- Vol. 4, Louvain: François Ceuterick, 1912. Vol. 5, Brussels, Société des Bollandistes,
- Vol. 6, Brussels, Société des Bollandistes, 1920.
Corpus troporum. Stockholm: Almqvist and Wiksell, 1975, 1976, 1980, 1982, 1986 (2 vols.), 1990.
Dreves, Guido Maria, Clemens Blume, and Henry Marriot Bannister, eds. Analecta Hymnica Medii
Aevi. 55 vols. Leipzig: Fues’s Verlag, 1886–90 (vols. 1–8); Leipzig: Reisland, 1890–1922 (vols.
9–55).
Lütolf, Max, ed. Analecta Hymnica Medii Aevi: Register. 3 vols. Bern: Francke, 1978.
ANDRÉ DE FLEURY
(d. ca. 1050–60). A monk of the Benedictine abbey of Fleury-sur-Loire, André wrote
Books 4–7 of the Miracula sancti Benedicti, continuing the work of Aimoin de Fleury.
André expanded the account beyond miracles to include events relating to the monastery
locally and elsewhere. He also wrote a life of Gauzlin, abbot of Fleury 1004–30.
Grover A.Zinn
[See also: AIMOIN DE FLEURY; HAGIOGRAPHY]
Aimoin de Fleury. Les miracles de saint Benoît, ed. Eugène de Certain. Paris: Renouard, 1858.
Bautier, Robert-Henri. “L’historiographie en France aux Xe et XIe siècles (France Nord et de
l’Est).” In La storiografia altomedioevale, 10–16 aprile 1969. Spoleto: Presso la Sede del
Centro, 1970, pp. 793–850.
Vidier, Alexandre C.P. L’historiographie à Saint-Benoît-sur-Loire et les Miracles de saint Benoît.
Paris: Picard, 1965.
ANDREAS CAPELLANUS
(André le Chapelain; fl. late 12th c.). Author of a treatise on the art of love, De amore (or
De arte honeste amandi), composed for a certain Gautier. Andreas’s identity remains
enigmatic. He has most frequently been identified with a chaplain of the same name in
the service of Marie de Champagne, the daughter of Louis VII and Eleanor of Aquitaine
and the patroness of Chrétien de Troyes.
De amore, preserved in over thirty manuscripts and collections, is composed of three
books. The first expounds the nature of love; the second, in a series of twenty-one
judgments attributed to some of the noblest ladies of France (Eleanor of Aquitaine, Marie
de Champagne, Elizabeth of Vermandois, and others), tells how to maintain love; and the
third condemns love. The entire treatise shows the influence of Ovid’s Ars amatoria and
Remedia amoris, as well as an intimate knowledge of the casuistry and rhetorical
traditions of the medieval Latin school system. Its interpretation, however, like that of
Chrétien’s Chevalier de la charrette, remains problematic. Modern critics are divided as
to whether to take the work seriously or read it ironically. If Andreas’s intention was to
produce a treatise on the practice of (courtly) love, then how can one explain the
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