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Environment for Catholic Worship

Part 1Part 1

The Living Church

We begin our look at spaces for Roman Catholicworship by recognizing that the word we often use todescribe a building—church—is best understood first asa word to describe a people, a community of believers inunion with Christ. And even when describing a people itcan mean the smallest grouping—the domestic church,to the largest—the universal church. The focus of ourattention in this series will be the place where the localchurch celebrates the mysteries of our faith as a parish.

The church building provides a place for the communityof faith to respond to Jesus’ invitation to become onewith him in the praise and thanksgiving of God, whomhe called “Abba.” Here, we recognize Christ in “thebreaking of the bread,” in the proclamation of our sacredstories, and in the very assembly gathered here toremember how God has claimed us as a chosen people.

Orans or “praying figure” in the 4th century Via Latina catacomb

In this place, the church remembers the blessings andcovenants of the past. It unites itself with Christ in theNew Covenant and responds to Christ’s command to“Do this in memory of me.” And so this building mustserve the action of the assembly as it celebrates themystery of redemption. It is the place where the presenceof Christ is experienced in all of its manifestations—thegathered assembly, the proclamation of the Word, thesharing and the reservation of the Eucharist, and in theperson of the presiding priest.

The liturgy that we celebrate here is the source andsummit of our Christian life, a life marked by daily actsof self-sacrifice and concern for the poor and alienated,the sick and imprisoned, both within and beyond ourcircle of family and friends. The hospitality and care thatmust characterize the daily life of a Christian should alsobe present in the place where Christians gather.

About this seriesIn November 2000, the United States Conference of CatholicBishops published Built of Living Stones, guidelines for the designand furnishing of Roman Catholic worship spaces. This presentseries of twelve bulletin inserts intends to explore the majorissues and themes and quotes extensively from the document.

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Environment for Catholic Worship: Part 1 of 12, Author/Illustrator: Thomas V. Stehle, Liturgical Design Consultant©2003 FDLC 415 Michigan Avenue, NE, Suite 70, Washington, DC20017. Phone: 202.635.6990; web: www.fdlc.org; email:[email protected] of Living Stones © 2000, United States Conference ofCatholic Bishops, Inc. Washington, D.C. All rights reserved.

Old St. Peter’s Church, built bythe emperor Constantine in the4th century. A fountain in theatrium provides a refreshingwelcome to those arriving.

This climate of hospitality makes it possible for thechurch to be a school where children and adults learnhow to love one another. The respect and dignity shownto each person who crosses the threshold of the church—whether stranger or friend, young or old, able ordisabled—is the same hospitality and openness thatcharacterized Jesus’ ministry. The design of the entranceand the interior and exterior gathering spaces can be anexpression of that hospitality.

Churches have long been understood as places of sanctu-ary or safety. In our own day, churches can be a secondhome for the households who come together each weekto celebrate the Eucharist, and who come to mark thesignificant moments of the lives of each of its members.

Every church building is a gathering place for theassembly, a resting place, a place of encounter with God,as well as a point of departure on the Church’s unfin-ished journey toward the reign of God. [17]

In the New Testament, the term liturgy is intimatelyconnected with the proclamation of the Good News andwith active charity. Through baptism and confirmation,

[The following abbreviations designate the sourcesquoted by Built of Living Stones: BB-Book of Blessings;CCC-Catechism of the Catholic Church; CIC-Code ofCanon Law; GILM-General Introduction to the Lectionary forMass; GIRM-General Instruction of the Roman Missal; LMT-Liturgical Music Today (US Bishops Statement); MCW-Music In Catholic Worship (US Bishops Statement); N-Notitiae (Congregation for Divine Worship and Disci-pline of the Sacraments); OCF-Order of Christian Funerals;OP-Ordo Penitentiae Rite of Penance; PCEF-Circular LetterConcerning the Preparation of the Easter Feasts; RDCA-Riteof Dedication of a Church and an Altar; SC-The Constitu-tion on the Liturgy, Sacrosanctum Concilium.]

Just as the term Church refers to the living temple, God’sPeople, the term church also has been used to describe“the building in which the Christian community gathersto hear the word of God, to pray together, to receive thesacraments, and celebrate the Eucharist." (RCDA, ch 2,no 1) [16]

…the building itself becomes “a sign of the pilgrimChurch on earth and reflects the Church dwelling inheaven.” (RCDA, ch 1, no 2)

Christians share in Christ’s priesthood which theyexercise through their worship of God and theirvocation of service to others. At the Eucharist, Christcalls his members to conversion in the proclamation ofthe word; he invites them to join with him in offering hisperfect sacrifice to the Father; and he sends them forthfrom liturgy to serve the community in charity. [21]

The church building houses the community of thebaptized as it gathers to celebrate the sacred liturgy. Byits practical design and beauty it fosters the full, dignified,and graceful celebration of these rites. The primaryconcern in the building or renovation of a space forworship must be its suitability for the celebration of theEucharist and other liturgical rites of the Church.Consequently, the fundamental prerequisite for thoseengaged in the building or renovation of a church isfamiliarity with the rites to be celebrated there. [46]

The pilgrimage church, Ste. Foy in Conques, France was begun in the11th century and has been visited by countless pilgrims on a journeytoward Santiago de Compostela in northwestern Spain.

Excerpts from Built of Living Stones

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Part 2

The Altar

It is amazing that two of the most common dailyactivities that humans share—eating and drinking—arealso the way Catholic Christians mark their mostimportant encounter with the sacred. Yet, even thoughwe often find ourselves “grabbing a bite” on the way tosomething more important or pressing, we can all

own Passover as the sacrificial lamb, by taking, blessing,breaking and sharing the most common of Mediterra-nean food staples—bread and wine. Now we do the samein his memory, and recognize his presence among us.

6th century altar, San Vitale, Ravenna, Italy

remember times in our lives when a meal meant morethan fast food.

Think back to the most important meals in your life. Itwould be hard to imagine a wedding celebration withoutsome sort of reception following. Funerals too, are oftenconcluded with a meal shared by friends and family.

Jesus, who began his public ministry at the wedding feastat Cana and raised eyebrows by eating with notorioussinners, also chose to gather his closest companions tocelebrate a special meal on the night before he died.Within the context of the Jewish Passover, he marked his

In many ancient cultures, altars were erected as stoneslabs to offer crops or animal or even human victims as asacrifice to the deity. In our buildings for worship, wealso call the table of the Eucharist an altar on which aritual, sacrificial meal makes present the paschal mystery—Christ’s life, death and resurrection. We join our liveswith Christ in this offering to the Father.

In the beginning, Christian communities gathered inhomes to celebrate this ritual meal. As their numbersgrew, these communities adapted homes and eventuallybuilt spaces specifically for worship. In these spaces, theshape of the table evolved from a dining table for daily

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meals to one more suited to the ritual meal. It becametaller and more square. Though it frequently retainedaspects of a table, it was, at times, also fashioned fromstone and more and more became fixed within thebuilding.

As greater numbers of Christians gathered in larger andlarger spaces, altars also became associated with theburial places of saints and were frequently built abovetheir remains in large basilicas. Eventually elongatedaltars moved further from the gathered assembly untilthey were set in the rear of the sanctuary, often elevated,and with a significant backdrop or reredos. Sometimes acanopy of cloth or wood extended over the altar to


Environment for Catholic Worship: Part 2 of 12, Page 2Author/Illustrator: Thomas V. Stehle, Liturgical Design Consultant©2003 FDLC 415 Michigan Avenue, NE, Suite 70, Washington, DC20017. Phone: 202.635.6990; web: www.fdlc.org; email: [email protected] of Living Stones © 2000, United States Conference of Catholic Bishops, Inc. Washington, D.C. All rights reserved.

further define the space. Tabernacles were often placedin the center of these altars, and the liturgy was con-ducted principally from the altar. Frequently, multipleside altars were also erected throughout a church.

In the recent past, in a recovery of an early understand-ing of the Eucharist, altars have moved closer to theassembly and are to be designed to express both the mealand sacrificial dimensions of the Eucharist. Only thebread and the wine and the sacramentary book areordinarily to be placed on it. New churches are to have asingle freestanding altar placed in such a way thateveryone gathered can have an unobstructed view. Theproportions of the altar should be in harmony with thearchitecture of the space and designed to complimentthe other significant furnishings, especially the ambo, thetable of the Word.

Many of the parables of Jesus revolved around food andfeasts. And so, we are not surprised to hear the kingdomof heaven described as a lavish banquet. Every Sunday,we are called to the table of the Lord to share in thisfeast, joining with countless generations of believers whohave stood around the altar to keep Christ’s command:“Do this in memory of me.”

around it easily and Mass to be celebrated facing thepeople.” (GIRM 299)

During the Liturgy of the Eucharist, the altar must bevisible from all parts of the church but not so elevatedthat it causes visual or symbolic division from theliturgical assembly. Methods of elevation can be foundthat still allow access to the altar by ministers who needwheelchairs or who have other disabilities. [59]

15th century winged altarpiece, Kisszeben, Hungary

Contemporary Altar, granite, St. Joseph Church, Beltsville, MD

At the Eucharist, the liturgical assembly celebrates theritual sacrificial meal that recalls and makes presentChrist’s life, death, and resurrection, proclaiming “thedeath of the Lord until he comes.” The altar is “thecenter of thanksgiving that the Eucharist accomplishes”and the point around which the other rites are in somemanner arrayed." (GIRM 269) Since the Church teachesthat “the altar is Christ,” (RCDA, ch 4, no. 4) its compo-sition should reflect the nobility, beauty, strength, andsimplicity of the One it represents. In new churchesthere is to be only one altar so that it “signifies to theassembly of the faithful the one Christ and the oneEucharist of the Church.” (GIRM 303) [56]

The altar is the natural focal point of the sanctuary andis to be “freestanding to allow the [priest] to walk

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Part 3

The Ambo

“Were not our hearts burning within us while he wastalking to us on the road, while he was opening thescriptures to us?” (Luke 24:32) With these words, thetwo disciples who had been walking on the road toEmmaus described to themselves in amazement how astranger who mysteriously appeared to them made senseof the familiar stories of their people’s history. Theidentity of that stranger became clear to them at the endof their journey when they broke bread together—he wasthe resurrected Christ, who made the scriptures comealive in a way they had never experienced before.

In the reforms of the Second Vatican Council, the Churchteaches that when the scriptures are proclaimed in theliturgy, it is Christ himself who is speaking. The Word ofGod has the power to save us. And so, the Mass that wecelebrate today reflects the importance that we give tothe proclamation and interpretation of the scripture.

Of all the reforms that were initiated nearly 40 years ago,this recovery of the Liturgy of the Word is perhaps themost profound. We might forget that for centuries,Catholics were not accustomed to hearing a wide selectionof scripture passages at Mass or devotions. Still less werehomilies focused on the scripture. Gospel book-cover,

early 6th century,Constantinople

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Today, Catholics are encouraged to study the scripturesand explore the meaning of the Word in their daily lives.On Sundays, the three-year cycle of readings exposes usto the great stories of our ancestors in faith, the writingsof St Paul and the life and teachings of Jesus. Sacramentsand all other public expressions of our faith must includesome proclamation of the Word. Homilies should bebased on the readings and should be given at most liturgies.

The place of the proclamation of the word is called theambo. To signify its critical relationship to the Eucharistand the altar table, it is often called the table of the Word.At this table, the hungers of our hearts are fed. The ambomust be visible to all and designed to reflect the dignityand reverence we give to the Word proclaimed in our

Environment for Catholic Worship: Part 3 of 12, Page 2Author/Illustrator: Thomas V. Stehle, Liturgical Design Consultant©2003 FDLC 415 Michigan Avenue, NE, Suite 70, Washington, DC20017. Phone: 202.635.6990; web: www.fdlc.org; email: [email protected] of Living Stones © 2000, United States Conference ofCatholic Bishops, Inc. Washington, D.C. All rights reserved.

assemblies. To show its relationship to the table of theEucharist, it may be designed using some of the designelements of the altar, though it need not look like itstwin. It should have a harmonious relationship both withthe altar and the architecture of the space as a whole.

The ambo is generally reserved for the proclamationand interpretation of the scripture and not as a place forannouncements or song leading (except in the leadingof the psalms). Lectors with physical disabilities can begiven an opportunity to participate by a careful designof the reading desk or creating a barrier free space. Awell-designed and unobtrusive sound reinforcementsystem can allow the lector to be heard clearly even inthe furthest seat.

11th century reconstruction of 6th centuryambo at Castel Sant’ Elia, Nepi, Italy


Contemporary Ambo, granite supports, walnut and maplereading desk, St. Joseph Church, Beltsville, MD

Our reverence for the word of God is expressed notonly in an attentive listening to and reflection upon theScripture, but also by the way we handle and treat theBook of the Gospels. The ambo can be designed notonly for reading and preaching, but also for displayingthe open Book of the Gospels or a copy of the Scrip-tures before and after the liturgical celebration. [62]

The central focus of the area in which the word of Godis proclaimed during the liturgy is the ambo. The designof the ambo and its prominent placement reflects thedignity and nobility of that saving word and draws theattention of those present to the proclamation of theword. (GILM 32) Here the Christian communityencounters the living Lord in the word of God andprepares itself for the “breaking of the bread” and themission to live the word that will be proclaimed. Anample area around the ambo is needed to allow aGospel procession with a full complement of ministersbearing candles and incense. The General Introduction tothe Lectionary recommends that the design of altar andambo bear a “harmonious and close relationship” to oneanother (GILM 32) in order to emphasize the closerelationship between word and Eucharist. Since manypeople share in the ministry of the word, the amboshould be accessible to everyone, including those withphysical disabilities. [61]

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Part 4

Assembly Seating and the Presider's Chair

American visitors to the great cathedrals of Europe areoften surprised to notice how few of them have pews orfixed seating of any type. In fact, fixed pews in Christianchurches came relatively late in our history—not untilthe 16th century and generally in the Protestant traditionwhere extended sermons became a central element of theservice. They evolved from rows of chairs, to benches, topews with sides, and finally to box-pews with doors to theaisle often “purchased” by a family for its exclusive use.

Today, there is a wide variety of seating choices for aparish when considering what is best. Flexible seating(chairs) allows the configuration of the assembly to beshaped according to the numbers expected and the ritesto be celebrated. However, the demands of the physicalrearrangement of the chairs between liturgies or seasonsmust be taken into consideration. Fixed benches withsome flexible seating at the front is often a compromisethat allows for some adjustment without the need toreconfigure the entire space. Because our liturgy hasalways included processions and movement, somecongregations may choose benches with open endsinstead of pews with sides that tend to restrict the flowand give a sense static enclosure.

The configuration of the seating should allow everyoneto take part in the active participation of the rites. Theworship space is neither a concert hall nor a theater. Wedo not come as spectators. We come as the Body ofChrist to join ourselves more fully to Christ in the Wordand the Eucharist. There is no stage. Although we giveprominence to the place for the Altar and Ambo, we arenot passive onlookers to a performance given for ourbenefit. Instead, we join with Christ in offering ourselvesin a sacrifice of praise and thanksgiving. Next time atMass, notice that when the presider speaks the words ofthe Eucharistic prayer, he always uses the pronoun “we”,never “I”.

The priest celebrant presides at the Eucharist from alocation where he can be seen and heard clearly by allpresent. Because in his person and role we acknowledgeanother presence of Christ in our midst, his chair shouldreflect the dignity of his role in the assembly, but itshould not be distant or extravagant.

Ivory cathedra (chair)of Bishop Maximianus,6th century, Ravenna, Italy

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The general plan of the building should be such that "insome way it conveys the image of the gathered assembly.It should also allow the participants to take the placemost appropriate to them and assist all to carry outtheir function properly." (RDCA ch 2, no 3) [30]

The church building fosters participation in the liturgy.Because liturgical actions by their nature are communalcelebrations, they are celebrated with the presence andactive participation of the Christian faithful wheneverpossible. (CIC 837 §2) Such participation, both internaland external, is the faithful’s “right and duty by reason oftheir baptism.” The building itself can promote or hinderthe “full, conscious, and active participation” (SC) of thefaithful. Parishes making decisions about the design of achurch must consider how the various aspects andchoices they make will affect the ability of all themembers to participate fully in liturgical celebrations.[31]

By its design and its furnishings, the church reflects thisdiversity of roles. The one who presides, those who

Contemporary presider’s chairwith pocket for hymnal or otherbook. Design by author and Condyand Wynn, artisans

Central Plan with ambo, altarand font on axis

Antiphonal Plan Sectional Plan

Environment for Catholic Worship: Part 4 of 12, Page 2Author/Illustrator: Thomas V. Stehle, Liturgical Design Consultant©2003 FDLC 415 Michigan Avenue, NE, Suite 70, Washington, DC 20017. Phone: 202.635.6990;web: www.fdlc.org; email: [email protected] of Living Stones © 2000, United States Conference of Catholic Bishops, Inc. Washington, D.C.All rights reserved.

proclaim God’s word, the ministers of music, those whoassist at the altar, and members of the congregation allplay an integral part in the public prayer of the Church.The design of the church should reflect the unity of theentire assembly and at the same time insure that eachperson is able to exercise his or her ministry in a spacethat fully accommodates the ritual action called for bythat ministry. [37]

The chair of the priest celebrant stands “as a symbol ofhis [office] of presiding over the assembly and ofdirecting prayer.” (GIRM 310) An appropriate placementof the chair allows the priest celebrant to be visible toall in the congregation. The chair reflects the dignity ofthe one who leads the community in the person ofChrist, but is never intended to be remote or grandiose.The priest celebrant’s chair is distinguished from theseating for other ministers by its design and placement.“The seat for the deacon should be placed near that ofthe celebrant.” (GIRM) In the cathedral, in addition tothe bishop’s chair or cathedra, which is permanent, anadditional chair will be needed for use by the rector orpriest celebrant. (CB 47) [63 ]

AmboAltar

Font

Ambo FontAltar Ambo

AltarFont

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Part 5

Reservation of the Eucharist

For the last 30 years, Catholics have grown accustomedto hearing much more of the Word of God proclaimedthan they had for centuries. Until the reforms of therecent past, Roman Catholic liturgy had focused on thepresence of Christ in the Eucharist, while Protestantliturgies placed more emphasis on the Word of God andits interpretation. The most obvious architectural symbolof the contrast between these two poles was the centraland unmistakable presence of a tabernacle in mostRoman Catholic worship spaces. For many, its very

presence within the sanctuary was a statement of theparticular and defining belief of the Catholic Church.

The Second Vatican Council emphasized the belief ofthe Church that Christ is present in a number of wayswhen we gather for worship. While the central teachingof the presence of Christ in the Eucharistic speciesremains unchanged, we are also taught to recognizeChrist in the proclamation of the Word, in the person ofthe presiding priest, and, in the very assembly of believers.

Another recovery that has enriched our liturgical life isthe understanding of the Eucharist as an act. The wordEucharist comes from the Greek, meaning “a givingthanks.” It is in the very act of taking, blessing, breakingand sharing that is the heart of Jesus’ command to “Dothis in memory of me.” This fuller understanding of theliturgy urges us to unite ourselves with the Christ in aperfect offering to God. The restoration of morefrequent reception of communion that has occurred inthe last century is yet another return to a much earliertradition, when all who were present would partake ofthe meal.

6th century paten with a depiction of Christ sharingthe Eucharist with the apostles, Riha, Syria

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History of Eucharistic Reservation In the earlychurch, when believers were unable to join their brothersand sisters in the Eucharist because of sickness, a portionof eucharistic bread was taken from the celebration totheir homes so they could be united with the communityin their thanksgiving. It gradually became the custom tostore a small amount of the remaining Eucharist forthose expected to die. This became known as viaticum—food for their journey. The place where the Eucharistwas stored gradually gained in prominence from simplecupboards in rooms outside the main worship space tomore prominent, even elaborate tabernacles. By the 17th

century the tabernacle was commonly found on thecentral altar. The exceptions were found in cathedralsand basilicas, where tabernacles have often been placedon side altars or in separate chapels.

In recent years, in order to emphasize the importance ofthe action of the whole assembly gathered around the

altar and the presiding priest, the tabernacle has beenremoved from the altar table. The discipline of theChurch requires that the tabernacle be truly prominentin our worship spaces, but never in such a way that itobscures the focus of the principal activity of thecelebration of the Eucharist. In some churches, it islocated in a separate chapel designed for prayer, medita-tion and adoration. It may also be set in the mainworship space but at some distance or separation fromthe altar.

Today the reservation of the Eucharist in the tabernaclestill serves the needs of the ministry to the sick and dyingand other situations when Communion is given outsideMass. It is also the place for the adoration of Christ inthe reserved Eucharistic bread. It is not to be seen as astorage of consecrated hosts for future Masses, except inthe case of unexpected numbers of communicants.

Environment for Catholic Worship: Part 5 of 12, Page 2Author/Illustrator: Thomas V. Stehle, Liturgical Design Consultant©2003 FDLC 415 Michigan Avenue, NE, Suite 70, Washington, DC20017. Phone: 202.635.6990; web: www.fdlc.org; email:[email protected] of Living Stones © 2000, United States Conference ofCatholic Bishops, Inc. Washington, D.C. All rights reserved.

13th century French pyx in the form of a dove, gildedcopper with enamel. The reserved Eucharist was

placed in these often suspended vessels.

Contemporary tower for thereservation of the EucharistExcerpts from Built of Living Stones

eucharistic reservation. The revised General Instructionof the Roman Missal states that it is more appropriatethat the tabernacle in which the "Blessed Sacrament isreserved not be on the altar on which Mass is cel-ebrated." The bishop is to determine where the taber-nacle will be placed and to give further direction. Thebishop may decide that the tabernacle be placed in thesanctuary apart from the altar of celebration or in aseparate chapel suitable for adoration and for theprivate prayer of the faithful. In making his determina-tion, the bishop will consider the importance of theassembly's ability to focus on the eucharistic action, thepiety of the people, and the custom of the area. Thelocation also should allow for easy access by people inwheelchairs and by those who have other disabilities. [74]

The reservation of the Eucharist was originally intendedfor the communion of the sick, for those unable toattend the Sunday celebration, and as Viaticum for thedying. (CIC) As the appreciation of Christ’s presence inthe eucharistic species became more developed,Christians desired through prayer to show reverencefor Christ’s continuing presence in their midst. [70]

The Code of Canon Law directs that the Eucharist bereserved in a part of the church that is "distinguished,conspicuous, beautifully decorated, and suitable forprayer.” It directs that regularly there be “only onetabernacle” in the church. It should be worthy of theBlessed Sacrament—beautifully designed and in har-mony with the overall decor of the rest of the church.To provide for the security of the Blessed Sacrament thetabernacle should be “solid,” “immovable,” “opaque,” and“locked.” The tabernacle may be situated on a fixed pillaror stand, or it may be attached to or embedded in oneof the walls. A special oil lamp or a lamp with a waxcandle burns continuously near the tabernacle as anindication of Christ’s presence. [72]

There are a number of possible spaces suitable for

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Part 6

The Baptistry

A cool drink, a raging torrent, a gentle drizzle, the depthsof the ocean or a warm bath. How can something sopowerful and devastating as water be so refreshing andvital to life? In the ancient world, water was longconsidered with fire, earth and wind one of four basicelements of life. Just as water held a tremendous signifi-cance for ancient religions, so also for us Christians.Water is the matter of our first sacrament that bringsabout incorporation, reconciliation and restoration. BothSt John and St Paul speak of the water of baptism asboth womb and tomb. It marks the death of the old selfand the rebirth into a life in Christ. In baptism, Godforgives sin and incorporates a new member into theBody of Christ.

Sacraments transform common elements of human lifeand experience to create a new reality for the believer.The outward signs of these sacraments should be felt,seen, heard tasted and smelled. They should be amplesigns, never defined by “only what is necessary.” In thesacrament of baptism, this is best expressed by the sightand sound of a significant body of water that is visibleand even audible.

History of the Baptistry A room for baptism can befound in one of the earliest known spaces used forworship—a third century house—church in East Syria.There it was decorated with scenes of Adam and Eve,Noah’s ark, Christ healing the paralytic and Christ asyoung shepherd. As Christian communities grew in sizeand from region to region, baptistries varied in shape

(round, hexagonal and octagonal) in scale, and inplacement within or just outside a church. Many werelarge enough to allow adults to enter and be either fullyor partially submerged.

Baptismal pools or fonts have always been given a placeof prominence, commonly near the entrance to thechurch. As centuries progressed and liturgical practicewas marked by a sacramental minimalism in the use ofthe outward signs associated with them, baptismal fontstended to be reduced in size and prominence within thechurch. Often a very small amount of water was drippedover the head of infants or adults.

In the reform of the liturgy, there has been a recovery ofearlier practices, including the baptism of adults andchildren by immersion. Baptismal pools are frequentlyplaced in the main path of entry to the church allowingparticipants to mark themselves with the sign of thecross to recall their own baptism—the first and founda-tional sacrament in the life of a Christian. Additionally,this placement at the entrance strengthens the imageryinvoked at the beginning of every funeral when thebaptism of the deceased is recalled.

5th century Orthodox Baptistry, Ravenna, Italy

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Environment for Catholic Worship: Part 6 of 12, Page 2Author/Illustrator: Thomas V. Stehle, Liturgical Design Consultant©2003 FDLC 415 Michigan Avenue, NE, Suite 70, Washington, DC 20017Phone: 202.635.6990; web: www.fdlc.org; email: [email protected]. Built of Living Stones © 2000, United States Conference ofCatholic Bishops, Inc. Washington, D.C. All rights reserved.


The rites of baptism, the first of the sacraments ofinitiation, require a prominent place for celebration.(RCIA, General Introduction, no 25) Initiation into theChurch is entrance into a eucharistic community unitedin Jesus Christ. Because the rites of initiation of theChurch begin with baptism and are completed by thereception of the Eucharist, the baptismal font and itslocation reflect the Christian’s journey through thewaters of baptism to the altar. This integral relationshipbetween the baptismal font and the altar can be demon-strated in a variety of ways, such as placing the font andaltar on the same architectural axis, using natural orartificial lighting, using the same floor patterns, and usingcommon or similar materials and elements of design. [66]

The following criteria can be helpful when choosing thedesign for the font:

1. One font that will accommodate the baptism ofboth infants and adults symbolizes the one faithand one baptism that Christians share.…

2. The font should be large enough to supply amplewater for the baptism of both adults andinfants.…

3. Baptism is a sacrament of the whole Church and,in particular, of the local parish community.…

4. The location of the baptistry will determine how,and how actively, the entire liturgical assembly canparticipate in the rite of baptism.…

5. Because of the essential relationship of baptism tothe celebration of other sacraments and rituals,the parish will want to choose an area for thebaptistry or the font that visually symbolizes thatrelationship.…

6. With the restoration of the Rite of ChristianInitiation of Adults that culminates in baptism atthe Easter Vigil, churches need private spaceswhere the newly baptized can go immediatelyafter their baptism to be clothed in their whitegarments and to prepare for the completion ofinitiation in the Eucharist. …[69]

12th century font, Lucca, Italy

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Part 7

Rites of the Church

The Sunday celebration of the Eucharist is the principalliturgical activity for which spaces for worship aredesigned. However, the Christian community gathers atmany other significant moments in its life. Designingspaces carefully for those rites is also important in a newor renovated church.

The Sacrament of Penance—Catholics who grew upbefore 1970 were accustomed to celebrate the sacramentof penance in dark confessional boxes equipped with akneeler and a screen obscuring their identity from thepriest sitting in an adjoining space. Since that time, thereform of the rites has changed the way we celebratepenance.

The celebration of the sacrament of penance focuses onthe reconciliation of the penitent with God and thecommunity. While anonymity is still offered, reconcilia-tion chapels or rooms also allow for the penitent to relateto the priest face-to-face. Often the space is brighter,more open and suitably decorated with images of God’sreconciling love. A bible is at hand for scripture reading.Because of the relationship of this sacrament to baptismand Eucharist, the place for reconciliation is oftenlocated to emphasize this association. When thesacrament is celebrated communally with a large number

of penitents, the entire space for worship may accommo-date a number of temporary stations for confessorspositioned throughout.

The Death of a Christian—The Eucharist celebrated fora deceased Catholic has many of the same requirementsof a Sunday Eucharist. However, the rites at the entranceof the church that speak of the person’s incorporationinto the Body of Christ through baptism suggest thatample space near a baptismal font could be a goal whenconsidering its design. Sufficient space for the casketnear the altar platform must also be considered. Flexibleseating in this area is one way to accommodate thisdesire. Communities that offer vigil services for thedeceased may wish to consider providing a room near theentrance for the use of the immediate family as a gestureof hospitality.

Weddings—As with funerals, the design of the space forSunday Eucharist accommodates most of the needs forthe celebration of the sacrament of marriage. Theparticipation of the entire assembly should be encour-aged to counter the tendency in our culture for thecongregation to see itself as an audience. However,sufficient space near the altar must be planned to allowthe exchange to be visible to the assembly.

Reconciliation Chapel with provisions foranonymous and face to face encounters

Liturgy of the Hours –In the recent past, only priests

and those in religious life observed the liturgy ofthe hours or the daily office. Now morning and evening prayer are becoming more and more commonin the life of a parish. While they may be celebrated in themain worship space, a smaller chapel may be more suitedto the number of participants and allow for greater flexibilityof seating configuration to facilitate the antiphonal nature ofsinging and recitation.

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Excerpts from Built of Living Stonesfor communal celebrations of penance, especially inAdvent and Lent. [105]

The Order of Christian Funerals rites mark the finalstage of the journey begun by the Christian in baptism.The structure of the current rites dates back to“Christian Rome where [there were] three ‘stages’ or‘stations’ [during the funeral rite] joined by twoprocessions”: the first from the home of the deceasedto the church and the second from the church to theplace of burial. (OCF 42) [110]

Because the faith journey of the deceased began inbaptism, it is appropriate that there be a physicalassociation between the baptismal font and the spacefor the funeral ritual. [111]

…Although there are no specific spatial requirementsfor the celebration of the Hours, the focal points of thecelebration are the word of God and the prayingassembly. An area of flexible seating can facilitate theprayer of a smaller group divided into alternating choirs.The importance of music in public celebrations of theHours suggests that the place designated for theircelebration should provide access to necessary equip-ment for musicians, particularly cantors and instrumen-talists who accompany the singing community. [115]

4th century Sarcophagus depicting the Passion of Christ

In planning the reconciliation area, parishes will want toprovide for a sound-proof place with a chair for thepriest and a kneeler and chair for the penitent. Since therite includes the reading of Scripture, the space shouldalso include a bible. (OP 17) Appropriate artwork, acrucifix symbolic of Christ’s victory over sin and death,icons or images reflective of baptism and the Eucharist,or Scriptural images of God’s reconciling love help toenhance the atmosphere of prayer. Warm, invitinglighting welcomes penitents who seek God’s help andsome form of amplification as well as Braille signs canaid those with hearing or visual disabilities. Additionalrooms or spaces will be needed as confessional areas

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Part 8

Gathering Space

Life is often described as a journey. Even if we rarelyleave our own towns or neighborhoods, we are stilltraveling through time. We often speak of the Christianlife as a journey—even a pilgrimage. We set a course,and, though we stumble, we keep our eyes on ourdestination. Along the way, we recognize Christ travel-ing with us.

Every Sunday, all over the world, members of Christianhouseholds—large and small—begin a journey, aprocession from their many homes to the place wherethey will unite themselves with other believers in thepraise and thanksgiving of God. Through a thousanddifferent routines, they prepare to place themselves inthe company of friends, neighbors, and even strangers to

respond to God’s loving call. The procession may begincalmly in the home of a single person or with all thecommotion of a large family running a little late. It maybe a short walk or a long drive, but this journey has manystages along the way before we all mark ourselves withthe sign of the cross at the greeting of the Mass.

The liturgy is said to be “the source and summit ofChristian life.” Notice how even the words “source” and“summit” imply movement. Through the doors of ourchurches, we bring ourselves, at times, broken, hungry,alone, or confused, to unite ourselves with Christ whohas known our pains. At other times, we pass the thresh-old with great joy, hope and consolation, celebrating thewonderful works of God in our lives. From many indi-vidual households we gather in this house of the church.

With that understanding, the design of new andrenovated churches often includes an ample narthex orgathering space for people to visit with one anotherbefore and after the liturgy. The gathering space encour-ages people to linger and come to know each other.There we might also learn about the many activities ofthe parish as it brings about the reign of God in thecommunity.20th century Pilgrim church,

Ronchamp, France.Architect: Le Corbusier

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It also serves liturgically as a place to greet familiesbringing a child for baptism and for adult candidates forinitiation during the Rite of Acceptance. There aremoments in the Wedding and Funeral liturgies that arealso enhanced by the presence of a significant gatheringspace. At times throughout the year the entire assemblymight process from this space into the hall for theEucharist.

A vesting sacristy and a room for bereaved families andfor brides might also be located nearby. If the narthexprovides a view into the main space, this space mightalso provide a place to walk and comfort an anxiouschild, as an alternative to a “cry room.” Parishes may alsowish to locate an adjacent space for a nursery for useduring the liturgy. In colder climates, an opportunity tohang coats nearby is a helpful gesture of hospitality. Italso encourages people to be fully present to one anotherwithout unnecessary insulation.

The presence of a gathering space will allow thoseparishioners who wish to visit with one another beforeand after Mass to do so, while, at the same time, allow-ing others to pray quietly in the nave.


they move towards later, full initiation into the Church;parents, godparents, and infants are greeted for thecelebration of baptism; and Christians are greeted forthe last time as their mortal remains are received intothe church building for the celebration of the funeralrites. [95]

In addition to its religious functions, the gathering spacemay provide access to the vesting sacristy, rooms forchoir rehearsal, storage areas, restrooms, and rooms forushers and their equipment. Adequate space for othergatherings will be an important consideration in planningthe narthex and other adjoining areas. [96]

Gathering area or narthex, with hospitality parlor, vesting sacristy,nursery, ushers room and restrooms in close proximity. St John theApostle, Leesburg, VA (Proposed) Morgan Gick and Associates, Architect

The narthex is a place of welcome—a threshold spacebetween the congregation’s space and the outsideenvironment. In the early days of the Church, it was a“waiting area” for catechumens and penitents. Today itserves as gathering space as well as the entrance andexit to the building. The gathering space helps believersto make the transition from everyday life to the celebra-tion of the liturgy, and after the liturgy, it helps themreturn to daily life to live out the mystery that has beencelebrated. In the gathering space, people come togetherto move in procession and to prepare for the celebra-tion of the liturgy. It is in the gathering space that manyimportant liturgical moments occur: men and womenparticipate in the Rite of Becoming a Catechumen as

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Part 9

Place for Pastoral Musicians

We live in a culture where communal singing is reservedfor very few events—birthdays, the national anthem atsporting events and moments of tragedy or loss. Yet sinceancient times singing or chanting has been a part of mostfaith traditions in the world. Perhaps that is becausesinging involves so much more of one’s body and breaththan speech. There is a depth of meaning, emotion andconviction conveyed in singing that spoken words alonerarely match. St Augustine expressed it best when heclaimed that those who sing pray twice.

Jesus was well acquainted with the hymns and psalms ofthe Jewish tradition.

On the night before he died, at the end of his last mealwith the twelve disciples, Jesus and his disciples sang apsalm before going out to the Mount of Olives. Even onthe cross, Jesus utters the first phrase of Psalm 22, “MyGod, my God, why have you abandoned me?”

The reforms of the liturgy at the Second VaticanCouncil ask that we recover an early tradition of singingby the entire assembly, a tradition that had been lost. Forcenturies, the assembly’s sung voice was rarely heard inCatholic liturgy. Singing was reserved to choirs (gener-ally men and/or boys) and in remote places (generallyrear galleries). Now we speak of musical liturgy as the

norm, where choirs or cantors and instrumentalistsencourage and lead their assemblies in the singing ofhymns, acclamations and responses.

When considering the requirements that liturgical music

places on a space for worship, we must start with theroom itself. In order for it to support the song of theassembly, there must be enough hard (reflective) surfacesto keep the sound alive for a few moments. When theroom is too absorbent because of wall-to-wall carpeting,seat cushions and porous wall and ceiling surfaces, theassembly’s singing and spoken responses are seriouslyhandicapped. Careful attention to the design of the spacewill encourage the assembly’s singing while allowingspeech to be heard and understood clearly.

The pastoral musicians who serve the liturgy are alsomembers of the assembly and should be seen as such,and be able to participate fully in the rites. The place forthe cantor should be visible, though not as prominent asthe ambo. Careful placement of the choir will allow itsvoice to be heard clearly throughout the worship spaceand yet not create a visual distraction.

The musicians must be able to interact and, therefore, bein close proximity with each other and the source of thesound of the accompanying instruments. Sufficient spaceshould be considered and planned for the addition ofregular or occasional instrumentalists, and for the possibil-ity of a pipe organ. A music rehearsal room nearby is alsofrequently considered in a new or renovated space.Space for the music ministry, practice room and storage. St John the

Apostle, Leesburg, VA (Proposed) Morgan Gick and Associates, Architect

music practiceroom

storage

musicministry

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Environment for Catholic Worship: Part 9 of 12, Page 2Author/Illustrator: Thomas V. Stehle, Liturgical Design Consultant©2003 FDLC 415 Michigan Avenue, NE, Suite 70, Washington, DC20017. Phone: 202.635.6990; web: www.fdlc.org; email: [email protected] of Living Stones © 2000, United States Conference of Catholic Bishops, Inc. Washington, D.C. All rights reserved.


Music is integral to the liturgy. It unifies those gatheredto worship, supports the song of the congregation,highlights significant parts of the liturgical action, andhelps to set the tone for each celebration. (MCW 232,GIRM 103) [88]

It is important to recognize that the building mustsupport the music and song of the entire worshipingassembly. In addition, “some members of the community[have] special gifts [for] leading the [assembly in] musicalpraise and thanksgiving.” (LMT 63) The skills and talentsof these pastoral musicians, choirs, and instrumentalistsare especially valued by the Church. Because the roles ofthe choirs and cantors are exercised within the liturgicalcommunity, the space chosen for the musicians shouldclearly express that they are part of the assembly ofworshipers. (GRM 294) In addition, cantors and songleaders need visual contact with the music directorwhile they themselves are visible to the rest of thecongregation. (cf MCW 33-38) Apart from the singingof the Responsorial Psalm, which normally occurs at theambo, the stand for the cantor or song leader is distinctfrom the ambo, which is reserved for the proclamationof the word of God. [89]

The placement and prayerful decorum of the choirmembers can help the rest of the community to focuson the liturgical action taking place at the ambo, the altar,and the chair. The ministers of music are most appropri-ately located in a place where they can be part of theassembly and have the ability to be heard. Occasions orphysical situations may necessitate that the choir beplaced in or near the sanctuary. In such circumstances,the placement of the choir should never crowd orovershadow the other ministers in the sanctuary norshould it distract from the liturgical action. [90]

Pipe Organ. Our Lady of Mercy Church, Potomac, MD.Guilbault-Therien, organbuilders, St Hyacinthe, Quebec

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Part 10

Art in the Service of the Liturgy

In a former convent, surrounded by a beautiful garden ina London neighborhood, Terebinth Trust was estab-lished as a Catholic social service agency to give safeshelter and counseling to women and their childrenfleeing abusive situations at home. The women wereoften unable to speak about their situations and weresuspicious of living hopefully in light of their fears andpast experiences.

As one way to help them surface their deep-seatedfeelings, the staff encouraged the women and children topaint. The results were simple, but astoundingly pro-found and beautiful images. When asked to describetheir meaning, the women and children were able tospeak for the first time about the trauma they experi-enced and what the future might hold for them.

There is something powerful in worthy art that revealstruth and beauty in a way that words alone cannotcapture. Art placed in a liturgical setting has the powerto help a community to remember and celebrate itsrelationship with God, who is beyond our completeunderstanding or ability to contain in words.

Unlike other ways in which we use art in modern life,liturgical art is not first about decoration. Images in aliturgical setting are another form of proclamation of the

message of the gospels—a visual parable—allowing us tosee with new eyes. Just as the gospels call us to ongoingconversion and a change of heart, so too, images canconfront our complacency and comfortable assumptions.

And unlike art that is created as a tribute to a famousperson in society, worthy images of Mary and the saintscan move beyond honor to give us some insight into theway in which they shared in the life and work of Christand in the paschal mystery. We can see in these images away in which we too might embrace Christ and becomeone with Christ in the Eucharist, as we are broken andpoured out for those who are hungry and thirsty in ourmidst.

Since the liturgy is an action of Christ and the church,art in spaces for the Eucharist must foster, and nevercompete with, the principal symbols of the sacrificialmeal and the full, active and conscious participation ofall those present. The altar and the ambo will always bethe most important furnishings in a space dedicated tothe celebration of the Eucharist. Images and decorativeelements should enhance and not detract from thesecentral elements.

Parish communities have discovered that images can beplaced in a variety of spaces throughout a church, 3rd century statue of the Good Shepherd

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including the gathering space, devotional alcoves,chapels, meditation gardens and at the entrance.

On the walls surrounding the baptistery of a 3rd centuryhouse-church discovered in East Syria, an early Christiancommunity painted primitive, but colorful depictions ofstories from the old and new testaments to help themcelebrate and remember what baptism means for thenewly initiated and for the community. Images includedAdam and Eve, the Samaritan woman at the well, thehealing of the paralyzed man, St Peter’s attempt to walkon the water and the three women who found the tombempty. Also included was an image of the Good Shepherd,with a ram on his shoulders and a flock of sheep at his side.

Today, parish communities continue the long tradition ofcommissioning artists who create art that is truly beautifuland that communicates the weight of the mysteries thatwe celebrate. These images will not be trivial, but should,over time, unfold the truths that are revealed in thescriptures and the life of the living church.


of Christ, including those who are not physically present,the use of images in the church reminds us that we arejoined to all who have gone before us, as well as tothose who now surround us. [135]

The placement of images can be a challenge, especiallywhen a number of cultural traditions are part of a singleparish community and each has its own devotional lifeand practices. Restraint in the number and prominenceof sacred images (SC 125) is encouraged to help peoplefocus on the liturgical action that is celebrated in thechurch. Separate alcoves for statues or icons can display

11th century San Damiano Cross, Italy

Reflecting the awareness of the Communion of Saints,the practice of incorporating symbols of the Trinity,images of Christ, the Blessed Mother, the angels, and thesaints into the design of a church creates a source ofdevotion and prayer for a parish community and shouldbe part of the design of the church. (BB 1258) Imagescan be found in stained glass windows, on wall frescosand murals, and as statues and icons. Often these imagesdepict scenes from the bible or from the lives of thesaints and can be a source of instruction and catechesisas well as devotion. Since the Eucharist unites the Body

a variety of images through the year. Some parishesdesignate an area as the shrine for an image that is beingvenerated on a given day or for a period of time, such asthe image of a saint on his or her feast day. [137]

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Part 11

Objects and Furnishings in the Service of the Liturgy

When a parish gathers for the Eucharist, the objects andfurnishings used in the celebration demonstrate how thecommunity understands what is being accomplished.

The care with which these elements are designed andcrafted should mirror our understanding of the liturgy asthe source and summit of our lives as Christians. Theseobjects may also mirror the distinct community for whichthey are created. Communities are not bound to choosemass-produced articles found in catalogs. Local artistscan be sought who will offer designs that are unique andcarry both the symbolic and functional requirements ofthe liturgy.

The processional cross should be a sign that we are unitedas a family in the journey toward the altar, just as we liveby the sign of that cross in our daily lives. The liturgicalbooks—the lectionary and the sacramentary—should bemade of fine materials and good design, as a sign of ourreverence and love of the word of God and our commonprayers.

The vessels (chalice, flagons, cups and plates) used forthe Eucharist should show that this community takesseriously Christ’s command to “take and eat—take anddrink.” They derive their beauty not so much by thepreciousness of material as by the clear and evident

honesty of materials and the quality of the design. Whilethey are distinguished from cups and plates we may usein our homes, they still serve the function of sharing theEucharistic food and drink. They should be large enoughto hold the elements of the Eucharist to be consumedand to capture the attention of the assembly.

In contemporary churches, candles no longer provide theprincipal lighting as they once did. However, they domore than simply mark a special occasion as they mightat a holiday or birthday dinner. They are also symbols ofthe presence of Christ, the light of the world in our midst.Just as the Eucharistic elements are consumed in theliturgy, so too is the wax of the candle consumed in its use.

The largest candle is the paschal candle, first lighted atthe Easter Vigil. The paschal candle remains prominentthroughout the fifty days of Easter and each time theparish celebrates a baptism or a funeral. The presence ofthis candle proclaims our faith in the resurrection ofChrist the unquenchable light.

The design of each of the objects and furnishings shouldrelate to the design of the entire space, creating a harmonyof elements. These elements become sacred in the waythat they encourage an assembly to fully enter into themysteries of our faith.

12th century Chalice of French Abbot Suger

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Candles for liturgical use should be made of a materialthat provides “a living flame without being smoky ornoxious.” To safeguard “authenticity and the full symbol-ism of light,” (N 10:80, 1974, no 4) electric lights as asubstitute for candles are not permitted. [93]

The Paschal Candle: The paschal candle is the symbolof “the light of Christ, rising in glory,” scattering “thedarkness of our hearts and minds.” (Roman Missal,Easter Vigil 12) Above all, the paschal candle should be agenuine candle, the pre-eminent symbol of the light ofChrist.…During the Easter Vigil and throughout theEaster season, the paschal candle belongs near the amboor in the middle of the sanctuary. After the Easter seasonit is moved to a place of honor in the baptistry for usein the celebration of baptisms. During funerals thepaschal candle is placed near the coffin as a sign of theChristian’s passover from death to life. (PCEF 99) [94]

Vessels: As in the case of styles of architecture, there isno particular style for sacred furnishings for the liturgy.(GIRM 325) Sacred vessels may be in “a shape that is inkeeping with the culture of each region, provided eachtype of vessel is suited to the intended liturgical use andis clearly distinguished from [utensils] designed for every

day use.” (GIRM 332) Materials used for sacred vesselssuch as the chalice and paten should be worthy, solid,and durable, and should not break easily. …The vest-ments worn by ministers symbolize the ministers’functions and add beauty to the celebration of the rites.“In addition to traditional materials, natural fabricsproper to the [local area] may be used for makingvestments; …The beauty and nobility of a vestmentshould derive from its material and design rather thanfrom lavish ornamentation.” (GIRM 342–344) [164]

6th century paten with a depictionof Christ sharing the Eucharist

with the apostles, Riha, Syria.

13th century French pyx in theform of a dove, gilded copper

with enamel. The reservedEucharist was placed in these

often suspended vessels.

The Cross: The cross with the image of Christ cruci-fied is a reminder of Christ’s paschal mystery. It draws usinto the mystery of suffering and makes tangible ourbelief that our suffering when united with the passionand death of Christ leads to redemption.…(BB 1233)Since a crucifix placed on the altar and large enough tobe seen by the congregation might well obstruct theview of the action taking place on the altar, otheralternatives may be more appropriate.… A processionalcross of sufficient size, placed in a stand visible to thepeople following the entrance procession, is anotheroption. If there is already a cross in the sanctuary, theprocessional cross is placed out of view of the congrega-tion following the procession. (cf GIRM 122) [91]

Candles: Candles, which are signs of reverence andfestivity, “are to be used at every liturgical service. "(GIRM 307) The living flame of the candle, symbolic ofthe risen Christ, reminds people that in baptism they arebrought out of darkness into God’s marvelous light. Forthe celebration of the Eucharist it is appropriate to carrycandles in the entrance procession and during the pro-cession with the Book of the Gospels. (GIRM 117) At leasttwo candles are placed near the altar in the sanctuaryarea.… [92]

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Parish communities about to renovate or build a churchstruggle with the question—what should it look like. Inthe first article in this series we discovered that the word“church” refers first, to a people—a community of faithunited with Christ as its head. The building we oftenspeak of as “the church” is the particular home of theChristian community, the place where households offaith come to remember and celebrate the covenantsbetween God and our forebears in faith.

Just as our homes are places where significant momentsof family life are remembered and celebrated, the churchbuilding is the place where we gather in response toChrist’s invitation to join in the praise and thanks ofGod, our creator and source of life.

There, we are bathed and anointed in baptism. There weare fed the bread of life and the cup of salvation. There,we are reconciled with God and the community. There,with the Church as witness, we pledge ourselves in life-long commitments. And it is there that we recall thepromise of eternal life given at our baptism even as weare given back to God in death.

case throughout the life of the church. The Catholictradition has been truly catholic, that is, universal. Fromthe first houses that were converted to use as a place ofworship in the second and third century to the modernera, the design of places of worship has evolved in wide-ranging variety of shapes and styles.

While we tend to think of architecture in terms of ahistoric progression—Romanesque, Gothic, Renaissanceand Baroque—the evolution was not a straight line fromperiod to period. In every age, churches were built as aresponse to the way a Christian community expresseditself in worship. That expression has changed over time,and, in response, so has the design of worship spaces.

In our own day, there is sometimes a desire that thedesign of a church should copy or imitate a style from aformer time. Certainly, we have much to learn from acareful study of the past. Yet, with a renewed under-standing of the ways we experience Christ’s presence inthe liturgy and our own participation in the mysteries,we realize that not every former style supports andencourages our present understanding to the same degree.

hope to the world. By their design, they can announce tothe world that the living Body of Christ gathers there toremember and celebrate the marvelous works of God.

Part 12

What Does a Church Look Like?

12th century stave church, Norway

Churches are more than meeting rooms in which variousactivities must be accommodated. They are also symbolsof the presence of Christ in the world and a beacon of

Just as our homes differ widely according to climate, age,culture, wealth and size, so too do Christian churchesexhibit a variety of styles. In fact, it has always been the

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20th century Catholic church, Paka, Hungary. Architect: Imre Mackovecz


The rich history of Catholic worship space traces a paththrough every people and place where the liturgy hasbeen offered.… Since the Church is not wedded to asingle architectural or artistic form, it seeks to engagethe genius of every time and place, to craft the finestpraise of God from what is available. (cf SC 123, GIRM289) The rich dialogue between the Church’s liturgy, as asingular expression of divine revelation, and a localculture is an essential ingredient in the evangelization ofpeoples and the celebration of the Roman Catholicliturgy in a given time and place.… [40]

Parishes in the United States today often find theirplaces of worship shared by people of varied languagesand ethnic backgrounds and experience vast differencesin styles of public worship and personal devotion. Whatcan sustain Christian communities in this challenge ofhospitality is the realization that a pluralism of symbolic,artistic, and architectural expression enriches thecommunity. (CCC 1157-1158, cf SC 119) [43]

The church building respects the culture of every time andplace. The Roman rite respects cultural differences andfosters the genius and talents of the various races andpeoples. (SC 37, 119; CCC 1158) This cultural diversitycan be expressed in architectural styles, in art forms, andin some instances in the celebration of liturgical riteswith appropriate adaptations. [38]

Just as each local community is different, styles andforms of churches will vary. …

After the Lord’s ascension, believers gathered in homesfor the celebration of the “breaking of the bread.” Suchhomes evolved into “house churches” and became theChristian community’s earliest places for worship. Theunique forms and architecture of the Roman andByzantine world provided the Church with an architec-tural language in the form of the basilica. With its longnave and an apse for the bishop and clergy, the basilicaquickly became a standard architectural form forchurches of the West. The effect of these architecturalforms is still reflected in the structure of our liturgicallife today.… [39]

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