Digitized by the Internet Archive in 2015 https://archive.org/details/dramaticassociatOOyoun UNIVERSITY OF WISCONSIN STUDIES IN LANGUAGE AND LITERATURE NUMBER 10 THE DRAMATIC ASSOCIATIONS OF THE EASTER SEPULCHRE BY KARL YOUNG PROFESSOR OF ENGLISH MADISON 1920 UNIVERSITY OF WISCONSIN STUDIES NUMBER 13 LANGUAGE AND LITERATUR SEPTEMBER, 1920 PRICE, FIFT Published bi-monthly by the University of Wisconsin at Madison, Wiscons Entered as second class matter August 31, 1919 at the postoffice at Madison, Wise the Act of August 24, 1912. Accepted for mailing at special rate of postage pi for in section 1103, Act of October 3, 1917. Authorized September 17, 19 No. 1. No. 2. No. 3. No. 4. No. 5 No. 6. No. 7. No. 8. No. 9. No. 10. British criticisms of American writings, 1783- William B. Cairns. 98p. Fifty cents. Studies by members of the department of dr . 394p. One dollars Classical studies in honor of Charles Forstc 190p. One dollar. Ordo Rachelis, by Karl Young. 66p. FifU The position of the Roode en Witte Roos in tl King Richard III, by Oscar James Campbe Fifty cents. Goethe’s lyric poems in English translation 1860, by Lucretia Van Tuyl Simmons. 202 ^ ;ty cents. Lucilius and Horace — a study in the classic ' , -iy of imitation, by George Converse Fiske. 52 dollars and fifty cents. The first quarto edition of Shakespeare’* r Ar F by Frank G. Hubbard. 120p. Fifty cents. Traces of matriarchy in Germanic here Albert William Aron. 76p. Fifty cents. The dramatic associations of the Easter by Karl Young. 130p. Fifty cents. UNIVERSITY OF WISCONSIN STUDIES IN LANGUAGE AND LITERATURE NUMBER 10 THE DRAMATIC ASSOCIATIONS OF THE EASTER SEPULCHRE BY KARL YOUNG PROFESSOR OF ENGLISH ✓ MADISON 1920 BOSTON COLLEGE LIBRARY. CHESTNUT HILL, MASS. 275132 CONTENTS Part I 9 Part II 18 Part III 29 Part IV 72 Part V 92 Part VI 127 THE DRAMATIC ASSOCIATIONS OF THE EASTER SEPULCHRE To the student of the drama of the mediaeval church nothing is more familiar than the fact that the liturgical structure, or locus , known as the Easter sepulchrum was the center of three separate dramatic observances: the Deposition the Elevatio, and the Visitatio Sepulchri. 1 The Depositio took place on Good Friday, at some point in the liturgy after the Adoration of the Cross; the Elevatio occurred on Easter morning, usually before Matins; and the normal position of the Visitatio Sepulchri was at the end of Easter Matins, immediately before the Te Deum. The nature of these dramatic offices may be conveniently shown in the following versions of the fourteenth century from the monastery of St. Blaise, in the Black Forest : 2 < DEPOSIT 10 HOSTLE> 3 CoMMUNICATIS 4 OMNIBUS SONENTUR TABULAE OMNES. POST IEEC EIET ORATIO ANTE VESPERAM. INTERIM SACERDOS SUMAT VIATICUM, EATQUE AD Sepulchrum cum incenso & candelis cantando -Rcsponsorium: Agnus Dei Christus Ecce quomodo moritur , 6 CUM VERSIBUS & REPETITIONIBUS J PONENSQUE ILLUD IN SEPULCHRUM INCENSET, & claudens illus cantet Responsorium: Sepulto Domino, , 7 CUM VERSU & REPETITIONE; PONATURQUE CEREUS ARDENS ANTE SEPULCHRUM. Deinde legatur Vespera. 8 Nocte sacratissima Resurrectionis Domini cum tempus fuerit pulsandi Matutinum, Secretarius surgat, sumens laternam cum lumine Domnum Abbatem excitabit, atque Priorem, deinde alios de Fratribus ad com- PULSANDAS CAMPANAS, QUI SIBI PLACUERINT. SURGENS AUTEM DOMNUS ABBAS AD ECCLESIAM EAT, & INDUIT SE ALBA, STOLA, ET CAPPA, PRIOR AUTEM ALBA ET CAETERI FRATRES. SUMENTESQUE DUO THUREBULA CUM INCENSO, PRAECE- DENTIBUS CANDELABRIS, EANT AD SEPULCHRUM CUM R eSpOnSOtio: Maria Magdalena , 9 CUM VERSU. & EANT AD SEPULCHRUM, AC ILLUD INCENSENT EXTERIUS; DEINDE LEVATO TEGIMENTO ITERUM INCENSENT INTERIUS. POSTEA SUMENS CORPUS Domini super alt are ponit cantans Responsorium: Surrexit pastor bonus < qui animam suam posuit pro ovibus suis, et pro suo grege mori dignatus est, alleluia, alleluia, alleluia. Versus: Surrexit Dominus de sepulcro, qui pro nobis pependit in ligno. Et pro suo.>, 10 cum versu. Interim levet Corpus Dominicum, incensisque candelis SONETUR CLASSIS. POST TERN AS ORATIONES LNCIPIAT DOMNUS ABBAS XV GRADUS. OMNES QUI IN HAC NOCTE ALIQUID CANTARE VEL LEGERE VOLUNT, DEBENT ESSE REVESTITI ALBIS PRAETER PUERUM QUI DICIT VERSUM. INFRA XV GrADUS SONENTUR DUO MAXIMA SIGNA IN ANGULARI; DEINDE DUO MAIORA SIGNA IN CHORO. POSTEA FIAT COMPULSATIO AB OMNIBUS CAMPANIS. TUNC 6 Responsory from Matins of Holy Saturday. See Migne, Pat. Lat., LXXVIII, 768. 7 See ibid. 8 Gerbert, Monumenta , Part II, p. 236. 9 First responsory of Matins of Easter Monday. See Migne, Pat. Lat. f LXXVIII, 771. 10 The third responsory of Matins of Thursday after Easter. See Migne, Pat. Lat., LXXVIII, 773. YOUNG — THE EASTER SEPULCHRE / VENIENS 'DOMNUS ABBAS ANTE ALTARE INDUTUS CAPPA INCIPIAT: Domine, labia mea aperies. 11 < VIS IT AT 10 SEPULCHR I> 12 Tertium vero responsorium cantent tres Cantores in cappis, quorum duo incensent altare, ut supra SCRLPTUM est. R esponsorium: Dum tran- sissent, quod post Gloria patri reincipiendum est. Interim duo Sacerdotes se cappis induunt summentes duo thuribula, & HUMERARIA IN CAPITA PONENT, INTRANTES CHORUM, PAULATIM EUNTES VERSUS SePULCHRUM, VOCE MEDIOCRI CANT ANTES: Quis revolvet nobis lapidem? Quos Diaconus qui debet esse retro Sepulchrum interroget psal- LENDO: Quem quaeritis? Deinde llli: Iesum nazarenum. Quibus Diaconus respondet: Non est hie. Mox incensent Sepulchrum, & dicente Dia&ono: Ite, nuntiate, ver^ent SE AD CHORUM REMANENTES SUPER GRADUM, & CANTENT: Surrexit Dominus de sepulchro, USQUE IN FINEM. FlNITA ANTIPHONA, DOMNUS ABBAS INCIPIAT: Te Deum laudamus, IN MEDIO ANTE ALTARE, MOXQUE CAMPANAE SONENTUR IN ANGULARIBUS. CUM cantatur: Per singulos dies, sonentur omnia signa in choro. It will be observed that the mise en scene for all three of these dramatic offices is some kind of sepulchrum. This particular version of the Depositio occurs between Mass and Vespers on Good Friday, and consists essentially in the burial in the sepulchrum of the Host ( Viaticum , Corpus Domini ), in com- memoration of the burial of Christ. The essence of the Elevatio is the raising of the Host from the sepulchrum , before Matins on Easter morning, in commemoration of the Resurrection. The Visitatio Sepulchri, at the end of Easter Matins, has as its central representation the visit of two Maries 13 to the empty sepulchrum. A notable fact concerning all three observances is that they are extra-liturgical: that is to say, they are not 11 This versicle opens Matins. 12 Gerbert, Monumenta, Part II, p. 236. 13 It will be noted that, whereas impersonation is entirely absent from the Depositio and Elevatio before us, the Visitatio contains at least hints of mimesis in the rubric duo Sacerdotes . . . summentes duo thuribula & kumeraria in in capita ponent. See below, pp. 128-129. 8 UNIVERSITY OF WISCONSIN STUDIES authorized and essential parts of the traditional liturgy of the Roman church, but pious additions. The third of these dramatic offices, the Visitatio Sepulchri, has been assiduously studied in isolation, and a large number of versions have been published . 14 It has been discerned, indeed, that the Visitatio had a double development within the liturgy of Easter, — at the Introit of Mass and at the end of Matins, — and this phenomenon has been sufficiently ex- pounded . 1 Of the Depositio and Elevatio, however, no thorough study has ever been made. Only a relatively small number of texts of these ceremonials are available in print, and such versions as are already published have never been brought together for critical examination . 16 In view of the obvious interrelations of the three ceremonials, this neglect is unfor- tunate; for it is clear that no consideration of the Visitatio can 14 For bibliography see Publications of the Modern Language Association, Vol. XXIX (1914), p. 3. 15 See id., pp. 1-49. 16 For actual texts of the Depositio and Elevatio previously published see especially E. Martene, Tractatus de Antiqua Ecclesice Disciplina, Lyons, 1706, pp. 367, 477-479, 503-505; K. Young, The Harrowing of Hell in Liturgical Drama , in Transactions of the Wisconsin Academy of Sciences, Arts, and Letters , Vol. XVI, Part II (1909), pp. 897-934. Isolated printed texts are referred to below, passim. In regard to the bearing of the Depositio and Elevatio upon modern liturgical usage the most important study is found in Deer eta Authentica Congregationis Sacrorum Rituum, Vol. IV, Rome, 1900, pp. 419-441 (referred to below as Deer eta Authentica). As a treatise upon mediaeval observances this study is far from complete. For discussions of some aspects of the Depositio and Elevatio see A. Heales, in Archceologia, Vol. XLII (1869), pp. 264-277; H. P. Feasey, in Ecclesiastical Review, Vol. XXXII (1905), pp. 491-499 pass.; H. J. Feasey, Ancient English Holy Week Ceremonial, London, 1897, pp. 132-137, 169-177 ; J. B. Thiers, Traite de V Exposition du S. Sacrement de VAutel, Vol. II, Avignon, 1777, pp. 193-202; C. Davidson, Studies in the English Mys- tery Plays, New Haven, 1892, pp. 16-20; [A. De Santi], in La Civiltd Cattolica, 1910, Vol. I, pp. 709-7 1 1 ; A. De Santi, II Mattino di Pasqua nella Storia Liturgica, Rome, 1917, pp. 6-20; H. Thurston, Lent and Holy Week, London, 1904, pp. 299-468; Chambers, II, 16-26; V. Thalhofer, Handbuch der katholischen Liturgik, Vol. I, Freiburg, 1912, pp. 636-637; De Processionibus Ecclesiasticis Liber, Paris, 1641, pp. 171-197; H. Alt, Theater u}ul Kirche, Berlin, 1846, pp. 348-349; E. G. C. F. Atchley, A History of the Use of Incense in Divine Worship ( Alenin Club Collections, No. XIII), London, 1909, pp. 296-300; J. D. Chambers, Divine Worship in England in the Thirteenth and Fourteenth Centuries, London, 1877, Appendix, pp. xxvi-xl. YOUNG — THE EASTER SEPULCHRE 9 be definitive without reference to the content and associations of the Depositio and Elevatio. I therefore venture to undertake a special study of these two offices . 17 For my texts I draw chiefly upon unpublished manuscripts and incunabula; but I have been glad to avail myself also of such versions as are found in modern print . 18 I Since the Depositio and Elevatio are extra-liturgical develop- ments within the authorized liturgy of Holy Week and Easter morning, we may appropriately examine their liturgical associa- tions for suggestions concerning their origins . * 1 17 It should be remembered that in the present study I do not undertake an orderly and detailed consideration of the sepulchrum itself. I concern myself, not with this material structure, but with the dramatic ceremonials surrounding it. My observations concerning the sepulchrum itself are merely incidental. Bibliography upon this special subject is given by the present writer in Transactions of the Wisconsin Academy of Sciences , Arts, and Letters, XVI, Part II, pp. 895-896, and by J. K. Bonnell, in Publications of the Modern Language Association, Vol. XXXI (1916), pp. 664-712. 18 It is inevitable that some published versions escape me; and I do not, of course, pretend to have exhausted the possibilities of the thousands of liturgi- cal manuscripts in European libraries. I have not been able to include the versions published by F. Arens, Der Liber Ordinarius der Essener Stiftskirche, Paderborn, 1908, as reported by A. De Santi in La Civiltd Cattolica, 1910, Vol. I, pp. 709-711. Unpublished examples of the Depositio and Elevatio in manu- scripts are referred to by N. C. Brooks in Journal of English and Germanic Philology, Vol. VIII (1909), 469, 481, and in Zeitschrift fiir deulsches Altcrtum, LV (1914), pp. 55, 56, 58. I take this occasion for acknowledging the invaluable assistance given me by my friend Dom G. M. Beyssac, of Quarr Abbey, Isle of Wight. 1 In my discussion of origins I venture to ignore certain vague or obviously inadequate suggestions made by other writers. In speaking of the “sepulchre rite” as a whole, H. J. Feasey ( Ancient English Holy Week Ceremonial, p. 129) speaks of “some [persons] inclining to the suggestion that its source lay in the old Mystery Plays which were of old performed in the churches.” Cf. FI. P. Feasey, in Ecclesiastical Review, XXXII, 337. We are, of course, seeking the source behind “the old Mystery Plays.” Feasey, again, speaks {Ancient English Holy Week Ceremonial, p. 130) of others who “think the ceremony arose as occasion or devotion required, as did the Christmas Crib and other like devotions.” This view simply evades the investigation of what “occasion or devotion required.” The rise of the “devotions” surrounding the Christmas Crib is 10 UNIVERSITY OF WISCONSIN STUDIES Such suggestions appear, for example, in connection with the reservation of a Host from the Mass of Holy Thursday for the mass of the Presanctified {Missa Prcesanctificatorum) on Good Friday . * 2 This reservation was necessary through the fact that from about the fifth century to the present time the Roman rite has not permitted the consecration of the sacred elements on Good Friday itself . 3 The result of this prohibition is the supplying of the mass of Good Friday with a Host con- secrated upon the previous day, — a presanctified Host. Hence the term Missa Prcesanctificatorum. The absence of the con- secration of the Host from the mass of Friday automatically eliminates a large part of the usual Ordo Missae, including such central elements as the consecratory prayer of the Canon and the words of the Institution. This reduced form of Mass is, in fact, primarily a mere communion service, for which the Host is reserved from the day before . 4 Our immediate interest in the Missa Prcesanctificatorum , however, lies not so much in the liturgical content itself as in the implications of the reserving of the Host from Thursday to Friday. The laying away of the Corpus Domini from one day to another naturally surrounded itself with a special cere- monial and was inevitably interpreted by a special symbolism. investigated by the present writer in Transactions of the Wisconsin Academy of Sciences, Arts , and Letters, Vol. XVII, Part I (1912), pp. 299-395. Feasey makes also the following suggestion ( Ecclesiastical Review, XXXII, 337-338) : “Others again with much more show of reason think the necessity of providing a suitable place and receptacle for the Sacred Host, which the rubric directed to be reserved from Maunday Thursday till Holy Saturday [sic], gave rise to the ceremony.” I infer that the “rubric” referred to is that (see below, pp. 40, 45, 114) requiring the consecration on Holy Thursday of a third Host to be deposited in the sepulchrnm on Friday and to be left until Sunday morning. But the question before us is, What is the origin of this practice of reserving a third Host and of laying it in a sepulchrum from Good Friday until Easter? 2 This reservation is considered at length by Raible, Ueher Ur sprung, Alter und Entwickelung der Missa Prcesanctificatorum, in Der Katholik (Mainz), Dritte Folge, XXIII (1901), pp. 143-156, 250-266, 363-374. 3 See Raible, pp. 152, 250, 261, 266. The reasons for this prohibition do not concern us here. See Raible, p. 144; Mabillon, Museum Italicum , Vol. II, Paris, 1724, pp. lxxv-lxxvi; Belethus, Rationale Divinorum Officiorum, cap. xcvii, in Migne, Pat. Lat., CCII, 99-100. 4 The liturgical content of the Missa Prcesanctificatorum is more definitely outlined below, pp. 19-20. YOUNG — THE EASTER SEPULCHRE 11 For an understanding of this ceremonial we can scarcely do better than to examine the prescriptions of the Ordines Romani. Thus Ordo I, in passages that probably represent the traditions of the sixth century , 5 speaks of the Thursday reservation in the laconic words et servat de sancta usque in crastinumf and of the bringing forth of the presanctified Host during the Mass of Friday, as follows : 7 Presbyteri vero duo priores . . . intrant secretarium, vel ubi positum fuerat Corpus Domini quod pridie remansit, ponentes eum in patena; & sub- diaconus teneat ante ipsos calicem cum vino non consecrato, & alter subdia- conus patenam cum Corpore Domini; quibus tenentibus accipit unus presbyter patenam et alter calicem, & deferunt super altare nudatum. However uncommunicative these rubrics may seem , 8 they establish the fact that the reserved Host was not left upon the altar upon which it was consecrated orf Thursday , 9 but was kept over night in a special place, — for example, a secretarium. Had we no other information we should safely infer that the surroundings of the Host in this special locus must have been reverential, and that the carrying of the Corpus Christi to and from this place must have assumed a processional character. As a matter of fact, however, information of this sort is at hand. In the tenth Roman Ordo , for example, the ceremonial of the reservation in connection with the papal mass at the Church of St. John Lateran is described as follows : 10 Postquam autem communicavit, 11 ponit calicem super altare, & patenam juxta eum cum Corpore Domini reservato, quia sexta feria de ipso sacrificio resumit; & cooperitur utrumque sindone munda. . . . Reserventur tamen oblatae integrae de Corpore Domini in die Parasceve; sanguis vero Domini penitus assumatur. . . . Sed antequam Pontifex revertatur ad altare ad 5 See Raible, pp. 253-259; Thalhofer, I, 78. 6 Mabillon, II, 21. 7 Mabillon, II, 23. 8 Similar brief rubrics from the ordines of St. Amand and Einsiedeln may be seen in L. Duchesne, Christian Worship, London, 1904, pp. 467, 482, 483. 9 Such a removal was necessitated by the washing of the altar on Thursday evening. See J. Corblet, Histoire dogmatique, liturgique et archeologique du Sacrement de V Eucharistie, Vol. I, Paris, 1886, p. 538. 10 Mabillon, II, 100-101. The date of the formulation of Ordo Romanus X is uncertain. The ceremonials that it presents probably date back at least to the eleventh or twelfth century. See Thalhofer, I, 80. 11 This refers to the Communion of the Mass of Holy Thursday. 12 UNIVERSITY OF WISCONSIN STUDIES complendam Missam, junior presbyterorum cardinalium portet Corpus Domini positum in pyxide ad locum pneparatum, praecedentibus cum cruce & luminari- bus, & papilione desuper. This rubric provides for the processional transfer of the Host to a special place of reservation, the procession being provided with a cross, lights, and a canopy. The recovery of the reserved Host for the Miss a Prasancti- jicatorum on Good Friday is provided for in the same or do as follows : 12 Tunc junior presbyterorum cardinalium ferat adornatum capsidem cum Dominico Corpo f e hesterna die reservato; & sic subdiaconus cum papali cruce processionem prae cedente, omnes discalceati sine cantu psallendo ad ecclesiam Sanctae Crucis, quae est Jerusalem, ubi statio fieri debet, ordinate tamen, pro- cedant, quando dominus Papa est Laterani. Cum autem illuc pervenerint, ingrediuntur ecclesiam sine cafitu, & prostrati in medio ecclesias diutius orent. *Presbyter, qui portat Corpus Christi, in secretario ponat illud, dum dominus Papa praeparat se. This passage describes the papal procession conducting the reserved Host from St. John Lateran to Santa Croce in Geru- salemme, the papal station for the Missa Prasanctificalorum. The clergy are bare-footed, they proceed without chant, and at their destination prostrate themselves in prayer. With the ceremonial of papal Rome we may profitably com- pare the use of France as prescribed in the eleventh century for Rouen by the archbishop, Jean d’Avranches. The reservation on Holy Thursday is arranged as follows : 13 Ipsa die plures hostiae consecrentur, quibus clerus et populus communicetur; et medietas hostiarum absque vino in crastino reservetur, unde iterum communi- centur. Ipsae vero hostiae a sacerdote et ministris altaris indutis, cum pro- cessionc, scilicet cum cereis et incenso, super quoddam altare honorifice de- portentur, ubi cum nitidissimis linteaminibus optime recondantur. Ibi semper lumen usque ad ultimae candelae extinctionem in Matutinis ardeat. It will be observed that in this case the procession sequesters the reserved Host upon a special altar, and that a light is kept burning before it until the next morning. 12 Mabillon, II, 102. 13 Jean d’Avranches, Liber de Officiis Ecclesiaslicis, in Migne, Pat. Lat., CXLVII, 50. YOUNG — THE EASTER SEPULCHRE 13 The bringing forth of the reserved Host for the Missa Prasanctificatorum is briefly ordered by Jean d’Avranches as follows : 14 Post ministri crucis casulis induti afferant ad altare, cum vino non consecrato, reservatum Corpus Domini, ubi a sacerdote incensetur. Only one other liturgical rubric need be cited here: for the papal reservation of Holy Thursday as ordered in the fifteenth Roman Or do, of the fourteenth century : 15 Postquam dominus Papa intrat ad sacrificandum, conficit duas hostias, unam pro se, & aliam pro die Veneris. . . . Percepto corpore & sanguine Domini nostri Jesu Christi cum calice & sine calamo, antequam abluat manus, ipsum calicem cum Corpore Domini nostri reservato, non ilium calicem in quo cele- bravit, sed solum magnum de auro, sibi praesentet coopertum cum magna reverentia sacrista papalis cum sindone, cum lustris aureis. E sinistro brachio pendet unum caput, & in dextra manu portat calicem coopertum alio capite, & reverenter ponit praedictum calicem prope Papam circa medium altaris cum alia tobalea de sirico, cum qua cooperitur calix, in quo est Corpus Christi. Et nota, quod antequam abluat digitos dominus Papa, Corpus Christi cum reve- rentia magna infra praedictum calicem ponit, & super calicem corporalia ilia; pars minor corporalium, & super corporate patenam, & super patenam caput illius tobaleae de sindone. Statim quo facto, abluit digitos infra calicem cum quo celebravit, & bibit illud; & antequam abluat manus in magnis bacilibus Papae, ipse Papa vel episcopus cardinalis qui servit sibi in Missa, praedictum calicem cum Corpore Christi sic coopertum, & super humerum sinistrum pendet aliud caput illius tobaleae, & tenens cum ambabus manibus calicem per medium portat ad armariolum, in quo conservatur usque in crastinum, antecedentibus luminaribus, cruce, & incenso processionaliter cum devotione. Quo reposito, genuflexus thurificat Corpus Christi; quo facto, revertitur ad altare; & sic lavat manus ut moris est. For our present purpose the significance of this ceremonial lies not in the details of the procession but in the fact that the reserved Host is carried and kept in a chalice , 16 and that the chalice containing the Host is deposited in some sort of chest or tabernacle. Cwith these several examples of the authorized ceremonial before us, we may briefly observe several resemblances between the liturgical reservation from Holy Thursday to Good Friday 14 Migne, Pat. Lat., CXLVII, 52. 35 Mabillon, II, 482-483. 16 Compare the modern practice, expounded in Deer eta Authentica, IV, 420-421. 14 UNIVERSITY OF WISCONSIN STUDIES and the extra-liturgical “burial,” — Depositio — Elevatio, — from Good Friday until Easter: 1) The chest, or tabernacle, in which the reserved Host is placed 17 has an exact parallel in the sepulchrum of the Depositio and Elevatio. 2) The placing of the reserved Host upon a special altar 18 has a parallel in several versions of the Depositio and Elevatio in which the sepulchrum is the altar itself, 19 or is closely attached to an altar. 20 3) The light kept burning before the altar of the reserva- tion 21 calls to mind the lights furnished for the sepulchrum. 22 4) The depositing of the reserved Host in a chalice 23 is clearly a possible antecedent for the use of the chalice in nu- merous versions of the dramatic observances. 24 !; Although the extant documents do not allow us to demon- strate that each of these uses connected with the reservation of Holy Thursday was established before the date of the earliest versions of the Depositio and Elevatio , in the tenth century, 25 the probability is that in these matters the extra-liturgical observances are antedated by the authorized ceremonial. In any case, this fundamental observation is sound: Whatever the ceremonial details of the reservation may have been in any particular locality or at any particular time, the traditional depositing of the reserved Host in a place of repose furnishes an ancient and conspicuous model for the invention of a Depositio and an Elevatio; and the special ceremonials of the reservation at subsequent periods may well have influenced the variety to be observed in the Depositio and Elevatio during the course of their long development. 26 17 See Ordo Romanus XV, cited above, p. 13. 18 See passage from Jean d’Avranches, cited above, p. 12. 19 See below, p. 74. 20 See below, pp. 34, 35, 44, 55. 21 See citation from Jean d’Avranches, above, p. 12. 22 For example, see below, pp. 102, 119. 23 See the citation from Ordo Romanus XV, above, p. 13. 24 See below, pp. 97, 102, 104, 106. 25 The evidence for this date is cited below, p. 73. 26 Concerning the date of the more elaborate ceremonials of the Thursday reservation Father Herbert Thurston speaks as follows {Lent and Holy Week , p. 296) : “The practice of bringing the second Host in state to the place prepared YOUNG — THE EASTER SEPULCHRE 15 But the aptness of the model can be still more soundly established through an appeal to another body of evidence: the traditional symbolism surrounding the reservation of the Host. It will be observed that none of the ordines cited above specif- ically suggests that the place in which the reserved Host is deposited is a sepulchrum , or that the act of reservation is a “burial.” In view of the meaning of the day, this silence is to be expected, for obviously the idea of Christ’s burial and the name sepulchrum are inappropriate to Holy Thursday, since this day commemorates not the death or burial of Christ, but rather the Last Supper and the Institution of the Eucharist. There are, however, ample evidences that the place of the Thursday reservation did come to be regarded as a sepulchrum , and the sources of this conception are not far to seek. It appears that at all periods of liturgical history the recep- tacle for reserving the Eucharist, — whether for the sick or for other purposes, — was symbolized as a tomb. That is to say, the vessel or tabernacle enclosing the Corpus Domini was, not unnaturally, regarded as a sepulchrum. Thus in early times the capsa for containing the Host was often designed in the form of a “tower,” the actual tomb of Christ in Jerusalem being con- ceived in this form. Hence in early Christian art the taber- nacle took the name turris 27 In a commentary upon the Gallican Mass, assigned to the sixth century, we read as follows: Corpus vero Domini ideo defertur in turribus, quia monumenlum Domini in similitudinem turris fuit scissum in petra, et intus lectum ubi pausavit Corpus Dominicum, unde surrexit Rex gloriae in triumphum. 28 If, then, the receptacle for the reserved Corpus Domini (Sacramentum consecratum) was, in its general use, interpreted as sepulchrum , there is abundant justification for the presence for it, although alluded to as early as the time of Lanfranc, seems only to have become generally established towards the end of the fifteenth century.” After the latter part of the thirteenth century the ceremonial both of the Thursday reservation and of the Dcpositio and Elevatio were probably influenced by the procession of Corpus Christi day. Upon this point see Thurston, p. 296-297. 27 See Raible, p. 262; Decreta Authentica , IV, 419; Y. Hirn, The Sacred Shrine , London, 1912, pp. 159-161. In regard to tabernacles in general, see Corblet, I, 550-563. 28 Quoted in Decreta Authentica, IV, 419, from Martene, Thesaurus Novus Anecdotorum , Vol. V, col. 94. Cf. Raible, p. 262. 16 UNIVERSITY OF WISCONSIN STUDIES of this conception in connection with the reservation of Holy Thursday. But a further basis for this symbolizing is found in certain specific details in the ceremonial of Holy Thursday. We have already noticed that the reserved Host was sometimes placed in a closed chalice , 29 and also that it was sometimes deposited at a special altar . 30 Once more, then, we encounter the idea of sepulchrum , for both the chalice 31 and the altar 32 are abun- dantly symbolized as receptacles for burial. 33 j There is, then, ample reason for citing the reservation of the Host for the Missa Prcesanctijicatorum as being among the formative antecedents of the Depositio and Elevatio; and in our 29 See Ordo Romanics XV, cited above, p. 13. 30 See Jean d’Avranches, ‘cited above, p. 12. 31 See Corblet, II, 241, 295; Decreta Authentica, IV, 419-420. The symboliz- ing of the chalice as sepulchrum can be found as early as the ninth century (see Decreta Authentica , IV, 420); but how early the chalice was used for containing the Host reserved on Holy Thursday, the liturgiologist of the Decreta does not say. On the general subject see also Moroni, Dizionario di Erudizione storico- ecclesiastica, Vol. LXIV, p. 87. 32 See Him, pp. 16-27 ; J. K. Bonnell, in Publications of the Modern Language Association, XXXI, pp. 664-712; K. Young, in Publications of the Modern Language Association, XXIX, pp. 42-46. Him makes clear that this symboliz- ing of the altar as sepulchrum dates from the earliest Christian centuries. See also De Processionibus Ecclesiasticis Liber, Paris, 1641, pp. 181-191. 33 1 wish to keep from the center of our present discussion the obscurities that often arise in connection with the modern practice of revering the place of the Thursday reservation as a “sepulchrum.” This practice may have arisen in either of two ways: (1) through the persistent mediaeval symbolizing of the place of repose as a sepulchre; or (2) through later confusion with the burial of the Host in the Depositio of Good Friday. Probably both influences are present in the modem practice. In any case the modem veneration of the “sepulchre” on Holy Thursday should be sharply distinguished from the Depositio and Elevatio of our present study. Although this distinction is adequately main- tained by excellent authorities ( Decreta Authentica, IV, 419-421; Thurston, pp. 299-300; J. T. Mickle th waite, The Ornaments of the Rubric [Alcuin Club Tracts, No. I], London, 1897, pp. 52-53; A. W. Pugin, Glossary of Ecclesiastical Orna- ment and Costume, London, 1868, pp. 206-208), it is unknown to some who have discussed the church drama (See Heales, in Archceologia, XLII, 265-266, 268- 269; Moroni, Dizionario di Erudizione storico-ecclesiastica, LXIV, 87-89; F. G. Lee, Glossary of Liturgical and Ecclesiastical Terms, London, 1877, p. 118; J. C. Cox and A. Harvey, English Church Furniture, London, 1907, p. 74). YOUNG — THE EASTER SEPULCHRE 17 examination of the various versions of these offices we shall encounter continued reminders of this influence. 34 This is, perhaps, an appropriate point at which to introduce a bit of external evidence showing that the Host was actually employed for the Depositio and Elevatio as early as the tenth century. In a life of St. Udalricus, bishop of Augsburg (f973), which appears to have been written within some twenty years from the date of his death, we read the following concerning the liturgical observances of this ecclesiastic on Good Friday and Easter: 35 Die autem Parasceve . . . mane diluculo psalterium explere festinavit, et sacro Dei mysterio perpetrato, populoque sacro Christi corpore saginato , et con- suetudinario more , quod remanserat, sepulto, interum inter ecclesias ambulando, psalterium explevit decantando. . . . Desideratissimo atque sanctissimo Paschali die adveniente, post primam intravit e^clesiam Sancti Ambrosii, ubi die Parasceve Corpus Christi superposito lapide collocavit, ibique cum paucis clericis Missam de sancta Trinitate explevit. Expleta autem Missa .... secmn portato Christi Corpore et Evangelio et cereis et incenso et cum congrua salutatione versuum a pueris decantata . . . perrexit ad ecclesiam sancti Ioannis Baptistae. From this passage we learn that, according to a custom established at Augsburg before the year 973, after Communion at the close of the Missa Prcesanctificatorum in the cathedral on Good Friday, the remains of the Sacrament were deposited in the church of St. Ambrosius in some sort of sepulchrum closed by a stone (lapis).™ Apparently the Corpus Domini thus buried remained in the sepulchrum until Easter morning, and it is reasonable to infer that at that time occurred some sort of 34 1 may anticipate one such reminder. The ordinaria of several churches (see below, for example, pp. 40, 45, 114) explicitly provide that in the Mass of Holy Thursday three Hosts shall be consecrated: one for the Mass of the day, one for the Missa Prcesanctificatorum of Good Friday, and one for “burial” in the sepulchrum of the Depositio and Elevatio. Nothing could more emphati- cally suggest the bond between the reservation of Thursday and the Depositio than the fact that the objects to be venerated in the two ceremonials are conse- crated, side by side, in a single ritual. 35 Acta Sanctorum , July, Vol. II, Paris and Rome, 1867, p. 103. Concerning matters of authorship and date see id., p. 95. See also Martene, p. 367; Deer eta Authentica, IV, 430. 36 For the use of the lapis in the extant versions of the Depositio and Eleva- tio see, for example, below, pp. 93, 94. 18 UNIVERSITY OF WISCONSIN STUDIES Elevatio . 37 Concerning the church of Ambrosius we have no information, but we may assume that it was near the Cathedral, and that for the Depositio of Good Friday the Corpus Domini was carried thither in procession . 38 If we are correct in our inference that the reservation of Holy Thursday influenced the formation and development of such a Depositio and Elevatio as are referred to by Udalricus, we may summarize this phenomenon briefly as follows. The laying away of a Host in a sepulchrum from Good Friday until Easter was in some sort an extra-liturgical imitation, or reduplication, of the liturgical reservation of the Host from Holy Thursday to Good Friday. Whereas the idea of sepul- chrum and “burial,” though inherent in the instruments used in the reservation of Holy Thursday, was essentially inappro- priate to that day, this idea finds complete appropriateness and realization in the laying down and raising of the Host in the extra-liturgical Depositio and Elevatio of Good Friday and Easter. II For the sake of lucidity, I have hitherto ignored the circum- stance that the Host was not the only object deposited in the extra-liturgical sepulchrum. In citing the Thursday-Friday reservation as an influence toward the formation of the Depositio and Elevatio I have offered no explanation of the fact that in a large proportion of the extant versions of these dramatic offices the burial included both a Host and a Cross , * 1 and that a good many texts prescribe the burial of the Cross alone . 2 In this use of the Cross we readily discern a second fundamental influence upon the Depositio and Elevatio: namely, that of the liturgical Adoratio Crucis of Good Friday . 3 CThe Adoratio Crucis is certainly one of the oldest of the liturgical observances of Holy Week. The following passage 37 Possibly the Elevatio is implied in the words secum portalo Christi Cor pore. 38 See Acta Sanctorum, loc. cit., p. 104. 1 See below, pp. 92-127. 2 See below, pp. 72-91. 3 See Decreta Authentica, IV, 432; Chambers, II, 17-18. YOUNG — THE EASTER SEPULCHRE 19 from the Peregrinatio Etherice describes it as it was witnessed at Jerusalem in the fourth century by a noble lady from Gaul : 4 Et sic ponitur cathedra episcopo in Golgotha post Crucem, quae stat nunc; residet episcopus hie cathedra; ponitur ante eum mensa sublinteata; stant in giro mensa diacones; et affertur loculus argenteus deauratus in quo est lignum sanctum crucis; aperitur et profertur; ponitur in mensa quam lignum crucis quam titulus. Cum ergo positum fuerit in mensa, episcopus sedens de manibus suis summitates de ligno sancto premet; diacones autem qui in giro stant custodent. Hoc autem propterea sic custoditur, quia consuetudo est ut unus et unus omnis populus veniens, tarn fideles quam cathecumini, acclinant se ad mensam, osculentur sanctum lignum, et pertranseant. Et quoniam, nescio quando, dicitur quidam fixisse morsum et furasset sancto ligno, ideo nunc a diaconibus qui in giro stant, sic custoditur, ne quis veniens audeat denuo sic facere. Ac sic ergo omnis populus transit, unus et unus, toti acclinantes se, primum de fronte, sic de occulis tangentes crucem et titulum et sic osculantes crucem pertranseunt; manum autem nemo mittit ad tangendum. The essential of the ceremonial at Jerusalem is that while the bishop holds the wood of the Holy Cross firmly in his hands, the clergy and people make obeisance and kiss it. This adora- tion of the true cross in Jerusalem gave the impulse for the adoration of relics of the cross elsewhere, and ceremonials clearly modeled upon the practice of Jerusalem were introduced into the West in the seventh or eighth century . 5 Before examin- ing the content of these western ceremonials, however, we may do well in surveying briefly the structure of the Mass of Good Friday, into which the Adoratio was incorporated . 6 ' The Mass of Good Friday (Missa Prczsanctijicatorum) is found not in the usual liturgical position of the daily and festal Mass, — between Terce and Sext, — but between None and Vespers. The office begins abruptly with two lectiones, the first of which is followed by a tract and a prayer, and the second of which is followed by a tract alone. Then after the Passio (from St. John) and a series of special Orationes, occurs the Adoratio Crucis. The office closes with the fetching of the presanctified Host, and the Communio fidelium . 7 The office of 4 Duchesne, p. 510. The history and bibliography of this document are given by Duchesne, pp. 490-492. 5 See Thalhofer, I, 633; Catholic Encyclopaedia, VI, 643. 6 The explanation that follows conforms both to the mediaeval Ordines Romani and to the modern Missale Romanum. 7 The general nature of the Missa Prcesanctificalornm is explained above, p. 10. 20 UNIVERSITY OF WISCONSIN STUDIES Vespers follows immediately. The succession of liturgical pieces may be shown in outline as follows : 8 Nona Missa Praesanctificatorum Lectio I Tractus Oratio Lectio II Tractus Passio Orationes solemnes Adoratio Crucis [Depositio] COMMUNIO FIDELIUM [Depositio] Vesperae [Depositio] With the general structure of the Mass of Good Friday now before us, we may center our attention upon the Adoratio Crucis as observed in Western Europe. An early text of this cere- monial is forthcoming from the famous Concordia Regidaris of St. Athelwold : 9 < ADORATIO CRUCIS> 10 Quibus expletis per ordinem, statim preparetur Crux ante altare, INTERPOSITO SPATIO INTER IPS AM et ALTARE, SUSTENTATA JIINC et INDE A DUOBUS Diaconibus. Tunc cantent: Popule meus, Respondentes autem duo Subdiaconi stantes ante Crucem canant grece: Agios o Theos, Agyos ychiros, Agios athanathos, eleison ymas. iTEMQWe SCHOLA IDEPSUM LATINE: Sanctus Dews. DeFERATUR TUNC AB U IPSIS DlACONIBUS ANTE ALTARE, et EOS ACCOLITUS 8 For purposes of subsequent reference, I insert in this outline an indica- tion of the three liturgical positions in which the extra-liturgical Depositio may be found. 9 British Museum, Cotton MS Tiberius A. Ill, fol. 18 v -19 v . The bibli- ography of this document is cited below, p. 73. The document represents the use of Winchester in the tenth century. I print from the manuscript, with a result differing in no essential way from the text of W. S. Logeman, in Anglia , Vol. XIII (1891), pp. 418-421. 10 Cotton MS Tiberius A. Ill, fol. 18 v -19 v . 11 ab] ad (MS). YOUNG — THE EASTER SEPULCHRE 21 CUM PULUILLO SEQUATUR SUPER QUEM S Item 13 Subdiaconi sicut prius: Agyos, ut supra. iTEMQWe SCOLA LATINE: Sanctus Deus, ut supra. Post hec uertentes se ad clerum, nudata Cruce, dicant antiphonam: Ecce lignum crucis. Alia: Crucem tuam adoramus. Alia: Dum fabricator mundi.

ange lingua. Ilico ea nudata, ueniat Abbas ante Crucem scwc/am ac tribes uicibus SE PROSTERN AT CUM OMNIBUS Fru^IBUS DEXTERIORIS CHORI, SCILICeJ SENIORI- BUS AC IUNIORIBUS, et CUM MAGNO CORDIS SUSPIRIO vii m POENITENTIE PSALMOS cum or ationibu s sanctE Cruci competentibus decantando 14 perorcL In PRIMA QUIDEM ORATIONE TRES PSALMOS PRIMOS CUM ORATIONE : Domine Ihesu Xp iste, adoro te in cruce ascendentem. Deprecor te ut ipsa crux liberoJ me de diabolo percutiente. Domine Ihcsu Xp iste, adoro te ut ipsa uulneratum. Deprecor te ut ipsa uulnera remedium sint anime mee. Domine Ihesu Xpis/e, adoro te descendentem ad inferos, liberantem captiuos. Deprecor te ut non ibi me dimittas introire. D omine Ihesu Xpis/e, adoro te resurgentem ab inferis, ascendentem ad celos. Deprecor te miserere mei. Domine Ihesu Xp iste, adoro te uenturum iudicaturum. Deprecor te ut in tuo aduentu non intres in iuditio cum me peccante, sed deprecor te ut ante dimittas quam iudices, qui uiuis et regnas. In secwttDA duos medios cum sequente 15 oratione: Domine Ihesu Xp iste gloriosissime conditor mundi, qui cum sis splendor glorie coeternus patri sanctoque spiri/ui ideo dignatus es camera ex in- macula ta uirgine sumere et gloriosas palmas tuas in crucis patibulo per- misisti configere, ut claustra dissipares infemi et humanum genus liberares de morte, respice et miserere michi misero obpresso facinorum pondere multarumqwc nequitiarum labe polluto no me digneris derelinquere. 12 Quia eduxi] Qua edux (MS). 13 Item] Ite (MS). 14 Competentibus decantando] compenitentibus decantato (MS). 16 medios cum sequente] medioximus sequentem (MS). 22 UNIVERSITY OF WISCONSIN STUDIES piissime pater, sed indulge quod impie gessi. Exaudi me prostratum coram adoranda gloriosissima cruce tua, ut merear tibi mundus ad- sistere ct placere conspectui tuo. Qui cum patre. < I>N TERTIA ULTDIOS DUOS CUM ORATIONEI Dews omniipotens Ihe^u Xp iste, qui tuas manus mundas propter nos in cruce posuisti et de tuo sancto sanguine nos redemisti, mitte in me sensum et intelligentiam 16 quomodo habeam ueram penitentiam et habeam bonam perseuerantiam omnibus diebws uite mee, Amen. Et eam humiliter deosculans surgat. Dehinc sinisterioris chori 17 OM«es YRatres eadem mente deuota peragant. Nam salutata ab Abbate ueL omnibus Cruce, redeat ipse Abbas ad sedem suaw usQwe dum omnis CLERUS AC POPULUS HOC IDEM FACIAT . 18 According to this or do the Adoratio opens with the Impro- peria, or “Reproaches.” ' Two deacons supporting the cross before the altar begin these reproaches of Christ ( Popule mens), to each of which two subdeacons respond in Greek, and the choir, in Latin. After the first of these responses the Cross is laid upon a cushion. After the singing of the Improperia the Cross is uncovered, and three antiphons and the hymn Pange lingua are sung. Then the Abbot, along with half the choir, prostrates himself before the Cross and sings the seven penitential psalms, with appropriate prayers. The ceremony closes with the kissing of the Cross. Although in its general content the Adoratio in St. Athel- wold’s Concordia is sufficiently representative, we shall do w r ell in scrutinizing the ceremonial connected with this observance also in Rome itself. Or do I speaks of it only very briefly, as follows : 19 Post orationes praeparatur crux ante altare, interposito spatio inter 'ipsam & altare, sustentata hinc inde a duobus acolythis, posito ante eam oratorio. Venit Pontifex, & adoratam deosculatur crucem; deinde presbyteri, diaconi, subdiaconi, & ceteri per ordinem; deinde populus. Pontifex vero sedet in sede, usque dum omnes salutent. . . . Pontifex vero sedet dum persalutet populus crucem. Nam salutante Pontifice vel populo crucem, canitur semper antiphona, Ecce lignum cruets , in quo salus mundi pependit; venite adoremus. Dicitur psalmus cxviii: id est, Beati immaculati. Qua salutata & reposita in loco suo, descendit Pontifex ante altare. 18 intelligentiam] intellegentiam (MS). 17 chori] choris (MS). 18 Followed immediately by a version of the Deposilio, as printed below, p. 73. 19 Mabilkm, II, 23. i YOUNG — THE EASTER SEPULCHRE 23 The first of the Roman ordines really to outline the liturgical content of the Adoratio is Or do XIV, which offers the following : 20 Finitis orationibus, procedit Pontifex ad altare; & stans ad dextrum cornu altaris accipit Crucem a ministris sibi praeparatam sindone munda coopertam; & discooperiens earn a summitate, elevatis manibus solus incipit antiphonam, Ecce lignum cruets, adjuvantibus eum in cantu qui assistunt ei. Cum autem Venite adoremus cantaverint, omnes prostrati reverenter adorent, & usque ad terram se inclinent; & repetitur antiphona, Ecce lignum, &c. a cantoribus in choro. Iterum Pontifex paululum procedens, & Crucem ad medietatem dis- cooperiens, amplius elevatis manibus, exaltando vocem, eamdem antiphonam solus incipit, in cantando juvantibus eum qui circa ipsum sunt; & secundo a can- toribus antiphona repetitur. Et tertio procedit Pontifex ante altare, disco- operiens Crucem totam, erectis sursum manibus altius incipit, Ecce lignum crucis; & tertio a cantoribus repetitur antiphona; & tertio dum cantatur Venite adoremus , adoratur ab omnibus. Tunc Pontifex cum chirothecis nondum extractis deponit manibus suis Crucem super stratum pallium & mundissima linteamina ad radicem altaris, & discalceatus tertio prostratus solus Crucem adorat; quo facto, revertitur ad sedem suam, & ibi recipit deposita calcia- menta. . . . Postmodum omnis chorus ordinate adorent. Interim autem cantores cantent vicissim, Agios, repetentes, Sanctus Deus, sanclus fortis, &c.; antiphona, Popule mens, quia eduxi te de terra. Quid ultra debui facer e, cum toto improperio; & alias antiphonas, Adoramus te Christe, Crucem tuam, & Salva nos Christe, salva; & psalmus, Deus misereatur, & hymnus, Pange, & Crux fidelis. Finita adoratione Crucis, sacrista vel alius ad hoc deputatus deponit Crucem in suo loco super altare, & accendit luminaria in altare. In its liturgical elements this ordo does not differ fundamen- tally from that furnished in St. Athelwold’s Concordia. The variation between them in sequence and in details of content is not important. Although Ordo XIV does not mention the actual kissing of the Cross, we may assume that the prostration before the Cross includes this additional act also. Another of the Ordines Romani may be cited here, not for indications as to the liturgical content of the Adoratio itself, but rather for a description of the ceremonial preceding and following. In Ordo XII we find these rubrics : 21 Feria fexta in Parasceve, in aurora dominus Papa facit omnes capellanos coram sua prsesentia evocari, & voce mediocri cantat psalterium; quo cantato, revertuntur capellani. Sexta vero hora dominus Papa cum omnibus cardinali- bus intrat basilicam sancti Laurentii; & facta oratione, ibi accedit ad altare; & 20 Mabillon, II, 368-369. 21 Mabillon, II, 181-182, 183. 24 UNIVERSITY OF WISCONSIN STUDIES aperto altari extrahit inde capita apostolorum Petri & Pauli, & duas cruces. 22 Quae omnia postquam dominus Papa cum cardinalibus osculatus fuerit, reponit ibidem; & accepta una cruce, & iterum sigillato altari, unus presbyterorum cardinalium Crucem accipit, & fic vadit usque ad ecclesiam Lateranensem, sine aliquo cantu & psalmis; factaque ibi oratione ascendit cathedram post altare. Tunc dominus Papa induit quadragesimalia indumenta, & excalceatur. Epis- copi vero induunt pluvialia, presbyteri autem cardinales & diaconi atque sub- diaconi induunt planetam. Et deinde juniori presbytero cardinali accepto Corpore Christi in capsella ante pectus suum hesterna die reservato, & alio praedictam Crucem accipiente, & subdiacono regionario cum populo suo prae- cedente, omnes discalceati cum domino Papa & primicerio, sine cantu psallendo psalterium pergunt ad Sanctam Crucem 23 . . . CLectiones, Passio, Ora- tiones> . . . Finitis ora tionibus, Pontif ex procedit ad altare, & adorat Crucem cum aliis, sicut in Ordine continetur. Sciendum tamen, quod secundum anti- quam consuetudinem, quidquid super Crucem offertur, Scholae Cruris debet esse. Osculata vero Cruce a clero & populo, dominus Papa revertitur ad altare . . . . . . Et deinde revertitur ad pala- tium; 24 & intrans Basilicam Sancti Laurentii, 25 Crucem quam acceperat ab altari, reponit. For our present purpose the significance of this ceremonial lies in the two processions, one preceding the Missa Prcesanctifi- catorum and the other following Vespers. The papal station for Good Friday is the Basilica Sanctae Crucis (Santa Croce in Gerusalemme. Before proceeding from the Lateran Palace to this church, however, the Pope enters the Capella Sancti Laurentii (Sancta Sanctorum ), 26 adjoining the Palace, and taking a cross from a chest under the altar, proceeds with it to the Church of the Lateran. Thence the procession, bearing the cross from the Sancta Sanctorum and a reserved Host from the Church of the Lateran, moves out through the city to the Basilica Sanctae Crucis. The Cross serves for the Adoratio 22 Concerning these relics see H. Grisar, Die romische Kapelle. Sancta Sanctorum und ihr Schatz, Freiburg, 1908, pp. 39-108. 23 This is the Basilica Sanctae Crucis, or Santa Croce in Gerusalemme. 24 The Lateran Palace. 25 The Basilica Sancti Laurentii, or Sancta Sanctorum is a private chapel at the Lateran, as is explained below. 26 For a description and history of this chapel and its relics see Grisar, pp. 11-108; M. Armellini, Le Chiese di Roma dal secolo IV al XIX , Rome, 1891, pp. 108-112; H. Marucchi, Elements d’Archeologie chretienne,Xo\. Ill ( Basiliques et Eglises de Rome), Paris and Rome, 1902, pp. 101-102; Johannis Diaconi Liber de Ecclesia Lateranensi, cap. xiv, in Mabillon, II, 572-573. This famous chapel of St. Laurence, or Sancta Sanctorum, was the private chapel of the Popes during the centuries of their residence at the Lateran. YOUNG — THE EASTER SEPULCHRE 25 Crucis 27 and the Host, for the Communion of the Missa Prcc- sanctificatorum. After Vespers have been sung at the Basilica Sanctae Crucis, the Pope carries the Cross in procession back to the Sancta Sanctorum and restores it to its place under the altar . 28 Although the details of this ordo are highly satisfying in their completeness, the relatively late date of Ordo XII (twelfth century) suggests the desirability of examining a similar text of the eighth century from Einsiedeln : 29 Fer. vi, hora quasi viii, descendit domnus apostolicus de Lateranis in sanc- tum Johannem, verumtamen discalceatus tam ipse quam reliqui ministri sanctae ecclesiae, et veniunt ad altare. Et praecipit domnus apostolicus accendere lumen in ungiario, et accendit ex ipso lumen cui ipse iusserit duas faculas albas, quas portant duo clerici de cubiculo ante domnum. Et procedent de sancto Johanne psallendo Beati immaculati, archidiacono tenente sinistram manum domni apostolici, et ipso pontifice in dextfera sua portante turibulum cum incenso et alio diacono post dorsum domni apostolici portante lignum pretiosae crucis in capsa de auro cum gemmis ornata. Crux vero ipsa de ligno pretioso desuper ex auro cum gemmis intus cavam habens confectionem ex balsamo satis bene olente. Et dum preveniunt ad Hierusalem 30 intrant eccle- siam, et ponit diaconus ipsam capsam ubi est crux super altare et sic aperit earn domnus apostolicus. Deinde prosternit se ante altare ad orationem: et post- quam surgit osculatur earn et vadit et stat circa sedem. Et per eius iussionem osculantur episcopi, presbiteri, diaconi, subdiaconi super altare ipsam crucem. Deinde ponunt earn super arcellam ad rugas et ibi osculatur earn reliquus populus. Tamen feminae ibi non introeunt; sed postea portant earn oblati et alii subdiaconi et osculatur a feminis. Verumtamen ut a domno apostolico fuerit osculata, statim ascendit subdiaconus in ambonem et incipit legere lectionem Oseae prophetae. Post cuius descensum ascendit cantor et canit gr(aduale) Domine audivi cum versibus suis. Et iterum ascendit subdiaconus et legit aliam lectionem Deuteronomii; post quern cantor ascendens incipit tractatum Qui habitat. Quo completo vadit diaconus discalceatus cum evan- gelio, et cum eo duo subdiaconi, et legit passionem Domini secundum Johannem. Et cum completa fuerit, dicit domnus apostolicus orationem Or emus pro ecclesia 27 Concerning the Adoratio Crucis at Santa Croce in Gerusalemme see Armellini, p. 800; Marucchi, p. 347. 28 This procession back from Santa Croce to the Sancta Sanctorum is described by A. De Santi, II Mattino di Pasqua nella Storia liturgica, Rome, 1917, p. 12. This monograph is a revision of an article published in Civiltd Cattolica (1907), Vol. II, p. 3-22. 29 Printed from Einsiedeln MS 326 by G. B. De Rossi, Inscriptions Chris- tiani Urbis Romae, Vol. II, Rome, 1888, p. 34. 30 This is the Basilica Sanctae Crucis — the modern church Santa Croce in Gerusalemme. 26 UNIVERSITY OF WISCONSIN STUDIES sancta Dei, et dicit archidiaconus Flectamus genua, et postea dicit Levate, et reliqua omnia in ordine suo. Et ad finem tantum dicit Dominus vobiscum et respondent Et cum spiritu tuo. Et procedent iterum ad Lateranis psallendo Beati immaculati. Attamen apostolicus ibi non communicat nec diaconi; qui vero communicare voluerit communicat de capsis de sacrificio quod v feria servatum est. Et qui noluerit ibi communicare vadit per alias ecclesias Romae seu per titulos et communicat. This document is particularly generous in its description of the Cross itself 31 and of the actual Adoratio. One notes, how- ever, the absence of reference to the fetching of the Cross from the Sancta Sanctorum and to the subsequent depositing of it again in the altar of this Lateran chapel. Nevertheless, in view of the fact that the Cross employed is undoubtedly identi- cal with that mentioned in Ordo XII, the processions' from the Sancta Sanctorum and back again are inevitable. The cere- monials of the Einsiedeln document and of Ordo XII are essentially similar . 32 From the information now before us we may make some estimate of the possible influence of the Adoratio upon the Depositio. At least three of the documents cited above 33 record established ceremonials earlier than the date of the first recorded examples of the Depositio ; 34 and in these documents are several suggestions toward the dramatic office under con- sideration . 35 In the first place, since the Adoratio itself is a vivid commemoration of the Crucifixion, nothing could be more natural than that a vivid commemoration of the Burial should be invented as a sequel to the Adoratio. Any taking down of the Cross after the ceremony of the Adoratio must inevitably suggest a representation of the burial of the crucified Christ 31 This description is mentioned by Grisar (p. 70), whose own complete and scientific description of the reliefs found on pp. 62-82 of the monograph mentioned above. 32 For our present study there is no significance in the altered position of the Adoratio in the Einsiedeln or do — before the lectiones of the Missa Prccsanctifica- torum rather than after the Orationes solemnes. 33 The Peregrinatio Etheriae, Ordo Romanus I, and Da Rossi’s Ordo from Einsiedeln. 34 We hear of the Depositio first in the latter half of the tenth century. See above, p. 14, and below, p. 73. 35 1 do not, of course, mean to suggest that versions of the Adoratio later than the tenth century could not have influenced versions of the Depositio of a later date. YOUNG — THE EASTER SEPULCHRE 27 Himself . 36 Moreover the carrying back of the Cross from the Adoratio in Santa Croce in Gerusalemme to the chest under the altar of the Sancta Sanctorum may fairly be regarded as a conscious ceremonial of burial. In view of the wide-spread symbolizing of the altar as a tomb , 37 this procession inevitably suggests a cortege to a grave . 38 Whatever may have been the early practice elsewhere, the conspicuous ceremonial of Rome alone was quite adequate for suggesting the invention of a commemoration of Christ’s burial in the dramatic form of a Depositio . But the intimacy of the relation between the Roman litur- gical use and the extra-liturgical dramatic offices of the sepul- chrum is further to be discerned in what the Ordines Romani offer for Easter morning in the way of sequel to the laying down of the Cross after the Adoratio Crucis of Good Friday. This sequel, which occurs in the Sancta Sanctorum immediately after Prime, before the Pope’s departure for Mass at the Church of Santa Maria Maggiore, is described in Ordo Romanus XII as follows : 39 In die Paschas mane post Primam indutus albo pluviali Romanus Pontifex, cum diaconi* cardinalibus indutis, cum subdiaconis ceterisque minoribus ordinibus, dalmaticis, & mitris, & tunicis indutis, & cappelanis suis, vadit ad basilicam sancti Laurentii. Presbyteri cardinales induunt se planetis, episcopi pluvialibus in loco, qui dicitur basilica sancti Gregorii; ubi post orationem 36 It is only fair to observe that the Cross used in the papal Adoratio at Santa Croce in Gerusalemme bears no figure of the Corpus itself. See Grisar, pp. 62 - 82 . 37 See above, p. 16. 38 De Santi considers this procession — as prescribed in the passage quoted above from Ordo XII — to be a deliberate symbolical representation of Christ’s burial in a sepulchrum , as he shows in the following words (p. 12): “Questa riposizione non deve passare inosservata, perche ci sembra l’unico accenno nelle consuetudini pontificie all’ uso assai largamente sparso nelle altre Chiese di deporre solennemente la croce adorata nella funzione del venerdi santo in una specie de sepolcro che allestivasi a questo intento, conservandola quivi devota- mente fino al momento della risurrezione nel mattino di Pasqua.” De Santi seems to regard the Roman procession as a definite example of the Deposilio. I have remarked above (p. 26) that although this procession is not explicitly prescribed in the earlier Ordines Romani , it was, from the circumstances, inevitable. 39 Mabillon, II, 184-185. This ceremony is the special subject of considera- tion in the monograph of De Santi (see particularly pp. 1 1-16) . See also Grisar, p. 43; Armellini, p. Ill; Marucchi, pp. 67, 102. 28 UNIVERSITY OF WISCONSIN STUDIES induitur usque ad dalmaticam; & exsurgens ingreditur ad adorandum Salva- torem. Aperit imaginem, osculatur pedes Salvatoris, dicens alta voce tribus vicbus, Surrexit Dominus de sepulcro; & omnes ei respondent: Qui pro nobis pependit in ligno, Alleluia. Tunc acolythi ponunt crucem cepellse super altare, & dominus Papa adorat earn. Post osculationem Salvatoris, cum omnibus aliis deinde redit ad sedem, & dat pacem archidiacono redeunti ab osculo pedum ejus imaginis, dicens, Surrexit Dominus vcre; & ille respondet, Et apparuit Simoni. Secundus quoque diaconus osculatis pedibus Salvatoris, accedit ad pacem summi Pontificis & archidiaconi, & ponit se in filo; ceteri vero diaconi cardinales similiter faciunt. Deinde primicerius cum cantoribus eo modo ad pacem vadit, & in filo se dirigit. Prior quoque basilicae cum diaconis similiter; postmodum subdiaconi regionarii cum acolythis & capellanis, & aliis palatinis ordinibus, eodem modo pacem faciunt. Interim schola canit, Crucifixum in came , & Ego sum alpha & omega. This ceremony consists primarily in the kissing of the feet of the famous painting of Christ known as the Acheropoiita (“Not made by the hand of man ”), 40 a figure of life size painted upon a panel of wood against the wall behind the altar. It appears that at all periods the painting was protected by some sort of covering ; 41 and the ordo before us implies such protection in the words aperit imaginem , which indicate the exposing of the feet of the figure in order that they may be kissed. After the triple singing of the versicle Surrexit Dominus , a cross is placed upon the altar for adoration. If this is the cross pre- viously used in the Adoratio , it must have been taken up from the relic-chest under the altar . 42 The ceremony closes with the Kiss of Peace. This papal observance on Easter morning reinforces the ceremonial of Good Friday in providing a model for the extra- liturgical Depositio and Elevatio that we are to consider. Just as the return of the Cross to the altar of the Sancta Sanctorum on Good Friday suggests the Depositio , so the observance at this same altar on Easter morning offers a parallel to the Ele~ vatio. Although the kissing of the feet of the Acheropoiita 40 The most adequate description of this relic known to me is that given by Grisar, pp. 39-54. See also Armellini, p. Ill; Marucchi, p. 102. 41 The earliest extant reference to the Acheropoiita is from the eighth century. A covering of silver was provided by Innocent III (1198-1216). The nature of the earlier coverings is obscure. See Grisar, p. 41 . 42 Whether or not this cross is the one used previously on Good Friday, it was almost certainly elevated from the relic-chest under the altar. The two important crosses kept in this chest are described by Grisar, pp. 58-97. YOUNG — THE EASTER SEPULCHRE 29 seems to establish no particular bond with the Elevatio , the adoring of the elevated cross and the giving of the Pax will be frequently paralleled in the dramatic texts to be considered . 43 Since a knowledge of the liturgical uses of Rome must have been widely disseminated, we are amply justified in citing the papal ceremonies as possible sources for the Depositio and Elevatio. We have already observed that the Roman Adoratio Crucis antedates the (earliest versions of the Deposition Al- though the papal ceremony of Easter morning cited above comes from documents later than the earliest manifestations of the Elevatio, Ab it is highly probable that this ceremony is much older than these particular documents; and in any case, even though this particular ceremony may not be among the ultimate origins of the Elevatio , it may well have influenced the dramatic office at some period of its career. Ill From a consideration of the origins of the Depositio and Elevatio I now pass to the examination of actual texts of these dramatic offices. For convenience, I shall divide the versions before me into three groups. Into the first group fall the versions in which the object “buried” is the Host, in the second group of versions this central object is the Cross, and in the versions of the third group are found both the Host and the Cross. In arranging the texts within each group I shall pro- ceed, in general, from the simple to the more complex. Hence I am guided not so much by chronology of documents as by relative amplitude of liturgical content and of ceremonial. One scarcely need remark that the simpler, and often earlier, versions are sometimes preserved in documents later than those containing examples of a more complex development. I do not, however, insist that the order in which I present the several versions, and groups of versions, demonstrably repre- 43 For example, see below, pp. 99-101, 103, 108, 124. 44 See above, p. 26. 45 Ordo Romanus XII from which I quote above is of the twelfth century, as is also Ordo Romanus XI, which also describes the papal ceremony under consideration. 30 UNIVERSITY OF WISCONSIN STUDIES sents the precise historical evolution. For such a demonstra- tion the historical data are, as yet, insufficient. The following survey, then, attempts not so much to establish an historical sequence as to present an orderly exposition. In the present section of this study I shall examine those versions of the Depositio and Elevatio 1 in which is buried the Host alone. The simplest example in this group is the following Elevatio of the eleventh century from St. Gall : 1 2 < ELEVATIO HOSTLE> 3 SUBLATO IGITUR CORPORE DoWINI DE MONUMENTO INCIP iat CANTOR R espotl- siorium: Angelus Domini descend?'/ 4 Intr antibus AUtem in CHORum incip iat Cantor axtiphcwow: Surrexit Xpictus et illuxit populo suo, quern redemit sanguine suo, aeuia. Versus: Haec est alma dies in qua spoliatur auernus; Resurrexit homo Deus, exultate redempti. Te Deum Laudamus. 5 This brief text prescribes merely the raising of the Corpus Domini from the sepulchrum , after which the procession from the place of burial proceeds to the choir during the singing of the reponsory Angelus Domini. As the procession enters the 1 Throughout this study I shall consider the Depositio and Elevatio in con- junction, and, as far as possible, shall allow the two offices to elucidate each other. Unhappily, however, a good many of the documents happen to preserve only one of the two offices. It should, of course, be remembered that the absence of either of the offices from a manuscript does not prove its absence from the use of the church concerned. 2 St. Gall, Stiftsbibliothek, MS 387, Breviarium Sangallense saec. xi, p. 55. The Elevatio from this manuscript was first published by the present writer in Transactions of the Wisconsin Academy, XVI, Part II, pp. 897-898. The manuscript contains neither Depositio nor Visitatio Sepulchri. 3 St. Gall MS 387, p. 55. In the manuscript this text is immediately pre- ceded by the responsory Dum transisset, the last responsory of Easter Matins. 4 This responsory is commonly found as the first of Easter Matins. See Migne, Pat. Lat., LXXVIII, 769. 5 Followed immediately by the rubric In Matutinis Laudibus. YOUNG — THE EASTER SEPULCHRE 31 choir the antiphon Surrexit Christus is sung. The two hexa- meters Haec est alma . . . redempti are probably to be regarded as a trope of the Te Deum Laudamus . 6 It is to be observed, howxver, that these lines contain a suggestion of the theme of the Harrowing of Hell, a theme that forms a prominent part of some of the more highly developed versions of the Elevatio ." 1 Particularly noticeable is the liturgical position of this text: between the third reponsory and the Te Deum at the end of Easter Matins. This is the position commonly occupied by the Visitatio Sepulchri , the Elevatio being found, almost without exception, before the beginning of Matins. Since the present text of the Elevatio is a relatively early one, and since Durandus assures us that the Te Deum of Easter Matins is to be inter- preted as marking the moment of the Resurrection , 8 it may be that the St. Gall version represents an early usage. If Duran- dus’ symbolizing of the Easter Te Deum is authentic for the early Middle Ages, the Elevatio is most appropriately placed at this point in the liturgy. It is entirely possible that this is an early arrangement, and that the Visitatio Sepulchri took this position only after the Elevatio had relinquished it . 9 The following is a simple version of the Depositio from the use of Constance : 10 < DEPOS IT 10 HOST LE > 11 Post Cowwmmionem legantur Vespers sub silentio. His omnibus peractis, procedunt cum Corpore Domini ad locum ubi debet recondi, nihil cant antes; sed dum venitur ad locum, cantor im- ponit an tiphonam: 6 See L. Gautier, Les Tropes , Paris, 1886, p. 170. 7 See below, for example, pp. 90-91, 111-118. 8 Treating the liturgical practices at the end of Easter Matins, Durandus (f 1296) observes ( Rationale Divinorum Officiorum Lyons, 1559, fol. 372 v ) : Te Deum laudamus exprimit horam qua resurrexit. 9 See also the version from Gran, below, p. 123. I explain below (pp. 127- 130) my belief that the Visitatio Sepulchri developed at the sepulchrum later than did the Depositio and Elevatio. 10 Agenda seu Obsequiale , Simul ac Benedictionale, iuxta ritum et nor mam Ecclesiae at Ep-iscopatus Constantiensis, 1570, fol. xciiii v -xcvi r . I have found copies of this book in the Royal Library, Munich, in the British Museum, and in the library of Quarr Abbey, Isle of Wight. Lange (p. 7) cites a copy in the Stadtbibliothek, Zurich, and prints (p. 47) the Visitatio Sepulchri from it (fol. cxxi v -cxxiii v ) . The book contains no Elevatio. 11 Agenda . . . Episcopalus Constantiensis. 1570, fol. xciiii v -xcvi r . 32 UNIVERSITY OF WISCONSIN STUDIES In pace in idipsum dormiaw etrequiescaw. 12 Alia an tiphona: Caro mea requiescet in spe. 13 In Redituw ad choruw canitur Responsorium : Sepulto Domino, signatuw est monumentuw, voluewtes lapidem ad ostium monumenti;ponentes milites qui custodirent eum. Versus: Ne forte veniant discupli eius et furentur eum et dicawt plebi: Surrexit a mortuis. Ponentes milites. 14 In this version of the Depositio the ceremonial is very simple. At the close of Vespers, during the singing of the antiphons In pace in idipsum and Caro mea , the Host is carried to the locus where it is to be hidden. For the laying down of the Host no rubrics are given. The processional for the return to the choir is the reponsory Sepulto Domino. In the Ordinarium of the year 1580 for the use of Gran, in Hungary, we find definite provision made for the reservation on Holy Thursday of two Hosts for Good Friday: one for the Missa Prcesanctificatorum and one for burial in th e sepulchrum: 15 < IN CCEN A DOM IN I> 16 Et pro die crastina consecrantur Hostile dtle: altera quam sump- turus est Epicopus vel Sacerdos offictum peracturus, altera quje repon- ETUR IN SePULCHRUW. After Vespers on Good Friday the Depositio was performed as follows: < DEPOSIT 10 HOSTLE> 17 Demum 18 Pontifex 19 vel sacerdos officians, exuta casula, portans in 12 First antiphon of Matins of Holy Saturday. See Migne, Pat. Lat., LXXVIII, 767. 13 Third antiphon of Matins of Holy Saturday. See id., col. 768. 14 Followed immediately by the rubric: Ordo in Vigilia Paschae. 15 Ordinarium officii Divini secundum consuetudinem M etropolitanae Eccle- siae Strigoniensis, Tirnaviae, 1580, sig. H 7 recto. I use the copy in the British Museum. The Depositio from this book is now reprinted, I believe, for the first time. The Elevatio and Visitatio have been reprinted by Lange, in Zeit- schrift fur deutsches Alterlum, XLI (1897), p. 81. The uses attached to the sepulchrum in Hungary are treated by J. Danko, in 0 ester reichische Viertel- jahresschrift fur katholische Theologie, 1872, pp. 103-136, 175-208. The Deposi- tio and Elevatio are considered by Dank6 on pp. 175-190 passim. 16 Ordinarium . . . Ecclesiae Strigoniensis, Tirnaviae, 1580, sig. H 7 recto. 17 Id., sig. I 4 recto. 18 Preceded immediately by Vespers. 19 Pontifex] Pontefex (Print). YOUNG — THE EASTER SEPULCHRE 33 MANIBUS ALTERAM HOSTIAM CONSECRATAM QU^ PRO SEPULTURA HERI FUIT RESERUATA, IN PATENA SUPRA CALICEM COLLOCATAM, PALLA & LINTEOLO TEC- TAM, DESCENDIT CUM MINISTRIS VERSUS SEPULCHRUM, PRAECEDENTIBUS CERO- FERARIIS & TURRIBULO, QUOD SEMEL CIRCUMIT. DeINDE REPONIT IN ILLUD EANDEM HOSTIAM UNA CUM CALICE, CLAUDIT, OBSIGNAT, & PER CIRCUITUM INCENSAT, CHORO CANT ANTE RESPONSORIA: Hierusalem, luge, 20 et: Sepulto Domino. Quibus completis cantat versus: Adoramus te, Christe, etc.; Omnis terra, etc.; et orationem: Deus, qui pro nobis. Completorium hora con- SUETA LEGITUR UT HERI. The ceremonial is here described in some detail. In the procession to the sepulchrum the bishop carries the Host upon a paten placed over the mouth of a chalice, the whole being covered with cloths. Eventually the Host, paten, and chalice are placed in the sepulchrum, which is closed, sealed, and censed during the singing of the responsories Jerusalem luge and Sepulto Domino. The office closes with versicles and a prayer. The related Elevatio is provided for in the accompanying rubric : < ELEVATIO HOSTLE> 21 In Festo Gloriosissim^e Resurrectionis Domini Nostri Jesu Christi. Priusqwatw pulsetur ad Matutinum, clausis ianuis templi, succustos 22 aperit Sepulchrum, & apertum relinquit. Corpus Domini, quod in SePULCHRO POSITUM FUIT, REPONIT IN MONSTRANTIAW, QUAM IN MENSA IN- DUMENTO ALTARIS DECENTER VESTITA ANTE OSTIUM SEPULCHRI SUPRA COR- PORALE COLLOCAT, CUM DU ABUS CANDELIS IN CANDELABRIS ARDENTIBUS. SlCUT ENIM CERTUM EST CHRISTUM ANTEQUAM MuLIERES & DlSCIPULI AD SePULCHRUW VENIRENT RESURREXISSE, IT A CONUENIT HANC C.EREMONIAM PERAGI PRIUSQMam POPULUS IN TEMPLUM CONUENIAT . 23 One or two of the details in the rubric deserve special notice. Not only are we told that this office is performed by the sacristan in secret before Matins; we are also given the reason for the secrecy. It appears that since Christ rose before the arrival 20 Second responsory of Matins of Holy Saturday. See Migne, Pat. Lat., LXXVIII, 768. 21 Ordinarium . . . Ecclesiae Slrigoniensis, Tirnavise, 1580, sig. I 8 recto. 22 succustos] succostos (Print) . 23 Followed immediately by the rubric: Ad Matutinum, Inuitatorium. 34 UNIVERSITY OF WISCONSIN STUDIES of the Maries and the disciples at the tomb,- the commemoration of the Resurrection should be made before the entrance of the people into the church . 24 It should be observed further that after being taken up, the Host is placed in a monstrance and put upon the mensa of the altar, before the sepulchrum. This arrangement suggests that the sepulchre is in this case the tabernacle behind the altar-table. For further evidence as to the disposition of the monstrance containing the Host we may scrutinize the related text of the Visitatio: 25 Ad Matutinum Inuitatorium & alia omnia ut in libro. Dum autem LECTIONES CANTANTUR, INDUUNTUR IN SACRARIO DlACONUS & SUBDIACONUS, PRO HOC FESTO IN TABULA NOT ATI, VESTIBUS ALBIS, SUO ORDINI CONUENIENTIBUS. DlSPONUNTUR DUO AD FERENDUM THUS & TURRI- bulum; ITEM DUO alii ad portanda vexella. Et finita ultima LECTIONE, dum in organo incipitur responsorium : Dum transisset Sabbatum, de- scends officians cum praedictis &- ALnS ministris processionaliter ad SePULCHRUW, & ILLUD SEMEL CIRCUMIT, STATQZte ANTE MENSAM IN QUA EST MONSTRANTIA posita. Ubi finito responsorio incensat primum; deinde SUMIT IN MANUS MONSTRANTIAM, INCIPITQwe & CHORUS PROSEQUITUR INTROITUM : Resurrexi, sine versu. Qui dum a choro cantatur, portat & ponit Sac- RAMENTUM AD ALTARE SANCEE CRUCIS. Et POSTQwaW INTROITUS FUERIT FINITUS, DUO PUERI VENIUNT AD OSTIUM SEPULCHRI, QUORUW UNUS CANT AT: Quem quaeris mulier, alleluia. Alter vero respondet: Iesum Nazarenum, alleluia. Rursus primus: Surrexit, non est hie, alleluia; ecce locus ubi posuerunt eum, alleluia. Deinde acclpiens in manus monstrantiam, Officians ibidem apud ALTARE SANCEE CRUCIS, VERTIT SE AD POPULUM, INdPITQtte ANTIPHONAM : Pax vobis, ego sum, alleluia, 24 Another reason for excluding the general congregation from the Elevatio is cited by H. Alt ( Theater und Kirche, Berlin, 1846, p. 348) from the Synod of Worms of the year 1316: Quum a nostris antecessoribus ad nos usque pervenerit, ut in sacra nocte Dominicae Resurrectionis ad sustollendam Crucifixi imaginem de sepulcro, ubi in Parasceve locata fuerat, nimia virorum et mulierum numerositas certatim sese comprimendo, ecclesiam simul cum Canonicis et Vicariis introire nitantur, opinantes erronee: quod si viderent Crucifixi imaginem sustolli, evaderent hoc anno inevitabilem mortis horam. His itaque obviantes statuimus ut Resurrec- tionis Mysterium ante ingressum plebis in ecclesiam peragatur. 25 Ordinarium . . . Ecclesiae Strigoniensis , Tirnaviae, 1580, sig. I 8 recto — K1 recto. YOUNG — THE EASTER SEPULCHRE 35 Qtjam Chorus prosequitur. Et hoc fit ter, voce semper altius eleuata. Quibus peractis, cantatur : Te Deum laudamus, AC REUERTITUR PROSESSIO AD CHORUM, & MONSTRANTIA COLLOCATUR IN ALTARI MAIORI SUPER CORPORALE, & IBI STAT USQttC AD FINEM LaUDUM . 26 From this text we learn that after the third responsory at the end of the Matins the choir sings the Introit Resurrexi 27 while the monstrance is carried away from the altar at which the sepulchrum is located, and placed upon the Altar e Sanctee Crucis. This procedure leaves the sepulchrum empty and ready for the usual observances of the Visitatio Sepulchri , which are duly performed. During the singing of the antiphon Pax vobis the officiating priest blesses the congregation with the mon- strance. The Te Deum is then sung, and the monstrance is carried to the main altar, to stand until the end of Lauds. Several details in the observance at Gran suggest influences from the reservation of Holy Thursday: (1) the reservation together of the Host for the Missa Prcesanctijicatorum and the Host for the sepulchrum ; 28 (2) the use of an altar tabernacle as the sepulchrum ; 29 and (3) the placing of the Host in a mon- strance. 30 A still more elaborate ceremonial and a more extensive use of the monstrance are to be observed in a relatively late docu- ment, a Rituale of the year 1686 from Salzburg. The Depositio in this book has been described as follows: 31 26 Followed immediately by the rubric: Ad Laudes. 27 This use of the Introit Resurrexi is important in its bearing upon the relation of the Visitatio of Easter Matins to the Quern quceritis trope at the Introit of the Easter Mass. See Publications of the Modern Language Associa- tion, XXIX, 3. 28 See above, p. 17. 29 See above, p. 14. 30 This use of the monstrance seems to reflect a relatively late practice con- nected with the Thursday reservation. See Deer eta Authentica, IV, 433-439. 31 Since the Salzburg Rituale of 1686 has not been accessible to me, I quote the description of the Depositio from Deer da Authentica , IV, 429-430. Appar- ently the Decreta Authentica does not undertake to print the Depositio verbatim throughout. 36 UNIVERSITY OF WISCONSIN STUDIES < DEPOSIT 10 HOSTLER Feria VI in Parasceve, vel ante, scribit suprascriptum Rituale Salisburgense sub titulo: “Ordo ponendi SS. Corpus Domini in Sepulchrum,” tempestive paratur locus vel cappella pro Sepulchro, velis et luminaribus, quantum fieri potest. Et facta a Celebrante in Missa Praesanctificatorum Communione, ardentibus adhuc facibus vel candelis in choro, pro reverentia Hostiae in calice relictae, Celebrans stans imponit incensum in duo thuribula absque benedic- tione, incensat ter venerabile Sacramentum genuflexus. Interim ordinatur lugubris Processio. Praecedit crux, quam immediate sequitur clerus more solito, luminaria ferens, ultimo loco Sacerdos, casula nigra indutus, calicem coopertum velo albo manibus gestans, cum Ministris sub baldachino seu um- bella incedens, choro interim cantante Responsorium: Recessit Pastor (ex II Noct. Matut. Sabb. S.) thurificantibus continuo duobus thuriferariis vel uno saltern in minoribus ecclesiis, adhibito quoque malleo ligneo cymbali loco. Interim reverenter ponitur calix cum hostia in loco, corporali mundo strato. Sacerdos facta genuflexione ac deposito velo humerali, removet calicis velum, patenam et pallam; et repetita genuflexione sacram Hostiam e calice desumptam ponit in lunula et in ostensorio, quod densiore velo sericeo albi coloris obtegit. Facta genuflexione purificat digitos super calicem, sumit ablutionem et extergit os et calicem purificatorio. Repetita genuflexione descendit in planum et genuflexus in infimo gradu expectat, donee Diaconus ostensorium in throno collocaverit. Deinde imponit incensum in thuribulum et genuflexus ter incen- sat Sanctissimum. Interim cantatur Responsorium: Tenebrae factae sunt (ex II Noct. Matut. feriae VI in Parasc.). Quo finito dicit Sacerdos v. Christus f actus est pro nobis obediens etc. et Orationem Respice. Haec expositio SS. Sacramenti in ostensorio velato durat per totam diem Parasceves usque ad horam septimam serotinam, qua SS. Sacramentum ex ostensorio sumitur et cum lunula in custodia ponitur; turn silentio cum lumini- bus ad tabernaculum defertur, ubi particulae pro infirmis asservantur. Sabbato Sancto autem mane ante vel post Missam (consuetudo in hoc puncto valde differt) iterum sub silentio SS. Sacramentum in custodia ad SS. Sepulchrum defertur, in ostensorium velatum includitur et sub silentio exponitur, incensa- tione more solito adhibita. Ad Sepulchrum, dicit Rituale laudatum, ut supra paratum, non minus quam ad hestemum altare, adhibendi sunt nocte ac die testes quidam et cus- todes; nec desse debent, qui secundum ritum antiquum psallant. Of the location of the sepulchrum, in this case, we are told only that it is in a “place or chapel.” After the Communion of the Missa Prces anctificatorum the celebrant places the Host in a chalice covered by a paten and a pall, and carries it in procession to the sepulchrum, the choir singing the responsory Recessit pastor. Here the Host is removed from the chalice, 32 From Deer eta Authentica, IV, 429-430, the description being based upon the Rituale Salisburgense of 1686. YOUNG — THE EASTER SEPULCHRE 37 deposited in a monstrance, placed in throno , and censed. Meanwhile the choir sing the responsory Tenebrce facta , at the conclusion of which the celebrant says the verse Christus f actus and a prayer. After the monstrance has stood exposed until seven in the evening, it is placed in a tabernacle apart. On Saturday morning the Host is returned to the sepulchrum , where it is censed and again exposed in the monstrance. During the exposition of Friday and Saturday guards sing psalms at the sepulchrum. The Elevatio at Salzburg takes the following form: 33 Nocte sancta Paschae, hora congrua, Sacerdos indutus alba, stola, et PLUVIALI ALBI COLORIS ET MlNISTRI SACRI CUM DEBITIS PARAMENTIS, PRAE- CEDENTIBUS THURIFERARIIS CUM INCENSO ET THURBULIS FUMIG ANTIBUS, SEQUENTIBUS IUXTA CRUCEM DUOBUS CEROFERARIIS CUM CANDELIS ACCENSIS, CHORO ET CLERO, SINGULIS CUM SUIS CANDELIS, VENIUNT ORDINE AD SEPUL- CHRUM, PRO DEFERENDO PROCESSIONALITER SS. SACRAMENTO, UBI FACTA GENU- FLEXIONE UTROQUE GENU ALIQUANTISPER ORANT. SACERDOS SURGENS ET STANS IMPONIT INCENSUM IN THURIBULUM ABSQUE BENEDICTIONE . TUM GENUFLEXUS THURIFICAT VENERABILE SACR AMENTUM TRIPLICI DUCTU; DlA- CONUS DEINDE ILLUD E THRONO DEPROMPTUM PONIT SUPER ALT ARE, CORPORALI STRATUM, ET VELUM AB OSTENSORIO REMOVET. SACERDOS VELO ALBO OBLONGO CIRCUMDATUS, ACCIPIT SANCTISSIMUM REVERENTER ET PROCESSIONALI RITU, PRAECEDENTIBUS CLERICIS CUM LUMINIBUS ET MINISTRIS CONTINUO THURIFI- C ANTIBUS, CYMBALISQUE PERSONANTIBUS ILLUD DEPORTAT EX SePULCHRO PER TOTAM ECCLESIAM (VEL ETIAM EXTRA ECCLESIAM CIRCA LOCA VICINA, UTI IN Austria mos est) et tunc ad altare maius, interim choro inchoante, et IN TONO FESTIVO (iNTERPOSITO ETIAM, UBI FIERI POTEST, ORGANO) CANTANTE hymnum: Aurora coelum purpurat, etc. Itaque Sacerdos, cum pervenerit ad altare maius et posuerit ibidem VENERABILE SACRAMENTUM, FACIT PROFUNDAM GENUFLEXIONEM, STANSQUE ITERUM IMPONIT INCENSUM ABSQUE BENEDICTIONE, ET SANCTISSIMUM TRIPLICI DUCTU GENUFLEXUS INCENSAT. POSTEA CANITUR A MlNISTRIS VEL IPSO Sacerdote, ipsis deficientibus v: Surrexit Dominus de sepul- chro, Alleluia. r: Qui pro nobis pependit in ligno, Alleluia. Oremus: Deus, qui hanc sacratissimam noctem etc. (ex Missa Sabb. S.). Tunc genuflectunt Celebrans et Ministri in infimo altaris gradu et a choro cantatur Hymnus Tantum ergo et Genitori. Interim imponitur THUS ET INCENSATUR SANCTISSIMUM; TUM CANTANTUR VERSICULUS ET ORATIO de SS. Sacramento. Et facta venerabili Sacramento profunda reveren- tia, Sacerdos accepto super humeros velo oblongo albo, quo in proces- sions USUS FUIT, AD ALTARE ASCENDIT, SS. SACRAMENTUM REVERENTER ACCIPIT, 33 From the Rituale Salisburgcnse of 1686 as quoted in Deer eta Aulhentica , IV, 439. 38 UNIVERSITY OF WISCONSIN STUDIES ET STANS, CUM EODEM, POPULO IN MODUM CRUCIS BENEDICIT, NIHIL DICENS, ILLUDQUE IN TABERNACULO, ABSQUE ULTERIORE INCENSATIONE, RECONDIT ET CUM SUIS AD SACRISTIAM VEL CHORUM REDIT. In MAIORIBUS ECCLESIIS INCHOA- tur Matutinum, in cuius fine Hymnus Te Deum solemnissime cantatur; in minoribus cantari poterit cantio paschalis: Surrexit Christus hodie, AUT ALIA CONVENIENS. According to this version the Elevatio begins, before Easter Matins, with a procession, in which the monstrance containing the Host is carried from the sepulchrum through the length of the church to the main altar while the choir sings the hymn Aurora coelum pur pur at. While the monstrance rests upon the main altar, it is censed, and a versicle (Surrexit), a response (Qui pro nobis), and a prayer are uttered. Still further, the hymns Tantum ergo and Genitori are sung, and a versicle and prayer are said. The priest now raises the monstrance, blesses the congregation with it, and places it in a tabernacle. Once more, the conspicuous use of the monstrance at Salz- burg seems to reflect the influence of the reservation of Holy Thursday in one of its relatively modern practices. In the first version of the Elevatio considered in the present section of this study 34 we observed at least a hint of the theme of the Harrowing of Hell. A more substantial reference to this theme is present in the Elevatio from the cathedral of Strassburg. Of this Elevatio, and of the related Depositio, we have several texts; and since these texts vary among themselves in interesting matters of detail, I shall first present the documents, in their chronological order . 35 A manuscript of the thirteenth century preserves both the Depositio and Elevatio in the following simple forms : 36 34 See above, pp. 30-31. 35 1 omit from consideration the texts printed by G. Milchsack {Die latein- ischen Osterfeiern, Wolfenbiittel, 1880, pp. 122-123) as coming from “Ordo Wirceburgensis c. a. 1490.” Lange {Die lateinischen Osterfeiern , pp. 8, 48) affirms that the book from which Milchsack quotes is a Strassburg “Agende” of the year 1513. 36 London, British Museum, Additional MS 23922, Liber Responsalis Argentinensis saec. xiii, fol. 37 r , 41 v . The Visitatio Sepulchri from this manu- script (fol. 41 v -42 v ) is printed by Lange, pp. 49-50. The Depositio and Elevatio are, I believe, now printed for the first time. YOUNG — THE EASTER SEPULCHRE 39 < DEPOSIT 10 HOSTLE> 37 Et communicant omnes cum silentio. Deinde dum uadunt cum cruce ad Locum Sepulchri, cantetur r esponsorium: Sicut ouis adCoccisionem ductus est, et dum male tractaretur non aperuit os suum; traditus est ad mortem, ut vivificaret populum suum>. Versus: In pace factus est, 38 cum antiphoma: A nliphona: In pace in idipsum. A ntiphona: Caro mea. Et vresByteRO nectente fila, cahtetut Antiphona: Sepulto domino < signatum est monumentum, ponentes milites qui custodirent illud > . 39 40 PRiusQwaM 41 det ur siGNUm ad Mat utinum, SAcerDOTES lauewt manms suas, et facta conEESsionE, vadawt ad SEPULchrum cum ps almo: Domine, quid < multiplicati sunt > ® , et Antiphona: Ego dor 43 RECEDeNDO DiCATwr Antiphona: Cum rex gloriae , 44 A more ample description of the ceremonial of the Strassburg Elevatio is found in the following text given by Martene from a manuscript of the fourteenth century: < ELEVATIO HOSTLE> 45 PRrUSQUAM DETUR SIGNUM AD MATUTINUM, CONVENIANT IN CAPELLAM S. Andrew canonici, sacerdotes, & alii, & sacerdos indutus superpelliceo & desuper cappa, adjunctis lateribus suis duobus sacerdotibus cappatis, 37 British Museum, Add. MS 23922, fol. 37 r . 38 Responsory for the third noctum in Matins on Holy Saturday. See Migne, Pat. Lat., LXXVIII, 768. 39 Antiphon from Lauds of Holy Saturday. See Migne, Pat. Lat., LXXVIII, 769. My text is followed immediately by the rubric: Ad Vesperas. 40 British Museum, Add. MS 23922, fol. 41 v . This ordo for the Elevatio is written by a contemporary hand in the left margin. 41 Through cutting away of the page, the reading of the first five letters of this word is rendered uncertain. 42 Psalm iii. 43 Third antiphon of Easter Matins. See Migne, Pat. Lat., LXXVIII, 769. 44 The marginal entry ends thus abruptly. 45 E. Martene, Tractatus de Antiqua Ecclesice Disciplina, Lyons, 1706, pp. 504-505, from “Argentoratensis ecclesiae Ordinarium ex veteri codice anno 1364 manu exaratum.” Martene does not give a Depositio from this manuscript. 40 UNIVERSITY OF WISCONSIN STUDIES PR.ECEDENTE HEBDOMADARIO CAPPATO, CUM INCENSU & MAGNIS CANDELIS CONTORSIS, & LOTIS MANIBUS INTROEANT SEPULCHRUM. QUO INGRESSO, faciant confessionem dicendo: Confiteor Deo. Misereatur vestri. Deinde DICATUR PSALMUS: Domine, quid multiplicati sunt, CUM ANTIPHON A: Ego dormivi, SUB SILENTIO PRONUNCIATA. TUNC SACERDOS ACCIPIAT CORPUS CHRISTI DE P DC IDE, & LEVANS IN ALTUM OSTENDAT ILLUD POPULO CORAM SEPULCHRO. Post ostensionem & adorationem populi, reponat in pyxedem, & sic tol- LENTES INDE CORPUS DOMINI, RECEDUNT CUM ANTIPHON At Cum rex gloriae, SUB SILENTIO PRONUNCIATA. SED INTERIM IN CHORO CANITUR PR.EDICTA ANTIPHONA CANORA VOCE A CLERO, DEMISSOQUE IBI SUDARIO USQUE POST Matutinas. Cum autem pervenerint in chorum cum Corpore Domini, SACERDOS STET IN ALTARI, ET OSTENDAT CLERO & POPULO CORPUS CHRISTI, LEV ANDO LPSUM SICUT SOLET LEVARI IN MlSSA. DEINDE REPONAT IN PYXIDEM Corpus Christi, & portet ad alt are S. Laurenth, & ibidem similiter OSTENDAT. DlMISSOQUE IBI SACRAMENTO REVERTATUR IN CHORUM, LOTIS IBI PRIUS QUATUOR SUMMIT ATIBUS DIGITORUM SUORUM IN C ALICE; STATIMQUE COM- PULSANTUR OMNIA SIGNA . 46 We may complete our presentation of the Strassburg texts with the series from an ordinarium of the year 1590. 47 The reservation on Holy Thursday of a Host for the sepulchrum is prescribed as follows: < IN CCENA DOM INI> TRES QUOQUE HOSTIAE CONSECRENTUR HODIE, UNA PRO PRAESENTI MlSSA, ALTERA PRO OFFICIO CRASTINO, TERTIA PRO SEPULCHRO DOMINI. SANGUIS AUTEM PENITUS CONSUMATUR. DENIQUE PARUAE HOSTIAE CONSECRANDAE HODIE SUNT, ET RESERUANDAE IN SEQUENTEM DIEM, PRO COMMUNICANDIS . 48 The Depositio and Elevatio from the same document are ordered as follows: The Visiiatio from it is reprinted from Martene (p. 505) by C. Lange, in Jahres- bericht iiber die Realschule erster Ordnung in Halberstadt (Program No. 223), Halberstadt, 1881, pp. 11-12. 46 Followed immediately by the rubric : Ad Matutinum. 47 Agenda Ecclesiae Argentinensis . . . , Coloniae, 1590. I quote from the copy in the Hofbibliothek, Munich. All the texts now printed, together with the Visitatio Sepulchri , have been published by the present writer in Transac- tions of the Wisconsin Academy of Sciences, Arts, and Letters, XVI, Part II, 911-914. Lange duly mentions (Die lateinischen Osterfeiern, pp. 8, 50) the Visitatio Sepulchri in the print of 1590. 48 Agenda Ecclesiae Argentinensis . . . , Coloniae, 1590, p. 214. YOUNG THE EASTER SEPULCHRE 41 < DEPOSIT 10 HOSTLE> 49 COMMUNIONS 50 PERACTA, PROCEDAT SACERDOS AD SEPULCHRUM, CUM CORPORE Domini reposito in corporali, uel in calice, uel in sacrata pyxide. Praecedant ergo ministri cum incenso, et duo pueri, cum candelis cum PROCESSIONE, USQUE AD LOCUM SEPULCHRI, UBI DEBET RECONDI CORPUS Domini, cantando Responsorium: Sicut ouis ad occisionem ductus est, et dum male tractaretur non aperuit os suu/w. Traditus est ad mortem, ut vivificaret populum suuw. Ver- sus : In pace factus est locus eius, et in Sion habitatio eius. Antiphons. : Caro mea requiescet in spe. Sacerdote nectente fila, cantetur hoc Antiphon a: Sepulto Domino, signatum est monumentum, ponentes milites qui custodierunt illud. STATIM LEGANTUR VESPERAE IN EODEW LOCO. 51 Ordo Visitandi Sepulchrum IN die Sancto Paschae. Summo mane antequam pulsetur ad Matutinas conveniat Clerus, et QUI UOLUERINT INTRARE SEPULCHRUM LAUENT MANUS SUAS, ET UENIANT ANTE PRINCIPALE ALTARE UEL PROPE SEPULCHRUM, ET LEGANT SEPTEM PSALMOS POENITENTIALES. QUIBUS FINITIS, DICANT: Kyrie eleison. Christe eleison. Kyrie eleison. Pater noster. Et ne nos inducas in tentationew. Preces: Exurge, Domine, adiuua nos. Et redime nos propter nomen tuum. Exurge gloria mea. Exurge psalterium et cithara. Exurgam diluculo. Confitebor in populis, Domine. Domine, exaudi orationem meam. Et clamor meus ad te ueniat. Dominus vobiscum. Et cum spiritu tuo. Oremus: Oratio: Exaudi, quaesumus, Domine, supplicum preces, et confitentium tibi parce peccatis ut pariter indulgentiam tribuas benignus et pacem. Per Christum Dominum nostrum. Deinde dicant: Confiteor Deo Patri, et Misereatur, et Indulgent, etc. Facta confessione, uadant ad Sepulchrum dicendo ps almum: Domine, quid multiplicati. Sequf.tur Antiphon a, quam cantent sub silentio: Ego dormivi et somnum cepi, et exurrexi, quoniam Dominus suscepit me, alleluia, alleluia. Euouae. 49 Id., pp. 225-226. 50 The Communion at the Missa Prcesanctificatorum. 51 Agenda Ecclesiae Argenlinensis . . . , Coloniae, 1590, pp. 251-252. 42 UNIVERSITY OF WISCONSIN STUDIES Et tollentes inde Corpus Domini redeant in chorum, cantando sub- miss a uoce an liphonam: Cum rex gloriae Christus infernum debellaturus intraret et chorus angelicus ante faciem eius portas principum tolli praeciperet, sanctorum populus, qui tenebatur in morte captiuus, uoce lachrymabili clamauerat: Aduenisti desiderabilis, quern expectabamus in tenebris, ut educeres hac nocte uinculatos de claustris. Te nostra uocabant suspiris; te larga re- quirebant lamenta. Tu factus es spes desperatis, magna consolatio in tormentis, Alleluia. Quae consuetudo ubi fuerit, servanda erit. Et statim cum redierint in Chorum, ostenso Sacramento in altari sicut fit in Missa, deinde CANTENTUR MATUTINAE. With these several texts before us we may now examine some of the details of the Strassburg use. In liturgical content the two texts of the Depositio are substantially identical, and both are found between Mass and Vespers. According to the longer rubrics of the text of 1590, the Host 52 is carried to the sepulchrum in a corporal, a chalice, or a pyx, and the procession is provided with incense and lights. After the laying down of the Host, the sealing of the sepulchrum appears to be accom- plished by the tying of chords. For the details of the Elevatio we may center our attention upon the text from the fourteenth century communicated by Martene, because of its full indications as to ceremonial. The office occupies the usual liturgical position, before Easter Matins, and it opens with a familiar procession. It appears that the sepulchrum provided is of unusual amplitude, for at least a part of those in the procession are able to enter it. Those who enter make confession 53 and recite the psalm Domine, quid multiplicati sunt , with its antiphon Ego dormivi. The priest then takes the Host from the pyx and exposes it for the adora- tion of the congregation gathered before the sepulchrum . Replacing the Host in the pyx, the priest carries it in procession to the choir during the singing of the antiphon Cum rex glorice , 52 In the Depositio in Add. MS 23922 the words uadunt cum Cruce ad locum Sepulchri raise a difficulty. They seem to indicate that the object buried was not the Host but the Cross, whereas the other Strassburg documents mention only the Host. The Crux of the passage quoted may be merely a processional cross. 53 The liturgical text for the confession is more fully indicated in the Elevatio from the print of 1590. YOUNG — THE EASTER SEPULCHRE 43 and eventually exposes it to the congregation, both at the main altar and at the altar of St. Laurence. We cannot assert that the treatment of the theme of the Harrowing of Hell in this version is notably developed. The antiphon Cum rex glorice presents the theme in vivid form, but the possibilities of the theme in the way of dialogue are ap- proached only in certain more highly developed versions to be examined in fater divisions of the present study. 54 Waiving for the present, then, a further consideration of the Decensus, w r e come to a group of texts which are notable especially from the fact that the versions of the Elevatio are found in close combination with versions of the Visitatio. This phenomenon is clearly approached in the use of the cathedral of Parma. From this church we have particularly full or dines, of the year 1417, describing all the cerenTonials of the sepul- chrum . In the first place, the reservation, on Holy Thursday, of a Host for the Missa Prcesanctijicatorum and of one for the Depositio is provided for as follows: < IN COEN A DOM IN I> Ex REDIT CLERUS AD EpISCOPUM, QUI MlSSAM PERFICIAT, RESERVATIS DUABUS HoSTIIS CONSECRATIS, QUAE, FINITA MlSSA, IN SACRARIO REVERENTER INCLU- DANTUR . 55 The Depositio occurs immediately after Mass of Good Friday, according to the following or do: < DEPOSIT 10 HOSTLE> 56 Finita dicta Missa, descendant Dominus Episcopus cum Canonicis et TOTO CLERO AD CAPPELLAM SANCTAE AgATHAE, ET CORPUS ChRISTI QUOD EST IBI RECONDITUM CUM EA PROCESSIONE MODO ET FORMA ET SOLEMNITATE QUIBUS PORTATUM FUIT, INDE DEVOTE ACCIPIATUR, ET REPORTETUR, ET IN PARADISO POST ALTARE MAIUS REVERENTER RECONDATUR, UT IN SEPULCRO, IBI DIMISSO LUMINE COPIOSO PER TOTAM NOCTEM DURATURO, CLERICIS CANTANTIBUS RE- SPONSORIUM : Sepulto Domino, 54 See especially pp. 90-91, 111-118. 65 Ordinarium Ecclesiae Parmensis e velustioribus excerplum reformatum A . 1417, edited by L. Barbieri, Parma, 1866, p. 134. The passage quoted is preceded immediately by an ordo for the reservation of the Chrism. 56 Barbieri, pp. 140-141. 44 UNIVERSITY OF WISCONSIN STUDIES ET CETERA. QUO FINITO, DICUNTUR VESPER^ 57 ANTE OSTIUM PARAD1SI 58 A Domino Episcopo et clericis suis genuflexis, submissis* vocibus; et ipsis FINITIS, DENUDATUR ALTARE. From this text it appears that the Host to be “buried” has been reserved in a chapel of the cathedral, from which it is carried, in a procession of the bishop and clergy, to a structure called Paradisus situated behind the main altar. Here the Host is deposited during the singing of the responsory Sepulto Domino. Vespers are then said before the door of the Paradi- sus , and lights are kept burning during the night. The ceremony of the Elevatio is known to us only through a reference in the following text of the Visitatio Sepulchri : 59 < ELEVATIO HOSTLE ET VISITATIO SEPULCHRI> 6 * In Matutino Paschae, hora quasi nona noctis pulsetur Baionus 61 SOLEMNITER CUM ALUS; ORNETUR ALTARE SOLEMNIUS QUAM ORNARI POSSIT, ET OMNIA LUMINARIA ECCLESIAE, UT IN NATIVITATE, ACCENDANTUR. ANTE INCHOATIONEM MATUTINI DUO GUARDACHORn 62 ET DUO CANTORES CUM PIVIALI- bus Sepulcrum Domini reverenter intrant cum thuribulis et incenso, CEREIS ANTE SePULCRI OSTIUM DUOBUS POSITIS. El INCENSANTES SEPULCRUM 63 QUAERUNT DE CORPORE ChRISTI, QUOD ANTE HUNC ACTUM SACRISTA PERVIGIL INDE ABSTULISSE DEBUIT, ET IN SACRARIO DEPUTATO REVERENTER RECONDIDISSE, ET PALPANT LINTEAMINA MUNDA, QUIBUS ID ERAT INVOLUTUM. QUOD NON INVENIENTES, REVERTUNTUR AD OSTIUM SePULCRI, FORIS TAMEN NON EQNTES, SED VERSUS ALTARE MAIUS IUXTA QUOD SINT ALIQUI CLERICI DICENTES : Quem quaeritis? Qui Clerici respondentes dicant: 57 Vesperae] Vesperi (Barbieri). 58 The editor provides the following foot-note: Questo particolare non lascia dubbio che Tedificio, chiamato Paradisus , fosse chiuso; e cosi appunto esser dovea, vi grazia del nome attribuitogli, da poi ch’ esso tan to vale quanto hortus conclusus (y. Isid. Orig. xiv, III, 1,3). 59 From Barbieri this text has been published by A. D’ Ancona, Origini del Teatro Ilaliano, Vol. I, Turin, 1891, pp. 30-31; and from D’Ancona, by Lange, p. 28. 60 Barbieri, pp. 147-149. 61 Baionus is the name of a large bell — campana grossa. See Barbieri, p. 10. 62 This word is explained by the following passage (Barbieri, p. 66): In Guardachoratus officio quatuor sint clerici instituti, qui moribus sint et discre- tione approbati, et cantus perfectione eruditi . . . istorum quatuor Guarda- choriorum officio . . . totus chorus ecclesiae sublevatur atque regitur, et regi debet. 63 Sepulcrum] sepulcro (Barbieri). YOUNG — THE EASTER SEPULCHRE 45 lesum Nazarenum. Quibus primi respondeant: Non est hie; surrexit sicut dixit, EX CETERA. POSTEA EGREDIUNTUR SEPULCRUM ISTI QUATUOR, PRAEVIIS DICTIS CEREIS, ET DICUNT VERSUS POPULUM ANTIPHON AM: Surrexit Christus ; iam non moritur. Qua finita maior illorum quatuor ad Episcopum accedit sine lumine, ET El dicit plane: Surrexit Dominus, et osculatur eum. Et Episcopus dicit: Deo gratias. Qui Episcopus alta voce deinde dicit: Te deum laudamus, ET INCENSAT ALT ARE, DICTIS DUPLERIIS ARDENTIBUS; ET DUM DICITUR Te Deum laudamus, ille qui nuntiavit Domino Episcopo Christum resurrexisse, similiter nuntiet Dominis Canonicis. Finito Te Deum laudamus incipit Dominus Episcopus: Domine, labia mea aperies . 64 Concerning the Elevatio itself we have* here merely a brief rubric directing the sacristan to remove the Host from the sepulchrum well before the beginning of Matins, and to secrete it reverently in the sacristy. As a whole, then, the text before us describes not the Elevatio , but the Visitatio Sepulchri, which seems to have been transferred, along with the Te Deum , from its usual place at the end of the Matins to the place preceding Matins usually occupied by the Elevatio. This version of the Visitatio is noteworthy in that those approaching the sepulchrum (representing, but not necessarily impersonating , the Maries) actually enter the sepulchrum in search of the Corpus Christi, and touch the linteamina , before they are challenged by the familiar interrogation Quern quaerilis. This bit of action may show the influence of the Elevatio , as may also the kiss bestowed upon the bishop by one of those who take part in the dialogue . 65 Conditions somewhat similar to those at Parma are found in connection with the cathedral of Soissons, the ordinaria of which provide, in the first place, for the consecration on Holy Thursday of three Hosts as follows: < IN CCENA DOMINI> Sciendum autem quod die ista tres hostie proponantur in altari: I a pro presenti Miss a; ID pro crastina; III a reservetur usque ad diem 64 With this versicle begins Matins. 65 Concerning the Pax in certain versions of the Elevatio see below, pp. 65 - 67 , 88 , 89 , 97 , 109 . 46 UNIVERSITY OF WISCONSIN STUDIES Resurrectionis. Que deferantur a Diacono ad sacrarium in uasculo QUOD DEPENDET SUPER ALTARE, UT IBI RESERVENTUR, CEREO ANTE ACCENSO . 66 It will be observed that the third Host is reserved, not for burial in the sepulchrum on Good Friday, but for some cere- monial, not yet specified, on Easter. The object placed in the sepulchrum on Good Friday is not the Host, but the Gospel- book, as we learn from the following rubric: Finito Evangelio Subdiaconus ACCIPIAT ILLUD ET QUASI IN OCCULTO SUB INFULA SUA VELUT IN SINU SUO DEFERAT AD SEPULCHRUM, CLERICULO CUM THURE PRECEDENTE; IMPOSITOQUE SUPER ALTARE QUOD EST IN SEPULCHRO, AMBO REUERTANTUR . 67 The or do of Good Friday provides in no way for a burial of a Host. A special form of the Elevatio appears in the ordo for Easter Matins : 68 < ELEVATIO HOSTLE ET VISITATIO SEPULCHRI> 69 SUMMO DILUCULO PULSENTUR OMNIA SIGNA; DEIN BIN A ET BINA. Ad ULTI- MUM UERO TUM SLMUL ITERUM PULSENTUR. PAUIMENTUM INTEREA TOTIUS PRESBYTERII ET CHORI EDERA ET ALIJS UERLDIBUS FOLIJS STERNATUR. ECCLESIA PRETEREA, CEREIS ACCENSIS, A CAPITE USQUE AD PEDES PER CIRCUITUM UESTIA- TUR. Altare SACROSANCTUM AMPLIFICATO NUMERO CEREORUM LUMINE CLRCUMDETUR. NUMERUS UERO CEREORUM CIRCA ALTARE ET ANTE SIT LXXXX a , ETUNUS FUNICULUS INSUPER A CAPITE USQUE AD PEDES PRETEND ATUR; IN QUO CIRCULUS QUID AM FERREUS HABENS V II CEREOS SUPER OSTIUM SEPUL- CHRI IN ALTUM DEPENDEAT. ClRCULUS AUTEM ISTE QUI ET STELLA A NOBIS NUNCUPATUR, UERUM LUCIFERUM, QUI MANE RESURREXIT, DESIGNAT. AdHUC AUTEM X CEREI .AD CRUCIFIXUM ACCENDANTUR. In INITIO UERO OMNIUM ISTORUM CUNCTUS 70 CLERICUS DEFERAT CUM SUMMO HONORE AD SEPULCHRUM IN SUPERPELLICIO CORPUS DOMINICUM IN UASCULO A DIE CENE RESERUATUM, PONENS ILLUD SUPER ALTARE. HlS PERACTIS, DUOBUS SACERDOTIBUS ANTIQUIORIBUS AC DUOBUS DlACONIS IN CHORO SEDENTIBUS CUM CAPIS DE PALLIO, PONTIFEX IN SEDE SUA CUM CAPA DE PALLIO MITRATUS STANS INCIPIT: 66 Rituale seu Mandatum insignis ecclesiae Suessionensis, Soissons, 1856, pp. 68-69. The manuscript (saec. xii-xiii) is described on pp. vii-x. 67 Rituale . . . ecclesiae Suessionensis, Soissons, 1856, p. 86. 68 This ordo is printed by Martene (pp. 496-498) from a “Rituale vetus tempore Nivelonis II episcopi scriptum” ( i.e ., 13th century). From Martene, Lange (p. 26) reprints, with very unfortunate omissions. Martene’s text and that now reprinted from the edition of 1856 differ only in unimportant details. 69 Rituale . . . ecclesiae Suessionensis, Soissons, 1856, pp. 108-110. 70 cunctus] cunctos {Rituale). YOUNG — THE EASTER SEPULCHRE 47 Domine, labia mea aperies. Deus in adiutorium. 71 Quo 72 finito, cum Gloria, iterum incipiant ipsum Cantor et Succentor r < esponsorium > : Dum transisset. Tunc eat processio ad Sepulchrum sic. Pueri primum ferentes tin- TINABULA, ALIJ CUM UEXILLIS. DEIN CANDELABRA, THURIBULA, CRUCES quatuor. Subdiaconus in albis hos sequatur. Duo presbyteri cum CAPIS DE PALLIO, CETERI QUOQUE IN ORDINE SUO. Ad ULTIMUM EPISCOPUS CUM BACULO PASTORALI ET MITRA ET CAPA DE PALLIO, CUM IPSO UERO CAPELLANUS. Et cum peruentum fuerit ad Sepulchrum, inueniantur ibi preparati duo Diacones albis simplicibus, capitibus amictis coopertis, niueis dalmaticis superindutj. Hij in similitudinem angelorum ad fenestram STANTES SePULCHRI, UNUS AD DEXTERAM, ALTUS AD SINISTRAM, UOCE HUMILIMA ET CAPITIBUS INCLINATIS UERSISQUE AD SEPULCHRUM: Quem queritis in sepulchro, o Xpisticole? Duo PRESBYTERI PREDICTI CUM CAPIS DE PALLIO IN LOCO MaRIARUM: Ihesum Nazarenum crucifixum, o Celicole, Duo Diaconi angeli: Non est hie; surrexit sicut predixerat; ite, nuniiate quia surrexit. Presbyteri qui et Marie dicuntur uoce altiori respondeant: Alleluya, resurrexit Dominus hodie, resurrexit leo fortis, Xpistus filius Dei; Deo gracias dicite eya. Tunc Capellanus de Sepulchro ab intus in superpellicio stans porri- GAT DiACONIS UASCULUM CUM CORPORE DOMINICO, ET STATIM PULSENTUR TINTINNABULA ET OMNIA SIGNA ECCLESIE. CANTOR AUTEM INCIPIAT: Xpistus resurgens 73 Tunc extendat uelum quoddam super Corpus Dominicum a Subdiaconis QUATUOR; CEREI QUOQUE CUM UEXILLIS, THURIBULIS, ET CRUCIBUS PRECEDANT. Presbyteri nempe predicti, acceptis thuribus, conducant illud semper INCENSANTES, UNUS A DEXTERIS ET ALIUS A SINISTRIS, STELLA PREDICTA SEMPER duce. Quo deportato a Diaconis honorifice et super altare oblato, FERRA CIRCA ALTARE CLAUDATUR ; FINITAQUE ANTIPHON A SUPERIORI, XpistUS resurgens, Episcopus in sede sua stans iussu Cantoris incipiat: Te Deum laudamus. Qui dum cantatur a choro, duo maiora signa tantummodo pulsentur. InTEREA VEXILLE, CRUCES, CEREI, THURIBULA CUM TINTINNABULIS SONANTIBUS ANTE ALTARE MORENTUR. Finito Te Deum, iterum omnia signa pulsentur. Incensum quoque illud quod a Presbyteris Dominico Corpori offertur, ab ipsis Episcopo, 71 Here I omit the usual liturgical routine of the Roman type of Easter Matins. See Publications of the Modern Language Association, Vol. XXIV (1909), p. 310, note 2. 72 This refers to the third responsory of Matins. 73 Antiphon at the Communio of the Mass of Wednesday in Easter Week. See Migne, Pat. Lot., LXXVIII, 679. 48 UNIVERSITY OF WISCONSIN STUDIES Cantori, et Succentori, et omnibus Presbyteris in choro defertur. Dein a clericulis ceteris deportetur. The ceremonial here described begins early on Easter morn- ing, before Matins. The choir is strewn with green branches, the altar and church are profusely lighted, a crown of seven candles is suspended over the door of the sepulchrum , and ten candles are lighted at the Crucifix . 74 Meanwhile the Host reserved from Holy Thursday is for the first time brought to the sepulchrum and placed upon the altar . 75 In so far as this act represents a Deposition it is obviously inappropriate to Easter morning. After the third responsory of Matins of the usual Roman type 76 occurs an office in which the Elevatio and Visitatio are combined. When the procession reaches the sepulchrum, two deacons in appropriate vestments, representing angels, utter the angelic challenge Quern quaeritis, and continue the familiar dialogue with two priests vested in copes. Then occurs the Elevatio. A chaplain, — apparently from within the sepul- chrum, — hands to the deacons ( angeli ) the Host while the choir sings the antiphon Christus resurgens. After the Host has been deposited upon the main altar within the choir, and after the iron rail about the altar has been closed, the Te Deum is sung. During the singing of the Te Deu?n the bells are sounded, and the Host and altar are censed . 77 74 Possibly this crucifix is located at the door between choir and nave. 75 As to the location of this altar with respect to the sepulchrum, I am uncer- tain. Since the sepulchrum seeips to be capacious enough to allow the entrance of a capellanus, the structure may take the form of a chapel, with an altar within. 76 See the note to the text above. 77 For its information concerning the symbolic use of incense in Easter Matins I quote from the Soissons Rituale (pp. 110-111) a passage that imme- diately follows the text of the Visitatio printed above: Notandum uero quod ad similitudinem trium Mariarum, incensum hodie ad Sepulchrum tantum defertur in initio lectionum sic: Incepto Euangelio, Decanus et Ebdomadarius exeant de Sacrario cum Capis de pallio, Clericulis precedentibus cum Thuribulis et igne; presententque se Episcopo in igne mittentes incensum, Episcopo dante benedictionem. Quo facto, eant simul ad altare. Episcopus autem accipiens Thuribulum, offerat incensum sacrosancto altari et Decanus cum illo. Interea Clericuli, elevatis Cereis suis, teneant illos ante altare. Quo facto, Episcopo in sede sua regresso, offerant incensum De- canus et Ebdomadarius. Postea cum Cereis eant ad Sepulchrum illud offerre, YOUNG — THE EASTER SEPULCHRE 49 In this version from Soissons we encounter for the first time an intimate combination of Visitatio and Elevatio; and we must observe at once that the combination is not entirely successful from the point of view of dramatic sequence. Nothing is clearer logically than that the Elevatio should precede the Visitatio. The Quem quaeritis dialogue, with its Non est hie , obviously implies an empty sepulchrum. In the present ver- sion, however, the implication is false, for the Corpus Dominicum is not removed from the sepulchre until after the delivery of dialogue mentioned. In connection with this dialogue it is important to observe also that whatever of impersonation is present in the version before us attaches itself to the Visitatio element and not to the Elevatio. In the Elevatio is found no such rubric as that pre- scribing the impersonation of the angels at the supposedly empty tomb : Duo Diacones albis simplicibus, capitibus amictis coopertis , niueis dalmaticis superinduti . ... in similitudinem angelorum . 78 Similar to this version from Soissons, in some respects, is the following, from the cathedral of Laon : 79 < ELEVATIO HOSTLE ET VISITATIO SEPULCHRI> 80 In Pascha ad Matutinas due compane insimul pulsantur; sex cerei JUXTA MAGNUM CEREUM ANTE ALTARE PONUNTUR. DUM CAMPANE PULSANTUR, PROCESSIO ANTE ALTARE IN HUNC MODUM ORDINATA VADIT AD SEPULCHRUM. PRECEDUNT CLERICULI CUM CEREIS, DUO CUM THURIBULIS, DUO DIACONI, ALII duo cantaturi Dicant nunc, CANTOR, et succentor, omnes isti albis CAPIS INDUTI. ALn SEQUUNTUR IN ORDINE, UNUSQUISQUE CEREUM ACCENSUM DEFERENS. PREDICTI VERO DIACONI AD OSTIUM SEPULCHRI VENIENTES IN- cipiunt : Ardens est < cor meum, desidero videre Dominum meum; quaero et non invenio ubi posuerunt eum, alleluia. > 81 Clerico custode cum Capa de pallio acerram cum incenso perferente. Quo facto, reuersi in Chorum, Cantori et Succentori, ceterisque in ordine suo defertur. Processione presenti peracta, uicem secundam impleuimus, in fine Matutinarum, Tertiam exsoluemus. V. post Te Deum. Episcopus. Surrexit Dominus uere. Chorus. Et apparuit Symoni. Alleluya. 78 See below, pp. 128-129. 79 U. Chevalier, Ordinaires de VlZglise Cathedrale de Laon (Bibliotheque Liturgique, VI), Paris, 1897, pp. 118-119, from Laon MS 215 of the period 1173-1249. From Laon we have no text of a Depositio. 80 Chevalier, pp. 118-119. 81 Antiphon of Easter season. See Migne, Pat. Lat., LXXVIII, 775. 50 UNIVERSITY OF WISCONSIN STUDIES Clericulus in Sepulchro: Quem queritis. Diaconi: Jhesum Nazarenum. Clericulus: Non est hie. Quo FINITO SACERDOS ALBA CASULA VESTITUS, PORTANS CALICEM CUM COR- PORE XpISTI, EGREDIENS DE SePULCHRO REPPERIT ANTE OSTIUM QUATUOR CLERICULOS PALLIUM SUPER BACULOS TOLLENTES; ET ILLO PROTECTUS INCEDIT ANTE PROCESSIONEM, PRECEDENTIBUS CLERICULIS CUM CE REIS, ASTANTIBUS ALIIS DUOBUS JUXTA IPSUM CUM THURIBULIS. TUNC DIACONI PREDICTI DICUNT : Surrexit Dominus vere, alleluia. Post hec cantor et succentor incipiunt illam partem antiphone : Cum rex glorie Xpistus. 82 Advenisti desiderabilis. Et sic cantando procedunt omnes in medio ecclesie ante Crucifixum. Post antiphon am: Christus resurgens, DUO CANONICI CUM CAPIS VERSUM: Dicant nuncCjudaei quomodo milites custodientes sepulchrum per- diderunt regem ad lapidis positionem, quare non servabant petram justi- ciae; aut sepultum reddant aut resurgentem adorent, nobiscum dicentes alleluia, alleluia. > Post vprocessio, cantando Quod enim vivit, vivit Deo, intrat CHORUM. SACERDOS CALICEM SUPER ALTARE DEPONIT. INTERIM CAMPANE INSIMUL PULSANTUR . 83 This ceremonial occurs before Matins. The procession sets out from the main altar, and when it reaches the door of the sepulchrum, two deacons in the procession sing the antiphon Ardens est. A cleric within the sepulchrum now sings the interrogation Quem quaeritis, and continues the familiar dia- logue with the two deacons of the procession. Then a priest issues from the sepulchre carrying a chalice containing the Host , 84 which is carried in procession to a place before the Crucifix , 85 appropriate persons meanwhile singing Surrexit Dominus and Cum rex glorice. At the Crucifix is sung the antiphon Christus resurgens, after which the priest places the chalice upon the main altar. 82 Xpistus] Xpiste (Chevalier). 83 Matins follows immediately. 84 Such is a fair, but not an inevitable, interpretation of the rubric bortans calicem cum Corpore Christi. See above, pp. 14, 16. 86 Possibly this Crucifix is at the entrance to the choir from the nave. YOUNG THE EASTER SEPULCHRE 51 It will be observed that in the combining of Elevatio and Visitatio this version is not essentially different from that of Soissons. Once more the Visitatio inappropriately precedes the Elevatio . Another text of this office from Laon appears as follows : 86 < ELEVATIO HOSTLE ET VISITATIO SEPULCIIRI> 8T IN DIE PaSCILE AD MATUTINUM DU/E MAGNiE camp an.® de miraculis in- SIMUL PULSANTUR. PROCESSIO VADIT AD SEPULCRUM ORDINATA IN MODUM QUI SEQUITUR. PRIMO PR.ECEDIT CLERICULUS AQUAM BENEDICT AM DEFERENS; HUNC SEQUUNTUR DUO CLERICULI FERENTES INSIGNIA, DUO ALII CLERICULI FERENTES CEREOS, DUO ALII CLERICULI CAPPIS SERICIS INDUTI FERENTES DUAS CRUCES AUREASJ HOS SEQUUNTUR CLERICULI. DeINDE CANTOR & SUCCENTOR CAPPIS SERICIS INDUTI, PORTANTES BACULOS DEARGENTATOS IN MANIBUS. DEINDE DUO DlACONI SIMILITER CAPPIS SERICIS INDUTI, & QUATUOR SUBDIACONI CANONICI ALBIS TUNICIS INDUTI, PALLIUM SUPRA BRACHIUM TENENTES. IioS SEQUUNTUR ALII COMBINATI, UNUSQUISQUE CEREUM ACCENSUM DEFERENS. PR.EDICTI vero DlACONI AD OSTIUM Sepulcri VENIENTES incipiunt : Ardens est. Clericulus stans in Sepulcro respondet: Quem quaeritis? Diaconi : Jesum Nazarenum. Clericulus: Non est hie. Postea Cantor & Succentor incipiunt: Surrexit Dominus vere, alleluia. Deinde prosam : 88 Victimae paschali laudes. Et SIC CANTANDO PROCEDUNT ANTE CRUCIFIXUM IN MEDIO ECCLESI®, Sacer- DOS ALBA CASULA VESTITUS, portans calicem cum Corpore Christi, EGRE- diens de Sepulcro reperit ante ostium quatuor Subdiaconos, albis TUNICIS INDUTOS, PALLIUM SUPER BACULUM TOLLF.NTES, & ILLO PROTECTUS INCEDIT IN FINE PROCESSIONIS, PRAECEDENTIBUS DUOBUS CLERICULIS CUM CEREIS, & ALIIS DUOBUS JUXTA IPSUM CUM THURIBULIS. DUM AUTEM PROCESSIO PERVENERIT IN MEDIO ECCLESLE CANTOR & SUCCENTOR INCIPIUNT R < ESPONSOR- ium > : Christus resurgens. 86 Martene, pp. 478-479, from a “vetus ordinarium optimae notae, ante an- nos 400 scriptum.” We may date this manuscript, then, about the year 1300. It may be observed that Martene’s text does not differ substantially from the text indicated by the erasures and marginal entries in Laon MS 215 used by Chevalier. See Chevalier, p. 118. A mutilated reprint of Marine’s text is given by Lange, p. 30. 87 Martene, pp. 478-479. 88 prosam] psal. (Martene). 52 UNIVERSITY OF WISCONSIN STUDIES Duo Diaconi cant ant v : Dicant nunc. Quo CANTATO PROCESSIO INTRAT CHORUM CANTANDO: Quod enim vivit. Sacerdos calicem super altare deponit. Interim camp an.® simul PULSANTUR. EPISCOPUS STANS IN CATHEDRA MITRA & CAPPA PR.EPARATUS incipit: Domine, labia mea aperies. 89 This text differs from the preceding one only in details, such as a more extended ordo for the procession to the sepul- chrum and the substitution of the sequence Victimce paschali for the antiphon Cum rex glories. For our knowledge of the ceremonial of the sepulchrum at Laon, however, we are not confined to these texts from the ordinaria. This cathedral was fortunate in having as dean, about the middle of the seventeenth century, Antoine Bellotte, a liturgiologist of the first order . 90 In his monumental volume Ritus Ecclesice Laudunensis 91 this author describes the dramatic office of Easter morning as follows : 92 89 With this formula Matins begins. 90 He was dean from 1650-1662. See Chevalier, pp. vii-viii. 91 Paris, 1652. 92 Bellotte, pp. 215-217. The same author provides also (p. 819) a shorter description of this office as follows : Vtrumque solet Ecclesia Laudunensis obire, dum summo mane paulo post medium noctis pulsantur in ea campanae pro singulari festiuae exultationis signa- culo; & circa horam diluculi, conueniunt omnes in Ecclesiam candido apparatu, quibus statim cerei diuiduntur, quibuscum procedunt ad altare sepulcri, vbi fores occlusae, & sanctissimum Corporis, & Sanguinis Dominici sacramentum in altari repositum, locum monumenti referunt. Et dum ibidem celebratur statio, Puer Choralis adheret altari agens personam Angeli sedentis in sepulchro, dicens: Quern queeritis? Respondentibus autem duobus Diaconis: Iesutn Nazar enum , ipsemet Puer symphoniacus subjungit: Non est hie. Mox Cantor & Succentor cappis sericis & baculis choralibus accincti incipiunt: Surrexit Dominus vere, etc., & statim prae laetitia in jubilum erumpentes intonant hymnum Victims, Paschali laudes immolant Christiani; & sine mora aperiuntur fores sepul- cri, e quibus Christus egreditur quippe conditus in sepulcro, cum sub mortis imperio captiuus ess videretur, quasi praeruptis infemi tepagulis, liber ad vitam rediit, iuxta illud quod ab Ecclesia canitur, Hodie portas mortis 6* seras pariter Saluator noster disrupit. Tandem procedunt omnes per circuitum, & mediam nauim Ecclesiae ad Crucifixum cum cereis ardentibus in quibus lux est vitae, & resurrectionis symbolum, de quo in Pentecostario Graecorum: Prodea- mus cum lampadibus oibuiam Christo ex monumento prodeunti, tanquam sponso, &* simul cum ordinibus Angelorum hac solemnitate Istantibus festum agamus. YOUNG — THE EASTER SEPULCHRE 53 Inter antiquissimas Ecclesiae Christian® consuetudines annumeratur pro- cessio, qu® solemni ritu, quotannis celebratur in Dominica Resurrectionis ante Matutinum, quo tam salutaris mysterij gaudium, aliquo l®titi® signo, fidelibus populis nuntietur. Hinc est, quod in Ecclesia Laudunensi summo mane pulsan- tur campan® hora post mediam noctem secunda in signum festiu® exultationis, priusquam detur signum Matutini. Quo tempore custos Sacrarij, vel alius Sacerdos ad hoc deputatus, superpellicio & stola paratus, accedit ad locum Pastophorij 93 pr®euntibus duobus clericulis cum cereis ardentibus, & inde sanctissimum Sacramentum reuerenter & cum debitis genuflexionibus extrahit, vbi pridie fuerat ritu pr®scripto collocatum; ipsumque ambabus manibus tenens ob oculos eleuatum, defert super Altare Sepulchri, vndique cereorum sufficienti numero collustratum, vt locus lucidior appareat, & nox ipsa quasi dies illumine- tur; nullusque S®cularium illuc accedit, nec vllus alius pr®ter Clericos qui dicti Sepulchri ritibus & ceremonijs inseruire debent, ac qui proinde fuerint chorali veste parati. Hora vero quarta matutina conueniunt in Ecclesiam omnes de Clero, Episco- pus, vel Decanus, aut Sacerdos Hebdomadarius in Sacrarium, cum ijs qui futur® processioni debent inseruire. Canonici vero Chorum intrant, in albis, hoc est, superpelliceis, armilauzis parati, vbi stant in subsellijs, vsque ad initium pr®fate processionis. Celebrans & ministri parantur vestimentis albi coloris, ordini suo congruentibus; vbi Celebrans & duo ex senioribus Sacerdotibus Canonicis induunt plane tam Subdiaconi vero pallium; seu baldachinum delaturi tunicas sine manipulis. Mox erogantur cerei singulis Canoncis & alijs de gremio Ecclesi® per Custodes Laicos, tam in Choro, quam in Sacrario, dignioribus primo, subinde junioribus per ordinem, eodem ritu quo in festo, seu processione Purificationis Beate Mari®, quos singuli deferre debent in honorem sanctissimi Sacramenti toto tempore processionis. Plis vt supra dispositis, accenduntur pr®dicti cerei per ministros ecclesi®, qui candelam accendunt primi cujusque ordinis ab vtraque parte Chori, vt c®teri deinde sibi mutuo candelas suas accendant; & dato signo procedendi, duo Diaconi pluuialibus induti procedunt de Sacrario in Chorum, cum alijs ministris, hoc ordine. Pr®cedunt duo Acolythi deferentes candelabra cum cereis accensis, turn duo Clericuli, qui Cruces aureas deferunt processionales. Has sequuntur duo pr®dicti Diaconi pluuialibus induti; deinde Pr®centores cappis & baculis choralibus accincti; postremo quatuor Subdiaconi tunicis albi coloris induti, qui hastas pallij seu baldachini deferre debent, omnes ex ordine Canonicorum. A dextris & a sinistris eorum incedunt ab vtraque parte omnes de choro, primo Pueri chorales, deinde Mansionarij & Capellani; postea Canonici secundum ordinem antiquitatis vel dignitatis; ita tamen, vt discedentes a subselliis dexter® partis, migrent in sinistram; & qui stant a sinistra transeant ad dexteram, suas quinque candelas ita deferentes propriis manibus, vt qui procedunt a dextris, dextra; qui vero a sinistris, sinistra deferant paululum ad extra inclinatas. Probably the most significant aspect of this passage is the symbolizing of the opening of the sepulchrum as the Harrowing of Hell. 93 The pastophorium is some sort of sacristy, which, as we learn below, is on the left side of the choir. 54 UNIVERSITY OF WISCONSIN STUDIES Proceditur autem per speciosam portam chori, recta per mediam nauim versus Sepulchrum, quo peruenientes qui deferunt baldachinum, seu pallium, consistunt ante ostium prsefati Sepulchri, facie versa ad Altare, in quo existit sanctissimum Sacramentum, stantibus in eadem regione seu praecinctu Ecclesie, omnibus de choro vultibus ad inuicem conuersis dum Celebrans transit de Sacrario in Sepulchrum per aditum secretiorem, a duobus praedictis seniorbus Canonicis comitatus qui velum in modum gremialis ipsum deferunt, sequentibus eos duobus Thuriferariis, cum thuribulis igne tantum refertis. Quo cum peruen- iunt, Celebrans statim genuflectit in infimo gradu Altaris ante sanctissimum Sacramentum, caeteris post eum in piano genuflexis, vbi aliquantulum orant dum praedicti duo Diaconi, stantes ad ostium Sepulchri, cantant insimul, Ardens est. Quo decantato Clericulus juxta dictum Sepulchrum stans in abs- condito, respondet eodem tono, Quern quaeritis. Turn duo supradicti Diaconi, iterum cantant Iesum Nazarcenum; ad quos idem Clericulus dicit vt supra cantando, Non est hie. Mox Praecentores incipiunt, Surrexit Dominus vere, alleluya. Deinde sequitur immediate Prosa Victimce Paschali laudes, quam praedicti Praecentores similiter incipiunt. Tunc Celebrans surgit, curatque incensum imponi in thuribuliim; deinde genufiexus ad oram suppedanei, triplici ductu incensat sanctissimum Sacramentum cum debitis inclinationibus; & reddito thuribulo, accedit ad Altare, vbi iterata genuflexione sumit reuerenter sanctissimum Sacramentum, ambabus manibus tenens ante faciem eleuatum. Sumpto vt supra sanctissimo Sacramento, Celebrans descendit in planum Sepulchri, & inde incipit procedere pallio feu baldachino protectus, praecedenti- bus eum praedictis duobus senioribus Canonicis praedictum velum hinc & inde ferentibus. Mox duo Thuriferarij cum thuribulis igne & incenso refertis, recessim incedentes, incensant continuo sanctissimum Sacramentum, ac eodem tempore incedunt omnes de Clero nudo capite, aequali passu, parem inter se mutuo seruantes distantiam, cauentes praecipue ne vltimi, plus justo distent a sanctissimo Sacramento. Proceditur autem circumcirca ecclesiam a praedicto loco Sepulchri vsque ad majorem porticum versus Occidentem, & ab eo per mediam nauim, in qua sistit processio per modum stationis ante Crucifixum, vbi Praecentores incipiunt responsorium Christus resurgens; cujus versum can- tant duo praedicti Diaconi pluuialibus induti, cum quibus omnes de Choro genuflectunt sanctissimo Sacramento ad ipsum conuersi, ad haec verba, aut Resurgentem adorent nobiscum dicentes. Sub finem praedictae stationis, dum repetitur a choro pars praedicti Respon- sorij, processio intrat Chorum, vbi omnes a subselliis iterum genuflexione adorant sanctissimum Sacramentum eo tempore quo transit per medium Chori. Et cum Celebrans ascendit gradus Altaris, sistunt qui baldachinum seu pallium deferunt, et statim illud a medio collocant a latere juxta Pastophorium a sinistra parte Presbyterij, donee ofhcio completo remoueatur per custodem sacrarij. Thuriferarij vero peruenientes ad infimum gradum Altaris, secedunt paululum ab utraque parte, viam praebentes Celebranti, qua per medium eorum transire possit, et tunc cessant a thurificatione, ac ibidem in piano genuflexi, cum prae- dictis duobus senioribus canonicis in infimo gradu altaris genuflectentibus, sanctissimum Sacramentum adorant. Celebrans interim ascendit ad altare, vbi stans conuertit se statim ad Chorum sanctissimum Sacramentum tenens, YOUNG — THE EASTER SEPULCHRE 55 vt prius, ante faciem eleuatum, omnesque simul cum eo benedicit, signum Crucis cum debita mora producens; attolit enim Sacramentum paulatim, vsque dum pars ilia calicis quem ambabus manibus tenet respondeat oculis, ac eodem modo demittit infra pectus; deinde ad humerum sinistrum ducit, & ad dextrum reducit; iterumque ad pectus; et post breuem morularrt versus cornu Euangelij conuertit se ad altare, nihil dicens, stantibus interim omnibus de Choro, qui a subsellijs suis summo silcntio et profundissima inclinatione totius corporis sanctissimum Sacramentum adorant. Circulo facto, Celebrans deponit SS. Sacramentum super altare conuertens imaginem Hostiae ad Chorum, & facta genuflexione, descendit ad oram suppe- danei, vbi genuflexus sumit thuribulum, in quod incensum curat imponi absque benedictione, quo triplici ductu incensat sanctissimum Sacramentum cum debitis inclinationibus; et reddito thuribulo, surgit omnibus etiam surgentibus; mox signans se in ore pollice dexterae manus, relictis digitis extensis, alta voce Matutinum incipit dicens, Domine labia mea aperies. Although Bellotte may have based this description upon the very text quoted above from an ordinarium of about the year 1200, 94 he adds, from authorities" not specified, some information not available elsewhere. In the first place, he explains the presence of the Host in the sepiilchrum. It appears that at two o’clock, before Matins, on Easter morning the Host is removed from the sacristy ( pastophorium ), in which it had been deposited on the preceding day, and is placed upon the brilliantly lighted altar of the sepiilchrum. This act may be regarded as in some way a substitute for the Deposition — a substitute similar to that employed in the cathedral of Soissons. Unlike the use of Soissons, however, the Laon ceremony sepa- rates the Depositio from the subsequent Visitatio-Elevatio, not by the singing of Matins, but only by a vacant interval of some hours. At Laon, in other words, the two ceremonials, the quasi -Depositio and the Visitatio-Elevatio , both occur before Matins. In liturgical content the dramatic office described by Bellotte is essentially similar to that reported by Martene. Bellotte, however, provides fuller ceremonial details for the procession and for the adoring and censing of the Host at the main altar. Although the ceremonials of Laon are highly elaborated, their elaboration is brilliantly exceeded in the dramatic observ- ances from the famous Liber Sacerdotalis printed in 1523 under M See above, pp. 49-50; Chevalier, p. xii. 56 UNIVERSITY OF WISCONSIN STUDIES the editorship of Alberto Castellani . 95 The Depositio from this book takes the following form: < DEPOSIT 10 HOSTLE> 96 De Processiones in Feria VI in Parasceue ad Ponendum Corpus Dowmni in Sepulchro. Feria VI in Parasceue post Officium Misse, vel etiam post prandium, ORDINATUR SOLENNIS SED LUGUBRIS PROCESSIO. PARATUR ENIM SACERDOS OMNIBUS PARAMENTIS ET PLUUIALI DESUPER CUM DlACONO ET SUBDIACONO CUWI DALMATICIS NIGRI COLORIS. PARANTUR ETIAM QWCTUOR SACERDOTES, VEL DUO AD MINUS, INDUTI CAMISIIS NIGRIS CUM AMICTU ET CINGULO EIUSDEW COLORIS J SI Ha^ERI POSSUNT ALIOS, IN ALBIS PARANTUR ETIAM DUO ALII SACERDOTES, VEL UNUS TANTUM UBIPAUCI FUERINT SACERDOTES, CUW AMICTU, ALBA, CIN- GULO, MANIPULO, ET STOLLA ET DUO THURIFERARII IN ALBIS. PREPARETUR ETIAM FERETRUM A QMaTUOR PORTANDUM CUM SUPERIORI COOPERTURA IN MODUM SEMICIRCULI, ET COOPERIATUR ALIQUO PANNO NIGRO DE SERICO, SI HABERI POTERIT, IN QUO SACR AMENTUM DEPORTETUR. PARANTUR ETIAM LUMINARIA: SCILICET INTORTITIA ET CERT,I AD ELLUMINANDUM CORPUS CHRISTI. Et congregato populo, Sacerdos accepit reuerenter Sacramentum DE ALTARI ET TENENS ILLUD IN MANIBUS VERSUS AD POPULUM, OMNIBUS ALIIS genuflexis, ipse stans incipit r esponsorium: Plange, CETERIS PROSEQUENTI- bus: Plange quasi virgo, plebs mea; ululate, pastores, in cinere et cilicio; quia venit dies Domini magna et amara valde. Duo clerici cantent versum : 97 Accingite vos, sacerdotes, et plangite; ministri altaris aspergite vos cinere. Quia. 98 Completo r esponsorio cu m versu et replica, duo Sacerdotes apparati CUM STOLLIS VT SUPRA STANTES ANTE SACRAMENTUM VERSIS VULTIBUS AD POPULUM CANTENT VERSUM: Popule me, OMNIBUS ALIIS PRETER EUM qui facit Officium geNUFLEXis et versis vultibus ad Sacra- mentum: 95 Liber SacerdotaUs nuperrime ex libris Sancte Romane Ecclesie et quarum- dem aliarum ecclesiarum et ex antiquis codicibus . . . collectus f Venetiis, 1523. Concerning the several editions of this work and its liturgical history see R. Domer, Die Auferslehungsfeier am Charsamstag nach dem Sacerdotale Romanian , in Caecilien-Kalender, Jahrgang X (1885), pp. 27-36. From an edition not pre- cisely indicated, Domer (pp. 32-35) reprints the Elevatio-Visitatio. He provides also (p. 32) a brief description of the Depositio. I reprint both texts from the edition of 1523. It should be observed that Castellani compiled this book from the uses of other localities than Rome, and that no edition of the work received complete papal approval (See Domer, pp. 29-30). The texts here reprinted were communicated to me by my friend Dom G. M. Beyssac, of Quarr Abbey. 96 Liber Sacerdotalis, 1523, fol. 263 r -269 v . 97 versum] printed twice. 98 Third responsory in Matins of Holy Saturday. See Migne, Pat. Lai LXXVIII, 768. YOUNG — THE EASTER SEPULCHRE 57 Popule meus, quid feci tibi, aut in quo contristaui te? responde mihi, quia eduxi te de terra Egypti, parasti crucem saluatori tuo. Dicto versu predicto, chorus genuflexus vt supra cantet: Sanctus Deus, sanctus fortis, sanctus et inmortalis, miserere nobis. Hoc dicto, Sacerdos pon at Corpus Dowwni reuerenter in Feretro quod PORTABUNT QMflTUOR SACERDOTES PREDICTI, VEL DUO VBI PAUCITAS SACERDOTUM EST, IN ALBIS PARATI, CAPITIBUS AMICTO COOPERTIS, ET INCEPTO Responsorio : Recessit pa, procedit processio isto ordine: Primo acoliti cum CEREIS ACCENSIS ET CRUCEJ POSTEA CLERICI, IUNIORIBUS VeSpOHSOrio; VLTIMO DUO SACERDOTES PARATI QUI CANTAUERUNT: Popule meUS. POST IPSOS SEQUITUR FeRETRUM CUM CORPORE DoWMNI PORTATUM A QUATUOR VEL DUOBUS, VT SUPRA; ET super Sacramentum BALDACHINUM NIGRUM PORTETUR AB ALIQUIBUS PERSONIS MAGIS DIGNIS. Ex LATERE SINT DUO ACOLITI CUM TURRIBULIS, QUI CONTINUO SACRAMENTUM INCENSABUNT CIRCUMJ CIRCA SINT LUMINARIA ET INTORTITIA. POST FeRETRUM SEQUITUR SACERDOS CUM PLUUIALI ET < FOL. 264 v >DyACONUS ET SUBDIACONUS; ET VLTIMO SECULARES, MAIORIBUS PRECEDENTIBUS. PROCESSIONE ISTO MODO ORDINATA PROCEDUNT CUM DEUO- TIONE QUOUSQUE DICTA FUERIT REPLICA POST Version ReSpOHSOril, QUEM VCfSUm DICENT DUO CLERICI, ET IDEM SERUETUR IN ALIIS 'ReSpOHSOrllS SEQUENTIBUS. Responsorium: Recessit pastor noster, fons aque viue ad cuius transitum sol obscuratus est; nam et ille captus est qui captiuum tenebat primum hominem. Hodie portas mortis et seras pariter saluator noster dirupit. Versus: Destruxit quidem claustra inferni et subuertit potentias dyaboli. Nam et." FlNITA REPLICA POST VersUttt, FIRMETUR PROCESSIO, ET OMNES FLECTANT GENUA, EXCEPTIS ILLIS QUI PORT ANT FeRETRUM ET DUOBUS SACERDOTIBUS QUI CANTAUERUNT Popule meUS, QUI STANTES VERSIS VULTIBUS 100 AD POPULUM OMNIBUS ALIIS GENUFLEXIS HA < BEN > TIBUS VULTOS SUOS AD FeRETRUM conuersos cantent versum: Quia eduxi; et hoc quidem seruetur in omniuus sequentibus stationibus. Versus: Quia eduxi te per desertum quadraginta annis et manna cibaui te, et introduxi in terram satis optimam, parasti crucem saluatori tuo. Chorus: Sanctus Deus, vt supra. Quo dicto, surgant omnes et incipiatur r esponsorium: Ecce uidimus, ET PROCEDATUR AD SECUNDAM STATIONEM CANTANDO RieSpOUSOrium TOTUM usQwe in finem cum versu et replica. Responsorium: Ecce vidimus eum non habentem speciem neque decorem; aspectus eius in eo non est; hie peccata nostra portauit, et pro nobis dolens; ipse autem vulneratus est propter iniquitates nostras, cuius liuore sanati sumus. Versus: Vere languores nostros ipse tulit, et dolores nostros ipse portauit. Cuius. 99 Fourth responsory in Matins of Holy Saturday. See Migne, Pat. Lat., LXXVIII, 768. 100 vultibus] vulbentibus (Print). 58 UNIVERSITY OF WISCONSIN STUDIES Omnibus genuflexis duo Sacerdotes stantes vt prius 101 dicant versum : Quid vltra debui facere tibi, et non feci? Ego quidem plantaui te vineam meamspeciosissimam; et tu facta es mihi nimis amara; aceto namque sitim meam potasti, et lancea perforasti iatus saluatori tuo. Chorus : Sanctus Deus, totum dicitur vt supra. Surgentibus omnibus incipiatur r esponsorium: Hierusalem, et proceda- TUR AD TERTIAM STATIONEM VT SUPRA. R esponsorium: Hierusalem luge et exue te vestibus iocunditatis induere cinere et cilicio; quia in te occisus saluator Israel. Versus: Deduc quasi torrentem lachrymas per diem, et nocte non taceat pupilla oculi tui. Quia in. 102 Omnibus ut prius genuflexis, duo Sacerdotes stantes dicant versum: Ego propter te flagella vi Egyptum cum omnibus primogenitis suis; et tu me flagellatum ad crucifigenaum cum latronibus tradidisti. Chorus: Sanctus Deus, vt supra. Quo dicto omnes surgant et incipiatur r esponsorium; Calligauerunt, et PROCEDAT PROCESSIO AD QUART AM STATIONEM QUE FIAT CIRCA INGRESSUM ECCLESIE REDEUNDO ANTE SEPULCHRUM. ReSPONSORIUM : Calligauerunt oculi mei a fletu meo, quia elongatus est a me qui consolabatur me. Videte, omnes populi, si est dolor similis sicut dolor meus. Versus : O vos omnes qui transitis per viam, attendite et videte. Si est. 103 OMNIBUS VT PRIUS GENUFLEXIS DUO SACERDOTES PREDICTI STANTES CANTENT versum vt supra: Ego dedi tibi sceptrum regale, et tu meo capiti coronam spineam; ego te exaltaui magna virtute, et tu me suspendisti in patibulo crucis. Finito versu chorus cantet: Sanctus, totum vt supra: Sanctus Deus. Dicto Miserere nobis, Sacerdos cum reuerentia accipiat Corpus Dowmni DE FeRETRO ET ILLUD IN MANIBUS ELEUATUM TENEAT CONUERSUS AD POPULUM ET VERSIS RENIBUS < FOL. 267 V > AD SEPULCHRUM. TUNC DUO CLERICI GENU- flexi cantent versum: Cum autem venissent, m reliquos infra notatos: Versus: Cum autem venissent ad locum ubi crucifigendus erat filius meus, statuerunt eum in medio omnis populi, et vestibus expoliatis, nudum dimiserunt corpus sanctissimum. Versus: O dulcissime filie Syon, o dulcissime, videte dolorem meum. Inspicite nudum in medio omnis populi filium meum dulcissimum; vulnera- tus est in medio eorum. 101 prius] primus (Print). 102 Second responsory in Matins of Holy Saturday. See Migne, Pat. Lai., LXXVIII, 768. 103 Responsory in Matins of Good Friday. See Migne, Pat. Lat., LXXVIII, 767 . YOUNG — THE EASTER SEPULCHRE 59 1 Versus: Cum vero venissent ad locum ubi sepeliendus erat filius meus, statuerunt eum in medio mulierum; et syndone inuoluentes sepultura dimiserunt corpus sanctissimum. 2 Versus: O vos omnes qui transitis per viam, venite et videte si est dolor sicut meus; desolata sum nimis; non est qui consoletur me; salus mea infirmata est; vita occiditur et a me tollitur. 3 Verms: O nimis triste spectaculum, o crudele supplitium impensum filio, ofelix rex tarn indecenti morte coronatus, pontifices ini- quitatis tantum ne in vestrum exardescitis Deum? 4 Versus: Attendite vos. o populi et uniuerse plebes, dolorem maxi- mum: morte turpissima mactauerunt filium meum. Vos optime sorores, flete vna mecum; de filio conqueramur. 5 Versus: Cum vero deposuissent corpus Iesu de cruce, statuerunt illud in gremio matris sue, in medio mulierum amarissime flentium, mestissima matre filium nimis deplorante. CANTATIS PREDICTIS VcrSIBUS VEL EORUM PARTE, SACERDOS ELEUATIS MANI- BUS CUM CORPORE ClIRISTI IN MODUM CRUCIS BENEDICAT POPULUM ET CUM REUERENTIA ILLUD PONAT IN SePULCIIRO, ET IPSUM CLAUDAT ET SIGILLO SUO signet. R esponsorium: Sepulto Domino signatum est monumentum, voluentes lapidem ad hostium monumenti, ponentes milites qui custodirent ilium. < Versus > : Ne forte veniant discipuli eius et furentur eum et dicant plebi: Surrexit a mortuis. Finito 'Responsono predicto, duo Clerici dicant versum: In pace factus est locus eius. R esponsio: Et in Syon habitatio eius. Et Sacerdos, sine Dominus vobiscum vel Oremus, dicat absolute ora- TIONEM : Respice, quesumus, Domine , super hanc familiam tuam pro qua Dominus noster lesus Christus non dubitauit manibus tradi nocentium, et crucis subire tormentum. Et non dicat Qui tecum, nec responds atur Amen. Et sic terminetui^ PROCESSIO. Si PROCESSIO DEBET FIERI PROLIXIOR ET IN EA PLURES MANSIONES SEU STA- tiones fieri oporteat, finito r esponsorio Caligauerunt cum versu et aliis QUE SEQUUNTUR, REPETATUR ALIQUOD ReSpOHSOrium DE PREDICTIS CUM SUO v^rsu et aliis que sequuntur, ita quod r esponsorium, Sepulto, VLTIMO LOCO RESERUETUR QUANDO CORPUS DOMINI PONITUR IN SEPULCHRO. < FOL. 269 r > Supra posita processio more Veneto fit infrascripto ordine. Paratis OMNIBUS VT SUPRA IN PRECEDENTI PROCESSIONE, NOTATUM EST LOCO R esponsorii, Flange, incipitur a duobus Clericis genuflexis bxtiphonk, Venite et plore- mus, IN CANTU VT INFERIUS NOTATUM EST. POSTMODUM TOTUS CHORUS SURGENS dicat versum , Popule, vt supra. Quo finito illi duo Clerici qui cantaue- runt Venite et plo, cant ant versum Quia edu, et chorus repetit versum Popule. Item duo clerici dicant versum Ego propter te fla, et chorus repetit versum Popule. Et sic alternatim dicantur Improperia pro vt supra signatum est in Adorations Crucis, 60 UNIVERSITY OF WISCONSIN STUDIES FO. 258. Vel ipsa Improperia cantantur in sexto tono psalmorum. Et cum in dicta processione fieri debet aliqua statio seu mansio, omnes GENUFLECTANT ET ILLI DUO CANTENT AN tiphoYl am Venite et, VT SUPRA. QUA DICTA SURGANT OMNES ET SEQUANTUR PROCESSIONEM CANTANDO VCTSUm Popule, et Improperia, vt supra. Cum autem peruenerint ad Sepulchrum FACIANT OMNIA VT SUPRA IN PRECEDENTI PROCESSIONE. < fol. 269 v > Venite et ploremus ante Dominum, qui passus est pro nobis dicens. 104 According to this ordo the Depositio is performed either after the Missa Press anctijicatorum or later, after dinner. The procession is made especially impressive through the use of a bier ( feretrum ) and a canopy ( baldachinum ). The ceremonial begins with the priest’s taking the Host reverently from the altar at the singing of the responsory Flange quasi virgo. At the conclusion of the responsory two priests begin the Improperia {Popule mens),™ to which the choir responds {Sancius Deus). The priest places the Host on the bier, over which a canopy is held, and beside which are carried thuribles and lights. The procession to the sepulchrum is made in four stages, each stage having its processional responsory. At each station the two priests already mentioned sing a verse of the Improperia , to which the choir makes a response. The fourth station occurs before the sepulchrum , where, after a final verse of the Impro- perly followed by the Miserere , the priest takes the Host from the bier and holds it aloft before the congregation while two clerics kneeling sing a series of versus . The priest now blesses the congregation with the Host and reverently places it in the sepulchrum. During the singing of the responsory Sepulto Domino he closes the sepulchrum and seals it. The office closes with a versicle, a response, and a prayer. More significant than the splendor of this procession is the use of the hnproperia , borrowed directly from the traditional Adoratio Crucis of the Missa Prcesanctificatorum. The presence of this liturgical element is definitive proof of the influence of the Adoratio upon the Depositio™ Particularly noteworthy also is the use of the feretrum for bearing the Corpus Christi to 104 The last word is written twice, with varying musical notation. It will be observed that this antiphon ( Uenite et . . . dicens) is referred to above, on fol. 269 r of the print. The last word dicens is followed immediately by a rubric beginning: Sabbato Sancto. 105 See above, pp. 20-29. 106 See above, pp. 20-29. YOUNG — THE EASTER SEPULCHRE 61 the sepulchrum. It will be observed, however, that with all its careful construction and elaboration, this dramatic office contains no impersonation, and hence stops short of true drama. No less striking in its content is the combined Elevatio and Visitatio from the same compilation of Castellani: < ELEVATIO HOSTLE ET VISITATIO SEPULCHRI> 107 De Processione in Nocte Pasche ante Matuti AD SePULCHRUW ChRm/I. Die sawcxo Resurrectionis cum fuerit pulsatum ad Matuti, ANTEQ uam POPULUS INTRET ECCLESIAM, SACERDOS CUM CRUCE ET THURIBULO APPARATUS SUPERPELLICEO , STOLLA, ET PLUUIALI, PRECEDENTIBUS CEREIS ACCENSIS ET SEQUENTE TOTO CLERO CUM REUERENTIA, APERTO SEPULCHRO accipiat Corpus Domini et portet illud in loco sacrarii ubi sacrosanctum Sacramentum seruari consueuit. Et interim chorus cantet sequentes vsalmos vel aliquem eorum: Ps almus: Domine, quid multiplicati sunt qui tribulant me et super populum tuum benedictio tua. Gloria patri et filio et spiritui sancto. 108 Psalmus: Domine, probasti me et cognouisti me. Supra fo. 160. Ps almus: Miserere mei, Deus, miserere mei, quoniam in te confidit anima mea. .. . et super omnem terram gloria tua. Gloria patri et filio et spiritui sancto. 109 FlNITIS PSALMIS, SACERDOS, PRECEDENTIBUS CEREIS ET THURRIBULO, CORPUS Domini portet ad sanctuarium suum, sequente Clero et cant ante r esponsorium Surrexit pastor; Sepulchrum patenter dimitt atur apertum. Responsoriuu: Surrexit pastor bonus qui animam suam postuit pro ouibus suis, et pro suo grege mori dignatus est, alleluia, alleluia, alleluis. Versus: Surrexit Dominus de sepulchro, qui pro nobis pependit in ligno. Et pro suo grege. 110 Tunc Sacerdos faciens officium stans cum Sacerdotibus in choro dicit versum: Surrexit Dominus vere, alleluia. Responsio: Et apparuit Simoni, alleluia. Oremus. 107 Liber Sacerdotalis, 1523, fol. 275 r -278 v . 108 Ps. iii. I omit the body of the psalm, giving only the beginning and ending. 109 Ps. lvi. I omit the body of this psalm. 110 Responsory for Matins of Thursday in Easter Week. See Migne, Pat. Lai., LXXVIII, 773. 62 UNIVERSITY OF WISCONSIN STUDIES Oratio: Omnipotens semipiterne Deus, qui hac sacratissima nocte cum potentia tue maiestatis resurgens portas inferni confregisti, et omnibus ibi detentis dexteram tue misericordie porrexisti, scilicet miserando diucius penis estuantis Gehenne cruciatis quos dudum ad ymaginem tuam creasti, quesumus nos indigni et vltima pars creature tue vt per gratiam tue misera- tionis ac per sancte resurrectionis tue amorem necnon opinium sanctarum animarum quas hac sacratissma nocte de penis inferni ad celestia regna perduxisti, simulqne per omne mysterium quod in resurrectione tua cele- brasti, nobis indignis ac fragilibus omnium peccatorum nostrorum indul- gentiam largiri digneris atq ue ira m et furorem et indignationem tue vin- dicte a nobis repellas, et auxilium, consolationem, ac protectionem in omnibus peccatis, periculis, ac infirmitatibus animarum et corporum nobis concedas; et sicut corpus tue humanitatis, quod ad tempus pro nostra salute exuisti post triduum tue maiestatis potentia resuscitasti, ita corpora et corda nostra ab omnibus vicijs emundari et animas nostras in futura resurrectione bentorum spirituum cetibus facias aggregari. Qui cum patre et cetera. In memoriam et laudem gloriose resurrectionis tue hymnum dicat tibi omnis creatura tua, Domine; et nos quawuis peccatores et dilinquentes hymnum dicimus et gratias agimus, venerandamqne crucem tuam adora- mus sanctamqne resurrectionem tuam laudamus et glcrificamus, quoniam per te redempti sumus; ideoqzie crucifixum Dominum laudamus, et sepul- tum propter nos magnificamus, resurgentemqne a mortuis adoramus et petimus vt per te et sanctam resurrectionem tuam nos a morte animarum nostrarum resuscitare digneris. Qui cum patre. Oratio: Domine Iesu Christe, propter hoc gaudium quod tu cum sanctissima anima tua et corpore in tua sancta resurrectione voluisti habere cum omnibus fidelibus tuis iustis et peccatoribus viuentibus et mortuis miserere nobis, sicut vis et scis necessitates animarum et corporum; et da nobis spacium penitentie, et veram compunctionem, emendationem, omnium peccatorum nostrorum; et presta nobis, Iesu Christe, vt precium corporis et sanguinis tui cum quo nos in sancta cruce redemisti, percipiamus ad salutem animarum nostrarum in nouissima hora, et quod spiritalem unctionem spiritalis olei et salutaris cum omni affectu cordium et corporum percipiamus. Qui cum patre et spiritu sancto viuis ac regnas in vnitate, et cetera. Orationibus finitis Sacerdos Corpus Domini reuerenter thurificet. Dum predicte orationes dicuntur duo Diaconi parentur cum DALMATICIS ALBIS ET IN ECCLESIA REMANEANT. SACERDOS AUTEM PARATUS VT SUPRA CUM TOTO CLERO EXEAT PER PORTAM ECCLESIE MINOREM, MAIORI PORTA CLAUSA RELICT A, ET VENIANT AD PORTAM MAIOREM ECCLESIE CANTANDO R eSpOH- sorium: Dum transisset sabbatum; et cum illuc peruenerint, Sacerdos ACCEDIT AD PORTAM CLAUS AM; CLERUS CIRCUMSTAT EUM. ReSPONSORIUM: Dum transisset sabbatum Maria Magdalene, Maria lacobi, et Salome emerunt aromata, ut venientes vngerent Iesum, alleluia, aKfol. 277 r > YOUNG — THE EASTER SEPULCHRE 63 leluia. Versus: Et valde mane una sabbatorum veniunt ad monumen- tum, orto iam sole. Ut venientes. Gloria patri et filio et spiritui sancto, alle. Et dum peruenerint ad fores ecclesie, completo r esponsorio cum versu ET REPLICA, PLEBANUS VEL SACERDOS PARATUS PULSAT AD OSTIUM MANU VEL CUM CRUCE DICENS SONORA VOCE IN TONO LECTIONIS: Attollite portas principes vestras, et elleuamini porte eternales, et introi- bit rex glorie. Et pro ISTA prima PULSATIONE ILLI DEINTUS NIHIL RESPONDENT. Et FACTO MODICO INTERUALLO, SACERDOS ITERUM VEHEMENTIUS PULSAT AD OSTIUM DICENS VOCE ALTIORI IN TONO LECTIONIS: Attollite portas prin, et cetera. Et ILLI DEINTUS NIHIL RESPONDENT. Et TUNC SACERDOS, MODICO INTERUALLO FACTO, ITERUM IN EODEM TONO SED ALTIUS QUAM SECUNDO PULSANS FORTITER OSTIUM ECCLESIE DICIT: Attollite portas priweipes, et cetera. Tunc illi Dyaconi deintus statim cantando respondent: Quem queritis in sepulchro, Christicole? Et illi de foris respondent: Iesum Nazarenumcrucifixum, o Celicole. Et iterum illi deintus respondeant: Non est hie, surrexit sicut predixerat; ite, nuntiate quia surrexit a mortuis. Hoc FINITO, QUI DEINTUS SUNT APERIANT PORT AM ECCLESIAE, ET OMNES IN- GREDIANTUR. Et ITERUM DICANT QUI DEINTUS ERANT: Venite et videte locum vbi positus erat Dominus, alleluia, alleluia. Et CUM FUERINT PORTAM INGRESSI, FIRMENT SE OMNES ET DIUIDANT PER choros. Tunc Plebanus vadat ad Sepulchrum et ponat caput in fenes- tra Sepulchri; et postea conuersus ad populum dicat voce mediocri: Surrexit Christus. Chorus respondeat : Deo gratias. Quo dicto, Plebanus procedat aliquantulum versus populum, et exaltet VOCEM ALTIUS QUAM PRIMUM ET DICAT: Surrexit Christus. Chorus respondeat: Deo gratias. Iterum tertio Plebanus procedat versus populum aliquantulum, et EXALTATA VOCE ADHUC ALTIUS QUAM SeCltHDO FECERAT ET DICAT: Surrexit Christus. Chorus respondeat : Deo gratias. Quo FACTO OMNES PROCEDANT AD SEPULCHRUM ET FACIANT CHOROS HINC ET inde. Tunc Plebanus vadit ad ostium Sepulchri et statim retrocedat VERSUS CHORUM ET DET PACEM PRIMO SACERDOTI SEU CLERICO VEL DOMINO TERRE, SI IBI FUERIT, ET DICAT VOCE SUBMISSA: Surrexit Dominus. 64 UNIVERSITY OF WISCONSIN STUDIES Et ille respondeat: Deo gratias. Deinde omnes sibi mutuo dent pacem dicentes: Surrexit Dominus. Et ille cm pax datur respondeat: Deo gratias. POSTMODUM V AD ANT OMNES AD ALTARE BEATE VlRGINIS PROCESSIONALITER, ET coram altari genuflexi Sacerdote incipiente an tiphonam Regina celi, EAM TOTAM CANTENT PRO GAUDIO RESURRECTIONIS FlLII SUI DOMINI NOSTRI. Antiphon a: Regina celi letare, alleluia, Quia quem meruisti portare, alleluia, Resurrexit sicut dixit, alleluia. Ora pro nobis Deum, alleluia. Versus : Ora pro nobis, Sancta Dei Genitrix, alleluia. Res pons io : Ut digni efficiamur promissionibus Christi, alleluia. Oremus: Oratio: Deus, qui per unigeniti filii tui Domini Ntwfri Iesu Christi resurrectionem familiam tuam letificare dignatus es, presta, quesumus, vt per eius venera- bilem genitricem virginem Mariam perpetue capiamus gaudia vite. Per eundem Christum. Oremus: Oratio: Gratiam tuam, quesumus, Domine, mentibus nostris infunde, vt qui angelo nunciante Christi filii tui incarnationem cognouimus, per passionem eius et crucem ad resurrectionis gloriam perducamur. Per eundem Christum Dominum. His FINITIS REUERTANTUR AD CHORUM ET CANTENT MATUTINAS. This dramatic office occurs before Easter Matins, and the raising of the Host is accomplished before the arrival of the laymen . 111 During the singing of psalms by the choir, the priest opens the sepulchrum and takes up the Corpus Domini. Then while the choir sings the responsory Surrexit pastor , the priest carries the Host to the sacristy, where after a versicle, response, and prayer, it is given its final censing. The clergy now proceed to a ceremony inspired by the theme of the Harrowing of Hell. While two deacons remain within the church, the priest and other clerics pass in procession to a position outside the closed central door, the processional 111 One should note, however, the presence of the populus during the later parts of the office. YOUNG — THE EASTER SEPULCHRE 65 responsory being Dum transisset. The priest, or a plebanus, now strikes the door with his hand, or with a cross, saying Attollite portas. This is done three times. After each of the first two strikings follows an interval of silence. To the third challenge the two deacons within the church respond with the interrogation Quern quceritis ? Now follows the usual dialogue of the Visitatio Sepulchri, at the conclusion of which the door of the church is opened. At the invitation of the two deacons (V enite et videte) the plebanus peers through the window of the sepulchrum , and then turning to the choir utters the Surrexit Christus, the choir responding Deo gratias. After this versicle and response have been repeated twice, and after the Kiss of Peace has been given, the whole congregation moves from the sepulchrum to the altar of the Blessed Virgin, where the office closes with an antiphon, a versicle and response, and prayers. It may fairly be said that this version consists of three distinct parts: (1) the Elevatio , (2) a representation of the Des- census ad inferos , and (3) a Visitatio Sepulchri. These parts, how- ever, do not occupy positions equally independent. Whereas the Elevatio may be said to stand by itself, the other two divi- sions are amalgamated in a somewhat conspicuous manner, and this amalgamation cannot be considered completely suc- cessful. Although the action of this part of the office is smooth, the incongruity of the themes is not surmounted. The Quern quceritis dialogue, implying the visit of the Maries to the empty tomb, is inappropriately used in a representation of the yielding of the gates of Hell. Although in describing this ceremony I have used the word “representation,” it should be observed that since the text presents no evidence of impersonation, we are dealing, once more, not with a true play, but with a dramatic office. Finally one other detail in the version before us calls for comment: the Pax , or Kiss of Peace. It may be that this part of the ceremonial shows the influence of a certain practice pre- scribed as a prelude to Easter Matins by some of the oldest of the Ordines Romani. Thus in the Ordo of St. Amand, repre- senting the liturgy of about the year 800, we read the follow- ing : 112 112 Duchesne, p. 471, from a manuscript of the ninth century. 66 UNIVERSITY OF WISCONSIN STUDIES In ipsa nocte sancta Resurrectionis, post gallorum cantu surgendum est. Et dum venerint ad ecclesiam et oraverint, osculant se invicem cum silentio. Deinde dicit Deas in adjutorium meum. 113 In this case the celebration is very simple, consisting merely in the saying of prayers and in the Kiss of Peace. A similar observance is seen in the following from Or do Romanus I: In ipsa nocte post gallorum cantum, matutino irrumpente luce tenebras, surgentes in ecclesia veniunt, & mutua caritate se invicem osculantes dicunt: Dens in adjutorium meum. 114 The same tradition is found outside Rome in such a passage as the following : 115 In crastino suramo diluculo ueniunt studiose omnes in ecclmam & mutua pace inuicem se osculantes dicunt: Surrexi/ Xpistuc. R esponsio: Gaudeamws omnes. Deinde : Domint labia mea. 116 It will be observed, however, that none of the observances just cited is explicitly associated with the sepulchrum. Such association is seen in the following : 117 Dum classis pro officio nocturno pulsatur, duas candelse in Sepulcro ponantur, & ceroferarii mittantur ad Archiepiscopum, qui veniens indutus cappa serica alba ante Sepulcrum dicat: Confiteor, &c. Deinde intrans, facta oratione, Sepulcrum osculatur & altaria. Inde vero exiens Decanum osculetur. Postea intrans in chorum, ceroferariis praecedenti- bus, & stans inter Can tores in medio choro dicat: Resurrexit Dominus, & cantor respondeat: Et apparuit Petro, 113 With the words Deus in adjutorium meum Matins begins. 114 Mabillon, II, 28. More extensive Roman ceremonials for early Easter morning, including the Pax, have been introduced above, pp. 27-29. 115 Udine, Biblioteca Arcivescovile, Graduale Ratisbonense saec. xi, fol. l r . This manuscript of seventy-one folios has no shelf-mark in the Udine library. For the text now published I am indebted to my friend Dom G. M. Beyssac, of Quarr Abbey, Isle of Wight. To Dom Beyssac I am deeply grateful for many generous services in connection with the present study. 116 With these words begins Easter Matins. 117 Martene, p. 503, from an Ordinarium Viennense, of uncertain date. YOUNG — THE EASTER SEPULCHRE 67 & dat ei osculum pads; similiter & alii Cantori. Alii Clerici ordinate idem faciunt ad Sepulcrum; & sic fiat quando Archiepiscopus agit officium, & quando ejus vicarius pro eo illud facit, hoc modo fiat. Primo Cantores induti cappis sericis albis, deinde vicarius Archiepiscopi accedentes ad Sepulcrum in introitu portae genibus flexis Cantores stent, vicarius intret in Sepulcrum, & facta ora- tione, veniat ad portam, & dicat Cantoribus: Resurrexit Dominus. Cantores respondeant: Et apparuit Petro. Postea intrent omnes in Sepulcrum deosculando altaria. Deinde nocturnum officium incipitur. It may be, then, that the use of the Pax in such observances as these is the source of the Pax in the Elevatio-Visitatio from the Liber Sacerdotalis of Castellani, and elsewhere . 118 With the versions of Castellani we may appropriately associate those in use in the eighteenth century in the Church of St. Mark at Venice . 119 The characteristic elements seen in the texts of Castellani persist at Venice two centuries later. The Depositio of St. Marks is prescribed as follows: < DEPOSIT 10 HOST LE> 120 Processio ad Sepulchrum Post prandium, hora consueta, immediate post Pr^edicationem, fit Sanctissimi Sepulchri Christi Processio hoc modo, videlicet. In primis PR.EPARENTUR IN CANONICA SEXAGINTA INTORITIA ALBA A SEX MAGNIS SCHOLIS, DECEM PRO QUALIBET IPSARUM DISTRIBUENDA. QUIBUS ACCENSIS, DISCEDUNT PRIMO DECEM EX SCHOLASTICIS SCHOL.E SANCTI THEODORI, CUM PR^EDICTIS INTORTITIIS ACCENSIS, & VENIENTES IN CHORUM VERSUS ALT ARE MAJUS, VADUNT BINI & BINI PER MEDIAM CHORI PORTAM, QU^E EST APUD SERENISSIMI PRINCIPIS sedem. Et sic devote succedunt alii decem Schol^e Sancti Rocchi. Deinde alii decem Schol^e Misericordle. Postea alii decem Schol^e Sancti Joannis Euangelist^e. Deinde alii decem Schol^e Charitatis. Postmodum Clerus Sancti Marci. Post quem succedunt duo cantores chori. Deinde quatuor juvenes Presbyteri camisiis nigris & STOLIS VIOLACEIS PECTORI TRANSVERSATIS INDUTI, QUATUOR CEREOS PARVOS 118 See below, pp. 88, 89, 97, 109. 119 Officium Hebdomadce Sane tee secundum consuetudinem Ducalis Ecclesice Sancti Marci Venetiarum . . . , Venice, 1736 (British Museum), pp. 277-282, 345-349. The Elevatio and Visitatio from this book have been reprinted by Lange, in Zeitschrift fur deutsches Alterthum, XLI, 78-80. So far as I know, the Depositio has not previously been brought into relation with the drama. 120 Officium Hebdomadce Sanctce . . . Sancti Marci . . . , Venice, 1736, pp. 277-282. The present text is preceded immediately by the rubric: Et sic Missa cum Vesperis terminetur. 68 UNIVERSITY OF WISCONSIN STUDIES ACCENSOS PORT ANTES. POSTEA QUATUOR CLERICI DALMATICIS NIGRIS INDUTI, THURIBULUM & NAVICELLAS CUM INCENSO DEFERENTES. DeINDE QUATUOR CANOXICI CUM DALMATICIS VELLUTI NIGRI, FeRETRUM CUM SANCTISSIMO CHRISTI CORPORE DEFERENTES. POSTMODUM DUO ALn JUVENES PRESBYTERI CAMISIIS NIGRIS & STOLIS VIOLACEIS PECTORI TRANSVERSATIS INDUTI, CEREOS MAJORES ACCENSOS PORTANTES. Et CUM SaNCTISSIMUM ChRISTI CORPUS EST SUPER SACRARU PORTAM, OMNIBUS FLECTENTIBUS GENUA, CANTORES CANUNT VerSUVV. Venite, & ploremus ante Dominum, qui passus est pro nobis, dicens: Quo DECANTATO OMNES SURGUNT, & CANTORUM TURBA AD OMNES PAUSAS RE- spondet versum: Popule meus, quid feci tibi? aut in quo contristavi te? responde mihi. Versus: Quia eduxi te per desertum quadraginta annis, & manna cibavi te, & inroduxi te in terrain optimam. Versus: Aceto namque 121 sitim meam potasti, & lancea perforasti latus Salvatori tuo. POSTEA EXIT E SACRARIO REVERENDUS VlCARIUS, SEU QUI FACIT OFFICIUM, CUM PLUVIALI & STOLA VELLUTI NIGRI. HUNC SEQUUNTUR ALn DECEM SCHO- lastici Schole Sancti Marci. Deinde Scutiferi & Secretarii cereolos, QUOS APUD PORTAM CHORI IN CAPSELLIS PR.EPARATOS, & ACCENSOS AD HOC JN- VENERINT, DEFERENTES. POSTREMO SEQUITUR SERENISSIMUS PRINCEPS CUM Illustrissimo Dominio. Et cum pervenerit subter porticum Palatii Clerus ordinate a quinque scholarum pr^edictarum scholasticis, partim A DEXTRIS & PARTIM A SINISTRIS COMITETUR. SlT AUTEM SUBTER PALATII PORTICUM UMBELLA NIGRA PR.EPARATA CUM SEX SUBCANONICIS PLUVIALIBUS SAMITI NIGRI INDUTIS, & IPSAM UMBELLAM DELATURIS. CUM PERVENERIT IGITUR SANCTISSIMI CORPORIS ChRISTI FeRETRUM, IPSUM SUBTER UMBELLAM MAGNA CUM REVERENTIA RECEPIATUR, & SIC AD SANCTAM PROCESSIONEM DEVOTE PROCEDATUR, STANTIBUS SEMPER APUD DUAS ULTIMAS HASTAS UMBELL2E DUOBUS EX HONORABILIBUS SCHOLASTICIS SCHOUE SANCTI MARCI. POST FeRETRUM SEQUITUR REVERENDUS VlCARIUS, DEINDE SCUTIFERI, SECRET ARn, Magnus Cancellarius, & Serenissimus Princeps cum Illustrissimo Do- minio. CUMQUE FIT PRIMA PAUSA AD PETRAM BANNI, OMNES FLECTANT GENUA, & Cantores canent versum: Venite, <&>ploremus, UT SUPRA. QUO DECANTATO, OMNES SURGUNT. Et CANTORUM TURBA RESPON- DENTS versum: Popule meus, UT SUPRA, TALIS ORDO PER TOTAM PROCESSIONEM SERVARI DEBEAT. SeCUNDA PAUSA FIT PER MEDIAM PORTAM ECCLESLE SANCTI MARCI, OMNIBUS GENUA FLECTENTIBUS &, UT SUPRA, CANENDO. TeRTIA PAUSA FIT PER MEDIAM PORTAM Sancti Bassi, similiter flectendo genua & canendo, ut supra. Cum autem OMNES SCHOLE IN TEMPLUM PERVENERINT, FACIANT CHORUM, PRIMA APUD POR- TAM MAJOREM ECCLESLE, CAETERISQUE TALITER SE DISPONENTIBUS, UT ULTIMA SIT APUD Sanctissimum Christi Sepulchrum collocata. Restitutisque ab 121 namque] nanque (Print). YOUNG — THE EASTER SEPULCHRE 69 OMNIBUS AD PORTAM MAJOREM ECCLESLE CEREOLIS, SCUTIFERI & SECRETARII ASCENDUNT CHORUM PER PORTAM QUJ£ DUCIT APUD SERENISSIMI PRINCIPIS SEDEM. SED CLERUS TOTUS VADIT CONTRA SANCTISSIMUM ChRISTI SEPULCHRUM. Ad quod cum Sanctis simum Christi Corpus pervenerit, Serenissimus Princeps cum Illustrissimo Dominio sistit se. Reverendus- QUE 122 VlCARIUS CUM TABERNACULO IN MANIBUS STAT SUPER SEPULCHRI ARAM, & OMNIBUS GENUA DEVOTE FLECTENTIBUS, CANTORES CANUNT VerSlWl .* Cum autem venisset ad locum ubi crucifigendus erat filius meus, statue- runt eum in medio omnis populi, & vestibus expoliatis, nudum dimiserunt corpus sanctissimum. Quo DECANTATO, DICTUS REVERENDUS VlCARIUS CUM TABERNACULO, MORE SOLITO DAT SUAM SANCTAM BENEDICTIONEM. DeINDE REVERENTER DEPOSITO Sanctissimo Christi Corpore in Sepulchro, Magnus Cancellarius re- cepto prius a Serenissimo Principe annulo, ipsum defert dicto Reveren- DO VlCARIO, QUI IPSIUS SEPULCHRI OSTIUM SIGILLAT; QUO SIGILLATO CANTORES canunt version: Sepulto Domino, signatum est monumentum ad ostium monumenti: ponentes milites qui custodirent illud, ne forte veniant discipuli & furentur eum, & dicant plebi: Surrexit a mortuis. Deinde omnes surgunt, & Serenissimus Princeps cum Illustrissimo Dominio chorum ascendit. Scholastici quoque redeunt in Canonicam AD EXTINQUENDA & RESTITUENDA INTORTITIA. CLERUS VERO REMANET ANTE SEPULCHRUM, & DICITUR COMPLETORIUM LEGENDO, UT SUPRA, CUM RELIQUIS. Et IN FINE ORATIO : Respice, quaesumus, Domine, fol. 175. Quo FINITO OMNES REDEUNT IN CHORUM, & INCHOATUR MATUTINUM. This office is performed post prandium, immediately before Compline. The most conspicuous part of the ceremonial is the elaborate procession into the church, and of this procession the most notable aspect is the use of the Impropria at the beginning and at three subsequent stations. Since the signifi- cance of this use of the Impropria has already been commented upon , 123 we need not emphasize it here. The actual placing of the Host in the sepulchrum is accomplished very simply, and the concluding Sepulto Domino allies the present version of the Depositio with the normal type. The other ceremonials connected with the sepulchrum take the following form : 122 Reverendusque] Reverendisque (Print). 123 See above, p. 69. 70 UNIVERSITY OF WISCONSIN STUDIES m Dominica Resurrectionis Domini. SuMMO MANE, APERTO PRIUS A SACRISTA SePULCHRO & SANCTISSIMO SACRA- MENTO IN SUO LOCO DEBITA REVERENTIA COLLOCATO, CLERUS NOSTER HORA COM- PETENTI IN SACRARIUM HODIE CONVENIAT, AC UNUSQUISQUE MAGISTRI CERE- MONIARUM CURA SUO FUNGATUR OFFICIO. Et PALLA IN PRIMIS APERTA, AC THESAURO SUPER ALTARE BENE DISPOSITO, QUATUOR ACOLYTI ORDINARII CAMISIS MUNDIS INDUTI, CEREOS ARGENTEOS DEFERENTES, E SACRARIO MODERATE DISCE- DUNT. Cruciferi AUTEM DALAMTICIS ALBIS DAMASCENIS NOVIS SUPRA LENEAS TUNICAS INDUTI, IN MEDIO EORUM MAGNAM CrUCEM ARGENTEAM DEFERUNT. Hos sequitur Clericorum & Sacerdotum turba juniorum. Postea SUBCANONICI & CANONICI GRADATIM SOLEMNIBUS PLUVIALIBUS INDUTI. DeINDE Reverendus Vicarius vel Senior Canonicus pretiosioribus cum Ministris indutus missalibus paramentis, cum tribus candelis accen- sis Sereniss. Principi, Procuratori, & Celebranti distribuendis. Pos- tremo sequitur C^eremoniarum Magister una cum tribus Clericis, quo- rum ALTER DEFERAT LIBRUM ORDINARIUM, ALTER ORATIONALE PRO DECEWDA PRIMA OPPORTUNO TEMPORE AD SePULCHRUM, TERTIUS SIT a NEGOTnS EJUSDEM MAGISTRI. HujUSMODI PROCESSIO EXIT PER PORTAM SaNCH CLEMENTIS & RECTA AD SCALAM MAJOREM AD SINISTRAM SUB PORTICU CONTENDIT. Qu^ FIRMATUR SUB PORTICU SUPERIORI PALATH, & FACTO CHORO EX UTRAQUE PARTE, CELEBRANS UNA CUM MlNISTRIS, COM3TE C^RENONIARUM MAGISTRO, ASCEN- DENS SCALAM DUCALEM, OCCURRIT SERENISS. PRINCIPI E SCALA COLLEGII DE- SCENDENTI, UBI PRIUS FACTA DEBITA REVERENTIA, OFFERT CANDELAM ACCENSAM SUiE Serenitati, aliam Procuratori nostr.e Ecclesle, qui hoc procession- IS ITINERE PR.ECEDIT, DE MORE, C.ETEROS ORATORES, & EST PROPE SERENISS. PRINCIPEM, SED IN REDITU LOCUM PETIT SUUM. TeRTIAM CANDELAM CELE- BRANS SIBI RETINET. QUIBUS CANDELIS OBLATIS, PRyEDICTUS CLERUS SUMMA MODESTIA DESCENDENS E SCALA MAJORE PALATn, EXIT PER PORTAM AUREAM, NISI PLUAT; TUNC ENIM EODEM ORDINE, QUO VENIT, FIERET INTROITUS PER PORTAM SANCTI CLEMENTIS, & IRETUR AD SEPULCHRUM PER PARVAM SCALAM Sancti Jacobi, prius amotis sedibus ob pr^edicationem ibidem prtEparatis. Et cum nostra Crux ingreditur plateam, campan^e pulsantur. Licet mane campana ducalis adventum Principis indicans, non pulsetur, NEQUE A CELEBRANTE DE DOMINICA ReSURRECTIONE SERENISS. PrINCEPS ADMONEATUR. CUM PERVENERIT AUTEM PROCESSIO AD ECCLESIAM, OMNES PROCEDUNT USQUE AD SECUNDAM JANUAM MAJOREM ECCLESLE, QX1JE CLAUSA EST, & OMNES ALL® CLAUSE SINT, PRATER DU AS PARVAS : SCILICET QU,E TENDUNT IN CANONICAM & IN PaLATIUM AD SANCTUM CLEMENTEM. Et FACTO CHORO INTER DUAS ILLAS JANUAS MAJORES SUB PORTICU ECCLESLE, QUO MELIUS FIERI POTEST, INTRAT ETIAM SUA SERENITAS EO SUB PORTICU CUM PROCURATORE & Oratoribus. Canonicus Celebrans accedit ad januam clausam & pulsat TER CUM ANNULO ^ENEO PENDENTE EX IPSA, TRIBUS ICTIBUS PRO QUALI m Officium Hebdomada Sanctce . . . Sancti Marci ...» Venice, 1736, pp. 345-349. YOUNG — THE EASTER SEPULCHRE 71 bet vice, ita ut sint novem ictus. Et Cantores interius cantant versum: Quem quaeritis in sepulchro, Christicohe? Et illi de foris extrinsecus cantantes respondeant: Jesum Nazarenum crucifixum, o Coelicolae. Et illi deintus dicant : Non est hie, surrexit sicut praedixerat; ite, nuntiate quia surrexit, dicen- tes. Quo FACTO ITERUM DICANT QUI DEINTUS SUNT: Venite & videte locum ubi positus erat Dominus, alleluja, alleluja. Cum autem dicunt: Venite & videte, panduntur fores ecclesle, & omnibus IN EAM INGREDIENTIBUS PROCEDIT CLERUS ORDINATE CONTRA SEPULCHRUM. Ad quod cum Sereniss. Princeps PERVENERIT, FIRMAT se, facie ad Sepul- chrum versa. Tunc Celebrans ascendit ad Sepulchrum, & immisso capite, utrinque erigens se, versa facie ad Sereniss. Principem in porta Sepulchri cant at versum: Surrexit Christus. Et chorus respondeat : Deo gratias. Deinde in medio spatio chori idem decantat, aliquantulum extollens VOCEM, & CHORUS EO MODO, QUO SUPRA, RESPONDEAT. TeRTIO CANIT APUD Serenissimum Principem in debita dist antia, semper exaltando < p. 349 > vocem: Surrexit Christus. R esponsio: Deo gratias. Et facta eadem per chorum responsione, accedens ad Sereniss. Princi- pem, deosculatur eum & Procuratorem dicens: Surrexit Christus. Et illi respondeant: Deo gratias. Deinde Sacerdos deosculatur Diaconum & Subdiaconum, idem dicens; ILLI VERO DANT OSCULUM SIBI PROPINQUIORIBUS ; ET SIC SUCCESSIVE USQUE AD MINIMOS CLERICOS QUI ADSUNT, DICENTES ET RESPONDENTES, UT SUPRA. POSTEA Sereniss. Princeps cum Senatu ascendit chorum. Clerus vero remanet ad Sepulchrum, prater Cantores qui suum ascendunt pulpitum ad canendam Missam, dicens Primam legendo. 125 The observances outlined in this text occur on Easter morning immediately before Prime. The Elevatio proper is performed privately: that is, at an early hour a sacristan opens the sepulchre and removes the Host to an appropriate place. The simplicity of this observance is quite submerged in the ceremonial brilliance of the subsequent Visitatio. Since the Visitatio , however, is not our present concern, we need observe 125 Followed immediately by the rubric: Ad Primam. 72 UNIVERSITY OF WISCONSIN STUDIES only that in general sequence and in the inclusion of the Pax the present version is similar to that of Castellani. In view of the analyses already made of the actual texts of the Depositio and Elevatio , one need offer for the present division of this study only a very brief summary. The texts range in date from the eleventh century 126 to the eighteenth, they are distributed over Germany, France, Switzerland, Italy, and Hungary, and they show every possible degree of ceremonial elaboration. Particularly notable is the liturgical nature of their content. Although the Depositio and Elevatio are extra- liturgical in the sense of being deliberate additions to the authorized liturgical system, the actual utterances provided for these offices are well-known antiphons and responsories from the official liturgy itself. Most noteworthy of all, however, is the absence of dialogue and impersonation. An approach to dialogue, to be sure, is seen in connection with the theme of the Descensus ; but in the Depositio and Elevatio proper, dialogue does not occur. None of the texts thus far examined shows unequivocal evidence that the clerics who serve in the dramatic offices undertake to impersonate characters connected with the events commemorated. In other words, none of the versions reviewed thus far can be considered true drama. IV We pass now to those versions of the Depositio and Elevatio in which the center of the ceremonial is not the Host but the Cross. Since, as we have already observed , * 1 the Depositio forms a natural sequel for the Adoratio Crucis, we may expect to find that a certain number of versions of the Depositio Crucis attach themselves to the Adoratio so directly as to form with the Adoratio a consecutive ceremonial. This is true of the earliest extant version of the Depositio , that preserved in the Concordia 126 1 refer to the Elevatio from St. Gall (above, p. 30). It should be remem- bered, however, that a Depositio of the type under consideration, and probably an Elevatio, are referred to in the tenth -century life of St. Udalricus (See above, p. 17). 1 See above, p. 26. YOUNG — THE EASTER SEPULCHRE 73 Regularis of St. Athelwold. The Adoratio Crucis from this document, printed in full above , 2 3 is followed immediately by this version of the Deposition 4 Nam quia ea die depositionem Corporis Saluatoris Nostei celebramus, USUM QUORUNDAM RELIGIOSORUM IMITABILEM AD FIDEW INDOCTI UULGI AC NEOFITORUW CORROBORANDAM EQUIPARANDO SEQUI, SI ITA CUI UISUM FUERIT U£L SIBI TAUTER PLACUERIT HOC MODO DECREUIMUS. SlT AUTEM IN UNA PARTE ALTARIS, QUA UACUUM FUERIT, QUEDAM ASSIMILATIO SEPULCHRI, UELAMENQW0 QUODDAM IN GYRO TENSUM QUOD DUM S PSALMOS DECANTANDO EXCUBIAS FIDELES EXERCEANT. 7 This text of the Depositio not only shows a direct attach- ment of this office to the Adoratio , but it also explains the didactic purpose of the dramatic ceremonial. The Depositio is 2 See above, pp. 20-22. 3 The Depositio, Elevatio, and Visitatio from the Concordia Regularis have been printed numerous times. An adequate bibliography of this monastic rule is given by Chambers, II, 306-307. I take my texts directly from Cotton MS Tiberius A. III., in the British Museum. This manuscript dates from the early eleventh century, and represents the use of Winchester in the latter part of the tenth century. I scarcely need say that I have made full use of W. S. Logemann’s admirable texts from the same manuscript, in Anglia, XIII, 421- 428. Except for my omission of the Anglo-Saxon glosses, my texts differ in no essential way from those of Logemann. 4 Cotton MS Tiberius A. III., fol. 19 v -20 r . In the manuscript the first word Nam of the present text follows immediately the last word facial of the Adoratio Crucis printed above, pp. 20-22. 5 monumenti] monumento (MS). 6 Dominicel dominica (MS). 7 Followed immediately by the ordo for fetching the Host reserved for the Miss a Prcesanctificatorum. 74 UNIVERSITY OF WISCONSIN STUDIES designed for enforcing the intention of the Adoratio, and for strengthening the faith of the unlearned and of the neophytes. In a vacant part of the altar is prepared a likeness of the sepul- chrum, with a veil stretched upon a ring. The deacons who have carried the Cross for the Adoratio wrap it in a cloth in the place of the adoration, and carry it to the sepulchrum singing the antiphons In pace in idipsum and Caro mea. The deacons now deposit the Cross in the sepulchrum as if it were the buried body of Christ, meanwhile singing the antiphon Sepulto Do- mino. Here the Cross is guarded until the night of the Resur- rection. Two, three, or more brothers are appointed to. keep faithful watch at the sepidchrum by night, singing psalms. Our knowledge of the Elevatio is confined to the following sentence : 8 ElUSDEW TEMPORE NOCTIS ANTEQUAM MATUTINORUM SIGNA MOUEANTUR, SUMANT EDITUI CRUCEM et PONANT IN LOCO SIBI CONGRUO. In this brief rubric the sacristans of the church are charged with taking the Cross from the sepidchrum and putting it in an appropriate place, — this to be done before Matins on Easter morning. The close relationship of the Depositio to the Adoratio , as seen in the Concordia Regularis of St. Athelwold, is further exemplified in the use of the cathedral of Rouen. The Rouen Gradual of the thirteenth century provides for the Depositio as follows : 9 < DEPOSITIO CRUCIS> 10 Quaxdo Crux adorata FueriT a Clero et popmlo eleuet eaw SACerDos alte et iwcipiat Cantor hawc Antiphonam : Super omnia ligna cedrorum, tu sola excelsior, in qua uita mundi pepen- dit, in qua Xpistus triumphauit et mors mortem superauit in eternum. Quo uiso Clerus et popmlws genuflectant et chorus finiat AHTiphonams Qua cantata crux paruuLA in cowmemoratjone sangminis et AQue deflenti. 8 Cotton MS Tiberius A. III., fol. 21 r . 9 Paris, Bibliotheque Nationale, MS latin 904, Graduate Rothomagense saec. xiii, fol. 92 v -93 r . A photographic reproduction of this manuscript occupies the second volume of Le Graduel de VEglise Cathedrale de Rouen au xiii e Siede, Rouen, 1907 edited by H. Loriquet, J. Pothier, and A. Collette. So far as I know, the Depositio from MS 904 is now printed for the first time. A bibliog- raphy of the Rouen manuscripts that contain liturgico-dramatic offices is given by the present writer in Modern Philology , Vol. VI (1908), pp. 224-227. 10 Bibl. Nat. MS latin 904, fol. 92 v -93 r . YOUNG — THE EASTER SEPULCHRE 75 DE LATerE ReDEMPTORIS A Qua ET UINO LAUET M DE QUO COWMEMORATZONEW SACRAM CLERWS BIBAT et POPWLMS ET AD OPUS INFIRMORttW RESERUETUR. Qwo 11 Fac/o Sacerdotes et CLmci accipiant Crucifixum et portent ad SePULCHRUM PrePARATUM CANT ANTES HOC RESPONSORIUW: Sicut ouis ad occisionem ductus est, et dum male tractaretur non aperuit os suum; traditus est ad mortem ut uiuificaret populum suum. Versus: In pace factus est locus eius et in Syon habitatio eius. Re- petendum: Ut uiuificaret. Et TUNC PONATwr IN SePULCRO, PEDIBMS uersis AD ORIENTEW ET COOPERIATt 16 QUO 17 EINITO DEFERATUR CRUCIFIXMS AD SEPULCHRUW A DUOBttS PmBy/gRIS reuest«7j5 qui cant au efUNT Popule meus. Arch iepiscopus et plures FRa/rES cum eis cant antes incip iant Responsorium: Sicut ouis ad occis ionem. Versus: In pace fac/ws est. Quo COLL 0 CATO dicatur a ntiphona: In pace in idipsttm dor. Postea ARCHiepiscopus uel s Acer Dos ostium Sepulcri claudat et duo p res- ByteRi cum eo et humili uoce incipiant Responsorium: Sepnlto domino. Versus: Ne forte ueniant. Ponentes. Quo PerACTO kRcmepiscopus uel SACerDos lauet manus suas, et cum magna REUcrENTIA AD SACRATORIUm Ptf/'GAT. 18 In liturgical content this text is identical with that printed above from the Rouen Graduale of the thirteenth century; and it cannot be urged that the differences in the rubrics are of substantial importance. The extant service books of Rouen do not mention the Elevatio. That this office was introduced early into the Rouen use, however, is clear from the Liber de Officiis Ecclesiasticis of Jean d’Avranches, archbishop of Rouen in the eleventh century. This writer describes the Depositio and Elevatio as follows: < DEPOSIT 10 CRUCIS> 19 Quoperacto, Crucifixus in commemoratione sanguinis et aquas fluentis de latere Redemptoris vino et aqua lavetur, de quo post sacram Communionem chorus bibat et populus. Post respon- sorium Sicut ovis ad occisionem, cantando, ad < locum >aliquem deferant in modum Sepulcri compositum, ubi recondatur usque in diem Dominicum. Quo collocato, antiphona In pace in idipsum, et responsorium Sepulto Domino cantetur. < ELEVATIO CRUCIS> 20 Decima hora noctis pauci clerici induti veniant, et Crucifixum cum incens o et thymiamate levantes, antiphonamque Surrexit Dominus de (1) Paris, Bibl. Nat., MS lat. 1213; and (2) Rouen, Bibl. de la Ville, MS 382 (olim Y. 108). On this point I happen not to have precise information at hand. For a bibliography of these manuscripts see Modern Philology , VI, 224. 16 Rouen MS 384 (olim Y. 110), fol. 80 r . 17 This refers to the washing of the Cross at the end of the Adoratio. 18 The Communion of the Missa Prcesandificatorum follows immediately. 19 Migne, Pat. Lat., CXLVII, 51-52. Substantially the same text is found in the anonymous twelfth century treatise in Montpellier MS H. 304, fol. 36 v . In regard to this manuscript see Modern Philology , VI, 202-206. 20 Migne, Pat. Lat., CXLVII, 53. Substantially the same text is found in Montpellier MS H. 304, fol. 37 v . YOUNG — THE EASTER SEPULCHRE 77 sepw/cr 0 , loco suo honorifice constituant. Post cunctis campanis sonantibus, januas ecclesiae aperiant, et Matutinas incipiant. This brief ordo for the Elevatio provides merely that before Matins on Easter morning a few clerics open the sepulchrum , cense the Cross, and carry it to an appropriate place, singing the antiphon Surrexit Dominus. The absence of the Elevatio from the Rouen service-books that contain the Depositio and Visitatio is unfortunate, but it does not prove definitely that during the thirteenth, fourteenth, and fifteenth centuries the Elevatio was obsolete . 21 It is, indeed, not easily conceivable that a use preserving the Depositio and Visitatio should suppress the intermediate office . 22 The close attachment of Depositio to Adoratio which we have observed in the uses of Winchester and Rouen is further exemplified in a version of the fourteenth century from Dur- ham : 23 < DEPOSIT 10 CRUCIS> 24 Et sciendum quod du m Crux portatur et reportatur per me DIUM CHORI, ADORARI DEBET AB OMNIBUS FLEXIS GENIBW5. CUW UERO PCT- UENERINT AD GRADUS PAUIMENTI, ProCEDANT DUO FRa/rES CU m CAWDELABRIS et tertius cum thuribulo pttcendentes Crucis portatores et Episcopuu UeL PriOREM, qui, cum portatorib us Crucis, Crucew in Sepulcro collocaturms est. Finita a nliphona Super omnia, incipiat Cantor R esponsorium: Tenebre 28 SACerDOTES QUI AD ALTARE DOtfWNICUM MINISTRABAttT, STATIW P OSt MlSSALE Offzwwm Crucew QUAm FRa/rES deosculati sunt in Sepulchro h oc ordine COLLOCANT. 25 Fifth responsory in Matins of Good Friday. See Migne, Pat. Lat., LXXVIII, 766-767. 26 The Communion of the Missa Prcesanctificatorum follows. 27 Oxford, Bodleian Library, MS Canonici Liturg. 325 (19414), Ordinarium Benedictinum saec. xiii, fol. 78 r . The manuscript is of German origin. See W. H. Frere, Bibliotheca Musico-Liturgica, Vol. I, London, 1901, p. 21. The Depositio and Elevatio are now published, I believe, for the first time. The Visitatio from this manuscript has been published by the present writer in Publications of the Modern Language Association, XXIV, 312. 28 Bodleian, MS Canonici Liturg. 325, fol. 78 r . YOUNG — THE EASTER SEPULCHRE 79 Duo EX IPSIS ORDINE PrlORES PORTANT CRUCEra, QUOS ALII TRES CUM TURI- BULIS ET CANDELABRIS PreCEDUNT, SACerDOTE EB^omaDARIO et ARMARIO ILLOS comitantibws, siMULQwe cum eis suppress a uoce cantantibw^ r esponsorium: Ecce quomoJo. R esponsorium: Recessit pastor noster, < fons aquae vivae, ad cu jus transitum sol obscura- tus est; nam et ille captus est, qui captivum tenebat primum hominem. Hodie portas mortis et seras pariter Salvator noster disrupit. Versus: Ante cujus conspectum mors fugit, ad cujus vocem mortui resurgunt, videntes autem eum portae mortis confractae sunt. Hodie. > < Antiphon a > : Joseph ab Ar imathia. Antiphona : Sepulto Domino < signatum est monumentum, ponentes milites qui custodirent illud.> 29 iNTeriM ponunt Crucew super tapete stratuw in pauimcwto ; qui operiENTES LINTEO IWCENSANT et APPONUNT CEREUW, QUI IUGITer ARDEBIT USQW6 DUW IN NOCTE CU ill ALIIS EXTINGUATWr. Ipsa vero Crux a custodies RCCLesiy, in paschali nocte inde auferenda vst ant eQuam pulsetur ad Noct urnum, relicto tam en linteo usQwe dum in IPSA NOCTE SePULCHRUW A FRatrlBUS UISITETUR. 30 The Depositio is performed immediately at the close of Mass, and the Cross employed appears to be that previously used in the Adoratio. The procession, with its musical pieces, is already familiar. The actual burial in the sepulchrum appears to be represented in a very simple manner. After being laid upon a carpet spread over the pavement, the Cross is merely covered with a cloth, censed, and provided with a lighted candle . 31 The Elevatio seems to have been performed before Easter Matins silently and secretly. No liturgical pieces are provided. The cloth is left for use in the later Visitatio. At Moosburg, in Bavaria, the Depositio Crucis took place after Vespers, as we see from the following : 32 29 Antiphon of Lauds for Holy Saturday. See Migne, Pat. Lat., LXXVIII, 769. 30 Followed immediately by the following rubric: Communione peracta extinctis candelis percutitur tabula, ut fiat oratio uespertina. 31 From the Visitatio, however, we learn that the sepulchrum was a contri- vance of some definiteness and amplitude, for it could be entered. See Pub. of Mod. Lang. Assoc., XXIV, 312. 32 Munich, Hofbibliothek, Cod. lat. 23068, Breviarium Moosburgense saec. xiv, fol. 29 l v . The manuscript contains no Elevatio. The Depositio is now published for the first time. The Visitatio (fol. 295 v ) has not been printed; but it is described by N. C. Brooks, in Zeitschrift fiir deutsches Altertum, Vol. L (1908), p. 309. 80 UNIVERSITY OF WISCONSIN STUDIES 33 Dcinde RECiPiATwr Crux et uoce lenta di catur R esponsorium: Ecce quomodo moritur. R esponsorium: Sepulto Domino. Res pons orium: Recessit pastor. AsperGATur et THURiFiCETur. SEQuiTur versus: In pace {actus est locus eius. Et sic e st finit um. From these meagre rubrics we learn little more than that after the laying down of the Cross the sepulchrum is sprinkled and censed. More generous details are provided in the following ordo from Andechs : 34 < DEPOSITED CRUCIS> 35 COWMUNIONE 36 EXPLETA, DICANTUR VESPgrE SUBMISSA UOCE, PSALMI Con- fitebor cum rsliquis. DeinJc sequstur ps almus: Magnificat; quo finito D iciTur versus Proprio filio suo non. Si uero quis int^fuerit sepulture, perACTO officio sepulture Cruci- FIXI, TUNC SUB SLLENCIO CIRCA SEPULCHRUW LEGUNTUR VvSperV ET CLAUDUN- tur cum versu In pace factus est locus eius, et in Syon haMtacio eius. Deestde Sepulchro preparATO et decenter ornato, sint iNProMPTO Trix THURIBULA CUM LNCENSU, THURE, MIRRA, ET THIMI AM ATE , ET QUaTUOR CANDELE ardentes. Et Pontifex siue PrespiTER cum alus miuzstris et Sacerdoti- BUS PORTENT YMAGINEM CrUCIFIXI UERSUS SePULCHRUW LUGUBRI UOCE CAN- tantes Responsoriuyt : Ecce quomodo moritur iustus. Versus: In pace f actus. Responsorio finito collocetur m Sepulchro et lintheamiw^bus et suda- rio coopmATUR. Demde lapis sup^/tonalur. Quo facto Clerus estponat ista Res pons orix: Sepulto Domino. Versus: Ne forte. Responsoriuyi.: Recessit pastor. Versus: Ante cuius. 33 Munich, Hofbibliothek, Cod. lat. 23068, fol. 291 v . The text printed above is preceded immediately by the ordo for Vespers. 34 Munich, Hofbibliothek, Cod. lat. 24882, Breviarium Andecense saec. xv, fol. 269 v . The Depositio is now printed for the first time. The manuscript con- tains no Elevatio. The Visitatio (fol. 274 r -275 r ) is presented by Lange (pp. 99- 101; cf. p. 13) by way of incomplete variants appended to another text. 35 Munich, Cod. Lat. 24882, fol. 269 v . 36 The Communion of the Missa Prcesanctificatorum. From the opening rubrics it appears that the Depositio is not obligatory. When the Depositio occurs, it occupies a position immediately after Mass and before Vespers. YOUNG — THE EASTER SEPULCHRE 81 Quibus finitw dicatur Versus: In pace factws est locus eius. Quo UERSU OMttES SEQM6NTES HORE CLAUDUn/wr. 37 The Depositio is again designed for performance immediately before Vespers. During the singing of the responsory Ecce quomodo the Imago Crucifixi 38 is carried in procession to the sepulchrum. After the Imago has been laid down and covered with a linen cloth and sudary, the sepulchrum is closed by the placing of a stone . 39 The office is concluded by the singing of the responsories Sepulto Domino and Recessit pastor and of the versicle In pace f actus. In the present series of texts belong the Depositio and Eleva- tio from Raitenbuch, in Bavaria : 40 < DEPOSITIO CRUCIS> 41 Et p ostQuam omnes o>wm««icaueriwt, et SAceroos verEGeriT OFFiawM, 42 UADAT cum MlWiSTRIS et TOLLAT OUCIFIXMM Q uod FUefAT ANflEA PmeNTATUm, 37 The rubric Ad Completorium follows immediately. 38 The term Imago Crucifixi , which we shall frequently encounter below, is far from clear. In most cases it probably indicates merely the Crucifix: that is, the cross with the corpus affixed. It may sometimes mean the corpus alone, detached from the cross, or even some sort of special representation of the Crucifixion — a painting or a carving. That the words Imago Crucifixi may indicate the corpus alone seems to be certain from the following passage in the Custumarium of Sarum (W. H. Frere, The Use of Sarum , Vol. I, Cambridge, 1898, p. 219): “Omnibus dominicis quadragesime, excepta prima dominica, deferatur una crux ante processionem lignea sine ymagine crucifixi.” The sixteenth century “Rites of Durham” ( Surtees Society , Vol. cvii, 1903) speaks of “a goodly large crucifix all of gold of the picture of our sauiour Christ nailed uppon the crosse” (p. 11), and of “another picture of our sauiour Christ, in whose breast they did enclose with great reuerence the most holy and blessed sacrament of the altar” (p. 12). We are told further that “in the north allye was a most faire roode or picture of our sauiour” (p. 18). From these passages one infers that the word “picture” of the Durham account refers merely to the ordinary crucifix (See op. cit., p. 204). 39 The use of the lapis here motivates, of course, the interrogation Quis re- vohet nohis db hostio lapidem quern tegere sanctum cernimus sepulchrum ? at the beginning of the subsequent Visitatio. See Lange, p. 100. 40 Munich, Hofbibliothek, Cod. lat. 12301, Breviarium Raitenbuchense anni 1431, fol. 88 r , 90 r . These texts are now printed for the first time. The Visitatio (fol. 90 v ) has not been published, but a description of it is given by N. C. Brooks, in Zeitschrift fur deutsches Altertum, L, 299. 41 Munich, Cod. lat. 12301, fol. 88 r . 42 This rubric shows that the Depositio occurs immediately after the Missa Prcesanctificatorum of Good Friday. 82 UNIVERSITY OF WISCONSIN STUDIES PreCEDEWTE CANDELA EXTINCTA et CrUCE UELATA THU/TBMLO et ASPgrSORIO. Defeat ad Locum Sepulchri cawtazzdo lenta uoce r esponsorium: Recessit pastor bonus. R esponsorium: An te cuizzs. R esponsorium: In pace fachis est. Denude locat ur cruciFrxuw in SEPzacHro. Et stantes citra dicawt Vesper as. 43 In sanctA nocte an te Mat utinum surOAnR SACerDOTES et CLerici, et inTREnT ecc/^iam, ncc et iam laycos izzTRArE PemiTTAzzT. Et uadawt ad Sepzzl- chrzzzzz cum REUcrEN/za, et DiCAnT vsahmm: Dowz'ne, quid multiplicati et ps almum: Miserere mei, Deus, miserere mei, et ps almum: Dowz'ne, probasti me. Demde Kyrze, Pater nos ter. Versus: Exurge, Doznzne, adiuua nos. Versus: Dowz'ne, Dezzs uirtutuw con uerte. Versus: Foderuwt mazzzz^ meas. Versus: Domino, exaudi orationem. ORatio: Da nobis. Demde Crux AsnerGAtur et rauriFiCE/zzr. Et TOLLEnTES CrucEzn canTAnT R esponsorium submissa uoce scilicet: Du m transisse^. Et duw perUEneriNT ad locuzm CruciFixi nicatuR versus: In resurrectz’one tua, 'Kpiste. ORatio : Dezzs qui hodzerzza die per uni genitum. iBiQzze LinTHEAzninA DiznzTTUnT, et p ost ucclesiA Avveritur, et pulse tar ad MAT zz/z'nzzw. Since the Depositio calls for no special comment, we may confine our attention briefly to the Elevatio. This office is per- formed early Easter morning, before the laymen have been admitted to the church. At the sepulchrum three psalms are rendered, followed by the Kyrie, the Pater Noster, four versicles, and a prayer. After the sprinkling and censing of the Cross, it is raised, during the singing of the responsory Dum transisset , and carried in procession to its appropriate place, where the versicle In resurrectione and a prayer are said. The cloths are now removed from the Cross, and the doors of the church are opened for Matins. In the present somewhat miscellaneous group we may include the following versions from Treves : 44 43 Munich, Cod. lat. 12301, fol. 90 r . 44 British Museum, Harleian MS 2958, Ordinarium Treverense saec. xiii, fol. 36 r -37 r . The Depositio and Elevatio are, I believe, now published for the first time. The Visitatio (fol. 37 v ) has been published by Lange (No. 105, pp. 10, 71-74). YOUNG — THE EASTER SEPULCHRE 83 45 HlIS PerACTIS EXUAT SACERDOS CASULAM ET INDUATUR CAPPA PURPZirEA ET AD REQUIRENDAM CRUCEM DESCENDATUR HOC ORDINE. PrgCEDAT ALICUS IN- DUTUS CAPPA CUM A Qua BgNgDICTA; SEQUANTUR DUO ACOLITI IN TUNICIS CUM CEREIS, IN MEDIO EOR IWl ACOLims In CAPPA CUM THURIBULO; POST HOS SUB- DIACONUS IN SWBTILI CUM TEXTU; DUO ALICI INDUTI TUNICIS A DEXTRIS et A SINISTRIS EIUS CUM CRUCIBMS SOLLEMPNIBUS ; SEQUATUR DYACONUS IN DALMA- tica; deinde SAceroos in cappa prout victim est. ProcEDANT sic ordinati ad Sawc/AM Agnetem. Ibi inueniri debet Crux ante altare uelata, quam TENEANT a DEXTRIS ET A SINISTRIS DUO SUBDIACONI INDUTI CASULIS RUBEIS. Accedat SACerDOS, et leuato uelamine aspo'Gat Crucem Aqua benedicta. Post aspc/sionem reponatur uelamen super Crucem, et incipiat Cantor r esponsorium: lhexusaXem luge; detnde vers um: Plange quasi uirgo, QUE CANTENTUR UOCIBUS SZJBMISSIS CUM UgrSIBUS ET REPETmOWlBUS, ET PRO- CEDAT OMMIS PROCESSIO SUO ORDINE. SUBDIACONI UERO PORTANTES CRUCEW uelatam immediate seqwgwtur Sacerdotem. Cum verWNeriST m CRIPTAM ANTE SePULCRUW, SACERDOS ASPgrGAT SEPULCRUW Aqua BENEDICTA ET THURI- ficet. Deimde Crux ponatur in Sepulc^zzm et ueletur panno albo, et incipiat Cantor r esponsorium: Ecce qwomodo moritur iustus, UOCE SMBMISSA CUM UgrSU ET REPg/mOttE. POST MODUM CLAUDATUR SEPUL- cru m, et incipiat Cantor r esponsorium: Sepulto Domino, cum UERSU ET REPg/lTIONE. S ACgrDO < S > UERO DICAT VgrSICULUM : In pace factus est locus eius. Etrespondeatur: Et in Syon ha&itatio eius. Quibus perACTis egrediatm^ processio. 46 47 In die sancto Pasce mane an te pulsatzowem Mat utini RvuerTATur vro- CESSIO AD SEPULCRUrn SICUT PrOCESSIT AD SEPELIENDWm. Et SACerDOS FLEXIS GENIBW5 DICAT ORfl/iowES et AS Pgr GAT AQUA BgNgD icta CRUCEm et THURIFIC ABIT ; et oblato uelamiwe dicat u ersum: Surrexit Dominus uere, leuamdo CRUCEm. Et Cantor imMEDiATE iwcipiat Anliphomni: Xpistuc resurgent, et v ersum: Dicawt nu«c, 45 MS Harl. 2958, fol. 36 r -36 v . The present text is immediately preceded by this rubric: Deinde Sacerdos in altari Vesperas concludat. 46 Followed immediately by the rubric: Sabbato Sancto ad Matutinum. 47 MS Harl. 2958, fol. 37 r . 84 UNIVERSITY OF WISCONSIN STUDIES CUM REPET itione. DeINDE EGREDIAT2W ProCESSIO, RELICTO SUDARIO IN MONU- mewto, el PULSEiwr ad Mat utinum. The most conspicuous aspect of this office is the location of the sepulchrum: in the crypt of the church. Neither the Deposition after Vespers, nor the Elevatio, before Matins, includes any unusual ceremonial. Noteworthy, perhaps, is the fact that when the Cross is taken up from the sepulchrum, the sudarium is left behind, for use in the subsequent Visitation We may now consider a few texts that specifically provide for a bit of ceremonial reminiscent of the central act of the Adoratio Crucis, — the definite adoring of the Cross. This ceremonial detail is present in the Depositio from Clermont- Ferrand : 49 Tunc Crux tollatur et deportetur in sacrario, et sequatur ab om»i CLERO CANTANDO: Sepulto 'Domino. IBIQ ue DEPONATUR ET COOPERIATUR, ADORETUR, VENERETUR, INLUMINETUR J et IBI STET USQWC IN DIEM RESURRECTIONIS . 50 In this simple office the Cross is borne, immediately after Vespers, to the sacristy. In the laying down of the Cross specific provision is made for an “adoration.” Similar reverence to the Cross is provided for in the use of the cathedral of Freising : 51 < DEPOSITIO CRUCIS > 52 Quando Imago Crucefixi defertur ad Sepulchrum canitmt nesponsorium: Ecce quomodo moritur iustus, 48 See Lange, pp. 72-73. 49 Clermont-Ferrand, Bibliotheque de la Ville, MS 63 (olim 58), Missale Claromontense saec. xiv, fol. 32 v . This text is now printed for the first time. The manuscript contains no Elevatio or Visitatio. 60 Followed immediately by the rubric: In Sabbato Sancto. 51 Breuiarium Frisingense, Pars Hyemalis, Venice, 1516 (British Museum), fol. 194 v , 196 v -197 r . These texts are now reprinted for the first time. The Visitatio (fol. 197 v -198 r ) is reprinted by Lange, pp. 102-103. With the Elevatio may be compared the text from Indersdorf published by the present writer in Transactions of the Wisconsin Academy of Sciences, Arts, and Letters, XVI, Part II, 904-905. 62 Breuiarium Frisingense , Pars Hyemalis , Venice, 1516, fol. 194 v . YOUNG — THE EASTER SEPULCHRE 85 SUBMISS A VOCE. COLLOCATA IMAGINE AD SePULCHRUM R esponsorilim : Sepulto Domino, et r esponsorilim: Recessit pastor, ut infra Sabbato SEQtteNTi. Deinde versus: In pace factus est locus eius. Et habitatio eius in Sion. 53 M In NOCTE SaMCTA ante pulsum Matuti, COWGREGATIS SACERDOTIBMJ circa altare Sowcte' Crucis, Decani cowsueuit dicere Confiteor, et cetera. Reliq ui subiumgunt: Misereatur, et cetera ; et repetuwt Confiteor, sicuT ante Miss aw. DeIWDE REUERENTer ACCEDUWT SePULCHRUW ET IBIDEM DICUWT : Ps almum: Domine, quid multiplicati. Ps ahnum: Miserere mei, Deus, miserere. Ps almum: Domine, probasti me, cuw Gloria. Kiri, Chri, Kiri. Taler noster. Et ne . Versus: Exurge, Domine, adiuua nos. Versus: Domine, exaudi orationem mea m. Dominus vobiscum. Collecta: Da nobis, qwesumw.?, Domine, auxiliuw gratie tue, ut paschalia gaudia que letawtes exequimur perpetua virtute nos tueantor et saluent. Per Christuw. Finita coLLec/a, THURiFiCATwr et ASPERGiT«r Imago Crucifexi, deferturqwo ad altare preFATUM canentibus Clericis submiss a voce 'Responsorium: Surrexit pastor bonus, ut infra Feria Quinta. Astiphona: Christus resurgens, ut infra in Vesperis. Versus: Surrexit Dominus vere, alleluia.. Et apparuit Petro, alleluia. Collecta: Deus in hodierna, ut in Matutiwo. Quibws POrACTIS MAIOR OSCULATZfr Imaginem et dicit: Surrexit Dominus. Gaudeamus omnes. Similiter et alij faciuwt . 55 Although the Freising Depositio needs no comment, we may give at least passing notice to the Elevatio , performed before Easter Matins. After the Confiteor at the altar of the Holy Cross, the priests pass to the sepulchrum , where they say three 53 Followed immediately by the rubric: Ad Ves. 64 Breuiarium Frisingense, Pars Hycmalis, Venice, 1516, fol. 196 v -197 r . 55 Followed immediately by the rubric: Ad Matuti. 86 UNIVERSITY OF WISCONSIN STUDIES psalms, the Kyrie, the Pater Noster, and another prayer. During the singing of the responsory Surrexit pastor the Imago Crucifixi, previously censed and sprinkled, is carried to the altar of the Holy Cross. Here are rendered an antiphon and a prayer. The office closes with the kissing of the Imago Cruci- fixi by each of the priests in turn, a ceremonial act suggestive of the Adoratio. Relevant to the present stage of our survey are the following two texts from Prague : 56 57 Statim post Vesper as eunt in medium ecclesie et accepta Cruce deferant EA < M > IN LOCUM SOLEmNIBUS AULEIS ORNATUM CANT ANTES ReSpOUSOr him: Ecce quo modo morit nr, cum suo versu, p^cedentibu s cereis, crucibzw, a Qua bcn^dicta, et incenso. Et reposita in loco cum reuerentia a prelato aspergitur et incensatur, AC COOPERITUR SACRA PALLA, et DICITUR Versus: In pace factus est locus eius. Et in SyCon habitatio ejus>. Redeuntes camtent Responsorium: Sepulto Domino, cum versu et repetitions. Lumen ardens reponitur ad SEPULCHRum Domini, et legant Canonici a senioribus incipiendo Psalteria vel vicarii CANONICORUM SEDEWTES AD SEPULCRWm BINI ET BINI USQMg AD VISITATIO- NS < M > SEPULCHRI MATUTINALEm . 55 59 In SACRA NOCTE AN te MATUTI num MAGNA CAMPANA 60 PULSATiir, AD QUAm Domini Canonici et Clerici cowsurgant et eant ad SEPULCHRum in p ro- CESSIONE PrgCEDENTIBWS CEREIS, VEXILL, INCEMSO, ET AQUA BgNgDICTA. Et accepta Cruce redeuwtes cantewt an tiphonam: Cum rex glorie. Et PONiTwr an te maius alt are, iBiQwe a Clero et popwlo salutata STATUiTwr in Locum suum . 61 56 Breuiarium H or arum Canonicarum secundum veram rubricam Archiepisco- patus Pragensis, Venice, 1517, fol. 199 v , 270 v (British Museum). The Depositio and Elevatio are now reprinted for the first time. The Visitatio (fol. 271 r — 27 l v ), not yet reprinted, is identical with the Visitatio published by Lange (pp. 122— 124) from a Prague “Brevier, 1572” (See Lange, p. 15, No. 194). 57 Breuiarium . . . Archiepiscopatus Pragensis , Venice, 1517, fol. 199 v . 58 Immediately followed by the rubric: Complete ut iero cantetur in choro. 59 Breuiarium . . . Archiepiscopatus Pragensis, Venice, 1517, fol. 270 v . 60 campana] campanam (Print). 61 Followed immediately by the rubric: Ad Matu. YOUNG — THE EASTER SEPULCHRE 87 In the case of the Prague Depositio we may confine our comment to the observation that a light is placed before the closed sepulchrum , and that here the canons, two by two, say the psalter continuously until Easter morning . 62 The notable aspects of the Elevatio are the adoration of the Cross at the main altar and the singing of the processional antiphon Cum rex gloria, the latter embodying the theme of the Harrowing of Hell . 63 An additional consideration arises in connection with the following versions from Ranshofen : 64 < DEPOSITIO CRUCIS> 65 DsiNtfe Sepulchpo vrevar ato et decent^ ornato, siwt iwpjvmptu xriA THURIBWLA Cum IWCENSU ET THIMIAMATE, et IIII 0r CANDELE ARDENTES. Et Powtifex siue Vres&yteR cum aliis SAcmD0Ti3ws et minist/ts portewt Ymagi- ne m Crucmxi ue/sus SEPULCruM lugubh: uoce cantantes hoc resp on- sorium: Responsorium: Ecce quomodo moritar. Versus: In pace f actus. Resp onsorio finito coLLOCETwr in Sepmlchro et linteaminibms et sudario cooveriATur. Dein de lapis sup^ponatj^. Quo Facto Clerus iwponat resp ons or ia ista: Responsorium : Sepulto Domino. Versus: Ne forte. Responsorium: Recessit pastor. Versus: Ante cuias. Quib«5 finitis DiCAxwr versus: Versus: In pace factws. Postea seq uitur VESPgrA suppmsA uoce dicenda. < ELEVATIO CRUCIS> 66 In sand a nocte ad Matutinas clam suRGixwr, sintqw, 68 cum suo uersu: Versus: Surrexit Dowzn«s. 69 A ntipliona: Xpistuc resurgens. QuIBZ^ FINITIS ST ANTES AN te ALT ARE et MUTUA CARITATE SE IWUICEW OSCtt- l antes DicunT u ersum: Surr exit Dominus u ere, et apparuit Symoni. Et DiCATwr ORatio de Resurrectione. DeinJc cowpulsatione signormw TaCtA, COWUEWIANT OMnES AD MAT utmUlfl. In the use of Ranshofen the detail of special interest for the moment, is the Kiss of Peace administered at the end of the Elevatio. Since, however, the associations of the Pax have been considered in the preceding division of this study , 70 we need not re-examine the matter here, but may merely ob- serve the same phenomenon in the fifteenth-century observ- ances of Regensburg : 71 72 POS/QUAW OwnES C0WMUNICAUERIMT, UEWIAWT SACerDtf/ES CUW MlniSTRIS ALTAriS et CETErlS CANONICIS inSTANTIBWS CUW MAGNA REUEREWTIA, PfgCEDEWTI- B US DUABMS CRUCIBMS UELATW ET UNA CANDELA EXTINCTA et ASP0TSORIO ET THURIBULO. Et TOLLAWT CRUCIFIXUW Quod, AN te FUIT PreseNTATUW ET DEFERAWT AD LOCUW SEPULCHRI et CAWTA«D 0 73 LENTA UOCE ReSponSO/iuM : Recessit pastor. Versus: Ante cuins conspectuw. SEQM«Twr Responsoriuu : Ecce quomodo moritur iusttts. Versus: In pace factws. Tunc LOCEnT Crucmxuw in Sepulchro. Et stawtes circx DiCAnT Ves- per as. 68 See Migne, Pat. Lat., LXXVIII, 773. 69 See id. 70 See above, pp. 45, 65-67. 71 Munich, Hofbibliothek, Cod. lat. 26947, Ordinarium Ratisbonense saec. xv, fol. 117 v , 120 v -121 r . The Depositio and Elevatio are now published for the first time. The Visitatio has been published by N. C. Brooks, in Zeitschriftfiir deutsches Altertum, L, 298-299. With the Depositio and Elevatio from Regens- burg and Ranshofen may be compared the versions from other churches pub- lished by the present writer in the following places: Transactions of the Wiscon- sin Academy of Sciences, Arts, and Letters, XVI, Part II, 899, 906-908; Publica- tions of the Modern Language Association, XXIV, 313; Pub. of the Mod. Lang. Assoc., XXV, 343, 351-354. 72 Munich, Cod. lat. 26947, fol. 117 v . The text is immediately preceded by the Communion of the Missa Prcesanctificatorum. 73 cantando] cantanda (MS). YOUNG — THE EASTER SEPULCHRE 89 74 In nocte an te Matutinas surgawt FRa/rES in monasteriuw iwtrawtes, NEC ALIQUEW LAYCORWW IWGREDI PerMITTUWT. TUWC UADUMT AD SEPULCHRWWl CUW MAGNA REUEREWCIA, ET FACIAWT ORa/tOWES. DEINJe CANTORES PSalmOS Domine, quid mwltiplicati. Ps almus: Miserere mei, Dews, miserere. Psalmus: D online, prebasti. Kyrie. Pater ~Noster. Versus: Exurge, Domine, adiuua nos. Versus: Domine, Dews mrtutum, conuerte nos. Versus: Foderuwt manws. Versus: Domine, exaudi orationem. Versus: Da nobis, Domine, auxiliuw. DEiNde Crux ASPerGATwr et THURiFiCETwr. DEiNde tollamt Crucew et camtamt ResponsoriuM : Duw transissef Sabbatuw, < Maria Magdalene et Maria Jacobi et Salome emerunt aromata, ut venientes ungerent Jesum, alleluia, alleluia. Versus: Et valde mane una Sabbatorum veniunt ad monumentum, orto jam sole. Ut venientes. >, SUBMISSA UOCE. DUW PerUENERIWT AD LOCUW CRUCIFIXI SACerDOS SUBIUMGAT uersum: In resur < r > ectzone tua, Xp iste. SEQWi'xwr ORatio : Dews, qui hodiema die. iBIQWe LINTHEAMrnA ET LUWINA DIMITT AMTwr. POSTEA IUBEWT IANUAS APCrlRI et Matutinas soNArE. Post hec Clerws mutua cAriTATE se iwuicew oscui.awtes dicawt versum: Surrexit Dominus. Alii respowdeawt: Guadeamws omnes. Dein de ad M at utinas versus: Domine, labia mea. Hitherto in the present section of our study we have en- countered only a slight suggestion of the theme of the Harrow- ing of Hell. Although we have observed the presence of the antiphon Cum rex gloria , 75 we have seen no evidence of a treatment of the theme dramatically. For a treatment of this kind we may resort to the use of St. Gall : 76 74 Munich, Cod. lat. 26947, fol. 120 v -121 r . 76 See above, p. 87. 76 St. Gall, Stiftsbibliothek, MS 448, Ordinarium Sangallense saec. xv, pp. 102, 105. The Depositio, Elevatio, and Visitatio from this manuscript have been previously published by the present writer in Publications of the Modern Language Association, XXIV , 319-324. 90 UNIVERSITY OF WISCONSIN STUDIES 77 An tiphona 1 * finita, opines ascekduwt c/rCA altare et Dom/nks Abbas EXTjEWS CASULAM, STAWTES AN te CRUCEM AD DEXTRUM 79 CORNTJ ALTAR/V CArt- ta/ites r esponsorium: Ecce qnomodfl, submissa uoce. Versus: In pace factn.?. Repeti- cto: Et erit. Post accipewtes Crucew Dom/nms .Abbas et Seniores portawtes ad Sepul- chre m cawtawtes R es pansari urn: Sic lit oui'. Versus: In pace. Repetido: Tradit«5. Interim pone/it Crucem in SEPULc/rro et clattduwt euwi, poxenTES ante Sepulchrum QnaTUOR lemma iuGiTcr ardewtia, CAnTAwTES ^.esponsorium : Sepulto Dam/no. Versus: Ne forte. Repetido: Ponentes mi. DEiNde Domimus Abbas dicat versum: In pace factus est locns eitw. CoLLeda: Respice, Dcwi/ne. Et ASPERGEWS SEPULCRUM AQ«a BCNeDlC/A, ET THURIFICET Ilf CUM MCEMSU, ET MISSE SU«T. 80 Ordo ad levawdum Crucem sanctxsi in s.AcraTissiMA nocte pascali. Parum ante Matut*>«75 Damians Abbas, Frevosnus Deca nus, Custos, et Seniores ad hoc deputati surgawt deluculo, et inDuunT se albis et cappis, PerGEnTES CUM 5UMMA REUEREnCIA, CUM MIw/STR/s PORTAnTES AQUAM BeNe- d/c/am cum mcewsu, et cum silewcio, ad Sepulcrum. Et Domimis Abbas CUM SUM MO HONORE TOTAQnr DEUITIOWE FLEXIS GENLBM5 DEPONAT SUDARIUM ET LIXTEAMMA CUM QUIBilS ScMC/A CRUX Ed MUOLUTA, ET ASPERGEWS A QUO BfXCD/C/A ET THURLFICETi/r CUM InCEWSU, ET CAnTEWT SUBMISSA UOCE: Xp iste, sains serum. Versus: PollicitaM, vsQue Surge, sepulte mens. Et eleuawtes Crucem dc Sepulchro cawtewt hos versus: Solue cathenatns. Versus: Redde tuaM facieM. Quibms finitis, CAnTATwr an tiphona: Cum rex gl orie, SUBMISSA UOCE, PORTAnTES CRUCEM ANTE CHORMM I« MONASTCttO. Xstiphond FINITA, CAnTAnT an tiphonam: Attollite portas pr/n, TRIBnS UICIBttS, PULSAnTES COWTRA IANUAM CUM PEDE CRUCIS IW SIGNUM REDE M PC/OniS AWIMARWM EX LIMBO. Ad ISTUM PULSUM LANUA AP£TlT«r. FostEA ponat ur Crux ante .altare BcaTE VircintSy pawno supposito ac LUMIWE ACCEWSO, ur’ A POPKLIS ADORETnr. DEIXdtf DotftfNtfS ABBAS DICA versum: 77 St. Gall, MS 448, p. 102. 7S The antiphon of the Magnificat at Vespers. 79 dextrum] dextraM (MS). 80 St. Gall, MS 448, p. 105. YOUNG — THE EASTER SEPULCHRE 91 In resurrect/owe tua, Xp iste. Coll ccla: Pr&s/a, quesumus, omnipotent Deus. HYS FINITIS, ADOREWT CRUCEW OSCULANDO AC RIGAMDO LACnMIS UULNerA El US. Et tuwc fiat comPULSAcio omnium cawpanarww, pulsawtq«6 tribms uicibms I n SIGNUW RESURRECTIOWIS. POST HOC PULSAWTW MATUTIWE. Confining our attention to the Elevatio, we note that this office occupies the usual position before Easter Matins. After reaching the sepulchrum in procession, the abbot removes the sudary and linen from the Cross, and sprinkles and censes it. These acts, together with the raising of the Cross aloft, are accompanied by the singing of liturgical verses. With the antiphon Cum rex glorice the Cross is conducted to the door of the choir. Here the antiphon Attollite portas is sung thrice, and the door is struck thrice with the shaft of the Cross, in signum redempcionis animarum ex Limbo. At the third striking the door is opened, and the Cross is placed before the altar of the Blessed Virgin for adoration by the congregation. In brief summary we may observe that the versions of the Depositio and Elevatio reviewed in the present section of this study differ from those in the preceding section in nothing fundamental. The versions before us range in date from the tenth century to the sixteenth, and they come to us from Eng- land, France, Germany, and Switzerland. A clear majority of them, however, are of South German provenience. As we should expect, the burial and raising of the Cross bear con- spicuous evidence of influence from the Adoratio Crucis. For their content these versions borrow traditional liturgical pieces from the Graduate and the Liber Responsalis. From the point of view of the history of the drama, however, the most impor- tant aspect of these versions is the prevailing absence of dialogue and the complete absence of unequivocal impersonation. 92 UNIVERSITY OF WISCONSIN STUDIES V Now that we have examined the versions of the Depositio and Elevatio in which the Host and the Cross respectively are the centers of devotion, we must complete our survey by con- sidering the versions in which are employed both the Host and the Cross, along with an inevitable extension of the ceremonial. A simple Depositio of this type is at hand from the use of St. Adelph : 1 < DEPOSITIO CRUCIS ET HOSTLE> 2 POSTEA VADUNT CUW CANDELIS ARDENTIBttS ET INCENSU AD LOCUW SEPULCHRI ET IMPONANT CRUCEW CUm EUCHARISTIA. In EUNDO CAN- tet ur Responsorium: Ecce quomodo moritur iustus, et nemo percipit corde; et viri iusti tollun- tur, et nemo considerat; a facie iniquitatis oblatus est iustus, et erit in pace memoria eius. Versus: In pace factus est locus eius, et in Sion habitacio eius. Et erit. R esponsorium: Recessit pastor noster, fons acque vive, ad cuius transitum sol obscuratus est, nam et ille captus est qui captiuuw tenebat primuw hominem, hodie portas mortis et seras pariter Saluator noster disrupit. Versus: Ante cuius conspectum mors fugit, ad cuius uocem mortui resurgunt, uidentes autem eum porte mortis confracte sunt. Ho. Imposita aut em Cruce, cantentm^ hee ANTipnonae. hntiphona: In pace in idipsum dormiam et requiescam. hntiphona: Caromea requiescet in spe. Sudario superPOSiTO, cant etur r esponsorium: Sepulto Domino, signatum est monumentum, uoluentes lapidem ad hostium monumenti, ponentes milites qui custodirent eum. Versus: Ne forte veniant discipuli eius et furentur eum, et dicant plebi: Surrexit a mortuis. Ponentes. SEQuuntui Vesperae 3 sub silentio. 1 Paris, Bibl. Nat., MS latin 9486, Ordinarium saec. xii, fol. 41 r -42 r . L. Delisle ( Inventaire des Manuscrits latins conserves d la Bibliotheque Nationale sous les Numeros 8823-18613 , Paris, 1863-1871, p. 35) mentions this document briefly as “Rituel de l’abb. de S. Adelphe.” The manuscript contains no Elevatio. The Visitaiio (fol. 60 r -60 v ) has been published by N. C. Brooks in Journal of English and Germanic Philology , VIII, 466. Both the Depositio and the Visitatio are printed by the present writer in Publications of the Modern Language Association, XXV, 341-342, 351. 2 Bibl. Nat., MS lat. 9486, fol. 41 r -42 r . The text printed here is immedi- ately preceded by the following rubric: Tunc accedant omnes ad communi- onem — referring to the Communion of the Missa Preesanctificatorum. 3 Vesperae] Vespera (MS). YOUNG — THE EASTER SEPULCHRE 93 This office occurs immediately after the Missa Prasanctifi- catorum. The Cross and the Host are carried to the sepulchrum in a single procession. For the laying down of the Host no special rubrics are given. The burial of the Cross evokes at least the ceremonial of wrapping it in a sudarium. The musical pieces accompanying the action are already familiar. A similar version of the Depositio, with a fuller description of the ceremonial, is seen in the following from the use of Aquileia : 4 5 Finito hymno 6 incipit officium diei, ut in Missali continetur. Ora- TIONE 7 VERO EXPLETA, et SEPULCHRO PREPARATO et DECENTER ORNATO, ASSINT INPROMPTU TRIA THURIBULA CUM INCENSO THURIS, MIRRHE, et THIMIAMATIS, et QUATUOR CANDELE ARDENTES; et MINISTRI CUM SACERDOTIBUS PORTENT Imaginem Crucifixi versus Sepulchrum, et Officians sequatur portans Sacramentum Eucharistie in sanctuario repositum. Chorus vero in TALI PROCESSIONE LUGUBRI VOCE CANTET RESPONSORIUM CUM SUO VERSU: Ecce quomodo moritur iustus, et nemo percipit corde; et viri iusti tollun- tur, et nemo considerat; a facie iniquitatis oblatus est iustus, et erit in pace memoria eius.< Versus > : In pace factus est locus eius, et in Syon habitatio eius. Et erit in pace. Quo finito et du m ad Sepulchrum vewtum sit, Officials locet SACRa- mentmi in sawctuario repositum 8 ad locum in Sepulchro ad hoc paratum. Deimde Ministri, et Sacerdotes Imaginem Crucifixi collocemt in Sepul- chro, et COOPERIAWT LINTHE AMINIBU S et SUDARIO, et SUPPONAWT LAPIDEM. Chorus cantet ResponsoriuM cum suo versu: Recessit pastor noster, fons aque viue, ad cuius transitum sol obscuratus est; nam et ille captus est qui captiuum tenebat primum hominem. Hodie portas mortis et seras pariter Saluator noster destruxit.Yersus: Ante cuius conspectum mors fugit, ad cuius vocem mortui resurgunt; videntes auteM euM porte mortis confracte sunt. Hodie portas. Officians vero thurificet Imaginem Crucifixi sic in Sepulchrum positam, et ASPERGAT AQUA BENEDICTA. Et POSTEA CLAUDITUR SEPULCHRUM, et CLAUSO APPONUNT SIGILLA OFFICIANTES et LAICI PRESIDENTES, et CHORUS CANTET RE- SPONSORIUM SEQUENTEM CUM SUO VERSU t 4 Agenda Diocesis Sanctae Ecclesiae Aquilegiensis, Venice, 1575, pp. 120-123 (Paris, Bibl. Nat.). The Depositio is now reprinted for the first time. The Visitatio (pp. 115-117) has been published by Lange (No. 167, pp. 13, 105- 106). The edition of 1575 contains (pp. 112-115) also an Elevatio; but the only copy of this edition accessible to me lacks the pages (pp. 113-114) contain- ing the greater part of this office. 5 Agenda Diocesis Sanctae Ecclesiae Aquilegiensis , Venice, 1575, pp. 120-123. 6 The Crux fidelis, closing the Adoratio Crucis. 7 The closing Oratio of the Missa Prcesanctificatorum. 8 repositum] reposito (Agenda). 94 UNIVERSITY OF WISCONSIN STUDIES Sepulto Domino, signatum est monumentum, voluentes lapidem ad hostiuw monumenti, ponentes milites qui custodirent illud. < Versus > : Ne forte veniant discipuli eius et furentur eum, et dicant plebi: Surrexit a mortuis. Ponentes. Quo FINITO OFFICIANS DICAT VERSICULUM: In pace factus est locus eius. Et respondent Ministri et Sacerdotes: Et habitatio eius in Syon. Tandem circa Sepulchrum dicantur Vespere secunduw rubric aw Breuia- rii. Et sub Magnificat Officians et Ministri cum tribus thuribulis Sepulchrum thurificewt et Sacerdos acqua benedicta aspergat. Finitis autew Vesperis, Scholares secunduw morew patrie incipiunt legere PSALTERIUW. The office here occurs immediately after the Miss a Prce- sanctificatorum. In the procession to the sepulchrum the ministers of the Mass carry the Imago Crucifixi, and the officiant , 9 the Host . 10 The first deposits the Host in a part of the sepulchrum especially prepared for it. Then the ministers and priests, after laying down the Imago Crucifixi, cover it with cloths and the sudary , * 11 and place over it a stone . 12 After censing and sprinkling the Imago , they seal the sepulchrum. The musical pieces accompanying the action require no com- ment. The most notable aspect of this version is the distinct- ness with which the Host and Cross are separated in their ceremonials. In association with these two versions of the Depositio we may appropriately consider one or two relatively simple texts of the Elevatio. Such a text may be seen in the following from Harlem, in Holland : 13 9 I take this to be the priest who has officiated at the Missa Prcesanclifica- torum. 10 I am not absolutely certain of the meaning of the phrase in sanctuario repositum, which occurs twice. The word sanctuarium may indicate the sacristy, or place of reservation, in which the special (third) Host was reserved from Holy Thursday; but the word may also indicate (see Du Cange) a theca, or box, for carrying the Host in the procession before us. 11 In the Visitatio occurs (p. 117) the rubric lintheamina et sudarium quibus Imago Domini erat inuoluta, indicating that only the Imago, and not the Host, is covered in this way. 12 The rubric may intend that the lapis for closing the door of the sepulchrum confines within the structure only the Imago, the Host being exposed upon a sepulchre — altar outside. 13 Harlem, Bischofliches Museum, MS 258, Graduale Harlemense (?) saec. xiii, fol. 44 v . This text of the Elevatio has been previously printed by Lange YOUNG — THE EASTER SEPULCHRE 95 14 Ordo in die Res urrectionis. In die Dominice Resurrectionis ante Matutinuw tempus V'Res^yteri visitent Sepulchred cu m thuribulis cawtando r esponsorium: Angelus Domini . 16 Extollant etiam Cruced de Sepulch^ cud Eucharistia et in alio loco PON AWT cvm REVERENTIA. According to these meagre rubrics the Elevatio is found in the normal liturgical position, before Easter Matins, and pro- vides merely a simple procession of priests who visit the sepul- chrum and carry the Host and Cross thence to a place not specified. In its general simplicity, and in its use of the respon- sory Angelus Domini , the version before us resembles the Ele- vatio printed above from a manuscript of the eleventh century from St. Gall , 16 the latter text being found in a position before the Te Deum at the end of Easter Matins. The resemblance between the two versions suggests the possibility that at an early period the Elevatio normally occurred at the end of Matins, and that it was transferred to a place before Matins in order to make way, at the Te Deum, for a newly invented Visitatio . 11 Another simple version of the Elevatio is found at Kloster- neuberg in the following form : 18 < ELEVATIO CRUCIS ET HOSTLE> 19 In sancta nocte antequam sonentur Matutine, Prelatus aliquibus SIBI ADIUNCTIS CORPUS DoMINICUM ET CRUCEM DE SEPULCHRO TOLLANT CUM (No. 142, pp. 12, 93), along with the Visitatio. I print from a photograph of the manuscript page. Whether the manuscript contains a text of the Depositio, I do not know. 14 Harlem, MS 258, fol. 44 v . 15 For the complete responsory see above, p. 30. 16 See above, p. 30. 17 See above, pp. 31, 72, and below, p. 123. 18 H. Pfeiffer’s article Klosterneuburger Osterfeier und Osterspiel ( Jahrbuch des Stifles Klosterneuburg, Vol. I, Vienna, 1908, pp. 1-56) supersedes all previous publication upon the Easter liturgical plays of Klosterneuburg, in Austria, and provides bibliography. Since I have not had access to the manuscripts of this monastery, I reprint the Elevatio as published by Pfeiffer (p. 16) from MS 629, fol. 102 r -103 r , of the fifteenth century. From this manuscript he prints (pp. 16-18) also the Visitatio. Although it appears (Pfeiffer, p. 20, note 2) that the Klosterneuburg manuscripts contain texts of the Depositio, he prints none of them. 19 Klosterneuburg MS 629, fol. 102 r -103 r . 96 UNIVERSITY OF WISCONSIN STUDIES DEUOTIONE ET REVERENTIA, ADOLENTES ET ASPERGENTES EA, AC CANENTES SUB SILENCIO responsorium: Surrexit pastor bonus, qui posuit animam suam pro ovibus suis; et pro suo grege mori dignatus est, aeuia,aeuia, aeuia.< Versus > : Surrexit Dominus de sepulchro, qui pro nobis pependit in ligno. Et pro. Deinde hos psalmos cantent: Conserva me, Domine. Domine, probasti me. Require in parasceve. Versicula: Surrexit Dominus de sepulchro, alleluja. Qui pro nobis pependit in ligno, alleluja. Oracio : Oremus: Deus qui hodiemo die per unigenitum tuum eternitatis nobis aditum devicta morte reserasti, vota nostra, quae praeveniendo aspiras eciam adiuvando prosequere. Per eundem Dominum. This office occurs before Matins. During the singing of the responsory Surrexit pastor the abbot, accompanied by other clerics, takes the Cross and Host from the sepulchrum and places them in some appropriate place. The observance con- cludes with the rendering of two psalms, a versicle, and a prayer. We have already noticed a tendency to discriminate clearly between the Host and the Cross in the ceremonial . 20 This distinction is particularly evident in the following version of the Elevatio from Augsburg : 21 27 Tandem adorata Cruce bajulant eam duo Presbyteri ascendentes PER PARTEM AQUILONAREM CHORI USQUE AD SEPULCHRUM, ET IBI SaCERDOS INCIPIAT ANTIPHON A < M > : Super omnia ligna cedrorum tu sola excelsior, in qua vita mundi pepen- dit, in qua Christus triumphavit, et mors mortem superavit in aeternum. Antiphon a: In pace in idipsum dormiam et requiescam. Antiphon a: Habitavit in tabernaculo tuo; requiescet in monte sancto tuo. Antiphon a: Caro mea requiescet in spe. POSTEA EXSECUTOR OFFICII GENUFLECTENS PONAT CRUCEM IN SEPULCHRO, ET THURIFICET EAM, ET ERECTUS INCIPIAT, ET CHORUS FINIAT: Sepulto Domino signatum est monumentum; ponentes milites qui custodirent illud. 28 In aurora pulsatis CAMPANIS ad classicum, congregato Clero et POPULO, FLEXIS GENIBUS DICITUR ORATIO DOMINICALISJ ET POSTEA SACERDOS THURIFICET Sepulcrum, et proferatur Sacramentum cum Imagine cum corona spinea. Incipiatur responsorium: Christus regnat, quod cantetur circa fontem, cereis pr^cedentibus. Responsorium: Christus resurgens ex mortuis jam non moritur; mors ill! ultra non dominabitur. Quod enim vivit, vivit Deo, alleluja, alleluja. V : Dicant nunc Judaei quomodo milites custodientes Sepulchrum perdiderunt regem ad lapidis positionem. Quare non servabant petram justitiae? Aut sepultum reddant, aut resurgentem adorept nobiscum dicentes. Quod. Psalmus: Te Deum laudamus .... non confundar in aeternum. 29 V : Resurrexit Dominus. Sicut dixit vobis. Oratio: Praesta, quaesumus, omnipotens Deus, ut in resurrectione Domini nostri Jesu Christi cum omnibus sanctis percipiamus portionem. Qui tecum vivit et regnat Deus. Per omnia. Deinde osculetur cuppa in qua est Sacramentum, primo a Sacerdote, et POSTEA A POPULO. It will be observed that the York Depositio is attached directly to the Adoratio Cruets, and that the Host is not men- tioned. That the Host was involved in the sepulchrum offices 27 Manuale . . . Ecclesiae Eboracensis, in Surtees Society, LX III, 163-164. 28 Id., pp. 170-174. 29 In the Surtees text the Te Deum is given in full. YOUNG — THE EASTER SEPULCHRE 99 is clear, however, from the fact that the Elevatio mentions it particularly . 30 Discrimination between the Cross and the Host is seen again in the use of the cathedral of Exeter . 31 The Depositio takes the following form: < DEPOSITIO CRUCIS ET HOSTLE> 32 DeINDE EXUAT SACERDOS CASULAM TANTUM, ET IN ALBA ASSISTENS ASSUMAJ UNUM DE PRELATIS IN SUPPERELLICIO ET REPONAT CRUCEM PARITER CUM CORPORE DOMINICO IN SEPULCRO, INCIPIENS HOC RESPONSORIUM: Estimatus sum. Chorus prosequatur: Cum descendentibus, et cetera. Deinde incensato Sepulcro et clauso hostio eiusdem, incipiat ipse Sacerdos r esponsorium: Sepulto Domino. Chorus prosequatur: Signatum, et cetera. Item idem Sacerdos incipiat antiphon am: In pace in idipsum. Chorus: Dormiam. Idem Sacerdos incipiat antiphon am: In pace factus est. Chorus: Locus eius. Item Sacerdos AXTiphonam: Caro mea. Chorus: Requiescet in spe. Tunc omnes cum deuocione genuflectant, et adorata Cruce, recedant . 33 This ordo provides that after Vespers, during the singing of the responsory A estimatus sum, a priest, accompanied by one prelate, deposits in the sepulchrum both Cross and Host . 34 Then after the censing of the sepulchrum and the closing of the door, is sung the responsory Sepulto Domino. The office is con- cluded by the singing of three antiphons and an adoration of the Cross . 35 30 The York texts may serve as a reminder that the absence of Host or Cross from an isolated version of the Depositio or Elevatio does not definitely prove the absence from the sepulchrum offices of the object ignored in the rubrics. 31 Ordinate Exoniense, edited from a manuscript of the fourteenth century by J. N. Dalton, in Henry Bradshaw Society , Vol. XXXVII, London, 1909. From Exeter no Visitatio is forthcoming. 32 Henry Bradshaw Society , XXXVII, 321. 33 Followed immediately by the rubric In Vigilia Pasce. 34 The reservation of this Host on Holy Thursday is provided for in the following rubric ( Henry Bradshaw Soc., XXXVII, 318): Ponantur a diacono tres hostie ad sacramentandum, quarum due reseruantur in crastinum, una ad percipiendum a sacerdote, reliqua ut reponatur cum cruce in sepulcro. 36 I am not clear as to what cross is the center of this concluding adoration. By this time the cross used in the Depositio is enclosed within the sepulchrum. 100 UNIVERSITY OF WISCONSIN STUDIES The Elevatio from Exeter is described in the following or do: 38 Deinde 39 exuat Pontifex casulam, et accipiens Crucem super altare JACENTEM, CUM ALIO SACERDOTE, INCENSATO PRIUS SePULCHRO, PONAT EAM CUM MAGNA REVERENTIA IN IPSO SEPULCHRO, SUPPOSITIS PULVINARI ET MUNDIS ET ALBIS LINTIIEAMINIBUS, ASTANTIBUS DUOBUS CEROFERARIIS IN SUPELLITIISJ et ponendo iNCEPiAT Cantor media voce r esponsorium: Estimatus sum, CHORO EXCIPIENTE IN EADEM VOCE ILLUD IDEM CUM SUO VERSU ET REGRESSU. Deinde accipiat Episcopus de manu Diaconi in pixide sindone cooperta Corpus Dominicum a die precedenti reservatum et reponat illud honori- FICE IN IPSO SEPULCHRO JUXTA CRUCEM. PONAT ETIAM IBIDEM EPISCOPUS EX ALIA PARTE CRUCIS CALICEM [VACUUM], PATEN AM, [CORPORALIA] SINDONE ETIAM involuta. Deinde claudens ipse Sepulchrum iterum incenset illud, et incipiat Cantor r esponsorium: Sepulto Domino, VOCE QUA PRIMUM, ET SIMILITER EXCIPIATUR A CHORO CUM SUO VERSU ET REGRESSU. QUIBUS CANTATIS INCIPIAT IPSE PONTIFEX AXTiphotiam : In pace in idipsum. Item incipiat [similiteb] ant iphonam: In pace factus est. 37 1 present the texts given by U. Chevalier, Ordinaire et Coutumier de VEglise caihedrale de Bayeux ( Bibliotheque Lilurgique , Vol. VIII, Paris, 1902), from Bayeux MS 121 of the thirteenth century. Martene prints the Depositio (p. 367) andElevatio (p. 478) from “Bajocensis ecclesiae ordinarium ante annos 400 quantum conjicere licet exaratum,” — a document that we may date about the year 1300. Except for a passage that I reprint in foot-note 40 below, Martene’s Depositio does not differ substantially from the text given by Cheva- lier (pp. 133-134) from MS 121. Martene’s Elevatio I reprint in a foot-note. From the Bayeux Consuetudinarium, contained in manuscripts of the thirteenth century, Chevalier gives brief ordines for the Depositio (pp. 388-389) and Elevatio (p. 390). Similar to this last text is the Elevatio printed by A. Gaste ( Les Drames liturgiques de la Cathedrale de Rouen , Evreux, 1893, p. 63) from “indications que nous fournit Radulphe 1’ Angevin dans son Ceremonial, redige en 1269.” The liturgical manuscripts of Bayeux do not contain the Visitalio Sepulckri. 38 Bibliotheque Lilurgique , VIII, 133-134. Cf. the ordo in the Consuetudi- narium, id., pp. 388-389. 39 This text is immediately preceded by the ordo for Vespers. 102 UNIVERSITY OF WISCONSIN STUDIES Ultimo autem incipiat ant ipJionam: Caro mea. Et sic compleatur diei istius officium. Nota vero quia, quamdiu Corpus Dominicum jacet in Sepulchro, ardent continue duo cerei ante illud SUPER TAPETUM ibidem protentum. *This office occurs after Vespers. The bishop, assisted by another priest, takes up the Cross lying on the altar, deposits it in the sepulchrum , 40 and places over it a cushion and clean white cloths. Meanwhile is sung the responsory Aestimatus sum. Then the bishop places beside the Cross a pyx containing the Host , 41 and on the opposite side of the Cross, an empty chalice and a paten. After the sepulchrum has been closed, are sung the responsory Sepulto Domino and three antiphons. It is to be observed that for the period during which the Host remains in the sepulchrum two lights are kept burning before the place. The Elevatio at Bayeux is ordered as follows : 42 40 The location and furnishing of the sepulchrum are described briefly in the following rubric communicated by Martene (p. 367 ) : Hodie paretur sepulcrum versus cornu altaris sinistrum, linteaminibus mundis et palliis pretiosis, et aliis sicut pretiosius fieri consuevit. 41 That this Host is especially reserved from Thursday we learn from the Consuetudinarium of Bayeux, in which it is spoken of ( Bibliotheque Liturgique , VIII, 389) as Corpus Dominicum a die prccedente reservatum. See also Martene, p. 367. 42 Since the Elevatio communicated by Martene (p. 478 ) differs considerably from the text of Bayeux MS 121 used by Chevalier, I reprint Martene’s text entire: Ante matutinas facta pulsatione & conglobato choro ante altare, cereis & thuribulis accensis, episcopus superpelliceo & stola indutus, facta oratione ante altare, stans ad cornu dextrum altaris, lavat manus, incensum benedicit, illudque ponit in thuribulo, & in medio altaris corporate explicat. Sacerdos similiter indutus. Deinde accedit ad sepulcrum ex utraque parte expansum, in quo pyxis cum reliquiis supradictis reservatur : quam flexis genibus incensat, eamque postea defert ad altare, & cum ea clero & populo in modum crucis benedicit more consueto, & supradictum corporate reponit & incensat, moxque ex ea sumptum Corpus Dominicum genibus flexis adorandum ostendit. Quo in pixide reposito, redit ad eumdem locum, unde calice cum patena & bursa sumptis, & ad altare delatis, ultimo vero crucem extollens, & ad altare conversus incipiat antiphonam Christus resurgens cum suo versu & regressu. Tunc omnes cum gaudio flexis genibus adorent crucem, cantantes eamdem antiphonam, quae dum cantatur supra altare crucem deponit. Quo facto, stans episcopus dicat xersum Surrexit Dominus de sepulcro, & orationem Deus qui pro nobis Filium tuum. Deinde cantatur antiphona Regina ceeli cum suo versu & oratione. YOUNG — THE EASTER SEPULCHRE 103 < ELE V ATIO CRUCIS ET HOSTILE > 43 In die sancto Pasche fit festum duplex cum iiii° r capis de stallo altiori* PULSATUR ETIAM SICUT IN NATALI DOMINI QUASI PER HORAM UNAM VEL CIRCA ANTE DIEM. QUA PULSATIONE FINITA, CLERO ANTE ALTARE CONGLOBATO, EPISCOPUS, CEREIS ET THURIBULIS ACCENSIS, ACCEDAT AD SEPULCHRUM. QUO incensato, Corpus Domini inde sumptum cum reverentia magna deponat SUPER ALTARE; DEINDE CALICEM, ULTIMO VERO EXTOLLENS IPSE CRUCEM DE Sepulchro incipiat ant iphonam: Xpistus resurgens. Tunc omnes cum gaudio, flexis genibus, adorent Crucem, cantantes ean- DEM ANTIPHONAM CUM SUO VERSU ET REGRESSU. POSTEA EADEM CRUCE POSITA AB IPSO EPISCOPO SUPER ALTARE BEATORUM RAVENNI ET RASIFI, DICAT IPSE EPISCOPUS, STANS AD IDEM ALTARE VeTSUm: Surrexit Dominus de sepulchro. Et P ARVO Miss ALI APERTO SUPER IPSUM ALTARE: SCILICET, AD PEDEM CRUCIS, SUB JUNGAT ADHUC EPISCOPUS : OremuS, ET ORATIONEM ETC. DlCAT EPISCOPUS versum: Surrexit Dominus de sepulchro, ET ORATIONEM.* Deus qui pro nobis Filium, IN MODUM LECTIONIS. STATIM POST EPISCOPUS, CAPA SERICA, MITRA, BACULO, CEROTHECIS, ET ANULO REDIMITUS, INCIPIT DE STALLO SUO MATUTINAS MODO COMMUNI. According to this version the bishop proceeds in procession to the sepulchrum, censes the place, and, one at a time, carries the Host, the chalice, and the Cross to positions upon the altar. As he takes up the Cross he begins the antiphon Chris- tus resurgens. The Cross is then adored, and subsequently taken to the altar of Saints Ravennus and Rasiphus, where two prayers and appropriate versicles are said. The Elevatio is followed immediately by Matins . 44 quae dum cantatur, episcopus iterum populo & clero cum pyxide benedicit eamque incensatam sacerdos in loco consueto reponit, deinde lavat manus ad idem cornu dextrum altaris, & dicit orationem Deus qui per resurrectionem . . . statim post episcopus cappa serica & mitra cum baculo, chirothecis, & annulo redimitus incipit matutinas. 43 Bibliotheque Liturgique, VIII, 139. Cf. the ordo in the Consuetudinarium, id., p. 390. 44 In view of the especial reverence shown to the Cross in the Elevatio of Bayeux, I find this a convenient point at which to refer to a similar emphasis in versions from Caen, Dublin, and Sarum. Since these versions have already been brought into relation with the drama in recent publications, I do not reprint them in the present study. The Elevatio from the Church of St. Sepulcre, Caen, 104 UNIVERSITY OF WISCONSIN STUDIES We now proceed to a series of texts of especial interest through the fact that the versions of the Elevatio among them contain suggestions of the theme of the Harrowing of Hell . 45 From Eichstatt are available a text of the Depositio and two texts of the Elevatio : 46 < DEPOSITIO CRUCIS ET HOSTILE > 47 DeMUM 48 SaCERDOS CUM PARTICULIS MIXORIBUS RETEnTIS et C ALICE VACUO AC CRUCE QUAW PRIUS SuBDIACONI GESTABAXT, ProCEDAT ad Sepulchrum et HEC IN SePULCHRO HONORIEICE RECOnDAT, CHORO SUBMISSA VOCE CANEWTE RESPOwsoRium: Recessit pastor noster, et respowsorium: Ecce cpiomodo morit ur iustus. Et ibidew VESPcrE sub silewtio. < ELEVATIO HOSTLE> 49 Incipit ordo in festo sancte Pasce. Ite m ante Matutinuw itur ad Sepulchrum et canuntur antiphone subscripte. Et tres Domim simul cantewt TreviAm antiphon am : 60 and the Depositio, Elevatio, and Visitatio, from the Church of St. John the Evangelist, Dublin, have been printed by the present writer in Transactions of the Wisconsin Academy of Sciences, Arts, and Letters, XVI, Part II, 901, 916- 924. The Depositio and Elevatio of the Sarum use are fully presented by Cham- bers, II, 312-315. 45 See above, pp. 31, 90-91. 46 So far as I know, these texts are now published, or reprinted, for the first time. The Depositio is reprinted from Missale secundum Chorum et Ritum Eiistetensis Ecclesie, Nuremberg, 1517, fol. LXXXV r (British Museum). This book contains no version of the Elevatio or Visitatio. The first text of the Elevatio published below is from Munich, Hofbibliothek, Cod. lat. 3918, Obse- quiale Eystettense saec. xiv, fol. 75 r -75 v . The manuscript contains no text of the Depositio. The Visitatio (fol. 75 v -76 v ) is mentioned by N. C. Brooks, in Zeitschrift fur deutsches Altertum , L, 302, but is still unpublished. The second text of the Elevatio printed below is found in Reverendissime in Christo patris D. Christophori pie memorie Episcopi Eistetensis iussu inchoatus est liber isle Obsequiorum Ecclesie absolutus vero electo iam Reverendissimo D. Mauritio ab Hutten: et Deus bene vertat, 1539, fol. cxlviii r -cl r (British Museum). This book contains no Depositio. The Visitatio from it is printed by Lange (No. 106, pp. 10, 71-74). 47 Missale . . . Eiistensis Ecclesie, Nurenberg, 1517, fol. LXXXV r . 48 Preceded immediately by the rubric : Et communicare volentes commu- nicent. 49 Munich, Cod. lat. 3918, fol. 75 r -75 v . 60 antiphonam] antiphanam (MS). YOUNG — THE EASTER SEPULCHRE 105 Ad monumewtuw venimus gementes; angelum Domfwi sedentem vidimus et dicentew quia surrexit Ihcsus. Pmius eorww canit antiphon am 51 sequentem: Surrexit Dominws de sepulchro qui pro nobis pependit in ligno, alleluia. SsCWWDUS EORMW CANIT ANTIPHON AM: 51 Surrexit Xpis/us et illuxit popwlo suo, quern redemit sanguine suo, alleluia. Tercius canit antiphon am: Venit Maria nuwcians discipulis quia vidi Domi num, alleluia. DEINDE LEGANTUR ORa^ONES QUE in Parascave legebantur ante crucem flexis genibus scilicet: Domine Ihesu Xp iste gloriosissme conditor, et cetera ut supra patescunt . 52 Finitis aut em ORa/ioNiBUS portatur Corpus X.visll AD CHORUM SEW AD LOCUM SUUW DEPUTATUM, ET CANITUR AN tip Ilona subscripta: Cum rex glorie Xpislus infernuw debellaturus intraret, et chorus angeli- cus ante faciew eius portas 53 principum tolli preciperet, sanctorum populus qui tenebatur in morte captiuw.? uoce lacrimabili clamauerat: Advenisti desiderabilis quern exspectabam«s in tenebris, ut educeres hac nocte uinculatos de claustris; te nos/ra vocabant suspiria, te larga requirebant lamenta; tu factus es spes desperatis magna consolacio in tormentis. 54 < ELEV ATIO CRUCIS ET HOSTLE> 55 Ordo in festo sancto Pasche. Item ante Matutinum itur ad Sepulchrum et canuntur ant iphone subscripte. Et tres Domini simul cantent primam ant iphonam: Ad monumentuw venimus gementes; angelum Domini se dentem vidimus et dicentem quia surrexit Ihesus. Primus eorum incipit: Surrexit Dominus de sepulchro qui pro nobis pependit in ligno, alleluia. Secundus eorum incipit: Surrexit Christus et illuxit populo suo quern redemit sanguine suo, alleluia. Tertius eorum incipit: Venit Maria nuncians discipulis quia vidi Dominum, alle- luia. DeINDE LEGANTUR ORATIONES QUE IN PARASCEUE LEGEBANTMr Fol. Cxi ANTE Crucem flexis genibus, scilicet: Domine Ihesu Christe. 51 antiphonam] antiphanaw (MS). 52 As to the reading patescunt I am uncertain. 53 portas] portans (MS). 54 Followed immediately by the rubric: Deinde Matutinum peragitur more suo. 55 Reverendissimi in Christo . . . Episcopi Eistetensis iussu . . . bene vertat, 1539, fol. cxlviii r -cl r . 106 UNIVERSITY OF WISCONSIN STUDIES F IXITIS OR AT 10 X IB US PORT AT CORPUS CHRISTI AD CHORUM SEU AD LOCUM SUUM DEPUTATUM ET CANTTUR AXTHIPOXA SUBSCRIPTA SUBML5SA VOCE; Cum rex glorie Christus infemum debellaturus intraret, et chorus angeii- cus ante faciem eius portas principum tolli preciperet, sanctorum populus qui tenebatur in morte captiuusvoce lacrimabili clamauerat: Advenisti desiderabilis quern expectabamus in tenebris, vt educeres hac nocte vincula tos de claustris; te nostra vocabant suspiria, te larga require- bant lamenta; tu f actus es spes desperatis. magna consolatio in tormentis, alleluia. Deinde fit pulsus camp axis, et Matutixum peragitur MORE SUO. The Eichstatt Depositio is unusual in its close attachment to the Miss a PrcBsanctificatorum. Immediately after the Com- munion the Celebrant carries to the sepulchrum certain particles of the Host used in the Mass , 56 along with the empty chalice and the Cross. These objects he reverently lays down during the singing of two responsories. It will be observed that the two texts of the Elevatio are substantially identical. At the sepulchrum , before Easter Matins, are rendered some four antiphons and a series of prayers. Then during the singing of the antiphon Cum rex glorice the Corpus Christi is carried to the choir, or to some other appropriate destination. The dramatic theme of the Descensus latent in this antiphon is in no wise developed. Noteworthy is the silence of the rubrics concerning the Cross. Somewhat more highly elaborated than the versions from Eichstatt are those from Meissen. Of the Depositio from this church we possess the following two texts .* 57 56 That no Host was reserved on Holy Thursday specifically for the Deposi- tio appears from the following rubric in the Missale of 1517 (fol. lxxviiiO : Duas hostias maiores, quarum unam ipse in hac Missa sumat, alteram uero in cras- tinum pro celebrante officium reseruet. 57 One of these texts is found in Benedictionale siue Agenda secundum ritum et consuetudinem Ingenue ecclesie Misnensis, Meissen, 1512, fol. xxxvii v - xxxviii 7 , reprinted in Liturgische Bibliothek, Yol. I (ed. A. Schonf elder), Pader- bom, 1904, p. 14. A similar text from Agenda Xumburgense , Nuremberg, 1502, fol. Lxxiiii, is reprinted ibid., p. 69. The second text of the Depositio printed below is found in Breuiarius denuo reuisus et emendatus Ceremonias Ritum canendi legendi ceterasque consuetudines in choro insignis et ingenue Misnensis Ecclesie obseruandas com pend iose explicans, Meissen, 1520, sig. F 3 recto (British Museum). I reprint also the Elevatio from this book (sig. F 4 verso). The Visitatio (sig. F 4 verso-F 5 recto) has been reprinted by Lange, in Zeitschrift fur deutsches Altertum, XLI, 82-83. YOUNG — THE EASTER SEPULCHRE 107 i8 Deinde Sacerdos continuet Officium Misse secundum ordinem Missa- lis, et Vesperis finitis Sacerdos indutus c.appa cum maiore qui presens FUERIT DEPORTET CRUCEM AD LOCUM SEPULCHRE CUM THURIB ULI5 ET CANDELI3 SEQUENTE EOS CONUENTU CANT ANTES SUBMISS A VOCE: Ecce quomodo moritur iustus et nemo percipit corde; viri iusti tolluntur et nemo considerat; a facie iniquitatis sublatus est iustus. Et erit in pace memoria eius. In pace factus est locus eius, et in Syon habitacio eius. Quo FINITO DICANTUR SEPTEM PSA1ML QUIBUS FINITIS RECEDANT A SePULCHRO CANT ANDO RESPONSORIUM : Sepulto Domino signatum est monumentum, voluentes lapidem ad ostium monumenti, ponentes milites qui custodirent illud. Ne forte veniant discipuli eius et furentur eum et dicant plebi : Surrexit a mortuis. 5 ®° Finitis Vesperis, omwES persone lumina ardentla habentes iuuenes et senes, precedantqwc Pheretrum: Scolares, Chorales, et Capellani; post hos, qui Pheretrum portant. Mox SEQunwr Pheretruw Officlans cum SACRAMEnTO; HUWC PRECEDIT DyACONUS ET SUBDYACONUS, UNUS TABULAR percUtlews. Hinc sequuwtur Canonici, post Vicarii omnES cant antes: Ecce quomodo moritwr iustus, et cetera. FlTQttg PROCESSIO EX CHORO IN AMBITUm INTRANDO ECCLESLAm, CERCUm- GIRANDO PER CaPELLAW DuCUm VSQUe AD LOCUm UBI SEPULCHRUm PARATUm est in Capella Slmonis et Iude. Ibi Que ponat ur Corpus cum Pheretro et Sacramentuw super altare ibidem. Et Officlans aqua benedicta asperso et thurificato Pheretro, incipiant?^ septew psalmi more solito. Quibus finitis diotur: Christus factus est pro nobis obediens, et cetera. Et Officlans dicit collect Am: Respice, qK€^mttS, Damfne, sine Oremus et sine cowclusione. Qutbus peractis redit processio ad chorum per ianuas DoMiNORum Prepositi et Decani, cum responsorio : Sepulto Damz'no. Et tunc Chorales sint statim parati ad legendu m Psalterium.* 1 This office 62 begins mth a carefully arranged procession to the sepulchrum after Vespers. Especially noteworthy, for our present purpose, is the fact that the Crucifix is borne upon a 58 Eenediclienale . . . Ecclesie Misnensis, Meissen, 1512, fol. xxxvii v - xxxviii r . 59 Followed immediately by the rubric In Vigilia Pasce. 60 Breuiarius . . . Misnensis Ecclesie . . . , Meissen, 1520, sig. F 3 recto. 81 Followed immediately by the rubric: Completorium. ” I refer to the fuller text, of 1520. 108 UNIVERSITY OF WISCONSIN STUDIES bier , 63 and that the Host is carried by the Officiant. The pro- cessional piece is the responsory Ecce quomodo. The Host and the bier bearing the Crucifix are placed upon the altar in the Chapel of Simon and Jude, where the sepulchnim is arranged. After the sprinkling and the censing of the pheretrum , the seven penitential psalms are said , 64 followed by a versicle and a collect. The procession returns to the choir with the singing of the responsory Sepulto Domino. The Elevatio from Meissen is as follows: 65 In nocte Pasche ante pulsum Matutinarm/w circa horaw uNdecimaw AD LEV ATIONEm CRUCIS FIAT COttUEWTUS IN CHORO, ET OWnES PERSONE ACCIPI- U«T LTTMINA ARDEWTIA IN MANUS. Et TRES CANONICI MAIORES CAPPIS RUBEIS SERICEIS INDUTI, SEQUENTE EOS CONUENTU, EXEUNT PROCESSIONALITER CHORUm PER IANUAS DomiNORUm PREPOSITI ET DECANI CUM VEXILLIS, THURI- BULIS, ET CANDELIS AD SEPULCHRUW CU PI SEPTEm PSALMIS QUI IN CHORO INCEPI- UNTttf sine Gloria patri. Quibus dictis, Dicm/r Alleluia. Et tuwc PreDiCTi maiores Canonici thurificewt Crucem et leuant cantawdo submissa voce cum choro : Resurrexi. Duo RECIPIUWT ImAGINEW ReSURRECTIOWIS ET MAIOR SACRAMENTUrn, ET OmnES REDEANT AD CHORUm. IMAGINE AD MEDIUm SUMMI ALTARIS LOCATA et Sacramento in summo altari posito cantet ur an tiphona: Cum rex glorie, submissa voce. Qua finita, Decanus aut Prepositus dicat \~ERsum: In resurrectione tua, Christe, alleluia, choro respowdente: Celum et terra letentttr, alleluia. CoUecta: Presta, quesmus, omnipotent Deus, ut in resurrectiowe. Postea Canonici oscuLENTwr Imagine m et offereht, et detur Pax cir- CUMSTANTIBZ^. DATA PACE, QUILIBET DICAT ALTERI : Surrexit Dominns vere, alleluia. 63 The fact that the bier ( pheretrum ) supports the Crucifix is made clearer in the rubrics of the Elevatio, printed below. In the Depositio and Elevatio together the Crucifix seems to be designated by a variety of words: corpus, crux, imago. The Host is uniformly called sacr amentum. The expression Imago resurreclionis puzzles me. It may indicate a special object, or it may — inappropriately, it would seem — refer to the Crucifix, or to the Corpus upon the Crucifix. See above, p. 81, note 38. 64 The use of these psalms allies the Depositio, once more, to such forms of the Adoratio as that seen in St. Athelwold’s Concordio Regidaris. See above, pp. 20 - 22 . 66 Breuiarius . . . Misnensis Ecclesie . . . , Meissen, 1520, sig. F 4 verso. YOUNG — THE EASTER SEPULCHRE 109 Ex ille respondeat: Et apparuit Petro, alle/wfa. Tunc Cantor vel unus Daw/noruw incipiat alte: Christ ist enstanden. Tunc CAMPANATOR ACCEDAT et LUMINA ACCIPIAT, ET AD LOCA DESTINATA AP- PONAT; lBIQUe QMAWDIU DUREWT, ARDEANT. Hus PERACTIS PULSENTttr CAM- PANE. 66 This procession to the sepulchrum , before Matins, begins with the saying of seven psalms. After the censing of the Crucifix, it is taken up from the sepulchrum while the Introit Resurrexi 67 is being rendered. During the singing of the antiphon Cum rex glorice the Imago Resurrectionist and the Host are carried separately to the choir and placed upon the altar. After a versicle and a response, a collect is said, the Imago Resurrectionis is kissed, and the Pax is administered. The office closes appropriately with the singing of the vernacu- lar Christ ist entstanden.t Although clearly belonging in the succession of texts now under examination, the following Depositio and Elevatio from Regensburg present unusual aspects : 70 < DEPOSITIO CRUCIS ET HOSTLE> 71 DlCTIS VeSP£TIS SAC6TDOTES QUI INDUTI CASULW AD ALTA/E Mim'STraBAWT ACCIPIUWT CrUCEW UT EA M PreCEDEWTIBMS EOS MlmSTnS CUW CtffEIS et THU7T- bulo collocewt in Sepulchrmw. P ost hos seQ uitur Dowznws Abbas defcpens Cor pus Domimcum in APerro. Hos SeQ uitur co«uentzw cawtans r espon- soriutn: Ecce quomodo moritwr, cum versu. Responsorium: Recessit pastor, cum versu. 66 Followed immediately by Matins. 67 See above, p. 35. 68 The precise meaning of the term Imago Resurrectionis I do not know; nor am I certain as to the relation of the object signified to the Imago Crucifixi f discussed above. See p. 81. 69 See Lange, pp. 99-129. Erstanden is, of course, the usual reading. 70 Munich, Hofbibliothek, Cod. lat. 14183, Ordinarium Monasterii Sancti Emmeranni Ratisbonensis saec. xv, fol. 47 v -48 r , 50 v . The Depositio and Elevatio are now published for the first time. The important Visitatio from this manuscript has been published by N. C. Brooks, in Zeitschrift fiir deutsches Alter- tum , L, 300-302. It will be observed that the texts now printed differ substan- tially from those printed above (pp. 88-89) from the Regensburg Ordinarium in Munich MS 26947. 71 Munich, Cod. lat. 14183, fol. 48 r -48 v . 110 UNIVERSITY OF WISCONSIN STUDIES A ntiphona : Joseph ab Arimathia. iNTeriM Dowmnms Abbas el SACerDOTES locavermwt CrucEw et Cor pus Domini super Sepulchrww, et tpsuu opotehtes lintheo iwcensawt, et cawtawt r esponsorium: Sepulto Domino. Finito Responsorio Dovtinus Abbas, niclo Pater Naster, vicaT versum: Tu au tew, Do wine, miserere mei. ORate’o: De«$, qui filiuw tuuw unigenituw. Tu»c Dowznms Abbos CLAMsub casulaw accipit Cor pus Domim, et precEDEwxiBws euw cerEis PorTAT ipsuu in SAcraRiuw more solito RESer- vanduw. DEiNtte EXxraHwwT se Mdmstri et ipsi et ConUENT us induumt calceos et preparANT se ad ReFECTioneM. Pulsataqmc tabula, ueniumt ad REFECTORIUW. < ELE V ATIO CRUCIS> 72 In sanctA nocte an te pulsatas Matutinas, Dowjnms .Abb as et seniores VENIUMT AD SEPULCHRMW CUW CAWDELIS et inCENSO et ASPerSOKIO SUBMISSA voce dicewtes psaltnum: Dowine, probasti me, totum. SeQ uitur Pater n os ter. Versus: In resurrectione tua, 'K.piste, alleluia.. Or atio: Dews, qui hodierna die per unigenituw tuum ctermtatis. Tunc DowiNws Abbos TiiuriFiCAT CrucEw et ASPerGix. Tollens CrucEw super HUMeruw suuw Cantor submissa uoce incipit: Cum rex giorie. Quo finito s eQuitur: Alleluia, surrexit pastor bonus. Et sic ciRCUwEunT totuw ambituw. Et intra«tibm5 choruw DowiNns ABBaS ASSIGNAT CRUCEW ECCtestASTICO AD AMBONEW, Qui EAW CUW HONOrE DEBITO LOCABIT AD LOCUW SUUW. POST HEC DATttf SIGNUW AD PULSANDAS Matutinas. The ordo for the Depositio provides that after Vespers both the' Cross and the Host be carried in the procession and placed upon the sepulchrutn. The sepulchrum is now covered with a cloth 73 and censed. At the close of the office, after saying the Pater Noster and a collect, the abbot privately carries the Host from the sepulchrum to the sacristy, where it is reserved with accustomed reverence. In so far as the present study is con- 72 Id., fol. 50 v . 7a I construe the Latin to mean that both the sepulchrum and the objects upon it are thus covered. YOUNG — THE EASTER SEPULCHRE 111 cerned, this prompt removal of the Host from beside the Cross is unique . 74 Since the Host has already been taken away from the place of burial, the Elevatio, before Easter Matins, is concerned with the Cross alone. The abbot and seniores go in procession to the sepulchrum rendering the psalm Domine, probasti. After saying the Pater noster and a collect, the abbot censes and sprinkles the Cross, and then carries it on its way toward the assigned place, the choir singing Cum rex glorice. Although the group of texts that we have been examining contains several versions of the Elevatio in which appears the Descensus theme ( Cum rex glorice ), in none of these versions is the theme developed dramatically. We may appropriately pass, then, to the evidences that this development did occur. Such evidence appears, for example, in the following version of the Elevatio from the cathedral of Hereford : 75 < ELEVATIO CRUCIS ET HOSTLE> 76 Post mediam noctem ante Matutinas et ante campanarum pulsationem CONUENIANT OMNES CLERICI IN CAPITULUM; ET IBI ORDINATA PROCESSIONE PRECEDANT ceroferarii et thuribularii cum Cruce, Episcopo et Decano IN ALBIS REUESTITIS, DICTIS EPISCOPO ET DECANO ET OMNIBUS ALUS CANONICIS CEREOS EXTINCTOS IN MANIBUS GESTANTIBUS, OMNIBUSQUE LUMINARIBUS ECCLESIE PRETER CEREUM PASCHALEM ET PRETER CEREUM INFRA SEPULCRUM EXTINCTIS; INCIPIT CANTOR ANTIPHON AM: Cum Rex glorie, SUBMISSA VOCE, UT MAGIS LAMENT ATIONEM ET SUSPIRIA REPRESENTET QUAM CANTLfM, ET SIC PROGREDIANTUR ANTE SEPULCRUM. FlNITA ANTIPHON A, Episcopus et Decanus accedant ad ostium Sepulchri; Episcopus HUMILI VOCE ANTIPHON am: Elevamini, FINE TENUS CANTET. CHORUS RESPONDEAT: Quis est iste rex glorie? Dominus virtutum, ipse est rex glorie. Episcopus vel executor officii paulo altius cantet antiphon am: Elevamini, ut supra. Chorus similiter: Quis est iste rex glorie? Dominus fortis et potens, dominus potens in prelio. 74 1 mean unique, of course, in so far as explicitness of rubric is concerned. This practice may have been followed in other versions whose rubrics are laconic. 76 The Hereford Breviary ( Henry Bradshaw Society, Vol. XXVI, London, 1904, ed. by W. H. Frere and L. E. G. Brown), pp. 324-325, from the Rouen edition of 1505. This breviary contains no Depositio or Visitatio. 76 Henry Bradshaw Society , Vol. XXVI, pp. 324-325. 112 UNIVERSITY OF WISCONSIN STUDIES Episcopus tercio altius cantet: Elevamini, ut supra. Chorus similiter: Quis est iste rex glorie? Dominus virtutum, ut supra. Tunc aperto Sepulchro, Epyscopus vel executor offich ingrediatur Sepulchrum, et ablato amictu Crucem et Sacr amentum thurificet; inde CEREUM QUEM TENET ACCENDAT A CEREO INFRA SEPULCHRUM, EX QUO OMNES ALII CEREI ACCENDANTUR. POSTEA EPYSCOPUS VEL EXECUTOR OFFICII ELEUANS Crucem et Sacramentum coniunctim de Sepulchro incipiat antiphon am: Domine, abstraxisti, ET FINE TENUS CANTET. CHORUS PSALMUM: Exaltabo te, Domine, prosequatur; et in fine post unumquemqUe versum psalmi fiat repetitio antiphone, scilicet: Domine, abstraxisti, quousque sancta Crux ab Epyscopo vel executore officii super altare offeratur, et quousque VEXILUM SANCTE CRUCIS APPOSITUM FUERITJ ET VEXILO APPOSITO EPYSCOPUS VEL EXECUTOR OFFICH INCIPIAT HUNC VERSUM: Consurgit Christus tumulo, choro prosequente: Victor redit de baratro. Deinde Episcopus vel executor offich: Quesumus, auctor omnium, chorus: In hoc paschali gaudio. Epyscopus vel executor officii: Gloria tibi, Domine. HlC OMNES GENUFLECTANT, ET PULSENTUR OMNIA SIGNA, CHORO PROSEQUENTE: Qui surrexisti a mortuis. Tunc Epyscopus alta voce incipiat antiphon am: Surrexit Dominus de sepulchro qui pro nobis pependit in ligno, alleluya, alleluya, alleluya. Epyscopus vel executor officii dicat versiculum: Dicite in nationibus. R esponsio: Quia Dominus regnauit in ligno, alleluya. Or atio : Deus, qui pro nobis . . . famulis tuis, ut resurrectionis eius gratiam consequamur. Que terminetur sic: Per eundem Cristum Dominum nostrum. Chorus respondeat: Amen. Nec precedat nec sequatur Dominus vobiscum, nec Benedicamus Domino. Tunc accendantur duo cerei, et ponantur a dextris et a sinistris Crucis; NON AMOUEANTUR USQUE AD PROCESSIONEM. SEPULCRUM VERO STET OSTIO APERTO VACUUM USQUE POST VESPERAS HAC DIE IN TESTIMONIUM RESURREC- TIONIS. POSTEA REDEANT IN CAPITULUM EODEM ORDINE QUO VENERUNT. Epyscopus vero hac die post debitam campanarum pulsationem assumptis PONTIFICIBUS ASCENDAT AD SEDEM SUUM, ET IBI INCIPIAT MATUTINAS HOC MODO. YOUNG — THE EASTER SEPULCHRE 113 The Hereford use provides that after midnight the whole conventus shall pass from the chapter-house to the sepulchrum in the church, the place being lighted only by the Easter candle and the candle at the door of the sepulchre. During the pro- cession is sung lugubriously the familiar antiphon Cum rex glorice. At the door of the sepulchrum the bishop sings the antiphon Elevamini , to which the chorus responds Quis est isle rex glorice? This challenge and response are delivered three times, each time in a higher tone. The bishop now enters the sepulchrum , censes the Cross and Host, and from the sepulchre- candle lights his own candle and that in the hand of each cleric in the procession. He next takes up from the sepulchrum both Cross and Host, and proceeds with the Cross to the altar . 77 The raising of the Cross and Host is accompanied by the singing of the psalm Exalt abo and its antiphon Domine abstraxisti. After a banner ( vexillum ) has been attached to the Cross, appro- priate persons deliver several versicles and responses, an antiphon, and a prayer; and leaving a light on either side of the Cross, the procession returns to the chapter-house. In com- memoration of the Resurrection the door of the sepulchrum is left open throughout the day. Although it will be readily admitted that in this version of the Elevatio the theme of the Descensus advances to the stage of dramatic dialogue, it will be observed both that the advance stops short of impersonation, and that it results in certain improprieties in detail. The use of the sepulchre itself as a limbus involves an obvious jostling of concepts, and the utter- ance of the choir, in that it includes both interrogation ( Quis est?) and reply (Dominus virtutum ), ignores dramatic con- sistency. That improprieties of this sort were perceived and removed is clear from other versions of the Elevatio , such as that used at the cathedral of Bamberg. In the case of this church, however, we are fortunate in possessing the text not only of the Elevatio , but also of all the other offices and ceremonials associated with the sepulchrum . 78 The reservation of a par- 77 The disposal of the Host is not elucidated. 78 Agenda B amber gensia . . . , Ingolstadii, 1587 (Munich, Hofbibliothek) , Part II, pp. 489-490, 522-527, 585-597, 597-604. The Depositio is now re- printed for the first time. The Elevatio and Visitatio have been reprinted 114 UNIVERSITY OF WISCONSIN STUDIES ticular Host for use at the sepulchre, for example, is provided for in the following rubric from Holy Thursday: Quoniam Ecclesia Catholica in die sancto Parasceves Corpus Christi consecrare non solet, idcirco Parochus sub sacro hodiemo duas Hostias maiores consecret, quarum unam in Missa sumat, alteram vero in sequentem diem sumendam servet; eamqwe corporali involutam, peracto sacro, reverenter, praecedente lumine, et campanula tinniente, portet; atque recondat eo in loco, ubi aliae Hostiae consecratae asservari consueverunt. In Ecclesiis porro maioribus, Tertia quoque Hostia magna consecretur, quae postridie in Sepul- chrum Domini posita, ibidew a populo Christiano usque ad tempus Dominicae resurrectionis adorari queat. Et haec quoque Hostia cum praedicta coniugatur et asservetur. 79 In this rubric we are given the special information that the Host for the Depositio was of large size, and that it was to be exposed for general adoration from Friday until Easter. The Depositio is ordered as follows: < DEPOSITIO CRUCIS ET HOSTLT:> 80 POSTEA 81 REDEAT AD ALTARE, ET ACCIPIAT HOSTIAM MAGNAM CONSECRATAM, UNA CUM PARVA CRUCE, IBI RELICTAM, EAMQUE AD SEPULCHRUM PORTET, ITE- by Lange in Zeitschrift fur deutsches Allertum , Vol. XXIX (1885), pp. 247- 251, and the Visitatio alone is reprinted again by Lange in Die lateinischen Osterfeiern, No. 141, pp. 12, 93-95. Because of their general resemblances to the texts from Bamberg, we may appropriately mention here the versions from Mainz, Wurzburg, and Augsburg. The Depositio and Elevalio from Mainz are published by the present writer in Transactions of the Wisconsin Academy of Sciences , Arts, and Letters, XVI, Part II, 914-915. The Depositio and Elevalio from Wurzburg are reprinted from a service-book of the year 1564 by G. Milchsack, Die lateinischen Osterfeiern, Wolfenbuettel, 1880, pp. 134-135. The sepulchrum offices of Augsburg are accessible in several prints. From Obsequialis secundum diocesis Augustensis inorem, 1487, Milchsack (pp. 127— 129) reprints the Depositio, Elevatio, and Visitatio. From Ritus Ecclesiastici Augustensis Episcopatus, Dilingae, 1580, Milchsack (pp. 131-132) and Lange (No. 170, pp. 108-110) have reprinted the Visitatio. The Elevatio (pp. 582-593) has, I believe, not been reprinted. The Depositio referred to in a rubric (p. 517) may be supplied from Missale . . . Augustensis Ecclesie. Dilingae, 1555, fol. 114 v (British Museum), not yet reprinted. In Obsequiale . . . secundum ccclesiam Augustensem, [Augsburg, 1499] (British Museum) are found a Depositio (fol. xv r -xv v ), an Elevatio (fol. xxx v -xxxii v ), and a Visitatio (fol. xxxii v -xxxiiii v ) , none of which has, I believe, been reprinted. 79 Agenda Bambergensia, Ingolstadii, 1587, pp. 489-490. 80 J Ecce quomodo moritur iustus, et nemo percipit corde; viri iusti tolluntur, et nemo considerat; a facie iniquitatis sublatus est iutus. Et erit in pace memoria eius. Versus: In pace factus est locus eius, et in Syon habitatio eius. Et erit, etc. Cum ad Sepulchrum pervenerit Sacerdos, Corpus Christi una cum Sancta Cruce reverenter deponat in Sepulchrum, factaque thuri- FACTIONE, AC LUSTRALIS A QUAE ASPERSIONE, CLAUD AT, ET SERA diligenter muniat Sepulchrum, ne Christi Corpus, per impios aut haere- TICOS VEL lUDAEOS INDE AUFERRI, VEL ALIA QUEUIS CONTAMINATIO FIERI QUEAT. Deinde sequens cantetur responsorium: Sepulto Domino, signatum est monumentum, voluentes lapidem ad ostium monumenti. Ponentes milites qui custodirent illud. Versus: Ne forte veniant discipuli eius, et furentur eum, et dicant plebi: Surrexit a mortuis. Ponentes, etc. Postea Sacerdos cum Ministris, vel choro flexis genibus, legat clara voce Vesperas, secundum ritum in Breviario descriptum. Curent POSTREMO PAROCHI UT IN HONOREM VENERABILIS SACRAMENTI SINT ET MANEANT continue ad Sepulchruw cerei ardentes; et Psalterium quoque per PUEROS VEL ALIOS LUGUBRI LENTAQUE VOCE LEGATUR USQUE AD HORAM ReSUR- rectionis. Sub divinis tamen lectio Psalmorum debet omitti. This ordo provides that immediately after the Missa Prce- sanctificatorum the Host and a small cross ( parva crux ) 82 are carried in procession to the sepulchrum 83 After both objects have been placed within the sepulchre, and have been censed and sprinkled, particular care is taken to lock the door against intrusion. The entire action is accompanied by familiar litur- gical chants. Lights are kept at the sepulchrum until Easter, and during this period those who guard the place sing psalms. The Elevatio contains an ample treatment of the theme of the Descensus: 82 It appears that this cross is to be distinguished from the larger cross used in the Adoratio of Good Friday. See the text of the Elevatio below. 83 Concerning the general arrangement of the sepulchrum we have the following rubric ( Agenda B amber gense, p. 495): Alius quoque deligatur locus pro Sepulchro Domini erigendo, qui inter caetera contineat unam arcam, vel quid simile, quod claudi et obserari, atque in eo venerabile Sacramentum reponi, tutoque relinqui possit, usque ad tempus et horam Dominicae resurrectionis. 116 UNIVERSITY OF WISCONSIN STUDIES 84 Ordo Celebrandi Commemorationem Dominicae Resurrectionis in Sancta Nocte. Et haec quoque Dominicae Resurrectionis commemoratio celebriori- BUS SERVIT ECCI.ESIIS. Unde aliarum ecclesiarum, ut pote minorum et RURALIUM ReCTORES ET PAROCHI, EX ORDINE HIC DESCRIPTO, ALIQUID SALTEM DESUMERE POSSUWT, QUOD PRO LOCI ET PERSONARUM ILLIC CONVENIENTIUM QUALITATE COMMODUM FORE IUDICAVERINT. Ubi igitur Corpus Domini in die Parasceves Sepulchro impositum, INDE ELEVANDUM EST, SEQUENS SERVETUR MODUS. ClRCA HORAM NOCTIS HUIUS SACRAE UNDECIMAW POPULUS CHRISTIANUS AD SEPULCHRUM Domini conveniat, Sacerdos vero superpelliceo, stola, et pluuiali, seu CAPPA, UT VOCANT, CHORALI INDUTUS, E SACRARIO PRODEAT, VERSUSQUE SEPUL- CHRUW LENTO GRADU PERGAT, PRAECEDENTIBUS LPSUM DUOBUS CEROFERARIIS, UNOQttC ET ALTERO CLERICO SIMILITER SUPERPELLICEATO SEQUENTE. Ad SEPULCHRUM UBI PERVENERINT, IN GENUA PROCUMBANT, SICQUE CORAM VEN- ERABILI SACRAMEWTO SEQUENTES DUOS PSALMOS, FLEXIS GENIBUS, DEUOTE recitent: Psalmus iii. Domine, quid multiplicati 85 . . super populum tuum benedictio tua. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio, etc. Psalmus cxxxviii. Domine, probasti 85 . . et deduc me in via aeterna. Gloria Patri et Filio et Spiritui Sancto. Sicut erat in principio, et nunc et semper, et in secula seculorum, Amen. Kyrie eleison. Christe eleison. Kyrie eleison. Pater noster, etc. Et ne nos inducas in tentationem. Sed libera, etc. Versus: In resurrectione tua, Christe, alleluia. R esponsum: Coelum et terra laetentur, alleluia. Oremus: Gregem tuum, Pastor bone, placatus intende, et oves, quas pretioso sanguine redemisti, diabolica non sinas incursione lacerari. Qui cum Deo Patre in unitate Spiritus Sancti vivis ac regnas Deus, per omnia secula seculorum. ftesponsum: Amen. His dictis, aperiatur Sepulchrum, fiatque thurificatio et aquae bene- DICTAE ASPERSIO SUPER VENERABILE SACRAMENTUM, ET PARVAM CRUCIFIXI Imaginem, quae utraque deinde Sacerdos reverenter in manus capiat, VERSUSQtte AD POPULUM SEQUENTFM ANTIPHONAM TRIBUS VICIBUS, VOCE SEMPER ALTIUS ELEVATA, INCEPIAT, AC RELIQUUM CHORUS PROSEQUATUR: Surrexit Dominus de sepulchro. Chorus: Qui pro nobis pependit in ligno, alleluia. POSTEA INSTITUATUR PROCESSIO, VEL PER COEMITERIUM, VEL (si TUTUM NON VIDEBITUR) PER TEMPLI AMBITUM, HOC modo: Primo PRAECEDANT DUO CERO- 84 Agenda Bambergense, Ingolstadii, 1587, pp. 585-597. 85 In the print these psalms are given in full. YOUNG — THE EASTER SEPULCHRE 117 FERARII PRAEDICTI, QUOS IMMEDIATE SEQUANTUR DUO SACERDOTES, VEL CLERICI, PORTANTES EAM CRUCIFIXI IMAGINEM MAGNAM. QUAM CASULA COOPERTAM, IN DIE Parasceves gestaverunt duo Sacerdotes. Deinde subsequatur Sacerdos cum venerabili Sacramento et Sancta Cruce, quae utraque paulo ante ex Sepulchro levavit; Chorus vero cantet antiphon am: Cum rex gloriae Christus infernum debellaturus intraret, et chorus angelicus ante faciem eius portas principum tolli praeciperet, sanctorum populus, qui tenebatur in morte captivus, voce lacrymabili clamaverat: Advenisti desiderabilis quern expectabamus in tenebris, ut educeres hac nocte vinculatos de claustris; te nostra vocabant suspiria, te larga require- bant lamenta, tu factus es spes desperatis, magna consolatio in tormentis, alleluia. Ubi ad primam vel proximam templi ianuam ventum fuerit, duo Sacer- dotes PRAEDICTI CUM STIPITE CRUCIFIXI TRIBUS VICIBUS FORTITER PERCITIANT IANUAM, HUNCQUE IN MODUM INTER PERCUTIENDUM CANTENT: Tollite portas principes vestras, et elevamini portae aeternales. Chorus quod sequitur canit: Et introibit Rex gloriae. Sit deinde aliquis in templo (si tamen extra templum processio fit; si VERO IN TEMPLO INSTITUATUR PROCESSIO, SIT IS EXTRA TEMPLUM) QUI DlABOLI PERSONAM SIMULANS, FERRO, MALLEO, AUT CATHENA, FORTITER QUOQUE IMPINGAT IN IANUAM EANDEM, DICATQUE VEL CLAMET ALTA VOCE: Quis est iste Rex gloriae? Mox CHORUS, VEL EO DEFICIENTE, SACERDOS SUBIUNGAT: Dominus fortis et potens, Dominus potens in praelio. Post haec chorus in incoepta, et paulo ante interrupt a, antiphona: Cum Rex gloria, etc. canere pergat, totaque processio, ordine praedicto, VERSUS SECUNDAM TEMPLI IANUAM PROGREDIATUR, APUD QUAM OMNIA FIANT, UTI APUD PRIMAM. Et NOTANDUM QUOD HAEC UTRAQUE IANUA MANERE DEBET CLAUSA. < P. 595 > QUANDO VERO AD ULTIMAM IANUAM VENERINT, FACTIS IBIDEM QUOQUE nS QUAE CIRCA PRIMAM INDICAUIMUS, APERIRI DEBET ILL A. PER QUOD DESIGNATOR, VEL CIRCUMSTANTI POPULO AD OCULUM REPRAESENTATUR, quomodo Christos Dominus post passionem suo ad inferos descensu, EUM INFERNI LOCUM QUI PATRUW LYMBUS DICITUR APERUERIT, VEL QUOD ALIBI DICITUR, PORTAS AEREAS VEL VECTES FERREOS CONFREGERIT, SUOSQUE CAPTIVOS INDE LIBER AVERIT. DEINDE CONTINUETUR ANTIPHONA: Cum Rex gloriae, etc. usque ad finem, pergatque processio ad chorum templi. Sacerdos vero gradus altaris ascendat, ibique versus populum con- SISTENS, AC CHRISTI CORPUS ADIIUC IN MANIBUS TENENS, CANTET TRIBUS vicibus, voce semper altius elevata: O vere digna hostia, etc., choro versum illum prosequente. O vere digna hostia, Chorus: Per quam fracta sunt tartara, redempta plebs captivata, redit ad vitae praemia. Addatur deinceps eiusdem hymni ultimus versus, Sacerdote incipiente: Gloria tibi, Domine. Chorus: Qui surrexisti a mortuis, cum Patre et Sancto Spiritu, in sempiterna secula, Amen. 118 UNIVERSITY OF WISCONSIN STUDIES Sub hoc ultimo versu, Sacerdos, facto signo crucis super populum cum VEXER ABILI < P. 597 > SACRAMENTO, PORTET ELLUD AD SUUM LOCUM IN QUO CONSERUARI SOLET; CHORUS YERO IXCIPUT: Victimae paschali laudes, etc. Et POST QUErnLLBET YERSUM, EN'SERAT UNUM TANTUM PASCHALEM GERMANICUM, QUEM POPULUS QUOQU€ CELEBRITER DECANTETJ SITQUE PRIMUS: Christ ist erstanden, etc. Hos CANTUS INVENTES IN FINE HUIUS LIBRI. POST HAEC INCEPIAXTUR M.\TU- TTNAE. According to this version, a general congregation is allowed to gather at the sepulchrum, where they are joined by a proces- sion of clerics from the sacristy. After the saying of two psalms, the Gloria Patri , the Kyrie , the Pater Noster, a versicle, and a prayer, the sepulchrum is opened and the Host and Cross are censed and sprinkled, and elevated into general view. Both the Host and Cross are then carried in procession through the cemetery outside the church, the chorus singing the antiphon Cum rex glorice. When the procession reaches the first door of the church, the two priests who carry the Magna Crux 86 strike the door three times with the shaft, singing Tollite portas. A person within the church, representing Satan, responds with the words Quis est iste rex glorice? The chorus in the procession outside replies Dominus fortis. Since this door remains closed, the procession passes on and repeats the dialogue at a second portal. When this door yields, the procession enters the church and advances to the choir. This ceremonial at the church- doors, the rubric tells us, specifically represents the Harrowing of Hell. Having entered the choir, the priest sings three times the verse 0 vere digna Hostia. After the Host has been put in its accustomed place, 87 the choir sings the sequence Victimce paschali , the congregation responding to each sentence with a verse of the vernacular hymn Christ ist erstanden . Our consideration of the representations of the Harrowing of Hell may appropriately conclude with an examination of the fifteenth century texts from the monastery of Barking, near London, for the Elevatio from this church shows a remarkable development of the theme of the Descensus. First, however, 88 This Magna Crux — apparently from the Adoratio of Good Friday — is to be distinguished from the parva crux placed in the sepulchrum. 87 This may be the tabernacle of the main altar. YOUNG — THE EASTER SEPULCHRE 119 we must glance at the following significant version of the Deposition 8 89 Cum autew Sancta Crux FueriT adorata, SACerooTES de loco predz'c/o Crucem elev antes inclpiant a ntiphonam: Super omnia, ligna, et CHORO ILLO SUBSEQUENTE TOTAM CONCINANT. CAnTRICE INCIPIENTE, DEFERANT CRUCEM AD MAGNUm ALTARE, IBIQttC IN SPECIE IOSEPH et NlCHODEMI, DE LIGNO DEPONENTES YmAGINEW VULNgrA CRUCIFIXI UINO ABLUANT el AQUA. Dum autew hec fiunt, concinat Conuentus r esponsorium: Ecce quomo^o moritur iustus, SACERDOTE INCIPIENTE et CANTRICE RESPONDENTE et CONUENTU SUCCINENTE. Post vuLNeruw abluczonem cum candelabris et turribulo deferant ILLAM AD SePULCRUW HAS 90 CANENTES AntiphondS : In pace in idipsnm. A ntiphona: Ha&itabit. Antiphona: Caro mea. CUMQtte m PREDic/nM LOCUM TAPETUM PALLEO AURICnLARI QllOque et LINTHEIS NITLDISSIMIS DECENTER ORNATUW ILLAM CUm REVERENCIA LOCAVeriNT, CLAUDAT SACerDos Sepulcruw et incipiat r esponsorium: Sepulto Domino. Et TUNC ABBafrSSA OFFERAT CEREUM, QUI IUGITER ARDEAT ANTE SEPULCRUM, NEC EXTINGUATUR DONEC YMAGO IN NOCTE PASCHE P OSt MATUT indS DE SEPUL- CRO cum CEREIS et THURE et PrOCESSIONE RESUMPTA, SUO REPONATUR IN LOCO . 91 It will be observed that this office attaches itself directly to the Adoratio Crucis; indeed the Depositio may be regarded as a conclusion for it . 92 Especially noteworthy is the detaching of the Ymago ( Corpus ) from the Cross and the washing of the vulnera Crucifixi . 93 The rubric in specie Ioseph et Nichodemi may indicate that this action involves impersonation; but the 88 Oxford, University College MS 169, Ordinarium Berkingense saec. xv in., p. 108. The Depositio, Elevdtio, and Visitotio from this manuscript have all been published by the present writer in Tronsaclions of the Wisconsin Acodemy of Sciences, Arts, ond Letters, XVI, Part II, 926-931. 89 University College MS 169, p. 108. 90 has] hac (MS). 91 Followed immediately by this rubric: Hiis itaque gestis, redeat Conuen- tus in chorum et Sacerdos in uestiarium. 92 See above, p. 26. 93 On the possible meanings of the word Ymogo see above, p. 81. The washing of the vxdnero Crucifixi has a parallel in the use of Rouen. See above, p. 75. 120 UNIVERSITY OF WISCONSIN STUDIES indication is not decisive. The text mentions the Ymago alone as the object placed in the sepulchrum; but from the Elevatio we infer that the burial included also the Host. We may now consider the Elevatio , for which we have the following or do: < ELEVATIO CRUCIS ET HOSTILE > 94 N0/(J Qliod SeCHUDUM. ANTIQ7WM CONSUETUDINE7W ECCLCSIASTICAM ReSUR EXIO DowiNICA CELEBRATA FUIT ANTE MATUTWMW, et ANTE ALIQ7/aM CAMPANE PULSACiOW EM IN DIE PASCHE. Et QUOtlitm POVUUORUm CONCURSUS TEWPORIBttS ILLIS VIDEBATWr DEUOCtONE FRIGESSERE, et TORPOR HUM ANUS MAXIME ACCRES- cens, VENerABiLis Dowz'na Katcttna DE Suttone, TUNC PASTORALIS CURE GERENS VICEM, DESIDERANS &iCtute TORPOREM PENIT77S EXSTIRPARE et FIDELIUW DEU0C70NEM AD TAM CELEB EM CELEBRAC70NEM MAGIS EXCITARE, UNANIMI CONSOROR77W CONSENSU INSTITUIT UT STATIM P OSt III. RespomoriuVl MATUTINA- R77777 die Pasche fieret Dominice Resurexionis celebracio, et HOC MODO STATUET77r PTOCESSIO. In pmiis eat Dam'NA Abbo/issa cu m toto Conuentu et quibusdam SAcer- DOTIB775 et CLERICIS CAPIS INDUTIS, QUOLIBET SACgfDOTE et Cl^/TCO PALMA7W et CANDELA777 EXTINCTA777 MANU DEFERENTE 95 INTREWT CAPELLA77Z SatlCtE MARIE Magdalene, figurantes awitwas sanctoRum patru m an te adventuw Xpistl AD INFEROS DESCENDENTES, et CLAUD ANT SI M OSTIU777 DICTE CAPELLE. DeINDE SUPerVENIENS SACfTDOS EBDOwadaRIUS AD D7C/AM CAPELLAM APPRO- PIANS ALBA INDUTUS et CAPA CU777 DUOB775 DIACONIS, UNO CRUCEM DEFERENTE CU77? VEXILLO D07777NICO DESUP 0 T PENDENTE, ALTerO CUW T/EBDOmadaRius Sepulcruw thurificet et intret Sepulcrum incipiendo xersum: Consurgit. Deinde suBSEQUAT^r Cantrix: Xp istuc tumulo. 96 Versus: Omnis auctor. Versus: Gbria tibi, Domine. Et mreriM. asportabit Corpus Dowz/nicum de Sepulcro incipiendo a nli- phonam: Xpwhis resurgews, CORAM ALTARI, V«rSO UULTU AD P 0 PWLMM, TENENDO CORPUS DflwiNICUM IN MAXIBM5 SUIS INCLUSUM CRIST ALLO. DEINDE SUBIUNGAT CANTRIX : Ex mortuis. Et CUM victA ANTiphona FACIANT ProCESSIONEM AD ALTARE SanctE Trinitatis cum SOLENNI APPARATU, VIDELICET CUm TMfRIBULIS et cerEis. Conuentms seqmatur cantando premet Ate Antiphonam cum xersu: Dicant nunc, et uersicuEO : 97 Dicite in naaowibws. Or alio: Deus qui pro nob« Filium tuuw. E HEC ProCESSIO FIGURATWr Per HOC QMO Xpistuc PrtfCEDIT Post RESUR < R > XI/ONEM in Galileam, sequentibms Discipulis. 98 From the generous rubrics in this text it appears that the present form of this office is due to the reform of Katherine of Sutton, Abbess of Barking from 1363 to 1376." Although she recognizes the tradition of the Elevatio before Easter Matins, she undertakes to establish a special form of this office for observance at the close of Matins, directly before the usual Visitatio. 96 tumulo] timulo (MS). 97 uersiculo] uer siculus (MS). 98 Immediately followed by a version of the Visitatio Sepulchri. 99 See W. Dugdale, Monasticon Anglicanum, Vol. I, London, 1S46, p. 437. 122 UNIVERSITY OF WISCONSIN STUDIES The Elevatio divides itself naturally into two parts : a repre- sentation of the Descensus, and a raising of the Host from the sepulchrum. The representation of the Descensus occurs neither at the sepulchrum nor at the church doors, but, very appropriately, at the chapel of St. Mary Magdalen. Behind the closed doors of this chapel are imprisoned all the members of the conventus, representing the spirits in limbo Patrum. After a triple challenge, Tollite porta s, from a priest without, the door of the chapel is opened and the imprisoned spirits are allowed to depart in procession toward the sepulchrum. The full rubrics explaining this representation leave little doubt that impersonation is deliberately intended. The subsequent raising of the Host from the sepulchrum includes no novelties in the w^ay of action. The central ob- servance is the adoration of the Host at the main altar. The concluding procession from this altar to the altar of Holy Trinity is interpreted for us as representing the journey of Christ into Galilee. The absence from this office of all mention of the Ymago Crucifixi, used in the Depositio, is somewhat puzzling. As we approach the end of the present section of this study, we have still to consider certain versions of the Depositio and Elevatio which, by reason of one peculiarity or another, have thus far resisted classification, but which deserve at least brief notice. The following are fifteenth-century versions from Hungary : 100 < DEPOSITIO CRUCIS ET HOSTLE> 101 Interim 102 Subcustos exportat moxstrantiam cum Sacramento pro SEPULTURA AD ALTARE MAGNUM. HlS PERACTIS DESCENDAT CHORUS PRO- CESSION ALITER AD LOCUM UBI SEPULTURA ORDINATA 103 EST, EPISCOPO IPSOS CUM Sacramento sequente, precedentlbus quattuor precedentibus seu IUUENIBUS CUM BACULIS AURATIS CUM CANDELIS ACCENSIS. Et DOMINUS Episcopus recondat Crucem cum Sacramento reverenter thurificando 100 Published by J. Dank6, Vetus Hymnarium Ecclesiasticum Hungariae, Budapest, 1893, pp. 535-538, from “Ordinarius Scepusiensis sive Strigoniensis saeculi decimi quinti e codice manuscripto Bibliothecae R. Universitatis Budapestinensis.” With the Depositio should be compared the text from Gran printed above, pp. 32-33. 101 Dank6, pp. 535-536. 102 Immediately preceded by Vespers. 103 sepultura ordinata] sepulturam ordinatam (Dank6). YOUNG — THE EASTER SEPULCHRE 123 ET ASPERGENDO AC SIGLLLANDO SEPULCHRUM. INTERIM CHORUS CANTET R esponsoria: Hierusalem luge. Ecce vidimus. Plange quasi virgo. Recessit pastor bonus. Recondito Sacramento, chorus cantet Responsorium: Sepulto Domino. Et postea Dominus Episcopus dicat versum et orationem ut in Missali. Tandem facta reverentia recedat . 104 105 Item in Matutino post ultimam omeliam, dum Chorales incepiunt ad responsorium: Dum transisset, debent procedere usque ad Sepulchrum; et ibidem Chorales versiculum cum Gloria Patri sollemnisabunt. Ibique Ministri stantes candelis accensis, thure et thuribulo ibi EXISTENTIBUS, ET INTERIM UNUS LEUABIT SEPULCHRUM ET HOSTIAM ET DOMINUS PONTIFEX SIUE PLEBANUS PRECEDENTES SOLLEMNITER THURIFICABIT. DeIN Corpus cum parva Cruce excipiet, quod impositum fuit feria sexta MAJORIS EBDOMADE. Et EXCIPIT CUM VERSICULO ISTO*. Surrexit dominus de sepulchro, alleluia, qui pro nobis. Et interea circa altare Beate Virginis calicem cum corporalibus PREPARANT. TUNC DOMINUS PONTIFEX SEU PLEBANUS ACCEDENS CORPUS XRISTI SUPER PATENAM TENENS IN MANU HONORIFICE ET AD MAXIM AM REUER- ENCIAM VERTAT SE TRIBUS VICIBUS AD POPULUM CUM CORPORE XRISTI CAN- TANDO: Pax vobis, cum suo Alleluia. Chorus respondet: Nolite timere, alleluia. DeINDE PROCESSIO CANENDO REDIBIT AD CHORUM SOLEMNISANDO : Te Deum. The notable circumstance connected with these texts is the unusual liturgical position of the Elevatio: before the Te Deum at the end of Easter Matins. As we have already conjec- tured , 106 this may have been the original location of the Ele- vatio , and the transference of this office to the beginning of Matins may have been made in order to provide a place for the Visitatio . 104 Followed immediately by the rubric: In Completorio. 105 Dank6, pp. 537-538. 106 See above, pp. 31, 95. 124 UNIVERSITY OF WISCONSIN STUDIES Special considerations of a different sort arise in connection with the following versions from Diessen : 107 108 His finitis duo VrcspyleRi induti albis patent Ymagimem? q ue sepelienda E St, PreCEDENTE CtfMUENTU CUm ACCENSW CANDELW ET TKXJRibulo FACIAMT proCESSiowm per ECclesiAm circumEUNDO et cantando lugubri voce Res- ponsorium: Ecce quo modo mori tur. Versus : In pace i actus. POSTEA LOCENT YmAGINEM? AD SEPULCHR7?m CUM? THURIFICa/? 0 Wg et ASPerSIONE. Et dicant Vesperas ibid em prfuATim. Ps almus: CoMfitebor, cu m versicuLo. Se quitur Magnificat. An tiphona: Cu m accepisset. Ps almus: Miserere mei, cum ORatiowE. SE quitur Responsorium: Sepulto Domino. Versus: Ne forte veniant. Et sic redeamt im CHORwm. Tunc compuLSENT«r tabule onmes. < ELEV ATIO CRUCIS ET HOSTLE> 109 In sanclA nocte ante HOROLOGium Decanus cum seniorib??.? tollant Ymaginem? Saluatoris, report ato p rius Sacramcmto, de Sepulchro cum ps almo: Domine, qwid midtiplicati. Et cant Ant ANtiphonam: Snrrexit Do minus. Cum? incenso et ASPersoRio portent Ymagine/m super summum? altare, et OSCULENTMr EArn CUM? GAUDIO ET DEUOCIONE. TUNC CONPULSENTUR OMNIA SIGNA. The specialty of the Diessen Depositio is its apparent assimilation of Vespers. After the Communion of the Mass, when the Imago has been placed in the sepulchrum , Vespers are immediately said in this place privatim. At the close of Vespers is sung the responsory Sepulto Domino . Since this responsory is commonly associated with the closing action of the Depositio , the present version of this office may be viewed as including Vespers within itself. The Elevatio raises no particular question except through the obscurity surrounding the use of the Host. Although the 107 Munich, Hofbibliothek, Cod. lat. 5545, Ordinarium Diessense saec. xv, fol. 19 v ~20 v . The Depositio and Elevatio from this manuscript are now published for the first time. The Visitatio has been published by N. C. Brooks in Zeitschrift fiir deutsekes Altertum , L, 305-306. It is possible that with these texts should be associated those cited above from Munich, Hofbibliothek, Cod. lat. 5546. See above, p. 88, note 71. 108 Munich, Cod. Lat. 5545, fol. 19 v -20 r . 109 Id., fol. 20 v . YOUNG — THE EASTER SEPULCHRE 125 Depositio does not mention it, the Elevatio indicates that the Host must have been included in the burial, and that it was secretly removed from the sepulchrum before the time of the Elevatio , early Easter morning ( reportato prhis Sacramento'). The last texts that we need consider are the following from Regensburg : 110 < DEPOSITIO CRUCIS> 1U Expleta autem Communione Fidelium, particulae Corporis Christi, SI QUAE SUPERFUERINT, SERVENTUR ET PORTENTUR IN LOCUM HONESTUM . 112 Quibus omnibus peractis Sacerdos cum ministris tollat Crucifixum, QUOD REPRAESENTATUM FUERAT, ET DEFERANT AD SEPULCHRUM CANTANTES Res pons orium: Recessit pastor noster, vel Ecce quomodo moritur. Tunc locent Crucifixum in Sepulchrum, et flexis genibus leg ant Ves- PERAS SUBMISSA VOCE. POSTREMO CANTETUR LENTA VOCE CUM VERSU RES- ponsorium: Sepulto Domino. Tunc Sacerdos dicat versum: In pace factus est, et orationem: Respice. Aspergatur et thurificetur. < ELEVATIO CRUCIS ET HOSTLE> 113 Episcopus aut Praepositus aut Decanus sive senior Canonicus, indutus stola, ante pulsum Matutinarum, congregato choro, CUM processione et DUOBUS LUMINIBUS, FORIS ECCLESIAE CLAUSIS, SECRETIUS TOLLAT SACRAMENTUM seu Crucifixum; et antequam tollat, dicantur psalmi flexis genibus et sine Gloria Patri, videlicet: Domine quid multiplicati sunt (Ps. 3), Miserere mei Deus (Ps. 56), Domine probasti me (Ps. 138). Sequitur: Kyrie eleison, Christe eleison, Kyrie eleison. Pater noster. 'Versus: Et ne nos. Versus: Exsurge Domine, adiuva, etc. Versus: Foderunt manus meas, etc. Versus: Domine exaudi, etc. 1,0 In connection with these texts should be considered those from Munich Cod. Lat. 26947, printed above, pp. 88-89. 111 Decreta Authenlica, IV, 432, from Obsequiale Ratisbonense, 1491. 112 The liturgiologist of the Decreta Authenlica infers (p. 432) that the locus honestus is the sepulchrum. 113 Decreta Authenlica , IV, 440, from Obsequiale Ratisbonense , 1491. 126 UNIVERSITY OF WISCONSIN STUDIES Oratio: Da nobis, Domine, auxilium de tribulatione, qui dedisti pro nobis pre- tium magnum, et quos mors Filii tui D. N. I. C. redemit, eorum vita te digne glorficet. Per eumdem, etc. Finita collecta aspergatur et thurificetur Crux, et portetur ad locum suum, cum r esponsorium: Cum transisset Sabbatum, etc., Media voce cantatur. Et antequam Crux in suum locum reponatur, TANGATUR PORTA ECCLESIAE CUM CRUCE ET DICATUR VerSUS Quis est iste Rex gloriae? R esponsum: Dominus fortis et potens, Dominus potens in praelio. Finito responsorio Episcopus vel Sacerdos dicat submissa voce versus: In resurrectione tua, Christe, allel. R esponsum: Coelum et terra laetentur, allel. Oratio: Deus, qui hodierna die etc. (ex Offic. Dom. Resurr.) Sequitur: Versus: Surrexit Dominus vere, allel. R esponsum: Gaudeamus omnes, allel. Finitis his incipiatur pulsus Matutinarum, et finito tertio responsorio REENCIPIATUR IDEM RESPONSORIUM : Cum transisset, etc. Et fiet processio cum toto choro ad Sepulchrum, ibique perficietur RESPONSORIUM. QUO FINITO DUO PRESBYTERI STANTES ANTE SEPULCHRUM, ACCEPTIS (SIC!) OBUMBRALI LOCO SUDARII EXTENDENTESQUE ILLUD CANTENT ALTA VOCE TOT AM ANTIPHON AM: Surrexit Dominus de Sepulchro, qui pro nobis pependit in ligno, alleluia. Et cantata antiphona, Episcopus, Praepositus, vel Decanus aut senior Canonicus incipiat canticum laetitiae: Te Deum. Cum quo reditur ad chorum et completur Matutinum ibidem. In its organic relation to Vespers, the Depositio of Regens- burg resembles that of Diessen. Perhaps the most notable feature of the Elevatio is the use of an abbreviated form of the Descensus dialogue Quis est iste Rex glorice? This brief dialogue is introduced after the taking up of the Cross, and the familiar command Tollite portas is omitted. Brief mention should be made, finally, of the embryonic version of the Visitation at the close of Matins. Between the last responsory and the Te Deum , a procession visits the empty sepulchrum , where at the displaying of a veil representing the sudarium , is sung the antiphon Surrexit Dominus. YOUNG — THE EASTER SEPULCHRE 127 By way of summarizing this division of the subject one need only call attention to the considerable number of versions of the Elevatio in connection with which is developed the theme of the Descensus. This development involves not only a highly dramatic dialogue, but also, probably, a considerable measure of mimetic action. The Elevatio from Barking may intend something deliberate in the way of impersonation. VI The facts now at hand concerning the Depositio and Ele- vatio , along with our previous knowledge of the Visitatio Sepul- chri, should enable us to draw certain final conclusions as to the probable inter-relations of these dramatic offices in the his- torical development. For a precise demonstration the data are, I think, insufficient; but for a statement of probabilities the facts now available are ample. In view of the data surveyed in this study, the extra- liturgical sepulchrum can scarcely be regarded as an independent device invented exclusively for the purposes of the dramatic offices under consideration. From the earliest period of formal Christian worship the idea of burial seems to have attached itself to certain objects used in the authorized liturgy itself: especially the altar, the tabernacle, and the chalice. At one time or another during the early middle ages these objects were either associated with the grave through physical contact, — as in the case of the altar, 1 — or were interpreted as sepulchra through symbolism. When a dramatic impulse arose requiring a mise en scene for commemorations of the Burial and Resur- rection, — apparently in the course of the tenth century, — the sepulchrum was already at hand for adoption. The dramatic offices, to be sure, gave added currency to the name “sepul- chrum, n and they eventually elaborated structures of their own; but they cannot be credited with the invention of the thing itself. Concerning the general sequence of the dramatic develop- ments at this sepulchrum we can, I think, be reasonably certain. 1 See especially Hirn, pp. 19-30. 128 UNIVERSITY OF WISCONSIN STUDIES I infer that the Deposition along with the complementary Elevatio, was the original development, and that the Visitatio attached itself to the sepulchrum later, as a sequel. In support of this inference I would cite first the difference between the Depositio-Elevatio and the Visitajio in liturgical content and tone. The former dramatic sequence is completely litur- gical in content, devoid of original composition and of dialogue. The Visitatio, on the other hand, is essentially a free composi- tion. Although the developed versions of it contain numerous liturgical pieces , 2 the invariable central element of the Visitatio is # an independent literary production: the dialogued trope Quem queer itis in sepulchro . 3 I infer that if the Visitatio had preceded the Depositio-Elevatio, the later offices would, through natural imitation, have reflected something of the dialogue and freer composition of the Visitatio. That the Visitatio should not have conformed to the liturgical rigor of the Deposi- tio-Elevatio is due, apparently, to the fact that the Visitatio brought to the sepulchrum an independent literary dialogue ready for dramatic use. Another consideration leads me to the same general conclu- sion as to the priority of the Depositio-Elevatio. From the present study nothing is more apparent than that these offices, however dramatic their ceremonials, never in themselves devel- oped true drama. That is to say, the performers never imper- sonated the characters concerned. However imitative or commemorative the acts may have been, the agents in the action never specifically assumed the personalities involved in the story inspiring the action . 4 In the Visitatio Sepulcliri, on the other hand, impersonation is frequent. Of this fact one of the earliest extant versions of the Visitatio, — from St. Athel- 2 See Lange, pp. 167-170, et pass. 3 See, for example, id., pp. 131-132; Chambers, II, 28; and above, p. 7. 4 In making this statement I have in mind what we may call the normal forms of the Depositio and Elevatio, which are concerned with the laying down (or “burial”) and the raising (or “resurrection”) of the Cross or Host, or of both. The dramatic treatment of the Harrowing of Hell, added to certain versions of the Elevatio, does sometimes develop impersonation (See above, pp. 117-122); but the Descensus is not the central theme of either the Depositio or the Elevatio. In their central action, the Depositio and Elevatio do not develop impersonation. YOUNG — THE EASTER SEPULCHRE 129 wold’s Concordia Regularise — may serve as an illustration. Whereas in the pages above 5 we have found that the Depositio and Elevatio from this document involve no impersonation at all, the Visitatio prescribes it with insistent explicitness in such rubrics as the following: Dumque tertium percelebratur responsorium residui tres succedant, omnes quidem cappis induti turribula cum incensu manibus gestantes, ac pedetemptim ad similitudinem querentium quid ueniant ante locum Sepulchri. Aguntur enim hec ad imitationem Angeli sedentis in monumento atque mulie- rum cum aromatibus venientium ut ungerent corpus Jhesu. 6 Now I assume that if the Visitatio , with impersonation of this sort, had preceded the Depositio and Elevatio , these latter offices would, in some measure, have imitated the Visitatio in this important aspect. The consistent absence of impersona- tion from the Depositio and Elevatio seems to me to indicate that they had attained their rigid liturgical character before the advent of the Visitatio. I may, then, summarize my conception of the development as follows: 1) The authorized liturgy itself early developed the idea of sepulchrum in connection with such ritualistic objects as the altar, the tabernacle, and the chalice. 2) Availing themselves of this idea of burial, the extra- liturgical Depositio and Elevatio arose, in the course of the tenth century, under the influence especially of the reservation on Holy Thursday and of the Adoraiio Crucis of Good Friday. 7 In many cases the Depositio allies itself to the authorized liturgy with especial intimacy. 8 I infer that the Depositio was invented first, and that the Elevatio arose as a necessary comple- ment. The two offices are mutually complete, 9 and both are essentially liturgical in spirit and content. 3) During the early years of the tenth century was pro- duced the trope Quem quceritis in sepulchro as an independent 6 See pp. 73-74. 6 Logemann, in Anglia , XIII, 427. 7 See above, pp. 9-29. 8 See above, for example, pp. 73, 76. 9 “The Depositio and Elevatio mutually presuppose each other and, together, are complete” (Chambers, II, 25). 130 UNIVERSITY OF WISCONSIN STUDIES literary composition in the form of dialogue . 10 During the course of the tenth century this trope was very appropriately brought into association with the sepulchrum , and its dialogue became the basis of the dramatic Visitatio Sepulchri . n This office formed a fitting, but not an inevitable, sequel for the Depositio-Elevatio . Many churches observed both the Depositio-Elevatio and the Visitatio; but since the former sequence is complete in itself, and since the Visitatio is quite capable of independent per- formance, a church could freely omit either the one or the other . 12 10 See Publications of the Modern Language Association , XXIX, 5-13. See above, p. 7. 11 Some may wish to argue that Deposition Elevatio, and Visitatio attached themselves to the sepulchrum simultaneously. As I have suggested above, these persons will have to account for the fact that even at an early period (repre- sented by the Concordia Regularis of St. Athelwold) the Visitatio became true drama, whereas the Depositio-Elevatio never attained this development. 12 Disregard of this simple fact sometimes leads to the investigator’s con- fusion. The rarity of the Visitatio in England, for example, might seem puzzling in view of the large number of “Easter sepulchres” still to be seen throughout the country. These sepulchres, in general, were evidently designed not for the Visitatio , but for versions of the Depositio-Elevatio, such as those from Sarum, York, and Exeter. See above, for example, pp. 97-100. I -N 275132 boston college 3 9031 01254133 0 * V o Lin Q f X y 7 A/<3 / -S' 7 y^'3 Boston College Library Chestnut Hill 67, Mass. Books may be kept for two weeks unless a shorter period is specified. If you cannot find what you want, inquire at the circulation desk for assistance. I