Liturgy

Word and Sacraments: A Beautiful ‘Both-And’

Geoffrey Rowell, in his time as the Anglican Bishop of Europe

Many Christians may be familiar with an old phrase, “Word and Sacraments.” This expression is often employed to help describe a comprehensive approach to Christian faith and worship that transcends some Reformation era emphases. At the time of the Reformation, the Roman Catholic Church retained a primary focus upon the Sacraments, interwoven with a sacramental understanding of the nature of the Church, while the Protestant tradition became associated with the phrase, sola scriptura, understood as ‘the Word alone.’ To emphasize the significant difference between these two focuses, indeed to privilege them, is to maintain a classic example of what I call “either/or” thinking. But what about “bothand”? 

My use of the dash in the latter couplet is deliberate, and an intentional way of marking a distinction between it and that of “either/or.”

Anglicans, especially American Episcopalians, like “bothand” thinking, and our common weakness is to begin to see everything in terms of what that couplet-phrase might signify. Yet, examples abound of what we may refer to as “either/or” thinking, the most evident being the sharp divisions to be found between participants in political discourse, but also among faithful adherents to various and widely different religious traditions. But here is an irony: to begin to see everything in bothand terms, in an all or nothing way, is to think in either/or terms!

One of my early academic mentors at Oxford, whom I was later able to assist as a pastoral colleague, had a phrase that he liked to commend. “People are more often right in what they affirm than in what they deny.” Geoffrey Rowell had traced this saying back to at least the Enlightenment era, and found great beauty in its continuing applicability. I have found the same to be true, and continue to share to students the insight it represents.

Now, why or how might Geoffrey’s saying be true? I think it is often true because we tend to have more of ourselves invested in the ideas and causes we wish to affirm than in those we wish to deny. And, generally, we are not as careful in our analysis of things in the latter category. For this reason, when assigning readings to students over the years, I have suggested they keep a page for note-taking nearby, which has two columns. I have advised them to put “what the author wishes to affirm” at the top of one column, and “what the author is concerned to deny” at the top of the other. And, I have alerted them to the likelihood that – after reading and note-taking – they would not find a direct inverse correlation between the content of the two columns. The reason being that, “people are more often right in what they affirm than in what they deny,” including authors and academic scholars!

And so we come to Word and Sacraments, which I commend as a statement with continuing significance in contrast to its alternative, “either/or” form. I would observe about my own Anglican – Episcopal Church tradition that we have become rather casual in our treatment and understanding of the Word, especially as we find it employed by John in the first chapter of his Gospel. We are more comfortable with multiples of our words, words we think we can master and employ at will, while we assume that our forebears thought the same. A result can often be a low or weak view of Scriptural revelation. The danger then, as preachers, interpreters, and readers, is that we begin to substitute our words for the Word.

A further result is that we come to rely upon the liturgy, and hence also upon the sacraments, to ‘carry the freight,’ or upon emotion or shared ideology to create community and a sense of mission, which then risks becoming our mission and not necessarily God’s mission. How ironic that we, who identify with our Protestant heritage as we do our Catholic one, should begin to mimic some characteristics we associate with the Roman Catholic tradition!

John’s Gospel proclaims this profound insight right at the beginning: “The Word became flesh…” For the Word continues to become flesh, in us, because the Word continues to become flesh – or enfleshed in matter – in the Sacraments. The Church is a form of His continuing Incarnation, as the Church’s sacraments continue to ‘incarnate’ his living presence, just as does faithful Gospel proclamation of the Word.

A Church by Errol Barron in Gulfport

St Peter’s by the Sea, Gulfport, MS, designed by Errol Barron

Errol Barron’s work as an artist may be familiar to readers of this website based on some of his evocative New Orleans water color paintings previously featured here. His paintings of that city as well as of Tulane University, where he has taught for many years, provide strong indications that he is more than a skilled painter and draftsman, but also a trained architect. He has taught generations of architectural students at Tulane, and he has practiced his profession to great effect not only in this region but also overseas, with some houses of his located in Greece. Given Barron’s evident sensitivity to historical architecture and design features characteristic of this region, I was surprised to learn about a notable but unexpected feature of his resume. He worked for seven years with Paul Rudolph, architect of the well-known and oft-criticized Boston Government Services Center and a partial inspiration for the movie, The Brutalist.

St Peter’s by the Sea, interior

I was recently delighted to discover the Episcopal church in Gulfport, Mississippi, St. Peter’s by the Sea, and that Errol Barron was its architect. It is a gem of a church, and a very successful design that incorporates traditional ecclesiastical elements associated with European Gothic churches along with features reflecting contemporary liturgical renewal. I have heard people refer to this style of church building as Carpenter Gothic, and as Southern Gothic, and the labels seem to fit well. The worship space exudes an appreciation for traditional forms while harmoniously blending them with a contemporary focus upon light, color, and the greater participation of worshippers in flowing open spaces.

The main altar with the ornamental rood screen

Visitors to the Washington National Cathedral, and similar churches of Gothic-revival style, may recognize the particular heritage that stands behind the floor plan of St Peter by the Sea. At the National Cathedral, and in its medieval forebears (such as London’s Westminster Abbey), an arched stone ‘rood screen’ separates the chancel and choir (beyond the screen) from the nave where the congregation is seated. When, in the 1960’s, the liturgical renewal movement began to influence changes in the worship arrangements of these buildings, a new main altar was often then placed in the nave, on the congregation’s side of the rood screen. Smaller gatherings for weekday services could still occur in the choir side of that screen, while Sunday gatherings for the principal Eucharist would be celebrated in the nave, with the clergy, altar, and liturgical action proximate and visible to the congregation.

A view of the ceiling and woodwork above the choir

Though St Peter’s by the Sea is a comparatively recent building, its design reflects something of the historical sequence described above. Instead of an imposing stone rood screen, shielding the chancel and choir spaces beyond, Barron has designed an ornamental arched screen of light-colored wood that suggests rather than imposes separate areas within the overall space. This allows the evocative blue canopy of the ceiling over the chancel to draw one’s eyes forward, toward the visible clear windows at the liturgical ‘east end’ of that space behind the chapel altar, facing the seashore.

Further, the notably narrow, even sharp-looking, wooden ‘spires’ protruding above where the choir chairs are placed enhance the upward sense of lift in the nave, complemented by the radiant cream and white color scheme above where the congregation sits. Light pours in through clear windows above, while delicately fashioned and dangling wrought iron fixtures provide supplemental illumination for evening services and in poor weather.

A view toward the nave from the choir, through the rood screen

On the Sunday of my recent visit, I was told that the congregation numbered about 145, and I estimate that the nave would comfortably seat about 200 people, though it could probably accommodate more. With the Gothic-inspired longitudinal floorplan, evident when one approaches the exterior of the building, a visitor might expect a rather narrow and linear worship space. Such an initial impression of the likely effect of the interior spatial arrangement is overcome by a number of subtle but effective design choices made by the architect and those who worked with him.

Accompanying the verticality of the large open area above the center of the nave are the seating areas adjoining the side aisles, taking the places of side chapels found in many medieval Gothic churches. The relatively low height of the box pews enhances the sense of horizontal width created by these adjacent seating areas, which provide relatively unobstructed views of the altar and lecterns. I also found the acoustics within the worship space to be well-suited for music as well as for public reading and speaking.

I am drawn to the ethos of historical churches; I am enthused by many examples of modern architecture; and I appreciate the fruits of the liturgical renewal movement. In my experience, a successful blend of these three things is not always found in contemporary buildings designed for worship and intended for the enhancement of congregational life. In his design for St. Peter’s by the Sea, in Gulfport, Mississippi, and in his supervision of its restoration after Hurricane Katrina, Errol Barron has achieved just such of a desirable synthesis.

A representative side window incorporating stained glass window fragments recovered after Hurricane Katrina