Abstract The project of his Galician-Portuguese Cantigas de Santa Maria (CSM) occupied Alfonso X during almost all of his reign (1252–84). That his profane poems, forty-four in number, were authored by him is not in doubt. The 420 CSM is a different story. In the nineteenth century they were believed to be all composed by Alfonso. But given his turbulent reign and his didactic aim of providing his subjects with new works in law, history, science, and more (in Castilian) to advance the cultural level of his society, there remain doubts as to which of these hundreds of poems he did, in fact, compose, dictate, or write the music for. Concentrating on the first redaction of 100 CSM, manuscript To. (to include the final Pitiçon), I defend the thesis that Alfonso is the “maker,” the “architect,” and the royal compiler of poems by himself and a select group of Galician-Portuguese collaborators in these CSM, also with music and miniatures throughout, making it the unsurpassed work of medieval Marian art. Shoring up my argumentation are separate commentaries on Prologues A and B, and cantigas 1, 2, 10, 54, 98, and the Pitiçon.

中文翻译：

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托莱多手稿中关于圣玛丽亚颂歌作者身份的线索

摘要 阿方索十世在位期间（1252-84 年）几乎占据了他的加利西亚-葡萄牙语Cantigas de Santa Maria (CSM) 项目。毫无疑问，他的四十四首亵渎诗是由他创作的。420 CSM 是另一回事。在 19 世纪，人们认为它们都是由阿方索创作的。但鉴于他动荡的统治和他的教诲目标，即为他的臣民提供法律、历史、科学等方面的新作品（卡斯蒂利亚语）以提高其社会的文化水平，人们仍然怀疑他在这数百首诗歌中的哪一首事实上，他曾为之作曲、口述或创作音乐。专注于 100 CSM 的第一次修订，手稿 To。（包括最后的 Pitiçon），我为阿方索是“制造者”、“建筑师”、”和皇家诗歌编纂者本人以及这些 CSM 中精选的加利西亚-葡萄牙合作者团体，还贯穿了音乐和微缩模型，使其成为中世纪玛丽安艺术中无与伦比的作品。支持我的论点的是对序言 A 和 B 的单独评论，以及 1、2、10、54、98 和 Pitiçon。