‘While the third lesson is being chanted, let four brethren vest themselves. Let one of these, vested in an alb, enter as though to take part in the service, and let him approach the sepulchre without attracting attention and sit there quietly with a palm in his hand. While the third respond is chanted, let the remaining three follow, and let them all, vested in copes, bearing in their hands thuribles with incense, and stepping delicately as those who seek something, approach the sepulchre. These things are done in imitation of the angel sitting in the monument, and the women with spices coming to anoint the body of Jesus. When therefore he who sits there beholds the three approach him like folk lost and seeking something, let him begin in a dulcet voice of medium pitch to sing _Quem quaeritis_. And when he has sung it to the end, let the three reply in unison _Ihesu Nazarenum_. So he, _Non est hic, surrexit sicut praedixerat. Ite, nuntiate quia surrexit a mortuis._ At the word of this bidding let those three turn to the choir and say _Alleluia! resurrexit Dominus!_ This said, let the one, still sitting there and as if recalling them, say the anthem _Venite et videte locum_. And saying this, let him rise, and lift the veil, and show them the place bare of the cross, but only the cloths laid there in which the cross was wrapped. And when they have seen this, let them set down the thuribles which they bare in that same sepulchre, and take the cloth, and hold it up in the face of the clergy, and as if to demonstrate that the Lord has risen and is no longer wrapped therein, let them sing the anthem _Surrexit Dominus de sepulchro_, and lay the cloth upon the altar. When the anthem is done, let the prior, sharing in their gladness at the triumph of our King, in that, having vanquished death, He rose again, begin the hymn _Te Deum laudamus_. And this begun, all the bells chime out together.’ The liberal _scenario_ of the _Concordia Regularis_ makes plain the change which has come about in the character of the _Quem quaeritis_ since it was first sung by alternating half-choirs as an _Introit_ trope[38]. Dialogued chant and mimetic action have come together and the first liturgical drama is, in all its essentials, complete.