The central focus of the Sanctuary is an area designated as the Centrum. The four major components of this area are the Altar, Ambo, Presider’s Chair, and Crucifix. The People of God are gathered around this area to renew and celebrate our covenant relationship with the Holy One. His sacrifice has become for us the wellspring of life, nourishing and guiding us on the journey of faith.
Our Altar comes from granite and limestone quarries in Canada. The stone was then shipped to Italy where it was carved into its present state. Central Tile and Terrazo supervised the entire process and installed all of the stoneware in the Church. The Mensa (table top) is made of “Blue Eye” granite, the lower slab is “Blue Pearl” granite and the columns are of limestone. The altar is 42 inches high, 6 feet long, 4 feet wide and weighs approximately 7,000 pounds!! It is here that heaven and earth meet in the sacrifice of Christ. It is here that death gives rise to life and His love becomes our food.
The Ambo (pulpit or “little table”) is composed of Blue Eye granite and limestone. This place from which Scripture is proclaimed expresses the essential equality and dignity of Word and Eucharist. The Liturgy of the Word and the Eucharistic Sacrifice together form one act of worship for God’s people.
The Presider’s Chair is constructed of African mahogany. This chair represents the tradition of the Church handed down from one generation to the next with the guidance of the Bishops.
The Crucifix[1] is based on a 14th century model painted by Cimabue for Santa Croce in Florence, Italy. The choice to paint rather than sculpt the figure of Jesus comes from the Eastern tradition of the icon. In the west, the figure became more and more realistic until the painted figure gave way to the modern sculpted corpus. Michael Northrop painted the crucifix to honor both traditions. The merging of eastern iconic form with developing western realism was a common 14th century style that would have been familiar to St. Catherine. The use of a live model was a hallmark of this period of western art. Live models from our area were used in the painting of the crucifix and most of the art in our church.
Our crucifix reflects the early tradition of crossing each end to create four smaller crosses representing the wounds of Christ. The top of the cross is defined by the “titulus” or title board placed above Jesus by the Romans. Each side of the crossbeam ends in a “terminus”. The fourth cross is created by the footbrace on the lower end of the vertical bar.
On either side of the corpus are two areas representing our world. In these two spaces are four symbols representing the fundamental aspects of creation: earth, air, fire and water. These four symbols are leaf designs representing the Trinity. The circle depicts the infinite nature of God. Within the circle are three grape leaves sprouting from a single vine symbolizing Father, Son, and Spirit, three in one. The depiction of the Trinity in each of the four elements expresses a medieval belief that continues to the present day. It teaches us that the triune God is fully active and involved in all aspects of our physical world. It’s depiction on the crucifix is the expression of our belief that the sacrifice of Christ is restoring the world’s unity disrupted by human sinfulness. This Trinitarian vine figure is repeated throughout the church.
The use of red and blue on the crucifix draws upon a common medieval tradition. Red represents the dynamic passions of our earth and all of creation; blue is the calming dynamic peace of heaven which gives birth to all of life. The red occurring behind the four symbols represents our creation drawn into the sacrifice of Christ. The use of red on the titulus represents the earthly title of Jesus. The blue on the cross itself indicates the divine origin of our salvation. On the two side termini the blue indicate the interaction between the spiritual and physical worlds. The Lord’s body spans the red and blue areas proclaiming His suffering is forging the two realities into one new creation.
The right hand of Christ is in the traditional form of blessing. The thumb crosses the last two fingers to symbolize the Trinity and the two extended fingers represent the two natures of Christ: God and human. We are reminded that within the midst of suffering Christ continues to bless us.
On each side of the cross in the terminus the hand of an angel emerges from the heavens holding a chalice collecting the blood of Christ which will be presented at the altar in the Eucharist. This ancient symbol was in common use in 14th century northern Italy. In the modern church there is reference to the angels presenting the blood of Jesus in Eucharistic Prayer number one. His blood becomes a real part of our Eucharistic Liturgy. The blood from the feet falls upon the altar. This recalls the Old Testament stories recounting the blessing of the altar and people with the blood of the sacrificial victims.
Gold is an ancient biblical symbol because it is purified by fire. In the Church it represents that which is made perfect through trial and suffering. Christ’s halo is burnished gold creating a mirror-like surface. This reveals the aura of Christ radiating glory even in the midst of suffering. In the titulus is inscribed[2] “Jesus of Nazareth, King of the Jews”[3]. The Latin, Greek and Hebrew text, like the halo, are 23 carat gold gilded and placed over the shadow of the traditional Latin initials (INRI).
Jesus is depicted alive and nailed to the cross engaging and embracing us thus transforming the horrors of suffering itself. He is not a passive victim but a determined Redeemer. Jesus said “No one can take my life from me, I LAY IT DOWN WILLINGLY”. The Book of Hebrews tells us that Jesus has become the great High Priest in the order of Melchizedek, not a priest of human descent. Jesus is both priest and sacrifice, offering himself on behalf of humanity.
The blood on Jesus’ forehead spells out in Hebrew “q’dosh l’yahweh” (holy to the Lord). These words were written on the diadem the Jewish High Priest wore when entering the Holy of Holies. Jesus’ eyes are open to remind us that even in His suffering He chooses to continue to be one with us.
The wood panels that form the side of the crucifix represents the fifty days between the resurrection of Christ and the coming of the Spirit at Pentecost. The engraved Trinitarian symbols represent the twelve apostles. They were ordained during this sacred time to become the very foundation of the emerging Church.
On the reverse side of the crucifix the Holy Spirit descends as a dove through the Hebrew word for life, “Ch’ai”. This powerful word technically is technically translated “primal and universal life.” On the top of the cross, above the image of the dove, are the shadow letters of the ancient Aramaic Christian prayer “Maranatha.” Its translation “Even so, come” is superimposed in gold leaf. This is a prayer petitioning the Holy Spirit to be present despite our failures and sinfulness. On the lower portion of the crucifix is a reliquary containing three relics; two of St. Catherine of Siena and one of the true cross.