The importance of epic church art & architecture

St. John Cantius, Chicago (photo by author)

Origins
The early ecumenical council at Nicea explicitly condemned those opposed to venerating sacred iconography:

All those childish baubles and bacchic rantings, the false writings composed against the venerable icons, should be given in at the episcopal building in Constantinople, so that they can be put away along with other heretical books.
Second Council of Nicea, Canon 9, 787 A.D.

And the council exhorted that holy images be exposed in the churches in keeping with tradition:

We defend, free from any innovations, all the written and unwritten ecclesiastical traditions that have been entrusted to us. One of these is the production of representational art; this is quite in harmony with the history of the spread of the gospel, as it provides confirmation that the becoming man of the Word of God was real and not just imaginary, and as it brings us a similar benefit. For, things that mutually illustrate one another undoubtedly possess one another’s message. Given this state of affairs and stepping out as though on the royal highway, following as we are: the God-spoken teaching of our holy fathers and the tradition of the catholic church — for we recognize that this tradition comes from the holy Spirit who dwells in her– we decree with full precision and care that, like the figure of the honoured and life-giving cross, the revered and holy images, whether painted or made of mosaic or of other suitable material, are to be exposed in the holy churches of God, on sacred instruments and vestments, on walls and panels, in houses and by public ways, these are the images of our Lord, God and saviour, Jesus Christ, and of our Lady without blemish, the holy God-bearer, and of the revered angels and of any of the saintly holy men.

You see how the writings of those opposed to icons were filed under heresy. From the earliest centuries, "tradition" included visual depictions of the gospels and the saints as vital to the spread of the gospel and ecclesial sanctuaries. The art serves the faithful.

A beautiful environment for divine reality is prefigured in the Old Testament. When God instructed Moses to build the ark in Exodus 25, He mandated use of gold, precious gems, and statues of cherubim. The ark was the dwelling place of God. The beautiful imagery corresponded to the divine invisible reality. 

The importance of holy images in churches remains in order unto today:

[I]n sacred buildings images of the Lord, of the Blessed Virgin Mary, and of the Saints, in accordance with most ancient tradition of the Church, should be displayed for veneration by the faithful and should be so arranged so as to lead the faithful toward the mysteries of faith celebrated there. (General Instruction of the Roman Missal, #318)

Pope Benedict XVI explained the necessity of "beauty" in conjunction with the Eucharistic celebration:

Everything related to the Eucharist should be marked by beauty. Special respect and care must also be given to the vestments, the furnishings and the sacred vessels, so that by their harmonious and orderly arrangement they will foster awe for the mystery of God, manifest the unity of the faith and strengthen devotion.Pope Benedict XVI, Sacramentum Caritatis, #41, 2007

Duomo di Milano (Milan Cathedral) ca 1870s (public domain photo by Giacomo Brogi)

In the 1947 encyclical Mediator Dei, Pope Pius XII explained how sacred images should tend "neither to extreme realism nor to excessive 'symbolism.'" It's easy to understand excessive symbolism, for an overly abstract or vague image detaches from sacred tradition and wouldn't contribute to catechesis if the viewer can't tell what it is. Extreme realism is, perhaps, trickier to understand why it should be avoided. However, consider a statue of St. Peter holding the keys and pontificating with his finger to the sky and a halo over his head. Would this depiction be "realistic" in that there could have existed a photograph of Peter in that exact pose holding a giant key? No, however, the key and halo and pose are representative symbols that reveal truths about the saint. If one considers a photograph and sacred art in this way, the art is the more "real" of the two. 

This brings us to a final consideration.

Old St. Mary's Church, Cincinnati (photo by author)

Christ Uses Visual to Depict Mystery
This notion of fostering awe for the mystery of God calls to mind a particular Scriptural passage combining the visibly glorious with an invisible mystery. The passage is the healing of the paralytic. The crowd doubted Christ's ability to forgive sins. Christ replied:

"Which is easier, to say to the paralytic, 'Your sins are forgiven,' or to say, 'Rise, take up your pallet and walk'? But that you may know that the Son of man has authority on earth to forgive sins" — he said to the paralytic — "I say to you, rise, take up your pallet and go home." And he rose, and immediately took up the pallet and went out before them all; so that they were all amazed and glorified God, saying, "We never saw anything like this!" (Mark 2:9-12)

Jesus used a visibly striking image to correspond to the unseen miracle of the forgiveness of sin. Christ used the visual medium to represent the unseen mystery. The healing of paralysis served as the icon of the forgiveness of the man's sin. St. John Paul II wrote to artists, "in a sense, the icon is a sacrament." The incarnate Christ is both God and man, the visible and invisible. Art that gives due regard to the incarnation principle stays true to tradition.

Ss. Peter and Paul Catholic Church, Naperville, IL (photo by author)

It's also important to recognize the manner of physical representation Christ chose to model a sacred reality. Did He perform some act of mundanity or plainness? No. The act was awe-striking. Nothing less would befit the unseen mystery. Mundane art and architecture is a contradiction against what transpires on the Eucharistic altar. 

This is why Church art, iconography and architecture must be epic, awe-inspiring, and befitting of divine mysteries. Even a small church can incorporate things like striking stained glass windows; an ornate crucifix, tabernacle, and altar; or small statues and icons to the extent possible. The goal "should be marked by beauty," as Pope Benedict said. Plain or abstract decor in a church fail to correspond to the Eucharistic mystery in the way Christ's healing of the paralytic delivered shouts of glory to God because it was so visually amazing.