Preparation for the Holy Sacrifice of the Mass

27. The Dressing and the Decoration of the Altar

The purpose and the dignity of the altar require that it should, as far as possible, not only be of precious materials and artistically constructed and solemnly consecrated, but also correspondingly fitted up and decorated.⁵²52Already St. Ambrose speaks (De myster. c. 8, n. 43) of a sacrosanctum altare compositum, that is, prepared and adorned for the offering of sacrifice. At the consecration of the altar, the bishop blesses the cloths, ornaments and other articles used on the altar, that they may be fit “for divine service and for the celebration of the sacred Mysteries” (divinis cultibus et sacris mysteriis). While the priests of the Church clothe and decorate the altar, the following verses are sung: “Surround, ye Levites, the altar of the Lord God, clothe it with spotless vesture and sing ye a new hymn, saying: Alleluja!” Circumdate, Levitae, altare Domini Dei, vestite vestimentis albis, estote et vos canentes hymnum novum, dicentes: Alleluja! “The Lord hath clothed thee with the mantle of gladness and crowned thee. And He hath adorned thee with holy ornaments.” Induit te Dominus tunica jucunditatis et imposuit tibi coronam. Et ornavit te ornamentis sanctis. — While Mass is being celebrated, nothing is to be placed on the altar, but what is required for the sacrifice or useful for the adornment of the place of sacrifice.⁵³53Altare sit coopertum mundis linteis, saltem tribus diversis. Et desuper nihil ponatur nisi reliquiae ac res sacrae et pro sacrificio opportunae (Pontif. Roman. Ordo ad Synodum). In dressing the altar special regard must be paid to the various seasons and feasts of the ecclesiastical year. With respect to the liturgical fitting up of the altar, as is partly prescribed and partly recommended by the Church, the following points are principally to be considered.⁵⁴54Cf. Vorschriften des hl. Karl Borromäus über Gestalt, Form und Material der Cultgegenstände der Kirche. Trier 1874.

1. The altar must be covered with three clean and blessed linen cloths.⁵⁵55The Pontif. Roman. has in the rubrics for the consecration of a church: Ministri ponunt super altare Chrismale.... deinde vestiunt altare tobaleis et ornamentis benedictis. The two under cloths, which may consist of a single one folded, should cover at least the entire surface of the altar, while the upper and finer cloth should reach almost to the ground on the right and left sides of the altar.⁵⁶56Altare operiatur tribus mappis seu tobaleis mundis, ab Episcopo vel alio habente potestatem benedictis, superiori saltem oblonga, quae usque ad terram pertingat, duabus aliis brevioribus vel una duplicata (Rubr. gen. tit. 20). Immediately on the altar-stone, which has been anointed with chrism, is placed the Chrismale, that is, a linen cloth saturated with wax (pannus lineus ceratus); it serves as a substratum for the altar-cloths and protects them from the dampness of the altar-stone.⁵⁷57When no service is going on, in order to protect the altar-cloths from dust there should be a cover of colored wool or silk (tela stragula, vesperale, vesperal-cover) spread over the entire surface of the altar. It is improper, and not allowed, instead of this cover to place a thrice folded oil-cloth on the altar and to leave it constantly there, even during the celebration of Mass, at which time only the middle portion is removed or rolled up, so that the Corporal may be spread out. As all the remaining white material destined for the service of the altar (corporals, palls, purificators,—albs, amices, finger-towels), so also the altar-cloths must be made of linen, that is, of flax or hemp; every other material (for example, cotton, muslin), although it may equal linen in quality, firmness and beauty, is strictly forbidden.⁵⁸58The general decree of the Congregation of Rites, May 19, 1819—strictly prescribes the exclusive use of bleached linen (linum et cannabis) for making the aforesaid religious articles, partly in view of ancient custom, partly with regard to the mystic symbolism and signification of linen; for the Church attaches much importance to these two points.

The Eucharistic Sacrifice has never been celebrated without suitable covering for the altar-table; and the altar-cloths are probably of Apostolic origin.⁵⁹59The more ancient writers use various names to designate the altar-cloths; for example, pallae, velamina, indumenta, vela, pallia, mensalia, mappae, tobaleae. According to Anastasius, Pope Sylvester I. (314–335) promulgated an ordinance with regard to the material required, that is, he ordained that the Sacrifice should be offered, not on a silk or colored cloth, but only on a white linen cloth (non in serico neque in panno tincto... nisi tantum in linteo ex terreno lino procreato). From the very earliest times linen was generally used for symbolical and practical reasons to cover the altar, though even, through devotion, more precious materials were occasionally chosen. The number of altar-cloths was not always and everywhere the same; from the sixteenth century three have been prescribed. Since the ninth century, we meet with formulas for blessing them. Early mention is made of their use; St. Optatus, Bishop of Mileve in Numidia († after 384), presupposes that their use is universally known, exclaiming: “Who among the faithful are ignorant of the fact that in the celebration of the Divine Mystery the wooden altar is covered with a linen cloth?”⁶⁰60Quis fidelium nescit, in peragendis mysteriis ipsa ligna linteamine cooperiri? (De schismat. Donat. l. 6, n. 1).

The reasons for this strictly enjoined triple covering of the Eucharistic table are founded partly on the propriety and necessity of securing cleanliness for the altar itself, and of preventing any profanation of the Precious Blood in the event of its being spilled, and partly on the symbolical signification of the altar and the altar-cloths. The altar symbolizes Christ, the source of all graces, and the dressing of the altar with white, clean linen cloths reminds us of the linen cloths in which the Body of Christ was wrapped while resting in the tomb. — The linen cloths, moreover, also symbolize the mystical members of Christ, that is, the faithful of God, by whom the Lord (symbolized by the altar) is surrounded as with precious garments, according to the words of the Psalmist: “The Lord hath reigned, He is clothed with beauty” (Ps. 92, 1). St. John also in his Revelations saw the Son of Man girded round about with a golden girdle, which signifies the hosts of the saints.⁶¹61Altaris pallae et corporalia sunt membra Christi, scilicet fideles Dei, quibus Dominus quasi vestimentis pretiosis circumdatur, ut ait Psalmista: Dominus regnavit, decorem indutus est. Beatus quoque Joannes in Apocalypsi vidit Filium hominis praecinctum zona aurea, i. e., Sanctorum caterva (Pontif. Rom. De ordinat. Subdiacon.). Of Christ it is likewise said: “Behold, the Lord cometh with the baptized, His saints” (Jud. 1, 14); they are, thus to speak, the garment of His body, the girdle of His breast, the brilliant crown on His head. But if the saints constitute Christ’s holy attire and garment of honor, we may recognize in the use of the three altar-cloths an allusion to the threefold division of the mystical body of Christ; namely, the Church militant, suffering and triumphant. To express this symbolical meaning of the altar-cloths the bleached linen is well adapted; for according to Holy Scripture “fine linen glittering and white are the justifications of the saints” (Apoc. 19, 8). White linen represents cleanness of heart and purity of life: this can be only laboriously acquired and preserved by constant prayer, watching and mortification, as precious linen is prepared with much labor.

The altar is covered and adorned with linen cloths throughout the entire year—until Holy Thursday, when after Holy Mass the stripping of the altars (denudatio altarium) takes place, thus introducing the liturgical celebration of Good Friday. Until Holy Saturday the altars remain stripped of all ornament and of their usual covering. The touching ceremony of the stripping of the altars symbolizes not only the grief of the Church at the death of her Divine Spouse, but it also reminds us of the shameful stripping of Christ’s most pure body of its garments, as well as of His cruel abandonment and desolation during His passion.

2. If the front (frons) of the altar display in its design neither art nor beauty, it should be covered and adorned with an antipendium,⁶²62The ornamentation and covering of the altar in front (as well as on the two sides) was, from the earliest epoch, made of metallic plates, or of cloth, or of stone or wood, and was partly movable and partly immovable. The Cerem. Episc. desires for great feasts pallia aurea vel argentea (raised work embossed) aut serica auro perpulchre contexta (gold brocade), coloris festivitati congruentis (l. 1, c. 12, n. 11). — These hangings are mentioned under different names; for example, circitoria, laminae, petala, platoniae, tabulae, coopertorium, frontale; moreover, the words frequently occurring in the papal ceremonial: vestes altaris, in altari, super altare, have reference probably to the cloths which surrounded and adorned the altar-table—not in reality to colored altar-cloths. The appellation antependium (= velum ante pendens) originated also during the Middle Age. The rubrics use the name which likewise occurred in the Middle Age of pallium = envelop, covering, mantle. Observandum est, ut mensa Christi, i. e. altare, ubi corpus dominicum consecratur, ubi sanguis ejus hauritur, ubi Sanctorum reliquiae reconduntur, ubi preces et vota populi in conspectu Dei a sacerdote offeruntur, cum omni veneratione honoretur: et mundissimis linteis et palliis diligentissime cooperiatur, nihilque super eo ponatur, nisi capsae cum Sanctorum reliquiis et quatuor Evangelia (Ivon. Carnot. Decret. p. 2, c. 132). — The antependium must not be blessed. that is, with a curtain of precious material, corresponding, as far as possible, in its color to the Office of the day,⁶³63Altare pallio quoque ornetur coloris, quoad fieri potest, diei festo vel officio convenientis (Rubr. gener. Miss. tit. 20). and bearing pious emblems, suitably illustrating the Eucharistic Sacrifice.

3. Since the Holy Sacrifice must never be celebrated without light, that is, without burning candles, there must be some (two, four or six) candlesticks on the altar;⁶⁴64The position of the candlesticks should be, according to the rubrics of the Missal super altare, and according to the Ceremoniale in planitie altaris. It is nevertheless recommended to place them outside of the altar-cloths on a step or a stool. Candlesticks on the wall separated from the altar do not suffice (S. R. C. 16. Sept. 1865). these (six) candlesticks should not be equal in height, but should rise toward the middle of the altar in gradation, so that those placed next to the Cross may be the tallest.⁶⁵65Cerem. Episcop. l. 1, c. 12, n. 11. — This rubric, which recommends the gradual elevation of the candlesticks toward the middle of the altar, is usually not regarded as of precept; still the S. R. C. on Dec. 24, 1849, answered: melius esse servare regulam Ceremonialis. They should be of metal or of wood, of beautiful form, and should be kept clean and bright.⁶⁶66The present custom of placing the candlesticks (candelabra, phari, cereostata, ceroferaria) on the altar, dates from the tenth century; previously to this period they were usually placed on the sides and around the altar. The candelabra were generally of a considerable size and frequently of precious metal (gold and silver, also of copper and brass with silver ornaments).

4. In the middle of the altar there must be a Crucifix, that is, a cross with an image of the Crucified, so placed that it may easily be seen by the priest and people.⁶⁷67Pes crucis aequet altitudinem vicinorum candelabrorum et crux ipsa tota candelabris superemineat cum imagine sanctissimi Crucifixi (Cerem. Episc. l. 1, c. 12, n. 11). — Since the fifth century the altar-cross has been in use in many places, but it was not universally prescribed: moreover, it was not always placed over the altar, but often affixed in front or at the side of the altar. In the thirteenth century there was always a “cross on the altar between (two) candlesticks.” (Cfr. Innoc. III. De alt. myst., l. 2, c. 21. — Durand. Ration. l. 1, c. 3, n. 31.) — In the West also since the twelfth century the Crucified was no longer represented as a king, but as the Man of Sorrows (with a crown of thorns and with falling arms). The image of our Crucified Redeemer appertains to the necessary altar ornaments and, therefore, it should be artistic and beautiful. That it may answer its purpose, the altar-cross should be of suitable size and occupy an elevated position. It is more important than all the representations of the Saints; hence the place of honor is given it in the middle of the mensa between the candlesticks. — The blessing of the altar-cross is not prescribed, but it may be done privately by any priest. (S. R. C. 12. Jul. 1704; 12. Aug. 1854.) — Because the altar-cross is necessary for the adornment of the altar, it may be affixed to the upper part of the tabernacle or immediately in front of the tabernacle door. The small Crucifix, which is generally carved on the door of the tabernacle, or a simple cross without the figure will not answer. If in the construction of the altar, our Lord crucified be represented in painting, in stone—or in sculpture—and set forth as the prominent and main picture of the altar, or if the Blessed Sacrament is exposed, then a Crucifix on the altar is not necessary; it may or may not, according to the custom of individual churches, be placed there.⁶⁸68S. R. C. die 2. Sept. 1741.

The Cross must be on the altar, to remind and to place before the eyes of the celebrant and of the faithful there present, the passion of Christ, of which the Mass is the living picture and the true representation.⁶⁹69Ab aspectu crucis sacerdoti celebranti passio Christi in memoriam revocatur, cujus passionis viva imago et realis repraesentatio hoc sacrificium est, mortem cruentam Salvatoris nostri incruente exprimens, tanquam idem sacrificium, quod in cruce oblatum est, quamvis diverso modo offeratur (Bona, Rer. liturg. l. 1, c. 25, n. 8). The altar represents Mount Calvary, and as Calvary it should be adorned with the Cross, to which while celebrating Mass the priest must often raise his eyes,⁷⁰70Denegatur ab aliquibus ecclesiasticis obligatio crucem aspiciendi, dum a rubrica sacerdoti celebranti injungitur in Missa oculorum elevatio: quid dicendum de hujusmodi opinione? Resp.: Juxta rubricas in elevatione oculorum crucem esse aspiciendam (S. R. C. 22. Juli 1848). bow and make genuflections.⁷¹71Quoniam imago Christi introducta est ad repraesentandum eum, qui pro nobis crucifixus est, nec offert se nobis pro se, sed pro illo; ideo omnis reverentia, quae ei offertur, exhibetur Christo (S. Bonav. III, dist. 9, a. 1, q. 2). The devout, pious and earnest look at the image of the Crucified, of that grand, holy representation of the passion of the Lord is at all times—but especially during the time of Holy Mass—exceedingly profitable and advantageous to the soul. What rich treasures of patience and resignation, of meekness and fortitude, of consolation and encouragement have for more than eighteen centuries been imparted to thousands by the simple, silent, contemplative look at the Crucifix, at the suffering and crucified Saviour! “This is my highest wisdom,” thus spoke St. Bernard, “to know Jesus and Him crucified!” “Give me my book,” exclaimed in broken accents St. Philip Benitius,—“give me my book!” he cried, until those around him, comprehending his meaning, presented to him a Crucifix upon which his eye rested. “This is my book,” the saint then exclaimed, as he pressed it to his heart and lips with love and reverence, “I have read therein during the whole course of my life, and with this book I shall close my life.” Yea, in life and at death the Cross should be our favorite book. In order that we may ever gratefully remember the love and the sufferings of our Redeemer, the Cross is placed not only on the altar, but in Catholic countries it is everywhere erected and brought before the eyes of the faithful; in the valleys and on the mountains, at home and in the field, on the wayside and in the streets. Therefore, do not grow weary or despondent, but “look on Jesus, who endured the cross, and now sitteth on the right hand of the throne of God” (Heb. 11, 13; 12, 2–3).

5. Of three altar-cards only the middle and largest one, which should be placed at the foot of the altar-cross,⁷²72At crucis pedem ponatur tabella Secretorum appellata (Rubr. gen. tit. 20). is prescribed by the rubrics; the two smaller ones, set up on either side, have been introduced by general usage. All three should have the prayers printed in legible type and have neat frames.⁷³73The Canon or Secret Cards were gradually introduced only since the sixteenth century. To assist the memory of the celebrant, or to spare him inconvenient search and the reading over of many prayers from the Missal, they began to print “the Angels’ Hymn, the Nicene Creed, the formula and words of Consecration and several other things,” especially the secret prayers (hence the name chartula vel tabella cum secretis, tabella secretorum); they were printed at first on a single leaf, and later on several leaves. These were then pasted on wood, framed nicely and placed opposite the celebrant, so that he could easily read them. — If the Blessed Sacrament is exposed, the Canon Cards should be removed from the altar (except during Mass). (S. R. C. 20. Dec. 1864.)

6. A cushion (cussinus) serves as a support for the Missal or, what is more practical, a wooden stand (pulpitum) neatly carved. The Missal itself should, as far as possible, be perfect, beautiful and handsomely bound.

7. On the altar relics and images of the saints find a proper place.⁷⁴74Sacrae Reliquiae et imagines... disponi poterunt alternatim inter ipsa candelabra (Ceremon. Episc. l. 1, cap. 12, n. 12). — It is forbidden to place them in such a manner that the tabernacle containing the Most Blessed Sacrament should serve them as a basis (pro basi). (S. R. C. 3. Apr. 1821.) On March 12, 1836, this prohibition was also extended to relics of the holy Cross or to any other instrument of the passion of our Lord. — If the Blessed Sacrament is exposed, there should be no images or relics of the saints placed on the altar, lest they withdraw the mind from the adoration of the Holy of holies. (S. R. C. 2. Sept. 1741. — May 19, 1838. — Dec. 7, 1844.) — Only the images of adoring angels may then be used on the altar. It has never been the habit of the Church to suffer the precious remains of her glorified children to remain in the ground or in a grave, but she takes them up and puts them in a place worthy of them, that is, she places and exposes them on the altar for veneration. This action of the Church admonishes us that the saints in heaven have won the crown of life, only because they were nourished and strengthened with the fruit and food of the Sacrifice of the Altar; for, like so many fresh blooming branches of the olive tree, the children of the Church surround the Sacrificial banquet-table of the Lord.⁷⁵75Sicut novellae olivarum, Ecclesiae filii sint in circuitu mensae Domini (Ant. in Vesp. ss. corp. Chr.). Cfr. Ps. 127, 3.

It is also befitting to place on the altar images of the saints, especially of those in whose honor the altar is consecrated.⁷⁶76The picture above the altar, or altar-piece, is intended to make known to the faithful what saint is the titular of the altar, that is, in whose honor the altar is consecrated. Without an apostolic indult the titular picture may not be removed from the altar and replaced by the picture of another saint. (S. R. C. 27. Aug. 1836 et 11. Mart. 1837.) — The pictures and relics of the blessed, that is, of those who are only beatified, may be placed or exposed on the altar only in those places, in which it is expressly permitted to erect altars or to have the Mass and Office in their honor (Decr. Alex. VII. die 27. Sept. 1659. — S. R. C. 17. Apr. 1660). By their images the saints descend; as it were, from heaven on the earth, and live and move in our midst, speak to us in mysterious language, entertain us with their glorious examples of virtue, excite in us good thoughts and pious resolutions, animate and encourage us to follow them, with the assistance of grace, in the toilsome path of virtue, and courageously to persevere until we shall have finished our course and shall have happily attained unto our blessed destiny in heaven.⁷⁷77Quoties imagines Sanctorum oculis corporeis intuemur, toties eorum actus et sanctitatem ad imitandum memoriae oculis meditemur (Pontif. Rom. De bened. imagin.). — Imaginum introductio in Ecclesia non fuit absque rationabili causa. Introductae enim fuerunt propter triplicem causam, videlicet propter simplicium ruditatem, propter affectuum tarditatem et propter memoriae labilitatem. — Propter simplicium ruditatem inventae sunt, ut simplices, qui non possunt scripturas legere, in hujusmodi sculpturis et picturis tanquam in scripturis apertius possint sacramenta nostrae fidei legere. — Propter affectus tarditatem similiter introductae sunt, videl. ut homines, qui non excitantur ad devotionem in his quae pro nobis Christus gessit, dum illa aure percipiunt, saltem excitentur, dum eadem in figuris et picturis tanquam praesentia oculis corporeis cernunt. Plus enim excitatur affectus noster per ea quae videt, quam per ea quae audit. — Propter memoriae labilitatem, quia ea quae audiuntur solum, facilius traduntur oblivioni, quam ea quae videntur. Frequenter enim verificatur in multis illud quod consuevit dici: verbum intrat per unam aurem et exit per aliam. Praeterea, non semper est praesto, qui beneficia nobis praestita ad memoriam reducat per verba. Ideo dispensatione Dei factum est, ut imagines fierent praecipue in ecclesiis, ut videntes eas recordemur de beneficiis nobis impensis et Sanctorum operibus virtuosis (S. Bonav. III, dist. 9, a. 1, q. 2).

8. To decorate the altars, especially on great feasts, with flowers is an ancient, venerable, devout and praiseworthy custom, and, therefore, approved of by the Church.⁷⁸78Cfr. Merkle, Augsburg. Pastoralblatt, Jahrg. 1876, p. 289 etc. — Since flowers as well as relics and pictures of the saints appertain to the festive decoration of altars, they should not be used when Mass is celebrated in black or purple. (Cfr. Cerem. Episc. l. 2, c. 9, n. 1;—l. 2, c. 13, n. 2.) — Artificial as well as natural flowers may serve to adorn the altar;⁷⁹79Vascula cum flosculis frondibusque odoriferis (natural flowers) seu serico contextis (also flowers made of silk) studiose ornata adhiberi poterunt (Cerem. Episc. l. 1, c. 12, n. 12). — These vases containing flowers, as well as other ornaments, should not be placed either on the tabernacle or in front of the tabernacle door. An ante ostiolum tabernaculi ss. Sacr. retineri possit vas florum vel quid simile, quod praedictum occupet ostiolum cum imagine Domini nostri in eodem insculpta? Resp.: Negative, posse tamen in humiliori et decentiori loco (S. R. C. 22. Jan. 1701). — The placing of the middle Canon Card, prescribed, before the door of the tabernacle is often unavoidable and, moreover, it does not appear to be forbidden by the above-quoted decree. but the latter are preferable.⁸⁰80Etsi vasa cum flosculis serico contextis adornando altari bene inservire queant, flores tamen horti frondesque odoriferae melius convenire videntur (Conc. prov. Prag. a. 1860, tit. 5, c. 4). — The altar should not be overladen, but decorated with taste. Garden and field flowers, as well as flowers from the woods and meadows, may be employed for its adornment. Artificial flowers should always be manufactured of precious material (silk, gold, silver). Great care is requisite to prevent all kind of danger and inconvenience that might easily result from decorating the altar with natural and artificial flowers. (Cfr. Rütter, Die Pflanzenwelt als Schmuck des Heiligthums und Frohnleichnamsfestes. Regensburg 1883. — Reiners, Die Pflanze als Symbol und Schmuck im Heiligthume. Regensburg 1886.) The artificial flowers should be imitations of the natural, and should be well made and be kept clean; for thus only can they, in a measure, supply the place of fragrant, bright, fresh flowers. Faded and worn out imitations are never to be suffered on the altar.

Fresh, bright and fragrant flowers growing in pots add to the decorations of the altar, making it beautiful and pleasing and, consequently, greatly contribute to enhance the celebration of the feast and to the edification of the people. A holy religious, the Capuchin Francis Borgia, used to say: “God has left us from Paradise three things: the stars, the flowers and the eyes of a child.” In fact, flowers have in God’s creation a place entirely their own; they are on the globe of the earth what the stars are in the canopy of heaven—uneffaced traces of a former world, the earthly Paradise, the least affected by the curse of sin. In the splendor of their colors, in their fragrance, they are revelations of the beauty and goodness of God, emblems of His benevolence, images of His first, true designs (Isa. 25, 1). For all these reasons, flowers, besides lighted candles and incense, have their liturgical meaning, and are used to adorn the divine service.⁸¹81Laurent, Mariol. Pr. II, 232. By their fine and elegant forms and lovely colors they possess a peculiar charm to please and captivate both the heart and the senses, not without impressing us more deeply. These beautifully colored creatures are wonderfully formed by the light from the mud of the ground and colorless water. Truly! flowers, those lilies of the field, which neither spin nor weave, and yet are so splendidly arrayed—by the purity and perfection of their attire give us to understand that they are the handiwork of that Creator who created Paradise, from which they come, and that they have been left, as it were, to us as a remembrance thereof.⁸²82Cf. Berthold, Das Naturschöne, p. 84.

There is also a symbolical reason for adorning altars with flowers. Flowers possess a language all their own, they have a higher meaning; they are evident emblems of spiritual things. This is expressed in the Church liturgy itself. On the fourth Sunday in Lent (Laetare) the Holy Father blesses in Rome a golden rose with solemn prayer, anoints it with chrism, besprinkles it with perfumes and holy water, and incenses it.⁸³83With respect to the blessing of the rosa aurea mixta cum balsamo et musco (balsam, musk), which is a symbol of celestial happiness, quia rosa prae ceteris floribus colore delectat et recreat suavi odore,—cfr. Quarti, De benedict. tit. II, sect. 2; Moroni, Dizionario s. v. Rosa d’oro, vol. LIX, 111–149. He prays at the same time, that God, who is the joy and happiness of all the faithful, may be pleased to bless and sanctify in its beauty and fragrance this rose, which we hold in our hands as a sign of spiritual joy; that His people, delivered from the captivity of Babylon, through the grace of His Only-Begotten Son, may even now partake of the happiness of the heavenly Jerusalem. Therefore, since the Church on this day to the honor of His name gives expression to her joy, may He grant her true and perfect joy and devotion, in order that she may by the fruit of good works shed forth a balmy odor like unto the perfume of that flower, who, springing from the root of Jesse, is called the flower of the field and the lily of the vale. If a Catholic prince deserving of such a gift is present, the flower is presented to him, with the words: “Receive from our hands the rose, which signifies the joy of the heavenly and earthly Jerusalem, that is, of the Church triumphant and militant, and which guides all the faithful to that lovely Flower, the joy and crown of all the saints. Accept it that you may be more and more enriched with every virtue in Christ our Lord, like unto the rose planted along the streams.” Flowers may also, on account of their grace and loveliness, serve as emblems of the festive joy wherewith we should long for the altar of Christ, the Author of all true joy. Flores sunt signa laetitiae. Thus the adorning of the altar with flowers appears as a symbolical expression of that joy in which we may exclaim with the Psalmist: “How lovely are Thy tabernacles, O Lord of hosts! I have loved the place where Thy glory dwelleth.”

Flowers also symbolize those supernatural prerogatives, graces and virtues with which the soul should be adorned; for the saints bloom as the lily and they are in the presence of God as the odor of balsam. Flowers, by reason of their freshness and beauty which they receive from the sun and which they turn towards it, are emblems of that innocence and holiness we derive from Christ, the Sun of Justice, and with which we again glorify Him as the Sun of our spiritual life. — The flowers on the altar signify, moreover, that the blossoms of grace, prayer and virtue unfold in the supernatural light and in the heavenly warmth which radiates from the sun of the Eucharistic Sacrifice. The flowers of the altar, at the same time, admonish us to make of our heart a garden for God with the flowers of virtue, so that Christ, who feeds among the lilies, may find His delight therein; for nothing gives Him so much joy as a heart adorned with the blossoms of purity. — The flowers with which we ornament the altars on great feasts, therefore, symbolize the souls of the faithful, who adorn their interior with faith and with the grace of the Divine Victim, in order to receive the King of Glory and offer to Him their homage. In this connection, the Holy Ghost says to us: “Send forth flowers, as the lily, and yield a perfume and bring forth leaves in grace and praise with canticles and bless the Lord in His works” (Ecclus. 39, 19).

It should, then, be a loving occupation for us to adorn the church, to decorate the altar and to enhance the beauty of divine worship with fresh and fragrant flowers. God is thereby honored, pious people are rejoiced and edified. On this subject we have a beautiful model in the Blessed Henry Suso. “When delightful summer came round and the delicate flowers appeared for the first time, he refrained from culling or even from touching them until the day had arrived on which he would gather them to greet his spiritual love, the gentle, the all-fair and lovely Maiden, the divine Mother. Thus he gathered the flowers with many a tender aspiration, and carried them to his cell to weave them into a wreath; he then went to the choir or to the chapel of our Lady and, kneeling humbly before her statue, he placed the lovely crown upon her head with the request: that since she is the loveliest of flowers and the summer-joy of his young heart, she would not despise the first flowers of her servant.”⁸⁴84Denifle, Die Schriften des sel. Heinrich Seuse, 1. Abth., p. 162.

The altar is here on earth the most holy and the most venerable of all places—our Bethlehem and Nazareth, our Thabor and Golgotha. To do honor to Him who here sacrifices Himself for us and who so graciously deigns to dwell among us, all the splendor and decoration of the temple lend their service. The altar, therefore, should be the most beautiful of all, and the pastor should have at heart, in a special manner, its adornment, so that he may in truth be able to say: Domine, dilexi decorum domus tuae et locum habitationis gloriae tuae—“O Lord, I have loved the beauty of Thy house and the place where Thy glory dwelleth” (Ps. 25, 8).

28. The Chalice and Its Appurtenances

Among the necessary requisites for the celebration of the Eucharistic Sacrifice is to be enumerated the chalice,⁸⁵85Calix, a deep cup for drinking, goblet, chalice, (also with its contents). Through Christ the chalice received a new, sacred destiny; hence natalis calicis an ancient designation for Holy Thursday. The Biblical name is ποτήριον—or ποτήριον τῆς εὐλογίας (1 Cor. 10, 16), or ποτήριον Κυρίου (ibid. 10, 21 and 11, 27). More modern names are: calix sanctus, vas sacrum, vas dominicum, vas mysticum, vasculum, poculum sanctum. The chalice is necessary for the celebration of sacrifice, and was, therefore, always and everywhere in use. As to the material and form of the chalice which our Lord used at the institution of the Eucharist, we have no reliable information; for the models preserved at Valencia and Genoa are assuredly not authentic. The three parts of the chalice (cuppa=goblet; nodus=knob or handle; pes=foot) were in different periods of art formed differently (for example, Roman, Gothic chalices). The nature of the thing and historic proof place it beyond a doubt, that from the earliest epoch endeavors were made to have the sacred vessels manufactured of precious material, mostly of gold and silver and artistically ornamented. Chalices were frequently enamelled and set with pearls and gems (calices gemmei). In order to preserve the gold and silver vessels from pillage, St. Lawrence used them for the support of the poor. Prudentius makes a Pagan persecutor say, that among the Christians it is customary: libent ut auro antistites. — Argenteis scyphis ferunt—Fumare sacrum sanguinem—Auroque nocturnis sacris—Adstare fixos cereos (Peristeph. 11, 68. sqq). Of Urban I. (220–230) the Liber Pontificalis mentions: Hic fecit ministeria sacrata omnia argentea et patenas argenteas 25 posuit, that is, he had all the sacred vessels made of silver and he donated twenty-five silver patens. — Chalices of glass were also used in some places, but probably only exceptionally and chiefly in cases of necessity. Nihil illo ditius qui sanguinem (Christi) portat in vitro—writes St. Jerome of Bishop Exuperius of Toulouse, who had distributed all he possessed to the poor. Chalices of wood, bone, clay, stone, brass, copper, pewter were condemned by many Synods, already towards the end of the tenth century, although their use did not altogether cease. — In the primitive Church there were various kinds of chalices; for example, calices ministeriales, communicales, majores (for the Communion of the laity); c. offertorii, in which the deacons poured the wine presented by the people; c. pendentiles, which hung in the Church for ornament; c. ansati, appensorii, with handles; c. imaginati, with images; c. literati, with inscriptions. With respect to these and other names cfr. Du Saussay, Panopol. sacerd., p. 1, l. 8. together with its appurtenances (the paten, pall, corporal, purificator, burse, veil and cruets).

1. The chalice and paten occupy the first place of honor⁸⁶86Vasa, quibus praecipue nostra sacramenta imponuntur et consecrantur, calices sunt et patenae. Calix dicitur a graeco, quod est κύλιξ; patena a patendo, quod patula sit (Walafr. Strab. De exord. et increment. c. 25). among the sacred vessels; for in the chalice the infinitely Precious Blood of Christ is consecrated,⁸⁷87Optatus of Mileve calls chalices bearers of the Blood of Christ—Christi sanguinis portatores (De schism. Donat. l. 6, n. 2). and on the paten the glorious Body of the Lord is placed.⁸⁸88At the consecration of the paten the bishop prays God “to sanctify it, so as to break on it the body of Christ” (sanctificet hanc patenam ad confringendum in ea corpus D. N. I. Ch.). For many centuries the holy bread has no longer been broken over the paten, but over the chalice (cfr. Durand. Ration. l. 4, c. 51, n. 1–4.).

a) Considering the sublime use to which these vessels are put and their sacredness, the Church has ordained that they be made only of the best, the most noble and the most precious metals. Brittle, unsafe and inferior materials are not to be used in their construction—such as, glass, which breaks easily; wood, which is porous and which would absorb the precious Blood; brass and copper, given to rust and verdigris; lead and iron, on account of their little value. The chalice proper, that is, the cup, must be of gold or silver; only in an exceptional case, that is, on account of poverty, are chalices of pewter allowed. If the cup be of silver or pewter, then at least the interior of it must be gilt with gold.⁸⁹89The making of chalices and patens of copper (cuprum) or brass (aurichalcum) was declared an abuse and therefore forbidden (S. R. C. 16. Mart. 1876). The paten⁹⁰90The Patena (from patere=vas late patens, an open vessel broader than deep) was probably used even in apostolic times for the offering of Sacrifice. For preserving the Chrism there were formerly the so-called patenae chrismales, which evidently were larger and deeper. must be of the same material as the cup (cuppa) of the chalice, also gilt with gold. The outer rim of the round paten must be thin and sharp so that chance fragments of the Sacred Host may the more easily and surely be gathered up therewith; the inner cavity should be shallow and without border, so that the particles of the Sacred Host may easily be conveyed into the chalice. — Both chalice and paten should always be kept scrupulously clean and bright; it is proper that when not in use they be not kept uncovered, but be enclosed in a case.

b) As mere art or richness of material cannot make them worthy of the service of the altar, they require to be consecrated with the divine blessing, in order to be made fit for use in the celebration of the Holy Sacrifice.⁹¹91Quod arte vel metalli natura effici non potest altaribus tuis dignum, fiat tua benedictione sanctificatum (Pontif. Rom., De Pat. et Calic. consecrat.). Therefore, the chalice and paten may be used at the Holy Sacrifice only after they have been rendered sacred by consecration. As the ceremony includes anointing with holy chrism, their consecration belongs exclusively to the bishop. — It must precede their use at Holy Mass, and cannot be supplied thereby; the consecration is lost, if the chalice or paten has become unfit for its purpose (for example, if broken or fractured) or if the interior be regilt.⁹²92If the foot of the chalice is not broken off, but only loosely screwed (in a calix tornatilis), then the cup does not lose its consecration. The sacred vessels—at least those of silver—are not desecrated, if by degrees they lose their gilding; on the other hand, re-gilding makes a new consecration necessary (S. R. C. 14. Jun. 1845). Totus calix deauratus per modum unius consecratur, et ideo, quamvis aurum amittatur, argenteus calix consecratus manet, quia licet inunctio vel consecratio versetur circa superficiem, tamen simpliciter totum consecratur. Quando vero postea nova deauratio superadditur, requiritur nova consecratio, quia id, quod additur, nullo modo consecratum erat. Nec dici potest, manere consecratum ex sola adjunctione ad aliud... quia id, quod per deaurationem additur, principalius est, non solum quia est nobilior materia, sed maxime, quia in ea fit contactus corporis et sanguinis Domini (Suarez disp. 81, sect. 7, n. 3). — Both chalice and paten are properly anointed with holy chrism. Chrism is composed of balm mingled with olive oil and, consequently, it is a symbol of the sweet-scented, enlightening, healing, comforting and strengthening grace of the Holy Ghost. In the chalice the Sacrificial Blood flows, and on the paten rests the Body of Christ, who was anointed by God with the oil of gladness above His fellows (Ps. 44, 8); from the wounds of the Eucharistic Victim gushes forth all the heavenly perfume of grace, all reconciliation and mercy, all peace and joy in the Holy Ghost. — To the consecrated vessels a sacred character is imparted; they are withdrawn from profane use, removed from the service of man and specially dedicated to the service of the Most High. The sacred, venerable vessels (vasa sacra) which come into immediate communication with the Most Holy cannot, therefore,—at least not without special permission—be touched by the laity.⁹³93The discipline of the Church with regard to this point was not always and everywhere the same. The Liber Pontificalis attributes to Pope Xystus I., in the beginning of the second century (115–125?), the ordinance that only ministri should touch the vessels consecrated to God (ministeria sacrata). Among these “ministers” deacons and sub-deacons are to be understood. — So long as the sacred vessels really contain the Eucharist, they can be touched by the priest only, and at most by the deacon. — It is permitted the sub-deacon to handle the sacred vessels on certain occasions even before they are purified and, therefore, they may still contain some particles of the Eucharist; thus, for example, he may carry the chalice, not yet purified, which was used at the first or second Mass on Christmas Day. — The empty and purified altar-vessels may now be handled by all clerics. The same right is by privilege or legitimate custom granted to all male and even female religious who act as sacristans. — For lay-sacristans of larger churches this permission should be obtained from the bishop; and in smaller churches the priest should himself, as much as practicable, take care of and arrange the chalice.

c) The mystical meaning of these two vessels is to be found chiefly in the formula of their consecration and in the use that is made of them. The chalice accordingly recalls to our mind that sanctified chalice (calix sacratus) of Melchisedech, which the Lord God once filled with grace. — Again it reminds us of the Sacred Heart of Jesus; for that Divine Heart is the laboratory in which the blood of our redemption was prepared, and also the source whence this blood of all redeeming merit was so abundantly and lavishly poured out, and daily fills the chalice on our altars. In the sacrificial cup of the Sacred Heart of Jesus is contained the Precious Blood of our redemption. Into and from this Sacred Heart once flowed and will flow for all eternity that precious Blood which purchased, ransomed and redeemed us. — The paten reminds us of the gold and silver plates of the Old Testament upon which, according to the Lord’s direction, various gifts (of wheaten-meal) were brought to the altar. — As the immediate and actual bearer of the Sacred Host (corporis Christi pretiosum ferculum), the paten represents the tree of the Cross upon which Christ voluntarily underwent death for us (in patibulo crucis elegit immolari) and His martyred body hung. — By its form it is also emblematic of the heart⁹⁴94Patena, quae dicitur a patendo, cor latum et amplum signat: super hanc patenam, i. e. super latitudinem caritatis sacrificium justitiae debet offerri, ut holocaustum animae pingue fiat (Innoc. III. l. 2, c. 59). enlarging and dilating itself in holy love and charity, with which priest and people go to meet and receive the Eucharistic Victim (patena—cor patens vel amplum latitudine charitatis—Innocent III. l. 6, c. 1). — Finally the chalice and the paten jointly represent the sepulchre, within whose dark recesses the Lord reposed in death after accomplishing the great and painful work of redemption; for the Church prays, that these vessels, “by the grace of the Holy Ghost, may become a new sepulchre (novum sepulchrum) for the Body and Blood of the Lord.”⁹⁵95That the holy, sacred vessels be made of gold or at least be gold-gilt, is also recommended for symbolical reasons. — Gold, as the most excellent and precious of the metals, is a symbol of what is noblest of a higher order, that is, of the heavenly and divine. (Cf. Cant. 5, 11. — Apoc. 21, 18.) On the altar, therefore, gold indicates the supernatural character, the divine grandeur and excellence of the Sacrifice. — The Magi presented Christ with gold (aurum regium), ut ostendatur Regis potentia: thus the golden or gold-gilt sacred vessels denote the royal dignity and power of our Divine High-priest. — As the noblest of the metals, gold, finally, symbolizes the heavenly wisdom and love with which Christ offers Himself for us on the altar.

2. We will now speak of the corporal, upon which the most holy Body of Christ and the chalice of His Blood are consecrated; and also of the pall which serves as a covering for the chalice. Originally the pall was not distinct from the corporal, but formed one and the same piece with it; for a linen cloth, which was much larger than our corporals, served as a cloth whereon to repose the Sacred Hosts and at the same time to envelop and cover the chalice.⁹⁶96Pallium (=mantle, over-garment) and palla (=long, wide over-garment) were formerly in a more extended sense (=envelop, covering) generally used for the designation of various cloths that cover the altar, especially the objects for the sacrifice. Pallium is still the proper liturgical name of that covering which adorns the upper part of the altar. The altar cloths were called pallae altaris. As a distinction from these the other wider linen cloth, which spread over the entire surface of the altar,—immediately held and covered the oblations was called pallium corporale, often palla dominica, palla corporalis, but generally only corporale. From this large altar-piece proceeded our present corporal and chalice-pall (parva palla—in lieu of the more extensive corporal-palls). At the close of the thirteenth century (see Durandus) the names corporal and pall were distinguished and used just as at present. The chalice pall is also called animetta (little soul) and in the Mozarabic Ritual filiola (little daughter), as it formed the inmost part of the folded corporal and was only a piece of it. Among the Carthusians the old (somewhat inconvenient) practice of covering the chalice with the corporal, is maintained to the present day. The Theatines use in addition to the corporal a small linen pall, on which the Sacred Host is held (cfr. Quarti, In Rubr. Miss. p. 2, tit. 1, sect. 3, dub. 4. — Krazer Sect. 3, art. 3, cap. 2. § 103). Since the twelfth century⁹⁷97Duplex est palla, quae dicitur corporale: una quam diaconus super altare totam extendit; altera, quam super calicem plicatam imponit (Innocent. III. l. 2, cap. 56). it has been customary to make this linen cloth—our present corporal—smaller and to use it only to place the Host and chalice thereon; while for the covering of the chalice a separate and independent linen—our pall—has been employed.⁹⁸98With regard to its origin the pall is still considered a portion of the corporal; hence corporal and pall are blessed with one and the same formula, in which they are designated in the singular number as linteamen, which serves ad tegendum involvendumque Corpus et Sanguinem D. N. I. Chr. (cfr. Pontif. Rom. De benedict. corporalium). This formula must always be recited unchanged in the singular, and it is not allowed to bless the palla without the corporale (S. R. C. 4. Sept. 1880).

a) The corporal must not be interwoven in the centre with threads of silk or gold, but must be throughout pure white linen, and be blessed as also the pall by a bishop or by some one thereunto empowered. The corporal as well as the pall may have in front a small embroidered cross.

At the present the palls that are perfectly plain deserve the preference, that is, palls consisting of a piece of linen folded in two. It is also permissible to have embroidered or woven on the upper surface of the pall decorations (for example, representations of the pelican, of the Lamb with the banner of the Cross bearing the name of Jesus); but they must not be in black, nor contain symbols of death.⁹⁹99An non obstantibus decretis a S. R. C. editis, uti liceat palla a parte superiori panno serico cooperta et auro contexta? Resp. Permitti posse, dummodo palla linea subnexa calicem cooperiat, ac pannus superior non sit nigri coloris aut referat aliqua mortis signa (S. R. C. 10. Jan. 1852). This decree, which merely tolerates such palls (as were formerly forbidden, Jan. 22, 1701), has not yet been received into the authentic collection. Black covers for the chalice are forbidden and consequently, if still in use, are to be put aside.

Since the corporal and pall come into such close contact with the Sacred Body and Blood of Christ, and are so intimately connected with the sacred vessels—the chalice and paten—they should ever be found spotlessly clean and white; and to this end they require to be frequently and carefully washed,¹⁰⁰100Linteamina, corporalia, pallae et alia altaris indumenta integra sint et mundissima, et saepe abluantur per personas a canonibus deputatas (scil. quoad corporalia et pallas, per ipsum sacerdotem, ubi subdiaconus non adest), ad reverentiam et praesentiam Salvatoris nostri et totius curiae coelestis, quam huic Sacramento conficiendo et confecto non dubium est interesse (Coll. Lacens. tom. III, 932). and always handled with care and reverence.¹⁰¹101Corporals, palls and purificators may after being used at the Holy Sacrifice and before their first washing be handled only by persons to whom the privilege of touching the consecrated vessels is permitted. — The first washing of these three linen cloths must always be done by a cleric of the higher orders, that is, by a sub-deacon, deacon or priest; afterwards they may be thoroughly washed by lay persons. The water is to be poured into the Sacrarium. — Certum est, corporalia, pallas et purificatoria etiam benedicta, antequam fuerint adhibita ad sacrum usum, posse ab omnibus contingi, etiam a laicis et feminis, quia prohibetur contactus vel ratione unctionis sacri chrismatis vel ratione specierum consecratarum; neutra autem ratio ex praedictis militat in casu nostro. Similiter quando post sacrum usum fuerunt lota, antequam iterum adhibeantur ad sacrum usum, possunt licite ab omnibus tangi, quia moraliter censentur ac si essent nova (Quarti, In rubr. Miss. p. 2, tit. 1, sect. 3, dub. 6).

b) The linen corporal, upon which rests the Adorable Body of Christ, reminds us of the swathing-bands of the Child Jesus in the crib, which were crimsoned with the blood of the Circumcision, and also of the fine linen shroud in which the martyred Body of Christ was wrapped and laid in the tomb.¹⁰²102Panni in quibus corpus Christi consecratur, repraesentant sindonem mundam qua corpus Christi involutum est, et ideo sicut illa linea fuit, ita non licet nisi in pannis lineis corpus Christi consecrare. — Linum etiam competit huic sacramento et propter puritatem, quia ex eo panni candidissimi et facile mundabiles fiunt, et propter multiplicem tunsionem lini qua paratur ad hoc ut ex eo fiat pannus candidus, quae competit ad significandam passionem Christi; unde non deceret de pannis sericis corporale et pallas altaris esse, quamvis sint pretiosiores, neque de panno lineo tincto, quamvis sit pulchrior (S. Thom. IV, dist. 13, q. 1, a. 2, sol. 3, ad 3). The linen winding-sheet, which shrouded “our Treasure, the Ransom of Captives,”¹⁰³103O admirabilis sindon! in qua involutus est thesaurus noster, redemptio captivorum (Offic. sacrat. sindon. D. N. I. Ch.). bears the imprint of the passion of the Saviour, the traces of His painful, bleeding wounds, and is still venerated in the Holy Chapel, (as it is called), of Turin as a precious relic of our Lord.¹⁰⁴104Permansit hactenus integra sindon illa, quae corporis Christi delibuta unguento, in sepulchro posita fuit, veluti operimentum et stratum, cui etiam imago Christi in sepulchro jacentis impressa est asservaturque summo honore in ecclesia Taurinensi (Gretser, De Sancta Cruce l. 1, cap. 97). The head of Jesus was wrapped in a separate linen cloth—the designated napkin (sudarium—Joann. 20, 6–7);—referring to this covering, the Church prays at the blessing of the corporal and pall, that they “may be made, by the grace of the Holy Ghost, a new napkin (novum sudarium) for the Body and Blood of our Redeemer.” — The fine white linen, of which the corporals and palls are made, symbolizes, moreover, the most pure Body of Christ in the incarnation, in His passion and in His transfiguration. Linen is a product of the earth, prepared with much care, and made shining and white after much labor. The Son of God, as the New Adam, has also taken His body from the immaculate, untainted earth of the virginal bosom of Mary—and only by His painful passion and death was His body fitted for the blessed glory of the resurrection and heavenly bliss. The sight of the linen corporal and pall is, therefore, calculated to awaken in us the remembrance of the pure Body of Christ sacrificed, once capable of suffering and mortal, but now transfigured in glory and immortal, and to excite us to the consideration of the Incarnation, Passion and Resurrection of Christ. — The white glossy linen is, finally, a figure of the purity of heart or the spiritual ornaments¹⁰⁵105In tribus, quae perducunt corporale lineum ad candorem, intelliguntur tria, quae faciunt ad nostram mundificationem. — Primo enim lavatur, secundo torquetur, tertio exsiccatur. Sic qui ad suscipiendum Dominum nostrum mundus vult fieri, primo debet per aquam lacrymarum lavari, secundo per opera poenitentiae torqueri, tertio per fervorem amoris Dei a carnalium desideriorum humore siccari (B. Albert. serm. 15. de ss. Euch. sacram.). with which the faithful should be attired, that they may present themselves worthy guests at the Sacrificial Banquet of the Lamb and in all due disposition receive the holy Body of Jesus Christ.¹⁰⁶106To the objection: Sicut aurum pretiosius est inter materias vasorum, ita panni serici pretiosiores sunt inter alios pannos. Ergo sicut calix fit de auro, ita pallae altaris debent de serico fieri, et non solum de panno lineo—St. Thomas answers: Dicendum, quod ubi potuit sine periculo fieri, Ecclesia statuit circa hoc sacramentum id quod expressius repraesentat passionem Christi. Non erat autem tantum periculum circa corpus, quod ponitur in corporali, sicut circa sanguinem, qui continetur in calice. Et ideo licet calix non fit de petra, corporale tamen fit de panno lineo, quo corpus Christi fuit involutum... Competit etiam pannus lineus propter sui munditiam ad significandam conscientiae puritatem, et propter multiplicem laborem, quo talis pannus praeparatur, ad significandam Christi passionem (3, q. 83, a. 3, ad 7).

The symbolical meaning of the four named requisites for the Holy Sacrifice can be construed in a somewhat different manner: the chalice may be considered as the sepulchre, the paten as the stone wherewith it was closed; the corporal, the winding-sheet in which the holy body was wrapped, and the pall, the napkin which bound up the blood-stained head of Jesus.¹⁰⁷107Duplex est palla, quae dicitur corporale, una scilicet, quam diaconus super altare extendit; altera, quam super calicem plicatam imponit, significantes duo linteamina, quibus Joseph corpus Christi involvit. Extensa repraesentat sindonem, qua corpus fuit in sepulchro involutum, et inde corporale vocatur; plicata super calicem posita sudarium, quo caput ejus fuit separatim involutum (Durand. Ration. l. 4, c. 29, n. 4).

3. The purificator¹⁰⁸108Writers of the Middle Age and the Ordines Romani do not allude to the purificator; yet the Ordo Rom. XIV. mentions a pannus tersorius, which served for purification. The Greeks use for cleansing the chalice and paten the holy sponge (ἡ ἁγία σπογγία). is a small linen cloth which is used at the Holy Sacrifice for cleansing and wiping the chalice, as well as the mouth and fingers of the celebrant after Communion, and to wipe off the paten before the consecrated Host is placed upon it.¹⁰⁹109Since the purificator is intended for the cleansing of holy things, the rubrics expressly require that it should be kept clean (purificatorium mundum). That it may the more easily be distinguished from the other cloths, a small cross should be embroidered in its centre. The purificator may, but need not be blessed. (S. R. C. 7. Sept. 1816).

4. The Burse¹¹⁰110It was introduced toward the close of the Middle Age, ut corporale cautius et decentius deferretur (Krazer). It is called pera (πήρα, wallet), theca (θήκη, envelop, cover, case) and mostly bursa (money-bag from the Greek βύρσα, drawn-off skin, hide). and the Chalice-veil. — The corporal must not be allowed to remain lying on the altar, nor be carried in the bare hands, but it must be placed in a special case, which is usually called the burse.¹¹¹111S. R. C. 27. Febr. 1847. The burse should be open only at one end and be conveniently large enough to enclose the corporal within it. The exterior covering of the burse, on which sacred emblems may be wrought, must correspond as to material and color with the vestments of the Mass;¹¹²112Super velo ponit (sacerdos) bursam coloris paramentorum, intus habentem corporale plicatum (Miss. Rom. Rit. celebr. Miss. tit. 1, n. 1). the interior may be lined with silk or fine white linen. — It is proper to use precious material for the making of the burse; because it serves as an ornament to the chalice and as a receptacle for the blessed and very sacred linen within, namely the corporal.¹¹³113The burse, therefore, should not be a simple covering, that is, merely laid on the corporal, or a lid with a pocket sewed to the upper portion, but rather a double cover of strong card-board forming a quadrangle, the three sides of which are sewed together in such wise that into the fourth open side the folded corporal may easily be pushed and taken therefrom. The chalice-veil,¹¹⁴114Velum=cover, cloth, veil. The velum calicis and the velum humerale of the sub-deacon at High Mass must be of the liturgical color of the Mass. Velum autem celebrantis in expositione ss. Sacramenti nunquam alius nisi coloris albi sit; prout vela ciborii (that is, the Ciborium Cover) quoque, necnon bursae et baldachini deferendo Venerabili Sacramento inservientes ex albi coloris panno confecta sint oportet (Conc. Prag. a. 1860, tit. 5, c. 7, n. 2). — The sub-deacon uses the humeral-veil to carry the chalice, (the veil of which has previously been removed), from the credence table to the altar, and to hold the paten covered in his hands from the Offertory to the end of the Pater noster. with which the chalice and paten are covered up to the time of the Offertory and after the Communion,¹¹⁵115If the veil is rather small, it should be arranged so that at least the front of the chalice, exposed to view, may be entirely covered (S. R. C. 12. Jan. 1669). should be of silk¹¹⁶116Cum velo serico (Miss. Rom. Rit. celebr. tit. 1, n. 1). — The word sericus=silken, originated from the circumstance that the inhabitants of Serer (a people in the East of Asia) chiefly manufactured this material. and correspond in color to the Office of the day. Although a cross upon it is not prescribed, the veil is almost universally decorated with this sacred emblem. It should not be thick and stiff, but soft, that it may the more easily be spread over the chalice and folded again.¹¹⁷117The blessing of the chalice-veil and burse is not prescribed, but is proper. — The object of covering the chalice with a veil is to express due reverence for this sacred vessel; it may also relate to the obscurity, profundity and incomprehensibility of the mystery of the Eucharistic Sacrifice.

5. To the above mentioned articles may, moreover, be added some others, such as the cruets, finger-bowl, the small spoon, the bell.

The cruets,¹¹⁸118The name now in use is ampulla (diminutive of amphora; properly amp[h]orula, also amporla, ampurla, ampulla; from ἀμφί, utrinque, and φέρω, porto—because this vessel had two handles to carry it by) = a vessel with a small neck and two handles, a small flask—and urceolus (from urceus) = a little pitcher. More ancient designations are: amula; scyphus (σκύφος) = bowl, goblet; lagoena = flask; phiala (φιάλη) = cup, beaker; in the Ord. Rom. it is termed also fons. of which the Church makes use for presenting the wine and water for the Eucharistic Sacrifice of the Blood of Christ,¹¹⁹119As long as the faithful brought wine for the Sacrifice, it was collected in two larger vessels (amae from ἄμη, bucket). From this a smaller vessel was filled (amula offertoria vel oblatoria) and from the first the deacon poured out the wine through a strainer (colum vinarium, colatorium) into the chalice for Mass. Archidiaconus sumit amulam pontificis de subdiacono oblationario et refundit in calicem super colatorium (Ordo Rom. III. n. 13). After the offerings of wine ceased, the present cruets replaced these larger vessels. may be made of metal (gold, silver, pewter);¹²⁰120An uti liceat in Missae sacrificio ampullis aureis vel argenteis? Resp.: Tolerandum esse consuetudinem (S. R. C. 28. Apr. 1866). but it is more appropriate to make them of crystal or of glass,¹²¹121Ampullae vitreae vini et aquae cum pelvicula (Miss. Rom. Rubr. gener. tit. 20). as these are more easily kept clean, and the wine is more readily distinguished. If they are made of metal, they should be distinctly marked on the covers respectively V and A, in order to prevent any mistake of taking the water for the wine. — They should be brought to the altar on a plate or small basin (pelvicula).¹²²122These vessels were formerly—and even in the sixteenth century—carried with bare hands by the acolytes to the altar; but the Cerem. Episc. has the rubric: Acolythus... curam habebit portandi ampullas sive urceolos vini et aquae super aliquo parvo bacili (basin) pariter dispositos (l. 1, c. 11, n. 10). Both cruets and basin should be always kept clean and bright.¹²³123For the washing of the hands, already at an early period (about the fifth century), special tankards and a basin (aquamanile, vas manuale, aquamanus, aquamanualis, agmanilis), to receive the water were employed, and a cloth was used for wiping the hands (manutergium, manutergiolum). — For the washing of the hands at four different times during solemn Pontifical High Mass (before vesting, after the reading of the Offertorium, after the incensing of the offerings, and after Communion) a larger cruet (buccale) and a larger basin (lanx) of a precious metal are required (Cfr. Cerem. Episc. l. 1, c. 11, n. 11–12). — The small spoon which is used in many places to take the water from the cruet and to pour it into the wine, is neither prescribed nor forbidden by the Church.¹²⁴124S. R. C. 9. Sept. 1850 ad 15.—6. Febr. 1858. — The Cerem. Roman. prescribes (lib. 2, tit. 2, c. 15) that in the Solemn Pontifical Mass of the Pope, at the Offertory the water be mixed in the chalice with a small golden spoon. Already in the Middle Age a spoon was occasionally used by the priests for the same purpose. Cf. Zaccaria, Onomast. rituale, s. v. cochlear. — In the Greek liturgy a gold or silver spoon (λαβίς), forming a cross at the handle, has been used from the most remote times to remove the particles placed in the chalice and to distribute them to the communicants. If the water cruet is provided with a tube for pouring out, then the danger of mingling too much water with the wine is as much obviated as by the use of a small spoon.

For a considerable time the Church has been using a little altar-bell,¹²⁵125They have always had different names, for example, campanula=a small bell; cymbalum=a cymbal, gong; tintinnabulum=a small bell, tingling bell. to call the attention of those present to the most sacred portions of the Mass: such as the Sanctus, Elevation,¹²⁶126The rubrics prescribe that the signal be given with the bell only at the Sanctus and at the Elevation (Miss. Rom. Rubr. celebr. tit. 7, n. 8. — tit. 8, n. 6). Communion, and to animate their devotion. They are either hand or mural bells; their form and their ornamentation should differ from that of bells intended for profane use. Already in the Middle Age, at the moment of the Elevation a signal from a “small bell” was given to the faithful assisting, in order that “the attention of the people might be aroused, and they be admonished to adore Christ in spirit and in truth, in the sacrament, which would now be shown to them.”¹²⁷127Tewtsch Rational über das Ambt hl. mess (1535) c. 14, n. 4.

All these latter articles which serve for the ornamentation and equipment of the most sacred of all Church vessels—the consecrated chalice—, are to be handled with religious care and devotion, and should be kept clean and in good condition. Sancta sancte tractanda.¹²⁸128Religionis christianae excellentia postulat, in cultu divino nihil adhiberi, nisi divina majestate dignum, sacramentorum sanctitati atque fidelium pietati congruum. — Post animarum salutem nihil sacerdotali sollicitudine dignius, quam rerum et aedium sacrarum cura, in quibus Deus ipse absconditus habitat et christiana plebs verbo Dei et sacramentis pascitur. In ecclesiis omnia munda sint et nitida: curent igitur rectores, ne pulvere aut alio squalore obsordescant non solum altaria et sacra supellex, sed insuper pavimenta, parietes et tecta fornicata (the arches). — Coll. Lac. III, 1181–1193.