A Treatise on Chancel Screens and Rood Lofts: Their Antiquity, Use, and Symbolic SignificationPugin, Augustus Welby Northmore
History
A Treatise on Chancel Screens and Rood Lofts: Their Antiquity, Use, and Symbolic Signification
Pugin, Augustus Welby Northmore
Screens (Church decoration)
Those who complain of not being able to see in a Pointed church should
have assisted at an ancient service in a Roman basilica; the altar
surrounded by pillars sustaining veils and curtains, and covered by a
ciborium, was placed in _front_ of the celebrant, of whom nothing could
be discerned by the congregation except an occasional glimpse of his
head; the space behind the altar was reserved for the bishop and his
presbyters, while in front was the choir for those who sung, walled
round to a considerable height, averaging five feet, and within, or
occasionally outside, this space, were the ambones for the epistle and
gospel, marble rostrums, ascended by steps, and usually of large
dimensions; moreover, the basilicæ were constructed with aisles, like
pointed churches, so that not one-tenth part of the congregation could
have seen either the celebrant or the mensæ of the altar. And although
it does not appear that the Latin church has purposely excluded the
sight of the altar from the people, yet from the beginning the canonical
arrangement of her sacred edifices has had the practical effect of
cutting off its view from a very large portion of the assisting faithful.
Christians of the present time have but little idea of the solemnity of
the ancient worship of the Catholic church; ordained ministers were
alone permitted to fill the humblest offices about the sanctuary, every
object connected with the sacred rites were considered deserving of the
most loving care; even in the very early ages, the vessels of the altar
were usually of precious metals, and studded with jewels. The books of
the holy gospels were written in golden text on purple vellum, bound in
plates of silver encasing ivory diptychs, and deposited in portable
shrines, like relics. Though all this should fill us with admiration,
there is nothing to excite surprise, when we reflect on the very sacred
nature of the Christian mysteries—no sign typical and prophetic, as
under the Mosaic law, but our blessed Lord truly present and abiding in
the temple in the holy sacrament of the altar,—it is by no means
wonderful that the Christian worship should assume a form of solemnity
formerly unknown, and we are only astounded that with the perpetuation
of the doctrine the practice of external solemnity should have so
lamentably become decayed in the latter times; indeed, so sacred, so
awful, so mysterious is the sacrifice of the mass, that if men were
seriously to reflect on what it really consists, so far from advocating
mere rooms for its celebration, they would hasten to restore the
reverential arrangements of Catholic antiquity, and instead of striving
for front seats and first places, they would hardly feel worthy to
occupy the remotest corner of the temple. The form and arrangement of
the ancient churches originated from the deepest feelings of reverence;
the altar, or place of sacrifice, was accessible only to those who
ministered, it was enclosed by pillars and veils; the sanctuary was
Public-domain text, read in full here on John Shaqi.
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