The present paper concerns the manuscripts that have diastematic notation. Manuscripts with
this notation prevail over codices with cheironomic notation, which probably stems from its
popularity in the 13th century, and from adopted by the Cistercians music solutions used in the
Metz Cathedral. I will discuss selected music manuscripts of Lubiąż from the 13th century in
terms of paleographical analysis, by identifying hands, determining the canon of writings and
datation. Simultaneously, I evade the musicological and artistic analysis of tunes contained in the
analyzed codices. I am not an expert in the field of music. Hence, there is such a limitation of
purposes of my study. By the end of the 13th century, in the scriptorium of Lubiąż there had been
ten preserved music manuscripts with diastematic notation. Two antiphonary and two graduals
come from the first half of the13th century, and had been written by copyist James of Lubiąż,
mentioned in the Obituary of Lubiąż. He created only in fragments these two graduals.
It should be noted that he also prepared four documents from the years 1212-1222. His four
written codices also come from this time. In addition, he was the proofreader of a fragment of
a book Liber Usuum Cisterciensium. Except for him, we meet eight hands, marked with the
letters from A to H of anonymous writers. Copyist James and hands A and B were using
romance-gothic writing and they worked until 1234.
In addition, arms C and D were active in the years 1235-1253 and they were using romancegothic
vista. Hands E, F and H were using fully formed gothic writing. The activity of the first of
them occurred in the second half of the 13th century, and the activity of the rest appeared at the
end of this century