Chapter 4 examines one of the most spectacular music-liturgical programs of the fourteenth century: the narrative office for the feast of Saint Mark’s Apparition. A work of enormous rhetorical ingenuity and historical imagination, the Apparitio office, I argue, was a product of the state’s heightened attention to and generative engagement with the cult of relics. Found as a late addition to Basilica San Marco’s thirteenth-century antiphonal (VAM¹), the office celebrated the present-day virtue of the state’s most cherished possession: the body of its patron saint, the Evangelist Mark. Careful comparison between the Vespers office chants and the legend source from which the story derives reveals an inventive process of selection, omission, and invention of texts, and as well as a high degree of sensitivity in musical setting. The result was a compelling public ritual that represented the contract between the body of Mark and the Venetians who venerated him and, at the same time, made a self-reflexive bid for music and liturgy as the means for that contract’s renewal.

Chapter 5 shows how the text–music relationships in the Matins office for the feast of Saint Mark’s Apparition supported the construction of narrative history. Unlike the public-facing office of Vespers, the night office of Matins—an enormous and lengthy complex of readings, psalmody, and chant—offered a robust formal structure on which narrative history could be built up and elaborated. An analysis of the chants and readings from the Matins office reveals the composer’s careful curation of source material and inventive use of the conventional melodic features of mode and melody, showing just how much craft went into the representation of miraculous history in a liturgical format. The composer’s reliance on the technical and medium-specific tools of chant to make Mark “appear” within the office suggests that such formal devices served as viable substitutes for, or representations of, the miraculous. The office itself seems to argue that good storytelling, whether accomplished on the page or in plainchant, could produce miracles merely at the level of form and technique.