in the use of colour. In addition, the functional and rational characteristics of the liturgy led to a rejection of the powerful effects of the seventeenth-century Italianate style, and to the production of more simply articulated white spaces. But after 1750, there emerged a simpler and more natural sense ofpathos which built on the contrasts of light and shadow. In 1774, Wailly blocked up the windows of the chapel of the Virgin in Saint-Sulpice, as Boullee had done earlier in the Calvary chapel in Saint-Roch, and indeed as Quatremere de Quincy was to do at the start of the Revolution when he ordered the covering of nave windows in the Pantheon.
It would be interesting to undertake comparable studies in the area of sound. By its simplification of interior architecture, the modern period opened the way to a new spatialization of music, and perhaps even more, to a different style of composition. The polyphony which succeeded medieval monody presumed a relatively restricted and acoustically reliable space. The use of two choirs in dialogue with each other, and sometimes the use of two organs, developed to advantage the stereophonic qualities of the new spaces (as in the abbey church of Einsiedeln with two organs in the transept and a third in the choir). The significant place occupied by music during the service and in religious life generally - whether performed by the organist, the choir, the chapel, or other sources used in the lectio divina and its psalmody - remains to be explored. The poorly known, but no doubt considerable interactionbetween architecture and music needs to be examined, along with the relationship between architecture and sound more generally - where 'sound' should also include the preacher's words and the prayers of the minister and his acolytes in the many different contexts required by the liturgy and the reading of holy texts.
The denominations that came out of the Reformation were not alone in introducing the term 'temple' to designate a place of worship. Not without reservations - similar to those of the early Christians who wanted to distinguish themselves from pagan religions - Catholics in the seventeenth and eighteenth centuries also used this term. Theologians were insistent that the Infinite Divinity could not be restricted to the dimensions of a dwelling-place made by man, and stressed that the church was above all the place of the ecclesia, the congregation of the faithful. However, the significance placed on the Holy Sacrament and the Real Presence led to the definition of the building in question as the Domus Dei, the Janua Cxli. On this foundation there emerged a metaphorical discourse rooted in the commentaries of the
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