Still, however, a lack was strongly felt, and at last, accidentally and
slowly, began the process of dramatizing the services. First, inevitably,
to be so treated was the central incident of Christian faith, the story of
Christ's resurrection. The earliest steps were very simple. First, during
the ceremonies on Good Friday, the day when Christ was crucified, the cross
which stood all the year above the altar, bearing the Savior's figure, was
taken down and laid beneath the altar, a dramatic symbol of the Death and
Burial; and two days later, on 'the third day' of the Bible phraseology,
that is on Easter Sunday, as the story of the Resurrection was chanted by
the choir, the cross was uncovered and replaced, amid the rejoicings of the
congregation. Next, and before the Norman Conquest, the Gospel dialog
between the angel and the three Marys at the tomb of Christ came sometimes
to be chanted by the choir in those responses which are called 'tropes':
'Whom seek ye in the sepulcher, O Christians ?' 'Jesus of Nazareth the
crucified, O angel.' 'He is not here; he has arisen as he said. Go,
announce that he has risen from the sepulcher.' After this a little
dramatic action was introduced almost as a matter of course. One priest
dressed in white robes sat, to represent the angel, by one of the
square-built tombs near the junction of nave and transept, and three
others, personating the Marys, advanced slowly toward him while they
chanted their portion of the same dialog. As the last momentous words of
the angel died away a jubilant 'Te Deum' burst from, organ and choir, and
every member of the congregation exulted, often with sobs, in the great
triumph which brought salvation to every Christian soul.

Little by little, probably, as time passed, this Easter scene was further
enlarged, in part by additions from the closing incidents of the Savior's
life. A similar treatment, too, was being given to the Christmas scene,
still more humanly beautiful, of his birth in the manger, and occasionally