CHAPTER VII

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. 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.

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 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.

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. 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, 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 Ecumenical 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, showing the exact spot touched in the consecration with chrism,* and possibly having reference to the blood sprinkled at the Passover on the Door Post: and finally,

* 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 cast, is a large quatrefoil-fashioned cross : this perhaps pointed out a now destroyed benatura,