The basis of all church architecture is the jumpgate, a large circular hall with four exterior "rooms" (collectively referred to as ambos).
The basis of all church architecture is the jumpgate, a large circular hall with four exterior "rooms" (collectively referred to as ambos).
The primary edifice is not an actual circle but rather a regular octagon or septagon. The septagon (representing the 7 virtuous disciples and their respective virtues) is by far the most common shape. The octagon (which includes Ven Lohji) is generally only found in churches which date back to the Second Republic or in areas with a large Obunish or Eskatonic influence (Obun, Pentateuch, certain Hawkwood and al-Malik churches). Very new churches, built under Imperial auspices, are also returning to this pattern, much to the dissatisfaction of the Avestites and more reactionary elements of the Orthodox.
Height is considered a great virtue in churches, and the walls are generally topped with a great vaulted dome. Even small village churches often reach 20 feet at their highest point and the great cathedrals may arc hundreds of feet over the faithful's head. The ambos on the other hand are usually only as high as the walls under the dome. However, wealthier churches often have bell towers atop each ambo and these towers reach as high as advanced building materials and architects can make them.
The first ambo (also referred to as the narthex or the Entrance of the Faithful) always faces towards where the sun rises. The narthex is generally seperated by a second set of doors from the church proper. In the narthex, one will find an icon of the church's patron saint, candles, poor box, coatracks, a cistern of holy water, possibly literature, etc.
The ambos' to the left and right of the narthex typically form sub-chapels, open to the central space--although in village churches they may be little more than niches. These ambos are where the ashes of the dead are kept and where prayers for the departed are offered (see funeral rites, below). Referred to variously as "morturaries" or "quiet chapels", these ambos often generally contain secondary doors which are used by clergy to enter or exit the building. In larger churches, the quiet chapels are often only 10-20 feet in height with the additional space in the towers given over to clergy offices, records and other storage, parish libraries, and even dormitories for lesser clergy in truly great cathedrals.
The ambo opposite the Entrance is the Sanctuary. It is off-limits to all but clergy and even they are expected to enter only for liturgical purposes. The Sanctuary holds the altar and the Orb. While the sanctuary may have its own tower like the other ambos, these towers are strictly decorational. Unlike the bell towers over the narthex or the offices, etc over the quiet chapels, the space above the Sanctuary is never used.
The main space of the church is always open. Though there may be a few benches around the outside for the aged and infirm, the majority of the congregation stands for services.
In parishes which can afford it, the floor is commonly decorated with an abstract representation of the jumpweb. The pattern in such ancient cathedrals as St. Maya's on Byzantium Secundus and the Emanations on Holy Terra have been the source of much recent controversy as researchers have tried to identify the represented stars with real stars in order to help in the discovery of lost jumproutes. Unfortunately (or fortunately from the perspective of many Church conservatives), the patterns are so complex and modern knowledge so fragmentary that their is no general agreement on how the stars in the floor match up to the stars in the heavens.
"Walking the web" is a common devotional practice. Individuals select a star follow the line from it to another, stop and do a series of prayers and prostrations then move on to the next star. There is said to be a way in the great cathedrals to stop at every star without every recrossing the same star. Successful completion/discovery of this path is considered a mystical exercise among Eskatonic and similar circles.
The dome is always painted except in the most impoverished churches. The most common icon for the dome is the pattern known as the "Celestial Prophet". Eskatonic and Obun temples often replace this with the "Nine Heavens". Avestite temples OTOH generally use simply a huge sunburst.
Windows form an important part of church architecture and generally circle the church as well as opening into the sanctuary. The quiet chapels on the other hand, are usually windowless. The windows generally start slightly above head height and then reach up to the dome itself, below the windows, the walls are covered in mosaics and painted icons. Most commonly, the windows are of clear glass thus freely allowing the light of the Sun in, although the glass may be ornately engraved with icons--particularly those of the Virtuous disciples. Stained glass appears in Obun, Eskatonic, and al-Malik churches but this is heavily frowned upon by conservatives. The windows are also fitted with curtains; the closing and opening of the curtains to shut out and reveal light is an important part of the Church rituals.
In larger churches, the exact center of the church is occupied by a reader's dais. Here the canon (or deacon) and the choir stand to perform their part of the services. In many cases, the reader's dais has been taken over by the local lord and this is where he and his retinue stand, leaving the canon and choir on the floor as in smaller churches. Certain other large churches have balconies above the entrance to the narthex and the quite chapels. Again, these are used primarily for the choir or by the aristocracy.
The Orb, which represents the Celestial Sun, is considered the most important part of any Church. The basic design is a light set within a sphere and hung from the ceiling of the Sanctuary. At the low end, the light may be nothing more than an oil lamp kept perpetually alight by the priest (or if one is assigned to the church, deacon). This is actually favored by Avestites who light their orbs with flame brought from the temple on Pyre. Considering the harsh penalties for allowing an Orb to go out though, even the most conservative non-Avestites prefer some form of technological light source. Care for the light is in the hands of a deacon or priest. Bishops have someone to do it for them and lower clergy are not allowed to touch the orb. A deacon is preferable to a priest for this work. When there are multiple deacons assigned to a church, the senior deacon (called the protodeacon) has responsibility for the Orb, though he may ask other deacons to assist.
The sphere in which the light rests is generally a fine lattice, carved with images from the Omega Gospels. High end Orbs are often cast webs of gold or platinum (gold is preferred though) decorated with gemstones. The canons call for the Orb to be almost completely open in one quarter with the density of decoration increasing to almost opacity on the opposite side. This allow the Orb to be rotated during services so that at some points only a little of it's light can be seen and at other it is turned fully on the people.
Directly beneath the Orb, the Omega Gospels are set on the altar. An altar copy is generally bound in gold. On the front is engraved the "Celestial Prophet" icon, the "Nine Virtues" icon on the back.