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of the period; but after Adam new sequences were with few exceptions, mere imitations of earlier forms

and melodies. Many of these melodies Culmina- were such favorites that new texts tion. were given them; and to this category

belong Notker's melodies Mater, Oceidentana, and Justus ut palms major and minor, Wipo's Easter hymn, Gottschalk's Laus tibi, Christe, qui es, the sequence of the Virgin (Ave prceclara), the Easter sequence (Mane prima. sabbati), and some of Adam's, while the Lwtabundus ezultet, by an unknown author, proved the most popular of all. In the oldest period the texts and, in part, the melodies of sequences were restricted in territory, so that a distinction may be drawn between German (St. Gall), Upper Italian (Verona, Nonantula), French (Limoges), and English (Winchester) sequences; but when the riming sequence was developed, some were used largely throughout the Roman Church, as the Natus ante amcula for Christmas, the Sancti Spiritus tulsit for Whitsuntide, the Clare sanctorum for feasts of the apostles, and the Sancti baptistce for John the Baptist. On the other hand, despite the approval of Nicolas I. and Innocent III., Rome generally, as well as many dioceses and orders, declined officially to welcome the sequence. The Cistercians and Carthusians rejected it altogether, and the Cluniac monks reluctantly permitted it only on four feasts. In France and Germany, on the other hand, sequences were always popular, many sequentiaries containing more than a hundred texts. The melodies were mostly transmitted orally, the Neumenal collections being intended only for the choirmasters. The singing of the sequence was restricted to the clergy and choir, the congregation being forbidden to take part. The introduction and the concluding passage were usually sung by the entire choir, while the double strophes were sung antiphonally, with musical accompaniment.

Soon after the rise of sequence composition, vernacular sequences were written in France (the Eulalia sequence). In Germany translations appeared more tardily, the favorite here being the Ave prwclara maris stella, as in Sebastian Brant's Ave

durchluchte stern des meres. The seDecline. quence form influenced medieval Latin

poetry, encouraging it to abandon the old forms and to create many new strophes, this influence ultimately extending to the vernacular. With the increase in the calendar of saints the number of sequences became enormous, some 5,000 texts with between 500 and 600 melodies. Many of these were poetically valueless, and after several synods had sought to reform conditions, the Council of Trent finally succeeded. The missal of Paul V. (1570) contains only four: Vietimte paschali, Veni Sands Spiritus, Lauda, Sion, salvatorem, and Dies irm, to which was later added the Stabat mater, generally ascribed to Jacopone da Todi, or to Innocent III. (qq.v.). The Reformers were hostile to the sequence, and in the Lutheran Church, after long efforts, it was replaced by a congregational hymn. In France sequences of late date were stubbornly maintained, only to disappear ultimately when the unity of the Roman Catholic liturgy became an accomplished fact. The custom of singing the

Latabundua at the Easter dinner given by the pope seems to have given rise to parodies of the sequence, such as the Vinum bonum et suave, or the Victimce novali cinke sea, while Johann Nass composed in derision of Luther the Invicti Martini laudes intonant Christiani. [In many Anglican churches the sequence is represented by a hymn sung by the choir between the epistle and Gospel (C. Walker, Ritual "Reason Why," 2d ed. T. I. Ball, pp. 166-167, Milwaukee, 19081. (J. WERNER.)

quences are to be sought in: H. A. Daniel, Thesaurus hymnologicus, vol. ii., Halle, 1843; F. J. Mone, Lateiniache Hymnen des Mittelalters, 3 vols., Freiburg, 1853-55; R. C. Trench, Sacred Latin Poetry, London, 1864; C. E. P. Waekernagel, Das deutsche Kirchenlied, vol. ii., 5 vols., Leipsic, 1864-77; G. Morel, Lateiniache Hymnen des Mittelalters 2 vols., Einsiedeln, 1867 (a rich collection); J. M. Neale, Mediwval Hymns and Sequences, 3d ed., London, 1867; Seven Great Hymns, New York, 1867; W. Christ and M. Paranikas, Anthologia Graca carminum Chrristianorum, Leipsic, 1871; D. T. Morgan, Hymns of the Latin Church London, 1871; C. B. Pearson, Sequences from the Sarum Missal, ib. 1871; J. Kehrein, Lateinische Sequenzen des Mittelalters, Mainz, 1873 (most complete collection); F. A. March, Latin Hymns, New York, 1874; H. M. MaeGill, Songs of Christian Creed and Life, London, 1876; C. Blume and G. M. Dreves, Analecta Hymnica, vols. viii.-x., xxxvii., xxxix., xl., xlii., xliv., Leipsic, 1886 eqq.; S. W. Duffield, Latin Hymn-Writers and their Hymns, New York 1889; W. H. J. Weals, Analecta liturpica, Bruges, 1889 sqq. (supplements Kehrein, above); G. M. Dreves, Prosarxum Lemovicense, Leipsio, 1890; U. Chevalier, Bxblioth8que liturgique, vols vii., ix., Paris, 1900-01; W. A. Merrill, Latin Hymns, Boston, 1904; C. E. W. Brainerd, Great Hymns of the Middle Apes, New York, 1909; C. Blume and H. Bannister, Liturgische Prosen crater Epochs Gus den Sequenzenschulen des Abendlandes, insbe8ondere die dem Notkerus Balberus'xugeschrsebenen, nebst Skizze fiber den Ursprung der Sequenz, Leipsie, 1911.

Consult: F. Wolf, Udber die Lais, Sequenzen and Leiche, Frankfort, 1841; F. Clement, Hist. generals de la muaiq·re reliqieuse, Paris, 1860; K. Bartsch, Die lateinischen Sequenzen des Mittelalters, Rostock, 1868; Verzeiehniss der Handschrsften der Stiftsbibliothek von St. Gallen, pp. 509530, Halle, 1875 (indexes the sequences); J Pothier, Les Melodies qregoriennes, Tournay, 1881; D. S. Wrangham, The Liturgical Poetry of Adam of St. Victor, 3 vols., London, 1881; A. Reiners, Die Tropen-, Prown-, und erBfationsgearinge des feierlichen Hochamtes des Mittelaltera, Luxemburg, 1884; L. Gautier, Hist. de la poesre liturgique, Paris, 1886; idem, La Po6sie relipiewe dans lea cloftrers des ix.-xi. sfecles, ib. 1887; M. Manitius, Geschichte der christlich-lateinischen Poesie bis zur Mitts des 8. Jahrhunderts, Stuttgart, 1891; O. Fleischer, Neumen-Studien, Leipsie, 1893 sqq.; W. H. Frere, The Winchester Tropes, London, 1894; A. Dechevrens, Du rhythms done Z'hymnographie latine, 1895; N. Gihr, Die Sequenzen des ri»nischen Messbuches, Freiburg, 1895· C. Blume and G. M. Dreves, Hymnologische Beitrage, Leipsie, 1897 sqq.; P. Wagner, Ursprung and Entuickelung der liturgischen Gesangsformen, Freiburg in Switzerland, 1901; idem, Normenkunde, ib. 1905; J. Werner, Notkers Sequenzen, Aarau, 1901; J. Thibaut, Origins byzantine de to notation neumatique de 1'fglise latine, Paris, 1907; S. M. Jackson, The Source of Jerusalem the Golden, Chicago, 1910; Julian, Hymnology, pp. 1041-53, 1700-01 (lists first lines, and gives the use).

SERAPION, se-ra'pi-en or se-r6'pi-en: The name of sixteen (or seventeen) persons more or less known to early Christian history, of whom the following may be noted.

1. Bishop of Antioch probably 190 or 191 to 211 or 212, successor of Maximinus and predecessor of Asclepiades. He was the author of a writing to a certain Domninus who had fallen away to Judaism;