of Dido and Aeneas, a scene of drinking beer, and three scenes of playing dice, tables, and chess. History Older research assumed that the manuscript was written in Benediktbeuern where it was found. Today, however, Carmina Burana scholars have several different ideas about the manuscript's place of origin. It is agreed that the manuscript must be from the region of central Europe where the Bavarian dialect of German is spoken due to the Middle High German phrases in the text—a region that includes parts of southern Germany, western Austria, and northern Italy. It must also be from the southern part of that region because of the Italian peculiarities of the text. The two possible locations of its origin are the bishop's seat of Seckau in Styria and near Brixen in South Tyrol. A bishop named Heinrich was provost in Seckau from 1232 to 1243, and he is mentioned as provost of Maria Saal in Carinthia in CB 6* of the added folio. This would support Seckau as the possible point of origin, and it is possible that Heinrich funded the creation of the Carmina Burana. The marchiones (people from Steiermark) were mentioned in CB 219,3 before the Bavarians, Saxons, or Austrians, presumably indicating that Steiermark was the location closest to the writers. Many of the hymns were dedicated to Saint Catherine of Alexandria, who was venerated in Seckau, such as CB 12* and 19*–22*. In support of Kloster Neustift, the text's open-mindedness is characteristic of the reform-minded Augustine Canons Regular of the time, as is the spoken quality of the writing. Also, Brixen is mentioned in CB 95, and the beginning to a story appears in CB 203a which is unique to Tirol called the Eckenlied about the mythic hero Dietrich von Bern. It is less clear how the Carmina Burana traveled to Benediktbeuern. Fritz Peter Knapp suggested that the manuscript could have traveled in 1350 by way of the Wittelsbacher family who were Vögte of both Tirol and Bavaria, if it was written in Neustift. Themes Generally, the works contained in the Carmina Burana can be arranged into four groups according to theme: 55 songs of morals and mockery (CB 1–55) 131 love songs (CB 56–186) 40 drinking and gaming songs (CB 187–226) two longer spiritual theater pieces (CB 227 and 228) This outline, however, has many exceptions. CB 122–134, which are categorized as love songs, actually are not: