Altarpiece

“ Here, over the altar, stands the famous statue of Christ, one of the most striking in the world; the face radiates divine compassion, the hands are stretched out to all who come. In front an angel holds a font-shell, and against each pier is the figure of one of the Apostles. The supreme excellence of these glorious statues in white marble with their effective drapery and the absence of any other attempt at ornament renders the interior of this church striking in an extraordinary degree. ”

“ I hardly knew which was the nave, or which the cross aisle, of this singular edifice, so perfect is the confusion of its parts. The pavement demands attention, being inlaid so curiously as to represent variety of histories taken from Holy Writ, and designed somewhat in the style of that hobgoblin tapestry which used to bestare the walls of our ancestors. Near the high altar stands the strangest of pulpits, supported by polished pillars of granite, rising from lions’ backs, which serve as pedestals. In every corner of the place some glittering chapel or other offends or astonishes you. ”

“ Altar.—The floor of the Altar (immediately under the communion-table) consists of a slab of marble, eight feet long by four feet wide, which is most beautifully carved with rose-wheel circles and hexagonal elongated departments, sustaining what would seem to have been an altar-stone, about six inches in height, the sides of which are deeply grooved or fluted, in one hollow, with roses interlaced with leaves carved thereon in bold and beautiful relief. The Altar is ascended from the nave by three steps ”

“ It paid to do the saint honor, and that could best be done through the painter’s art. The poorest man might have a small portrait of his patron, a rich man might endow a chapel and cause all his patron’s miracles to be pictured on the wall. Think also that every altar—a dozen or more in every large church—was a shrine [1] , containing the bread and wine that by the never-ceasing miracle of the Mass became the Saviour’s body and blood; and was also a reliquary or tomb, containing in whole or part the body of some saint. ”

“ In the daytime a rich shadowy light is thrown into the church by the excellent disposition of its windows; at eventide the sheen of the setting sun, caught by the western window, falls like a bright flood down the nave, and makes the scene beautiful. The high altar is a fine piece of workmanship; is of Gothic design, is richly carved, is ornamented with marbles, has a canopy of most elaborate construction, and is in good harmony with the general architecture. ”

“ The high altar, or retablo, alone might pass for a church; it is an enormous accumulation of small columns, niches, statues, foliage, and arabesques, of which the most minute description would give but a faint idea; all this sculpture, which extends up to the vaulted roof and all around the sanctuary, is painted and gilded with unimaginable wealth. ”

“ The choir and surroundings of the great organ are all of precious metal, and the gallery, leading down from the choir through the center of the church to the great altar on the north, has on either side a massive railing or balustrade of solid silver, sufficient in aggregate weight to load a first-class railroad car, at least. The altar is surrounded by burnished metal on every side, and all the altar ornaments, which are almost numberless, huge, and massive, are of solid gold and silver. ”

“ The richness of originality and design shows to great advantage amidst the simplicity which exists on every side, and the freedom from an abundance of side-altars and—on the whole—from tawdriness of ornaments and paper flowers adds to the effect and dignity of the scene in a most grateful manner. A fine side-altar is to be noticed on the right going up the church, with four columns of reddish-brown marble all carved out of a single block, and resting on a lion and an ox, and dating from the fourteenth century. ”

“ This altar-piece, for an altar of Our Lady, is a magnificent specimen of the master’s rich and luminous colouring. The crimson robe of the Christ, the blue and lilac harmony on the Madonna, and the faint yellow of the Father’s robe, are admirably contrasted. So are the darkness of the lower clouds and the luminosity of the upper region, recalling Titian’s famous Assumption at Venice. The little boy angels are sweet and characteristic. Here you may begin to appreciate the force, the dash, the lavish wealth of Rubens. ”

“ Stela B. Front The sides of the monuments not occupied by human figures are covered by hieroglyphic inscriptions. In front of each of the figures, at a distance of a few feet, is a smaller sculpture, called an altar. These measure sometimes seven feet across and from two to four feet in height. The design sometimes represents a grotesque monster with curious adornments; but a common form of altar is a flat disk seven or eight feet in diameter, with a row of hieroglyphs around the edge. ”

“ It is the beautiful emblem of faith, springing from and surviving the ruins of its earthly temple. Passing through the gateway, over columns of porphyry and massive fragments of sculptured marble, we came to a broad pedestal near the upper end, which must have been the site of the grand altar. How it moves the heart to its inmost depths to reflect, that before that high altar have stood the Beloved Disciple and the Apostle of the Gentiles! In fancy, one hears the tremulous tones of the first, as he repeats over and over his favourite exclamation, “My children, love one another.” ”

“ The effect of the clear morning light, as imparted to the interior through this great surface of delicately-tinted glass, is remarkably beautiful. The high altar, a marvel of splendid workmanship and minute detail, is yet a little confusing, from the myriads of statues, groups, emblems, columns, gilding, and ornaments generally; but it seems to be the purpose of most of these Roman Catholic churches to turn the altars into a species of museum. Guides are always plentifully supplied with marvelous legends for travelers ”

“ Under the high altar is an ample grot inlaid with pietra-commessa, wherein half of the bodies of St. Peter and St. Paul are preserved; before hang divers great lamps of the richest plate, burning continually. About this and contiguous to the altar, runs a balustrade, in form of a theater, of black marble. Toward the left, as you go out of the church by the portico, a little beneath the high altar, is an old brass statue of St. Peter sitting, under the soles of whose feet many devout persons rub their heads, and touch their chaplets. ”

“ In one corner of the nave clung a few swallows' nests, the occupants of which had remained for the service, and in their own way were joining in the Sanctus. It was evident that the floor of the choir above, the confessional, chancel, and praying-benches, had been made by common home carpenters. The baptismal font had never seen a stone-cutter, nor the high altar a sculptor. But there were taste and design in everything. The altar was a high, dignified table, reached by three broad steps. ”

“ It was connected with the altar by means of a predella, or altar-step, similar to the predella of modern altars, for candelabra, on which the Apostles or other saints were depicted. Towards the end of the sixteenth century the influence of the Renaissance effected another change in the form of the altar. Porticoes, modelled after the triumphal arches of antiquity, with statues in high and low relief, took the place of the reredos, and more costly materials, such as rare marbles, were employed in their construction. ”

“ The altar strikes the keynote, so to speak, for the whole church. To it, as the culminating point, all the decoration is directed; and by it we are led through the different seasons of fast and festival, marking these seasons by the change of vesture as definitely as by the changes in the ritual and service.
An altar-frontal is rather a large piece of work for one person to undertake, unless she has had considerable practice (which enables her to work quickly) and has plenty of time to devote to it, and is also possessed of sufficient patience to keep on with one thing till it is finished. ”

“ The church, a spacious edifice, crowns the height above the market-place. After walking twice round it, I discovered a small door in an angle, which being unfastened gave me admittance. The interior, with its worn and uneven brick floor, has somewhat of a neglected look, not unusual in Protestant churches; but there are a few good paintings, and the altar-piece, representing the Crucifixion, shows the hand of a master. I was quite alone, and could explore as I pleased. The altar rises to a great height, adorned with statues, and crowned by figures of angels. ”

“ Easily imagined is the hallowed aspect of the lofty fane when the last rays of the sun shot redly within, suffused the altar in a crimson haze, and glowed upon the burnished ornaments and the carvings of veined marble and whitest stone ”

“ The perspective on first entering the church is very striking: the eye ranges without interruption, through a vista of lofty pillars and pointed arches, to the splendid altar in the Lady-Chapel, which forms at once an admirable termination to the building and the prospect. The high altar in the choir is plain and insulated. ”

“ The dark wood background of the stalls and canopies, elaborately carved and polished and enriched with mosaics, each surmounted with its benediction of a gilded winged cherub's head, framed a splendid figure in sacerdotal robes. Through the small, octagonal panes of the little windows encircling the choir—row upon row, like an antique necklace of opals set in frosted stonework—the sunlight slanted in a rainbow mist, broken by splashes of yellow flame from great wax candles in immense golden candlesticks, rising from the floor and steps of the altar, as from the altar itself. ”

“ The nave is thickly set with wooden seats, brown and worn. What pictures there are, in the shrines and chapels, are dark and faded. On the whole, the edifice has a shabby aspect. On each side of the high altar, elevated on four pillars of beautiful marble, is what looks like a great sarcophagus of bronze. They are, in fact, pulpits, and are ornamented with mediaeval bas-reliefs, representing scenes in the life of our Saviour. ”

“ The great height of the nave, with the light and graceful form of the columns and arches, produce an admirable effect, to which the high altar, the carved stone pulpit, and the large organ do no violence. It is one of those buildings you could linger in for hours, contemplating now its fair proportions, now the old tombs and monuments, and quaint devices of the sculptor's art. Below the floor at the eastern end is an underground chapel, a century older than the church itself, hewn out of the solid rock. Preaching is held in it once a year. ”

“ The high altar near the centre of the building at once attracts the eye: it is composed of massive silver, and completely covered with elaborately chased ornaments in solid gold. The space around this altar is enclosed by an extensive balustrade of gold and silver pillars, four feet high, and about four inches thick, with a hand-rail seven inches wide, having sculptured images, stationed at intervals upon its surface. The cathedral contains about three hundred feet of this balustrade, and the precious metals of which it is composed are but little alloyed with copper. ”

“ It is in fact no more than a simple adaptation of the old notion, that the ark stood upon that stone and that the stone took the place of the altar. To identify the altar in the church and the sacrament with the fundamental events in the life and the teachings of Jesus is in perfect accord with the allegorical and mystical interpretations indulged in since ancient times. The mass in the oriental church has throughout only a symbolical meaning, and the Grail partakes thus of a double interpretation. ”

“ All our master's devotional feeling, his refinement and beauty of type, his wealth of golden colour, is found already in this wonderful altar-piece, which is divided into six compartments, the central panel being occupied by the "Nativity," with above the "Crucifixion" and "Annunciation," and at the sides the figures of four adoring saints. The landscape background is here of extraordinary beauty, reflecting the quiet serenity of the kneeling figures, and on the pillars of the colonnade behind the "Nativity" the master has signed his work—
PETRUS DE PERUSIA PINXIT 1491. ”

“ Near the statue is that altar which is esteemed one of the wonders of the world. It is not gold or marble which is admired in it; horns of animals, forcibly bent, and artfully interwoven, form a whole equally solid and regular. Some priests, whose employment it is to adorn it with flowers and boughs, made us observe the ingenious contexture of its parts. ”

“ The sacred vessels—the chalices, the flagons, the patens—were of the same metal; the hangings of the altar were of cloth of gold embroidered with gems; the candlesticks on the altar, the ambo, in the women's gallery and elsewhere, six thousand in number, were all of gold, as were the crosses on the bema, the covers of the holy books, the pillars of the iconostasis screening off the bema. In the altar itself pious ingenuity had surpassed itself. ”

“ And an interior altar is the altar of the cross. This is the altar on which they offered the evening sacrifice. Whence in the Canon of the Mass it is said, Jube hoc in sublime Altare Tuum perferri. [Footnote 206] Moreover the external altar representeth the sacraments of the Church: of which it is said, 'Even thine altars, O Lord of hosts, my King, and my God.' [Footnote 207] Again, the altar is our mortification in our heart, in which carnal motions are consumed by the fervour of the Holy Spirit. ”