Recto – The first line continues the Responsory Verse for the Common of several Martyrs: “…novum laus ejus in ecclesia sanctorum.” Starting at the blue T on the third line of music is the first half of the antiphon for All Saints’ Day: Timete dominum om(ne)s sancti ejus quoniam nihil deest timentib(us) eum…” The fifth line of music beginning with “Inquirentes” is the Responsory Verse for Judoci: “Inquirentes autem dominu(m) no(n) deficient omni bono.” The last line of music beginning with the blue P begins the antiphon for All Saints’ Day and is continued in the first line of music on verso: “Pretiosa in c(on)spectu domini mors sanctoru(m) ejus.” Verso – The second line of music beginning with the red C is a Verse for the Sacrificium for Missa quam Sacerdos pro se dicere debeat, an Old Hispanic chant: “Credidi p(ro)pter quod locutus sum ego autem humiliates su(m) nimis.” The end of the fourth line of music, beginning with the red S is Alleluia for the feast of Popes Fabian and Sebastian: “Allelu(y)a Sancti tui domine benedicent te gloriam regni tui dicent.” Last line of text and music beginning with “Lau” is the Alleluia chant for Easter Sunday Mass: “Allelu(y)a. Laudate pueri dominu(m) laudate nomen…”, Manuscript document., Title devised by cataloger., Collation: single sheet., Origin: Northern Iberian Peninsula., Layout: Eight lines of music notation., Lettering: Written in Gothic script (textualis prescissa)., Decoration: Music lines in red. Capitals alternate between blue and red. Roman numeral XLVI alternates between blue and red. Words and notation in black., Binding: Disbound.
Recto – The first line continues the Responsory Verse for the Common of several Martyrs: “…novum laus ejus in ecclesia sanctorum.” Starting at the blue T on the third line of music is the first half of the antiphon for All Saints’ Day: Timete dominum om(ne)s sancti ejus quoniam nihil deest timentib(us) eum…” The fifth line of music beginning with “Inquirentes” is the Responsory Verse for Judoci: “Inquirentes autem dominu(m) no(n) deficient omni bono.” The last line of music beginning with the blue P begins the antiphon for All Saints’ Day and is continued in the first line of music on verso: “Pretiosa in c(on)spectu domini mors sanctoru(m) ejus.” Verso – The second line of music beginning with the red C is a Verse for the Sacrificium for Missa quam Sacerdos pro se dicere debeat, an Old Hispanic chant: “Credidi p(ro)pter quod locutus sum ego autem humiliates su(m) nimis.” The end of the fourth line of music, beginning with the red S is Alleluia for the feast of Popes Fabian and Sebastian: “Allelu(y)a Sancti tui domine benedicent te gloriam regni tui dicent.” Last line of text and music beginning with “Lau” is the Alleluia chant for Easter Sunday Mass: “Allelu(y)a. Laudate pueri dominu(m) laudate nomen…”, Manuscript document., Title devised by cataloger., Collation: single sheet., Origin: Northern Iberian Peninsula., Layout: Eight lines of music notation., Lettering: Written in Gothic script (textualis prescissa)., Decoration: Music lines in red. Capitals alternate between blue and red. Roman numeral XLVI alternates between blue and red. Words and notation in black., Binding: Disbound.
Recto – The first line continues the Responsory Verse for the Common of several Martyrs: “…novum laus ejus in ecclesia sanctorum.” Starting at the blue T on the third line of music is the first half of the antiphon for All Saints’ Day: Timete dominum om(ne)s sancti ejus quoniam nihil deest timentib(us) eum…” The fifth line of music beginning with “Inquirentes” is the Responsory Verse for Judoci: “Inquirentes autem dominu(m) no(n) deficient omni bono.” The last line of music beginning with the blue P begins the antiphon for All Saints’ Day and is continued in the first line of music on verso: “Pretiosa in c(on)spectu domini mors sanctoru(m) ejus.” Verso – The second line of music beginning with the red C is a Verse for the Sacrificium for Missa quam Sacerdos pro se dicere debeat, an Old Hispanic chant: “Credidi p(ro)pter quod locutus sum ego autem humiliates su(m) nimis.” The end of the fourth line of music, beginning with the red S is Alleluia for the feast of Popes Fabian and Sebastian: “Allelu(y)a Sancti tui domine benedicent te gloriam regni tui dicent.” Last line of text and music beginning with “Lau” is the Alleluia chant for Easter Sunday Mass: “Allelu(y)a. Laudate pueri dominu(m) laudate nomen…”, Manuscript document., Title devised by cataloger., Collation: single sheet., Origin: Northern Iberian Peninsula., Layout: Eight lines of music notation., Lettering: Written in Gothic script (textualis prescissa)., Decoration: Music lines in red. Capitals alternate between blue and red. Roman numeral XLVI alternates between blue and red. Words and notation in black., Binding: Disbound.
Recto – The first line continues the Responsory Verse for the Common of several Martyrs: “…novum laus ejus in ecclesia sanctorum.” Starting at the blue T on the third line of music is the first half of the antiphon for All Saints’ Day: Timete dominum om(ne)s sancti ejus quoniam nihil deest timentib(us) eum…” The fifth line of music beginning with “Inquirentes” is the Responsory Verse for Judoci: “Inquirentes autem dominu(m) no(n) deficient omni bono.” The last line of music beginning with the blue P begins the antiphon for All Saints’ Day and is continued in the first line of music on verso: “Pretiosa in c(on)spectu domini mors sanctoru(m) ejus.” Verso – The second line of music beginning with the red C is a Verse for the Sacrificium for Missa quam Sacerdos pro se dicere debeat, an Old Hispanic chant: “Credidi p(ro)pter quod locutus sum ego autem humiliates su(m) nimis.” The end of the fourth line of music, beginning with the red S is Alleluia for the feast of Popes Fabian and Sebastian: “Allelu(y)a Sancti tui domine benedicent te gloriam regni tui dicent.” Last line of text and music beginning with “Lau” is the Alleluia chant for Easter Sunday Mass: “Allelu(y)a. Laudate pueri dominu(m) laudate nomen…”, Manuscript document., Title devised by cataloger., Collation: single sheet., Origin: Northern Iberian Peninsula., Layout: Eight lines of music notation., Lettering: Written in Gothic script (textualis prescissa)., Decoration: Music lines in red. Capitals alternate between blue and red. Roman numeral XLVI alternates between blue and red. Words and notation in black., Binding: Disbound.
![Leaf from a liturgical chant manuscript [002]](/thumbnails/p/2/oregondigital-1544bq32p.jpg "Leaf from a liturgical chant manuscript [002]")
![Leaf from a liturgical chant manuscript [001]](/thumbnails/d/1/oregondigital-1544bq31d.jpg "Leaf from a liturgical chant manuscript [001]")
