Read Ebook: The Symbolism of Churches and Church Ornaments A Translation of the First Book of the Rationale Divinorum Officiorum by Durand Guillaume Neale J M John Mason Translator Webb Benjamin Translator

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Commentator: Rev. John Mason Neale Rev. Benjamin Webb

Page numbers in this book are indicated by numbers enclosed in curly braces, e.g. . They have been located where page breaks occurred in the original book.

The honorific "Mr" is without a following period in the original. The period has been inserted in this transcription.

THE SYMBOLISM

A TRANSLATION OF THE FIRST BOOK OF THE

WRITTEN BY

WILLIAM DURANDUS

SOMETIME BISHOP OF MENDE

AND

OF TRINITY COLLEGE, CAMBRIDGE

CHARLES SCRIBNER'S SONS

DEDICATED TO

THE CAMBRIDGE CAMDEN SOCIETY

TWO OF ITS FOUNDERS

PREFACE The interest which has lately been displayed, as on all subjects connected with Ecclesiology, so more especially on the symbolical bearing of Church Architecture, has led us to imagine that a translation of the most valuable work on Symbolism which the middle ages can furnish, might not, at the present time, be unacceptable to churchmen.

Written, however, at a period when Christian Architecture had not attained its full glory, it necessarily leaves untouched many arrangements of similar tendency, subsequently adopted; addressed to those who had not yet learnt to doubt everything not formally proved, it assumes many points which may now seem to require confirmation: and composed for the use of a clergy habituated to a most figurative ritual, it passes over much as well known, which is now forgotten or neglected. On these accounts we have considered it necessary to prefix an Essay on the subject; in which we have endeavoured to prove that Catholic Architecture must necessarily be symbolical; to answer the more common objections to the system; and to elucidate it by reference to actual examples, and notices of the figurative arrangements of our own churches. We have also added notes, where any obscurity seemed to require explanation; and we have, both in them and in the Appendix, thrown together such passages from Martene, Beleth, S. Isidore of Seville, Hugo de S. Victore, and other writers, as tended to explain and to enforce the remarks of Durandus.

With reference to the author himself, but little is known; and that little has been told before.

Hic jacet egregius doctor proesul Mimatensis, Nomine Duranti Guillelmus regula morum: Splendor honestatis et casti candor amoris Altum consiliis spatiosum mente serenum Hunc insignibat immotum turbine mentis. Mente pius, sermone gravis, gressuque modestus, Extitit infestus super hostes more leonis: Indomitos domuit populos, ferroque rebelles, Impulit, Ecclesiae victor servire co?git. Comprobat officiis, paruit Romania sceptro Belligeri comitis Martini tempore quarti: Edidit in Jure librum, quo jus reperitur: Et Speculum Juris, et patrum Pontificale: Et Rationale Divinorum patefecit: Instruxit clerum scriptis, monuitque statutis: Gregorii deni, Nicolai scita perenni Glossa diffudit populis, sensusque profundos: Jure dedit mentes et corpus luce studentum: Quem memori laude genuit Provincia dignum: Et dedit a Podio Missone diaecesis ilium: Inde Biterrensis, praesignis curia Papae: Dum foret ecclesiae Mimatensis sede quietus, Hunc vocat octavus Bonifacius; altius ilium Promovet; hic renuit Ravennae praesul haberi. Fit comes invictus simul hinc et marchio tandem, Et Romam rediit: Domini sub mille trecentis annis: tumulante Minerva. Surripit hunc festiva dies, & prima Novembris. Guadia cum Sanctis tenet Omnibus inde sacerdos: Pro quo perpetuo datur haec celebrare capella.

The editions with which we are acquainted, are those of Rome 1473; Lyons 1503, 1512, 1534, 1584; Antwerp 1570; Venice 1599, 1609. The translation has been made from the editions of 1473 and 1599. The former is a magnificent specimen of typography: the words are excessively contracted; and there are double columns to each page. Our copy is partially illuminated; and the binding is ornamented with a border of the Evangelistic Symbols. The latter contains also the first edition of the work of Beleth, and is a reprint of Doard's Lyons edition of 1565. Doard dedicated it to his brother, Bishop of Marseilles; and prefixed a Preface, in which he bestows a well-merited eulogium on Durandus, and mentions the care taken in correcting and revising the work. He also added some notes, of little worth. The Venice reprint is so vicious a specimen of typography, that from it alone the sense could in many places hardly be explained. Our copy belonged to Bishop White Kennett, who appears to have studied it diligently.

We must now say a few words as on our own share in the work. With respect to the Introduction, fully convinced as we are of the truth and importance of the general principle maintained in it, we do not wish to press, as matter of certainty, all or any of the minor details into which that theory is carried. We believe, indeed, that the more the subject has been studied, the more truthful our views will appear to be: but we wish the reader to bear in mind, that the weakness of any portion of them is no argument against their reception, as a whole. At the same time, none can be more aware than ourselves how much more ably such views might have been advocated: we have not, however, spared time or pains in the study of the subject; 'and if we have done meanly, it is that we could attain unto.'

In the Translation, we have endeavoured, too often unsuccessfully, to retain the beautiful simplicity of the original. In the obscure passages, of which there are not a few, we have mentioned the difficulty in the notes, lest the reader, by our mistake, should be led into error himself.

The quotations from Holy Scripture are given in the authorised version, except where, to bring out the author's full meaning, it was necessary to have recourse to the Vulgate; and we have then translated literally from that.

We have felt no small pleasure in thus enabling this excellent prelate, though at so far distant a land from his own, and after a silence of nearly six hundred years, being dead, yet to speak: and if the following pages are at all useful in pointing out the sacramental character of Catholic art, we shall be abundantly rewarded, as being fellow-workers with him in the setting forth of one, now too much forgotten, Church principle.

J. M. N. B. W.

INTRODUCTORY ESSAY

SACRAMENTALITY: A PRINCIPLE OF ECCLESIASTICAL DESIGN

ANALYSIS OF THE INTRODUCTORY ESSAY

INTRODUCTION.

A. ARGUMENTS FOR SYMBOLISM.

Symbolising spirit of Catholic Antiquity, in Interpretation of Holy Scriptures. Analogy of the Jewish Ceremonies. Private manners. Emblems in Catacombs, etc. Symbolical interpretation of Heathen writers.

Turks.

Infidels. Hindu and Egyptian Mythology Persian Poetry.

Heretics.

ii. From Nature. Trinity. Resurrection. Self-sacrifice,

iii. From Art. Sculpture, Painting. Music. Language of Flowers.

iv. Parabolical teaching.

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. Example: Necessities of Ritualism, and their expressions in earlier and later ages. Hence Symbolism. Essential. Intended. Conventional, which again becomes intended.

Regeneration. i. The octagonal form of Fonts, ii. The octagonal form of Piers, iii. Fishes. Atonement. i. Cruciformity. ii. Deviation of Orientation. iii. Double Cross, iv. The threat Rood. v. Details.

Communion of Saints.

C. OBJECTIONS ANSWERED. 1. Inequality of type and antitype. 2. Difference of Symbolism in the same arrangement. 3. Mechanical origin.

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.

E. CONCLUSION. Contrast between a modern and ancient Church.

INTRODUCTORY ESSAY

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 , 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 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 with partial, but never with complete, success. That most commonly given is the following:--The effect of association in old buildings,--the mellowing power of time,--the evident antiquity of surrounding objects,--the natural beauties of foliage, moss, and ivy, that require centuries to reach perfection;--as on the other hand, the bareness, the newness, nay even the sharpness and vigour of new work; these, it is said, are sufficient to stamp a different character on each. There is doubtless something in this; but that it is not the whole cause is evident from the fact, that give a modern church all the above mentioned advantages on paper, and an experienced eye will soon detect it to be modern.

A Catholic architect must be a Catholic in heart. Simple knowledge will no more enable a man to build up God's material, than His spiritual temples. In ancient times, the finest buildings were designed by the holiest bishops. Wykeham and Poore will occur to every churchman. And we have every reason to believe, from God's Word, from Catholic consent, and even from philosophical principles, that such must always be the case.

Holy Scripture, in mentioning the selection of Bezaleel and Aholiab, as architects of the Tabernacle, expressly asserts them to have been filled 'with the Spirit of God in wisdom, and in understanding, and in knowledge, and in all manner of workmanship, to devise cunning works, to work in gold, and in silver and in brass, and in cutting of stones to set them, and in carving of timber, to work in all manner of workmanship.' And this indeed is only a part of the blessing of the pure in heart: they see God, the Fountain of Beauty, even in this life; as they shall see Him, the Fountain of Holiness, in the next. From Catholic consent we may learn the same truth. Why else was Ecclesiastical Architecture made a part of the profession of Clerks, than because it was considered that the purity and holiness of that profession fitted them best for so great a work?

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