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Paten, 13th century, now part of the Metropolitan Museum of Art Ensemble for the celebration of the Eucharist
Derrynaflan Paten, part of an 8th- or 9th-century communion set found in County Tipperary, Ireland

A paten or diskos is a small plate used for the celebration of the Eucharist (as in a mass). It is generally used during the liturgy itself, while the reserved sacrament are stored in the tabernacle in a ciborium.

Western usage

[edit]
Traditional gold chalice and paten inscribed with IHS.

In many Western liturgical denominations, the paten is typically either a simple saucer-like plate or a low bowl. A smaller style paten will often have a depression that allows it to securely sit on top of the chalice, as shown in the illustration on the left here.

Roman rite

[edit]

The General Instruction of the Roman Missal lays down rules for patens:

Sacred vessels should be made from precious metal. If they are made from metal that rusts or from a metal less precious than gold, they should generally be gilded on the inside.[1]

However, provisions for vessels made from non-precious metals are made as well, provided they are "made from other solid materials which in the common estimation in each region are considered precious or noble."[2]

Some call the communion-plate a "paten",[3] but the English translation of the General Instruction of the Roman Missal approved by the English-speaking episcopal conferences and confirmed by the Holy See uses "communion-plate" to speak of this object (numbers 118 and 187) and reserves the term "paten" for the other object (numbers 84, 117, 141, etc.).[4] The two corresponding Latin terms are patina (communion-plate) and patena (paten).[5]

Protestant rites

[edit]

Patens are also used among Anglicans[6] and Lutherans.[7]

In the United Methodist Church, during the Order for the Ordination of Elders, each elder receives a stole, along with a chalice and paten, from the bishop after the part of the liturgy in which the bishop lays his hands and prays over the ministerial candidates.[8] This is because the newly ordained elders are now able to celebrate the Sacraments, such as Holy Communion. In the Methodist service of the Holy Communion, the bread is placed upon a paten during the offertory and once again after it consecrated, specifically following the fraction. The paten, along with the chalice, lies on the altar during the celebration of the Holy Eucharist.[9]

Eastern usage

[edit]

Byzantine Rite

[edit]
Gilded silver diskos (16th century, Pskov).

In the Byzantine Rite Eastern Orthodox and Byzantine Rite Catholic Churches, the paten is called a diskos[10] and is elevated by a stand (or "foot") permanently attached underneath. The diskos is usually more ornate than its Latin counterpart, and must always be made of gold or at least be gold-plated. The diskos may be engraved with an icon of Jesus Christ, the Nativity of Christ, the Cross, or most frequently the Theotokos.

When a diskos is made, it is usually accompanied by a matching asterisk (small, folding metal stand used to keep the Aër from disturbing the particles on the diskos), a spoon (for distributing Holy Communion to the faithful), and a spear (used to cut the Lamb during the Liturgy of Preparation).

For Christians of historically Eastern church families, the diskos symbolises the Ever-virgin Mary, who received God the Word into her womb and gave birth to him, as well as the Tomb of Christ, which received his body after the Crucifixion and from which he resurrected.

Divine Liturgy

[edit]

During the Divine Liturgy it is not only the Lamb (Host) that is placed on the diskos, but also particles to commemorate the Theotokos, the Saints, the living and the departed. Thus, on the diskos is represented the entire Church: the Church Militant and the Church Triumphant, arrayed around Christ. At the Great Entrance the deacon carries the Diskos, holding the foot of the diskos at his forehead. He then kneels at the side of the Holy Table, and the priest takes the diskos from him and places it on the Antimension. During the Anaphora, only the Lamb is consecrated.[citation needed]

At Holy Communion, the clergy partake of their portions of the Lamb directly from the diskos, but for the Communion of the faithful, the remainder of the Lamb is cut into small portions and placed in the chalice, from which the priest distributes Communion using the spoon. After Communion, the Deacon holds the diskos above the holy chalice and recites hymns of the Resurrection. Then he wipes the remaining particles (for the saints, living and departed) into the chalices saying the words:

"Wash away, O Lord, the sins of all those here commemorated, by Thy precious Blood, through the prayers of all Thy saints."[citation needed]

Sometimes, when a bishop celebrates the Liturgy, a smaller diskos is prepared for him with a small prosphoron from which he takes particles to commemorate the living and the departed before the Great Entrance.[citation needed]

Other uses

[edit]

During the Consecration of a Church, a diskos is used to hold the relics of the saints which will be sealed in the Holy Table and antimension by the bishop.

When a priest is ordained, a portion of the Lamb will be placed on a small diskos and given to him, as a sign of the Sacred Mysteries which are being entrusted to his care.

Blessing and handling

[edit]

In the Russian tradition, there is a special liturgy of blessing used to sanctify a diskos before its first use at Liturgy. The diskos may be blessed separately or together in a set with the other sacred vessels. The blessing is normally done immediately before beginning of the Liturgy of Preparation, after which the priest carries the diskos into the sanctuary and begins the liturgy, using the newly blessed vessel in that Liturgy.

Up until the first time a diskos is used in the Divine Liturgy it is considered to be an ordinary vessel, and may be touched by anyone. However, after having been used in the Divine Liturgy, a diskos may be touched only by a deacon, priest or bishop. A subdeacon may touch the sacred vessels, but only if they are securely wrapped in cloth.

When not in use, the chalice, diskos, and all the sacred vessels should remain on the Table of Oblation (prothesis), wrapped in their cloth bags—either sitting on top and covered with a cloth, or stored securely in a cabinet built into the prothesis.

Alexandrian Rite

[edit]

In the usage of the Alexandrian Rite, the diskos usually has a flat bottom with no foot. Additionally, it has a raised edge, forming a relatively high rim, preventing particles of the offered elements from falling to the floor.

See also

[edit]
The paten from the Treasure of Gourdon (6th century)
Wikimedia Commons has media related to Patens.

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Paten

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from Grokipedia
A paten is a small, shallow plate or disc, typically crafted from precious metals such as or silver, employed in Christian liturgical rites to hold the bread during the and to support the consecrated Host following the in the . Originating from the Latin meaning "a dish," it serves as an essential Eucharistic vessel, fitting over the as a cover and symbolizing the offering of Christ's body in the . Historically, the paten evolved from early flat, open vessels known as patinæ used in the first centuries of to collect bread offerings from the faithful and distribute consecrated fragments during Communion. Initially constructed from materials like , wood, or copper— as evidenced by (r. 199–217) employing a paten—the vessel transitioned to or silver by the early third century, reflecting growing reverence for the . By the ninth century, as the frequency of lay Communion declined, larger ministerial patens (some weighing 20–30 pounds) for distribution gave way to smaller patens designed specifically for the priest's use. In the Roman Catholic tradition, the paten must be consecrated with oil by a before use, invoking a "for the administration of the of Christ." In liturgical practice, particularly within the Traditional Latin Mass, the paten holds the unleavened host on the during the , from which it is removed only briefly for consecration before being returned. The priest cleanses it post-consecration, makes the with it, kisses it in veneration, and employs it in the Fraction rite, underscoring its sacred role. Variations exist across rites: in the , a larger diskos performs a similar function, often positioned to the left of the , while medieval Western patens featured a central depression and ornamental lobes, though modern designs emphasize simplicity. Beyond the altar paten, other types include the ministerial paten for Communion distribution, the chrismal paten for baptismal oils, and ornamental versions with engravings or precious stones, all retained in traditions such as Anglican, Lutheran, and Reformed Episcopal churches.

Introduction

Definition and Purpose

A paten is a shallow, circular plate or disk specifically designed to hold the Eucharistic bread, known as the host in Western traditions or the (including the portion called the Lamb) in Eastern rites, during the preparation, consecration, and distribution phases of the . This vessel ensures the bread, symbolizing the , is presented and handled with due reverence throughout the Eucharistic celebration. The primary purpose of the paten is to contain the sacred securely, thereby preventing any particles or crumbs from falling and maintaining the integrity of the consecrated elements, a practice rooted in the liturgical emphasis on treating the with utmost care. It is an essential component in both Western and Eastern Christian rites, where it facilitates the offering of the in the Holy Sacrifice. Unlike a ciborium, which is a covered vessel used for reserving and distributing consecrated hosts after the , or a communion plate held beneath the chin or hands of communicants to catch any falling fragments during distribution, the paten is dedicated to the altar-based phases of the rite. Physically, a paten is typically 6 to 8 inches (15 to 20 cm) in , featuring a flat or slightly concave surface to accommodate one or multiple hosts without allowing them to roll, and often includes a thin, raised edge to aid in collecting any particles. In Eastern Orthodox usage, the equivalent diskos may include a for elevation during the service, but its core function remains the same.

Etymology

The term "paten" originates from the Ancient Greek patanē (πατάνη), denoting a broad, shallow dish or pan, which was borrowed into Latin as patina or patena, signifying a plate or vessel for offerings. This classical usage referred to everyday or sacrificial dishware, reflecting the word's root in the Proto-Indo-European pete-, meaning "to spread," which evokes the expansive, flat form of such utensils. By the early Christian period, the term evolved within to specify a liturgical implement, particularly for holding . In , it solidified as patena, entering around the via patene, where it exclusively denoted the plate used in the . This semantic narrowing paralleled the vessel's integration into Christian rituals, transforming a general term for dishware into one tied solely to sacred functions by the early medieval era. In Eastern Christian traditions, the equivalent is termed diskos in Greek and Byzantine liturgy, derived from diskos (δίσκος), meaning "disc" or "quoit," highlighting the vessel's characteristic round shape. While diskos shares no direct etymological connection with paten, it functions as a in Orthodox usage, emphasizing form over the broader dish of the Western term.

Historical Development

Early Christian Origins

The paten emerged from the Jewish traditions, in which (matzah) was central to the Seder meal commemorating , and the early Christian feasts, communal meals that fostered fellowship among believers and initially incorporated the as part of a shared . These meals, practiced from the onward, drew directly from the —a observance where broke with his disciples—gradually separating the Eucharistic elements from the full meal by the , at which point a dedicated vessel for the bread became more distinct in liturgical practice. Earliest textual references to the bread's presentation during the Eucharist appear in the writings of Church Fathers, such as St. Justin Martyr's First Apology (c. 150 AD), where he describes bread being brought forward to the presider of the assembly for thanksgiving and distribution among participants. Archaeological evidence supports this evolution, with 4th-century glass patens discovered in regions like Spain, such as a fragmentary example from Linares depicting a beardless Christ flanked by apostles, used to hold Eucharistic bread in early Christian settings. Similar glass vessels from Syria indicate the adaptation of local tableware for liturgical purposes during this period, reflecting the transition to specialized forms by the 3rd-4th centuries AD. Historical records indicate that as early as the late 2nd to early 3rd century, glass patens were in use, as evidenced by Pope Zephyrinus (r. 199–217) employing a glass paten for the Eucharist. The design of early patens was influenced by Roman and Eastern Mediterranean tableware, particularly the patella, a shallow metal or ceramic dish used for serving food, which Christians repurposed for the Eucharist to maintain discretion amid persecution before the 4th century. These initial vessels were unadorned and modest, often made of glass, terracotta, or base metals, prioritizing functionality over symbolism to avoid drawing attention during clandestine gatherings. Following Emperor Constantine's in 313 AD, which legalized , the paten shifted toward more elaborate forms as public worship became possible and imperial patronage increased. Historical records in the document Constantine's donations of ornate patens to newly founded basilicas in , including a 20-pound paten to the Basilica of St. Agnes outside Rome and similar gifts to the Basilica of St. Lawrence, marking the beginning of luxurious liturgical metalwork that signified the faith's newfound prominence.

Medieval and Modern Evolution

During the medieval period from the 5th to 15th centuries, patens in underwent standardization, often featuring enameled or jeweled decorations that reflected the era's advancements in and artistic expression. These vessels, essential for holding the Eucharistic bread, were crafted with intricate techniques such as and inlays, as seen in various church treasuries across the continent. A notable example is the Derrynaflan Paten, an 8th-century Irish artifact made of beaten silver with a rim, gilt- frames, and filigree panels adorned with abstract patterns, human figures, and animal motifs in Celtic style. In the Byzantine tradition, patens from this era, such as those in silver with partial gilding, maintained symbolic forms while incorporating regional enamelwork, with 13th-century examples showcasing elaborate motifs like the Communion of the Apostles integrated into liturgical design. The Renaissance and Reformation periods marked divergent paths for paten development influenced by religious and cultural shifts. In Catholic contexts, artistic elaboration intensified, with patens incorporating Renaissance motifs such as floral filigree enamel and colorful glass inlays, as exemplified by gilded silver pieces from the late 15th and 16th centuries that blended classical humanism with sacred function. Conversely, the Protestant Reformation in the 16th century prompted simplification in many northern European traditions, where ornate Catholic vessels were often rejected or stripped of decoration to emphasize doctrinal purity and accessibility, leading to plainer metal patens without jewels or enamel. In the modern era from the 19th to 21st centuries, paten evolution reflected liturgical reforms and scholarly rediscoveries. The Second Vatican Council (1962–1965) influenced practices by promoting "noble simplicity" in liturgical forms, resulting in patens with cleaner, less ornate designs made from base metals or simplified silver to foster active participation, though precious materials remained prescribed for sacred vessels. Eastern Orthodox traditions, by contrast, preserved continuity with medieval forms, producing patens in traditional gold-plated or enameled styles that echo Byzantine prototypes, as seen in contemporary liturgical sets maintaining stamped bread-holding disks with iconic engravings. The 20th-century rediscovery of artifacts like the Derrynaflan Hoard in 1980, which required extensive restoration involving conservation of and enamel, informed global practices by providing insights into early medieval techniques and prompting stricter heritage laws for artifact preservation. Global variations emerged through colonial expansion, as European missionaries introduced patens to and , where local craftsmanship adapted them using indigenous materials like or while retaining core Eucharistic symbolism.

Materials and Design

Traditional Materials

Patens have traditionally been crafted from precious metals such as or silver, often with applied to the surface, to provide long-lasting durability suitable for repeated liturgical handling. These materials ensure the vessel remains non-reactive and resistant to over time, aligning with the need for practical reverence in sacred contexts. For more accessible use in parish settings, base metals like or serve as alternatives, offering sufficient strength without the expense of pure precious metals. In the pre-Constantinian period of , patens were constructed from simpler, more readily available materials including terracotta or glass, reflecting the era's modest resources and of worship. Following the of under Constantine, the shift to gold and silver patens emphasized greater permanence, with heavier examples documented in historical records. Rare medieval artifacts occasionally incorporated alternative substances such as , as evidenced by an enameled paten featuring a Pantokrator motif, or and in select liturgical pieces for their fine workability. Construction techniques for patens typically involve hammering into shape or for intricate forms, followed by to resist and maintain a clean surface for the . Contemporary fabrication employs modern alloys, such as lead-free , to achieve lightweight yet robust designs that comply with traditional liturgical standards. Regulatory guidelines in the Roman Catholic Church, as outlined in the General Instruction of the Roman Missal (GIRM) §328, mandate that patens and other sacred vessels use non-absorbent, noble materials—ideally precious metals or those gold-plated if less precious—to preserve dignity and functionality. In Eastern Orthodox traditions, the diskos (paten equivalent) commonly features brass bases with gold plating, balancing affordability and aesthetic nobility in line with canonical preferences.

Symbolic Features and Variations

Patens and their Eastern Orthodox equivalents, known as diskoi, feature a range of decorative motifs that encode theological significance, often centered on Christ's redemptive work. In Western traditions, common engravings include a central symbolizing the and , the Chi-Rho monogram representing Christ as the divine savior, or scenes from the evoking the institution of the as a sacrificial meal. In Eastern Orthodox diskoi, particles commemorating the (Virgin Mary) and the apostles are placed around the central to underscore the unity of the Church under Christ's body. Structurally, Western patens are typically flat and simple in form, designed as unadorned circular plates to emphasize purity and focus on the host, with diameters often around 6-7 inches for individual communion wafers. Eastern diskoi, by contrast, often include raised rims to contain leavened prosphora and may integrate a base or stand for stability during preparation, with larger sizes—up to 12 inches or more—accommodating whole loaves before portioning. These variations reflect practical adaptations to liturgical bread types while maintaining the vessel's sacred utility. Accessories enhance the paten's protective and symbolic role. In the Byzantine tradition, the asteriskos—a star-shaped metal frame—is placed over the diskos to support the aer veil, preventing it from touching the prepared bread and evoking the as a sign of . Western usage employs veils matching the liturgical color to cover the paten and ensemble, or purificators—white cloths—for wiping, symbolizing reverence and cleanliness in handling the . Theologically, the paten's round shape universally signifies and the unending cycle of divine life, mirroring the eternal nature of Christ's presence in the . Engravings further evoke themes of sacrifice through depictions of the or the Lamb, and via crosses or alpha-omega symbols, with designs varying by artistic era: Gothic patens favor angular, intricate tracery for a sense of vertical aspiration, while examples incorporate flowing, ornate flourishes to convey dramatic emotional depth.

Western Liturgical Usage

Roman Rite

In the of the , the paten serves as the essential vessel for holding the Eucharistic during the Liturgy of the Eucharist. During the preparation of the gifts, the receives the paten with the bread from a minister or retrieves it from the , holds it slightly raised above the altar, and says quietly, "Blessed are you, Lord God of all creation," before placing it on the . If circumstances require, the paten may be covered with a pall to protect the host from contaminants, though this is more commonly applied to the . During the consecration within the ic Prayer, the paten holds the host as the invokes the and recites the , transforming the bread into the . At the conclusion of the prayer, in the "Through him, and with him, and in him," the elevates the paten with the consecrated host alongside the , presenting them to the Father while the assembly responds "." The rubrics of the further specify that, during the fraction rite after the , the breaks the host over the paten to catch any particles, ensuring reverence for the , and may place a small piece into the while saying quietly, "May this mingling of the Body and Blood of our Lord Jesus Christ bring eternal life to us who receive it." In the distribution of Holy Communion, the employs the paten to hold the broken host pieces, taking it or a ciborium to approach the communicants and present the , whether on the tongue or in the hand. This use of the paten by the contrasts with auxiliary communion plates held by ministers under the communicants' chins or hands to catch any fragments, emphasizing the paten's primary role in the 's actions. After distribution, the returns to , collects any remaining fragments on the paten, and purifies it over the . The General Instruction of the (GIRM) outlines specific norms for the paten to ensure its dignity. It should be of a size sufficient to hold at least one large host for the 's consecration, though a larger paten may be used when additional hosts are prepared on it for ministers and the faithful. Materials must be precious, such as or silver, or other noble substances like durable hardwoods, with post-Vatican II provisions allowing simpler yet worthy designs in pastoral contexts to facilitate broader access while maintaining sacred character. The paten, as a sacred vessel, requires by a or consecration by a according to traditional norms before use.

Protestant Traditions

In Protestant traditions, the paten—a shallow plate for holding the Eucharistic —has been adapted with varying degrees of ritual emphasis following the 16th-century , which emphasized simplicity and accessibility in worship over elaborate Catholic ceremonies. Within , particularly in high-church settings, the paten retains a prominent role similar to its use in the , serving to hold the host during the as prescribed in the rubrics of the . The Church of England's mandates that every church provide a paten or equivalent vessel for the bread alongside a chalice for the wine during Holy Communion celebrations. In the rite, the priest takes the paten in hand to break the consecrated , underscoring its integral place in the liturgical action. This usage reflects a continuity with pre-Reformation practices while aligning with Anglican sacramental theology. Lutheran practices similarly incorporate the paten during the consecration of the , as outlined in liturgical resources like Evangelical Lutheran Worship, where it holds the elements on . The paten is typically placed centrally on the —a cloth—prior to the service, often paired with a for the wine to facilitate distribution in larger congregations. This arrangement emphasizes the real presence of Christ in the elements without the more ornate veiling or gestures found in Catholic rites, focusing instead on the communal meal aspect of the . In Methodist and Reformed traditions, the paten's role is more symbolic, particularly in ceremonies; for instance, the presents a and paten to ordinands as emblems of ministerial service in the . In low-church Reformed services, such as those in Presbyterian congregations, a communal plate often substitutes for a traditional paten, prioritizing and congregational participation over individualized vessels. These approaches highlight a post-Reformation shift toward egalitarian . Reformation-era changes in the led to reductions in the paten's ornamentation, as rejected lavish decoration associated with Catholic excess, favoring plain metal designs to avoid . Modern ecumenical influences have further broadened material options, permitting glass or patens in some Protestant congregations for their affordability and symbolic humility, though precious metals remain preferred in formal settings.

Eastern Liturgical Usage

Byzantine Rite

In the , the paten, known as the diskos, plays a central role in the preparation phase of the , specifically during the Proskomedia or Liturgy of Preparation. Here, the priest cuts particles from specially baked loaves and arranges them on the diskos, which symbolizes the of Christ or the altar of . The central particle, called the Lamb, represents Jesus Christ and is placed in the middle, while surrounding particles commemorate the , various saints (such as , prophets, apostles, and martyrs), and the faithful—both living and dead, including specific names offered by the congregation. These particles underscore the inclusive nature of the Eucharistic offering, uniting the entire Church in prayer. During the Great Entrance, the diskos bearing the prepared gifts is elevated and carried aloft on the deacon's head in a solemn from the Table of Oblation through the to the holy altar, accompanied by the singing of the Cherubic Hymn. The diskos and are veiled with aer (a large ) to signify the burial cloths of Christ and protect the gifts, evoking the of Christ's ascension and the mystical offering of creation to . This highlights the diskos's role in symbolizing the journey of the from preparation to consecration. Following the Anaphora, the diskos is integral to the consecration, where the priest invokes the Holy Spirit (epiclesis) to transform the bread into the Body of Christ, blessing the gifts on the diskos and in the chalice. The priest then elevates the diskos and chalice together, proclaiming "Holy things are for the holy," inviting the faithful to approach. In distribution, the consecrated particles from the diskos are broken, placed into the chalice via a sponge, and administered to communicants using a liturgical spoon for intinction—dipping the Body in the Blood—while strict rubrics prohibit direct handling by the clergy or laity to preserve reverence post-consecration. Beyond the , the diskos appears in tonsure and rites when these occur within the liturgical context, where its standard use in the Eucharistic preparation and offering underscores the sacramental integration of clerical induction. Similarly, particles from the diskos prepared during Proskomedia for the living faithful are sometimes distributed or retained for personal commemorations, including blessings in homes to invoke divine over households. In the Byzantine tradition, the diskos typically features a star-like to prevent veils from touching the bread, aligning with broader Eastern designs emphasizing symbolic and celestial motifs.

Alexandrian Rite

In the Alexandrian rite, practiced by the Coptic Orthodox Church and the Ethiopian Orthodox Tewahedo Church, the paten serves as the primary vessel for the qurban, the leavened Eucharistic bread, during the Divine Liturgy. It is typically a small, round tray made of silver or gold, without a stand or engravings, and is placed on the altar to hold the bread throughout the anaphora, the Eucharistic prayer. This design facilitates the containment of the soft, leavened qurban, which is prepared in a circular form stamped with a cross and surrounding marks symbolizing Christ's wounds. The paten's simplicity underscores its role as a symbolic extension of the altar, representing the table of the Last Supper where Christ instituted the Eucharist. The Liturgy of St. Basil, the primary Eucharistic liturgy in the Coptic tradition, integrates the paten centrally during the anaphora and fraction rites. Following the offertory, the priest places the qurban on the paten, covers it with a veil, and elevates it while invoking the Holy Spirit for consecration, praying that the bread become the true Body of Christ for the healing of body and soul. In the subsequent fraction rite, the priest breaks the consecrated qurban on the paten first into three unequal parts—symbolizing the Trinity and Christ's undivided Body—before further dividing it into smaller portions according to the number of communicants. This breaking evokes the sufferings inflicted upon Christ during His Passion, with the priest reciting prayers that commemorate His wounds and the redemptive sacrifice, such as touching the fragments with the Precious Blood to signify the flow from His pierced side. The rite emphasizes the unity of Christ's divine and human natures, unbroken despite the physical division. During distribution, the uses the paten to hold the fractions of the Holy Body, administering them directly to the faithful with the words "The Holy Body of ," while a is employed to cover and purify the paten, preventing any particles from falling and maintaining reverence. This process mirrors the communal sharing of Christ's , with the paten remaining on until the communion concludes. A similar , often adorned with Coptic prayers, is used in the Alexandrian to shroud the paten during preparation, akin to practices in other Eastern Christian liturgies but accompanied by unique invocations for sanctification. In the Ethiopian variation of the Alexandrian rite, the paten—known as the vessel for the holy body—functions analogously, holding the qurban during the anaphora of various saints, such as St. Basil or the Apostles, where it is anointed with holy oil and signed with a cross before consecration. The fraction occurs on the paten, with the bread indented in five places without separation to symbolize Christ's wounds, then broken for distribution to clergy and laity, emphasizing remission of sins and eternal life. Ethiopian usage occasionally incorporates a masob, a platter for transporting the qurban, as a supplementary vessel in larger communal settings, reflecting adaptations for extensive gatherings while preserving the core Alexandrian structure.

Other Eastern Rites

In the Syriac rites, both East and West, the paten—known as the peelasa in Syriac—is a central vessel in the Holy Qurbana, the Eucharistic liturgy, where the bread is placed upon it during preparation. The priest elevates the paten alongside the chalice, forming a cross shape, and later blesses the congregation by tracing the sign of the cross with the paten from west to east. During the fraction rite, the host on the paten is broken into particles, some of which commemorate the Theotokos and saints, arranged symbolically before commixture with the chalice. In the Armenian Rite, the paten integrates into the Badarak, the Divine Liturgy, with the bread positioned on it during the preparation of gifts behind the curtain. Often featuring engraved crosses, the paten is held or elevated by the celebrant during the epiclesis, invoking the upon the offerings in a manner akin to other Eastern traditions. Variations appear in East Syriac traditions, such as the Chaldean Rite, where the paten accommodates fermented bread (khmira) in its traditional form, though unleavened bread is now common among Chaldean Catholics. The Assyrian Church of the East maintains paten usage in its ancient Mesopotamian-rooted liturgy, with the priest handling it during elevations and fraction. Across these rites, the paten is typically veiled with a cloth during key moments to signify reverence, and the fraction rite emphasizes communal breaking of the bread, accompanied by rite-specific anaphora prayers like those of Addai and Mari in the East Syriac tradition.

References

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  5. https://www.holytrinitybutte.org/glossary_of_terms
  6. https://www.lincolndiocese.org/news/diocesan-news/9099-ask-the-register-are-there-rules-about-patens
  7. https://www.etymonline.com/word/paten
  8. https://www.merriam-webster.com/dictionary/paten
  9. https://www.oed.com/dictionary/paten_n
  10. https://www.etymonline.com/word/disk
  11. https://www.yourdictionary.com/diskos
  12. https://thirdmill.org/answers/answer.asp/file/39733
  13. https://www.amiyisrael.org/articles/Passover-Timing/passover-timing-early-church.html
  14. https://www.newadvent.org/fathers/0126.htm
  15. https://www.theguardian.com/world/2014/oct/05/spain-christian-history-challenged-discovery-4th-century-glass-plate
  16. https://www.academia.edu/5609634/EARLY_CHRISTIAN_AND_BYZANTINE_GLASS_VESSELS_FORMS_AND_USES
  17. https://www.penn.museum/sites/expedition/scutella-patella-paterna-patina/
  18. https://portal.sds.ox.ac.uk/articles/online_resource/E00403_The_Liber_Pontificalis_written_in_Latin_in_Rome_in_the_530s_and_re-edited_before_546_recounts_the_founding_and_endowment_of_the_basilica_of_Agnes_virgin_and_martyr_of_Rome_S00097_outside_Rome_by_the_emperor_Constantine_312-337_/13746202
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  21. https://www.museum.ie/en-ie/collections-research/collection/the-treasury/artefact/derrynaflan-silver-paten/4dfbee87-288e-40cc-b575-967733820c70
  22. https://www.metmuseum.org/art/collection/search/466152
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  24. https://oxfordre.com/religion/display/10.1093/acrefore/9780199340378.001.0001/acrefore-9780199340378-e-532
  25. https://www.vatican.va/archive/hist_councils/ii_vatican_council/documents/vat-ii_const_19631204_sacrosanctum-concilium_en.html
  26. https://www.goarch.org/-/tradition-in-the-orthodox-church
  27. https://issuu.com/obair/docs/heritage_ireland_issue_14_summer_2021/s/13130625
  28. https://www.vatican.va/roman_curia/congregations/ccdds/documents/rc_con_ccdds_doc_20030317_ordinamento-messale_en.html
  29. https://www.ewtn.com/catholicism/library/materials-for-sacred-vessels-4882
  30. https://www.ccel.org/s/schaff/encyc12/htm/iii.vii.xxxiv.htm
  31. https://www.christopherand.com/casestudy
  32. https://www.christianexpressions.com/product/https-www-religious-supplies-com-media-catalog-product-j-t-jt526-jpg/
  33. https://www.istok.net/Liturgical-diskos-no.-1077.html
  34. https://www.catholic.com/encyclopedia/cross-and-crucifix-the
  35. https://www.newadvent.org/cathen/03665b.htm
  36. https://www.matthewfsheehan.com/products/chalice-and-paten-hand-engraved
  37. https://orthodoxwiki.org/Diskos
  38. https://www.oca.org/orthodoxy/the-orthodox-faith/worship/the-divine-liturgy/prothesis
  39. https://orthodoxartsjournal.org/a-byzantine-style-diskos-and-asterix/
  40. https://www.newliturgicalmovement.org/2016/07/a-liturgical-rarity-asterisks-from.html
  41. https://aleteia.org/2017/09/14/heres-different-parts-of-a-chalice-and-their-functions-explained/
  42. https://catholicmasstimes.com/liturgical-objects-the-complete-guide/
  43. https://www.southernliturgicals.com/chalices-and-ciboria/the-crusader-gothic-chalice-and-paten---item-rd-002.html
  44. https://www.holyart.com/liturgical-accessories/chalices-patens-ciboria/metal-chalices-patens-ciboria/communion-paten-engraving-ihs-baroque-branches-molina-14-cm-golden-brass
  45. https://www.usccb.org/prayer-and-worship/the-mass/general-instruction-of-the-roman-missal/girm-chapter-4
  46. https://www.usccb.org/prayer-and-worship/the-mass/general-instruction-of-the-roman-missal/girm-chapter-6
  47. http://www.visual-arts-cork.com/history-of-art/protestant.htm
  48. https://www.churchofengland.org/prayer-and-worship/worship-texts-and-resources/book-common-prayer/lords-supper-or-holy-communion
  49. https://www.churchofengland.org/about/leadership-and-governance/legal-resources/canons-church-england/section-f
  50. https://anglicanhistory.org/dearmer/chalice1920/
  51. https://blog.cph.org/worship/altar-guilds-guide-to-the-types-of-communion-vessels
  52. https://blog.cph.org/worship/how-to-arrange-the-sacred-vessels-for-holy-communion
  53. https://northamanglican.com/our-german-cousins-liturgy-in-the-evangelical-and-reformed-church/
  54. https://www.researchgate.net/publication/312550219_On_Chalices_and_Ciboria_of_Glass
  55. https://www.goarch.org/-/the-divine-liturgy-of-saint-john-chrysostom
  56. https://www.oca.org/orthodoxy/the-orthodox-faith/worship/the-divine-liturgy/offertory-great-entrance
  57. https://oneinchrist.in/the-paten-peelasa-and-chalice-kasa/
  58. https://salemmtc.org/Downloads/Resources/HolyQurbanaStudyMaterial.pdf
  59. https://mosc.in/the_church/liturgy/holy-qurbana/
  60. https://malankaralibrary.com/ImageUpload/941aa59363ca9cc33413017f91e6a7ca.pdf
  61. http://coptic.org/language/tilett.htm
  62. https://www.armenianchurchlibrary.com/files/The_Divine_Liturgy-English.pdf
  63. https://stdavidchurchfl.org/liturgy/
  64. https://armenianchurch.org.uk/our-faith/worship-and-prayer/divine-liturgy/
  65. https://www.liturgies.net/Liturgies/Other/LiturgyOfTheAssyrianChurch.htm
  66. https://syriacorthodoxarchdiocese.wordpress.com/syriac-orthodox-liturgy/
  67. https://api.pageplace.de/preview/DT0400.9781463245566_A49860531/preview-9781463245566_A49860531.pdf
  68. https://malankaralibrary.com/ImageUpload/ffcd22f55bfdb86be93c96980e86bb39.pdf
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