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Viderunt Hemanuel

notazione di San Marziale (premensurale)

Cod. F-Pn, Lat 3549, c. 151 (San Marziale di Limoges)

Cod. F-Pn, Lat 3549, c. 152 (San Marziale di Limoges)

Viderunt Hemanuel | patris unigenitum
in ruinam Israel | et salutem positum:
hominem in tempore, | verbum in principio,
urbis quam fundaverat | natura in palacio
omnes fines terrae salutare Dei nostri...

Verses 3 and 4 (b) are syllabic style transcription is fairly intuitive. I pointed out the accents of the text and, in the cadenzante, those ligatures (which typically end on an accented note or long).
Much more problematic is the transcript of the first verse, all melismas and blooms. You can highlight clusters of notes that reasonably should move simultaneously and then highlight in yellow the main strong times (typically the last of the agglomeration, but sometimes even the first if to coincide with a new syllable).
If you wanted to highlight of stricter criteria to recognize the seasons it can be observed that, generally, the notes that fall on strong time:
―are isolated on tonic syllable
―found in the conclusion of a melisma
―are followed by apostropha
―are not followed by a succession of vertical conlusive virga (which typically extends up the agglomerate).
It is clear, however, that these criteria do not always work and often there is a unique solution. All doubtful cases (the majority) must be assessed in relation to the harmonic behaviour. This first level of transcription tries to match special times with the harmonies consonants as well as seize the suggestion of writing.
If the story were to adopt a unitary, 3 verses and m.m. would seem more appropriate for 4 use a compound (i.e. with ternary sudduvisione). This is to give fluidity to the Cadence and empower notes with prefixes to back falling tone (probably slipped: here indicated with a smaller note).
It is said that the first two lines should adopt the same tempo of the subsequent syllabic. May, because of the free-run, preferring a melismatic nature and fluctuating. In this case only the practice will offer a yield musically acceptable. If instead you wanted to give unity to the piece and keep the same time for all four ways a possible transcription might be:

Midi