As Jewish sacrifices, laws, and covenants, were types, pictures, of the embodiments to be found in the Christian dispensation, when the anti-type had appeared, surely it is possible that the tabernacle too was a type of a real building of living stones, then to be formed and fitly framed together, and which might have its outward symbol in the edifices of worship in all ages. We may not pause to dwell upon this idea, further than it was recognized by the early Christians, of which clear proof exists.
For the nearest approach to a perfect development of it, we must look to a later date, when Christianity was first adopted by Constantine, and just prior to its alliance with the state; and although, from the lack of authority in church government, errors had already crept in, and mingled with many of the practices, we believe the modern copyist might find a far more pure and perfect model there, than in the meaningless observances and ornaments of the middle ages.
Churches had then grown large and magnificent; they were divided into three parts, the porch, the nave, and the sanctuary. In the nave stood the pulpit—preaching at that time being considered the invitation, or preparation for the _church_, whose duty was _worship_. It was divided from the sanctuary by a _lattice work_, or screen, behind which was often a veil before the holy table, which answered to the Holy of Holies of the temple, and within it none but the priests entered. The baptistery was usually situated without the church doors, and contained a fount, and a reservoir for washing the hands was always to be found in the outer court that enclosed all the buildings. Some writers have traced this to heathen observances; if so, it without doubt _originated_ in the Jewish practice. The service within the church was conducted with all the means at command for rendering it complete. Music was cultivated—antiphonal singing, or singing in responses, practised. The clergy wore vestments symbolical of their offices, each form and colour having its significant meaning. Candles were burning continually at the altar, as in the holy place of the temple, symbolising God’s presence in the church. Every part of the building was designed to form a proportionate whole, and the principle of dedicating to the house of God the best works of men’s hands was admitted, the embellishment of His temple being then deemed of superior importance to the decoration of individual dwelling-houses.