11. HIGH ALTAR
The high altar of the chapel can be placed so that from the lowest step of the altar to the railings which enclose it or are to enclose it there is a space of eight cubits or more when possible and if the size of the church requires it because of decorum.
This space must comfortably serve the large number of clergy that at times assist at the Solemn Mass and the divine offices. Therefore, where necessary, if at the back of the chapel, outside, there is free space, the chapel will be extended until it has the measurements given above. If this is not possible, and the chapel in the parish or collegiate church is limited in size because of the smallness of the place, then the distance between the lowest step and the railing must be at least four cubits, so that during the solemn Mass, and as required by the ceremonies, there is sufficient space at least for the celebrant priest, the deacon and subdeacon and the coadjutant clerics.
The following expedient may be used, if necessary, to obtain this space of at least four cubits in the front part of a narrow short chapel. In other words the steps can be joined to the floor level forming, with respect to this and the chapel, a projection with six or eight sides, that is pleasing to the eye.{1}
If there are bays right outside the chapel, and if the size of the church so requires, that same space can be created by extending the wall of the chapel up to the first of these bays.
Where lastly, because of the extremely limited size of the place, the space available is practically nothing, it must at least be seen to that the altar is moved much closer to the wall behind it, and if there is really no way of obtaining this four cubit space, care will be
(b) Neale, p. 167. (cut and past to chapter 10)
taken that the altar is as far from the railings as the site allows, but always detached from the above mentioned wall by one and a half cubits.
The height of the main altar will be, from the footpace, two cubits and eight or at the most ten ounces. The length will be five cubits or more, in proportion to the size of the church or chapel, but the width of two cubits and twelve ounces and even more according to the length of the site.{2}
Steps of the high altar
Moreover, if there is room in front of and at the sides, three steps will be built, and that is one consisting of the footpace and two others below. These last two must be of marble or strong stone, or, if that is not possible, brick. They will be at least sixteen, and if possible twenty or more, ounces wide, depending on the space and in keeping with the proportions. the third step, consisting of the footpace, will be made of wooden boards.
The footpace will be two cubits wide, measuring from the front of the altar, and projecting sixteen ounces at the sides, so as to encompass the altar on three sides.{3}
The height of each step will be eight ounces.
Moreover if, thanks to the size of the church and the high altar, there is room for more steps, five can be built, observing the width and height prescribed above.{4}
The location of the crucifix
A cross with the image of the crucified Christ will be properly placed under the arch of the vault of the main chapel, in every church, especially a parish church.{5} It will be of some kind of wood, piously and appropriately rendered. If it cannot be set there because the arch or the vault are too low, it will be hung on the wall above the arch, on the outside, below the ceiling, or even above the gate of the chapel railing.
NOTES
Chapter XI, pp.
- See Figure 11.1.
- See Figure 11.2.
- Castiglioni (pp. 109-110) draws attention to the fact that in June of 1883 the Sacred Congregation of Rites in decree 2576, canon I, incorporated Borromeo’s norm stating that, if the last or top step of the altar dais were of marble, then it was to have a strong wooden insert as long as the altar table. The priest must celebrate with his feet on the wooden section. For reasons other than liturgy, there is the problem of standing on cold stone or marble in areas that have severe winter seasons or problematic weather. Rugs may be used to cover these steps, and Borromeo discusses this in the sequel to the architectural norms that deals exclusively with church furnishings.
We shall again refer to the many documents that serve to support the ever increasing radius of liturgical reform and the gradual architectural changes that will come about as the ecclesiastical buildings are adjusted to accommodate the norms. The following are ordinances (selected at random) given by Borromeo in an area north of Milan. they are dated 1570 and are addressed to the various priests responsible for their implementation.
- Gerolamo, Tesserè A cross and a pair of brass candlesticks must be provided for the altar. The predella is to be adjusted to meet the prescribed measurements, and it is to be repaired where broken. This same chapel is to be completely painted and only then may a painting be hung on the wall behind the altar.
- Stefano, Tesserè A painting may be made for the chapel when it is possible, but first these points of the visitation must be observed.
A low rail going from wall to wall must be put up on the first step in front of the chapel in order to separate the clerical choir from the rest of the church. The chapel is to be painted.
- Bernardino, Sasello The altar of the Madonna is to be provided with a brass crucifix. The closet that is near the altar is to be moved, and all the storage of timber is to be taken out of the church.
- Maria, Loreto. The main altar is to be replaced by one that is larger and well decorated. The main chapel walls are to be whitewashed. The missing gate in the altar rails is to be replaced and locked with a key and chain.
- Pietro, Sureggio Where the choir wall has been removed, a new wall is to be constructed.
The altar is to be placed out from the wall and in the center.
- Durandus dedicates the entire second chapter of the Rationale to the symbolism and placement of the altar. He notes that many kinds of altars are found in Scriptures, and that an altar is similar to the heart insofar as the heart is in the middle of the body; so too the altar should be in the middle of the church (II, 11). the term “in medio” ultimately becomes a point of discussion as to the exact position of the altar. In the body of the church where all might see it? In the center of the “circle” of the apse? What was clearly understood, however, was that the altar could not be placed against a wall. This must have been an initial practice, since even the old ceremonial books specify that the bishop,
when blessing an altar, is to walk around it seven times in the process of reciting the required prayers.
Another problem is the ascent to the altar. Since Durandus distinctly speaks of having a lowered chancel the descent was probably from three to five steps down and from three to five to seven and possibly fifteen steps up to the altar dais. (see drawing, p. 142)
The fifteen stairs are suggested in accord with the fifteen steps ascending the temple of Solomon (II, 15). With some sense of reservation Durandus quotes Exodus XX, 26 “Neither shalt thou go up by steps to my altar, that they nakedness be not discovered thereon,” and as an afterthought Durandus adds, “For perhaps the ancients did not as yet use britches” (II, 15).
- “In many places a triumphal cross is placed in the midst of the church to teach us that from the midst of our hearts we must love the Redeemer….But the cross is exalted on high to signify the victory of Christ” (Durandus, I, 40) (see Fig. 11.3).
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