AD MAJOREM DEI GLORIAM
Architectural Symbolism and Other Aspects
Holy Trinity Catholic Church
Curtin ACT
Dedicated to my late wife
Veronica
Researched and compiled
by Noel Tuohy. May 1986
Revised March 1992
FOREWORD
A symbol is a sign or form which from the association connected with it conveys a meaning of something higher than meets the outward eye.
Symbolism is a picture language, it employs such things as the equilateral triangle, the cross, the crown, numbers, the dove and a host of others. Our knowledge of christian symbolism has in the main been derived from sources from the Third Century to the Middle Ages. The beautiful stained glass windows, sculptures, and architecture of the churches of the Middle Ages provided a wealth of teaching to a congregation the greater part of which was not able to read.
Our Lord's teaching, while clear and unequivocal, was given in the main in parables, stories and in symbolic form. Every discourse was highlighted by some picturesque reference — the pearl of great price. The beautiful story of the prodigal son. The teaching method used by Our Lord may well be adopted by His Church as symbolic teaching is a valuable asset and of great assistance as a means of imparting the truth.
Some years ago I read the foregoing explanation of symbolism in a book on ecclesiastical art. I think it captures and proclaims the beauty and meaning of symbolism in our church.
The following pages examine some of the symbolic aspects of the building, architecture, internal fittings, the church bell and bell tower. The Appendix discusses the sacred vessels, the thurible, the crib, the advent wreath and some of the history of bells.
Due to the decisions taken in Vatican II (1962–65), various changes were made to the interiors of Catholic churches. These included provisions for the Priest to face the congregation during Mass and other celebrations, and this necessitated repositioning of the Altar and the Tabernacle. The Baptismal Font was also moved to a place near the Altar. The Altar rails were removed to indicate that the congregation was not separated from the Priest. The Paschal Candle is now lit during most ceremonies of the Easter Season. The Paschal Candle is a symbol of the Easter mystery and is lit each day from the Easter Vigil through to Pentecost Sunday. Although not lit every day after Pentecost Sunday the Paschal Candle may be lit during services of light, the Eucharist, Baptisms, and at funerals where it is placed at the :foot of the coffin, symbolising the light of faith and expressing the Paschal character of Christian death.
With these thoughts in mind, in February 1971 it was decided to build a parish church. The type of building received a great deal of consideration. Father Lynch visited a large number of Catholic churches in N.S.W. and Victoria. I think he was especially inspired by a very beautiful Catholic church at Ivanhoe, a suburb of Melbourne. I suggest that, if you have an opportunity, it is well worth a visit. It was built in about the early 1960s during the lifetime of Father Geoghan, who used to say that his old church was a "doll's house" — it was so small. My wife and I were married in the "Doll's House" and we have a secret love for the church built by Father Geoghan with the help of Our Lady.
THE CHURCH
Exterior
As our Parish has been dedicated to the Holy Trinity it was necessary that the architecture of the church should strongly symbolises the Holy Trinity. An architect, Mr Ernest Munns, was engaged and he submitted a number of plans which were closely examined by Father Lynch and the Building Committee. Finally an acceptable plan was agreed and drilling for the pouring of the foundations for our Parish Church began on 18 April 1972.
The architect has achieved the necessary symbolism in designing a roof composed of three pyramids around a larger central pyramid. Each side of these pyramids is formed in the shape of an equilateral triangle. The equilateral triangle is one of the oldest symbols of the Trinity.
The three sides and angles of the triangle are equal and together they form one figure. This symbol supports the truth that the three persons, Father, Son and Holy Spirit are really distinct and equal in all things. All of the attributes of Divine Essence are common to the Three Divine Persons.
Another prominent external feature of the building is the spire, the three legs of which represent again the Holy Trinity, the angled arms at the top of the spire represent man reaching upwards towards God. The spire supports the Celtic Cross which rises some 90 feet. The cross symbolises the humanity of Christ who was sacrificed for us. His Divinity is expressed in the intertwining circle, the Celtic symbol of eternity. Another aspect of the building architecture is that the walls are a mere 10 feet in height, expressing the human dimension present. The courtyard walls open as arms welcoming all to worship. The people move as a congregation to the porch and then to the narthex (Entrance Area). The church doors are of heavy ash timber with glass panels, so that before entering, the congregation can see inside. From very early times a frequent and favourite image of the Church has been a ship riding in safety amid storms. In about the third century a church document gave the following instruction on the building of a church: "Let the building be oblong towards the East like a ship." Even to this day we refer to the main part or body of the church as the nave—from the Latin Navis—a ship.
Interior
The Holy Water Font
The Holy Water font in the centre of the narthex, reminding us of our Baptism, came from Carran Teampaill, the ruins of the seventh century church of St Bricin of Aran, Parish of Doora, County Clare, Ireland. The custom of making the sign of the cross on one's self was first practised by Christians about 110 AD to distinguish themselves from pagans and as a sign of recognition among themselves.
The Nave
The Nave is the central body of the Church and is the main gathering area for the people. The floor of the nave slopes downward to the Sanctuary to enable better involvement through visual contact.
The Transepts are the transverse parts of a cruciform church. While the floors in these areas are level there is good visual contact with the Sanctuary.
The Sanctuary Area
The Altar, Ambo and President's Chair have equal importance on the Sanctuary. The Altar in our church has been placed in the centre-front of the Sanctuary and it is on this table that Mass is celebrated. The Ambo is to one side and it is from here that the liturgy of the word, including the homily is proclaimed. The President's Chair is behind the Altar on a slightly raised dais so that he can be seen to preside over the Eucharist and the liturgy of the Word.
The Altar
The Altar is constructed in the form of a table. It is at this table that Mass is celebrated which in addition to being an act of worship, and a memorial of the death and resurrection of the Lord is also a celebration of the Eucharist where the Body and Blood of Christ is distributed in the form of bread and wine to all who approach the table for spiritual nourishment.
The Altar is made from rough hewn sandstone (from Marulan) representing man's imperfection. It stands on a Sanctuary of paving bricks. Using these strong natural and basic materials, the architect has endeavoured to express the fundamental relationship between God and man, a relationship of dependence and worship. Pre Vatican II Altars in Catholic Churches had a small altar-stone set into the centre of the front of the Altar; a sealed cavity in this stone contained relics of some of the Saints. The sacred vessels containing the consecrated Host could be stood only on the Altar-stone.
Since Vatican II the whole of the Altar (the table of the Lord) is consecrated. Relics of the Saints have been sealed in a cavity beneath the surface of the Altar in the centre front—where the priest stands. However it is not necessary that relics be placed on the Altar. Near each of the four corners a cross has been cut into the surface of the table and each has been blessed and dedicated with Oil of Chrism.
The Tabernacle
The close relationship between the Altar and the Tabernacle dictated that the pillar holding the Tabernacle should also be rough-hewn Marulan sandstone, standing on a base of paving bricks. The pillar symbolises God leading the Jews to the promised Land by the pillars of fire and cloud. The Tabernacle door depicts the Ark of the Covenant and has a representation of the wings of the Cherubim worshipping before the presence of God. The door also includes a cross as an abstract form of a monstrance. The design of the Tabernacle indicates that it contains something very precious—the Blessed Sacrament. The prime reason for the reservation of the Blessed Sacrament is so that it may be taken to the sick and housebound. The Tabernacle door is the work of Voitre Marek.
The monogram I.H.C. often appeared on the doors of older Tabernacles, vestments and banners, etc. It is derived from the first three letters of the Greek word IHCOYC which means Jesus. Another form is I.H.S. which is of the later origin. Here the Greek script of the third letter in IHCOYC comes closer to the way the Greek SIGMA (which resembles the English S) was written as a capital letter. There are other colloquial translations or meanings given to this monogram but the foregoing is said to be more correct.
The Baptismal Font
The Baptismal Font is positioned near the Altar and stands on a pillar, again of the same material as the Altar because it is through Baptism that we are one body with Christ and are able to offer the Mass celebrated on the Altar. When a Baptism is taking place the bubbling water signifies living faith.
The Statue of the Virgin Mary
On the other side of the Altar, set in a brick-paved niche, is a statue of the Virgin Mary with Jesus at about the same age as when he was found teaching in the Temple. Mary represents the Mother of the Church. The story of this relationship is told in the hands, with Mary giving Jesus to the Church yet holding Him back, and Jesus implying that He comes to us only through His Mother. The statue was the work of Voitre Marek of Adelaide. It precedes the Stations of the Cross.
The Stations of the Cross
The Stations of the Cross are also the work of Voitre Marek and depict the Passion and Death of Jesus. They finish at the stained glass window symbolising the Resurrection of Christ.
The Stained Glass Windows
The Resurrection window, following immediately after the last Station depicting the burial of Christ, reminds us that Christ has died and Christ is risen. The window shows Jesus holding a red staff, reminding us that He is shepherd and king purchasing us by His blood; the predominance of green signifies hope. The window of the Holy Spirit depicts the effect of the Divine Spirit upon the human soul — bringing it from darkness into light. Both windows were the work of David Saunders of Sydney. As a matter of interest the Stations of the Cross, the Statue of Jesus and Mary and the Stained Glass Windows feature in an NCDC publication 1980 titled Works of Art in Canberra.
The Sanctuary Lamp
In the Old Testament Moses was directed by God to burn a lamp continually in the Tabernacle indicating the continual presence of God with his people. In Catholic Churches, when the Sanctuary Lamp is alight, this indicates that the Blessed Sacrament is in the Tabernacle—Christ the Light of the World. The Sanctuary Lamp is of triangular design again symbolising the Trinity.
The Paschal Candle and Stand
At the beginning of the Easter Vigil ceremonies the candle is taken to the new fire. The upper part carries the monogram CHI RHO which stands for the first three letters of Christos. The Greek letter CHI (CH) is written as the English capital letter X. The letter RHO is like the English capital letter P. The Greek letters A and Ω (ALPHA and OMEGA) — the first and last letters of the Greek alphabet are also shown on the side of the candle. These letters represent that Christ is the beginning and the end, all time belongs to Him and all the ages, to Him be glory and power through every age and forever. The numerals of the current year are also on the candle. The five grains of incense are inserted into the candle in the form of a cross. They represent the wounds Christ received at his Crucifixion. When the candle is lit it represents the light of Christ rising in glory dispelling the darkness of our hearts and minds.
The candle stand is a tripod design signifying the Holy Trinity.
Altar Candle Holders
These are again of triangular design signifying the Holy Trinity.
The Ceremonial Cross
The Ceremonial Cross, which is carried in procession at Sunday Masses, etc., is made of pine and the figure on the cross is the work of Voitre Marek. On arrival at the Altar the cross is placed in a prepared wooden base in the Sanctuary. The Ceremonial Cross is a symbol of the authority of the Bishop who has appointed the Parish Priest as His representative. In about the 14th Century the processional cross became a crucifix.
I.N.R.I.
At the head of most crucifixes is the inscription INRI (lesus Nazarenus Rex ludaeorum) which means Jesus of Nazareth King of the Jews.
Founded on the Apostles
Around the walls of the church are twelve set-in stones, with a cross embossed on the face of each. The twelve lights placed above these crosses signify the twelve apostles who spread the light of the Faith of the Crucified Christ to the four comers of the world. During the dedication of the church these crosses were anointed with chrism.
The two stones flanking the Sanctuary came from limestone deposits on the farm of Father Lynch's birthplace in Ireland.
The Organ
When the Church was being built, provision was made for the organ to be positioned in a well about two feet deep, so that the organist's head would be at the same height as the rest of the congregation. The organ well includes the necessary built-in fittings for a pipe organ. The location proposed for the pipes (as sources of sound) was above the sacristy. However, as a compromise, an American electronic church organ was purchased from a Canberra supplier and it was decided to install it at floor level. St. Cecilia, who was martyred in the third century, was said to have been the inventor of the organ. She is the patroness of musicians.
Entrance Bell
The Brass Bell on the wall near the organ came from Holland and was a gift from a friend of Father Lynch. It is rung to herald the entrance of the celebrant in procession for all important ceremonies.
The Reconciliation Rooms
Three Reconciliation Rooms are set into the side walls of the church.
The Facilities
The Church building incorporates crèche facilities, toilets, a work sacristy for flower arranging, etc., and a storage room. On the other side next to the sacristy, there is a library with a good selection of liturgical and other information.
The Corner Stone
The corner stone in the wall of the front of the church near the crèche records that it was blessed and placed by Archbishop Cahill on 10 December 1972. The corner stone is the symbol of Christ.
The Enclosed Garden
The enclosed garden (leading from the Church to the Presbytery) is quite an ancient symbol of the Virgin Mary.
The Dedication
The church was dedicated by Archbishop Cahill at 2.30 p.m. on Sunday 24 March 1974 with a dedication ceremony and Mass. About 1,200 people witnessed the ceremony. Our present Parish Priest, Father Ron Flack, assisted Archbishop Cahill during these ceremonies. At that time Father was the Archbishop's secretary.
The Bell
When Archbishop Polding retired to the Sacred Heart Church in Darlinghurst, Sydney, he installed three bells which had been cast in Ireland in 1853. Some 80 years later the timbers supporting the bells broke and the bells fell. Two of the bells found their way to Canberra. One is installed in St. Christopher's Cathedral and the other, which was badly cracked, was stored for a number of years in the grounds of the Archbishop's house in Canberra. Discussions between Father Lynch and Archbishop Cahill ended with Archbishop Cahill giving Father Lynch the cracked bell. Father Lynch arranged with Garden Island in 1973 to recast this bell with another as a standby in case of spillage during casting. The bell was dedicated by Archbishop Cahill about 12 months before the church was dedicated and named Peter in memory of a parishioner killed in an accident.
The steel work and installation of the bell was undertaken by a Queanbeyan engineering firm. As a matter of interest, the concrete pad supporting the steel bell tower rests on piers approximately 60 feet deep. When the bell was installed it was fitted with a counter-balance lever with the bell rope attached to its outer end. When the bell was set in motion the clapper was free to make contact and ring the bell. The bell is now electronically controlled and rings the Angelus, etc., automatically.
The Building Site
When Strangways Street was first constructed the existing level of the terrain was built up to conform with the gentle slopes from the Curtin shops. This left the church and presbytery sites (at a rough guess) about ten to twelve feet below road level. Father Lynch wished his church to be seen and made arrangements for the transfer of fill from the excavations made during the construction of the Curtin shopping centre, and waylaid any vehicle carrying fill to increase the height of the Church site. All of this of course may have been contrary to NCDC precepts but we had Father Lynch on our side and eventually gained NCDC approval to a much more imposing site for our Parish Church.
Father Lynch's Burial Place
Some years ago, the then Minister for the Interior and Archbishop Cahill gave special approval for Father Lynch to be buried within the precincts of this church. Father Lynch chose the lawn area in front of the church library. Copies of the documentation are held by Father Lynch and at the Archbishop's House.
APPENDIX
This includes information on the Sacred Vessels, the Thurible, the Crib and the Advent Wreath. Also included is some of the early history of bells.
The Catholic Encyclopaedia provides the following information on the Sacred Vessels and the Thurible.
The Chalice
The Chalice is the most important of the sacred vessels. It is a type of cup used in the Mass to hold the wine to be consecrated. Formerly it was a cup on a low base, but now it has become a cup supported by a stem and base usually about eight inches in height. The Chalice cup may be of gold or silver, if the latter, then the inside must be surfaced with gold. The base and stem may be made of any metal. The base should be sufficiently heavy to provide firmness and to. avoid upsetting. The stem has a knob or node beneath the cup to provide a more secure grip in handling. Chalices are consecrated with chrism by a Bishop or one delegated by him. Chalices and other vessels which are intended to hold the blood of the Lord should have a cup of non-absorbent material. The base may be of any other solid or worthy material and the artist may give a form to the vessel which is in keeping with the culture of the area and their purpose in liturgy. The Chalice is an object of great dignity because of its unique use in the celebration of the Eucharist.
The Chalice or cup spoken of by Christ in the Agony in the Garden, and after his arrest, is interpreted as having a bitter content of suffering and dying that Jesus must drink.
The Paten
The Paten is one of the sacred vessels used in the celebration of the Mass. The Paten is a shallow concave dish slightly larger than the circumference of the top of the Chalice with thin edges. The Paten should be made of suitable material, gold or silver plated with the inner upper surface at least gold plated. lt may be engraved on the lower or bottom side but the top should be smooth. The Paten is consecrated by a Bishop or one authorised by him. It is used in the Mass to hold the Host and to gather up particles of the broken Host from the surface of the corporal. ln modern usage it is usually a deeper dish to hold a large number of Hosts for consecration and thus it may also serve as a container at the distribution of Holy Communion.
The Ciborium
The Ciborium is a metal vessel similar to a Chalice but like a shrine having an arched cover surmounted by a Cross. In this vessel small Hosts or particles of the Blessed Sacrament are reserved in the tabernacle primarily to be taken to the sick and housebound. When containing the Blessed Sacrament it is covered with a silk veil. Under the new rulings of the Church, vessels which are intended to hold Hosts such as a Paten, Ciborium, Pyx, Monstrance, etc., may be made of other materials which are locally considered valuable and appropriate for sacred use such as ebony or hardwoods.
The Pyx
The Pyx is a small round container usually made of or coated with silver or gold. It is about one to two inches in diameter and less than one inch deep in which the Blessed Sacrament is carried to the sick. This is usually enclosed in a small silk lined bag or pouch suspended from the neck of the priest by a silk cord.
In the middle ages the Pyx was a form of Tabernacle suspended above the altar from a chain. They were usually highly decorated.
The Luna or Lunette
The Lunette is a small crescent shaped clip or circlet, usually made of gold which holds the consecrated Host. It is slid into the Monstrance along a groove or track for exposition of the Blessed Sacrament.
Since the teachings on liturgy of Vatican II exposition of the Blessed Sacrament has been permitted without the use of the Monstrance on simple cases of adoration.
The Monstrance
The Monstrance is also called an OSTENSORIUM. This is the special vessel for presenting the Eucharistic Host for the adoration of the faithful. It is the portable shrine wherein the Blessed Sacrament rests during the ceremony of Exposition. The Monstrance may be made of any metal, but mostly it is of gold or silver, solid or plated. Since the 16th century when it came to be shaped like the sun surrounded by rays the Monstrance has evolved to a degree, that it may be of any suitable size or shape. However, by dignity it should be of high art in design and decoration. It is obligatory that there be a small cross on the top of the Monstrance and it is proper that it should not be ornamented with small statues or representations of the saints. The Lunette bearing the host is placed into the Monstrance. The Monstrance is not required for exposition of the Blessed Sacrament except where there is to be a procession or extended exposition with devotional prayers or benediction. It is one of the sacred vessels and should not be ensconced as a decorative piece of church furnishings.
The Thurible
This is the censer used during important occasions such as Easter, Christmas and at Requiem Masses, etc. The incense burned signifies prayer. The sweet smelling smoke symbolises Christian prayer rising to God. the psalmist has said, "Let my prayer be counted as incense before thee."
The Christmas Crib
The scene of the Christ Child in a manger with Mary and Joseph, and other pictures of Bethlehem have been in church liturgies from the first centuries. But the crib in its present form originated with St. Francis of Assisi eight centuries ago. Through his famous celebration at Greccio, Italy, on Christmas Eve 1223, with the Bethlehem scene, he made the crib popular. Greccio became a new Bethlehem. Historians tell us that the night was radiant with the joy of people celebrating the birth of Jesus. The people drew near the crib and sang songs in praise of God. Then Mass was celebrated. And so it is today.
Symbolism of the Advent Wreath
The wreath is in a circle because a circle has no beginning and no end. The circle means that our life with God just keeps on going. The evergreen symbolises life and growth and reminds us that God's love for us never changes. There are four candles: three purple, one rose. The purple represents sorrow. During Advent we repent of our failings and resolve to follow the Lord more closely. The rose candle represents joy or happiness in the prospect of the imminent coming of Jesus. The lighted candles represent Jesus the Light of the World. His teachings are our guiding light.
Bells—Some of Their History
The Chinese are known to have used bells as far back as 4000BC. The oldest surviving bell was found at Babylon and is reputed to be 5,000 years old. It was small as all bells were for many centuries, and may have been used for decorative purposes. The practical value of the bell was quickly appreciated and they were put to work in a variety of ways. The golden roof of Solomon's temple had bells fixed on it to keep birds from alighting on it.
Early bells made in the Orient were a hollow, round, straight-sided instrument. In the West development was different, the bell evolving the shape of an inverted cup. The clapper was used to a far greater extent in the West. In the Orient both bells and gongs were struck from the outside. In the West early bells were fashioned from two small sheets of iron curved and riveted at the edges and closed at the top, with a clapper inside and a handle—roughly the shape of Swiss cow bells through the centuries.
Bells like these were used by the first Christian missionaries in Britain. Mystic qualities were often attributed to them. This mysticism took a firm hold in Ireland where the oldest bell is the Bell of St. Patrick (about 500AD).
The first recorded mention of two distinct sizes of bells dates from about 400AD when PAULINUS, Bishop of Nola in Campania introduced them as part of the Christian form of worship. He described the large tower bells as the CAMPANA and the small hand bells as NOLA.
Two hundred years later POPE SABINIANUS made bell ringing compulsory when he ordered that town bells should be rung to indicate the beginning of Divine Service.
From about the beginning of the 13th century, alteration in the shape of the bell took place, its sides became longer and more concave with a consequent improvement in tone.
Bronze bells developed from about the 18th century and it became possible to cast much bigger bells.
When bellmakers learned to cast bells it was a simple matter to include decoration and wording on the bells. The following are some examples of the inscriptions on old bells:
YORK MINSTER BELL—AD 1627
Sweetly tolling men do call
To taste on food to feed the Soul.
A 17 CENTURY BELL (found on many old bells)
I to the Church the living call
And to the grave do summon all.
YORK—1645
All men that hear my mournful sound
Repent before you lie in ground.
ANOTHER 17 CENTURY BELL
I ring to summon with a lusty boom
That all may come and none may stop at home.
Bells—Some Ideas on Their Symbolism
The following are extracts from "Rationale Divinorum" Officiorum by Duranthus.
Duranthus was chaplain to Pope Clement IV and later captain of the Papal forces. In 1286 he became Bishop of Mene. His book the "Rationale" was the first book by an uninspired author ever printed. The book is now extremely rare.
It has been said that while his book deals with the symbolic aspects of all the component parts and details of a church, the symbolism found is often ingenious but often sadly strained.
1. Bells signify preachers who ought after the likeness of a bell to exhort the faithful.
2. The cavity of the bell denotes the mouth of the preacher.
3. The hardness of the metal signified fortitude in the mind of the preacher.
4. The clapper or iron by striking on either side of the bell makes the sound and denotes the tongue of the teacher.
5. The striking of the bell denotes that the preacher ought to first strike at the vices within himself for correction then advance to blame those of others.
6. The link by which the clapper is joined or bound into the bell is meditation.
7. The wood of the frame upon which the bell hangs signifies the wood of our Lord’s cross.
8. The pegs by which the wooden frame is joined together are the oracles of the prophets.
9. The iron clamps by which the bell is joined to the frame denotes charity.
10. The hammer fixed to the frame by which the bell is struck signifies the right mind of the preacher by which he himself, holding fast to the Divine commands, does by frequent striking inculcate the same on the ears of the faithful.