Baldachin

(Ital. baldacchino, from baldacca, cloth of Babylon or Bagdad) is a small dome which overshadows a high-altar, and is usually carried on four columns. It was formerly called the ciborium. The word in Italian and German is used as a- synonym of the French crown and English canopy-an ornamental projection which covers the tops of stalls, doorways, niches, and windows. The canopy carried over the sovereign in processions was called a ceele, from coelum. Baldachin also designates the canopy which Italian bishops have a right to erect over their chairs in church. Another name for the baldachin was munera. SEE ALTAR. The ciborium was originally the receptacle of the host, dove or tower shaped, and suspended over the altar; but as luxury increased, under the name of tabernacle it extended itself into an architectural erection above the altar, like a canopy supported by four columns, forming four arches, over which were hung rich curtains reaching to the ground, and only drawn aside at certain periods of the mass. In the centre hung the vessel containing the host. Latterly, curtains were abolished, and the form became changed into that now called the baldachin. Julstinian's ciborium at St. Sophia was of silver gilt, with a canopy of silver, topped by an orb of massive gold. It supported the altar-curtains, and was crowned with a cross, which subsequently was placed upon the altar itself. When there was no canopy of this kind, a covering of precious stuff or plain linen, such as was ordered by the Council of Cologne in 1280, adorned the altar. The baldachin was ornamented with tapers on festivals, and composed of marble, wood, stone, bronze, or precious metals. It was sometimes erected over tombs. Chrysostom says the silver shrines of Diana resembled small ciboria. In 567 the second Council of Tours ordered that the eucharist should be reserved, not in a little receptacle, like images, but under the cross which crowned the ciborium. Wren designed a baldachin for the altar of St. Paul's. In St. Mark's Cathedral at Venice is a beautiful specimen, and another at Lugo; that of Toledo is of blue velvet. The baldachin at Gerona (1320-48) is of wood covered with plates of metal, and stands upon four shafts, supporting a flat quadripartite. vault covered with small figures. At Brilley and Michael Ulhurcn tuere are canopies of wood over the altar. SEE CIBORIUM.