The Sanctuary, together with the Prothesis and vestry, are
divided from the space provided for the worshippers by a grating or screen,
which is called the Ikonostás (“image stand”), because it is
decorated with icons or sacred images. The Ikonostas has three doors.
The folding doors in the middle, which lead into the Sanctuary, to the altar,
are called the Holy Gates, because the Holy Gifts of the Eucharist are brought
out through them, or the Royal Gates, because the King of Glory, Jesus Christ,
passes through them in the Holy Eucharist. These doors are generally in
open-work and decorated with carving and icons. These latter usually represent
the Annunciation and the four Evangelists, with their symbols or
characteristics, to signify that on the altar is offered the sacrifice for the
salvation of mankind, the first tidings of which were received by the Virgin
Mary from the Archangel Gabriel, as known to us from the narratives of the four
Evangelists. Just behind the Royal Gates a curtain is hung. During the services
the Royal Gates are opened for the celebrants to go in and out of the
Sanctuary, while the curtain is drawn across or drawn away, even when the Royal
Gates are closed, in order to emphasize certain prayers or the meaning of
certain rites. Thus during penitential services, such as Compline, the Midnight
Office and the Hours, the curtain remains drawn, in token that our sins remove
us far away from heaven, from God. During solemn, joyous services, assuring us
that the Lord hath saved us, such as Vespers and Matins, it is drawn away.
During the Liturgy, the curtain remains drawn away almost all the time. The
door on the left of the Royal Gates leads into the Prothesis and is
called the “northern door,” while that on the right leads into the vestry and
is called the “southern” or “deacons’ door.” On these two doors there are
usually paintings representing either angels — the
messengers of God, who minister unto Him in the Kingdom of Heaven — or
sainted deacons, who in their lifetime, had charge of the Prothesis and
vestry.
Besides the decorations of the doors, the entire screen which
separates the sanctuary from the nave is decorated with icons, in one, two, or
more tiers. Such screens, therefore, differ in appearance: they are either like
an open-work grating, varying in height, or a solid wall up to the ceiling. The
icons of the first tier are called “local icons.” On the right of the Royal
Gates there is always an icon of the Saviour, and next to it the “church icon,”
i.e., a representation of the Saint or event, in honor of whom or which the
church has been named and dedicated. On the left side is an icon of the Mother
of God. In the same tier, if there is room, are usually placed the icons of
such Saints as are most honored in a given locality. Above the Royal Gates it
is usual to place a painting of the Last Supper, in token that, in partaking of
Christ’s Holy Sacrament, men are made worthy of entering into the Kingdom of
Heaven. The second tier is the place for the presentation of the different
church feasts, i.e., of the principal events in the lives of our Lord and His
Mother. The third tier contains the icons of the Apostles and in the middle of
them, just above that of the Last Supper, is a representation of Jesus Christ —
the subject of their preaching — in royal or episcopal vestments, with His
Mother at His right hand and the Forerunner at the left. Such a presentation of
Christ, bears the special name of Deisis.* If there is a fourth tier, it is
filled with the icons of Old Testament prophets and in the middle of them
is the Mother of God with the Divine Infant. A fifth and sixth tier will hold
icons of holy martyrs and sainted bishops. The very top of the Ikonostas
is adorned with the Cross, bearing the effigy of Jesus crucified. An Ikonostas
decorated in this manner brings before us all the denizens of heaven and serves
as a book, from which even those who cannot read may learn the history of
Christ’s church and her doctrine.
The Ikonostas does not stand on the very edge of the raised
floor of the sanctuary, but so that part of this floor projects into the nave.
The part of the platform in front of the screen is called the Soléas
(which means “an elevated place”). On this elevation Christians stand to
receive Holy Communion, and the celebrants come out of the sanctuary and stand
there while they recite public prayers and speak instructive addresses or read
portions of Scripture. On both sides are placed the readers and singers. The
middle of the platform just in front of the Royal Gates, where Holy Communion
is administered, and prayers and addresses are read, is called the Ámbo,
which means Ascent, and the place set apart at each end for the readers and
singers is called Klíros. The word means lots. These places are
called thus because in early times the readers and singers were chosen by lots.
Near each kliros are kept the portable icons, i.e., those
which are used for divine services outside the church. They are fastened to
long handles, sometimes by loops, more frequently by cords, and have the shape
of banners. Indeed they are called banners, for they
represent the banners of the church, under which Christians, being the warriors
of Christ’s kingdom, go forth to fight the foes of truth and love.
The space in front of the soleas is reserved for the worshippers;
the walls, as well as the square pillars which support the cupolas, are
decorated with icons and paintings representing events from the history of
Christ’s church.
Over against the Royal Gates, on the western side of the church, is
an entrance door leading into the vestibule, and called the “beautiful door,”
because it usually is richly decorated — also simply the “church door,” because
it leads into the church. In large churches there are other smaller doors in
the northern and southern sides of the church; through these the worshippers
can go out into the side vestibules and to the porches.