116 Proceedings of the Society, 1956-57. Viii
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6 11 PROCEEDING E SOCIETYTH F O S , 1956-57. VIII. THE ARMA CHRISTI IN SCOTLAND. BY CHARLES CARTER, M.Sc., F.S.A.ScoT., Curato t GallerrAr Industriad yan l Museum, Aberdeen. By Arma Christi we mean representations of the five wounds of Christ, the heart, the hands and the feet, or of the Emblems, or Instruments, of the Passion, or of combinations of the two, often on a shield in a pseudo- heraldic arrangement. Aearthln sa y kin emblematid gha c reminder achievements hi f so s upon his shield so it was considered appropriate that the King of Heaven should have "arms" bearing as emblems the instruments of His suffering or the member s BodHi f yso which were wounded that victory migh achievee b t d death.d Armae an ove n Th 1si r Christi t onlno y honoured Christ witha blazon of arms but gave concrete form to a cult which grew in importance and popularity during the later Middle Ages. The imagery associated e Passiowit th e cul f th ho t n instrumentd an s five wounds is sometimes symbolical only, even abstract, as when the wounds shewe ar n rather tha membere nth s "which bore mora them. t eBu litera2 l imager s commonwa y . Representation e fivth e f o wounds s occur alone, with one or two of the emblems of the Passion, or associated with a compre- hensive Passion symbolism.3 The "Image of Pity" and the "Mass of St Gregory subjecte ar " s with which this Passion symbolis s particularlmi y associated lese th s complen I XIId . 4an (Pis I6) I x representationsXI . e th , sacred wounds, wit r withouho e Cros backgrounda th t s a s frequentle ar , y accompanied by the Crown of Thorns, which may surround the heart or all the five wounded members loopee intersectioe b th r o ,t d a e Crosse th f Th no . 1 Vide Gougaud, Dom. L., Devotional and Ascetic Practices in the Middle Ages (1927), pp. 80 et seg.; Gasquet, Cardinal, The Religious Life of Henry VI (1923), p. 30; Mackeprang, M., Aaboger for NordisTc OldJcyndighed og Historie, 1951, consulted in an English abstract in the Library of the Warburg Institute, London; Barbier de Montault, X., Oeuvres completes, vn (1893), 377-401; Male, E., Religious Art of Middle e od thth f eEn Ages Francen i (1925) . 104-6pp , . 2 e.g. the seals of certain provinces of the Franciscan Order in the 16th century, where wound slits depicted—Barbiee ar Montaulte d r . cit., . 391-3 ,op five pp eTh .consecratio n crosses incised upon na five altarth e r circleso , , wit r withouho crossta Pilgrim'n ,o s badges examplen o e Londos ,a th n i s n Museum. 3 The roof bosses of Bishop Pox's early 16th-century choir at Winchester Cathedral contain over thirty different emblems, including the sacred wounds. mann e devotionai th s f A y4o l works printed on early 16th-century presses. Vide Hodnett, E., English Woodcuts, 1450-1533, p. 109, Bibliographical Soc. Trans., 22. E ARMATH CHRISTI7 11 SCOTLANDN I . crown may possess thorns, it may be of the double-twist cable type, or resemble a spiral fillet. Other emblems commonly introduced are the thre eladdere nailsth e dicd th ,.e an Angel sometimee ar s 1 s introduces da "supporters. e issuin th piercee e spea b d th heare gy an y r b dTh ma "t blood stream into a chalice. The infant Christ may be seated within the heart, the whip of flagellation in His hand.2 imagere Armae Th th f yo Christi bees ha n foun varieta n di medif yo d aan in diverse situations e presenTh . t distributio d extanan n t typey ma s reflect inaccessibility to vandals rather than an original usage but those most commonly seen are manuscript illuminations, separate cuts in wood and metal and incunabula illustrations, carvings in wood and stone on roof bosses, corbel tables, fonts, bench-ends, etc. Less common are textiles, enamels, stained glass windows and book-bindings. popularite Th imagere th f yo devotionan yi l books separatn o r o , e wood- 3 cuts which could be sold cheaply to pilgrims, can be explained by the granting of indulgences to those who said masses of the five wounds or said prayers •whilst contemplating them.e presenc Th e symbolth f eo roon o s f bosses where they could not readily4 be seen by those praying may be explained by their having becom erepertore parth f o t populaf yo r imagery. Most example Armaf so ChristiGermanf o e ar , Netherlandis r Englisho h origi d pre-Reformatioan n n datei nn RomaI . n Catholic countriee th s imagery persisted int counter-Reformatioe oth n period and unsophisticaten ,i d circles , e recendowth o nt t past.6 Mackeprang (op. cit.) gives three post- Reformation examples from Protestant Denmark. protestane Whath f o t t countr Scotlandf yo ? This country sharee dth devotional climate of Northern Europe in the late Middle Ages and was in close touch wit e Netherlandhth s wher e imagerth e y -was popular.e Th Passion and Wounds of Christ were emphasised in Scot6 s devotional literature.7 St Mark xv. 19, "And they smote Him on the head with a reed." The iconography of this emblem 1 influences wa reputee th y db d true Crow Thornsf no , solEmperoe 123n dth i y 8b Constantinoplf ro o et Louis XI of Prance, which was a wreath of rushes bound together by twisted ties. Anderson, M. D., Imagery of British Churches (1955), p. 119. 2 Interesting example thesf so illustratee ear Dodgsonn di , "EnglisC. , h Devotional Woodcute th f so late 15th century," Walpole Soc., xvn. volumA Nonnuf eo s in York Minster Library, boun Johy db n Beynes, London, early 16th century, s blind-stampei 3 d wit Redemptorise hth Mundi Thielmaf Armao t cu u Kerver. Hours of the B.V.M., 15th century, York Minster Library: f. 44 has sewn to it a sheet printed on pape1r with a pseudo-heraldic display of the Passion instruments at the foot of which is the inscription: "Wh eveu os r devoutely behoildeth these army Chrisf so t haith VlmVIIcL per.VY " 5 Gougaud . cit.op , 6 The paintings by Hugo van der Goes now in the National Gallery of Scotland are instances of the close links with Bruges, a city whose artists painted pictures notable for their Passion symbolism. It was there Bishop Kenned Andrewst S f yo 1451n ,i , walke Processioe th n di Hole th f yno Blood (Dunlop, . I. A ,Times d Lifean of Bishop Kennedy (1950), . 135).p ; thenc monke eth Pluscardef so n obtained their Sacrament house. 7 Vide Bennett, A. J. W. (Ed.), Devotional Pieces in Prose and Verse, So. Text. S. (1955), which contains several examples. E.g. e openinth g line f Dunbar'so s Passion e Oth f f Christ.o Amone gth Arundel MSS., collecte Lory db d William Howard Catholia , c livin Cumberlann gi d afted r ha 1603 o wh , 118 PROCEEDINGS OF THE SOCIETY, 1956-57. Passioe e subjecth Th s f Miraclo ntwa e Plays firse Th t .religiou s play to be recorded as performed in Aberdeen was the Holyblude play of 1440. 1 Masses were said in Scotland in honour of the five wounds: the Missal in use at the end of the 15th century was of Sarum Use which contained a Mass of the Five Wounds. A missal of this Use in Blairs College, which has MSS. addition mako t s t suitablei r Scotlandefo , bear nota s s e thawa t i t t NicholasuseS t da , Aberdeen than I .t church, masses were sai honoun di r five oth fe wounds every Wednesda t foundaaltaMarye e S th th f t ro n y a o , - tion, r Joh1512Si f no , Lilstair; every Thursda t Martinaltae S th f o rt y a , 152e onth 0 foundatio Thomaf no s Waus everd an ; y Frida altae th f t ro y a St Salvator, on the foundation of Sir John Chawmer.2 The dates of these foundations link liturgicae theth mo t l innovation f Bishoso p Elphinstone who issued his Aberdeen Breviary in 1509—10, intending it to supersede f Saruo e mScotlandn i Us s bee e ha n th t I state. d tha intendee h t o t d supersede the Sarum Missal also and may have done so though no copy has s cominfluencHi e masses o f s . beedowo tw us ha e e ne o nt on seeth , n ni them a Mass of the Five Wounds,3 later added as a prefix to the Arbuthnott Missal writte 149n ni Jamey 1b s Sybbald Five Mase th ef Th o sWound. s was prominen e devotionth n i t f Bishoo s p Elphinstone's great helper, Alexander Galloway, Rector of Kinkell, who was associated with their foundation twice in King's College Chapel and once in St Machar's Cathedral.4 Ritual and art have ever gone closely together and the devotional trend was accompanied by an appropriate imagery. The following is a catalogue s occurrenceoit f Scotlandn si . interese opportunite th th d an t colleco yt t from Northern sources, whic though e safa har e eb guido t t e to the practices of the devout in Scotland on the eve of the Eeformation, are prayers on each of the wounds of Christ and Ane devoit remembrance of Ye Passion of Christ which specifically mentions the five wounds e Reformation r Davith f Si o .