Ijournal entry 112116 #48. November, Month of The Holy Souls.
Aphorism by Fyodor Mikhailovich Dostoyevsky. Quotes by Fr. Daniel Ray, LC, Jim Van Vurst, OFM, and Catechism of Catholic Church. Audio presentation: "Tolerating Distractions", by Dan Burke. "Inside your church", from Fisheaters website. "Taking A Tour Of The House Of God", by Michael S. Rose.
Aphorism by Fyodor Mikhailovich Dostoyevsky. Quotes by Fr. Daniel Ray, LC, Jim Van Vurst, OFM, and Catechism of Catholic Church. Audio presentation: "Tolerating Distractions", by Dan Burke. "Inside your church", from Fisheaters website. "Taking A Tour Of The House Of God", by Michael S. Rose.
By Fyodor Mikhailovich Dostoyevsky
"It is better to be unhappy and know the worst, than to be happy in a fool`s paradise"
MTA= Does not the truth set us free? No need to live in a bubble that will eventually burst. It makes sense to walk in the light and face life head on. Led along on the way to live life to the full, we leave the fog behind and realize fools gold is valueless.
"It is better to be unhappy and know the worst, than to be happy in a fool`s paradise"
MTA= Does not the truth set us free? No need to live in a bubble that will eventually burst. It makes sense to walk in the light and face life head on. Led along on the way to live life to the full, we leave the fog behind and realize fools gold is valueless.
Proverbs 15:21 "Folly brings joy to one who has no sense, but whoever has understanding keeps a straight course" |
Proverbs 15:24 "The path of life leads upward for the prudent, turning them from Sheol below" |
⚪️ "Lord, I know that I am an integral part in your plan to save souls. You have the confidence to use me as a channel of your grace for those around me, particularly those closest to me. I offer you my life today. Use me as a channel of grace and a testimony to your love". By Fr. Daniel Ray, LC
🔴"Probably one of the most commonly used words in our Catholic faith is prayer. It’s a word that describes the reality of our relationship with the Lord. Prayer can be in three different forms: There are liturgical prayers, which are used by the Church in all its celebrations of the sacraments and other occasions. There are many devotional prayers, such as the rosary and litanies. Finally, there are personal prayers, which are simple conversations with God. I want to touch on personal prayers rather than formal ones. Through the years, a few people have told me they feel somewhat at a loss in personal prayer. They think they need to be more traditional or formal in their praying. People have felt envious when seeing others in church, seemingly lost in prayer. Let me share a bit of my own prayer with you. Every day, I make a practice of saying a little prayer of thanks whenever something good occurs in my life or ministry. It’s as simple as can be. I say, “Thank you, Lord.” And when I sense a difficult situation, I pray, “Help me, Lord.” It’s a real prayer because it is communicating with God". By Jim Van Vurst, OFM
🔵2185 "On Sundays and other holy days of obligation, the faithful are to refrain from engaging in work or activities that hinder the worship owed to God, the joy proper to the Lord's Day, the performance of the works of mercy, and the appropriate relaxation of mind and body. Family needs or important social service can legitimately excuse from the obligation of Sunday rest. The faithful should see to it that legitimate excuses do not lead to habits prejudicial to religion, family life, and health". From the Catechism of Catholic Church
🔴"Probably one of the most commonly used words in our Catholic faith is prayer. It’s a word that describes the reality of our relationship with the Lord. Prayer can be in three different forms: There are liturgical prayers, which are used by the Church in all its celebrations of the sacraments and other occasions. There are many devotional prayers, such as the rosary and litanies. Finally, there are personal prayers, which are simple conversations with God. I want to touch on personal prayers rather than formal ones. Through the years, a few people have told me they feel somewhat at a loss in personal prayer. They think they need to be more traditional or formal in their praying. People have felt envious when seeing others in church, seemingly lost in prayer. Let me share a bit of my own prayer with you. Every day, I make a practice of saying a little prayer of thanks whenever something good occurs in my life or ministry. It’s as simple as can be. I say, “Thank you, Lord.” And when I sense a difficult situation, I pray, “Help me, Lord.” It’s a real prayer because it is communicating with God". By Jim Van Vurst, OFM
🔵2185 "On Sundays and other holy days of obligation, the faithful are to refrain from engaging in work or activities that hinder the worship owed to God, the joy proper to the Lord's Day, the performance of the works of mercy, and the appropriate relaxation of mind and body. Family needs or important social service can legitimately excuse from the obligation of Sunday rest. The faithful should see to it that legitimate excuses do not lead to habits prejudicial to religion, family life, and health". From the Catechism of Catholic Church
Upon awaking one day a contemplation came to mind, then later in the morning a quote was found to complement it. What came to mind was this:
Do we pray to a God that is deaf, dumb, and blind? If we do not believe that we do so, then why do our thoughts and demeanor betray those beliefs. It takes courage to face facts. God wants very much to revolutionize our spiritual lives, if we would just let Him. Each and every day is a day for one to seek Him with his or her whole heart in SILENT prayer. Let's Listen as He speaks, then respond with a pen in hand. Take 5, take "da dare"!
This quote comes from Kushandwizom: "There's no challenge more challenging than the challenge to improve yourself".
To cooperate with the Holy Spirit, being consecrated to Our blessed Mother Mary, improve, we certainly will. To further the theme for the day, an audio was found when reviewing a lists of sermons offered during an audio browse session.The right one was chosen, praise the Lord. Daily audio media is so nourishing and a great use of precious minutes in our 24 hour day.
After a bit of pondering, my thoughts led me in this direction: it could be seen how my demeanor and thoughts are many times out of sync with my beliefs. The "why" points to the fact that my spiritual mentality is not childlike enough. Children aren't the least bit worried, for the most part, about leaving everything up to their parents so that they will take care of the matters at hand. They trust things will work out, and are happy to have someone to run to, confidently leaving things there. Maybe that have changed a bit now because of the state of this world, but generally speaking, being care free are children's mode of operation. When something happens they run to the parents entrust everything, then pick up where they left off, and keep on trucking. How opposite is my/our behavior.
Do we pray to a God that is deaf, dumb, and blind? If we do not believe that we do so, then why do our thoughts and demeanor betray those beliefs. It takes courage to face facts. God wants very much to revolutionize our spiritual lives, if we would just let Him. Each and every day is a day for one to seek Him with his or her whole heart in SILENT prayer. Let's Listen as He speaks, then respond with a pen in hand. Take 5, take "da dare"!
This quote comes from Kushandwizom: "There's no challenge more challenging than the challenge to improve yourself".
To cooperate with the Holy Spirit, being consecrated to Our blessed Mother Mary, improve, we certainly will. To further the theme for the day, an audio was found when reviewing a lists of sermons offered during an audio browse session.The right one was chosen, praise the Lord. Daily audio media is so nourishing and a great use of precious minutes in our 24 hour day.
After a bit of pondering, my thoughts led me in this direction: it could be seen how my demeanor and thoughts are many times out of sync with my beliefs. The "why" points to the fact that my spiritual mentality is not childlike enough. Children aren't the least bit worried, for the most part, about leaving everything up to their parents so that they will take care of the matters at hand. They trust things will work out, and are happy to have someone to run to, confidently leaving things there. Maybe that have changed a bit now because of the state of this world, but generally speaking, being care free are children's mode of operation. When something happens they run to the parents entrust everything, then pick up where they left off, and keep on trucking. How opposite is my/our behavior.
Psalm 131:2 "Surely I have composed and quieted my soul; Like a weaned child rests against his mother, My soul is like a weaned child within" |
A lollipop or candy sucker often does it for them. Well, daily we get lollipops and candy suckers from the Lord, but are we too sophisticated to taste and see the goodness of the Lord?
It's to begin anew to explore the wonders God places before us each day, and experience his love in a million ways.
✍🏼P.S. A little more of my 2 cents can be found seasoning the meat dish today
✍🏼P.S. A little more of my 2 cents can be found seasoning the meat dish today
"Inside your church", from Fisheaters website
www.fisheaters.com/churchbuilding.html
Inside your Church
www.fisheaters.com/churchbuilding.html
Inside your Church
⛪️Narthex (or "Vestibule")
A true narthex is either an outside, covered porch-like structure or an inside area separated from the nave (the "body" of the church) by a screen, but this word has come to mean "entry" or "foyer." Originally, penitents and Catechumens were confined to this area until their reconciliation with or initiation into the Church. A westwork (or "westwerk") is the front of a large cathedral that has a tall facade and, usually, towers and an upper chamber (imagine the front entry of Notre Dame Cathedral in Paris with its towers and sculpture). ⛪️Nave
Referring to the "barque of Peter" and "Noah's Ark," the word "nave" is derived from the Latin word for ship, navis, and has come to mean the area where the parishioners sit or stand (pews are a very late addition to the nave area, and, even today, parishioners stand during the liturgy in many Eastern Catholic and Orthodox Churches). In Gothic architecture, the nave had an aisle (or two) on both sides.
⛪️Crossing
The place where the nave, chancel and transept intersect. This area is often domed.
⛪️Transept
The transverse arm of a cruciform church is called the transept. Because the liturgy is supposed to be celebrated ad orientem (facing East), the left side of the transept is called the North transept and the right side of the transept is called the South transept. This is so even if the actual orientation of the Church is other than with the Altar at the East side. Some churches have transepts at the West end of the church, too -- especially English Gothic churches.
⛪️Sanctuary and Choir (Chancel)
The word "chancel" comes from the word cancelli, meaning "lattice work," once used to rail off the choir, where the religious would sit on long benches to sing the responses at Mass and chant the Divine Office, from the nave, where the people sit.
Medieval churches often had "rood screens" ("rood" means "cross") separating the Sanctuary and choir from the body of the nave. The rood screen had the rood -- the Crucifix -- often flanked by images of the Virgin and St. John and by oil lamps. This screen totally separated the sanctuary from the place the people sat so that the sanctuary was truly treated as the Holy of Holies. (In Eastern Catholic churches and in Orthodox churches, the sanctuary is separated from the congregation by a lovely iconostasis -- a screen or wall with at least two icons (some are covered with them). The iconostasis has three doors: the Door of the Proskomide (preparation for Liturgy) on the left; the Royal Door in the middle which leads directly to the altar; and the Deacon's Door at the right (from the parishioner's point of view).
The rise of Renaissance architecture saw the disappearance of the choir area, the bringing forward of the sanctuary, and the general disappearance of the rood screens. The sanctuary was, instead, separated from the nave (as they should be today if there is no rood screen or iconostasis) by altar rails at which communicants must kneel to receive the Eucharist.
Aside from being the place of the Altar, the sanctuary is the place where the Tabernacle, which holds the Blessed Sacrament, is kept and over which there should always be burning a tabernacle light. The other place where the Tabernacle might be kept is a separate, conspicuous, well-adorned side chapel in churches in which the Altar area is used for the solemn conduct of the Divine Office or for Pontifical ceremonies. When we see the Tabernacle, we genuflect. If the Blessed Sacrament is exposed, we kneel on both knees.
⛪️Apse
As the term is commonly used in church architecture, "apse" denotes the often domed, semicircular or polygonal termination where the altar is located.
⛪️Altar
The High Altar (the main altar) is the place where the Eucharistic Sacrifice is offered (in a single church, there should be more than one Altar). While ancient synagogue liturgy was oriented toward Jerusalem, Christian liturgy is supposed to be celebrated with the priest and the congregation facing East ("ad orientem"), the direction whence Jesus, as symbolized by the rising Sun, will come again; the High Altar , therefore, has traditionally been at the East side of the church. In older churches, you might still see gorgeous altar screens or "Altar pieces" behind the Altar. The more fanciful, ornate ones are called "reredos" and can be quite exquisite, full of sculpture and with different panels.
The High Altar should: be fixed, of natural stone (bishops conferences have some leeway here), and contain a relic of a Saint (martyrs are favored). The Altar is venerated because it is the place of sacrifice, and because it is the place of Sacrifice, the Tabernacle is usually kept on it.
⛪️Pulpit
The podium on the left side of the church as you face the Altar (the "Gospel side"), from where the Gospel is read (and which is reserved for clergy). Not all churches have both a lectern (see below) and a pulpit; some just have one single speaker's podium called an ambo. Note that the Gospel side of the church is also informally referred to as the "Mary side" of the church because it is there a statue of her is often placed.
⛪️Lectern
The stand on the right side of the church as you face the Altar (the "Epistle side") from where the Epistles are read (and which can be used by lay-people). Not all churches have both a lectern and a pulpit (see above); some just have one single speaker's podium called an ambo. Note that the Epistle side of the church is also informally referred to as the "St. Joseph side" of the church because it is there a statue of him is often placed.
You can remember which side of the Church is which by taking the vantage point of Christ on the Crucifix: His right is the Gospel/Mary side of the Church; His left is the Epistle/Joseph side of the Church. Mary and the Gospel are greater than Joseph and the Epistle so are at Jesus' right. This will be so unless there is a statue of, say, our Lord, in which case it will be placed to the right of Jesus' vantage point from the Crucifix while Mary is to the left.
⛪️Ambulatory
An ambulatory is basically a sort of walkway which can be either inside or outside of a structure. In Gothic architecture, ambulatories often had projecting chapels and were especially common around the apse. If an ambulatory is outdoors and is built such that one side is wall while the other has columns or arches, especially opening onto a courtyard, it is often called a cloister (the word "cloister" also refers to the area within a monastery to which some religious are confined).
⛪️Sacristy (or "Vestry")
The Sacristy is where sacred vestments, liturgical vessels, etc., are stored. When the sacristy is behind the chancel and has two entrances, the priests enter on the Gospel side and exit through the Epistle side door.
In the sacristy you will find the sacrarium -- a special sink with a pipe that bypasses the sewer, unlike an ordinary sink, but instead goes straight into the earth. This sink is made thus to preserve the dignity of sacred things which can no longer be used. For ex., the sacred vessels are rinsed there so that no particle of the consecrated Host or no drop of the Precious Blood will end up in the sewer. The first rinse used to clean Altar linens, old baptismal water, sacred oils, blessed ashes, etc., all these are disposed of in the sacrarium, returning those substances to the earth."
A true narthex is either an outside, covered porch-like structure or an inside area separated from the nave (the "body" of the church) by a screen, but this word has come to mean "entry" or "foyer." Originally, penitents and Catechumens were confined to this area until their reconciliation with or initiation into the Church. A westwork (or "westwerk") is the front of a large cathedral that has a tall facade and, usually, towers and an upper chamber (imagine the front entry of Notre Dame Cathedral in Paris with its towers and sculpture). ⛪️Nave
Referring to the "barque of Peter" and "Noah's Ark," the word "nave" is derived from the Latin word for ship, navis, and has come to mean the area where the parishioners sit or stand (pews are a very late addition to the nave area, and, even today, parishioners stand during the liturgy in many Eastern Catholic and Orthodox Churches). In Gothic architecture, the nave had an aisle (or two) on both sides.
⛪️Crossing
The place where the nave, chancel and transept intersect. This area is often domed.
⛪️Transept
The transverse arm of a cruciform church is called the transept. Because the liturgy is supposed to be celebrated ad orientem (facing East), the left side of the transept is called the North transept and the right side of the transept is called the South transept. This is so even if the actual orientation of the Church is other than with the Altar at the East side. Some churches have transepts at the West end of the church, too -- especially English Gothic churches.
⛪️Sanctuary and Choir (Chancel)
The word "chancel" comes from the word cancelli, meaning "lattice work," once used to rail off the choir, where the religious would sit on long benches to sing the responses at Mass and chant the Divine Office, from the nave, where the people sit.
Medieval churches often had "rood screens" ("rood" means "cross") separating the Sanctuary and choir from the body of the nave. The rood screen had the rood -- the Crucifix -- often flanked by images of the Virgin and St. John and by oil lamps. This screen totally separated the sanctuary from the place the people sat so that the sanctuary was truly treated as the Holy of Holies. (In Eastern Catholic churches and in Orthodox churches, the sanctuary is separated from the congregation by a lovely iconostasis -- a screen or wall with at least two icons (some are covered with them). The iconostasis has three doors: the Door of the Proskomide (preparation for Liturgy) on the left; the Royal Door in the middle which leads directly to the altar; and the Deacon's Door at the right (from the parishioner's point of view).
The rise of Renaissance architecture saw the disappearance of the choir area, the bringing forward of the sanctuary, and the general disappearance of the rood screens. The sanctuary was, instead, separated from the nave (as they should be today if there is no rood screen or iconostasis) by altar rails at which communicants must kneel to receive the Eucharist.
Aside from being the place of the Altar, the sanctuary is the place where the Tabernacle, which holds the Blessed Sacrament, is kept and over which there should always be burning a tabernacle light. The other place where the Tabernacle might be kept is a separate, conspicuous, well-adorned side chapel in churches in which the Altar area is used for the solemn conduct of the Divine Office or for Pontifical ceremonies. When we see the Tabernacle, we genuflect. If the Blessed Sacrament is exposed, we kneel on both knees.
⛪️Apse
As the term is commonly used in church architecture, "apse" denotes the often domed, semicircular or polygonal termination where the altar is located.
⛪️Altar
The High Altar (the main altar) is the place where the Eucharistic Sacrifice is offered (in a single church, there should be more than one Altar). While ancient synagogue liturgy was oriented toward Jerusalem, Christian liturgy is supposed to be celebrated with the priest and the congregation facing East ("ad orientem"), the direction whence Jesus, as symbolized by the rising Sun, will come again; the High Altar , therefore, has traditionally been at the East side of the church. In older churches, you might still see gorgeous altar screens or "Altar pieces" behind the Altar. The more fanciful, ornate ones are called "reredos" and can be quite exquisite, full of sculpture and with different panels.
The High Altar should: be fixed, of natural stone (bishops conferences have some leeway here), and contain a relic of a Saint (martyrs are favored). The Altar is venerated because it is the place of sacrifice, and because it is the place of Sacrifice, the Tabernacle is usually kept on it.
⛪️Pulpit
The podium on the left side of the church as you face the Altar (the "Gospel side"), from where the Gospel is read (and which is reserved for clergy). Not all churches have both a lectern (see below) and a pulpit; some just have one single speaker's podium called an ambo. Note that the Gospel side of the church is also informally referred to as the "Mary side" of the church because it is there a statue of her is often placed.
⛪️Lectern
The stand on the right side of the church as you face the Altar (the "Epistle side") from where the Epistles are read (and which can be used by lay-people). Not all churches have both a lectern and a pulpit (see above); some just have one single speaker's podium called an ambo. Note that the Epistle side of the church is also informally referred to as the "St. Joseph side" of the church because it is there a statue of him is often placed.
You can remember which side of the Church is which by taking the vantage point of Christ on the Crucifix: His right is the Gospel/Mary side of the Church; His left is the Epistle/Joseph side of the Church. Mary and the Gospel are greater than Joseph and the Epistle so are at Jesus' right. This will be so unless there is a statue of, say, our Lord, in which case it will be placed to the right of Jesus' vantage point from the Crucifix while Mary is to the left.
⛪️Ambulatory
An ambulatory is basically a sort of walkway which can be either inside or outside of a structure. In Gothic architecture, ambulatories often had projecting chapels and were especially common around the apse. If an ambulatory is outdoors and is built such that one side is wall while the other has columns or arches, especially opening onto a courtyard, it is often called a cloister (the word "cloister" also refers to the area within a monastery to which some religious are confined).
⛪️Sacristy (or "Vestry")
The Sacristy is where sacred vestments, liturgical vessels, etc., are stored. When the sacristy is behind the chancel and has two entrances, the priests enter on the Gospel side and exit through the Epistle side door.
In the sacristy you will find the sacrarium -- a special sink with a pipe that bypasses the sewer, unlike an ordinary sink, but instead goes straight into the earth. This sink is made thus to preserve the dignity of sacred things which can no longer be used. For ex., the sacred vessels are rinsed there so that no particle of the consecrated Host or no drop of the Precious Blood will end up in the sewer. The first rinse used to clean Altar linens, old baptismal water, sacred oils, blessed ashes, etc., all these are disposed of in the sacrarium, returning those substances to the earth."
"Taking A Tour Of The House Of God", by Michael S. Rose
Info from this site:
www.catholicculture.org/culture/library/view.cfm?recnum=4622
Info from this site:
www.catholicculture.org/culture/library/view.cfm?recnum=4622
The Meat dish today is extremely long and quite filling, but if you take the time to read, you will really learn quite a bit of interesting information. Read in bits and pieces, however time permits, that works just fine and can prevent an "overload" experience from occurring. The intended purpose of this article is to increase your respect for the church as the holy place of worship it is, and hopefully to renew your reverence for God. Inside of the church is where we join together and have fellowship with God, and it is OUTSIDE of the church were we can have fellowship with each other. If inside the church, it's appropriate in the narthex, vestibule, or foyer, whatever term you is preferable to your taste.
Plans to journal info about the church was lined up weeks before the set date of debut during this week of Thanksgiving. A surprise came at Mass on the day we celebrated the feast of the Dedication of the Basilicas of Saints Peter and Paul, didn't know the feast day was occurring a few days before the Ijournal entry set date. Divine timing puts the entry in sync with the rhythm of the church, praise the Lord. Being in my hometown the same weekend was also perfect. A refurbishing of the church, on the outside as well as on the outside, is in progress. Now able to visibly show in the picture above the reality of what was written in the article below about how the church reinforces Christ's presence in the world. It was stated that a church must look like a church before the building has any chance of being a sign to the greater community. May this peak your interest to read more. The picture clearly illustrates how the church makes a grandstatement in the middle of Main Street.
Well a shout out to St. Stephens Church, Good Shepherd Parish (Msgr. Christopher), for getting it right about the confessional. In the article it was stated that St. Charles Borromeo recommended that confessionals be placed at the sides of the church in some open and clear space and that the penitent be turned toward the altar and tabernacle. Well it's in a spacious room apart in the back of the nave, but what is great is that the penitent is facing the altar. In many parishes, the priest is the one facing the altar. These are suggestions and recommendations, not the law, but my preferences are for following in the footsteps of the saints. It is quite evident where they are, who they are pleasing, and that their path ends in exactly the place we wish ours to end. Now when partaking of the Sacrament of Reconciliation in a church where the Confessional is at the sides, the choice is for entering the booth that allows me to face the altar.
Another shout out goes to St. Francis of Assisi (Fr. Michael), the choir is in the back of the church in the choir loft. The article said that congregational singing is strongly reinforced when the organ and the choir lead from above and behind, and that it is not essential that members of the choir be visible to the rest of the congregation. It was noted further that they are present at Holy Mass as worshippers, not entertainers so it's appropriate that they face the altar of sacrifice in the same direction as the remainder of the worshipping congregation. Please read on, don't stop here.
Plans to journal info about the church was lined up weeks before the set date of debut during this week of Thanksgiving. A surprise came at Mass on the day we celebrated the feast of the Dedication of the Basilicas of Saints Peter and Paul, didn't know the feast day was occurring a few days before the Ijournal entry set date. Divine timing puts the entry in sync with the rhythm of the church, praise the Lord. Being in my hometown the same weekend was also perfect. A refurbishing of the church, on the outside as well as on the outside, is in progress. Now able to visibly show in the picture above the reality of what was written in the article below about how the church reinforces Christ's presence in the world. It was stated that a church must look like a church before the building has any chance of being a sign to the greater community. May this peak your interest to read more. The picture clearly illustrates how the church makes a grandstatement in the middle of Main Street.
Well a shout out to St. Stephens Church, Good Shepherd Parish (Msgr. Christopher), for getting it right about the confessional. In the article it was stated that St. Charles Borromeo recommended that confessionals be placed at the sides of the church in some open and clear space and that the penitent be turned toward the altar and tabernacle. Well it's in a spacious room apart in the back of the nave, but what is great is that the penitent is facing the altar. In many parishes, the priest is the one facing the altar. These are suggestions and recommendations, not the law, but my preferences are for following in the footsteps of the saints. It is quite evident where they are, who they are pleasing, and that their path ends in exactly the place we wish ours to end. Now when partaking of the Sacrament of Reconciliation in a church where the Confessional is at the sides, the choice is for entering the booth that allows me to face the altar.
Another shout out goes to St. Francis of Assisi (Fr. Michael), the choir is in the back of the church in the choir loft. The article said that congregational singing is strongly reinforced when the organ and the choir lead from above and behind, and that it is not essential that members of the choir be visible to the rest of the congregation. It was noted further that they are present at Holy Mass as worshippers, not entertainers so it's appropriate that they face the altar of sacrifice in the same direction as the remainder of the worshipping congregation. Please read on, don't stop here.
"In the Genesis story known as "Jacob's Ladder,"the patriarch had a dream of angels going up and down from Heaven. In response, Jacob announced, "How awesome is this place! This is none other than the house of God, and this is the gate of heaven." Echoing those words throughout the Christian centuries, we have called our churches Domus Dei (the House of God) and Porta Coeli (the Gate of Heaven) — a dwelling where we go to find God. For that reason we understand the church building is a sacred place. And in fact, the Church's Code of Canon Law defines the church building as "a sacred building destined for divine worship." Many non-Catholics frequently have questions about the distinctive elements of a traditional Catholic church's architecture and furnishings. Why the altar rail? Why the statues? Why the kneeling pads? Why towers and bells? What does all this mean?
Actually, it all means a great deal. Nearly every detail of a traditional Catholic church building has a precise and rich significance, pointing to important aspects of Catholic faith and practice. So questions from non-Catholics can provide us a fine opportunity to talk about the Faith — and to learn more about it ourselves. First, however, we need a firm understanding of the reasons behind the traditional design. So let's take a tour of a typical church built according to the pattern that has endured for centuries.
💒Christ Is Present And Active
What exactly makes a "sacred place," a Domus Dei, a Porta Coeli destined for divine worship? To begin, let's hear what the Catechism of the Catholic Church says about the church building: "Visible churches are not simply gathering places but signify and make visible the Church living in this place, the dwelling of God with men reconciled and united in Christ . . . In this 'house of God' the truth and the harmony of the signs that make it up should show Christ to be present and active in this place." The primary point here is that the house of God ought to serve to show Christ and His Church present and active in both town and country. And this is exactly what church designers have been doing for centuries, using a specific architectural "language," based on eternal principles, to build the temple of God (another term for the church building). This "language" is what transforms bricks and mortar, wood and nails, stone and buttress, into a church, a sacred place worthy of God's eternal presence.
💒A Church Must Look Like . . . A Church
This sounds like a simple idea: A church building must look like a church. There are many ways that the church accomplishes such a feat, but three primary elements well define the aesthetics of the church building: verticality, permanence, and iconography.
⚓️Verticality. Unlike most of our municipal, commercial, and domestic buildings, the church ought to be so arranged that the vertical structure dominates the horizontal. The soaring heights of the spaces speak to us of the reaching toward heaven, of transcendence — bringing the Heavenly Jerusalem down to us through the medium of the church building. In other words, the interior spaces should have verticality, or a dramatic sense of height.
⚓️Permanence. The church building, representing Christ's presence in a particular place, also ought to be a permanent structure, built on a "firm foundation." Most modern buildings, on the contrary, tend to be temporary structures — or at least they appear to be. In fact, in places such as Los Angeles, architects actually design and build their buildings with the expectation that they will be bulldozed in a decade or two to make way for a newer and more fashionable building.
Churches, on the other hand, should not be the product of fashion, which is ever changing and certainly not permanent. There are several ways that a church building can assert its permanence. First, it must be made of durable materials. Second, it must have a significant mass, built with solid foundations and thick walls, and allowing for generous interior spaces. And third, it must be designed in continuity with the history and tradition of Catholic church architecture.
Nineteenth-century church architect Ralph Adams Cram put it well when he wrote: "Instead of the cheap and tawdry structures of shingles and clapboards, or flimsy brick and stone veneering, doomed to decay, we should have once more solid and enduring temples that, even if by reason of our artistic backwardness, could not at first compare with the noble work of the Middle Ages."3
⚓️Iconography. The church building ought to be a sign to both the faithful and the greater community, whether the neighborhood, town, or rural surroundings. The building needs to teach; it needs to catechize; it needs to evangelize. The building itself must show Christ and His Church present and active in this specific locale. If the church building can be mistaken for a library, a nursing home, a shopping center, a town hall, a medical office, or a movie theater, then it has failed in this regard. A medical office building tells us little of the faith, a movie theater seldom evangelizes through its architecture, and a shopping center does little to reinforce the presence of Christ active in the world. However obvious the point may seem, it is worth mentioning again: A church must first look like a church before the building has any chance of being a sign to the greater community — and that means inside and out. It must first looklike a church before it can be in essence a church.
💒The Church In The Landscape
Another term for the church building is "city on a hill" (see Matt 5:14), and yet another, "the New Jerusalem" (see Revelation 21:2). These two terms specifically refer to the location of our churches on high places, with the sense of being a fortified, protected sanctuary. A very literal example of such a location is Mont. St. Michel in France.
Many churches of times past, such as the Cathedral in Florence, dominated the urban landscape. There was no doubt that the church was the most important structure in that city. In other places, where the church buildings were much more modest in size, their situation at the highest point indicated Christ's dominance in the lives of those who lived in the shadow of their churches.
So this position of importance in a landscape is another aspect of making a church look like a church. Even today when new churches are built, the siting is important. The church building should not be hidden — hidden signs are bad signs — and should be integrated into the neighborhood or landscape in a way that its site reminds us of the building's importance and purpose.
The connection between the city and the church is an important one, too. It is often accomplished, at least traditionally, through the piazza (plaza) or courtyard. Here is a place for the faithful to congregate; it is the first transitional space that prepares us for our dramatic entrance into the Gate of Heaven, and it is a place that often serves as a backdrop for functions both religious and civic. Often in the past, steps, fountains, or colonnades have been used in the design of the piazza. But unfortunately in many places today the parking lot dominates and serves as a sort of anti-piazza. Rather than preparing us for entry into the church building, it more often than not, makes us angry. Parking of course must be dealt with in most situations, but there are many solutions by which the parking lot can be made auxiliary to the piazza or church courtyard.
💒Making Our Entry
As we approach the church building, by car or on foot — even before we can see the entire building or even the front entrance — we ought to be able to see the campanile (the bell tower). It is one of the primary vertical elements that draws us to the church both visually (we can see it in the distance) and by the sound of its bells, which serve both as a time piece and a call to prayer or worship. The use of church bells dates back at least to the eighth century, when such bells were mentioned in the writings of Pope Stephen III. Not only did they serve to call the laity to the church for Mass (which they still do — or ought to do), but monastery bells were rung to wake the monks for recitation of their night prayer, known as Matins. By the Middle Ages every church building was provided with one or more bells, and the bell tower became an important feature of the church building. The bell towers in southern Europe, especially in Italy, were often built separate from the church building (such as the famous leaning tower of Pisa, built in the twelfth century). In northern Europe and in North America, however, they more typically form an integral part of the church building itself.
Another extraordinary visual element in churches is the dome or the steeple surmounted by the cross. Popularized during the Renaissance, the dome — round or sometimes oval — has significant effects on both the interior and the exterior. In the interior it adds to the sense of verticality and transcendence (symbolizing the heavenly kingdom) in both its height and in the way it allows shafts of light to penetrate the interior of the church. On the exterior, the dome and steeple visually identify the building as a church, whether in the city or out in the country.
Once we draw closer to the church building, the façade (that is, the front exterior) becomes important. The façade is often the most memorable part of a church. It sometimes incorporates the bell tower or other towers; statuary or a simple sculpture; windows and the main entrance doors. In an urban setting, in which the church may be dwarfed by surrounding structures, the façade takes on an extra importance in that the church itself becomes identified with the façade.
This front entrance and façade are the second step of transition from the profane (the exterior world) to the sacred (the interior spaces of the church). The façade often has the most opportunity to evangelize, teach, and catechize through its incorporation of exterior artwork, which has been called the "handmaid of religion." One particularly familiar aspect of the front façade is the rose window, a large circular window usually above the central entrance to the church. The segments of stained glass that radiate out from its center are likened to the unfolding petals of a full-blown rose. Other types of round windows decorate the facades of western churches, but all owe their origins to the oculus, a circular opening found in the classical buildings of Rome, such as the Pantheon.
The front façade would be nothing, of course, without the doors that open into the church itself. These portals, as they are sometimes called, are significant because they function as the literal gate to the Porta Coeli, the doors to the Domus Dei. As early as the eleventh century, the decoration of church portals (the openings that surround the doors themselves) with statues and reliefs became an important feature of the church. Scenes from the Old Testament and from the life of Christ are commonly depicted above the doorways in what are called tympanums. These portals are meant to be both inspiring and inviting. They draw our hearts toward God and our bodies into the church.
The narthex is the third and final transitional space from the outside world to the church's interior. It also serves two other primary functions. First, is a vestibule — a place to shake the snow from boots or remove a hat or drop an umbrella. It is also a place where processions can assemble. For this reason the narthex is also known as the "galilee," since the procession from narthex to the altar symbolizes Christ's journey from Galilee to Jerusalem for the Crucifixion.
💒The Body Of Christ
A famous diagram shows the image of Christ superimposed over the floor plan of a typical basilica-style church — and this is informative. The head of Christ fits in the sanctuary; the arms become the transepts; and the body and legs fill out the nave. So here we can see literally the idea of the church building representing the Body of Christ. And it is no coincidence that the floor plan is in the shape of a cross. We call this a cruciform plan, which reminds us of Christ on the cross.
The term basilica literally means "House of the King," a fitting title for the house of God since we understand Jesus to be Christ the King, the King of Kings. This basilica form is the plan upon which most of the past seventeen hundred years of church architecture has been based. A church based on such an arrangement will be a rectangle twice as long as its width. Two rows of columns typically run the entire length of the body, separating the aisle from the nave. In the past thirty-some years, however, we have witnessed much experimentation that dismisses this basilica plan in favor of novelties. But in light of the past centuries of church building, these experimental forms based on the Greek amphitheater (fan shape) and the Roman circus (church-in-the-round) are merely passing fads, with little or no eternal significance.
💒The Ark Of Salvation
Once through the narthex doors, we find ourselves in the main body of the church, called the nave, which is the Latin word for "ship" (from which we get the word "naval"). This is the place where the congregation sits and is so called because figuratively it represents the "ark of salvation." An apostolic constitution of the fourth century says, "Let the building be long, with its head to the East . . . and so it will be like a ship."
The nave is almost always divided up into two or four sections of seating with a central aisle leading to the sanctuary and altar. Additional side aisles in larger churches flank the nave.
Upon entering the nave (a sacred place), we are used to finding holy water fonts or stoups, as they are sometimes known. Here we bless ourselves with holy water, reminding ourselves of our baptism and our sins. Crossing ourselves with holy water upon entering a church is the long-standing way to cleanse ourselves as we set foot into God's house.
St. Charles Borromeo, who was instrumental in shaping the architecture of the Catholic Counter-Reformation, lays down the following rules for the shape, size, and material of the holy water stoup. He says it "shall be made of marble or solid stone, neither porous nor with cracks. It shall rest upon a handsomely wrought column and shall not be placed outside the church but within it, and, in so far as possible, to the right of those who enter."
Another element of the church building immediately related to the nave is the baptistery, the place in the church that is suited especially for the rite of baptism. The earliest baptisteries were freestanding buildings separate from the church itself, but later baptisteries were built as separate rooms located directly off the nave. They are typically octagonal, alluding to Christ's resurrection on the "eighth day" (Sunday comes after Saturday, the Sabbath or seventh day of the week). Eight thus represents the opening of a new dawn for the Christian soul. Also common for some centuries now is placing the baptismal font in the nave of the church, instead of keeping it separate. The font itself then maintains the octagonal shape.
The religious imagery most commonly associated with the baptismal font and baptistery is the scene of the baptism of Christ by St. John the Baptist. The dove representing the Holy Spirit is another popular religious image, since baptism is the sending of the Holy Spirit to rest on the soul of the baptized.
💒The Pews
Perhaps the most common elements of the nave are the pews and their kneelers. Most commonly pews are formed by a wooden bench with a back. Padded kneelers are another common feature.
The traditional arrangement of pews is unidirectional — that is, one behind the next, facing the sanctuary of the church. In some large pilgrimage churches pews are either moveable or they are not used. In St. Peter's Basilica, for instance, chairs are used or else the congregation stands. This arrangement, however, is certainly not the norm in Catholic worship, but rather an exception precipitated by space necessities since very large congregations often attend Masses and other ceremonies at St. Peter's.
Pews contribute to making the nave look like a church; they are a part of our Catholic patrimony and have commonly been used in the West since at least the thirteenth century, when they were designed as backless benches. By the late sixteenth century most Catholic churches being built included wooden pews with kneelers and high backs. But even before the time when pews were commonly used, the faithful still knelt during much of the Mass.
Kneeling, in fact, has always been a distinct posture for Catholic worship — first, in adoration of Christ, and second, as a posture of humility. Significantly, Catholic worship includes both adoration and the humbling of oneself before God. The pew is simply meant to accommodate this particular posture of worship. As such it has become a memorable part of our churches.
💒The Choir
The choir is another essential part of the nave. It is the place in the church set aside for those members of the congregation who are specially trained to lead the sung portion of the liturgy. For acoustical reasons, choirs are typically places on one of the building's axes.
In many ancient churches the choir is made up of a series of stalls at the front part of the nave near the altar, but this was common only when choirs were made up exclusively of clergymen. The first church known to accommodate such a choir was San Clemente in Rome, when an enclosed choir (called the schola cantorum) was placed in the nave during the twelfth century. But monastery churches had introduced choir stalls nearly six hundred years before that, because chant has long been an important part of monastic prayer. Many communities have for centuries chanted the Divine Office and still do to this day.
Presently, a more common placement for the choirs since the time of the Catholic Counter-Reformation has been the rear gallery or "choir loft," as it has become known. Congregational singing is strongly reinforced when the organ and the well-trained voices of the choir lead from above and behind. Thus the choir and organ are placed in a loft for acoustical reasons meant to enhance the quality of the music. Since the choir is primarily perceived audibly — we hear them — it is not essential that members of the choir be visible to the rest of the congregation. They are present at Holy Mass as worshippers, not entertainers. In other words, there is no serious reason we all need to see the choir throughout the course of the liturgy. We do need to hear them, and since they too are worshippers, it is most appropriate that they face in the same direction as the remainder of the worshipping congregation — facing the altar of sacrifice.
💒The Confessional
Yet another important element placed in the nave is the confessional, which should be crafted in such a way that it fits in with the architecture of the building, but also so that it is an obvious sign of the Sacrament of Reconciliation. In other words, it ought to appear as a place, rather than just a door in the wall, as is sometimes — unfortunately — the case.
St. Charles Borromeo, writing in his seminal work, Instruction on the Fabric of the Church, recommends that confessionals be placed at the sides of the church in some open and clear space. St. Charles also suggests that the penitent be turned toward the altar and tabernacle — the focal points of the church — when confessing.
💒Exploring The Sanctuary
When talking about the sanctuary, it's helpful to remember that the Universal Church is hierarchical, that is, composed of different members — the head being Christ; with the pope, bishops, and priests each serving as alter Christus(other Christs); and the religious and the laity serving their own functions as part of the Church militant. That hierarchy is reflected in the liturgy. In fact, in an address to the U.S. bishops in 1998, Pope John Paul II said that, "the liturgy, like the Church, is intended to be hierarchical and polyphonic, respecting the different roles assigned by Christ and allowing all the different voices to blend into one great hymn of praise."
It only follows, then, that if the Church and the liturgy are both hierarchical, the church building ought to reflect that hierarchy. It is most obvious when one considers what makes the sanctuary distinct from the nave. The General Instruction of the Roman Missal states that "the sanctuary should be marked off from the nave by a higher floor level and by a distinctive structure or décor." So we see that the sanctuary is meant to be a separate place in the church building. It is the place where the Scriptures are proclaimed, where the priest offers the Holy Sacrifice of the Mass, and often where Jesus is reserved in the Blessed Sacrament.
Why should the sanctuary floor be raised above that of the nave? Primarily for two reasons.
🕯The first is figurative. If the sanctuary is supposed to represent the head of Christ, it is only natural that the head be higher than the body.
🕯Second, the sanctuary is elevated so that the congregation can easily see the different parts of the liturgy that are effected from the sanctuary. They have a better view of the pulpit, the altar, and the priest celebrant's chair, from which he addresses the congregation. But this is not by any means to equate the sanctuary with a stage or platform.
The Roman Missal also calls for the sanctuary to be marked off by a "distinctive structure." One such common structure is called the communion rail or altar railing. It not only serves to define the sanctuary; it can be functional as well. The congregation obviously can use it to receive Holy Communion, kneeling in adoration and humility. And at other times outside of Mass, the faithful can kneel there to pray before the Blessed Sacrament in the tabernacle or exposed on the altar. At the rail as in the pews, we have the opportunity to accommodate the traditional Catholic posture of worship. Until recently, communion rails were almost universal in Catholic churches where the Roman rite is followed, at least since the sixteenth century. Before that time, the communion rail was preceded by a low wall, which functioned much the same as the balustrade, and effectively separated sanctuary and nave without their appearing disconnected.
💒Built For The Altar
The most important and dignified element of the sanctuary — and of the entire church — is the altar, the place where the Eucharistic sacrifice is offered. In fact, the church building is built for the altar, not the altar for the church. For this reason, all sight lines in the building naturally ought to converge at the altar, just as the liturgy of the Holy Mass converges (or climaxes) at the Consecration, when through the hands of the anointed priest, the bread and wine are transformed into the Body, Blood, Soul, and Divinity of Jesus Christ! The sacrificial altar is so important and central to Catholic worship, not because it is a table upon which a banquet is prepared, but primarily because this is where the priest re-presents Christ's sacrifice on the cross.
In the vast majority of churches built within the past two thousand years, the altar is centered in the sanctuary, either freestanding or built up against a wall with a decorative structure (called a reredos) and tabernacle behind. Freestanding altars are actually more common and are built that way to enable the priest to walk around the altar to incense it.
When Christians gained freedom of public worship in the fourth century, permanent altars, usually made of stone, were erected for the first time in Europe. So great was the veneration of the martyrs, who had died for Christ, that almost every church in those years, especially in Rome, was built over the tomb of a martyr, and the church took the name of the saint — for instance, St. Peter's Basilica.
Because of this tradition, relics of the saints were placed within the altar; and until recently altars were required to hold the authenticated relics of at least two canonized saints. This custom is still followed in many places but is no longer required by Church law. Sometimes a wooden or metal canopy is built over the altar, such as the one designed by Bernini in St. Peter's Basilica. This is called the baldacchino or ciborium. It consists usually of four columns supporting a dome-like top that sits over the altar. Arguably, there is no better way to mark off the altar or draw attention to a freestanding altar than through the use of this canopy-like device.
💒Proclaiming The Word
Another essential element of the sanctuary is the pulpit. For one reason or another, the raised pulpit seems to be disappearing from our churches. It is often replaced with something that resembles more of a lectern, one that is neither raised nor ornate.
Nevertheless, the term "pulpit" literally means "raised platform." Pulpits have been used in churches since at least the thirteenth century, when the Franciscans and Dominicans especially placed great emphasis on preaching, though not in opposition to or more than the Eucharistic sacrifice. Pulpits have often been crafted as a work of art, not only functional but beautiful as well, commonly decorated with carvings of Scriptural scenes. It is the raised pulpit that is best designed — practically speaking — to transmit the Word of God to the entire congregation.
Although pulpits are usually found at the left side of the sanctuary, others are commonly found to the left side at the front of the nave. Some are freestanding, while others are built into a side wall or column. They are designed and placed where acoustics will be best. In a well-designed church with a proper pulpit, no microphone or sound system is necessary to preach the Word loudly and clearly.
Another acoustical aid is the sounding board, the horizontal piece placed above the head of the reader. This is designed better to transmit the voice. And of course the raised platform not only helps the acoustics but also enables the congregation better to see the priest or reader.
Under no circumstances does a Catholic church place the pulpit at the center of the sanctuary. This is not because it is an unimportant element in Catholic worship. Rather, it is not centrally located because it is subordinate (as is everything else in the church, however important) to the altar of sacrifice, upon which the central aspect of Catholic worship — the Holy Sacrifice of the Mass — takes place.
💒The Crucifix
According to the rubrics of the Mass, a crucifix must be present in the sanctuary. In keeping with Catholic tradition the crucifix ought to include the corpus of Jesus suffering on the cross. This visible suffering helps us better to connect with Jesus' sacrifice on the cross. And according to Pope Pius XII in his 1947 encyclical on the liturgy Mediator Dei, "one would be straying from the straight path were he to order the crucifix so designed that the divine Redeemer's body showed no sign of His cruel sufferings." A crucifix ought to be placed in the sanctuary either hanging above the altar or behind the altar because what the crucifix represents is intimately connected with the Holy Sacrifice of Mass, which takes place on the altar.
💒The "Little Tent" Of Our Lord
The tabernacle owes its origins to the moveable tent-like structure of the same name described in the Old Testament. This tent was used for worship before the construction of Solomon's temple. In fact, the word "tabernacle" is derived from the Latin word meaning "tent." The tabernacle in the wilderness held God's presence within the Ark of the Covenant in the same way our present tabernacles hold the Real Presence of Jesus under the appearance of bread and wine.
It probably goes without saying that, in order to foster Eucharistic devotion as promoted by recent Popes as well as their predecessors, the tabernacle needs to be in a prominent position. The most common and obvious prominent position is centered in the sanctuary behind the altar of sacrifice. However, when the architecture of a particular church precludes this obvious arrangement, the tabernacle is kept off-center in the sanctuary or in a side alcove adjacent to the sanctuary.
No matter where the tabernacle is located, it must have a direct physical relationship with the altar. If you can't see the altar from the tabernacle or you can't see the tabernacle from the altar, it's probably in the wrong place. In historically significant pilgrimage churches and in cathedrals, the Blessed Sacrament occupies its own chapel. Yet this chapel still needs to be constructed with a clear relation to the main altar.
Such a relation is made quite clear, for instance, in St. Patrick's Cathedral in New York. The Blessed Sacrament chapel, used every day for public exposition and adoration, is fittingly located directly behind the sanctuary.
💒A Cloud Of Witnesses
Devotional art affects — or ought to affect — all parts of the church building, inside and out. Sacred art takes many forms: Statues, reliefs, paintings, murals, mosaics, icons, and stained glass are the most common forms in Western church architecture. Successful church art enhances the architecture and the liturgy, and it draws our minds to God through its beauty and meaning. Sacred art, unlike modern art, is not about itself. It's about something else, and that something else is religious in nature; it is Catholic in nature.
As we mentioned earlier, the church building teaches and evangelizes. It does so not only through its form and function, but also through its artwork. Church art tells the stories of the Scriptures, of Christ, of the saints and of the Church herself. In fact, it is an intimate component of Catholic worship inasmuch as the Catholic faith is based upon the Incarnation of the Word: The Word (God) was made flesh — He took on a physical human nature.
Unfortunately, some have mistakenly understood the Second Vatican Council to state that sacred art — especially statues of the saints — has no place in our churches. This is obviously wrong. Here's what the Council actually does have to say about sacred art and furnishings:
Very rightly the fine arts are considered to rank among the noblest expressions of human genius. This judgment applies to religious art and to its highest achievement, sacred art. By their very nature both of the latter are related to God's boundless beauty, for this is the reality, which these human efforts are trying to express in some way. To the extent that these works aim exclusively at turning men's thoughts to God persuasively and devoutly, they are dedicated to God and to the cause of His greater honor and glory.
Furthermore, the same Council document states that "all things set apart for use in divine worship should be truly worthy, becoming, and beautiful signs and symbols of heavenly realities."8. It is for this reason that God's house is intimately connected to the Heavenly Jerusalem, accompanied by the communion of the saints and angels. It is here that beauty creates the environment that lifts man's soul from the secular and temporal to be brought into harmony with the heavenly and eternal. The architect Adams Cram — probably the greatest church builder of the late nineteenth century — wrote that, "art has been, is, and will be forever, the greatest agency for spiritual impression that the Church may claim."9 And it is for this reason, he adds, that art is in its highest manifestation the expression of religious truths. On a final note, the Council also warned bishops that it is their duty to protect the treasury of sacred art and architecture. Sacrosanctum Concilium states that bishops "must be very careful to see that sacred furnishings and works of value are not disposed of or allowed to deteriorate; for they are the ornaments of the house of God."10 Such a warning only underscores the importance the Church places on sacred art and its purpose to serve the greater glory of God.
💒Heavenly Things
Although we have focused on the parts of the church building that pertain primarily to public liturgy, the church can by no means be reduced to its primary function. It is a place that accommodates not only public liturgy, but also public devotions such as Holy Hours, processions, May crownings, and Stations of the Cross, as well as private devotions such as Eucharistic adoration, the Rosary, and other intercessory prayers to Mary and the saints. That is why shrines, statues, relics, vigil candles, and the like are essential to the Catholic church building.
All of these serve to aid man in the worship of the triune God. All serve to give honor and glory to God by bringing the heavenly and eternal down to us through the medium of a mere building — the church, the House of God, built and carved by human hands, a sacred place wrought in the fashion of heavenly things"
Actually, it all means a great deal. Nearly every detail of a traditional Catholic church building has a precise and rich significance, pointing to important aspects of Catholic faith and practice. So questions from non-Catholics can provide us a fine opportunity to talk about the Faith — and to learn more about it ourselves. First, however, we need a firm understanding of the reasons behind the traditional design. So let's take a tour of a typical church built according to the pattern that has endured for centuries.
💒Christ Is Present And Active
What exactly makes a "sacred place," a Domus Dei, a Porta Coeli destined for divine worship? To begin, let's hear what the Catechism of the Catholic Church says about the church building: "Visible churches are not simply gathering places but signify and make visible the Church living in this place, the dwelling of God with men reconciled and united in Christ . . . In this 'house of God' the truth and the harmony of the signs that make it up should show Christ to be present and active in this place." The primary point here is that the house of God ought to serve to show Christ and His Church present and active in both town and country. And this is exactly what church designers have been doing for centuries, using a specific architectural "language," based on eternal principles, to build the temple of God (another term for the church building). This "language" is what transforms bricks and mortar, wood and nails, stone and buttress, into a church, a sacred place worthy of God's eternal presence.
💒A Church Must Look Like . . . A Church
This sounds like a simple idea: A church building must look like a church. There are many ways that the church accomplishes such a feat, but three primary elements well define the aesthetics of the church building: verticality, permanence, and iconography.
⚓️Verticality. Unlike most of our municipal, commercial, and domestic buildings, the church ought to be so arranged that the vertical structure dominates the horizontal. The soaring heights of the spaces speak to us of the reaching toward heaven, of transcendence — bringing the Heavenly Jerusalem down to us through the medium of the church building. In other words, the interior spaces should have verticality, or a dramatic sense of height.
⚓️Permanence. The church building, representing Christ's presence in a particular place, also ought to be a permanent structure, built on a "firm foundation." Most modern buildings, on the contrary, tend to be temporary structures — or at least they appear to be. In fact, in places such as Los Angeles, architects actually design and build their buildings with the expectation that they will be bulldozed in a decade or two to make way for a newer and more fashionable building.
Churches, on the other hand, should not be the product of fashion, which is ever changing and certainly not permanent. There are several ways that a church building can assert its permanence. First, it must be made of durable materials. Second, it must have a significant mass, built with solid foundations and thick walls, and allowing for generous interior spaces. And third, it must be designed in continuity with the history and tradition of Catholic church architecture.
Nineteenth-century church architect Ralph Adams Cram put it well when he wrote: "Instead of the cheap and tawdry structures of shingles and clapboards, or flimsy brick and stone veneering, doomed to decay, we should have once more solid and enduring temples that, even if by reason of our artistic backwardness, could not at first compare with the noble work of the Middle Ages."3
⚓️Iconography. The church building ought to be a sign to both the faithful and the greater community, whether the neighborhood, town, or rural surroundings. The building needs to teach; it needs to catechize; it needs to evangelize. The building itself must show Christ and His Church present and active in this specific locale. If the church building can be mistaken for a library, a nursing home, a shopping center, a town hall, a medical office, or a movie theater, then it has failed in this regard. A medical office building tells us little of the faith, a movie theater seldom evangelizes through its architecture, and a shopping center does little to reinforce the presence of Christ active in the world. However obvious the point may seem, it is worth mentioning again: A church must first look like a church before the building has any chance of being a sign to the greater community — and that means inside and out. It must first looklike a church before it can be in essence a church.
💒The Church In The Landscape
Another term for the church building is "city on a hill" (see Matt 5:14), and yet another, "the New Jerusalem" (see Revelation 21:2). These two terms specifically refer to the location of our churches on high places, with the sense of being a fortified, protected sanctuary. A very literal example of such a location is Mont. St. Michel in France.
Many churches of times past, such as the Cathedral in Florence, dominated the urban landscape. There was no doubt that the church was the most important structure in that city. In other places, where the church buildings were much more modest in size, their situation at the highest point indicated Christ's dominance in the lives of those who lived in the shadow of their churches.
So this position of importance in a landscape is another aspect of making a church look like a church. Even today when new churches are built, the siting is important. The church building should not be hidden — hidden signs are bad signs — and should be integrated into the neighborhood or landscape in a way that its site reminds us of the building's importance and purpose.
The connection between the city and the church is an important one, too. It is often accomplished, at least traditionally, through the piazza (plaza) or courtyard. Here is a place for the faithful to congregate; it is the first transitional space that prepares us for our dramatic entrance into the Gate of Heaven, and it is a place that often serves as a backdrop for functions both religious and civic. Often in the past, steps, fountains, or colonnades have been used in the design of the piazza. But unfortunately in many places today the parking lot dominates and serves as a sort of anti-piazza. Rather than preparing us for entry into the church building, it more often than not, makes us angry. Parking of course must be dealt with in most situations, but there are many solutions by which the parking lot can be made auxiliary to the piazza or church courtyard.
💒Making Our Entry
As we approach the church building, by car or on foot — even before we can see the entire building or even the front entrance — we ought to be able to see the campanile (the bell tower). It is one of the primary vertical elements that draws us to the church both visually (we can see it in the distance) and by the sound of its bells, which serve both as a time piece and a call to prayer or worship. The use of church bells dates back at least to the eighth century, when such bells were mentioned in the writings of Pope Stephen III. Not only did they serve to call the laity to the church for Mass (which they still do — or ought to do), but monastery bells were rung to wake the monks for recitation of their night prayer, known as Matins. By the Middle Ages every church building was provided with one or more bells, and the bell tower became an important feature of the church building. The bell towers in southern Europe, especially in Italy, were often built separate from the church building (such as the famous leaning tower of Pisa, built in the twelfth century). In northern Europe and in North America, however, they more typically form an integral part of the church building itself.
Another extraordinary visual element in churches is the dome or the steeple surmounted by the cross. Popularized during the Renaissance, the dome — round or sometimes oval — has significant effects on both the interior and the exterior. In the interior it adds to the sense of verticality and transcendence (symbolizing the heavenly kingdom) in both its height and in the way it allows shafts of light to penetrate the interior of the church. On the exterior, the dome and steeple visually identify the building as a church, whether in the city or out in the country.
Once we draw closer to the church building, the façade (that is, the front exterior) becomes important. The façade is often the most memorable part of a church. It sometimes incorporates the bell tower or other towers; statuary or a simple sculpture; windows and the main entrance doors. In an urban setting, in which the church may be dwarfed by surrounding structures, the façade takes on an extra importance in that the church itself becomes identified with the façade.
This front entrance and façade are the second step of transition from the profane (the exterior world) to the sacred (the interior spaces of the church). The façade often has the most opportunity to evangelize, teach, and catechize through its incorporation of exterior artwork, which has been called the "handmaid of religion." One particularly familiar aspect of the front façade is the rose window, a large circular window usually above the central entrance to the church. The segments of stained glass that radiate out from its center are likened to the unfolding petals of a full-blown rose. Other types of round windows decorate the facades of western churches, but all owe their origins to the oculus, a circular opening found in the classical buildings of Rome, such as the Pantheon.
The front façade would be nothing, of course, without the doors that open into the church itself. These portals, as they are sometimes called, are significant because they function as the literal gate to the Porta Coeli, the doors to the Domus Dei. As early as the eleventh century, the decoration of church portals (the openings that surround the doors themselves) with statues and reliefs became an important feature of the church. Scenes from the Old Testament and from the life of Christ are commonly depicted above the doorways in what are called tympanums. These portals are meant to be both inspiring and inviting. They draw our hearts toward God and our bodies into the church.
The narthex is the third and final transitional space from the outside world to the church's interior. It also serves two other primary functions. First, is a vestibule — a place to shake the snow from boots or remove a hat or drop an umbrella. It is also a place where processions can assemble. For this reason the narthex is also known as the "galilee," since the procession from narthex to the altar symbolizes Christ's journey from Galilee to Jerusalem for the Crucifixion.
💒The Body Of Christ
A famous diagram shows the image of Christ superimposed over the floor plan of a typical basilica-style church — and this is informative. The head of Christ fits in the sanctuary; the arms become the transepts; and the body and legs fill out the nave. So here we can see literally the idea of the church building representing the Body of Christ. And it is no coincidence that the floor plan is in the shape of a cross. We call this a cruciform plan, which reminds us of Christ on the cross.
The term basilica literally means "House of the King," a fitting title for the house of God since we understand Jesus to be Christ the King, the King of Kings. This basilica form is the plan upon which most of the past seventeen hundred years of church architecture has been based. A church based on such an arrangement will be a rectangle twice as long as its width. Two rows of columns typically run the entire length of the body, separating the aisle from the nave. In the past thirty-some years, however, we have witnessed much experimentation that dismisses this basilica plan in favor of novelties. But in light of the past centuries of church building, these experimental forms based on the Greek amphitheater (fan shape) and the Roman circus (church-in-the-round) are merely passing fads, with little or no eternal significance.
💒The Ark Of Salvation
Once through the narthex doors, we find ourselves in the main body of the church, called the nave, which is the Latin word for "ship" (from which we get the word "naval"). This is the place where the congregation sits and is so called because figuratively it represents the "ark of salvation." An apostolic constitution of the fourth century says, "Let the building be long, with its head to the East . . . and so it will be like a ship."
The nave is almost always divided up into two or four sections of seating with a central aisle leading to the sanctuary and altar. Additional side aisles in larger churches flank the nave.
Upon entering the nave (a sacred place), we are used to finding holy water fonts or stoups, as they are sometimes known. Here we bless ourselves with holy water, reminding ourselves of our baptism and our sins. Crossing ourselves with holy water upon entering a church is the long-standing way to cleanse ourselves as we set foot into God's house.
St. Charles Borromeo, who was instrumental in shaping the architecture of the Catholic Counter-Reformation, lays down the following rules for the shape, size, and material of the holy water stoup. He says it "shall be made of marble or solid stone, neither porous nor with cracks. It shall rest upon a handsomely wrought column and shall not be placed outside the church but within it, and, in so far as possible, to the right of those who enter."
Another element of the church building immediately related to the nave is the baptistery, the place in the church that is suited especially for the rite of baptism. The earliest baptisteries were freestanding buildings separate from the church itself, but later baptisteries were built as separate rooms located directly off the nave. They are typically octagonal, alluding to Christ's resurrection on the "eighth day" (Sunday comes after Saturday, the Sabbath or seventh day of the week). Eight thus represents the opening of a new dawn for the Christian soul. Also common for some centuries now is placing the baptismal font in the nave of the church, instead of keeping it separate. The font itself then maintains the octagonal shape.
The religious imagery most commonly associated with the baptismal font and baptistery is the scene of the baptism of Christ by St. John the Baptist. The dove representing the Holy Spirit is another popular religious image, since baptism is the sending of the Holy Spirit to rest on the soul of the baptized.
💒The Pews
Perhaps the most common elements of the nave are the pews and their kneelers. Most commonly pews are formed by a wooden bench with a back. Padded kneelers are another common feature.
The traditional arrangement of pews is unidirectional — that is, one behind the next, facing the sanctuary of the church. In some large pilgrimage churches pews are either moveable or they are not used. In St. Peter's Basilica, for instance, chairs are used or else the congregation stands. This arrangement, however, is certainly not the norm in Catholic worship, but rather an exception precipitated by space necessities since very large congregations often attend Masses and other ceremonies at St. Peter's.
Pews contribute to making the nave look like a church; they are a part of our Catholic patrimony and have commonly been used in the West since at least the thirteenth century, when they were designed as backless benches. By the late sixteenth century most Catholic churches being built included wooden pews with kneelers and high backs. But even before the time when pews were commonly used, the faithful still knelt during much of the Mass.
Kneeling, in fact, has always been a distinct posture for Catholic worship — first, in adoration of Christ, and second, as a posture of humility. Significantly, Catholic worship includes both adoration and the humbling of oneself before God. The pew is simply meant to accommodate this particular posture of worship. As such it has become a memorable part of our churches.
💒The Choir
The choir is another essential part of the nave. It is the place in the church set aside for those members of the congregation who are specially trained to lead the sung portion of the liturgy. For acoustical reasons, choirs are typically places on one of the building's axes.
In many ancient churches the choir is made up of a series of stalls at the front part of the nave near the altar, but this was common only when choirs were made up exclusively of clergymen. The first church known to accommodate such a choir was San Clemente in Rome, when an enclosed choir (called the schola cantorum) was placed in the nave during the twelfth century. But monastery churches had introduced choir stalls nearly six hundred years before that, because chant has long been an important part of monastic prayer. Many communities have for centuries chanted the Divine Office and still do to this day.
Presently, a more common placement for the choirs since the time of the Catholic Counter-Reformation has been the rear gallery or "choir loft," as it has become known. Congregational singing is strongly reinforced when the organ and the well-trained voices of the choir lead from above and behind. Thus the choir and organ are placed in a loft for acoustical reasons meant to enhance the quality of the music. Since the choir is primarily perceived audibly — we hear them — it is not essential that members of the choir be visible to the rest of the congregation. They are present at Holy Mass as worshippers, not entertainers. In other words, there is no serious reason we all need to see the choir throughout the course of the liturgy. We do need to hear them, and since they too are worshippers, it is most appropriate that they face in the same direction as the remainder of the worshipping congregation — facing the altar of sacrifice.
💒The Confessional
Yet another important element placed in the nave is the confessional, which should be crafted in such a way that it fits in with the architecture of the building, but also so that it is an obvious sign of the Sacrament of Reconciliation. In other words, it ought to appear as a place, rather than just a door in the wall, as is sometimes — unfortunately — the case.
St. Charles Borromeo, writing in his seminal work, Instruction on the Fabric of the Church, recommends that confessionals be placed at the sides of the church in some open and clear space. St. Charles also suggests that the penitent be turned toward the altar and tabernacle — the focal points of the church — when confessing.
💒Exploring The Sanctuary
When talking about the sanctuary, it's helpful to remember that the Universal Church is hierarchical, that is, composed of different members — the head being Christ; with the pope, bishops, and priests each serving as alter Christus(other Christs); and the religious and the laity serving their own functions as part of the Church militant. That hierarchy is reflected in the liturgy. In fact, in an address to the U.S. bishops in 1998, Pope John Paul II said that, "the liturgy, like the Church, is intended to be hierarchical and polyphonic, respecting the different roles assigned by Christ and allowing all the different voices to blend into one great hymn of praise."
It only follows, then, that if the Church and the liturgy are both hierarchical, the church building ought to reflect that hierarchy. It is most obvious when one considers what makes the sanctuary distinct from the nave. The General Instruction of the Roman Missal states that "the sanctuary should be marked off from the nave by a higher floor level and by a distinctive structure or décor." So we see that the sanctuary is meant to be a separate place in the church building. It is the place where the Scriptures are proclaimed, where the priest offers the Holy Sacrifice of the Mass, and often where Jesus is reserved in the Blessed Sacrament.
Why should the sanctuary floor be raised above that of the nave? Primarily for two reasons.
🕯The first is figurative. If the sanctuary is supposed to represent the head of Christ, it is only natural that the head be higher than the body.
🕯Second, the sanctuary is elevated so that the congregation can easily see the different parts of the liturgy that are effected from the sanctuary. They have a better view of the pulpit, the altar, and the priest celebrant's chair, from which he addresses the congregation. But this is not by any means to equate the sanctuary with a stage or platform.
The Roman Missal also calls for the sanctuary to be marked off by a "distinctive structure." One such common structure is called the communion rail or altar railing. It not only serves to define the sanctuary; it can be functional as well. The congregation obviously can use it to receive Holy Communion, kneeling in adoration and humility. And at other times outside of Mass, the faithful can kneel there to pray before the Blessed Sacrament in the tabernacle or exposed on the altar. At the rail as in the pews, we have the opportunity to accommodate the traditional Catholic posture of worship. Until recently, communion rails were almost universal in Catholic churches where the Roman rite is followed, at least since the sixteenth century. Before that time, the communion rail was preceded by a low wall, which functioned much the same as the balustrade, and effectively separated sanctuary and nave without their appearing disconnected.
💒Built For The Altar
The most important and dignified element of the sanctuary — and of the entire church — is the altar, the place where the Eucharistic sacrifice is offered. In fact, the church building is built for the altar, not the altar for the church. For this reason, all sight lines in the building naturally ought to converge at the altar, just as the liturgy of the Holy Mass converges (or climaxes) at the Consecration, when through the hands of the anointed priest, the bread and wine are transformed into the Body, Blood, Soul, and Divinity of Jesus Christ! The sacrificial altar is so important and central to Catholic worship, not because it is a table upon which a banquet is prepared, but primarily because this is where the priest re-presents Christ's sacrifice on the cross.
In the vast majority of churches built within the past two thousand years, the altar is centered in the sanctuary, either freestanding or built up against a wall with a decorative structure (called a reredos) and tabernacle behind. Freestanding altars are actually more common and are built that way to enable the priest to walk around the altar to incense it.
When Christians gained freedom of public worship in the fourth century, permanent altars, usually made of stone, were erected for the first time in Europe. So great was the veneration of the martyrs, who had died for Christ, that almost every church in those years, especially in Rome, was built over the tomb of a martyr, and the church took the name of the saint — for instance, St. Peter's Basilica.
Because of this tradition, relics of the saints were placed within the altar; and until recently altars were required to hold the authenticated relics of at least two canonized saints. This custom is still followed in many places but is no longer required by Church law. Sometimes a wooden or metal canopy is built over the altar, such as the one designed by Bernini in St. Peter's Basilica. This is called the baldacchino or ciborium. It consists usually of four columns supporting a dome-like top that sits over the altar. Arguably, there is no better way to mark off the altar or draw attention to a freestanding altar than through the use of this canopy-like device.
💒Proclaiming The Word
Another essential element of the sanctuary is the pulpit. For one reason or another, the raised pulpit seems to be disappearing from our churches. It is often replaced with something that resembles more of a lectern, one that is neither raised nor ornate.
Nevertheless, the term "pulpit" literally means "raised platform." Pulpits have been used in churches since at least the thirteenth century, when the Franciscans and Dominicans especially placed great emphasis on preaching, though not in opposition to or more than the Eucharistic sacrifice. Pulpits have often been crafted as a work of art, not only functional but beautiful as well, commonly decorated with carvings of Scriptural scenes. It is the raised pulpit that is best designed — practically speaking — to transmit the Word of God to the entire congregation.
Although pulpits are usually found at the left side of the sanctuary, others are commonly found to the left side at the front of the nave. Some are freestanding, while others are built into a side wall or column. They are designed and placed where acoustics will be best. In a well-designed church with a proper pulpit, no microphone or sound system is necessary to preach the Word loudly and clearly.
Another acoustical aid is the sounding board, the horizontal piece placed above the head of the reader. This is designed better to transmit the voice. And of course the raised platform not only helps the acoustics but also enables the congregation better to see the priest or reader.
Under no circumstances does a Catholic church place the pulpit at the center of the sanctuary. This is not because it is an unimportant element in Catholic worship. Rather, it is not centrally located because it is subordinate (as is everything else in the church, however important) to the altar of sacrifice, upon which the central aspect of Catholic worship — the Holy Sacrifice of the Mass — takes place.
💒The Crucifix
According to the rubrics of the Mass, a crucifix must be present in the sanctuary. In keeping with Catholic tradition the crucifix ought to include the corpus of Jesus suffering on the cross. This visible suffering helps us better to connect with Jesus' sacrifice on the cross. And according to Pope Pius XII in his 1947 encyclical on the liturgy Mediator Dei, "one would be straying from the straight path were he to order the crucifix so designed that the divine Redeemer's body showed no sign of His cruel sufferings." A crucifix ought to be placed in the sanctuary either hanging above the altar or behind the altar because what the crucifix represents is intimately connected with the Holy Sacrifice of Mass, which takes place on the altar.
💒The "Little Tent" Of Our Lord
The tabernacle owes its origins to the moveable tent-like structure of the same name described in the Old Testament. This tent was used for worship before the construction of Solomon's temple. In fact, the word "tabernacle" is derived from the Latin word meaning "tent." The tabernacle in the wilderness held God's presence within the Ark of the Covenant in the same way our present tabernacles hold the Real Presence of Jesus under the appearance of bread and wine.
It probably goes without saying that, in order to foster Eucharistic devotion as promoted by recent Popes as well as their predecessors, the tabernacle needs to be in a prominent position. The most common and obvious prominent position is centered in the sanctuary behind the altar of sacrifice. However, when the architecture of a particular church precludes this obvious arrangement, the tabernacle is kept off-center in the sanctuary or in a side alcove adjacent to the sanctuary.
No matter where the tabernacle is located, it must have a direct physical relationship with the altar. If you can't see the altar from the tabernacle or you can't see the tabernacle from the altar, it's probably in the wrong place. In historically significant pilgrimage churches and in cathedrals, the Blessed Sacrament occupies its own chapel. Yet this chapel still needs to be constructed with a clear relation to the main altar.
Such a relation is made quite clear, for instance, in St. Patrick's Cathedral in New York. The Blessed Sacrament chapel, used every day for public exposition and adoration, is fittingly located directly behind the sanctuary.
💒A Cloud Of Witnesses
Devotional art affects — or ought to affect — all parts of the church building, inside and out. Sacred art takes many forms: Statues, reliefs, paintings, murals, mosaics, icons, and stained glass are the most common forms in Western church architecture. Successful church art enhances the architecture and the liturgy, and it draws our minds to God through its beauty and meaning. Sacred art, unlike modern art, is not about itself. It's about something else, and that something else is religious in nature; it is Catholic in nature.
As we mentioned earlier, the church building teaches and evangelizes. It does so not only through its form and function, but also through its artwork. Church art tells the stories of the Scriptures, of Christ, of the saints and of the Church herself. In fact, it is an intimate component of Catholic worship inasmuch as the Catholic faith is based upon the Incarnation of the Word: The Word (God) was made flesh — He took on a physical human nature.
Unfortunately, some have mistakenly understood the Second Vatican Council to state that sacred art — especially statues of the saints — has no place in our churches. This is obviously wrong. Here's what the Council actually does have to say about sacred art and furnishings:
Very rightly the fine arts are considered to rank among the noblest expressions of human genius. This judgment applies to religious art and to its highest achievement, sacred art. By their very nature both of the latter are related to God's boundless beauty, for this is the reality, which these human efforts are trying to express in some way. To the extent that these works aim exclusively at turning men's thoughts to God persuasively and devoutly, they are dedicated to God and to the cause of His greater honor and glory.
Furthermore, the same Council document states that "all things set apart for use in divine worship should be truly worthy, becoming, and beautiful signs and symbols of heavenly realities."8. It is for this reason that God's house is intimately connected to the Heavenly Jerusalem, accompanied by the communion of the saints and angels. It is here that beauty creates the environment that lifts man's soul from the secular and temporal to be brought into harmony with the heavenly and eternal. The architect Adams Cram — probably the greatest church builder of the late nineteenth century — wrote that, "art has been, is, and will be forever, the greatest agency for spiritual impression that the Church may claim."9 And it is for this reason, he adds, that art is in its highest manifestation the expression of religious truths. On a final note, the Council also warned bishops that it is their duty to protect the treasury of sacred art and architecture. Sacrosanctum Concilium states that bishops "must be very careful to see that sacred furnishings and works of value are not disposed of or allowed to deteriorate; for they are the ornaments of the house of God."10 Such a warning only underscores the importance the Church places on sacred art and its purpose to serve the greater glory of God.
💒Heavenly Things
Although we have focused on the parts of the church building that pertain primarily to public liturgy, the church can by no means be reduced to its primary function. It is a place that accommodates not only public liturgy, but also public devotions such as Holy Hours, processions, May crownings, and Stations of the Cross, as well as private devotions such as Eucharistic adoration, the Rosary, and other intercessory prayers to Mary and the saints. That is why shrines, statues, relics, vigil candles, and the like are essential to the Catholic church building.
All of these serve to aid man in the worship of the triune God. All serve to give honor and glory to God by bringing the heavenly and eternal down to us through the medium of a mere building — the church, the House of God, built and carved by human hands, a sacred place wrought in the fashion of heavenly things"
"Begin Again, Venerable Bruno Lanteri", by Fr. Timothy Gallagher
Link to audio presentation:
http://www.discerninghearts.com/Gallagher/BA15.mp3
Link to audio presentation:
http://www.discerninghearts.com/Gallagher/BA15.mp3