Among the mosaics of the Basilica of San Vitale in Ravenna, one stands out particularly: the sacrifices of Melchizedek and Abel. The altar where the sacrifices take place is covered by a purple veil and a white tablecloth, both embroidered in gold. This mosaic dates back to the 6th century AD.
The decoration of the altar, including frontal adornments, is one of the oldest practices in liturgy, dating back to the early centuries of Christianity. Along with numerous artistic works, many texts bear witness to this practice. One of the earliest references is found in the act of consecration of the Church of Hagia Sophia in 360 AD in Constantinople, where it is written that Emperor Constantius II donated “altar cloths.” The first mentions describe the altar frontal as a fabric ornament, highlighting how the frontal we know today is an evolution of linens that were once draped in front of the altar. Over time, these cloths gained more significance and were decorated with embroidery and precious stones.
In the Liber Pontificalis, it is mentioned that as early as the 4th century, it was customary to cover altars not only with luxurious fabrics but also with precious metals. One of the most famous examples from the 9th century is the altar of Vuolvinius Magister Faber in the Church of St. Ambrose in Milan, a masterpiece of medieval goldsmithing and a prime example of coverage on all four sides. Until the post-Carolingian period, the altar was decorated on all four fronts. The practice of decorating only the front of the altar dates back to the medieval period when the altar was placed against the wall at the back of the apse. From this comes the term antependium, meaning “the ornament that hangs in front.” Initially, this decoration was called pallium (drapery) or vestis altaris (garment of the altar). The latter term particularly emphasized the idea of wrapping the altar completely in a garment to highlight the significance of this place in the liturgy.
What does a paliotto look like?
Regarding the instructions on how an altar frontal (paliotto) should be made, information can be found in various writings. Saint Charles Borromeo is one of the first to provide precise instructions on the construction of the altar frontal. In his Instructio fabricae (1577), he reminds that as decoration, images of the saint to whom the altar is dedicated or a cross can be included. For the frontals used during daily Masses, a fabric of silk or thread is sufficient, while for more important churches and solemnities, a brocaded silk of gold or silver is preferred.
In the Ceremoniale episcoporium (1600), the use of a mobile altar frontal is established, meaning a frame on which the embroidered fabric is stretched and can be put on or removed as needed. This does not apply to altars that are formed from a tomb. The Roman Missal from the late 1800s, on the other hand, provides some prescriptions regarding color, indicating that the frontal can be changed according to the liturgical season, except for the altar of the Blessed Sacrament, which must always be white.
Regarding decoration, examples of altar frontals that have survived to the present day show that between the 15th and 17th centuries, hand embroidery was the most commonly used art form. Notable are the Baroque-era frontals, where it was typical to apply pictorial decorations or wooden friezes to precious velvet fabrics.
In the 17th century, altars began to be decorated with beautiful marble sculptures and intricate inlays on the front, creating a permanent ornament that led to the reduced use of the altar frontal. However, it remains an important decorative element in churches today, emphasizing to the faithful the central role of the altar, the table on which the Eucharistic sacrifice is celebrated.
Arte Ricami produces custom-made hand-embroidered frontals using various embroidery techniques. On request, it can be made to the customer’s design.
For more information or a free quote please contact us atinfo@artericamiliturgico.com or call 0187 68251.
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