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Lent 1. Like David

First Sunday of Lent, Year A

2.7 to 9 January, from 3.1 to 7 * 51 * Ps Rom 5.12-19 * 4.1 to 11 Mt

2.15 to 17 January, from 3.1 to 13 10.1 to 13 * 1 Cor

Botticelli Temptation of Christ

Jesus is tempted by the devil, just like us. Ergo we are not alone even when we are tempted, Jesus is with us who are tempted, tempted.
Jesus struggles with the devil for us to teach us how to overcome his temptations. Jesus wins because of what "is written " ... not by bread alone (Deut 8:3), not put to the test ... (Deut. 6:16), worship the Lord ... (Deut. 6:13) "and at the end of the fight can be said to Satan," Go! "

Durer, Adam and Eve (1504)

Even the devil, poor man, has tried to use Scripture to Jesus groped when After bringing him to the pinnacle more top of the temple, said: " If you are the Son of God, throw down, it is written, his angels ... (Ps 91.11 to 12).
Many years before that, centuries and millennia ago, the devil had had his first victory, the original, thanks to his proverbial cunning, inventing the candy is poisoned. He repeated the words of God, good and sweet like candy, but altered, making them bitter and deadly as poison.
had met the woman, before then it was called Eve, which had asked if it was true that God had forbidden to eat of every tree of the garden. The devil, poor man, like the prohibition assoluto di mangiare, poiché lui essendo puro spirito non ha mai bisogno di magiare, mentre noi che siamo, per nostra fortuna, anime incarnate viviamo nel bisogno di nutrirci. Donna Eva, presa alla sprovvista, cercò di ricordarsi il racconto che gli aveva fatto poc'anzi il suo Adamo e veloce a parlare come poi tutte le sue figli, corresse il grosso e palese errore commesso astutamente dal diavolo: " Dei frutti degli alberi noi possiamo mangiare " (Gen 3,2). Fin quì tutto bene e allora continuò sicura: " ma del frutto dell'albero che sta in mezzo al giardino Dio ha detto... " e si fermò un attimo dubbiosa, oddio, non ricordo quale dei due alberi, ma oramai devo finire la frase troppo frettolosamente begun, will I ever learn to keep quiet and not speaking to the reptiles, but in fact, it's just a reptile and ended quickly, just as it had begun: "You shall not eat ... and do not you touch " (Gen 3.3). Donna Eva ran so fast even the Eternal Father, only adding to the ban: " not eat of the tree of knowledge of good and evil " (Gen 2:17), the prohibition of touch, so trendy, so spiritual dirty hands touching the dreary and a bit 'gross material creation!
Spiritualism Devil's ascetic fasting, but it did un'adepta with aggravating. To Eve's eyes, God is the source of the prohibitions, even in the second truth is that only his bag of flour. Donna Eva has thus built the first idol. Thus began the tradition of men both cursed by Jesus (cf. Mt 15.1 s) because it is a fierce competitor to the commandment of God that is only one: "I am the Lord your God" (Dt 6 13), you're my baby.
Adam, how often in history, is the figure of the doll. Unlike loquacissima partner, says nothing and is silent, yet he himself is the only direct witness of God's commandment That would be the time to remember the words that God has told its to him, remember the word and put the two beings who are adulterating God by reducing it to a dumb idol, which increasingly resembles Adam silence. Tace and eats what he knows is forbidden by God that the woman should be silent spoke, while Adam had said nothing about! The silence and the near absence of Adam, meaning the loss of memory of God is silent because Adam does not remember the words of the Lord, the only food that satisfies the hunger of man.

English Steps, King David

If you forget the word of God, Adam and Eve the commandment adultery, Today's Responsorial Psalm opens with the humble hope that King David in Miserere reaches one of the leaders of the religious poetry world. When the prophet Nathan came to him, on behalf of the Lord rebuked him, reminded him of the Word of God and David before the Lord is the opinion of himself, recognizes his sin and without restraint, no fear the Lord confess: " mercy on me, O God, in your love " (Ps 51.3).
The figure of David is the most important. Subjected to temptation, we can fall, as they really happen often, but not the thousands that count falls, as the answer we give to our own and others' failures. Not rinchiudiamoci like Adam and Eve in the sterile game of buck-passing, we take upon ourselves our faults as David and asking for mercy to Him who can forgive us because he has conquered Satan.

no temptation, more than human strength, has surprised you, God is trustworthy and will not let you be tempted beyond your strength, but along with the temptation will also provide the way out so that it can support (1 Cor 10:13)

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architectural Ecclesiology 6. Catholic Ecclesiology architectural spirit

Et et is the formula that best sums up the Catholic spirit, vice versa either / sums up the spirit of Protestantism. Catholic means' throughout the second "and refers primarily to the truth and the means of grace note that the Catholic Church receives from God and is home to lavish unfailing believers.

regard to our theme this means that repeatedly contrasted the terms involved in the liturgical and architectural discourse is not Catholic. Conversely, Catholics hold together the terms, et et : The church building is simultaneously domus ecclesiae and domus Dei, the two things can not be separated, are one inside the other, just as one can not separate the two natures of Christ. The Church is the social body, made of human relationships, of familiar faces, is a community of people who try to love the Lord and to love Him because He loved. The Church itself is the Temple of the Living God, a mystery that transcends time and space, creature of the Trinity, just holding together the two companies, domus ecclesiae and domus Dei, local community and the universal church, the Church may be, as is, " in Christ, the sacrament, a sign and instrument of intimate union with God "(LG 1).

The same goes for the mystery of the Eucharist, which not You can continue to oppose the dual nature of meal and sacrifice. The Eucharistic Sacrifice, the memorial of the one true bloodless and bloody sacrifice of the Cross, is closely oriented to the Eucharistic banquet as its prerequisite, since the only Christian High Priest is Jesus Christ who offers himself in eternal sacrifice so that their can eat his flesh and drink his blood and thus have life (Jn 6:53 s). So the altar shall be a true altar, above which hung the cross must stand and at the same time it must be the bridal banquet table, where they consume the eternal wedding of the bridegroom and the bride of Christ and the Church. In fact, if the sacrifice is the premise of the banquet, the banquet is the purpose of sacrifice.

Vatican Basilica of St. Peter

A more structured to be done about the vexed question of liturgical orientation and hence architectural. In fact, the liturgical orientation does not involve one and the same subject, but several channels, formed by the People of God and ordained minister who presides over it. While the people of God can not be always and only turned to God, spiritual and bodily attitude which is expressed with the turn eastward from the rising of the Sun of Justice, the Christian priests carry on their participation in the one priesthood of sacrametale Christ, in virtue of which participate in the mediation between God and men, is now coming together with God's holy people as its leaders and representatives, now turning to the People as representatives of God, his ministers.
This complex structure of the Church formed by the People of God, which also covers the hierarchy, and hierarchy, to which the people can not be reduced, it must also be reflected in the architectural shape of the church:

1. First, it must be precisely oriented in order to allow prayer directed to God and to shape it to the Church
2. also the altar-table should be unplugged from the wall to enable the priest to be able to ambulate around its four sides and thus occupy the two poles of its symbolic function as mediator, hours before the altar at the head of the People in prayer, now behind the altar facing the people as God's representative

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5. The faith necessary architectural artist

side door of the cathedral of Trent

I recently visited Trent and I was happily surprised by this solution knotted columns, I find both a description of the plastic faith, as well as live and I think the: the meeting of the sovereign freedom of God that is exposed and the small but certain human freedom and that it shall be saved.

Faith is the primordial reality in its complexity and dynamic that does not suffer any reductionism.

It is essential, because it is the first consequence of being creatures. Nobody has created for itself, each is created by God, then the Creator is the first ontologically, logically and chronologically creatures ; own as no one is conceived by him. The fact that each is in place in the world from someone else, says the absolutely lovely life, of being and existence of each creature. This gives rise to a spontaneous and total confidence decency towards those who have created the first effective sign sacramental image of the Creator.

Faith is universal, natural and supernatural. It is rooted in human trust, the first human feeling. On Codest natural feeling human grafts, the religious dimension of faith, bringing it to fruition with the opening to the size supernatural faith. This dimension is given by grace alone by God to reveal Himself , with whom God speaks personally, historically and freely to every man. Therefore faith is not a static reality that simplistic or not there, but is dynamic because it arises from the conversion and conversion lives. Conversion to the last breath that substantiates the life of the believer and that in time of divine patience, it redirects to God: "Sursum corda . Habemus ad Dominum, "reads the beginning of the Roman Missal, Preface.

Sagrada Familia, the facade of the Nativity Angels

faith to begin a work of ' Sacred art is only the germ, it is sufficient, in my humble opinion, only two conditions: the belief in the goodness / beauty of the world and the readiness to listen, or rather the refusal of closure biased and prejudicial to God who always speaks in many different ways (Heb 1:1 s). God provides the rest. Nothing more and nothing less.

This was the Japanese sculptor Etsuro Soto, who was a pagan temple was converted by the trespass of the Holy Family, building stone and light that materially and spiritually expresses Christian faith. The artist can be said when a Christian shapes the material to express the spiritual calling of the matter itself and transformed through the work of the artist, celebrate the glory of the living God. What matters is not the subject of art status compared to Creed, the fides quae creditur say whether he is a believer or not, what compliance che l'artista, credente o meno, porta al contenuto oggettivo della fede cristiana, la fides qua creditur .

       Ciò mostra il grande potere dell'ecclesiologia architettonica rettamente ispirata da un santo qual'è Antoni Gaudì. Ciò smentisce la tesi spiritualista e antimaterialista che riduce la Chiesa alla sola comunità di persone, disincarnandole dal loro stesso corpo e mondo. Viceversa  in principio c'è la santità di Dio e dei suoi santi, tra cui l'architetto Gaudì che secondo la verità trasmessa e dal libro della Natura e dal libro della Scrittura ha progettato e iniziato to build the Temple offering. From the official site of the Sagrada Familia I copied and translated the following information:

Etsuro Sotoo

Etsuro Sotoo arrived in Barcelona in 1978. Ever since I was a kid was very clear that he wanted to do in life: to carve the stone. So he decided to come to Europe, because here the stone culture is more alive. For the case entered the Sagrada Família and decided that this was the stone that he wanted to sculpt. This happened 31 years ago. His passion was so great that November 3, 1991 became a Catholic: his work in the Temple trespass brought him in contact with all the Christian symbolism and thus discover that the Sagrada Familia is an introduction to the Christian faith. He made sculptures of angels, singers and musicians from the facade of the Nativity, he oversaw the restoration of the cloister and the decoration for the windows in the shape of fruit. The fruits were placed according to the seasons: the east window at the corner of the facade of the Nativity, there are the fruits of summer: medlar, cherries, plums, peaches and apples. Windows on the western corner of the facade of the Passion, the winter fruits: chestnuts, persimmons, figs, almonds and pears.

Sagrada Familia, angel musicians on the facade of the Nativity

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Ecclesiology 4. Man becomes what it contemplates

rating on the current iconoclasm in Western churches, it may seem rash. Indeed years there rages fashion icons of the Eastern ... which precisely is just fashion (sic), so the mystery remains sealed Icons.

Duccio, Transfiguration

the occasion of the XII Centenary of the Second Council of Nicaea (878-1987) , the patriarch of Constantinople Dimitrios I , wrote an encyclical letter on the theology of icons, which condemns some distortions " reducing them to decorative elements " appreciated " only as works of art" and its reduction "to merchandise [...] according to the current methods of industrial reproduction ( Dimitrios I , The Council of Nicaea and the theology of icons , 28).

The secular West, but hungry for spiritual life, it retrieves the crumbs that fall from the richly laden table of the Christian, using the icons as mere "decorative " intolerable reduction and blasphemous to Orthodoxy, but already for those of us who have senses raped by smooth, uniform and flat, the (ab) use unitonale monochrome and color, ridottoti the aseptic white or gray concrete, simplified geometric shapes, reduced to empty concepts astrattti or deconstructed in tribute to the fads of the moment. Sometimes in the cold and unadorned contemporary churches, apparently abandoned and out of context, an icon shines in the lonely darkness liquid concrete poured in the box called church, giving even a faint hope to those who seek God

Then the Patriarch Dimitrios I reaffirms the necessary presence of three factors that you realize the mystery of the Icon: " the painter who puts into his subject [...] material creation in his capacity as special spiritual [...] the man who contemplates the image which becomes similar to that which is represented ( Idem, 31).

Michelangelo's Creation of Adam, Sistine Chapel

The iconographer contemplates the uncreated light that shines on the face of Christ and his work reveals field created by its spiritual function, the light becomes contemplative, contemplating written representation in iconography. Man, and contemplation, " becomes similar to that which is represented . This, unfortunately, it happens always, regardless of what is represented and how it is represented. Is because the man is not only what you eat (Feuerbach, The Mystery of Sacrifice), but also what he sees, as it is written of the idolaters: " Those who make them become like them and who trust in them! " (Ps 114.8).

The Fashion Icon on the one hand expresses the spiritual thirst that is rampant in western secularised the other paradoxically confirms the inability of Western contemplate, up from the visible to the invisible reality, because nothing is more data than the visible, into the narrow horizon which we have to. No vertical impulse, I dive into the depths, only one dimension, flat, boring and uniform as you die slowly, if ever lived. This is the main feature of the contemporary Church to the reduction of space only the horizontal plane, with the loss of height (dome, at a time) and length (the nave, apse), since for many centuries it has lost the dimension of depth (crypt).

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Ecclesiology Architectural 3. Not only architectural Calvin

The third milestone is to restore sui generis since it merely states a truth, but must order the corresponding error. To continue living is not enough merely to simply affirm the legitimacy of the veneration of holy images, but you have to re-order the contemporary iconoclasm. This means on the one hand the condemnation of the churches as heretical and iconoclastic accomplishments of the other Orthodox churches because Iconodules.

Iconoclasm is Christological heresy that was condemned by the profession of the true faith by the Second Council of Nicaea, held there in 878. The recognition of Iconodules orthodoxy, accompanied by condemnation of iconoclasts such as heretics, came after a long struggle and hard political and theological victory celebrated each year in the Eastern liturgical calendar on the first Sunday of Lent, called Sunday of Orthodoxy. The documents of the Council of Nicaea have struggled to be accepted by the Western Church, not only for first Latin translation of his erroneous acts, carried out by the court of Charlemagne, as the different cultural understanding of the image, cultural soil in which grew the weed of separation, culminating in the schism between Rome and Constantinople in 1054.

Katolichon Stavronikita Monastery, Mount Athos

The East recognizes a sacred presence in the image, decoding and operating on the basis of two fundamental distinctions. The first of a philosophical-theological distinction between the image and the prototype which is the Word of God incarnate, to whom shall they preach anything really Concerning Jesus, that is to say that it is transfigured, died, descended into hell, rose again and ascended into heaven. Thanks to the Incarnation of the Son of God the divine nature itself incircoscrivibile, has autocircoscritta in human nature, with which now forms one and the perfect person, that is formed of two natures with two wills and two energies. By virtue of this hypostatic union between divinity and humanity, human nature naturally represented, represents not only itself, but the real hypostatic union of the Incarnate Word, conversely, the union would be only moral or fictitious. Brilliant exceeded monism idolatrous, unable to distinguish the representation of God by God himself. The second type of liturgical and spiritual distinction, discriminate between latria , worship due only to God, and dulia , veneration offered to the Saints, the Holy Cross and the Holy Gospel, thus allowing the formation of the cult of holy images or Iconodules .

Protaton, Mount Athos

The West, by contrast, does not receive any presence in the but merely use it as an instrument of education of the uneducated ( Bible pauperum ). In the West, after the cult of the relics of martyrs and saints, from the indelible carnality, did not develop any cult of holy images, as reduced to a mere educational tool. Therefore, at the educated and literate at the back has occasionally been an iconoclasm, fueled now by choice pauper (Savonarola), now with precise patterns of ascetic-contemplative (St. Bernard), now with choices contrary to visual culture (Calvin) . Calvin is not alone, is in good company, unfortunately. You have to go to the root of Western incomprehension of the dogmatic dictates of the last of the seven Ecumenical Councils of the undivided Church, the Nicaea II (878), in order to allow the West to recognize the presence noticeable in the holy images of the Incarnate Word, not only for appropriate catechesis to the illiterate, this is no longer the condition of the Christian people.

iconoclastic doctrine, like all heresies, it is not eradicated once and for all. Each generation of Christians must make their own the achievements made by the living Tradition of the Church. In the Western Church is in vogue and very fashionable iconoclasm, it can be seen at work in contemporary churches these specimens for iconoclasm.

Le Corbusier, Notre Dame du Haut, Ronchamp

buildings are empty, immaterial and timeless. But the Christian God did not speak so, as it is written in the book of the prophet Isaiah: " I did not say to the descendants of Jacob " Seek me in a vacuum. "I am the Lord, that I speak with justice, to announce what is right "(Is 45.19).

Aalto, Santa Maria Assunta, Riola Vergato

The refusal of colors and forms that distinguishes these buildings, expresses the rejection of creation materiality of God in his flesh, vegetable, mineral, and therefore also bright.

Fuksas, St. Paul, Foligno

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Via Crucis

Dear friends,
with the beginning of Lent, begins the pious practice of the Cross every Friday. So every Friday of Lent, the liturgical program will be as follows: 16 hours recitation of S. Rosario - 16.30 hours Pia practice of the Via Crucis - 17 hour celebration of the Eucharist.
you look! Your
, p. Stefano

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Ash Wednesday

Dear friends, let me remind you that
Wednesday, March 9 Lent begins with the function of the ashes. I also remember that is a day of fasting and penitence. In our parish the time of the Eucharistic celebration will be postponed to 18 to give the possibility to those who work to participate. Then you look at days 9 and 18 in the Parish Church of St. Joseph as we do on Wednesdays.

Immediately after the Mass, we will present a forum for the restoration of the crucifix with the presence of a restorer who will show us the various stages of his excellent work. This is also a way to start the sign of the Cross during Lent. I'm waiting! Your
, P. Stefano

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Ecclesiology 2. The beautiful architectural

p. Erich Pryzwara sj

The second point concerns the firm to be established metaphysical foundation of beauty.
Any building, both sacred and profane, is subject to aesthetic judgments, whose decision has two preconditions:

1. unit architecture, for all of the buildings is unique and is not divisible on the basis of its sacred nature or profane

2. aesthetic evaluation is possible and necessary on the basis of an objective criterion, identified in the metaphysical notion of the transcendental " Bello "

These two conditions are universal, apply always and everywhere, because they have the foundation in the quality of being universal unity and beauty as we know it not by faith in an explicit religious revelation, but for the confidence you need to put human in human reason, reason being inherently open to knowledge and its good qualities .

The principle that guides contemporary art is so rampant subjectivism vulgarization: is beautiful what is beautiful, but it is beautiful which pleases . So if someone likes the disharmony, the nonsense, falsehood or evil is not afraid to give this the title of beautiful. So that everything can potentially be regarded as beautiful, as all can enjoy, but if everything is beautiful, nothing is, as this review is a lack of opinion, a lack of ability to discriminate between what is good and what is not it is that it can only be based on an objective criterion, a universal Beauty.

Raphael, particularly the School of Athens

Policy aesthetics are the following: is beautiful what is beautiful . Like what can be good or bad, since the subjective taste does not create the objective good, but can adapt to it, loving it and looking for, or may hate him and fled, such as pigs that roll in the mud pleased, to whom the Gospel commands us not to cast pearls (Mt 7.6). In today's cultural climate of certainty must be explained and confirmed: it's nice not what we like, but what is beautiful, the glory of being perceived brightness by the human senses. So it is lawful and right to apply evaluation criteria to judge the universal beauty of the buildings, even sacred.
I do not see, however, because the only limit religious art rejection of arbitrariness. The arbitrariness in itself expresses the solipsistic subjectivism that has nothing to communicate to others, as it closed in self-narcissistic contemplation. The art, by contrast, has much to communicate, rather is no exaggeration to say that it is communication, speech, testimony, revelation, epiphany, a manifestation, all striving to improve the form and forward it to better the splendor of truth and goodness, showing the supreme harmony of being. On the basis of arbitrariness is not real art, I will profane the sacred, but only the gurgling of a mind blank and bored folded upon itself.

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Ecclesiology 1. The latter expenditure Copyright

In issue 629 of The Lair I read with great interest the intervention of Cyrus Lomont, entitled " What idea of \u200b\u200bthe Church in contemporary churches . Theme purely theological treated according to the particular perspective offered by the contemporary church architecture. Issue that requires you to compose two distinct disciplines: theology, which is responsible for reflection on the idea of \u200b\u200bthe Church that express and shape contemporary religious buildings, and the arts to whom it pertains, however, an analysis and aesthetic evaluation of buildings.

The relationship between ecclesiology and architecture is complex and I do not pretend to deal with it, just need to put some points.

Chagall, Abraham and three angels

The first and pre-fixed point to who holds the copyright of the idea of \u200b\u200bthe Church, which is exclusively copyright of God in his mind God has designed from all eternity, and then concretely realized in the history of salvation as salvation history, set to begin create, read in a Christological through Easter paschal mystery of Jesus is the only Christian hermeneutical principle, as the Risen Lord: " must be fulfilled that everything written about me in the Law of Moses and the prophets and in the Psalms. Then he opened their minds to understand the Scriptures "(Luke 24.45-46).

The first account of creation (Gen 1.1 to 2.4 in) celebrates the creative work done by God through His Word, which consists of a double cathedral in which the liturgy is celebrated cosmic cathedral in the order in space and the cathedral by time. While the first cathedral in principle by the Light (Genesis 1:3-5), primitive creature that is the Risen Christ, the firstborn from the dead, the second time, directs the cathedral on the seventh day, the Shabbat (Gen 2.1-4a).

This work creates the space in the world quite separate plans for the sky - earth - deep (Gen 1.1 to 10), decorated floors and filled with all sorts of creatures (Gen 1.11 to 31). The three plans in which the world is distinct, correspond to the three floors of the Ark of Noah (Gen 6:19), the threefold structure of the temple Solomon, divided into Ulam / Vestibule, Ekal / or the Holy House and Debir / Shrine or Holy of Holies (1 Kings 6) and the early Christian basilica divided into the narthex, nave and chancel.
Finally, this ternary structure, the cosmic first, then ship, and architecture is reflected and celebrated in the human person, as we describe certain biblical passages, where the traditional combination of soul and body, "adds a third element, variable: mind (Wis 9:15), spirit (1Tes 5.23), heart (Ps. 16.9), thereby arriving at a tripartite anthropology. This justifies the anthropology
dimensional view of man as microcosm and the cosmos as macro-anthropologists, in which the cosmos, time and man intersect one another, as temples of the living God, as written by the apostle to the Gentiles. " not you know that you are the temple of God and the Spirit of God dwelleth in you? " (1 Cor 3:6).

about the history of the effects of this anthropological vision to mention only two developments. The first is the gesture of greeting. In the West there shaking hands, a gesture by which we show each other unarmed and therefore not hostile, but friendly, in the East join hands in prayer, bowing to each other to revere the divinity present in the ; the gesture dell'inchinarsi Christ at the majesty of each guest is required by St. Benedict in his Rule: " adored in them, his head bowed down or the body prostrate on the ground, the same Christ, so that is also received " (53.7 ).
The second development we find it in the mystical theme dell'inabitazione, as brilliantly described by s. Teresa of Avila Interior Castle in ; father Sicari, and most valuable in a short comment, it compares with the Castle of Kafka, making the abysmal differences emerge on the basis of common human habitation (AM Sicari, Fortresses accessible. Dall ' Kafka's Castle stranger to the Interior Castle of St. Teresa of Avila , Ed. OCD). Kafka describes exactly the contemporary human condition, a condition of alienation and powerlessness in Pirandello became disoriented and shattered condition, precisely because man is beside himself. The possibility of a return date in the conversion, as St. Augustine wrote in the famous prayer: " Beauty so ancient and so new: late have I loved you You were inside me and I was out " (Confessions, X, 27).
The creative work in its unfolding by the light (first creation) to the Sabbath (last creative act), creates time working contrapuntally two registers: the first is a binary log, punctuated by the regular succession of "And the evening and was morning "(Gen. 1,5.8.13.19.23.31) corresponds to the cantus firmus , offset by the second register, the pace hebdomadal from the beginning of the week that orients the time to worship in spirit and in truth (Jn 4 21-24) as its ultimate aim.

Although in Genesis 1 does not speak esplicitametne of the Church, according to the patristic exegesis of the song (Origen, Augustine, Chrysostom), you can glimpse the outlines of Verbi sponsa . ecclesiology is emerging as a cosmic and apocalyptic that crosses all ages and all spaces up to the landing in the final lap of the Trinity, the Son when, after conquering all things to himself, "you will submit to God, that God may be all in all "(1 Cor 15:28).
The two possible paths form a parabola. The first route, dall'ecclesiologia architecture, because it is presupposed by the idea of \u200b\u200bchurch architectural design , whose actual implementation is embodied. The second route, from architecture to ecclesiology, as the concrete churches built forward in time and space presupposed idea of \u200b\u200bthe Church, informing it that the Church in it convenes for the Liturgy. In fact, the sacred building in its spiritual materialism, which architectural environment in which there is the Church's liturgical life, is part of the immediate dimension of the Liturgy, contributing in shaping it.