, GLOSSARY 
 
 OF 
 
 ECCLESIASTICAL ORNAMENT 
 
 AND 
 
 COSTUME, 
 
 Comptleti from ancient aut&ortttes antf tramples!, 
 
 BY 
 
 A. WELBY PUGIN, AECHITECT, 
 
 PROFESSOR OF ECCLESIASTICAL ANTIQUITIES AT ST. MARIE's COLLEGE, OSCOTT, 
 
 ILLUSTRATED BY EXTRACTS FROM THE WORKS OF 
 
 DURANDUS, GEORGIUS, BONA, CATALANI, GERBERT, MARTENE, MOLANUS, THIERS, 
 
 MABILLON, DUCANGE, ETC. 
 
 A SECOND EDITION ENLARGED AND REVISED 
 
 BY THE REV. BERNARD S M I T H, M. A. 
 
 of st. marie's college, oscott. 
 
 LONDON: 
 
 HENRY G. BOHN, YORK STREET, COVENT GARDEN. 
 
 MDCCCXLVI. 
 
Digitized by the Internet Archive 
 
 in 2014 
 
 https://archive.org/details/glossaryofecclesOOpugi_0 
 
gfntrotrurttott* 
 
 OF SYMBOLISM IN ART. 
 
 That Art has its fixed principles, any departure from which leads to 
 inconsistency and unmeaning effect, is a truth never to be lost sight of. And 
 if all Art is subject to fixed laws, which define her province and inform her 
 purpose, least of all is Christian Art to be regarded as exempt from rule, 
 not merely of ecclesiastical precedent, but of philosophical and scientific 
 principle. The conventional forms of ecclesiastical antiquity contain within 
 them certain unchanging elements of character, the ignorance of which 
 precludes the possibility of our either appreciating or imitating the great 
 works of the old Christian artists. To help to illustrate these principles, which 
 are, as it were, the polar star, by which 'the disciple of the ancient Masters 
 must steer his course, forms the main object of the present volume. 
 
 Ornament, in the true and proper meaning of the word, signifies the 
 embellishment of that which is in itself useful, in an appropriate manner. 
 Yet by a perversion of the term, it is frequently applied to mere enrichment, 
 which deserves no other name than that of unmeaning detail, dictated by no 
 rule but that of individual fancy and caprice. Every ornament, to deserve 
 the name, must possess an appropriate meaning, and be introduced with an 
 intelligent purpose, and on reasonable grounds. The symbolical associations 
 of each ornament must be understood and considered : otherwise things 
 beautiful in themselves will be rendered absurd by their application. 
 
 It is to the neglect of these principles that we may trace half the blunders 
 and monstrosities that have disgraced modern art. Ornaments have been 
 regarded as mere matters of whim and caprice. Accordingly, the most 
 opposite styles have been mixed : and emblems, of characters the most distinct, 
 Christian and Pagan, ecclesiastical and civil, have been jumbled together in 
 unutterable confusion. Only for ornament is the usual reply to an inquiry 
 respecting the intention of various details and combinations frequent in 
 modern designs ; although it is not possible for any forms or enrichments to 
 be ornamental that are not appropriate and significant, if their utility extends 
 
iv 
 
 Jntntouctfoit 
 
 no farther. It has been said poetically, that, ' Where use is exiled, beauty 
 scorns to dwell :' and the sentiment is founded in truth and reason. 
 
 Go to the fountains of historical antiquity, and you will find this illustrated 
 in every age ; and under every successive system. Each system developed 
 certain forms characteristic of itself, and which became appropriated, by the 
 laws of symbolism, to the illustration of that system, more or less exclusively. 
 
 In the ancient Egyptian designs, from the immense Sphinxes and Lotus 
 Cups to the minutest hieroglyphic on the walls, all was done in accordance 
 with rule and system ; and all was fraught with mysterious meaning, and 
 allusion to the Egyptian religion and manners. 
 
 Under the Jewish Dispensation, and in the Temple of Solomon itself, all 
 the arrangements, down to the smallest details, so far from being arbitrary, 
 were ordered in accordance with a Divine Revelation ; — and in a spirit as well 
 of religious obedience, as of an overflowing zeal. Witness David's exhortation 
 to his son Solomon, recorded in ch. xxviii. of I. Paralipomenon : — ' And 
 thou, my son Solomon, know the God of thy father, and serve him with a per- 
 fect heart, and willing mind ; for the Lord searcheth all hearts, and understandeth 
 all the thoughts of minds. If thou seek Him, thou shalt find Him : but if 
 thou forsake Him, He will cast thee off for ever. Now, therefore, seeing the 
 Lord hath chosen thee to build the House of the Sanctuary, take courage and 
 do it. And David gave to Solomon his son a description of the Porch, and of 
 the Temple, and of the treasures, and of the upper floor, and of the inner 
 chambers, and of the House for the Mercy Seat, As also of all the Courts 
 which he had in his thought, and of the chambers round about, for the 
 treasures of the House of the Lord, and for the treasures of the consecrated 
 things : And of the divisions of the Priests and the Levites, for all the works 
 of the House of the Lord, and for all the vessels of the service of the Temple 
 of the Lord. Gold by weight for every vessel for the ministry : and silver by 
 weight according to the diversity of the vessels and uses. He gave also gold 
 for the golden candlesticks, and their lamps, according to the dimensions of 
 every candlestick, and the lamps thereof. In like manner also he gave silver 
 by weight for the silver candlesticks, and for their lamps, according to the 
 diversity of the dimensions of them. He gave also gold for the Tables of 
 Proposition, according to the diversity of the Tables : in like manner also 
 silver for other tables of silver. For flesh-hooks also, and bowls, and censers 
 of fine gold, and for little lions of gold, according to the measure he gave by 
 weight for every lion. In like manner also for lions of silver, he set aside a 
 
Jntrttourttom v 
 
 different weight of silver. And for the Altar of Incense he gave the purest 
 gold : and to make the likeness of the chariot of the Cherubims spreading 
 their wings, and covering the Ark of the Covenant of the Lord. All these 
 things, said he, came to me written hy the Hand of the Lord : that I might 
 understand all the works of the pattern.' And the details, thus ordered, were 
 typical and illustrative, all of them, of the Mosaic Dispensation : Cherubim, 
 Lions, Oxen, Lilies, and Pomegranates, were introduced as the religious 
 emblems exclusively appropriate. 
 
 Descending to the architecture of Greece and Rome, we find that the 
 religious systems and manners of those countries developed new varieties of 
 ornament and decoration : and the same principle of symbolism here displayed 
 itself in a new field, and with different results and combinations. The various 
 divinities worshipped had their own peculiar forms of representation, and their 
 own emblems. The bas-reliefs and sculptures on the Altars were indicative 
 of the worship of that particular god, to whom they were erected: from the 
 Thunderbolt and Eagle of Jupiter, to the Ears of Corn and Poppy of Ceres. 
 Bulls' Heads and Paterae alternately, were proper in the Friezes of their 
 Temples, as just and significant symbols of their rites and worship. Nothing- 
 was left to arbitrary choice ; the same form of Temple, the same animals, plants, 
 and insignia were attributed, by unvarying rule, to the several divinities 
 worshipped. The Forms of Art were conventional; I had almost said con- 
 secrated. While yet the Christian Church was under the persecution of the 
 Roman Emperors, we have evidence that the self-same principle of symbolism 
 was at work. A new set of emblems already began to distinguish the Tombs 
 of the Martyrs in the Roman Catacombs. Christ and His Miracles are repre- 
 sented, together with subjects taken from the Old Testament; the Raising of 
 Lazarus, Noah in the Ark, Adam and Eve are of frequent occurrence. The 
 Lamb, the Palm-branch, the Ship, the Anchor, the Dove appear. Neither is 
 any exception to the principle contained in the fact, that many of these, as the 
 Nimbus and possibly the Monogram of Christ's Name, can be traced to a still 
 earlier original.* 
 
 The subjects chosen, were, therefore, exclusively those of a Christian 
 interest and significancy, even during those first days of persecuting rage on 
 
 * Take the instance of the representation of our Lord, not uncommon, under the figure of Orpheus, 
 as being the true Charmer of hearts harder than the rocks, and more deaf to wisdom than the unlistening 
 woods. Here is no violation of our principle : on the contrary, there is a beautiful illustration. For 
 here, by an economy and instance of reserve proper to the period, a symbol was made use of, at once 
 full of meaning to the initiated, and unsuspicious to the persecutor of the infant Faith. 
 
vi 
 
 Jntrtitmrtfoit 
 
 the part of the world, and of concealment and secrecy on the part of the 
 faithful. 
 
 The same may be said of Mosaics of the Basilicas, at a later period, when 
 the Cross was no longer hidden ; the same of the Decorations peculiar to the 
 Byzantine churches ; the character of these, even where they are rude in 
 execution, is in a Christian point of view most highly edifying. Sufficient 
 justice has not yet been done to the magnificent beauty of this style, which is 
 such as to dispute the palm with the later developments of the Gothic : 
 although from circumstances, the revival of this branch of Christian Architec- 
 ture is not with us a practical question. 
 
 The same idea afterwards developed itself in the Saxon, Norman, and 
 Pointed periods of Architecture and Art, in this country. Art was ennobled 
 by its connection with the mysteries of Religion : and Religion herself 
 received aid and illustration, through the services of Christian Art. Within 
 the magnificent churches which rose in such variety of detail, but with such 
 oneness of principle and design, the richness and consistency of Christian 
 ornament shed a lustre over the services of Religion. Fonts, Altars, Chalices, 
 Vestments, Shrines, Images, Triptychs, Lecterns, and all the furniture of a 
 Catholic Church were formed after a Christian model and idea : all spoke the 
 same language, and inspired the same sentiments of Catholic piety and 
 devotion. 
 
 It was not till the unhappy period that severed England from the 
 Communion of the Church, that any change took place in the conventional 
 forms which moulded every work of art, according to fixed and recognized 
 laws. Propriety was till that time considered as the very soul of beauty : and 
 use, the spirit, and guiding principle of ornament. 
 
 Upon the interval that has elapsed between the sixteenth and present 
 century, it were superfluous here to comment. Suffice it to say, that there 
 have not been wanting in the Church learned ecclesiastics, who have raised 
 their voices in condemnation to the prevailing taste, and have witnessed in 
 favour of the dignity and consistency of ancient Catholic art. Some of these 
 are frequently cited and referred to in the present volume : and the object of 
 the writer will have been more than gained, if he can succeed in calling 
 attention to these, and through them, to the ancient authorities on whom they 
 rest. They gave their testimony in evil times, when few listened or regarded. 
 But their words may have more weight under present circumstances, than 
 they had in their own day. Indeed, it is reasonable to hope and expect 
 that they will have. 
 
Jntrotmrtfon. 
 
 vii 
 
 A mighty movement has commenced in favour of the revival of the 
 architecture of the middle ages. We as Englishmen have no choice which 
 side we will take, when this question is mooted. All our national buildings, 
 of any interest belong to the solemn and instructive architecture, which 
 prevailed in these countries, during the ages of Faith. And our choice once 
 made in favour of their architecture, consistency itself will lead us to admire 
 and imitate the manner in which they developed the same principles in minor 
 matters of detail. But with those who are prepared to embrace the 
 principles, the practice yet remains involved in difficulty. To procure 
 examples and patterns of Christian design is no easy matter ; now that these 
 have become so scattered, and comparatively rare. The present volume will, 
 it is hoped, render knowledge upon many of these subjects more accessible; 
 and save much time and trouble to those interested, whether in the way of 
 research, or practically, in the matters treated of. 
 
 This is the object of the following work, and at the present time, when so 
 much veneration and interest has been awakened for the works of Catholic 
 antiquity, both in England and on the Continent, it is indispensably neces- 
 sary for all ecclesiastical artists, not only to understand the true forms and 
 symbolical significations of the sacred vestments and other adornments of a 
 church, but also how to apply the various decorations in a consistent manner 
 to the edification of the faithful, and as lively illustrations of the Sacred Mys- 
 teries. The subject is, however, one of such an extensive nature that it is 
 scarcely possible to bring it within the compass of a single volume ; indeed, a 
 separate work might be written on almost every word described. But so 
 elaborate a book would not only have consumed too long a time in preparation, 
 but would have become so voluminous and expensive as to be almost unattain- 
 able to the very persons who would most require it. It has been, therefore, 
 thought advisable to condense the mass of documents and authorities collected 
 by the compiler into its present form, in order to meet the exigencies of the 
 day, rather than to delay the publication till a more elaborate treatise could be 
 composed. It is to be hoped that in its present form it may be the means of 
 imparting information on some obscure points connected with Catholic 
 antiquities, and aid the restoration of that truly beautiful furniture and deco- 
 ration that anciently adorned every one of our churches, and of which the 
 combined attacks of sacrilege and of the revived Paganism of the last three 
 centuries have left us such poor remains. 
 
 A. W. P. 
 
VUl 
 
 Jntnitmrttcm 
 
 The following Notices of some of the Authorities quoted in the Glossary 
 
 may not be uninteresting. 
 
 Dtirandus (Guillaume Durand), the author of the Rationale Divinorum Officiorum, and divers 
 other works, was born at Puy-Moisson, in France, in 1232. His reputation caused him to be called to 
 Rome by Pope Clement IV., and, after filling several offices, he was in 1287 made Bishop of Mende; 
 and, in 1295, was offered the Archbishopric of Ravenna. He is a writer of great interest, for the 
 mystical interpretations wherewith he every where abounds : and in which he is a close follower of Pope 
 Innocent III. De Mysteriis Misscc. It is not necessary to do more than allude to the interesting 
 translation of the first book of Durandus' Rationale, recently published at Leeds. 
 
 Durantus (Jean Etienne Duranti), was the first President of the Parliament of Thoulouse. 
 He distinguished himself as an advocate. He is the author of the work De ritibus Ecclesia. He 
 suffered death during some political disturbances in 1589. 
 
 Du Cange (Charles Du Fresne), born at Amiens, in 1610, was a barrister, and the author of 
 many works : among which, Glossarium ad Scriptores Media et injimce Latinitatis, Paris, 1678, 3 vols, 
 folio. Of this work a new edition, in 6 vols, folio, was published by the Benedictines, between the 
 years 1733 and 1736 ; and to this a Supplement was added by Carpentier, in 4 vols. fol. in 1766. The 
 value of the Glossary, of course, consists in the antiquity and rarity of the monuments which it quotes. 
 
 J. Mabillon, one of the celebrated Benedictines of the congregation of St. Maur, was born at St. 
 Pierremont, in the diocese of Rheims, Nov. 23, 1632. One of his first steps on obtaining manhood, after 
 a youth of spotless purity, was to take the vows at the Abbey of St. Remi, at Rheims. Soon after his 
 profession, in 1654, he was appointed to superintend the novices; but violent head-aches, brought on by 
 the arduous duties of his employment, soon compelled his superiors to remove him, first to Nogent-sous- 
 bourg, then to Corbie, and afterwards to Paris. He was at the Abbey of St. Denis for a whole year, his 
 chief occupation being to shew the magnificent treasures of the place, among which are the monuments 
 of the French sovereigns. All his spare time had hitherto been divided between his devotions and his 
 studies. He was now called upon to assist Dom Luc D'Achery in the publication of his famous 
 " Spicilegium," a collection of inedited documents, which has ever since been so highly prized by all 
 students of ecclesiastical or profane history. Shortly after this, he was employed in editing the works 
 of St. Bernard, on which Dom Claude Chantelou had been at work for a long time previous to his death. 
 Mabillon's edition of St. Bernard may be considered the first of that magnificent series of the Benedictine 
 Fathers, as they are called, which have superseded all other editions, whether published before or after 
 them. His next publication, which he undertook in company with D'Achery, was the " Acta Sanctorum 
 Ordinis S. Benedicti." This work occasioned a controversy between himself and Cardinal Bona, with 
 reference to the antiquity of the use of unleavened bread in the administration of the Eucharist in the 
 Western Church ; the Cardinal not dating it earlier than the period of the Greek schism, whereas 
 Mabillon maintained it to be of much higher antiquity. It need scarcely be said, that the controversy 
 between these two holy and learned men was conducted throughout with the utmost gentleness, mutual 
 respect, and Christian feeling. 
 
 The " Vetera Analectz" were next published. This was an important collection of many valuable 
 documents of the utmost use to ecclesiastical students. The treatise " De Re Diplomatica" was the first 
 result of Mabillon's extensive researches among charters and other original documents ; and though 
 subsequent researches have brought the science to greater perfection, it has always been acknowledged 
 as a work of the greatest authority, and as being confessedly the ground work of all others. Mabillon's 
 
jfutrofcurtion* 
 
 work throughout attacks the criterions which Papebroke had laid down in a volume of the Bollandists' 
 ' Acta Sanctorum,' for judging of the age of charters, manuscripts, &c. This pious, learned, and justly 
 celebrated Jesuit, of whom Mabillon never spoke without expressions of the deepest respect, but who 
 had taken rather a sceptical view of the question, candidly acknowledged his mistake in a letter which 
 he addressed to Mabillon, with permission to make it public. 
 
 In 1683 he was sent into Germany to examine into the libraries for documents relative to the history 
 of France or of the Church. Though he was absent only five months, he collected a vast number of the 
 most interesting and important documents, besides making many useful discoveries, which he left for 
 others to improve upon. His success caused him to be sent with his learned friend, Dom Michel 
 Germain, who had had a part in the treatise De He Diploma tied and the Acta Sanctorum, into Italy, 
 for the purpose of examining the libraries there. The Museum Italicum was the result of their under- 
 taking. This work professed to be an account of their travels, but it has been observed, that little is 
 said therein of the honours which the great and learned paid to its author in Italy. The Royal Library 
 was increased by an addition of three thousand valuable books, printed and manuscript, which Mabillon 
 brought from Italy. The ' Museum Italicum' contains an account of many valuable discoveries made 
 by him of works of the Fathers, and other precious remains of Christian Antiquity. 
 
 In 1690, he published a new edition of St. Bernaixl's works, with additional notes, fresh disser- 
 tations, and nearly fifty hitherto unpublished epistles of the holy Abbot of Clairvaux. The edition had 
 scarcely been published, when he was called upon by his superiors to write upon the important question, 
 " whether it be lawful for monks to apply to deep studies." De Ranee, of La Trappe, maintained the 
 negative ; but it was clear enough to every one, that both parties agreed in sanctioning serious, and 
 reprobating frivolous studies. This controversy, as all others in which Mabillon was involved, was 
 carried on with the most perfect equanimity on both sides ; the two pious disputants feeling great love 
 and respect for each other. Mabillon's last work was the 'Annates Ordinis S. Benedicti;' the four first 
 volumes alone of which were published before his death, which occurred December 27, 17^7? at the 
 Abbey of St. Germain des Pres, in Paris. 
 
 He published several other works of great value besides those above enumerated, the principal ones 
 being a Dissertation on the Authorship of the " Imitatio Christi," which he assigns to Gerson, and one 
 on the ancient Gallican Liturgy. 
 
 Mabillon was certainly one of the most learned men France ever produced, and one whose writings 
 have been most extensively useful. Nor must it be forgotten that his intellectual gifts were surpassed 
 by his deep humility, his ardent devotion, his purity of heart, and the regularity and holiness of his life. 
 
 Jean Baptiste Thiers was born at Chartres, Nov. 11, 1636. He studied at the College of 
 Chartres, and distinguished himself greatly by his classical attainments. After being for some time 
 "professeur de seconde," at the College of Plessis, at Paris, he became curate of Camprond, in 1666, 
 which he exchanged in 1692, for the cure of Vitraye, in the diocese of Mons, where he died, Feb. 17<J3. 
 The titles of his works, thirty-three in number, are given in Mori'ri, and the Biographic Universelle. 
 They display an erudition of the most wonderfully extensive character, and powers of sarcasm* under 
 which his opponents must have writhed. The immense bulk of well digested ecclesiastical and 
 antiquarian lore to be found in his writings renders their presence a sine yud non in a library of any 
 pretensions. But though most of his attacks were made upon unauthorized innovations, it must always 
 be borne in mind that he seldom wrote, except for polemical purposes, and is therefore apt to be one- 
 sided in his representations. It may be well to mention that his famous Traitt des Superstitions con- 
 tains in it some unguarded positions, which caused the book to be placed on the Index. 
 
 Dom Claude de Vert, a learned liturgical writer, born at P.u is, in 1645. At the age of sixteen 
 he became a Benedictine of the congregation of Cluni. After studying at Avignon, he went to Rome, 
 
 a 
 
X 
 
 Entrctnicttoiu 
 
 where he was so struck with the splendour of the ecclesiastical functions, that he resolved to investigate 
 their history. He soon made great progress in the study of the ancient monuments. Jurieu, the 
 Huguenot minister, having cited De Vert as holding the same opinions with himself on the origin of 
 some of the ceremonies of the Mass, he took this occasion of publishing his Lettre a Jurieu, Paris, 1690. 
 This letter received the approbation of the most learned prelates, and among others, of Bossuet, who 
 pressed him to execute the work he had long projected on the Ceremonies of the Church. In 1695 he 
 was appointed Prior of St. Peter's Monastery, Abbeville. Here he passed his last years in study and 
 retirement; and finished his great work, published at Paris in 1709, under the title of Explication 
 simple, literale, et hlstorique des Ceremonies de VEglisc, a work which, though deficient in order, is 
 stored with erudition and curious investigation. — See Biogmphie Universelle in loc. 
 
 Bocquillot, born at Avallon in 1649, was first Cure of Chatelux, then Canon of Avallon. Among 
 other works, his TraVe Historique de la Liturgic sacr'ee ou de la Mease is highly esteemed. 
 
 Dom Edmond Martene, born in the diocese of Langres, in 1654, was early attracted by the life 
 of study and retirement from the world. At the age of eighteen years, he entered the Order of St. 
 Benedict, of the Congregation of St. Maur, after which he distinguished himself by his learning and 
 researches. His first work Avas written after the scholastic fashion, in the form of a ' Commentary on 
 the Rule of St. Benedict, literal, moral, and historical.' This appeared in 1690, and in the course of 
 the same year was published at Lyons his treatise De antiquis monachorum ritibus. In 1700, he gave 
 to the world his valuable work, De antiquis Ecv.lesia; r itibus circa Sacramento., 2 vols. 4to., to which he 
 added a third in 1702. These were followed in 1706, by another 4to. volume, De antiqua Ecclcsia 
 discipline! in celebrandis Divinis Officiis. These works, on the ancient Rites of the Church, the author 
 snbsequently revised and enlarged; republishing them at Milan, in the years 1736 and 17-38. Among 
 other works of the same author is one under the title of Voyage litteraire de deux rcligieux de la congre- 
 gation de St. Maur: and a second under the same title, published in the years 1719 and 1724 (in which 
 many interesting usages of different churches are recorded) : not to mention a vast collection of ecclesi- 
 astical writings which he edited, in conjunction with Durand, in many volumes folio. He died suddenly 
 in 1739, at the Abbey of St. Germain des Pres, at Paris, when contemplating a Memoir of the Life and 
 Correspondence of St. Thomas of Canterbury. 
 
 Dom Michel Felibikn, a Benedictine of the Congregation of St. Maur, born at Chartresin 1665. 
 He wrote L'Histoire de I'Abbage de Saint Dengs, printed 4 in Paris in 1 706, and containing many 
 learned disquisitions. He composed, among other pieces, a ' Life of St. Anselm,' which has not been 
 published. He died in the Abbey of St. Germain des Pres, in 1719. — Mor'tri. 
 
 Dominicus Georgius (or Giorgi) was an Italian ecclesiastic, and antiquary, in the last century. 
 He was born, a.d. 1690, at Costa, near Rovigo, in Italy. After being for some time secretary to the 
 Bishop of Adria, he was called to Rome, where he became librarian to Cardinal Imperiali. His learning 
 soon introduced him to the notice of the most distinguished prelates in Rome : and he was entrusted 
 with several works of ancient ecclesiastical research by Popes Innocent XIII. and Benedict XIII. The 
 latter made him a member of his Cabinet; and presented him, in 1727, to the Abbey of Saccolongo. 
 At the death of Cardinal Imperiali, in 1737? Georgius returned to his native town: but Pope Clement 
 XII. summoned him again to Rome, where he employed him in various works. Benedict XIV. his 
 successor, made him one of the Prelates of his household, and placed him in connexion with several 
 Colleges which he founded. Georgius died in 1747, leaving his numerous MSS. to the Library of 
 Casanata. His works connected with Ecclesiastical antiquities are, — I. Trattato sopra gV abiti sacri 
 del somrno ponteficc di Roma, 4to. Rome, 1724. II. De origine metropolit. ecclesia> Bcneventance , 4to. 
 1725. III. De cathedrd episcopali Setia? cioitatis, 4to. Rome, 1727, reprinted in 1751. IV De 
 titurgia Romani pontificis in solemni celebratione Missarum, 3 vols. 4to. Rome, 1731, 1743, and 1744. 
 
Entrotuicticn. 
 
 xi 
 
 V. De 3fonogrammate Christi,4to. Rome, 1738. He was interested and well versed in matters belonging 
 to the old English Church, as will be seen by the extracts from his treatise De Lit. Rom. Pont., a work 
 stored with erudition and noble sentiment, recommended by a masterly and perspicuous style. — See 
 JBiographie Unicerselle. 
 
 Martin Gerbert, a learned prelate of the Church, born at Horb, in Austria, in 1720. He 
 studied at the Abbey of St. Blase, in the Black Forest, whei'e he made his profession at the age of 
 sixteen years. In 1744, he was ordained priest, and taught philosophy and theology in the Abbey. 
 After he had trained up others to fill his place in their turn, he was entrusted with the care of the 
 Abbey Library. In this office it was, that he made his great researches into the church history of the 
 middle ages, and collected the materials for his History of Music, and of the Antiquities of the German 
 Liturgy. After travelling in France, Italy, and Germany, Gerbert was elected, in 1764, Prince- Abbot 
 of the Monastery of St. Blaise. He still devoted himself to the pursuit of Letters, and published many 
 works. The principal of these are : — 1. De Cantu et Musicd sacra a primd Ecclesice cctate usque ad 
 prcesens tempus, St. Blaise, 1774, 2 vols. 4to. 2. Vet us Liturgia Alemaunica disquisitionibus prceviis, 
 notis et observationibus illustrate/, St. Blaise, 1776? 2 vols. 4to. Gerbert died in 1793, leaving in his 
 works a rich specimen of monastic industry and learning. 
 
 Stephen Borgia, Cardinal, and Prefect of the Propaganda, was born at Veletri in 1 73 1. He early 
 evinced a decided turn for antiquarian research, and collected a considerable museum himself at Veletri. 
 In 1770 ne was made Secretary of the Propaganda, and thus thrown into correspondence with missionaries 
 in all parts of the globe. This was the occasion of his becoming acquainted with MSS., medals, and 
 monuments of the most varied description. In 1801 he was made Rector of the Roman College. 
 Attending Pius VII. to France in 1804, owing to his age and the inclemency of the season, he was 
 seized with an illness which terminated fatally at Lyons. Among his works are, Vaticana Confessio B. 
 Petri, chronologicis testimoniis illustrata, 1776, 4to. De Cruce Veliternd commentarius, 1780. Also 
 another, De Cruce Vaticand, from which large extracts are given in the Glossary. 
 
 Antonio Bosio, (died 1629) was born in Malta, and though employed much upon the business of 
 the Order of the Knights of St. John, found time in his leisure hours for examining the subterraneous 
 antiquities of Rome. He has the merit of being the first writer upon the subject. His work appeared 
 in 4to. after his death, a.d. 1632, under the title of Roma Sotteranea. An enlarged edition by R. 
 Severano was published 1650; then came Aringhi's Latin work in two folios, which was built upon it; 
 and at a later period Clement XIV. desired Bottari to prune away any redundances in the book and 
 republish it ; Bottari, however, remodelled the whole work, and eventually brought it out in 3 vols, 
 folio, a.d. 1737-50. 
 
 Aringhi (Paul), a priest of the Oratory, who died in Rome, his native place, a.d. 1676, composed 
 a Commenta y on the work of Bosio, mentioned above, which is generally known as Aringhi's Roma 
 Subterranca, it being, in fact, almost entirely his work. It is generally allowed to throw great light 
 upon ecclesiastical antiquities ; but subsequent excavations have added so much to our resources upon 
 these matters, that the new edition of the work now (it is believed) in the course of publication by the 
 learned Father Marchi, will probably be almost an entirely new treatise. The first edition came out 
 in Rome a.d. 1651. 
 
 Buonarotti (Philip), a noble Florentine, who died a.d. 1763, was the author of a learned treatise 
 upon Ivory Diptychs both pagan and ecclesiastical (a.d. 1716), as also of other treatises less to our 
 purpose to notice. His previous work on Medallions, in a.d. 1698, ought however to be mentioned 
 here. 
 
 Ciampini (John Justin) was born at Rome, a.d. 1633. Though employed under Clement IX. 
 he found time for himself pursuing, and inducing many others to pursue, learned researches in physics, 
 
xiv 
 
 {ntroiniction. 
 
 Animal 
 
 Human 
 
 Beasts, Reptiles, 
 and Insects . . 
 
 5. Terrestrial S 
 
 Birds 
 
 Fishes 
 
 Vegetable 
 
 { 
 
 1 ne Arm 
 
 1 tie Head 
 
 The Eye 
 
 n^u TT L 
 
 l he Heart 
 
 mi i 
 
 The Foot 
 
 Ihe Leg 
 
 ine nana 
 
 
 Adder 
 
 Horse 
 
 A nf plnnp 
 
 XX 11 IC1UUC 
 
 Tjpnrifirfl 
 
 ■utuum VI 
 
 Ape 
 
 Lion 
 
 Bee 
 
 Lizard 
 
 Crocodile 
 
 Ox 
 
 Dog 
 
 Ram 
 
 Dragon 
 
 Snake 
 
 Ermin 
 
 Oi 
 
 Stag 
 
 Fox 
 
 owine 
 
 Goat 
 
 liger 
 
 Grasshopper 
 
 1 ortoise 
 
 Greyhound 
 
 1 ni/)Avn 
 
 u nicurii 
 
 it., i. 
 Hart 
 
 
 Bat 
 
 Hen and 
 
 Cock 
 
 Chickens 
 
 Crane 
 
 Owl 
 
 Dove 
 
 Peacock 
 
 XT' 1 
 
 Eagle 
 
 Pelican 
 
 Falcon 
 
 Raven 
 
 Kite 
 
 Swan 
 
 Crab 
 
 XT' 11.. 
 
 Escallop 
 
 Dolphin 
 
 JrlKe 
 
 Apple 
 
 The Pomegranate 
 
 Corn 
 
 The Rose 
 
 Daisy 
 
 The Thistle 
 
 Herb-bennet 
 
 The Vine 
 
 Ivy 
 
 Trefoil, Quatre- 
 
 The Lily 
 
 foil, Cinqfoil, 
 
 The Marygold 
 
 Sexfoil. Sept- 
 
 The Oak 
 
 foil 
 
 The Palm 
 
 
LIST OF PLATES. 
 
 No. 
 
 I.— Title Page ; shewing various Examples of Church Furniture and Decoration. 
 II. — Form and Sizes of the sacred Vestments. 
 
 III. — The proper Names by which the various Vestments are distinguished. 
 
 IV. — English Priests. 
 
 V. — Roman, French, and German Priests. 
 VI. — Roman, English, and German Ecclesiastics. 
 VII. — Roman and English Bishops. 
 VIII. — Embroidered Frontals for Altars. 
 
 IX. — Diagrams illustrative of the construction of Christian Ornaments. 
 X. XI. XII. XIII.- Alphabets- 
 
 XIV. XV. — Crosses for marking Altar Linen. 
 XVI. XVII. — Bordures for Altar Cloths. 
 
 XVII. — Crochets for Stencilling, Stained Glass and Embroidery. 
 XIX. — Bordures. 
 
 XX.— Crowns and Cresting, 1. & 2. Patterns for Stencilling ; 3. Red and White Rose ; 
 4. G. & 7. Crosses and Fleur-de-lis; Lily of Blessed Virgin. 
 XXI XXII. XXIII.— Patterns of Powdering, Stars, Crosses, Rose, Trefoil, Rose en Soleil. 
 
 XXIV. — Diapering for our Blessed Lady ; Annunciation and Monogram. 
 
 XXV. — Ditto. 1. The Five Wounds, with Cherubim ; 2. Lion and Cross; 3. Flower and 
 
 Cross. 
 
 XXV 1.— Ditto. I.The Lily; 2. The Lion and Knot; 3. Wine and Cross; 4. Fleurs-de-lis. 
 XXVII.— Ditto. 1. Quatrefoils ; 2. Fleur-de-lis; 3. & 4. Five Wounds ; 5. & 6. Powderings, 
 
 Qu AT RE FOILS AND ROSE. 
 
 XXXVIII.— Ditto. 1. Cross and our Blessed Lady ; 2. Rose and Fleurs-de-lis; 3. Red andWhiti: 
 Rose, en Soleil. 
 
 XXIX. — Ditto. Trefoil and Pomegranate. 
 XXIX.* — Diapering from Cologne Cathedral. 
 
 XXX. — Apparels of Albes. 1. Cross; 2. Rose ; 3. Cross Flory ; 4. Fleur-de-lis. 
 XXXI. — Ditto. 1. Five Crosses; 2. Quatrefoils. 
 
 XXXII.— Ditto. 1. Cherubim and Cross ; 2. The Lily ; 3. Cross Flory. 
 
 XXXIII. — Ditto. 1. Cross Flory in Squares; 2. Ditto in Circles; 3. Quatrefoil ; 4. Ditto 
 
 with Roses. 
 
 XXXIV. — Stoles and Maniples. 1. Vine; 2. Double Vesica ; 3. Quatrefoil and Cross Flory. 
 XXXV.— Ditto. 1. Cross in Square ; 2. Five Crosses and Circle. 
 
 XXXVI. -Ditto. 1. The Cross, Circle, and Vesica ; 2. The Five Crosses; G. TheFyliot. 
 
 XXXVII. — Ditto. 1. Cross Flory for M.; 2. The Cross and Fleurs-de-lis; 3. Cross and Crown; 
 
 4. Quatrefoil Flory. 
 
 XXXVIII. — Ditto. I. Roses; 2. Lion and Cross; 3. Fleur-de-lis, Stars and Monogram; 4. 
 
 Cross Leaves ; 5. Fleurs-de-lis ;. G. Cross. 
 XXXIX.— Ditto. 1. The Holy Name and Cross Alternate ; 2. Cross and Oak Leaf, with Gems ; 
 Cross Flory in Quatrefoil. 
 
LIST OF PLATES. 
 
 No. 
 
 XL. — Orphreys of Copes. 1. Star of seven points ; 2. Fleurs-de-lis, Monogram, and 
 Roses ; 3. Lions. 
 
 XLI. — Ditto. 1. St. George with Shield and Dragon ; 2. The Five Crosses with the 
 Holy Name in the First. 
 
 XLII. — Ditto. 1. The Vine ; 2. Crosses Flory in Quatrefoils. 
 XLIII. — Ditto. Borders and Canopy with an Image of St. Pancras. 
 XLIV. — Ditto. Ditto. Ditto, with an Image of St. John. 
 
 XLV. — Hood of Cope, a floriated Trefoil. 
 XLVI. — Ditto. The Holy Name surrounded with Cherubim. 
 
 XLVII. — Ditto. Our Blessed Lady's Name, with Crowns, Stars, and Fleurs-de-lis. 
 XLVIII. — Ditto. The Crucifixion of our Lord, with our Blessed Lady and St. John. 
 XLIX. — A floriated Cross. 
 L. — Six floriated Crosses. 
 LII. — A Cross for a Frontal or Vestment, with Fleurs-de-lis, Crowns and Stars. 
 LIII. — Ditto with Five Crosses, Rayonne and Crowns. 
 LIV. — Ditto with the Holy Name in a Quatrefoil. 
 
 LV. — A Monogram of the Holy Name with our Blessed Lord, St. Mary and St. John. 
 L VI. — Four Monograms of the Holy Name. 
 LVII. — Monogram of our Blessed Lady's Name with the Annunciation. 
 LVIII.— Eight Monograms of our Blessed Lady's Name. 
 LIX. — Emblem of the most Holy Trinity. 
 LX. — The Mysteries of the Rosary. 
 LXI. — Emblems of St. Peter and St. Paul, the blessed Sacrament, and the Lamb of God. 
 LXII. — Emblems of the Four Evangelists. 
 LXIII. — The Five Wounds of our Lord Glorified. 
 
 LXIV. — Emblems of our Lord's Passion. 1. Judas' Head, Thirty Pieces of Silver, Sword 
 and Lantern; 2. Pillar, Rope, Rods, and Scourges; .3. Dice, Raiment, Basin 
 and Sponge ; 4. Cross, Lance and Reed, Crown of Thorns, Hammer and Pincers. 
 LXV. — Emblems of our Lord's Passion, 1. Nails and Crown of Thorns; 2. The Five Wounds ; 
 
 3. Cross, Ladder, Scourges, Lance, Hammer, Pincers, Nails, etc. ; 3. The Holy 
 Name and Cross. 
 
 LXVI. — Conventional Forms of Animals ; Eagle, Dragon, Hart, Lion, Swan, Lamb, Martlet. 
 LXVII. — Ditto. Lions; rampant, passant, and passant regardant. 
 LXVIII. — Various Forms of the Nimbus. 
 LXIX. — Four precious Mitres. 
 LXX. — Altar and Dossell, with Curtains. 
 LXXl.— Altar with Shrine. 
 LXXII. — Funeral Palls for a Herse and a Coffin. 
 LXXIII. — An Altar hung for a Funeral Mass. 
 
GLOSSARY 
 
 OF 
 
 ECCLESIASTICAL ORNAMENT AND COSTUME. 
 
 &ttllptfr?« The fourth or highest of the Minor Orders, whose principal office 
 is to bear the candlesticks, and crewetts containing the wine and water 
 
 The habit of those in acolythe's orders was a plain chasuble, according to Georgius ; afterwards, in 
 the twelfth century, an albe, fastened round the loins by a girdle, which is still retained in several of the 
 continental churches. The surplice has been often substituted for the albe in later times ; and in the 
 Roman Pontificals, printed in the sixteenth century, those receiving this order are figured in surplices. 
 The cotta, a sort of short surplice, but without sleeves and exceeding ugly, has superseded the long and 
 full surplice for acolythes in some modern churches. It has neither grace nor dignity ; nor does it convey 
 the mystical meaning of chastity and modesty signified by the long and girded albe. 
 
 Martene de Antiquis ecclesice ritibus. — Acolyti aliquando exsufflantes. — Et primo notandum non 
 semper ab episcopo aut baptismi ministro peractam fuisse : sed aliquando a diaconis — aliquando ab 
 exorcistis — aut a simplicibus clericis sive acolythis. 
 
 Ex Missali Gellonensis monasterii. — Denuntiatio pro scrutinio quo III. hebdomada in quadragesima 
 in tertia feria initiantur. — Acolyti inscribentes catechumenorum nomina vel suscipientium et vocantes. — 
 Ut autem venerint ad ecclesiam, hora tertia scribuntur omnia nomina infantum vel eorum, qui ipsos 
 suscepturi sunt ab acolyto. 
 
 Acolyti signantes cruce. — Tunc venit acolythus iterum faciens crucem in frontibus singulorum dicens 
 In Nomine Patris, &c. — Ibid. 
 
 Acolyti symbolum pro infantibus decantantes. — Et tenens acolythus manum super caput pueri dicit 
 symbolum hoc decantando, &c. 
 
 Ordo Scrutinii in ecclesia Leodiensi hactenus celebrati. — Acolyti septem et septem. Finito tractu 
 
 * Post heec Pontifex accipit et tradit omnibus candelabrum cum candela extincta, quod sucessive manu dextera 
 singuli tangant, Pontifice dicente. — Accipite ceroferarium, cum cereo, et sciatis vos ad accendenda Ecclesite luminaria 
 mancipari in nomine Domini. R. Amen. 
 
 Tunc accipit et tradit eis urceolum vacuum, quern similiter tangere debent, dicens communiter omnibus. — Accipite 
 urceoluin, ad suggerenduin vinum et aquam in Eucharistiam Sanguinis Christi, in nomine Domini. R. Amen. 
 
 The solemn ordination of acolythes is an edifying proof of the great sanctity which the Church attaches to every 
 thing connected with the Holy Sacrifice; and that lay youths and persons should be permitted to act in this capacity, is 
 merely owing to the impossibility at the present time of finding a sufficient number of clerics to serve in the sanctuary. 
 The intentions of the Church, and the sacredness of the duties, remain unchanged; and it is most painful to see the 
 careless and irreverent manner in which the modern substitutes for regular acolythes frequently perform those functions, 
 which they should consider as a great and important privilege. 
 
 Extracts from Liturgical Writers respecting Acolythes. 
 
 / 
 
2 
 
 procedant de sacrario bini et bini octo presbyteri cum septem diaconibus et totidem subdiaconibus, et 
 septem acolythi* cum cereis accensis, et septem alii cum thuribulis, decantantes officium : Sitientes 
 venite ad aquas, Sfc. 
 
 Acolythi duo cum incenso. — Quando vadunt ad evangelium, &c. Post clericulos vadunt duo acolythi 
 cum incenso. 
 
 Martene, Lib. I. c. 4. art. 6. — Acolythi in omni missa ministrent quid et quomodo. 
 Acolythi eucharistiam ad altare deferentes. — Initio missae eucharistiam ad altare deferebant. 
 Oblationis ordo. — Oblationes a pontifice suscipit subdiaconus regionarius, et porrigit subdiacono 
 sequenti, et subdiaconus sequens ponit in sindonem quern tenent duo acolythi, &c. 
 Acolythi aquam ministrent. 
 
 Tunc vero erigunt se : et acolythi ministrent aquam ad manus, &c. 
 fAcolythi sindonem duo tenentes. 
 
 Acolythi est in omni missa ministrare in altari sacerdoti vinum post communionem, et tunc 
 detinere urceolum vinarium, protecta manu sua pallio quo eum indui jam praedixi, &c. Ibidem. 
 
 Ex antiquo Rituali MS. insignis ecclesia S. Martini Turonensis. — Acolythi in cappis sericis. Si 
 festum septem candelabrorum venerit Dominica, fiat processio in cappis sericis. Debent esse ad missam 
 revestiti sex diaconi simplices et praepositus qui legit evangelium ; et sex subdiaconi, quinque de tertia 
 statione unus de quarta qui portat tripodium et praepositus qui legit epistolam, et duo acolythi de 
 secunda statione revestiti in cappis. J 
 
 De Moieon Voyages Liturgiques en France. — A Sainte-Croix de Poitiers les religieuses en aube et 
 manipule servaient autrefois d'acolythes a la grande Messe, et eclairoient au diacre pendant l'Evangile 
 avec le chandelier, et dans leur ordinaire on lit : In die Epiphanias dum legitur novissima lectio, induitur 
 diaconus dalmatica et acolythi alba et amictu. 
 
 St. Martin de Tours. — Le celebrant sort precede de deuxBedeaux,de sept portechandeliers en tuniques, 
 de deux thuriferaires en chappes qui encensent continuellement, de sept acolythes en tuniques, etc. 
 
 Durantus de Ritibus ecclesia. — Acolytorum officium est cereos deferre ante diaconum quando legit 
 evangelium in ecclesia non ad effugandas tenebras, cum sol in die rutilet : sed ad demonstrandum, 
 quod de tenebris infidelitatis venimus ad lucem fidei ; et ut signum sit laetitiae, quatenus sub typo 
 corporalis luminis, lux ilia in memoria habeatur, de qua dicitur : Erat lux vera, qua? illuminat omnem 
 hominem venientem in liunc mundum. 
 
 Georgius in Liturgia Romani Pontificis. — Unus autem ex acolythis stationarius praecedit pedester 
 equum pontificis, gestans sanctum Chrisma manu in mappula involuta cum ampulla. — vol. 1. p. 38. 
 
 Si quando autem in Romana ecclesia servatus est hie ritus, ut acolythi non vero subdiaconi ex altari 
 patenas cum sacris oblationibus acciperent ab archidiacono, et ad sedem patenam pontifici communicari 
 deferrent, id a vetustissimo Romanae Ecclesiae more non abhorret. 
 
 Vestis acolythorum antiquitus fuit planeta, quae iis in ipsa eorum ordinatione tradebatur. — Nullis 
 admirationi haec vestis acolythorum esse debet, quum clericis omnibus, ut saepe diximus, olim planeta 
 communis fuerit. 
 
 Sed saeculi XII. initio acolythi superhumerali, id est amictu, alba, tunica induebantur ; — " Ostiariis 
 namque, lectoribus, exorcistis, acolythis albae vestes conceduntur, ut angelos, Dei ministros, per castitatis 
 munditiam imitentur, et eis, in carne gloriosa eflfecta, spiritualia quasi in albis vestibus socientur." 
 Mox vero : " Subdiaconis tres supradictae vestes nimirum amictus, seu, superhumerale, alba et cingulum 
 
 * De Moieon, in his Voyages Liturgiques de France, mentions seven acolythes heading the procession at the 
 church of St. Maurice, Vienna, when the archbishop celebrated. The same in solemn feasts in the cathedral church of 
 Lyons. At the consecration of the archbishop of Rouen, seven acolythes walked in the procession with candlesticks and 
 lighted tapers. 
 
 f Acolythes are represented in several early illuminations as holding the linen cloth for the communicants. 
 I In the inventory of York Minster, a white cope for the acolythe is mentioned. 
 
arolptfce* Stijmts; Mtu 
 
 3 
 
 conceduntur, et duae superadduntur, scilicet subtile et sudarium," &c. His igitur verbis intelligitur 
 indumenta clericorum in divinis ministeriis tunc fuisse amictum, albam, et cingulum. Horum loco 
 subsecutis temporibus successere superpellieia, et insuper superpelliciis seu cottis acolythi rochettum 
 addidere. Nunc etiam superpelliceo supra rochettum acolythi cum superpelliceo inservire debent. 
 
 Hie autem ritus monet, ut de antiquis acolythorum Romanae ecclesiae agamus. Initio quinti ecclesiae 
 secuh acolythi, qui pontifici die Dominica celebranti astabant, eucharistiam in Missa ab ipso pontifice 
 eonfectam, ad ecclesias titulares urbis deferebant. Interim haec raptim de acolythorum muniis per- 
 stringimus. Eorum erat sacrum chrisma interdum, et candelabra in processione ad Missam pontificalem 
 deferre ; vas item in quo eucharistia recondita erat, manibus tenere ; librum evangeliorum super altare 
 ante Missam collocare, et post evangelium reponere ; candelabra quoque, dum evangehum legebatur. 
 deferre. Ad acolythos spectabat, calicem cum corporali ministrare diacono ; calicem item, in quern 
 oblationes vini, et sindonem, in quam oblationes panis refundebantur, tenere. Unus eorum patenam 
 ante pectus ab initio Canonis usque fere ad illius finem, velo co-opertam gestabat. Ad communionem 
 sindonem expansam pro confractione sustentabant. Manutergium denique, et aquam ad lavandas 
 pontificis manus ministrabant : insecutis vero temporibus, praeter candelabra, thuribulum et incensum, 
 quae ubi opus est deferunt ac ministrant; cum pontifex sacris indumentis ad Missarum solemnia 
 peragenda ornatur, ea ex altari sumunt et diacono et subdiacono patinis porrigunt, aliaque id genus in 
 Missa pontificali praestant, quae fusius suis locis explicabimus. 
 
 Sum of the above. — Acolythes in the early ages of the Church were vested in chasubles, in common 
 with ecclesiastics in general. Subsequently they used albes ; which custom is yet retained in the 
 French and several continental churches, and was general in England previous to the schism. 
 
 In the sixteenth century they used the surplice in the Roman church ; and at the present time cottas, 
 which are linen tunics reaching to the middle, and sometimes without sleeves. 
 
 During the middle ages acolythes were often vested in tunicles on great feasts, and sometimes in copes, 
 which practice is still followed in many French and Spanish churches. 
 
 8ijmi3 Mt\, are cakes of consecrated wax, stamped with the image of the 
 Lamb, and inscribed " Agnus Dei qui tollis peccata Mundi." (See 
 Plate lxi.) 
 
 These are consecrated by the sovereign Pontiff during the first year of his pontificate, and every 
 seventh year. The wax of which they are composed is partly the remains of the paschal candles of the 
 preceding year, and partly fresh, furnished by the Apostolic Chamber. On the Easter Tuesday the 
 sacristan of the Pope blesses water, and on the day following the Pope, after the High Mass, pours the 
 holy chrism into it in the form of a cross, with appropriate prayers ; the wax pieces are then blessed and 
 thrown into the water blessed previously. On the Saturday, after the mass celebrated by the cardinal 
 priest, at which the Pope assists, the Agnus Dei are brought in procession to the chapel, and distributed 
 by the holy father to the clergy and faithful. The latter are enjoined to have them encased in the same 
 manner as Relics ; and persons out of holy orders are not permitted to touch them. 
 
 These Agnus Dei are blessed with especial reference to protection from certain dangers, the benefits 
 to be derived from their possession depending of course on the dispositions and intention of the re- 
 ceivers being in accordance with the intention and spirit of the Church.* 
 
 The first volume of Father Thiers' Traite des Superstitions, p. 311, contains some very interesting 
 details on the observance of holy things, and the abuses of them. See Lamb. 
 
 * Balsamus ac munda cera, cum cbristnatis unrla, Peccatum frangit, ut Christi sanguis et angit, 
 
 Conficiunt Agnum, quem do tibi munere magno, Dona profert dignis, virtutem destruit ignis, 
 
 Fove velut natiun per mystica sanctificatmn ; Morte rcpentina salvat, Satameque ruina ; 
 
 Fulgur desursum depellit et omne malignum, Si quis adorat eum, retinebit ab hoste triumphum. 
 
 Praegnans servatur, sine vi partus liberatur, Agne Dei miserere mei. — Vide Ducange, torn. I. p. 247. 
 Portatur munde, servat de fiuctibus undce, 
 
4 
 
 an*. 
 
 %lbt. (See Plates n. in. iv. v. vi. vn. xxx. xxxi. xxxn. xxxin.) A long- 
 linen garment reaching to the heels, and folded round the loins by a 
 girdle, formerly the common dress of ecclesiastics.* It is now used only 
 in sacred functions, and is the second vestment put on by the priest in 
 preparing for the celebration of the Mass. 
 
 The albe is worn by bishops, priests, deacons, sub-deacons, acolythes, and choristers. It should 
 be made of fine linen, either plain, or ornamented with apparells. These apparells were worked in 
 silk and gold, embroidered with ornaments or sacred imagery, and were even enriched with pearls and 
 jewels; they either went round the bottom edge or wrists, which is the most ancient style, or they 
 consisted of quadrangular pieces, varying from twenty inches by nine, to nine inches by six for the 
 bottom, and from six inches by four to three inches square for the wrist. Apparells of this description 
 were universally worn from the thirteenth to the sixteenth century, and continued in occasional use 
 down to the end of the last century, and have been recently revived. 
 
 Albes of various colours were formerly in use in the English churches, but white is now exclusively 
 employed. Silk albes were also worn during the middle ages, but linen is the regular material of which 
 they should be made. 
 
 Modern albes are for the most part strange departures from ecclesiastical antiquity; they are 
 frequently embroidered with paltry and unmeaning designs, as high as the waist, on a sort of open net 
 work, and occasionally plaited like the folds of a frill. In Ireland they are indescribably ridiculous in 
 appearance, and very often made of uncanonical materials, to suit the caprice or whim of individuals. 
 A clergyman habited in one of these modern albes has much the appearance of wearing a lady's dress, 
 and both dignity and mystical signification are utterly lost through these paltry substitutes for those 
 anciently used. The albe is the origin of all surplices, and even rochets, as worn by bishops ; the use 
 of which is by no means so ancient as that of the former. — See Surplice and Rochet. 
 
 The following mystical significations have been attached to albes by ecclesiastical writers. — Alcuin 
 de divinis offic. — Quid significat vestimentum, quod vulgo alba dicitur ? Significat autem perseverantiam 
 in bona actione. Tunica usque ad talum est opus bonum usque ad consummationem. In talo enim finis 
 est corporis. Hasc ad talos usque descendit ait Rabanus Maurus, quia usque ad finem vitas hujus, 
 bonis operibus insistere debet sacerdos, praecipiente ac promittente Domino : Esto fidelis usque ad 
 mortem. Et alba item, ait S. Germanus, (in Theoria rerum ecclesiasticarum), Divinitatis splendorem 
 indicat, et sacerdotis splendidam conversationem. Tunica alba vestem albam repraesentat, in qua Herodes 
 illusit Christum. — Vide Durandi Rationale, lib. 3. cap. 3. 
 
 Ex Stephano Eduensi Episcopo. Alba designat gloriam Dominicae Resurrectionis, quam nunci- 
 antes angeli, apparuerunt in vestibus albis : ideoque induitur veste alba, ut candidatione virtutum 
 ostendatur ornandum esse novum Sacerdotium. — Diirantus de Ritibus, p. 216. 
 
 Innocentius III. lib. 1. Myst. Missae. cap. 41. — Haec vestis, in veteri sacerdotio stricta fuisse 
 describitur. In novo longa est propter spiritum adoptionis in libertate. Quod autem auriphrygium 
 habet, et gemmata est diversis in locis,\ et variis operibus ad decorem, illud insinuat quod propheta 
 dicit in Psalmo : Astitit Regina a dextris tuis in vestitu deaurato, circumdata varietate. 
 
 Durandus. lib. 3. cap. 3. num. 3. — Habet autem alba caputium, quae est professio castitatis : habet 
 etiam lingulam, quae significat linguam sacerdotalem, qua ligat contumaces et absolvit pcenitentes. — 
 v. Georgium de Liturgia, vol. 1. 137- 
 
 L'aube signifie la purete de l'ame conformement a l'oraison Dealba me domine, qu'on dit en s^en 
 
 * In a decree attributed to Pope Leo IV. about the middle of the ninth century, " Nullus in alba, qua in usu suo 
 utitur, missam cantare prarsumat." Again, in the synodical statutes of Riculfus, bishop of Soissons, end of the same 
 century, " Ut nemo ilia alba utatur in sacris mysteriis, quo in quntidiano vel ext'eriori usu induitur." 
 
 t Albes were frequently jewelled in the apparells during the middle ages. 
 
5 
 
 revetant, et comme elle se blanchit dans l'eau, et avec des grands soins, cela nous marque que notre 
 purete nous vient de l'eau spirituelle, des larmes qu'une sainte penitence nous fait couler de nos yeux, et 
 sur tout de sang du l'agneau sans tache, dans laquelle les ames innocentes ont blanchi leur vetement, 
 comme dit St. Jean ; dealbaverunt stolas suas in sanguine agni. — Explication du Breviaire et du Missel 
 par M. Raymond Bonal,prhre de Lyons, 1679. 
 
 Prayers recited by the Clergy in putting on the Albe. — In Missa Illyrica hae sunt : — Circumda me, 
 Domine, fidei armis, ut ab iniquitate et flagitiis erutus, valeam aequitatem et justitiam custodire. In 
 codice S. Dionysii sub Carolo Magno : Conscinde, Domine, saccum meum, et circumda laetitia salutaris 
 tui. — In Pontificali Prudentii Episcopi Trecensis : Indue me, Domine, vestimento salutis, et indumento 
 justitiae circumda me semper. — In Sacramentario Moylacensis monasterii annorum 800. Indue me, 
 Domine, vestimento salutis, et indumento justitias circumda me semper. — Georgius de Liturgia. 
 
 Roman Missal. — Dealba me Domine et munda cor meum : ut in sanguine agni dealbatus, gaudiis 
 perfruar sempiternis. 
 
 Extracts from Bocquillot ; Traite Historique de la Liturgie. — La tunique de lin, ou d'autre toile, 
 etoit fort en usage a Rome et dans tout l'empire. Elle etoit longue jusqu'aux pieds ; les Grecs a cause 
 de cela l'appeloient Poderes, et les Latini Talaris ceux-ci luy donnerent aussi le nom D'Alba, parce 
 qu'elle etoit de couleur blanche, don est venu le nom D'Aube qu'elle porte aujourd'hui. Les eveques, les 
 pretres, les diacres, les soudiacres et les lecteurs en etoient revetus dans leurs fonctions, et durant tous 
 le temps du sacrifice. 
 
 Les pretres, et meme les clercs inferieurs porterent l'Aube dans l'usage commun aussi bien en 
 France qu'en Italie. Cela paroit visiblement dans une homelie de Leon IV. de cura Pastorali, dans les 
 statuts, ou capitulaires de Riculphe eveque de Soissons. 
 
 Extracts from De Moleon's Voyages Liturgiques. — St. Martin de Tours. — En les grandes fetes de 
 sept chandeliers l'officiant, le chantre et le maitre d'ecole, le chambrier et le chefcier ont encore Vancien 
 habit de cha;ur, c'est a dire, l'amit et l'aube avec la ceinture sous la chappe le surplis qui nest que Vaiibe 
 racourcie, etant beacoup posterieur au temps de la secularisation de cette eglise. 
 
 Notre Dame de Paris. — L'on voit encore aujourd'hui que les enfans de chceur, qui n'ont point 
 change les anciens rits, ont encore retenu l'aube, mais aussi que les choristes ou chappiers la portent 
 encore dans cette eglise durant l'octave de Paque. 
 
 St. Maurice D'Angers. — II y a a la Messe trois diacres et trois soudiacres, savoir les quatre 
 revetus dont nous avons parle, et deux chanoines qu'on appelle grand diacre et grand soudiacre. Le 
 celebrant et ces deux ci le servent d'amict et d'aubes purees. 
 
 St. Agnan D'Orleans. — Le celebrant, le diacre et le soudiacre se servoient d'aubes partes a la messe. 
 
 Abbaye de Port Royal. — L'aube a des paremens en bas conformes aux ornements : ce qui s'appelle 
 dans les brefs alba parata, on sensert encore aujourd'hui dans les eglises cathedrales et dans les anciennes 
 abbayes. 
 
 St. Jean de Lyon. — Aux jours du Saint Sacrement et de St. Jean Baptiste, apres un salut et la 
 benediction donnee l'officiant revetu de chappe reporte processionellement le saint sacrement dans 
 l'eglise paroissiale de Sainte Croix, precede du soudiacre chanoine comte ayant la mitre en tete, et de 
 petits orfrois de tunique sur son avbe.* 
 
 Claude de Vert. — Explication des ceremonies de l'eglise, t. 2. — A Saint Sauve de Montreuil dc l'ordre 
 de St. Benoist, au diocese d' Amiens, l'on conserve une aube tres ancienne ornee par le haut d'une 
 bande, au defaut de la chasuble, pour garnir cet endroit et le faire de meme parure que la chasuble. 
 Bien plus en plusieurs eglises du royaume et chez les Jacobins, ou pare aussi pour la meme raison, le 
 
 * In Picart's Ceremonies Religieuses, vol. 2. is a plate representing- the procession on Palm Sunday, with the 
 celebrant and assistants before the door of the church, singing- the Gloria laus, &c. They are all vested in apparelled 
 albes, similar to those fig-ured in old illuminations ; and what is very remarkable, their heads are covered with apparelled 
 amices. (See Amice.) This work of Picart's was published about the same time as De Moleon's Voyage, and the 
 illustrations are evidently taken from the French churches. 
 
6 
 
 bas de Vaube par devant et par derriere, et pareillement le bout des manches et c'est ce que les anciens 
 ordinaires appellent une aube paree. L'amict est semblablement garni d'une bande de la meme etoffe, 
 comme il est encore usite dans toutes les anciennes eglises et parmy les jacobins. Le parement dont nous 
 parlons regnoit meme autrefois tout autour de l'aube ainsi qu'au tour des manches comme on le voit a 
 Senbs a Faube de St. Frambourd qui vivoit au septieme siecle,* ces parements sont nommez a Paris 
 plages, Plagulae, ce qui signifie des bandes ou bordures. 
 
 These observations of De Vert, on the apparells of albes are exceedingly interesting, as they prove 
 the use of these beautiful and appropriate ornaments, down to the early part of the eighteenth century, 
 and there is no doubt of their having continued till the destruction of the churches in the great 
 Revolution. In the treasury of the cathedral church of Sens, the albe used by the blessed Thomas 
 of Canterbury, when an exile from England, is yet preserved. It is long, full, and ornamented by 
 purple and gold apparells, of a quadrangular form. 
 
 These apparells were not peculiar to any country, we find them in England, France, Germany, Spain, 
 and Italy. They are invariably represented on the sepulchral effigies of Roman ecclesiastics, executed 
 previous to the sixteenth century, and many of these monuments remain in the most perfect state in 
 the various churches of Rouen, existing testimonies of the ancient practice. These apparelled albes are 
 also figured in Roman Pontificals of the latter part of the sixteenth century, and in illuminated MSS. 
 of the same period. 
 
 Extracts from Georgius de Liturgia Romani Pontificis. — It was the custom anciently for 
 the albe to be ornamented with orphreys and bands (grammse), which custom Anastasius the Librarian 
 has observed in the life of Benedict III. where he relates that the King of the Saxons, when at Rome, 
 offered to the Blessed Apostle Peter various gifts, among which were albes, all of silk, apparelled, and 
 with golden orphreys. 
 
 St. Angilbert, Abbot of Centule, gave to the Church of his Monastery, A.D. 800, six Roman albes, 
 adorned with gold, with amices to them, and 260 albes of linen. Leo of Ostia relates, that Victor III. 
 dying A.D. 1087, left to the Monastery of Casino various sacred ornaments, and among them, two large 
 albes (camisi), with gold on them, together with their amices, and seven others of silk. Falco, the 
 imperial judge, A.D. 1197, offered to the Church of St. Margaret, near the city of Bisegli, one amice, 
 with a large orphrey (frisium), and one albe with striped orphreys (gramatis frisiis.) The albe in which 
 Boniface VIII. was buried is thus described : — the albe or camise, was of fine cambric, with apparells 
 (fimbriis) before and behind the vest, which apparells are three and a-half palms in breadth, and one 
 palm in depth, and on them are embroidered, in silk and gold (in work called Riccamo), the following 
 subjects, viz. : the Annunciation, Visitation, Nativity, Vision of Angels to the Shepherds, and others. 
 The albe came down to the feet, and on the breast was an apparel with a figure of the Annunciation. 
 
 Extracts from English Authorities relative to Albes. — St. Peter's Church, Sandwich. — 
 For making of ye Paruris of ye childryn awbys, and fore ye settyng on yeroff, xid — for in quarters of 
 a yard of rede bokeram for ye same paruris vnc?. — for washing of an awbe and an amyce parteying 
 to the vestment of the garters and flour de lice, and for sewing on of the parelles of the same, xd.-f — 
 Boys's Collection, p. 364. 
 
 Guntons History of the Church of Peterburgh. — Red albes for Passion week 27. — Item, 8 albes, 
 with crowns and moons. — Item, 14 red albes. — Item, 40 blue albes of divers sorts. — Item, 27 other albes, 
 to be worn on single feasts. — Item, 6 albes, with Peter keys. — Item, 6 albes, called the kydds. — Item, 
 
 * Albes, richly apparelled all round the bottom, are figured in the Benedictional of St. Ethelwold. Also in two 
 figures of Saxon Priests given by Strutt, in his Manners, Customs, &c. of the Inhabitants of England, plate 27, from the 
 registry of Hyde Abbey. Schnebbelie, in the Antiquaries' Museum, lias figured the Life of St. Guthlae, from an early 
 parchment roll ; and in the eighteenth subject, representing the dedication of Croyland Abbey, an abbot is habited in an 
 albe, apparently jewelled round the bottom edge. 
 
 f From this item it is evident that the apparells were taken off when the albes were washed. 
 
7 
 
 7 albes, called Meltons. — Item, 6 albes, called Doggs. — Item, 1 old albe, richly embroidered. — Item, 
 
 8 albes, with apples of cloth of gold. — Item, 8 albes, with apples of blue tissew. — Item, 5 old albes, 
 with red tissew. — Item, 8 albes, embroidered with vines. — Item, 14 albes, embroidered with divers 
 sorts. — Item, 30 albes of old cloth of Baudkyn. — Item, 9 albes, embroidered with green. — Item, 14 green 
 albes, with counterfeit cloth of gold. — Item, 4 albes, called Ferial white. — Item, 7 albes, called Ferial 
 black. 
 
 This is the most curious list of albes I have ever met with, and is one among the many proofs of the 
 use of coloured albes in the English church ; but I have not found any document which mentions this 
 practice on the continent. 
 
 St. Paul's Cathedral, London. — Item, Una alba cum toto apparatu bene breudato, cum ymaginibus 
 Coronationis Beatae Virginis anterius ; et ymaginibus Baptistae Petri et Pauli a leva ; et Magdalenae, 
 Catherinae, Margaretae : et a parte posteriori Trinitatis cum tribus angelis ad laevam ; et Thomae et 
 Stephani et Laurentii ad dextram. 
 
 Item, Una alba cum parura breudata anterius cum ymaginibus beatae Mariae, Margaritae, Mag- 
 dalenae, Katharinae, S. Fidis ; et a parte posteriori cum ymagine Salvatoris, Petri, Pauli, Andreae, et 
 Bartholomaei ; et cum toto alio apparatu breudato de ymaginibus Virginum ex dono Radulfi de Baudak 
 — Decani Ecclesiae S. Pauli, ut cum illis celebretur in festis beatae Mariae.* 
 
 Item, Una alba cum paruris consutis de serico, cum nodulis et cum crucibus in medio nodulorum 
 de nigro serico. 
 
 In the first Prayer-Book of Edward the Sixth, amongst things retained for the use of the church, 
 30 albes to make surplices for the ministers and choristers. Previous to the schism, the choristers of 
 the cathedral and abbatial churches were habited in albes while serving in choir. 
 
 Cathedral Church of Lincoln. — Item, 3 albes, one of the albes lacking his apparell. Item, 3 albes 
 with all their apparell. — Dugdale's Monasticon Anglicanum. 
 
 The albes in the Lincoln inventory are all mentioned with the separate suits of vestments to which 
 they belonged ; occasionally we find three albes plain, that is, without apparells. In the first Prayer 
 Book of Edward the Sixth, the celebrant is ordered to be attired in an albe plain, with a Vestment. 
 
 In the inventory of the plate, jewels, and ornaments belonging to the late Priory of Ely, exclusive of 
 what had been taken away for the king's use, — item, 37 albes, with the apparells, and 20 albes without 
 apparells. 
 
 Canterbury Cathedral. — Albae de Serico in Vestiario. — Albas 14 de panno diasperato cum parura 
 brudata. — Item, Alba una de albo samicto cum parura brudata. — Item, Alba una de Symonis de Sancto 
 Paulo de sindone, cum parura brudata de historia Sancti Thomae. — Item, Alba Stephani de Ikham de 
 sindone, cum parura de Indico samicto, brudata aquilis et leonibus. — Item, 5 Albae de serico pleno, cum 
 parura brudata. — Item, Alba Sancti Thomae de serico. — Summa Albarum de Serico, xxm. — Albae de 
 Lineo Panno in Vestiario. — Albae 10 cum paruris nigris brudatae, unde una cum imaginibus stantibus in 
 tabernaculis. — Item, Albae sex cum paruris de Indo samicto brudatae. — Item, Albae sex cum paruris de 
 viridi panno diasperato brudatae. — Item, Alba Eleonorae Reginae cum paruris albis, brudata cum imagi- 
 nibus stantibus. — Item, Alba G. de Ikham cum paruris de samicto rubeo brudata. — Item, Alba? 1 2 cum 
 parura de samicto rubeo brudatae. — Item, Albae 5 cum parura de rubeo sindone brudatae. — Item, Alba 
 Johannis de Wokking cum parura de historia Sancti Thomae brudata. — Item, Alba Thomae de Stureye, 
 cum parura de Indo velveo, cum magnis rosis brudata. — Item, Alba ejusdem, cum parura de Inde 
 velvet, cum scutis et floribus de Liz brudata. — Item, Alba Johannis de Taneto, cum parura de rubea 
 sindone de tripe brudata cum rosis. — Item, Alba Andreae de Hardz, cum parura de viridi samicto 
 
 * These albes are very similar to that described by Georgius, as belonging to Boniface the Eighth. It is beyond a 
 doubt that much of the embroidery used at Rome was sent from England, and it is more than probable that this splendid 
 albe was of English work. 
 
8 
 
 aibe* 9Itar* 
 
 brudata scutis. — Item, Alba de viridi panno de Tharse, cum quercubus et glandibus brudata. — Item 
 Alba G. de Chilcham, cum parura de Indo samicto brudata et floribus de Liz. — Item, Albae 8 Katherinae 
 Lovel consutae. — Item, Alba W. de Cherring, consuta cum scutis, et nigris litteris. — Item, Alba M. de 
 Clive, consuta cum scutis et litteris nigris. — Item, Alba R. de Prittlewelle, de rubeo samicto brudata 
 cum scutis et popejays. — Item, Alba ejusdem consuta cum scutis. — Item, Alba R. Poncyni, cum 
 parura de rubea, sindone stricta brudata rosis infrecta. — Item, Alba ejusdem, de rubea, sindone brudata 
 albis rosis de serico infrecta auro. — Item, Alba ejusdem consuta de Losenges cum armis Regis Anglian 
 et de Leyburn. — Item, Alba ejusdem consuta cum scutis et cum litteris aureis brudata. — Item, Alba j. 
 de Welles cum capitibus Regum et Episcoporum in circulis brudata de angelis argenteis. — Item, Duae 
 Albae ejusdem consutae cum scutis. — Item, Alba Stephani de Worthe, cum parura de Indo brudata rosis 
 et floribus de Liz. — Item, Alba ejusdem consuta cum acpiilis et gryphonibus aureis. — Item, Alba R. de 
 Adesham, consuta cum scutis. — Item, Alba Thomae Brian, consuta de armis de Northwode et Ponying 
 in quadranguUs. — Item, Alba J. de Wy, consuta cum scutis. — Item, 4 Albae cum paruris de samicto 
 rubeo, unde 2 cum aurifrigio in medio. — Item, Una Alba consuta. — Item Una Alba cum parura texta. — 
 Item, Duae Albae cum parura et samicto de Indo, cum magnis floribus desuper consutis. — Item, Albas 10 
 cum parura de panno serico. — Item, Albae 3 Daniel de Siffleton, consutae cum scutis. — Item, Alba 
 ejusdem consuta cum quadrangulis. — Item, Alba J. de Lynhestede, consuta de Losenges et alba frec- 
 tura. — Item, Alba Eudonis de Bocton consuta cum scutis. — Item, Albae 7 cum parura de diversis 
 coloribus. — Item, Alba Richardi de Scharstede brudata cum una aquila aurea et alia argentea. — Item, 
 Alba ejusdem consuta stricta cum scutis. — Item, Alba Richardi de Clive, consuta et brudata de diversis 
 scutis. — Item, Alba ejusdem consuta de diversis armis in Losengis, cum frectis purpureis cum stola et 
 manipulo ejusdem operis. — Summa Albarum de lino cum parura brudata 53. — Summa Albarum cum 
 parura consuta et texta 28. — Summa Albarum communium cum parura diversorum colorum 29. — 
 Summa omnium Albarum in Vestiario, cum Albis de serico 132. — Dart's History of Canterbury, 
 Appendix, p. viii. 
 
 References to some authorities for the form and ornaments of ancient albcs. — Benedictional of St. 
 Ethelwold. — Gough's Sepulchral Monuments, vol. ii. p. 23. 53. 81. 143. 116. — Waller's Brasses, Plates. 
 — Cotman's Brasses : West Lynn Church, Brisley Church, Heylesdon Church. — Morgan's Sphere of 
 Gentry, p. 'JO, Second Book. — Strutt's Manners and Customs, vol. i. plate *J, fig. 5. 27- fig. 4. 57- 64. 
 fig. 1. 66. vol. iii. p. 27- — Strutt's English Dresses, vol. i. p. 25. 48. 68. — Strutt's Regal Antiquities, 
 Supplement, plate 7- 10. 11. Picart's Ceremonies Religieuses, vol. ii. Procession des Rameaux. In 
 this plate, the officiating clergy are in apparelled albes, and the acolythes in plain. The plate beneath 
 this, representing a procession of the Fete Dieu, is curious from the albes being bordered all round the 
 lower edge with narrow lace : this must have been about the period when such edging was first intro- 
 duced. Two very fine apparelled albes, from sepulchral incised slabs, in the church of St. Urban, Troyes, 
 are figured by Arnaud, in his Voyage dans le departement de L'Aube — Sacrarium vaticanae Basilicae 
 Cryptarum monumenta, in Tab. LVI. et LVII. — Two effigies of Popes Urban VI. and Innocent VII., 
 are figured with large and rich apparells on their albes. 
 
 Sltar* (See Plates lxx. lxxi. lxxxiii.) The Table whereon the holy 
 Evicharistic Sacrifice is offered. 
 
 In primitive times there was but one altar in each church, and this was placed immediately in front 
 of the apsis, where the bishop and clergy sat in a a semi-circle. 
 
 There is also good reason to believe that these altars were often constructed of wood, overlaid with 
 precious metals. Stone altars were occasionally used at a very early period, but they were not enjoined 
 till the sixth century, and these were generally open, consisting of slabs supported by pillars, beneath 
 
9 
 
 which the Relics of the Saints were deposited in small shrines. To protect them from dust or irreverence, 
 curtains were suspended, hung on small rods, inside the altar ; and these, subsequently, suggested the 
 idea of ornamenting the altar fronts with embroidered hangings, which were called the antependium 
 or frontal. See Antependium. 
 
 The ancient altars stood under a canopy, called a ciborium, supported on four pillars, and sur- 
 mounted by a cross. To these four pillars rods were fixed at the height of a few feet from the pavement, 
 and from them other curtains of costly stuff were suspended, and occasionally drawn during the cele- 
 bration of the Divine Mysteries. These ciboria yet remain in some of the Roman churches, but we 
 have no authentic account of them in England, although it is more than probable that they were intro- 
 duced with the mission of St. Austin. See Ciborium. 
 
 The ancient altars were all detached, without any screen or reredos behind them. But after the 
 thirteenth century they were invariably fixed against a wall, or stone screen. In this country altars 
 may now be constructed with equal propriety in the following different manners : — 
 
 1 . Of four stone w r alls, supporting a stone slab, with a frontal of embroidery, chased metal or mosaic 
 work. It is necessary, however, in constructing an altar of this description, to leave a hollow space in 
 the centre, and to bore apertures for the admission of air. 
 
 2. Four or six low pillars of stone, marble, or metal, standing on a raised base, supporting the slab. 
 
 3. Stone corbels, projecting from the wall, with angels or other imagery, on which the altar stone 
 rests. This method is only available for small altars. 
 
 4. Stone walls, with the front divided into compartments, with niches and images somewhat after the 
 fashion of a high tomb. The first existing example of this kind, is the high altar of the Minster, Cologne. 
 
 Care must be taken in altars of this description, to give the slab a good projection, or the vestments 
 of the officiating clergy will be chafed and injured by the carved ornaments. There should also be a 
 contrivance for the occasional suspension of an antependium. In all cases the slab must be of one stone, 
 without fracture or blemish. 
 
 The wall behind the altar may be enriched by niches filled with sacred images, or garnished by a 
 low reredos made of oak, gilt and pannelled, or of precious metals, enamelled and jewelled. 
 
 Sometimes the wall was simply hung with needle-work, varied with the festivals, or decorated by a 
 triptych, with folding leaves, painted on both sides, to be opened during the time of offering the 
 Holy Sacrifice. See Dossell and Triptych. 
 
 Curtains should be hung on either side of the altar, about eighteen inches from the ends : these 
 may be supported either by irons fixed into the wall, or rods running from the wall to upright shafts on 
 each side of the altar, supporting images of angels with lights. 
 
 The following treatise on Altars is extracted from Traite Historique de la Liturgie Sacree, par M. 
 L. Andre Bocquillot, pp. 81 — 112. 
 
 " Les Evangelistes en racontant l'Histoire de l'Eucharistie, nous apprennent que Notre Seigneur 
 Jesus-Christ se servitde la Table commune sur laquelle on luy avoit servi a souper: ainsi le premier 
 Autel de la nouvelle Loy a ete certainement une Table commune, et apparcmment de bois comme les 
 autres. Ce que saint Luc dit de l'institution des Diacres, qu'ils furent etablis pour scrvir aux Tables, 
 donne lieu de croire que les Apotres celebroient aussi les saints Mysteres sur des Tables semblablcs a 
 celles dont ils se servoient pour manger. Mais cette Table, quoique commune par sa forme et sa 
 matiere, ne laissoit pas d'etre appellee Autel par saint Paul : Nons avons, dit-il, un Autel dont ceux qui 
 rendent encore un culte au Tabernacle Judai'que, n'ont pas pouvoir de manger. Lors meme que ce saint 
 Apotre donne a 1' Autel du Seigneur le nom de Table, il le donne aussi en meme-tems aux Autels des 
 demons : "Vous ne pouvez," dit-il, " participer a la Table du Seigneur et a la Table des demons." Et 
 pour montrer que les Tables dont il parle en cet endroit, sont des Autels, il n'y a qu'a voir ce qu'il venoit 
 de dire auparavant. " Ceux qui mangent de la Victime immolee, ne prennent-ils pas ainsi part a l'Autel ?" 
 
 c 
 
10 
 
 altar. 
 
 Et c'est de-la qu'il conclut avec raison qu'on ne peut done participer a la Table du Seigneur et a la 
 Table des demons. 
 
 II y a beaucoup d'ajmarence que durant les persecutions, les Eveques et les Pretres ont imite la 
 simplicite des Apotres, en prenant pour Autel une Table commune de bois ou de pierre, telle qu'ils la 
 trouvoient sur les lieux ou ils vouloient celebrer les saints Mysteres. On put bien en dresser par tout ou 
 l'on batit des Eglises dans le troisieme siecle ; mais l'on ne seait si ces premiers Autels erigez a l'honneur 
 de Jesus Christ etoient de bois ou de pierre, ni meme s'ils etoient fixes. Les reproches que les 
 Payens faisoient aux Fideles, et l'aveu de ceux-ci, qu'ils n'avoient point d' Autels, donnent beu de croire 
 que nos Autels alors n'etoient point fixes ; mais que ce pouvoit etre des Tables de bois que l'on pouvoit 
 transporter facilement d'un lieu dans un autre. Ce n'est done que depuis la paix de l'Eglise, et sous 
 Constantin, que l'on peut assurer que nos Autels ont ete fixes dans nos Eglises. Alors on les faisoit de 
 toutes sortes de matieres indifferemment, d'or, d'argent, de marbre, de jaspe, de pierre, ou de bois. On 
 dit que le Pape saint Sylvestre ordonna des-lors qu'ils seroient de pierre ; mais on le dit sans preuves, 
 aucun ancien Auteur n'ayant jamais fait mention de ce pretendu Decret. L'Auteur du Livre Pontifical 
 qui parle tant de saint Sylvestre, ne dit pas un seul mot de ce Decret ; ce n'est pas manque d'occasion 
 d'en parler, puisqu'il dit que Constantin fit faire plusieurs Tables d' Autels d'argent. A quoi bon cette 
 depense s'il eut ete defendu de se servir d' Autel d'argent, ou de toute autre matiere que de pierre ? Pres 
 de cent ans apres saint Sylvestre, les Papes Sixte III. et Hilaire, firent faire chacun un Autel d'argent. 
 Anastase le Bibliothecaire qui rapporte ces faits, ignoroit done encore dans le neuvieme siecle le 
 pretendu Decret de saint Sylvestre. 
 
 Dans les Eglises d'Afrique les Autels etoient communement de bois, comme nous l'apprennent saint 
 Optat et saint Augustin. Ce dernier racontant les cruautez que les Donatistes exercerent de son terns 
 contre un Eveque Catholique nomme Maximien, dit, qu'ils briserent sur luy 1' Autel de son Eglise dans 
 lequel il s'etoit cache, et que des morceaux du bois de cet Autel ils le battirent si cruellement, qu'il 
 remplit de sang le lieu ou il etoit. J'avoue qu'il n'est fait mention que d'un seul Autel en ce passage de 
 saint Augustin ; mais saint Optat va parler en general du grand nombre d' Autels brisez par la fureur 
 impie des Donatistes, comme s'il n'y en avoit point eu d'autres que de bois. Apres avoir demande a ces 
 furieux, pourquoi ils avoient rompu les uns, racle les autres, et emporte les autres, il repond luy-meme 
 par cette espece d'ironie : " Pour moi," dit-il, " je crois que vous avez brises les Autels dans les lieux ou 
 vous aviez abondance de bois, et que dans ceux ou le bois etoit rare, vous vous etes contente de les racier." 
 
 Le passage de saint Augustin marque visiblement que les Autels de bois etoient creux, et qu'ils s'ou- 
 vroient et se fermoient, puisqu'un homme pouvoit se cacher dedans. C'etoit comme une espece de 
 coffre ; aussi Gregoire de Tours luy donne-t-il ce nom, en parlant de l'Autel de bois de sainte Croix de 
 Poitiers. Les Autels de pierre, et d'autre matiere, etoient aussi creux, et non de massonnerie solide 
 comme les notres. L'Autel de l'Eglise d'Irene a Constantinople etoit creux, puisque saint Alexandre, 
 Eveque de cette Ville, se prosterna contre terre sous cet Autel, pour demander a. Dieu qu' Arius fut 
 puni du scandale qu'il avoit excite. Ce vide des Autels servit dans la suite a enfermer les Reliques des 
 Saints, et elles y etoient disposees de maniere qu'on pouvoit les voir par une petite ouverture qui etoit ou 
 derriere l'Autel, ou par les cotez. Celuy qu' Angelbert Eveque de Milan, fit faire vers le milieu du 
 siecle, avoit deux petites Portes par les cotez, et une petite ouverture derriere par ou l'on pouvoit voir 
 les saintes Reliques qui etoient dedans. 
 
 Dans le seizieme siecle les Autels qu'on erigeoit etoient encore creux et concaves, et l'on y mettoit 
 des corps entiers de Saints quand on en trouvoit ; mais l'on cessa d'y laisser des ouvertures par ou l'on 
 put voir les Reliques, et l'on fit prudemment : les nouveaux Heretiques prechoient deja contre la vene- 
 ration des Saints et de leurs Reliques, et il etoit aise de voir qu'ils s'emporteroient jusqu' a les profaner, 
 comme ils ont fait dans la suite. Cette sage precaution des Eveques du seizieme siecle, et du suivant, 
 qu'on ignoroit faute d'attention, a fait que dans notre siecle, on s'est mis dans la tete que ces Autels, qui 
 
altar. 
 
 11 
 
 paroissent n'avoir point de Reliques, n'avoient pas ete consacrez, que sans doute il n'y avoit point de 
 Reliques dedans, et qu'il ne falloit plus y celebrer la Messe. Cependant il se trouve de ces Autels tres- 
 riches en Reliques, quand ils viennent a etre demolis, ou expres ou autrement. Ce qui arriva a Autun 
 le 25. Fevrierde l'annee derniere 1699. estune preuve evidente de ce que je dis. Dans l'ancienne Eglise 
 Cathedrale, derriere le grand Autel, il y en avoit un plus petit, dont la Table etoit de marbre. II tomba 
 le jour que je viens de marquer, de grosses pierres de la voute sur cet Autel, qui briserent la Table en 
 plusieurs pieces. Un Chanoine vint sur les lieux, s'approcha de 1' Autel brise, appercut une boite d'etain, 
 l'ouvrit et y trouva une attestation ecrite en parchemin, portant que cet Autel avoit ete consacre le deux 
 d'Avril 1530. par Jacques Huraut, Eveque d' Autun, lequel y avoit mis le corps entier de saint Racho 
 Eveque. Apres une assemblee de Chapitre, on vint dans cette Eglise, on leva tous les morceaux de la 
 Table brisee, au dessous de laquelle immediatement on trouva la tete, et tous les ossemens de ce saint 
 Eveque d' Autun, envelopez fort proprement d'une ancienne etoffe, parsemee de diverses figures et couleurs. 
 L'on transferaces saintes Reliques dans lanouvelle Cathedrale, ou il se fait, dit-on, depuis cetems beaucoup 
 de miracles. Cette histoire que j'ay crii devoir rapporter ici en preuves, doit porter les Eveques et leurs 
 grand Vicaires a ne pas interdire des Autels, pour cela seul qu'ils n'y trouvent pas les memes marques de 
 consecration qu'on exige aujourd'hui, sur tout si ces Autels sont bien placez, et dans des Eglises anciennes. 
 
 Tout les Autels ne se fermoient pas neanmoins, comme ceux dont je viens de parler. II y en avoit 
 un grand nombre qui etoient posez sur des colomnes : les uns n'avoient pour appuy qu'une seule colomne. 
 Tel etoit 1' Autel de pierre de Notre-Dame de Blacherne a Constantinople. D'autres etoient posez sur 
 plusieurs colomnes, les uns plus, les autres moins, et c'etoit anciennement l'usage le plus commun, comme 
 il paroit visiblement par ceux qui restent encore dans les Cryptes ou Chapelles souterraines de Rome. II 
 y en a meme quelques-uns en France. Celuy de Chartres qui est de jaspe est pose sur six colomnes de 
 raeme matiere. Synesius Eveque de Ptolemaide, suppose que ces Autels etoient communs de son terns: 
 " J'entreray," dit-il, " dans le Temple de Dieu, je tourneray autour de 1' Autel, j'arroseray le pave de mes 
 larmes, fembrasseray les sacrees colomnes qui soutiennent la Table immacidee." On voit la meme 
 chose dans la Lettre circulaire ou le Pape Vigile raconte la violence qu'on luy avoit faite dans l'Fglise de 
 sainte Euphemie. " Comme nous etions la," dit-il, " et qu'on commencoit a nous tirer par les pieds, 
 nous nous attacliam.es aux columnes de V Autel, et la Table en fut si fort ebranlee, qu'elle seroit tombee 
 sur nous sans les mains de nos Clercs qui la soutinrent." II y a grand nombre d'autres exemples dans 
 l'Histoire Ecclesiastique de ces Autels appuyez sur des colomnes et vuides par dessous, que nous pour- 
 rions rapporter pour prouver que ceux qui sont d'une massonnerie pleine et solide son nouveaux. Mais 
 s'i ya des gens a qui ce que je viens de dire ne sufHse pas, je les renvoye aux Rubriques memes du 
 Breviaire Romain, qui supposent visiblement que l'ancien usage des Autels vuides par dessous dure 
 encore. C'est dans l'Office des Tenebres, en parlant des cierges du Chandelier triangulaire. Les 
 Rubriques veulent que le dernier cierge soit cache sous 1' Autel au coin de l'Epitre, pendant l'Antienne 
 Traditor. Sub altari absconditur in cornu Epistolte. 
 
 Toutes les fois qu'on celebroit les saints Mysteres, il y a beaucoup d'apparence que la sainte Tabic 
 etoit couveite d'un voile de toile ou d'etoffe des les commencement. La proprete le demandoit ; et ce 
 voile ou cette nappe etoit encore plus necessaire dans des siecles ou il y avoit plus de fragmens d'Hosties 
 a recueillir qu' a present. Je ne rapporte point en preuve de cet usage le Canon, siper negligentiam, qui 
 suppose que des le second siccle il y avoit trois nappes sur 1' Autel comme aujourd'hui, outre le Corporal 
 qu'on mettoit par dessus ; car ce Canon est faussement attribue a saint Pie par l'Auteur des fausses 
 Decrctales si decrie parmi les Scavans. Le Canon Consulto, vient de la meme source, et n'a pas plus 
 d'autorite, quoi qu'il soit cite par des Auteurs du ncuvieme siccle, et des suivans ; et quoique divers Bre- 
 viaires attribuent comme luy a saint Sylvestre d'avoir ordonne qu'on se servit d'un linge, et non d'un voile 
 de soye, ou d'autre etoffe dans les saints Mysteres, pour mieux reprc senter le linceul dans lequel le 
 Corps du Seigneur avoit ete enseveli. II faut done chercher ailleurs de meilleures preuves que celles-la 
 
12 
 
 altar 
 
 Saint Optat nous en fournit une bien claire et bien forte. II se moque de la folie des Donatistes, 
 qui pour purifier les Autels des Catholiques, les racloient. Apres leur avoir demande pourquoi ils en 
 usoient ainsi, et s'ils apprehendoient que nos Pretres eussent touche l'Autel en celebrant, il ajoftte : 
 " Qui est celuy d'entre les Fideles qui ignore que la Table est couverte d'un linge toutes les fois qu'on 
 celebre ? Quis jidelium nesciat in peragendis Mysteriis ipsa ligna linteamine cooperiri ? On a bien 
 pu toucher ce linge ou ce voile/' dit-il, " mais l'on n'a pu toucher le bois qui en est couvert. Velamen 
 potuit tangi, non lignum. Si l'attouchement du linge a pu penetrer jusqu'au bois, il a pu aussi 
 penetrer du bois a la terre. Que ne foui'ssiez-vous done la terre comme vous raclez le bois ?" Peu apres 
 cet Eveque donne le nom de Pcdle a ces linges d'Autel. " Vous nous avez ote," dit-il, " les Palles et 
 les Livres sacrez. Pour purifier les Palles, vous les avez lavees ; mais qu'avez vous fait pour purifier les 
 Livres ? Quoi, vous lavez la Palle, et vous ne lavez pas le Livre ? Pcdlam lavas, codicem non lavas." 
 C'est done une chose indubitable et certaine qu'on mettoit une nappe sur l'Autel pour celebrer les saints 
 Mysteres. Ce n'est point un usage nouveau ni particulier aux Eglises d'Afrique ; car cet Eveque en 
 parle comme d'une chose qu'aucun Fidele ne peut ignorer. Quis Jidelium nesciat? 
 
 Cette nappe d'Autel, n'etoit autre chose que ce qu'on a appelle depuis le Corporal, parce qu'elle 
 sert au Corps du Seigneur. Elle couvroit tout l'Autel, comme il paroit dans ce passage. L'Ordre 
 Romain le dit precisement en luy donnant le nom meme de Corporal. Le Diacre prend le Corporal 
 dessus le Calice, et l'ayant mis sur l'Autel a sadroite, il jette l'un des bouts au second Diacre qui l'etend 
 avec luy. Le sixieme Ordre Romain dit que ce Corporal doit etre de lin, pour mieux ressembler au 
 linceul dans lequel fut enseveli le Corps du Seigneur, et qu'il doit couvrir toute la surface de l'Autel : 
 ainsi l'on ne peut pas douter de la verite de cet ancien usage ; mais l'on peut douter s'il y avoit sous le 
 Corporal une autre nappe ou de linge ou d'etoffe. Saint Optat ne fait mention que d'un seul voile ou 
 Corporal ; et comme son raisonnement auroit eu encore plus de force contre les Donatistes, si l'Autel 
 avoit ete couvert de deux nappes au lieu d'une, il y a lieu de croire qu'on ne se servoit que d'une, au 
 moins en Afrique. 
 
 Parmi les Grecs on en mettoit davantage, si nous en croyons Simeon de Thessalonique, et le Pere 
 Goar, qui assurent que leur maniere ancienne de couvrir les Autels y subsiste encore. Ils mettoient a 
 chaque coin de l'Autel un morceau de drap, qui portoit le nom et l'image d'un Evangeliste : a cause de 
 cela ou appelloit ces quartre pans de drap Evangelistes. Pardessus on mettoit une premiere nappe de 
 toile, qu'ils appelloient ad carnem, parce qu'elle represente le linceul dans lequel Joseph d'Arimathie 
 ensevelit le Corps de Notre Seigneur. Sur cette nappe on en mettoit une seconde de fil plus deliee, et 
 sur celle-ci le Corporal. II y avoit done deux nappes sur l'Autel dans l'Eglise Grecque, outre le Cor- 
 poral qu'on etendoit encore par-dessus. Simeon de Thessalonique donne des raisons mystiques de ces 
 divers linges d'Autel, qui selon toutes les apparences ne tomboient pas dans l'esprit des Romains durant 
 les neuf premiers siecles : car excepte le Corporal qui etoit de toile, ils couvroient leurs Autels plutot de 
 tapis d'etoffe precieuse que de nappes. 
 
 Anastase le Bibliothecaire dit que l'Empereur Constans etant a Rome dans l'Eglise de saint Pierre, 
 il y fit present d'une couverture de drap d'or pour couvrir l'Autel, ou l'on celebra la Messe. Le meme 
 Auteur rapporte un grand nombre de presens de cette sorte, faits par les Papes, et par d'autres, pour 
 couvrir les Autels. Le nom qu'il leur donne, et la maniere dont il en parle, ne permettent pas qu'on 
 entende cela de paremens d'Autel, semblables a ceux dont on se sert aujourd' hui. II falloit qui ces tapis 
 couvrissent entitlement l'Autel, la Table, le devant, le derriere et les cotez : aussi les appelle-t-il vestes 
 altaris, les robes de l'Autel. II y a des Eglises ou l'on voit encore de ces anciennes couvertures d'Autel, 
 qui servent tout ensemble de nappes et de paremens. II y en a une de toile d'or dans l'Abbaye de la 
 Chaise-Dieu en Auvergne, dont on se sert aux Fetes solemnelles. 
 
 II en etoit de meme dans nos Eglises de France, comme nous l'apprenons de saint Gregoire de 
 Tours. II dit que des scelerats etant entre la nuit dans le Monastere de sainte Croix de Poitiers, dans 
 
<3ltat\ 
 
 13 
 
 le dessein de tuer l'Abbesse, celle-ci ne pouvant se sauver, parce qu'elle etoit goutteuse, se fit porter 
 devant l'Autel de sainte Croix. Sa Prieure nommee Justine, avec d'autres Soeurs, la cacherent sous la 
 Palle qui couvroit l'Autel. Justina prceposita cum aliis sororibus Palla altaris. . . . Abbatissam operit 
 Si ce voile ou ce tapis n'avoit point couvert l'Autel de tout cote, il est evident que l'Abbesse n'auroit 
 pas ete cachee aux assassins qui la cherchoient. C'est done un fait certain qu'en France, comme a Rome, 
 la couverture d'un Autel l'embrassoit entitlement. II est encore evident par ce recit, que l'on couvroit 
 l'Autel hors le terns meme des saints Mysteres : car on ne songeoit pas a les celebrer lorsque ces Reli- 
 gieuses apporterent leur Abbesse a l'Eglise ; mais peut-etre avoient-elles aussi apporte la Palle de 
 l'Autel : il n'y a pas d'apparence ; car s'il eut ete rare de voir un Autel couvert, ceux qui cherchoient 
 l'Abbesse, auroient eu quelque defiance en voyant cet Autel couvert de sa Palle, a une heure ou il ne 
 devoit pas l'etre. 
 
 Outre cette couverture d' Autel, nous avons deja (lit qu'a Rome on se servoit d'un Corporal de toile 
 qui couvroit toute la Table sainte, et e'etoit sur ce Corporal etendu qu'on disposoit par ordre toutes les 
 oblations. Je n'oserois assurer qu'on fit la meme chose en France dans les six premiers siecles : car je 
 ne vois aucun temoignage de nos anciens Auteurs qui prouve qu'ils etendissent un Corporal de toile sur 
 la premiere couverture de l'Autel. Peut-etre que cet usage etant general dans les autres Eglises de 
 Grece, d'Afrique et de Rome, on a quelque droit de penser qu'il etoit aussi pratique dans les Eglises de 
 France. Mais comme elles avoient un usage particulier de couvrir les dons sacrez, different des autres 
 Eglises, elles pouvoient encore avoir celuy de se servir d'un Corporal d'etoffe dans les saints Mysteres, 
 quoique les autres Eglises se servissent d'un Corporal de lin, ou d'autre toile. Nous voyons comment 
 nos ancetres couvroient les Oblations, dans le recit que fait Gregoire de Tours d'un songe qu'il avoit eu. 
 "Je songeois," dit-il, "que j'etois dans l'Eglise, et que je celebrois la Messe. L'Autel etles Oblations 
 etoient deja couverts du voile de soye, pallio serico. . . . lorsque je vis entrer le Roy Gontram, qui crioit : 
 Qu'on tire cet homicide de l'Autel de Dieu. . . . Ayant oui ces paroles, je me tournay vers vous, et je 
 vous dit : Tenez le voile dont les dons sacrez sont couverts, de peur qu'on ne vous tire hors d'ici. Vous 
 prites le voile ; mais la frayeur vous empechoit de le tenir fortement. Cependant j'exhortois le Roy a 
 ne vous point faire violence ; mais sur ce qu'il resistoit a tout ce que je pouvois dire, vous lachiez le 
 voile pour vous mettre derriere moy, &c." 
 
 J'ay rapporte avec un peu d'etendue ce passage de Gregoire de Tours, afin que nous puissions micux 
 decouvrir de quoi et comment nos Autels etoient ornez et couverts autrefois dans la celebration de 
 la Messe. II est certain que ce que cet Historien appelle ici Pallium et Palla altaris, la Palle de 
 l'Autel n'est qu'un seul et meme voile ; que ce voile etoit de soye et non de toile ; qu'il etoit plus long et 
 plus large que l'Autel, puisqu'il devoit le couvrir ; qu'on ne le mettoit point sous les dons sacrez, mais 
 dessus pour les couvrir et empecher qu'on ne les vit. Voila, ce me semble, dequoi l'on ne peut point 
 douter. Mais peut-on conclure de la qu'il n'y avoit sur l'Autel que ce seul voile, qu'on ne mettoit qu'a- 
 pres l'offrande ? Je ne le croi pas. Les Oblations etoient-elles placees sur la Table toute nuc ? Gre- 
 goire de Tours ne dit point qu'il n'y eut rien sur l'Autel avant qu'on y posat les Oblations. II nous a 
 dit qu'il etoit couvert d'une Palle hors le terns des saints Mysteres. On peut done croire qu'on y laissoit 
 au moins cette premiere couverture. Le passage meme que nous examinons semble supposer qu'il y 
 en avoit deux pour le moins : c'est dans la reponse que luy fit Eberulpbe, apres qu'il luy eut raconte son 
 songe : " J'avois resolu/' dit il, " de tenir d'une main les Palles de 1' Autel, Pallas altaris. II y en 
 avoit done deux au moins, l'une sur l'Autel, immediatement sur laquelle se mettoient les Oblations, et 
 l'autre qui les couvroit. La premiere est appellee le Palle de l'Autel, et l'autre la couverture du Corps 
 du Seigneur, dans le Concile d'Auvergne, Canon 3. Opertorivm Dominici Corporis. II etoit defendu 
 aux femmes de toucher celle-ci, que le Concile d'Auxerre appelle la Palle du Seigneur, pour la distinguer 
 de la Palle de l'Autel qu'elles pouvoient toucher." 
 
 Nous voyons dans le Missel des Francois une Preface pour benir les linges servans a V Autel: mais 
 
14 
 
 altar. 
 
 Dom Mabillon dans l'cdition qu'il en a donne, avertit que cette Preface peut etre tiree de l'Ordre 
 Romain, et que ce Missel est tout au plutot du septieme siecle. Ainsi l'on pouvoit alors avoir change 
 1'ancien usage des Gaules de se ser\ r ir de Voiles et Corporaux de soye pour les saints Mysteres, et avoir 
 pris des Corporaux de toile pour couvrir et enveloper le Corps et le Sang du Seigneur, suivant les 
 termes de cette Preface : Benedicere consecrare-que diyneris hcec linteamina in usum altaris tui ad tec/en. 
 dum involvendumqve Corpus et Sanguinem Filii tui Domini nostri Jesu Christi. Je ne scay meme si 
 nos anciens Francois entendoient ce mot linteamina altaris, dans un sens si etroit, qu'ils ne l'etendis- 
 sent pas jusqu'aux voiles de soye dont ils se servoient depuis long-tems pour couvrir les saints Mysteres. 
 lis pourroient fort bien avoir pris des Romains cette priere pour benir les linges d'Autel, en l'appliquant 
 aux Couvertures et Palles de soye et d'etoffe qui etoient en usage parmi eux. Ce qui fortifie a mon sens 
 cette conjecture, c'est que depuis qu'on a separe les Palles des Corporaux, en laissant le Corporal pour 
 le Corps du Seigneur, et se servant de la Palle pour couvrir le Calice, nous voyons que toutes ces Palles 
 sont d'etoffe dans nos Eglises de France, excepte celles que l'on a faites depuis le commencement de ce 
 siecle, ou meme depuis l'etablissement des Seminaires. 
 
 Ce que je viens de dire des couvertures d'etoffe precieuse qui se mettoient sur les Autels a Rome, 
 en France et ailleurs, ne convient manifestement qu'aux Eglises riches, mais pour les pauvres, et sur 
 tout celles de la campagne, il y a beaucoup d'apparence qu'on se contentoit d'une couverture de toile 
 et d'un Corporal. C'est pourquoi le Pape Leon IV. ne demande autre chose aux Curez, sinon de 
 couvrir leurs Autels de linges tres-propres. Altare sit coopertum mundissimis linteis. Ce Pape n'avoit 
 garde de defendre les couvertures d'etoffe, luy qui en fit faire une de soye, mouchetee d'or pour l'Autel 
 de saint Pierre. Le Concile de Reims cite par Burchard, et qu'on croit etre de ce tems-la, ordonne la 
 meme chose que le Pape Leon: "Que la Table de Jesus-Christ," dit-iL " soit couverte de linges et 
 Palles propres." 
 
 Comme ce fut dans ce neuvieme siecle que parurent pour la premiere fois les fausses Decretales, il 
 y a beaucoup d'apparence que le Canon Si per negligentiam, fit impression sur l'esprit de ceux qui le 
 recurent comme un veritable Decret du Pape saint Pie. Ceux-la. commencerent done les premiers 
 a mettre trois nappes de toile sur l'Autel, conformement a ce Canon. Dans la suite des terns l'autorite 
 des Decretales, qui fut d'abord contestee par les plus habiles de nos Eveques de France, s'etablit a la fin 
 presque par tout. De-la vint le changement de la plupart des anciens usages, et en pai*ticulier de celuy 
 des Autels qu'on couvroit enfin en plusieurs Eglises de trois nappes de toile. Ce dernier usage subsiste 
 depuis long-tems ; il est quasi universel dans les Eglises d'Occident ; il a ete prescrit dans plusieurs 
 Synodes, tant Diocesains que Provinciaux, tenus depuis le quinzieme siecle, dans les Missels, et dans 
 les Ceremoniaux qui sont venus ensuite. Ainsi quoi-qu'on soit pleinement convaincu de la faussete des 
 Decretales, cet usage venu d'une telle source, doit etre retenu dans les Eglises ou il l'observe de terns 
 immemorial selon la regie de saint Ambroise et de saint Augustin, que dans ces choses la coutume du 
 Peuple de Dieu doit nous tenir lieu de loy. Mais dans les Eglises ou l'ancien usage d'une seule nappe 
 s'etoit conserve jusqu'au siecle dernier, comme on le dit de celle de Lyon, je ne scay de quoi on s'avise 
 de mettre trois nappes sur l'Autel. 
 
 Ce fut aussi dans le neuvieme siecle qu'on commenca d'exposer sur l'Autel les Reliques des Saints. 
 Jusques-la on s'etoit contente de les mettre sous la Table sacree et dedans l'Autel, ou dans des Cha- 
 pelles sous terre, sur lesquelles l'Autel etoit place. L'on en mettoit aussi dans les Baptisteres, ou dans 
 les Sacristies, ou dans des Armoires faites dans le mur a droite ou a gauche de l'Autel, ou dans des 
 Chapelles particulieres qui tenoient au corps meme de l'Eglise. Enfin l'on en mettoit presque par tout ; 
 excepte sur la Table sacree, que l'on consideroit comme un throne uniquement destine et consacre a 
 Jests-Christ, et qui ne devoit etre rempli et occupe que par luy seul. C'est pomquoi l'on n'y mettoit 
 aussi ni Chandeliers, ni Images, ni Vases a fleurs, comme je vais le prouver. Ce n'est pas qu'on ne 
 revtrat comme on devoit les Reliques des Saints des les premiers siecles. Au contraire, les Eveques les 
 
altar 
 
 15 
 
 plus saints et les plus scavans, avoient plus de respect pour ces precieux restes que nous n'en avons. Un 
 peu de terre ou de poussiere de leurs tombeaux, un morceau de frange des tapis qui les couvroient, un 
 mouchoir ou un morceau de taffetas, ou d'autre etoffe qu'on avoit suspendu quelques momens sur leurs 
 sepulchres, etoient pour eux de precieuses Reliques. On nommoit ces Reliques Branded, on les mettoit 
 sous l'Autel ou dedans pour les consacrer, et ces Reliques faisoient des miracles comme les Corps memes 
 des Saints qu'elles representoient. 
 
 Ce n'est done pas encore un coup, manque de respect pour les Reliques des Saints qu'on ne les 
 placoit point sur l'Autel dans les premiers siecles. Saint Odon Abbe de Cluny, cite un fait rapporte 
 par l'Abbe Bernon, qui montre que cet ancien usage duroit encore de son terns. Voici le fait. Les Reliques 
 de sainte Galburge ou Gauburge, ayant 6te tirees du lieu ou elles etoient, et posees sur l'Autel, aussi- 
 tot elles cesserent de faire des miracles. Quelque-tems apres, la Sainte apparut a, un des malades qui 
 imploroient son assistance, et luy dit : Ce qui fait que vous n'etes point gueris, e'est que l'on a mis mes 
 Reliques sur l'Autel du Seigneur, qui ne doit servir qu'aux saints Mysteres. Cette Sainte n'est pas la 
 seule qui se soit offensee de voir ses Reliques placees sur l'Autel. Saint Bercaire Abbe de Montier-en-Der 
 en fit autant. Le Sacristain de l'Eglise ou reposoient ses Reliques les ayant une nuit placees sur l'Autel, 
 ou sa devotion particuliere les trouvoit mieux, le saint Abbe luy apparut, et l'obligea par ses menaces 
 de les reporter a leur place ordinaire. On croit avec raison que cet ancien usage a dure huit cens ans. Au 
 commencement du neuvieme siecle on souffrit les Reliques sur l'Autel. Le Pape Leon IV. qui mourut 
 vers l'an 847, le permit nommement, en defendant de rien mettre sur l'Autel, excepte les Chasses des 
 Reliques, le Livre des saints Evangiles, et la Boete ou le Corps de Seigneur est enferme. Le Concile 
 de Reims peu apres fit la meme defense, et en excepta aussi les Reliques et le Livre des Evangiles ; et 
 dans le siecle suivant, Rathier Eveque de Verone, enjoignitla meme chose a ses Curez, en inserantdans 
 une Epitre Synodale les paroles du Pape Leon IV. Ce n'est que depuis ce siecle que l'usage de mettre 
 les Chasses de Reliques sur l'Autel est devenu commun. On peut done y en mettre a present, puisqu'il 
 y a plus de six cens ans que l'Eglise le permet. Mais il seroit injuste de trouver mauvais que des Eglises 
 Cathedrales et Collegiales s'en tiennent a. l'ancien usage qu' elles ont toujours conserve. 
 
 Pour ce qui est des Images, on n'a commence d'en mettre sur l'Autel que depuis le dixieme siecle, 
 et peut-etre long-tems apres. Si le silence des Auteurs Ecclesiastiques de ces dix siecles n'est pas une 
 preuve suffisante de ce fait, on ne peut disconvenir que les paroles de Leon IV. du Concile de Reims, et 
 de l'Eveque de Verone n'en soient une bonne et solide. Quoi de plus clair que ce que dit le Concile 
 de Riems ? Que l'on ne mettre rein sur l'Autel, que les Chasses des Reliques des Saints et les quatre 
 Evangiles. Nihil super eo ponatur nisi capsce cum Sanctorum Reliquiis et (juatuor Evangelia. Si les 
 Eveques de se Concile, si Leon IV. et l'Eveque de Verone avoient eu la moindre pensee qu'on put 
 mettre des Images sur l'Autel, ils l'auroient specific aussi-bien que le reste : car il s'agissoit de regler 
 ce qui se pouvoit ou ne ce pouvoit pas mettre ou laisser sur l'Autel. Ils font une defense generale de 
 rien mettre sur la sainte Table, a laquelle ils apportent quelques exceptions ; on doit done conclurc que 
 tout ce qu'ils n'on pas excepte, est eompris dans leur defense. Ainsi les Images, les Chandeliers, les 
 Vases a fleurs, sont au rang des choses qu'ils ont defendue's de mf ttre sur l'Autel. 
 
 J'avoue neanmoins que Baronius et Binius ont cru que des le sixieme siecle on mettoit des Images 
 sur l'Autel. Mais surquoi l'ont-ils cru ? Sur un Canon du second Concile de Tours, qu'ils ont cru 
 entendre, et dont le sens est difficile a decouvrir. Voici le Canon : Ut corpus Domini in altari non 
 imaginario ordine, sed sub crucis titulo componatur. Les habiles gens sont partagez sur rintelligencc de 
 ce Canon, et luy donnent deux sens plus naturels et plus vrai-semblables que celuy de Baronius, a 
 present abandonne de tous. Voici le premier sens : " Que les parcelles de l'Eucharistie qui sont sur 
 l'Autel, ne soient pas disposees selon la fantaisie du Celebrant, mais en forme de croix." Ce sens parol t 
 fort naturel, mais il suppose l'une ou l'autre de deux choses difficiles a prouvcr, ou que l'ont ait donne 
 au pain non consacre le nom du Corps du Seigneur, ou que l'on ait attenduque la consecration fut faite 
 
1(> 
 
 pour disposer les Hosties sur l'Autel. Le second sens cpi'on donne a ce Canon me paroit plus conforme 
 aux termes du Canon, Le Voici : e< Que le Corps de Seigneur soit place sur l'Autel ou au-dessus, in 
 altari, sous la croix, qui etoit placee au sommet du Ciboire, et von pas au rang des Images, c'est- 
 a-dire, a droite ou a gauche du cote des peintures qui ornoient les murailles et les colonnes voisines 
 des Autels. Mais quoi qu'il en soit du vrai sens de ce Canon, toujours est-il vrai qu'il ne peut servir 
 de preuve qu'il y eut des Images sur l'Autel dans le terns qu'il a etc fait puisque de tous les sens qu'on 
 luy donne, ccluy-la est les moins naturel, le moins probable, le plus abandonne des Scavans, et que 
 d'ailleurs il est contredit par l'ancien usage de l'Eglise, suffisament prouve par les autoritez que nous 
 avons rapportees ci dessus. 
 
 Ces memes autoritez donnent droit de conclure aussi qu'il n'y avoit ni Chandeliers, ni Fleurs sur la 
 sainte Table. Ce n'est pas que des les premiers siecle on ne se soit servi de lumieres dans les Eglises 
 aux Offices meme du jour. On en a des preuves certaines dans saint Jerome, dans saint Paulin, &c. 
 etj'ay deja montre dans le Chapitre precedent qu'il y avoit des lampes suspendues des lustres, des 
 chandeliers fixes ; mais ils etoient placez par tout ailleurs que sur l'Autel, comme je l'ay deja dit. 
 Pendant la Messe plusieurs Acolytes portoient des chandeliers avec des cierges allumez ; mais ils les 
 posoient a terre de la maniere que nous le dirons ailleurs. II en etoit de meme des fleurs, on en 
 mettoit par toute l'Eglise, excepte sur la Table de l'Autel. On en posoit sur les tombeaux des Martyrs, 
 d'oii on les retiroit ensuite pour guerirles malades. On en faisoit des guirlandes pour couronner le faite 
 des Autels, c'est-a-dire, le dome du Ciboire. On en attachoit aux murailles des Eglises, comme saint 
 Gregoire de Tours la raconte du Pretre saint Severin, on en bordoit les Portes des Eglises, on en 
 jonchoit le semi et le pave, 
 
 Sparyitc t flore solum, praitcxite limina sertis. 
 
 " Parsemez le pave defeurs, 
 Cotironnez-en la porte, Sfc.'' 
 
 Mais pour ce qui est de la sainte Table, on ne voit aucun temoignage durant les douze premiers 
 siecles que l'on y ait mis des fleurs pour la parer. Depuis meme que les Religieuses par un piete plus 
 digne de leur sexe que de la gravite de nos mysteres, se sont avisees d'y mettre des vases de fleurs natur- 
 elles et artificielles, leur exemple n'a ete suivi que dans les Eglises des Mendians, et dans les Paroisses 
 de la campagne, ou pour l'ordinaire ce sont des femmes devotes qui ornent les Autels. Ce nouvel 
 usage, que je nommerois abus si l'Eglise ne le toleroit, n'a pu s'introduire jusqu'ici dans les Eglises 
 Cathedrales, ni dans les Collegiales, ni chez les Moines, du moins ceux qui ont quelque soin de conserver 
 les anciennes pratiques. II faut done s'en tenir a l'ancien usage par tout ou le nouveau ne s'est pas 
 encore introduit, persuadez comme nos saints Peres que la Table sainte est uniquement consacree pour le 
 Sacrifice, et qu'on n'y doit rien mettre de superflu. 
 
 Si l'on demande pourquoi done l'on y met le Livre des saints Evangiles ; je repons en premier lieu 
 que e'est pour observer l'ancien usage de l'Eglise, si bien marque dans les paroles de Leon IV. et du 
 Concile de Reims, raportees ci-dessus : secondement qu'on pourroit meme y laisser ce saint Livre 
 le jour et la nuit, comme les Grecs ont toujours fait jusqu'a present ; et troisiemement que ce Livre sacre 
 qui contient la vie et les paroles de Notre Seigneur Jesus-Christ, a toujours ete regarde par les 
 plus grands saints et les plus celebres Eveques a peu pres avec le meme respect que son precieux Corps. 
 " Ce ne'est pas un moindre crime," dit S. Cesaire, " d'entendre la parole de Dieu avec negligence, que 
 de laisser tomber a terre par sa faute le Corps de Jesus-Christ." On seait que les saints Eveques 
 du Concile de Nicee donnerent au Livre de l'Evangile la place de Jesus-Ciirist meme, en lemettent 
 sur un throne, au milieu de leur sainte assemblee. II ne faut done pas s'etonner si nous laissons ce 
 Livre sacre sur l'Autel, en presence meme du Corps et du Sang du Seigneur. Mais on doit s'etonner 
 de ce qu'on y met sans scrupule aujourd'hui, malgre les defenses de l'Eglise et le respect du a la 
 
altar. 
 
 17 
 
 grandeur denos mysteres, tant de choses qui en sont tout-a-fait indignes. Je ne mets point dans ce 
 rang ni les Reliques, ni les Images, ni les Chandeliers, puisque l'Eglise souffre presentement que l'on 
 en mette sur l'Autel : je voudrois seulement, a l'egard de ces choses, que dans les Eglises ou on ne 
 les a point encore admises, on se tint ferme dans ses anciens usages, et que dans celles ou ces pra- 
 tiques nouvelles sont etablies, on gardat au moins les regies de la bienseance et de la moderation, en 
 sorte qu'on ne defigurat point l'Autel du Seigneur a force de la vouloir parer. Mais quant aux choses 
 qui en sont tout-a-fait indignes, comme un chappeau, un bonnet, un calotte, des gants, un mouchoir, 
 en toute autre chose de cette nature ; les mettre sur l'Autel, c'est le profaner, c'est en faire une Table 
 commune, et temoigner peu de foy pour les mysteres qui s'y passent, et qu'on celebre soi-meme. 
 
 Cet abus qui n'est que trop commun, m'en remet un autre dans l'esprit, qui passera bien-tot pour un 
 usage recu si l'on n'y prend garde. On n'a jamais vu ni dans l'antiquite, ni meme dans le dernier siecle 
 ces corniches de bois que nous voyons ajotiter aux Autels dans celuy ou nous vivons. On ne les souffre 
 point dans les Eglises Catheclrales, ni dans les Collegiales, ni meme dans les Monasteres d'hommes 
 qui n'aiment pas les nouveautez. Elles sont expressement defendues dans le Ceremonial des Eveques. 
 * Ces corniches sont encore proscrites dans le Ceremonial des Chanoines du Pere de Braillon, 4. p. 
 append. 2. c. 2. §. 3. dansle Ceremonial de Paris, p. 4. c. 3. n. 6. dans le Commentaire de Gavantus 
 sur les Rubriques du Missel Romain ; dans le Rituel d'Aleth, &c. Outre ces defenses, les Auteurs que 
 nous venons de citer montrent que les corniches sont indecentes, incommodes, qu'elles gatent les 
 ornemens du Pretre et des Ministres. On les a fait si larges en quelques lieux, qu'on ne peut faire les 
 ceremonies prescrites dans les Missels, comme de baiser l'Autel et les Reliques. Cependant malgre toutes 
 ces choses, la nouveaute prevaut, parce qu'elle est favorisee de l'epargne et de la paresse. II faut l'avoiier 
 de bonne foy, c'est l'epargne ou la paresse, ou les deux ensemble, qui ont fait eclorre cette invention 
 nouvelle, et qui l'introduisent presque par tout. II faut un peu moins d'etoffe pour un devant d'Autel a 
 corniche, que pour un autre qui n'en a point. Cela sufflt pour determiner des filles, qui sont naturelle- 
 ment menageres : aussi est-ce aux Religieuses q'on attribue cette belle invention. Un devant d'Autel 
 cloiie sur un chassis est bien-tot place dans une corniche, il faut un peu plus de tems pour un Autel 
 qui n'en a point ; c'est assez pour determiner plusieurs Clercs seculiers et reguliers qui aiment 
 besogne faite. Voila les deux motifs de cette nouveaute dans la plupart. L'amour de la mode emporte 
 les autres. 
 
 Au-dessus de l'Autel il y avoit dans les commencemens un petit edifice fait en forme de voute, de 
 dome ou de tour, soutenu de quatre colonnes et d'autant d'arcades. Cela s'appelloit Ciborium, Ciboire, 
 terme que les Latins avoient emprunte de Grecs, pour signifier le convert ou les dais de l'Autel, 
 Tcgimen ct umbraculum ultaris. Les colonnes etoient hautes, et la voute exaussee et ornee de peintures. 
 A chacune des Arcades il y avoit un grand rideau pendant jusqu'a terre, que l'on tiroit en certains 
 tems de la Messe pour cacher tout l'Autel. Ces rideaux qui etoient communs en Orient et a Rome, 
 n'etoient point en usage en France ; et meme ils y auroient ete inutiles, parce que nos ancetres cachoient 
 les mysteres de la maniere que nous avons deja dit, en etendant une palle ou voile de soye, ou d'autre 
 etoffe, qui couvroit tout l'Autel. II y avoit une croix plantee au sommet du Ciboire et en dehors, 
 et cet usage etoit commun. Dans plusieurs Eglises, et sur tout en France, il y avoit au milieu de 
 ces Ciboires par les dedans, et au-dessous de la croix une colombe d'or ou d'argent suspendue, dans 
 laquelle on conservoit PEucharistie pour les malades ; et c'est peut-etre par rapport a cet usage que l'on 
 doit expliquer le second Canon du Concile de Tours dont nous avons park'. On voit des preuves de ces 
 Colombes en divers Auteurs anciens et nouveaux. II en est parle dans la Vie de saint Basile, ecrite par un 
 
 * Nulla coronides lignese circa altaris angulos ducantur, sed earum loco apponi poterunt fasciie ex auro vel serico 
 elaborate . . . quibusipsa altaris facies apte redimita ornatior appareat.— C'aremon. Episc. lib. i. cap. 12. 
 
 D 
 
18 
 
 SUtar. 
 
 ancien Auteur, dans le testament de Perpetue cinquieme Eveque de Tours apres saint Martin, ou 
 elle est appellee Columba ad repositorium, pour la distinguer de celles qui n'etoient que representatives. 
 Cet usage des Colombes suspendues pour conserver le Corps du Seigneur, subsiste encore en plusieurs 
 Eglises. Ainsi il seroit inutile de rapporter plus de preuves pour une chose que nous voyons de nos yeux. 
 
 Quant a ce qui regarde les Ciboires, je ne scay depuis quand on les a demobs ou laissez tomber en 
 France, ou ils etoient autrefois aussi communs qu'ailleurs, au moins dans les principales Eglises ; car 
 pour les Eglises de la campagne et pour les Chappelles, on se contentoit de mettre autrefois sur l'Autel 
 un dais d'etoffe, suspendu comme nous les voyons a present partout. Et afin qu'il ressemblassent 
 en quelque chose aux Ciboires, on peignoit au fond du dais le saint Esprit, sous la figure d'une Colombe. 
 II y a beaucoup d'apparence que dans les Eglises oii ces anciens Ciboires sont venus a tomber de 
 vieillesse, la plupart ne se sont pas trouvez en etat d'en faire de nouveaux. II a done fallu se con- 
 tenter d'un dais suspendu, en attendant que Dieu mit dans le coeur de quelques personnes riches, de 
 fournir a la depense d'un Ciboire. Mais ce terns est encore a. venir. II y a neanmoins deja des Eglises 
 en France ou l'on a ressuscite l'usage des anciens Ciboires ; celle de l'Abbaye du Val de Grace de Paris, 
 et celle de l'Abbaye du Bee ; mais e'est une Reine qui a fait faire le premier, et ce sont des Religieux 
 riches, et qui sc^vent faire un bon usage de leurs biens, qui ont fourni a la depense du second. On peut 
 done croire que cet ancien usage n'a cesse que faute de biens, et qu'il revivroit par tout, si l'on avoit 
 dequoi reedifier les anciens Ciboires, dont l'ont peut juger par ceux que je viens d'indiquer. 
 
 Tout ce que nous avons dit des Chceurs et des Autels jusqu'a present, demontre visiblement qu'ils 
 etoient situez en sorte que l'on tournoit tout autour. Cet usage dure encore. Que l'on regarde des Autels 
 des Eglises Cathedrales, Collegiales, et Monacales, je ne scay si Ton trouvera un seul grand Autel (ce 
 n'est que de ceux-la. que je parle) autour duquel on ne puisse tourner. Je renverrois de meme aux 
 Eglises Paroissiales des Villes et de la campagne, oii les Autels etoient aussi disposez de cette sorte ; mais 
 il n'y en a presque plus que l'on ait laisse dans leur ancienne situation. En divers endroits on les a 
 plaquez contre la muraille au fond de l'Eglise, les uns pour gagner du terrain, et les autres pour appuyer 
 ces grands Tabernacles dorez, si fort a la mode dans notre siecle, et si peu connus des anciens. Dans les 
 lieux ou ils occupent encore leur premiere place, on a pris toute la derriere pour en faire une Sacristie, 
 que les uns ont fermee d'un mur, et les autres de ces grandes machines d'architecture ou de menuiserie, 
 qu'on appelle retables. Voila comme se changent les usages les plus anciens, les plus universels, et les plus 
 commodes. Ce n'est que depuis les changemens arrivez au Chceur des Eglises, que l'on a pense a ces 
 ornemens nouveaux. Depuis meme que l'on a recule l'Autel, et mis au-devant le Presbytere avec le 
 Chceur des Chantres contre le premier usage, ces nouveautez n'ont pii s'introduire dans les Cathedrales 
 et les Collegiales, oii l'on tourne encore a present autour de l'Autel. II est vrai qu'en quelques-unes 
 on a mis un Tableau sur la sainte Table de toute sa longueur ; mais ces Tableaux memes, dont il est si 
 aise de scavoir l'age, sont des preuves sensibles de cette nouveaute. 
 
 On a mis aussi des gradins sur l'Autel en quelques-unes de ces Eglises, quoi qu'il n'y ait point de 
 Tabernacle ; mais l'usage qu'on fait de ces gradins, marque visiblement leur epoque. Car a quoi servent- 
 ils ? a mettre Chandeliers, la Table des Secretes ou du Canon, celle de l'Evangile de saint Jean, et 
 celle du Pseaume Lavabo. Or combien y a-t-il que toutes ces choses se mettent sur la sainte Table ? 
 On peut decouvrir facilement depuis quand on a commence d'y mettre des Chandeliers. La maniere 
 donl ils sont faits en decouvre l'age aux connoisseurs. S'ils ont ete donnez par quelqu'un, le nom 
 ou les armoiries de la personne seront peut-etre gravez dessus ou dessous ; si e'est une Eglise de 
 Chanoines, on peut voit la datte de l'Acte capitulaire du don, des charges, et de Facceptation ; car depuis 
 le douzieme siecle on n'a presque plus fait de dons a l'Eglise sans charge. Si e'est aux frais du Chapitre 
 que ces Chandeliers d' Autel ont ete faits, on en peut decouvrir la datte dans les comptes. Je croy 
 que si l'on examinoit ce que je dis ici, on trouveroit que les plus anciens Chandeliers mis sur l'Autel des 
 
altar. 
 
 19 
 
 Cathedrales ou Colhgiales n'ont pas deux cens ans. Pour moi je connois de ces Eglises ou il y a des 
 Chanoines encore vivans qui ont contribuc aux frais des premiers Chandeliers posez sur leur Autel. 
 Avant cela il y avoit dans ces Eglises quatre Chandeliers fixes de cuivre a. hauteur d'homme, placez aux 
 quatre coins de 1' Autel sur le pave, et une poutre elevee qui traversoit la largeur du Choeur, a l'entree 
 du Sanctuaire, garnie du plusieurs petits Chandeliers de cuivre. 
 
 Pour ce qui est de la Table des Secretes, et de celles de l'Evangile de saint Jean et du Lavabo, elles 
 sont encore plus nouvelles, et de plus on pourroit s'en passer facilement. Ce n'est que depuis le Pape 
 Pie V. qu'on recite l'Evangile de saint Jean a la fin de la Messe, comme nous le prouverons ailleurs ; 
 et il y a encore plusieurs Eglises en France ou cet usage n'est point recti, du moins pour les grandes 
 Messes. II n'y a done qu'un peu plus de cent ans qu'on met une Table de l'Evangile de saint Jean 
 sur 1' Autel. Celle du Lavabo est encore moins ancienne ; car Gavantus en parle comme d'une chose 
 inventee de son terns pour une plus grande commodite. De cent Pretres a peine s'en trouve-t-il un qui 
 en ait besoin, tous recitans par memoire le Lavabo et l'Evangile de saint Jean. La Table des Secretes 
 ou du Canon est encore moins necessaire ; car qui empeche qu'on ne lise dans le Missel, comme autre- 
 fois, tout ce qu'elle contient ? Tout le Canon y est ecrit expres en gros caracteres. Si 1' Autel etoir 
 aussi vuide et degage qu'il etoit autrefois, on pourroit placer le Livre presque devant soi, et y lire le 
 Canon aussi commodement qu'on le lit dans la carte. Ainsi les gradins, principalement les doubles 
 qui occupent trop de place, nuisent beaucoup plus qu'ils ne servent, et defigurent un Autel au lieu de 
 le parer. 
 
 S. Etienne de Bourges. 
 
 Le grand Autel est orne d'un parement devant et d'un autre audessus, sans quoi que ce soit, que le 
 saint Ciboire qui est suspendu dans un petit pavilion tout rond, et un voile immediatement audessous 
 et par devant ; ce qui empeche de voir le Ciboire : il y a trois cierges de chaque cote. 
 
 Au milieu de 1' Autel qui est fort large, on met un escabeau pour poser le Crucifix dessus et appuyer 
 le Canon. 
 
 Au pied du cierge qui bride devant le saint Sacrement est une barre de fer grosse comme le bras, 
 laquelle soutient une petite poutre longue du travers du Choeur, sur laquelle sont trente-deux cierges. 
 De la jusqu'a. 1' Autel il y a six grands chandeliers de cuivre hauts de quatre ou cinq pieds. II n'y a ni 
 rideaux ni balustres. 
 
 Notre Dame de Rouen. 
 
 Si le grand Autel n'avoit pas un retable eleve si haut, on pouroit dire qu'il seroit le plus auguste 
 qu'il y eut en France. II est detache de la muraille, ainsi que l'ordonne le Rituel de Rouen. La table 
 de 1' Autel est une des plus grandes que j'aye jamais vues. Elle a audevant un parement, et un autre 
 audessus au retable. 
 
 A la meme hauteur sont quatre grands rideaux soutenus sur quatre grandes colonnes de cuivre fort 
 bien travaillees, audessus desquelles sont quatre Anges pareillement de cuivre, qui portent des chan- 
 deliers et des cierges qu'on allume aux Fetes Doubles et Triples. II n'y a point de cierges ni sur 
 1' Autel ni sur le retable. Audessus du retable il y a aux deux cotez deux images de la Vierge, a. la place 
 des deux croix qui sont a Lyon : et entre ces deux statues de la Vierge il y a un grand tableau d'un 
 Crucifix qu'on estime, et qu'on dit etre de la facon de Michel Ange tres-celebre Peintre. Audessus de 
 ce tableau est une petite avance triangulaire sur laquelle il y a un Ange a genoux qui tient de ses deux 
 mains le saint Ciboire suspendu sous un petit pavilion, et encore sous un grand dais audessus, qui le 
 couvre aussi-bien que tout 1' Autel. — Account of several Ancient Altars, extracted from the Voyages 
 Liturgiques, by De Moleon. 
 
20 
 
 altar ClotO* 
 
 SUtar Clotlh The term may be indifferently applied to the linen coverings of 
 the altar, and to the embroidered hangings which were suspended over 
 the back or in front of the same.* 
 Every altar is now required to be covered with three linen cloths, in addition to the cere or wax 
 cloth ; the two under ones need not exceed the length of the altar, but the uppermost should hang down 
 at each end, nearly to the pavement, being rather more than the width of the altar. It should likewise 
 have five crosses worked on it, in the centre and four angles, with borderings of various patterns. (See 
 plates 14, 15, 16, 17.) 
 
 In primitive times it appears that the altars were covered with a rich tissue or precious stuff", over 
 which one linen cloth was laid during the time of celebrating. This served also for the corporal, and 
 was called a pall. Subsequently the corporal was a distinct linen cloth set apart especially for the purpose. 
 (See Corporal.) The cloths used in covering the altars were designated by the word pallce, down to 
 a late period, t 
 
 Extracts touching Altar Cloths from TV. Thiers' Dissertation sur Les Autels. — Les nappes dont on 
 couvre adjourd'hui les Autels, doivent etre de linge et au nombre de trois. II faut que les deux de 
 dessous soient plus courtes que celle de dessus car celle de dessus doit pendre jusqu'a. terre. Deux 
 neanmoins peuvent suffire pourvu que celle de dessous soit pliee en double. Le Missel Romain et tous 
 les autres nouveaux Missels le veulent ainsi dans leurs Rubriques. " Altare," dit le Missel Romain,J 
 " operiatur tribus mappis, seu tobaleis mundis, ab Episcopo vel alio habente potestatem benedictis, 
 superiore saltern oblonga, quae usque ad terram pertingat, duobus aliis brevioribus, vel una duplicata." 
 
 Mais je doute qu'anciennement on couvrit ainsi les Autels dans Pune et dans Fautre Eglise, c'est a 
 dire dans FEglise Grecque et dans l'Eglise Latine, et je ne pense pas en douter sans fondement. 
 
 Dans l'Eglise Grecque on ne les couvre pas autrement adjourd'hui que l'on fesoit autrefois. Or 
 voici comment on les couvroit autrefois. 
 
 I. On mettoit aux quatre coins quatre morceaux de drap qu'on appelloit Evangelistes EvayyeXiarac, 
 parce que le nom et l'image de chacun des quatre Evangelistes y etoit, pour marque que l'Eglise, qui est 
 representee par la sainte table, est composee des fideles que Jesus-Christ a assembles des quatre coins 
 du monde, qu'elle est fondee sur la parole de ce divin Sauveur et que la voix des quatre Evangelistes 
 s'est repandue par toute la terre. f< Quatuor," dit Symeon Archeveque de Thessalonique,§ " superstrati 
 mantilis partes in veli quatuor angulis habet sacra mensa, quoniam plenitudo Ecclesiae ex quatuor 
 mundi finibus contexta est, et in quatuor illis angulis quatuor Evangelistarum nomina, quandoquidem 
 per illos fundata et constituta est et universum terrarum orbem Evangelii annunciatio pervagata est." 
 
 II dit encore a peu pres la meme chose ailleurs : || " Primo quidem quatuor panni, singulis Evange- 
 listae alicujus nomen et personam sustinentibus, in quatuor mensae angulis locantur. Ecclesiam namque 
 universam a finibus terrae a Domino congregatam, et Evangelico praeconio gratiaeque verbo super illo 
 sedificatam, et velut e lino herba munda conflato, a tentationibus expurgato, contextam, mensa 
 repraesentat." 
 
 II. Sur ces quatre morceaux de drap on mettoit une premiere nappe appellee Kara capm ad carnern, 
 parce qu'elle est la figure du linceul blanc, dans lequel le corps de notre Seigneur fut enseveli par Joseph 
 
 * One altar-cloth of two kings and bishops. — Item, two altar-cloths of purple velvet, embroidered with eagles and 
 flower-de-luces.— Item, two altar-cloths of silver.— Item, one altar-cloth of white diaper, with a border embroidered with 
 bucks.— Item, three white altar-cloths, one of them diaper, with three old painted fronts.— Gunton's History of Peter- 
 borough. 
 
 t Inventa in Capella Carnarii in cimiterio S. Pauli Lond.— Item septem pallse, quarum quinque benedictae et 
 duse non benedictae, et debiles. Inventa in Capella S. Radigundis.— Item, du<e pallse benedictae.— DugdaWs History 
 of St. Paul's. 
 
 I P. 1. Tit. 20. § L. de Teinplo et Missa. || L- de Sacramentis. 
 
altar CtotJ)- 
 
 2 J 
 
 d'Arimathie. " Quatuor itaque his pannis," continue le raeme Auteur,* " Evangelistis nuncupatis, in 
 ea expansis ad carnem ponitur, manifestatque Sindonem, mortuum propter nos Divinum Corpus invol- 
 ventem." 
 
 III. Sur cette nappe on en mettoit une autre d'un fil plus delie, parce qu'elle represente la gloire 
 du fils de Dieu assis sur l'autel, comme dans dans son throne. " Venustior deinde," c'est encore Symeon 
 de Thessalonique qui parle,f " ut figuram gloriae Dei referens, (sedes namque Dei altare est.)" Elle 
 s'appelle E7T£vcWtc, ou £7r£vt)uTrjc et Tpcnrt%o(f>6pov. 
 
 Enfin on mettoit par dessus ces quatre morceaux de drap et ces deux nappes, un coporal, qui etoit 
 tout ensemble la figure de la mort et de la Resurrection de Jesus-Christ, parce que ce qu'apres la Re- 
 surrection de ce divin Sauveur les Apotres virent en un meme lieu et le linceul dont sa tete avoit ete 
 enveloppee, et les nappes qui avoient servi a ensevelir son corps. De la vient qu'on le plie et qu'il 
 s'appelle uXrirbv a. cause que la tete du fils de Dieu y a ete envelloppee. C'est sur ce corporal que 
 repose la sainte Evangile au milieu de l'autel. Voici ce qu'en dit le meme Archeveque :£ "Corporate 
 tandem in mortis simul et Resurrectionis Christi signum explicatur, quia post Resurrectionem, capitis 
 linteum cum funereis pannis in uno loco involutum Apostoli viderunt. CompHcatur propterea etftXrjroi' 
 vocatur, ut quod Christi caput involverit ; unde et sacrum super eo Evangelium reponitur." 
 
 Saint Isidore de Damiete§ appelle ce Corporal aivdwv, qui signifie en general ceul, et dit qu'il est 
 la figure du linceul dans lequel Joseph d'Arimathie ensevelit le corps de notre-Seigneur Jesus-Christ 
 qui a rendu la vie a tous les hommes. De sorte qu'il ne le distingue point de la premiere nappe Kara 
 aapKa. "Ad carnem. Pura ilia sindon," dit-il, "quae sub divinorum donorum ministerio expansa est, 
 Josephi Arimathensis est ministerium. Ut enim ille Domini corpus sindone involutum sepulturae 
 mandavit per quod universum mortalium genus Resurrectionem percepit ; eodem modo nos propositionis 
 panem in sindone sanctificantes, Christi corpus sine dubitatione reperimus, illam nobis immortalitatem 
 fontis in modum proferens, quam Salvator Jesus, a Josepho funere elatus, postea quam a morte ad vitam 
 rediit, largitus est." 
 
 Ainsi les Grecs ne couvroient l'autel que de deux nappes et du corporal. Car a proprement parler 
 les quatre morceaux de drap qu'ils mettoient aux quatre coins, n'etoient pas une couverture. Le Pere 
 Goar || le reconnoit avec Symeon de Thessalonique. " Tria," dit-il, " in Orientis Ecclesia superponuntur 
 altaribus ornamenta ; to Kara capua, tobalea nostro Pontificali dictum ; l-rrtvSvaiQ sive lirivdurrig, mappa 
 exterior : aArjTov, corporale." Et cela est marque par ces paroles de 'Eluchologe dans " l'office de la 
 dedicace du Temple/'^ ou il est dit qu'apres que la sainte table de l'Eglise a ete netoice l'Eveque la 
 couvre de la premiere nappe, de la seconde, et du corporal : " Mensa Antimensiis expurgata, accipit 
 Pontifex ad carnem dictum, quod est sabanum novum aut purum linteum, &c. his peractis Pontifex 
 accipit mappam,hoc est sanctse mensae superiorem ornatum ti)v tirhdvmv, &c. apponit quoque corporale, 
 to £i\r)Tov. Et tandem Evangehorum librum." 
 
 A l'egard des Latins, il n'est pas si facile d'expliquer de quelle maniere ils couvroient anciennement 
 les Autels. Je dirai neanmoins ce que je sais la-dessus, 
 
 I. II y a apparence qu'avant le Pontificat de S. Silvestre, qui commenja l'n 314. les corporaux dont 
 on couvroit les Autels, et sur lesquels on consacroit le corps adorable de Jesus-Christ etoient les uns 
 d'etoffe et les autres de linge. Car quoique les regies de l'honnetete, l'exemple du fils de Dieu fesant la 
 Cene avec ses disciples, et la pratique ordinaire des Apotres, demandassent peut-etre qu'ils fussent pultot 
 de linge que d'etoffe, il n'y avoit cependant nulle loi qui defendit de les faire d'etoffe. Et une marque 
 qu'ils n'etoient pas toujours de linge, c'est que S. Silvestre fut le premier qui ordonna qu'ils en seroient, 
 et non de soie, ou de quelqu'autre etoffe teinte par la raison que le corps de notre-Seigneur a ete enseveli 
 
 * L. de Sacramentis. j ibid. | Ibid. 
 
 | L. i. Epist. 123. § In Notis in Eucholog-. pag. 849. col. 2. n. '20. 
 
 % Tit. Ordo et offic. in dedicat. templi pay. 838. 
 
22 
 
 9Itar Clot!) 
 
 dans un linceul fort blanc et forte propre, dont ils sont la figure. Le Canon Consulto,* le 2^ me ' Concile de 
 Rome sous S. Silvestre en 324. fAnastase le Bibliothecaire JRaban Archeveque de Maience, § Pierre 
 le mangeur, || Platine, ^le Breviaire Romain, **et les Breviaires de quantite d'autres dioceses ffle 
 temoignent ainsi. " Constituit," dit Anastase, " ut sacrificium altaris non in serico, necque in panno 
 tincto celebraretur nisi tantum in lineo ex terra procreato sicut corpus Domini nostri Jesu Christi in 
 sindone linea et munda sepultum fuit." 
 
 Ncanmoins le Canon Si per negligentiam,X% qui est attribue au Pape Pie I. plus ancien d'un siecle et 
 demi que S. Silvestre, suppose que les corporaux et les trois nappes de dessous etoient de linge. u Si 
 super linteum altaris," dit ce Canon, a stillaverit calix, et ad aliud stilla pervenerit, quatuor diebus 
 pceniteat Sacerdos. Si usque ad tertium, novem diebus pceniteat. Si usque ad quartum, viginti diebus 
 poeniteat." Mais ce Canon est suppose au Pape Pie I. et comme il n'a nul tcmoignage considerable 
 de l'antiquite, on le doit compter pour rien en cette matiere. 
 
 Or les corporaux etoient autrefois beaucoup plus grands qu'ils ne sont aujourd'hui. Car autrefois 
 ils couvroient toute la surface des Autels. L'ordre Romain le temoigne par ces paroles :+t " Tunc 
 venit Subdiaconus ferens. . . . super calicem corporate, id est sindonem, quod accipiens Diaconus, ponit 
 super altare a dextris, projecto capite altero ad Diaconum secundum, ut expandant." Et encore plus 
 positivement par celles-cy :§§ " Diaconus accipiens corporale ab Acolytho, alio se adjuvante, super altare 
 distendant ; quod utique linteum, ex puro lino esse contextum debet quia sindone munda corpus Domini 
 legitur involutum in sepulchro, et tantae quantitatis esse debet, ut totam altaris superficiem capiat." 
 
 Aussi etoit-il necessaire, dit Monsieur le Cardinal Bona|| || qu'ils fussent tels, puisqu'on mettoit 
 dessus autant de pains qu'il en falloit pour communier tout le peuple qui assistoit a la Messe. Car ce 
 n'est que depuis que cet usage a cesse que Ton a fait les corporaux plus petits. Cependant Guillaume 
 Durand qui ecrivoit son Rational en 1286. comme il le remarque lui-meme^[1[ dit que de son tems en 
 certaines Eglises les corporaux couvroient encore tout l'autel. " Nota," c'est ainsi qu'il parle,*** " quod 
 in quibusdam Ecclesiis palla corporalis, qua; calici supponitur, in longum altaris extenditur, quia ut aiunt 
 quidam, linteamen quo Christi corpus involutum fuit per illam figuram, extensum longitudine sepulchri 
 inventum est." 
 
 II. Je croirois bien que jusqu'a la fin du^ me siecle on couvroit les Autels tantot de linge, et tantot 
 d'etofTe. Saint Optat assureftt que les Autels de bois, sur lesquels on celebroit les saints mysteres, 
 etoient couverts d'une nappe de linge : " Quis fidelium nescit in peragendis mysteriis ipsa ligna lintea- 
 mine cooperiri?" Mais la nappe de linge dont il parle semble n'etre qu'un corporal. Car il dit imme- 
 diatement apres, qu'on peut bien toucher au linge qui couvre les autels, mais non pas au bois dont ils 
 sont faits : " Inter ipsa sacramenta velamen potuit tangi, non lignum." Et comme le corporal couvroit 
 autrefois tout l'autel, le Pretre pouvoit bien toucher au corporal en disant la messe, mais il ne pouvoit 
 pas toucher a la nappe qui etoit sous le corporal. 
 
 Saint Victor Eveque de Vite en Afrique rapporte^iJ que Proculus aiant ete envoie par Genseric Roi 
 des Vandales dans la Province de Zeugin, emporta par violence tous les ornemens et tous les livres des 
 Eglises, que les Pretres lui avoient refuses, et se fit faire des chemises et des calcons des couvertures des 
 Autels : " Ipse rapaci manu cuncta depopulabatur, atque de palliis Altaris, pro nefas ! camisias sibi et 
 femoralia faciebat." Mais je ne voudrois pas assurer que ces couvertures fussent de linge, quoique 
 Proculus s'en foit fait faire des chemises et des calcons, parce que dans les pais chauds, comme est 
 1' Afrique, on en porte fort communement de soie ou de quelque autre etoffe legere. 
 
 * De Consecrat. dist. I. f I Q Epilogo brevi. J In Silvestro. 
 
 § L. i. de instit. Cleric, c. 33. || Histor. Evangel, c. 180. f In Silvestro. 
 
 ** Die ultima Decemb. tt De Consecrat. dist. 2. 
 
 H Tit. Ordo Processio. ad Eccles. etc. Tit. Incipit Ordo etc. Tit. In nomine Domini, etc. 
 
 ^ Tit. Ordo processio. Si quando, etc. |||| L. i. Rer. Liturgic. c. 25. n. n. f H L. 8. c. 9. n. 2. 
 
 *** L. 4. c. 29. n. 4. fff L. G. de Schis. Donatist. fere initio. JtJ L - *• persecut. Vand. post med 
 
altar Clotl), 
 
 23 
 
 Saint Gregoire de Tours, sur la fin du sixieme siecle, rapporte un songe qu'il eut, et qui fait bien voir 
 que de son tems les Autels etoient couverts d'un voile de soie, aussi bien que les dons precieux qui 
 etoient offerts en sacrifice. C'est lorsqu'il parle d'Eberulfe Valet de chambre du Roi Gontram. 
 " Putabam me/' dit-il,* "quasi in hac Basilica sacrosancta Missarum solemnia celebrare : cumque jam 
 " altarium cum oblationibus pallio serico opertum esset, subito ingredientem Gunthramnum regem con- 
 " spicio, qui voce magna clamabat :" " Extrahite inimicum generationis nostra?, evellite homicidam a 
 " sacro Dei Altario." At ego cum haec audirem, ad te conversus dixi : " Apprehende pallium Altaris, 
 " infelix, quo sacra munera conteguntur, ne hinc abjiciaris." Cumque apprehenderes, laxabas cum 
 
 " manu et non viriliter detinebas Cumque reverteres ad Altarium apprehendebas pallium. . . . Et 
 
 " ille, " deliberatum," inquit, " habuit ut si me rex ab hoc loco juberet extrahi, ab una manu pallas altari 
 " tenerem, etc." 
 
 Polydore Virgile ditf que Boniface III. qui vivoit au commencement du septieme siecle, a ete 
 le premier qui a ordonne que l'on couvriroit les Autels de nappes blanches : Bonifacius III. Auctor 
 fuit ut Altaria candidis operirentur ac linteis pannis. Mais Polydore Virgile ne el prouve pas, et il 
 n'a pas asses d'autorite dans la Republique des Lettres pour que l'on doive jurer sur ses paroles, 
 s'agissant particulierement d'un fait historique, qui n'est atteste ni par Anastase le Bibliothecaire, ni par 
 aucun des autres Auteurs dignes de foi qui ont ecrit la vie de Boniface III. joint qu'on fait d'ailleurs 
 que Polydore Virgile n'a pas toujours eu la verite de son cute, et que c'est pour cela qu'il s'est attire 
 cette Epigramme du Poete Anglois Jean Ovven.J 
 
 Virgilii duo sunt, alter Maro, tu, Polydore, Alter : tu mendax, ille Poetafuit. 
 
 Anastase le Bibliothecaire temoigne que l'Empereur§ Constans etant venu a Rome, et ai'ant visite 
 l'Eglise de saint Pierre, il y fit present d'une piece de drap d'or pour couvrir l'Autel : " Obtulit super 
 Altare illius pallium auro textile, et celebratae sunt Missae." II temoigne aussi || que le Pape Zacharie 
 fit faire une couverture de meme etoffe pour le meme Autel, sur laquelle il fit representer la Nativite de 
 notre Seigneur, et qu'il enrichit de pierreries : " Fecit vestem super Altare beati Petri ex auro 
 textam, habentem nativitatem Domini Dei et Salvatoris nostri Jesu Christ, ornavitque earn gemmis 
 pretiosis." II dit encore^ qu'Adrien I. en fit faire deux pour le grand Autel de l'Eglise de sainte 
 Marie Major, l'une de toile d'or pur garnie de pierreries avec l'image de l'Assomption de la sainte 
 Vierge, et l'autre de soie a fleurs ou a. figures, bordee d'ecarlate tout autuor : " In Ecclesia Dei Geni- 
 tricis ad praesepe fecit vestes duas super altare majus, unam ex auro purissimo atque gemmis, habentem 
 Assumptionem sanctae Dei Genitricis ; et aliam de Stauracim, ornatam in circuitu blattin." Et que 
 Leon III.** en fit faire une de soie ornee de clous d'or avec l'histoire de la Nativite et de saint Symeon 
 et un bracelet au milieu, sur le grand Autel de la meme Eglise : " In sacratissimo Altari majori fecit 
 vestem de Chrysoclabo habentem historiam Nativitatis et sancti Symeonis et in medio cheritismum 
 une autre d'ecarlate avec de grands Gryphons, et deux roue's ornees de clous d'or, d'une croix et d'une 
 frange rouge, aussi ornee de clous d'or, dans le titre d'Eudoxie : " Fecit vestem in Titulo Eudoxia 
 super altare Tyriam, habentem gryphas majores et duas rotas chrysoclabas, cum cruce et periclysin 
 blattin et chrysoclavam ;" une autre de soie avec des clous d'or et l'histoire de la passion et de la Resur- 
 rection de notre Seigneur, sur le grand Autel de l'Eglise de saint Laurent : " In sacro Altari vestem 
 sericam chrysoclabam, habentem Historiam Dominicae Passionis et Resurrectionis ; trois autres sur le 
 grand Autel de l'Eglise de saint Paul, la premiere de soie blanche avec des clous d'or, et l'histoire de la 
 Resurrection: " Vestem super Altare albam chrysoclabam habentem historiam sanctae Resurrectionis;" 
 La seconde de soie a clous d'or avec l'histoire de la Nativite de notre Seigneur et des SS. Innocens : 
 " Aliam vestem chrysoclabam habentem historiam Nativitatis Domini, et SS. Innocentium ;" La troi- 
 
 * L. 7. Histora. Francof. c. 22. t L. 5. de inventor, rer. e. 0. J Epigram, lib singulari, Epigram. 49. 
 
 In vit. Vitaliani PP. || In vit. Zachari*. f In Hadriano I. ** In Leone III. 
 
24 altar Clot!). 
 
 sieme d'ecarlate avec l'liistorie de l'aveugle ne et une Resurrection : " Aliam vestem Tyriam habentem 
 historiam caci illuminati et Resurrectionem ;" Enfin il raporte ce que Pape en fit de merae sur les 
 grands Autels des Eglises de saint Pancrace, de Callixte, de saint Marie de Cosmedin, de sainte 
 Sabine, de saint Cosme et de saint Damien, de saint Valentin, de saint Sauveur, de saint Pierre, de 
 sainte Andre, de sainte Petronille, de saint Estienne, de sainte Croix, de sainte Suzanne, de saint George, 
 du Titre de Pammaque, et de saint Cyriaque. 
 
 II importe beaucoup d'observer ici les expressions de cet Auteur in Alturi, super Altare, qui temoig- 
 nent, et bien nettement, que ces couvertures n'etoient pas simplement pour etre mises au devant des 
 Autels, comme l'on fait les paremens, ni au haut des Autels, comme l'on en met aux Retables, puis 
 qu'anciennement il n'y avoit point de Retables aux Autels, ainsi que nous le dirons dans le chapitre 
 XXIII. Mais sur les Autels, comme l'on fait les nappes de linge sur lesquelles on pose les corporaux. 
 Ce qui n'empechoit pas qu'outre le dessus des Autels elles ne couvrissent aussi le devant, et ne 
 servissent de nappes et de paremens tout ensemble, bien qu'elles ne fussent que d'une seule et meme 
 piece d'etoffe, Car c'est ainsi que je pense qu'etoient faites autrefois la pi ii part de ces couvertures ; et 
 ce qui me le fait penser, c'est qu'il y en a encore aujourd'hui de semblables en certaines Eglises. II y en 
 a une entr'autres qui est de toile d'or dans l'Eglise de l'Abbai'e de la Choise-Dieu en Auvergne. Elle 
 fert aux Fetes solemnelles et elle couvre le dessus, le devant, et les cotes du grand Autel. Le B. Lan- 
 franc Archeveque de Cantorbery parle* aussi d'une nappe, sans pourtant specifier si elle etoit d'etoffe 
 ou de linge, qui couvroit le dessus de 1' Autel et qui pendoit par le devant : " Palla qua Altare cooper- 
 turn est cujus pars anterior pendet." 
 
 Avant le milieu du neuvieme siecle le Pape Leon IV. recommandef aux Cures de couvrir les Autels 
 de linges tres-propres : Altare sit coopertum mundissimis linteis. Mais outre que par ces linges tres- 
 propres il veut peut-etre dire des corporaux ; il est constant qu'il ne fait pas un precepte positif aux 
 Cures de couvrir les Autels de ces linges, puisque lui-meme, ainsi que l'assure Anastase le Bibliothecaire % 
 fit faire une couverture de soi'e avec des clous d'or sur le grand Autel de l'Eglise de saint Pierre : 
 " Fecit super sanctum Altare Ecclesiae vestem de Cbrysoclabo, habentem in medio Historiam Salvatoris 
 inter Angelicos vultus fulgentis, Petroque Apostolo Claves regni ccelorum tradentis, et in dextra laevaque 
 gloriosam Petri et Pauli passionem fulgentum ;" et que Benoit III. son successeur immediat et fit faire 
 une de meme etoffe sur le grand Autel de l'Eglise de sainte Marie de Transtevre ;§ "In Ecclesia beatae 
 Mariae Dominae nostrae, quae ponitur trans Tiberim ; fecit vestem in altari majori de Chrysoclabo 
 habentem Historiam Assumptionis Dei Genitricis. 
 
 La verite est que depuis Benoit III. je ne trouve plus gueres de couvertures d'etoffe sur les Autels ; 
 et c'est ce qui me fait croire que ce n'a ete que vers le milieu du neuvieme siecle qu'on a cesse dans la 
 plupart des Eglises, de se servir de ces sortes de couvertures pour prendre celles de linge. En effet le 
 Concile de Reims raporte par Burchard|| et par Ives de Chartres et que le Pere Mabillon** estime 
 etre de ce tems-la, veut qu'on ait un soin extreme de couvrir les Autels de lignes et de couvertures tres- 
 propres : " Observandum est ut mensa Christi, id est Altare, mundissimis linteis et palliis diligentissime 
 cooperiatur." 
 
 Vers le milieu du dixieme siecle Ratherius Eveque de Verone recommandeft aussi bien que Leon 
 IV. qu'on les couvre de linges propres: "Altare coopertum de mundis linteis." 
 
 Et en 1050. le Concile de Coyaco dans le Diocese d'Oviedo en Espagne, ordonneJJ qu'on les pare 
 honnetement et qu'il y ait dessus une nappe de linge propre : " Altare sit honeste indutum et desuper 
 lineum indumentum mundum." 
 
 Ces reglemens, quoique particuliers joints a celui de Leon IV. ont ete asses communement observes 
 
 * In Decret. pro Ordine S. Bened. c. 18. t In Homil. de Cura Pastorali. J In Leone IV. 
 
 § Anastas. in Benedicto 3. || L. 3. Decreti c. 97. IT 2. p. Decret. c. 132. 
 
 ■ ** Pra?fat. saecul, 3. Act. SS. O. S. B. Observat. 29. n. 103. ' ft In EpistoL Synodic. t'C.3, 
 
altar €lotih 
 
 25 
 
 dans la suite des terns, et quoiqu'il paroisse par ces paroles des Anniversaires de l'Eglise du Vatican,* 
 qu'il y avoit encore des nappes tant de soi'e, que.de facon d'AUemagne, du tems de Boniface VIII. qui 
 ne mourut qu'au commencement du quatorzieme siecle : " Item 20 tobaleas tarn sericas quam operis 
 Alemanici on peut dire sans offenser la verite, que l'usage ou est maintenant toute l'Eglise Latine, 
 de couvrir les Autels de nappes de linge, n'a pas de fondemens plus solides. 
 Mais d'ou vient qu'il faut aujourd'hui trois de ces nappes pour les couvrir ? 
 
 Cette pratique me semble n'avoir pour appui que le Canon Si per negligentiam, qui est suppose au 
 Pape Pie I. et qui n'a nul temoignage de l'antiquite, comme nous venons de le dire. Car encore que 
 saint Victor de Vite, Leon IV., le Concile de Reims, et Ratherius Eveque de Verone parlent des linges, 
 ou nappes de l'Autel au pluriel, — " Pallia altaris, mundissima lintea, munda lintea," — ils ne disent pas 
 pour cela qu'il y en doive avoir trois, outre le Corporal, pour le couvrir, non plus que le Sacramentaire 
 de saint Gregoire :f " Pallae quae sunt in substratorio in alio vase debent lavari, in alio corporales 
 pallae ni le Concile de Meaux :% " Ad corporale lavandum et ad pallas altaris propria vasa habean- 
 tur, in quibus nihil aliud fiat;" ni le Missel des Francois§ publie par le Pere Mabillon:|| " Pragfatio 
 linteaminum. Linteamina in usum altaris f ni l'Ordre Romain " Benedictio ad omnia vasa, lintea- 
 mina et instrumenta in usum Ecclesise. Cum his altaris linteaminibus et on ne fera nulle violence 
 a leurs paroles quand on soutiendra qu'elles se peuvent fort bien expliquer d'une seule nappe et du 
 corporal. 
 
 Aussi est-il extremement probable qu'avant le 15, siecle on ne couvroit les Autels que d'un corporal 
 et d'une seule nappe. 
 
 1 . Saint Optat dit** que les Autels n'etoient couverts que d'une nappe de linge, ou d'un corporal 
 qu'il appelle une fois linteamen, et deux fois velamen au singulier : " Quis fidelium nescit in peragendis 
 mysteriis ipsa ligna linteamine cooperiri ? Inter ipsa sacramenta velamen potuit tangi, non lignum. 
 Aut si tactu possit penetrari velamen, ergo penetrantur et ligna." 
 
 2. S. Benoit ne marque aussi qu'une nappe de l'Autel dans sa Regie. ft " Si quelque personne 
 noble (dit-il) offre son fils a Dieu dans le Monastere, et que l'enfant soit fort petit, le pere et la mere 
 feront la demande dont il a ete parle cy-devant, et outre l'offrande ils enveloperont cette demande et la 
 main de l'enfant dans la nape de l'autel (in palla altaris) et l'offriront en cette maniere," La nappe 
 dont parle ce S. Patriarche des Moines d'Occident n'etoit pas le corporal, parce que les femmes 
 n'avoient pas la liberte de le toucher, suivant ce canon % X du Concile d'Auxerre en 5/8. " Non licet 
 mulieri manum suam ad pallam Dominicam mittere." Le Canon Sacratas,§§ le defend meme aux 
 Religieuses et a plus forte raison aux Laiques. Mais comme il est tire d'une fausse decretale du Pape 
 Soter,|||| je ne m'y arrete pas. 
 
 3. Le B. Lanfranc Archeveque de Cantorbery, ne s'exprime pas d'une autre maniere que son pere 
 S. Benoit lorsque parlant de la meme ceremonie il dit " Involvant parentes manus in palla qua 
 altare coopertum est, et cujus pars anterior pendet." 
 
 4. Guillaume Durand, qui est mort a Rome sur la fin du 13. siecle, et qui a explique dans son 
 Rational les usages communs et ordinaires des Eglises, ainsi qu'il le temoigne lui-memc,*** dit positive- 
 ment,ftt q ue l'autel doit etre de deux nappes, pour marquer l'habit du corps et celui de 1'esprit : 
 " Debet altare duplici mappa operiri, ad duplicem stolam, mentis scilicet et corporis, designandam." 
 Or que le corporal soit une de ces deux nappes, il est aise de Pinferer de ce qu'il dit un pen auparavant, 
 que la nappe blanche sur laquelle on etend le corporal, est ordinairement appellee Palla en Latin : 
 
 * Apud Johan. Rubeura in vit. Bonifacii 8. pag-. 345. Ex Glossar. D. du Cange, V. Tobalea. 
 f Tit. Ordinatio Subdiaconi. I Apud Burchard, 1. 4. decreti c. 13. § Tit. prsefat. linteaminum. 
 
 || L. 3. de Liturg. Gallic, p. 315. f Tit. Ordo de tedific. Ecclesia. ** Supr. ff C. 59. 
 
 H Can. 37. ^§ Dist. 34. c. 26. |||| Epist. 2. Omnibus Episc. Italia. 
 
 In decretis pro ordine, S. Benedict, c. 18. *** Praefat. n. 10. ftt L- 4. c. 29. n. 7. 
 
 E 
 
20 
 
 altar Clotf), 
 
 " Communiter palla vocatur munda mappa super quam distenditur corporate." II ne dit pas les nappes 
 blanches au pluriel, mais la nappe blanche au singulier, parce qu'effectivement il n'y avoit qu'une nappe 
 blanche sur laquelle on etendoit le corporal, qui etoit une autre nappe, puisqu'autrefois il couvroit tout 
 l'autel, et qui avec la nappe sur laquelle il etoit etendu, fesoit les deux nappes dont il assure que l'Autel 
 doit etre couvert. 
 
 Ce n'est pas que du terns de Durand, et si vous voulez avant lui, on ne le couvrit dt'ja de deux 
 nappes, et meme de trois, en quelques Eglises, surtout en celles de l'Ordre de Cisteaux, selon ce qui 
 est dit dans le livre de ses Uz ;* mais il me paroit que la coutume de le couvrir de trois nappes, ne 
 s'est gueres plutot etablie dans tout l'Eglise que vers le 15. siecle. Encore depuis ce tems-la se 
 trouve-t-il des Theologiens, et entr'autres Silvestre Maitre du sacre Palais,t le Pere Barthelemi 
 Fumee, auteur de la Somme appellee Aurea Armilla,% le Cardinal Tolet,§ Suarez|| et Jean Chappuis^f 
 qui pretendent qu'il suff it de le couvrir de deux nappes. Le Pere Scorce rapporte** que les Ru- 
 briques du Missel de Pie V. n'en demandent pas d'avantage ; ce Communiter duas tantiim toballia; exis- 
 timantur necessariae, ex rubrieis Missalis Pii V." Et le meme Jean Chapuis temoigneft qu'il y a des 
 Docteurs qui soutiennent qu'une seule suffiroit, si l'on ne pouvoit pas en avoir trois : " Dicunt Doctores 
 quod si tres mappae non liaberentur, sufficeret una." 
 
 Mais enfin les reglemens de plusieurs Synodes, tant diocesians que provinciaux, qui ont ete depuis 
 le 15. siecle, et les rubriques des Missels et des Ceremoniaux qui ont ete publies depuis ce tems-la, en 
 veulent trois, ou deux au moins, dont il y en ait une pliee en double; et le Synode d' Angers en 1507. tt 
 sous Francois de Rohan Eveque d' Angers, aussi bien que le Concile provincial de Toulouse en 1590.§§ 
 en veulent absolument trois. Altar e, (dit ce Synode) tribus mappis debite ornetur Et ce Concile 
 provincial : " Tribus mappis altare unumquodque instruatur." — pp. 153 — 171. 
 
 From this account we may gather the following interesting facts. 
 
 1. That the primitive altars were covered entirely with rich stuff, or silk, occasionally embroidered 
 with imagery, and even enriched with precious stones. 
 
 2. That over this covering a second, of silk or linen, was laid, during the celebration of the sacred 
 Mysteries. 
 
 3. That after the end of the ninth century the altars were always covered with a linen cloth for the 
 celebration of the holy Eucharist. 
 
 4. That the custom of covering the altar with three cloths is not older than the fourteenth or fifteenth 
 century. 
 
 5. The custom of the Greek Church has ever been to place four small pieces of cloth, marked with 
 the names of the Evangelists, on the four corners of the altar, and over these, two cloths and a corporal. 
 
 6. That the present Rub rick of the Latin Church requires three cloths, two short and one long, 
 besides the corporal. 
 
 According to De Vert, the altar was stript of its linen coverings and ornaments immediately after 
 the Mass, and not covered till near the time of celebrating on the following day.|||| This is also men- 
 
 * C. 53. t I" Sum. v. Missa, I. q. 2. J v. Missa n. 6. 
 
 § Instruct. Sacerdot. 1. 2. c. 2. n. 6. || To. 3. in. 3. p. S. Thom. disp. 81. sect. 6. 
 
 % Comment, in Summul. S. Raymundi de Pennafort. Tract. 3. Tit. de exterior. Sacerdot. Prtepar. fol. 45. 
 ** L. 2. de sacros. Miss. Sacrif. c. 14. n. 8. \\ Supr. 
 
 II Tit. de. celebrat. Missse. 3. P. c. 1. n. 17. 
 
 Illl On voit dans l'Ordre Romain xiv. qu'on estoit encore plus exact la dessus au xiv. siecle, et quele Diacre n'estendoit 
 precisement le Corporal, qu'avant l'Oblation du pain ; c'est qu'en effet ce ligne paroist j usque la entierement inutile sur 
 l'Autel ou mesme il se salit a credit. D'ou vient mesme que dans les Eglises ou le Corporal se mettoit sur l'Autel des la 
 Collecte ou l'Epistre, parceque c'estoit en effet le temps d'y apporter le Calice, on observoit toutefois de ne le pas deplier 
 qu'apres VO remits, qui precede l'Offertoire. Ne pulveribus maculctur, dit le Ceremonial de Bursfeld, ce qui estoit aussi 
 ordonne par le Ceremonial Romain du xxi. siecle ; nec expUcetur, propter pulverem, usque ad vblalionem Calicis. Bien 
 
mat Clotl), 
 
 27 
 
 tioned by De Moleon, in his Voyage Liturgique, in describing the churches of St. Jean de Lyon, and 
 St. Maurice d' Angers ; — " ce sont les enfans de choeur qui mettent les nappes de l'autel, immediatement 
 avant la grande messe. Dans les chappelles de cette eglise les Autels selon l'ancien usage sont a nud 
 — de sorte que ce n'est qu'un moment avant que d'y dire la messe, qu'on y met les nappes/' 
 
 The altar cloths which hang in front of the altars may also have originated from the custom of placing 
 the shrines of Saints beneath those altars which were supported on pillars, and suspending curtains on 
 rods fixed under the slabs, to protect them from dust.* These rods were concealed by a fringed border- 
 ing of stuff" hung before them ; and this narrow lappet is still found on many frontals. 
 
 From the Inventory of cloths formerly belonging to the High Altar of York Minster. 
 
 Item, three pieces of white Baudekin, with gold flowers wove in it ; Item, two pieces of white velvet, 
 one of them with a Crucifix, the other with the Salutation of the Blessed Virgin ; Item, two pieces of 
 blue sarcenet, with the images of the Crucifix, Mary, and John, stained; Item, two pieces of white linen 
 cloth, with a red cross, for Lent ; Item, one great pall for Good Friday ; Item, twelve diaper palls ; 
 Item, a pall of cloth, with front parts wrought in gold. — Monasticon Anglicanum. 
 
 Silk cloths for the High Altar, Lincoln Minster. 
 
 Imprimis, A costly cloth of gold, for the high altar, for principal feasts, having in the midst images 
 of the Trinity, of our Lady, four Evangelists, four angels about the Trinity, with patriarchs, prophets, 
 apostles, virgins, with many other images, having a frontlet of cloth of gold, with scriptures, and a linen 
 cloth enfixed to the same ; — ex dono Ducis Lancastriae. — Item, a purpur cloth, with an image of the 
 Crucifix, Mary, and John, and many images of gold, with a divers frontlet of the same suit, with two altar 
 cloths, one of diaper ; Item, a cloth of gold, partly red, and partly white, with an image of our Lady in 
 the midst, with her Son in a circle, with eight angels ; and on her right hand, an archbishop standing in 
 a circle, with eight angels ; and on her left hand, a bishop standing in a circle, with eight angels ; with 
 a frontlet of the same suit, having in the midst the Trinity, with two angels incensing on every side ; — 
 ex dono Ducis Lancastriae. — Item, a cloth of white, with troyfoils of gold, having the salutation of our 
 Lady in a red circle, having a frontlet of the same, with two cloths of diaper. — Monasticon Anglicanum. 
 
 plus, selon l'Ordre Romain, cite plus haut, la nappe de dessous ne se mettoit mesme qu'au commencement du Credo; et 
 lorsqu'il n'y avoit point de Credo, elle ne s'y mettoit qu'apres l'Offertoire. Aujourd'lmy ce n'est plus cela, et les Sacristains, 
 presque partout, pour s'epargner la peine de remettre cette nappe tous les jours, ont trouve le secret de la laisser jour et 
 nuit sur l'Autel ; ensorte qu'il n'y a plus que la nappe dessus, je veux dire le Corporal, qu'on observe toujours de ne mettre 
 encore que quelques momens avant l'Offrande. Voyez a la Remarque xxii. ce que nous dirons sur cette nonchalance des 
 Sacristains. Exceptons icy cependant l'Eglise d' Arras, ou l'Autel ne se couvre encore que pendant Tierces, de la nappe 
 que le Diacre et le Soudiacre ont apportee de la Sacristie. A Rlieims les mesmes Ministres decouvrent l'Autel au com- 
 mencement de la Messe, plient le tapis, estendent les nappes, mettent les Corporaux &c. A Clervaux on decouvre l'Autel 
 apres Tierces de la Vierge, et on fait deborder la nappe d'un pied sur le parement a peu prea connne celle qui couvre nos 
 tables communes et qu'on laisse pendre de tous costez. Les Rubriques en effet ne disent point que la nappe ne doit point 
 passer le devant d'Autel, ni qu'elle y sera consiie ou attachee avec des epingles. Aussi plusieurs Eglises, mesmes celebres, 
 sont elles encore a cet egard, dans le mesme usage que Ton garde a Clervaux. — De Vert, Explication des Ceremonies 
 de V Eglise, vol. Hi. p. 159, 160 
 
 * Comme ce parement ou rideau, qui etoit au devant de l'Autel, tenoit par des anneaux a une tringle ou verge de 
 fer; tout cela, pour la bienseance et la proprete, etoit couvert d'une pente ou bande garnie de franges. Et de la, le tissu, 
 appelle f range ou crepine, qu'on voit encore, communement au haut des paremens d'Autel. C'est ainsi que pour cacher 
 les tringles, dont on se fert ordinairement pour passer les anneaux d'un rideau de lit et de fenetre, on fait pendre du ciel 
 de ce lit ou du haut de ces fenetres, de semblables bandes ou tissus, sur les rideaux. Que si en quelques Eglises on se 
 contente aujourd'huy d'orner le devant de la table d'Autel, de quelque sculpture ou peinture, sans le couvrir d'aucun 
 rideaux ou ornement ; c'est apparemment que depuis qu'on a cesse de mettre les corps des Saints sous l'Autel, ces rideaux 
 ou paremens qui scrvoient a en conserver les Chasses et a les garentir de la poussiere, ont etc regardez comme inutiles. 
 Je vis a Galardon, village dans le pays Chartrain, en 1689, au mois de Decembre, un de ces paremens, tenant ainsi avec 
 des anneaux a une tringle. II etoit de meme etoife que les courtines ou rideaux qui fermoiunt les cotez de l'Autel. — De 
 Vert. Ibid. vol. it. p. 387. 
 
28 
 
 altar 3Sreafc* 
 
 It is evident from the words " having a frontlet of the same" that the cloths described were intended 
 to hang over the back of the high altar. (See Reredos and Dossell.) 
 
 In the Inventory of St. Paul's. — In Capella Carnariae. 
 
 Item, Pannus frontalis de baudekyno ; et pannus super -frontalis de rubeo cendato cum turrilibus et 
 leopardis deauratis ; Item, a cloth for the hie Awt r of blew baudekin, with the picture of our Lord, Mary, 
 and John, and a front of the same ; Item, one awter cloth of white fustyan, with red roses, with a Crucifixe, 
 Mary, and John, broydered, and fronte of the same, and two curtains. — Jacob's Hist, of Faversham. 
 
 $ltat* 33rea)JL The bread prepared for Consecration in the Holy Eucharist. 
 
 According to the Latin rite altar-breads should be unleavened, and of a circular form. They are 
 baked between two irons,* and receive an impression of a sacred image or emblem. In early represen- 
 tations of the Host, in a chalice, on the tombs of priests, we find the figure of a simple cross ;f later, an 
 thjS, or the, or a Crucifixion, with the Blessed Virgin and St. John. This representation, however, 
 seems inconsistent with the nature of this holy Sacrament ; and the Cross, the Holy Name in a trefoil, 
 or an Agnus Dei, are far more appropriate devices. J 
 
 The altar breads for the mass are now made considerably larger than those for the communion of the 
 faithful. Formerly they were all large, and broken in parts for the communion ; a particle only being 
 carried to the sick. The small altar breads appear to have been introduced in the middle of the eleventh 
 century. In the first prayer-book of Edward the Sixth it is ordered that the communion bread be made 
 round and unleavened, but somewhat thicker, and thereon no prints. The use of wafer bread for the 
 communion was kept up in the Anglican church till the great Rebellion. § In the Scotch service-book 
 round unleavened wafers are ordered for the communion. || 
 
 Such was the reverence with which all matters connected with the holy Sacrifice of the Altar were 
 regarded, by our catholic forefathers, that altar breads were made fasting, and with a particular Office. 
 The account of this edifying custom is so interesting that I have extracted it at full length from Bocquillot. 
 
 Pour apprendre au Sacristains de nos Eglises comment ils doivent faire les pains destinez au Sacrifice, 
 il est bon de rapporter ici comment les anciens Moines les faisoient. L'on faisoit des Hosties toutes 
 les fois qu'on en avoit besoin dans les Monasteres ; il y avoit neanmoins deux terns principalement 
 destinez a ce travail ; scavoir, une peu devant Noel et devant Paque. Cela prouve en passant qu'il 
 falloit que ces pains fussent assez epais et solides pour durer si long-tems. Les Novices trioient les 
 grains de froment sur une table l'un apres 1' autre ; on les lavoit ensuite, et on les etendoit sur une nappe 
 blanche pour les faire secher au soleil. Celuy qui les portoit au moulin lavoit les meules, se revetoit 
 d'une Aube, et mettoit un Amict sur la tete. Le jour de faire les pains etant venu, trois Pretres ou 
 trois Diacres avec un Frere Convers, apres l'Office de la nuit mettoient des souliers, se lavoient les 
 mains et le visage, se peignoient, et recitoient en particulier dans une Chapelle POffice des Laudes, 
 les sept Pseaumes et les Litanies. Les Pretres ou les Diacres revetus d'Aubes venoient dans la Chambre 
 oii les pains se devoient faire ; le Convers y avoit deja prepare le bois le plus sec et le plus propre a 
 
 * The method of making altar breads is as old as the ninth century, according to several ecclesiastical writers. 
 
 f De Vert asserts that the origin of this cross was the indented lines made in that form on the breads intended for 
 communion, to facilitate their fraction. 
 
 X Lebrun describes the altar breads, used by the Armenians, to be round, of about the thickness of a crown-piece, 
 and sometimes even thicker, stamped with an image of the crucifixion, or a chalice with our Lord rising out of it. 
 
 § The altar of the Cathedral church of Canterbury, in the time of Charles the Frst, was furnished with two candle- 
 sticks and tapers, a basin for oblations, and a silver-gilt canister for the wafers, fyc. Among the directions given to the 
 chaplain, when Prince Charles was going to Madrid, we find the following. The communion to be as often used as it 
 shall please the Prince to set down ; smooth wafers to be used for the bread. — Collier, ii. 726. 
 
 || In this Service-Book far more Catholic practices were enjoined than in the English, and for this reason it gave 
 such violent offence to the Puritan party. For a very curious account of this book, see Gordon's History of Scots' 
 Affairs, printed by the Spalding Club. — Vol. ii. p. 59. 
 
Sitae Carto—amire. 
 
 29 
 
 faire un feu clair. lis gardoient le silence tous quatre ; l'un repandoit la fleur sur une table polie, propre 
 et faite expres, dont les bords etoient relevez pour contenir l'eau qu'il jettoit dessus, et delayoit la 
 pate. C'etoit de l'eau froide, afin que les Hosties fussent plus blanches. Le Convers avec des gants 
 tenoit le fer, et faisoit cuire les Hosties six a la fois. Les deux autres coupoientles Hosties enrondavec 
 un couteau fait expres ; et a, mesure qu'on les coupoit, elles tromboient dans un plat couvert d'une 
 linge. Ce travail duroit long-tems dans les grandes Communautez, et se faisoit neanmoins a jeun ; 
 mais on soulageoit aussi leurs peines par une meilleure portion a leur dine. 
 
 Dom Martene dit que cet usage a dure dans les Monasteres jusqu'au quinzieme siecle. Dom Claude 
 de Vert Tresorier de l'Abbaye de Clugny, assure que de nos jours il subsistoit encore chez eux, et qu'il 
 n'a cesse que depuis que la reforme s'y est etablie. Etoit-ce la une pratique a reformer ? Mais combien 
 certains Seminaires de Province font-ils de pareilles reformes dans les Dioceses ou ils sont etablis ? Dieu 
 soit beni de la piete qu'ils inspirent aux Ecclesiastiques qu'ils elevent ; mais qu'il nous preserve, s'il luy 
 plait, de la reforme qu'ils voudroient faire dans nos Eglises en abolissant de tres-saints et tres-anciens 
 usages, qu'ils prennent pour des abus, faute de les connoitre. — M. BocquilloVs Traite Historique de la 
 Liturgie ou de la Messe, pp. 289—291. — The same manner of making altar breads is enjoined in Lane- 
 franc's Decrees. See De Antiquitat. Monach. nig. S. Benedicti in Anglia, Clem. Reyneri, Duaci, 1625. — 
 Appendix, 236. 
 
 Slltar CartlS. The name given to certain portions of the mass, such as the 
 Lavabo, words of consecration, Gospel of St. John, &c, printed separately 
 on three sheets of card-board, and placed against the reredos of the altar. 
 These are of comparatively modern introduction. 
 
 There is no doubt that they might be dispensed with, their contents being in the missal itself. At 
 any rate they should be as small and unobtrusive as possible ; and the custom of mounting them in 
 large gilt frames, glazed, as ornaments to the altar, which has been recently introduced in some modern 
 chapels, is exceedingly absurd and offensive in effect, magnifying an accessory, — which the authorities 
 of the church and the modern rubricks allow,— into a leading feature in the decoration and furniture of 
 an altar. 
 
 9titlitt. A white linen napkin or veil, worn by all clergy above the four minor 
 
 orders. It is the 
 first of the sacred 
 vestments that is put 
 on, * first on the 
 head, and then ad- 
 justed round the neck, 
 hanging down over 
 the shoulders. 
 
 In several dioceses of France, 
 the Priests, deacons, and subdea- 
 cons, wore the Amices on their 
 heads, from the Feast of All- 
 Saints till Easter ;f letting them 
 
 * Ad amictum, dum ponitur super caput, dicat : — Impone Domine capiti meo galeam Salutis, ad expugnandum 
 dinbolicos incursus. 
 
 t St. Maurice d' Angers. II y'a a la Messe trois Diacres, et trois Soudiacres, scavoir les quatres revetus dont nous 
 avons parle, et deux chanoines qu'on appelle grand Diacre et grand Soudiacre. Le celebrant et ces deux et le servent 
 
30 
 
 fltm'rc 
 
 fall back on the shoulders during the Gospel, and from the secret till the first ablution. M. Thiers, in 
 his treatise Sur Les Perruques, has advanced several objections against this practice, in his eighth 
 chapter, which I have here given at length. 
 
 Lcs Pretres, les Diacres, les Soudiacres, et ceux que l'on appelle a Paris les lnduts, portent des 
 Amits sur leurs tetes a l'autel en certains dioceses, depuis l'octave de saint Denis, ou depuis la Toussaints 
 jusqu'a Paques. Cet usage a de grands, d'illustres, de savans patrons. Mais ils me permettront bien 
 de leur dire avec tout le respect que je leur dois, qu'il ne me paroit pas fort regulier. 
 
 Premierement, parce que selon le Canon Nullus,* explique par l'auteur de la Somme Angelique,f 
 par Silvestre Maitre du sacre Palais,! par l'auteur de la Somme intitulee Armilla,^ par Jeande Tabia,|| 
 par Emanuel Sa,^[ par Escobar,** etparun tres-grand nombre d'autres Canonistes, et d'autres Theolo- 
 giens, les Pretres ne peuvent, sans cause raisonnable, dire la Messe la tete couverte. Cette cause raison- 
 nable suppose une infirmite considerable ; cette infirmite doit etre attestee. Cette attestation doit etre 
 suivie d'une permission des Superieurs a qui il appartient de la donner. Cependant combien y a-t-il de 
 Pretres qui la disent avec un Amit sur leur tete, sans que besoin soit, qui la diroient fort bien la tete nue 
 sans en etre incommodes, qui la disent sans etre infirmes, ou, qui l'etant en effet, ne font point attester 
 leurs infirmites, et ne demandent point permission de la dire en cette posture ? II y en a une infinite, 
 a Fegard desquels par consequent l'usage de la dire ainsi n'est pas fort regulier. S'il ne l'est pas a leur 
 egard, il ne l'est pas non plus a l'egard des Diacres, des Soudiacres, et des lnduts, qui, quoique forts et 
 robustes, servent a l'autel en cet habit sans aucune raison legitime. 
 
 Secondement parce que les Amits ainsi disposes sur la tete, sont assez semblables aux coeffes que les 
 Ecclesiastiques portoient autrefois et particulierement en Angleterre, en Normandie et en Anjou. Car 
 enfin ces coeffes, comme celles des filles et des femmes parmi nous, couvroient toute la tete, ensorte 
 qu'elles ne laissoient que le visage decouvert. Et voila justement ce que font les Amits dont il s'agit. 
 Ces coefFes neanmoins sont condamnees par le grand Concile d' Angleterre, en 1268, par les Conciles 
 provinciaux de Rouen en 1299 et en 1313, par le Synode de Nicosie en la meme annee, et par le 
 Synode d' Angers en 1314. 
 
 Troisiemement, parce que les Statuts du Diocese de Soissons en 16/3, defendent tres-expressementtt 
 aux Ecclesiastiques sous peine de suspense, de dire la Messe ou d'y servir en qualite de Diacres, de 
 Soudiacres ou ft lnduts, avec un Amit sur la tete. Lcs Ecclesiastiques disent-ils celebreront la sainte 
 Messe, ouy assisteront le celebrant, avec la tete nue, et non couverte de la calotte ou de V Amit, sous peine 
 de suspension et imprimeront par une modestie exemplaire, dans V esprit des peuples, Vhonneur et le respect 
 qui est du aux choses saintes 
 
 Mais au reste si l'usage de dire la Messe avec un Amit sur la tete, n'est pas fort regulier, il n'est pas 
 non plus fort ancien, quoi qu'en pense le Docteur Navarrre. 
 
 I. Parce que n'etant fait nulle mention de l'Amit parmi les ornemens sacres avant l'empire de Char- 
 lemagne, il semble qu'on n'a commence de s'en servir dans l'Eglise Latine, qu'au neuvieme 3iecles,JJ et 
 que les prieres que Ton dit en le mettant ne sont pas plus anciennes. C'est peut-etre pour cela que dans 
 l'Eglise de Milan et dans celle de Lyon, l'on ne met l'Amit qu'apres l'aube et la ceinture, comme le 
 temoigne Monsieur le Cardinal Bona.§§ La meme chose se pratiquoit autrefois a Rome selon le premier|| || 
 et le cinquieme^|^[ Ordre Romain du Pere Mabillon, et les Maronites la pratiquent encore presen- 
 tement.*** 
 
 se revetant d'Amicts et d'Aiibes Partes et ont en tous temps l'Amict sur la tete, qu'ils n'abaisent que depuis le Sanctus 
 jusqu'a la communion. (St. Etienne de Bourg-es.) Leurs Aubes ne sont pas par parees mais seulement leurs Amicts. — 
 De Muleon Voyages Liturgiques en France. 
 
 * De consecrat. dist. 1. t V. Missa. n. 9. J V. eod. 1. n. 2. In Sum. § V. eod. n. 7. 
 
 || V. eod. n. 18. In Sum. If V. eod. n. 17. in Aphoris. Confess. ** Tract. 1. Examen. 11. c. 2. 
 
 tt Tit. 1. de Service divin. U [This assertion is denied by other Ecclesiastical commentators. — A. W. P.] 
 L. 1. Rer. Iiturg. c. 24. n. 3. et 1. 2. c. 1. n. G. |||| n. 0. p. 0. et 7. Tom. 2. Mussei Italici Mabillon. 
 
 H 11 n. 1. p. GG. Ibid. *** Mabillon. Not. in Ord. Rom. 1. n. 6. 
 
31 
 
 II. Parce que les Ecclesiastiques n'ayant assiste a. l'Office la tete couverte que vers le milieu du 
 treizieme siecle (l'exception toutesfois des Eveques, s'il est vrai qu'ils y aient assiste en Mitre avant ce 
 tems-la) il est extremement probable que les Pretres n'ont dit la Messe la tete couverte, que long-tems 
 apres, parce que, comme on vient de le dire, ils ont toujours marque plus de respect en celebrant les 
 divins mysteres, qu'en assistant aux autres Offices de l'Eglise. Aussi l'Eglise ne leur a-t-elle donne 
 permission de porter la calotte a l'autel que depuis quelque vingt-six ans. 
 
 III. Parce que l'Amit, de soi et par son institution, n'est pas tant pour couvrir le tete, que pour 
 couvrir le cou et les epaules. Fortunat Archeveque de Treves ne le rapporte qu'au cou pour la conser- 
 vation de la voix et de la parole. " Amictus" dit-il* u est primum vestimentum nostrum, quo collum 
 undique cingimus. In collo est namque vox, idebque per collum loquendi usus exprimitur. Per 
 amictum intelligimus custodiam vocis." 
 
 Le Ceremonial des Eveques en fait de meme, lorsqu'il explique la maniere dont l'Eveque, le Diacre 
 et le Soudiacre, se revetent de l'Amit. II dit de l'Eveque :f " Diaconus et Subdiaconus orTerunt 
 Episcopo amictum osculandum in medio ubi est designata parva crux, mox ilium diligenter aptant circa 
 collum Episcopi, ita ut vestium summitates, quae vulgo collaria vocantur, omnino tegat, deinde chordulas," 
 etc. Puis de Diacre :J Amictum sibi aptabit circa collum, ita ut collaria tegat, mox albam, &c. Et 
 enfin de Soudiacre : Accipit paramenta sibi convenientia, quae eadem fere sunt quae superius Diacono 
 conveniunt, excepta stola." 
 
 Hugues de S. Victor au contraire ne rapporte l'Amit qu'aux epaules, sans parler ni de la tete, ni du 
 cou. " Humeros" dit-il§ " quibus onera portantur, amictu velamur, ut jugum Christi patienter ferre 
 doceamur.'' Innocent III. dit dans le meme sens :|| " Lotis manibus Sacerdos assumit amictum, qui 
 supra humeros circumquaque difrunditur." Onufre Panuin dit aussi ce qui fait^[ Anabolagium, alias 
 Anaboladium, d verbo Graco avafiaWo/xai, quod est suprajicio, vel rejicio, appellabant amictum album 
 lineum, qui, quod humeris imponeretur, superhumerale etiam vocabatur. Et voici l'oraison que le Pretre 
 doit dire en prenant l'Amit, selon la Messe d'lllyricum, qui est l'ancienne Messe Romaine, a quelques 
 oraisons pres qui y ont ete ajoutees :** "Humeros nostros sancti Spiritus gratia tege Domine, 
 renesque nostros vitiis omnibus expulsis praecinge, ad sacrificandum tibi viventi et regnanti in saecula 
 saeculorum.'' 
 
 La verite est que Rupert,ft Guillaume Durand^ et quelques autres ecrivains ecclesiastiques, assurent 
 que le Pretre doit se couvrir la tete de l'Amit, et que l'oraison Jmpone Domine capiti Sfc. insinue la 
 meme chose. Mais ni cette oraison, ni ces ecrivains ne marquent pas que le Pretre le doivent tenir sur 
 sa tete pendant la sainte Messe hors le Canon, comme l'on fait en quelques Eglises, II doit seulement le 
 mettre d'abord sur sa tete, puis le rabattre sur son cou et sur ses epaules avant que d'aller a l'autel, 
 parce qu'il doit avoir la tete nue a l'autel. Et voila la raison qu'en apporte Monsieur Grimaud Chanoine 
 et Theologal de Bordeaux, dans sa Liturgie sacree. " Le Pretre" (dit-il§§) "met l'Amit sur sa tete et le 
 prend comme un beaume. Mais parce que pour offrir ce sacrifice il doit avoir la tete decouverte, en le 
 mettant, il le fait descendre sur le col et sur les epaules." Voila quel est le vrai usage, l'usage legitime 
 de l'Amit dans l'Eglise Latine. 
 
 Mais enfin dans les Eglises meme ou les Pretres, les Diacres, les Soudiacres et les Induts, portent 
 l'Amit a l'autel, ils l'abattent sur le cou durant l'Evangile, et depuis la Secrete, ou depuis la Preface, 
 jusqu'apres l'ablution, et le Soudiacre le tient encore ainsi abattu pendant qu'il chante l'Epitrc, comme 
 le disent fort nettement le nouveau Missel,|||| et le Ceremonial de Paris,flf Et cette maniere d'abattre 
 l'Amit sur le cou pendant la Messe, nous marque deux choses. La premiere qu'il reste encore de grands 
 
 * L. 2. de Divin. Offic. c. 17. f I- 2. c. 8. t k 1- 9. § L. 1. Erudit. Theolog. c. 40. 
 
 || L. 1. de Myster. Missae.c. 50. If In Interpretat. voc. &c. ** Ad calcem libri de reb. Liturg. Card. Bona. 
 tf-L. 1. de Divin. Offic. c. 19. \\ L. 3. Rational, c. 2. n. 1. et 3. |§ P.l.c. 6.n. 1, 
 
 HII Tract, de Ritib. in Missa servand. c. i. art. 5, 6, 7. art 12. et c. n. art. 9. 
 HIT P. 2. c. 2. n. 2. et 24. c. 5. n. 3. et c. 7. n. 3. 
 
32 8mta* 
 
 vestiges de la Tradition et de la Regie de l'Apotre saint Paul dans les Eglises meme qui semblent s'en 
 etre les plus eloignees en ce point. Et la seconde qu'il n'y a que la necessite qui oblige les Ecclesiastiques 
 de se couvrir la tete durant la celebration des saints mysteres, puisqu'ils ne le font qu'en hyver et dans 
 la seule vue de se garantir du froid de la tete et des rhumes. — Thiers Histoire des Perruques, chap. viii. 
 pp. 96-106. 
 
 De Vert — Explication des Ceremonies de la Messe. 
 3. L'Amict se mettoit autrefois sur la teste.* Comme l'ymettent encore, dumoins en allant a l'Autel, 
 ceux qui, en celebrant la Messe, retiennent toujours l'ancien capuce ou capuchon d'etoffe ; tels que 
 sont la plupart des Religieux et quelques Chanoines seculiers ; par example, ceux de l'Eglise de Langres^ 
 de Narbonne, &c, ou l'Amict se met encore sur le Chaperon. II est vray que les uns ni les autres ne le 
 conservent pas long-temps sur la teste, et que regulierement ils se decouvrent par respect, en arrivant a 
 l'Autel et en commencant la Messe. Tel etoit aussi l'usage de plusieurs autres Eglises, de ne rabbattre 
 ce linge qu'a l'Autel. Mais enfin communement par tout, principalement dans les Eglises seculieres, 
 on regard aujourd'huy comme plutot fait, de l'abbaisser et le mettre sur le cou, des la Sacristie et en 
 s'habillant. Seulement quelques Pretres, par un reste d'impression de l'ancienne coutume, observent 
 toujours de faire toucher cet habillement a. leur teste, avant que de le mettre sur le cou. Et meme 
 les Capucins le mettent sur la teste nue en s'habillant et non sur le Capuchon, et le portent ainsi jusqu'a 
 l'Autel ; ou, venant a se decouvrir, ils le laissent tomber dans le Capuchon. Et de meme, en retournant 
 a la Sacristie apres la Messe, ils se couvrent de nouveau la teste de l'Amict seul. Ceux qui celebroient 
 sans Capuchon, faisoient retomber cet habillement sur la Chasuble ; et c'est ainsi qu'on en use encore a 
 Paris, a la Rochelle, &c. L'Eveque observe toujours aussi a l'Ordination, d'en couvrir la teste du Soudi- 
 acre. Imponit super caput singulis, dit le Pontifical Romain ; mais ce Ministre le rabbat dans la suite 
 sur le cou, selon le rit le plus usite. A Paris, on le porte encore en hyver sur la teste, jusqu'a la secrete ; 
 a. la Rochelle et a Angers hyver et este, jusqu'au commencement du Canon. Et en ces trois Eglises on 
 le reprend apres la Communion. A Soissons, les Pretres qu'ils appellent Cardinaux (pour la raison que 
 nous avons marquee en notre premier Volume, pages 56 et 57.) n'otent point l'Amict de dessus leur 
 tete, pendant toute la Messe, qu'autrefois ils celebroient conjointement avec l'Eveque, et a laquelle 
 aujourd'huy, ils se contentent d'etre presens dans le Sanctuaire et autour de l'Autel, sans y avoir d'autre 
 part que le reste des assistans ; ce qui fait qu'ils sont toujours assis. Et c'est ce que je pris la liberte de 
 repondre en 1684, a feu M. l'Eveque de Soissons (Charles de Bourlon,) lorsque, peu content de cette 
 posture de ses Pretres Cardinaux, il me fit Fhonneur de me demander ce que j'en pensois. Je luy dis 
 que cette situation convenoit assez a des gens oisifs : mais que pour faire lever ces Pretres, il n'avoit qu'a 
 les obliger de concelebrer avec luy, suivant l'ancien usage, encore observe en quelques Eglises, princi- 
 palement le Jeudy-Saint. — Vol. ii. pp. 254 — 256. 
 
 Durandi Rationale. 
 
 " The celebrant, after washing his hands, takes the Amice, which is properly the covering for the 
 head ; to which is applied what the Apostle says, Ephesians, vi. Take the helmet of Salvation. It is an 
 emblem, then, of salvation. It signifies also purity of heart, because it encompasses the breast. Falling 
 over the shoulders it designates strength to labour ; as the Apostle exhorts St. Timothy to " labour as a 
 good soldier of Christ Jesus." — II. St. Timothy, ii. 3. In some places, however, there is a commendable 
 
 * On voit sous le grand Autel de l'Abbaye de Saint Acheul, pres d'Amiens, la figure deS. Firmin, premier Evequeet 
 Martyr d'Amiens, representee en relief sur son toinbeau de pierre, qu'on rapporte au commencement du VII. siecle, avec 
 ses habits Sacerdotaux ou Pontificaux, comme on voudra dire (car e'etoit assez la meme chose dans les premiers temps, 
 ainsi que nous dirons plus bas) la teste enveloppee de l'Amict, en forme de Capuchon fort serre. Qu'on juge apres cela 
 qu'elle foy on doit ajouter, a ce qu'avance M. Thiers, en son Traite des Perruques, qu'on n'a commence a se servir de 
 l'Amict dans l'Eglise Latine, qu'au ix. siecle. — [This effigy must have been executed long posterior to the seventh 
 century. — A. W. P.] 
 
33 
 
 custom of putting on a linen Alb or Surplice first, over the cassock, and then the Amice over it, by which 
 is signified that faith must go before good works. The Amice is also turned down over the neck of the 
 Vestment, to shew that good works ought to spring from charity. The Amice also binds the throat, to 
 be a check upon the voice and tongue. The head is covered, that the eyes may not wander and distract 
 the mind. The Amice, wherewith the priest is shrouded, signifies also the Veil of Christ's flesh ; for 
 the head of man is Christ. — 1 Cor. xi. 3. And therefore the head is veiled to shew that the Divinity 
 was hidden in the flesh, and by the flesh was made known. Lastly, the Amice represents the cloth 
 with which the Jews covered our Saviour's face, when they said Prophesy unto us, O Christ, who is he 
 that struck Thee. — Matt. xxvi. 68. 
 
 Amices were formerly richly ornamented with gold and embroidery. Georgius de Lit. Rom. Pont, 
 torn. i. p. 133. Antiquitus amictus aureis texturis exornari consuevit; nam in testamento Riculfi 
 Episcopi Helenensis condito a.d. 915, habetur Riculfum legasse ecclesiae suae amictos cum auro 
 quatuor. Victor Papa III. a.d. 1087, dono dedit monasterio Casinensi Camisos magnos deauratos cum 
 amictis suis duos, et alios de serico septem. Fulco Imperialis Judex obtulit a.d. 1197 ecclesiae S. 
 Margaritae prope urbem Vigiliarum in Apulia unum amictum cum frisio magno. Item duos amictos 
 cum grammatis. 
 
 These embroidered or apparelled amices were generally used in the English church, previous to the 
 reign of Edward the Sixth. 
 
 Duo Amictus de filo aureo aliquantulum lati et plani. Item, Amictus cum puro aurifrigio veteris 
 ornatus. Item, Amictus breudatus de auro puro, cum rotellis, et amatistis, et perlis. Item, Amictus 
 planus per totum de aurifrigio. Item, Amictus Rogeri de Weseham, habens campum de perlis Indicis, 
 ornatus cum duobus magnis episcopis et uno rege stantibus argenteis deauratis, ornatus lapidibus vitreis 
 magnis et parvis per totum in capsis argenteis deauratis. Item, Amictus cum parura de rubeo sameto 
 breudato cum imaginibus. Item, Amictus cum parura contexta de nodulis de filo aureo, viridi et 
 rubeo, serico cum nodulis serico compositus de magnis perlis albis, de dono Ricardi de Gravesende 
 Londinensis episcopi. Item, Parura amictus cum campo de perlis albis parvulis cvim floribus et 
 quadrifoliis in medio, et platis in circuitu per limbos argenteos deauratos, cum lapidibus et perlis ordine 
 spisso serico insertis in capsis argenteis et sex bullonibus de perlis in extremitate. Item, Amictus 
 diversis scutis breudatus. Item, Amictus cujus parura de serico novo consuta. — Dugdalefs Hist, of 
 St. Paul's Cathedral. 
 
 The apparells were sewed on to the Amices, and when these were fastened round the neck, they 
 formed the collar which is invariably represented on the effigies of ecclesiastics. In the list which I 
 have given above, the apparell is sometimes mentioned by itself, (as Parura Amictus) sometimes in 
 conjunction with the Amice, (as Amictus cum Parura.) When the Amice was pulled up over the head, 
 the apparell appeared like a Phylactery. (See Wood-cut.) 
 
 In the Plate representing the procession of Palms in Picart's Ceremonies Religieuscs, Vol. 2, the 
 officiating clergy are figured wearing apparelled Amices on their heads. 
 
 SlnttSlSu (Almutium) confounded by Du Cange with the Amice (Amictus), 
 was a hood of fur, worn by Canons, intended as a defence against the 
 cold, whilst reciting the Divine Office. 
 
 It is found in brasses ; the points coming down in front, something like a stole. In this respect it 
 was worn somewhat differently from the present mode of wearing it on the Continent. The usual 
 colour was grey, (almutiis grisiis vestiti) : but for the cathedral chapter, white ermine ; in some few 
 cases, where the bishop was a temporal prince, spotted ; the tails of the ermine being sewed round 
 the edge. The academical hood is a distinct thing from the Amess, though not wholly dissimilar. 
 
 F 
 
34 
 
 ampul. A small vessel, vial, or crewett, used for containing consecrated 
 
 Coil or wine and water for the eucharistic sacrifice. 
 ^> Item, an Ampul plain, with a foot silver and gilt, and a spoon with an 
 
 acorn ordained for Chrism ; Item, an Ampul of berral, closed in silver and 
 gilt for the Oleum Sanctum, with a spoon having an acorn in the top : 
 Item, an Ampul of glass, wherein is contained the Oleum Infirmorum, 
 with a spoon of silver and an acorn in the top. — Inventory of the Cathedral 
 Church of Lincoln. — Dugdale's Monaslicon. 
 A vial containing sacred balm, that was used in anointing the Kings of 
 France at their Coronation, was found at Rheims in the custody of the 
 Grand Prior of the monastery of S. Remi, and was commonly known as 
 the Sainte Ampoule. The origin of this interesting relick is lost in anti- 
 quity; the legends related concerning its miraculous introduction and 
 powers not having sufficient weight and authority to warrant their reception ; 
 but there is no doubt that it was used for its sacred and important purpose 
 for many centuries. 
 
 AMPUL. It was composed of antique glass, about an inch and a half in height, 
 
 seven-eighths of an inch in circumference at the neck, and thirteen-eighths at the base ; the balm which 
 it contained was of a reddish colour, and so thick as not to be transparent. In the year 1/60 the vessel 
 appeared about two-thirds full. 
 
 When a king of France was to be crowned, a small portion of this balm extracted on the point of 
 a golden pin, was mixed with the holy Chrism. 
 
 On the morning of the Coronation the holy Ampul was brought by the Prior of S. Remi in great 
 state, from the monastery to the Cathedral, where the procession was met by the Archbishop, who 
 deposited the vessel on the altar ; and after the ceremony it was returned to the custody of the Grand 
 Prior, who was conducted back to the monastery in the same manner as he came. 
 
 This vial was inclosed in a reliquary, representing a golden dove, encompassed by a circlet of silver 
 gilt, set with jewels, and attached to a silver chain, by which it was suspended round the neck of the 
 Prior, when carried in procession. 
 
 Shortly after the execution of the unfortunate Louis the XVI th, this most venerable relick was 
 destroyed by a violent republican of the name of Ruhl. — Tresors de VEglises de Rheims par Prosper 
 Tarbe,f. 200. 
 
 Ampulla est vas amplum, sive olla ampla in quo servatur vinum vel aqua. — Ducange, fol. 404. 
 
 Shuftor* An emblem of hope and trust. 
 
 Small anchors made of the precious metals were frequently offered in churches and at shrines, by 
 seamen delivered from imminent danger. 
 
 Appurtenances to the tomb of the lord Scrope. — 10 silver ships with a silver anchor: Item, an 
 anchor and 77 hooks : Item, 4 anchors and hooks. — Inventory of plate and jewels formerly belonging to 
 York Minster. — Dugdale's Monasticon. 
 
 I desire my executors to cause four images of gold, each weighing 20lbs., to be made like unto 
 myself, in my coat of arms, holding an anker betwixt my hands, and so to be offered and delivered in 
 my name as follows : one at the shrine of St. Alban to the honour of God, our Lady, and St. Alban ; 
 another at the shrine of St. Thomas of Canterbury ; the third at Bridlington, in Yorkshire ; and the 
 fourth at the shrine in the church of St. Winifred, at Shrewsbury .— Will of Richard Earl of War- 
 wick — Tcstamenta Vetusta, Vol. 1. 232. 
 
35 
 
 $ngtl£»* Of good angels there are nine degrees, which may be classed as 
 follows : Seraphim, Cherubim, Thrones, Dominions, Virtues, Powers, 
 Principalities, Archangels, and Angels. 
 
 Durandus. — " Angel is the name, not of an order of beings, but of an office, and means messenger : 
 wherefore Angels are represented with wings. Archangels are principal or Chief Angels. Among 
 these, the name of Gabriel denotes ' the Power of God ;' Michael, e who like God ?' Raphael, ' the 
 Healing of God f Uriel, < the Fire of God.' 
 
 S. Dionysius relates that there are three Hierarchies of Angels, and three Orders in each. The 
 three highest are, Cherubim, Seraphim,* and Thrones ; the three middle ones, Dominions, Princedoms, 
 Powers ; the three lowest, Virtues, Archangels, and Angels. 
 
 Two Cherubim of beaten gold were figured on the Propitiatory, under the Law, — Exodus, xxxvii. 7- 
 Cherubim signifies the ' plentitude of knowledge ;' Seraphim, e burning,' i. e. with Divine Love." 
 
 Sylvanus Morgan. — " Seraphim, whose chief is Uriel, are represented with wings, signifying their 
 spiritual motion ; and their ardent affection is signified by a flaming heart. Their office is to sing 
 continually the praises of God. 
 
 Cherubim, signifying fulness of knowledge and wisdom, are represented young, having four wings to 
 cover their faces and feet, (and in the Ark of old they did signify to the Jews God's presence,) and 
 looking one upon another : of this order was Jophiel. 
 
 The last of the first triplicity is Thrones, represented kneeling, whose ensigns are a palm and a 
 crown, representing Equity and Justice, under the dominion of Zaphkiel. 
 
 Dominions, disposing of the office of angels, whose ensign is a sceptre, under the regiment of 
 Zadchiel, bearing a sword and cross. 
 
 Virtues, being a degree of angels that execute His holy Will, whose ensign is a crown of thorns in 
 the right hand, and a cup of consolation in the left ; their principal is Haniel. 
 
 Powers, being the assistant spirits, to withstand the power and assaults of evil angels, under their 
 chief captain, Raphael, whose ensigns are a thunder-bolt and flaming sword. 
 
 Principalities, which take charge of Princes, to the bridling of their power and might, whose ensign 
 is a sceptre and girdle across the breast, being the angel guardians of kingdoms, whose chief is Camael. 
 
 Archangels are extraordinary ambassadours, whose ensign is a banner hanging on a cross, as repre- 
 senting victory ; and armed, having a dart in one hand, and a cross on the forehead, whereby Michael 
 and his angels warred with the devil and his angels. 
 
 Angels, having the government of men, being messengers of grace and good tidings, — men being 
 made little lower than the angels, — to whom Gabriel brought the glad tidings of peace ; whose ensign 
 is a book and a staff ; they are represented young, to shew their continual strength ; and winged, to 
 shew their unweariedness ; and girt, to shew their readiness : — their garments either white, to shew 
 their purity, or gold, their sanctity and glory ."f — Sphere of Gentry, by Sylvanus Morgan. 
 
 Angels are often represented by the artists of the fourteenth, fifteenth, and sixteenth centuries as 
 
 * Seraphim are represented with six wings, according to the Vision of Isaiah :— " Upon it stood the Seraphims: the 
 one had six wings, and the other had six wings." — Isaiah, vi. 2. 
 
 f Grimbaud, in his treatise on La Liturgie Sacree has printed a most interesting commentary of Innocent the 
 Third, on the Preface of the Mass, with reference to the angelic spirits. It is as follows : — " Le second point, que j'ay 
 reserue a examiner sur la Preface, est sur une remarque faite par Innocent III., qui est en verite digne de son esprit, et 
 qui merite d'estre releuee ; afin de nous rendre plus attentifs sur tout ce qui se dit et se fait en ce Mystere. C'est tou- 
 chaut les mots qui suiuent apres ceux que nous venons d'examiner pour les Chceurs des Anges qui sont icy nominez: — 
 Per quem Majestatem tuam laudant Angeli, adorant Dominationes, tremunt Potestates ; Cceli, Ccelorumque Virtutcs ac 
 heata Seraphim socio, exultatione eoncelebrant, $e. La difficulte est, en ce qui l'Eglise en ce lieu ne fait mention que de 
 six Chceurs, qui exaltent Dieu, et passe les autres en silence ; coinme s'ils en estoient exclus, et qu'ils manquassent a ce 
 
3G 
 
 vested in copes, chasubles, dalmatics, and tunacles ;* also in apparelled albes with stoles ; but in the 
 earlier works they are usually figured in albes, white, with gold wings, and barefooted.t Sometimes 
 angels were drawn as feathered all over like birds ; and this representation is by no means uncommon 
 in carving and stained glass of the latter part of the fifteenth century. Examples are to be found at 
 Tattershall Church, Beauchamp Chapel Warwick, Wells Church Norfolk, Southwold Church Suffolk, 
 and many others ; but the effect is far from good, bordering indeed on the ludicrous, and the idea is 
 not warranted by the traditions of Christian antiquity. 
 
 Cherubim are frequently represented of a bright red colour, to set forth the intensity of Divine 
 Love ; and usually standing upon flaming wheels, in reference to the vision of the prophet Ezekiel : — 
 
 " And when the living creatures went, the wheels went by them : and when the living creatures 
 were lifted up from the earth, the wheels were lifted up. Whithersoever the spirit was to go they went, 
 thither was their spirit to go ; and the wheels were lifted up over against them, for the spirit of the 
 living creatures was in the wheels." — Ezekiel, chap. i. 19, 20. 
 
 In the fifteenth century, St. Michael was usually represented in complete armour ; but in earlier 
 works, simply in an albe, which is far more consistent. The body armour savours too much of human 
 conflicts. In the church of St. Michael the Archangel, at Ravenna, a.d. 545, St. Michael and St. 
 Gabriel are represented standing on either side of our Lord. They are thus described by Ciampini, 
 P. ii. c. viii. 
 
 " Ad ejusdem Salvatoris dexteram stat beatus Michael Archangelus, ut ipsa epigraphe designat, qui 
 arundinem, sive baculum aureum, cum parva cruce in summitate gestat. Baculum nil aliud innuere 
 autumo, nisi baculum viatorium ; cujus forma etiam apud Episcopos pro cambuca inserv iebat ; de 
 hujusmodi baculis disseruimus in nostro opere, Vet. Mon. parte 1. cap. 15. — (See Staves). Ad ejus- 
 
 devoir. Pour bien entendre la question, il faut supposer ce que la Theologie enseigne, apres l'auoir appris, tant des saintes 
 Lettres, que des anciens Peres de Saint Denys, Saint Ignace, Saint Gregoire de Nazianze, Saint Athanase, Saint 
 Gregoire le Grand, et autres ; lesquels assurent que ces nobles Intelligences sont diuisees en trois Hierarchies dont 
 chacune contient trois Chceurs ; si bien qu'ils sont distribuez en neuf Chacuns. Le premier en montant, est celuy des 
 Anges ; parce que bien que ce nora d'Ange soit commun a tous les Esprits celestes, toutefois il est propre a ceux qui 
 tiennent le premier Choeur : le second, des Archanges ; le troisieme, des Virtus. Voila pour la premiere Hierarchic 
 En la seconde sont les Puissances, les Principautez, et les Dominations : En la troisieme et plus haute, les Thrones, les 
 Cherubins, et les Seraphins. De ces neuf choeurs la Preface n'en nomme que six, et laisse les autres trois : et encore de 
 ces trois, elle en omet vn de chaque Hierarchie, que est celuy qui tient le milieu. De la plus basse, elle laisse les 
 Archanges ; de la inoyenne, les Principautez ; de la troisieme et superieure, les Cherubins : ou il faut prendre garde auec 
 ce docte Pontife, que sans le nom des Cieux, Cceli, il faut entendre le Chceur des Thrones, qui est le premier de la plus 
 haute Hierarchie ; qui sont ainsi appellez, par le rapport qu'ils ont avec le Ciel qui est nomme Throne de Dieu. Disons 
 maintenant, a quoy sert vne telle omission, a quoy sert cette preference dans vne partie de la Messe si solennelle 1 Est 
 ce que les Archanges, les Principautez, les Cherubins manquent de zele, ou qu'ils ont moins de ferueur a servir, adorer, 
 et loiier Dieu ? Ce seroit vn crime seulement de le penser : C'est, dit ce grand Pontife, qu'en ces trois Hierarchies, et 
 en ces neuf Choeurs de ces Celestes creatures, Dieu a voulu grauer la similitude de son ineffable Trinite ; coinme en tous 
 ses ouvrages il en a imprime quelque vestige ; Mais bien plus expressement en ces nobles Esprits, si nous considerons 
 seulemont cet ordre admirable, dans lequel ils ont este produits, et dans lequel ils paroissent auec tant de g-loire et de 
 splendeur en la celeste Hierusalem ; benissant et magnifiant incessamment par leurs Choeurs, qui font le nombre de trois 
 fois trois, les trois Personnes de la Trinite, dans la verite de leur Essence ; neaninoins comme elles sont au rang des 
 creatures, ayant leur estre finy, quelque nobles et parfaits qu'elles soient, et de quelques qualitez naturelles ou surnatu- 
 relles qu'elles soient douees, elles ne peuuent representer cette Diuine Trinite, qu'auec vn extreme rabais et diminution, 
 comme dit tresbien ce grand Homme. C'est pourquoy l'Eglise interromp l'ordre des Choeurs Angeliques, et n'en nomme 
 que deux de chaque Hierarchie, bien qu'ils soient trois ; afin de faire entendre cette verite, et que ces trois ordres des 
 Anges sont insuffisants pour representer au vray la Diuine Trinite en sa perfection et sublimite." 
 
 * These vestments, when represented on angels, should be all of cloth of gold, diapered with orphreys of pearls and 
 precious stones. The angels sculptured in the arches of the magnificent Portals of Amiens cathedral, are represented 
 habited in tunics and dalmatics, holding crowns, candlesticks, thuribles, and incense ships. 
 
 f Barefooted, as always ready to carry the glad tidings of which they are the messengers. 
 
Stofflttamim $pu&— Banner* 
 
 37 
 
 dem Salvatoris sinistram pariter stat Gabriel Angelus, eadem forma ut alter vestitus, baculumque itidem 
 manu perstringens." 
 
 Above, there is another image of our Lord, with angels on either side, thus described : — " Prope 
 Salvatorem duo cernuntur Angeli, alter scilicet ad dexteram, alter vero ad sinistram, vestibus palliisque 
 albis induti ; cum alis verb et stolis violacei coloris, auream arundinem manibus tenentes. Quatuor 
 itidem ad dextram, tres ad sinistram sunt angeli, simili forma induti, qui tubas aureas in sonandi actu 
 ori admotas retinent," &c. 
 
 In Christian design, Angels are continually introduced : — in sculpture and painting, as corbels, 
 bearing the stancheons of roofs ; as bosses, or in pannels and spandrils bearing labels with scriptures, or 
 emblems of sacred things, or (in late designs) shields of arms ; supporting the head of a monumental 
 effigy ; on shafts and beams holding candlesticks ; as reliquaries bearing phials in their hands ; in 
 adoration round sacred symbols, or persons ; winged, with the hands extended, and standing on wheels. 
 The representation of winged cherubim are most appropriate in chapels devoted to the reservation of 
 the Blessed Eucharist, as they were intended, under the Mosaic dispensation, to signify in an especial 
 manner the presence of God. 
 
 The nine orders of angels are frequently introduced in the magnificient Rose windows of the con- 
 tinental churches, diverging from the centre in nine circumferences of rich tracery. 
 
 On the revival of Pagan design, in the sixteenth century, the edifying and traditional representations 
 of angelic spirits were abandoned, and in lieu of the albe of purity and golden vests of glory, the artists 
 indulged in pretty Cupids, sporting in clouds ; or half naked youths, twisting like posture-masters, to 
 display their limbs without repose, dignity, or even decency of apparel. 
 
 SUtgltrattum <2&pu& The English embroidery of sacred vestments was so 
 famous during the middle ages, as to be known on the Continent under 
 this denomination, and was so described in antient inventories. 
 
 Quinque aurifrigia quorum tria sunt de opere Cyprensi, et unum est de opere Anglicano. — 
 Ducange, 438. 
 
 9totiuentltum* See Frontal. 
 8ppa«U« See Albe. 
 
 gpe. Introduced as a symbol of lust, and therefore generally found in the 
 subsellse of stalls, placed under a seat as a degradation and mark of 
 contempt.* 
 
 In several illuminations at the head of the seven Penitential Psalms, representing David looking on 
 Bathsheba, an ape, chained to a tree, is introduced, in allusion to the sin of the Psalmist. 
 
 grrljawreK See Angel. 
 
 8tT0ili£», are sometimes introduced as marks of martyrdom, as for St. Edmund 
 the king, also as emblems of pestilence, death, and destruction ; and 
 occasionally as a rebus on the name of Fletcher, being the name by which 
 the makers of arrows were formerly known. 
 
 33aniuU\ For example, see Title Page. 
 
 Every church was antiently provided with one or more banners to bear in the processions, on 
 rogations, and other holy days. Banners were also hung up in churches as cxvotos in token of victories. 
 
 * For the same reason, other emblems and representations of a similar description, are frequently found under Stalls. 
 
38 
 
 Banner,— 33a$on 
 
 " The king of Scots' antient and his banner, with divers other noblemen's antients, were all brought 
 to S. Cuthbert's feretory ; and there the said Lord Nevil made his petition to God, and that holy man 
 S. Cuthbert ; and offered the jewells and banners to the shrine of that holy and blessed man, S. 
 Cuthbert, within the feretory ; and there the said banners and antients stood and hung till the sup- 
 pression of the house." — Rites of Durham Abbey. 
 
 Description of a Banner formerly belonging to the same church, from the same work : — 
 
 Shortly after, the Prior caused a very sumptuous banner to be made with pipes of silver, to be put 
 on a staff five yards long, with a device to take off and put on the said pipes at pleasure, and to be kept 
 in a chest in the feretory, when they were taken down, which banner was shewed and carried about in 
 the abbey on festival and principal days. On the height of the uppermost pipe was a pretty cross of 
 silver and a wand of silver, having a fine wrought knob of silver at either end, that went over the banner 
 cloth, to which it was fastened ; which wand was the thickness of a man's finger, having at either 
 end a fine silver bell. The wand was fastened by the middle to the banner staff, under the cross. The 
 banner cloth was a yard broad, and five quarters deep, and the bottom of it was indented in five parts, 
 and fringed, and made fast all about with red silk and gold. It was also made of red velvet, on both 
 sides sumptuously embroidered and wrought with flowers of green silk and gold ; and in the midst 
 thereof were the said holy relique, and corporax cloth inclosed, which corporax cloth was covered over 
 with white velvet, half a yard square every way, having a cross of red velvet on both sides, over that 
 holy relique, most artificially compiled and framed, being finely fringed about the edge and skirts with 
 fringe of red silk and gold, and three fine little silver bells fastened to the skirts of the said banner 
 cloth, like unto sacring bells ; and being so sumptuously finished, was dedicated to holy St. Cuthbert ; 
 to the intent, that for the future, it should be carried to any battle, as occasion should serve ; and was 
 never shewed at any battle, but by the special grace of God Almighty, and the mediation of holy St. 
 Cuthbert, it brought home victory. Which banner cloth, after the dissolution of the abbey, fell into 
 the possession of Dean Whitingham, whose wife, called Katharine, being a French woman, (as is 
 credibly reported by eye witnesses), did most despitefully burn the same in her fire, to the open contempt 
 and disgrace of all ancient reliques." 
 
 a To ye berars of baneris on rogacion dais, and on holy thursday, and on Corpus Christi daii, viii' 1 , 
 for a baner for ye stepill ajenst our dedycation day xiii d ." — Churchwardens Account of St. Peter's, 
 Sandwich. — Boys' Collections. 
 
 De Moleon, in describing a procession at Laon, mentions the bearing of two banners ; one with the 
 representation of a dragon, and the other that of a cock : which he conjectured to signify the serpent, 
 crushed by the Blessed Virgin, patroness of the cathedral, (Ipsa conteret caput tuum), and the cock 
 in reference to the canons of St. Peter's. 
 
 The staves on which the banners were suspended were made in lengths and joined together by 
 screws, formerly called wrests. These staves were surmounted by crosses, devices, or images of saints. 
 An heraldic banner is attached to the staff on which it is carried by one side, while the ecclesiastical 
 banner is suspended from the top of the staff by means of a yard. 
 
 33aS01U Basons were used in churches for the following purposes : — 1. For 
 collecting alms and oblations. 2. For washing the hands of bishops 
 during the celebration of the sacred rites. 3. Suspended with prickets 
 to hold burning tapers before altars and shrines. 4. To hold the 
 crewetts containing the wine and water. 
 
 They were made indifferently of silver parcel or whole gilt, copper gilt, brass or latten, either quite 
 round or sexfoil, with enrichments of chasing, engraving, and enamelling. 
 
39 
 
 " Duae pelves argenteae cum ymaginibus regum in fundis deauratae, et scutis, et leunculis similiter 
 deauratis, de dono Philippi de Eye, ponderis C. Item, duae pelves argenteae cum fundis gravatis, et 
 flosculis ad modum crucis in circuita gravatis ponderantibus in toto Vmarc. X s ." — Inventory of 
 Old St. Paul's. 
 
 " Imprimis, two fair basons, silver and gilt, chased with 
 nine double roses, and in the circuit of one great rose, a 
 white rose of silver enamelled ; of the which, one weigheth 
 eighty-one ounces, and the other seventy-nine ounces, the 
 gift of the Lord Roulf Crombwell, one of them having a 
 spout like a lion's face. Item, two fair basons, silver and 
 gilt, plain, with a rose chased in the midst of either of 
 them ; having the arms on the back side, that is to say, 
 one having one scutcheon of azor, two cheverons gilt, 
 three roses silver, and the other an escutcheon of azor, a 
 falcon, gold, fitting upon a rose, with one scripture. Item, 
 two basons, silver and gilt, with two stems in the midst, 
 with troyfoyls within pounced ; of the gift of Philip, the 
 Bishop of Lincoln, weighing seventy-three ounces and a 
 half." — Inventory of Lincoln Cathedral. — Duydalefs Mo- 
 nasticon. 
 
 " Likewise there was pertaining to the said high altar 
 two goodly great basons of silver, one for principal days, double gilt, a large great one, and the other 
 bason for every day, not so large, being parcel gilt, and engraven all over. 
 
 Before the high Altar within the quire, were 3 fine silver basons hanging in chains of silver, one 
 on the south side of the quire, above the steps going up to the high altar ; the 2nd, on the north side 
 opposite to the first ; the 3rd, in the midst between them both, just before the high Altar. These three 
 silver basons had latten basons within them, having pricks for serges or great waxen candles to stand 
 on ; the latten basons being to receive the drops of the three candles, which burned day and night in 
 token that the house was always watching to God." — Rites of Durham Abbey. 
 
 Three most interesting and beautiful enamelled basons of the thirteenth centuiy, are figured in the 
 first volume of Willemin's Monumens Francais inedits. 
 
 a The custom of washing the hands, which bishops and priests use, before putting on the sacred 
 vestments, is most ancient, and found even in the Old Law. Moses was commanded to make " a 
 laver between the altar and the tabernacle, and to fill it with water," — Exod. xl. 7 : and in this laver, 
 Aaron and his sons washed their hands and their feet before they approached the altar. This custom 
 of washing the hands before prayer, and of praying with uplifted hands, is supposed to be alluded to 
 by S. Paul, where (1 Timothy ii. 8,) he wills that Christians " pray, lifting up pure hands, without 
 anger and contention." There are abundant testimonies to shew that not priests only, but all the 
 faithful in the first ages, washed their hands previously to entering churches. The words cantharus, 
 concha, nymphaeum, and with the Greeks phiala, are names of the vessel (answering to the H. Water 
 stoup,) which stood for this purpose near the entrance of their temples. These vessels usually appear 
 to have received the water from a spring, which, among the Greeks, was blessed once a year. The 
 priest, while washing his hands before celebrating, recites certain prayers, to obtain the grace of purity 
 of heart. A bishop removes his cappa (or mantiletto) and his ring, and vested in the alb or rochet, 
 receives water from the acolyth kneeling, and afterwards puts on the sacred vestments." — Georyius de 
 lotione manuum celebrantis, 8fc. p. 98. 
 
40 
 
 2$at»— Beams* 
 
 23at* This creature, between a bird and a beast, was frequently introduced 
 in ancient sculpture, especially under stalls. 
 
 " The Batt may signifie men of quick and secret execution." — Sylvanus Morgans Sphere of Gentry. 
 
 BauiJflqw* For patterns of baudekins, see Plates of Diapering. The 
 name given to precious stuffs, and for vestments and altar hangings. 
 
 Item, a baudekin cope wight with lions and hands of gold. Item, 6 baudekin copes, with leopards 
 passant gold and flowers, wight. Item, 8 baudekin copes, with lions rampant, gold. — Inventory of 
 York. — Dugdale's Monasticon. 
 
 Item, 2 altar cloaths of bawdkyn, with leopards and stars. Item, 2 altar cloths of white bawdkyn. 
 — Gunton's Hist, of Peterborough. 
 
 " Baldahinus, baldehinus. Pannus omnium ditissimus, cujus utpote stamen ex filo auri, subtemen 
 ex serico texitur, plumario opere intertextus, sic dictus quod Balducco, seu Babylone in Perside, in 
 Occidentales provincias deferretur. Vincentius Bellov. 1. 32. c. 30. Tertia Die fuerunt omnes in blaveis 
 purpureis, et quarta in optimis baldakinis, cap. 31. De Baldakino erat tectum superius, sed alii erant 
 panni exterius. Matth. Westmonaster. an. 1260. Tumbae (S. Albani) obtulit optimum baldekinum 
 Matth. Paris, a 1247. Dominus Rex veste deaurata facto de pretiosissimo baldakino . . . sedens. — Porro 
 vernacule Baudequin Galli et Angli dixerunt. — Gloss. MS. a Spelmanno laudatum : Baudekin, Cloth 
 of Silke Olosericus. Qua appellatione donata etiam legitur moneta minutior, cujus in commerciis usum 
 prohibendum efflagitarunt monetarii an. 1308. Item qu'e?i I'en face fair e la defense de Baudequins, qui 
 courent communement pour six deniers in veteri scripto Camera; Comput. Paris., forte quod Rex sub 
 Baldekino seu umbraculo in throno sedens, in ea repraesentaretur." — Du Cange, Gloss. 
 
 " I will that my red cloth of baudkyn be laid upon my body in the said church of Asshe, and so 
 there to remain for a perpetual remembrance." — Will of William Norreys — Testamenta Vetusta. 
 
 The word baudekyn was also used to signify a pall. 
 
 In the inventory of Old St. Paul's, under the head Baudehyni : — 
 
 " Item, baudekynus rubeus cum ymagine S. Petri, de funere Domini Henrici de Alemannia. Item, 
 baudekynus purpureus cum magnis rotellis et Leopardis, de funere Johannis de Bayllol. Item, 
 baudekynus rubeus cum magnis rotellis cum Aquillis et Leopardis in rotellis, de funere J. de Muchegros. 
 Item, baudekynus purpureus cum columnis et arcubus, et hominibus equitantibus infra de funere 
 Comitissae Britannia;. Item, baudekynus purpureus, cum una lista pulchra, et nodis et avibus infra 
 nodos de funere domini Ricardi de Montfichet. Item, baudekyni varii coloris ; scilicet rubei, Inch, et 
 albi cum Castellis, de funere H. filij Regis E." 
 
 A sort of imitation of baudekyn appears to have been occasionally used. 
 
 In the Lady Chapel, Ely Cathedral. " Item, an altar front of rede countrefete bawdkyn." 
 
 The principal manufacture of precious stuffs and cloths of gold at the present time, is carried on at 
 Lyons ; but the designs are mostly poor and unmeaning, composed without reference to symbolical 
 traditions, and are rather tawdry in effect. The splendid suit of rich baudekyn vestments presented to 
 St. Chad's Church, Birmingham, by the Earl of Shrewsbuiy, were composed of stuff manufactured at 
 Spitalfields. The pattern of stuff intended for chasubles should not be too large in detail, as there can 
 necessarily be but a small surface of the stuff visible at the same time. The design figured on old 
 chasubles generally consists of a multiplication of small parts, almost like powdering, which have a 
 rich effect without detracting from the effect of the orphreys. — See the tomb of John de Sheppy, 
 discovered a few years since, at Rochester Cathedral. 
 
 33fantS» Beams were antiently fixed or suspended in churches to bear lights 
 and Roods ; these were often overlaid with precious metals, and much 
 adorned with chasing, and sometimes even with jewels. 
 
Beam*— Beams 
 
 41 
 
 Brompton (ap. Du Cange). — " Of one beam of the said church he melted down 5000 marks of 
 silver, with which he supplied the hand of the king." 
 
 Chronicle of Atino,* a.d. 1061. — " He made also two beams of iron, one in the choir, and another 
 out of the choir, to place candles on." 
 
 Beams were sometimes transversely placed in arches, and over altars : — 
 
 Lives of the abbots of St. Albans (ap. Du Cange). — " The old transverse beam, which was 
 placed above the High Altar .... on which beam also the series of the twelve Patriarchs 
 and twelve Apostles, and in the midst a Majesty, with the Church and the Synagogue, is repre- 
 sented." 
 
 Hariulfus. Book II. ch. 9. — " We have taken care to divide the Reliques of the other Saints, in 
 twelve other smaller shrines, most gloriously adorned with gold and silver, or precious stones ; and to 
 place them over the beam which we have set in the arch over the altar of St. Richarius." Ch. 10. 
 " Lesser beams, with their arches enriched with silver." Book III. ch. 3. " Before the altar of the 
 same Saint stand six great columns of brass, adorned with silver and gold plates, supporting one beam, 
 likewise of brass, adorned with silver and gold plates. There are also three other smaller beams of 
 brass, adorned with silver and gold plates, round the altar or choir (round the absis of the choir), sup- 
 porting seventeen arches (arched pieces), made of brass, enriched with silver and gold, between which 
 stood images of beasts, birds, and men."f 
 
 Da Cange, Supplement, torn. 4. p. 46. {Beam on a Coin of Heraclius). — " I know not whether 
 the three lamps suspended from the beam do not indicate the very temple which Theophanes relates 
 was raised by the Blessed Helena, at Jerusalem, under the name of the Church of the Resurrection, 
 and the life-giving Cross treasured up there. For in sacred edifices lights were either hung from the 
 beams overlaid with gold, silver, or brass, or were placed upon them, whether the beams were fixed in 
 the walls of the temple, or whether they were disengaged and hung from the roof by little chains or 
 cords. Leo Ostiensis thus writes concerning these beams : ' A beam also cast in brass with candle- 
 sticks, 50 in number, in which so many wax-candles were placed on principal Feasts, 36 lamps hanging 
 below from the same beam on brazen hooks. Which brazen beam being supported horizontally by 
 brazen arms and hands, was suspended from a wooden beam, which Desiderius had most beautifully 
 sculptured and diapered^ with gold and colour.' Concerning such beams, Peter the Deacon, of 
 Casino, Hariulphus, the Chronicle of Atino, Brompton, and others have treated." 
 
 In the Monk Gervase's account of Canterbury Cathedral, quoted by Hasted in his History of 
 Canterbury, is the following : — " At the east corners of the High Altar were fixed two pillars of wood, 
 beautified with silver and gold : upon these pillars was placed a beam adorned with gold, which reached 
 across the church : upon it there were placed the Glory (see Majesty), the images of St. Dunstan 
 and St. Elphege, and seven chests or shrines overlaid with gold, full of the Reliques of many Saints. 
 Betw een those pillars was a cross, gilded all over, and upon the upper beam of the cross were set 60 
 bright crystals." — Hasted' s Hist, of Canterbury, p. 508. 
 
 Churchwarden's Accounts. " S. Mary Hill, London. — Scouring the latten candelstycks, standard 
 branches, bolles upon the beame, anenst Estir, Is. \\d. For nywe wax for the use of the church as 
 in beme-light tapers, prykkets, and candillis, 1/. 14s &d." — Nichols's Illustrations. 
 
 Beamsi, or ftapesL 
 
 Beams or rays of glory are frequently depicted round saints, and proceeding from the nebulae or 
 clouds. Under angels, they should always be blazoned or, on an azure field. 
 
 * An English Cistercian of the Abbey of Jorvale in the reign of Edward III. He wrote the Chronicle which goes 
 by his name. 
 
 t Query, were not these the Evangelistic Symbols ? J For interim fecerat, read interinfecerat ? 
 
 G 
 
42 
 
 35rasstsi* — Bee* 
 
 33eaS"tSu Beasts are introduced in Christian ornament to typify virtues and 
 vices, according to the natures of the animals represented. 
 
 For the particular signification of the various species, see the proper names. 
 
 33eatis!* The Rosary, or a chaplet, consisting of a certain number of beads of 
 various sizes, originally intended to assist the unlearned* to meditate 
 with greater edification on the Mysteries of the Christian Faith. 
 
 Alban Butler says, the Rosary is a practice of devotion in which by fifteen Our Fathers, and one 
 hundred and fifty Hail Marys, the faithful are taught to honour our Divine Redeemer in the fifteen 
 principal mysteries of his sacred life, and that of his holy Mother. It is therefore an abridgment of the 
 gospel history of the life, sufferings, and triumphant victory of Our Lord Jesus Christ, and an exposition 
 of what he did in the flesh, which he assumed for our salvation. 
 
 The Mysteries are divided into five Joyful ; five Dolorous ; and five Glorious. 
 
 The first are— 1. The Annunciation. 2. The Salutation. 3. The Birth at Bethlehem. 4. The 
 Adoration of the Wise men. 5. The Presentation in the Temple, and Purification of the B. V. M. 
 
 The second are, — 1. The Agony in the Garden. 2. The Flagellation. 3. Our Lord crowned with 
 Thorns. 4. Our Lord bearing his Cross. 5. The Crucifixion. 
 
 The third are, — 1. The Resurrection of our Lord. 2. The Ascension of our Lord. 3. The 
 Descent of the Holy Ghost at Pentecost. " 4. The Assumption of the Blessed Virgin. 5. The 
 Coronation of the Blessed Virgin, and the bliss of Heaven. 
 
 From the term Rosary, was probably derived the practice of carving roses on the larger beads between 
 the decades, and the whole of the mysteries are occasionally represented on a large rose. See Plate 
 LX. In some curiously wrought rosaries the small beads are carved into roses and buds, while the 
 large beads are three-sided ; on every side one of the mysteries, cut in a trefoil. 
 
 The materials of which rosaries are composed, have varied according to the wealth or taste of the 
 possessor. In general they are formed of seeds, beads, or hard wood turned ; but they are occasionally 
 worked in the precious metals, enriched with stones and enamels. 
 
 Mrs. Howard, of Corby Castle, has still in her possession a rosary of massive gold, used by the 
 unfortunate Mary, Queen of Scots, when on the scaffold. 
 
 33ft* Bees were regarded by the Egyptians as an emblem of regal power, 
 and it is probable that the same signification was attributed to them in 
 the middle ages.-j- 
 
 " Bees have three properties of the best kind of subjects : they stick close to their king : they are 
 very industrious for their livelihood, expelling all drones. They will not sting any but such as first 
 provoke them, and then they are most fierce." — Guillim , s Heraldry. 
 
 * " As for the use of beads, the ancient authorities and others frequently counted the number of their prayers by 
 little stones, grains, or other such marks ; as is clear from Palladius's Lausaic Hist., from Sozomen, &c. {See Benedict 
 xiv de Canoniz. par. 2. c. 10, p. 11.) Those who could neither read nor recite the Psalter by heart, supplied this by a 
 frequent repetition of the Lord's Prayer, as a regular devotion corresponding to those of the Psalter, recited by the 
 clergy and many others. S. Albert of Crespin, and Peter the Hermit are mentioned long before St. Dominic, as having 
 taught those among the laity, who could not read the Psalter, to say a certain number of Our Fathers, and Hail Maries 
 in lieu of each canonical Hour of the Church Office ; but the method of reciting fifteen decades or tens of the angelical 
 Salutation, with Our Father before each decade, in honour of the principal mysteries of the Incarnation, including two 
 peculiar to the Blessed Virgin, is ascribed to St. Dominic." — Alban Butler on the Festival of the Bosary. 
 
 t In the tomb of Childeric I., a great number of gold ornaments were discovered having the form of bees. Mont- 
 faucon in his Monarchie Francaise, has figured sixteen of them, of various sizes, in plate 4. vol. 1. 
 
Bishop*— 23Iartu 
 
 43 
 
 33t£»f)rjp» The Vestments and Insignia of a Bishop are as follows: 1. The 
 Buskins and Sandals. 2. The Amice. 3. The Albe. 4. The Girdle. 
 5. The Pectoral Cross. 6. The Stole, worn pendant, not crossed. 
 7. The Tunic. 8. The Dalmatic. 9. The Gloves. 10. The Chasuble. 
 11. The Mitre, (of three sorts, simplex, aurifrigiata, and pretiosa.) 12. 
 The Ring. 13. The Pastoral Staff. 14. The Rochet. 15. The Cappa 
 Magna. 16. The Cope. 17. The Gremial. — See Plates n. in. vn. 
 
 For a particular account of these, see the names of each. 
 
 Of the manner in which a Bishop is vested for the various functions of his Office, according to the 
 Roman Pontifical. — For Confirmation; white cope, and stole, over an" amice and rochet, and orphreyed 
 mitre. For Ordinations ; the same vestments as for High Mass, according to the colour of the day. For the 
 Consecration of a Bishop ; the consecrator, vested as for High Mass, according to the colour of the day, 
 the two assistant Bishops in rochets, copes, amices, stoles, and white mitres. For the Profession of a 
 Nun ; vested as for High Mass. For the Coronation of a Sovereign ; vested as for High Mass, according 
 to the colour of the day ; the assistant Bishops in rochets, amices, white stoles and copes, and white 
 mitres ; according to the English rite, all the Bishops were in full pontificals, and carried their pastoral 
 staves. For Laying the First Stone of a Church ; in rochet, amice, white stole, cope and mitre, pastoral 
 staff. For the Consecration of a Church ; the same, till the Mass, when full pontificals of a white colour 
 are used. For the Reconciliation of a Church or Cemetery ; the same. For the Consecration of the Holy 
 Oil s on Maundy Thursday ; full pontificals of a white colour and rich, with orphreyed mitre. At a 
 Synod, held in a Cathedral Church; rochet, amice, red stole and cope, precious mitre. At the Procession 
 of Palms ; albe, amice, purple stole and cope, white mitre. At the Procession on Candlemas Day ; the 
 same. At the Procession of Corpus Christi ; albe, amice, stole, tunic, dalmatic, and cope of rich white, 
 with a precious mitre borne behind him : according to the old English rite, and usage of the French 
 Church, red was the colour used for Corpus Christi. For the Rogation Days ; albe, amice, purple stole 
 and cope, white mitre. 
 
 Some of the ornaments now peculiar to Bishops were formerly used by inferior clergy ; few priests 
 in ancient times were used to celebrate without putting on sandals appropriated to the service of the 
 altar. The tunic and dalmatic were also occasionally w r orn by priests, and in that remarkable illumi- 
 nation, engraved by Balucci, in his Capitularia Regum Francorum, in which a number of canons of 
 the Cathedral of Metz are represented presenting a Bible to the Emperor Charles the Bald, they are 
 all figured in dalmatics under their chasubles. The Pectoral cross was an ornament commonly worn even 
 by laymen, and is not entirely disused at the present time. De Vert, as a proof that neither sandals, 
 buskins, dalmatic, tunic, or pectoral cross, belong exclusively to the episcopal office, alleges their not 
 being solemnly invested with them at their consecration, but only with the mitre, pastoral staff, and ring. 
 Bishops formerly dined in their pontifical habit and mitres on solemn occasions, such as inauguration 
 feasts, coronation banquets, and great festivals. De Moleon describes the Archbishop of Vienna as 
 dining in his mitre and vestments on Easter Sunday, when he visited that city. 
 
 33Iacfe, in heraldry called Sable, is the colour ordered by the Church to be used 
 on Good Friday, and in the Office for the dead. 
 
 Black vestments were not, however, commonly used for the latter purpose in antiquity ; they are 
 seldom figured in the earlier illuminations, even in miniatures of the sixteenth century. The celebrant 
 
44 
 
 at a funeral is often represented in a coloured cope or vestment. In Georgius de Liturgia Rom. Pont., 
 however, several authorities for the use of black vestments in the Roman church, in the ninth century, 
 are advanced. See below. 
 
 " Black is a colour contrary to white, having little participation of light, whereby it is apparent that 
 black is of less perfection than white : for what thing soever there is that hath light or heat, or else life, 
 either animal or vegetable, the same being once extinct, the thing itself becometh black, which is said to 
 be the colour of honour and distinction ; for which respect mourning garments are made of that colour." 
 Guillim's Heraldry. 
 
 According to Randle Holme, black also signifies counsel and antiquity. 
 
 " Black copes and chasubles. A chasuble of black velvet, with flowers of gold and silk, embroidered ; 
 also a good orphrey of needlework, with images of the Holy Ghost, the Crucifix and our Lady. Item, 
 two copes of black sattin, with orphreys of red damask braided with flowers of gold, having on the back 
 souls rising to their doom, either of them having on their hood an image of our Saviour, sitting on 
 a rainbow." — Inventory of Lincoln Minster. — DugdaWs Monasticon. 
 
 Georgius de Colore nigro. — I. Black is the third of the four sacred or canonical colours, and is used 
 by the Roman church (and formerly by the Eastern too), on penitential days. There are many shades 
 of black, expressed in Latin by the words ater, niger, fuscus, grisius, ater being the deepest black, and 
 grisius the lightest, inclining to a grey. ii. Fuscus is the word for black often used by ecclesiastical 
 writers. [It is used also by the classics, as, Roma magis fuscis vestitur, Gallia rufis. Martial, xiv. 19.] The 
 lower order of the Roman people wore dark-coloured* clothes ; and hence, as being the dress of the 
 poor, it was adopted by ascetics and holy virgins, iii. Alcuin states, that, on Good Friday, according to 
 the use of the Roman church, the archdeacon and deacons wear black chasubles in the church, iv. 
 Some black chasubles, too, of an earlier date, occur in Mosaics, v. And in the vestments of S. Germanus, 
 mention is made offuscana casula, Apud Mabillon. vi. vii. viii. Brown (color Castaneus,) which maybe 
 reckoned here as a shade of black, is found in some ancient delineations of chasubles, ix. Alcuin de 
 Divin. Offic, cap. vii., says, that the Pope and his clergy were vested in black, for the procession and 
 distribution of candles on the F. of the Purification. Nicephorus, Patriarch of Constantinople, a.d. 811, 
 sent, among other presents to Pope Leo, a chasuble of dark brown (castanei, seu subnigri coloris), which 
 proves that the Roman Pontiff used this colour. Again, in the monastery of Centule, a.d. 831, were 
 kept forty brown chasubles, five of black silk, and a brown cope with gold ornaments, x. On what 
 days the Roman church uses black, has been shewn in a separate tract on this subject in Italian, by 
 the same Georgius. 
 
 23Ittf» In heraldry termed azure. 
 
 " Signifies piety and sincerity." — Academy of Armoury by Randle Holme. 
 
 tc Blue signifieth divine contemplation. In moral virtues, it signifieth godliness of conversation, and is 
 of the colour of the air, attributed to celestial persons, whose contemplations have been about divine 
 things, which was the cause it was so mainly used about the garments of the high priests under the 
 Jewish dispensation." — Sphere of Gentry, by Sylvanus Morgan. 
 
 Our blessed Lady has been always traditionally represented in a blue mantle, on account of the 
 mystic signification of this colour. 
 
 * Sometimes, however, they put on deeper black (ater) for mourning. Tacitus (Ann. iii. 1.) relates, that the ashes of 
 Germanicus were carried in procession, ab atratd plebe, et a trabcatis eqiiitibus, where the learned J ustus Lipsius remarks 
 that the trabea far from denoting- mourning, was merely the rich dress of the knights, which distinguished them 
 from the plebs, or common people, who were in this case dressed in mourning. 
 
Blue* 
 
 45 
 
 Blue is not now considered one of the five canonical colours for vestments ; but blue copes and 
 chasubles were formerly very frequently made, as will appear from the following extracts from old 
 inventories: 
 
 " Imprimis ; a chasuble of blue damask, with a good orphrey ornate, with mitres and crowns in the 
 orphrey, with two tunacles and three albes, with their apparell. Item, a chasuble of blue velvet with 
 an orphrey of images and tabernacles, and divers birds in the orphrey, with two tunacles, having three 
 beads behind and before, with three albes, with their apparell. Ex dono Johannis Welborne, treasurer. 
 Item, two copes of the same suit and of the same colour, having good orphrey s of cloath of gold, 
 broidered with divers images, of the which, one of them is Herod, slaying the children of Israel ; and 
 the other, broidered with the history of St. John the Baptist. Ex dono, J ohannis Welborne." — Inventory 
 of Lincoln Minster. 
 
 "Item, one suit of blue velvet, with five albs." — Hist, of Peterborough. 
 
 Blue vestments are still used in parts of Spain and Italy on festivals of the Blessed Virgin. 
 
 Ceilings of Churches were generally painted blue, and powdered with stars, to represent the canopy 
 of heaven over the faithful. These stars were often made in lead, gilt, and fastened to the panels of 
 the roof. This is the case in the Clopton chauntry, Long Melford, Suffolk. 
 
 De Colore Violaceo. — I. The violet or blue colour was anciently thought so nearly allied to the 
 colour black, that the Roman church used them indiscriminately for one and the same, on days of 
 mourning and fasting. The ancients were fond of dark purple, which they called purpura nigra, or 
 violacea. At funerals they wore black, or nearly black. II. The ancients also used a bright purple 
 (color amethystinus). The word pavonaceus, sometimes interpreted of this colour, seems rather to mean 
 of a peacock pattern, as many vestments were wrought over with the figures of animals, and among 
 others, of the peacock. This colour was called cceruleus, blue, and, puniceus, bright purple ; and was 
 used by the church on days of a penitential character. III. & IV, Of the violet Virgil says, 
 
 " Viol.e sublucet purpura Nigk^:." — Georg. iv. 275. 
 and St. Jerome writing to the monk Rusticus, says, " Non mihi nunc per virtutum prata ducendus est 
 rivulus, nec laborandum ut ostendam tibi variorum pulcritudinem florum : quid in se lilia habeant puri- 
 tatis ; quid rosa verecundiae possideat ; quid viol,e purpura promittat in regno." Epist. vi. — V. There 
 are some examples in mosaics at Rome, of chasubles of this violet colour : and in an illumination of a 
 MS. of Rabanus Maurus, of the ninth cent., S. Martin is represented in a violet-coloured chasuble. 
 There is a memoir by Bp. Conrad, in his Chronicon of the affairs of Mentz, of some vestments plun- 
 dered from the Sacristy of the Church of Mentz, a.d. 1153, He says, "Inter casulas autem sic de 
 quolibet colore duo p aria, 8fc. But of chasubles there were two of a suit, of each colour : two black, with 
 gold orphreys, and two dalmatics of the same work, and two tunics (subtilia) ornamented with broad 
 orphreys: and all these were in very good condition. Also two chasubles of white velvet (samitum) , and two 
 dalmatics of the same, with two tunics (subtilia) ornamented with gold, all very good. Also two chasubles 
 of red velvet, and two dalmatics, and tunics with gold orphreys. Also two chasubles of green velvet with 
 dalmatics and tunics to match, with gold orphreys, very good. Among the rest was one chasuble violet, 
 long and ample, with broad and great orphreys, having golden moons and stars embroidered on it, which 
 was of such weight, on account of the gold, that it could not be folded, and scarcely any one, except he was 
 very strong, could celebrate the Divine Mysteries in it. The bishops, however, were vested in it to sing 
 mass on principal feasts. But after the Gospel, the Offertory being sung and the oblations offered, 
 putting off this, and taking one less weighty, they finished the Sacrifice in that.'' In a present of 
 church ornaments to the Church of Bisegli in La Puglia, a.d. 1197, mention is made of four copes, one of 
 them of red velvet (xamito rubeo), another of black velvet (fusco), another of sky-blue (ccelesti), tbe 
 other of violet coloured (violato). VI. In later writers lividus is often used for blue. We read also of 
 
46 
 
 color Indicits, which Du Cange says is blue mixed with purple, or indigo blue. VII. Concerning the 
 days on which the Roman Church formerly used, and now uses black and purple vestments, see 
 Innocent III., Durandus, and the Ordo Romanus of Card. Cajetan. — Georgius, V. I. p. 412. 
 
 3Soai% Emblematical of ferocity and sensuality. 
 
 33ts>I)Ci}J* Inventory of ornaments belonging to : — 
 
 Imprimis, 1 myter well garnished with perle and precious stones, with nowches of silver and gilt, 
 before and behind. 
 
 Item, iij rynges of silver and gilt, with four redde precious stones in them. — I tern, j Pontifical, with 
 silver gilt, with a blue stone in hytt. — Item, j owche broken, silver and gilt, with iij precious 
 stones and a perle in the mydds. — Item, a crosse with a staff of coper gilt, with the ymage of St. Nicolas 
 in the mydds. — Item, j vestment redde with lyons with silver, with brydds of gold in the orferes of the 
 same. — Item, j albe to the same, with stars in the paro. — Item, j white cope stayned with tristells and 
 orferes, redde sylke with does of gold and whytt napkins about the necks. — Item, iij capes, blew sylke with 
 red orferes trayled with white braunches and flowers. — Item, j steyned cloth of the ymage of St. 
 Nicholas. — Item, j tabard of skarlet and a hodde thereto lyned with whytt sylke. — Item, a hold of skarlet 
 with blue sylke. — Poulson's Beverlac, p. 659. 
 
 33tU'£ie* See corporas case. (A corporas case is figured in Plate n.) 
 £tl£»fcm£» Are made of precious stuff, or cloth of gold, and worn on the legs 
 
 by bishops when celebrating, and kings, at their coronation and on 
 
 other solemn occasions. 
 
 The Buskins worn by Bishop Wainflete, founder of Magdalen College, are still preserved by that 
 society, and are the only remains of this founder's episcopal ornaments that have escaped the sacrilegious 
 hands of Reformers and Puritans. 
 
 Sandford in his Coronation of James the Second, has given the following description of the Buskins 
 used on that occasion : — " The Buskins were made of cloth of tissue, as also the supertunica, and fined 
 with crimson Florence sarcenet. The length of them eighteen inches, the compass at top fifteen inches, 
 and from the heel to the toe eleven inches." 
 
 Georgius, Lib. I. c. 13. — "The Buskins (caligae, anciently called campagi,*) are put on by the 
 bishop when preparing for mass, before any other of the sacred vestments, with the prayer Calcea Domine 
 pedes meos, Sf'c. " Let my feet be shod, O Lord, with the preparation of the Gospel of Peace : and 
 protect me under the shadow of Thy wings." 
 
 The use of the Buskin (campagus), we are informed by a document, about a.d. 666, was anciently 
 confined to the Sovereign Pontiff. By permission from the Pope their use was afterwards extended to 
 the Clergy of Rome : and after by special privilege, to some others. But in the 9th century, buskins 
 were worn by all bishops. For we find among some verses of that period, on episcopal habiliments, 
 the following : 
 
 " Linea crusque pedesque tegant talaria ut apte, 
 Quis super addatur Campagus ipse decens." 
 
 Buskins and sandals have often been confounded; but they are to be kept distinct. — Vide Sandals. 
 
 Sicardus, Bishop of Cremona in the 1 2th century, speaking of the mystical meaning of sacred vest- 
 ments, says, " the buskin was all of silk, to signify that purity of which our Lord said : He that is washed 
 needet/t not save to wash his feet, but is clean wholly : and had red bows to signify the patience of martyrs." 
 
 * A word variously corrupted to gambagus, compagus, campobus, <Scc. 
 
Cantilesittrfcsu 
 
 47 
 
 Ivo Carnotensis speaks of " the buskins, which are put on before the sandals, being made of silk or linen, 
 reaching to the knees and there fastened." The buskins of Boniface VIII, as found in his tomb, are 
 described as of black silk : Caligag pontificales ex serico nigro, quod ormisinum {taffety) dicitur, cum 
 suis ligulis, quibus necterentur. 
 
 CantlteSttCkSu The candlesticks used in the church are very various, both in 
 
 form, use, and mystical significa- 
 tion, they may be distinguished 
 as follows : Altar candlesticks, 
 processional candlesticks, eleva- 
 tion candlesticks, standing can- 
 dlesticks, paschal candlesticks, 
 and triangular candlesticks. 
 
 Altar Candlesticks. Form. — There are 
 five parts in an altar candlestick : 1, the foot ; 
 2, the stem ; 3, the knop, which for the conveni- 
 ence of lifting, is placed about the middle of the 
 stem; 4, the bowl to receive the droppings of wax; 
 and, 5, the pricket terminating the stem on 
 which the taper is fixed. Whatever enrichments 
 may be introduced about a candlestick, they 
 should always be subservient to these essential 
 forms. 
 
 Material. — Altar candlesticks have been made 
 in gold, silver, or silver parcel gilt, copper gilt, 
 latten, brass, crystal, and wood.* 
 
 Number and arrangement.— Candlesticks do 
 not appear to have been placed on the altar previous 
 to the tenth century, but to have been arranged round it. Till the sixteenth century, and even later 
 the usual number was two, one on either side of the cross. As is evident from illuminations and 
 inventories, the custom of placing only two candles on the altar was by no means peculiar to the English 
 church. The altars depicted in early Italian frescoes, and figured in D'Agincourt's Histoire de 
 L'Art, have only two candlesticks ; and in a work entitled Der weise Konig, full of wood-cuts, by 
 Hans Burgmaier, the altar, where the Pope himself is celebrating, is only furnished with two candle- 
 sticks. 
 
 From ancient representations we gather, however, that some of these candlesticks were furnished 
 
 * De Moleon, in his description of the cathedral of Lyons, mentions that the candlesticks used in that church during 
 Lcni, were of wood. 
 
 t In the Histoire de St. Louis par Jehan sire'de Joinville, Paris, 1761, at p. 311, we have a most interesting- account 
 of the ornaments belonging- to the sainte chapelle at Paris, with the number of candles on the altar, according 1 to the 
 different feasts. 
 
 Et en chascun jour ferial oil jour que Ton ne dist pas neuf lecons, estoient deux cierges sur l'autel qui estoient 
 renouvelez chascun jour de lundi et chascun mercredi : mes en chascun samedi et en toute simple feste de neuf lecons 
 estoient mis quatre cierges a l'autel ; et en toute feste double ou demie double ils estoient renouvelez, et estoient mis ii 
 l'autel six cierges ou huit ; mes en festes qui estoient moult Sollempnex, douze cierges estoient mis a l'autel ; et aussi en 
 l'anniversaire de son pere et de sa mere, et de tons les Rois pour lesquex il fesoit faire anniversaire en sa chapelle. 
 
 CAN DLESTICKS. 
 
48 
 
 Slltar-'Cantilestufcs* 
 
 with several prickets, as shewn in the annexed cut, and in the church at 
 Leau, in Flanders, a candlestick of this description is yet remaining. 
 
 The ancient candlesticks were mostly low, with tapers of no great height. 
 The high tapers placed on altar candlesticks on the continent, are of 
 comparatively modern introduction. 
 
 The present custom of the church is to place six candlesticks on the 
 high altar, and seven when a bishop celebrates solemnly in his cathedral.* 
 
 The number of altar candlesticks was not always confined to two in 
 the English church, for in the inventory of Salisbury cathedral, three pair of 
 candlesticks for the high altar are mentioned. Also, in Hollinshed's 
 Chronicle, vol. ii. p. 857 5 in the description of the private chapel of King 
 Henry the 8th, erected in the field of the Cloth of Gold, tilt nit Af frag 
 
 appar* litis fottfi fibe patv of Canlrltgttefts of <Bottr, &c» 
 
 Extracts from inventories of Altar Candlesticks formerly belonging to 
 English churches. — 
 
 Cathedral Church of York. 
 " Two great silver candlesticks gilt, with pots and roses engraved on the 
 feet ; the gift of the lord A lexander Nevill, formerly Archbishop of York, 
 weighing six pounds, nine ounces and a half. Item, two silver candlesticks, 
 fluted about at the top, the gift of Mr. John Newton, treasurer, weighing 
 five pounds, two ounces and a quarter ; Item, a large tall silver candlestick, 
 gilt, with the Arms of Scrope; the gift of the lord John Scrope, weighing 
 eight pounds, four ounces ; Item, two daily candlesticks square, weighing 
 five pounds, two ounces ; Item, two crystal candlesticks, with silver nobs 
 and feet, weighing six pounds, four ounces and a half ; Item, two candlesticks, newly bought, with 
 gilt tops, weighing five pounds, six ounces ; Item, one low silver candlestick, parcel gilt, with an handle." 
 
 Cathedral Church of Lincoln. 
 Imprimis, two great and fair candlesticks of gold, standing on great feet of one fashion, with twenty 
 butteresses of gold, in either of them, standing on one base pierced thorow like windows, with four void 
 places for arms, with four great butteresses, and four less, in each one of them ; and above every butteress, 
 one pinacle, one of the greatest pinacles wanting, and betwixt four of the greatest butteresses of every 
 one of them are four windows, graven hollow with a stile, having a great knop, with divers butteresses 
 like the making of a monastery, with eight pillars on every one of them, and in the height of them is a 
 bowl battled, and butteressed, like a castle, with one pike to put candles upon ; of the gift of John, the 
 son of King Edward, the Duke of Lancaster, weighing four hundred and fifty ounces ; Item, two can- 
 dlesticks of silver and gilt, of the which one weigheth seventy-four ounces, wanting one pillar, and part 
 of the crest ; and the other weigheth sixty-nine ounces and a half, of the gift of Lord John Buckingham, 
 the Bishop of Lincoln ; Item, two candlesticks of silver parcel gilt, standing on great feet, with six 
 towers gilded, having one great knop in the midst, and in the height six towers about the bowls, with one 
 pike of silver on either of them, of the which one weigheth ninety-three ounces, and the other weigheth 
 eighty-nine ounces ; of the gift of Lord John Chadworth, Bishop of Lincoln, wanting in the one seven 
 little knops and a tower, and in the other, one tower and eight knops, and the quantity of one groat in 
 the nether part of the shaft ; Item, a candlestick, silver and gilt, with one knop in the midst, with divers 
 
 * Till the end of the last century several altars in the great French churches were without candlesticks, and there 
 was often a great variety in the number, as will be seen by the extracts on altars, from Bocquillot. See Altar, 
 
/ 
 
 Ittar*eatttrfe£titfe& 
 
 49 
 
 images ; the Coronation and the Salutation of our Lady, with three branches, three bowls, and pikes, 
 weighing eighty ounces and a half ; the highest bowl wanting four flowers, the second bowl wanting four 
 flowers , and the third bowl wanting half the crest with the flowers ; Item, two candlesticks, silver, with 
 two knops, with a scripture, Orate pro anima Richardi Smith, &c. — Dugdale's Monasticon Anglicanum. 
 
 Cathedral Church of St. Paul's, London. 
 
 " Duo candelabra argentea, opere fusorio, cum animalibus variis in pedibus fabricatis, de dono 
 Magistri Ricardi de Stratford, ponderis iiii 1 . xiii s . : Item, duo candelabra crystallina parvula, cum apparatu 
 partim argenteo, de dono Thomoe de Esshewy : Item, duo candelabra argentea, cum pomellis deauratis, 
 de dono Magistri Willielmi dt Monteforti, Decani, cum Leunculis sub pedibus, uno deficiente, pon- 
 deris iiii 1 . V s ." — Dugdale's History of St. Paul's. 
 
 Such has been the sacrilegious spoliation of the last three centuries, that few specimens of old altar 
 candlesticks remain at the present time. But the following have come under the observation of the 
 writer in the course of his researches : Several pairs of the fifteenth century, in brass, on the side altars 
 of the churches of St. Sebald's and St. Lawrence at Nuremberg ; ditto at Mayence Cathedral ; one pair, 
 silver parcel gilt, in the reliquary chamber at Aix-la-Chapelle ; several pair in brass, and one in iron, 
 at the church of Leau, Flanders ; four copper gilt, of the fifteenth century, in the J erusalem church, 
 Bruges ; three of the twelfth century, enamelled, in the Musee of the Louvre, Paris ; a pair of the 
 twelfth century, enamelled, in the possession of Sir S. Meyrick. 
 
 Processional Candlesticks differ only from those for the altar, in being longer in the stem, and 
 lighter, for the convenience of carrying in processions : a pair are always carried one on each side of the 
 cross. A pair of processional candlesticks of the fifteenth century are still used at the Cathedral of Bruges. 
 
 Extracts from De Moleon respecting Processional Candlesticks : — 
 
 St. Jean de Lyon. — " Deux Porte-chandeliers revetus d'aubes marchent les premiers apres l'Huissier 
 Porte-croix, le deux ceroferoires posent leurs chandeliers in piano, au haut du Chceur vers la troisieme 
 stalle de chaque cote. »S. Gatien de Tours. Aux grandes Fetes annuelles, M. le Tresorier en chappe est 
 precede de neuf enfans de Chceur, qui portent chacun un chandelier d' argent. — II y a aussi aux grandes 
 Fetes annuelles les sept Porte-chandeliers qui viennent par la grande porte du cote de l'occident. — 
 S. Martin de Tours. II y a dans cette Eglise des Fetes doubles a sept, a cinq, et a. trois chandeliers; 
 ainsi appellees parce qu'on y porte ces jours la ce nombre de chandeliers a la grande messe devant le 
 celebrant. 
 
 Notre Dame de Rouen. — " Aux grandes Fetes il y avoit sept Porte-chandeliers. Apres l'oraison ils 
 les placoient du cote de l'orient vers l'occident. 
 
 S. Maurice de Vienne. — Chandeliers portez par des soudiacres. " La nuit de Noel, c'ctoit l'archeveque 
 qui disait la Messe avec deux soudiacres porte-chandeliers. Aux Festes solemnelles c'etoient meme 
 des Pretres en chappes, qui portoient les chandeliers devant Peveque." Chandeliers portes par des 
 religieuses. — "A Sainte Croix de Poitiers les religieuses en aube et manipule servoient autrefois d'acolythes 
 a la grande Messe, et eclairoient au Diacre pendant l'evangile avec le chandelier." 
 
 Elevation Candlesticks. — A pair of large candlesticks, standing either within or without the 
 curtains, on the sides of the altar, holding tapers, lit immediately before the consecration, and in some 
 churches extinguished immediately after the elevation, in others left burning till after the communion. 
 This term is not of any great antiquity. The candles lit to honour the Blessed Sacrament during the 
 Elevation, were generally held in the hands of the assistants. This is shewn in the title pages of the 
 old printed Sarum Missal. See also Plate lxxiii. 
 
 Standing Candlesticks are standards to hold a number of tapers, set up in choirs, near shrines 
 and images. Many of those still used in the Flemish and German churches are of the fifteenth century, 
 and some exceedingly beautiful in design, consisting of a succession of diminishing circlets, supported 
 
 ii 
 
50 
 
 by the standard, and forming a pyramidal mass of light. At Rheims Cathedral there were ten 
 standing candlesticks before the high altar covered with silver plates, nine of which held wax tapers 
 on solemn feasts, and the tenth was for the Gospel. They were given by Henry, Archbishop of 
 Rheims in 11 70. 
 
 In the church of Hal, near Brussels, a place of pilgrimage, the candlestick on which the tapers 
 offered by the pilgrims are fixed, stands in a sort of ornamental turret on the north side, and terminates 
 in a perforated pinnacle, to carry off the smoke. Standing candlesticks of seven lights were often set up 
 in the great French churches, as will be seen by the following extracts. 
 
 Extracts from De Moleon, respecting candlesticks of seven lights. 
 
 Candlesticks of Seven Lights. " S. Jean de Lyon. — Entre le Choeur et le Sanctuaire au milieu 
 est un chandelier a sept branches appelle Ratelier, en latin Rastrum ou Rastellarium, compose 
 de deux colonnes de cuivre hautes de six pieds, sur lesquelles il y a une espece de poutre de cuivre 
 de travers, avec quelques petits ornemens de corniches et de moulures, sur laquelle il y a sept 
 bassins de cuivre avec sept cierges qui bmlent aux Fetes doubles de premiere & de seconde 
 classe. 
 
 »S'. Pierre d' 'Angers. — Entre le grand Autel et le Choeur il y a un fort grand Chandelier avec le 
 cierge pascal qui y est durant toute l'annee, et a cote dans la muraille ex parte Evangelii, on garde 
 encore le saint ciboire dans une armoire ou sacraire pour la paroisse. Dans le Choeur il y a un grand 
 chandelier de cuivre a sept branches, qui est ainsi dispose ; trois branches sur une ligne, puis une au 
 milieu, et enfin trois sur une ligne pareille a la premiere ; de sorte que ce seul Chandelier a la forme 
 des trois du Choeur de l'Eglise Cathedrale de S. Maurice. 
 
 Notre Dame de Rouen. — Entre les trois lampes et l'Aigle qui est au haut Choeur, il y avoit avant 
 le pillage des Huguenots un grand chandelier de cuivre a sept branches. 
 
 Saint Lb de Rouen. — La Vigile de Noel, on chantoit la messe de la nuit d'un ton plus bas que 
 celle d'apres tierces. On allumoit tous les cierges de l'Eglise ce jour la ; les sept du grand chandelier 
 a sept branches qui etoit proche des degrez du Choeur, sept lampes entre le Choeur et 1' Autel, trois 
 cierges dans les bassins devant le grand Autel, quatre cierges aupres du Crucifix, et un a chaque 
 Autel." 
 
 Bocquillot, in speaking of Candlesticks, at page 80, says — " II y avoit en plusieurs Eglises entr'autres 
 chandeliers, une grande machine en forme d'Arbre qui sortoit de terre, garni de feuilles et de fleurs ou 
 fruits, et de petites gondoles on soucoupes, propres a soutenir des cierges ou des lampes. Cette 
 multitude de lumieres en pyramide faisait un bel effet. Dans les eglises riches ce chandelier, nomine 
 arbre a cause de sa figure, etoit de cuivre ou autre metal." Some fragments of a magnificent seven- 
 branched Candlestick, formerly belonging to the monastery of S. Remi at Rheims, are found in the 
 Musee of that city. It is traditionally described as the gift of Queen Frederonne, who was espoused 
 by Charles the Simple, in 907 ; but from the detail and execution, it appears of a later date. It is 
 extremely elaborate in foliated detail with images and animals, and enriched with crystals. 
 When perfect it measured eighteen feet in height, and fifteen feet in circumference at the base. 
 The fragments which have been preserved formed part of the foot, and are figured at p. 214 of the 
 Description of the Treasures of Rheims Cathedral, by P. Tarbe : the rest was melted at the 
 revolution. 
 
 Standing Candlesticks in English churches. At long Melford church, Suffolk : — a candlestick with 
 ten branches standing before the image of Jesus. A candlestick of ten branches standing before the 
 image of St. Ann. A candlestick with ten branches standing before the high altar. A candlestick with 
 three branches, belonging to the Trinity. — Inventory at Meljorde Church. 
 
 Inventory of ornaments belonging to Ely Cathedral. " Four great laten candlesticks before the 
 high altar, and two others of iron." 
 
51 
 
 Paschal Candlestick is a large candlestick, placed on the gospel 
 side of the choir, holding a large candle or pillar of wax, lighted during mass 
 and vespers, from holy Saturday till the Ascension of our Lord. This custom 
 is of very high antiquity* in the Christian Church, and is in a lively manner 
 symbolical of our Lord's Resurrection. These paschal candlesticks were 
 made of an enormous size, and sometimes of most elaborate design, nearly 
 reaching to the vaulting of the church, like that which belonged to Durham 
 Abbey before the dissolution. f 
 
 At Coutances the candle was lit from the clerestory ; at Chartres, the candle 
 alone weighed 72lbs. ; at Rheims it weighed 30lbs., at Rouen 40lbs. In the 
 church of St. John Lateran, the candle was so lofty, that the deacon was 
 wheeled in a portable puljut to light it. In the beautiful language of the 
 Exultet, sung on the lighting of the candle,! the candle is compared to the 
 pillar of light which guided the Children of Israel, so that their gigantic 
 proportions are in perfect accordance with the Office of the day. 
 
 It now remains to speak of the cross traced on these candles, and the five 
 grains of incense inserted at the points. 
 
 This cross was formerly traced or painted on the candle, as the commence- 
 ment of the Paschal Table, which was inscribed originally on the candle, and 
 subsequently written on parchment and affixed to it. 
 
 Our Catholic forefathers traced a cross at the commencement of all they 
 wrote; even at the present time it is found at the head of alphabets in 
 children's primers. Hence a cross formed the commencement of the Paschal 
 Table. This table contained a series of remarkable periods, such as the Creation 
 of the world, the Birth of our Lord, the Foundation of the church, where it was 
 set up, the year of the pontificate, and of the reigning sovereign, the epact, the 
 
 * In the time of Constantine, on Easter eve, large pillars of wax were lighted in the 
 churches. 
 
 f "Also, there was a handsome monument belonging to the church, called the Pas- 
 chal, which used to be set up in the quire, and there to remain from the Thursday called 
 Maunday Thursday, before Easter, till the Wednesday after Ascension-day. It stood upon 
 a four-square thick plank of wood, against the first grees, or step, behind the three basons 
 of silver that hung before the high altar : in the midst of the said grees is a niche, wherein one of the corners of the said 
 plank was placed, and at every corner of the said plank was an iron ring, whereunto the feet of the Paschal were adjoined, 
 representing the pictures of the four flying dragons ; as also the pictures of the four Evangelists, above the top of 
 dragons, underneath the nethermost boss, all supporting the whole Paschal ; and the quarters have been four chrystal 
 stones, as appear by the holes : and on every side of the four dragons there is curious antique work, as beasts, men upon 
 horseback, with bucklers, bows, and shafts, and knots, with broad leaves spread upon the knots, very finely wrought, all 
 being of the finest and most curious candlestic metal, or latten metal, glittering like gold, having six candlestics, or 
 flowers of candlestic metal coming from it, three on either side, whereon stood in every of the said flowers, or candle- 
 stics, a taper of wax : and on the height of the said candlestic, or Paschal of latten, was a large pretty flower, being the 
 principal flower, which was the seventh candlestic. The Paschal in latitude contained almost the breadth of the quire, 
 in longitude it extended to the height of the lower vault, whereon stood a long piece of wood, reaching within a man's 
 length to the uppermost vault or roof of the church, upon which stood a great long squared taper of wax, called the 
 Paschal; having a fine convenience through the said roof of the church to light the taper. In conclusion, the paschal 
 was esteemed to be one of the rarest monuments in England." — Mites of Durham Abbey. 
 
 X The candle is now lighted about the middle of the Exultet, but there is no doubt that it was originally lit previous 
 to the commencement of the hymn, otherwise the words lose part of their significance : " Laetetur et Mater Ecclesia 
 tanti luminis adornata fulgoribus," which cannot with propriety be sung with reference to an unlighted candle. For a 
 long dissertation on this point, see De Vert Explication de la Messe, vol. ii. p. 120. 
 
52 
 
 pasirl;al CantrfesKtcfesL 
 
 golden number, and the Dominical letter, with the moveable feasts of the year, reckoning from 
 Easter. In a MS. ordinal of the Abbaye de Savigny, in the Diocese of Lyons, is the following 
 rubrick : u Magister Scholae, inscribet cereo annum ab Incarnatione, prcemissa superius cruce, in 
 cujus cornibus et mediate ponuntur grana incensi also in the ceremonial of S. Arnoul de Mets : 
 " cantor faciat crucem in cereo, de cera coloratd, in singulis capitibus ejus nec non in medio imprimens 
 particulam thuris ; notetque ibi annum Dominicae Incarnationis, cum Indictione." In the Ordinal of 
 Besancon, " Fiant cruces in cereo et numerus annorum Domini et Indictionis ; et sic intrat Archilevita 
 in consecratione cerei." In the antiphonal of the church of Aries, " Facit in cereo crucem, cum nomine 
 Christi et Alpha et Omega, et scribatur in eo epacta ipsius anni, &c." — (De Vert, Explication de la Messe). 
 
 To give a perfect idea of the nature of these Paschal tables, I have transcribed that of Rouen for 
 the year 1697, printed by De Moleon in his Voyages Liturgiques, with his remarks on the same. 
 
 " II y a une pratique a Rouen qui est fort ancienne, et que nous trouverions sans doute dans l'ancien 
 Ordinaire de six cens quarante ans, si l'on n'en avoit pas dechire quelques feuillets a cet endroit-la. 
 C'est lTnscription de la Table Pascale sur un beau velin, que l'on attache a hauteur d'homme autour 
 d'une grosse colonne de cire haute environ de vingt cinq pieds, au haut de laquelle on met le Cierge 
 Pascal entre le tombeau de Charles V. etles trois lampesou bassins d' argent. Cette Table etoit (a, ce 
 que je m'imagine) autrefois lue tout haut par le Diacre apres qu'il avoit chante son Paschale Prceconium, 
 dont elle etoit apparemment une partie. Du moins etoit-elle exposee, comme elle est encore presente- 
 ment, a la vue de tout le monde depuis Paques jusqu' a. la Pentecote inclusivement. II en est fait 
 mention dans le livre VP des Divins Offices de l'Abbe Rupert, chap. 29, dans le Livre intitule Gemma 
 animal d'Honore d' Autun, auTraite De antiquo ritu Missa, chap. 102, dans Guillaume Durand, Ration. 
 liv. VI. c. 80, et dans Jean Beleth, Livre des Divins Offices, chap. 108, en ces termes : Annotatur quidem 
 in Cereo Paschali annus ab Incarnatione Domini: inscribuntur quoque Cereo Paschali Indictio vel 
 JEra, atque Epacta. Quand j'ajouterai qu'on y marquoit non seulement l'Annee et l'Epacte, mais encore 
 les fetes mobiles, combien il y a que l'eglise de Rouen est fondee, qui en a ete le premier Eveque, 
 combien il y a qu'elle est dediee, l'annee du Pontificat du Pape, celui de PArcheveque de Rouen, et 
 celui du Roi, ce n'est rien dire : il faut la donner ici telle qu'elle etoit en l'annee 1697- 
 
 Tabvla Paschalis, Anno Domini 1697. 
 
 Annus ab Origine Mundi . . . .5697 
 Annus ab universali Diluvio . . 4052 
 
 Annus ab Incarnatione Domini . . 1697 
 Annus a Passione ejusdem . . . 1664 
 Annus a Nativitate B. Mariae . . .1711 
 Annus ab Assumptione ejusdem . . 1647 
 Annus Indictionis ..... 5 
 Annus Cycli Solaris .... 29 
 Annus Cycli lunaris .... 7 
 Annus pnesens a. Pascha praecedente usque 
 adPaschasequens est communis abund. 
 
 Epacta 7 
 
 Aureus numerus ..... 7 
 Littera Dominicalis .... F 
 Littera Martyrologii G 
 Terminus Paschac ... 14. April 
 
 Luna ipsius 
 Annotinum Paschale 
 Dies Rogationum 
 
 16. April 
 22. April 
 13. Maii 
 
 Dies Ascensionis . . . . 16. Maii 
 Dies Pentecostes .... 26. Maii 
 Dies Eucharistias .... 6. Junii 
 Dominicae a Pentecoste usque ad Adventum 26 
 Dominica prima Adventus . . l.Decemb. 
 Littera Dominicalis Anni sequentis . E 
 Annus sequens est 1698, communis ord. 
 Littera Martyrologii anni sequentis . . C 
 Dominicae a Nativitate Domini usque ad 
 Septuagesimam anni sequentis . 4 
 
 Terminus Septuagesimae anni sequentis 26. Januar. 
 Dominica Septuagesimas anni sequentis 26. Januar. 
 Dominica 1. Quadragesima: anni sequentis 16. Feb. 
 Dies Pascha: anni sequentis . . 30. Mart. 
 Annus ab institutione S. Meloni . . 1439 
 Annus a transitu ejusdem . . . 1388 
 Annus ab institutione S. Romani . 1066 
 Annus a transitu ejusdem . . . 1053 
 Annus ab institutione S. Audoeni . . 1051 
 
$as"tf;al Cantiles;tu&£u 
 
 53 
 
 Annus a transitu ejusdem 
 
 1008 
 
 Annus ab alia Reductione Ducatus Norman- 
 
 
 Annus a, Dedicatione hujus Ecclesiae 
 
 
 niae ad Carolum VII. Franciae Regem 
 
 247 
 
 Metropolitanae .... 
 
 663 
 
 Annus Pontificatus SS. PatrisetDD. Inno- 
 
 
 Annus ab institutione Rollonis primi Ducis 
 
 
 centii Papae XII. .... 
 
 c 
 D 
 
 Normanniae ..... 
 
 785 
 
 Annus ab Institutione R. Patris et DD. 
 
 
 Annus a transitu ejusdem 
 
 779 
 
 Jacobi Nicolai Archiepisc.Rotomag. et 
 
 
 Annus a coronatione Guillelmi primi Ducis 
 
 
 Normanniae Primatis 
 
 7 
 
 Normanniae in regno Angliae 
 
 623 
 
 Annus a nativitate Christianissimi Principis 
 
 
 Annus ab obitu ejusdem 
 
 609 
 
 Ludovici XIV. Franciae et Navarrae 
 
 
 Annus a Reductione Ducatus Normanniae 
 
 
 Regis ...... 
 
 59 
 
 ad Philippum II., Franciae Regem 
 
 493 
 
 Annus regni ipsius .... 
 
 54 
 
 Consecratus est iste Cereus in honore Agni immaculati, et in honore gloriosaa Virginis ejus Genitricis 
 Mariae. 
 
 C'etoit bien a propos qu'on publioit cette Table la nuit de Paques, puisque c'etoit le premier 
 jour de l'annee durant plusieurs siecles jusqu'a l'an 1565, qu'on commenc.a l'annee au premier jour 
 de Janvier suivant l'Ordonnance de Charles IX. Roi de France. Cette Table est une espece de 
 Kalendrier Ecclesiastique. C'est a M. le Chancelier de l'Eglise Cathedrale de Rouen a l'ecrire, ou a 
 la faire ecrire, a. ses depens. Et ce n'etoit pas seulement dans cette Eglise ; il y a tout lieu de croire 
 qu'on en mettoit une pareille dans les Eglises Collegiales, ou du moins dans les Abbatiales, comme 
 dans celles du Bee ; car il en est parle dans les Statuts que le Bienheureux Lanfranc qui en etoit Prieur, 
 a faits pour etre observez dans les Monasteres de l'Ordre de S. Benoit, dans les Coutumes de Cluny, 
 et dans les Us de Citeaux. 
 
 II y a aussi une pareille colonne de cire avec le Cierge Pascal (mais sans Table Pascale) dans les 
 Eglises de S. Ouen, de Notre-Dame de la Ronde, et de S. Sauveur de Rouen. 
 
 Des que le Cierge Pascal est allume le Samedi-saint il brule continuellement jour et nuit jusqu'au 
 soir du jour de Paques, conformement a. la lettre, ad noctis hujus caliginem destruendam indeficiens 
 perseveret .... flammas ejus lucifer matutinus inveniat ; durant la Messe et Vepres de toute l'Octave 
 et des Fetes Doubles du Tems Pascal jusqu' a 1' Ascension, pendant la Messe des Dimanches, et durant 
 tout l'Office des Fetes triples qui se rencontrent dans le Tems Pascal jusqu' a. 1' Ascension, et depuis la 
 Procession et la benediction des Fonts du Samedi, Vigile de la Pentecote, jusqu' au soir du jour de la 
 Pentecote, qui est proprement l'accomplissement des cinquante jours du Tems Pascal ou de la Sainte 
 Quinquagesime, comme l'appellent les Peres." — Voyages Liturgiques, p. 318. 
 
 In plates 54 and 55, in the second volume of " D'Agincourt's Histoire de l'Art,'' are two represen- 
 tations of the Benediction of the Paschal Candle, executed in the eleventh century : in one of these the 
 deacon is raised on an ambo or pulpit ; as is also the case in plate 4, of Mart. Gerbert de Cantu prima. 
 Ecclesiae aetate. 
 
 The custom of affixing the five grains of incense to the centre and extremities of the cross, traced on 
 the candle, is undoubtedly very ancient ; but the explanation given of it by modern writers, that it 
 signifies the embalming of our Lord's Body, of which the candle is an emblem, is devoid of any solid 
 foundation ; it probably originated in a forced application of the word incensi occurring in the Exultet.* 
 Suscipe Sancte Pater incensi hvjus Sacrificium vespertinum, which, as De Vert clearly shews, is used 
 
 * This literalizing of the figurative sense was not uncommon during the middle ages; the following is an instance 
 quite in point. In early Rituals the taper by which the paschal candle was lighted, was ordered to be twisted round the end 
 of the rod, in modum serpentis ; this gave rise at a subsequent period to the introduction of a serpent or monster carried 
 with the taper affixed to the mouth. 
 
54 
 
 Crianjjular Cantilcsituksu 
 
 exclusively with reference to the candle, and not to the matter of incense. In the same manner the 
 rubrick directs the lamps in the church to be lighted at the words pretiosce hujus lampadis, Sfc. which 
 also occur in the Exultet, although the term is evidently applied to the candle by the demonstrative hvjus. 
 Few of the ancient Paschal Candlesticks have been preserved to the present time. In England they 
 were all melted and sold in the 16th century, for the sake of the metal of which they were composed. In 
 France the great Revolution completed the destruction of those which had not been previously replaced 
 by more modern designs. Flanders and Germany alone furnish us with existing examples of interest ; 
 for the Paschal Candlesticks, remaining in the Italian churches, although of great antiquity, do not present 
 the rich and varied features in their design, which distinguished those executed during the middle ages, 
 in the more northern countries of Europe. The finest remaining example of a Paschal Candlestick is at 
 the church of Leau in Belgium, a small and almost deserted town, about eleven miles east of Tirlemont. 
 The wood-cut prefixed to this notice, will give the reader some idea of its design and arrangement : it is 
 beautifully executed in the finest brass, and stands altogether about eighteen feet high; the branches 
 for lights which surround the middle part of the stem appear to have been common to all the greater 
 Paschal Candlesticks. Six lesser candlesticks are described round the Paschal of Durham Abbey, 
 doubtless to set forth the great light and joy of the Resurrection, which the church celebrates in the great 
 festival of Easter. A perforated lectem from which the Exultet was chanted, is attached to the lower 
 part of the shaft ; and there is little doubt that this useful appendage was always attached to the antient 
 Paschals. 
 
 Triangular Candlestick (See also Herse Light*) was the name given to a candlestick used 
 at the Office of Tenebrae, during Holy Week ; on which, according to the Roman rite, fifteen candles 
 are set up in a pyramidal form, and extinguished one by one, during a recitation of the Matins and 
 Lauds. In modern Holy Week books, this candlestick is described as emblematic of the apostles and 
 our Lord ; the gradual extinction of the side candles representing their abandonment of Him during 
 his Passion ; the removal and concealment of the remaining candle, his Death and Entombment ; and 
 its final reproduction, his Resurrection. Now, although this explanation of the existing ceremony 
 sounds edifying, still it is most unsatisfactory in an historical point of view, and there can hardly exist 
 a doubt that it has been adapted to the practice at a comparatively modern date, and that we must seek 
 for the origin of the custom from totally different reasons. 
 
 In the first place, the Office called Tenebrae consists of the regular Matins and Lauds of the day; at 
 which, in timc i of primitive fervour, it is well known that the faithful constantly assisted at the regular 
 canonical hour. At a later period the Church, in consideration of the decay of zeal, and anxious that 
 the people should assist at the Divine Office at so solemn a season as Holy Week, allowed the Matins 
 and Lauds to be sung on the evening of the previous day. The change first commenced in the parochial 
 churches, then in those Cathedrals served by secular canons, and was gradually introduced into the 
 religious houses. Previous to 1638, the Divine Office was chanted at Notre Dame of Paris at the usual 
 hour during Holy Week : the great churches of Lyons and Rouen kept up the same practice till the 
 revolution of 1 790, and the alteration only began in the French Monasteries with the new congrega- 
 tions; while the Carthusians and Cistercians have never allowed of this innovation, nor do they 
 make any difference between the hour of celebrating Divine Office during Holy Week from the rest 
 of the year. 
 
 2. There is no mystical signification to be attached to the number of candles set up during this Office, 
 as they vary considerably according to the use of different churches ; at Nevers there were 9 ; at 
 Mons, 12 ; at Paris and Rheims, 13; at Cambray, and S. Quentin, 24; Evereux, 25 ; Amiens, 26 ; 
 Coutances, 44. (De Vert, p. 424. vol. iv.) 
 
 * The old English name was the Lentern Herse Light. 
 
Criangular CaiMestufe& 
 
 55 
 
 3. The manner of extinguishing the candles also appears to have been indifferent; in some churches 
 a candle was put out at each psalm, in others at each antiphon, or each lesson ; or each psalm, and each 
 response ; or each antiphon, and each response ; or each psalm, lesson, antiphon, and response ; the 
 custom of different churches varying according to the number of the candles which they used. The 
 Cistercians and Carthusians do not extinguish any candles during the recitation of the Matins, but 
 only towards the end of Lauds. 
 
 It would be hardly becoming in the present writer to put forth any positive assertion respecting the 
 origin of a practice which is involved in so much obscurity, and which has been so differently observed 
 in different churches and at various periods. But the facts above stated give a great appearance of 
 probability to the following theory of De Vert (a learned Benedictine) on the subject : he states, that as 
 Lauds were recited originally towards the break of day, the candles lit at the commencement were 
 gradually extinguished as the daylight increased, and in support of this position he cites the above-men- 
 tioned practice of the antient religious Orders, who only commenced the extinction of the candles during 
 Lauds.* He considers that in like manner as all the ceremonies of holy Saturday, originally performed 
 during the night, were retained when that Office was transferred to the morning, so, when the nocturnal 
 services of Holy Week were performed early in the evening, for the reasons above stated, the original 
 extinction of the candles was still performed, and hence this Office was termed Tenebrae, as of course 
 the Lauds would conclude in darkness instead of daylight ; and in modern times the commonly received 
 signification was applied to the practice. The almost general custom of the whole congregation making 
 an unseemly noise at the end of this Office, which has prevailed for nearly a century, may be traced to a 
 most simple origin. The prayer Respice being concluded in an inaudible tone by the officiating priest, 
 the acolyth who held the candle concealed behind the altar, required some signal to inform him of the 
 proper time for reproducing it ; the old rubric orders therefore, that the Abbot, or Prior, or Cantor, or 
 Hebdomadarius, or Cseremoniarius, should give a signal {facit signum), by striking on the book or on 
 the stalls : " Sonitum faciat in signum lit lumen extinctum reaccendatur." — Rituel cV Orleans. As some of 
 the churches were very large, and the distance to the altar great, the sound may have been repeated by 
 another ecclesiastic, then a few others joined in, till at last the modern rubric, Jit fragor et strepitus, 
 led not only all in the choir, but those in the body of the church, to make a flapping of books and 
 stamping of feet, which is described in some modern Holy Week books as intended to represent the 
 rending of rocks, at our Lord's Crucifixion (!). But not to speak of the absurdity of such a miserable 
 parody on so sacred an event, the fact of this noise being made on two other days besides Good Friday, 
 is alone sufficient to refute this novel explanation, and to shew the real origin of the abuse. 
 
 Durandus. — "At the horns of the altar are two candlesticks placed, to signify the joy of two 
 peoples at the Nativity of Christ ; for they give their fight with the Cross standing in the midst between 
 them. Their light denotes the Light of Faith : according to that of Isaiah lx. 1. ' Surge illuminare 
 Jerusalem, quia venit lumen tuum.' And a candlestick, shedding light abroad, is an emblem of good 
 works that accompany faith, and guide others by good example. St. Luke, xi. 33. 'No man lighteth 
 a candle, and putteth it in a hidden place, nor under a bushel : but upon a candlestick, that they thai 
 come in may see the light.' " 
 
 Georgius de sacro Missce apparatu. — After speaking of lamps, he says, " Candlesticks also were 
 used for lights. They were called candelabra and cereostata, because wax candles stood upon them ; 
 or stantaria, for the same reason. 
 
 In the description of the sacristy of the Monastery of Centulc, A.D. 831, are mentioned candelabra 
 
 * Quinque candelse ail Tenobras accendantur, qua? in fine quinque Antiplionarum de Laudibus singul* extinguuntur. 
 — Brev. des Cannes, 1542. 
 
56 
 
 ferrea, ex auro et argento parata, majora quindecim, minora septem,* candlesticks of iron, ornamented 
 with gold and silver, fifteen larger, and seven smaller ones. Bishop Conrad, in his Inventory of 
 the Mentz sacristy, says, " There were two great candelabra, which were placed near the altar, of 
 silver ; and others, smaller, which were placed upon the altar ; under which were placed large circular 
 plates (rotce latce) on account of the droppings of the candles." For more examples see Du Cange's 
 Glossary. 
 
 CatUStftt** The metal case in which altar breads are kept previous to consecra- 
 tion, is sometimes called a Canister in old inventories. 
 
 A silver gilt canister for wafer breads, is mentioned as belonging to Canterbury Cathedral, in the 
 reign of Charles the First. See Altar Bread. 
 
 CaiUinp* A rich cloth or covering borne in processions over the Blessed 
 
 Sacrament,^ Reliques, or distin- 
 guished personages. % 
 
 It was made of velvet, silk, or cloth of gold, and 
 richly embroidered with appropriate devices and 
 borne by four, six, eight, or twelve staves of wood 
 or silver, to which small bells were usually at- 
 tached. § A canopy of state was also borne over 
 the hearse in funerals of noble persons. 
 
 According to the Roman use the canopies 
 borne over the Blessed Sacrament are white ; but 
 in the French and Flemish churches they were 
 generally red. In England the two colours seem 
 to have been used indifferently. 
 
 Church of the Holy Trinity, Melford, Suffolk. 
 — " A cloth of blue silk to bear over the Sacrament with chalices of gold embroidered thereon ; the gift of 
 Robert Miller." 
 
 Parish Church of Faversham. — (i Item, a canapy clothe, pounsyd, garneyshd about with purpill velvett, 
 
 * S. Ansegisus presented to the Monastery of Fontenelle, three silver candelabra, " habcntia solidos nonaginta, i. e. 
 unumquodque triginta," containing ninety solidi, i. e. thirty apiece : the solidus being a gold coin equivalent to our 
 sovereign. 
 
 f " Ipso die summo mane prseparetur per Sacristam, vel alios ministros baldachinum album perpulchrum super sanc- 
 tissimum Sacramentum deferendum." — Cceremoniale Episcoporum, L. II. c. 33. 
 
 I " At the foot of the stairs entering the cloyster or stone gallery, do twelve Gentlemen of the Privy Chamber attend, 
 with a rich canopy of cloth of gold ; who when the sovereign approacheth receive him under it, &c." — Ashmole's Order 
 of the Garter, p. 548. In the inventory of old St. Paul's, time of King Edward VI. — " Item, a large Canopie of Tissew 
 for the King's Majestie when he cometh thither." 
 
 § These staves were generally borne by noble and dignified laics- " Deputentur etiam nobiles viri, seu barones, et 
 alii, qui hastas Baldachini per viam processionis portent." — Cceremoniale Episcoporum, lib. ii. c. 33. In an account 
 of a procession of the Blessed Sacrament in Durham Abbey at Easter, we read, " and proceeding in procession from 
 the high altar to the south quire door, where there were four antient gentlemen belonging to the Prior, appointed to 
 attend their coming, holding up a very rich canopy of purple velvet, tasled about with red silk and a gold fringe, and 
 at every corner of the canopy stood one of those antient gentlemen to bear it over the said Image with the Holy Sacra- 
 ment." — Antiquities of Durham Abbey, p. 17. In the Churchwarden's account of St. Mary Hill, London, are the follow- 
 ing items : — " Item, a canapye of blue cloth of Baudkyn with buds of flours in gold ; Item, a canapye of red silke, with 
 green braunchys and white flours poudyrd with swannys of golde betweene the branches."— Illustrations of Antient 
 Times, p. 113. 
 
Canopp.— Cftatrs, 57 
 
 with tascellys of red sylke ; Item, a canapy for the Sacrament, of crimson sarsanet, with knoppis of 
 golde and tascellys of red sylke ; Item, 2 canapyes of lawne for the Sacrament, 1 with knoppis of coppir, 
 and gret knoppis of golde, wroughte with the nedyll, and tascellys of red sylke ; and the other hath 
 none." — Jacobs s History of Faversham. 
 
 Carpft2»» Carpets of appropriate designs* were laid before the altars, and on 
 the choir and sanctuary pavements on solemn occasions ; they were 
 termed tapets, coverlets, or pede cloaths. 
 
 Parish Church of Faversham. — " A coverlet of beyonde sea werke of roses and molets,t red, white, 
 blue, and yellowe, lined with canvass, to lay before the hye awter. It. a new coverlet for weddyngs and 
 for other service." — Jacobs 's History of Faversham. 
 
 Peterborough Abbey. — " In the quire, ten cloaths, called pede cloaths, to lye before the high altar. 
 In the Lady chappel, 4 pede cloaths, called tapets." — Gunton's History of Peterborough. 
 
 All-Souls College, Oxford. — "Item, Septem carpets pro altaribus." — Collectanea curiosa. 
 
 York Minster. — " Item, one large carpet to lay before the high altar on festivals. Item, 2 large red 
 carpets to lay on the steps of the high altar, one of which has garbs, the other the arms of Lord Scrope, 
 one lined with canvass. Item, a white carpet with double roses. Item, three blue carpets with the arms 
 of Mr. John Pakenham, the late treasurer." — Dugdale's Monasticon. 
 
 " Walter Tanton, 52nd Abbot of Glastonbury, gave two carpets, the one red with leopards, the 
 other blue with parrots. Geffrey Fromund, 51st Abbot of Glastonbury, gave six carpets to the church 
 of his monastery, one green, called the Doseez, } with several arms ; 3 smaller of the same colour, with 
 a shield of the same length and breadth, and 2 yellow with parrots and roses." — Stevens' continuation 
 to Dugdale's Monasticon, Vol. ii. 448, 449. 
 
 Cemsn\ See Cfjurible* 
 
 Ctre=Cloatf)* A waxed cloth extended over a consecrated altar stone to protect 
 
 it from dirt or irreverence. 
 
 It should be made of strong linen, and close at the corners, so as to fit on the stone ; a quantity of 
 virgin wax should then be melted in an iron vessel, and applied to the cloth while held a short distance 
 from a fire. 
 
 CfyaurSu Chairs of stone, wood, or metal, but more frequently the latter, were 
 used in the choirs of the antient Churches. The very name of Cathedral 
 being derived from Cathedra, the bishop's seat, or throne. 
 
 The throne or chair of the Bishop was anciently placed at the extreme east or absis of the choir, 
 behind the altar, which position is still retained by the sovereign Pontiff in St. Peter's. This was 
 undoubtedly the case in England prior to the thirteenth century, after which the Throne was placed 
 at the eastern extremity of the stalls on the epistle side of the choir, as at Durham, Exeter, Wells, 
 Winchester, &c. In the foreign churches where the absidal form of the east end was always 
 retained, the bishop's throne kept its original position much longer ; and De Moleon mentions some 
 Cathedrals in his time, where the Bishop or Archbishop on solemn festivals was seated at the extremity 
 
 * The patterns on carpets should always be produced by contrasts of colour without any attempt at shading : 
 floriated devices are also more suitable than the Holy Name or sacred representations for this purpose, 
 f Stars of five points. 
 
 \ This was probably used as a hanging- carpet. 
 
 I 
 
58 
 
 C&airsu 
 
 of the absis. De Vert, in the 1st chap, of Vol. II. of his Explication de la Messe, says, that the 
 archbishop of Rheims, the bishops of Autun, Metz, Arras, &c. when taking possession of their churches, 
 are seated in the ancient chairs at the east end of the choir. These chairs were often of stone ; the 
 one at Rheims Cathedral was hewn out of a single block, and traditionally called the throne of S. 
 Rigobert. In this chair the archbishops were enthroned, and upon it the crozier was laid when the 
 province was vacant by death ; this most interesting relique was broken by the revolutionary fanatics in 
 1793. In Canterbury Cathedral, the stone chair in which the archbishops were enthroned, is still 
 preserved in the eastern chapel of the Cathedral, commonly called Becket's Crown. In many of the 
 episcopal functions the bishop used & folding chair, called a Faldistorium (see Faldstool), on account 
 of the facility with which it could be transported from one place to another. The officiating clergy 
 were formerly seated in sedilia, or niches in the wall, on the epistle side of the choir or chancel ; in most 
 of the English parish churches these sedilia remain, although disused ; also at Exeter, Westminster 
 Abbey) &c* These sedilia or stalls, for the celebrant and assistants, were formerly to be found in every 
 foreign church ; but the love of modern Italian design to which the Catholic clergy of the last 
 three centuries have been so lamentably addicted, combined with the stiffness of modern vestments 
 which rendered these seats inconvenient, has banished them from all the antient continental choirs 
 and in lieu of them chairs of the most unsuitable description, fit only for the saloon of an hotel, are 
 frequently used. The cantors who regulated the chant of the choir were provided with chairsf with 
 low backs, of a semicircular form, to enable them to throw the cope over the back when sitting down : 
 two ancient chairs of this description are used at St. Chad's Church, Birmingham. Of the chairs men- 
 tioned in Dugdale's Inventory of St. Paul's London, five are of wood, six of iron. 
 
 " Item, Quatuor cathedrae ligneae ; Item, tres cathedrae ferreae ; Item, una cathedra ferrea, cum 
 capitibus et pomellis deauratis, quae est cantoris. Item, una cathedra lignea quae fuit Johannis 
 Episcopi, quam habet Episcopus Richardus.J Item, duae cathedrae ferreae." — Inv. of S. Pauls. 
 
 De Moleon mentions two chairs of wood, covered with plates of metal standing in the upper part 
 of the choir of Notre Dame, at Paris, used by the archbishop on various occasions. The chairs now 
 used by the Anglican clergy, and placed against the east wall of the chancel, are of recent introduction, 
 offensive by their position, and generally hideous in design. In Willemin's great work of 'Les Monumens 
 Francois inedits,' plate 4, several very early and curious chairs are figured, one of which traditionally 
 belonged to King Dagobert, and formed part of the magnificent treasure of the Abbaye of St. Denis. 
 It is exceedingly low in the back,§ like most of the early chairs, and is supported by four legs of brass 
 with the heads and feet of lions. || In plate 5. of the same work are two very early episcopal chairs 
 from the churches of Carrosa and Bari in Italy. In c Le Genealogie des Comtes de Flandre,' by 
 Olivier de Wree, are several seals figured with bishops seated on low chairs, like faldistoria, without 
 arms or back, and covered with a piece of rich stuff hanging down, in some cases from the front and 
 back, and in others from the sides, of the cushion. 
 
 * During the alterations a few years since, a tomb was inserted in the place of the ancient seats, hut the canopies 
 remain nearky perfect. 
 
 t In Lincoln Cathedral the ancient position of the cantors in the centre of the choir, is still discernible on the 
 pavement by the original marks. 
 
 I After the high canopies were introduced for the Bishop's thrones, I conceive that a moveable seat or chair, such 
 as is here described, was placed under them on a raised step. 
 
 ^ The back is supposed to have been an addition long subsequent to the original date of the chair. 
 || The representation of lions as supports for chairs and thrones, are continually found in the ancient examples. 
 The idea was probably suggested from the description of the throne of Solomon in the Old Testament, and also as 
 emblems of strength and courage. 
 
I 
 
 C&altre* 
 
 59 
 
 The vessel in which the sacred Blood of our Lord is consecrated. 
 
 Form. — The form of Chalices has been different in different ages. While 
 the discipline of the western Church permitted the communion of the 
 faithful under both kinds, they were very large and generally provided 
 with side handles* for the convenience of lifting, subsequently they were 
 made smaller with flat wide bowls, low stems, and large feet; latterly 
 they have been made not only inconveniently high, but with narrow bowls 
 difficult to purify, and what is still worse, with turn-over lips, extremely 
 liable to cause accident while the celebrant is receiving. 
 
 There are four parts in a Chalice ; the foot, the stem, the knop, and the 
 bowl. The first may be of various shapes, but should extend considerably 
 beyond the bowl in diameter, to prevent the possibility of upsetting ;f on 
 one division of the foot, there should be a cross or crucifix, engraved or 
 embossed, which is always turned towards the priest while celebrating. 
 The stem unites the foot to the bowl, and on it is fixed the knop for the 
 convenience of holding the Chalice ; the knop is variously enriched with 
 enamels, jewels, or tracery and tabernacle work, while the stem is frequently 
 engraved or enamelled. The height of the stem is generally about four 
 inches, and seldom exceeds six. The bowl varies from three to six inches 
 diameter, and of a proportionate depth ; it should have a plain rim of about 
 an inch below, that it may be enriched with engravings, inscriptions and 
 enamels. 
 
 Material. — Chalices are usually made of silver, either whole or parcel gilt, occasionally of pure gold, 
 and jewelled; formerly glass, crystal or agatet chalices were sometimes used, but this is now pro- 
 hibited on account of the brittle nature of the materials. In very poor churches the bowls are some- 
 times of silver, and the rest of gilt metal. Notwithstanding the great destruction of church plate, a 
 great number of ancient chalices are still preserved, and many of them exceedingly fine and curious. In 
 the sacristy of the Cathedral at Mayence are two splendid chalices of the fourteenth century, richly 
 enamelled with the five Doleful Mysteries on the feet and knops. At the church of St. Jaques, Liege, is 
 a fine chalice of the fifteenth century, of silver gilt, with niches and images in the stem. At Corpus Christi 
 and other colleges at Oxford, are ancient chalices, with scriptures and devices of the fifteenth century. 
 At St. Marie's College, Oscott, three chalices of silver gilt, of the fifteenth century. At St. Chad's 
 church, Birmingham, is an exceedingly fine chalice of the early part of the fourteenth century, with 
 
 * De Vert says, that the reason of indenting the edges of chalice feet, arose from an ancient practice of laying 
 the chalice to drain in the paten after the celebrant had received, and by the indentations they remained steady in 
 this position. 
 
 In Dom Felibien, Histoire de l'abbaye de S. Denis, Plate 3, two chalices are figured with handles. These 
 are described as follows : " Calice et Patene de l'abbe Suger. La coupe du calice est d'une agathe orientale tres bien 
 travaillee. La garniture sur laquelle est ecrit Suger Abbas, est de vermeil doree enrichi de pierreries. La Patene est 
 faite d'une pierre precieuse nominee serpentine semee de petits dauphins, d'or avec une bordure d'or chargee de diverses 
 pierreries." In the ancient Roman Ordinals when the sovereign Pontiff celebrated, the Archdeacon took the Chalice 
 with a veil by the handles at the words Per ipsum et cum ipso, and held it near the Pope, &c. 
 
 t " Calice et patene, qu'on dit avoir servi a S. Denys, ils sont de crystal. L'enchassnre est de vermeil dore enrichie 
 de quelqiies, pierreries." — Tresor de VAbhuye Royale de S. Denis. 
 
 In Lyndewode, Liber III., it is thus ordered touching the chalices of the parochial churches. " Calix sit argenteus 
 ad exemplu Salomonis, q. oia vasa dom. Domini ex auro purissimo fabricata divino cultui mancipavit. Statuimus ut 
 quajlib. ecclesia calicem habeat argenteum." 
 
60 
 
 Cfoaltce. 
 
 rich enamels in the foot. In some of the English parish churches a few of the old chalices used 
 before the schism yet remain, and a vast number of old English chalices have been preserved in the 
 private chapels of the Catholic families. Gerbert in his ' Vetus Liturgia Alemannica,' has figured a 
 chalice of the twelfth century, belonging to the monastery of Weingart, most beautifully enriched 
 with heads of saints enamelled in the knop ; the Nativity, Baptism of our Lord, &c. on the bowl, and 
 subjects from the Old Testament on the foot, round which is inscribed : + Magister Cuonradus de Husi 
 ar(gentarius) mefec(it). 
 
 During the first eight centuries of the Church, there does not appear to have been any positive regu- 
 lation touching the material of which the chalice should be made ; but it is quite certain that very 
 precious chalices were in use, even in the primitive times ; this is sufficiently proved by the fact, related 
 by S. Ambrose, of S. Lawrence the Deacon selling the chalices, and distributing the proceeds to the 
 poor. Some chalices were, however, of very mean materials, such as wood and horn. The use of these 
 latter is proved by their being prohibited in England by a Council held in the Pontificate of Adrian I., 
 and regarding the former, the well known expression of S. Boniface, c Anciently golden priests used 
 wooden chalices, but now wooden priests use golden chalices,' is quite conclusive. Glass chalices appear 
 to have continued longer. There can be but little doubt that S. Ambrose, after having sold the precious 
 chalices belonging to his church, for the purpose of redeeming captives, used glass till they could be 
 replaced. The Monks of Venice used glass chalices in the tenth century, although Yvo de Chartres 
 mentions a Council held before that period at Rheims, by which all chalices of wood, glass, tin, or 
 copper, were forbidden. Notwithstanding these decrees, Bocquillot in his Liturgie Sacree, asserts 
 that chalices of copper gilt were used in poor French country churches down to his time ; but about 
 thirty years before he wrote, (1701) the bishops required that the bowl at least, should be of silver. At 
 the present time, when the precious metals are so readily procured, and modern luxury has introduced 
 their use in the ordinary articles of domestic life, it would argue a sad want of respect for the Holy 
 Mysteries in those who would use inferior metals for any portion of so sacred a vessel as a Chalice. 
 
 During the early ages, besides the chalices used for the offering and consecration of the wine, there 
 were vessels to receive the wine, when the chalice would have been too full ; these were called Set/phi or 
 Calices Minister tales . The wine offered by the faithful was brought in still smaller vessels, called 
 AmcB or Amulce, which corresponded to the Crewetts used at present. The use of all these vessels ceased, 
 of course, when the discipline of the administration of the Holy Communion under one kind became 
 general, and the chalices, no longer requiring handles, were made perfectly round in the bowl, and 
 smaller. At the time of the unauthorised attempt to revive the primitive discipline, which accompanied 
 the English schism in the sixteenth century, many of the old chalices were considered too small, and among 
 the accounts of that period, we find items regarding their sale and the purchase of communion cups in their 
 place. At St. Paul's Cathedral, in the Inventory (taken in the time of King Edward the Sixth,) of 
 necessary things, to remain in the church, are three chalices mentioned : these were probably some of 
 the larger sort which had belonged to the church. 
 
 From the inventory of old St. Paul's Cathedral, London. — " Calix de auro qui fuit Alardi 
 Decani, ponderis cum patena xxxv s . x d . Et continet in pede xii lapides, et in patena est medietas 
 ymaginis Salvatoris ; Item, Calix de auro qui fuit, ut dicitur, Roberti de Clifford, planus undique, 
 assignatus ad Missam cotidianam, ponderis cum patena xxv 9 . iiii d . ; Item, Calix de auro cum 
 pede cocleato, et in patena manus benedicens, cum stellulis in circuitu impressis, ponderis cum 
 patena xli s . vii d . ; Item, Calix de auro quern dedit Will, de Bruera, ponderis cum patena continente 
 manum benedictionis £xv s . v d . ; Item, Calix de auro qui fuit Henrici de Wengham Episcopi, con- 
 tinens in pede circulos aymalatos, et circa pomellum sex perlas, et in patena Agnus dei ponderis 
 cumpatina xlviii 5 . iiii d . Item, Calix argenteus deauratus, qui fuit, ut dicitur, Magistri Rogeri, Capellani, 
 
€l)dL\itt. 
 
 61 
 
 cum flosculis in pede levatis, et, in patena, plena ymagine Majestatis, ponderis cum patena liii s ; Item 
 Calix argenteus Henrici de Northampton deauratus, cum pede cocleato & scalopato, et pineato, 
 ponderis cum patena LV 
 
 From the Inventory of Lincoln Minster. — " Imprimis, a Chalice of gold, with pearls, and divers 
 precious stones in the foot, and in the knot, with a paten of the same, having graven on it, Ccena Domini, 
 and the figure of our Lord, with the twelve Apostles, weighing thirty and two ounces. Item, one great 
 Chalice, silver and gilt, with the paten, weighing seventy-four ounces, of the gift of Lord William 
 Wickham, Bishop of Winchester, some time Archdeacon of Lincoln, having in the foot the Passion, 
 and Resurrection of our Lord, and the Salutation of our Lady, and in the paten the Coronation of our 
 Lady, having a Roll in the circumference written, Memoriale Domini WilUelmi Wickham; Item, a 
 Chalice, silver and gilt, with one plain paten, chased in the foot with a written knop, with one gilded 
 spoon containing a Scripture, Blessed be God, having a Scripture in the bottom, Johannes Cynweth, 
 weighing thirty-eight ounces and a quarter. Item, a Chalice chased in the foot, silver and gilt with a 
 paten graven with a Lamb, and four Evangelists, weighing three-and-twenty ounces. Item, a Chalice 
 silver and gilt, with an image of the crucifix in the foot with a paten, our Saviour sitting upon the 
 Rainbow, weighing — ; Item, one Chalice silver and gilt, having written about the cup, Laudate 
 Dominum in Ecclesia Sanctorum ; and on the foot, Tot us Mundusest Ecclesia ; and on the paten, Enixa 
 est Puerpera, Sfc. of the gift of the Lord Charles Boothe, Bishop of Hereford." 
 
 From the Inventory of the Metropolitan Church of York. — " Item, one rich Chalice, with a paten 
 of gold and precious stones, as well on the foot as in the knot, with four precious stones on the paten, 
 the gift of Mr. Walter Grey, weighing three pounds and an ounce ; Item, one gold Chalice, with a 
 paten of a new fashion, with an image engraved on the foot, and enamelled about, weighing three 
 pounds eight ounces and a quarter ; Item, a gold Chalice, with a paten of a new make, with the 
 arms of the lord Ross, and a writing having Jesu Son of God, &c. in the paten, the gift of the lord 
 Ross, weighing two pounds, three ounces ; Item, a Chalice with a silver paten gilt : the gift of the 
 Lord Cardinal of Palestine, once Prebendary of Masham, weighing two pounds five ounces and a 
 half, with the Arms on the foot, three scallops, and a lion : Item, a Chalice with a silver paten 
 gilt, weighing seventeen ounces three quarters ; the gift of Nicolas Keld, Executor of Mr. Thomas 
 Garton, once Treasurer, which Chalice is at the altar of St. Mary. Item, one silver gilt Chalice and 
 paten ; the gift of Mr. Thomas Haxey, formerly Treasurer, weighing four pounds and ten ounces, with 
 writing on the paten." 
 
 "The name of Chalice or Cup (Calix,) is found both in the Old and New Testament. — Jer. li. 7, 
 "Babylon hath been a golden Cup in the hand of the Lord." Psalm cxv. 13, "I will take the Chalice 
 of salvation." S. Matt. xx. 22, " Can you drink the Chalice that I shall drink .... my Chalice indeed 
 you shall drink." In the primitive Church the Holy Sacrifice was offered with Chalices, &c. of wood, 
 and vestments such as were in common use. Severinus, Pope, ordered that glass should be used. 
 Afterwards Urban, Pope, decreed that the material should be silver or gold, or in case of poverty, tin : 
 the Chalice of gold signifying most appropriately the treasures of wisdom hidden in Christ. The 
 Chalice is consecrated within with holy Chrism, that by the grace of the Holy Ghost it may be a new 
 Sepulchre wherein the Body and Blood of Christ may be laid." — Durandus. 
 
 " The use of silver Chalices was always approved, rather than of pewter ones. In a book, by the 
 Monk Gosselinus, on the miracles of St. Augustine, Abp. of Canterbury, it is recorded of that prelate, 
 that he ordered a handsome Chalice to be made of silver, stanneo rejecto. The English Council of 
 Chalcuth (in Northumberland,) a.d. 787, forbad the Chalice or Paten to be made of horn ; and the 
 Synod of Rheims (supposed to be in the time of Charlemagne,) ordered "That the Chalice and Paten, if 
 not of gold, should at least be made of silver. In case of extreme poverty pewter might be employed ; but 
 in no case brass or latten (aurichalcum), or wood. Chalices and Patens were consecrated by the fact of 
 
62 
 
 their use, and their contact with the precious Body and Blood of the Lord. After being so used, they 
 were called vasa initiata : see S. Ambrosius de Off. ii. 28. where he shews that such may not be used to 
 common purposes (vide S. Hieron. Ep. lxxxviii.) In the fifth CEcumenical Council, a.d. 518, it was 
 brought against Severus, bp. of Antioch, ' That he had not spared the very altars, nor the sacred vessels 
 . . . . nay such presumption had he, that he with others appropriated to private use the golden and 
 silver doves, emblems of the Holy Ghost, suspended over the fonts and altars/ And many other 
 decrees and warnings of history abound, against alienating to profane use things once offered and 
 dedicated to the service of God." — Georgius. 
 
 C&mrin'm. See Angel. 
 
 C&asluWf, Cfoesft'We, or C&esafcfe* (Also called a Vestment.) See Plates ri. in. 
 iv. v. vi. vii. lii. liii. The upper or last vestment put on by the 
 priest before celebrating mass. 
 
 The Chasuble was originally worn by laymen as well as ecclesiastics, and common to all orders of 
 churchmen, as may be seen by the Sacramentary of S. Gregory and the most ancient Roman Ordinals. 
 Thus Ordo Mom. viii. of an acolyte : Induunt Clericum ilium Planetam. It is also added that the sub- 
 deacon should hold the maniple of the bishop in his left hand, on his chasuble doubled back, super 
 Planetam revolutam. Also, that the deacons should take off their chasubles in the Presbytery : diacones 
 in Presbyterio exuuntur Planetis. The reason for this was undoubtedly to enable them to perform 
 their functions with greater ease, and this consideration led eventually to the almost exclusive use of 
 the dalmatic and tunic, for the deacons and subdeacons, while officiating.* For some centuries, the 
 use of the Chasuble, (with the exception mentioned in the note below,) has been confined to priests and 
 bishops, and worn, by the former, over the albe ; and by the latter, over the albe, tunic, and dalmatic. 
 
 Form and Material. — The primitive form of the chasuble was perfectly round, with an aperture in 
 the centre for the head. In this form it covered the whole body ; and, according to some authors, its 
 very name is derived from casula, a small house. During the middle ages, the shape was that of the 
 Vesica Piscis,f as shewn in Plate II. It then hung down before and behind, long and pointed, and was 
 gathered up in a few graceful folds over the arms. This was the shape of the chasubles we see 
 sculptured on tombs of ancient ecclesiastics, or engraved on sepulchral brasses. This may be considered 
 as the perfection of the Chasuble. It was the form adopted by the Church when it had ceased to be a 
 vestment of common use and convenience, and when it became, by custom and enrichment, particularly 
 set apart for' the solemn Offices of the Church. It was the form that prevailed, without exception, 
 throughout every country of Europe, during the Ages of Faith (See Plates IV. V. VI. and VII.) ; and it 
 was only lost in England through the overthrow of the ancient Religion, and on the continent by the decay 
 of zeal, and the fabrication of vestments being transferred from the direction of ecclesiastical authority 
 into the hands of mere tradesmen, who altered the traditional form of the Church to suit their own profit 
 and caprice. J It is surprising how soon the minds of the multitude are reconciled to changes, when they 
 
 * During- Lent, in some of the Roman and French Churches, the deacons assist in chasubles folded up, and 
 hanging' over the left shoulder, after the manner of a stole. 
 
 f May not this shape have been partially selected in reference to its symbolical signification of our Lord's mystical 
 
 Name ? 
 
 X De Vert, at page 297, torn. ii. of his " Explication de la Messe," speaks thus on the alterations of his time :— 
 " Les ehasubliers (makers of vestments) ont toute liberte de rogncr, (clip,) eouper, (cut,) tattler, (fashion,) trancher, 
 (reduce,) et ecourter, (shorten,) ainsi que Ion leur semble, (as they think proper,) les Chasubles, Dalmatiques, Tunics, et 
 autres habits sacerdotaux ou ornemens servant au ministere de FAutel, leurdonner la figure qu'ilsjugeni apropos, {giving 
 thru, any shape they think proper,) et sans consnlter VEveque, (without consulting the Bishop") Here we have the 
 testimony of a great ecclesiastic to the unauthorized manner in which these changes were being effected in his time, the 
 eighteenth century. Which is to be preferred 1— The tradition of Catholic Christendom, or the modern vestment 
 makers of Paris ? 
 
Cfoasufilf. 63 
 
 are for the worse ; and the clipping principle, in the course of little less than two centuries* has reduced 
 the most graceful Vestment of the Church into a most hideous shape, with a front resembling the body 
 of a wasp, and a back like a board, without a vestige of its ancient beauty or mystical signification ; nay 
 more, not only have modern vestments been made in this stunted and miserable form, but hundreds of 
 ancient ones — ample and glorious — which had escaped the ravages of harassing pursuivants, in secret 
 recesses of the Catholic mansions of England, have been actually cut and clipped in latter times by the 
 hands of the degenerate descendants of those very men, who in days of greatest trouble and distress, had 
 preserved alike intact the Vestments and the Faith !f The present forms of Chasubles are not only hideous, 
 but they destroy the meaning of many of the ceremonies of the Mass. The very rubrics of the missal 
 and pontifical are worded with reference to a large and a pliant J Chasuble. For this reason the Bishop 
 does not put on his maniple till after the Confiteor, — a practice formerly extending to priests. During 
 the Confiteor the chasuble hung down, — the Bishop striking his breast, at the Mea culpa, beneath its 
 folds. The assistant ministers afterwards raised it, folded it back over his arm, and affixed the maniple. 
 In the like manner the deacon and subdeacon raised and folded the chasuble of the celebrant priest 
 before they ascended to the altar ; at present they only touch the edge of the back, stiff with buckram. 
 During the incensing of the altar the chasuble was lifted by the deacon, to enable the celebrant to use 
 his right arm without hindrance. The mere holding of the chasuble, as practised at present, is not of 
 the slightest use, except to preserve the tradition of the real form. The universal custom of holding up 
 the bottom of the vestment, at the elevation, is a striking proof of the old form of Chasuble, which 
 required it. When it hung down behind, long and flowing, there was an evident reason for lifting it. 
 from the ground at the genuflections, lest the feet of the celebrant should be entangled in its folds, but 
 with the present square and short back, more likely from its stiffness to stick out than fall down, the 
 practice ceases to be of the slightest utility. Thus not only are the rubricks suited only to large 
 chasubles, but they presuppose them to be made of pliant materials. During Lent, according to the 
 Roman rite, the deacons and subdeacons wear chasubles rolled up and thrown over the shoulder. Again, 
 in the ordination of priests, the chasuble is put on/bZcfc/(complicatam), which the stiff modern chasubles 
 would not admit of. Moreover, down to the latter part of the sixteenth century, and even the com- 
 mencement of the seventeenth, no example can be found in sculpture, painting, or engraving, of a stiff 
 
 * Mons. de Harlay, Archbishop of Rouen, in the middle of the seventeenth century, ordered the chasubles in his 
 diocese to be wide enough to cover the arms : Casulte sou pianette brachia tota saltern obtegant. 
 
 f When the ancient Cathedral church of Waterford was demolished, for the purpose of erecting the present wretched 
 pile of building, a complete set of cloth of gold vestments were discovered, of the most exquisite design and enrichments. 
 These were given to the Catholic bishop and clergy of the time, and being - in a sufficient state of preservation for use, 
 they actually cut the chasubles to the modern French form, and sliced out whole images from the needlework 
 orphreys. One set of these vestments, in their present disfigured state, was presented by the Earl of Shrewsbury to S. 
 Marie's College, Oscott, and present, among the other ecclesiastical antiquities, a striking evidence of ancient excellence 
 and modern degeneracy. 
 
 I The stiffness of modern vestments is almost as great a defect as their form ; indeed, the unpliant nature of their 
 material has, in a great measure, led to the reduced front. They cannot be too pliable either for convenience or dignity. 
 Every artist is aware that the folds of drapery constitute its great beauty ; the most majestic mantle extended flat is 
 unsightly. Ever since the chasubles have been made of a stiff material, they have been avoided by sculptors and painters 
 in their works, and they invariably select the Cope instead, solely on account of its folds, when, if the chasubles were made 
 of the ancient graceful form, they would afford the most beautiful combinations of folds. With those, however, on 
 whom all considerations of art and antiquity are unavailing, those of convenience may have some weight ; now a pliant 
 Vestment will last three times as long as a stiff one ; it accommodates itself to all the positions of the body; it will fold 
 up and carry without injury, neither will it tear and fret the antependiums when it comes in contact with them. Plain 
 velvet or silk, with a thin lining, are the best materials for ordinary use. A vestment made of these, in the old form, with 
 embroidered or lace orphreys, will not be more expensive, but wear far longer, and be easier for the celebrant than those 
 stiff shell-looking chasubles made on the Continent,which stand out like boards, and crack when they are bent. 
 
G4 Cftasuble* 
 
 or small chasuble, the least and latest coming down to the bend of the arm, and pliable in texture ; 
 and, as will be seen by the note,* the large chasubles continued in use, in many of the great French 
 churches, till the Revolution of 1790; and even at the present time, the ample chasuble of S. Thomas 
 of Canterbury, preserved at Sens, is annually worn during mass, on his festival. The present reduced 
 and stiff chasubles have not been introduced by any authority ; they have gradually degenerated from 
 the ample and mystical form, partly through the neglect of ecclesiastical solemnity, partly through the 
 ignorance or interest of those to whom their manufacture has been intrusted in latter times, and partly 
 from the use of heavy and stiff stuffs, which rendered the old form exceedingly inconvenient. The change 
 has been lamented by every learned Churchman who has written on the subject, as destructive not only 
 of dignity, but of all those mystical significations attributed to this vestment, f If it be asked, why the 
 pointed form should now be received in preference to the circular, it may be readily answered, that 
 while the chasuble was round it was not an exclusively ecclesiastical vestment ; but that no sooner was 
 it restricted to the use of those who ministered at the altar, than it received the same fish shape which, 
 with trifling modifications, it retained till the general decay of ecclesiastical art. 
 
 Ornament. — Chasubles were richly decorated with embroidery, and even jewels, at a very early period, 
 as will be seen from subsequent extracts ; but chasubles without orphreys were frequently used, even 
 down to a very late period, as may be seen by sepulchral brasses of priests. The oldest orphreys were 
 in the form of a Pallium, and came down in a Y shape from the shoulders, back and front. This is alluded 
 to by S. Thomas a Kempis, in his Imitation of Christ, when he speaks of the priest at the altar having 
 the cross before and behind him. These orphreys are figured in Plates II. and IV. The Roman chasubles 
 had only a cross in front, and a long straight orphrey behind, which custom has been retained in Italy to 
 the present time. The modern French chasubles have the cross behind ; and those chasubles made in 
 England, in the latter part of the fifteenth and the commencement of the sixteenth century, were the same. 
 The greater part of those which have been preserved are of this description. Our Lord Crucified is usually 
 embroidered on the cross, with Angels receiving the sacred blood in chalices, Saints under rich canopies, 
 and other devices. The older orphreys were narrow, and far more elegant; frequently enriched with pearls 
 
 * Extracts from De Moleon, respecting the use of ancient chasubles. 
 
 S. Maurice D 'Angers, Vendredi Saint. — On chante dans cet Office deux propheties seulement, et le lendenain 
 [Samedi-saint] on en chante quatre. Les Chanoines qui les chantent prennent pardessus leur Chappe noire et leur 
 camail de semblables chasubles antiques de differentes couleurs. [Le Samedi de la Pentecote on s'en sert aussi, et on les 
 met sur les surplis.] 
 
 S. Etienne de Sens. — Le jour de S. Thomas de Cantorberi on se sert de l'ancienne chasuble de S. Thomas de Cantor- 
 bery, qui n'est point echancree, mais toute ample par bas comme un manteau. Le Vendredi saint a la Messe ex 
 prsesanctificatis, on se sert d'une ancienne chasuble qui est pareillement sans echancrure. 
 
 Abbaye de Port Royale. — A la porte de l'Eglise dans le Vestibule est une tombe d'un Pretre revetu de ses habits 
 sacerdotaux d'une chasuble ronde de tous cotez et non echancree, relevee sur les bras, faisant une pointe devant et derriere : 
 son manipule n ; estpas plus large par le bas que par le haut, de meme que l'etole qui n'est point croisee sur la poitrine, 
 mais comme la portent encore les Eveques, les Chartreux, et les anciens Moines de Cluny, qui en celan'ont point innove. 
 
 Notre Dame de Rouen. Sacristie. — II y'a deux anciennes chasubles toutes rondes par bas sans aucune echancrure, 
 mais qui ont seulement une ouverture par le haut pour passer la tete. L'une est blanche et sert encore deux fois par un 
 pour chanter les Genealogies de Noel et de l'Epiphanie ; l'autre est violette, et sert au Celebrant les Samedis de Paques 
 et de Pentecote durant les Propheties, Traits et Oraisons. Toutes les autres chasubles, meme les modernes, sont fort 
 amples, et couvrent entierement les bras du Pretre. Voici ce qu'en ordonne le Rituel de Rouen. Sacrarum vestium ea 
 forma servetur quam Patrum institntio et Cathedralis Ecclesice vencranda prrfscribit antiquitas, videlicet ut casulce seu 
 pianette in tantamhinc inde amplitudinem extendantur, utbrachia tota saltern obtegant ; ideoque ex commoda et plicabili 
 mater iajiant, ut facile per Jimbrias levari possint, nec celebrantemimpediant. — torn. 1. p. 386. 
 
 Abbaye de S. Denis. — On y conserve encore de grandes chasubles a l'antique, amples et fermees de tous cotez, sans 
 echancrure. 
 
 f See the extracts from Georgius and Sarti, below. 
 
65 
 
 and jewels. (See Plates IV. V. VI. VII.) The enrichments of modern chasubles are, for the most part, 
 rather gaudy than rich, and are devoid of any symbolical beauty or meaning ; in addition to which, 
 the attempt of the Lyons manufacturers, to make stuffs to serve for all the four canonical colours, 
 has rendered them unfit for any ; and vestments of the nineteenth century exhibit, for the most part, a 
 pitiable mixture of the tawdry in taste, and the unmeaning in effect. 
 
 Perhaps the best material for chasubles is plain velvet, on which the embroidery of the orphreys tells 
 with surprising effect and richness ; but when cloth of gold or figured silks are used, the pattern should 
 be small, as the plain surfaces between the orphreys are necessarily small,* and a large pattern cut up has 
 a confused and disjointed appearance. 
 
 Georgius. — "The Chasuble is the last of the sacred vestments put on. — Rupert, Bishop of Tuy, in his 
 comments De Divhds Officiis, declares its true shape : c The Chasuble,' he says, ' signifies the Robe of 
 Christ, which is the Church. — Est autem Integra, et undique clausa, &c. It is ample, and closed on all sides, 
 to shew forth the unity and fulness of the true Faith. The fore part represents the state of the 
 Church before the Passion of Christ; the back, the Church under the Gospel.' The words of Honorius, 
 Bishop of Autun, the contemporary of Rupert, are equally in point, as to the shape, and mode of 
 wearing the chasuble : f This vestment is called Planeta,' he says, e from its winding border, which is 
 raised up on either side on the arms. In two places, on the breast and between the shoulders it is 
 doubled (duplicator) ; in two places on both arms, it falls in triple folds (triplicatur) . To it is 
 fastened at the top the Hunierale, because hope embraces charity.' Hence it appears what was the 
 shape and mode of wearing the chasuble in the twelfth century. — Sicardus, Bishop of Cremona, agreeing 
 in his description with the above, adds, that f the colour is changed according to the season. White is 
 used at Easter, because the angels appeared in white ; red at Pentecost, because the Holy Ghost 
 descended on the apostles in the form of fiery tongues.' 
 
 " What was the Vestment used by the apostles, and those of the first ages for the celebration of the 
 Holy Sacrifice, is disputed. — It is generally thought that the pamula, which St. Paul left at Troas with 
 Carpus, was the Sacrificial Vestment. In the year 474, we find mention made of the chasuble, under 
 its present name of Casula ; in the will of S. Perpetuus, Bishop of Tours : ' Ecclesia? de Proillio 
 similiter calicem argenteum, et urceos argenteos do, lego ; similiter et Amalario ibidem presbytero casulam 
 unam communem de serico.' — (Dacherii Spicileg. torn. V. p. 106.) ; where the common chasuble is 
 specified as distinct from the Episcopal chasuble which was richer in ornament. In France in the 
 sixth century, the chasuble had something peculiar appended to it, called capsa or cappa, which appears 
 to have been a hood, similar to that of the cope, and for the same purpose. For in the life of S. 
 Caesarius, Bishop of Aries, this kind of chasuble is called casula processor ia, or a processional chasuble; 
 which S. Caesarius gave, together with a Paschal albe, to a certain poor man. The same mention 
 of the cappa as belonging to the chasuble is found in the life of S. Nicetius, Bishop of Lyons, by 
 St. Gregory of Tours. The chasuble was anciently, as now, given to Priests at their ordination. S. 
 Augustine, the apostle of England, a.d. 606, 'at the ordination of his beloved scholar, (S. Livinus), 
 presented him with a tender pledge and memorial of his affection, viz. a purple chasuble, a presage of 
 his glorious martyrdom, bordered with gold and jewels, emblems of Saints' virtues.' — (Life of St. Austin, 
 written in the eleventh century, by Gosselinus, Monk.) Representations of chasubles of the sixth 
 century are found in a Mosaic at Ravenna, and have been published by Rubeus, Ciampini, and others. 
 All Liturgical writers agree that the original shape of the chasuble has been altered. Anciently, as 
 Angelus Rocca, and others, assure us, this vestment had no aperture made for the arms, but was full 
 all round, and reached down to the feet, so that the arms could not be exerted, except by doubling the 
 border of the vestment over to the shoulders, or arranging it in folds upon the arm. On the tombs of 
 
 * Powdering would be better than diapering for a chasuble, and the reverse for a cope. 
 
 K 
 
66 
 
 Chasuble* 
 
 Cardinals and Bishops, from the fourteenth to the sixteenth centuries, some folds are seen over the 
 arms, but the vestment had already been contracted in its form. It is about a hundred years before 
 the time of my writing this, that the chasuble was curtailed to its modern shape and size. The word 
 casula was corrupted into casubula, first by the French, who use the word chassuble as a vernacular word 
 to the present time. The word casula also meant the hooded dress of a monk. To conclude, the 
 Vestment was sometimes called amphimalum, in allusion to the priestly Vestment of the Mosaic Dispen- 
 sation, with pomegranates figured round it. — Vide Marteae Thesaur. Anecdot. torn. V. p. 99." 
 
 Durandus. — " Over all the priestly garments is put on the Casula, or chasuble ; called casula, quasi 
 parva casa : and by the Greeks, planeta, from the winding border of the vestment. The chasuble 
 denotes charity; for as charity covers the multitude of sins : so the vestment covers all the person. 
 So that an allusion is thought to be contained in it to the wedding-garment of the Gospel. The 
 breadth of the chasuble implies the wide extent of charity. Latum mandatum Tuum nimis. Quod 
 autem casula unica et integra, et undique clausa est, significat fidei unitatem et integritatem. This 
 garment also signifies the purple robe with which the soldiers clothed Christ." 
 
 Maurus Sarti De Veteri Casula Diptycha, 1753, c. i. — " In a part of the city of Ravenna, called the 
 Classis, is a church of St. Apollinaris. In the Sacristy of this Church was a very ancient Vestment, 
 of silver and silk, on the orphrey of which were the figures of many Saints and Bishops, with the names 
 of each in small circular shields. — The remains of this Vestment are most curious, and have been 
 noticed by many writers. Hieronymus Rubeus in his History of Ravenna, calls it Casula Diptycha, 
 as resembling the Diptychs upon the ancient altars, serving for the commemoration of the departed 
 faithful. In his day this vestment had the names and heads of 35 Bishops of the Church of Verona, 
 with Michael and Gabriel the Archangels, and some others. This Chasuble is also commented on by 
 Christianus Augustus Salig, ' de Diptychis veterum' c. i. who says, £ Huic casulae Episcoporum nomina 
 inscripta omnino peculiarem quendam olim in Ecclesia ritum denotant.' In this, however, he seems 
 mistaken ; for the custom of depicting the Bishops of each church not oidy on the walls of sacred 
 edifices, but on the vestments, and coverings of altars, was very common anciently, see Georgius de Lit. 
 Rom. Pont. lib. ii. c. 8., where he adduces this very Chasuble we are speaking of. The orphrey of 
 this Chasuble acquaints us with the succession of Bishops in the Church of Verona from its beginning 
 down to the middle of the eighth century ; and as such catalogues of Bishops were formerly called 
 Diptychs, this is not improperly styled a Diptych Chasuble. This vestment measured behind, from the 
 bottom of the orphrey to the top of the collar 6 feet 8 inches : and in front, 6 feet : an extraordinary size. 
 
 C. ii. "The form of the ancient Chasuble was very full, covering the person all round, without any 
 opening for the arms, except by raising the Vestment in folds upon the arm. Thus, Georgius, 1. i. 
 c. xxiv, says the chasuble was ' Vestis tota integra, circulatim ad pedes usque demissa.' Yet this is 
 doubtful ; and some ancient representations give the shape cut at the sides, as now in use, only much 
 longer, and pointed at the bottom. Such are the chasubles, in which SS. Peter and Paul, are figured in 
 some ancient stained glass, given by Buonarroti Osservaz. sopra alcuni fram. Tav. XIV. On the 
 other hand there are instances of a shorter form of chasuble, as early as the sixth century, and such is 
 the fine chasuble in which S. Apollinaris, the first Bishop of Ravenna, is pictured, on the Orphrey of 
 this Vestment; and which, it is probable, is a true likeness of the Saint. But though some examples 
 occur of a shorter chasuble, and a little open at the sides, yet they were certainly for the most part very 
 full, and reached down to the feet, and that down to a very late period. Subsequently, however, it has 
 been so cut and curtailed, and changed in shape, as, when compared with the shape from which 
 it has degenerated, to be hardly worthy of the same name, as Lindanus, de Panoplia Evangel. 1. iv. 
 c. lxvi. complains. 
 
 " Anciently the chasuble was singled out for especial ornament, and enrichment, above the other 
 ecclesiastical vestures. Exclusive of gold and jewels, which we will not now touch upon, the various 
 
67 
 
 figures and imagery painted or worked on the ancient orphrey, deserve especial notice. The fathers 
 of the second Council of Nice expressly sanction the custom of having sacred imagery e on sacred 
 vessels and vestments,' &c. Georgius, 1. ii. c. 8, shews by many examples, that not only the histories of 
 the Old and New Testament, and Crosses, and pictures of Christ, the B. V. M, and other saints, hut 
 also of Bishops, and other men, nay and various kinds of animals and plants, were in use for vestments, 
 altar coverings, curtains, &c. Even the representation of the successive Bishops of a particular church is not 
 without example. Another instance is given by Agnellus in his life of St. Maximian, Bishop of Ravenna, 
 about the middle of the Gth century. This Maximian, as he relates, had a most precious linen veil 
 (endothim) for an altar made, on which the events of our Lord^s life were described in needlework, 
 and another altar veil of silk and gold, in which all his predecessors were depicted. (Agnel. Lib. Pontific.) 
 This endytis, or endothis (tvSvrrjc) was afterwards called circitorium, and covered the altar entirely. 
 
 C. iii. " The figures, being all on the Orphrey of this Vestment at Ravenna, were sewed on to the Vest- 
 ment : which was, therefore, of the sort the ancients called auroclavae, or chrysoclavae : intersected, viz. 
 with golden bands, or stripes (though this is much disputed). Examples are frequent in the old 
 Mosaics, at Rome and elsewhere, of these golden or purple bands on the vestures of saints and angels, 
 but especially on figures of Christ. They are often confounded with the stole. The gold used was the 
 purest gold drawn into threads : and such vestments were consequently of great value. Such a one, 
 belonging to the V. Cent, and of the old full form, is preserved still at the Metropolitan Church of Ravenna. 
 
 "The name chrysoclave has gone out of use, and orphrey (auriphrygium, phrygium, or frisium), is 
 its modern substitute. 
 
 "There is a passage quoted from the history of the Bishops of Auxerre, by Du Cange (v. Rationale), 
 describing a precious chasuble in these terms : " Casula autem coloris aetherii, phrygio palmum habente, 
 superhumeralis et rationalis effigiem, ad modum pallii Archiepiscopalis honorabiliter praetendcbat : i. e. 
 a chasuble with an orphrey, a foot in breadth, which orphrey was something like a pallium : for a pallium 
 was sometimes called superhumerale and rationale, being thought to have allusion to the ejthod and 
 breastplate of Aaron (Levit. viii. 7> 8.). And in the Missal of Rotaldus, Abbot, in Martene, 1. i. c. iv. 
 ' rationale coha;rens junctim superhumerali,' seems to denote a rich orphrey to the Episcopal Vestment. 
 Thus, in an old inventory of St. Paul's, London, occurs the following : ' Item casula de rubeo sameto, 
 quae fuit Fulconis Epi cui apponitur antiquum dorsale colaerigatum interlaqueatum, de fino auro, cui 
 inseruntur quatuor berilli, &c. Item casula Wlfrani de Indico sameto bona et pretiosa, cum pectorali, 
 et imaginibus Petri et Pauli de fino auro, et humerali vineato de fino auro breudato, et lapidibus insertis, 
 et extremitate talari consimili; Item casula Hugonis de Orivalle de albo diaspro cum pectorali et 
 dorsali largo, de flosculis de fino auro, cum lapidibus grandibus.' — (Monastic. Anglican, t. iii. p. 320.) 
 Here the dorsale and the pectorale correspond to the superhumerale and rationale ; for, as they called 
 the Pallium, rationale, because it covered the breast, and superhumerale, because it fell over the 
 shoulders, from some resemblance that it bore to those vestments of Aaron, so they also called the 
 Double Orphrey of rich Vestments by the same names, superhumerale or humerale, and rationale, or 
 dorsale and pectorale. 
 
 "The front does not, however, appear to have been made differently from the back, till the twelfth 
 or thirteenth century. Earlier than this the pectorale could not be different from the dorsale. In 
 the chasubles of the bishops represented in the Vestment at Ravenna, we find the auriclave in the front, 
 in the same form as that of the archiepiscopal Pallium, about the tenth and eleventh century. The 
 same ornament is seen on the chasubles of twenty-four bishops, pictured on the brazen doors of the 
 church of Beneventum. There is not one among them whose vestment has not this decoration, 
 resembling the old Pallium of an archbishop. In the course of time when the form of the Pallium was 
 changed, the auriclave, or orphrey, or superhumerale of the sacerdotal vestment was changed also. 
 The broad superhumerale was contracted into a close and narrow collar to the vestment, depending still 
 
68 
 
 before and behind, as formerly. Of this altered form Du Cange says, that many specimens are 
 preserved in the sacristies of large churches. They are also depicted on many coins. (Muratori, 
 Antiq. med. 32vi dissert, xxvii.) A further alteration followed in the form of the orphrey, and the cross 
 at the back is the only vestige left of the old shape of the auriclave. Figures of Saints, &c. still 
 continued to ornament the orphrey as before ; so that it is sometimes called " Frisium imaginum." 
 
 "Possem autem," concludes Sartus, "pluribus ostendere, . . . quomodo tanta haec mutatio in 
 casularum ornatu, et casulis paulatim ipsis accident : sed facile est id ipsum cognoscere, ex picturis et 
 sanctorum episcoporum imaginibus superiorum temporum, ac prsesertim saeculi xiv. xv. et xvi., intro 
 se collatis qua? passim occurrunt, quaeque etiam ostendunt quibus veluti yradibus veteres casulce 
 amplissimcc decrescentes, ad hanc nostrorum temporum exiyuitatem pervenerint." 
 
 " In the middle of the back of the chasuble we are considering was an open hand, with a nail-print 
 in a circular shield. On either side was an Archangel, above and below, then two Martyrs of the 
 church of Verona, then the bishops in order. 
 
 C. iv. "The position of the figures leads to a conjecture that originally this auriclave was part of an 
 altar covering, or curtain ; but this is all uncertain. The custom of representing half figures of Saints, 
 &c., on shields, or in circular compartments, is adopted from remote Pagan antiquity. There is a 
 silver cross, belonging to the metropolitan church of Ravenna, said to have been made by order of S. 
 Agnellus, Archbishop of the See, at the end of the fourth century, which contains forty such compart- 
 ments, each with the figure of a Saint half-length. This cross appears to have been made to be placed 
 on a sort of Throne, with the Book of the holy Gospels, as an emblematical way of expressing the great 
 devotion of the Church to the Passion of our Lord. There is a fine example of such an Altar-throne, 
 with the Cross and book with seven seals, in a mosaic of the Liberian Basilica, which Sixtus III. caused 
 to be made. 
 
 C. v. " Respecting the ancient Vestment at Ravenna, of which only a few fragments now remain ; 
 its texture, of silcer and silk, is of a later introduction into the manufacture of church vestments than 
 that of gold. Salmasius says, that silver tissue was not made, or used in churches, till the times of the 
 last Byzantine Emperors. The chrysoclave of this vestment is, however, of gold embroidery; and the 
 work such as must have resembled solid gold ; which appears to have been the general character of the 
 old chrysoclave. The art of embroidery was carried to great perfection in early times. There is a 
 remarkable passage in a book of S. Aldhelm, bishop of the West Saxons, at the close of the seventh 
 century, "De laudibus Virginitatis," in which he describes the beauty of such work. Of the bishops 
 in the auriclave, all are in Vestments, but not all have the humerale ; whence it appears that this 
 ornament was not universal then, as it seems to have been afterwards. The colours also differ; S. 
 Michael's is red; S. Firmus, green ; Innocentius, purple ; and these colours were most commonly in use. 
 Each bishop also carries a book of the Gospels in his left hand ; the right hand either lifted in bene- 
 diction, or open, as if preaching. All have the beard either shaven or cut very short, which was the 
 ancient custom with the clergy and monks in the Latin Church, except in the very earliest times. The 
 hair also is short in all, and the crown shaven, in most with a large tonsure. For the tonsure in early 
 times was larger than in the tenth century. The bishops are without mitres, as they are usually 
 represented before the tenth century. The nimbus is added only to the two archangels. SS. Firmus 
 and Rusticus, martyrs, though not bishops, are vested and tonsured like the rest. Buonarotti shews 
 that the nimbus was adopted from heathen antiquity, and given first to representations of our Lord 
 Christ, then of the Blessed Mother of God, and the Angels, then of the Apostles and Evangelists, and 
 lastly of other Saints, but not till after the eighth century, which seems the true date of this Vestment. 
 
 " S. Michael holds in his left hand an Orb, with which angels, but especially archangels were anciently 
 represented ; sometimes, viz., with a globe only, sometimes with a globe and rod, or standard (labarum,) 
 sometimes with the virga or labarum only ; which latter is still more ancient than the globe. The rod, or 
 
69 
 
 rather reed, is thought to be in allusion to Rev. xxi. 15. "And he that spoke to me had a measure of 
 a reed of gold, to measure the city, and the gates thereof, and the wall." In an absis of the Church at 
 Ravenna is a mosaic, with Christ in the centre, and Michael and Gabriel on either hand, having in 
 their hands golden reeds, with the knots distinctly marked. The labarum or royal banner, which they 
 frequently bear, denotes their princely dignity. In a mosaic at Ravenna, angels are seen with a white 
 fillet round their heads, like a crown. 
 
 "With regard to the succession of bishops in the church of Verona, as given on the orphrey of this 
 Chasuble, (and preserved in full by Hieronymus Rubeus, in his history of Ravenna,) it is probably the most 
 authentic account remaining : even where it differs from the received histories. The last Bishop commemo- 
 rated in it is Sigibert, who lived in the eighth age after Christ, the probable date of this curious Vestment." 
 
 From an Inventory of Vestments formerly belonging to the cathedral Church of Lincoln. — Dug dale. 
 
 Red — " A chasuble of red cloth of gold, with orphreys before and behind, set with pearls, blue, white, 
 and red, with plates of gold enamelled, wanting fifteen plates ; and two tunacles of the same suit, with 
 orphreys of cloth of gold, without pearls ; having two albes, one stole, and two fanons ; and one other 
 albe with ammess, stole, and the fanons of one other suit with orphreys. Item, a chasuble of red baudekyn, 
 with orphreys of gold, with leopards, powdered with black trifoils : and two tunacles and three albes, 
 of the same suit, with all the apparel ; of the gift of the Duchess of Lancaster. Item, a red chasuble 
 of cloth of gold, with branches of gold, and the orphrey of green cloth, with two tunacles and three albes, 
 of the gift of the Countess of Westmoreland, wanting one part of the hand. — White. A chasuble of a 
 white cloth broidered with images and angels of gold, with costly orphreys of gold, having the Trinity in 
 the back, the Holy Ghost being of pearl ; and also divers pearls in other images, with tunacles of the 
 same suit without pearls, and three albes, and three ammesses with their apparel, the stoles differing, 
 of the gift of Mr. John Welburne, some time treasurer. Item, one other chasuble of white cloth of 
 gold, with crosses of gold in the borders, and two tunacles, and two albes of the same suit, with all the 
 apparel, the chasuble having an image of our Lady before, and another behind. Item, a chasuble of 
 white cloth of gold, broidered about with white roses and red, having a costly orphrey, and in the middle 
 of the cross, an image of our Lady ; and on the left part three kings, and on the right side two shepherds 
 and one angel with this scripture, Gloria in excelsis ; with two tunacles and three albes, and all the apparel. 
 Purple. A chasuble of purple velvet, with harts of gold, with a good orphrey, with pearls and stones 
 behind and before, with two tunacles and three albes of the same suit. Blue. A chasuble of blue 
 damask, with a good orphrey, ornate, with mitres and crowns in the orphrey, with two tunacles and three 
 albes with their apparel. Item, a chasuble of green baudekin, with two tunacles of one suit, with trees 
 and birds of gold ; with three albes of divers sorts, with their apparel, Ex dono domini Johannis 
 Waltham Epis. Sar. Black. A chasuble of black cloth of gold, of baudekin, with a red orphrey, having 
 images and stars of gold ; having in the back the arms of the lord Rose, with two tunacles, three albes 
 of the same suit, valde debiles. Item, a chasuble of yellow silk, with an orphrey small, with a Crucifix 
 of gold in red upon the back ; and two tunacles, with three albes, and the whole apparell ; with two 
 copes of the same suit and colour for Lent." 
 
 From a list of vestments formerly belonging to S. Paul's, London. — Dugdale. 
 
 " Casula Nicholai Archidiaconi de rubeo sameto preciosa, cum vineis de perlis in modum amplas 
 Crucis in dorso. Item, Casula de rubeo sameto, qiue fuit Fulconis Episcopi, cui apponitur antiquum 
 dorsale colaerigeratum interlaqueatum de fino auro, cui inseruntur quatuor berilli, et tres circuli aymallati, 
 et quatuor lapides sculpti ; et quatuor alemandini, et in medio Agnus paschalis. Item, Casula de Radice 
 Jesse, quam dedit Rex Henricus, preciosa, breudata cum stellis et lunis et dorsali, cum ymagine Crucis, 
 xvi. lapidibus insertis, et deficiunt duo lapides. Item, Casula quae fuit S. Elphegi tie sameto croceo, cum 
 dorsali pulcro de aurifrigio, lapidibus insertis. Item, Casula Hugonis de Orivalle de albo diaspro, cum 
 pectorali et dorsali largo, de flosculis de fino auro, cum lapidibus grandibus, unde quinq ; sunt camahutae. 
 
70 
 
 Item, Casula dc panno Tarsico, Indici coloris, cum pisciculis et rosulis aureis, et lato aurifrigio, optimc 
 operato cum ymaginibus et scutis, et dorsali consimili, de dono Magistri J. de S. Claro, qui voluit ut 
 cum ilia celebretur in festis Omnium Sanctorum, et Sancti Erkenewaldi. Item, Casula de quodam panno 
 Tarsico, cum rubeo panno diasperato auro, cum arboribus et cervis de aurifio contextis, cum aurifrigio 
 de Armis Regum Francice et Aragonice, de dono Willielmi Cissoris Mlianorce Reginae junioris, 
 et assignatur per ipsam ad Missam Beatae Virginis, pro anima dictae Reginae." 
 
 Rheims Cathedral. — " Une chasuble de velours cramoisi, toute bordee de gros cordons d'or de Cypre, 
 et seme de soleils pareils, fils d'or et double de damas rouge ; donnee par le Cardinal de Lorraine avec 
 tunique et dalmatique. Une chasuble de satin rouge avec les orfrois d'un arbre couvert depetites perles ; 
 du donde Guillaume de Joinville archeveque de Reims, mort en 122G. Une chasuble de samis rouge 
 fort larges et les orfrois tissus d'or; du don de Henry de Braine archeveque de Reims, mort en 
 1240. Une chasuble de soie perse noire, toute couverte de soleils et d'etoiles, les orfrois de tissu 
 dor, on il y a plusieurs perles et pierres doub'es du soie rouge; donnee par Tilpin archeveque de 
 Reims. Mort en 812. Une chasuble, tunique et dalmatique de soie verte, couverte de plusieurs 
 oiseaux rouges, avec pieds de fil d'or de plusieurs lettres, et escussons ; donnee par Jean de Courtenay 
 archeveque de Reims en 1266." 
 
 Among the most interesting chasubles which have been preserved, may be mentioned that of S. 
 Bernard at Aix-la-Chapelle, purple, with orphreys of pearls ; S. Thomas of Canterbury's, at Sens, 
 accurately figured in Shaw's Dresses and Decorations ; a chasuble at the cathedral, Bruges; a cloth of 
 gold chasuble at S. Marie's, Oscott, with needlework orphreys, and two Y orphreys of gold and 
 needlework of the fifteenth century ; several English chasubles of the fifteenth century, in the collection 
 of Edward James Willson, Esq. a learned architect and antiquary, of Lincoln ; besides these, there are 
 many needlework crosses and orphreys, which belonged to chasubles of the fifteenth century, mounted on 
 modern ones, and used in private and other catholic chapels and churches in England. 
 
 Authorities for ancient chasubles. 
 
 Almost every ecclesiastical brass, or sepulchral effigy,* will furnish an example of a full and flowing 
 chasuble, but among these we may particularly mention, the brass of Abbot Thomas de la Marc, at S. 
 Alban's, — of a Priest, at North Mimms, Hertfordshire, — of William de Grenefeld, archbishop of York, 
 — of a priest, in Wensley church, Yorkshire, — of John Waltham, bishop of Salisbury, in Westminster 
 Abbey, — the effigy of John de Sheppey, discovered a few years since in Rochester Cathedral. Bishop 
 Bronscombe's effigy at Exeter is richly gilt and painted with the diapering and orphreys of the chasuble 
 almost perfect. The effigies of the Roman clergy, in the under crypt of S. Peter's, are in full chasubles, 
 with exceedingly rich orphreys ; these are figured in Ciampini de Cryptis Vaticanis. In the Cathedral 
 of Mayence are several effigies of archbishops with magnificent chasubles, and some of these are as late 
 as the end of the fifteenth century. In the cloisters of the present Cathedral of Liege are several very 
 interesting incised stones, f representing priests in large chasubles, with Y shaped orphreys, one of which 
 is figured in Plate VI. At Rouen, Chalons, Troyes, &c. are similar examples ; scarcely indeed is there a 
 cathedral church where we do not find fine examples of the ancient vestments, in sepulchral mouuments 
 and in stained glass. In miniatures of MSS., early printed books, and engravings,}: we find multitudes of 
 
 * The effigy of Bishop Vesey, in Sutton Coldfield church, near Birmingham, is a curious example. He was one of 
 the deposed bishops in the reign of Elizabeth, and consequently of a very late date, yet his chasuble is most ample and 
 beautiful. 
 
 f In Shaw's Dresses and Decorations is a most beautiful incised stone, representing a priest in a large chasuble 
 richly diapered. 
 
 \ In Sclmebbelie's Antiquarie's Museum, is an engraving of an early chasuble, probably about 1250, with the crucifix 
 of our Lord, our blessed Lady seated, SS. Peter and Paul, and the Martyrdom of S. Stephen. The sides had unfortu- 
 nately been considerably cut when the drawing was taken. 
 
71 
 
 churchmen represented in the large chasuble. See the illustrations of Der Weise Konig, by Hans Burg- 
 mair. Also the gallery of German Masters from Munich ; the exquisite pictures by Hemlinck and Van 
 Eyck, in the Musee of Antwerp, and the Hospital of S. John, at Bruges. In fine, it is impossible to find 
 a single example, prior to the middle of the sixteenth century, of any but the large chasuble, more or less 
 enriched ; even down to the last century the chasubles were much larger and pliable ; and it is only 
 within a comparatively few years that they have been deprived of every vestige of their ancient beauty 
 and dignity, and brought down to their present hideous and unmeaning form. 
 
 Baluze, in his Histoire Genealogique de la Maison d'Auvergne, vol. i. p. 332, has figured two 
 ancient chasubles, forming part of a magnificent set of vestments, presented to the sainte chapelle of Vic 
 le Comte, by Bertrand VI. Count d'Auvergne and Boulogne, about 1450. They are of ample form, 
 pointed at bottom. The first has no cross, but a long orphrey of armorial bearings on a rich cloth of 
 gold. The second has orphrey s of needlework ; in the front, the Circumcision of our Lord, the 
 angels appearing to the shepherds on the Nativity, and the Presentation of our Lord in the Temple ; in 
 the height of the cross, Herod's cruelty, the Annunciation of our Lady, the Birth of our Lord in the 
 Stable, and the flight into Egypt ; in the two arms angels singing, with scrolls of Music ; each of these 
 subjects is bordered by a rich frame of tabernacle work. The field of this chasuble is entirely composed 
 of the armorial bearings of La Tour — a tower argent on a field azure, seme with fleur-de-lys, or quarterly 
 with a gonfanon gules on a field or. 
 
 CJ)££»t» A receptacle for relics, vestments, church plate, and linen. 
 
 The antient sacristies were always provided with strong chests of oak, frequently richly caiwed, and 
 strongly bound with iron bands ; they were usually fastened with three locks. The cope chests were 
 made in the form of a quadrant to hold the copes folded double. Of these there are some interesting 
 specimens remaining in the vestries of York Minster, Wells, and Salisbury Cathedrals. 
 
 Chests for Reliques. — Lincoln Minster. " A great chest of ivory, with images round about, with one 
 handle of copper, having a jewell tipped at every end with silver. Item, one other long chest of crystal 
 gilded, and ornamented with precious stones. Another fine chest curiously and cleanly made, covered 
 with cloth of gold, with shields of noblemen set with pearls, with lock, gemmels, and key, silver and gilt. 
 A blue chest bound about with copper and gilt, containing two purses, with relicks of the gift of my lady 
 Willoughby." 
 
 Among other items mentioned as contained in the common chest of St. Peter's, York, are the following : 
 — " Item, seventeen rings. Item, six bowls with one cover weighing six pounds and nineteen ounces of 
 silver parcel gilt, Item, a gold chain with a crucifix, and five precious stones, called saphyrs, weighing 
 seven ounces and a half. Item, a gold chain with Esses* weighing an ounce and three quarters ; the gift of 
 Nicholas Bowet,of the county of Lincoln, knight, at the shrine of Richard Scrope." — Dugdale's Monasticon. 
 
 In the will of Henry Hatche, of Faversham, 1533. — " To the church of our blessed Lady, my chest 
 bound with iron to put the church jewels and plate into." — Testamenta Vetusta. 
 
 The term chest was also frequently applied to a coffin or shrine. — "I will that there be set a coffin 
 or chest, curiously wrought and gilt, as it appertaineth for to lay the bones of the said Saint in." — Will 
 of Richard Fouler. — Testamenta Vetusta. 
 
 It must be remarked that chests are by no means the best sort of receptacles for copes and vestments ; 
 they should be hung on frames, turning on centres, so that any particular cope can be removed without 
 displacing the others, which could not be done in the old quadrant chests. 
 
 Cftn^matorj)* A case to contain the Holy Oils, and Chrism. 
 
 1. The Oleum Cathecumenorum. — 2. Oleum Infirmorum. — 3. Sanctum Chrisma : and it is from 
 this last that the case derives its name. These Oils are solemnly Blessed on Holy Thursday. f The 
 
 * S(anctus) S(anctus) S(anctus). t For the sublime Office for the Blessing, see the Roman Pontifical. 
 
72 Cfrrisftnatorp*— Cffwm'tmu 
 
 first is used for Baptism, and the consecration of altars and bells. The second for the sick and 
 for bells. The third for the Sacraments of Baptism and Confirmation, and the consecration of bishops, 
 priests, churches, altars, bells, and chalices. There are two sorts of chrismatories : the one small and 
 portable, for the Visitation of the sick, &c. ; the other large for the reservation of the Holy Oils in the 
 
 sacristy. 
 
 Inventory of Lincoln Minster. — " A chrismatory, silver and gilt within and without, having sixteen 
 images enamelled, with ten buttresses without pinacles, battelled about in the covering with two crosses, 
 and one crest having within three pots, with coverings, for oil and cream, without slyces having three 
 letters above the covering, S. C. I., standing in a case, of the gift of William Skelton, sometime 
 treasurer of the church of Lincoln ; weighing twenty-seven ounces." — Dugdales Monasticon. 
 
 Inventory of church furniture at Ely. — " A crysmatory of lether, with three boxes of silver." 
 
 In the articles set forth by Bishop Bonner in 1554,— "it is to be inquired, whether there is a chris- 
 matory for holy oil and chrisme, decently and well kept after the old custom." The chrismatory of that 
 great and good bishop, William Wykeham, is still preserved among other of the founder's ornaments 
 at New College, Oxford. 
 
 Cljrfeome* A white cloth put on newly baptized persons by the priest, as an 
 emblem of innocence, with the following form of words : 
 
 " Accipe vestem candidam, quam immaculatam perferas ante tribunal Domini nostri Jesu Christi ut 
 habeas vitam seternam. 
 
 The white cloth, according to the present rubric, is to be placed on the head, et imponit capiti ejus 
 linteolum candidum ; and indeed it is now so reduced in size as to be insufficient to cover the body . But 
 in primitive times, the newly baptized persons were clothed in long white robes, like albes with hoods ; 
 and these they wore from Holy Saturday night (the time particularly set apart for baptism) till after the 
 Sunday following, which has been termed in consequence Dominica in Albis. 
 
 Cljlirrf)* The Church and the Synagogue was a favourite symbolical represen- 
 tation of the old and new law, during the middle ages. 
 
 The Church was embodied under the form of a majestic female in regal robes, crowned, with a veil 
 enveloping the neck, and holding a chalice with the blessed Sacrament in one hand, and a crozier with 
 a banner in the other. The Synagogue on the contrary is represented as a female whose royal mantle 
 is falling from her shoulders, the diadem is falling from her head, in her right hand she grasps a broken 
 standard, while the tables of the law are slipping from her left, and her eyes are covered with a thick 
 bandage. 
 
 These images, so full of symbolical meaning, are continually found in the works of christian antiquity, 
 represented in sculpture, stained glass and painting. They are most frequently introduced in the cruci- 
 fixion ; as the death of our blessed Lord, in consummating the redemption of the human race, was the 
 completion of the old law, and the commencement of the new dispensation. At Amiens Cathedral, 
 the synagogue is represented under the corbels, which support the images of the three magi, in allusion 
 to the vocation of the Gentiles and the reprobation of the Jews. There are two exquisite images of the 
 old and new law, in the stalls of the same magnificent Cathedral. See from p. 240 to 246. Description 
 des Stalles de la Cathedrale D'Amiens, par M. Jourdain et Duval: an admirable work on the 
 symbolical sculpture of the middle ages. 
 
 Ctbortum, Ctmfcarium, CtuariUltU A canopy or covering anciently erected 
 over altars, and supported by four pillars. 
 
 These ciboria appear to have been general throughout Europe, during the middle ages, and vestiges 
 
/ 
 
 Ciborium. 
 
 73 
 
 of them were retained in some of the churches erected in the 
 seventeenth century.* Their use was fourfold. — 1 . To cover and 
 protect the altar. — 2. To sustain the curtains which were drawn 
 round it. (See Curtains) — 3. To support the cross (See Altar 
 Cross), which was placed on the summit of the ciborium long 
 before it was introduced on the altar ; and 4. For the reservation 
 of the Holy Eucharist, which was usually suspended from the 
 centre under the cross (sub cruris titulo) in a Pyx, in the form of a 
 golden dove. (See Pyx.) In those churches where there was no 
 ciborium, the altar was required to be covered with a canopy of 
 cloth. (See Dais.) Du Cange cites a decree of a synod held at 
 Cologne in 1280, as follows : — " Item praecipimus ut sursum super 
 altare ad latitudinem et longitudinem altaris pannus lineus albus 
 extendatur, ut defendat et protegat altare ab omnibus immunditiis 
 et pulveribus descendentibus/" A ciborium is, beyond doubt, the 
 most correct manner of covering an altar, and at the same time 
 by far the most beautiful. It is much to be wished that they 
 were generally revived in all large churches, instead of altars 
 built against walls and high screens, which last are after all of 
 comparatively modern introduction. f There are several ancient 
 ciboria yet remaining in Italy, very similar in design and arrange- 
 ment to the cut given, but the curtains have been removed. The 
 ancient ciboria were composed of wood, stone, marble, brass, and 
 even precious metals, and covered with tapers on great festivals 
 after the manner of a herse. (See Herse.) 
 
 Stephen Borgia, in his work, " De Cruce Veliterna," tells us, 
 that "this cross is kept in a marble ciborium, resting on four 
 columns, which stands on the principal altar of the Church of 
 St. Clement, at Veletri ; a church which, though not cruciform, is 
 built in the form of a ship, which may be taken as an ancient form 
 of the cross. We have the sanction of remote antiquity for the 
 practice of covering altars with such ciboria, or canopies, supported 
 by four or more columns, and representing, according to ritualists, 
 the Ark of the Covenant under the Old Law. For as this contained 
 within it the Tables of the law of God, so the ciborium contains 
 
 * Val de Grace at Paris ; also the high altar of S. Germain des Pres, in the same city. These are, however, mere 
 skeletons of ciboriums, and designed after the model of that in S. Peter's, Rome, which is a most inconsistent composition, 
 evidently the work of an artist unacquainted with ecclesiastical tradition, or the use and intention of a ciborium ; 
 which is to cover and protect the altar from dust or other matter falling upon it, for which the mere open frame work is 
 utterly useless, being a mere erection for effect, and consequently absurd ; in addition to which, the detail of all these 
 modern ciboria is of the revived Pagan style, and unbecoming for the sacred purpose of covering a Christian altar. 
 
 t The altar screens of Winchester and S. Alban's, beautiful as they are in the abstract, are injurious to the effect of 
 the churches in which they are erected, and by no means comparable either in majesty or utility with a magnificent 
 ciborium covered with gold and imagery, and surmounting an elevated and detached altar. These elaborate screens are 
 quite in place in collegiate chapels, like New College or Magdalene, Oxford, where the eastend is a blank wall ; but in a 
 great church terminating in a Lady Chapel and Eastern aisles, it seems most preposterous to erect a wall the whole 
 breadth of the choir nearly equal in elevation to the vaulting, cutting offhalf the proportion of the building, and solely 
 for the purpose of rearing an altar three feet high by ten long, to which it does not even form a canopy. 
 
 L 
 
74 
 
 Citatum* 
 
 within it the Mysteries and Sacraments of the New Law, celebrated at the Holy Altar, by priests of the 
 Church, and indeed, from the ancient form of consecration of such ciboria, we may gather this analogy 
 between them and the Ark of the Covenant, before which the Jews had atonement made for their sins. 
 Edmund Martene (De Antiquis Eccl. Ritibus, lib. ii. c. 19), describing the ancient rite of blessing a 
 ciborium, seems to say, that the ciborium not only covered the altar, but also the bodies of the Saints, 
 beneath the altar : — " We beseech Thine ineffable Clemency, that this covering of thine Holy Altar, on 
 which Thine only-begotten Son our Lord Jesus Christ, who is the Propitiation for our sins, is continually 
 sacrificed by the hands of the faithful, and under which are buried the bodies of Thy Saints, which 
 were truly (veraciter) the Ark of Thy Covenant, &c." There were two ciboria, at the Confession of the 
 Chief of the Apostles, according to S. Gregory of Tours ; one over the Altar and the other over the 
 Confession itself. Thus he speaks of "the pillars, which support the ciborium of the tomb" of S. 
 Peter. Anastasius relates that this ciborium was afterwards replaced by one of silver by S. Gregory the 
 Great. The same Anastasius tells us of another ciborium of silver gilt, raised over the Altar, built 
 over the same tomb, by Leo III. S. Chrysostom, in his XLII. Homily on the Acts of the Apostles 
 (c. xix. v. 24), suggests that the silver shrines for Diana may have been, as it were, small ciboria, 'forte 
 quasi Ciboria parva for it is undoubted that both the thing and the name were in use among the 
 heathen. Sometimes the name Ecclesia, in old Christian documents, means a ciborium, or canopy : 
 as in an example taken out of the History of the Abbots of St. Martial, in Du Cange, (in Glos. v. 
 Munera), where it is said of the Abbot Stephen : " Composuit super Altare Salvatoris Ecclesiam ex 
 auro et argento, quam vocant muneram,'' viz. a ciborium, silver gilt, over the altar. Afterwards every 
 thing was called a ciborium, which shaded other things as a ciborium shaded an altar, as the canopies 
 over stalls, the baldachino, vaulted coverings to tombs, &c. 
 
 But to return to the Ciborium in its strictly ecclesiastical sense ; it was usual to place over these 
 the saving Sign of the Cross. First crosses, and after crucifixes were placed on the top of ciboria : but 
 were not placed within, as this now is at Veletri, because within was reserved the most precious Body of 
 the Lord, in a golden Dove, suspended from the centre, or rather in a Pyx or Tower, hanging from a 
 Dove. (Udalric, lib. ii. Consuet. Cluniac. c. 30.) 
 
 There is a celebrated canon of the second Council of Tours, held in the year iclxvii. ordaining 
 c< that the Body of the Lord be reserved on the altar, non in imaginario ordine, sed sub Crucis titulo," i. e. 
 not in a tabernacle, or in a small ciborium, made after the image and likeness of the large one {imaginarius 
 ordo) ; but under the canopy, suspended in a pyx, or tower, which, as I have said, generally hung from a 
 dove : and as the cross surmounted the canopy, the Blessed Sacrament is here said to be reserved " sub 
 crucis titulo." 
 
 Borgia goes on to observe, that the ciborium over the high altar at the Cathedral of Veletri is now 
 open, but was formerly closed round with curtains and veils, the marble columns having had iron rods 
 with rings to them, from which rods veils depended, in order that the Holy Sacrifice might not be 
 exposed to the gaze of every one ; in the same way as formerly the sacrarium or tribunal of churches was 
 screened with curtains, which hung at the entrance of the Presbyteiy. 
 
 Anastasius often mentions these curtains of the canopy, in his Liber Pontificalis. They were 
 generally purple, adorned with gold and embroidery, and various subjects taken from the Scriptures, or 
 Lives of the Saints. They are called Hetravela' by Anastasius, as inclosing a square. Thus he relates 
 of Pope Sergius I. that he gave for the altar, in the Church of the Vatican, eight tetravela, or curtains, 
 four red and four white. And the same thing nearly he says of several other Popes. 
 
 The altars also themselves, which were open underneath, were veiled round with what is now called 
 an Antependium, but then, as it seems, a Circitorium, which enclosed the Reliques under the altar and 
 preserved them from dust, or shrouded them from irreverent observation. From the time of the ninth 
 and tenth Century, some churches have exposed Reliques above their altars, as the cross at Veletri and 
 
Cftortunu— £\oti). 
 
 75 
 
 other reliques are kept now in the ciborium ; but anciently Reliques were kept beneath the altars, and 
 never above : as may be gathered from a story of Odo, Abbot of Cluni. (Lib. ii. Collat. c. 28.) 
 
 The ciboria were anciently adorned and illuminated with wax tapers, 
 as is done still. 
 
 For further details respecting the crosses, crowns, &c. attached to 
 ciboria, see the Treatise of Borgia, ( De Cruce Vaticana,' or an abstract of 
 the same under the word Cross. 
 
 Ctl)0t*tum (see cut) also signifies a vessel in which the blessed 
 Eucharist is reserved. In form it nearly resembles a chalice with an arched 
 cover from which it derives its name. 
 
 Formerly the blessed Sacrament was reserved only for the Communion 
 of the sick, and kept in a small vessel, called a Pyx (see also Dove and 
 Tower). The more modern custom of reserving the Blessed Sacrament 
 for the Communion of the faithful, as well as that of the sick, introduced 
 the use of the ciborium, as larger and more convenient for the purpose. 
 
 The ciborium at Rheims Cathedral was suspended over the altar. 
 It is described in the inventoiy of the treasure of that church, as silver 
 gilt, ornate with sapphire and garnets, weighing with the chains and 
 circlet of silver, 22 marcs and 14 ounces, the gift of Robert Courtenay, 
 Archbishop of Rheims, deceased in 1323. 
 
 Cutqtttfbfl* A figure of five equal segments, particularly adapted for the 
 representation of the mysteries of the Rosary. 
 
 The form is derived from the leaf of a plant so called. 
 
 €ivtlt. Many figures in Christian design are constructed on the principle 
 of a circle, (See Plate ix,) which has always been considered as an 
 emblem of Heaven and Eternity. 
 
 Hence the circular is the most proper form for a window intended to represent the adoration of the 
 Lamb, or the rotation of the seasons, which are constantly returning, and many other subjects, which 
 are found in the great wheel windows of the pointed churches. 
 
 Clotf)* The term cloth is applied in the old inventories as follows : 
 
 1. Altar Cloth. — A linen cloth to cover the altar, or an embroidered frontal. — Item, aplayne aulter 
 cloth, marked with sylke in the middist, and our Lorde lying in the sepulchre, in length four elles and 
 qwater. An awter clothe blewe velvet powdred with fleurs of golde. 
 
 2. Corporas Cloth. — A cloth whereon the sacred Body of our Lord is consecrated. (See Corporal.) 
 
 3. Pyx Cloth. — A veil to hang over the pyx, when suspended, or for the carrying of the same. — A 
 pyx clothe of sipers (cyprus), frenged with grene sylke and red, with knoppes, silver and gylt. 
 
 4. Cross Cloth. — A cloth or veil to cover the crosses in Lent. (See Veil.) 
 
 5. A Diaper Cloth. — A finer sort of linen cloth to cover the altar. — Item, a dyapre aulter clothe, 
 marked in the mydds with a cross of sylke, of the length of 4 ells quarter. 
 
 6. Holy Brede Cloth. — A cloth to wrap the blessed bread in. This holy bread was a continuation 
 of the antient Agapae, and corresponded to the Pain beni still retained in France. — A holy bred clothe 
 of dyapre made doble, with a frenge at the ende, marked in red silke with X. 
 
 7. Rich hangings for the choirs of churches, and for covering images in Lent,* arc called cloths in old 
 
 * According to de Vert, the custom of covering images during Lent, originated in the veiling of those of our 
 Lord immediately after the gospel, on Passion Sunday, in allusion to the words, ' Jesus autem abscondit se,' and subse- 
 quently the practice was extended to all other images in the church. It is, without doubt, a most edifying custom, and 
 a beautiful illustration of the grief of the Church at the solemn season immediately preceding the Passion of our Lord. 
 
76 
 
 Coat— Coffer* 
 
 inventories. — " Hanging cloths for the choir, York Minster. — Item, two white pieces, with red roses. 
 Item, twelve red pieces, with the arms of lord Scrope. Item, eight blue pieces, with the arms of N. John 
 Pakenham. Item, one long and wide cloth for the choir on Good Friday. Item, one cloth of arras, to 
 hang by the altar, late of King Henry VI. Item, one piece of tapestry, the gift of Mr. Thomas Pearson, 
 sub-dean to hang in the same place. Item, three banquerers, one white, one red, one blue. Item, the 
 veil for Lent. Item, a blue buckram cloth, to cover the image of S. Peter, in Lent, Item, a blue 
 buckram cloth, to cover the image of the Blessed Virgin Mary/' — Dugdales Monasticon. 
 
 From the inventory of Long Melford Church, Suffolk. — A cloth of Adam and Eve to draw before the 
 high altar in the time of Lent, called the veil. At Jesus altar a cloth for Lent, painted with whips and 
 angels ; one cloth before the image of Jesus, white. Three long cloths hanging before the Rood Loft, 
 stained or painted with the dawnce of Powlis.* 
 
 From the will of Margaret Lady Hungerford. — Dugdales Baronage, vol. ii. p. 207- — " For the use 
 of the Beauchamp Chapel, Salisbury Cathedral. Two curtains of linen cloth to cover the images with in 
 the Lent, of ell broad cloth ; two leves of bredth and three yards of length. Item, an hanging of linnen 
 cloth to cover the pictures of the chappel in Lent time, round about, from the one arch to the other." 
 
 Parish Church of Faversham. — " In a chest without the quyer dore, 26 old steyned clothes for 
 to cover the images in the churche in Lente." — Jacob's History of Faversham. 
 
 Coat* The name given in some old inventories to the embroidered mantles put 
 on certain images on great Festivals. 
 
 " Coats belonging to our Lady. First a cloth for the good days, of coat of tissue bordered with 
 white." — Long Melford Church. 
 
 Codt* An image of this bird was placed on the summit of Church crosses, as 
 an emblem of vigilance and watchfulness, (See Spire-cross) from a very- 
 early period. They were made to turn so as always to face the wind.-f 
 Hence the name of weathercock, which is now indefinitely applied to 
 anything which points out the direction of the wind. 
 
 A cock, also, in the act of crowing, is introduced among the emblems of our Lord's Passion ; 
 in allusion to the sin of St. Peter, in denying his master.J Copper is the best material in which 
 the images of Cocks intended for spire crosses can be made, the body rounded and hollow, the 
 head and tail cut out of plate with strengthening pieces ; the latter made to project so far as with the 
 action of the wind to force the head round to face the point from which it blows. The Cock on the old 
 spire of Rouen Cathedral was three feet eight inches in length, and weighed twenty-eight pounds. 
 
 Coffn% A small chest. Chests of this description were usually made in iron, 
 most curiously and beautifully wrought with pierced metal work, laid 
 over stamped leather, painted and gilt. They were frequently used for 
 the reservation of Reliques. See Chest. 
 
 * The Dance of Death was often called the Dance of Paul's, on account of the celebrated paintings in the cloisters 
 of that Cathedral in London. 
 
 f On the summit of the lead spire at the east end of Rheims Cathedral, is the image of a Guardian Angel, so con- 
 trived by the position of the image as to turn and face the storm ; the same also existed at Chartres before the fire which 
 destroyed the ancient roof. 
 
 X In an old Ritual belonging to the Church of Holy Cross at Orleans, mention is made of a banner with the repre- 
 sentation of a cock, that was borne on Palm Sunday and the Rogation Days, by the canons of the Collegiate Churches 
 of St. Pierre en Ponct, and St. Pierre Puellier, who assisted on those days with the canons of the Holy Cross in the 
 procession. Be Molcon, 197.— Bosio, in his "Roma Sotterranea," at p. 644, interprets the Cock as an emblem of 
 vigilance and repentance. 
 
Coffin— Combs: 
 
 77 
 
 Coffin, Coffpn, Cofum A case of stone, or box of wood or metal. The term 
 
 is now exclusively used in reference to the 
 case for a corpse ; but the term was applied 
 occasionally to chests for vestments,* shrines 
 for Reliques,-j- and also to a pyx. J 
 
 Wooden coffins for the burial of the dead were usually made of 
 the form shewn in the annexed cut,§ with a cross on the lid, which 
 was raised in the centre. The cross monumental slabs called Dos 
 d'ane, were, in fact, but stone representations of the ancient coffins. 
 Many of the coffins still made on the Continent are of this form, 
 and exceedingly simple in design. Nothing can be more hideous 
 than the raised metal work, called coffin furniture, that is so gene- 
 rally used at the present time ; heathen emblems, posturing angels, 
 trumpets, death's heads and cross bones, are mingled together in a 
 glorious confusion, and many of them partake of a ludricous cha- 
 racter. How very desirable would be a return to the simple cross 
 of Catholic antiquity traced on the lid, with the initials or arms of 
 the deceased in the centre. In this case the plea of expense could not be urged against the revival, as 
 a coffin of this description would cost much less than those ordinarily made. 
 
 C0tttt)£ were among the appurtenances of an ancient sacristy, and were 
 sometimes exceedingly beautiful in design. || 
 
 Pecten inter ministeria sacra recensetur, quo scilicet Sacerdotes ac Clerici antequam in ecclesiam 
 procederent, crines pecterent. Testament. Everardi Comitis, an. 837, apud Miraeum, t. 1. page 21, De 
 paramento vero capellae nostras ciborium cum cruce aurea ; pectinem auro paratum unum concedimus. 
 Testament. Riculfi Epis. Helenensis, an. 915. Pectenem eburneam unam, tabulas eburneas duas, 
 Scc.—Du Cange Gloss. T. 5. p. 314. 
 
 Dugdale's History of St. Paul's Cathedral. — Tres Pectines eburnei, spissi et magni, et tres tenues 
 et usuales de ebore. Item unum Pecten eburneum pulchrum, de dono Johannis de Chishulle. Item duo 
 Pectines eburnei sufficientes. 
 
 * " A sewte of white damask, lying in a cofyn, with thirteen sheets to lay them in." — Jacobs's History of Faversliam. 
 
 f " I will that there be set a coffin or chest, curiously wrought and gilt as it appertaineth, for to lay the bones of 
 the said Saint in."— Will of Richard Fouler. 
 
 % " Item, I bequeathe to the said church a little round cofyn of silver, of the greatnesse of a sacryng bell. Will of 
 William Bruges."— Testamenta Vetusta. 
 
 § In Strutt's Manners and Customs of the English, Vol. ii. p. 109, under the head Coffins is the following account : — 
 " Stone coffins continued long in general use ; but in the reign of Henry V. and VI. these stone coffins were made with 
 necks, distinguishing the heads and shoulders. Large wooden chests or tombs were also in use almost from the time of 
 the Conqueror, &c. Of the large wooden chests I hav e myself seen several very antient ; and the covers to these chests 
 are often elegantly carved with the effigy of the person therein buried. At Little Baddow, in the County of Essex, in 
 the parish church, are the figures of two women carved on the covering of the chests (that are placed in niches of the 
 church wall) wherein they were buried, which through age are both so much decayed, that the bones and remains of the 
 bodies are to be seen therein under the covers." 
 
 || " Episcopos jam olim sacriticaturos capita pectere solitos tradit Durandus. Eius verba sunt: Pecten enim propter 
 ordinatarn in incisionibus divisionem, discretionem s'ujnificat, qua intentio animai adornatur, sicut capilli capitis pectine 
 adornantur. Et in fine. Criniurn igitur, inquit, manuum,faciei ornamenta non sunt voluptatis oblectamenta, sed in figuram 
 a Domino sacerdotibus legis iniuncta." (Rationale, lib. 4, c. 3.)— Basilica S. Udalrici. 
 
78 
 
 In a very curious history of the monastery of St. Udalric at Augsburg, printed in that city 1653, two 
 ancient combs are figured at Plate XXV. They are thus described : Pecten S. Udalrici. Pecten S. 
 Conradi. 
 
 Cojtt* (Cappa, s. pluviale, sc. pallium.) A vestment like a cloak, worn in 
 Processions ; at Vespers ; during the celebration of Mass, by some of 
 the assistant clergy ; at Benedictions ; Consecrations ; and other ecclesi- 
 astical functions. (See Plates n. in. iv. xlv. xlvi. xlvii. xlviii.) 
 
 The cope is worn by the sovereign Pontiff, bishops, priests, and even clergy in the minor orders. It was 
 originally a mantle to serve as a protection from cold or rain, as the word Pluviale expresses. It derives its 
 name of Cappa from the hood (Cappa),* which anciently pulled up and covered the head ; and in many early 
 illuminations, even where ornamental copes are figured, the hoods are real, and hang loosely over the 
 shoulders ; the embroidered hoods attached to the back, merely as ornaments, are not older than the 
 fourteenth century. In fact the original cope differed but little from the Capuchin habit, and was used 
 for convenience and protection. Copes were however ornamented with embroidery and jewels at a very 
 early period ; and, in the thirteenth century, they became the most costly and magnificent of all the 
 ecclesiastical vestments. In shape, they now form an exact semi-circle (See Plate II.). Along the straight 
 edge runs a band of embroidered work, called the Orphrey, (see Orphrey, and Plates XL. XLI. XLII. 
 XLIII. XLIV.) which hangs down from each shoulder when the cope is worn, and frequently contains a 
 number of images in tabernacle work. It is fastened across the chest by a clasp, called a Morse (See 
 Morse.) These were formerly of precious materials and exquisite design, jewelled and enamelled. 
 The cope has suffered less deterioration of form than any of the sacred vestments, and the two great 
 defects observable in the modern ones, are stiffness of material, and inappropriate ornament in the 
 orphreys and hoods. 
 
 After the hoods became pieces of ornamental embroidery, they were exquisitely worked with imagery, 
 and in a long procession the hoods of the copes presented a complete succession of sacred mysteries. 
 From the extracts of ancient inventories, which I have subjoined, it will be seen what wonderful 
 variety of design and richness of material were combined in the copes which formerly belonged to the 
 English churches ; and it is scarcely possible to think of their subsequent conversion into coverletsf 
 or ashes, for the sake of the precious metals which they contained, without mingled feelings of grief and 
 indignation. The following are selected from English Inventories. 
 
 * The word cappa is used in the sense of a covering for the head in the old Salisbury Pontifical, where the linen 
 veil or covering directed to be drawn over the head of a child in the ceremonies of Baptism, is called cappa. The 
 same is called, in a decree of a Provincial Council of Benevento, Cappula : and again Caputium : which is the hood 
 of a cape. With regard to the custom of a distinct covering for the head, as a separate part of the clerical dress, the 
 following extract is subjoined : 
 
 "The use of caps was come among the clergy in the 11th century. At first, they were only like little scull caps 
 worn on the hood of the mantle" ( Almuce) " or other covering of the head. Afterwards, they were made wider at the top 
 than at the bottom ; next they were made still larger, but still round and flat. About 300 years since, they were made 
 square, all of wool, having as it were, four horns, which nevertheless appeared but little outwardly: but those, 
 that are made of pasteboard covered with stuff, quite square, as used at this time, are a very modern invention." — Stevens's 
 Monasticon Anglicanum. V. ii. p. 57. The same remarks will apply to the present form of the Bireta, as worn by the 
 Catholic Clergy. The name is Italian, and of some antiquity : In a MS. of the year 1260, we find the following: 
 " Cum chorum intraverint Canonici, clerici, et alii chorum frequentantes, amoto Capucio capcz, almussia sive metlino, et 
 birreto toto ad Altare, &c." — Statuta Eccl. Aquensis, ap. Du Cange. 
 
 t " Many private men's parlours were hung with altar cloths, their tables and beds covered with copes, instead of 
 carpets and coverlids." — Hei/lin's History of the Reformation, p. 134. 
 
Cope* 
 
 79 
 
 Copes formerly belonging to the Cathedral Church of Lincoln. — ce Item, Two red copes, of the which 
 one is red velvet, set with white harts, lying in colours, full of these letters, S S. with pendants, silver 
 and gilt ; the harts having crowns upon their necks with chains, silver and gilt, wanting fourteen crowns 
 and chains ; and the other cope is of crimson velvet, of precious cloth of gold, with images in the orphrey, 
 set with divers pearls, having the Coronation of our Lady in the hood, having a morse changed. Item, 
 Five copes of red velvet, with Katharine wheels of gold ; of the which three have orphreys of black 
 cloth of gold, and the other two have orphreys with images, Katharine wheels, and stars. Item, A red 
 cope of cloth of gold, with costly orphreys; having in the hood the scripture of S. Katharine, the tomb 
 springing oil ; having in the morse an angel bearing a crown : of the gift of Mr. John Morton, Arch- 
 bishop of Canterbury, and Cardinal of Anastasis. Item, one other cope of red velvet, set with stars of 
 gold and silver, with precious orphreys containing the holy Lamb, with two angels bearing the head of 
 S. John Baptist, having in the morse the arms of Mr. John Ruding, Archdeacon of Lincoln, with this 
 scripture, All may God amend. Item, Six copes of red velvet of one suit, broidered with angels, having 
 this scripture, Da gloriam Deo, with orphreys of needlework ; of the which four have four Evangelists in 
 the morses, and the fifth a Lamb in the Morse ; of the gift of Philip Lepiate ; and the sixth having a 
 white rose, and an image in the morse, of the gift of John Waltham, Custos Sancti Petri. Item, 
 A cope of white cloth of gold of baudekin, with one good orphrey of blue velvet, broidered with images 
 and tabernacles of gold, having in the morse a Lamb of silver, and in the hood the image of our Saviour. 
 Item, Another cope of cloth of gold, having in the orphrey little images, birds, and roses set with pearls, 
 and in the morse the Salutation of our Lady ; of the gift of Mr. John Worstep, Canon of Lincoln. Item, 
 A cope of white cloth of gold, of baudekin, having in the orphrey images and tabernacles, and in the 
 morse T and S of gold covered with pearls, — ex dono Magistri Thomae Southm. Archidiac. Oxon. Item 
 A cope of white damask broidered with flowers of gold, with an orphrey of blue velvet with flowers of 
 gold, having in the morse an image of our Lady with her Son, with this scripture, Hie gift of John 
 Crosby, Treasurer ; and in the hood, the apostles bearing the body of our Lady. Item, A cope of cloth of 
 gold, paled with blue velvet and cloth of gold, set with mansers and image tabernacles in the orphreys 
 of needle-work, having the arms of Sir Thomas Burgh, Knight, and in the hood the Resurrection of our 
 Lord, — ex dono Thomag Burgh, Militis nuper de Gainsburgh. Item, A cope of green velvet, broidered 
 with lilies, having a good orphrey of needlework, with a morse having this scripture, Memoriale Willielmi 
 Marshal, olim Virgar. hujus Ecclesie, and in the hood an image of our Lady, and the said William kneel- 
 ing, bearing a wand of silver in his hand. Item, Two copes of cloth of gold broidered upon hemp, with 
 divers stories of the Passion of divers Saints ; one having an orphrey of yellow and red velvet, and 
 lions of silver ; and the other having blue and yellow velvet set with millets ; ex dono Magistri Roberti 
 Caderay, Precentor. Ecclesiae Lincolniensis. Item, Two copes of green sattin figured, broidered with 
 lilies, with costly orphreys of needlework; of the which one hath in the morse the Arms of lord 
 John Chadworth, and in the hood Coena Domini : and the other hath in the morse the Salutation of our 
 Lady, and the same in the hood. Item, Two copes of black satin, with orphreys of red damask broidered 
 with flowers of gold, having in the back Souls rising to their Doom ; either of them having in the 
 hood an image of our Saviour sitting upon the Rainbow ; ex dono domini Willielmi Cask." — Dugdale's 
 Monasticon. 
 
 Copes formerly belonging to the Abbey of Peterborough. — " Imprimis, Eighteen of red tissew. Item, 
 Two copes called the Burgons. Item, Three copes called the Golds. Item, Six copes of red velvet. 
 Item, Three copes of red bawdkin. Item, One cope of red damask. Item, Six copes of blue tissue. 
 Item, Two copes of dun tissue. Item, Nine blue copes called the Roots.* Item, Five copes of blue 
 velvet. Item, Thirteen copes of blue silk, called the Georges. Item, Seven copes of blue bawdkin, 
 
 * These copes called the Roots, doubtless represented the Root of Jesse, or Genealogy of our Lord. 
 
80 
 
 €ope. 
 
 called the Hindes. Item, Four copes old black bawdkin. Item, Seven copes of satin of Cyprus. 
 Item, Three copes of red silk. Item, Three copes of green silk. Item, Four copes of red needlework." — 
 Gunton's History of Peterborough. 
 
 Rheims. — " Trois chappes de drap d'or frise, et les orphrois de drap d'or figures d'images de la Passion, 
 et la bille* couverte des armoiries ; du don de M. le Cardinal de Lorraine. Une chappe de drap d'or 
 rouge, avec les orfrois fort longs, aux armoiries de l'Eglise ; du don du Cardinal Saint-Malot diet 
 Brissonet archeveque de Rheims. Une chappe de drap d'or rouge, tissu a Cypre, avec les orfrois a 
 plusieurs images, et la bille couverte d'un escusson ; du don du Roy Charles VII. Une chappe de 
 drap d'or cramoisi, seme de grandes fleurs d'or avec les orfrois fort larges ; a double apotres et 
 prophetes, du don des Ursino archeveque de Rheims, avec ses armes a la bille." In all 160 precious 
 copes. — Inventory of Rheims in the seventeenth Century. 
 
 Extracts from De Moleon respecting ancient Copes used in France. 
 
 St. Martin de Tours. — Le Chaperon de leur plus ancienne chappe qui sert a Noel, a Paques et a 
 l'Assomption, est taille en forme de capuchon, et se termine en pointe. 
 
 Notre Dame de Rouen. — II y a encore deux anciennes chappes rouges que ont des chaperons ou 
 capuchons pointus, que servent aux Fetes Semidoubles des Martyrs aux premieres Vepres, a Matines, 
 et a la Messe, comme aussi a la Procession qui se fait aux grandes Fetes avant la grande Messe. On 
 scait que ce chaperon ou capuchon se mettoit sur la tete. 
 
 St. 3Iaurice d' Angers. — Les chappes ont le chaperon un peu en pointe; et les chasubles sont si 
 amples, qu'elles ont bien cinq pieds de largeur, et pour le moins autant de longueur, et ne sont qu'un 
 peu echancrees par les bras. 
 
 St. Etienne de Sens. — Les chaperons des chappes ne sont pas ronds, mais un peu pointus comme a 
 la pliipart de celles de l'Eglise Cathedrale de Rouen. 
 
 St. Agnan d' Orleans. — A la grand' Messe des Fetes Annuelles tous etoient revetus de chappes. 
 
 Notre Ddme de Rouen. — On faisait aux Fetes solennelles la Procession avant la grand' Messe, et tout 
 le Clerge restoit en chappes a la Messe. 
 
 Notre Ddme de Rouen. — Aux Fetes de Paques, de Pentecote, de l'Assomption, de la Dedicace de 
 l'Eglise, et de S. Romain, tout le Clerge etoit en chappes a. la Procession, et restoit en chappes a. la 
 grand' Messe, ou il y en avoit neuf qui etoient sur une meme ligne au milieu du Chceur. lis ne soint 
 plus que cinq. 
 
 In the inventory of Rheims Cathedral, 37 copes for the chorister boys (enfans de Chceur) are 
 mentioned. 
 
 Copes were worn in choirs on great solemnities as marks of honour. Gerbert mentions that in his 
 day, several festivals were observed as Festa quattuor capparum, on which the Invitatory at Matins was 
 sung by four cantors in copes. Also in a MS. Ordo of the fourteenth century, still in use in the 
 sixteenth, it is enjoined that at Mass or great feasts, the senior clergy assist in chasubles and the rest in 
 copes. Copes were among the ornaments retained by the Anglicans on the revival of the Book of 
 Common Prayer in the reign of Elizabeth, but although enjoined, were rarely used out of cathedral 
 churches ; and the wearing of them was one of the charges brought by the puritan party against 
 archbishop Laud. Among the chapel ornaments taken out by Charles the First, on his journey to Spain, 
 two copes are mentioned (Dodd's Church History, vol. v. 128). In a Procession of the Canons of 
 St. George's Chapel, Windsor, given in p. 557 of Ashmole's Order of the Garter, they are all represented 
 in copes with oqmreys, and they are still used at coronations. 
 
 Georgius. — " Cappa, cappa pluvialis, pluviale (scil. pallium). — The word Cappa was known in 
 
 * The Land by which the cope is fastened across the breast. 
 
Cope, 
 
 81 
 
 France under the Kings of the Merovingian line, as Mabillon has shewn. In St. Isidore of Seville, 
 cappa means a head-dress of women ; — and pallium or chlamys is the name used for the cope. The 
 ancient chlamys was fastened by a clasp over the right shoulder. In the last will of Leodbode, Abbot, 
 a.d. 641, he bequeaths to the Church of S. Anianus, c two pair of sandals for the Mass, and two oralia 
 for the Table, with Copes, and all things necessary, and two embroidered veils.' Of the cappa, there were 
 many kinds, some worn by laics, some by ecclesiastics, some by the monastic orders only : and these are 
 often confounded. To some chasubles a hood was attached, called cappa. Such was the large white 
 Paschal chasuble, called Amphimalus. S. Remigius, Bishop of Rheims, says in his will, a.d. 533: — To 
 the Bishop, who is my successor, I bequeath my white Easter Vestment (Amphimalum album Paschalem). 
 This was a processional Vestment: the hood being a defence against the weather. S. Ceesarius, Bishop 
 of Aries, is related to have given away his Casula Processoria to a poor man, that he might sell it, and 
 with the price redeem a captive. We have accounts of copes, made after the Roman manner (cappae 
 Romanae) of silk of various colours, and richly ornamented, in the IX. and XI. centuries. In the 
 churches of the Monastery of Centule, a.d. 831, among the sacred vestments are c one chesnut Cope 
 broidered with gold, and another of silh.' Baldric, Abbot, a.d. 1079, wrote to the Countess Adela about 
 a cope she had promised for his church : — ' Et refer, O Domina, scribenti praemia cappam, Cappam } 
 quae frigium rutilans circumferat aurum, Cappam, quce gemmis amictum pectus honestet: Et cave, ne desit 
 ctiam sua fimbria cappa.' Where we have the golden orphrcy, the jewelled morse and the appropriate 
 fringe. In an account of the miracles of St. Hugh, Abbot of Clugni, we read: — c Then William King of 
 England, sent to the lord Abbot and the Monastery, a cope nearly all of gold, in which nothing scarcely 
 appeared but gold and amber, and pearls, and jewels : and all round the bottom edge hung golden bells. 
 At the same time his Queen sent a vestment, worthy both of the giver and the receivers, for it was so 
 massive that it could not be folded/ There is frequent mention made in the ancient Roman Ordos of 
 the Cappa and Pluviale. There is a doubt about the time when it first began to be called Pluviale. 
 The earliest instance known occurs in the Life of St. Odo, Abbot of Clugni, in which S. Martin appears 
 in a Vision, vested in a Pallium pluviale, the same vestment which was more anciently called Cappa : a 
 word, however, of wider signification and variously applied. — Cappa, mantum, chlamys, and pluviale, are 
 used indifferently to denote the ordinary dress formerly worn by the Pope, of a red colour ; which was 
 altered in its form after the residence of the Popes was changed to Avignon. There are numerous 
 examples of the name pluviale, occurring about the tenth century. Besides being the dress of ecclesiastics 
 of all orders in church functions, it was peculiarly appropriated to the Cantors on solemn occasions. 
 Honorius of Autun attaches many mystical significations to the cope. Rupert, Abbot of Tui, adds, 
 ( We use this vestment on greater Festivals, looking to the day of the Resurrection, when the elect 
 having put off the flesh, shall receive two robes, viz. rest in the soul, and glory in the body.' In the 
 fourteenth century, the words cappa and pluviale were synonymous. But of late, the cappa is distin- 
 guished from the pluviale or cope, and means a dress worn by some Chapters of canons, by bishops, 
 cardinals, and by the Pope, both in choir and in other ceremonies. — Du Saussay in his Panoplia, gives a 
 good description of the cope as it is used at present ; and there is no doubt that it is now exclusively a 
 sacred vestment, and not allowed to be used except for church purposes." 
 
 The Cappa magna, at present used by bishops, is of a comparatively modern date. The ancient 
 cappa magna, was a cope of ample size, and richly embroidered, with a hood to pull up over the hcad ? 
 as was formerly the case with all copes. Gerbert, in his e Vetus Liturgia Alemannica,' vol. 3, tab. vi.* 
 
 * In the front is our Lord seated on a Throne, the four Evangelistic Symbols, also the Annunciation, the Nativity, 
 the Offering- of the Wise Men, the Baptism of Christ, the Betrayal in the Garden, the Scourging of our Lord, and the 
 Crucifixion, the Creation of Adam and Eoe, Abel slain hy Cain, Melchisedec offering Bread and Wine, Aaron offering 
 a lamb in sacrifice, Abraham entertaining three Angels, Abraham about to sacrifice his son Isaac, Joseph 
 
 M 
 
82 
 
 Cope* 
 
 vii. viii. has figured three splendid cappas of the twelfth century, embroidered with gold, silver, and 
 various coloured silks, preserved in the monastery of St. Blase, in the Black Forest. These copes are 
 actually covered with imagery, representing subjects from the Old and New Testaments, Lives of 
 saints, prophets, and martyrs, disposed in squares and circles, with foliated borders, and inscriptions in 
 verse.* These subjects were so arranged on the copes that they appeared upright when they were 
 worn. 
 
 It should be observed, that there was a marked distinction between the cappa choralis, or quire cope, 
 and the cappa pluvialis or -processional cope, the former being much richer in work and material than 
 the latter, which was used in the weather. In a Council held at Treves, in 1238, it is ordered that when 
 priests carry the Blessed Sacrament to the sick, they shall be habited in an albe, or surplice, or choral 
 cope; and if necessary, shall wear in addition, a processional cope, [cappa pluvialis), which they shall take off 
 on arriving at the house of the sick man. 
 
 Several antient copes are still preserved, among which the following are particularly deserving of 
 
 notice : One at Aix-la-Chapelle, in the sacristy of the cathedral, with small silver bells attached to the 
 
 lower edge ; this is traditionally the cope worn by Pope Leo the Third, at the consecration of the church, 
 in the presence of the Emperor Charlemagne, assisted by 365 bishops. Three at Durham Cathedral, of 
 the fourteenth century .f Three at the great church of Louvain, of the fifteenth century. Several at 
 Spires of the fourteenth century. One of needlework of the early part of the thirteenth century, 
 formerly belonging to the nuns of Sion House, near London, now in the possession of the Earl of 
 Shrewsbury ; the hood is lost, the orphrey is entirely composed of armorial bearings, beautifully 
 wrought ; on the body of the cope is the crucifixion of our Lord, SS. Peter and Paul, St. Michael the 
 
 confined in the well, the Rod of Aaron budding - , Job, with the inscription — 'Scio quod Redenqrtor ineus vivit;' Balaam^ 
 with the words, ' Orietur stella ex Jacob ;' Joshua and Judas (Maccabeeus) ; the Father and Mother of Samson, with 
 the inscription, 'Paries filiuni quierit Nazareus Dei;' Moses and the Brazen Serpent, and Elisha raising* the son of the 
 Shunamite ; Naaman washing in Jordan, and cleansed from his leprosy ; David, with the Prophecy ' Reges Tharsis,' and 
 Solomon, with an inscription :— also the four greater Prophets, Isaiah and Jeremiah together, with the following" 
 Prophecies — ' Ecce Virgo concipiet et pariet Filium,' ' Sicut ovis ad occisionem ducetur.' ' Faciet Dominus novum super 
 terram, femina circumdabit virum :' and ' Christus Dominus captus est in peccatis nostris.' Then Ezehiel and Daniel 
 together, with the scriptures.—' Converti me ad viam portae orientalis, et erat clausa :' and ' Cum venerit Sanctus 
 sanctorum, cessabit unctio.' The patron Saints of the Monastery with their names, Nicholas Blase, and nineteen others ; 
 there are also images of Apostles and the minor Prophets, with scriptures, round the lower border. This chasuble 
 contains, in all, sixty-nine images. — Description of Tab. VI. 
 
 * On the third cope the lives of S. Vincent, Bishop and Martyr, and S. Blase Priest and Martyr, are represented in 
 forty-six compartments : round the circles containing the latter, are the following verses : — 
 
 Ecce Deo gratus fit rector pontificatus. 
 Curat lsesarum sanctaprece membra ferarum. 
 Quserunt insontem ; cingunt indagine montem. 
 De latebra tractus vincitur ut hostia factus. 
 Clarescit signis Blasius factisque benignis. 
 Hie ope divina trahitur de gutture spina. 
 Quis non miretur quod reddere praedo tenetur. 
 Judex horrendus non est justo metuendus. 
 Fustibus atteritur famulus Christi quia scitur. 
 Carcere servatur, cui judex dira minatur. 
 Femina devota fit justo sedula tota. 
 Nescia mens flecti constans stat in ordine recti. 
 
 Hostia fit grata caro pectinibus lacerata. 
 
 Doctorem verum sequitur ccetus mulierum. 
 
 Canluntur dira, mulieres proesidis ira. 
 
 Ecce cruor fusus dulces cceli capit usus. 
 
 Mente manet tutus duro custode solutus. 
 
 Hie non terretur, nec verba superba veretur. 
 
 Per vitam mundum premit, ut Petrus maris undam. 
 
 Quodpetis implebo, rata sint tua vota jubebo. 
 
 Est decollatus charis pueris comitatus. 
 
 Hie victor fortis recubat post debita mortis. 
 
 Has pro te Christe paenas hetus tulit iste. 
 
 f These were used during the celebration of the communion as late as the last century. 
 
83 
 
 archangel St. Stephen and other Saints, in large intersecting quatrefoils. At St. Marie's College, 
 Oscott, a cope of cloth of gold of the fifteenth century, with exquisite orphreys and hood of needlework. 
 This formed part of a suit of vestments discovered in pulling down the old cathedral at Waterford ; 
 the other copes are in possession of the Catholic Bishop of that city. A cope of crimson velvet of the 
 fifteenth century, embroidered with flowers, angels, &c. of English work, at Blackladies, Staffordshire. 
 A cope of cloth of gold, at the Jesuits' College, Stonyhurst, said traditionally to have belonged to 
 Westminster Abbey, covered with large roses and portcullises. 
 
 The authorities for the form and enrichment of ancient copes are most numerous. Scarcely is there 
 a single illuminated manuscript of any importance in which some beautiful example may not be found. 
 In stained glass windows copes are often represented of the richest designs ; but it is from the monu- 
 mental brasses of ecclesiastics that the best and most available designs are to be obtained. 
 Among them, we may particularly mention William Ermyn, rector, Castle Ashby Church, Northamp- 
 tonshire : William De Rothewelle, Archdeacon of Essex, in Rothwell Church, Northamptonshire ; in 
 this brass the ancient hood is distinctly shewn : Dr. John Blodwell, Balsam Church, Cambridgeshire: 
 Dr. Walter Hewke, Cambridge : a priest in Bottesford Church, Nottinghamshire : a priest in the 
 Hospital of St. Cross, Winchester : William Langton, Lady Chapel, Exeter : a priest, Tattershall 
 Collegiate Church, Lincolnshire. 
 
 In Dugdale's History of Old S. Paul's Cathedral, four brasses are figured, at pages 76 and 78, 
 which were antiently in the floor of that glorious church ; they were laid over the graves of Dr. Roger 
 Brabason, Dr. William Worsley, Dr. John Newcourt, and another ecclesiastic unknown. All these are 
 habited in copes, with rich orphreys ornamented with tabernacles and imagery. 
 
 Sum of the above : — The name cope is derived from cappa or hood.* Originally the cappa choralis 
 and the cappa pluvialis were distinct, the former being much more ornamented than the latter. After- 
 wards the name pluviale was indefinitely applied to all copes, whether processional or choral. Choral 
 copes were richly ornamented, as early as the eighth century. The hoods originally could be drawn up 
 over the head ; flat hoods for ornament, are not older than the fourteenth century. The early orna- 
 mental hoods were pointed at bottom. Copes were worn by all the assistant clergy in choir on great 
 Feasts. Festivals were sometimes distinguished by the number of copes used. All cantors were 
 habited in copes, when officiating. The Cappa magnaf worn by bishops at the present time was 
 originally a large cope. It resembles the ancient copes only in respect of its hood, the long train 
 being of comparatively modern introduction. The rich copes belonging to the English churches 
 were nearly all pillaged and destroyed in the reign of Henry the Eighth and Edward the Sixth. Copes 
 were ordered to be used at the celebration of the communion in the Book of Common Prayer ; but 
 this rubrick was rarely observed. Copes Avere worn by all orders of clergy. (See Acolyte and 
 Morse.) 
 
 * Some chasubles also were provided with hoods. A Vestment of this description was called amphimalus or amphi- 
 ballus. See Cope. Some writers carry us back to a period when the chasuble was a complete circle, with an aperture in 
 the centre for the head : and from this form of the Vestment, they derive both the chasuble and cope of the present 
 day. The vestment most nearly corresponding to the cope in the modern Greek church is the Mandyas, an outer 
 mantle worn by the monastic orders and by prelates. The opinion, however, that the cope and the chasuble were 
 originally one and the same vestment, receives great support from the fact that the Armenian Catholics use, for the 
 sacrificial vestment, a phenoUon closely resembling- our cope, but without a hood. The word phenolion is said to be the 
 same with the Latin Pannla, which the above writers regard as the original, to which both cope and chasuble can be 
 traced. 
 
 t The Cappa no longer signifies a cope, but is a rich dress worn by certain Canons, Bishops, and Cardinals. See 
 Extract from Georgius, above. 
 
84 Corona* 
 
 Corona* A crown or circlet suspended from the roof or vaulting of a church 
 
 to hold tapers, lighted on solemn 
 occasions. 
 
 There was scarcely a" church in ancient times 
 which was not provided with a corona, richer or 
 plainer in design, according to the wealth or dig- 
 nity of the foundation. Sometimes they were formed 
 of triple circles, which, when filled with tapers, pro- 
 duced a pyramidal form of light. The number of 
 tapers in these coronas was regulated according to the 
 solemnity of the festival, and at the solemnity of 
 Easter the great corona which usually hung in 
 the centre before the great Rood, presented a most 
 glorious and lively emblem of the Resurrection. 
 
 De Moleon, in his account of S. Jean de Lyons, 
 makes the following mention of the coronas formerly 
 hanging in that church : — <( Outre ce Ratelier il y a au 
 Jube trois Couronnes d'argent chargees du trois 
 cierges chacune, et encore quelques autres cierges a 
 Matines, que l'on eteint sur la fin des Pseaumes de 
 Laudes, parce qu'il fait plus grand jour : comme on 
 fait dans nos eglises sur la fin des Laudes des trois 
 derniers jours de la semaine sainte." Also in the cathedral Church of the Holy Cross at Orleans, the 
 silver lamp that hung in the choir had three crowns for lights. In Claude Malingre's Antiquities of 
 Paris, printed in 1640, is a curious account of the lamps and lights formerly in use in the Church 
 of Notre Dame, in which there is the following account of two large coronas. " lis (Le Doyen et 
 Chapitre) ordonnerent aussi que les deux grandes roues defer suspendues a V Eglise (contenant chacune 
 cent cierges) seroient allumees le jour de la Purification de Notre Dame." 
 
 In Bezier's History of the City of Bayeaux, among other costly ornaments pillaged and destroyed by 
 the Huguenots in 1563, a great copper crown, covered with plates of silver for lights, which hung in the 
 centre of the choir is mentioned. — Proces verbal des ravages commis par les Protestants a la ville de 
 Bayeux, en 1562 et 1563, p. 7. 
 
 A splendid corona was formerly suspended in the choir of the cathedral of Rheims. It consisted of 
 a copper circlet of 54 feet in circumference, divided into 12 equal parts by 12 lanterns of perforated 
 work, set with crystals; between which were prickets for 96 tapers. The Gospel of St. John was 
 engraved round the circumference in ornamented capitals. This interesting corona, now destroyed, 
 is figured in the Tresors de la Cathedral de Rheims. — Prosper Barbe, p. 215. 
 
 Symeon Archbishop of Thessalonica, in describing the different sorts of lamps and lights used in 
 the church, after proposing this question, — " Quid multiplex luminum ordo, vel duodecim cerei vel tri- 
 furcus, vel reliqui in Ecclesia accendendi significant ?" replies ; " Velut in coslo, scilicet in templo visibili 
 lumina, velut stellas, sublimia coruscant. Et corona quidem, sive luminum circulus firmamentum, plane- 
 tarumque zonas alia lucigera subindicant vasa, quorum quaedam trifulgida sunt velut tricipites cerei, alia 
 septilucernaria sunt propter gratiarum numerum : aliaiterum duodenaria sunt propter Apostolorum cho- 
 rum, eorumque medius quidam sublimior est in magni luminis Christi Jesu signum." From this it 
 appears that coronas were suspended in the Greek churches, having a different mystical signification 
 
Corona*— Corporal* 
 
 85 
 
 according to the number of tapers : a triple light for the three Persons of the most Holy Trinity ; seven 
 for the Gifts of the Holy Ghost ; twelve and a centre, our Lord and the Apostles. 
 
 The finest example of a corona now remaining is at Aix-la-Chapelle, suspended in the octagonal form 
 of the Cathedral. It is very early, being of the time of the Emperor Frederic, who offered it in honour of 
 the Blessed Virgin. The plan is composed of eight segments of circles ; in the centre and at the 
 intersection of each is a richly ornamented lantern with plates of crystal ; those in the centre are in 
 the form of quatrefoils, and those at the intersection circular. The bottom of these lanterns are engraved 
 with images of our Lord and many saints, in a fine style of Byzantine art, and pierced to allow the light 
 to penetrate. Between every lantern are three cups and prickets for tapers, with crystal knops resting on 
 a rich brattishing of pierced and engraved metal work, under which is an inscription running entirely 
 round the corona. The whole number of standing tapers is forty-eight, besides sixteen crystal lanterns. 
 The chains by which this magnificent corona is suspended, are richly chased and engraved, and the whole 
 is worthy of this celebrated church in the days of its greatest glory. In the account of Canterbury 
 Cathedral by Gervase, the Monk of Dover, a gilded corona holding twenty-four tapers is mentioned as 
 hanging in the centre of the Choir. 
 
 Du Cange. — " In the fife of St. John, Abbot of Gorze, occur these words : — I say nothing of the coronas 
 hanging from the vaulted roofs with such dazzling brilliance. The following inscription was placed on a 
 corona in the church of Mentz : — Cujus in aede sacra rutilans micat ista corona Ad lumen turbte, vel 
 decus ecclesiae. With respect to their number, the author of the History of the Bishops of Verdun, says, 
 of a certain Bishop : — He so adorned the church of St. Marie with coronas, that if you touched any one 
 of them, all the rest moved." 
 
 Georgius on silver coronas. — ee Coronas were chandeliers of a circular form, in the shape of a crown, 
 full of lights, suspended from the vaulting of churches. We will mention first an ancient notice we find 
 in the Charta Cornutiana, of four silver coronas, with their chains, and eight dolphins. S. Gregoi'y also 
 mentions these coronas with dolphins and lilies. — Lib. i. Epist. *Jl., In the life of S. Benedict of Anianje, 
 
 we read that in the church of his monastery, before the altar hung seven lamps In the choir hung 
 
 the same number of silver lamps in the form of a corona, on which basins are fitted, and being filled with 
 oil, gave light to the church on principal feasts, by night as well as by day. In the beginning of the 
 ninth century, there were in all the churches of the monastery of Centule two golden coronas. Over 
 the altars of St. Saviour, St. Riquier, and St. Marie, (ap. Dacher. torn. iv. p. 467,) were three ciboria 
 formed of gold and silver, from which were suspended three coronas,* one from each, formed of gold and 
 ornamented with jewels, with golden crosses and clivers other ornaments. Also in the same churches 
 were seven silver coronas, and seven of copper gilt. In another church of St. Riquier were five altars 
 adorned with gold and silver, and one silver corona. St. Ansegisus, Abbot of Fontenelle, a.d. 830, 
 offered to the church of his monastery a large and handsome corona of silver, with its lamp of silver. 
 Conrad, Bishop, in the Chronicle of Mentz, says, — Thereicasa large corona hanging in the choir, similar 
 to that which still hangs at St. Alban's, and one in the middle of the church, and three other smaller 
 ones before the Altar of St. Martin, all of silver, worked most artificially." 
 
 Corporal* A white linen cloth laid on the altar, and on which the sacred 
 Body and Blood of our Lord are consecrated. 
 
 According to the present custom the corporals are not more than about eighteen inches square, 
 but anciently they covered the whole top of the altar, as the whole of the altar breads for the commu- 
 nion of all the faithful, which amounted frequently to a great number, were laid on them. The words 
 
 * These coronas were not intended for lig-hts, but were suspended as symbols of honour over altars. SceCnow*. 
 
86 
 
 Corporal-Case* 
 
 of the old Roman Ordinals are decisive on the matter. " Tunc venit Subdiaconus ferens supra calicem 
 corporale id est sindonem, quod accipiens Diaconus, ponit super altare a, dextris, projecto capite altero 
 ad Diaconum secundum, ut expandant." Again : " Diaconus accipiens corporale ab Acolyto aho se 
 adjuvante, supra altare distendant; Quod utique linteum ex puro lino esse contextum debet, quia 
 sindone munda Corpus Domini legitur involutum in Sepulchro, et tantce quantitatis esse debet, ut totam 
 altaris superjiciem capiat." The use of these large corporals declined together with the frequent Com- 
 munion of the people ; but in the thirteenth century Durandus, in his rationale (liber iv.), mentions some 
 churches of his time, in which the corporals covered the altar ; and even De Moleon, who wrote in the 
 last century, describes the use of the corporal in covering the chalice instead of the pall, to have been 
 retained at Rouen, Orleans, Lyons, and other great churches in France. 
 
 If the ancient discipline of consecrating at the Mass all the breads required for the communicants 
 were revived, the corporals would require to be much larger than are made at present ; but the Blessed 
 Sacrament which was formerly reserved only for the sick, being now equally kept for the Communion of 
 the people, it may happen that only a single host be consecrated at a mass where several hundred com- 
 municate. At the High Mass, according to the present rubric, the deacon in the middle of the Creed 
 goes to the altar, spreads the corporal, and returns to the priest. This practice originated in the abso- 
 lute necessity of having the corporal extended ready to receive the offerings which were laid on the 
 altar immediately after the Credo. 
 
 The expression of a Corporal Oath, originated in the ancient custom of swearing solemnly, while 
 touching the corporal cloth, containing the sacred Body of our Lord. In Plate XXVIII. of Strutt's 
 Regal Antiquities, is a representation of the Earl of Northumberland swearing fidelity to King Richard ; 
 the Earl is in the act of touching the Corporal, which is extended in the centre of the altar, with one 
 end turned up and covering the Chalice. 
 
 Durandus. — " While the priest washes his hands at the Lavabo, the Deacon spreads the corporal 
 upon the altar. It must be of pure linen, and consecrated by the Bishop. The Body of Christ was 
 wrapt " in a clean linen cloth" for his Burial. — St. Matt, xxviii. 59. The corporal is so folded that the 
 ends do not appear : in which is contained a figure of Christ's Divinity, having neither beginning nor 
 ending. The corporal is, in some churches, of an oblong form. The corporal is not allowed to be 
 touched or washed except by those in Holy Orders, or who have a faculty from the Bishop." 
 
 Durantus de Ritibus. — " The corporal is called often palla, as being the covering of the altar. 
 S. Donatus complains against the Donatists, that they had stript the palls from the altars, and washed 
 them, as if they were polluted. And Victor of Utica, in his first book on the Persecution of the 
 Vandals, reproaches Proculus with having had the impiety to make his ordinary clothes of the sacred 
 palls ; and records, that he was shortly after carried off by a frightful disease." 
 
 Corporal Case* A case of silk, velvet, or cloth of gold, frequently embroidered 
 with sacred imagery, in which the corporal cloth (See Corporal) is kept, 
 and carried to the altar (See Plate n.). 
 
 These were exceedingly rich in design and material, as may be seen by the following extracts :— 
 From the Inventory of Lincoln Minster.—" Item, Seventeen corporass cases, three of them boxes, 
 and seventeen corporasses, beside fifteen contained in a long painted chest, with the arms afore written. 
 Item, A corporass with a case, of the gift of Lady Alice Fitz-Hugh. Item, A red case with one 
 corporass with pearls, of the gift of the wife of Robert Eland. Item, A corporass with a case, with 
 the Nativity of our Lord of the one side, with the arms of Sir George Tailboys on the other side. Item, 
 A corporass case, and the corporass of gold pyrled, and crimson velvet." 
 
 From the inventory of S. Paul's Cathedral.—" Una capsa magna breudata ex scutis ad corporalia, 
 
87 
 
 cum cruce ex Uteris. Item, Alia capsa breudata cum Majestate ex parte una, et undatacum floribus ex 
 alia cum corporalibus. Item, Alia capsa breudata ex scutis, ex parte una, et undata cum floribus ex alia 
 cum corporalibus. Item, Alia consuta de serico ex scutis, cum corporalibus. Item, Alia breudata ex 
 Crucifixo ex una parte ad Altare Beatae Virginis cum corporahbus." 
 
 Long Melford Church, Suffolk. — " First, Five principal corporasses, of which five one was of the gilt 
 of Mr. John Clopton, and other of the gift of my Lady Clopton ; the third the gift of Mrs. Court ; the 
 fourth, the gift of Mrs. Catharine Foxmere ; the fifth the gift of Mrs. Jane Clopton. One corporas 
 belonging to S. Ann's Altar : another corporas, to Jesus' Altar ; another corporas, to John Hill's Altar ; 
 another corporas to S. Edmund's Altar ; two corporasses belonging to the Altar of our Lady's Chappel ; 
 two corporasses with their cloths of crimson velvet, embroidered with gold ; a corporas case, with the 
 Resurrection upon it, embroidered with images of gold inwardly. All these belong to the High Altar. 
 — Other corporasses in the custody of the Chantry priest." 
 
 S. Mary Hill, London. — " Item, a corporass case of nedyll work, the bakside purpill velvett, and a 
 fine corporass therein, with semys of gold, the gyfte of Mrs. Julia Roche." 
 
 Walberswick Church, Suffolk. — " In the loft over the porch, eleven corporace cappes.* Inthe vestry 
 two corporace cappes, one with a kerchief, another without." — NichoVs Illustrations of Antient Times. 
 
 Formerly belonging to the parish church of Faversham. — " In the Tresory, A corpas casse of red 
 clothe of golde, with a corpas in it. Item, A new corpas, crossed by the provision of the vicar. In the 
 Revestry, A corpas case of cypres, lyinge in a cheste. It. A corpass casse, with Mary and John, and 
 a corpas in it. It. Two corpas casses of black damask, with two corpas in them. It. A corpas casse of 
 dunne damask, with byrdes of gold, and a corpas in it. It. A corpas casse of white nedyll worke, and 
 a corpas in it. It. A corpas of crimson damask on the one side, and the other side of black fustyan, 
 with a branch browdered, and a corpas therein. It. Two red corpas casses, both with hindes of golde, 
 and two corpas in them. It. A corpas of red and grene, with the crowned, without a corpas. It. A 
 grene corpas casse, with two black grypes, and a corpas therein. It. A corpas casse of sylke, cofirwise, 
 without a corpas." — Jacob's History of Faversham. 
 
 Adam Sodbury, fifty-third Abbot of Glastonbury, amongst other presents which he made to the 
 church of his monastery, gave three pair of corporals, with cases for the same, the first of them golde 
 with the image of our Saviour on one side, and the Crucifix, Mary and John on the other ; and two red, 
 with castles and leopards. 
 
 Rheims. — Un corporalier de velours borde de passement d'or : en l'un des costes est escrit Jesvs, 
 en perles, et aux quatre coins huit perles ; donne par le Cardinal de Lorraine. 
 
 Cfl£Stn\ A name given to hangings for the sides of an altar or choir. 
 
 Inventory of St. George's Chapel, Windsor. — " Imprimis, Duo Costers panni magni de velvetto, pro 
 principalibus diebus, rubei et viridis coloris, cum magnis imaginibus, stantibus in tabernaculo. Item, 
 Unus (coster) pannus magnus de velvetto purpureo broidato, cum Boterflies et cum uno parvo ejusdem 
 sectae. Item, Unus magnus (coster) pannus de velvetto purpureo, cum diversis armis operatis in qua- 
 tring. compas, cum uno parvo panno ejusdem sectae." — Dugdale's Monasticon. 
 
 Crrfotttte, small vessels of glass or metal, to contain the wine and water intended 
 for consecration at the Altar. 
 
 These have succeeded to much larger vessels for the same purpose, which were used while the 
 faithful received the Holy Communion under both kinds, and to the still earlier Amae and Amulae 
 
 * This word must have been intended for Casses. In many of the churchwardens' accounts and old English Inven- 
 tories, the words are misspelt, even allowing for the orthography of the period. 
 
88 
 
 Cretortts'* 
 
 in which the wine was offered by the people (see Chalice). 
 Some of these large crewetts were in use when De Moleon wrote 
 his c Voyages Liturgiques/ at Tours,* Rouen, &c. 
 
 In Dom Felibien's e Histoire de L'Abbaye de S. Denis/ Plate 
 III. of the Treasure, he has figured a pair of crewetts which for- 
 merly belonged to the Abbot Suger : they are of crystal, mounted 
 in silver gilt, and set with precious stones. The body of the 
 crewetts should be made of crystal, glass, or some transparent 
 substance to enable the celebrant to distinguish readily between 
 the wine and water ; and this is positively ordered by the existing 
 Rubrick, although few crewetts at the present time are made in 
 accordance with it ; and what is very singular, in the old English 
 inventories they are generally described as of silver, whole or parcel 
 gilt. In the list of crewetts belonging to St. George's Chapel 
 Windsor, we find a pair pair described as of beryl : — " Item, duas 
 Phialae de Berillo, ligato cum argento deaurato de bono opere." 
 Crewetts formerly belonging to the Metropolitan Church of York. — " Item, two costly silver cruets 
 gilt, of curious workmanship, set with precious stones ; the gift of the lord Walter Gifford, Archbishop 
 of York, weighing four pounds and two ounces. Item, two silver gilt cruets maide like swans, standing 
 on a castle partly enamell'd ; the gift of Thomas Arundel, once Archbishop of York, weighing two 
 pounds eleven ounces and a quarter. Item, two silver gilt cruets, with the images of S. Peter and 
 S. Paul, engraved on the bodies of them, weighing two pounds, one ounce and a half. Item, two 
 large silver cruets, formerly gilt about, daily us'd at the High Altar. Item, one silver gilt cruet, with 
 an image on the top reading in a book. Item, another gilt silver cruet of the lesser sort, with two 
 spouts. Item, two silver cruets gilt, with the letter M." 
 
 Crewetts formerly belonging to the Cathedral Church of St. Paul, London. — "Duae Phialae argenteae 
 quarum una deaurata, cum imagine, ponderis utriusq ; xliiii" ii 1 '. — Item, duae Phialae Alardi Decani, 
 cum tribus circulis vineatis, quarum una deaurata, ponderis utriusq ; xix s and vi d . — Item, duae phialae 
 argenteae costilatae et deauratae, cum alternis vineis, de dono Henrici de Wengeham, in cophinis de corio 
 ponderis utriusq; xx s . Item duae phialae albaa argenteae cum unico circulo vineato deaurato sine 
 cooperculis, ponderis xiiii V 
 
 At Durham Abbey. — " Likewise there was pertaining to the high altar two great crewetts of silver, 
 containing a quart apiece, parcel gilt, and engraven all over ; and two lesser cruets for every day, all of 
 silver." — Antiquities of Durham Abbey, p. 12. 
 
 Georgius. — " Next to Chalices and Patens, Crewetts come to be considered. Some of these served 
 for washing the hands of the celebrant, others for the wine and water of the Sacrifice. A separate crewett 
 for washing the hands of the celebrant and assistant clergy is most ancient. In an epistle of S. Isidore, 
 quoted by Lanfranc, Abp. of Canterbury, the crewett and basin are specified under the names of 
 urceolus and aquaemanile. — Visconti (de Missm apparatu) writes, that the two crewetts for the wine 
 and the water of the Sacrifice are distinct from each other : the one called ama or amula, the crewett 
 for the wine, and the other scyphus, the crewett for the water : the material, silver or gold, and sometimes 
 jewelled : and that anciently they were larger than at present, and more in number." 
 
 * ,S'. Gdti>:n de Tours— Apres que le pretre est monte a l'autel, le diacre si l'Archrveque est au choeur lui porte le 
 calice couvert seulement de la palle sans purificatoire, accompagne et precede de deux enfans de choeur en tuniques, 
 qui portent chacun une grande burette d'argent de la mesure d'un pinte ou sont l'eau et le vin, ces grandes burettes sont 
 du temps qu'on connnunoit sous les deux especes. 
 
Crockets*— Crosis* 
 
 89 
 
 Anastasius often mentions crewetts (amulas) of gold and silver. Blanchini (and after him Geor- 
 gius), has figured two beautiful silver crewetts, of great antiquity. One of these has on it represented, 
 in embossed work, our Saviour surrounded by some of the disciples, and in the act of miraculously 
 turning the water into wine. The other has upon it images of Christ, and some of the Apostles, also in 
 another part, doves and the cross between them, and below near the foot, lambs, an emblem commonly 
 used among the early christians. In former times the faithful brought their oblations of wine in crewetts, 
 and these were received by the deacon, and the wine poured from them into the chalice. Vestiges of 
 this rite remain in the Mass for the Consecration of a Bishop, and in that for the Canonization of Saints. 
 For the Bishop elect offers two crewetts* (phialas) filled with wine : and in the Mass for the Canonization 
 of Saints two small barrels, one silvered and the other gilt, are offered full of wine. Visconti relates that 
 in his time a similar custom was still remaining at Milan, where the old Ambrosian Rite was kept up ; 
 for that in the Metropolitan church of Milan, certain aged men and women, habited according to their 
 station and office, and called the School of St. Ambrose, presented, at the offertory, a crewett of wine 
 and one of water to the celebrant. 
 
 Crtrtftttd* Crockets are enrichments running along the sides of pyramidal 
 and curved lines, generally modelled from vegetable productions, but 
 occasionally animals and images are introduced. See Plate xvin. 
 
 The most beautiful crockets consist of vine or other leaves, with a pointed or varied outline, which 
 are either represented doubled as lying on a ridge, or extended along the edge. These latter are usually 
 termed square crockets, but their type is the same as the pointed, only in one case the leaf is seen in 
 profile, and in the other flat and open. The form of crockets may be very various, almost every sort of 
 leaf or flower can be adapted for the purpose. Sometimes we have a succession of roses or pomegranates, 
 as at Westminster ; sometimes lilies, as in Magdalen College Chapel, and generally with some pointed 
 reference to local circumstances. The examples given in the Plate are intended for the decoration of 
 flat surfaces, such as glass, cloth, walls, &c. when both for consistency and for effect, the relief should be 
 produced by outline and contrast of colour only, without shading, precisely in the same way as the 
 crockets are indicated on the rubbing of a sepulchral brass. f 
 
 Ci*OS&* The Crosses used by the Church may be classed conveniently for 
 our present purposes, in the following manner: 1. Altar Crosses. 
 2. Processional Crosses. 3. Roods on lofts. 4. Reliquary Crosses. 
 5. Consecration Crosses. 6. Marking Crosses. 7. Pectoral Crosses. 
 8. Spire Crosses. 9. Crosses Pendant over altars. 
 
 &ltaf CfOlSg* — Every altar is now required to be furnished with a Cross, and the image of our Lord 
 Crucified. Super altare collocetur Crux in medio. J It does not appear, however, that this practice 
 commenced before the tenth century. The crosses were fixed on the top of the ciboria, which covered 
 the altars, and without the Image of our Lord. During the middle ages each altar was furnished with 
 a separate standing cross, with a foot, and the later ones had images of our blessed Lady and St. John 
 
 * Instead of crewetts two small barrels are now used, the same as in the Canonization Service. Is it not probable 
 that the second barrel is silvered on account of its originally containing- water, and not wine ? 
 
 f Rubbings of Brasses are generally capital models and authorities for glass painters and embroiderers, the whole 
 effect being produced on a flat surface by beautiful outline. 
 
 X In the Cseremoniale Episcoporum.— " In medio candelabrorum locabitur crux prsealta, et sequet altitudinem vicinorum 
 candelabrorum, et crux ipsa tota candelabris superemineat cum imagine Sanctissimi Crucifixi versa ad exteriorem altaris 
 faciem." 
 
 N 
 
90 
 
 altar €vo$$. 
 
 on the sides.* The following extracts from ancient inventories 
 will give a perfect idea of the richness and ornaments of these 
 crosses and from which it will be seen that Reliques of the Holy- 
 Cross were frequently encased within them. 
 
 Crosses formerly belonging to Lincoln Cathedral. — Item, a 
 Cross of crystal, with a crucifix, silver and gilt, with one socket 
 and one knop silver and gilt, with the arms of England and France, 
 and other divers scutcheons, with a Lamb in the back, and four 
 Evangelists, silver and gilt, weighing forty-five ounces, wanting 
 three stones, set in silver gilt. Item, a Cross, silver and gilt, 
 having four Evangelists, like men standing upon four lions in 
 the foot, with one man kneeling, and a chalice in his hand, 
 weighing thirty-three ounces. Item, a Cross of work plated with 
 gold without, with one little part of the Holy Cross, with divers 
 stones of many colours, and pearls, weighing thirty-three ounces 
 and half, with a foot copper and gilt, with a long Beryll and 
 other stones. Item, a little Cross, silver and gilt, containing part 
 of the Holy Cross, like a cross, with four stones, in four corners, 
 weighing half an ounce and a little more. Item, a double Cross 
 flory, of gold and silver, standing upon a plain foot of four lions, 
 containing part of the Holy Cross and relicks of S. Machabeo 
 Alexander, Christopher, and Stephen, and of the hair of S. Peter, 
 and the Reliques of S. George and of the Innocents, weighing 
 ten ounces and half quarter. Item, a little Cross, silver and gilt, 
 i_LTAR CROSS. round in the head, standing upon a squared foot, with six stones 
 
 red and blue, containing the Scripture in the back, De ligno Domini Sancti Andrea 3 , and in the middle 
 of the cross a little cross, weighing one ounce and one quarter. Item, a Cross, silver and gilt, like a 
 quatrefoil, containing a crucifix in the middle, with Mary and John at the foot of the crucifix ; and 
 at the right side of the crucifix an image of Abraham offering his son Isaac, and a lamb behind him, 
 and an angel, wanting a wing ; and on the left side the image of Abel and Cain, and in the height two 
 angels, both of them having but one wing, having eleven stones, blue and red, weighing seventy-three 
 ounces and half." 
 
 Crosses formerly belonging to St. George's Chapel, Windsor. — " Imprimis, una Crux nobilis, vocata 
 Gueh in qua deficiunt septem lapides diversi ejusdem generis illorum in eadem Cruce positorum, 
 quorum sex iterum ponuntur ibidem et unus perditur. Et in pede ejusdem Crucis desunt undecim 
 lapides Margarita? ; tres Smaragdi parvi in borduris. Item, deficiunt tres summitates pinnaculorum in 
 illius pede. Item, una Crux de ligno Dominico, ornata Saphyris cum tribus imaginibus eburneis, 
 stantibus super fundum auri,habens pedem aureum de plate, cum imagine cujusdam mortui resurgentis 
 inter quem pedem et Crucem est unus Berillus et aymellatus cum tribus imaginibus et uno pede piano 
 argenteo et aymellato. Item, unum Feretrum de Berillo argenteo deurato, cum una Cruce et tribus 
 imaginibus in medio ; et passio S. Stephani de retro, habens in summitate imaginem Salvatoris obtu- 
 ratum Berillis, cum duobus angelis supra pedem, deferentibus dictum Feretrum intra manus eorundem, 
 quorum ala unius deficit ; alterius brachium frangitur ; et pomellum pinnaculi deficit super Crucifixum." 
 
 * In Nicholas Upton ' de Studio Militari/ are several plates representing the creation of a Knight of the Bath, in 
 which an altar occurs four times, and in every case an image of our Blessed Lady and St. John is shewn at the base 
 of the Altar Cross. 
 
Proaaissional Cross* 
 
 91 
 
 Winchester Cathedral.-" In the body of the church a great Cross and an image of Christ, and Mary 
 and John, being of plate silver, and partly gilt. Item, a Cross of plate and silver, and gilt with an image 
 over the iron dore, and the two images are but copper gilt. In the Sextre five Crosses of gold garnished 
 with precious stones." 
 
 From the inventory of York Minster.-" Item, a great gilt Cross with a silver foot, and on that 
 
 foot a gold image, with the hands bound hke Christ, weighing eight 
 pounds and six ounces. Item, a small gold Cross, with a piece of the 
 Wood of our Saviour's Cross in the middle, and a silver gilt foot, 
 weighing two pounds and six ounces. Item, a Procession Cross, 
 with an image of the Crucifix, three beautiful saphyrs set in the extre- 
 mities, and a ballance at the top, weighing three pounds four ounces 
 and a half. Item, a gilt Cross with a large diamond in the foot, and 
 three great diamonds at the feet of the crucifix ; the gift of Mr. Stephen 
 Scrope, weighing seven ounces. Item, one large silver Cross gilt, with 
 an image of the Blessed Virgin, in a tabernacle at the lower part, and 
 the image of Christ crucified, with Mary and John in the upper part 
 standing upon four angels ; the gift of Mr. J ohn Newton, weighing eight 
 pounds ten ounces. Item, two crosses with the image of the crucifix 
 silver gilt of the same make, with the four evangelists at the corners, of 
 white silver, and two images of the Blessed Virgin Mary in tabernacles 
 on the foot standing on four lions ; the gift of the said Master John 
 Newton, weighing five pounds and three ounces. Item, a silver Cross 
 gilt, with the images of Mary and John, with a round foot, and round 
 knob, between the foot and the crucifix, weighing two pounds and nine 
 ounces. Item, a Procession Cross for the silver gilt staff for common 
 days, weighing one pound ten ounces and a quarter. Item, a Cross of 
 red jasper Stone, adorned with gilt silver, with stones set in the wooden 
 painted foot, the gift of Master John Newton. Item, a crystal Cross, 
 with a beautiful foot well carved, weighing four pounds five ounces and 
 a half. Item, a large Cross for the silver gilt staff, with flower de luces 
 at the ends, which cross is full of wood; the gift of John Lord Scrope 
 of Ypsal, weighing six pounds. Item, a great Cross, with the images of 
 the Crucifix, St. Mary, and St. John standing on the foot, with the arms 
 of Scrope." 
 
 ilJvoccgSitOn.il CrOjSgCSf. — Crosses were borne at the head of all 
 solemn processions from a very early period. In the origin they were 
 merely ornamental crosses, without the image of our Lord ; subsequently 
 the crucifix was introduced. In the fifteenth century the images of the 
 Blessed Virgin and St. John were added on brackets. These crosses 
 were frequently composed of the precious metals, enamelled and set 
 with stones. The emblems of the four Evangelists were invariably in- 
 troduced at the extremities, and occasionally subjects from the Old and 
 New Testaments. The following extracts from Ciampini, and antient 
 inventories, will fully illustrate their form, material, decoration, and 
 
 PROCESSIONAL CROSS. 
 
 use. 
 
 Ciampini.—" After Constantine had been commanded in a Vision by night, to make a standard 
 after the likeness of the burning Cross which he had seen in the heavens at mid-day, he summoned 
 
92 
 
 fhcatt&totaH Cross, 
 
 artificers, the most skilful that could be found, and caused a precious Cross to be made, and enriched 
 with gold and jewels : which cross was surmounted with a crown, inscribed with the monogram 
 which letters the Emperor also wore upon his helmet. From the arms of the cross was suspended a 
 purple banner, covered with precious stones and gold embroidery, glorious to behold. These parti- 
 culars are taken from Eusebius in his Life of Constantine. From hence we may deduce three 
 things : 1. When the faithful first began publicly to venerate the Cross. 2. When the Cross began 
 to be carried before armies. 3. Why it was adorned with gold and precious stones. For the ignominy 
 of the cross was changed to glory and triumph in public estimation; Constantine, by Divine Pro- 
 vidence, so leading the way. Thenceforth the Cross began to be carried in litanies and processions : 
 and as the assembling of the people at the place and time appointed, was called Statio, so the 
 cross used was called Crux Stationalis : — statio, properly signifying soldiers on guard, and hence, meta- 
 phorically the Church militant in prayer and watching. The custom of adorning crosses with jewels 
 continued from this time. Charlemagne, among the gifts which he offered to the churches in Rome, 
 presented to the Basilica of Constantine, a large jewelled cross, with violet coloured stones, which 
 the Pope ordered to be used in litanies, according to the wish of the pious donor. The value of 
 this cross caused it to be afterwards stolen. Pope Leo IV. caused another large one to be made 
 in its place, of purest gold, adorned with pearls, and purple and green stones, in accordance with the 
 ancient use of the Church of S. Mary Major, at Rome. 
 
 Benedict, Canon of the Church of the Vatican, in the beginning of the twelfth century, details 
 many of the ceremonies then used with regard to the Processional Cross. He represents the sub-deacon 
 of the District (Regionarius), as carrying the cross from the altar to the porch of the Church inclined 
 downwards, that it might be kissed by the faithful ; then afterwards in the procession, carrying it erect. 
 Stational Crosses were large and sumptuous ; others for funeral and other less solemn processions small 
 and plain ; as is still observed at the present day. 
 
 Fivizani, in his treatise of the Custom of carrying the Cross before the Roman Pontiff, speaks of 
 the stational cross which preceded the clergy of the Lateran Church in solemn litanies. He speaks 
 of this, as i of a large size, covered with silver plates, representing passages in the life of our Lord 
 and Saviour, and in the lives of the Saints : and so weighty that it was carried only by men of 
 extraordinary bodily strength.' This cross (as figured in Ciampini) has 1. The Crucifixion, with S. Mary 
 and S. John, in the centre compartment. 2. The Eternal Father above, with the dove, the emblem 
 of the Holy Spirit descending. 3. The creation of Adam. 4. The creation of Eve. 5. The giving 
 of Eve to Adam. 6. The Tree of the knowledge of good and evil, not in a compartment. 7- God 
 giving commandment to Adam and Eve. 8, 9, 10, 11. The gate of Paradise, the expulsion of Adam 
 and Eve, the Cherubim guarding the way of the Tree of Life, and the departure of our first parents. 
 12. Noah receiving command to build the Ark from God, who is here designated by a Hand coming 
 forth from a cloud. 13. Noah's Ark. 14. Jacob bringing savory meat to Isaac his father, and Rebecca 
 standing near. 15. Esau returning from hunting. 16. Jacob meeting with the Angels of God. — 
 Gen. xxii. 1. 
 
 On the reverse side of the cross are, 1. in the centre, Adam and Eve under the Tree, in which is the 
 Serpent. 2. The sacrifice of Abel and of Cain. 3. Cain slaying Abel. 4. Cain speaking with God, 
 who is again represented by a Hand from above. 5. Abraham preparing to sacrifice Isaac. 6. Isaac 
 blessing Jacob. 7- Jacob's Ladder and vision. 8. Jacob wrestling with the Angel. 9. Joseph's Dream 
 of the sheaves, and of the sun and moon and eleven stars. 10. Israel addressing his sons. 1 1. Joseph 
 seeking his brethren. 12. Joseph finding his brethren shepherding their flocks. 13. Joseph stripped of 
 his coat of divers colours. 14. Joseph thrust into the well. 15. Reuben returning to the well and not 
 finding Joseph. Such are the subjects which illustrate this ancient silver Processional Cross, in the 
 church of St. John Lateran. 
 
processional Cross, 
 
 93 
 
 A second Processional Cross belonging to the same church, (and figured also by Ciampini) is of a 
 much later date, probably about a,d. 1450. — 1. In the centre is the Crucifixion. 2. Above, the Resur- 
 rection, underneath which is a pelican. 3. At the extremity of the right arm of the cross the Blessed 
 Virgin standing with another Mary. 4. Ditto of the left arm, S. John with two others, one a soldier. 
 5. At the foot of the Cross, the Entombment of our Lord. Below is a silver plate covering a Relique 
 of the true Cross, with the inscription, " De Ligno Crucis D. N. Jesu Christi." 
 
 On the reverse side is seen — 1. In the centre Christ sitting in the attitude of Benediction. In his 
 left hand is an open book, with the inscription, " Ego sum Lux mundi, Via, Veritas, et Vita." 2. xVt the 
 head of the cross S. John the Evangelist is figured, with his eagle, and a scroll with the scripture, " In 
 principio erat." 3. On our Lord's right hand, S. Luke, near whom is an ox and a scroll with the scripture, 
 " Fuit in diebus Herodis." 4. On the left is S. Mark, whose scripture cannot be read, but is probably 
 from the beginning of his gospel like the others.* 5. At the foot is S. Matthew, of whom the same may 
 be said." — Vetera monumenta. 
 
 Processional Crosses formerly belonging to Lincoln Minster. — " Imprimis, a Cross of silver and gilt, 
 with a Crucifix in the midst, Mary and John standing on two branches, and flower-de-luces in every of 
 the four corners, with the four Evangelists graven, weighing fifty-seven ounces ; and one staff, ornate with 
 silver, having a bowl and a socket of silver, containing two yards and a half, and one quarter and half. 
 Item, two crosses of one suit, plated with silver and parcel gilt, either of them having a crucifix, and 
 the four Evangelists of silver and gilt, both alike, with two staffs lapped with silver, wanting the more part 
 thereof, containing the length of, every of them, two yards and half. Item, a great Cross, silver and 
 gilt, with images of the Crucifix, Mary and John ; and of the left part of the cross, wanting two flowers, 
 and of the right part two flowers, and in the top three flowers ; having four Evangelists in the four corners, 
 weighing one hundred twenty-eight ounces, of the gift of William Alnewick ; and a foot pertaining 
 to the same, silver and gilt, with two scutcheons of arms, and a scripture — Orate pro animabus domini 
 Tliomoe Bewford, &c. And the said foot hath a base, with six images, the Coronation and the Salu- 
 tation of our Lady, St. George, and St. Hugh, weighing eighty-six ounces, of the gift of the said William ; 
 which said cross wanteth some little leaves, and divers tops of pinnacles ; and a staff to the said cross, 
 
 silver and gilt, with twof silver and gilt, with this scripture, " Delectare in Domino" weighing 
 
 eighty-four ounces." — Dugdale's Monasticon. 
 
 " There were also two Crosses to be borne on principal days for Processions ; one of gold, and the 
 staff it stood in was of silver, of goldsmith's work, very curiously and finely wrought, and double gilt, 
 and the staff was of wood, of the same workmanship, and double gilt. Also there was another Cross of 
 crystal that served for every day in the week. There was borne before the Cross every principal day, a 
 Holy Water Font, of silver, very finely engraved, and parcel gilt, which one of the novices carried." — 
 Antiquities of Durham Abbey. 
 
 " Item, Crux argentea deaurata cum ymaginibus Christi et Johannis. Item, 1 Baculus de-argenteus 
 pro eadem. Item, 1 Pes argenteus pro eadem.J Item, 1 Soket argenteus pro eadem Cruce." — From 
 an inventory of the ornaments belonging to the chapel of AUsouls College, Oxford, before the 
 schism. — Collectanea Curiosa, vol. ii. p. 259. 
 
 In Lyndewode's Provinciale, Lib. Ill, among the things required for a parish church, he enumerates 
 Crucem Processionalem, and Crucem pro mortuis, and the distinction is made on account of the cross used 
 for the burial of the dead, being without a Crucifix or image. A great number of ancient processional 
 crosses are yet remaining, and some of as early a date as the twelfth century. They are usually made 
 
 * Thus the scripture for St. Mark would be, " Initium Evangelii Jesu Christi," and that for St. Matthew, " Liber 
 generations Jesu Christi." See Evangelistic Symbols. t Sockets ? 
 
 | From this it would appear that this cross was occasionally used as a standing altar cross . 
 
94 ftoon Crass* 
 
 of oak, overlaid with plates of silver or copper gilt and enamelled. The four Evangelists are represented 
 either by emblems or images. The ends of the cross terminate in fleur-de-lis. Between the staff and 
 the base of the cross is usually a large knop with enamels. Most of the English processional crosses 
 that have been preserved are of very late date, and exceedingly rude in execution.* They have all 
 sockets for branches to hold the images of S. Mary and S. John, and seem to have been designed after 
 one model. In Shaw's ' Dresses and Decorations of the Middle Ages,' two exquisite processional crosses 
 of the fifteenth centuiy are figured. A most elaborate processional cross of copper gilt, executed for 
 Louis IX. is now placed on the side altar in the Abbey of St. Denis for an altar cross. 
 
 3&OOtr0* We now come to speak of those Crosses which were fixed on 
 lofts or beams, between the nave and the choir of large churches, or the 
 nave and the chancel of small ones. They are of great antiquity. Codin, 
 who lived in the fifteenth century, and wrote a history of Constan- 
 tinople, describes a cross which stood over the Jube of St. Sophia's, made 
 of gold,t enriched with precious stones, and provided with sconces for 
 lights. Every jube, or rood loft, was provided with a rich Cross in the 
 early times, but without the image of our Lord crucified. We have, how- 
 ever, proof that the image of our Lord was attached to crosses as early as 
 the eighth century, for Anastasius, in his Life of Leo III., mentions that 
 he made a cross of pure silver, which weighed seventy-two pounds, to 
 stand in the middle of the Church of S. Peter the Apostle, and a Crucifix 
 of silver for the high altar, which weighed fifty-two pounds. These Roods 
 are found in the churches of both the Greeks and the Latins, and till 
 within a comparatively late period not one church would have been found 
 in France, Germany, or Flanders, without one. In many of the Flemish 
 churches they are yet standing perfect, as at Louvain. In others, they 
 have been removed within the last few years ; and in several churches we 
 find them fixed against the wall after the rood-loft was demolished, as at 
 Hal, Leau, Tirlemont, &c. They are usually carved in oak, and of the 
 form and arrangement shewn in the cut. On the front, towards the 
 nave, the emblems of the four Evangelists are placed in the quatrefoils, at 
 the four extremities of the cross; towards the choir the four doctors. 
 The images of our blessed Lady and S. John are invariably placed at the 
 foot of the Cross, on carved pedestals and uprights to receive them, and the whole richly gilt and painted. 
 I do not imagine, however, that these were found on the early Roods, as they were not attached to the 
 processional crosses before the fifteenth century. Every church in England was furnished with a Rood 
 previous to the reign of Edward the Sixth, when they were pulled down and destroyed by Act of 
 Parliament. I conceive, however, that Roods were fixed on screens or beams, in the principal churches, 
 long before the introduction of lofts to receive them. Rood-lofts, are most ancient in Cathedral and 
 Conventual churches, but in Parochial ones I am not aware of any example older than the latter part of 
 the fourteenth century, and even these seem to have been later additions to the fabrics in which they 
 were placed. Regular rood staircases, in external turrets, on the sides of the church, or on each side of 
 the chancel arch, and forming an original part of the church itself, are not older than the fifteenth century. 
 
 * It is to be remarked that no just estimate can be formed of old English art from the works executed in the fifteenth 
 century. The desolating Wars of the Roses had such a debasing effect on the arts of Painting and Sculpture, that few 
 of the images or decorations produced after that time are to be compared with similar works of two centuries previous. 
 
 t Probably plates of gold laid on wood. 
 
fteltquarp Crosse* 
 
 95 
 
 That the 
 period at 
 
 Roods were consecrated with the Holy Chrism is certain, but it is impossible to state the 
 which this custom commenced.* 
 
 The orders of the Parliament respecting the de- 
 struction of Roods, on the accession of Queen Eliza- 
 beth, were so faithfully carried out, that in all the 
 parochial churches of the land we have not one re- 
 maining; and on the Continent the love of innovation, 
 and a false idea of improvement have been nearly as 
 destructive, and rare indeed is it to find any of 
 these edifying and majestic images of our Lord's 
 passion, that formed so distinguishing a feature 
 of the ancient churches. The most perfect one I 
 have ever seen is in the great church at Louvain,t 
 but it must have been far surpassed by many of 
 which only the fragments or the description remain. 
 
 The manner in which the Roods were fixed is 
 deserving of notice ; three chains were attached to 
 the upper arm, and the two extremities of the cross, 
 and fixed to iron staples in the stone arching over it, 
 by means of which the cross was in a great measure 
 suspended. These chains were exceedingly beauti- 
 ful, being composed of long links, united by orna- 
 mented gilt knops or balls. In a picture by Van 
 Eyck, in the gallery of Antwerp, in which the nave 
 of a church is shewn in perspective, with the Rood 
 screen and loft, the cross is represented with the 
 three chains. In several other early pictures, by 
 the German and Flemish masters, the cross is 
 shewn suspended in a similar manner; and there are 
 few churches in the Low Countries where the three 
 staples in the arch over the rood loft, to which the 
 chains were formerly attached, are not still remain- 
 ing. 
 
 HeUqttarg ©roggrg as the name implies, are 
 crosses intended especially for Reliques. Those of 
 the Holy Cross itself were most appropriately cased 
 in rich crosses. These varied considerably in size, 
 ornament, and material, according to the impor- 
 tance or magnitude of the Reliques, and the means 
 of the donors, as will be seen by the following ex- 
 REL'QUARY CROSS. tracts. 
 
 * In Hollingshed's Chronicle, Vol. II. p. 1121, is an account of the rearing of the great Rood in S. Paul's Cathedral 
 in the second year of Queen Mary, which, although written in a most irreverent spirit, fully proves the fact of the 
 anointing with Holy Chrism. 
 
 f The great Rood of S. Lawrence's Church at Nuremberg is remaining, but it is not fixed on a loft, but on an arched 
 beam stretching across the entrance to the choir. The whole cross is floriated, the extremities terminating in triple quatre- 
 foils. The four outer ones contain pelicans billing their breasts, and the eight others, angels with chalices. 
 
96 
 
 Cottfetratfon Crosses* 
 
 The following is the description of a magnificent cross formerly belonging to Rheims Cathedral. — 
 " Item, On the tomb of the Cardinal of Lorraine behind the altar of the Holy Cross, is a cross 
 of silver gilt, the gift of the said Cardinal. There are four enamels of the Evangelists, the Crucifix, 
 S. Mary Magdalene, our Lady and S. John on two pedestals, with a foot between for the Magdalene, 
 all on a base of silver gilt, with four images of persons praying, at the four corners. Two soldiers 
 on horseback with lances, and eight soldiers on foot ; in front of the case are two angels bearing 
 palms, and between them a pillar with many Reliques, at the foot of the cross is a skull and some 
 bones and eight lizards, all of silver gilt. The whole stands on a subase, with eight shields of the 
 anns of Lorraine surmounted by the Cardinal's hat, and under the subase are twelve pillars, the 
 whole weighs 129 marcs and 4 oz." — Inventory of the Treasury of Rheims in 1699. 
 
 York Minster. — " Item, A gold cross with Reliques, the gift of Mr. Stephen Scrope, once Arch- 
 deacon of Richmond, with a foot, one pound. Item, A cross standing on six bases, having six angels 
 on the pinnacles of the said bases, and two angels on the bases, holding in their hands the Reliques of 
 the Chasuble or Vestment and shoes of S. Peter the Apostle, having white images of the Crucifix, of 
 the two theives, with other images by the foot, and many precious stones, rubies and saphyrs, the gift 
 of King Richard the Third. 
 
 Precious Crosses containing reliques, formerly belonging to the Abbey of S. Denis, near Paris, — 
 " Croix d'or toute couverte de rubis, de saphirs, d'emeraudes et entouree de quantite de perles 
 orientales, dans laquelle est enchasse un morceau de la vraye Croix de la longueur d'un pied. Cette 
 precieuse Relique a este donnee a l'Abbaye de Saint-Denys par Philippe Auguste qui l'avoit 
 recue en present de Baudouin Empereur de Constantinople. Elle fut estimee pour lors quatre cens 
 livres ; ce qui estoit une grosse somme en ce temps-la. Croix de vermeil dore enrichie d'emaux, dans 
 laquelle il y a du bois de la vraye Croix. Elle est marquee aux armes de Jerosme de Chambellan, 
 qui sont d'argent party d'azur a la bande de gueule brochant sur le tout. L'inscription marque qu'il 
 fit present de cette croix la cinquantieme annee depuis son entree en religion ; Hcec Crux in 
 sui monastici gratiam jubilcei a F. Hieronymo de Chambellan hujus ccenobii magno Priore, 1590." 
 
 These are also figured in the six plates of the ancient treasury of S. Denis, given by Dom Felibien 
 in his <r Histoire de l'Abbaye Royale de S. Denis.' 
 
 In the history of the royal Abbey of S. Germain, des Pres, by Dom Jacques Bouillart, are several 
 plates representing the costly ornaments formerly belonging to the church, among which are several 
 beautiful crosses containing Reliques. In the history of the Monastery of S. Udalric, Augsbourg,* Plates 
 XXVIII, and XXIX. represent some beautiful reliquary crosses, which formerly belonged to that 
 abbey. 
 
 Besides the crosses that were made purposely as receptacles for Reliques, those worn round the neck 
 ( See Pectoral Crosses) often contained sacred Relics, as did also many of the crosses which were placed 
 upon altars. 
 
 COttgfCrattOtt CrO00C0. — The crosses on the walls of a church, which are anointed by the Bishop 
 with Holy Chrism in the rite of consecration ;t they are twelve in number, and are either traced in 
 
 * This book, which is exceedingly rare, is of great interest. It contains fifty plates of reliquaries, many of them of 
 the fifteenth century, and beautiful in form. Of course there is much of the bad taste belonging to the period at which 
 the work was published, but still it is a most valuable work from the extensive variety of figured descriptions of church 
 ornaments. 
 
 f Incepta Antiphona, interim dum ipsa et Psalmus ac Responsoria prredicta cantantur, Pontifex cum mitra inci- 
 piens retro altare, et procedens ad eius dexteram inungit Chrismate cum pollice dextero singulas duodecim cruces in 
 parietibus Ecclesise depictas, ad vnamquamque crucem dicens Sancti+ficetur, et conse+cretur hoc templum, in Nomine 
 Pa+tris, et Fi+lii, et Spiritus+Sancti, in honore Dei, et gloriosse Virginis Marise, atque omnium Sanctorum, ad 
 nomen, et memoriam Sancti N. — Pax tibi. Et peruncta qualibet cruce, mox accepto thuribulo illam incensat. — Pont. Rom. 
 
/ 
 
 Consideration Crosrat**— pectoral Crosses* 
 
 97 
 
 colour, as is shewn in the annexed cut, and is most usual, or they are carved in stone quatrefoils, or 
 ^_ quatrefoils of stone with floriated brass crosses. Of this last sort we 
 
 have some examples in England, as Salisbury Cathedral, and Uffington 
 Church Berkshire : and I am inclined to believe, from the fact of their being 
 outside the church, that the external walls were anciently anointed in this 
 country. The crosses at Uffington Church are exceedingly curious ; the 
 diameter of the quatrefoil is 1 ft. 7 in. : the brass work, as at Salisbury, has 
 been wrenched out, but the form is quite perfect. A branch with a taper, 
 as shewn in the wood-cut, is fixed before each cross, and the candles are 
 lighted on the day of the Consecration, before the Bishop enters the church, 
 and burn till the conclusion. They should also be lighted on the Anniversary 
 of the Dedication, at Mass, Vespers, &c. 
 
 fit .IV Ul'n {$ CtOjSjSCS are crosses marked on altar linen, and church 
 furniture to stamp them as being exclusively devoted to sacred purposes. 
 (See Plates XIII and XIV.) Altar cloths and corporals have generally five, 
 in reference to the wounds of our blessed Lord : Palls for the chalice, one, 
 con SEC Ft ATI ON C RO SS of a large description. Towels for the use of altars, surplices, albes, amices, 
 should all be marked by small crosses, stitched in coloured silk. Larger crosses should be worked or 
 painted on banners, hangings, cushions, curtains, veils, &c. (See Plates XLIX. L. LI.) For crosses 
 of chasubles and rich crosses for altar cloths, See the words Frontal and Orphrey and Plates 
 VIII. LII. LIIL LIV. 
 
 Sectoral ClOjSSu — A cross worn by bishops suspended round the neck- 
 by a chain, and hanging as the name implies on the breast. This cross is 
 now considered an emblem of jurisdiction ; hence when any bishop enters 
 the diocese of another, he wears the cross concealed. 
 
 Georgius, c. xviii. — " Crux Pectoralis. — According to most ancient 
 custom, the Pope, when vesting solemnly, puts on him a Pectoral Cross, 
 filled with Reliques of the Saints. Pope Innocent III. says that the ornament 
 of gold worn by the High Priest, under the Law on his forehead, has 
 given place to the cross borne upon the breast by the Christian High 
 Priest. These crosses were called encolpia, by the Greeks, from whom they 
 appear to have come. For in the East it was the custom for all the 
 faithful, but especially bishops, to wear the cross hanging from the neck. 
 Rottradus, Bishop of Soissons, a.d. 863, declares of himself that he had 
 been to the Council of Soissons, in his sacerdotal, meaning his episcopal 
 habit, " bearing the book of the Holy Gospels, and the Wood of the Holy 
 Cross at my breast." 
 
 Nicephorus, Emperor, a.d. 811, sent to Pope Leo III., among other sacred ornaments, a golden 
 Pectoral Cross, enclosing within it another cross, in which were some portions of the true Cross, disposed 
 in a cruciform figure. 
 
 S. Gregory of Tours, relates that he had extinguished the flames of a fire, on one occasion, by 
 drawing from his breast a golden Cross, in which were Reliques of theBlessed Virgin Mary, the Apostles, 
 and S. Martin. In Osborn's Life of S. Elphege, Archbishop of Canterbury, who suffered martyrdom 
 a.d. 1012, mention is made of the dreadful deaths which befel his murderers: and how a priest, who 
 had concealed the Pectoral Cross (crux collaria) of the martyr came to an untimely end. Yet it is 
 
 o 
 
 PLCTORAL CROSS. 
 
98 
 
 thought that the pectoral cross was originally worn by others as well as bishops, and that it did not 
 constitute a part of the distinctive dress of a bishop. S. Thomas, in his Commentaries £ In libros 
 Sententiarum, lib. iv. 24, 3, enumerating the peculiar ornaments of a bishop, does not mention the cross. 
 His words are — " Bishops add nine ornaments above priests, which are buskins, sandals, sash 
 (succinctorium), tunic, dalmatic, mitre, gloves, ring, and pastoral staff: because they can do nine 
 things which it is above a priest to do, viz. ordain clergy, bless nuns, consecrate churches, suspend 
 clerics, hold synods, consecrate the Chrism, consecrate vestments, chalices, &c.'' Innocent III. followed 
 by Durandus, gives precisely the same list, and says there are nine special functions of a bishop, besides 
 those of a priest. But from Durandus it appears that in his time, viz. towards the end of the thirteenth 
 century, the Pectoral Cross was worn by bishops, though not yet numbered among exclusively Episcopal 
 ornaments. We nowhere find that the Pectoral Cross was delivered to bishops at their Consecration. 
 The prayers used at putting the cross on the neck, are found as early as the fourteenth century : and 
 about this time appears to have begun the custom of reckoning the Pectoral Cross among the dis- 
 tinctively Episcopal ornaments. 
 
 Extracts on the Cross. — Durandus. — "The Cross was prefigured in the Old Testament in 
 various ways. The brazen serpent was one of these types, St. John iii. 14. Jacob crossing his hands, 
 to lay them on the head of Ephraim and Manasses, to bless them, (Gen. xlviii. 14) was another. So in 
 Ezek. ix. 3, 4. " And he called to the man that was clothed with linen. . . . And the Lord said to him, Go 
 through the midst of the city, through the midst of Jerusalem ; and mark Thau upon the foreheads 
 
 of the men that sigh and mourn for all the abominations that are committed in the midst thereof 
 
 Upon whomsoever you shall see Thau, kill him not," &c. And in the New Testament (Apoc. vii. 2) S. 
 John saw an angel " having the Sign of the living God/' and saying : " Hurt not the earth, nor the sea, 
 nor the trees, till we sign the servants of our God in their foreheads." 
 
 The four extremities of the cross are interpreted of the four quarters of the world, in which the 
 doctrine of the Cross was preached ; and other meanings have been attached to them by others. The 
 Church arms herself with the Sign of the Cross : and by this she triumphs over all the power of the 
 enemy. In the cross a profound mystery is contained ; and in each of its parts : in the four pieces 
 of wood, of which it was made, viz. the upright shaft, the cross piece, the piece under the feet, and 
 the title ; and so in the four nails, and in the spear, which is charity, and in the crown of thorns, which 
 is penance. 
 
 As the Church is the army of Christ : so the trumpets are her bells, and her banners crosses. As 
 the Blessed Virgin carried our Lord, so also did the Cross, in another sense. The Church celebrates two 
 festivals in honour of the Holy Cross ; the feast of the Invention,* which is the greater, and that of the 
 Exaltation, which is the less of the two. The end of the cross is glory ; therefore at the end of most 
 anthems concerning the Cross, is added Alleluia. The cross is placed upon the altar between two lights, 
 because Christ is Mediator in the Church between two peoples, the Jew and the Gentile." 
 
 Georgius de ritu praferenda Crucis, Sfc. — " The Cross is carried before the Pope, when he appears 
 in public. Two kinds of crosses were used of old, for this purpose : one, the stational cross, for the 
 Stations, and public litanies ; the other whenever the Pope appeared publicly in the city. There 
 is a grand stational cross which precedes the clergy of the Lateran church to the Stations, sculptured 
 all over, with scriptural subjects, and requiring a man of great strength to carry it. Another of pure 
 
 * Concerning' the history of the discovery of the True Cross, and the principal Reliques of the Passion still remaining, 
 see' De Corrieris de Sessorianis Reliquiis Passionis D.N.J.C The evidence for the finding of the Cross is ably summed 
 up in the Preface to a late Oxford Translation of St. Athanasius. 
 
/ 
 
 Cross. 
 
 99 
 
 gold belonging to the same church was originally given by Charlemagne, and being stolen, Mas 
 replaced by Pope Leo IV. Anastasius appears to make mention of seven stational crosses, for the seven 
 parish churches of Rome. Those who carried the cross and lights, were called e bajuli.' The crosses 
 were only allowed to be set down at the places of devotion, called the Stations : and none were 
 allowed to carry them, except the appointed cross-bearers. Concerning the cross, which is carried 
 before the Pope, when he rides through the city, an ancient notice occurs in Anastasius's Life of Leo 
 IV., who e repaired,' he says ' a golden cross : which cross according to ancient custom was carried 
 by the hands of a sub-deacon before the horse of the popes, his predecessors, and which, with God's 
 help, he restored and adorned with gold, and silver, and jewels.' The Roman Pontiff granted to some 
 Archbishops the privilege of having the cross carried before them. The Archbishop of Ravenna has 
 his cross borne before him, not only within his own province, but to within three miles of Rome. 
 But in Processions for litanies, or to meet bishops, emperors, kings, or any persons of distinction, crosses 
 were carried first, from the earliest times. It is reported of S. Thomas of Canterbury, that on one 
 occasion, he entered the Parliament carrying in his own hand the Cross that was wont to be borne 
 before him : and refused to let any one carry it for him. Apostolical Legates have had the privilege 
 of a Cross carried before them, ever since the ninth century. Thomassin remarks, that in the eleventh 
 century those Archbishops only who had the use of the Pallium, used the Cross. St. Anselm, Arch- 
 bishop of Canterbury, wrote to Samuel, Archbishop of Dublin, (Lib. iv. Epist. 28.) among other 
 things desiring him not to presume to have the Cross borne before him, as he had not the Pallium. 
 ' Further, I have heard,' says he, ( that you cause a Cross to be carried before you in public ; which, 
 if it is true, I command that you do so no longer, because it appertains not save to an Archbishop 
 confirmed by the Roman Pontiff with the Pallium.' This was the custom then. Afterwards, in 
 the twelfth century, (as Thomassin, lib. ii. p. 1. c. lix. shews), this privilege of carrying the Cross used 
 to be obtained from the Metropolitans : and so, gradually, by the thirteenth century, the custom was 
 for all Archbishops to have the Cross carried before them. The third Council of Lateran, a.d. 1213, it 
 is well known, gave to the Patriarchs of Constantinople, Alexandria, Antioch, and Jerusalem, in 
 communion with the Holy See, the right of having the banner of the Cross carried before them everywhere, 
 except in the city of Rome, or in presence of the Roman Pontiff, or an Apostolical Legate bearing the 
 insignia of his office. We have the custom of going out with crosses to meet the Reliques of the Saints, 
 and also persons of distinction, treated of by S. Gregory of Tours, in various places: and though 
 Peter de Masca thinks it began with St. John Chrysostom, at a time when the Arians kept nightly 
 assemblies outside the walls of Constantinople, yet it is certainly of earlier origin ; for S. Porphyry, 
 Bishop of Gaza, had the Cross borne before him in the beginning of his Pontificate, which was a.d. 
 396." 
 
 Stephen Borgia De Cruce Veliternd, 1/80. — Chapter i. — v. "This Cross, belonging to the ancient 
 Cathedral Church of St. Clement, at Veletri, is of gold, weighing eleven ounces, adorned with oriental 
 pearls on both sides, and with five other coloured stones on the side which has the figure of our Lord, 
 and on the reverse an emerald under an Agnus Dei. The figures are all enamelled (opere smaltito,) 
 upon the gold, and inserted in a flat surface, which is a mark of the antiquity of the work. Pope 
 Alexander the IVth is said to have presented this to the Church of Veletri, or at least to have 
 consecrated it solemnly, and placed a portion of the true Cross within it, attaching also certain Indul- 
 gences to it. 
 
 Chapter vi. On the front is the image of our Lord crucified, inlaid in enamel, pierced with 
 four nails, i. e. with the feet disjoined, with a cross in the nimbus round the head, without any trace of 
 the thorns, with a support for the feet, ( suppedaneum ), no wound in the side, our Lord appearing as 
 alive, with open eyes, long hair and beard ; all which shew remote antiquity. 
 
100 
 
 Cross* 
 
 The covering which reaches from the middle to the knees, has a border round its bottom edge. For 
 though it is not to be doubted, that our Lord was exposed upon the cross to the shame of nakedness, as 
 the Holy Fathers teach, yet from a sense of reverence, part and sometimes the whole person is veiled 
 in representations of the Crucifixion, from the earliest times. The whole figure is seen vested, in a Greek 
 pectoral cross, to be noticed presently, and other ancient examples. And S. Gregory of Tours 
 relates that in his day, at Narbonne, our Saviour appeared three times in a dream to a priest named 
 Basileus, ordering that the whole figure of a certain painting of the Crucifixion should be veiled : and 
 that the Bishop accordingly ordered the picture to be hung with a veil : and in S. Gregory's time it 
 was to be seen thus as it were clothed. {Lib. I. De gloria Mart.) It may have arisen from this circum- 
 stance being known abroad, that the custom of clothing the figure entirely with a tunicle, was adopted. 
 And if the Vision is to be deemed a true one, it would seem consonant to its direction to represent the 
 figure of our Lord, even now, as vested in a cope or tunicle. 
 
 Chapter vii. There is no Title to the Velitern Cross. And though the practice of adding the Title 
 to crosses was most common, yet whether it was ever added in Hebrew, and in Greek, and in Latin, 
 anciently, may be doubted. The Latins omitted the title more than the Greeks, who frequently, how- 
 ever, express it by signs, as I7J XC, and other abreviations of the form, as recorded by S. John, Iesus 
 Nazarenus Rex Judceorum. — S. John xix. 19. 
 
 Chapter viii. Among parallel instances of the absence of the Title from the cross, may be adduced 
 that of a Mosaic in the church of S. Clement, at Rome, in which are represented twelve doves flying 
 round the cross, signifying the twelve Apostles. In two other ancient examples, in the place of the 
 Title, a Hand is seen extended from a cloud. Several other remarkable crosses are without the Title. 
 
 Chapter x. On either side of our Lord are half-length figures, on the right, of the Blessed Virgin 
 Mary, and on the left, of the beloved Disciple. This we find constantly both in Latin and Greek 
 monuments. 
 
 Chapter xi. Our Blessed Lady and S. John are pictured not, as in modern and in some ancient 
 examples, in agonies of grief and distress ; but in a manner more consonant to the description in the 
 Gospel, " There stood by the cross of Jesus, his Mother," &c. — S. John xix. 25. On which 
 S. Ambrose writes : Stabat ante Crucem mater, et fugientibus viris stabat intrepida." (Lib. de Instit. 
 Virg. c. vii.) And again: "Stantem lego, flentem non lego." There is a cross marked on the veil 
 which covers the head of the Virgin. This indicates the feelings with which we should contemplate the 
 sacred Passion of our Lord : — according to a beautiful inscription on a Book of the Gospels of the ninth 
 century now in the Vatican, under an embossed figure of our Lord crucified : — 
 
 + Aspice pendenteui, crucifig'as in Cruce mentem. 
 
 Other figures of the Blessed Mother of God as standing by the Cross, have the same cross on the veil. 
 
 Chapter xii. Some, however, prefer to interpret this as a star. And ancient examples are not 
 wanting, in which the whole vest of the Blessed Virgin is powdered with stars. Stella Matutina and 
 Stella Maris are among her well known titles in the Church. 
 
 Chapter xiii. Our artist has not shewn the same judgment in the figure of S. John, whom he has 
 represented as advanced in years : a contrary error to that which is observable in some cases, where we 
 find S. John, as a young man still, writing the Apocalypse, or with the Gospel in his hand ; whereas it 
 is certain that he wrote both these late in life. In an old ivory carving, preserved in the collegiate 
 church of Friuli, having on it the Crucifixion with S. Mary and S. John on either side, over the 
 Blessed Virgin, are engraved the words m en fil. tvvs, Woman, behold thy son, and over S. John, 
 ap ecce m tva, Apostle, behold thy mother. A similar instance in a Triptych is adduced by 
 Buonarotti. — The Greeks also used the same sort of inscription. 
 
101 
 
 Chapter xiv. So far is plain, relative to the Velitern Cross; but not so, now we come to the two half 
 figures which are added, one above, and the other below the figure of our Lord, on the main stem of the 
 Cross. The upper one appears to be a bishop, with the tonsure large, a nimbus round the head, and 
 three fingers uplifted in benediction. First, the absence of the Title, in a case where there is room for it, 
 is an argument that this Cross is not Greek. Therefore it is probably not a Greek Saint. It may be 
 observed, that the attitude of benediction, taken by itself, would not prove that an ecclesiastic was meant. 
 The three fingers, however, so lifted, do indicate a benediction, or salutation, at the least. 
 
 Chapter xv. Anciently, only bishops gave the benediction to the people at solemn masses, and it was 
 given not at the end, as now, but after the Lord's Prayer, just before the communion. It was not till the 
 eleventh century that the custom had become general for priests to give the blessing at the end of the 
 mass. In the same century it was granted to some Abbots to sign with the cross, even out of the mass ; 
 a form of blessing before confined to Bishops. 
 
 Chapter xvi. Hence it appears that the figure on this Cross, which is a work of the eighth or ninth 
 century, is probably some holy bishop. In an old Syriac MS. of the Holy Gospels (to shew that the act 
 of blessing was esteemed one of high dignity) the Blessed Virgin receiving the angel's Salutation, holds 
 the right hand with three fingers uplifted as in benediction. The angel, however, having the same posi- 
 tion of the hand, seems to shew that this was not meant as an attitude of blessing, but merely of speaking. 
 
 Chapter xvii. S. Firmus, martyr, is represented in the same attitude on the Diptych Chasuble at 
 Ravenna, which has been commented on by Maurus Sarti, Abbot of the Camaldolese convent. 
 
 Chapter xviii. Other examples of laics, in the attitude of benediction, are not unfrequent. The 
 Emperor used to bless the people in the church of S. Sophia, signing them with the cross thrice ; and to 
 distribute the blessed palms even in the Church of S. Demetrius. 
 
 Chapter xix. To return to the act of benediction : on the above-named Chasuble is represented 
 S. Michael the Archangel, in the attitude of blessing. It is exceedingly rare for an angel to be 
 depicted in this manner, as they generally have a wand, or reed, or sword, or spear, or labarum, or globe, 
 or both these. On the whole, the act of blessing was ever considered as peculiarly belonging to the 
 office of bishop. And that the figure we are considering is a bishop, is further confirmed, 
 
 Chapter xx. By the large tonsure. — In the first ages of persecution, as the tonsure could not be 
 worn, ecclesiastics wore their hair shorter, and less trim than others. The tonsure was used in the fifth 
 century, and ever after, though gradually decreasing in size. 
 
 Chapter xxi. The figure is in a common dress, a tunic, viz. and pallium or cloak ; without chasuble 
 or other priestly ornament ; whence it may be conjectured, that an Apostle is meant. For the apostles 
 are invariably represented in tunic and pallium, or with the tunic only ; the tunic being sometimes 
 enriched with purple bands, as also the tunics of Christ and of angels. 
 
 Chapter xxii. The pamula or short travelling cloak, is not to be confounded with the pallium. — S. 
 Peter is distinguished since the eighth century by a large pallium. 
 
 Chapter xxiii. The large tonsure on the head of this figure indicates the Prince of the Apostles, S. 
 Peter. From the sixth age, the opinion prevailed, that S. Peter introduced the tonsure. This opinion 
 is mentioned by S. Gregory of Tours. S. Peter accordingly is often represented as tonsured after that 
 date ; and is to be distinguished by this mark among the other apostles. Thus in an ivory carving of about 
 the eleventh century, in the church of S. Ambrose, at Milan, in winch, among other things, is pictured 
 Christ washing the Apostles' feet, S. Peter is clearly distinguished from the rest, both by his attitude of 
 surprise and admiration, and by the ecclesiastical tonsure, with which he alone is represented. 
 
 Chapter xxiv. And as in that example, so also in this of the Velitern cross, S. Peter is represented 
 with the beard close shaven, according to the custom of the Latin clergy in the ninth century. The 
 barbirasium is often spoken of in old monuments as distinguishing the clergy. 
 
102 
 
 Cross. 
 
 Chapter xxv. The absence of the one, two, or three keys which usually designate S. Peter, may be 
 ascribed to want of room or other accidental cause. 
 
 Chapter xxvi. S. Maximus says in one place, that S. Paul had the key of knowledge entrusted to 
 him, as S. Peter had that of power. And there is reason to think they were sometimes represented 
 together, each with a key hanging from his girdle. 
 
 Chapter xxvii. &c. At the foot of the Velitern Cross, beneath the figure of our Lord, is a circular 
 compartment, with a half figure of a woman, having a nimbus round the head, the hair curled and 
 adorned with a band, as if of pearls, and in a rich jewelled dress. This may be conjectured to be the 
 Empress Helena, to whom was granted the favour of finding the true Cross ; and who is represented 
 in several ancient crosses. On the reverse side, in the centre compartment, is an Agnus Dei, ena- 
 melled, upon a field of gold, without nimbus or banner, which are usually found in this emblem of 
 the Lamb, which is so frequent in early Christian art. A beautiful example of the Agnus Dei is 
 sculptured outside the door of the church of St. Pudentiana, at Rome, with these appropriate 
 inscriptions round it. 
 
 + Hie Agnus Mundum restaurat sanguine lapsum. 
 + Mortuus et vivus idem sum Pastor et Agnus. 
 
 This symbol of the Lamb confirms the antiquity of this Cross, which appears to belong to the VIII. or IX. 
 century, when the practice of representing the Figure of our Lord upon the Cross had become general, 
 and yet the still more ancient symbol of the Lamb was retained also. As the Lamb is a most common 
 emblem of our Blessed Lord, so is it worthy of remark, that the early Christians were accustomed to 
 represent the Apostles, not only under the figures of palms and doves, and sometimes stags, but also 
 of lambs,* probably in allusion to Christ's words : 1 Ecce ego mitto vos sicut agnos in medio luporum.' 
 St. Luke x. 3. 
 
 We come now to examine the four compartments, which are at the angles of the Velitern Cross. 
 These contain, enamelled upon a gold field, the four mysterious animals seen in Vision by Ezekiel 
 (i. 20, and x. 14.) and St. John (Rev. iv. 7)- In the Greek Church particular honours were paid 
 to ' the four incorporeal animals,' which were understood to be four Cherubim. Churches were 
 dedicated under the invocation £ sanctorum quatuor animalium.' They are also understood of the four 
 Evangelists. St. Irenaeus and St. Augustine took the Lion for St. Matthew, the face of a man for 
 St. Mark, the calf for St. Luke, and the Eagle for St. John ; but St. Jerom and St. Gregory under- 
 stood St. Matthew to be the Man, St. Mark the Lion, St. Luke the Ox, and St. John the Eagle ; 
 which interpretation has been followed by all artists. These symbols are not found in Buonarotti or 
 Aringhi's Monuments of subterranean Rome : but they begin to appear in the mosaics of the V. century, 
 published by Ciampini. In later representations the figures of the Evangelists are given, and the four 
 animals added to them, as their emblems ; as in the mosaics of the church of St. Vitalis at Ravenna, 
 which belongs to about the year 547, where the Evangelists are depicted sitting with open books 
 in their hands, and their symbols above them. The four animals are generally depicted with wings, 
 and often with a nimbus round the head of each. Frequently the symbolical animals carry books of 
 the Gospels. Some of the ancient artists, there is reason to think, scrupling to use the nimbus round 
 the heads of beasts, affixed this only to the winged figure of a man (for it is a man and not an angel) ; 
 as is to be seen in the above-mentioned mosaic in the church of St. Vitalis, at Ravenna, and others. 
 
 * Durandus, Rationale, 1. i. c. 3. n. 10, says: The Apostles are also sometimes painted under the form of twelve 
 sheep, because as sheep they were slain for Christ's sake : and sometimes the twelve tribes of Israel are painted under 
 the figure of twelve sheep : but when more, or fewer sheep than twelve are depicted around the throne of Majesty, it is in 
 allusion to S. Matthew, xxv. 33. Cum venerit Filius Hominis in Majestate sua, tunc sedebit super sedem Majestatis 
 suae . . . . et statuet oves quidem a dextris suis, hoedos autem a sinistris.' 
 
/ 
 
 Crosfjs* 
 
 103 
 
 The above symbols were employed, not in mosaics only, but on the exterior walls of churches, on the 
 triumphal arches within, in the absides and other parts ; shewing the devotion of those times towards 
 the Holy Evangelists. We find them in the bases of Altars, on the sacred vessels, but especially in 
 the angles of crosses. These four Evangelistic symbols, then, form a kind of crown to the Lamb in the 
 centre of the Cross. There are other examples of this ; though more frequently these emblems are 
 found in the extremities of crosses, with the figure of our Lord in the centre, and especially of stational 
 crosses, and in the angles of Diptychs, or in pictures of Christ. 
 
 Of the nimbus round our Lord's head, containing the Cross within its circle, it may be observed, 
 that in the oldest examples, this Cross is of a red colour, which is observable also in other early crosses. 
 The Greeks sometimes added to the cruciform nimbus, at the three points, the letters O QN, which is 
 translated, Ego sum, and answers to the Hebrew Tetragrammaton. The Latins sometimes used in the 
 same way the word REX, expressive of Christ's Kingdom, or LUX, to denote that He is the Light 
 of the World. Sometimes in the nimbus round our Lord's Head, instead of the Cross, are figured 
 three little crosses, as may be seen on the cover of a Book of the Holy Gospels at Friuli, engraved on 
 Gear's ' Thesaurus Veterum Diptychorum/ torn. iii. tab. 10, and in the nimbus round an Agnus Dei, 
 figured in Aringhi's Roma Subter. torn. ii. lib. vi. c. 20. The Evangelistic symbols are also found on 
 crosses, otherwise quite plain and without either Figure or Lamb on them, and on those, even, which 
 are made of the Wood of the true Cross. In the Velitern Cross, behind the symbols of the Evangelists, 
 on the front of the cross, are four receptacles for Reliques : — as is found in many other examples." 
 
 + Abstract of a Treatise on an ancient Cross in the Vatican, by Stephen Borgia, Secretary to the 
 
 Propaganda, 1 779- 
 
 Preface. — Among monuments of a religious interest in Rome, of which no engraving has yet been 
 published, one of the most important is an ancient Cross remaining in the Vatican, belonging to the 
 sixth century after Christ : and noticed by many writers. 
 
 Chapter i. — This Cross is in length 2\\ inches, in breadth 16| inches; in shape patte at the 
 extremities, which form agrees with the sixth century, and is found in some crosses still more ancient. 
 The Cross was first ornamented after the conversion of Constantine. The distinction made between the 
 Greek and Latin form of the cross did not anciently exist : but both forms were used indiscriminately 
 by Greeks and Latins. The Vatican Cross is adorned with forty jewels on one of its sides, twelve 
 more form a circle round a relique of the true Cross in the centre, and four more are added as pendents, 
 (campanula), two from each lateral arm. The stones are topazes, carbuncles, emeralds, &c. The 
 reverse side has five circular compartments ; the middle one having an Agnus Dei, with a Majesty 
 round the head, and bearing a cross, the upper and lower one containing an image of our Saviour, 
 marked by the cross in the nimbus, the upper one with three fingers raised in benediction ; the two 
 side compartments bearing the busts {irpoTOfiai), the right one, of Augustus, and the left of Augusta, 
 his Queen. The Cross is of silver plates (lamina-), gilt. The figures are beaten out in relief, like 
 anaglyptic work. The middle circle of the front side, enclosing the precious fragment of the Cross, is 
 of gold. 
 
 Chapter ii.— The Latin inscription on the four limbs of the front of this Cross declares it to be 
 the gift of the Emperor Justin. The letters on the upper and lower limb of the Cross are arranged 
 horizontally, so that all the writing is legible from the same point of view. The form of the letter A, 
 with a line above it is found even earlier than the time of Justin ; some of the letters are in a running- 
 hand, among the rest which are of the old capitals : thus B is shortened into b, V rounded at the 
 
104 
 
 Crosfc. 
 
 bottom into U, and D written S, after the Greek fashion. The inscription or title {lemma) is deci- 
 phered thus : — 
 
 Lig-no, quo Christus humanum subdidit hostem, 
 Dat Romae Justinus opem et socia decorem. 
 
 which makes it probable that a Greek wrote it, and pronounced SocTa, instead of Socia. 
 
 Chapter iii. — There were two emperors named Justin. The elder reigned a.d. 518 — 527: the 
 younger, a.d. 565 — 578. Several authors are of opinion that this Cross was the gift of the elder, who gave 
 many offerings to the Vatican ; but strong reasons favour the opinion, that it was the younger of the two. 
 
 Chapter iv. — It was about the end of the fourth century, when Christians began to adorn with jewels 
 and various devices the Cross of the Lord. One of the earliest ornaments used was the Crown, an 
 emblem of the reward of the saints : others were the Lamb, the Symbols of the Evangelists, and after- 
 wards half-figures, busts {irpoTOfiai) of the Evangelists themselves. These were placed in compart- 
 ments : and were thus introduced in needlework, or -painted on Vestments. These compartments are, in 
 fact, round shields (scuta), with sacred devices on them. Other instances occur, in which the donors 
 are represented on crosses in effigy, as well as by inscriptions. In the present instance, the hands 
 uplifted in prayer, both of Justin and his Queen are worthy of notice. This attitude is still preserved by 
 the priest, in the Mass. The form of the crown and dress also is proper to the period. In both the 
 figures of our Saviour, the beard is to be noticed. The nimbus, lumen, or /mriviaKov, contains the cross 
 in its circle. Yet this crown is seldom found in the oldest monuments. In the left hand of the upper 
 one is the volume of the New Testament. The same is in the right hand of the other, with a cross 
 in the left. 
 
 Chapter v. — We find our Lord represented on ancient monuments, not only in the form of that 
 Humanity, which He has assumed, under the Gospel, but also in the form of the Legal Lamb, the 
 symbol of suffering innocence : and this both in the Latin and Greek Church. In the Latin Church 
 the Cross was often painted red, to denote the precious Blood of our Lord. The Trullan Synod, 
 after peace was established for the Church, recommended the adoption of the more open expression 
 of our Saviour's human form on crosses, in preference to the legal type of the Lamb, (v. Labbeus 
 Concil. torn. vii. Concil. Quinisext. can. 82.) After this we have a record of crucifixes, presented by 
 Leo III. to the Vatican and Ostian Basilicas ; but none of these early examples remain. The public 
 use of the Crucifix appears to have grown up by degrees in the Church. At first the plain Cross, then 
 the Lamb at the foot of the Cross, or in the middle, then both the Lamb and the half-figure (Trporofirj) 
 of our Saviour on the Cross, as in the instance before us, or the bust alone on the top of the Cross, 
 or in the middle, as in an enamelled Cross at Ravenna (given in the frontispiece of the work) : 
 later, we have the entire figure of our Saviour vested in a tunicle and pallium, placed on the Cross, 
 but not suspended with nails, but with the hands raised to Heaven, as in prayer : and at length about 
 the seventh century, the Saviour is represented, nailed with four nails to the Cross : in the earliest 
 examples by means of engraving, on crosses of gold, silver, and brass ; afterwards by painting on 
 Crosses of wood, and at length by embossed work, more durable than any of the rest, and which is used 
 at present. 
 
 Although our Saviour, as we believe, hung upon the Cross naiied, yet out of reverence he was always 
 represented in the crucifix as veiled from the navel to the knees. We may observe also, in addition to 
 the four nails, and the support under the feet, that our Saviour was never represented as dead, or with 
 the eyes closed, but as living, and speaking, and with the eyes open : the head sometimes covered with 
 a crown, and at a later period, with a crown of thorns, as if already dead on the Cross. 
 
105 
 
 Chap, vi.- — In the centre of the Vatican Cross is a considerable portion of the True Cross, surrounded 
 with a crown of jewels. This was a very ancient device, to place crowns round crosses, which crowns 
 were of gold, or silver, or jewels ; or of laurel or other leaves. Hence may probably have come the 
 custom of representing crosses in circular compartments, on the walls of consecrated edifices, &c. 
 
 The portion of the True Cross contained in this Reliquary, must have come from that larger part of the 
 Cross which Queen Helena left at Jerusalem, from which some portions came to Rome before the time of 
 Justin the younger, and some others since his time. The present fragment is a thin lamina, and of a 
 dark chesnut colour. It is certain, from ancient monuments, that the pai*ticles of the True Cross distri- 
 buted among the faithful in early times, were generally very ?mall. 
 
 Chap. vii. — This precious Relique of the Cross is exposed for the veneration of the faithful on two days 
 in each year, viz. Good Friday, and Easter Monday. It appears the custom was introduced at Jerusalem 
 from the first finding of the Cross, of presenting it to be adored by the people every Good Friday. 
 Yet by the time of St. Sophronius, Patriarch, who died, after the taking of Jerusalem, A.D. 639, the 
 rite of the Salutation of the Cross on Good Friday was lost in that church. In the church of Con- 
 stantinople it continued till St. Germanus's time, the beginning of the eighth century, after which 
 we find no mention of it : though it appears to have been transferred to the third Sunday in Lent. 
 A letter of St. Ambrose shews that the custom prevailed in the Roman Church in his day : which 
 is confirmed by the Sacramentary of St. Gelasius, and the Antiphonary of St. Gregory. The 
 ceremony, as it still continues in churches which follow the Roman rite, is as follows : — The Crucifix 
 covered with a veil is thrice elevated by the Bishop, or principal of the clergy, who ascends one 
 step of the altar at each time of shewing it, and presently after it is venerated on both knees by 
 all, both ecclesiastics and seculars, who kiss it with most humble devotion, after the anthem has been 
 sung : 
 
 V. Ecce Lignum Crucis, in quo Salus mundi pependit, R. Veniteadoremus. 
 
 Which most ancient prelude shews that originally a cross was used without a figure ; and that, where it 
 could be had, the very Wood of the True Cross was then solemnly offered for the veneration of the 
 assembled faithful." — Explicit Liber de Cruce Vatican d. 
 
 From the Notes. — Note (a) p. 6. It is certain that Crosses were anciently placed upon altars 
 (Sozomen Hist. Eccl. 1. 3. c. 3.). Yetatfirst, as in the fourth and following centuries, they were placed 
 high above the altar, and called Cruces pendentes, or pendulae. Their chief place was the top of the 
 ciborium, and in the golden or silver corona or regnum over altars, which was a covered canopy 
 (panoclystum). From these canopies hung the Cross. Afterwards perticas were added to altars ; and 
 candles and the Cross were placed on these, about the tenth century. — Note (c)p. 8. The square and 
 oblong form of the Cross belong indiscriminately to both the Greek and the Latin Church, during the 
 early period. But the double and triple Crosses, called ' Patriarchal' and c Jerusalem' Crosses, came 
 originally from the Greek Church. — Note (b) p. 29. Before the tombs of martyrs, crowns of the precious 
 metals used to be suspended, (v. Menolog. Basilii ad Jan. vi. and xxii.) and even before the tombs of 
 Confessors. Mention is made of crowns placed before the tomb of St. Martin, and before the altar of 
 St. Benedict. — Note (a) p. 35. All the books of the ancients are supposed to have been of the quarto 
 shape. — Note (c) p. 37. There is a beautiful marble monument taken from the cemetery of St. Priscilla, 
 on which among other emblems, the Lamb is represented on a mountain, with a nimbus surmounted by 
 a small Cross, and from the mountain beneath the Lamb, four rivers are seen to spring, — p. 37. In 
 Ancient monuments, the Lamb (Agnus Dei) is represented as performing various miracles, as raising 
 Lazarus from the dead, multiplying the loaves in the wilderness, as being baptized in Jordan, crossing 
 the Red Sea, as lying slain upon an altar, (as in a silver paten at Forocornelia, with an inscription on 
 
 P 
 
106 
 
 6 1 VY 
 
 it) or as standing at the foot of the Cross, shedding blood from its heart into a chalice, which overflows 
 into a neighbouring river, or lastly, as pouring forth blood from its feet, flowing in four streams, over a 
 
 mountain, but always carrying the cross, — sometimes with aj£ 
 marked in the forehead. — Note (b) p. 39. The early Christians appear 
 to have painted the cross on their foreheads sometimes. — Note (c) p. 43. 
 Four nails at first were used in representing the crucifixion. Yet 
 some examples are adduced of three : as St. Anselm affirms to have 
 been the fact. — Note (a) p. 45. The Greeks at first represented 
 the Blessed Virgin Mary as carrying the Child Jesus in her bosom, 
 afterwards both Greeks and Latins agreed in picturing the Child 
 in her arms, (See examples in Du Cange, &c.) After the heresy of 
 Nestorius and the Council of Ephesus, the custom of figuring the 
 Virgin with her Divine Son became more common. 
 
 8. SjHl'C CrojSjSCg. — Every spire was surmounted by an 
 ornamental Cross, surmounted by a cock. (See Cock.) These 
 Crosses were composed of bars of metal, put together so as to offer 
 the least obstruction to the wind, and at the same time, to produce 
 a rich effect. At the foot of the cross is a globe, to represent the 
 power of the Cross over the world. The present cross on the spire 
 of Amiens Cathedral, was erected in the year 1529, and is an exquisite 
 example of lightness and richness combined. Many others of the 
 same description are still remaining on the spires of France, Flanders, 
 and Germany. 
 
 9. CrOSfjSCg penlTAnt OfaCt* ^ItarjS,— Both Georgius and 
 Stephen Borgia mention the custom which prevailed during the early 
 ages, of suspending crosses of the precious metals, under crowns in the 
 centre of the Ciboria, which were erected over the altars. 
 
 Crofom For patterns of crowns, see Plate xx. 
 
 Crowns have been variously applied in ecclesiastical ornament : — suspended as marks of honour over 
 images ;* placed on the head of images ; suspended from roofs to hold lights, (See Corona) ; depicted 
 over crosses or monograms of the Holy Name, or of our Blessed Lady, (See Plates XLVII. LV. LVI. 
 LVIII, LXIII.) ; suspended over altars ;t and placed on reliquaries, t 
 
 The practice of offering precious crowns, to be fixed on images of our Lord and his Blessed Mother, 
 is very ancient, and many of these were of most elaborate design. A crown, set with pearls and jewels, 
 offered by Mary Queen of Scotland, is still preserved in the Treasury of Aix-la-Chapelle. Although, 
 from the costly nature of their materials, few of these crowns have escaped the cupidity of sacrilegious 
 times, we can still form a very perfect idea of their exquisite beauty by those which are represented in 
 the works of the Christian painters of the middle ages. The Gallery at Antwerp contains many examples, 
 
 41 • ncp 
 
 SPIR.E CROSS. 
 
 * See Ciampini's Vetera Monumenta, chap, xii.tom. 2. Also, the abstract of Stephen Borgia's work, DeCruce Vati- 
 cana, printed under the word Cross. 
 
 + Anastasius, in Leo III., mentions that Charlemagne gave to the Church of S. Peter, in Rome, a crown of gold 
 enriched with pearls, to hang over the altar, which weighed fifty-five pounds. Also, that Leo III. had a crown of 
 gold, set with pearls, made for the chapel of S. Petronilla, in the church of S. Andrew, which weighed two pounds three 
 ounces. 
 
 I In Plate 42, of the History of the Monastery of S. Udalric, at Augsbourg, are two elaborate crowns, placed on 
 cases of Reliques : several skulls also, in the same work, are surmounted with crowns. 
 
Crmier.— Curtains. 
 
 107 
 
 among which we may particularly mention a small picture by Van Eyck, representing our Blessed Lady 
 standing with our Lord in a church, and a canon kneeling before her. In the great picture of the 
 Adoration of the Lamb, by the same master, at Ghent, the crown on the head of our Lady is most 
 beautifully designed, being a circlet of pearls and jewels, surmounted by lilies and points, terminating 
 in radiant stars. This is the appropriate decoration for crowns intended for images or monograms 
 of the Blessed Virgin ; while the crowns for those of our Lord should have crosses round the 
 circlet, surmounted by arches and the Orb. Singularly enough, the present Royal crown of England, 
 although hideous inform, (not being very dissimilar to a street lamp top,) has still preserved the emblems 
 of our Lord, and his Blessed Mother in the crosses and fleurs-de-lis, which encircle it. 
 
 The Crown of Baldwin king of Jerusalem, is preserved in the sacristy of the Cathedral at Namur. 
 It consists of a circlet of gold richly set with jewels and surmounted by trefoils ; two of which contain 
 
 thorns from our Saviour's crown. It is enclosed in a case of copper, gilt 
 and enamelled, nearly coeval in antiquity with the crown itself. 
 
 Crowns formerly belonging to St. George's Chapel, Windsor. — Item, Tres 
 Coronae argenteae deauratae, cvim diversis lapidibus preciosis ornatae, viz. una 
 pro beata Maria, et alia pro Filio, et tertio pro Sancto Edwardo; viz. in una 
 Corona beatae Mariae deficiunt quinque lapides : Et in Corona Filii deficit 
 unus flos delicatus: Et in S. Edwardi deficiunt sex lapides, et quatuor 
 knappes in bordura ; et duo knappes majores argenti deaurati super flores 
 delicatos." 
 
 Molani Historia Imaginum. — " Many ancient crucifixes have not a crown 
 of thorns on the head. Some have a regal crow n. There was a large and 
 beautiful one at St. Gertrude's church, Nivelle, restored in 1438 ; another, 
 of cedar, at Siroli near Ancona, has a kingly crown, and is thought 
 by the people there to be the work of St. Luke. Another at Lucca, 
 which is veiled, is thus described by Curtius de Clavis Dom. : e The crown 
 is of pure gold, worthy of so great a king. Above it are the Greek letters 
 A and Q. The nails also are given here : they are of silver covered with gold 
 plates, and Avith the cross marked upon them.' By such an emblem it was 
 intended to express that our Saviour is not in a metaphorical sense a king, 
 but a true king — ' King of kings, and Lord of lords,' £ of whose Kingdom 
 there is no end.' " 
 
 CrOjUT* A Cross on a staff, borne by an Archbishop. 
 
 This has been often confounded by modern writers with the Pastoral 
 Staff of a Bishop, which is quite dissimilar, being made in the form of a 
 crook. The early Croziers were exceedingly simple, terminated only by a 
 floriated cross. In Vol. I. of Shaw's Dresses and Decorations, an Archbishop 
 is figured with a crozier of simple but beautiful design. The Crozier 
 attached to the effigy of Archbishop Chichely is exceedingly rich and 
 beautiful in design. (See Staves.) 
 
 Curtains: ftr ftltars:. (See Plate lxx. and also Coster.) 
 
 The ancient altars were entirely hung round with curtains, suspended 
 from metal rods fastened to the pillars which carried the Ciborium (see Cmo- 
 rium). These curtains were closely drawn in front from the Consecration 
 till the Elevation, when they were opened ; and to this the well known 
 passage of St. John Chrysostom refers. " At the time, when you see tht 
 
 CROZIER 
 
108 
 
 Curtains; for altars* 
 
 Veils and Curtains drawn back before the Altar, imagine to yourselves that you see the Heavens 
 opened, and the Angels descending on the earth." — St. John Chrysost. Horn. 3, on the Ephesians. 
 
 In the Lives of Popes Sergius I., Gregory III., Zachary, Adrian L, Leo III., Pascal I., Gregory IV., 
 Sergius II., Leo IV., and Nicholas I., it is related that these Pontiffs caused curtains of precious stuffs 
 to be made for the churches in Rome to hang round the altars, " in circuitu altaris tetravela octo, per 
 altaris circuitum. Ciborium ex argento et vela serica circumquaque pendentia : vela de rhodino quatuor 
 quae Sacrum altare circumdant." 
 
 In the life of Stephen IV., by Willim, he relates that this Pope gave a curtain of linen, and three 
 curtains of silk, to hang round the altar of St. Petei-'s. " Contulit in Basilica Apostolorum cortinam 
 linteam unam ; velothyra serica tria, in circuitu altaris."* 
 
 After the ciboria fell into disuse, the altar curtains were reduced to one at the back, called a Dosel, 
 and a pair to hang at the sides. These were suspended either by rods projecting from the walls or reredos, 
 or resting on detached pillars, generally made of brass, and erected by the sides of the altar: these pillars 
 which originated in the four supports of the Ciborium, no longer serving for their legitimate use, often 
 terminated with images of angels in brass, holding tapers which were lighted on solemn festivals.* 
 Many of the great French churches restored these pillars and curtains in the seventeenth century, as 
 will be seen by the following extracts from De Moleon. 
 
 S. Seine Dijon. — u Aux deux cotez de l'Autel il y a quatre colonnes de cuivre, et quatre Anges de 
 cuivre avec des chandeliers et des cierges et des grands rideaux." 
 
 Notre Dame de Rouen. — See Altar, p. 19. 
 
 Abbaye de S. Ouen a Rouen. — " Le grand autel est assez simple, separe de la muraille avec deux 
 rideaux aux cotez, quatre piliers et quatre Anges dessus comme a celui de L'Eglise Cathedrale." 
 
 S. Etienne des Tonneliers, Rouen. — " II y a aux cotez du grand autel deux grands rideaux comme a. la 
 Cathedrale." 
 
 In a series of questions and answers on the Liturgy of the Eastern Church, between the Sieur de 
 Moleon and M. Philippe Gualyn, is the following passage relative to altar-curtains : — " Q,. Are there 
 any curtains on the sides of the altars ? — A. Yes ; two on the sides, and a third before the altar, as in 
 the French Cathedral Churches during Lent,% and a fourth behind the altar; the curtain before the 
 altar is only drawn back during the gospel ; it is then closed till after the communion of the priest, when 
 the people are called to communicate." 
 
 Before Louis XIV. conceived the pious but ill-judged design of erecting a new high altar in Notre 
 Dame at Paris, there were four pillars of brass, surmounted by angels of the same metal, to support the 
 curtains. From the extract of the Proces Verbal, made on the demolition of the antient altar, given in 
 the accompanying note,§ it will be seen that it was not only worthy by its decoration of the majestic edifice, 
 
 * Father Thiers, Sur Les Autels, 8G, 87. Borgia observes, that the ciborium over the high altar in the cathedral 
 of Veletri is now open, but was formerly closed round with curtains and veils, the marble columns having had iron rods 
 with rings to them, from which veils depended, in order that the Holy Sacrifice might not be exposed to the gaze of 
 every one : in the same way as formerly the sacrarium or tribunal of churches was screened with curtains, which hung 
 at the entrance of the presbytery. Anastasius often mentions these curtains of the canopy, in his Liber Pontificalis : 
 they were generally purple, adorned with gold and embroidery, of various subjects, taken from Scripture or lives of the 
 Saints. They were called Tetravela by Anastasius, as inclosing a square. Thus he relates of Pope Sergius T., that he 
 gave for the altar in the Church of the Vatican, eight tetravela or curtains, four red and four white. 
 
 f From an inventory of the ornaments formerly belonging to the cathedral church of Aberdeen, taken in 1525. 
 " Colwmruc JEnece. Quatuor columnae, super quas effigies 4 angelorum portantium insignia Christi ; sunt enim super 
 easdem coluinnas 10 candelabra aenea." J See Veil. 
 
 ^ Le Mercredi vingt-neuf Avril, mil six cens quatre-vingt dix-neuf, on cominenca a travailler a. la demolition de 
 l'Autel. On ota d'abord les quatre pilliers de cuivre qui etoient aux quatre coins de l'Autel, sur le haut de chacun des- 
 quels il y avoit un Ange de pareil metail, ensuite on defit le devant du Contretable de l'Autel qui etoit ferine a deux 
 serrurcs et ui ota le bois qui etoit autour du meme Autel. Le Contretable qui avoit quatre pouces ou environ de pro- 
 
Curtains: for stars'* 
 
 109 
 
 in which it had stood for ages, but entitled to the greatest veneration for the many sacred Reliques which it 
 contained. In its demolition, and the substitution of a wretched Pagan design, by way of an improve- 
 ment, we may recognize the existence, even at that period, of the same vile and degenerate spirit which 
 so increased within a comparatively brief space of time, as to exalt, on tlie same spot, a common prostitute, 
 as a goddess of Reason, of which some of the distorted and posturing angels of the new altar were not a 
 very inadequate type. 
 
 The old English altars were all provided with curtains. 
 
 St. Mary Hill, London. — " In the appareyle for the hygh Aulter. Item, the curtens of russet 
 sarsynett, frenged with sylke. Item, two curteynes of white sylke to the same ; two blew curteyns 
 
 fondeur, etoit plein de grands et de petis trous faits expres, qui marquoient qu'on y mettoit autrefois quelques plaques 
 ou embellissemens de metail qu'on y attachoit : et il y avoit des chiffres depuis un jusqu' a, vingt-huit. Le grand Autel 
 etoit compose de cinq pierres de taille, a l'une desquelles, qui comprenoit tout le devant, il y avoit treize petits piliers 
 joints par des ceintres a la gothique, et de deux autres pierres aux deux cotes qui avoient de petits pilliers semblables. 
 La pierre de derriere avoit une ouverture d'environ dix-huit pouces de haut sur douze de large, avec une petite porte 
 de fer en treilles, qui etoit maconnee. On a trouve sous le grand Autel, fait en forme de tombeau, une pierre cube 
 d'environ un pied ; et dans la pierre de dessus au milieu sur le devant un petit tombeau de plomb avec son couvercle 
 de meme ; long d'environ quatre pouces sur deux de large, dans lequel etoient cinq ou sex petits ossemens, 
 quelque morceaux de linge et d'etoffe de soie quelques petits ornemens et un autre petit morceau d'etoffe de 
 soie a, l'antique broche de petites fleurs d'or; avec une petite boete de bois, grosse comme le bout du doigt, dans 
 laquelle on n'a trouve que des cendres, et rien qui put designer de quel Saint elles etoient. Tout le cuivre qui servoit 
 a porter la Chasse de St. Marcel avec ses quatre colomnes, et celui de la suspension, a ete brise et mis en pieces, 
 n'ayant pu etre conserve a cause du fer et du plomb qui etoient dedans. La Chasse de St. Marcel de vermeil 
 dore, faite en forme d'Eglise, avec deux bas cotes couverts de fleurs de lis ciselees d'applique dans des compartimens a 
 lozange dont les enfoncement sont de lames d'or, enrichie tout atour de plusieurs figures d'or representant la vie du 
 Saint, et de vitrages d'or emaille, avec un grand nombre de toutes fortes de pierres precieuses ; etoit placee derriere le 
 grand Autel sur un plac de cuivre, soutenue de quatre colomnes aussi de cuivre d'environ quinze pieds de haut. lo La 
 Chasse de St. Gendon Eveque. 2° La Chasse de St. Severin de Paris. 3" Une Chasse dans laquelle se sont trouvees 
 des Reliques de plusieurs Saints. Dans la meme Chasse s'est encore trouvee une boete d'ivoire, ou sont trois fioles de 
 sang de martyrs, un morceau de cilice et des linges ouvres. 4<> La Chasse de St. Germain Eveque de Paris ; dans 
 laquelle s'est trouvee sa soutane de laine de couleur de muse, a laquelle il manque une manche entiere ; sur la doublure 
 du bord d'en bas de la meme soutane sa sont trouves ecrit sur un petit parchemin ces mots en lettres gothiques, C'est la 
 robe Saint Germain. Cette soutane est de fil mele de laine, de la grandeur et de la figure d'une aube moyenne platte. 
 Une manche en a ete coupee. II y a de petits lizerets de fil blanc de haut en bas de chaque cote, et un lizeret aussi blanc 
 simple autour du poignet. 5° La Chasse de St. Justin martyr, represents en devant en bas-relief; portant sa tete. 6° 
 Une Chasse dans laquelle se sont trouves plusieurs ossemens des compagnes de sainte Ursule. 7" Une Chasse marquee 
 d'une Croix de Lorraine en relief, dans laquelle s'est trouve un porces verbal, faisant mention de toutes les Reliques 
 ci-devant enoncees, du corps de St. Lucian, et d'autres Reliques de plusieurs Saints exprimees dans le meme proces 
 verbal. Asses proche du Crucifix etoit une figure de Pierre en bas-relief, representant Pierre de Fayel a genoux, le 
 visage tourne vers le Crucifix avec cette Inscription au bas. Maistrc Pierre de Fayel Chanoine de Paris a donne deux 
 cens livres pour ayder a f aire ces histoires pour lesnouvelles voirrieres qui sont sur le Ciair de ceans. Ensuite en tournant 
 ducote du Revestiaire etoit une figure de pierre en bas-relief, representant le sainte Vierge portant le petit Jesus qui 
 tenoit ensa main une colombe et devant elle etoit en relief a genoux la figure de Guillaume de Meleun Archeveque de 
 Sens et auparavant Chanoine de l'Eglise de Paris, precede de son Portecroix aussi a genoux, aiant une soutane rouge, 
 et par dessus un surplis long a. inanches fermees ; tous lesquels bas-reliefs etoient sur une seule pierre de taille d'environ 
 quatre pieds de hautsur trois de large, placee dans ceuvrea environ quatre pieds de terre sous la representation du martyre 
 de saint Etienne, qui etoit en personnages de pierre isoles : et sous les bas-reliefs sur la pierre etoit gravee cette 
 inscription. Noble homme Guillaume de Meleun Archeveque de Sens, a fait J'aire cette histoire cntre ces deux piliers, en 
 Vhonneur de Dieu, et de nwnseigneur Saint Estienne. Et au coin d'enbas de cette pierre, etoit un grand ecussion d'uzur, d la 
 croix d 'argent cantonnee de quatre crossillons d'or adosses, qui est de Sens ; ecartelee de Meleun ancien, qui est de gucules a 
 9 bezans d'or, 3. 3. 3. au chef cousu de sable, a la croix d'argent latine, broehant sur le tout. Cette pierre etoit fermee par 
 dessus de deux battans de porte de fer a petits quarres, fermant a clef. II y avoit autour du Chueur les histoires de 
 1'Evangile et des Actes des Apotres en statues de pierre isolees avec des Inscription gravees au bas ; et au dessous etoient 
 en petits bas-reliefs les histoires de laGenese, avec pareilles Inscription gravees au bas. — Sauval, Hidoire et Recherches 
 des Antiquites de La Ville de Paris, vol. I. 373, 374 ; 37<3, 370. 
 
110 
 
 Curtamss*— Cusfotoit& 
 
 frenged ; two curteynes of grene sarsynett, frenged with sylke, blue, grene, yellow, and rede ; two 
 curteynes of red sarsynett, and whyght paynted, and frenged with sylke." — Nichols's Illustrations of 
 Ancient Times. 
 
 From the Inventory of the ornaments formerly belonging to All Souls' College, Oxford. — "2 
 curteyns, de blodio serico ; 2 curteyns, cum armis regiis ; 6 curteyns de tartarano albo ; 2 longae 
 curtinae albas cum floribus aureis ; 2 curtinae rubeae." — Collectanea Curiosa, vol. ii. 264. 
 
 For the High Altar, York Minster. — u Imprimis, Three pieces of white baudekin, wrought with gold 
 flowers wove in it, with two curtains. Item, three pieces of red baudekin, with flowers wove in them, 
 and two sarcenet curtains. Item, three pieces of blue cloth of tissue, with arms, and two sarcenet 
 curtains. Item, three pieces of pale tissue, with two curtains of pale red sarcenet. Item, two pieces of 
 white velvet, one of them with a crucifix, the other with the Salutation of the Blessed Virgin, with two 
 sarcenet curtains. Item, two pieces of red velvet, with crowns and stars, and two curtains. Item, a 
 piece of blue sarcenet, with the images of the Crucifix, Mary and John, stained, with two curtains. 
 Item, two pieces of white linen cloth, with a red cross for Lent, and two curtains. 
 
 Durham Abbey. — " At the end of the high altar was a wand of iron fastened in the wall, whereon 
 hung curtains or hangings of white silk daily." 
 
 Parish Church of Faversham. — " Item, two curteyns of tawny changeable sarsanet, frynged with 
 white and grene sylke. Item, two curteyns of purpill sarsanet, frenged with sylke, white, purple, and 
 yellow, at the nether ends. Item, two olde curteyns garded with tawney sarsanet, with panes of white linen 
 cloth, with grete roses therein steyned." — Jacobs' History of Faversham. 
 
 For a further account of Curtains, — see Veil and Cloths. 
 
 CU£»ftton£», were used for kneeling upon, and also to support the missal, when 
 used at the altar. In the former case, they were termed Pulvinaria, or 
 Quissini ; and in the latter, Auricularia, from the tassels, which hung at 
 the corners. 
 
 From the Inventory of the ornaments formerly belonging to the Collegiate Chapel of St. George, 
 Windsor. — Monasticon Anglicanum. — " Quissini. Item, duo Quissini de blodio velvetto, broidato cum 
 Cartis et armis S. Georgii in medio dispositis. Item, duo Quissini rubei, de Camoca. Item, duo 
 Quissini virides de panno serico. Item, duo Quissini glauci coloris. Item, duo Quissini de panno serico, 
 valde debiles, adaurati cum GrifFonibus habentibus alas nigras. Item, unus Quissinus de velvetto rubeo. 
 
 a Auricularia. — Item, unum bonum Auriculare de blodio sameto, broidato cum duabus Aquilis aureis 
 dispositis in medio ejusdem ; et diversae armae diversorum Dominorum, ex utraque parte earundem dispo- 
 sitae, et broidatae, cum tali scriptura, J/iesu est timor mens. Item, unum Auriculare, de panno adaurato, 
 cum imaginibus operatis in Lozingis. Item, duo Auricularia pro Missalibus in Altari supportandis." 
 
 S. Paul's Cathedral, London. — " Pulvinar S. Edithae de panno de Ciglatoun. Item, duo Pulvinaria 
 de nigro sendato breudata, cum quinque scutis, vineis et rosis, de dono Hogeri de la Leghe. Item, unum 
 pulvinar de nigro sendato, cum ymagine majestatis breudata ex parte una, et ymagine beatae Virginis ex 
 parte altera, de dono Johannis Episcopi. Item, unum pulvinar de nigro sendato, cum flosculis et literis 
 breudatis, de dono ejusdem. Item, pulvinar de rubeo cendato, cum scutis, avibus, flosculis, et vineis 
 breudatis, de dono ejusdem. Item, pulvinar magnum de rubeo sameto, quod fuit beati Hugonis. Item, 
 pulvinar magnum de panno varii coloris et operis, quod fuit Episcopi Rogeri. Item, unum pulvinar breu 
 datum, ex parte una avibus, etpiscibus, et bestiis, opere pectineo, et ex aliaparte flosculis, aurei argenteique 
 coloris. Item, unum pulvinar consutum de serico scutelato, de dono Willielmi de Monteforti, Decani. 
 Item, duo pulvinaria antiqua breudata. Item, septem alia consuta de serico, et duo de panno inciso, 
 et unum opertum de Ciglatoun, et unum opertum de albo filo, nodato, de quibus omnibus fiant Pulvi- 
 naria convenientia ad cathedras ministrantium in Choro ; et de quinque istorum facta fuerunt duo 
 pulvinaria magna ad cathedras." 
 
20at&— Balmattr* 
 
 ill 
 
 Inventory of York Minster. — " Pulvinaria in Vestibulo cum aliis. Item, longum pulvinarium de 
 Mod damask. Item, unum longum pulvinarium de blod serico cum ramis. Item, sex pulvinaria 
 de viridi satteyne figuratis cum les troy-foiles. Item, tria pulvinaria de Bawdekyno serico. Item, 
 quatuor veteres pulvinariae de blod serico ex uno latere et viridi de welvete ex alio. Item, unum 
 pulvinarium de rubeo le Worsted longum et aliud minus. Item, unum pulvinarium de le Bawdkin. 
 Item, quatuor pulvinaria de scarlet." — Dugdales Monasticon. 
 
 Hospital of the Holy Trinity, Beverley. — " Item, auriculam panni cerei virid." — Poulson's Beverlac. 
 
 A cushion of velvet, embroidered with arms of St. Cuthbert, to lay the Cross upon for the Adoration 
 on Good Friday, is noticed in the Antiquities of Durham. It is proper to remark, that in cushions intended 
 for kneeling or sitting upon, and especially the latter, all emblems of a peculiarly sacred character, 
 such as the monogram of the Holy Name, the Agnus Dei, &c. should be avoided. A diaper of foliage 
 work is the most suitable for the purpose. 
 
 IDai'fil* A covering or canopy. 
 
 When the ciboria fell into disuse, the altars were protected by a canopy of cloth of gold, or silk, 
 suspended over it. Bocquillot mentions that the image of a dove was frequently embroidered or painted 
 under these. These canopies were common in England. 
 
 " John Almyngham, by will, October 7, 1500, gave twenty pounds to the Church of Walberswic ; ten 
 pounds for a payr of orgonys, and with the residue of the said sume, I will a canope over the high awter, 
 welle done with oure Lady and four aungelys and the Holy Ghost, goying upp and down with a cheyne."* 
 — Churchwarden's Accompts of Walberswich. 
 
 " For Freshynge the canopy at the high awter, Is. 8c?.— S. Mary Hill, London." — .Nichols's Records 
 of Ancient Times, p. 187- 
 
 These canopies were sometimes composed of wood, painted and gilt (See Plate LXX.) as in the 
 Lady Chapel at Durham ; but owing to the universal destruction of altars in the reign of Edward VI., 
 we have very few existing examples. Many altars in France were covered with a dais or canopy, when 
 De Moleon wrote his Voyage Liturgique ; for example, at St. Maurice D'Angers ; St. Pierre D' Angers ; 
 St. Gatien de Tours ; and Notre Dame de Rouen. 
 
 The raised step at the upper end of the great dining halls has been termed Dais from being the place 
 of dignity over which a canopy of state or dais was suspended. The origin of the word Dais is exceed- 
 ingly obscure ; according to some it is derived from an old French word A is, table, being originally 
 written De ais, D'ais, meaning canopy of the table. (See Du Cange, Gloss.) 
 
 BalinattC* A long robe with sleeves, partly open at the sides, which for many 
 centuries has been the proper vestment of Deacons. 
 
 The Dalmatic is, in its signification, a robe of dignity : and therefore appropriated to the Diaconate, 
 as being the first hierarchical Order. The great roods in some churches were vested in an albe, stole, 
 and dalmatic : the latter vestment denoting the kingly power of Christ. The dalmatic and tunicle, 
 being vestments of joy, were considered inappropriate for penitential times, as Advent and Lent, when 
 the casula plicata is used instead, in the Mass.f The dalmatic is distinguished from the tunicle, by the 
 greater length and amplitude of its proportions. (See Plates III. VI. &c.) 
 
 Georgius. — ' It derives its name from Dalmatia, where it was originally used. It was usually composed 
 of white silk, with purple stripes, and the sleeves were larger and longer than those of the tunic. The 
 left sleeve being ornamented with fringe or tassels, and the right made plain for the sake of convenience. 
 
 Alcuin says the use of the dalmatic was introduced by St. Silvester : but though the more general use 
 
 * This was no doubt intended for the reservation of the Blessed Sacrament. — See Dove. 
 t Except on the Sundays called Gaudcte, and Laetare ; when a dalmatic and tunicle of rose-colour is used in Rome 
 and elsewhere. 
 
112 
 
 Dalmatir* 
 
 of them may have been established by that Pope, we read long before, in the martyrdom of St. Cyprian, 
 that when he had put off from him his dalmatic, and given it to his Deacons, he stood in his linen albe. 
 The dalmatic, like the colobium, was a long vest reaching to the ankles, and the difference was in the 
 sleeves : the dalmatic had full sleeves, the tunicle (which was also shorter) close sleeves, and the 
 colobium, either no sleeves, or short, and reaching only to the elbow.' 
 
 Alcuin says this vestment is in the form of the Cross Besides the above story of St. Cyprian, there 
 are other proofs that the dalmatic was worn by Bishops. It was, however, very anciently the custom for 
 the Holy See to confer this use of the dalmatic as a privilege on Bishops ; who also sometimes sought this 
 permission, and sometimes are said to have assumed it for themselves, and granted it to their deacons. 
 St. Cuthbert, Bishop of Lindisfarne, was buried a. d. 68*J , cum sacerdotalibus indumentis, in his episcopal 
 habits ; and when his body was disinterred, a.d. 1004, the acts of his Translation record, that among 
 his other vestments was found his dalmatic of purple. Yet even later than St. Cuthbert's time, 
 instances occur of Popes granting the use of the dalmatic to the clergy of different places. It 
 appears that so long as the old Gallican Liturgy was kept up, that is to the time of Hadrian I., when 
 Charlemagne introduced the Roman rite in lieu of it, the French Deacons did not wear dalmatics, but 
 were vested in albe and stole only. They then came into general use ; the Emperor himself presenting 
 many dalmatics to different churches. Shortly after many priests assumed the use of the dalmatic, 
 under the chasuble, after the manner of bishops ; but this practice was not sanctioned by authority. 
 Walfridus Strabon, a learned Benedictine of the ninth century, has these words in his work, De Officiis 
 Divinis: — "Et nonnulli presbyterorum sibi licere existimant, ut sub casula dalmatica vestiantur." 
 Traces of this custom, however, were remaining in France till the Revolution in the last century. De 
 Moleon, in describing the Church of St. Agnan of Orleans, mentions that on Holy Saturday, the celebrant 
 was vested in a white dalmatic and chasuble. 
 
 According to Georgius, the dalmatic was, at one time, proper to the deacons of Rome, and conceded 
 gradually to deacons in other parts of the Church. Later the privilege of wearing the tunic and dalmatic 
 under the chasuble was granted to Abbots. (See Mitred Abbot.) The use of the dalmatic was also 
 conceded to kings and emperors, both at their coronation and when solemnly assisting at the Holy 
 Sacrifice. Hartmann Maurus, (Lib. de Coronat. Car. V. ap. Du Cange), reckons among the royal 
 insignia, a white albe, all of silk, adorned with precious pearls and jewels ; a golden stole also adorned 
 with pearls ; a cope of violet colour, all of silk, interwoven with eagles of gold ; and an amice of red, in 
 which was woven in like manner a large golden eagle. The dalmatic still forms a portion of the vest- 
 ments used by the English Sovereigns at their coronation. 
 
 Sandford, in his ' History of the Coronation of King James the Second,' has figured the Royal 
 vestments. Among them are "a colobium, a surcoat or tunic of crimson sattin, a supertunica or Dalmatic 
 of gold tissue, a pall* or cope of cloth of gold." There is now no distinction between the Dalmatic of the 
 deacon, and the Tunic of the sub-deacon,* although as has been remarked above, the latter was smaller, 
 and had shorter sleeves than the former. Bocquillot says on the subject, that since the ancient place of 
 the sub-deacons during the Sacrifice, has been changed, and the deacon and sub-deacon stand on each 
 side of the celebrant, the original distinction in the vestments has been abolished for the sake of symmetry; 
 at least in churches where modern vestments are used ; for he adds, there are many, nevertheless, 
 which retain the ancient custom in this respect. In the old English inventories no distinction is made ; 
 but the vestments for the deacon and sub-deacon are called tunacles. — Lincoln Cathedral. — " Item, a 
 chasuble, with two tunacles of blue tissew, having a precious orphrey of cloth of gold, with all their apparel. 
 Item, a chasuble of yellow silk, with suns and moons of gold, with other flowers of silk and gold : two 
 tunicles and three plain albes." — Dugdale's Monasticon. 
 
 * This is termed a Dalmatic by Sandford by mistake, 
 f The tunicle worn by a Bishop is even now less than his dalmatic. 
 
Balmattc* 
 
 113 
 
 The ancient dalmatics were long, loose, and provided with large sleeves. The present side flaps, which 
 have been introduced in place of the sleeves, have no warrant in antiquity, and their type can only be traced 
 to a rent or torn sleeve of a real dalmatic ; they have never been used at Rome, and are a meagre 
 modern substitute for the ancient dignified form ; moreover, when dalmatics of this shape are made of 
 stiff materials, they stick out in the most unnatural, inconvenient, and even ludricous manner. It is 
 proper also to notice the origin and use of the tassels that are suspended from the shoulders of 
 dalmatics. In order to afford a free passage for the head, in putting on the vestment, the sides were 
 made to open over the shoulders, to the extent of a few inches. It will be readily conceived that these 
 would have an unseemly appearance when the Dalmatic was adjusted ; silk or gold cords passed through 
 these slits were contrived to loop or lace them together, and to the ends of these cords tassels were added, 
 both for weight and ornament; but the original use and intention being now lost, they are merely attached 
 to the shoulders as a decoration.* Dalmatics and tunics are now used by the deacons and sub-deacons 
 at High Mass, and solemn Vespers ; when assisting in processions of Corpus Christi, &c. ; also at the 
 Blessing of the Holy Oils on Maundy Thursday. When the Cross is borne by a sub-deacon, he is 
 habited in a tunic. In some of the French churches the acolytes wear tunicles in the procession on 
 great feasts. For further account of the use of Dalmatics, see Deacon. 
 
 Tunics and Dalmatics, from the Inventory of old St. Paul's Cathedral. — " Item, Tunica et Dalmatica 
 de rubeo sameto cum stricto aurifrigio, cum borduris in posteriori parte, et floris cum capitibus Dra- 
 conum de auro. Item, Tunica et Dalmatica Indici coloris Henrici de Wengham, cum tribus aurifrigiis 
 et listo in scopulis ante et nigro, diversi operis. Item, Tunica et Dalmatica ejusdem Henrici, Indici 
 coloris ; Dalmatica virgulata rubeo et albo, et Tunica virgulata albo et nigro, cum bullonibus de marga- 
 ritis. Item, Tunica et Dalmatica de Indico baudekino veteres cum avibus deauratis in stricto aurifrigio 
 Gravesende Episcopi, lineatae cum rubeo sendato afforciato. Item, Tunica et Dalmatica de albo bau- 
 dekino, cum bordura ejusdem panni, de auro campo rubeo, et avibus de auro in Dalmatica ; et in 
 Tunica rubea bordura sine avibus." — Dugdale. 
 
 Catalani. — The Dalmatics worn by Bishops and Deacons, and Sub-deacons, are different. The ancient 
 Ordo Romanus names them both, and calls one the minor, the other the major Dalmatic. Hugo says 
 about the Episcopal Dalmatic, " The Tunic which has sleeves and does not reach to the heels as the albe, 
 but as far as the middle of the leg, shews that the soldier of Christ should be free, and ready for good 
 works." Durandus says, " In the Old Testament there were two Tunics, and now also Bishops Avear two, 
 meaning that they should have the knowledge of the two Testameuts, that they may know new and old 
 things from the treasure of the Lord, or that they may shew themselves both Priests and Deacons." 
 We can also see what the Episcopal Tunic means, from ancient forms of prayer. In the Illyric 
 Missal there was this prayer, " Indue me Domine vestimento salutis, et circumda me loricu fortitudinis" 
 and in the Pontificale Ecclesias Cameracensis, a Indue me Domine vestimento salutis, et Tunica justifies, 
 et indumento Icetitioe circumda me." In these passages Tunica means the Dalmatic. It appears, too, 
 from the acts of St. Cyprian, written by his deacon Pontius, that the Dalmatic was the dress of the 
 ancient Bishops, for he records that he stripped himself of his Dalmatic and gave it to his Deacons. It 
 is certain also from the Roman Ordines, that the Dalmatic was one of the principal vestments of the 
 
 * In costume, as in architecture, every detail must have a purpose, to be really beautiful ; and the moment any tiling 
 is added simply for ornament, or is made extravagantly large, it becomes offensive. The real vestments of the church 
 like the ceremonies themselves, have not been introduced for the sake of effect. As every position, every movement in the 
 ecclesiastical functions are arranged for a convenient and reverent manner of celebrating the various offices of the 
 church, so every portion of the sacred vestments has its use and intention ; and it is owing to this great principle 
 being disregarded in the latter times, that so many extravagant and ugly forms have been introduced in place of the 
 ancient dignified and appropriate ornaments. 
 
 Q 
 
114 
 
 Balmatt'c*— Uamasift. 
 
 Sovereign Pontiff, when he celebrated solemn Mass. The Dalmatic is a type of an immaculate life, as 
 Durandus says, or according to Innocent III., ofliberality towards the poor. 
 
 Durantus. — It is called the Dalmatic because it first came from Dalmatia. It signifies bountifulness 
 towards the poor, because it has large and broad sleeves : whence, according to the Apostle, a Bishop 
 should not be greedy of filthy lucre, but given to hospitality ; and on this account, the Deacons more 
 especially use Dalmatics, because they were principally chosen by the Apostles to serve tables. The Deacon 
 should wear a Dalmatic with broader sleeves than those of a Sub-deacon, to shew that he should have a 
 more ample charity. The Bishops, too, should have much broader sleeves, for the same reason. The 
 Dalmatic has two stripes before and behind, shewing that the Bishop should exercise his charity to all 
 both in prosperity and adversity. Behind, it has a transverse line forming a cross, which plainly signifies 
 the mystery of our Lord's Passion. 
 
 Description of ancient Dalmatics. — The Dalmatic which belonged to St. Leo III, Pope, is 
 covered with embroidery of the most interesting description. In the front, within a large circle, 
 is our Lord seated on a rainbow, with his right hand extended, and in his left an open book ; the 
 emblems of the four evangelists, or winged animals, are distributed round the circular nimbus which 
 environs the figure, immediately over our Lord is a cross, with a crown of thorns hung on it, and four 
 nails affixed to the lower part : five angels, with white robes and rich orphreys, stand on either side of 
 the cross, and within them our blessed Lady, and St. John. The lower part of the circle is filled with a 
 groupof ecclesiastical, royal, andother personages, in the habits of their various degrees, also in white. The 
 size of the various figures is changed according to their dignity. Our Lord is treble the size of the others; 
 the angels less, and the remaining images less still. On the sleeves, our Lord administering the 
 Communion to the Apostles at the Last Supper. The Table is treated as an Altar ; the Apostles approach 
 in a bending and reverential posture : the communion bread is round, with a cross imprinted on it ; the 
 chalice has handles. On the reverse the Transfiguration of our Lord. At Spires, in Germany, are 
 several Dalmatics and Tunics of the fourteenth century. The Dalmatics which belonged to the vest- 
 ments discovered in the demolition of the old Cathedral at Waterford, already mentioned under Chasuble, 
 are preserved partly at St. Marie's, Oscott, and partly in Ireland. The orphreys are exquisitely em- 
 broidered with images of saints in tabernacles. Ciampini's work c De Cryptis Vaticanis,' contains many 
 most interesting plates, representing the effigies of Cardinals, Deacons, and others, in Dalmatics, with 
 not only rich orphreys and borders, but large square worked apparells, like those on ancient albes, at the 
 bottom of the front and back, and across the breast and shoulders. (See Plates II. VI.) They have 
 also rich borders at the edges of the sleeves. These Dalmatics are exceedingly long, and some are fringed 
 at the edges and sides. D'Agincourt, in his ' Histoire de L'Art par les Monuments,' has figured several 
 very ancient Dalmatics. Baluze, in the first volume of his ' Histoire de la Maison D'Auvergne,' p. 351, 
 has figured an annunciation of our Blessed Lady, where the angel Gabriel is habited in a most beautiful 
 Dalmatic. The orphreys and edges of the sleeves are enriched with pearls and jewels ; there is also a 
 jewelled brooch at the top of the side openings. The brooch is often to be remarked in early German 
 paintings. In the History of the Monastery of St. Udalric, at Augsbourg, Plate 24, is an engraving of 
 the Dalmatic formerly used by that Saint. Many of the early Flemish and German pictures are 
 excellent authorities for ecclesiastical costume ; and Dalmatics of the richest cloth of gold, with orphreys 
 of pearls and jewels, are often represented. 
 
 Santasfe* A rich description of raised silk, which originally came from 
 Damascus. It is frequently mentioned in old inventories. 
 
 S. Mary Hill, London. — An awlt of wyte damaske. 
 
 York Minster. — Item, two white damask copes with blue orphreys. Item, three copes of gold 
 
©ante of Beat})* 
 
 115 
 
 damask. Item, a red damask cope with peacocks, whose heads, breasts, and feet are gold. Item, a 
 blue damask cope wrought with flowers, and the orphreys of needle work. 
 
 Dam* of JUeatf;** This subject was so frequently introduced, both in the ancient 
 buildings and in the decorations of manuscripts, stained glass, &c. that it 
 is proper to make some mention of it in this work. 
 The earliest representation of this edifying and impressive subject is not older than the fourteenth 
 century ; but it appears to have multiplied with great rapidity, and was introduced in many churches 
 both in England and on the continent. The most celebrated in this country was painted round the cloyster 
 of old St. Paul's, in the reign of Henry VI. at the expense of Jenkyn, a carpenter and citizen of London. 
 It is described as having been executed after one in the cemetery of the Holy Innocents at Paris. The 
 space now occupied by Le Marche des Innocents, remarkable for the fountain executed by Jean Goujon, 
 was the site of this cemetery. In Sauval's Antiquitez de Paris, vol. i. p. 359, it is described as having 
 been enclosed in 1180, by order of Philip Augustus, and was appropriated to several parishes. 
 On a charnel house attached to this cemetery was the following inscription: — " Cc rfjavntcr 
 fut fatt ct tJotmc a r<£gltee pour amour tic Mitti, Van mil trouf cms quatre bmt$ iftr ntuf. 2£uctlltr$ 
 pricr J3teu pour li& Crepa£:Sc$. This cemetery was surrounded with a cloyster of eighty-four 
 arches, and it was round the walls of this cloyster that the Dance was painted which suggested that at 
 St. Paul's. At Rouen, the cemetery of St. Maclou, situated near the parish church under his invocation, 
 contains a most interesting example of a Death Dance ; it was sculptured in relief on the pillars of the 
 great cloyster which surrounded the inclosure,f and although much mutilated in the great Revolution, 
 may still be traced. In the roof of the long wooden bridge at Lucerne, in Switzerland, is a succession 
 of pictures representing the Dance of Death : and although not older than the 16th century, they possess 
 great interest from the peculiar manner in which the subject is treated. In one an architect is seen 
 directing his building on a scaffold, while Death is preparing to let a stone fall and crush him : in 
 another a merchant is busily engaged among bales of costly goods, while Death is making a long white 
 package with a cross similar to those traced on coffins : in a third, a number of persons are shewn 
 embarked in a vessel with a figure of Death at the helm ; and the whole series is full of similar 
 pointed allusions. There were also painted Dances of Death at Minden, Dresden, Lubeck, Amiens, 
 and Basel, &c. that at Basel has been erroneously attributed to Hans Holbein ; but it was executed 
 before his time. The Dance of Death is frequently found in the margins of early printed books, 
 and canonical Hours. One from the celebrated press of Simon Vostre, in 1502, has a most interesting 
 series, beautifully designed and executed. Death, under the form of an emaciated figure (not a 
 skeleton,) is represented in succession with the following personages — the Pope, the Emperor, the 
 Cardinal, the King, the Patriarch, the Connetable, the Archbishop, the Knight, the Bishop, the Esquire, 
 the Abbot, the Provost, the Astrologer, the Citizen, the Canon, the Merchant, the Carthusian, 
 the Serjeant, the Monk, the Usurer, the Physician, the Lover, the Lawyer, the Minstrel, the 
 Parson, the Labourer, the Cordelier, the Child, the Clerk, the Hermit : — the Queen, the Duchess, the 
 Regent, the Countess, the Abbess, the Squire's Wife, the Prioress, the Young Lady, the Citizen's Wife, 
 the Cordeliere, the Wife of the Tax-gatherer, the Nurse, the Chambermaid, the Procuress, the Old 
 
 • It is frequently termed the dance of Machabree (vide Dugdale's St.Paul's) after Macaber, a German writer, the sup- 
 posed author of the idea : to the name of Macaber in the Bibliographic Universelle, a note is appended, stating- that Mr. 
 Van-Praet conjectures that Macaber is not the name of a writer, but a corruption of the Arabic word Magburah, (a 
 burial ground). 
 
 f All these great cemeteries were surrounded by vast cloysters paved with sepulchral slabs, and the blank walls 
 opposite the arches covered with edifying paintings such as are yet remaining at Pisa. 
 
116 
 
 Statott 
 
 Maid, the Widow, the Merchant's Wife, the Midwife, the Learned Woman, the Young Wife, the Woman 
 with Child, the Bride, the Dwarf, the Maid, the Monthly Nurse, the Little Girl, the Nun, the Shep- 
 herdess, the Lame Woman on Crutches, the Countrywoman, the Old Woman, the Brokeress, the Woman 
 in Love, the Sorceress, the Devout Woman, the Fool. This Dance is of the highest interest, as it 
 exhibits a faithful representation of the costume of the various personages described. The order of their 
 succession is the same as that of St. Paul's described in verse at the end of Dugdale's History, and it 
 was no doubt traditional, and adhered to in all the Dances. A most learned treatise, full of illustra- 
 tions, on the Dance of Death, was preparing for publication by N. H. Langlois, the indefatigable and 
 talented antiquary of Rouen, when he was seized with a disorder which terminated fatally in a few days. 
 The antiquarian world has been looking with great impatience for the production of this volume, which 
 was nearly terminated before the death of the author, and which would fully illustrate the history of 
 this most interesting subject. 
 
 B?acom A sacred order in the Church, next in dignity to that of a Priest ; 
 and assistant to the sacerdotal order. It is the first hierarchical order. 
 The Deacon's proper vestments are the Amice, Albe, Stole, worn over 
 the left shoulder, Maniple, and Dalmatic. 
 
 Among the proper functions of their office, were the following : — 1. To sing the Gospel in the Mass 
 and prepare the Chalice. 2. To distribute to the faithful the Holy Eucharist : or, according to some, only 
 the Chalice. 3. To preach, with the license of the Bishop. 4. To baptize, in the absence of the priest. 
 5. To be the almoners of the Church. 6. To assist Bishops in council. 
 
 Georgius de Lit. Rom. Pont. L. 111. c. 3. — " Diaconum oportet ministrare ad altare, baptizare, et 
 pragdicare." The words of the Rom. Pontifical, are : The Deacons originally ordained by the Apostles 
 at Jerusalem were seven in number : which number was long retained in all churches. In the churches 
 of the city of Rome, their number was increased from seven to fourteen, and afterwards to eighteen, 
 but finally limited again to fourteen ; and these, as being the parochial clergy of the city, were called 
 Cardinal deacons. Seven of these (or afterwards twelve) were called Regionarii, as presiding over 
 the offices of their ministry in the seven regiones, or ecclesiastical districts of the city. The remainder 
 were called Palatini, to whom it belonged to read the Gospel in the Church of St. John Lateran. The 
 deacons who accompanied the Pope to the Stations, were called stationarii. Those who attended a Bishop 
 when preaching, as witnesses, were called testimoniales. With respect to the dress worn by Deacons, from 
 an early period we find, that in Africa, in the fourth century, the deacons wore an albe, in the functions 
 of their ministry. A Canon of the Council of Carthage, a.d. 398, orders : That the Deacon wear an albe 
 only at the time of the offertory or the lesson. In Spain, in the sixth and seventh centuries, the deacons 
 had not begun to wear dalmatics, but albes only. St. Isidore of Seville, says, that they assist as Levites 
 at the altar, vested in albes, to signify the whiteness and purity of their lives. It appears, therefore, that 
 they put off the chasuble, which they ordinarily wore, and ministered in the albe. The ancient Ordo 
 Romanus has these words : The Deacons before they come before the altar, put off their chasubles in the 
 prcsbyterium. The chasuble, as Amalarius remarks, belonged generally to all clerics. Therefore, in the 
 eighth century, wherever it was not the received custom for the deacons to wear the dalmatic, they used 
 the chasuble. Before the ninth century, it had become customaiy in some places, for deacons who had 
 the privilege of the dalmatic not to wear it in Advent ; at which season they wore the chasuble instead : 
 putting this off, however, when about to read the Epistle or Gospel, or minister to the priest, and serving 
 in their albe, maniple, and stole. 
 
 In the Salisbury Missal, the times prescribed at which the Deacons and Sub-deacons shoidd not 
 wear dalmatics and tunics, but chasubles, are: 1. Advent; 2. From Septuagesima to Maundy 
 
117 
 
 Thursday ; 3. On Vigils, except the Vigils of Easter, Pentecost, and of the Nativity, if it falls on a 
 Sunday ; 4. At the four Ember seasons, except that of Whitsun week. The Cardinal deacons minister 
 to the Sovereign Pontiff, when he celebrates solemnly, habited in their diaconal vestments, wearing, viz. 
 over their albe and stole, beside the maniple, a dalmatic, the ancient and peculiar badge of the Diaconate 
 in the churches of Rome. The vestments now generally worn by Deacons are the amice, albe, maniple, 
 stole, and dalmatic. The stole is worn over the left shoulder, and fastened under the right arm. The 
 dalmatic is changed for the chasuble in Lent and Advent ; and according to the Roman custom, this 
 chasuble is ordered to be rolled up and worn like the stole, when the deacon sings the gospel, or ministers 
 at the altar. Instead of this a broad purple stole has been substituted ; probably in consequence of the 
 stiff materials of which modern chasubles are made, and which are inconsistent with the observance of 
 the rubric to the letter. 
 
 23l'aj)tr signifies a fine linen cloth, woven in pattern. 
 
 NichoVs Ancient Record. — Item, a dyapre aulter clothe, marked in the mydds with a cross of sylke, 
 of the length of four ells and quarter. 
 
 MapcrittCj: signifies a continuous pattern of varied colours in contradis- 
 tinction to a detached or scattered pattern, which is called powdering. 
 (See Plates xxiv. xxv. xxvi. xxvn. xxviii. xxix.) 
 
 The word is particularly applied to all variegated patterns on walls, ceilings, panels, grounds, &c. ; it 
 is derived from Diasprus, a precious sort of rich stuff, frequently mentioned in church inventories ; as 
 c Pluviale Diasprum cum Phrygiis.' 
 
 SJiptytl)* A folding tablet of ivory or metal. 
 
 It is mentioned both in the Liturgy of St. Basil and in that of St. John Chrysostom, that after the 
 Consecration, in the Mass, the deacon commemorated the living and the dead, by reading with a loud voice 
 the names of those recorded on folding ivory tablets. These tablets were called Diptychs (^'nrrvxa) 
 on account of their being in two parts, and folding together. Some were for the living, others for 
 
 the dead. On the former were inscribed the names of the 
 sovereign Pontiff, those of the Patriarchs, of the Bishop of the 
 diocese, of the ecclesiastics ; and afterwards those of the emperor, 
 princes, magistrates, and most distinguished people. On the 
 latter, the names of those who had died in the odour of sanctity; 
 and it was considered as an insult to the memory of a Bishop 
 either to erase his name or to refuse to inscribe it. Sometimes 
 the names of General Councils were also inscribed on the Dip- 
 tychs. These Diptychs were usually read to the people from 
 the rood-loft, but occasionally from the altar. There was also 
 another sort of Diptychs in use, mentioned by Cardinal Bona, which contained the names of those 
 presented for baptism. Besides those which are the proper Diptychs, and which may be classed among 
 the sacred ornaments of the Church, were folding tablets of ivory or metal, with the representation of 
 some sacred mysteries in relief. These were very common during the middle ages, and were often 
 most exquisitely wrought. They vary considerably in size, but seldom exceed 8 inches by 4. (See 
 Traite sur les Autels, by Mons. Thiers.) 
 
 Georgius. — It is not to be doubted, that ivory tablets are to be placed among church ornaments. 
 Some of these were Diptychs. These contained the names of the reigning Pontiff, of Bishops, Kings, 
 and faithful living in Catholic communion ; they were kept in the sacristy, and produced on solemn 
 Feasts. 
 
118 
 
 Durantus. — After the words in somno pacis in the Mass, there were recited, according to Alcuin, 
 from the Diptychs the names of the departed, and then the Mass proceeded : Ipsis Domine et omnibus, 
 &c. Eudoxia, Empress, wrote to Pope Innocent, desiring that the name of St. John Chrysostom might 
 be inserted in the sacred Diptychs, f lest the Church should be bereft of the name of one, who had lived in 
 a manner worthy of remembrance/ Instances are found of Bishops unjustly condemned, having their 
 names inscribed in the Diptychs, after their death, by way of reparation. 
 
 In the ' Voyage Litteraire de Deux Benedictins,' p. 24, a pair of very early ivory Diptychs are 
 figured, which belonged to the Cathedral of Bourges. They are thus mentioned in the text : e the Diptychs 
 of the church of Bourges are, perhaps, the most curious objects in the treasury. They are tablets of 
 ivory, on which the names of the archbishops were inscribed, and they were exposed on the altar at 
 Mass to enable the priest to recite the names of the archbishops in the canon. When the ivory was filled 
 up, the other names were written on vellum, and inserted.' 
 
 In Willemin's e Monuments Francais Inedits,' Plate 42 represents ivory Diptychs, anterior to the 
 eleventh century, formerly belonging to the treasury of Beauvais Cathedral. 
 
 From the Antiquities of Durham Abbey, p. 20. — "There lay on the High Altar an excellent fine 
 book, very richly covered with gold and silver, containing the names of all the Benefactors of St. Cuth- 
 bert's Church, from the first original foundation thereof: the letters of the book being for the most part 
 gilt, as is apparent in the said book. The laying that book on the High Altar shewed how highly they 
 esteemed their Founders and Benefactors, and the daily and quotidian remembrance of them, in the 
 time of Mass and Divine Service, argued not only their gratitude, but also a most divine and charitable 
 affection to the souls of their Benefactors, as well dead as living, which book is as yet extant, declaring 
 the said use in the inscription thereof/' 
 
 The above Book of Benefactors to the Cathedral Church of Durham is now to be the seen in the 
 British Museum. It is a very ancient and splendid MS. forming one of the Cottonian Collection, marked 
 Domitian A. vn. It is written in Saxon characters, and the early part of it in letters of gold and silver. 
 It contains a catalogue of all the Benefactors of the Church; Kings, Queens, Bishops, Abbots, Priests^ 
 &c. "pro quibus Missae, aliaque sacra officia ohm peragerentur." — It begins with King Edwin and 
 comes down to the time of Henry VIII. The name of Athelstan occurs twice, w r ritten in plain ink ; 
 once at the head of the list, and again in his own place. This would seem to fix the date of the earlier 
 part of the MS. At the end are to be found other matters relating to the same church. See Smith's 
 Catalogue of the Cottonian MSS. p. xxxviii. Planta's Catalogue of the same MSS. and Hickes's 
 Thesaurus, vol. ii. p. 249. 
 
 Emblem of fidelity, and generally introduced at the feet of married 
 women in sepulchral effigies, with that signification. It also signifies 
 loyalty to the sovereign. 
 
 2BoIpf)UU An emblem of love and social feeling. 
 
 Dolphins were frequently introduced as ornaments to coronas, suspended in churches. Anastasius 
 apud Du Cange. — Coronas 4 cum Delphinis 20 ; pharum cantharum cum Delphinis 5 1 ; coronam 
 auream cum Delphinis 50. — See Fish. 
 
 Bomtm'ottSu An order of celestial spirits. (See Angels.) 
 
 JBOOllU The old name for the general Judgment, which impressive subject was 
 usually painted over the chancel arch in parochial churches. 
 
 In the reign of Edward VI. these edifying representations were effaced or washed over as super- 
 
29oo m*— Doss*! 
 
 119 
 
 stitious ! ! ! and there can be but little doubt that many might be restored by removing these accumulated 
 coats of wash with which they have been covei-ed. There is a rude, but interesting Doom remaining at 
 Caythorpe Church, near Grantham ; also in the Church of the Holy Trinity, Coventry.* 
 
 The traditional manner of representing the Doom is as follows. In the centre is our Lord, seated 
 on a rainbow, with his feet resting on an orb, as emblem of the terrestrial globe ; he is attired in a 
 mantle of a bright red colour, signifying the intensity of his divine love, and it is lined with ermine, to set 
 forth his purity. At his right hand which is raised in Benediction, is our blessed Lady kneeling, 
 and on his left, which is in a repelling position, St. John the Baptist. Beyond these, on either side, are 
 apostles, martyrs, and a host of blessed spirits. Angels, with the various emblems of the Passion, are 
 hovering over our Lord; and beneath him are other angels with trumpets. From the mouth of our Lord, 
 on the right side, towards the blessed, proceeds a branch with lilies, and on the left, towards the 
 condemned, a sword. In the upper corner, on the right hand, is a representation of the heavenly 
 Jerusalem, with a multitude of turrets and towers, on which angels in white and gold vestments are seen 
 playing on harps and other musical instruments to welcome the spirits of the blessed. At the gate 
 which is wide open, and into which a crowd are seen entering in white garments, stands St. Peter, the 
 prince of the Apostles, his right hand is extended in welcome, while in his left are the gold and silver keys, 
 emblems of the mighty powergiven to him by his Divine Master. The whole of the left corner is filled by 
 an appalling representation of the punishments of Hell. From an enormous mouth proceed volumes 
 of flame ; and into this dismal opening, the entrance to the bottomless pit, the devils are seen 
 forcing the souls that have been delivered into their power. In the lower portion of this impressive 
 subject are seen thousands of souls rising from their graves, in the act of supplication, to receive the final 
 sentence of weal or woe : they are represented naked, in allusion to 1 Tim. vi. 7 — " We brought nothing 
 into this world, and certainly we can carry nothing out — but in order to shew that all ranks and 
 degrees will be included in the Judgment, tiaras, mitres, crowns, and coronets are represented on the heads 
 of many of them. Angels are seen descending among these groups, receiving some and repelling others ; 
 while the archangel, St. Michael, with the just balances, stands in the midst. For an interesting account 
 of the Hell-Mouth, see Sharp on the Coventry Mysteries. 
 
 With regard to pictures of the Resurrection, it is a question whether distinctions of infancy and old 
 age should be introduced, or all be represented in the vigour of manhood. St. Augustine says that 
 " All shall rise again with that perfection of body which belongs to youthful maturity.'' And it seems 
 consonant with the doctrine of the Church on the subject of the glorified bodies of the just, to observe this 
 rule in their representation. 
 
 230£>£d, or 23or£aI* A piece of embroidered needlework, or cloth of gold, sus- 
 pended at the back of a Throne or Altar, but more particularly the latter. 
 
 It is derived from the French Dossier, which signifies a back panel, covered with stuff. The Dossels 
 used in the ancient churches corresponded in colour with the other ornaments of the altars, and were 
 changed according to the festivals. At funerals it is customary on the continent to suspend a black 
 Dossel with a large cross over the back of the altar, as in Plate LXIII. This term variously spelt, often 
 
 * A Doom, very rudely designed in the Chapel of the Holy Trinity, Stratford-on-Avon, is figured in ' Fisher's 
 Antiquities.' In the east window of the truly fine collegiate Church of Selby is a Doom in stained glass executed in the 
 early part of the fourteenth century, of exquisite design and execution, and is perhaps the most beautiful example in 
 England. It is impossible to think of or mention this once magnificent edifice, without bitterly deploring its present 
 miserably neglected state ; not only has it been blocked up by galleries, flues, stoves, and every species of modern 
 enormity, but the weather is suffered to penetrate the very roofs, and carry decay into the walls and foundation of the 
 building. 
 
120 
 
 Dobt 
 
 occurs in ancient records of church ornaments, and is particularly mentioned in an account of the 
 furniture which belonged to the Cathedral church of Old Sarum, printed in an interesting notice on 
 that ancient edifiee, by Mr. Hatcher, of Salisbury. 
 
 MQbt. Doves were used in churches to serve three purposes. 1. Suspended 
 over altars to serve as a pyx in which the most sacred Body of our Lord 
 
 might be reserved. 2. As a type or figure 
 of the Holy Spirit over Altars, Baptisteries, 
 and Fonts. 3. As mystical ornaments. 
 
 The ancient ecclesiastical writers made constant mention 
 of gold or silver Doves, suspended over the altars, as pyxes for 
 the blessed Sacrament. 
 
 Perpetuus, Bishop of Tours, a.d. 474, left by will to 
 Amalarius, Presbyter, a peristerium* and silver Dove for the 
 reservation of the blessed Sacrament. Bernard, monk, in the 
 Customs of Cluni, writes thus : — The Pyx aforesaid the 
 Deacon takes from the Dove hanging perpetually over the altar. 
 An inventory of church plate inscribed on the Table (see 
 Table) of St. Theofrede of Velay, mentions : — A golden Dove 
 over the altar, where the Lord's Body is placed to be reserved, in 
 a clean linen corporal. St. Basil the Great is recorded to have 
 reserved the Blessed Eucharist in a Dove of pure gold, 
 by Amphilocius. This ancient custom, as De Moleon remarks, 
 was common to both the Greeks and Latins : and in his 
 Voyage Liturgique, he mentions the following churches 
 where they were retained in his own time, viz : — The Colle- 
 giate Church of St. Julien, D'Angers ; St, Maur des Fossez near 
 Paris ; St. Liperche in the diocese of Chartres ; St. Paul at Sens ; 
 the Church of Cluny : and doubtless the practice was retained 
 in many others which he had not visited. The woodcuts 
 prefixed to this account will fully illustrate the manner in which 
 these golden Doves were suspended. In the cabinet of M. De 
 Lasteyre, a learned antiquary of Paris, is a Dove similar to the 
 one figured. Mons. Le Comte de Bastard has two of the same 
 description, but without the enamelled basins in which they 
 stood : another is in the possession of Mons. Le Comte Borgeoise, 
 which has four rings in the circumference of the basin, to which 
 the suspending chains were attached. These are all the 
 remaining examples of which I have been able to obtain any 
 account. t 
 
 It is proper to mention in this place, that not only were 
 
 * Peristerium is strictly a diminutive of TripiaTipa, a dove, but is rather 
 to be understood as signifying 1 a crown, or receptacle, in which the dove 
 DOVE. was suspended. (See Woodcuts.) 
 
 t This information, and drawings of the dove, were communicated to me by Mons. Gerente, a most learned anti- 
 quary and admirable artist of Paris. 
 
'DO V E. 
 
 121 
 
 Doves with the Holy Eucharist, suspended 
 over altars, but the pyx was usually hung 
 in the same manner, and this was the 
 general practice of the English Church, 
 previous to the reign of Edward VI., 
 when the ancient rites were abolished, 
 and the novelties of foreign heretics in- 
 troduced in their stead. The following 
 extracts will be sufficient to establish this 
 point ; but numerous other instances may 
 be adduced. I have also added an account 
 of several churches in France, where 
 the blessed Sacrament was suspended 
 in a pyx, from De Moleon ; and to this 
 day the same custom is retained at Amiens, 
 Chartres, &c. 
 
 Authorities for the suspension of the 
 Blessed Sacrament over the altars in the 
 English Churches: 
 
 St. Paul's Cathedral, London.— "Una 
 cupa argentea deaurata, cum opere levato de Leunculis, et aliis bestiis, cum cathena argentea appensa 
 ad usum Euharista? (sic) appendenda ultra Altare in Festis, de dono H. Regis ponderis ciii\ Item 
 una Pixis argentea deaurata, cum opere cocleato, et cathena argentea ponderis ii. marc, et v d . Dug dale's 
 Hist, of St. Paul's. 
 
 Bites of Durham Abbey.—" Within the said quire, over the high altar, hung a rich and most sump- 
 tuous canopy for the blessed Sacrament to hang within it, which had two irons fasten'd in the French 
 Pierre, very finely gilt, which held the canopy over the midst of the said high altar that the Pix hung in, 
 that it could not move nor stir ; whereon stood a Pelican all of silver, upon the height of the said canopy, 
 very finely gilt, giving her blood to her young ones, in token that Christ gave his blood for the sins of 
 the world : and it was goodly to behold for the blessed Sacrament to hang in. And the Pix, wherein the 
 blessed Sacrament hung, was most pure gold, curiously wrought goldsmith's work ; and the white cloth 
 that hung over the Pix was of very fine lawn, all embroidered and wrought about with gold and red silk ; 
 and four great round knobs of gold, curiously wrought, with grate tassels of gold and red silk hung at 
 them and the four corners of the white lawn cloth ; and the crook that hung within the cloth, that the 
 Pix hung upon, was of gold ; and the cord that drew it up and down was made of fine strong white silk.' 
 
 St. George's Chapel, Windsor. — " Item una Pixis nobilis, eburnea, garnita cum luminibus, argenteis 
 deauratis, cum pede pleno Leopardis et Lapidibus pretiosis ; habens coopertorium argenteum deaura- 
 tum, cum bordura de Saphyris, in cujus summitate stat figura Crucifixi, cum Maria et Johannc, 
 garnita cum perlis ; cum tribus Cathenis in pomello argenteo deaurato ; et una longa Cathena argentea, 
 ■per quamdependet ; et extat longitudinis trium virgarum." — Dugdale's Monasticon. 
 
 When a new Liturgy was proposed in 1547, a number of questions were drawn up for the considera- 
 tion of the Bishops and divines assembled for that purpose. Question 10 is, « When the Reservation ot 
 the Sacrament and the hanging up of the same first began." — Collier, vol. ii. p- 245. 
 
 In 1549, when a general rising took place in Devonshire, with the view of restoring the old religion, 
 the leaders forwarded certain conditions which they required, to Lord Russell, who was sent against 
 
 R 
 
122 
 
 them ; the fourth of which was conceived in the following words : — " That the Holy Sacrament should 
 
 be hanged up and worshipped." — Burnet, vol. ii. p. 89. 
 
 Extracts from De Moleon respecting the suspension of the blessed Sacrament in France : 
 
 Tours, Eglise Cathedrale de S. Gatien. — II n'y a rien du tout sur le grand Autel. Au dessus de la 
 
 contretable il y a quelques cierges et au milieu est la suspension du saint Sacrement avec un petit 
 
 pavilion au bout d'une petite patence de cuivre. 
 
 St. Martin de Tours. — II n'y a rien sur l'Autel ; seulement douze chandeliers derriere. Le saint 
 
 Ciboire est suspendu au bout d'une crosse, sans image aux cotez. II y a un parement de contretable 
 
 au dessus de l'Autel, et des rideaux aux cotez, avec des balustres haut de six ou sept pieds, qui ferment 
 
 le Sanctuaire. 
 
 Saint Siran en Brenne. — II n'y a point de rideaux au grand Autel, mais seulement un parement 
 devant, et un audessus. Immediatement audessus il y a une Chasse de Reliques, audessus de laquelle 
 est la suspension du saint Sacrement au bout d'une crosse de cuivre ou de bois dore. Le petit pavilion 
 se defait aisement sans toucher au Saint Ciboire : il y a seulement trois ou quatre agrafes a decrocher. 
 
 Eglise de S. Eticnne a Dijon. — II y sur l'Autel seulement un gradin avec six chandeliers et un 
 Crucifix haut de huit ou dix pieds avec une petite suspension du saint Sacrement audessus, 
 
 Eglise de S. Seine u Dijon. — Le grand Autel est sans retable. II y a seulement un gradin et six 
 chandeliers dessus. Audessus est un crucifix haut de plus de huit pieds, audessous duquel est la suspen- 
 sion du saint Sacrement dans le Ciboire ; et aux deux cotez de l'Autel il y a quatre colonnes de cuivre, 
 et quatre Anges de cuivre avec des chandeliers et des cierges et de grands rideaux. 
 
 S. Etienne de Sens. — Audessus du grand Autel il y a un retable couvert ordinairement d'un pare- 
 ment comme celui de l'Autel : au dessus il y a deux cierges et un fort grand Crucifix, au dessous duquel 
 il y a une petite crosse ou est suspendu la saint Ciboire sous un petit pavilion. II y a quatre colonnes 
 de cuivre avec des Anges, qui sont accompagnees de grands rideaux. 
 
 Eglise Cathedrale de S. Julien, Mans. — Dans l'Eglise Cathedrale de S. J ulien il n'y a rien sur l'Autel 
 qu'un retable avec parement, pas meme de croix ni de chandeliers : et audessus du retable une image 
 de la Vierge, et plus haut la crosse de la suspension du saint Sacrement sous une petite croix de cuivre. 
 
 Abbaye. de la Trappe. — La Trappe est une Abbayc celebre aujourdhui par la grande piete et 
 austerite de vie de ses Religieux. C'est l'image de la Vierge qui tient la suspension de l'Eucharistie 
 audessus du grand Autel. 
 
 Notre Dame de Chartres. — Audessus de l'Autel il y a seulement un parement au retable, et 
 audessus est une image de la sainte Vierge d'argent dore. Par derriere est une verge de cuivre, et au 
 hautun Crucifix d'or de la grandeur d'un pied et demi, aupied duquel est une autre verge de cuivre qui 
 avance environ d'un pied a un pied et demi sur l'Autel, au bout de laquelle est la suspension du saint 
 Ciboire, selon le second Concile de Tours, sub titulo crucis Corpus Domini componatur. 
 
 Notre Dame de Paris. — Derriere cet Autel il y en a un autre qu'on nomme l'Autel matutinal, qui 
 est aussi d'un marbre tres precieux, au fond de l'Abside. Dans l'enfoncement est une croix elevee 
 audessus de laquelle un Ange de plomb dore de cinq pieds de hauteur soutient la calote de la suspen- 
 sion ou est la saint Ciboire. 
 
 St. Ouen de Rouen. — Le grand Autel est assez simple, separe de la muraille avec deux rideaux aux 
 cotez, une balustrade de bois, quatre piliers et quatre Anges dessus, comme a celui de l'Eglise Cathe- 
 drale. Audessus du retable est la suspension du saint Ciboire, et les images de S. Pierre et de S. Paul 
 premiers patrons, entre deux on trois cierges de chaque cote. 
 
 To return to Doves : — they were also suspended as mysterious emblems over baptisteries and altars. 
 The Fathers of the fifth Council of Constantinople under Mennas, a.d. 536, and of the second Nicene 
 Council, sanctioned the custom of representing the Holy Spirit under the figure of a Dove, and con- 
 
I 
 
 Bragom 
 
 123 
 
 demned Xenaias the heretic, who scoffed at such images, and Severus their patriarch, who had taken away 
 and appropriated gold and silver Doves, suspended as an emblem of the Holy Ghost over the divine fonts. 
 The origin of this practice is evidently to be referred to the descent of the Holy Ghost in the visible 
 form of a Dove upon Christ after his Baptism, as recorded in the hi. ch. of St. Luke's Gospel. 
 Tert ullian also regards the Dove as the herald of peace, after the Deluge, which was a principal type of 
 Baptism. — Bosio, Roma Sotteranea, Delle Colombe. 
 
 Doves of carved wood or embossed metal are found remaining on several font covers in the 
 English parish churches at the present day ; and in former times probably no font would have been 
 considered complete without such an emblem. Doves were also introduced in ancient decorations with 
 the following mystical significations. The clove is an emblem of simplicity, love, innocence, purity, 
 mildness, compunction : holding an olive-branch, it is an emblem of peace. It is also, as we have said, 
 a type of the Holy Ghost. On the tombs of the early Christians, where it is often seen, it is interpreted 
 to be a just figure of the faithful. Ciampini says these doves represent the souls of the faithful. " Estote 
 simplices sicut columbse." The dove is also represented with seven rays, terminating in stars, signifi- 
 cant of the seven gifts of the Holy Ghost. This is found on stained glass. St. Gregory the Great, ' the 
 Apostle of the English/ is represented with a Dove on his shoulder, as an emblem of the Holy Ghost 
 inspiring into his mind heavenly counsels. Molanus, in his ' Historia Imaginum,' relates the legend 
 on which this is founded: — " That Peter the Deacon, to whom he dictated his work, declared that he 
 had often seen the Holy Spirit in the form of a Dove over his head." St. Thomas Aquinas, also, the 
 Angelical Doctor, is depicted in like manner : — ' cum inspiratrice Columba.' — Molanus. 
 
 The origin of the Dove being regarded as a representation of the third Person of the Most Holy 
 Trinity, must be referred to the testimony of the Evangelists, regarding the visible appearance of the 
 Holy Spirit at our Lord's Baptism, under this form. In the words of St. Luke (hi. 21), "Jesu 
 baptizato, et orante, apertum est ccelum, et descendit Spiritus Sanctus in corporali specie sicut columba 
 in ipsum.'' Thus it appears analogous to the scriptural emblem of the Lamb, as representative of our 
 Saviour. 
 
 In ecclesiastical representations of the most Holy Trinity, the divine Dove is sometimes seen uniting, 
 as it were, the Eternal Father and the Divine Son, by the extremities of its expanded wings. And the 
 same Divine Person is in the same manner figured in pourtraying the mysteries of the Incarnation and 
 of Pentecost. 
 
 But, whatever mystery be the subject of representation, the divine Dove should be invariably of the 
 same symbolical form and colour : viz. the body of the bird of a snowy whiteness ; the beak and 
 claws red, which is the natural colour of these parts in white doves. The nimbus, which it always has 
 round the head, should be of gold-colour, and divided by a cross, which is either red or black. A 
 radiance of light invests and proceeds from the person of the Dove, and is emblematical of the 
 Divinity. — Didron, Iconographie Chretienne. 
 
 JDratfOlU Used as an emblem of Pestilence. 
 
 A banner with a dragon depicted on it, or the image of a dragon, was generally borne in the 
 solemn procession made on Rogation days, to supplicate Divine protection from pestilence and famine. 
 It is also used to denote poison, for which reason a winged seq)cnt or dragon is represented in the 
 chalice held by St. John the Evangelist, in allusion to his drinking a deadly poison without injury, 
 mentioned by St. Isidore and St. Augustine. The Dragon is also the figure under which the old 
 Serpent, the devil, is often represented, as in the conflict with St. Michael the Archangel. The Dragon 
 frequently occurs in English sculpture and painting, on account of the legendary combat of our patron 
 St. George, with that monster. (See Plate XLI. Fig. 1.) 
 
 Henry VII. is said to have adopted the red Dragon with reference to his supposed descent from 
 
124 
 
 Cadwallader, the last of the British kings, who is related to have borne this ensign. The Dragon is 
 also represented as lying vanquished at the feet of our Blessed Lady. (See Emblems.) A Dragon is 
 also the emblem of St. Margaret. 
 
 (Hfoljjle* The Eagle is appropriated to St. John, for as that bird faces the sun, 
 so this Prince of the Evangelists soars to contemplate the great mystery 
 of Christ's Divinity. 
 For this reason also Eagles of brass were fixed on lecterns from which the Gospel was sung, and 
 afterwards lecterns for lessons and antiphons. The Eagle is also an emblem of regal and temporal 
 power, adopted by the ancient Roman Empire, and borne by the Emperors of Germany. (For the 
 conventional form of the heraldic Eagle Displayed, see Plate LXVI.) According to Guillim, the 
 Eagle Displayed, signifies a man of action, evermore occupied in high and weighty matters, and one of a 
 lofty spirit, ingenious, speedy in apprehension, &c. The Eagle is the most honourable bearing, of birds. 
 
 Will of Edward Prince of Wales. — " To Mons. Alayne Cheyne our bed of camora powdered with 
 blue Eagles." 
 
 Will of John Duke of Lancaster. — "To my dear daughter Elizabeth, Duchess of Exeter, my white 
 bed of silk, with blue Eagles Displayed." — Nichols's Testamenta Vetusta, 12. 142. 
 
 Cntt)Irm0* The sacred emblems, by which the mysteries of our Lord's Passion, 
 and different Saints are designated, are most numerous, and interesting. 
 
 They may be classed as follows : — 
 
 Emblems of our Lord. — 1. The Cross, which should always be represented floriated, as an emblem of 
 triumph and glory. (See Plates XLIX. L. LI. LII. LIII. LIV.) 2. The five Wounds of our Lord, 
 figured either by five crosses fiory, the largest in the centre (see Plates XXXI. XXXV.), ox glorified 
 with rays and crowns (see Plate LXIII.), or proper, with the sacred blood flowing into chalices. (See 
 Plate LXV.) 3. The Instruments of our Lord's Passion, which are, a lantern, clubs and staves, a 
 sword, 30 pieces of silver, and a chalice, for the Agony in the garden. A rope, scourges, reeds, rods, 
 bull-rush, purple robe, crown of thorns, bason and ewer, cock and pillar, for the examination before the 
 High Priest and Pilate ; and for the Scourging. A cross, ladder, coat without seam, dice, lance, pincers, 
 basin and sponge, and a label with 3fH10* for the Crucifixion. (See Plates LXIV. LXV.) The Lamb 
 was frequently used in early delineations to represent our Lord (See Lamb.) Also the Fish (See 
 Vesica Piscis.) A cross, staff, and a banner, for the Resurrection. A sword and a branch of lilies 
 proceeding from the mouth in the Last Judgment. 
 
 In early Christian works our Lord is frequently represented as the good Shepherd surrounded with 
 sheep and bearing one on his shoulders ; also as Jonas in the whale, being an emblem of the Resur- 
 rection. 
 
 Emblems of our Blessed Lady. — 1. The Sun, from the Canticle of Canticles, vi. 9: "Electa 
 ut Sol." 2. The Moon, from the same : " Pulchra ut Luna." 3. A Star : "stella maris," or " stella matu- 
 tina." 4. A gate, usually represented as crenelated and flanked with two towers ; and this is the 
 mystical gate (" Porta Coeli," "Porta Orientalis") which was shewn to the prophet Ezekiel, (Chap. xliv. 1.) 
 Et convertit me ad viam porta; sanctuarii exterioris, quae respiciebat ad orientem, et erat clausa. Et 
 dixit Dominus ad me, Porta haec clausa erit : non aperietur, et vir non transiet per earn : quoniam 
 Dominus Deus Israel ingressus est per earn, &c. ; and this passage has been always considered as 
 typical of the Virginity of our Blessed Lady before and after the birth of the Saviour, and the invocation 
 of the Blessed Virgin under this appellation frequently occurs in the Divine Office ; as in the Hymn — 
 
 * IflUi, the Latin Title of the Cross, being the initials of Iesus Nazarenus Rex Jucheoruin. 
 
125 
 
 u Ave Regina Ccelorum, ave Domina Angelorum, Salve Radix, salve Porta, ex qua mundo lux est orta ;" 
 and again, " Tu regis Alti Janua et Porta lucis fulgida." 5. The Cedar of Libanus : "cedrus exaltata." 
 6. The Olive-branch : " oliva speciosa." 7« The Rose: "Rosa Mystica :" from the Book of Ecclesi- 
 asticus, chap. xxiv. — "Quasi Cedrus exaltata sum in Libano : — Quasi plantatio rosce in Jericho: 
 Quasi oliva speciosa in Campis." 8. The Lily : " Lilium inter spinas," from the Canticle of Canticles : 
 Sicut lilium inter spinas, sic arnica mea inter filias : as the lily among the thorns so did our Blessed 
 Lady flourish among the daughters of men. The lily is always introduced in the subject of the Annuncia- 
 tion between the Blessed Virgin and the angel Gabriel, and usually represented as growing out of an 
 ampul. 9. The Well: Puteus aquarum viventium. 10. The Fountain : Fons Hortorum. 11. The 
 Garden : " Hortus conclusus." These emblems are all taken from the Canticle of Canticles, chap. iv. 
 12, 15 : Hortus conclusus soror mea sponsa, hortus conclusus, fons signatus. — Fons hortorum : 
 puteus aquarum viventium, quze fluunt impetu de Libano. 12. A Mirror: "speculum justitiae." 
 This is taken from the Book of Wisdom, chap. vii. : — " Candor est enim lucis ceternae, et speculum sine 
 macula Dei majestatis, et imago bonitatis illius." 13. A Tower: "The Tower," and "City," of David, 
 Turris Davidica. The city of David was a part of Jerusalem, situated on Mount Zion, and it was called 
 the Holy City from the ark having been kept there for some years. A passage in the 
 Canticle of Canticles mentions this Tower : f ' Sicut Turris David collum tuum." The emblem is assigned 
 to our Blessed Lady to denote her power and strength : Refugium peccatorum, Salus infirmorum : and 
 in allusion to her as the earthly tabernacle which contained the ark of the Covenant. All these emblems 
 are exquisitely carved on one of the stall ends in the choir of Amiens Cathedral, and are described at 
 length in the admirable work of MM. Jourdain and Duval, Vicars of the Cathedral. The Blessed 
 Virgin, during the middle ages, was usually represented as a Queen, with a rich crown on her head,* and 
 vested in a cape or mantle powdered internally with stars, and a star on the left shoulder ; as illustrat- 
 ing the words of the Psalmist : " Posuisti in capite ejus coronam de lapide pretioso ;" and " Astitit 
 regina a dextris tuis in vestitu deaurato, circumdata varietate." 
 
 Archangels. — St. Michael, a pair of scales, and also a rod with a cross flory at the upper end. Archangels 
 are represented with coronets and crosses on their foreheads, to shew that they warred against the Devil 
 and his angels. St. Gabriel, a sceptre or royal wand. St. Raphael, a fish. 
 
 Angels. — In white robes, discalceate, or without sandals, to shew that they do not belong to the 
 earth, and that they are ready to go forth and execute the will of God ; winged with golden feathers, and 
 apparels, jewelled with sapphire, for celestial contemplation ; ruby, divine love ; crystal, purity ; emerald, 
 unfading youth. They bear — 1. Flaming swords, the wrath of God; 2. Trumpets, the voice of God; 
 3. Sceptres, the power of God; 4. Thuribles or censers, the incense being the prayers of Saints they 
 offer; 5. Instruments of music, as harps, trumpets, and organs, to express their felicity. Angels may 
 be placed on columns round altars as assisting at the Holy Sacrifice. (See Altar and Curtains.) 
 
 Patriarchs and Prophets. — Scrolls of parchment rolled uj),^ and with their heads covered with hoods 
 or turbans. See Prophets. 
 
 St. John the Baptist, with a lamb and banner, camel's hair vest, and a leather girdle, sometimes, 
 the skin of the camel's head is shewn hanging down to the feet in front. St. Joseph, a green branch, 
 and an axe or a saw. 
 
 Ajwstles. — St. Peter, a gold and silver key,J also a book : frequently represented with the tonsure. § 
 * This crown is composed of lilies, and encircled with stars. 
 
 f Molanus says they are thus represented to shew that before the advent of Christ the doctrine was involved 
 in obscurity and undeveloped. 
 
 X According 1 to some ecclesiastical writers, the gold and silver kej-s signify the binding and loosing power confided 
 to the Chief of the apostles by our blessed Lord. § See Beda Eccles. Hist. lib. 5. cap. 22. 
 
126 
 
 <£ml)frms 
 
 St. Paul, a sword and a book. For the united emblems of SS. Peter and Paul see Plate LXI. ; St. 
 Andrew, a cross saltire ; St. James the Great, a sword and book, also a pilgrim's staff and shell ; St. 
 John, a chalice with a small dragon, a cauldron, also an eagle ; St. Philip, a spear, also a cross ; St. 
 Bartholomew, a flaying knife, and skin on his arm ; St. Matthew, a spear, also a carpenter's square ; St. 
 Thomas, a dart ; St. James the Less, a club ; St. Matthias, an axe ; St. Simon, a saw ; St. Jude, a halbert. 
 
 The Three Wise Men, or Three Kings of Cologne.* — Caspar (represented as twenty years of age,f) 
 offers frankincense, in a covered vessel, like a thurible without chains. Balthasar, (as forty years old,) 
 offers myrrh, sometimes represented in a mounted horn, at others in an embossed cup, with a cover. 
 Melchior (sixty years,) offers gold in a casket, like a small shrine. A blazing star is also introduced 
 as an emblem of the three Wise Men ; for this reason it was to be introduced on the summit of the 
 centre tower of the Cologne Cathedral, according to the original design. 
 
 Martyrs. — Palm branches and crowns. 
 
 Virgins. — Crowns of flowers. 
 
 Particular Saints. — St. Austin, B. C. a crozier; S. Alban, M. a sword and a crown; S. Augustin, 
 E. D. a flaming heart borne in his hand ; S. Anthony, A. a devil at his feet, a pig by his side, a fire- 
 brand and bell in his hand, and a staff head, called a tace, T ; S. Ambrose, a scourge ; S. Alkmund, K.M^ 
 a royal crown and a sword ; S. Adrian, M. an anvil in his hand, and a lion by his side ; S. Anne, our 
 Blessed Lady with our Lord in her arms ; S. Agnes, V.M. alamb ; S. Agatha, V.M. a broken pot and coals ; 
 S. Bernardin, of Sienna, C. the Holy Name in rays from his hand; S. Bernard, A. the anchorite, binding 
 an evil spirit ; S. Blase, B.M. iron combs ; S. Barnabas, A. three stones ; S. Barbara,J V.M. a chalice, 
 also a tower with three windows, sometimes the chalice and Blessed Sacrament is represented in the tower ; 
 S. Bridget, V.A. a book ; S. Boniface, B.M. a sword piercing his breast ; S. Christopher, M. standing in 
 water, leaning on a staff of a tree, our Lord as a child on his shoulder ; S. Christina, V.M. a mill stone 
 and two arrows ; S. Catharine, V.M. a sword, and a wheel with iron scythes, a king at her feet ; S. Clare, 
 V. a chalice and the B. Sacrament ; S. Cecilia, V.M. an organ ; S. Catharine of Vienna, a crown of thorns, 
 a crucifix and lily Branch ; S. Denis (Dionysius), B.M. decapitated with his head mitred in his hand ; 
 S. Dorothy, V.M. a basket of flowers ; S. Dunstan, A. a pair of pincers and an evil spirit ; S. Edward, 
 the Confessor, K.C. with a ring in his right hand, a sceptre in his left ; S. Edmund, K.M. arrows, and a 
 sceptre ; S. Edward, K. M. a dagger or short sword, and a sceptre ; S. Eligius, B.C. as a bishop, but 
 with a goldsmith's hammer; S. Elizabeth of Hungary, Q.C. three crowns, to denote her sanctity under 
 her three states, 1, as a virgin ; 2, as a wife ; 3, as a widow ; also roses, or a cripple being clothed ; S . 
 Etheldreda, V.C. with a royal crown, a pastoral staff, and a budding staff ; S. Francis, C. a crucifix winged 
 with rays to the Stigmata; S. Fabian, M. a club, also a dove; S. George, a dragon, either under his feet 
 or horse transfixed with a lance, on which is a white banner with a red cross, a shield of the same ; S. 
 Giles (/Egidius), A. a hart ; S. Gregory, with a desk and book, and the Holy Spirit as a dove close to the 
 ear, or celebrating before an altar, our Lord as in his Passion appearing above it ;§ S. Gertrude, V.A. 
 mice, emblematic of evil spirits ; S. Guthlac, A. a scourge ; S. Gudula, a lantern with an evil spirit 
 endeavouring to extinguish the light ; S. Henry, E. a sword and a church inhis hand ; S. Hubert, B.C. as 
 a huntsman, with dogs and a horn, also as a bishop with a stag and crucifix between his horns, on a book ; 
 S. Hilary, B.C. a child in a cradle at his feet ; S. Helena, E. crowned, with a large Cross in her arms, 
 
 * In the representations of the Wise Men's offerings, that were executed in the 15th and 16th centuries, Caspar is 
 represented as black, but this is not the case in more ancient works. 
 
 t This distinction in the ages of the three magi occurs in very ancient representations. 
 
 I St. Barbara has been selected by architects as their patron, in consequence of her having built this tower, the 
 triplet window of which was traditionally supposed to have been intended as an emblem of the Holy Trinity. 
 ^ This is usually represented on the title of the Sarum Missal. 
 
127 
 
 of tall stature, also represented occasionally with a beard, and tied to the Cross ; S. Ignatius, B.M. Hons ; 
 S. John the Almoner, P. a cripple receiving alms ; S. Joseph of Arimathea, a box of ointment and a 
 budding staff ; S. Jerome, a stone in his hand, a lion by his side,* and a Cardinal's hat lying at his feet ;t 
 S. Julian the ferryman, an oar; S. Julian, M. a sword; S. Lambert, B.N. a dart or lance ; S. Lucy, 
 V.M. iron pincers ; S. Lewis, K.C. a shrine and a sceptre ; S. Leonard, chains and manacles ;% S. 
 Lawrence, D.M. in a dalmatic, with a gridiron ;§ S. Maurice in armour with a sword ; S. Martin, on 
 horseback, dividing his cloak by his sword, with a cripple ; S. Margaret, a dragon from which she is 
 rising ; S. Mary Magdalen, long hair, a rich dress, and a pot of ointment ; S. Macarius, A. large 
 stinging flies ; S. Martha, T. a water pot and sprinkler ; S. Nicholas, B. three children naked in a 
 trough at his feet ; S. Nicasius, B. with his cranium mitred in his hand ; S. Olave, K.M. a sceptre and 
 a sword; S. Oswald, K.M. a sceptre and a cross; S. Osmund, B.C. a book as compiler of the Sarum 
 Use; S. Patrick, B.C. an archbishop's cross, the trefoil, and a serpent or dragon at his feet; S. 
 Pancras, M. as a youth, armed, a palm in his hand, a king at his feet; S. Paul, H. a garment made of 
 green twigs ; S. Rock, C. a pilgrim's staff and hat, a wound in his thigh, an angel by his side ; S. 
 Romain, B.C, a dragon|| with stole on the neck; S. Stephen, in a dalmatic, three stones in his hand; 
 S. Sylvester; S. Sebastian, attached to a tree by cords, with arrows ; S. Thomas of Canterbury, a sword 
 across his head, kneeling before an altar in a cope : S. Thomas Aquinas, a chalice and the Blessed 
 Sacrament,^ a dove close to his ear, a label on which is inscribed ' Bene scripsisti de me Thoma ;' S. 
 Urban, P. vine and grapes ; S. Ursula, V.M. in a large mantle, under which are a crowd of other 
 virgins and ecclesiastics. The Evangelists are represented seated and writing on scrolls. The Apostles are 
 represented standing with the emblems of their martyrdoms. Bishops are either represented standing, 
 the right hand lifted in the act of giving benediction, or seated as instructing. The four Doctors are 
 represented as seated, and in the act of writing in books. Virgins and Martyrs are represented standing, 
 with the emblems of their martyrdoms. For the emblematical signification of animals, see under their 
 different names. 
 
 Cnm'lte* The fur from the little animal of this name. It is an emblem of 
 purity, also of honour without stain. 
 
 Robes of royal personages are fined with it, to signify the internal purity that should regulate their 
 conduct. Sylvanus Morgan says, " The Ermine is a creature of so pure a nature, that it will choose 
 rather to be taken than to defile its skin.'' — Sphere of Gentry, p. 85. 
 
 escallop ♦ Used as an emblem of St. James the Great, and frequently occurs 
 in churches dedicated to his honour. 
 
 According to Sylvanus Morgan, the escallop shells are the insignia and mark of the apostle St. James, 
 whereof pilgrims made use in their voyages to the Sepulchre of the said apostle, gathering them on 
 the sea shore, and fastening them on their hoods or hats as a mark of their pilgrimage. On the walls 
 of the hotel De Clugni, at Paris, the escallop shell is frequently carved, in allusion to its having been 
 erected by Jacques D'Amboise, Abbot of Clugny. 
 
 * To signify that he retired into the desert. Lions are types of solitary places. 
 
 f On account of his assisting Pope Damasusin those offices now filled by Cardinals. 
 
 % A deliverer of captives. 
 
 \ The gridiron on which S. Lawrence suffered was several feet in length ; it is an absurdity to represent it with a 
 handle like small ones for domestic use. 
 
 || See Gargoyle. % He composed an office for Corpus Christi. 
 
128 
 
 (DbangfIt£ittC Jz>|)ml)Ote* Symbols of the Evangelists, which are found variously 
 employed in Christian edifices and ornaments of every age. (See Plate 
 
 LXII.) 
 
 Their origin must be referred to the Vision of Ezekiel, as compared with that of St. John in the 
 Apocalypse.* The four animals are appropriated as follows: — 1. St. Matthew, the angel; 2. St. Mark, 
 the lion ; 3. St. Luke, the calf; 4. St. John, the eagle. These are placed in the same succession as men- 
 tioned by Ezekiel, which is the one ordinarily followed, but according to the Vision of St. John they 
 would stand thus. — 1 . St. Mark, the lion ; 2. St. Luke, the calf ; 3. St. Matthew, the angel ; 4. St. John, 
 the eagle. S. Austin says, that some had assigned the lion to St. Matthew, the man to St. Mark, the 
 calf to St. Luke, and the eagle to St. John. — See extract from Ciampini below. 
 
 St. Ambrose and St. Jerome notice another interpretation ; according to which our Lord himself is 
 typified by the four beasts ; his Manhood, by the face as of a man, his Almighty Power by the lion, his 
 Sacrifice by the calf, and his Resurrection and Ascension by the eagle. The four animals are often repre- 
 sented with scrolls, anciently inscribed with the initial sentences of each Gospel. Thus for St. Matthew 
 + Liber Generationis Jesu Christi ; St. Mark : + Initium Evangelii Jesu Christi : St. Luke : + Fuit in 
 diebus Herodis ; St. John : + In principio erat Verbum. In later examples the names of the Evangelists 
 are inscribed on the scrolls, but the commencement of their several Gospels is far more appropriate. In 
 sepulchral brasses the Evangelistic Symbols, are found variously arranged, but they are most frequently 
 placed so as to follow the same order, t The inscription commencing with the dexter corner. 
 
 St Matthew. St. John. 
 
 St. Mark. St. Luke. 
 
 When placed at the extremities of Roods, Processional, and other Crosses, they may be thus : — 
 
 St. John. 
 
 St. Matthew. St. Mark. 
 
 St. Luke. 
 
 When represented in one line : — 
 
 St. Matthew. St. John. St. Mark. St. Luke. 
 
 Of the application and signification of the Evangelistic Symbols. — These symbols are introduced in 
 Christian design under a great variety of place and circumstance. 1. Most appropriately on books of 
 the Holy Gospels, enamelled on silver, and set on the angles of those precious covers of gold and jewels, 
 in which the sacred Texts were formerly inclosed. (See Texts.) 2. On Crosses, as being the four great 
 witnesses of the doctrine of the Cross. 3. For the same reason, on the four gables of cruciform churches. 
 4. Also on cross frontals of altars. (See Plate VIII.) At the four corners of monumental stones and 
 brasses, in testimony of the faith of the deceased in the Gospel of Christ. 5. Round images of the Majesty, 
 the Holy Trinity, Agnus Dei, + Crucifixion, Resurrection, &c. whether painted on glass, or ceilings and 
 walls, or embroidered on vestments, or altar cloths, as the sacred mysteries represented are described 
 in the Holy Gospels. 
 
 Ciamjdni. — The opinions of the Fathers on the grounds of this mystical mode of representing the 
 Evangelists, are duly collected and compared by Zacharias, Bishop of Chrysopolis, in the xii. century, 
 and are well characterised by him as diversa sed non adverse. St. Jerome interprets the £ Face as a 
 man' of St. Matthew, who begins his Gospel as if concerning a man, Liber generationis Jesu Christi ; 
 
 * It is worthy of particular notice, that in the vision of Ezekiel, each of the four animals had four faces, being' 
 those of a man, a lion, an ox, and an eagle : whereasin the vision of St. John, the four faces are on four distinct beasts, 
 t According to Mr. Didron this is the only correct disposition. (See his Iconographie Chreticnne.) 
 I See a miniature figured in Plate CIII. of D'Agincourt. 
 
(Emblems* 
 
 129 
 
 the Lion, of St. Mark, in whom is heard the voice of one crying in the desert, Vox clamantis in deserto ; 
 the Calf, of St. Luke, because he begins his Gospel from the account of Zacharias, and the sacerdotal 
 line of St. John the Baptist ; the Eagle, of St. John, because he declares the Divinity of Christ. Sedulius, 
 a priest and poet, who lived in the V. century, says much the same in the following verses : — 
 
 Hoc Matthseus ag-ens, Hominem generaliter implet : 
 Marcus ut alta fremit vox per deserta Leonis : 
 Jura sacerdotis Lucas tenet ore Juvenci : 
 More volans Aquilre Verbo petit astra Johannes. 
 
 This is the interpretation that seems always to have been followed in works of art. St. Augustine 
 seems to prefer another view, not quite obsolete, that the Lion denotes St. Matthew, the Angel, St. 
 Mark, the Calf or winged ox, St. Luke, and the Eagle, St. John. [De concordid Evangel.) St. 
 Ambrose and St. Jerome mention another opinion, not incompatible with the above, that the four beasts 
 represent our Lord : the Man because He was born in the flesh ; the Lion, because His strength is 
 Almighty, and He is called the Lion of the Tribe of Judah ; the Ox, because He is sacrificed for 
 us ; and the Eagle, because He arose and ascended into heaven, and His youth is renewed as an 
 eagle. The order in which these symbols are arranged varies in the most ancient monuments. In 
 the church of St. Sabina at Rome, the 1st place (viz. the dexter side of the beholder) seems to be 
 given to the Eagle, the 2nd to the Lion, the 3rd to the Angel, and the 4th to the Ox. In that of 
 St. Mary, across the Tiber, and that of St. Clement, the 1st place seems given to the Angel, the 
 2nd to the Eagle, the 3rd to the Lion, and the 4th to the Ox. In that of St. Mark, the 1st is the Lion, 
 the 2nd the Ox, the 3rd the Man, and the 4th the Eagle. In that of St. Pudentiana, the 1st is the Lion, 
 the 2nd the Ox, the 3rd the Man, and the 4th the Eagle. In the Oratory of St. Venantius, on the right 
 is a Lion with a Man's face, and an Eagle, each with a Book ; on the left, an Angel and an Ox, each 
 winged, and with a Book. Durandus (speaking of another mode of representing the subject) remarks, 
 that in painting the Vision of Ezechiel and St. John, the ''face of the Man' and the i face of the 
 Lion' are painted on the right, and the c face of the Ox' on the left, while the ' face of the Eagle' is 
 painted above. 
 
 On the above extract from Ciampini we may remark, that as in the Church of St. Mark at Rome, 
 the emblem of that Evangelist seems to have precedence, so it may be proper in churches under the 
 invocation of any of the Evangelists, to give the first place to the emblem of that Evangelist who is the 
 Patron of the church. The four Evangelists are sometimes typified by four rivers, as in an ancient 
 picture in the Church of Nola, of which Paulinus says in some verses, ' Evangelista?, viva Christi 
 flumina.' St. Cyprian also compares the Evangelists with the four rivers of Paradise. The Evangelists are 
 also represented under their proper form, seated in chairs, with scrolls* in their hands, attended by the four 
 animals. See D' Agincourt Histoire de V Art paries Monumens. Tom. ii. p. xlii. There is one example 
 figured also in D' Agincourt, where the Evangelistic Symbols, are represented by four human figures, with 
 the heads only, as described in the Apocalypse ; but this may be regarded as a mere exception, and not 
 to be imitated. 
 
 On the arms of a rich cross, surmounting the ciborium of the high altar of Rheims Cathedral, were 
 the four emblems of the Evangelists enamelled, with the following inscription : — at top : ' Signat 
 avis species, quia viderit alta Johannes :' at bottom : ' Ccepit ab humana Mattheus scribere forma :' 
 on the right : ' Hanc Marcus speciem meruit per Vociferantem :' on the left : ' Mentio Sacrorum Lucam 
 fecit esse Bovinum.' 
 
 * Paquot, in a note to Molanus, says, that when the Evangelists are depicted with the Gospels as emblems; these 
 should be represented not as books but as scrolls, partly unfurled, to distinguish them from Prophets. See Emblems, 
 note. 
 
130 
 
 (ifrorrisik— Jfansu 
 
 <£jN)rris!t» The third of the minor orders, whose principal office it is, accord- 
 ing to the Pontifical, to use the exorcisms of the Church over persons pos- 
 sessed (St. Matt, xviii. 19 ; St. Luke iv. 41. and xi. 14; Acts xix. 12, 
 &c), to bid those who are not communicants give place, at the time of 
 Communion, and to minister water in ecclesiastical functions. For their 
 habits, see Lector. 
 
 Martene de Antiquis Ecclesioe Ritibus, L. i. c. 8. — When an exorcist is ordained, let the Bishop 
 deliver to him a book of exorcisms, saying, " Take this, and commit it to memory, and have power to 
 lay hands on the possessed, whether baptized or catechumens." See the Plates in the Roman Pontifical 
 for the Ordination of an Exorcist. 
 
 Georgius. — Among the Roman clergy, who gave assent to the election of Pope Calixtus II. a.d. 
 1119, are subscribed, after the sub-deacons, the following names: — Vincentius, exorcista ; Johannes, 
 exorcista; Paulus, lector ; Nicolaus, ostiar ius. The prayers for the Ordination of an Exorcist are to be 
 found in the Sacramentary of Gelasius. 
 
 Jfan£, in Latin called Flabella, were used, from a period of high antiquity, to 
 
 guard the Sacred 
 Mysteries and the 
 celebrant from the 
 approach of insects, 
 in countries where 
 these abound. They 
 were made of 
 various materials 
 and enrichment : 
 sometimes of fea- 
 thers, at others of 
 linen, which latter 
 were of a circular 
 form and folded up, 
 and were affixed to 
 
 handles of ivory or metal, richly chased and ornamented. 
 These fans were carried by the Deacon of the Mass, who 
 stood at the gospel side of the altar : as may be seen from 
 the engraving of an initial letter from a pontifical formerly 
 belonging to the cathedral at Rheims, given in the margin. 
 The use of these sacred fans is often referred to by the Fathers 
 of the Greek Church, and in the most ancient Liturgies. 
 
 The Liturgy of St. Chrysostom, says of the Deacon : " Then he communicates 
 on the right, and fans carefully over the Sacred Species with the fan : but if he 
 has not a fan, he does this with his veil." And the Greek Euchologium, in 
 
jfanoru— jfhttorp. 
 
 J31 
 
 the Ordination of a Deacon, directs that the newly Ordained proceed forthwith to execute this function 
 of his office, in the same Mass. ft And after the ' Amen' he places on the newly ordained the stole, and 
 embracing him, gives him the holy fan, and places him on the right side of the Holy Table, to fan over the 
 consecrated Elements." 
 
 JfaitOtt* This word, when occurring in old English inventories, signifies a 
 Maniple. 
 
 '<■ Inventori/e of chyrch goodes belonging to the Church of S. Mary Hill, London, a.d. 1486. — Item, a 
 chasyble of clothe of golde. . . . and amytts and albe, stole and fanon, and a gyrdyll of sylke .. . . Item, a 
 sewte of rede clothe of lukis (Lucca) golde, containing a coape, with a cheasible, 2 tonykles, 3 aulbes, 
 3 amytts, 3 stoles, 3 fanons, and 3 gyrdills." — Xichols's Records. 
 
 Mabillon in his notes on the Life of S. Wiborada V. and M. observes that the word fanon 
 has three significations. 1. It means a napkin [mappula] of any sort. 2. It means the sacred vestment 
 otherwise called the maniple or sudarium. 3. It means a corporal. 
 
 St. Angilbert, Abbot of Centule, a.d. 800, gave many sacred ornaments to three churches built by the 
 Monastery, and among other things, five stoles, adorned with gold and ten fanons, (or maniples) of precious 
 stuff, adorned with gold. St. Ansegisus, Abbot of Fontenelle, who died a.d. 835, gave to the Monastery 
 of Fontenelle various ecclesiastical vestments, and among others, two rich fanons (i. e. maniples), &c. 
 
 Georgius says that the fanon or phanon worn by the Pope, is the same as the orale, and is a veil of 
 four colours in stripes, which is put on after the girdle, and turned back over the head, till the chasuble 
 is put on, after which it is brought down over the shoulders and breast. — Georgius, lib. I. c. xviii. 
 
 tfttt Of OUT £m'&* See the Emblems of the Five Wounds of our Lord, 
 Plate lxix. 
 
 It is to be observed that the feet of our Blessed Lord, and also those of the Apostles, and of Angels, 
 should be represented naked, without shoes or sandals. 
 
 Jftretorp in its strict sense signifies a Bier, but as the Shrines containing the 
 sacred reliques of the Saints were frequently carried in solemn pro- 
 cession, the Shrines themselves in course of time became thus designated. 
 
 Raised Shrines in churches, like that of St. Edward, at Westminster, were also called Feretories. 
 The use of Feretra, or portable shrines is exceedingly ancient ;* we have abundant testimony of their use 
 in the Anglo-Saxon church, both by record and representation. They are mentioned in the life of 
 St. Adelard, who flourished in the eighth century ; and there is little doubt of their having been used 
 long previous. The solemn translation of the Reliques of SS. Gervasius and Protasius took 
 place in the fourth century ; and that the bodies were placed on Feretra or biers is certain, as the 
 signal miracle of the blind man receiving his sight, of which St. Augustine testifies, was accomplished 
 by his touching the bier, as it passed along ; but whether the sacred remains were enclosed in shrines 
 or not is quite uncertain. The type of a Feretory is a coffin ; and those which are of the most ancient 
 form are simply a chest with a ridged top, like a roof, generally ornamented by pierced work or 
 
 * The Reliques of the Saints were borne in solemn procession round the church, and also in the city, on the 
 anniversaries of their festivals ; also carried in times of public calamity, such as pestilence, with litanies and supplications; 
 on the rotation clays and other solemn occasions. " Item,unurn Feretrum ligneum, pro BogationibUB, cum duabus costis 
 de serico et platis argenteis, et ayinellatis, et deauratis, cum armis diversorum." Inventory of St. George s Chapel, 
 Win dso r . — Dttffd <d< : s MonasUcon. 
 
132 
 
 jfmtorp. 
 
 cresting, with the top and 
 sides engraved and ena- 
 melled. This shape was 
 always retained, for the 
 richest examples of portable 
 Shrines, executed in the 
 fourteenth and fifteenth 
 centuries, are all constructed 
 of the same form, but covered 
 with ornaments and images 
 in high relief, as shewn in 
 the cut, surmounted by 
 pinnacles or small spires, of 
 delicate detail. 
 
 Feretories were made of 
 various materials. 1. Of 
 solid gold and silver, adorned 
 with jewels.* 2. Of wood, 
 overlaid with plates of the 
 precious metals.f 3. Of cop- 
 per, gilt and enamelled. J 
 4. Of wood, richly painted 
 and gilt ; sometimes set with 
 crystals. § 5. Of ivory, 
 mounted in metal, gilt.|| 
 6. Of crystal, mounted in 
 metal, gilt.^f 7- Of wood, 
 covered with precious stuffs 
 and embroidery.** 
 
 Feretories were reserved 
 in churches in the follow- 
 ing different positions : — 1. 
 Under the altar. See Plate ; 
 also, the account of the shrines under the altar of Bayeux Cathedral, given below. 2. Over the altar, on a 
 beam, as over the ancient High Altar of Canterbury Cathedral. 3. Round the Choir, as formerly 
 at Canterbury, and still at Winchester, Church of St. Remi, at Rheims, &c. 4. Raised on stone or 
 wood work of elaborate design, as formerly at Durham, St. Alban's, Canterbury, and still at Westminster. 
 
 * Item, Feretrum Willielmi Episcopi totum argenteum, etc. 
 
 t Feretrum S. Laurentii portatile ligneum, coopertum plateis argenteis. 
 
 | Una parva cistula gravata de cupro. 
 
 § An exquisitely wrought wooden Feretory, painted by Hemlinck, with the life of St. Ursula, is still preserved at the 
 Hospital of St. John, at Bruges. 
 
 || Capsula eburnea, etc. H Feretrum christallinum — ornatum platis argenteis, etc. 
 
 ** Una capsa, cooperta cum blavio serico, operata cum imagine sancti agni et le pelican, facta cum parvula alba, in 
 qua continentur multte reliquiae Sanctorum. — Inventory of Old St. Paul's. 
 
133 
 
 Feretra, or portable shrines, which were under the High Altar of Bayeux Cathedral, previous to the 
 pillage of that Church by the Huguenots, in 1563, from an old inventory made in 1476 : — " La Chase de 
 Saint Ravend et Saint Rasiph, laquelle contenoit les corps precieux de ces Saints Martyrs, elle etoit par 
 le derriere d' argent dore ou travaille en martelure : le devant, les deux bouts et le haut etoient de fin or, 
 charge d'Images en bosse aussi d'or, enrichis de grands et riches emaux et de pierres precieuses de 
 plusieurs sortes : elle etoit soutenue de quatre pieds de cuivre dore en facon de-pieds d'aigle. 
 
 2. La Chase de Saint Pantaleon, qui renfermoit le corps de ce glorieux Martyr etoit toute d'argent 
 dore, chargee d'images elevees, enrichies de tous cotes de saphirs, perles et autres pierres precieuses de 
 diverses sortes : a l'un des bouts etoit l'image du Saint Sauveur, et a. l'autre une image de Notre Dame, 
 qui avoit un beau saphir environne de trois perles et autres petites pierreries, et a un des cotes au milieu 
 etoit l'image de Notre Seigneur qui avoit un tres beau et riche saphir en sa poitrine : elle etoit portee 
 sur quatre lions et deux serpens de cuivre dore. 
 
 3. La Chase de Saint Antonin contenoit le corps de ce saint Martyr, faite asses nouvellement, et 
 d'une tres belle facon, elle etoit toute d'argent dore, chargee d'images an basse, ornee aux chapiteaux 
 de grosses perles et par tous les bords de beaux emaux, et de gros saphirs de grosses grenades, de 
 grosses perles et d' autres pierres precieuses : a l'un des bouts il y avoit un tres-gros saphir, et a l'autre 
 une tres-grosse grenade ; et au dessus de la Chase une espece de tour d'argent dore ; portee sur quatre 
 lions de cuivre dore, placees sur une table couverte entre les lions, et par les bords d'argent dore. 
 
 4. La Chase de Seint Regnobert, renfermoit le corps de ce saint Eveque de Bayeux, elle etoit toute 
 d'argent dore ; au haut d'un des cotes etoit l'image de Notre Seigneur qui avoit en sa poitrine un gros 
 saphir : tout ce cote et les deux bouts charges d'images d'Eveques en bosse, ornes de pierres precieuses, 
 l'autre cote qui etoit sans images, avoit au milieu un gros beril rond, autour duquel etoient ecrits deux 
 Vers qui commencent par ces mots : Custodis manus, et au dessus au milieu etoit attache un autre 
 gros beril rond par quatre barres d'argent dore. Cette Chase etoit portee sur quatre pieds de cuivre 
 dore en forme de pieds de loup." — Beziers, Histoire de la Ville de Bayeux. 
 
 The Abbot Guillaume of St. Germain at Paris, in 1408, caused a most sumptuous Feretrum, or 
 shrine, to be made for the holy Reliques of St. Germanus. In form it resembled the nave of a church, 
 not dissimilar to the cut given above. The body of the shrine was covered with plates of gold; the 
 relieved work in silver gilt ; on the sides were images of the twelve Apostles ; at one end, under a most 
 elaborate niche, the most Holy Trinity was represented ; and on the opposite end St. Germanus, clothed 
 in his pontifical habits, and seated on a throne, with St. Vincent and St. Stephen, patrons of the abbey, 
 habited as deacons. This shrine was 2 feet 10 inches long (French measure), and about 2 feet high. 
 The whole rested on six images of men, in copper gilt, who held scrolls, on which several Latin verses 
 were inscribed, in memory of those who contributed to this pious work. To give a correct idea of the 
 manner in which these shrines were made, and of the value of the materials employed, I have given a 
 transcript of the original agreement with tbe goldsmiths, printed by Dom Bouillart, in his history of the 
 Abbey.* 
 
 * Marche fait avec les Orfevres pour la Chasse de S. Germain. A tous ceux qui ces lettres verront, Guillaume par 
 la permission divine humble abbe de l'eglise de S. Germain des Prez les Paris, et tout le couvent de ce meme lieu, salut 
 en Notre-Seigneur. Savoit faisons que nous d'un commun accord et consentement, et pour le clair et evident profit de 
 nous et denotre eglise, confessons avoir fait marchie et convenances a Jean de Clichi, Gautier du Four et Guillaume 
 Boey orfevres demeurans a Paris, de faire une chasse d'or et d'argent, ou sera mis au plaisir de Dieu le corps de 
 Monsieur saint Germain. Laquelle chasse aux deux pieds et demi et quatre pouces de long, et de hauteur et largeur 
 telle comme il appartient a la longueur dessus-dite ; et laquelle chasse sera de la maniere, facon et telles que lesdits 
 orfevres nous ont bailie la pourtraiture et patron. Item, la haute et la basse couverture de ladite chasse sera faite d'or 
 a fleurs de lys enlevees de l'or qui est en la chasse ou est a present le corps de mondit sieur S. Germain. Item, la 
 pierrerie qui est en ladite chasse ou repose a present le corps dudit Monsieur saint Germain, sera otee et sera mise et 
 
134 
 
 tfmtovy. 
 
 At Rouen was a famous Shrine, which contained the Reliques of St. Romanus. This was commonly 
 called La Fierte de St. Romain ; it was solemnly carried in the annual procession at the deliverance of a 
 prisoner condemned to death, an ancient privilege possessed by the chapter, and which is mentioned in 
 
 employee par lesdits orfevres en iadite cMsse qu'ils nous doivent es lieux et en la rneilleure maniere que faire se pourra 
 au profit de la dite chasse. Item, les images et les grand pilliers et les pilliers boutteres, les chapiteaux, les hotteaux 
 et formes de verrieres, les claires voies et le clochier et tout ce qui appartient a ladite chasse seront d'argent dore bien 
 et souffisament au regard de For au dire d'orfevres et gens a ce connoissans. Reserve toutes voies les images qui soutien- 
 dront ladite chasse qui seront de cuivre bien dore d'or bien et souffisarnent et aussi reserve le fonds de ladite chasse qui 
 sera d'argent tout blanc, et laquelle chasse lesdits orfevres nous seront tenus et promettent faire du poids de cent 
 cinquante marcs d'argent, ence non comprisle fonds d'icelle chasse qui seront d'argent blanc, comme dit est, et ou cas que 
 ladite chasse peseroit plus, non compris ledit fonds, que cent et cinquante marcs d'argent, nous ne serons tenus de payer 
 aucune chose du surplus de l'or et facon dudit surplus, fors seulement la valeur de l'argent d'icelui surplus. Item, que 
 quand les ouvrages de ladite chasse seront faits, lesdits orfevres seront tenus de les dorer bien et souffisament comme il 
 appartient; et iceux ouvrages regardez et visitez par orfevres et gens souffisament et en ce connoissans. Et s'il y a 
 faute en la dorure, lesdits orfevres seront tenus de les redorer. Et aussi seront tenus un chacun pour le tout de ouvrer 
 en icelle chasse bien et deuement en personne des maintenant jusques a ce que ladite chasse soit faite et parfaite. Et 
 pour ce faire seront tenus de leur bailler l'or et l'argent que a ce faire appartiendra. Et si seront tenus lesdits orfevres 
 et chacun pour le tout de nous rendre ladite chasse faite et parfaite bien et souffisament et bien doree par la maniere 
 dessus dedans le saint Vincent prochainement venant. Et aussi serent tenus de leur querir et livrer en notredite 
 eglise lien bon, seur et convenable pour faire ladite chasse, et leur payer pour chacun marc d'or qu'ils mettront en ceuvre 
 pour faeon seulement six ecus d'or a la courronne de 18. s. par la piece; et par chacun marc d'argent qu'iceux orfevres 
 livreront, pour argent, or et facon seront tenus de payer douze ecus d'or de ladite monnoye Pour chacun marc d'argent 
 blanc, dont le fonds de ladite chasse sera fait, sept ecus d'or de ladite valeur. Et pour chacun marc de cuivre, dont les 
 images qui soutiendront lsed. chasse seront faites, pour cuivre, or et facon quatre ecus d'or. Lesquels prix nous serons 
 tenus payer auxdits orfevres aussi et toute pour la forme et maniere qu'ils le counnenceront et deserviront en ladite 
 besogne. Et si seront tenus a eux et a leurs gens et aydes en faisant ladite chasse de leur querir leurs depens par la 
 maniere qui s'ensuit. C'est a, savoir pour chacun jour qu'ils vaqueront en ladite besogne, et tant a jour ouvrables 
 comme fetes et dimanches, il leur sera bailie etlivre a dejeuner ou boire a matin a deux personnes un pain de couvent et 
 une peinte de vin. A l'heure de disner a deux personnes deux pains de couvent, une peinte de vin et une piece de chair 
 de buef ou de mouton de quatre ou quartier de mouton et le buef a la vallue et du pottage bien et souffisament, et au souper 
 pareillement comme au disner. Et aux jours que Ten ne mangera point de chair, nous baillerons a chacune personne 
 trois oefs ou deux harens pour pitance et du potage a disner ; et au souper a chacune personne deux cefs ou un harentet 
 un fourmage pour toute la semaine, tels que nous avons. Et aussi seront tenus de leur bailler buches bien et convena- 
 blement pour eux chauffer, chandelle pour eux coucheret souper bien et convenablement, quand ils en auront necessite 
 Avec ce seront tenus de leur bailler et livrer un bon coffre en lieu seur comme dessus, ou seront mises les parties et 
 ouvrages de ladite chasse bien et seurement. Auquel coffre aura deux clefs, dont lesdits orfevres en auront l'une et 
 nous l'autre. Toutesvoies si ladite chasse n etoit faite et parfaite dedans ladite fete saint Vincent prochainement, 
 venant nous ne serons tenus de querer auxdits orfevres aucuns depens de-la en avant s'il ne nous plaist, si ainsi n'etoit 
 que la faute fust ou soit venue de par nous. Si promettons en bonne foy et sur l'obligation des biens de nous et de notre- 
 dite eglise avoir agreable et tenir firme et stable ce present marchie, convenances, promesses, et tout le contenu en ces 
 lettres, les enterriner et accomplir de point en point selon ce que dessus est dit et non venir coutre jamais a nul jour 
 par quelque voye que ce soit. En temoin de ce nous avons fait mettre nos sceaux a ces presentes lettres le dix-huitieme 
 jour du mois de Fevrier Pan mil quatre cens huit. 
 
 Obligation des Orfevres.— Je Gaultier du Four et Jean de Clichy et Guillaume Boey, confessons avoir eu et recu de 
 Monsieur l'Abbe de saint Germain, present, le quint Prieur nomine Pierre Hachette et Jean de la Crute Chevecier et 
 Michel Prevot tresorier et Messire Regnaut Denis et Messire Bontet de la Budiniere ; c'est asscavoir 101 saphir; item, 
 140 esmeraudes entieres, et des despessees 35, qui font en somme cent soixcante et quinze pieces ; item, 47 garnats entieres 
 et quatres pieces, qui font en somme cinquante et un garnats. Item, 25 amatistes ; item, 30 cassidoines ; item, 
 220 perles ; item, una petite croix d'or ou il y a des reliques ; item, 26 marcs 2 onces 12 estrelins d'or, pareil a une piece 
 d'or que ledit Monsieur l'Abbe a par devers lui; item, d'argent a ouvrer tout net sept marcs cinq onces oinq estrelins 
 Tesmoins nos noms mis en cette cedule le 20. jour d'Aoust, 1409. J. de Clichy Gaultier du Four. G. Boey. 
 
 From the Inventory of Old St. Paul's.— Feretium S. Laurentii portatile ligneum, coopertum platis argenteis, cum 
 
#rotorp* 
 
 135 
 
 this work under Gargoyle. The account of this custom, as given by De Moleon, is so interesting, 
 that I have given it in the accompanying note.* 
 
 Antiquities of Durham Abbey, p. 8. — St. Cuthbert's Feretory. < c Next to these nine altars was the 
 goodly Monument of St. Cuthbert, adjoining to the Quire, having the High Altar on the west, and 
 
 ymaginibus magnis levati operis argenteis deauratis, cum quatuor Annulis aureis affixis, et uno Marbodino, et duobus 
 obolis de Marchia aureis, similiter affixis cum crestis, et duobus pomellis pulcris argenteis deauratis, de opere pineato : 
 et in eo continetur Feretrum cristallinum cum duabus costis S. Laurentii, ornatum platis argenteis, et crestis argenteis, 
 deauratis, continentibus decern camahutos et alios lapides et perlas : et basis fundatur super quatuor Leones, et deficiunt 
 quinq ; lapilli,etpars crestse in uno angulo tam majoris Feretri quam minoris. Et illud Feretrum cristallinum comparavit 
 Godefridus de Wcseham pro L. marcis. — Item, Feretrum Ricardi Episcopi tertii, ligneum portatile, undiq ; opertum platis 
 argenteis deauratis, cum ymaginibus undiq ; expressie ornatis que grossis lapidibus et perlis ; sed deficiunt lapides tam 
 majores quam minores, et perlse iv. xx. xii. et reponuntur in eodum capillce beataj Marice, et multae alise in capsulis 
 variis. —Item, Feretrum S. Athelberti ligneum portatile, totum platis argenteis spissis opertum cum lapidibus insertis 
 cum cresta etcirculis triforiatis ; et affiguntur in una parte x oboli de Marchia, etduo annuli aurei ; et deficiunt lapides 
 cum karolis LI. Fuerunt adhuc inventi in eodem CII. lapides et continentur in eadem diversfe reliquiae multorun Sanc- 
 torum Item, Feretrum cristallinum ornatum platis argenteis triforiatis, cum lapidibus insertis, et xii ymaginibus 
 
 levati operis, fundatum super quatuor Leones continens multas Reliquias. Et Feretrum illud dedit Radiifus Dojoun, et 
 cresta fracta est per quinq : loca, et similiter una columpna lateralis, et reponuntur in eodem inultae Reliquiae pretiosae. 
 — Rugdalc's History of St. Paul's. 
 
 Feretra, in the Inventory of Lincoln Minster. — Imprimis one great Feretrum, silver and gilt, with one cross isle, 
 and one steeple in the middle, and one cross on the top, with twenty pinnacles, and an image of our Lady in one end, having 
 in length half a yard and one inch ; and in it is set a table of wood, and a thing in the middle to put in the Sacrament 
 when it is borne, weighing three hundred forty and one ounces, of the gift of John Westbome, treasurer, wanting a 
 pinnacle. Item, one Feretrum, silver and gilt, standing upon four pillars, with one plain foot, with one steeple in the 
 height of the covering, ornate with red stones, and a round beryl in the other end, containing the finger of S. Katherine, 
 in a long purse, ornate with pearls, weighing thirteen ounces, wanting a pillar. — DugdaWs Monasticon. 
 
 * Procession pour la delivrance d'un Criminel le jour de V Ascension de notre Seigneur. C'est un des plus beaux 
 droits del'Eglise de Rouen que le pouvoir qu'elle a de delivrer un criminel et tous ses complices tous les ans au jour de 
 l'Ascension : ce qui attire dans la ville un tres-grand nombre de personnes qui veulent voir cette ceremonie. S'ils 
 veulent satisfaire entierement leur curiosite, il faut qu'ils aillent sur les neuf ou dix heures du matin a la grande Salle 
 du Parlement par le grand escalier qui est dans la Cour du Palais. lis verront au bout de cette Salle une petite 
 Chapelle fort propre oil le Cure de S. L6 celebre une Messe solennelle chantee avec Orgues et la Musique de l'Eglise 
 Cathedrale avec les douze Enfans de choeur : a laquelle assistent tous Messieurs les Presidens et Conseillers du Parlement 
 revetus de robes rouges. II faut y remarquer les reverences qu'ils font a l'Otfrnnde. Apres la Messe ils vont dans la 
 grande Chambre doree, ou on leur sert magnifiquenient a diner vers midi. Apres leur diner, c'est a dire sur les deux 
 heures apres midi, le Chapelain de la Confrerie de S. Roinain vaen surplis aumusse et bonnet quarre presenter en grand 
 Chambre de la part de Messieurs du Chapitre de l'Eglise Cathedrale le billet de l'election qu'ils ontfaite d'un prisonnier 
 detenu pour crime (hors ceux de leze-Majeste et de guet a pens). Ce qui ayant ete examine, le prisonnier oui et 
 interroge (son proces instruit et rapporte) est condamne au supplice que merite son crime. Puis en vertu du privilege 
 accorde en consideration de S. Romain, sa grace lui est donnee, et il estdelivre entre les mains du dit Chapelain qui con- 
 duit le criminel tete nue a la place de la vieille Tour, ou la Procession etant arrivee, TArcheveque assiste du Celebrant, 
 du Diacreetdu Soudiacre et de quelques Chanoines, monte au haut du perron avec eux et avec les deux Pretres qui 
 portent la Fierte ou Chasse de S. Romain, laquelle etant posee sous 1'arcade sur une table decemment ornee, l'Archeveque 
 ou a son defaut le Chanoine officiant fait une exhortation au criminel qui est a genoux tete nue, lui represente l'horreur 
 de son crime, et l'obligation qu'ilaa Dieueta S. Romain par les merites duquel il est delivre: apres quoi il lui commande 
 de dire le Confiteor, puis il lui met la main sur la tete et dit le Misereatur et V Indulgcntiam ; ensuite de quoi il lui fait 
 inettre ses epaules sous un bout de la chasse, et etant ainsi a genoux la lui fait un peu elever. Aussitot on lui met une 
 couronne de fleurs blanches sur la tete ; apres quoi la Procession retourne a l'Eglise Notre Dame dans la meme ordre 
 qu'elle est venue, le prisonnier portant la chasse par le parte anterieure. Aussitot que la Procession est rentree dans 
 l'Eglise, etque le criminel a pose la chasse surle grand Autel, on dit la grande Messe quelque tard qu'il soit, quelquefois 
 a cinq ou six heures du soir. L'Archeveque fait encore au prisonnier une petite exhortation, et il est conduit devant les 
 Dignites et au Chapitre ou on lui fait encore une exhortation, et de la on le mene a la Chapelle de S. Romain, oil il 
 
136 
 
 #tvttov\>. 
 
 reaching towards the nine altars on the east, and towards the north and south containing the breadth of 
 the Quire in Quadrant form ; in the midst whereof, his sacred Shrine was exalted with most curious 
 workmanship, of fine and costly green marble, all limned and gilt with gold, having four seats or places 
 convenient underneath the Shrine, for the pilgrims or lame men, sitting on their knees to lean and rest 
 on, in the time of their devout offerings and fervent prayers to God and holy St. Cuthbert, for his 
 miraculous relief and succour, which being never wanting, made the Shrine to be so richly invested, 
 that it was esteemed to be one of the most sumptuous Monuments in all JZngland, so great were the 
 offerings and jewels bestowed upon it ; and no less the Miracles that were done by it, even in these 
 latter days, as is more apparent in the history of the Church at large. At the west end of this Shrine of 
 St. Cuthbert was a little Altar adjoining to it for Mass to be said on, only upon the great and holy 
 Feast of St Cuthbert's Day in Lent; at which solemnity the Prior and the whole Convent did keep 
 open household in the Fraterhouse, and dined all together on that day, and on no day else in the year. 
 And at this Feast, and certain other Festival Days, in time of Divine Service, they were accustomed to 
 draw up the cover of St. Cuthbert's Shrine, being of Wainscot, whereunto was fastened unto every 
 corner of the said cover, to a loop of iron, a very strong cord, which cords were all fastened together at 
 the end, over the midst of the cover, and a strong rope was fastened unto the loops or binding of the said 
 cords ; which rope did run up and down in a pulley under the vault, over St. Cuthbert's Feretory, for the 
 drawing up of the cover of St. Cuthbert's Shrine ; and the said rope was fastened unto a loop of iron to 
 the north pillar of the Feretory, having six very fine sounding silver bells fastened to the said rope, 
 which, at the drawing up of the cover, made such a goodly sound, that it stirred all the people's hearts 
 that were within the Church to repair unto it, and to make their prayers to God, and that holy man St. 
 Cuthbert ; and that the beholders might see the glory and ornaments thereof. Also the said cover had 
 at every corner two hoops of iron made fast to every corner of the said cover, which did run up and 
 down on four round staves of iron, when it was drawing, which were made fast in every corner of the 
 marble stone that St. Cuthbert's Coffin did lie upon ; which said cover on the outside was very finely 
 and artificially gilded. And also on either side of the said cover were painted four lively images, curiously 
 wrought, and miraculous to all beholders thereof. And on the east end was painted the picture of our 
 Saviour sitting on the Rainbow to give J udgment, very artificially and lively to behold ; and on the 
 west end of the said cover was the picture of our Lady, and the picture of Christ on her knee : and on 
 the height of the said cover, from end to end, was a most fine brattishing of carved work cut throughout 
 with dragons, fowls, and beasts, most artificially wrought and set forth to the beholders, varnished 
 and coloured with a most fine sanguine colour, that the beholders might see all the glory and ornaments 
 thereof, and at every corner of the said cover there was a lock to lock it down, from opening and drawing 
 it up." 
 
 Page 48. St. Bede's Feretory. — " There was on the south side, between two pillars, a beautiful 
 Monument of blue marble, a yard high, supported by five pillars, one at every corner and the fifth 
 under the middle ; and above the said marble stone and pillars stood a Shrine, second to St. Cuthbert's, 
 wherein the bones of that holy man, St. Bede, were enshrined. It used to be taken down every Festival 
 Day, when there was any solemn Profession, and carried by four monks in time of Procession and 
 Divine Service ; which being ended, they conveyed it again into the Galiley, and set it upon the said 
 Tomb, which had a cover of wainscot, curiously gilt, and made to draw up and down over the Shrine, 
 
 entend la Messe. Ensuite il est conduit k la Vicomte de l'Eau, ou on lui donne la collation, et de la chez le Maitre de 
 la Confrerie de S. Romain, ou il soupe et couche. Le lendeinain sur les huit heures du matin le criminel est conduit 
 par le Chapelain dans le Chapitre,ou le Penitencier ou un autre Chanoine lui fait encore une exhortation, puis l'entend 
 de confession ; et on lui fait preter serment sur le livre des Evangiles, qu'il aidera de ses armes Messieurs du Chapitre, 
 quand il en sera requis : apres quoi on le renvoye libre. 
 
/ 
 
 137 
 
 when they pleased to show the sumptuousness thereof. And for a confirmation of the truth of this 
 account of St. Bedels Shrine, it is not improper to transcribe the following verses from the ancient 
 History, which discovers both the time of his Translation from St. Cuthbert's tomb, and the maker and 
 founder of the Shrine in the Galiley. Hugh, Bishop of Durham, having finished the Chapel called the 
 Galiley, caused a Feretory of gold and silver to be made, wherein were deposited the bones of Venerable 
 Bede, translated and removed from St. Cuthbert's Shrine. In the lower part of the first work, the 
 following Latin verses were engraven : — 
 
 Continet hrec Theca Bedae venerabilis ossa, 
 Sensura factori Christus dedit atque datori : 
 Petrus opus fecit, Praesul dedit hoc Hugo donum : 
 Sic in utroque suum veneratus uterque Patrouuin. 
 
 This Coffin doth contain the Bones of venerable Bede, 
 Christ to the Maker Sense did give, and to the Giver Gold : 
 One Peter fram'd the work, the Cost Bishop Hugh, paid : 
 So Peter and Hugh, Patrons both, St. Bede inclosed in Mold.* 
 
 There are several very fine examples of ancient Feretra still remaining at Aix la Chapelle. 
 The word Feretory is also sometimes applied to a portable frame for solemn Processions, as in the 
 following extract. 
 
 " Item, I bequethe to the seyd chirch of Seynt George, a solempnitie of array for the Fest of Corpus 
 Christi, oon partie wrought in the plate, of silver, and over-gilt : and the other in tymbre, to be borne 
 between the deacon and subdeacon : the tymbre is peynted, and over-gilt with fyne gold. And, for every 
 Sign of the Passion, an aungel berynge the Sign of the Crosse, and of the Crown of Thornes : another 
 aungel beyring the Pillar and the Scourges ; another aungel beyryng the Spere and the Sponge ; another 
 aungel beyryng the remnant of the Signs of the Passion ; and, in the middle of the feretorye, a gret 
 round black cover ; and one peynted with gold and asure, and peynted with sterres of gold, in the middel 
 of that round block, for a great coupe, of silver, and over-gilt, to stande on, upon a pynne of tre. And, 
 in the seyd coupe, a litel box of sylver, and over-gilt, to put in the Sacrament. This gret coupe, and the 
 litel together, first to be set upon the gret block of tre, with a gret croun of sylver, and over-gilt, 
 garnished with stones, clepyd dublets, redde, blue, grene, and yellowe, garnished wyth counterfeyt 
 perles made of silver ; the croun of the weight of C 9 . This croun fyrst to be set upon the gret round blok 
 of tre, and thanne upon the pynne standying in the said blok. The said coupe to be crouned withoute, 
 wyth a small croune, ordeyned redy therefore. Item, I bequethe to the seyd feretorye, a tabernacle 
 wele wrought of silver, and over-gilt, of the weight of one marc, or thereabouts, goyng wyth a byll to be 
 set high upon the coupe. And above, upon the poynt of the seyd tabernacle a litel crosse of silver, and 
 over-gilt, goyng also by a vice. All this plate that longeth to the Feste (that is to say, of Corpus Christi) 
 yf myn executors samyn that yt should be in more sure garde of the parishors of the chirch of oure 
 Lady of Staunford ; Y would yt shuld rest and abyde in the garde of them, and wythyn theire tresour. 
 And atte the daye of the Fest of Corpus Christi, to follow the Sacrement of the seyd chirch of our Lady, 
 yf it plese the paryshors of the seyd chirch of our Lady, onlesse that they wil have yt serve for both. 
 From the Will of Sir W. Bruges, Garter King at Arms, 1449.'' — Nichols's Illustrations of Antient 
 Times, p. 133. 
 
 * The translation is false. The literal meaning- of the lines is — "This shrine contains the bones of venerable Bede. 
 Christ gave, both to the maker and to the giver, wisdom: Peter made, aud Bishop Hugh presented it ; thus each, by 
 his act, honoured his own Patron." 
 
 T 
 
 In English thus : — 
 
138 
 
 jflotoersu 
 
 Jfi'sfl) are in general emblems of Chastity. 
 
 Fishes are often found delineated on the tombs of the Roman catacombs; but these must not be 
 always considered as religious symbols, as they were frequently introduced to indicate the occupation of 
 the deceased. A Fish is a very ancient symbol of our Lord. St. Prosper of Aquitain, speaking of our 
 Lord, says : Dei Alius salvator Piscis in sua Passione decoctus, cujus ex interioribus remediis quotidie 
 illuminamur et pascimur. St. Augustine considers the fish caught by Tobit as symbolical of our 
 Blessed Saviour : Est christus piscis ille qui ad Tobiam ascendit de flumine vivus, cujus jecore per 
 Passionem per assato fugatus est diabolus. St. Peter was called by our Lord a fisher of men ; and the 
 faithful were sometimes represented by fish, with reference to the waters of Baptism, in which they were 
 born: and fish were therefore often carved on Baptismal Fonts. (See Vesica Piscis.) 
 
 have been constantly used in the Church as emblems of Joy and 
 Festivity ; and also as symbols of Love and Devotion towards the Saints 
 and Martyrs; whose manifold graces and virtues are shadowed forth in 
 their rich variety of hue and odour. 
 
 Fortunatus, Bishop of Poictiers, who flourished in the sixth century, has commemorated the custom 
 that prevailed at that period, of hanging flowers in crowns and garlands over the altars. 
 
 Texistis variis altaria festa coronis, 
 Pingitur ut filis floribus aranovis. 
 
 They were also suspended round the walls of churches. This is mentioned by S. Gregory of Tours, 
 who relates that the Priest S. Severinus had attached lilies to the walls of one the churches he had 
 built : Solitus erat flores liliorum tempore quo nascuntur colligere, ac per parietes hujus aedis appendere. 
 The pavements of the churches were occasionally strewed with flowers and leaves from a very early 
 period. St. Paulinus says : — 
 
 Ferte Deo pnerilaudem, pia solvite vota ; 
 Sparg'ite flore solum ; prsetexite limina sertis : 
 Purpureum ver spiret hiems : sit floreus annus 
 Ante diem : sancto cedat natura diei.* 
 
 This was also practised in the English Church, and is still kept in the continental churches on Festivals. 
 Flowers were strewed or placed on the tombs of the Martyrs. St. Augustine in his treatise e De Civitate 
 Dei,' mentions that a noble person of the name of Martial, in the city of Calama, in Africa, was miracu- 
 lously converted by the application of a Flower taken from the tomb of St. Stephen. Flowers were also 
 worn as chaplets or garlands by the assistant Clergy (See Garlands,) and offered through devotion 
 before shrines and images, especially those of our Blessed Lady. The custom of decorating churches 
 with flowers and branches is not only most ancient, but it is truly admirable, as proceeding from the 
 beautiful principle of making all the creatures of God contribute in their season to increase the 
 solemnities of his worship. ' Benedicite universa germinantia in terra Domino !' — ' All things that bud 
 forth on the earth, bless ye the Lord !' It should however be remarked, that each quarter of the year, 
 in succession, produces a fresh variety for this purpose ; nor less beautiful is the red-berried holly, fresh 
 and bristly, among the tapers of a Christmas night, than the roses of the Assumption. While Nature 
 then supplies the richest stores for each succeeding festival, how monstrous is the modern practice of 
 resorting to paper leaves and tinsel flowers, standing like faded trumpery throughout the year, a mockery 
 and a disgrace to the sacred edifices where they are suffered to remain. The English churches were 
 
 * See Thiers, Histoire des Autels, chap x. 
 
139 
 
 decorated several times in the course of the year. There are mentioned in the old parish accounts, S. 
 Mary Outwich, London: — 1524. Item, for byrch at Midsomer, ij' 1 . Item, for holly and ivy at 
 Chrystmas, ij d . 1525. Paid for korks, flowers, and yow, ij d . Paid for brome ageynst Ester, i d . Paid 
 for byrche and bromys at Midsomer, iii d . Paid for rose garlands on Corp 9 . Xti daye, vi d . The custom 
 of decorating the English parish churches at Christmas and Whitsuntide is still retained in many towns 
 and villages. 
 
 Jfuttt* The vessel containing the hallowed water for administering Baptism. 
 
 Fonts were originally placed in Baptisteries, outside Churches ; but the discipline of baptizing by 
 immersion having been changed for that of baptizing by affusion of the water, the Fonts were reduced 
 in dimensions, and placed inside, and near the doors of churches. 
 
 The chief forms of Fonts are round, square, and octagonal ; but the latter shape may be regarded 
 as the most appropriate. They have been made of various materials : as stone, marble, lead, and brass ; 
 though they are most commonly of stone, lined with lead. Of ancient brass Fonts very interesting 
 examples are to be found at St. Sebald's, at Nuremberg ; the Dome, at Mayence ; the Cathedral, 
 at Louvain ; the Church of Leau, in Flanders ; St. Mary, of the Capitol, at Cologne ; and the Church 
 of Hal, near Brussels. At this last place, the small Baptistery in which the Font is placed at the 
 south-west angle of the church, is provided with an ambry for the Holy Oils, a desk and drawer for the 
 Baptismal Register, and a small lectern to support the Ritual. 
 
 Every Font must be provided with a cover, secured by a lock, in order to secure the Baptismal 
 water from profanation, or the danger of being applied to superstitious purposes. These covers, if 
 enriched and carried up to any height, form canopies, of various beauty and magnificence. Above 
 several of the Fonts above-mentioned are canopies of brass, which are suspended from elaborately 
 wrought iron brackets, fixed to the wall, and are raised by an ingenious mechanical contrivance of 
 levers, attached to the same. 
 
 In England the counties most celebrated for their Fonts, are Norfolk and Suffolk. At St. John's, 
 Madder Market, Norwich, and at Trunch, near Cromer, the Canopies of the Fonts are supported by 
 elaborately carved detached pillars at the angles ; and are of considerable height and size. At Castle 
 Acra Church, Norfolk, the canopy of the Font, which is of oak, elaborately carved, painted, and gilt, is 
 suspended from the roof by wrought iron work, and is made to draw up into itself, somewhat after the 
 manner of a telescope. The Church of Sail, near Reepham, has a Font-cover, likewise of oak, carved, 
 painted, and gilt, which is raised by means of a pulley, fixed at the extremity of a richly carved beam, 
 projecting from an ancient loft under the western tower, and supported by a large bracket, connected 
 with the screw-work of the same. Taken altogether, this is the most interesting and perfect specimen 
 of the kind remaining in England. Among the more remarkable stone Fonts, in the same county, may 
 be mentioned those of Great Walsingham, Happisburgh, Worsted and Dereham : round which are 
 representations of the Seven Sacraments, with the Evangelists and other imagery round the Vase. On 
 the eighth side of the Octagon, when the seven Sacraments are the subject of representation, either the 
 Fall of Man, or the Crucifixion is introduced. The canopy over a Font is most appropriately terminated 
 by the figure of a dove, which is emblematical of the Holy Ghost, with whom the gift of Baptism is so 
 mysteriously connected. (See Dove.) 
 
 ffQO\$* Representations of men in various postures in a grotesque dress, with 
 a fool's cap and bells, frequently occur in the ancient churches, especially 
 under the seats of choir stalls. 
 
 The introduction of these and other ludicrous, or even indecent images, in the very buildings dedi- 
 
140 
 
 fools. 
 
 cated to the solemn worship of God, has long been a subject of inquiry among the learned, and of 
 surprise and scandal to the generality of persons. It seems, therefore, most important to explain their 
 real origin and intention, lest the blemishes of a fine period of art may be ignorantly reproduced with 
 the revival of its excellencies. The source of many of these representations may be traced to the Pagan 
 orgies of the Saturnalia* and Lupercalia, which even at the close of the fifth century were celebrated 
 with all the debauchery and extravagance that characterized their observance, notwithstanding the 
 strenuous efforts of Pope Gelasius to abolish them. No sooner had the Church at length succeeded in 
 suppressing these extravagances under their original denominations, than the same indecent buffoonery 
 was introduced on some of the great Christian festivals, and distinguished during the middle ages by 
 the names of Festa Fatuorum, Festa Asinorum, and Festa Kalendarum.f On these occasions, men, 
 and eventually ecclesiastics, disfigured themselves in hideous masks, representing the heads of stags, 
 oxen, and other animals and monsters, whose cries and bellowings they imitated in the very choirs of 
 the churches, with outrageous postures and gesticulations. These abominations, carried on in some of 
 the most glorious temples of Christendom, and in which the sacred Mysteries themselves were parodied 
 and profaned, were not only loudly denounced and deplored by the devout and learned ecclesiastics,! 
 but for many centuries they were the subject of decrees and censures fulminated by bishops, synods, 
 and councils ; nor were they finally abolished till the commencement of the sixteenth century. Among 
 the various disguises assumed on these occasions, none was more frequent than that of Fools, with high 
 ears like horns, from which those who wore them were called Cornards. In each city these made the 
 mock election of a temporary Superior, called Abbas Cornadorum, and who assumed the habit of a 
 regular abbot, and was always accompanied by a tumultuous company, wearing masks, and shouting, 
 tumbling, and playing on musical instruments. These antics have formed the type of many representa- 
 tions, both in sculpture and painting, executed during the middle ages, among which may be jjarticularly 
 mentioned, the bas -reliefs on the N. Portail of Rouen Cathedral, where a long succession of grotesque 
 figures, are mingled with subjects taken from sacred history, many of which correspond exactly with the 
 description of the disguises assumed. It will be readily seen from this statement, that many of these 
 monstrous and ludicrous representations that are found in our great churches are derived from a most 
 objectionable source, a Pagan custom, revived among Christians, and only among Christians, through a 
 licentious and disobedient spirit.. They should be indeed rather regarded as the evidences of a degraded 
 taste, than selected for our present imitation. 
 
 It is necessary, however, to draw a great distinction between those burlesque figures which I have 
 been describing, and symbolical representations of the Vices and Virtues, which are often introduced under 
 the guise of animals, whose nature corresponds to the passion or virtue represented ; hence, human beings 
 may be depicted with heads of beasts and birds, such as foxes, lions, or hawks, to denote cunning, 
 
 * In these Saturnalia, as is well known, the servants were permitted to assume the functions and dignity of their 
 masters ; and in like manner, during the Feast of Fools, sometimes called the feast of sub-deacons, the choristers and 
 lower orders of clergy filled the places and offices of the dignitaries of the Church. The annual custom of electing the 
 boy Bishop, which was common to most cathedral churches, may also have been derived from the same cause : and 
 though originally innocent, was soon attended with much abuse : indeed, when we reflect on the sacred character of the 
 episcopate, and the solemnity of its functions, we cannot but feel astonished that so injudicious, not to say sacrilegious, 
 a practice could ever have been tolerated. 
 
 t These feasts were kept between Christmas and the Epiphany, and generally on the first day of the year, therefore 
 called Kalends. See Du Cange's Glossary, under Kalends ; also Festum Asinorum, and Abbas Cornadorum. 
 
 \ ' Is it not (exclaims St. Maximus) a most culpable folly for men to dishonour the body in which God has created 
 them, by disfiguring themselves in the shape of ferocious animals and monsters ? What shameful foolishness in those 
 who borrow the most repulsive forms to disfigure that glorious work of the Creator, the human body, which has been 
 formed with so much grace and beauty.' 
 
141 
 
 courage, or rapacity. Again, animals are frequently introduced with the same intention, and most 
 admirable moral lessons are imparted under the same types as have been selected by ^Esop and his 
 imitators. Representations of monsters may also be introduced in churches with great propriety, as 
 emblems of the enormity of sin, and subdued by the power of the Church. The foregoing remarks on 
 the Feast of Fools, refer only to the ludicrous, indecent and degrading representations, that are found in 
 ancient buildings, and are not in any way to be understood as applicable to those I have just described. 
 It is proper also to remark, that the follies and vices of mankind have been sometimes set forth with 
 merited censure under the figures of men in the habit of fools, as by Sebastian Brandt, in his celebrated 
 work, Navis Stultifera. 
 
 Before dismissing this subject it will be proper to allude to a practice which prevailed during the 
 middle ages, of personating sacred characters in religious functions, which has been suppressed inmost 
 places by ecclesiastical authority. Although such representations may have been in some degree suited 
 to the simplicity of the people, yet they must not only have been frequently attended by circumstances 
 of a ludicrous and indecent nature, calculated to cause ridicule and irreverence towards holy things and 
 persons, but they must have greatly detracted from the majesty of many of the ancient rites. Few 
 persons in the present time ever draw any distinction between the recognized rites of the Church, 
 and those local pageants and ceremonies that, having been introduced through abuse in various places, 
 were by the decrees of the Council of Trent, formally prohibited. It is indeed most consoling to turn 
 from many of these extravagant ceremonies to those of the Roman Pontifical, where the prayers and bene- 
 dictions are only second in sublimity of language to the Sacred Scriptures themselves, and where every 
 rubrick is fraught with reverence and devotion. In the liturgical reforms, which were effected in the 
 sixteenth century, we cannot but discern the Divine power continually abiding with the holy Roman 
 Church, that enables her, after the lapse of centuries, to prune the branches she had originally put forth ; 
 nor can we sufficiently deplore the unhappy schism that severed England from the mother trunk, and 
 allowed the hatchets of fanatics to lop off her fairest foliage, when, had the faded twigs been removed by 
 a parent hand, she might have flourished more glorious than ever. 
 
 4fO)tT£>, in sacred imagery are emblems of cunning, deceit, and rapacity. 
 
 In the fifteenth and sixteenth centuries we find representations of Foxes habited as friars and preaching 
 to geese, feasting, &c. These were introduced by the secular clergy, and even some of the older religious 
 orders, who viewed the Franciscans with much jealousy. This unhappy feeling was caused by the vast 
 privileges and exemptions possessed by this order, combined with the surprising influence which they 
 obtained over the minds of the common people by their powerful preaching and povei'ty of life ; they 
 were, in fact, the popular clergy of those days, and were to have been alone spared, had the insurrection of 
 Wat Tyler succeeded. They were totally exempted from Episcopal and Ordinary jurisdiction, excused 
 from the payment of tithes, and were allowed to bury such as desired it in their own churches, on 
 payment of only a fourth part of the obventions to the parish church. Under these circumstances they 
 soon obtained vast influence, to the diminution both of the authority and revenues of the old clergy ; and 
 hence, were regarded by these latter with feelings of much dislike and jealousy, which were occasionally 
 developed in the satirical representations above alluded to. The character of the Fox has been selected 
 by several old writers as a mask under which they might put forth satires on religious or political abuses. 
 A work of this description was printed by Caxton, in 1481, entitled <£flC ffyggtor^C Of i&Cgltart i\\t 
 dF0V^» ' I n this history be written the parables, good learning, and divers points to be mentioned, by 
 which points men may learn to come to the subtle knowledge of such things as daily be used and heard 
 in the councils of lords and prelates, ghostly and worldly,' &c. — See Dibdin's Typographical Antiquities, 
 vol. i.p. 117. 
 
142 
 
 jfringe*— jfrontaL 
 
 A most curious book, composed by Sebastian Brandt, entitled SUg If glint 6 tr aberrant IfjS 
 prrt'UJUSJfSS bO£f£ IJtft foUcg fiances tJU montrr, was printed at Paris in the year 1500, with 
 many woodcuts, in which foxes are represented in various habits and actions, with severe allusions to 
 the abuses of the time. 
 
 ^fringe* An ornamental edging or border, originally the ends of the threads 
 which composed the stuff, fastened together to prevent its unravelling. 
 
 Fringe is used in many ecclesiastical vestments and ornaments ; at the ends of the pallium, stole, and 
 maniple, and the infulae of the mitre ; round veils, at the bottom edge of copes, round the open sides and 
 edges of dalmatics ; also at the bottom of frontals, altar curtains, canopies, and dossels. The Fringe 
 should properly consist of as many coloured threads as there are varieties in the stuff to which it is 
 appended ; hence, all the old Fringes are party coloured, and composed of fine threads fastened together, 
 mingled with gold ; and not like modern Fringes, either extravagantly long, or clumsy. See some 
 Illustrations of Fringes in the True Principles of Pointed Architecture, p. 28. 
 
 JfnmtaL The hangings or ornamented pannel in front of an Altar. See 
 Plate viii. 
 
 PRECIOUS FRONTAL. 
 
 Of Frontals there were three ki nds. 1 . Of precious metals, adorned with enamels and jewels. 2. Of 
 wood, painted, gilt, embossed, and often set with crystals. 3. Of cloth of gold, velvet, or silk 
 embroidered, and occasionally enriched with pearls. 
 
 Of those which were composed of plates of precious metals, we may mention in the first place, the 
 golden Frontal, presented to the Cathedral of Basle by the Emperor Henry the Second, in 1019. 
 It is four feet in height, and about five feet nine inches in length, divided into five compartments by 
 shafts and arches, each containing an image ; the centre one is that of our Lord ; the others represent 
 the three Archangels, St. Michael, St. Gabriel, and St. Raphael ; and St. Benedict. At the feet of our 
 Lord, are two small images,* representing the Emperor, and his wife Cunegonda, the donors of the altar. 
 On the upper edge, and along the base, is this inscription : — 
 
 QVIS SICUT HEL FORTIS, MEDICUS, SOTER BENEDICTUS. 
 PROSPICE TERRIGENAS CLEMENS MEDIATOR USIAS. 
 
 * The custom of representing our Lord of a much larger stature than human beings is commonly found in the 
 works of the early Christian artists, and was intended as a symbolical representation of Majesty. 
 
jfrcmtaL 
 
 143 
 
 which refers to a miraculous cure of the Emperor, through the intercession of St. Benedict. This Frontal, 
 doubly interesting from the profound mystical symbolism of its design, and its historical associations, 
 was publicly sold by the Government of the Canton, in 1834, and was purchased by Mons. le Colonel 
 Theubet, in whose possession it still remains. 
 
 In the church of S. Ambrose at Milan, under a ciborium stands an altar with a Frontal of gold 
 plates, with many images, embossed in a style not very dissimilar to the one just described. 
 
 From a grant of Ferdinand the Great, in 1101. — "In praedicto loco ornamenta altariorum, id est, 
 Frontale ex auro puro, opere digno cum lapidibus, Smaragdis, Safiris et omni genere pretiosis et olovi- 
 treis : alios similiter tres Frontales argenteos singulis altaribus/' — Du Cange in v. Frontale. 
 
 Dom Jacques Bouillart, in his history of the Abbey of St. Germain des Pres, has figured and described 
 a metal Frontal of great beauty, that was made for the High Altar of that church, at the cost of Abbot 
 William, in 1409. It is divided into seven arched compartments, divided by rich clustered shafts, 
 terminating in pinnacles, with double niches in each. Each compartment, except the centre, is subdivided 
 by a smaller shaft, forming niches, with projecting pedestals, and containing images of St. John the 
 Baptist, St. Peter, St. James, St. Philip, St. Germanus, St. Catharine, on the right ; and on the left, St. 
 Paul, St. Andrew, St. Michael, St. Vincent, St. Bartholomew, and St. Mary Magdalene. In the centre 
 compartment is our Lord crucified, with the arms extended, and images of our Blessed Lady and St. John 
 on either side ; while on a small pedestal, at the foot of the cross, is a kneeling effigy of the good Abbot 
 himself, vested in cope and mitre, holding a pastoral staff with this inscription : — ' Guillelmus tertius 
 hujus ecclesiae abbas.' The whole is surrounded by a richly engraved border of metal, set with stones 
 and enamels. This fine specimen of ancient art and piety, was probably destroyed with the other 
 ornaments of the abbey, in the great Revolution. Before the pillage of Bayeux Cathedral, by the 
 Huguenots, in 1563, there was a most beautiful and costly Frontal belonging to the High Altar. It was 
 composed entirely of silver gilt, richly enamelled. In the centre was the Crucifixion of our Lord, with 
 ten images arranged on each side ; the whole ground was bordered with Fleurs de Lis. The border was 
 inlaid with precious Reliques, each with a label ; and in the centre, in golden letters on an azure ground, 
 was an inscription, setting forth that this table had been given to the church, by Monseigneur Louis de 
 Harcourt, Patriarch of Jerusalem, and Bishop of Bayeux. It contained above three hundred and sixty-three 
 marks of silver ; and the cost of the workmanship was equal to that of the material. This Frontal was fixed 
 to a chest of wood by silver cramps, and was occasionally closed in front by two sliding panels, which, as 
 well as the ends of the chest, were richly painted on gold grounds ; and over the centre joint, when 
 closed, a Crucifixion on a pillar. Within this chest were enclosed four small shrines. For an account 
 of these, see Feretrum. 
 
 Inventory of Winchester Cathedral. — " Imprimis, the nether part of the High Altar, being of plates 
 of gold, garnished with stones. The Front above being of broidering work and pearls, and above that 
 a table of images, of silver and gilt, garnished with stones." 
 
 Of Frontals made of wood, painted and gilt, we may cite the truly fine example which 
 once belonged to the High Altar of Westminster Abbey, and is still preserved in that church. Not 
 only were the pannels into which it was subdivided, exquisitely painted on gold grounds, large traces of 
 which are yet visible, but the whole of the borders and spandrels are enriched with pieces of glass 
 of various colours, beautifully diapered with gold and a sort of enamel, and set with crystals and 
 other stones. These enrichments of azure glass, laid over white plates (to render them transparent,) 
 and diapered with a gold pattern, were very frequently introduced in the thirteenth century, and 
 their effect was exquisitely beautiful. The whole of the wood-work of this Frontal was prepared 
 with several coats of whitening and size, under the gold, as is now done for the best description of gild- 
 ing, and a great deal of minute ornament was raised or incised in this preparation, which imparted a 
 
144 
 
 dfrontaK 
 
 wonderful richness to the mouldings and other parts. This exquisite specimen of Christian art at its 
 finest period, owes its preservation to having been used as the top of a case to the wax work that has so 
 long disgraced the Abbey, where it remained in obscurity and neglect, till a few years since ; when happily 
 the admirable work of our catholic forefathers became better appreciated and taken care of. Frontals of 
 cloth of gold and needle-work were most frequently used, they were generally of the richest materials, 
 with imagery, colours, and decorations, appropriate to the various festivals an 1 seasons. They probably 
 originated in a curtain or veil of silk, or precious stuff being drawn across the open space under the 
 altars, to preserve the shrines of the Saints, that were usually there deposited, with great reverence. 
 (See Plate LXXI.) In course of time, these curtains were converted into one piece of drapery, cover- 
 ing the whole front of the altar, and suspended from the upper edge ; and this was termed a Frontal, or 
 hanging pannel. A piece of richly embroidered stuff was also frequently hung above the altar, called a 
 Super-frontale, or upper Frontale, being in fact a low dossell. 
 
 Inventory of the ornaments belonging to All Souls Chapel, Oxford. — " Item, unum frontale et 
 suffrontale de panno serico rubeo et blodio cum castell. de auro. Item, tabula Frontalis et super- 
 frontalis bene depictae. Pannus frontalis de baudekino et pannus superfrontalis de rubeo cendato cum 
 turrilibus et leopardis deauratis." — Collectanea Curiosa. 
 
 Antiquities of Durham Abbey. — "The daily ornaments that were hung both before the altar and 
 above, were of red velvet, with great flowers of gold, in embroidered work, with many pictures besides, 
 very finely gilt : But the ornaments for the principal Feast, the Assumption of our Lady, were all 
 of white damask, beset with pearls and precious stones, which made the ornaments more glorious to 
 behold." 
 
 Frontals belonging to Lincoln Cathedral. — Item, a cloth of gold, having in the midst the Corona- 
 tion of our Lady, with many Angels on every side, with organs and trumpets, and Apostles, and many 
 other divers images; with a frontlet powdered with crosses of gold, ' Ex dono dicti Ducis.' Item, a 
 red cloth of gold, with falcons of gold, and a frontlet of the same suit, with two altar cloths, one of 
 diaper. Item, a purpur cloth, with an image of the Crucifix, Mary and John, and many images of 
 gold, with a divers frontlet ; having in every end two white leopards, and two altar cloths. Item, 
 a cloth of gold, partly red and partly white ; with an image of our Lady in the midst, with her 
 Son, in a circle, with eight Angels ; and on her right hand an Archbishop, standing in a circle, with 
 eight Angels ; and on her left hand, a Bishop standing in a circle with eight Angels ; with a frontlet 
 of the same suit, having in the midst the Trinity, with two Angels incensing on every side : Ex dono 
 dicti Ducis Lancastrian. Item, one other cloth of the same suit, having in the midst an image of the 
 B. Virgin in a circle, with an image of St. John Baptist of one side, and St. John the Evangelist on the 
 other side : Ex dono pra>fat. Ducis. Item, a cloth of white, with troyfoils of gold, having the Salu- 
 tation of our Lady in a red circle, with a frontlet of the same, with two cloths of diaper. Item, a cloth 
 of blue, with flowers and griffins of gold, with an old cloth of diaper. Item, a double cloth, white and 
 red for Lent ; with a plain altar cloth, with a frontlet of the same suit. Item, a white cloth of damask, 
 broidered with flowers of gold, having an image of the Assumption of our Lady in the midst, with this 
 Scripture at her feet, Ex dono Johannis Crosby, Treasurer of Lincoln ; with an image of St. John 
 Baptist on the right hand, and an image of St. Katherine on the left hand, with one linen cloth. 
 
 From an Inventory of King's College Chapel, Aberdeen. — Pro majori altari 3 antipendia ; 1, cui 
 historiae Divae Virginis Mariae, fills byssinis ac laneis sunt contextae. 2, effigies apostolorum, Petri, 
 Andreae, et Johannis continet. 3, pro quotidiano usu altaris B. Mariae Virginis. Antipendiae jusdem 
 altaris, viz. unum atrabascense, cui divarum effigies et flores, filis laneis subtilibus bysso commixtis sunt 
 contexti. 
 
Jfrmt— jfuntral palfe. 
 
 145 
 
 jTruft. Fruits in general may be considered as emblems of God's bounty, 
 and may therefore be introduced with great propriety in ecclesiastical 
 decoration. 
 
 Grapes and ears of corn are occasionally introduced in ecclesiastical decoration, as symbols of the 
 Eucharistic Offering. A cluster of grapes on one stem is considered as an emblem of unity. Pome- 
 granates, according to heralds, are emblems of royalty, on account of their top resembling a crown. 
 They were symbolically used in the decoration of Solomon's temple ; and, according to St. Gregory the 
 Great, they signify the Unity of the Church. There are many instances of their introduction in the 
 later pointed works in England, but this was probably in allusion to Catherine, daughter of Ferdinand 
 the Second, who had assumed the pomegranate as a badge after the conquest of Granada. Small bells, 
 attached to vestments, were often made in the form of pomegranates. 
 
 JflMtral ^alls> + The Palls anciently used at the funerals of persons of distinc- 
 tion were of a most costly and beautiful description, frequently of velvet, 
 or cloth of gold, with embroidered imagery and heraldic devices. See 
 Plates LXXII. LXXTIT. 
 
 In Shaw's Dresses and Decorations, vol. ii. plate 89, a superb example is figured of a Pall, still in 
 the possession of the Sadler's Company, London ; and another, of even greater interest and beauty, is 
 preserved by the Company of Fishmongers. Each Company and Guild was possessed formerly of Funeral 
 Palls, more or less ornamented, according to the wealth of these societies, and these were used when any 
 of the confraternity deceased. Palls were not only used at Funerals, but extended over tombs, on metal 
 herses, as at Warwick, &c. (see Herse ;) more precious and beautiful ones being probably provided for 
 the anniversaries of the deceased persons. Funeral Palls were made sometimes square, and sometimes 
 with lappets to fall down round the sides of the coffin, with a cross extending the whole width and 
 length ; * formed of a different sort of stuff from that of which the ground is composed, or of a rich 
 orphrey. This cross was generally enriched with ornaments, or appropriate scriptures, such as, — i 
 Cretio quoli Betfcmptov mcuS bt'btt, ft t'n nobtefiuno Hit Hi terra sfurrecturuS sum : ft t'n came mea 
 bttJcbo Scum &albatorem nuum. — in te lomtne Sperabt non ronfuitflar t'n sternum.— De pvofunirisf 
 flamabt at» te Donune, Uonune erautit orationem meant. — Cretoo btoere bona So mint t'n terra 
 btbcnttum.— f2c recorflevtsi ptccata mea Homme Bum bcneruf jifBteare gaeculum per t'gnem. — libera me 
 Domme tie morte acterna tn trie tlla trenuntfa. The cross was worked on Funeral Palls to shew 
 the faith of the deceased, and his hope of salvation through the Passion of our Lord. Some- 
 times the Five Wounds were represented by as many floriated crosses in the centre and angles 
 of the pall. Escutcheons of arms were also affixed or embroidered on it : and occasionally the 
 whole field was powdered with badges and bearings of the deceased. In Vol. iv. of the Anti- 
 quarian Repertory, is a plate, representing the Funeral procession of Elizabeth, wife to King 
 Henry the Seventh, where a large Pall with a cross and escutcheons is figured. The same is 
 also to be remarked in the Palls figured in the Funeral of Anne de Bretagne. — Montfaucon's 
 Monuments de La Monarchic Frangaise. (See Hersk.) Many rich Palls are mentioned in the 
 inventory of old St. Paul's Cathedral, which had been offered at funerals. " Item, Baudekynus rubeus 
 cum magnis rotellis, et Griffbnibus et Elephantis infra rotellas de funcre H. de Sandu-yco." The colours 
 of these Palls were very various. Black was used in the sixteenth century, and perhaps earlier ;f but 
 
 • In Sylvanus Morgan's Sphere of Gentry, published in 1661, is a Pall, represented under a herse, in honour of 
 King Charles the First, with a white cross of this description. 
 
 t A Pall of black velvet to lay upon the herse is mentioned among' the ornaments to be retained in St. Paul's 
 Cathedral, in the 7th year of Edward the Sixth. 
 
 U 
 
146 
 
 Jfplfok-Garjjople* 
 
 they were frequently made of red, purple, green and blue, velvet, or cloth of gold, with reference to the 
 heraldic tinctures that were peculiar to the deceased. Purple, with a red cross, is rich and solemn, 
 without imparting that dismal appearance which distinguishes modern funerals. For a further account, 
 see Pall and Herse. 
 
 JfplfOt, The Fylfot is a sort of cross cramponee that was frequently intro- 
 duced in decoration and embroidery during the middle ages. See Plate 
 xxxvi. 
 
 There is an interesting account of it in Waller's Monumental Brasses, No. 10, where it is described 
 as having been known in India as a sacred symbol many centuries before our Lord, and used as the 
 distinguishing badge of a religious sect, calling themselves followers of the mystic cross. Subsequently 
 it was adopted by the followers of Buddha, and used by Christians from a very early period. Mr. 
 Waller imagines it was first introduced in Christian monuments in the sixth century. But in this he 
 is not correct, as it is found in some of the very early paintings in the Roman catacombs, particularly 
 on the habit of a Fossor, or Gravedigger, of the name of Diogenes, who is painted over his tomb, with 
 the instruments of his office, a lamp in his left hand, a pick-axe in his right, a large pair of compasses and 
 other tools lying at his feet, while in the back ground various catacombs are depicted. Over the arch, 
 above the painting, is this inscription : — 
 
 DIOGENES FOSSOR IN PACE DEPO. 
 OCTAV. KALENDAS OCTOBRIS. 
 
 This monument, which is certainly not later than the third century, is of great interest, as it fully proves 
 the early use of the emblem in question, and probably as a religious symbol ; for D'Agincourt, in speak- 
 ing of this very monument observes (Peinture 25), that those who were entrusted at that early period 
 with the interment of Christians, were ranked among the minor orders of clergy, and enjoyed many 
 privileges under the names of Decani, Lecticarii, and Laboratorii. The Fylfot also occurs stamped on 
 a lamp, preserved in the Museum Christianum, in the Vatican ; and D'Agincourt also mentions, that 
 in Thibet it is used as a representation of God Crucified for the human race, citing, as his authority, F. 
 Augustini Antonii Georgii Alphabetum Thibetanum, Romae, 1762, in 4to. pp. 211, 460, 725. From these 
 accounts it would appear that the Fylfot is a mystical ornament, not only adopted among Christians 
 from primitive times, but used, as if prophetically, for centuries before the coming of our Lord. To 
 descend to later times, we find it constantly introduced in ecclesiastical vestments, on stoles, maniples, 
 apparells, and orphreys, till the end of the fifteenth century, a period marked by great departure from 
 traditional symbolism. 
 
 <§at'CfOpIf» A name applied to spouts in the form of Dragons, that project 
 from the roof-gutters of the ancient buildings. 
 
 The word is derived from the French Gargoaille, the name of a frightful monster or dragon 
 which infested the neighbourhood of Rouen, devouring multitudes of men, women, and children. 
 Moved by compassion for the people, and firmly relying on Divine protection and assistance, St. 
 Romanus, first Archbishop of Rouen, accompanied by a single attendant,* went forth, and by his prayers 
 subdued this monster, and brought him bound into the city, where he was destroyed. St. Romanus 
 is always represented with the dragon or gargouille by his side. 
 
 * According to tradition, this was a malefactor condemned to death, who had a pardon offered him on the condition 
 of accompanying the Archbishop ; for this reason the Chapter, before the great Revolution, possessed the privilege of 
 delivering annually a prisoner under sentence of capital punishment. — (See Feretory.) 
 
<garlantras* 
 
 147 
 
 <§arlaittis» used in the Church are of four various descriptions. 1. Of flowers 
 suspended over altars and in churches on Festival Days. 2. Of roses 
 and other flowers, worn round the heads of the assistant Clergy and 
 others, in certain processions. 3. Of silver set with jewels, or of natural 
 flowers, and placed on images. 4. Of artificial flowers and other 
 ornaments, carried at the funerals of virgins. 
 For an account of Garlands suspended in churches, see Flowers. 
 
 In the procession of Corpus Christi, and other occasions of joyful solemnity, the assistant clergy 
 wore chaplets of white and red roses on their heads, the former being the emblems of Purity and 
 Love, the latter of Beauty and Grace. These garlands are often mentioned in church inventories. 
 
 S. Mary at Hill, London. — "A dozen and half rose garlondes on St. Barnabas day." 1524. St. 
 Marten Outwich, London. — " Payd for rose garlands on Corp. Xti daye, for rose garlands on Sent 
 Marten's days." 
 
 In the account of the yearly offering of a buck and doe, at St. Paul's Cathedral, given in Dugdale's 
 History of that Church, the rose garlands worn by the clergy are particularly mentioned, viz., " the 
 reception of which Doe and Buck was, till Queen Elizabeth's days, solemnly performed at the steps of 
 the Quire by the canons of this Cathedral, attired in their sacred vestments, and wearing Garlands of 
 flowers on their heads." Garlands or chaplets were also worn at funerals ; for in the account of the 
 ceremonies observed at the funeral of Elizabeth, Queen of Henry VII. printed in the Antiquarian 
 Repertory, vol. iv. p. 659, we read that "in Fanchers were set xxxvii virgins, all in white linen, having 
 chapletts of white and greene on their heads, evych houlding a brening taper of wax in honour of our 
 Lady, and that the aforesaid good quene was in her xxxvii. year." 
 
 Garlands of precious metals and set with stones, were occasionally placed upon images ; many of 
 these were both rich and beautiful. 
 
 From the Inventory of Ornaments formerly belonging to Lincoln Cathedral. — " Imprimis, a Garland 
 
 with silver gilt, with eleven with divers stones and pearls, with ten .... Ex dono Elizabeth 
 
 Derey, weighing ten ounces and half, wanting seventeen pearls and three stones. Item, a Garland of 
 silver with precious stones and pearls, set upon black velvet, wanting two points. Item, a Garland of 
 silver, set with stones of divers colours, having a lase with two knops set with pearls ; wanting divers 
 stones. Item, six Garlands broken, of little value; with divers stones, estimated at forty shillings." — 
 Dugdale's Monasticon. 
 
 The custom of bearing ornamental Garlands at the funerals of virgins, and suspending them in the 
 parish church is most ancient, and many are yet remaining in England. The following account is ex- 
 tracted from the fourth volume of the Antiquarian Repertory, p. 664. a Besides these crowns, the 
 ancients had also their depository garlands, the use of which continued till of late years, and may, perhaps, 
 still continue in some parts of England. These garlands, at the funeral of the deceased, were carried 
 solemnly before the corpse by two maids, and afterwards hung up in some conspicuous place within the 
 church. They were made in the following manner : the lower rim, or circlet, was a broad hoop of wood, 
 whereunto was fixed, at the sides, part of two other hoops, crossing each other at the top and right angles, 
 which formed the upper part, being about one-third longer than the width. These hoops were wholly 
 covered with artificial flowers of paper, dyed horn, and silk, and more or less beautiful, according to the 
 skill or ingenuity of the performer. In the vacancy of the inside, from the top, hung white paper, cut in 
 form of gloves, whereon were written the deceased's name, age, &c, together with long slips of various 
 
148 
 
 6ubu%- Globes:* 
 
 coloured paper or ribbons ; these were many times intermixt with gilded or painted empty shells of 
 blown eggs, as farther ornaments ; or, it may be, as emblems of the bubbles or bitterness of this life ; whilst 
 other garlands had only a solitary hourglass hanging therein, as a more significant symbol of mortality." 
 
 (Sl'rfole* The girdle is a cord of white cotton, or of silk, tasselled at the end, 
 with which the Albe is girded round the loins, and adjusted to a con- 
 venient length. 
 
 Georgius. — The Girdle (cingulum, zona, sive baltheus) is mentioned among the sacred vestments in 
 the oldest Roman Ordinals. The girdle was formerly of various colours, and adorned with gold, and 
 sometimes precious stones. That found in the tomb of Pope Boniface VIII. was of red and green silk, 
 with silken cords and tassels, beautifully worked. The deacon and sub-deacon put on the girdle, while 
 the Acolyths arrange the albe of the Bishop. The prayers used at putting on the girdle differed in 
 different rites. In the old Salisbury Pontifical is the following : — Domine, accinge in me Sfc. — ' O Lord, 
 gird me with a guard around my thoughts, and let not my mind be lifted up with the spirit of vanity.' 
 The succinctorium, or sash (variously called subcingulum, subcincta, andpraecinctorium) was anciently 
 worn by all Bishops, in addition to the girdle. It is now worn by the Pope only. In the Caeremoniale 
 S. R. E. it is ordered, that the Pope be vested ' with a girdle having a succinctorium, or sash, hanging 
 down on the left side.' St. Thomas numbers the succinctorium among the nine distinctive ornaments 
 of a Bishop. Pope Boniface VIII. was found in his tomb, with his rochet 'girt about with a sash of 
 leather, covered with red silk, like to a belt, with four cords of red silk hanging in front, which fastened 
 the girdle.'* 
 
 Durandus.— The girdle enables the priest to shorten the albe in front, if necessary. It is the symbol 
 of continency. " Let your loins be girt." St. Luke xii. 35. The girdle is put on after the albe, in 
 vesting for Mass. A Bishop's girdle has a double sash (succinctorium, sive succingulum) depending 
 from it : figuring the two means of preserving purity, viz. fasting and prayer. 
 
 Inventory of St. Paul's. — " Cingulo texto ex nodis de serico." 
 
 Inventory of Canterbury Cathedral. — " Cingulo de rubeo serico piano ; cingulo de rubeo serico 
 brudato ; cingulo de serico mixto ; cingulo de serico.'' — Dart's History, Appendix X. 
 
 These and other instances establish the use of girdles of rich material in the old English Church. 
 Georgius mentions the same in other Churches. Riculfus, Bishop of Helena, bequeathed to his church, 
 a. d. 916, five girdles, one with gold and precious stones, four others with gold. Falco, Judge of Bisegli, 
 gave to the church of St. Margaret, a.d. 1197, a girdle of red hair (de setarubea). 
 
 6lobfg, worn by Bishops and others in ecclesiastical functions, were usually 
 made of silk, and richly embroidered ; these are to be seen on many 
 ancient sepulchral effigies of ecclesiastics, and those which were actually 
 used by the venerable Wykeham, of red silk, embroidered with the Holy 
 Name in gold, are still preserved at New College, Oxford. 
 
 Catalani in Pont. Rom. — Gloves (Chirothecaa) anciently were used not only by bishops, but likewise 
 by priests. It is difficult to say what was the material of the gloves worn by bishops. Bruno, bishop 
 of Segni, says that they were made of linen, and he intex-prets this to signify that the hands which they 
 cover should be chaste, clean, and free from all impurity. Bzovius says, that the gloves with which 
 Boniface the Eighth was buried, were of white silk, beautifully worked with the needle, and ornamented 
 
 * Cingebatur (rochettum) cingulo ex corio, serico rubeo cooperto in modum zonulse cum quatuor chordulis sericis 
 rubeis ante pendentibus, stringentibus zonain. — Bzovius ap. Georgium, L. ii. c. 2. p. 338. 
 
149 
 
 with a rich border studded with pearls. Durandus quotes writers to prove that, in the 13th century, 
 the chirothecae were white, and he remarks : " Per ipsas vero chirothecas albas, castitas, et munditia 
 denotatur, ut manus, id est operationes sint mundae, et ab omni sorde immunes." The Monasticon 
 Anglicanum informs us, that anciently the chirothecae used to be ornamented with jewels. St. Charles 
 Borromeo says, 'They should be woven throughout, and adorned with a golden circle on the outside.' 
 
 In an ancient Missal of Illyricum, supposed to be of the seventh century, when the bishop, before 
 Mass, puts on his gloves, he says the prayer : " Creator totius creaturae, dignare me indignum famulum 
 tuum indumentis justitiae et laetitiae induere, ut puris manibus ante conspectum tuum assistere merear." 
 The Ordo Romanus, treating of the consecration of a Bishop, and the Salisbury Pontifical, orders the 
 following prayer to be said when the bishop elect puts on the Chirothecae, " Immensam clementiam 
 tuam rogamus Omnipotens et piissime Deus, ut manus istius famuli tui patris nostri, sicut exterius 
 obducuntur manicis istis, sic interius purgentur rore tuae benedictionis." So in another Missal : 
 — u Digna manus nostras Christi custodia servet, ut tractare queant nostrae mohumenta salutis." 
 
 Georgius. — At what period it became the custom for the colour of the gloves to be changed according 
 to the colour of the vestments, and other Pontifical ornaments, is not known. They were sometimes 
 called manicce, which are properly sleeves, and sometimes wanti, ( gants) in ecclesiastical writings. 
 
 Inventory of St. Paul's Cathedral. — After a mitre, seeded with pearls all over, the gift of Bishop 
 Richard, are mentioned, c Also two gloves of the like workmanship, the gift of the same, in which many 
 stones are wanting. Also two pair of gloves, ornamented with silver plates gilt, and set with stones.' 
 
 From the Inventory of Canterbury Cathedral. — " Cirotecae R. de Winchelese cum perlis et gemmis 
 in plata quadrata. Item, Par unum cum tasselis argenteis et parvis lapidibus. Item, Quatuor paria, 
 cumtasselis argenteis. Item, Par unum delino, cum tasselis et perlis." — Dart's History of Canterbury, 
 Appendix XIII. 
 
 Beautiful examples of the embroidery on ancient gloves may be seen on many monumental effigies 
 of bishops remaining in the English Cathedrals ; the tomb of Bishop Goldwell, at Norwich, is alone suffi- 
 cient to convey a perfect idea of their great beauty and richness. 
 
 De Vert mentions, that the Priors of Clugni wore gloves, when officiating, in his time ; also cantors 
 in many churches, as St. Gatien at Tours, on account of their holding staves ; also white gloves were used 
 in processions ; and at Angers, those who bore the Reliquaries had gloves or mittens. It was also the 
 custom in the monasteries of Clugni to inter monks with gloves on. Gloves may be worn with propriety 
 by all in ecclesiastical functions, who carry staves, canopies, reliquaries, candlesticks, &c. 
 
 (Soat, An emblem of lust, and consequently used by the old artists to express 
 that detestable vice. Like similar emblems, it is usually placed under seats, 
 as a mark of dishonour and abhorrence. 
 
 (Sullj. A metal surpassing all others in purity and fineness, and constantly 
 employed in all kinds of ecclesiastical ornament. It is a meet emblem of 
 Brightness and Glory. 
 
 It is used for the nimbi which surround the heads of the saints ; frequently it forms the ground on 
 which sacred subjects are painted, the better to express the majesty of the mystery depicted, and as it 
 was most properly employed in the sacred vessels and sanctuary of the old Temple, so the Chalices and 
 Tabernacles of the new dispensation, and the Shrines of the Saints, have been moidded of this precious 
 metal ; while in multiplied fibres, and mingled with silk and purple, it enriches the sacerdotal vestments 
 and the hangings of the altar. Gold signifies purity, dignity, wisdom and glory. Vestments of gold 
 
150 
 
 cloth, or of a gold ground, are allowed to be worn on all festivals, without exception, in lieu of any 
 particular colour, on account of their great richness and beauty. 
 
 603pd& (See Text.) 
 
 &Vttt\ is the fifth and last of the canonical colours, and is used in the Church 
 on common Sundays and Ferias. 
 
 The emerald may be taken for the standard of this colour, as used in church ornament. In Latin 
 it is called viridis, and sometimes prasinus. Andre de Saussay says, that Pope Silvester wore a green 
 mitre, and St. Firminius, Bishop of Metz, a green dalmatic. St. Ansegisus, Abbot of Fontenelle, a. d. 
 835, gave to the church of his monastery various chasubles, among which, three of satin, of a green 
 colour (viridis coloris.) Flodoard relates that Hincmar sent to Amalric, Archbishop of Tours, certain 
 precious ornaments, among which, a chasuble of bright green (diaprasinam.) We read also of the color 
 venetus, which is the same as coelestis, sky blue. Among ornaments presented to the church of Bisegli, 
 in Italy, a. d. 1197> were four copes, one of which was of celestial blue (coloris coelestis.) Innocent III. 
 De Myster. Missce, observes : " Green vestments are to be used on ferial and ordinary days ; because 
 green is a middle colour, between white and black." Durandus, as usual, copies the remarks of 
 Innocent III. — Georgius. 
 
 Inventory of Lincoln Minster. — " Item, a cope of green damask, with a goodly orphrey of needle- 
 work, set with images, having in the hood a story concerning the Passion of Christ. Item, a chasuble 
 of green baudekin, with two tunicles, and with a good orphrey of needle-work, with a Crucifix, Mary 
 and John." — Dugdale's Monasticon. 
 
 Sylvanus Morgan, in his Sphere of Gentry, says, at p. 4, the fifth and last commonly received 
 colour is vert or green, and signifieth of itself bountifulness of God, and in moral virtues, mirth, youth, 
 and gladness. The green field is the emblem of felicity and prosperity to perpetuity, and is the symbol 
 of the Resurrection. 
 
 <Bl'tt$* A word derived from Gradus, and signifying a step. The altar steps 
 and risings of the choir are called Grees by old English writers. 
 
 According to Rhaban Maur, cited by Georgius, the Gradual Psalms were so called, on account of 
 their being originally sung from the steps of the Ambo, on the gospel side. The present custom of the 
 church requires the altar to be elevated by three grees or steps at least, not less than one foot wide, nor 
 more than eight inches high ; and these are reckoned from the upper plane of the choir. It does not 
 appear, however, that the ancient altars were so much elevated. The altar of the church of St. Sophia, 
 at Constantinople, had only one, according to Coderius. e Fecit Justinianus auream gradum in circuitu.' 
 
 In the old Roman Ordos, only two steps are mentioned, Gradus superior s. altior, and inferior.* 
 But if we descend to later times, we shall find some of the altars were raised on several steps, and no 
 circumstance can add more to the majesty of the Place of Sacrifice, than a considerable elevation above 
 the pavement of the church. 
 
 <§ttnu'al» A silken apron, placed on the lap of a bishop, in sacred functions, 
 when sitting, to minister holy Sacraments, with the Chrism, &c. 
 
 Caremoniale Episcoporum. — Two other assistant deacons are employed, but only during the Mass ; 
 one of whom attends to the gremiale, and the other ministers the ampuls. And the one, who ministers 
 the gremiale, ought to be attentive, that when the Bishop rises, before his mitre is taken off, he may 
 
 * Father Thiers' Dissertation sur Les Autels, p. 79, 80. 
 
151 
 
 receive the said gremiale, taken reverently from the lap of the bishop by the subcleacon, and having 
 folded it up, may hold it with both hands before his breast, and when required, return it to the same 
 subdeacon, to be replaced on the lap of the bishop when seated, &c. 
 
 (grotesque* See Fools. 
 
 I^antu A hand in the act of Benediction is often found in ancient represen- 
 tations, and generally signifies that of the Eternal Father. 
 
 Previous to the 12th century the Eternal Father was always represented by a hand extended from 
 a cloud, sometimes open, with rays proceeding from the fingers, but generally in the act of Bene- 
 diction, viz. with two fingers raised, and the rest closed. 
 
 It is the indication of a holy person or thing, and frequently occurs in the delineation of martyr- 
 doms,* as extended from a cloud over the saint. Also engraved in the lids of pyxes for the reservation 
 of the Holy Eucharist (as shewn in the cut to illustrate Dove). This representation is also found on 
 patens, and is there used as an emblem of the consecrating power of the priesthood, t A hand extended 
 in the act of benediction over a chalice with the Blessed Sacrament, was a distinguishing mark of the 
 sepulture of priests, and was generally introduced in the centre of the floriated cross, traced or engraved 
 on the monumental slabs which covered the remains. The hands of our Blessed Redeemer pierced, 
 were frequently represented in sculpture and painting. The wound on the right hand was figuratively 
 termed in old devotional books tl)Cll Of mcrC£» and that on the left ®he Ujell Of QVHtt* (See 
 Plate LXIII.) 
 
 ^angUtgSu The choirs of the ancient churches were hung, on solemn occasions, 
 with cloth of gold and needle work, of the most costly and beautiful 
 description. 
 
 These hangings are called Panni in the old inventories. 
 
 Canterbury Cathedral, in 1315. — After many other panni for various uses : — Item, 19 panni baude- 
 kini novi de serico puro. Item, 47 panni novi baudekini de serico mixto,J unde 26 panni rubei, et 14 
 panni de Morr, et 3 panni virides. Item, 6 baudekini novi de serico mixto. Item, 42 B. baudekini 
 usitati." — Dart's History of Canterbury, Appendix VI. p. 16. 
 
 Rheims Cathedral was formerly furnished with splendid sets of hangings. In the Inventory we find 
 many other pieces : 1 7 pannels given by the Cardinal de Lenoncourt, 8 by the Cardinal of Lorraine, 
 11 by Juvenal des Ursins. These splendid tapestries form the subject of an entire folio work, published 
 in France by MM. L. Paris and Leberthet. 
 
 Among the ornaments retained in St. Paul's Cathedral, in the 7th year of King Edward VI. we find 
 Bawdkins of divers sorts and colours, for garnishing the quire at the King's coming, and for the Bishop's 
 seat: as also at other times when the quire shall be apparelled for the honour of the realm. — Duydale's 
 History of St. Paul's, 274. 
 
 The reasons assigned for the retention of these Bawdkins, is a striking illustration of the altered 
 feelings of the times. The quire is to be apparelled, not for the honour of God, but for that of the realm, 
 or at his Majesty's coming. — See Pall and Cloths. 
 
 * In an enamelled Reliquary of the twelfth century, formerly belonging to Waverly Abbey, Surrey, now in posses- 
 sion of Viscount Middleton. 
 
 t There is an instance of this on a paten preserved in the vestry of York Minster. 
 X Silk wove with other thread. 
 
152 
 
 Stalls!, The custom of introducing Heads of sacred personages within circles 
 and quatrefoils, is very ancient and significant. We find these frequently 
 enamelled on early shrines, also in the knops and feet of chalices ; some- 
 times the Head of our Lord alone is represented in the centre of a pro- 
 cessional cross, within a circle which forms the nimbus. (See Vernacle.) 
 
 As the head is the seat of intelligence, it has always been considered among Christians of far greater 
 importance than the rest of the body. According to Durandus, the latter maybe buried anywhere, but 
 the former only in a consecrated place. Hence the custom of making Reliquaries under the form of 
 heads and busts : and the frequent introduction of heads, with their distinctive coverings, in Christian 
 decoration and sculpture. 
 
 $ttart* Among the Devotions which have been instituted by the Church in 
 later times in honour of our Blessed Lord's Humanity, none has obtained 
 more generally than that of the Sacred Heart of Jesus. Although this 
 devotion is essentially spiritual in its character and intention, yet having 
 been introduced at a period when ecclesiastical taste was at the lowest 
 ebb, it has always been represented in a most material, not to say offensive 
 manner; we generally see a heart, resembling that of an animal, 
 delineated anatomically, with often revolting fidelity. 
 
 The heart is always regarded as the seat of the affections, and hence as a most fitting emblem of the 
 great love which our Blessed Redeemer bore for the human race ; but as far removed as the pure heart 
 of our Lord from that of man in general, ought to be the delineation of this mystery from the mere 
 animal form. It should be represented as crowned, and surrounded with a golden nimbus and radiated 
 cross. The field of the heart may be of ruby colour, as an emblem of the intensity of Divine love, and 
 in the centre a crystal quatrefoil with the Holy Name inscribed in golden letters, to refer the emblem 
 more particularly to our Blessed Lord. Such a representation would convey to the mind of the 
 beholder all the same spiritual significations as the present emblems, and in a manner more becoming 
 the Majesty of Him to whom they refer. 
 
 $)nt aitiJ €\)\tkn\#* This is a subject often found in old sculpture, and was 
 introduced as an emblem of God's Providence ; according to the 
 Scripture : — " Quemadmodum gallina congregat pullos suos sub alas." 
 St. Matt, xxiii. 37. 
 
 ^Kl'uuenntt. A plant so called in honour of St. Benedict ; after the analogy of 
 our Lady's-mantle, and other names of herbs and plants. 
 
 It was frequently introduced in the sculptured foliage of the ancient churches, especially in those 
 erected by the Benedictines. A variety of the conventional forms of this leaf are engraved in Browne's 
 History of York Minster. 
 
 $}?l*S!?» A frame covered with cloth and ornamented with banners and lights, 
 set up over a corpse in funeral solemnities. 
 
153 
 
 Among the many impressive ceremonies that were 
 formerly connected with the burial of the dead, none 
 were more striking than the solemn dirges that were 
 chanted in the choir ; while the body was laid under an im- 
 mense frame or herse covered with heraldic devices and 
 bearings of the deceased, and sustaining a multitude of 
 burning tapers,* at once the emblem of resurrection, 
 and of high dignity and estate. Although the custom 
 of bearing lights at funerals is most ancient, yet it is 
 not probable that herses were made of this rich and lofty 
 description before the end of the 14 th centmy. I am 
 not acquainted with any illuminations or representations 
 of an earlier date, in which they occur. We have abun- 
 dant documents however, both by record and delineation, 
 of the exact form and decoration of those that were set up 
 in the 15th century, and of which the annexed cut will 
 give a tolerable idea. The society of Antiquaries have 
 engraved in the Monumenta Vetusta, four plates of the 
 funeral ceremonies performed at the interment of Abbot 
 I slip, at Westminster, in which not only the herse set 
 up on that occasion is perfectly shewn, but the hangings 
 of the choir and high altar. In an Office Book of the 
 15th century that has been in the possession of the 
 Scarisbrick family for a long period, at the commence- 
 ment of the Officium Defunctorum, is an illustration representing a funeral, with a herse of a beautiful 
 form, covered with tapers, and four crosses with lights at the extremities 
 
 Montfaucon, in his great work, entitled " Monuments de la Monarchic Francaise," has given a full 
 description of the interment of Queen Anne de Bretagne, who died in 1514„ Plate 1. represents the 
 body of the Queen dressed in the robes of state, and extended on a state bed, on each side of which are 
 three high tapers burning, with escutcheons attached to them, and an escutcheon at the head, while 
 at the foot of the bed is a small stool with a cross and a holy water vat. The second plate represents 
 the body of the Queen being laid in the coffin. The third plate represents the bed of state, with 
 the coffin covered with a pall intersected in length and breadth with a large cross, on this the Crown 
 and Sceptres are laid ; the same tapers and escutcheons round the bed are shewn as before ; but the 
 valance of the canopy is also hung round with other escutcheons. The fourth plate shews the herse, or 
 chapelle ardente, set up in the church of St. Saviour at Blois. The herse which was erected on four 
 posts, covered with black velvet, was surmounted by four double crosses, and five pinnacles terminating 
 in crosses, each cross carrying five tapers, the whole number of lighted tapers on the herse exceeding 
 two thousand ; the coffin which was laid immediately under the centre was covered with a cross pall, on 
 which was a Crucifix, the Crown, and two Sceptres. Standing tapers were also placed round the herse 
 with many escutcheons. The fifth plate represents the coffin borne in procession, on which is laid the 
 effigy of the Queen, and a canopy of state supported over it. Plate the sixth represents the herse erected 
 at Paris in the church of Notre Dame ; it was of a still more splendid design than that at Blois. 
 
 * The tapers lighted round the herse were afterwards to he given to the use of the High Altar and other altars in 
 the church. This is mentioned in the will of Margaret, Countess of Warwick, 1400, as ancient custom and right. 
 
 Nichols' Testamenta Vetusta. 
 
 ERSE . 
 
154. 
 
 itersfc 
 
 The whole roof was covered with pinnacles and crosses disposed in a pyramidal form, and sustaining 
 above .3000 tapers. The plan of this herse was cruciform, with four gables and twelve pinnacles. 
 The effigy of the deceased Queen is represented on the coffin. In all these plates a great number 
 of mourners and rehgious are shewn as praying round the herse. The attendant heralds have 
 tabards, fleur-de-lis, and ermine, with black hoods and gowns. Plate 7, represents the herse erected in 
 the Abbey of St. Denis, where the Queen was buried ; it is so similar to that at Notre Dame, as 
 not to require a separate description. Plate 8, represents a herse erected at Nantes, where the 
 heart of the Queen was solemnly carried to be buried with her father and mother. There are several 
 peculiarities remarkable in this herse ; each cross is terminated by a banner, surmounted by a royal 
 crown. On each of the great gables, an ermine or cognisance of the Queen, with the motto, " £| nta 
 bt'f," signifying that the ermine is so pure a creature, that it would die rather than soil its skin. The 
 heart in its silver case is shewn under the centre of the herse, raised on a white pall, with five standing 
 candlesticks and escutcheons on each side. 
 
 In the account of the funeral of Henry the Seventh, printed in Leland's Collectanea, vol. iv. p. 306, 
 it is related that the body was conveyed into the Abbey, " where was sett the most costly and curious 
 light possible to be made by man's hand, which was of xiii. principal standards, richly decorated 
 with banners, and all things convenient to the same." 
 
 To give a more perfect idea of the arrangement and ornaments of a herse, the account of those set 
 up at the funeral of Queen Mary are here given at length, from the account in Leland's Collectanea. 
 
 Funeral of Queen Mary. — The Maner of the furnetuer of the Chappel at St. James. — Item, it was 
 hanged with blake cloth, and garneshed with Skochions in metall as aforesaid ; the High Auter was 
 trimed with purpule velvet, and in the Deane's place was hanged a Canappy of purpule Velvett, and in 
 themydest of the said Chapel ther was maid a Herse iiij. square, of xlvi. greate Tapperes, the which did 
 waye xxlb. waight the pece, being wrought with Crownes and Rowses of the same, and beneth the same 
 Tapperes a Vallence of sarsenet, with the Qwene's Worde wrytten with letres of Gold, and a frynge of 
 Gould aboute the same vallence, and within that vallence another vallence of Bokeram, with a frynge of 
 blake silke : the said Herse was rychely sett with Penseles and skochions of armes in metall. Ther was 
 under the said herse a Matie* of taffata, with a Dome gilded, and iiij. Evangelestes in the iiij. corners of 
 the said Matie ; the vi postes were covered with blake Velvet, and on every poste a Skochion of Sarsenet 
 in fyne Gold ; the Rayle of the said Herse within was hanged with brod cloth, and the grownde within, 
 both Rayles covered with blake ; also the utter syde of the stalles, which was in sted of the rales on eche 
 syde, was hanged with blake ; at eche end ther was made a Rale over thwart the said Chappell, which was 
 alsoo hanged with blake, and garneshed with Skochions ; within the Rayles stod xv. Stoles, covered with 
 fyne brod cloth, and on the same, xv. Cussions of purpule Vellvet, and under the fete, to knelle on, xv. 
 cussions of blake cloth. At the upper end of the Herse without the ralle, there was maid an Aulter, 
 which stood on the lefte hand of the Quere, covered with purple velvett, which was rychly garneshed 
 with ornaments of the Churche. Which Chappell being thus furneshed, ordre was given to the Sargeaunt 
 of the Vestry for the saffe keeping of the same, tyll such tymes as the said Royal Corsse was brought 
 downe into the said Chappell. — Leland's Collectanea, vol. v. p. 309. 
 
 Of the Herse set up in Westminster Abbey, ditto, p. 318. — Item, the body of the Churche, from the 
 West Dore to the Quere Dore, was hanged with blake cloth, and garneshed with Skochiones ; allso the 
 Quere was hanged within the stalles with blake, and garneshed with Skochiones of Purple in metall ; and 
 betvvene the steppes goinge up to the Aulter and the Quere dore thier was maid a very somptiouse 
 Hersse of viii. square, with nyne princypalles double storied, havinge in it lightes to the nomber of a 
 thousand and more, garneshed with xxxvi dozen Penselles of sarsanet betten with Gold and Sylver of the 
 
 * Majesty, a canopy of state. 
 
155 
 
 Quene^s Badges, the viii. Rochments hanged double, with vallence of sarsenet, wrytten with lettres of 
 gold, and frynged with gilte fringe : on the same Hersse many Skochiones in metall, with many small 
 Skochiones of wax ; on the upper parte of the viii. great postes stod viii. Archangeles of waxe, and under 
 them viii. great Skochiones of armes within the Garter of waxe ; all the eight square of the Hersse was 
 garneshed and sett with Angelles, Morners and Quenes in their robes of estate, maid of waxe ; under the 
 Herse was a great Majestie of taffata, lyned with Bokeram, and in the same was maid a great dome of 
 paynter's worke, with four Evangelistes of fyne gold ; aboute the said Hersse above, under the said 
 great Skochiones, went with a valence of taffata, a quarter of a yerd depe, wrythen with lettres of gold, 
 dieu et mon droit, and armes in the same, made to stand in the mydeste of every square, havinge 
 a fringe of gold a quarter depe, and within that a valence of blake taffata, with a frynge of blake Sylke a 
 quarter depe ; the eight postes were covered with blake velvett, and on every post a Skochion of sarsenet 
 wrought with fyne Gold ; the Rayle of the same was hanged on bothe sides, with fyne brode Clothe and 
 sett with Skochiones of Bokeram in fyne Gold : within the said frame of the Hersse the grounde was allso 
 covered with blake Coton ; and without the said Hersse rounde aboute wente a ray lie iiij. foote and more 
 from the said Hersse, the which was hanged with blake velvet on the other syde, and on the inner syde 
 with fine brode clothe : in the Mydeste of the said Raylle agaynge the Highe Aulter was maid a small 
 Aulter, which was covered with velvet, and rychely garneshed with plate ; betwene the Hersse and the 
 said raylle the ground was covered with brode Cloth, where thier was sett xv Stoles, covered with fyne 
 brode Cloth, and at every Stole a Cussion of purpulle Velvet, and a cussion of blake Velvett ; without 
 that Raylle was a Raylle, which was maid for the kepinge fourth of the Pepoell, which was hanged allso 
 with blake, and the ground bewene the said twoo Rayles was allso covered with blake cotton, all the which 
 was had and receved by the Offycers of Armes. 
 
 Will of Hugh, Earl of Stafford. — " I will that six large tapers be placed about my hearse and four 
 morters of wax." 
 
 Margaret, Countess of Warwick. — " And, at the same time, that there be twenty torches, held burn- 
 ing by twenty poor men about my 
 hearse, but which are afterwards to 
 remain for the High Altai", and other 
 altars of that Church, for the honor of 
 God, according to ancient custom and 
 right." 
 
 Maud, Coi/ntess of Oxford. — " I will 
 that my hearse covered with black cloth, 
 with a white cloth in the form of a cross 
 thereon ; also that three tapers be burnt 
 about my corpse on the day of my 
 burial, two at my head, and the other 
 at my feet." 
 
 Philippa, Duchess of York. — 
 " Also I will that the hearse be covered 
 all round with black cloth. Item, 
 I will that a curious hearse of wax of a 
 small size be placed upon the aforesaid 
 hearse." — Testamenta Vetusta. 
 
 The splendour of funeral hcrses was 
 so much connected with personal state 
 
156 
 
 and dignity, that they not only survived the changes in the reign of Edward VI. and Elizabeth, but 
 continued long after the restoration,* and are, in a great measure, kept up even at the present day, in 
 the ceremony of the lying in state of noble and royal personages. 
 
 There were also standing herses of metal (resembling that shewn in the cut,) fixed over tombs, to 
 hold lighted tapers on annivei-saries, and as a sort of cradle to receive the pall ; of these I have only 
 seen two examples remaining, the well-known brass one in the Beauchamp Chapel, Warwick, which is 
 composed of brass rods, with enamelled ends ; and one in wrought iron, over a tomb of the Marmions, 
 in Tanfield Church near Ripon, Yorkshire. But Mr. Bloxam, in his Glossary, mentions another in 
 Bedell Church in the same county. These herses served at once for a protection to the tomb, and a frame 
 for lights or hangings, and when furnished with banerols of metal, shields and cresting, they produced 
 a most solemn and beautiful appearance. 
 
 $?U 4 9£ iUcrftt* This term is found in old Churchwardens' accounts ; and it does 
 not, as has been generally supposed, refer to lights set up round herses at 
 funerals, for these are directly mentioned as tapers : but it signifies a 
 church Candlestick, with many lights, (made like a harrow, hercia,) 
 and for the service of Tcnebrae in Holy Week. The modern word hearse 
 is from hercia : the part being used for the whole. 
 
 Du Cange in v. Hercia, s. Herchia. — In the Spicileg. Fontanell. MS. p. 394, is the following : — 
 ' On Thursday in Holy Week, Good Friday, and Holy Saturday, there oughtto be a Herse-light (Herchia) 
 at the right side of the High Altar, and 26 candles in it,' &c. 
 
 From the Constitutions of Lanfranc. 
 
 "Feria quinta tot candelae accendantur ante altare quot Antiphonas et quotResponsoria cantari oportet. 
 Finitis tribus orationibus sedentes psallant singuli silenter quindecim psalmos absque Gloria Patri, 
 cum Capitulis, et Collectis consuetis. Ad pater noster prosternant se super formas, et Abbate signum 
 faciente surgant. Inter psallendum et ante Nocturnum pulsentur signa sicut in duodecim lectionibus. 
 Pulsatis omnibus signis inchoet hebdomadarius Antiphonam Zelus domns tuce : Cum incipiunt psalmum 
 petant veniam super formas, et ad Matutinas Laudes similiter : Per singulas Antiphonas, et singula 
 responsoria extinguantur singula? candelae. Lectiones sine Jube Domine vel Tu autem legantur. Primae 
 tres de Lamentationibus Jeremiaa sine cantu, et Alphabetis praescriptis ; In secundo Nocturno, de 
 expositione psalmi ; Exaudi Deus orationem, meam cum deprecor ; In tertio de epistola Pauli Conuenienti- 
 bus vobis, Antiphonae omnes, et versiculi absque finis melodia. In Matutinis Laudibus cum incipiunt 
 Psalmum : Laudute Dominam de ccelis vadant magistri inter infantes, qui et versi sint ad Priores, sicut 
 et ipsi infantes. Juvenes vero qui in custodia sunt mixtim sint in ordine seniorum. Candelae ex- 
 tinguantur in toto monasterio praeter unam quae in choro ardeat, Quae et ipsa cantore incipiente 
 Antiphonam Traditor autem extinguatur. Finita Antiphona curventur super formas sub silentio 
 dicentes, Kyrie eleyson Pater noster : preces Ego dixi Domine ; psalmum Miserere mei Deus solum 
 sine Gloria patri ; collectam Respicc quasumus Domine ; signoque facto ab Abbate, vel Priore surgentes 
 inclinent sicut solent, ante et retro, et stet vnusquisque in loco suo vsquequo magister infantum laternas 
 accensas in chorum deferat, et ipsis infantibus tribuat ; Secretarius quoque accendat lumen ante altare 
 vnde juvenes laternas suas accendant." 
 
 Churchvardens' Accompts, St. Margaret's, Westminster. — Item, received iv tapers for Sir Milles, 
 
 * Sandford in his Genealogical History, has given a plate representing 1 the herse set up in Westminster Abbey, at the 
 funeral of Queen Mary, wife of King William the Third ; and although the design, like every thing belonging to the 
 period, is exceeding debased, still the pyramidal form of lights, escutcheons, pall, &c is retained after the old manner. 
 
©ersfr ifg&t— ^olp Breati Cfotfc* 157 
 
 priest of the King's Almshouse, 8d. Item, the day of burying of WiUiam Caxton, for 11 torches and 
 4 tapers, at a low mass, Is. 8d. Item, at the burying of my Lady Stonor for vi torches, 10s. 
 The herse lights, on the contrary, occur in the accounts about Easter. 
 
 St. Helens, Abingdon, 1555. For making the herse lights and paskal tapers, lis. Id. 1557. For 
 making the herse lyghtes, 3s. 8d. For making the roode lyghtes, 15s. 5d. To the Sextin, for watching 
 the sepulter two nyghtes, 8d. 
 
 These items occurring together, prove most clearly, that herse-light refers to something required for 
 Holy Week, and there can be little doubt that it signifies the triangular or tenebrae candlestick. (See 
 Candlestick.) 
 
 That this practice formerly existed in the English Church we have good authority, in the exposition 
 of rites and ceremonies to be used in the Church of England, set forth in the reign of Henry the 
 Eighth and after the schism. "The service upon Maundy Thursday, and Good Friday, differs 
 from other services in the year. The candles on those nights first lighted, and then put out at every 
 psalm and lesson, signify the manifold lights given by the Holy Prophets before the coming of Christ, 
 which at this time were darkened ; for the world was then in an infidelity, and the cruel Jews did 
 not only put the former Prophets to death, but also then they practised the Death of Christ, the 
 end of all prophets, which shortly after they accomplished to their confusion and our salvation." — 
 Collier, vol 2. p. 197. 
 
 ©erajjutt* A six-sided figure, mystically signifying the attributes of God, 
 blessing, honour, glory, power, wisdom, and majesty. 
 
 $oIp Breati Ctoti), 
 
 Cloths of this description occur in the old parochial accompts and inventories. They were used 
 to lay the holy loaf upon, when it was carried up to be blessed at the Altar. The custom of eating 
 blessed bread as a sign of communion among Christians, is of great antiquity, having commenced with 
 the Eulogiae* mentioned by St. Augustin ; and it was observed in England till the reign of Edward VI., 
 resumed under Mary, and finally abolished in the reign of Elizabeth. In France the practice is still 
 strictly observed, and the Pain benif is carried up to the Altar with much solemnity every Sunday, 
 blessed by the officiating priest, and afterwards distributed to the people. In the Exposition of the 
 Ceremonies of the Church of England put forth in the reign of Henry VIII. and already alluded to, 
 Holy Bread is thus explained. " It is to put us in remembrance that all Christian men are but one 
 mystical body of Christ, as the bread is made of many grains and yet but one loaf. And to put us in 
 remembrance also of receiving of the Holy Sacrament and Body of Christ in right charity, which, in the 
 beginning of Christ's Church, men did oftener receive than they do now." 
 
 * The term Eulogise was originally used with reference to the holy Eucharist, but it also signified bread that was 
 taken up to the altar and blessed, a portion of it afterwards consecrated, and the remainder distributed to such of the 
 faithful as were not able from some circumstance to communicate, and also to the catechumens, who were not permitted 
 to receive the holy Eucharist, but to whom this bread was in place of a Sacrament. In a Treatise on the Pastoral Cure, by 
 Pope Leo IV. the blessed bread is ordered to be distributed to the people after Mass on Festivals, by whom it was to be 
 received fasting. For St. Augustin (De Pecator. Remiss. Lib. 2. chap. '20) says, ' this bread, although not the Body of 
 Christ, still is holy, and more holy than the food which we ordinarily eat.' There were also private Eulogise, which 
 bishops and priests gave and received mutually as a symbol of communion, which succeeded in the more ancient practice 
 of sending the blessed Eucharist to each other. 
 
 f There are some very interesting remarks on the Pain beni, in De Vert's Treatise, Sur les mots de Messe et de 
 Communion. 
 
158 
 
 In the reign of Edward VI. shortly before the publication of the new Liturgy, the priest was enjoined 
 to say aloud before the distribution of the Holy Bread : — 
 
 Of Christ's Body this is a token ; 
 Which on the Cross for our sins was broken : 
 Wherefore of his death if ye will be partakers ; 
 Of vice and sins you must be forsakers. 
 
 Collier, vol. ii. p. 242. 
 
 lolp Skater Wat. See Vat. 
 
 $?00tl£» are a most ancient covering for the head, and far more elegant 
 and useful than the more modern fashion of hats, which present a useless 
 elevation, and leave the neck and ears completely exposed. 
 
 The greater part of the ecclesiastical hoods are now merely worn as marks of degree and dignity, 
 but originally they actually served as coverings. The hoods of chasubles and copes (see Chasuble and 
 Cope) were of this description; and the habit yet worn by many of the religious orders, such as the 
 Cistercians, Carthusians, &c. and, in fact, a primitive cope is provided with a capacious hood, thrown 
 back when not required, and pulled up over the head at pleasure. The amess, now carried by the 
 Canons of cathedral churches in France, as a mark of their dignity, was originally given to them to wear 
 over their heads and shoulders, and protect them from cold while reciting the nocturnal offices ; and there 
 are many old representations of Canons with their heads thus covered. In the like manner the academical 
 hoods, now worn in the English universities hanging down the back, were formerly hoods for covering 
 the head, lined with fur, &c. ; and which may be seen on many sepulchral brasses of ecclesiastics. 
 
 $?ors>Ct The horse may be used as an emblem of war, and therefore should be 
 represented, Jz>aliant» 
 
 $?QSt* The name given to Altar Bread, before its consecration. 
 
 Du Cange defines the word as signifying Panis ad Sacrificium Eucharisticum destinatus. It also 
 signifies the Blessed Sacrament itself, and is derived from the Latin hostia, (victim). 
 
 $tna$f& Images form a most important part of Ecclesiastical decorations. 
 
 No sooner had the doctrine of the Cross triumphed over Pagan error, and the danger of idolatry 
 been removed by the overthrow and destruction of the idols themselves, than the Church permitted the 
 glorious art of sculpture, hitherto dedicated to the illustration of error, to be exercised in honour of the 
 true God and his blessed Saints, and to contribute to the piety and devotion of the faithful, by setting 
 forth the most sacred representations, for their contemplation and instruction.* Although the fury of the 
 
 * As the heathen idols began to be abolished throughout Christendom, so did the wisdom of the Church permit to 
 the faithful the use of such sacred representations as were calculated to excite piety and devotion, and to continue down 
 the Faith unchanged from age to age. The first attack from an heretical quarter shewed that the enemy was alarmed 
 by seeing the arts ranged on the Church's side. Sigebert writes in his Chronicles, a.d. 712, that Philippicus had by 
 violence and murder obtained possession of the Empire. This Philippicus being a Monothelite, wished to overthrow the 
 authority of the Sixth Oecumenical Council. Addressing a letter to Pope Constantine, he at the same time caused to be 
 destroyed a picture of the first VI. General Councils, which graced the Imperial city. He then proceeded to order the 
 destruction of all statues and images of the Saints to be destroyed in all the churches of the city, and casting out Cyrus, 
 the Catholic Patriarch, intruded in his place John, a Monothelite and Ieonoclast. The war thus kindled in the East 
 lasted for many years : the iconoclasts destroying not only works of art, but Reliques of the Saints, with a barbarian 
 fury. While such was the state of the Church in the East, let us see how the Rock of St. Peter in the West stood the 
 
159 
 
 early iconoclastic heretics had well nigh stifled Christian sculpture in its birth, and the still more fatal 
 destruction caused by the Calvinistic and revolutionary iconoclasts of more recent times, has defaced or 
 destroyedmany of itsfinest productions, the great churches of Christendom yet exhibitmostwondrousproofs 
 of what the artof man, when influenced by faith and devotion, coulddo,in embodyingthe Life and Sufferings 
 of our Blessed Lord, the lives of the Saints, and the glories of the Heavenly Kingdom. From the latter part 
 of the twelfth till the beginning of the fifteenth century, the art of sculpture was most flourishing; the 
 immense cathedrals that were erected during that period were covered with exquisite imagery, executed 
 with wonderful skill, and with scrupulous regard to ecclesiastical tradition and the edification of the 
 faithful. At the close of the fifteenth century, a great change for the worse is to be remarked in sacred 
 imagery, much of that executed in England verging on the grotesque, while the continental artists were fast 
 abandoning their old principles and traditions for the novelties of revived Paganism ; and in the course 
 of a few years afterwards, the most sacred subjects had only become a vehicle by which they might 
 exhibit their anatomical knowledge or pictorial skill, without regard to the instruction and edification of 
 the people (which is the chief intention of sacred images), or even of Christian modesty and decorum. It 
 must be admitted, that the great defect of those sculptors who flourished in the middle ages, was their 
 neglect of anatomy, and of the proportions of the human frame ; but in the best of their works this does 
 not occur, and, therefore, where it is found, it should be attributed to a deficiency of skill rather than to 
 principle. Their drapery is generally most majestically folded, their countenances full of mind and 
 devotion, the accessaries exquisitely wrought, and scrupulously exact ; while the great aim of all their 
 productions was evidently to set forth the mysteries of the Faith, in a manner best calculated to awaken 
 the reverence and devotion of the people. How truly lamentable then does it seem, when a greater 
 attention to anatomical construction and proportions was all that was wanting to make their works the 
 veiy perfection of Christian Art, thatno sooner were these points more attentively studied, than they should 
 have superseded every other, and for the last three centuries the ecclesiastical imagery has exhibited little 
 else but posturing angels, flying cupids, and half naked saints, without the least dignity, repose, or 
 devotion. It is necessary to allude particularly to this point, on account of the gross misconception of 
 many persons who oppose the revival of Christian sculpture on the ground of those defects observable 
 in many of the old works ; as if the most accurate drawing and anatomical knowledge could not, or 
 ought not, to be combined with the devotional manner of the Middle Ages. With those who now 
 
 storm. Constantine, who was Pope at the time when Philippicus, the first Iconoclast, arose, forbad the name of the 
 heretical Emperor to be named in the Mass, condemned his letter, and directed a painting of the VI. Councils, similar to 
 the one destroyed by Philippicus, to be executed and placed in the porch of St. Peter's. Gregory II. and Gregory III. 
 followed on the Papal Throne. The former held a Council of lxxxix. bishops at the Confession of .St. Peter, in which 
 it was determined, in accordance with the testimonies of the Holy Fathers, in favour of the use and veneration of 
 sacred images. The succeeding Popes held more Councils, all of which confirmed the same doctrine. At length 
 Hadrian I., being Pope, convened a general Council at Nicaia in Bithynia. This was the II. Council of Nice, and the 
 VII. (Ecumenical Council, held a. d. 789. In this the Catholic doctrine was fully and irrefragably established, that 
 the images of Saints are to be placed and retained in churches. The Holy Synod concluded with the following 
 expression of their unanimous feeling: — "Omnes sic credimus, omnes idem sapuimus, oinnes approbantes subscrip- 
 simus. Htec est fides Apostolorum : haec est fides Patrum : htec est fides orthodoxorum : banc fidem orbis terrarum 
 confirmavit. Qui venerandas Imagines idola appellant, anathema. Qui dicunt qudd Imagines < 'hristiani ut Deos adorent, 
 anathema. Ilugienti conciliabulo contra venerandas Imagines, anathema. Si quis has non salutaverit in Nomine 
 Domini et Sanctorum ejus, anathema. Si quis Traditiones Ecclesi;e, sive scriptas, sive consuetudine valentes,non curaverit, 
 anathema." This decision of the collective wisdom of the Church in Council, received both in the East and in the 
 West universally, set the question at rest, and silenced opposition. If any still persist in confounding sacred represen- 
 tations and emblems of the Truth, with heathen idols, the symbols of Falsehood, they cannot look for sympathy to the 
 enlightened lovers of Christian art : it is much if they can maintain their credit even with the vulgar and illiterate.— See 
 Molanus, Historia sacrarum Imaginum. Lib. i. c. 4 5. 
 
160 
 
 Enraged 
 
 oppose the revival of Christian sculpture in sacred edifices on the ground of idolatry, and of the Com- 
 mandment against the worship of idols, it is scarcely necessary to argue. A system which would 
 deprive the noble art of sculpture of the most glorious subjects whereon to exercise its powers, is worthy 
 only of the fanaticism of barbarians, or the superstition of Mohammed. 
 
 The uses of Sacred Images, — The use of sacred images is profitable — 1 . For Instruction. 2. For 
 Remembrance. 3. As a Confession of Faith. 4. As an expression of our Love. 5. For Imitation. 
 6. For Invocation of the Saints. 7- To the Honour of God. 8. To confute and repress Heresy. 9. To 
 excite Devotion in the faithful. 10. To bring before us the Glories of the Heavenly Kingdom. — 
 These ten advantages Sanders unfolds in his first book, De honoraria Imaginum adoratione, ch. 8. 
 
 Of the proportion and position of Sacred Images. — As a general rule, no image should be larger than 
 the human figure, for wherever we find colossal statues, the apparent size of the edifice is reduced in 
 the same ratio as they exceed the size of nature. The images or representations of the Eternal Father, 
 or our Lord, have been sometimes made of a great size as a symbol of majesty : and in early represen- 
 tations we sometimes find the size of the images correspond to the dignity of the person represented 
 (see Dalmatic, ad finem). In the great Rood or Crucifixion, the image of our Lord may be made, with 
 propriety, of much larger proportions than those of our Blessed Lady and St. John. 
 
 Images should be always placed in niches or under canopies ; internally, as a mark of honour, and 
 externally, both for honour and protection from weather. Round internal niches, a convenience was often 
 provided for the suspension of curtains and cloths ; some of the niches were made to close up with doors 
 like a triptych. Due regard should always be paid in placing an image to the dignity and character of the 
 Person represented; the most honourable side of the altar is that at the left of the celebrant, or Gospel 
 side. Hence in a reredos, if there were images of our Lord, and SS. Peter and Paul, that of our Lord 
 would be placed in the centre, St. Peter on the gospel side, and St. Paul on the epistle. The same 
 order should be observed in niches on the sides of doorways, &c. In Roods the image of our Blessed 
 Lady should always be placed on the right hand of our Lord, and that of St. John on the left. In 
 placing the images of angels, due regard should be paid to the order of priority to be observed in the 
 nine Orders of the Heavenly Hierarchy ; and this is especially necessary in a succession of such images 
 round an arch or in a roof. 
 
 Images were made of the following materials. — 1. Gold and silver, of which many examples are men- 
 tioned in old inventories ; these were generally enriched with precious stones in the crowns and orphreys, 
 and often enamelled. 2. Copper gilt. 3. Laten and brass. 4. Ivory. 5. Wood. These wooden 
 images were generally covered with fine linen, and then prepared in the usual way for gilding, which 
 was afterwards beautifully diapered and painted, and crystals were sometimes inserted in the borders. 
 6. Of stone or alabaster ; and when used for internal images, richly painted and gilt. It should be 
 remarked, that the ancient images, when intended for the interior of churches, were usually painted and 
 enriched with gilding, &c. An image is intended to represent reality, and should consequently resemble it 
 in colour as well as form, and the dislike that many persons of the presentday feel to this sort of decoration, 
 arises more from prejudice than sound or consistent reasons. The original painting is to be yet 
 traced on most of the ancient images, and some are in the most perfect and beautiful state of preser- 
 vation ; the ornamental detail was generally executed with exquisite taste and precision, and with the 
 most durable colours. Many of the ancient images, especially those of our Blessed Lady, by long 
 custom, were clothed on Festivals with rich mantles of embroidered silk and velvet, and provided with 
 moveable crowns of gold and jewels ; but these ornaments require great skill and judgment, both in the 
 design and arrangement, to prevent them from producing a tawdry or even childish appearance. The 
 emblems and images of our Blessed Lord have been so fully described under Emblems, and the 
 
/ 
 
 JmagesL— Jm'tiafe. 
 
 161 
 
 account of the Crosses at the Vatican and Veletri under Cross, that it is unnecessary to do more in 
 this place, than to refer the reader to them. The emblems and attributes of the Angels, Saints, 
 and Martyrs, have also been fully described under Emblems. In addition to what was there men- 
 tioned respecting our Blessed Lady, it is proper to remark, that she is sometimes represented with the 
 body of our Lord extended on her lap, after having been removed from the cross, she is then termed our 
 Lady of Pity : she is also represented standing with her arms extended holding a mantle, under which 
 a variety of persons are kneeling ; under this form she is termed our Lady of Mercy. In maritime 
 towns and places, chapels dedicated in honour of our Blessed Lady, are frequently erected in conspi- 
 cuous situations, in which she is represented with one hand extended. She is termed our Lady of 
 Good Hope, in reference to the vows made by seamen in times of imminent peril, to obtain her 
 powerful intercession. There is also a representation of our Blessed Lady as sitting, and pierced with seven 
 swords ; under this form she is termed our Lady of Dolours. This is not, however, older than the lGth 
 century. 
 
 Inventory of Lincoln Cathedral. — Imprimis, an Image of our Saviour, silver and gilt, standing upon 
 six lions, void in the breast, for the Sacrament for Easter-day, having a berall before and diadem behind, 
 with a cross in hand, weighing thirty-seven ounces. Item, a great Image of our Lady, sitting in a chair, 
 silver and gilt, with four polls, two of them having arms in the top before, having upon her head a 
 crown silver and gilt, set with stones and pearls and one bee, with stones and pearls about her neck, 
 and an owche depending thereby, having in her hand a scepter, with one flower set with stones and 
 pearls, and one bird in the top thereof, and her Child sitting upon her knee, with one crown on his head 
 with a diadem set with pearls and stones, having a ball with a cross, silver and gilt, in his left hand, and 
 at either of his feet a scutcheon of arms ; of the gift of Mr. Marston Chanter. 
 
 Inventory of York Minster. — Item, Images of the Blessed Virgin Mary, one of them, of silver gilt, 
 sits in a chair, weighing 19 pounds ; another of silver gilt, carrying the Infant, with a saphyr in her 
 hand, which the hebdomadarius daily carries to Mass to the High Altar, weighing 5 pounds and 1 1 
 ounces. Item, the image of the Blessed Virgin Mary of gold, weighing 3 ounce and a half and 20 
 penny weight, the legacy of Mr. Thomas Ebden, to be set at the east end of the tomb of the lord Richard 
 Scrope, once Archbishop of York. Item, the image of the Blessed Virgin Mary of silver gilt, with the 
 Infant in her right hand, and lilies in her left. Item, the image of St. Paul, with a book in his right 
 hand, and a sword in his left. Item, the image of St. Peter, of silver gilt, with the keys in his right 
 hand, and a book in his left. Item, the image of St. John Baptist, with the Lamb and the Cross. 
 
 Item, the Head of St. E , and standing on four lions of gilt copper, which remains in the red chest. 
 
 Item, the Assumption of the Blessed Virgin Mary, with a jewel, standing on four columns, with the 
 arms of Scrope. Item, the image of St. Gabriel, with the arms of Scrope at the bottom. Item, the 
 image of St. Margaret of gilt silver, with a cross in her right hand, and a book in her left, standing on a 
 green dragon, lying on a green mount, with a silver-gilt foot, with the arms of lord Thomas Rotheram, 
 late Archbishop of York, at the top of the dragon. 
 
 Jmtiate* 
 
 In painted or engraved inscriptions the initial letters were generally much ornamented, not only with 
 foliage and scroll work, but (which is important to remark) with some distinctive emblem or illustration 
 of the subject to which the sentence relates ; thus, in the initial of a Text from one of the Holy 
 Gospels, the emblem of the Evangelist from whom it is taken may with propriety be introduced. In 
 inscriptions referring to our Lord, either the emblems of his Passion, or the Holy Name. For those in 
 honour of our Blessed Lady, a vessel containing lilies, or some other appropriate emblem. In versicles 
 
 Y 
 
162 
 
 inscriptions.— Instruments of Corture 
 
 from the Psalms, King David with his harp. For monumental inscriptions the arms or badges of the 
 deceased, or the emblems of his patron Saint. 
 
 Inscriptions. Plates x. xi. xir. xiii. 
 
 Inscriptions are continually introduced in ancient representations and decorations. Sometimes on 
 phylacteries, or twisted scrolls, held by those to whom they refer, or on labels proceeding from their 
 mouths, or in running lines. These scrolls or labels are sometimes coloured, and the letters white 
 or gold ; or more frequently white, with the inscription in colour. A cross should be depicted at the 
 commencement of each separate sentence, and the intervals between the words filled up by floriated 
 ornaments. Purple labels, with golden letters, are most appropriate for sentences from the Holy 
 Gospels. Plate X. contains an alphabet of letters used in the thirteenth and fourteenth centuries. All 
 the letters in church inscriptions of this period are what are usually termed capitals. The small alphabet 
 at the bottom of the Plate is of the latter part of the fifteenth century. Plate XI. contains an alphabet 
 of capitals used in the fifteenth century, and a small alphabet of an earlier date. Plate XII. shews a 
 black letter alphabet of the sixteenth century. Plate XIII. contains three alphabets of the same date. 
 The letters in these plates have been selected principally with a view to their imitation at the present 
 time. A work treating especially of alphabets is now being published by Mr. H. Shaw, which will 
 contain many beautiful examples of every date. 
 
 Instruments Of (^fffee. Each state, rank, and condition, have some distin- 
 guishing mark of office, with which they should be represented. For 
 the emblems peculiar to the various degrees of Angels, and to particular 
 Saints, see Angel and Emblems. Further examples are as follows : — 
 
 For the Pope, a triple cross and cross keys ; for an Archbishop, a crozier ; for a Bishop, a pastoral 
 staff ; for an Emperor, a sword and orb with a cross ; for a King, one or two sceptres, and sometimes 
 a sword ; for an Abbot, a pastoral staff and a book ; for a Pilgrim, a staff and shield ; for a Monk, a 
 book ; for a Hermit, a book rosary and staff ; for a Priest, a chalice with the Blessed Sacrament ; for 
 a Deacon, the book of the Holy Gospels ; for a Subdeacon, a chalice and crewetts ; Acolythe, a candle ; 
 Lectors and Exorcists, books ; Ostiarii, a key ; Knights, a sword ; all Ecclesiastics who have written 
 books in their hands ; Trades and occupations, the various insignia appertaining to their several 
 callings. 
 
 In the cemetery of Nuremberg, a city formerly famed for the excellence of its artizans, the grave- 
 stones are inlaid with chased plates of brass, on which the occupations of the deceased persons are beau- 
 tifully represented : jewellers, goldsmiths, brassfounders, smiths, sculptors, masons, and others, have 
 each some specimen of their craft. In church-yards in the North of England, we occasionally find a 
 spade, plough, or pick-axe, carved over the graves of agricultural labourers. These distinctive emblems 
 impart a great interest to the ancient monuments and representations, and the same principle should be 
 rigidly adhered to at the present time. 
 
 Mons. Didron asserts in his Iconographie Chretienne, that the representations of houses, vines, fish, 
 anchors, mason's tools &c. in ancient monuments, refer to the occupation of the deceased persons ; if 
 this opinion, which is highly probable, be really correct, it will give a very high antiquity to the practice 
 of introducing instruments of trades on sepulchral monuments. See an instance under Fylfot. 
 
 Instruments Of Corture. Martyrs are usually represented as holding the 
 various instruments of their Martyrdom. For those which are peculiar 
 to the various Saints, see Emblems. 
 
163 
 
 Jb|) was a plant used in the decoration of . the parochial churches at Christmas, 
 as appears by the churchwardens' accounts above quoted, under Flowers. 
 
 It was also frequently introduced in ancient sculpture, and from its remaining continually green, it 
 has been interpreted as a symbol of Eternal Life. 
 
 §es&e* The Genealogy of our Blessed Lord was a subject often selected by the 
 old Christian artists, for representation in stained glass, embroidery, 
 sculpture, and painting. 
 
 The idea of treating our Lord's Genealogy under the semblance of a vine, arose most probably from 
 the passage in Isaiah, " Egredietur virga de radice Jesse et flos de radice eius ascendet." The Patriarch 
 is usually represented recumbent. The mystic Vine (the emblem of spiritual fruitfulness) springs 
 from his loins, and spreading in luxuriant foliage, bears, on distinct stems, the various royal and 
 other personages mentioned in the first chapter of St. Matthew, among which the Kings David and 
 Solomon occupy a distinguished position. Those before the Babylonian captivity, are represented as 
 Kings, afterwards as Patriarchs. The name of each is usually inscribed on a label, entwined in the 
 vine, close to the figure designated. Near the summit is our Blessed Lady in glory, with our Lord in 
 her arms, but the stem does not extend to him on account of his Divine Incarnation. There are 
 examples of the vine terminating in a cross, with our Lord crucified. This manner of representing the 
 genealogy of our Blessed Saviour, of which there are examples even of the twelfth century,* was very 
 common, from the thirteenth to the sixteenth, both in stained glass, f illuminations of manuscripts, and 
 printed Hours,! stone and wooden sculpture, § and embroidery. || Its effect, as sometimes executed, 
 must have been most glorious, the vine running in luxuriant branches, with a stem and tendrils of gold ; 
 thick with green foliage and purple grapes, disposed so as to sustain and surround a long succession of 
 royal personages, with rich robes, crowns and sceptres, holding labels and illuminated scrolls, and 
 terminating with our Divine Lord in the arms of his Blessed Mother, radiant with splendour and 
 surrounded by angels. — " O Radix Jesse, qui stas in signum populorum, super quern continebunt reges 
 os suum, quem gentes deprecabuntur : veni ad liberandum nos, jam noli tardare." 
 
 3fS»U iHU'tp* A touching invocation of our Blessed Lord, frequently intro- 
 duced on scrolls, in sepulchral brasses, &c, and generally accom- 
 panied by another, on which is inscribed $Lntl))t 
 
 The difference of the wording used in the two cases fully expresses the Catholic doctrine ; in the first 
 instance, the prayer implies absolute and intrinsic Pow er in him to whom it is addressed ; while in the 
 second, our Blessed Lady is invoked as a fellow-creature, who has received power from God to aid and 
 succour us. 
 
 * There is an early example at Chartres Cathedral. 
 
 f The north window of transept St. Maclou, Rouen ; east window of Chapel, Winchester College, Winchester ; 
 east window, Morpeth Church, Northumberland ; Cologne Cathedral, &c. 
 
 I Book of Hours, printed on vellum, in the early part of the sixteenth century, by Simon Vostre. 
 
 § In the North window of the Chancel of Dorchester Church, Oxon, tbe mullions are formed of vine branches, sus- 
 taining- images of kings, &c. with labels. The lights were filled with images in stained glass. The altar screen at 
 Christchurch, Hampshire, is another fine example. 
 
 || Copes are sometimes distinguished in old church inventories, by the appellation of Boots, signifying that the 
 genealogy of our Lord was worked on them. 
 
164 
 
 SfeSfUSf, (|?Olp^ameof)» See Monogram. 
 
 Xieȣ>* The emblems of St. Peter: for the form and signification, see 
 Emblems. 
 
 Eabyrilttl)* Geometrical figures, composed of various pieces of coloured 
 marbles, and so disposed as to form Labyrinths were frequently found in 
 the pavements of the French Cathedrals, and so called Labyrinthes de 
 pave. 
 
 The finest remaining examples is in the centre of the nave at Notre Dame, at Chartrcs, and a 
 person following the various windings and turns of the figure would walk nearly 800 feet, before he 
 arrived at the centre ; although the circumference does not exceed thirteen yards. Similar Labyrinths 
 formerly existed at Notre Dame in Paris, at the Cathedral of Rheims, and at Amiens. This latter was 
 only taken up in the latter part of the last century, and the centre stone (which is octangular, and was 
 formerly inlaid with brass imagery) is still preserved in the musee of that city. 
 
 These Labyrinths are supposed to have originated in a symbolical allusion to the holy city, and 
 certain prayers and devotions doubtless accompanied the perambulation of their intricate mazes. 
 
 Hamlh Our Divine Saviour is variously typified and represented in the 
 Scriptures as " the Lamb of God :" and this, as it is one of the most 
 ancient, so it is one of the most frequently occurring emblems of the 
 Redeemer. No other is more significantly expressive of the spotless 
 innocence, and Passion of Him, who ' was led as a Lamb to the slaughter:' 
 no other more touchingly brings to our minds the humility, and unresisting 
 meekness of the Divine Victim, who shed his blood for us. 
 
 Accordingly our Divine Redeemer is spoken of in the Apocalypse under the image of a Lamb, chap, 
 v. 6, " And I saw, and behold in the midst of the throne, and of the four living creatures, and in the 
 midst of the seniors, a Lamb standing as it were slain." Again, chap. xiv. " And I looked, and behold 
 a Lamb stood upon Mount Sion," &c. 
 
 The invocation, Agnus Dei, &c. immediately befo.e the communion in the Mass,* is an illustration, 
 being particularly addressed to the second person of the Holy Trinity. 
 
 Gerbert, in his Vetus Liturgia Alemanica, plate 4, has figured a paten of the fourteenth century, 
 with a Lamb and banner in the centre, round which is inscribed " + Agnus Dei . Panis . Vivus." 
 
 Didron gives a beautiful scripture round an Agnus Dei, in copper, of the eleventh century, as 
 follows : — 
 
 " Carnales actus tulit Agnus hie hostia factus." 
 
 Ciampini de Sacris yEdificiis, tab. xiii., has a Lamb, with a nimbus, standing before an altar, of the 
 fifth century. 
 
 D'Agincourt, Histoire de l'Art par les Monuments, vol. 2, plate xvi. fig. 9, the Lamb on a mosaic > 
 executed in the year 530, over the great arch of the church of St. Cosmas and St. Damian at Rome. 
 Ditto, plate liii., a Lamb, with a nimbus, standing within a circle, and surrounded by the four Evangelists, 
 
 * Durantus De Ritibus, p. 683. Vulgo- creditum est, Sergium Papam qui sedit a. d. G88, constituisse, ut ante 
 cc-minunionem liEec precatio, agnus Dei, &c., a clero & populo decantaretur. 
 
165 
 
 from the illumination of an Exultet of the eleventh century. Ditto, plate ciii., a Lamb, from MS. 
 executed by an Italian painter of the Greek school, of the twelfth century. 
 
 This emblem was generally introduced in the centre of crosses, with the Evangelists at the extre- 
 mities ; of which there are numerous examples in sepulchral brasses. It is also found in all buildings 
 dedicated in honour of St. J ohn the Baptist : in accordance with the Antiphon : " Ecce Maria genuit 
 nobis salvatorem, quem Johannes videns exclamavit, dicens : Ecce Agnus Dei, ecce qui tollit peccata 
 Mundi." Vide St. John, i. 29. 
 
 Agnus Dei also are cakes of consecrated wax, stamped with the image of the Lamb, and inscribed 
 " Agnus Dei qui tollit peccata Mundi." These are consecrated by the sovereign Pontitf during the 
 first year of his pontificate, and every seventh year. The wax of which they are composed is partly 
 the remains of the paschal candles of the preceding year, and partly fresh, furnished by the Apostolic 
 Chamber. On the Easter Tuesday the sacristan of the Pope blesses water, and on the day following 
 the Pope, after the high mass, pours Holy Chrism into it in the form of a cross, with appropriate 
 prayers ; the wax pieces are then blessed and thrown into the water blessed previously. On the 
 Saturday, after the mass celebrated by the Cardinal priest, at which the Pope assists, the Agnus Dei are 
 brought in procession to the chapel, and distributed by the holy father to the clergy and faithful. The 
 latter are enjoined to have them encased in the same manner as Reliques ; and persons out of holy orders 
 are not permitted to touch them. 
 
 These Agnus Dei are blessed with especial reference to protection from certain dangers, the benefit 
 t j be derived from their possession depending of course on the dispositions and intention of the receivers 
 being in accordance with the intention and spirit of the Church. 
 
 The first volume of Father Thiers' Traite des Superstitions, p. 311, contains some very interesting 
 details on the observance of holy things, and abuses of them. 
 
 In representations of the Agnus Dei the following rules are generally observed. The body of the 
 Lamb is white, with a gold nimbus and red cross round the head. The banner red at the points, with 
 a red cross on a white field next to the staff, which is terminated by a cross. The image is generally 
 figured within a circle, or quatrefoil, on a field either azure or gules. There is a beautiful marble 
 monument taken from the cemetery of St. Priscilla, in which, among other emblems, the Lamb is 
 represented on a mountain with a nimbus surmounted by a small cross, and from the mountain beneath 
 the lamb four rivers are seen to spring, which are emblems of the four Evangelists. 
 
 In ancient monuments, the Lamb is represented as performing various miracles, raising Lazarus 
 from the dead, multiplying the loaves in the wilderness, as being baptized in Jordan, crossing the Red 
 Sea, as lying slain upon an altar, (as in a silver paten at Foro-cornelia, now Imola, with an inscription 
 on it,) or as standing at the foot of the cross, shedding blood from its breast into a chalice, which 
 overflows into a neighbouring river ; lastly, as pouring forth blood from its feet, in four streams, flowing 
 over a mountain, but always carrying the cross, sometimes with the monogram ^ marked on the 
 forehead. — From a Treatise on an Ancient Cross in the Vatican. By Stephen Borgia, 17/9- 
 
 In the early frescoes and mosaics (figured in Ciampini, Vetera Monumenta) we frequently find the 
 representation of our Lord under the image of a Lamb, lying on a throne, surmounted by a cross. 
 That at the church of SS. Cosmas and Damian is thus described by him. Agnus igitur sic jacens, 
 ilium reprresentat agnum, de quo in Apocal. cap. 5, num. 6. Et vidi, et ecce in medio throni ct quatuor 
 animalium et in medio seniorum, Agnum stantem tanquam occisum. Mysticus hujus hieroglyphici sensus 
 apertus est, cum Christum in agni specie a priscis fidelibus appingendi mos fuit pnesertim juxta crucem, 
 quem morem adhuc servamus, unde S. Paulinus, Ep. 12. 
 
 Sub cruce sanguinea niveo stat Christus in Agno, 
 Agnus ut innocuainju8to datus hostia letho. 
 
 De Christo sub specie Agni, plura habes apud Aringhium in sua Roma subter. — Lib. 6. cap. 2. torn. 2. 
 
166 
 
 lamps* 
 
 In modern times it is more frequent to see the Lamb represented as slain, and lying dead upon the 
 book having seven seals, as described in the Apocalyse. In various illustrations of the Apocalypse, the 
 Agnus Dei is, from early times, figured with seven eyes and seven horns, breaking the seals of the 
 mysterious volume. 
 
 To such a degree had the Agnus Dei prevailed over other representations of our Lord, in the 
 seventh century, that the Council of Quinisext, a. d. 692, ordered that the form of the Lamb should be 
 thenceforth discontinued, and the human figure of our Lord used in preference. Thus did the older 
 emblem, of St. John the Baptist, as the type of the Law, holding forth " the Lamb of God," in his 
 arms, the legal type of our Saviour, gradually give place to the Crucifix, as a more open and meet 
 symbol of our Redemption. 
 
 2Lampg are suspended in Churches as marks of honour, before Altars, round 
 Shrines, before Images, and anciently near the Tombs of Martyrs. 
 
 In that poition of the Church, where the Blessed Sacrament is reserved, one lamp at the least, is 
 ordered to be kept constantly burning : but there ought to be seven lamps always burning before the 
 Altar of the Blessed Sacrament, three before the High Altar always, and one before every other altar : 
 all kept constantly burning, day and night. These have been interpreted to signify that Christ is the 
 Light of the World ; or that the Church is always 'watching unto God/ With regard to the lamp, as 
 a mark of honour, we find a custom among the Greek Emperors, of having two lamps carried before 
 them. Pope Nicholas I. rebuked Michael, the Greek Emperor, for continuing this custom, as implying 
 a claim of two Jurisdictions, the temporal and the spiritual. Lipsius, in an Excursus on Tac. Ann. 
 L. 1. shews the lamp to have been among the insignia of the Emperors. One lamp was anciently 
 carried before a Patriarch, to denote his spiritual Jurisdiction. — ( Ciampini Vet. Man. p. ii. c. 12. ) 
 With respect to lamps burning before images and pictures of Saints, Venantius Fortunatus, Bishop of 
 Poictiers, at the end of the Vlth century, speaks of a lamp that burned at the tomb, and before a 
 picture, of St. Martin, thus : 
 
 Hie paries retinet Sancti sub imagine formam .... 
 Sub pedibus Justi paries babet arcta fenestram : — 
 Lychnus adest, cujus vitred uatat ignis in urna. 
 
 Bosio, in his « Roma Sotterranea' (1. iv. c. 50), says that the lamps lighted at the tombs of Saints 
 signify the glory that they enjoy in Heaven. In the Church of St. Pudentiana, at Rome, on the 
 architrave over the door, is a figure of that Saint with an antique lamp in her hand, like a deep jar : and 
 the same in a mosaic, in the Church of St. Mary, across the Tyber, representing the Parable of the ten 
 Virgins. These also bear lamps in their hands, of the same form. By these lamps is signified the 
 Grace of Virginity ; as by the oil, Works of Mercy are denoted. 
 
 Georgius. — The word Cicindela, which was a kind of lamp used in churches, properly means a 
 glow-worm. The charta Cornutiana mentions ' five silver lamps (cicindelae) with their chains.' St. 
 Gregory of Tours, (1. iv. Hist. n. 36) : Nam de oleo cicindeli qui ad ipsum sepulcrum quotidie accenditur, 
 c&corum oculis lumen reddidit. The word candle, said to be derived from cicindela, meant originally 
 a lamp (Du Cange). Lamps in churches {kimpades and lucernes) were generally of silver or gold. In 
 the treasury of the Monastery of Centule were ' six silver lamps, and twelve of copper, ornamented with 
 silver and gold. 5 (Chron. Cent. 1. ii. c. 10.) St. Ansegisus, a. d. 830, offered to the Monastery of 
 Fontenelle ' one silver lamp.' In the Life of St. Benedict, of Anianae, we read that in the church of St. 
 Saviour, in his Monastery, ' Before the altar seven lamps hung, of wonderful beauty, cast with exquisite 
 skill, and said by the learned who have seem them to be of Solomon' s work ( Salomoniacn) . * as many more 
 lamps of silver hang in the choir, in the form of a Corona, which have sockets to receive basins all round 
 
 * Opus Salomoniacum means rich costly workmanship : and vessels of this kind were called Salomon es.~ Monastic. 
 Anglican, t. I. p. 210. Duaspatenas argenteas cum duobus urceoiis pretiosissimis ex opcribus Salornonis, $c. 
 
iantent. 
 
 167 
 
 them, and on principal Feasts they are filled with oil and lighted, so that the church has light by night 
 as well as by day.' 
 
 The lamps suspended in the ancient churches differed considerably in form from most of those now 
 in use. They were often placed in the centre of large basins ; again, they were fixed in small perforated 
 lanterns, suspended by the apex, like that in the sacristy of Wells Cathedral. Doubtless many of these 
 
 were rich in tabernacle work, and as the lamps, when hung 
 before altars, &c. are rather intended as symbols of honour than 
 to shed light, this kind of frame was decidedly the most beautiful 
 in which they could be hung. Lamps were also suspended in 
 small metal crowns. 
 
 Inventory of old St. Paul's. Chapel of St. Radegunde. — 
 Item, unus circulus ferreus florigeratus appensus ante crucem, 
 in quo pendet 1 lampas. — Dugdale's Hist, of St. Paul's. 
 
 Small stone lamps were sometimes introduced, as in the Lady 
 Chapel of Patrington Church, Holderness, where the pendant 
 in the vaulting is richly worked with images, perforated on three 
 sides, and open tow ards the east, with a convenience for intro- 
 ducing a light. 
 
 Many of the lamps and lights in the old churches were main- 
 tained by lands left by devout individuals for the purpose ; others 
 were kept up by contributions from various classesand states of 
 parishioners mentioned in old accounts, as the Bachelor's light, 
 the Maiden's light, &c. 
 
 iLantfrit* Four kinds of Lanterns may be men- 
 tioned as having been used for ecclesiastical 
 purposes. 
 
 1. Processional Lanterns. — Fixed at the top of high staves (see 
 Wood-cut), and carried to accompany the Blessed Sacrament, or 
 on either side of the cross on solemn occasions. 
 
 2. Visitation Lanterns. — To accompany the Blessed Eucharist 
 when borne to the Sick. These were sometimes made like the 
 processional lanterns : sometimes low, with a ring, after the 
 manner of an ordinary lantern, but of richer design and mate- 
 rials, and carried in the hand of the acolyth, or when the 
 distance was long, in rural districts, attached to the neck of the 
 mule on which the priest rode. 
 
 From the Parish accounts of St. Margaret, Westminster. — 
 Paid for a Lantern to be carried before the Sacrament in Visita- 
 tion, 2s lOd. 
 
 Inventory of Long Melford Church, Suffolk. — In the church 
 2 Lanterns, to go with a Visitation. 
 
 3. Lanterns of perforated metal work. — Suspended in churches, 
 to hold lamps, alluded to under Lamps. 
 
 4. Lanterns set with crystals, and fixed in coronas, as at 
 Aix-la-Chapelle. (See Corona.) 
 
 1 
 
 LANTERN 
 
168 
 
 Pattern— Xerterm 
 
 A Lantern is introduced as one of the emblems of our Lord's Passion, with Reference to the 
 Jews seeking him in the Garden of Gethsemane, on the night before his Passion. 
 
 iUttnt (Fr. 2-tton). A finer kind of Brass, of which a great proportion of the 
 candlesticks, &c. used in parochial churches, were made. 
 
 These were mostly sold in the reign of Edward the Sixth. 
 
 Accounts of Wigtoff Church, Lincolnshire, 1550. — Item, receytt of kyrhe of Boston, for xxiii stone 
 of leten, 8s. Ad. — Nichols's Illustration of Antient Times, 235. 
 
 Crosses were made of this material, also the engraved plates for sepulchral monuments. 
 
 Will of Robert Fabian, 1501. — "and in the face of this tumbe I will be made in two plates of laten, 
 ii figures of a man, and a woman with x men children, and vi women children, and over or above the 
 said figuris, I will be made a figure of the Fader of Heven, inclosed in a sonne, &c." — Testamenta 
 Vetusta, p. 510. 
 
 iUttU'lt or 3Utttt*lU A choir Desk, from whence the lessons and antiphons were 
 chaunted. Also a Stand, from whence the Gospel was sung. 
 
 They were sometimes constructed of wood, but oftener of brass. 
 Of this latter kind there are several very fine examples remaining both 
 in England and on the Continent. 
 
 At Aix-la-Chapelle, in a Lectern of the fourteenth century, three 
 outer clusters of pinnacles, with flying buttresses and open tracery 
 rising from a multangular base, sustain three inner pinnacles, united 
 also by rich tracery, which sustain the orb, turning on a centre, 
 surmounted by an eagle with extended wings ; which serves for the 
 desk. 
 
 At Hal, near Brussels, is a Lectern of the fifteenth century, 
 consisting of an hexagonal shaft, with buttresses to three of its sides, 
 which receives the open w r ork and flying buttresses from the outer 
 pinnacles, resting on lions. The top of the shaft is richly embattled, 
 from the centre of which the orb is supported on a pivot, surmounted 
 by the eagle. The rest for the book is beautifully worked in open 
 tracery, and reaches from the extremity of one wing to the other, as in 
 the example shewn in the cut. 
 
 At Tirlemont, is a Lectern of brass, very similar in design to the one 
 above described ; also at the Church of Leau, a few miles from 
 Tirlemont, an edifice abounding in interesting examples of church 
 furniture. 
 
 A Lectern which is supposed to have belonged to the great 
 Church at Louvain, was presented to St. Chad's, Birmingham, by 
 John the sixteenth Earl of Shrewsbury, and is now used in the choir 
 of that Church ; although rude in execution, in beauty of design it far 
 exceeds any other remaining example. From the base, which is 
 triangular, rise three outer pinnacles, connected with three inner ones 
 by rich branch-work ; from the centre of the three inner pinnacles 
 proceeds a stem, terminating in a double branch, on which is placed 
 an image of our Blessed Lady with our Lord ; and the eldest of the 
 
169 
 
 three Magi or Kings kneeling with his offering, while the remaining two images of the Wise Men are 
 placed on the adjacent outer pinnacles : between the three inner pinnacles are three niches, con- 
 taining images, with rich projecting canopies ; on the top of which are other images in a sitting 
 position. The orb on which the eagle stands is fixed within an embattled crown, and besides the great 
 desk, formed by the expanded wings of the eagle, there is a second one, of open tracery work. 
 Dependent from it on either side, are massive branches, with embattled bowls for wax-tapers. The 
 base, which is very large and massive, rests on three lions couchant. 
 
 The eagle, which is constantly found in these lecterns, was originally introduced with reference to 
 St. John, as these were first used for chanting the Gospel in the Mass. According to Georgius, 
 the representation of a serpent or dragon is generally found under the claws of the bird, probably 
 in further allusion to the same saint (See Dragon.) 
 
 Among the most remarkable brass Lecterns remaining in England, may be mentioned that at 
 Norwich, the restoration of which has been recently, with much good feeling, but unsuccessfully 
 attempted. Also one at King's College, Cambridge, having a double desk, surmounted by an image 
 of the founder, exceedingly interesting and beautiful. At Merton College Chapel, Oxford, an old 
 double lectern of the sixteenth century is still used, and there are numerous examples of lecterns of the 
 same date ; some even in parochial churches. 
 
 In paintings of the early Christian school some beautiful examples of lecterns are represented, with 
 the deacon or cantors chanting from them. 
 
 Lecterns were sometimes made of iron or wood, to fold up, one frame being made considerably 
 larger than the other, so that the leather connecting them might present an inclined surface, when 
 extended. One of them gracefully wrought in iron, with trefoils, is yet remaining at Rouen Cathedral, 
 and another of the same description, in wood, at the Baptistery* of Hal Church, near Brussels. 
 
 Wooden Lecterns of elegant design, and usually double desked, were frequently used in the old paro- 
 chial churches. Mr. Bloxam in his Glossary, has given a list of many of those which are yet remaining, 
 among which, one at Bury is mentioned as being executed about the year 1300. In the inventory of 
 ornaments, formerly belonging to the chapel of King's College, Aberdeen, " Tres ambones aenei," are 
 mentioned, " unus pro evangelio cantando ; alter pro epistola ; et tertius pro legenda." 
 
 Antiquities of Durham Abbey, p. 13. — At the north end of the High Altar there was a very fine 
 Lettern of brass, where they sung the Epistle and Gospel, with a great pelican on the height of it, finely 
 gilt, billing the blood out of her breast to feed her young ones, and her wings spread abroad, whereon 
 lay the book, in which they sung the Epistle and Gospel ; it was thought to be the finest Lettern of 
 brass in this country. It was all to be taken asunder with wrests, every joint from the othei\ 
 
 31(Ttot\ The second of the Minor Orders, whose principal office is to chant 
 the lessons in the Mass on certain days, to read the lessons of the first 
 nocturn at matins, to read the text for the preacher, and to bless bread 
 and the new fruits. 
 
 The habit of those in Lector's orders was, during the first xii. centuries, according to Georgius, a 
 plain chasuble, over a girded albe ; the chasuble being put off when the Lector offic iated in his proper 
 functions. Before the xii. century, their dress, according to Honorius of Autun. was that common to 
 
 * This Baptistery remains in its original state. It is furnished with a richly chased brass Font and cover, which is 
 lifted off by means of a massive wrought iron bracket, having an excellent mechanical contrivance for raising the 
 cover, by a lever. The lectern on which the ritual is placed, the ambry for the reservation of the Holy Oils, and a desk 
 for the registry, are all beautiful of the kind, and of the fifteenth century. 
 
 Z 
 
170 
 
 £ectot\— iU'Ip 
 
 the four Minor Orders at that time: viz. a superhumeral (see Superhumeral,), an albe, and a girdle. 
 The girded albe has been changed into a surplice, as figured in the Plates of the Roman Pontifical, for 
 the Ordination of Lectors, In brasses, Lectors should be represented in an albe, or surplice, with a 
 Book in their hands. 
 
 Martene de antiquis Ecclesioe ritibus, L. I. c. 8. — At one time it was allowed to dedicate children to 
 God and the service of his Church, by conferring on them Miuor Orders during their infancy, i. e. 
 before their 7th year. Afterwards, Lectors could not be ordained under 18 years of age. 
 
 Address to those who are ordained Lectors. — " To lectors is given the power of reading in the 
 church the words of the sacred Law and the Prophets. Their life ought to be such as to fulfil by good 
 works what they declare with their lips, and surpass others in the things they preach. Their office may 
 be traced in the Old Testament. For we read : e Ezra the scribe stood upon a step of wood, which he 
 had made to speak from, and was higher than all the people/ He stands upon a step of Wood, where he 
 is higher than the people, who excels others in the virtues of his life, by following in the steps of the 
 Lord's Cross and Passion : and whoever instructs another by good example, discharges the office of a 
 Lector. This Office our Lord exercised ; when c having entered the synagogue there was given to Him 
 the Book of the prophet Esaias.' " 
 
 Of the four Minor Orders the Greeks have only the order of Lectors: and these they ordain by 
 imposition of hands with prayer, without delivering to them the instruments of their Office. 
 
 From a MS. English Pontifical belonging to the monastery of Jumiege in Normandy, 900 years old, 
 and from a MS. Pontifical of St. Dunstan, Abp. of Canterbury. — When a lector is ordained, let the 
 Bishop address the people, and declare his faith, conduct, and ability. Afterwards, in the face of the 
 people, let the bishop deliver to him a book containing those things which he shall read, saying : ' Take 
 this, and be thou a dispenser of the Word of God, knowing that, if thou fulfillest faithfully thy 
 ministry, thou shalt have part with those who have administered the Word of God.' 
 
 Georgius. — Thomasius, in his invaluable Preface to the Responsorial and Antiphonary of the Roman 
 Church, has some learned notices of the ancient office of lectors. In choir they gave out the heading of 
 each psalm, as Psalmus David. The beginning of each psalm was said by the lector, and sometimes the 
 alternate verses ; the bishop, clergy, and people responding. The first lector in each church was called 
 primicerius lectorum. In the church of Lyons there was for a long time a Class (schola) of Lectors, 
 the first of whom was called primicerius ; as recorded in a monument bearing date 507? after Christ. We 
 learn from St. Gregory of Tours, that in France, on the Feast of St. Martin, the life of that Saint was 
 read in churches to the people by the Lector. Also, that in the church of Milan the Lector read not 
 only the Prophecies, but the Epistle. Also, that on Vigils of Martyrs, kept at their tombs, their histories 
 were read by the Lector of the Church. Honorius of Autun, in the xii. century, describes the office of 
 Lectors as follows : — ' Their office in the Church is, to chant the Divine Scripture, and the Responsories ? 
 and Graduals, and Hallelujah by themselves in the face of the people.' They seem to have read or 
 chanted from an ambo or pulpit, or from the steps of the ambo. For the form of Ordination of Lectors 
 used by the Greeks, see Martene, L. I. c. vhi. art. 10 & 11. 
 
 3U'Ip* The Lily is the emblem of purity and chastity, and symbolically attri- 
 buted to the Blessed Virgin. 
 
 The heraldic Fleur de Lis is a most beautiful conventional form of the Lily, and was constantly used 
 in decoration after the twelfth century. Sylvanus Morgan says of the Lily, it was the ornament royal, 
 and princely flower in the crown of King Solomon, representing Love, with perfect charity : it is a flower 
 of great estimation. For various conventional forms of the Lily, see Plates XX. XXVI. XXVII. 
 XXVIII. XXX. XXXII. XXXVII. XXXVIII. XL. XLVII. LII. 
 
171 
 
 £l'01t. The lion is continually introduced in ancient sculpture and delineation ; 
 and is to be regarded as a Royal symbol, and an emblem of dominion, 
 command, magnanimity, vigilance, and strength. (See Plate lxvii.) 
 
 The Lion is occasionally intended as an emblem of our Lord. It is a symbol of the Tribe of 
 Judah, of which Tribe our Lord was descended, according to the flesh. In the Bible of Charles the 
 Bald, a lion is represented with the Cross Nimbus. 
 
 Abbot Suger caused a Lion and a Lamb, among other emblems, to be represented as breaking 
 the seven seals of the Apocalyptic book, in a stained window of the abbey of St. Denis, beneath the 
 following explanatory diptych : — 
 
 Qui Deus est magnus, librum Leo Solvit et Agnus, 
 Agnus sive Leo fit caro juncta Deo. 
 
 Didron's Iconographie Chretienne,p. 35. 
 
 The Lion Couchant signifies sovereignty ("Judah shall lie down like a young lion ;") when Ram- 
 pant, magnanimity ; Passant, resolution ; Gardant, prudence ; Saliant, valour ; Seiant, counsel ; and 
 Regardant, circumspection. Lions, as symbols of sovereignty and power, have always been selected as 
 the supports of royal thrones, after the example of that of King Solomon. They are likewise usually 
 employed as supports to lecterns, candlesticks, &c> couchant, and bearing the basis on their backs. The 
 conventional forms of lions used by the old heraldic painters are most striking, they are produced entirely 
 bu contrast of colour and metal, without any shadow, the hair and tails most ingeniously twisted. The 
 same principle applies to all the heraldic, or conventional representations of animals. (See Plates LXVI. 
 LXVII.) 
 
 iHfljfStp* Signifies a representation of our Blessed Lord seated in Glory, on 
 a Throne, and giving Benediction, encompassed with the nimbus called 
 Vesica Piscis, and surrounded by Cherubim, and the four Evangelistic 
 Symbols, and the A & O. 
 
 Lives of the Abbots of St. Alban's,]}. 71. (ap. Du Cange). — "In one the Crucifix, with St. Mary 
 and St. John are represented ; and in another, a Majesty, with the four Symbols of the Evangelists, is 
 most artificially wrought." And p. 90. "in the midst of the beam (see Beam), a Majesty is figured, 
 with the Church and the Synagogue." 
 
 Majesty also signifies a canopy of state set up under a hearse. — " And within the same, a Majesty 
 of taffata, with a dome and the nil. Evangelists." — Funeral of Queen Mary. — Leland's Collectanea, 
 Vol. 5. p. 31G. 
 
 jHampIt* One of the sacred vestments assumed by a Bishop after the 
 Conjiteor in the Mass, and by a Priest after the stole and before the 
 chasuble. It is attached to the left arm, to leave the right arm at liberty 
 for ministering, and varies in colour and character with the Vestment. It 
 is also worn by the deacon and subdeacon. (See Plates n. nr. xxxiv. 
 
 xxxv. XXXVI. XXXVII. XXXVIII. xxxix.) 
 
 Georyius. — The earliest Roman Ordo calls the maniple by the name of mappula. St. Gregory, in 
 a letter to John, Archbishop of Ravenna, says that the use of the maniple was a privilege of the Roman 
 clergy, and had never been granted to any others till that time. The word manipulus occurs among 
 
172 
 
 the sacred vestments in the ix. century. In a MS. of the Monastery of St. Denis, according to 
 Martene written in the time of Charlemagne, after the prayer at the putting on of the chasuble, is the 
 following " ad Manipulum : — Praocinge me, Domine, virtute, et pone immaculatam viam meam." The 
 reason of its coming after the prayer for the chasuble, is, that the priests as well as bishops, at that time, 
 assumed the maniple after the Confiteor. The prayer in the Salisbury Pontifical is as follows : " Da mihi, 
 Domine, sensum rectum, et vocem puram, ut implere possim laudem tuam. Amen." Grant me, O 
 Lord, a right mind, and clear voice ; that I may fulfil thy praise. According to Alcuin and Amalarius, 
 the maniple, as its ancient names of mappula and sudarium indicates, was a linen cloth, which might 
 be used as a handkerchief. Yet there occur very early examples, where it is mentioned as an ornament, 
 as it might be at the present day. Thus Riculfe, Bishop of Elns, a.d. 915, left to his church six 
 maniples withhold, one of them with little bells. It is found also frequently under the name of Fanon. 
 See Fanon. 
 
 The ancient form of the maniple, when it became one of the sacred vestments, was very narrow, and 
 about four feet long, folded over the arm and fringed at the ends. Embroidered crosses were afterwards 
 added to the extremities, and to admit of these crosses being made more ornamental, the ends of the 
 maniples were somewhat enlarged as shewn in the plates. But the present hideous shovel- shaped ends 
 are not older than the seventeenth century. They are not only offensive on account of their size, which 
 is far larger than could possibly be required to receive an ornamental cross, but they have led to the use 
 of stiff materials to keep these huge excrescences in shape. The maniples in use during the middle 
 ages were often exceedingly rich in design, being frequently ornamented with elaborate needlework, and 
 sometimes decorated with pearls and precious stones. Veiy fine examples are often to be found on 
 sepulchral brasses of ecclesiastics, painted effigies, and in the works of the Christian painters. An 
 ancient maniple still preserved in the sacristy of Mayence Cathedral is figured in Plate XXXVII. 
 
 From an Inventory of Old St. Paul's Cathedral. — Stoles and maniples. — A stole and maniple of 
 ciglatoun in the middle, and bordered round with an orphrey, and embroidered at the ends with little 
 bosses of pearls, set with stones, and 9 stones are wanting in the maniple, and three in the stole. Also 
 a stole and maniple of similar material, with an orphrey all round the edges, and at the end, of fine 
 cloth of gold wove with birds. Also a stole and maniple of raised damask, bordered with an orphrey 
 all round, and at the ends with vine leaves and birds embroidered in fine gold. Also a maniple of 
 fine embroidered work, with knops woven of silver thread, and at the ends of cloth of gold, with 
 flowers and edging of small white pearls. A stole of green silk, woven with knops of gold thread 
 with the ends like the foregoing. Also one maniple of indigo blue, with images of Apostles, with an 
 orphrey with knops all round the border.* 
 
 The maniple was originally worn on the hands of the officiating clergy. In Baluzius' Capitulare 
 regum Francorum, there is an engraving copied from a very early manuscript, which represents the monks 
 of St. Martin, at Metz, presenting a Bible to the Emperor Charles the Bald, where they are all in sacred 
 vestments, and with their maniples on their left hands ; and the same is to be remarked in the repre- 
 sentation of Archbishop Stigand, in the Bayeux tapestry, and in numerous other ancient examples. 
 
 * " Stolce et Manipuli, per se. — Stola et Manipulus in medio de Ciglatoun, limbati in circuitu aurifrigio, et in extremitate 
 breudati cum nodulis de perlis et lapillis insertis, et deficiunt in manipulo ix lapides, in stola tres. Item, stola et mani- 
 pulus de simili panno, cum aurifrigio stricto in circuitu per limbos, et in extremitate de aurifrigio fino, interlaqueato cum 
 avibus. Item, stola et manipulus de albo dyaspro limbato de aurifrigio stricto per circuitum ; et in extremitatibus de 
 vineis et avibus breudatis de auro fino. Item, manipulus de opere pectineo, cum nodis contextis argenti filo, et in extre- 
 mitatibus de aurifrigio, cum floribus et listis de perlis albis parvulis. Stola de serico viridi contexta cum nodulis de 
 auri filo, cum extremitatibus similibus manipulo praecedenti. Item, unus manipulus Indici coloris, cum ymaginibus 
 Apostolorum ; cum aurifrigio stricto nodulis per circuitum." 
 
173 
 
 i$larp <BoXt}+ A flower of many foils, so called in honour of our Blessed 
 Lady, and therefore particularly appropriate as a decoration for chapels, 
 &c. erected in her honour. 
 
 Rich circular windows filled with flowing tracery are sometimes called Marygold windows. 
 
 iHlS&aL The principal Liturgical Book of the Church, in which are contained 
 the Canon, or invariable part of the Mass, with its Prefaces ; and the 
 Proper Introits, Collects, Lections, Epistles, Graduals, Gospels, Se- 
 quences, Offertories, Secrets, Communions, and Postcommunions 
 throughout the year. 
 
 Georgius de Libris Liturqicis S.R.E. — The Liturgical books, for the celebration of Mass, were 
 anciently divided into four volumes. The first was called the Book of the Gospels (see Text) : the 
 second the Lectionary, or Book of the Lections and Epistles : the third the Sacramentary, containing the 
 solemn Prayers of the Mass : and the fourth the Antiphonary, in which the Introits, Graduals, Offertories, 
 and Postcommunions were written. These books, together with the volume of the Sacred Scriptures, 
 were kept, as St. Paulinus relates (Ep. xxxii ), in the church, in a kind of sacristy, set apart for reading 
 and studying them. At the entrance, in one instance, were inscribed the following fines : — 
 
 Si quern sancta tenet meditandi in lege voluntas, 
 Hie poterit residens sacris intendere libris. 
 
 The Missal, in the sense we use it, was called Missale Plenarium, as appears from documents of 
 the IXth century. The Liber 31issalis was more often a Sacramentary. The Missale Plenarium con- 
 tained everything necessary for the celebration of Mass throughout the year ; and was compiled for 
 the saying of Private Masses. 
 
 In a most ancient decree of a Synod, supposed to be of the time of Leo IV., it is ordered that " every 
 priest have a Missal (missale plenarium), a Lectionary, and an Antiphonary." The two latter were for 
 the Cleric, who read the Epistle, and the Server, who responded at Mass. The Pontifical, as arranged 
 and edited by Clement and Urban VIII., contains, instead of the above direction, the following : — ft Let 
 every priest have a Missal, a Breviary, and a Martyrology." The two latter belong to the recitation of 
 the Divine Office, and not to the Mass, or Liturgy, to which the Divine Office is subsidiary. 
 
 Inventory of St. Paul's, London. — Missale in cpio Kalendarium praimissum erat cum mensibus 
 depictis, et signis pulcherrimis, &c. Item, Missale sine Epistolis, et Evangelic Item, Missale 
 plenarium notatum : et praemissis Kalendario, Kyrie, Gloria, et Sequentiis. 
 
 ffiltvt. A covering for the head, worn on solemn occasions by Bishops, 
 Cardinals, the Abbots of some monasteries, and, from special privilege, by 
 the Canons of certain churches. (See Plates vn. lxix.) 
 
 The Mitre was originally like a raised cap, not divided but closed at top, as may be seen figured 
 by Mabillon, in the first volume of his Benedictine Annals, p.52S,* and which he describes as having 
 been worn by many bishops before the tenth century. The early double-pointed Mitres were very low, 
 like those which were worn by St. Thomas of Canterbury, when at Sens, one of which is most accu- 
 
 * Also in an engraving' of ecclesiastics of the twelfth century, extracted from a MS. in the British Museum, given 
 in Plate II. vol. i. of Shaw's Dresses and Decorations. 
 
174 
 
 irately figured in Shaw's Dresses and Decorations. In the fourteenth century they became more pointed 
 and enriched, and then attained their greatest perfection of form and decoration, as they were sufficiently 
 high to be dignified, yet without extravagance ; and the enrichments were of the most costly and elegant 
 description, the edges being crocketed, and the points terminating in jewelled crosses; of this class the 
 Limerick Mitre, also figured in Shaw's Dresses and Decorations, is a beautiful example. From the 
 latter part of the fifteenth century, the Mitres increased in bulk and height, till about the middle of the 
 last century, they attained that extravagant elevation which they have since retained. There are three 
 sorts of Mitres used by a Bishop. 1. The Simplex, which is of plain white silk or linen. 2. The 
 Aurifrigiata, ornamented, as its name implies, with gold orphreys. 3. The Pretiosa, exceedingly rich 
 and ornamented with pearls, jewels, enamels, plates of silver, and embroidery. For the proper times for 
 wearing these Mitres, see Bishop. 
 
 Georgius de Lit. Rom. Pont. — The Mitre of the Roman Pontiff is to be reckoned among his sacred 
 habiliments from the earliest times. Those who have most questioned the antiquity of Mitres, have 
 been forced to confess this by most ancient monuments, and among the rest, by the body of St. Leo the 
 Great, who was found with a kind of mitre on his head. Andre de Saussay, and Visconti, have written 
 in defence of the antiquity of Mitres, while Pannini and Menard have asserted that their use was un- 
 known in the Church till one thousand years after Christ. Cardinal Bona thinks that the Mitre, as it 
 now exists, was unknown till that date, but that some ornament of the head was used by some, if not 
 all, Bishops before that time. Mabillon, and after him Martene, thinks that Mitres were always in use 
 in the Church, but that the privilege of the Mitre was by special indult from the Holy See. There is 
 proof of such privilege being granted to Arscharius, Bishop of Hamburgh, by Pope Leo IV. Mabillon 
 says that the same privilege was conceded to the Bishops of Utrecht, by Pope Alexander III. The 
 shape of the Mitre which the Popes wore before the time of Boniface VIII. differed, as Mabillon says, 
 from that worn by other Bishops. St. Bruno, Bishop of Segni, speaking of the Mitre, says: — 'The 
 Mitre, because it is of linen, signifies purity and chastity.' In the time of St. Bruno, then, who died 
 a.d. 1123, the Mitre was of linen, and not of silk. Honorius of Autun and Hugh of St. Victor say the 
 same : ex bysso conficitur. Innocent III. mentions its two horns, two infulae, and a golden band or 
 orphrey encircling it. Durandus (see below) says the Mitre was once of linen, and white ; and then 
 mentions the times when the Precious Mitre is used : — "The Orphreyed Mitre is to be used," he says, 
 " from Easter to Advent, and from the Nativity to Septuagesima, on all double feasts, and feasts of nine 
 lessons throughout the year (except Innocent's day) ; and on the Sundays within the times aforesaid, 
 
 and generally whenever the Gloria in excelsis and Te Deum laudamus are used But at other 
 
 times ordinarily not the Orphreyed but the Simple Mitre is to be used," &c. 
 
 The Cajremoniale Episcoporum gives directions for the form of the Episcopal Mitre as follows : 
 " The use of the Mitre is most ancient, and there are three kinds of it : the first, which is called the 
 Precious Mitre, because it is usually set with jewels and precious stones, or plates of gold or silver; 
 the second, Orphi'eyed without jewels, or plates of gold and silver, but composed either of small pearls, 
 or of white silk interwoven with gold, or simply of cloth of gold, without plates of gold or pearls : and 
 the third is called the Simple Mitre, without gold, made of plain silk, damask, or any other, or even of 
 linen, white, with red bands and fringes." 
 
 Other ecclesiastics to whom the use of the Mitre has been permitted. — The Supreme Pontiffs have 
 granted the use of the Mitre to all Cardinals, not only priests, but deacons: and these are worn by them 
 in all solemn functions. It appears that the Cardinal priests had this privilege before a.d. 1130, and 
 Cardinal deacons before a.d. 1192. It appears, then, that Cardinals had the use of the Mitre both before 
 and since the distinction of the red hat was granted them in the Council of Lyons, a.d. 1245. Paul II. 
 granted them the use of a silk Mitre, because at first they had only the use of one of linen, plain. 
 
175 
 
 Mitred Abbots. — In the tenth century many distinctions had been granted by Popes to various 
 abbots, as the use of the dalmatic and sandals. In the eleventh century Pope Leo IX. extended many 
 privileges as well to cathedral churches as to monasteries. On consecrating the High Altar of the 
 church of St. Stephen, at Besancon, in October, a.d. 1050, among other gifts, he ordered that seven of 
 the canons of that place should be chosen, to have the title of Cardinals, and to say Mass at that altar, 
 with dalmatic, mitre, sandals, gloves, and one of the number, as Dean, should wear a ring, &c. And 
 on all Feasts of our Lord, and of the Blessed Virgin Mary, and the Apostles, and many others, that 
 the deacon and subdeacon, as well as the celebrant, should wear sandals, mitres, and gloves. The same 
 Leo IX. a.d. 1053, gave to the canons of the church of Bamberg, the right of wearing the mitre, under 
 certain restrictions. After this, Pope Alexander II., by a singular privilege, conferred on the Duke of 
 Bohemia, Wratislaw, the use of the mitre, which was confirmed by Gregory VII. The first example 
 of a Mitred Abbot is St. Hugh, Abbot of Clugny, to whom Urban II., a.d. 1088, granted the episcopal 
 mitre, and on certain Feasts, the dalmatic, gloves, and sandal. Paschalis III. confirmed and increased 
 the privilege to Pontius, Abbot of Clugny, and his successors, a.d. 1114. Innocent III. granted the 
 use of the mitre to the Abbots of Vendome. These distinctions conferred on the abbeys, drew forth 
 remonstrances from the bishops, among whom, Jeffrey, Bishop of Chartres, and Peter of Blois, were 
 loud in their protestations against these monastic privileges, which were equally censured at the time 
 by the great St. Bernard. In consequence of these discontents, after the twelfth century, when 
 the use of the mitre had become very common among abbots, and the Mitred Abbot could not be 
 distinguished in Synods from a Bishop, Pope Clement IV. ordered that abbots exempt from episcopal 
 jurisdiction, should use in synod orphreyed mitres, but without jewels or gold or silver plates ; and those 
 not exempt, simple, white, and plain ones. 
 
 Jewells belonging to the lord Bishop of Lincoln's Mitre. — Item, to the fore part of the Mitre, in 
 the nether band, seven stones, blue and red, and eight clusters of pearls, with four in a cluster. Item, 
 two links, in every side two clusters of pearls ; and the one three, and the other never a one. Item, two 
 angels holding eight stones and eighteen pearls. Item, in the leaf of one of the sides, three stones and 
 eight pearls. Item, in the middle of the Mitre eight stones and seven clusters of pearls, with four pearls 
 in a piece. Item, in the fore part of the Mitre, above by the edges, twelve stones and thirteen clusters 
 of pearls, with four in a cluster, lacking two pearls. Item, in the other leaf of the Mitre three stones and 
 eight pearls. Item, four pillars of silver. Item, in the nether part of the Mitre behind, eight stones and 
 seven clusters of pearls, with four in a cluster, lacking two pearls. Item, in the middle band eight stones 
 and seven clusters of pearls, with four in a cluster. Item, thirteen stones about by the edges, and 
 thirteen clusters, with four in a cluster, lacking three pearls. Item, two angels holding eight stones and 
 twenty-two pearls. Item, two pins of silver to make fast the labels {infulce). Item, four bars of silver. 
 Item, a tower to stand in the top of the mitre. 
 
 Mitres which formerly belonged to the Metropolitan Church of York. — Imprimis, a good Mitre, the 
 gift of Mr. Walter Gifford, with its labels. Item, a rich Mitre, with its labels, the gift of Mr. Walter 
 Grey. Item, a Mitre, with its labels, very weighty, the gift of Mr. John Thoresby. Item, a Mitre of a 
 new fashion, bought by the Chapter of the Executors of the lord Walter Skirlow, late Bishop of Durham, 
 with four owches, 6 precious stones, and many pearls. Item, a small Mitre with stones, for the Bishop 
 of the Boys. Item, a Mitre couched with silver and gold ribbands, the gift of Mr. John Thoresby. 
 Item, a silk Mitre, with gold ribbands. Item, a Mitre of white silk, adorned with silver gilt, with 
 precious stones set round it, and 4 stones, roses hanging on gilt branches, and precious stones in the 
 said roses, excepting one rose that has no stone : the gift of Robert Clifton, knight, executor of the last 
 Will of the lord William Bothe, late Archbishop of Yorh. Item, a most costly and great Mitre, w ith 
 two labels, encircled with gold and precious stones, saphyrs and rubies worth 700 marks, as valued, the 
 
17G 
 
 iflftre. 
 
 gift of Thomas Rotherdam, Archbishop of York. Item, one Mitre with six leaves and trefoils, with 
 2 labels and 4 pearls in six leaves, and other stones. 
 
 Mitres formerly belonging to the Cathedral Church of St. Paul. — One mitre embroidered with stars, 
 before and behind, with stones set in plates of silver gilt, and one stone is wanting in one of the bands, 
 and in the front are 7 stones and many pearls, and behind are four stones and many pearls. Also one 
 mitre, white, with flowers embroidered on it, the gift of Charles Bellamy, for the use of the boy-bishop. 
 Also one mitre, which belonged to Bishop Eustace, which Bishop Richard has. Also one mitre 
 embroidered with stars, and in the front is a cornelian, having the head of a man engraved on it ; and 
 it is ornamented with silver plates gilt, and stones set in them : and one stone is wanting behind, and 
 in one of the bands three tassels are wanting, with the silver knops appended to them. And this mitre 
 Fulco Basset gave. Also a mitre which belonged to Henry Wengham, richly ornamented with golden 
 plates, with trefoils, set with stones and pearls, and two stones are wanting behind, and many pieces of 
 the trefoil and pearls. Also a mitre of Henry Sandwych, bishop, embroidered with two stars in front, 
 and two stars behind, and enriched with wheels of silver gilt, set with stones and many pearls ; one 
 stone is wanting in the front, and two in the bands. The gloves are of the same fashion. Also one 
 white mitre, with stars and large stones, the gift of John Chishulle, bishop, which Bishop Richard has. 
 Also one white mitre, embroidered with stars and powderings, ornamented with stones and flowrets. 
 Also one mitre, the gift of Bishop Richard, seeded with white pearls over the whole surface, enriched 
 with silver flowrets, set thickly with stones ; and one little bell is wanting in one of the bands.* 
 
 Mitres formerly belonging to the Abbaye of St. Denis, figured in Plate I. and thus described. — 1 
 Mitres des anciens abbez reguliers de Saint-Denys: il y en a une a, fond de perles, enrichie de quantite 
 de pierreries enchassees en or. Sur Fautre, semee de fleurs de lys couverte de semences perles, se 
 lisent ces mots : Petrus abbas me fecit : c'est Pierre d' Auteuil que fut abbe de Saint-Denys en 1221. 
 — Dom Felibien, Histoire de St. Dengs. 
 
 In Plate 21 of Dom Jacques Bouillart's Histoire de L'abbaye Royale de St. Germain des Prez, is 
 figured a jewelled Mitre, on a ground of pearls with rich infulse, which was formerly used by the abbots 
 of that monastery. 
 
 From the Inventory of Winchester Cathedral. — Item, 3 standing Mitres, garnished with pearls and 
 stones after the old fashion. — Stevens's Continuation to Dugdale. 
 
 From the Inventory of Canterbury Cathedral. — Mitra aurea, cum perulis infra et extra, et gemmis 
 pretiosis Henrici Regis III. Item, Mitra aurea Johannis de Peckham Archiepiscopi, cum gemmis 
 pretiosis. Item, Mitra ejusdem argentea cum 2 crucibus super cornua. Item, Mitrae 4, brudatae et 
 
 * Una Mitra breudata cum stellis anterius et posterius, insertis lapidibus in laminis argenteis deauratis, et deficit 
 unus lapis in altero pendulorum, et in parte anteriori septem lapides et niultae perlne, et in parte posteriori quatuor 
 lapides et multas perlae. Item, una Mitra alba cum flosculis breudatis, de dono Jobannis Belemayi, ad opus Episcopi 
 parvulorum. Item, una Mitra quae fuit Eustachii Episcopi, quam babet Episcopus Ricardus. Item, una Mitra breudata 
 cum stellis, et anterius est Cornelinus, continens caput hominis gravatum, et ornatur laminis argenteis deauratis, et 
 lapidibus insertis : Et deficit lapis unus in parte posteriori, et in altero pendulorum deficiunt tres catenulte, cum karolis 
 argenteis appensis ; Et dedit banc mitram Fulco Basset. Item, Mitra quae fuit Henrici de Wengham bene ornata bendis 
 aureis tripboriatis insertis lapidibus et perlis, et deficiunt duo lapides in parte posteriori, et multas peciae de tripborio, 
 et perlse. Item, Mitra Henrici de Sandrvyco Episcopi, breudata duabus stellis anterius, et duabus stellis posterius, et 
 ornata rotellis argenteis deauratis, insertis lapidibus et perlis multis ; Et deficiunt in anteriori parte unus lapis, et duo in 
 pendulis. Chiroteca: similis sunt apparatus. Item, una Mitra alba cum stellis et grossis lapidibus de dono Johannis 
 de Chisulle Episcopi, quam babet Ricardus Episcopus. Item, una Mitra alba breudata cum stellis et frecturis, et octo 
 limbis in circulo de purpura, ornata lapidibus et flosculis. Item, una Mitra de dono Ricardi Episcopi, ornata perlis albis 
 per totum campum, et flosculis argenteis deauratis, lapidibus insertis ordine spisso; et deficit una campanula in uno 
 pendulorum."— Dugdale' s History of St. Paul's, Appendix, p. 205. 
 
177 
 
 gemmis ornatae. Item, Mitra? 3 cum perulis ornatae., sine gemmis. Item, Mitrae 2 simplices, de 
 bokram. — Dart's History of Canterbury, Appendix VI. p. 13. 
 
 Extracts from Voyages Liturgigues of De Moleon, respecting the use of Mitres by the inferior clergy 
 in the French Churches. — St. Maurice de Vienne. — A la Messe du Chceur le Celebrant, le Diacre etle 
 Soudiacre ont des mitres aux jours solennels. 
 
 St. Vincent de Macon— A la grande Messe du Chceur qui se dit apres Tierces le Celebrant, le Diacre 
 et le Soudiacre Chanoines, aussi-bien que les deux Chappiers, quand ils sont Chanoines se servent de 
 mitres. Le Chantre des Eglises Cathedrales de Rhodez et de Puy-en-Velai, et de la Collegiale de 
 Brioude s'en sert pareillement. 
 
 St. Jean de Lyon— Les Dimanches avant la grande Messe on benit l'eau au benitier de la Nef 
 proche le grand portail, les Ministres etant tout autour tous en aubes et en manipules, le Pretre en 
 chappe avec la mitre en tete ; le Diacre en aube et etole et la mitre en tete, tient le sel dans une coquille ; 
 le Soudiacre en aube avec le manipule et la mitre, porte la croix, et un Acolythe le livre. 
 
 St. Jean de Lyon. — Aux jours du saint Sacrement et de St. Jean Baptiste, apres un Salut et la 
 benediction donnee, l'Officiant revetu de chappe reporte processionellement le saint Sacrement dans 
 L'Eglise Paroissiale de Sainte Croix, precede du Soudiacre Chanoine-Comte ayant la mitre en tete, et 
 de petits orfrois de tunique sur son aube. 
 
 Durandus. — The Mitre may signify the knowledge of the two Testaments. For its two horns are the 
 two testaments, the Old and New. The one in front is the New ; the one behind, the Old ; which two 
 the Bishop should know thoroughly, and with them he should repel his enemies as with a double horn of 
 Faith. The Bishop should appear even as Moses, when he descended from Mount Sinai, bearing the 
 two Tables of Testimony. The circle of gold, which surmounts the front and back of the Mitre, means 
 that every learned scribe in the kingdom of God ought to adduce both the Old and New Scriptures. 
 St. Matt. xiii. 52. "Every scribe instructed in the kingdom of heaven is like to a man who is a householder, 
 who bringeth forth out of his treasure New things and Old " The Mitre, too, from its height or eminence, 
 teaches the eminence of wisdom, for a Bishop should so excel those under him in knowledge that with pro- 
 priety they may be called his flock. Sometimes the Mitre is of linen, and white, which signifies the white- 
 ness and pureness of chastity. Some say that the episcopal Mitre represents the Crown of thorns, and 
 hence in the Mass, where the Bishop represents Christ in his Passion, the Deacon puts on and takes off his 
 Mitre. With others the two horns of the Mitre are the two precepts of Love. The Bishop therefore puts on 
 the Mitre to shew that he must restrain the five senses of his body, which are most violent in the head, in 
 order to keep the precepts of the Testaments, and that he must fulfil the two precepts of Charity in order 
 to receive an eternal Crown. It is worthy of remark, that the Bishop, when he prays to God towards 
 the altar, lays aside his Mitre and Staff, because the Apostle forbids men to pray in church with their 
 heads covered, so that with face unveiled they may contemplate the glory of the Lord. When, how- 
 ever, he addresses the people, he puts on his Mitre and resumes his Pastoral Staff. 
 
 Innocent III. says almost word for word the same as Durandus. " Mitra scientiam utriusq. Testa- 
 menti significat. Nam duo cornua duo sunt testamenta: duse fimbriae spiritus et litera: circulus aureus, 
 qui anteriorem et posteriorem partem complectitur, indicat quod omnis scriba doctus in Regno ccelorum, 
 de thesauro suo nova profert et Vetera." There are several ancient Mitres yet remaining; two used by 
 Saint Thomas of Canterbury during his sojourn at Sens, when exiled from England. Both of these were 
 till very lately reserved in the sacristy of Sens Cathedral; but the Archbishop in 1842, at the entreaty 
 of the Rt. Rev. Dr. Wiseman that some Reliques of this glorious Martyr might be translated to England, 
 permitted one of these Mitres, together with an apparell of an Amice, also used by St. Thomas, to be 
 removed, and they are now reverently deposited at St. Marie's College, Oscott, till the chapel intended 
 for their reception at St. Chad's church is completed. Another Mitre of the same date as those of St. 
 
 2 
 
178 
 
 iHttreti abbots- iHonocrram* 
 
 Thomas is preserved at Autun ; and a richly embroidered red velvet Mitre of the fifteenth century was 
 lately in the possession of Mr. Bullock, the celebrated collector. The Limerick Mitre, engraved by Mr. 
 Shaw, is a perfect example of this fine period, and many ornaments belonging to a precious Mitre, used 
 by William of Wykeham, are preserved at New College, Oxford. Very fine examples of ancient Mitres 
 arc also to be found on the sepulchral effigies and brasses of ecclesiastics. Among these may be men- 
 tioned, Bishop Goldwell, at Norwich; Bishop Branscombe and Stapleton, at Exeter; Archbishop 
 Savage, York ; Archbishops Chichele and Warham, Canterbury ; and Thomas de La Marc, St. Alban's. 
 The early German paintings furnish a great variety of most beautiful examples of Mitres seeded with 
 pearls and jewelled in the orphreys. 
 
 iftttrti) £U)l)Ot£ + The vestments of a Mitred Abbot are precisely the same as 
 those of a Bishop, and therefore need no particular description ; there is 
 a peculiarity in the manner of raising the Staff, which is described under 
 Staves. 
 
 iMonogrnrou A cypher : a character compounded of several letters. (Johnson.) 
 See Plates xlvi. liv. lv. lvi. lvii. lviii. 
 
 The Holy Name of our Lord, and that of our Blessed Lady, were frequently introduced in ecclesiastical 
 decorations during the fourteenth and fifteenth centuries, contracted with great ingenuity and taste. 
 
 The which contains the Greek initial letters of the Name of Christ, is found in the Catacombs 
 before the time of Constantine ; who exhibited this emblem on the Labarum or Imperial Standard. It 
 is supposed to have been used for various words, as it is found on Egyptian coins of a still earlier period. 
 It may have stood for Xprjoroc, signifying good : which would serve to conceal its real meaning from the 
 persecutors. Although this is a most ancient symbol, the Monogram of the Holy Name of Jesus seems 
 to have superseded it in later times. This Monogram, like the former, is of Greek origin, being a 
 contracted form of the sacred Name, and the mark denoting the contraction being afterwards changed 
 into the cross. The more ancient form is that of IHC. It is said that St. Bernardine, of Sienna, 
 invented it as a devotional emblem, about the year 1400. The letters are IES(US), the letter I being 
 the same in the Greek as in English, the letter E being written like the Roman H, and the letter S 
 expressed in old Greek by C. The Greek letters IES being thus written like the Roman letters IHC, 
 w ere subsequently mistaken for them, and the Gothic form of the Roman letters I H S was adopted, 
 probably through a mistake. The mark of the contraction passing through the top of the Gothic form 
 of the II, formed a cross ; and a new explanation of the Monogram was devised to suit its altered form. 
 It was said to mean I (esus) H(ominum) S(alvator). But whatever may have been the origin of this 
 emblem, it has been so generally received, and is so catholic in its character, that it is most deserving of 
 our reverence and adoption. (See Extract, from Georgius, below.) 
 
 Abstract of a Treatise on the Monogram of the most Holy Name of Jesus, published at Rome in 1747- — 
 Not to attempt an exposition of the Mysteries which are treasured in the Holy Name itself, according to the 
 unanimous consent of the Holy Fathers, the author proposes to treat of the characters, which the 
 faithful have used to designate this Divine Name. First, on the vestures of ancient figures in mosaics, the 
 single letters, T, X, I, and H often occur ; which* Bosio and Aringhi explain, the T, of the Cross, according 
 to Ezekiel ix. 4. ; the X, of the Cross of a decussated form ; the I, as the initial letter of the Holy Name Jesus, 
 the same letter standing for the number ten in Greek. St. Clement of Alexandria asks, on Ps. xci. 4. 
 
 * Ciampini and Buonaroti, however, think, that no sacred meaning is to be attached to these letters. See also 
 Suarez, Bishop of Vaison, 'De Vestibus Literatis.' 
 
179 
 
 c Does not the lute of ten strings signify the Name of Jesus, as it is expressed by the letter which stands 
 for ten V Lastly, the H is explained, similarly, to be the Greek Eta, and to represent the same sacred 
 Name. The circumstances in each case must guide us in interpreting such characters. 
 
 Several very ancient examples occur in which the letters I H, together, make a monogram of the Holy 
 
 or Jesu Christi ancilla ; a title, as Boldetti remarks, frequent on the tombs of Christian virgins, in the 
 first ages. Aringhi has an engraving of a gem, supposed to be earlier than the VI Ith century, represent- 
 ing Christ giving the Keys to St. Peter, and above the two figures are the characters IHC and PIET. 
 with a line to shew contraction, over the middle letter in each : and standing therefore for IHCOYC, 
 and I1ETPOC, or Jesus, and Petrus. 
 
 It appears indeed from numerous monuments, some earlier than the IXth century, that St. Ber- 
 nardine, in the beginning of the XVth century, was not the original inventor of this monogram, but 
 the author of that particular form of it, which we now employ : and that he studiously commended its 
 use to the faithful, out of a great devotion which he had to the sacred Name of Jesus. The monogram, 
 which he appears to have written as Y H S, in Gothic characters, he placed in a circle, and surrounded 
 with rays of glory, with an inscription round the whole, as cf in nomine jhu omne genu flectatur, 
 ccslestiu, terrestiu, et infernoru/' Where the contraction 'Jhu,' is from an old way of 
 spelling the Holy Name with an aspirate, as jhesus : which is the way Porphyry, the Philosopher, 
 who was versed both in Latin and Greek, spells it in an Acrostick. Another emblem has the 
 foregoing circle enclosed in a square, and the Evangelistic Symbols in the angles. The nails are also 
 shewn on the Cross, one at each hand, and one at the feet. It was to the exertions of St. Bernardine, 
 to establish the respect due to the Name of our Lord, and the opposition he met with, that we owe the 
 Feast of the Holy Name, observed in the Church in January. 
 
 In the early monuments, it is observable, that the contraction of the Holy Name seldom occurs, 
 except to designate the person of our Lord, represented at the same time. The separate use of the 
 Monogram as a devotional emblem, is rare before the time of St. Bernardine of Sienna. 
 
 St. Dominic, founder of the order of Preaching Friars, burned with zeal for the sacred Name and 
 Passion of our Lord. His Order frequently used Hosts with the name of Jesus imprinted on them : 
 and instituted Confraternities of the Holy Name everywhere. More recently, the Society of J esus, 
 founded by St. Ignatius, have adopted a form of the same emblem, as a badge of their Order, which is 
 seen conspicuous in the title pages of the many admirable works which have come from the Society. 
 — See the Bollandists' Acta Sanctorum, Tom. vii. p. 477- 
 
 The frequent Greek contraction, for the Name of our Lord, IC XC, with or without the line above 
 the letters, to denote their contraction, is treated by Du Cange, De inferioris cevi Numismat. No. xxviii. 
 
 The Monograms of the name of our Blessed Lady are formed of the letters M A. M R. and A M. 
 and these stand respectively for Maria, Maria Regina, and Ave Maria. The introduction of these 
 was coeval, or perhaps rather later than the Monograms denoting the Name and Offices of our Lord. 
 
 The letter M was often used by itself to express the name of the Blessed Virgin, and became a 
 vehicle for the most beautiful ornament and design. The letter itself being entirely composed of emblems, 
 with some passage from the life of our Lady, in the void spaces. (See Plate LVIII.) 
 
 A Morse of this design is figured in Plate IV. of the Treasury of the Abbey of St. Denis, in Dom 
 Felibien's work above-mentioned. It should be remarked, that the Monogram of the Holy Name should 
 only be introduced in the most reverent positions, and not be used as a mere common device to fill up 
 a space, as is too often the case. 
 
 Georgius de Monogrammate Christi. — Monogram is a compendious, and as it were enigmatical form 
 
 Name. In one, at the foot of a tomb of a virgin, is an anchor, and the characters 
 
 AOYAH, 
 
180 
 
 ittrj no gram— Mo mtvmtt. 
 
 of writing a name. The monogram of Christ consists of two Greek letters, viz. the letter P and the 
 letter X entwined together : those letters being used by the ancients, in early monuments, to express 
 His most Holy Name. Basnage, a Calvinist writer, in his History of the Jews, asserts incidentally, as 
 it were, that this, together with other customs of the early Christians, was copied from the pagans, ' who 
 used,' he says 'the same Monogram.* Although Gretser, Lipsius, Bosio, Aringhi, Buonaroti, and 
 others, have treated this subject, it is pardonable, in order to repel such a slander, to repeat what they 
 have so often and so well said before. 
 
 It appears that in the times of the Apostles even, the custom was introduced of expressing the Name 
 of Christ in a contracted and symbolical form. This probably began in the East, where the faithful 
 were first called Christians : and may possibly be alluded to in Apocal. vii. 2. and xiv. 1. It seems 
 probable, that even in St. John's time the custom of joining the letters A and £2 with the monogram 
 commenced. They are found thus on several tombs belonging to the early part of the 2nd century ; on 
 glass vessels containing the blood of Martyrs or their ashes, found in the cemetery of St. Callistus : 
 and of a date far earlier than the reign of Constantine. 
 
 1. We find this monogram on lamps both of earthenware and brass, found in the catacombs, as in 
 one representing Jonas under the gourd, with the monogram hanging from a branch above. The 
 monogram, thus found, is variously formed. 
 
 2. It occurs on brass medals, which were often worn round the neck by the early Christians, 
 like amulets. Aringhi has figured these in his vi. book, 23 ch. The same custom preserved at a 
 later period, meets us in the history of St. Genevieve, a patron saint of France, who is recorded to have 
 always hanging from her neck a brazen medal, with a cross upon it, which St. Germanus, Bishop of 
 Auxerre, had given her, and bid her prize it before all gold, silver, or jewels. 
 
 3. It is found on the rings of the early Christians, in connexion with various poseys : as on a 
 marriage ring of one Tecla, ' Tecla vivat Deo, cum marito seo,' and on another, the usual wish, c vivas in 
 Deo,' and £ spes in Deo,' { In Christo vivas,' and others indicative of Christian faith. 
 
 4. On Christian amulets and seals we find similar pious ejaculations, as Vivas in Deo, frequently : 
 c Hospita felix vivas,' ' Vita tibi,' and ( utere felix.' 
 
 5. On the tombs of the departed, above all, we find the monogram of Christ in conjunction with 
 such inscriptions as the following, ' Vivas in Christo,' c Vivas in Deo dulcis,' ' Vivas inter sanctos,' 
 ' Olympiodore, vivas in Deo ^ ' where the form ' in Deo Christo,' which is found also elsewhere, 
 clearly determines the meaning of the monogram. 
 
 6. On the gems of the early Christians are found both the monogram of our Lord's Name, and the 
 Cross, with other sacred symbols, &c. 
 
 iBOHSitrance* A transparent pyx, in which the Blessed Sacrament is carried in 
 solemn processions, and exposed on the altar. 
 
 It is dei'ived from the Latin Monstro (to shew), as it was in these vessels that the holy Eucharist 
 was first visibly exposed to the adoration of the faithful in processions, benedictions, and on other solemn 
 occasions. 
 
 The use of Monstrances is not very ancient. Father Thiers, in a learned treatise on the Exposition 
 of the Blessed Sacrament, states that he has found it impossible to fix the precise period when the custom 
 of exposing the Blessed Sacrament, and the consequent use of Monstrances, commenced; but as 
 the solemn Procession of Corpus Christi is not older than the early part of the fourteenth century,* 
 
 * Durandus, who describes all the Festivals of the Church in his Rationale, written in 1286, does not mention this 
 
 procession. 
 
ifflondtratue* 1 si 
 
 and as the Blessed Sacrament was originally carried in a covered pyx 
 in that procession,* it is not probable that Monstrances were introduced 
 before the end of the fourteenth, or generally used till the fifteenth 
 century. The ancient form of these vessels was very varied. The first, 
 which I imagine to be the most ancient, is a Tower of precious metal, with 
 four apertures of crystal (see Cut). The Celestins of Marconcy, in France, 
 formerly possessed a manuscript Missal, written in 1374, in which an 
 initial letter D, occurring at the commencement of the prayers of Corpus 
 Christi, contained an illumination, representing a bishop bearing the 
 Blessed Sacrament, in a Tower of this description, attended by two acolyths, 
 holding lighted tapers. — See Thiers, V Exposition du Saint Sacrement, 233. 
 
 2 . Monstrances were made in the form of images, containing crystal 
 pyxes. Father Thiers mentions a Monstrance of this description, which 
 belonged to the Parish Church of St, Menechou, in Champagne, in the 
 year 1486. It consisted of an image of St. John the Baptist in the act 
 of pointing with his right hand to a Lamb, which he held on his left 
 arm, and in which was a pyx, faced with crystal. This description of 
 Monstrance was frequently used in England. 
 In the account of the solemn Service at Durham, on Easter Day, we read that two monks came 
 to the Sepulchre, (see Sepulchre,) out of which, with great reverence, they took an extreme beautiful 
 image of our Saviour, representing the Resurrection, with a cross in his hand, in the breast whereof 
 was inclosed in the brightest crystal, the Holy Sacrament of the altar ; through which crystal the 
 Blessed Host was conspicuous to the beholders. — Antiquities of Durham Abbey, p. 17. 
 
 From the inventory of the ornaments formerly belonging to the Cathedral Church of Lincoln. — 
 "An image of our Saviour, silver and gilt, standing upon 6 lions, void in the breast for the Sacrament 
 for Easter Day, having a berall before and a diadem behind, with across in hand, weighing 37 ounces." 
 — Dugdale's Monasticon, 
 
 3. There were Monstrances in the form of crosses ; one of this description is mentioned in the 
 inventory of ornaments formerly belonging to the Cathedral of Notre Dame, at Paris, made in 1438. 
 Item, une croix d'argent dore que soutienne deux anges, pesant en tout douze marcs, en laquelle on 
 porte le corps de nostre Seigneur au jour du Sacrement, que donna M. Gerard de Montagu, chanoine 
 et depuis Eveque de Paris. 
 
 A Monstrance not very dissimilar to the above is described in the inventory of St. George's Chapel, 
 Windsor, given in Dugdale's Monasticon. Item, 2 standing angels, bearing a crystal pyx for the 
 sacred Body of our Lord, which is surmounted by a cross of silver gilt and enamelled, &c. 
 
 4. Monstrances were made with a large tube of crystal, fixed on a metal foot, with a knop, and 
 surmounted by a canopied cover of elaborate design. Of this, which was the most common form of the 
 ancient Monstrances, there are many fine examples yet remaining, especially in Flanders. A silver one 
 of exquisite design, executed in the latter part of the fifteenth century, was presented to St. Marie's 
 College, Oscott, by the late James Wheble, Esq. and is always used on solemn occasions. 
 
 5. The usual form of modern Monstrances is that of a radiated sun, with a crystal pyx in the centre. 
 This style of Monstrance did not come into general use until the seventeenth century, but there is an 
 example as early as the commencement of the sixteenth century. Father Thiers citesa manuscript Gradual, 
 
 * The ancient custom of carrying 1 the Blessed Sacrament within a covered Case at the Procession of Corpus Christi 
 was retained in many parts of France till the end of the seventeenth century. 
 
182 iftonatranre* 
 
 formerly belonging to the Sainte Chapelle of Paris, written in the reign of Louis XII., who died in the 
 year 1515, in which a miniature initial represents a procession of the Blessed Sacrament, carried in a 
 Monstrance of this form, and borne on a Feretrum, by two priests, in red cassocks, surplices, and copes. 
 
 In the inventory of the ornaments formerly belonging to King's College Chapel, Aberdeen, 1542, 
 " Una Monstrantia argentea, duos cubitos prope alta (Eucharistia vulgo appellata) ad Christi corpus 
 adorationis causa a populo, deportandum incredibili arte confecta. In ea beryllum pulchrum." 
 
 The external honours rendered by the Catholic Church to our Lord in the Holy Eucharist, have 
 been the subject of constant attack from protestant writers, and their objections have been principally 
 founded on these ceremonies and practices being unknown to the primitive Church ; nor even introduced 
 till at a comparatively recent period. But those who argue thus, lose sight of the great principle, that 
 the Church is a body directed by the Spirit of God, constantly abiding with it, and acting according 
 to circumstances ; hence, whenever a particular heresy arises, some counteracting means is used to 
 arrest its progress. For this reason the Nicene Creed was framed and introduced in the service of the 
 Church as a test of Arianism ; and it is a well-known fact that it was not sung at Rome, during the 
 celebration of Mass, for some centuries after it was used throughout the rest of Europe, on account of 
 the orthodoxy of the people not requiring it. For the same reason the Elevation was introduced in the 
 
 Mass as a test whereby the followers of Berengarius might be 
 distinguished: and the solemn processions to honour the Holy 
 Eucharist have been designed to compensate in some measure for 
 the irreverence and sacrileges of the last few centuries. Had the 
 Christians retained their primitive fervour, daily Communion and 
 purity of heart and conduct, there would have been no occasion for 
 the introduction of these rites ; but under the state of things which 
 have existed for the last few centuries, it ought to be a subject of 
 infinite consolation to all sincere Christians, that the scoffs and 
 blasphemies of modern infidels may be in some measure atoned for 
 by the solemnities instituted in especial honour of this great 
 Mystery of love. Had we no other rule but that of mere antiquity, 
 the Catholic ritual would be reduced to a level with the Mahometan 
 Koran. A rite instituted by a Council of the sixteenth century, 
 has not a less claim on the obedience and reverence of the faithful 
 than one of an older date. 
 
 It must, however, be observed, that the modern practice with 
 respect to the Exposition of the Blessed Sacrament, has gone far 
 beyond what the Church has sanctioned ; and it has latterly become 
 a matter of such ordinary occurrence, as greatly to diminish that 
 external respect and veneration, which was the great intention of 
 the Church to preserve, in instituting this rite. Father Thiers, in 
 his learned Treatise on the Exposition of the Blessed Sacrament,* 
 has fully shewn the evil effects that had resulted from the too 
 frequent Exposition in his time, and he produces many decrees 
 from the Bishops to rectify the abuse. It is very possible for many 
 
 * In this great work the Reservation of the Holy Eucharist in every age 
 is fully treated on, with all the decrees of councils, synods, and bishops, 
 relative to the processions of the Blessed Sacrament and Exposition of the 
 
 MONSTRANCL. same. 
 
183 
 
 good men, from mere custom and habit, to omit that external respect to sacred things, which they 
 would not fail to render, were the occasions less frequent and more solemn in their character. 
 As an instance of the very great solemnity with which the Exposition of the Blessed Sacrament 
 was conducted at Rouen only two centuries ago, I will subjoin the account of the ceremony from De 
 Moleon. 
 
 Rouen Cathedral. — The Sunday previous to the Exposition, notice is given in every parish church, 
 of the day and hour on which the solemn Exposition of the Blessed Sacrament, with the Devotion of the 
 forty hours, will commence. On the eve of the Exposition the great bells of the Cathedral are rung, as 
 for a great Festival. The nave of the cathedral is hung with the finest tapestry. The altar of our 
 Lady, under the rood loft, is decorated with the richest ornaments, covered with silver gilt candlesticks, 
 and surmounted by a canopy or dais, under which the Blessed Sacrament is exposed ; by this arrange- 
 ment the ordinary Service of the Choir is not interfered with or interrupted. 
 
 No priest celebrates Mass in presence of the B. Sacrament during the Exposition. A large space 
 covered with carpets, is railed off in front of the altar ; within this are placed two praying stools for two 
 Canons, behind these a covered bench for four chaplains, and beyond this another bench for two children 
 of the choir. These eight ecclesiastics remain kneeling, in silence, for the space of an hour, when they 
 are succeeded by eight others, and so on during the whole time of the Exposition. At the conclusion 
 the Ave verum is sung, with some prayers and the Benediction. No sermon is allowed to be preached in 
 the cathedral, even if the exposition continues on a Sunday, for silent adoration is most suitable to our 
 Lord in this Holy Sacrament. On these occasions, we may use the words : "Sileat omnis caro a facie 
 Domini, quia consurrexit de habitaculo sancto suo." 
 
 Monstrance sometimes signifies a transparent reliquary. " Item, a Monstrans, wt a relike of Sent 
 Marten, the fote sylv r and gilt, and the flat edge about the relik sylv r , and all the residue cop. and gilt 
 Inventory of St. Martin, Outwich, London." — Nichol's Illustrations of Antient Times. 
 
 i^toon* The Moon is often introduced as an emblem in Christian ornament ; 
 sometimes with reference to our Blessed Lady (pulchra ut Luna) : Ob- 
 scured, above the Crucifixion of our Lord (see Plate xlviii.) ; Crescent, 
 under the Blessed Virgin. (See Emblems.) 
 
 In heraldry the Moon is. said to be blazoned in her complement, when she is full, argent. In her 
 decrement, when sable or obscured. When the horns are upwards, it is called a cressant ; if to the right, 
 it is called an incressant ; if to the left, a decressant. 
 
 iiflorrnfco iftaSSu An expression that frequently occurs in old accounts of 
 Churches ; it signifies the morning or early mass. 
 
 The said clerke — shall attend inhisrozett at morrow masse, — at high masse to apparellthe altars. — 
 Jacobs' History of Faversham, Appendix, 166. 
 
 iHtirSe* The clasp or fastening of a cope, derived from the Latin Mordere, to 
 bite. 
 
 These were often made of precious metals, enamelled and set with jewels, and sometimes contained 
 representations of sacred mysteries. The following list, translated from the inventory of old St. Paul's 
 Cathedral, will serve to give an accurate idea of the richness and beauty of these ornaments. 
 
 The Morse of Dean Alard, trefoiled, of pure gold, with sardonyxes, and many other stones and 
 pearls, whereof none are wanting, weighing xxxii*. \i d . The Morse of William, Bishop, trefoiled, of gold 
 
184 
 
 ittorse*— $lmmt 
 
 with sardonyxes, and other large stones and pearls, weighing xxxiv*. vw. The Morse of Richard, 
 Archdeacon of Colchester, of silver gilt, with images of a Majesty, SS. Peter and Paul, with an angel 
 above, and the donor of the morse below, with stones in the borders, trefoiled. The Morse of William 
 of Ely, silver, with many small images, representing the Annunciation, Nativity, Adoration of the Wise 
 Men, Presentation of Christ in the Temple, with many stones and pearls set in the borders, and formed 
 of four trefoils of gold. The Crest (cresta) of the same, of silver, with a trefoil of gold outside, inlaid 
 with stones. The Morse of Galfrid de Lucy, of silver, gilt outside, with a border of gold, trefoiled, 
 inlaid with four large stones, and other smaller ones, and pearls, with images of the Saviour crowning 
 
 his Mother, and of Peter and Paul at the sides, and an Angel 
 above, and the giver of the morse below, with two hooks, and it 
 has in the border a circle of white pearls. The crest of the same, 
 of silver gilt on the outside, with a gilt trefoil round, and a fair boss 
 of silver gilt, having the trefoil set with stones and pearls, some 
 greater and some less. The Morse of Henry de Wengham, of silver 
 gilt outside, set with stones and turquoises, and a lion in the midst 
 of the circle. The Morse of Radulfus de Dounjoum, of silver, gilt 
 outside, with a trefoil of gold, set with stones and pearls, with an 
 image of Paul bearing a cross. The Morse of Thomas Cantilupe, of 
 silver, gilt outside, with the image of King Ethelbert, and a bishop. 
 The Morse of Thomas Esshewy, of copper, gilt outside, with 8 stones 
 and a beryl in the midst, representing our Lord Crucified. The 
 crest of the same, of copper, gilt on the outside, with stones and pearls set therein. The Morse of 
 Roger Ferynges, of copper, partly enamelled black, with an image of a bishop in the midst. The Morse 
 of John Luke, of copper, gilt on the outside, with 5 images, and 4 shields. The crest of the same of 
 copper, gilt on the outside, and set with stones. Also 7 Morses of wood, overlaid with silver plates, 
 and set with stones, and one silver crest. 
 
 From the Inventory of York Cathedral. — Item, A gold Morse, made in the shape of a rose, with a 
 large ruby in the middle, of great value, with other precious stones ; the gift of the Lord Walter Gray, 
 once Archbishop of York, weighing 7 pounds and 2 ounces. Item, a silver Morse, edged about, and the 
 image of the Blessed Virgin Mary of gold in the middle, the image of St. John Baptist on the right side 
 of the Virgin, and that of St. John Evangelist on the left, in gold, the gift of Mr. William Waltham, 
 weighing 1 pound, 8^ ounces. Item, a silver gilt Morse, with a large stone in the middle called an emerald, 
 and other stones about it set in gold, weight 1 1 ounces. Item, a large silver gilt Morse, fixed on wood, 
 with the image of our Saviour in the middle, St. Peter and St. Paul standing by, and the 4 Evangelists 
 in the angles, weighing 2 pounds. Item, a Morse, with the Passion of St. Thomas of Canterbury, 
 painted on a beryl, with several precious stones ; the gift of King Richard III. worth by estimation 20 
 marks. Item, a Morse of gilt copper, with the image of the Blessed Virgin Mary in the middle. Item, 
 a Morse of gilt copper, with the images of Peter and Paul. Item, a Morse of gilt copper with the image 
 of our Holy Saviour, and of the Apostles Peter and Paul. Item, a Morse of copper gilt, with a Crucifix 
 and images as above. 
 
 iflmmti* See Orb. 
 
 iHoimt* In early symbolical representations, Saints are often depicted stand- 
 ing on raised Mounts, which were introduced as emblems of power and 
 superiority. 
 
 MORSE. 
 
185 
 
 ^.at'Is-* For the manner in which the Nails are introduced as emblems of our 
 Lord's Passion, see Emblems. 
 
 Molanus, Lib. IV. c. 6. — Many ancient images of the Crucifixion have four Nails. The letter T, in 
 the'Te igitur clementissime Pater/ in old MSS. sometimes stands for the cross, in that place : and in 
 some illuminated ones, a figure of our Lord is attached to it, with four Nails. ( Jam. Pamelius ad 
 Sacrament. S. Greg.) Many early documents speak of four Nails. St Cyprian, de Gloria Martyrum, 
 says : e Clavis sacros pedes Christi terebratos fuisse.' St. Gregory of Tours : ' (Helena) ordered one of 
 the four nails to be let down into the sea.' In the Revelations of St. Bridgett: 'And behold the 
 Hammer and four Nails.' And again, 4 The feet drawn downwards, and pierced with two Nails, had no 
 other support but the Nails.' Ancient Crucifixes at Louvain, Paris, and throughout Germany, and the 
 oldest Greek images, have four Nails. In Belgium, Crucifixes with four Nails, are called French ; no 
 doubt from their frequent use in France. It appears of little moment, which mode of representation is 
 adopted, for there are very early authorities both ways. The present custom is decidedly in favour of 
 three Nails. But this may have arisen from the fact, that among the Reliques of the Passion still in the 
 possession of the Church, only three Nails are extant. The opinion that four Nails were used in the 
 crucifixion of our Blessed Lord is strengthened by the mention of the four soldiers (St. John xix. 23.) of 
 whom each appears to have driven in a Nail. (v. Seneca de Beata Vita, c. 19.) Another argument 
 adduced, is that, had the feet of Christ been pierced with only one Nail, it could scarcely have been 
 fulfilled, that was written : ' A bone of Him shall not be broken.' (v. St. John xix. 36.) 
 
 ^Cftlleiurjtlt, or embroidery of an ornamental character. 
 
 All the finer ornaments of the sacred vestments were worked in needlework, and that with surprising 
 skill and feeling, the expression and character of the most minute countenances being perfectly rendered. 
 Gold-embroidery of this description was called opus Plumarium. — See Bekker's Gallus, p. 9. Note. 
 
 ^.t'mtiUS* The Nimbus is a halo of light or glory that is constantly represented 
 round the heads of sacred personages in the works of the Christian artists. 
 (See Plate lxviii.) 
 
 It is found in some of the very earliest Paintings in the Roman catacombs (See Bosio Roma 
 Sotterranea, pp. 29, 131, 133, &c ) Also round the heads of Kings and Emperors, both in early MSS. 
 and in sculpture. (See a Plate in Du Cange's Gloss, representing the images of Eudocia, wife of Basil 
 of Macedon, and of her two sons, Alexander and Leo.) This custom, which was probably derived from 
 the images of the Roman emperors being thus adorned, was discontinued in the middle ages ; and after 
 the eleventh century, the Nimbus was exclusively employed to signify Sacred Persons, as our Lord, our 
 Blessed Lady, Angels, Apostles, Martyrs, and Saints These Nimbi are sometimes depicted in stained 
 windows of various colours, but oftener and with greater propriety, of gold. (See Gold.) There are 
 three forms of Nimbi. 1. That of the Vesica Piscis, or fish form, used in representations of our Lord, and 
 rarely of the B. V.M. and extending round the whole figure. 2. A circular halo, within which are various 
 enrichments, distinctive of the persons represented. 3. Radiated like a star, or sun, occasionally introduced 
 round the head or body of our Blessed Lady, in late representations. The enrichments of the Nimbi 
 may be distinguished as follows : 1. In that of our Lord, a cross, more or less enriched, and sometimes 
 extending beyond the circumference. In subjects which represent our Blessed Redeemer before his 
 Resurrection, the cross should be of a simpler form than in his glorified state. A cross potent is fre- 
 quently introduced in early representations. 2. For our Blessed Lady, a circlet of stars is most appropriate. 
 3. For Angels, a circlet of small rays, and an outer circle of quatrefoils, like roses, interspersed with 
 
 2 b 
 
186 
 
 Nimbus*— $flh*tor£* 
 
 pearls. 4. Those for Saints and Martyrs were similarly adorned ; but in the fifteenth century, the name 
 of the peculiar Saint represented, was frequently inscribed round the circumference, especially for the 
 Apostles. 5. In representations of the Eternal Father, which however occur but rarely before the 
 fourteenth century, the rays in the Nimbus diverge in a triangular direction. For all these varieties, and 
 the manner of representing them, see Plate LXVIII. 
 
 In an extant MS. placed in the public Library at Strasburg the colour of the Nimbus is varied 
 according to the personages : for Virgins, Apostles, Martyrs and Confessors, Gold. Prophets and 
 Patriarchs, Silver ; the unmarried Red ; the married, Green ; penitents, Yellow. 
 
 Ciampini. — Augustus, and the emperors who succeeded him, are sometimes figured on coins, &c. 
 with a circle of light round their heads, as a mark of supernatural power and dignity. Some think that 
 the Christian custom of picturing the Saints in glory, with the Nimbus encircling their heads, was 
 borrowed from this circumstance. Others refer its origin to Moses descending from Mount Sinai after 
 conversing with God, with bright rays of glory shining from his countenance : as if the Beatific Vision 
 of the Almighty invested the Saints with a halo of light and heavenly splendour. Raynaud and others are 
 strongly of opinion that the practice, originating in the superstitious honours paid to the emperors, grew 
 among Christians, of devoutly honouring the Saints in light with this just emblem of their Crown of 
 bliss. The circle represents Eternity. For examples, see Ciampini Vet. Mon. P. II. c. xiv. 
 
 Du Cange (v. Corona). — ' Nimbus, circulus qui circa Sanctorum capita depingitur.' Honorius of 
 Autun writes thus : ' The luminous circle which is depicted round the heads of Saints in the Church, 
 designates that having received their Crown they enjoy the Light of everlasting glory. The Nimbus is 
 represented round, in the form of a shield, because they are defended by the Providence of God, as with 
 a shield.' The hand in Benediction, symbolic of the Eternal Father, was generally encompassed by a 
 Nimbus. 
 
 In some ancient representations we find Nimbi of a square form, as figured at p. 528 of Mabillon's 
 Benedictine Annals, and explained by him as signifying that the persons so represented were living when 
 the delineation was made, to whom it was affixed as a mark of honour and respect. For a very full and 
 learned Dissertation on the Nimbus, its signification and antiquity, see Iconographie Chretienrie, by 
 Maurice Didron, Paris, 1843. 
 
 <!^atu The Oak tree is the emblem of virtue, force, and strength, and is 
 frequently introduced in ancient sculpture. 
 
 (J^CttUJOlU A figure of eight equal sides, and considered as an emblem of 
 Regeneration, consequently the proper form for baptisteries and fonts. 
 
 ©ffrrtorp* The veil in which the subdeacon holds the paten from the conclu- 
 sion of the prayer Offerimus, till the end of the Pater Noster. 
 
 It was originally a linen cloth ; and in the ritual of the Jacobins was called Mappa,h\it in that of the 
 Cistercians, Offertorium ; by which name it was also distinguished by the English Church, as will be 
 seen below by the extract from St. Paul's Cathedral. 
 
 Offertoria. — Unum Offertorium stragulatum, de rubeo et viridi. Item, quatuor Offertoria minora de 
 rubeo serico listata aurifilo, facta de quodam veteri panno, quorum duo habent extremitates de opere 
 Saraceno contextas. Item, unum Offertorium album in extremitate stragulatum aurifilo, de dono 
 Roberti de Binetri. Item, duo Offertoria bendata, de opere Saraceno, de dono ejusdem Roberti. Item, 
 duo Offertoria de panno albo, cum extremitatibus contextis de serico, bestiis, arboribus, turilis, et avibus. 
 — Dugdale's History of St. Paul's. 
 
187 
 
 Da Cange. — ' In the Regulations of a Cistercian Monastery,' given by Cassander, 'water also, with 
 a silver strainer, is offered by one of the deacons, vested in a cope, with a silk offertory veil.' Here the 
 Offertory seems to have been a long veil, in which the chalice was wrapped, when offered by the deacon 
 to the priest. The following is from the Ordo Romanus : 'The archdeacon takes the chalice from the 
 hand of the subdeacon, and places it upon the Altar, near the oblation of the bishop, the handles (of 
 the chalice) being enveloped in his offertory veil, which he also lays on the right horn of the altar.' 
 A.nd again : ' The bishop sets the oblation in its place, and the archdeacon the chalice near it, having 
 removed the offertory veil from its handles.' From an ancient Use of the Cistercian Order : ' The 
 chalice with the corporal and offertory veil.' Again : ' The deacon after the Gospel unfolds the corporal, 
 which has three folds in breadth, and four in length .... and immediately after the Oremvs, his 
 hands being covered with the Offertorium, and holding in his left hand the foot of the chalice, and in his 
 right hand the paten, he offers them both together to the priest.' Again : ' the subdeacon at the same 
 time takes the paten covered with the Offertorium.' Again : ' Returning the Offertorium to the sub- 
 deacon, and the subdeacon folds it, and puts it away.' Bernard the monk, in the Ordo of Clugni, says 
 of the Ostiarius : ' Let the napkins and offertory veils be consigned to his keeping, and let him, as often 
 as necessary, direct them to be washed.' And ch. LXXII. ' He extends the Offertorium and chalice for 
 the oblations, and the offering being made receives it again decently folded.' St. William, Abbot, 
 Lib. I. Constitut. Hirsaugensium, c. L. : ' If the corporal, or Offertory, or linen veil for carrying the 
 chalices, or covering the paten, fall to the ground through his negligence,' &c. The custom is still kept 
 up in many churches of laying the linen cloth in which the chalice is folded, when offered to the priest, 
 on the right horn of the altar. We read of ' Offertoria opere plumario,' Offertory veils of gold- 
 embroidery in 'Chartul. V. S. Vedasti.' For Offertory-basins, see Basins. 
 
 ^Il'be* The emblem of peace and concord. This is frequently represented 
 over early Christian tombs in the Roman catacombs. The Olive is also 
 introduced as an emblem of the Blessed Virgin, in the sculpture of the 
 stalls in Amiens Cathedral — ' Oliva speciosa.' 
 
 St. Augustine and St. Gregory interpret the Olive of the grace of charity : its fruit, oil, being the 
 emblem of works of mercy. ( Quos autem per olivam,' says St. Gregory, ' nisi misericordes accipimus ? 
 quia et Grsece iXtoq misericordia vocatur.' Horn. XX. in Evang. 
 
 (£)rl) + A globe surmounted by a cross ; an emblem of power and sovereignty, 
 with which kings are solemnly invested at their coronation. 
 
 It is also introduced in representations of our Blessed Lord as a child, and also in images of the 
 Majesty. (See Majesty.) The cross is placed at the top of the Orb to signify that by the cross the 
 world represented by the ball is overcome. This is also called a mound. According to Randle Holme, 
 the Orb signifies the dominion, and the Cross the faith of the king. 
 
 <^rp!)r?|)» In French Orphroi, which Du Cange explains by Frange d'or. It 
 signifies a band or bands of gold and rich embroidery, affixed to vestments. 
 Its Latin name (aurifrisium) expresses accurately its meaning and etymo- 
 logy. See Plates rr. tit. xli. xlti. xliii. xliv. 
 
 Vestments ornamented in this manner among the ancient Romans were called auriclavae or clavatac. 
 The Clavus was a band which ornamented the tunic : but was worn only by those of the equestrian 
 order, and by senators. The senators wore the laticluve, or tunic with a broad band : the knights, the 
 
188 
 
 angusticlave. These clavi or bands were mostly of purple, and sewed on to the tunic. (Hor. Sat. L. 
 I. 6, 27. et Juvenal, Sat. VI.) The hybrid form chrysoclavus found in ecclesiastical writers, is the same 
 with auriclavi/s. Both (according to the bestauthorities) mean an Orphrey. This word is used for a 
 band or border of rich work, generally of gold or silver texture, which is sewed on to church vestments 
 and furniture. All copes have an orphrey or border, on the straight edge. On chasubles the Orphrey 
 at present forms a cross behind, and falls in a straight line, in front of the vestment. Anciently the 
 Orphreys were the same behind and before, like a Pallium, as may be seen in all monuments of the 
 middle ages. In the History of the Bishops of Auxerre, cited by De Vert, a chasuble is mentioned, 
 having an orphrey ad modum Pallii archie] tiscopalis. These Orphreys were sometimes separate from 
 the chasuble, and fastened to it by large gold-headed pins. An example occurs in the effigy of 
 Guerinus, bishop of Senlis, who died a.d. 1227 : see De Vert, Ceremonies de l'Eglise, vol. II. plate 1. 
 The Roman chasuble has a Tace cross in the front, and none in the back, but only a long straight 
 band. The tunic and dalmatic have also strong straight bands, both in the front and back, with two 
 cross bands. (See Plates II. and VI.) The apparels of Albes are, in fact, examples of the Orphrey : 
 and amices were formerly orphreyed, in the part which was drawn over the head : qui usus etiamnum 
 obtinet in plerisque ecclesiis (Du Cange). 
 
 Du Cange. — Many old records mention Orphreys under the various names of aurifrigia, aurifrisia, 
 aurifrisa, aurifrasus, aurifrixus, auripliryg'wm, and others. The Chronicle of Laurisham mentions 
 ' Three copes with orphreys, an altar cloth with an orphrey. 5 The Chronicle of Mayence : ' A violet 
 chasuble with broad and great orphreys.' Matthew Paris, a.d. 1246, speaks of ecclesiastics, c In 
 choral copes, and vestments (infulis) to be coveted for their orphreys.' In the Miracles of St. Dunstan : 
 ' Wherein it was a marvel to many, that the orphrey when applied to the chasuble was found to be 
 neither longer nor shorter than the size of the vestment required :' where the Orphrey seems to have 
 been detached. An inventory of a chapel at Paris, a.d. 1363, in the Royal Library, Paris: 'Also 
 one white chasuble (infula) with lilies, the orfrey of which used to have many pearls,' or according 
 to another account of the same in French, c Un chasuble blanc a fleurs de lis, dont l'Orfroiz est seme 
 (seeded) de perles.' 
 
 In the Will of John, Archbishop of Marseilles, a.d. 1345, is the following: f I bequeath to the 
 church of Marseilles, my whole white chapel* with English orfreys.' 'A charter, a.d. 1382; ' Pontius 
 gave a chasuble of red stuff .... furnished with orphreys from England,' &c.f (Carpentier's Supplement 
 to Du Cange, v. Aurifresium.) The mitre is made with orphreys : and is then called Mitra 
 aurifrigiata. (See Mitre. ) The word aurifrigium is sometimes used also for the precious stuff, of 
 which orphreys are made. In the Romance of the Rose : Pourtraitesy furent d'Orfroys, Histoire D'Em- 
 pereurs, et Roys. 
 
 #S«tl'ariUS, The first of the Minor Orders, whose principal office is, to open 
 and close the doors of the church, to keep the doors of the church and 
 sacristy during Mass, to ring the bell, and to open the book for the 
 preacher. For their habit, see Lector. 
 
 Georgius. — The prayers for the Ordination of Lectors are found as early as the Sacramentary of 
 Gelasius. There was nschola ostiariorum once attached to the Palace of the Lateran at Rome, two of 
 whom accompanied the Pope to the stations, and on various other occasions, to keep the doors of the 
 
 * Capella, in a late sense, means a suit of vestments, and altar furniture. 
 
 t England was famous during 1 the Middle Ages for exquisite embroidery. It was called ' Opus Anglicanum,' and 
 highly prized on the Continent. 
 
$tuL— palltum. 
 
 189 
 
 church and sacristy, while the Pope was celebrating. There was also magistri ostiarii, who preceded 
 the Pope in solemn processions, on either side of the Subdeacon Apostolic, who carried the Cross, 
 hearing in their hands wands covered with red silk ; as they still do to this day. 
 
 <&\xs\+ An emblem of darkness and solitude. 
 
 (Bx* The Ox has always been considered by the Church as an emblem of the 
 Priesthood. 
 
 In representations of the Nativity of our Lord an Ox and an Ass are always introduced ; by the 
 former the Jewish people are typified, and the Gentiles by the latter. For the reason of St. Luke 
 being represented with the Ox, see Evangelistic Symbols. 
 
 gallium. An ensign of jurisdiction, worn by the Sovereign Pontiff, and 
 granted by him to Patriarchs, Primates and Metropolitans ; and some- 
 times as a mark of honour to Bishops. Its exact form is yet retained on 
 the Arms of the See of Canterbury. 
 
 Durandi Rationale, I. III. c. 17. n. 3. — 'The pallium is woven of white wool, encircling with the 
 upper part the shoulders, an 1 having two bands hanging down before and behind ; it is double on the 
 left side, and single on the right : it has four purple* crosses, to wit, in the front, and at the back, and 
 at the two sides. It is fastened with three gold pins.' 
 
 Cceremoniale Romanum, I. I. s. 10. — 'The office of making and keeping the Pallia belongs to the 
 subdeacons apostolic, who prepare them of pure and white wool in the following manner. The holy 
 women of the Monastery of St. Agnes, or the religious men belonging to that Church, offer yearly two white 
 lambs on the altar of that church, on the festival of St. Agnes, while the Agnus Dei is sung in the High 
 Mass. These lambs are received by two canons of the Church of St. John Lateran, and are afterwards 
 consigned by them to the subdeacons apostolic, who send the lambs out to pasture, till the season 
 comes for shearing them. The wool shorn from these lambs, and other wool mixed with it, is spun 
 into yarn, from which Pallia are woven, of the breadth of three fingers, of a round form to encircle the 
 shoulders of Prelates. The Pallium has a band hanging down, about a Roman foot long, and at the 
 ends small leaden weights, with bosses at the ends, covered with black silk, sewed on the bands, which 
 hang down before and behind, and on each shoulder. When the Pallia have been thus prepared by the 
 subdeacons, they carry them to the Church of St. Peter, and they are placed by the canons of that 
 Church, over the bodies of the Apostles Peter and Paul, beneath the High Altar : where, having kept 
 vigil according to the custom, they leave them all night, and then give them back to the subdeacons, 
 who reserve them in a convenient place. The form of granting it in the Pontifical is : e Tradimus tibi 
 Pallium de corpore B. Petri sumptum, in quo est plenitudo Pontificalis officii, cum Patriarchalis, 
 vel Archiepiscopalis nominis appellatione,' &c. Although the pallium was a robe of state, as worn by 
 the Roman Emperors, yet it does not appear to have been other than an ornament, such as it now is 
 in ecclesiastical use. Some difference, however, has taken place both in its material and form. In the 
 life of St. Gregory the Great, we read that ' his Pallium was of fine white linen, not pierced by golden 
 pins, but so twisted as to hang about his shoulders of itself, as it appears in ancient mosaics and 
 pictures.' In that time, then, the Pallium was made of linen, not of woollen texture, and put on like the 
 Greek stole. The change in the mode of making and wearing it, Ruinart thinks took place about the 
 viii. century.' 
 
 * Pallia tunc humeris crucibus candentia nitjris, kc. In Coronatione Bonifacii VIII. ap. Du Cange. 
 
190 
 
 $)alltum.— $alm. 
 
 Times when the Pallium is worn. — The Pope alone wears the Pallium, when he says Mass, at 
 all times and in all places. In the case of Patriarchs and Archbishops, the use of it is, according to 
 the Pontifical, restricted to the times of saying Mass on great Festivals, and within the limits of their 
 several dioceses or provinces. The times usually specified in the letters of the Pontiff are : the Feasts 
 of the Nativity, St. Stephen, St. John, the Circumcision, the Epiphany, Palm Sunday, Maundy 
 Thursday, Holy Saturday, Easter Day, Easter Monday and Tuesday, Ascension Day, Pentecost, 
 Feast of the Blessed Virgin, the Nativity of St. John the Baptist, all Apostles' Days, all Saints, 
 Dedications of Churches, Principal Feasts of their own Church, Consecrations of Bishops, Ordinations 
 of Clergy, the Feast of the Dedication of their Church, and the Anniversary of their own Consecration. 
 — Pontificale Romanum, P. I. s. 16. De Pall'w. 
 
 Spalls (See Funeral Palls.) 
 
 The Palls used for ecclesiastical purposes were of four kinds : 1. Palls for covering the bier and 
 coffin at funerals, already described. 2. P.lls for extending over tombs.* 3. Ornamental Palls, to 
 hang in choirs on festivals. 
 
 Anastasius in the Life of St. Zachary, Pope, says : e He made hangings between the columns of 
 silken palls.' Durandus, Rat. 1. I. c. 3, says: 'The ornament of a church consists in curtains, 
 tapestry, and Palls, of silk, purple, and the like.' 
 
 4. Linen cloths to cover the altars. 
 
 Inventory of old St. Paul's. Belonging to the altar of our Blessed Lady in the nave. — Item, two 
 Palls blessed, one not blessed Item, two new Palls blessed. At the altar of St. Silvester, (Item, duo 
 Pallae benedictae) . Item, two Palls blessed. The same item occurs in the inventory of each altar. 
 
 Inventory of Canterbury Cathedral. — Item, Pallium altaris, cum frontalibus brudatis cum scutis 
 
 ipalm* An emblem of Christian Victory, especially of Martyrdom, inscribed 
 as such by the Primitive Christians, over the tombs of those who suffered 
 for the Faith, of which numerous examples are to be found in the Roman 
 Catacombs. 
 
 It is used as an emblem of Christian victory and triumph in general ; and is found over the tombs 
 of some, who were not Martyrs. This may have been done, in accordance with Apoc. vii. 9. £ I saw a 
 great multitude, which no man could number, . . . standing before the throne, . . . clothed in white robes, 
 and palms in their hands.' Here all the redeemed, and not the martyrs only, are represented with palms 
 in their hands. 
 
 Origen says: < Palma victoria? signum est illius belli, quod inter se caro et spiritus gerit.' And 
 St. Augustine, commenting on the Palm branches strewn in the way before our Lord on his last entry 
 into Jerusalem before his Passion, says : ' Ramipalmarum laudes sunt, significantes victoriam, quia erat 
 Dominus mortem moriendo superaturus, et trophaeo Crucis de Diabolo mortis principe triumphaturus.' 
 Tract. L. I. in Johannem. The phrase ' Palma martyrii,' is met with everywhere in the writers of the 
 Church. 
 
 * These Palls were offered at funerals, as will be seen from the subjoined extract from the account of Prince 
 Arthur's funeral. " All the offerings of money done, the Lord Powys went to the Queere doore, where two gentlemen 
 ushers delivered him a rich Palle of cloth of gould of tyssue, which he offered to the corpse, where two officers of 
 amies receaved it, and laid it along the corpse. The Lord Dudley in the like manner offered a Palle, which the said 
 officers laid over the corpse. The Lord Greye Ruthven offered another; and each of the three Earles offered to the corpse 
 three Palles of the same clothe of gold. The lowest Earle began first. All the Palles were layed crosse over the corpse, 
 &c. &c. This finished a minister of the Church tooke away the Palles." — Leland's Collectanea, vol. 5. p. 380. 
 
parttrte*— $aten 
 
 191 
 
 $)arun& See Apparells. 
 paSrfjai, See Candlestick. 
 pa^t'Olt Of out* £ortU See Emblems. 
 pastoral £>taff* See Staves. 
 
 Paten* One of the vessels of the Altar, in which especially the Altar-bread 
 is offered in the Holy Sacrifice, before consecration, and in which also 
 the Host is laid, immediately before the communion of the priest : and 
 by which the Particles are gathered up from the Corporal, to be collected 
 into the Chalice. 
 
 The Paten was anciently much larger than at present. The reason of this was, that it was the 
 vessel used for giving Communion to the people : for which use the Ciborium has in latter times super- 
 seded it, except on particular occasions, as when the newly ordained communicate. It is still used, 
 however, for communicating the Clergy at Ordinations, and the Deacon and Sub-Deacon at High Mass, 
 and the people in Masses for the Dead, when the particles for communion are consecrated in the Mass, 
 and at other times, when this is done. 
 
 The Paten was formerly engraved, and sometimes enamelled, and set with jewels, inside as well as 
 outside. The present discipline, however, does not allow engraving or other ornament, except on the 
 outer side. The reason is, that the Paten is thus more easily purified. Patens were sometimes made 
 of crystal, glass, and other substances in former times. 
 
 From Du Cange. — ' St. Silvester/ as related in his Life by Anastasius, ' offered seven Patens of 
 gold, each of which weighed thirty pounds.' In the Life of Pope Nicholas : 6 The Emperor Michael 
 offered a Paten of most pure gold, with divers precious stones/ &c. There are, in an old Ordo Romanus, 
 prayers for the Benediction of a Paten, which is there called c Vasculum in quo Eucharistia reconditur/ 
 — See Card. Bona L. 1. Liturgicor. c. xxv. 
 
 Georgius. — 'The Council of Chalcuth in England, a.d. 787? forbade that 'the Paten should be 
 made of horn, because the horns of an ox are of blood.' Regino records a decree of the Council of 
 Rheims, c that the Chalice of the Lord, and the Paten, if not of gold, at least be made of silver.' 
 Monasteries in the vi. century had Chalices and Patens of gold. St. Aredius, Abbot in France, 
 (ap. Mabillon), who made his Will, a.d. 571, mentions there after some gold chalices, 'one paten of 
 silver worth lxxii solidi.' Epiphanius, bishop of Constantinople, a.d. 520, sent to Pope Hormisdas, 
 among other sacred gifts, ' a golden paten.' Justin the Emperor, surnamed the Orthodox, offered as 
 an exvoto, to the Blessed Apostle Peter, ' a golden paten, with purple jewels, weighing xx pounds.' 
 In the Will of St. Everard, a.d. 867, occur, ' a golden chalice, with a paten, an ivory chalice adorned 
 with gold, with a paten, . . a silver chalice with a paten.' St. Gregory of Tours, mentions three Patens 
 of St. Martin, 'one of which was of the colour of a sapphire.' Again: 'There is at a certain village 
 another paten given by the Saint, of crystal.' Whether these were Patens for the Altar, is not certain. 
 Among the spoils, which Childebert carried off from Spain, were 'fifteen patens.' St. Gregory of Tours 
 relates, that a certain British Count, being afflicted with a pain in his feet, at the suggestion of one of 
 his followers ' sent for a silver paten from the Church, and washed his feet therein ;' but his pains being 
 increased immediately, he became a cripple, and could never walk after. 
 
 Regino. — Among the articles of inquiry by the bishop is the following : ' Of what metal is the 
 chalice and paten, aud whether clean from all soil, and in what place they are kept.' Also, ' whether 
 the priest have presumed to give in pawn the chalice, or paten, or Sacerdotal Vestment.' 
 
 As early as the Sacramentary of Gelasius, a form of Benediction is found, ad consecrandam Patenam. 
 
192 
 
 $ateiu— $ajr. 
 
 The same existed in the French Missal, even before the Gregorian rite was received under Pepin. In 
 the consecration according to the Pontifical are the following : ' Let us pray dearly beloved brethren, 
 that the Blessing of Divine Grace may consecrate and sanctify this Paten, that the body of our Lord 
 
 Jesus Christ may be broken therein,' Sfc Vouchsafe to bl+ess, hal+low, and conse+ crate 
 
 this Paten, for the administering of the Eucharist of Jesus Christ, Thy Son, Sfc. — and while anointing 
 the inside with Holy Chrism, first, in the form of the Cross, and afterwards, the whole surface, the 
 Bishop, standing in his Mitre, says : ' Vouchsafe, O Lord God, to consecrate and hallow this Paten, by 
 this unction and our benedic+tion, through Jesus Christ, our Lord, who with Thee liveth and reigneth 
 in the unity of the Holy Ghost, one God, world without end. R. Amen/ Then after the consecration 
 of the chalice, if one is to be consecrated, both chalice and paten are sprinkled with Holy Water ; after 
 which they are cleaned with bread-crumbs by a priest, and the crumbs thrown into the sacrarium, or 
 into the fire. — Pontifcale Romanum, p. II. s. 17- 
 
 $aj; or pnjbfrtie* A small plate of gold, or silver, or copper gilt, enamelled, 
 
 or piece of carved ivory, or 
 wood overlaid with metal, car- 
 ried round, having been kissed 
 by the Priest, after the Agnus 
 Dei in the Mass, to communi- 
 cate the Kiss of Peace. 
 
 There were various images on these Paxbredes, 
 sometimes the Crucifixion, sometimes the 
 Vernacle or Face of our Lord, sometimes our 
 Blessed Lady with our Lord in her arms, and 
 occasionally the Lamb. These images were 
 variously produced by engraving, chasing, 
 enamelling, and painting or carving, according 
 to the material of the Pax. 
 The Pax as administered by a kiss is a practice of remote Christian antiquity, but it does not appear 
 that its transmission by instruments commenced before the thirteenth century.* It is mentioned in a 
 Council held at Oxford, in 1287- Duo osculatoria occur as belonging to the chapel of St. Radegunde 
 in the Inventory of old St. Paul's, made in 1295. They are continually mentioned in the inventories of 
 ancient church ornaments. 
 
 Winchester Cathedral. — Item, one little Pax of gold. Item, two Paxes, one of silver and gilt, and 
 the other of silver. 
 
 St. Mary Outwich, London.- — Item, a Paxe of sylver and geylt. 
 St. Mary Hill, London. — Item, three Paxbredes of silver gilt. 
 
 All Soul's College, Oxford. — Item, one Paxbrede, cum ymagine beatse Mariae lamentabiliter filium 
 suum deplorantis. 
 
 Parish Church of Faversham. — " Item, a Paxe of sylver, and gylte. Item, a great Paxe of sylver, 
 parcel gylte, sett with stonys. Item, a Paxe of wode, gylte, of the byrthe of our Lord." — Jacobs' History 
 of Faversham. 
 
 * St. Ansegisus, Abbot of St. Wandeville, gave to that Monastery in the ninth century, " Sigilla Aurea mirifica 
 cum pretiosis lapidibus, numero duo." These are interpreted by Mabillon, in his Benedictine Annals, to signify Paxes, 
 but this must be considered as doubtful. 
 
193 
 
 St. George's Chapel, Windsor. — " Item, a fine Pax, silver and gilt, enamelled with an image of the 
 crucifixion, Mary and John, and having at the top three bosses, with two shields hanging on either side. 
 Item, a ferial Pax, of plate of silver gilt, with the image of the Blessed Virgin. — Dugdale's Monasticon. 
 
 Durham Abbey. — "The cover of the Text served for the Pax. Also the Gospeller carried a 
 marvellous fair book, which had the Epistles and Gospels in it, and layed it on the altar ; which book 
 had on the outside of the covering, the picture of our Saviour Christ, all of silver, of goldsmith's work, 
 all parcel gilt, very fine to behold; which book did serve for the Pax in the Mass." — Antiquities of 
 Durham Abbey, p.W. 
 
 There are many examples of ancient Paxes yet remaining ; several in private collections, three at St. 
 Mary's College, Oscott, one of which, of the fifteenth century, in silver parcel gilt, is exquisitely wrought ; 
 round the outer circle is this inscription : — "Agnus Dei qui tollis peccata mundi miserere nobis." In 
 the title pages of the Sarum Missals the Pax is always shewn on the altar. 
 
 In the alterations which were made in the manner of celebrating the rites of the English Church in 
 the first year of King Edward the Sixth, the clerk is ordered to bring down the Pax, and standing 
 without the church door, say these words aloud to the people : — " This is a token of joyful peace, which 
 is between God and man's conscience, Christ is alone the peace-maker, which straightly commands 
 peace between brother and brother." — Collier's Ecclesiastical History, vol. 2, p. 242. 
 
 ■peacock* An emblem of vain-glory : also anciently introduced as a symbol of 
 the Resurrection. This representation occurs in paintings in the Roman 
 Catacombs, and is so explained by Bosio. 
 
 pectoral* This word has three significations : — 
 
 1. It means a morse, either of metal or embroidery. 
 
 Inventory of Winchester Cathedral. — Item, six Pectorals of silver and gilt garnished with stones. 
 In ventory of Old St. Paul's Cathedral. — Item, the cope of Richard de Windlesore, of red sattin, with 
 a Pectoral, beautifully embroidered, &c. 
 
 2. It signifies the front orphrey of a chasuble. 
 
 Inventory of Old St. Paul's. — " Item, the chasuble of Dean Alard, of black sattin, with a dorsal, and 
 a Pectoral of gold orphreys, with wires." — Dugdale's Monasticon. 
 
 3. The apparell on the breast of some albes and tunics, were called Pectorals (see a Roman Deacon 
 in plate VI.) 
 
 "Item, 4 tunics of silk, with Pectorals and orphreys of Cyprus work." — Du Cange, torn. 5. p. 315. 
 
 $e&e Cioat!)* See Carpet. 
 
 Pelican* An emblem of our Blessed Lord shedding his blood for mankind, 
 and therefore a most appropriate symbol to be introduced on all vessels 
 or ornaments connected with the Blessed Sacrament. See Plate lxi. 
 
 A Pelican billing her breast was the device of Bishop Fox, founder of Corpus Christi College, 
 Oxford, and who probably assumed it through devotion to the Holy Eucharist. 
 
 " Over the High Altar of Durham Abbey hung a rich and most sumptuous canopy for the Blessed 
 Sacrament to hang within it, — whereon stood a Pelican, all of silver, upon the height of the said canopy, 
 very finely gilt, giving her blood to her young ones, in token that Christ gave his Blood for the sins of 
 the World." — Antiquities of Durham Abbey, p. ] 1. 
 
 See Crewett. 
 
 2 c 
 
194 
 
 pin'Iatorp.— pope* 
 
 pbtlatotp* A transparent reliquary placed horizontally, with an ornamented 
 top. The word is probably a corruption of Phylactery. {Du Cange.) 
 
 Inventory of Lincoln Cathedral. — Item, one Philatory, long, ornamented with silver and gilt, 
 having a knop of berall in the middle of the height, standing on four feet, containing a bone of St. 
 Vincent, Martyr, and weighing with the contents 3 ounces. Item, one other Philatory of crystal standing 
 upon four feet in plain sole silver and gilt, having a pinnacle in the height, containing a tooth of St. Hugh, 
 weighing with the contents 2 ounces. 
 
 pome, A ball of precious metal filled with hot water, and placed on the 
 Altar during the winter months, to prevent danger of accidents with the 
 Chalice, from the hands of the priest becoming numb with cold. 
 
 Du Cange, Suppl. — i Pomum Calef actor ium. Globulus aqua calida plenus, quo in sacris ad cale- 
 faciendas manus utebantur.' In a MS. Inventory of the Apostolic See, a.d 1295, is the following: 
 ' Also ten Pomes for warming the hands, of silver of divers workmanship.' In a goldsmith's bill, a.d. 
 ] 462, e To Richard Boutoville for a golden Pome, for warming the hands of the celebrants at the High 
 Altar, xvi. solidi.' Hariulfus, lib. ii. c. 10. ' Six silver lamps : three golden Pomes.' 
 
 Inventory of St. Paul's Cathedral. — "A Pome of Bishop Eustace, of silver, embossed with images 
 gilt, weighing xvi s vii d ; with a little dish, in a leathern case Also a silver Pome, engraved, with images 
 of the signs of the Zodiac ; with a little dish, of the gift of F. Basset. Also a white silver Pome, plain, 
 weighing with its dish one mark. Also a brass Pome, of small value." — Dugdale's Monasticon. 
 
 pomegranate* See Fruit. 
 
 Pope* A title of the Bishop of Rome, and successor of St. Peter, denoting 
 that he is the common Father of the faithful. 
 
 He is called Papa Universalis, because his jurisdiction extends to all the baptized ; and Dominus 
 Apostolicus, and his See, Sedes Apostolica ; because in addition to his Episcopal powers, he possesses 
 the plenitude of Apostolical authority from St. Peter. When the Pope celebrates Pontifically, his 
 vestments are as follows : First, he assumes the Buskins ; then the Sandals ; the Amice ; the Albe; the 
 Girdle, to which is added, a succinctorium or sash, worn by none except the Pope; then the fanon, or 
 orale, a striped veil, like a coloured amice, which is also peculiar to the Pope : then the Stole, pendent 
 on each side, like a Bishop's; the Tunic ; the Dalmatic; the Gloves ; the Chasuble; the Pallium ; the 
 Mitre ; the Ring. The Maniple, lastly, is assumed after the Confiteor. The Pope does not use a 
 Pastoral staff or Crosier, as will be explained in the following extract from Georgius. The Pope in his 
 ordinary dress, retains the Rochet and Stole at all times. See the above-named Vestments under their 
 several names. 
 
 Georgius. — f The omission of all mention of the Pastoral Staff, would be no defect in a work professing 
 to treat only of the 'Liturgy of the Roman Pontiff,' because the Supreme Pontiff does not use a Pastoral 
 Staff. I purpose, however, to treat of the Staff (see Staves) ; and to premise an inquiry, why the Pope 
 makes no use of a Pastoral Staff. The question is an historical one. It is related, that St. Euchai'ius, the 
 first Bishop of Treves, raised to life St. Maternus his friend, by the Staff which he had received from 
 St. Peter, Prince of the Apostles. Honorius of Autun, and Peter of Clugni record this miracle. Egbert, 
 Archbishop of Treves, a.d. 980, obtained this Staff from Werinus, Archbishop of Cologne, to which 
 place it had been transferred by Bruno, a former Archbishop. The history is preserved in a very 
 ancient inscription on the case in which the Staff is contained. This case is covered with plates of silver 
 curiously gilt, and adorned with jewels, &c. Round the knop, are small images of the Twelve Apostles. 
 
195 
 
 From the inscription, Brower, in his Annals of Treves, has elucidated the whole history. Innocent III. 
 in his Work on e The Mysteries of the Mass,' says that the Pope does not use a Pastoral Staff, in 
 consequence of the above history, and that this Staff of St. Peter was, in his time, preserved in the 
 church of Treves. St. Thomas, of Aquin, assigns the same reason: 'The Roman Pontiff/ he says, 
 c does not use the staff, because St. Peter sent it to raise to life one of his disciples, who was afterwards 
 made Bishop of Treves, and therefore the Pope carries a staff in the Diocese of Treves, but in no other; 
 or, again, for a sign, that he has not a limited jurisdiction, which the curvature of the Pastoral Staff 
 denotes' (In IV. Sententiar. Distinc. XXIV. Quaest, 3). Durandus has the same. Some, however, are 
 inclined to doubt, whether the Roman Pontiffs did not, at one time, carry a Pastoral Staff. Luitprand, 
 speaking of the deposition of Benedict, the Anti-pope, has the following : ' After this he put off from him 
 the Pallium, which, together with the Pontifical Staff (pontificali ferula) that he carried in his hand, he 
 gave up to the Pope, which staff the Pope broke, and shewed it to the people broken.' Among 
 the solemnities of the election of Pope Paschalis II. a.d. 1099, we read, that 'a Staff was given into his 
 hand.' And this rite appears to have continued to the end of the xn. century. That the Pastoral Staff 
 was sometimes called Ferula, is undoubted.' 
 
 It is to be observed, that in ancient representations, either in sculpture, or illuminated MSS. the 
 Pope is generally represented with a triple cross : the distinction of a single cross for an Archbishop, a 
 double cross for a Patriarch, and a triple cross for the Pope, being observed. 
 
 Potoersi* See Angel. 
 
 fUlfStSu The third of the Holy Orders, whose principal office in the church is 
 to offer the Holy Sacrifice, and to administer the Sacraments of Baptism, 
 Penance, Eucharist, Extreme Unction, and Matrimony. See Plates iv. 
 v. VI. 
 
 The vestments in which the Priest says Mass, are the following : the Amice, Albe, Girdle, Stole 
 crossed over the breast, Maniple, and Chasuble. See each of these under their several names. 
 
 In the administration of other Sacraments the Priest wears a Surplice and Stole : the colour of the 
 Stole varying. A purple Stole is worn during the first part of the Baptismal Service, till after the 
 Exorcisms, and it then is changed for a white one. A purple Stole is also worn, for the Sacrament of 
 Penance: and in that of Extreme Unction. In Matrimony the Stole is white. In the place of the 
 Surplice, in the above functions, the girded Albe was worn till lately ; and is still permitted by the 
 Rubric. The Albes so worn were enriched with apparells. (See Albe.) At Vespers, and at Bene- 
 diction, as also in Processions, as in Funeralls, the Priest is vested in a Cope, over an Albe or Surplice. 
 At the Blessing of the Holy Oils, on Maundy Thursday, and in the Procession on Corpus Christi, the 
 assisting Priests use Chasubles. The Stole is used also for preaching, when it follows the colour of the 
 day ; for churching of women, it is white ; and for all priestly functions the Stole is worn. It is in 
 accordance with the rule of the Church, that Priests should never quit the ecclesiastical habit, but wear 
 the cassock, and the tonsure wherever they appear in public. (See Soutanne and Tonsure.) 
 
 Prmitpalftfek See Angel. 
 
 ProplKte* For the manner of representing, see Emblems. 
 
 The four greater prophets {Propheta major es) are Isaias, Jeremias, Ezechiel, and Daniel; the twelve 
 lesser {Propheta: minor es), Osee, Joel, Amos, Abdias, Jonas, Michaeas, Nahum, Ilabaccuc, Sophonias, 
 Aggaeus, Zacharias, Malachi. 
 
 The whole of these Prophets are represented in the finest sculpture of the 13th century, round the 
 2nd arch of the south doorway of Amiens Cathedral (commonly called Le Portail de la Vierge Doree). 
 
196 
 
 $rujibtt&— purple. 
 
 The following is an account of the emblems and figures by which they are distinguished. 
 
 The greater Prophets. Isaias. — According to an ancient tradition of the Jews, and confirmed by 
 St. Justin the Martyr, Tertullian, St. Jerome, and St. Augustine, this prophet was put to death, by order 
 of Manasses, in the most cruel manner, by being sawn asunder. His image is therefore accompanied 
 by two executioners and a saw. 
 
 Jeremias. — Many of the Fathers relate that this prophet was stoned by the Jews whom he had re- 
 proached for their idolatry. This is confirmed by the Roman Martyrology for the first of May : ' In 
 yEgypto, S. Jeremiae prophetae, qui a populo lapidibus obrutus apud Raphnas occubuit, ibique sepultus 
 est.' He is therefore represented at the feet of two men, who are casting stones on his head and body. 
 
 Ezechiel. — The prophecies of Ezechiel refer principally to the captivity of the Jews in Babylon, and 
 the re-establishment of the city and the temple, His vision begins by these words (chap, xliii.) f Et 
 duxitme ad portam, quae respiciebat ad viam orientalem.' And at chap. xliv. 'Et convertit me ad viam 
 portae Sanctuarii exterioris, quae respiciebat ad orientem : et erat clausa,' He is therefore represented 
 as seated before a closed gate, wrapt in prophetic ecstacy. 
 
 Daniel, who was only 12 years of age when he established the innocence of Susanna, is represented 
 young, pleading her cause before the judges. 
 
 The lesser Prophets. — 1. Osee is represented extending his hand towards a female, whose 
 mantle is thrown off and lying behind her. The explanation of this subject may be found in 
 the book of Osee, i. ii. iii., and is typical of the infidelity, punishment, and final restoration of the 
 Jewish people. ' Principiutn loquendi Domino in Osee; et dixit Dominus ad Osee; vade, 
 sume tibi uxorem fornicationum, et fac tibi filios fornicationum, quia fornicans fornicabitur terra 
 in Domino,' etc. — Osee 1, 2. 2. Joel; with a long beard, pointed hood, and holding a trumpet 
 in his hand, in allusion to his prophecy 'Canite tuba in Sion.' 3. Amos, as a shepherd, with a crook, 
 and surrounded by his flock ; with the city of Jerusalem in the distance. 4. Abdias. According to the 
 3rd Book of Kings, xviii. chapter, 3rd verse, this prophet maintained one hundred prophets, whom he 
 had concealed in two caverns from the persecution of king Ahab. He is therefore represented extend- 
 ing his hands to the entrances of two caves, from each of which a prophet is seen issuing. 5. Jonas is 
 represented as issuing from the belly of a whale. 6. Michcoas. This prophet is represented as break- 
 ing swords and lances, in allusion to his prophecy of peace, chap. iv. verse 3 : ' Et concident gladios suos 
 in vomeres, et hastas suas in ligones.' 7- Nahum : seated before a mountain, on which the feet of 
 an angel are seen descending from a cloud, in illustration of his prophecy of the messenger of the glad 
 tidings of peace, chap. i. v. 15 : 1 Ecce super montes pedes evangelizantis, et annunciantis pacem.' 
 8. Habaccuc is represented as borne in the air by an angel, see Book of Daniel, chap. xiv. 35„ (Histoiy of 
 Bel and the Dragon.) 9. Sophonias is represented as surrounded by men, animals, birds and fishes, 
 in allusion to the commencement of his prophecy : 'Congregans hominem, et pecus, congregans volatilia 
 coeli, et pisces maris,' etc. 10. Agg&us is represented as seated before a mountain, from which 
 figures are seen descending laden with timber, with reference to his exhorting the J ews to reconstruct the 
 temple, chap. i. v. 8 : ' Ascendite in montem, portate ligna, et asdificate domum.' 11. Zacharias is 
 represented standing, and by his side an image of our Lord, seated on an ass ; illustrating his prophecy, 
 chap. iv. v. 9 : * Exulta satis filia Sion, jubila filia Jerusalem. Ecce rex tuus veniet tibi, justus, et 
 salvator: ipse pauper, et ascendens super asinam, et super pullum filium asinae.' 12. Malachi, the 
 last of the lesser prophets, is represented as seated in a chair, looking towards a cloud, from whence 
 issues an angel directed by a hand. This, perhaps, refers to his prophecy, chap. iii. v. 1 : ' Ecce ego 
 mitto angelum meum, et praeparabit viam ante faciem meam,' which is usually understood of St. John 
 the Baptist. 
 
 purple. See Blue, and Red. 
 
197 
 
 Ppjr* Pyx in its literal sense signifies a box, but it is generally understood as 
 a vessel to contain the Holy Eucharist. Pyxes were, however, also used 
 as reliquaries, and as cases for Altar-breads. 
 
 Pyxes in which the Blessed Sacrament was reserved were various inform and material. 
 Those made in the shape of doves are exceedingly ancient. (See Dove). Another form which is found very 
 early is that of a round box, with a conical top terminated by a cross. These were generally made of copper 
 gilt and enamelled, which decoration was called opus Lemovicinum. " Duae Pyxides de opere Lemovicino, 
 in qua hostiae conservantur." — Du Cange, under Limogia. Pyxes of this description are frequently 
 met with in private collections of antiquities. A richly ornamented one is figured in Plate 107, of 
 Willemin's Monuments Inedits, and another of the twelfth century in Shaw's Dresses and Decorations. 
 Pyxes of this form were subsequently raised on feet like Ciboria and were carried in the same manner. 
 (See Cut). Before the introduction of these they were carried in embroidered bags or purses with silk 
 cords. Pyxes were sometimes made of crystal. 
 
 Lincoln Cathedral. — A round Pyx of crystal, having a foot silver and gilt, with one image of our 
 Lady on the top, having a place for the Sacrament for the Rogation days, weighing 21 ounces, one 
 quarter and a half. 
 
 York Minster. — Item, a beryl, adorned with silver gilt in the mariner of a cup, with a cross on the 
 top of the cover, for carrying the Body of Christ ; the gift of the lord Richard Scrope, Archbishop, 
 weighing 3 pounds 8 ounces. 
 
 St. George's Chapel, Windsor. — Item, a Pyx of beryl, for the Body of our Lord. 
 Pyxes of silver and gilt. St. Paul's Cathedral. — One Pyx of silver all gilt, with chased work, 
 representing animals, and the chain for the same, for suspending the Holy Eucharist over the altar on 
 Festivals, the gift of King Henry, weighing ciii s . Item, one Pix of silver gilt, of scale-work, with a 
 silver chain, weighing J 1 marks and v' 1 . 
 
 Lincoln Cathedral. — " Item, a round Pix silver and gilt for the Sacrament, weighing 10 ounces and 
 a half, and half a quarter/' — Dug dale's Monasticon. 
 
 St. Martin's Outwich, London. — Item, a Pexe of sylver ffor the sakerment 
 pons 11 unc. di. off Troye. Item, a boxe off sylver ftor the Sakerment in 
 vessitacions with IHSon ye cowerying, and arms on the seid, pons 11 unc d. 
 et gr. off Troye. 
 
 The following interesting bequest concerning Pyxes occurs in the Will of 
 Henry the Seventh. " Item, Forasmuch as we have often, and many times to 
 our inward regret and displeasure, seen at our Jen. (journeys) in divers and 
 many churches of our realme, the Holy Sacrament of the Altar kept in full 
 simple and inhonest pixes, specially pixes of copper and timber, we have 
 appointed and commanded the treasurer of our chamber, and master of our 
 jewel-house to cause to be made forthwith Pixes of silver and gilt in great 
 number, for the keeping of the Holy Sacrament of the Altar after the fashion 
 of a pix that we have caused to be delivered to them, every of the said pixes to 
 be of the value of four pounds, garnished with our arms, and red roses and 
 portcullises crowned, of the which pixes we will that to the laud and service 
 of God, the honour of the Holy Sacrament of the altar, the weal of our soule, 
 and for a perpetual memory of us, every House of the four Orders of Freres, 
 and likewise in every Parish charged within this our realm, not having a pixe, 
 nor none other honest vessel of silver and gilt, nor of silver ungilted, for the 
 
198 
 
 keeping of the said Holy Sacrament, have of our gift in our life, one of the said pixes, as soon and 
 speedily as goodly may be done ; and if this be not performed in part, or in all our life, we then will that 
 the rest not performed in our life be performed by our executors within one year at the furthest next 
 after our decease." — Testamenta Vetusta, p. 33. 
 
 Lincoln Cathedral. — Item, a pyx of ivory, bound above and beneath with silver and gilt, having a 
 square steeple on the top and a ring and a rose, with a scutcheon on the bottom, having within a case 
 of cloth of gold with IHS of every side set with pearls. 
 
 St. George's Chapel, Windsor. — Item, a fair Pyx, of ivory garnished with circlets of silver gilt, with 
 a foot, with leopards and precious stones, having a silver gilt cover bordered with sapphires, with the 
 Crucifixion, Mary, and John, at top, with 3 chains and a knop of silver gilt, and one silver chain of 
 3 yards long, by which it is suspended. 
 
 Pyxes for Altar-breads. St. PavVs Cathedral. — "Item, a painted pyx for the Altar-breads. 
 In the chapel of St. Radegunde. — Item, 2 wooden pyxes for the Altar-breads." 
 
 York Minster. — u Item, a silver Pyx with this Scripture, ' make choice of the best,' to carry bread in on 
 Ferial days, weighing 10 ounces and a half. Item, a Pyx silver and gilt, with a round knop to carry 
 bread to the High Altar on Doubles,* weighing one pound. Item, a covered silver Pyx for the Altar- 
 breads." — Due/dale's Monasticon. 
 
 Pyxes for Reliques. Lincoln Minster. — e> Item, a round Pyx of crystal ornate with silver and gilt 
 beneath and above, containing the relicks of St. Stephen, St. Hugh, and other Saints, weighing 10 ounces. 
 Item, another round Pyx of ivory bound with copper, containing certain relicks." 
 
 (©uatrtfotl* A figure constructed in the form of a cross, of four equal segments 
 of circles, either intersecting or stopped 03' angles. See Plate x. 
 
 This is a proper figure to encompass a Cross, the four Evangelists, the four Doctors, or the five 
 Wounds of our Lord, which are expressed in a square, with one in the centre. 
 
 3ftatttl)0to« Our Lord is usually represented as seated on a rainbow in the Doom 
 or Judgment. 
 
 JUbrnS, are an emblem of God's Providence, from their having been the means 
 selected by God to feed the Prophet Elisha. According to Sylvanus 
 Morgan, the raven was an ancient bearing of the Danes. 
 
 are emblems of light and glory, and therefore introduced round Mono- 
 grams of the Holy Name, sacred personages, &c. See Plates xlvt. 
 
 LIII. LX. 
 
 There are two sorts of Rays, pointed, and wavy ; these may be introduced alternately. Care should be 
 taken that the rays be produced from the centre of the glorified object. Rays are frequently represented 
 as proceeding from the nebuke under angels. 
 
 Uttj. One of the canonical colours, emblematical of the Paseion of our Lord 
 
 Georgius, I. II. c. X. I. Red is the second of the canonical colours. Red or purplef is of many 
 kinds, and has many different names in ecclesiastical documents. II. Ferrarius distinguishes three sorts 
 of purple: 1. crimson (coccineum) ; 2. amethyst colour (amethystinum) ; 3. violet-purple {conchyliatum.) 
 
 * Greater Festivals so called, from the Antiphons being doubled, 
 t 'Purple, in poetry, signifies red.' — Johnson's Dictionary. Georgius treats of two canonical colours, viz. red and 
 purple, under Red. 
 
&tlS. 199 
 
 The word blatteus, he says, is used for crimson. III. Before Ferrarius, Vincentius Riccardus, in his 
 Commentaries on the Orations of Proclus, wrote concerning purple. He observes that purple is of 
 various hues, viz. 1. scarlet [color puniceus) ; 2. crimson (coccineus et chermesinus) ; 3. Tyrian purple 
 (Tyrius, Tarentinus, sive ex ostro.) Vitruvius also, before the time of Riccardus, distinguishes purple 
 into four kinds, according to the difference of countries. ' Purple (ostrum),' he says, 'is extracted from 
 a marine shell-fish, which, wonderful to relate, has not the same colour in all places where it is found ; 
 but is affected in its natural qualities by the climate. That which is found in Pontus and France, 
 because these countries are northern, is almost black (atrum) ; a little more to the southward, and it is 
 blue (lividum) ; still farther to the south, it is found of a violet colour (violaceo colore) ; and under the 
 equator it is red (rubrum). IV. Purple vestments, being esteemed to have the most nobility, 
 emperors, and princes, from their very cradle, were dressed in purple. The ancients used the very 
 name ' purpureus,' to signify beautiful. V. Garments of imperial purple were called ' holoverae,' qu. 
 vera purpura, of an intense purple, and were forbidden to be sold : that is to say, the purple called 
 Tyrla and Sarrana, was forbidden to women or any other persons, except the Emperor. Blatta was 
 an inferior purple, inclining to blood-red. VI. The emperors, however, though forbidding purple to be 
 sold to individuals, permitted it to be used for decorating churches. The Emperor Justin offered to 
 St. Peter's, 'Pallia olovera blnttea cum tabulis auro textis, duo: chlamyden, vel stolam imperialem.' 
 Justinian offered' Pallia olovera auro texta. VII. Julius Scaliger divides Red into — i. The bright red of 
 the pomegranate, ii. Ruby red, faint or intense, iii. Flame-colour, iv. Fiery red (rutilus). v. Carnation 
 colour, vi. Scarlet, vii. Purple (violet). VIII. The writers of the middle ages, however, borrowing 
 from the Greek, call the colour red, rhodinum, rose-colour or crimson; rhodomelinum, orange-red; and 
 diarhodinum, deeper crimson. IX. The Charta Cornutiana speaks of frontals for the altar, ' Vela 
 tramoserica prasino purpura duo ; vela holoserica coccoprasina duo. Vela tramoserica holoblattea duo/ 
 St. Augustine, first Archbishop of Canterbury, gave to his scholar, St. Livinus, at his Ordination, 
 ' Casulam purpuream, gloriosi martyrii pra?sagam.' St. Ansegisus, Abbot, left to the Monastery of 
 Fontenelle, a.d. 800, '3 chasubles of indigo blue ; 3 of green ; 1 of red or blood colour; also 1 of 
 crimson (blatteam).' In the Will of Riculfus, bishop of Elns, a.d. 915, are ' Two episcopal chasubles of 
 crimson (de orodonas, i.e. diarhodinae) ; also a purple cope.' Numerous other examples occur of purple, 
 and crimson copes and chasubles. X. The use of the colour red is most ancient in the Church. Inno- 
 cent III. says that it is proper on the following days : — The Feasts of the Apostles ; and of Martyrs ; the 
 Festivity of the Holy cross ; Pentecost ; All-saints ; and the Feast of the Holy Innocents. But at 
 Rome white is used on All-saints, and violet on Innocents' Day. See Durandus, and the xiv. Ordo 
 Romanus of Cardinal Cajetan.' 
 
 Red is used in France at the Feast of Corpus Christi, and the same was formerly the custom in 
 England. Red was also used in England during Passion Week ; twenty-seven red albes for Passion 
 Week are mentioned in the inventory of the Abbey of Peterborough. Red, in its mystic sense, signifies 
 the intensity of divine charity and love. It is also used as an emblem of Martyrdom. 
 
 Red vestments. York Minster. — Item, 3 red copes of needlework, wrought with histories of the 
 Bible. Item, a red sattin cope, wrought with gold fleurs-de-lys. Item, a red velvet cope, with gold 
 flowers. 
 
 Lincoln Cathedral. — " Imprimis, A chasuble of red cloth of gold with orphreys before and behind, 
 set with pearls, blue, white, and red, with plates of gold enamelled, and two tunacles of the same suit, 
 with orphreys of cloth of gold without pearls. Item, 20 fair copes of red baudekin, every of them 
 having 3 wheels of silver in the hoods. Item, a chasuble of red velvet, with katharine wheels of gold, 
 with 2 tunacles. Item, a red cope, called the Root of Jesse, of red velvet, broidered with images of 
 gold, set with roses of pearls, with a precious orphrey ; having a morse of cloth of gold. Item, a red 
 
200 
 
 chasuble of cloth of gold, with branches of gold, and the orphrey of green cloth. Item, a chasuble 
 of red velvet, with roses white, and leaves of gold, with 2 tunacles. Item, a red cope of cloth of gold 
 ornate with pearls, and images in the orphrey, with the ascension on the hood. Item, a chasuble 
 of red velvet, with angels of gold, and a costly orphrey. Item, a red cope, broidered with images of 
 gold, and histories of Apostles and martyrs ; and on the morse the images of St. Peter and St. 
 Katharine. Item, a red cope of velvet, broidered with archangels and stars of gold; having in the 
 hood the image of the crucifix. Item, a red cope broidered with kings and prophets, with divers 
 scriptures, having orphreys with divers arms, and 2 angels in the hood incensing/' — Dugdale's 
 Monasticon. 
 
 &tff([l!&rp* A case or vessel containing Sacred Reliques. 
 
 The ancient Reliquaries exhibited a surprising variety of form and enrichment ; and it is scarcely 
 possible, in the compass of this notice, to impart an adequate idea of the richness of their materials, and 
 the exquisite beauty of their design. They may be classed as follows: — 1. Standing Shrines, (see 
 Shrine.) 2. Feretories, (see Feretory.) 3. Crosses, (see Reliquary Cross.) 4. Ampuls 
 or standing transparent vials mounted in metal. 
 
 York Minster. — " Item, a relick with a round beryl in the middle, and a buttress on each side, and a 
 cross with crucifix at top, standing on a small round beryl, the gift of Mr. Thomas Heyey, weighing 18 
 ounces. Item, a relick containing in a beryl a tooth of St. Appollonia, with an image of St George on 
 the top, with other relicks in silver gilt, &c." 
 
 Lincoln Cathedral. — " Item, one ampul of crystal, ornate on the foot and covering, silver and 
 gilt, with one cross in the height, containing a Relick, weighing, with the contents, 2 ounces and a half. 
 Item, another ampul of crystal, with a foot and covering of silver, partly gilt, containing the relicks of 
 St Edmund the Archbishop,* weighing, with the contents, one ounce and half quarter." 
 
 A most beautiful ampul of the 15th century is preserved in the sacristy of the great church at 
 Louvain. 
 
 5. Chests. (See Chest.) St. Paul's Cathedral. — "Item, a black chest, painted with gold birds, 
 containing many relicks. Item, a small copper chest engraved, containing relicks of Saints. Item, a 
 small ivory chest engraved with animals and devices, containing many relicks of Saints. Item, a chest 
 covered with red silk containing Relicks." 
 
 6. Paxes. St. Paul's Cathedral. — " Item, a Pax covered with plates of silver and trefoils of gold, 
 containing many Relicks." 
 
 7- Folding tables of wood covered with silver. St. Paul's Cathedral. — " A wooden book cover or 
 folding table, ornamented with plates of silver, with small trefoils on the upper side, containing eleven 
 receptacles for relics.''f 
 
 8. Arms of silver set upright on bases, and set with jewels. St. Paul's Cathedral. — Item, the arms 
 of St. Mellitus inclosed in silver plates, with borders of gilt trefoil. Item, the arm of St. Oswith, with a 
 head in the hand, ornate with plates of silver and gilt borders set with stones, having trefoils 
 enamelled and set with pearls. Item, the arm of St. Oswald. 
 
 Two Reliquaries of this description are figured by Dom Felibien in his history of the Abbey of 
 St. Denis, p. 536. The arms of the Emperor Charlemagne is inclosed in a rich Reliquary of this kind, 
 and preserved in the treasury of Aix-la-Chapelle. 
 
 * The sacred body of St. Edmund, Archbishop, in the ancient vestments, is still enshrined at Pontigny, and 
 nearly perfect. 
 
 + The writer has in his possession a folding table of this description executed in the thirteenth century, ornamented 
 with silver plates, parcel gilt, and set with precious stones, full of reliques in small compartments. 
 
201 
 
 9. Busts of silver on rich bases. The skulls of Saints and Martyrs were often inclosed in Reli- 
 quaries of this description, which were exquisitely beautiful in form and enrichment. When the Reliques 
 of bishops were thus inclosed, the mitres and orphreys of the Vestment and apparels of the amices were 
 studded with jewels and pearls, while the bases on which they rested were often divided into compart- 
 ments, with the life of the Saint, on enamel. There were two busts and one head of silver in the 
 Treasury of the Abbey of St. Denis. 1. A portion of the skull of St. Benedict inclosed in a bust of 
 silver, parcel gilt, the mitre covered with jewels ; the Arms of Jean Due de Berry, who gave this 
 Reliquary to the Abbey in 1401, were engraved on the orphrey. On the same pedestal with the bust 
 was a long phial of crystal mounted in silver, and set with precious stones, with a silver hand at the 
 end, containing part of the arm of St. Benedict. 2. The head of St. Hilary inclosed in a bust, silver 
 and gilt, with a precious mitre and apparel, holding in the hands a long crystal phial, with other 
 Reliques of the same Saint. 3 The skull of St. Denis in a silver head, with an exceedingly rich 
 mitre ; supported by two silver gilt angels, and in the midst another angel, with a Relique of the same 
 Saint set in silver, with many pearls and jewels. These are figured in the Plates of the Treasury, in 
 Dom Felibien's History of the Abbey. 
 
 St. Paul's Cathedral. — " Item, the skull of St. Athelbert, King, inclosed in a shrine made after the 
 likeness of the head of the king, with a crown containing 16 large stones in the rim, and in each of the 
 8 flowers of the crown 4 stones, and in a broach on the right shoulder 5 stones/' — Due/dale's Monasticon. 
 
 D'Agincourt, Vol. 4, Plate XXXVII. has figured two magnificent busts of this sort, executed in 
 the fourteenth century, representing St. Peter and St. Paul, belonging to the church of St. John 
 Lateran at Rome. 
 
 Lincoln Cathedral. — e Item, Relics of St. Ursula's companions, closed in a head of silver and gilt, 
 and standing upon a foot of copper and gilt, having a garland with stones of divers colours, weighing 
 71 ounces besides the foot.' 
 
 The Golden or Reliquary chamber in the church of St. Ursula at Cologne contains a great number 
 of most curious and beautiful Reliquary busts, inclosing Reliques of St. Ursula and her companions in 
 martyrdom, some of silver parcel gilt, but the most part of wood, carved, painted and gilt ; the costume is 
 that of the 13th century, and some of the orphreys, girdles and enrichments are exquisitely beautiful in 
 their detail. 
 
 10. Images. York Minster. — " Item, the image of St. Peter, witha relic in his left hand." — Duydale's 
 Monasticon. 
 
 Abbaye of St. Denys. — f An image of St. Mary Magdalene of silver gilt, holding a Relique of that 
 Saint, standing on a pedestal, seme with fleurs-de-lys. At the foot of the Reliquary were three images, 
 one of Charles V. and the others James of Bourbon, and Charles the Dauphin. An image of St. Nicholas, 
 in silver gilt, standing on a pedestal, set with crystal, containing Reliques of that Saint. An image of 
 silver gilt, of St. Denys, with some of his Reliques inclosed in the same, all figured in Dom Felibien's 
 History of the Abbey of St. Denys.' 
 
 St. Georyes Chapel, Windsor. — 'Item, an image of St. James, silver and gilt, with a mantle and cape 
 with shells after the manner of a pilgrim, holding a Relique of the same Saint. Item, an image of an 
 angel silver and gilt, holding a gold crown set with jewels, containing two thorns of our Lord's Crown.' 
 
 11. Pyxes. (See Pyx ) Si. Paul's Cathedral. — 'Item, a pyx of ivory containing Reliques of St. 
 Augustin and other Saints.' 
 
 12. Monstrances. (See Monstrance.) York 31inster. — " Item, a monstrance, with Reliques of 
 St. Peter in a beryl, and the Crucifixion at top," &c. — Duydale's Monasticon. 
 
 13. Tabernacles. (See Tabernacles.) Lincoln Cathedral. — " Item, one tabernacle with two 
 leaves, all of wood, containing a relic of St. Thomas of GWi7tf;;e, sometime Bishop of Hereford, and many 
 other relics." — Duydale's Monasticon. 2 D 
 
202 
 
 fttltquary. 
 
 14. Purses. Lincoln Cathedral. — Item, a blue chest bound with copper and gilt, containing two 
 purses with Reliques, &c. 
 
 Besides these, which are the most ordinary forms of Reliquaries, there are many other varieties to be 
 found. In the Treasuiy of Aix-la-Chapelle, by far the richest remaining in Europe, and which contains 
 some prodigies of Christian art, there are two Reliquaries like triple niches, of the finest tabernacle 
 work in silver gilt, and enriched with precious stones and enamels ; another in the form of a cross, 
 encompassed by a zone or circle of emeralds and jewels, standing on a stem, with two angels at the 
 base ; also the Presentation of our Lord in the Temple, with Reliques on a small altar in the centre. 
 The design and execution of these and the other Reliquaries at Aix-la-Chapelle, are so truly beautiful, 
 that they must be seen to be appreciated, and they convey a perfect idea of the glorious shrines which 
 once inclosed the precious Reliques of the Saints in this land, of which only a few scattered records 
 remain. 
 
 The feeling of veneration for Reliques is innate in the human heart. With what care and respect 
 do persons in general preserve the hair or objects that belonged to those who were dear to them, or who 
 were distinguished as public benefactors ; no wonder, then, that from the earliest period of the 
 Christian Church, we find the Reliques of the Saints the objects of especial devotion, among Christians. 
 We learn from the Acts of the Apostles, that even the handkerchiefs which had touched the sacred 
 bodies of the Martyrs, were endowed by the power of God with healing properties ; and in every age 
 of the Church it has pleased the Almighty to perform the most signal miracles through the agency of 
 the bodies of his Saints, who have died either in the perfect confession, or in defence of the Faith. 
 It is easy, therefore, to conceive how readily these precious deposits would be covered with gold and 
 jewels, through the grateful devotion of those who had been relieved from danger or distress by their 
 means ; nor could any ornament seem too costly, nor any design too elaborate, to honour the remains 
 of those faithful servants of God, of whose virtues he gave such signal approbation, by making them 
 the channels through which his mercy might reach and relieve the sufferings of mankind. No country 
 in Christendom was more distinguished for devotion to God through his Saints than England, and her 
 Shrines were some of the most glorious that the hand of man ever fashioned, but of these not a 
 vestige remains, and but one sacred body of all England's Saints* has been left in its old and honourable 
 position. 
 
 It is not denied that there were many false and even absurd Reliques reserved in England, and 
 venerated by the people, before the change of religion ; but all reliques were not to be rejected because 
 some had been absurd ; and the investigation of their authenticity was the proper province of the 
 bishops and their archdeacons, and not to be intrusted to a set of rapacious and ignorant commissioners 
 who would have consumed the Robe of our Blessed Lord itself, to have obtained a few ounces of gold 
 or silver. The destruction of the English Shrines and Reliquaries was a monstrous sacrilege, un- 
 paralleled in the annals of any other Christian country. Granting that great abuses existed, there were 
 ample means provided by ecclesiastical authority to suppress them. When the proofs of authenticity 
 were satisfactory, they would have been retained : when deficient or doubtful, they would have been 
 no longer exposed to the veneration of the faithful, but reverently buried ; by these means all occasion 
 of imposition or error would have been removed, and without scandal or sacrilege. Since the Council 
 of Trent, the regulations on this subject are most stringent: the Exposition of any Relique without an 
 authentication, or of which the seals have broken, has been strictly prohibited, and the bishops have 
 been diligent in enforcing the decrees on this subject. No really devout, or even sensible man would 
 treat the subject of Reliques with levity or ridicule. In an historical point of view, it is by no means 
 
 * St. Edward the Confessor. 
 
203 
 
 surprising that objects and remains of the earliest Christian antiquity should have been preserved, 
 when we have daily discoveries of Egyptian and other remains of a far older period ; and these are 
 received without hesitation on the mere observation of a traveller ; while the solemn testimony of a 
 long succession of Christian bishops is treated with ridicule and incredulity. Although the genuine- 
 ness of Reliques is not a matter of faith, nor is any Catholic obliged to profess his belief in the 
 authenticity of any particular Relique, yet it would argue a dangerous temerity in any who could on mere 
 private opinion, slight or despise those sacred remains which have been the veneration of ages and the 
 medium of frequent and most striking manifestations of the Almighty's Power and Providence. 
 
 2UptfIf& Reptiles in general are emblems of sin and of evil spirits ; like the 
 serpent, cleaving to the dust. They are frequently introduced in ancient 
 sculpture, and with this allusion. 
 
 Rings were worn by Bishops and Abbots from a very early period, 
 and were one of the instruments of their investiture. They were usually 
 made of pure gold, large and massy, with a jewel set in the midst, and 
 frequently enriched with sacred devices and insertions. 
 
 Georgius. — The ring is assumed the last of all the Pontifical insignia. It is placed on the finger of 
 the Pope by the first of the Cardinal Bishops assistant.* It is placed on the finger of a Bishop by the 
 priest assistant, having first kissed the ring and the bishop's hand. The ring has from the earliest time s 
 been accounted among the Episcopal insignia. St. Isidore, of Seville, in the iv. century, says, that 
 ' the ring is given to a bishop at his consecration, as a mark of the Episcopal dignity, or as a seal of 
 things hidden.' Among the sacred remains of St. Birinus, bishop of Dorchester, (who lived in the time 
 of Honorius I.) a ring, and cross of lead, (or pastoral staff) were found. In the iv. Council of 
 Toledo it was ordered, that bishops degraded should be reinstated, by restoring to them the ring and 
 staff. In the Pontifical of Egbert, Archbishop of York, is found the ceremony of giving the ring to a 
 bishop at his consecration, with the following prayer : c Receive the ring of the Episcopal rank, that thou 
 mayest be guarded by the perfectness of Faith.' In the will of Riculphus, bishop of Elns, a.d. 915, 
 among other sacred ornaments is mentioned e one gold ring with precious stones.' In the Pontifical is a 
 prayer for the blessing of the ring, as follows : ' O Creator, and Preserver of mankind, Author of 
 spiritual grace, and Giver of everlasting Salvation, send thy Bl+essing upon this ring, that whoso shall 
 walk distinguished by this sacred sign of Faith, by the protection of thy Heavenly power may attain 
 everlasting life, through Christ our Lord. Amen.' The same is used in the Benediction of an Abbot. 
 The ring is placed on the right hand of the Bishop to distinguish it from the marriage ring, though both 
 have, in part, the same mystical significations. 
 
 Durandus. — The Bishop's Ring is a symbol of the Faith with which Christ has espoused His 
 Church. The father gave a ring to his prodigal son when he returned to him. From this passage in 
 the Gospel the use of the Ring is supposed to have been adopted in the Church. The Ring worn by 
 the Bishop signifies the faithfulness, with which he should love the Church confided to his care as him- 
 self, and present her sober and chaste to her heavenly Spouse. 2 Cor. ii. 3. 'I have espoused you to 
 one husband, that I may present you as a chaste Virgin to Christ.' The Bishop, therefore, is in the 
 place of Christ, and wears the Ring of the Bridegroom. The ancients also used to seal their letters with 
 
 * Carcmonialc, S. R. E. — ' Accedit interim primus Episcoporum Cardinalium assietens, ct imponit Papa> ; jam 
 mitram tenenti, annulum Pontificalem, et alios, quos Papa voluirit, cujus mamim esci latur.' 
 
204 ftrng*— £>arrtnjj; 33dL 
 
 a Ring. The Bishop, therefore, wears one because he ought to seal up the mysteries and Sacraments 
 of the Church to the unbelieving, and unclose them to the humble. The Ring being of gold, and round, 
 signifies perfection ; being jewelled, the splendour of the Gifts of the Spirit, which Christ has received 
 without measure. 
 
 Pontifical Rings formerly belonging to the Cathedral Church of York. — " A great pontifical Ring, 
 with a stone called an emerald set in it ; and about it 4 rubies, and 4 large pearls, the gift of Thomas 
 Greenfield, late Archbishop of Yorh. Item, a pontifical Ring, with a pearl in the middle, and small pearls 
 and precious stones about it. Item, a pontifical Ring, with a large saphyr and 1 2 pearls, late of the 
 Lord Richard Scrope, Archbishop of Yorh, given to the Church by way of Conscience. Item, a 
 gilt Ring, with a ballace, formerly of Mr. Walter GifFord. Item, 3 pontifical Rings, with large saphyrs. 
 Item, 2 smaller Rings, one of them with a saphyr, and the other, an emerald. Item, 3 gold Rings, one 
 with an emerald, the other two with ballaces; the one square, the other round. Item, 6 gilt Rings, 
 viz. one with the images of Adam and Eve ; 1 with stones called ballaces ; another of a saphyr ; 
 another of an emerald ; the 6th small, with a stone called a ballace. Item, one Ring for the Bishop of 
 the boys, and two archys ; one in the middle in the form of a cross, with stones round about ; the 
 other small, with a Turkey stone in the middle." — Dugdale's Monasticon. 
 
 Rings formerly belonging to Canterbury Cathedral. — "Unus Annulus quadratus magnus cum smarag- 
 dine oblongo, et quatuor pramis et quatuor garnettis. Item, Annulus magnus cum saphiro et quatuor 
 pramis, cum quatuor margaritis. Item, Annulus magnus cum saphiro oblongo. Item, Annulus cum 
 saphiro nigro, in quatuor cramponibus, ex omni parte discooperto. Item, Annulus Johannis Archiepiscopi, 
 cum saphiro nigro cum octo granis smaragdinis. Item, Annulus Robert! de Winchelese Archiepiscopi, 
 cum saphiro aquoso oblongo, cum sex granis smaragdinis et sex parvis garnettis." 
 
 Jualla Sancti Thomas. "Annulus pontificalis magnus, cum rubino rotundo in medio. Item, Annulus 
 magnus cum saphiro nigro, qui vocatur lup. Item, Annulus minor cum saphiro nigro qui vocatur lup. 
 Item, Annulus cum parvo saphiro nigro qui vocatur lup. Item, Annulus cum saphiro quadrato aquoso. 
 Item, Annulus cum lapide oblongo, qui vocatur turkoyse. Item, Annulus unus, cum viridi cornelino 
 sculpto rotundo. Item, Annulus parvus, cum smaragdine triangulato. Item, Annulus unus, cum 
 chalcedonio oblongo." — Dart's History of Canterbury Cathedral. 
 
 Several Pontifical Rings of great beauty are preserved in the Royal Museum at Paris, one of which 
 has the Annunciation enamelled on the top. 
 
 ;Eod)Ct* See Surplice. 
 
 ^acn'ncj: 93dL A small bell, usually of silver, to ring at particular times daring 
 Mass, and before the Blessed Sacrament when carried in solemn pro- 
 cession, or for the Communion of the sick. 
 
 The Canon of the Mass having been recited in a low voice by the celebrant, at least since the re- 
 laxation of the ancient discipline of excluding all but the faithful, it became necessary to give notice of 
 the most solemn portion of the Mass by means of a trumpet, and afterwards a bell (campanula) which 
 could be heard throughout even a large building. 
 
 The Sacring Bell is rung thrice at the Sanctus, once immediately before the Elevation, three times 
 at the Elevation of the Host, three times at the Elevation of the Chalice, and three times at the Domine 
 non sum dignus. But the practice varies : and the Rubric only directs that it be rung at each 
 Elevation, and (in later missals) at the Sanctus. 
 
 St. George's Chapel, Windsor. " Item, one bell of silver, to ring before the Body of our Lord in 
 the Visitation of the sick." 
 
 St. Paul's Cathedral. — Chapel of the Charnell. " Item, one small bell." 
 
205 
 
 Winchester Cathedral. — " Item, four sacring bells of silver and gilt belonging to the sextre and the 
 altars. Item, one little sacring bell of gold.'' — Dug dale's Monasticon. 
 
 The form of these Bells was that of an inverted cup, enriched with engraving, having a handle at 
 top. They were subsequently made larger of this shape, with a chime of small bells suspended within 
 them. 
 
 J&aiilt& See Emblems. 
 
 Jj>alt Cellars!* Covered vessels for containing salt (used to mingle with water 
 when hallowed, and for other purposes) were found in all the larger 
 Sacristies. 
 
 York Minster. — ' 2 salt cellars of silver gilt, with one cover.' 
 
 J^antialsi* A covering for the feet, put on by a Bishop vesting for Mass, 
 immediately after the buskins. 
 
 Sandals were anciently worn by priests, deacons, and sub- deacons, as well as bishops. These were 
 often of costly materials, richly embroidered with various devices, and even enriched with precious stones. 
 
 Durantus de ritibus. — Sandal is the name of the shoe worn in the house by the ancient Romans. 
 The sandals cover part of the foot, and leave part open. ' Pontifex in altaris officio induens sandalia, 
 illud Dominicae Incarnationis insinuat, de quo Dominus ait, (Ps. cvii. 10.) In Idumaeam extendam calcea- 
 mentum meum, i. e. in gentibus notam faciam Incarnationem meam. Venit ad nos calceata Divinitas, 
 ut pro nobis Dei Filius sacerdotio fungeretur.' Haec Rupert, de Div. Off. — Caeterum antiquitus 
 nedum episcopi, sed et sacerdotes, necnon diaconi, sandaliis utebantur. 
 
 Gerbert, Vet. Lit. Alemannica. — The sandals of St. Cuthbert, Bishop of Lindisfarne, were found in 
 his tomb, as related in the Benedictine Annals, quoted by Mabillon. Those of the Blessed Eginow, 
 bishop of Verona, found in his coffin, are exceedingly curious, made of one piece of leather, without an 
 upper leather; the leather soft, and of a purple colour. These are engraved in Tab. ix. of the III. Vol. 
 of Gerbert. They answer to the description given by Honorius, Bishop of Autun, of sandals : ' Est 
 autem genus calceamenti incisi, quo pes partim tegitur, partim nudus cernitur.' — Gemma anima?, 
 lib. I. c. 12. 
 
 Martene de ant. Eccl. ritibus, lib. I. c. 4. Art. xii.jp. 202. — 'Deinde minister det sandalia, et dicat : 
 Tu domine, optamus jubeas benedicier omnes. Respondet Episcopus : Indue me, Domine, calceamcntis 
 justitiae, quern Johannes vidit vestitum podere ; ut possim tibi omni tempore cum timore servire, per 
 omnia saecula saeculorum.' Ex Corbeiensi Codice Rotoldi abbatis. p. 204. — ' In primis sacerdos dicat 
 orationem ad calceandum se : e Calcea, Domine, pedes meos, in praaparatione Evangelii pacis et protege 
 me in velamento alarum tuarum.' Ex Codice Cardinalis Chisii. This latter prayer is found also in 
 the old Salisbury Pontifical ; but is there used by a bishop, putting on the sandals. 
 
 Georgius. — Sandals are a kind of shoe used by the Bishop when he celebrates pontifically, and known 
 from the earliest times. Alcuin speaks of the sandal as having a solid sole, but being open above. 
 Amalarius speaks of a difference in shape between the sandal of a Bishop, and of a Priest, showing that 
 in the ninth century Priests wore Sandals in saying Mass. Sicardus, Bishop of Cremona, describes the 
 sandal as white inside, and black or red outside, adorned with jewels, having two or four straps to bind 
 it to the foot. He says that Bishops wear the Sandal with a greater number of straps, having to visit 
 much abroad, as also their Deacons who accompany them : but that Priests have fewer, their office being 
 to offer the Holy Sacrifice and remain at home. The Deacon having to accompany the Bishop, wore a 
 similar sandal ; but the Subdeacon, a different one again. 
 
206 
 
 Buskins {caliga), and sandals [sandalia ), are often confounded, one with the other. In Acts xii. 8. 
 " And the an gel said to him (St. Peter) ; Gird thyself, and put on thy sandals" where the Latin has 
 caliga?, the Greek, aavdaXta. 
 
 The sandals of the Pope had, from very early times, the sign of the Cross upon them. In an ancient 
 Mosaic, representing St. Felix, the toes of the sandals have a white Cross on them. Some others have 
 a small black Cross. The sandal open ahove has heen interpreted mystically of the mind open to 
 things heavenly : while the solid sole is equally typical of the exclusion of earthly affections. The 
 colour of the sandals in Mosaics is sometimes red, sometimes red and purple, sometimes white with a 
 red cross. That sandals were formerly worn by Priests is proved, among other authorities, by the 
 Capitularia of Charlemagne, which direct that " every Priest shall say Mass after the Roman Order, 
 in Sandals." Herardus, Archbishop of Tours, a.d. 858, ordered, " ut presbyteri Missas cum Sandaliis 
 celebrarent." The office of putting the buskins and sandals on the Bishop belongs to the Subdeacon. 
 On Good Friday the Pope does not put on Sandals, but common shoes, and no gloves : and the same 
 in Masses for the Dead. The Caeremoniale Episcoporum directs the same, for Bishops, and on a 
 principle recognized in all Services for the Departed : quia tunc, says Durandus, omnis solemnitas 
 cessare debet. 
 
 In Plate 20 of Willemin's Monuments Francais Inedits, he has figured three very interesting 
 examples of Sandals, which, according to tradition, belonged to the Emperor Charlemagne ; one of 
 these is enriched with jewels, and the others are beautifully embroidered with devices of birds and 
 foliage. 
 
 Inventory of St. Paul's Cathedral. — " Sandalia de Indico sameto, cum caligis breudatis cum scalopis 
 et leonibus. Item, duo Sandalia de nigro serico, breudata vineis et lunulis, sine caligis, parvi pretii. 
 Item, Sandalia de rubeo sameto cum caligis breudatis Aquilis, Leonibus, et Rosis, et in summitate vinea 
 breudata : sotulares sunt breudati ad modum Crucis. Item, Sandalia bona et nova, breudata, cum 
 Aquilis et Griffonibus, et ilia cum caligis proximis suprascriptis habet Ricardus Episcopus, et una 
 caliga tantum ejusdem operis est inventa. Item, Sandalia Fulconis Episcopi, cum caligis breudatis 
 opere pectineo. Item, Sandalia cum caligis de rubeo sameto diasperata, breudata cum ymaginibus 
 Regum in rotellis simplicibus. Item, Sandalia Henrici de Wengham Episcopi, cum flosculis de perlis 
 Indici coloris, et Leopardis de perlis albis, cum caligis breudatis et frectatis de armis palatis et undatis. 
 Item, Sandalia cum caligis de rubeo sameto, breudatis cum ymaginibus Regum in Vineis circulatis. 
 Item, Sandalia cum caligis breudatis cum circulis serici purpurei, rubei, et albi, cum rosulis et crucibus ; 
 quae fuerunt Johannis de Chishulle Episcopi Londinensis." 
 
 Among the Reliques of that great and holy Martyr, St. Thomas of Canterbury, that were preserved 
 in a circular ivory shrine at Canterbury, his pontifical Sandals are mentioned. " Item, Sandalia ejusdem, 
 Indo brudata, cum rosis besanciis et crescentiis auratis, cum subtalaribus de nigro sameto brudatis." 
 Dart's History of Canterbury Cathedral, Appendix, XL V. 
 
 Jj>tptft)tL A figure of Seven equal segments of circles, and extremely appro- 
 priate for representations of the Seven Gifts of the Holy Ghost, the 
 Seven Sacraments of the Church, the Creation of the World in Seven 
 days, and other subjects associated with the mystical number Seven. 
 
 J?cmtlrT)re. A place where the Blessed Sacrament was solemnly reserved from 
 Good Friday till Easter Sunday. 
 There were two kinds of Sepulchres used for this purpose in the old churches. 1. Permanent, built 
 
207 
 
 in the north walls of the choir or chancel, and adorned with rich ornamental covering and appropriate 
 imagery. 2. Composed of frame work and rich hangings, set up for the occasion. Of the first kind, 
 among the most beautiful emamples are those at the churches of Heckington and Navenby, Lincoln- 
 shire, and Hawton Church, near Newark, Nottinghamshire,* but there are few parochial churches 
 which are not provided with a tomb on the north side of the chancel, which served for the Sepulchre, 
 and was adorned on these occasions with hangings and other decorations. Devout persons erected 
 these tombs with the especial intention of their serving for the Sepulchre, that those who came to visit 
 it in Holy Week might be moved to pray for their souls.f When a Rationale of the Rites and Cere- 
 monies of the English Church was set forth in the reign of King Henry the Eighth, the following 
 exposition of the Sepulchre was given. " And on that day (Good Friday), is prepared and well adorned 
 the Sepulchre, in remembrance of His Sepulture, which was prophesied by the prophet Esaias to be 
 glorious ; wherein is laid the Image of the Cross, and the most Blessed Sacrament : to signify that 
 there was buried no corpse or body that could be putrefied, or corrupted, but the pure and undefiled Body 
 of Christ, without spot of sin, which was never separated from the Godhead, that as David expressed 
 in the 15th Psalm, it could not see corruption ; nor death could not detain or hold him, but he should 
 rise again to our great hope and comfort. And therefore the Church adorns it with lights, to express 
 the great joy they have of that glorious triumph over death and the Devil." — Collier, vol. 2, 
 p. 197, 198. 
 
 This edifying rite is now universally discontinued ; indeed in some parts of France there were some 
 reasons for its suppression, as will 'be subsequently shewn ; but its name has been applied in modern 
 times to a totally distinct observance. As the Church does not allow the Body of our Lord to be con- 
 secrated on Good Friday, two Hosts are consecrated in the Mass of Maundy Thursday, one of which 
 is preserved in a chalice and carried in procession to a chapel adorned with lights and hangings, where it 
 remains till the Mass on Good Friday, which is therefore called the Mass of the Presanctified. The 
 place decorated for this purpose is now erroneously termed the Sepulchre ; for this ceremony has no con- 
 nection with the above-mentioned Rite, nor does it correspond with the time of our Lord's Entombment, 
 the whole being concluded before the time of the Crucifixion. The above ancient Office commenced on 
 Good Friday, and ended at midnight on Holy Saturday, during which time the devout watched in 
 succession before the B. Sacrament. 
 
 Antiquities of Durham Abbey. — Good Friday. "The Adoration of the Cross being ended, two 
 monks carried the Cross to the Sepulchre with great reverence ; (which was set up that morning on 
 the north side of the quire nigh unto the High Altar, before the service time) and there laid it in the 
 said Sepulchre with great devotion, with another picture of our Saviour Christ, in whose breast they 
 inclosed with great reverence the most Holy and Blessed Sacrament of the Altar, censing and praying 
 to it upon their knees a great space ; setting two tapers lighted before it which burned till Easter Day 
 in the morning, that it was taken forth." 
 
 Easter Day. — There was in the Church of Durham, very solemn service upon Easter Day between 
 three and four o'clock in the morning, in honour of the Resurrection, when two of the eldest monks of 
 
 * Some of these are figured in the Monumenta Vetusta, with a long account of Sepulchres, containing some very- 
 interesting matter. 
 
 t A tomb of this description remains in Long Melford Church, Suffolk. The following description of the ceremony 
 of the Sepulchre, as practised in that church, is printed, from on old MS., in ' Neale's Views of Churches.' — "In the quire 
 there was a fair painted frame of timber to be set up about Maundy Thursday, with holes for a number of fair tapers 
 to stand in before the Sepulchre, and to be lighted in service time. Sometimes it was set overthwart the quire before 
 the High Altar, the Sepulchre being alwaies placed, and finely garnished, at the north end of the High Altar ; between 
 that and Mr. Clopton's little chappel there in a vacant place of the wall ; I think upon the tomb of one of his ancestors" &c. 
 
208 
 
 the Quire came to the Sepulchre set up on Good Friday after the Passion, all covered with red velvet 
 and embroidered with gold, out of which, with great reverence, they took an extreme beautiful Image of 
 our Saviour, representing the Resurrection, with a Cross in his hand, in the breast whereof was inclosed 
 in the brightest crystal, the Holy Sacrament of the Altar, through which crystal the Blessed Host was 
 conspicuous to the beholders. Then after the elevation of the said picture, carried by the said two 
 monks upon a velvet cushion all embroidered, singing the anthem of Christus Resurgens, they brought 
 it to the High Altar," &c. 
 
 The service connected with the Sepulchre appears to have been conducted in England with great 
 and edifying solemnity ; but in France, as will be seen by the following account of the Sepulchre, at 
 Rouen Cathedral, it was accompanied by an attempt at dramatic impersonation, which was the cause 
 of its abolition by the Cardinal de Joyeuse, Archbishop of Rouen. 
 
 The following account of the Ceremony of the Sepulchre, at Rouen, is given by Du Cange in his 
 Glossary, under ' Sepulchri Officium.' f ' At the end of Tierce, three Canons as deacons, vested in 
 dalmatics, with their amices over their heads, representing the three Maries, and holding vessels in 
 their hands, came to the centre of the choir, and inclining towards the Sepulchre, said in a low voice, 
 £ Quis revolvet nobis lapidem ?' then one of the children of the choir in an albe, representing the angel, 
 said, ' Quem quaeritis in Sepulchro ?' the Maries replied, c Jesum Nazarenum crucifixum the angel 
 then said, pointing upwards with his finger, ' Non est hie ; surrexit enim.' The angel then went away, 
 and two priests in tunicles, sitting within the Sepulchre said, ' Mulier quid ploras ? quem quaeris ?' the 
 middle of the three Maries replied, ' Domine si tu sustulisti eum, dicito ;' the priest then pointing to 
 the cross said, £ Quia tulerunt Dominum meum the two priests within the Sepulchre then asked, 
 e Quem quaeritis, mulieres ?' The Maries then kissing the place came out of the sepulchre. In the 
 meanwhile one of the canons, personating our Lord, habited in white, and holding a cross, met them on 
 the left side of the altar, and said, ' Maria.' One of the deacons on this threw himself at his feet, saying, 
 ' Rabboni/ on which the priest, as our Lord, replied, ' Noli me tangere.' After this the priest appeared 
 again at the right corner of the altar, and passing before the Maries said : ' Avete, nolite timere,' and 
 disappeared. These, on hearing this, after inclining to the altar, turned towards the choir and sung 
 'Alleluia. Resurrexit Dominus. Alleluia/ This ended, the archbishop or celebrant standing before the 
 altar with a thurible, entoned the ' Te Deum.' The Sepulchre erected for this occasion was most 
 probably composed, like that at Durham, of a frame covered with hangings. On the north side of the 
 Choir of Lincoln Cathedral there are the remains of a stone Sepulchre of great beauty, with images of 
 the soldiers sleeping. Representations of the Holy Sepulchre, with images of a large size carved in 
 stone, and standing under arched recesses, are frequently found on the continent, both in the interior 
 and also in the exterior of churches, but some of these, perhaps, were erected more as devotional repre- 
 sentations than for the Ceremony above described, being situated in various ports of the church, while 
 the Sepulchre for Holy Week was properly placed in the choir on the gospel side of the High Altar, 
 the position also occupied by the Paschal Candle, the emblem of the Resurrection, as the former was of 
 the Death and Burial. 
 
 In old parochial accounts, we find entries for lights for the Sepulchre, also sums paid for watching 
 it ; that is to the persons who had charge of the tapers and lights, and the renewal of them as occasion 
 might require, for the parishioners watched in turns through devotion, and in large parochial churches 
 there must have been a continual crowd of worshippers from Good Friday till Easter Sunday. 
 
 £>trapMm* See Angels. 
 
 ^tvfOt'U See Hexagon, 
 
209 
 
 &l)tt$ t in early Christian art, are emblems of the faithful ; according to the 
 Scripture, which represents Christ as the Good Shepherd, and the 
 Church as his Flock. Thus the Apostles occur in early mosaics as 
 twelve sheep, and our Lord in the midst, as their Shepherd. Under the 
 same emblem are represented the twelve tribes of Israel. (See Lamb.) 
 
 JH)l'p + A vessel for containing incense. (See Thurible.) 
 
 JH)rim\ A rich case to inclose the body, or chief Reliques of a Saint. 
 
 Such of these Reliquaries as were portable, were called Feretories, and have been described under 
 that head. (See Feretory.) This word came also to be occasionally applied to standing Shrines, 
 as to that of St. Cuthbert at Durham. Smaller Reliquaries may, however, with propriety, be called 
 Shrines. 
 
 Among the most celebrated Shrines in England, were those of St. Alban, at St Alban's Abbey ;* 
 St. Thomas of Canterbury, in Canterbury Cathedral ; St. Erhenioald, in St. Paul's Cathedral ;f St. 
 Edward the Confessor, at Westminster Abbey ; St. Swithun, at Winchester ; St. Guthlac in Croyland 
 Abbey; St. Edmund, at St. Edmund's-Bury ; St Cuthbert, at Durham Abbey; St. Thomas of Canti- 
 lupe, at Hereford ; St. Hugh, in Lincoln Cathedral ; and St. Frideswide, at Christ Church, Oxford ; 
 but of all these the only one standing is that of St. Edward at Westminster, and even this has been 
 despoiled of all its rich ornaments and covering. 
 
 The following is the description of the Shrine of St. Basil, formerly preserved in the Treasury of 
 the Abbey of St. Basil, near Rheims. 
 
 It was constructed in the form of a chapel, six feet in length and one foot six inches in width, 
 covered with plates of chased silver. Round the border was the following Scripture : — c Facta est hasc 
 theca a domino Hugone, Abbate secundo, in qua positum est corpus almi Basilii, Anno incarnati Verbi 
 1121, regnante Ludovico Francorum Rege, anno regni 13, Archiepiscopatus vero Rodulphi 14/ At 
 the head, on a plate of silver, is the Image of our Lord in Majesty, seated on a Throne of Glory, and 
 treading the infernal Serpent under his feet. 
 
 * From Stevens's continuation to Dugdalc. St. Alban's Abbey. — " Let us return to St. Alban's Shrine, on which, as 
 has been said, the Abbat had expended GO pounds ; but a great dearth corning on, and scarcity of provisions during a 
 year, in so much as that a quarter of wheat was sold in the Summer for 20 shillings; the Abbat Geffry, compassionating 
 the afflicted, and pitying the poor that were starving with hunger, tore off the silver plates, not yet gilt, with certain 
 precious stones set in them, and made money of all, wherewith he purchased provisions to maintain the poor that were 
 pining away with hunger. And it happen 'd that God rewarded his charity with increase. The next year there was 
 great plenty, so that the Abbat had no occasion to be concern'd for the poor. Having, therefore, gather'd money, he 
 went on with the work of the Shrine, and Anketill a monk of this church working at it, the same prosper'd so well that 
 all who beheld it were amaz'd, setting forward the imagery, and those that were hollow he fill'd up with cement, and 
 contracted the whole beauty of the body of the Shrine, drawing into a less compass, as it came nearer the top ; and so 
 he the better embellish'd the whole. Yet he flnish'd not the summit, expecting a fitter opportunity, which he fail'd of, 
 having thought to have made that exceed all the rest." 
 
 f Shrine of St. Erkcnwald, Old St. Paul's. — " To this Shrine, for the great opinion, then had, of the miracles wrought 
 thereat, were the oblations very numerous, and many of them considerable, as it seems ; for I finde, that Walter de 
 Thorpe, a Canon of this church, by his testament bearing date Anno mcccxix (13 E. 2.), gave thereunto all his gold 
 rings and jewels, of what sort soever. And that in 18 E. 2. the Dean and Chapter bestowed no small cost in the adorning 
 thereof, with gold, silver, and pretious stones: yet was it not thought sufficient : for in Anno mcccxxxix (31 E. 3.), 
 there were certain covenants made betwixt the then Dean and Chapter, and three goldsmiths of London, whereby they 
 were retained to work upon it, for no less than a whole year, (beginning at Candlemass), one of them at the wages of 
 viiis by the week, and the other two, at vs a piece. By reason of which lustre, it grew so fam'd, that on v. Kal. Julii, 
 about three years after, John, King of France, (being then a prisoner here in England), visiting this Cathedrall, having 
 heard Mass at the High Altar, came to it and made an oblation of xii nobles." — Duydale's History of St. Paul's. 
 
210 
 
 ^ferine.— £>Cbgl£i. 
 
 Round the moulding is inscribed the prophecy of David : e Super aspidem et Basiliscum ambulabis, 
 et conculcabis leonem et draconem. 
 
 At the foot, the Image of our Blessed Lady, seated on a throne, and holding our Lord in her arms. 
 Round the border is this Scripture : — 
 
 VIRGO DEI GENITRIX, QUEM TOTUS NON CAPIT ORBIS 
 IN TUA SE CLAUSIT VISCERA FACTUS HOMO. 
 
 Round the sides are eight subjects from the life of St. Basil, and on the cover, the twelve Apostles 
 in twelve enriched compartments. — Tresors des Eglises de Rheims, by Prosper Tarbe. 
 
 One of the most perfect Shrines now remaining is that of St. Sebald, at Nuremberg ; it is covered 
 with plates of silver, parcel gilt, and stands in its original position, under a brass canopy of exquisite 
 execution, but of debased design. The Shrine of the Three Kings of Cologne is itself very perfect, and 
 far richer in design and material than that of St. Sebald, but the chapel in which it is now kept is quite 
 unworthy of it, and the pedestal or base disgraceful ; were it raised on a suitable basement, and inclosed 
 in the manner St. Cuthbert's feretory at Durham is described, it would present a most solemn and 
 magnificent appearance. The Shrine of St. Taurinus is preserved at Evereux, but not in its ancient 
 position. There are several Shrines also remaining in Italy and Sicily, but not of that elaborate and 
 elegant design that particularly characterised those of the more northern parts of Europe. 
 
 Although sanctioned by antiquity, the position of the ancient Shrines immediately behind the High 
 Altars, may appear in some degree objectionable, as occupying too prominent a position in a portion 
 of the sacred edifice that seems particularly set apart for the exclusive Celebration of the Holy Sacrifice. 
 A chapel attached to the great church would be a more appropriate receptacle for a Shrine, where it 
 might be surrounded with imagery and decoration referring to the life and miracles of the Saint, with 
 lights and all honour ; without interfering with the High Altar of the church, or that Shrine which 
 encloses the Bread of Life. 
 
 Among the personages represented in stained glass and other church decorations of the middle ages, 
 we very frequently find the Sibyls introduced among the Prophets who foretold the Advent of our 
 Lord. Although the history of these Sibyls is involved in great and perhaps impenetrable obscurity, yet 
 as our forefathers, in days of great faith and devotion, did not hesitate to represent their images in sacred 
 edifices, it seems necessary and right in a work of this kind to give an account of the symbols and 
 prophecies traditionally assigned to them. 
 
 The Sibyls according to some accounts, are twelve in number. 
 
 1. Sibylla Libyca. Prophecy. — ' That the day shall come, that men shall see the King of all living 
 things.' Emblem — a lighted Taper. 
 
 2. Sibylla Samia. Prophecy. — ' That He who was rich should be born of a poor Virgin/ Emblem. 
 — a Rose. 
 
 3. Sibylla Cumana. Prophecy. — 'That Jesus Christ should come from Heaven, and live and reign 
 here on earth in poverty/ 
 
 4. Sibylla Cumaea. Prophecy. — ' That God should be born of a Virgin, and converse among sinners.' 
 Emblem — a Cradle. 
 
 5. Sibylla Erythraea. Prophecy. — e Jesus Christ, Son of God, the Saviour/ Emblem — a Horn. 
 
 6. Sibylla Europaea. Prophecy. — 'That a virgin and her son should fly into Egypt/ Emblem — 
 a Sword. 
 
 7. Sibylla Persica. Prophecy. — ' That the Devil should be overcome by a true Prophet/ Emblem 
 — a Dragon under her feet, and a Lantern. 
 
 8. Sibylla Agrippina. Prophecy. — * That Jesus Christ should be outraged and scourged/ Emblem 
 — a Whip. 
 
lifter— J>tars;* 
 
 211 
 
 9. Sibylla Tyburtina. Prophecy. — c That the Highest should come from Heaven, and a Virgin shall 
 be shewn in the vallies of the deserts/ 
 
 10. Sibylla Delphica. Prophecy. — e That a Prophet should be born of a Virgin, and that he should 
 be crowned with thorns/ Emblem — a Crown of Thorns. 
 
 11. Sibylla Hellespontica. Prophecy. — 'That Jesus Christ should suffer shame on the Cross. 
 Emblem — a T Cross. 
 
 12. Sibylla Phrygia. Prophecy. — 1 That our Lord should rise again.' Emblem — a Banner and 
 Cross. 
 
 This list is taken from a book of Canonical Hours, printed in the latter part of the fifteenth, or 
 beginning of the sixteenth century. But the number of Sibyls is usually limited to ten : — Cumsea, 
 Cumana, Persica, Libyca, Samia, Delphica, Phrygia, Tyburtina, Hellespontica, Erythraea. This 
 last is the most celebrated, and according to Dr. Petit, who wrote a curious dissertation on the 
 subject, the only one who ever existed. The Sibyls are represented in the stained windows of the 
 south aisle of the nave of the Abbey of St. Ouen, at Rouen, each holding a scroll with a prophecy, and 
 standing under rich canopies. 
 
 ^tlbfr, is an emblem of purity, and therefore most appropriate for ornaments 
 intended for images or chapels of our Blessed Lady. 
 
 £>mgi'ng BrftuX An old name for Altar-bread, or Hosts before Consecration. 
 
 Jj>OUt<Utnt, or Cassock, the exterior habit and ordinary dress of the Clergy in 
 public, and presupposed by the rubrics, wherever the surplice, &c. is re- 
 quired. 
 
 It is the vestis talaris enjoined on clerics by many ecclesiastical canons, and should as its name 
 imports reach to the ankles. The colour is black for the clergy in general, but purple for Bishops and 
 Prelates, scarlet for Cardinals, and white for the Pope. The sash, which is worn by the French clergy, 
 and of late by parish priests in Rome, is not part of the original vestment : and is, generally speaking, 
 a distinctive badge of the clergy of the Religious Orders. The Soutanne of a Bishop has a train 
 behind. This vestment was anciently made more ample, and with wider sleeves, than is usual at 
 present. There is a well-known picture by Maroccii, at the end of the 15th century, in the Lateran 
 Basilica at Rome, representing a Canon of that Church thrown from his mule in one of the streets of 
 Rome, and lying under a cart, from which perilous situation the painting records his deliverance by 
 miracle. Here the Canon is in his Cassock, as worn at that day, of a loose ample form, and with a 
 turn-down collar, resembling that which the Jesuits have retained from the same period ; and corres- 
 ponding to the present Albe, in form, but without the girdle. Being intended for ordinary use, the 
 modern Anglican fashion of using rich black silk for the Cassock, seems quite inappropriate. The 
 short Cassock, which the Anglican clergy often wear, is equally unseemly. 
 
 J5>tat'£, are an emblem of Heaven, frequently introduced in ecclesiastical 
 decoration. 
 
 The roofs or ceilings of churches were generally powdered with Stars, to signify the Canopy of 
 Heaven over the faithful. Also on our Lady's mantle, and on her shoulder, as the Regina Cceli. Large 
 Stars were sometimes set up in churches, on the Feast of the Epiphany. The Stars on the old ceilings 
 were usually cast or struck in lead, gilt, and fixed on an azure ground, of which many examples are 
 still remaining in the old English churches. 
 
212 
 
 *taff* 
 
 JS>taff. There are several sorts of Staff used in ecclesiastical functions, 
 which are as follows; — 1. The Pastoral Staff, for Bishops 
 and Abbots, as emblems of jurisdiction. 2. Cantors' Staves, 
 to regulate the chaunt and ceremonies of the choir. 3. Pro- 
 cessional Staves, as their name implies, to use in processions, 
 for the purpose of keeping the order of procession. 4. Staves 
 used by confraternities, for carrying images and emblems. 
 
 5. Cross Staves, to bear the Cross elevated in procession. 
 
 6. Staves of Honour and Office, called Verges or Maces 
 borne before dignitaries. 
 
 The Pastoral Staff is delivered to a Bishop at his investiture, and borne by him in 
 all solemn functions as an ensign of his jurisdiction. In form it somewhat resembles 
 the shepherd's crook, an apt emblem of the pastoral cure, being curved at top and 
 pointed at bottom, beautifully expressed by the words of the Pontifical : — " Accipe 
 Baculum pastoralis officii, et sis in corrigendis vitiis pie sseviens : judicium sine ira. 
 tenens, in fovendis virtutibus auditorum animos demulcens, in tranquillitate severitatis 
 censuram non deserens." The authority of jurisdiction and rule implied by the Pas- 
 toral Staff is pithily set forth by the following verses : — 
 
 In baculi forma, Prsesul, datur htec tibi norma. 
 Attrahe per curvum, medio rege, punge per imum : 
 Attrahe peccantes, rege justos, punge vagantes : 
 Attrahe, sustenta, stimula — vaga, morbida, lenta. 
 
 On the Pastoral Staff of an image of St. Saturninus, at Thoulouse, is this appro- 
 priate Scripture : — 
 
 Curva trahit, quos recta regit, pars ultima pungit. 
 It signifies, then, both pastoral encouragement and pastoral correction ; or as 
 another verse expresses : — 
 
 Curva trahit mites, pars pungit acuta rebelles. 
 As touching the antiquity of Pastoral Staves, the one traditionally related to have 
 been sent by St. Peter to Eucherius, first bishop of Treves, is still preserved. But to 
 descend to a period, of which we have more certain record : in the Will of St. Remi- 
 gius, who died in the vi. century, his Pastoral Staff is mentioned under the name of 
 cambutta (Du Cange v. Cambutta), as ' Argentea cambutta figurataf a silver Pastoral 
 Staff, with figures engraved on it. It is not improbable that the form of this cambutta 
 resembled the staff at present used by the Maronite Bishops. In ancient monuments, both the form 
 and the name of the Pastoral Staff vary greatly. We find it mentioned under the different names of 
 virga, ferula, cambutta, pedum, and crocia. In the Sacramentary of St. Gregory, the cambutta is 
 mentioned as belonging to the Episcopal office. The most ancient form of the investiture of Abbots 
 was by delivery of the crocia, or Staff. And it should be remarked that the Abbots did not borrow 
 the use of the Pastoral Staff from the Episcopal Order, as they afterwards did that of the Mitre; but 
 had this distinction from the beginning. In the life of St. Gal, Abbot in Germany, who lived in the 
 early part of the seventh century, the following mention occurs of the Pastoral Staff of St. Columban : 
 — ' Qui et baculum ipsius, quem vulgo Cambuttam vocant, per manum diaconi transmiserunt dicentes, 
 
Staff. 
 
 213 
 
 Sanctum Abbatem ante transitum suum jussisse, ut per hoc notissimum pignus Gallus absolveretur/ 
 And Orderic Vitabs (in Du Cange) : — { Per cambutam .... exteriorem Abbatiae potestatem tradidit.' 
 
 Of the form and material of the Pastoral Staff. — It is impossible to state with certainty the precise 
 form of the early Pastoral Staves, but they were probably much shorter than those of the latter cen- 
 turies, and terminated by a globular knop, or a Tau cross, similar to that discovered in the tomb of 
 Morard, Abbot of St. Germa in des Pres, who died in 990.* The simple crook form is, however, 
 exceedingly ancient ; it is found in Saxon Manuscripts, and also on the well known Font in the nave of 
 Winchester Cathedral. Three heads of Pastoral Staves of great interest are figured in Willemin's 
 Monuments Inedits. The first is that of Ataldas, Archbishop of Rheims, who died in 933. The staff 
 is of copper, gilt and enamelled, terminating in an ivory crook of elegant design. The second belonged 
 to Ragenfredus, Bishop of Chartres, who died, according to Mabillon, 960 ; it is made of copper, 
 beautifully engraved and enamelled, both on the knop and crook, which latter is most perfectly formed. 
 Round the bottom rim is this inscription + frater willielmvs me fecit. The four compart- 
 ments round the knop contain subjects from the history of David. Above these, in divisions produced 
 by intricate interlacing, are representations of six Vices, overcome by the same number of corres- 
 ponding Virtues : — 
 
 Faith. Chastity. Charity. Temperance. Bounty. Peace. 
 
 Idolatry. Impurity. Envy. Gluttony. Avarice. Strife. 
 
 Above these are a variety of animals ingeniously disposed. The third is an ivory crook of a staff that 
 belonged to Ives, consecrated Bishop of Chartres, 1091. Amongst other enrichments, it contains the 
 images of three ecclesiastics, which are of the highest interest. 
 
 Three Pastoral Staves are still preserved at Oxford. 1. That of William of Wykeham, at New 
 College, of silver gilt and enamelled, of exquisite workmanship, probably the finest now remaining. 
 2. That of Bishop Fox at Corpus Christi : — and 3. One at St. John's. The preservation of three such 
 Pastoral Staves, through three centuries of spoliation and destruction, seems little short of miraculous, 
 and may be hailed by us as a happy omen for future times. In the portrait of Bishop Waynflete, at 
 Magdalen College, is the representation of a beautiful Pastoral Staff bordered with lilies, and no doubt 
 an accurate representation of the actual staff borne by that prelate, but the original has long since 
 disappeared. 
 
 The heads of Pastoral Staves were often made of ivory, mounted on knops of silver gilt, of which 
 there are two beautiful examples in the collection of the Hotel de Clugni at Paris ; the oldest knops on 
 these staves were made flat and round, set with stones or enamels in small circles round the circum- 
 ference, like those on chalices ; but subsequently they were elongated and decorated with niches and 
 images standing under rich canopies disposed round an octagon. There are also examples of Pastoral 
 Staves made of crystal, and mounted in silver gilt, one of which, formerly belonging to the Church of 
 Lys in France, is figured in Vol. I. of Shaw's Dresses and Decorations. 
 
 There is no difference in the form of a Pastoral Staff used by an Abbot and that of a Bishop : but 
 the Abbot is represented carrying the curved part of his staff turned backwards, to shew that his 
 jurisdiction is limited to his monastery ; it was also customary for the Superiors of religious Houses 
 who used the Pastoral Staff to cover the same with a Veil (usually hanging from the knop), when in 
 presence of the Bishop. These veils are, however, frequently represented suspended from the Pastoral 
 Staves of Bishops, both in pictures and on monumental effigies, and it is most probable that these were 
 originally, at least, used as handkerchiefs. The distinction between the Staves of Bishops, Archbishops, 
 Patriarchs, and that assigned to the Pope, is as follows : — for a Bishop, a crook-shaped Pastoral Staff; 
 
 * See page 528, of Mabillon's ' Benedictine Annals.' 
 
214 
 
 £>taff. 
 
 for an Archbishop, a Cross or Crozier ; for a Patriarch, a double Cross ; for the Staff assigned to the 
 Pope, and with which he is represented in ancient monuments, a triple Cross. For the reasons why 
 the Pope does not carry a Staff, see Pope. 
 
 Voyage Litter aire de deux Benedictins. — Abbey of Clugni. A Staff formerly belonging to St. Hugh, 
 of wood covered with plates of silver, and the crook of ivory. Maurienne, Savoy. A Pastoral Staff of 
 ivory. Abbey of St. Victor, Marseilles. A Pastoral Staff of ivory, formerly used by St. Mauron. 
 Abbey of St. Savinus, Pyrenees. A Pastoral Staff of ivory. A Staff of ivory, said to have belonged to 
 St. Hilary, with the inscription ' Are Maria' &c. 
 
 Inventory of Lincoln Cathedral. — " Imprimis, a head of a Bishop's staff of silver and gilt, with one 
 knop and pearls, and other stones, having an image of our Saviour on the one side, and an image of 
 St. John the Baptist on the other side, weighing 18 ounces. Item, one other head of a staff, copper and 
 gilt. Item, a staff ordered for one of the sacred heads, the which is ornate with stones, silver and 
 gilt, and three circles about the staff silver and gilt. Item, a staff of horn and wood for the head of 
 copper, and a staff covered with silver without a head." — Dugdale's Monasticon. 
 
 Inventory of Winchester Cathedral. — "Item, three pastoral staves of silver and gilt. Item, one 
 pastoral staff of an unicorn's horn." 
 
 Inventory of St. Paul's Cathedral. — " Baculus Ricardi Episcopi tertius, cujus cambuca de argento 
 deaurato, quern habet Ricardus Episcopus. Baculus ejusdem cum cambuca cornea, continens interius 
 vineam circumplectentem Leonem de cupro deaurato. Item, Baculus cujus cambuca cum pomello est 
 de cupro deaurato, fuso vineis et imaginibus multis, assignatur ad usum Episcopi parvulorum," (see 
 Boy Bishop). " Item, Baculus cujus cambuca est cornea, continens massam cupream deauratam, 
 fusam in ymagines multas, et pomellum similis operis, insertis lapidibus. Item, Baculus cum cambuca 
 eburnea, continens agnum ; et alius similis. Item, Baculus qui fuit Henrici de Wengham de argento 
 triphoriato et deaurato cujus cambuca continet ymaginem Pauli ex parte una, et cujusdam Archi- 
 episcopi ex parte alia ; et in circuitu inseruntur lapides turkesii, et garnettae et baculus ligneus de tribus 
 peciis, ornatus tribus circulis argenteis insertis lapidibus, cujus pes est de argento deaurato." 
 
 Durandus. — The Pastoral Staff is borne by the Bishop, and is symbolical of his power to inflict 
 Pastoral correction. Therefore, at the consecration of a Bishop the consecrator says to him, ' Accipe 
 baculum -pastor alis officii, ut sis in corrigendis vitiis pie saviens.' The Apostle says, 1 Cor. iv. 21, 
 " Shall I come to you with a Rod ?" By the Pastoral Rod, or Staff, may be understood the Sacerdotal 
 Power which Christ conferred, when He sent the Apostles to preach, commanding them to take with 
 them staves. Moses was sent into Egypt with a Rod. The Staff, therefore, may be viewed as taken 
 both from the Law and the Gospel. For Moses, at the command of the Lord, had a Rod which per- 
 formed the most stupendous miracles. By the Pastoral Staff is likewise understood the Authority of 
 Doctrine. For by it the infirm are supported, the wavering are confirmed, those going astray are drawn 
 to repentance. It resembles and is called a Crook, in allusion to that used by shepherds to draw back 
 and recal the sheep of their flock which have gone astray. 
 
 Bona. — What the Sceptre is to kings, the Pastoral Staff is to Bishops, an ensign of authority, 
 charge, and correction. Mention is made of it in the Ordo Romanus, and in the Fourth Council of 
 Toledo, as in common use. Amongst the Greeks, Goar tells us, that the Staff is given, not only to 
 Bishops, but likewise to Prefects or Heads of Monasteries at their ordinations. However, the form of 
 the Staff is different amongst the Orientals. Some persons trace back the origin of the use of the 
 Baculus to St. Peter himself, the Prince of the Apostles. So good an authority as Innocent III. 
 countenances this tradition. — Be Myst. Missa, ch. 62. Even in very ancient times the Episcopal 
 Staves were sometimes of gold and silver, or of other precious materials richly ornamented. Sometimes 
 they were made of wood and bone. The bone at the top was bent, the wood was pointed with iron. 
 
£>taff. 
 
 215 
 
 4 
 
 The bone was interpreted to signify the hardness of the Law, whereas the wood meant the mildness of 
 the Gospel. The Staff is curved, because sinners are to be recalled to penance. Sometimes also on 
 the curvature the following inscription is placed : — Cilm iratus fueris, misericordics recordaberis, ne 
 ob culpam (/regis ira turbet in Pastore oculum rationis,' i. e. 'When thou art angry, thou shalt remember 
 mercy, lest wrath for the sin of the people disturb the discernment of judgment in the Pastor. 5 Some- 
 times on the knop is inscribed the word ' Homo' man, to remind the Bishop that he is human, and 
 should not be elated with the authority conferred on him. Sometimes, near the iron, is inscribed the 
 word ' Parce,' spare, to insinuate lenity towards those subject to his jurisdiction : that he may himself 
 find mercy. 
 
 Catalani. — " From the very form itself with which the Baculus is given into the hands of the Bishop 
 when he is consecrated, it is very manifest that the Episcopal staff is an ensign not only of Honour, but 
 also of Dignity, Power, and Pastoral Jurisdiction." 
 
 2. Cantors' Staves (see Wood-cut). The Cantors in all large 
 choirs carried staves to regulate the chaunt, and as instruments of their 
 office. This custom is still kept up in France and Flanders. 
 
 St. George's Chapel, Windsor. — Item, a Staff for the Precentor 
 in the choir, having five bands in the height, and a cross piece of 
 ivory set in silver, with a crystal knop at the top. Item, two staves 
 of one suit for the Cantors (rectoribus chori) on principal feasts. 
 Item, two staves of one suit for ordinary days. 
 
 York Minster. — Item, one long Staff, silver and gilt, with a round 
 knop. Item, one Staff of silver, that Robert Semar had made. 
 
 St. Paul's Cathedral. — Item, a Cantor's Staff of pieces of ivory, 
 adorned with silver gilt bands, with trefoils set with stones, and a 
 knop of crystal. 
 
 Lincoln Cathedral. — "Imprimis, a Staff covered with silver, and 
 gilt, with one image of our Lady, graven in silver at one end, and an 
 image of St. Hugh on the other end ; and having a boss six squared, 
 with twelve images enamelled, having six buttresses, of the gift of 
 Mr. Alexander Prowett. Item, two other Staves covered with silver 
 and gilt, having an image of our Lady, and a Canon kneeling before 
 her at every end, with this Scripture, " Ora pro nobis, &c." having 
 also one knop with six buttresses, and six windows in the midst, with 
 this Scripture about the Staff, " Benedictus Deus in donis suis." Item, 
 two other Staves covered with silver, parcel gilt, having a knop in the 
 midst, having six buttresses and six windows in every staff. Item, 
 two Staves of wood, having upon them little plates of silver, with 
 branches of vines." — Dugdale's Monasticon. 
 
 3. Processional Staves. — These are often seen represented in 
 stained glass, and illuminations of MSS. One is mentioned in the 
 Inventory of York Minster. ' Item a long staff of silver gilt for 
 processions, offered by the executors of Master William Waltham, 
 formerly Canon of this church, for the good of his soul.' 
 
 Inventory of Winchester Cathedral. — Item, 4 processional Staves 
 of plates of silver. 
 
 4. Staves for Confraternities. — These were long Staves sur- 
 
 STAPP OF HONOUR. CANTOR'S STAFF. 
 
216 
 
 £>taff.- £>to!r 
 
 mounted by small tabernacles, with images, or emblems, on a sort of carved cap, having reference to 
 the particular guild or confraternity by whom they were borne. Original staves of this description are 
 exceedingly rare, but they often occur in ancient representations. 
 
 5. Staves for Processional Crosses : — (See Processional Cross.) 
 
 6. Staves of Dignity, or emblems of office and authority (see Wood-cut). — These are yet borne 
 before dignitaries, in the cathedral and collegiate churches of England ; and some of those still used are of 
 ancient date, especially one at Chichester Cathedral, recently figured by the Oxford Architectural Society. 
 
 Inventory of York Minster. — " Item, 3 verges of silver for the sacristans, weighing 18 ounces." — 
 Dugdale's Monasticon. 
 
 Js>tatl0n£>* These are the places where ecclesiastical processions rest for the 
 performance of any act of devotion. 
 
 Such were anciently the tombs of Martyrs, and similar consecrated spots. Such are the halting- 
 places of the Procession of the Blessed Sacrament on Corpus Christi. In modern times, however, 
 the term is especially used to denote those representations of the successive stages of our Lord's 
 Passion, which are often placed round the naves of large churches, and by the side of the way leading 
 to sacred edifices ; and are visited in rotation by the faithful, who recite at each of them stated devotions 5 
 suitable to different mysteries represented. There is a fine example at Nuremberg, along the road 
 leading to the cemetery, which is on an elevation, at a short distance from the city. These stations are 
 sculptured in stone nearly the size of life, by Adam Kraft, a native of the city, who flourished in the 
 XVth century. They are raised on pedestals, and covered by small projecting roofs, to protect them 
 from the weather. They were originally painted and gilt. Being disposed among clumps of trees, at 
 the turns of the road, they have a very picturesque as well as devotional effect : and at the summit of this 
 Creutz-gang, or Way of the Cross, is a great Calvary, with the Crucifixion, and groups of appropriate 
 figures. 
 
 J^tolt* A narrow band of silk, or stuff, sometimes enriched with embroidery, 
 and even jewels ; worn on the left shoulder of Deacons, and on both 
 shoulders of Bishops and Priests, pendent on each side nearly to the 
 ground. Used in the administration of the Sacraments, and all other 
 sacred functions. (See Plates xxxiv. xxxv. xxxvi. xxxvu. xxxviii. 
 xxxix.) 
 
 Stole, in the original acceptation of the word, signified robe,* and there can scarcely remain a doubt 
 of the fact, that in its present form, it is but the orjihrey of the original vestment so called. It is certain, 
 however, that it has been used in its curtailed state from a very remote period. In monuments of the 
 
 * The Stola among- the ancient Romans was the ordinary dress of women, as the Toga was that of men. It was a vest 
 covering- the whole person, except the head; being- a tunic with sleeves, reaching to the feet, of a purple colour, adorned with 
 g-old bands, and falling- in many folds, as its etymology implies. When worn out of doors, the palla, a sort of cloak, was 
 thrown over it. Hor. 1. 1. Sat. 2. v. 99. — "Ad talos Stola demissa, et circumdata Palla." The Stole, however, though 
 among the Romans it was thought effeminate for any but women to wear it, was among the Greeks and other nations 
 the usual dress of men : and it was originally worn by men, even among the Romans. — Hoffmann's Lexicon. 
 
 In the plates of Bosio's Roma Sotterranea (as at p. 389, and many others,) the Stole is represented in its ancient 
 form, with the present stole as a stripe or orphrey. In these examples, the Stole is represented as worn by the early 
 Christians of both sexes. It is worthy of remark, that where the stole is worn by a man, it is generally thrown over the 
 left shoulder, and this suggests the origin of the Greek manner of wearing the stole. 
 
Molt 
 
 2X7 
 
 ninth century we constantly find the Stole in its narrow form, and enriched with crosses and other 
 embroidery, and there cannot be any doubt that it had become a purely Ecclesiastical vestment long 
 previous to this date. Some writers remark, that when reduced to a band, it was still appropriately 
 called Stole, since the band or orphrey was the most precious part of the old robe. Moreover, it is highly 
 probable that the word "orarium,"* by which the Stole was more frequently distinguished, was derived 
 from ora, a boi-dure, and therefore applied to the Stole in its reduced form ; and Georgius says, " Orarii 
 vox inter Ecclesiastica ornamenta antiquior est, quam stolae."t 
 
 Use and manner of wearing the Stole. — The Stole is worn by all clergy ahove the Order of 
 Sub-deacon. Formerly bishops and priests never quitted the Stole : but at present this custom is 
 confined to the Roman Pontiff. Herbert, in his Life of St. Thomas of Canterbury, relates the fact, that 
 the Stole was worn by him daily and constantly, in the sight of everybody : as is recorded of many 
 ancient prelates. St. Arnulf, Bishop of Tours, is related to have quelled the fury of a serpent, by laying 
 the stole which he carried round his neck, upon its head. In the Council of Mayence, under Leo III. 
 a.d. 813, it is ordered, "That priests wear their Stoles constantly as a distinction of the Sacerdotal 
 Order." We learn from the life of St. Odo, Abbot, who died a.d. 942, that it was the custom at that 
 time for persons lately ordained, to wear the Stole constantly for some time after their ordination. 
 Martene says, that deacons wore it for a full year, and gives an account in the Life of St. Maur, 
 Abbot, of his placing his deacon's Stole on the head of a sick man, whom he visited, as described in 
 these verses: — 
 
 Plorat et exorat, veniam dum fletibus orat, 
 Deponendo stolam, quam toto tempore caram 
 Anni portabat, quain sic vehementer amabat, 
 Quod sublimatus, quod erat Levita creatus. 
 
 That the Orarium, or Stole, was the distinction of the Diaconal order, as well as of the Sacerdotal, 
 is no contradiction, as the deacon wears the Stole crosswise, over the left shoulder, at the present day 
 the priest wears the Stole crossed over the breast in the Mass ; and the bishop, pendent on each side : 
 but anciently this distinction did not exist. Bocquillot says, that priests and bishops formerly both 
 wore the Stole hanging down on each side ; but that the Spanish bishops, by way of distinction, ordered 
 the priests of their dioceses to cross the Stole over their breast. In other places, the priests continued 
 to wear it like the bishops, till the last Reform of the Roman Missal. It should, however, be remarked, 
 that in opening the tomb of Morard, Abbot of St. Germain, at Paris, in the tenth century, the Stole 
 was found crossed as well as the arms. The Stole is also shewn crossed in an ancient painting of a 
 priest in Carlisle Cathedral, given in Plate VI. of this work. The Maronite priests, even when at Rome, 
 do not cross their Stoles. The distinction, at the present day, of crossing the Stole, is only observed 
 by priests in the Sacrifice of the Mass. In all other functions, they wear the Stole pendent on each 
 side. When angels are represented in the works of artists of the fourteenth and fifteenth centuries, in 
 albes and stoles, the Stole is always crossed over the breast. 
 
 * With regard to the Orarium, there are three different opinions: I. That it signifies a. border or orphrey, and is 
 therefore a just designation of the Stole in its ecclesiastical use, as a border of an originally larger vestment. II. That it 
 is a piece of linen used to protect the Stole from becoming soiled, the right name of which is sudarium. III. That it 
 was a richer sort of Stole, worn by bishops and clergy out of the church, as a mark of distinction, See Georgius, I. I. e. 
 20. That the Stole was in some way distinct from the Orarium, appears from the Life of St. Livinus, bishop and martyr, 
 to whom St. Augustine, Abp. of Canterbury, gave on the day of his ordination a purple chasuble beautified with 
 gold and jewels; and a Stole with an orarium, enriched in the same manner. St. Augustine died a.d. 656. 
 
 t In the Council of Laodicea, a.d. 364, the wearing of the Stole is forbidden to Lectors and Sub-deacons. Du Cange 
 and others say, that the Stole is properly the distinction of the Beacon, and is his proper badge. 
 
 2 F 
 
•218 
 
 Of the form, material, and ornament of the Stole. Stoles like other portions of the Sacred vestments 
 were made of the richest materials and even edged with pearls, and adorned with precious stones. Some- 
 times they were embroidered with a succession of images in tabernacle work. Every Stole should have 
 three crosses embroidered on it. (See Plate II.) To admit of the crosses at the extremities being 
 richly ornamented, the ends of the Stole may be slightly enlarged. The large, unmeaning, shovel- 
 shaped ends, generally used in France and thence brought into England, have not been introduced 
 much above a century ago ; they have never been used in Rome, and are not only extravagantly large, 
 but most ugly in form . 
 
 Bocquillot. Traite Historique de la Liturgie Sacrte. — Tout le monde ne convient pas de ce que 
 c'etoit que l'Etole, appellee ainsi du mot Latin, Stola. On dispute de sa forme et de son usage ancien. Le 
 sentiment qui me semble le mieux fonde, est que c'etoit autrefois une robe longue qui couvroit tout le 
 corps, ouverte par devant, laquelle etoit bordee depuis le tour du col jusqu'au bas de passemens ou de 
 broderie, ou de pourpre ou de quelque autre etoffe precieuse. II est certain quele nomde Stola, Etole, 
 se trouve en plusieurs endroits de 1' Ancien et du Nouveau Testament (Esther vi. 10. 11. St. Luke xv. 
 22. Rev. vi. 11.) et que par tout ou il se trouve, il se prend pour un habit ou une robe. II est aussi 
 frequent dans les auteurs profanes dans le meme sens. On peut done assurer que c'etoit dans les 
 commencemens un nom generique pour toutes sortes de vetemens. Dans le tems de Ciceron ... on 
 voit qu'il appelle toga le vetement des hommes, et Stola la robe des femmes, . . . aujourd' hui il ne nous 
 reste plus de l'ancienne Etole que la bordure, et cette bordure ne laisse pas d'en retenir le nom, par 
 ce que e'est ce que l'Etole avoit de plus precieux. — liv. I. ch. J. 
 
 ^>\lb'MtM0lX* The first of the Holy Orders, whose office in the church is 
 to wash the altar cloths, corporals, and mandatories ; to give the 
 Chalice and Paten to the Deacon at the Offertory ; to pour the 
 water into the Chalice, and generally to minister to the Deacon in 
 Mass ; and to sing the Epistle. 
 
 Their proper habit is a tunicle over a girded albe, with a maniple ; as that of the deacon is a dalmatic 
 over an albe, with a maniple and stole. (See Dalmatic). 
 
 Georgius, De Lit. Rom. Pont. 66. — At a period long before St. Gregory, the Sub-deacons of the 
 Roman Church officiated in plain albes without tunicles (spoliati, nec tunicis induti) : but one of the 
 Popes had conferred on them the right of wearing the tunic. St. Gregory, however, restored the old 
 custom, and ordered that they should serve, vested in the albe only. Over this albe they wore a 
 chasuble, except during the times when they were exercising their peculiar functions. As late as the 
 ix. century, Amalarius tells us, that the chasuble was common to all clerics. Since that custom ceased, 
 the tunic over the albe (with the maniple) has been the distinctive garb of the Sub-deacon. They 
 wore indeed the tunic before, from very early times : and it was called variously, tunica, roccus, and 
 subtile. There is a notable passage on the tunic of the Sub-deacon in the ii. Council of Braga, a.d. 
 563 ; wherein it is ordered, that, ' Whereas in some churches (of the Province of Braga) the deacons 
 wear their stoles hidden beneath their tunics, so that they appear to be in nothing different from the 
 Sub-deacons, they do therefore for the future wear the stole, as is proper, put on over their other 
 vestments upon the shoulder.' From which it appears that the tunicle was then worn by Sub-deacons. 
 Of what material it was made, is gathered from a letter of St. Gregory to John of Syracuse : in which 
 it occurs as a linen vestment, reaching to the ankles. But in the viii. and ix. centuries the name of tunica. 
 as belonging to the Sub-deacon rarely occurs, but in its place roccus and subtile are found. Roccus, 
 according to Du Cange, is a word of German origin, signifying an upper vest. St. Ansegisus Abbot of 
 
219 
 
 Fontenelle gave, a.d, 820, to the church of his Monastery, 'one Sub-deacon's tunic' ( roccvm J. In 
 the treasury of the church of St. Riquier, a d. 831, were kept 15 tunics of silk ( rocci), and 11 of 
 woollen cloth, 1 albe of silk, 2 of Persian silk, 1 pectoral tunic (roccus pectoralis, see below). Riculfus, 
 Bishop of Elns, left to his church, a.d. 915, ' Four tunics [roquos), one of purple, with gold, one of silk 
 with Greek work,* and the other two made in Greece.' Here we have the material and colour. As 
 for the name, the Sub-deacon's tunic was also called Subtile ; of which Du Cange gives many ex- 
 amples. Honorius of Autun, in the xii. century, says (in his Gemma Ardmce, lib. ii. c. 229), that 
 Sub-deacons wear, in common with the order of clergy below them, 'the superhumeral,' that is the 
 amice ; ' the tunic reaching to the ankles,' that is the albe ; ' the girdle, and the cappa (hood) : and 
 beside these, two others, viz. the tunic and maniple (subtile, et sudarium) ; the subtile, which is also 
 called the short tunic, to shew they put on righteousness as a breast-plate, (from which it was called 
 roccus pectoralis,) and the sudarium, for wiping the sacred vessels, and as a figure of penitence and 
 tears. It is to be remarked, that the maniple of the Sub-deacon is made larger than others, because 
 where the fanon is now used, formerly a napkin was worn.' Sicardus of Cremona, and Durandus, 
 say much the same. After the xiii. century it was called tunicella usually." 
 
 J^tipn*--$lttU\ The consecrated Altar-stone. 
 
 Accounts of the Church of St. Mary Hill, London. — " For makyng the crosses on the sup'altarys 
 4d."—Nichol, p. 101. 
 
 These Super-altars were frequently composed of precious marbles edged with silver. 
 
 St. George's Chapel, Windsor. — Item, 6 Super-altaria, one of jasper, mounted in silver gilt, one of 
 alabaster, and 4 of marble. 
 
 St. Paul's Cathedral. — A Super-altar of jasper bordered with silver gilt, and dedicated in honour 
 of the Blessed Virgin Mary and all Virgins. 
 
 York Minster. — " Item, one precious Altar-stone of jasper, adorned about the edges with silver and 
 gold, enriched with precious stones, and artificially wrought. Item, an Altar- stone of red jasper 
 bordered with copper gilt. Item, 2 Altar-stones of red marble, adorned with silver, one of which stands 
 on four silver feet, and the other without feet." — Dug dale's Monasticon. 
 
 With a very few exceptions, the Altar- stones were removed in the reign of King Edward the Gth,t 
 and either broken, by which their consecration is at once destroyed, or used unbroken, as pavement. 
 One of the most perfect now remaining, is in the ruins of the Abbey at Jervase or Jorevalle, in York- 
 shire ; it is situated in the north transept, and escaped destruction from having been buried in the 
 rubbish. Every Altar-stone should have five crosses incised in it, one in the centre, and at each corner. 
 A small cavity to hold Reliques is now worked in the stone, but this does not appear to have been the 
 case with the ancient Altar-stones. The size of Altar-stones varies considerably. Ten feet long and 
 three feet wide, is about the size and proportion for a High Altar ; and six feet long, by two feet six 
 inches wide, for a side altar. By a council held at Salisbury, in 1233, the Altar-stones were ordered to 
 be made sufficiently large. c Superaltaria nimis stricta non habeant, super quae periculose cclebratur, 
 sed competenter ampla.' 
 
 * ' Et aliud pallium Graco.' 
 
 f In the reign of Queen Mary, the altars were restored. The Churchwarden's accounts contain some interesting- 
 items, which illustrate the religious feelings of those times. " Brockdish Church, Norfolk, 1553. 1. Quern Mary. For 
 two days making the altar, and the holy water stope. 1558. 1. Elizabeth. Paid for sinking the altar, 4d. ; carrying 
 out the altar, 5d. ; for pulling down the rood loft, Is 6d. ; for digging the ground and levelling the low altar." — NichoVs 
 Illustrations of Antient Times, j>. 194. 
 
220 
 
 &upcrf)Umeral* The ephod is the usual translation of this word, in the Old 
 Testament. (Exodus xxviii. 6. &c.) It is sometimes used as a name for 
 an Archbishop's Pallium : and sometimes means an Amice. To this 
 latter sense it may be well to confine our illustrations. 
 
 Uclalric, Constitut. Cluniac. Lib. III. c. 13, £ Then he puts on his Superhumeral, that is his Amice. 
 Expositio Offic. Divin. anon.: 'Then follows the Superhumeral, which must be of the purest linen.' 
 Gillebertus, Lunicensis, de Usu Ecclesiastico, says, that c Ostiarii, Exorcists, and Acolyths, in their 
 ministry, are vested with a Superhumeral, albe, and girdle, and yet are at liberty to marry.' 
 
 Georgius. — ' Honorius of Autun informs us, that Sub-deacons, like other clergy below them, wore 
 the ' Superhumeral,' that is the Amice,' &c. 
 
 Jz>Ul*plttt* A long linen robe with large sleeves, used by all degrees of clergy 
 under the Episcopal order, and in which Clerics on receiving the first 
 Tonsure, are solemnly vested by the Bishop. 
 
 The Surplice, like the rochet and cotta, is a declension from the albe, which was the original linen 
 vestment used by all who ministered at the altar. The word Surplice is derived from super, and 
 pellicia (vestis), a robe of fur worn in England and other northern countries as a protection 
 from cold ; and the Surplice is in fact an albe enlarged both in the body and the sleeves, to enable it to 
 be worn over this dress. It will be readily seen therefore, that there is but one true form for the Sur- 
 plice, that which it had from the commencement, long and ample,* much resembling those figured in 
 every plate of the Roman Pontifical ; and which it has only lost within a comparatively short period, 
 in consequence of its real use and intention being forgotten. The wings we see sometimes attached to 
 modern Surplices are the sleeves rent open, and hanging uselessly from the back of the shoulder, as 
 mere ugly excrescences : the bad taste of those who crimp and plait the folds of drapery into narrow 
 divisions, is best paralleled by the scoring of the skin, practised among some uncivilised nations. The 
 Rochet is also derived from the albe, and has so much connection with the Surplice that it may be 
 described with propriety in this place. As the Surplice is an augmentation of the albe, so the Rochet 
 is a diminution of the same, for the sake of convenience ; being shorter, and either with tighter sleeves, 
 or without sleeves. It is well known that the clergy and bishops were required formerly by the de- 
 crees of Synods, to wear their albes constantly ; hence the rochets, which were merely reduced albes, 
 were introduced from reasons of commodity as above mentioned. They were also worn by Cantors and 
 Canons ; also by choir children. Rochets are continually mentioned in old English inventories, with 
 
 * A Constitution of Benedict XII. a.d. 1339, concerning the form of Surplice to be worn by regular Canons, orders 
 that the Surplices of Canons within the Choir and Closes of Cathedrals, and other conventual places, ' be large and ample, 
 according to the reasonable custom of each church, so as to reach in the length of the sleeves beyond the hand by four hand's- 
 breadths, or thereabouts, and in the length of them lower than the middle of the shin, or thereabouts. And outside the 
 churches, cloisters, and places aforesaid, everywhere, and in all fitting places under their cappas, cloaks, or mantles, they 
 may use Surplices with sleeves a ( Roman) foot in depth or thereabouts, and which in length reach to the middle of the shin, 
 or thereabouts. By this however we do not mean to discountenance the custom of some places, which have from ancient pre- 
 scription, or by special authority, the use of Surplices in the form of Rochets or Roman cottas (camisiarum Romanarum) 
 provided, nevertheless, that Surplices of this kind are not shorter in length, and also have sleeves of such a length, that 
 the arms can be covered with them as low as the knuckles. And by prescribing such forms of Surplices, we do not 
 intend to forbid other longer and more commendable (honestiores) forms of Surplices and Vestments. 1 —Ap. Georgium, 
 L. II. c.2.p. 335. 
 
221 
 
 Surplices and Albes. " Item, 8 surplyces for the quere. Item, 3 rochets for children. Item, 3 albys 
 for children, with parells." — Inventory of St. Mary Hill, London. 
 
 Belonging to the church of St. Faith in Old St. Paul's Cathedral. — " Item, duo Rocheta, et quatuor 
 Super-pellicia." — Dug dale's Hist, of St. Paul's. 
 
 The Rochets now worn by bishops are made so short that they are not only devoid of grace and 
 dignity, but bear no resemblance to the albe, which is their type. In all ancient portraits of Catholic 
 bishops, the Rochet is represented as reaching below the knees and ornamented merely round the 
 edge.* 
 
 Georgius on the origin of the Surplice. — The surplice received its present name probably in the xi. 
 century; but the vestment itself is much more ancient. I. The vestment we now call surplice, cotta, 
 or rochet, deserves a special consideration. II. The earliest names of the surplice are linea, alba, and 
 alba tunica. Baronius thinks that when it is recorded of St. Cyprian, at his martyrdom, that he stood 
 in his linen garment (stetit in linea), this was his rochet. Ruinart and Baluzius think it was not his 
 episcopal vestment III. In the first Roman Ordos there is the common albe or camisia mentioned, as 
 well as the sacred linea, alba, or camisia. And this vestment, with which priests, deacons, sub-deacons, 
 acolyths, and cantors were clad, was confined with a girdle. Thomasius says well ; the dress of these 
 cantors was the same as that of other clerks serving in church Functions, viz. a linen albe, down to the 
 ankles, and a chasuble. Perhaps the children who sang did not use chasubles, but only white linen 
 tunics, girded. IV. In the vi. century, the vestment used by deacons, sub-deacons, and lectors, asist- 
 ing at the Holy Sacrifice, was called alba, as in the Council of Narbonne held a.d. 589. V. At the end 
 of the viii. century, and the beginning of the ix. we have the linen vestment called camisia by Amalarius, 
 and said to be worn by cantors, and to be made ex lino, non ex bysso. VI. a.d. 889, Riculfus, bishop 
 of Soissons, made a constitution, e that priests should not celebrate in the same albe (alba,) which they 
 ordinarily wore.' Regino, about a. 900, De Ecclesiasticis Disciplinis, says that the Bishop, among 
 his articles of enquiry should examine ' whether the priest presumes to sing Mass without an Albe, or 
 with that which he wears in daily common use.' VII. Baluzius in his notes on Regino, thinks that this 
 albe was the common out-door dress of ecclesiastics in the ix. century. But the IV. and V. Roman 
 Ordos speak of two linen vestments to be put on for Divine Service, equal in length, but the one called 
 camisia, for common use ; the other, alba tunica. VIII. It is certain, that in the x. century, these two 
 linen tunics were worn. a.d. 967, in the reign of Edgar, the xxxiii. Canon of an English Synod, (ap. 
 Spelmann.) ordains : ' That every priest celebrating Mass, have on a body-vest, as it is called, and a 
 tunic [subumlam,) beneath his albe, and all the Mass vestments of their proper material and make.' 
 Subumla is from a Saxon word, meaning a linen tunic or rochet. IX. This garment was still called 
 linea at the close of the x. century. Of Herbert, consecrated Archbishop of Cologne, a.d. 998, we 
 read ' Ipse indutus lined, discalceatusque,' as he entered his metropolitan city for the first time, barefoot, 
 according to the custom. X. It was in the ix. century, that the name surplicef {super pelliceum, or 
 vestis superpellicia) began to be used. The first instance we read of is the linea superpellicialis of John, 
 Archbishop of Rouen, a.d. 1076. XI. Its name is supposed to be derived from the circumstance of 
 
 * The learned Cardinal Thomasius, remarking on an illustration in a MS. Preparation for Pontifical High Mass, in 
 which seven clerics are represented in Surplices without pleats, and reaching nearly to the ankles, observes, that such 
 Surplices are of the old canonical form, and speaks of a figure of Innocent III. in a rochet, reaching nearly to the feet 
 (propemodum talari) without pleats or border. 
 
 t It is a curious fact, that the only ecclesiastical vestment which has been practically retained by the Anglican 
 church, and the antiquity of which is loudly vaunted, is not in its present form, primitive, but a comparatively late 
 declension from the original girded albe, as shewn above. 
 
222 £>urplitt» 
 
 Canons wearing furred robes in choir to defend themselves from cold, and putting the linen tunic over 
 these. This would be especially the case in the north, and accordingly we find the word frequently in 
 old English monuments. In the laws of King Edward the Confessor, a.d. 1060, we read of a funeral 
 ' procession, with the priest vested in an albe, maniple, and stole, and clerks in surplices, with holy water/ 
 The regulations of St. Gilbert for the Monastery of Sempringham, put forth under Eugenius III. 
 prescribe, that ' for the ministers of the altar, surplices with hoods be made,' &c. In the beginning of 
 the xii. century this vestment still retained the name of tunica talaris, and alba, and with the girdle 
 and super /turner ale, a sort of hood, was the dress of lower degrees of clergy, viz. acolyths, exorcists, 
 lectors, and ostiarii. See Honorius of Autun, Gemma animcc, 1. 1, c. 226. XII. In the xii. century the 
 surplice was worn as a constant dress by regular canons, and the canons of some other churches. 
 Stephen of Tournay, writing to Cardinal Albino, has these words : ( I send you as the chief mark of 
 this habit, a Surplice new, white, and reaching to the ankles, an emblem of newness of life, the white- 
 ness of purity, and perseverance to the end.' The Praemonstratensians were singular in wearing the 
 surplice only in the church, the other regular Canons never quitting it ordinarily : see their Rule, by 
 Adam, a monk of the Order, towards the end of the xii. century. XIII. Many decrees of Counci's in 
 the xiii. century, insist on the wearing of the surplice by Bishops, at home and elsewhere, and regular 
 Canons likewise. Among these is the iv. Council of Lateran, held a.d. 1215. The Council of Cologne, 
 a.d. 1260, orders that ' priests, about to celebrate Mass, shall not be without a surplice* (vestis camisi- 
 ulis,) under their albe.' In the regulations of the church of Liege, a.d. 1287, it is ordered ' that priests 
 wear under their albes, either surplices, or the linen tunic which is commonly called Saroth or Rochet' 
 Here the linen tunic is distinguished from the surplice, which in the century before was identified with 
 it : the difference in this case being that the rochet was without sleeves, as the context shews. XIV. 
 This leads us to mention the cotta, which in times previous to the xiii. century mostly occurs as a lay 
 garment, forbidden to clerics. In a Constitution of Nicolas III. a.d. 1278, however, the surplice and 
 cotta without a hood, seem synonymous. XV. In the same Constitution the word succa occurs, 
 which is explained in a MS. Roman Ordo, cam succis sive camisiis albis. The succa seems to be the 
 same as a rochet. XVI. The difference between rochet and surplice, is that the rochet has closerf 
 sleeves, and sometimes no sleeves. Among the Constitutions of Robert Winchelsea, Archbishop of 
 Canterbury, a.d. 1295 — 1313, is the following : 'We will and ordain that the parochial clergy be 
 bound to have the under-mentioned, viz. a legendal, &c. . . . a chalice, a principal vestment with a 
 chasuble' (i. e. ' a complete vestment' or chasuble with amice, albe, stole, and maniple,) e a dalmatic, 
 tunicle, and a choral cope with all its appendages, a frontal for the High Altar, with 3 altar-cloths, 
 3 surplices, 1 rochet,' &c. XVII. In the beginning of the xiv. century, the word rochet had scarcely 
 began to be used among the Romans, being Cisalpine, and German or Saxon in its origin, and the 
 terms alba Romana or camisia Ronana being used in Italy to denote the same thing. XVIII. The Pope, 
 to this day, always wears the rochet, which was worn by all Bishops till lately. XIX. The form of the 
 surplice in the xiv. century was large and ample, reaching nearly to the ankles, as the Constitution of 
 Benedict XII. given before, in a note, tends to shew. A diploma of John XXII. a.d. 1333, concerning 
 the dress of Canons, directs that their surplices be made uniformly, and with long sleeves, especially by 
 day. XX. In the xv. century, we find the form of the surplice had begun to be altered. Some bishops 
 wore longer, some shorter rochets, insomuch that the Council of Sens, a.d. 1429, orders 'that 
 they use rochets, not remarkable either for excessive length or shortness.' The Council of Basle, a.d. 
 14.55, ordains, that ' those about to say the Canonical Hours, go into church with a tunic reaching to 
 
 * This can hardly mean surplice, but rather an under garment of some sort. 
 
 J The present Anglican bishop's rochet presents a striking departure from ecclesiastical tradition in this respect. 
 
£>urplito — Cabernadt 
 
 223 
 
 the ankles (cassock), and clean surplices reaching in length below the middle of the shin/ &c* At the 
 end of the xv. century the surplice, according to the custom of the Roman church, was worn reaching 
 to the middle of the shin (ad medias tibias). The rochet in which Boniface VIII. was buried, (and 
 which was over a white tunic,) reached in length down to the ankles (ad talos usque longum fuit.) 
 The provincial Council of Milan, held by St. Charles, a.d. 1567, orders, 'that the surplice be made 
 with wide sleeves, not with narrow ones like a rochet.' At the Council of Aix, a.d. 1587, surplices 
 without sleeves are prohibited, as not deserving the name of surplices. The form of surplice, then, 
 during the xvi. century, was with long sleeves, and ' ductum infra genua fere ad media crura.' XXI. 
 XXII. Andre de Saussay has written much on the surplice, but errs in saying, that the wearing of 
 the surplice began only 600 years ago in the Church, because, though the name began in the xi. 
 century, the linen tunic was in use long before. 
 
 &pit8g0gtft« Two female figures are met with in Christian sculpture ; one of 
 which represents the Synagogue, and the other, the Church. The former 
 is represented blindfold, with a broken sceptre in one hand, and the two 
 Tables of the Decalogue falling from the other. The latter stands with 
 a countenance full of majesty, holding a Chalice in one hand, and the 
 Cross in the other. In some examples, both figures appear crowned 
 equally: but in the older representations the crown is falling from the 
 head of the Synagogue, but firmly placed on that of the Church. 
 
 Cabentade* This word had a variety of significations. It was, 1. a Repository 
 
 in which the Blessed Sacrament might be reserved ; 2. a Reliquary ; 3. 
 
 a Triptych with sacred imagery ; 4. a Niche or hovel for an Image. 
 
 Tabernacles for the Blessed Sacrament. — Of Tabernacles for the reservation of the 
 Blessed Sacrament, there were various kinds. 1st. Those in the form of doves suspended over the 
 altar (See Doves). 2ndly. In the shape of small towers made of precious metals, and sometimes 
 enriched with jewels. St. Remigius, Archbishop of Rheims, ordered by his Will, that his successor 
 should cause a Tabernacle or vase of gold, in the form of a tower, to be made from a golden vessel 
 weighing 10 marks. Fortunatus, Bishop of Poictiers, commended St. Felix, Archbishop of Bourges, 
 who assisted at the fourth Council of Paris in 5 73, for having made a tower of gold exceedingly precious 
 to contain the Sacred Body of our Lord. (See Thiers, Sur les Autels, p. 197.) 3rdly. Suspended 
 Tabernacles in the form of pyxes, described under Dove. 4thly. Tabernacles in the wall like 
 ambries. Many of the ambries we see in old churches were used for this purpose, and were secured with 
 strong doors, covered with wrought iron scrolls. Three very perfect examples of this kind of Tabernacle 
 remain on the continent. One in the chapel attached to St. John's Hospital, Bruges, in the form of a rich 
 stone sepulchre, with perforated brass doors, and provided with metal branches for tapers ; it is situated 
 on the gospel side of the choir, and is still used for the reservation of the Holy Eucharist. Another is 
 on the north side of St. Sebald's church at Nuremberg, and was executed in the early part of the four- 
 teenth century. The Tabernacle or receptacle is about 2 feet 6 inches wide, by 3 feet 6 inches high, and 
 closed by an oak door, covered with scroll hinges and wrought ornamental iron work. The lock is also of 
 
 * " Horas canonicas dicturi, cum tunica talari ac superpelliciis mundis ultra medias tibias longis, vel cappis juxta 
 temporum ac reg-ionum diversitatem, ecclesias ingrediantur, non caputia, sed almutias, et birreta tenentes in capite."— 
 Concil. Basil. Sess. XXI. 
 
224 
 
 most elaborate design, and in the centre of the upper part of the door is a small perforated wicket for 
 the admission of air, protected by iron fret work. Immediately over the door is an image of our Lord 
 Crucified, with the Holy Trinity under a rich canopy, and on either side are two other canopies, with images 
 of our Blessed Lady and St. John. Immediately over the centre canopy is an image of our Lord in 
 Majesty, seated on a rainbow, with two images in adoration, and surmounted by a rich and lofty canopy. 
 On either side of the door are other niches and canopies, with images of SS. Peter and Paul, angels 
 bearing lights, and emblems of the Passion, with some images kneeling in secular habits, probably of 
 those persons at whose cost the Tabernacle was built. Immediately under the door is a row of small 
 canopies over a bas-relief of the Entombment of our Lord. The whole is elevated on three grees or steps, 
 above the pavement of the church. This tabernacle is no longer used for the reservation of the Holy 
 Eucharist, as the church is occupied by the Lutherans ; but this as well as all the other ornaments of 
 this glorious church, are in a most perfect state of preservation. The third is in the church of Helibronn, 
 remarkable for being completely cut through the wall, and opening into the North chapel, with double 
 doors and surrounded on each side by a most elaborate and lofty canopy. 5thly. High detached 
 Tabernacles of stone, standing on the Gospel side of the Choir. Of these there are many fine examples 
 remaining in Germany and Flanders, (1.) In the church of St. Lawrence, Nuremberg, a Tabernacle 
 upwards of 60 feet high, the lower part encompassed with a stone gallery ascended by steps with large 
 candlesticks for tapers, affixed to the front. The Tabernacle itself has three perforated panels of brass 
 gilt, with emblems of the Blessed Sacrament, the centre one forming the door ; above this, the canopy 
 is composed of a multitude of niches, pinnacles, images, and subjects from the Life of our Blessed 
 Lord, executed with wonderful skill by Adam Kraft, the celebrated sculptor of Nuremberg. (2.) 
 A Tabernacle in the great church of Ulm, of nearly the same form, and probably executed by the same 
 artist. Neither of these Tabernacles are now used, the churches being occupied by the Lutherans- 
 (3.) A high standing Tabernacle in the outer Sacristy of Cologne Cathedral, executed in the fourteenth 
 century, and of most beautiful design. There are others of the same description at Bamberg, 
 and several churches in the vicinity of Nuremberg ; and doubtless in many other places. (4.) The 
 Tabernacle at Louvain is exceedingly rich, and quite detached, standing in the centre of an arch on the 
 Gospel side of the Choir ; the canopy is composed of a great number of niches elaborately carved with 
 many images. The doors of the Tabernacle are of brass, and the whole stands on a base surrounded 
 with standards for lights. This splendid monument of piety and devotion is still used for the reserva- 
 tion of the most Holy Sacrament, but how long the innovating spirit of modern times will allow it to 
 remain for its sacred purpose, is most uncertain. Already, and within a short period, the Sedilia, the High 
 Altar and the Altars of the Rood Screen, have been demolished to make way for Italian monstrosities ; it 
 is impossible to divine what further devastations may be in contemplation.* (5.) At the church of Leau, 
 already mentioned in this work, is a Tabernacle of alabaster, standing in the north transept, of a late and 
 debased style, but designed after the ancient tradition with a very lofty canopy full of sacred imagery. 
 Round the base is a rich brass railing, with bowls and prickets for tapers. (6.) On the north side of the 
 choir of that masterpiece of Christian art, the Cathedral of Cologne, stood a Tabernacle of 60 feet in 
 height, coeval with the completion of the choir itself, and designed with all the richness and beauty that 
 characterises the style of that fine period ; but this unrivalled monument of ancient skill, together with 
 the three canopied Sedilia on the Epistle side, were demolished about sixty years ago by order of some Canons 
 of the Cathedral, to mahe room for an iron railing on one side, and three arm chairs on the other! ! ! 
 6thly. Pyxes to contain the Holy Eucharist were sometimes called Tabernacles. St. George's Chapel, 
 
 * It will scarcely be believed, that the demolition of this Tabernacle has been proposed, on account of its not being 
 
 ■placed in the centre of the absis ! ! ! 
 
Cabernarle*— CaUmep, 
 
 225 
 
 Windsor. — u Item, a Tabernacle of silver gilt, with a beryl in the midst, to hold the Body of our Lord, 
 standing on a foot of silver gilt." — Dugdah's Monasticon. 
 Tabernacles as Reliquaries. 
 
 Lincoln Cathedral. — " Item, a Tabernacle with two leaves all of wood, containing a Relique of St. 
 Thomas of Cantilupe, sometime Bishop of Hereford/' — Dugdah's Monasticon. 
 Tabernacles as Triptychs containing sacred imagery. 
 
 Lincoln Cathedral. — Imprimis, one Tabernacle of ivory with two leaves, gemmels, and lock of silver, 
 containing the Coronation of our Lady. Item, a Tabernacle of ivory standing upon four feet, with two 
 leaves, with one image of our Lady in the middle, and the Salutation of our Lady in one leaf, and the 
 Nativity of our Lady in the other. Item, one Tabernacle of wood with two leaves, with an image of our 
 Lady, another of the Crucifixion, Mary and John. 
 
 St. George's Chapel, Windsor. — " Item, one fair Tabernacle, with four columns of beryl, disposed 
 crosswise, in which is an image of Daniel with two lions ; with an image of an Angel on one side, and 
 that of a Prophet on the other ; and in the top, an image of the Blessed Virgin, with our Lord in her 
 arms ; standing on a pedestal silver and gilt, adorned with jewels and green enamels. Item, one 
 fair Tabernacle standing on four lions, containing the image of St. George killing the Dragon, and 
 within, the Birth of our Lord, with the image of St. Joseph, with two enamelled leaves, and the image 
 of St. John the Baptist in the same Tabernacle, and above, the image of the Holy Trinity with two 
 Angels, and in the summit, the Crucifixion with two images silver and gilt ; the whole adorned with 
 many jewels." — Dugdah's Monasticon. 
 
 Tabernacles as rich Canopies or Niches. 
 
 " I bequeath to the image of our Lady in the north ele, a tabernahyll, to be made like unto the 
 tahernahxjl of Seynt John Baptist, on the south side.— Will of T. W. Royche." — Nichol's Illustra- 
 tions, p. 187- 
 
 Cable or Cablet* Tables, signifying folding leaves of metal, ivory, or wood, 
 either of a Diptych or Triptych form, which were used by the Church for 
 various purposes. 
 
 The most ancient were those of ivory mounted in gold and silver. These are mentioned in the Will 
 of St. Everard, who bequeathed to his eldest son, out of his chapel ornaments, Tablets of ivory adorned 
 with gold ; and to his second son, Berengarius, he leaves Tablets adorned with gold and silver for singing 
 from. — (See Georgius de Lit. Rom. Pont. Tom. I. cxxvi.) 
 
 Tables with Reliques are also mentioned. St. George's Chapel, Windsor. — " Item, a Table standing 
 always on the High Altar, with two leaves silver and gilt, having the Crucifixion and inscriptions in 
 tracery work on one side, and many Reliques on the other, with a wooden back." 
 
 Also tables of imagery. St. George's Chapel, Windsor. — " Item, a Table of wood standing on the 
 small altar in the north aisle near the High Altar, with plates and images of copper gilt, containing the 
 Passion of St. George." — Dugdah's Monasticon. 
 
 St. Mary Dill, London. — " Item, a gylt Table of the Trynete for to set on the High Aulter " — 
 Nichol's Illustrations of Ancient Times, p. 115. 
 
 Casisfels* Tassels are used for the fastenings of dalmatics and tunics, for 
 girdles, sometimes for the ends of stoles and maniples, the hanging part 
 of canopies, &c. 
 
 CaU)nep* A brown colour, formerly used for vestments. (See Black.) 
 
226 
 
 Cert, The Holy Gospels, together or separate, were anciently called Texts. 
 
 These were not only frequently written in letters of gold or silver on purple leaves, but they were covered 
 with plates of gold and silver, richly embossed with sacred imagery, and set with jewels and enamelled 
 bosses, among which the symbols of the Evangelists themselves were most conspicuous. They were 
 reserved in small Shrines, called Capsa? Evangeliorum, and kept in the Sacrarium, or Sacristy. The 
 same care and reverence was shewn to the sacred Canon of the Mass, which Georgius (De sacro 
 MissoB Canone) declares to have been frequently written in letters of gold, either as a separate book,* 
 or at the beginning of Sacramentaries. The Holy Gospels were among the sacred Liturgical Books. 
 (See Missal.) 
 
 Books of the Holy Gospels. Extract from Georgius. — " There was, among the early 
 Christians, the same reverence for the sacred Liturgical Books, as for the vessels wherein the Holy 
 Mysteries were celebrated. As an example may be taken the Book of the Holy Gospels, from which 
 the Gospel in the Mass was read or sung by the deacon. These Books of the Holy Gospels were 
 frequently written in letters of gold or silver, and overlaid with plates finely wrought and adorned with 
 jewels ; and were enclosed in shrines, enriched with gold and silver, and precious stones. Anastasius 
 relates that Justin the Emperor sent to Rome, in the Pontificate of St. Hormisdas, ' many presents of 
 gold or of silver : — the Gospels with plates of gold and precious stones, weighing xv. pounds/ " 
 
 Written in Letters op Gold. — The same Anastasius relates that the Emperor Constans, a.d. 
 657, ' sent to the Blessed Apostle Peter the Gospels in gold (aurea), set all round with white jewels' 
 (crystals and beryls) 'of extraordinary size.' Gregory III., a.d. 731, ' had the Gospels transcribed in gold, 
 and adorned with jewels, weighing xv. pounds.'t Charlemagne, a.d. 800, when he was crowned 
 Emperor by Leo III., offered among other gifts to the Lateran Basilica, 'a Book of the Gospels of the 
 most pure gold, enriched with jewels.' The above Leo III. 'caused to be made for the Church of 
 St. Peter, his patron, the Gospels in gold, with green and purple gems of wondrous beauty, set all 
 round, weighing xvii. pounds iv. ounces.' About this time, we find among the treasures of the 
 Monastery of Centule, ' A copy of the Gospels written in gold, with plates of silver, and marvellously 
 adorned with gold and precious stones.' Wido, Abbot of the Monastery of Fontenelle, who died a.d. 
 787, 'left at the disposal of the Church a shrine of the Gospels, which he had ordered to be made, 
 ornamented with gold, silver, and jewels.' Also ' three cushions of silk, to be placed under the Gospels.' 
 St. Ansegisus, Abbot of Fontenelle, offered, a.d. 831, a copy of the Holy Gospels, to the Church of his 
 Monastery. The words in his life are : ' He ordei'ed to write the four Gospels in gold, on purpled vellum, 
 in the Roman character : of these he completed St. Matthew, St. John, and St. Luke, but death inter- 
 rupting, he left the other one unfinished, to wit, the Gospel of St. Mark.' There are many very early 
 examples of the vellum being dyed purple for these MSS. St. Jerome in his Epistle to Eustochius, informs 
 us of this practice, where he says : ' The parchments are stained with purple, the liquid gold runs into 
 letters (aurum liquescit in literas) ; the volumes are bound with jewels.' The sacred books of the Septua- 
 gint, also, were written on the finest vellum, and in letters of gold. St. Ephrem (Paraen. xlvii.) relates 
 that Monks were wont to devote their time to staining vellum with this purple colour. Parchments so dyed 
 are called ' membranes pui'pureai, et chartce coccinea?, or crocea*.' In the Life of St. Wilfrid, Archbishop 
 of York, a.d. 669 — 709, by a contemporary, we read: 'Our holy bishop added also to the glory 
 of the House of God a marvel unheard of before in our days : for he ordered that the four Gospels 
 should be written in the most pure gold on purple coloured vellum, for the welfare of his soul ; and 
 
 * Mabillon De re Diplomatica. I. 10. v. 6. 
 
 f ' Fecit Evangelia aurea cum g-emmis pens. lib. xv.' 
 
Cert. 227 
 
 also gave orders to the jewellers to frame a binding for those Books, which should be made all of most 
 pure gold and gems of rarest price/ But the Gospels being written in a very large character, it was 
 usual for convenience to bind up only one, or two, or three of them in one volume. When all four 
 were contained, the book was called e Evangelium plenarium,' or c Evangeliarium,' or ' Evangelisterium 
 which sometimes, however, signified a book, containing only the portions of the Gospel which are 
 read in the Mass. 
 
 Bound in the most sumptuous covers. — The Book of the Gospels like other Liturgical 
 Books, was often bound in covers of carved ivory. A fine example is to be seen in the Vatican 
 Library of a MS. (marked N°. l.), containing the Gospels of SS. Luke and John in golden letters, each 
 enclosed in a square, upon purple vellum, lined Avith blue lines. It is covered on one side with 
 a leaf of ivory, artificially wrought with carved work, on which is seen a figure, in a toga, holding 
 in the left hand a book, with the right hand in an attitude of Benediction, between two youths 
 on either side, who hold in one hand a spear, and in the other a book. Above is seen a cross of 
 ivory in a circle, the rim of which the two youths support. In the bottom part is seen carved, the 
 Blessed Virgin with the child Jesus in her arms, to whom three men are offering gifts. On the other 
 side, the Book is covered with a plate of silver gilt, in the midst of which an image of the Crucified is 
 
 fixed with nails with this inscription : +aspice pendentem, 
 crucifigas in cruce mentem. In the angles of the cover 
 are the Symbols of the four Evangelists. The MS. is 
 supposed to be of the time of Charlemagne. Inside is an 
 inscription stating that it was re-bound (renovatas ac ligatus) 
 a.d. 1079. The Emperor Charlemagne gave to the Monas- 
 tery of Anianae, a Book of the four Gospels, called a Text, the 
 covers of which are wrought with exquisite beauty, so that 
 one had a golden circle of amber set therein, the other was 
 enriched with exquisitely wrought carving in ivory. The 
 which Book the master and tutor of the aforesaid king 
 Alcuin, also called Albin, a man perfectly skilled in all polite 
 learning, had written with his own hand.' a.d. 855. Lothaire, 
 King of France, having embraced the religious life in the 
 Monastery of Pruym, offered to that Church, among other 
 gifts, £ A Book of the Gospels in ivory covers, inlaid with 
 gold, and set with crystal and jewels.' This MS. Martene saw, a.d. 1718. Arnulphus, King of 
 Germany, a.d. 892, gave to the Monastery of St. Emerammi, Books containing the whole Gospels 
 (Evangeliorum libri plenarii) covered with gold and jewels, written, illuminated (scripti, picti), und 
 adorned in every way ; one of which is eighteen inches in height, and so heavy, that you would not 
 easily find its equal.' Riculfus, Bishop of Elns, left to his Church, a.d. 915, 'one Text of the 
 Gospels.' Many other examples are cited. In the beginning of the xii. century, Rupert, Bishop of 
 Tuy writes thus : — ' Books of the Holy Gospels are deservedly adorned with gold and silver, and 
 precious stones, for in them shines the gold of heavenly wisdom, and the eloquence of truth has the 
 brightness of silver, and as precious stones is the effulgence of the miracles, which the Hands of Christ 
 have wrought.' We have seen the reverence of our forefathers in the Faith, for the text of the Holy 
 Gospels, in' the letters of gold, and the rich covers wherewith they adorned these books. We come, 
 now, lastly to consider — 
 
 The Shrines in which the Gospels were anciently kept. — These were called capsce, and 
 camisice. It is recorded of Childebert I. King of France, early in the vi. century, that he carried off 
 
22s 
 
 from Spain ' 20 Shrines, containing Books of the Gospels, wrought of the purest gold and jewels.' 
 A clearer account is found in the Chronicle of Centule, concerning the treasury of St. Riquier, wherein 
 was kept £ a copy of the Gospels, written in gold, with a silver Shrine, made with jewels and precious 
 stones. Also two other shrines of the Gospels, encircled with gold and silver, with the addition of a 
 roof (faldone) of silver to complete them.' Riculphus, Bishop of Elns, a.d. 915, left to his church 
 £ Four Shrines (camiske) for the Text and the Missal ; one purple with gold ' The Book of the Gos- 
 pels is called sometimes in old monuments, ' Textevangelium ;' but more often simply 'Textus.' 
 There were added generally to the Text of the Gospels, either at the beginning or the end, the first 
 and last words of each Gospel of the Missal, throughout the year, with some introduction as ' Incipit 
 Capitulure Ecangcliorum anni circuit;' which is found in a Text preserved in the Vatican." 
 
 Among the most beautiful examples of ancient Texts, which have escaped destruction, we may 
 mention that in the treasury of Aix-la-Chapelle, covered with plates of silver gilt, and richly enamelled; 
 the leaves are purple, with the four Gospels written on them in letters of gold. Two Texts covered 
 with plates of silver, parcel gilt, and adorned with stones, in the sacristy of Mayence Cathedral. One 
 in the Musee of Charles the Tenth, at Paris, with an ivory tablet, artificially wrought, bordered with 
 silver and gilt plates, set with stones, and beyond this a border of crimson velvet, with silver gilt 
 corners. The late Dr. Butler, of Lichfield, possessed a beautiful Text of the twelfth century, covered 
 with silver plates, set with stones, and in one of the covers, a cavity, containing Reliques. Gerbert, in 
 his Liturgia Alemannica, has figured in Plate I. a precious cover to a Text, embossed with the four 
 Evangelists, the Majesty, the Apostles, images of angels, and rich foliage. Two images of deacons on 
 the south porch of the Cathedral at Chartres, are represented as holding books of the Holy Gospels, 
 with exceeding rich covers, set with stones. These are figured in Willemin's Monuments Inedits, and 
 one of the covers, large size, in the 1st vol. of Shaw's Dresses and Decorations. 
 
 Inventory of St. Paul's Cathedral. — "A Text of the Gospels in great letters, adorned with silver 
 outside, with a Cross and images of SS. Mary and John at the sides, of embossed work, on the upper 
 cover ; and with a Majesty, and the four Evangelists engraved, and gilt, on the under cover. A Text 
 of Henry Northampton in great letter, adorned outside with plates of silver gilt, with the Crucifix and 
 lateral images of embossed work on the upper side ; and with an Image of the Majesty enamelled in 
 black (nigellata) on the under side. A Text of the same Henry, in fine letters, adorned outside with 
 plates of silver gilt, with the Crucifixion on the upper side, and the Majesty enamelled in black on the 
 under side. A Text of the same Henry, with Epistles, adorned with plates of silver gilt outside, with the 
 Crucifix on the upper side, and the Majesty on the lower in flat work. A Text called Trenchbarbe, 
 of ancient letter, adorned inside with images, representing the Mysteries of the Gospels, and covered 
 outside with plates of silver gilt, with the Crucifix, Mary and John, in embossed work, and on the under 
 side inscribed Implementum de Sandone. A Text written in ancient letters, adorned only on the upper 
 side with plates of silver gilt, and the Crucifix, Mary and John, in embossed work. A Text with the 
 Majesty and silver plates on one side and wood on the other, containing Officialia Episcopi ad Consis- 
 torium. A Text of the Holy Gospel according to St. Matthew only, adorned on the upper side with 
 plates of silver, and the Ascension of our Lord, with images of the Blessed Virgin and the Apostles 
 looking upwards, in enamelled work. A Text of the Holy Gospel according to St. Luke, written in fair 
 letters, ornamented only on the upper side, with plates of silver gilt, with images of the Majesty and 
 four angels, in enamelled work. A Text of the Holy Gospels according to St. Mark and St. John, written 
 in fair letters, adorned on the upper side w r ith plates of silver gilt, with the Majesty and four angels in 
 raised silver work. A Text of the four Gospels, written in fair letters, adorned on both sides with plates 
 of silver gilt, the Crucifixion on the upper side in embossed work, and the Majesty enamelled on the 
 under side." — Duydale's History of St. Paul's. 
 
Cert— CO rones. 
 
 229 
 
 Inventory of Lincoln Cathedral. — " Imprimis, Text after Matthew, covered with a plate silver and 
 gilt, having an image of the Majesty with the four Evangelists, and four angels about the said image, 
 having at every corner an image of a man with divers jewels. Item, a Text after John, covered with a 
 plate silver and gilt, with an image of the Crucifix, Mary and John, having twenty-two stones of divers 
 colours, &c. Item, a Text after Matthew, covered with plate of silver, having a Crucifix, Mary and 
 John, gilt, and two angels, &c. Item, a Text after Mark, covered with plate of silver, having a Crucifix, 
 with Mary and John, with two images, gilt. Item, three Texts for Lent, and the Passion, one of 
 which beginneth in the second leaf, as Autem : another in the second leaf, Hos antem, and the third 
 covered with a linen cloth with a red rose, beginning in the second leaf, In quo vox." — Dug dale's 
 Monasticon. 
 
 Texts for the Holy Gospels formerly belonging to Canterbury Cathedral. — "Textus magnus auro 
 coopertus, et gemmis ornatus, cum Majestate in medio, et 4 Evangelistis in 4 angulis. Item, Textus 
 auro coopertus, et gemmis ornatus, cum Majestate in medio, et 4 angelis eburneis. Item, Textus in 
 medio, auro coopertus et gemmis ornatus, cum Majestate eburnea in medio, et 4 Evangelistis argenteis 
 et deauratis in 4 angulis. Item, Textus in medio, auro coopertus, cum Crucifixo argenteo et deaurato, 
 et 2 imaginibus a dextris et a sinistris. Item, Textus in medio, auro coopertus, et Majestate et 2 
 angelis, et angelo et Maria argenteo et deaurato. Item, Textus in medio auro coopertus, cum Majestate 
 et 2 angelis, et angelo et Maria argenteo et deaurato stantibus in tabernaculis, cum 4 platis auri oblongis 
 et 4 platis auri rotundis in circumferentia. Item, Textus sine libro in medio auro coopertus, et gemmis 
 ornatus, cum Crucifixo eburneo, et Maria et Johanne eburneo, et auro fibulatus. Item, Textus magnus 
 qui dicitur Domus Dei, argenteus, coopertus et gemmis ornatus, cum Crucifixo, Maria et Johanne, 
 eburneo, et alba camaeo sub pede Crucifixi, cum 4 Evangelistis in 4 angulis. Item, Textus Edmundi 
 Comitis Cornubiae, argento deaurato, coopertus, et gemmis ornatus, cum Crucifixo Maria et Johanne 
 argento et deaurato. Item, Textus argenteus de auro coopertus cum Majestate in medio tenente crucem 
 in manu. Item, Textus argenteus, deauratus, -coopertus, cum Crucifixo, Maria et Johanne, luna et 
 stellis argenteis deauratus. Item, 2 Textus minores ejusdem operis argentei, deaurati, cooperti et 
 gemmis ornati : unde unus cum Majestate in medio, et 4 Evangelistis in 4 angulis, et alius cum imagine 
 argentea et deaurata stante in medio, et 4 capitibus argenteis in 4 angulis. Item, Textus magnus, 
 argento, non deauratus ; coopertus, gemmis ornatus cum Majestate in medio, et 4 Evangelistis, cum 4 
 angelis in 4 angulis argenteis et deauratis. Item, Textus cum psalterio Sancti Thomae, deauratus, 
 coopertus, gemmis ornatus in circumferentia, cum Majestate eburnea tenente librum in medio, et 4 
 Evangelistis sculptis. Item, Textus argento deauratus, coopertus, cum Crucifixo Maria et Johanne pro- 
 tractis (puui trayed). Item, Textus parvus argenteus, non deauratus, coopertus, cum Crucifixo Maria 
 et Johanne protractis. Item, Textus cupro deauratus, coopertus, gemmis ornatus, cum Majestate stante 
 tenente lanceam cum vexillo in dextra manu. Item, Textus cupro deauratus, coopertus, cum Majestate 
 in medio, et 3 imaginibus in tabernaculis, et 2 angelis argenteis et deauratis, et 4 Evangelistis in 4 
 angulis de cupro deauratis. Item, Lapis onychinus quadratus, argento deaurato et gemmis ornatus, cum 
 saphiro et 4 margaritis in medio. Item, Lapis jaspidis quadratus Edmundi Comitis Cornubiae, argento 
 deaurato sine gemmis ornatus. Item, Textus lingneus sine libro, argento deauratus, coopertus et 
 gemmis ornatus cum Annunciatione, Oblatione in templo, et aliis imaginibus deNativitateChristi argenteis 
 et deauratis. Item, Angelus longus eburneus, in ligno coopertus de cupro. Item, Textus lingneus 
 sine libro coopertus, argento deauratus, cum martyrio Sancti Thomae. Item, Textus ligneus coopertus 
 cupro deaurato, cum Majestate, et 4 angelis et 4 Evangelistis." — Dart's History of Canterbury 
 Cathedral. 
 
 €()rone$. See Angel. 
 
230 
 
 Cfjurtfile* 
 
 €l)UTti)Ie* A vessel suspended by chains, held in the hand for burning incense, 
 and used at Mass, Vespers, Benedictions, Consecrations, Processions, 
 and other solemn Offices of the Church. 
 
 Georgius. — Thuribles are often mentioned in the sacred Scriptures as used under the Old Law in 
 the Temple of Solomon, and the Church has adopted them in the celebration of the Sacred Rites from a 
 very early period. They occur in Ecclesiastical writers under the names of thymiaterium, thuricremium, 
 incensorium, fumigatorium. Incensorium is also sometimes used of the Incense-ship, which is generally 
 called acerra. They consisted, in large churches, frequently of silver and gold. Constantine the Great 
 offered to the church of St. John Lateran, ' ii. Thuribles of most pure gold, weighing xxx. pounds.' 
 The same Emperor gave to the Baptistery of the Lateran, e a Thurible of most pure gold, weighing x. 
 pounds, set round with green and purple jewels, 42 in number.' St. Sixtus III. gave to the Liberian 
 Basilica, a silver Thurible, weighing v. pounds. Pope Sergius, a.d. 690, caused to be made ( a large 
 golden censer, with pillars and cover, which he suspended before the image of St. Peter, in which the 
 
 fragrance of incense is offered abundantly to God, 
 during Mass on principal feasts.' Charlemagne, 
 c. a.d. 785, gave to the Monastery of Charroux, 
 ' three golden crosses, and seven golden Thuribles.' 
 About the same time, in the Treasury of the 
 Monastery of St. Trudo were ' seven silver Thuri- 
 bles, and two silver ships to carry incense.' And 
 in the Treasure of Mayence, according to the 
 Chronicle of Bishop Conrad, were ' ten silver gilt 
 Thuribles, and one of gold, weighing three pounds : 
 and eleven ships, one of which was formed of a 
 single onyx, made like a dragon, with the hollow 
 in the back, round which was a rim of silver, in- 
 scribed with Greek letters. In the forehead of 
 the dragon was a large topaz, and two carbuncles 
 for the eyes.' Riculfus, bishop of Elns, left to his 
 church, a,d. 915, ' two censers, with silver chains.' 
 In the Monastery of Centule there were a.d. 830, 
 ' four silver censers, adorned with gold.' — See 
 Evagrius, Hist. Eccles. L. IV. c. 
 
 Inventory of Lincoln Cathedral. — "Imprimis, 
 one pair of great Censers, silver and gilt, with 
 heads of Leopards, with six windows, wanting two 
 leaves and one pinacle, and the height of three 
 pinacles, with four chains of silver, ungilt, with one knop wanting a leaf, and having two rings, one 
 greater, and a less, weighing eighty-eight ounces and half quarter. Item, a pair of Censers, silver and 
 gilt, with eight leopards' heads in the cup, and eight in the covering, with five pairs of silver, a knop with 
 two rings, weighing fifty-three ounces and half. Item, a pair of Censers, silver and gilt, with three 
 leopards' heads, and one Scripture, Soli Deo honor et gloria, with four chains of silver ungilt, a boss, 
 and two rings, wanting the height of one pinacle, and part of the knop of one pinacle, and part of one 
 window, weighing thirty -six ounces. Item, two pair Censers, silver and gilt, of bossed work, with four 
 
Cburffile*— data* 
 
 231 
 
 chains of silver, and every one of them a boss with two rings ; having six windows, and six pinacles ; one 
 weighing thirty-nine ounces one quarter and half, and the other weighing three and thirty ounces. 
 Item, a Ship, silver and gilt, with two coverings, having two heads, wanting six pinacles and one flower, 
 having a spoon with a cross in the end; weighing with the spoon thirty-three ounces and a quarter. 
 Item, two pair of Censers of silver of bossed work, with six pinacles, and six windows, and every of 
 them having four chains of silver, two bosses and two rings.'' — Dugdale's Monasticon. 
 
 York Minster. — " Item, two great silver Censers, gilt, with the upper windows enamelled, and heads 
 of leopards for the emission of smoke, the gift of the Lord Thomas Arundel, Archbishop of York, 
 weighing 1 6 pounds 6 ounces and a half. Item, a new silver Censer, gilt, with small silver roses about 
 the upper shell ; the gift of Mr. Stephen Scrope, weighing four pounds 8 ounces and a half. Item, two 
 silver Censers of one make, with open windows on the upper shell, and containing cups of wrought 
 iron, weighing 8 pounds and 9 ounces. Item, a new gilt Censer, with small silver roses about the upper 
 shell ; the gift of the executors of Mr. Robert Weldon, once treasurer of this church, weighing 4 pounds 
 and a half. Item, a Ship of silver to hold incense, with one spoon of silver gilt, weighing 2 pounds and 
 half an ounce." — Dugdale's Monasticon. 
 
 Inventory of St. PauVs Cathedral. — " Two Thuribles of silver, entirely gilt outside, with engraved 
 and embossed work, with hanging work and turrets, and 16 small silver bells hanging to them, with 
 chains of silver, ungilt, weighing xi. marks, xx d . Item, two Thuribles of silver, with massive silver 
 chains, entirely gilt outside, having church work and round turrets, and engraved bands, weighing xvii. 
 marks and a half. Item, two Thuribles of silver, entirely gilt outside, ornamented with pine apples 
 (pinonato) and chains of silver, weighing viii. marks and v s . Item, two Thuriblesof silver, gilt 
 outside, with chains of silver, ungilt, ornamented with spiral work, and pine apples (cocleato et 
 pinonato) weighing v. marks ix s . A Ship of silver, engraved and parcel gilt, having the head of a 
 dragon in the upper end, with a spoon and small chain of silver, weighing xxx s ." — Dugdale's History of 
 St. Paul's. 
 
 The ancient Thuribles were most exquisitely wrought, with ingenious contrivances of small perfo- 
 rated work for the emission of smoke ; their feet or bases were generally low, and broad enough to keep 
 them upright when placed on the ground. Their tops should be so designed that the turrets and 
 perforated work do not entangle the chains by which they are swung ; the lower cup should contain 
 a moveable iron pan to receive the ignited charcoal. Representations of ancient Thuribles are often 
 found in pictures of the early German and Flemish schools. Martin Schoen engraved a most elaborate 
 Censer of exquisite design, and this print which had become exceedingly rare, has been faithfully copied 
 in the 2nd volume of Shaw's Dresses and Decorations. A finely wrought silver Thurible is preserved in 
 the sacristy of the great church at Louvain, and still used occasionally. A pair of silver Thuribles of 
 the fourteenth century, that formerly belonged to the Cathedral of Basle, are now in the possession of 
 Colonel Theubet. A copper Thurible of the twelfth century, which has been richly enamelled, was 
 lately discovered in excavating the ruins of Alton Castle, Staffordshire, and is now in possession of the 
 Earl of Shrewsbury. There are many ancient Thuribles of various dates, preserved in the royal and 
 other collections at Paris. 
 
 Ctanu A triple Crown which the Pope wears in public, on certain occasions, 
 as a sign of his Temporal Power. 
 
 Georgius. — The Roman Pontiff, from a very ancient period, in addition to a Mitre, wears also, on 
 certain days and occasions, a Tiara, which is at the present day ornamented with three crowns or circles 
 of gold, and sometimes set with jewels. This is called by old writers, tiara, pkrygium, regnum, and 
 papalis mitra. The generality of writers derive the custom of wearing this crown from a fictitious 
 
2-2:1 
 
 Ci'ara.— Censure, 
 
 grant of the Emperor Constantine, and therefore think that St. Silvester was the first who used it. 
 Papebroche however, contends that it has nothing to do with any gift of Constantine, although he 
 ascribes the origin of its use to St. Silvester: who assumed it, he says, as an emblem of the Royal 
 Priesthood conferred on the chief of all Christian Priests. It was made with a single band of gold 
 encircling it. Boniface VIII. added a second crown, to denote the prerogative of spiritual and temporal 
 power, and Urban V. added a third, in reference to the mystical number three. Du Cange is not to be 
 followed in thinking that this Crown was worn by the Popes, from the circumstance of Clovis, King 
 of France, a.d. 514, sending a crown (regnum) as an offering to the Blessed Apostle Peter : for the word 
 regnum had no such meaning as a crown for the head till after the vii century. Bruno, about the end 
 of the xi. century, says that, ' the Roman Pontiff, on account of his supreme authority, both wears a 
 crown (regnum.) and is vested in purple.' Sugerius describing the Tiara of Innocent II. a.d. 1131, 
 calls it, ' Phrygium, ornamentum imperiale, instar galeae, circulo aureo concinnatum.' It is called Tiara 
 in the xi. century : and mitra in the Acta Vaticana of the xii. century. Concerning the times of wearing 
 the Tiara, Innocent III., speaking of the Consecration of the Pope, says: 'For a sign of 
 Spiritual Power He bestowed on me, a Mitre, for a sign of Temporal Power he gave me a Crown 
 (coronam) ; a Mitre also for the Priesthood, a Crown for the Kingdom, appointing me Vicar of Him, 
 who 'hath in His garment, and on His Thigh written: King of kings, and Lord of lords,' 
 (Rev. xix. 16.), 4 a Priest according to the Order of Melchisedec' Ps. cix. 4. And again, of St. 
 Silvester he says : 'The Roman Pontiff uses the Tiara (Regnum) as a sign of Empire, and the Mitre as 
 a sign of his Pontifical Powers : but the Mitre he uses always and every where : but the Crown neither 
 in all places, nor at all times,' &c. Durandus says : ' He uses not the Tiara, except on stated days, and 
 in stated places; never within the church, but without.'' The Caeremoniale S. R. E. has these words; 
 ' This Tiara the Pope uses on great solemnities in going to church, and returning : but never in time 
 of Service.' 
 
 Conjure* A preparatory rite, or disposition for receiving Orders ; by which 
 the crown of the head is shaven, and the clerical character conferred. 
 
 The size and form of the Tonsure has differed in different ages. It is larger, also, as worn by the 
 higher orders of Clergy, than by the inferior ones : and larger again and more ample for the religious 
 orders, than the secular clergy. Its origin is often referred to St. Peter, who is usually depicted as 
 tonsured, even in early monuments. 
 
 Mabillon, Annales Benedictini, Lib. XV. c. 32. a.d. 6G4. — e In the following year Venerable Bede 
 relates the contest of St. Wilfrid with Bishop Colman, about the rites of the Scots ; who being confuted 
 by him, but not convinced, preferred retiring to the Monastery of Ripon, which was permitted them, to 
 relinquishing their national customs. Their peculiarities consisted chiefly in their mode of keeping 
 Easter, and of wearing the Tonsure. In the form of the Tonsure the difference was considerable. The 
 Roman Priests, tonsuring the whole upper part of the head, wore only a small circle of hair below, like 
 a crown, after the example, as they thought, of St. Peter, while the Greeks tonsured their whole heads, 
 leaving no hair at all, in imitation, as they considered, of St. James, St. Paul, and the other Apostles. 
 But the Britons and Scots shaved the front part of the head, from ear to ear, wearing no Tonsure behind; 
 for which they boasted the example of the Apostle St. John.' — See the figure of St. Mummolinus, in 
 Mabillon, Book xvi. p. 528. 
 
 The same, Lib. XV. c. 63. a.d. 668. — 'Theodore being now approved, and determined on for the 
 Briitsh Mission, Vitalianus, the Roman Pontiff, resolved to consecrate him Bishop. Accordingly, having 
 first received sub-deacon's orders, he waited for four months, till his hair should grow, that he might be 
 tonsured in the form of a crown, after the Roman manner, as he had hitherto worn the Greek Tonsure 
 
Consul?.— CotoelL 
 
 of the Eastern Church. For the Greek monks at that time shaved the whole head, and not the top 
 only ; in imitation, so at least they thought, of St. James, the brother of our Lord, and St. Paul. — 
 Which Ratramn asserts to be the case with all the Greek clerics, ' whose custom it is,' he says, e not to 
 shave the beard, but to cut off the whole hair of their heads.' 
 
 Gerbert, Vet. Lit. Alemannica, P. I. c. 3. — 'The same Tonsure as Mabillon describes the Roman 
 one to be, in accordance with Canon 40 of the IV. Council of Toledo, exists in old German monuments, 
 both of clerics and monks. This rule is, that all " clerics and lectors, as well as deacons and priests, 
 having the whole upper part of their head shaven, wear only a circular crown of hair below." The 
 Tonsure in the x. xi. and following centuries was much contracted in size (see the Extract from Sarti, 
 on the Diptych Chasuble at Verona, under Chasuble), the severer Monastic orders alone retaining 
 the ample Tonsure of the earlier age. Ratherius, of Verona, complaining of the clergy of his time, in 
 the x. century, says : ' They differed in appearance from laics, only by having their beards and the 
 crown of their heads shaven, and by a slight distinction of dress.' 
 
 Georgius. — ' In a MS. of the ix. century in the Vatican Rhabanus Maurus, and Albinus (Alcuin), 
 are represented as receiving the blessing of St. Martin ; and all three are pictured with the ample 
 Tonsure of Monks, in the form of a crown. 
 
 De Vert. — ' All Christians, in the first ages, wore their hair short, laity as well as clergy. This mode 
 was copied from the Romans. When, afterwards, the barbarians overran Southern Europe in the iv. 
 century, it became customary to let the hair grow long in imitation of them. The clergy, however, and 
 the monks retained the old fashion, cutting the hair short, and even shaving the back of the neck, as far 
 as the ears. When to this fashion of wearing the hair was added the Tonsure at the Crown of the head, 
 the hair left was in modum corona, as ritualists speak : and this was considered, in course of time, by 
 way of distinction, the Roman clerical Tonsure : though, as above explained, the lower Tonsure was 
 not, in its origin, ecclesiastical.' 
 
 Ql>QXI\)Z& are lights carried in various ecclesiastical processions, properly formed 
 by four wax candles twisted together at the bottom, whence their name 
 (intorticia). 
 
 They are thus represented in ancient examples ; and are made in this manner, at Rome, in the 
 present time. Tapers, in the same manner, are wax candles of a tapering form. (See Wax.) 
 
 Coluell* The word towell, as used in the old inventories, has three signifi- 
 cations. 
 
 1st. It means the rich covering of silk and gold, which used to be laid over the top of the altar, except 
 during Mass. 
 
 St. George's Chapel, Windsor. — Item, a blest Towell for the High Altar, of black silk, with gold 
 stripes. Item, a Towell of white silk, with gold stripes. 
 2ndly. It refers to linen altar cloths. 
 
 St. George's Chapel, Windsor. — Item, 2 towells of cambric, having black crosses in the middle of 
 them. Item, 14 towells of linen for the High Altar. Item, 8 towells of linen for the small altars. Item, 
 one apparell for the altar towell, embroidered with shreds and lozenges. Item, of the gift of King 
 Richard, a Vestment, containing an Auter cloth, with the Crucifixion, Mary and John, and an auter 
 cloth of the same suit ; one towell with an apparell, and one without an apparell. Item, 5 small towells 
 for wiping the hands. 
 
 2 H 
 
234 
 
 Cotoen*— Crtm'tp. 
 
 Inventory of old St. Paul's. — Belonging to the Altar of St. Chad. Item, 2 blest towells. " 2 towells 
 of linen, with the ends bordered with silk, for wiping the hands, at the High Altar. These were called 
 Tuallias abstersorire." — Di/gdale's Monasticon. 
 
 St. Mary Hill, London. — Item, a fyene drab towell, hole, conteyning in length 6 yards 3 qrs. ; in 
 brede an ell, with a blewe laye* at eyder ende. Item, a fyne drab towell of cheker worke, conteyning in 
 length 6 yards do. ; in brede do. a yard do. qr., chekred at both endes with blew and tawney. Item, a 
 fyne drab towell, conteyning in length 3 yards 3 qrs. do. ; in brede 3 qrs. ; with 3 blewe keys at the 
 one end. — NichoPs Illustrations, p. 116. 
 
 These Towells or altar cloths were often furnished with an apparell, or rich piece of work to fasten 
 on the front edge, which hung over the altar. 
 
 3rdly. The word Towell used in its ordinary acceptation to signify linen cloths for wiping the hands. 
 
 CoU)tt.\ A Tabernacle (see Tabernacle) ; also an emblem of St. Barbara 
 (see Emblems) ; also a case in which the Chalice, Paten, Cannula,-^ and 
 other sacred vessels were often kept. 
 
 In the early ages of the Church, a tower of this description was termed Ministerium. See Thiers 
 sur les Autels, p. 198, 199. 
 
 CnangU* An equilateral Triangle is a symbol of the Holy Trinity, and many 
 figures in Christian ornament are constructed on this principle. (See 
 Plate ix.) 
 
 The equilateral Triangle is found in the most beautiful arches, in the proportions of the churches 
 themselves ; and next to the Cross it is the most important form in Christian design, 
 
 CrilUtp* Representations of the Mystery of the Holy Trinity are not un- 
 frequent in Christian art.'|_ 
 
 The usual image consists of the Eternal Father, with a triple Crown, seated on a Throne, the Right 
 Hand in the act of Benediction, and an Orb in the left, our Lord Crucified in front, and the Holy Spirit 
 under the form of a Dove resting on the cross. Another image of the Holy Trinity, a Head with three 
 Faces, has been solemnly condemned by Pope Urban the Eighth, in 1628. J. Latonus (a learned 
 theologian of Louvain), in his Treatise De Cultu Imaginum, denounces it in the strongest terms ; and 
 Antoninus, Archbishop of Floi'ence, calls it Monstrum in rerum natura. There was also an image of the 
 Holy Trinity that has been strongly disapproved, although not formally condemned; which might have 
 led the ignorant into error regarding the Incarnation of our Lord.§ One of the most expressive 
 Symbols of the Holy Trinity is figured at Plate LIX. 
 
 Didron's Iconographie Chretienne has treated this subject at great length. He distinguishes four 
 periods in the history of Christian art, and assigns a different manner of representing this mystery to 
 
 * See borders of altar cloths, Plates XVI. XVII. 
 
 f A silver tube through which the faithful received the Communion of the Chalice, called also fistula, and 
 calamus. 
 
 \ DAgincourt has figured two early representations of the Holy Trinity at Plate CXX. Peinture, and Plate CXXIII. 
 
 § An Image of this description is mentioned in the Antiquities of Durham Abbey. ' Over that altar was a most lively 
 and beautiful image of our Lady, which was made to open with gimmers from her breast downwards, — that every man 
 might see pictured within her the Father, the Son, and the Holy Ghost.' 
 
235 
 
 each of them. The first period comprehends the first eight centuries after Christ. In this, according 
 to him, we find the Eternal Father, the Son, and the Holy Ghost separately represented, in the cata- 
 combs and other monuments, but rarely together. Some verses of St. Paulinus, however, in the fourth 
 century, describe a Trinity, in a Mosaic of the Basilica of St. Felix at Nola, built by St. Paulinus him- 
 self. The lines are : — 
 
 " Pleno coruscat Trinitas mysterio : 
 Stat Christus Agno : Vox Patris coelo tonat : 
 Et per Columbam Spiritus Sanctus fluit," &c. 
 
 Here we have a full recognition of the principle of making a visible representation of the Holy Trinity, 
 in the practice of the Church, and the testimony of a Saint, of the fourth century. This example of St. 
 Paulinus was copied in the church of SS. Cosmas and Damian, at Rome, in 530; and in St. Mark's, at 
 Rome, in 774 ; in the Cathedral of Padua, towards the end of the eighth century ; and from that time 
 till the 13th century, similar representations are frequent. In the 2nd period, which reaches from the 
 8th to the 1 2th century, the former type remains, but more developed, particularly by the introduction 
 of the human form, and geometrical figures. Paganism no longer existed in the West, to make 
 Christians jealous of such modes of representation. There was nothing to fear, for the instructed 
 Catholic, from the resemblance of a Christian image to the idols of the heathen. Accordingly, in a MS. 
 of St. Dunstan, Archbishop of Canterbury, who died in 908, the three Persons are figured under the 
 human form ; and in the 12th century, the equality of Persons is signified by the perfect identity of form 
 observed in the three. 
 
 In opposition to this (as it were) anthropomorphism of art, others symbolised the Trinity under geo- 
 metrical figures, on the principle of the Triangle, which were as abstract as the others were materialised 
 and concrete in their idea. In the third period, or from the 12th to the 15th century, some of these 
 approached, in doctrinal significance, as M. Didron observes, to the Athanasian Symbol. Such is the 
 figure composed of three circles, with inscriptions : one form of which is given in Plate LIX. 
 
 In the fourth and last period, comprehending the whole of the 16th century, all the previous types 
 were copied, and revived, by a kind of syncretism, with equal honours. There is, however, one mode 
 of representing the third Person of the Blessed Trinity, which is peculiar to this epoch. This is that of 
 the Dove resting upon the Holy Ghost represented as of human form, and thus distinguished from the 
 other two co equal Persons of the Godhead. Benedict XIV. disapproves of any other mode of repre- 
 senting the Holy Ghost, than under the figure of a Dove, or of Tongues of fire. 
 
 Molanus de Hist. SS. Imaginum, I. ii. c. 3. — Cardinal Bellaimine says : "It is not so certain that 
 images of God, or of the Trinity, are to be made in the Church, as it is that those of Christ, and the 
 Saints are to be made. For the latter all Catholics confess, and it is of faith : the former is a matter of 
 opinion only/' And this is consonant to the Council of Trent, whose words imply that the expediency 
 of such representations is doubted among doctors. " Quod si aliquando historias et narrationes S. 
 Scriptura', cum id indocia plebi expediet, exprimi et fgurari contigerit, doceatur populus non propterea 
 Divinitatcm figurari, quasi corporeis oculis conspici, vel coloribus aut jiguris exprimi possit/' Sfc. Sess. 
 XXV. Among divines, Thomas Waldensis, and Nicholas Sanders advocate the use of such images, as 
 consonant to the descriptions of the Holy Scriptures themselves. 
 
 Cripfpd)* A table with two hanging doors or leaves by which it could be 
 closed in front. 
 
 Triptychs were made of most various dimensions, from a few inches in breadth and height to many 
 feet. They were also constructed of different materials, and for various purposes. 
 
 1st. Enamelled Triptychs, with Sacred subjects and Emblems. — These are found of a very 
 
•236 
 
 Crtptpdb* 
 
 early date. The Earl of Shrewsbury has one in his possession, executed in the twelfth century, with 
 the Crucifixion of our Lord, the Descent into Hell, the Resurrection, the Four Evangelists, and many 
 other subjects beautifully disposed in an intricate interlaced pattern. The enamels are red, green, blue, 
 and white, and in the borders are many stones. 
 
 2dly. Ivory Triptychs, carved with Sacred imagery, and sometimes set and hung with silver. — 
 A remarkable Triptych of this kind is preserved in the cabinet of Mons. Sauvageot, at Paris. In the 
 centre are two. angels, holding a sort of Monstrance, hollowed out to receive a Relique, with a cover to 
 the same ; the two folding leaves being powdered with fleurs de lys. 
 
 3dly. Pictures in the form of Triptychs. — Of these there are an infinite variety ; indeed, all 
 the finest pictures of the German, Flemish, and also the early Italian masters, were painted in this 
 form. A Triptych usually contained five pictures. First, the centre piece, which was of course devoted 
 to the principal subject. 2. The inner sides of the two doors. On these were either two other sub- 
 jects relating to the centre, or, as was very frequent, portraits of persons for whom the picture was 
 painted, represented kneeling, and attended by their Patron Saints. 3. The outer sides of the doors, 
 
 which were painted either with two images of 
 Saints, or a religious subject consisting of two 
 figures, as the Annunciation. The paintings on 
 the outer panels were generally executed in grey 
 colours, called grisailles. An immense number 
 of these Triptych pictures are yet remaining ; 
 there is scarcely an ancient church or gallery on 
 the continent where some are not found. But 
 among the most remarkable are those painted by 
 Hemlinck, and preserved in the Hospital of St. 
 John at Bruges, which, for exquisite feeling and 
 execution, have never been surpassed. A Trip- 
 tych picture of our Blessed Lady, formerly be- 
 longing to the great Sir Thomas More, and con- 
 taining an invocation for the protection of his 
 family, is now in the possession of the Earl of 
 Shrewsbury. It is greatly to be wished that 
 this style of picture was again revived. Family 
 portraits might then be made edifying works of 
 Christian art, instead of vulgar and awkward 
 displays of private vanity. 
 4thly. Triptych Altar Tables. — Altar Tables, in the form of Triptychs, are very ancient and 
 exceedingly beautiful ; they were very common in Italy. Germany, Flanders, and were occasionally intro- 
 duced in England. But the more ordinary manner of decorating the space above the altars in this country 
 was by tabernacle and screen work, called a reredos. Some of the continental churches, as St. Sebald's 
 and St. Lawrence's, at Nuremberg, the Cathedral at Ulm, the church of Leau, &c. have fortunately all 
 the original Triptychs still remaining over the altars, and some of them are of very great beauty. 
 Triptych Altar tables are of three kinds. 1. Those entirely decorated with painting, as the celebrated 
 one of the Adoration of the Wise Men, &c, in Cologne Cathedral. 2. Those partly of sculpture and 
 partly painted, which are the most frequently found, the centre part being generally executed in relief, 
 and the doors painted. A most interesting example of this kind, and as early as 1306, is now placed in 
 a chapel on the north side of Cologne Cathedral. 3. Those entirely of Sculpture, the doors of sufficient 
 
237 
 
 thickness to admit of images and tabernacle work in high relief. The doors of these Triptychs were 
 usually closed, except at the time of Celebrating at the altar ; and even then during Lent. The more 
 ancient ones terminate with a high gable top frame, generally surmounted by a cross, and the doors, 
 when closed, cover the whole space ; but in later examples, as at St. Lawrence, Nuremberg, Heilbronn, 
 &c, the whole is surmounted by niches of open tabernacle work, running up to a considerable height, 
 and filled with images. The whole of the ornament and carving was originally adorned with painting 
 and gilding, most minutely executed ; the patterns of stuff and diaper on the vestments of the 
 smallest figures, being carefully represented. The practice of painting pictures in Triptychs con- 
 tinued till the seventeenth century. Those by Rubens in Antwerp Cathedral, are composed of 
 two centres and four doors. Triptych Altar tables are mentioned in the Antiquities of Durham ;* also 
 in an old description of Long Melford Church, SufFolk,t and were no doubt to have been found 
 in many of the ancient buildings before the destruction of the ornaments ; but, as has been 
 remarked above, they were neither so general nor so large and elaborate as those on the Continent. 
 
 W&L A vessel in which the Hallowed Water was borne about to be sprinkled 
 
 St. Paul's Cathedral. — Item, a Vat of silver for hallowed water, with images in twisted vines in 
 chased work, having a handle formed like two dragons, weighing 8 marks, and an ivory sprinkler. Item, 
 another silver Vat of ribbed work (opere costato), with a silver handle and a silver sprinkler, the gift of 
 Richard de Gravesend, Bishop of London, weighing iv,. ivs. 
 
 York Minster. — " Item, a large Vat for hallowed water, with a sprinkler, of silver, weighing 
 gu. 31111c. Item, a smaller Vat for hallowed water, with a sprinkler, of silver, weighing 3 1L 5"" c - Item, a 
 Vat with a sprinkler, of silver, parcel gilt." — Dugdale's Monasticon. 
 
 Wt\\* There were four kinds of Veils used by the Church : — 1. Veils for 
 covering the chalice and oblation. 2. Veils used by the Sub-deacon for 
 
 
 the Offertory. (See Offertory.) 3. Veils suspended before images 
 
 The custom of hanging these Veils in the English churches was explained in the following manner 
 in a Rationale set forth in 1541 .J e The covering of the cross and the images in Lent, with the uncovering 
 of the same at the Resurrection, signifies not only the darkness of Infidelity, which covered the face of 
 the Jews in the Old Testament, but also the dark knowledge they had of Christ, who was the Perfection 
 and end of the Law ; and not yet opened until the time of his Death and Resurrection. And the same 
 partly is signified by the Veil which hid the Secret Place of the Sanctum Sanctorum from the people, 
 
 * " There was also standing on the Altar against the wall a most curious fine table, with two leaves to open and shut 
 comprehending the Passion of our Lord Jesus Christ, richly set in fine colours, — which table was always locked up but 
 on principal days." — Antiquities of Durham Abbey, p. 35. 
 
 t At the back of the High Altar, in the said church, there was a goodly mount, made of one great tree, and set up 
 to the foot of the window, there carved very artificially, with the story of Christ's Passion : — to cover and keep clean all 
 which there were very fair painted boards, made to shut to, which were opened upon high and solemn feast days. 
 
 I This rationale, which has been previously referred to in this work, was not put forth till some yc:irs after the 
 schism ; and is one among the many remarkable proofs that neither doctrine nor discipline was originally at the root of 
 the separation of England from Catholic Communion. In this book all the ancient rites are not only retained but fully 
 set forth and explained. 
 
 over 
 
238 
 
 Wtil— Wtvmtk 
 
 and in the time of Christ's Passion was opened, that all men might see it and have a ready entrance 
 thereinto." — Collier's History, Vol. II. p. 197. 
 
 St. Georges Chapel. — " Item, unum Velum quadragesimale pallium, blodium, et albi coloris cum 
 Garteriis, et Aquilis, auro poudratis. Item, unum Ridellum ejusdem sectae, per totum, pro fronte super 
 summum Altare." — Dugdale's Monasticon. 
 
 Chapel of King's College, Aberdeen. — Ad majus altare est una tabula magna arte pictoria, miro 
 ingenio confecta ; vestis linea ad nanc tabulam tempore quadragesimali tegendam, cui crux rubra 
 affigitur ; alia vestis linea minor ante summum altare, tempore quadragesimali appendenda, rubra cruce ; 
 velum magnum, ex candente lino, infra chorum, et summum altare, tempore quadragesimali, appensum, 
 cum chordis et annulis requisitis. 
 
 York Minster. — Item, velum quadragesimale operatum cum serico. 
 
 St. Mary Hill, London. — Making of mi polesis of bras and iron work, andlede that served for the 
 Vayl, 5s. 8d. Thirty-eight yards of liste for the Vayl, Is. Id. For sewynge and trymming (hemynge) 
 of the same Vayl, and rynges, Is. For eyching of the same Vayl, 10 elnes of Lynnen cloth, per the 
 elne, 8^d. — Js. ?d. 
 
 St. Mary Outwich, London. — " 1518. Item, a cloth called a Vayle of whyte lynneyn to draw affore 
 the aulter in Lent tyme." — Nichol's Lllustrations of Antient Times. 
 
 " John Taunton, 49th Abbot of Glastonbury, gave to the church of that Monastery among other 
 ornaments a white lenten Veil, and three small Veils, to lay over the paten, two whereof were crossed 
 all over with gold stripes, and the third had gold stripes, only about the edges, purple, blue, and green.' 5 
 — Stevens's Continuation to Dug dale. 
 
 Extracts from De Moleon respecting the use of Veils in the French churches during Lent. 
 
 S. Agnan D' Orleans. — II y avoit un grand voile entre le choeur et l'Autel jusqu'au Mercredi-saint, 
 qu'on le mettoit bas a. ces mots de la Passion, Et velum Templi scissum est. 
 
 Notre Dame de Rouen. — II y a aussi aux Feries de Careme un grand rideau violet qui est tendu 
 tout au travers et au haut du chceur durant tout l'office Ferial (depuis le lundi de la premiere semaine 
 de Careme jusqu' a, la Passion du Merci-edi-saint, qu'il est separe en deux lorsque le Diacre dit ces 
 paroles, Et velum Templi Scissum est. Ce rideau est tire seulement a. l'Evangile, et depuis le Sanctus 
 jusqu' a I' Elevation du Calicc. 
 
 S. Lo, de Rouen. — La premier Dimanche de careme apres complies, le Sacrister mettoit un grand 
 rideau entre l'Autel et le choeur, et couvroit les images. La meme chose est marquee dans les 
 statuts de Lanfranc pour l'ordre de St. Benoit, et dans l'Ordinaire des Carmes d'environ 150 an. 
 
 Notre Dame de la Ronde, Rouen. — En careme il y a un grand rideau violet au travers du choeur. 
 
 3pn*narlf* The delineation of our Lord's Face miraculously imprinted on the 
 veil or handkerchief held by a holy woman called on that account St. 
 Veronica, (qu. vera-iconica), as our Blessed Lord was dragged to 
 Calvary.* 
 
 This subject has been continually represented by the old artists, and the Vernacle is fre- 
 quently mentioned in the inventories of the ancient church ornaments. 
 
 * " The impression of the Face of our Saviour on a linen cloth, is kept in St. Peter's church at Rome, with singular 
 veneration. It is mentioned in an ancient Ceremonial of that church, dedicated to Celestin II. in 1143, published by 
 Mabillon (Musseum Ital. t. 2. p. 122) ; also in Matthew of Westminster, Flores Hist, under Innocent III. who died in 
 1216; and in a Bull of Nicholas IV. in 1290. It was called Veronica, or True Image of our Lord's Face, from 
 Vera and Iconica, a word used by St. Gregory of Tours, (Vit. Patr. c. 12.) for an image that it served at the Burial 
 of our Lord ; others say, that a devout woman wiped His face with it, when he was fainting under the load of his 
 Cross, going to Mount Calvary. In some local Missals, as in that of Mentz, in 1493, among the votive Masses, 
 
tentacle*— Wt#tmn\t. 
 
 239 
 
 Inventory of St. Paul's. — " In the chapel of the charnell. Item, the Vernacle, (Veronica), with the 
 images of the Blessed Virgin and St. John painted." — Dugdale's Hist, of St. Paul's. 
 
 Lincoln Cathedral. — Item, a cope of damask broiclered with flowers of gold, with a costly orphrey, 
 having in the morse the Varnacle, Sfc. Item, three copes of damask of purple, having in their morses 
 the Vernacle. 
 
 Wt$it% |)&tt'Su A symbolical figure, consisting of two intersecting segments of 
 circles, introduced as an emblem of our Lord. (See Plates ix. xxxvi. xlt.) 
 
 This appears to be derived from a very common acrostich of our Lord's Name and Offices, contained 
 in the Greek word ICHTHYS, which signifies a fish. This word, Eusebius and St. Augustine inform 
 us, was formed from the initial letters of some verses of the Erythraean Sibyl, which taken together made 
 the Greek word IX6YS : which is interpreted, 'lnaovg Xpiarbg Qeov Ytbg Som'/p, that is, Jesus Christ 
 the Son of God, the Saviour. In allusion to this most ancient emblem of our Lord, Tertullian and 
 other early Fathers speak of Christians as Pisciculi, as born in the waters of Baptism. Hence it seems 
 probable that the mode of representing our Lord in a Nimbus of a fish form originated. The Fish is 
 found as a Christian emblem in the earliest monuments : and the Vesica Piscis, from the iv. century down- 
 wards. All seals of Colleges, Abbeys, and other religious communities, as well as of Ecclesiastical 
 Persons, were made invariably of this shape. 
 
 WtStXYitnt* Vestment, in the modern acceptation of the word, signifies a 
 Chasuble ; but it was used by our ancestors in a much more extended 
 signification. A Vestment meant a complete suit, and often included the 
 chapel furniture. 
 
 Inventory of St. George's Chapel, Windsor. — Item, de dono Regis Henrici quarti unum Vestimen- 
 tum blodii coloris intextum cum albis canibus : viz. duabus frontellis, duabus ridellis, una casula, 
 duabus tunicis, tribus albis, tribus amictibus cum stola et fanone ejusdem sectae. Item, unum Vesti- 
 mentum Quadragesimale de dono Ducis NorfolciEe, cum tribus casulis, ridellis, contra-frontellis cum toto 
 apparatu altaris. Item, unum Vestimentum album bonum de panno adaurato, pro principalibus festis 
 beatae Mariae cum casula, duabus tunicis, tribus albis, tribus amictibus, cum stola et fanonibus, cum 
 quatuor copis ejusdem sectae, cum diversis orfreis, et quatuor aliis capis diversae sectae de panno adaurato, 
 cum duabus ridellis, et toto apparatu Altaris sive frontello. 
 
 In the year 1403, Richard Kynaston, Dean of St. Stephen's Chapel, Westminster, caused an inven- 
 tory to be made of divers superfluous ornaments delivered at various times by the King's command 
 f.'om the vestry of the chapel to various persons. To Isabella, late Queen of England, an entire Vest- 
 ment of red Canaca ; that is to say, one chesible, 2 tunicles, 3 albes, 3 amices, 2 stoles, 3 fanons, one 
 corporas, one cover of blue satyn for the corporas, one disk, one front with a Crucifix, Mary and John, 
 
 is one " de Sancta Veronica seu Vultu Domini,'' in the same manner as there is a Mass " Of the Cross." Such devo- 
 tions are directed to honour our Lord, with a remembrance of this Relique, memorial, or pledge. From this Office of 
 the Veronica is taken an anthem and prayer, which are said in some private churches, as a commemoration of the 
 Holy Face of Lucca, which is a very ancient miraculous Crucifix, in the chapel of the Holy Cross, in the Cathedral 
 dedicated to St. Martin, at Lucca. A copy of the true Veronica is kept in the Cistercian Nunnery at Montreuil, a 
 present of Urban IV. to this house, his sister being- a nun there. See his Letter to them in Chifflet, " de Linteis 
 sepulchralibus Domini." This letter was dated in 1249, when the author was archdeacon and chaplain to Innocent 
 IV. Some private writers and churches have given the name of St. Veronica to the devout woman, who is said to 
 have presented this linen cloth to our Divine Redeemer, but without sufficient warrant, See Papebroch, Holland. Maij. 
 t. 7. p. 356, n. 120, and Chatelain, Notes on the Martyr, on Jan 13. p. 201. 222."— Butler's Lives of the Saints, Jan. 13. 
 
240 
 
 ^trguu— mux* 
 
 one counter front, one towel with the ornament, 3 copes, 2 ridelles, one cloth for the reading desk, one 
 chalice, one Crucifix, with Mary and John enamelled on the front, 2 cruets, one censer with the ship, 
 2 candlesticks, one bell of silver gilt, one paxbred silver gilt, one missal, and one coffer to keep all the 
 ornaments in. 
 
 WlVQUX* The parable of the five wise, and five foolish Virgins, is a subject 
 frequently treated by the artists of the middle ages. It was introduced 
 usually at the entrance of large churches. 
 
 Among the most curious examples remaining, may be cited the following. 1 . One in the doorway 
 of the north transept of the cathedral at Basle, which is probably of the 12th century. 2. The centre 
 doorway at the west end of Amiens cathedral. 3. The western doorway of Strasbourg cathedral. 
 4. The western porch of the minster of Freyburg. 5. The churches of St. Sebald and St. Lawrence 
 at Nuremberg : Notre Dame in Paris, and others. 
 
 The five wise Virgins are represented with their lamps in their hands, as if ready to go forth and 
 meet the Bridegroom :• — The five foolish ones have also their lamps, but reversed, to shew their empti- 
 ness : while confusion and despair are admirably depicted in their countenances. 
 
 W&UV is the material from which lights for the use and ornament of the church 
 are usually composed. 
 
 Wax candles are placed on and around altars, before images, on beams and rood-lofts, round and 
 upon herses, borne in solemn processions, and variously used in the Sacraments of the church. When 
 used for lighting ecclesiastical buildings, they are appropriately disposed in coronas suspended from the 
 roof. 
 
 For the great number of wax lights required for the service of the Church, these formed a very 
 natural offering of the faithful, and in large churches required a distinct provision for their constant 
 supply. Hence wax is a frequent item in the accounts of church expenditure, and many interesting 
 particulars occur in such documents on the subject. 
 
 An ancient record, entitled ' Statuta Majora/ belonging to the church of St. Paul's, London, and 
 written about a.d. MCCCX, contains the following account of the income and expenses for wax, for 
 the Cathedral. 
 
 "Due to the Treasury of the Church of St. Paul, London, for wax. 
 From the Church of Norfolk, on account, for Lammastide . . £10 13 4 
 
 " Basling . . .500 
 
 " Ebrugge . . .468 
 
 " Drayton . . .468 
 
 « Rickling. For the Feast of the Purine, of B. V. M £5 
 
 For the Feast of Pentecost 5 . . 10 
 
 " Sunbury : on account of each quarter . 1 5 0. . 5 
 
 " Britlingsee. (Battersea). . 2 3 4. . 8 13 4 
 
 From the Canon's Houses, in Ivy Lane, the furthest from the Church on the 
 left hand, as you go to the market, For Christmas . 6 8 
 
 Total Income for Wax £49 4 4 
 
 Annual expenditure of Wax. — Memorand. that the Candle keeper takes a yearly perquisite of the 
 wax for candles, to the amount of lviii. lbs. And all droppings from the three wax lights in the 
 
241 
 
 basins before the high altar : and all droppings from the twelve candles round the great altar, and from 
 the seven candles beyond the entrance of the choir. The same also takes for his perquisite on the 
 Feast of the Purif. of the B.V.M. \ lb. : on Easter Eve, a wax candle of f lb. and 2 candles of % lb. — 
 Total 60^ lbs. besides the droppings. 
 
 Also the 3 servers in the Church of St. Paul take as their perquisites of wax yearly 39 lbs. viz. 
 each of them per week \ lb. ; the same 3 at the feast of the Purification of the B.V.M. 2\ lb. viz. 
 
 * Ex antiquo libro cui titulus " Statuta Majora" penes Deccmum et Capitulum S. Pauli Londinensis scripto circa 
 
 MCCCX. 
 
 1. " Debita Camerse Eccles. S. Pauli Londinensis ad Ceram. 
 
 Ecclesia de Nastok. In compoto S. Pet. ad Vincula 
 
 
 
 lb. 10 
 
 13 
 
 4 
 
 " Basling 
 
 
 
 5 
 
 
 
 
 
 " Ebrujyg'e 
 
 
 
 4 
 
 6 
 
 8 
 
 " Drayton 
 
 
 
 4 
 
 G 
 
 8 
 
 Rickling. In festo Purif. B. V. M. 
 
 lb. 5 
 
 
 
 
 
 
 
 In festo Pentecostes 
 
 5 
 
 
 
 0—10 
 
 
 
 
 
 " Sunbury. In quolibet compoto 
 
 1 
 
 5 
 
 0— 5 
 
 
 
 
 
 " Britlingsee 
 
 2 
 
 3 
 
 4- 8 
 
 13 
 
 4 
 
 De Domibus Canonum in Ivilano, remotioribus ab ecclesia, in 
 
 sinistra parte sicutitur ad macellas. Ad natale Dni 6 8 
 
 Summa redditus ad ceram - - - lb. 49 4 4 
 
 II. Liberatio cerae per annum. 
 Memorand quod Custos Candelarum percipit per annum de cera ad Candelas LVIII. lb. 
 Et omnes gutturas de tribus cereis basinorum coram summo altari. 
 Et omnes gutturas de xii. cereis circa magnum altare. 
 Etde vii. cereis ultra ostium chori. 
 
 Item idem percipit in Festo Purif. B. M. V. 1 lb. : in Vigilia Paschaa 1 Cereum de \ lb. et duas candelas 60| lb. 
 
 Summa 63£ lb. praeter gutturas. 
 
 Item III. Servientes in ecclia S. Pauli percipiunt per ann. de cera 39 lbs. viz., quilibet eorum per hebdoni. i lb. Idem 
 tres ad fest. Purif. B. V. M. 2^, viz. quilibet eorum \ lb. Item Serviens de Capitulo percipit in fest. Purif. f lb. 
 Summa 42 lb. 
 
 Item Sacrista S. Pauli percipit per ann. de cera 261b. viz., in qualibet hebdom. % lb. Item ad fest. Purifi. 1 lb. 
 Item Clericus Sacristae ad idem fest. £ lb. Item Consutrix Vestimentorum ad idem fest. 1 lb. Item Lotrix Vestimentorum 
 ad idem fest. a lb. — Summa, 28$ lb. 
 
 Item Magister Bracini percipit ad fest. Purif. lib. Janitor Bracini f lb. Magister Pistor { lb. Magister Bracinator 
 f lb. Tractator Cervisise | lb. Magister Molednini 1 lb. Summa A\ lb. Summa Summar : lb. 
 
 Item Camerarius dictae, Ecclesia; debet supportare onera subcripta circa luminaria altaris S. Pauli in festis duplicibus. 
 
 In primo gradu coram beatis apost. Petro et Paulo 
 
 12 Cereos pond. 
 
 2 1b. 
 
 secundo . . ultra altare 
 
 14 
 
 2 
 
 tertio 
 
 15 
 
 a 
 4 
 
 quarto 
 
 15 
 
 i 
 
 quinto gradu eminentiori 
 
 16 
 
 
 In tribus bacinis continue ardent, coram altari 
 
 3 
 
 & 
 4 
 
 In trabi prope chorum 
 
 7 
 
 2 
 
 Coram altari Beatae Mariae 
 
 4 
 
 i 
 
 In Vestibulo 
 
 » 
 
 1 
 
 8 
 
 In lucerna in choro 
 
 3 
 
 1 
 9 
 
 Super tumulum S. Rogeri 
 
 2 
 
 i 
 
 In utroque festo S. Pauli in Candelabro rotundo 
 
 
 
 coram imagine sua pendente 
 
 7 
 
 i 
 
 In utroque festo S. Erkenwaldi 
 
 3 
 
 1 
 
 2 1 
 
242 
 
 mar. 
 
 each of them | lb. Also he who serves in the Chapter takes on the Feast of the Purif. | lb. — 
 Total 42 lb. 
 
 Also the Sacristan of St. Paul's takes yearly 26 lb. viz. in each week ^ lb. Also on the feast of 
 the Purification 1 lb. Also the Clerk of the Sacristan, on the same feast \ lb. Also the semstress of 
 the Vestments on the same feast \ lb. Also the laundress of the Vestments, on the same feast \ lb. 
 —Total 2S\ lb. 
 
 Also the master at the Brew-house takes at the feast of the Purif. 1 lb. Porter of the Brewhouse 
 | lb. Master Baker | lb. Master Brewer § lb. Drawer of the Beer f lb. Master Miller | lb. 
 —Total A\ lbs. 
 
 Grand Total, 135^ lbs. 
 
 Also the Treasurer of the said Church ought to bear the undermentioned expenses for the lights of 
 the altar of St. Paul on double festivals : — 
 
 Viz. : — On the first step before the B. Apostles Peter and Paul 12 Wax Can. Weight 2lb. 
 On the second, beyond the altar 14 " " 2 
 
 On the third . . 15 « " f 
 
 On the fourth . . 15 " " f 
 
 On the fifth or highest step . 1G " " \ 
 
 In the 3 basins constantly burning before the altar 3 " " f 
 
 On the beam near the choir . 7 " " 2 
 
 Before the altar of Blessed Mary . 4 " "I 
 
 In the porch . . 2 « " £ 
 
 In the lamp in the choir . . 3 
 
 On the tomb of St. Roger . 2 
 
 On each festival of St. Paid in the round candlestick (corona) 
 
 hanging before his image . 7 " " f 
 
 On each festival of St. Erconwaldf • 3 " " § 
 
 For the altering the paschal table, in the Lent account 6d. and 1 lb. of Wax. For the expense of 
 the paschal candles 13s. 4d. For the setting up of the said candle, Is. For making out the chronicles, 
 2«. These ought to be placed in the Ascension account. Also for the taking down the Paschal 
 candle, in the Lammas account, Is. 
 
 To the Chaplain celebrating for the soul of Peter de Newport, 30s. a year, through the hands of 
 the Steward of the Manor of Haddeleye, in each quarter's account 7*. 6d. 
 
 Also to the Chaplain celebrating for the soul of John de Breynford, 100s. a year through the hands 
 of the Steward in each quarter's account 25s."* 
 
 Heybrklge. — Paymentes paide by the handes of the churchewardeyns &c. Paid for 8 pownde of 
 waxe agenste Hallowmas b\d. the pownde, 3s. 8d. — Item, for strykynge the said waxe, 5d. Item, for 
 G pownde of waxe agenste Ester, 6d. the pownde, 35. Item, for strykynge of the said waxe, and for 
 strykynge of the olde waxe, 7^- — Nic hoi's Illustrations of Antient Times, p. 175. 
 
 In emendationem tabulte. In compoto lineum 6d. and 1 lb. ceras. In expensis cerea cereum pascbali 13 s. 4d. Pro 
 elevationedicti cerei Is. Per cronicis faciendis 2s. Ha?c debent allocari in Compoto Ascensionis. Item pro depositione 
 Cerei paschalis, In Compoto Petri Is. 
 
 Capellano celebranti per anima Petri de Newport per ann. 30s. per manus Camerarii pro manerio de Iladdelye in 
 quolibet compoto 7s. Gd. Item Capellano celebranti pro anima Johannis de Breynford 100.<. per ann. per manus Camerarii 
 in quolibet Compoto 25s." 
 
 t A Saxon Bisbop of London. 
 
i 
 
 243 
 
 Wii)ttU An emblem of St. Katharine, and often used in the embroidery on 
 Vestments, &c. Also of the vicissitudes of life. St. James iii. 6. 
 
 Lincoln Minster. — Item, 5 copes of red velvet, with Katharine Wheels of gold. Item, a chasuble 
 of red velvet with Katharine Wheels of gold. 
 
 Wheels of Providence, emblematic of the vicissitudes of human life were frequently introduced in 
 the sculpture, stained glass and painting which decorated the ancient churches. One of the most 
 remarkable examples is to be found at Amiens round the great south rose window of the Cathedral. 
 Seventeen personages are carved in relief round the circumference. The eight on the right are ascend- 
 ing, while those on the left are descending, head foremost. The former are represented young, 
 handsome and elegantly attired, and are grasping with avidity at the flowers and verdant branches 
 by which they are ascending, to maturity: while the latter are depicted as bearded, with 
 dishevelled hair, their garments disordered and tattered, withered branches instead of flowers 
 and verdure, and the lower figures exhibit all the deformities of age, and the aspect of misery which 
 is weighing them down to the grave. The seventeenth personage is seated at the summit, crowned 
 and bearing a sceptre, as if presiding over the destinies of life. 
 
 A very ancient representation of this same subject, probably of the twelfth century occurs round 
 the rose window of the north transept of St. Stephen at Beauvais. 
 
 The idea of representing the vicissitudes of life under the form of a wheel is common to heathen 
 mythology and Christianity. In the former it is known under the appellation of the wheel of fortune. 
 The Apostle St. James speaks of our life as a wheel ( f rotam nativitatis nostra?') and the most ancient 
 circular windows found in Christian churches were formed precisely after the manner of a wheel, which 
 they were doubtless meant to resemble. This idea appears to have been general during the middle ages. 
 A MS. translation of St. Augustine's c City of God,' executed during the 14th century, and preserved in 
 the public library at Amiens, contains an illumination of a wheel of Providence. On a ground representing 
 earth and sky is a wheel, the movements of which appear as if regulated by a personage crowned, 
 with a mantle of ermine on a blue habit, with large wings of the same colour. Three individuals 
 are figured on its circumference. The first, who is rising, is richly habited, his tunic fastened by a 
 girdle ; the second, who is represented as rapidly descending, is without a girdle, and his dress loose 
 and disordered ; while the third, who is at the bottom, vainly endeavours to save himself from utter 
 destruction, by grasping at the circumference of the wheel which is passing from him. 
 
 A very similar representation occurs in fresco in Catefield church near Yarmouth : and beneath are 
 inscribed the words, fortun.e rota. 
 
 323I)ltt is the most joyous of the canonical colours; the emblem of innocence 
 and purity ; the vesture in which angels and the redeemed are repre- 
 sented as clad in Heaven ; the favourite of the Church alike in mourning 
 and rejoicing ; of all her colours the most ancient and universal. Gold 
 is reckoned as white. 
 
 Georgiits. — The principal and most frequent colour used in the Divine Mysteries is white. All 
 ritualists concur in extolling the colour white, for its beauty and simplicity. Neophytes are arrayed 
 in white at their Baptism, to signify their purity from sin. St. Jerome often mentions white garments, 
 as the vestments of the clergy. Nearly allied to, and classed in the same category as, the colour alius, 
 are the terms lacteus, niveus, candidus, aqueus, vitreus, marmoreus, argenteus, flavus, mellinus, palearis, 
 pallidus, luteus, galbaneus, buxeus, citreus, citrinus, diacitrinus, croceus, aureus, ruffus, fulvus. All 
 these occur in accounts of ancient vestments, and we refer them all to the head of white 
 
244 
 
 mutt. 
 
 Examples. — Pope Paschalis I. in a mosaic in the absides of the churches of St. Caecilia and St. 
 Praxedes, at Rome, is represented in a chasuble of a gold colour, with a red border. In the sacristy of 
 the Monastery of Centule, about the year 831, were v. silk chasubles of yellow (galna). Also iii. of 
 quince colour (induce). The Emperors Basil of Macedon and Leo, sent among other presents to Pope 
 Hadrian II. about the year 870, a vestment of a deep lemon colour (diacitrinum) . Leo of Ostia 
 relates, that Pandulph, Prince of Capua, took away from the Monastery of Capua, ' a chasuble of lemon 
 colour' (cetrinam). To the church of Bisegli, a.d. 1197, wa s given a chasuble of glass coloured satin 
 (de xamito hyaliiw). In a list of church ornaments, which belonged to Fulco, Bishop of Thoulouse, 
 a.d. 1231, are mentioned 'a yellow chasuble and yellow dalmatic (crocea.)' Also a suit of yellow, in 
 which is a tunic, dalmatic, chasuble, and cope.* The chasuble, in which S. Ragnobert, Bishop of 
 Bayeux was buried, was of a yellow colour, as appeared in the translation of his remains, a.d. 864. In 
 later times Hugh, Cardinal Bishop of Ostia, left by will to various churches, a.d. 1297, a great number 
 of sacred ornaments, among which were ( a chasuble of yellow satin, which he used on festivals, also 
 white vestments de syapis, with doves, the heads and feet of which were of gold, viz. a dalmatic, tunicle, 
 cope, and chasuble of white, with birds and beasts, in gold.' In the middle ages White damask was called 
 asprus and diasprus (see Diaper). The Emperor Henry, a.d. 1023, offered on the altar of the Blessed 
 Benedict, 'a white cope (pluviale diaspruni), with orphreys of cloth of gold.' Victor III. when dying, 
 gave to St. Benedict ' five white chasubles (planetas diaspras), with gold (orphreys), and five without 
 gold.' In the treasury of St. Paul's, London, a.d. 1294, various chasubles were preserved de cdbo 
 diaspro, et de albo sameto. The colours White and gold have a native majesty, and were much used in 
 the Pontifical robes, under the Law. In accordance with the ancient custom of the Roman Church, 
 Innocent III. writes, that 'the colour white is used on Festivals of Confessors, and of Virgins, on 
 the Feast of the Purification, as an emblem of the virginal purity of the Mother of God, on Maundy 
 Thursday, because of the Consecration of the Holy Chrism, (and because it commemorates the Institution 
 of the Holy Eucharist), at Easter, on account of the Angels the Witnesses and Heralds of the Resur- 
 rection, on Ascension Day, to signify the bright Cloud, for the Consecration of a Bishop, and at the 
 Dedication of a Church.' Durandus has the same. 
 
 The colour White is used at the present day on all Feasts of our Lady, in addition to the days above 
 specified, Yellow was anciently used in England on the Feasts of Doctors. 
 
 Inventory of Lincoln Cathedral. — "Item, a chasuble of White baudekin, with leaves and hearts of 
 gold, with two tunacles and three albes, with all the apparel, Ex dono Domini Thomce Arundel, 
 Archiepxs. Cant. Item, two copes of the same suit, with costly orphreys, the gift of the said Lord 
 Thomas. Item, a White damask broidered with flowers of gold, w ith tunacles, and three albes, with the 
 apparel, having in the back, an Image of our Lady with her Child ; of the gift of Mr. John Mackworth, 
 Dean of Lincoln. Item, thirteen copes of the same suit, with orphreys of blue velvet, figured with 
 flowers of gold, of the said John's gift. Item, a chasuble of White baudekin, with branches and 
 dragons of gold, with two tunacles of the same suit, three albes, with their apparel of divers works. 
 Item, one cope of the same suit, having in the hood a Bishop with his Staff ; of the gift of John Stratley, 
 Dean. Item, a cope of White satin, with images and red roses, having the Coronation of our Lady 
 in the back, the gift of Mr. Roger Martinal. Item, a chasuble of White tartarion broidered with 
 troyfoils of gold, with two tunacles and three albes, with all their apparel; the gift of Richard 
 Chesterfield. Item, a cope of the same suit, broidered with troyfoils of gold, with two other. Item, a 
 cope of white cloth of gold, having in the morse two roses, red and White, of pearls ; the gift of Ravenser, 
 
 • ' Capella crocea, in qua liabet tunicam, et dalmaticam, et infulam, atque cappatn.' 
 
mutt* 
 
 245 
 
 Archdeacon of Lincoln. Item, one other White cope of cloth of gold with orphreys of green velvet, 
 with Images in tabernacles, having a shield paled in the hood ; the gift of John Grouson, Arch- 
 deacon of Oxon. Item, a cope of White damask broidered with flowers, having in the hood the Image 
 of our Saviour hanging upon the Cross, with Mary and John : the gift of Mr. Fitzhugh, Dean. Item, 
 four copes of White damask embroidered with flowers with orphreys of red velvet and flowers ; of which 
 three have in their morses this Scripture, The Gift of John Reed, Chaplain, of Canterbury, once of the 
 Chantry of Richard Whitewell; and the fourth hath this Scripture, Orate pro anima Willielmi Spenser 
 Capellani. Item, a cope of damask broidered with flowers of gold, with a costly orphrey, having in the 
 morse the Varnacle, and in the hood, the Coronation of our Lady, with this Scripture, exdono Willielmi 
 Gisburn. Item, a cope of White damask broidered with flowers of gold with a red orphrey, having in 
 the morse this Scripture, Memoriale Domini Willielmi Fendike quondam Vicecancellarii Jivjus Ecclesim ; 
 in the hood a bird of gold called a Fanshe. Item, a chasuble of White damask broidered with flowers 
 of gold, with two tunacles and three albes, with their apparel ; of the gift of Robert Markham. Item, 
 a cope of the same suit, with an orphrey of red cloth of gold. Item, a cope of White damask, with an 
 orphrey of red velvet and flowers of gold, having in the hood an Image of our Lady of Pity, and in the 
 morse, an Image of our Lady with her Son, and Mary Magdalen' 
 
 Catalani. — £ The Pyx for carrying the Blessed Eucharist for the Communion of the Sick, should be 
 covered with a white veil (conopeum) : as this is the colour proper for the Eucharist, and for all Eucha- 
 ristical Functions. And this the more, for preserving the distinction between the Roman and the A mbro- 
 siun Rite, which uses the color Red.' 
 
 * The color White is without a doubt the principal convenient color in the administration of the 
 Eucharist. So all, who have written concerning the Eucharist, assert. Thus, on Maundy Thursday, 
 the smaller altars are left veiled in purple, and only that, where the Blessed Sacrament is reserved, is 
 in White. And St. Charles Borromeo, speaking of giving Communion out of time of Mass, says : 
 ' Let the priest use a surplice, and white stole, or where the Ambrosian Rite prevails, a red one.' This 
 is illustrated by what Gavantus says of the nature of the colour White : viz. that it denotes Glory, 
 Joy, and Innocence/ 
 
 2Uusi Bfcu 
 
 C. NORMAN, PRINTER, MAIDEN LANE, COVEW GARDEN. 
 
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