^{page 87 note 1} Krumbacher, , Byz. Literatur, pp. 677, 721Google Scholar, etc. (v. index). Gibbon, , Decline and Fall, c. 48Google Scholar (cf. Bury's notes, vol. V. p. 206). Neale says of the Morning Hymns, ‘They are better than might have been expected from an Imperial author, and the troubler of the Eastern Church by a fourth marriage.’ (Hymns of the Eastern Church with Music, p. 144.Google Scholar) Christ, W. and Paranikas, , Anthol. graec. carminum ChristianorumGoogle Scholar (where a list of his hymns is given): Primum carmen Anacreonteum, quod imaginem terrorum extremi iudicii vividis coloribus depingit, elatum quiddam et fervidum spirat; reliqua quamquam humi repunt, tamen ieiunis carminibus imperatorum Constantini Porphyrogennetae et Justiniani, quos collegas in poeticis studiis habuit, longe praestant. (This refers to the Exaposteilaria of Constantine, given by W. Christ, p. 110.) A fuller account of Leo's hymns in Papadopoulos, G.I.: Συμβολαὶ εὶς τὴν ὶστορὶαν τῆς παρ΄ ημῖν ε΄ κκλ. μουσικῆς p. 249.

^{page 87 note 2} Popov, N., Imperator Lev VI, Mudry (Moscow, 1892Google Scholar, in Russian). Diehl, , L'Empire byz., p. 93Google Scholar, gives credit to Leo for his determination to secure the throne for his own dynasty and thereby save the Empire from confusion.

Recent Publications. Echos d'Orient, XXXII, No. 156 (1929), 448Google Scholar, gives a summary of recent articles and books on Byz. Music.

Wellesz, E. in Zeitschr. f. Musikwissensch. XI (1929), 513Google Scholar (d. Byz. Lektionszeichen).The best work on the Ecphon. signs since Thibaut.

Madame, E. Sikelianos, Musique, II, No. 6 (1929), 789Google Scholar, and No. 7, 852, gives a popular account of the music used in the Prometheus, as played at Delphi: also a somewhat confused statement of the Stenographic Theory. (We greatly admire those enthusiasts, like Prof. Psachos, who are trying to revive Modern Greek folk-music, and wish them all success. But the Stenographic Theory, which no palaeographer in W. Europe accepts, can only be a hindrance to their designs.)—My short article on ‘Byz. Music’ in the new Encycl. Britannica, 1930.—Wellesz, Egon, Byzantion, vol. 5, 1929–1930, 556Google Scholar (refutation of Stenographic Theory). There is a passing reference to Byz. music in Byron, J., The Byz. Achievement (v. index, s.v.)

The following are more general. Musical Quarterly, Oct. 1929, Vol. XV, No, 4, 541–46Google Scholar, Medit. Folksong (notices Greek exx.), by Tiersot, J.; Music and Letters, Vol. X, No. 4 (Oct. 1929)Google Scholar, Gk. Music (ancient), by Winnington-Ingram, R. P.; Speculum, Oct. 1929, 390Google Scholar, The Organ in Early Middle Ages, by Helen R. Bittermann.

^{page 88 note 1} Krumbacher, op. cit. p. 328.

^{page 88 note 2} Most of the Christian Anacreontic hymns are in the Anthologia of W. Christ and Paranikas, pp. 44–51.

^{page 88 note 3} For Sexagesima Sunday. Neale, op. cit. pp. 94–103.

^{page 88 note 4} Krumbacher, , Studien zu Romanos (with text), p. 163Google Scholar.

^{page 88 note 5} Probably because few of his hymns are in the service-books. The legend about Romanus is given by Neale, , Hist, of East. Ch. Pt. I, 2, 843Google Scholar. Cf. my Byz. Mus. and Hymnogr p. 11 ff.

^{page 89 note 1} Anthologia, p. 113. A list of Leo's hymns is given in the index, p. 265.

^{page 89 note 2} According to one tradition the composer was John Glycys, said to have been a contemporary of Leo. (Papadopoulos, op. cit. p. 255). But Gastoué places him in the fourteenth century.

^{page 89 note 3} Porph., Const.de Ceremoniis, Lib. II, c. 4 (438)Google Scholar. No hymn of Leo for Epiphany is extant.

^{page 90 note 1} Cf.B.S.A. xxiii. 201Google Scholar.

^{page 90 note 2} My best thanks are due to the Librarian of Trinity College and to the Sub-Librarian (Mr. C. Hurry) for much kind help afforded to me in the study of this MS.

^{page 90 note 3} For the British Museum MSS. cf. my article Mus. Antiquary, 1911, 83–85Google Scholar.

^{page 91 note 1} See my article in Byz. Zeitschr. xxxi (1931), p. 13Google Scholar, with a facsimile from Athen. 974.

^{page 92 note 1} I have pleasure in thanking the Sub-Abbot, the Librarians and the Holy Fathers generally for the very kind welcome that was accorded to me at Patmos, where I was granted full facilities for copying the MSS. in the excellently-arranged library. (I may mention, as a warning to others, that visitors are not allowed to take photographs of the manuscripts.) My best thanks also are due to the guest-master, Deacon Constantius, who saw to my comfort with unfailing goodness. With regard to this Monastery, a true haven of peace and a rich storehouse of learning, I fully endorse the remarks of Prof. Dölger, in the Byz. Zeitschr xxviii (1928), 334Google Scholar.

Valuable introductions or other help were received from the following, to whom I also express my gratitude:—His Blessedness the Archbp. of Thyateira, the Greek Consul at Cardiff (Mr. M. Yannopoulos), Prof. Socrates Kougéas, Prof. L. di Castelvecchio (Univ. of Birmingham), the Abbot of Pershore, the Italian Embassy in London, H.B.M. Consul at Rhodes (Mr. E. Perkins).

^{page 92 note 2} The MSS. are described and the dates given in the printed catalogue, Sakkelion, I., Πατμιακὴ Βιβιοθὴκη Athens, 1880Google Scholar. But as the compiler does not distinguish between the various musical notations, I could not apply his information until I had seen the MSS. myself.

^{page 92 note 3} This MS. consists of fragments by several hands: the middle portion is in the Coislin Notation. It is uncertain to which of these the deed of gift on the front page (dated 1167) was meant to refer.

The MS., Patmos 224, is a Hirmologus (falso cat. Sticherarium).

A specimen of another MS. in the archaic Round Notation, dated 1177, is in Benesevič, , Monumenta Sinaitica, Pl. 58Google Scholar. (This date, which had seemed doubtful hitherto, may now be accepted on the evidence from Patmos, and also that of Pl. 65, date 1236.)

^{page 93 note 1} Greek text, with the biblical references, in Anthologia, pp. 105–9. We have been obliged to follow a simpler plan of numbering the lines. Greek text also at the end of the Paracletice. The Eothina are sung at Lauds on Sundays.

^{page 96 note 1} A short stroke after a note (e.g. b —) means a crotchet.

^{page 98 note 1} Ἑλλ φιλ Σὺλλ., ΚA΄ 166.

^{page 107 note 1} Die Byz. Notenschrift, pp. 35 and 44.