The emphasis of the liturgical movement of gathering the congregation around the liturgical elements is here emphasized by seating in the monastic fashion, with the congregation facing one another across pulpit, font, and ...

The preeminence of the altar, with its baldanquin and the tabernacle on the table, is clearly Roman Catholic. The simplicity and clarity of design with the single altar presages the liturgical movement which found its ...

The serpentine columns and bas relief sculpture which comes forward out of the frame is a wonderful example of the baroque.

Saint Seryatius was an Armenian missionary who died in Maastrict c. 384. His remains are enclosed in the altar.

The brutalism continues in the forms of the pulpit and altar.

The crucifix is high in the apse, behind the simple altar/table. Again, an ancient church shows the impact of Vatican II.

Left to right: Santa Monica, baptismal font, pulpit, person, and altar.

Pulpit is located to the left while the altar/table is centered below the reredos. Note the groin vaulting.

Central to the Mass is the altar/table with its form giving emphasis to both. While the processional crucifix stands before the altar/table it is flanked on both sides by the six candles for High Mass. Behind the liturgical ...

The table aspect is here accentuated by the void between the two supporting legs. Note the simplicity in the use for material in pulpit and altar/table.

Note the chair for the bishop/celebrant directly behind the altar/table in its early Christian position.

The east end of the church finds its altar surrounded by a semi-circular bank of pews for the brothers of the abbey. As initially conceived the adjacent facing pews were for the novices. The great baldanquin hanging over ...

The altar/table shows the influence of the liturgical movement, even prior to Vatican II by the indentations in the rectangular block of the altar/table which clearly gives it reference to the table aspect. The axial plan ...

In contrast to the left wall of the great church room the east wall, with the liturgical center, is a disappointment. The liturgical change is apparent in the appearance of the altar as table, albeit this being prior to ...

The void in the heavy marble structure nonetheless manifests the table function of the Eucharist. The altar/table is surmounted by a very contemporary crucfix, adding meaning to, without detracting from, the action of the Mass.

The cave like interior nonetheless reflects the impact of the Liturgical Movement. The baptismal font, with its paschal candle stands at the entrance, reflecting the role of baptism as the entrance to the church. The axis ...

Close up of altar with minimal reference to table function.

The interior shows the beginning influence of Rudolph Schwarz insofar as it is essentially circular, composed of elipses. The altar table here has a cut out reflecting a table influence. The bishop's chair is on the left.

The great church room is enveloped by a curtain wall of colored glass, set in concrete frames. While the structure was revolutionary, the liturgical arrangement was quite traditional with the altar centrally placed on an ...