(See Illustrative Hymns, XVI. _Stabat mater dolorosa_, “By the Cross her vigil keeping.”) In this period it seems, at least to the present writer, that the Italian-born poets of the religious lyric come into their rightful heritage. The poets of England and of the French, German and Spanish-speaking lands had at one time or another held the palm in the field of hymnody. At the very moment, so to speak, when the genius of Dante and Petrarch had established the fame of Italian letters, the Christian hymn found new spokesmen in a literary medium which had originated in the same environment a thousand years before. What has already been said of the multiplication of new feasts as the medieval ages progressed, is true in an even greater degree in the later centuries. The Feast of Corpus Christi is only one of many which marked this period of religious devotion, and incidentally required new sequences. If the collection of liturgical proses edited by Daniel in his _Thesaurus Hymnologicus_ and reprinted in volumes 54 and 55 of the _Analecta Hymnica_ be accepted as a guide, the new demands become clear. From the period of Adam of St. Victor, 174 feasts were furnished with sequences, many times over in the case of the more important festivals. The actual liturgical collections from which the _Analecta Hymnica_ was compiled constitute a more specific source of information. If the attention of the student is fixed upon the sequences used in well-known missals and troparies from the thirteenth century and later, in the leading ecclesiastical centers of Europe, a wealth of material is revealed. Many of these sequences in the great collections are unfamiliar to the modern student, some have never been translated into English, but as a whole they are truly representative of this body of poetry in the period of its greatest interest. A tropary of St. Martial of the thirteenth century contains an anonymous Easter sequence, _Morte Christi celebrata_ (_A. H._ 8. 33), “Christ’s passion now is o’er,”[11] which bears comparison with the better-known sequences which have been named above. IV. Liturgical Collections