The Role of the Basilica of St. Francis in the Creation of Polyphonic Music

THE ROLE OF THE BASIUCA OF ST. FRANCIS IN THE CREATION OF POLYPHONIC MUSIC The extent to which the construction of the Basilica of St. Francis, one of the world's major sanctuaries of both faith and art,1 and the development and definitive codification of the Franciscan liturgy went hand in hand is truly fascinating.2 It is a phenomenon that is not, perhaps, entirely accidental. Consider the sequence of events: Thanks to the determination of Pope Gregory LX, the great church is begun during April and May 1228. In less than two years the building has progressed to such a point that the remains of Saint Francis can be placed there, and the translation [from the Church of St. George] takes place on May 25, 1230. During this same period (1231-1232) Julian of Speyer composes in Assisi the music and words of the Officium Rhythmicum S. Francisci.5 On Christmas of 1252, Saint Clare, lying ill, has a vision and in her delirium she believes she is inside the inspir1 Cf. S. Nessi, La Basilica di San Francesco in Assisi e la sua documentazione storica (Assisi, 1982); I. Hueck,"Die Kapellen der Basilika San Francesco in Assisi: die Auftragebber un die Franziskaner," in Patronage and Public in the Trecento, ed. V. Moleta, Biblioteca dell' "Archivum Romanicum," 1/202 (Florence, 1986), 81-84. 2 Cf. S. J. P. van Dijk and J. Hazelden Walker, The Origin of the Modern Roman Liturgy (London, 1960); S. J. P. van Dijk, "Ursprung und Inhalt der franziskanischen Liturgie des 13. Jahrunderts," Franziskanische Studien 51 (1969): 86116 , 192-217; idem, The Ordinal of the Papal Court from Innocent III to Boniface VIII and Related Documents, Spicilegium Friburgense 22 (Fribourg, 1975). 3 E. Bruning, "Giuliano da Spira e l'Officio rítmico di S. Francesco," Note d'Archivio per la storia musicale 4 (1927): 129-202, and for a semiotic reading of the musical text, cf. the fundamental N. Albarosa, "Significazioni nelle grafie gregoriane tarde," in Liturgia e músicafrancescane nel XIII secólo. Atti del seminario di studio, ed. P. Petrobelli and R. Rusconi, Annali della Facoltà di Lettere e Filosof ía. Vniversità degli Studio di Perugia, 2 Studi Storico-Antropologici (Perugia: March 17-18, 1982), vols. 20-21, n.s., 6-7, 1982/1984, pp. 101-112. [See also Jason Miskuly, "Julian of Speyer: Life of St. Francis," Franciscan Studies 49 (1989): 96, 98-99.] 84GALLIANO CILIBERTI ing church during a solemn celebration: "And at once she began to hear the organ and the responsories and all the office of the friars in the church of Saint Francis as though she were present there."4 Reference to this episode [which testifies to the use of instrumental and vocal liturgical music in the church] is made in the Processo. Thomas of Celano also tells of it in 1255, and it is reported both in the Acrits beati Francisci and I Fioretti.5 The majestic consecration of the Basilica and its altars takes place on May 25, 1253, as arranged by Pope Innocent IV. This same pope had entrusted the reform and codification of the Franciscan liturgy to Friar Haymo of Faversham, the fifth minister general of the Franciscan Order (and therefore active in Assisi ) from 1240 to his death in 1244.6 Simone Martini's fresco in the Lower Church, The Funeral of St. Martin (fig. 1), inspired by the chants of the Ordo Sepolturae, the liturgical office preserved in the fourteenth century Franciscan manuscript fols. 9v-10r of I-Ap, is impressive evidence of the extent to which this reform eventually permeates, powerfully and vigorously, all aspects of the daily life of the Middle Ages in Assist.7 The painter is clearly guided by the liturgy for the burial of the friars (for which he must have been present during his stay in Assisi), as is evident in his arrangement of the semi-circle of bystanders and in his portrayal of the two cantor clerics with candles. The Haymonian reform leads to the composition of an Ordo agendorum, an Ordo Breviarii, and also an Ordo Missalis. These separate the rubrics of the breviary from those of the missal, thus putting them in...