368 Wisconsin Academy of Sciences, Arts, and Letters. 
issued from Tutilo’s ample artistic spirit during the later years 
of the ninth century, and although it antedates, probably, both 
Quern quceritis in sepulchro and its derivative Quem quaeritis 
in praesepe, Ho die cantandus est plays only a curious, not an 
effective, role in the history of liturgical drama. 
Erom this study it is fair to conclude that, although the 
liturgy of Christmas day contained numerous dramatic mani¬ 
festations, it developed and retained within its own limits very 
little true drama. It appears that the only substantial Christ¬ 
mas play developed within these limits is the Officium Pas¬ 
torum, for which we have texts, as yet, only from Rouen and 
Clermont. At the end of this study, however, as at the begin¬ 
ning, the reader should be reminded that I have purposely iso¬ 
lated the Officium Pastorum, and its immediate liturgical associ¬ 
ations, from several other groups of plays of the Christmlas sea¬ 
son: (1) the Processus Prophetarum of Christmas and the oc¬ 
tave, (2) the Or do Pachelis of Innocents* Day, and (3) the 
Officium Stellce of Epiphany. My attempt to analyze dra¬ 
matic details of the Christmas cursus, and to provide liberal 
liturgical texts as a basis for criticism, should not be allowed 
to obscure the truth that, after all, the Officium^ Pastorum and 
the Christmas cursus found their most fruitful dramatic de¬ 
velopments not in isolation, but as contributory to the other 
dramatic groups of the Christmas season. i 
