§ 60. Places of Public Worship, Buildings And Works of Art.181Church architecture made rapid advance as a science in the times of Constantine the Great. The earliest architectural style thus developed is found in the ChristianBasilicas. Whether this was a purely original kind of building called forth by the requirements of congregational worship, or whether and how far it was based upon previously existing styles, is still a subject of discussion. In later, and especially oriental, church buildings the flat roof of the basilica was often changed into a cupola. Of the plastic arts painting was the next to be represented.
Church architecture made rapid advance as a science in the times of Constantine the Great. The earliest architectural style thus developed is found in the ChristianBasilicas. Whether this was a purely original kind of building called forth by the requirements of congregational worship, or whether and how far it was based upon previously existing styles, is still a subject of discussion. In later, and especially oriental, church buildings the flat roof of the basilica was often changed into a cupola. Of the plastic arts painting was the next to be represented.
§ 60.1.The Basilica.—The original form of the Christian basilica was that of an oblong four-sided building running from west to east. It was divided lengthwise by rows of pillars, into three parts or aisles, in such a way as to leave the middle aisle at least double the breadth of each of the other two. The middle aisle led up to a semicircular recess (κόγχη, ἀψίς,Concha,Absida), curved out of the eastern side wall, which was separated from the middle aisle proper by a railing (κιγκλίδες,Cancelli) and a curtain (καταπέτασμα,Velum), and, because raised a few steps, was called βῆμα (from βαίνω). From the 5th century the pillars running down the length of the house were not carried on to the eastern gable, and thus a cross passage or transept was formed, which was raised to the level of the Bema and added to it. This transept now in connection with the middle aisle and the recess imprints upon the ground plan of the church the significant form of the cross. At the entrance at the western end there was a porch which occupied the whole breadth of the house. Thus then the whole fell into three divisions. TheBemawas reserved for the clergy. The elevated seat of the bishop (θρόνος,Cathedra) stood in the middle of the round wall forming the recess, lower seats for the presbyters on both sides (σύνθρονοι), the altar in the centre or in front of the recess. As a place reserved for the altar and the clergy the βῆμα had also the names ἅγιον, ἄδυτον, ἱερατεῖον,Sacrarium,Sanctuarium, the name of Choir being first given it in the Middle Ages. Under the Apse or Bema there was usually a subterranean chamber, κρυπτή,Memoria,Confessio, containing the bones of martyrs. The altar space in later times in the Eastern churches instead of being marked off by railings or curtains was separated by a wooden partition which because adorned with sacred pictures painted often on a golden ground and inlaid with most precious stones, was called the picture screen (εἰκονόστασις). It had usually three doors of which the middle one, the largest of the three, the so-called “Royal” door, was reserved for the bishop and for the emperor when he communicated. TheNaveor main part of the building, consisting of three, less frequently of five, aisles (νάος, ναῦς,Navis, so called partly from its oblong form, partly and chiefly on account of the symbolical significance of the ship as a figure of the means of salvation, Gen. vii. 23), was the place where the baptized laity met, and were arranged in the different aisles according to sex, age and rank. In the Eastern churches galleries (ὑπερῶα) were often introduced along the sides for the women. ThePorch(πρόναος,Vestibulum) which from its great width was also called νάρθηξ orFerula, properly the hollow stalk of an umbelliferous plant, was the place occupied by the catechumens and penitents. In front of it, in earlier times unroofed, afterwards covered, was the enclosure (αἴθριον, αὐλή,Atrium,Area) where a basin of water stood for washing the hands. Here too the penitents during the first stage of their discipline, as well as theenergumeni, had to stand. That the Atrium was also calledParadisus, as Athanasius tells us, is best explained by supposing that here for the warning of penitents there was a picture of Adam and Eve being driven out of Paradise. The porch and the side aisles just to the height of the pillars, were shut in with tesselated rafters and covered with a one-sided slanting roof. But middle aisle and transept were heightened by side walls resting on the pillars and rising high above the side roofs and covered with a two-sided slanting roof. In order that the pillars might be able to bear this burden, they were bound one to another by an arched binding. The walls of the middle aisle and transepts rising above the side roofs were supplied with windows, which were usually wanting in the lower walls.—Utility was the main consideration in the development of the plan of the basilicas, but nevertheless at the same time the idea of symbolical significance was also in many ways very fully carried out, such as the form of the cross in the ground plan, and the threefold division into middle and side aisles. In the bow-shaped binding of the pillars the idea of pressing forward (Phil. iii. 13, 14) was represented, for there the eye was carried on from one pillar to the other and led uninterruptedly forward to the recess at the east end, where stood the altar, where the Sun of righteousness had risen (Mal. iv. 2). The semicircle of the recess to which the eye was carried forward reminded of the horizon from which the sun rose in his beauty; and the bold rising of the walls of the middle aisle, which rested on the arched pillars, pointed the eye upwards and gave the liturgicalsursum cordawhich the bishop called out to the congregation a corresponding expression in architectural form. This significance was further intensified by the light falling down from above into the sacred place.§ 60.2.Secular Basilicas.—All spaces adorned with pillared courts were called among the ancient Romans basilicas. In the private houses of distinguished Romans the nameBasilica domesticawas given to the so-called Oëcus,i.e.the chamber reserved for solemn occasions with the peristyle in front, the inner open court surrounded by covered pillared halls; while public markets and courts of justice were calledBasilicæ forenses. The latter were oblong in shape; at the end opposite the entrance the dividing wall was broken through and in the opening a semicircular recess was carved out with an elevated platform, and in this were the tribunal of the prætor and seats for the assessors and the jury. In the covered pillared courts along the two sides were the wares exposed for sale and in the usually uncovered large middle space the buyers and lookers-on moved about. Outside of the enclosing wall before the entrance was often a pillared porch standing by itself for a lobby.—From having the same name and many correspondences in construction the later Christian basilica was supposed to have been copied from the forensic basilica. Zestermann was the first to contest this theory and in this found hearty support especially on the Catholic side. According to him the Christian basilica had nothing in common with the forensic, but was called forth quite independently of any earlier style of building by the requirements of Christian worship. Now certainly on the one side the similarity had been quite unduly over-estimated. For almost everything that gave its symbolically significant character to the ecclesiastical basilica,—the transept and the form of the cross brought out by it, the bow-shaped binding of the pillars, the walls of the middle aisle resting on the pillars rising sheer into the heights, as well as the entirely new arrangement of the whole house, are the essential and independent product of the Christian spirit. But on the other hand, differences have been greatly exaggerated and features which the ecclesiastical basilica had in common with the forensic, which were demonstrably copied from the latter, have been ignored. On both sides, too, the importance for our question of thebasilicæ domesticæused for worship before regular churches were built, has been overlooked. Here the peristyle with its pillared courts with the oëcus attached supplied the divisions needed for the different classes attending divine service (clergy, congregation, penitents, catechumens). What was more natural than that this form of building, brought indeed into more perfect accord with the Christian idea and congregational requirements, should be adopted in church building and with it also the name with a new application to Christ the heavenly King? But one and indeed a very essential feature in the later basilica style is wanting generally in the oëcus of private houses, viz. the Apse. One would naturally suppose that it was borrowed from the forensic basilica in consideration of its purpose there, scruples against such procedure being lessened as the heathen state passed over to Christianity. Thus too it is easily explained how the earliest basilicas, like that of Tyre consecrated inA.D.313, of which Eusebius’ description gives us full information, have as yet no Apse.§ 60.3.The Cupola Style.—We meet with the first example of the cupola style among Christian buildings in the form of Roman mausoleums in chapels or churches raised over martyrs’ graves. This style, however, was in many ways unsuitable for regular parish churches. The necessarily limited inner space embraced within the circular or polygonal walls would not admit of the significant shape of the nave being preserved; it could not be proportionally partitioned among clergy, congregation, catechumens and penitents. In an ideal point of view only the centre of the whole space was suitable for the bema with the altar, bishop’s throne, etc. In that case, however, the half of the congregation present would have to stand behind the officiating clergy and so this arrangement was not to be thought of. In the later ecclesiastical buildings, therefore, of the cupola style the ground plan of the basilica was adopted, with atrium and narthex at the west end and bema and apse at the east end. The old basilica style, though capable of so much artistic adornment, passed now indeed more and more into desuetude before the overpowering impression made upon one entering the building by the cupola (θόλος,Cuppula) like a cloud of heaven overspanning at a giddy height the middle space, pierced by many windows and resting on four pillars bound by arches one to another. Besides this main and complete cupola there were often a number of semi- and secondary cupolas, which gave to the whole building from without the appearance of a rich well ordered organism. The greatest masterpiece in this style, which Byzantine love of art and beauty valued far more than the simple basilica, is the church of Sophia at Constantinople (Σοφία=Λόγος), at the completion of which inA.D.587 Justinian I. cried out: Νενίκηκά σε Σαλομών.§ 60.4.Accessory and Special Buildings.—Alongside of the main building there generally were additional buildings for special purposes (ἐξέδραι), surrounded by an enclosing wall. Among these isolated extra buildingsBaptistries(βαπτιστήρια, φωτιστήρια) held the first rank. They were built in rotunda form after the pattern of the Roman baths. The baptismal basin (κολυμβήθρα,Piscina) in the middle of the inner space was surrounded by a series of pillars. In front there was frequently a roomy porch used for the instruction of catechumens. When infant baptism became general, separate baptistries were no longer needed. Their place was taken by the baptismal font in the church itself on the north side of the main entrance. For the custody of church jewels, ornaments, robes, books, archives, etc. in the larger churches there were special buildings provided. The spirit of brotherhood, thePhiladelphia, expressed itself in the πτωχοτροφεῖα, ὀρφανοτροφεῖα, γηροκομεῖα, βρεφοτροφεῖα (Foundling Hospitals), νοσοκομεῖα, ξενοδοχεῖα. The burying ground (κοιμητήριον,Cimeterium,Dormitorium,Area) was also usually within the wall enclosing the church property. The privilege of burial within the church was granted only to emperors and bishops. When clocks came into vogue towers were introduced, but these were at first simply attached to the churches, occasionally even standing quite apart.§ 60.5.Church furniture.—The centre of the whole house of God was theAltar(ἁγία τράπεζα, θυσιαστήριον,Ara,Altare), since the 5th century commonly of stone, often overlaid with gold and silver. The altar stood out at the east end, the officiating priest behind it facing the congregation. The introduction of theMissæ solitariæ(§58, 3) made it necessary in the West to have a large number of altars. In the Greek church the rule was to have one altar. Moveable altars, for missionaries, crusaders, etc., were necessary since the consecration of the altar had been pronounced indispensable. The Latins used for this purpose a consecrated stone plate with a cover (Palla); the Greeks only a consecrated altar cloth (ἀντιμήνσιον). The altar cloth was regarded as essential, adenudatio alterisas impious desecration; according to liturgical rule, however, the altar was bared on Friday and Saturday of Passion Week. From the altar cloth was distinguished theCorporale, εἰλητόν, for covering the oblations. On the altar stood theCiborium, a canopy supported by four feet, to which by a golden chain was attached a dove-shaped vessel (περιστήριον) with the consecrated sacramental elements for the communion of the sick. TheThuribulumwas for the burning of incense, cross for marches and processions (Cruces stationales) and banners (Vexilla). In the nave were seats for the congregation; in the narthex there were none. The pulpit or reading desk (Pulpitum) at first movable, afterwards permanently fixed to the railings in the middle of the bema in the basilica was called theAmbofrom ἀναβαίνω, orLectorium, our English Lectern. In many churches two ambos were erected, on the north or left side for the gospel, and on the south or right side for the epistle. In larger churches, however, the ambo was often brought forward into the nave. Our chancel had its origin late in the Middle Ages by a separate preaching Ambo being erected beside the lectern, and raised aloft in order that the preacher might be better seen and heard.—The introduction of church clocks (Nolæ,Campanulæ, because commonly made of Campanian brass which was regarded as the best) is sometimes ascribed to bishop Paulinus of Nola in Campania, who died inA.D.431, sometimes to Pope Sabinianus, who died inA.D.606. In the East they were first introduced in the 9th century. In early times the hours of service were announced byCursores, ἀνάδρομοι, afterwards by trumpets or beating of gongs.§ 60.6.The Graphic and Plastic Arts(§38, 3; §57, 4).—The Greek church forbade all nudity; only face, hands and feet could be left uncovered. This narrowness was overcome in the West. Brilliancy of colour, costliness of material and showy overloading of costume made up for artistic deficiencies. The εἰκόνες ἀχειροποίητοι afforded stereotyped forms for the countenances of images of Christ, Mary and the Apostles. TheNimbus, originally a soft mist or transparent cloud, with which pagan poets and painters surrounded the persons or heads of the gods, in later times also those of the Roman emperors, made its appearance during the 5th century in Christian painting as thehalo, in the form of rays, of a diadem or of a circle, first of all in figures of Christ. Images of the Saviour bound to the cross were first introduced about the end of the 6th century. The symbol was previously restricted to the representation of a lamb at the foot of the cross, a bust of Christ at the top or in the middle of the cross, or the full figure of Christ holding His cross before Him.Anastasius Sinaitain the 7th century, to show his opposition to the monophysite doctrine that only the body had been crucified, painted a figure of the crucified which straightway came to be regarded in the Eastern church as the pattern figure, without the crown of thorns, with nimbus, the wound of the spear with blood streaming forth, the cross with an inscription on both sides—JC. XC.—and a sloping peg as support for the feet, and under the cross the skull of Adam. The Western crucifix figures, on the other hand, though likewise governed by a special type, show greater freedom in artistic development. Wall or fresco painting was most extensively carried on in the Catacombs during the 4th-6th centuries. Mosaic painting,Musivum, λιθοστράτια, with its imperishable beauty of colouring, was used to decorate the long flat walls of the basilicas, the vaulted ceilings of the cupolas and the curving sides of the apse (glass-mosaic on a gold ground). Liturgical books were adorned with miniature figures. Sublimity came more and more to characterize ecclesiastical art; it became more majestic, dignified and dispassionate, but also stiffer and less natural. Statues seemed to the ancient church heathenish, sensuous and realistic. The Greek church at last prohibited them entirely and would not suffer even a single crucifix, but only simple crosses with a sloping transverse beam at the foot. The West had more liberal views, yet even there Christian statues were only quite isolated phenomena. There was less scruple in regard to bas-reliefs and alto-reliefs (ἀναγλυφαί) especially on sarcophagi and ecclesiastical furniture.
§ 60.1.The Basilica.—The original form of the Christian basilica was that of an oblong four-sided building running from west to east. It was divided lengthwise by rows of pillars, into three parts or aisles, in such a way as to leave the middle aisle at least double the breadth of each of the other two. The middle aisle led up to a semicircular recess (κόγχη, ἀψίς,Concha,Absida), curved out of the eastern side wall, which was separated from the middle aisle proper by a railing (κιγκλίδες,Cancelli) and a curtain (καταπέτασμα,Velum), and, because raised a few steps, was called βῆμα (from βαίνω). From the 5th century the pillars running down the length of the house were not carried on to the eastern gable, and thus a cross passage or transept was formed, which was raised to the level of the Bema and added to it. This transept now in connection with the middle aisle and the recess imprints upon the ground plan of the church the significant form of the cross. At the entrance at the western end there was a porch which occupied the whole breadth of the house. Thus then the whole fell into three divisions. TheBemawas reserved for the clergy. The elevated seat of the bishop (θρόνος,Cathedra) stood in the middle of the round wall forming the recess, lower seats for the presbyters on both sides (σύνθρονοι), the altar in the centre or in front of the recess. As a place reserved for the altar and the clergy the βῆμα had also the names ἅγιον, ἄδυτον, ἱερατεῖον,Sacrarium,Sanctuarium, the name of Choir being first given it in the Middle Ages. Under the Apse or Bema there was usually a subterranean chamber, κρυπτή,Memoria,Confessio, containing the bones of martyrs. The altar space in later times in the Eastern churches instead of being marked off by railings or curtains was separated by a wooden partition which because adorned with sacred pictures painted often on a golden ground and inlaid with most precious stones, was called the picture screen (εἰκονόστασις). It had usually three doors of which the middle one, the largest of the three, the so-called “Royal” door, was reserved for the bishop and for the emperor when he communicated. TheNaveor main part of the building, consisting of three, less frequently of five, aisles (νάος, ναῦς,Navis, so called partly from its oblong form, partly and chiefly on account of the symbolical significance of the ship as a figure of the means of salvation, Gen. vii. 23), was the place where the baptized laity met, and were arranged in the different aisles according to sex, age and rank. In the Eastern churches galleries (ὑπερῶα) were often introduced along the sides for the women. ThePorch(πρόναος,Vestibulum) which from its great width was also called νάρθηξ orFerula, properly the hollow stalk of an umbelliferous plant, was the place occupied by the catechumens and penitents. In front of it, in earlier times unroofed, afterwards covered, was the enclosure (αἴθριον, αὐλή,Atrium,Area) where a basin of water stood for washing the hands. Here too the penitents during the first stage of their discipline, as well as theenergumeni, had to stand. That the Atrium was also calledParadisus, as Athanasius tells us, is best explained by supposing that here for the warning of penitents there was a picture of Adam and Eve being driven out of Paradise. The porch and the side aisles just to the height of the pillars, were shut in with tesselated rafters and covered with a one-sided slanting roof. But middle aisle and transept were heightened by side walls resting on the pillars and rising high above the side roofs and covered with a two-sided slanting roof. In order that the pillars might be able to bear this burden, they were bound one to another by an arched binding. The walls of the middle aisle and transepts rising above the side roofs were supplied with windows, which were usually wanting in the lower walls.—Utility was the main consideration in the development of the plan of the basilicas, but nevertheless at the same time the idea of symbolical significance was also in many ways very fully carried out, such as the form of the cross in the ground plan, and the threefold division into middle and side aisles. In the bow-shaped binding of the pillars the idea of pressing forward (Phil. iii. 13, 14) was represented, for there the eye was carried on from one pillar to the other and led uninterruptedly forward to the recess at the east end, where stood the altar, where the Sun of righteousness had risen (Mal. iv. 2). The semicircle of the recess to which the eye was carried forward reminded of the horizon from which the sun rose in his beauty; and the bold rising of the walls of the middle aisle, which rested on the arched pillars, pointed the eye upwards and gave the liturgicalsursum cordawhich the bishop called out to the congregation a corresponding expression in architectural form. This significance was further intensified by the light falling down from above into the sacred place.
§ 60.2.Secular Basilicas.—All spaces adorned with pillared courts were called among the ancient Romans basilicas. In the private houses of distinguished Romans the nameBasilica domesticawas given to the so-called Oëcus,i.e.the chamber reserved for solemn occasions with the peristyle in front, the inner open court surrounded by covered pillared halls; while public markets and courts of justice were calledBasilicæ forenses. The latter were oblong in shape; at the end opposite the entrance the dividing wall was broken through and in the opening a semicircular recess was carved out with an elevated platform, and in this were the tribunal of the prætor and seats for the assessors and the jury. In the covered pillared courts along the two sides were the wares exposed for sale and in the usually uncovered large middle space the buyers and lookers-on moved about. Outside of the enclosing wall before the entrance was often a pillared porch standing by itself for a lobby.—From having the same name and many correspondences in construction the later Christian basilica was supposed to have been copied from the forensic basilica. Zestermann was the first to contest this theory and in this found hearty support especially on the Catholic side. According to him the Christian basilica had nothing in common with the forensic, but was called forth quite independently of any earlier style of building by the requirements of Christian worship. Now certainly on the one side the similarity had been quite unduly over-estimated. For almost everything that gave its symbolically significant character to the ecclesiastical basilica,—the transept and the form of the cross brought out by it, the bow-shaped binding of the pillars, the walls of the middle aisle resting on the pillars rising sheer into the heights, as well as the entirely new arrangement of the whole house, are the essential and independent product of the Christian spirit. But on the other hand, differences have been greatly exaggerated and features which the ecclesiastical basilica had in common with the forensic, which were demonstrably copied from the latter, have been ignored. On both sides, too, the importance for our question of thebasilicæ domesticæused for worship before regular churches were built, has been overlooked. Here the peristyle with its pillared courts with the oëcus attached supplied the divisions needed for the different classes attending divine service (clergy, congregation, penitents, catechumens). What was more natural than that this form of building, brought indeed into more perfect accord with the Christian idea and congregational requirements, should be adopted in church building and with it also the name with a new application to Christ the heavenly King? But one and indeed a very essential feature in the later basilica style is wanting generally in the oëcus of private houses, viz. the Apse. One would naturally suppose that it was borrowed from the forensic basilica in consideration of its purpose there, scruples against such procedure being lessened as the heathen state passed over to Christianity. Thus too it is easily explained how the earliest basilicas, like that of Tyre consecrated inA.D.313, of which Eusebius’ description gives us full information, have as yet no Apse.
§ 60.3.The Cupola Style.—We meet with the first example of the cupola style among Christian buildings in the form of Roman mausoleums in chapels or churches raised over martyrs’ graves. This style, however, was in many ways unsuitable for regular parish churches. The necessarily limited inner space embraced within the circular or polygonal walls would not admit of the significant shape of the nave being preserved; it could not be proportionally partitioned among clergy, congregation, catechumens and penitents. In an ideal point of view only the centre of the whole space was suitable for the bema with the altar, bishop’s throne, etc. In that case, however, the half of the congregation present would have to stand behind the officiating clergy and so this arrangement was not to be thought of. In the later ecclesiastical buildings, therefore, of the cupola style the ground plan of the basilica was adopted, with atrium and narthex at the west end and bema and apse at the east end. The old basilica style, though capable of so much artistic adornment, passed now indeed more and more into desuetude before the overpowering impression made upon one entering the building by the cupola (θόλος,Cuppula) like a cloud of heaven overspanning at a giddy height the middle space, pierced by many windows and resting on four pillars bound by arches one to another. Besides this main and complete cupola there were often a number of semi- and secondary cupolas, which gave to the whole building from without the appearance of a rich well ordered organism. The greatest masterpiece in this style, which Byzantine love of art and beauty valued far more than the simple basilica, is the church of Sophia at Constantinople (Σοφία=Λόγος), at the completion of which inA.D.587 Justinian I. cried out: Νενίκηκά σε Σαλομών.
§ 60.4.Accessory and Special Buildings.—Alongside of the main building there generally were additional buildings for special purposes (ἐξέδραι), surrounded by an enclosing wall. Among these isolated extra buildingsBaptistries(βαπτιστήρια, φωτιστήρια) held the first rank. They were built in rotunda form after the pattern of the Roman baths. The baptismal basin (κολυμβήθρα,Piscina) in the middle of the inner space was surrounded by a series of pillars. In front there was frequently a roomy porch used for the instruction of catechumens. When infant baptism became general, separate baptistries were no longer needed. Their place was taken by the baptismal font in the church itself on the north side of the main entrance. For the custody of church jewels, ornaments, robes, books, archives, etc. in the larger churches there were special buildings provided. The spirit of brotherhood, thePhiladelphia, expressed itself in the πτωχοτροφεῖα, ὀρφανοτροφεῖα, γηροκομεῖα, βρεφοτροφεῖα (Foundling Hospitals), νοσοκομεῖα, ξενοδοχεῖα. The burying ground (κοιμητήριον,Cimeterium,Dormitorium,Area) was also usually within the wall enclosing the church property. The privilege of burial within the church was granted only to emperors and bishops. When clocks came into vogue towers were introduced, but these were at first simply attached to the churches, occasionally even standing quite apart.
§ 60.5.Church furniture.—The centre of the whole house of God was theAltar(ἁγία τράπεζα, θυσιαστήριον,Ara,Altare), since the 5th century commonly of stone, often overlaid with gold and silver. The altar stood out at the east end, the officiating priest behind it facing the congregation. The introduction of theMissæ solitariæ(§58, 3) made it necessary in the West to have a large number of altars. In the Greek church the rule was to have one altar. Moveable altars, for missionaries, crusaders, etc., were necessary since the consecration of the altar had been pronounced indispensable. The Latins used for this purpose a consecrated stone plate with a cover (Palla); the Greeks only a consecrated altar cloth (ἀντιμήνσιον). The altar cloth was regarded as essential, adenudatio alterisas impious desecration; according to liturgical rule, however, the altar was bared on Friday and Saturday of Passion Week. From the altar cloth was distinguished theCorporale, εἰλητόν, for covering the oblations. On the altar stood theCiborium, a canopy supported by four feet, to which by a golden chain was attached a dove-shaped vessel (περιστήριον) with the consecrated sacramental elements for the communion of the sick. TheThuribulumwas for the burning of incense, cross for marches and processions (Cruces stationales) and banners (Vexilla). In the nave were seats for the congregation; in the narthex there were none. The pulpit or reading desk (Pulpitum) at first movable, afterwards permanently fixed to the railings in the middle of the bema in the basilica was called theAmbofrom ἀναβαίνω, orLectorium, our English Lectern. In many churches two ambos were erected, on the north or left side for the gospel, and on the south or right side for the epistle. In larger churches, however, the ambo was often brought forward into the nave. Our chancel had its origin late in the Middle Ages by a separate preaching Ambo being erected beside the lectern, and raised aloft in order that the preacher might be better seen and heard.—The introduction of church clocks (Nolæ,Campanulæ, because commonly made of Campanian brass which was regarded as the best) is sometimes ascribed to bishop Paulinus of Nola in Campania, who died inA.D.431, sometimes to Pope Sabinianus, who died inA.D.606. In the East they were first introduced in the 9th century. In early times the hours of service were announced byCursores, ἀνάδρομοι, afterwards by trumpets or beating of gongs.
§ 60.6.The Graphic and Plastic Arts(§38, 3; §57, 4).—The Greek church forbade all nudity; only face, hands and feet could be left uncovered. This narrowness was overcome in the West. Brilliancy of colour, costliness of material and showy overloading of costume made up for artistic deficiencies. The εἰκόνες ἀχειροποίητοι afforded stereotyped forms for the countenances of images of Christ, Mary and the Apostles. TheNimbus, originally a soft mist or transparent cloud, with which pagan poets and painters surrounded the persons or heads of the gods, in later times also those of the Roman emperors, made its appearance during the 5th century in Christian painting as thehalo, in the form of rays, of a diadem or of a circle, first of all in figures of Christ. Images of the Saviour bound to the cross were first introduced about the end of the 6th century. The symbol was previously restricted to the representation of a lamb at the foot of the cross, a bust of Christ at the top or in the middle of the cross, or the full figure of Christ holding His cross before Him.Anastasius Sinaitain the 7th century, to show his opposition to the monophysite doctrine that only the body had been crucified, painted a figure of the crucified which straightway came to be regarded in the Eastern church as the pattern figure, without the crown of thorns, with nimbus, the wound of the spear with blood streaming forth, the cross with an inscription on both sides—JC. XC.—and a sloping peg as support for the feet, and under the cross the skull of Adam. The Western crucifix figures, on the other hand, though likewise governed by a special type, show greater freedom in artistic development. Wall or fresco painting was most extensively carried on in the Catacombs during the 4th-6th centuries. Mosaic painting,Musivum, λιθοστράτια, with its imperishable beauty of colouring, was used to decorate the long flat walls of the basilicas, the vaulted ceilings of the cupolas and the curving sides of the apse (glass-mosaic on a gold ground). Liturgical books were adorned with miniature figures. Sublimity came more and more to characterize ecclesiastical art; it became more majestic, dignified and dispassionate, but also stiffer and less natural. Statues seemed to the ancient church heathenish, sensuous and realistic. The Greek church at last prohibited them entirely and would not suffer even a single crucifix, but only simple crosses with a sloping transverse beam at the foot. The West had more liberal views, yet even there Christian statues were only quite isolated phenomena. There was less scruple in regard to bas-reliefs and alto-reliefs (ἀναγλυφαί) especially on sarcophagi and ecclesiastical furniture.