Every architectural space has a gravitational center, one that may be spatial or symbolic or both; for the medieval church, the altar fulfilled that role. This essay will explore what transpired at the altar during this period as well as its decoration, which was intended to edify and illuminate the worshippers gathered in the church.

Nov 18, 2021 · Cyril Pocknee notes in his work, The Christian Altar, the accounts of various veils donated by popes for this purpose. Further, the rods and other mechanisms which were used for suspending these veils are still in evidence in a number of cases.

The modern English word altar was derived from Middle English altar, from Old English alter, taken from Latin altare ("altar"), probably related to adolere ("burn"); thus "burning place", influenced by altus ("high").

Nov 18, 2022 · Previously in this series, we touched upon the Paleochristian and Early Medieval forms of the altar. In this next instalment we shall treat of the later medieval forms that developed from this arrangement.

Here you will find information on known surviving medieval European portable altars, created between 600 and 1600 CE. Links to the current institution's information and/or object biographies are provided where available.

Medieval churches had mostly acquired altarpieces gradually over time, from different donors. Sculptural altarpieces, or designs integrating painting with sculpture, became more common.

In the medieval period, the altar was a table or rectangular slab made of stone or marble, often set upon a raised step. After the Reformation, the stone altars were replaced by wooden communion tables.

An introduction to the medieval and Renaissance altarpiece, exploring its history and significance in art.

Sep 29, 2022 · In the Medieval era the altar was moved closer to the back wall of the sanctuary. Gradually it lost its cubic form, becoming longer. Behind it rose a reredos adorned with paintings, carvings, or sculpture.

Comprised of precious metals, ivory, wood, or rich brocades, and usually bejeweled, the principal subject of early medieval antependia was Christ in Majesty, often flanked by angels, the Evangelists, and the Apostles.