celebrant, make a simple genuflection to the cross (Cong. Sac. Rit., 9 May, 1857; 12 September, 1857). At all other times during the year a simple genuflexion is made to the cross, even when the Blessed Sacrament is not kept in the tabernacle, during any function, by all except the bishop, the canons of the cathedral, and the celebrant (Cong. Sac. Rit., 30 August, 1892). The altar-crucifix need not be blessed; but it may be blessed by any priest, by the formula "pro imaginibus" (Rituale Rom., tit. viii, cap. xxv). It may be well to note that if, according to the Renaissance style of architecture, the throne is a permanent structure above the tabernacle, the altar-crucifix may never be placed under the canopy under which the Blessed Sacrament is publicly exposed, or on the corporal which is used at such exposition (Cong. Sac. Rit., 2 June, 1883). It is probable that the custom of placing a crucifix on the altar did not commence long before the sixth century. Benedict XIV (De Sacrificio Missæ, P. I, § 19) holds that this custom comes down from the time of the Apostles. However, the earliest documentary evidence of placing a cross on the altar is canon III of the Council of Tours, held in 567: "Ut corpus Domini in Altari, non in armario, sed sub crucis titulo componatur". Mariano Armellini (Lezioni di Archeologia Sacra) tells us that the early Christians were not accustomed to publicly expose the cross for fear of scandalizing the weak, and subjecting it to the insults of the pagans, but in its stead used symbols, e.g. an anchor, a trident, etc. A simple cross, without the figure of Christ, was fixed on the top of the ciboria which covered the altars.
Altar-Curtain.—Formerly, in most basilicas, cathedrals, and large churches a large structure in the form of a cupola or dome resting on four columns was erected over the high altar, which was called the ciborium. Between the columns ran metal rods, holding rings to which were fastened curtains which according to the rubrics of the individual churches, were drawn around the altar at certain parts of Mass. These curtains were styled tetravela altaris and were made of linen, silk, gold cloth, and other precious stuffs. In the lives of many of the Roman pontiffs (Gregory IV, Leo IV, Nicholas I) we read that they made presents of such curtains to the churches of Rome. When the ciboria over the altar fell into disuse a curtain was suspended at the back of the altar. called a dossel, or dorsal, and two others, one at each side of it. They were hung to rods fastened in the wall or reredos, or rested on four pillars erected at each end of the altar. The pillars were surmounted by angels holding candelabra, in which candles were burnt on solemn occasions. Probably the sanctuary candelabra of to-day may trace their origin to these.
Silver Antependium, Story of John the Baptist, in Museum of S. Maria del Fiore, Florence, XIV Century
Altar-Frontal.—The frontal (antipendium, pallium altaris) is an appendage which covers the entire front of the altar, from the lower part of the table (mensa) to the predella, and from the gospel corner to that of the epistle side. Its origin may probably be traced to the curtains or veils of silk, or of other precious material, which hung over the open space under the altar, to preserve the shrines of the saints usually deposited there. Later, these curtains were converted into one piece of drapery which covered the whole front of the altar and was suspended from the table of the altar. The use of a frontal which covers only a small portion of the front of the altar is forbidden (Cong Sac. Rit., 10 September, 1898). If the altar is so placed that its back can be seen by the people, that part should likewise be covered with an antipendium (Cærem. Episc., I, iii, 11). Its material is not prescribed by the rubrics. It is sometimes made of precious metals, adorned with enamels and jewels, of wood, painted, gilt, embossed, and often set with crystals or of cloth of gold, velvet, or silk embroidered and occasionally enriched with pearls (Pugin, Glossary), but it is usually of the same material as that of the sacred vestments. It is evidently intended as an ornament of the altar (Rubr. Gen. Miss., tit.). Hence if the altar is made of wood or marble, and its front is beautifully painted or decorated, or if the table is supported by columns, and a reliquary is placed under it, it may be considered sufficiently ornamented, and the antipendium would not be necessary; nevertheless, even in such cases, on solemn occasions more precious and elaborate ones should be used (Cærem. Episc., I, xii,, 11). The antipendium may be ornamented with images, pictures of Christ, representations of some fact of His life or such as refer to the Eucharistic Mystery, or with emblems that refer in some manner to the Blessed Sacrament—a lamb, a pelican, the chalice and host, etc. Pictures of the saint in whose honour the altar is dedicated to God, and emblems referring to such saint, may be used. It is forbidden to ornament the black antipendium with skulls, cross-bones, etc. (Cærem. Episc., II, xi, 1). The antipendium may be fastened to little hooks or buttons, which are attached to the lower part of the table of the altar, or it may be pinned to one of the lower altar-cloths or attached to a light wooden frame which fits tightly
