An Introduction To The Secondary Visual Arts In Worship

Because worship celebrates the gospel, the most visual images of worship are those which express the body of Christ assembled around Word, Table and font. Consequently, secondary symbols must serve the primary symbols by pointing to them and never dominating or overpowering them. The following secondary symbols have an important place in worship and will function well as servants of the primary symbols.

Table (Altar) Hangings In the early church, cloths were probably not placed on the Table. However, by the third century there is evidence that a silk cloth covered the Table. By the fourth century, Christians began to decorate the cloth with embroidery and jewels, so much so that a warning against paying too much attention to the cloth was issued by John Chrysostom, the Bishop of Constantinople. Over the decorated cloth another linen cloth was placed for the celebration of the Eucharist. In the medieval era this top cloth was replaced by a frontal cloth which hung down the front of the altar (now placed against the back wall of the church). In renewed practice today the Table is either left bare or an inconspicuous cloth is spread. Elaborate cloths are shunned since they tend to call attention to themselves and detract from the sight of bread and wine, the dominant visuals of the action taking place at the Table. In traditions where the Table is set with bread and Communion dishes holding the individual cups, a cloth covers the elements until the service at the Table begins. Many churches are eliminating the cloth, because it gives the appearance of a covered body. By allowing the elements to be seen, the image of the resurrection is communicated. This symbol is in keeping with the emphasis of renewed worship on the presence of the risen Lord at the Table. Banners The use of banners to communicate ideas and create feelings goes back before Old Testament times. The armies of the Egyptians, the Persians, and the Assyrians used banners. The various tribes of Israel adopted them as well (Num. 2:2). In medieval times, tapestries of wool, linen, and silk made of bright colors and embellished with gold threads were made by simple folk for use in worship. In modern times, banners have been rediscovered and revived for use in the worship. There are three basic rules to keep in mind about the use of banners in worship. The first is that they are not decoration. A banner is never a piece of art-work placed somewhere in the church to add color or serve some aesthetic purpose. The second rule is that a banner communicates. It says something about what is happening in the specific worship service in which it appears. Therefore, thirdly, banners have a limited use and are not to be thought of as permanent fixtures in a worship setting. A banner may be associated with a season such as Advent or Lent. It could be hung on the wall during the entire season. It could be used for the entrance procession, placed in a stand during worship, and used again in the recessional. If these three rules are followed, banners will retain their function as servants of the Word. On the other hand, churches that choose to decorate their worship space with many banners hanging from the ceiling or on the walls will find that their presence will overpower the primary symbols; they will clutter the space and detract from the main focus of worship with too many messages. Candles The significance of candles in worship is not related to the candle itself, but to the light it projects. Christ is the light of the world, and the light of the candle speaks this truth. The use of the candle in worship probably goes back to the paschal vigil service held on the night before Easter dawn. The service began with the lighting of fire, emphasizing Christ, the light. From this fire a single candle, known as the paschal (Passover) candle, was lit. It was used as the main candle in worship that year, lighting other candles used in various worship settings. Throughout history the candle has been used in various ways. In the Roman Catholic church it has been customary to burn six candles on the altar, seven if a bishop is celebrating the Eucharist. In Eastern Orthodox worship, a seven-branched candlestick stands on the altar. Most Protestant churches have used candles for special services, such as Christmas Eve, but have rejected the use of candles in the sanctuary during worship. In modern worship renewal, it is customary to set two candles on the Table of the Lord as symbols of Christ, the light of the world. Two lit candles may also be used at the reading of the gospel as acolytes stand on both sides of the reader. Numerous candles may be used in processions and with the entire body of worshipers, particularly in services that celebrate the birth or resurrection of Christ. Since there are no universal rules about the use of candles in worship, each congregation determines its own use, keeping in mind that candles are never mere decorations, but reminders of Word, Table, and font. Chalice and Paten The chalice is the cup which holds wine, symbolizing the blood of Christ shed for the forgiveness of sin; the paten is the dish which holds bread, symbolizing the body of Christ broken for our salvation. These liturgical utensils of the Table have been the object of considerable artistic attention throughout history because of their functional importance. Today artists both privately and commercially are expressing the importance of the body and blood of Christ through chalices and patens that fit aesthetically into the larger artistic environment of the church. It is important in making or purchasing a chalice and a paten to keep in mind their functional roles. They are not decorations and should not call attention to themselves. Their roles as servants of the primary symbols of wine and bread should be kept in mind. After the Reformation, many Protestant churches introduced individual cups in place of the chalice. Today many churches are returning to the chalice or using both chalice and individual cups. Where individual cups are used the dish that holds them is usually made of pewter or silver and serves the primary symbol well. However, the introduction of plastic cups as a replacement of the original glass cups poses a problem. Plastic does not serve well the importance of Christ's shed blood. It tends to cheapen the primary symbol and detract from its importance. If the individual cups are retained, it is advisable to return to the glass cups even though considerable time is spent in cleaning them. Color in Worship Over a period of time, certain colors have developed meanings that serve the seasons of the Christian year. The use of color in worship is not rooted in any biblical precedent, but in developments in the medieval era. For the first thousand years of the church, vestments were always white, and color was used indiscriminately in the church. During the twelfth century colors were organized according to different seasons and various festivals. By the early thirteenth century Innocent III ruled that white is for feast days, red for martyrs' days, and black for penitential seasons. Today various colors are used to correspond with the seasons:

Advent: Royal blue or purple. Royal blue is a kingly color representing the second

coming of Christ the King, and purple is the color of repentance.

Christmas: White or gold. These are colors for festive occasions.

After Epiphany: Green. This is the color for ordinary time signifying continuity. Lent: Purple for penitence. Holy Week: Black for sobriety. Easter: White and gold for festivity. Pentecost: Red for the martyrs of the church. After Pentecost: Green for continuity. Colors are also used for specific occasions: Baptism: White or red. Confirmation: White or red. Ordination: White. Marriage: White. Funeral: Violet, blue, or black. Dedication of a Church: White.

Colors may be used on the following items: vestments, pulpit hanging, Table cloth, and banners. Cross A variety of crosses appear in many churches—Orthodox, Catholic and Protestant. The use of the cross as a visual symbol has a complicated history. An empty cross was used very early, symbolizing the Resurrection. Processional crosses, for example, can be found as early as the fourth century. In the twelfth century realistic crucifixes with the suffering Christ were introduced, mainly by the Franciscans. Today, both the crucifix and the empty cross are used in worship: one symbolizing the death, the other the resurrection of Christ. In many churches a large cross may appear on the wall as a symbol of both death and resurrection. Care should be taken that such a cross does not become the dominant symbol in the church, overpowering the primary symbols. It is best when the cross is made in a design and material complimenting the primary symbols of pulpit, Table, and font or pool. When used in a processional, a cross is placed in a stand next to the Table and used again to lead the recessional. Glass Stained glass windows originated in the medieval period. Their original purpose was to tell a story, the deeds of a biblical character, or the proclamation of a message, such as the judgment. Today stained glass is still used in many churches, although the cost prohibits its lavish use. There are a number of different kinds of glass: (1) architectural glass is a stained glass that is actually built into a building's architectural design and functions not only as a visual art, but as an integral part of the building's structure; (2) translucent glass is designed to cast a light into the sanctuary. Thus "opaque" glass allows for a considerable amount of light, even colored light, while "beveled" glass casts a pure prism of color, and "clear brown" glass, because of its lines, will sparkle with light in the glass itself; (3) overlaid glass is glass upon which a colored plastic film has been applied; (4) painted glass is glass on which a scene has been actually painted then baked on; (5) opalescent glass is a heavy thick glass that has a scene glued onto it. Instead of reflecting light, it absorbs light and displays its colors; (6) leaded glass has been assembled by strips of lead oxide and affixed to the glass with metal joints soldered together with putty. In contemporary worship renewal, glass has a place as long as it does not call attention to itself. Its should create a mood and not be an image to ponder. As such it should speak to the unconscious mind, not the conscious mind. It should assist the gospel and its primary symbols by evoking feelings of joy and wonder, trust and love. The true function of glass is to create an atmosphere in which the worshiper senses the power of God's love and transcendence. Liturgical Books In the medieval era it became customary to adorn the books from which the services were read, especially the gospel book, with symbols of beauty, such as pictures set in the midst of jewels. In contemporary worship renewal, artistic attention is being paid again to books used in worship. The emphasis is on simplicity of design so that the books do not become objects of attention, but objects that serve the gospel by creating an atmosphere of respect. Projection and Lighting Techniques Due to the advances of technology in recent decades, it is possible to create "projected environments" for a particular occasion of worship. Slide projectors, overhead projectors, and various lighting techniques can be employed in a variety of ways to create such an environment. Various images can be projected onto walls, ceilings, or screens to trigger the imagination. Because this kind of visual imagery easily can be an end in itself, quickly overpowering the more subtle communication of the primary symbols of Table, pulpit, and font, it is important to use these technologies sparingly. Pyx A pyx is a box or receptacle that houses the consecrated elements of bread and wine reserved for the sick or shut-in members of the church. The practice of reserving the elements for those absent from worship is mentioned by Justin Martyr in the middle of the second century. In the early centuries of the church, the elements were probably taken to the sick and shut-in immediately. However, by the fourth century the reserved elements were kept in the church, probably in the sacristy. Consequently, the necessity arose of making a receptacle where they were kept. By the ninth century regulations concerning those boxes were issued, resulting in containers that were not only artistically beautiful, but kept in places where they could be seen and adored. In some cases they were kept in private rooms, and in others hung from a chain in a beautiful box over the altar. In contemporary worship renewal the pyx should be kept in an open, but inconspicuous place. It may be artistically beautiful to reflect the importance of the elements it houses, but it is not to call attention to itself and detract from the primary symbol of the Table. Vestments Vestments, or the clothing worn by the worship celebrants, originated in the fourth and fifth centuries. During the first three centuries of Christianity the celebrant wore the civilian dress of the Roman empire: the alb, stole, and chasuble. During the fourth and fifth centuries, Roman dress changed under the influence of the barbarians, who introduced trousers and shirts. However, Roman dress for the celebrants of worship did not change. The consequent differentiation resulted in a distinct clerical dress for worship. Throughout history the vesture worn by the clergy has undergone considerable change, expansion, and development. The details of these changes need not be outlined here. Nevertheless, it is important to note that where a vestment became a "thing in itself" and lost its relationship to worship, the art of vestments became cluttered and overdone. Most Protestants rejected the wearing of vestments. While Anglicans and Lutherans continued to use vestments, many of the Reformed bodies wore the Geneva gown, a black robe similar to an academic gown with white tabs attached to the collar. In America, many pastors, particularly those of the Presbyterian tradition, wore a Prince Albert suit, a black coat with tails and striped trousers, a dress outfit popular in the nineteenth century. As a result of the twentieth century renewal, many churches are returning to the ancient use of the simple alb, stole, and chasuble. An alb is a long white robe secured at the waist with a belt; the stole is a wide strip of cloth that hangs around the neck and down the front of the body. It is a sign of pastoral and priestly office and thus worn only by the ordained. The color of the stole is normally the color of the church season. It may be adorned with a cross or a symbol of the church season. The chasuble is originally an outer cloak worn over other clothing. Liturgically, it is worn during the celebration of the Table by the celebrant as the eucharistic garment. The color of the garment depends on the season of the church year. It may also be adorned with symbols depicting the particular event celebrated, or it may bear symbols of regional or ethnic importance. In choosing or making vestments, several matters should be kept in mind: (1) a vestment is a liturgical apparel and not a mere costume. Therefore, it speaks of the role, office, or function of the celebrant in the sacred action in the assembled community; (2) a vestment should be chosen with regard to the space in which it is to be used. It should serve the space and not overpower it or be a dominant factor within it. Who should wear what vestment in a service is as follows: Clergy Presiding Over the Table: Alb, stole, and chasuble. Clergy at a Noneucharistic Service: Alb and stole. Deacon: Alb and stole. Child Server or Acolyte: Alb or white shirt/blouse with dark pants/skirt. Lay Eucharistic Minister: Alb or street clothes. Lector: Street clothes. Choir: Robes. Cantor: A robe with the opposite color of the choir robes. Summary A visual art never exists in worship as an end in itself. What is of first importance is the celebration of the gospel which takes place at the pulpit, the Table, and sometimes at the font. These primary symbols are served by many secondary symbols, whose function is always to signify the primary action or to assist this action. Consequently, their appropriate place must always be carefully planned lest they overpower the primary symbols and thus function in a negative rather than a positive way.