Despite importance of other events of Holy Week and Easter, biblical account gives only scant reference to what transpired during three-day interim between Crucifixion and Resurrection. are mainly ambiguous affirmations of Christ's descensus in 1 Peter 3:19-20, Matthew 27:52, and Hebrews 2:14-15, latter verses referring to his participating in death through death might destroy him that had power of death, that is, devil; and deliver them through fear of death were all their lifetime subject to bondage. (1) However, early belief in historicity of event by Church developed by third century and eventually was to be incorporated into Apostles' Creed, which includes he into clause. (2) The account is only given full treatment in a fourth-century addition to apocryphal Acts of Pilate. The expanded work, generally known as Gospel of Nicodemus, was attributed to devoted follower of Christ, though not one of twelve disciples, assisted Joseph of Arimathea in Burial (see John 19:39-40). Thereafter, a late fourth-century or early fifth-century sermon formerly attributed to St. Augustine, now identified only as Pseudo-Augustine, likewise chose to use as a biblical authority words of Psalm 23 (Vulgate numbering). (3) This Sermo CLX, vividly recounting happenings of descensus in infernum, gained wide exposure through liturgy and music in early medieval churches. Despite its considerable potential, it was only to be incorporated into liturgical drama in late Elevatio, as in instance of innovations of Katherine of Sutton at Barking in late fourteenth century. (4) In earlier centuries, there was good reason to believe that it could develop and serve as a separate ceremony for Holy Saturday. However, in spite of its failure to so develop, processional antiphons that I shall discuss here deserve to be of considerable interest to students of medieval music drama. I. The Narrative and Its Reception in West The Gospel of Nicodemus and Sermo CLX present a vivid descensus narrative by means of incorporating an Old Testament authority, Psalm 23 (Vulgate numbering; Psalm 24 AV). The psalmist's text became substance of Christ's thundering challenge--Atollite portas principes vestras et elevamini portas eterale et introibit rex glorie--to powers of darkness, reinforce iron bars holding shut brass gates of underworld. As Gospel of Nicodemus describes event, Christ calls out: Remove, O princes, your gates, and be ye lift up, ye everlasting doors, and King of shall come in. (5) At third repetition of shout by one in narrative is distinguished by carrying a cross over his shoulder, infernal powers inquire Who is King of glory? (Quis est iste rex gloriae?). David, from Limbo, identifies voice as that of the Lord strong and mighty, Lord mighty in battle, is King of glory The hitherto indestructible bonds of hell are smashed, and Christappeared in form of a man and lightened eternal darkness. The devils, in their confusion, question further, at last wondering if is Jesus, of whom Satan our prince said that by thy death on cross thou shouldest receive dominion of whole world. Thereupon did King of in his majesty trample upon death, and laid hold on Satan prince and delivered him unto power of Hell, and drew Adam to him unto his own brightness. (6) The prolix, even rhapsodic prayers of Gallican rite affirm theological contextuality of descensus in which same humanitatis genitor, Adam, is named as one extractedfrom depths of infernal dirt by Christ, one who descended as agent of this blessed release. The following quotation presents Holy Week prayer and collect from Gallican Missale Gothicum (c.700): ITEM ORATIONES IN BIDUANA DIE SABBATI DIE SABBATI AD SE[XTAM] Deum omnipotentem, patrem et filium et spiritum sanctum, uniuersitatis unum creatorem, in hac magna magni matutina sabbati, dominici scilicet corporis requiei, fratres karissimi, suppliciter dipraecamur, ut qui Adam de profundis infernalis limi misericorditer eripuit, nos eius filius de luto faecis huius cui inhaesimus sola misericordia tantum clamantes eruat. …