The medieval poet and composer Zavis is known as author of religious and secular poetry, written in Latin and in Czech. Scholar works - both of musicologists and literary historians - mostly focused on his love song 'Jizt mne vse radost ostava', looking for its correct musical reconstruction and the proper place within the late-fourteenth-century vernacular literary tradition. The article deals with Zavis' less studied works, which represent typical additions to the repertory of the Latin liturgical poetry. It revises the hitherto authoritative Muzik's interpretation of the Zavis' 'lai O Maria, mater Christi' and its transmission, brings analysis of his tropes 'Kyrie Inmense conditor' and 'Gloria Patri et filio', and compares Zavis's output to the typical or exceptional works of the late-fourteenth / early fifteenth-century. The chants which can be today attributed to Zavis, show a strong influence by the late-medieval German repertory, knowledge of the chants once performed (only) in the St Vitus' Cathedral, and reveal a surprising link to the contemporary poetical repertory in Northern Italy. Following this, new arguments arise supporting older hypothesis about the identification of the autor ‘Zavis' as the influencial church official Zavis of Zapy.