(from Lat. liber processionalis, processionale, processionarium).
A small portable liturgical book of the Western Church, containing the chants, rubrics and collects appropriate to liturgical processions. It is of particular musical interest since it contains antiphons, verses, rhymed Preces and even polyphonic chants that do not occur in other liturgical books. Like the pontifical, it was a comparatively late addition to the repertory of official liturgical books, originating in the 10th and 11th centuries; the processional antiphons are much older, and formerly occurred in the gradual.
1. Sources of processional chants.
2. Categories of noted processionals.
MICHEL HUGLO
Processions occur in most ancient religions. Essentially, they consist of a communal progress on foot for the purpose of petition, penitence or even protocol (as in the processions of the Byzantine court), and the singing of chants. The latter may be very diverse in style – syllabic, melismatic or in litany form (i.e. a series of invocations or petitions, to each of which the congregation makes a brief response).
The oldest known processionals (books containing the processional chants) date from the 12th century, although a book of the chants for the Rogationtide procession at Metz Cathedral (F-ME) was copied in the second half of the 11th century; certain other books derived from the Romano-Germanic pontifical of Mainz, and containing important elements of the ritual and processional, may date from the 11th century (A-Wn 1888) or even the late 10th (I-Rvat Pal.lat.489 from Zell, near Kochem on the River Mosel, and Pal.lat.490 from Lorsch).
Earlier – from the late 8th century – processional antiphons often occurred in the gradual. This is true of antiphons for processions immediately following the blessing of candles (Candlemas), ashes (Ash Wednesday) or palms (Palm Sunday), which were copied before the introit of the day; it is also true of the processional antiphons for the Major Litanies, copied at the end of the graduals (see R.-J. Hesbert, ed.: Antiphonale missarum sextuplex, Brussels, 1935, pp.cxxi ff, nos.200–14). (In the tradition of southern French graduals with Aquitanian notation, the relationship between the processional antiphons and introits later extended to all festivals; elsewhere, processional antiphons came to be grouped around the ancient antiphons of the Major Litanies.)
The procession of the Major Litanies (‘St Mark’s Procession’, though unrelated to the festival of St Mark) was introduced at Rome under Pope Gregory the Great in 592. It took place on 25 April between S Lorenzo in Lucina and S Pietro, and represented the christianizing of an old pagan procession held on the same day, the robigalia, which had persisted at Rome until the Late Empire. Another distinct procession, that of the Minor Litanies (or Rogations) was instituted in Gaul in 469 by St Mamertus, Bishop of Vienne, on the three days before Ascension. Both processions were in due course adopted into the Roman liturgy: the Gallican Minor Litanies continued to survive even after the introduction into Gaul of the Roman liturgy and its Major Litanies of 25 April; on the other hand, the Gallican Minor Litanies were adopted at Rome in 816, under Leo III, and the same chants were specified for them as for the Litanies of 25 April.
The chants for the Litanies occur in Gregorian graduals written and notated in France, assigned sometimes to 25 April and sometimes to the three days before Ascension, and to them are appended Preces that are remnants of the ancient Gallican liturgy abolished at the Carolingian reform (see P. de Clerck: La ‘prière universelle’ dans les liturgies latines anciennes: témoignages patristiques et textes liturgiques, Münster, 1977). In consequence, a study of the chants of the Major and Minor Litanies must begin with an examination of the oldest graduals (listed in Le graduel romain, ii: Les sources, Solesmes, 1957), in particular those of the 10th and 11th centuries noted with neumes (see Gallican chant, §13).
The inconsistency between the graduals in which the chants were assigned ‘according to the Romans’ (‘secundum Romanos’) to April 25, and those where the chants were assigned ‘following the custom of the Gallican Church’ (‘juxta morem gallicanae ecclesiae’) to the three days before Ascension, was not eliminated: an attempt at codification, in the Ordo XXXI (following the numbering of M. Andrieu: Les ordines romani du haut moyen-âge, Leuven, 1931–56) entitled ‘Quando letania major debet fieri’, did not win acceptance. Nevertheless, the Ordo romanus antiquus (following the appellation of Melchior Hittorp, i.e. Andrieu’s Ordo L), which was drafted at St Alban in Mainz in about 950, seems to have influenced the processional tradition in several churches of south Germany.
As mentioned above, the graduals of south-west France noted with diastematic Aquitanian neumes generally contain processional chants before the introit of the Mass of the day, and also generally include more processional chants than the other French graduals with chants of Gallican origin made to serve as processional chants. Moreover, they contain the earliest evidence of the melodies, from the early 11th century, owing to the precise diastematic Aquitanian notation they use. No single archetype has been discovered for the Aquitanian processional chants despite a complete study of the processional chants in Aquitanian graduals and in processionals proper, except perhaps in the case of the antiphons of the Litanies. Useful comparisons are possible, nevertheless, between graduals and processionals of the same tradition.
Precursors of the processional – besides the gradual – also include the antiphoner or breviary. Some noted antiphoners, for instance that of Hartker (CH-SGs 390–91: PalMus, 2nd ser., i, 1900/R; Monumenta palaeographica gregoriana, IV/1–2, Münsterschwarzach, 1988), or the Codex Albensis (A-Gu 211; ed. Z. Falvy and L. Mezey, Codex Albensis: ein Antiphonar aus dem 12. Jahrhundert, Budapest, 1963), contain the Maundy antiphons. These antiphons, sung weekly in monasteries and annually in other churches on the evening of Maundy Thursday during the Washing of the Feet (see T. Schäfer, Die Fusswaschung, Beuron, 1956), appear in many processionals and graduals, although they do not accompany a procession and were omitted from a number of manuscript processionals.
Some breviaries contain processional chants proper, however. A fragmentary breviary with neumes, CH-Bu N I 6 (ed. A. Dold, Lehrreiche Basler Brevier-Fragmente des 10. Jahrhunderts, Beuron, 1954, pp.19ff), contains the antiphons for the Palm Sunday procession; a 14th-century noted breviary from Lyons (F-C 43, ff.249v–260) contains the penitential processional chants of the Major Litanies.
Some manuscripts present the various categories of chant (for Mass, Offices, processions and other miscellaneous rites) either in separate volumes (e.g. F-Pn lat.12584, of the 11th century, or GB-WO F 160, of the 13th century) or in a single volume, with the chants in the order in which they are performed, the processional chants occurring between Terce and the introit at Mass (e.g. I-Rvat lat.7018, of the 11th century, or I-BV V 19–20, of the 12th century). Other manuscripts contain processional antiphons on flyleaves, and some contain the texts of the processional chants without music notation. Processional chants occur also in tropers and prosers, such as those of St Martial at Limoges (F-Pn lat.909, 1136 and 1240). Husmann, in his catalogue of these manuscripts (RISM, B/V/1, 1964), gave an account of processional chants where they occur.
Some processionals (in the strict sense) that were carried in procession do not contain the processional chants but only the rubrics and the collects recited at each station during the procession, e.g. F-AI 17, of the 15th century, from Albi Cathedral; D-Mbs Clm.3905, of the 12th century, from St Afra at Augsburg; GB-SB 148, of the 15th century; the Sarum processional (ed. Wordsworth, 1901, and Rastall, 1980); and I-As 32 from Aosta Cathedral (see Amiet, i, 53–5). The incipits of the chants are given in these manuscripts, however, and it is possible, in the absence of a complete processional, to reconstruct the repertory of the church in question.
Chant incipits appear also in the ordinal, a liturgical book with rubrics, collects and lessons, which is another valuable source for the study of processional chants. Manuscript ordinals are listed in Le graduel romain (ii: Les sources, Solesmes, 1957, pp.189–96); printed ordinals are listed by A. Hänggi (Der Rheinauer Liber ordinarius, Fribourg, 1957, pp.xxv–xxxv); and more recently discovered ordinals are listed by A. Jacob (‘Mélanges: à propos de l’édition de l’Ordinaire de Tongres’, Revue d’histoire ecclésiastique, lxv, 1970, pp.789–97). The manuscript ordinals of the Bibliothèque Nationale in Paris have been analysed by J. Dufrasne (Les ordinaires manuscrits des églises séculières conservés à la Bibliothèque nationale de Paris, diss., Institut Catholique, Paris, 1959).
Manuscript processionals (listed and described by M. Huglo in RISM B/XIV/1, 1999) fall into a number of categories. The majority are of small portable format and serve for all the processions of the liturgical year. They generally begin with the Sundays and festivals of the Proper of the Time, including those of the Christmas cycle, followed by the festivals of the Proper of the Saints (generally beginning with 24 June – St John the Baptist), and they generally conclude with the chants for various processions to pray for rain, fine weather, etc.
Many, though not all, processionals include after the chants for Palm Sunday the Maundy antiphons, those for the Veneration of the Cross on Good Friday, and sometimes also the chants for the Easter Vigil, such as the Exultet and the hymn Inventor rutili (see AH, i, 1907, pp.30–31). These non-processional chants were included in the processional for the sake of convenience.
A very complete type of processional was established in England in 1197 at the revision of the Sarum liturgy; this later spread to all the churches in England (see Salisbury, Use of; see also Bailey, 1971).
Some manuscript processionals contain only the chants and rubrics for the stations of the processions of the Major and Minor Litanies. Such books would have been used only four times a year; they are of very limited distribution and are found most often in Italy. They seem to have originated in imitation of the Ambrosian processional, which contains only the chants, collects and lessons for the three days before the vigil of Pentecost. The Ambrosian processionals contain the antiphon texts encountered elsewhere but with distinct Ambrosian melodies: D-F Mus.Hds. in 4° 1 (olim 5192), copied about 1400, which belonged to Cardinal Francesco Piccolpasso; I-Muc, kept until 1970 at the Collegio degli Oblati at Rho (described by G. Tibiletti, 1973, pp.145–62); F-SO Rés. 64, of the 15th or 16th century (described by M. Huglo: Fonti e paleografia del canto ambrosiano, Milan, 1956, p.75).
The oldest Gregorian processional containing only the chants of the Major and Minor Litanies dates from the 12th century: I-PCc 191(28). This processional must be studied in conjunction with PCd 9 (26ff.), which contains only the lessons for the stations of the rogation processions. A similar division occurred at times outside Italy, e.g. in nine manuscripts at D-AAm, F-CA 68(69) and 80(81), CHRm 353 (burnt in 1944) and in VN 139.
The Corpus Christi procession at times occurred in its own book, e.g. D-AAm 57(LV) and 58 (see O. Gatzweiler: Die liturgischen Handschriften des Aachener Münsterstifts, Münster, 1926, pp.170–71). Various unofficial popular customs often came to be associated with this procession, for instance at Angers, Effeltrich near Erlangen and at Prague; for a study of these customs – occasionally including the use of musical instruments – it is necessary to consult sources other than manuscript processionals (see Bowles, 1964, and Torsy, 1972). The same applies also to the popular customs associated with pilgrimage processions and other popular processions such as that of St Josse at Montreuil-sur-Mer, of St Guy (Veit) in the Rhineland, and of St Willibrord on the Tuesday after Pentecost at Echternach.
Some processionals conclude with the chants for burial rites, which included a procession to the graveside according to the requirements of the ritual. Because of this, some manuscripts of the funeral rites with notation (e.g. F-Pn lat.14825 and various manuscripts at Karlsruhe, described by H. Ehrensberger: Bibliotheca liturgica manuscripta, Karlsruhe, 1889), and noted manuscripts of the Office of the Dead (e.g. A-Ssp a V 10) have been wrongly termed processionals.
Each of the religious orders imposed a processional of its own, and these were propagated through manuscripts and subsequently in printed editions. The processionals of most of the orders have remained substantially identical with the originals through the history of each order.
The processionals of the various canons regular subscribing to the Rule of St Augustine, particularly the Premonstratensians, follow the pattern of the Ordinaire prémontré d’après les manuscrits du XIIe et du XIIIe siècles (ed. P. Lefèvre, Leuven, 1941). They are characterized by the festivals of St Augustine, patron of the orders: principal feast, 28 August; festivals of the translation of his relics to Pavia (translatio prima, 28 February; translatio secunda, 11 October); and the festival of his conversion (5 May). About ten Premonstratensian processionals survive in manuscript, and there are several printed editions, including those of 1584 and 1666. That of 1727 is neo-Gallican, and has no link with the ancient tradition (see Neo-Gallican chant).
No unifying factor links the processionals of the Benedictines. A standard Cluniac processional was, however, approximately followed in the abbeys affiliated to Cluny: F-Pn lat.12584, of the 11th century, the antiphoner, processional and gradual of St Maur-des-Fossés (see CAO, ii, 1965, pp.xvff and plate X); B-Br II 3823 (Fétis 1172), an early 12th-century Auvergne gradual (Le graduel romain, ii, p.38); and F-SO Rés.28, of the 15th century, from a Cluniac priory in southern France (see Huglo, ‘The Cluniac Processional’, 1997).
No Carthusian processional exists; in their simplified liturgy the Carthusians retained only the processions of Candlemas, Ash Wednesday and Palm Sunday, and the chants for these were copied in the standard gradual drawn up after the first Carthusian Chapter General of 1140.
In the liturgy and chant reform undertaken by the Cistercians in the early 12th century, the number of processions was considerably reduced. The primitive processional included only ritual processions for Candelmas (2 February) and Palm Sunday. The first addition, for the feast of the Ascension, dates from c1150, after which further processions for specific feast days were gradually introduced: between 1202 and 1225, first the Assumption of the BVM (15 August), then the feast of the Order's founder, St Bernard (21 August); after 1289, the Nativity of the BVM (8 September); after 1318, Corpus Christi; and finally, after 1476, the Visitation (2 July). This progressive enlargement might partly explain the absence from the Cistercian processional of Rogation processions, when crops grown on the vast agricultural estates belonging to the Order would have been blessed (work in the fields was as much a part of the Cistercian vocation as a life of prayer). The noted books had been lost before 1480 from the standard exemplar of the liturgical books of the order (F-Dm 114(82) drawn up at Cîteaux between 1185 and 1191); the earliest surviving Cistercian processional is, therefore, a copy, and is from the abbey of Pairis in Alsace (F-CO 442, of the 12th century; published as the second part of K. Weinmann's Hymnarium parisiense, Regensburg, 1905). Cistercian processionals generally begin with the antiphon Lumen ad revelationem for 2 February. The Cistercian processional must have been printed at about the same time as the antiphoner (1545), but no edition except that of 1689 is known.
The Dominican processional drawn up in 1254 constitutes the fourth volume of the standard exemplar of Humbert of Romans (I-Rss XIV lit.1, ff.58v–66r). It begins with the rubric ‘De processionibus in genere: Cum imminet aliqua processio’; this was sometimes omitted in manuscript processionals, but was retained in printed Dominican processionals, and still appears in the edition of 1913. Dominican processionals commence with the Palm Sunday antiphon Pueri hebreorum. The only variable section is that concerning the Washing of the Altars on Maundy Thursday, since the antiphons, verses and collects were chosen according to the patrons of the altars being washed. Between the Maundy Thursday responsories (In monte Oliveti etc.) were inserted an antiphon with verse, and a collect, in honour of the patron of the altar then being washed. The degree of precision of the manuscripts varies: some present only the standard responsories; some give the general rubric from the standard exemplar, ‘Here should be placed antiphons, verses and collects of the saints according to the disposition of the altars in any convent’; some (rather fewer) give the list of antiphons, verses and collects proper to the church in question, either within the manuscript (e.g. F-CO 412) or as a supplement at the end. This pattern for the Washing of the Altars is rarely found other than in Augustinian and Dominican manuscripts.
Almost 140 manuscript Dominican processionals survive; the Dominican processional was printed by Spira at Venice as early as 1493, and has since gone through many editions. To study it, it is necessary only to refer either to the standard exemplar from the Dominican house of St Jacques in Paris (I-Rss XIV lit.1, mentioned above), or to the portable copy that the Master General of the Order (GB-Lbl Add.23935, ff.98v–106v) used on his visitations to check that the liturgy and chant were being accurately maintained. (The content of this portable copy has been edited by Allworth, 1970, pp.182–5 and table 1.) The study of each Dominican processional thus amounts only to the study of the peculiarities distinguishing the copy from the exemplar, and notably of the particular chants sung during the Washing of the Altars, or of the various supplements such as polyphonic pieces, which were sung despite their prohibition by the Chapter General of Bologna in 1242.
The Franciscan processional is identical with the standard Roman processional. It contains the chants for the processions of the Roman missal, Candlemas, Ash Wednesday and Palm Sunday, according to the rubrics of the missal. It was frequently printed in the 16th century, one of the earliest editions being that of Henri Estienne (Paris, 1507).
In analysing the processional chants, the earlier period, in which the processional chants appeared in the gradual and other books, should be studied separately from the later period when they were collected into a volume of their own.
In the earlier period, the repertory consisted above all of the great processional antiphons, and also (according to region) of versus, or hymns with refrains, composed in the 9th century (see AH, i, 1907, pp.237–43, 250–63), and rhymed Preces for the Rogations (see M. Huglo: ‘Les “preces” des graduels acquitains empruntés à la liturgie hispanique’, Hispania sacra, viii, 1955, pp.361–83). The great processional antiphons sometimes included verses, and were often in consequence termed responsoria. They make up a group of their own within the category of the antiphon (see Antiphon, §5(vi)). Many of them are remnants of the liturgical and musical repertory of the ancient Gallican liturgy and were changed into processional chants during the Carolingian reform when Gregorian chant was imposed on the Frankish Empire (see Gallican chant).
Some of the earliest specimens of organum are processional antiphons (e.g. in the Winchester Troper; see A. Holschneider: Die Organa von Winchester, Hildesheim, 1968) or verses of responsories which occur in the processional. The Sarum processional contains a number of examples of faburden in chants such as the Salve festa dies, or those for the Litany of the Saints (GB-Llp 438); according to the London chronicle for the year 1531, ‘after came Paul’s choir … singing the litany with faburden’.
The later period, in which separate manuscript processionals are found, begins according to region from the 12th century. During this period, the processional antiphons were almost everywhere replaced by greater responsories from the antiphoner, except for litanies and at Rogationtide. This development did not occur uniformly everywhere, however, and the distribution of the Matins responsories over the various festivals of the church year differed from place to place: each church had a list of its own. The practice of this later period – with its use of responsories – is mostly reflected in printed processionals.
Macé, in his Instruction pour apprendre à chanter à quatre parties selon le plain-chant (Caen, 1582), included a harmonization, in four voices, of the Candlemas processional antiphon Lumen ad revelationem.
P.M. Quarti: Biga Aetherea duplici sacro tractatu rapiens in coelum animo: in primo agitur de processionibus ecclesiasticis et de litaniis sanctorum (Venice, 1665), 1–80
J. Pothier: ‘Prières litaniales ou processionnelles’, Revue du chant grégorien, ix (1901), 113–20
W. Cooke and C. Wordsworth, eds.: C. Maydeston: Ordinale Sarum, transcribed by W. Cook (London, 1902)
H. Leclercq: ‘Procession’, ‘Processionnal’, Dictionnaire d’archéologie chrétienne et de liturgie, ed. F. Cabrol and H. Leclercq (Paris, 1903–53)
A. Franz: Die kirchlichen Benediktionen im Mittelalter (Freiburg, 1909), 444ff
D. de Bruyne: ‘L’origine des processions de la chandeleur et des rogations à propos d’un sermon inédit’, Revue bénédictine, xxxiv (1922), 14–26
K. Young: The Drama of the Medieval Church (Oxford, 1933/R, 2/1962)
F.A. Yates: ‘Dramatic Religious Processions in Paris in the Late Sixteenth Century’, AnnM, ii (1954), 215–70
R.B. Donovan: The Liturgical Drama in Medieval Spain (Toronto, 1958)
H.J. Graef: Palmweihe und Palmprozession in der lateinischen Liturgie (Kaltenkirchen, 1959)
G. Kiesel: ‘Die Springprozession des heiligen Willibrord in geschichtlicher und volkskundlicher Sicht’, Saarbrücker Hefte, xvi (1962), 35–47
T. Klein: Die Prozessionsgesänge der Mainzerkirche aus dem 14. bis 18. Jahrhundert (Speyer, 1962)
M. Gushee: ‘A Polyphonic Ghost’, JAMS, xvi (1963), 204–11, esp. 205
J. Hoffmann: ‘Die Fronleichnamprozession in Aschaffenburg nach den Prozessionsbüchern des 14. bis 16. Jahrhunderts’, Würzburger Diözesangeschichtsblätter, xxvi (1964), 109–25
E.A. Bowles: ‘Musical Instruments in the Medieval Corpus Christi Procession’, JAMS, xvii (1964), 251–60, esp. 254
F. Pauly: ‘Die Tholeyer Prozessionsliste von 1454’, Rheinische Viertelsjahrblätter, xxix (1964), 331–6
R. Janin: ‘Les processions religieuses à Byzance’, Revue des études byzantines, xxiv (1966), 69–88
E.J. Lengeling: ‘Die Bittprozessionen des Domkapitels und der Pfarreien der Stadt Münster vor dem Fest Christi Himmelfahrt’, Monasterium (Münster, 1966), 151–220
M. Bouille: ‘Les anciennes processions du jeudi-saint et du vendredi-saint’, Cahiers d'études et de recherches catalanes, xxxiv–xxxviii (1967), 133
A. Kurzeja: Der älteste Liber ordinarius der Trierer Domkirche (Münster, 1970)
J. Torsy: ‘Zur Verehrung der Eucharistie im Spätmittelalter: eine Fronleichnamprozession in Wittlar im Jahre 1436’, Von Konstanz nach Trient: Festgabe für August Franzen, ed. R. Bäumer (Munich, 1972), 335–42
H. Hofmann-Brandt: Die Tropen zu den Responsorien des Offiziums (Kassel, 1973)
MGG2 (‘Liturgische Gesangsbücher’; ‘Prozessionar’; M. Huglo)
W.G. Henderson, ed.: Manuale et processionale ad usum insignis ecclesiae eboracensis (Durham, 1875)
W.G. Henderson, ed.: Processionale ad usum insignis ac preclarae ecclesiae Sarum (Leeds, 1882/R)
X.B. de Montault: ‘Processionnal de l’abbaye St Aubin à Angers’, Bulletin historique et philologique du Comité des travaux historiques et scientifiques, i (1885), 132–41
J.W. Legg, ed.: The Processional of the Nuns of Chester (London, 1899)
C. Wordsworth: Ceremonies and Processions of the Cathedral Church of Salisbury, edited from the Fifteenth-Century Manuscript No.148 (Cambridge, 1901)
A. Wilmart: L'ancien cantatorium (XIIe siècle) de l'église de Strasbourg, MS Add.23922 du Musée britannique (Colmar, 1928)
F. Ghisi: ‘Un processionale inedito per la settimana santa nell'opera del Duomo di Firenze’, RMI, lv (1953), 362–9
P.-M. Gy: ‘Collectaire, rituel, processionnal’, Revue des sciences philosophiques et théologiques, xliv (1960), 441–69
G. Benoît-Castelli: ‘Un processionnal anglais du XIVe siècle: le processionnal dit “de Rollington”’, Ephemerides liturgicae, lxxv (1961), 281–326
H. Husmann: Tropen- und Sequenzerhandschriften, RISM, B/V/1 (1964)
A. Leroy: ‘Le processionnal et l’office de St Josse’, Bulletin de la Commission départementale des monuments historiques du Pas-de-Calais, viii/4 (1967), 298–305
C. Allworth: ‘The Medieval Processional: Donaueschingen MS 882’, Ephemerides liturgicae, lxxxiv (1970), 169–86
J. Patricia: ‘Un processional cistercien du XVe siècle’, EG, xi (1970), 193–205
T. Bailey: The Processions of Sarum and the Western Church (Toronto, 1971)
C. Roederer: Eleventh-Century Aquitanian Chant: Studies Relating to a Local Repertory of Processional Antiphons (diss., Yale U., 1971)
C.W. Brockett: ‘Unpublished Antiphons and Antiphons Series Found in the Gradual of St-Yrieix’, MD, xxvi (1972), 9–18
A. Canellas: ‘Un processionnal de Saragosse (Bruxelles, B.R., IV 473)’, Texts and Manuscripts: Essays Presented to G.I. Lieftinck, ii, ed. J.P. Gumbert and M.J.M. de Haan (Amsterdam, 1972), 34–46 [with 6 figs. and plates]
E. Papinutti: Il processionale di Cividale (Gorizia, 1972)
F. Wormald: ‘A Medieval Processional (S. Giles, Norwich) and its Diagrams’, Kunsthistorische Forschungen Otto Pächt zum 70. Geburtstag, ed. A. Rosenauer and G. Weber (Salzburg, 1972), 129–34 [with 9 illustrations]
P. Gleeson: ‘Dominican Liturgical Manuscripts from before 1254’, Archivium Fratrum Praedicatorum, xlii (1972), 81–135
G. Tibiletti: ‘Antifonario processionale delle litanie triduane (manoscritto del 1492)’, Ephemerides liturgicae, lxxxvii (1973), 145–62
M.N. Colette: Le répertoire des rogations d'après un processionnal de Poitiers (XVIe siècle) (Paris, 1976)
G.R. Rastall, ed.: Processionale ad usum sarum 1502 (Clarabricken, 1980)
R. Amiet, ed.: Processionale Augustense (Aosta, 1983)
J.B. Molin and A. Aussedat-Minvielle: Répertoire des rituels et processionnaux imprimés conservés en France (Paris, 1984)
M. Huglo: Les livres de chant liturgique (Turnhout, 1988), 110–11
M. Huglo: ‘Les processionnaux de Poissy’, Rituels: mélanges offerts à Pierre-Marie Gy, O.P., ed. P. de Clerck and E. Palazzo (Paris, 1990), 339–46
G. Baroffio, ed.: Il processionario benedittino della Badia di Sant'Andrea della Castagna (Milan, 1992)
M. Huglo: Les manuscrits du processional, RISM, B/XIV/1 (1999)
M. Huglo: ‘The Cluniac Processional of Solesmes (Bibliothèque de l'Abbaye, Réserve 28)’, The Divine Office in the Latin Middle Ages: Methodology and Source Studies, Regional Developments, Hagiography, ed. M.E. Fassler and R. Baltzer (New York, 2000) [Steiner Fs]