The scenic effect of the _Quem quaeritis_ can be to some extent gathered from the rubrics, although these are often absent and often not very explicit, being content with a general direction for the performers to be arrayed _in similitudinem mulierum_ or _angelorum_ or _apostolorum_, as the case may be. The setting was obviously simple, and few properties or costumes beyond what the vestments and ornaments of the church could supply were used. The Maries had their heads veiled[118], and wore surplices, copes, chasubles, dalmatics, albs, or the like. These were either white or coloured. At Fécamp one, presumably the Magdalen, was in red, the other two in white[119]. The thuribles which, as already pointed out, they carried, were sometimes replaced by boxes or vases representing the ointment and spices[120]. Sometimes also they carried, or had carried before them, candles. Two or three rubrics direct them to go _pedetemptim_, as sad or searching[121]. They were generally three in number, occasionally two, or one only. The angels, or angel, as the case might be, sat within the sepulchre or at its door. They, too, had vestments, generally white, and veiled or crowned heads. At Narbonne, and probably elsewhere, they had wings[122]. They held lights, a palm, or an ear of corn, symbolizing the Resurrection[123]. The apostles are rarely described; the ordinary priestly robes doubtless sufficed. At Dublin, St. John, in white, held a palm, and St. Peter, in red, the keys[124]. In the earliest Prague version of the Christ scene, the Christ seems to be represented by one of the angels[125]. At Nuremberg the _dominica persona_ has a crown and bare feet[126]. At Rouen he holds a cross, and though there is a double appearance, there is no hint of any change of costume[127]. But at Coutances and Fleury the first appearance is as _hortulanus_, indicated perhaps by a spade, which is exchanged on the second for the cross[128].