The texture, such as that of Adam de la Halle's 'De Ma Dame Vient', quotes the Latin 'Viderunt Omnes' while the upper voices sing a similar French passage. Evolution with the motet īy the thirteenth century, syllabic introductions birthed the motet, placing an organum plainchant in the bottom voice and introducing new text in the upper registers of the vocal range. While only solo sections are polyphonic, the organum remains clear when juxtaposed with the traditional, monophonic choir chant. The melismas in particular are especially diminuted, rendering the text virtually incomprehensible. We know that at this time Eudes de Sully, Bishop of Paris, was promoting the use of polyphony. Pérotin's four-part version of Viderunt, one of the few existing examples of organum quadruplum, may have been written for the Feast of the Circumcision in 1198. Due in large part to the development of mensural notation, his vision became common practice, allowing for discant and clausula. As a theorist, Léonin developed complex sets of rhythmic modes and patterns that could only be written with a certain styling of ligatures. In his variation, the bottom voice sings the familiar chant as a drone while the top voice echoes in rich polyphony-a symbol of religious unity a form of communal togetherness. Léonin's two-part version of Viderunt Omnes was written about 1170 (the composer's dates are fl.
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