The Latin cross is a symbol of torture. The Latin cross can appear misused with glimmering jewels, burnished filigree, or arranged flowers superficially affixed to it. However, in worship space, additional, colorful elements, judiciously placed upon a central Latin cross, can be satisfying if there is significance and purpose for their inclusion. Indeed, the odious Latin cross has become an object of celebration in the Christian Church.
For further information, see theology discussion number nine.
Remodeling a worship area or building a new one requires consultation with a liturgical artist about the aesthetics and theology of the space at the onset of the project. Unity of design and communication of a clear, non-befuddled visual message are of critical values.
One valid approach is for an artist to first design the central cross inasmuch as the message of the Cross is the focal doctrine of the Christian Church. In submission to the attitude that all Christian theology, from creation to the resurrection and beyond, originates from the Cross of Christ, the central cross, the first liturgical artifact, becomes the source of shapes, colors, and textures for other liturgical furnishings and artifacts (that is, everything from the major chancel furnishings to the details of the torches and flower stands).
Paintings & Mosaics
Religious art and liturgical art do not have the same aesthetic. Liturgical art is not self-seeking, but makes manifest the God we worship and, therefore, relates to everyone in the Christian fellowship. Liturgical art does not solicit originality of theme; if anything, it avoids it. Liturgical art acknowledges Word and Sacrament, presenting the provocative Gospel message. Liturgical art exalts God, not the artist, and the pieces remain unsigned. The liturgical artist should profoundly understand the spiritual mentality of a worshiping group when creating its art pieces.