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soriis retinetur, assignato cantus melodici magistro, A quod possint parvuli capere,et vivere ex fides colles, eum puerulos edocente, cum et hæc praxis jam in quia montes pacem suscipiunt. aliis Ecclesiis quæ cantum Gregorianum sunt in omnibus amplexatæ sit oblitterata.

Transeamus ad alia sancti Isidori testimonia.Cum cap. 10, de lectionibus, prius, ut ab auditoribus lectiones percipiantur, silentium commendet, hæc apponit verba: Ideo et diaconus clara voce silentium admonet. En verba quæ diaconus ante lectiones in ritu Mozarabico multoties repetit hoc modo: Silentium facile, quæ, ni fallor,in recentiore ordine Romano non perlegimus.

Cap.11, de libris Testamentorum pro certo supponit pronuntiari, et cantari lectiones ex utroque Testamento, Veteri et Novo;et hoc quidem in sacrificio missæ secundum ritum Gothicum adamussim servatur,nam prima Epistola de Veteri, et secunda de Novo Testamento desumitur.

En quomodo oratio Breviarii Gothici mirabili brevitate præfatam expositionem complectitur: Suscipiant montes,inquit,pacem... qui primordiali radio inlustrati sunt fidei,ut ex sublimitate sanctorum descendat justitia collium; et si percurreris officium Gothicum Isidorianum, auctoritatibus sancti Augustini refertum invenies.

In officio mortuorum hujus nostri Breviarii Gothici ponuntur preces cum superscriptione A becidaria,et antea Psalmi David, absque numeratione, sed solum insequendo litteras abecedarii,ita ut sub uno quoque inscripto psalmo tantum inveniantur versiculi incipientes sub una eademque littera, desumenB do eos ex toto Psalterio Davidico;exempli causa, primus psalmus mortuorum incipit: Eripe animam meam ab impio, et cæteri versiculi sub eadem littera E incipiunt; secundus psalmus incipit: Usquequo exaltabitur, et cum littera U prosequuntur omnes versiculi. Totum hoc conforme est compositioni psalmi adversus Donatistas ab Augustino facti sub litteris abecedarii; et ob hoc nuncupatur psalmus abecedarius, licet in Editione cardinalis Ximenii, et in preseliti, ne longiores fierent, quidam versiculi

Tandem, ut alia prætereamus, cap. 13, de laudibus, hoc est alleluia,seu lauda,ut sacerdotes Mozarabicivocant,ait sanctus doctor:Jn Africanis regionibus non omni tempore,sed tantum Dominicis diebus,et quinquaginta post Resurrectionis ALLELUIA cantatur pro significatione futuræ Resurrectionis et lætitiæ;verum apud nos,secundum antiquam Hispaniarum traditionem, præter dies ejuniorum, cel. Quadragesima,omni tempore canine comprehendantur sub una littera.

Ex duobus libris sancti Isidori de Origine officio

tum est enim: SEMPER LAUS EJUS IN ORE MEO.En fundamentum et ratio quare Mozarabici etiam in missamplurima desumpsit Rabanus Maurus; et Patres defunctorum canunt alleluia,quod tot ante retro sa culis in Ecclesia Romana in desuetudinem abiit. In canticis mss. hujus nostri Breviarii animadverte C valde utiles et accommodatos libros sancti Isidori

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tutinum; ut indicarent lectoribus cantica laudibus præfinita, et simul antiphonas psalmis respondentes: videsis hæc verba præceptum,in tuo,esse principium antiphonarum quæ præcedunt psalmos; idemque accidit in canticis.

Sabbato Dominicæ tertiæ Quadragesimæ, ad horam tertiæ, assignatur lectio desumpta ex cap.xxiv Prov.;et in illo vers. :Septies cadit justus, adjicitur D verbum in die,quod non reperies in Vulgato, aut alia translatione Bibliorum.

Feria 5 ante Pentecosten prima ad nonam oratio clarissime videtur deducta ex sancto Aug. ad illa verba psalm. LXXI:Suscipiant montes pacem et colles justitiam;quæ verba ita interpretatur sanctus doctor, tract. 1 super Evang.sancti Joan.: Montes excelsæ animæ sunt, colles parvulæ animæ sunt. Sed ideo montes excipiunt pacem,ut colles possint exciperejustitiam.Quæ est justitia, quam colles excipiunt ? fides.. Non autem exciperent minores animæ fidem, nisi majores animæ,quæ montes dictæ sunt, ab ipsa sapientia illustrarentur,ut possint parvulis trajicere

inAquisgranensi synodo coacti, cum sibi regulam canonicorum scribendam sumpsissent, cernentes

de Officiis, ad reformandos et instruendos viros, in suam illam regulam fere eos transcripserunt; propterea Isidorum clero, et monachis non tantum in Hispaniis, sed aliis provinciis normam præscripsisse, tuto asserimus.

Ex his omnibus liquet Breviarium Mozarabicum a cardinali Ximenio secundum regulam beati Isidori recte inscriptum fuisse ; hic enim sanctus Doctor,licet auctor ritus non fuisset, sicut nec Gregorius Magnus cantus Gregoriani, tamen a correctoribus etordinatoribus nomenclaturam sumpsere; nec Dionysius Exiguus fuit primus computator cursus anni solaris et lunaris ad Paschatis celebrationem ; nec Baronius primus Annalium ecclesiasticorum scripGratianus primus fuit canonum compilator; nec tor; et jure sibi talia nomina vindicavere, cum propter suas lucubrationes majori studio elaboratas, tum ob majorem ordinem et materiæ dispositionem : pariter noster Isidorus, licet non primus liturgiæ Gothicæ institutor,nec horarum canonicarum auctor, fuit saltem utriusque ordinator et corrector.

Indulgeat,quæso,prudentissimus lector temporum injuriæ, vicissitudini rerum, varietati dominorum Hispaniæ:et placido vultu perleget variantes lectiones,quibus historici premuntur,et liturgici innodantur, ut ad scopum veritatis pervenire valeant.

Solertia ad præsentem editionem nobis præstita pa

rum profuisset, si aliorum consilio et opera non le- A luimus, de quibus unus præcipue invigilavit in ca

varemur; scito ergo nec sumptui nec labori pepercisse Toleti coegimus cœlum sapientum virorum dignitatum et canonicorum hujus nostræ sanctæ Ecclesiæ; Matritique alios valde probatos viros consu

vendis typographicis mendis.

Si tot tantisque pervigiliis adhuc, perspicacissime lector, in aliquo offenderis, ne antevertas judicium. nisi prius proprio intuitu autographa rimeris. Vale.

CANTUS EUGENIANI SEU MELODICI EXPLANATIO

FACTA A DIVO HIERONIMO ROMERO,

SANCTE ECCLESIE TOLETANE HISPANIARUM PRIMATIFS PORTIONARIO, ET CANTUS MELODICI MAGISTRO.

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Apud omnes constat systema maximum,immuta- B et fiet, examinatis ascensu,descensu,clausulis prinbile diatonicum, seu Pythagoricum et perfectum, apud veteres celebre. Nortem fuisse seu Polum,quo omnis cantus ecclesiasticus directus est, et ordinatus. Quindecim chordis constabat,quas in quinque partiebantur tetrachordos, quibus ordinabant suas compo sitiones tam harmonicas et regulatas, sicut nos ordinamus nostras. Finales chorda tonorum eædem erant ac quæ a neotericis observantur ; regulare uniuscujusque toni sæculorum idem respective cum eo quo ad præsens utimur; denique quidquid ad perfectam cujusque toni compositionem desideratur, in præfato systemate sive a Pythagora sive ab Orpheo, sive ab alio auctore, cujus disquisitio non est nostri instituti, excogitato, inveniebatur; imo contendere cum quibusdam possemus, psalmorum tonos ab ipso regeDavide descendere; sed sat sit dicere Ecclesiam caute semper custodisse tonum; nam si nos claves et signa ad cognitionem et processum in cantoriis habemus, veteres etiam suo modo clavem babebant, et C infaillibile signum, quo tanta firmitate canebantut nos, quibus accedit signa claves esse universales.

cipalibus, et intermediis, quod non tironibus, sed peritioribus in cantu veteri et moderno licebit.

Objicies, tertio : Apud omnes cantores notumest figuras seu notas plani seu simplicis cantus,necaugeri, nec,nec diminui posse, ut ex ejus constat definitione; et cum in textu superius posito diminutas videamus, arte et regula carere videtur. Verum ut hanc difficultatem enodes, animadverte cantum planum non semper simplicem esse, sed multoties mistum, ut accidit in hymnis, sequentiis, et aliis quæ in ecclesia canuntur, et simile in nostro te iu contingit; nam cantu misto persæpe utebantur Gothici cantores.

Ad majorem comprobationem adverte, litteram, super quam textus procedit, esse psalmum; omnem psalmum cantari sub sæculorum illi assignato; præterea sæculorum nostro textui assignatum abs dubio esse sexti toni; aliunde sextus tonus stabilem habet sedem suam in signo F; chordæ, seu voces ex eo procedentes, hodie a nobis per proprietatem bemol cantantur, eta veteribus per tertium tetrachordum; igitur cum hic tam diatonicus sit, et naturalis quando cantoriam regit, sicut quando hæc regitur a signo G, inficiandum non est,artentis omnibus circumstantiis, genuinam esse intelligentiam appositam textui, et non eam quæ a cæteris signis resultat.

Objicies, primo, plures cantorias carere sæculorum, et ob hoc dignosci non valere; sed in sedulo perpendas modum quo quilibet tonus in suo diapason secundum suas majores et minores species pro- D cedit, facillime invenies quod obtaveras.

Objicies, secundo, difficilium et fere impossibile esse dignoscere varios et diversos modos characterum quibus suas cantorias annotabant veteres. Sed considera in rei veritate variationem quoad substantiam non esse, quia certe primus tonus perfectus erit, si omnem suum diapason cantoria adimpleat, quocumque modo, vel quibuscumque characteribus annotata sit, seu descripta. Ut ergo eam dignoscere possis, scrutare si suus finalis est in D.

Objicies, quarto, ingressum et sæculorum nostro textui sexti toni esse assignatum; sed omnis adnota- ́ tio sæculorum fit planis figuris, et nostra illis caret; igitur est arbitraria. Ad hoc respondeo: Licet figuræ nostri textus planæ typis oculis non appareant, ut hodie appingi solent, revera tamen sunt, et omne sæculorum subjacet litteræ, et secundum dictionum longitudinem aut brevitatem littera auget aut diminuit illud.

Ut nullus tibi remaneat scrupulus, has tibi regulas appono.

REGULA PRIMA. Mozarabicus seu Gothicus cantus semper est mistus, regiturque sub consideratione temporis, sive mensuræ binariæ, præter hymnos qui sunt sub ternaria mensura: et ab pleniorem intelligentiam aspice signa textus superius assignati.

REG. 11. Omnes figuræ soluæ,licet diverso modo adpunctæ, et in unum.1 et 2, semibreves sunt, et uniuscujusque valor unum est tempus. seu men

sura.

REG. . Figuræ aliis duabus aut quatuor ligatæ ejus valorem diminuunt dimidiant ita ut duæ ligatæ unam semibrevem componant. Hoc patet in nostro textu, ubi num. 3, 4, 6 et 7, et in litteris M et Q, ea tantummodo differentia quæ cernitur in num. 4, ubi ligat quatuor æquales figuras,quocunque modo sit locuta; et licet figuræ litterarum Met Q alias quatuor figuras singulæ ligent, intelligendum est duas priores minimas, et alias quas semibreves esse. Hoc apertius intelligitur sequentiexemplo. Quando nos hodie in tempore minori figuras duabus semibrevibus æqualiter ligatas videmus,valorem duplicatum eis damus.

REG. IV. Figura quæ est sub num. 12 brevis est,

primo quia mediat versus ; secundo ut tibi requies A aliquantula fiat ad prosequendum cantum. Ultima figura, quæ est sub littera Q, etiam brevis est quia in ea finitur opus.

Hucusque dicta ex percelebri musico didici; ibi namque in suo Mappa de omnibus figuris musicis antiquis tam organicis quam planis a sæculo salvationis nostræ secundo agitur usque ad sæculum xv inclusive; et si adhuc animus tuus vacillat, Historiam cantus musici a R. P. Joannes Baptista Martini elaboratum perlege:pag. 398, tabulata 5, quosdam tonos figuris, seu punctis similibus nostris exaratos invenies.

His accedit, me a puerulo instructum fuisse regulis cantus non solum plani et figurati, sed etiam Eugeniani, seu melodici, ut vocant, qui usque ad nostram ætatem in hac alma Toletana Ecclesia Hispaniarum primate perdurat, ita ut alternatim cum cantu Gregoriano mirabili consonantia permi- B

sceatur.

Cantus hic a suo auctore sancto Eugenio tertio

archiepiscopo Toletano temporibus regnum Gothorum Eugenianus appellatur: hic etenim sanctus Pater, in arte musica peritissimus, cantum hujus ecclesiæ coordinavit, et ipsemet infantulos erudiebat, ut Gothorum Patrum historia et antiquæ icones significant. Revera cantus Eugenianus sub systemate maximo erat fundatus, et Gothicum denominamus, quia non solum usque ad invasionem Saracenorum, sed etiam tempore eorum dominationis,licet corruptus, permansit: ob id jure hærditario hæc Ecclesia Toletana cantum Gothicum et ejus intellectum in perpetuum sibi vindicavit, et sancti Pii V decreto Missali apposito, cantum Toletanum per universam Hispaniam retineri indulsit, motus precibus nostri catholici regis Philippi II.

Cantus Eugenianus, quem nunc melodicum appellamus, duplicis modi est, glossæ simplicis, et duplicis glossa duplici utimur ad omnes festivitates per annum ; glossa simplici ad ferias, responsoria, et tractus. Exemplo res clarior fiet. En glossa duplex in graduali ad missam sanctorum apostolorum Petri ei Pauli.

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