April 17th - Et fiat Lux

'In principio creavit Deus caelum et terram. Terram autem inanis et vacua, et tenebrae erant super faciem abyssi: et Spiritus Dei ferebatur super aquas, Dixitque Deus: Fiat lux. Et facta est lux.'

'Erat lux vera, quae illuminat omnem hominem venientem in hunc mundum.'

March 29th - Holy Saturday Evening - Paschal Mattins

During the evening of Holy Saturday Compline is sung, at the normal time. On Holy Saturday the Office of Compline has some interesting variations. Compline begins with the usual Jube, domne, blessing, short lesson and confession. Converte nos, Deus, salutaris noster and its response are sung followed by Deus in adjutorium etc with Alleluia for the first time since Septuagesima. The psalms are sung, without an antiphon, to the usual Tone 8. The hymn, chapter and responsory are omitted and Vespere autem sabbati sung as a fragment antiphon to the Nunc dimittis. After the Canticle the antiphon is sung in full. After the usual collect, Visita quaesumus, the antiphon Regina Caeli is sung with its versicle and collect.

The church is decorated for the greatest of feasts. Before Mattins the images that have been veiled from Passiontide (or from the beginning of Lent where Array was used) are removed. Six candlesticks are on the altar. Mattins begin with the solemn tone for Deus in adjutorium etc. The invitatory is Surrexit Dominus vere Alleluia and psalm 94 is sung to a lovely tone 6 setting. Mattins consists of a single nocturn of three psalms. There is no Office Hymn throughout the Octave (c.f. Monastic praxis). The first antiphon is Ego sum qui sum etc and sung with psalm 1. The second antiphon, Postulavi Patrem meum etc, is sung with psalm 2. The third antiphon, Ego dormivi etc, is sung with psalm 3. A versicle and its response are sung followed by the absolution Exaudi etc. The first lesson has the Gospel fragment Mark 16: 1-7 and is followed by a homily of St. Gregory the Great. The two responsories Angelus Domini descendit and Cum transisset sabbatum are famous and intimately connected with the Quem quaeritis ceremonies and indeed the development of Western drama (vide the excellent book: Hardison, O.B., 'Christian Rite and Christian Drama in the Middle Ages', The John Hopkins Press, Baltimore, 1965). The second lesson, Notandum vero nobis est is sung followed by the second responsory. The lessons are identical to those found in the later editions. During the second responsory the cantors and the celebrant don copes the principal one pre-intones the Te Deum. Six pluvialistae assist the Hebdomadarius where possible. The Te Deum is then sung and, where it is the custom the bells ring throughout.

Lauds follow immediately and have a series of beautiful antiphons: Angelus autem Domini, Et ecce terraemotus, Erat autem, Prae timore autem ejus and Respondens autem Angelus all taking up the theme of the Angels, earthquake and empty tomb. Psalms 92, 99, 62-66, Benedicite & 148-149-150 are sung with these antiphons. The chapter, hymn, versicle and response are replaced by the Haec dies. After Haec dies the antiphon Et valde mane is sung and then the Benedictus sung to a solemn tone 8. During the Benedictus the altar, the choir and people are censed in the normal manner. The antiphon is repeated and the collect of Easter, Deus, qui hodierna die sung. Benedicamus Domino, Alleluia, Alleluia and its response are followed by the solemn Regina Caeli, its versicle and collect.

March 29th - Holy Saturday Morning - Vesperal Liturgy

Holy Saturday is of double rite. In the morning the altar is vested with a violet antependium placed over a white one.  Six candlesticks containing candles of bleached wax remain unlit during the Hours and Prophecies.The Hours are chanted as for the previous two days with the exception that choir reverences are omitted, because of the unveiled Cross on the altar to which all reverence with a genuflection. As at Tenebrae yesterday evening Propter quod et Deus etc is added to Christus factus est etc.

After None is completed (or, in Pontifical functions celebrated by the Ordinary after Sext when the New Fire is blessed) the ministers of the Mass go to the sacristy and vest (celebrant in violet stole and cope; the deacon and subdeacon in violet folded chasubles). Meanwhile a fire, struck from flint as the rubric above describes, is kindled and charcoal placed on it for the thurible that will be used. A procession comes from the sacristy to the place where the new fire is to be blessed. The procession is headed by three acolytes. In the centre the first acolyte carries the lustral water container and sprinkler. To his left is the second acolyte bearing the grains of incense on a salver. The thurifer, with an empty thurible, walks to the right of the first acolyte. Following is the subdeacon carrying the Processional Cross, then the choir and lastly the celebrant and deacon. At the new fire all uncover and the subdeacon stands on the other side of the fire, opposite the celebrant. The celebrant then sings three collects of blessing of the fire and one for the grains of incense. The charcoal is put in the thurible and incense blessed as usual. The deacon then changes from a violet folded chasuble to a white dalmatic. The deacon (or the celebrant if there are no ministers) takes a reed with a triple candle upon it with its branches arranged 'triangulo distinctis'. A procession is formed with acolytes bearing the five grains of incense to be inserted into the Paschal Candle and thurible followed by the subdeacon carrying the cross, followed by the choir, then the deacon with the reed and finally the celebrant. The procession pauses three times as it enters the church progressing towards the altar. Each time one of the wicks of the candle being lit from a taper bearing the new fire, the deacon (or celebrant) proclaims Lumen Christi and the choir responds Deo gratias, each time on a higher note.

Image: Caeremoniale Episcoporum. 1651, Google Books

When the procession reaches the altar due reverences are made and the deacon (who passes the reed to an acolyte) takes the Evangeliarium containing the Exsultet from the mensa and receives a blessing from the celebrant as when about to proclaim the Gospel at Mass. The deacon then goes with the lesser ministers to the Gospel side of choir where the book is placed on a lectern and censed. The deacon then sings the Exsultet pausing to insert the grains of incense into the Paschal Candle after the words curvat imperia. He then continues 'In hujus igitur noctis gratia, suscipe, sancte Pater, incensi hujus sacrificium vespertinum..' When he reaches 'rutilans ignis accendit' he again pauses and lights the Paschal Candle with one of the branches of triple candle. When the words 'apis mater eduxit' are sung an acolyte takes the fire from the triple candle and lights the lamps in the church. After the Exsultet the deacon takes off the white dalmatic and exchanges it for a violet stole, maniple and folded chasuble. The celebrant removes his cope and puts on a violet maniple and chasuble. The ministers then go to the altar and to the Epistle corner as at the introit of Mass.

The celebrant reads the twelve prophecies (these derive from the ancient Jerusalem praxis c.f. Talley). In the middle of choir lectors chant each prophecy. After each (except the twelfth) the celebrant sings Oremus, the deacon Flectamus genua and the subdeacon Levate. Tracts follow the fourth, eighth and eleventh prophecy.

The prophecies are:
1) Genesis 1: 1-31; 2: 1-2
2) Genesis 5; 6; 7 & 8
3) Genesis 22: 1-19
4) Exodus 14: 24-31; 15
5) Isaiah 54: 17; 55: 1-11
6) Baruch 3: 9-38
7) Ezechiel 37: 1-14
8) Isaiah 4: 1-6
9) Exodus 12: 1-11
10)Jonah 3: 1-10
11)Deuteronomy 31: 22-30
12)Daniel 3: 1-24

After the twelfth prophecy, if the church has a font, the celebrant again dons the violet cope and a procession is formed to the Baptistery whilst Sicut cervus is sung. In the Baptistery the font is hallowed by the celebrant singing a preface of blessing culminating in the Paschal Candle being plunged into the waters of the font three times and Chrism being infused into the waters. Here baptisms, if any, are carried out. Anciently this liturgy was when adults were baptised and the prophecies were the last catechumenal address.

As the ministers leave the Baptistery two cantors kneeling in choir start the Litany of the Saints. As in all Processional Litanies the invocations are doubled i.e. the invocation and petition is sung by the cantors and repeated by the choir. On their return to the sanctuary the celebrant and ministers remove the cope and chasubles and prostrate before the altar. At Peccatores, te rogamus audi nos they rise and leave the sanctuary to vest for Mass whilst the Litany continues. Meanwhile acolytes remove the violet altar frontal (and violet humeral veil over the credence etc), light the altar candles and prepare the altar for Mass.

The celebrant, deacon and subdeacon return to choir, now vested in white, as the choir sings the Kyrie. The celebrant says Judica me etc and the altar is then censed as at the beginning of any High Mass. At the Gloria in excelsis the bells are rung as on Mandy Thursday. Before the Gradual the celebrant sings Alleluia solemnly three times. At the Gospel the acolytes carry do not carry candles. There is no Creed or Offertory chant.

In the Paschal preface the clause in hac potissimum nocte is sung. The Communicantes and Hanc igitur are proper. The Agnus Dei is not sung and there is no Pax. Instead of a communion antiphon Alleluia is sung three times as an antiphon to Psalm 116. This has the Doxology and the Alleluia is repeated. The celebrant then intones the antiphon Vespere autem sabbati which the choir continues. The Magnificat is then sung and the altar, choir and people censed. After the repitition of the antiphon the celebrant sings the Post-communion and collect for Vespers Spiritum nobis. Mass then ends as usual the dismissal being Ite, missa est, alleluia, alleluia.

March 28th - Good Friday Evening - Tenebrae for Holy Saturday

Tenebrae for Holy Saturday takes place in the late afternoon or evening of Good Friday. The choir altar remains as it was after Vespers this morning with six candlesticks and altar Cross now unveiled. Choir reverences are omitted until after None tomorrow morning. All reverence the Cross with a genuflection.

At the usual time Compline is recited on a monotone, as the Little Hours were in the morning and yesterday. Its structure is exactly the same as yesterday. After the Canticle Christus factus est...Mortem autem crucis (only) is said, the Miserere and Respice follow as before. The altar candles remain unlit until Mattins.

At Mattins the first antiphon is In pace in idipsum. The psalms are strictly proper, in the first nocturn Pss. 4, 14 & 15. After the last verse of each psalm a candle is exstinguished on the hearse as on the previous evenings. These are longer than those found the more modern books. Three verses of Caph are added to the first lesson, vv 31-33 of the third chapter. The second lesson has the addition of Zain, v. 7 from the fourth chapter. The third lesson, the Prayer of Jeremy, has the addition of vv. 12-16 of chapter five. In the second nocturn Pss. 23, 26 & 29 are sung. The second nocturn lessons are again from St. Augustine on the psalms, these are slightly longer than those found in the later books. In the third nocturn Pss. 53, 75 & 87 are sung, the lessons are again from St. Paul to the Hebrews, these are arranged slightly differently to those found in the later books. The theme of the service is Christ in the Tomb.

Lauds follow immediately from Mattins with the first antiphon O mors ero mors etc. Psalms 50, 42, 62-66, Ego dixi and 148-149-150 are sung. The antiphon on the Benedictus is Mulieres sedentes etc, sung to the same tone as the previous two nights and doubled. Exactly the same ceremonies take place as the previous two nights. When the Christus factus est is sung Propter quod et Deus exaltavit illum, dedit illi nomen, quod est super omne nomen is added.

April 6th - Holy Saturday Evening -Paschal Mattins

During the evening of Holy Saturdya Compline is sung, at the normal time. On Holy Saturday the Office of Compline has some interesting variations. Compline begins with the usual Jube, domne, blessing, short lesson and confession. Converte nos, Deus, salutaris noster and its response are sung followed by Deus in adjutorium etc with Alleluia for the first time since Septuagesima. The psalms are sung, without an antiphon, to the usual Tone 8. The hymn, chapter and responsory are omitted and Vespere autem sabbati sung as a fragment antiphon to the Nunc dimittis. After the Canticle the antiphon is sung in full. After the usual collect, Visita quaesumus, the antiphon Regina Caeli is sung with its versicle and collect.

The church is decorated for the greatest of feasts. Before Mattins the images that have been veiled from Passiontide (or from the beginning of Lent where Array was used) are removed. Six candlesticks are on the altar. Mattins begin with the solemn tone for Deus in adjutorium etc. The invitatory is Surrexit Dominus vere Alleluia and psalm 94 is sung to a lovely tone 6 setting. Mattins consists of one nocturn of three psalms. There is no Office Hymn throughout the Octave (c.f. Monastic praxis). The first antiphon is Ego sum qui sum etc and sung with psalm 1. The second antiphon, Postulavi Patrem meum etc, is sung with psalm 2. The third antiphon, Ego dormivi etc, is sung with psalm 3. A versicle and its response are sung follwed by the absolution Exaudi etc. The first lesson has the Gospel fragment Mark 16: 1-7 and is followed by a homily of St. Gregory the Great. The two responsories Angelus Domini descendit and Cum transisset sabbatum are famous and intimately connected with the Quem quaeritis ceremonies and indeed the development of Western drama (vide the excellent book: Hardison, O.B., 'Christian Rite and Christian Drama in the Middle Ages', The John Hopkins Press, Baltimore, 1965). The second lesson, Notandum vero nobis est is sung followed by the second responsory. The lessons are identical to those found in the later editions. During the second responsory the cantors and the celebrant don copes the principal one pre-intones the Te Deum. Six pluvialistae assist the Hebdomadarius where possible. The Te Deum is then sung and, where it is the custom the bells ring throughout.

Lauds follow immediately and have a series of beautiful antiphons: Angelus autem Domini, Et ecce terraemotus, Erat autem, Prae timore autem ejus and Respondens autem Angelus all taking up the theme of the Angels, earthquake and empty tomb. Psalms 92, 99, 62-66, Benedicite & 148-149-150 are sung with these antiphons. The chapter, hymn, versicle and response are replaced by the Haec dies. After Haec dies the antiphon Et valde mane is sung and then the Benedictus sung to a solemn tone 8. During the Benedictus the altar, the choir and people are censed in the normal manner. The antiphon is repeated and the collect of Easter, Deus, qui hodierna die sung. Benedicamus Domino, Alleluia, Alleluia and its response are followed by the solemn Regina Caeli, its versicle and collect.

April 6th - Holy Saturday Morning - The Vesperal Liturgy

Holy Saturday is of double rite. In the morning the altar is vested with a violet antependium placed over a white one.  Six candlesticks containing candles of bleached wax remain unlit during the Hours and Prophecies.The Hours are chanted as for the previous two days with the exception that choir reverences are omitted, because of the unveiled Cross on the altar to which all reverence with a genuflection. As at Tenebrae yesterday evening Propter quod et Deus etc is added to Christus factus est etc.

After None is completed (or, in Pontifical functions celebrated by the Ordinary after Sext when the New Fire is blessed) the ministers of the Mass go to the sacristy and vest (celebrant in violet stole and cope; the deacon and subdeacon in violet folded chasubles). Meanwhile a fire, struck from flint as the rubric above describes, is kindled and charcoal placed on it for liturgical use in few moments. A procession comes from the sacristy to the place where the new fire is to be blessed. The procession is headed by three acolytes. In the centre the first acolyte carries the lustral water container and sprinkler. To his left is the second acolyte bearing the grains of incense on a salver. The thurifer, with an empty thurible, walks to the right of the first acolyte. Folling is the subdeacon carrying the Processional Cross, then the choir and lastly the celebrant and deacon. At the new fire all uncover and the subdeacon stands on the other side of the fire, opposite the celebrant. The celebrant then sings three collects of blessing of the fire and one for the grains of incense. The charcoal is put in the thurible and incense blessed as usual. The deacon then changes from a violet folded chasuble to a white dalmatic. The deacon (or the celebrant if there are no ministers) takes a reed with a triple candle upon it with its branches arranged 'triangulo distinctis'. A procession is formed with acolytes bearing the five grains of incense to be inserted into the Paschal Candle and thurible followed by the subdeacon carrying the cross, followed by the choir, then the deacon with the reed and finally the celebrant. The procession pauses three times as it enters the church progressing towards the altar. Each time one of the wicks of the candle being lit from a taper bearing the new fire, the deacon (or celebrant) proclaims Lumen Christi and the choir responds Deo gratias, each time on a higher note.

When the procession reaches the altar due reverences are made and the deacon (who passes the reed to an acolyte) takes the Evangeliarium containing the Exsultet from the mensa and receives a blessing from the celebrant as when about to proclaim the Gospel at Mass. The deacon then goes with the lesser ministers to the Gospel side of choir where the book is placed on a lectern and censed. The deacon then sings the Exsultet pausing to insert the grains of incense into the Paschal Candle after the words curvat imperia. He then continues 'In hujus igitur noctis gratia, suscipe, sancte Pater, incensi hujus sacrificium vespertinum..' When he reaches 'rutilans ignis accendit' he again pauses and lights the Paschal Candle with one of the branches of triple candle. When the words 'apis mater eduxit' are sung an acolyte takes the fire from the triple candle and lights the lamps in the church. After the Exsultet the deacon takes off the white dalmatic and exchanges it for a violet stole, maniple and folded chasuble. The celebrant removes his cope and puts on a violet maniple and chasuble. The ministers then go to the altar and to the Epistle corner as at the introit of Mass.

The celebrant reads the twelve prophecies (these derive from the ancient Jerusalem practice c.f. Talley). In the middle of choir lectors chant each prophecy. After each (except the twelfth) the celebrant sings Oremus, the deacon Flectamus genua and the subdeacon Levate. Tracts follow the fourth, eighth and eleventh prophecy.

The prophecies are:
1) Genesis 1: 1-31; 2: 1-2
2) Genesis 5; 6; 7 & 8
3) Genesis 22: 1-19
4) Exodus 14: 24-31; 15
5) Isaiah 54: 17; 55: 1-11
6) Baruch 3: 9-38
7) Ezechiel 37: 1-14
8) Isaiah 4: 1-6
9) Exodus 12: 1-11
10)Jonah 3: 1-10
11)Deuteronomy 31: 22-30
12)Daniel 3: 1-24

After the twelfth prophecy, if the church has a font, the celebrant again dons a violet cope and a procession is formed to the Baptistery whilst Sicut cervus is sung. In the Baptistery the font is hallowed by the celebrant singing a preface of blessing culminating in the Paschal Candle being plunged into the waters of the font three times and Chrism being infused into the waters. Here baptisms are carried out. Anciently this liturgy was when adults were baptised and the prophecies were the last catechumenal address.

As the ministers leave the Baptistery two cantors kneeling in choir start the Litany of the Saints. As in all Processional Litanies the invocations are doubled i.e. the invocation and petition is sung by the cantors and repeated by the choir. On their return to the sanctuary the celebrant and ministers remove their cope and chasubles and prostrate before the altar. At Peccatores, te rogamus audi nos they rise and leave the sanctuary to vest for Mass whilst the Litany continues. Meanwhile acolytes remove the violet altar frontal (and violet humeral veil over the credence etc), light the altar candles and prepare the altar for Mass.

The celebrant, deacon and subdeacon return to choir, now vested in white, as the choir sings the Kyrie. The celebrant says Judica me etc and the altar is then censed as at the beginning of any High Mass. At the Gloria in excelsis the bells are rung as on Maundy Thursday. Before the Gradual the celebrant sings Alleluia solemnly three times. At the Gospel the acolytes carry do not carry candles. There is no Creed or Offertory chant.
In the Paschal preface the clause in hac potissimum nocte is sung. The Communicantes and Hanc igitur are proper. The Agnus Dei is not sung and there is no Pax. Instead of a communion antiphon Alleluia is sung three times as an antiphon to Psalm 116. This has the Doxology and the Alleluia is repeated. The celebrant then intones the antiphon Vespere autem sabbati which the choir continues. The Magnificat is then sung and the altar, choir and people censed. After the repitition of the antiphon the celebrant sings the Post-communion and collect for Vespers Spiritum nobis. Mass then ends as usual the dismissal being Ite, missa est, alleluia, alleluia.

March 31st - Good Friday Evening - Tenebrae of Holy Saturday

Tenebrae of Holy Saturday is sung on the evening of Good Friday. It is the shortest of three Tenebrae services. The choir altar is bare and just has the six candlesticks and unveiled Cross as at the morning celebration of the Mass of the Pre-Sanctified. Choir reverences are omitted this night and until the completion of None tomorrow. Otherwise the ceremonies are the same as on the previous two nights.

Mattins begins with the antiphon In pace is idipsum dormiam et requiescam. The psalms of the first nocturn are Pss. 4, 14 & 15. The first lesson from the Lament of Jeremy the Prophet is longer than that found in the later books and has three Caph verses from the third chapter absent in those books. The second lesson has a final verse Zain absent from the later books. The third lesson, the Prayer of Jeremy the Prophet, is also longer and continues Principes manu... nobis quia peccavimus, i.e. the inclusion of vv. 12-16 of the fifth chapter. In the second nocturn the psalms are Pss. 23, 26 & 29. The lessons are taken from St. Augstine's Tract on the Psalms. The fifth and sixth lesson are slightly longer than those found in the post-Clementine books. In the third nocturn the psalms are Pss.53, 75 & 87. The lessons are from the ninth chapter of Hebrews. These are considerably longer than those found in the later books. The text of the ninth lesson Necesse est ergo ... expectantibus se, in salutem, i.e. vv 23-28 is entirely absent from the later books.

Lauds follows immediately beginning with the antiphon O mors, ero mors tua, morsus tuus ero inferne. There are five antiphons sung with Pss. 50, 42, 62-66, Ego dixi & 148-149-150. The antiphon on the Benedictus is Mulieres sedentes ad monunmentum lamentabantur, flentes Dominum. The Benedictus is sung to the same tone 1 chant as the previous two evenings. After the antiphon has been repeated the choir kneels and sings the antiphon Christus factus est pro nobis obediens usque ad mortem. Mortem autem Crucis. Propter quod et Deus exaltavit illum et dedit illi nomen, quod est super omne nomen. After that follows the Miserere and the collect Respice.