individually. But at the prayer for the Jews no one kneels as is done during the others, and no amen is said; they pray “pro perfidis Judaeis,” and the little book has its explanation for this too. Then comes the adoration of the Cross. A small crucifix is placed in the middle of the chapel, and all the assistants approach it with naked feet, that is, without shoes, fall before it, and kiss it. Meanwhile the Improperia are sung.
After a single hearing this seems to me one of the most beautiful compositions of Palestrina, and they sing it with especial appreciation. The treatment of this piece by the choir brings out a marvellous tenderness and great precision; they succeed in placing every minute detail in its true light and its true relief, without the least over-emphasis; each chord melts quite softly into the next. And the ceremony is truly solemn and worthy of the occasion. The deepest silence reigns in the chapel, and the ever returning Greek “Sanctus” is very beautifully sung, also with the same softness and the same expression. They would be surprised, however, to see it written down, for what they sing is this:—
- Coro I.
Da Capo thrice.
