ANALYSIS OF THE INTRODUCTORY ESSAY INTRODUCTION, 1. Spread of the study of Church Architecture, 2. Obvious, but indefinable, difference between old and new churches. considered, in an enlarged view, as Sacramentality. 3. This probable, from examples, and promises in Holy Scripture. Catholic consent, examples to the contrary, 4. Enunciation of the subject. 5. Writers on the subject, Pugin, Poole, Lewis, Coddington, the writers of the A. ARGUMENTS FOR SYMBOLISM, 1. A PRIORI, Symbolising spirit of Catholic Antiquity, II. ANALOGICAL. in (a) Interpretation of Holy Scriptures. (c) Private manners. (d) Emblems in Cataconibs, etc. (e) Symbolical interpretation of Heathen writers. III. PHILOSOPHICAL. Objective answering to Subjective, All effect sacramental of the efficient. Sacramentality of all Religion, Ritualism peculiarly and necessarily sacramental. Church Architecture, a condition of Ritualism, Necessities induce accidents; and these material expressions Necessities of Ritualism, and their expressions in earlier Hence Symbolism. Essential. Intended. Conventional, which again becomes intended. I. DOCTRINES. (a) The Holy Trinity, set forth in ii. Chance), Nave and Apse. iii. Clerestory, Triforium, and Pier Arches, iv. Triple windows, Altar steps. vi. Triplicity of mouldings, vii. Minor details. i. Norman tympana, ii. Double doors in Early English, (a) These explained in two ways, (1) Christ's entrance into the world. entrance into the kingdom of heaven. (b) Difference between mouldings of Chancel arches and cloors, (c) Porches, (d) Chancel Arch and Rood Screen. (e) Monuments. (a) Difference of ancient and modern symbolism in these, (1) Sceptical character of the present age, (2) Paganism of modern design, (3) Reality of ancient design, (b) Historical details of Monuments. (f) Gurgoyles and Poppyheads, C. OBJECTIONS ANSWERED, 1. Inequality of type and antitype, 2. Difference of Symbolism in the same arrangement, D. HISTORY OF SYMBOLISM. 1. Norman; as symbolising facts. 2. Early English; as symbolising doctrines, 3. Decorated; as symbolising the connection of doctrines. 4. Perpendicular; as symbolising the progress of Erastianism, 5. Flamboyant, etc. 6. Post Reformation Symbolism. INTRODUCTORY ESSAY CHAPTER I INTRODUCTORY THE study of Church Architecture has within the last few years become so general, and a love for it so widely diffused, that whereas, in a former generation it was a task to excite either, in the present it is rather an object to direct both. An age of church-building, such as this, ought to produce good architects, not only from the great encouragement given to their professional efforts, but from the increasing appreciation of the principles and powers of their art. And yet it cannot be denied, however we may account for the fact, that (at least among those for whom we write, the members of our own communion), no architect has as yet arisen, who appears destined to be the reviver of Christian. art. It is not that the rules of the science have not been studied, that the examples bequeathed to us have not been imitated, that the details are not understood. We have (though they are but few) modern buildings of the most perfect proportions, of the most faultless details, and reared with lavish expense. It is that there is an undefined—perhaps almost undefinable-difference between a true 'old church,' and the most perfect of modern temples. In the former, at least till late in the Perpendicular era, we feel that, however strange the proportions, or extraordinary the details, the effect is church-like. In the latter, we may not be able to blame; but from a certain feeling of unsatisfactoriness, we cannot praise. The solution of the problem,—What is it that causes this difference? has been often attempted, sometimes |