A Holy Ghost hole in the center of a fresco with a latticework covering and a dove figure, Parish church of Wiesing.

A Holy Ghost hole, or Holy Spirit hole, is a circular opening in the ceiling of a church which symbolises the descent of the Holy Spirit on the day of Pentecost. The openings are often used for liturgical performances.

They were most commonly built in churches in Austria and southern Germany during the Middle Ages and Baroque period, though classicizing architectural elements often replicate their appearance. Baroque organ sound-holes, in particular, were often decorated or disguised as Holy Ghost holes.[1] Other features of church architecture which are similarly built into the apex of a ceiling or dome, such as oculi, often closely resemble Holy Ghost holes.

Usage

Holy Ghost holes have been used in a variety of ways during Pentecost sermons to symbolise the descent of the Holy Spirit. Live doves may have previously been released from the openings during the Middle Ages, though the practice has been replaced by dove figurines, suspended from the ceiling and lowered through the opening.[2][3] To symbolise the "tongues of fire" as described in Acts 2:3, burning oakum was often dropped from the hole onto the congregation below.[4] Today, rose petals are more commonly released, as is most famously done at the Pantheon.[3][a]

In addition to pentecostal ceremonies, the holes may also be used for the Feast of the Ascension. During the ceremony, a figurine or statue of Jesus is lifted up through the ceiling, suspended by a string, symbolising the Ascension of Jesus. Documentation of this tradition dates as early as the baroque period. The tradition is still practiced in some churches in rural Austria and Germany.[6][7][8]

Decoration

Holy Ghost holes are typically decorated with Pentecostal motifs, such as doves, rays of light, and flames. The hole may be permanently left open, displaying a dove figurine or other depictions of the holy spirit. However, the holes are often covered by latticework or a wooden lid which is only opened during liturgical performances.

In some cases, the decorations surrounding the hole may be relatively neutral. For example, they may be surrounded by depictions of angels with instruments, without symbols tying the scene to any particular biblical story. In which cases it can be assumed that it was used for several liturgical performances throughout the year, such as the Ascension of Jesus, not just pentecost.[9]

Gallery

Notes

  1. ^ The Pantheon, however, having been built in pre-Christian times, features an oculus, not a Holy Ghost hole. The practice of releasing rose petals at the Pantheon likely predates the emergence of holy ghost holes in church architecture.[5]

References

  1. ^ Del Prete, Michele (2017). "Sound Thresholds: Visual and Acoustic Values of the Fernwerk in Post-Romantic Organ Building and Architecture". Music in Art. 42 (1–2): 247. JSTOR 90019508 – via JSTOR.
  2. ^ Lipsmeyer, Elizabeth (1995). "Devotion and Decorum: Intention and Quality in Medieval German Sculpture". Gesta. 34 (1): 20–27. doi:10.2307/767121. JSTOR 767121 – via JSTOR.
  3. ^ a b Parachin, Victor (May 2010). "The great fifty days: everything you have always wanted to know about Pentecost". Catholic Insight. 18 (5).
  4. ^ "Vom "Pfingstlümmel" bis zur Wallfahrt: Diese Bräuche gibt es an Pfingsten". Allgäuer Zeitung (in German). 2 June 2022. Retrieved 16 October 2022.
  5. ^ Kosloski, Philip (20 May 2021). "Why Pentecost is called "Rose Sunday"". Aletia. Retrieved 16 October 2022.
  6. ^ Feiler, Bernd (26 May 2022). "Wenn Christi Himmelfahrt sichtbar wird: Wie das Hochfest im Kreis Freising "inszeniert" wird". Münchner Merkur (in German). Retrieved 16 October 2022.
  7. ^ Hölbling, Walter (23 May 2022). "Wenn der Christus durch die Decke geht". Tiroler Sonntag (in German). Retrieved 16 October 2022.
  8. ^ Faber, Toni (26 May 2022). "Wie ist das mit Christi Himmelfahrt?". Kurier (in German). Retrieved 16 October 2022.
  9. ^ Mudra, Aleš (2012). "The Parish Church as a Stage of Eucharistic Devotion and Feast Liturgical Practices: The cases of Znojmo and Kranj". In Ciglenečki, Marjeta; Vidmar, Polona (eds.). Art and Architecture Around 1400: Global and Regional Perspectives. University of Maribor. pp. 199–201. ISBN 9789616656917. OCLC 857282385.
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