Built Around the Altar

by Brian Welter, appearing in Volume 45

Peter Anson’s wide-ranging discussion of church architecture and furnishings demonstrates how the physical world can deepen Catholic belief and practice. He argues that the first rule for church structure and furnishings is functionality. A church’s architectural structure and furnishings support this functionality and help express the truths of the faith in physical ways.

Liturgical vessels and architecture are presented with ample drawings and detailed research. Anson discusses the historical sources and development of everything in a church, from candlesticks, to vestments, to the steps up to the main altar. His main point is that a church’s layout and architecture must be guided by the function of the building itself, which is to provide shelter for the altar and the faithful.

Anson’s central observations focus on the primacy of the altar. First, contrary to the ideal, he remarks that certain elements of church architecture often surpass the altar in importance because architects and priests often fail to keep in mind this main function. Designers are frequently beholden to trends. Second, the Code of Canon Law, which upholds the principle of functionality, testifies to and reveals the organic development of the Mass and church architecture, and how these are related. Third, over the centuries, the Church has followed the principle of universalism in architecture and liturgy while also respecting local traditions. Anson makes note of general rules and uses in this regard as well as local exceptions.

The discussion of the altar, and closely related structures such as the reredos, supports the main contention that a church is ideally built around the altar. The author provides clear definitions for most terms with a decidely British accent; with regards to traditional altar coverings, he explains: “The general term ought to be canopy (from the Latin conopaeum) for anything that roofs the altar. If the canopy rests on four columns (or more) it is a civory. If it is fastened to the wall or reredos or dossal behind the altar, it should be called a baldaquin. If the canopy is suspended from the vault or ceiling above the altar, it should be called a tester.”

For the reader of 2024, these descriptions testify to the profound changes in the Church and its practices and culture since the book’s original publication in 1948. Anson’s meticulous research into the Latin, Greek, Italian, or French origins of many terms, practices, and aspects of architecture or church furniture supports his argument for the primacy of functionality and its organic development. This research also reminds us that western nations have been cut off from this organic development.

Anson’s research highlights certain developments in church plans and furnishings over the centuries. In fact, some of the most beloved aspects of the traditional church building are perhaps not as deeply-rooted as commonly assumed: “Communion rails, such as are now almost universal in churches where the Roman rite is followed, are a comparatively modern innovation. They are a sort of compromise between the mediaeval chancel screen and the low wall which enclosed the chancel in the Roman basilicas. There is no evidence that fixed communion rails were found in pre-Reformation churches.” The author often highlights the significant changes that the sixteenth century brought to church architecture and liturgical practice. Numerous elements of “medieval” Latin rites may not be so medieval after all.

The author’s adept integration of sacramental and liturgical theology within his discussion of church architecture provides a wide-angled perspective on functionality. The accent on functionality, particularly the fact that the altar precedes even the building itself in importance, leads to interesting and unexpected observations, including the following: “The late medieval architects did not create what might be called ideally liturgical churches, i.e., churches primarily for the central mystery of the Holy Eucharist in action. In cathedrals like Notre- Dame de Paris, Cologne, Milan, and, to a lesser degree, Canterbury, the main altar is hardly visible. The building became more of [a] long, narrow, and tall ‘tunnel’ with the altar in the dim, faraway distance.”

The discussion on tabernacles underscores interesting aspects of Eucharistic theology and historical practices related to protecting and performing devotions to the Blessed Sacrament.

Ample black and white drawings, produced by the author himself, ably compliment the text’s clear prose. These attractive, memorable, and well-placed images may even serve non-academic readers, including homeschool parents who could use these illustrations for more than one art project.

There are, however, a few notable shortcomings to the book. A comprehensive glossary would have helped the reader navigate the many technical terms used throughout the text. Also, except for references to Saint Charles Borromeo, the author unfortunately remains mostly silent on the insights of saints and popes regarding church architecture. Third, greater reference to eastern churches and their tradition of church architecture would have provided a wider view and made the discussion even more fascinating. As is, the author’s primary emphasis is on church architecture in England, France, and western Mediterranean countries.

Overall, the book will undoubtedly help Catholics more greatly revere and understand the Mass, the sacraments, and church buildings.