performers displayed before the congregation in token of Christ's Resurrection.
Both the date and place of origin of the 'Quem quaeritis' are open to some question, though the latter seems most probably to have been Frankish, and the former cannot have been far from the end of the ninth century. In the same way the dates and localities of its stages of growth are at best matter of conjecture, but the logical sequence is not difficult to determine. Textual elaboration took place through the incorporation of anthems borrowed from other portions of the liturgy, notably the 'Victimae paschali,' composed by Wipo of St. Gall in the earlier part of the eleventh century. Corresponding dramatic elaboration soon extended the scheme of the liturgical drama which was now firmly established. Thus, when two further performers detached themselves from the choir and followed the Maries to the sepulchre, they stood for Peter and John, and another scene was added to the miniature play. Later a yet more important addition was made, according to the uses of some churches, in the person of the risen Christ himself, who enacted the 'Hortolanus' ,scene with Mary Magdalen.
Separate from, but probably in imitation of the 'Quem quaeritis,' there developed another Easter drama, known as the 'Peregrini,' dealing with the appearance of Christ to the two disciples at Emmaus. This play, which is not found before the twelfth century, attached itself to the 'Processio ad fontes,' belonging to the office of Vespers in Easter week, and appears to have been usually
