A crib has been arranged at the extreme end of the choir, containing the
figure of the divine Infant and our Blessed Lady. It is surrounded by
women, to whom naturally is given the charge of watching over the Virgin
Mother and her new‐born Babe. Towards this crib the shepherds wend their
way, passing beneath the carved rood‐screen through the open portals of
the choir. Two priests advance to meet them, and greet them with the
following versicle: “Quem quæritis in præsepio, pastores, dicite?”—“Whom
seek ye in this manger, shepherds, tell us?”
They reply: “Salvatorem Christum Dominum infantem pannis involutum
secundum sermonem angelicum”—“Christ our Lord and Saviour, an infant
wrapped in swaddling‐clothes, according to the word of the angel.”
The women around the crib now draw back the curtains that have, until this
moment, kept it concealed from view, and, showing to the shepherds the
divine Infant reclining in the manger, sing these words: “Adest hic
parvulus cum matre sua de quo dudum vaticinando Isaïas dixerat propheta:
Ecce virgo concipiet et pariet filium: euntes dicite quod natus est”—“Here
is the little Child and his Mother of whom of old Isaias prophesied:
Behold, a Virgin shall conceive and bring forth a son; go forth and
announce that he is born.” The shepherds salute the Virgin and Child, and
sing the following charming little carol in honor of the Virgin Mother:
Salve Virgo singularis;
Virgo manens, Deum paris,
Ante sæcla generatum
Corde patris;
Adoremus nunc creatum
Carne matris.
Nos, Maria, tua prece
A peccati purga fece;
Nostri cursum incolatus
Sic dispone,
Ut det sua frui natus
Visione.
(Hail, O Virgin incomparable! remaining a Virgin, thou hast
brought forth the Son of God, begotten of his Father before all
ages.
Now we adore him, formed of the flesh of his Mother.
O Mary! purify us from all stain of sin; our destined course on
earth so dispose, that thy Son may grant us to enjoy his blessed
vision.)
After this hymn they fall on their knees and adore the divine Babe; then,
turning towards the choir, they with joyful accents exclaim, “Alleluia,
Alleluia. Jam vere scimus Christum natum in terris, de quo canite omnes
cum prophetis dicentes”—“Now we truly know that Christ is born on earth,
let all sing of him with the prophet.” Answering to this invitation, the
choir intone the prophetic words of the introit of the midnight Mass: “The
Lord has said to me, Thou art my Son; this day I have begotten Thee.”
The priests and assistants advance slowly in procession to the foot of the
altar, and the solemn celebration of High Mass commences.
The lessons conveyed by this beautiful and symbolic representation are
happily continued when the reality of the divine mysteries has taken its
place. The priests who represented the shepherds, quitting the crib where
they were the first to do homage to the Child‐God, proceed to occupy the
most exalted places in the choir, and to take the leading parts in the
chants that accompany that Holy Sacrifice in which the same Child‐God once
more descends on earth.
Among the many impressive ceremonies of the Catholic Church, there is none
more touching than the celebration of the midnight Mass. Whether it be in
a vast cathedral or in a modest village church, it never fails to bring
home to the heart, in a wonderful manner, the realization of the two great
mysteries of the Incarnation and the Eucharist, awakening in the soul a
lively devotion towards them. If such be the effect of the sacred rite on
men who have only just quit the bustle and turmoil of life, as they enter
the church, what must it have been on minds prepared by so graphic a
representation of those very mysteries that the Mass not only
commemorates, but actually reproduces in a manner far more perfect, if
less perceptible to the outward senses.
How conspicuous, then, was the wisdom of the church in encouraging the
performance of these pious dramas—not only as affording an innocent
pleasure to the spectators, but as a preparation for the better
understanding of the sacred mysteries that were commemorated in each
succeeding feast; for on the popular mind how far more powerful than the
most eloquent sermon is the effect of any ceremony that appeals directly
to the senses!
At the termination of the Mass the officiating priest, turning towards the
shepherds, intones the following anthem: “Quam vidistis, pastores? dicite,
annunciate nobis in terris quid apparuit”—“Tell us, O shepherds, whom you
have seen? Announce to us who has appeared on earth.” To which they reply:
“Natum vidimus et choros angelorum collandantes Dominum. Alleluia,
alleluia”—“We have seen the Lord, who is born on earth, and the choirs of
angels praising him.”
The office of Lauds, which terminates the night‐office, then commences.
The shepherds, still occupying the places of honor, but divided in two
choirs, sing the poetic paraphrase which on all solemn feasts in those
days took the place of the Benedicamus and Deo Gratias. After which they
all unite in chanting the following antiphon, which forms a fitting
termination to the ceremonies of the night: “Ecce completa sunt omnia quæ
dicta sunt per angelum de Virgine Maria”—“Behold, all things are
accomplished that were announced by the angel concerning the Virgin Mary.”
Such were the pious festivities that six hundred years ago filled with joy
and devotion many a vast congregation in cathedral and church throughout
France on Christmas night. We have described them as far as they can be
gathered from the Office‐books of the period; but how many beautiful
details, handed down by tradition and introduced from time to time, must
necessarily have escaped us at this distant period! We venture to hope,
however, that we have succeeded in giving our readers at least a slight
idea of the deep religious feeling, and at the same time poetic beauty,
that characterized these sacred dramas of the middle ages.