There are other prayers, and then the choir sings the Cherubikon, "Let us, who mystically represent the Cherubim and who sing to the life-giving Trinity the thrice-holy hymn, put away all earthly cares so as to receive the King† of all things escorted by the army of angels. Alleluia, alleluia, alleluia." During this hymn, at the point marked †, the Great Entrance takes place. This is the dramatic moment of the whole liturgy. The royal doors are opened. The priest, having again incensed the altar and sanctuary, goes with the deacon to the prothesis and incenses the bread and wine, that have remained there since the beginning of the service. He covers the deacon's shoulders with the aer (great veil), and gives him the diskos with the bread, covered with its own smaller veil. The deacon holds the diskos as high as his head, and the censor hangs from one of his fingers. The priest follows with the chalice and its veil. Candle-bearers go in front and form a solemn procession. They come out of the north door and go all round the church, coming back to the sanctuary through the royal doors. At the altar the priest puts down the chalice, takes the diskos from the deacon, puts that down too, and incenses the offering again. Meanwhile the choir finishes the Cherubikon.[1] The priest and deacon say some more prayers for each other and that God may accept their sacrifice, and then the deacon cries out: "The doors, the doors. Let us attend in wisdom," and the doors of the Ikonostasis are shut. A reader then says the Nicene Creed outside.[2] Here begins the Anaphora (Canon of the Mass). The priest blesses the people and the choir answers through the closed doors: "And with thy Spirit." Pr. "Lift up your hearts." Ch. "We have them with the Lord." Pr. "Let us give thanks to the Lord." Ch. "It is meet and just to adore the Father, Son, and Holy Ghost, one consubstantial and undivided Trinity."[3] Pr. "It is meet and just to sing to
- ↑ All this ritual, and especially the Cherubikon, with its reference to the King of all things, before the Consecration, show that the Byzantine Church has the same dramatic representations as the Latins (p. 387). The Orthodox then are ill-advised in making an argument from the Epiklesis for their theory. Their Cherubikon answers that.
- ↑ Brightman, pp. 375-383.
- ↑ The deacon here waves the fan (ripidion) over the offering.
