[Footnote 90:  This rite is described in the Ordo Romanus XIV with the same ceremonies.  It is first mentioned in the Ordo XI of the Canon Benedict.]

[Footnote 91:  We kiss and press to our hearts the pictures of those whom we love, and shall we think it sinful to kiss the image of Him, who for love of us humbled himself even to the death of the cross?  Oh! let each one of us rather exclaim with S. Paul “God forbid that I should glory save in the cross of our Lord Jesus Christ, by whom the world is crucified to me and I to the world” (Gal.  VI):  or in the words attributed to S. Andrew when he was going to be crucified “Hail precious cross, that hast been consecrated by the body of my Lord, and adorned with his limbs as with rich jewels.  Oh good cross, that hast received beauty from our Lord’s limbs, I have ardently loved thee, long have I desired and sought thee; now thou art found by me and made ready for my longing soul”.  Act.  S. Andreae.]

[Footnote 92:  “The greatest glory” says Baini “was deservedly obtained by Pierluigi on account of the improperii, and the hymn Crux fidelis which he set to music for 8 voices divided into two choirs, and which were sung for the first time by the choir of the Lateran basilica on good Friday in the year 1560:  by them fece sbalordire arte e natura.  Pius IV demanded them for the use of the apostolic chapel, and, after he had heard them, declared that Palestrina had surpassed his expectations.  These improperii are still sung and will ever be sung in the apostolic chapel” Baini, Mem. storic. di Giovanni Pierluigi da Palestrina 1. p. 64.]

[Footnote 93:  This hymn is frequently sung in the Greek and Oriental church.  Renaudot T. I, p. 70.  According in the Menologium Graecum and S. John Damascen it was first used in the reign of Theodosius, when public supplications were offered to heaven during a terrible earthquake at Costantinople.  This Palmer admits, I, 64.  It is still said in Greek, in which it was originally composed, as well as in Latin, in the Roman church.  See Goar in notis ad Rituale Graec.]

[Footnote 94:  In the Ordo Romanus XII, Ap. 1, de Presbyterio, it is prescribed that “according to ancient custom whatever is offered upon the cross ought to belong to the schola (or company)” of the cross:  in the Ordo XIV, that it belongs to the Sagrista.  The sum collected is at present the perquisite of M. Sagrista and the two principal Masters of ceremonies.  These offerings were customary also in other churches, and in particular at Paris.]

[Footnote 95:  Baini observes, that the chant of this hymn is one of the few instances of rhythmical chant preserved by uninterrupted tradition in the papal chapel and adorned with the ancient ornaments. (See his Saggio sopra l’indentita dei ritmi musicale e poetico.  Firenze, 1820).  “The chant of that hymn” says Eximano (quoted by Baini, Mem.  Stor.) is a true plain chant, that is, a