Though the architectural baldacchino familiar in churches today is a fixed structure, the custom of the baldacchino originates in ancient courts and ceremonies, with the use of fabric canopies. In its historic practice, as in churches to this day, the canopy or baldacchino denotes honor. In churches, the purpose of the baldacchino is primarily to identify and distinguish the sacredness of the altar. Some examples of Gothic baldacchino’s exist, but the structure is more typical of Romanesque, Byzantine, Renaissance, and Baroque architectural styles. Like so many elements in sacred architecture, the baldacchino has a rich history and beautiful symbolism.
Royal courts all over the ancient world, from Rome to Asia, utilized different types of canopies to honor monarchs and important people, as well as during religious ceremonies. This practice was applied to both stationary and carried/movable thrones. In a crowd, the canopy allowed the royalty to be easily distinguished and also provided some protection. In the Jewish tradition, a canopy called a chuppah, meaning covering or protection, is utilized during marriage ceremonies to emphasize the sanctity and formalization of the marriage contract. Fabric canopies were adopted by the Catholic Church for cardinal and bishop thrones; and though this practice was largely discontinued by Pope Paul VI, some historical remnants remain. The use of portable canopies in the Catholic Church at processions, for example, Corpus Christi, is still in practice today.
Image: Enthroned Holy Roman Emperor, Otto III. Gospel Book of Otto III, c. 1000AD.
Corpus Christi Procession, St. Mary Church, New Haven, Connecticut
Not much is known about the first uses of the baldacchino canopy over an altar; however, based on the preexisting practice of fabric canopies, it was likely a natural inclination to provide added dignity and beauty to the altar. The earliest examples of baldacchinos in church architecture date back to the 4th century, following the Edict of Milan. The word baldacchino is derived from the Italian, Baldacco, meaning Baghdad, the origin of many high-quality fabrics. Therefore, a baldacchino is literally a fabric structure, whereas a ciborium, derived possibly from the Greek kiborion, denoting a vessel, typically refers to a more permanent structure. As the practice of altar construction evolved, artisans began to use more permanent materials to imitate the fabric baldacchino canopies.
Image: St. Peter’s Basilica, Vatican City. Baldacchino was designed by Bernini.
Bernini’s sculpted bronze and gilded baldacchino for St. Peter’s Basilica in Vatican City is likely the most famous example of this design. Careful study of the baldacchino at St. Peter’s and the viewer will observe the architect’s intent to mimic drapery stretched between the entablature resting on four elaborate Corinthian capitals of the structure. The bronze drapery is detailed with tassels and fringe, key indicators of the ancient use and material of the baldacchino. During the counter-reformation period, the installation of baldacchino’s was intended to emphasize the sacredness of the Mass, specifically the doctrine of transubstantiation, a subject of contentious debate during the protestant reformation.
Maginnis and Walsh’s Basilica of the Immaculate Conception in Waterbury, Connecticut, utilizes the wealth of history and symbolism bound up in the baldacchino as well as inspiration from Bernini’s design for St. Peter’s. Similar to Bernini’s design, the baldacchino at the Immaculate features drapery stretched between the entablature resting on four Corinthian capitals. The design also features tassels and fringe, giving a nod to the original function of baldacchino’s and Bernini’s design. Maginnis and Walsh’s baldacchino is made of carved wood and finished with bronze paint and gilding to simulate the effect of metal. Other similarities between Bernini and the Immaculate may be noted in the four angels atop each column and the swooping hood of the piece, topped by a large gilded cross. The Immaculate’s 1928 interior is a beautiful example of how the traditions and designs are continually revitalized and adapted for the present day.
The baldacchino at the Shrine to Our Lady of Guadalupe in La Crosse, Wisconsin, is another example of an interior that draws on historic construction for its design. Architect Duncan Stroik utilized Santa Maria Maggiore in Rome as inspiration for the shrine’s 2008 design. Notable similarities may be found in the general shape of the canopy hood as well as the seraphim angels in the canopy. At Our Lady of Guadalupe, the canopy hood is composed of cast plaster, and then different elements were either painted to simulate marble or gilded and glazed to simulate aged bronze. It may be interesting to note that the baldacchino at Santa Maria Maggiore was originally designed with 4 large angels above each of the columns. However, the angels were removed since they were disproportionately large, and there was concern they might fall. The angels at the Shrine to Our Lady of Guadalupe give nod to the original design of the Santa Maria Maggiore Baldacchino.
Faux marblizing of the baldacchino at the Shrine of Our Lady of Guadalupe, LaCrosse, WI
Left: Andre Palladio’s San Giorgio Maggiore in Venice Right: Side shrines are also faux marbled at the Shrine of Our Lady of Guadalupe, LaCrosse, WI
In conclusion, the baldacchino is an ancient practice of denoting honor that gradually adapted to become a permanent feature of many church interiors. The construction of a baldacchino in church architecture is deeply rooted in the concept that the holy of holies should be shrouded out of reverence to the divine. This idea is persistent across many religions. The baldacchino, therefore, serves many purposes in a church: giving honor to the divine, denoting the sacred significance of the altar, and focusing the architecture of the interior on the sanctuary.
