That wasn’t the full section:The Dignity of the Sacred Space
- The Lineamenta made reference to the role of art. The dignity of what pertains to the celebration of the Eucharist expresses faith in the sacred mysteries and effectively contributes to nourishing the faith of both the sacred ministers and the faithful. This attitude is seen in the proper arrangement of the sacred space, in an appropriate placement of the tabernacle and chair and also in the special care given to particulars, such as cleaning, furniture and fresh flowers. Indeed, the faithful’s formation in Eucharistic doctrine greatly depends not only on what they hear, but also on what they see. Neglecting these points is a sign of a weak faith.
Based on the Bible, the Church has traditionally set aside an area reserved for the sacred ministers, as a powerful sign that the Lord is the one who choses his ministers and brings them into his service. This distinction has been maintained in the Eastern Churches, through the
delineation of the sanctuary, and in the West, through the presbytery. The liturgy manifests that the People of God is **hierarchically ordered **and geared to active participation. The altar is the most holy part of the Church building and is elevated to indicate that God’s work is far superior to all human works. The linens which cover it are symbolic of the purity which is necessary to encounter the divine. Like the Church building, the altar is dedicated to the Lord only, and cannot be used for any other purpose.
- The responses raise the concern that oftentimes the Church building is used for profane events, such as concerts and theatrical events which are not always religious in nature. The liturgy of the dedication of a Church recalls that the community offers the Church building entirely to the Lord. Therefore, it cannot be used for any other purpose apart from its consecration.
Some responses reported other occurrences,
opposed to afore-mentioned Church tradition,which obscure the sense of the sacred and the transcendent character of the sacred mysteries. For example, many new Churches—not to mention older ones after renovation—
are built on the fundamental architectural plan of bringing the faithful into close proximity to the altar to ensure visual contact and communication between the celebrant and the assembly.Likewise, the tendency to turn the altar around to face the people—in practice eliminating the presbytery—is based on the same idea. In doing so, what might be gained in communication might not sufficiently safeguard a sense of the sacred, which is also an essential part of liturgical celebrations.
Some responses are very encouraging, however. Based on the guidelines set down in The General Instruction on the Roman Missal, diverse initiatives have been undertaken to ensure that sacred spaces in already existent Churches and those under construction be true places of prayer and adoration, where art and iconography become instruments to serve liturgical needs. For example, in some Churches, kneelers have returned along with the practice of the faithful kneeling during the Eucharistic Prayer. Tabernacles, previously not clearly visible, have again been placed in the sanctuary or in a prominent place. The planning of new Churches is providing greater prominence to art, decoration, vestments and sacred vessels. This seeks to bring into harmony the nearness of the celebrant to the people and the sacred nature of the divine mysteries which are, at one and the same time, immanent and transcendent.
This is indicating that the sense of the sacred needs to maintained, by bring the celebration closer to the people./
