scene takes place, not at the sepulchre but at the altar, and at Cividale in a spot described as the _ortus Christi_[111]. The formal classification, then, of the versions of the _Quem quaeritis_, gives three types. In the first, the scenes between the Maries and the angel, and between the Maries and the choir, are alone present; in the second the apostle scene is added to these; the third, of which there are only fifteen known examples, is distinguished by the presence of the Christ scene. In any one of these types, the _Victimae paschali_ and other proses and hymns may or may not be found[112]. And it must now be added that it is on the presence of these that the greater or less development of lyric feeling, as distinct from dramatic action, in the play depends. The metrical hymns in particular, when they are not merely choral overtures, are often of the nature of _planctus_ or laments put in the mouths of the Maries as they approach the sepulchre or at some other appropriate moment. These _planctus_ add greatly to the vividness and humanity of the play, and are thus an important step in the dramatic evolution. The use of them may be illustrated by that of the hymn _Heu! pius pastor occiditur_ in the Dublin version found by Mr. Frere and printed, after a different text from his, in an appendix[113]. This play has not the Christ scene, and belongs, therefore, to the second type of _Quem quaeritis_, but, in other respects, including the _planctus_, it closely resembles the Fleury version described above. Another _planctus_, found in plays of the third type from Engelberg, Nuremberg, Einsiedeln, and Cividale, is the _Heu nobis! internas mentes_[114]; a third, the _Heu! miserae cur contigit_, seems to have been interpolated in the _Heu! pius pastor_ at Dublin; a fourth, the _Omnipotens pater altissime_, with a refrain _Heu quantus est dolor noster!_ is found at places so far apart as Narbonne and Prague[115]: and a fifth, _Heu dolor, heu quam dira doloris angustia!_ is also in the Fleury text[116]. Another advance towards drama is made in four Prague versions of the third type by the introduction of an episode for which there is no Scriptural basis at all. On their way to the sepulchre, the Maries stop and buy the necessary spices of a spice-merchant or _unguentarius_. In three thirteenth-century texts the _unguentarius_ is merely a _persona muta_; in one of the fourteenth he is given four lines[117]. The _unguentarius_ was destined to become a very popular character, and to afford much comic relief in the vernacular religious drama of Germany. Nor can it be quite confidently said that his appearance in these comparatively late liturgical plays is a natural development and not merely an instance of reaction by the vernacular stage.