
Chartres Cathedral's famous Rose Window
The upcoming convocation for artist at the Vatican’s Sistine Chapel next month includes architects as well as artisans. Their inclusion into the gathering is a superlative move on the part of Pope Benedict XVI. The presence of architects will allow Benedict to emphasize very strongly to the designers of new buildings that are used as sacred worship spaces; they need to design the structural aspects around the functionality of our Catholic rituals and Sacraments. Quite often, designs for Catholic Churches has been constricted by a flourishing movement of architects and designers to consider all aspects of Church designs that are based on a horizontal development of the actual building without a cognitive appreciation for the vertical dimensions of the Church’s proportions.
What this really translates as is simply this: Catholic Churches that neglect particular aspects of the Church’s ancient rituals and architectural heritages. A great example of this 21st century deficit of Catholic design is the obviously absent presence of a choir loft. Most architects design Catholic Churches with a prominently visible space in the front of the Church, close to the altar as the space intended for musicians and their accessories. Honestly, the placement of the musical components such as the organ, drums and ancillary human singers tends to provide constant distraction during the celebration of the Liturgy. The documents of the Council made no reference to eliminating the choir loft in our Catholic Churches. The Council introduced the notion that instruments other than the pipe organ may be used in the celebration of the Sacred Liturgy. However, it did not confine our musical expressions to exile the use of the permanent organ as part of the liturgical worship.
Increasingly, it seems our Catholic liturgies are becoming more and more similar to evangelical Christianity, which places a great emphasis on contemporary music in their celebrations, with an entertainment effect that is meant to draw the congregation into an assembly that might include a theater in the round performance. Seemingly the attention is given to the musical performer as they practice before the liturgy, take time to practice new pieces of music with the parishioners and proceed to lead the community in song in a dictatorial Eva Peron style of waving their hands. Every second of our Liturgy in the post Vatican II Church seems cluttered with the Ministry of Music, which seriously detracts from prayer and meditation of the sacred mysteries taking place.
From experience, this author can honestly say, Catholics are not singing more at Church; the musicians are getting more visible and intrusion in their performances of liturgical theater. Music is intended to enhance the sacred liturgy, not displace the actions of the Priest and his people. When Benedict XVI meets with architects, artisans and craftsmen, hopefully one of the first conversations will be simply this: Build choir lofts again!
With the restoration of the Mass of Blessed Pope John XXIII the interior of our parish structures should always be altar-centric and then the rest of the Church built around the site of the Eucharistic Sacrifice. First and foremost, we are a people that are focused on the Eucharist. The celebration of this sacrament should be the central praxis of our architectural and artistic representations. There has also developed a practice that places the baptismal font in an attention dueling position with the monster music pit and the location of the reserved Blessed Sacrament. Directly resulting confusion of signs and symbols is the result. The Sacraments of Initiation are indeed critically necessary for membership into the Catholic Church; however, the signs and symbols of the waters of Baptism should not compete for visual attention with the Eucharistic altar. Additionally, the horizontal praxis should never induce sacramental reduplication of symbols and visual competition with the musical instruments.
When parish communities contemplate the building of a new church, they need to prayerfully ponder the considerations. The process of construction of a Catholic Church is something sacred to the individual parish community and at the same time integrated with the entire prayerful gathering of Catholic throughout the world, past, present and future. The initiation of the parish church needs to make the altar the first consideration of planning, and then the rest of the project will fall into place.
With the restoration of the Mass of Blessed John XXIII the liturgical function of the parish structure should incorporate the ritual needs of both the pre-Vatican II liturgy and the Mass of Paul VI in a seamless and transparent manner. Both rites are legitimate options of celebration therefore our Catholic Churches should offer facilities to accommodate these sacred celebrations in one church, with one altar. Special considerations should be adopted that enhance the multiple methods for the reception of Holy Communion either kneeling or standing. The distribution of the two species of Holy Communion should also constitute an important point. Church aisle designs should facilitate ease of movement for the celebrant and the faithful for the celebration of the sacred rites and the reception of Holy Communion. The movement should ideally converge on the altar as the place of both sacrifice and celebration.
The development of the Roman liturgy since the Second Vatican Council has not always been considerate of the organic development of our sacred rituals from the Apostolic epoch. The liturgy has involved as an embodiment of both aspects of lex orandi, lex credendi. The liturgical celebration of the Roman liturgy incorporates the cultural, artistic and historical foundations of the Western Church. When we design a new church, all of these elements are pivotal to our understanding of both signs and symbols of our ancient Catholic faith. Pope Benedict, in his Spirit of the Liturgy clearly touches on the symbiotic relationship between the liturgy and the living expressions of what the Church believes and exhibits clearly through its sacred rituals. The Holy Father, in the restoration of the pre-Vatican II form of the Mass clearly indicates the deep historical and cultural traditions of our liturgical celebrations that mutually and ritually should coexist between pre-Vatican II and post-Vatican II liturgical revisions. It appears the Pope is calling all Catholics to a more sensitive understanding of the temporal evolution of the liturgy and the cultural appreciation of the liturgy’s transcendence of time and space. After all, our Catholic liturgy incorporates the Church Militant, the Church Suffering and the Church Triumphant into our sacrificial and sacramental celebrations. There is indeed room for the mutual coexistence and liturgical expression of both forms of the Roman Liturgy.
The upcoming conclave of artists with Pope Benedict XVI should bear great results, while the vast heritage of the Church’s artistic, cultural and spiritual dimensions are considered at the meeting. Perhaps we have come to the evolutionary point of inspiration by the Holy Spirit that allows us to selectively take the qualitative “best,” of our rituals and reconsider the mediocrity of artistic expression that has influenced us since the Council. Artists, craftsmen & architects exercise a vocational trade that transcends beyond our temporal understandings of what is sacred and holy. Their accomplishments are insights into the glory of God and His manifestation in all Creation. Artistic appreciation and development in essence provides us a bridge that connects our ritual actions with God’s presence and indeed His eternal existence.
Another factor that should be part of the understanding of our parish communities of faith is the respect that should be accorded to our highest qualitative expressions of Church art and architecture. Reintegration of materials such as stained glass and statuary from our older buildings, or even suppresses parishes deserves attention and consideration. Many works of art have graced our sacred spaces and are part of our historical and cultural Catholic heritage. With the proper design, restoration and preservation many architectural and artistic pieces can and should be preserved as qualitative examples of past generations, preserved for the future and used in our liturgical present.
The American Catholic bishops have made a remarkable attempt in, On Living Stones, to call attention to the need for quality expressions in our churches design and architecture. Perhaps the future success of our artistic expression in Church art and architecture will be delegated to vocational artists that celebrate the Catholic faith and are part of our parish communities. Secular influences in architecture and even the influential contributions of evangelical Protestantism have contributed greatly to our Catholic alienation from sacred spaces. Hopefully with prayerful consideration and the inspiration of the Holy Spirit we are entering a new age of artistic expression and understanding that will rival the Renaissance and bring a new age of sacred art and architecture that integrates our Catholic beliefs, our Sacred heritage and our ritual expressions of sanctification through our Sacraments.