The dramatic tendencies of Christian worship declared themselves at an early period[1]. At least from the fourth century, the central and most solemn rite of that worship was the Mass, an essentially dramatic commemoration of one of the most critical moments in the life of the Founder[2]. It is his very acts and words that day by day throughout the year the officiating priest resumes in the face of the people. And when the conception of the Mass developed until instead of a mere symbolical commemoration it was looked upon as an actual repetition of the initial sacrifice, the dramatic character was only intensified. So far as the Canon of the Mass goes, this point needs no pressing. But the same liturgical principle governs many other episodes in the order of the mediaeval services. Take, for example, the ritual, of Gallican origin, used at the dedication of a church[3]. The bishop and his procession approach the closed doors of the church from without, but one of the clergy, _quasi latens_, is placed inside. Three blows with a staff are given on the doors, and the anthem is raised _Tollite portas, principes, vestras et elevamini, portae aeternales, et introibit Rex gloriae_. From within comes the question _Quis est iste rex gloriae?_ and the reply is given _Dominus virtutum ipse est Rex gloriae_. Then the doors are opened, and as the procession sweeps through, he who was concealed within slips out, _quasi fugiens_, to join the train. It is a dramatic expulsion of the spirit of evil. A number of other instances are furnished by the elaborate rites of Holy week. Thus on Palm Sunday, in commemoration of the entry into Jerusalem, the usual procession before Mass was extended, and went outside the church and round the churchyard or close bearing palms, or in their place sprigs of yew, box, or withies, which the priest had previously blessed[4]. The introduction of a _Palmesel_ might make the ceremony more dramatic still[5]. Some of the texts used were of a prophetic character, and the singer of these was occasionally dressed as a prophet[6]. At the doors of the church the procession was greeted by boys stationed upon the roof of the porch, and certain French uses transferred to the occasion the dedication solemnity of _Tollite portas_ just described[7]. The reading of the gospel narratives of the Passion, which on Palm Sunday, on the Monday or Tuesday, and the Wednesday in Holy week and on Good Friday preceded the Gospel proper, was often resolved into a regular oratorio. A tenor voice rendered the narrative of the evangelist, a treble the sayings of Jews and disciples, a bass those of Christ himself[8]. To particular episodes of these Passions special dramatic action was appropriated. On Wednesday, at the words _Velum templi scissum est_, the Lenten veil, which since the first Sunday in Lent had hidden the sanctuary from the sight of the people, was dropped to the ground[9]. On Good Friday the words _Partiti sunt vestimenta_