About half-past nine in the morning, the pope entered the Sistine chapel, attired in a robe of scarlet and gold, which he wore over his ordinary dress, and took his throne. The cardinals, who were at first dressed in under-robes of a violet colour (the mourning for cardinals), with their rich antique lace, scarlet trains, and mantles of ermine, suddenly put off these accoutrements, and arrayed themselves in most splendid vestments, which had the appearance of being made of carved gold. The tedious ceremony of each separately kissing the pope’s hand, and making their three little bows, being gone through, and some little chaunting and fidgetting about the altar being got over, two palm branches, of seven or eight feet in length, were brought to the pope, who, after raising over them a cloud of incense, bestowed his benediction upon them: then a great number of smaller palms were brought, and a cardinal, who acted as the pope’s aid-de-camp on this occasion, presented one of these to every cardinal as he ascended the steps of the throne, who again kissed the pope’s hand and the palm, and retired. Then came the archbishops, who kissed both the pope’s hand and toe, followed by the inferior orders of clergy, in regular gradations, who only kissed the toe, as they carried off their palms.
The higher dignitaries being at last provided with palms, the deacons, canons, choristers, cardinals, train-bearers, &c. had each to receive branches of olive, to which, as well as to the palms, a small cross was suspended. At last, all were ready to act their parts, and the procession began to move: it began with the lowest in clerical rank, who moved off two by two, rising gradually in dignity, till they came to prelates, bishops, archbishops, and cardinals, and terminated by the pope, borne in his chair of state (sedia gestatoria) on men’s shoulders, with a crimson canopy over his head. By far the most striking figures in the procession were the bishops and patriarchs of the Armenian church. One of them wore a white crown, and another a crimson crown glittering with jewels. The mitres of the bishops were also set with precious stones; and their splendid dresses, and long wavy beards of silver whiteness, gave them a most venerable and imposing appearance.
The procession issued forth into the Sala Borgia (the hall behind the Sistine chapel), and marched round it, forming nearly a circle; for by the time the pope had gone out, the leaders of the procession had nearly come back again; but they found the gates of the chapel closed against them, and, on admittance being demanded, a voice was heard from within, in deep recitative, seemingly inquiring into their business, or claims for entrance there. This was answered by the choristers from the procession in the hall; and after a chaunted parley of a few minutes, the gates were again opened, and the pope, cardinals, and priests, returned to their seats. Then the passion was chaunted; and then a most tiresome long service commenced, in which the usual genuflections, and tinkling of little bells, and dressings and undressings, and walking up and coming down the steps of the altar, and bustling about, went on; and which at last terminated in the cardinals all embracing and kissing each other, which is considered the kiss of peace.
The palms are artificial, plaited of straw, or the leaves of dried reeds, so as to resemble the real branches of the palm-tree when their leaves are plaited, which are used in this manner for this ceremony in the catholic colonies of tropical climates. These artificial palms, however, are topped with some of the real leaves of the palm-tree, brought from the shores of the gulf of Genoa.[84]
Palm Sunday in Spain.
The following is a description of the celebration of this day in the cathedral of Seville:—
Early in the morning, the melancholy sound of the passion-bell announces the beginning of the solemnities for which the fast of Lent is a preparation. This bell, the largest of several which are made to revolve upon pivots, is moved by means of two long ropes, which by swinging the bell into a circular motion, are twined, gently at first, round the massive arms of a cross, of which the bell forms the foot, and the head its counterpoise. Six men then draw back the ropes, till the enormous machine receives a sufficient impetus to coil them in an opposite direction; and thus alternately, as long as ringing is required. To give this bell a tone appropriate to the sombre character of the season, it has been cast with several large holes disposed in a circle round the top—a contrivance which without diminishing the vibration of the metal, prevents the distinct formation of any musical note, and converts the sound into a dismal clangour.
The chapter, consisting of about eighty resident members, in choral robes of black silk with long trains and hoods, preceded by the inferior ministers, by thirty clergymen, in surplices, whose deep bass voices perform the plain or Ambrosian chaunt, and by the band of wind-instruments and singers, who execute the more artificial strains of modern or counterpoint music, move in a long procession round the farthest aisles, each holding a branch of the oriental, or date palm, which overtopping the heads of the assembled multitude, nod gracefully, and bend into elegant curves at every step of the bearers. For this purpose a number of palm-trees are kept with their branches tied up together, that, by the want of light, the more tender shoots may preserve a delicate yellow tinge. The ceremony of blessing these branches is solemnly performed by the officiating priest, previously to the procession, after which they are sent by the clergy to their friends, who tie them to the iron bars of the balconies, to be, as they believe, a protection against lightning.
In the long church-service for this day, the organ is silent, the voices being supported by hautboys and bassoons. All the altars are covered with purple or grey curtains. The holy vestments, during this week, are of the first-mentioned colour, except on Friday, when it is changed for black. The four accounts of our saviour’s passion, appointed as gospels for this day, Wednesday, Thursday, and Friday, are dramatized in the following manner:—Outside of the gilt-iron railing which encloses the presbytery, are two large pulpits of the same materials, from one of which, at the daily high mass, the sub-deacon chaunts the epistle, as the deacon does the gospel from the other. A movable platform with a desk, is placed between the pulpits on the passion-days; and three priests or deacons, in albes—the white vestment, over which the dalmatic is worn by the latter, and the casulla by the former—appear on these elevated posts, at the time when the gospel should be said. These officiating ministers are chosen among the singers in holy orders, one a bass, another a tenor, and the third a counter-tenor. The tenor chaunts the narrative without changing from the keynote, and makes a pause whenever he comes to the words of the interlocutors mentioned by the evangelist. In those passages the words of our saviour are sung by the bass in a solemn strain. The counter-tenor, in a more florid style, personates the inferior characters, such as Peter, the maid, and Pontius Pilate. The cries of the priests and the multitude are represented by the band of musicians within the choir.[85]