Chapter VII. Sacred Art and Sacred Furnishings
122.Very rightly the fine arts are considered to rank among the noblest activities of
man's genius, and this applies especially to religious art and to its highest achievement,
which is sacred art. These arts, by their very nature, are oriented toward the infinite
beauty of God which they attempt in some way to portray by the work of human hands; they
achieve their purpose of redounding to God's praise and glory in proportion as they are
directed the more exclusively to the single aim of turning men's minds devoutly toward
Holy Mother Church has therefore always been the friend of the fine arts and has ever
sought their noble help, with the special aim that all things set apart for use in divine
worship should be truly worthy, becoming, and beautiful, signs and symbols of the
supernatural world, and for this purpose she has trained artists. In fact, the Church has,
with good reason, always reserved to herself the right to pass judgment upon the arts,
deciding which of the works of artists are in accordance with faith, piety, and cherished
traditional laws, and thereby fitted for sacred use.
The Church has been particularly careful to see that sacred furnishings should worthily
and beautifully serve the dignity of worship, and has admitted changes in materials,
style, or ornamentation prompted by the progress of the technical arts with the passage of
Wherefore it has pleased the Fathers to issue the following decrees on these matters.
123.The Church has not adopted any particular style of art as her very own; she has
admitted styles from every period according to the natural talents and circumstances of
peoples, and the needs of the various rites. Thus, in the course of the centuries, she has
brought into being a treasury of art which must be very carefully preserved. The art of
our own days, coming from every race and region, shall also be given free scope in the
Church, provided that it adorns the sacred buildings and the holy rites with due reverence
and honor; thereby it is enabled to contribute its own voice to that wonderful chorus of
praise in honor of the Catholic faith sung by great men in times gone by.
124.Ordinaries, by the encouragement and favor they show to art which is truly sacred,
should strive after noble beauty rather than mere sumptuous display. This principle is to
apply also in the matter of sacred vestments and ornaments.
Let bishops carefully remove from the house of God and from other sacred places those
works of artists which are repugnant to faith, morals, and Christian piety, and which
offend true religious sense either by depraved forms or by lack of artistic worth,
mediocrity and pretense.
And when churches are to be built, let great care be taken that they be suitable for
the celebration of liturgical services and for the active participation of the faithful.
125.The practice of placing sacred images in churches so that they may be venerated by
the faithful is to be maintained. Nevertheless their number should be moderate and their
relative positions should reflect right order. For otherwise they may create confusion
among the Christian people and foster devotion of doubtful orthodoxy.
126.When passing judgment on works of art, local ordinaries shall give a hearing to the
diocesan commission on sacred art and, if needed, also to others who are especially
expert, and to the commissions referred to in Art. 44, 45, and 46.
Ordinaries must be very careful to see that sacred furnishings and works of value are
not disposed of or dispersed; for they are the ornaments of the house of God.
127.Bishops should have a special concern for artists, so as to imbue them with the
spirit of sacred art and of the sacred liturgy. This they may do in person or
through suitable priests who are gifted with a knowledge and love of art.
It is also desirable that schools or academies of sacred art should be founded in those
parts of the world where they would be useful, so that artists may be trained.
All artists who, prompted by their talents, desire to serve God's glory in holy Church,
should ever bear in mind that they are engaged in a kind of sacred imitation of God the
Creator, and are concerned with works destined to be used in Catholic worship, to edify
the faithful, and to foster their piety and their religious formation.
128.Along with the revision of the liturgical books, as laid down in Art. 25, there is to be an early revision
of the canons and ecclesiastical statues which govern the provision of material things
involved in sacred worship. These laws refer especially to the worthy and well planned
construction of sacred buildings, the shape and construction of altars, the nobility,
placing, and safety of the eucharistic tabernacle, the dignity and suitability of the
baptistery, the proper ordering of sacred images, embellishments, and vestments. Laws
which seem less suited to the reformed liturgy are to be brought into harmony with it, or
else abolished; and any which are helpful are to be retained if already in use, or
introduced where they are lacking.
According to the norm of Art. 22 of
this Constitution, the territorial bodies of bishops are empowered to adapt such things to
the needs and customs of their different regions; this applies especially to the materials
and form of sacred furnishings and vestments.
129.During their philosophical and theological studies, clerics are to be taught about
the history and development of sacred art, and about the sound principles governing the
production of its works. In consequence they will be able to appr4eciate and preserve the
Church's venerable monuments, and be in a position to aid, by good advice, artists who are
engaged in producing works of art.
130.It is fitting that the use of pontificals be reserved to those ecclesiastical
persons who have episcopal rank or some particular jurisdiction.