US-CHNbcbl 097
Franciscan antiphoner (sanctorale), origin unknown (? south Germany, Austria, Switzerland). 1300s. Leaves approximately 300 x 250 mm. Small square-note staff notation. Cathedral (curial-Franciscan) cursus. 119 folios (including 5 folios appended ms. at end); two main text hands, and three main music hands, some other text and music hands.

The office of Corpus Christi, copied by different hands, appears unusually among the proper of the saints (for August). Julian of Speyer’s office of Francis appears in calendrical sequence (4 Oct.), while the office of Clare (12 Aug.), a contrafactum of the Francis office, appears at the end of the proper, but in the same hands. Distinctive is the Magnificat antiphon at first vespers of Clare, O decus et gaudium (fol. 85r), a contrafactum of the Francis antiphon O stupor et gaudium (fol. 59v), not found elsewhere in CANTUS sources to date (2016); and, in the sequence for Francis, Caeli cives in colono, music and words of an extra double verse, Jam depulsa carnis mole (fol. 114v), not previously reported. A polyphonic second voice has been added above the chant in the first half stanza of the sequence Caeli solem imitantes (fol. 89v), the only polyphonic source of this sequence, and the only example of polyphony in this manuscript.

The cursus of this manuscript and textual and melodic details of individual chants may be compared with those in other Franciscan manuscripts indexed in this database:

CH-Fco 2: Fribourg (Switzerland), Bibliothèque des Cordeliers, 2

D-Ma 12o Cmm 1: München, Bayersiche Staatsbibliothek, 12o Cmm 1 (St. Anna Kloster)

H-Bu lat 122121: Budapest, Egyetemi Könyvtár (University Library), lat. 122, 121

I-Ac 693694: Assisi, Biblioteca comunale, 693, 694

I-Ad 5: Assisi, Cattedrale San Rufino - Archivio e Biblioteca, 5

I-Nn vi.E 20: Napoli, Biblioteca nazionale Vittorio Emanuele III, vi. E. 20

I-Rvat lat. 8737: Città del Vaticano (Roma), Biblioteca Apostolica Vaticana, lat. 8737

US-Cn 24: Chicago, Newberry Library, 24

US-NYcub Plimpton 34: New York, Columbia University, Plimpton MS 034

Liturgical Occasions:

Ff. 1-90: Proper of the Saints. 1r, Andrew; 4v, Lucy; 5v, Thomas the Apostle, 6r, Agnes; 9v, Conversion of Paul; 9v, Octave of Agnes; 10r, Purification of Mary; 13v, Agatha; 17r, Chair of Peter; 17v, Annunciation of Mary; 18r, Saints in Eastertide; 20v, Philip and James; 21r, Invention of the Cross; 23r, John before the Latin Gate; 23r, Nativity of John the Baptist; 27v, John and Paul; 28v, Peter and Paul; 32r, Commemoration of Paul; 36r, Octave of Peter and Paul; 36r, Mary Magdalene; 37v, Peter in Chains; 37v, Laurence; 42v, Assumption of Mary; 46r, Corpus Christi [sic]; 49v, Beheading of John the Baptist; 51r, Nativity of Mary; 53v, Exaltation of the Cross; 54v, Michael; 59r, Francis; 67r, All Saints; 71r, Martin; 75r, Cecilia; 79r, Clement; 80v, For the Dead; 84r, Clare;

89v, 3 sequences (added later). Ff. 91-114: Common of the Saints; Dedication of the Church; 2 sequences (added later). 

Ff. 115-119, appended manuscript with 9 tones for the invitatory psalm; 119v, 1 processional antiphon and 1 sequence (added later).

Selected bibliography: 

Franciscan antiphoner (sanctorale), circa 1300-1350. Boston College Libraries Special Collections Online, 2011. Electronic Reproduction.

O'Neill, Robert Keating et al. (Jörn-Uwe Günther, Axel Bender, Lorenz Reibling). The art of the book from the early middle ages to the renaissance: a journey through a thousand years. Boston: John J. Burns Library, Boston College, 2000 (No. 22, 58-59, under old shelfmark MS.98.26)

Skinner, Graeme. The Franciscan sanctorale antiphoner, Boston College, Burns Library, MS 98.26, a description and commentary. Online. Boston: John J. Burns Library, Boston College, 2016.

Indexing notes: 
The 2015-16 project to add this manuscript to the CANTUS database was coordinated at Boston College by Michael Noone (Department of Music) and Anna Kijas (Digital Scholarship, O’Neill Library). The index was compiled by Graeme Skinner (University of Sydney), with much able assistance from Jonathan Mott.