Only recently I came across the following designs, all coming from the early 1700's, intended for various altars (as well as a choir screen) for Notre Dame Cathedral in Paris. When you look at the designs, you can certainly see the influence of the period in which they were produced, particularly through the shapes of the altars.
Regardless of what you think of these designs in relation to the (gothic) pile that is Notre Dame Cathedral, I personally find these of interest both historically and as an excellent means to study and consider design principles in liturgical art. By way of a general comment, good design in the liturgical arts is not accomplished by luck, nor is it reliant on a prodigious talent (though that is certainly beneficial). It has been my experience that good liturgical design is very often is accomplished by the purposeful study and consideration of what works (and what doesn't) and the reasons for each respectively.
With this in mind, I would invite our young liturgical artists to take up this habit. When you see a design that seems to work very well (or one which does not), stop and consider why that is and seek to test and re-test your observations in this regard at every opportunity. By doing this, you will help to hone your skills.
Regardless of what you think of these designs in relation to the (gothic) pile that is Notre Dame Cathedral, I personally find these of interest both historically and as an excellent means to study and consider design principles in liturgical art. By way of a general comment, good design in the liturgical arts is not accomplished by luck, nor is it reliant on a prodigious talent (though that is certainly beneficial). It has been my experience that good liturgical design is very often is accomplished by the purposeful study and consideration of what works (and what doesn't) and the reasons for each respectively.
With this in mind, I would invite our young liturgical artists to take up this habit. When you see a design that seems to work very well (or one which does not), stop and consider why that is and seek to test and re-test your observations in this regard at every opportunity. By doing this, you will help to hone your skills.
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| Design for the high altar of Notre Dame Cathedral, Paris. Designed by Pierre Lepautre in 1703. (Source) |
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| Choir screen with altars. Designed by Pierre Lepautre in 1718 (Source) |
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| Design for an altar of the Virgin Mary. Designed by Antoine François Vassé in 1718. (Source) |
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| Design for an altar of the Virgin Mary. Designed by Antoine François Vassé in 1718. (Source) |
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| Design for an altar of St. Sebastian. Designed by Antoine François Vassé in 1719 (Source) |
