[Sidenote:  its antiquity.]

The solemn commemoration, which we have described, of Christ’s triumphant entry into Jerusalem, could never have taken place during times of persecution:  nor did it originate immediately after Constantine had ensured peace to the church.  Martene (De ant.  Eccl.  Rit. lib.  IV, c. 20) could find no mention of it before the 8th or 9th century, when Amalarius says “In memory of this we are accustomed to carry palm-branches, and cry Hosanna”.  Merati however, in his notes to Gavant, considers that he has found traces of it in the Gregorian and Gelasian sacramentaries, and in a Roman calendar of the beginning of the fifth century[39] and his opinion is adopted by Benedict XIV.  The ceremonies of the church of Jerusalem on this day were a still closer imitation of the entry of Christ into that city.

When the procession is ended, the cardinals, bishops, and mitred abbots take off their sacred vestments and the prelates their surplices, and they all resume their respective cappe; the Penitenzieri retire, and mass is celebrated by a cardinal of the order of priests.  Having already given an account not only of low mass, but also of the additional ceremonies of high mass, as celebrated in the papal chapel, we shall here mention those only which are peculiar to palm-sunday.

At those words of the epistle (which is sung as usual by the subdeacon), “in the name of Jesus let every knee bow”, the whole assembly kneels to adore their divine Redeemer, who became obedient unto death for our salvation.  The affecting account of His sufferings and death is then sung by three priests[40] belonging to the pontifical choir, and habited as deacons in alb and stole.  The history itself is sung by a tenor voice, the words, of our Saviour by a bass, and those of any other single voice by a contralto, called the ancilla, as he sings the words of the maid to S. Peter:  the choir sings the words of the multitude[41].  The church, mourning over the sufferings of her divine Spouse, does not allow the incense, lights, or the benediction and salutation usual before the gospel; but the palms are borne to signify the triumphs consequent on His death as they are also from the elevation till after the communion.  All stand up as usual from respect to the holy gospel ("as servants before their Lord” Amalarius) but kneel for a short time at the words “Jesus crying with a loud voice yielded up the ghost”, to adore that God of love who died for mankind.  The latter part of the gospel is sung in the usual chant by the deacon, but without the customary lights[42].  At the offertory is sung the first part of the beautiful hymn Stabat Mater:  the music is Palestrina’s, and is justly and highly panegyrised by Baini; it has been published by Dr. Burney.  Both the introit and communion are sung without, and the offertory with, counterpoint:  the Kyrie eleison, Gradual and tract, in plain chant.  The Benedictus qui venit is usually very beautiful.  At the end of the mass, as there has been no sermon, the Card. celebrant announces from the altar the Pope’s usual grant to all present of an indulgence[43] or remission of the temporal punishment due for past sins, whose guilt has been already remitted.