Thursday, May 03, 2007

Altar Furnishings and Decorations, Part 1

This is a continuation from Chapter 3, The Sanctuary.

Bear in mind that this was composed in 1939, well before the Second Vatican Ecumenical Council and some rubrics and requirements may have been modified...Other changes will be noted accordingly. Nevertheless, some may find the history fascinating.
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Questions answered in this chapter:

Why should no elements of purely personal taste appear in the decorations of the altar? Why are cheap, gaudy ornaments out of place? Where do we find a list of the essential furnishings of the. altar? What furnishings are necessary for the celebration of the Mass?

Of what material must the altar cloths be made? Why are three cloths used? What are the rules regarding them? What do the linen cloths symbol­ize? What is the vesper cloth and how does it get its name?

What is the frontal or antipendium? How is the color for each day de­termined? What two exceptions must be observed? When may the frontal be dispensed with? How may it be ornamented? Why is the sacred fish an appropriate emblem? How did the frontal originate?

What is the principal ornament of the altar and how is it placed? In what ways did the early Christians disguise the cross? Why did they hide it under symbols?

What is a crucifix? Where is it placed on the altar? Of what is its presence a reminder? Under what circumstances may the crucifix be dispensed with?

What trend of devotion is shown by the eady treatment of the crucifix? How is Christ represented? Why did the early Christians refrain from de­picting Christ as dying on the cross? Beginning with the twelfth century, what devotion was emphasized? What changes were made? What may be said in regard to the return to the earlier style?

How were candlesticks used in the early Church? What did Durandus say about their symbolism? What is the purpose of the Sanctus Candle?

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The dignity of the altar and the sublime purpose to which it is dedicated require that its furnishings follow strict liturgical canons. Its decorations ought not only to be free from every element of purely personal taste, but should also be churchly and embody the highest ideals of Christian art. Cheap, gaudy ornaments, while they may express the devotion of individuals, are entirely out of place on the altar, where, as St. Augustine says: "Everything should speak of God."

ESSENTIAL FURNISHINGS: Before discussing the subject of altar furnishings, the following notation from the twentieth chapter of the General Rubrics of the Missal will acquaint us with the things which the Church lists as the essentials:
"The altar should be covered with three cloths, or clean cover­ings, blessed by a bishop or some other person having the authority, the upper being at least long enough to reach the ground at the ends, the other two shorter, or consisting of one cloth folded double. The altar, moreover, should be adorned with a frontlet of that color suitable to the feast or office, if this is possible.

"On the altar should be placed a crucifix, in the center, and at least two candlesticks containing candles on either side. At the foot of the cross should be placed the Mass card; on the Epistle corner, the cushion necessary for the support of the Missal, and at the same Epistle side the wax candle (Sanctus Candle) to be lighted for the elevation of the Sacrament. A small bell, small glass cruets for water and wine, together with a small laver and clean towel should be ready on the same side, in a small orifice or on a table. Absolutely nothing should be placed upon the altar which does not pertain to its own adornment or to the sacrifice of the Mass."

ALTAR CLOTHS: The three altar cloths which the rubrics prescribe, must be of pure, white linen. Although linen was always used in the service of the altar, during early Christian times altar cloths were sometimes made of gold or silver cloth and ornamented with precious stones. The custom of using three cloths began about the ninth century, but later their use became a strict obligation for the reason that if any of the precious blood should accidentally be spilt, it would be absorbed by the triple cloths before it reached the altar stone.

It is not necessary that the lower cloths be two pieces; one cloth may be folded so as to cover the whole top of the altar. The upper cloth must be single and long enough to reach the floor at either end.

The altar cloths are a reminder of the winding sheet which enshrouded the body of Christ while it re­posed in the tomb. They also signify the purity and devotion of the faithful.

The colored cloth which is used to protect the altar linens from dust when Mass is not being celebrated, is called a vesper cloth, so named because sometimes it is not removed during Vespers. Red and green seem to be the preferred colors. This cloth is not blessed.

THE FRONTAL: The frontal or antipendium is a rectangular panel or drapery which is hung before the entire front or base of the altar. It is usually made of silk, but this material is not prescribed. The frontal varies in color according to the office of the day. There are, however, two exceptions to this rule:
(1) When Mass is celebrated at an altar on which the Blessed Sacrament is solemnly exposed, the frontal must be white.

(2) When a Requiem Mass is celebrated at an altar in the tabernacle of which the Blessed Sacrament is re­served, the frontal must be violet, not black.

The frontal need not be blessed. Liturgists agree that the frontal may be dispensed with when the altar is con­structed in the form of a tomb or when the front is ornamented with paint­ing, carving, or rich mosaic.

Great liberty is permitted in regard to the decoration of the frontal, but bands of gold braid or embroidery, and emblems which refer to the Blessed Sacrament, such as the lamb and the Ichthys, or sacred fish, alone or with the basket and loaves, are, perhaps the most appropriate forms of ornamentation. The Ichthys is the figure under which Christ is often represented in the catacomb paintings.

The frontal originated with the curtains which formerly hung in front of the "confessio" type of altar as a protection for the relics and bodies of the saints which were deposited within.

THE CRUCIFIX: The crucifix, which is the principal ornament of the altar, is today elevated in plain view of the celebrant and the people. In the early centuries of the Christian era it was necessary to disguise it in some artistic or symbolic manner for fear of subjecting it to the ridicule and insults of the pagans.

One of the oldest of these symbols was the anchor, represent­ing hope, but interpreted by the faithful to mean hope based on the cross of Christ. The similarity of the anchor and the cross made the former an ideal Christian symbol.

Other favorite allegorical representations of the crucifixion were that of the lamb lying at the foot of the anchor and a dolphin twined about a trident, a three-pronged fish spear. Since the dolphin is a symbol of Christ, a more expressive emblem of the crucifixion can hardly be imagined.

LITURGICAL PRESCRIPTIONS: The rubrics of the Roman Missal pre­scribe that the crucifix - a cross bearing the image of Christ - be placed in the center of the altar. It should be large enough to be seen by the priest and the people during the celebration of the Mass. Its presence is a reminder that the Victim offered on the altar is the same as that which was offered on the cross.

If there is a large piece of statuary representing the crucifixion on the altar, or if there is a painting or mosaic depicting the scene, placed immediately back of the altar, the crucifix itself is not necessary. A stained glass window repre­senting the crucifixion would not suffice.

ARTISTIC TREATMENT: The artistic treatment of the crucifix may be divided into two distinct periods, representing two equally distinct trends of devotion. The first period, which begins with the sixth century, contemplates
not only our Lord's passion but also His resurrection and ascension - His whole plan of redemption. He is, therefore, represented as being alive and triumphant, as a King ruling from the cross. He is clothed in a long, embroidered tunic, His head is erect, and He wears a royal crown. The early Christians had a natural repugnance toward representing Christ as dying in dishonor, which is easily accounted for when it is understood that, according to Roman law, death by crucifixion was inflicted only on thieves and malefactors or upon slaves who were guilty of highway robbery or piracy.

Beginning with the twelfth century the devotion of the people was more especially directed towards Christ's passion. The cross became a gibbet of Roman cruelty from which our Lord hung dead. His sacred head is crowned with thorns, blood flows from all His wounds, and His body is twisted in agony. The living King has become the dead Redeemer. Up until a quarter of a century ago this type of crucifix was the only one seen on our altars.

Today, however, there is a gradual trend toward the earlier con­ception of the crucifix, which as Father Bussard so aptly says: " . . . is the symbol of the spirit moving over the people of God, bringing them from the periphery of piety to its very heart and center." [Note 1]

CANDLESTICKS: The same rubric which prescribes that a crucifix be placed on the altar, provides that it be elevated between two candlesticks containing wax candles.

Before the tenth century, writers make no mention of candlesticks on the altar. Previous to that time, the candelabra were usually of great size and frequently made of precious metal. They were carried by acolytes and placed on the floor of the sanctuary near the corners of the altar. Durandus says "that at both corners of the altar a candlestick is placed to signify the joy of two peoples who rejoiced at the birth of Christ."

We may infer that these two peoples are the Jews and the Gentiles, the saints of the Old and New Laws. The practice of retaining six large candlesticks upon the high altar seems to date from the sixteenth century. It is strictly forbidden to veil the candlesticks in violet or black coverings at any time.

The Sanctus Candle is kept on the side table or credence or, in some in­stances, on the step of the altar where the server kneels. As the rubric is only directive in this regard, the custom of lighting a third candle at the Sanctus, while of considerable antiquity, is not universally practiced. The light is ex­tinguished after the celebrant has received Communion. If the celebrant is a bishop, two candles are used. A bracket may serve for this candlestick.

[Note 1] Bussard, "The Crucifix Ten and Now," Orate Fratres, Vol XII, No. 9 Page 400
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Adapted from Altar and Sanctuary, An Exposition of the Externals of the Mass
by Angela A. Glendenin (© 1939)
Published by the Catholic Action Committee
The Catholic Action Series of Discussion Club Textbooks

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