The music to which the processional hymn was sung is, in some cases, available. The St. Gall manuscripts, as Gautier noted, were furnished with musical notation. This is occasionally true of later manuscripts, especially as we enter the closing medieval centuries. The traditional melodies of certain hymns, like the _Salve festa dies_ and _Gloria laus et honor_ are known to-day. Musicologists and students of liturgical music are currently engaged in bringing this music to present-day knowledge. For example, the hymn used in procession before the reading of the Gospel appears in the twelfth and thirteenth centuries as a _conductus_ or _conductum_ which, in turn, is related to the _cantio_.[32] A _conductus_ for the festival of St. James of Campostella (_A. H._ 17. 199), illustrates the evolution of a minor type of processional hymn from Hartmann’s solemn _versus_, mentioned above, to the festive style of the late medieval period. The recent study of the _conductus_ by Leonard Ellinwood reflects the growing interest of musicians in these forms, both secular and religious, which preceded the Renaissance.[33] To summarize the characteristic marks of the processional hymn which are constant and quite independent of the date of their appearance, the student must recall the underlying motives: 1) supplication in the litanies, 2) re-enactment of biblical scenes and 3) religious pilgrimage. Respecting usage, the special interest of a ceremony devoted to a particular occasion is present in processional hymns, additional to other rites. Lastly, a group of hymns has come into existence, not to be classified with the more formal categories of the office hymn and the sequence but dedicated to an extra-liturgical purpose. As a group, the processional hymns are not well-known or frequently used in translation with the exception of the ageless hymns of Theodulphus and especially of Fortunatus whose processionals usurped the medieval field for over one thousand years and are still current to-day. (See Illustrative Hymns, XVII. _Salve festa dies_, “Hail thee, festival day.”) CHAPTER SEVEN Influence and Survival of Latin Hymns I. Late Medieval Influence From the creation of the Latin hymn in the fourth century by the earliest writers to the efforts of poets heralding the Renaissance, Christian hymnody left its imprint upon contemporary verse both secular and religious. The field of inquiry suggested by this thesis has never been fully explored although it abounds in fascinating possibilities for the student of medieval culture. The subject, of course, cannot be treated within the limits of this chapter but such hints may be offered as have resulted from a partial study of particular areas or fall within the bounds of reasonable assumption.