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2013 •
The primary purpose of this study 1S to shed light on the solemn celebrations of the Roman curia during the first half of the fifteenth century, specifically during the pontificate ofPope Eugene IV (r. 1431-47). A further aim is to relate Du Fay)s well-known cycle of hymns as they appear in the manuscript tvlodena, Biblioteca Estense Universitaria, oc.X.1.11 (hereafter ModB)1 to the celebration of PapaI Vespers. Fìnally, I shall show that, in severai instances, Du Fay's settings of two versions of the same hymn text (one fully composed for three voices and another a fauxbourdon) were composed for use during certain seasons of the year when feasts of three to nine lessons of greater and lesser rank were celebrated by the Papal chapel. Papai manuscripts show considerable change and much t1exibility in papai liturgy in the years following the Great Schism and until Pope Eugene's retum to Rome, after nearly a decade of exile, in 1443. The rubrics found in these manuals provide evidence of a liturgical practice that changed and adapted to the needs of a papacy in transition. So it should not be surprising that instructions for any number of feast days, over time, may appear contradictory when placed side by side. Different circumstances required different solutions and the papai rite would only begin to be codified during the reign ofEugene's successor Nicholas V (r. 1447-55), the first pope in more than a century to spend his entire pontificate in Rome. Over the Iast few decades several modern editions, taking different points of departure, have illuminated papal practice from the time of the papacy's removal to Avignon in the early fourteenth century until its final re-establishment at Rome under NichoIas V 2 The appendix to this article, based on published and unpublished collections of papaI manuals, presents a collection of rubrics far solemn papaI celebrations. These give instructions L I betieve that ModB was prepared in Florence by a scribe, perhaps the composer Benoit, for the use of sìngers in the chapel of Pope Eugene IV. who was then resident in Florence. I have discussed the issue at length in my doctoral dissertation, Phelps, " and a study of the relevant materìal, in preparation.
2018 •
With this little paper I propose a synthetic and non abundant comparison of the Ritus ad Introitum, Offertorium and Ritus Communionis of the Mass of Pius V. and Paul VI. I tried to point out both continuity and discontinuity.
This new edition (currently in early draft) aims to replace that of H.J. Schmitz, now nearly 120 years old. It is based on a fresh assessment of all the available manuscript evidence as well as recent research into source material. The edition will include indices, commentary, translation (English), and exhaustive source information. A draft edition is currently available here for viewing or download as a PDF. More information available at http://individual.utoronto.ca/michaelelliot/manuscripts/texts/poenitentiale_ecgberhti.html.
The principal thesis of this dissertation is that ModB was compiled to meet the needs of the cantores papalae serving in the chapel of Pope Eugene IV. My research suggests that a scribe working in Florence during the mid-1430s copied the majority of its pieces. He was still adding to this collection, albeit more slowly, after Eugene left Florence for Bologna, where he and his court resided from April 1436 through January 1438. Without doubt, ModB reached Ferrara sometime in the 1440s. The MS is both a compendium of early fifteenth-century sacred music and a liturgical manual, one designed specifically for the papal chapel. My conclusion followed a study of ModB’s repertory and rubrics and the contents of papal manuals. Once the liturgical implications of the texts in ModB’s central core are placed within their rightful context, the function of the MS’s fauxbourdon settings and three-voice settings becomes apparent: three-voice works were used for the most solemn feasts, those of the highest liturgical rank, while fauxbourdon settings were appropriate for solemn feasts of a somewhat lesser rank. The inclusion of several texts in praise of Florence argues for a Florentine origin as well and a close inspection of these works reveals that Du Fay composed Nuper rosarum flores and Salve flos as pendant works: both of which were heard on 25 March 1436 when Pope Eugene consecrated the high altar of Santa Maria del Fiore. This we learn from Giovanni Manetti’s description of the celebrations that day. In the final analysis it is the repertory recorded on ModB’s surviving folios that settles its Florentine origin. Only the much later additions of works by Fède and Brebis can be associated with Ferrara and the d’Este family. This leads me to conclude that the first and most extensive layer of copying was done by the composer Benoit during his time in Florence some time before the 1440s.
This project began with an attempt to edit the canonical contents of the Commonplace Book manuscripts, but very quickly ballooned into something much larger. The eventual edition, which will almost certainly be published online in hypertext, will be based on the preliminary edition and study undertaken as part of my doctoral dissertation (to be completed in Fall 2013). Partial transcriptions of four of the five extant redactions of the Wigorniensis are currently available for viewing or download as PDFs. More information available at http://individual.utoronto.ca/michaelelliot/manuscripts/texts/wig.html.
2020 •
Questo lavoro si propone di offrire una versione critica del testo latino del Liber Pontificalis di Andrea Agnello e di presentarlo in una forma più vicina alle esigenze del ricercatore di storia. Allo stato dell'arte, il testo del Liber Pontificalis è presentato secondo la struttura che è stata via via imposta dal processo di trasmissione dell'opera, che ne ha inquinato e modificato struttura e corrotto i contenuti. Il primo obiettivo di questo lavoro èquindi quello di ripristinare l'antica struttura della ricerca storica di Agnello: una serie di seminari, durante i quali, l'autore, il presbyter Andrea Agnello, leggeva i risultati delle proprie indagini, e dei qualii in un secondo momendo distribuiva il testo in forma di dispense. Rimettendo in luce questa cornice (troppo a lungo e troppo colpevolmente messa in secondo piano) è possibile render conto della natura del Liber Pontificalis, del suo autore e del contesto culturale e del pubblico con cui si confrontava. L'intento è di restituire così un'immediata leggibilità al lettore contemporaneo. Il secondo aspetto che questo lavoro affronta è quello di rivedere criticamente la correttezza delle notizie di Andrea Agnello, e l'uso delle sue fonti. In questo, affianco alle mie notazioni, un ricco repertorio di commenti dell'edizione critica di Testi Rasponi, che per ricchezza di conoscenze topografiche, liturgiche, e acutezza delle osservazioni rimane un punto di riferimento e una miniera di spunti ancora insuperato. Sulla base di un testo depurato, e ripristinato nella sua corretta morfologia, il presente lavoro si propone di sviluppare due sezioni finali che hanno l'obettivo di catalogare e riorganizzare cronologicamente le informazioni di Agnello. In particolare nella seconda sezione, il testo 'restaurato' è catalogato a seconda della natura delle fonti utilizzate (topografiche, storiche, orali, epigrafiche/archeologiche). Nella terza sezione, i dati così isolati, verranno riposizionati, ricostituendo un quadro sinottico con cronologie parallele. In questo modo, sarà possibile isolare il cosiddetto 'chronicon Maximiani' (archetipo degli excerpta Sangallensia), oltre che la sequenza delle notizie architettoniche, e quelle episcopali. Queste linee temporali, restituite nella loro correttezza, offriranno allo studioso una adeguata mappa di navigazione per l'opera di Agnello. Il presente lavoro è in definitiva pensato per servire come materiale intermedio, nell'idea che anche la produzione letteraria di ambito ecclesiastico, se affrontata nell'ottica della Quellenforschung, possa aiutare a risolvere o integrare molte zone grigie dei secoli V-VII d.C. così spesso poco documentate, oltre che offrire inaspettati chiarimenti. Revisione 2: 25 ottobre 2020
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Atti e memorie della Società Savonese di Storia e Patria
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