Mary's salvific role is further amplified in the stichera on the Lity as Adam and Eve are newly introduced to this story, exhorted by Joachim and Anna to "rejoice with us today: for if by your transgression ye closed the gate of Paradise to those of old, we have now been given a glorious fruit, Mary the Child of God, who opens its entrance to all.
Stichera also occur at the Lity, but without verses from the Psalter" (ibid.
114, 115 and 116); (iii) the stichera from the sticherarium; and (iv) the final hymn.
But nothing of this seems to apply to Italian thirteenth-century sources, which depart in unison from the practice of St Sophia in introducing as the respond to the 'Gloria Patri' for each of the three 'little' antiphons the three stichera aposticha of the later form of Byzantine Vespers: [Greek Text Omitted], [Greek Text Omitted] and [Greek Text Omitted].
Its musical style is relatively simple, reminiscent more of the Sticherarion than of the Psaltikon, so it is not surprising that it appears in a thirteenth-century Euchologion thought to come from southern Italy as a respond to the first part of the 'Gloria Patri' concluding the stichera aposticha.
17) Like the stichera aposticha, therefore, this final hymn shows that the music for the Office of the Genuflexion was put together from books with widely differing styles, ranging from the elaborate psalmody of the opening of the service to the presumably much simpler psalmody of the 'little' antiphons and the hymnodic idiom of the Sticherarion.