The Gothic temple, its heritage and the architectural presence of the altar in the second half of the 20th century

Abstract

The article defines the role played by the architecture of a Gothic temple in the aspect of the synthesis of the cultural and liturgical image when it concerns the form of the cathedral’s facade, its floor plan culminated with the eastern choir and metaphysics where the light processed by stained glass in contact with the frame (stone skeleton) structure brings a symbiotic, symbolic image. The above-mentioned synthesis was interpreted specifically after the Council of Trent (1545-1563) by the demolition of the rood screens closing the Gothic choir in front of the nave of the lay faithful. The liturgical renewal with a visually open choir introduced the main altar at its culmination, obligatorily connected to the tabernacle, and additionally elevated by a retable. The article describes the interior of the Gothic choir after the Council of Trent, liturgically up to date with the Second Vatican Council (1962-1965). Then, it describes the renewed image of the Gothic choir after another, modern, liturgical renewal. By specifying a new presence of the altar and tabernacle after the Second Vatican Council in the church (currently defined as the domus ecclesiae), the article elucidates the validity of the architecture of the Gothic interior when it exists in accordance with the post-conciliar regulations and serves the purpose of building the community of faith.