1. Introduction
Among the very numerous metaphorical praises with which the Christian tradition designates the Virgin Mary, we want to focus in this article1 on the one whose axis is the symbol “temple” (templum). This designation is articulated in multiple analogous expressions, among which the most frequent and essential are “temple of God” (templum Dei), “temple of the Trinity” (templum Trinitatis), “temple of godhead” (templum deitatis), “temple of Christ” (templum Christi) or “temple of the Holy Spirit” (templum Spiritus Sancti). As we will see throughout this article, these symbolic designations are attributed to the Virgin Mary because of her exclusive privilege of being, by the Almighty’s choice, the virginal mother of God the Son incarnate. In other words, God constituted Mary (her womb) in the special, exclusive temple in which God the Son was conceived virginally and resided during the nine months of his gestation.
Such metaphorical expressions centered around the concept “temple” were consolidated for more than a millennium in the patristic, theological and hymnic tradition of Eastern and Western Christianity. In other articles, we have studied this topic considering the texts of Greek-Eastern Church Fathers (Salvador-González 2020b, pp. 23–41; 2020c, pp. 334–55), and Latin Church Fathers and theologians (Salvador-González 2021, pp. 525–53; 2020a, pp. 56–68). Therefore, it is not pertinent to repeat here the results arrived at in those articles. It is only worth remembering now the names of the Fathers and theologians who interpreted those metaphors referring to the templum Dei in the Eastern and Western Churches.
In the first case, we study the comments given on the matter by the following Fathers of the Greek-Eastern Churches (in chronological order): Origen (184/185–c. 253/254), St. Eusebius of Caesarea (c. 260/65–c. 339/40), St. Ephrem the Syrian (c. 307–373), St. Gregory Nazianzen (c. 329–390), St. Gregory of Nyssa (c. 335–c. 395), Severian of Gabala (before 380, post 408), St. Cyril of Alexandria (c. 370/73–444), St. Proclus of Constantinople (ante 390–446), Hesychius of Jerusalem († c. 450), Theodoretus of Cirrus (c. 393–c. 458), Procopius of Gaza (c. 465–528), Severus of Antioch (c. 475–538), Leontius of Byzantium (c. 485–c.543), St. Modest of Jerusalem († 634), Pamphilus of Jerusalem (7th century), St. Germanus of Constantinople (c. 635/50–c. 733/40), St. Andrew of Crete († 740), St. John Damascene (675–749), John of Euboea (8th century), and St. Joseph the Hymnographer (c. 816–886).
In the case of the Latin Church, the Fathers and theologians we analyzed for their comments on the “temple of God” and similar metaphors are in chronological order. St. Zeno of Verona (c. 300–371/372), St. Ambrose of Milan (330–397), St. Rufinus of Aquileia (345–411), St. Gaudentius of Brescia (†410), St. Jerome of Strido (c. 347–420), St. Maximus of Turin († c. 420), St. Augustine of Hippo (354–430), St. Peter Chrysologus (c. 380–451), St. Leo Magnus (c. 390–461), Caelius Sedulius (5th century), Arnobius Junior (5th century), St. Just of Urgell (med. 6th century), St. Venantius Fortunatus (c. 530–c. 607/610), St. Peter Damian (1007–1072), St. Anselm of Canterbury (1033–1109), Geoffrey of Vendôme (c. 1070–1132), Peter Abelard (1079–1142), St. Bernard of Clairvaux (1090–1153), Honorius of Regensberg (c. 1080–c. 1157), and St. Bonaventure of Bagnoregio (c. 1217/21–1274).
Now, it is necessary to emphasize that, inspired by those abundant exegetical comments of the Eastern and Western Fathers and theologians on templum Dei and other analogous metaphorical expressions, many medieval hymnographers produced in Latin an abundant corpus of liturgical hymns, canticles, antiphons, responsories and other devotional compositions, which developed the metaphors mentioned above in very imaginative ways. This article will be dedicated to analyzing these liturgical hymns exclusively in the stanzas, verses, or fragments referring directly to the symbolic expressions under study. We have drawn the hymns evaluated in this article from the invaluable collections of medieval liturgical hymns compiled by Franz Josef Mone in 1853–1855,2 and by Guido Maria Dreves from 1886 until his death in 1909 (completed by Clemens Blume from 1909 to 1922).3
From another point of view, in the second part of this article, after the analysis of the liturgical texts, we will analyze eight paintings of the Annunciation from the 14th and 15th centuries in which the house of the Virgin Mary in Nazareth is shaped as a temple. Our purpose is to try to demonstrate a direct correlation between these liturgical texts and these artistic images of the Annunciation. In other words, these paintings illustrate as visual metaphors the textual metaphors expressed in the texts of the liturgical hymns. From the reverse perspective, this means that the textual metaphors expressed by the hymns are illustrated by the visual metaphors. Indeed, both verbal and pictorial metaphors are two essentially related, complementary forms through which Christians manifest their devotion and petition to the Virgin Mary.
2. The templum Dei Metaphor and Other Analogous Expressions in Medieval Liturgical Hymns
To make more visible the progressive conceptual enrichment of the metaphors mentioned above in the medieval liturgical hymns we are analyzing, we will present these hymns in strict chronological order, grouping them by centuries or by groups of centuries, from the 10th to the 15th century. We leave aside, therefore, numerous hymns produced by the Eastern and Western Fathers and theologians prior to the 10th century, such as St. Ambrose, St. Venantius Fortunatus, St. Ephrem the Syrian or St. Joseph the Hymnographer, because we have already exposed them in the other studies above.
10th-century hymns
From the 10th century, we have documented these two hymns that allude to the metaphors under study:
Hymnus 576. De sancta Maria. hymni. ad sextam expresses the virginal divine motherhood of Mary in these verses:
Mary, temple of the Lord, | Maria templum domini, |
Hymnus 6. De Fecunditate sanctae Mariae extols the privilege of the Virgin for having been chosen as God the Son’s mother in this stanza:
Well born, married, | Bene nata, desponsata |
11th-century hymns
From the 11th century, we have recorded these six hymns alluding to the metaphors above:
Hymnus 68. In Assumptione Beatae Mariae Virginis praises the Virgin with these rhetoric figures:
6a. Royal lineage, | 6a. Genus regale, |
Hymnus 66. De Beata Maria Virgine. Ad Completorium exalts the sublimity of Mary in these verses:
Very clean temple of God, | Templum Dei mundissimum |
St. Peter Damian, bishop of Ostia (1007–1072), in Hymnus 25. (10.) De Beata Maria Virgine. Ad Sextam applauds the virginal mother of the Lord in these simple terms:
Mary, temple of the Lord, | Maria, templum Domini, |
Eusebius Bruno, bishop of Angers († 1081) glorifies in his Hymnus 75. (2.) Oratio ad sanctam Mariam the mother of God, from a biblical royal lineage, with these compliments:
2. Rose born from thorns, | 2. Rosa de spinis [ex] orta, |
St. Anselm, archbishop of Canterbury (1033–1109), proclaims in his Hymnus 100. (2.) Oratio ad Beatam Mariam Virginem the protective mother of God with these symbolic figures:
Mary, temple of the Lord, | Maria, templum Domini. |
12th-century hymns
From the 12th century we have found the following eighteen hymns:
Hymnus 504. Psalterium Mariae congratulates the Virgin for her merciful protection, expressing
Hail, holy temple of God, | Ave templum sanctum Dei, |
Quite a few stanzas later Hymnus 504. Psalterium Mariae develops similar concepts, stating:
Hail, temple of justice, | Ave templum justitiae, |
Hymnus 505. Letania de domina nostra virgine Maria implores the merciful protection of the mother of the Redeemer with these emotional stanzas:
Holy Mother, mother of light, | S.[ancta] M.[ater] mater luminis, |
Hymnus 513. Prosa de beata virgine extols the virginity of the mother of God in these short verses:
Hail, temple of chastity, | Ave templum castitatis, |
Hymnus 538. De sancta Maria celebrates Mary for having conceived and nurtured the Redeemer through these rhymes:
Hail, mother of light, | Ave mater luminis, |
Hymnus 88. In Assumptione Beatae Mariae Virginis. In 1. Vesperis sings the resurrection and Assumption of Mary into heaven with these words:
2. The same one that gave birth to Christ | 2. Ipsa, quae Christum genuit |
Hymnus 79. De beata Maria Virgine. (Infra Nativitate et Purificatione) implores the saving help of the mother of God with these rhymes:
11a. Virgin, temple of divinity, | 11a. Virgo, templum deitatis, |
Hymnus 84. In Annuntiatione Beatae Mariae Virginis requests the protective mediation of the mother of the Redeemer with these evocative figures:
8a. Bread cellar, | 8a. Panis cella |
Hymnus 119. De beata Maria Virgine glorifies the virtuous mother of God for her beneficent power with these rhymes:
4a. Finally, temple of majesty | 4a. Templum tandem majestatis |
Hymnus 213. De Gaudiis Beatae Mariae Virginis celebrates the virtuous mother of the Lord in these simple verses:
1. Rejoice, Mary, | 1. Gaude, Maria, |
Hymnus 222. De Beata Maria Virgine invokes the beneficent protection of Mary with these metaphorical tropes:
15. Husband’s bed, temple of God, | 15. Torus sponsi, templum Dei, |
The Benedictine abbot and cardinal Geoffrey of Vendôme (Goffridus Vindocinensis, 1093–1132) commends in Hymnus 314. (1.) Oratio ad Matrem Domini the efficient help of the mother of the Redeemer by expressing
3. Sacred Temple of the Savior, | 3. Templum sacrum salvatoris, |
Peter the Venerable, abbot of Cluny († 1156), exalts the Virgin Mary in Hymnus 250. (1.) Prosa in Nativitate Domini with these symbolic figures:
5b. You are window, door, fleece, | 5b. Tu fenestra, porta, vellus, |
Bernard of Morlaix, monk in the abbey of Cluny († c. 1140), celebrates in Hymnus 323. (1.) Mariale. Rythmus III the Virgin’s eminence in these terms:
4. Form of life, norm of customs, | 4. Vitae forma, morum norma, |
The Catalan poet Guido of Basochis († 1203) sings in Hymnus 348. (5.) De Beata Maria Virgine the divine motherhood of Mary by these lyrical rhymes:
The entire divinity descended | Tota descendit deitas |
12th–13th century hymns
Datable to some imprecise date in the interval between the 12th and 13th centuries, we have found these five hymns:
Hymnus 1 exalts the Virgin Mary through the figures of the temple and the throne of Solomon, expressing
The house of the modest breast | Domus pudici pectoris |
Hymnus 191 commemorates the virginal divine motherhood of Mary, whom it sees prefigured in several Old Testament facts, including the Ark of the Covenant and the temple and throne of Solomon through these rhymes:
This is the ark of the covenant, | 4. Haec est arca foederis, |
Hymnus 93. De Beata Maria Virgine exalts the mother of God with the same biblical prefigurations as the preceding Hymnus 191, indicating
4a. Burning bush of vision | 4a. Ardens rubus visionis, |
13th-century hymns
From the 13th century we have documented the following thirty-two hymns in allusion to the metaphors under study:
Hymnus 402. Prosa de beata Virgine (troparium) figuratively sings the perpetual virginity of the mother of God with this stanza:
You existed as a temple | Tu parvi et magni |
Hymnus 151. De beata Maria Virgine exalts the virginal mother of God through this series of symbols:
6a. Your belly, oh maiden, | 6a. Venter tuus, o puella, |
Hymnus 252 lauds the Virgin for her saving function in these metaphorical terms:
Temple of our Redeemer, | Templum nostri redemptoris, |
Hymnus XVIII. Psalterium beatae Mariae Virginis. Prima Quinquagena expresses concepts quite like those of the preceding Hymnus 252, saying
5. Hail, temple of the Most Holy | 5. Ave, templum sanctissimi |
Hymnus I. Psalterium beatae Mariae V. Prima Quinquagena sings Mary’s virginal divine motherhood with these expressions:
Hail, temple | 5. Ave, templum |
Hymnus III. Psalterium beatae Mariae Virginis. Prima Quinquagena imprecates the liberating help of the Virgin in this stanza:
3. Hail, temple | 3. Ave, templum |
Hymnus 77. De Beata Maria Virgine praises the mother of God for her intercessory power with these verses:
Royal Hall of the King and Temple of the Lord | Aula regis et templum Domini |
Hymnus 122. De Beata Maria Virgine proclaims the virginal divine motherhood of Mary with various Old Testament figures through these rhymes:
3a. In the afternoon it is announced, | 3a. Vespere praemittitur, |
Hymnus 133. De Beata Maria Virgine greets the mother of God with these poetic analogies:
1a. Hail, royal Virgin, | 1a. Salve, virgo regia, |
Hymnus 469. In Assumtione Beatae Mariae Virginis acclaims the immaculate mother of God in these tropes:
2a. Tower of the king of glory, | 2a. Turris regis gloriae, |
Hymnus 198. In Purificatione Beatae Mariae Virginis praises the mother of he Savior with several metaphorical figures, expressing:
This is called by example | Haec est dicta per exemplum |
Hymnus 14. De beata Maria Virgine. In 3. Nocturno. Responsoria enthusiastically proclaims Mary as the incorrupt mother of God and queen of heaven, through these rhymes.
A temple is ordered in you | Templum in te ordinatur, |
Theophile the Monk (Theophilus Monachus, 12th century) is pleased in Hymnus IV. Psalterium beatae Mariae Virginis. Prima Quinquagena to address the mother of the Redeemer as a powerful helper, stating
26. Rejoice, glorious Virgin, | 26. Gaude, virgo gloriosa, |
Some stanzas later, Theophile the Monk goes on to express similar concepts in these terms:
39. Rejoice, temple of the supreme King, | 39. Gaude, summi regis templum, |
Once again, Theophile the Monk proclaims in Hymnus V. Psalterium beatae Mariae Virginis. Secunda Quinquagena the virginal mother of the Savior with these dramatic verses:
Hail, temple of the holy Christ, | 28. Ave, templum sanctum Christi, |
Stephen Langton, archbishop of Canterbury (c. 1150/55–1228), asks in Hymnus XI. Psalterium beatae Mariae. Prima Quadragena for the liberating protection of the mother of the Lord with these rhetorical figures:
13. Hail, temple of grace, | 13. Ave, templum gratiae, |
In another later stanza of this Hymnus XI Stephen Langton abounds in similar considerations, proclaiming
35. Hail, temple of grace, | 35. Ave, templum gratiae, |
Edmund of Abingdon, archbishop of Canterbury (1174–1240), implores in Hymnus X. Psalterium Beatae Mariae Virginis. Prima Quinquagena the mother of God’s saving protection through these figurative expressions:
5. Hail, house of chastity, | 5. Ave, domus castitatis. |
13th–14th century hymns
Datable to an unknown date from the interval between the 13th and 14th centuries, we have found these six hymns:
Hymnus 79. De Beata Maria Virgine exalts the mother of God with these illustrative metaphors:
4a. You are the epicycle of the Sun, | 4a. Tu es solis epicyclus, |
Hymnus 105. De Beata Maria Virgine also praises the Virgin with these suggestive images:
9a. You are designated rod, Virgin, | 9a. Virga, virgo, nuncuparis |
Hymnus 65. In Assumptione Beatae Mariae Virginis addresses the Mother of God requesting her protection with these lyrical rhymes:
2a. So that my heart, | 2a. Ut in tuum libitum |
Hymnus 76. De Nomine Beatae Mariae Virginis compliments Mary through these living figures:
8a. Source of purity, | 8a. Fons puritatis, |
Hymnus 185. De XV Gaudiis Beatae Mariae Virginis. I. Prologus praises the beneficent mother of God with numerous poetic analogies, formulating
2. Lily of chastity, | 2. Castitatis lilium, |
Hymnus 147. De Beata Maria Virgine requests the liberating protection of Mary with these rhymes:
36. Rejoice, Virgin of chastity, | 36. Gaude, virgo castitatis, |
14th century hymns
From the 14th century, we have documented thirty-eight hymns that refer to the metaphors under study.
Hymnus 336. De conceptione sanctae Mariae mentions that, when Mary was conceived, God the Father chose her as the temple of his divine Son, expressing
The conception of the Virgin Mary, | Conceptio Mariae virginis, |
Hymnus 472. De gloriosa virgine Maria. ad nonam implores the protection of the Virgin, whom it designates with various metaphorical figures when stating
Rejoice, marble temple | Gaude templum marmoreum |
Hymnus 530. De eadem [beata virgine Maria]. Sequentia recognizes Mary’s mediation by declaring
Gate of heaven, temple of God, | Porta coeli, templum Dei, |
Hymnus 541. De sancta Maria claims the safeguarding of the mother of the Lord with these figurative expressions:
Distinguished advocate, | Advocata inclita, |
Hymnus 565. Oratio de domina nostra de claritate proclaims Mary as pure mother of God with this stanza:
Rejoice, Virgin, worthy of praise, | Virgo gaude, digna laude, |
Hymnus 14. De conceptione Beatae Mariae Virginis. In 2. Nocturno. Responsoria proclaims Mary as intact mother of the divine Son in these polished rhymes:
1. The house of the modest breast, | 1. Domus pudici pectoris |
Hymnus 110. De beata Maria Virgine sings the excellence of the virtues of the mother of God with these metaphorical digressions:
4a. Dewdrop, flower smell | 4a. Stilla roris, odor floris |
The anonymous author of Hymnus 14. De conceptione Beatae Mariae Virginis. In 2. Vesperis. Ad Magnificat puts himself in the role of the Virgin Mary when singing the Magnificat, imagining her in the situation of pouring out these lyrical effusions:
My exultant soul | Mea exsultans anima |
Hymnus 18. De praesentatione Beatae Mariae Virginis. In 2. Nocturno. Antiphonae establishes the analogy between Mary, the temple of God, and the temple of Solomon in which she is presented, by pointing out
2. She herself prefers to go to the temple | 2. Praefert ipsa templo sisti, |
On another ulterior part, this Hymnus 18. De praesentatione Beatae Mariae Virginis. In 3. Nocturno. Responsoria goes on to insist on the idea of Mary as the temple of God, indicating
Behold, the pious one arrives | Ecce advenit pia |
Hymnus 100. De beata Maria Virgine promotes the sublimity of the person of the mother of the Lord in these delicate rhymes:
1a. Hail, mother of the Redeemer, | 1a. Ave mater redemptoris, |
Hymnus 5. In Nativitate Domini Nostri implores the beneficent protection of the mother of the Lord with these pressing stanzas:
6a. Pure Virgin, pious Virgin, | 6a. Virgo munda, virgo pia, |
Hymnus 121. De beata Maria Virgine addresses the Mother of God in request for help, expressing
4a. Hail, temple of the Trinity, | 4a. Salve templum trinitatis, |
Hymnus 81. De beata Maria Virgine celebrates Mary for her saving contribution, stating
11a. Ark, sanctuary, | 11a. Arca, sanctuarium, |
Hymnus 57. In Conceptione Beatae Mariae Virginis. Ad Vesperas greets the mother of God in these verses:
4. Hail, storehouse of Christ | 4. Ave, Christi cella, |
Hymnus 123. Ad B. Mariam Virginem expresses some terms like those of the preceding Hymnus 57, specifying
8. Hail, temple of majesty, | 8. Ave, templum majestatis, |
Hymnus 196, II glorifies the Virgin Mary for her excellent virtues, proclaiming
You are the light of the heavenly curia, | Tu lux coelestis curiae, |
Hymnus XV. Psalterium beatae Mariae Virginis. Prima Quinquagena extols the greatness of the Mother of God, also requesting her saving intervention in these verses:
Hail, temple of faith, | 5. Ave, templum fidei, |
Some stanzas later, Hymnus XV goes on to express similar figurative expressions in these terms:
Hail, mount of justice | 10. Ave, mons iustitiae, |
Hymnus XV. Psalterium beatae Mariae Virginis. Tertia Quinquagena praises the Virgin with the metaphor of reference, saying
Rejoice, Virgin who gives birth | 37. Gaude, virgo pariens |
Hymnus 129. Super Ave Maria proclaims the divine motherhood of Mary and her sublime virtues with these varied symbolic locutions:
Hail, the clearest star, | Ave, sidus clarissimum, |
Hymnus 148. Super Ave Maria sings to the immaculate mother of God with the various metaphors of reference in these rhymes:
The Lord, King of all | 5. Dominus, rex omnium, |
Hymnus 84. De Beata Maria Virgine proclaims Mary as mother of the Lord in these stanzas:
3a. Hail, mother of the supreme King, | 3a. Ave, mater summi regis, |
Hymnus XII. Psalterium beatae Mariae Virginis. Prima Quinquagena, falsely attributed to Saint Bonaventure of Bagnoregio, addresses the mother of God in these rhetorical terms:
10. Hail, door of liberty, | 10. Ave, porta libertatis, |
Engelbert of Admont, abbot of the Benedictine monastery of Admont in Styria (c. 1250–1331), refers in Hymnus IX. Psalterium beatae Mariae Virginis. Prima Quinquagena to Mary’s virginal divine motherhood in these verses:
28. Hail, rose intact thus, | 28. Ave, rosa sic intacta, |
The Cistercian monk Christian von Lilienfeld, abbot of Lilienfeld Abbey († 1330), greets in Hymnus 47. Hymnus alius super eadem [beatam Mariam Virginem] the mother of God with various poetic names, proclaiming
Hail, Virgin, wife of God, | Ave, virgo, Dei sponsa, |
Guillermus de Mandagoto, cardinal and bishop of Palestrina († 1321), acclaims in Hymnus 345. (6.) De Virginibus the immaculate mother of God with these stanzas:
2a. You are the sacred temple of God, | 2a. Tu es sacrum Dei templum, |
13th–15th century hymns
Datable to an indefinite date between the 13th and 15th centuries, we have documented these three hymns:
Hymnus 12 salutes the Virgin Mary with these poetic figures:
2. Hail, temple of the divine majesty, | 2. Ave templum divinae majestatis, |
Hymnus 29 implores the protection of the virtuous mother of God with these evocative statements:
You are chosen for your chastity, | Castitate es electa, |
Hymnus 53 alludes to the incarnation of God the Son in the spotless womb of Mary in these terms:
Before the consensus of the Virgin | Ad consensum virginis |
14th–15th century hymns
From an unknown date between the 14th and 15th centuries, we have these nine hymns that allude to the reference metaphors:
Hymnus 52. Salutationes Beatae Mariae Virginis exalts the mother of God for her beneficent power with these analogies:
41. Hail, main door | 41. Salve, porta principalis, |
Hymnus 82. De beata Maria Virgine sings the virtues of the mother of the Lord in these terms:
11a. You are a vase full of nectar | 11a. Tu vas imbutum nectare |
Hymnus 263 implores the beneficent protection of the Virgin Mary with these urgent expressions:
May you be well, mother of the supreme King, | Vale, mater summi regis, |
Hymnus VII. Psalterium Acrostichon Beatae Mariae Virginis. Tertia Quinquagena celebrates the virtues of Mary in these verses:
Mary, you are the example | 4. Decoris castimoniae, |
15th century hymns
From the 15th century, we have documented eighty-one hymns referring to the metaphors under study.
Hymnus 480. De b. virgine. Oratio requests the saving protection of Mary in this stanza:
Rejoice, mother of our hope, | Gaude mater nostrae spei, |
Hymnus 480. De beata Virgine oratio exalts Mary as mother of the Redeemer, expressing
Rejoice, temple of the deity. | Gaude templum Deitatis |
Hymnus 482. De sancta Maria exalts the Virgin with these suggestive rhetorical figures:
Rejoice, Mary, temple | Gaude, Maria, templum |
Hymnus 484. De beata Virgine Maria salutes the mother of God, helper of Humanity in these verses:
Hail, holy temple of God, | Ave templum sanctum Dei, |
Hymnus 525. Sequentia de beata Virgine Maria implores the saving help of the Mother of God in this brief stanza:
Hail, virginal honor, | Ave decus virginale, |
Hymnus 588. De sancta Maria sings to the Virgin for her excellent virtues with these warm verses:
Hail, holy temple of God, | Salve sacrum Dei templum, |
Hymnus 600. Laudes Mariae exalts the virginal mother of God with these significant tropes:
You are a temple, you a chamber | Tu templum, tu camera, |
Hymnus 606. Laus Mariae requires the liberating protection of the Virgin Mother of God in this stanza:
Oh, hope for the prisoner, temple of God, | O spes rei, templum dei, |
Hymnus 54. De immaculata conceptione Beatae Mariae Virginis. In 1. Vesperis sings to the mother of God, calling her with various biblical prefigurations when indicating:
1. Rejoice, mother of the Savior, | 1. Gaude, mater salvatoris, |
Hymnus 16. De praesentatione Beatae Mariae Virginis. In 1. Nocturno. Responsoria proclaims the excellency of the mother of the Lord with these brilliant rhymes:
1. This is the consecrated Virgin | 1. Haec est virgo consecrata |
Hymnus 112. De omnibus Sanctis urges us to worship the virginal mother of the Lord with these stanzas:
3a. We will venerate that exemplary | 3a. Veneremur illud eximium |
Hymnus 99. De beata Maria Virgine proclaims the mother of God for her sublime virginity, stating
2b. Oh benign, worthy of praise, | 2b. O benigna, laude digna, |
Hymnus 13. In Nativitate Domini Nostri exalts Mary for her virginal divine motherhood with these rhymes:
6a. Distinctive vessel, proven vessel, | 6a. Vas insigne, vas probatum, |
Hymnus 14. In Nativitate Domini Nostri announces the virginal divine motherhood of Mary by way of some Old Testament references in these stanzas:
2a. Virginity became moisted | 2a. Rore sancti spiritus; |
Hymnus 85. In Annuntiatione Beatae Mariae Virginis intones the virginal divine motherhood of Mary in these stanzas:
1a. Hail, maternal temple, | 1a. Salve, templum maternale, |
Hymnus 94. In Purificatione Beatae Mariae Virginis enunciates the divine motherhood of Mary in these terms:
Temple of God | Dei templum |
Hymnus 111. De beata Maria Virgine sings the excellent chastity of the mother of God in these terms:
2a. You are the purest gem of gems, | 2a. Tu gemmarum gemma pura, |
Hymnus 137. De beata Maria Virgine announces the excellent virtues of the mother of God by expressing
4a. Fountain of mercy, | 4a. Fons misericordiae, |
Hymnus 140. De beata Maria Virgine greets the mother of God with these brief praises:
1a. Vessel of decorum and honor, | 1a. Vas decoris et honoris, |
Hymnus 78. In Conceptione Beatae Mariae Virginis. Ad Vesperas invokes the saving protection of the Lord’s mother in these terms:
Temple of God, woman in labor, | Templum Dei puerpera, |
Hymnus 83. In Conceptione Beatae Mariae Virginis. Ad Vesperas points out the divine motherhood of Mary with these rhymes:
4. The Only Begotten of the Supreme Father | 4. Novum templum aedificat, |
Hymnus 51. De Nominibus Beatae Mariae Virginis exalts the pristine divine motherhood of Mary with these suggestive metaphors:
55. Splendor and decorum of heaven, | 55. Splendor et decor aetheris, |
Hymnus 72. De Gaudiis Beatae Mariae Virginis proclaims the sublimity of the mother of God in this stanza:
2. Rejoice, gem, temple of God, | 2. Gaude, gemma, templum Dei, |
Hymnus 87. Alphabetum archangelicum in laudem Beatae Mariae Virginis enunciates the virginity of the mother of God in these rhymes:
19. Temple of the Trinity, | 19. Templum trinitatis, |
Hymnus 58. In Praesentatione Beatae Mariae Virginis invokes the help of the mother of God in these terms:
1a. Listen to us, Mary, | 1a. Audi, Maria, nos, |
Hymnus 107. Ad Beatam Mariam Virginem exalts Mary’s merciful protection with these eloquent tropes:
5. Safety city, | 5. Civitas securitatis, |
Hymnus 108. Ad Beatam Mariam Virginem greets the virtuous mother of God with these warm epithets:
2. Hail, hope of the faithful, | 2. Ave, spes fidelium, |
Hymnus 110. Ad Beatam Mariam Virginem congratulates the mother of God for her excellent virtues, expressing
Hail, new joy, | 2. Ave, novum gaudium, |
Hymnus 121. Ad Beatam Mariam Virginem requests the Virgin’s saving protection in this stanza:
21. Hail, temple of glory, | 21. Ave, templum gloriae, |
Hymnus 67. In Descensione Beatae Mariae Virginis. Ad Vesperas intones the sublimity of Mary in this stanza:
O temple of God, mother of the Supreme, | 1. O Dei templum, genitrix superni, |
Hymnus 3. In Sanctificatione Conceptionis BMV. In 1, Nocturno. Responsoria expresses the supreme greatness of the mother of God through these Old Testament prefigurations:
Pious mother, | Mater pia, |
Hymnus 240 enunciates the virginal divine motherhood of Mary in these short verses:
You are the virginal royal hall, | Tu aula virginalis, |
Hymnus 23. De Conceptione Beatae Mariae Virginis. In 2. Nocturno. Responsoria exalts the mother of God in these rhymes:
O, the holiest temple | 2. O templum sanctae trinitatis. |
Hymnus 57. De Gaudiis Beatae Mariae Virginis. In 1. Visperis. Ad Magnificat salutes the virgin with those symbolic figures:
Hail, temple of the Lord, | Ave, templum Domini, |
Hymnus 38. De Conceptione Beatae Mariae Virginis. Ad Sextam exalts the sublime virtues of the mother of the Savior with these brilliant figures of speech:
Hail, Virgin of virgins, | Salve, virgo virginum, |
Hymnus 97. Super Ave Maria exalts, in a similar way to what the preceding Hymnus 38 did, the mother of God’s virtuous condition through these metaphors:
Mary, source of grace, | Maria, fons gratiae, |
Hymnus 104. Super Ave Maria also abounds in praise of the Virgin for her virtues, proclaiming
Hail, mother of grace, | Ave, mater gratiae, |
Hymnus 124. De Nativitate Beatae Mariae Virginis extols the eminent virtues of the mother of the Lord with these poetic remarks:
Hail, throne of Majesty, | Ave, thronus maiestatis, |
Hymnus 132. De Annuntiatione Beatae Mariae Virginis sings the virginal divine motherhood of Mary with these simple verses:
The Virgin became mother of the Savior | 17. Virgo mater salvatoris |
Hymnus 195. De Assumptione Beatae Mariae Virginis exalts the heavenly glorification of the mother of the Lord with this warm invitation:
Come, mother and Lady, | Veni, mater et domina, |
Antonius de Lantsee († 1492) greets in Hymnus VIII. Psalterium Domini Nostri Iesu Christi. Prima Quinquagena the mother of the Savior with these precise rhymes:
Hail, mother of God, temple of holiness, | 42.Ave, Dei genetrix, templum sanctitatis, |
Hymnus 61. De Beata Maria Virgine implores the protection of the mother of the Redeemer with these urgent supplications:
5a. Hail, Virgin, star of the sea, | 5a. Ave, virgo, maris stella, |
Hymnus 113. De Beata Maria Virgine alludes to the virginal divine motherhood of Mary by means of the prefiguration of the temple of Solomon, expressing
Behold, the temple is covered with gold | Ecce, templum deauratur, |
Hymnus 126. De Beata Maria Virgine salutes the mother of God in these short verses:
1a. Hail, Temple of the Divine | 1a. Salve, templum trinitatis |
Hymnus 87. De Beata Maria Virgine requests the saving intercession of the mother of God by way of these analogies:
7a. Mary, throne of the Father, | 7a. Maria, patris solium, |
Hymnus 95. De Beata Maria Virgine also uses several symbolic figures to refer to the mother of the Lord in these terms:
4a. The most sacred temple, | 4a. Templum sacratissimum, |
Hymnus 103. De beata Maria Virgine exalts the virginal mother of God for her eminent virtues in these stanzas:
8a. Hail, honor of chastity, | 8a. Ave, decus castitatis |
Hymnus 108. De Beata Maria Virgine enunciates the sublimity of the mother of God in these verses:
2a. Temple of the supreme Father God, | 2a. Templum summi patris Dei, |
Hymnus 122. De Beata Maria Virgine exalts the beneficent power of the mother of God with these expressive rhymes:
6a. Your belly is happy, | 6a. Venter tuus est beatus, |
Hymnus 83. De Beata Maria Virgine exalts the mother of God with these poetic locutions:
1a. The Virgin, the Holy Spirit’s temple, | 1a. Templum sancti spiritus |
Hymnus 35. De Visitatione Beatae Mariae Virginis. Ad Magnificat addresses the mother of the Lord for her intercessory power in these verses:
You are the temple of the supreme Trinity, | Tu templum summae trinitatis |
Hymnus 117. Ad Beatam Mariam Virginem greets the mother of the Redeemer with this short stanza:
Hail, Virgin, temple of God, | 1. Ave, virgo, Dei templum, |
The renowned German hymnographer Ulrich Stöcklins von Rottach (Udalrichus Wessofontanus), abbot of Wessobrunn from 1438 to 1443, celebrates in Hymnus 24. Centinomium Beatae Virginis. Primae partis. Capitulum octavum the divine motherhood of Mary by assimilating her to the temple of Jerusalem by pointing out
75. You are the temple | 75. Tu Salomonicum |
Ulrich Stöcklins requests Mary’s perfecting help in this stanza of Hymnus 25. Laudatorium Beatae Mariae Virginis. Ad Matutinum. Prima Pars, III:
23. Rejoice, temple of grace | 23. Gaude, templum gratiae |
In a third poetic expression, Ulrich Stöcklins requests in Hymnus 25. Laudatorium Beatae Mariae Virginis. Septima pars. Ad Vesperas, II the mother of God’s beneficent help in these rhymes:
196. Hail, temple dedicated | 196. Salve, templum numini |
Once again, Ulrich Stöcklins claims in Hymnus XV. Psalterium “Hymnarius Beatae Mariae Virginis”. Quinquagena I the saving help of Mary by these brilliant biblical figures:
10. Hail, singular temple | 10. Ave, sacri pneumatis |
Moreover Ulrich Stöcklins exalts the Virgin in Hymnus XVI. Psalterium “Theotoca”. Quinquagena I by means of these eloquent metaphors:
Hail, temple, chamber | Ave, templum, camera |
Finally, Ulrich Stöcklins proclaims in Hymnus XVI. Psalterium “Theotoca”. Quinquagena II the mother of God’s sublimity with these polished rhymes:
66. Hail, the nobliest | 66. Ave, nobilissimum |
Undated hymns
Corresponding to an unknown date, we have documented the following four hymns:
Hymnus 522. De beata Maria greets the Virgin with these metaphorical expressions:
Hail, temple of the supreme King, | Salve, templum summi Regis, |
Hymnus 597. Laudes Mariae extols the sublime power of the mother of the Savior in these terms:
Temple of our Redeemer, | Templum nostri redemptoris, |
Hymnus 90. Jubilus de singulis membris Beatae Mariae Virginis celebrates the excellency of the mother of God’s virtues with these lyrical metaphors:
Hail, sacred temple of God, | 2. Salve, sacrum Dei templum, |
Hymnus 41. De beata Maria virgine oratio prima sings to the virginal mother of God with these precise rhymes:
Hail, temple of divinity, | Salve, templum deitatis, |
At the conclusion of this research focused on the allusions of medieval liturgical hymns to the metaphors under study, one remark becomes evident: all the varied metaphorical expressions centered on the concept “temple” that these liturgical hymns developed in the Middle Ages refer to the Virgin Mary in her condition as virginal mother of God the Son. In other words, God constituted Mary (her virginal womb) as the exclusive temple in which God the Son could be conceived and reside during the nine months of his gestation.
3. The templum Dei Metaphor in Some Paintings of the Annunciation from the 14th–15th Centuries
Having thus analyzed the conceptual content of these hymnic texts, we will analyze some paintings of the Annunciation from the 14th and 15th centuries in which Mary’s house in Nazareth appears depicted as a majestic temple. The purpose is to demonstrate that those textual metaphors we have highlighted in medieval liturgical hymns appear illustrated as a visual metaphor in this painted temple that in a fanciful way represents the Virgin’s home in Nazareth in the crucial event of the Annunciation.
Neapolitan pupil of Giotto, The Annunciation, 14th century. Musée Granet, Aix-en-Provence.
The Neapolitan pupil of Giotto who painted The Annunciation, 14th century, from the Musée Granet in Aix-en-Provence (Figure 1), staged the Marian episode in the Virgin’s house shaped as a fragile Gothic temple. The pointed arches supported by thin columns, the windows decorated with stained glass and the ribbed vaults certify the appearance of a church or chapel applied to the dwelling of Mary. In this conspicuous setting, the archangel Gabriel and the Virgin exchange their crucial dialogue. It is legitimate to suppose that the intellectual author of this small panel wanted to give the form of a church to the humble house of Mary in Nazareth to symbolize her as the temple of God.
Mariotto Di Nardo, The Annunciation, c. 1395. Pinacoteca Vaticana.
In the small panel The Annunciation, c. 1395, from the Pinacoteca Vaticana (Figure 2), Mariotto Di Nardo sets the scene in a building with a clear church-like shape. The pointed, two-headed windows in the Gothic style and the longitudinal development of the building shaped as a nave reveal the configuration of the house of the Virgin in the appearance of a church. It is possible to conjecture that whoever designed this painting wanted to highlight Mary symbolized as templum Dei, in keeping with the interpretations given in this regard by the Church Fathers and by medieval theologians and hymnographers for over a millennium.
The Master of Boucicaut, The Annunciation, from the Livre d’Heures du Maréchal Boucicaut, c. 1410–15, Musée Jacquemart-André, Paris.
The Master of Boucicaut staged The Annunciation, from the miniature in f53v of the Livre d’Heures du Maréchal Boucicaut, c. 1410–15, in the Musée Jacquemart-André in Paris (Figure 3), inside a building with the clear shape of a three-nave church. Kneeling in its central nave, Mary interrupts her prayer before the open book because of the unexpected visit of the Archangel Gabriel. Kneeling before the Virgin, he begins his dialogue with her with the congratulatory salutation
Robert Campin, The Annunciation, c. 1420–25. Prado Museum, Madrid.
Robert Campin (c. 1375–1444) arranges his Annunciation, c. 1420–25, from the Prado Museum in Madrid (Figure 4), in the setting of a massive Gothic temple. Outside the temple, the archangel Gabriel, coated with a splendid red cope, genuflects with the herald’s staff in his right hand. Inside its central nave, the Virgin is seated on a cushion on the floor, immersed in meditation before a prayer book, unconscious of the presence of Gabriel. In the upper left corner of the panel, the Most High, levitating in the midst of a resplendent mandorla of angels, emits toward Mary the ray of light, which after passing through a window, reaches her radiant head.
In such unusual scenic context, it seems clear that Robert Campin, probably instructed by a cleric, staged the event of the Annunciation in this vast Gothic temple to visualize the Mariological and Christological meanings expressed by so many medieval liturgical hymns according to which Mary is the true templum Dei, as shown in the first part of this article. It is a pity that the scholars we know who comment on this painting, including Silva Maroto (2001, pp. 50–51) and Thürlemann (2002, p. 196, Figure 208), ignore the deep dogmatic meanings of this painted temple.
Jan van Eyck, The Annunciation in a church, 1434, The National Gallery of Art, Washington, DC.
Jan van Eyck (c. 1390–1441) sets The Annunciation in a church, c. 1434, of the National Gallery of Art, Washington, DC (Figure 5), in the environment of a huge Gothic temple. Amid its central nave, the two protagonists of this Marian episode perform the initial and final moments of their dialogue. Covered with an opulent purple cope with gold brocade and holding a herald’s scepter, the crowned, smiling archangel Gabriel points upwards to signify the heavenly origin of his message while pronouncing the initial praise
Aside from the symbolic meanings of the lily stem and the open prayer book before Mary, it is important to highlight the colossal temple through which the artist has shaped the Virgin’s home in this painting. In doing so, the intellectual author of this Annunciation in a church–perhaps van Eyck himself, or maybe a cleric, acting as the iconographic programmer of this painted Marian event—is aware of the crucial Mariological and Christological meanings that this temple encloses here, as a symbol of the Virgin Mary as the templum Dei, as expressed by the liturgical hymns we elucidated above.
However, these crucial theological symbolisms have been ignored by almost all the commentators we know on this panel. Some of them, like David M. Robb (1936, pp. 506–8), Giorgio T. Faggin & Albert Châtelet (1969), Lotte Brand Philip (1971, p. 139, Figure 138), Elisabeth Dhanens (1980, pp. 355, 358, Figure 221), Barbara G. Lane (1984, pp. 45–47, Figure 28), James E. Snyder (1985, pp. 103–4, Figure 103), Susie Nash (2008, p. 205), or Amanda Simpson (2007, pp. 102–3), do not even mention it. Few, like Craig Harbison (1991, pp. 175–76, Figure 114), and Till-Holger Borchert (2008, pp. 49–51), comment only the formalistic or stylistic qualities of this temple. Only Erwin Panofsky149 and Gertrud Schiller150 bring some doctrinal interpretations of this temple, although these are unjustified, as they are not based on documentary arguments.
Petrus Christus, The Annunciation, c. 1445. The Metropolitan Museum of Art, New York.
Petrus Christus (c. 1410/15–1475/76) staged The Annunciation, c. 1445, from the Metropolitan Museum of Art in New York (Figure 6), in a very novel way; instead of imagining Mary’s house in Nazareth as a temple, he preferred to place the Virgin standing at the entrance of a Gothic temple, while the Archangel Gabriel, also standing, greets her from outside. With this original device of placing Mary at the entrance of the temple, whoever conceived this panel probably wanted to signify not only that the Virgin is the symbolic templum Dei, according to the doctrinal meanings already explained, but also the merciful intercessor before her divine Son, the Universal Judge, to facilitate the entry of the faithful into Heaven (symbolized as a church).
Petrus Christus, The Annunciation, from the diptych The Annunciation, and The Adoration of the Child Jesus, 1452. Groeningemuseum.
Petrus Christus himself set The Annunciation, the left panel of the diptych The Annunciation, and The Adoration of the Child Jesus, 1452, from the Groeningemuseum (Figure 7), in a building resembling a small church or chapel with ribbed vaults, framed by a doorway decorated with figures in high relief. Inside this small church, Gabriel and Mary, with serene attitudes and elegant gestures, exchange their well-known dialogue. Although in a rather different way from what he expressed in his panel from the Metropolitan Museum of New York just analyzed, Petrus Christus also wants to represent the Virgin Mary as a symbolic temple of God in this painting from the Groeningemuseum, according to the exegetical interpretations of the Church Fathers and medieval theologians and liturgical hymnographers.
Jean Fouquet, The Annunciation, Livre d’Heures d’Étienne Chevalier, c. 1452–60. Musée Condé, Chantilly.
Jean Fouquet (1420–1480) structures his Annunciation of the Livre d’Heures d’Étienne Chevalier, c. 1452–1460 (Figure 8), inside a luminous Gothic temple, with a golden ark raised on four columns, guarded by four golden cherubs, on top of a blue altar covered with a white tablecloth. Genuflecting before Mary at the right side of the scene, the archangel Gabriel points his right finger upwards to manifest the origin of the announcement he is conveying. Covered with a large blue garment and sitting on a rug, Mary prays with folded hands in a modest attitude aside from an open book on her left.
It is crystal clear that, by performing in this miniature the event of the Annunciation inside this resplendent Gothic church, Fouquet aims to elucidate the identification of Mary as the temple of God. Indeed, this painted temple illustrates as a visual metaphor the textual metaphor templum Dei, deciphered by so many medieval liturgical hymns with a double Mariological and Christological projection to allude to Mary’s exclusive privilege of being, by the Almighty’s election, the virginal mother of God the Son incarnate.
The Master of Charles de France, The Annunciation, of the Livre d’Heures de Charles de France, 1465. The Metropolitan Museum, New York.
The Master of Charles of France (active c. 1450–1475) sets the double-paged Annunciation of the Livre d’Heures de Charles de France, 1465, at the Metropolitan Museum of New York (Figure 9), in the exuberant environment of a fanciful, delicate golden Gothic temple, filled with columns, pinnacles, niches, and sculptures of prophets, apostles and saints. On the left page, the archangel Gabriel, genuflecting with the herald’s staff in the left hand, remains in the square, without entering the temple, while behind him a long procession of musical angels descends from heaven. Flying over Gabriel’s head, the Holy Spirit’s dove radiates a wide beam of light towards the Virgin.
In the right page, Mary stands inside the temple’s central nave in front of the main altar. Seated facing forward on a red cushion on the floor with an open prayer book, the Virgin turns her face to her right, to establish the dialogue with the celestial messenger. At the background of the main scene, in the apse of the temple, a priest officiates the Mass, an eloquent detail to signify the crucial continuity between the event of the Annunciation–in which the instantaneous Christ’s conception/incarnation becomes real—and Christian religion, founded by the one who at this very instant is being conceived in Mary’s virginal entrails. This allusion to Christianity is also highlighted by the shape of the Gothic temple embodied here. Nevertheless, outside this primary meaning, we are interested in highlighting the deeper Mariological and Christological contents that this painted temple reveals as a symbol of Christ’s mother as templum Dei, as so many medieval liturgical hymns have expressed.
4. Conclusions
If we want to recapitulate the varied (although essentially interrelated and complementary) metaphorical expressions centered on the concept “temple” that the liturgical hymns under study developed in the Middle Ages, we can distinguish two blocks among the most relevant.
In the first one are the expressions “temple of God”, “temple of divinity”, “temple of the deity”, “temple of the Trinity”, “temple of the Holy Spirit”, “temple of God the Father“, “temple of the Lord”, “temple of Christ”, “temple of the supreme King”, “temple of the divine majesty”, “temple of the supreme majesty”, “temple of the divine glory”, “temple of the Savior”, “temple of the Creator”, “temple of the Sun”, “temple of Solomon (or the true Solomon)”, “temple of the Redeemer”, “temple of the Most Holy”. It is evident that with such expressions the medieval liturgical hymns emphasize that the Virgin Mary (her virginal womb) is the temple that God the Son built for himself so that He would be conceived in her as a man and dwell in her during the nine months of pregnancy. In other words, all these metaphorical expressions reinforce the idea of Mary’s virginal divine motherhood.
In the second block of metaphorical expressions—much less frequent—the following are the most relevant: “virginal temple”, “temple of chastity”, “temple of purity”, “temple of charity”, “temple of faith”, “temple of justice”, “temple of innocence”, “temple of holiness”, “temple of grace”, “temple of truth”, “the most sacred temple”, “maternal temple” and “clean temple”. Thus, these infrequent expressions reinforce the idea that the Virgin Mary was chosen by the Most High as the “temple of God” because of her many sublime virtues.
On the other hand, the analysis of the eight paintings of the Annunciation from the 14th and 15th centuries in which Mary’s house in Nazareth appears shaped as a monumental temple allows us to reach the following conclusion: the intellectual author of each pictorial Annunciation—probably a priest or a friar, who would have given the painter instructions in this regard—featured the Virgin’s home in Nazareth like a temple as a visual metaphor capable of illustrating the templum Dei textual metaphor referred to in so many liturgical hymns all along the Middle Ages.
No new data were created or analyzed in this study. Data sharing is not applicable to this article.
The author declares no conflict of interest.
Footnotes
1. This article is part of the plan of activities of the author, as student in the International Doctorate in Humanities: Language and Culture at the Universidad Rey Juan Carlos, Madrid, according to the special form “Compendium of Articles”.
2. Franz Josef Mone, Hymmni Latini Medii Aevi, Brisgoviae, Sumptibus Herder, 1853–1855, 3 vols.
3. Guido María Dreves, and Clemens Blume, Analecta Hymnica Medii Aevi, Leipzig: Fues’s Verlag (R. Reisland), 1886–1919, 55 vols.
4. Hymnus 576. De s. Maria. hymni. ad sextam. Mone II, 390.
5. Hymnus 6. De Fecunditate sanctae Mariae. AHMA 19, 12.
6. Hymnus 68. In Assumptione BMV. AHMA 9, 56.
7. Hymnus 66. De Beata Maria V. Ad Completorium. AHMA 12, 47.
8. Petrus Damianus, Hymnus 25. (10.) De Beata Maria V. Ad Sextam. AHMA 48, 36.
9. Eusebius Bruno, Hymnus 75. (2.) Oratio ad sanctam Mariam. AHMA 48, 80.
10. Anselmus Cantuariensis, Hymnus 100. (2.) Oratio ad B. Mariam V. AHMA 48, 99.
11. Hymnus 504. Psalterium Mariae. Mone 233. Published also, with the title Hymnus XIII. Psalterinm beatae Mariae V. Prima Quinquagena, in AHMA 32, 189; and also, wih the title Hymnus 334. Sanctus “Ave porta". De Beata Maria V, in AHMA 47, 340.
12. Hymnus 504. Psalterium Mariae. Mone II, 236.
13. Hymnus 505. Letania de domina nostra virgine Maria. Mone II, 261. Published also, with the title Hymnus 228. De Beata Maria V., in AHMA 54, 362.
14. Hymnus 513. Prosa de beata virgine. Mone II, 294. Published also, with the title Hymnus 227. De Beata Maria V., in AHMA 54, 361.
15. Hymnus 538. De s. Maria. Mone II, 328.
16. Hymnus 88. In Assumptione BMV. In 1. Vesperis. AHMA 4, 57.
17. Hymnus 79. De beata Maria V. (Infra Nativ. et Purific.). AHMA 9, 64.
18. Hymnus 84. In Annuntiatione BMV. AHMA 10, 72.
19. Hymnus 119. De beata Maria V. AHMA 10, 9.
20. Hymnus 213. De Gaudiis Beatae M. V. AHMA 54, 333.
21. Hymnus 222. De Beata Maria V. AHMA 54, 353.
22. Goffridus Vindocinensis, Hymnus 314. (1.) Oratio ad Matrem Domini. AHMA 50, 405.
23. Petrus Venerabilis, Hymnus 250. (1.) Prosa in Nativitate Domini. AHMA 48, 234.
24. Bernardus Morlanensis, Hymnus 323. (1.) Mariale. Rythmus III. AHMA 50, 429.
25. Guido de Basochis, Hymnus 348. (5.) De Beata Maria V. AHMA 50, 513. Published also, with the title Hymnus 346. De b. v. Maria, in Mone II, 36.
26. Hymnus 1. AHMA 20, 37.
27. Hymnus 191. AHMA 20, 150.
28. Hymnus 93. De Beata Maria. AHMA 40, 97.
29. Hymnus 402. Prosa de b. virgine (troparium). Mone II, 112.
30. Hymnus 151. De beata Maria V. AHMA 10, 113.
31. Hymnus 252. AHMA 20, 188.
32. Hymnus XVIII. Psalterium beatae Mariae V. Prima Quinquagena. AHMA 35, 263.
33. Hymnus I. Psalterium beatae Mariae V. Prima Quinquagena. AHMA 36, 11.
34. Hymnus III. Psalterium beatae Mariae V. Prima Quinquagena. AHMA 36, 42.
35. Hymnus 77. De Beata Maria V. AHMA 37, 77.
36. Hymnus 122. De Beata Maria V. AHMA 40, 117.
37. Hymnus 133. De Beata Maria V. AHMA 42, 127.
38. Hymnus 469. In Assumtione Beatae M.V. AHMA 49, 242.
39. Hymnus 198. In Purificatione Beatae M. V. AHMA 54, 309.
40. Hymnus 14. De beata Maria V. In 3. Nocturno. Responsoria. AHMA 24, 48.
41. Theophilus monachus, Hymnus IV. Psalterium beatae Mariae V. auctore Theophilo monacho. Prima Quinquagena. AHMA 36, 59.
42. Theophilus monachus, Hymnus IV. Psalterium beatae Mariae V. auctore Theophilo monacho. Prima Quinquagena. AHMA 36, 60.
43. Theophilus monachus, Hymnus V. Psalterium beatae Mariae V. auctore Theophilo monacho.Secunda Quinquagena. AHMA 36, 76.
44. Stephanus Cantuariensis, Hymnus XI. Psalterium beatae Mariae, auctore Stephano Cantuariensi. Prima Quadragena. AHMA 35, 154.
45. Stephanus Cantuariensis, Hymnus XI. Psalteriuum beatae Mariae, auctore Stephano Cantuariensi. Prima Quadragena. AHMA 35, 156.
46. Edmundus Cantuariensis, Hymnus X. Psalterium Beatae Mariae V. auctore Edmundo Cantuariensi. Prima Quinquagena. AHMA 35, 137.
47. Hymnus 79. De Beata Maria V. AHMA 39, 73.
48. Hymnus 105. De Beata Maria V. AHMA 40, 105.
49. Hymnus 65. In Assumptione BMV. AHMA 42, 75.
50. Hymnus 76. De Nomine BMV. AHMA 42, 85.
51. Hymnus 185. De XV Gaudiis BMV. I. Prologus. AHMA 31, 189.
52. Hymnus 147. De Beata Maria V. AHMA 46, 198.
53. Hymnus 336. De conceptione s. Mariae. Mone II, 22.
54. Hymnus 472. De gloriosa virgine Maria. ad nonam. Mone II, 174. Published also, with the title Hymnus 58. Horae beatae Mariae V. Ad Nonam, in AHMA 30, 135.
55. Hymnus 530. De eadem [b. virgine Maria]. sequentia. Mone II, 317. Published also, with the title Hymnus 280. De Beata Maria V., in AHMA 54, 424.
56. Hymnus 541. De s. Maria. Mone II, 333.
57. Hymnus 565. Oratio de domina nostra de claritate. Mone II, 373.
58. Hymnus 14. De conceptione BMV. In 2. Nocturno. Responsoria. AHMA 5, 55.
59. Hymnus 110. De beata Maria V. AHMA 10, 99.
60. Hymnus 14. De conceptione BMV. In 2. Vesperis. Ad Magnificat. AHMA 5, 56.
61. Hymnus 18. De praesentatione BMV. In 2. Nocturno. Antiphonae. AHMA 5, 65.
62. Hymnus 18. De praesentatione BMV. In 3. Nocturno. Responsoria. AHMA 5, 66.
63. Hymnus 100. De beata Maria V. AHMA 8, 80.
64. Hymnus 5. In Nativitate DN. AHMA 9, 13.
65. Hymnus 121. De beata Maria V. AHMA 10, 96.
66. Hymnus 81. De beata Maria V. AHMA 9, 67.
67. Hymnus 57. In Conceptione BMV. Ad Vesperas. AHMA 11, 40.
68. Hymnus 123. Ad B. Mariam V, AHMA 15, 150.
69. Hymnus 196, II, AHMA 20, 153.
70. Hymnus XV. Psalterium beatae Mariae V. Prima Quinquagena. AHMA 35, 218.
71. Hymnus XV. Psalterium beatae Mariae V. Prima Quinquagena. AHMA 35, 219.
72. Hymnus XV. Psalterium beatae Mariae V. Tertia Quinquagena. AHMA 35, 230.
73. Hymnus 129. Super Ave Maria. AHMA 30, 243.
74. Hymnus 148. Super Ave Maria. AHMA 30, 269.
75. Hymnus 84. De Beata Maria V. AHMA 42, 91.
76. Hymnus XII. Psalterium beatae Mariae V. sancto Bonaventurae tributum. Prima Quinquagena. AHMA 35, 172.
77. Engelbertus Admontensis, Hymnus IX. Psalterium beatae Mariae V. auctore Engelberto Admontensi. Prima Quinquagena. AHMA 35, 125.
78. Christanus Campoliliensis, Hymnus 47. Hymnus alius super eadem [beatam Mariam V.]. AHMA 41, 217.
79. Guillermus de Mandagoto, Hymnus 345. (6.) De Virginibus. AHMA 48, 320.
80. Hymnus 12. AHMA 1, 55. Published also, with the title Hymnus 285, in AHMA 20, 205.
81. Hymnus 29. AHMA 1, 69.
82. Hymnus 53. AHMA 1, 92.
83. Hymnus 52. Salutationes BMV. AHMA 15, 71–72.
84. Hymnus 82. De beata Maria V. AHMA 9, 68.
85. Hymnus 263. AHMA 20, 193.
86. Hymnus VII. Psalterium Acrostichon B.M.V. Tertia Quinquagena. AHMA 36, 97.
87. Hymnus 480. De b. virgine. oratio. Mone II, 195.
88. Hymnus 480. De b. virgine oratio. Mone II, 196.
89. Hymnus 482. De s. Maria. Mone II, 200.
90. Hymnus 484. De b. v. Maria. Mone II, 201. Published also, with the title Hymnus 275. De Beata Maria V., in AHMA 54, 416.
91. Hymnus 525. Sequentia de b. v. Maria. Mone II, 313. Published also, with the title Hymnus 278. De Beata Maria V., in AHMA 54, 420.
92. Hymnus 588. De s. Maria. Mone II, 403.
93. Hymnus 600. Laudes Mariae. Mone II, 411.
94. Hymnus 606. Laus Mariae. Mone II, 424.
95. Hymnus 54. De immaculata conceptione BMV. In 1. Vesperis. AHMA 4, 41. Published also, with the title Hymnus 91. In Conceptione BMV. In 1. Vesperis, in AHMA 23, 61.
96. Hymnus 16. De praesentatione BMV. In 1. Nocturno. Responsoria. AHMA 5, 60.
97. Hymnus 112. De omnibus Sanctis. AHMA 8, 85.
98. Hymnus 99. De beata Maria V. AHMA 9, 79.
99. Hymnus 13. In Nativitate DN. AHMA 10, 17.
100. Hymnus 14. In Nativitate DN. AHMA 10, 18.
101. Hymnus 85. In Annuntiatione BMV. AHMA 10, 72.
102. Hymnus 94. In Purificatione B.MV. AHMA 10, 78.
103. Hymnus 111. De beata Maria V. AHMA 10, 91.
104. Hymnus 137. De beata Maria V. AHMA 10, 105.
105. Hymnus 140. De beata Maria V. AHMA 10, 106.
106. Hymnus 78. In Conceptione BMV. Ad Vesperas. AHMA 12, 51.
107. Hymnus 83. In Conceptione BMV. Ad Vesperas. AHMA 12, 53.
108. Hymnus 51. De Nominibus BMV. AHMA 15, 64–65.
109. Hymnus 72. De Gaudiis BMV. AHMA 15, 99. Published also, with the title Hymnus 193. De VII Gaudiis caelestibus BMV., in AHMA 31, 202; and also, with he title Hymnus 91. Septem gaudia caelestia gloriosae Virginis Mariae, in AHMA 46, 135.
110. Hymnus 87. Alphabetum archangelicum in laudem BMV. AHMA 15, 108.
111. Hymnus 58. In Praesentatione BMV. AHMA 9, 50.
112. Hymnus 107. Ad B. Mariam V. AHMA 15, 133.
113. Hymnus 108. Ad B. Mariam V. AHMA 15, 134.
114. Hymnus 110. Ad B. Mariam V. AHMA 15, 135.
115. Hymnus 121. Ad B. Mariam V. AHMA 15, 146.
116. Hymnus 67. In Descensione BMV. Ad Vesperas. AHMA 16, 57.
117. Hymnus 3. In Sanctificatione Conceptionis BMV. In 1, Nocturno. Responsoria. AHMA 17, 23.
118. Hymnus 240. AHMA 20, 183.
119. Hymnus 23. De Conceptione BMV. In 2. Nocturno. Responsoria. AHMA 24, 72.
120. Hymnus 57. De Gaudiis BMV. In 1. Visperis. Ad Magnificat. AHMA 24, 173.
121. Hymnus 38. De Conceptione BMV. Ad Sextam. AHMA 30, 93.
122. Hymnus 97. Super Ave Maria. AHMA 30, 204.
123. Hymnus 104. Super Ave Maria. AHMA 30, 211.
124. Hymnus 124. De Nativitate BMV. AHMA 31, 128.
125. Hymnus 132. De Annuntiatione BMV. AHMA 31, 133.
126. Hymnus 195. De Assumptione BMV. AHMA 31, 203.
127. Antonius de Lantsee, Hymnus VIII. Psalterium D. N. Iesu Christi. Prima Quinquagena. AHMA 35, 111.
128. Hymnus 61. De Beata Maria V. AHMA 39, 60.
129. Hymnus 113. De Beata Maria V. AHMA 40, 110.
130. Hymnus 126. De Beata Maria V. AHMA 40, 119.
131. Hymnus 87. De Beata Maria V. AHMA 42, 94.
132. Hymnus 95. De Beata Maria V. AHMA 42, 100.
133. Hymnus 103. De beata Maria V. AHMA 42, 105.
134. Hymnus 108. De Beata Maria V. AHMA 42, 109.
135. Hymnus 122. De Beata Maria V. AHMA 42, 118.
136. Hymnus 83. De Beata Maria V. AHMA 39, 75.
137. Hymnus 35. De Visitatione BMV. Ad Magnificat. AHMA 24, 111–112.
138. Hymnus 117. Ad B. Mariam V. AHMA 15, 141.
139. Udalrichus Wessofontanus, Hymnus 24. Centinomium Beatae Virginis. Primae partis. Capitulum octavum. AHMA 6, 77.
140. Udalrichus Wessofontanus, Hymnus 25. Laudatorium B.V.M. Ad Matutinum. Prima Pars. III. AHMA 6, 90.
141. Udalrichus Wessofontanus, Hymnus 25. Laudatorium B.V.M. Septima pars. Ad Vesperas. II. AHMA 6, 107.
142. Udalrichus Wessofontanus, Hymnus XV. Psalterium “Hymnarius BMV.” Quinquagena I. AHMA 38, 197.
143. Udalrichus Wessofontanus, Hymnus XVI. Psalterium “Theotoca". Quinquagena I. AHMA 38, 214.
144. Udalrichus Wessofontanus, Hymnus XVI. Psalterium “Theotoca". Quinquagena II. AHMA 38, 219.
145. Hymnus 522. De b. Maria. Mone II, 308.
146. Hymnus 597. Laudes Mariae. Mone II, 409.
147. Hymnus 90. Jubilus de singulis membris BMV. AHMA 15, 109.
148. Hymnus 41. De beata Maria virgine oratio prima. AHMA 29, 30.
149. In his comments on this Annunciation in a church, (
150. In her extended comments on this van Eyck Annunciation, (
Footnotes
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References
Primary Sources
AHMA 1. Dreves, Guido María. 1886. Analecta Hymnica Medii Aevi, 1. Cantiones Bohemicae. Leiche, Lieder und Rufe des 13., 14. und 15. Jahrhunderts nach Handschriften aus Prag, Jistebnicz, Wittingau, Hohenfurt und Tegernsee. Leipzig: Fues’s Verlag (R. Reisland).
AHMA 4. Dreves, Guido María. 1888. Analecta Hymnica Medii Aevi, 4. Hyymni inediti. Liturgische Hymnen des Mittelalters aus handschriftlichen Breviarien, Antiphonalien und Processionalien. Leipzig: Fues’s Verlag (R. Reisland).
AHMA, 5. Dreves, Guido María. 1892. Analecta Hymnica Medii Aevi, 5. Historiae rhythmicae. Liturgische Reimofficien des Mittelalters. Erste Folge. Aus Handschriften und Wiegendrucken. Leipzig: Fues’s Verlag (R. Reisland).
AHMA, 6. Dreves, Guido María. 1889. Analecta Hymnica Medii Aevi, 6. Udalricus Wessofontanus. [ Abts zu Wessobrunn 1438–1443 Reimgebe und Leselieder mit Ausschuss der Psalterien. Leipzig: Fues’s Verlag (R. Reisland).
AHMA, 8. Dreves, Guido María. 1890. Analecta Hymnica Medii Aevi, 8. Sequentiae ineditae. Liturgische Prosen des Mittelalters aus Handschriften und Wiegenbrucken. Erste Folge, Leipzig: Fues’s Verlag (R. Reisland).
AHMA 9. Dreves, Guido María. 1890. Analecta Hymnica Medii Aevi, 9. Sequentiae ineditae. Liturgische Prosen des Mittelalters aus Handschriften und Wiegenbrucken. Zweite Folge, Leipzig: Fues’s Verlag (R. Reisland).
AHMA, 10. Dreves, Guido María. 1891. Analecta Hymnica Medii Aevi, 10. Sequentiae ineditae. Liturgische Prosen des Mittelalters aus Handschriften und Wiegenbrucken. Dritte Folge. Leipzig: O. R. Reisland.
AHMA, 11. Dreves, Guido María. 1891.Analecta Hymnica Medii Aevi, 11. Hymni inediti. Liturgische Hymnen des Mittelalters aus Handschriften und Wiegendrucken. Zweite Folge. Leipzig: O. R. Reisland.
AHMA 12. Dreves, Guido María. 1892.Analecta Hymnica Medii Aevi, 12. Hymni inediti. Liturgische Hymnen des Mittelalters aus Handschriften und Wiegendrucken. Dritte Folge, Leipzig: O. R. Reisland.
AHMA 15. Dreves, Guido María. 1893. Analecta Hymnica Medii Aevi, 15. Pia dictamina. Reimgebete und Leselieder des Mittelalters. Erste Folge. Aus Handschriften und Wiegendrucken, Leipzig: O. R. Reisland.
AHMA 16. Dreves, Guido María. 1894. Analecta Hymnica Medii Aevi, 16. Hymnodia Hiberica. Spanische Hymnen des Mittelamters aus liturgischen Handschriften und Druckwerken Römischen Ordos, Leipzig: O. R. Reisland.
AHMA 17. Dreves, Guido María. 1894. Analecta Hymnica Medii Aevi, 17. Hymnodia Hiberica. Liturgische Reimofficien aus Spanischen Brevieren. Im Anhang: Carmina Compostellana, die Lieder des s. g. Codex Calixtinus, Leipzig: O. R. Reisland.
AHMA 19. Dreves, Guido María. 1895. Analecta Hymnica Medii Aevi, 19. Hymni inediti. Liturgische Hymnen des Mittelalters aus Handschriften und Wiegendrucken. Vierte Folge Leipzig: O.R. Reisland.
AHMA, 20. Dreves, Guido María. 1895. Analecta Hymnica Medii Aevi, 20. Cantiones et Muteti. Lieder und Motetten des Mittelalters. Erste Folge: Cantiones natalitiae, Partheniae, Leipzig: O.R. Reisland.
AHMA 23. Dreves, Guido María. 1896. Analecta Hymnica Medii Aevi, 23. Hymni inediti. Liturgische Hymnen des Mittelalters aus Handschriften und Wiegendrucken. Sechste Folge, Leipzig: O.R. Reisland.
AHMA 24. Dreves, Guido María. 1896. Analecta Hymnica Medii Aevi, 24. Historiae rhythmicae. Liturgische Reimofficien des Mittelalters. Vierte Folge. Aus Handschriften und Wiegendrucken, Leipzig: O.R. Reisland.
AHMA 27. Dreves, Guido María. 1897. Analecta Hymnica Medii Aevi, 27. Hymnodia Gotica. Die Mozarabischen Hymnen des alt-spanischen Ritus. Aus handschriftlichen und gedruckten Quellen, Leipzig: O.R. Reisland.
AHMA 29. Dreves, Guido María. 1897. Analecta Hymnica Medii Aevi, 29. Pia dictamina. Reimgebete und Leselieder des Mittelalters. Zweite Folge. Aus Handschriftlichen Gebetbüchers, Leipzig: O.R. Reisland.
AHMA 30. Dreves, Guido María. 1898. Analecta Hymnica Medii Aevi, 30. Pia dictamina. Reimgebete und Leselieder des Mittelalters. Dritte Folge: Studen- und Glossen-Lieder, Leipzig: O.R. Reisland.
AHMA 31. Dreves, Guido María. 1898. Analecta Hymnica Medii Aevi, 31. Pia dictamina. Reimgebete und Leselieder des Mittelalters. Vierte Folge. Aus Handschriften und Wiegendrucken, Leipzig: O.R. Reisland.
AHMA 32. Dreves, Guido María. 1899. Analecta Hymnica Medii Aevi, 32. Pia dictamina. Reimgebete und Leselieder des Mittelalters. Fünfte Folge. Aus Handschriften und Wiegendrucken, Leipzig: O.R. Reisland.
AHMA 35. Dreves, Guido María. 1900. Analecta Hymnica Medii Aevi, 35. Psalteria rhythmica. Gereimte Psalterien des Mittelalters. Erste Folge, Leipzig: O.R. Reisland.
AHMA 36. Dreves, Guido María. 1901. Analecta Hymnica Medii Aevi, 36. Psalteria rhythmica. Gereimte Psalterien des Mittelalters. Erste Folge, Leipzig: O.R. Reisland.
AHMA 37. Dreves, Guido María. 1901. Analecta Hymnica Medii Aevi, 37. Sequentiae ineditae. Liturgische Prosen des Mittelalters aus Handschriften und Wiegenbrucken. Fünfte Folge, Leipzig: O.R. Reisland.
AHMA, 38. Dreves, Guido María. 1902. Analecta Hymnica Medii Aevi, 38. Psalteria Wessofontana. Ulrich Stöcklins von Rottach siebzehn Reimpsalterien, Leipzig: O.R. Reisland.
AHMA 39. Dreves, Guido María. 1902. Analecta Hymnica Medii Aevi, 39. Sequentiae ineditae. Liturgische Prosen des Mittelalters aus Handschriften und Wiegenbrucken. Sechste Folge, Leipzig: O.R. Reisland.
AHMA, 40. Dreves, Guido María. 1902. Analecta Hymnica Medii Aevi, 40. Sequentiae ineditae. Liturgische Prosen des Mittelalters aus Handschriften und Wiegenbrucken. Siebente Folge, Leipzig: O.R. Reisland.
AHMA 41. Dreves, Guido María. 1903. Analecta Hymnica Medii Aevi, 41. Christanus Campoliliensis. Christan von Lilienfeld, Hymnen, Officien, Sequenzen u. Reimgebete, Leipzig: O.R. Reisland.
AHMA 42. Dreves, Guido María. 1903. Analecta Hymnica Medii Aevi, 42. Hymni inediti. Liturgische Hymnen des Mittelalters aus Handschriften und Wiegendrucken. Siebente Folge, Leipzig: O.R. Reisland.
AHMA 46. Dreves, Guido María. 1905. Analecta Hymnica Medii Aevi, 46. Pia dictamina. Reimgebete und Leselieder der Mittelalters. Siebente Folge. Aus Handschriften und Wiegendrucken, Leipzig: O.R. Reisland.
AHMA 48. Dreves, Guido María. 1905. Analecta Hymnica Medii Aevi, 48. Hymnographie Latini. Lateinische Hymnendichter des Mittelalters. Erste Folge, Leipzig: O.R. Reisland.
AHMA 50. Dreves, Guido María. 1907. Analecta Hymnica Medii Aevi, 50. Hymnographi latini. Lateinische Hymnendichter des Mittelalters. Zweite Folge, Leipzig: O.R. Reisland.
AHMA 54. Blume, Klemens. 1915. Analecta Hymnica Medii Aevi, 54. Thesauri Hymnologici Prosarium. Liturgische Prosen des Übergangsstiles und der zweiten Epoche…, Leipzig: O.R. Reisland.
Anselmus Cantuariensis, Hymnus 100. (2.) Oratio ad B. Mariam V. AHMA 48, 99.
Antonius de Lantsee, Hymnus VIII. Psalterium D. N. Iesu Christi. Prima Quinquagena. AHMA 35, 111.
Bernardus Morlanensis, Hymnus 323. (1.) Mariale. Rythmus III. AHMA 50, 429.
Caelius Sedulius, Hymnus 53. (2.) Hymnus Alter. AHMA 50, 58.
Christanus Campoliliensis, Hymnus 47. Hymnus alius super eadem [beatam Mariam V.]. AHMA 41, 217.
Edmundus Cantuariensis, Hymnus X. Psalterium Beatae Mariae V. auctore Edmundo Cantuariensi. Prima Quinquagena. AHMA 35, 137.
Engelbertus Admontensis, Hymnus IX. Psalterium beatae Mariae V. auctore Engelberto Admontensi. Prima Quinquagena. AHMA 35, 125.
Eusebius Bruno, Hymnus 75. (2.) Oratio ad sanctam Mariam. AHMA 48, 80.
Goffridus Vindocinensis, Hymnus 314. (1.) Oratio ad Matrem Domini. AHMA 50, 405.
Guido de Basochis, Hymnus 348. (5.) De Beata Maria V. AHMA 50, 513.
Guillermus de Mandagoto, Hymnus 345. (6.) De Virginibus. AHMA 48, 320.
Hymnus 1. AHMA 20, 37.
Hymnus 3. In Sanctificatione Conceptionis BMV. In 1, Nocturno. Responsoria. AHMA 17, 23.
Hymnus 5. In Nativitate DN. AHMA 9, 13.
Hymnus 6. De Fecunditate sanctae Mariae. AHMA 19, 12.
Hymnus 12. AHMA 1, 55.
Hymnus 13. In Nativitate DN. AHMA 10, 17.
Hymnus 14. De conceptione BMV. In 2. Nocturno. Responsoria. AHMA 5, 55.
Hymnus 14. De conceptione BMV. In 2. Vesperis. Ad Magnificat. AHMA 5, 56.
Hymnus 14. In Nativitate DN. AHMA 10, 18.
Hymnus 14. De beata Maria V. In 3. Nocturno. Responsoria. AHMA 24, 48.
Hymnus 16. De praesentatione BMV. In 1. Nocturno. Responsoria. AHMA 5, 60.
Hymnus 18. De praesentatione BMV. In 2. Nocturno. Antiphonae. AHMA 5, 65.
Hymnus 18. De praesentatione BMV. In 3. Nocturno. Responsoria. AHMA 5, 66.
Hymnus 23. De Conceptione BMV. In 2. Nocturno. Responsoria. AHMA 24, 72.
Hymnus 29. AHMA 1, 69.
Hymnus 35. De Visitatione BMV. Ad Magnificat. AHMA 24, 111–112.
Hymnus 38. De Conceptione BMV. Ad Sextam. AHMA 30, 93.
Hymnus 41. De beata Maria virgine oratio prima. AHMA 29, 30.
Hymnus 51. De Nominibus BMV. AHMA 15, 64–65.
Hymnus 52. Salutationes BMV. AHMA 15, 71–72.
Hymnus 53. AHMA 1, 92.
Hymnus 54. De immaculata conceptione BMV. In 1. Vesperis. AHMA 4, 41.
Hymnus 57. In Conceptione BMV. Ad Vesperas. AHMA 11, 40.
Hymnus 57. De Gaudiis BMV. In 1. Visperis. Ad Magnificat. AHMA 24, 173.
Hymnus 58. In Praesentatione BMV. AHMA 9, 50.
Hymnus 58. Horae beatae Mariae V. Ad Nonam. AHMA 30, 135.
Hymnus 61. De Beata Maria V. AHMA 39, 60.
Hymnus 65. In Assumptione BMV. AHMA 42, 75.
Hymnus 66. De Beata Maria V. Ad Completorium. AHMA 12, 47.
Hymnus 67. In Descensione BMV. Ad Vesperas. AHMA 16, 57.
Hymnus 68. In Assumptione BMV. AHMA 9, 56.
Hymnus 72. De Gaudiis BMV. AHMA 15, 99.
Hymnus 76. De Nomine BMV. AHMA 42, 85.
Hymnus 77. De Beata Maria V. AHMA 37, 77.
Hymnus 78. In Conceptione BMV. Ad Vesperas. AHMA 12, 51.
Hymnus 79. De beata Maria V. (Infra Nativ. et Purific.). AHMA 9, 64.
Hymnus 79. De Beata Maria V. AHMA 39, 73.
Hymnus 81. De beata Maria V. AHMA 9, 67.
Hymnus 82. De beata Maria V. AHMA 9, 68.
Hymnus 82. In Annuntiatione B. M. V. I. Ad Vesperas. AHMA 27, 118.
Hymnus 83. In Conceptione BMV. Ad Vesperas. AHMA 12, 53.
Hymnus 84. In Annuntiatione BMV. AHMA 10, 72.
Hymnus 84. De Beata Maria V. AHMA 42, 91.
Hymnus 87. Alphabetum archangelicum in laudem BMV. AHMA 15, 108.
Hymnus 89. Meditatio de BMV. AHMA 15, 109.
Hymnus 83. De Beata Maria V. AHMA 39, 75.
Hymnus 85. In Annuntiatione BMV. AHMA 10, 72.
Hymnus 87. De Beata Maria V. AHMA 42, 94.
Hymnus 88. In Assumptione BMV. In 1. Vesperis. AHMA 4, 57.
Hymnus 90. Jubilus de singulis membris BMV. AHMA 15, 109.
Hymnus 91. In Conceptione BMV. In 1. Vesperis. AHMA 23, 61.
Hymnus 91. Septem gaudia caelestia gloriosae Virginis Mariae. AHMA 46, 135.
Hymnus 93. De Beata Maria. AHMA 40, 97.
Hymnus 94. In Purificatione B.MV. AHMA 10, 78.
Hymnus 95. De Beata Maria V. AHMA 42, 100.
Hymnus 97. Super Ave Maria. AHMA 30, 204.
Hymnus 99. De beata Maria V. AHMA 9, 79.
Hymnus 99. In Nativitate Domini. Ascribitur Adamo de S. Victore. AHMA 54, 152.
Hymnus 100. De beata Maria V. AHMA 8, 80.
Hymnus 103. De beata Maria V. AHMA 42, 105.
Hymnus 104. Super Ave Maria. AHMA 30, 211.
Hymnus 105. De Beata Maria V. AHMA 40, 105.
Hymnus 107. Ad B. Mariam V. AHMA 15, 133.
Hymnus 108. Ad B. Mariam V. AHMA 15, 134.
Hymnus 108. De Beata Maria V. AHMA 42, 109.
Hymnus 110. Ad B. Mariam V. AHMA 15, 135.
Hymnus 110. De beata Maria V. AHMA 10, 99.
Hymnus 111. De beata Maria V. AHMA 10, 91.
Hymnus 112. De omnibus Sanctis. AHMA 8, 85.
Hymnus 113. De Beata Maria V. AHMA 40, 110.
Hymnus 117. Ad B. Mariam V. AHMA 15, 141.
Hymnus 119. De beata Maria V. AHMA 10, 95.
Hymnus 121. De beata Maria V. AHMA 10, 96.
Hymnus 121. Ad B. Mariam V. AHMA 15, 146.
Hymnus 122. De Beata Maria V. AHMA 40, 117.
Hymnus 122. De Beata Maria V. AHMA 42, 118.
Hymnus 123. Ad B. Mariam V, AHMA 15, 150.
Hymnus 124. De Nativitate BMV. AHMA 31, 128.
Hymnus 126. De Beata Maria V. AHMA 40, 119.
Hymnus 129. Super Ave Maria. AHMA 30, 243.
Hymnus 132. De Annuntiatione BMV. AHMA 31, 133.
Hymnus 133. De Beata Maria V. AHMA 42, 127.
Hymnus 137. De beata Maria V. AHMA 10, 105.
Hymnus 140. De beata Maria V. AHMA 10, 106.
Hymnus 147. De Beata Maria V. AHMA 46, 198.
Hymnus 148. Super Ave Maria. AHMA 30, 269.
Hymnus 151. De beata Maria V. AHMA 10, 113.
Hymnus 185. De XV Gaudiis BMV. I. Prologus. AHMA 31, 189.
Hymnus 191. AHMA 20, 150.
Hymnus 193. De VII Gaudiis caelestibus BMV. AHMA 31, 202.
Hymnus 195. De Assumptione BMV. AHMA 31, 203.
Hymnus 196, II, AHMA 20, 153.
Hymnus 198. In Purificatione Beatae M. V. AHMA 54, 309.
Hymnus 227. De Beata Maria V. AHMA 54, 361.
Hymnus 228. De Beata Maria V. AHMA 54, 362.
Hymnus 213. De Gaudiis Beatae M. V. AHMA 54, 333.
Hymnus 222. De Beata Maria V. AHMA 54, 353.
Hymnus 240. AHMA 20, 183.
Hymnus 252. AHMA 20, 188.
Hymnus 263. AHMA 20, 193.
Hymnus 275. De Beata Maria V. AHMA 54, 416.
Hymnus 278. De Beata Maria V. AHMA 54, 420.
Hymnus 280. De Beata Maria V. AHMA 54, 424.
Hymnus 285. AHMA 20, 205.
Hymnus 334. Sanctus “Ave porta”. De Beata Maria V. AHMA 47, 340.
Hymnus 336. De conceptione s. Mariae. Mone II, 22.
Hymnus 346. De b. v. Maria. Mone II, 36.
Hymnus 402. Prosa de b. virgine (troparium). Mone II, 112.
Hymnus 457. Septem Gaudia b. M. v. Mone II, 165.
Hymnus 469. In Assumtione Beatae M.V. AHMA 49, 242.
Hymnus 472. De gloriosa virgine Maria. ad nonam. Mone II, 174.
Hymnus 480. De b. virgine. oratio. Mone II, 195.
Hymnus 480. De b. virgine oratio. Mone II, 196.
Hymnus 482. De s. Maria. Mone II, 200.
Hymnus 484. De b. v. Maria. Mone II, 201.
Hymnus 504. Psalterium Mariae. Mone 233–236.
Hymnus 505. Letania de domina nostra virgine Maria. Mone II, 261.
Hymnus 513. Prosa de beata virgine. Mone II, 294.
Hymnus 522. De b. Maria. Mone II, 308.
Hymnus 525. Sequentia de b. v. Maria. Mone II, 313.
Hymnus 530. De eadem [b. virgine Maria]. sequentia. Mone II, 317.
Hymnus 538. De s. Maria. Mone II, 328.
Hymnus 541. De s. Maria. Mone II, 333.
Hymnus 565. Oratio de domina nostra de claritate. Mone II, 373.
Hymnus 576. De s. Maria. hymni. ad sextam. Mone II, 390.
Hymnus 588. De s. Maria. Mone II, 403.
Hymnus 597. Laudes Mariae. Mone II, 409.
Hymnus 600. Laudes Mariae. Mone II, 411.
Hymnus 606. Laus Mariae. Mone II, 424.
Hymnus I. Psalterium beatae Mariae V. Prima Quinquagena. AHMA 36, 11.
Hymnus III. Psalterium beatae Mariae V. Prima Quinquagena. AHMA 36, 42.
Hymnus VII. Psalterium Acrostichon B.M.V. Tertia Quinquagena. AHMA 36, 97.
Hymnus XII. Psalterium beatae Mariae V. sancto Bonaventurae tributum. Prima Quinquagena. AHMA 35, 172.
Hymnus XIII. Psalterinm beatae Mariae V. Prima Quinquagena. AHMA 32, 189.
Hymnus XV. Psalterium beatae Mariae V. Prima Quinquagena. AHMA 35, 218.
Hymnus XV. Psalterium beatae Mariae V. Prima Quinquagena. AHMA 35, 219.
Hymnus XV. Psalterium beatae Mariae V. Tertia Quinquagena. AHMA 35, 230.
Hymnus XVIII. Psalterium beatae Mariae V. Prima Quinquagena. AHMA 35, 263.
Mone, Franz Josef, Hymni Latini Medii Aevi. E codd. Mss. Edidit et adnotationibus illustravit Franc. Jos. Mone. Tomus Primus.Hymni ad Deum et angelos, Friburgi Brisgoviae, Sumptibus Herder, 1853.
Mone, Franz Josef, Hymni Latini Medii Aevi. E codd. Mss. Edidit et adnotationibus illustravit Franc. Jos. Mone. Tomus Secundus. Hymni ad. B.V. Mariam, Friburgi Brisgoviae, Sumptibus Herder, 1854. Citado con la abreviatura Mone, II.
Mone, Franz Josef, Hymni Latini Medii Aevi. E codd. Mss. Edidit et adnotationibus illustravit Franc. Jos. Mone.Tomus Tertius. Hynmni ad Sanctos, Friburgi Brisgoviae, Sumptibus Herder, 1855.
Petrus Daminanus, Hymnus 25. (10.) De Beata Maria V. Ad Sextam. AHMA 48, 36.
Petrus Venerabilis, Hymnus 250. (1.) Prosa in Nativitate Domini. AHMA 48, 234.
Stephanus Cantuariensis, Hymnus XI. Psalterium beatae Mariae, auctore Stephano Cantuariensi. Prima Quadragena. AHMA 35, 156.
Theophilus monachus, Hymnus IV. Psalterium beatae Mariae V. auctore Theophilo monacho. Prima Quinquagena. AHMA 36, 59.
Theophilus monachus, Hymnus IV. Psalterium beatae Mariae V. auctore Theophilo monacho. Prima Quinquagena. AHMA 36, 60.
Theophilus monachus, Hymnus V. Psalterium beatae Mariae V. auctore Theophilo monacho.Secunda Quinquagena. AHMA 36, 76.
Udalrichus Wessofontanus, Hymnus 24. Centinomium Beatae Virginis. Primae partis. Capitulum octavum. AHMA 6, 77.
Udalrichus Wessofontanus, Hymnus 25. Laudatorium B.V.M. Ad Matutinum. Prima Pars. III. AHMA 6, 90.
Udalrichus Wessofontanus, Hymnus 25. Laudatorium B.V.M. Septima pars. Ad Vesperas. II. AHMA 6, 107.
Udalrichus Wessofontanus, Hymnus XV. Psalterium “Hymnarius BMV.” Quinquagena I. AHMA 38, 197.
Udalrichus Wessofontanus, Hymnus XVI. Psalterium “Theotoca”. Quinquagena I. AHMA 38, 214.
Udalrichus Wessofontanus, Hymnus XVI. Psalterium “Theotoca”. Quinquagena II. AHMA 38, 219.
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Abstract
The current article seeks two interrelated objectives. First, we will shed light on the Mariological and Christological meanings underlying the saying templum Dei and other similar metaphorical expressions, with which countless medieval liturgical hymns, inspired by the Bible, designate the Virgin Mary. Second, we will iconographically interpret some paintings of the Annunciation from the 14th and 15th centuries that represent Mary’s house in Nazareth as a majestic temple. In this order of ideas, we will proceed according to two complementary methodological strategies: first, we will analyze an abundant corpus of fragments of liturgical hymns configured around some biblical metaphors, such as temple of God, tabernacle of the Lord, seat of Wisdom, Ark of the Covenant, temple of Solomon, or throne of the King (Solomon); second, we will analyze eight pictorial Annunciations that include a temple in their scene. The comparison of both analyses, the texts and the images, will allow us to conclude that these texts are the conceptual support of those images, and that the latter are the visual illustrations of those concepts.
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