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,

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 symbolize 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.

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 enquire: 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, 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 metropolitical 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 œcumenical 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.

*

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, shewing the exact spot touched in the consecration with chrism, and possibly having reference to the blood sprinkled at the Passover on the Door Posts: and finally, in a more august form, is erected in the church yard. And here we may notice another curious and beautiful expression of Catholick feeling.+ 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?

* 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.

+ That there are some plain Crosses, cannot be denied,-more especially that on which the weather-cock 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. 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.

Yet

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. 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 Spunge 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 pourtrayed 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 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