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The frontal may be fixed to either the cere cloth or the linen cloth to hold it in place, which cloth must be fastened to the rear edge of the altar. The frontlet is similar to the frontal, that is the exact width of the altar, but only ten to twelve inches deep. It hangs over the frontal, and is generally of the same colour and material.
“Antependium” is the word used for elaborate fixed altar frontals, which, in large churches and especially in the Ottonian art of the Early Medieval period, were sometimes of gold studded with gems, enamels and ivories, and in other periods and churches often carved stone, painted wood panel, stucco, or other materials, such as azulejo tiling in Portugal.
The dimensions of this item are larger than is usual in known altar frontals. This suggested the possibility that it was a sarcophagus or an altarpiece, but the size and importance of the monastery it came from allowed large liturgical celebrations that would have required an altar of these proportions.
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The Master is named after the Parement de Narbonne, a unique painted silk altar frontal or parament found in the former Cathedral of Saint Just at Narbonne and now in the Louvre in Paris. The Parement of Narbonne is 2.86 metres (9 ft 5 in) long and 77.5 centimetres (30.5 in) high, and is painted in black ink (strictly, grisaille ) on silk .
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