ALTAR. From the Latin alto ara, a raised space. An elevation of any kind (earth, grass, stones, etc.) was used by the primitive races as a sacrificial spot. With the commencement of culture altar construction came into being, built of brick, stone, marble, etc. A separate altar was dedicated to each god of the Greeks, Romans and Eastern pagans. Very soon they developed into works of art according, in quality, with the best craftsmanship the period afforded, and proof of the sentiment of sacri fice felt. The ram's skull (cegicrane) or ox skull (bucrane) — signs of animal sacrifice— adorned the altar corners of the ancient Greeks and Romans, while wreaths and garlands of fruits and flowers draped the sides. These altars were erected (in the more primitive times) outdoors (on streets, squares, in meadows, near springs, on tops of mountains, etc.). Later came the altars dedicated to the household (!ores and penates) within the walls of the habitations. With the advancement of art came structures of monumental form with architectural members — the plinth, capital, moldings, and even steps (degrees). These were altars devoted to burnt sacrifices. They are known as Pagan altars.
Early altars of the Jews were also erected t or burnt sacrifice and were also in the open air (often on the tops of mountains), until the raising of Solomon's Temple, when an incense altar was erected within the Temple, the altar for burnt sacrifice being in the front court yard, open to the sky.
Christian Altars.— While the consecrated bread and wine (Flesh and Blood) are sym bolic of Christ's sacrifice, the Christian altar is dedicated to the memory of the Last Supper and not to sacrificial ceremonies. Thus the primitive Church used some form of portable table which alone through the presence on its surface of the Host became sanctified. And on the withdrawal of the sacramental service the table was taken to pieces and stowed away while the Eucharist was kept devoutly screened and protected. Veritable sanctified altars of stone or wood, etc., took the place of ordinary
tables for the display of the Eucharist about the 4th century, when they were built as fixed structures of stone or wood, in the early basil icas. In 517 a canon enforced the use of stone for the altar. These altars became consecrated by the presence of the body or relics of a martyr which were placed under the altar. • The altar was placed immediately in front of the apsis (see BASILICA) of the basilica (always in the eastern end), where the bishops and clergy sat in a semicircle. The construction of these early stone altars consisted of a slab sup ported by pillars. In the open space beneath the slab reposed the body or relics of the saints enclosed in shrines. To protect the relics from dust or irreverence these curtains subsequently suggested ornamenting the altar front with an embroidered hanging, called antependium or frontal (Pugin). These antependia developed into elaborate ornamentation in precious metals, adorned with enamels and jewels; others were of delicately carved wood, painted, gilt, often embellished with crystals. Extant examples of altars of the 5th, 6th and 7th centuries are those of St. Victor in Marseilles Museum, of St. Nazaire and of St. Celsus at Ravenna, of Auriol in Provence, etc.
Up to the 9th century the altar was sanctified by the body or relic reposing beneath the altar and nothing was permitted on the altar. Even the Eucharist was suspended above the altar. From the 5th century the altar was covered with a dome (ciborium) supported by four columns and enclosed with hangings supported on rods. Attached to a chain or cord from the centre of the dome hung the pyxide holding the consecrated Host, often found in the form of a dove of gold or silver. With the 9th century the relics of the saints became exposed on the altar, enclosed within a shrine. Soon the relics were followed by the Book of the Four Evangels, but images were not admitted on the altar till the 9th century. The candle sticks still posed on the floor alongside the altar.