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The History, Principles and Practice of Symbolism in Christian Dear Reader, This book was referenced in one of the 185 issues of 'The Builder' Magazine which was published between January 1915 and May 1930. To celebrate the centennial of this publication, the Pictoumasons website presents a complete set of indexed issues of the magazine. As far as the editor was able to, books which were suggested to the reader have been searched for on the internet and included in 'The Builder' library.' This is a book that was preserved for generations on library shelves before it was carefully scanned by one of several organizations as part of a project to make the world's books discoverable online. Wherever possible, the source and original scanner identification has been retained. Only blank pages have been removed and this header- page added. The original book has survived long enough for the copyright to expire and the book to enter the public domain. 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Please do not assume that a book's appearance in 'The Builder' library means it can be used in any manner anywhere in the world. Copyright infringement liability can be quite severe. The Webmaster THE HISTORY PRINCIPLES AND PRACTICE OP n fItmitmt ltd & F. EDWARD HULME, F.L.S., F.S.A. " 1 " Familiar Wild Flowers," "Suggestions in Floral Design,' Wayside Sketches," " 'History Principles and Practice of Heraldry," "Myth-land," Art Instruction in " England," Principles of Ornamental Art," etc., etc. SECOND EDITION LONDON SWAN SONNENSCHEIN & CO NEW YORK: MACMILLAN & CO 1892 h BUTLER & TANNEB, THE SELWOOD PRINTING WORKS, FROME, AND LONDON. CONTENTS. PACK INTRODUCTORY CHAPTER . 1 CHAPTER II. 9 CHAPTER III 30 CHAPTER IV 47 CHAPTER V. 73 CHAPTER VI. 101 CHAPTER VII . 121 CHAPTER VIII. ." 149 CHAPTER IX. 167 CHAPTER X 184 CHAPTER XI 203 APPENDIX , 223 OF THE UNIVERSITY Of THE HISTORY, PRINCIPLES, AND PRACTICE OP SYMBOLISM IN CHRISTIAN AET. INTRODUCTORY CHAPTER. What a Symbol is Definitions of Symbol, Allegory, and Type Sym- bolism reveals or conceals The Great Sources of Symbolism Classes of Symbol The same Form may mean two entirely dif- ferent Things Abuse of Symbolism Parables The Writings of Durandus Extravagant Symbolism Symbolic Bites of the Jews World-wide Use of Symbolism Arrangement of Subject in suc- ceeding Chapters. A SYMBOL is a form that in itself may be trivial, barbarous, or even repellent, but which, nevertheless, from, the associa- tion connected with it, is the sign of something higher than meets the outward eye. Symbolic forms can never again attain the importance they have done in the past. Their is nevertheless and study deeply interesting ; for, grotesque quaint as they often are, we must remember that they were but the outer shell, and often beneath a rugged exterior bore a golden wealth of significance. To the artist and archaeo- logist such study is indispensable. The field of inquiry is so vast, both in space and time, that it is evident that an exhaustive treatment is we then in the impossible ; purpose present pages to do little more than deal with the subject in its association with Christianity and its illustration in art. Though the terms symbol, allegory, and type appear to be ordinarily regarded as interchangeable, there is a difference SYMBOLISM IN CHRISTIAN ART. of meaning and application. Symbolism employs real objects, such as the lamb, the cross, the crown, to illustrate the truth. It is a picture language. Allegory uses fictitious things and imaginary personages. Symbolism appeals to the the is more or less artistic and mind through eye, pictorial ; while is more especially literary, and the picturesque allegory " " treatment of such works as the Pilgrim's Progress or the " " Holy War affords us very excellent examples of its scope. A type is a something or somebody that prefigures some or thus the ark in amidst greater thing person ; riding safety the waters of the deluge was a type of the Church of God. As the thing that originally prefigures also afterwards repre- sents, many of these typical forms have been pressed into the service of symbolism. The sculptured fonts or stained-glass windows in the churches of the Middle Ages were full of teaching to a congregation of whom the greater part could not read, to whom therefore one great avenue of knowledge was closed. The ignorant are especially impressed by pictorial teaching, and grasp its meaning far more readily than they can follow 1 a written description or a spoken discourse. Hence the clergy wisely supplemented their discourses with these appeals to the eye. But symbolism, though ordinarily a very effective way of imparting instruction, has at times been emplo7ed in an entirely opposite direction. Thus the priests of Egypt reserved to themselves an inner meaning to of theiv rites and thus too the Christians em- many ; early ployed symbols that, though full of significance to themselves, conveyed no meaning to the heathen around them. We too may at first see nothing but poverty of design and poorness of execution in these rude and but when strange imaginings ; we recall how essential they once were as pledges and declarations of faith, they acquire a strong interest, and we see through and beyond the visible representation, and grasp something of the great ideas veiled in these simple and rude forms. 1 Some few weeks before writing this we found ourselves in a large church in Brighton. What the text was, what the sermon was, and else the we have everything concerning servjce, utterly forgotten ; but we vividly remember a fresco of the Last Supper, and poor, dishonoured Judas going forth into the outer darkness clutching at his bag. A whole course of sermons embodied in one touching figure. SOURCES OF EARLY SYMBOLIC FORMS 3 Clement of Alexandria suggested to the Christians of his day that, in' place of the heathen subjects cut on stones nnd rings by the Roman_Japidaries and metal workers, they should have such devices as a dove, symbolic of the Holy Spirit of God within them, the palm branch of yjctoi-v^ the anchor, emblematic of their hope, and other devices of like import. The strong expressions of Tertullian in his treatise, " De Idololatria," are directed against the pagan rites, and in his zeal against error he objects to all representations what- soever, and stigmatises the art of the painter as an unlawful thing; though he, in spite of his anxiety to prevent any tampering with arts that had been perverted to the service of heathendom, made exception in favour of the devices sug- gested by Clement. The influences of the life around them did in fact considerably affect early Christian art. Christ Himself, the Good Shepherd, we shall see, was often repre- sented as while St. Paul finds in the Isthmian Orpheus ; Games apt illustration of the Christian race. St. John Damascenus, writing in the eighth century, strongly defends the introduction of sculpture and painting as accessories to the teaching of the Church. The great sources from whence our knowledge of Christian symbolism is derived are, from the third to the eighth cen- turies, the frescoes and sarcophagi in the catacombs, the mosaics in the Italian churches, and the vessels of glass or pottery found in tombs. Later on, for another three hundred years or so, we find a rich store of illustrations in the carved crosses or richly illuminated books of the Irish and Saxon scribes still the Anglo- ; and, later, magnificent manuscripts of the Middle Ages, the profusion of sculpture, 1 the glorious stained-glass windows, the pavements of figured tiles afford us numberless other examples. Symbolic forms may be readily divided into three distinct classes. The first of these comprises those that still survive, and convey their meaning to us as clearly as they have done to preceding generations. The dove is a good illustration of these, and it will ordinarily be found that such symbols are 1 In her oryall there shee was Closyd wel with roial glas, Fulfilled it was with ymagery Every window by and bye/' SYMBOLISM IN CHRISTIAN ART. based on some definite passage of the Bible. The second class comprises forms that for some reason or other have now wholly ceased to be employed, though their significance is still clearly understood. While a third and much smaller class includes forms that from their associations are clearly symbolic, but of which all clue to their meaning is lost. It is of course necessary to bring some little knowledge and experience to bear on the matter, as it does not certainly follow that a thing is meaningless because it is so to us.
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