It must be borne in mind that the _Quem quaeritis_ remained imperfectly detached from the liturgy, out of which it arose. The performers were priests, or nuns, and choir-boys. The play was always chanted, not spoken[129]. It was not even completely resolved into dialogue. In many quite late versions narrative anthems giving the gist of each scene are retained, and are sung either by the principal actors or by the choir, which thus, as in the hymns or proses which occur as overtures[130], holds a position distinct from the part which it takes as representing the disciples[131]. Finally the whole performance ends in most cases with the _Te Deum laudamus_, and thus becomes a constituent part of Matins, which normally comes to a close with that hymn. The intervention of the congregation, with its Easter hymn _Christ ist erstanden_, seems to lie outside the main period of the evolution of the _Quem quaeritis_. I only find one example so early as the thirteenth century[132]. It is in quite late texts also that certain other Easter motives have become attached to the play. The commonest of these are the whispered greeting of _Surrexit Christus_ and the kiss of peace, which have been noted elsewhere as preceding Matins[133]. At Eichstädt, in 1560, is an amusing direction, which Mr. Collins would have thought very proper, that the _pax_ is to be given to the _dominus terrae, si ibi fuerit_, before the priest. The same manuscript shows a curious combination of the _Quem quaeritis_ with the irrepressible _Tollite portas_ ceremony[134]. Another such is found at Venice[135]. But this is as late as the eighteenth century, to which also belongs the practice at Angers described by De Moleon, according to which the Maries took up from the sepulchre with the _linteum_ two large Easter eggs—_deux œufs d’autruche_[136].