[Footnote 92: "The greatest glory" says Baini "was deservedly obtained
by _Pierluigi_ on account of the _improperii_, and the hymn _Crux
fidelis_ which he set to music for 8 voices divided into two choirs,
and which were sung for the first time by the choir of the Lateran
basilica on good Friday in the year 1560: by them _fece sbalordire
arte e natura_. Pius IV demanded them for the use of the apostolic
chapel, and, after he had heard them, declared that Palestrina had
surpassed his expectations. These _improperii_ are still sung and will
ever be sung in the apostolic chapel" Baini, Mem. storic. di Giovanni
Pierluigi da Palestrina 1. p. 64.]

[Footnote 93: This hymn is frequently sung in the Greek and Oriental
church. Renaudot T. I, p. 70. According in the Menologium Græcum
and S. John Damascen it was first used in the reign of Theodosius,
when public supplications were offered to heaven during a terrible
earthquake at Costantinople. This Palmer admits, I, 64. It is still
said in Greek, in which it was originally composed, as well as in
Latin, in the Roman church. See Goar in notis ad Rituale Græc.]

[Footnote 94: In the Ordo Romanus XII, Ap. 1, de Presbyterio, it is
prescribed that "according to ancient custom whatever is offered upon
the cross ought to belong to the _schola_ (or company)" of the cross:
in the Ordo XIV, that it belongs to the _Sagrista_. The sum collected
is at present the perquisite of M. Sagrista and the two principal
Masters of ceremonies. These offerings were customary also in other
churches, and in particular at Paris.]

[Footnote 95: Baini observes, that the chant of this hymn is one of
the few instances of _rhythmical_ chant preserved by uninterrupted
_tradition_ in the papal chapel and adorned with the ancient