EXAMPLES OF SYMBOLISM
In endeavouring shortly to develop the practice of symbolism,
according to our view of the subject, we are fully aware that to those
who have never yet bestowed a thought upon it, we shall appear mere
visionaries or enthusiasts. It has been the fashion of late to smile
at the whole theory, as amusing and perhaps beautiful: but quite
unpractical and indeed impracticable. We cannot hope to convince by
aesthetics those who are deaf to more direct arguments, and who refuse
to view everything, as churchmen ought to do, through the medium of
the Church. But those who agree with us in the latter duty, will
perhaps suffer themselves to think twice on what will be advanced
before they condemn it.
We shall consider the practice of symbolism as connected with, 1. The
Holy Trinity; 2. Regeneration; 3. The Atonement; 4. The Communion of
Saints; and then we shall notice several parts of a church, such as
windows, doors, etc., with their specific symbolical meaning.
The doctrine of the Holy Trinity has left, as might be expected,
deeper traces in the structure of our churches than any other
principles of our faith. We have already noticed that possibly the
Basilican arrangement might be providentially ordered with reference
to this. {Ixxxi} In Saxon times we find the idea carried out, not only
by the Nave and two Aisles, but also by the triple division in length,
into Nave, Chancel, and Sanctum Sanctorum. This triple division is
most frequently given in Norman buildings, by a central tower; with
chancel and nave: we also find in this style a triple chancel arch, an
arrangement never occurring at a later epoch. Thus length and breadth
were made significant of this Mystery; nor was height less so. The
clerestory, the triforium, and the piers cannot fail to suggest it.
Indeed, where a triforium was not needed, there is often, as at Exeter
and Wells, an arrangement of arcading in niches to resemble it, made
that the triplicity might be retained. It is only in late
Perpendicular, such as the nave of Canterbury cathedral, that the
arrangement is omitted: there the eye is at once dissatisfied. Again,
the triple orders of moulding, which are so much more frequent than
any other number, may be supposed to refer to the same thing. The
altar steps, three, or some multiple of three, certainly do. So do the
three fingers with which Episcopal Benediction is given. And this is a
very early symbolism. It occurs in illuminated MS. We may mention one
(Harl. 5540) of the thirteenth century, where it forms a part of the
first letter of S. John's gospel. So, as we shall presently see, are
Eastern triplets. And reference is constantly made to the same
doctrine in bosses: we may mention as a remarkable instance one that
occurs in Stamford, S. Mary's, a figure with an equilateral triangle
in its mouth: thereby setting forth the duty of the preacher to
proclaim the doctrine of the Trinity. In large churches, the three
towers undoubtedly proclaim the same doctrine. We shall hereafter show
that neither in nave and aisles, in triplets, or any thing else, is
the _inequality_ any thing else than what might have been expected.
{lxxxii}
II. The Doctrine of Regeneration
We know, as a fact, that from the earliest times, baptisteries and
fonts were octagonal. We know also that the reason assigned, if not by
S. Ambrose himself at least by one of his contemporaries, for this
form was, that the number eight was symbolical of Regeneration. For as
the old Creation was complete in seven days, so the number next
ensuing may well be significative of the new.
Now none can deny that very much the greater number of fonts are in
this shape. To prove this we will refer to those selected by the
Cambridge Camden Society in the appendix to the second edition of
their 'Few Words to Church-Builders.' There we find.
Octagonal. Of all other shapes
In Norman 15 43
Early English 19 30
Decorated 24 1
Perpendicular 57 2
Total 115 76
Now, it is to be remembered, that the superior convenience of a
cylindrical or circular form, together with the wont of Norman
architects rather to symbolise facts than doctrine, accounts for the
comparatively small number of octagonal fonts in that style: in later
ages their preponderance is overwhelming.
The symbolism sculptured on the sides of the font hardly falls under
our consideration in this place. And besides, it has been fully
detailed in the publications of the Cambridge Camden Society, and of
Mr. Poole. Whether the general octagonal uses of piers may not arise
from a similar design, we do not pretend to decide.
{lxxxiii}
One of the most apposite illustrations in _corbels_, consists in three
fishes intertwined in an equilateral triangle; and thus typifying our
regeneration in the Three Persons of the Ever-Blessed Trinity. For it
need not be said, that the fish is the emblem of the Christian, as
being born again of water. The mystical vesica piscis of this form ()
wherein the Divinity, and (more rarely) the Blessed Virgin are
represented has no reference, except in its name to a fish; but
represents the almond, the symbol of virginity, and self-production.
III. The Atonement
We will notice in the third place, the symbolical representation of
the great doctrine of the Atonement, in the ground lines and general
arrangement of our churches.
As soon as ever Christianity possessed temples of her own, the
cruciform shape was, we have seen, sometimes adopted. And so, as we
all know, has it continued down to the present day. England, perhaps,
has fewer examples of cross churches than any other country: the
proportion of those which bear this shape being not so much as one in
ten. In France, on the contrary, the ratio would probably be inverted.
Into the reason of this remarkable difference we shall not now
inquire: but will merely remark, that many churches which do not, in
an exterior view, appear cruciform, are nevertheless, from their
internal arrangements, really so. The transepts do not project beyond
the aisles: but have distinct transept arches, and a window of much
larger dimensions than those in the aisles. This principally occurs in
city churches, or where the founders were confined for want of room.
And this is the case as well in churches which have aisles to the
chancel, as in Godalming, Surrey, as where the nave alone has them,
{lxxxiv} as in Holy Rood, Southampton. They will be distinguished
readily on the outside by the northern and southern gable. In some
cathedral churches, there is a double cross: in York, this perhaps
signifies the metro-political dignity of that church; in other cases,
it was probably merely a method of imparting greater dignity to the
building. Some churches--though they are not frequent--are in the form
of a Greek Cross: that is, the four arms are all of equal length.
Darlington, Durham, is an example: in this case there is a central
tower. In some, as at Westminster, Gloucester, and S. Albans, the
choir runs westward of the transept; in Seville, almost the whole of
the choir is locally in the nave; in others, as Ely, it does not
extend westward so far. These peculiarities, curious in themselves, do
not affect the symbolism: and probably no modification of meaning is
to be attached to them.
Mr. Lewis has asserted, that in early churches, a cross was marked on
the pavement, the upper part running into the chancel, the arms
extending into the transepts, and the body occupying the nave. And
some such arrangement, or rather the traces of it, we have ourselves
perhaps noticed. The reason it was given up, was probably the anathema
pronounced by the second OEcumenical Council, on those who should
tread on that holy symbol.
Thus, in the ground plan, the Cross of Christ was preached. It is
often said, that the adjacent chapels, more especially the Lady
Chapel, obscured the symbolism. But it must be remembered that a
ground plan can only be judged of in two methods: either from a height
above, for example, the tower of the church; or when marked out on
paper. It is surprising, in either of these cases, how easily the most
complex cathedral resolves itself to the spectator's eyes into a
cross.
{lxxxv}
In looking at the details of churches, the Cross is marked on the
Dos-d'ânes and plain coffin lids of the earliest times: it commences
the later inscriptions on brass: it surmounts pinnacle, and gable, and
porch; it is often imprinted on the jambs of the principal entrance,
showing the exact spot touched in the consecration with chrism,
[Footnote 54] and possibly having reference to the blood sprinkled at
the Passover on the Door Post: and finally, in a more august form, is
erected in the churchyard. And here we may notice another curious and
beautiful expression of Catholic feeling. [Footnote 55]
[Footnote 54: It is proper to distinguish between Dedication
Crosses, which are generally of considerable size,
examples of which may be seen in Moorlinch, Somersetshire,
and those small crosses in door jambs, as in Preston,
Sussex, the use of which is not very clear, but which
were perhaps intended to remind the entering worshipper to
cross himself. At Yatton, Somersetshire, inside the
northern door, and towards the east, is a large
quatrefoil-fashioned cross: this perhaps pointed out a
now destroyed benatura.]
[Footnote 55: That there are some plain crosses, cannot be
denied--more especially that on which the weathercock is placed. A
little consideration will, perhaps, clear up this difficulty. The
cross may be viewed in two distinct lights. It may either set forth
that on which our Redeemer suffered--in which case it is the symbol
of glory: or it may image that Cross which every true Christian is
to take up--in which case it may still be called the Symbol of
Shame. In the latter signification, it may well be quite plain. But,
inasmuch as our ancestors looked more to the Passion of Christ than
to their own unworthiness, the former symbol is that which generally
occurs. Yet not always on the church spire, perhaps for this
reason:--the spire urges us, by its upward tendency, to press on
towards our heavenly home--a home which can only be reached by the
cheerful bearing of that cross by means of which (as it were) it
points. The cross therefore is here, with propriety, plain.]
It is very uncommon to find a plain cross surmounting a church: the
whole force of Christian art has sometimes been expended in wreathing
and embellishing the instrument of redemption: flowers, and figures,
and foliage are lavished upon it. And why? Because that which was once
the by-word of Pagans, the instrument of scorn and of suffering, has
become the symbol of Hope and of Glory, of Joy, and of Eternal
Felicity; and its material expression has altered proportionately.
{xxxvi} In that the arms frequently end in leaves and flowers, they
signify the flourishing and continual increase of that Church which
was planted on Mount Calvary. The Crown of Thorns is sometimes
wreathed around them: but so, that it should rather resemble a Crown
of Glory. The instruments of the Passion are, as every one knows, of
the most ordinary occurrence. The commonest of these are--the Cross,
the Crown of Thorns, the Spear, the Scourge, the Nails, and the Sponge
on the pole. But in the Suffolk and Somersetshire churches many others
are added. Their position is various: sometimes, as in Stogumber,
Somersetshire, they appear amidst the foliage of a perpendicular
capital: sometimes, as in the Suffolk churches, they are found in the
open seats: often in bosses, often in brasses, often in stained glass;
and sometimes the angel that supports a bracket holds them portrayed
on a shield. The Five Wounds are also often found. These are
represented by a heart, between two hands and two feet, each pierced;
or by a heart pierced with five wounds, as in a brass at King's
College chapel, Cambridge. The instruments of the Passion may
sometimes be seen amongst the volutes of the stem of the churchyard
cross: examples occur at Belleville, near Havre, in Normandy, and
Santa Cruz, in Madeira.
Again, the very position of our blessed Saviour on the Cross as
represented in the great rood and in stained glass, is not without a
meaning. In modern paintings, the arms are high above the head, the
whole weight of the body seeming to rest upon them. And this, besides
its literal truth, gives occasion to that miserable display of
anatomical knowledge in which such pictures so much abound. The
Catholic representation pictures the arms as extended horizontally:
thereby signifying how the Saviour, when extended on the Cross,
embraced the {lxxxvii} whole world. [Footnote 56] Thus, as it ever
ought to be, is physical sacrificed to moral truth. Perhaps for a
similar reason S. Longinus is represented as piercing the Right Side,
instead of the Left: and in a representation of the Five Wounds, it is
the right side of the breast that is pierced (as in a brass at
Southfleet, Kent); that being the side of the greatest strength, and
thereby typifying the strength of that love wherewith our Redeemer
loved us. [But this may be doubted. For it appears pretty clear that
the ancient Church considered the Right Side to have been that which
was really pierced. According to modern ideas, the effusion of the
water was not a miracle. S. John undoubtedly considered it not only a
miracle, but one of the most extraordinary which he had to relate,
seeming to stop the mouth of the objector by insisting on the fact,
that he himself was an eye-witness.] In some old roods, a still
further departure was made from literal truth: the Saviour was
represented on the Cross, as a crowned king, arrayed in royal apparel.
[Footnote 57] And his figure was constantly represented as larger than
that of His attendants, His Blessed Mother, and S. John, thereby
signifying his immeasurable superiority over the highest of human
beings.
[Footnote 56: However, in late stained glass, the modern position is
sometimes found as in a Crucifixion represented in the east window
of the north aisle, in Wiscombe church, Somersetshire. ]
[Footnote 57: To this we may add the conventional representation of
Royal Saints, such as S. Edmund, wearing their kingly crowns during
their passion. That such conventional symbolism is _natural_ to us
may be shown by alluding (without irreverence in this connection) to
the way in which kings are always figured with crown and orb in
popular prints: and even, as in a sign-post at Leighterton,
Gloucestershire, King Charles II, hiding himself in the Royal Oak,
is arrayed in all the insignia of majesty.]
Another reference to the Atonement will be found in the deviation
which the line of the chancel often presents from that of the nave. It
is sometimes to the north, but more frequently to the south.
{lxxxviii} There are many more churches in which it occurs than those
who have not examined the subject would believe: perhaps it is not too
much to say that it may be noticed in a quarter of those in England.
Of our cathedrals, it is most strongly marked in York and Lichfield:
among the parish churches in which we have observed it, none have it
so strongly as Eastbourne and Bosham, in Sussex, and S. Michael's at
Coventry: in all of which the most casual glance could not but detect
the peculiarity of appearance it occasions. This arrangement
represents the inclination of our Saviour's Head on the Cross. In
roods the Head generally inclines to the left.
Mr. Poole, after noticing the fact in York minster, seems inclined to
attribute it to a desire of evading the old foundation lines of that
church, which induced the builders to deviate a little from the
straight line, rather than encounter the difficulty of removing this
obstacle. But in the first place, however much modern church builders
might bethink themselves of such an expedient, it is not at all in the
character of the church architects of other days: and in the second,
the explanation is applicable to York alone, one only out of many
hundred churches so distinguished.
IV. The Communion of Saints
Next, we will notice the effect which the Doctrine of the Communion of
Saints has exercised in the designs of churches.
In the ground plan of small churches there is little which seems to
bear on this subject. The principal references to departed saints
occur in the stained glass, in the rood screen, in niches, in the
canopies of monuments, and in brasses. Monuments, in particular, often
afford some beautiful ideas, among which we may notice {lxxxix} the
angels which often are seated at the head of the effigy, supporting
the helmet or pillow, and seeming to point out the care of angels for
the saints. In cathedrals, however, the chapels have a very
considerable effect upon the ground plan: though we cannot agree with
Mr. Poole that such a modification of the principal lines of the
building for the reception of these shrines and oratories, is
necessarily uncatholic. He principally objects to the position of the
Lady Chapel at the east end, above, as he expresses it, the High
Altar. Now we believe the Lady Chapel to have occupied that place
merely on grounds of convenience: not from any design--which it is
shocking to imagine--of exalting the Blessed Virgin to any
participation in the honours of the Deity. Sometimes, as at Durham,
this chapel is at the west end: in country churches, it generally
occupied the east end of the north or south aisle: and sometimes is
placed over the chancel, as in Compton, Surrey, Compton Martin,
Somerset, and Darenth, Kent; or over the porch, as at Fordham,
Cambridgeshire. At Bristol cathedral it is on the north side of the
choir. That the position of the Lady Chapel at the east end adds
greatly to the beauty of the building wall hardly be denied on a
comparison of York, or Lincoln, or Peterborough with Lichfield, _as it
now is_.
{xc}