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Church of the Exaltation of the Holy Cross. Church of the "Exaltation of the Holy Cross" The structure of the Catholic Church

Michael S. Rose

Tour of the House of God

In the book of Genesis there is a story about "Jacob's ladder": the patriarch saw in a dream how angels descend from heaven and ascend back. Then Jacob exclaimed: "How terrible is this place! this is nothing but the house of God, this is the gate of heaven."

The echo of these words in the Christian era was our custom to call the churches "Domus Dei" (House of God) and Porta Coeli (Gate of Heaven). The church is the home where we come to meet God. Therefore, a church building is a sacred place for us. In fact, the Code of Canon Law defines a church as "a sacred building dedicated to the worship of God."

Often non-Catholics ask questions about the distinctive elements of traditional Catholic architecture and church decoration. Why is an altar barrier needed? Why statues? Why - kneeling benches? Why - bells and belfries? And what does it all mean?

And that means a lot. Almost every detail of the traditional catholic church has a precise rich meaning, indicates important aspects catholic faith and practices. So questions from non-Catholics can be a great opportunity for us to talk about faith and learn more about it ourselves.

But first we need to understand properly what foundations lie behind the traditional design of the church. So let's take a tour of a typical temple built according to age-old customs.

Christ is present and active

So what do the words "sacred place" mean - Domus Dei, Potra Coeli - and what does "destined for the worship of God" mean?

First, let's look at what the Catechism of the Catholic Church says about a church building. "... Visible churches (temples) are not just a place for meetings, they signify and represent the Church living in this place, the abode of God with people reconciled and united in Christ ... In this "House of God" truth and harmony the signs that compose it should reveal Christ present and active here.

The main thing here is that the house of God should serve to make Christ and His Church present and active in this city and this country. This is exactly what church architects have been doing for many centuries, using a special architectural "language" based on eternal principles. This "language" is that which transforms bricks and mortar, wood and nails, stone and rafters into a church, a sacred place worthy of the eternal presence of God.

The church should look... like a church

It sounds perfect: the church should look like a church, because it is a church. This can be achieved in many ways, but there are three main elements that define the aesthetics of a temple building: verticality, constancy and iconography.

Verticality. Unlike most municipal, commercial and residential buildings, the church must be designed so that the vertical structure dominates the horizontal. The dizzying height of the naves tells us to stretch upwards, to the beyond - through church architecture we touch the Heavenly Jerusalem. In other words, the interior of the church must be vertical.

permanence. Church building representing the presence of Christ in this place, must also be a permanent building, built on "solid foundations". Most modern buildings, on the other hand, are more of a temporary nature (or at least they look like that). In cities like Los Angeles, architects design and build houses with the expectation that in ten or twenty years they will be demolished and newer and newer buildings will appear in their place.

Churches, on the other hand, should not be the product of a fashion that is constantly changing and certainly not distinguished by constancy. There are a number of means to achieve this. First, the church must be built with durable materials. Secondly, it must have a certain massiveness, have a solid foundation and thick walls, and the interior should not be cramped. And, thirdly, it should be designed, maintaining continuity with the history and tradition of Catholic church architecture.

Well said the church architect of the XIX century. Ralph Adams Cram: "Instead of cheap and tasteless buildings made of shingles and clapboard, or small bricks lined with stone - they are doomed to destruction - we again need strong and durable temples that, even because of our artistic backwardness, will not may not rely on the noble creations of the Middle Ages".

Iconographic. The church building should be a sign both for the faithful and for everyone living in the area, town or rural district. The temple must teach, it must catechize, it must carry the gospel. The building itself must represent the presence and activity of Christ and His Church in that particular place.

If the temple can be confused with a library, a nursing home, a supermarket, a city hall, a clinic or a cinema, then it does not correspond to its purpose. The clinic says little about faith, the cinema rarely evangelizes through its architecture, and the supermarket does little to emphasize the presence and action of Christ in the world.

As obvious as it sounds, it makes sense to emphasize once again: the church should look like a church, and only then this building will be able to become a sign for others. Look like a church, inside and out. It is necessary that the temple looked like a temple, and only then can he become temple.

Church in the landscape

Another designation for the church is "a city standing on top of a mountain" (cf. Mt 5:14), and another - " New Jerusalem(See Rev. 21:2.) These two expressions are especially telling that our churches are located on high places, which gives the feeling of a protected, fortified shrine. A quite literal example of this is Mount Saint-Michel in France.

In the past, many churches dominated the cityscape, like, say, the Cathedral of Florence - undoubtedly the most important building in the city. In other places where the temples were of a more modest size, the dominion of Christ in the lives of the people living under their shadow was indicated by the location of the church at the highest point of the landscape.

Thus, the location of the church at an important point in the landscape is another aspect of making it look like a church. Even today, in building new churches, this is important. The temple should not be hidden (after all, a hidden sign is a bad sign), it should be inscribed in the surrounding area or buildings in such a way that everything emphasizes its importance and purpose.

The connection between the city and the church is also important. Often - at least in tradition - it is carried out through piazza(square) or courtyard. Here the faithful can gather, here is the first transitional point preparing us for the dramatic entrance to the Gates of Heaven, and here many events, both religious and secular, take place.

Past for decoration piazza often stairs, fountains or colonnades were used. But today, unfortunately, in front of the churches we often see car parking lots that have come to replace them. Instead of preparing a person to enter the church, they most often simply make him angry. Of course, in most cases, it is necessary to somehow solve the problem of parking, but there are many ways to make parking less important than piazza or churchyard.

How do we enter

Approaching the temple (on foot or by car), even before our eyes see the whole building or at least its pediment, we most likely see bell tower. This is one of the main vertical elements that draws our attention to the church both visually (it can be seen from afar) and the ringing of bells, which serve both to mark the time and to call for prayer or worship.

The appearance of church bells dates back to at least the 8th century, when they were mentioned in the writings of Pope Stephen III. Their ringing not only called the laity to church for Mass (this function is still preserved - or, at least, should be preserved), but also, in monasteries, raised the monks to read the night prayer - matins. By the Middle Ages, every church was equipped with at least one bell, and the bell tower became an important feature of church architecture.

In southern Europe, especially in Italy, bell towers were often erected separately from the church itself (the famous leaning tower in Pisa, built in the 12th century, is a striking example). In the north, as well as - subsequently - in North America, they more often became integral part church building.

Another outstanding element of the church is dome or spire topped with a cross. The dome - round or, more rarely, oval - became popular in the West during the Renaissance. It has a great influence on both the external and internal appearance of the temple. In the interior, it contributes to the feeling of verticality and transcendence (symbolizing the kingdom of heaven) both by its height and by the way the rays of light enter the room through the windows in it. Outside, the dome and spire visually allow the building to be identified as a church, highlighting it from the urban or rural landscape.

When we get closer we see facade, that is, the front wall of the building. Often it is he who is remembered the most. It is not uncommon for the façade to include a bell tower or other towers, statues or simpler sculptures, windows, and finally the main front door. In the conditions of urban development, when other buildings can hang over the church, the facade takes on an additional task - the temple is already determined by it.

The facade and steps leading to the entrance are the second point of transition from the profane (the outside world) to the sacred (the interior of the church). Often it is the façade that has the most opportunity for evangelization, teaching and catechesis, as it includes works of art called the "servant of religion".

One of the parts of the church façade best known to the general public is socket- a large round window, usually located above the main entrance. Stripes of stained glass, radiating from the center, resemble the petals of a blossoming rose. There are other types of round windows that adorn the facades of Western churches, but they all owe their origin to the round opening found in classical buildings. ancient rome, such as the Pantheon - it was called oculus("eye").

The facade, of course, would not make sense if it did not have doors leading inside the church. These doors - or, as they are sometimes called, portals- are of great importance, since they are literally Porta Coeli, the gates of Domus Dei.

Already in the 11th century, the decoration of portals (niches in which door leaves are located) with statues and reliefs became an important feature of church architecture. Scenes from Old Testament and from the life of Christ are usually depicted above the entrance to the church in triangles called tympanums. Portals should inspire and call at the same time. They draw our hearts to God and our bodies to the church.

The third and final transition point on the way from the outside world to the interior of the church is narthex, or vestibule. It serves two main purposes. Firstly, the narthex is used as a vestibule - here you can shake off the snow from your boots, take off your hat or fold your umbrella. Secondly, processions gather in the narthex. Therefore, it is also called "Galilee", since the procession from the narthex to the altar symbolizes the path of Christ from Galilee to Jerusalem, where He was expected to be crucified.

Body of Christ

There is a famous and very valuable scheme in which the image of Christ is superimposed on the plan of a typical basilica church. The head of Christ is the presbytery, the outstretched arms turn into transepts, and the torso and legs fill the nave. Thus, we see the literal embodiment of the idea of a church representing the Body of Christ. It is no coincidence that the outlines of this plan resemble a crucifix. We call this layout cruciform reminding us of Jesus on the cross.

Term basilica means literally "royal house" - a very appropriate name for the house of God, since we understand Jesus as Christ Almighty, King of kings. Much of the church architecture of the last 1700 years was based on the layout of the basilica. The church, built according to this model, fits into a rectangle with an aspect ratio of two to one. Along its entire length, two rows of columns usually stretch, separating the side aisles from the central nave.

However, in the last thirty-something years we have witnessed various experiments, the authors of which rejected the plan of the basilica and preferred various innovations to it. But in the light of past centuries of church building, these experiments based on the Greek amphitheater or the Roman circus (a round church with an altar in the center, something like a fan) become only pale shadows, having almost no meaning for eternity.

Ark of Salvation

After passing through the narthex, we find ourselves in the main building of the church, which is called nave- from the Latin navis, "ship" (hence - "navigation"). Designed for parishioners, the nave got its name because it figuratively represents the "ark of Salvation". Apostolic (that is, papal) constitution of the 4th century. says: "Let the building be long, with its head to the east ... and let it be like a ship."

The nave is almost always divided into two or four sectors of pews by a central aisle leading to the presbytery and altar. In large churches, additional passages limit it from the sides.

When entering the nave (a sacred place), we usually see bowls with holy water. Here we are blessed with it, reminding ourselves of our baptism and of our sins. To overshadow oneself before entering the church with the sign of the cross, having previously moistened the fingers with holy water - ancient way be cleansed by entering the house of God.

Another element of the church building, which is directly related to the nave, is baptistery- a place specially designed for baptism. Early baptistries were erected as separate buildings, but later they began to be made in the form of rooms attached directly to the nave. Usually they have an octagonal shape, indicating the resurrection of Christ on the "eighth day" (Sunday follows Saturday - the seventh day of the biblical week). Thus, the number eight represents a new dawn for the Christian soul. In some centuries it was customary to place the baptismal font directly in the nave. Then she herself acquired the outlines of an octagon.

Religious fine art, associated with the font and the baptistery, is most often based on the story of the baptism of Christ by St. John the Baptist. Another popular image is the dove, representing the Holy Spirit, since baptism is the sending of the Holy Spirit onto the soul of the person being baptized.

Perhaps most often the nave is not complete without benches for sitting, equipped with smaller benches - for kneeling. Benches are usually made of wood and are equipped with a back, and benches are often upholstered with soft cushions.

Traditionally, benches are located in one general direction, that is, one after the other, facing the presbytery. In some big churches where many pilgrims come, the benches are made removable or absent altogether. For example, in the Basilica of St. Peter, instead of them, chairs are placed, or the parishioners generally stand. However, this is by no means the norm of Catholic custom, but rather an exception, the reason for which is the need to provide enough space for a huge gathering of people who often attend Masses and other ceremonies there.

As a matter of fact, kneeling has always been a distinctive posture of the participant. catholic worship- firstly, as a sign of veneration of Christ, and secondly, as a pose expressing humility. We must not forget that the Catholic cult includes both worship before Christ and humility before God. The bench is designed to make both as comfortable as possible. In this capacity, it has become an integral part of the interior of our churches.

Another important part of the nave is choirs. They are intended for those parishioners who are specially trained to lead liturgical singing. For acoustic reasons, the choir stalls are usually located on one of the axes of the building.

In many old churches, the choirs are located in the front of the nave, near the altar, but this was only introduced into the habit in those days when all the singers were clerics. As far as is known, the first city church in which the choirs were organized in this way was the church of St. Clement in Rome, whose closed choir (called schola cantorum) was placed in the nave in the 12th century. But in monastic churches, this custom existed almost six hundred years before, since singing had long been an important part of monastic prayer. Many communities have sung the liturgy for centuries and continue this custom to this day.

Nowadays, since the time of the Counter-Reformation, the choirs are more often located in the back of the nave, in the gallery. The parishioners sing much better when skillful singers and an organ guide them from behind and from above. The location of the choirs and organ on a raised platform is dictated by acoustical reasons and is intended to enhance the music.

Since singing is perceived primarily by ear, it is not necessary for the members of the choir to be visible to the rest of the congregation. After all, they participate in the Mass as worshipers, and not as artists. Therefore, it is not necessary for us to look at them, but for them - since they are also believers - it is very useful for them to look during the service in the same direction as everyone else - in the direction of the altar of Sacrifice.

Confessional

Another important element in the nave is confessional(). It must be made in such a way as to match the architecture of the building, but also to be a clear sign of the sacrament of reconciliation. In other words, it is necessary that the confessional be a special place, and not just - as it, alas, sometimes happens - a door in the wall.

St. Charles Borromeo, in his seminal work, Instructions on the Organization of the Church, recommends that denominations should be placed along the sides of the temple, where there is enough free space. The saint also suggests that the penitent position himself during confession facing the altar and the tabernacle.

holy of holies

Speaking of presbyteries, it is useful to remember that Universal Church hierarchical, that is, it consists of various members: its head is Christ; The pope, bishops and priests serve as alter Christus("second Christ"), and monastics and laity perform their functions as part of the Church Militant. The hierarchical nature of the Church is reflected in the liturgy. In a 1998 address to the bishops of the United States, Pope John Paul II said that "the liturgy, like the Church, must be hierarchical and polyphonic, it is necessary to respect the various roles assigned to this or that person by Christ, and to allow many different voices to merge into a single and great hymn of glory."

It follows from this that if both the Church and the liturgy are hierarchical, the temple must reflect this hierarchy. This becomes most obvious when considering the differences between the nave and the presbytery. "The general instruction to the Roman Missal states that "the presbytery must be separated from the rest of the temple - either by some elevation, or due to its special form or decoration"... So, we see that the presbytery should be a separate part of the church from the nave. Hence the Scripture is proclaimed, here the priest offers the Sacred Sacrifice of the Mass, and here they usually receive Jesus in the Most Holy Sacrament.

Why should the floor in the presbytery be higher than in the nave? There are two main reasons for this. The first is symbolic: if the presbytery represents the head of Christ, it will be natural if the head is higher than the body.

Secondly, the presbytery rises above the nave so that the parishioners can better see the various parts of the liturgy celebrated in it. This gives them a fuller view of the pulpit, the altar, and the throne from which the bishop addresses the people. But the presbytery should by no means be equated with a stage.

The Roman Missal also calls for the presbytery to be distinguished by "special decoration." One of the types of such decoration - altar barrier. It not only serves to highlight the presbytery, but can also be quite functional. Usually near her, kneeling humbly and respectfully, parishioners receive Holy Communion. Outside of the Mass, the faithful can pray here before the Holy Gifts, hidden in the tabernacle or displayed on the altar. At the altar barrier, as well as on the benches, we have the opportunity to take the traditional Catholic position of prayer.

Until recently, almost all Catholic churches where they served according to the Roman Rite had an altar barrier. This has been the case since at least the 16th century. Prior to that, instead of it there was a low wall, which had practically the same function and visibly separated the presbytery from the nave, without breaking the connection between them.

All for the altar

The most important and worthy element of the presbytery - and of the whole church - is altar, the place where the Eucharistic Sacrifice is offered. In fact, the whole church is built for the sake of the altar, and not vice versa. For this reason, all the visual lines of a church building should converge towards the altar, just as the liturgy of the Holy Mass has its central (or highest) point of Transubstantiation, when through the hands of an ordained priest, bread and wine are transformed into the Body, Blood, Soul and Divinity of Jesus Christ. The sacrificial altar is so important for the Catholic cult, not because it is a table on which a communal meal is prepared, but, first of all, because here the priest again makes the Cross Sacrifice of Christ.

In the vast majority of churches built in the last two thousand years, the altar occupies a central position in the presbytery and stands either by itself or against the wall, and behind it is a decorative altarpiece and a tabernacle. Free-standing altars are more common and are built so that the priest can walk around them when he burns incense.

Permanent altars, usually made of stone, arose in Europe for the first time in the 4th century, when Christians gained the freedom of public worship. The veneration of the martyrs who died for Christ was so strong that in those years almost every church, especially in Rome, was built over the grave of one of them and took the name of this saint - for example, the Basilica of St. Peter.

In connection with this tradition, the relics of saints were placed inside the altar, and until recently it was required that the altar contain the relics of at least two canonized saints. This custom is still followed in many places, although ecclesiastical law no longer obliges it.

Sometimes a wooden or metal canopy is erected over the altar, like the one created in the basilica of St. Peter Bernini. It's called canopy. Usually the canopy consists of four columns and a dome resting on them. Its purpose is to additionally draw attention to the altar, especially if it is not against the wall.

Proclamation of the Word

Another important part of the presbytery is pulpit. For some reason, tall pulpit from our churches began to disappear. Often, instead of them, something like a music stand or lecturer's lectern appears, which is not distinguished by either elevation or beauty.

However, the very word "pulpit" means in Greek "exalted place". Pulpits have been built in churches since at least the 13th century, when the Franciscans and Dominicans paid special attention, but did not oppose or prefer it to the Eucharistic Sacrifice. Often ambos were designed in such a way that they became works of art, not only functional, but also beautiful. Usually carved images of scenes from Scripture were placed on them. It is the high pulpit that is best suited - from all points of view - for proclaiming the Word of God to the entire assembly of the faithful.

Although ambos are usually located on the left side of the presbytery, they can often be seen in front of the nave, also on the left. They can be either free-standing or attached to a side wall or column. They are placed where the best acoustics. In a well-built church with a good pulpit, no microphones are needed to proclaim the Word loud and clear. It also contributes to sound reflector- a special canopy located above the head of the one who stands on the pulpit. He helps his voice reach those who sit in the nave. And, of course, a high pulpit not only contributes to audibility, but also gives parishioners the opportunity to better see the reader or preacher.

Under no circumstances in the Catholic Church can the pulpit be located in the center of the presbytery. The reason is not that he does not play an important role in Catholic worship. But it is not in the center because it is subordinate (like everything else, no matter how significant it may be) to the altar of the Sacrifice, on which the main thing for Catholics is performed - the Sacred Sacrifice of the Mass.

crucifixion

According to the rubrics, that is, the rules of the Mass, a crucifix must be present in the presbytery. In accordance with Catholic tradition, it should bear the image of Jesus suffering on the cross. This contributes to our connection with the cross passions of Christ. And, according to the encyclical on the liturgy "Mediator Dei" of Pope Pius XII (1947), "the one who would order a crucifixion of such a kind, so that the divine body of the Redeemer would not bear any signs of His cruel suffering, goes astray." The crucifix must be placed in the presbytery, either on the wall above or behind the altar, since what it represents is inextricably linked to the Sacred Sacrifice of the Mass, which is celebrated on the altar.

Tabernacle of our Lord

The tabernacle comes from a mobile structure like a tent, described in the Old Testament and called "tabernacle", or, in Latin, "tabernaculum" (hence the other name of the tabernacle - tabernacle). This tent was used for worship before the Temple of Solomon was built. The tabernacle, spread out in the middle of the desert, kept the presence of God in the Ark of the Covenant, just as our present-day tabernacles keep the True Presence of Jesus under the guise of bread and wine.

Perhaps it goes without saying that, in order to contribute to the veneration of the Eucharist, which both recent popes and their predecessors cared about, the tabernacle must be in its rightful place. Its most common and obvious location is along the center line of the presbytery, behind the altar of the Sacrifice. However, where the architecture of a particular church interferes with this, the tabernacle is sometimes placed in the presbytery on the left or right, or in a side alcove attached to it.

Wherever the tabernacle is located, it must have a direct physical connection with the altar. If the altar is not visible from the tabernacle, or the tabernacle is not visible from the altar, it is most likely in the wrong place. In churches and cathedrals, where because of them historical significance many pilgrims flock, the Holy Gifts sometimes occupy a separate chapel. But even this chapel must be built in such a way that the relationship between it and the main altar is obvious. For example, in the Cathedral of St. Patrick's in New York, this is achieved by the fact that the chapel, used daily for the public display of the Holy Gifts and their veneration, is located directly behind the presbytery.

Visible evidence

Religious visual art affects - or should affect - all parts of the church building, both outside and inside. Sacred art takes many forms. In Western church architecture, these are, first of all, statues, reliefs, paintings, frescoes, mosaics, icons and stained glass windows. Without going into lengthy considerations, we can say that the Church has a huge treasure trove of sacred art and a wonderful tradition that she can follow.

Successful works of ecclesiastical art emphasize architecture and liturgy and draw our minds to God with their beauty and meaning. Unlike contemporary art, sacred art is not contained within itself. It serves something else, and that other thing is by nature religious, catholic.

As we have said, the temple teaches and evangelizes. This is achieved not only due to its form and purpose, but also through works of fine art. Church art tells bible stories, speaks of Christ, of the saints and of the Church itself. It is an integral component of the Catholic cult, since Christian faith is based on the Incarnation of the Word: the Word (God) became flesh - He took on a bodily human nature.

Unfortunately, some have mistakenly assumed that the Second Vatican Council has decreed that sacred art - especially statues of saints - no longer have a place in our churches. This, of course, is not true. Here is what the Cathedral actually says about the works of art and the decoration of the temples:

"To the noblest pursuits human spirit the fine arts, especially religious art and its pinnacle, that is, sacred art, are rightfully reckoned among them. By its very nature, it is directed to the infinite Divine beauty, which must somehow find its expression in human works of art, and they are all the more dedicated to God, as well as to His praise and glorification, because they have only one purpose: to promote the pious in the highest degree. circulation human souls to God."

At the end, the Council also warned the bishops of their duty to protect the treasury of sacred art and architecture. The Sacrosanctum Concilium constitution says that bishops must take great care that sacred utensils or precious works of art are not sold or lost, for they adorn the house of God. These words only sum up the importance the Church attaches to sacred art and its mission to serve to the greatest glory of God.

Although we were talking mainly about parts of the church that are primarily related to public worship, the purpose of the temple cannot be reduced to this, albeit its main, function. The Church is a house that accommodates not only the public liturgy, but also such services as public ones - the liturgy of the hours, processions, May coronations, the way of the cross - and private ones: the Eucharistic adoration, the reading of the Rosary and other prayers addressed to the intercession of the Virgin Mary and the saints. Therefore, statues, relics, candles, and so on are important and necessary for a Catholic church.

All this serves one purpose - to help a person to honor the Triune God. Everything is to the glory and honor of the Lord, for it brings to us heavenly and eternal things through a simple building - the church, the house of God, built and adorned by human hands, a holy place befitting the highest.

Sacrosanctum Concilium, n. 126.

The first Catholics appeared in Kazan in the 18th century, they were mainly immigrants from Germany and the Baltic states. In 1835 a permanent Catholic parish was founded in Kazan. Due to the lack of a church, the parish served services in various buildings in the city and often changed its location.

In 1855, the priest Ostian Galimsky filed a petition for the construction of a Catholic church, arguing the petition with a strong increase in the number of parishioners. Two years later, the issue was resolved in the affirmative, with the condition that appearance the temple will not differ from the surrounding houses and will not have a characteristic Catholic appearance. The construction of the stone church, designed by A. I. Peske, began in 1855, and it was consecrated on November 1, 1858 in honor of the feast of the Exaltation of the Holy Cross.

After the establishment of Soviet power, the parish continued to work for some time, in 1921 all the valuables were requisitioned in the temple "to help the starving people of the Volga region." In 1927 the church was closed and the parish dissolved.

The building of the temple after a period of desolation was transferred to the laboratory of the Kazan State Technical University named after A. N. Tupolev, and in the central nave former temple wind tunnel was located.

The Catholic parish in Kazan was restored and registered in 1995. The historical building of the temple was not returned to the Catholics; instead, the city authorities transferred to the Catholic parish a small chapel of the Passion of the Lord, located on Arsk cemetery, which was restored with the financial support of the Catholic parishes of several countries. The chapel was consecrated after restoration in September 1998 by Bishop Klemens Pickel.

Due to the difficulty of moving the wind tunnel from the historical Catholic church, in 1999 the mayor's office of Kazan decided to allocate to Kazan Catholics a site in the city center at the intersection of Ostrovsky and Aidinov streets for the construction of a new church. After a series of delays, construction began in 2005, with a cornerstone consecration mass held on 11 September 2005.

The construction went on for three years, on August 29, 2008, the solemn consecration of the Church of the Exaltation of the Holy Cross took place. The Dean of the College of Cardinals, Angelo Sodano, officiated at the Consecration Mass, and was co-served by Bishop Clemens Pickel, Nuncio Antonio Mennini, and several other bishops and priests. The consecration of the Church of the Exaltation took place exactly 150 years after the consecration of the first Kazan Catholic Church.

The temple was built in the classical style. The facade of the historical Temple of the Exaltation was taken as the basis for the project. The author of the project tried to bring the architecture of the new temple as close as possible to the old one. In plan, the church has the shape of a cross with dimensions in the axes of 43.5 x 21.8 m. The main entrance of the temple is oriented at the corner of Ostrovsky and Aydinov streets. Building area - 1812 m

Saturday day tour, to put it mildly, was not favorable. A cold rain drizzled all day, there was no sun, it began to get dark early. Therefore, when I approached the fence of the Catholic church, I already knew for sure that there would not be many people, but I hoped that at least someone would come. One vaguely familiar Kemerovo resident was already hanging around the fence - it seems Zakhar Lyubov. Or Rakhim, as the priests here call him for some reason ... Since it was terribly cold, and I was with an elastic daughter, we went inside. Immediately, my phone rang twice in a row. At first it was MikhaT known to you, and then Rubin-Khazrat. I went out, we stood for a while in the fence of the temple. A couple of minutes later, Nikita Golovanov and an elderly man and woman, who were still unfamiliar to me, approached. Then, in the middle of the tour, another lady joined in. And it's all. As I told Father Andrei, there were not a dozen.

Father Andrei warned me in advance that he would not be able to lead us around the church. And he warned father Pavel - they say, such people will come here, they will ask questions ... Father Pavel was a little confused at first, because, it seems, he did not quite understand why we had come to the front. But then communication improved.

As I wrote earlier, Father Pavel is a Pole. He speaks Russian very well, although with a slight accent. I don't know anything more about him personally.

We sat on the benches, Father Pavel asked if we were all believers, to which I tactfully kept silent. Then he asked if everyone here was Orthodox, to which Rubin-Khazrat tactfully kept silent. And I betrayed my wife: I have her, imagine, in a remote and wild Moldavian village, she was baptized just the same in Catholicism. Father Pavel was so delighted with this circumstance that it immediately became clear: infrequently, very infrequently, they had to meet Catholics here since childhood.

To the simplest questions like "What is this?" Father Paul answered in great detail, starting from the creation of the world. I was interested, but Sonya frankly fell asleep, which is understandable. Of course, I won't retell all his words. I will give you a short educational program with the help of photograms, so that if fate brings you under the Gothic vaults, you will not goof off and understand what is happening and where.

So.

Let's start with the main thing. This is (in the red oval) an altar. The altar is the center of the temple in every sense - from the spiritual to the architectural.
The altar is not a Christian invention. Thousands of years before Abraham and his descendants, people prayed to various gods and made sacrifices to them - food, flowers, animals, and even people, depending on the circumstances. The sacrifice was made in special place- sanctuary. And most often on a special structure - the altar. Ever since the Paleolithic, it was customary to arrange an altar from stones or even from one large flat stone. AT different cultures the sacrifice was either brought to the sacrificial stone in a ready-made form, or prepared directly on it (sheep were slaughtered, for example, or pigeons, chickens, people, again ...). And then either left or, more often, burned.
The modern Christian altar is a direct descendant of pagan altars in its meaning, structure and purpose. The only difference is that people do not offer sacrifices to God on it, but God one Thursday evening, at dinner, offered himself to people in the form of bread and wine. Since then, the Holy Gifts - the Body and Blood of Christ - have been prepared on the altar, and the sacrament of Holy Communion (Eucharist) is performed next to the altar.
I naively believed that there was a certain canon regarding the form of the altar, the material, the decorations. It turned out not. Functionally, this is the most common table. And any table can be used as an altar, which happens regularly when church rites are performed in an unprepared room for this. The altar can be of any size and shape, even round, although Father Paul admitted that he had never seen round ones.
There are also light portable altars.
Another important thing: it may seem to you that there is no altar in an Orthodox church. This is not true. It’s just that where we see steps leading to the altar in the photo of a Catholic church, there is a wall in an Orthodox church: an iconostasis. And there, behind this wall, hidden from the eyes of believers, there is, in fact, the same altar, on which wine and bread are also prepared for Communion.

Behind the altar are the Holy Gifts. Actually, this is a special unleavened bread - in the form of small flat cakes, wine and consecrated water. They stand in a niche under a large crucifix and are closed by a square door, which you see in the photo. The door itself is square, and it depicts a golden Eucharistic cup - but this is just decoration. The door can be of any size and shape, decorated or not. It doesn't matter at all. The main thing: the Holy Gifts are always at the altar, they are always (except for a few minutes during the service) hidden from view, and a fire is always burning near them - for example, a small red lamp that you see to the right of the square door. And why is the door exactly square in the Kemerovo Catholic Church? The artist sees it!

Next to the altar there is such a recognizable thing, which in Russian is usually called a pulpit, but in the church it is called "pulpit" (from other Greek. "elevation"), and here they call it something completely different. Initially, the pulpit is the place from which the teacher pronounces the words of the teaching addressed to the students. Any teacher. The pulpit, again, is a pre-Christian thing. In the church - Catholic and Orthodox - from the pulpit the priest reads Holy Scripture or a sermon. The difference is that among the Orthodox, these things are often light and portable, while among Catholics they are more solid. The pulpit may well be microphonized, as we see. Interestingly, I have not yet seen microphones in Orthodox churches.

But the Gothic chairs behind the pulpit - this is the pulpit. Actually, in ancient Greek, "pulpit" simply means "chair". During the service, the priest and those who help him lead the service sit on these pulpit chairs. If a bishop or cardinal visits the temple, he always occupies the highest chair. In Catholicism, there is also the concept of "ex-cathedral" - something like the appeal of high church authorities to the people.

The very first thing that catches the eye of the Orthodox who got into a Catholic church is the rows of benches. They are needed not just so that the legs do not get tired. To be honest, sitting on a classic church pew is not much more comfortable than standing. The fact is that the sitting position is considered by the Catholic as a posture of teaching and obedience. Students always sit in front of the teacher during the lesson. So the believers, who came to listen to the word of God, sit down. However, things sometimes change. During the actual prayer, believers in a Catholic church stand up (“standing” is a prayer pose generally recognized in Christianity, the main one in Orthodoxy), sometimes they kneel. For the knees - that narrow step below. Well, just not to fall to the floor.

The marble bowl, which reminded me of a fountain in a mosque, is a font. Water is poured into it, it is blessed, and then babies are baptized. As I understood from the words of Father Pavel, the baptism of infants in the Kemerovo Catholic Church is a rare event. The bowl is empty.
At the entrance to the temple, to the right of the door, there is a similar smaller bowl. She is always full. Entering the church, each believer dips his fingers into it and then is baptized. Catholics somehow associate this ritual with the parting waters of the Jordan from the history of the Jewish Exodus, but, to be honest, I didn’t catch much of a connection.

The icon on the wall - it turns out that it is found quite often in Catholic churches. Moreover, it is this icon, or rather, its copies.
She has a long history. It is made in the Eastern church style and is therefore easily recognizable by the Orthodox. the original of the icon for a long time was in one of the Catholic churches in Europe, which was then destroyed and the icon was considered lost. Then she was miraculously found, fell into the hands of the Pope, and he, in the middle of the 19th century, handed her over to the order of the Redemptorist monks with the words "Make her known all over the world." Since then, the monks have been trying. Although otherwise, of course, icons are not characteristic of Catholicism.

The steps leading to the altar, the pulpit, the pulpit, the font and the Holy Gifts - separate the main building of the temple from the "presbytery". Previously, this part of the temple was available only to priests. But after the Second Vatican Council in 1962, the presbytery was allowed to enter the laity, helping in worship, and even women. Since then, parishioners have been participating in divine services not only as a receptive party, but, for example, they read and sing from the pulpit instead of the priest.
And the holes in the steps are part of the ventilation system of this particular temple. Ventilation was planned to be forced, but there was no money for the necessary equipment. Therefore, the holes are currently meaningless.

This is a view of the prayer hall from the balcony, which stretches along the opposite wall from the altar. On this balcony there are choristers - the parish choir. In total, there are ten or fifteen chanters, which is not enough for a temple, but the parish is small and there is nowhere else to take.

A small inexpensive synthesizer is covered with a cloth. A real organ is too expensive and complicated for a Kemerovo church. However, for undemanding believers, the sounds of the instrument are quite organ.

On the balcony, Father Pavel was attacked by Nikita Golovanov with questions about how human freedom and the omniscience of the Lord are combined ...

Father Pavel fought back as best he could, and Mog was a strong guy...

I invited Nikita to come with me to the catechism group the next day and ask questions, but of course he didn't come. But in vain. I almost got eaten there on Sunday.

From the balcony we went down to the basement. There stood, for example, the Sacred Folding Tennis Table.

Here is the parish office with the usual office furniture and office equipment.

On every door in the temple, even on the doors of the office, these are the letters. They have deep meaning, dating back to the Old Testament history of the Jews, and are updated every year when the premises are consecrated.

On the walls in the temple there are pictures drawn by believers - more or less adults. The pictures depict scenes from church life or from Holy Scripture.

This is the main table of the temple. Well, just the biggest table. He stands in the basement, meetings are held behind him, and in the evenings and holidays - common meals. So this hall is also a monastery refectory. Part of the temple building, where the living quarters for the priest and nuns are located, is a real monastery. Outsiders in the monastery entrance is closed.

This is the hall already known to you, where sometimes parishioners try to crucify and eat Kemerovo bloggers who are curious about church life...

The portraits on the wall are the leaders of the Redemptorist order. First in line is the founder: the Neapolitan Alphonse de Liguori. The portraits are not signed, because, as Father Pavel said: "This is our family, you don't sign the names on the photographs in the family album."

This is the coat of arms of the order. As you can see, he has an eye on him, which stupid young Kemerovo women sometimes consider a sign of the Masonic lodge :)

In the basement there is a home-made model of the temple made of cardboard. On it, children are explained what's what and why in the church.

The necessary books should always be at hand with the parishioners.

A kitchen where monastic meals and festive treats are prepared. Tight and small. Although, as you can see, there is everything you need.

And, finally, a room that I had only seen in Hollywood films to this day - the confessional. It is hidden behind two doors in the temple wall, immediately to the left of the entrance.

The confessional is divided into two rooms. One - for the priest, with two doors. This is necessary so that at the entrance and exit the priest does not collide with the confessed.

The second - with only one door and such a stool. The confessor sits here.

The two rooms of the confessional are separated by a lattice partition. In principle, as they explained to us, the partition can be any - glass, cloth, metal. But usually it looks exactly like in the photo. The lattice symbolizes the prison in which a person places himself, indulging his sins.
It is interesting that in Catholicism confession and communion are not as rigidly connected as in Orthodoxy. Who does not know in Orthodox Church you will be allowed to receive communion only after confession. In the Catholic one, you can confess and take communion separately, out of any sequence.

And this is no longer in the temple, of course:) At the bus stop. Still, how rich the market for spiritual services is today. What types of salvation and appeasement are not offered. And someone's soul requires bad poetry with grammatical errors ...

Who did not come on a tour - in vain. Although, the temple is always open and you can visit it any day. Moreover, now you know in general terms how it is arranged.

In contact with

The Cathedral of the Immaculate Conception of the Blessed Virgin Mary is the cathedral church of the archdiocese of the Mother of God, headed by Archbishop Metropolitan Paolo Pezzi. One of the two active Catholic churches in Moscow, along with the church of St. Louis of France (in addition to two churches in Moscow, there is also a Catholic chapel of St. Olga).

At the cathedral there is a library and a church shop, the editorial office of the Russian Catholic magazine "Catholic Bulletin - Light of the Gospel", the office of the regional branch of "Caritas" and the "Art of Goodness" charity foundation.

Since 2009, within the walls of the cathedral, an educational course has been held on Western European Sacred Music, which gives Russian musicians knowledge and skills in the field of Gregorian chant and organ improvisation.

Ryndman, CC BY-SA 3.0

Story

In 1894 the council Roman Catholic Church Sts. Peter and Paul in Milyutinsky Lane turned to the Moscow governor with a request to allow the construction of a third Catholic church in view of the growth of the Catholic community in Moscow. The permit was obtained on condition of construction far from the city center and especially revered Orthodox churches, without towers and outdoor statues. The neo-Gothic project of F. O. Bogdanovich-Dvorzhetsky, designed for 5,000 worshipers, was approved, despite the failure to comply with the last condition.

The building site was purchased on Malaya Gruzinskaya Street, as this area was inhabited by big number Catholics of Polish nationality who worked on the Moscow-Smolensk railway. The main volume of the temple was built in 1901-1911. The money for the construction was collected by the Polish community, whose number in Moscow at the end of the 19th century reached 30 thousand people, and Catholics of other nationalities throughout Russia. The fence of the cathedral was built in 1911 according to the project of the architect L. F. Dauksh.

The Neo-Gothic temple, which received the name of the branch church of the Immaculate Conception of the Blessed Virgin Mary, was consecrated on December 21, 1911.

The construction of the temple cost 300,000 rubles in gold, additional amounts were collected in 1911-1917 for decoration and the purchase of church supplies. Finishing work inside the temple continued until 1917.

In 1919, the branch church was turned into a full-fledged parish. The 34-year-old priest Fr. Michal Czakul (1885-1937).

In 1938, the temple was closed, the church property was looted, and a hostel was organized inside. During the war, the building was bombed and several towers and spiers were destroyed. In 1956, the Research Institute "Mosspetspromproekt" was located in the temple. The building was replanned, which completely changed the interior of the church, in particular, the main volume of the internal space was divided into 4 floors. In 1976, a project was developed for the restoration of the building, where it was supposed to house an organ music hall, but this project was never implemented.

Artur Kamalin, CC BY-SA 3.0

In 1989, the Dom Polsky cultural association, which unites Moscow Poles, raised the question of the need to return the church building to its natural owner, the Catholic Church. In January 1990, a Polish Catholic parish of the Immaculate Conception of the Blessed Virgin Mary was formed by a group of Moscow Catholics. December 8, 1990, on the occasion of the feast of the Immaculate Conception of the Blessed Virgin Mary, Fr. Tadeusz Pikus (now a bishop), with the permission of the authorities, for the first time after a 60-year break, celebrated mass on the steps of the cathedral. Several hundred people attended this first service. Regular services near the temple began to be held on June 7, 1991.

In 1996, after a long scandalous eviction of the Research Institute "Mosspetspromproekt", the temple was transferred to the Catholic Church. For several years, large-scale restoration and restoration work was carried out in the temple, and on December 12, 1999, the Secretary of State of the Vatican, Cardinal Angelo Sodano, solemnly consecrated the restored Cathedral.

In March 2002, the Moscow Cathedral took part in a joint prayer of the Rosary with Pope John Paul II and the Catholics of several European cities, organized through a teleconference.

On December 12, 2009, the tenth anniversary of its re-consecration was solemnly celebrated in the cathedral, and on September 24, 2011, the centenary of the cathedral was celebrated.

Architecture

The Cathedral of the Immaculate Conception of the Blessed Virgin Mary is a neo-Gothic three-nave cruciform pseudo-basilica. According to various testimonies, it is believed that the Gothic cathedral in Westminster Abbey served as the prototype of the facade for the architect, and the dome of the cathedral in Milan served as the prototype of the dome. After the restoration, the cathedral has some differences from its original appearance before closing in 1938, as well as before 1938 it had differences from the 1895 project.

On the spire of the central turret there is a cross, on the spiers of the side turrets there are the coats of arms of Pope John Paul II and Archbishop Tadeusz Kondrusiewicz. In the narthex (porch) of the cathedral there is a sculptural image of the Holy Cross with Christ Crucified. Above the bowls with consecrated water, at the entrance from the narthex to the nave, on the left, a brick from the Lateran Basilica is embedded in the wall, and on the right, a medal of the jubilee year 2000.

In the central nave there are two sectors of benches separated by an aisle. At the beginning of each side nave there are confessionals - confessionals. At the end of the left nave is the chapel of the Divine Mercy, in which the tabernacle and the altar of the Holy Gifts are installed. Both side naves are separated from the main nave by colonnades, 2 semi-columns and 5 columns in each colonnade. The ceilings of the main and side aisles consist of cross vaults, which are formed by diagonal arches. The side longitudinal naves of the cathedral have five buttresses each. 10 main buttresses on which the main volume of the temple rests, according to the ancient canons of temple architecture, symbolize the 10 commandments.

Lancet window openings are decorated with stained-glass windows. Under the window openings, on the inner surfaces of the walls, there are 14 bas-reliefs - 14 “stays” of the Way of the Cross.

Behind the first lancet arch of the ceiling, between the first pair of semi-columns, above the narthex are the choirs. Since the time of the Counter-Reformation, that is, since the middle of the 16th century, the choirs have been located in the back of the nave, in the same way the choirs are located in the Cathedral of the Immaculate Conception of the Blessed Virgin Mary. According to the original project, the choirs were supposed to accommodate 50 singers, but in addition to the choir itself, an organ was installed in the choirs.

The transept gives the cathedral building the shape of a cross. This is a diagram in which the image of Christ on the cross is superimposed on the plan of a typical church. AT this case the head of Christ is the presbytery with the altar located in it, the torso and legs fill the nave, and the outstretched arms turn into a transept. Thus, we see the literal embodiment of the idea that the Church represents the Body of Christ. This layout is called cruciform.

Altar

In the presbytery of the cathedral is the most important element of the temple - the altar, lined with dark green marble - the place where the Eucharistic Sacrifice is offered. Particles of the relics of St. Andrew the Apostle, St. Zeno, the patron saint of Verona, St. Gregory of Nyssa, St. Gregory of Nazian, Sts. On the altar - the image of the letters alpha and omega, the first and last letters Greek alphabet, a symbol of the beginning and end, going back to the text from the Revelation of John the Theologian “I am Alpha and Omega, the beginning and the end, says the Lord” (Rev. 1:8). To the right of the altar is the pulpit. The pulpit of the cathedral, as well as the main altar, is lined with dark green marble.

In the back of the presbytery there is another elevation of three steps, adjacent to the wall of the apse of the temple. This part is called the ambulatory. Here is the episcopal chair and places for the clergy.

The presbytery of the cathedral is separated by carved wooden partitions from the chapel of Divine Mercy with the altar of the Holy Gifts and from the vestibule of the sacristy. In the presbytery, on the wall of the apse - the Crucifixion. The height of the Crucifix in the cathedral is 9 meters, the figure of Christ on the cross - 3 meters. On both sides of the Crucifixion, 2 plaster figures are installed - the Mother of God and the Evangelist John. Both sculptures were made by the Moscow Region sculptor S. F. Zakhlebin.

On the left side of the façade, right behind the lancet arcade, there are five bells made at the famous Polish factory of the Felchinskis in Przemysl and donated by Bishop Viktor Skvorets of Tarnow. The largest of the bells weighs 900 kg and is called the Fatima mother of God". The rest, in descending order, are called: "John Paul II", "Saint Thaddeus" (in honor of heavenly patron Archbishop Tadeusz Kondrusiewicz), "Jubilee-2000" and "Saint Victor" (in honor of the heavenly patron Bishop Skvorets). The bells are set in motion with the help of special electronic automation.

Until the closing of the cathedral in 1938

Before the closure of the cathedral in 1938, the altar of the Cathedral of the Immaculate Conception of the Blessed Virgin Mary in Moscow was a three-spired Gothic structure with an Altar, which rose almost to the ceiling of the apse, which housed the tabernacle with the Holy Gifts. There were palm trees in the presbytery, and the presbytery itself was separated from the nave by a special fence - a balustrade.

In the side aisles of the cathedral there were also benches, since the side aisles, at first, served as separate prayer rooms for men and women - the left aisle was intended for women, the right one for men.

While people were celebrating: the remains of the New Year, Tolkien's birthday, Christmas julian calendar- I wrote an article. About the structure of the Catholic Church. Once, digging through tourist sites, I came across a description of cute Segovia, the author of the review said that it was enough to see the cathedral there from the outside - there is nothing inside. I'm afraid, I indulged in fantasies for about five minutes about what was in the head of this author and why it happened. What we see, we need to look in order to see, we need to understand and be ready to discover something new. It doesn't matter to people who are ready to do this whether they are believers or not and what denomination this article is addressed to.

Actually, before you is a draft of the article - without pictures and not fully edited. But I wanted to show off and get feedback from you, friends, some comments and questions. The fully finished article will appear on my (jointly with Una Voce) fresh site for pilgrims and travelers. By the way, the site will contain materials not only authored by me and friends and relatives of the rabbit, but by anyone, if only on the topic. So - welcome to cooperation!

catholic temple

Each structure, created by human hands, has its own purpose, its own functions. Strange and no one needs a residential building in which it is impossible to live, concert hall where concerts are not allowed. Perhaps, over time, the building will cease to be used for its intended purpose, but its very design will tell us why it was built after all. The entire architecture of the building indicates its purpose, its details are designed to direct the attention and thought of the visitor to certain things. Not a single detail in the building is random, everything is subject to a single plan and purpose.

All of the above applies to Catholic churches. You can often hear or ask yourself questions about the distinctive elements of traditional Catholic architecture and church decoration. Why is an altar barrier needed? Why statues? Why - kneeling benches? Why - bells and belfries? And what does it all mean? By answering these questions, we will get a better idea not only about the structure of the temple, but also about the symbols and rituals of Catholicism, and most importantly, about the inner essence of the Catholic faith.

Despite the difference in architectural styles, the temples basically have something in common, because the purpose of these buildings has not changed for two thousand years. So, why were temples built and built? First of all - for the performance of divine services, liturgical services. Not a single Catholic church is built in such a way that services cannot be held in it. All other functions of the temple are important, but secondary to the main one and subordinate to it. Therefore, the most important place of the temple is the altar on which masses are celebrated. The whole architecture of the temple is always, with extremely rare exceptions, arranged in such a way as to highlight, emphasize the importance of the altar, and, accordingly, the action performed on it. We will talk more about the altar a little later.

Another important function of temples is to be a “sermon in stone” about the deeds of Christ and His Church, to be a visible embodiment of the Christian faith. This is what the decoration of the temple, its statues, murals and stained glass windows serve. The aspiration to God of the whole Church, the local community and each individual person is expressed, first of all, in the vertical character of the temple structure. This means that vertical elements prevail over horizontal ones. The building as a whole or its elements at least visually appear higher than longer. If the temple cannot be made too tall, architectural elements are added to make it visually tall.

Since the best craftsmen often worked on the temple and its parts, it is also of considerable artistic value. As we have said, the temple teaches and evangelizes. This is achieved not only due to its form and purpose, but also through works of fine art. Church art tells biblical stories, speaks of Christ, the saints and the Church itself. It is an integral component of the Catholic cult, since the Christian faith is based on the Incarnation of the Word: the Word (God) became flesh - He took on a bodily human nature.

The House of God is directly connected with the Heavenly Jerusalem, with the communion of saints and angels. Here, beauty creates conditions that lift the soul of a person from the mundane and transient, in order to bring it into harmony with the heavenly and eternal. Architect Adams Cram - probably the greatest of the church architects of the end 19th century- wrote that "art was, and always will be, the greatest means of spiritual impression that the Church can possess." For this reason, he adds, art is the greatest expression of religious truth.
Religious visual art affects - or should affect - all parts of the church building, both outside and inside. Sacred art takes many forms. In Western church architecture, these are, first of all, statues, reliefs, paintings, frescoes, mosaics, icons and stained glass windows. Without going into lengthy considerations, we can say that the Church has a huge treasure trove of sacred art and a wonderful tradition that she can follow.

Successful works of ecclesiastical art emphasize architecture and liturgy and draw our minds to God with their beauty and meaning. Sacred art does not consist in itself, its goal is not within itself, but outside. It serves something else, and its beauty glorifies Heaven, and not itself. Religious art should be understood in terms of its main task, and not just as a collection of artistic techniques.

All other functions of the temple are secondary to these two main ones. And, although at different times additional functions were imposed on the temples - for example, as a place of pilgrimage, or due to the construction of an organ, which introduced certain changes into the architecture of the temple - the main plan of the building remains unchanged. In order to understand a temple, one must keep in mind its primary purpose all the time.

Let's go to the temple and look around it. For a complete impression, it is better to approach the temple on foot, walk at least half a block, so that the temple opens in the city landscape. Usually there is a square in front of the entrance to the temple - it is intended not only to highlight the temple as an architectural structure, but also for the gathering of the people. On the square in front of St. Peter's Cathedral in Rome, numerous believers gather to listen to the Pope and receive his blessing. Many squares were designed by famous architects and are worth seeing. Bishops' palaces, town halls, public and administrative buildings are often placed on the squares. The square is the link between the city and the temple, and the inspection of the temple should be started from it.

We would also advise you to stop for a minute, concentrate, remove all unnecessary thoughts in order to properly perceive what you see before entering the temple or starting taking pictures. It would be good for believing people to read a prayer, and for non-believers - to be silent for a minute and tune in.

Approaching the temple (on foot or by car), even before our eyes see the whole building or at least its pediment, we most likely see the bell tower. This is one of the main vertical elements that draws our attention to the church both visually (it can be seen from afar) and the ringing of bells, which serve both to mark the time and to call for prayer or worship.

The bell tower is one of the types of church towers that give the temple building a unique look. Church towers (in the modern sense of the word) first appeared at the beginning of the Middle Ages, erected in abbeys and cathedrals built in the Romanesque style. Over the years, they have taken on numerous varieties and types, rising high into the skies and becoming visible from great distances. According to religious theory, the highest point of a church building symbolizes God in Heaven, and the word "tower" is sometimes used as a symbolic designation of the Lord God himself. Church towers are such a characteristic element of the temple that we can safely attribute all buildings with towers to religious buildings, even if they have already changed their purpose, such as the National Palace in Marfa (Portugal).

Since the towers are not an obligatory element of worship, but are expensive, their construction was often delayed. As a result, many towers were never completed, and others, although topped with spiers, look completely different than they were intended, and this is noticeable. The construction of the tower cost the community or the lord a pretty penny, so the presence of the tower speaks of the important place that the church occupied in the eyes of society. By the appearance of the towers, one can determine the hierarchy of churches, more important churches have taller and more complex towers. There is no clear rule about the location of the towers, because they can be anywhere - in front of the back of the temple, on the side or in the middle, above the crossroads.

Another prominent element of the church is the dome or spire topped with a cross. The dome - round or, more rarely, oval - became popular in the West during the Renaissance. It has a great influence on both the external and internal appearance of the temple. In the interior, it contributes to the feeling of verticality and transcendence (symbolizing the kingdom of heaven) both by its height and by the way the rays of light enter the room through the windows in it. Outside, the dome and spire visually allow the building to be identified as a church, highlighting it from the urban or rural landscape. In old European cities, if you have the time and desire, you can get to know the local churches well, finding them only by the crosses on the spiers and bell towers.

Other architectural elements can also be seen outside the temple. Pilasters are vertical protrusions of walls resembling columns. They serve to thicken the walls so that they can withstand the weight of the vault. Usually they "support" the ceiling beams, emphasizing the logical relationship different parts building. Pinnacles at the top add strength by creating additional downward force.

When we get closer, we see the facade, that is, the front wall of the building. As the face creates the image of a person, so the facade creates the image of a building. Often it is he who is remembered the most. It is not uncommon for the façade to include a bell tower or other towers, statues or simpler sculptures, windows, and finally the main entrance door. In the conditions of urban development, when other buildings can hang over the church, the facade takes on an additional task - the temple is already determined by it. In large cathedrals, there are several facades that have proper names. For example, the three facades of the Sagrada Familia in Barcelona (Spain) are called the facade of the Nativity, the Passion and the facade of Glory, symbolizing, respectively, three major events in the life of Christ and all Christendom and properly formatted.

The facade and steps leading to the entrance are the second, after the square, the point of transition from the profane (the outside world) to the sacred (the interior of the church). Often it is the façade that has the most opportunity for evangelization, teaching and catechesis, as it includes works of art called the "servant of religion". The church façade is like the text on the cover of a book: its appearance briefly tells what we will find inside. The main façade, often located, is associated with the triumphant entrance to the Heavenly City. The architects concentrated rich figure decorations and inscriptions at the entrance.

Usually Catholic churches face the main entrance to the west, and the altar to the east. However, there are exceptions due to non-liturgical reasons. Such a reason may be the need to fit the church into urban development. For example, the famous St. Peter's Basilica in Rome faces the west with the altar, because it stands on a hill to the west of the city, and the correct orientation of the building would be inconvenient for those entering.

One of the parts of the church facade, best known to the general public, is the rosette - a large round window, usually located above the main entrance. Stripes of stained glass, radiating from the center, resemble the petals of a blossoming rose. There are other types of round windows that adorn the facades of Western churches, but they all owe their origin to the round opening found in classical buildings of ancient Rome, such as the Pantheon - it was called the oculus ("eye").

The facade, of course, would not make sense if it did not have doors leading inside the church. These doors - or, as they are sometimes called, portals - are of great importance, since they are literally the Gates of Heaven (Porta Coeli), the gates of the House of God (Domus Dei). The main entrance to the church, symbolizing Christ, Who said "I am the door", means not only the entrance to the building, but also the entry into the Christian community and everything connected with it.

Already in the 11th century, the decoration of portals (niches in which door leaves are located) with statues and reliefs became an important feature of church architecture. Scenes from the Old Testament and from the life of Christ are usually depicted above the entrance to the church in triangles called tympanums. Portals should inspire and call at the same time. They draw hearts to God and bodies to the church. Medieval portals adorned with images of heaven and earth are best known, but any church door is a potential symbol of man's aspiration to Heaven.

The temple doors themselves may also be decorated with various scenes and symbolic figures.

The third and final transitional point on the way from the outside world to the interior of the church is the narthex, or vestibule. It serves two main purposes. Firstly, the narthex is used as a vestibule - here you can shake off the snow from your boots, take off your hat or fold your umbrella. Secondly, processions gather in the narthex. Therefore, it is also called "Galilee", since the procession from the narthex to the altar symbolizes the path of Christ from Galilee to Jerusalem, where He was expected to be crucified.

The interior of the temple is traditionally divided into three semantic parts. The aforementioned narthex symbolizes the transition from the secular world to the Divine world, the nave means the New Garden of the reborn earth, and the altar and the space around it are the threshold of Heaven.

There is a famous and very valuable scheme in which the image of Christ is superimposed on the plan of a typical basilica church. The head of Christ is the presbytery, the outstretched arms turn into transepts, and the torso and legs fill the nave. Thus, we see the literal embodiment of the idea of a church representing the Body of Christ. It is no coincidence that the outlines of this plan resemble a crucifix. This layout is called cruciform, reminiscent of the crucifixion of Jesus on the cross.

The term basilica means literally "royal house" - a very appropriate name for the house of God, since we understand Jesus as Christ Almighty, King of kings. Much of the church architecture of the last 1700 years was based on the layout of the basilica. The church, built according to this model, fits into a rectangle with an aspect ratio of two to one. Along its entire length, two rows of columns usually stretch, separating the side aisles from the central nave. There are temples, even ancient ones, of a different layout - for example, round, or complex in shape, like the Church of the Holy Sepulcher in Jerusalem.

In the strict sense of the word, a basilica is a temple with an odd number of naves (passages to the altar), this is an architectural basilica. In the Catholic Church, the basilica is also called the special status of the temple, assigned to it by the Pope.

If the layout of the church is fan-shaped, or represents geometric figures inscribed into each other, then this church was almost certainly built in the 20th century.

After passing through the narthex, we find ourselves in the main building of the church, which is called the nave - from the Latin navis, "ship" (hence - "navigation"). Usually the nave is the largest part of the church, the place where, between the entrance and the altar, there are pews for parishioners participating in worship. The long roof beams of the nave are often compared to the hull of a ship. And the church itself has long been compared to an ark that allows the wanderer to safely reach the goal of his journey - the Kingdom of Heaven. The nave serves as a protection from worldly sin and at the same time the road leading to Heaven.

The nave is almost always divided into two or four sectors of pews by a central aisle leading to the presbytery and altar. In large churches, additional passages limit it from the sides. Naves can have different heights and are separated from each other by rows of columns. The galleries on top can have different purposes - to be choirs for singers or, as in the church of Sant'Agnese Fuori le Mura (Rome), to serve as a place for women who, at the time of the construction of the church, prayed separately from men. The gallery in Exeter Cathedral (England) was intended for musicians and singers and is decorated with images of angels playing musical instruments.

AT high churches the nave, also high, may consist of several elements, as it were, of several floors. For example, spans from groups of columns go from below, a gallery is located above, and stained glass windows are even higher. Tall buildings provide an additional opportunity to "sermon in stone" and emphasize the desire of the believer to ascend upward, to the Lord.

The transverse naves, crossing at right angles the main nave of the cruciform temple, are called transepts. The transepts are often decorated with stone carvings and stained glass. In Gothic cathedrals, the transepts are wide, not inferior in width to the main nave. Often the main entrance to the temple (or the one that allows tourists and pilgrims), in the old gothic temples located not in the central nave, but in the transept.

In the nave, as well as on the facade, you can often see vertical elements - columns and pillars. Supporting the roof, the pillars at the same time symbolize those supporting the Church - saints or virtues. The capitals - the upper parts of the columns - are decorated with scrolls, leaves and flowers. Sometimes the lower part of the column - the base - is depicted in the form of some kind of animal. Pillars, unlike columns, do not have capitals and bases, although there are exceptions. Bundles of pillars, a characteristic element of Gothic architecture, are very reminiscent of an unusually shaped column. Pillars and columns serve not only as supports for the roof, they also visually delimit the space of the temple. With their help, the visual verticality necessary for the church is given to the interior.

In the naves of churches there are many interior elements. Some of them are obligatory, others may be present in some temples and absent in others. However, all these elements are necessary and important, often they represent a single artistic and semantic composition.

At the entrance to the nave (a sacred place), bowls with holy water are usually visible. Here believers are blessed with it, reminding themselves of their baptism and sins. Overshadowing yourself before entering the church with the sign of the cross, after moistening your fingers with holy water, is an ancient way to cleanse yourself when entering the house of God.

St. Charles Borromeo, who played a large role in shaping the architecture of the Catholic Counter-Reformation, specifies the following rules regarding the shape and size of the bowl for holy water, as well as the material from which it should be made. He writes that it "should be made of marble or solid stone, without pores or cracks. It should rest on a beautifully folded support and be located not outside the church, but inside it, and, if possible, to the right of the person entering." In some churches, mollusk shells are used as bowls - giant tridactna. AT modern temples in ancient bowls with holy water, small containers are often placed in which holy water is located. The meaning of this is purely utilitarian, there is no deep symbolism in this action. Holy water bowls are a must in every temple.

Another element of the church building, which is directly related to the nave, is the baptistery - a place specially designed for baptism. Early baptistries were erected as separate buildings, but later they began to be made in the form of rooms attached directly to the nave. In the old churches, the baptistery bowl is large, designed for immersion of an adult, later the font became much smaller, now it is intended for babies. Usually they have an octagonal shape, indicating the resurrection of Christ on the "eighth day" (Sunday follows Saturday - the seventh day of the biblical week). Thus, the number eight represents a new dawn for the Christian soul. In some centuries it was customary to place the baptismal font directly in the nave. Then she herself acquired the outlines of an octagon.

Perhaps most often the nave is not complete without benches for sitting, equipped with smaller benches - for kneeling. Benches are usually made of wood and are equipped with a back, and benches are often upholstered with soft cushions. Images can be placed on the side of the benches or on their backs.

Traditionally, the pews are arranged in the same general direction, that is, one after the other, facing the presbytery. In some large churches, where many pilgrims come, pews are made removable or absent altogether. For example, in the Basilica of St. Peter, instead of them, chairs are placed, or the parishioners generally stand. However, this is by no means the norm of Catholic custom, but rather an exception, the reason for which is the need to provide enough space for a huge gathering of people who often attend Masses and other ceremonies.

The pews contribute to making the nave look like a church; they are part of the Catholic heritage and have been known in the West since at least the 13th century, however, then they did not have backs. By the end of the 16th century, most of the Catholic churches under construction had wooden benches with high backs and stools for kneeling. But even before the pews came into use, the faithful spent a significant part of the Mass on their knees and standing, and the pews were set up only for important persons - the kings or lords of the area. In museums with collections of medieval art, you can see these luxurious benches with carved wooden canopies. The beautiful mosaic floor of many old churches is explained precisely by the fact that pews were rarely set up and not for everyone.

As a matter of fact, kneeling has always been a distinctive posture of a participant in Catholic worship - firstly, as a sign of veneration of Christ, and secondly, as a posture expressing humility. We must not forget that the Catholic cult includes both worship before Christ and humility before God. The bench is designed to make both as comfortable as possible. In this capacity, it has become an integral part of the interior. Catholic churches.

Another important part of the nave is the choir. They are intended for those parishioners who are specially trained to lead liturgical singing. For acoustic reasons, the choir stalls are usually located on one of the axes of the building.

In many old churches, the choirs are located in the front of the nave, near the altar, but this was only introduced into the habit in those days when all the singers were clerics. As far as is known, the first city church in which the choirs were organized in this way was the church of St. Clement in Rome, whose enclosed choir (called the schola cantorum) was placed in the nave in the 12th century. But in monastic churches, this custom existed almost six hundred years before, since singing had long been an important part of monastic prayer. Many communities have sung the liturgy for centuries and continue this custom to this day.

Nowadays, since the time of the Counter-Reformation (that is, since the 16th century), the choirs are more often located in the back of the nave, in the gallery. The parishioners sing much better when skillful singers and an organ guide them from behind and from above. The location of the choirs and organ on a raised platform is dictated by acoustical reasons and is intended to enhance the music.

For the convenience of the singers, there are chairs for them in the choirs, often they go in rows opposite each other. These chairs can also be works of art, as in the cathedral in Toledo (Spain). Their beauty testifies to the importance attached to music and singing in worship. Most of these seats are reclining.

Lectern - stand for large liturgical books, is also installed in the choirs. The clergyman standing behind the lectern, who leads the service of the hours, singsongly reads the beginning of the solemn psalm, which is picked up by the choristers.

Around the choirs, one can sometimes see a high fence, patterned or solid, separating the choirs, as well as the altar part from the main nave. On the fence of the Cathedral of Notre Dame de Paris, all the main scenes from the life of Jesus are depicted, from birth to Ascension to Heaven.

12.11.2020

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