Tea at Trianon: The Christology of the Stairs: Medieval Raised Sanctuaries vs. Modern "Worship Spaces"

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Saturday, June 20, 2026

The Christology of the Stairs: Medieval Raised Sanctuaries vs. Modern "Worship Spaces"

From Hilary White at The Sacred Images Project:

Visitors to the medieval churches of Umbria and Tuscany are often surprised by an architectural feature that is found surviving in great abundance in our area; raised or elevated sanctuaries in our most ancient churches. That is, the place where the liturgical actions happen, that we are used to seeing conducted right in front of us, is set on a high platform, sometimes as much as 15 feet above the level of the nave, and mostly impossible to see.
We’re used to the sanctuary part of the church being raised at least a few feet above the level of the nave, often with the altar raised again on a stepped platform, but several meters? So high the congregation can’t see anything?
Architecture always catechizes. We all know that Catholic church architecture is used to express particular beliefs about the nature of reality, Christology, man’s relationship with God and his proper place in creation. Most Catholic churches, until the middle of the twentieth century, were built on a cruciform floor plan. The church itself is the image of the crucified Christ; the faithful literally enter into the symbol. Medieval builders extended this symbolic language far beyond the floor plan. Every aspect of the building could be made to communicate theological truths. These ancient stone churches emerge from a worldview that understands reality itself as hierarchical, which the designers of the elevated sanctuaries took very literally.
Why are so many ancient churches in Umbria and Tuscany built with sanctuaries raised high above the congregation, sometimes so high that much of the liturgy would have been difficult to see? It has very little to do with practicality and a great deal to do with how medieval Christians understood Christ, the Mass, heaven, earth and the structure of reality itself. (Read more.)