If any church festival was held by universal consent to call for exceptional efforts, it was the feast of Corpus Christi, which in Spain gave rise to a special class of poetry. We possess a splendid description of the manner in which that feast was celebrated at Viterbo by Pius II in 1462. The procession itself, which advanced from a vast and gorgeous tent in front of San Francesco along the main street to the Cathedral, was the least part of the ceremony. The cardinals and wealthy prelates had divided the whole distance into parts, over which they severally presided, and which they decorated with curtains, tapestry, and garlands. Each of them had also erected a stage of his own, on which, as the procession passed by, short historical and allegorical scenes were represented. It is not clear from the account whether all the characters were living beings or some merely draped figures; the expense was certainly very great. There was a suffering Christ amid singing cherubs, the Last Supper with a figure of St. Thomas Aquinas, the combat between the Archangel Michael and the devils, fountains of wine and orchestras of angels, the grave of Christ with all the scene of the Resurrection, and finally, on the square before the Cathedral, the tomb of the Virgin. It opened after High Ma s and Benediction, and the Mother of God ascended singing to Paradise, where she was crowned by her Son, and led into the presence of the Eternal Father.
