This month, we step away from the raw materials and look at specific religious furniture production – especially those we take for granted or whose origins are not commonly known. In fact, the origin of the title of this series is rooted in church furniture: with a past project, Canning designers suggested creating a reredos after the original had been destroyed and, to their surprise, the client responded “wait, people still do that?” It seems only right, therefore, to touch upon a few of the many common church furnishings that many of us recognize but cannot easily explain their origins.   

Pews are one of the things we all know and have seen but why did they become such a staple of church interiors? Art from Late Antiquity shows only the teacher, saint, or preacher sitting, as one is enthroned. The listeners, petitioners, and faithful stand often with orant hands. Kneeling was reserved for personal prayer, as we see many prie-dieus, personal devotional artworks, and depictions of the faithful before Mary or Jesus.

In the catacomb of Priscilla, we see a seated bishop consecrating a virgin, the same virgin standing with orant hands, and the seated Virgin and Child beside her. Similarly, in the Lindisfarne Gospels from around 700 AD, we see the evangelists seated and writing, teaching the faithful to come. Standing in the nave for Mass was typical and also common in Jewish ceremonies. So how did pews become such a staple?

The earliest examples we have are backless stone benches in a few 13th century English churches. These could be moved as needed but by the 15th century were made permanent. When the Protestant Reformation focused the liturgy around sermons, many churches adopted benches with backs to ensure congregants could pay attention in comfort for hours. Catholic churches soon adopted backed pews as well, allowing parishioners of high status to purchase pews, often at the front of the church, or be granted them for aiding the church. Kneelers soon followed as kneeling became a standard part of the Mass by the 16th century. Today, pews are a standard part of church planning, furnishment, and upkeep.

When it comes to modern production, New Holland estimator Todd Allison has worked in the industry for many years and can attest that production today is a blend of the traditional and the innovative. When he studied woodworking in college, it was all by hand save for power tools. Today, only 20 years later, the process has evolved and many pieces are drawn up in CAD (a software often used for manufacturing and architecture) and produced with a CNC machine (Computer Numerical Control) which is entirely automated. This allows craftsmen to make exact replicas of components, such as pew ends, far quicker – cutting down on production time and costs. While there is a nostalgic element that persists today in handcrafted pieces, careful and intentional use of machines can make the same quality level for a lower cost; ultimately making quality furniture more available to churches. So, while people do still handcraft wood pieces and furniture, the industry continues to innovate as technology does and brings beautiful pews, ambos, altars, and more to communities with smaller budgets.

Canning Liturgical Arts renovated St. Mary’s Church in Bethel, CT with help on the pew design from New Holland. The modern church architecture, barely 30 years old, featured a sort of trapezoidal layout, with the sanctuary nearly surrounded on 3 sides by pews. The pews themselves, to fit the wide room and slightly curved orientation, had corners where no one could comfortably sit or have an available kneeler. Because of these corners, nearly 150 seats worth of space was virtually unusable. After analyzing the space, curved pews were decidedly the best option. Not only were they seamless and gave more room to the aisles, they actually increased the number of available seats from before, with no wasted space. The interior of the church was thus rendered comfortable, more welcoming, and overall a better experience for parishioners.

No matter their origins or adaptations, pews are an important part of church-goers experiences at church, whether they are the children running laps after the priest’s exit or the older parishioners being able to comfortably participate in the sacraments. Allison, when telling people what he does, notes their surprise since pews especially are so taken for granted and few consciously think of the craftsmanship behind each one. It may seem minor, but the little details on the pew ends, the curve of the seats, and the durability of the kneeler fabric all make a great deal of difference when we subconsciously interact with a space; and acknowledging the vital utility of church furniture, plays a significant role in its design for lasting beauty and strength.

Altar rails have been a part of the Mass and church architecture since their inception. Delineation of heavenly and earthly spaces is an ancient practice but, specific to the Judeo-Christian tradition, creation of this delineation within a single building was first achieved with a curtain, then a beam or screen.

In the Orthodox tradition, an iconostasis is similar to a delineation of spaces but with a key nuance: an iconostasis shows icons of the divine deigning to leave the heavenly realm and meet us on Earth by being represented in icons. Critically, these separations are not intended to put us down, rather, they are meant to elevate the sacred and inspire respect and reverence for our Creator. I remember as a child, approaching the sanctuary steps for Communion felt like drawing closer and closer to Christ and even touching the first step felt like a misstep. When we approach the sanctuary, we do approach Christ and to enter the sanctuary, for any purpose, is to enter the holy of holies. When we kneel at the altar rail or pass under the rood beam, we approach and stand upon the threshold where we encounter the divine. Beautiful art, precious materials, and traditional designs can connect us to the history of the faithful doing the same and encountering Christ in the same way.

An example of this is St. Mary’s in Norwalk, CT – a Gothic Revival church that was renovated with a few key additions. One addition was a rood beam at the very front of the nave just before the sanctuary. With its origins in medieval England and Northern Europe, a rood beam or screen is traditionally topped with a crucifix and two attendant figures, typically Mary and St. John. It depicts the immense sorrow of Christ’s crucifixion and highlights the connection between salvation and sacrifice. In St. Mary’s, the joyful color scheme of the church and Marian decoration surrounds this juxtaposition in the sanctuary: the sorrowful crucifixion of our Lord and the joy of Mary’s Assumption into Heaven. Thus, these artworks in the sanctuary provide profound subjects for meditation.

Finally, within the sanctuary itself, a reredos provides a meditative and instructive artwork at the heart of the church. These magnificent pieces also have ancient origins, especially when the orientation of worship was of concern. Areas where rituals were performed or a religious leader spoke were more decorated. In mosques, the mihrab is the wall one faces to point in the direction of Mecca. This wall is often ornately decorated and directs the orientation of prayer. Similarly, Christian churches are traditionally oriented east-to-west, making the east wall the traditional location of the sanctuary and orientation of worship. This wall and the sanctuary are also ornately decorated and furnished with precious materials – be it gold or silver, fine cloth, marble, or valuable hardwood.

A reredos captures our curiosity and our awe and directs our attention to Christ, where it ought to be. The project that kicked off the statement that people still do this, was at St. Mary’s in New Haven, CT. After Canning had completed the interior, the client knew the original reredos had been ripped out and destroyed and lamented the loss. When we offered to design a reredos similar to the original, the priest almost couldn’t believe it, saying “do people still do that?” David Riccio attributes that conversation to an amazing realization: many people do not realize that the work we admire from decades or centuries ago is, in fact, still attainable. With heightened resolve, we designed a new reredos as the crown jewel of the interior.

To quote Dante Alighieri, beauty awakens the soul to act. And when this beauty surrounds us and focuses us, it inspires us to act in ordered and loving ways. This is the power of the church furnishings. They signal to us where we are meant to be (or not), how we ought to act, and where we ought to focus our attention. The draw toward the most sacred part of the church should reflect our desire to be closer to Christ. Despite the ease with which we can pass over details like pews and furniture, offering attention to the humblest details of a church can make all the difference.

Join us for this year's Catholic Art Institute Conference in Washington, DC! Presenting on this year's theme is an impressive lineup of award winning speakers including: Fr. Patrick van der Vorst, former Sotheby's director and founder of the Christian.art website, as well as Precentor at the Westminster Cathedral, London. Award winning Architects Duncan Stroik and James McCrery, will also be presenting along with award winning composer Dr. Mark Nowakowski and screenwriter, Dr. Barbara Nicolosi, as well as a workshop by David Ricco, President of Canning Liturgical Arts.

For complete details and to register please visit: https://www.catholicartinstitute.org/conference2025

Over the course of Canning’s history as architectural decorators, designers, and preservationists, we have heard many times “people still do that?”. It can often feel as though the changing tastes in design will oust traditional trades and methods and drive them into extinction. Read More