An apse is a semicircular architectural feature commonly used at the end of a church nave. An apse takes the idea of a prayer niche in which to place a devotional statue and uses it on a larger scale, framing the altar and the sacrifice of the Mass. In this way, an apse serves as a visual focal point for the congregation, directing their attention and worship.
View looking toward sanctuary, Basilica of Santa Maria in Trastevere, Rome
The Romans first used apses in their civic basilicas, which were places to conduct business and courts of law. The most famous surviving example of a Roman basilica is the Basilica of Maxentius and Constantine (Rome, completed c. AD 313). The Emperor Maxentius began the building and Emperor Constantine completed it when he came to power. This basilica features an enormous apse at the west end, which housed the colossal statue of Constantine. A second apse on the north side of the basilica was used for law courts where the judges sat on a raised dais under the semi-dome. In both of these instances, the apses served as framing focal points to glorify the emperor and to direct attention to the civic work at hand.
View of remains, Basilica of Maxentius and Constantine, Rome
Section of the Basilica of Maxentius and Constantine
Reconstruction of Basilica of Maxentius and Constantine, Rome
During Constantine’s reign as Roman emperor, he legalized Christianity and put an end to its persecution. The Christians, who had previously been worshipping in private houses, wished to build larger places of worship and looked to the basilica as an inspiration for their meeting spaces. Roman temples were designed with decorative exteriors to accommodate worshipers standing outside while the small interiors were reserved for the priests. Since Christians wanted to worship together in a space, the civic basilicas were a more fitting model for them.
The apse is a fitting focal point for churches: while the Romans placed a statue of a pagan deity or Emperor beneath the semi-dome of the apses of their civic basilicas, Christians placed the altar and tabernacle, the focus of the liturgy, in the apses of their churches. In the early Christian period, the semi-dome of the apse might be decorated with a painting or mosaic of Christ seated on a throne as the universal king. This is especially fitting because churches historically face east toward the rising sun, a symbol of Christ and his Second Coming. In this sense, Christ replaces the secular Roman judge or emperor as the divine last judge and king of kings.
Framing the semi-dome of the apse and facing the nave is an arch, recalling the triumphal arches of the Romans, which were built to celebrate victories. The Christians adopted the shape as a space to celebrate the triumph of Christ’s Resurrection and victory over sin and death. Mosaic decoration on these Early Christian arches sometimes featured images of the Risen Christ with images of white-robed saints holding palms, a Christian symbol of martyrdom derived from the Roman symbol of victory, or images of a phoenix rising from the ashes, a symbol of Christ’s Resurrection.
View of south side, Arch of Constantine, Rome
View of apse, Sant’Apollinare in Classe, Ravenna
It was common in Early Christian apse mosaics to include the saint to whom the church was dedicated. This is exemplified in the Basilica of Saints Cosmas and Damian in Rome. The building is a former Roman temple which was repurposed as a Christian church. The mosaics were added in the 6th century. The apse mosaic shows Christ in the center on red clouds, symbolizing his Second Coming (Rev 1:7). Saints Peter and Paul stand on either side of him, presenting Cosmas and Damian. The twin saints hold out their martyrs’ crowns to Christ.
Apse mosaic, Basilica of Saints Cosmas and Damian, Rome
Below the main image of Christ and saints is a border panel depicting sheep. At the center is the Agnus Dei, the Lamb of God, perhaps a reference to the Book of Revelation (Rev 5). Facing this central image are twelve sheep, six on each side, symbol of the twelve apostles.
Detail of apse mosaic, Basilica of Saints Cosmas and Damian, Rome
As church architecture and engineering continued to develop into the Middle Ages, the form of the apse changed. By the 11th century in France the introduction of an ambulatory, a processional way around the perimeter of the apse, provided a space around and behind the altar for worshipers to walk and to pray at any adjoining side chapels. The use of more and larger windows in the Gothic churches of France and England allowed the once solid wall and vaulting of the apse to be opened to light from the outside. With these changes in structure, much of the imagery that once decorated the apse moved to other areas of the church, for example to the sculpted tympanum, the semicircular space above the church entryway. Here the symbolism of the triumphal arch is carried on.
Tympanum of the central portal, Basilica of Saint-Denis, Paris
View of apse, Basilica of Saint-Denis, Paris
Canning Liturgical Arts has worked all over the country restoring beauty to churches, including maintaining the apse as the focal point for the liturgy. One example is the Shrine of Our Lady of Guadalupe in La Crosse, WI (built in 2008). This church is a contemporary example of a very classical layout of a barrel vault leading up to a dome and a rounded apse. Canning had the opportunity to design and execute the interior decoration from start to finish. The church combines classical architecture with a baroque style of decoration centered on the image of the apparition of Our Lady of Guadalupe. The round apse mirrors the dome and creates a haven for the crucifix and baldacchino.
View towards the sanctuary at the Shrine of Our Lady of Guadalupe after restoration
Another unique example of an apse decoration Canning designed by Canning is St. Thomas More Church in Darian, CT (built in 1970). Canning worked to preserve the symbolism of the apse in a more modern space while still keeping with the structure of the building. The lines of the remodeled ceiling add depth while drawing the congregation’s focus to the action at the altar. The arch framing the apse references a triumphal arch with a modern shape in harmony with the building. The echoing arches within the apse emphasize the vertical space and add grandeur. All of these elements combined create a focal point of the altarpiece and crucifix. Canning’s work in this church seamlessly blends the architecture of the modern building with a sense of grandeur and sacredness.
View towards the sanctuary at St. Thomas More Church after restoration
As Canning Liturgical Arts strives to preserve the sacredness of churches, the apse is a key feature to emphasize as the frame of the tabernacle and altar.
