Based on the events of Benedict's life as recorded by Saint Gregory the Great in his Dialogues, this hymn is found in the works of St. Peter Damian, O.S.B., Bishop, Cardinal, and Doctor of the Church (1007-1072). This is the Vespers hymn from the Breviarum Monasticum for the feast of St Benedict.

Composed by Theodulph of Orleans (d. 821), this hymn is often used as a processional hymn for Palm Sunday. According to a pretty little legend surrounding the composition of this hymn, Theodolf had been imprisoned for political reasons in a monastery in Angers. While he was imprisoned he wrote the hymn and sang it from the window of his cell just as Louis the Pious, King of France, was passing beneath the window in the procession on Palm Sunday in 821. The hymn so moved the king that he immediately ordered the holy bishop to be freed and restored to his see. The legend is now generally discredited on historical grounds. For a scriptural background of the hymn, see Matt. 21, 1-16 & Ps. 117, 26.

The Gloria is an ancient hymn of praise to the Trinity that has been in use in the Church since the second century. The opening line of the hymn is taken from Scripture (Lk 2:14), where the angels announce the birth of Christ to the shepherds. The hymn was composed in Greek some time in the second century and can be found recommended as a daily morning prayer in book VII of the Apostolic Constitutions (3rd/4th century). It was introduced to the west by St. Hilary of Poitiers (d 368), who was the first to introduce hymns into the Western Church.
St Hilary was an uncompromising foe of Arianism, a heresy which denied the divinity of Christ and was condemned at the Council of Nicea in 325. St. Hilary's opposition to Arianism earned himself the title of "Malleus Arianorum", the Hammer of the Arians, along with the ire of the Arian Emperor Constantius, who exiled him to Phrygia in 356. While St. Hilary was in Phrygia, he was exposed to the hymns in use amongst the eastern Christians of the time. Upon his return home he began to introduce hymns into the western liturgy, borrowing the Gloria from the east, as well as composing some of his own. The Latin translation of the Gloria below, which has been used since the late 4th century, is likely his. The hymn has been an integral part of the Mass of the western Rites since the 5th century.

This prayer was written by St. Catherine of Siena (1347-1380), Doctor of the Church. The prayer is from her Dialogue on Divine Providence and appears in the Office of the Readings on her feast day, April 29.

Attributed to Pope St. Gregory the Great (540-604). This hymn continues with the theme of Creation present in the Vespers Hymns during the week. Here the work of the sixth day of creation (Friday) chronicles the animals and man (Gen 1, 25, 27). This hymn is traditionally sung at Friday Vespers and is used in the Liturgia Horarum at Vespers for Fridays of the first and third weeks of the Psalter during Ordinary Time. Likewise the hymn is also found in the Roman Breviary for Friday Vespers, but under the title of Hominis superne Conditor.

From a medieval Book of Hours:
At matins bound, at Prime reviled
Condemned to death at Terce,
Nailed to the Cross at Sext.
At None His blessed Side they pierced,
They take Him down at Vesper-Tide,
In the grave at Compline lay,
Who henceforth bids His Church observe
These sevenfold hours alway.

A medieval office in honor of the Holy Spirit. The Latin text below is taken from a 1741 edition of the Coeleste Palmetum.

Written by Caelius Sedulius (5th cent). This hymn is a continuation of the hymn A solis ortus cardine and is used for Vespers on Epiphany.

From the 10th century, though some feel it is Ambrosian from the 6th century. This hymn is traditionally used for the ferial offices for Lauds during the weeks of Lent before Holy Week. The revsion of 1632 altered the hymn extensively with the title of the hymn becoming O Sol salutis, initimis.

This 6th century hymn is used in the Roman Breviary at the Office of Prime. In the Liturgia Horarum it is found at Thursday Lauds for the second and fourth weeks of the Psalter during Ordinary time.

Composed by Fr. Augustine Thomas Ricchini (1695-1779) in 1757, this hymn is used at Lauds in the Roman Breviary for the Feast of the Most Holy Rosary (Oct. 7). It is the third of a series of four hymns for the feast. See the first hymn of the series, Caelestis aulae Nuntius, for historical details.
The subject of this hymn of the series is the Glorious Mysteries: The Resurrection (Mt 28:1 ff, Mk 16:1 ff, Lk 24:1 ff, Jn 20:1 ff), The Ascension (Mk 16:19-20, Lk 24:50-52, Acts 1:6-11), The Coming of the Holy Spirit (Acts 2:1-41), The Assumption, The Coronation of the Blessed Virgin.

This hymn is based upon the hymn O Lux Beata Trinitas, which is ascribed to St. Ambrose (340-397). This version is the result of Pope Urban VIII's efforts to cast the hymns of the Roman Breviary into classical models. In the old Roman Breviary it is the Vespers hymn for the ferial office on Saturdays and Trinity Sunday.

This hymn is part of the hymn Iesu, Dulcis Memoria, which has some 42 to 53 stanzas depending upon the manuscript, and is attributed to St. Bernard (1090-1153). This hymn was used at Lauds for the Feast of the Holy Name of Jesus, which was formerly celebrated on the Sunday between the Circumcision and Epiphany, or failing such a Sunday, on January 2. In the liturgical revisions of Vatican II, the feast was deleted, though a votive Mass to the Holy Name of Jesus had been retained for devotional use. With the release of the revised Roman Missal in March 2002, the feast was restored as an optional memorial on January 3.