra la luna pid resplende ke neuna; in te Cristo, virgo pure, incarnbe Dio vivente.

0 beata ke credestl al messogio ke ved es ti,* lo saluto retinesti col la g ratia fervente.

Fosti I'eska et Cristo I’amo per cui fo d ifis o Adamo; perk’ Eva prese el camo* del freno ke fo t a llie n t e .

T* '* ' noi venire nostro sire; voile morte sofferire per recomporar la gente.

Sen^’ a Ichun’ offensione si sostenne passione per tra re r di possessione lo'nvidioso serpente.

Quendo tu 'I vedesti morto e'n cro ce*I* tuo diporto la sperenga fo confbrto de te donna cognoscente.

Quel la pena t , er*amara ke’ I videve store in ore: com'engnello ke se spare, stavo molto patiente. 218

Hoi I, joyous virg in , mother of the omnipotent.

The lord, for o greot miracle mode of you o mother ond daughter, 5 o rose wnite ond red, frogrent above every other flower.

We hove been lost becouse of our error; You ore tne woy of solvotion, 10 clear star of the East.

Star above the moon, more resplendent than ony other; In you, pure virg in , C hrist, the living God took fle s h .

15 0 blessed one who believed in the message which you understood, you dwelt upon the greeting with fervent groce.

You were the boit ond Christ the fishook 20 by whom Adorn wos divided: Becouse Eve took the b it from the b rid le which wos sharp.

He deigned to come for us, our Lord, Jesus Christ; 25 He wonted to suffer death to ronsom the people.

Wi thout ony offence he sustoined sucn suffering in order to draw us from tne possession 30 of the envious serpent.

When you sow him dead ond on the cross, your hope wos a comfort to you, knowing lady.

35 Thot pain wos b itte r to you who sow him on the o lto r; Like o lomb thot is slaughtered He remained very po tient. Quel te fo dolor de parto ke*I videvi/confIcto*n* quarto, tutto* I songue II era sparto de lo gran pi ago repente.

Quel dolor p o rtic ip a s ti; gaimai no I *obondonasti; nostro fede confirmosti perkl non fosse perdente. Le lagrime del tuo pionto turbdr lo mondo tutto quanto; tenebre fuor facte intonto, ke le luce fuoro spente.*

Terra et oer commosse,* tutto I'acquo si riscosse per temo de le percosse !

0 Mario, vi rqo pure, mo Ito fosti/fort*et dura, non fallasti [per pauro] perke tam eri prudente. Sovro nnoi aveo focto lo nimico grond’ecottot* tu li desti acocco motto, to I ke sempre sto dolente.

Benedicta tu, reino, col la g ratia divino, orcho pieno de doctrine, c’obundontie corrente.

Tu se* fede, tu speran^a do cui viene co[nj solongo;* ben h gioio et ollegran^e, o chi del tuo dol 9or sente.

Li ro? de lo tuo lumero* splendiente/se smero;* di te [* I] sol prende lo spere* per6 ke se? relucente. 220

That was for you the pain of 40 c h ild b irth (wnen) you sow him quartered A ll the blood was spi It suddenly from the greot wound.

You shored thot sorrow; you never abandoned him; 45 you confirmed our faith so thot it might not oe lost.

The tears of your weeping disturb the wnole world; Meanwhile it become dark when 50 the light wos extinguished.

Earth and a ir were shaken, all the water wos disturbed from fear of the blows which the powerful lord hod suffered.

55 0 Mory, pure v irg in , you were very strong ond courageous. You did not foil [out of fear] because you were so prudent.

Over us the enemy 60 hod token greot toll: You check-mated him so that he is still grieving.

Blessed (ore) you, queen, with divine grace; 65 ark full of doctrine flowing in abundance.

You ore the faith, you ore the hope from which comes consolation; He is reolly joyous and happy 70 who feels your sweetness.

The roys of your lamp in shining purify themselves: The sun Is a reflection of you because you ore so resplendent. 221

Honoreta se* dal padre 75 di cut tu se' f i l i a et madre; in t r in it y sencta quedre, in sustantia luce ardente.

Tu theseuro, tu r?cheg 5a, tu virtude, tu Iergheg 9 e, 80 tu se* ’mperiel fortece per corona resplendente.

0 Marie, virgo degna, priega Cristo ke ne tegna; a I suo regno, ne sovegna, 85 per noi sie entercedente.

Gar^o* canta cum do I core 32v per te versi/cum leudore. S' sse1 plena de sevore,* cielo e terra fai fluente. 90

1 MARAVE6LA - 'NARAVIGLIA' IN TNE X I I CENT. USAGE HAVING THE MEANING OF WONOER.

6 Aulente - Cf. V, 5y X, 7 ; XIV, 2 .

16 Veoesti - lite ra lly saw, but here having the meaning of unoerstood, as common in tne English counterpart , to s e e , to un d er sta n d .

21 CAMO - XIII FIGURE HAVING TNE MEANING OF A MORAL DRIDLE.

32 E'n Croce'l - MS has ne crocel. Tne correction is Uuzzi's

40 CONFICTO - 'CONFITTO* LITERALLY DRIVEN IN .

40 Quarto - L it e r a l l y q ua r ter ed .

50 S pente - from ' s p e g n e r e * in m e d ia e v a l usage m e a n in g ' morto u c c is o , ' r il l e d , muroereo .

51-54 Cf. gospel account, Matt XXVII, 51, and Luke XXIII, 44-45.

57 Per paura - h is s in g in tne m a n u s c r ip t sut s u p p l ie s sy L i u z z i from the MS p i s .

60 Aca tto - Ha v in g the m e a n in g of ' has made g reat pr o g r ess .'

68 C o nso lanja - m a n u s c r ip t reads co s o la r ja , w it h o u t tne s ig n of the n a sa l .

71 Lnmera - CF. |X, II

72 SNERA - FROM SMCRARE, X||| CENT. TO PURIFY, TO CLEAN.

73 Ol TE'L SOL - MS READS DI TE SOL. THE CORRECTION IS MADE BY L tU Z Z I.

87 CARJO - ON 6ARZ0 OF V||, 4 1 , AND CHAPTER IV, P . 9 1 .

89 Si sse' plena de savore. Corrected from MS P is . You ore honored by the Fother of whom you ore (both) doughter ond mother In the fromework of the blessed T rin ity , in substonce burning light.

You (ore) o treosure, you (ore) weolth, you (ore) virtue, you (ore) liberolity. You ore the imperiol fortress fo r the resplendent crown.

0 Mory. worthy virgin, proy Cnrist to keep us with Him; To nis kingdom oid us, (ond) moke intercession for us.

With sweetness Gorzo sings for you verses of proise. You ore so full of flavor thot you moke heaven ond earth flowing. Lauda XIV MS 32v - 34v. 223 Liuzzi, 314-317

R efrain i n i *i,i i % :| t j j r .’"""J—.0 — f ------a r - "'--p'—■ ""' ^ --- f --- B m .. J —£— “— 2— —L i—L-— L— ...... T O di- vi- na vtr go, flo- re

r - f l - I ^______! ______i_J!______1 _ 4 I d ; ' ....— -t ~ -3- q

8u- lo- rl to d’o- gne eu- lo- re.

S t r o p h e A I t ifl I, J1 m a__ - . 1 *1 11 I * f [tl^t /3.^ Tu se* flor ke sem- pre gra- ne,

* * 9 1 fk • * * ■I J I ______L •j—J- ■:|r?= i* r r1 d ■„:: rg 1 v—* r mol- te gra- tia in te pei— mo- ne;

1 9 1 1 —1 ♦ ' 0 " 1 — H = r 777s i r - —(_ ------L L 4 -— L------1 ...... Tu por- to- sti » I vi- nowe pa- ne,

n 1 1 9 ' 1 , ffc •!

T—— ------J— -7 cio eJI no- stro re- dem- pto- re.

THE LAUDA IS FOUND ONLY IN TNE COKTONA LAUDAS 10 224

0 divine virgo, flore aulorito* d’ogne eulore.*

Tu se* flor ke sempre grone,* 33* molta/gratia in te permane; tu portasti'l vino e pane, 5 ci6 & *1 nostro redemptor*.

Ave. vergene beniqno, tu ke sola fosti degno di portar[eJ I 'a I te*nsegna de I ’altissimo segnore. 10

Tu es sacra virgo pie, tu, dulcissima Maria, tu ke se* le dricto* via per venir ed salvatione./

33v Per* te Deo n’eve* victoria 15 de la supernale gloria: la tua corona imperia cum Cristo imperadore.*

Tente sono li tue virtude ke cielo e terro e mare conclude: 20 tutti so’ di gratia ingnudi, kiunque de te s i’ en errore.

Tent'abundo per te gratia ke tuto1I cielo se ne solatia: unque de te non se sationo 25 I'angeli de far laudure.

De quel canto glorioso fanno coro delectoso. Ciascun rendi gaudioso,/ 3*» sperang’ i de lo tuo amore. 30

Tutti portan reverentia cum molte gent’ et ubidenga a te, donna de potentia, in cui regna t u t t ’onore.

Per la tuo beatitudine 35 de lo sempiternal lumine,* fontana ke se’ flumine, pietade per amore. 225

0 divine virgin, flower, frengrence of every perfume.

You ere the flower which a Iweys beers seed; Much grace abides in you. 5 You bore the wine ond the bread thot is our redeemer.

Hail, benign virgin, you who a lone were worthy to bear the high sign 10 of the most high Lord.

You ore a holy loving virgin, you, sweetest Mory, you who are the straight path to come to solvation.

15 Through you God derives the victory of supernal glory: Your crown governs with Christ the emperor.

So many ore your virtues thot 20 they f i I I heaven ond earth: All ore stripped of grace, whoever is in error of you.

So abundant is your grace thot all heaven takes comfort in you 25 so thot the angels never tire of singing your praises.

Of thot glorious song tney moke delightful chorus. You moke everyone joyous 30 who (has) hope in your love.

Many people bear reverence ond obedience to you, lady of strength, in whom reigns all honor.

35 Becouse of your blessedness by the eternal light, you who ore a fountain be p itifu l out of love. 226

0 do^or, de te s'ofino* per lo moiestd divine, 40 per lo tuo sonto doctrino, si reluce* I tuo splendore.

Tu se' vio de veritode scolo se' d*umiIitode;* de te prese humonitede 45 34v lesu/nostro redemptore.

Tu se’ glorio del porodiso, sempre pore'n te diviso; tu Lse’ j glorio, tu se' riso, tu se* roso cum dolijore, 50

Ave, virgo incoronoto, ove, Dei obumbroto, ke'm ciel se* encoronoto modre dfogne peccotore.

2 Auloritaj aulore - C f . V, 5; X, 7; X III, 6 ;

3 GRANE - XI ll,'6RANELL0'

4 PERMANE - 'PERMANERE'

1 3 ORICTA - 'O RITTA'

15 Ave - FROM < HABET

15 MS HAS IN IT IA L P OCCUR INS TWICE

18 IHPERAOORE - PfeO. 'IMPERATORE'

36 UlMINE “ MS HAS U IN E, THE CORRECTION HAS BEEN MADE TO PRESERVE BOTH THE RHYME AND THE RHYTHM.

39 S'AFINA-CF. IX, 4

49 P6 IS MISSIN6 THE 'SE' OF TU SE' GLORIA, 227

0 sweetness in you so refined 40 by the divine majesty, your splendor shines thus by your holy doctrine.

You are the way of truth, the stairway of humility. 45 Of you Jesus our redeemer took humanity.

You are the glory of paradise, (which) always appears manifested in you; You (are) glory, you are joy, 50 you are a rose of sweetness .

Hail, crowned virgin, Hai I, God o'er shadowed who in heaven is crowned mother of every sinner. Lauda XV MS 34v - 36v. L i uzzi, 318 228

R efrain

ge- mo splen- di- da, Mo- ri- o.

S t r o p h e

Or con-t i am cum gram e- cto

r V? Tfi- f ■■ 1 | 1------de I * a— mor no- stro per- fe- cto,

^ a • a a a a J r \\:t f -J--p-= ■. |

“ . i , i"" ' . T; ~ ke pre- chi pro no- bis Cri- sto

.■* • , • •

ke sia no- stra lux et vi- a.

Tne laude is not found in any of tne other s o u r c e s . The clef m is s in g from t h e second s y s t e m IS EASILY DETERMINED FROM THE PRECEDING CUSTOS SIG N. Salve, salve, virgo pio, gema splendido, Mario./

Or cent Jam cum gram di lecto* de I’omor nostro perfecto, ke prechi pro nobis Cristo ke sio nostra lux et v ia ./

Voi k’avete’n ciel lo mente, or cantote dolgemente Cristo iusto* voi presente e lo vergene Maria.

De quel amor s' gioioso ogn’on* conti glorioso; cioscun de noi steos’ amoroso 0 serviIlo tuttovio.

Or contiamo con olegron 9 o de lo bello nostra amon^a, k’e l l ’& nostro consolon9 a; sempre benedicta sio.

Alta donna glorioso, madre de lesu pietoso, del porodiso tu se’ roso, 1 a piu be llo ke ni si a .* /

PitJ se' belle di s te llo ,* costa f i l i o sovrono/ in [te j Momor f io r ’ e grono,* de te fa sua drudiria.

Engrotioto fost? in tutto: de te n’& quel do^e fructo k’ espugnone I ’amor lucto de lo infernal tenebrio.

Regina belle d’elegrenyo, de no? ogio p?eton 9 o: lascior volemo ongn’a ltr ’ 0(110090 et servir a voi tuttovio.

Ki di te & sentimento non cur’ ouro n& orgento, s'! e grande lo flamomento/ de servir a tuo boil la .* Hail, hoi I, pious virgin, Mory, shining gem.

New let us sing with greot delight of our perfect love, who prays for us to Christ thot he be our light ond our way.

You who hove minds in heoven, now sing sweetly. Christ is present near you ond the Virgin Mory.

Of that love so joyous let everyone sing gloriously: Let eoch of us be so loving os to serve him always.

Now let us sing with joy of our beautiful love, sne who is our consolation: May she be always blessed.

Exalted, glorious lady, merciful mother of Jesus, you ere the rose of paradise, the most beautiful tnat could be.

You ere more beautiful than a star, chaste sovereign daughter. In you love blossoms and beers seed of you he makes his spouse.

You were favored in oil things. O f you we hove thot sweet fru it wnich conquered the bitter mourning of infernal darkness.

Beautiful queen of joy, have compassion on us: We wont to leave every other love to serve you always.

He who understands you cares for neither gold nor silver, so greot is the desire to serve your authority. 231

El cor nostro fa* pensere, di te do Ice sospirare; 40 facte tanto te amare, nul’altra cos’a I cor si a.

Ad te, amor, ov&n cantato: bella, col santo portato facci star del dextro lato,* 45 possiam farte compegnie.

3 Dilecto - from'dilettaae} X l t l Cent.'dooimento.1

9 lUSTA - ^ JUXTA XI I I CENT. HE an I US o f 'P re s s o '

12 ON - IS THE ’ ON' FROM 'UN* OH FROM 'O M '? '(u)on'

22 l“S REAOS ' KK NI S IA ' WHICH MAZZONI READS AS 'KEM I I I ' THE 0RI6INAL IS PREFERRED HERE.

23 'B e lla a t s te lla ' breaksthe otherwise steaoy rhyme scheme. In order to preserve the pattern OF THE RHYME MAZZONISUS6ESTS THAT THE LINE RE AO 'STELLA OEANA* TO RHYME WITH 'S0VRANA' AND '6RANA.'

25 '8RANA* CF. XIV, 3.

38 B a i l i a , CF. I , 1 6 .

4 5 -4 6 The c o r r ec t io n presented here is that helo by both L i u z z i and m a z z o n i . The m a n u s c r ip t r e a d s , ' f a c t i star dal dextro la t o , p o s s ia r far t e c o .' 232

Our heort mokes us think 40 of you, sweet sigh; It causes us to love you so that no other thing can be in our hearts.

To you, love, we hove sung, beautiful one with the holy one you bore. 45 Make us be on his right sioe (so thot) we may be in your company. PART II

The L i turq i co I Cycle Wi th loudo X V III7 we meet the firs t of the hymns of the

liturgical cycle. Since the laude in question is actually a

nativity hymn, it is possible to argue for the inclusion of

certain of the preceding Marian laude into the cycle, since their emphasis on the annunciation theme might well qualify them as

Advent hymns. However, for practical purposes we will consider

the liturgical cycle to begin wi ih lauda XVIII and to extend to

lauda XXXI, inclusively. The hymns are distributed over the

liturgical year thus:

Laude XVIII, XIX Nativity Lauda XX Ephiphany Laude XXI, XXI I , XXI I I , XXIV, and XXV Passiontide Lauda XXVI Easter Lauda XXVII Ascension Laude XXVI I I , XXIX, and XXX Pentecost Lauda XXXI Holy Trinity

Although the laude may in no way be considered liturgical music, there ere, even in early manuscript sources of popular hymnody, evidences of liturgical influence. The arrangement of the feasts in this manner indicates some surveillance of a clerical nature. Furthermore, it is possible to discover at leastsomething

At the end of the collection of Marian laude there appear two seemingly misplaced hymns, number Xvl and XVII, in honor of Saint Catherine of Alexandria and Saint Mary Magda Iene, respectively. They will be discussed with the laude honoring the saints, in the introduction to Part IV of this volume. 235 of the nature of this particular influence, since in the thirteenth century religious orders, like dioceses, retained the right to make considerable alterations in liturgical practices and the ordinances governing them.

The influence of the Franciscans on the liturgy of the middle ages may be said to divide its e lf into two channels, distinct but certainly related. The fjrs t, and purely ecclesiastical facet of

Franciscan activity in the liturgy is that which resulted in the abridgement of the Roman Office. The second, and more distinctly popular manifestation, was the trend to introduce new devotions and new feasts, many of which eventually found a place in the Roman caIendar.

Fortunately there are numerous ordos and missals of Franciscan origin s t ill extant, and by means of these it is possible to determine to some degree the relationship between the actual liturgical practice of the order and the popular devotion disseminated by i t . The rapid growth of the Friars Minor and the evangelical nature of their mission equipped them well for the spread of such fervor, albeit a popular one.

The abbreviated version of the Office used by the friars was one shaped by necessity. The life of the mendicants was such that the

Q The works consulted are those quoted in writings of the two Fathers Von Dijk in Franciscan Studies. Both writers quote generously from early ordos, missals end breviaries of the order. Stephan A. Van Dijk, O.F.M., ’'Some Manuscripts of the Earliest Franciscan Liturgy.” Franciscan Studies, NS XVI (1956), pp. 60-101. ”The Calendar in the Breviory of Sf." Francis," Fronci scan Studies, NS V III (1948), pp. 26-40.; ”The Breviary of Sa' nf CTare," FVanci scan Studies, NS VIII (1948), pp. 351-387. Aurelian Fan Dijk, O.F.M., "The Breviary of St. Clore," Fran- ciscan Studies NS VIII (1948), pp. 40-6; "The Li tony of the Saints i n the Breviary of the Roman Curio ond the Friars Minor before Haymo of Favershom," Franciscan Studies NS VII (1947), pp. 426-438. recitation of the canonical hours in choir was an impossibility.

John Beleth related in his Rat? onale di v? norum off i ci um^ that the

proper observance of the hours would require o liturgical library

containing the ontiphonory, the Old and New Testaments, the Passionary,

the Legendery, the Homiliary, the Sermologus, the Pselterium, and the

Mortyrology, as well as a Collectarium of prayers. Such a collection

was beyond the means of the early order. But even more important

was the desire of St. Francis that his brothers should be free of

the time-consuming choir service in order to devote themselves to

apostolic aims different from those of the older contemplative 10 monostic orders . Therefore, he prescribeef thet his friars should

recite the shorter version of the breviary then used by the Roman 11 curia. In addition Pope Gregory IX ordered Heymo of Faversham,

later Minister General of the order (1240-44) to make further changes

and abbreviations in this breviary. By 1280 Pope Nicholas III declared

it the o fficial version to be used by a I I the churches of Rome. With

the transference of the papal curia to Avignon in the next century

the abridged breviory become, known in France and by the end of the

trecento was recognized os the office I Office of the entire Roman

Church ^

^Cf. DACL, ’’Jeon Beleth," ll^ cc. 649-650; LTK, "Johannes Beleth," V, c. 1009.

1°C f. Heribert Holzopfel, O.F.M., The His tory of the Franci scon Order translated by A. Tibesor, O.F.M. and <5. Brinl

11C f. Catholic Encyclopedia, VII, p. 161 . 12 Cf. Dorn Jules Baudot, The Roman Breviary: i ts Sources and Hi story, (St. Louis: B. Herder and Co"77 1^0^, p. f f 2 . f f . 237

There is a reciprocity between liturgical practice within the order and the popular devotions propagated by it . The characteristic

Franciscan emphasis on the humonity of Christ flowers in the estab­ lishing of new feasts in the calendar end in those appealing devo­ tions of the mysteries of the life of the God-man on earth, the crib, and the Way of the Cross. In this period only a few saints were venerated within the order, end these were, significantly, figures from the New Testament - those who were near Christ here on earth.

From the earliest days of the order Mary Magdalene end Michael the

Archangel have been the object of a special cult. It was only in the later period that abuses set in and the sanctora I office began to encroach upon the ferial days. In addition, feasts of saints were given precedence over other higher ranking feestivals.

Although the Franciscans were responsible for the introduction of certain feasts into the cycle (most notably perhaps the T rin ity), it is especially in the devotions of an "extro-Iiturg1ca I* nature that we find a relationship in sp irit with our manuscript.

Completely in accord with the sp irit of their founder, the Franciscans devoted themselves cheifly to the veneration of the Redeemer; more perticular Iv, they sought to bring the human side in Christ home to tnc people, placing the easily

It should be mentioned that the Franciscans did also follow the popular trend of the time to introduce rhythmic and rhymed offices. The main composer of these was Julian of Speier, (d. 1250) wno before entering the order was employed as maestro de ceppeI la under both Phi Iip Augustus ond Louis VIII of France. His most famous rhymed offices ere those for the feasts of Francis and Anthony, and ne is reputed to have written part of the office for the feast of St. Dominic. Cf. CathoI? c Encyclopedia, V III, p. 558. 233

grosped and more appealing features in the foreground. "Crib, Cross, Sacrament”— tne most evident proo s of the divine love, were preferably placed before the people for their venera­ tion by the Minorites. The Christmes-crib was, indeed, already known before, but since the beautiful crib celebration which St. Francis had at Greccio, the Order zealously took upon itself the spread of this devotion,. . . Of greater practical importance was the fostering of the devotion to the Passion of Jesus, which likewise passed over from the founder of the Order to his children. Saint Bonaventure composed a special office on the Passion of the Lord, and the preachers and confessors were charged to lead the people more and more to the Knowledge and imitation of the suffering S a v i o r . 13

The Cortona Laudario 91 is an excellent testimony of how this mission was implemented. One after the other the hymns of the manuscri P+ unfold in their tender, human, and picturesque poetry.

It is not d iffic u lt for the imagination to reconstruct the manner in which the itinerant fria r must have used the hymns to drive home a lesson. Their language is simple and graphic enough to moke its impression, yet it cannot be denied that the composer of the laude at times captured the most sublime of all thoughts within his limited means. It is best to let the hymns speak for themselves in their unstudied beauty.

^Holzopfel, o£. c i t ., p. 181. 239 Loudo XVI I I MS 39v - 43v Liuzzi, 330-335 R efrain

Cri- sto £ no- to et hu- mo- no- to

per sol- vor lo gen- te

i i l j . i i * • | :::r f r'Ti^ j_t______i______1------K'e- ro pei— du- to e des- co- du- to • • • • ^ ■ L______5____L - _.e | ^ i------r neI pri- ner po- ren te.

Strophe a ^

* > . y • . : j . !j j A

.....- .....r ^ ...... r ...... T No- to e Cr i - s to per fo- re o- qu i - sto * m e • 1 i-p — |*— A > > - H r — ,^#, . 4 r: ------P------f f r ' i ------r ^ de no i pec- co- to- r i 240

V

K’e- ram par- t i - ti di s- pai— t i ­ ff

«K t r-fc.. J:.. J

la i s uo I ser- V I do- r i

¥ 2C is: jg.. .|g s :

Per- che fa !■ I en- ti non sei— ven- f i a a a * ^ r .

$ me des- ser- v I - do- r i

E- re- mo cti da cu- lu? fra- cti .

i i = i i for fa i- l an­ te .

The lauda appears in Ma s l 1 but the f o l io c o n t a in in g the b e g in n in g of the hvnn has been l o s t * Ar s . CONTAINS THE REFRAIN WITH THE FIRST THREE STROPHES AN0 FlOR CONTAINS THE REFRAIN WITH ONLY THE FIRST STROPHE* OUR MANUSCRIPT HAS A STRANGE INTERLOPATION BEGINNING WITH FOLIO 41:RECTA TO 4 3 RECTA. The TEXT Of THE INTERPOLATED SECTION IS THE SANE AS THAT FOUND IN LAUDA XXXVII IN HONOR OF SAINT

SHOULO BE RED INSTEAD OF BLUE. Be g in n in g w it h t h is l a u d a * L iu z z i has p u b l is h e d a cycle c o n t a in s s e l e c t io n s representative of the BIRTH AND PASSION OF CHRIST, UNDER THE T IT L E , U PASS I ONE. NELLE INTONAZIONE DEL LAUPARIO 91 01 Cortona * (1 9 3 2 ) I t is a h ig h l y questionable v e r s io n scored for organ , two f l u t e s , one oboe , TWO TRUMPETS, TWO HARPS, AND STRINGS* 241

Cristo 6 noto et humoneto per salvor lo gente 40r k'er© perduto/e descoduto neI primer porente.

Noto e Cristo per fore aquisto 5 de nol peccotori k'erom portiti e disportiti* dei suol servidori;* 40v perchls fo lle n /ti e non serventi mo desservidori 10 eromo focti, do cului tract! k*e tutor follente.

Lo fresco g illio bianco e vermeglo not'e’ n questo mondo per dor conseglo de fugir pilllo 15 41 r de quel/gron profundo; beginning with degnd venire per no! sofrire 41R THERE OCCURS i A 1 „ „ „ 0 _ * AN INTERLOPTIRN 0 m° r fe OOnnOSO which continues quol gioioso era gravos a to the eno op 42 v* no I pr I me romen t e . 2 0

In Bellem nat'&M signor beoto de vIrgi ne pure? onnuntioto, prefiguroto fo do la scripture; medietore e redemptore 25 direct’ e verace, re [de] gran pace k’a cioscum piece,* ki & vero mente.

Summ'o legrecgo summo fortego, Cristo d noto’n terra; 30 summo fortego per cui se spreggo ben ongn’oltro guerro/* 43v de lo nimico serpente, ontiquo nostro inqannotore; de cui volore doni a t u t t ’o re* 35 a ki Ii consente.

7 DlSPARTITI - FROM DISPARTIRE, TO SEPARATE

8 Se r v id o r i - ’ S e r v it o r e ’ The -t> - mere ten d s to in o ic a t e tha t the ame n u e n s is was not sou th er n * 1*8 REAOS "DEI SERVIDORE" The VERSION HERE IS THAT OF LlU MA0E FROM MSS ARS AND FlOR WHICH BOTH READ "RISERVI DOR I *

18 0ANNOSA ~ XIV MEANING 'NOCUMENTO1

27 MS READS "RE GRAN PACE KA CIASCUN PACE*

32 MB HAS "GRERRA*

35 f * HAS THE OLD FORM TUTUTTORE. 242

Christ is born ond become man in order to save the people who were lost since their firs t parents had fallen .

5 Christ is born to ransom us sinners who had departed and were separated from his servants; because we failed you and 10 did not serve you, but had become deserters, drawn by him who still now transgresses.

The fresh white and red li ly is born into this world 15 in order to counsel how to flee from stealth, from that great abyss; he deigned to come to suffer for us that painful death, that joyful (death) which for us in the beginning 20 was most grievous.

In Bethlehem the blessed Lord was born of the pure virgin: (He was) announced and prophesied in the scriptures: 25 the mediator ond redeemer, upright ond true, tne king of peace who pleases everyone of true understanding.

Highest joy, greatest strength, 30 Christ is born on earth; Greatest strength, because of whom we disparage every other bottle with tne serpent enemy, our old deceiver: 35 Alweys give of this volor to whomever consents to it . lauda XIX MS 43v - 44v. 243 Liuzzi, 336-339

R efrain • • « • • « « * > I ► * I &

t ---- 1------r Glo— r ia ^ n cle- lo^e pa- ce’ n ter- ra

* 1 a s _b_ l '

net* I no- stro sal- va- to- re

Strophe . . . . . >(U g „

j : - ; . A - i '- 4

Na- t’e Cri- sto glo- ri- o- so,

• • • Jk.Vw ^

r r r ,-f r - f r • ■ ...... — — r — 'a I- to Di-o me- ra- vel- lio- so;

IV jfi fr- r- 1 r . r-1^ ■j—*RLZJ...... " 1 F a c+ * e horn de­ si- de ro- so • ft ft ft r% * 1 ...... Ip 1 ...... 1 — j ------— P-----L ----- & L. A " — •L“ — £— r ■ ! lo be- ni- gno ere- a- to- re.

The same t e x t appears in Magl 1 s u t w it h a d if f e r e n t m elo dy . The po etry alone appears in Ar e t , ANO FlO R . The correct placement of the c lef m is s in g from the t m ir o s y s t e m i s oeduced from PRECEDING CUSTOS. THERE IS A FLAT TRACED LIGHTLY BEFORE THE " s " 01 t»E SDUAIKE * 8 1* OF ■OESIOERIO* IN THE FOURTH SYSTEM. 244

Glorie'n cielo e poce'n terro. nat’ fc'l nostro selvatore.

Nat’S Cristo glorioso, 44* I ’ a I to Dio mara/ve I I i oso; 5 fa c t’ S horn desideroso lo benigno creatore.

De la vergene sovrane, lucente stella Diana, de li erranti tramontane,* puer neto de la fio re. 10

Pac'n terra sta cantata, qloria'n cielo desiderata; Ta dongelle consecrate parturi t'i' I* salvatore./

44v Ne I presepe era beato 15 uei ke in* celo e- contemp I ato, ai santi desiderato 3reguardendo el suo splendore.

Parturito I ’S cum canto, pieno de lo spij^itu santo: 20 de li brac[c]ie li fe' manto cum grendissimo fervore.

Poi la medre qloriose, stella clafraj* e luminosa I'a lto sol desiderose* 25 lactava* cum gram do I gore.

5 F acte - MS reads "facce" however three other MSS (Magl1, Fior, ard Aret) a ll read "fact'e."

9 TRAMONTANA - 'STELLA rOLARE* TO THE ERD OF THE X I II CENT. LITERALLY POLE STAR, OR NORTH STAR, BUT IN POETIC USAGE, STAR OF THE WANDERING.

14 Mazz - "Parturi tal" - L iu - "parturit'al."

16 KE IN - FS READS *KEN IN"

21 8R A cfc^ l A - THE MS REAOS "GRACIA" BUT IN VIEW OF THE FACT THAT THIS MEANS "EMBERS* THE WORD IS BETTER WRITTEN WITH THE SECOND " c " ADDED.

24 CLAR[RA] - THE MS READS SIMPLY "CLA".

25 L'ALTO SOL “ THE MS REAOS "LATO *. THE CORRECTION IS L lU $ Z l'S »

26 L actava - Med alla ta r a - ' a l l a t t a r e . ' C f , Vo l. I I, p. 159, n . 6 . 245

Glory be in heaven and peace on earth. Born is our savior.

Born is the glorious Christ, the marvelous high God. 5 The benign creator has become men by his own desire.

Of the sovereign virgin, the shining morning star, guiding star of the wandering, 10 The boy is born of the flower.

Peace be sung on earth, glory in heaven desired. The consecrated virgin has brought forth the savior.

15 In the manger was the blessed one who is contemplated in heaven, desired by the saints, gazing at his splendor.

She gave him birth with a song, 20 fu ll of the Holy S p irit. In her arms she mantled him with greatest fervor.

Then the glorious mother, the clear, luminous star 25 with great sweetness suckled the high desirous sun. Laudo XX MS 45r - 46r 246 Liuzzi, 340- 343

R efrain * a , ■ * , • a^rsf _ n. f ? ? 1 r?rrr n • i i Ste I- la nuo- va’ n fra la gen- t<

4 - 1 ■. r L r -J' r:. "______j1 ' Sr— * ^ * -1 ^ 'v K’a pa- rui- sti no- va- men- te.

Strophe^ • g i ^ n i 1 j?-V. W ^

~ j ~ r i» f1 i* r p irtJr f n * 1' 1

Stel- la k’ap- par’ ri- st’al mun- do

8 * i , N> i . • ■ .i ■—■■■ . J ,|Wn - -B ■ |+J , ------1 i quan- do naq- que'I re io- con- do,

a • • • • g Nn rw I______- ^ n \ r s r— n r ^ T

Stett* e[n] meij- £o a tut- to* I mon- do

• • jyi • a $ • 2 ' j

per a- I u- mi- nar la gen- te.

Th e ie x t only occurs in MSS Ar e t . , and Magl 2 . the f ir s t system c o n t a in s no clef ano tne OCCUR INS AT THE END OF TNE REFRAIN RATHER THAN TNE STROPHE INDICATES TNAT THE REFRAIN WAS MEANT TO BE REPEATED HERE. 247

45r Stella nuovo'n fra la gente k(aporuisti novemente.

Stella k’opperist'a I mundo quando noqaue* I re iocondo, 45v s te tt’ e[nj/ megfo a tutto' I mondo 5 per eluminar la gente.

Le tre Magi I'obber veduto, tosto I'ebber congnosciuto; diser: "Not'^ lo saluto Dio padre omnipotent^" 10

Ciaschedun col suo reame s' lo prese a seguitare co*rricc’offerte do loudare, lo quo I fo mo I t'ovenente.*

46r Da la la stella stella se se cansoro,* cansoro,* 15Da r itt’a rre’Rode copit3ro,* toi nove 11e li portdro ke* I fecer molto dolente.

Et Erode a lor dicfe* cbe do loro saper volio 20 duv’e* noto quello Messio el quo I do re si fo venente.

Dissor: "Not'e re benigno, quei k’ e’mperio d’ogne regno: en ciel n*£ apporito’n segno 25 k’e ll'e noto veromente."

El re fo mo 11*odiroto, colli savi contrastoto: "Da voi me sio tosto*nsegnato lo’ ve pote star nosente." 30

Pousen* mente in uno via [et In una profetio]: vider ke’ n Beleem noscea quei k’ olumino lo gente.

14 AVENENTE -XIII TUSCAN FOR 'PIACEVOLE'

15 Cansoro - from'cansareJ me an ins to deviate

16 CAPITARO - FROM'cap I TARE,' TO PRESENT ONESELF

19-22 This entire strophe was added later. It appears in another hand, crowded into the mardin*

21 OUV'E - OUVELLE - THE MODERN 'IN QUALSIASI LUOSO.' 248

You ore o new star who hos oppeored lately omong the people.

The stor which oppeored to the world when the joyful king wos born 5 stayed in tne midst of oil the world in order to enlighten the people.

The three mogi sow it, they recognized it at once, soying: "Born is the savior, 10 God tne omnipotent fa th e r.”

Each one with his realm thus began to follow, with rich offerings to give praise which wos very pleasing.

15 They turned away from the stor, they went to king Herod. They brought him such news that it mode him very sorrowful.

And Herod said to them 20 that he wonted to know from them where that messioh wos born who comes os a king.

They said, ”Born is the benign kinq who is the emperor of every realm. 25 In heaven hos appeared the sign that he is truly born."

The king wos very angry, ond argued with the wise men: ''By you I must immediately be 30 shown where the newborn con be."

They thought of a way (and of a propnecy): They sow tnot in Bethlehem wos born the one who enlightens thepeople.

28 C0NTRA8TAT0 - MS REAOS "CONTASTATO.*

31 POUSEN - FROM *POSUERUNT#

The f a m il ia r story of the m ag i before Herod follows here Ma t t 2 i 1 - 8 , and i s tr ea ted f r e e l y in 0 1ALOSUE MANNER. I t APPEARS TRUNCATED, ENDING WITHOUT RESOLVING THE COMPLICATIONS IN THE PLOT - AND AVOIDING THE STORY OF THE INNOCENTS, Lauda XXI MS 46v - 47v Liuzzi, 344-347 249

R efrain

• « , ^ , p i

Plan- gia- mo quel cru- del ba- scia- r[e]

*■ ... ~X1 iTp!j3-."flt^ ^ 1 J- I ■ •------— i------r ^ z z » ~ ~ ^ — ke ffe per noi De- o cru- cia- re,

S t r o p h e

jg fa

Ven- ne

T------° I g ra n do - Io -sci ogran do- Io-sci ree-

■

Lo ci am no i per mo re

IS J l V« U ¥ J- ::-- z^ lu- i fo S I - gno d? pe- na- re .

The lauda does h o t appear in ahy of the other MSS collated. The last syllable of the word •cruciare" ih thesecohd system has beer carried order the last rote of the vocalizatioh in order to hatch with the ahalobous phrase ir the fifth system uhder “pehare." ih the third system there IS A GUIDE LIRE EHPLOYEO BEFORE THE WORD "BASCIO* IR OROER TO IHSURE ITS CORRECT ALLI6HMEHT WITH THE MUSIC. CF. PLATE 111* APPEHOIX, P . 111 . |R THE FIFTH SYSTEM THE SYLLABLE "RE* OF • a RORE" HAS HO ROTE ARO MUST BE SUPPLIED. 250

46» Planqiamo quel crudel basciarfe] ke fe per noi Deo cruciare.

Venne Judo treditore, boscio li died’ e gren dolore;* 47r lo quo I fociom noi/per omore 5 a lui fo signor di penare.*

Quel fo signo ai Juderi: non cognoscevon suo m isteri,* I udo Ii feci veri: per um suo bescio lo fece piliore. 10

Ad Anna principe el menaro; ? nudo nato lo spoliSro, b att'rlo forte et s') * I legaro et fSrlo +ut to insanguinare.

Anno s'! I'ebbe mandato 15 o Chayfasso* prelato, quell? ke'l mandd a Pilato/* 477 per lui piu vituper fare.

Pilato od Arode el mend&e,* perke mo I to el domandSe; 20 cerco mo I to e no I trovde; poi lo fe* ropresentare.

4 MAZZ READS "SASClO LI DIE DE 6RAN DOLORE." C f . Ma tt 26*48-49; Mark 1 4 *4 4 -4 5

6 Pen are - the last syllable was addeo to the MS la t e r

7 Misteri - from the Lat. MINISTERIUM. In X lll cent, mestiero, meaning office* work* ministry.

11 Cf . John 18 *13

16 k Chayfasso prelato - Cf. John 18*24; Matt 26*57; Mark 14t53; and Luke 22*54. The latter TWO 00 NOT NAME THE HI6HPRIEST BUT ONLY REFER TO NIM BY HIS T IT L E .

17 KE'L MANOO A Pil a t o - Cf . J ohn 1 8 *2 8 ; Ma t t 2 7 * 2 ; Mark 1 5 *2 ; and Luke 2 3 * 1 .

1 9 -2 2 Re f e r r in s to He r o d ' s d e s ir e to see Ch r is t work a m ir a c l e * Cf . L uke 2 3 * 7 - 8 .

■ Th is is the sh o r te st lauda of the e n t ir e m a n u s c r ip t but d is p l a y s in it s few ver s e s an unusually IMPRESSIVE KNOWLEDGE OF THE SCRIPTURAL ACCOUNT OF THE STORY HERE TOLD. NO ONE OF TNE FOUR BOSPELS CONTAINS ALL THE INCIDENTS* AND ALL FOUR ARE DRAWN ON HERE BY TNE POEY. 251

Let us lament that cruel kiss by which God was crucified for us.

The traito r Judas come; o kiss he gave ond great sorrow: 5 What we do out of love wos to him a sign of pain.

That wos a sign to the Jews. They did not know his purpose, Judos mode it known: (?) 10 By his kiss he caused him to be seized.

To Annas the prince they led him; they stripped him naked, they hit him hard and tnen tied him and mode him all fu ll of blood.

15 Thus Annas hod him sent to Coiphos the priest, who sent him to Pilate for him to revi le him more.

Pilate sent him to Herod 20 because he desired it greatly; he searched much ond never found him; now he mode a spectacle of him. 252 Lauda XXII MS 47v -51 r Liuzzi, 348-353 Refrain i i i , i *i i*i i ►______i______i______i y | r 1------j---: -al__ -j -- -jt- "T ^ Ben J cru- de- le e spi- e- to- so

9 , 1 1 1 1 1 % 1*11 ■ p ■ ■ »-■■ — J______i ■ —..-...... »■I — » - i -..-..■* I — * «

if r ■ j j j

t - . z f . . -■ V :. -J .. ■ :J,.' - j r . 1 mde la pe- ne del sol- vo- to- re

J. 1 19 1 , % * . 1 *1 j? r J QJ $ che d? noi fo s'! a- mo- ro- so.

Strophe ■ • • • ft, ■ -| % (4 r r \ • «, f ' r Trr a- mo- ro- so ve- re- men- +e

f t 1 ? ! 1'* ^ ^ 1 1 * y * I r7—*-t ...... ""_1___'si- - * -......

^...... J ^ Jj* ^ ■■------^

fo di noi cum gram pie- tan- 9° 253 if: r— r-~~-r--- rrvr 'f TfT' ------f.... = ------£--!r-i--1------{.L-j— po i - che d * o 11 * — on- ni- po- ten- te

■ fU * 1 fW 1 ■! *1 b r di - sce- se od no- stro dem- blan-

1 1 • ■ 9 1 1

Or non fogran- de di- s i - an- 9®

% ■I *1 £=». :!r:z : A: ■ '^y: yj-jT:..j J :iif \ r p e r no 1 pren- der hu~ ma ni- ta- de •1 : • \ 1 * •I ■I

J J -- Q j - ■*!'

e t da r— s1 in t ru i po- de- sta- de

que i k’ e so- vr'o- de- ro- so?

The t e x t appears ih MS Masi I but without the music. The form employed ih the Bosla capfihioa WHICH WOUIO IK0ICATE THAT THE REFRAIH IS HOT NEAHT TO BE REPEATED. THE PODATUS FIGURE OH THE WORD "Q U E I* MAS A FLAT TRACED BEFORE I T . BOTH A *0 0 " AHD A *FA“ CLEF APPEAR IH THE SECOHD AMD THIRD SYSTEMS BUT THEY ARE HOT IH COMFLICT. Ben h crudele e spietoso ki non si move a qron dolore de la pena de I salvatore che di noi fo si amoroso./

Amoroso veramente fo di noi cum gram pietan^a, poiche d *e It’onnipotente discese ad nostra semblanca.* Or non fo grende disianga per noi/prender humanitade et darsi in altrui podestade quei k*e sovr’ogne poderoso?

Poderoso fe ’ discesa, chiusamente fe* messagio ad queI I'amoros'appresa donna di grand*umiItaggio: annuntiolle con messaggio I ’angelo/Gabr?eI beato et dixe: "Cristo [d] ordinato in te, donna, venir rinchiuso.

Rinchiuso questo cum serA, puo, ke d’om non ai seben 9 e,* spirito sento in te verri quei k’& in se ongne poten^a: et agia questo per sententia." Altor disse la dolge po ^ella: "De I'alto Dio mi teng'ancella sia de me comfii resposo."*

Resposo tal, concepeo lesu Cristo salvatore; lo qua I essa parturio fuor de pena e de dolore. In gran viltd/chotel segnore ci venne per noi dare exemplo: non ci trovd magion ne templo ov'ei potesse aver reposo,

Riposo,^camin et forte ci trovo ciascuna dia. Picciol fante, 3 volse morte dar Erode cum fellunia? Cristo e loseppo cum Maria fuggi&ro in terra d’ Egtpito et canpdr per tal respicto de li mani del niquitoso. 255

He is very cruel and pitiless who is not moved to great sorrow by the pain of the savior wno was so loving to us.

5 Truly, with great compassion he wos lovable to us, since from his high omnipotence he descended to become man. Now wos that not a great desire 10 to take on humanity for us, ond to submit himselr to authority, he who is powerful above every otner?

Being omnipotent, he came down to earth; In secret ne mode his message 15 to that lovable, apprized lady of great humility. The blessed angel Gabriel announced his greeting ond said. "Christ hos ordained, lady, 20 thot he be enclosed in you.

Since you do not know man, this will happen by the Holy Spirit who wi I I be in you, and wbo has every power within himself. 25 Let this be a sign:(ond judgment): Then the sweet maiden said, "I declare myself the hondmoiden of the high God; Be it done to me as you hove said."

She answered thus, ond she 30 conceived Jesus Christ the Savior; whom she brought forth without pain or sorrow. Such a lord came here in great lowliness to give us on example. 35 He did not find here a mension or temple where he could hove rested.

Rest, work ond strength he 'ound here eoch day. Wi t l perfidy Herod wonted 40 to k ill the lit t le bobe: Christ with Joseph and Mory fled into the land of Egypt ond escaped by such a way from the hands of the wicked one. 256

Niquitoso, fals'e reo 45 tro v i'I popolo iudeico, predicando'l vero Deo cioscum ferisei et laico. 50r Pig f3r duri/ k 'aciaio indonaco d’ intender que I la gen+e prava: 50 quant’esso piu miraculava, ciascun gli era piu invidioso.

Invidiosi miscreden+i, quendo Cristo iniuriaste! Sanicando, vostre gen+e 55 suscitando, I'accusaste ad Pi lato, et puoi pigliaste, comparandolo dal traditore, ke suo m inistr'er e fac+ore, per tormen+ar lo glorioso. 60

Glorioso, forte pene v'ordinSr, com’ i ’ rimmenbro, ke nudo ne le catene vi batter per ongne menbro, 50v per/piu tormenti far, essenbro 65 dar ad voi et far vergonna; et leqarv’ e la colona: empi'e ke non e doloroso.

Doloroso flagellando incoronero di spine, 70 vis, et corpo sanguinendo de voi fer gran discipline; cum gram tempesta, cum ruina mi fecer la croce por+are, et menSrv'ad ius+i+iere 75 ad guisa de ledron otioso.

D’om+ios'et forte iudicio fust ’ad mor+e condempneto, et messo ad grande supplicio nelle cruce’nchioveIlato; 80 sir d'aceto et di fel potato, et cum duo ladroni crucifixo; inferno'I sent) enn obisso e tu+to'I mondo tenebroso.*

8 SEMBLAHfA - XI f l SEHBLARE - 'SEMBIARE,* 'SEMBRARE'

9 D IS IA H J A - X I I I 0131 ARE - ' OESI DERARE *

1 9 C h r i s t o a o r d e h a t o - r e a d s " C r i s t o o r o i n a t o * C f . Lu k e 1 «31

2 0 VENIR REHCHIUSO - ROT ICE THE USE OF " V E H I R * AS AH A U XIL IA R Y V E R Y . ' V E R I o f E } ' " 'ESSE r { e ]' 257

45 Wicked, false ond evil he found the Jewish people; eecn phoris.ee end leymen pr^acm ng the true God. They were harder of understanding 50 than the sword, those depraved people. The more miracles he performed the more each of them was jealous.

Envious and miscreant, how much you outraged Christ! 55 Healing, and raising your dead to life, you reported him to Pi late, and then you seized him, buying him from the traitor, who was his minister ond steward, 60 in order to torment the glorious one.

Glorious one, great pain they ordained for you, as I remember; nude and in cnains they beat yourevery limb, in order to 65 torment you more, to make of you an example, ond dishonor you; And they tied you to a column: Impious is he who is..not sorrowful.

Painful scourging, 70 they crowned you with thorns, (your) face ond body all bloody, tney scourge you severely; Witn great agitation, with fury you ore mode to carry the cross, 75 ond you ore led to judgment os if you were an iole th ief.

Shameful and bitter judgment, you were condemned to death, ond put to great torture by 80 being nailed to the cross. You drank of the vinegar ond gall ond with two thieves you were crucified. Hell fe lt it in the ooyss end all the world was in darkness.

22 SfteENpA - X t t l SATERE - ’ SAPERE* MS READS *PU0 KE D O . . . . * BUT MAZZ HAS * F 0 0 ' KE D 'E O . .. . * HERE INSTEAD, *PU0, DE O 'O M ....*

2 7 -2 8 C f . Luke 1 «38

8 1 -8 4 C f . m a t t 2 7 *4 8 } M a r k 1 5 t3 6 ; LUKE 2 3 *2 7 ; a n d J ohn 1 9 t2 9 -3 0 Loudo XXI I I Ms 51r - 53r 258 Liuzzi, 354 - 357

Refrain

0 ■ ■ ■ ■ J i ... i jL...... 1 i J J ^ j jj ,. j j. J ^ ^ J-1 J

De la cru- del moi— te de O i - sto

ft • • a a ^ a £ f > j -< a .J j) on' hom plan- ga a- ma- ra- men- te.'

j fj- - tj - ■ j- ■— jj J j j aJ- —d

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aaaa a a a a a ______I___t ______I______I ______I______

I -W- j-pj- ^ '" 4 4 i ** ^ e sue ma- ne stre- cto le- gd- ro

c o - mo la- dro vi Ie- n e - men- te

T he p o e t r y of t h i s l a u d a a p p e a r s i n t h e MSS A r e t . , a ho Ar s . Th e r e i s n o c l e f on t h e t h i r d * FOURTH, AND F I F T Y SYSTEM S. THE EN TIR E LAST LIN E IS BLANK AND THE CO N D ITIO N OF THE FO LIO IN O IC A TES MUCH U S E . L t U Z Z I SUSOESTS THE USE OF THE MELODY OF THE SECOND MEMBER OF THE STROPHE TO SUPPLY WHAT IS M IS S IN S IN THE LAST L I N E . T H IS IS ARBITRARY BUT TNE RESULT IS M USICAL AND HAS BEEN EMPLOYED HERE ALSO. De la crudel morte de Cristo on'hom planga amaremente.

Quondo*iuderi Cristo pi I lift ro, d'ogne/parte lo circundSro; le sue mane strecto legdro como ladro viIlanamente

Trenta denar fo lo mercato ke fece Jude, et fo pogoto.* Me I 11o li fora non esser neto k’aver peccato s* duramente.

A lo colonna fo spollato per tutto* I corpo f lege I lato,* d'ogne parte fo*n/senguinoto commo fa Iso emeramente.

Po* iI mendr a PIlato; a ne I consellio adamandato,* da li luder fo condempnato, de quel la falsa ria gente.

Tutti gridSro’alte voce: "Moio’ T falso, moio’ l veloce!* sbrigatomente sia posto en croce ke non turbi tutta la gente."

Ne I suo vulto li spurtaro e la sue barba s^ la pelSro; facendo beffe, I ’ imputdro ke Dio s’ £ facto falsamente

Poi ke'n croce fo kievellato, da li/luderi fo designeto: "Se tu se' Cristo de Dio mendato, J N ^ descende giu securamente

Lo santo lato sangue menao et tu tti noi recomparSo* do lo nemico ke’ngenndo per uno pomo si vilmente.

Son lovonni lo vangelisto quondo guordava suo moiestro,* ved'elo’n croce; molt'era tristo et doloroso de la mente.* For the cruel death of Christ let every man weep b itte rly .

When the Jews seized Jesus Christ they surrounded him from all sides: They bound his hands tightly, villanously, as if he were a thief.

Thirty denarii was the bargain which Judas made and was paid. Better that he had not been born than to have sinned so grievously.

At the column he was stripped (and) all his body scourged. In every part he was blood-stained, bitterly, as if he were an imposter.

Then they led him to Pi late, and in the counci I he was questioned; he was condemned by the Jews, those false and wicked people.

All screamed in a loud voice, "Let the imposter die, let him die et once Quickly let him be pieced on the cross so that he may not disturb all the people.

They spat in his face and they plucked his beard; Mocking him they charged him that he falsely made himself God.

After he was nai led to the cross he was pointed out by the Jews; "If you are the Christ sent from God come down (from the cross) safely."

The holy side poured forth blood and (thereby) redeemed all of us from the enemy who deceived so basely by means of an apple.

Saint John the Evangelist when he looked at his master, saw him on the cross: He was very sad and sorrowful of mind. 261

Li soi compagni I'abandondro, tutti fugiSro e Iu1 lasci8ro, 40 stando tormento forte et amaro 5 3 * de lo suo corpo/per la gente.

Molt'era trista sancta Maria, quando’ I suo fig lio en croce vedea; cum gran do lore forte piangeva 45 dicendo: "Trista, lassa, dolente!"*

7 -8 Cf . MATT 2 7 i 35

11-1 2 C f . M a t t 2 7 :2 8 ; M ark 1 5 j1 5 ; Lu ke 2 3 i2 2 ; a n d J ohn 1 9 :1 -2

16 &DEMANDAT0 - FROM DEMAMOARE - 'OOMANOARE'

20 M o i a - d e f i n i t e l y T u s c a n C f . Ma t t 2 7 :2 3 ; M ark 1 5 :1 3 ; L uke 2 3 :2 1 ; a n d J ohn 19:2 6

25 C f . J ohn 1 9 :2 - 3 ; L u ke 2 2 :6 3 -6 5 ; Mark 1 4 :6 6 ; a nd Ma t t 2 7 *2 9 -3 1

2 9 -3 0 C f . Ma t t 2 7 :4 0 ; Ma r k 1 5 :3 0 ; L u ke 2 3 :3 7

31 C f . J o hn 1 9 :3 4

36 Ma i e s t r o ( s i c ) - Rh y m i n g w i t h evangelisto , ' E v a n g e l i s t a ' a n d ' t r i s t o ' i s n o t an e r r o r h e r e BUT AN ATTEMPT AT LA TIN IZ IN G . IT IS STILL A PERFECT RHYME BECAUSE EVEN TODAY SEVERAL ITALIAN DIALECTS SAY 'MAISTRO' WHICH IS THE PERFECT INTERMEDIATE FORM FOR HASTRO. MAST ETC.

3 5 -4 6 T h i s i s c o n t a i n e d o n l y i n t h e a c c o u n t of J g h n , 1 9 :2 5 -2 6

38 Th e •O o" i s r e p e a t e o i n t h e m a n u s c r i p t . 262

His companions abandoned him, 40 they a ll fled and left him (there) among the people, with his body in great and bitter torment.

Very sad was holy Mary when she sew her son on the cross. 45 Wi th great sorrow she wept much saying: "Sad, tired, and sorrowful." Lauda XXIV MS 53r - 55r 263 Liuzzi, 358-361

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T h e t e x t o f t h i s l a u d * a p p e a r s o n l y i n Ab e t , T h -: w o b d s * m e * a n d " n o n * in th e f i f t y s y s t e m ane WRITTEN IN AN A M F F E R E N T HAND AS IS THE * T A * OF “ C A R It V * IN THE T H IR D SYSTEM. Dami conforto, Dio, et olegrongo, et coritd perfecta et omoronga,/

53v Dami conforto, Dio, et erdore: a caritade lego lo mio core, ke non mi sJ* vetato lo tuo amore; in me non posse nulla ria indigcianga.

54» Dami le titia , gaudio et diporto, e nneI mio corLe] de' pianto di conforto k'io suspiri et canti et stia s' docto, k'io non perda la tua fin'amonga.

0 grande bene, dilecto di I'amanti sologo, gaudio et doicego dei soncti, ke fai li cenni tali et li senblanti di tutto* I mondo fai far rifiutongo.*

0 grande bene, di quello di paradiso, roTumino'l mio cor del tuo be I viso, ke me ne stia la mente £* I core aceso: 54v dami fag I i to* d'ogni a I tre/de Iectongo.

Rommentom^lo peno ke portosti, amor, e quondo a lo croce ondasti: fust? bottuto et tutto ensanguinosti, oim4 lasso, de to I dolorongo.

Fosti battuto e spolioto e skirnito, e do'tude? fortemente colpito, e d'uno loncio enneI cor ferito , e per invidio fu£ taI orogantio,

Pionqete meco, sponse inamorate, voi ke vivete caste odoctrinote; venite, amanti et vTrgirve beote;/ 55* de Cristo fociam gaudio et iubilonga.

E fuoco et fionba stia neI nostro core, renfreskese lo rose col I'amore; et lo spiritu soncto porli'n noi, e'I padre ne confirm? per pietongo.

Amen.

SENBLANTI - XI It FOR 'SEM B I ANTE9, - S IG N S , GESTURES

RIFIUTANJA - ' RI F I UTARE' - TO DENY

FAGLITA - READS #SAGIITA* - THE CORRECTION IS THAT OF MAZZ. 265

Give me comfort, God, and joy, and perfect charity and love.

Give me comfort, God, end ardor. Bind my heart to charity, 5 (so) that your love be not refused me. Let there be no wicked sin in me.

Give me joy, gladness, and pleasure, ond in my heart give tears of comfort; that I may sigh, ond sing, ond be learned, 10 so that I may not lose your exquisite love.

0 great good ond delight of lovers, solace, joy, ond sweetness of the saints, you who moke such signs ond gestures cause (men) to abandon all the world.

15 0 great good that is in paradise, 1 llumine my heart with your beautiful face. Let my mind ond heart be inflamed; (ond) let every other delight fo il me.

Recoil to me the pain which you bore, 20 0 love, when you went to the cross: You were beaten ond in such suffering, alas, you covered everything with your blood.

You were scourged, stripped, ond mocked, ond gravely struck by the Jews; 25 and wounded in the heart with a lance. Such arrogance was wrought out of envy.

Weep with me, spouses in love, (ond) you who live instructed in chastity; Come, lovers ond blessed virgins: 30 In Christ let us moke joy and jubilation.

And fire ond flame be in our heart, let the rose be refreshed with love; ond let the Holy Spirit speak in us, ond the Father confirm us out of compossion.

Amen. Leude XXV MS 55r - 57v LIuzz i f 362-365 266

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This hymn is found also in Magl1 and the text appears in Aret . , F ior . , and Ars . To preserve the MODE THE CLEF BEFORE THE WORO "VERACE* HAS BEEN MOVEO FROM THE SECOND TO THE THIRD LINE. THIS IS ANALOGOUS TO THE ENO OF THE REFRAIN. THE MELODY AT THE END OF THE REFRAIN BEARS A RESEMBLANCE TO THE LATIN HYMN "VEX ILL A REGIS." Onne homo od a I to voce laudi la verace croce,/

Quanto i digna da laudare, core no lo pi pensare, lengue no lo pi contare, la verace sancta croce.

Questo legno pretioso h di legno virtuoso,* lo nimico i confuso per la for$a de la croce.

Poi ke Cristo fo pi Ilato, strectamente fo ligato; d'ogne parte fo tormentato e donato a la croce.

lesu Cristo redemptore come fa I so bufadore,* come latro* e treditore, fo donato a la croce.

Le sue membra delicate fuoro stese e tirate, tutti quante insanguinate e kiaveto in su la croce.

San loanni evangelista lo suo core multo era tristo, quando vidde’ l* suo maiestro stare innu/do* in sulla croce.

La sua medre e dolente, multo trista la sua mente: pianqe e dole amaramente, stendo a piede de la croce.*

La sua madre cum do lore kiema e dice: "Do^e amore, omie, f i l l i o e signore, perke fosti posto in cruce?”

La sua madre dice: "0 f i l l i o aulorito pii ke gillio perkfe fo questo consillio ke morisse nella croce?”* 268

Let every man in a loud voice praise tne true cross.

How worthy is it to praise, no heart can think, 5 nor tongue can tel I, the true holy cross.

This precious wood is a virtuous wood. It has confounded the enemy 10 by the force of the cross.

After Christ was seized he was tightly bound. In every part he was tormented, and (then) given to the cross.

15 Jesus Christ, redeemer, Iike a false buffoon, like a thief and traitor, was given to the cross.

His delicate limbs were 20 stretched and pulled, all stained with blood and nai led to the cross.

Saint John the Evangelist’ s heart was very sad 25 when he saw his master (there) naked upon the cross.

His mother was sorrowful, (and) very sad of mind. She weeps and moans b itterly 30 standing at the foot of the cross.

His mother with sorrow calls and says, "Sweet love, alas, son and lord, why were you crucified?"

35 His mother soys. "0 son, more fragrant that the lily , why was this counsel that you must die on the cross?" 269

Dice Cristo: ”0 madre mio, 57b quest '§ / 1 ’obedier^o mio:^ 40 ke se compie in questo dio k’ io mo?o nello croce."

Lo suo fillio lo fovello: "Or si compie questo guerro; lo nimico d doto in terro 45 per la for^a de lo croce."

Questo disse Ysoio in suo vero prophetic; come ognello si tondeo et pon?os' inne I !o croce.* 50

Questo pionse Yeremio quondo keomovo e diceo: "Voi c’ondote per la vio, vedeto lo peno de lo croce II*

Kiomo e pionge duromente, 55 57v e o C risto/ti converte; per te sto o brocio operte su neI legno de lo croce.

lesu Cristo, lo fraterno tu lo cresce e lo governo 60 de lo gloria sempiterno per lo virtO dello croce.*

7 -8 Both Ar s . and F io r . read "Questo e legno p r e t io s o / eo e segno v ir t u o s o ."

16 SUFADORE - X I I I SUFFATORE - BUFFOON

17 lATBO - 'LAORO'

26 VIOOE - •vide' Cf. I l l , 61 and 77 .

26 STARE INNUDO - THE MANUSCRIPT IS NOT CLEAR HERE ANO COULD BE REAO EITHER "STARE n " OR "3TARERI." THE CORRECTION EMPLOYED HERE IS THAT OF L lU .

26-30 The account OF I^ARY LAMENTIN6 a nd moaning at the foot of the cross is in accord with the OBSERVATION OF EMIL MSl E , THAT ITALIAN PAINTINGS OF THE PERIOD WERE THE FIRST TO REPRESENT HER AS LANGUISHING BENEATH THE CROSS. C F . VOL I I , P . 1 5 8 .

3 1 -3 8 These two s ta n za s c o n t a in a remarkable l ik e n e s s to the poem of J acopone da T o d i e n t it l e d Donna n e l Pa r a o is o .

0 FIGLIO, FISLI0, FIGLlOt 0 Son, my Son, mv Son I F lG LIO AMOROSO O IG LIO , Of lilies , lovliest one. FIGLIO CHI DA CONSISLIO He l p , consellor is none Al cor MIO ANGUSTIATO? F or my h ear t d is t r e s s e d .

F ig l io , o c c h i g io c o n d i Son , w it h sweet e y e s th a t s m il e d ( q u o t e d FROM FlGLIO, CO NO) RESPONTI where no t h in e answers m il d ? J a c o p o n e . Po e t ano F ig l io , perche t ' asco no i Wkv dost thou hide, m y c h ild MWY i t , b y TTF l y T" Dal p et to over s e ' l a t t a t o ? FROM THY M O THERS BREAST. U n d e r h i l l , p p . 2 2 0 - 221.) 270

Christ soys: "0 my mother, 40 this is my obedience: which is fu lfille d this doy thot I die on the cross."

Her son speaks to her: "Now this warfore is fu lfille d , 45 the enemy is struck to earth by the power of the cross."

This is what Isoies said in his irue prophecy. "Like a lamb was sheared 50 he was laid upon the cross."

This Jeremias lamented when he called and said, "You who poss by the way observe tne anguish of the cross."

55 Coll ond weep b itterly ond be converted to Cnrist. For you he remains with open arms (there) upon the wood of the cross.

Jesus Christ, the brotherhood 60 you increase ond govern with sempiternal glory by the virtue of the cross.

47-50 C f. I s a i a s i 57*7

51-54 C f. J e r e m i a s L a m , 11*18—20

59-62 No t e t h e r e f e r e n c e t o a f r a t e r n i t y h e r e . F or f u r t h e r o i s c u s s i o h of t h i s C f . Ch a p t e r I I I , P P . 5 1 -6 6 . 2 71 Loude XXVI MS 57v-60r Liuzzi, 366-371 Refrain

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The 1,auda occurs also in Mage** and the text in Ars. In the fifth system there shoulo be a "do" CLEF SUFFLIID ON THE SECONO LINE JUST BEFORE THE WOROS "PER UNGER.* THERE IS A REDUNDANT CLEF IN THE SECOND SYSTEM AND THE *F A * CLEF ON THE SIXTH SYSTEM SHOULO BE MOVE0 TO THE FIRST LINE IN ORDER TO PRESERVE THE MOOE. THIS IS 0E0UCE0 FROM BOTH THE PRECEEDING CUSTOS AND BY THE ANALOGOUS MELODY ON "FACESTI SURREXIHENTO," THE FORM MAY BE COKHDEREO A COBLA CAPFINIOA EVEN THOUGH THERE •LIG HT ELABORATIONS OF THE MELOOY OF THE REFRAIN WHEN IT APPEARS AT THE END OF THE STROPHEa THIS IS CONFIRMED BY THE PLACING OF THE fM N jA T THE END OF THE STROPHE TO INDICATE THAT THE REFRAIN IS NOT MEANT TO BE REPEATED EACH TIMEa lesu* Cristo glorioso, o te sia leude e ^echimento,* ke per noi/surreximento facesti victorioso.

Victorioso el tergo die facesti surreximento; per unger le tre Marie lo tuo corpo, a I monimento/* enddr cum pretios' unguento: i'angel dixe: "Nonn & quie;* in Galilee, ke surrexio, voi preceded gratioso."

Grat?os1essendo1n via epparbe a le Mmagdelene; n e ll’orto dixe: "Maria"* poi raparbe inn a I tre mena./ A tu tti schiarfc la serene, che i p&i non* se lassB toccare "G it’ ad li apostoli contare; d'andar a lor so desioso."

Desiose lor contaro* ci& ke Cristo dect'avee: lo lor decto despreggdro, crediano fosse fantasia. Poi reparoe’n quella die; a duo disci puIi fe* cena;* a I castello d’ Emeu, apena I'evisar,* lo’* fo nascoco.

Ascoso lui, recordarse cio ke redixe* a I cemino, quando co IIui adunSrse parendo lor pelegrino. Disser:/ "Bern fo* I summo divino A li opostoli fer conto', anco* non credetter punto de cio ognun ere pensoso.

Pensosi fra lor* essendo, I ’apparbe'l signor verace; dixe: "Non andete temendo de me, k’ io non so’ fa I lace Sempre aviate in fra voi pace, et cercate la kiavadure, ke le mente aviate pure: di me ogn'on sia copioso." 274

Glorious Jesus Christ to you be proise and acclamation, who for us made a victorious resurrection.

5 You arose victorious on the thi rd dev; to anoint your body the three Mary's went to the grave with precious ointment. 10 . The angel said, "He Is not here, he arose and wi I I precede you graciously into G alilee.

Being gracious along the way he appeared to Magdalene; 15 in the garden he said: "Mary." Then he reappeared in different mein. To a I I he made it clear that he did not allow anyone to touch his feet. "Go to the apostles and tell them 20 (that) I am desirous to go to them."

Anxiously they told them, what Christ had said: They scorned their saying, they believed it was a fantasy. 25 Then he reappeared that day; he had supper wi th two of the disciples in the town of Emaus. They scarcely noticed him for he was hidden

He concealed himself. They remembered 30 whet he had repeated a long the way when they joined his company, appearing to them as a pilgrim. Tney said, "Surely he was most divine." They related it to the apostles, 35 and even they did not believe, (but) each pondered over it.

While pondering among themselves the true lord appeared to them. He said, "Do not go about fearing me, 40 for I am not deceitful. Always keep peace among yourselves, and search for the lock (so) that you have pure minds. Let every man be (made) bountiful in me. 275

Copioso si partio 45 pesce* prime mengiato. Thome non v'era, poi redio e' I conven+e i fo con + a+o. 60r "Si no i/me+to [ke] li mani el le ti," dixe, "non ne ser3 creden+e." 50 Poi raparbe solamen+e per lui k'ere s' dubitoso:

"Dubituso e incredulo, viene, cerca le mie ferute;* non sia'ncredulo ma fedele, 55 mai per cose non vedute: k’e mogiur merito e virtude de creder quello k’ £ absente ke de quello k’ e ^resente; e’ n ciel ne fi piu gaudioso." 60

1 IESU - MS READS IIESU

2 9ECHIMEHT0 - THE LAU0* OCCURS IN MAGL1 IN WHICH THE WORD IS RENDERED AS "SECCHIMENTO* PROBABLY FROM "GECCHIRE" WHICH HAS THE MEANING OF * 0 1 CM I ARE * - TO DECLARE, ACCLAIM.

8 LO TUO COR PO AL MONIMENTO - MS READS "DE LO TUO CORPORAL MONIMENTO." THE EMENDATION IS MADE FROM MSS MAGL1 AND ARS, AND FITS THE MOLOOY CORRECTLY.

10 Quie - rustic Tuscan C f . M a tt 2 8 *6 -7 ; Mark 1 6 *6 -7 ; ano Luke 24 *5 -6

14-15 Cf . Mark 1 6 *9 ; and John 20*15-16

18 NON - APPEARS IN THE MARGIN OF THE MANUSCRIPT.

21 CONTARO - THE MANUSCRIPT READS "CONTARE."

2 1 -24 C f . M ark 16*10-11

26-35 The incident related here is recorded in Luke 2 4 *1 3 -2 5 . See also Mark 16*12

28 AVISAR - FROM ' AYYISARE * - HAVING CONNOTATION OF A FACE TO FACE ENCOUNTER

28 LO' - 'LORD*

30 Re DIKE - THE MS RE AOS "ROOIKE."

*35 ANCO - OLD FORM FOR 'ANCHE* - ALSO, EVEN

37 FRA LOR - THE MS READS **FA LOR." THE STORY AS RELATED FROM HERE TO THE END IS TAKEN FROM MARK 1 6 *1 4; LUKE 21 *3 6 -4 2 ; ano John 2 0 *1 9 -2 9 .

46 PESCE - MS READS "PESCET*.

54 Ferute - Med feruto - 'ferito ' - wound. 276

45 He went owey satisfied after having eaten the fish Thomas was not there; then he returned and was told of the pact. ” lf I do not put my hand into his side,” 50 he said, "I w ill not believe.” Then he reappeared solely for him who was so fu ll of doubt.

"Doubting and disbelieving one, come, search my wounds; 55 Do not lack faith because of the things which you have not seen. But beiieve in them, for it is greater virtue and merit to believe in that which is absent than in that which is present. 60 And in heaven there wi I I be greater rejoicing.” Lauda XXVI I MS 60r - 63r Liuzzi, 372-375 277

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Th e n y h n o c c u r s i n Ma g l 1 , a n d t h e t e x t a l o n e i n F i o r . , A r e t . , a n d Ar s . Th e w or d s " e l a " a n o THEIR CORRESPONDING NOTES OCCUR TWICE, AT THE ENO OF THE FIRST SYSTEM ANO AGAIN AT THE BEGINNING OF THE SECOND. THE LATER VERSION IS TAKEN HERE TO BE THE CORRECT ORE. Leudemo la resurrectione/ e la mirabile ascensione de lesu Cristo f ilio l de Dio ch’al suo padre se ne g'o e'n cotal* di en ciel salio: san Marco*I dice in suo/sermone.

Ad veggente deI Ii suoi f r a t i ,* I? apostoli sanctificati nella fede fu3r confirmati; alora’ I disse e comandSne:

"Per tutto* I mondo ve n'andate e'I mio evangelio predicate, e neI mio nome baptigate con grande benedictione .

E non debiate aver peura; predicate ad ogne creature. Ke crede/et [non] evre paura avi ri saI vat i one.

Ki non credere sira perduto, condempnato e bettuto: mai non e v ir i’ l mio eiuto e andara’n perditione.

Nel* mio nome resuscitate morti; e i le^rosi mundate, e iMnfermi si curate sanendo le lor persone.

Ki credera non s iri vano: a cui voi oorrete mano, sempre sira salvo e sano, et av?ri bon guiderdone.

La nostra fe* non se remove, avarete lingua nuove; ongn’omo perda/re la prove, l

Let us praise the resurrection and admirable ascension

of Jesus Christ, the son of God who on a glorious day ascended into the sky and went to his father. St. Mark tells it in his discourse.

In the sight of their brothers the apostles were blessed ond confirmed in the faith; 10 Then he spoke ond commanded:

"Into all the world, go, ond preach my gospel, ond in my nome baptize with great blessing.

15 And you must not be afraid; Preach to every creature. He who believes and is not afraid will hove solvation.

He who w ill not be Ii eve will be 20 lost, condemned, ond beaten: Never wi I I he have my help ond he wi II go into perdition.

In my nome raise the dead and cleanse the lepers, 25 ond cure the s i ck healing their bodies.

He who believes will not be vain: He upon whom you place your hands wi I I always be safe ond sound, 30 and will receive a good reword.

Our faith will not be shaken, you will hove new tongues. Every man who commits offences will foil the test.

' *'' jve you rich gifts: You wiI I be my witnesses; you will chose out devils who give temptations. 280

Tollorete li serpenti e veneno enfro le gente: 40 selvi fien li miei credenti ke del peccot’on pertiscione

Li onge I i comencidrono a dire ke protono gran savere a lesu Christo nostro sire 45 la uv'e la sue mascione.

Voi de Galileo, or guordate 62» in cie/lo , cotoi moravi I I iate:* lesu Cristo ne vo'l suo padre, ed £ nostro redemptione. 50

Al lato drit+o del suo padre s'osedde l*umonitede insieme collo deitode, Dio et homo, ogni stascione.

In terra rimosi* lo glorioso, 55 la vergine madre pretioso; sonto Maria pietoso, k*£ nostro consolotione.

Li epostol? poi n'endoro, per tutto* I mondo predicero. 60 63" Lo vita eterno/e* I regno coro Dio ne deo per guidordone.

Amen .

5 COTAL - LITERALLY "SUCH" HAS BEEN TRANSLATED FnEELY HERE.

6 St . Ma r k i s t h e p a t r o n o f t h e c i t y o f C o r t o n a .

7 A d v e g g e n t i d e l l i s u o i f r a t i - t h e MS r e a o s "P o i g e n t e d i c e a l i s o o i fr a t i . " T he co r r e c t i o n IS TAKEN FROM AH.

23 NEL - THE MS NAYE "VEL.*

40 Ve n e n o - ' y e l e r o * - y e n o m

42 Pe r t i s c i o n e - T e r o i z i o n e ' t h i s i s a n e x a m p l e of h y p e r - c o r r e c t i o n ON THE PARTOF THE s c r i b e .

47-48 Voi oe G a l i l e a , or g u a r d a t e - in c i e l o . . . . - T h e p a s s a g e b e a r s s t r i k i n g lik e n e s s t o t h e LITURGY FOR THE FEAST OF THE ASCENSION. INTROITS "V lR I GALA LAE I , QUID AOMIRAMINI ASPIC IENTES IN C A E 1 |,Y * ANO AGAIN THE FIRST ANTI PH ON OF SECOND VESPERS OF THE FEAST. "V|R| GALILAEI, QUIO ASPICITIS IN CAELUM?"

56 RlMASI - XI I I RIMASA - HAVING THE MEANING OF 'PERMANENZA' - REMAIN 281

You wiI I take away the serpents 40 and venom from among the people: My believers will be saved, those who merited perdition because of sin. (?)

The angels who have great knowledge began to speak to 45 Jesus Christ our lord, there where his mansion is in heaven.

Look now, you of Galilee. up in the sky, (see) such a marvel: Jesus Christ goes to the father 50 and is our redeemer.

At the right hand of the father the humanity seats himself together with the divinity, God and man at every season.

55 On earth remained the glorious one, the precious virgin mother; Holy merciful Mery who is our consolation.

The apostles then went away 60 end preached to a I I the world. God'give us eternal life and the deer kingdom for a reward.

Amen.

IT IS WORTH NOTING THAT THf ENTIRE LAUDA (WITH THE EXCEPTION OF THE FIRST SIX LINES) IS A NEARLY PERFECT PARAPHRASE OF THE ACCOUNT OF THE ASCENSION AS FOUND IN THE GOSPEL OF ST. MARK WHICH THE POET SAYS HE IS QUOTING. CF. MARK 1 6 (1 5 -1 8 .

"GO INTO THE WHOLE WORLD AND PREACH THE GOSPEL TO ALL CREATION. HE THAT BELIEVES AND IS 8APTIZE0 WILL BE SAVED, HE THAT DOES NOT BELIEVE WILL BE CONDEMED. AND IN THE WAY OF PROOFS OF THEIR CLAIMS, THE FOLLOWING WILL ACCOMPANY THOSE WHO BELIEVES IN MY NAME THEY WILL DRIVE OUT OEMONSJ THEY WILL SPEAK IN HEW TONGUES; THEY WILL TAKE UP SERPENTS IN THEIR HANDS, ANO IF THEY DRINK SOHETNIN6 DEAOLV, IT WILL NOT HURT THEM} THEY WILL LAY THEIR HANDS ON THE SICK AND THESE WILL RECOVER." Loudo XXVI I I MS 63r - 65v liuzzi, 376-379 282

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lo quo I pos- so om- gne dol' 90 - re.

T he t e x t of the htmn appears in US Ar e t . Spiritu sancto, dolce amore, tu se' nostro guide t o re.

Lo spiritu sencto e foco erdente./ 63v lo cor alumina e la mente; c h 'elli & I'a lto amor potente lo qua I passa omgne do^ore.

Li apostoli ne fudr ripieni, discipoli de Cristo veri; per& fuSr forti e fedeli e tutte entesaro* le scripture.

6 4 r Null'omo puote bene amare se'n peccato vole stare: itu sencto I'd per male, pena e do lore.

Getteral nelle fornace Id uve son I'erdente bresce* e I'enfernal foco penace ke sempr'arde'I peccatore.

Due son li mat cerbone k'ebruscian li peccatori: et ivi son li acusatori Le don spavento a tutte I'ore,

Spiritu sencto benedecto, guardane da ouesto decto; e menane al dolce Cristo lo qua I h nostro redemptore./

0 beata tri ni tede, 0 divine meiestede, per la tua gran pietade rempiene del tuo amore.*

Lo mondo e fa Iso e desliale; Sethanes ne fa far male; lo corpo no vole'ngannare: e tu n'aiuta, creetore.

10 ENTESARO - FOR *|NTESA* FROM * INTENDERE ' - TO UNDERSTAND

16 8RASCE “ FOR ’BRASCE* - LIVE COAL

18 The sign of the nasal i s missing over the word semfre - "sefre* 284

Holy Spirit, sweet love, you are our gui de .

The Holy Spirit is a burning fir e . He i I lumines the mind and the heart; 5 He Is the mighty, exalted love which surpasses a I I sweetness.

The apostles, true disciples of Christ, were fille d with it . Therefore, they were strong and faithful 10 and understood all the Scripture.

No man can love well if he wants to remain in sin. The Holy Spirit considers it evil end will give him pain and sadness.

15 He wi I I throw him in the furnace where there ere buring coals and the infernal tormenting fire which always burns the sinner.

Two are the evi I coals 20 which burn the sinners: And the accusers are there, (they) who are dreaded at a I I times.

0 blessed Holy Spirit, guard us from this (place): 25 and lead us to sweet Christ who is our redeemer.

0 BIessed Trinity, 0 di vi ne maj esty. from your great holiness 30 f i l l us wi th your love.

The world is false and disloyal; Satan makes us do e v iI; the body wishes to betray us: And you help us, 0 creator.

24 0ECTO - FOR 'DETTO'

30 HERE THE MANUSCRIPT ANTICIPATES THE " l0 HONDO* WHICH IS THEN REPEATED IN THE NEXT VERSE. Lauda XXIX MS 64v - 68 r Liuzzi, 380-385 285

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MS MAGL1 CONTAINS THIS SAJIETC XT BUT WITH A DIFFERENT ME LOOT. THE.(EXT ALONE OCCURS ALSO IN FlOR.» A r s . * a n d P i s * I t i s n o t e w o r t h y t h a t t h e P 1* - ! a r r e a r s a t t h e e n o o f t h e s t r o p h e r a t h e r t h a n t h e r e f r a i n . T h e r e a r e n u m e r o u s e r r o r s i n t h e h y m n . Th e w o r o • n o i * a p p e a r s t w i c e * a t t h e e n o o f t h e FIRST LINE ANO THE BEGINNING OF THE SECOND. THERE ARE TWO CUST08 SI6NS AT THE ENO OF THE THIRD SYSTEM* ONE INDICATING THE PITCH *D * ANO THE OTHER "C *. THE FIRST IS HELD BY LlUZZI TO BE THE CORRECT ONE SINCE IT AGREES WITH THE CLEF FOLLOWING. IN THE FOLLOWING SYSTEM THE WORO "TU* HAS SEEN ADDED IN A DIFFERENT HAND. IN ORDER TO PROVIDE A NOTE FOR IT LlUZZI DIVIDES THE CLIVIS FIG­ URE " e - b " b e t w e e n t h e s y l l a b u s T u a n d c o n o f t h e w o r d c o s p i s t i . T h e p r e s e n t transcriptios h o l d s r a t h e r t h a t t h e p o d a t u s f i g u I F h a n g TT g i n t h e m a r g i n b e V o n d t h e t e x t b e l o n g s t o t h e f i n a l s t e OF PESTECOSTE w h i c h i s incorrectly w r i t t e n o n t h e n e x t l i n e . B y transcribing t h e m u s i c t h u s i t i s n o t NECESSARY 10 GREAK THE CLIVIS FIGURE AS LlU S Il HAS DONE.THE DISTRIBUTION OF TEXT IS MORE SATISFYING WOBLO BE WJTN A LONG MELI3M WHICH WOULD RESULT ON THE WORO PENTECOSTE. THE CHANGE WOULD SBCOSSS ROtOIBE PRESENCE OF THE TWO CUSTOS SIGNS ON THE FAECES!NG LIRE . TRE SECOND CUSTOS IS THEN THE CORRECTION. Spirito sancto glorioso, sovra noi sia gratioso./

Ke con gran dolporfe} venist la pentecoste tu conpisti; Ii disci puli ri npi sti del tuo amore gaudioso.

Co Mo tua virtd potente del gran sono* ke fo repente le splendore venne ardente ke fo motto pauroso.

Allor si fo [a] tutto aperto omni lingua par Id certo;* ke lo spiritu [con] coverto ciascun fece copioso.

Tutto' I mondo s' renfresco langua hebreo e frencesco e latina e gregesca: ogn'omo era timoroso.

Tutta gente s 'a s u tillia de la grande meravillia; kfe ciascuno s'asim illia suo linguagio proprioso.*

Laudiam Cristo veromente, I*a I to padre omnipotente de [lo] spiritu fervente* ke fa* tonto delectoso.

Tu spiritu paraclito, tu ni da pace et hobito; cio ke ti sia pleci to a I tuo regno spatioso.

Gia null'omo stie turbato: lesu Cristo sia laudato, sempre sia glorificato, k& m'e do^e et amoroso.

De I'umanitd del servo tu predestl carne e nervo; come a la fontano'I cervo venisti desideroso.. 287

Glorious Holy Spirit, be grecious to us.

You who came with great sweetness fu lfi lied the pentecost; 5 you filled the disciples with your joyous love.

With your powerful strength the splendor come burning in the great sudden sound 10 which was very frig h tfu l.

Then everything was open; you spoke every longuoge surely, so that the unseen sp irit mode everyone rich with understanding.

15 All the world is refreshed, the Hebrew and French, and Latin and Greek: Every man was fearful.

Men’ s minds were sharpened 20 by the great m iracle; (so that) each understood in his own proper longuoge.

Let us praise Christ truly, the hign omnipotent father 25 of the fervent spirit wno mokes such delight.

You, Holy Paraclete, give us peace and dwelling place; (and) whatever may be pleasing to 30 you in your great kingdom.

Now let no man be troubled: May Jesus Christ be praised, and may he be glorified, he who is sweet and loving to me.

35 You took flesh and nerve of the humanity of the servant. As a stag comes to the fountain so you come, desirous. Di nui ti prendo pietode; tu signor d' umi Iitede, per le tuo benign?tode sempre se' di noi geloso./

Ke donosti pace ol mondo tu, signor fresch’ e iocondo tu ne quordo del profundo di quel logo tenebroso.*

Li * v’i nuI Io I uce,* ogne reo v? si conduce, kl v? code tutto cuoce; giomoi non stori otioso.

AI tuo regno ne conduce son Motheo, Morco et Luco, son lohonni, quei k 'i duca, ke per te e virtuoso:

ke possiom teco regnore, colli sonct? te loudore, et veder glorificere/ I’omo k’e mo' ruinoso.*

E gioio ke sempre grono lo’ncornetione humeno per lo vergene sovrona, di ke sempre sto gioioso.

Lo divinitode* puro prese, homo, in te noturo; nostro fede non si scuro perkfe se’ s' pietoso.

Cristo, non ti sia disdegno perche tu se’ nostro pegno; dinne parte del tuo regno, de quel fructo sovoroso.

Di quel cibo spiritole ke sira sempiternoIe, vivo pone sustontiale/ cum dolge oulor* pretioso. 289

Hove compassion on us; 40 Lord of numi lity; out of your benignity you ore always zealous for us.

You gove peace to the world, lord, fresh and gay; 45 You guard us from the abyss of that place of darkness.

Every sinner is led there where there is no light, (and) he who fa lls in is burned; 50 Nevermore will he be idle.

Saint Matthew, Mark and Luke, and Saint John who is the leader, to your kingdom conduct the one who to you Is virtuous;

55 that we may reign with you (and) praise you with the saints, and see glorified the man who is now in sin.

The human incarnation 60 by the sovereign virgin is a joy which always bears seed and by which (man) is always joyful.

In you, 0 man, the pure divinity toon on (human) nature; 65 because you are so compassionate our foitn is not obscured.

Christ, do not be disdainful, because you ore our security; in your Kingdom give us a 7 0 shore of that savory fru it,

of that spiritual food wnich will be everlasting, substantial, living bread with sweet precious fragrance. 290

Tu + ti i sancti fai gaudere; 75 cum tan + o amor permanere, ke ciascun d'i suo volere di nullo bene invidioso.

Mu l+o fanno gran laudore, fanto i tene in grand’onore, 80 come ricco crea+ore d'onni ben delitioso.

Li angeli can+an gloria; lesu, dolge memoria, spiri+u de victoria 85 te rrib ile e abundoso.*

Tu, dolgore cum dolgege, tu, suave cum piaqega, tu,* potente per for+eca,/ 68* come signor ponderoso. 90

Gargo de la gran speranga* a te, Cristo, per pie+anca: tu n’&i fac+i a tua semblanga, prego ke ne dea riposo.

2 NO!— IS REPEATED IN THE MANUSCRIPT

9 S0N0 - 'SU0N0' XIII USAGE Cf . Ac ts 2 i 2

12 Cf . Acts 2 * 4

22 Cf . Acts 2 * 6 - 8

25 Lo IS M IS S IN 6 FROM THE MANUSCRIPT BUT IS UPPLIEO FROM MAGL2 .

26 MASL2 READS " fa " FOR "Fu"e

37 MS reads "com a La fonatnl nal cervo" The figure suggests the opening line of Psalm XL I • "As THE HIND LONGS FOR THE RUNNING WATERS, SO MY SOUL LONGS FOR YOU,MY GOD,"

46 TENEBROSO - MS READS "tenebrobroso"

47 MS READS LA V'A NULLA LUCE. MAGI2 HAS "LA OVE NONN Al LUCE.”

58 P.UINOSO - L a t in is m for *R o v in o s o *

63 0 1V IN IT ADE - MS NAS "O IVITADE* - CORRECTION BY MAZZ

74 Aulor - C f . V , 5 ;

86 Aounoso - for 'ABUNOOSO'

88 PlAGEfA - FROM XIII "PLACERE* 291

75 You moke oil the soints rejoice; to obide in such love thot eoch in his own wi I I is envious of nothing.

Monv moke greet proise, so much 80 is ne held there in honor, os the creotor of every good pleosure.

The ongels sing glorio; Jesus, sweet memory, 85 sp irit of vi ctory, terrible end obundont.

You, sweet one with sweetness, you, gentle one with complecence, you, powerful one, with strength, 90 (ore) like o powerful lord.

Moy Gorzo hove greot hope in you, Christ, becouse of your compossion; You hove mode us in your likeness, (ond) I proy thot you give us rest,

89 MS BEADS •T O * FOB *T U " .

90 PONOEBOSO - SHOULO PBOBABLY BE AO "POOEBOSO”

91 MAGI2 BEADS GABZO CO LA GBAN SPEBANfA. FOB BOTE ON GABZO, C F. VII, P. 195 , N. 41 . The *oe* hebe should be * 01* ■ fob " o ia ." 292 Lauda XXX MS 68r - 69v L iu zzi, 386-389

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9 r * * i I . 7 - J - l *. I r tu- a vi- a ne fo se- gui- re.

Th e h ym n i s c o n t a in e o i n MS Ma g i '1, a n d t h e t e x t i s f o u n d i n An e t . Th e i n t e h v a l o f t h e s e y e n t n AFTEN THE MONO "B O N IT A O E " IS WOHTHY OF NOTE. Spirito sancto da servire, donn’ol core de te sentire.

Spiritu di veritode, e fontana de/boni fade, per la tuo benignitade la tuo via ne fa seguire.

Spirity de pietode,* f lemma ordente et caritade, ben po stare in securitade. ke a te vole obidire.

De I'olto Dio se' donamsnto, fonte viva et ungemento; spiritu d’ entendimento tu ne degi mantenere.

Spiritu consi I Iiadore, d’ogne veritade se’ doctore; ke te lauda cum bon core mei non porreo* peri re.

Spiritu del sancto timore, ke convert! e! peccatori tu se• casto e dolge amore pit) ke lingua non pd dire.

Spiritu de sapienga, de fortega e de scienga, la tuo compognio ke presengo tu lo degi mantenere.

Ei profeti omoistrasti et la vergene obunbrasti Tutto lo sontificosti enneI tuo sancto venire.

Tu mostrosti a son Francesco el serophin crucifixo; le pioghe de lesu Cristo in lui focesti reflorire.

Li discipuli mundosti. confortasti et Infiambosti;* ie lor lingue tu mutosti per ogne lingua sovere. Holy S pirit, in order to serve you give to our heart feeling for you.

Spirit of truth, and fountain of goodness, out of your benignity make us follow your way.

Spi ri t of pi ety, burning flame and charity, he who wiI Is to obey you can truly be secure.

You are the g ift of the high God, living fount and anointing; spirit of understanding, you must maintain us.

Spi r 51 of counseI, you are a doctor of ell truth; who praises you with a good heart, he could never perish.

Spirit of holy fear, you who convert sinners, you are a love sweet and chaste, more than any tongue can tel I .

Spirit of wisdom, of fortitude and of knowledge, you must sustain your company which is here present.

You taught the prophets, you overshadowed the virgin: You sonctified her completely in your holy coming.

You showed Saint Francis the crucified seraph; you moke the wounds of Jesus Christ bloom again in him.

You cleansed, comforted and inflamed the apostles; you changed their tongues to know every longuoge. 295

L'anima ke te sente ben pd stare alegramente: 40 di te emar non se pente, per cui pensa ben fin?re.

De li iusti se' do^ore, patre de li peccatori; I ’anime fei sancte et pure 45 et a gloria pervenire.

7 Note here the beginning of the enumeration of the^ifts of the holy Spirit" "WHICH W IU NE COHPLETEO IY LINE 2 4 .

18 P o rrea - The MS reao s p o r re . The "A " is aooed la te r* crowded in above the text,

36 INF IAMBASTI - THE MS IS MISSING THE SIGN OF THE NASAL OVER " INFIABASTI 296

The soul who hears you 40 can truly be very glad: He does not repent of foving you for he will come to a good ending.

You are the sweetness of the just, and the father of sinners; 45 You make souls holy and pure and attain to glory. Loudo XXXI MS 70r - 72r liuzzi, 390-393 297

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The LAUDA OCCURS ALSO IN MAGL1. AND THE TEXT IS CONTAINED IN MAGL2 . ANO F lO R . IT IS FOUNO LIKE­ WISE IN THE FRAGMENT OF THE PlENFONT MoROAN LIBRARY, NEW YORK. IN THE THIRO SYSTEM TNE SYLLABLE "DE* OF *TR IN ITA D E* AND THE CORRESPONDING NOTE HAVE BEEN ADDED LATER AND IN A DIFFERENT NANO. THE CLEF IS MISSING FROM TNE FOURTH L IN E . Alto triniti beote, do noi sempre s i’odoroto.

Trinitode gloriosa, uni moravi I Iioso, tu se' monno sovoroso a tut’or/desideroto .*

De voi, moiestad*eterno, de« fade sempi terno, la cited k 'l superne kiaramente & luminota.*

Noi credem senga fo llan 9 a/ fermenent[e] cum sperongo, tre persone, una sustontio da li sancti veneroto.

Li enimaIi oculati* ke vanqelisti som chiemeti lauda T'olta potestote* cum la voce concordata.

Abraom en trinitode* intense lo deitode:/ I? onge I i li for mostrosti en figure humonoto.*

Quando vidde tre figure odori un creatore; e'mpercid do te,* segnore, lo so f e ’ fo confirmoto.

En tutte le creature s' reluce'l tuo splendore come dicon le scripture, et k veritS provote,

Lo potengo in creondo, sopiengo in ordinondo, bonitd in gubernondo, ogne coso tutto fio to.

Tu podre celestiole, per lo guerdor/d’ogne mole el f ilio lo a te uguole mondost'o gente insenota. May the exalted Blessed Trinity always be adored by us.

G I or i ous Trinity, mA ru A 1 a h c u n i 4v/ manna ______, . jr .

EternaI ma j esty, everlasting deity, the city which is divine is c I ear Iy i I Iumi ned by you.

We believe without error, firmly, and with hope, (in) three persons, one substance, venerated by the saints.

The wise animals (by) which the evangelists ere represented, praise the exalted power wi th one voi ce .

Abraham in Trinity understood the dei ty: The angels were shown to him in human form.

When he saw the three figures he adored one creator; By you, Lord, therefore, was his faitn confirmed.

In a I I creatures i s reflected your splendor, as the Scriptures soy. And thot is proven true.

Everything (te lls ) at all times of your power in creating, wisdom in ordering, and goodness in governing.

You, celestial Father, sent to this mod people a son equo I to you to guard them from a I I evi I . 300

Ne I Io vergene descese, stect’e lle i* novo mese; 40 puro corne di lei prese, per noi mo I to tormentato

Spiritu sancto, omor iocundo ke rempisti tutto* I mondo, tu ne guordo del profundo 45 et perdone li peccoto.

Ki te omo crede sempre tutto*I mondo per niente; o lt'e fo rt'£ lo suo mente, piu ke rocco k*£ fidoto. 50

0 veroce trinitode

72r fo'per lo tuo/pietode ke nostro humilitade en vita eterno si*exaltoto.

6 DESIDERATA - THE WORO IS REPEATEO AT THE TURK OF THE PAGE

10 lUMIHATA - THE LAST SYLLABLE IS OHMITED IN THE MS

15 OCULATI - FOR'OCULATO,' X IV - W IS E , SHREWD The reference seems to be the passage in Ezechial, 1*10, WHICH speaks of the animals which ARE STILL USED IN REPRESENTING THE EVANGELISTS, NAMELY, THE OX, THE LION ANO THE EAGLE.

17 The original manuscript contains no apostrophies. Therefore, in addition to inserting ONE AFTER THE **L" OF " l 'ALTA" WE SHOULD INSERT ONE AFTER THE "A * OF "lA U D A ." ( t )

17 POTESTATE - THE MS READS POTESTE.

19-22 This strophe refers to the olo testament story of the three angels whoappeared at the door of Abraham's tent, C f. Genesis 18:2. The symbol of the three angels was used in THE MIDDLE AGES TO REPRESENT THE T R IN IT Y , AND IS ALMOST CERTAINLY THE MEANING HERE. FOR REPRESENTATION IN MANUSCRIPT ILLUMINATION, CF. APPENOIX F , P. 132 . THE UPPER LEFT HAND MEDALLION CONTAINS THE FIGURES OF THE THREE ANGELS AT THE TENT OF ABRAHAM. THE FOLIO IS THE OPENING OF THE NYMN “ ALTA TRINITA1* BUT THE MELOOY IS NOT THE SAME AS THAT OF THE CORTONA.

18 TRINITAOE - MS READS TRINIOE

25 DA TE - THESE WORDS ARE REPEATED IN THE MANUSCRIPT.

40 STECPELLEI - FOR 'STETTE IN IE I ' THE "CT* HERE IS AN EXCELLENT EXAMPLE OF HYPERCORRECTION. CF. 'OTTO' < OCTO

IT IS NOTEWORTHY THAT THE FEAST OF THE BLESSED TRINITY WAS ONE OF THOSE WHICH HAO SEEN POPULARIZED by the Fr ia r s Min o r . Although the v o t iv e Mass of the Trinity dates back to the seven th c e n t u r y , ANO THE OFFICE WAS COMPOSE 0 BY STEPHEN OF I.I&GE ALREADY IN THE TENTH CENTURY, IT WAS THE FRANCISCANS WHO SPREAD THE DEVOTION. THROUGH THEIR EFFORTS THE FEAST WAS EXTENOED TO THE ENTIRE CHURCH IN 1334 by Pope J ohn XXII. 301

In the virgin he descended. 40 he stayed in her nine montns and took pure flesh of her, suffering greatly for us.

Holy S pirit, joyous love, you who fi lied all the world, 45 guard us from the abyss and pardon us (our) sins.

He who loves you always believes (that) all the world is as nothing; High and strong is his mind, more 50 than the fortress in which ne has faith .

0 true Tri ni ty, out of your compassion make our lowliness be exalted in eternal life. PART III

THE HOMILETIC LAUDE THE HOMILETIC LAUDE

It cannot be said that the designation homiletic laude represents a homogeneous grouping for the four hymns considered

in this section are extremely varied In style and content. Two are sermons on love, expressed in the most intense and emotion­ al of figures. The remaining two treat of the last things, of death, judgement, heaven, and hell, in the most realistic fash i on.

The firs t of the exhortations to charity is noteworthy for

its use of figures employing sense images. One is struck by the close succession of such words as taste, smelI, and feel; or again, savor, bitterness, warmth, and coldness. The poet runs the gamut of the five senses in attempting to present an

intense image. In effect, God and love become something to be seen, fe lt, heard, touched, and even smelled.

As the laude on love take us to the height of the affec­ tive element in our manuscript, so do the two hymns on death and judgment reach the ultimate in realism. In language almost as graphic as the famed mosaics in the baptistry of Florence, the laude issue grim reminders of the ravages of death, and speak in almost "Dantesque" manner of the three fires which the soul may know; one to torture, one to purify, and one to enlighten. 303 304

Yet these four, admittedly the most affective hymns of the entire collection, are far removed from the extreme reaIism to be encountered in the hymns of f I age I I ant i and other later penitential fra te rn itie s . And s till less are they in any way

like the songs of those confraternities dating from the time of the Balck Death. The lauda on death does, indeed, remind us of the universality of its subject, and even speaks real­ istically of the effect of death on the body. But never does it, (or any of our laude) dwell on the macabre aspects depicted so realistically in the art of the period of the Black Death, or in the hymns of later origin.

These four homi letic laude present more convincing proof of the uti litarian nature of the hymns than perhaps any other examples in the entire Cortona manuscript. They are so de­ signed that their didactic intent is evident in every line of verse. And whi le they do at times represent a higher degree of skill in compos ition, they are simple and vivid enough to serve well to teach the illite ra te people for whom they were i ntended.

For all his lack of finesse at times, the mediaeval man remained close to reality and in doing so retained to a re­ markable degree the sense of sin. He undoubtedly learned well

1 C f. Example quoted in Vol. I, pp. 64-65. 305

the lesson taught in the simple songs he sang, and could make his ownthe words of lauda XIII,

There seems to me no greater deceit than to desire what is impossible to find; and it seems to me the greatest fol ly to strive for the unattainable as does the soul which is outside the way. He believes the world can fill him, and he makes of it a new law. Butthe world cannot for it is inferior. Laudo XXXI I 306 MS 72r - 82v Liuzzi, 394-403

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Troppo perde'l tempo ke ben non t'ama, dolg'amor, lesu, sovr'ogn'amore./

72v Amor, ke t'ama non sta o tio s o , tanto le par do I ge de te gustare; ma tuttasor vive desideroso, 5 come te possa strecto pi u amare;/ 73n ke ta n to sta per te lo cor g io io s o , ke nol-sentisse.no! seprie parlare quant'e do Ig'a gustar lo tuo savore.

Savor cui no si trova s i m i I I i anga, • 10 0 lasso! lo mio cor poco t'asaggia; 73v n u l l ' a l t r a cosa non m'e consolan/ga, se tutto'l mondo avesse e te non agio. 0 dulg'am or, I esu, in cui 0 sperange, tu regi ' I mio cor ke da te non caggia, 15 ma sempre pi u r is t r in g a * I tuo dolgore.

Dolgor ke t o l l i forga ad ogni amaro et ogni cosa muti in tua dulce 5 a; questo sanno li sancti k e 'l provaro ke feciaro dolge morte in amarigga; 20 ma confortolli el dolce latovare* j • j. 1 \ 1 f 1 di te, lesu, ke vensar ogn'espregga, 74b tanto/fosti suave in li Tor core.

Cor che te non sente ben po star tristo, lesO, letitia et gaudio de la gente: 25 s o la 90 non pot'essar senca Cristo; taupino ch'eu non t'amo ben fervente. Ki far potesse totto ogni altro aquisto, e t te non agia, di t u t t ' d perdente; e t senga te sirebbe in amarore. 30

Amaro in n u llo core puote stare cui tua dolcega dona condimento: 74v ma tuo savor, lesu, non pd/gustare ke lassa te per altro intendemento. Non sa ne pud lo cor terreno amare 35 s' gran celestiale deIectamento: non vede lume, Cristo, in tuo splendore.

Splendor ke doni a tutto'l mondo luce, amor, I esj, de li ange I i bellega, c ie lo e t te rra per te se conduce 40 et splende in tutte cose tuo fortega: ognunque creatura*a te s'aduce, ma solo* I peccator el tuo amor sprega, 75r et partise de/te, suo creatore^ 309

He loses too much time, who does not love you, sweet love, Jesus, above every other love.

Love, he who loves you is not idle, so sweet it seems (to him) to taste you; 5 but at all times he lives desirous of being able to bind himself closer to love; for the heart is so joyous with you that he who does not feel it cannot say how sweet it is to taste of your savor.

10 Savor with which nro other can compare, alas, my heart tastes of you too little ; no other thing is consolation to me, if I had all the world and did not have you. Sweet love, Jesus, in whom 1 hope, 15 rule my heart lest it should fall. But always bind me closer to your love.

Sweetness which mitigates every bitterness and changes everything into your sweetness; all saints who experienced it know this, 20 they who died a sweet death in their anguish; but you comfort them with (your) sweet electuary, of yourself, Jesus, who comforted every harshness-- so sweet you were in their hearts.

The heart which does not feel you must be very 25 sad, Jesus, gladness and joy of all mankind. There cannot Be any solace without Christ. Miserable am I who do not love you fervently. He who could acquire every other thing and yet does not have you. loses everything, 30 and without you he would be in bitterness.

No bitterness can exist in the heart to which your sweetness gives spice. He cannot taste your savor, Jesus, who abandons you for other pursuits. 35 Neither can the earth-bound heart know (how) to love so heavenly a delight: He does not see the light, Christ, in your splendor.

0 splendor which gives light to all the world, Jesus, love, beauty of the angels, 40 heaven and earth are guided by you, and your strength shines through in all things. Every creature is brought to you, but the sinner alone despises your love, and separates himself from you, his creator. 310

Creatura humane, scognoscente 45 sovr'ogn'a I t ra terrene creatura, comma ti puoi partir si per niente dal to*factor cui tu se' creatura? Ei [ke] ti ch iama cusi emorosamente che torni a lui, ma tu pur li stei dura 50 et non Ji cura del tuo salvatore.

Salvatore ke de la vergene nascesti, del tuo amor darne non ti sia desdegno, 75v kfe gran segno/d'amor a lor ci desti quando per noi pendesti en sul lo legno. 55 Ne I I e tue sancte magnef ci descrivisti per noi salvare et darci lo tuo regno: lege la tua scripture buon scriptore.

Scripti sul sancto I i bro de la vita, per tua pieti lesu, ne representa: 60 la tua scripture ia non sia fa llita , el nome ke portem de te non menta. La menta nostra fa* di te ccndite dulcissimo lesu, si ke te senta/ 76r et [s] trictemente*t'ami con ardore. 65

Ardore ke consumi ogni freddura, [e t] purghi et i llumini la mente, ogn'altra cosa fai parer obscure la qua I non vede te presentemente; et giamai [se non] teco amar non cure* 70 per non cessar I'amor da te niente et non retempare I* da I tuo calore.

Ca lor, s' fai I'anima languire et struqgere lo cor di te inflammato, ke non e lingua ke' I potesse dire/ 75 7 6 / ne cor pensare, se noi I '5 provato. Oimfe lasso, famme te sentire; riscalda lo mio cor di te gelato, ke non consumi in tanto freddore!

Freddi peccetori, el grande fuoco 80 nello inferno v'& aparechiato, se questo breve tempo, k'e si poco, d'amor lo vostro cor non e scaldato: pero ciascun si studi in onni luogo d'amor di Cristo essar abraciato 85 e conforteto del suave odore./ 311

45 0 human being, more ungrateful than every otherearth ly creature how can you leave, for nothing, the maker whose creature you are? He calls to you so lovingly to return 50 to him, but you remain hard and have no care for your savior.

Savior, you who were born of the virgin, do not disdain to give us your love, for you gave us a great sign of love then 55 when you hung on the cross for us. In your holy hands you wrote it in order to save us and give us your kingdom: Read the writing, good writer.

Written in the book of life, out of 60 compassion, Jesus, represent us there. Your scripture is never in error: do not belie the name we bear of thee. Our minds have been seasoned with you, sweetest Jesus, so that they feel you 65 and earnestly love you with ardor.

Ardor which consumes every coldness, and purifies and enlightens the mind, you make every other thing seem obscure which does not see your presence (in i t ) . 70 And he wi I I never tnink of loving anyone but you. Never wi I I he cease to love you and ne is not tempered by your warmth.

Warmth, you make the soul languish so much that you melt the heart inflamed by you, 75 (and) there is no tongue that could te ll, nor heart which can imagine it unless he has experienced it. Alas, wretched me, make me feel you; warm my heart which is so frozen towards you that it be not consumed in such coldness.

80 Cold sinners, the great fire in hell is prepared for you, if in this short time, which is so brief, your heart is not warmed by love. Therefore, each must do his utmost at a I I 85 times to be embraced by the love of Christ and comforted by his sweet fragrance. 312

77* Odor trapassi ogn * au I i mento, lesu, ke ben non t'ama fa gran torto; chi non sente el tu' odoramento od illi b pugelente od illi b morto. 9 0 E' fiume vivo del de lectamento, ke levi ogni fetore et dai conforto, et fai tornare lo morto in suo vigore.

Vigorosamente li emorosi bno quella via en tanta dolceja, 95 gustando que I Ii morsel li sevoros i 77v kb dona Cristo a que I I i k'ano sua/ conte5a; ke tanto sono suave e delectosi: ki bene I'asagia tutto lo mondo despreija, e quasi en terra perde suo sentore. 100

Sentiamoni, 0 pigri, 0 negligent!, [e] bastane el tempo c'agiamo perduto. Oi'me lasso, quanto siamo stati sconoscente, c'al pib cortese non aviamo servito [cului] ke ce [ne] enpromette celestiale presente. 105 A cui I'impromette gib no I'a falluto, 78ii e ki lui ama li stane/buono servidore.

Servire a te, lesu mi 'omorosa, piu [suov'e] ke nul altro delecto; [non pub saper chi di te sta otioso 110 quant'b do I $e ad amar te con affecto:]* Gemai el core non trova altro riposo si non se en te, lesu, amor perfecto, ke de li tuoi servi se' consolatore.

Consolarenon pb terrena cosa 115 I'amina k'e facta a tua semblan 9 a: piu ke tutto' I mondo b pretiosa e nobi le sopre ogni altra sustantia; e solo tu, lesu, li pbi dare posa e rimpiere sua bastanca;/ 120 78» empercib ke tu se' solo suo maiure.

Maiure engano non me pare ke sia ke de volere, quello ke non se trova, [et pare sovr'ongni altra gran fo llia di quel che non pub essere fame prova;]* 125 como [fa ] I'anima k'e fuore de la via, crede ke'l mondo I'empia e fare ne vole lege nova ma non pot’essare, k£' I mond'e minore. 313

0 fragrance which surpasses every perfume, Jesus, he who does not love you sins greatly; He who does not smell your fragrance, 90 is either dead or he is corrupt. It is a living river of delight which washes away every stench and gives comfort, and makes the dead return in his vigor.

Vigorously the lovers have (chosen) 95 that way in so much sweetness, tasting those savory morsels which Christ gives to those he enlightens: They are so sweet and delicate that Iv who tastes them will despise all the wor’d 100 and almost lose his senses on earth.

Let us taste of it, 0 lazy and negligent, for we have wasted enough time here. Alas, how ungrateful we have been, who have not served that most courteous one 105 who promises us his celestial g ifts . To whom he promises it he never fai Is (to give it) and he who loves him remains a good servant.

To serve you, Jesus, is my delight, more sweet-than any other pleasure; 110 he who is idle cannot know how sweet it is to love you with affection. Never can the heart find other repose if not in you, Jesus, perfect love, who are the consoler of your servants.

115 No earthly thing can console the soul which is made to your likeness: It is more precious than all the world, and nobler than any other substance; and you alone, Jesus, can give it 120 repose and f u l f i l l its needs; because only you are greater than it.

There seems to me no greater deceit than to desire what is impossible to find, and it seems to me the greatest folly 125 to strive for the unattainable, as does the soul which is outside the way. He believes the world f i l l s him, and he mokes of it a new law. But it cannot be, for the world is inferior. 314

Minorore se vole el core viIlono l

Meqlore cosa de te, [amor lesu,] nulla mente non po desiderere: emperico dovarebbe el core con teco laisu Tmai] sempre col la mente conversere; [e t] onn? creatura de quegiu 140 per lo tuo amore, [e] niente reputare, et solo te pensare, dolce segnore.*

Signore. ke te vole dare la mente pura 79v non te dea dare a !tra/compagnia: spesse fiade per la troppo cura 145 la mente da te se desvega e si disvia. Dolce'e [od] amare lo creature ma’ I creatore piu dolc'e ke mai sia: empercio se dee temer cum gran tremore.

Tremore e gilosia porta la mente 150 ki ben t ’ ama, e'mperico ke non te despiacia, partese da tutto* I'a ltre gente e solo te, lesu, ei suo core obrocia: [e t] onni creature e per niente 80r enverso lo belleco/di tuo foccio, 155 tu ke d’ogne belleco se’ foctore.

Fame solo te, lesu, per pensare* ed ogn'oltro pensiero dal mio core scocio? en tutto questo mondo io non posso trovore creature ke me sotisfocio. 160 0 dulce lesu, fomme to amore e donome gratia ke’ I mio amore te piacio tu ke d'ogne gratia se' datore.

Dame tanto amor, lesu, de te ke me bosti 80v ad amore quanto io/so’ tenuto: 165 per lo grande preco ke per me pogesti per me do voi sia reconusciuto. 0 dulce creatore, quanto m’obligasti od amare piu k'eo non o pututo ne non posso, senca voi confortotore. 170 315

The vile heart which declares itself content 130 with the world, wants to diminish itself; to want you, Jesus, sovereign love, (is) to change the earthly understanding: But were his palate healthy enough to taste of such delight, above every 135 other you would satisfy him best.

No better thing than you, Jesus, can man desire: Therefore the heart should always mentally commune with you in the heights; 140 and every creature here below, for love of you-is reputed as nothing, and only thinks of you, sweet lord.

Lord, he who wants to give you a pure mind must not be given to other company: 145 Oftentimes because of too much worry the mind is severed from you and led astray. It is sweet to love a creature, but better sti II to love the sweetest creator who is. Therefore we must tremble with great fear.

150 The mind which loves you well lives in fear, Jealous of displeasing you ever, it flies from all mankind, and embraces you alone, sweet Jesus, in its heart. And every other creature counts for nothing 155 in comparison with the beauty of your face, you, who of all beauty are the maker.

Make me think of you only, Jesus, and expel from my heart every other thought; in all this world I cannot find 160 a (creature which satifies me. 0 sweet Jesus, make me love you and give me the grace that my love may please you, you, who of all graces are tne giver.

Give me so much love for you, Jesus, 165 that I may love you as I am loved. May the great price which you have paid for me be fully appreciated by me. 0 sweet creator, you have obliged me to love you so much more than I ever could 170 or ever can without you, 0 comforter. 316

Conforto lo mio core ke per te languesce ke sencg te non vole altro conforto. Oi lasso, pig degiuno endebe I esce, * el core ke tu non pasci el vive morto; 81 r ma se de lo tuo/emore osagiasse, revivisce, 175 ed or me aiute*, amore, en questo porto, tu ke se* sopra ogne altro aitatore.

Aitame, amore, ch'e1 non peri sea; amore dolge, ke per amore io t'adomando; pr&gote ke * I tuo amore non me fallesce, 180 receve I? miei suspiri ke io te mando: se tu voIi ke io per te languesca, fa* ke me piacia, k'io vo I I io morire amando 81 v per lo tuo amore,/0 do I ge redemptore .

Redemptore, questo £ n\i o volere d'amarte e de servire quanto io potesse: 0 dulce Cristo, debiate piacere ke'I mio core del tuo amore s’ empisse; quel la ora fai lame vedere ke tu, lesu, i I mio core tegnesse, 190 e de me fosse cibo pascitore.

Pesceme, 0 pane celestiale, e d'ogn'altra cosa fame enfastidire; 0 cibo de vita sempre*eternale, 82« ke ben/t' assegg i a ma i o non pS morire 195 famme questo dono s^etial k'i'te [dolge]* lesu, posse sentire et per pietenga, 0 largo donatore,

Doname del tuo amore desiderato; del tuo do I ce amore famene asegiare; 200 desopra ogne altro cibo e delicato, e tu tto 'l mondo voI Iio degiunare. La lengua ke I'asaggia in lo palato 82v I acte/e t me I I e f*l i d i s t i I I a re e renovare lo mente cum fervore. 205

Fervente amore !e dai, lesu, ki canta lo delecto di si grande altega: e ffine ki vive in terra de quo giO tu regi la suo vita en gran nectega; sologo li da! de te, lesu, 210 e poi li doni gioia de la tua contega e regna teco tutte I'ore. Comfort my heart which languishes for you, which witnout you wants no other comfort. Alas, more fasting weakens me, and the heart which you do not nourish is living in death. But if it tastes your love, It revives, so now help me, love, to this port of rest, you who ore above every other helper.

Help me, love, so that I may not perish; sweet love, I ask you (this) out of love. I pray you that your love never fo ils me, and you receive my sighs that I send you. If you wont me to languish for you, moke it please me to wont to die loving you, love, 0 sweet redeemer.

Redeemer, this is my w ill, to love you and serve you os much os I con: 0 sweet Christ, it must please you that my heort be fille d with your love; Now moke me see that you, dear Jesus, hold my heort— and must be to me a giver of nourishment.

Feed me, 0 celestial bread, and moke me weary of every other thing. 0 food of eternal life , he who tastes of you w ill never die. Give me this special g ift, that 1 con feel you, sweet Jesus. Out of compassion (be) a great giver.

Give me your desired love; Moke me taste of your sweet love. It is more delicate than any other food. From all other worldly food I wont to fast. The tongue which tastes you on its palate has mi Ik and honey disti lied there and has the mind renewed with fervor,

Jesus, give to them a fervent love to sing the delight of such great height: And os long os he lives here on earth regulate his life with great propriety. Give them solace of yourself, Jesus, and then give them the joy of your knowledge in order to reign witn you at every hour. 313

10 SlMILLIANIjA - FOR StHIGLIARE (XIII-ANI a ) - TO RESEMBLE

21 LAT0VARE - FROM "LATTOVARE* - MEO USAGE ME AN IN6 "ELETTUARIO," OR ELECTUARY

27 T a u p i n e - C f. I V , 15

42 MS REAOS "CRATURE."

44 At t h e turn of t h e page the scribe has repeated the syllable "te"

48 Dal to — in the MS reads 'L a lto ' T he correction i s made from MS Ars.

56 Magne— SHOULD PROBABLY read 'mano'

B6 MS reaos "et trictamente" The correction is from MS Ars which has " et strectamente ."

70 MS Ars reads instead, h e t s i a mai a ltro amore n on cu ra."

72 RATEMPARAL—4“S READS "e t HON RATEMPARALLO* WHEREAS ARS HAS *E NON RATTEPIDAR LO TUO CALORE.'1

109 MS Ar s r e a d s " s o a v ' e "

110-111 Ml3 3 1NG COMPLETELY FROM THE MANUSCRIPT BUT SUPPLIED HERE FROM ARS,

1 2 4 -1 2 5 Missing entirely but supplied from MS A r s ,

136-142 All the brief emendations w ith in t h is strophe are supplied from MS Ars ,

152 Da tu tta is r e p e a d e o in the MS

157 MS REAOS 'PER PENSARE'

173 ENDEBELESCE - FROM ' INDEBOLIRE'

174 MS reaos "e l vivo e morto" Correction is from MS Ars.

176 MS REAOS A V IT A FOR * A IU T A '

197 Dolce is added from Ars . Lauda XXXI I I MS 82v-S5r Liuzzi, 402-408

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ke s'a- proc- cia 'I grand er- ro- re i s . i 9 > i^n & i «i fijSj1— .j,..-.■'j' ^ j j - j .T- = £ • ^ I • I A*^ \ . | i | k'e I ni- mi- co a- ra ' I va- I o- re:

I ._. -I- - ^ L _ ~ -■ — - — if ' -j ^j^is-jrT-z:..iz^Jp : ^ _al. Cio fie a la f i - ne del mon- do

1 - n n % n *i _____ i______/ . 1 ~ p ------p ------...-jt p "“ ----- ^ ------l i b — « — 4 ------1

ke cia- scun si- ra re- mon- do

• m * 9\ m m ' .... . -----f- - V 7* ----- »---- ■■ ■ j- i*- p— ^ J - j . | — L-— pJ------p— za^LvidF-.. ...J. .. .J... J_| 8 c r ■...... ■"l""" 1,1 -c^- r " — d'e- s to ^ d i- I e- cto fe- to- ro- so,

T he LAUDA IS NOT FOUNO IN ANY OF THE OTHER MANUSCRIPTS CO LLATEO . THE WORD "Q U ES TO " OF THE FOURTH LINE IS OBVIOUSLY ADDED LATER AND IN A DIFFERENT HAND, THE FORM IS COBLA CAPFINIOA BUT THE LAST MEMBER OF THE STROPHE CADENCES ON A " f i * RATHER THAH " F " AS DOES THE R E F R A IN , S+omme allegro et latioso/ questo mondo delectando: ma ' I iudicio rimenbrando sto dolente e pauroso.

Pauroso £ di fa Manga questo/mondo pien d’errore: signor, feite penitentia ke s'aproccia'I grand'errore: ke' I nimico ar&’ l valore; ci.6 fie a la fine del mondo,/ ke ciascum sira remondo* d'esto di lecto fetoroso.

Fetoroso* foco et mar+irio giu de lo'nferno salira; un altro del purgatorio, lo tergo da ciel verra: lo primo li dampnati ardara, I'altro purgar& ke fie salvato et per lo tergo fie purqato tutto' I mondo luminoso./

Luminosi splendfenti angeli da ciel verr^no; le corpora de la gente tutte quante rifaranno: a ltri cum tube sonando diranno ai morti: "Surrexite! dinangi al iudice venite di render rascion d’ogn'otioso

0[ti o]samente suscitati seranno quasi in un momento in duo parti raunati,* per audir lo parlamento. Quei c'andran a dannamento staran in terra a man sinistra le iusti starannoa dextra cum ti/mor maraveI Iioso .

Maravellioso con fervenga quando verr£ a iudicare con angelica sequenga, Cristo ster£ in su nell'aire: non fie si iusto ke tremare non facia quando dari sententi k? no li avara fa c t1ubidientia duvraro benessare timoroso. 322

I am happy and comfortable delighting in this world: But remembering the judgement I become sorrowful and afraid.

5 Fearful (it) is of failure, this wor Id f u I I of error: Do penance, sir, for great error is approaching, and the enemy wi I I have power 10 which will be at the end of the world. Then each wi I I be cleansed of this fetid delight.

Fetid fire and torture wi I I ascend from the inferno below; 15 and another from purgatory, end a third from heaven will come: The firs t wi II burn the damned, the other wi I I puri fy that hemay be saved, and the third wi I I purify and 20 enlighten all the world.

Bright and shining angels wi I I come from heaven; They w ill renew again the bodies of all the people. 25 Others, sounding trumpets, wi I I say to the dead: "Arise! come before the judge and render an account of your idleness."

You arouse the idle ones and 30 in a moment they wi II find their two parts reunited in order to hear the judgement. Those who w ill go to damnation wi II be in the earth at the left hand, 35 and the just will be on the right wi th terri ble fear .

A mi rac le of fervor (he wi I I work) when he wi I I come to judge with the angels fo I lowing him. 40 Christ will be up in the clouds. He does not make the just tremble with fear when he will give sentence: Those who wi II not have been obedient, they w ill have to be fearful. 323

Timorosa pie+anqa 45 la corona fie a vedere, la croce, i chiovi et la lancia, co* ' i pati gran martire, I'aceto e'I fele k'ebbe a bere 86» che i fo/dato co I I a spongia, 50 quando in croce fece pugna per noi misericordioso.

Mi sericordioso non gid, ma sira ciascun meritato, secundo ke servito avard 55 la u'I bene e'l male fie retrova+o. Chiamar& quel dal diricto lato: "Del mio padre benedecti, voi ke sete puri et nec+i, venite a regno delitioso." 60

7 F aite - Cf . IV , 3.

11 RENOROO - LIT E R A L L YAE -C IE AR SED

13 MS READS 'F E T O S O '

31 R a u h a t i - f r o h ' r a u r a r e * 324

45 Wi + h fearful compassion the crown will be seen the cross, the nai Is and the lance, with the sufferings of the great marytr; the vinegar and ga II which ne had to drink, 50 which were given to him on a sponge, when on the cross he fought the fight out of mercy for us.

Not only will he be merciful, (but) each one will receive his reward 55 according to the way he wi I I have served, there where good and evi I is rewarded. He wi I I call to those at his right side, "Blessed of my father, you who are pure and clean, 60 come to the delightful kingdom." Lauda XXXIV MS 85v-88v Luizzi, 409-413 Refrain _ ^ . /v • ^ fc 1 1 1 1 • • " 1 I______I______I______!______I______

V/ Oi m£ las- so, e fred- do lo mio co-re. ■ ■ ■ ■ • • rw • ■ w a » ^ I______I______I______L

"n— “ 1 v? ke non so- spi- ri tan- to p e r a- mo- r«

J- J.— —J- i ke tu mo- ri s- se?

S tro p h e a a /a a ■ fti • * aaaaa * _ J ______I______I______I______I_____ I____ §s| J t ii — J | J j 1 Mo- r i- re do- va- re- s t i , falso sconoscente,

_ l ______I______I______I______I______

vil-la- no, cie- co, pi- gro e ne- g I i -- gen- te, • ■ ■ 1 • fl • i a p n

j a j ' j J k£ per a- mor non vi- ve fe r- ven- te

t • m m , ruHi P**»______

uy— J■------j ------V-/ Si ke Ian- gui- see

T h i s l a u d * o c c u r s in n u m e r o u s manuscripts of t h e m i d d l e a g e s a n d h a s a t t i m e b e e n a t t r i b u t e d TO JACOPONE. I T IS IN THE FORM OF A COBLA CAFF IN I DA WITH THE LONG NOTE APPEARING AT THE END OF THE STROPHE RATHER THAN AT THE END OF THE R E F R A IN . Oi m£ lasso, e freddo lo mio core,/ ke non sospiri tanto per amore ke tu morisse?

Morire dovaresti, fa Iso sconoscente vi I lano, cieco, pigro e negligente,/ ke per amor non vive fervente si ke I angu i see.

Languisci ripensando la tua noia, kfe de I'amore lesu t'e tolta gioia; prego, cor mio, la mia vita croia* pi non segui sse .

Secjuita I'amor ke po valere piu ke tutto' I mondo a possedere:/ s o tillia te , cor mio, a ben videre or non fai I i sse .

F a llir, cor mio, spesso te retrovo se de I'amor [mio3 lo desiderio trovo s' tu de' pensar lui esser pena provo or no ' nd' oscisse.*

Uscir ne converrea d'entr'a la gente e restreqnar tutto enella mente; de tuto'l mondo non parlare niente et no' nde udi sse.

Odi e intende, be I mio core; aconciate* a gaudere de I'amore; vorrea ke/Deo pensare a tutte I'ore ma i o non fen isse.

Fine pon a la tua sconoscenija, a la tua gran pigritia et nigligentia vorrea ke de I'amore obedienga non te partisse.

Partete da ogne entendemento ke non te dar se non perdemento: faratte stare I'amore de se contento, se I 'obed i see. 327

Alas, wretched me! My heort is cold. Why do you not sigh so much out of love t ha t you die?

You should die, false, ungrateful and 5 vile one— blind and negligent. Why do you not live so fervently that you languish?

Languish pondering your weariness, because Jesus has taken from you the joy of love. 10 I beg of you, my heart, do not foI low anymore this crueI life.

Follow the love which can have more value than the possession of all the world: Become acute, my heart, in order to see well so 15 that you do not fai I now.

Often I find you fai ling, my heart, whenever 1 find the desire of love. I experience pain if you must worry about it. May it now leave me.

20 We had better go out among the people and keep everything in our minds; Do not speak anything about the world and you wi I I not hear of it .

Hear and understand, 0 my beautiful heart; 25 prepare yourself to enjoy love; I should like to think of God at all times. May i t never end.

Put an end to your ingratitude, to you^great laziness and negligence: 30 I should want nevermore to part from the obedience of love.

Depart from all understanding which can give you only damnation: Love wi I I make you remain content, 35 i f you obey i t . 323

Obedesce e sta' aparechiato al grand'amore, lesi desiderato: 88* se viene/non sia piu da te caciato, e ' non fugisse .

Fuge, c.or mio, ke se* messo en cacia; 40 la carne e'l mondo e 'l diavolo te menaccia: ma porgate I'amor lesu li braccia, ke non per i sse .

Perire potaresti si non se' defeso dal grande amore lesu da cui se' ateso: , 45 v8lta abracciare e sta en croce desteso, s'a lui venisse.

Vienne, cor mio, andiamone a la croce: 88v sospi ra e piange et lassa si/grande boce ke fenda el polmone enfine a la foce 50 e transmort i sse .

Transmortisci, cuore, e va' gridando; e pure amore amore amore amando, ke no l'3i puremente amato va' dolorando, e parturi see (?) 55

10 Cnoi a - X III f o r 'Cruoa *

18-19 The meaning is very obscure and translation here doubtful .

25 ACONCIATE - FROM ACCO N C I ARE - XI I I - 'A O A T T A R E , ACCOMOOARE1

33 MS REAOS KE NON TE FODARA SE NONE PERDEMENTO. THE CORRECTION IS LlUZZl'S 32?

Be obedient and remain prepared for (that) great love, the desired Jesus: If he comes you must no longer chase him away, and do not fly from him.

40 Fly, my heart, which is sent on the hunt: The flesh, the world and the devil menace you: But purify yourself and embrace the love of Jesus that you do not perish.

You could perish if you do not defend yourself 45 with the great love of Jesus, by which he awaits you . He wants to embrace you and is lying on the cross i f you come to him.

Come, my heart, let us go to the cross: Sigh and weep, and emit such a loud cry that 50 it may cleave your lungs even to the mouth-- and be stunned.

Swoon, my heart, and go shouting aloud; and go loving, love, love, love-- because you have not loved purely. 55 Now suffer and give birth. Lauda XXXV MS 88v-90r 330 L i uz z i , 415-417

Refrain ■ J L NP

T i r Chi vol[e] lo mon- do de- sp re < j- 5 a - re

A

IT . T D sem- pre !a mor- te dea pen- sa- re.

S tro p h e ■ 1 . n> 1 ...... I______.. y - i . . . _ ...... 1 w Ilf ------_j-----— ~ j— a a— rr.:... —— T' La

% JLL I*:-.:: ? J J = J—*£-.y ■-j I I r u n - pe mu- re e pas- sa poi— te;

• • L«] NT J L ± j, j r j g . j 7 7 j

f E I I a <2 [ n e ] c o - mu- ne sor- te

M

\ ke neun [o] com- p a -ne re

HE MELODY AND TEXT BOTH OCCUR IN MAGL1* AND THE TEXT ALONE IN MSS MaGL2* FlOR.. ARET., r s . , and Pis. The MISPLACED CLEF ON THE FIFTH SYSTEM OF THE MANUSCRIPT IS CORRECTED iBY MEANS OF ANALOGY WITH THE SAME MELODY IN THE REFRAIN. THE CLEFS ON THE FIFTH AND SIXTH SYSTEMS SHOULD BE ON THE FOURTH LINE RATHER THAN THE THIRD. THE WORD *VOLE* OF THE OPENING LINE CONTAINS ONLY ONE NOTE. LlUZZI BELIEVES THAT THE FINAL "E* WAS DROPPED IN SINGING - HENCE IT IS INDICATED IN BRACKETS HERE. MISSING NOTES HAVE BEEN SUPPLIEO BY ANALOGY. 331

Ch i vol[e] lo mondo despreggare sempre la mor+e dee pensare.?

89 * La mor + e e fera* e dura e for+e, runpe mure e passa por+e; el la £[nel si comune sor + e le neunfoj ne pd campare./

89v Tu++a gente cum tremore vive sempre cun gran timore, empercii ke son securi dl passar per ques+o mare. 10

Papa coI Io *nperador i, cardinali e gran signori, ius+i e+ sanc+i e+ pecca+ori fa la mor+e ragualliare.

La morte viene come furore, 15 spogla l*omo come ladrone, sa+olli e+ freschi fa degiuni* e la peI Ie remu + are

Non receve donamen+e, 90f< le rechege/& per nien + e: 20 amici non vole ne paren+i quando viene al separare.

Con+ra liei non vale for+egga, sepienga rie bellegga +urre n£ palaggo ne grendegga; 25 +u++e le fa abandonare.

A I ’omo k'& ricco e bene ascia+o* a I ’ usurieri l

3 F era - ' f ie r a ' - W ild beast

17 S atclli et freschi fa degiuni - The lite r a l meaning seems to be * that whether a HAN BE BIG AND ROTUND OR SMALL AND DELI CATE , DEATH STRIKES THE SAME BLOW TO ALL WITHOUT EXCEFTION.

27 ASCIATO - FROM X t l l , ASCIARE “ TO BE SAD, SORROWFUL

IN ALL THOSE WORDS WHICH CONTAIN A DOUBLE ”z" SOUND, THUS ’ 5 5 ', ONLY THE SECOND 'C ' IS GIVEN A SEOILLA IN THE MANUSCRIPT* THUSt 'C ;' 332

He who wants to despise the world must always think of death.

Death is fierce, is hard, and strong. It breaks walls 5 and passes through doors. It is a common fate which no man excapes.

All men I i ve a I ways in great fear and trembling since they are certain of 10 passing through this sea.

The pope and the emperors, cardinals and great lords, just and saints and sinners, are all made equal in death.

15 Death comes with fury and despoi Is man like a thief. It strikes great and small alike and causes the skin to change.

It accepts no g ift (whatsoever), 20 and considers riches as nothing. Neither friends nor relatives does it want when the separation comes.

Against It there is no strength, nor beauty nor wisdom; 25 no tower, nor palace nor grandeur . It causes all to be abandoned.

To the man who is rich and well off to the userer who was i I I fated, and to him who does not want to reform, 30 this is a very bitter saying. PART IV

THE LAUDE TO THE S A IN T S THE LAUDE TO THE SAINTS

Unlike fourteenth century I a uda r i o manuscripts which are so rich in hymns to the saints, the Cortona codex contains only a very limited number of such iaude. It is therefore all the more significant that the only saints chosen to be honored in the collection are, with one exception, fiqures from the New

Testament or Franciscan saints. It is that single exception which is met firs t in Lauda XVI, a seemingly interrupted account of the life of Saint Catherine of Alexandria whose cult was widely diffused in the Middle Ages,

If one generalization may be made regarding these Iaude it is this: the hymns honoring such celebrated biblical figures as John the Baptist or John the Evangelist adhere closely to

Scripture whereas those to the other saints lean heavi ly upon popular legend. The two hymns to Francis exhibit a fam iliarity

Veneration of Catherine began early in the East but her cult was not introduced into the West unti I the eleventh century. Practically nothing is known of her life with certainty, but there have been highly fanciful and unreliable legends which were to a great extent responsible for her extreme popularity in the Middle Ages. The degree of ner veneration is attested by the frequency with which she appears in mediaeval iconography. She may be found in the periphery of nativity scenes nearly as often as such well loved mediaeval figures as Francis and Dominic. C f. Schreiber, D i e Leqende des he i Ii qe Ca ther i ne von Alexan­ dria, (1931); LTK. ”Kathar i na, " VI , cc . o5-5l".

334 335

with the historical accounts of his life, whi le that to Catherine, 2 and one of the two to Magdalene are unmistakably indebted to the

famous Leqenda Aurea of the thirteenth-century Dominican, Jacobus

de Varagine. His primary object in the Legenda was undoubtedly

not the composition of reliable biography but rather the diffusion

of inspirational tales adaptable to the needs of the simple people

of his day. That he succeeded in this is vividly attested by the

degree to which some of the legends have inspired later mediaeval

2 Magdalene, too, was a popular subject of both legend and painting in the Middle Ages, and was most often represented as a penitent. The extent of her popularity is indicated by an inci­ dent recorded in the Vi ta of Margaret of Cortona written by her confessor, Fra Gi unta~ TCf . Acta SS. # Feb. Ill, pp. 302-363). Tormented by her past life of sin, Margaret asked Christ one day in prayer if Magdalene were among the virgins in heaven. Fra Giunta relates that Our Lord assured her, "Except for Mary the Virgin, and Catherine the martyr, there is none among the virgins higher than Magdalene." Whether or not the incident is authentic is of I ittle relevance here. If it is simply the creation of Fra Giunta it is all the more significant of the mediaeval viewpoint on the subject. Cf . LTK, "Maria Magdalena," VII, c. 39; and DACL, "Lazare," VI I I 2 cc# 2(51(5-2086 . 3 The date of Varagine's birth is not known with certainty but it is believed to be either 1228 or 1230. He entered the Domini­ can Order in 1244, and after proving himself a successful preacher was appointed in 1267 as master of all Dominican houses in Lombardy, In 1288 he was named D ifin ito r of the province and in 1292 became the Archbishop of Genoa. In the course of his busy life he wrote much--a Chronicle for the City of Genoa, an Ecclesiastical History, Sermons, and Eulogies on the Virgin. But perhaps his best known work is the Leqenda Aurea . It is believed to have been completed around 1 255 wh i le Re was s till a young professor of theology. In it he never mentions Thomas Aquinas, who by this time was becoming one of the lights of the order. He fai Is to mention the Dominican pope, Alexander IV, who ascended the papal throne in 1254. He does write of Peter Martyr of Verona, calling him "the new." Peter's death occurred in 1252. C f. LTK, "Jacobus da Voragine," V, 849-50. 336 art and literature. L'abbe J. B. M. Roze points out in his

introductory remarks to the French edition of the Leqenda (1902),

that to understand the great sculpture and bas-reliefs of the centuries between the thirteenth and sixteenth, one must have 4 recourse to two sources, the Bible, and the L eqenda Aurea.

To a great degree this is true of those Iaude in the Cortona manuscript which are not purely lyrical and devotional prayers, as are many of the Marian hymns of the first section.

The breviary of the eleventh century already contained

lessons which might be said to compare to the chapters of the

Leqenda Aurea. As a learned professor Varagine probably knew c the Ra t i onaIe d i v i norurn o ff i c i urn of Jean Beleth.' But this and other works of its type were addressed to monks, whereas Varagine obviously intended to reach the laity. The Go I den Legend was an attempt at what has been described as "the laicization of the science of religion."^

An examination of certain of the Iaude of the Cortona Man­ uscript reveals that several of the hymns contained in,it relate the same apocryphal tales found in the Leqenda Aurea . In the

^Published by Edouard Rouveyre, (Paris: 1902), p. xxi.

5Cf. DACL. "Jean Beleth," I M , cc. 649-650; LTK, "Johannes Beleth," V, c. 1 0 0 9 .

6 > Of. Leqende Dorec, ed. T. deWyzewa, Paris: Librairie Academique Didier Pe rr i n et c., 1902), p. xvi . 337

case of the lauda to Saint Catherine of Alexandria there is almost complete reliance upon the leqend for subject matter, since no authoritative Vita has come down to us from her time

Slightly different is the case of Lauda XXXIX, addressed to

Mary Magdalene. The author of the latter hymn relied upon the

Gospel accounts, again following the western tradition of

identifying Mary the penitent with Mary the sister of Martha.

But at the point of the ascension, beyond which Scripture no

longer speaks of Magda lane, the author of the hymn sought his

inspiration in the well known legend contained in Varagine.

Thus the lauda to Magdalene becomes a fanciful blending of fact and fiction.

The situation is altered, however, in the case of those

Iaude texts of Franciscan subject. In these the poet displayed an amazing fidelity to historical and legendary sources of the early period of the order. The two hymns to St. Francis relate

in a charming manner a multitude of facts found in the oldest sources of Franeescana. Their author revealed a tendency to draw parallels between the life of Christ and that of Francis— a proclivity which he shared with various painters of the period.^

Whoever the author of Lauda XXXVI I I may have been he betrays a remarkable fami liarity with the events of the life of Saint

7 The lower church at Assisi is one of the earliest represen­ tations of this tendency to draw parallels between the life of Christ and that of Francis. The work along the nave is by an un­ known artist. 3 38

Anthony of Padua. Anthony's story is not told by Varagine, but

it does appear in several other mediaeval legends, the most • 8 famous of them being the Leqenda Pr i ma seu Vita Antiquissimi .

The second most important biographical source is the work of

Julian of Speier9 (d .1 2 5 0 ), published in the Acta SS'*^ under

the title Vita auctpre anonymo va I de anti quo. The Bollandists

used this version though they knew that an oider one existed.

Their work was published in 1689 and it was only in 1888 that 11 the first legend was discovered. Upon this legend, published

by the Bollandists, Julian had based his rhythmic office for

the feast of St. Anthony. But the likeness between these and

the Leqenda Pr ? ma seu V? ta An t i qu i s s i ma indicates that he was well

acquainted with the older source. It is evident from the

Jsimi larity between the lauda to Saint Anthony contained in the

Cortona MS, and the above mentioned legends, that the author 1 2 of the hymn knew at least one of these sources, if not more.

The hymns to the two Johns, to Michael the Archangel, and

to all saints do not rely' upon any source other than scripture.

8 ✓ Kerva I, Leon de, Sanct i ? Antoni ? de Padua vitae duae quarum a I tera hucusque i nedi ta~ (Pa r iT: L i bra i r i e F i schbacher, 1904) .

9 C f . p. 237, n o t e 12. 1 0 J u n e III, p. 198-202.

^Cf. note .11, p. 366 . ^ C f . note 12, p. 367. 3 39

The poet of the very lengthy Iaude to The apostles called upon the Leqenda Aurea only in a few instances in which he needed information relative to the manner of martyrdom suffered by the various apostles.

Lauda XLIV, Amore do Ice sen^a pa ra, does not by definition belong under the heading "Laude to the Saints." But in view of the fact that the two hymns which follow it were appended to 1 3 the manuscript later, its position at what once was the end of the codex is not difficult to understand. Rather does it attest to the good taste of the scribe, who was obviously not an uncultured person. The design of the I a uda rio is otherwise a well-ordered one and this seemingly displaced hymn is no mere accident. With good reason the amanuensis saved this gem of the entire collection for the climax of his work.

13Cf. Appendix B, Plate VII, p. 115 for difference in ca I I 5 g ra p h y . Lauda XVI MS 36v - 38r 340 Liuzzi, 322-325

Refrain ■I * *1

Ver-ge-ne don- 5el- la da Dio a- ma- ta,

A ¥ Ka- ta- ri- na mar- ti- re be- a- ta .

S tro p h e 4 4 4 fc 4 9 4 4 4 i,______I___sL

a ! - ' j „ r ^

Tu fo- sti be- a- ta ' de fan- +1- na,

ft 4 ~ | • 4 4 £ !? 1 4 I

f rV: .j j j

per- ke fo'n te la gra- t i - a di vi- na .

4 4 , 4 4, 4 4 4

.|g p r r— j»:-r F --f ■■ f— p 1 ■ 1 I------* ' M ;---- " ■■—t1------« 1 ■■ I! ------■ 111 ' 11 " - Tr ■ '■ iNa- ta fo- sti en tei— ra 'a- Ie- xan- dri- na,

:■ * * 1 1 ? 1 1 * * ^ r r r. f . f... J:. .JiiLf. ::£?■! 1 | # I VJ in om- gni sci- en- t i- a col- lau- da- t a .

The hymn occurs in Mm l 1, and the t e x t is founo in Maol 2, Aret . , and Ars . There is an UNNECESSARY *0 0 * CLEF ON THE THIRO SYSTEM ANO THE WORD “ oONjELLA" HAS BEEN AODEO LATER. 341

Vergene dongello da Dio emote, Katarina mortire beata.

Tu fosti beata da fantino,* perke fo'n te la gratia divina. Note fosti en terra alexandrine, 5 in omgni scientia collaudata.

37v F i I I i a f o de re e de roino* la beata santa Katerina, de li erranti qram medicine, disputondo da lor venerate. 10

Stendo nel pelac^o gretiose* tutta fosti de Dio amoroso; cum gran volunti desideroso a lesd di lecto disponsete.*

Quel amor te fece iocundore 15 lo quo! tu ^redesti per omore; per lui sopio spender e donore; kfe de s£ te fece renfiommato.

Un crudel tironno pien d'errore* 38k per f la terra mond& el bond! tore 20 ke cioscun venisse a fo lli honors, gio non fosse in si longo controto:*

ke venissor a do ! lo tribute al suo Dio k'ero sordo e muto; a n u ll’om per se po dare oiuto 25 e quest'e lo verto provoto.

E lo'mperodore socr*ficondo, tutta I'o ltro cjente sequitondo, lo Katerina udio metter lo bondo e 1montenente* fo moreveI I ioto . 30

1 OONJEILA - A00E0 LATER IN ANOTHER HAND ANO CROWDED IN ABOVE THE TEXT.

3 FANTINA - MED DIMINUTIVE OF ’ FANTE'

7 Cf . La . p. 7B9. "C atherina Costi resis f i l ia . . . f u it ."

9-10 Cf. La , p. 790. "C umque de f i l l i incarnatiohe sapienter plubima oisputasset , stupefactus C aesar non valuit ad hoc responoere . . ." The account soes on to relate the conversa ­ tio n between Catherine ano the emperor . I mpressed by the youn 6 g ir l ’ s wisdom he calls in FIFTY OF HIS SAGES FROM 01FFEREHT PROVINCES. CF. P. 7 9 ). "A dOUCTI SUNT IGITUR DE DIV- ERSIS PR0VINCI IS L 0RAT0RES, QUI OMNES MORTALES IN OMNI MUNDANA SAPIENT IA EXCELLEBANT. Quibus interrogantibus , cur de tah remotis partibus evocati f u is s e n t , C aesar responoits EST APUD NOS QUAEDAM PUELLA SENSU ET PRUDENTIA INCOMPARAB111S, QUAE OMNES SAPIENTES CONFUTAT ET DeOS OMNES DAEMONES ESSE AFFIRMAT." 342

Virgin damsel, beloved of God, blessed mor+yr, Catherine.

You were blessed from chi Idhood because divine grace was in you. 5 You were born in Alexandria, renowned in every science. <

She was the daughter of a king and queen, the blessed holy Catherine. To the errant (she was) a great curative; 10 she was venerated by them for her arguments

Dwelling graciously in a palace you were all lovable to God; with a great will anxious to be bethrotned to sweet Jesus.

15 That love which you embraced out of love made you joyous. For him she knew how to spend and give; so that he rekindled you with himself.

A cruel despot fu ll of error 20 sent a town crier through the land that everyone should come to honor him if not from too far away:

that they should come to give tribute to his god who was deaf and dumb. 25 No man can help himself, and this is the proven truth.

And the emperor sacrificing, a I I the other people , - oI lowing,...... 3, Catherine listened to the proclamation 30 and immediately was astonished.

11 STANOO NEL PALA9J0 GR ATI OS A - Cf . U , P. 790. "CATHERINA CUM ESSET ANNORUM OECEM ET 0CT0 ET IR PALATtO D IVITIIS ET PUERIS PLENO SOLA REMANS ISSE T ...”

13-14 Cf. La , p. 792. ”.. . Ego me Christo sponsam t r a o id i , ille oulceoo et o ilec tio me a , ab EJUS AMORE NEC BLANOMENTA NEC T0RMENTA ME POTERUNT REVOCARE.”

19-24 The account of the emporor SUMMONING HIS SUBJECTS to offer sa cr ific e to the iools is RELATED IN LA, P. 789-798. ”CUM AUTEM MAXENTIUS IMPERATOR OMNES TAM 0IVITE3 QUAM PAUPERES ao Alexandrian convocarey, ut yoolis ifmolarent, et christianos immolare nolentes PUN I RET.”

22 C0NTRATA- X III CONTRAOA. THE USE OF THE " I ” HERE INDICATES THAT THE SCRIBE WAS OF TUSCAN TRAINING.

28 The word ' gente ' is written in the margin of the manuscript .

30 Mantenente - XI It HAS the meaning of ' subito ' . The manuscript reaos mantente , o m itting THE SIGN OF THE NASAL.

Although the story of C atherine ' s martyroom was popular and hao in spired much mediaeval 343

ICONOGRAPNY OUR HYMN ENOS WITHOUT T E LLING US ANYTHING OF HER SUFFERING AND DEATH. THIS CAUSES THE LAUDA TO HAVE SOMETHING OF AN INTERRUFTEO ANO UNFINISHED QUALITY. Lauda XVI I MS 38v-39v 344 L i uzz i , 326-329

Refrain • A 11____ * I

t it ="-fe='z^ rJ^g3= T T pec- ca- t r i - ce no- mi- na- ta,

e- na a- ma-

S tro p h e •

Ma- gda- Ie- na ' de- eta ste- sti

; _____ ; j ; ______■ ■ ■ ’

I dal ca- stel nel qua I na- see- sti:

* *1 * ■ • • ■ *« a t-J------1— 0 ------1 — p i : = f - ::: f E - = ...

I 1 1 ^ ■ Mar- ta per so- ro- re^n- ve- sti

i \ •»i r% i v 1 I -r :-i.kfe= 3=j nel van- ge I i o ^a - sa i lo- da- ta .

M B Ma « l 1 c o n t a i n s th is l a u d a with a oifferent helody. The poetry a l o n e i s found i n Ma g l 2 , F io r • * Ars .« and Aret . There is an erasure on the word Nohinata , Although partially v is ib l e THE NOTE HAS NOT BEEN TRANSCRIBED HERE SINCE IT DOES NOT OCCUR IN THE ANALOGOUS PHRASE ON THE FOURTH SYSTEM. IN THE FIFTH SYSTEM THE SCRIBE FORGOT TO COPY THE CLEF ANO BEOAN TO RECORD THE HELODY A THIRD TOO LOW, IT HAS BEEN ERASED AND CORRECTEO, 345

38v Peccotrice nominoto, Modoleno do Dio omoto.

Mogdoleno decto stesti* dot costei neI quo I noscesti: 39)1 Morto per sorore/ovesti* 5 nel vongelio osai lodoto.

Lo59oro fo tuo frate llo , sonfo, iusto, buono e be No; Cristo amd senga ribello* poi k’a lui fosti tornoto. 10

Fosti pieno de peccato;* gisti o Cristo re beoto: nel convito M a* trovoto, de Symon ke t'd sprescioto.

Andosti dentro cum timore; 15 plangesti cum gram dolore; oosciost’ i piei cum grond'amore per la gratia k’ii trovato

39v In te i flume deventoto* per lovor lo tuo peccoto, 20 scudo soldo I'i i trovato de tutto cid ke se' ocusota.

Font'& a ter per ben lovore, padre soncto a perdonore, omico soldo o disponsore,* 25 ne lo vito k'di trovoto.

3 STESTO - MS RE AOS ITECTI

5 Cf . Lure 10:38-39

7-8 John 11:1-2 Mary is here id e n t if ie d as the sister of Lazarus ano Martha , ano as the same Mary who anointed Ch r is t , in identifying her w ith the penitent the lauda is follow­ ing THE common western traoition in contrast to the eastern church which venerates her as another d is c ip l e , g iv in g her the t it l e " apostola apostolorum ."

11-18 Lure: 7:36-38; Matt 26:6; and Mark 14x3

19 IN TE i FIUME . . . . MS REAOS " lllllE * BUT MAZZ EOITS IT " 8 * INTE®..." - BETT NEAOS "LinTEA," REMEMBERING THAT MARY HAD WASHED CHRIST'S FEET WITH HER TEARS ANO DRIED THEM WITH HER HAIR* MS ARET REAOS "EN TE E FIUME," AND IS THE SOURCE OF THE CORRECTION

26 OlSPONSARE - X IV , 01SPOSARE - 'SPOSARE,' - TO ESPOUSE Magdalene, colled o sinner, (you ore) beloved fef God.

You were colled Mogdalene from the country in which you were born. You had o sister Martha, who is highly proised in the Gospel.

Lozarus was your brother, holy, just, good and handsome. He loved Christ without rebellion, since you returned to him.

You were full of sin; you went to find Christ, the blessed king. You found him at the banquet of Simon who disdained you.

You went inside with feor. You wept with great sadness and you kissed (his) feet with love for the grace you have found.

In you (it) has become a river to wash away your sin. You found in nim a stout shield against all of which you were accused.

He is for you a fount to wash well, a holy fatner to pardon you, a constant friend to espouse you in the life which you have found. Lauda XXXVI MS 90v-93r 347 Liuzzi, 417-421

Refrain

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V A % 1____ Jl j J J J.1 ■ J.■ j J i W F f e suo di- ri- cto' ser- v 1 re .

The hymn is not founo in any other sources . The clef is m is s io n from the fourtn system of THE HANUSCRIFT BUT IS HERE DETERMINED FROM THE CU3T0S AT THE ENO OF TNE TNIRO SYSTEM. TNERE IS NO NOTE FOR TNE SYLLABLE "LIO* OF VILLIO BUT IT IS OERIVEN BY ANALOGY WITH THE SAME MELODY IN THE FOIRTH SYSTEM. Louder vo11io per omore 10 primer frote minore.

Son Froncesco, amor dilecto, Christo t ’e nel suo cospecto perhd ke fosti/ben perfect© e suo diricto servidore.

Tutto el mondo obondonosti, noveI I ' ordine plontosti, pace in terra onnuntiasti como fece el selvotore.

In tutte coso lo seguisti, vita d’opostoli focesti, multa aente convertisti o ludare el suo gran nome.

Tre ordine plantosti,* 11 minori in prime vocesti, e puoi li donni reservosti, li continenti a perfectione./

S' fosti pieno de caritode* ke insignov? a I'onimoli come dovessaro loudore lo suo dolge creotore.

Tonto fosti omico a Deo ke le oestie t'ubidi&no; I ’ ucielli in mono a te veni&no* a udire lo tuo sermone.

Per lo mondo gisti predicondo et sempre pace onuntiondo, fede de Cristo confirmondo et confondendo onni errore.

En Sacacinio tu possosti,* senze timore ci predicasti; lo mertirio desiderosti ferveremente per ardore./

Mortlrio esso fu per desiderio,* tonto mortificosti a Deo; nullo mole te sapea reo de petire per lo suo nome. Out of love I wont to proise the firs t frio r minor.

Soint Francis, delightful love, Christ has you before nim end because of that you were completely perfect, and were his honest servant.

You abandoned all the world, you founded a new order, and you announced peace on eertn as did the savior.

In all things you followed him, you lived tne life of an apostle, you converted many people to the praise of his great name.

Three orders you established. The minors you colled firs t, and then the gentlemen you set opart, the truly continent ones.

You were so full of charity that you taught the animals how tney hod to praise their sweet creator.

You were so much the friend of God that the beasts obeyed you. The birds come into your hands in order to hear your sermon.

You preached throughout the world olwoys announcing peace, and confirming the foith of Christ and confounding every error.

You passed among the Saracens. Without fear you preached there. You desired martyrdom very fervently, out of ardor.

You were a martyr of desire, so much you were mortified for God. No evil Knew you guilty, so os to suffer for his name. 350

Oe I suo omore stavi iocundo, dispregovi tutto*I mondo; 40 d' o nocte ondavl etorno per trovore lo tuo seonore.

Per le selve el g'o corendo, ad a Ita voce iva dicendo: "0 sire, s' a te m'erendo 45 k'io languesco del tuo amore."

Del suo omore tanto languisti, en croce ell'ari lo vedesti:* 92v culli suoi si gni/remoni st i , tonto el portosti in core. 50

S'* prendesti Cristo a I ’emo ke pioghe en te si renovoro; s 'llo tuo corpo si trovfiro s' commo I ’ eboe el solvotore.

En vita tua sentificosti* 55 molti miroculi mostrosti; quendo del mondo treposesti Le] in cielo n’oporva grande splendore.

CeIi e troni se ne mutSro per I ’o lti segni ke in te trovdro: 60 tutto lo corte oporechidro per te recevor ad onore.

Cristo culli ange I i tutti quonti 93* e j lo/s ua mod re co I 11 soncti venoro per te con dolgi conti 65 menortene cun grande nonore.

Focesti lo corte rolegrere, dolcissimi versi contore, devante I * a I to moiestode reddendo laude cun amore. 70

15 Clear allusion to the three orders ,

19-24 Alludes to Francis* love for and power over animals. Cf. Cel. I* xxvm, xxix; Bon. Leo M, V t ll, RELATES the story of the wolf of Gubbiq , ( i l l ; the incioent of the little LAMB. ( 6 ) ; THE PREACHING TO THE BIRDS (8 )} TO THE FISH (8 ); SPEN VlT, CXI 11, THE LARRS, ANO CXIV, THE INCIDENT OF HIS SPECIAL CONCERN FOR THE ANIMALS ON CHRISTMAS DAY; ACTUS FlOR. . X V I, SILENCING THE BIRDS, XXI, TAMING THE WOLF

25 The preaching to the biros , C f. Boh. Leg. M ., v i i i , 8; Cel j., xxi and Actus Fior., x v i.

31-38 Recounts Francis' desire for martyrdom, and the incioent of his sojourn among the Saracens. Cf. Cel. xx; 8on Leg M., ix, 4-9; ano Actus Fior., xxiv. 351

His love mode you merry. 40 You despised all the world and day and night you went around in order to find your Lord.

Through the woods you went searching, colling out and saying: 45 "0 Lord, I surrender myself to you because I languish in your love.'1

You languished so much in his love that you saw him in ecstasy on the cross. You remained (here) with his marks, 50 so much you already bore them in your heart

You took Christ to love so much that the wounds were renewed In you. And they were found in your body just os our savior hod them.

55 You were sanctified in your life and you wrought many miracles. When you passed from this world great splendor oppeored in heaven.

Skies and thrones were changed for 60 the high marks they found in you. They prepared all the court in order to receive you in honor.

Christ with the angels, and his mother with all the saints 65 came for you with sweet songs to lead you there with great honor.

You made the court merry, singing the sweetest verses before the high majesty, 70 rendering laude with love.

35 MS HEADS 'MART I H10 ESSO FA'

48 MS HAS 'EN CROCE E ll'A R I 10 VEOESTl'

51 MS CONTAINS 'F I ' FOR 'S i'

55 flEFERS TO HIS MIRACLES, Cf . CeI I. Ill» CH. XXIII, XXIV; BON LE6 M.. X*» 7. Lauda XXXVI I MS 931— 96 r 352 liu zzi, 422-426 R efrain 11 s ,1 v. 1.1 1 ±

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Si-a lau- da- +0 san Fran- ce- sco, Sju . 1 iv a (v . « 1 — — f*------p p — 7 ~ f r ~ j ' 1 f # = £ = ------*<=;---- r 0 * t r f ' J J w ..... 'I — — 1— L^>— T...... quel [li] c ’ a- pai— ve^en cro- ce f i - xo

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e pie- ghe fo si 9 .1.1

em- per— cio i< ’ a— ve—

0 .

s c r1- pto in co- u su-o a- mo- re.

Tne hynn appears in Magi '! while Mss Magl2 , A r s . , F ior . , and Aret . contain the poetry . Verses 8 to 43 are the sane which appear as the interpolation in Lauda X V l l l , C f. The naruscript contains no note for the syllable " l i * of "Qu e l l i ." Sio laudato san Francesco,* q u e lfli] c'operve en croce fixo como redemptore./

A Cristo fo configuroto, de la pioghe fo signoto, empercid k’oveo portato scripto in core lu suo amore/

Molti messi ovea mandati 1a divina nnaiestade e ie gente predicate como dicono le scripture.

Entra li quali non fo trovoto nuI Io pri v i I eg i oto d'orme nove coredoto cavalier! a tont’onore.

A lo Verna, a I monte soncto, stovo'l soncto cun gran pionto, lo quo I pionto li torna in canto el oeropnyn consolotore.

Per divino spiramento fo lli do/to intendimento de solvere do perdemento molti k'eron peccotori .

Quondo fo do Dio mondoto son Francesco lo beoto, lo mondo k'ero entenebroto recevette grande splendore.

A laude de lo trinitode* ordine tre do IuI plontote per lo mondo delotote fano fructo cun a lore.

Li povari frati minori de Cristo sono seguitatore de lo gente son doctor! predicondo sengo errore./

L’oltre sono le pretiose morgarite gretiose, vergeni* donne renchiuse per amore del soivotore. 3e praised, Saint Francis, who appeared to us crucified like our redeemer.

He was configured to Christ, and-marked with his wounds, because he had born his love written in his heart.

Many messengers the divine majesty had sent, to preach to the people as the Scripture says.

Among them was not found any such prfvi ledged knight equipped with new weapons for such an honor (as this).

At La Verna, the holy mountain the saint remained weeping much; (this) weeping the seraphic counselor turned to song.

By divine inspiration he was given to understand how to save from perdition the many who were sinners.

When he was sent from God, that blessed Saint Francis, the world, which was in darkness received a greet light.

To the praise of the Trinity three orders were founded by him Throughout the world they grew and (always) bore fragrant fru it

The poor Friars Minor ere followers of Christ, and to a I I men teachers, preaching without error.

The others are the precious and gracious pearls, the virgin ladies cloistered for the love of the savior. 355

E li froti continenti 40 coniugoti penitenti stando a I mondo* sontamente per servire a I creetore.

San Francesco glorioso, tutto se* desideroso; 45 de Dio fosti copioso amoroso cun do^ore.

Per la [tue] vi rtude sancto a Dio data tutta quanta, uesta dolge laude canto 50 3I te, Francesco, franco core./ 96v [A]ngelo per puritade, apostolo per povertade, martiro per volutade, fosti per lo grand'ardore. 55

Mostcd la tua sanctitade et la pura fidelitade I'ucelli da te predicote* stando queti et secure.

Penitentio predicesti, 60 novo regulo portosti, lo possione renoveI Ia s ti, cloro stello de I'olbore.

Molti enferme tu sonosti,* cieki et rotrocti tu seno.sti, 65 morti piu resuscitosti dond’o lor vit* et vigore./

96* E in terra e in more et in onne loto soncto se* vero et provoto;* lo tuo nome & invoceto 70 senita d'ogne beldore.

Donne, padre,en donomento* lo tuo ricordomento, ke lo nostro intendemento te seguisco, guidotore. 75 And the continent brothers, and the married penitents, being saintly in the world in order to serve the creator.

Glorious Saint Francis, you are all desirous; You are fille d with God and lovable with sweetness.

Because of your holy virtue you give to God everything) this sweet lauda sings of you, Francis, frank heart.

Because of your great ardor you were an angel of purity, an apostle of poverty, and a martyr of desire.

You showed your sanctity and (your) pure fid e lity . You preached to the bi rds (and they were) quiet and secure.

You preached penitence, end brought a new rule. You renewed the passion, clear star of the dawn.

You heeled many sick, and the blind end feeble you cured. Even the dead you raised to life giving them vitality and vigor.

On land, and sea, and everywhere you are proven truly holy* Your name is invoked, the health of every boldness.

Give us, father, a g ift for your remembrance, so tnet our understanding follow you, our leader. 3 57

0 lucerne, sole et luce, tu ne governo e ne conduce: si sio nostro porto et foce* ore, sempre et tutte I'ore.

1-8 Cue ar r efciience to the stigm ata. C f. Cji part i i , chix; EUin Lejs M., xi 11 j Trium Soc* XVI I , AND COM S I OR AT I ONS <£ TH£ HOLY STIGMATA.

28-43 These three strophes contain a most beautiful ano remarkanle allusion to the oivision OF THE ORCER INTO THREE PARTS, EACH OF THEM HERE RECEIVING ONE STROPHE TO DESCRIBE IT. Most notable is the reference to the thiro oroer .

38 MS READS 'VERDONE' WHICH HAS BEEN CHANGED TO 'VERGINE'

42 MS IS MISSING THE SIGN ON THE NASAL OVER 'MONDO'

52 MS READS NGLO FOR 'ANGELO'

58—69 The incident of the preaching to the b ird s. C f. Cel j_, xxi; Bon Leg, M., v i i i , 8; and Actus F io r . , x y i.

64-67 Refers to the miracles of Francis. Cf. Cm. pt h i, ch. xxiv; Bon U6 M., xv, 7; and Actus F io r . , xxv. ~ ""

67 MS reaos 'vie for 'vit'

69 MS READS SANCTO SAVERE ET PROVATO WHICH HAS BEEN CHANGED TO "SANCTO SE' VERO ET PROVATO- AS IT READS IN MS ARS,

72-75 The reference to Francis here as 'padre' might inoicate that the hymn belonged to a terTmry organization . Certainly is is of Franciscan o r ig in .

78 FOCE - HERE HAS BEEN TRANSLATED FREELY. LITERALLY IT WOULO READ "MOUTH*. 3 58

0 lamp, sun, and light, you govern us and lead us. Thus may you be our harbor and source. now, always, end forever. Lauda XXXViI I MS 961— iOOv 359 Liuzzi, 425-433 R efrain 1 "I I____

_ _ j 9 r J _..___ C i a- scun ke fe - de serv^ te

it 0 1 1 . — M h ------i— — -j— ...... 1.. ■■— -*- j— - ■ :"'Jh------J—J------~aJ------t y j — " '" 1 ' ^ ...... ve- gn*a lau- dar so- ven- te * y 1 * 1 * . 1 1 ^ - -- - -i ...... - - 1

f?' ^ T J j «l • '_JL 1 J '~P * a I— to sant1 An- to- n i- o be- a- to .

Strophe ( It| r «t f-r f jjP Cia- scun lau- da-

1 *K *l\ 1 * 11 ! ■

x I lo de-a de bUOn co- ra- Q'Or

1 . . • «| n 1 , fl? * ______If — 1______I _ _ __ ■fL.--._j-,-. f |T J J-----J J- ■ j , T __ ___ ke de ben fa - re se fo r- ja - re 360

r tut+' or[e] per- re f o r • ma m iv . a a i . %

co- m'e Di-o fa- re hu- ma- gio

n , a »______

r - J F 1------, ------F 4 j i . J . J , J J- JL—^ IC I po- tes- se, d'U- Ms- bo- na fl g i —...... i *■—— ^ ...... *1----- .------l;ft; , i ...... -J: ------__z.

si par- + e, se con- suo- na

i *>,* * , * * * a , ^ ^ * ^ ' f / ' j ^ ■'*r o* • ^

la Ie- g e n - da, la un- de fo na- to.

Music and te x t for th is hymn occur in Magi1, while the te x t alone occurs in Magl2, F io r ., A rs ., and Aret. Formally the lauoa is one of the most balanced and beautiful of the entire manuscript, employing the Cobla Capfinioa. The "do" c le f of the eighth system is in c o rre ct, ano the ninth SYSTEM SHOULD HAVE A *FA* CLEF ON THE SECOND LINE. THE LAST SYSTEM OF THE MANUSCRIPT HAS NO c lef . Corrections are supplied from the custos and from analogy to preceding melody . The " sol" ON THE SECONO THREE NOTE GROUPS OF THE WORO "CORRAGIO* HAS BEEN ERASEO BUT IS SUPPLIED IN THIS TRANSCRIPTION ON THE BASIS OF ANALOGY TO THE FIGURES ON "ETAGIO" AND HUMAGIO." Cioscun ke fede sente vegn’a/laudor sovente I'olto sent’Antonio* beeto.

Cioscun laudere et amare lo dea de buon coregio, ke de ben far/s& forgore* volse [ ’n] piccolo* etagio. Tutt'ore pensare formore com'a Dio fare humagio potesse, d’Ulisbono si parte, se consuone* la legendo,/ la unde fo nato.

Lassd richego [e t] grondego k’era de grande valore, e prese asprege ke spregga vonoglori** e baldore: volse bassega k'envega de saIir a grand’a I tore . Per tale via volse gire ad a I to Dio servi re: monoco devenne reguleto.

Facendo vita compita di bon facti ordinati, ebbe audita bondite* ke sette minori -fi~o +1 da gente e/nita fa I I ita fdr morti e dicolleti predicando la croce; udendo quelle voce de martirio fo inamorato.

Fo tale intenga partenga; divenne frote minore, et providenga larghega d’essare predicatore. La miscredenga fellenga confonder* e ogne errore, la Lin] terra pagana a la lege* Christiana [volse] innefl] gore* per essore 3 62

Let oil the fo i thfu I frequently come to proise the jo lt e d Soint Anthony.

Everyone of good heort 5 must proise ond love him, who os o lit t le child wonted to force himself to do good, ond olwoys to tnink ond devise how he might do homoge to God. 10 He left Lisbon, there where he wos born— if the legend be true.

He left riches ond grandeur which were of great value 15 ond took on great severity despising vainglory and boldness. Insteod he wonted that humility which aspires to rise to heaven. By such a way he wanted to go 20 in order to serve the high God. (So) he become a regular monk.

Leading a life fille d with many good deeds (it happened that) he heord it proclaimed 25 that seven Friors Minor were struck down by the people, were deod--beheaded (by them), for preaching the cross. Hearing the coll of martyrdom 30 he become enamoured of it .

That in mind— he left; he become o Friar Minor, ond in the generosity of providence, o great preacher 35 to confound unbelief, deciet, failure, ond every error. There in the pagan country he wonted to exo 11 the low of Christ, in order to be tormented. 363

Con quello dissulre compire,* 40 mbsserse, IntrSro in nave; a I nostro sire piacere non fo [a lor grave];/* 98v fallo revenire, currire in Cici lie suave; 45 aportollo in Romagna per fare di lui magna tutta la chiesa [et] grande [il] chiercato.*

Ben fo dirictura e altura avesse in Dio potenge: 50 con omi litade pura, mi sura ebb’e grande obedienga d’amare, dura, osscura; e per forte estinenca tene sempre oculto[ta]* 55 la science presciate s' fine ke de predicare fone* forgato.

Grande lumera e spiera 99* fone a la qente/hum ena, cum pura cniera manera 60 di scientia fontane. Molt'a rivera, [...]* fe* si tornare d'errori qrandi et v?o predicando la qente; archa testementi 65 fo de I ’epostolico chiamato.

In grande amore di core Dio I ’ebbe omn?poten+e, ke*I fece doctore, victore, del faro providente; 70 e die|i kierore splendore de vedere veremente la somma deitede nella grande infertade de la quale passd el g lo rific a to ./ 75

99v Buono commencare sperare fa laude e ’ I la fin ite : perseverare fa dare qioie comp?ute et gradita rosse recreare formare 80 de lui k*d ben servite, cioS bon compimento, lasu en quello convento li uv’5 ciascuno ben meriteto. 364

40 W! th the desire to f u lf ill God’ s plon they moved ond entered o ship To pleose our lord was not difficult for them. Thot desire couses him to run '45 ond return to sweet Sicily. It brought him to Romagna in order to enlorge a ll the church ond do greot things for the clergy

Uprightness and exolted thoughts 50 hod their power in God: In pure humi Iity ond with moderation, he was very obedient to bitterness, hordship and obscur ty . And by a strong abstinence he 55 hod always concealed his knowledge which was so esteemed that he was forced to preach it.

A greot light and sphere was he to the human race, 60 in a pure, clear manner, the fount of knowledge. Many to the bonk(. . . . . ) you brought bock from greot error, going and preaching to the people. 65 You we.re on ark of the testament by (virtue of) the apostolic call.

With a greot love of heart did the omnipotent God hold him, he who made him a victor, a 70 teacher ond a provider of the lighthouse. He gave him greot splendor to see clearly tne high godhead amidst all the qreot in fid e lity through which 75 the glorified one passed here.

With hope he begins a good song ond has finished it: By persevering he causes them to give fu ll and pleasant joy. 80 Moy he be able to recreate ond depict them, the one who hos served well, thot is to soy. May he come to a good end there in thot assembly where each one is meri tori ous . 365

Sempre alegrongo con donga 85 foccio lo padovono, k’e[n] tale orange olegrongo abbe do Dio sovreno; ke dee possonje guordenge di quello humili et piano. 90 Non volse ke follisse di cid ke predisse ke Paduo/ne starebbe [*n] alto stato.*

Preghiom loudondo contando lo sonctissimo Antonio; 95 do Dio pregondo scusando noi a tu tti perdoni, et sempre stondo orondo c'inpetri quel gran dono: 100 di parodiso'l regno, s' ke cioscun sio degno esser cu I lui ocompagnioto .

Sio gloriote laudato I ’oltissimo moiesto; 105 ringrotiato orro[tej, ke del mond'e podesto, de lo beota ornata virgo noto con festo . Lui cum gron/di humi I itango dimendiom perdonango 110 ke ol iudicio sio dal diricto loto. Amen.

3 MS IS HISSING THE SIGN OF THE NASAL OVEN 'ATONIO'.

6 MS READS "SO FORfANE*

7 MS HAS "VOLSE PICCOLO*

11 MS HAS "S0NSUHA" FOR 'CONSUONA'

16 MS RE AOS "V ANA6L0R IRI *

24 MS READS "HANOI TAT A"

36 MS HAS "CONFOROIERO"

38 MS, "ET la lege"

39 ^ m m -im e ', The word "volse" is hissing froh our MS but is sup­ plied FROM MAGL^,

40 COHPIRE - ' COMP I ERE' - TO ACCOHPLISH, FULFILL, COHPLETE

43 MS, NON FO DI LOIT 6DU. THE CORRECTION IS FROH MAZZ.

48 The ehenoation hade here is taken froh MS Magl 2 .

55 MS HAS "OCULTA."

57 MS, "sone" for 'fone'

62 The hanuscript is hutilateo here . I t is likely froh both the . rhyhe and the thought of the poeh that the line should reao 'M o lt'a Porto' I rivera'. “ 366

85 May the Paduans always make joy and dancing, that In such honor he received so much happiness from God; (It ) is power and protection 90 for the humble and the meek He did not want to fai I In that which was fortold, that Padua might remain a high state.

Let us pray, praising by singing 95 to the most high Saint Anthony; by praying God to excuse us and always remaining in prayer, (he) obtains that great g ift for us, the kingdom of paradise, 100 so that each one may be worthy to be accompanied by him.

May the highest majesty be praised and glorified; may he be thanked and honored 105 who is the power of the world, of the blessed adorned one, virgin-born with great feast. And with humi Iity we asn pardon of him, tnat at the judgement we may be on the right hand. Amen.

93 The correction is suggested by Mazz ,

The text of th is hyhn is remarkable for its accurate account of the events of Anthony ' s l i f e . The author betrays a familiarity with the facts about the s a in t . Even more , i t is possible to determine to some extent just which sources were known to h im . At the time the I ollanoists compiled their Vita of St. Anthony for the Acta SS the oldest and most authentic of the legenos of the s a in t ' s l if e had hot yet been discovered . I t was only in 1886 that the C apuchin f r ia r , Hilary of Paris d is ­ covered in h is monastery in Lucerne the ancient copy of what is now known to be the Lesenda Pr im a . or as i t is often calleo , the Vita Antiquissima . I t had been copied IN A WOMAN'S NANO— ACCOROING TO FATHER RAPHAEL HuBER, PROBABLY A POOR CLARE. Cf . S n Anthony o^ Padua , Ooctqr of_ the Universal Church . Milwaukee * Bruce Publ . C o., 1946.) p. 142. The manuscript discovered by Father Hilary containeo also a legend OF THE LIFE OF ST. FRANCIS. BETWEEN THE TWO LEGENDS WAS AN INSCRIPTION IN OLO German declaring that the legend of St . Francis had been transcribed by a certain Elsfeck von Amuert , while that of St. Anthony was copied by a Katherine von PURCHLAUSEN WHO WAS THEN IN HER SIXTY-SEVENTH YEAR. BOTH WORKS WERE FINISHED, SO THE EXPLANATION GOES ON, ON THE EVE OF THE FEAST OF ST. BARTHOLOMEW IN 1337. IT CONCIUOES WITH A LITTLE PRAYER ENDING WITH AN INVOCATION OF FRANCIS ANO CLARE. IT IS ON THIS BASIS TNAT HUBER CLAIMS THE TWO COPYISTS WERE POOR CLARES. CF. CD. C IT ., P. 101. Bcth Vincent of Beauvais ano Julian of Spires draw upon th is olo legend for their works (Speculum His t o r ia l e . and the L ives and L iturgical Off ic e s of St . Francis ano S . Anthony , respectively ) Huber argues that the Legenda would had had to e x is t be 7 ore the YEM Nate OF Ju l ia n ' s death .

The chronicler Polanoino remarks in h is L iber Chronicarum Be fa c t is in Marchia Tarvesina (w ritten arouno 1260) that the s a in t actually live d as he is 367

OEPICTEO IN HIS LEGEN D-MIH I CH PRESUMABLY IS THIS VlTA ANTIQUISSIMA. C f. HUBER, 102 ano 129. The rhythmic office of Julian of Spire was based on this lesend and THAT OFFICE WAS ALREADY IN USE IN 1249. HUBER EXPLAINS THAT THE AUTHOR OF THE LE GENOA WAS UNDOUBTEDLY ASKEO TO WRITE THE WORK SOON AFTER THE SAINT'S CANONIZATION IN 1231. The actual authorship of the work is much debated ano not of much relevance here . For full oiscussion , Cf . , Huber , p . 104-7.

Th is lengthy digression of the early sources for the l if e of Anthony is IS IMPORTANT HERE, FOR OUR LAUOA SHOWS A STRIKING FIDELITY BOTH TO THE CONTENT MATTER ANO TO THt ORDER OF PRESENTATION OB THE FACTS AS THEY ARE UNFOLOED IN THE VlTA ANT I QU ISS IMA. Since the work of Julian of Spires was seemingly indebted to the previously mentioned WORK, IT IS NOT CLEAR WHICH OF THE TWO VERSIONS WAS THE ONE FOLLOWED BY THE POET OF OUR HYMN. For PURPOSES OF COMPARISON THE THREE WILL BE SET UP IN COLUMNS BELOW THE LAUOA ON THE LEFT, THE VlTA ANTIQUISSIMA IN THE CENTER AND THE WORK OF JULIAN ON THE right. The edition of the Vita Antiquissima used for this purpose is that of Kerval ENTITLED SANCTII AhTONII. FOR JULIAN CF., ACTA SS, JUNE I I I , 196-20 9, UNOER THE TITLE Auctqre Anonymo valde anti quo.

Lau de XXXVI11 of the Cortona Vi t a Antiquissima o£ Kerval Julian of Spires Manuscript 91 Ed it io n E d . Acta SS.

10 o'U lisbona se parte Speaks of the saint being born in The incident is related in Note the strange spelling of Lisbon which he obviously never ALMOST IDENTICAL WORDING. L isbon here — ulisbona — SAW SINCE HE SAYS OF IT , "|N "IN EXTREMIS TERRAE FINI­ PROBABLY COPIED FROM THE EXTREMIS MUNDI FINIBUS SlTA. . ." BUS SlTA EST." La tin source . He SPELLS THE WORD ULYXBONA, AND L isbon is spelled here INOULSES IN A LITTLE ETYMOLOGIZ­ Ulysbona . ING.

21 Monaco devenne regulato (27) "SPRETIS MUNDI OBLE CT AT I OH I - (198 - PAR 2) RELATEO BUS, SE TRANSTULIT ET CAHONICI REGU- THE SAME INCIDENT IN LIKE LARIS HABITUM HIMILI DEVOTIONS MANNER. SUSCEPIT.

24 E88E AUOITA B AN DI T A KE SETTE (29) Post haec autem , quum r e l i - (198 - PAR 3) RECOUNTS THE FRATE MINORI DA GENTE ENITA QUIAS SANCTORUM MARTYRUM, FRATRUM STORY OF THE R ETURN OF THE F ALL IT A FOR MORTI E 01 COLL AT I VIDELICET MlNORUM. • • A MAROCCHIO RELICS OF THE FRANCISCAN OE PORT ASSET PROTO-MARTYRS TO COIMBRA where Anthony then was .

32 OlVENNE FRATE MINORE (30) Morabantur autem , eo tempore (198 - par 4) The same non longe a c iv it a t e Co l im b r ia , in events are narrateo here . LOCO QUI SANCTUS A nton IJS APPELLATUR, FRATRES DE OROINE MlNORUM, LITTERAS QUI DEM NESCIENTES, SEO ViRTUTEM L IT - TERAE OPERIBUS EDOCENTES.

30 De m artirio fo inamorato (30) B ibsbxtobe IN CORBB SUOt *0 (198 - PAR 5) SI ME SANCTORUM MARTYRUM SORUM CORONAE PART ICIPEM FORE DIGNARETUR Al t is s im u s ." 3 68

LAUOE XXXVII I OF THlE Cow TOW* Vita Antiquissima of Kewval Julian of Spires MANUSCRIPT 91 Ed itio n Eo. Acta SS.

40 Con quello o is s u ire compiwe, (33) SENSIM 131 tun et pew incwementa (198 - 5) CMQUE NAVIGANOO MlisSARSE, I NTr CRO IN NAVE $ ZELUS FI0EI EUM ENIXIUS PEWUWGEBAT ET AD REDEUMOUN IN H I SPAN I AM AL NOSTWO SI WE PIACEWE MAWTYWI I SITIS IN COROE ILLIUS ACCEWSA ITER ARRIFERET, CONTIGIT UT NON FO A LOW SNAYE; QUIESCEWE EUM NULLATENUS PERMITTEBAT. IN PARTES SlCILIAE VENTIS FALLO REVENIRE, CUWWIWE UNOE FACTUM EST UT, JUXTA PWOMISSUM SATA NON SECUN0E3 FLANTIBUS AP- IN ClCILIA SUAVE) S IPI LICENTIA, TEWWAM SAWWACENOWUM PLICARET ET SIC PENITUS A FESTINU3 ADIWET, SE 0 QUAE SUNT HOM|- PROPOSI TO SE FRAUOATUM C0N- NI $ COGNOSCENS ALTISSIMUS IN FACIEM SPICERET. El WESTITIT AC INTENTATO 6WAVI MONBO PEW TOTUM HIENIS SPATIUM, ACWIUS FLA­ KE LL AVI T. SlCQUE FACTU3 EST.-UT, QUUM OE PWOPOSI TO SUO NIHIL PROS- PENE ACTUM CERNERET, PWO WECUPEWANOA SALTEH CORPORIS SANITATE AD NATALE SOLUM COMPULSUS REMEAWET. QUI, QUUM NAVIGANOO IN FINI0U3 H I SPAN IAE APPLI- CARE DISPONERET, IN SlCILIAE PART I BUS VENTOWUM PULSU SE POSITUM CEREBAT.

46 Apowtollo in Romagna (35) DENIQUE VOCTA IN PARTEM FWATWE (198 - 5) GRATIANO, QUI TUNC IN ROMAN I OLA MINI STEW I UN RRATRUM GEWEBAT, 3UP- I LI CARE COEPIT SERVUS DEI ANTONIUS QUATENU3 SUSCEPTUM SE A MINISTWO GENERALI IN ROHAN I 01 AM DUCERET ET OEOUCTUM 01 SCI PLINAE SPIRITUALS WUDIMENTIS INFORMAWET.

49-75 SCATTEWED THWOUGHOUT (42f f ) All of Chapter X deals with (200-8) Chapter II de­ THIS POWTION OF THE LAUOA Anthony ' s apostolic work as a preacher . scribes HIS STUPENDOUS THENE AWE SEVEWAL ALLUSIONS The entire chapter is en titleo , De GIFT OF PREACHING. TO HIS SUCCESSFUL MINISTWY FAHA EJUS 12 EFFICACI A PR AE DI CTI ON I S AS A PREACHER. Ejus.

65 Ancha TESTAMENTI (42) ALTISSIMUS UT A SUMMO PONTIFICE (200 - 19) Quam profunda ET UN I VERSA OAROINALIUM MULTI TUOI NE VERO DE SACRIS ELOQIIS AR DENT I SS IMA OEVOTIONE AUDI RETUR PRAE- ERUCTARET, SUNMUS IPSE DICATIO ILLIUS. NEHPE ENIM TALIA ET Romae Se d is Pontifee TAM PROFUNDA DE SCRIPTURI3 FACUNOO TESTAPATUR, A QUO VIR ERUCTABAT ELOQUIO UT AB IPSO DOMINO 3ANCTUS Arca Testamenti , PAPA, FAMILIAR I QUA OlAN PRAEROG AT I VA, ■ PECUllAAl QUODAN NOMINE, Arba Testamenti VOCARETUR. VOCASATUR,

IT IS ESPECIALLY SIGNIFICANT THAT NONE OF THE THREE WORKS UNDER CONSIDERATION HERE SPEAK OF THE MOST ACTIVE YEARS OF ANTHONY'S APOSTOLATE IN ANY BUT THE HOST GENERAL TERMS. NOTHING IS SAIO OF HIS VIGOROUS PREACHING IN MANY OF THE CITIES OF NORTHERN ITALY (WITH THE EXCEPTION OF Padda ) and in France . Regarding t h is lacuna Father Huber Raises the question " were these years , for SOME REASON OR OTHER, SEPARATED FROM THE ORIGINAL MANUSCRIPT (NOW LOST) SO THAT A> COPYIST WAS NEVER ABt£ TO TRANSCRIBE THEM (iF EVER WRITTEN) OR DIO THE AUTHOR PURPOSELY AVOID WRITIH6 ABOUT THEM BECAUSE, AS SOME CRITICS MAINTAIN (ALTHOUGH FALSELY, IT SEEMS . • • ) , OR SOME MISUNDERSTANDING between Anthony and Brother Elias, who, at the time of our Saint's fervent activities, was vicar- general of the Order, 1221-1227, or because the Legenqa Priha was published just at the time when E lia s was m in is te r g e n e ra l, 1232-12397" Cf. Huber, op. cm;., p. 109. Lauda XXXIX . MS 100v-110v Li uzz i , 434-443

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The lauoa appears in no other manuscript known. The text alone is founo in part in MS A re t. From the standpoint of script this is the most perfect example in the entire manuscript. The arrangement is clear and l e g ib l e , ano there are no mistakes IN THE LAUDA VERSE contained UNDER THE MUSIC. 370

Magdalena degne do loudore, sempre degge Dio per noi pregare.

Bene d degna d'essore loudeta, 101« ke/foe peccatrice nominate: per servire fo ben meritote, 5 I esu Cristo volse sequitare.

Con mo Ita humi litade lo segu'o .et cum perfecta fede senga rio: uando Cristo predicare oud'o, a el suo amore prese ad imflemmere./ 10 ioiv Lo suo peccato pianse* cum do lore e del mondo volse uscire d'errore, et a Cristo cun verace amore in suoi man! si volse commendore.

Molto despreggd la suo grondecge 15 per cid ke se vedeo in tonto oosseggo: lo suo corpo molto lo dispregge, ke non se credea pietd trovare.

Simon phariseo fece convito,* a lesu Cristo fece uno grande convito; 20 angi ke' I mengiare fosse compito, Magdalene andava per cercare/

102 a di Cristo a cui avea lo suo amore dato; et tanto lo cercd in oqne lato ke'n case de Simon I ’abbe trovato: 25 cum timore prese a dubitare.

Tante humilitede in liei obunda* ke a [lo] crimare* prese per vergogne; uando Cristo a mens© se sogiorno, 3erietro* se Mi pose a genukiore. 30 A li piei de Cristo s'imchinbe et molto dolcementele bascidne; de lagrime tu tti li bagnde, colli cepelli presele aschiugore.*/

>02v El phariseo grande invidia avea* 35 di cio k ’a Magdalena for vedee: verso ouelli ke totto sapea con fa Iso pensieri credea parlare. 371

Magdalene, worthy of praise, should always pray to God for us.

She who was celled a sinner is really worthy to be praised. 5 She merited well to serve Jesus Christ whom she wished to follow.

With much humility she followed him, ond with a perfect and guiltless faith. When she heard Christ preaching 10 she become inflamed with his love.

She wept (for) her sins in greot sorrow ond wonted to leave this world of error, ond to go to Christ with true love. She wonted to commend herself into his hands

15 She despised her greatness (because) she could see in herself so much baseness; She disdained her body so much thot she could not hope to find compassion.

Simon the Pharisee hod a banquet, 20 for Christ he held a greot feost:- But before the meal was finished Magdalene went out in search

for Christ to whom she hod given her love; She looked so diligently for him everywhere 25 thot she found him in tne house of Simon. In fear she was seized with doubt.

Humility abounded in her so greatly that she was seized with tears of shame. While Christ remained at the table 30 she knelt ond bent down behind him.

At the feet of Christ she bend down ond (then) very sweetly kissed them; With her tears she botned them ond with her hair she dried them.

35 The pharisee was very jealous at what he sow Magdalene do. With false thoughts he spoke mentally to him who knows all things. 372

"Se quest! d prophets copioso d! scientia non siria coitoso, 40 se sapesse ci& c'd en lie! nascoso, no la dignerebbe de guardare.

se sapesse com'e peccotrice c'ave d'ogne vitio in se radice; poi receve della meretrice 45 tutto suo servitio per ben fare.”/

1 o3b Cristo lo represe et f e I i resposo ”Falso pensiero e in te nascoso; ben cognosco et so ke li e kiuso volonta di vene adoperare. 50

Duo debitori non possono ubedire* a I creditore ke tiene de loro evere: per pietade volse provedere, a ciascuno volse perdonare.

L'un dovea cinquanta veremente, 55 I'a ltro cinquecepto veramente; dimendo te, perke se* presente: quel d pid degno de lui amore?"/

103v "Estimo quello c’o me d paruto: non quel ke p?u picciolo dono e ’ vuto, 60 me oue I I i ke maiure I'd recevuto, quell? d pi u degno de m eritare.”

Cristo li rispose et fe' i vedere: "Bene a I iudicato cum severe, perkd sia dato man avere 65 non dea pero la fede menemere.

Poi ke ne I tuo albergo fui venuto, non me desti bascio nd saluto: ouesta rende tutto lo trib u te;/ 104r de servire non si po satiare." 70

Lo servire face con amore, stave dubitosa cum temore; eve* I core a fflic to de dolore ke suo tempo seppe me I portere. "If this man is a full-fledged prophet he would not be desirous of knowledge. If he knew what is hidden in her he would not condescend to look at her.

If he knew what a sinner she is, and tnat she has the roots of all vice in her, (he would know that) now he receives from a prostitute all her services as good deeds.

Christ answered and reprimanded him: "False thoughts ere hidden in you; I fu lly recognize ond I know that ?n her is enclosed the desire to do well.

Two debtors cannot comply with the creditor who holds their goods. Out of compassion (for them) he wants to provide ond to pardon each of them.

The one really owed fif ty , ond the other octuo I ly five nundred. I ask you, since you are here, which is more worthy of love?"

I judge, os it seemed to me, not thot one who was given the smaller g ift, (but) the one who has received more. Thot one is most worthy of merit."

Christ answered him ond mode him see: "You hove judged with real wisdom; because one is given less it should not, therefore, diminish his fa ith .

Since I came into your house you gave me neither kiss nor greeting. She renders every tribute (to me): She cannot serve me sufficiently."

(Though) she was doubtful out of fear, she renders her service with love. Her heart was a fflic te d with sadness, she i l l knew how to bide her time. 374

Tento S ne I fino amore nascosa* 75 ke gi& unque non cura d'altra cosa; sopra quel tesauro se riposa ke per nol se lessd Incrociare.

S'! fo ferma et forte ne I suo amore 104v c'eve* I core apreso/de I ’erdore; 80 Cristo cognoscendo lo suo fervore con seco la [fe] ce mengiere.

S' ke sua dfscipola la fece, comme la scripture el conta et dice: poi rimase apostola in sua vece 85 per lo suo vangelio predicare.

Ben segu'o apostolica vita; in cid fo la sua gratia cumpite: quel la Ke de Cristo fo fiu rita con seco la volse compagnare.* 90

La vergene madre pretiose 105* fo/de Medelene s' emorose, ke con seco a guise de sua sposa ne I suo amore la volse conservare.

Quendo Cristo fo pessioneto,* 95 coIi disci poll era raunate: Maria Magdalena in quello stato I esu Cristo ando a visltare.

Magda lene avea seco portato un onguento [molto] delicoto; 100 unse Tesu Cristo d'ogne lato: Giuda fa Iso prese a mormorare.

Disse: ”Questo & grande perdemento/ 105v ke se fa de questo pretiuso unguento: me I Iio vendare denari trecento, 105 et darlo a li poveri per loro consolere."

Questo fo 'I principio e la cascione perkfe Iuda fece tradiscione, et a guisa d’ un vile schiavone vendeo Cristo e feceio tormentare. 110 So great was the love hidden in her that she no longer cared for anything else She rests over thot treasure who allowed himself to be crucified for us.

She was so firm ond strong in her love thot her heart overflowed with ardor. Christ, recognizing (well) her fervor invited her to eat with him.

Consequently, he mode her his disciple os the Scripture relates and soys: In his stead she remained os on apostle in order to preach the Gospel.

She followed well the apostolic life; (and) in this her grace was perfected: She who was the flower of Christ he wonted to have os a componion.

The precious virgin mother was so enamoured of Magdalene thot she wonted to keep her with her in the manner of o spouse.

When Christ was crucified she was in the company of the apostles: In thot condition, he went to visit Mary Mogdelene.

Magdalene hod brought with her a very delicate ointment; (ond) she anointed Christ on every side: Deceitful Judas began to murmur.

He said: "This is a greot waste, what she does with this precious ointment. It is better to sell it for three hundred denarii ond give it for relief of the poor

This was the beginning ond the reason why Judos made his betrayal, ond sold Jesus like an object stove, ond caused him to be tortured. 376

Era preso de quello unguento ke Magdalena fece cum giachimenfo.* Cristo soffirio per not tormento 106ft et mono in croce per no i/r i comparare .

Puo? ke Cristo fue sepelito,* 115 Magdalene, c'aveeM cor ferito del dolore ke Cristo evee petito, unqua non potea requiare.

Colle Maria ando a lo sepulcro ove lesu Cristo era sepulto, 120 con unguento pretioso molto perle sue piaghe ilgnare et curare.

Quando guerdBro verso*I monumento, viddaro I'angelo chiero pi 0. k * argento, 107v und*ell ebbaro/grande pavento. 125 L*angelo prese a loro a fevellere:

"Di^niente giB non dubite[te];* lesu Cristo ke voi domendate, suscitat'B per certo lo sepiete, et io so* qui per cid denuntiare." 130

Unde grande conforto a lor fo dato quando viddaro lo lapide levato: cio ke I'angelo B dinuntieto, perke morto lo credean trovere.

Sola se part'o la Magdalena 135 107ft quel la k'era del suo amore s'*/piena: s' la strenge cum forte catena, ke* I suo core non potea passare.

Del suo amore andava cercendo et tuttora gia piengendo e lagrimando; 140 de lesu andava dimendando* kiunque per via potea trovere.

Poi ke Cristo fo resurrexito* a I tergo die, st come avete udito, a la Magdalena fo apparito 145 in un orto, per lie? consolare./ 3 77

He was preoccupied with that anointing which Magdalene made with such prodigality. Christ suffered for us torment(f ond death on tne cross to ransom us.

115 Then when Christ was buried Magdalene's heart was so wounded by the sorrow which Christ had suffered tnat she could nevermore find peace.

With the two Marys she went to the 120 sepulchre where Jesus was buried, with much precious ointment to anoint and core for his wounds.

When they looked towards the monument, they sow the angel brighter than silver, 125 whereupon they were very much afraid. The angel began to speok to them.

"Do not doubt anything anymore. Christ Jesus, whom you seek is risen. You must certainly know 130 it, ond I am here to announce i t .

It was a greot comfort to them when they sow the stone token owoy; (ond when they heard) whot the angel hod announced, for they believed him to be dead.

135 Magdalene deported alone, she whose heart was so fu ll of love: With strong chains (sorrow) bound her so tightly thot her heart could not beat.

She went searching for her love, 140 weeping ond crying all the time. She went asking for Jesus, of everyone she met along the way.

Inasmuch os Christ hod arisen on the third day, os you have 145 heard, he appeared to Magdalene in the garden to console her. 378

108 R Quando venne el die de I ’ oscensione Cristo s' li fece promisslone de lo suo oltissimo moscione; in vita eterno semprs deo regnare, 150

Magdalene s' fo dipartite* sengo olcuno retegno de suo vita: quasi com'a guiso di remita ne I deserto ondd ad obi tore.

lunqo tempo stecte in gran torment© 155 a I freddo et a I caldo et a I vento; g ii non li rimosi ventimento, in pace volse to I peno portare.

Non poreo creature humane; tutto era pi lose commo lano, 1 60 et gioceo pur en terra piano: oltro olbergo gii non fece fore.

Andava poscendo per !a land©* k& id non ovea oltro vivondo: per misericordio Dio li mendo* 165 ongelico cibo per gustore.

Che sabboto do vespero innonti, per li tempi c1i sofferti tonti, li onge I i la portevono cum gran conti a sentire lo ciolge* g lo riare./ 170

108V Fin a lunid' ke1I sole nosce de quello cibo goudioso posce: [kej benedecto lesu ke noi s' losce cosi dolge fructo sovorore.

Molto fo de grande obstinentio 175 ke trento anni fece penitengio; contra 11 v itii mise suo potenga, nullo inver lie! potere* durore.

Ristori lo suo correct?one cum ieiunio et oratione; 180 a questo per asprectione 109n privilegio li de’/de vergenitode. When the doy of the ascension came Christ mode her a promise of his highest mansion; 150 In eternal life she would reign.

So Magdalene deported without retaining anything of her (post) life : Almost in the manner of a hermit she went to the desert to live.

155 ited by the cold and the hea

In peace sfie wonted to bear tlie pain.

She did not seem like a human being; 160 She was all covered with hair like wool, end lay on the earthen floor, for she built no other lodging.

She went browsing through the land because she hod not other food. 165 Out of his mercy God sent ner angelic food for her to taste.

(From) Sunday after vespers, for the time she hod suffered so much, the angels, with sweet songs, brought 170 her to hear the sweetness of glory.

Until Monday at the sunrise she eats thot joyous food (which) the blessed Jesus has left for us to taste such sweet fr u it.

175 She practiced greot abstinence ond for thirty years did penance; against her vices she put her strength, (and) nothing could prevail against her

She refreshed her purity with prayer ond fosting: Because of this severity she was given the privilege of virginity. 380

S' ke fo ben purificato in se ogne vitio de peccato: tutto li era primo perdonoto 185 da cului cui e la terra e 'l mare.

S' como da Dio fo mandato un omo c’avea ordene sacrato; a Dio era renduto et commendato:* trov& la Magdalena cus' stare. 190

"Sconiuro te per Dio et s' te dico,* si tu se* phantasma o nimico, ke tu te parti et non stea pi u con meco;/ 109v [ . . . . 3 degime par I a re.

Per lo nome della donna mia* 195 non te vo I Iio dire k*io sie: Maria femena cum tanta vi Mania Magdalena mi sol Mono ki amore.

Prego te per Dio k*e mi venisti ke tu m’erechi el corpo e * I sangue de Cristo, 200 e'I Iibro de la fede ke credesti e la stola ke lessd la medre."

"Soro mie, tu se' pres* a I porto 11 Or di/gustare suave cum diporto, et io si t ’areco quello conforto 205 ke' I tuo core i preso a desiare.*'

In suo mano fo cofess*a ttanto, et con molte logrime de pianto puo* receve ?I corpo e* I sangue sancto; ollor a fine non die pi 5 demorare. 210

De [la ] Magdalene pongo fine k*e fuore del deserto et de la spine, nella eternale gloria senga fine, et per restoro d’ogne suo penare./

110v A Verdelai* fo'I suo corpo portato; * 215 ine fone composto e consacrato. lesu consento, k*e signor beoto, ben fin ire ke fe* questo trovere. 381

Thus every vice of sin was really purified in her. 185 All was forgiven her immediately by him whose are the lend and sea.

Thus was sent from God a man who hod holy orders; he gave and committed himself to 190 God, (and) found Magdalene there.

"I beq of you for God’ s soke, and I ask you if you ore on enemy or a ghost; go away and do not remain with me. You must tell me (th is ).

195 In the nome of my lady I do not wont to teI I you who I am: Mary, the woman of great sinj they usually coll me Magdalene.

I beg you. who hove come to me from God, 200 that you bring me the body and blood of Christ, and the book of the faith which you believed and the stole which nis mother le f t .”

"My sister, you ore near to that port (where) you (w ill) taste sweet consolation, 205 and so 1 bring to you that comfort which your heort so desires."

In his hends she confessed to much and wept many, many tears. Then sne receives the holy body and blood. 210 (Now) she no longer hod to dwell here.

I speak no more of Magdalene who is out of the desert and the thorns, and in eternal glory without end. (where) she is reworded for all ner torment.

215 To Verdeloi her body was carried; it was prepared there and consecrated. Jesus, who is our blessed Lord, allowed a happy ending to her who had found him. 3R2

T he t e x t o f t h e l a u d * f o l l o w s th e t r a o i t i o n o f identifying M a r y t h e p e n i t e n t w i t h Ma r y th e s i s t e r o f

M a r t h a a n d L a z a r u s o f Se t h i n y . i t r e p r e s e n t s a c u r io u s b l e n d i n g of f a c t a n o f i c t i o n * a o k e r i n s CLOSELY TO THE GOSPEL ACCOUNTS OF MAOSALENE BUT BEYOND THE POINT OF THE SCRIPTURAL RECORO* THE POET HAD TO SEEK HIS SOURCE ELSEWHERE. HE SEEKS TO HAVE TURNED TO THE LE6EHBA AUREA OF VORAGINE, FOR THE TWO ACCOUNTS RUN PARALLEL IN THEIR VERSION OF THE LIFE OF MA6 0ALENE AFTER THE ASCENSION.

11 PlANSE - 'PIANGE'

19-26 CF . L u ke 7s36

2 7 -3 4 L u ke 7:3 7 -3 8

28 MS READS 'CRIMARE' FOR'LACRIMARE'

30 0ERIETRO - NED USAGE FOR '0 1 DIETRO'

34 JkSCHIUGARE - FOR 'ASCIUGARE' - TO DRY

36-50 L u k e 7:39

51-66 L u k e 7 :4 0 -5 0

75 MS HAS 'NASCOSO'

90 MS REAOS 'CONSECO LACE IMAG IN ARE' - THE CORRECTION IS FROM MAZZ F or r e f e r e n c e t o h e r p r e a c h in g t h e g o s p e l * C f . La* p . 409

NB F r om h e r e t o t h e e n d t h e n u m b e r i n g o f v e r s e s i n t h e L i u z z i transcription i s in c o r r e c t

95 T h e l a s t s y l l a b l e o f ' p a s s i o n a t a ' w a s a o d e d t o th e m a n u s c r ip t l a t e r .

98-115 Matt 26:6-131 Ma r k 14:3-81 John 12:1-8

112 MEANING OF "GIACHIMSNTO" NOT CERTAIN. PERHAPS FROM 'GECCHI RE * - TO DECLARE. IT HAS HERE BEEN TRANSLATED FREELY.

115-143 Ma t t 2 8 :1 -1 2 ; M a r k 1 6 :1 -8 ; L u ke 2 4 :1 -1 2 ; J ohn 2 0 :1 -1 3

127 MS h a s ' d u b i t a ' f o r ' d u b i t a t e '

136 MS r e p e a t s t h e ' s i ' i n th e t u r n i n g of t h e pag e

141 MS r e a d s ' o i m a n o o ' f o r ' d im a n o a n o o '

143-146 JOHN 2 0 :1 4 -1 8

151-158 On Ma g d a l e n e ' s l i f e i n t h e d e s e r t * C f «* k * » p . 413. " i n t e r e a b e a t a Ma r i a M a g d a l e n a sup e r n a e CONTEMPLATI ONI S AVIOA ASPERRIMUM EREMUH PETIIT ET IN LOCOANGELICIS MAN I BUSPRAEPARAT0 PER XXX ANNOS INCOGNITA MANS IT ."

163 LANDA - X III - FOR UNCULTIVATED LANO

163-164 On Ma g d a l e n e b r o w s in g f o r h e r f o o d * c f . * ^ a . p . 413 " in q u o q u i d e m l o c o n e c aqu a r u m flu e n t a NEC ARHORUM NEC HERBARUM ERANT SOLATIA, UT EX HOC MAN IFESTARETUR* QUODREOEMTOR NOSTER IPSAM NON TERRENIS REFECT I ON I BUS* SED TANTUM COELESTIBUS EPULIS OISPOSUERAT SATIARE."

165-174 On the h e a v e n ly food which was brought to Ma g d alen e . Cf . * U . p . 413 "Q u a l ib e t a utem d ie SEPTEM HORIS BANONICIS AB ANGEL IS IN AETHERA ELEVABANTUR ET COLESTIUM AGMINUM GLORIOSOS CONCENTUS ETIAM CORPORALIBUS AURIBUS AIOIEBAT* UNOE DIEBUS SINGULIS HIS SUAVIS3IMIS OAPIBUS SATIATA ET INDE PER EOSDEM ANGELOS AD LOCUM PROPRIUM REVOCATA CORPORALIBUS ALIMENTIS NULLATENUS INDIGEBAT."

170 MS READS 'DONCORE' FOR 'DOLCE'

189 MS READS *ERRA NENOUTO ET E COMMENDATo'

191-194 HOW GOO SENT A PRIEST TO NER. Cf . LA,?. 413. "DlE IGITUR QUA0AM DOMINUS PRAEDICTI SACERDOTIS OCOLOS APERUIT ET CORPOREIS OCULIS EVIDENTER ADSPEXIT* QUAD TER ANGEL I AO PRAEDICTUM LOCUM* IN QUO BEATA MARIA MORABATUR* DISCEDEBANT ET EAM IN AETHERA SUBLEVABANT ET POST HORAE SPATIUM AO EUNDEM LOCUM CUM DIVINIS LAUDIBUS REVOCABANT." 383

194 Lacuna in the manuscript here

196-206 The conversation between Magdalene and the priest . C f., La, p. 413ff. "I nvocato ISITUR SALVATOR IS NOMINE EXCLAHAVIT: ADJURO TE PER DOMINUM, UT, SI HOMO ES VEL ALIQUA RATIONAL IS CREATURA, QUAE IN ILLA SPELUNCA HABITAS, MIHI RESPONDEAS ET TUI EOISSERAS VERITATEM. CUMQUE HOC TERTIO REPETIISSET, BEATA MARIA MAGDALENA El RESPONOITS ACCEDE PROP I US ET OMNIUM, QUAE DESIDERAT ANIMA TUA, SCIRE POTERIS VER I TATEM. CUMQUE ILLE TREMENS USQUE AO ME DI I SPATII TERMINUM APPROPINQUASSET, AIT AD ftIM MEMINISTI EX EVANGEL 10 de Maria illa famosa peccatrice , quae pedes salvatoris Lacrymis lavit , capillis tersit ET SUORUM DELICTORUM VENIAM PROMERUIT? QUI S ACER DOS! MEMINI ET PLUS QUAM TRIGINTA ANNORUH EVOLATA SUNT CURRICULA, QUOD HOC FACTUM ETI AM SANCTA CREDIT ET CONFITETUR ECCLESIA. E go, INQUIT, SUM ILLA, QUAE PER TRIGINTA ANNORUM SPATIUM OMNIBUS HOMINIBUS IGNOTA PERANSI ET SICUT TIBI HER I CERNERE FERHISSUM EST, SlC SINGULIS DIEBUS ANGELICIS MAN I BUS IN AETHERA SUBLEVATA COELESTIUM AGMINUM OULCISSIMAM JUBILATIOMEM SEPTENIS VICI BUS PER SINSULOS DIES CORPOREIS AURIBUS AUOIRE PROMERUI."

215 Verdelai - This undoubtedly means vezelay , which at this time was a very famous pilgrimage CENTER TO WHICH LAR6E NUMBERS WERE ATTRACTEO BY THE FACT THAT THE BONES OF MAGDALENE WERE REPUTED TO HAVE BEEN TAKEN THERE* Lauda XL • 110 v-11 4 v 384 Li uzzI, 444-447

Refrain a h a , *i n , *i «i niv ^

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T I I ------—T per I * a— ni- me re- ce- per de la gen- +e .

T h i s laud * is sot founo in any of the manuscnifts collated. The present transcription takes ISSUE WITH LlUZZI'S CLAIM THAT THE NYMN IS IN THE FORM OF COBLA CAPFINIDA. THERE IS INSUFFICIENT LIKENESS BETWEEN THE REFRAIN AND THE LAST TWO LINES OF THE STROPHE TO SUBSTANTIATE HIS CLAIMS. 385

L’alto prence archanqelo lucente, 11" sancto Michel, laudi/ciascun scen+e.*

Soven+e lo laudlamo, et ubidenga ciascun li facia cum gram reverenga, 11v k’e l l ’i ministro d e /I'omnipo+enge 5 per I'anime receper* da la gente.

La gen+e cris+iana li e commissa per guardar e+ [per] condur pace'nfra essa; ma la superbie in fra noi si e messa* ke* I suo contrario i venu+o a nien+o. 10

Niente* guasi neI pacificere 112« tant' e/di scordia: vilne perdonare; peri a la fine non pori campare quei ke de pace non s i ra volen+e.

Volente sempr*essendo QueI benigno 15 che In ciel ne combat+e col gram mn I igno ke no I segui de mi Ilenco*(?), fo degno d’aver honor e+ gloria poten+e.

Potentemen+e v it ’i ki servire vi I I'al+o signor e’ n pace sofrire, 20 k*e dal nimico non lassa laidire e+ a la fine lo fa s+are geudente./

H2v Gauden+e s+ar pi cum gram sciguranca chi'n ques+o mondo i pace e+ consoianga; sanc+o Michel I ’ai+a a la bilanga. 25 Folle chi’m sofperbia]* res+a fervente.

2 SCENTE - FOR ' SC I ENTE '

6 RECE PER - FOR ' RICEVERE '

9 MS READS •Nessa" for 'Messa'

11 MS HAS A CAPITAL V INSTEAD OF N ON 'NlENTE'

15 MS IS MISSIN6 THE SI6N OF THE NASAL ON 'SEMPBE',

17 M illenco - This word i s not clear, L i u z z i subgests th a t i t might be meant to ne 'TALENTO'. I t HAS BEEN TRANSLATED THUS IN THIS VERSION,

26 For the word ' soperbia ' the MS has only the ' so' and the ' per b ia ' is added later i n - A VERY SHALL SCRIPT, 386

Let each person praise Saint Michael, the exalted prince, and shining archangel.

Often let us praise him, and let everyone ooey him with great reverence, (for) 5 he is the minister of the omnipotent to receive the souls of the people.

The Christian people are entrusted to him, to guard them and bring peace among them; but the pride among us is so great that his opposition has come to nothing.

Almost nothing (is he able) to reconcile, so great is the discord: He wants to pardon us; but at the end he who w? I I not want peace w ill not be able to live (anymore)

15 Willing always to be that benign one who in heaven fights the deadly one who did not follow him (w illingly), ? He was worthy to have honor and great glory.

20 He who wants to suffer peacefully in order to serve the exalted lord, has a strong life; for he does not let the enemy soil him, and at the end he causes him to be happy.

He can be happy in great security, who 25 has peace and consolation in this world; St. Michael helps him to the balance. Foolish is he wno persists in being proud.

IT IS SIGNIFICANT THAT MICHAEL THE AHCHANGEL WAS PANTICULARLT POPULAR IN THE Ml DOLE AGES AND THAT THE SHRINE OEOICATEO TO HIM ON MOUNT SARGANS WAS A PILGRIMAGE CENTER AT ABOUT THE TINE THAT THE LAUOA WOUL0 HAVE BEEN WRITTEN, IT IS NOTEWORTHY, TOO, THAT MlCHASL WAS ALWAYS HELO IN A SPECIAL PLACE OF HONOR WITHIN THE FRANCISCAN 0R0ER, (CF. WlLLEBROROUS LAMPEN, "DE S. P. Francisci Cultu Angelqrum et Sanctorum," Archiyum Franciscanum Historicum XX, 1927) and was GREATLY L0TI0 BY FRANCIS HIMSELF. YEARLY, BEFORE THE FEAST OF THE GREAT ARCHANGEL, FRANCIS UNDERTOOK A FORTY DAY FAST IN HIS HONOR. IT WAS DURING THE COURSE OF THIS FAST, IN THE YEAR 1225, THAT THE SAINT RECEIVEO THE STIGMATA.

Also, one of the two annual chapters held by the Friars was designated to be convened on MICHAELMAS. Lauda XLI MS 112v-114v Liuzzi, 448-452 337

Refrain • m

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V 9 b *1

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J' : 1 •j,::: ~ frr: J—:. 1 I I cum t i - mor e re- ve- ren- ge, 388

fc *1 fc Jj-j I ^ J L — i l . I.... [}m fc" i-ff: _ ^ J. j r:. j

e- xul- ton- do cum bo!- do- re

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1 1 , 1 1 , V . 1 ■ , % * ______I------1 ,1...... >;______I t=^_ . . : : - ^ E =r: J: zziijzizz f : ■ --fzfy* i y | 1 v—' f I cum gran- dis- si- mo fei— vo- re.

both text ah 0 melody are container in MS M arl1* while the t e x t alone occurs in Marl2* F io r .* Ars. , and Aret. The seventh and eighth ststehs of the manuscript each have two clefs but they ARE MERELY REDUNOANT* NOT CONTRADICTORY* 38?

Faciemo leude a tu tt'i sancti co I la vergene maggiure, 113« de buon/core, cum dol5e cent[i3, per amor del creetore.

Per amor del creetore 5 cum timor e reverenja, exultando cum baldore n 3 v per/di vine provldenga tu tt'i sancti per amore, intendiom cum excellenge 10 de far festa a lor piagenpe cum grandisslmo fervore./

114« Fervent i s simo segnore ke li sancti di rimflammati et de gloria et d'onore 15 tu li Si'n ciel encoroneti, const!tuisti redemptore nei perpetui imperieti, vivendo deificati con teco, a I to*mperadore. 20

Rer f i l i o l , de grande imperio, ke regete tu tto 'I mondo per virtii del gram miaterio de lo s^irito iocundo, a voi si faciam preghero 25 ke mandiete* pace el mondo [entr'a la gente cristiana]* ke non viva in tanto errore./

n4v Tutta gente dican eve a la vergen [sue] medre del sancti, 30 k 'e ll'd ingemgnosa kiave ke li serre tutt; quentis e ll'e porto lor suave, ell'd stella de I'irranti; tutta la celestial corte* 35 la resguerd'a tutte I'ore.

26 MS READS 'MADI ATE' WITHOUT THE SIGN OF THE NASAL.

27 This ertire verse is nissins from the orisihal mahuscript but has been aooeo later ir THE MARGIN. HOWEVER, THE RHYME IS INCORRECT.

35 MS READS 'C0RTE CELESTI ALE* WHICH BREAKS THE RHYME SCHEME. LIUZZI INVERTS THE TWO WORDS.

The o r i g i n o f th e f e a s t of A l l S a i n t s i s o b s c u r e a nd l i t t l e i s kno w n o f i t s introduction i n t o the

Ro m a n c h u r c h . C o p i e s o f Be d e ' s hartyrology d a t in g f r o m t h e e i g h t h c e n t u r y c o n t a i n u n d er N o v e m b e r FIRST THE ENTRY, "NATALE SANCTI CAESARII ET FESTIVITAS OMNIUM SAiiCTORUM. • . * AND IT IS CERTAIN THAT ALCUIN CELEBRAVEC THE FEAST. CF. BUTLER'S LIVES OF THE SAINTS. EDITED AND REVISED BY HERBERT

Th u r s t o n , S . J . and Oo h a l o At t w a t e r . ( n ew Y o r k s P .J . Ke n n e d y a n d S o n s , 1 9 5 6 ), v o l i v , p . 2 3 4 . 390

With a good heort ond sweet songs, let us praise * all the saints, with the supreme virgin.

For the love of the creator, ( prompted by) fear and reverence, (out) with joy end boldness, we intend witn excellence ond through divine providence 10 to moke a feast for the pleasure all the saints, with greatest fervor.

Most fervent lord who Inflamed the saints 15 with glory and honor, you hove crowned them in heaven. You created a redeemer in the everlasting empire to live godlike with 20 you, exalted emperor.

King (and) son of the great empire, you who rule the whole world by virtue of the great mystery of the joyful spirit. 25 Let us pray to you that you send peace to the world (among the Christian people) that they may not live in such error.

Let all mankind soy "hail" to 30 the virgin, mother of the saints, for she is the ingenious key which encloses them ( a ll). She is their sweet harbor, she is the star of travelers. 35 All the celestial court looks at her at all times. L o udo XL I I MS 11 4v-116 v 3?1 L i uzz i , 454-456

Refrain

■JL-J____ .J.1:::. J

San I o- van- n i a 1 mon- d'e na- to:

1 JL X ¥ 1 • O g n ' om a u - o I Dio pi -e - to- so.

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^ - J."3 iman- dd San £a- cha- r i -

oarea i i oO' sova

Th is lauda is not founo in any of the other manuscripts collated . I t is worth noting that THE LAST NOTE OF THE REFRAIN OOES NOT EN0 ON THE TONIC. ALSO THE LAST SYLLABLE OF THE WORO "tOVANNl" HAS HO NOTE. IN THE PRESENT TRANSCRIPTION THIS SYLLABLE HAS BEEN ELIOED WITH THE NEXT WORD. FrOM THIS LAUDA TO THE END OF THE MANUSCRIPT THE STAVES ARE BLACK INSTEAD OF RED AND THE RED VERTICAL LINES OF THE PREVIOUS FOLIOS HO LONGER OCCUR TO SET OFF THE MARGINS. 392

Son lovonni ol mond’S noto: ogn’om loudi Dio pietoso./

115)1 Dio per sua gron cortesio Gobriel cum prophet?a mondo o son ^ocnorio k'ovareo f ilio l grotioso.

Vechio vechio mogle avea; El isobet non doveo over f i l i o l , [onl* d’e? poteo 115v per noturo esser*/ doloroso. 10

DubitS, fo facto muto e ne I noscer fo obsoluto: de spiritu soncto empiuto perfecto delotioso.*

Elisabeth b' ngravidoto, 15 qua I sei meisi* fe* ’ I portato: poi fo Cristo onuntioto do quel angel dignitoso.

Encontenente lo sovrano vergene Mario diono 20 per li monti tost’ondava: ven'ol porto copioso.

Per mlrocol embe pregne I' uno a M altra si viene; 116* en corpo/ovieno li viv'ensegne, 25 cum seluto delectoso.

Quel soluto a lor fo tonto pieno de spiritu soncto ke lohanni neI suo canto exultd, fo gaudioso. 30

ProphetS la vekiorelle k'aveo’n corpo Malta stelle: "Benedicte tu, polgello, piena del sol lumino [so]!"*

9 MS HAS 'DE I POTEA*

10 •E S S E * ' IS NE AALV I LEES I BLE

14 DCLATIOSO - MEANING NOT C LE A N . HAS BEEN TAANSLATEB HERE AS 'OELECTO SO '

16 Me i s i - ' m e s e '

34 T h e u s t s y l l a b l e o f ' l u m i n o s o ' i s mi s s i n g i n t h e M S. 393

5+. John is born into the world. Let every man praise the merciful God.

God in his great kindness sent Gabriel to Saint 5 Zachary wi th the prophecy that he would have a gracious son.

The old man had an old wife. Elizabeth should not have a son. Because of this he could 10 by nature be very sorrowful.

He doubted: He was struck dumb end in the birth he was absolved, by the holy sp irit was fu lfille d (this) perfect delight.

15 Elizabeth became pregnant and carried him six months. Then was Christ announced by that noble angel.

Immediately the sovereign 20 virgin Mary, morning star. went quickly through the hills to that ricn childbirth.

The two pregnant by a miracle - one came to the otner; 25 They had in their bodies the living signs with joyous greetings.

That salutation then was so full of the Holy Spirit that John in his song 30 exulted and was joyous.

The old lady prophesied, she who had in ner body the exalted star, "Blessed are you, virgin, fu ll of the snining sun."

T he l a u d a is r e a l l y a h y m n fo r t h e f e a s t o f t h e V i s i t a t i o n . T h i s i s sionificant , fo r t h e f e a s t WAS INTRODUCED ONLY IN THE THIRTEENTH CENTURY AND ORIGINATED WITH THE FRANCISCANS. THE LAUDA MAY FERHAFS BE ONE OF THE OLDEST HYMNS FOR THAT F E A S T . Lauda XL I I I Mj 1l6r-117v 3

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quan- do Cri— sto cum gran cu- ra

• a . fl • I I £ . ‘ , V , • * - l UL ^ r i r | -h Q -■ t T n -J-J- j a- po- sto- lo te fe ce e pa- sto- re.

The LAUDA OCCURS in Ma g i 1 , and the t e x t alone is found in Magl 2 , F i OR., AND A lls . LlU Z Z I CALLS THE FORM AH AB C»CE BUT THE PRESENT VERSION TAKES ISSUE WITH THIS DESIGNATION ON THE BASIS THAT THERE IS INSUFFICIENT LIKENESS BETWEEN THE TWO "C * MEMBERS; THAT IS, BETWEEN THE FIRST AND THIRD SYSTEMS OF THE STROPHE. Ogn'om cent! novel canto/ a sen lovenni, aulente fio re.

0 lovenni, fresc*aurora, molt'eri ger^one alore quando Cristo cum gran cure epostolo* te fece e pastore./

0 Giovanni, amore d? lecto, Cristo a te se fece lecto quando li dormist'in su I pecto nella cena de I ’amore.

Quando eravate a cena del tradimento era mena: ciascun evee gran pene de te k'er' consoladore.

Facesti vi ta beata cum Giovanni quelle fiate de quel la fonte sacrata ke no I poteri contar core.

De quel ben ke sempre ebunda traiesti manna iocunda: com*I mar qecta fuor I'onda, facesti del grand'ardore ./

S' fortemente parlesti del thesauro ke cercasti, ke null'om cotai pasti trovo de tanto sapore.

Delectoso evangelisto, ke coral* amor fo questo quel te demostro Cristo stando neI crude I dolore!

Lo verita questo dice: 1a sue madre, tu* la fece; a lie* te lassi'n sue vece en sulla cena de la morte.

The MS uses the abbreviation ' apl ' o' for ' apostolo .'

Coral - ' coiiale ' - XI11 had the meaning of ’ from the heart ' Let every men sing a new song to St. John, fragrant flower.

0 John, fresh dawn, you were very young then when Christ with great care made you an apostle and shepherd.

0 John, delightful love, Christ made himself a bed for you when you slept on his breast at the supper of love.

When you were at supper there was fear of treason. Everyone wno wished to comfort you suffered greatly.

Of that sacred fountain wnich no tongue can tell you made life blessed with John that time.

Of that food which abounds you drew joyous manna. As the sea casts out waves so did you (cast out) great fervor.

So forcefully you spoke of the treasure wnich you sought that no man ever found in those meals greet relish.

Joyful evangelist, what affectionate love was this wnich Christ showed to you while suffering so much.

This is the real truth: He made his mother yours. To her he left you in his stead at the supper of death. Lauda XLIV MS 117 v-120v 397 Liuzzi, 259-263

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Th e s a h e m e l o d y o c e u s s m Ma s l 1 b u t w i t h a d i f f e r e n t t e x t 398

Amor dol5e sen 50 pore/ 118(1 se' tu, C isto, per omore.

Amor, seri5« comi 0010090 se' tu podre in sembian 90 , in tr in itd per 0010090 fillio et spiritu regoore./

118 v Tu omore ke coniungi, cui piu omi spesso pungi: omni piogo, poi ke I'ungi, sen9 o unguento foi soldore. 10

Dolce omore, tu se* speme; ke bene ome sempre teme, nosce et cresce del tuo seme ke bon fructo fo gronore.

Amor, tu non obondoni 15 ke t'ofende, s' perdoni e di glorio encoroni* ki si so humi I iore .

Amor, grande, dolc’e fino, 119(1 increato/se' c'vino: 20 tu fai lu sorophyno di tuo glorio inflommore

Cberubin et li oltri cbori, opostoli, gron predicotori, mortiri et confessori, 25 virgene, foi iocundore.

Potriorche et prophete tu li troiesti de lo rete; di te, omor, ov^en gron sete, moi non si credion sotfere. 30

Or son consoloti en tutto de te, geudio cum disducto:* tu se* conto seo^a lucto,* cielo e terra foi cantore./

119v Dolce omore, di te nasce 35 lo speranpo c’ omo posce, unde 0 1 peccotor tu losce pietan 9 a edimendore. A sweet love without eque ! you ore, 0 Christ, worth, of

Love, without beginning, yo. ore like the fother; out of love reigning in the T-inity with the son and the s p irit.

You (ore a) love which u n i t«>, which often wounds hire whom Then you anoint every wound *rj moke it heoI without ointment.

Sweet love, you ore no^e,* he who really loves you elwe,» * (He is) born ond grows fr©» ,o.r which always produces good

Love, you do not abandon the on- who offends you, (but) peroon «' so that you crown him with g'or who knows how to humble h

0 lover, qreot, sweet and f«*r: * you are the divine uncree»*i or+ You cause the seraphim to e inflamed with your 9 lor,.

You moke hoppy the cherubim ond the other choirs; epos t - - great preachers, m ortis, confessors and v i r g i n s .

Patriarchs and prophets v O V drew away from the snare. They experienced great r.* •> you, love ond coutd neve*- re

Now they ore con so ed •> >■ , o . everything, you ‘o✓ with *0 -ac r . You ore a song without mourn'og. you make heaven and ee-th % 'n ..

Sweet love, of you :s b©r«, the hope which nourishes wan. For that reason you bequeath (your) compassion f or the as* 399

A sweet love without equal you are, 0 Christ, worthy of love.

Love, without beginning, you are like the father; out of 5 love reigning in the Trinity with the son and the s p irit.

You (ore o) love which unites, which often wounds him whom he loves: Then you anoint every wound and 10 make it heal without ointment.

Sweet love, you ore hope; he who reolly loves you always fears. (He is) born and grows from your seed which always produces good fr u it.

15 Love, you do not abandon the one who offends you, (but) pardon him so that you crown him with glory who knows how to humble himself.

0 lover, great, sweet and refined, 20 you ore the divine uncreated one: You cause the seraphim to be inflamed with your glory.

You moke happy the cherubim ond the other choirs; apostles, 25 great preachers, martyrs, confessors ond virgins.

Patriarchs ond prophets you drew away from the snare. They experienced great thirst for 30 you, love ond could never be satiated.

Now they ore consoled by you in everything, you joy witn solace. You ore a song witnout mourning, you moke heaven ond earth sing.

35 Sweet love, of you is born the hope wnicn nourishes man. For that reason you bequeath us (your) compassion for the asking. 400

Poi ke'n cielo lo intend!, tu cortese ke t'orendi, tu medesmo s] te spendi, ki te [so]* thesaurigere.

Tu, omore, se* concordio; tu se' pace, non discordio; per la tuo misericordia 45 ne venisti a visitore.

Nello croce lo mostrosti ke per noi t'u m ilio s ti; * •* | • It* • 'f 50

Ki de te, amor, ben penso giemoi non te fori offense; tu se* frutuoso menso ov'i d’ogne gloriore.

Amor doige, tonto n'ome 55 k ’ o lto regno ben ne kiomi, satiando d'ogne fame [to n to ]* s» dolge a gustore.

Amor pien de caritade, tu veroce meiestode, 60 In cui uno dei tode sempre dovem venerore.

Amor, ben fo digno coso ke'n tale emenga delectoso deito facesti/posa 65 sovr1ogn* a Itro d'onorere.

Quelle vergenebeeto poi ke fo inamorato sempre stecte temorata; tu lo voleste obumbrare.

Amor grande fo r mi sura di cui nubia creature poute evere in s£ noturo, di te amor si sa scusore. 401

51 nee in heaven you understand him, 40 you kind one who surrender yourself, you do so much fo r him who Knows now to treasure you.

You, love, ore concord; you are peace, not discord; 45 Out of your mercy you come to v is it us.

You showed it on the cross (when) you humiliated yourself for us. You did not Iook at our ev ils, 50 (but) let yourself be crucified.

He who thinks well of you, love, w !II nevermore offend you. You ore a fruitful table where there is every glory.

55 Swee+ love, you love us so much that you coll us to your kingdom; you satisfy our every hunger, so sweet ore you to taste.

0 love, full of charity, 60 you (ore) true majesty, in whom we must always venerate the godhead.

Love, it surely was a worthy act that in such a delig h tfu l love 65 you mode the godhead repose to honor above any other.

That blessed virgin a fte r she wos enamoured always remained fe a rfu l: 70 You wonted to overshadow her.

Love, great beyond measure, of which no creature con know how to excuse its e lf from loving you. 402

Do lye omore omoroso 75 cum do I core sovoroso, di t ’e Garco* goudioso; sovr'ogn’oltro se' d’amare./

17 MS BEADS ’ E DI CORONE'

32 DI30UCT0 - X III - ' 01500TT0' - HAVING THE MEANING OF FIACEBE, DIFOBTO

33 LllCTO “ FOB 1LU TTO ', MOURNING

42 The w o rd ' s a 1 i s m i s s i n g fr o m th e MS a n d h a s b e e n s u p p l i e d b y Ma z z .

58 MS IS SiSSiNS THE WORD 'TANTO* WHICH LlUZIl SUPPLIES.

77 Gab;o - Cf. Lauoa V||, p. 195 .

121b t o 122v, inclusively a b e b l a n k . Ho w e v e r , t h e p a q e s b e a r f a i n t t r a c e s of v e r y p r i m i t i v e ILLUSTRATIONS, INDICATING THAT THE FOLIOS ARC A PALIMPSEST. THE MUSIC ANO TEXT OF THE LAUDARIO ARE AGAIN RESUMED ON PAGE 123b. 403

75 Sweet loving love, with savory sweetness, because of you Garzo is joyous; You are a love above every other. Lauda XLV MS 1 23 r—1 31 v 404 Liuzzi, 464-474

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T h e l a u o a i s f o u n d i n none o f t h e o t h e r manuscripts c o l l a t e d . I t i s th e f i r s t of tw o l a d d e OBVIOUSLY ADDED TO THE MANUSCRIPT LATER. THE HYMN IS DIFFERENT BOTH IN CNANACTER ANO IN SCRIPT* IT USES A GREGORIAN MELODY WELL RNOWN IN THE REPERTOIRE* THE "PUERI HAEBRAEORUPI*, THROUGHOUT THE HYMN ALL I N I T I A L U T T E R S ARE R E D RATHER THAN ALTERNATING RED ANO BLUE AS IN THE NEST OF THE MANUSCRIPT. THE LAST TWO SYSTEMS OF THE HYMN HAVE NO CLEF AND THERE ARE TWO CUSTOS MARKINGS AT THE END OF THE S IX T H SYSTE M . THE ONE IN O IC A T IN G * L A * IS CORRECT SINCE I T BRINGS THE LAUDA TO REST ON THE FINAL OF THE MOOE.

Be f o r e t h e h y m n t h e r e a r e tw o b l a n k p a b e s a n d a p a r t of t h e in d e x 406

1 23r Benedict! e lloudeti sempre siate a tutte l*ore, sancti apostoli beati servi del nostro segnore.

Sancti apostoli, voi laudamo/ 5 123v de bon core nocte et dia et a voi recomandamo tutta nostra conpagnia. Menteneten* en ta I via ke potiem perseverare 10 a servire ed a laudare Cristo nostro redemptore./

124* Servi foste de t esd Cr isto e sequiste il suo viagio, perr evere quel dolg’equisto 15 lo qua I non trove* paraggio. Tutti cum fermo coragio vo' pregam cum reverenge ke n’aitieti'a 1a sententia* ki non andiemo en quello ardore. 20

Voi chiemem per evocati nocte e di ogni stescione, apostoli glorificati pieni de consoI ation e; per la sancta pessione 25 ke dal mundo receveste, 124* e’ lla sancta gloria/geste• a recevar grand *onore.

Nui evemo firme speranga ke per vostra pregaria 30 Cristo ne dia riposanga cu I I i sancti in compagnie; e la vi rgi ne Maria en presente stie cum vo? a pregare Dio per noi 35 e per ogni peccatore.

Sancto Pietro, Deo t ’ i tnesso ke possa signoriqi [are}, lu suo popolo t*a commesso ki puoi ascioglare e ligare: 40 or te placia perdonare tutto’ I nostro afendemento/ 125* per quello sancto tormento ke patist? per suo amore. 407

Moy the blessed apostles, the servants of our lord, be blessed end praised at all time .

5 Holy apostles, with good heart we praise you night and day and we recommend to you a ll our company. Keep us in sucn a way that we moy persevere and serve and praise Christ our redeemer.

You were servants of Jesus Christ and followed his way (of life), 15 in order to hove that sweet gain lik e unto which no other con be found. We a I I pray to you with strong heart and with reverence, so that you moy aid us, that we go not 20 into thot fire at the judgement.

We coll on you, our advocates night and day and in every season, you glorified apostles full of consolation; 25 By the holy sufferings thot you received from the world, you went to receive blessed and great honor and glory.

We hove a firm hope 30 thot by your prayers Christ moy give us rest together with the saints; and thot the virgin Mary may be present with you 35 to pray to God for us, and for every sinner.

Soint Peter, God chose you to rule as lord over us. and he hos entrusted to you his people 40 whom you con absolve or bind. Now moy i t please you to pordon us a ll our offences, by thot holy torment which you suffered for his love. Per la fede predicare fusti e'I la cruce claveto, gii non ce volest? stare commo Cristo dio beato; 1‘ ’x fustI voItato tuo placemento feci arte morire cum tormento quel la gente pien d'errore.

Sancto Paulo sie laudato ke a Deo te convertisti, da lui fusti illumine to 'lore ke1 I/sentisti; a li sue peravole credesti, comen^asti a predicare, or te piacia I ke no dia deI

Multa gente convertio 1 ‘ ‘ • L "e ta e tornd a ed a sue lege d ir it t e ; quelle gente maledicte per invidia te p?ql$ro, la tua testa decoTl&ro cum grendissimo furore.

Te laudamo tu ttavia sant’Andrea seqnor beato, benedieta' sia la dia ke da Dio fust? kiamanto. Tosto fu sti aparekiato, obedisti I I suo comando, de lui visti predicendo* e mostrando suo valore,

Dai paqani fusti piglato, servo de Dio vera luce, e da loro fusti ligato e moristi in sulla cruce. Ti laudamo ed a Ita voce e pregdnti umilimente ke per noi devotamente preghi Cristo salvatore. For preaching the faith you were nailed to the cross; you did not wont to be (crucified) there as (was) Christ the blessed God; you were turned with your head downward Decouse it was your wish. They caused you to die in great torment, those people fu ll of erro r.

Moy you be proised, Saint Paul, you who were converted to God; you were enlightened byhim at the hour when you heard him. You believed in his parables and you began to preach. Now may it please you to pray to him that he give us his sweetness.

You converted many people by your blessed tongue, and turned (them) to the high God and his true low; Thot cursed people out of - - • - - J (and) with the greatest fury.

We praise you still Saint Andrew, blessed lord. Blessed be the doy when you were called by God. You were prepared and immediately followed his command and you went preaching about him and showing his worth.

By the pagans you were seized, servant of God, the true light; and by them you were bound and you died on the cross. We praise you in a loud voice and humbly beg you that you pray devoutly for us to Christ our savior. AX)

Sancto lacobo benigno 85 126» fig io lo /d e Cebedeo, di virtude ben se' digno frote del fig lo lo de Deo; collo predicare tuo convertisti multa gente, 90 apostolo de Dio fervente, de la fede amaistradore.

Per lo tuo amaistramento li pagani te pigldro, fra lor feciaro statuto 95 ed insieme s’ acorddro: lu tuo capo te mugdro si commo scripto se crede; per6 te kiamam mer^ede l

127« Son lovonni evangelisto te laudamo nocte e die. Nostro segnor lesu Cristo quando' I la croce pendea, la suo modre virgo pie 105 a te I a rocomandone, in tuo guordio la lassone ke I'oitosse ol suo dolore.

Lo tuo corpo delicoto, iusto sancto e beniqno, 110 do lui fo do cielo kiomato en perciS ke n’ era degno de recevare oueI regno duv'§ loco eo olegron 5o; 127» or te piacia/per pietonja 115 d'essar nostro ovocotore.

Sancto Tomosso, a Deo s irv is ti noct'e di ogni stascione, ilia suo morte plongisti cum grande devotione; 120 de la suo resurrectione fortemente dubifasti: fin k'el lato no i cercesti non ne fosti credetore.* Benign Saint James, the son of Zebedee* in virtue you are a really worthy brother of the son of God: By your preaching you converted many people, you fervent apostle of Christ (and) teacher of the fa ith .

Because of your teachin the pagans seized you, among themselves they made a compact and together they agreed: They cut o ff your head; as it is written so we believe. Therefore we ask your mercy so thot you be our helper.

St. John the evangelist we praise you night and day. Our Lord Jesus Christ when he hung upon the cross commended to you his holy virg in mother. In your care he left her, thot you should help her in her sorrow.

Your delicate body, (so) just, holy, and benign, was called to heaven by him because i t was worthy to receive thot kingdom where there is joy and happiness; Now moy it please you out of compassion to be our advocate.

Holy Thomas, you served God night ond day ond at all time; you wept over his death with greot devotion. You doubted hi s resurrection greatly; until you searched nis side you were not a believer. Mo I to gente convertisti o lo soncto fede puro, I'idole coder foceste k*eren poste nelle mura. Un pogon se moss'aloro, del co l/tello te percosse; olor I'onimo se mosse e di Dio prese sentore.

Soncto locobo Alpheo, opostolo glorioso, predicore di Melto Deo* mo I to fosti goloroso; • lu tuo porlore grotioso dei pogoni fe* grande oquisto e tornor o lesu Cristo nostro podre e guidotore.

Mossese cum gron tempest© un pogono agnodioto (?),* d'un bostone su nnello testa fortemente t ’ fc virgoto;* lu tuo corpo dill goto/ cadde morto encontenente: ioO^tolo de Deo servente i

Soncto Filippo bieto, de bon core nu? te laudamo; opostolo da Dio kiemoto o te ne racomondamo; in tuo storio trovomo >er escritto certamente

Per la fede compettisti nott'e d^ ogne stascione, e per esso sufferisti forte pena e passione;/ li pogoni sen90 roscione sullo croce te legfcro: menu e pei tanto tiroro ke moristi inn emerore. 4 13

125 You converted many people to the pure ond holy fo ith ; to idols which hod oeen placed on the wo I I you caused to f o i l . Then o pagan moved, ond with 130 o knife struck you: Then your soul le ft (your body) and went to live with God.

Soint James Alpheus, g iorious opostle, 135 you were very desirous to preach of the high God. Your gracious speech converted many pagans to turn to Jesus Christ 140 our father ond guide.

A pagan in ambush raised a big club ond with a great fury struck you fo rc efu lly on the head. 145 Your delicate body fe I I dead et once: Apostle, servant of God, pray to our creator (for us).

Blessed Soint P h ilip , 150 with qood heart we praise you; apostle called by God, to you we recommend ourselves; in your story we fin d it truly written that 155 you mode great conversions omong the pagan people.

You fought for the fo ith . niqht ond day ond at all time; and you suffered greot pain 160 ond torment for i t . Wi thout reason the pagans tied you to the cross: They stretched out your hands ond feet so thot you died in bitterness. 4 14

Ti laudamo, sancto Metheo, 165 en fra li e lt r i avenge I i s 11 : * de Cristo figlolo de Oeo mu 11’ evangeIi s' fe c e s ti; cu I la tua manu s c riv is ti le sua sancta passions, 170 la qua I d£ compuntione ad ogne suo servidore.

Oe lo fide predicavi ai pogani conforto: 129* uando la misse/cantavi 175 e coltello fust? morto. Or3 n'eiut’a quello porto ke donnet? non siamo, a te ne rocomandomo ke sia nostro defensore . 180

M i s & r sen Bartolomeo, senpre te volem laudare: per omore de I* a I to Deo te lossasti scortecare. Non te potero turbore, 185 apostolo di Deo beato; da lor fusti decolleto cum grandissimo rumore.

Per la tua morte dog lose lesi) Cristo s' t*e data 190 130s quelle gloria/geudioso ki avea desiderato. L’enima tuo glorificoto a tuttore sta presente innont? i I suo viso plagente* 195 a vedere lu suo splendors.

San Simone iusto e sonto dinonti'o Dio glorificoto, te laudamo cum dulce canto, sancto apostolo beato. 200 Tu ondasti in omni loto predicendo per lo mondo, I*idole caciando a fundo, a lor fecendo d is in o re ./ We praise you Soint Matthew among the other evangelists: Thus you wrote many Gospels of Christ the Son of Gcd; With your hand you wrote his holy passion which gives compunction to each of his servants.

You preached the comfort of the fa ith to the pagans: Whi le you sang the mass you were killed with a knife. Now help us to thot port thot we be not domned. We recommend ourselves to you thot you be our defender.

Soint Bartholomew, Sir, we always wont to proise (you) Out of love fo r the high God you let yourself be flayed. They could not disturb you, blessed apostle of God; You were beheaded by them with the greatest clamor.

For your sorrowful death Jesus Christ thus gave you thot joyous glory which he nod desired. lo rifie d soul is times present before his appealing face to gaze at his splendor.

Saint Simon, just and holy, ond glorified before God, we proise you with sweet song holy end blessed apostle. You went every place preaching throughout the world casting down idols and making them dishonored. 416

130v Insieme se concordero 205 quei pogoni ognodioti quotro ©guti oporechidro lungi e grossi e smisuroti;* menu e piei.te fudro clovati sullo croce strectomenfe, 210 lesu Cristo omnspotente si fo tuo consolotore.

Sonto opostolo Todeo, te loudemo dtvotamente; I udo fu lu nume tuo, 215 ben sapem veracamente ke per quel folso freudulente

] ‘ fusti kiomato Tadeo/ 131« do ogne predicotore. 220

Senpre v is ti predicondo per la fide orditomente, la scripture demostrondo enfro lo pogono gente; do lor fusti certomente 225 preso e fe rito e morto: prega Dio nostro conforto ke ne sio predonatore.

Apostolo soncto Mothio sempre sia do nui loudoto: 230 tu se* 'n quello compagnia fro gli apostoli kiomato. lude per lo suo peccoto 131v si se/volse desperore, a Dio non volse tornore 235 perke gle fo tro d ito re.

E tu, opostolo Mothio ke d'amor fusti perfecto, en q u e l'o lto compagnia in suo combio fusti electo. 240 Sempre stoi 'nnant’ el cospecto del fig lo io di Dio beato: te clomamo per ovocoto e nostro defendetore. Together they plotted, those angry poqons; they prepared four sharp nai Is, long, broad— immense; They nai led your hands and feet down tightly to the cross. The omnipotent Jesus Christ was your consoler.

Saint Thaddeus, apostle, we praise you devoutly; We know tru ly that Jude was your name, (but) because of thot fraudulent false

you were colled Thaddeus oy every preacher.

You always went preaching bravely fo r the fo ith ; proving the Scripture among the pagan people; Truly, by them you were token and wounded and k ille d : Pray to God, our comfort, that he be to us a fo rgiver.

Moy the apostle Soint Matthias always be praised by us: You ore called in tnot high company among the apostles. Judos, because of his sin, wonted to despair, and did not wont to return to God because he betrayed him.

And you, apostle Matthios, who were perfected in love, were elected in his place in thot exalted company. You ore always before the face of the son of the Blessed God: We ca I I on you os on advocate ond our defender. 4 18

16 MS BEADS "TROWS*

19 AITIATI FROM "AITA", XI 11 FOB 'AIUTO*

19 MS BEADS SENTETIA, WITHOUT THE SIGN OF THE NASAL

27 GESTE - FOB GISTI

75 DE LUI VISTI PBEDICANDO - THIS *V ISTI* IS REALLV 'G IS T I*. THE INTERCHANGE OF *B ,* "O,* AND aG* IS FREQUENT THROUGHT EARLY ITALIAN ARC f.UITE CURRENT IN CERTAIN OIALECTS TOOAY, INCLUDING TUSCAN.

100 AITATORE - CF. SUPRA, N.19.

123-4 I n TH LOWER MARGIN OF THE MANUSCRIPT IS WRITTEN IN A VERY TINY HAND A VARIANT OF THESE TWO LINES. IT REAOS - *FIN K'lL LATU TU CIRCASTl/ FEB TRARE HOI I'OGNUNQUE OR BABE."

136 *01 L'ALTO OlO* HAS BEEN ADDED LATER.

136 GLOBOSO SHOULD PROBABLY BEAD 'GOLOSO.*

142 AGNADIATO - NOT CLEAR AS TO MEANING. LlUZZI SUGGESTS THAT THE IS MEANT TO BE * AGUAI TAT I ' . IT IS THIS WHICH HAS BEEN FOLLOWED IN THE PRESENT TRANSLATION.

144 MS REAOS "VIROATO* FOR 'VIRGATO.'

166 MS IS MISSING THE SIGN OF THE NASAL OVER "EVAGELI.*

196 MS REAOS "PLAGENTE,* WITHOUT THE FIRST NASAL SIGN.

196 DINANTI - MED USAGE FOB OAVAHTI

206 AGUTI - LONG SHARP NAILS

208 MS READS *SMISU8URASTI*

218 The entire verse has been omitteo by the scribe . Lauda XLVI MS 131v-132v 41? L i uzz i , 475-478

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Th e t e x t of t h i s l a u d * i s f o u n o a l s o i n MSS A s s . , Aa e t . , S . S e p . * Mo o . * a n d Ma g i I I , I * 202

Al t h o u g h t h e r e f r a i n i s g i v e n an exact r e p e t i t i o n i t c a d e n c e s on " g" r a t h e r th a n " f ". 421

Selutiom divotemente/ 132a I ’ olta vergene* beota et dici[a]mo:* Ave, Marie, sempre sia da nui loudeta.

S o lu tie lle dulcemente 5 132v et cum/gram solennitote, ki sopem veracemente* ke per la suo umiIitode la divina moiestade fo di [ Ie i ]* i nnomoreto . / 10

The text of the lauda is interrupted here by the table of contents with incipits. It occupies the portion of the manuscript from pages 133 recta to 137 recta. Tne lauda text is again resumed on page 137 versa.

137» L'engel mend& per messaggio a la vergine polgello: quel chantd di buon coreqgio, pessd dentro a le sua cello a contiarli la novella 15 che da Dio li era mandate.

Lfangel disse: "Ave, Marie, sete piena de vertute, Dominus con teco sia de cui vengono le salute; 20 tucte g ratie adempiute in te, vergene salu teta.

Sempre sio benedecta sopra ongn’ e ltre mu Iie re , che se' vergene derite 25 senga veruna pensieri: Dio me manda per corriere che per lui stia aparacbiate

La Vergene peurose quando I'angelo udio perlare, 30 ch’ era honesta e vergognosa, incomengi tucta a tremere, vergognavese co Ilu i de store che con homo [non era] usata. Let us devoutly greet the • exalted blessed virgin and let us say: ”Hot I Mery, may you always be praised by us.”

Let us greet her sweetly and with greet solemnity, (o f) whom we know tru ly that because of her humility the divine majesty was in love with ner.

The angel was sent as a messenger to the sweet virgin damsel: He sang with good courage (as) he passed inside her cell to t e ll ner the news thot he hod been sent to her from God.

' * 1 ii I Mory, yo j virtue The Lord be wi th you to whom come these greetings; All grace is fulfilled in you, virgin (thus) greeted.

May you always be blessed above every other woman, you who are the rig h tfu l virgin without any worry whatsoever: God sent me os a messenger so (thot) you moy be prepared for him.” J

The virgin was afro id when she heard th* 1 fo r she was ond began to tremble all over; She was ashamed to be w or) she was not accustomed men. 423

L’angelo disse: "Or t'ascigura, 35 niente non dubitere; nulla cosa a Dio £ dura se in chuor la se pon di fere. Ben ti puoi osciegurare,* to I novella t’d asegnata." 40

La polgella con amore humelmente respondeo: "Ancille so' del mio signore, ci& che piece o lui s'! sue." Alora la vergene Maria 45 di lesu fo i ngravi de[ to ] .

2 MS READS "VERVEGENE."

3 MS.READS "ET DICIMO"

7 MS MISSING NAS At. SIGN OVERMEN ACEMEKt E « *

10 LEI - NOT IN THE MS, BUT ADDED BY L lU Z Z I.

39 ASCIEGUMRE “ FOR ASS I CURARE • THE FORM HAS BEEN FOUNO IN PERUGIAN DOCUMENTS OF THE MIODLE AGES.

*»** The angel said, "Now calm yourself, ond do not feor anything nothing is hard fo r God if in his heart he t>*uly wants to do i t . You con surely be assured by the news thot I hove told you."

The damsel responded humbly, ond with love: "I am the handmaid of my Lord, moy his pleasure be done." Then the Virgin Mary conceived Jesus.