Gall near Constance, Notker and Tutilo are the greatest names; the third, in northern Italy, has hitherto been little studied. The _Troparia_ or collections of tropes form choir-books, supplementary to the _Antiphonaria_. After the thirteenth century, when trope-writing fell into comparative desuetude, they become rare; and such tropes as were retained find a place in the ordinary service-books, especially the later successor of the _Antiphonarium_, the _Graduale_. The tropes attached themselves in varying degrees to most of the choral portions of the Mass. Perhaps those of the _Alleluia_ at the end of the _Graduale_ are in themselves the most important. They received the specific names, in Germany of _Sequentiae_, and in France of _Prosae_, and they include, in their later metrical stages, some of the most remarkable of mediaeval hymns. But more interesting from our particular point of view are the tropes of the _Officium_ or _Introit_, the antiphon and psalm sung by the choir at the beginning of Mass, as the celebrant approaches the altar[18]. Several _Introit_ tropes take a dialogue form. The following is a ninth-century Christmas example ascribed to Tutilo of St. Gall[19]. ‘Hodie cantandus est nobis puer, quem gignebat ineffabiliter ante tempora pater, et eundem sub tempore generavit inclyta mater. _Int[errogatio]._ quis est iste puer quem tam magnis praeconiis dignum vociferatis? dicite nobis ut collaudatores esse possimus. _Resp[onsio]._ hic enim est quem praesagus et electus symmista dei ad terram venturum praeuidens longe ante praenotavit, sicque praedixit.’ The nature of this trope is obvious. It was sung by two groups of voices, and its closing words directly introduce the _Introit_ for the third mass (_Magna missa_) on Christmas day, which must have followed without a break[20]. It is an example of some half a dozen dialogued _Introit_ tropes, which might have, but did not, become the starting-point for further dramatic evolution[21]. Much more significant is another trope of unknown authorship found in the same St. Gall manuscript[22]. This is for Easter, and is briefly known as the _Quem quaeritis_. The text, unlike that of the _Hodie cantandus_, is based closely upon the Gospels. It is an adaptation to the form of dialogue of the interview between the three Maries and the angel at the tomb as told by Saints Matthew and Mark[23]. ‘Quem quaeritis in sepulchro, [o] Christicolae? Iesum Nazarenum crucifixum, o caelicolae. non est hic, surrexit sicut praedixerat. ite, nuntiate quia surrexit de sepulchro. _Resurrexi_[24].’ This is the earliest and simplest form of the _Quem quaeritis_. It recurs, almost unaltered, in a tenth-century troper from St. Martial of Limoges[25]. In eleventh-century tropers of the same church it is a little more elaborate[26]. ‘TROPUS IN DIE. Quem quaeritis in sepulchro, Christicolae?